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Capturing the pure essence of the screen 2010 Screen Music Awards page 13

Releasing ‘cover’ songs debunking the myths about licensing page 18





APRA Ambassadors


From top to bottom and left to right – Carl Vine, William Barton, Burkhard Dallwitz, Jonathan Zwartz, Melinda Schneider, Brendan Gallagher, Lior Attar, Amanda Brown, Christopher Gordon, Eric McCusker. Photography by

Justin Malinowski @ Blue Murder Studios

> Photo: Blue Murder Studios

> contents issue 03 2010


Solid results in a challenging year: 2009-10 Financial Results To the Point


Song Stories: “Hold Me” by Guy Gross PDA Post Card – Laura Jean


Indigenous Update


Your Royalties Online The Seed


International Notes Living the Dream

14 16

Capturing the pure essence of the screen Gone to MIDEM, be back in a year... Screen Rap


Get Your Good Vibes Rising 2011 Hilltop Hoods Initiative Releasing ‘cover’ songs – debunking the myths about licensing


Corporate Update Member News


Publisher News


Publishing: New decade, new deal … or no deal?! NZ UPDATE: Silver Scroll Awards 2010


What’s Happening

editor’swrap “Like hidden notes in jeans ... royalty cheques are in. Copyrights are sexy when they pay!”

Early last month an astounding 23,000+ APRA members received royalty payments for their live performances. For many members APRA royalties are a lifeline and nowhere was this more evident than in the many lovely tweets that you all sent through. I thought I would ‘re-tweet’ to you, via APRAP, my favourite analogy: “Like hidden notes in jeans you don’t wear often enough @ APRA_tweets royalty cheques are in! Copyrights are sexy when they pay.” Couldn’t have said it better myself @scottspark! This is the final edition of APRAP for 2010 and what a year it’s been! Rob Collins, our National Indigenous Writer Services Representative wraps up the year in his Indigenous Update (p. 7); we present to you the winners of the 2010 Screen Music Awards (p. 13), and a one-on-one interview with Guy Gross, winner of the Best Original Song Composed for the Screen (Song Stories, p. 5). We also look at demystifying the licences needed to record and sell ‘cover songs’ as well as shining the light on earning royalties in an online environment (p.9). Gracing the cover of this issue of APRAP are ten of our Ambassadors - APRA members who have been appointed to assist us to understand key issues affecting songwriters, musicians, performers and the music industry in general. Have a relaxing and creative silly season and we’ll see you in 2011!

Allison Gumbleton

APRA member since 2007.

Holiday Sidewinder

what’smyscene? Holiday Sidewinder (born Holiday Carmen-Sparks) is vocalist, co-writer and lead guitarist from indie band Bridezilla. The Sydney quintet boasts a less than conventional line-up of vocals/guitar/ drums/violin/saxophone. Bridezilla released their first self-titled EP on Ivy League in 2007, and in October 2009 released their debut album, The First Dance.

What is it you most value about music? The ability it has to move people, physically and emotionally, in any direction. What are you currently working on? Bridezilla’s sophomore. What are you listening to? Baby D’s “Let me be your fantasy” and Gary Bartz’s “Celestial Blues”. What is your favourite film that is about music or is it a musical? Bugsy Malone. What is your favourite book/website about music? I’ve been enjoying the Easy Listening/Exotica/Erotica blogs, cataloguing out of print records. What is the best live performance you’ve ever been to, whether you were performing or not? Suicide ATP NY ‘09. The floor was rumbling, my heart was thumping, and they were on fire. What is the quickest piece you have written and which piece took the longest to write? “Heart You Hold” is the most epic song we have ever written. We were at The Colo River for the weekend, and we spent the entire time dictating runs and timing section changes. “Homewrecker”, our latest effort, came together in one go, completely improvised. That’s unbeatable.

Who have been your greatest musical influences? My mother and her record collection. What is your most marked characteristic as a songwriter/composer? Lyrical symmetry. Who would you most like to collaborate with and why? Pharoah Sanders. It would be dope. What’s your favourite piece (that you’ve written)? Little ditties that only my bedroom walls have heard. What piece written by another writer do you wish you had written, and why? “Moonlight Sonata” - it’s pure gold. I play it to go to sleep at night. What is the quality you most admire in a songwriter/ composer? Genuinity. What is the best career advice you were ever given? Serge Gainsbourg: “Relax Baby, Be Cool”. If you were not a songwriter/composer, what might you have ended up doing? Writing papers, sitting at an office pile high. aprap


SOLID RESULTS IN A CHALLENGING YEAR: 2009-10 FINANCIAL RESULTS APRA|AMCOS are pleased to report a strong financial result for the year ended 30 June 2010, featuring increases in top-line revenue and royalty payouts, plus tightly managed expenses and operating costs. “The past year has presented many challenges but ultimately solid financial results and positive developments for APRA and AMCOS in a range of areas,” said CEO Brett Cottle. APRA’s gross revenue – covering performance and broadcast income – grew by 8.0% during the year, to $172.4 million. For AMCOS, which administers mechanical and reproduction rights, gross revenue remained at almost precisely 2009 levels ($50 million), despite a significant fall in record sales during the year. APRA’s expense to revenue ratio declined by more than half a percentage point – to 12.1%, while AMCOS’ commission rates – ranging from 3 to 10% - remained unaltered. The combined increase in revenue of 5.8% for the 2 societies meant that a record $194.6m was available for distribution to members and affiliated societies.

Highlights l APRA|AMCOS achieves record revenue of $222.1 million (up 5.8%) l Record number of music creators and rights holders paid by APRA: 223,756 l 62,157 APRA Members (up 10%) l 7,644 AMCOS Members (up 30%) l 15% increase in Indigenous membership l APRA general performance licensing revenue increased 21.6% to $50.6 million l APRA|AMCOS digital download revenue up 52.6% l APRA international revenue reached a record $21.9 million

You can view the full 2009-10 Overview of APRA and AMCOS’ Financial Year Results online at: About%20APRA/2010_AA_YearInReview. pdf

As we go to press, digital distribution of music and the problem of P2P traffic continues to loom large. By all accounts, sales of CDs and other physical product are down again year on year (by some estimates – as much as 25%) while increases in legitimate digital download sales will go nowhere near compensating songwriters, artists or their business partners for the losses to P2P (just try googling “freemp3”). On the legal and regulatory front, we continue to await the full Federal Court decision in the iiNet appeal and we cautiously welcome the NZ Select Committee’s recommendation to embrace spot fines rather than disconnection for repeat infringers. But the real solution might yet be found in licensing rather than enforcement. If the music industry’s mindset can change from control to remuneration, and if the ISPs can get serious about facilitating a pay-forcontent philosophy (which brings with it a no-pay/no-access regime) it might be possible – at least for music, to adopt an open licensing approach to all music on the internet. Our new Policy and Business Development unit, under Richard Davison’s direction, will be pursuing this idea as a strategic priority over coming months.




Hold Me by Guy Gross At the 2010 Screen Music Awards presented by APRA and AGSC, composer Guy Gross’s haunting song “Hold Me” won the award for Best Original Song Composed for the Screen.

from A Model Daughter: The Killing of Caroline Byrne By ANTHEA SARRIS Communications APRA|AMCOS

A slow, sparse work consisting of piano and voice – with Wendy Matthews singing the open harmonies – “Hold Me” expresses deep grief and loss from the perspective of the subject of the film, the late Caroline Byrne. “She is asking people to remember, literally a voice from beyond the grave,” said Guy Gross. Presenting Gross with the International Achievement Award at the 2009 Screen Music Awards, producer Steve Knapman described his music as going beyond functionality, as having a soul and life of its own. Nowhere is this more evident, than in “Hold Me”. The song features at the heart of the film, accompanying the pivotal funeral scene.

Part of the storytelling equation “This kind of film is a little more challenging for a composer because your audience generally knows who the bad guy is and they know the ending. So many of the scenes had to be scored with an inevitable nature to them, so the intrigue couldn’t be over the top; it had to be very understated and sympathetic.” Describing himself as a conventional film composer, Gross prefers to use melody and harmony to tell stories as opposed to some of the more contemporary approaches of sound design and rhythmic patterns. “Call me old fashioned, but I really believe you can say so much more emotionally with conventional musical devices. Of course not all films suit this approach.” Gross sees his scores as “part of the storytelling equation” and seeks to tightly parallel his music with what is going on on-screen: from camera moves, to speed of dialogue delivery and to the actual story being told. “When a project is well directed with a clear single minded vision, it’s just so much easier to find your musical feet. So I guess with A Model Daughter: The Killing of Caroline Byrne, I did exactly the same as each other department; I just did it with notes.”

