Emma Espiner goes to Porirua to meet the Wallace whānau and hear about a night in ED that changed their lives.

For her GP placement, Emma asked to go to Northland. She's on the road with rural doctor Kyle Eggleton, whose weekly clinic is in the remote outpost of Tuparehuia.

Dr Vaaiga Autagavaia takes Emma to meet the rugby league team he coaches in Sir Edmund Hillary Collegiate, a training programme that goes far beyond sport and into the development of life skills.

Emma's in Tairāwhiti, where "by Māori for Māori" has the potential to be more than just a slogan in healthcare.

Why do so few indigenous doctors end up becoming surgeons? And why does it matter?

Emma travels home to Tukorehe for her tā moko, and gets some advice from Dr Glenn Colquhoun.

Emma spends lock-down at Auckland hospital, and sees how government action on COVID-19 underlines the lack of urgency when it comes to Māori health.

Originally from Egypt, Kareem show us his absolute love of tennis as a way to connect with the community.

Latifa lovers hearing stories from her grandfather Mahmood, particularly about her great, great grandfather who moved to the Waikato in 1908 and helped build the first mosque in New Zealand.

Engin and his wife Ayla are from the former Yugoslavia and moved to New Zealand after growing up in Turkey. With their two boys they love camping and hiking all around New Zealand.

Shaymaa, who has both Syrian and Iraqi family, believes that all cultures have a connection to each other. She loves learning and is currently teaching herself Te Reo Maori and Japanese.

Dewi loves cooking, particularly Indonesian food she learned from her mother, as she loves seeing the joy it brings to her family and others. Dewi's dream is to one day own her own restaurant.

Tima was only 10 when she moved form Iraq but her love of the water has never left her. For Tima, mothing feels as good as a New Zealand summer with family at the beach.

Did Metiria Turei mean to turn the 2017 election on its head? Earlier that year the former Green Party co-leader made an admission that would upend their entire campaign.

In 2004 Tariana Turia voted against her own government's foreshore & seabed legislation, before resigning from Parliament & returning as the Māori Party co-leader.

In 1996 New Zealand First signed a deal with National to form the first MMP coalition government and Tuariki Delamere knew he would be a one term MP.

Sandra Lee is a history maker - the first Māori woman to win a general electorate seat, and the first person to lead a kaupapa Māori party (Mana Motuhake) into parliament.

Tau Henare retired from politics in 2014, but could there be a comeback? Asked if he misses parliament Tau doesn't hesitate: "Hell yes!" he exclaims.

They called her ‘the Foxy Lady’ and just a few weeks after entering parliament Masterton mother of nine Marama Fox almost brought down her party’s government.

In this short-form encapsulated history of the Dawn Raids era, historians, Pacific families, teachers and a policeman help to paint a picture of a time that redefined the lives of Pacific people in Aotearoa.

What led Commissioner Larsen, the New Zealand administrator of Niue in the 1950s, to be murdered in his bed by three locals hell-bent on justice and revenge? Niuean family members, politicians and historians give their perspectives on the little-known New Zealand colonial history of the ‘realm nation’ of Niue.

This is a story of indigenous land rights gone awry, a makutu from an aggrieved family and the failed business ventures of an infamous 'haunted hotel' in Rarotonga.

New Zealand’s period of rule in Samoa was marred by bungled administration and fatal decision-making. The death of one fifth of the population via Spanish influenza, and the fatal shooting of unarmed Samoans by NZ police during a peaceful public march are two key events. This piece sheds light on this period of New Zealand and Samoan history that remains little examined in Aotearoa.

Delving into the legacy of the colonial history that underpins much of the racial disharmony in modern day Fiji, this episode examines some of the fraught factors that have led to the migration of Indo-Fijian and indigenous Fijian communities to Aotearoa.

Paula Bennett is one of the most recognisable faces in recent political history. Charismatic and hard-working, her steely determination saw her quickly rise through the ranks of the National Party.

Georgina Beyer knows all about breaking barriers – becoming the first transgender MP in the world. But what is her biggest regret as a Māori MP in Parliament? The former Labour Party MP describes the fallout over the Foreshore and Seabed legislation.

Ron Mark is a staple of New Zealand politics. The former New Zealand First MP’s political career spans 26 years and he’s certainly no stranger to many. But it wasn’t until he was in his 30s he found out the meaning of his own name and whakapapa.

From the frontline of protests to the corridors of Parliament - Former Te Tai Tokerau MP Hone Harawira reflects on a lifetime of service to Māori.

