Composers - APRA

QUARTERLY NEWSLETTER OF THE AUSTRALASIAN PERFORMING RIGHT ASSOCIATION
July
2000
Triple J
wins Ted Albert Award [ 7]
1999 Survey
of members
[ 5]
Digital Agenda
copyright law reform [ 9 ]
Composers
in concert [ 15 ]
Triple J
wins APRA’s Ted Albert Award
The Ted Albert award for outstanding service to Australian
music means a lot to Triple J network manager, Ed Breslin. As
a young music director working for 2UW when Ted Albert was
chairman, Ed recalls being called up to Albert’s office one day.
“I broke out in a nervous sweat and thought, ‘Gosh what’s all
this about?’. It was nothing more sinister than this incredibly
friendly, well-spoken man wanted to know my views on
where music was heading.”
“Personally, I’m thrilled to have something hanging in the
foyer with Ted Albert’s name on it. I’m indebted to the
memory of this wonderful man and I’m indebted to APRA
for passing it on to us.”
Continued page 7

Contents
To the Point 1
Sami 2000 1
APRA Takes To The Dance Floor 2
Co-writers: put it in writing 3
Board Profile 4
1999 Survey of Members 5
Here’s what we’re going to do now 6
Triple J: Moving with the times 7
Music Business Adelaide 2000 8
The Digital Agenda 9
New Focus On Film And TV Music 10
2000 APRA Awards 11
In Retrospect: Dulcie Holland 13
International Notes 14
Composers in Concert 15
What’s Happening 17
The Bush Balladeers Association 20
Interstate Update 21
Changes to payment
Back Cover
Online LPRS
Back Cover
Electronic Banking at APRA Back Cover
To the
point
Brett Cottle, CEO, APRA
SAMI 2000
Avalon Sperring,
Manager, South Australian Music Industry Association
The tenth anniversary of the South Australian Music
Industry Association (SAMIA) was celebrated in style at
the Association’s ‘flagship’ profile event, the annual SAMI
Awards ceremony.
The ceremony gala event featured a selection of South
Australian artists and headlining act, Testeagles.
Testeagles received four SAMI Awards, including Most
Outstanding Male Vocalist and Guitarist (Matty Matt), Best
Artwork (graphic artist Ashley Starkey) and Most Outstanding
SA Release (Non Comprehendus).
The Awards were considered to be well representative of
the contemporary music industry in South Australia, and a
very successful event. Many are already speculating about the
format, nominations and results for next year’s ceremony!
Other winners included
Best Country Music CD - Follow That White Line,
Radio Cowboys
Outstanding Contribution to the South Australian Music
Industry - Dianne Joy, Catalyst Promotions
Most Popular SA Band or Artist - Digit
Most Popular SA Release - Self-titled EP by Digit
Best dance music release - Rudiments: Lessons Won,
Phat Albert
Most outstanding SA release - Non Comprehendus,
Testeagles
Most outstanding songwriter/s - Career Girls
Contact SAMIA via telephone on (08) 8267 5111,
fax on (08) 8239 0689 or email to: samia@adelaide.on.net
This edition of Aprap contains articles on two issues of
crucial importance for APRA members: the Digital Agenda
reforms to the Copyright Act (page 9) and an overview of
plans following the results of last year’s membership survey
(page 5).
The Digital Agenda Bill contains the most important copyright
amendments in 30 years. While its provisions won’t solve all of
the practical problems associated with web-based music usage,
they will give us a sound legal framework for dealing with the
principal commercial uses of music in the online environment.
THE DIGITAL AGENDA BILL CONTAINS THE
MOST IMPORTANT COPYRIGHT AMENDMENTS
IN 30 YEARS.
In the accompanying article on the Bill, its somewhat tortured
passage to the Parliament is outlined. This is not surprising,
given the diverse range of interests affected and the high stakes
involved. However, drafting errors and omissions aside, it is
now time that the legislation was put in place, and we will be
working towards that end in the coming weeks.
Brett Cottle
As we go to press, the
Bill is due to be debated
in the week commencing
19 June. When passed, we
will be running a series
of information workshops
for members on what it
all means.
Our membership survey was
the largest informationgathering
exercise we have
undertaken so far. It’s
given us essential feedback
on your view of how we do
things, and it’s also acted
as our springboard for
planning and resource allocation over the next three years in
the member services area. Thanks to all of those who took the
time and trouble to contribute to the survey; we will do our
utmost to put your suggestions and ideas into practice.
[ 1 ] APrap

APRA
The event is being held at the
Metro, Sydney, 19 July 2000 and
will be televised on Channel V
and SBS.
APRA is sponsoring the Best
Dance Album award (Australian
release). We’ve interviewed the
nominees for best album. The
articles are being published in
3D World and associated street
press in other states, in the lead up
to the event. Nominees for the
award are PNAU (Sambanova),
Endorphin (Skin), Ali Omar
(Arabian Nights), MC Kye of
Budspells fame (Triumphant),
Ubin (02), Wicked Beat Sound
System (Inna Styles).
Takes To The Dance Floor
APRA’s involvement with Australia’s thriving
dance community has grown stronger over the
last year. We’re a key sponsor for Australia’s
inaugural dance music awards – to be known
hereafter as DMA (Dance Music Awards).
We continue to build relationships
with the young promoters staging
huge dance events around the
country including Sam Crane,
responsible for POWERHOUSE
Productions and the Utopia
series of dance parties. Our
interview with Crane appeared
in 3D World in June.
We’ve also been working with
venues around Australia, to
supplement the information we use
to distribute the licence fees paid by
dance venues all around Australia.
The participating venues have been
giving us weekly set lists for the
works performed.
APRA offered two tickets to this
year’s APRA awards for the venue
that contributed most consistently.
John Agostinello and his wife
Monique, from the Tatou Bar in
Dean Ormston
Director, General Performance
Licensing – APRA
Melbourne, were thrilled to attend
the awards and were surprised at
the scale of APRA’s operations
and its obvious importance
to composers.
APRA would like to thank all the venues that have been
keeping complete set lists for us:
Bonkers Nightclub, Yeppoon
Campbelltown Catholic Club, Campbelltown
Casey’s Nightclub, Melbourne
Chevron, Melbourne
City of Sydney RSL Club, Sydney
Condamine Sports Club, Warwick
Men’s Gallery/Sante Fe, Melbourne
Jackson’s on George, Sydney
Legend’s Nightclub, Nowra
MGM Grand Casino, Darwin
Newmarket Hotel, Adelaide
Pavilion, Sydney
Players Bar, Adelaide
Plaza Hotel, Alice Springs
Tatou Brasserie & Bar, Melbourne
The Men’s Gallery, Melbourne
Vault Nightclub, Perth
Clockwise from top: Endorphin; Ali Omar and MC Kye.
APrap [ 2 ]

Co-writers: put it in writing!
Recent case highlights need for written agreements
A recent Federal
Court judgement 1
about a dispute
between a number
of APRA’s writer
members demonstrates
how important it
is for collaborators
and business partners
in the music industry
to have clear written
agreements.
The issue in this case was
who were the authors of two
musical works and whether
both or only one author
controlled the copyright in
the works. The music was
composed for the TV series
The Great Outdoors. There
was no written agreement
between the parties.
One of the authors brought a
legal action claiming breach
of copyright and a claim for
damages for infringement of
copyright. Before this the
parties had submitted their
dispute to APRA’s dispute
resolution procedure 2 .
Judge Wilcox looked closely
at the working arrangements
of the parties, heard evidence
from both composers and
compared their version of
events surrounding the
composition of the musical
works. The Judge also
considered the information
that had been provided
to APRA by each party
and the conduct of each
party in disclosing relevant
facts to APRA. Because the
case turned on certain facts,
what mattered was the ability
of each party to show the
Judge relevant evidence
(such as floppy disks
containing recordings) and
to explain their version of
events truthfully.
The Judge declared that the
composers were joint authors
and owners of copyright. He
found that both parties had
made creative contributions
to the making of the works.
Critically, musical ideas were
supplied by each writer and
were translated into “musical
noises” on equipment by
both of them. The Judge also
found that these ideas and
musical compositions were
incorporated in the final
product. Although one writer
clearly had the first ideas for
the music, the Judge found
these were only “embryonic”
and that the other writer
“made a major creative
contribution” to these
embryonic ideas. These
findings of fact satisfied the
Judge that the works created
were “works of joint
authorship” as defined by the
Copyright Act. 3
As a result, the writer who
had claimed that they were
the sole copyright author and
owner had to:
■ reimburse the other
writer for the delay in
receiving APRA royalties
■ share the copyright
earnings already received
■ compensate the other
writer for the lost
opportunity to be jointly
credited as a composer on
the TV series music
■ pay an amount as
additional damages for a
flagrant infringement of
copyright, and
■ pay the legal costs of the
successful writer in bringing
the legal action.
The Judge accepted that the
“lost kudos” for not being
credited on the TV series
was a “real and substantial”
loss. He said, “Reputation is
critical to a person who
follows a vocation dependent
on commissions from a
variety of clients. Success
breeds success, but only if
the first success is known to
potential clients. To deprive
a person of a credit to which
he was justly entitled is to do
him a great wrong”. The
Judge awarded damages of
$40,000 as compensation.
Could this have been
avoided?
For both writers, this case
may have been avoided if a
written agreement had
outlined the terms on which
they were working together
and what their entitlements
to any royalties would be.
The Judge did find that
one writer tried to verbally
discuss their entitlement to
APRA royalties with the
other writer, but did not get
a clear response and so
sent in an APRA registration
card without the signature
of the other writer. When
APRA received another
registration card that
conflicted with the first, it
advised both writers that
their entitlement to royalties
for the work was in dispute.
Under APRA’s distribution
rules, where there is a
dispute between writers over
entitlement to APRA money,
any money APRA has
allocated is held in suspense.
If you co-write a piece of
work then at the time those
works are being written and
developed, you should
clearly establish with your
co-writers your respective
interests in works created.
The best way to avoid
any ambiguity is to put
the agreement in writing. A
written agreement protects
Marie-Louise Symons
Assistant General-Counsel APRA
both parties because it gives
unequivocal evidence as
to the interests of both
writers and should avoid
later legal wrangles.
If you want more help!
For advice on documenting
your working arrangements,
contact APRA’s writer
services department on
1800 642 634.
For legal advice, contact:
■ Lawyers experienced in
music copyright law. The
Law Society in your state can
refer you to a suitable lawyer.
■ The Arts Law Centre of
Australia.
Tel: 02 9356 2566
Fax: 02 9358 6475
http://www.artslaw.com.au
■ The Australian Copyright
Council.
Tel: 02 9318 1788
Fax: 02 9698 3536
http://www.copyright.org.au/
Both organisations can help
with contract terms and cowriting
issues.
■ Information on contracts
can be found in The Law
Handbook for your state–
available from Redfern
Legal Centre Publishing.
Tel: 02 9698 3066; Fax: 02
9698 3077 or your local or
state library.
1 Prior v Sheldon [2000] FCA 438,
Wilcox J, Sydney, 7 April 2000.
2 APRA has a dispute resolution
procedure, by way of binding referral to
an independent expert, for situations
where writer members disagree on how
royalty allocations should be shared. All
parties must agree to submit to the
procedure. (Distribution Rule 7.06).
3 Section 10 of the Copyright Act 1968
provides that a work of joint authorship
is a work that has been produced by the
collaboration of two or more authors and
in which the contribution of each author
is not separate from the contribution of
the other author.
[ 3]
APrap

