Giving it herbs

Tu Tangata, Issue 32, 1 October 1986, Page 30

Giving it herbs

na Philip Whaanga

Herbs is the maoritanga, promoter Hugh Lynn never had. Herbs, the Polynesian band, are also the taiaha in the hands of a man committed to ‘total war’ against the New Zealand entertainment industry.

The setting is the Farewell to Herbs Tour, with support bands, Aotearoa, Dread Beat, Blood and ARDIJAH, all Polynesian bands. Already the tour has taken in Rotorua, New Plymouth, Palmerston North with Wellington tonight, then back to Auckland and Whangarei. Finally Fiji and Japan where they’ll feature in a televised Hiroshima Peace Concert.

For Herbs, a band of musicians who have a kaumatua status in the New Zealand music world, it’s all been a long time coming. Saxophonist Morrie Watene says it all. “I’d hoped that this time would come, this success...but I wish it had come fifteen years ago.”

For Morrie who’s been a musician all his life, those fifteen years would have revealed a younger and more starryeyed man, who Morrie admits, needed to mature.

That tantalising success, which in music terms means concert goers, record buyers and megabucks, has come equally from the band’s determination and music promoter, Hugh Lynn.

Hugh admits his motives were primarily business when he got involved with Herbs around five years ago. He was already wealthy from his business and saw in Herbs a potential. However he says he wasn’t prepared for the racism that confronted band members in the shape of poor accommodation on tour and the bum’s rush treatment that was generally handed out to Herbs. “Maori music was seen to be just pub-band material.”

He says band members were offered food and accommodation that the people offering it wouldn’t have accepted. This really woke a fighting instinct in him.

It woke up his long dormant maori side.

He now remembers his mother Da (Dorethy) Katipa, striving to have the young Hugh educated in the proper schools. Through his mother’s love and skill as a ballet dancer and later teacher, Hugh was encouraged to take to the stage. This he remembers doing at the tender age of three at an Auckland club. He later went on to perform creditably in tap dancing, ballet (with an invite to the Royal Ballet) and LatinAmerican dancing (with some Australasian titles).

He also remembers his koro, Hawa coming to live with them in Auckland. The contrast between father and daugh-

ter was great.

“My grandfather didn’t like pakehas much and resisted pakeha things. He still washed his clothes in a bucket. I guess I felt ashamed of him for being so primitive, but I perhaps unknowingly picked up a lot from his fierce pride in being Maori.”

Whatever the internal conflict, the young Hugh Lynn soon got the sums right when he formed his first club, The Eden Health Club. That’s when he got into martial arts and body-building. Next up was the establishment of Eden Security, the name that’s now synonymous with Auckland music concerts. From there it was an easy step, says Hugh, to owning night-clubs and starting to do music promotions.

So why the association with Herbs, a Polynesian band that had already established a firm following in Auckland, but seemed destined to stay in that rut, while lesser talented pakeha bands appeared on tv and had records in the top twenty?

It’s a question that’s been fired at Hugh before, by the band, by his business associates and by sceptical observers.

He’s had to go looking deep inside for an answer that’s not always satisfied himself or others. “I’m one of those born-again Maori. Bastion Point triggered something in me.”

“With Herbs, I was treated as a Maori in a negative way through bad atti-

tudes.” He started to acknowledge his maoriness but in a positive way using his business skills to fight back. He was encouraged to develop his maori side by different people like Norman Te Whata, an artist who designed an album cover for Herbs.

Another woman gave him some books containing korero about the wairua of the Maori prophets.

Through all this personal discovery came the music of Herbs, like the breaking of waves, says Hugh. Their sense of whanaungatanga, of belonging was very real. Their music spoke of papatuanuku, the earth mother, long before it was fashionable to protest for a nuclear-free world.

This belonging was threatened when lead singer, Toni Fonoti, left Herbs about three years age. He wrote ‘French Letter’, a song to the French people protesting about the continued nuclear testing in the Pacific.

Morrie Watene says Toni’s departure was tough on all, but it ultimately brought the band together. “After Toni left we closed ranks and shut the door. In those days we each had barriers around us.”

That understatement probably best sums up the battler mentality of Herbs. In a cover-story on Herbs in Tu Tangata February/March 1982, the band spoke of disappointments over cancelled gigs and the much reduced Pacific tour scheduled for later that year. Their final comment on the future was “Yeah we’ll be around.”

Herbs now only has Morrie Watene, Dilworth Karaka on guitar and Fred Faleauto on drums as original mem-

bers, but along with the injection of business promotion through Hugh has come Tama Ludon on keyboards, Tom Nepia on percussion, Willie Hona on guitar and Charlie Tumuhae on bass. Hugh points out that only recently has Charlie been accepted into the band, as indeed it was some time before Hugh himself was okayed. Charlie came from the heady music world where Herbs seem destined for. He was an original member of the Little River Band and then spent some time with Be Bop Deluxe, a band says Hugh that very nearly made it big in Britain, before breaking up. Charlie’s enthusiasm was obvious in the way he moved around on stage, which was a source of amusement for some of Herbs.

And what about this war which Hugh Lynn has declared? “The NZ entertainment industry had written Maori talent off as either being just pub band or else cabaret. We’d shown we could entertain but we had no control over what happened after that, in the night-club world or recording and promotion.” That’s when Hugh came in with knowledge of these fields. “I mean I was always used to having money and the control in these areas. In the time I’ve been with Herbs, we’ve been able to break out of the stereotype and show our young people what is possible.” His recording company, clubs and contacts have been vital. He believes Herbs have been an inspiration to young Maori, who’ve found respect and identity in their music. He says this is evident at concerts where rival gang members still give their salutes, but this time not out of aggro but rather to the power of the music to unite.

Hugh also tells of police and promoters worried about potential violence when Herbs were due to play in Gisborne at the time of the rasta killing last year. That didn’t happen.

Breaking the stereotype has also been the feature of Whare Tapere, a subsidary group that has organised the training of Maori road crew in skills from setting up sound gear to administering and booking venues.

Two from the training course are now employed on the current tour.

Breaking the 35% mentality of Maori music people is also an aim of Hugh’s. He says a lot of musicians are content with 35% of the income after expenses have been deducted and don’t look further. He’s encouraging them to lift their sights higher so that they can take an active part in the business side.

On the percentage side he’s also asking for a higher work output, he says Herbs used to work at 30% but have now moved to 50%. It’s this area he says the top bands he’s promoted work in.

“When you work with Genesis, David Bowie and Bob Dylan, you see the committment and results.” “I really believe the young bands on this tour

have followed in the ground broken by Herbs. Nearly all 51 tour members are Maori and proud of it.”

It’s the international contacts that have worked in Herbs favour. Neil Young mentioning the Herbs flavour to another promoter, hence the Japanese connection. It’s the jaded nature of the contemporary music scene worldwide, that has sparked a return to native music, the tribal rhythms of Africa and other native cultures. “Herbs have come to this point at an opportune time,” says Hugh.

But at the end of the day Hugh says, Herbs are a business. And what he doesn’t say is, thanks largely to him. Along the way Herbs and the spawning of an indigenous music industry have swapped notes and agreed to differ at times.

Like the standard rule for composition of night-clubbers.

“I learnt off Phil Warren and Benny Levin that 30% Maori 60% pakeha was the top limit for night-club patrons. Any more, and pakeha would stay away. I went along with that too, it was bad for business and I had a few clubs

then.” Herbs have suffered through that at Ponsonby’s Gluepot, a trendy pub with Auckland’s music goers. When Herbs are there, says Hugh, the take is usually down because of the ones who stay away. However in more rural areas, the large turn-out of Maori, guarantees capacity crowds.

Along with the pluses is that Hugh says Herbs’ fans now dress up a little when they come along. “It’s a coming together that celebrates a people.”

Hugh says accommodation people and other promoters have learnt respect for the band and he believes this will lift the level of Maori entertainment in Maori and pakeha eyes. He concedes he has a long way to go with his learning and practising of his maoritanga, but the rewards it’s brought him so far have been so much more satisfying than the material gains of former years.

“I’m lucky that I have the opportunity to look back and see the inbuilt strengths of our people and take this as a direction for our young people.”

THE PROPAGATION OF PINGAO PLANTS FROM SEED

The seed will be ripe from midNovember onwards. As soon as you see loose chaff, and the odd seed that has fallen, lying on the sand beneath the plant, pick the brown seed heads. Leave it any later (Feb-March) and the birds will have beaten you to it. Also it seems that a dormancy mechanism sets in and they will no longer germinate. These times apply to the Auckland area, the season may be a little later further south.

Dry the seed heads, either outside on trays in the sunshine, or in a brown paper bag in the hot water cupboard. It takes about a week to ten days.