Genesis of the song During the scoring process, Gross left a piano track on record and “toodled” on the piano as he watched one more scene (the funeral) before breaking for lunch. Upon returning from the break, Gross discovered that the pre-lunch toodles had the makings of a song. “Turns out my fingers chanced upon some particularly beautiful, simple, yet slightly unexpected chords. At that point I decided to turn it into a song rather than ditch it and compose a piece of score; even though the idea of a song wasn’t even discussed at the spotting session.”

Gross wrote the lyrics as a simple poem, beginning with “hold me”- gifted to him as the scene commenced with images of a man reaching out to hold a coffin. The whole song was completed within a few hours (including lunch) and Gross sang the demo himself - “Scary. Love auto tune!” A song was the last thing the director and editor expected when they arrived to listen to the score in progress. “When it came time to play the funeral scene, I told them I’d written a song for it. ‘Nah, you didn’t?’ they replied, I think truly hoping I was joking. Thankfully they loved it.”

The challenges of composing for the screen In addition to scoring music for hundreds of hours of television including dramatic mini-series, children’s animation, documentaries, commercials and a number of Australian feature films, Guy Gross is a director and partner of Trackdown Digital - one of Australia’s leading film music and audio service providers - and, he is also Vice President of the Australian Guild of Screen Composers. As an active and long term participant in the Australian screen composition community, I asked Gross about the impact of technology on screen composition. “From a craft point-of-view not much has changed for me. Sure, computers have improved the actual music production of lower budget music and the web has shrunk the world, but I’m still manipulating the audience with notes. There are still only 88 keys to choose from; it’s just getting them in the right order that’s a bit tricky. “Technology has certainly made it easier for the less skilled to create music of adequate production quality; in fact, often very high. And there is plenty of TV being made that is perfectly suited to this music. But generally its sonic quality far surpasses its emotional impact and inherent musicality.” So what does the future look like for screen composers? “The future terrifies me. I see more and more mediocre music getting screened because one, the audiences don’t know better and two, the producers don’t know better (or do and don’t care). The desire for quality is going the way of so many industries: fast food, disposable appliances, crass commercialisation. I guess I just have to hope there’s enough desire for my particular services in the future. And for others, they may have to consider what’s more important to them; financial success or artistic satisfaction. Because the two rarely work together I’m afraid. “I am definitely lucky to have found my niche.”


2009 PDA Winner: Popular Contemporary

The professional development award I received from APRA in 2008 helped me get over to Europe to play shows. I now have a small following in Oslo! Well-known Norwegian artist Jenny Hval is coming over to tour the east coast with me in December. Hopefully it is the beginning of one of many beautiful, tour-swapping relationships. I also used the money to support myself while I moved to the country for a year to sort another album out. Because of the space and time I was afforded, I was able to take my time and, with my band, figure out what the songs needed. What they needed turned out to be the filthy tones of a pastel-yellow Gibson SG, which I received as part of the PDA. The album will be out next year. We also used some of the money to buy a bit of recording gear. Never again shall any idea, no matter how humble, go undocumented! As well as the financial gains, it was really nice to be recognised. I was working on music really hard at the time, much of it on behind the scenes stuff, helping produce and arrange other artists’ songs. I hadn’t really won an award before. In fact, I recall that one of the judges in a song writing competition I entered ages ago gave me a C minus. I still want to know what the minus was for. Why not just leave it at a ‘C’? My point is that I am living proof that the APRA Professional Development Awards recognise the hardworking underdog as well as the artist with the groaning mantelpiece. Thanks APRA, the award was a huge honour, and a great help.

The 2011 APRA Professional Development Award winners will be announced in March. The bi-annual awards are part of APRA’s commitment to supporting emerging songwriters and composers across a range of musical genres, in the early stages of their career. Open to all emerging songwriters and composers, each 2011 PDA winner will receive a life-changing prize package made up of cash, product, travel, education and recognition, valued at over $25,000. Go to www. for details. aprap


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Key music conferences and festivals continue to go from strength to strength and I again had the pleasure to take part in many wonderful events this year. My travels first took me to the Yabun Festival in Sydney’s Victoria Park, where I got to chat to Koori Radio host and hip hop identity, Mark “Munkimuk” Ross and The Last Kinection, to kick off the first APRA Songwriter Speaks for the year. Then on to Fuse Festival in Adelaide in February where I caught up with many local and much loved performers including James ‘Jimblah’ Alberts, Nancy Bates, Karnage & Darknis and the super cool Mr. Glenn Skuthorpe. Then on to sunny Cairns in far north Queensland where, thanks to the TANKS Art Centre and the Queensland Government’s A-Venue initiative, I delivered copyright workshops to 25 Indigenous songwriters and composers who took part in the program, including Torres Strait songman, King Kadu.

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Looking back on 2010, one of the highlights would surely have to be my first experience of The Dreaming festival on the newly-christened “Woodfordia” site - the picturesque acreage that is also home to the Woodford Folk Festival. Under the stewardship of new artistic director, Sam Cook, this year’s Dreaming featured a fantastic three days of music, dance, theatre and culture. The music program itself boasted an array of class acts from Dan Sultan, King Kapisi, Microwave Jenny, David Dow, Leah Flanagan, Radical Son, Shellie Morris, Archie Roach, Dave Arden, The Medics, Busby Marou, Emma Donovan to name only a few. Departing Festival Director and well known industry identity Rhoda Roberts left The Dreaming this year Arnhem Land-bound, to take up directorship of the 2010 Garma Festival at Gulkula – by all accounts, one of its most successful years. Other events on the 2010 calendar included the annual Music Council of Australia Assembly - where a panel discussion was held on how the music industry can take up the climate change challenge by incorporating green initiatives into their events, a challenge taken up by APRA during this year’s Song Summit. The Deadly Awards, where big winners of the night included Busby Marou (Most Promising New Talent in Music), The Medics (Band of the Year), The Last Kinection (Outstanding Achievement in R&B and Hip Hop), TLK front woman Naomi Wenitong was recognised as Female Artist of the Year, and Dan Sultan took out Male Artist of the Year (as I write he is also fresh from two ARIA wins, including Best Blues & Roots Album for the album Get Out While you Can and Best Male Artist). To events in and around the Northern Territory: Music NT hosted yet another successful music conference with the second instalment of iNTune at Darwin’s waterfront precinct; The Alice Springs Desert Festival again stirred up the red dust including a rousing performance from Alice based 3-piece R&B powerhouse, Catch The Fly, and an unforgettable performance from newly formed Desert Divas under the guidance of the original Diva herself, the effervescent Shellie Morris. The Bush Bands Business workshops again played host to some 40 Indigenous musicians from around the Territory, and kicked off three days of workshops and rehearsals at Ross River homestead, in the magnificent Macdonnell Ranges. Looking forward, 2011 certainly shows no sign of slowing, and we should see some key initiatives bear fruit in response to aforementioned Song Cycles report. In addition, talks are underway for the establishment of an event aimed at promoting, showcasing and supporting Australian Indigenous Hip Hop, as I write, the Australasian World Music Expo is gearing up to host a panel discussion and industry forum on the subject and I look forward to reporting on its progress next year. As they say “that’s a wrap”. However 2010 has unfolded for you, I hope music has mattered in your little corner of the world, as indeed it continues to matter for us at APRA|AMCOS, and I wish you a safe and happy Christmas. Until next time. Rob.



Your Royalties Online By Allison Gumbleton, Communications APRA|AMCOS

In the same way that APRA|AMCOS licenses businesses that play music, we also license online music services and websites. As traditional media continues to merge with the online and digital world, it is important as a music creator that you understand how your royalties are earned in the online environment. Here are answers to some of the most frequently asked questions received by the APRA|AMCOS Writer Services team.

Online & Digital Radio Can I earn royalties from airplay on online radio and digital radio stations? Yes. The majority of Australian and New Zealand online and digital radio stations are simulcasts of their analogue versions, and this additional use is licensed under their standard APRA|AMCOS agreements.

User Generated Content Can I earn royalties if my music is broadcast on YouTube? APRA|AMCOS has a licensing agreement in place with YouTube and we have made two distributions since its implementation. APRA|AMCOS’ licence agreement with YouTube covers the streaming of all music videos including music embedded in user generated content (UGC). However, because of problems in identifying music in UGC, distributions are only made on official music videos. You may find that your works have been being reproduced or synchronised as part of other users’ uploaded content to YouTube. It is important to understand that the reproduction/synchronisation rights of a work are owned by the original copyright owner/music publisher. Therefore, a work cannot be used without gaining permission from the original creator (that means you!). If you discover that your musical work has been used without your consent, there are two options available: 1. Contact the user who has used your work and license them directly. 2. Contact us and we will endeavour to have the video taken down from YouTube on your behalf. Can I earn royalties if my music is broadcast on MySpace? APRA has a licence agreement in place with MySpace which is based on a flat fee agreement. Given the significant number of music creators using the service, royalty distributions from MySpace have been relatively small.