Board Profile
John Anderson
on why the world
is flat
It’s the blue sky question Aprap asks last: ‘It’s
2010. What does the Australian music scene
look like?’. But John Anderson’s answer is so
striking it begs to come first in print.
“The internet has created a
flat world mentality,” he
states. “To compete in this
world market we will need to
develop music which will
stand up to the best in
the world.”
Ten years is really not such a
long time, after all. The
earth may be round, but
technology is rapidly ironing
out the corners. In this
‘flat world’, the “specific
challenge for songwriters and
publishers alike is to ensure
that they embrace new
technology without losing
sight of the importance of
intellectual property rights,”
says Anderson.
Anderson is now managing
director of EMI Music
Publishing Australia. His
own work history is a
testament to the ‘flattening’
of the music world. He
joined the print music
division of Chappell & Co in
1974 (after a brief stint in
travel, “selling dreams to
people”). He soon moved to
the artists and repertoire
department and, two years
later, fostered the early
development of April Music,
later known as CBS Songs.
“THE SPECIFIC CHALLENGE FOR SONGWRITERS
AND PUBLISHERS ALIKE IS TO ENSURE THAT THEY
EMBRACE NEW TECHNOLOGY.”
Eventually, through a series
of takeovers and mergers via
SBK Songs, Anderson ended
up at EMI Music Publishing.
He says: “In effect on a
statutory employment basis, I
have been with the same
company, but with varying
ownership, for nearly 24
years. It looks different,
but it’s the same world”.
EMI Music Publishing
Australia has built a
reputation on fostering
Australian music at grass
roots level. As evidence,
Anderson cites the names
of artists he has worked
with over the span of
his career: Men at Work,
Savage Garden, Dragon,
Mi-Sex, Air Supply,
Icehouse, Jimmy Barnes,
Divinyls, Diesel, Baby
Animals, Hoodoo Gurus,
Deborah Conway, The Wiggles,
Tina Arena, Regurgitator
and The Superjesus.
Highlights have included the
ground breaking success of
Men At Work who achieved
two number one hits on the
US Billboard charts in 1982
with Who Can It Be Now? and
Down Under. They sold over
18 million albums worldwide
and recently notched up
a BMI Award for over
one million performances in
the U.S. for Who Can It Be
Now?. Anderson and EMI
were also instrumental
in fostering the initial
development of Savage
Garden/Rough Cut Music
and were part of the
phenomenal global success of
Savage Garden’s debut selftitled
album which scored
worldwide sales of over
12 million copies and
achieved a number one
hit on the U.S. Billboard
charts in 1998 with Truly,
Madly, Deeply.
A publisher director on the
APRA Board since 1985,
Anderson reflects that APRA
has “progressively changed
over the years into a
proactive and comprehensive
performing rights body”.
In a flat world, APRA’s role is
crucial: “As we continue to
move into this brave new
world of online delivery
systems, content and the
internet, it is imperative that
songwriters and music
publishers, have access to a
strong organisation working
together in the best interests
of its members”.
“MUSIC IS PURE EMOTION.”
Anderson has no doubt that
Australian songwriters and
artists will stand up to the
best in the world, as long as
we continue to invest in
them. “The relationship
between songwriters, artists
and publishers is one of
interdependence of varying
degrees. To me, music is pure
emotion and the creative
process of how a song
evolves into a finished sound
recording that has the
potential to connect with a
multitude of people certainly
sets this business apart.”
APrap [ 4 ]

1999 Survey of
Members: here’s what you said
Members:
In November 1999, we mailed out surveys to all
11,661 APRA members who received a royalty
payment in APRA’s 36 B distribution. Over 14%
of these members responded. Thank you!
Who wrote back?
■ 75% were males
■ most were aged between 30 and 39 years (32%)
■ most came from NSW (29%) and Victoria (24%)
■ most classed themselves as rock or pop musicians (56% and
51% respectively)
■ a significant number classed themselves as ‘alternative’
musicians (34%)
■ the large majority earned up to $1,000 in royalties from APRA
and the bulk of these royalties were earned from live
performances (75%) followed by radio (62%).
Our customer service
You were strongly supportive of APRA and rated our staff and
customer service very highly. (Percentages shown below have been
rounded off to the nearest percent).
Access to APRA staff 75% good or excellent,
19% satisfactory
Our courtesy, friendliness 86% good or excellent
Our understanding of your needs 80% good or excellent,
13% satisfactory
Information we gave you 78% good or excellent,
16% satisfactory
Our promptness in replying 76% good or excellent,
16% satisfactory
Overall APRA service 78% good or excellent,
12%satisfactory
Areas we need to address:
■ 6% had problems with getting prompt replies to email or
written queries.
■ 4% said APRA seminars were difficult to access or attend for
regional areas
■ 3% had received wrong or vague information from
APRA staff
■
understanding of our cultural funding program
■ information about overseas royalty collection and distribution.
Our handling of disputes
Over 90% had never had a dispute with APRA and believe that
our current dispute resolution process is effective and satisfactory.
Our communication
Most of you find out about what’s happening at APRA through
Aprap (81% read it, 53% gave it a good or excellent rating,
37% said it was satisfactory). The second most popular way of
keeping in touch with us was using the telephone (58%) . Almost
30% use the web to keep in touch with us.
You felt that we needed to communicate more with you about:
■ legal aspects of the music business (53%)
■ copyright issues (52%)
■ music publishing (how to get a contract - 49%)
■ our distribution system (48%).
Accounting issues and membership profiles came towards the
bottom of this list of communication priorities. In fact, a lot of
you said you wanted to know how to make it yourselves rather
than to read about others who’d ‘made it’.
Our website
Most of you already knew about our website (76%), and quite a
few of you have internet access (61%). 37% had visited our
website in the last year. The top three reasons cited were:
■ to register works (48%)
■ to search for works (39%)
■ to download LPRs (36%)
86% found what they were looking for. Clearly, when you visit
our site, you’re looking to do a transaction of some kind. You
were least likely to visit the site to look for information on
distribution, licensing or music publishing.
When asked what we could do to improve our website service, you said:
■
provide information on individual performances of my work
■ give me information on jobs and potential creative
partnerships
■ let me register works online (this service is already
available, so the result suggests that it’s not easy to find on
our site, or that we’ve not promoted this service enough)
■
show me music industry contacts
■ let me view my personal APRA account details (75% wanted
to do this)
■ give me access to bulletin boards with information on
publishing deals, performance opportunities, collaborative
partnerships.
Our sincere thanks to all those members who took
the time to respond. Your answers have helped us
to refine our dispute resolution, communication and
e-commerce strategies, and to identify other areas we
need to address.
[ 5 ] APrap

