Radio New Zealand National. 2015-03-29. 05:00-23:59.

A recording of Radio New Zealand National from 5am to midnight. The following rundown is sourced from the broadcaster’s website. Note some overseas/copyright restricted items may not appear in the supplied rundown:

29 March 2015

===12:04 AM. | All Night Programme===
=DESCRIPTION=

Including: 12:05 Music after Midnight; 12:30 History Repeated (RNZ); 1:05 Our Changing World (RNZ); 2:05 Spiritual Outlook (RNZ); 2:35 Hymns for Sunday; 3:05 A50 and Ernest Trugood, by John Trenwith (2 of 10, RNZ); 3:30 Te Waonui a Te Manu Korihi (RNZ); 4:30 Science in Action (BBC)

===6:08 AM. | Storytime===
=DESCRIPTION=

When the Captain's Mother threw a Kennel in the Works, by Estelle Corney, told by Michael Hurst 8'10"; Solomon, by Erena Howarth, told by Donna Akersten; Balloon, by Joy Cowley, told by Moira Wairama, Tony Hopkins and Prue Langbein; Barney and the Eels, by David Somerset, told by Bernard Kearns; Dress Up Kit No. 1, by Diana Noonan, told by Michael Wilson; The Gift of the Tiger King, by David Somerset, told by Catherine Downes (RNZ)

===7:08 AM. | Sunday Morning===
=DESCRIPTION=

A fresh attitude on current affairs, the news behind the news, documentaries including Insight, sport from the outfield, politics from the insiders, plus Mediawatch, music and The Week in Parliament

=AUDIO=

07:11
RNZ political editor analyses Northland by-election result
BODY:
Winston Peters has won the Northland by-election with a resounding vistory, celebrating at the Duke of Marlborough Hotel in Russell.
Topics: politics
Regions: Northland
Tags: elections, Winston Peters, Mark Osborne
Duration: 11'29"

07:30
The Week In Parliament for 29 March 2015
BODY:
Week dominated by talk of cricket and the Northland by-election. 34 Bill passed in under an hour on Tuesday. Foreign Affairs Committee briefed on South Korean FTA and nuclear disarmament.
Topics: politics
Regions:
Tags:
Duration: 13'42"

07:47
Norfolk Island reform plans
BODY:
While Canberra says its Norfolk Island reform plans have majority support and had to happen there is still significant opposition on the island.
Topics: Pacific
Regions:
Tags: Norfolk Island, Australia
Duration: 4'36"

07:53
Former Black Cap previews CWC final
BODY:
After six weeks - it all comes down to this - the Black Caps take on Australia for the Cricket World Cup final at the MGC, starting at 4.30 NZ time today. Ian O'Brien with his thoughts.
Topics: sport
Regions:
Tags: cricket, Cricket World Cup
Duration: 5'50"

08:12
Insight for 29 March 2015 - China in the Pacific
BODY:
Johnny Blades travels to Samoa to listen to and analyse talks about China's interest in the Pacific
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China is moving to boost its one on one links with individuals in the Pacific. As Insight has been discovering it's just the latest stage in Beijing's ever growing interest in the region.
Listen to Insight: China in the Pacific
China is putting increasing emphasis on personal and cultural exchanges, scholarships and training for Pacific Islanders.
But while local people are being encouraged to look to China, questions remain about the impact of Beijing's activities in the region.
China's engagement with the Pacific is still a recent phenomenon. But it's moved quickly.
As part of its efforts to grow links with island nations, Beijing has established a NZ$1.3 billion loan facility for the Pacific Islands.
China's President Xi Jinping has also pledged to provide 2000 university scholarships and 5000 training opportunities for Pacific Islanders in the next five years.
Rebecca Bogiri is a young ni-Vanuatu who completed a five-year scholarship in Beijing.
She says scholarship holders like her have the chance to pick up the language and improve their understanding of Chinese culture. When they return, their career prospects are also greatly improved.
Returning Pacific scholarship recipients have a new range of opportunities, she says, including in "areas that cater for the needs of these new and incoming Chinese and the increasing Chinese numbers in the Pacific."
Meanwhile, more Chinese migrants are coming to live and do business in Pacific islands. The pattern broadly follows the Chinese government's outreach strategy for Pacific Islands, offering more trade and investment than ever before.
Yet suspicions persist about China's motives, particularly among the Pacific region's traditional external powers.
Exacerbating this is Beijing's traditional hesitance to disclose information about its aid to the Pacific. China's bureaucracy around its aid programme is weaker than that of other large donors and that has made it difficult to find out the true value of Chinese aid.
But the picture is getting clearer. A Chinese aid specialist, Philippa Brant, who is with the Sydney based Lowy Institute, an independent international policy think tank, has recently produced a landmark web map setting out Chinese aid projects throughout the Pacific.

Considering the transparency issue, the involvement of so many Chinese representatives at the recent China and the Pacific conference at the National University of Samoa, was seen as ground breaking. It was a rare chance to hear Chinese views on China's involvement in the Pacific.
China has a long-running relationship with Samoa and the examples of its high impact aid projects in Apia are many.
The affection with which Chinese view Samoa was evident when attempts to interview the Prime Minister, Tuilaepa Sailele Malielegaoi, outside the conference were interrupted by Chinese delegates seeking to have selfies snapped with the leader. He was only too happy to oblige.
Chinese scholars and officials in attendance were moved by the dawn ava, or kava, ceremony that kicked off proceedings.
"That was so great, it actually impressed me a lot," said Wang Xuedong of the National Centre for Oceania Studies at China's Sun Yat-sen University, Guangzhou.
"I thought it was a dream. It's unreal for me."
But if the Chinese are touched by Pacific culture, they are still some way off winning the hearts and minds of Pacific Islanders. Resentment at Chinese dominance in small to medium businesses throughout the Islands region is rife.
Walk into a supermarket or general store in most Pacific island countries and chances are you will find it is run by Chinese.
Their business acumen may be a driver for local economies, but it's also somewhat alien to many Pacific cultures.
A specialist in Samoan governance from the University of Otago's Department of Politics, Iati Iati, has just concluded a survey in Samoa of grassroots views on Chinese in the country, and says there is a lot of concern that Samoans are being driven out of business.
"They just cannot compete, both in terms of price and in terms of the fact that a lot of Samoan businesses are caught up in certain cultural protocols which makes it a little bit expensive for them."

Chinese migration to Samoa goes back to the turn of the 20th century and those earlier generations are generally perceived to have integrated well. But Dr Iati says the most recent wave does not seem to want to integrate with Samoa society.
"Not even to a small degree. The latest wave, they want to keep to themselves."
Where ever the Chinese go in the Pacific, it seems to attract criticism. This is especially the case in Papua New Guinea.
A specialist in journalism and publishing at PNG's Divine Word University, Patrick Matbob says lax systems and widespread corruption in his country mean Chinese criminal interests have found an easy foothold.
He says this is preventing PNG from benefiting fully from all the new Chinese investment.
"PNG has some major governance issues. Forget about trade and investments because if we have problems within, we cannot get things right."

But are the Chinese to blame for the inherent problems in Pacific cultures?
Liu Hongzhong of the Centre for Oceanian Studies at Peking University feels Chinese get unfairly blamed for Pacific Islanders' dissatisfaction with their own local governments.
She says China is gradually learning more about the Pacific.
"China is still a developing country and a lot of the general public probably don't quite understand the Pacific Island nations and their cultures.
"But at the same time, the lack of information about the other side of the world might cause a lot of misunderstandings and mistrust about the Chinese," she said.
She suggests the time has come to dispense with what she calls "misperceptions about China's role in the Pacific."
Follow Insight on Twitter

Topics: Pacific
Regions:
Tags: Samoa, aid, trade, Chinese, China
Duration: 30'55"

08:43
Gillian Mellsop : Barefoot Social Workers
BODY:
The last 30 years has seen huge transformation to China. Millions are lifted out of poverty, with huge investment in infrastructure. But also millions of children are deeply affected by internal migration due to the social impact of rapid urbanization.
Topics:
Regions:
Tags: China
Duration: 16'49"

09:09
Mediawatch for 29 March 2015
BODY:
Black Caps bowl over the media - and what it might mean for the All Blacks on TV; Northland by-election campaign coverage; a change of direction at Fairfax Media; a fake breakdown that yielded a sweet treat.
Topics: media
Regions:
Tags:
Duration: 32'35"

09:44
Erin Smith : Growable Gown
BODY:
Erin Smith is an artist and researcher whose work focuses on the issue of waste and the future of fabrication. She makes wedding dresses that are grown, not made, and then easily composted when they're finished with.
Topics: arts, science
Regions:
Tags: waste
Duration: 14'59"