Websites Which online services are licensed by APRA|AMCOS? Licence agreements are in place for many digital service providers including: NineMSN, ABC Online, SBS website, Yahoo!7, MCM websites (Take 40 and Hot Hits), News Digital Media sites, Fairfax Digital - to name a few. Please contact your local APRA|AMCOS Writer Services Representative to inquire about a specific service.

Digital Service Providers (DSPs) Can I earn royalties for digital downloads? APRA|AMCOS has a licence agreement in place with most Digital Service Providers (DSPs) in Australia. We distribute royalties for any of our members’ works sold over a licensed service within our territory (Australia/ New Zealand). Our digital download tariff has been recently ratified by the Copyright Tribunal with a combined APRA|AMCOS royalty for digital downloads being set at 9% of the retail price, subject to minimum fees. If your songs are available on a download service, please make sure that you provide the ‘performer name’ at the time of registering your works. What obligations/permission/licensing does an artist need to record a cover version of a song and make it available on iTunes (Australia) and/or iTunes (USA)?

Australia In Australia, unless you are making a physical copy of the recording you would not require a licence from us to provide covers versions to an APRA|AMCOS licensed Digital Service Provider (DSP). It is APRA|AMCOS’ approach to license the DSP directly for all of our works sold over their service within our territory. The DSP provides us with quarterly sales reports and we invoice them directly and distribute the royalties to the relevant copyright owners. If you do make a physical copy for whatever reason, you will need to obtain a licence from AMCOS (see au/MusicConsumers/MakingRecordingsRetailSale/ Makingaoneoffrecordingforretailsale.aspx).

USA However, procedures are notably different if you are recording a cover version of a work and wish to sell it as a digital download on a US-based download service. In the USA, DSPs generally do not have an obligation to pay mechanicals and in our experience it is unlikely that your digital aggregator (e.g. Valley Arm or TuneCore) will obtain a licence for you. Accordingly, you are required to take out a licence with the Harry Fox Agency (AMCOS equivalent in the USA). Go to and head to their Songfile Mechanical Licensing tool. In cases where the Harry Fox Agency do not represent the work, you may be able to obtain a compulsory licence via RightsFlow – see and head to the Limelight licensing area.

“Give a man a fish and he’ll eat for a day, teach him how to fish and he’ll eat forever”. By Kirsty Rivers, National Manager Writer Services, APRA|AMCOS In 2005 John Butler and his partner Danielle Caruana acted on their beliefs and vision and created a unique opportunity for the music community of Australia. The Seed (formally the JB Seed) aims to help Australian artists from any background to create art and music across any genre and to establish themselves as self-sustained, professional artists. The Seed has had particular focus on management and Indigenous projects such as providing Indigenous community bands with the opportunity by supporting top end indigenous community bands, by generating paid performance opportunities and encouraging positive outcomes in community life through music. By working from the music community and using the knowledge and skills of the best of that community, they have created a program that creates opportunities, inspires its participants and creates meaningful change in artists’ careers. The Seed is primarily funded by the generosity of musicians and music community workers. Financial supporters of The Seed include Paul Kelly, Missy Higgins and ELEVEN MUSIC although the primary funding has come from John Butler. The Seed has focussed on initiatives that work to create change – sometimes through art and sometimes through a deeper understanding and education. APRA has been involved since 2005 in the management workshop which aims to address the lack of practical strategies when managing a band or performer in the early phase of their career. The workshops involved 20-25 lucky participants over three days in the Blue Mountains, NSW. The annual workshops bring together significant professionals in the music industry, including Philip Stevens, Correne Wilkie, John Watson, Brett Oaten, Simon Moor, Sebastian Chase, Sally Howland and Russell Thomas to name just a few! All of these representatives share their knowledge and offer strategic advice to participants on ways to enhance performance opportunities in the music industry. APRA is proud to be able partner with The Seed through the APRA Professional Development Awards initiative. Three recipients of the awards will be chosen to participate in the Seed Management workshops in 2011 For more information about how you can donate, visit aprap


Editor’s note: Scot has recently been elected as the Chairman of the Asia Pacific Committee of CISAC. Congratulations!

Asian Regional Development In looking at regional approaches to trade for Australia, the cultural industries, and music in particular, stand out as an important means to engage with the region and improve the understanding and appreciation of the cultural diversity of our region. Australia and New Zealand have well developed copyright laws and music industries and are able to provide the support, capacity building and training to countries in the region to enhance their music industries. A recent Organisation for Economic Co-Operation and Development (OECD) report showed that a small improvement in the level of copyright protection in a country leads to a significant increase in Foreign Direct Investment, proving the link between strong copyright protection and economic development. CISAC’s regional office is headquartered in Singapore and works with governments, local composers and industry to establish and develop copyright administration in Asia. Through the CISAC Solidarity Fund and training initiatives, new societies are set up to ensure all rights owners are properly represented and that the professional rules relating to corporate governance and binding resolutions over distribution are followed. Local music industries have often evolved without mechanisms to collect royalties for composers’ rights. Often record companies or online or mobile music services will buy out the rights in the music without reporting the success of the works. For example in India, where most popular music comes from the Bollywood film industry, composers and publishers have not been able to enjoy mechanical rights payments nor payments for mobile music. CISAC has made submissions with the government looking to revise the copyright law to address these issues. In some other Asian territories, the political influence and market power of record companies have proved challenging in enforcing rights in the underlying music, particularly in online and mobile services. In some cases, societies in the region only administer performing rights and not mechanicals. This renders licensing initiatives in the online market more difficult. China has seen some success lately with their society, MCSC, collecting on karaoke and concluding agreements with the major television broadcasters. The Australian government has launched a program called Imagine Australia, promoting Australian cultural industries in China ( In November the Chinese State Administration of Film and TV (SARFT) and the World Intellectual Property Organization (WIPO) held a week of seminars and concerts to promote copyright protection for musical works.

Asian Collecting Societies It is interesting to note that APRA is the oldest society in the region and has sophisticated systems for administering performing, mechanical and online rights. JASRAC in Japan is the largest society and market and Korea has the highest penetration of mobile phones and content services. These three societies have developed their own databases and copyright administration platforms that link into CISNet . CASH in Hong Kong SAR has developed the DIVA system which is used in greater China, by MCSC in the Mainland, MUST in Taiwan, and the new society MACA in Macau, as well as by MACP in Malaysia. COMPASS in Singapore has developed the MIS@Asia documentation and distribution system which is used in the Philippines (FILSCAP), MCT Thailand and IPRS India.

The Future Asian societies must work together, and with publishers, labels and users, to ensure there are transparent and equitable systems to protect the rights of songwriters. In this populous and rapidly developing region, where technology is evolving and being consumed at a breakneck pace, the importance of a strong collecting society that can engage with all sectors of the content industries is paramount. If you have any questions about the use of your music in Asia or any other territory, or if are touring to one of these countries, please contact your local APRA|AMCOS Member Services representative for more information.

Parity: What does it mean for international royalties While importers and tourists travelling overseas have been throwing parity parties to celebrate the milestone of the Australian Dollar reaching the same value as the United States Dollar, the news is not so positive for APRA|AMCOS’ International Department. Our budgets for overseas revenue will suffer as a result of the continuing strong dollar.

≥ Photo: Blue Murder Studios

By Scot Morris, Director International Relations APRA|AMCOS

≥ Cathi Ogden, UK

Compiled by Cathi Ogden & Allison Gumbleton

≤ Anthony Snape, USA

Supporting Our Members Overseas Establishing a music career overseas can be daunting, but sometimes all you need is a little guidance. The APRA Writer Services team is on hand to offer support and advice no matter which corner of the globe you reside or intend to conquer (musically!). APRAP recently caught up with a few members to hear their tales of how APRA has helped them find their feet overseas.

BMI writers - American collecting societies with a slightly different setup to APRA. Some music supervisors told me I needed to join an American collecting society, which I now know is not the case.

USA Anthony Snape – Nashville

Writers affiliated with the American collecting societies also have to be signed to a Publishing Company (or start their own) in order to receive the Writer’s Share of a royalty. APRA writers don’t need to worry about that extra step; APRA streamlines the process for writers. Plus, neither ASCAP or BMI offer Live Performance Returns.

APRA member since 1998 APRA has been key in connecting me with support and opportunities in the United States. APRA plays an essential role at major US events like SXSW providing a bridge between artist/writers and performance / networking opportunities. APRA has made it easy for me to communicate with overseas collection societies and has been a wealth of information regarding the complicated processes that are involved with Performing Right Societies. Ever since opening for Tommy Emmanuel all over the US in 2008 I have been in constant contact with APRA with questions about various situations and how to administer my rights as a writer. APRA has come through for me every time!

