Issue 9 - Music by Salient

SA L I E N T

ISSUE O9

Music

CONTENTS 05—10

11—13

14—16

News

Eyegum Wednesdays (Feature)

Ones To Watch (Feature)

18—19

20—21

22—24

Give Hip-Hop Its Accolades (Feature)

Centrefold

Florence Aka Foxtrot (Profile)

25—27

28—35

36—38

Making Moves (Interview)

Culture & Columns

Entertainment

About Us Salient is published by, but remains editorially independent from, the Victoria University of Wellington Students’ Association (VUWSA). Salient is funded in part by VUWSA through the Student Services Levy. Salient is a member of the Aotearoa Student Press Association (ASPA). The views expressed in Salient do not necessarily reflect those of the Editor, VUWSA, or the University. Complaints Complaints regarding the material published in Salient should first be brought to the Editor in writing (editor@salient.org.nz). If not satisfied with the response, complaints should be directed to the Media Council (info@mediacouncil.org.nz).

Find Us Twitter @salientmagazine Facebook fb.com/salientmagazine Instagram @salientgram www.salient.org.nz

There’s a time and a place for great art EDITORIAL It’s a humid night in New York City. I’m strolling Broadway with my classmates when I get yanked into a merchandise store dedicated to the musical Hamilton. All around me, fans squeal with excitement. I stand there awkward and indifferent. As a highschooler, I didn’t really care for a political hip-hop musical about the founding fathers of America - the hype was beyond me. A few months pass. It’s 11pm on a Saturday night, and a room full of drunk teenagers scream the words to “Humble” by Kendrick Lamar. I’m stone cold sober, entirely unfamiliar with the artist, and I have incorrectly assumed the song to be titled ‘Sit Down’. The drunk boys around me insist that Kendrick is actually “super deep bro”, but I remain uneducated and unconvinced. A year passes. I have just started university and am working a monotonous admin job, scanning documents and sorting out mail. Sick of being inundated with pop and desperate for intellectual stimulation, I play Hamilton on a whim. Three hours (and a lot of tears) later, I find myself dumbfounded. I listen to the album every day at work for a month. I delve into good kid, m.A.A.d city the next month, To Pimp A Butterfly the month after, and DAMN after that. My taste in music had been changed forever. It took studying a Humanities degree, engaging in more conversations about race, and becoming personally invested in politics for me to appreciate hip-hop. Both Hamilton and Kendrick’s discography had been heavily recommended to me for years, but I’m so glad I procrastinated listening to them until I had the mental capacity to absorb their messages.

such great albums that made a poor first impression with me because I listened to them at the wrong time, in the wrong headspace. I’ve tried coming back to them, but it’s like there’s this invisible wall between us. Great art demands respect and intentional consumption. You’ll never get to listen to your favourite album for the first time again, so you should pick your moments carefully. This issue heavily focuses on local music, and Salient encourages you to get out to more gigs and support Poneke’s music scene. In our features and interviews this week: Maia celebrates Eyegum Wednesdays returning to San Fran, Zoe profiles three up-and-coming Welly artists, Lauren gushes her favourite DJ, Andy discusses the Grammys snubbing hip-hop artists, and Darcy finds out what it’s like for small town musicians to move to big cities. In our news this week: Salient finds out what politicians are listening to on Spotify, what last year’s Music School protest achieved, why VUW hosted a free speech event on campus, and more. We even got a psychic to predict who the next Vice Chancellor will be. Wishing you a happy Music Month!

Great art doesn’t come along every day, so we should savour it. There were times when I was impatient, when I squandered away a precious impression because I was overcome with the need to be in the know. The Miseducation of Lauryn Hill by Lauryn Hill and Because The Internet by Childish Gambino are two

JANHAVI GOSAVI (SHE/HER)

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Letters To The Editor A message from Mums, Step Mums, surrogate and stand in Mums everywhere to their kids… You might have noticed the increase in adverts for perfume on the tv, or the boxes of chocolates on special at the supermarket, or even the marketing splashed across the window of your local florists… yep, this coming Sunday, May 8th is Mothers Day in New Zealand. Us Mums want you to know that whatever day it is, we are always thinking of you, urging you onwards and upwards to reach your dreams. We know that your student loan is stretched to the max, this year maybe even more than last so don’t feel bad for not falling for the consumer hype and forking out for that $10 card. Bonus - you are doing your bit to save the trees by rejecting unnecessary paper usage! We know you love us - even if you did take that last piece of cheesecake that secretly we would have liked…. Make us proud by keeping at it, working away and reaching your potential. It’s been hard for you these past few years, with lockdowns, protests and Covid and working from home but we know you have it in you to get there in the end. We remember wiping your butts and teaching you to read and waving you off on your first day of school - you have come too far to give up now.

FILMS

All sounds a bit preachy and “self help book” I know, but we really do mean it - we love you and always want what’s best for you. But just remember next time you come home for a visit eh, that last piece of cheesecake has your Mums name written all over it… Vanessa Howell she/her

Correction for the Contraception Inforgraphic published in Week 7’s Sex Issue The heading on page 25 reads “How reliable are the current contraceptive options?” The graphs below the heading actually illustrate the likelihood of pregnancy, not the reliability of the method. Condoms are NOT more reliable than IUDs, we fucked up, that’s on us. Stay safe out there y’all.

The article ‘Does Our Mental Health Matter Yet?’ (2 May 2022) contained incorrect information about the counsellors at Mauri Ora (Student Health and Counselling). The article stated that Mauri Ora has 13 counsellors, three of whom are people of colour. Mauri Ora has 21 counsellors, seven of whom identify as people of colour. Students who are interested in finding out more about our counsellors are invited to take a look at the Mauri Ora website, where many of our counsellors have made their profiles publicly available. Kevin Rowlatt Associate Director, Mauri Ora

85 Ghuznee St, Te Aro, Wellington www.splendid.nz @splendid.nz

Music School Protests Crescendo with New Ventilation Words by Beth Mountford (she/her)

The Victoria University of Wellington New Zealand School of Music (NZSM) protest, held on 7 October last year has led to the renovation of the classical and jazz performance practice rooms. Renovations include the installation of ventilation and the combining of rooms to create more space for social distancing. These renovations, completed prior to the beginning of Trimester 1 2022, bring the rooms up to the required health and safety standards for preventing the transmission of Covid-19. Thirteen practice rooms were initially closed in September 2021 following the Government’s advice around ventilation requirements, leaving students with nowhere to practise in the lead up to their final recitals. Rafe Swan, who is completing an Honours degree in Music Studies, says that the university provided alternative practice rooms but many students had issues with double-bookings. “It was a pretty terrible time leading up to our final recitals. We weren’t really able to practice and use the facilities that we’re paying for,” he said. Students were initially told that the problem could not be fixed as each room needed direct access to fresh air. An email was sent to the Victoria University of Wellington Students’ Association (VUWSA) on 4

October, with no response. The protest began with music students gathering with their instruments in the Hub and practising as usual. The rehearsal then moved to various locations around campus including the Faculty of Humanities and Social Sciences, outside Grant Guilford’s office, and finally the student union building where the school waiata was performed outside of the VUWSA office. Lucas Baker, the Classical Performance class representative and organiser of the protest said, “it was not my intention to give Victoria University or the New Zealand School of Music a bad reputation for future students, but [I wanted to] make sure that the students have […] the means to perform our best in our upcoming assessments.” The rooms in question, described by one student at the protest as feeling like “an old damp house,” now feel “more comfortable, as the air is fresher,” according to Baker. The renovations are met with frustration by some, as they weren’t completed earlier, but Baker says he is happy with the overall outcome. “I’m very grateful that we could find a solution in the end and for all the support from students, staff, and VUWSA,” he said. www.salient.org.nz

Candlelight Commemoration for Apsara Wimalasiri Words by Beth Mountford (she/her)

On Thursday 4 May, friends, colleagues, and peers gathered outside of the Hub to remember and honour the life of Apsara Wimalasiri, a PhD student who was tragically killed last month during a visit to Sri Lanka to see family and participate in political protests.

both of love for and from Apsara.