10:07
Rebecca Emery : Amnesty International’s Unfollow Me Campaign
BODY:
One academic once said that there were only two superpowers left in the world. The United States and Public Opinion. In the wake of the recent spying allegations just what do the general public think about the issue?
Topics:
Regions:
Tags: global politics, surveillance, mass surveillance, Amnesty International
Duration: 10'17"

10:17
The ethics of Spying on Your Friends and Neighbours
BODY:
The last few weeks have seen revelation after revelation about the GCSB gathering intelligence on officials in friendly countries.The Government has been prepared to say very little about the allegations other than to say its confident no laws have been broken. But is this sort of behaviour ethical? And what are the geo political implications of being caught out spying on our friends and neighbourts?
Topics: politics, Pacific
Regions:
Tags: spying, GCSB
Duration: 26'15"

10:43
James Cox : A Canadian Perspective
BODY:
Earlier this week Brazil demanded an explanation from New Zealand after it was revealed the GCSB had spied on Brazilian diplomat Roberto Azevedo during his successful bid to become the Secretary General of the World Trade Organisation in 2013.
Topics: politics
Regions:
Tags: spying, GCSB, James Cox
Duration: 15'59"

11:05
Sir Tipene O’Regan : Life and Influences
BODY:
Straddling both the Pakeha and Māori worlds it's fair to say his influence on Māoridom has been profound. Sir Tipene O'Regan has been described as the architect of the Maori economic model, who negotiated his guts out, in the words of The Press, to secure an historic 170 million dollar settlement for South Island tribe Ngāi Tahu.
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Straddling both the Pakeha and Māori worlds Sir Tipene O’Regan’s influence on New Zealand Aotearoa has been profound.
He has been described as the architect of the Māori economic model, who negotiated his guts out, in the words of The Press, to secure an historic 170 million dollar settlement for South Island tribe Ngāi Tahu.
Sir Tipene O’Regan talks to Wallace Chapman about the people, books, thinkers and events that have shaped his life.
Topics: te ao Maori
Regions:
Tags: Ngai Tahu treaty settlement, Tipene O'regan
Duration: 40'33"

11:45
Herbie Hancock - Jazz legend
BODY:
He is a jazz icon - Herbie Hancock. A 14 time award Grammy winner, Herbie Hancock has made 32 albums since 1978 and he's coming to NZ with another jazz trailblazer Chick Corea.
Topics: music
Regions:
Tags: Herbie Hancock, jazz
Duration: 13'04"

=SHOW NOTES=

7:08 Current affairs
We hear from the winner of the Northland by-election, then RNZ political editor Brent Edwards joins us to analyse the result. Plus: The Week in Parliament, the Cricket World Cup final game, and Norfolk Islanders are gearing up to fight Australia to keep their independence.
8:12 Insight
This week Insight investigates China’s interest and involvement in the Pacific
Produced by Philippa Tolley.
8:40 Gillian Mellsop – Barefoot Social Workers
Unicef’s 'Make the Invisible Visible' campaign is pioneering the use of ‘barefoot social workers” – echoing Communist China’s famous barefoot doctors - to deal with the growing problem of violence against children. Gillian Mellsop, a Kiwi, has worked for 40 years in International aid, the last five as Unicef's China representative.
9:06 Mediawatch
Mediawatch looks at what’s behind a change of direction at New Zealand’s biggest publisher of news, and what the success of TV coverage of the Black Caps might mean for rugby’s World Cup later this year. Also: the Northland by-election campaign – and a fake breakdown that gave the media a sweet treat.
Produced and presented by Colin Peacock and Jeremy Rose.
9:44 Erin Smith – Growable Gown
Erin Smith, a US based researcher and designer, believes any object made from materials that will outlive the object’s intended use is a part of the global waste problem. So, she decided to work on sustainable fashion and started by growing her own wedding dress out of fungus.
10:06 Rebecca Emery – Amnesty International’s Unfollow Me Campaign
Amnesty International recently launched the #Unfollow Me Campaign to highlight its concerns about mass surveillance. And a survey commissioned by Amnesty has revealed its concern is shared by many people around the world. Rebecca Emery is Amnesty New Zealand’s campaign director.
10:16 The ethics of Spying on Your Friends and Neighbours
New revelations about New Zealand’s alleged spying on our friends and neighbours have been appearing in the media every week of late. New Zealand’s former ambassador to the United Nation’s Terence O’Brien, Professor Steven Ratuva, who heads up the Macmillan Brown Centre for Pacific Studies; and former US intelligence operative and commentator Paul Buchanan join Wallace to discuss the ethics and geo-political implications of spying on your friends and neighbours.
10:43 James Cox – A Canadian Perspective
General James Cox is vice president (academic) of the Canadian Military Intelligence Association and professor of Canadian foreign policy at the University of Ottawa. General Cox speaks to Jeremy Rose about the fallout from the 2013 revelation that Canada had been spying on Brazil for commercial advantage and the role of intelligence agencies in general.
11:05 Sir Tipene O’Regan – Life and Influences
Straddling both the Pakeha and Maori worlds Sir Tipene O’Regan’s influence on New Zealand/Aotearoa has been profound. He was instrumental in securing Ngai Tahu’s historic $170 million dollar settlement and has played a key role in growing that settlement to an asset base of more than one billion dollars. He talks to Wallace about the people, books, thinkers and events that have shaped his life.
Influential Kiwis talk about their Influences collection
11:45 Herbie Hancock - Jazz legend
Herbie Hancock is a jazz legend. His illustrious career spans five decades and his influence on acoustic and electronic jazz is undeniable. He speaks to Wallace ahead of his upcoming New Zealand tour and tells us why Snoop Dogg believes he invented Hip Hop.

===12:12 PM. | Spectrum===
=DESCRIPTION=

Brian Baker collected his first vintage radio when he was just 15 years old. His father threw it away because he couldn't stand the music. But when Brian died last year at the age of 88 his huge historic home in Russell was stuffed with countless old wirelesses. Some of the best are now to be auctioned (RNZ)

=AUDIO=

11:46
Radio Baker
BODY:
A Northland family clears away a decades-old collection of classic radios.
EXTENDED BODY:

Brian Baker and his wife Joyce
“Brian Baker was a man of astonishing foresight to collect the full spectrum of radio’s history in New Zealand.”

– Mark Thomson vintage radio enthusiast.
Brian Baker collected his first vintage radio when he just fifteen years old. His father threw it away, because he couldn’t stand the music. But when Brian died last year at the age of eighty-eight his huge historic home in Russell was stuffed with countless old wirelesses. Not to mention the stacks of radio magazines that seemed to touch the twelve foot high ceilings and innumerable pieces of old radio testing equipment.

Left: The hallway stuffed with old radios. Top right: detail of a “cathedral’ style radio. Bottom right: unsalvageable radios in Brian baker’s shed
Now over five hundred of the most rare and valuable of his radio treasures have been curated by vintage radio enthusiasts and will be auctioned in Auckland soon.
These days if you visit “The Grange” with its imposing white verandahs, red roof and white picket fence you’ll find much of Mr. Baker’s collection has gone: to the dump. Family members have walked through rooms they’ve barely been able to peer into for years.

Top and bottom left: Detailed panels of two radios to be auctioned. Right: (left to right) Joyce Baker with daughters Marsha, Donna and son Charlie by the dining table-cum-work bench.
Brian Baker’s daughter Marsha says even the family’s big scrub-top kauri dining table was slowly invaded by her father as a work bench, until mother Joyce gave him the hard word. Marsha says her father loved music, particularly Jazz and Dixieland. He played the bugle, trumpet, sax, drums, the piano and he sang. He played in a local group, The Geriatrics.
“Brian Baker was a man of astonishing foresight to collect the full spectrum of radio’s history in New Zealand”. Mark Thomson, vintage radio enthusiast and curator.
Local Nigel Stanton spent many summers playing with the Baker kids and maintained a friendship with Brian Baker into adulthood. He’d been telling Mark Thomson about the amazing collection for years. “But I didn’t tell him who it belonged to, or exactly where it was”, he smiles.
Charlie Baker remembers, “When these vintage radio enthusiasts arrived here and started looking through dad’s radios that were stacked in the hallway there were shouts of glee. It was just like they’d found a long lost winning lotto ticket.”
And the first treasure Mark found? A 1929 Stewart Warner Radio phonograph built in the United States. “There were lots of ‘wows' after that”.
“These guys have really brought life to the radios” says Marsha. “Dad never really discussed what he collected, with his family”.
Each family member has got to keep a particular favourite radio. Charlie Baker’s chosen a New Zealand-made “Sheffield”, complete with kiwi mascot. Brian’s widow Joyce has fallen in love with a little American made Kadette, built for export and complete with gold leaf inlays of King George V in profile. She’d never seen it before it was unearthed recently at her house. Mark Thomson knows what he’d like, but doubts he will be able to afford it. It’s a 1921 American-made radio.The first licensed radio station began broadcasting in New Zealand in 1922.