Here’s what we’re going to do now
Sally Howland Director, Member Services - APRA
APRA wants to deliver the best in collective
rights administration for our members. We’re
always looking to improve our business
practices and to respond to your needs more
effectively. Our survey aimed to help us find
out what we could do better especially in
relation to our services, communications and
web related issues.
Here’s our strategic plan. It covers what we’re going to do to
address your suggestions and concerns. Our initiatives can be
broadly classed into four areas: education, new services, web
development, and communications.
Education
Cultural funding
A number of members said they were not aware of APRA’s
cultural funding program and so felt unable to rate it. More
members may be familiar with our Music Grants funding
program which is the principal beneficiary of the amounts we
We’re now developing a framework for an Alternate Dispute
Resolution (ADR) procedure. Basically, ADR would give
members the opportunity to have their disputes with APRA
reviewed by an independent arbitrator. Once the new ADR
process is approved by the APRA Board, the policy on how the
process will work will be incorporated into our Distribution
Rules and published to members in the November edition
of Aprap.
ADR WOULD GIVE MEMBERS THE OPPORTUNITY
TO HAVE THEIR DISPUTES WITH APRA REVIEWED
BY AN INDEPENDENT ARBITRATOR.
Electronic banking
From distribution 37B (due in November this year), members
will be able to choose between having their royalty payments
paid directly into a nominated bank account or mailed to them
as a cheque. (See article on back cover).
Web development
We’re now developing a comprehensive range of facilities and
services to be delivered to you via our website on the internet.
Some of the more significant developments include:
set aside for cultural funding. APRA’s Articles of Association allow
the Board to set aside money to promote and/or recognise
works written by our members.
We plan to profile some of the events, organisations and
projects that benefit from our Music Grants funding scheme in
Aprap and on our website.
Overseas royalty collection and distribution
We’re developing an information program to communicate
how your rights are administered overseas. It will cover legal
and copyright issues and the business and distribution rules of
our affiliated societies. It will also provide practical information
on the various payment systems used by our sister societies (also
see page 14 of this issue/International Notes). The program will
aim to give you immediate access to relevant and current
information affecting your interests. Again, we plan to use
Aprap and our website to convey this information to you.
New services
Alternate Dispute Resolution Process
Most respondents were satisfied with APRA’s current process
for handling complaints. However, they also saw value in APRA
adopting a more “arms length” approach to helping members
when a dispute arose with the organisation.
■ a cue-sheet facility that will allow you to give us traditional
cue-sheet data online, and which will integrate directly with
APRA’s own CMS (Copyright Management System)
■ ability to lodge LPRs (Live Performance Returns) online
(see separate article on back cover )
■ online access to your personal account details
■ online voting at Annual General Meetings.
■ bulletin board for members, including referral facility for
connecting songwriting partners
■ distribution query hotline
■ electronic unregistered work notices.
Communications
The survey identified some shortcomings in our written
communications with members. We have implemented a call
tracking mechanism to monitor all query-related calls from
members. This acts as both a register of issues currently
outstanding but, more importantly, it’s an effective and efficient
means of managing those queries. We’re aiming to improve our
response times to your inquiries and will keep you informed of
our progress.
APrap [ 6 ]

Triple J: moving
with the times
Peter Garret presented the Ted Albert Award to Triple J
personalities: Mikey Robbins, Carolyn Tran and Chris Winter.
Australian music in the year ahead? “It’s going
to be brash, young, confident, energetic and
passionate”. Ed Breslin might just as well have
been talking about the radio station he heads
as network manager: Triple J.
Triple J’s don’t-care mix of
youthful irreverence for the
status quo and obsession
with unearthing music that is
raw, new, Australian, is
precisely what earned it the
Ted Albert award for
outstanding service to
Australian music at this
year’s APRA awards.
It’s the first time APRA
has given this award to
an institution and not an
individual. But this is
an institution that has
done much for talented
individuals within the
Australian music scene and
that has helped define a
sense of self for generations
of young listeners.
A sense of identity
If the truest expression of a
people is in its dance and
music, then through its
dedication to airing Australian
music, Triple J has brought us
face to face with ourselves.
As Peter Garrett said, when
presenting the award,
“Without Triple J, who
would have heard of AC/DC,
Hunters & Collectors,
INXS, The Saints, Radio
Birdman, The Triffids, The
Go Betweens, Ed Kuepper,
Coloured Stone, Rebecca’s
Empire, Yothu Yindi, The
Falling Joys, silverchair,
Powderfinger, Regurgitator,
You am I, Spiderbait,
Madison Ave and a host of
others.”
“Australian music over the
last 25 years, has taken a few
tentative steps,” comments
Breslin. “We’ve gone from
‘do we have to sound like
that British band or
that American artist’, to a
much more self-confident
approach. We’re saying, ‘To
hell with what they’re doing
overseas! This is what we
feel like, playing, yelling,
singing’. As Australia as a
whole becomes more selfconfident,
that is very much
reflected in Australian
contemporary music and it
becomes self-fuelling.”
Listening for
themselves
It’s a willingness to take risks
with new, homegrown music,
that sets Triple J apart and
makes it appealing to what
Breslin calls a certain
“psychegraphic” of people -
“people of a certain mindset
rather than of an age. People
who take an active passion in
things that are new and fresh
and vibrant, interlaced with
fairly irreverent delivery”.
While commercial radio
looks to the overseas trade
mags for advice on the next
sure-hit from the established
names, Triple J uses its own
ears to listen to what’s hot
at home.
“It’s a difficult conundrum
for radio stations because
“TO HELL WITH WHAT THEY’RE DOING
OVERSEAS! THIS IS WHAT WE FEEL LIKE,
PLAYING, YELLING, SINGING.”
they are obliged to maximise
returns for their shareholders
–which is at odds with their
cultural obligations. But,
given that, I think they could
be less reliant on what the
overseas trade magazines are
telling them and use their
own judgement a little more
than is currently the case,”
he says.
“Playing Bardot is not
taking a risk!”
Not the same
anymore? Nah!
What of those who say Triple
J does not risk as much as it
used to? That it’s starting to
play music that sounds
suspiciously commercial...
Breslin’s heard this one
before: “People tend to
regard the music on Triple J
as being absolutely at its best
when they were at a certain
golden period in their lives.
Triple J did get an enormous
leg up in the grunge era of the
90s because commercial radio
couldn’t go there. Now there
are some people who point to
that era and say, ‘Goddamit!
Triple J should still be like
that’. Well, we can’t be. If we
tried to hang on to grunge,
we’d just be another dinosaur
of the airwaves.
“Triple J is the same as it
ever was, really. When
Double J first started in 1975,
the first song we played was
SkyHooks’ You just like me cos
I’m good in bed. The fourth
song we played was actually a
Leo Sayer song called Long
Tall Glasses. Now, if you said
to anyone these days that
Triple J /Double J played
Leo Sayer, well, they’d say
you’re off your head! But
the fact is that Leo Sayer
was hot in 1975 and that’s
what we played and the
station still adheres to the
same philosophy.
“From time to time, there’s
a form of music that
dominates. Then the next
generation think, ‘that
dominant genre is for people
older than us, let’s do our own
[ 7]
APrap

thing’. And that encourages
creative diversity in the
great food chain of life.
“Triple J is a contemporary
music station and we reflect the
contemporary music that is
around at any given time.”
THERE IS THAT ATTITUDE IN AUSTRALIAN
MUSIC WHICH IS JUST MAGNIFICENT.
And right now, that music is
“brash, young, confident,
energetic and passionate. You
think of artists like Alex Lloyd,
Madison Avenue, and they all
fit the bill. There is that
attitude in Australian music
which is just magnificent.
People coming into the new
century are feeling pretty
optimistic about life. We’ve
moved away from that ‘heroin
chic/we’re all doomed/so what
the hell?’ to being a bit more
bright and outward looking
and optimistic.”
2000
Paula Rosenbauer
MUSIC BUSINESS ADELAIDE
APRA2000
Writer Services Representative –
APRA songwriting sessions a huge success
Eighty bands, 110 national delegates and a host of aspiring South
Australian musicians and members of the local music industry
combined to make Music Business Adelaide 2000 the most
successful event since its inception in 1997.
Held over the Adelaide Cup long weekend (12-15 May), MBA
2000 combined the national Music Industry Critics’ Awards and
the South Australian Music Industry Awards. The annual
Carclew Youth Arts Event, Off The Couch, was rescheduled to
coincide with the MBA program and the APRA Songwriting
Sessions were expanded into a
full day activity.
The APRA sessions were
a huge success and included
three genre-specific
workshops (Australian Classics,
Pop/Rock and Country) and a
separate production session.
The Australian Classics
workshop saw Joe Camilleri
(The Black Sorrows) team
up with Garry Frost
(Moving Pictures, 1927).
James Roche (Bachelor
Girl) and Jenny Morris
Above: Garry Frost (Moving Pictures, 1927)
Joe Camilleri (The Black Sorrows) at the
Australian Classics Songwriting session.
presented two diverse approaches
to songwriting at the Pop/Rock
workshop and Jimmy Little and
Troy Cassar-Daley proved an
inspiring combination at the
Country Music session.
Paul Gomersall gets practical at
the Production Session.
The Production session, held in The Full Bench studios, worked
successfully as a stand-alone workshop with two of Australia’s top
producers, Mike Duffy and Paul Gomersall, adopting a
‘hands-on’ approach which
awarded the participants with a
great deal of practical
information.
MBA 2001 is scheduled for
18-21 May 2001. For information
about the 2001 program, please
contact the MBA office on
(08) 8207 7183 or email
mba@adelaide.on.net
Below:
James Roche (Bachelor Girl),
Jenny Morris at the Pop/Rock
Songwriting session.
Left: Troy Cassar-Daley at the
Country Music session.
APrap [ 8 ]

