CeLeBRATING 25 YEARS Of THe APRA MUSIC AWARDS
CeLeBRATING 25 YEARS Of THe APRA MUSIC AWARDS
CeLeBRATING 25 YEARS Of THe APRA MUSIC AWARDS
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apRap<br />
Newsletter of the Australasian Performing Right Association www.apra.com.au JULY 2007<br />
RIP: Billy Thorpe<br />
& Lobby Loyde<br />
Celebrating <strong>25</strong> years<br />
of the <strong>APRA</strong> <strong>MUSIC</strong> <strong>AWARDS</strong><br />
Sick Puppies GOING GLOBAL<br />
FAN-BASE:<br />
build it and they will come<br />
> Kev Carmody, Missy Higgins, Paul Kelly.<br />
Photo > Tony Mott
Anthea Sarris<br />
Brett Cottle<br />
Photo > Jan Kuczerawy<br />
Photo > Jan Kuczerawy<br />
editor’s wrap<br />
In an eclectic fusion of tuxedos, sequins and sneakers; the seasoned campaigners<br />
and the young guns of Australian music gathered for the <strong>25</strong>th Annual <strong>APRA</strong> Music<br />
Awards at the Melbourne Town Hall in June. The night was a celebration of the<br />
outstanding achievements of our songwriters over the past year and a moving tribute<br />
to a quarter of a century of great Australian music. Master of ceremonies, Jonathan<br />
Biggins, delivers his ‘view from the stage’ on page 8 along with a full list of winners<br />
and a photo gallery from the night.<br />
In this issue of Aprap, we turn the spotlight on building a fan-base and the influence<br />
of technology. we’ve spoken to the experts – songwriters, managers, booking agents<br />
and venue managers – and they all agree: a decent fan-base can be your launch pad<br />
to success. Check out their views on building a fan-base and the pros and cons of<br />
technologies like MySpace and youTube on pages 11-13.<br />
Social networking sites are the focus of frank Rodi’s article on the licensing and<br />
copyright challenges associated with online, user generated content (uGC) on<br />
page 14. <strong>APRA</strong>|AMCOS’ Online & Mobile Licensing Manager presents an insightful<br />
overview of the brave new world of uGC where the balance is shifting from<br />
broadcasters to creators.<br />
Also in this issue, we bid farewell to two Australian rock legends: Billy Thorpe<br />
and Lobby Loyde (p.15); we catch up with PdA winners damian Crosbie (p.3) and<br />
John Chong-Nee (p.21); map the course of Sick Puppies’ global journey (p. 6); and<br />
much, much more. enjoy!<br />
Anthea Sarris<br />
to the point<br />
during the last week in May some 600 delegates from around the world<br />
gathered in Brussels to discuss and debate the role of copyright in the digital age.<br />
The occasion was the triennial CISAC Copyright Summit. CISAC is the international<br />
confederation of authors’ and composers’ societies.<br />
Speakers from academia, record companies, publishing companies, digital service<br />
providers, telcos, collecting societies and government joined authors, composers,<br />
artists and film directors to try to find common ground - if not solutions - to some<br />
of the challenges and problems that confront us in the internet age. while the news<br />
from the record industry was generally negative – the industry is significantly down<br />
around the world – many of the protagonists found positives in the new environment.<br />
Billy Bragg spoke of the flourishing live scene in the uK; Glenn Ballard spoke of how<br />
technology has revolutionised his creative life.<br />
One key area of discussion involved the so-called<br />
creative commons movement which encourages<br />
authors to make their work available on the web<br />
for “transformative” or “non-commercial” use,<br />
for free, by anybody. we oppose the movement<br />
as misconceived and involving serious practical<br />
risks for authors, but the debate is healthy, and<br />
some useful ideas (hopefully entailing the creative<br />
commons movement expressly recognising the<br />
role that collecting societies play for authors)<br />
were explored.<br />
At the General Assembly following the Summit,<br />
<strong>APRA</strong> was re-elected to the CISAC Board.<br />
Crucially, for the increasing imperative that<br />
creators assert themselves and their rights in a<br />
high profile way, Robin Gibb was elected President<br />
of CISAC for the next three years and Mexican<br />
film director, Alfonso Cuaron (Harry Potter and the<br />
Prisoner of Azkaban) was elected Vice-President.<br />
Their voices will be of immense significance to<br />
us in the years ahead.<br />
Brett Cottle<br />