The courtyard was awash with people, chatter, laughter, and sobs. Colourful chalk drawings and candles adorned the space. The event was opened by Dr. Corinne Seals, Apsara’s PhD co-supervisor and friend, who shared memories of their first meeting. “She came in with a smile and a laugh and we connected right away. She was so open and so free with showing people how much she cared for them,” Dr. Seals said. Hesadi Niruthmi, Apsara’s friend and peer, and recent president of the Sri Lankan Students’ Association, described her as “kind of like a hero […] she’s not scared of anything.”

João Guilherme, Apsara’s flatmate, regaled us with a time when Apsara had insisted on buying gifts for a child she had never met: “It wasn’t just one gift, it was like seven, she just wanted to spread the love. So spread the love to people you know or people you don’t know.” One of Apsara’s closest friends, Chethana Wickramasinghe, said, “I just want to say how much she loved all of you. I have heard of so many of you from Apsara, even though I haven’t seen many of you before.” Apsara completed a masters thesis at VUW which worked to highlight the value of English teachers in Aotearoa who came from multilingual backgrounds.

She said, “If [Apsara] has told us anything, it’s just to be strong, reach for your goals, achieve them and be proud of who we are.” “I’m sure Apsara was proud of herself, proud of her achievements, she was proud of her academic life, she always talked about her research,” she added. A memorial scholarship in Apsara’s name was announced. The scholarship will provide study support fees for Sri Lankan students coming to the Victoria University of Wellington to study in the area of human rights and justice. “We feel very strongly that this is what she would want as a scholar and an activist, and her family are aware and have given their blessing,” said Dr. Seals. The mic was made available to anyone who wished to share; words were spoken in Sinhalese, feelings of disbelief were articulated, and many stories were told,

For her PhD, she was working with learners and teachers of Samoan and Sinhala as heritage languages, what their experiences were in Aotearoa, and how we could better support them while also honouring the traditions of knowledge that those groups come from. “[Apsara] cared a lot about honouring people’s knowledge and ways, and empowering people through those,” said Dr Seals.

Free Speech Event on Campus Opposed by Students Words by Azaria Howell (she/her)

Trigger warning: This article examines some of the racist, transphobic, sexist and otherwise harmful content discusses at the event in question. Please exercise caution when reading. A controversial event on campus hosted by the Free Speech Union (FSU) took place on 28 April, which hosted a discussion that aimed to create “freedom from censorship and cancel culture.” The FSU is a registered trade union that claims to tackle issues surrounding censorship, arguing that freedom of speech is an inherent right. The group was formed after alt-right figures Lauren Southern and Stephan Molyneux were not permitted to speak in Auckland after public outrage. Southern and Molyneux have been widely recognised as white supremacists who believe that multiculturalism is inherently dangerous, promoting the slogan “it’s okay to be white.” Molyneux has publicly argued for an “all-white country,” a form of white ethnonationalism. He also believes that feminism is a form of socialism. Speaker Karl Du Fresne started off the event thanking the university, stating that “not all universities have been as welcoming as Victoria [University of Wellington].” A similar event was set to be held at AUT but was later cancelled due to the event promoting transphobic ideas. The event hosted at VUW was attended by Academic Associate Dean Dr Micheal Johnston and senior lecturer James Kirstead, who Du Fresne stated were both supporters of the FSU, and helped put the event together. Dr Johnston stated that it was a great honour to introduce the union. Despite this, the university wanted to make it clear that they were not affiliated with the FSU, saying, “The Free Speech Union is an external organisation not affiliated in any way to the University and this was not a University or University-sponsored event.” In a statement to Salient, a university spokesperson said, “A thorough internal process was followed to determine whether the space should be rented; this included clarifying to the Free Speech Union that the University did not endorse the content of the event, and as always, ensuring that security was present to maintain hire terms and conditions.” During the event, Du Fresne called the Black Lives Matter movement a “crusade,” with many audience members nodding heads in agreement. Du Fresne went on to make derogatory comments about trans women and spread harmful misinformation about the 15 March terror attacks in Christchurch. Du Fresne also attacked the “mainstream media,” stating that public interest journalism is “propaganda,” and that “media reflects the views of a woke elite.”

Students have strongly argued ‘free speech’ is a guise for hate speech, with multiple students putting up posters around campus discouraging people from attending the event. One of these students told Salient that the event “is full of violent misinformation and sends an unsafe agenda for many communities who study here.” The event was also attended by ACT MP James McDowall, who recieved criticism from Du Fresne for supporting abortion safe zones. In an interview with Salient, McDowall agreed with the event’s message that freedom of speech was at risk at New Zealand universities. “Universities have got to have a process in place and have to make sure they’re not cancelling people unnecessarily, just because some Vice Chancellor doesn’t like it,” he said. McDowall added that there was “a lot” said throughout the night that he disagreed with and found “totally outrageous,” but said “the right to say it is important.” The event was criticised by various members of the student body, including VUWSA Engagement Vice President Katherine Blow. Blow stated “VUWSA does not support the Free Speech Union event, because the group is known for their extremist, trans-exclusionary, homophobic and racist views.” They added that “ideally, the event wouldn’t have taken place.” Despite this, VUWSA declined to make a public statement against the event as they did not want to draw attention to it. Other student representation groups called on VUWSA to make a statement addressing the structural issues that allowed such an event to take place. VUWSA President Ralph Zambrano told Salient, “the university told us it was a complicated situation and there were lots of considerations regarding the event going forward.” Zambrano added that the university will be “broadly looking at potentially reviewing guidelines at having external organisations book campus spaces.” Former UniQ President Rosie Van Beausekom opposed the event, saying it “showcases an individual who sees his attempts at delegitimising Māori and trans individuals and their world views as promoting free speech.” Disappointed that the event was hosted, Van Beausekom added, “the fact that VUW claims to be progressive and inclusive while still giving platforms to these sorts of discussions is foundationally unacceptable. These conversations actually hinder academic discourse and are simply not of any value to anyone.”

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Salient’s (Un)Official Psychic Predicts VUW’s Next Vice-Chancellor Words by Ethan Manera (he/him) When Grant Guilford announced his retirement from his role as Vice-Chancellor, speculation mounted as to who could take the top job. With baseless tittle-tattle buzzing throughout the university, Salient approached the only person who could know for sure—psychic medium and clairvoyant Ron L Griffiths. I travelled to Christchurch for an in-person reading with Ron to find out who could be our next VC. Ron comes from a family of “strong mediumship” and, through his use of tarot cards, ancient Viking runes, and crystal balls, he has made a living speaking with spirits and telling fortunes. He claims to have predicted Jacinda Ardern’s rise to power a year before the 2017 election, after reading her palm in Queenstown. Inviting me into his home filled with mystical art and other-worldly knick-knacks, Ron skipped through the ads on a spiritual music YouTube playlist as we prepared for the reading. I was directed to pick out crystals from a velvet sack that were engraved with rune symbols. The first one I selected could be viewed as the letter V, C, or L. I suggested that the letters VC could represent the words “Vice Chancellor,” and Ron agreed. The next rune showed the letter B. Ron felt that this represented pregnancy and fertility, and could either mean “physical pregnancy” or “someone who gives birth mentally to good ideas.” The final rune I plucked was an F which could also be interpreted as a “ph” sound or a broken arrow. Someone called “Phillip, Phillipa, or Phoebe may be the new VC,” Ron said. The broken arrow interpretation showed Ron that they may not be sure of themselves or lack self-confidence. Overall, Ron felt that a strong woman with maternal energy and a connection to both the letter B and the colour red were making themselves known to him. He felt that men with confidence issues could be in the running but would be unsuccessful. We then moved on to tarot cards. The first card Ron pulled was “the Lady.” “I’m seeing a female [with blonde hair], she looks very white,” he said. After closing his eyes, he confirmed that the woman he was seeing had children, saying, “I keep getting this pregnancy thing.”