some positive recommendations to Government, but APRA will
have to wait for the next draft of the Bill to see whether the
Government has accepted them.
ISPs and music on hold
Following a landmark decision by the High Court in August 1997
about the use of “music on hold” by Telstra, the Government
decided that the Copyright Act should be changed. The APRA v
Telstra case focused attention on the question of “who should
pay” when music is transmitted to telephone and mobile phone
customers. The High Court found that carriers, like Telstra,
should pay.
“MUSIC COPYRIGHT OWNERS SHOULD BE
PAID BY THE PERSON RESPONSIBLE FOR
DETERMINING THE ACTUAL CONTENT OF
A COMMUNICATION.”
The Government has now decided that music copyright owners
should be paid by “the person responsible for determining the
actual content of a communication” and not the carrier or
internet service provider. This means the person who makes the
decision to provide or connect the music to the telephone system,
for example, an individual business operator, will be responsible
for paying for this music use.
APRA expects that the licence fees obtained from
individual businesses will be far greater than what is paid
by carriers currently.
Temporary copies
Temporary copies (reproductions) of works are made because of
the technical processes involved in electronically transmitting
copyright material. APRA believes its members should be paid
when certain kinds of temporary copies are made. We have been
successful in our arguments to the Committee. However, the
Committee has also recommended that where carriers and
carriage service providers make copies as part of the technical
process of making or transmitting communications and storing
information for subscribers, and these copies infringe copyright,
copyright owners will only be able to obtain an injunction to stop
the activity, not sue for damages.
Three year review
Because these new laws apply in an area that is constantly
evolving, the Government has agreed to review the Digital
Agenda laws three years after enactment.
Stay tuned
APRA will be monitoring the progress of the legislation through
Parliament, and will keep you informed about the status of the
Digital Agenda Bill and the final outcome.
New Focus On Film And TV Music
Film and television composers will be pleased
to hear that APRA has now set aside specific
resources to address issues specific to their
line of business.
Michelle O’Donnell has been APRA’s writer services manager
for six years. From 1 July, she will become our new film and
television services manager. This new position is the result of
changes affecting the local film and television industry. It is also
a response to the Australian Consumer and Competition
Commission’s (ACCC) requirements that APRA establish a
new system of rights administration that meets certain
ACCC conditions.
Michelle is pleased to be appointed to the new role.
“My first priority is to review APRA’s film and cue sheet
processing and streamline the procedure for members. I’ll also
be working on developing stronger working relationships
between APRA and the various television stations and
production companies.”
Michelle will be working towards providing both advice
and a consultancy service, which will ultimately help APRA
members with their film or
television negotiations. We’ll be
implementing a range of initiatives
over the next twelve months,
so watch this space or check
out our website for updates
(www.apra.com.au).
You can contact Michelle on
02 9935 7900, or send her an email:
modonnel@apra.com.au.
APrap [ 10]

2000 APRA
celebrating words and music
The winners of the 2000 APRA Awards were announced at a
gala event held at the Sydney Convention and Exhibition
Centre, Sydney on 22 May 2000.
The Australian music industry gathered to celebrate the
achievements of composers, songwriters and publishers at the
invitation–only event.
Jazz supremo, James Morrison, opened the awards with an
electric performance of Mack the Knife. Song of the Year was
Passenger—penned by Powderfinger’s Jonathan Coghill,
John Collins, Ian Haug, Darren Middleton and Bernard
Fanning and published by Universal Music Publishing Pty Ltd.
Savage Garden’s Darren Hayes and Daniel Jones took out
three awards: Songwriters of the Year, Most Performed
Australian Work with Animal Song and Most Performed
Australian Work Overseas with Truly Madly Deeply (both
published by Rough Cut Music Pty Ltd, administered by
Warner/Chappell Music Australia Pty Ltd).
A key feature of the night was having all the nominated songs
for Song of the Year performed by special guests rather than the
original recording artists.
Photography by Tony Mott and Rikki Keene
Savage Garden
Left: Savage Garden put
in a special performance
for the 700-strong crowd
at the Awards
[ 11]
APrap

Right:
Richard Clapton belts out
Killing Heidi’s Weir.
Far right:
NoKTuRNL perform
Powderfinger’s award
winning song, Passenger.
Awards:
The Alana Scanlan Dancers swing to Madison Avenue’s Song of the Year nomination, Don’t Call Me Baby.
James Morrision
Left: Shanley Del
performs Kasey Chamber’s
song, Cry Like A Baby,
also nominated for
Song of the Year.
Right:
James Morrison
opens the night with
Mack the Knife.
the Knife
APrap [ 12]

In Retrospect:
Ann Carr-Boyd remembers
Dulcie Holland as a talented
composer who could turn out
easy piano pieces for
amateurs at a stroke and who
could surprise with
passionate, romantic, serious
works that won her standing
ovations when they were first
performed, almost 50 years
after they were first written.
“I first knew of Dulcie just as
any other musician in
Australia would - through the
works she wrote for AMEB,
easy pieces for teaching
music to beginners. I got
to know her personally when
I joined the committee for
the Fellowship of Australian
Composers. Dulcie was the
one who always had a
solution, who could pour oil
on troubled waters,” says
Carr-Boyd affectionately.
A distinguished composer
herself, Carr-Boyd worked
closely with Holland in
recent years, especially
on productions of
Robert Allworth’s Jade
CD series featuring
20th century Australian
classical compositions.
Holland was a consummate
professional, says Carr-Boyd.
“She’d come along to play
piano at the recording
sessions (for Allworth’s Jade
series) and there was none of
this super-star attitude about
her. She’d do all these
amazing things, and for her,
it was like just another very
cheerful day at the office!”
Dulcie Holland
Photo courtesy of the
Australian Music Centre
Australians first found about
the “other side to Dulcie’s
music,” when they heard her
trio for piano, cello and violin
performed at the Australian
Composing Women Festival
held in Adelaide in 1991.
Writing about the festival
later, Catherine Gough-
Brady said “It was an
emotional experience: many
of the works had never been
publicly performed before.
Among the premieres were
works like Miriam Hyde’s
and Dulcie Holland’s, which
had waited as long as 50 years
for their first performance!”.
“Dulcie’s trio brought the
audience to its feet,” says
Carr-Boyd. “It is just one of
the most fabulous pieces of
Australian music.”
Born in Sydney in 1913,
Holland trained at the NSW
State Conservatorium of
Music, where she studied
piano with Frank Hutchens,
cello with Gladstone Bell,
and composition with Alfred
Hill. During these student
years she arranged works for
the duo pianists Frank
Hutchens and Lindley Evans.
She graduated with her
Teacher’s Diploma in 1933.
After leaving the
Conservatorium she studied
for a time with Roy Agnew.
Dulcie Holland
Travelling to London,
Holland joined the Royal
College of Music studying
composition with John
Ireland, and conducting with
Reginald Jaques. At the end
of her first year she was
awarded the Blumenthal
Scholarship (which provided
for three years of study at the
RCM) and the Cobbett Prize
for Chamber Composition.
But World War II broke out
the following year so she
returned to Australia to work
as a freelance composer.
During the 1940s she
combined marriage and
“SHE’D DO ALL THESE AMAZING THINGS,
AND FOR HER, IT WAS LIKE JUST ANOTHER
VERY CHEERFUL DAY AT THE OFFICE!”
motherhood with continued
composing. In particular her
songs for voice and piano
were often performed in both
Australia and Britain.
On a return visit to London
in 1950 she studied with
the serialist composer
Matyas Seiber but she
decided against using serial
techniques in her work.
“DULCIE’S TRIO
BROUGHT THE
AUDIENCE TO
ITS FEET.”
Dulcie Holland has written
music in many forms and
for many media. Many of
her orchestral works were
written for the North Shore
Symphony Orchestra which
was founded and conducted by
her husband Alan Bellhouse.
Her compositions have won
her many prizes, including
ABC/APRA Awards in 1933,
1944, 1951, and 1955; ANZAC
Festival Awards in 1954,
1955, and 1956, the General
Motors Theatre Award
in 1963 and the Henry Lawson
Award in 1965. In 1977,
Holland was awarded the
Order of Australia. In 1993,
she received an Honorary
D.Litt. from Macquarie
University in recognition
of her achievements.
A pianist, organist and choir
director, music examiner, and
a teacher of piano and
theoretical subjects, Holland
was the author of numerous
music education publications.
On Saturday, 20 May 2000,
Dulcie Holland, one of
Australia’s most notable
composers, died peacefully in
her sleep. Ann Carr-Boyd
presented the eulogy at
Holland’s funeral which
was held on 25 May, at
Mosman, Sydney.
Compiled from profile
information published in the
APRA Journal (July, 1969), the
1993 `Australian Music and
Musicians 1930-1960’ Conference
in Canberra, the Biographical
Directory of Australian
Composers (Australian Music
Centre, 1996), an article by
Christine Draeger published in
The Flute, Feb 1996, an article by
Catherine Gough-Brady for the
Green Left Weekly Home Page,
and a conversation with
composer Ann Carr-Boyd.
[ 13]
APrap

