NEIL FINN ON YOUNG PEOPLE'S RADIO • MEMBERSHIP ... - APRA

December 2002
New Zealand
Publication
Australasian
Performing Right
Association Ltd
NEIL FINN ON YOUNG PEOPLE’S RADIO • MEMBERSHIP • 2002 SILVER SCROLL AWARD
• WORLD SERIES • SCROLLETTES

CHUNN
COLUMN
The year has had some watershed moments. What are they?
Well, there are the perennials. Three of my favourite APRA activities
are (i) sending out cheques; (ii) listening to Silver Scroll entries (no,
I’m not a judge) and (iii) attending the APRA Silver Scroll function.
All three went off without a hitch. We paid more writers than we
ever have; we had 98 songs entered into the Silver Scroll and the
Award function went off with a fair swathe of positive comment. There
were those who thought the Civic Theatre environment was a bit
tame but then last year there were those who thought the Silver Scroll
was all too noisy so – let’s keep them guessing.
There were two other industry-wide activities this year that played
a major part in making 2002 a year to be remembered.
NZ Music Month in May was a force to be reckoned with. There
is a buy-in to the concept where artists, writers, schools, corporations,
public bodies and others are conceiving their own Music Month
projects and making an impact with them. Next year promises to be
as hyperactive, so to all of you – get planning!
The World Series in November was a guinea pig of an idea that
was a joy to be part of. It could have fallen flat on its face. After all
– just the very thought of getting Trade NZ, Investment NZ, Industry
NZ, Tourism NZ, RIANZ, IMNZ, the Music Industry Commission, APRA
and NZ On Air all around the one table and pulling off this project
was a potential headache.
But it worked.
Sure, the results have yet to quantified. And the outcomes will
require a full effort. Those artist labels, managers, publishers and so
on that represent the NZ acts that performed, need to put in hard
work following through on the contacts that they should have made
with the World Series visitors. It was interesting watching who made
the effort and who didn’t. Donald Tarlton (here from Canada) always
made the point – ‘You move ahead in the music industry when you
build relationships.’ That’s what the World Series was all about.
A final word. You may read elsewhere in this APRAP that my family
and I are taking six months sabbatical next year. Yes we are. And so
– let me say publicly – the NZ staff here have excelled themselves in
2002. Ant Healey, Greg Clark and Leigh Simeon have done a wonderful
job in licensing; meeting targets and chipping away in an eternally
hostile environment. Jo Cleary and Rita Luck have kept the mechanical
rights division humming. Greer Donovan has mastered the art of multitasking,
Kay Goss and Robyn Urry have kept the lid on the finances,
Debbie Little has APRAP’d and Silver Scrolled herself to dizzy heights
while Petrina George has excelled yet again as the Queen of member
services. To all of you – thank you for making the APRA NZ operation
what it is. An environment where music writers come first.
Mike Chunn Director of NZ Operations
Extended Leave for Mike
Mike Chunn will be taking extended leave from the New Zealand
office between January and August in 2003.
During Mike’s absence, arrangements will be in place to
ensure that there is (a) no reduction in the level of service
delivered to APRA members in New Zealand, and (b) no
disruption to the business operations of the New Zealand office.
The arrangements to apply will include:
1. The appointment of Anthony Healey – APRA’s Head of Legal
and Licensing in New Zealand – as acting Director, NZ
Operations; and
2. The establishment of a Management Committee – consisting
of Anthony, Petrina George (Member Services) and Jo Cleary
(Mechanical Rights) – reporting to me and liaising with NZ
Writer Director, Arthur Baysting, to ensure the smooth
operation of the NZ office.
All dealings with APRA should continue to occur as they
presently do, with the only change being that during Mike’s
absence, communications that would normally be directed to
him should be addressed to Anthony.
Mike has now managed APRA’s New Zealand operations
for 10 years and thoroughly deserves his sabbatical. We look
forward to welcoming him back renewed and re-invigorated
after the break.
Brett Cottle, CEO
Contents
APRAP December 2002
2
It’s Not Just About the Music ..........................................................3
World Series 2002...........................................................................4
MEMBERSTUFF ..............................................................................6
International Notes ..........................................................................7
APRA Silver Scroll Award 2002 .......................................................8
COVER PHOTO: CHE NESS AND GODFREY DE GRUT, AWARDED THE 2002 APRA SILVER SCROLL FOR MISTY FREQUENCIES.
PHOTOGRAPHED BY JOHN McDERMOTT
SOUNZ..........................................................................................10
Sweet Taste Of New Zealand Music In Schools ............................11
Music and Pictures - The Art Of Synchronisation..........................12
Dalvanius and Dave Fraser R.I.P. ...................................................15
Scrollettes, New Plymouth and Hamilton.......................................16