CeO <strong>APRA</strong>|AMCOS<br />
> CISAC director General eric Baptiste, CISAC President Robin Gibb,<br />
CISAC Chair of Board directors Brett Cottle and CISAC Vice President<br />
Alfonso Cuaron. Brussels 1 June 2007. © GVw/CISAC2007<br />
What is it you most value about music?<br />
freedom of expression, and being able to tell a story.<br />
What are you currently working on?<br />
Our debut album, titled Reflections.<br />
What are you listening to?<br />
Rick Ross’s Port of Miami; T.I’s King and young Jeezy’s<br />
The Inspiration album.<br />
What is your favourite film that is about music<br />
or is it a musical?<br />
Tupac’s Resurrection, oh and our soon to be released<br />
documentary about S.H.A.d.O.w.S by renowned film<br />
director, Shalom Almond!<br />
What is your favourite book/website about music?<br />
we mainly read hip hop magazines, such as The Source,<br />
Vibe magazine and Adelaide street press.<br />
What is the best live performance you’ve ever been to,<br />
whether you were performing or not?<br />
u2 were amazing when we saw them in december 2006,<br />
but Scribe puts on some awesome shows.<br />
What is the quickest piece you have written and which<br />
piece took the longest to write?<br />
Hmm, ‘destiny’ took the longest, that’s from our debut e.P,<br />
but the quickest, and also from that e.P was ‘Give a little’.<br />
Who have been your greatest musical influences?<br />
well there are three really: The warumpi Band, Bob Marley,<br />
and N.w.A<br />
PDA POSTCARDS: DAMIAN CROSBIE<br />
<strong>MUSIC</strong> BUSINESS BY THE BOOK<br />
CODE OF CONDUCT<br />
KEEP AN EYE ON… PBS 106.7 FM<br />
SERVICES FOR UNPUBLISHED WRITERS<br />
GOING GLOBAL: SICK PUPPIES<br />
2007 <strong>APRA</strong> <strong>MUSIC</strong> <strong>AWARDS</strong><br />
THE VIEW FROM THE STAGE<br />
INTERNATIONAL NOTES<br />
MEMBER NEWS<br />
FANBASE: IF YOU BUILD IT<br />
THEY WILL COME<br />
WHAT’S MY SCENE?<br />
USER GENERATED CONTENT<br />
CALL FOR BOARD NOMINATIONS<br />
THINK GREEN: E-VOTING<br />
REST IN PEACE: BILLY THORPE AND<br />
LOBBY LOYDE<br />
SCREENRAP<br />
4 6 8 10 12 14 16 18 20 22 23<br />
Photo > Mark Ludbrook<br />
WHAT’S HAPPENING<br />
S.H.A.D.O.W.S<br />
[Soldiers Hungry Approaching<br />
Difficult Obstacles Wanting Survival]<br />
Damien Hampton aka Big D, Colin<br />
Darcy aka Caper and John Gomez<br />
aka Johnny G, have been rapping<br />
and producing hip hop individually<br />
for over ten years. They have<br />
been performing and recording<br />
collectively as S.H.A.D.O.W.S for<br />
close to two years. Currently in<br />
Derbyshire, UK recording their debut<br />
EP with producer, Peter Harrington,<br />
S.H.A.D.O.W.S have been <strong>APRA</strong><br />
members since 2006.<br />
What is your most marked characteristic as songwriters?<br />
we talk from a base of real life experience, so we draw on<br />
that heavily.<br />
Who would you most like to collaborate with and why?<br />
Talib Kweli because he writes in a similar way to S.H.A.d.O.w.S,<br />
Midnight Oil because of their political views, and Lauryn Hill,<br />
because she has so much soul.<br />
What’s your favourite piece (that you’ve written)?<br />
Probably ‘S.H.A.d.O.w.S’, but our debut album has some<br />
pretty strong tracks, which could become favourites.<br />
What piece written by another writer do you wish you<br />
had written, and why?<br />
Tupac’s ‘unconditional Love’, because of the meaningful<br />
lyrics, and everyone can relate to it.<br />
What is the quality you most admire in a composer/songwriter?<br />
Hearing something coming from the heart.<br />
What is the best career advice you were ever given?<br />
That nothing comes easily, and you have to work hard.<br />
If you were not a songwriter, what might you have<br />
ended up doing?<br />
well as there are three of us, it would either be a social<br />
worker (damien), working at Native Title SA (Colin), and<br />
an instrumentation electrician (Johnny).<br />
PUBLISHER NEWS<br />
<strong>APRA</strong> NZ: JOHN CHONG-NEE<br />
CELEBRATING THE CRAFT OF<br />
SONGWRITING<br />
MOMENTS IN <strong>MUSIC</strong><br />
A P r A P J u ly 2 0 0 7 > 0 2<br />
contents
PDAPOSTCARD<br />
All aboard!<br />
Damian Crosbie<br />
and his little<br />
rock locomotive,<br />
The Panda Band,<br />
have been touring<br />
the US: gaining a<br />
lot of momentum<br />
and even more<br />
fans. An <strong>APRA</strong><br />
Professional<br />
Development<br />
Award has<br />
helped them<br />
stay on track<br />