International Notes
Scot Morris
Director, International Relations - APRA
PERFORMING overseas?
LET US KNOW!
Overseas societies change their distribution and data collection
strategies from time to time. So, before you tour overseas, it’s
worthwhile checking how societies in the countries you visit
collect performance data and distribute royalties.
Call Brett Ducker (02 9935 7989) for this advice or myself
(02 9935 7900).
Let us know about your overseas tours in advance. It may help
us to notify the societies involved to ensure that your
performances are licensed correctly. You also need to complete
an Overseas Live Performance Return (OLPR). You can get a
copy of this form from Brett Ducker.
Below are some changes that overseas societies have recently
made to their distribution practices.
United Kingdom
PRS has introduced new policies and practices in many areas of
its data collection and distribution. Their previous Live Music
Distribution Policy involved trying to collect 100% returns for
live performances at about 500 “significant venues” in the UK.
They also tried to get census returns for tours and one-off events
worth more than £500 in PRS licence fees.
Ireland
IMRO analyses and distributes individually all concerts that earn
a royalty of at least £200 for which a set list can be obtained.
Concerts with a value lower than this are distributed on the
basis of an annual survey of live music. Live music in pubs,
hotels, restaurants, etc, where the revenue is less than £200 per
event and which are not licensed as a percentage of box office,
are deemed to earn a royalty of £12. So, if you perform at least
17 such gigs in Ireland, it will be treated as a single concert and
a “representative” or composite set list will be used for
distribution. The deadline for submission of set lists is the end
of February for performances in the previous calendar year.
Asia
In Japan, many gigs and residencies will come under their
blanket licence category of “places of entertainment”. These are
subject to a random sample depending on the business category.
For concerts and other performances, the user (eg, concert
promoter) must supply a report of the titles used. As is the case
with concerts here, you should ensure that the promoters and
APRA receive a copy of your set list. In other Asian territories,
copyright enforcement may be relatively recent and the national
society may not be well developed, so you may not receive any
royalties for tours. It depends on whether the performance is
licensed and the distribution rules of the society in question.
PRS has now introduced a revenue-weighted sampling
approach for distribution of live music royalties. They will still
undertake full programme details from licensees for events
licensed under the concert and theatre tariffs, but are not
limiting the policy to a restricted list of venues. In 1999 they
aimed to collect 100% of programme information for classical
concerts producing a licence fee of more than £75 and, for the
pop concert tariff, the cut off for 100% programme analysis
was a £42 licence fee. These thresholds change each year and
for 2000 they are £51 for classical and £45 for pop concerts.
For all other live music not in concert halls and theatres, such
as pubs, clubs, bars, hotels, restaurants, etc, they have collected
survey information from a sample of 5000 events during 1999.
This was carried out by a market research company, although
PRS designed the survey and selected the sample.
The venues are “weighted” according to how much revenue
they pay PRS in licence fees. The higher the fee, the more
likely it will be included in the sample. All other aspects of the
sample are random–the statisticians maintain that the laws of
probability will ensure a representative spread of geography,
genre, etc. The survey collected information for distribution
about live performances and also featured recorded
performances (DJ). Information about “non-featured”
performances was also collected to project the repertoire of
background music used. The survey continues in 2000.
Scot Morris
APrap [ 14]

Co
Composers in
Concert
Carl Vine (left) and Warren Thomson. Opposite page: Peter Sculthorpe.
They come from all corners of
the world, from Armenia to
Vietnam. They’ve made it
through an audition process of
Olympiad proportions, held in
nine cities around the world.
Finally, this July, 36 carefully
selected competitors will take
part in the prestigious
Sydney International Piano
Competition.
They’ll face a five stage
competition of solo recitals
performed before a mixed
jury of music professionals at
Sydney’s Seymour Centre and
the Sydney Opera House.
Broadcast live on ABC Classic
FM and via the ABC website,
the performances will include set
works by Australian composers,
Elena Kats-Chernin, Peter
Sculthorpe and Carl Vine.
Six pianists will share in
the coveted $100,000
prize pool and international
concert tours offered by
the competition. APRA
sponsors a $5,000 prize for
the best performance of
an Australian work as part of
the competition.
The Sydney International
Piano Competition is
regarded as the leading piano
competition in the world, and
one of the fairest, according to
artistic director, Warren
Thomson OAM.
Kirti Jacobs spoke to
composers Carl Vine and
Peter Sculthorpe and caught
up with Warren Thomson*.
(*At the time of writing, the results of
the competition were not available
and Elena Kats-Chernin was in
Germany preparing for the premiere
of one of her works.)
Your thoughts on
competitions and
what they contribute
for musicians and
composers?
Sculthorpe: In my teens I took
part in the Launceston Music
Competitions. Max Olding
always used to beat me -
except in the Australian
section. It gave me a lot of
pleasure, even as a boy,
digging up Australian music to
play at the competitions.
Competitions were important
to my life and I wholly
support them. The only
problem that I had when I was
a boy was that I used to
sleepwalk in the weeks leading
up to the competition!
Vine: I’m not in favour of
competitions of any sort
involving artists. The only
outcome of value occurs when
winning such an event is the
only viable way for a
performer to propel their
career to a higher level. I
know of no competition of
benefit to composers unless
the prize purse is
embarrassingly large.
Thomson: For young musicians,
it’s an avenue for them to be
heard by a wide public - our
competition is broadcast live
throughout Australia and New
Zealand, it’s recorded onto
CD and there will be live
broadcasts on the internet,
worldwide. That sort of
exposure you can’t buy.
Which of your
compositions will
feature at the
Sydney International
Piano Competition?
What inspired this
composition??
Sculthorpe: I wrote a special
piece called Between Five Bells.
It was inspired by Kenneth
Slessor’s poem, Five Bells,
which is both an elegy for a
friend who drowned in
Sydney Harbour and also a
meditation on the meaning of
memory and existence. I
haven’t tried to render the
“ITISNOTAPATH
TO BE CHOSEN BY
THE SANE”
poem in sound, but I took my
cue from the lines early in the
poem, where Slessor imagines
his friend is lying beneath the
waters. The music is more
flowing, being rather like
water at night. But it’s
underpinned by five pedal
notes in the first part and the
last part, which represent the
five bells of the ship.
Vine: A selection of my
Five Bagatelles for solo piano is
being used for the competition.
These grew as a collection
from the final bagatelle,
Threnody, which was written for
a benefit concert of the
Australian Aids Trust.
What are your
thoughts on
composing/performing
music as a career?
Sculthorpe: I’ve never regretted
it. At the risk of sounding
immodest, I think my music is
getting better all the time!
New things seem to be
happening in the music, and
that keeps one going, looking
forward to the next piece. The
Australian classical music
scene is pretty healthy, really,
given our small population. It
would be wonderful if we had
a really good music publisher
in Australia, but maybe we’re
unable to sustain a publisher.
Vine: It is not a path to be
chosen by the sane. The
activity itself is a combination
of self-obsession and low-level
pseudo-meditation wrapped
in a sedentary life style. As
a career the income isn’t
nearly enough to compensate
for the work pressure coupled
with the lack of measurable
achievement.
Thomson: It’s a hard life but
the challenges and rewards are
worth it if you work at it and,
of course, have good luck on
your side. Xiang-Dong Kong,
our first prize winner in 1992,
had just played two successful
concerts with the Los Angeles
Philharmonic, when Yo-Yo
Ma, who was due to do four
[ 15]
APrap