Moving to the crystal ball, Ron once again saw the colour red. He also saw ballot papers which meant there was going to be more student engagement and consultation in the future (take notes, VUWSA). After discussing some of the recent university controversies, Ron thought that the new VC would not support the name change. I put Ron to the final test by showing him some pictures of the university’s current senior leadership team. Ron felt drawn to Professor Sarah Leggott, saying her picture was a match to all his predictions. A university spokesperson quashed these claims, stating, “Professor Sarah Leggott is not a candidate for the role of Vice-Chancellor”. Although Dr. Leggott is out of the race, Ron’s predictions may still come to fruition. Salient has been informed that there are currently four candidates remaining and a vote will take place later this month. This leaves only a matter of weeks before we can put Ron’s mystical powers to final test.

MPs’ Public Spotify Profiles Reviewed and Ranked Words by Ethan Manera (he/him)

Our politicians’ public images are carefully manufactured, with their comms advisors, social media managers, and PR strategists working behind the scenes to meticulously curate what we see on our feeds. But there is one platform often overlooked, a personal space to escape from the outside world: Spotify. Salient did some lurking to uncover the profiles, playlists, and guilty pleasure tunes our politicians blast behind closed doors. Whip out your waxy airpods and enjoy the unauthorised review of our MPs’ (perhaps regrettably) public Spotify profiles. Fifth Place: Kieran McAnulty, Labour The MP for Wairarapa’s profile only offers us one playlist with the unambiguous title “election night party.” This playlist hosts some classics which undoubtedly got the rural Pākehā demographic of Masterton dancing as the election night red wave came rolling in. “Wagon Wheel,” “Waterloo,” “YMCA,” and “Mr Brightside”; McAnulty’s music taste is as basic as it gets. Fourth Place: Nicole McKee, ACT

Second Place: Nicola Grigg, National National’s list MP for Selwyn has a well-established profile sporting 15 playlists. The profile picture shows Grigg delivering her maiden speech in the debating chamber—a classy touch. Playlists range from “epic 90’s,” “oldies and goldies,” to “Phil’s Epic Jams” (whoever Phil is). Grigg has also added the Fifty Shades of Grey soundtrack, a brave move but who can resist Ellie Goulding’s “Love Me Like You Do” when you’re having an emotional moment? First Place: Kris Faafoi, Labour Faafoi is one of Aotearoa’s most senior politicians, currently holding portfolios such as Minister for Justice, Immigration, and Media. One may assume that this level of power and authority would mean Faafoi is a serious character, but his Spotify suggests otherwise. The profile picture is a stimulating selfie, where Faafoi grins at a rugby game while sitting next to an unknown friend. His profile is filled with a whopping 24 playlists, peppered with colloquial titles such as “lazy farty” and “good stuff.” Faafoi’s best playlist is titled “Kris’ Rockingest Playlist” and features Madonna’s “Material Girl.”

The playlist containing ambient music titled “shooting” is slightly ominous but her playlist titled “ACT Bus” makes up for it with everything from SIX60 to Kenny Rogers. The thought of the ACT party caucus blaring Two Feet’s “Go Fuck Yourself” while recklessly driving their bus around Epsom doesn’t sit right. Third Place: Julie Anne Genter, Green Genter’s profile is a humble one, with merely three playlists. The first is presumably Genter’s go-to, with Adele and Lorde heavily featuring. The Green MP’s second playlist is titled “cycling in” and mainly consists of The Cure, which is very on-brand. Genter’s third playlist is the stand-out, a wholesome collection of children’s tunes from Sesame Street to Dr Seuss devoted to her son.

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Headline Junkie Words by Salient News Team

Teens Riot on Newtown’s Stoke Street

Local Artists Release Music

A riot of around 100 teenagers broke out on Stoke Street, Newtown around 11 p.m. on 1 May. One participant was arrested and charged for breaching the peace. In an RNZ interview, Wellington City Councillor for the Southern Ward, Fleur Fitzsimons, said the WCC would look into relevant preventative measures to ensure no similar events could occur in the future. An anonymous neighbour, who watched the event unfold, told Salient there were more people than she’d ever seen on her street. “It turned into a screaming and crying frenzy,” she said. “There were also a few sober kids who said sorry and told me they got kicked out of a venue by noise control.”

New and local music releases to keep on the radar include:

Public Consultation Window Closing on Wellington City Council’s Annual Plan

- Wiri Donna (EP)

If you want to have your say on issues such as the future of Wellington’s council housing and the Southern Landfill development, you can provide feedback via the WCC website up until 5 p.m. 15 May. The Southern Landfill is set to be full by 2026 and the current preferred solution is to build a new one on top of the current site, buying the council another 20 years. The Dog Days Continue as Florence + The Machine Announce Aotearoa Tour Date Alternative music group Florence + The Machine have announced their fifth album, Dance Fever, will be released on 13 May, with a tour coming soon after. The group will be performing in Auckland’s Spark Arena on 21 March with new songs from the album as well as classic hits including “Dog Days are Over.” Burning Bridges: Simon Leaves Parliament National MP Simon Bridges shared his valedictory statement in Parliament on Wednesday, leaving the House for good and stating that he wants to spend more time with his family. Bridges was the first Māori leader of the National Party and spent 14 years as a Member of Parliament. His time in the public eye came with many controversies and backlash, as he recieved criticism for voting against same-sex marriage and banning conversion therapy, and fronted various scandals throughout his career. The Black Seeds Announce First Tour in Five Years Kiwi band The Black Seeds are hitting venues across the nation to promote their upcoming album Love and Fire. The album has been in the works for the past three years and will be released on 17 June. A classic kiwi band known for the reggae-esque feel of “Cool Me Down,” the group will be performing at Wellington’s San Fran on 23 June.

- The Motions (album) - Best Bets (album) - DJ Smelly (track) - Georgia Lines (track) - Konarucchi (two tracks) - Laiika (EP)

Life returns to the Wellington music scene with

Eyegum Wednesdays

Words by Maia Ingoe (she/her)

“It feels fucking good to be back,” were the words I heard most on 20 April, the first Eyegum Free Wednesday since last September. Walking up the San Fran staircase felt like a renaissance of sorts, returning to the scenes of Wellington that drew me to the city in the first place. For most of 2022, Red traffic light has kept live music away from stages—the 100-person limit and sit-down precautions weren’t favourable for gigs. From the moment Orange was announced, bands, venues, and organisers kicked back into full swing. The first Wednesday in Orange, San Fran was once again the home of Eyegum Music Collective’s

free event, showcasing different emerging and established local musicians every week. The Cuba Street venue has the comforts of a grungy refuge; posters line the bar-side wall and benchseat tables give space to gather with friends before the music starts. Past that, doors open onto the infamous balcony, on a good night packed with patrons passing a dart or a vape. The floor in front of the stage is open, ready for the grooving feet of a crowd. ‘First night back’ is a phrase that rings oddly like school bells on the first day of term. On my night www.salient.org.nz

there I hear Eyegum Wednesdays described as a school and church, alluding to the dedicated community that fills up San Fran every Wednesday night. The keyword of Eyegum Free Wednesdays is in the middle: It’s free. Anyone, broke student or not, can go there, hang out on the balcony, and experience new music. Eyegum Music Collective first started in 2013, coming together through the organisation of house gigs in Wellington flats. When too many of the regular flats were noise controlled, San Fran came to the rescue as the weekly home for Eyegum. San Fran hosts and sponsors the events, so that bands and organisers get paid. Abandoned Brewery supplies the $6 Eyegum Pilsner, the secret ingredient to a cheap night of good music. “With the first Eyegum happening, you can see normality on the horizon,” Ollie, Munkhouse’s vocalist and guitarist, told me. His dark hair is tucked under a black skipper’s hat, he wears round-rimmed glasses and a Whangamatā Beach Hop tee. The band talks to me from a couple of couches squeezed into the backstage space at San Fran, the sounds of crowds gathering and the opening act’s soundchecks echoing back at us. Our interview is framed by a neon green wall covered with signatures from bands who’ve performed here. The band are obviously fizzing with energy; this is the first gig they’ve had in months, with gigs through February cancelled in the red light setting. Munkhouse, the headlining act of the night, is no newbie to Eyegum Wednesdays. The first time I’d been to Eyegum was to see Wellington duo Floral Shirt, where I stumbled upon Munkhouse. The band, originally from Auckland, had an irresistible sound that had me at the front of the crowd all night long. The band’s members have been both performers and patrons of Eyegum Wednesdays, meeting some of their closest friends through the event. “The people we identify ourselves with we’ve met

here. It’s the best place for that; out on the balcony, it’s like a sardine box. But you feel like you’re at home,” says Cedric, Munkhouse bassist—you’ll recognise him onstage as the one wearing a wizard’s hat. Chris, the guitarist, wears a red sash as a headband and sunglasses, 70’s style. “Every time it gets better and better. The drinks keep getting more expensive, but it’s the right price to pay for such a great community,” he says. The constantly changing nature of live music in the Covid-19 era has impacted them too—Munkhouse was offered tonight’s show five days beforehand, meaning their keyboard player, Oliver, was unable to make it. Wellington band Kingfish were originally lined up to join them but were unable to play when a member became a household contact on Wednesday morning. Burnt Out Graduate filled the space, pulling a set together last minute. “We’ve been in this weird musical purgatory,” says Kaito, the sax player. Gigs and recordings have been disrupted by last minute changes, isolations, and shit generally hitting the fan. The fact that San Fran survived at all is something to celebrate, with effort across the community to keep it afloat—even bands like Dartz holding fundraisers for the venue. Now, the dedicated Eyegum followers can return to what Ollie says is like church, but with beer and live music. “It’s a staple of Wellington music, and it’s consistent—well, without Covid right?” he adds. “They’re given us such great opportunities, I don’t know where we’d be in the Wellington music scene without it.” “On the aspect of it being free, it’s super important to me, because when I first moved here, I didn’t have any fucking money or friends. So it’s just the one place I could go to reliably to meet people and hang out,” says Kenny Charlton, who, alongside Mia Bean, organises and MCs Eyegum Wednesdays. Kenny greets me with a mini highfive, touching pointer fingers together.

Mia wears a red oversized suit jacket, rolled up at the sleeves, eyes outlined with red and yellow geometric makeup. While the break in events gave her a much-needed mental health respite, Mia is stoked to be back. “I need an excuse to be hot at least once a week, and smash three beers, and yell with people,” she says, laughing. Eyegum Wednesdays is a great platform for upand-coming bands and for new people to explore the Wellington music scene. “We’ve booked a lot of bands for their first ever gigs,” Mia said. “We used to get a lot of bands from out of town,” Kenny added, “Because there’s always a guaranteed show.” Coming along to San Fran on a Wednesday means meeting new people on the balcony, taking outfit pics in the full-length bathroom mirrors, jumping with the crowd to local bands, and discovering a new artist to mix up your Spotify playlists. “Being free makes it super easy to get into live, local music, experience it, and if it’s bad you can just leave. It exposes so many new people to the incredible music we have in Wellington,” Mia said. My firsttimer friend seconds this: “Everyone seemed to be there for the love of music and community and not just to get wasted.” Reminders from the MCs to drink water at every break really sums up the

friendly and like-minded vibe of the people at Eyegum. A priority for Mia going forward is bringing more diversity into the line-up. “There are so many dude bands in Wellington—and no hate to the dude bands, but we can have a spread,” she told me. With both bands on stage on Wednesday being all guys, you can’t deny the logic. As well as the weekly free Wednesdays, Eyegum Music hosts indie music festival Welcome to Nowhere, which in 2022 was cancelled due to the red-light change. A documentary following Eyegum Music Collective through the Wednesday events and the 2021 festival is due to come out later this year. The return of international acts to Aotearoa stages is exciting, but so is the opportunity to explore the local music scene. With staples such as Eyegum Wednesdays, the Wellington music scene brews talent and community like a $6 Eyegum Pilsner. Bands that have been forming throughout the last six months of Covid-19 disruption are ready to play, and there’s nowhere better for freshers and long-haul locals alike to get their fix of new music than Eyegum Wednesdays at San Fran.

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Ones to Watch:

Spotlighting Wellington’s Freshest New Talent Words by Zoe Mills (they/she) Wellington’s arts scene is undeniably one of the best in the country; whether you’re into punk, pop, indie, or experimental jazz-funk-reggae-fusion, there’s a band for you. I spoke to some of Wellington’s newest and most promising talents, just so you can say that you knew them before they were famous.

Danica Bryant

Fiery, unapologetic pop with a punky edge: That’s Danica Bryant in a nutshell. With her punchy lyricism and energetic sound-making, this singer-songwriter has been establishing herself as one to watch on the Welly music scene. Originally from Napier, now Wellington-based, Bryant has been writing music since she was a kid. “I started playing guitar when I was about eight and I was writing songs more than I was learning other people’s songs—it came more naturally to me.” She quickly worked her way up in the Hawkes Bay music scene and, since moving to Wellington, has been working hard to build up her artistry. “I’ve had to start again […] Now I make pop rock music with a little bit of folk influence in there”, she said. Bryant’s production is bright and edgy: she’s “a really big Britney Spears fan”, calling her “an influence on [...] production”. But it’s Bryant’s lyrics that are truly a standout; whimsical, poetic lines pointing to her icons Alanis Morissette, Kate Bush, and Lorde. In Bryant’s favorite song she’s written—“Plains of Venus”—her musical essence is combined with lyrical melodies similar to those of Lorde. The song details the fictional story of a woman trapped in an abusive relationship. “There’s this idea enforced on women that any love is better than no love at all”, Bryant explains. “I wrote it about women deserving better but [...]never [being] taught that we do deserve better.” Now, with her sophomore EP in the works, Bryant is taking all the influence and inspiration she can from her peers for her new releases. “I’ve been really working on that pop drive and bringing on that influence, as well as a little bit of indie [...] [as well as] gaining influence from the other artists that I’m getting to know and collaborat[ing] with.” Bryant will be heading off on her first national tour this year, as well as releasing a new EP in August.

Instagram: @danica.bryant 14

Spotify: Danica Bryant

Floor Five Is genre-defying dreamscape your type of sound? Check out Floor Five. Hailing from the hallowed halls of Te Puni Village, singer and rhythm guitarist Jackson met lead guitarist Drew after an impromptu jam-session in their hall of residence. The pair met up regularly after that and finished off the year by releasing two singles for their friends (and for a laugh). “We thought it’d be funny to put a song on Spotify, but we actually liked it!” Jackson describes the band’s sound as a mix of indie rock and pop— “but there’s also a bit of funk, a bit of Jazz. We try to mix it up a lot and genre-bend.” Will and Thomas were recruited as drum and bass players later in the year, and Floor Five was brought to life. Their name comes from the floor of the halls of residence that Drew and Jackson met on—“We tried ‘Fifth Floor’ but it didn’t quite roll off the tongue.” Jackson laughs. The group has an undeniable chill, cool persona—but they are incredibly skilled. Their musical skills are admirable and create a tight, clean sound.

Instagram: @floorfive5

“I really take inspiration from local artists,” Jackson explains. “Those are the people I listen to a lot— people from Wellington, people of Aotearoa. I love Marlin’s Dreaming, Doctor Reknaw […] all of us love these local artists […] there’s so much amazing talent [here] and we all love it.” The band’s sound is definitely reflective of their influences; melodic guitar riffs accompanied by Jackson’s crooning vocals create a dreamy atmosphere reminiscent of early Marlin’s Dreaming. So what’s Jackson’s favorite track the group’s released? “‘The Garden,’ which is like our leading EP song,” he says. “It’s the song that’s popped off the most in terms of audience and listeners loving it.” You can find Floor Five at Meow on 26 May, or check out their socials to see their next shows.