Hammer ( the dry seed heads and scrunch them between the fingers. Masses of orange chaff will come away with the seeds, which are dark brown black. Place it all in a bowl and shake from side to side continuously so that the seed settles down and the chaff can be gently blown away from the top.

Sow the seed as soon as possible in a tray using a seed raising mixture (see notes). Cover it with enough coarse sand to hold it down.

After 3-4 weeks the shoots will come through. They are susceptible to snails so keep them baited. When the seedlings are 3" (Bcm) high and quite strong pick them out 2-3 to a pot using either a 7cm propagation tube, or a yoghurt pot with drain holes cut in the bottom. Use a seedling mixture (see notes).

At all stages, the regular use of a fungicide e.g. captan would be beneficial.

By this time it is winter. Ensure that the plants do not stand waterlogged. With the warmth in spring the plants shoot away, and at this stage may be planted out in a protected area. Protected that is, from hares, rabbits, horses, goats, and cattle beasts. They will need constant weeding to survive. Ideally the plants should be potted on again as the survival rate is much better the bigger the plant. Pot into black plastic planter bags i.e. PB3 or PBS or use large yoghurt pots of 500 g size. See they have sufficient water over the summer months. Use a growing on mixture (see notes).

Plant out the young pingao in the autumn so that growth can be established before winter. If you are planting in the sand dunes be sure that the pingao will not be smothered by other plants such as marram grass or lupins. Plant in groups of up to 20 plants at 15-30 cm spacing. This seems to give protection against the blowing sand and also will trap the seeds. If you are planting in soil gardens, make sure it is a well drained area, perhaps add some sand to lighten the soil, or else raise the garden bed. Say to them as you plant, Kia tupu tonu koutou ake ake ake!

horticulture units were very keen to grow the plants on. They were pleased to be growing a plant with which many of their students could identify; they were interested in the conservation angle; and were happy to find the plant has a practical use. Since pingao is not a “commercial” plant any propagation and distribution from schools will not get up the nose of the local plant nursery trade. If you think that you could use the enclosed notes for publication in your magazine and so encourage other schools to grow pingao, please feel free to do so. I only ask that you acknowledge my authorship. Yours truly JENNIFER OLIPHANT

Dear Sir, My branch, the Waiwharariki branch of the M.W.W.L. have urged me to write to you, concerning the propagation of pingao. In the past it has had a reputation for being difficult to grow from seed. For the past two years we have managed to propagate it successfully. This work has been confirmed by Ken Davey of the New Plymouth Parks and Recreation Department, who has also had success from seed. We have distributed plants and seedlings amongst the weavers, to the Community Colleges at Tauranga and Gisborne, and to the secondary schools around Gisborne, East Coast, to Opotiki, where pingao is now a rarity. Those schools and colleges that have

COMMERCIAL POTTING MIXES a Seed raising mixture [January] Any commercial mixture but add pumice sand or coarse washed sand. Three parts commercial mix and one part sand. Water well before sowing seed. B Seed mixture [pricking out) [MAY] Any suitable commercial mixture diluted with one part sand with three parts commercial mix. C Growing on mixture [larger plants) [OCTOBER] Any suitable commercial mixture diluted with two parts sand with two parts commercial mix or 1:1 if you like! PEAT AND PUMICE SAND GROWING MIXTURES A Seed sowing mixture [JANUARY] 50% sand 50% peat 3g dolomite lime/litre of mix (3kg/m 3 1.5 g ground lime/litre of mix (1.5 kg/m 3 0.75 g superphosphate/litre of mix

(0.75 kg/m 3 0.4 g potassium nitrate/litre of mix (o.4kg/m 3 Use a fungicide to drench the mixture before sowing the seed e.g. terrazole or captan. Liquid feed seedlings with “maxicrop” Vz strength or “black response” Vz strength, weekly. B Seed [pricking out) mixture [MAY] 50% sand 50% peat 3g dolomite lime/litre of mix 1.5 g ground lime/litre of mix lg superphosphate/litre of mix Liquid feed with “maxicrop” Vz strength weekly. C Growing on mixture [larger plants) [OCTOBER] 75% sand 25% peat 3g dolomite lime/litre of mix 1.5 g ground lime/litre of mix lg superphosphate/litre of mix Liquid feed with “maxicrop” Vz strength weekly. from Ken Davey New Plymouth Parks and Recreation Department