mposers
concerts at the Hollywood
Bowl, got very ill. They
invited Xiang-Dong Kong to
do the four concerts. That was
very good luck and it also was
that he was ready to play
something. There’s no use
having the opportunity if
you’re not ready to play and
that’s what I mean by luck.
Do you think there is
something special about
Australian contemporary
classical music that
distinguishes it from the
music written in other
cultures?
Sculthorpe: What’s special
about Australian contemporary
classical music is its diversity.
In most other countries
composers tend to write in a
similar style, the style that is
generally accepted. Maybe this
diversity has something to do
with our multiculturalism.
Vine: The ‘culture’ that gives
rise to contemporary classical
music is a first world
phenomenon that has
increasingly less to do with
the country of origin. If
Australia’s contribution to this
culture is unique, it is only so
because of the absence of a
dominant historical source. In
other words, Australians
writing this kind of music have
a more diverse set of
references than those in most
other first world countries.
This might be a strength.
Do cultural differences
matter when it comes to
interpreting music from
other cultures?
Sculthorpe: Yes, I think they do
matter. I wrote a work called
Mountains for a previous
competition as a test piece. The
work was about Tasmania, isle
of mountains. I felt very few of
the players understood the kind
of mountains I was writing
about. Oddly enough, the
player who did understand it
best was Hungarian!
Vine: I don’t believe there’s any
inhibition to the appreciation
of music from any culture; all
that’s needed is fresh ears.
Truly indigenous music is the
perfect amalgam of religious
belief and social function - and
is increasingly hard to find
anywhere. Such music can
only ever be performed
convincingly by members of
the source culture. Composers
may borrow some of the
techniques of the music, but it
must remain no more than
flattery by imitation.
Thomson: The world is so
accessible to everybody at the
moment, that that isn’t the
case at all. It could be that a
person doesn’t bother to make
any investigation about a
certain sort of music but that
doesn’t mean that the
information is not available.
Peter Sculthorpe has written a
very nice introduction to his
work, Between Five Bells, and I
think some competitors will
definitely look a little bit
further into that and it will
probably create something
that is not quite what
he envisages, but something
that is very interesting and
may well give a different
perspective to his work.
American pianist,
Frederic Chiu, says that
it’s always interesting
to hear a composer
perform his own works,
but a composer is not
necessarily the best
interpreter of his music.
What are your thoughts
on this?
Sculthorpe: I agree, unless a
composer is also a fully
fledged pianist - probably few
“WHAT’S SPECIAL ABOUT AUSTRALIAN
CONTEMPORARY CLASSICAL MUSIC IS
ITS DIVERSITY”
performers play Percy
Grainger’s music better than
Percy Grainger. I think a
proper pianist aims for what
he or she thinks is the ideal
interpretation. Whereas for
me it can exist in many forms,
many interpretations.
Vine: The most interesting
things about a composer’s own
performance is often the gap
between what a performer
thinks they’re playing, and
“...BECAUSE IF EVERYONE DOES IT
ONE WAY, WHY LISTEN TO A LOT OF PEOPLE
DOING IT?”
the noises they’re actually
making. Even if the composer
is a good performer and has a
clear mental image of the
music, they may not be
conveying this exact image
to the audience. The other
good reason for someone
other than the composer to
play the music is the
introduction of otherwise
unexpected elements of
interpretation. The composer
may well know best, but every
now and then they may
not truly appreciate what
they’ve created.
Thomson: I think that
composers do often find
that young people will find
things in their music that they
mightn’t have realised or might
not have done themselves, but
it gives another perspective to
that work. It’s all healthy -
because if everyone does it one
way, why listen to a lot of
people doing it?
APrap [ 16]

What’s Happening
CD releases
Happe
Compiled by Michelle O’Donnell
Writer Services Manager - APRA
Simone Hardy has
released her debut album
Shed My Skin. Simone was
signed by Leon Concannon,
(Virgin’s A&R) at the
1997 APRA showcase. She
represents a new wave of
Australian singer/songwriters
yet her roots are in tradition.
Her love of song and the
fundamentals of harmony and
melody combined with a
desire to “touch on as many
musical flavours as possible”
make Shed My Skin an album
of colour and contrast.
Simone chose producer
Victor Van Vugt, inspired
by his work with
both Beth Orton and
Nick Cave and wanting that
special dynamic on her album
- space. Van Vugt and Simone
cut the new album as live as
possible in a New York
studio. You can feel the raw
tension in tracks like Shed My
Skin and Why Does it Have To
Be You.
Second Honeymoon
have released their second CD
Precious Metal. Their music
is described as sleek,
sexy, subversive, full-bodied
urban sound.
Secondhoneymoon@hotmail.com
or 03 9329 2139.
Cherry punk rockers,
Scrumfeeder, are about to
embark on Highway to Bevan.
Released through RoboChubby
records, it will be supported
with a national tour.
Scrumfeeder have just returned
from an extensive European
and US tour, supporting
Indiana junk rock kings
Sloppy Seconds and
JJ Speedball.
Trysette Loosemore’s
first album, French Kiss, is
described as easy listening
contemporary pop with wide
audience appeal. Track 10,
I Don’t Think Its True,
featured on Damien Gerard’s
Grow Your Own compilation
and received airplay on both
Power FM and Mix 106.5.
Available thorough
chaosmusic.com.
David Tipoki has released
his second CD EP ELUA! .
This is the follow-up to his
twice NZ Music Awards
nominated CD Hang Loose
Papa Goose. Distributed in
NZ through Global Routes
Music. In Australia, contact
David on 07 3216 2697,
0412 654 080 or email
topkeys@topkeys.net.au
Rory O’ Donoghue
Quartet released The
Colour In Between in April.
Funky jazz with a blues edge,
it’s definitely worth a listen.
odprod.com.au or
www.ozemail.com.au/~odprod/
or phone 02 9451 5871
A preview from his
forthcoming solo album Ho
Kitchen, Mixed Up Shook Up
Girl sees Michael Spiby,
(Badloves) flirting with Latin
swing in a loving remake of
the Mink DeVille cult classic.
Contact Mushroom Records.
Djamel has recorded his
single Living High with
Warren Jenkins from Killing
Heidi. It’s receiving airplay on
JJJ and is available through
www.chaosmusic.com and his
own website www.djamel.com.
Launceston-based duo
Accapella Stella,
featuring singers Alex Myers
and Sue Lee-Archer have
released their new CD a
Cagefull of Seagulls which
includes traditional folk songs
and medieval carols as
well as an original work
by Tasmanian songwriter
Neil Gardner.
Choura@telstra.easymail.com.au
Pat and Butch have just
released Wintermission, a
collection of 16 smooth and
honest original songs from
swamp devils to Irish girl.
www.bazar.com.au
Al Black has released 40
Years Of Country Music, which
includes two of his original
recordings from the 60s and
some new ones he’s written.
Contact Al or Margaret Black
02 4966 2588.
Fresh new band Deode
launched On My Scooter to an
enthusiastic audience. Guests
were treated to the finest
new jazz/funk talent that
Melbourne has to offer.
Preview online at
www.chaosmusic.com/deode
Arabesque features the piano
music of Phillip Wilcher
played by Jeanell Carrigan.
It ranges in styles from
romantic and impressionist
to contemporary. The CD
is available through the
Australian Music Centre.
Cradlemint, have released
their third CD, Blend. Check
out their video Something
is Better (Than Nothing)
on their website
[ 17]
APrap
Simone Hardy

ing
Triple J and overseas interest
www.alphalink.com.au/~perkins
Blend 8 Million Ways was also
screened on rage.
Adelaide based Somersault
are taking their music to the
world through local air play
on 3D Radio National,
in their CD sampler.
etheric.music@start.com.au
John Glenn has just
released his third award
winning CD, Cheeky Grin.
The CD was nominated for
three NCEIA 1999 Dolphin
Awards and the song, Obvious,
won the Folk category. John
will be touring nationally
throughout 2000. Contact
Corazon Touring 0417 713 682
or john@corazon.net
M e l b o u r n e
composer/singer/harmonica
player, Harper, launched his
new CD Glass On The
Stepping Stone at the
Esplanade Hotel with an
all-star lineup including
Bruce Rowland and
Roger McLauchlan. Harper
tours the US in late June,
then heads off to Europe
in October.
www.peterharper.com or
www.fullmoon.com.au
Rose Bygrave (Ex Goanna)
has released an independent
solo CD, White Bird. Tracks
are being played nationally by
ABC radio and American
singer Mollie O’Brien will be
adding one of Rose’s songs to
her new CD.
rosebysea@ozemail.com.au
Elduende has released
Greatest Hits. The album
features nine songs which
reached a top 10 position in
the MP3.com charts in the
Latin, Flamenco and Spanish
section. He is now one of the
most successful Australian
artists on MP3.
www.mp3.com/duende or
email elduende@one.net.au
Jo Brew has just released a
solo EP/CD titled Subculture
Pop containing five new
tracks, which are a little more
left of centre than the
traditional indie release.
www.rjfmusic.com/jobrew or
email jo@rjfmusic.com
Jacquie Major has
completed a special demo CD-
CDROM, Eclectic. The music
style is quirky pop/rock and
the demo is at the forefront
of music marketing today.
www.jmajor.com.au
Marcus Goodwin
(guitarist for the Ice Cream
Hands) has released his solo
debut album, The Slow Age.
watershedrecords@hotmail.com
Perth synth/pop band
Paradox have signed with
US label ISIS records. Their
album, New Devotion, will be
distributed by Virgin in
time for their US tour
in September.
www.space.net.au/~rd3/
Sandy Klose
Paradox
Producer/singer/songwriter/
double bassist Sandy
Klose’s debut CD, Simple
Pleasures, has received rave
reviews and high rotation on
Radio National’s The Planet.
Available at good record shops
through Pigs Can Fly
Records and at www.doda.com.au/sandy
Silica Bliss’s self-titled
debut album has received
great reviews and airplay on
both Triple J and Triple R.
www.silicabliss.com
Daniel Rata’s (Perth) CD
Suspended In Time is a
collection of smooth ballads,
jazz fusion and contemporary
funk. It’s being played on local
and national radio stations.
www.danielrata.com
Bordello, a crunchy fourpiece
feed, high in Phat,
Funky Beatz, have released
a single In the Head/Wake
Up Geoff, along with a
controversial film clip for
Wake Up Geoff. They’ll be
touring the East coast
in August. The CD is
available through MGM
(cat: PMR0315).
Email bordello@one.net, or
www.bordello.com.au or PO
Box 597, Leederville WA 6903
Rhubarb have recently
signed with Roadshow
Music with respect to their
debut album Kamikaze. They
embark on a national tour
during June/ July sponsored
by a Federal Arts Grant.
20 FOUR 7, the four piece
Brissie band, are soon to
release their third album onto
the international arena. Rock
legend Brian Cadd produced
the album, Tank, with the
European-based record
company, Ozbridge.
Powderfinger have just
finished recording their new
album in Melbourne. The
release is tentatively slated for
August/September.
(continued on page 19)
APrap [ 18]