Spotify: Floor Five

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Sure Boy

Are you into music like Stella Donnelly and The Beths, with hints of Courtney Barnett? Sure Boy is your next obsession. After meeting at uni back in 2020, the fourpiece girl band have made themselves a staple in the Wellington music scene. Their undeniable chemistry and skilled instrumentation make the group a joy to watch live. Consisting of Beth, Simone, Freya, and Lily, Sure Boy makes infectious pop-rock accompanied by playful lyricism. “Before we formed the band me and Beth wrote a few of the songs together,” guitarist Simone explains. “Now that we’re a bit more established, we tend to just jam and see what happens […] It’s different for every song. Sometimes we just bring a song to practice, sometimes we just piss around and end up playing something cool.” The group’s first single, “Lemon Lady”, is a standout—a groovy track showcasing the strong vocals of their frontwoman. While it’s clear that the group has talent, the band agrees that being one of the only all-women groups on the scene can sometimes be a challenge: “It’s kinda awesome to be finally filling a space that needed to be filled for so long. But also it does come with its challenges because it feels like you’re competing […] It’s this weird fine line that you’re constantly walking”. The band has since been working their way up the ranks, recently as openers for The Beths. “Before that, I’d seen them live and I’d met them as a fan”, singer Beth explains. “It was nice to actually meet them again and have a decent conversation with them and be able to open for a band that we really love.” The group’s favorite track to play live? “Her!” they all chime in agreement. “It’s quite easy to let go while playing the song,” bassist Lily says. The band has a new EP in the works this coming month.

Instagram: @sureboyband

Spotify: Sure Boy

off-peak naïve of me to be surprised at the quiet. the time of year when the vacant bay-windowed flats sleep off their collective hangover and send snores of yearning down the street. sandfly bodies keep me company. they too wait for the day when the city wakes up, yawns, stretches, carries with it the lazy return back to what was once, what was here before the quiet, like chasing a dream barely remembered. - Hannah Marshall

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The Grammys is infamous for its mistreatment of various genres but most notoriously its mistreatment of hiphop. The awards show has consistently failed to acknowledge or appreciate the genre as well as the artists behind the music. Hip-hop is one of the most followed and streamed genres in the world, so what exactly does it take for a hip-hop album to win big at the Grammys? In its 64-year run, only two hip-hop albums have won the prestigious Album Of The Year award. Lauryn Hill won in 1998 for The Miseducation of Lauryn Hill, and OutKast won in 2004 for Speakerboxx/The Love Below. Since 2004, the hip-hop and rap landscape has changed vastly and seen significant growth with mainstream audiences. My Beautiful Dark Twisted Fantasy (2010) by Kanye West My Beautiful Dark Twisted Fantasy (MBDTF) is the fifth studio album by hip-hop artist and producer Kanye West. At the time, not only was the music community against Kanye West, it seemed as though the entire world was too. MBDTF is Kanye’s grand return to music—following a near career downfall in 2009 with his infamous Taylor Swift VMAs incident. It’s his magnum opus and chance at redemption. The album explores themes such as the quest for the American dream, being illuminated by the light, and becoming your own worst enemy—as expressed on the track of the album, “Runaway.” “Let’s have a toast for the douchebags, Let’s have a toast for the assholes. Let’s have a toast for the scumbags. Every one of them that I know” is

perhaps one of the most self-aware lyrics Kanye delivers on the album—and could be considered his apology to Swift. This hip-hop album borrows from a variety of genres and features artists such as Elton John, Rihanna, Nicki Minaj, Jay Z, Raekwon, Pusha T, and Kid Cudi. Kanye’s production on MBDTF is unrivalled and this body of work cements him as an elite hip-hop producer. A decade later, MBDTF has stood the test of time. Inspiring an influx of today’s artists, MBDTF’s influence isn’t exclusive to the hip-hop genre, having garnered the respect and praise of artists across many music genres. It is fascinating to think that an album so influential would only stack up the Rap Album of the Year award at the Grammys.

TO PIMP A BUTTERFLY (2015) by Kendrick Lamar Fast forward to 15 March, 2015, the date of what I’d argue was one of the biggest hip-hop album drops of the 21st Century: To Pimp A Butterfly (TPAB). With immersive storytelling and worldbuilding in its sixteen track list, Kendrick uses his various alter egos to take the listener on a journey through issues such as racism, the predatory music industry, and survivor’s guilt. TPAB is a harsh and twisted journey that shows the listener inside the dark life of Compton, California. It showcases this through its excellent Jazz, Soul, and R&B infusions. Kendrick repeats the phrase,“We gonna be alright,” in the track “Alright” to emphasise the importance of holding onto hope despite the pain and suffering felt by black communities—both historical and current. This message is deeply associated with the Black Lives Matter movement

and the fight against police brutality. TPAB is a long poem that highlights the beauty of black culture as well as the societal issues that black people face. It’s hard to compare it to Taylor Swift’s 1989, which is an electrifying pop album, but shouldn’t have beaten TPAB for Album Of The Year. Seven years later, TPAB is still regarded as a raw, honest, and highly influential album. It is dissected in university classrooms across America because of how strongly it tackles prevalent political issues. Apart from the rap and the, now renamed, “urban contemporary” categories, respect for hip-hop is still missing from The Grammys despite it being a top five genre category. The quality of hip-hop is high and yet the Grammys refuses to acknowledge its existence outside of awards like “Best Rap Album.”

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9, KECIANO TUFUGA, 2022.

Florence aka Foxtrot Words by Lauren Walker (she/her)

Foxtrot describes herself as fun, energetic, kinda childish, and hungry [...] She’s completely herself—no filter. I think that’s why she’s got her name on the rise. I first met Florence at The Foundry. She had short, bright red hair pulled up into a messy bun, wore a baggy hoodie (a brand too cool for me to identify) and flexed a funky pair of patterned flares. I told her that I studied Art History and that I’d moved to Christchurch to work at an art gallery. Her boyfriend Fergus said, “That’s a bit of you, aye, Flo.” Florence agreed with an enthusiastic “fuck yeah!” I didn’t know who she was then or that she even mixed. Instead, I was excited to have stumbled upon a fellow Wellingtonian. Being around Florence made Christchurch feel like home. Her confident spirit commanded attention as she spoke with vigour, often referencing affairs in pop culture that I hadn’t yet caught up with. Florence Faith Ferguson a.k.a. Foxtrot (the codeword for F in the Phonetic Alphabet) describes herself as fun, energetic, kinda childish, and hungry. She wears Docs with leg warmers, mesh tops, and colourful dresses. In winter you’ll find her avoiding her BSci assignments to hit the slopes skiing (she prefers snowboarding but doesn’t want to be that girl). We both have a mutual love for kombucha (a.k.a. booch), slightly uncomfortable and horrifically delightful foreign films, and a yearning to desire to be bookworms, regardless of our short attention spans. She’s completely herself—no filter. I think that’s the key as to why she’s got her name on the rise.

Florence grew up in Pōneke listening to Radioactive 88.6 and bFM. Exposed to a lot of alternative, local electronic music as a kid meant she skipped the whole cringe commercial band phase most of us went through as teens. She says she was probably the least musical person prior to DJing and couldn’t even keep in time when two-stepping: “I used to think you couldn’t be musical without playing an instrument or four. But after shifting into mixing, I would call myself musical.” The past three years have seen Florence play to packed crowds at venues like Hyde, Flux, Club 121, Rhythm & Alps, and, later this year, Mardi Gras. I remember when she got the phone call. We were having dinner at Thai Container, sitting outside in the cool Christchurch air when she told me with a beaming smile that she’d got the call to play Mardi in Queenstown. Still not having been to one of her gigs at this point, it was then that I realised just how good she must be live. I was merely a sideline supporter who’d jumped aboard for the ride just before the catalyst had been added to the mix. I felt like I only knew half of her, the side that the giggoers didn’t get to see. Moving from Pōneke to Christchurch isn’t easy, yet somehow Florence made it her home away from home, found her niche, and began mixing. The rise of DnB in the Dunedin scene naturally had an effect on Florence’s interest in mixing. “Some good friends of mine, who are now nationally known as Pirapus, had a little controller I would watch them www.salient.org.nz

on. After new years, and getting to know some boys in Tāmaki Makaurau, I found a little Techno scene, made up of friends who just simply got together and mixed. It was very supportive.” She describes the experience of being up on stage as “kind of just like mixing at home, with my friends, or to myself, except I look up and there’s people there.” Sometimes she feels like a different person, hidden from the crowd if she’s wearing a hat, able to DJ mysteriously and be her goofy old self. Dark, smaller closed-in spaces are Florence’s favourites, like Flux in Christchurch, with its Boiler Room-esque set up. While being on a massive lit-up stage has its perks, like the artist pass and delicious dinner (told you she likes food) that came with playing at R&A, nothing beats the club. She tells me that no one will know when you’re not happy with yourself or if you’re an awkward dancer. DJing mysteriously allows a lot of artists to enjoy anonymous fame. “It’s cool. Like you probably wouldn’t recognise some of the world’s most famous [DJs] just out and about,” says Florence.

“I used to think you couldn’t be musical without playing an instrument or four. But after shifting into mixing, I would call myself musical”, said Florence. Florence now has brown hair, still rocks Docs, and probably always will. She’s taken to wearing Ruby dresses and making them look vintage, and can

be found constantly commenting on the Facebook group Wet Rat. She speaks quickly when she’s excited, with a voice that sounds like smiles.

The past three years have seen Florence play to packed crowds at venues like Hyde, Flux, Club 121, Rhythm & Alps, and, later this year, Mardi Gras. Tonight she’s back home in Pōneke playing a gig at Love Not Lost. It’s one of those typical cool Autumn nights in the city. Clear blue sky, a perfect sunset over the hills at Mākara. Town will be busy and my sad Covid-ridden body is jealous. Florence says to expect some hard, fast stuff. Not your typical 4x4 beat, but instead broken-up chopped beats. As she describes it, they’ll be busy “getting lost in the lights and the smoke machine.”

A Musician’s Shift From Small Town to Big City Words by Darcy Shaw (she/her) Wellington is home to many of us who moved from rural towns and found ourselves small fish in a very big pond. For young musicians, this move is pretty intimidating, and it’s hard to know how to gain footing in the ever-growing Wellington music scene. I chatted about this with Sam White, the bassist for two of Wellington’s up-and-coming bands King Fish and Burnt Out Graduate. You can see them perform weekly at venues such as Meow, SanFran, Valhalla, and more. Sam moved from Nelson to Wellington in 2019, and formed King Fish with fellow Massey students Hannah Davenport, Freyja Appleyard, and Brandon Gill in the same year: “We got together for one of the university assessments in first year and have just kept playing together since.” Sam describes the sound of King Fish as indie pop, inspired by Aotearoa bands such as Daffodils and The Beths. I first saw King Fish play at the 2021 CubaDupa and was captivated by their music’s upbeat tempo combined with heavier rock instrumentals. Any fan of The Wombats has to give King Fish a listen. Burnt Out Graduate (BOG) was formed later in 2021, by members Brandon Gill, James Lindsay,

and Billy Bathgate. “Since then we’ve just been practising and writing new tracks with getting the opportunity to play The Performance Arcade and Eyegum which have both been super sick,” Sam tells me.

“Sam White is the bassist for up-andcoming bands King Fish and Burnt Out Graduate, who perform weekly at venues such as Meow, SanFran, and Valhalla” Sam describes BOG as inspired by a mix of midwest emo and shoegaze music. I had never heard of either genre and had no idea what to expect until I had a beer in my hand at San Fran. BOG’s music combines gravelly guitar riffs with dreamy instrumentals, the sound creating an electric atmosphere at gigs. Whilst based in the sphere of alternative/indie rock, BOG’s mixing of genres gives their music a distinct edge. King Fish and BOG were both formed through uni, which can be the perfect environment for students to get together and collaborate. However, for many musicians like Sam, their careers began back home. I first watched Sam play back in our hometown, Nelson, and saw the distinct difference in how each city’s music scenes supported local artists. “In Nelson there were a few council gigs put on www.salient.org.nz

each year, which was quite cool to give you the live performance experience,” Sam explains. Whilst Nelson laid the groundwork, Wellington encouraged Sam’s progression as an artist: “You’re supported by promoters who put you on the bill for gigs and venues, as a lot of the time they supply the backline which helps out so much […] I believe that support really is the main reason for the scene doing as well as it is.”

Wellington encouraged Sam’s progression as an artist: “You’re supported by promoters who put you on the bill for gigs and venues, as a lot of the time they supply the backline which helps out so much”. King Fish’s style stayed consistent due to Sam’s love of indie music, but moving to Wellington allowed him to branch out: “I’ve always been intrigued by more technical and heavier music but wouldn’t have considered making anything like it till moving up to Wellington [...] the scene is so alive in Wellington it makes you want to work harder to create better songs so that you are able to be compared to all the other rad bands in Wellington.” Young musicians face many challenges when moving into a larger-scale music scene. From forming a band, gaining recognition, and booking gigs, there are many potential obstacles in getting started. Despite this, Sam recommends those entering the Wellington music scene dive straight in: “When I moved up it was more just trying to get amongst the scene asap because I was just so excited to meet people and be involved. Because our first gig we did [for our assessment] was fairly successful we got offered a couple more gigs from there and kept on going.”

King Fish has already released multiple singles such as “Cigarettes,” “39 Days,” and “Hannah’s Big Week,” and are working towards producing more music. “I know in King Fish we have a couple of tracks that are recorded and just need to be mixed and mastered, so getting on to that and getting back to playing some gigs would definitely be the move,” Sam says. For the more recently formed BOG, plans for the future are also underway: “With BOG we’re pretty much just writing new tracks and have been spending the last couple weeks in the studio getting some tracks recorded for our first release hopefully sometime later this year.” If you’re a small-town musician moving to a larger city like Wellington, meeting like-minded musicians is the way to go. Doing music courses at uni, going to local gigs, and reaching out on social media could be the best way to get your name out there to other artists, “Get stuck in and go to as many gigs as possible, get talking to people and mention that you’re looking to play gigs. There’s always something going on so let it be known that you’re keen to get involved.”

Young musicians face many challenges when moving into a larger-scale music scene. From forming a band, gaining recognition, and booking gigs, there are many potential obstacles in getting started. When asked for any tips he would give to young musicians starting out in Wellington, Sam encouraged, “If you have some mates that play instruments, have them over for a jam! Take every opportunity that comes your way and have fun! If you aren’t enjoying yourself then why do it at all, right?”

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Study with Salient

Slaylient Party Tunes

Salient asked its readers what their favourite study music is, and the people have spoken

Salient asked its readers what songs they would request at a party, and the people have spoken

“The Four Seasons” by Antonio Vivaldi

“American Boy” by Kanye (feat. Estelle)

“Heavy Eyes” by Inertia

“This Charming Man” by The Smiths

“Egyptian Luvr” by Rejjie Snow

“Gasolina” by Daddy Yankee

“Venice Bitch” by Lana Del Rey

“Telephone” by Lady Gaga (feat. Beyoncé)

“Make Out In My Car” by Sufjan Stevens

“Kiss Me More” by Doja Cat (feat. SZA)

“Gymnopédie No.1” by Erik Satie

“Hotel Room Service” by Pitbull

“Think About Things” by Daði Freyr

“Bonkers” by Dizzee Rascal (feat. Armand Van Helden)

“What’s The Use?” by Mac Miller “Slowland” by Lambert “EAT SPIT!” by Slush Puppy “Honey” by Moby “Once Upon A Time In Paris” by Erik Satie “Romanian Wind” by Hans Zimmer “They Don’t Know” by Aaradhna (feat. Savage) “BUNGA” by SWIDT “Cocaine Model” by Zhu

“Hollaback Girl” by Gwen Stefani “Hot In Herre” by Nelly “Pon de Replay” by Rihanna “Must Be The Whiskey” by Cody Jinks “Pass The Dutchie” by Musical Youth “Cheers (Drink to That)” by Rihanna “Working For It” by Zhu (feat. Skrillex, Diplo) “Day ‘N’ Nite” by Kid Cudi

“Apocalypse” by Cigarettes After Sex

Save Your Tears (Remix) by The Weeknd (feat. Ariana Grande)

“Dionne” by The Japanese House (feat. Justin Vernon)

“Dancing Queen” by ABBA

“Moon Song” by Phoebe Bridgers

“Clarity” by Zedd (feat. Foxes) “212” by Azealia Banks “Do It (Remix)” by Chloe x Halle (feat. Doja Cat, City Girls, Mulatto) “Gangnam Style” by PSY