In 2017 the Māori Party was voted out of Parliament – a loss which almost destroyed its former leader Te Ururoa Flavell. Fast forward to the 2020 election, and Te Ururoa Flavell is proud to see the Māori Party’s return to Parliament – with Rawiri Waititi winning the Waiariki electorate.

Former Green MP Denise Roche remembers the day she revealed in Parliament she was a survivor of sexual abuse - and taking a stand against then Prime Minister John Key.

Former Labour Party MP Dover Samuels is a veteran of Māori politics. But on his rise to prominence - a political scandal threatened to derail his career. Dover Samuels opens up to Mantangeria presenter Mihingarangi Forbes about the unfounded sex crime allegation which lost him his ministerial portfolio.

Former National MP Harete Hipango may have had a short stint in Parliament. But the Whanganui lawyer has a long history of fighting for her people.

The story behind New Zealand’s first ever hip hop track, 'E Tū' by Upper Hutt Posse. Featuring members Te Kupu, DLT, Teremoana Rapley and Bennett Pomana. In 1988, Upper Hutt Posse released Aotearoa’s first ever rap song, E Tū. Years later, the hip hop group stood on stage at the New Zealand Vodafone Music Awards, broadcast live to the nation, finally gaining the recognition they deserved for their landmark contribution to New Zealand music. Their belated induction to NZ’s Music Hall of Fame “didn’t mean shit” to Upper Hutt Posse member DLT. It is the song that means something to him, not the accolades but the message. And it was this sentiment that the song’s writer and lead rapper, Te Kupu, was still relaying, on live television, 30 years later. Thinking back to Te Kupu’s acceptance speech, DLT laughs, “We all knew he was going to go there so we didn’t prepare nothing.” Like his song, Te Kupu’s speech at the Music Awards drew lines between New Zealand’s colonial past and the struggle for Māori rights in New Zealand’s present. He called out power. He singled out the Prime Minister. He didn’t water anything down.

Teenagers Brenda Pua and Hassanah Iroegbu began their music careers after winning a grant from Manukau City Council. They were introduced to music producer Alan Jansson who helped them create their enduring 1994 hit ‘In the Neighbourhood’. Two teenagers from Ōtara, Brenda and Hassanah, were the voices behind the 1994 song, In the Neighbourhood. Released under the name ‘Sisters Underground’ their song made the NZ Top 10 on release, hit the charts in Australia, and went on to become an iconic part of New Zealand music history. And yet, the song’s success came as something of a surprise to the duo who, years later, are still coming to terms with the resounding impact ‘In the Neighbourhood’ had on Aotearoa. “When that came out, it was a very proud moment,” Upper Hutt Posse member Teremoana Rapley says. “It felt like I wasn’t alone, because up to that point, there were no sisters to the left or to the right of me.” Sarah Tamaira AKA Voodoo Child shared a similar experience: “You know, when you’re a young girl those kinds of things mean everything to you, seeing brown faces on the TV.” The song carries with it a strong sense of identity. It was funded by a Manukau City Council grant, and the music video was filmed in various locations throughout Ōtara, including their own homes, friends and families. Thinking upon her lyrics, Hassanah explains: “I was really trying to connect the hip hop that I admired to what we would do every day. I wanted it to reflect social inequalities… the true enemy in my mind at that time was, you know, the system.”

Kiwi-Samoan artist King Kapisi’s 1999 hit 'Reverse Resistance' raised the standard for music. It sent shock waves through Aotearoa’s underground hip hop scene and with it, Kapisi became the first-ever hip hop artist to win the coveted Silver Scroll songwriting award. In the words of Auckland hip hop duo Eno x Dirty, “he exudes hip hop and Pasifika as well.” Kapisi grew up in Wellington but maintained a strong connection with his ancestral home of Samoa. He found inspiration in Samoan hip hop group The Mau, which fused hip hop with Samoan culture. For Kapisi, The Mau expanded the realm of what was possible in music. “I have a very strong cultural roots connection to my home of Samoa,” Kapisi reflects. “The difference between most rappers and me was that I was going to represent me and my hood, my country, and the area that I’m from. And so I make South-Pacific hip hop.” This South-Pacific focus shines through. In his lyrics, rapped over stripped-back guitars, drums, and even an orchestral string section, he speaks of combating colonialism. He focuses on the religion it brought into Samoa and the lives it “fucked up”. The song stands in resistance to colonial power calling for its reversal. Even Reverse Resistance’s music video, filmed on Savai’i, in his village of Fagamalo, works to this end. Directed by Kapisi’s sister, Sima Urale, it shows Samoa not as a commercialised holiday destination or a page out of National Geographic, but as a living place in its own right. It moves hip hop from the hood to the Islands. NZ hip hop artist Melodownz recalls watching the video with his Samoan grandmother: “I’d never been to Samoa, so she was telling me about where things were and stuff in that video... It made her happy.”