What’s
Happ
Soloist Graham Rix and
his golden voice, have taken a
few months off the road to
write new material and record
under his new contract with
Artic Records. Welcome Home
will be released this month.
Saturn South fronted by
Gota Cola singer Tylea, have
been wooing audiences with
their collaborative project
that features ex-members of
Isis, Hateman and Chalk.
Their sound has been
described as a ‘shimmery
blend of ambient bar-room
tunes’. They are preparing to
record their first release for
the band.
Another band in the studio is
Lavish, currently doing
pre-production for an album
expected to be released later
this year.
tours & deals
Composer Peter Wyllie
Johnston is enjoying
international success with his
hit musical Moses. It premiered
in London’s West End to
critical acclaim. Highlights
from Moses were performed in
New York at the 92nd Street
Y’s Kaufmann Hall. Peter’s
latest success is a one hour
show of Australian songs at
New York’s Firebird Club.
Called Of Things Australian,
Reaching for The Top From
Downunder, the show
features the music of
Peter Allen, Bruce Smeaton,
Jack O’Hagan and
Peter Wyllie Johnston.
Contact Achievements
Unlimited 03 5888 2355.
A new record label is in
town: Croxton Records
(distributed through Shock).
Signings include The
Dunaways, The Gourds (Texas
USA) and Mick Thomas. For
more information please call
Caroline Moore 03 9416 2828.
Flight 47 scored first place
in the Australian Song
Competition. Their winning
track can be heard along
with the other top nine
entries on the ASC sampler.
www.songcomp.com or call
Mark 02 9555 9400
Sydney based indie band
Moniker has just returned
from their third European
tour to promote their current
CD Hate/Put That Gun Away.
http://sites.netscape.net/monikeraus
Trifekta Records have signed
Melbourne four piece
Gersey. Gersey spent
last year touring the
country including shows with
Mogwai, June of 44,
Pollyanna and Gaslight Radio.
Trifekta Records are distributed
through Mushroom.
Call 03 9415 9422 or email
info@trifekta.com.au
The annual Golden
Manuscript Award,
presented by ABC Music
Publishing to mark the notable
achievements of their
composers, this year went to
composer/conductor/arranger
and producer, Sean
O’ Boyle, marking combined
sales of over 80,000 CDs.
Brisbane band Rough Red
is playing at major festivals
in Denmark, Norway,
Switzerland and Sweden. The
band has enjoyed national
airplay and cult status in
several countries and their new
album, Seeing Red, has been
released in most territories.
Doc Span and Ross
Williams have scored a
publishing contract with major
US company Mel Bay. Their
tutorial CD and harmonica
instruction booklet, Blue Grooves,
is distributed throughout
America and Europe.
www.users.bigpond.com/docspan/
or www.xenon.net/~swamprat
Sydney based singer/songwriter
Gavin Hammond has
donated half his royalties from
his song River Jordan to aid
agency Medicins Sans
Frontieres (MSF)
Vincent Pace’s entry for
the International Song For
Peace In The World has been
selected by the international
jury for the major concert for
peace in Rome.
Sydney singer/songwriter,
Terry Gavin has won the
New Zealand Gold Guitar
Songwriter of the Year award
for his song, Mr Snow. The
song is a tribute to the late
Canadian/American country
legend Hank Snow, who died
last year.
Sister2sister track sister
has debuted at number 18 on
the UK charts.
Mission Impossible 2
soundtrack features music
by Powderfinger and
Josh Abrahams .
Keith Glass and Mick
Hamilton shared first prize
in an Australian Heritage
Commission song writing
competition. The song was also
performed in Parliament house.
www.ahc.gov.au
Singer/songwriter Rachel
Kane has signed a recording
deal with Transistor
Music. Rachel’s songwriting
collaborators are well-known
APRA members, Peter
Farnan (ex Boom Crash
Opera) and Simon Austin
(ex Frente).
Saimone Vuatalevu is the
first Fijian songwriter to win a
USA songwriting competition
prize. He won the World Music
category with his song Me Da
Sua Ai Voce Kina Yabaki 2000.
Saimone is a prolific songwriter
and a director of the Fiji
Composers Association.
[ 19]
APrap
Rough Red

tours & deals continued
ning
and roll made him write. It
Richard Cartwright says
Platinum is the book that rock
is the story of corruption
murder and CDs set in a world
of shonky recording contracts
and over-ambitious executives.
Published by Resolution.
www.resolutionpublishinggroup.com
Ross Laird’s well-researched
Sound Beginnings documents
the early history of the
Australian record industry. It
focuses on the decade
between 1924 and 1934 and
traces the industry though the
great depression and how it
was threatened by cheap
imports, which led to a plea
for protection in 1927. Email
currency@magna.com.au
or phone Currency Press
02 9319 5877.
Former Sydney musician,
Luke Mason, has been
named best producer of an
English language album in
the recent Asian Awards
(A.I.M.2000).
These awards were held in
May at the World Trade
Centre in Kuala Lumpur. All
award nominees came from
South East Asia.
Mettaphor, Sunshine Coast
all-girl three piece fly to the
USA in September for 35
shows over an 80 day tour
with a selection of other
Indigenous artists including
Kerrianne Cox, Pauline
Macleod, Bibayungen
and Maree Andrew.
Kaeleen Hunter and
Angelika Heinrieh were
originally from Bidingi Birds,
and with the new addition,
Terri Delaney the new
band Mettaphor was formed.
Before Intercooler even
had a chance to release their
EP, NY-based publisher,
Silent Echo, have requested a
full album. Intercooler’s
manager, Michael Baxter
became a father in early May.
Congratulations!
Miles From Nowhere
have announced their
replacement for Ben
McCarthy (AKA comedian
on bass). While friends and
fans have mourned Ben’s
decision to part ways and
move into comedy, Jeff
Reeves has joined the
band which marks an
exciting time for the
evolution of their sound.
Regurgitator have just
completed their tour in
Japan, with a sell-out show in
Tokyo and near capacity
crowds in Nagoya and Osaka.
Their ART album has sold
well over 10,000 copies in
Japan. They’ll soon be
signing a three album deal
with Miles Copeland’s (the
Police, Sting IRS) label
ARK21 in USA, Canada
and Europe.
Radio Dolls became
a four piece band with the
addition of Melissa Crawford
as guitarist to add a broader
sonic scope. The band plans to
tour in October/ November.
Bordello
The Bush Balladeers Association
The art of bush balladry is becoming lost within the more
contemporary styles of country music. Though Slim Dusty has
remained at the cutting edge of bush balladry there has been no
mainstream recognition or stable organisation to collectively
promote or distinguish bush ballad ideals or to encourage
younger artists to establish a career in this field.
This will change with the establishment of the
Bush Balladeers Association. They already have a few
projects underway including a CD compilation of
Bush Balladeers (volume 1 and 2), a Bush Ballad radio show
syndicated weekly thoughout Australia, a website and a
quarterly bulletin. For more information please contact
Buddy Thomson 07 4168 0168 or Peter Coad 02 4883 6663.
APrap [ 20]