USA Matt Ellis – California APRA member since 1995 I’ve worked with many agents and music supervisors since moving to Los Angeles in 2005. Most are used to working with ASCAP or

The APRA Connecting Members meeting I attended in Los Angeles in April offered the chance to meet and chat face to face with APRA Board Member and songwriter, Eric McCusker, to discuss such issues, a meeting that ultimately helped me decide to stay with APRA.

If you are heading to the US and need advice on any aspect of your APRA membership please contact Milly Petriella, Director of Membership

UK Cathi Ogden Since September 2009 Cathi Ogden has been APRA’s dedicated UK Writer Representative, looking after the 250 members living and working in the area. UK-based APRA members have sought Cathi’s advice on royalties, legal representation, publishing issues, overseas Live Performance Returns, agents for live gigs, digital distribution, royalty tracking, ISRC numbers, UK banking and other

general enquiries about living and working in the UK. She is also on hand for managers who are bringing bands over to the UK for tours and helps Sounds Australia at events such as The Great Escape Festival and MIDEM. In addition, Cathi has successfully created a community within the UKbased membership, bringing them together for Connecting Members sessions as well as one-on-one meetings. This has also provided us with valuable feedback on the needs of our members residing overseas, helping us to continue to support them in their activities, and efficiently administer their rights.

UK Sue McMillan – London APRA Member Since 1999 Cathi has been an invaluable professional asset to me here in the UK. The connecting members meetings are informative and fun, and a great way to meet up with fellow APRA members. Cathi has contributed her expertise, advice and support, as well as promoting APRA and its UK based members at every opportunity. She is a friendly, smiling face with an immense passion for helping you achieve or sustain your dream, and best of all - it’s all done on UK time! If you are moving to the UK and need advice on your APRA membership please contact Cathi, aprap


Photos by Martin Philbey

Capturing the pure essence of the screen By Anthea Sarris, Communications APRA|AMCOS

Celebrating the achievements of Australia’s screen music composers at the 2010 Screen Music Awards

The 2010 Screen Music Awards, presented by APRA and the AGSC opened with an eloquent statement from musical director, and award winning composer, Paul Grabowsky, about the challenges of screen composition: “It is a constant challenge to be a good screen composer. You have to be a good communicator, you have to bridge the communication gap between the director, who may not necessarily be conversant in musical terms but maybe is trying to express ‘I want the music to do this and this and this’. And you’ve got to find out what they imagine that means. “Ultimately, to be an effective screen composer, you have to be a good collaborator. Which means you can’t be precious about the music and you have to be prepared at some stage to kiss it goodbye, because it’s going to be out of your hands.” Hosted by The Chaser’s Andrew Hansen and Chris Taylor at BMW Edge at Federation Square in Melbourne, the 2010 Screen Music Awards gathered together the screen music community for an annual celebration of excellence in the field of composition of music for film and television. Christopher Gordon’s magnificent score for Mao’s Last Dancer was awarded Best Feature Film Score and Best Soundtrack

Album. Accepting his awards, Gordon said: “This was an amazing film to work on. It was really a composer’s dream; with such a range of music and a genuine budget. I’d very much like to thank the producer, Jane Scott, for making that possible, and being so fabulous to work with. Director Bruce Beresford is a marvellous man who was so very easy to work with and is very knowledgeable about music. Thank you to APRA and the AGSC from the bottom of my heart.” In closing the proceedings, presenter Noni Hazlehurst summed up the feelings of all those in the audience at BMW Edge: “Composers and musicians get to the pure essence of what film makers are trying to say. It is a great privilege to be able to listen to this music live, to hear these pure essences of the spirit of the M films you’ve created. Thank you for the privilege.”



The 2010 Screen Music Awards are proudly presented with the support of Screen Australia, Seven Network , Media Super and Howling Wolves Wine Company. M








≤ Noni Hazlehurst

the WINNERS BEST FEATURE FILM SCORE Mao’s Last Dancer Composed by Christopher Gordon Best Original Song Composed for the Screen “Hold Me” from A Model Daughter: The Killing of Caroline Byrne Composed by Guy Gross

≥ Ying Jing Ou Yang & Henrique Dib

Best Music for an Advertisement Expedia “Housekeeping” Composed by Elliott Wheeler Best Music for a Documentary Trishna & Krishna: The Quest for Separate Lives Composed by Nerida Tyson-Chew

≤ Dean Francis, Sophie Lowe, Rafael May

≥ Benjamin Speed

≤ Burkhard Dallwitz

Best Music for a Short Film The Lost Thing Composed by Michael Yezerski Published by Sandcastle Music Pty Ltd Best Soundtrack Album Mao’s Last Dancer Composed by Christopher Gordon

≥ Michael Yezerski

Best Music for Children’s Television Itty Bitty Ditties Composed by Thomas Bettany and Benjamin Speed Best Television Theme My Place Composed by Roger Mason Published by Sandcastle Music Pty Ltd Best Music for a Television Series or Serial Underbelly: The Golden Mile Composed by Burkhard Dallwitz

≤ Ash Grunwald

Best Music for a Mini-Series or Telemovie A Model Daughter: The Killing of Caroline Byrne Composed by Guy Gross Most Performed Screen Composer – Australia Jay Stewart Most Performed Screen Composer – Overseas Neil Sutherland ≤ Les, Margaret & Adam Gock ≤ Guy Gross

Neil Sutherland ≥

Want more? Watch it online l Videos of the performances by Paul Grabowsky & Ensemble of all of the nominated works for Feature Film Score of the Year are available online at: videos2010.aspx

≤ Christopher Gordon

l Don’t miss Andrew Urban’s in-depth interviews with nominees and winners of this year’s awards in “The Art of Composing for the Screen”, available online at: aspx?category=110 aprap


MIDEM: 22 – 26 January 2011, Cannes, FRANCE Dubbed the ‘five most productive days in business’, the annual MIDEM conference brings together international leaders of the music industry to discuss, debate and discover new ideas. In 2010 the event attracted over 7,000 delegates, plus 3,200 companies from 78 different countries and hosted 120 conferences. MIDEM has been the international launch pad for many Australian artists and music industry folk. APRAP caught up with Adam Friedman, of Wise Monkey Records to see where his first-time MIDEM experience in 2010 has led him... seems he still hasn’t come home!

Why MIDEM? We’re an independent label and production company from Melbourne and had recently licensed tracks into international advertising campaigns, and had picked up remix deals with UK labels. In addition to this, I had personally been touring Australia at festivals as an artist with a number of acts; one in particular was using a proprietary music performance technology that I’d invented, and we were looking for a way to launch this internationally. We had reached a point where there was sufficient interest in our music and our acts from foreign markets, and MIDEM seemed to be a logical time and place for us to follow up with labels, publishers and investors at the one place. We were interested in MIDEM for networking and also for some of the talks that were going on at the conference. Some of our colleagues had picked up deals in the past from MIDEM, and had recommended it to us, so we saw it as a logical next step for our business.

Why Sounds Australia? Being a part of Sounds Australia was absolutely crucial and made our MIDEM experience far more successful and enjoyable. Sounds Australia gave us a base through which to operate - not only did it help us present a professional front and give us a comfortable location to meet with our key contacts, we also received a lot of additional networking opportunities from people approaching the stand to engage with other Australian delegates,

and we were put in touch with a lot of other people that we wouldn’t have met in ordinary circumstances. Many of these contacts resulted in deals over the next few months, and we’re still being introduced to the right people as a result of the connections made at MIDEM. I can’t recommend being part of Sounds Australia highly enough. The stand was run very professionally, and in addition to creating a friendly space where we could run through our presentations, we also found it a great opportunity to network and collaborate with others in the Australian music industry in a way that we ordinarily wouldn’t get to back home. Millie Millgate in particular was very pro-active in putting us in touch with the right people, plus having the stand as a place to direct interest and also to distribute our marketing materials meant that we made much bigger impact than we would have, had we been operating solo. Sounds Australia presents a united front for exporting Australian music and it was great to be a part of it.

What’s next? We’ve been so successful with the results of MIDEM that I still haven’t been home yet! In particular, the music technology I’ve developed has been adopted by major labels and artists over here in the UK, the details of which we’ll be announcing shortly. In conjunction with Apple, this technology is being incorporated into a suite of apps under the new AirJ brand, and will be available in Australia in July.

Advice for MIDEM first-timers? Definitely go with Sounds Australia, and also start planning early. People book their appointments at MIDEM quite far in advance and the MIDEM online networking systems are very well put together, so you can start selecting who you want to talk to early in the piece. Also be sure of what you want to get out of being involved and have clear goals. MIDEM is an expensive exercise, so make sure it’s an appropriate step to take and that you have your products and story ready. Talk to Austrade as well about export market grants so that you’re aware of what you need to do in order to claim some of the costs back. Also, make sure you have fun.

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Get your Good Vibes Rising Ever dreamed of performing alongside the hottest Hip Hop, Soul, Funk, Dub, Reggae and R&B artists in the world? Well now’s your chance! Good Vibrations Festival is THE musical event of the summer party season and this is a massive opportunity for local Indigenous artists to be a part of it, so don’t miss out on your chance to step up to the stage with Good Vibes Rising 2011! Jam Music and APRA are excited to announce that four Indigenous acts will have the opportunity to perform at the 2011 Good Vibrations Festivals in NSW, VIC, QLD or WA (one artist per Festival state) - opening the Roots Stage in their home state.

Judges for the competition include: Rhoda Roberts, VIBE Australia; Kira Fong, Goolarri Media Enterprises; Bebe Backhouse, Goolarri Media Enterprises; Michael Hutchings, Gadigal Music; Jessie Lloyd, Songlines Music Aboriginal Corporation; Micah Wenitong, Music NT. Go to to submit your application. Hurry! Entries close Friday, 7 January 2011 and winners to be announced 31 January 2011!

The competition is open to Aboriginal and Torres Strait Islander bands whose members are 14+, and play live music in the style of Hip Hop, Soul, Funk, Dub or Reggae. Any underage performers will need to be accompanied by an adult guardian at all times and must agree to the terms and conditions as outlined in the application process. Not only will the lucky winners get the chance to play alongside some of the best local and international names in the business including Koolism, Erykah Badu, Fat Freddy’s Drop, Nas & Damian Marley and Ludacris but they will also have the chance to meet some of the Good Vibrations Festival artists backstage on the day! To seal the deal, APRA will reimburse the travel expenses of each of the 4 winning acts, up to a maximum of $1000, plus winners will get extra tickets to the festival.

2011 Hilltop Hoods Initiative: Hilltop Hoods & APRA Supporting Hip Hop $10k to an emerging Australian Hip Hop artist or group – applications now open! Once again the Hilltop Hoods Initiative will give one emerging Australian Hip Hop artist or group a career starting opportunity - $10,000 to release and promote an album. Proudly brought to you by Hilltop Hoods and APRA, the initiative is open to emerging Hip Hop artists or groups who have not released an album professionally/commercially. The grant is aimed at funding costs associated with the manufacture and release of an album. In addition, the winner will receive legal advice courtesy of David Vodika and Media Arts Lawyers, which can be used for general or specific career advice. Handpicked by The Hoods, the judging panel features some of Australia’s most influential Hip Hop figures: l Hau (ACT) - Artist (Koolism), triple j presenter (The Hip Hop Show) l Nish (SA) - Graffiti Artist, Community Worker l Ran-Dee (NSW) - Manager (Def Wish Cast), Radio Presenter (Alchemy Radio) l Raph (VIC) - Artist, Clothing Label Owner (Blank Clothing), Author (Behind The Beat) Applications open on 17 December 2010 and will be closing 22 February 2011. The grant recipient will be announced 31 March 2011. Go to for details.

What is a cover? A “cover” (cover version/cover song) is the term given to a performance by an artist of a song that has been previously performed by another artist. Covers can be live or recorded renditions and can be very different to the original – think of Alien Ant Farm’s version of “Smooth Criminal” by Michael Jackson, or similar- such as Whitney Houston’s cover of “I Will Always Love You”, originally written and recorded by Dolly Parton. A great song will be covered time and time again and these new versions are as much about the artist presenting their own interpretation of the song as they are a testament to the composition of the song itself – example, Gary Jules’ haunting rendition of Roland Orzabal’s “Mad World”.

Music + Rights = Respect In Australia, The Commonwealth Copyright Act includes statutory provisions which allow a recording artist to release a cover of somebody else’s song provided the song has already been recorded and released and they notify the copyright owner of the recording and pay the appropriate royalty. APRA|AMCOS, through the Audio Manufacture Licence, simplifies the compulsory provisions by providing a one-stop shop for notifying our members of the recording and collecting the royalty due on their behalf.

Fast, simple service Completing the application form and licensing your cover version is probably the easiest part of the whole recording process – all we need is basic information about the release, pressed units (promo and for sale), the track listing including your originals and some personal details about you. Once we have this, it usually takes 2-3 weeks to process the application, after which time you’ll receive an invoice for the royalties due. Paying the invoice satisfies your legal requirements allowing you to start distributing the CD – no need to contact individual songwriters, no need to wait for clearances, and no need to involve lawyers - it’s really that easy! And of course – by taking out the licence you are helping to support fellow composers and songwriters by remunerating them for the use of their works.

By Phil Akouri, Team Leader, Licensing Representative, APRA|AMCOS Recorded Music Services

Debunking the myths about licensing

The licensing involved when releasing a cover song on CD – for retail, promotional or even gig sales is an easy and inexpensive process. APRA|AMCOS does the leg work for you; all you have to do is complete and submit a single, online form - Audio Manufacture Licence Application Form.

Costs The royalty rate applied is 6.0% (plus GST) of the selling price of the CD - this amount is prorated depending on the number of songs we’re licensing. For a 10 track CD with only one cover song, the rate would be one-tenth of 6.0% (plus GST) multiplied by your selling price. For example, if you were pressing 500 units of a 10-track CD with one cover song and selling it for $20 – the royalty would be just $60 plus administration costs. There are obviously other issues you will need to consider which are not related to licensing the cover song- such as recording and manufacture costs, distributors, artwork etc – but these are expected and associated with any recording and should always be taken in to account. In terms of securing the appropriate licensing for your cover song though, it really is as simple as completing a single application form. For further information about the Audio Manufacture Licence, please contact the APRA|AMCOS Recorded Music Services Department, or phone (02) 9935 7700.



News from the Boards

APRA Boards

The APRA and AMCOS 2010 Annual General Meetings were held Thursday 18 November at the APRA|AMCOS head office in Ultimo, Sydney. This year, a record number of members cast their vote electronically (members were able to request the option to cast a postal vote, if preferred). Voting closed Thursday 11 November at 5pm.

APRA Writer Directors

“We thank all APRA and AMCOS voting members for their interest and participation in this year’s elections. We thank our outgoing directors Arthur Baysting and John Anderson for their outstanding contributions to the APRA and AMCOS Boards and welcome our newest Board member, Santiago Menendez-Pidal. In addition, we welcome the Boards’ decisions to return Mike Perjanik and Ian James as Chairmen of APRA and AMCOS respectively,” said Brett Cottle, APRA|AMCOS CEO.

APRA Board

There was one vacancy* for the position of Australian Writer Director on the APRA Board. Retiring Writer Director Jenny Morris offered herself for re-election and was returned. NZ Writer Director, Arthur Baysting, retired after 18 years of service to the APRA Board. Elected to the Board was one of New Zealand’s foremost songwriters, artists and performers Don McGlashan. APRA’s Director of NZ Operations, Anthony Healey said: “Firstly we must pay tribute to Arthur Baysting’s remarkable tenure. As a Board member he showed us what could be achieved and for a great number of years has been an effective and strong NZ voice on the Board. It’s exciting however that our members have elevated Don McGlashan to this vital position as their representative. His experience and wisdom will be a massive asset. We are thrilled to have him involved.” There were four vacancies* for the position of Publisher Director. John Anderson (EMI Music Publishing Australia) retired from the Board after 27 years of service. Bob Aird (Universal Music Publishing), David Albert (J Albert & Son), and Matthew Capper (Warner/Chappell Music Australia) also retired as Board Directors and offered themselves for re-election and were returned. New EMI Music Publishing Australia CEO Santiago Menendez-Pidal was elected to the Board. AMCOS Board There were five vacancies* for the position of Director on the AMCOS Board. John Anderson (EMI Music Publishing Australia) retired from the Board after 24 years of service and four Directors – David Albert (J Albert & Son), Philip Burn (Hal Leonard Australia), Catherine Gerrard (AMPD) and Philip Walker (Origin Music Group) – retired and offered themselves for re-election and were returned. New EMI Music Publishing Australia CEO Santiago Menendez-Pidal was elected to the Board. * APRA and AMCOS Board Directors serve three-year terms in office.

CORPORATE UPDATE By Dean Ormston, Head of Corporate Services APRA|AMCOS > Photo: Blue Murder Studios

Financial Year Results

Vale John Egginton

Our 2009-10 Overview of APRA and AMCOS’ Financial Year Results is now available online at downloads/file/About%20APRA/2010_AA_ YearInReview.pdf and provides a snapshot of our financial performance - money coming and money going out – and our work in supporting music creators and servicing music consumers. It’s a quick and easy read and this year features several of our Ambassador members.