It’s Not Just About the Music
(An abridged version of the speech Neil Finn gave at the Silver Scroll Awards)
Good evening Prime Minister, songwriters, musicians,
international guests and all.
It’s so good to be in this room with you all at a time of
such high excitement in New Zealand music. It seems to
me that there is an unprecedented amount of great music
in all genres being made at present and it is surely only
a matter of time before some of it makes a mark
internationally.
There are many reasons why this is happening. First
and foremost the years of intensive and largely unpaid
dedication and hard work put in by our composers and
musicians... ideas and practice and then more practice,
that’s the beginning of everything. Then there’s the big
efforts of key industry people who have applied themselves
to attaining the skills needed for production of records
and the management of careers. Hats off once again to
the student radio network who have always been the first
to find and expose new talent, NZ On Air who have made
it far easier for local acts to be seen and heard. Radio in
NZ has certainly stepped up their support too. Special
mention should be made of Channel Z who have taken
their exposure of NZ music way beyond anyone’s
expectations and sound all the better for it.
But what has been truly welcome and previously
unknown is the support of a government who since coming
to power have acted so positively and seem to fully
understand that the success of our contemporary music
is valuable for the social, artistic and economic development
of NZ. And so goodwill and respect to you all.
Many good things are already in place but we’re not
there yet. There are other important issues that hang in
the balance. I’m here to talk about young people and
public broadcasting and how they should be coming
together for the good of the country.
Young people hold the key to the future success and
well-being of New Zealand. That’s a natural fact. There is
an opportunity right now to create a nationwide
commercial-free radio network for young people. The
government set aside a frequency for this purpose before
the election in 1999 and after much investigation and
debate are likely to decide its fate in the next few months.
In the charter of Radio New Zealand it says and I quote:
“ …a nationwide service providing programmes of the
highest quality to as many New Zealanders as possible
thereby engendering a sense of citizenship and national
identity”. Government-funded public radio exists in many
other countries and includes in almost every case a
dedicated youth network. So what we are talking about
is not unusual or unproven. It’s about much more than
the music. Public radio is also a brilliant medium for
addressing social issues, providing good information to
young people on their own terms and giving them a forum
for dialogue with each other.
Our model can explore and reflect the diversity of NZ
experience and set about bridging the distance between
North and South, small towns and big cities, Maori and
pakeha, NZ-born and recent immigrants alike. This will
help create a more aware, more tolerant society. I believe
young people in NZ have long been overlooked and
undervalued. They have very little access to the media
and as a result often feel a sense of isolation from the
mainstream of NZ life. This feeling is amplified by negative
images of violence and disorder in youth culture, portrayed
almost daily by the mainstream media. Where do they
turn for balance and perspective, to get the good news,
to feel their presence is acknowledged? It’s hard enough
to feel connected in the major
centres but what about the small
towns, what do we know of
them, how do they make their
presence felt?
Young people have a right to
participate in public
broadcasting. These days we
are witnessing an exponential
rise in the amount of commercial
media targeting young people,
most of it coming from America
and Britain. In this rising clamour
it seems ever more important
that we protect and promote
public broadcasting to provide
balance and build our national
identity. Most importantly our
young people should be able to
participate in the process. We
have suggested a van to be fitted with recording equipment
and broadcasting capability to travel the length and breadth
of the country, stopping to broadcast from a new place
every few days. The network would also interact with the
many different student, community, access and iwi stations
around the country, taking pieces of their best programming
and broadcasting them to the nation.
It will celebrate our young people’s successes and
express their frustrations. It will give big exposure to diverse
NZ music with special emphasis on the stuff that doesn’t
fit commercial radio formats. It will have in-depth
coverage of news, sport, comedy and arts. It should be
truthful and intelligent, funny and irreverent. It should reflect
what youth culture truly is rather than what older people
would like it to be.
There is a lot going on out there, far more than we ever
hear about. Every school and community has its brilliant
comedians and oddballs. Give these people a chance to
be heard and life could be a whole lot more colorful for all
of us.
In the past few months an advisory group commissioned
by the government and made up of representatives from
student radio, access radio and some brilliant young
people was asked to consider options for enhancing radio
services for young people. This group has come out
strongly recommending a commercial-free network. The
bNET, Access radio and Mai F.M. have also voiced their
support. Youth councils around N.Z are enthusiastic, there
was a standing ovation for the idea at a general meeting
in June.
The nationwide frequencies have been allocated. All
that it now requires is the government to believe in the
young people of New Zealand and recognize the powerful
and positive influence they might have on our culture with
a radio service that really belongs to them.
NEIL FINN
SPEAKING AT THE
2002 APRA SILVER
SCROLL AWARD
EVENING.
PHOTO: MIKE CLINTON
APRAP December 2002
3

‘30 bands you say? International guests? New Zealand’s music industry working together towards
a common goal? Surely The World Series is just a best-of-seven finals showdown that decides
the top baseball team in America?’ But no - this year there were two World Series and, personally,
I preferred the local one.
The New Zealand government has stood up to the plate in terms of their commitment to local
music recently and, with a pool of money created for the purpose of marketing New Zealand
during the America’s Cup, all the industry needed was the unified drive and commitment to hatch
a plan and see it through. There were some chuckles and people eager to administer small doses
of cynicism here and there, but fair enough, there was no precedent for this kind of an operation
in New Zealand - there is now.
The World Series represented the first time the music industry had come together for the purpose
of sending our music beyond these shores, so that the brilliant and unique sounds and lyrics this
country’s acts are creating might soon reverberate in different ears (I don’t mean like an elephant’s,
but rather an American’s or German’s). International guests poured in from Canada, Britain,
Australia, Germany and the United States. There were major music bigwigs from all areas of the
business: radio, promotions, management, radio pluggers, agencies, record labels and so on.
They would take in a week of showcases, Monday to Saturday, from 8pm till late every night
(except Tuesday when they were invited to attend the Silver Scroll) and would spend much of the
day performing more mundane and arduous tasks such as horseback riding on Waiheke, wine
tasting/bingeing at the Stonyridge Estate and a burn on a couple of the America’s Cup boats.
But seriously, our visitors came with a solid background in the music industry. Shakers and movers
whose time can be difficult to secure and, in this regard, the week was superbly organised.
The World Series Project Team included representatives from Investment New Zealand, Brent
Eccles Entertainment, NZ On Air, APRA, The NZ Music Industry Commission, Trade NZ, RIANZ,
Industry New Zealand and De Launay Enterprises. Project managers Brent and Helen Eccles
worked tirelessly on all fronts and ensured the showcases and logistics ran smoothly.
Countless record label reps volunteered to be at the shows representing their artists (though
they were often there celebrating NZ music itself), while the government was represented, at
different times during the week, by Prime Minister Helen Clark, Trevor Mallard, Judith Tizard, Mark
Gosche, Steve Maharey and John Tamihere.
WORLDSERIES2002
Monday’s Showcase was all rap and soul - a Hip Hop and you don’t stop - with Nesian Mystik
and artists from Dawn Raid, Kog Transmissions and Heart Music waxing lyrical or interrogating
one’s social and political conscience with their uniquely Aotearoa styles. Wednesday’s Showcase
was especially strong with fine performances from all of the bands involved, although special
mention should go to Goldenhorse for the magical beauty that some call strange, Evermore and
The Have for ignoring reputations and just straight-up whipping ass and betchadupa for a dynamic
set that left the hairs on my neck standing erect.
Thursday was affectionately dubbed by Fang’s Ben Howe as ‘Art School dropout night,” but
turned out to be a selection of ‘alternate’ bands at the top of their game. Pine were first up and
kept the room mesmerized. Heather Mansfield of The Brunettes had me wondering if the men
gathered on the barrier might require bibs and why I was so fascinated by her ability to play horn
instruments. All of these shows were held in The Westend Theatre inside the St James Complex.
The final two shows on Friday and Saturday were staged in the St. James theatre itself. These
were locally successful and mainstream acts designed to send the guests off on a high and they
achieved exactly that. Friday’s show was a rock-orientated affair, the heavier final three of Tadpole,
8 Foot Sativa and Blindspott soaking the walls with adrenaline and sending the mosh-pit (yes,
that’s right) into a frenzy. Saturday saw the guests winding down after a big week and content
in the realisation they were watching some of the cream of our crop: Carly Binding, Fur Patrol,
King Kapisi, stellar*, Che Fu and Dave Dobbyn. Che Fu’s excellent performance and crowd rapport
underlined why he is currently New Zealand’s most critically acclaimed performer.
Numerous opportunities have arisen already for some of the artists and the World Series is
(rightly) being hailed as a success. Perhaps, in terms of thinking of the New Zealand music industry
as a living being, we finally had the blood circulating evenly, the heart beating regularly and a core
body temperature of 36.4 degrees Celsius. This was a watershed experiment that was grand in
scope and precise in execution. If you were involved in the World Series (even if only to watch
one band), lift your arm above your head, cock your elbow and pat yourself twice on the back -
you deserve it.
Nikko Chunn
5
11
APRAP December 2002
4
1 WORLD SERIES PROJECT TEAM AND VISITORS 2 ARNOLD FROLLOWS, HON TREVOR MALLARD (MINISTER OF ROCK ‘N’ ROLL) AND MICHAEL
MCMARTIN 3 NEIL FINN, BILL MORAN, HON TREVOR MALLARD 4 MARK CUBEY, LEWIS LARGENT, CHRIS CHETLAND 5 DAVE DOBBYN 6 HON
JUDITH TIZARD, LINDAH E, LISA TAOUMA 7 HON MARK GOSCHE, M CHUNN, C ANDERSEN, BILL SCULL, HON JUDITH TIZARD, NICK FERRARA, RT
HON HELEN CLARK, BRENDAN SMYTH, MURRAY JEFFREY 8 DAMIEN BINDER 9 NESIAN MYSTIK 10 HON JUDITH TIZARD, ANGE NESS 11 BOH
RUNGA 12 MARCUS POWELL - BLINDSPOTT 13 HON MARK GOSCHE, BROTHA D, YDNA, ADAM HOLT 14 HON MARK GOSCHE, MOANA MANIAPOTO,
BILL SCULL 15 BILL SCULL, RT HON HELEN CLARK, NICK FERRARA
13

VISITORS
MAKE
COMMENT
1
3 4
6 7
2
Jay B Ziskrout - CMJ Network - New York
From around the world of music we came as semi or total strangers to share
a week of Kiwi hospitality and culture. Eight days later, we left as friends and
likely business associates with a deep appreciation and keen awareness of
the New Zealand music scene and the uncommon people behind it. Through
the music we gained insight into the culture of a nation that deserves kudos
for its many successes in diversity, ecology, enlightened democracy and the
arts. Even as NZ exports Bic Runga, The Datsuns and D4 are breaking around
the globe, World Series ’02 set into motion the machinations of even greater
and enduring successes.
All of us will no doubt give an extra listen to the next new Kiwi band that
lands on our desks. One of the dynamics I really appreciated was the fact that
although there was consensus regarding the stand-out bands, there was not
unanimity. Each of us took away something a little different… a little personal.
Music, regardless of its point of origin, has something unique for everyone.
Steve Herman - Clear Channel Entertainment - Canada
The music industry is all about relationships. The World Series is a platform
for exactly that.
John Woodruff - CEO Rough Cut Music Australia
This level of interaction and appreciation of the bands would never happen
if you took the same bands and put them in a showcase venue like CBGB’s
in New York. For a start, you’d have a really hard time getting an audience
apart from people who were forced to be there by their boss. And the bands
would be in a foreign place, preoccupied with the difficulties of being in a
strange city. To bring people like us to New Zealand, to see the bands on their
home turf, is a brilliant way of marketing your talent.
8 9
10
David Kines - Much Music - Canada
We’ve seen thirty-odd bands, but we’ve also established an affinity with
your country. So when a record arrives on our desk, we know some of the
players behind it. That’s the legacy of the week: New Zealand is forever
ingrained in our heads now. What you’ve done is created 15 ambassadors for
your country that don’t live in your country, and we’re out there proselyting for
New Zealand, whether it’s music, yachting, wine, or any of the other stuff we’ve
been exposed to.
Rick Arnstein - SVP, GMR Marketing - NYC
I’m the adviser to the concert series in Central Park and another event in
New York called ‘Celebrate Brooklyn’. I intend taking the music that I’ve seen
here and put together an Australasian day early next summer. Potentially a
World Music event as well, in Brooklyn.
12
14
15
Don Tarlton – Chairman, DKD Group – Canada
We’re going to put a partnership together with John’s group in Australia,
our group in Canada and a company here, and we’ll be working with David
Kines, who’s here with us from Much Music Canada, the Channel V network
in Australia, and the Canadian Music Network magazines. We’ll be putting
together a compilation featuring the biggest hits from all three countries and
sell it in all three countries. On top of that we’ll be working acts from each
country, and getting a tour together.
All three of our countries face one barrier: global success is through Los
Angeles and New York. So if we can create an international marketplace between
our countries and create a free exchange for artists between ourselves, we feel
that we can create something that will lead the Americans and Brits to chase
us. There is great music here. The Brunettes stand out. I think The Brunettes
could use a month on the Guns n Roses tour to shake out their innocence!
APRAP December 2002
5

CALENDAR OF DUE DATES
THESE DATES ARE FIXED!
28 FEBRUARY
31 JULY
31 AUGUST
AMBIENT MUSIC REPORTING FORM
LIVE PERFORMANCE RETURNS
(LOCAL, SCHOOL AND CLASSICAL)
JINGLE REPORTING FORMS
ELECTRONIC LOCAL LIVE PERFORMANCE
RETURNS VIA THE WEBSITE.
14 OCTOBER
ASCAP AWARDS PROGRAMME
APRAP December 2002
Live Performances – What Do I Need to Send in
to APRA?
Performing live is the most common activity of our
members and it is the performance that you need to report
to APRA. Here is a summary of the different forms and
due dates:
• Local Live Performance Return
For live public performances within New Zealand,
Australia and the Pacific. Due 31 July – on paper,
31 August – via the internet.
• Set list
For concerts, festivals and events that are licensed as a
casual or promoted performance. The set list must include
the name of the event, the date, your performing name,
the list of titles performed and the writer details for each.
To confirm if your performance requires a set list, just
contact the APRA office. The promoter or organiser of
the event should collect the set list on the day from you.
If this doesn’t happen, please forward the set list directly
to the APRA office. Any performances not licensed by
these one-off licences, need to be included on the
appropriate live performance return. Due as soon as
possible after the performance.
• Overseas Live Performance Return
For live public performances outside Australasia (New
Zealand, Australia and the Pacific). Any evidence of the
performances, such as tickets, posters, media articles,
should also be provided with this return. You also need
to be aware that you are subject to the distribution rules
of the society where the performances occurred. Due as
soon as possible after the performance.
• School Live Performance Return
For school live performances, on and off school premises,
but not performances within the classroom. This is for
primary, intermediate and secondary school performances
only. Due 31 July.
• Classical Live Performance Return
Used to report live public performances of classical
musical works. This form is an alternative to the local
live performance return. Due 31 July.
New Service – EFT: Electronic Funds Transfer
In mid-2003 we are looking to introduce royalty payments
by EFT for New Zealand members. This will allow your
APRA payment to be made directly into your bank account,
and we then forward your royalty statement by post. To
initiate this payment service, please complete and return
the enclosed sheet with your bank details. If you have any
questions, please contact Petrina.
Music Used in Schools
The APRA schools distribution occurs once a year and
is for performances within the calendar year cycle, i.e. 1
January to 31 December, with royalties paid the following
June. Members should note that their APRA royalty
statement will have all royalties earned from their works
allocated to one title. This is done to reduce the costs of
analysis which to date have been excessive. Royalties from
the school distribution are identified in the ‘other’ earnings
column on your royalty statement. Please remember to use
the separate school live performance return to report live
performances of your music, and to also advise APRA if
schools are using your recorded works.
Members Login Facility
The alternative to submitting paper documents is to use
the Members Login facility, and submit details electronically.
To login you need your APRA ID number (9 digits) and
your account number (6 digits). To confirm these numbers,
check your last royalty statement or contact the APRA
office. The facility allows you to do a number of things
including: registering new works, submitting your live
performance return, and viewing a list of your registered
works. Help details are provided for each section or you
can email for assistance.
Changing Address?
If you change your address or other contact details, please
contact us as soon as possible. If we don’t have a postal
address, we cannot issue your royalty cheques. Within the
members section of the website we have a section titled
‘Unclaimed Royalties’. This lists the names of members
who we have no address for and we are holding earnings.
If you are on this list or know someone that is, please
contact us.
Contact Details
Manager – Member Services: Petrina George
Phone: 0-9-300 9573, Fax: 0-9-379 3205
Email: nz@apra.com.au
Post: PO Box 6315, Auckland 1
Street Address: 92 Parnell Road, Parnell, Auckland.
Membership Line 0-9-300 9573, 0800 NZ APRA (69 2772) ext 209 Email nz@apra.com.au
6