Live, Laugh, Lav Words by Lav (she/her)

Have a question or need some advice? Send all your queries to loveandsexsalient@gmail.com Dear Lav, Over a month ago I broke it off with someone and was pretty wrecked. We were having space and [when] I told him how I felt, the feelings weren’t reciprocated, he apologised for being distant and basically said it’s not you it’s me. Which is fair, but that was the closest I’d felt to anyone in a long time and it wasn’t even real, just sex apparently. The odd part is that it wasn’t even long term yet we felt so connected and I really opened up to them. The issue is I thought I was over it but I still can’t [stop thinking] about it. And in the last few days specifically I keep seeing them in public only to realise it’s not them and I get so frazzled by it. I would talk to my friends as they are gorgeous and provide a fantastic support group but ik they will say I should move on, he’s not worth it etc., etc. But I just seem stuck. My dearest Stuck, I am happy you put yourself out there, even if your feelings weren’t reciprocated. I give you permission to feel these feelings despite knowing you should move on. Break-ups, for whatever reason, are tough! And the process lasts exponentially longer if we don’t give ourselves time to process. Remind yourself that it is okay that you feel these things. But keep in mind that this isn’t an indicator that they were the person for you or that you’ll never love again. You can miss them, be hurt, and still know it’s best to not be together. I assure you that the right person for you will have no doubts about being with you. You might worry you can’t move on, but you will. Slowly and surely, and one day you’ll realise you think about them less and less, and you might start crushing on someone new.

Hello!!!! Recently I’ve gotten into a relationship with a man who I’m pretty sure has never spoken to a woman before. It’s amazing. I have had my fun during my youth, but I have never ever received the type of energy like I have with this one. My question is: We’ve been dating for two months, and haven’t banged. But we’re getting there. Are we moving too fast? I’ve never wanted to have a deep set future with someone before, (completely understanding that it’s a fresh relationship, cut me some slack) but as I said. I’ve definitely had my taste in them. I’m scared the spark will die out if I end up going through with it, what the hell should I do? P.S how do I ask him how I can please him (old school hand job style) Hello my old school hand job giver, Are you moving too fast? Honestly, only you know. The right time is whenever you BOTH feel like it’s the right time. Check in with each other regularly, and if you sleep together tomorrow, or in six months’ time because you want to feel good and be close and it feels right, then that’s the right time. P.S. Simple. You ask “Hey, how can I please you?” If he’s not sure, then you can experiment with techniques, grip, speed, and check in with what he enjoys the most. I am sure over time you’ll find the right way to make him feel good. Love, Lav

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Pasifika Student Council Music is my therapy 4 lyf Words by Josie Mailisi (she/her)

I saw this quote on Instagram and it truly resonated with me. We are all guilty of mindlessly scrolling, letting the media, our environments, our family, our friends, our uni lectures dictate how we feel. However, there’s something so special about music. The way it pulsates through your body like an anabolic injection that brings life and emotion into your world. It offers a healing voice, a motivational spirit, and an all-round mood changer. A habit I started at the beginning of 2021 was waking up in the morning and asking myself, “How do I want to feel today?” Once I had decided on an emotion, I would play a song that matched that emotion and then I could switch into the right gear. Scientifically speaking, sound waves enter the ear, strike the eardrum, and cause vibrations, which are then translated into electric signals. Sensory nerves carry these signals to the brainstem, which serves as the brain’s message relay station for auditory data. This pretty much means when we hear music, the messages to our brain change and cause an emotional response and/or action.

Chuck on your favourite playlist and smash out your to do list. Create a playlist for “feel good vibes.” Create a “study now friend” playlist and focus on your uni. Create a “celebration” playlist for when you conquer those goals.

Music is universal and it brings people together. We connect with people at sporting events through chants and national anthems. Protestors share their political songs with a sense of purpose during marches. In church, we sing words of worship to connect us to the higher powers. We also sing lullabies to rock a baby to sleep.

You’ve got this! Now go smash some goals my friend!

What this shows us is music is the connection to the soul. It’s an escape to a different world, a memory, a vision, or a goal. Music is our own personal transporter. It’s coming up to silly season; you’ve got birthdays, exams, assignments, and a workload you didn’t even think was possible. Before you chuck it all in the ‘too hard’ basket, remember you have music. It can make you feel ~all the feels~.

Tag @psc_vuw in your playlist suggestions, we want to see what makes you feel good.

Words by Teddi (they/he/she)

& Kelly Mui (she/her)

Teddi (they/he/she):

Kelly (she/her):

I love going out. My sister works at a bar that has a lot of shows and performances so I get halfprice tickets. No matter the drag show, I’ve got a table when Ivy’s doors open. With the removal of vaccine passes and contact tracing, I no longer feel safe being in crowded spaces. It’s a shame but there’s not really anything I can do aside from keeping masks on or avoiding populated spaces altogether.

To the average teenager, listening to music is their whole life. The simplest way to unplug from reality and spend some time with good tunes to make you feel better. As a teen, I really wanted to share the experience of listening to music as frequently as my peers.

No shade to those who have different attitudes to vaccines but my family rely on herd immunity and vaccinations to be healthy. It’s not just me that has chronic health issues. I’m fine with missing out on live shows in favour of streaming music if that means we don’t get sick. I consume so much media when I am ill. There is not much I can physically do, so art is much appreciated. I have taken an extended break from musical instruments after moving countries so instead I always have something on Spotify going. Even when I have a migraine I will still sometimes have quiet music on, since I can control the volume and it can be enjoyed in the dark. I highly recommend listening to Hozier when you feel like trash. His music is beautiful even when quiet and I enjoy his lyrics. I have light sensitivity so I can’t watch movies when I have a migraine so music is a constant in my life. I’ve been living isolated by illness since I was a teenager getting viral chronic fatigue syndrome. Being disabled is an isolating experience because no one can fully understand what is going on with you. I barely understand what’s going on with me since every day is a different day. No day has the same level of energy as the day before. Every day is different and no one has an identical experience.

I remember my brother helping me download all my favourite songs into my mp4 player and the intense joy I would feel when I plugged my headphones in during car rides, walks, or when doing my homework. Any opportunity where I could listen to music, I would. But, within a couple of weeks of that, listening to music with headphones on would trigger a daylong migraine. At this point in my life, my migraines had not yet started affecting my motor and cognitive functions. However, I still lived in fear of the long attacks. A couple more weeks passed and this trigger formed a new, wider reaching trigger: any electronic noise before bed. While I was able to regain the ability to listen through my headphones (in moderation), to this day I cannot have any type of electronic noise within an hour of bedtime. This is one of my many triggers and oftentimes I find them to be very dehumanising. They restrict or take away small things in life that I enjoy (we’ll do a piece on triggers in the future). Being chronically ill has more restrictions than healthy people understand.

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The Dusty Sunday Session on Music

Words by Tom Watson (he/him), Normaan Mohammed (he/him), and Levi Gibbs (he/him) I’ve just sat down to write an article about NZ Music Month and my mind casts back to the great days of Kiwi Classics (unlike the podcast episode we did on NOW albums a while ago). The Exponents, Fat Freddy’s Drop, Crowded House, and who could forget, the Chaplin of the Church, Sir Dave Dobbyn. Now, I’m not gonna mess about here. NZ Music has taken a little bit of a downward step in the last ten years. Gone are the days where Stan Walker was all we had (unless you watched X-Factor and found out there were these other people—looking at you here, Ruby Frost). Now we have Six60 and Drax Project who seemingly break their backs carrying kiwi pop, L.A.B and Benee who hold the crowns of bands only played in summer, and that little ginger bloke with two first names. At The Dusty Sunday Session (TDSS), we love them all but require something more. Nestled deep in the crevices of Wellington’s streets is another band who carry the same name as a band of four old white Londoners who perform Acid Jazz (which I can only assume is what happens when a hippy has unprotected sex with Barry B Benson from The Bee Movie). Corduroy are the not-so-newest band rocking in Wellington. They’ve performed at Rhythm & Vines more times than I’ve had sex, and they have been blowing away their competition for some time now. Now, we may be a little biassed as a member of their band appeared in an episode of TDSS a while back, but we only have quality guests with quality stories on our show, so you know they are going to be good. Songs like “I’m So Bored,” “Good