and firmly in<br />
control<br />
Sometimes I see people in the street or at<br />
a show, and frighten them; my smile in turn<br />
excites my eyebrows in recognition of a past<br />
meeting. Only we haven’t ever met, and it’s<br />
a case of wrong city, wrong accent, wrong<br />
country. Sometimes all three. I bite my<br />
bottom lip in confusion, fooled again by what<br />
I’ve come to discover as our tiny planet’s<br />
lack of true genetic diversity.<br />
Five national tours, one international tour<br />
with another planned for this year’s end,<br />
Northbridge to New York, birthdays in San<br />
Francisco, time warped, sleep disjointed,<br />
daylight deprived, and culturally enhanced.<br />
And hopefully it’s only just begun, because<br />
it is most enjoyable.<br />
The timing of my winning the <strong>APRA</strong> PDA<br />
couldn’t have been better. ‘Twas the eve of<br />
the recording of our first album, This Vital<br />
Chapter. As a young band, we were strong<br />
in our wish to remain independent to begin<br />
with, to hold on dearly to our industry<br />
‘virginity’ for future bargaining power. The<br />
key to this is owning one’s own recordings.<br />
The <strong>APRA</strong> fairies made our wish come true.<br />
We released the album independently in<br />
Australia, through Bam*Boo! - our own label<br />
- and in the U.S.A. through hipsters FILTER<br />
U.S. Recordings. Licensing to, and releasing<br />
through FILTER has been such a positive step<br />
for us. They have only a few bands, run<br />
a magazine, and also do marketing for the<br />
US major labels. So they have ‘vays oond<br />
means’ of getting you heard!<br />
On our recent US trip, which included<br />
SXSW, we were able to get the attention of<br />
the massive college radio network. Stations<br />
such as KCRW have become great supporters<br />
of The Panda Band, and this will lead to live<br />
on-air performances and a brighter spotlight<br />
in the future. The college circuit is very<br />
important for bands such as ours, not only<br />
because they have a large and loyal audience,<br />
but also because you are able to base a whole<br />
US national tour on playing campus shows.<br />
I am now concentrating on writing for our<br />
next album. It’s exciting and empowering to<br />
know that our little rock locomotive is building<br />
up steam, now has a lot more passengers,<br />
and that we still have the controls. Plus<br />
petrol’s getting really expensive so more folks<br />
might start catching the train now. Sweet.<br />
Music Business<br />
by the book<br />
> Ben O’Hara<br />
By Georgia Blain<br />
With the internet and cheaper recording costs<br />
changing the shape of the music industry<br />
dramatically, young people want the business<br />
skills to make the most of these opportunities,<br />
says music teacher Karen Reid.<br />
She believes the publication of a new series of seven Music<br />
Business supplements by musicians turned teachers, Mark<br />
Beard and Ben O’Hara, will be an invaluable help for teachers,<br />
students and people starting out in the industry.<br />
Karen, who is the coordinator of Music Business at Sydney<br />
Institute of TAFE, says there’s been a dramatic growth in music<br />
business courses across the country offering everything from<br />
diploma to degree level studies.<br />
“The supplements contain a thorough and practical coverage<br />
of each topic, illustrated by simple examples and tables that<br />
students and practitioners of any level can handle,” she said.<br />
“There are also additional online resources to access and<br />
although they are Australia orientated they are generic enough<br />
to be read by anyone.”<br />
It’s a sentiment echoed by Tui Lyon and Ashley Breukers, both<br />
of whom are studying at Box Hill Institute of TAFE. For Tui, the<br />
books provided just the right amount of information in<br />
a very practical way. “All the online references (available at<br />
www.thebiz.com.au) were also incredibly helpful,” she said.<br />
Ashley, who is also working as a manager, has found he uses the<br />
books outside his studies. “At the moment, I’m starting work on<br />
a major concert and everything I need to cover for the event is<br />
written out in an easy to follow manner,” he said.<br />
Author, Ben O’Hara, said he and Mark wrote the books because<br />
they saw a need for material packaged into “manageable<br />
chunks”.<br />
Collecting<br />
Society Code<br />
of Conduct<br />