Interstate Update
Qld
Anna Campbell
annac@apra.com.au
Q Music
Q Music and the Valley
Music Council (VMC) have
joined forces to launch a
statewide drive for legislative
change to protect the rights
of live music venues
threatened by residential
development....More
information can be found at:
www.volume2000.com
Q Music’s website, which
recently took a battering in
e-media, will be re-launched
by mid June and will feature a
new format designed by
Brisbane-based company,
‘e-motive’. The website has
been in planning for the last
four months and will offer the
smooth look that many
people have been waiting for!
Q Music recently employed
Sonja Gerdtz, as a part-time
office assistant to deal with the
many phone calls and
membership queries. Sonja
who has held a voluntary
position at QMusic for the last
two years, will also continue
her work on the Qld music
industry directory, The Source.
Rocket
Media Rare will be caretaker
for the Q Music and Brisbane
City Council’s Rocket
program. Four free all-ages
outdoor concerts and musicrelated
workshops will be held
over the next four months.
Seminars
The Copyright Council
will be holding the
touring seminar Copyright
& the Web in Brisbane on
26 July 2000. The venue is
yet to be announced. Bookings
are essential.
Email annac@apra.com.au
SA/NT
Paula Rosenbauer and
Helen Page
paular@apra.com.au
MICAs, MBA, SAMIAs,
Kasey Chambers received
the MICA for Best Female
Artist and Paul Kelly was
awarded the MICA for Best
Male Artist. Other events
over the MBA2000 weekend
included Soundvice where
local musicians had the
chance to hold one on one
consultations with industry
experts as well as group
seminars discussing anything
from copyright issues to
publishing deals and running
your band as a business. Live
performances at Eat The
Venue and Off The Couch
topped off a great long
weekend. See articles on
pages 8 (MBA 2000) and 1
(SAMIA), in this issue.
Original recipe
for Darwin
The Original Recipe Festival,
organised by MIDI (Music
Industry Development Inc)
was held in Darwin from
16-25 June and was a week of
information and entertainment
for NT musicians.
APRA to host
networking dinner
The next Music Industry
Networking dinner will be
held on Tuesday, 25 July at
the Lion Bar. Speakers will
include APRA’s director
of international relations,
Scot Morris, and Richard
Mallett from our broadcast
and online department.
Entertainment was still
being finalised at time of
publication but be assured
it will include several
great local acts. To book
a seat, call Skye at Arts
SA on 08 8207 7100. Tickets
are $20. The dinners bring
together sectors of the music
industry and offer an
opportunity to expand your
existing networks while
hearing from some of
the industry’s most
active representatives.
Arts SA giving
money away!
Arts SA still has
some money from
its Recording
Assistance
Programme (RAP)
to give away to
musicians for professional
recordings. The money is
for musicians working in
contemporary (popular) music
and can be used for early
recording assistance (up to
$400), producing a CD for
release (up to $5,000) or
CD marketing and distribution
(up to $2,500). Various
conditions apply. For
more information and
application forms visit
www.artsa.gov.au or
phone 08 8207 7100.
Applications close
29 September 2000.
Musicians working in other
music styles can apply for
similar support through the
Project Assistance plan and
enquiries for this can be
made to Stephen Bowers or
Julia Haska on 08 8207 7100.
Vic/Tas
Kirsty Rivers and
Ruth Apelt
The second VIC/TAS Blues
Music Awards are scheduled
to take place on Saturday 26
August in Ballarat. Tickets can
be bought from Highway 69,
PO Box 19, Box Hill Nth 3120.
The Melbourne
Blues Appreciation
Society are moving to
re-establish the Blues
Performer of the Year
competition which has not
been staged since 1997. This
competition will be open
to all Australian blues
performers. Previous winners
include Geoff Achison,
Ian Collard and Anne-Maree
Sharry. For more information
contact:
hwy69@ozemail.com.au.
[ 21]
APrap

Update
Congratulations to Vince
Giarusso and Glenn Bennie
on their film Mallboys - the
only Australian film to be
selected for display at Cannes
this year. Vince and Glenn
(Underground Lovers) directed
and wrote the score.
The Victorian Jazz Club
has a new postal address ;
PO Box 580, Elsternwick,
Victoria 3185. Interested jazz
club members should also
remember that the Christmas
in July concert will be held at
the RAAFA Club in South
Yarra on 23 July. Contact the
VJC on 03 9898 7265 for
more details.
The Tasmanian Music
Industry Association has
two fabulous events on later
this year:
the TMIA School Rock
Challenge for any Tasmanian
school bands will be held on
21 July in Hobart and
2-3 August in Launceston.
For more details contact Sally
at the TMIA 03 6331 4470.
The winner gets to play at
Going South which last year
drew a crowd of over 12,000.
Cut off date for entries is
28 June.
Also on the agenda is the
TMIA Rock Challenge -
open to all bands. The
winning band earns a place at
the Pacific Circle Music
Conference in Sydney and a
chance to be spotted by the
cream of the Australian
Music Industry. This will be
held in late August - contact
the TMIA 03 6331 4470 for
more details.
The Australian Music
Foundation is looking for
volunteers to help put together
Australian Music Week, 14-21
October 2000. The AMF is
looking for people with a
genuine commitment to the
project, flexibility, organisation
skills and an ability to work well
with others. If you are interested
please contact Porzia Velardi
on 03 9696 6573 or email
porzia@ausmusic.org.au.
WA
Jeff Halley
Perth bands are continuing to
be very prolific with brand
new CDs of high quality,
original material being
released at a frenetic pace.
Over the last month we’ve had
fantastic CD launches from
Cartman, Fourth Floor
Collapse, Daniel Rata, Peter
Jeavons, Subtruck,
Showbag, Pc Thug,
Karnivool Skin Inc., Red
Jezebel, Pimp, Murphy’s
Lore, Gyroscope and Sleepy
Jackson (who are receiving
high rotation on JJJ).
And there’s more to come
with CD releases in the next
month or so from Three
Orange Whips, Mission
Blue, Sober, Rhino Ted,
Collission Boy, Proton,
Black Steel and that’s just
for starters.
Not bad for a city with a
reasonably small (yet very
supportive) original music
fraternity, dominated by
cover bands.
Perth only has a handful of
venues that are totally
dedicated to live original
music, including long-term
city-based supporters such as
the Hyde Park and
Grosvenor Hotels which run
live original music four nights
per week and the increasingly
popular, all-new, Amplifier
late night bar that currently
opens on Friday and Saturday
nights from 8pm until very,
very, late and features the
best local live original music
and DJs.
Down in Fremantle we have
the very funky Mojos Bar
running DJs and or live bands
five nights per week.
Perth’s live original music
scene continues to prosper
and upcoming events such as
the annual Kiss My WAMI’S,
National Campus Band
Competition and The Next
Big Thing–live musical
showcases–another Jebediah
may soon be propelled into
the national spotlight!
APrap [ 22]

APrap Newsletter
AUSTRALASIAN PERFORMING RIGHT ASSOCIATION
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
throughout the world.
CONTRIBUTORS THIS ISSUE
Avalon Sperring
COVER PHOTOGRAPHY
Tony Mott
Rikki Keene
WRITER DIRECTORS
Arthur Baysting (New Zealand)
Greg Macainsh
Eric McCusker
Richard Meale LLD AM MBE
Jenny Morris
Michael Perjanik (chairman)
PUBLISHER DIRECTORS
Saville Abramowitz
Warner/Chappell Music
Australia Pty Ltd
Robert Aird Rondor Music
(Australia) Pty Ltd
John Anderson EMI Songs
Peter Hebbes (deputy chairman)
Universal Music Publishing Pty Ltd
Ian James Mushroom Music Pty Ltd
Fifa Riccobono J Albert & Son
CHIEF EXECUTIVE:
Brett Cottle LLB
DIRECTOR OF ADMINISTRATION:
Nicholas Hampton FCA
DIRECTOR OF FINANCE:
Alexander Jeliba Fasa Senior
DIRECTOR OF NZ OPERATIONS:
Mike Chunn
REGISTERED OFFICE:
6-12 Atchison Street,
St Leonards NSW 2065
Telephone: 02 9935 7900
Facsimile: 02 9935 7999
Email address: apra@apra.com.au
Internet: www.apra.com.au
BRANCHES
Victoria
3-5 Sanders Place,
Richmond VIC 3121
Telephone: 03 9426 5200
Facsimile: 03 9426 5211
Queensland
Suite 14, 36 Agnes Street,
Fortitude Valley QLD 4006
Telephone: 07 3257 1007
Facsimile: 07 3257 1113
South Australia
Suite 9, 30 Kensington Road,
Rose Park SA 5067
Telephone: 08 8331 7621
Facsimile: 08 8364 5340
Western Australia
177A York Street,
Subiaco WA 6008
Telephone: 08 9382 8299
Facsimile: 08 9382 8224
New Zealand head office
92 Parnell Road,
Auckland, New Zealand
Telephone: 64 9 379 0638
Facsimile: 64 9 379 3205
PO Box 6315,
Auckland, New Zealand
APrap EDITOR: Kirti Jacobs
APrap EMAIL:
modonnel@apra.com.au
The opinions expressed in articles
in APrap are not necessarily those
of the Australasian Performing
Right Association.
APrap is designed and produced
by creative hq.
© 2000 Australasian Performing
Right Association Ltd, Sydney,
Australia
Print Post No:
55003/02262
ISSN: 1441-4910
APRAP is printed on
environmentally friendly paper.
Australia Pty Ltd
Changes to payment
APRA normally pays royalties for live performances in its
B distribution (in November). In previous years we have
paid returns submitted after the cutoff date in the following
A distribution (May/June). However, from now on,
payments for returns submitted after the cutoff dates will be
held over until the next B distribution (November) in the
following year so make sure you give yourself plenty of time.
Online LPRs
A new and improved online Live Performance Return is
now available on the APRA website (www.apra.com.au). You
will need at least Netscape version 4 or Explorer version 4
to access this facility properly. Our IT department have
provided extensive online help screens. Read these before
you start and completing your return should be easy and
trouble free.
If you lodge your returns via the net you have until
31 August to submit, giving you an extra month. (Paper
returns must be received by 31 July).
Electronic
Banking at APRA
Want immediate access to your royalties? Sick of waiting
in endless bank queues just to deposit your royalties?
Starting with Distribution 37B in November 2000, you
can choose to have your APRA royalties paid directly into
your nominated bank account. All you have to do is give
us your bank details and we will arrange for all future
royalty payments to be directly paid into your nominated
account. Simply cut out the form below and mail to:
APRA, Writer Services Department
Locked Bag 3665
St Leonards NSW 2065
Name of Member:
9 digit member ID Number (if known):
Name of bank:
Name of account:
BSB:
Account name:
Account number: