This collection brings together over 60 titles covering Kiwis at war. Iconic documentaries and films tell stories of terrible cost, heroism and kinship. There are also background pieces by historians Chris Pugsley and Jock Phillips, and broadcaster Ian Johnstone. Pugsley muses, "It is sobering to think that in the first half of the 20th Century the big OE for most New Zealanders was going to war."
In 1865, Wellington became the Kiwi capital. In the more than 150 years since, cameras have caught the rise and fall of storms, buildings, and MPs, and Courtenay Place has played host to vampires and pool-playing priests. Wind through our Wellington Collection to catch the action, and check out backgrounders by musician Samuel Scott and broadcaster Roger Gascoigne.
It's hard to reduce legendary band Split Enz down to a single sound or image. Soon after forming in 1973, they began dressing like oddball circus performers, and their music straddled folk, vaudeville and art rock. Later the songs got shorter, poppier and — some say —better, and the visuals were toned down...but you could never accuse the Enz of looking biege. With Split Enz co-founder Tim Finn turning 65 in June 2017, this collection looks back at one of Aotearoa's most successful and eclectic bands. Writer Michael Higgins unravels the evolution of the Enz here.
This collection celebrates more of the legendary TV moments that Kiwis gawked at, chortled with, and choked on our tea over. In the collection primer Paul (Eating Media Lunch) Casserly chews on rapper Redhead Kingpin’s equine advice to 3:45 LIVE! and mo’ memorable moments: from a NSFW Angela D'Audney to screen folk heroes Colin McKenzie and the Ingham twins.
Dave Gibson (ex-Elemeno P) formed this indie-folk family act with his brother and wife. Now based in New York, they share centre stage with their new home in this hyperactive video for their debut single. As daily life in the Big Apple rushes past them, they busk the city’s streets and landmarks apparently unmoved by the commotion (but twitching slightly). There are unscripted cameos from a scene-hogging Batman and a courier van that gets a little too close, but the award for best supporting actor goes to a seemingly endless bottle of orange soda pop.
A delightful animation accompanies this number one single from folk-poppers Avalanche City. With its big, catchy, chorus, the song delivers the feel-good factor and the video captures its quaint essence perfectly with its cast of storybook pirates and penguins. Mass exposure for the song came when it was used for TV2 promos and it took off on release, going gold in four weeks (despite being earlier available as a free download).
A live performance music video taken from the highly acclaimed Live at Bats album. Simply but stylishly shot and edited, this clip suits the moody style of this folk rock song from Fly My Pretties creative director Barnaby Weir.
This black and white performance music video is taken from debut album Live at Bats (2004), back when the plan was for the Fly My Pretties ensemble to be a one-off project. Written and sung by Age Pryor — with vocal help from Tessa Rain — the gentle folk song is enhanced by simple but effective shooting, and attentive use of split-screen editing. The track was recorded in Wellington's Bats Theatre.
Captured on a single camera, Wellington band Hogsnort Rupert perform their number one hit 'Pretty Girl'. That their performance is interspersed with Christmas footage rather than anything more appropriate to its subject matter suggests that this clip was made for an end-of-year show acknowledging the song's status as New Zealand's biggest-selling single in 1970. It also won that year's Loxene Golden Disc Award. And, of course, it offers a chance for viewers to see the late Alec Wishart performing his immortal line "Come on, my lover. Give us a kiss."
'Maybe Tomorrow' was the song that opened the door for Goldenhorse. Released in February 2003, the single's mixture of the bittersweet, the nostalgic and the supremely catchy helped make it NZ radio's most played local song that year; it was also a finalist for a Silver Scroll songwriting award. In the video, Kirsten Morrell sings of past and future, sorrow and possible celebration, alongside grainy home movie style images of the band at the beach, and at the mike (possibly in someone's living room). A less popular alternative video for the song featured Morrell singing in the kitchen.