Our deepest sympathies to the family and friends of John Egginton - a former Writer Director on the APRA Board during the 1970s - who passed away in August this year.

Changes The membership will be well served by the recent appointment of Milly Petriella to the position of Director Membership. This appointment forms part of some wider organisational changes which, from a member perspective, will see a closer alignment of the Distribution and Membership Departments; the purpose of which is to rationalise business planning across both areas.

The Distribution Department continues under the capable leadership of Director Andy Stern who is well supported by a skilled management team. Their constant efforts to successfully grapple with astonishing quantities of data as a result of the digital environment are to be applauded. This issue, on behalf of the membership, remains one of the key challenges for the organisation.

The changes are further designed to enable us to deal as effectively as possible with an ever shifting music business landscape and will underpin our objective of delivering the highest quality distribution services to members.

The March 2011 issue of Aprap will make some announcements regarding significant advances in this area.

> Photo: Blue Murder Studios

By Sally Howland - Head of Member Services APRA|AMCOS

member news Distribution 47B The most recent distribution to members (D47B) saw an increase of 18% in the number of musical works sharing in the distribution, up from 477,725 to a new high of 587,027. The number of performance records processed totalled 4.3 million which has resulted in a record 31,114 APRA members earning royalties.

2011 APRA Professional Development Awards (PDAs) Good luck to all those aspiring songwriters who have applied to the 2011 PDAs. Our industry judging panels will convene in January for one of the toughest gigs in the country. That is; selecting eight winners across six categories from over two thousand entries. A special note of thanks to our 29 industry partners whose enthusiasm for the program and practical support in undertaking the initial assessment stage is absolutely invaluable. We couldnâ&#x20AC;&#x2122;t do it without you. The winners of the 2011 PDAs will be announced in Sydney on 14 March 2011.

Good Vibes Rising We are thrilled to announce our partnership with our friends at the Good Vibrations Festival which will see four Indigenous artists chosen to perform on the Roots Stage of the 2011 festival, including the Gold Coast, Sydney, Melbourne and Perth. Submissions are open now until 7 January 2011. See page 17 for details then go to for your chance to be part of Good Vibrations 2011.



≥ The Audreys

≥ Tenielle

ABC Music Publishing Marianna Annas has been appointed to the role of head of ABC Music Publishing. In other news, Andrew Morris has released his fifth solo album Shadow of a Shadow to unanimous critical acclaim. Canadian roots band Elliott Brood (writers Mark Sasso, Casey Laforet and Steve Pitkin) released the beautiful Mountain Meadows and toured nationally. The Audreys released their third album Sometimes The Stars, continuing the powerful creative partnership of Taasha Coates and Tristan Goodall. Sinead Burgess spent time co-writing with La Rocca’s Bjorn Baillie during his Australian songwriting trip. The Chaser songwriters Andrew Hansen and Chris Taylor received a Screen Music Awards nomination, with “The War Is Over” nominated for Best Original Song in a TV Series. Chris and Andrew also hosted the ceremony.

Antipod Music Recent AntiPod Music signing Projekt Inertia [ projektinertia] is making a big splash in the UK with their single “Bangkok” which is out on Low Pressings. “Bangkok” is taken from the forthcoming album We Believe In Now and is receiving plenty of support from the likes of superstar DJ’s John Digweed & Dave Clarke. Numerous tracks from Telemetry Orchestra’s albums Children Stay Free and Empire are being used as musical accompaniment throughout Channel Ten’s hit TV show Offspring.

EMI Music Publishing Having played drums for over 20 years, collaborated and recorded on over 30 releases and performed live around the globe with his father Jimmy Barnes’ band, Jackie Barnes has been described as a drummer of

amazing feel and endurance. After graduating from Boston’s esteemed Berkelee College of Music with Honors, Jackie is now exploring more unconventional forms of musical enlightenment and hopes to develop a documentary series on different musical beginnings in other cultures. Starting with a recent co-writing trip to Japan, Jackie’s musical enlightenment has only just begun.

Fogsongs Latest signing, The Stoics, have been busy recording a new album due for release, early 2011. The first single, “I am Here”, is produced by Marshall Cullen and mixed by Steve James. Russian classical guitarist Alex Chudnovsky released The Renaissance of Life in November, and tracks will be unveiled at the Peats Ridge Festival in January. Rosie Burgess has spent the last three months touring in the USA, returning earlier this month to set up the release of her fourth album Leap. The first single “Stackhat” was released earlier this year and scored Rage’s Indie Clip of the week. Recent signing, Daxton Monaghan, is on a writing and showcase trip stopping in Nashville, San Diego and LA. His latest release Small Steps for Big Kicks includes the track “Moody Liz” from the US TV series Doll House. Jude Elliot is following the success of “Dark Angel” on the MOS God’s Kitchen compilation with a new track, “Twilight (Marlo Mix)” on the new God’s Kitchen compilation, while Mark Cashin’s new single and video “Ordinary People” is getting solid exposure on the national networks.

Future Classic Future Classic has signed Brisbane indie disco four piece Mitzi to a worldwide publishing deal. In addition, Future Classic also inked

a deal with singer/songwriter Alex Ward of Moon Holiday, who will shortly release her debut EP. Bon Chat, Bon Rat was placed with Absolut for their Absolut Glimmer video collaboration with landscape photographer Murray Fredericks. Jamie Lloyd was placed in a campaign for Sydney Harbour Foreshore Authority for their Aroma Coffee Festival.

Hebbes Music Group (HMG) HMG is very pleased to confirm that they have entered into a new long term sub-publishing agreement with John Farrar for his extensive catalogue, including many Olivia Newton-John hits. The catalogue also includes a number of new projects, including a musical version of the film Gidget and a reworking of the musical written with Tim Rice for Sir Cliff Richard based on the “Heathcliff” concept. HMG has also recently concluded a publishing deal with Canadian country singer Corb Lund. A-Train Entertainment is another new signing to HMG and renews an old partnership between Hebbes and Al Evers from the Festival Records days, and includes many classic works plus an extensive collection of active writers and songs. This has been very busy time for HMG which has included an office move to Crows Nest and a new print deal with AMPD.

Hillsong Publishing Hillsong Publishing is very pleased to announce the recent signing of a sub-publishing deal with EMI Christian Music Group for the USA and Canada. After a 15 year relationship with their previous partner, Integrity Music, this was a significant move for Hillsong Publishing and we’re excited about this new relationship. Hillsong Music recently released

the first edition of the Hillsong Chapel Series, an acoustic/ unplugged collection of some well known Hillsong tunes with the first instalment hitting #10 on the ARIA Australian albums charts, and #1 Inspirational iTunes charts both in Australia and the US. Hillsong Live packed out the Sydney Entertainment Centre on the same night of the recent ARIA awards to record their new live album, due for release in July 2011.

Kobalt Music Publishing Kobalt Music Group, the leading global independent music publisher, opened Kobalt Music Publishing Australia Pty Ltd in September. The Sydney office is headed up by A&R/Creative executive Simon Moor. Kobalt Music Publishing Australia will work closely with the company’s current global roster of writers to represent them in the Australasian market in both a creative capacity and in administration as well as build a local roster of writers developing their careers both locally and internationally. Kobalt will be introducing to the market its advanced online music publishing administration system which provides unparalleled transparency, global copyright administration, royalty tracking and analysis, real-time duplicate claims reports, works summaries, live synch tracking, product tracking, digital collections data, pipeline advances and more.

Mushroom Music Latest local signings for Mushroom Music are songstress, Tenielle, and husband and wife team Dave Graney and Clare Moore. Internationally we’ve recruited New York noise pop duo Sleigh Bells and legendary Bollywood catalogue Saregama PLC. Television productions Packed to the Rafters,

< John Farrar & Peter Hebbes

> Dave Graney

> Mitzi

City Homicide, Offspring, Killing Time and reality series Four Weddings synced many Mushroom acts. High rating specials Such Is Life – The Story of Ben Cousins and Hamish & Andy Learn India also placed our catalogue exclusively. Major advertising licenses have included Qantas, Spring Valley, Vodafone, Tooheys, Target, Vittoria Coffee, Austereo and the continuation of our long standing deal with Huggies. We’ve also had a number of TV promos across free to air networks including Channel 7’s The Event (“Circles” – Birds of Tokyo) Minute To Win It (“Baby I’m Gettin’ Better”– Gyroscope) and X-Factor; Network Ten’s Offspring and Commonwealth Games (“Desire” – After The Fall); Channel 9’s Top Gear Australia; plus, a number of promos on digital all-sport channel ONE (“Addicted” – Bliss N Eso and “Prinz Willy” – Clare Bowditch). Other TV promos have been secured for pay TV and the SBS network.

