Standing up for your rights has long linked arms with singing for your rights. This Spotlight collection brings together some of New Zealand’s great protest songs, with subject matter ranging from Māori pride and resistance ('E Tu' and 'Parihaka'), to the nuclear free campaign ('French Letter', ...
Pioneering singer-songwriter Shona Laing was inducted into the New Zealand Music Hall of Fame in 2013. Her four decades in the music business began in 1972 when the 17-year-old won notice on TV talent show New Faces, with ‘1905’. Check out the forerunner for Lorde and Kimbra performing that song,...
Bressa Creeting Cake's jaunty calypso romp, described by the band as "a very happy holiday song full of gaiety, summer, and love for one's fellows", gets a suitably madcap treatment in this video directed by Michael Keating and band member Edmund McWilliams (aka Ed Cake). Actor and comedian Jonathan Brugh (What We Do in the Shadows) gets to mug for the camera while the band lurks in the background in their "sinister suits". Auckland's Little Shoal Bay, near the Harbour Bridge, is the opening location, and elsewhere, a guitar is used as a percussion instrument.
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.
This Spotlight collection celebrates the screen work of versatile entertainer Chic Littlewood. Born Cecil Littlewood in London, he first overcame his shyness doing Elvis impressions at an English holiday camp. After moving to NZ in 1964 he was soon singing and doing comedy on local TV. In 1975 Li...
This debut episode of a not completely fictional series follows Wayne Anderson, “Manurewa’s greatest singer”, and his attempts to break out of the rest home circuit and find fame and fortune. Wayne dreams of taking the evergreen music of his idols Engelbert and Elvis to the world. But even his manager’s show business links — he works in a video store — aren’t bringing in the 50 dollar gig needed each week. Things may be looking up with the best perm Wayne’s ever had, plus an audition in a Karangahape Road bar. As a non-driver, he will have to get there by bus.
This end of season Sing special from 1975 takes place mostly in the Wild West. After some song and dance numbers and comedy, we meet two small-time crooks: Lone Wolf (Ray Woolf) and Crazy D (Laurie Dee). A musical showdown at the saloon ensues — featuring a Tom Jones medley — before a bungled bank robbery brings down the burglars. The performers include Craig Scott, Chic Littlewood, Angela Ayers and George Tumahai (who shows Woolf how to hongi). The show also contains a rare clip from A Going Concern, an early NZ soap of which no known episodes survive.
Wayne Anderson is a man out of time. His three and a half octave voice and undying devotion to the “evergreens” of popular music (Elvis, Engelbert and Tom) should surely have seen him in Vegas by now. However, despite the best attempts of hapless manager Orlando, Wayne’s star has never ascended higher than the rather less lucrative Manurewa rest home circuit. The cameras follow him in his quest for a show business career – along with the perfect perm and hot pie – in a series where the boundary between fact and fiction is as elusive as that big break.
Sing featured Kiwi entertainers performing popular songs and musical standards, accompanied by a bevy of dancers. The performers included Craig Scott, Ray Woolf, Angela Ayers, Chic Littlewood and musical comic relief Laurie Dee. The hair was big and the collars large, while songs tended towards the middle of the road — for example 'Love is All Around', Tom Jones and Glen Campbell.
In April 2011, singer Tiki Taane was handcuffed, arrested and spent a night in the cells after performing a number by American rappers NWA as police visited his performance at Tauranga’s Illuminati club. The charges were later dropped and Taane remained resolutely unapologetic. This defiant song, recorded a month later at the same venue, is his musical response to the ordeal. Armed only with an acoustic guitar — the protest singer’s weapon of choice — he asserts his refusal to be silenced while firing a broadside at police, the media and politicians.