INTERNATIONAL NOTES
A DAY (OR MUCH MORE) IN THE LIFE
OF YOUR QUERY ABOUT OVERSEAS
REVENUE OR PRACTICES
So you have just received your APRA cheque and statement.
Before you go out Christmas shopping you notice that on your
APRA statement you are missing payment from some foreign
societies for concerts you performed on your last OS tour and
for which you submitted an OLPR. Or perhaps there has not
been payment for a jingle you had been told was broadcast
overseas. You might see that the percentage share for one of
your works has been incorrectly paid by an overseas society, or
you just might want to know whether it will be worth filling in an
OLPR for your next tour to East Timor or whether you will receive
payment for the music you did on a short film which you have
been told has been in a film festival in Uzbekistan. Perhaps you
received a surprise payment for a work from Japan
and you have never known of any commercial
release of that work.
You then sit down and phone/email/write a
letter to your local friendly APRA member services
representative. He or she may be able to resolve
the question by looking up your details on our
system but more often than not it will need to be
referred to another department. The member
services representative will then enter the details
of the query into a database we have set up called
‘writer call tracking’ and refer this on to the
International Relations Department (IR). By entering
a call tracking query, this links to our Copyright Management
System (CMS) and a flag appears on your details to show APRA
employees that there is a query outstanding. People can bring
up the query and see what it is about, where it is at, who is
dealing with it and what correspondence has been sent.
At this stage IR may be able to answer the query directly – if
it relates to distribution rules and practices and we have this
information on file. Otherwise we might write off to our sister
societies overseas to obtain more specific information. This is
where a delay could come in; some societies take their time in
dealing with queries from overseas and some seem to give
precedence to their own members’ queries. Still, IR has the
patience of Job and we will follow up our query with reminder
letters and emails after a few months. You must remember that
our sister societies have different rules relating to collection of
usage information, allocation and distribution of royalties. Therefore
a use in Australasia that may be payable by APRA, may not be
payable by foreign societies in their territory under their rules.
If the query relates to a missing percentage share accounted
from overseas, we will have already queried this with the society
by an automatic discrepancy report that is generated by CMS
after each incoming distribution. These are sent to the society in
question querying the missing percentage and payment. These
reports usually feature hundreds of works and therefore societies
take some time to reply. Your query may require a follow up letter.
Note that there are international rules setting the threshold under
which societies do not need to make adjustments (i.e. pay the
missing share). These are US$20 per work or the aggregate of
$50 per rightsholder in a work. As a general rule, we cannot make
claims if the overseas distribution is more than three years old.
You may need to check whether a film or TV program you have
written the score for has been broadcast in a major territory or
obtain information about the chart success of one
of your works in various territories. In this case
IR will refer the query to our Performance
Verification department who can look this up in
a moment. If you have information about the
broadcast of your work overseas, IR will contact
the relevant society with the appropriate
documentation and make a claim on your behalf.
This sometimes takes some time, depending on
the territory and the society involved. Remember
that some radio, cable and TV overseas are not
analysed at all for distribution or may be the
subject of a sample. In some cases we will already
know that a particular broadcaster is not yet licensed or analysed
by the society overseas, so there will be no point in pursuing the
query further and we will let you know this.
In the new electronic distribution formats that societies have
agreed upon, there is now a field which allows a society to identify
the source of a particular royalty. However most societies do not
provide more detail about how a work is used other than the
generic heading like ‘TV’, ‘Cable’ or ‘Radio’. It is often very difficult
for us to obtain more detailed information about the use of your
work overseas. I suppose we have to take into account the
resources a society must put into research and answering such
queries – they don’t want to be distracted from the main game
of collecting and distributing royalties as quickly and as accurately
as possible.
As soon as IR gets the news from overseas – good or bad –
we pass this back to the original friendly Member Services Rep
who dealt with your query to let you know. That way you can
plan how much to spend on your Christmas shopping – it just
may have to be next Christmas!
Scot Morris, Director International Relations, APRA
APRAP December 2002
7

APRA SILVER
SCROLL AWARD
FINALISTS
It’s On
Nesian Mystik (Donald McNulty, David Atai, Feleti
Strickson-Pua, Te Awanui Reeder, Junior Rikiau)
Fallen Angels
Deceptikonz (Mark Sagapolutele, David Puniani,
Demetrius Savielo, Daniel Maoate, Peter Wadams)
Maybe Tomorrow
Goldenhorse (Geoffrey Maddock, Kirsten Morrelle,
Joel Wilton, Benjamin King, Andrew Clark)
Life Will Be The Same
betchadupa (Liam Finn, Chris Garland)
Misty Frequencies
Che Fu (Che Ness, Godfrey De Grut)
SOUNZ
CONTEMPORARY
AWARD
FINALISTS
1 2
5
Memories Apart, for chamber ensemble
Chris Cree Brown
View from Olympus, double concerto for
piano, percussion and orchestra
John Psathas
8 9
Europa, concerto for brass band and orchestra
John Rimmer
THE RESULTS
APRA Silver Scroll Award
Che Ness and Godfrey De Grut for Misty Frequencies.
The Most Performed Work In
New Zealand
Anika Moa for Youthful.
SOUNZ Contemporary Award
John Psathas for View from Olympus, a double concerto
for piano, percussion and orchestra.
12
APRAP December 2002
8
1 RUIA APERAHAMA, MOANA MANIAPOTO, HINEWEHI MOHI, PIAHANA TAHAPEHI
AND RICHIE CAMPBELL 2 WORLD SERIES VISITORS 3 BARRY SAUNDERS AND
DON MCGLASHAN 4 GOLDENHORSE 5 TOM LUDVIGSON AND PAUL UBANA JONES
(PERFORMING MAYBE TOMORROW) 6 KAREN HUNTER (PERFORMING FALLEN
ANGEL) 7 COLLIDING TRAITS AND LAVINA WILLIAMS (PERFORMING IT’S ON)
8 ARTHUR BAYSTING 9 RENEE BRENNAN AND STACEY EDWARDS 10 PRIME
MINISTER HELEN CLARK, LINDA TOPP, JEAN CLARKSON AND MIKA 11 DAMIAN
HAUWAI, SARA-JANE AUVA’A AND STEPHANIE BROWN (PERFORMING MISTY
FREQUENCIES) 12 MATT ECCLES, LUCY SCOTT, LIAM FINN AND CHRIS GARLAND
13 JAMES COLEMAN 14 WINDY CITY STRUGGLERS (PERFORMING LIFE WILL
BE THE SAME) 15 JOHN PSATHAS RECEIVING THE 2002 SOUNZ AWARD
16 DAVID GUERIN AND LENNY SAKOFSKY 17 PUOHO KATENE - SOUNZ BOARD
MEMBER18 ROBERT TAYLOR AND BELINDA HAINEY 19 MAURICE WATENE
15 16

Nature’s Night
3 4
6 7
10 11
13 14
17 18 19
There was an air of anxious anticipation as I left my modest, three
bedroom inner city habitation, smelling the budding pohutukawa
trees as their sweet scent permeated my brain, buzzing with thoughts
of the night ahead. My excitement reached boiling point when
confronted by the flash bulbs of the media in the bustling Civic foyer;
realizing the history of the event, the honour of being a new face
within the bounteous magnitude of New Zealand songwriting talent,
at a time when Lord of the Rings and the America’s Cup are doing
for New Zealand what Crocodile Dundee and the America’s Cup did
for Australia in the 80s. Could I be part of putting NZ on the world
map, just as the members of Icehouse, Chisel and INXS once… it’s
easy to resort to Junior High journalism when the last thing I wrote
that wasn’t a song lyric was in 1994, and probably received a D.
Noticing the bounteous magnitude of free booze on offer, I had
premonitions of me making a fool of myself in front of what would
be the closest thing I have to work peers. With a crash of glasses,
one poor woman ensured that I would not be the centre of the most
embarrassing incident of the evening.
After a solid hour of convo…sation, the formal ceremony began
as we were treated to some fine visual presentations. I could almost
smell the budding pohutukawa trees again, and my breast swelled
with national pride at a time when Lord of the Rings and the America’s
Cup are doing for New Zealand what Crocodile Dundee and the
America’s Cup did for Australia in the 80s.
Despite how spoilt I was feeling taking in the bounteous magnitude
of New Zealand’s up-and-coming talent, part of me felt like running
home to try even harder to pen an internationally successful hit song,
after the pep talk from the Mushroom guy that graciously accepted
Anika Moa’s award. There was an air of anxious anticipation as Neil
Finn took the stage, thankfully he used his time at the microphone to
promote a worthy cause: the Youth Radio Network, and Class A drugs.
My excitement reached boiling point as Don McGlashan took the
stage to present the Silver Scroll. A technical hitch had the theatre
whispering “they’ve let the horse out of the bag” but it was Che Fu
that took the honour, and I could finally pop my bottle of pink
champagne in celebration of the bounteous magnitude of Che Fu’s
songwriting talent. I could smell those budding pohutukawas again...
At a time when Lord of the Rings and the America’s Cup are doing
for New Zealand what Crocodile Dundee and the America’s Cup did
for Australia in the 80s, Helen Clark faced a pretty forgiving audience
of Labour voters. On the other hand it takes a very brave or stupid
National leader to leave his modest, three bedroom inner city habitation
and walk into a room full of musicians with alcohol loosened tongues.
At a time when Lord of the Rings and the America’s Cup are doing
for New Zealand what Crocodile Dundee and the America’s Cup did
for Australia in the 80s, and the breast of middle New Zealand swells
with pride in our musicians, certain questions come to mind.
Will Dolf De Datsun pen a tune to topple Neil Finn from his number
one mantle?
And if The Datsuns are The Beatles of our Kiwi invasion, does this
mean The Brunettes will be our Freddie and the Dreamers?
Will Bill English be back next year to bask in Helen Clark’s popularity?
Will the Viaduct become a painful monument to the lost dreams
of our sons and daughters?
The answers can wait till next year. I walked back to my modest,
three bedroom inner city habitation, smelling the budding pohutukawa
trees, their sweet scent permeating my brain, buzzing with thoughts
of the night and the bounteous magnitude of New Zealand songwriting
talent, at a time when Lord of the Rings and the America’s Cup are
doing for New Zealand what Crocodile Dundee and the America’s
Cup did for Australia in the 80s.
Jonathan Bree
APRAP December 2002
9

PROMOTING NEW ZEALAND COMPOSERS AND THEIR MUSIC
1 NZ COMPOSER CHRIS WATSON WITH
AUSTRALIAN MENTOR BRENTON
BROADSTOCK AT THE AUSTRALIAN
COMPOSERS’ ORCHESTRAL FORUM IN
OCTOBER 2 AUSTRALIAN COMPOSER JOHN
PETERSON AND ANDREW PERKINS TOOK PART
IN THE AUCKLAND PHILHARMONIA COMPOSER
WORKSHOPS IN NOVEMBER 3 SOUNZ
CONTEMPORARY FINALISTS: JOHN RIMMER,
JOHN PSATHAS AND CHRIS CREE BROWN AT
THE SILVER SCROLL ON 19 NOVEMBER
1
2
3
The SOUNZ Contemporary Award gives
APRA and SOUNZ the opportunity to
celebrate publicly the artistic
achievements of our composers. Since
the award began in 1998, the breadth
and depth of entries from New Zealand
composers has been exceptional, with
thirteen different composers shortlisted
over those five years. The award has
attracted consistently outstanding
entries and this year was no exception.
The 2002 Finalists were:
• Memories Apart for chamber
ensemble by Chris Cree Brown
•View from Olympus a double concerto
for piano, percussion and orchestra
by John Psathas
• Europa concerto for brass band and
orchestra by John Rimmer.
With a new format this year for the
presentation, the intention was to
perform the winning work. This turned
out to be John Psathas’ concerto, View
from Olympus. With 10 days notice it
was impossible to engage Evelyn
Glennie and Philip Smith, the worldrenowned
soloists who, with the Halle
Orchestra conducted by Mark Elder,
premiered the work at the
Commonwealth Games Festival Royal
Gala Concert in July. Fortuitously, John
had composed a short encore, Fragment,
for the soloists to perform at the
premiere. We were honoured to have
two of Auckland’s outstanding
musicians, David Guerin (piano) and
Lenny Sakofsky (vibraphone) to perform
this short work at the Silver Scroll.
Lenny had in fact performed in the
premiere performances of the works by
Chris Cree Brown and John Rimmer
which also reached the SOUNZ
Contemporary finals.
More New Zealand composers,
including John Psathas, are receiving
international acclaim for their music
and opportunities for performances and
commissions continue to grow. Recently,
in co-operation with the Australian
Music Centre, we have ‘exchanged’
composers to work on orchestral
projects: Chris Watson with the West
Australian Symphony Orchestra; and
John Peterson with the Auckland
Philharmonia. The Centre’s first
participation in MIDEM in January 2003
with the NZ Music Industry
Commission and leading record
companies is intended to open up more
opportunities for the music of NZ
composers to be heard around the world.
Scilla Askew
Centre for NZ Music
(trading as SOUNZ)
PO Box 10042, Wellington, NZ
Street address: Level 1, 39 Cambridge
Terrace
Phone: 64-4-801 8602
Fax: 64-4-801 8604
Email: info@sounz.org.nz
Website: www.sounz.org.nz
APRAP December 2002
10

SWEET TASTE OF NEW ZEALAND MUSIC IN SCHOOLS
SWEET!, A MUSIC PACKAGE FEATURING OVER 50 NEW ZEALAND ARTISTS AND
BANDS HAS BEEN DELIVERED TO MUSIC TEACHERS IN EVERY NZ INTERMEDIATE
AND SECONDARY SCHOOL. PUT TOGETHER BY THE MUSIC
INDUSTRY
COMMISSION AS PART OF A CONTRACT WITH THE MINISTRY OF EDUCATION, THE
RESOURCE FEATURES AN AUDIO CD AND TEACHERS BOOKLET, PLUS
A CD ROM
FOR STUDENTS AND A POSTER OF FEATURED NZ ARTISTS BY RENAISSANCE MAN
CHRIS KNOX. THANKS ARE DUE TO THE MUSIC WRITERS AND PUBLISHERS
FOR ALLOWING THE MATERIAL TO BE USED AT A NOMINAL RATE; AND TO THE
EDUCATION MINISTER, HON TREVOR MALLARD WHO MADE FUNDING FOR
THIS AND OTHER NZMIC SCHOOL PROJECTS AVAILABLE.
THE PACK WAS
EXTENSIVELY TRIALLED AND SINCE GOING INTO THE SCHOOLS IN OCTOBER HAS
BEEN A RESOUNDING SUCCESS. MUSIC TEACHERS WORKING IN RURAL AREAS
AND IN LOW DECILE SCHOOLS IN PARTICULAR HAVE PRAISED SWEET!,
EXPLAINING
THAT UP TILL NOW THEY’VE HAD LITTLE OR NO KIWI MUSIC RESOURCES IN THE
SCHOOLS. MANY TEACHERS QUERIED ED HOW MUCH THEY WOULD HAVE TO PAY FOR
IT AND WERE AMAZED THAT IT WAS BEING PROVIDED FREE.
AN OFFICIAL
LAUNCH WAS HELD AT WESTERN SPRINGS COLLEGE IN NOVEMBER WITH
A POWHIRI AND CEREMONY ATTENDED BY THE EDUCATION MINISTER, MOE
OFFICIALS, APRA MEMBERS AND STUDENTS. A CREW FROM KAMO INTERMEDIATE
IN WHANGAREI CAME DOWN AND PERFORMED, AS DID WESTERN SPRINGS
RIGHT: DILWORTH FROM HERBS WITH TWO MEMBERS
OF THE VISITING KAMO INTERMEDIATE CREW.
FAR RIGHT: THE HON TREVOR MALLARD WITH EX-
WESTERN SPRINGS STUDENTS NESIAN MYSTIK.
SINGER/SONGWRITER COURTNEY MEREDITH. EX-STUDENTS NESIAN MYSTIK
WERE A BIG HIT AND WERE KEPT BUSY SIGNING JACKETS, BOOKS AND ANYTHING
ELSE THAT WOULD TAKE A FELT TIP. OTHER NZMIC PARTNERSHIPS HAVE
ALSO BEEN WELL-RECEIVED. THE SCHOOLS MENTORING PROJECT HAS SEEN
MUSICIANS GOING INTO SCHOOLS AROUND THE COUNTRY AND THE BANDS
PARTNERING PROJECT ENABLED REGIONAL FINALISTS IN THE SCHOOLS
ROCKQUEST TO PLAY A GIG WITH A PROFESSIONAL BAND. THANKS ARE DUE TO
GLENN COMMON AND PETE RAINEY FROM THE ROCKQUEST FOR THEIR HELP ON
THIS ONE; THIS YEAR’S CONTEST WAS SEEN BY MANY AS THE BEST EVER.
APRAP December 2002
11

The use of music in audio-visual works is an integral
part of the music industry. From television programmes
and advertisements to feature films and corporate
videos. (Let’s for the sake of argument call them all A/V
works). Music is always needed for A/V works and
hence the process of licensing music needs to be spelt
out clearly to both composers and music users.
First up, some definitions –
Synchronisation Taking music and merging it with
an image.
Broadcast Transmitting music (and images) over
the airwaves to the public.
Public Performance The performance of music in
public. Broadcasting is one such example of a public
performance.
Now when intending to use music in A/V works, a
producer must secure the:
1. Licence to synchronise the musical Work
2. Licence to synchronise and broadcast the
sound recording.
(NB – you will note that we don’t talk about permission
for the musical work to be broadcast. That permission
process is covered through an APRA licence that is
taken out by the entity that broadcasts or publicly
performs the A/V works. That might be a cinema
owner, television channel, seminar function centre
and so on.)
Let’s look at this in more detail.
Say the producer of A/V works uses a piece of
recorded music in a production. (A track that can be
purchased from a record store). The producer is
required to obtain the permission of the copyright owner
of the music and of the sound recording to do this.
Such permission allows the producer to synchronise
the music and the sound recording to the production.
Permission is granted by the owners of the music
copyright and the sound recording copyright in return
for a flat fee, which is negotiated under certain conditions
(The synchronisation fee). There is no set rate. It is
negotiated.
Who are the copyright owners of the music?
1. Music Composers
For virtually all recorded music, the writer’s publisher
holds the synchronisation copyright and these
publishers have in place a society to handle these
synchronisation requests. The society is AMCOS
who is administered by APRA Mechanical Rights
Division. Any producer wanting to use music
approaches APRA Mechanical Rights Division for
permission to synchronise the music. If you as a
writer do not have a contract with a music publisher
then you handle the negotiation of the use of your
music in A/V works yourself.
Now, who owns the sound recording?
2. Sound recordings
If a piece of music used by a producer is from a
cd/tape, then permission will also need to be obtained
from the copyright owner of the sound recording for
the recording to be synchronised and broadcast.
APRAP December 2002
12

NATURE’SBEST
THE SONGBOOK HAS ARRIVED
The sound recording copyright is usually held by the
record company that releases the recording. Most
commercial record companies are members of the
Phonographic Performances NZ Ltd (PPNZ) to whom
producers in the first instance will direct their enquiries.
If an APRA member funds their own recordings then
a producer will need to negotiate the use of the
sound recording with that member. Again there
are no standard rates. The fees are a matter of
agreement between the owner of the recordings and
the producer.
If the artist in this case is recording their own music
and does not have a contract with a music publisher
then that artist can negotiate both sound recording
and music copyright clearances.
In the end, an agreement between APRA members
and producers for the use of the APRA member’s music
and sound recordings in productions such as discussed
here requires careful legal advice. We recommend that
a qualified entertainment lawyer peruse any
synchronisation licence you have been offered.
For further information please contact our mechanical
rights division – Jo Cleary on jcleary@apra.com.au or
0-9-300 9575.
NEW ZEALAND’S TOP 30 SONGS OF ALL TIME WERE VOTED
FOR BY THE APRA MEMBERS AND AN INVITED ACADEMY OF
100 PEOPLE AS THEIR FAVOURITE SONGS OF THE LAST 75
YEARS. THE CD AND THIS SONGBOOK ARE A CELEBRATION
OF APRA’S 75TH ANNIVERSARY:
Nature – Fourmyula
Don’t Dream It’s Over – Crowded House
Loyal – Dave Dobbyn
Counting The Beat – The Swingers
Six Months in A Leaky Boat – Split Enz
Sway – Bic Runga
Slice Of Heaven – Dave Dobbyn With Herbs
Victoria – Dance Exponents
She Speeds – Straitjacket Fits
April Sun In Cuba – Dragon
I Got You – Split Enz
Whaling – DD Smash
Not Given Lightly – Chris Knox
Pink Frost – The Chills
Jesus I Was Evil – Darcy Clay
Weather With You – Crowded House
Blue Smoke – Pixie Williams & The Ruru Karaitiana
Dance All Around The World – Blerta
Lydia – Fur Patrol
Blue Lady – Hello Sailor
Drive – Bic Runga
Chains – DLT featuring Che Fu
Dominion Road – The Mutton Birds
(Glad I’m) Not A Kennedy – Shona Laing
I Hope I Never – Split Enz
Tears – The Crocodiles
Be Mine Tonight – Th’Dudes
I See Red – Split Enz
Beside You – Dave Dobbyn
Home Again – Shihad
ALL SONGS FROM THE ALBUM ARE TOP LINE MELODY
ARRANGEMENTS WITH GUITAR CHORD BOXES AND LYRICS.
PRICE $29.95
Available from Dymocks Booksellers and Real Groovy
or email MelissaW@musicsales.com.au
APRAP December 2002
13

New from maorimusic.com
ARIANA TIKAO
“WHAEA”
Ariana Tikao’s “Whaea” (meaning “Motherhood”) album is a celebration of
motherhood that is inspired by her own recent journey as a mother. The album
is all in Te Reo Maori, drawing upon contemporary music styles such as hiphop
and dub but with a strong emphasis on Maori chant and traditional
sounds. A notable feature of “Whaea” is the inclusion of many taoka puoro,
traditional Maori instruments, performed by Richard Nunns.
The album begins with a migration story about our tipuna’s (ancestors’)
origins in the Pacific, a waiata about the cycle of life (“Pupuhi Rau”). It then
goes on to speak of a personal journey of identity (“Mihi”), love (“Hoa Rakatira”)
and then various stages of welcoming a new babe into this world (“Whaea”,
“Oriori”, “Ukaipo” and “Whenua ki te Whenua”). The album speaks of the
challenges which lie before us, particularly with respect to the survival of the
Maori language (“Ka Huri Te Wa”) and follows with a plea for women to stand
up and be strong (“E Hoa”). The final waiata (“He Mata i te Waiora”) is a tribute
to our ancestors.
Christchurch-based singer/composer Ariana Tikao has been involved in the
New Zealand music scene since 1993 when she was one of the founding
members of the group Pounamu, who performed extensively throughout New
Zealand and also toured Australia, UK and France. Pounamu released a CD
“Mihi” in 1996, which contained compositions by Ariana Tikao.
In 2001 Ariana released a CD single version of “Whaea” (which featured on
the best-selling compilation “He Karanga”). At this time, Ariana appeared on
both “He Wai” and “Mai Time” TV shows.
The “Whaea” album is superbly packaged and the CD booklet includes all
of the Maori lyrics as well as detailed English-language notes on each song.
Richard Nunns explains the various taoka puoro used with the relevant waiata.
A music video of “Ka Huri Te Wa” will feature on many music TV shows and
Ariana will be appearing in Christchurch, Wellington and Auckland over the
next 2-3 months.
For further details contact Ariana Tikao at horomaka@actrix.co.nz or James
at info@maorimusic.com.
‘The Index’ is a one-stop services and information
directory for the New Zealand entertainment
industry, enabling easy access to over 1000 crucial
contacts.
‘The Index’ contains a full guide to contacts in
over 90 product categories.
The 3rd edition of ‘The Index’ has over 60 extra
pages of contacts and information
- in stores from December 1 2002, RRP - $49.95
For further Info: Grant Hislop 021 483 524
www.theindex.co.nz
Mahinarangi Tocker’s much anticipated new album
“Hei Ha!” is being released this month. This is
Mahinarangi’s first album in four years and
comprises sixteen tracks.
“Hei Ha! is my walk through breath, sound and
influences of whanau and life. I loved working
with Bruce Lynch, (co-producer), and having
freedom to change songs according to the mood
of the day. Whanau involvement in waiata was
important as was sharing songs, such as ‘Forever’
with my daughter Hinewairangi and friend Suzanne
Lynch. Songs written by David Downes and myself
taught me a lot about vocal rhythm and vocal
experimentation. I loved recording this. The song
‘When I Grow Up’ tells me that I’m almost there.”
Mahina Tocker
APRAP December 2002
NZ’s
VERY
OWN
SITE
CHECK OUT YOUR
NEW WEBSITE
www.apra.co.nz
IT’S TAKEN A WHILE BUT
WE WANTED TO GET IT
RIGHT. HAVE A SURF
AROUND AND WE
WOULD LOVE SOME
FEEDBACK PLEASE!
14
WEB DESIGNER: JOHN ALLISON

DALVANIUS R.I.P.
The tangi for Dalvanius Maui Prime was a unique affair. In keeping
with his final wishes, it involved several different ceremonies. There
were many stories told of his achievements and naturally there was
great music as well.
Dalvanius now rests in the grounds of the Tutahi Church, next to
the road locals call the Nukumaru straight.
Some of the tales told at his tangi were about how he brought his
show business experience to bear in helping others and mentoring
those younger than himself. At the tangi, APRA presented two offerings.
The first, which now hangs in his family home, was the portrait of
Dalvanius and Helen Clark at the Silver Scroll. The other, presented
to the chairman of the marae, was the album Nature’s Best II, featuring
Poi E. The CD was officially released on the day he passed away.
When Dalvanius came to the 2001 Awards he wasn’t well, but he
made sure he enjoyed the night to the full. At a time when most of
the revellers were home in bed, Dal was still being driven round
Auckland looking for good times.
Right up to his passing he was in touch with government officials
and people throughout the music industry: suggesting, questioning,
noting and planning. Dalvanius was sometimes eccentric but his
kaupapa was always the betterment of Maori music and respect for
taha Maori, as in his campaign to repatriate mokomokai (tattooed
heads) from US and European museums.
His influence continues. Last week the flash new Bridget Wellwood
mural was unveiled on the front of the South Taranaki Museum in
Patea’s main street.
On the same day around 300 locals launched the new Patea Youth
Centre. Dal’s daughter Aleshiba was there, the Patea Maori Club lifted
the roof. Later on the town’s mokupuna were up on stage playing
their music.
There was little doubt Dalvanius was in the house.
There was no one else like him. Our best wishes go out to his
whanau and friends.
Arthur Baysting
PHOTOS: DALVANIUS WITH PM HELEN CLARK AT THE
2001 APRA AWARDS. HIS RESTING PLACE AT THE
TUTAHI CHURCH, SOUTH OF PATEA.
PHOTO: MIKE CLINTON
PHOTOS: ARTHUR BAYSTING
DAVE FRASER R.I.P.
Talented pianist and arranger Dave Fraser died in Nelson in October. A natural musician
who started on drums and also played vibes, Dave was a first-class composer and
arranger who worked extensively in television and played in many jazz line-ups. In
recent years he was music director for Roger Whittaker; a role that capitalised on his
arranging skills and took him around the world with Whittaker many times. Dave is
survived by his wife Linda and two sons.
APRAP December 2002
15

APRAP December 2002
1 8FORTY8 2 CARMEN STEEL 3 NGAIA
CRUDEN 4 TASH AND SCOTT LISTER 5 REX
FRANKLIN, RON HAYWARD & ANNE PASCOE
6 EMMA GHAEMMAGHAMY 7 HENDRIX
TRIBUTE BAND 8 TANIA LEPPER
SCROLLETTES
NEW PLYMOUTH AND HAMILTON
1 2 3
4 5 6
The Scrollettes are one of our
favourite annual events.
Started three years ago to
cater for members who can’t
make it to the Silver Scroll,
they show the diversity of our
APRA members and their
music. Often these are the
first APRA hosted events in
each area or the first one for
some time, so they are special
evenings. This year Mike
Chunn, Arthur Baysting and
Petrina George drew the lucky
straws.
In New Plymouth the
Scrollette was held at Mad
Toms Bar, with over 40
members turning up - from a
total of 87 members in
Taranaki! Over 50 turned out
to the Hamilton WEL Energy
Trust Academy of Performing
Arts the next night.
Members on both nights
told us they didn’t know many
other songwriters, so the
Scrollettes gave them the
opportunity to get together.
Who knows what may result
7 8
in future co-writing and
performing partnerships.
The format was the same
as in previous years; a seminar
and question and answer
session, food and drink,
followed by an open mic,
where anyone can get up and
perform a couple of their
original songs. The variety of
ages, nationalities and music
genres of the members
present, led to an eclectic mix
of music performed. It was
great to hear the songs and
see the support shown by the
audience of fellow songwriters
and composers. The voices,
the strumming of guitars and
the messages within each of
the songs were amazing.
Each night provided nearly
four hours of live music from
around 20 performers.
Thanks to Greg, Steve and
Daniel from Mad Toms Bar in
New Plymouth, and Michael
Knapp, crew and the
Rockshop in Hamilton.
Petrina George
PHOTOS: PETRINA GEORGE
Australasian Performing Right Association Ltd. An association of composers, authors and publishers of music in Australia, New Zealand and the South Pacific: Having affiliations with similarly constituted organisations throughout the world. Writer Directors: Arthur Baysting (New Zealand),
Jenny Morris, Richard Meale LLB AM MBE, Michael Perjanik (Chairman), Eric McCusker, Chris Neal. Publisher Directors: Robert Aird Universal Music (Australia) Pty Ltd, John Anderson EMI Songs Australia Pty Ltd, Adam Lang Warner/Chappell Music Australia Pty Ltd, Fifa Riccobono J
Albert and Son, Ian James Mushroom Music Pty Ltd, Damian Trotter Sony Music Publishing. Chief Executive: Brett Cottle LLB. Director of Administration: Nicholas Hampton FCA. Director of Finance: Alexander Jeliba FASA Senior. Director of NZ Operations: Mike Chunn.
New Zealand - NZ Head Office. 92 Parnell Road, PO Box 6315, Auckland, New Zealand. Telephone: (64) 9 379 0638, Facsimile: (64) 9 379 3205. Membership Email: nz@apra.com.au . Internet: www.apra.co.nz Registered Office: Sydney - 6 -12 Atchison Street, St Leonards, NSW
Australia, Telephone: (02) 9935 7900, Facsimile: (02) 9935 7999, Email: apra@apra.com.au New Zealand APRAP. Auckland, PO Box 6315, Telephone: (09) 379 0638, Facsimile: (09) 379 3205. Editor: Debbie Little Email:dlittle@apra.com.au. Finance: Kay Goss. Legal: Anthony Healey.
Design: Lorenzo Design. Contributors: Jonathon Bree, Scilla Askew, Scot Morris, Nikko Chunn, Neil Finn, Brett Cottle, Artur Baysting, Petrina George, Mike Chunn, Jo Cleary. The opinions expressed in articles in APRAP are not necessarily those held by the APRA Board. APRAP is produced
by The Baton Brigade. © 2002 Australasian Performing Right Association Ltd.
APRA, 92 Parnell Road, Auckland, PO Box 6315, Auckland. Freephone 0800 NZ APRA (69 2772), Phone 0-9-379 0638, Fax 0-9-379 3205, Membership Phone 0-9-300 9573, Email: nz@apra.com.au
16