Rowley Music Rowley Music continues its solid record of international cuts, scoring first and second singles on Kim Wilde’s new Sony album Come Out & Play. Sydney-based Amba Shepherd continues her strong international run featuring on Blanco Y Negro signed act, Victor Ark’s recent single “More Physical”, which she also cowrote. At press time, the song was heavily added at Spanish radio. Amba’s tune “Object Of Your Affection” has also been recorded by Avex Japan artist Sowelu, with a late November release. Rowley Music also placed the tune ”Dreamer” on behalf of Albert’s writer Paul Brandoli with Spanish Sony artist Soraya. Albert’s Stuart Crichton and Rowley Music’s Peta Jeffress shared a Japanese cut when ”Battle Of The

Sexy’s” ended up on Japanese model, Anna Tsuchiya’s album. Greg Haimandos also scored in Japan with a #12 single “Jump The Queue” for Playzone 2010 on Johnny Company.

Sandcastle Music Publishing Joining the team is rockpowerhouse Carmen Townsend, and Dead Letter Chorus who showcased at Song Summit and One Movement this year. Canadians psychedelic folk rock act Final Flash toured Australian extensively throughout October, while Two Hours Traffic, who also performed at Song Summit, will be making the trip again for festivals this summer. At the end of July the Sandcastle Music podcast was launched. Next podcast party will feature recently signed Sydney act The Paper Scissors performing their new single “Lung Sum”, Antsmif (Salmonella Dub) and other special guests. In synch news, Nick West and Amanda Brown (The Go-Betweens) have been working on some rather jovial projects, composing music for Australian film Wog Boy 2: Kings of Mykonos as well as an upcoming ABC series Making Australia Happy. Bryony Marks scored the music for the popular tele-movie Hawke on Channel Ten, Tangle on Showtime, ABC’s Dance Academy and has just been selected as the composer for Cloudstreet, a mini-series based on Tim Winton’s classic novel. Nick Wales has also been working on the music for upcoming channel Seven doco Fromelle’s Lost Soldiers.

SHOUT! Publishing Jonas Myrin had continued success this month with his cowrite “Our God” sitting in the #1 position for an astonishing nine weeks on the US Christian radio charts. SHOUT! Publishing is pleased to announce the recent signing of an admin deal with US based, Bethel Music. Reuben Morgan’s co-write “I Will Follow” has also had huge US radio success, peaking at #7 on the Christian radio charts.

>Clare Moore

Wirripang Publishing Wirripang has published the autobiography of the conductor Patrick Thomas, titled Upbeats and Downbeat, which embraces the triumphs of reaching the top of his profession. He took new Australian works on his numerous overseas tours and frequently promoted the works of many contemporary composers in the countries he visited, thus expanding an ever growing repertoire. Wirripang has released an outstanding recording by Katie Zhukov titled Six Profiles of Australian Women Composers. The CD is a brief overview of piano music written by six Australian women composers over the past seventy years. Also released is the CD Mermaids, featuring the works of the Wirripang composer John Wayne Dixon. Lastly, the CD On the Wire came to Wirripang sometime after it had been recorded and included a number of works well worthy of preservation.

Compiled by Mark Eades and Lorin Pickup. Contributions are welcome and should be emailed to Deadline for the Issue #1 2011 is Friday 4 February 2011.



Publishing: New decade, new deal … or no deal?! By Allison Gumbleton, Communications APRA|AMCOS

2010 APRA Roadshow Series

Every year the APRA Roadshow tours across the country connecting industry experts with APRA members, to discuss key issues facing songwriters and provide insights to aspects of the music business. This year in response to feedback from our members, APRA Roadshow explored the world of music publishing. Under the heading - Publishing – New Decade, New Deal… or No Deal?! – the Roadshow appeared at three major music industry conferences across Australia: Big Sound (Brisbane), One Movement for Music (Perth) and the Australasian World Music Expo (Melbourne). The Roadshow panel discussed everything from the fundamentals of music publishing through to trends, income streams and how/why successful publishing deals work. This year our panelists included: l Publishers: Damian Trotter (Sony/ATV Music Publishing Australia), Ian James and Linda Bosidis (Mushroom Music). l Lawyers: Julia Kosky, Brett Oaten and Dave Orwell (Brett Oaten Solicitors);. l Artists: Stuart MacLeod and Joel Quartermain (Eskimo Joe), Tim Levinson (Urthboy, The Herd) and Deborah Conway. l Managers Cath Haridy, Will Larnach-Jones, Rae Harvey and Karl Richter (Level 2 Music Licensing).

“The APRA Roadshow hopefully allowed people to come away with better information, and a realisation that you have choices in all these [publishing] matters. Sometimes opportunities are presented to you and it’s best to really think them through and action on the ones that you see fit. There are a lot of parameters that come into play in all aspects of the business, and the more you can do to make considered and informed decisions - by accumulating as much information as you can, not just about publishing, but about the publishers and experiences perhaps other songwriters have had,” Will Larnach-Jones (Manager – The Presets).

Videos Online Didn’t get to one of the Roadshows, or want to revisit a session? You can view videos of the 2011 APRA Roadshows online at: VideoGallery.aspx?category=105

Stay connected To keep members up to date with what’s happening at APRA|AMCOS and in the music industry generally, we host an annual program of events – Connecting Members, Songwriter Speaks, and Roadshows – across the country. For up to date information on APRA events in your state, keep an eye on our online calendar at and our monthly e-newsletter, Bytes.

The Fourmyula with Don McGlashan © Topic ≥

Disasteradio on stage © Topic ≥

≤ The Datsuns with Music Director Karl Steven & Ant Healey © Jason Hailes

SILVER SCROLL AWARDS 2010 The annual APRA Silver Scroll Awards were a star studded event held at the Auckland Town Hall in September.

Liam Finn and Kody Neilson © Jason Hailes >

≤ Bic Runga Ladyhawke Julia Deans © Jason Hailes

≤ The Naked & Famous ©Topic

By ABBIE RUTLEDGE, Manager Communications & Corporate Services, APRA NZ “Tonight we celebrate music-writers of all genres, toiling away in studios and bedrooms throughout the country. They are slaves to their craft. Tonight’s winners have given us music to treasure and we applaud them,” said APRA Director of NZ Operations Anthony Healey. The Silver Scroll - New Zealand’s most prestigious song writing award, presented since 1965, was awarded to Alisa Xayalith, Thom Powers and Aaron Short for The Naked & Famous song “Young Blood”. “’Young Blood’ is outstanding; it’s stroppy, it’s youthful and energetic. It makes me want to be eighteen again” said Healey at the September Awards ceremony. “It seems like the perfectly written song for this very point in time. It should take the world by storm”. Also presented on the night: the APRA Maioha Award – celebrating contemporary Maori music – to Jamie Greenslade aka maitreya for “Sin City”; the SOUNZ Contemporary Award – celebrating contemporary classical composition – to Chris Cree Brown for “Inner Bellow”; the Most Performed Work in New Zealand “Cruel” written by Dane Rumble, Te

Awanui Reeder and Samuel King; and Most Performed Work Overseas “Don’t Dream It’s Over” written by Neil Finn. APRA also inducted The Fourmyula - Wayne Mason, Carl Evenson, Martin Hope, Alistair Richardson and Chris Parry – into the New Zealand Music Hall of Fame. “These guys were ground breaking New Zealand songwriters who proudly penned New Zealand music for an audience that didn’t believe that was possible. Not only did these songs top the charts here in the 60s but the band forged a path overseas that has been travelled regularly since by many hundreds of New Zealand bands seeking success in the UK and Europe” said Healey. They join the prestigious musical honours board that includes Johnny Devlin, Jordan Luck, Ray Columbus and The Invaders, Jools and Lynda Topp (The Topp Twins), Straitjacket Fits, Hirini Melbourne and Richard Nunns and Shihad. Visit to see performances on the night, from the likes of The Datsuns, Street Chant, The Unfaithful Ways, The Exiles with Maisey Rika and Disasteradio with Jim Langabeer. aprap


≥ Mr Percival

≤ Nazatron

≤ Cloudstreet

≥ Rob Kingston

≥ Jeff Duff

Prix D’Amour by APRA member PAUL DION had a sell-out ‘off Broadway’ run in Merimbula by the Spectrum Theatre Group earlier this year. Based on the book Rose (the story of Rose and Lang Hancock) by Robert Wainright, the 19 original songs and incidental music are woven into the script making for a show similar in format and scale, although a higher humour content, to My Fair Lady. Prix D’Amour has been described as “full-blooded musical theatre at its most outrageous and extravagant with a great range of moods from the soulful and romantic to the big ensemble pieces and the burlesque.” www. After his critically acclaimed debut release Out of the Loop in 2007, MR PERCIVAL delivered his new solo album Microphones through MGM Distribution earlier this year. A vocal artist of the highest order, Mr Percival takes his live audiences on a ride at every performance and this new album is the soundtrack to his new show of the same name. Years of touring with bands and singing backing vocals with major recording artists led Mr.Percival to find his own unique voice and with the use of a looping pedal he has made a name for himself at festivals, and concert halls around Australia. Microphones feature original songs by Mr.Percival and some covers that his audience has been enjoying at the live shows.