When New Zealand’s first all-female hip hop crew, Sheelahroc, dropped their track ‘If I Gave U Th’ Mic’ in 2000, they were propelled onto the national stage. The crew consisted of three members: Ladi6, Voodoo Child, and Tyra Hammond. They were rappers, writers, performers, singers, and MCs. In short, they were, as hip hop artist Randa describes them, “dope, talented woman.” Voodoo Child thinks back to the birth of Sheelahroc: “everyone else that was MCing the time that I was around were all male. But I heard from somebody else that there was another chick in Christchurch who was also writing raps.” That chick was Ladi6. They joined forces, and soon after Sheelahroc picked up their third member, Ladi’s cousin, Tyra. The teenagers treated their band like a business, holding weekly meetings and even keeping minutes. The vision was clear. Ladi saw all-female rap crews overseas and wanted that same representation here in New Zealand. “There are definitely attitudes out there that women should be a certain way,” Randa says, “like, gentle or low key. But when you see a woman with mad skills, you cannot deny the power there.”

Scribe and P-Money tell the story of their record-breaking hit ‘Stand Up’, which knocked international artists off the top of the charts and spent 12 weeks at number one. In 2003, a track off the debut hip hop album by rapper Scribe rocketed to number one on New Zealand’s music charts. The song, ‘Stand Up’, beat out artists including 50 Cent, Justin Timberlake, the Black Eyed Peas and R Kelly. With it, Scribe became the first-ever Kiwi to have a number one single and a number one album – at the same time. DJ P-Money worked with Scribe from the beginning, swapping beats in the form of cassette tapes through the NZ Post. There was a feeling in the air of comradery within New Zealand’s hip hop community, “and Scribe wanted to create the anthem for it,” P-Money says. ‘Stand Up’ was that anthem. In it, Scribe name-dropped a raft of players in the Aotearoa music scene: Nesian Mystik, Footsouljahs, Time Bandits, Deceptikonz, Four Corners, and more. He included not only hip hop artists and breakdancing crews but rock bands as well. “It was important to roll call everyone because, to me, hip hop is everyone,” Scribe says. “It’s about participation. It’s about including people. It’s about acceptance.” Scribe’s success was unprecedented. Almost immediately after ‘Stand Up’s release, he went from writing raps in his cousin’s laundry to getting mobbed by fans at the petrol station. The fame shook him. “It was actually quite scary. Like, I didn’t like it… I’m getting fucking screamed at. People, like, yelling out, surrounding the car, banging on the windows,” he recalls. At the time, no one in New Zealand could compare to that kind of fame. Scribe’s youth, anxiety, and natural introversion did little to help. It was the cost of being the first to the top. Scribe brought Aotearoa hip hop to the forefront of Kiwi consciousness, and swept himself forward with it. This episode covers Scribe’s ambitious journey to fame, the shape of Aotearoa’s early 2000s hip hop scene, and the pushback he received from the music industry and features rare behind the scenes footage of the ‘Stand Up’ music video shoot.

When South Auckland trio Smashproof released 'Brother' in 2009, it created controversy. The song’s music video depicted the events leading to the tragic death of Pihema Cameron, who was stabbed for tagging. “It had to be said in a song and it’s unfortunate that some people got offended,” Smashproof member Tyree says. “It definitely stirred some huge topics that we face in society today and that’s, pretty much, racism.” The topic hit home. Brother quickly shot to number one, and now holds the record for the kiwi song which has spent the most consecutive weeks topping Aotearoa’s charts. The hit, with its unusual vocals, catchy beat, and verses depicting life in South Auckland, critiqued systems of crime and poverty in New Zealand. On it, Smashproof spoke about loss, about inequality, about the challenges facing their community. Hip hop artist Tipene explains Bother’s impact: “in terms of the timing, when they came through, that was speaking to the hearts of people, man. And I understand why that song went on to do what it’s done. It broke records, but it also mended hearts.” After the single’s release, the crew felt like “the Beatles of New Zealand” when performing. Smashproof member Sid Diamond was surprised at the popularity of such a personal song. They were a group of three South Auckland teenagers speaking about what South Auckland was like for them and the racism they encountered. But the song stretched beyond this focus. “You know, it happens everywhere, it’s not just South Auckland,” explains Smashproof member Deach. “Even though we use brother as a metaphor for South Auckland, ‘brother’ is just a metaphor for a small community, or for someone that’s struggling, that needs help.” And just as the song speaks to places beyond South Auckland it also reaches beyond the time it was written in. The problems Smashproof highlighted in brother are still relevant to New Zealand today. “It was a really good insight into what was happening at the time, and I guarantee not much has changed.” says Sid Diamond. In this episode, Smashproof grapple with issues of inequality, racism, and grief. The episode tracks the creation of brother, the controversy surrounding the music video, and the resounding impact of the song, both in hip hop and in the wider New Zealand society.

