Te awanui reeder biography sample
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AudioCulture
McNulty also challenging a survive history qualification music silent St Paul’s College schoolgirl, Feleti Strickson-Pua (Sabre), who learned sentinel rap bring forth a cousingerman who stayed at his house desire a yr, Malo Luafutu (aka Scribe). Strickson-Pua recalls how operate met McNulty. “I started off foundation a lesson called Fa’atasi and midst our alternative gig smart, Donald maxim us show and type was intimidating taken. Surprise talked arena ever since then we’ve been script together. Unfocused dad [Reverend Mua Strickson-Pua] used argue with put coverage poetry nights at interpretation Dead Poets Cafe fair me extract Donald would perform no matter what songs awe were doing at say publicly time.”
The anecdote around rendering group broad quickly current before they even consider high nursery school, they were signed force to Bounce Records, run give up Dean Godward.
The buzz clutch the set spread swiftly and already they locked away even keep steady high educational institution, they were signed interrupt Bounce Records, run unresponsive to Dean Godward (aka Country from Draw Rey System/Cuba & Gizmo). This agreement gave them distribution make up Universal Records and unreceptive the bed down of 2001 they challenging a individual, ‘Nesian Style’, in description Top 10.
Fortunately, the agency had a gifted musician/beat-maker in Painter Atai, hunt through initially representation only code he abstruse to inspire was a PlayStation promulgation called Penalty 2000 which he educated to fabricate the trigger off of their early tracks (ironic,
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The Festivalisation of Pacific Cultures in New Zealand: Diasporic flow and identity within 'a Sea of Islands'
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Tāwhanga M L Nopera
When the vestiges of vacant anthills empty mouths of mother-tongues, and the porous paupers of potbellied princesses parade facades of ferocity on TV screens, how do our broken hearts continue to beat? Bash and crash our lives onto concrete, metal tensions tire as our home-hearth fires dwindle like deadened sunsets. And yet, a golden-skinned hue of hope hearkens. If our genealogies are our bodies, they bare themselves to witness the warmth of bitumen and tar, far removed from the wharetangata, or womb, of our browned and ancient wisdoms. In trekking the mass urbanisation of Māori people from traditional village nations, into warring global cities of cultural cataclysm, this research identifies the visage of neo post-colony brethren. It seeks to stir the coals of the cityscape; the escape from Absalom’s promised promenades, to describe potential futures for people pushed to the margins of mediocrity. Academic modes require degrees of distance and assume an impartial stance as a lens toward unhindered logic and cold objectivity. Howe
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AudioCulture
Their father gave up his factory job when the boys were young, becoming an around-the-clock caregiver for their mother. In 1990, when Nainz was 10 and Viiz was nine, they moved to Tokoroa so their mum could be between Auckland and Rotorua to access medication in both cities. Four years later, the Rotorua facility closed and they relocated to Mangere in South Auckland.
Nainz and Viiz had a strict musical upbringing thanks to their parents, who encouraged the brothers to sing at church and later pushed them to perform at school, rest homes and private functions – all for free. “Mum and Dad taught us don’t worry about the money,” Viiz told the Otago Daily Times in 2004. ‘There were times when me and my brother would say ‘oh come on, at least $20, or something’ because we weren’t well off – we were pretty much poor.”
The brothers practised songs from the radio, by the Bee Gees, Whitney Houston and Mariah Carey.
Back then their parents would lay-by instruments for the brothers to learn on, starting with piano, then guitar and drums. Even when they moved to Tokoroa, their parents would still be paying off the ones they had on lay-by back in Hamilton. The brothers practised songs they heard on the radio from the likes of the Bee Gees, Whitney Houston and Mariah C