Intentions,” and “Spaceships” are good enough to be played at any party. “The Usual,” “Fire,” and “Never Enough” hit so hard on a cold and stormy day that I’m pretty sure Sonny Bill Williams is jealous. And when it comes to making a sad boi playlist, “Childish Dreams” never fails to bring me to tears. Check out Corduroy on Spotify. Also, just a shout out to John Clarke here. For those uneducated, John Clarke was a comedic performer with the voice of an angel who wrote and sang my favourite kiwi song of all time (closely followed by “Childish Dreams”), “We Don’t Know How Lucky We Are.” It’s a catchy tune with important lyrics we can all take heed of and Marc Ellis on the drums, which is not something I asked for but is also not something I am complaining about. The song is essentially Fred Dagg talking about how he thinks he has it bad sometimes until he sees people who are worse off than him (including a man who had a coronary, a haemorrhage in his ear, has declared bankruptcy, and had his wife leave him) who are nothing but happy to be living in Aotearoa. John would be Tom’s dream guest to have on our show (if he was alive, that is). If anything comes out of NZ Music Month, let it be the realisation that we truly live in a beautiful country.

New Zealand Sign Language (NZSL) Week 2022 is happening this week! Words by VUW NZSL Club NZSL Week is a chance for the Deaf community to stand proud as Deaf, and to celebrate their language and culture. It also works to increase awareness and understanding of NZSL and the Deaf community and to empower and strengthen the Deaf community. The theme for NZSL Week 2022, is ‘NZSL is Essential’/’He mea waiwai te reo rotarota o Aotearoa’. There are multiple meanings behind this theme - it aims to highlight essential workers who are Deaf, and highlight the fact that NZSL is essential for Deaf people in education, health, workplaces and to be able to participate equally in society. Check out nzslweek.org.nz and follow @vuw. nzsl.club on Insta and Facebook to keep up to date with resources and events throughout the week.

Learn NZSL learnnzsl.nz is a free learning portal starting from beginner level. Watch, learn and practise how to use NZSL in common situations, across nine topics. Within each topic, there’s plenty of videos, resources and exercises to help you along.

Online NZSL Dictionary nzsl.nz is the online dictionary of New Zealand Sign Language. You can keyword search in English or Māori, visual search by hand shape and body location, browse over 50 topics, and learn about the fingerspelling alphabet, numbers, and classifiers.

New Zealand Sign Language Week 2022 Mini Webinars In these short webinars happening throughout the week, academic and teaching staff from the University’s Deaf Studies Research Unit will take you through some basics to help you start (or continue) your NZSL journey in a fun and interactive way. Sign up on the wgtn.ac.nz site. Music Pūoro

Sing Waiata

Dance Kanikani

www.salient.org.nz

Word of the Week: Music Te Reo Māori: Pūoro New Zealand Sign Language:

WEEK 8 ANSWERS

SUDOKU

OCEAN LIFE CROSSWORD

ACROSS

1. Tradie whose name comes from the Latin for ‘lead’ (7) 5. Visits quickly (5,2) 9. Tortoiseshell or marmalade, say (3) 10. ‘Spongebob Squarepants’ character who says “Back in Texas I wrangled bulls and I wrangled worms” (5,6)

DOWN

1. ‘Guernica’ artist Pablo (7) 2. Not reliable (13) 3. “____ on a true story” (5) 4. Place for models or planes (6) 5. Ancient tree spirits (at least in Dungeons and Dragons) (6)

11. With 20-Across, ‘Spongebob Squarepants’ character who asks “Why must every eleven minutes of my life be filled with misery?” (8,8)

6. Shakespearean tragedy which fortunately is hardly ever done in blackface any more (7)

12. British sports car that shares its name with a flower (5)

8. Body parts that can be blocked or broken (5)

13. More than right, as an angle (6)

14. Far-right American podcaster/troll/ political author Ben (7)

15. Sport for Roy Krishna and Liberato Cacace (6) 19. Actor Davis of ‘Fences’ and ‘Suicide Squad’ (5) 20. See 11-Across 22. ‘Spongebob Squarepants’ character who asks “Is mayonnaise an instrument?” (7,4) 23. Bone in a cage (3) 24. New Zealand politician David (7)

7. In an astonishing or dramatic way (13)

16. Citizen Kane’s sled (7) 17. ‘Dracula’ author Bram (6) 18. Brought together (6) 19. Uses an e-cig (I was going to write a more poetic clue but got distracted looking at all the juice flavours) (5) 21. “The cruelest month”, according to T.S. Eliot, although all of them are equally bad these days (5)

25. Late, like a flight (7) www.salient.org.nz

Aries It’s glow-up season, with Jupiter joining Venus in your first house. This is the time for self-indulgence and self-love. Think second servings and guiltless days of doing nothing. You’ve earned it.

Cancer You’re enjoying all the things you used to and feeling like a kid again. Chase that feeling! Throw away the jaded uni student you used to be. We don’t need them anyway. Apathy? Who is she?

Libra I don’t know who you’re arguing with about money, but stop. Seriously, of all the things... This better not be about crypto. I swear to God, if you’re getting into online fights about NFTs.

Capricorn Two words for you: energy vampires. Definition? People who suck the energy out of other people. The exact method varies wildly depending on the vampire and their personal style. All I’m saying? Cut them loose.

Taurus It’s okay to take a break for your mental health. I repeat: IT’S OKAY TO TAKE A BREAK FOR YOUR MENTAL HEALTH. Taking things in your stride does not equate to denying the existence of your feelings.

Gemini Since you’re reading a magazine horoscopes page, I’ve no doubt you’re familiar with the term ‘Mercury retrograde.’ Well, prepare for the worst, Gemini; it’s affecting you the most this time around. Imagine miscommunication at an astronomical level.

Leo

Virgo

If you’re struggling with your work/life balance, here’s your sign to stop neglecting what’s important. I’m not exactly sure what that is, or what side of the balance needs to give, but I know that you know.

Oof, another victim of the Mercury retrograde, you poor thing. For you, Virgo, expect mishaps in getting where you need to be. Sleeping through your alarm, missing the bus, etc. You know... fun things.

Scorpio

Sagittarius

Time to put in some active effort for once, Scorpio. Stop expecting things to materialise out of bloody nothing. You aren’t actually allergic to work. There’s no doctor’s note for laziness.

Aquarius I can already hear the conversation you’ll have with yourself: “Today is finally the day I tidy my shit up.” You will say this to yourself every day this week. Nobody likes a messy liar, Aquarius. Nobody.

Umm, looks like you’re having fun this week, Sag. Jupiter, the planet of abundance, is moving into your house of pleasure. Do with that information what you will. ;)

Pisces Money, money, money! Hopefully there’ll be a random and large influx for you. Sorry to get your hopes up if this is not the case. I should know better than to taunt broke students.

THE SALIENT TEAM YOU CAN THANK THESE PEOPLE FOR YOUR WEEKLY FIX.

Editor Janhavi Gosavi

News Editor Beth Mountford

News Editor Azaria Howell

Designer Alice Brown

Chief Reporter Ethan Manera

Sub-Editor Lily Holloway

Features Editor Ronia Ibrahim

Staff Writer Bridget Scott

Staff Writer Maia Ingoe

Staff Writer Zoe Mills

Big thank you to Bells Campbell for supporting us with illustration this week: Instagram: @_cat_croissant

Social Media Manager Seren Ashmore

Podcast Manager Francesca Pietkiewicz

Darcy Shaw

Website Manager Annalise Scott

Contact Us features@salient.org.nz poetry@salient.org.nz editor@salient.org.nz designer@salient.org.nz chiefreporter@salient.org.nz news@salient.org.nz

CONTRIBUTORS Josie Mailisi

Levi Gibbs

Puck

Tom Watson

Teddi

Niamh Vaughn

Normaan Mohammed

Kelly Mui

Lav

Hannah Marshall

Lauren Walker

Ananda Acharya www.salient.org.nz

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5/02/20 2:01 PM