Left: Mark Thomson's choice – a 1921 American-made radio. Top right: Charlie's choice. Bottom right: Joyce's keepsake, a KADETTE radio from 1933.
Topics: history, technology
Regions:
Tags: radios, Russell, The Grange, cathedral radios, 1929 Stewart Warner Radio phonograph, 1933 Kadette, King George V, FADA.
Duration: 23'47"

=SHOW NOTES=

===12:40 PM. | Standing Room Only===
=DESCRIPTION=

It's an 'all access pass' to what's happening in the worlds of arts and entertainment, including: 3:04 The Drama Hour

=AUDIO=

12:40
Adam Play Awards
BODY:
Two of the big winners of this year's Adam Play Awards.
Topics: arts
Regions:
Tags: theatre, playwriting, Adam Play Awards
Duration: 18'30"

13:34
Painting conservation
BODY:
Painting conservators not only restore paintings to their initial splendour. There's often a huge amount of detective work involved as well. That's certainly the case at Te Papa, where conservator Linda Waters has been working on a painting by French-born artist Louise Henderson - the cubist-style Les Deux Amies - The Two Friends. Artists like Colin McCahon were very taken with the painting at the time, but it's sustained some damage since it was finished in 1953. Te Papa bought the work in 2011 and it's about to go on show for the first time now that Linda and other members of the team of worked on the painting. It will be on show as part of Te Papa's Nga Toi Season 4 opening over Easter.
EXTENDED BODY:

Top: Te Papa Painting Conservator Linda Waters
Bottom left: Les Deux Amies before conservation work began, middle: Les Deux Amies conserved but not yet back in its restored frame, right: Linda checking the canvas under microscope
Painting conservators not only restore paintings to their initial splendour. There's often a huge amount of detective work involved as well. That's certainly the case at Te Papa, where conservator Linda Waters has been working on a painting by French-born artist Louise Henderson - the cubist-style Les Deux Amies - The Two Friends. Artists like Colin McCahon were very taken with the painting at the time, but it's sustained some damage since it was finished in 1953. Te Papa bought the work in 2011 and it's about to go on show for the first time now that Linda and other members of the team of worked on the painting. It will be on show as part of Te Papa's Nga Toi Season 4 opening over Easter.
Topics: arts
Regions:
Tags: painting, art conservation, Te Papa, Louise Henderson
Duration: 11'51"

13:46
Candice Breitz - exploring ourselves on screen
BODY:
Artist Candice Breitz makes video art encouraging us to ask ourselves some hard questions, particularly how we're influenced by popular culture. She's filmed Michael Jackson fans re-performing his Thriller tracks in their own way, she's explored the lives of professional child actors and she's interviewed twins and triplets to show how they're different and how they're the same. Some of her videos have just gone on show at Wellington's City Gallery. Candice Breitz was born in Johannesburg but these days she lives in Berlin, where she's a Professor of Fine Art.
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Artist Candice Breitz makes video art encouraging us to ask ourselves some hard questions, particularly how we're influenced by popular culture. She's filmed Michael Jackson fans re-performing his Thriller tracks in their own way, explored the lives of professional child actors and s interviewed twins and triplets to show how they're different and how they're the same.
Candice Breitz was born in Johannesburg but these days she lives in Berlin, where she's a Professor of Fine Art. Some of her videos have just gone on show at Wellington’s City Gallery. Lynn Freeman asks why she go into video art.
Factum

FACTUM TANG from Candice Breitz.
Factum (2010), explores individuality and efforts to demonstrate solidarity and difference within identical triplets and twins. King (a portrait of Michael Jackson) (a portrait of Michael Jackson) (2005) looks at how identity and self-expression is displayed through imitation.

Links:
ACMI website
Candice's critique of the film industry, Boston Globe
Artforum
Review from the Sydney Morning Herald
Topics: arts
Regions:
Tags: Candice Breitz video art, popular culture, twins, triplets, Michael Jackson, video art
Duration: 10'25"

14:30
Death and Forgiveness
BODY:
Jindra Tichá moved to New Zealand from the Czech Republic, and she's incorporated both countries in her novel, Death and Forgiveness. In it, Anna and her husband flee the turmoil in Czechoslovakia in 1968 to make a new home in New Zealand. This is Jindra's 19th novel but the first one she's written in English. Death and Forgiveness is a Mary Egan publication.
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Jindra Tichá moved to New Zealand from the Czech Republic, and she's incorporated both countries in her novel, Death and Forgiveness. In it, Anna and her husband flee the turmoil in Czechoslovakia in 1968 to make a new home in New Zealand. This is Jindra's 19th novel but the first one she’s written in English. Death and Forgiveness is a Mary Egan publication.
Topics: arts
Regions:
Tags: Jindra Ticha, Czech Republic, communism, literature
Duration: 12'38"

14:43
Rising From the Ashes: Lttle Phnx
BODY:
Lucy Beeler A.K.A Lttle Phnx makes sweet, electro, synth-pop from a tiny bedroom in a Mount Victoria flat in Wellington. Sitting on her bed she pulls out a midi keyboard and confesses that all of her recordings are produced in her compact room: "Because it's cheaper," she laughs, "I have a really good recording microphone…"
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Lucy Beeler A.K.A Lttle Phnx makes sweet, electro, synth-pop from a tiny bedroom in a Mount Victoria flat in Wellington.
Sitting on her bed she pulls out a midi keyboard and confesses that all of her recordings are produced in her compact room: “Because it’s cheaper,” she laughs, “I have a really good recording microphone…”
Rising from the ashes
Born in Nanning in Southwest China, it was from an orphanage where she was found weak and malnourished that she was then given the name Little Phoenix. For the Chinese, names are symbolic – the Phoenix representing good fortune and opportunity, revered as a magical creature that rises from the ashes and soars to greater heights.
In many ways, Lucy’s personal journey has manifest just as her name suggests. Being adopted by an American woman was the first step to a new life. Lucy is grateful for all of the opportunities that have been presented to her, but not without a sense of curiosity, longing, and questions that surround a conflicting sense of self. Visibly Chinese, the only life she has known is one of growing up in a white, middle class environment.
“I’ve recently gotten into reaching out to other adoptees who have been trans-racially adopted and seeing how they feel about it, because it’s hard to identify with coming from a culturally white background, but then looking culturally different from that. I’m part of this group on Facebook… it’s a discussion forum for people of colour and it’s gotten me more interested in my roots, because there are a lot of Asian people in the group.”

Lucy’s self-exploration and investigation of her cultural roots is imbued in her work. The themes in her EP Pyrexia deal with isolation, fragility and survival. Her song 'Koromiko' – the title taken from a native plant used as a medicinal herb – is a song she refers to as ‘a dialogue with self,’ and whether conscious or unconscious, it has a subtle Asiatic quality in terms of its sound.
The 24-year-old currently works part-time in visual FX – something she learnt to do via her mother who works in the film industry. She also has a degree in contemporary dance.
Arriving in New Zealand at the age of 16, she says music has remained a constant in her life: “I started playing [piano] when I was 8…it probably adds to the traditional Chinese stereotype because I also used to do ballet… I wanted to be able to play the music that I was dancing to.”
“I’m trying to find a sounds that really represents me,” she says, of what it means to be unique in a sea of digital music where just about anyone can call themselves a producer these days. “Initially I wrote songs that were inspired by that "world" but I wanted to add more meaning to the songs. Pyrexia is another word for fever and [the title] came from a dream I had, where the world was made of bendable glass.
Fully, self-produced, Lucy hands over her final ‘bedroom productions’ to her indie record label Crystal Magic, who put the final touches on the tracks.
Being signed to a label also has the benefit of helping to set her apart from others: “I do feel overwhelmed by the amount of people who can go out there and produce and just put something on Sound Cloud, but then it gives me comfort knowing that I am already in a network of people in New Zealand, but also internationally… we bond and share ideas. It kind of helps me feel like I’m not so lost in a sea of everything.”
As an artist, Lucy is content to find her voice – an authentic sound that aligns with her sense of self. She did however toy with the idea of creating an ‘image’ for herself in the past, experimenting with various hair colours, which ultimately left her feeling inauthentic, and she has since discarded the idea, these days more intent on pushing boundaries in her music, rather than seeing how far she can push her image.
“I see that there are a lot of artists (currently) who try to tie in a really visual aspect to their work, and I feel like sometimes, maybe the visual impact of an aesthetic of how they look, is distracting…people get more interested in what they look like, and what they’re into, as opposed to their actual work. “
Keen to go beyond her comfort zone, the Wellington-based musician may return to San Francisco one day, but currently has her heart set on Vancouver because of its active music scene.
“My main purpose for making music is being able to connect with people that I necessarily wouldn't before. It could be 100 people or one person, but I feel it's important to be able to relate to people on a level other than verbal or physical, which I'm not altogether consistent with.”
Topics: music, arts
Regions:
Tags: electro, synth-pop, Lttle Phnx
Duration: 15'36"