≤ Kim Churchill

THE KEY OF SEA is a simple and pure idea. 11 Australian musicians collaborate with 11 amazing refugee musicians to create 11 orignal songs for one historic album. The Key of Sea navigates its way through the various experiences and perspectives of refugees and migrants around the world. Ranging from the beautiful Sarah Blasko collaborating with the incredible Sudanese voice of Ajak Kwai... to the passionate Greek songs of love and loss performed by Tim Rogers and his Greek “compania” (featuring APRA’s very own CON KALAMARAS) ... all the way to wild and complex Ethiopian rhythms of The Cat Empire collaborating with Anbessa Gebrehiwot. The collaborations are beautiful, fun and occasionally heartbreaking. All proceeds from the sale of the album will go to the Asylum Seeker Resource Centre, Human Rights Arts and Film Festival and Refugees Survivors and Ex Detainees (RISE). Think deep and dig deep and enjoy a unique musical journey.

JEFF DUFF aka DUFFO released his 26th album, Fragile Spaceman at the State Theatre in late November. The album includes 10 new original songs and a cover version of David Bowie’s “Ziggy Startdust”. Duffo has recorded with many different artists over the years, most recently with members of Deep Purple. Jeff is currently performing in, Ziggy, The Songs of David Bowie. Jeff together with iOTA, Steve Balbi, Brydon Stace and a star studded band re-create Bowie and pay homage to the man and his music.

Queensland folk and original duo, CLOUDSTREET, have just returned from their sixth successful tour of the UK and Denmark. The 3-month tour showcased their new album, The Circus of Desires, which features Nicole Murray on vocals, flute, whistle, percussion and fiddle, and John Thompson on vocals, guitar and concertina. The renowned harmony singers will perform at Woodford Folk Festival in December and share their skills with singing students at the celtic summer school, Music Under the Southern Cross, in Victoria in January.

Australian romantic soul artist RON KINGSTON has released his first live album Unplugged in Hong Kong. More that 80 songs were recorded live during the Hong Kong shows of his recent Asian Tour. 12 songs have been hand picked and then mastered After opening for Tommy by renowned sound engineer Emmanuel’s USA shows, Robert Porter. The album has rocking SXSW and fresh from the combination of one vocal, his 2010 American college tour, pop-rock artist, ANTHONY SNAPE is back in Australia. He landed his first American TV placement: “Walking” from his debut album featured on the top rating NBC program The Biggest Loser 5.

one guitar, a cello and Cajon percussion and is now available on iTunes and Amazon. TOBIAS CUMMINGS returns with a completely new band and his second album, A Trophy; recorded by Tim Whitten (The Go-Betweens), Scott Horscroft (Sleepy Jackson) and mixed by Wez Prictor (Mick Harvey). A Trophy has been released on digital, CD and vinyl formats through new Melbourne label, Departed Sounds (distribution through Other Tongues). The album is also available on iTunes. Melbourne’s YEAH WEDNESDAY have released their debut album, Gravity Is Our Friend. A collection of tracks ranging from electro dance rock, to blues, to nu-Jjazz, to trip-hop, the first single “A 100 Million Dollar Bills” is a tongue’in’cheek reflection on excess, the faceless minority and the dangers of misusing a rubber plunger! Gavin and Janette met while

working together in a touring cover band. After realising that life had become ‘Groundhog Day’, they unpacked their suitcases to concentrate on writing and recording and have secured publishing deals in both Australia and the US. Some of their music has been used in advertising and they’ve also written/produced tracks for comedians and other Indie artists. yeahwednesday Fork in the road is the debut album of NAZATRON. The album features songs written, arranged, performed and produced by Nazatron and took 3 years to complete The music can best be described as an eclectic mix of electro and alternative rock drawing from many infuences. The textures move from intense guitar polyphony to synthetic soundscapes.

Deadline for Issue #1 2011 is Friday 4 February 2011

Contributions should be emailed to

Compiled by David Parry ≤ Tobias Cumming

The Key of Sea ≥

It’s been a huge year for young rising star KIM CHURCHILL. From starting the year virtually unknown, Kim has now blown apart some of Australia’s biggest festivals, not to mention taking his show to Japan, Canada and the US. And all this before turning 20. Kim is very excited to have secured The Agency Group in the USA and Feldman and Associates in Canada as booking agents for what looks to be a huge future in North America. Closer to home, Kim’s current album and new ep will be released before Christmas through MGM.

DIANNE LINDSAY’S latest album release Heartbeat of Australia was recorded and produced by Central Coast based Rod McCormack. This lineup of all Australian songs, delivered in true traditional style, has proved to be a winner in all areas and has been an outstanding success for Dianne. One of the tracks on the album that performed very well in the country charts for 16 weeks was a duet with her late father, Reg Lindsay. Two other award-winning tracks saw Dianne take out female vocal and vocal collaboration with cousin, Anne Kirkpatrick at the 2010 Stan Coster/Bungendore Bush Ballad Awards. Over the next year Dianne will be touring extensively throughout Australia and also visiting the USA where she has been invited to perform with a group of Australian country artists.



Thanks to Gibson Guitars… for simply voting for his favourite song in this year’s Song of the Year, APRA member Adrian Deutsch won a Gibson Les Paul Studio Guitar in Fireburst. However, in May this year, two days of torrential rain caused floods that devastated Nashville, as well as surrounding communities in what were declared the most devastating floods to the area in 500 years. The water forced thousands from their homes and submerged some of the city’s most prestigious landmarks. The Gibson USA production facility was consumed by water.

Clayton Doughty from Gibson Guitars was on hand to present Adrian with his prize. The long wait was over for Adrian; he was ecstatic to receive the guitar and can’t wait to play it at a gig soon!

By Matt Barber

It wasn’t until October that the Les Paul made it to Australia and into Adrian’s hands.

APRA is an association of composers, authors and publishers of music in Australia, New Zealand and the South Pacific having affiliations with similarly constituted organisations around the world. Writer directors: Don McGlashan [New Zealand], Eric McCusker, Nigel Westlake, Jenny Morris, Chris Neal, Michael Perjanik [Chairman] Publisher directors: Robert Aird Universal Music Publishing Group Pty Ltd, Santiago Menendez-Pidal EMI Music Publishing Australia Pty Ltd, Ian James Mushroom Music Pty Ltd, Matthew Capper Warner/Chappell Music Australia Pty Ltd, David Albert J Albert & Son, Damian Trotter Sony/ATV Music Publishing Chief Executive: Brett Cottle LLB Director of NZ Operations: Anthony Healey Registered Office: 16 Mountain Street Ultimo NSW 2007 Telephone: (02) 9935 7900 Facsimile: (02) 9935 7999 Email: Internet: Branches: VICTORIA 3-5 Sanders Place Richmond VIC 3121 Telephone: (03) 9426 5200 Facsimile: (03) 9426 5211 QUEENSLAND 3 Winn Street Fortitude Valley QLD 4006 Telephone: (07) 3257 1007 Facsimile (07) 3257 1113 SOUTH AUSTRALIA unit 54, 55 Melbourne Street North Adelaide SA 5006 Telephone: (08) 8239 2222 Facsimile: (08) 8239 0744 WESTERN AUSTRALIA suite 1, 12-20 Railway Road Subiaco WA 6008 Telephone (08) 9382 8299 Facsimile (08) 9382 8224 NEW ZEALAND HEAD OFFICE Unit 113, Zone 23, 21-23 Edwin St, Mt Eden, New Zealand Telephone: 64 9 623 2173 Freephone: 0800 692 772 Facsimile 64 9 623 2174 PO Box 6315, Wellesley St, Auckland 1141, New Zealand. The opinions expressed in articles in Aprap are not necessarily those of the Australasian Performing Right Association. Editor: Allison Gumbleton Design: Elastik Printing: No Time To Lose © 2010 Australasian Performing Right Association Ltd, Sydney, Australia. Print Post No: 255003/02262 ISSN: 1441-4910. Printed on environmentally friendly paper using soy-based inks.

APRAP Issue 3 2010