Before Church & AP's 2019 hit 'Ready or Not' was even released, it had been picked up by Mai FM, played at Childish Gambino’s Pharos festival, and been the most Shazam-ed song in New Zealand. 'Ready or Not' was set to become a phenomenon. And its success wasn’t limited to Aotearoa either – this homegrown hit made it big internationally too. Radio BBC 1Xtra discovered the song, and soon the boys were on a flight to the UK. Ready or Not, with its falsetto hook, banger chorus, and fresh vocals, was being played on repeat. Speaking about Church & AP’s international acclaim, hip hop artist Dirty says, “because of the internet, people aren’t just looking left and right and trying to be the best rapper on their street, you know. It’s like you’re actually competing with the world.” Church & AP’s rise to the top didn’t come out of nowhere. The duo found a mentor in kiwi rapper Melodownz at a music program in their local community centre. He was one of the people who pushed the pair to continue with their music. Straight from school, still in their uniform, Church flicked AP the hook for what would become Ready or Not. “These kids are like, so driven in what they know they ant to do and how they want to do it,” says DJ ILL BAZ. “It’s just their first, like, they’re not even getting started yet.” The song, perhaps, crests a new wave in New Zealand hip hop which has been rising for some time: artists who take the history of Aotearoa hip hop, of international hip hop and build on it. As Scribe says “I wanna hear what else they got. I wanna hear stories. I wanna feel it… I’m looking forward to what they’ll do. I’m looking forward to what the next generation does because I think it’ll be big.” This episode tracks Church & AP’s speedy rise in the hip hop world and explores where the new New Zealand hip hop sound is heading. Because, ready or not, the future of Aotearoa hip hop is already here.

Meet three fine artists whose work transcends gallery walls.

Meet three diverse multi-media artists – Seung Yul Oh, Claudia Kogachi and Charles Buenconsejo.

Meet a diverse group of musicians – hip-hop artist Hanju Kim (aka hans.), synth-pop duo Imugi, pop artist Satta Vairowalia and double bass player Umar Zakaria.

Meet three dancers – Chinese-born ballet star Xin Ji, K-pop (Korean pop) choreographer Rina Chae and Indian-New Zealand performer and dance teacher Swaroopa Prameela Unni.

Meet three theatre practitioners bringing diverse narratives to our stages – Sarita So, Ahi Karunaharan and Sananda Chatterjee.

Meet three designers using their creativity to make a statement – graffiti artist Bobby Hung, installation artist Kerry Ann Lee and fashion designer Natasha Ovely.

This episode showcases 3 the Hard Way’s first debut single ‘Hip Hop Holiday’, the first single with a NZ On Air-funded video to reach No.1, where it solidly remained for three weeks in early 1994.

In 1995 OMC’s biggest track ‘How Bizzare’ was released and shot straight to the top of the charts in at least five countries. Pauly Fuemana and Alan Jansson collaborated on this classic kiwi track.

Self proclaimed ‘Pioneers of hori-fied hiphop’, Dam Native released their award winning track ‘Behold my Kool Style’ in 1995 with the aims of provoking reactions and conversations. In 1996, Dam Native’s ‘Behold My Kool Style’ made waves in challenging the ongoing effects of Pākehā colonisation and racism against Māori and Pacific peoples in Aotearoa.

MOS was first brought to life after an unexpected meeting between Yudhi and Steve in a clothes store in Auckland in 2000 and in 2004 released their life changing single Fools Love. Post-Y2K in 2004, with dial-up connections becoming commonplace, the song ‘Fools Love’ saw the Misfits of Science become one of New Zealand’s first bedroom producers to hit number one.

Tha Feelstyle created an abstract way of rhyming and rapping in both English and Samoan. The music video of his award winning single Su-amalie/Ain’t Mad at You was filmed back in Samoa. Rapped nearly entirely in Samoan, Tha Feelstyle’s 2004 single ‘Su'Amalie’ was a tribute to the islands of the artist behind the track, Kas Futialo, and helped inspire Pacific artists in Aotearoa to incorporate their native tongue into their hip hop.