14:54
Cricket World Cup
BODY:
Build up to the Cricket World Cup final from Melbourne.
Topics: sport
Regions:
Tags: cricket, Black Caps, New Zealand, Australia, Cricket World Cup
Duration: 5'09"

=SHOW NOTES=

12:39 Adam Play Awards
Two of the big winners of this year's Adam Play Awards (but their names are top secret until their announced on Saturday afternoon!)
12.57 Dedication of a headstone for the English-born colonial artist Louis John Steele
Yesterday saw the unveiling and dedication of a headstone for the English-born colonial artist Louis John Steele, at the Waikumete Cemetery in Auckland. Having trained at the Royal Academy, in London and in Paris, he came to New Zealand in 1886 and painted the portraits of some of the most important figures of the time including Governor Sir George Grey. He was one of Charles Goldie's first teachers but while his student is remembered, Steele has been largely forgotten Jane Davidson-Ladd told us about the unveiling, she was a curator at Auckland Art Gallery and went on to study Steele's work and she believes his place within the canon needs to be reassessed.
You can see works by Louis John Steele on Te Papa's website and Auckland Art Gallery's website.
1:10 At the Movies with Simon Morris
Simon Morris looks at two young adult films, Insurgent, the sequel to last year’s popular Divergent and X plus Y, a heart-warming story of an autistic young maths genius. He also looks at the king of older adult thrillers, Liam Neeson in Run All Night.
1:34 Painting conservation
Painting conservators not only restore paintings to their initial splendour. There's often a huge amount of detective work involved as well. That's certainly the case at Te Papa, where conservator Linda Waters has been working on a painting by French-born artist Louise Henderson - the cubist-style Les Deux Amies - The Two Friends. Artists like Colin McCahon were very taken with the painting at the time, but it's sustained some damage since it was finished in 1953. Te Papa bought the work in 2011 and it's about to go on show for the first time now that Linda and other members of the team of worked on the painting. It will be on show as part of Te Papa's Nga Toi Season 4 opening over Easter.

Top: Te Papa Painting Conservator Linda Waters
Bottom left: Les Deux Amies before conservation work began, middle: Les Deux Amies conserved but not yet back in its restored frame, right: Linda checking the canvas under microscope
1:47 Candice Breitz
Artist Candice Breitz makes video art encouraging us to ask ourselves some hard questions, particularly how we're influenced by popular culture. She's filmed Michael Jackson fans re-performing his Thriller tracks in their own way, she's explored the lives of professional child actors and she's interviewed twins and triplets to show how they're different and how they're the same. Some of her videos have just gone on show at Wellington’s City Gallery. Candice Breitz was born in Johannesburg but these days she lives in Berlin, where she's a Professor of Fine Art.

2:05 The Laugh Track
Scott Blanks on the 20th anniversary of Auckland’s Raw Comedy programme.
2:26 Author interview
Jindra Tichá moved to New Zealand from the Czech Republic, and she's incorporated both countries in her novel, Death and Forgiveness. In it, Anna and her husband flee the turmoil in Czechoslovakia in 1968 to make a new home in New Zealand. This is Jindra's 19th novel but the first one she’s written in English. Death and Forgiveness is a Mary Egan publication.

2:49 Lttl Phnx
Lucy Beeler A.K.A Lttl Phnx makes sweet, electro, synth-pop from a tiny bedroom in a Mount Victoria flat in Wellington. The 24-year-old, San Francisco-raised musician currently works part-time in visual FX – something she learnt to do via her mother her works in the film industry – on top of which, she also has a degree in contemporary dance. Keen to go beyond her comfort zone, the Wellington-based musician may return to San Francisco one day, but currently has her heart set on Vancouver because of its active music scene.

3:05 The Drama Hour
The second part of the interview with Lori Leigh, an interview with Colin Beardon and short story Red Devil by Colin Beardon.

===4:06 PM. | None (National)===
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The Guardian journalist talks about the extraordinary story of whistleblower Edward Snowden at the WORD Christchurch Writers and Readers Festival (2 of 5, RNZ)

===5:00 PM. | None (National)===
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A roundup of today's news and sport

===5:11 PM. | Spiritual Outlook===
=DESCRIPTION=

Exploring different spiritual, moral and ethical issues and topics (RNZ)

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17:00
Bringing a creative vision to the church experience
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Two young pastors-husband and wife team Joshua and Jasmine Robbins, bring their creative backgrounds and contemporary perspectives to the fore in creating an atmosphere that is relevant to the community and has helped to foster the growth of Elim Church in Rotorua. Sonia Sly with this story.
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Elim Chuch, image courtesy of Jasmine Robbins
"We're not here to reach God, God has reached us... we're here to reach people, and most people have a bad image of the church"

Thirty-six-year-old pastor Joshua Robbins at Elim Church in Rotorua and his wife Jasmine Robbins have arts related backgrounds and studied at bible college after completing their degrees. Bringing their creative eyes and ears to their contemporary services is instinctive, and they both had a long-time vision for the kind of services and experiences that they wanted to create. All-in-all it seems to have struck a chord with the local Rotorua community.
"We don't want it to come off like a rock concert. We want people to feel like people they are coming to church and meeting with God, but, we also do want it to be done in a relevant way," says Joshua, who adds that he never connected with organ music. "People want to have their faith meet them in an authentic way."
Previously pastoring a church of around 1000 members, when they arrived at Elim in Rotorua there was a membership of 30, which, over the past five years has risen dramatically to 300 members. For the non-church-goer the service is unexpected; with a lighting and sound crew adding to the modern feel and atmosphere, they also utilise the talents of their membership and include a 'filmed' weekly newsletter, featuring a young host speaking to camera with a lively script, that plays out on a big screen. With Jasmine handing out chocolates at the beginning of the service, it all feels like a fun, family environment rather than a church service.
Of course, they do talk about God... that's the giveaway, and the reason that hundreds of people are singing along from the rows of seats, some standing, and waving with their hands in the air, drawing ever closer to God.
Joshua and Jasmine are all about maintaining an authentic presence in their services, which filters through to the community. They don't hide their love of retro kitsch furniture and decor and have tried to true to themselves, a draw card for many of the members in the multicultural audience—young and old. Neither Joshua or Jasmine had ever attended a church service prior to university, nor had either of them grown up in Christian families.
"We went to quite a student church actually, says Josh. "There were a couple hundred skaters and snowboarders and it was really relevant for me."
Jasmine says that heading along to an Elim Church in Christchurch with a friend felt right at the time: "I found something that resonated with me... it really transformed my life, and I want to help other people find the same thing."
Since pastoring the church, the pair have set up an art gallery – a dream they had shared since university. The gallery sits in the foyer of the church and is accessible to the community during the week, featuring a host of artists from around New Zealand and there is no prerequisite for artists coming from a Christian background.
"We wanted to do something that looked great for Rotorua [because] there are not many dealer galleries left in Rotorua," says Jasmine, who has a marketing degree and manages the gallery.
For Jasmine and Joshua, pastoring the church is about bringing people to meet and have a relationship with God, and in part they want to challenge the way in which people on the outside view the church.
"We want the church to be portrayed in way that reflects what it really is... the church is humming. It's something beautiful. It's not dry and stale and boring – it's vibrant and alive."

Top left: Jasmine and Joshua Robbins and family. Top right: Elim Church Gallery
Bottom: Joshua (left) takes to the stage, image courtesy of Elim Church Rotorua
Topics: spiritual practices
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Duration: 24'43"

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===5:40 PM. | None (National)===
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Maori news and interviews from throughout the motu (RNZ)

===6:06 PM. | Te Ahi Kaa===
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Exploring issues and events from a tangata whenua perspective (RNZ)

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18:06
Whakatāuki mo 29 o Poutū te Rangi (March) 2015
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Ōkea Ururoatia. To Die like a Shark.
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Ōkea Ururoatia.
To Die like a Shark.

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Tags: whakatauki, te reo Maori
Duration: 26"

18:08
Tusiata Avia - Samoan Palagi Poet
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From Australia's ABC Radio National programme, Earshot Tusiata Avia provides a narrative about her poetry from two of her poetry collection books, Wild Dogs Under My Skirt and Bloodclot. Tusiata grew up in Christchurch and visited Samoa when she was fourteen years old. In her early twenties she left Christchurch and spent a year or so there teaching. Her experiences in Samoa and her dual heritage as Samoan Palagi would form part of the inspiration of her poetry, which is described as raw and lyrical . Avia spent over a decade travelling overseas teaching, and seriously took to writing in 2001, a year later she completed the MA Creative Writing Programme at the International Institute of Modern Letters at Victoria University, Wellington. In 2002, the children's books, Mele and the Fofo and The Song were published. Her work was adapted for broadcast on Radio New Zealand, and her first collection of poetry Wild Dogs Under My Skirt was published in 2004. In 2009 the book Bloodclot was published, in 2013 she was a recipient of the Janet Frame Literary Trust Awards.
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From Australia's ABC Radio National programme Earshot, Tusiata Avia provides a narrative about her poetry from two of her poetry collection books, Wild Dogs Under My Skirt and Bloodclot.
Tusiata grew up in Christchurch and visited Samoa when she was fourteen years old. In her early twenties she left Christchurch and spent a year or so there teaching. Her experiences in Samoa and her dual heritage as Samoan Palagi would form part of the inspiration of her poetry, which is described as raw and lyrical.
Avia spent over a decade travelling overseas teaching, and seriously took to writing in 2001, a year later she completed the MA Creative Writing Programme at the International Institute of Modern Letters at Victoria University, Wellington. In 2002, the children's books, Mele and the Fofo and The Song were published.
Her work was adapted for broadcast on Radio New Zealand, and her first collection of poetry Wild Dogs Under My Skirt was published in 2004. In 2009 the book Bloodclot was published, in 2013 she was a recipient of the Janet Frame Literary Trust Awards.

Music featured this week: 'So Amazing' performed by Whenua Patuwai and Ria Hall from the album The Soul Sessions (2014) and 'Moe Mai Ra' performed by ACushla Dee o Carroll from the album He Kohikohinga Waiata Māori (2011).
Topics: arts
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Tags: poet
Duration: 37'28"

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===7:06 PM. | One In Five===
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The issues and experience of disability (RNZ)

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19:06
Women with Disabilities - Women in Crisis
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Women with disabilities are significantly more likely to be abused than women in the general population. In fact figures gathered around the world show up to 90 per cent of women with an intellectual disability report being abused at some time in their life. In Australia, programmes have been developed for women with disabilities to ease their escape from violent or abusive living arrangements. Funding is available for them to take support workers with them and to buy the equipment they need for a new living environment. Refuges have been audited for their accessibility, refuge staff have been given training on how best to support women with disabilities and even taxi drivers have been trained in how to help a woman with a disability in a crisis.
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Left to right: Keran Howe, Sue Sherrard and Susan Salthouse
A new programme to enhance the ability of women with disabilities to escape abusive living situations is proving a success in Australia’s Capital Territory.
International figures show women with disabilities are twice as likely to suffer domestic violence as women in the general population. Women with an intellectual disability can have up to a 90 per cent likelihood of experiencing a sexual assault at some time in their lives.
The convenor of Women With Disabilities ACT, Susan Salthouse was in New Zealand recently and says the responsibility has now been put onto the Domestic Violence Crisis Service and Rape Crisis Centre to cope with women with disabilities coming out of a situation of violence.
She says a lot of training has taken place to up-skill people working in the area of domestic abuse.
Susan says refuges have been audited for their accessibility, emergency funding is now available so women can buy the equipment they need and fund any necessary support. Even taxi drivers have received training in how to best help a woman in a crisis, she says.
Women with disabilities are subjected to all the forms of violence that affects non-disabled women but Susan says the range of violence that can be perpetrated is much greater, as is the length of time it can go on in a person’s life.
“Women with disabilities are exposed to a greater range of perpetrators, who may be the support workers who come into their home and whilst we perpetuate group living situations it means they accessible to violence perpetrated by their house mates.”

She says women with disabilities can also be subjected to the threat of the removal of their children, the threat of or actual removal of equipment and the refusal to give medication when it’s needed.
Susan says one of the first people to use the new scheme to remove herself from a situation of domestic violence was a woman with very high needs who had been living in fear for five years.
“It was only when she found out there was an avenue for escape that she came first to Women with Disabilities ACT... she’d found out about it because we ‘d started to get the message out. She thought she had no way of escaping because it was just too complex and too much to contemplate.”
Where to get help
Shine - call free 0508 744 633 (9am to 11pm, 7 days a week)
National Helplines (pdf) - call free 24-hrs 0800 883300
Are You Ok - call free 0800 456 450
Women With Disabilities ACT
Women with Disabilities Victoria
Topics: disability
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Tags: domestic violence, abuse, CCS Disability Action, Women with Disabilities Victoria, Women with Disabilities ACT
Duration: 13'48"

19:07
The panting mobility aid
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When Chris Orr was paired with his first guide dog 40 years ago there were only 12 dogs working in New Zealand, now there are about 240. Chris has had 4 guide dogs, each with different skills. His requirements are simple; he wants a dog that walks fast, doesn't bark, that has been well socialised and it has to be black. Chris can't stand the thought of golden dog hairs on his black suits.
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Chris Orr with Riley
When Chris Orr was matched with his first dog, there were only 12 guide dogs working in New Zealand. Now there are about 240. The most common breeds of guide dogs are Labrador retrievers, German shepherds and golden retrievers. But for Chris, a black lab is the only way to go. He can’t bear the thought of getting golden hairs on his dark suits.
Chris has been using a guide dog for 40 years. In that time he has had four. Asides from being black, the other requirements he has of his dogs are that they don’t bark, they’ve been well socialised, they walk fast and that they’re male.
Chris, who works for the Blind Foundation, says some people don’t want a bar of having a guide dog.
“They’re a fiddly mobility aid. You can’t fold them up and put them in your pocket”.

He says around 80 per cent of the Blind Foundation’s clients are over 80 years of age and many of them don’t want a dog. Some low vision clients don’t qualify because their sight is too good. Other people don’t like the way members of the public are happy to talk to the dog but not to them.
Chris says the ratio of guide dogs to blind people is about the same in New Zealand as it is in the United Kingdom and Australia. New Zealand breeds about 120 pups a year but it’s no easy task for them to graduate as a fully-fledged guide dog.
At about 12 months of age puppies undergo six months of intensive training and are assessed on 65 personality and temperament traits, 13 health aspects and 21 guiding tasks. Adult guide dogs work for about eight to ten years before retiring.
It costs tens of thousands of dollars to breed and train a guide dog. Guide dog services, run by the Blind Foundation, relies entirely on donations from the public to fund its programmes.
Chris talks to Carol Stiles about working with the dogs.
Related stories

The Wireless: A guide through the fog of blindness
Assistance dogs

Topics: disability
Regions:
Tags: Blind Foundation, Guide Dogs, Red Puppy Appeal, dogs
Duration: 11'24"

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=TRANSCRIPT=

Carol Stiles: Good evening and welcome to One in Five. It’s good to have you along. I’m Carol Stiles. You may have seen people out this weekend rattling buckets and drumming up support for the Red Puppy Appeal. Well, a bit later in the programme we’ll be talking to a man who has been using a guide dog for 40 years. But first, earlier this month two influential Australian women were invited to New Zealand by CCS Disability Action to help mark International Women’s Day. Keran Howe is the executive director of Women with Disabilities Victoria and Susan Salthouse is the convener of Women with Disabilities ACT. They were here to run a workshop for women in Auckland and to explain how their organisations work to promote the human rights of women with disabilities. Keran says access to health services and violence prevention are key areas of focus for their groups.
Keran Howe: For women with disabilities, both of those issues are real gender issues that haven’t been picked up by other organisations, other disability advocacy organisations, have focused more on those core structural issues of transport, housing, education, employment, but not focused on things that are particularly a concern for women with disabilities. And so that’s really where the whole organisation of women with disabilities coming together as a movement arose from. And over the years I think it’s true to say that most of the organisations in Australia have focused on violence against women with disabilities as the key issue, and it’s great to see it coming to the fore at the moment.
Carol Stiles: How much more likely is a woman with a disability to be abused than someone in the general population, women in the general population?
Keran Howe: Within Australia, we don’t know. Women with disabilities don’t get counted in the Public Safety Survey, which is the big research that gives us the basis for the figures about domestic violence and sexual assault. But internationally we know from research in other countries that women can be twice as likely to experience violence as other women, and women with an intellectual disability can have up to 90% likelihood of experiencing sexual assault at some time in their life. So the figures vary enormously, depending on the situation for women and the nature of their disability and also how isolated and excluded they are from general community life. So that’s often a real indicator of whether women are empowered to be able to prevent violence or to go out and seek support and help for violence when it occurs. But we know that perpetrators of violence target women who they see are more easily disempowered.
Carol Stiles: Keran Howe. Susan Salthouse says the abuse can take many forms.
Susan Salthouse: Women with disabilities are certainly subjected to all the forms of violence that affect non-disabled women. But in fact there’s a whole other set of perpetrations of how that violence shapes itself in that women with disabilities are exposed to a greater range of perpetrators who may be the support workers who come in to their house. They’re also in their group living situations. Whilst we perpetuate those it means they’re accessible to violence perpetrated by their housemates and, because women with disabilities can be subject to just removal or the threat of removal of their children, it’s a huge power and control issue. And then it can go down to threat of removal of equipment, refusal to give medication when it’s needed, so those are gradations of physical abuse, and then there’s all sorts of threats and emotional abuse. So the range of violence that can be perpetrated is much greater. The length of time that it goes on in a person’s life is much greater. And the number of perpetrators can be much greater. So some of it is quite different to what occurs in non-disabled women.
Carol Stiles: Sue Sherrard is a team leader at CCS Disability Action in Auckland. She says the situation in New Zealand is much the same as in Australia, with a frustrating lack of data about the rates of abuse for women with disabilities.
Sue Sherrard: We don’t have the facts and figures because disabled women aren’t counted separately. And so we can’t identify those rates. And not having that statistical data somehow lessens the credibility of people’s experiences of abuse and particularly for women. And still the issue of not being believed, particularly for women with learning and intellectual impairment. So, yeah, there’s a long way to go.
Carol Stiles: Are you asking the police to start… if, in fact, the police are involved, are you asking them to start gathering statistics about who is the victim of abuse?
Sue Sherrard: Yes, certainly. We are talking to the police and to other agencies who are doing statistical research and any other research that’s going on. We are hoping to get that disability and in particular disability women’s perspective included.
Carol Stiles: Susan Salthouse says a crisis service has been established in the ACT for women with disabilities escaping abuse.
Susan Salthouse: It took a good 18 months of meetings between our domestic violence crisis service, our rape crisis centre, our human rights commission, the government… (Laughs) ..and ourselves, discussing how we might enhance the ability of our violence response in order to enable women with disabilities to access that. And we have got it in place and now we’re in a situation where we’re getting the word out. And the responsibility, with training and upskilling, has been put on to the Domestic Violence Crisis Service and the Rape Crisis Centre to cope with women with disabilities coming out of situations of violence. So this is a very new scheme in operation and the second case that they had was somebody with high-support needs who has had to be housed in an accessible hotel and has now been found accommodation. And all her support needs were put in place, not by a disabled service, not by our women’s organisation, but through the increased and improved knowledge of the domestic violence crisis service.
Carol Stiles: Women often need much more than just an accessible place of refuge.
Susan Salthouse: In this particular case because at least 80% of her support needs were being met by her family, she suddenly had a need for at least another 14 hours of support per week. She had a need for equipment by way of a hoist to get in and out of her wheelchair, she had a need for an accessible taxi to take her away from where she was living, and once she had met with the crisis service all of that was put into place by the set of contacts that we have. So in developing this crisis service we have made a specific network which is upskilled and able to respond. So now we have in the community that our wheelchair taxi service has skills in dealing with women in a crisis of domestic violence. (pause) Women who are living in group houses do have access to escape from domestic violence, but the trouble is we need to do much more training for support workers to recognise the symptoms of when somebody is being violated by someone else in their support circle. So in fact we have treated the non-group home situation in a way more easily than the people who are supposed to be experts within the disability community and our training is ongoing to upskill support workers.
Carol Stiles: Sue Sherrard says in New Zealand finding emergency accommodation and funding for women escaping abuse is a huge challenge. Keran Howe says they’ve been working to overcome that in her state.
Keran Howe: One of the things that we’ve done in Victoria is to develop a brokerage fund for women with disabilities when they’re escaping violence, and so each women is eligible for funds for up to three months, which means she can purchase support or she can purchase what she needs to be able to stay at home in the way of equipment. So that’s one of the strategies that I think could be quite effective to look at in New Zealand also, mm.
Sue Salthouse: Because we borrowed from Victoria we have a similar situation, not so time-limited, and the funding comes from our Victims of Crime commissioner. So I find it satisfying that women with disabilities are being helped by compensation money that is taken from the proceeds of crime.
Carol Stiles: Sue Salthouse says that despite that fund there are still challenges for women needing help. Funding for community legal services took a big hit in the last budget.
Sue Sherrard: And that is happening at the same time as we have a national anti-violence programme, so at the same time as more women felt empowered to report, the legal services were defunded and have fewer staff.
Sue Sherrard: And that is one of the challenges that we face in New Zealand, too – the lack of accessible services, the lack of understanding around support that disabled women need and just who is going to provide that. So as we raise awareness around abuse and prevention of violence there aren’t places for women to go and the services are not necessarily accessible and available and have the right information. So we have brought…umm there’s a small working group based here in Auckland that’s brought the domestic violence sector and the disability sector together and we work together. We work together to develop training and to really highlight those issues in both sectors and the need for upskilling in both sectors to respond to abuse and to be appropriate with disabled women.
Carol: The starting point for improving the crisis response for Women with Disabilities in ACT was to conduct an accessibility audit of all eight refuges in the territory.
Susan Salthouse: And we trained first women with disabilities to act as the access auditors. And, again, that was a paid job for them. So we audited all those refuges and they all had some degree of access. A number of them had ramped access. One of them had flashing alerts for people who were deaf. Another one had no ramp to get in, but an accessible bathroom.
(All laugh)
Susan Salthouse: So they had a mismatch of things and that came with some awareness raising for staff. The next project that we did was to do some awareness-raising with all the managers of the refuges and that was meant to be a ‘train the trainer’, that they take that information back to their board meetings and to their staff meetings. And then the third one is this intensive training that’s associated with the crisis services scheme. Because there’s a high turnover rate within these crisis services, the training will go online through our human rights commission.
Sue Sherrard: Only one refuge in Auckland is accessible, and part of the challenge there is bringing in caregivers. And so refuges only have their own staff working in a refuge, and that’s to keep other women safe, but for disabled women, women who need personal support, there’s a challenge there if their support workers aren’t allowed to come in. We haven’t yet found the ideal solution.
Carol Stiles: If we look at the first case you gave me about this woman with high needs who needed to get out of her family home…. a couple of years ago what might have happened to her?
Susan Salthouse: She had been living in that situation for at least five years, and it was only when she found out that there was an avenue for escape that she came. She came first to Women with Disabilities ACT and she found out about it because we’d started to get the message out.
Carol Stiles: She thought she had no…?
Susan Salthouse: She thought she had no way of escaping because it was just too complex, too much to contemplate. And so she had been more or less living at various shopping towns because she was too scared to be at home during the day.
Carol Stiles: Susan Salthouse ending that report. You also heard from Keran Howe from Women with Disabilities Victoria and Sue Sherrard from CCS Disabled Action in Auckland. If you’d like any further information we have put the contact details for Rape Crisis and Women’s Refuge on our webpage.
And last year Sue Salthouse was recognised as ACT’s Senior Woman of the Year for her efforts to address discrimination against women with disabilities.
Now, this weekend has been Red Puppy Appeal weekend, when the public is asked for donations to fund the training and breeding of guide dogs. Guide Dog Services, which is run by The Blind Foundation, receives no government funding. Chris Orr works for the Blind Foundation, and I met him by chance when I was out and about recording another story last week. When Chris took home his first guide dog there were only 12 working in New Zealand. Now there are about 230. Chris now works with eight year old Riley.
Chris Orr: You get to know the signs when the dog is slowing down. He is definitely slowing down. He doesn’t make the decisions quite at the same speed and then do it like he used to. Mind you, neither do I. (Laughs) So he’s slowing down and I can feel that, so…
Carol Stiles: He’s not grey around his muzzle or anything. He’s beautiful.
Chris Orr: No, he’s in good nick. He certainly doesn’t carry any extra weight, and that’s good, as well, because that shortens the lifetime of a working guide. If their health – it could be overweight, it could be under-use, it could be all sorts of things impact on the working life of a guide. All of my guide dogs – touch wood – have worked until they’re at least 10 and one of them was nearly 13.
Carol Stiles: I was thinking… 1975, that’s 40 years ago. And you’ve only had four in that time. That’s pretty amazing.
Chris Orr: Yes, yes. The second one I kept too long. I kept him working and the last nearly year it impacted on my lifestyle in that I was molding what I needed to do to him, rather than the other way around. ‘Cause that’s the whole idea of a guide dog – you don’t build your life around them, they are there for you. What I was doing was, in the end of the time… I would go from the railway station to work at the Blind Foundation, and that’s about a ten-minute stroll and then he would get in and just sleep. At the end of the day I’d pick up the harness and he’d walk down to the railway station and that was it. So I couldn’t actually use him to go down to get lunch. I couldn’t use him very much at all. I certainly couldn’t take him for recreational walks ‘cause he just couldn’t do it. So that impacted on my way of life, and that’s a decision that a lot of us find difficult to take, is when is the time to let go? Now, I’ve made an intellectual decision at that time, and that was guide dog number two, his name was Blake, that the dogs really had to work for me. Yes, there’s a lot of bonding and there’s a lot of love and there’s a lot of connection and there’s a lot of faith from both sides, but at the end of the day it’s very narcissistic and all revolves around me, ‘cause that’s what a guide dog is there for is to work for the blind person. If it was a cane, a white cane, and the cane broke and you couldn’t use it anymore you’d just go and get a new one. You’d think nothing of it. So what you’ve actually got to do is think of the dog as being a mobility tool, so when the mobility tool doesn’t work for you, like it used to, you have to change. It sounds cold and callous, but it’s the way it has to be for me.
Carol Stiles: What happens to a retired guide dog?
Chris Orr: Blake retired and I got another guide dog, and he just lived the life of a retired gentlemen.
Carol Stiles: At your house?
Chris Orr: Yeah, yeah. We’re lucky enough that, my family and I, we have a property and a house that’s big enough. We’ve certainly got an expectation that he’s given his all for me so at the end of his working life let him do what he wants to. He can run around and he can lie in the sun and he can eat a bit too much and he can go for runs on the beach and be a dog. So the last two dogs I’ve had that have worked through their life have lived out the life of a retired gentleman.
Carol Stiles: How do they adjust to having a new pup on the block doing their old job?
Chris Orr: Um, both of the dogs that I’ve had have been actually very comfortable about it, more than comfortable, they’ve become good mates. And I remember one morning I got up, I was getting ready to go. And I picked up the harness and there was a dog there, so I dropped the harness over the dog’s head and I never thought anything about it. And my wife was standing there and I put it on the wrong dog. The old retired dog went ‘Ooh, this is not right. No, I’ve finished now.’ She said the look on his face was absolutely remarkable.
(Both laugh)
Chris Orr: But at the end of the day they’ve had enough. They’re tired. You know they’ve worked really hard.
Carol Stiles: They’d all have different skills, I’d imagine. You can’t expect one to be exactly the same as the other, I don’t suppose.
Chris Orr: No, all four of my dogs have been totally different.
Carol Stiles: Tell me about the differences.
Chris Orr: My first dog Adam, and he was the first actual dog trained in New Zealand, all the dogs before that had been bitches. He was actually a male dog.
Carol Stiles: And that was 1975.
Chris Orr: 1975 we graduated, on 5 December we graduated. And he was a young dog, quite young, and looking back now I realise that he hadn’t been trained as well as he could have been for me. I certainly bonded with Adam, I knew Adam and all that sort of stuff, so it worked really well. But his guiding work wasn’t very good. (Carol laughs) And for me, as a blind person, I didn’t know any better. So I was doing a lot of the work and didn’t realise it. My second dog, Blake, he was really, really well trained and he was superb. The guide dog instructor that trained Blake for me actually went above and beyond so that most of the places I wanted to go to, Blake already knew them. So I picked up the harness and off we went. But he had not been puppy walked very well. So his socialisation skills weren’t flash.
Carol Stiles: So not good with kids, or…?
Chris Orr: No, he was okay with kids, but he was a bit of a scrounger and he barked a bit, which I hate. He had a bit of dog distraction, as well. He didn’t quite like other dogs, initially, but we sort of worked through that. So that was Blake. My third dog, Quinnell, who was a different… Black is the only colour to have as a guide dog, by the way. All the other colorus are superfluous. I don’t see the point.
(Carol laughs) Carol Stiles: Why is that?
Chris Orr: As you can see - radio is really good for this - as you can see, I’m wearing dark colours, right?
Carol Stiles: You are. You’re wearing a very nice black suit.
Chris Orr: So if I had a yellow dog, yellow hair everywhere, right? And if it was a long-haired dog like a German shepherd it’d be long hair everywhere, see? So no good. No point. Not for me. So a black Labrador is the way. But I had a chocolate Labrador who was quite different, his personality was quite different. But he was a bit naughty, as well. Again, he hadn’t been socalised as well as he may have been, he had some habits. He was spoilt a bit, I think, spoilt, but a stunning guide dog. He was really, really good as a dog. He was really good. I’ve been around a long time, so as New Zealand as a country has grown in terms of how we do our dog work, our guide dog stuff, so the quality of our dogs has risen, as well. So good old Riley here, number four, he was superbly puppy walked. His socialisation is just astonishing. I’ve had him for six and a half, seven years, coming up. I’ve only heard him bark once. You put him down in a corner, he just lies there. He goes into work. At work he gets in his basket, his bed, and stays there. You put him outside to do his business, he does it straight away. His socialisation is superb, but equally along with that his guiding is just really good as well. But he has a little bit of nervousness and uncertainty in his personality. So what I’ve had to do as a blind person, I’m pretty… I want to get there. I know what I want to do and I’m a firm handler and all that sort of thing. So I’ve had to modify my dog handling to suit his more nervous nature. So what he’s taught me to do is to calm down a wee bit, not calm down, but just button back a bit what I want to do, to bring out the very best in him as a guide.
Carol Stiles: You were saying before about funding for guide dogs, how the health vote pays for other people’s mobility aids but not for guide dogs.
Chris Orr: No, they don’t. And traditionally around the world they never have. Traditionally, it’s the guide dog school that’s raised money so that, without fear or favour… If you had someone who was wealthy as a blind person, they could go and buy a guide dog, they’d get one. So the whole idea of that was to make it really egalitarian. So if you’re blind, you want a guide dog, you get one. There’s no cost to the blind person apart from the costs I talked before about – feeding and veterinary fees and so on in New Zealand. In other countries there’s different methods, but essentially it’s the money that the public of New Zealand generously gives us that enables us to use a mobility tool of our choice like a guide dog.
Carol Stiles: In New Zealand what percentage of blind people do you think actually have a dog, a guide dog.
Chris Orr: Oh, very small. There’s just under 12,000 people in New Zealand who are blind or have low vision and are clients of the Blind Foundation, and as such can then access our services. Of that there’s between 235 and 240 blind people who use guide dogs. Because don’t forget that not everybody wants a guide dog. You know there’s one of the guys that was with us today, he doesn’t want to have a bar of having a guide dog. Too much of a nuisance. People want to talk to the dog and not him, things like that. So he doesn’t want to have a bar of it. They’re a fiddly mobility aid. You can’t fold them up and put them in your pocket. There’s a lot of people who are older. The vast majority of people in New Zealand who are clients of the Blind Foundation are over the age of 80. They don’t really want one. They’re older, they’ve got different circumstances and all that sort of thing. And then there’s people whose vision is too good. Yeah, that’s how it works and that’s exactly reflected in Australia, the United Kingdom … Exactly the same. Most blind people don’t want one.
Carol Stiles: You’ve not had a female dog, you’ve not had a bitch?
Chris Orr: Correct.
Carol Stiles: Is there a reason for that?
Chris Orr: Yes, yes. I have no idea what the reason is, but I’m sure there is one there. I just prefer males. You see I have very strong preferences. I want a black male Labrador that walks fast, doesn’t bark, extremely well puppy walked, and I’m happy as a clam.
Carol Stiles: Chris Orr. 120 pups are bred each year, but not all make it as a guide. After their training they’re assessed on 65 personality and temperament traits, 13 health aspects and 21 guiding tasks. Apparently the first guide dog training schools were set up in Germany during WWI to help returning soldiers who are blinded in combat.
Well, that’s it for One in Five this week. Next week we’re in parliament looking at just how easy it is to access the seat of democracy. Until then, have a great week.

===7:35 PM. | Voices===
=DESCRIPTION=

Asians, Africans, indigenous Americans and more in NZ, aimed at promoting a greater understanding of our ethnic minority communities (RNZ)

===7:45 PM. | In Parliament===
=DESCRIPTION=

An in-depth perspective of legislation and other issues from the house (RNZ)

===8:06 PM. | Sounds Historical===
=DESCRIPTION=

NZ stories from the past (RNZ)

=AUDIO=

20:05
Sounds Historical for 29 March 2015 ( Part 1 )
BODY:
Stories of yesteryear from around New Zealand
Topics:
Regions:
Tags:
Duration: 53'44"

21:05
Sounds Historical for 29 March 2015 ( Part 2 )
BODY:
Stories of yesteryear from around New Zealand
Topics:
Regions:
Tags:
Duration: 55'46"

=SHOW NOTES=

8:09 Today in New Zealand History 3’53”
The New Zealand Grand Lodge formed in Dunedin 29 March 1889.
8:14 Artist: Deane Waretini 2’30”
Song: Now is the Hour
Composer: Kaihau
Album: Now is the Hour Deane Waretini
Label: Ode
8:17 Homework
Name at least four New Zealand locations which are named after New Zealand Premiers/Prime Ministers.
8:18 Dad's Army 9’07”
They are making a new film version of Dad’s Army and purists might ask why do they bother? The first film version, they say, was widely regarded as a washout and the programme remains best viewed in its television format. In 1980 Arthur Lowe, who played the part of Captain Mainwaring was touring New Zealand in a play and talked to Sharon Crosbie about his career. He considers acting as a job like any other job and he’s been doing it for so long now he’s not afraid of being type cast. Lowe explains that the more humourless the character is, the funnier they will be to other people and it’s not about poking fun, it’s a search for truth. When Dad's Army ended in 1977, Lowe took starring roles in television comedies such as Bless Me Father and Potter (1979–80), as busybody Redvers Potter. He battled with ill health and alcoholism in his last years and died on 15 April 1982, aged 66.
8:30 Artist: Bud Flanagan 1’08”
Song: Dad’s Army theme
Composer: Perry/Taverner
Album: The Best of British Comedy
Label: Castle
8:34 Wonder Book of Knowledge 6’30”
A 1954 children’s programme. Peter Dawson of 4ZB Dunedin was one of the great “radio uncles” an in this extract he tells his audience about the Pyramids.
8:40 Artist: Marcus Turner 3’47”
Song: The Maid Behind the Bar/Hill 60/The Gravel Walk
Composer: Trad.
Album: The Best is Yet to Come
Label: Cityfolk
The attacks by the Anzacs on Hill 60 were the last throw of the dice for New Zealanders in the Gallipoli campaign of 1915. Brigadier-General Andrew Russell, commander of the New Zealand Mounted Rifles Brigade, dubbed Hill 60 'an abominable little hill'. This relatively insignificant feature on the edge of the Suvla plain just north of the Anzac area was the site of a number of attacks by units of the New Zealand Mounted Rifles Brigade in August 1915. The first attempt to take the hill from its Turkish defenders was made by men of the Otago and Canterbury Mounted Rifles Regiments on 21 August as part of an unsuccessful general attack at Suvla that left 5000 casualties on the Allied side. The New Zealanders succeeded in seizing part of the Turkish trench system but could not dislodge the Turks from the hill. Six days later, the remnants of the whole brigade (about 300 men, down from the 1865 who landed in May) made another daylight attack that extended the line but again failed to capture the target. The British historian Robert Rhodes James later wrote that 'For connoisseurs of military futility, valour, incompetence and determination,
8:42 Robert Stead discusses his role as BBC representative in Australasia 8’49”
Recorded in 1953. Talks about his career and meeting New Zealanders during the war serving with the navy. Describes his job “a broadcasting traffic cop” organising exchanges between New Zealand/Australia and the BBC. Describes BBC coverage of the coming royal tour. (Stead is mentioned frequently in Asa Briggs’ BBC history).
8:52 War Report 29 6’31”
Stories of German atrocities were staple fare for the New Zealand Newspapers: BABY-KILLING AGAIN. TAUBES MAKE WAR. By Telegraph-Press Association Copyright. (Received March 29, 10 a.m.) Paris, March 28. A Taube dropped, two bombs on Estaires. Two children were killed. Official: A German aeroplane bombed Wilier, north-west of Hann, killing three children. Star (Christchurch) 29 March 1915. Extracts from a recruiting handbook issued to New Zealand recruiters and historian Laurie Barbour summarises the period spent by New Zealand troops in Egypt and analyses what was to come at Gallipoli.
Music:
Artist: John McCormack
Song: There’s a Long Long Trail A Winding
Composer: King/Elliott
Album: Oh, It’s a Lovely War Vol 2
Label: CD41 486309
Artist: n/s
Song: Fred Karno’s Army
Composer:
Album: n/s
Label: n/a
9:04 As I Remember 3’37”
A 1950's Fishing Story from Macraes Flat, Otago by Rodger Mills and read by Duncan Smith
9:11 Homework
Name at least four New Zealand locations which are named after New Zealand Premiers/Prime Ministers.
9:12 Artist: The Swingalongs 2’58”
Song: The Rose of No Man’s Land/The Old Rugged Cross
Composer: n/s
Album: The Swingalongs
Label: n/s
9:15 Have a Shot – 1958 14’01”
Extracts from the 1ZB Auckland talent quest.
Artist: The Phantoms from Onehunga
Song: Never in a Million Years
Composer: Gordon
Album: Sound Archives
Label n/s
Artist: Florrie Castle of Tamaki
Song: Whimaway
Composer:
Album: Sound Archives
Label: n/a
Artist: Cathedral Quartet
Song: Lord, I Want to be a Christian
Composer:
Album: Sound Archives
Label: n/a
9:28 Old Bill's Story (part two) 12’00"
Read by Lance McCaskill, recorded in 1956. A story is about a cattle-driving trip from the Waiau River in Canterbury, through the Cannibal Gorge (Lewis Pass) to the Robinson River on the West Coast.
9:41 Book of the Week 16’19”
At The Margin of Empire – John Webster and Hokianga, 1841-1900, by Jennifer Ashton. Published by Auckland University Press, ISBN 9781869 408251
Jennifer Ashton describes the life of John Webster an entrepreneur in Hokianga who played an important part in the relationship between Maori and Pakeha in 19th century New Zealand.

===10:12 PM. | Mediawatch===
=DESCRIPTION=

Critical examination and analysis of recent performance and trends in NZ's news media (RNZ)

===11:04 PM. | Hidden Treasures===
=DESCRIPTION=

Trevor Reekie seeks out musical gems from niche markets around the globe, re-releases and interesting sounds from the shallow end of the bit stream (3 of 8, RNZ)

=AUDIO=

=SHOW NOTES=

Artist: Smokeshop
Song: Fusion at Room Temperature (opening theme)
Composer: Darren Watson, Smokeshop
Album: Fusion at Room Temperature
Label: No Pagan Records
Artist: Harry Beckett
Song: Fantastic Things
Composer: Harry Beckett
Album: Modern Sound Of Harry Beckett
Label: On U Sound
Artist: Public Service Broadcasting
Song: The Other Side
Composer: Public Service Broadcasting
Album: The Race For Space
Label: Test Card Recordings
Artist: Nadia Reid
Song: Call The Days
Composer: Nadia Reid
Album: Listen to Formation, Look for the Signs
Label: Nadia Reid . Spunk Records
Artist: The Changin' Times
Song: How Is the Air Up There
Composer: Artie Kornfeld, Steve Duboff.
Album: Vile Vinyl Vol. 1 - 1960's Garage Psych - Remastered
Label: Start Entertainments Ltd 2011
Artist: Gil Scott-Heron
Song: Me and the Devil (NYC Orchestral Version)
Composer: Robert Johnson
Album: Me and the Devil - Single
Label: XL Recordings
Artist: Dele Sosimi
Song: Sanctuary (Titeknots Remix)
Composer: Dele Sosimi
Album: Sanctuary (Titeknots Remix) - Single
Label: Wah Wah 45’s
Artist: Charles Wright & The Watts 103rd Street Rhythm Band
Song: Express Yourself (Alternate Version)
Composer: Charles Wright
Album: Puckey Puckey: Jams & Outtakes 1970-1971 [Disc 2]
Label: Rhino Handmade
Artist: The Jolly Boys
Song: Hangin` On The Telephone
Composer: Jack Lee
Album: Great Expectation
Label: Geejam Recordings/Wall of Sound
Artist: Ibeyi
Song: Mama Says
Composer: Ibeyi
Album: Ibeyi
Label: XL Recordings
Artist: Lepistö & Lehti
Song: Raudanselkä
Composer: Markku Lepistö
Album: Radio Moskova
Label: http://lepistolehti.com
Artist: Chris Prowse
Song: Media Watch
Composer: Chris Prowse
Album: Trouble On The Waterfront
Label: 2009 Proco Productions ltd.
Artist: Wee Willie Walker
Song: There Goes My Used To Be
Composer: Wee Willie Walker
Album: The Goldwax Story Vol 1
Label: Ace Records
Artist: Ballaké Sissoko & Vincent Segal
Song: Chamber Music
Composer: Ballaké Sissoko & Vincent Segal
Album: Chamber Music
Label: No Format Records