Compliance<br />
Review<br />
Your feedback helps drive<br />
our performance<br />
<strong>APRA</strong> and AMCOS subscribe to<br />
a voluntary Code of Conduct for<br />
Copyright Collecting Societies.<br />
The Code came into effect in July 2002,<br />
and was reviewed in February 2005.<br />
Some minor amendments were made<br />
after that review and again recently in<br />
May 2007. A copy of the updated Code<br />
can be viewed on and downloaded from<br />
the <strong>APRA</strong> website at http://www.apra.<br />
com.au/corporate/voluntary_code_of_<br />
conduct.asp<br />
Each year, an independent reviewer<br />
assesses whether the participating<br />
copyright collecting societies have<br />
complied with the Code. That review<br />
is currently being conducted by<br />
former Federal Court Judge,<br />
Mr James Burchett QC.<br />
Members who have concerns about<br />
a collecting society’s compliance with<br />
the Code are able to make submissions<br />
directly to the code reviewer,<br />
Mr Burchett. Your submissions should<br />
be made in writing and sent directly to<br />
Mr Burchett at the following address<br />
by no later than Tuesday, 31 July 2007.<br />
The Code Reviewer<br />
Suite 704<br />
4 Young Street<br />
Neutral Bay NSW 2089<br />
Australia<br />
codereviewer@screen.org<br />
<strong>APRA</strong> encourages all members to<br />
become familiar with the Code of<br />
Conduct. We welcome your feedback<br />
on our compliance with the standards<br />
outlined in that Code – the information<br />
you provide helps us to maintain a<br />
consistently high standard in the<br />
services we provide to our members,<br />
licensees and the general public.<br />
<strong>APRA</strong>P July 2007 > 04<br />
Students and people who are new to the industry can also<br />
access information through the web, with sites such as <strong>APRA</strong>’s –<br />
www.apra.com.au – containing answers to frequently asked<br />
questions. The Australian Music Publishers’ Association Limited<br />
(AMPAL) site – www.ampal.com.au - also contains information<br />
about publishing, and feature articles on the music business.<br />
Special <strong>Of</strong>fer for <strong>APRA</strong> Members<br />
Purchase one of the Music Business supplements<br />
for $24.99 each and receive free postage.<br />
Or, purchase a set of three for $65<br />
– save $10 plus free postage.<br />
Simply contact Kee Sook Griffith on 02 8323 0103<br />
or email orders@musicsales.com.au to make your purchase.<br />
Direct debit, Mastercard, Visa and cheque accepted.
Keep an eye on…<br />
PBS 106.7 FM Live Music Week<br />
to deliver 60 live<br />
performances<br />
in 7 days<br />
PBS 106.7FM will launch its annual<br />
Live Music Week with an epic live broadcast<br />
from Federation Square in Melbourne on Sunday<br />
2 December. The main stage will host free live<br />
performances throughout the day, kicking off at<br />
11am and wrapping up at sunset. The full line-up<br />
of artists will be released closer to the event.<br />
> Clive Harrison<br />
> Thirsty Merc. Photo > Jeff Darmanin.<br />
<strong>APRA</strong>|AMCOS can help unpublished<br />
writers collect royalties for the<br />
“reproduction” of their musical works.<br />
That means you may be able to receive<br />
royalties when your work is:<br />
• made available for download (including<br />
as ringtones) or as online streaming<br />
on the internet<br />
• reproduced (synchronised) into<br />
programming made for broadcast<br />
• released on CD or in another form<br />
of audio or audio-visual recording<br />
for retail or commercial purposes.<br />
It’s part of the service we can offer members<br />
because of our affiliation with AMCOS<br />
(Australasian Mechanical Copyright Owners<br />
Society). <strong>APRA</strong> has managed the day-to-day<br />
business of AMCOS since 1997. If you’re an<br />
unpublished writer, you can sign up for AMCOS<br />
membership and authorise us to collect<br />
royalties for the reproduction of your works.<br />
You can tailor your AMCOS membership to suit<br />
you. You decide what types of reproductions or<br />
licences you would like AMCOS to administer<br />
on your behalf, and which ones you would<br />
prefer to negotiate yourself. For more<br />
information, check the Writers page of www.<br />
apra.com.au, or call us on 1800 642 634.<br />
Clive Harrison, film and TV composer<br />
(Blinky Bill, Bambaloo, Wicked) and Rai<br />
Thistlethwayte, singer/songwriter, Thirsty<br />
Merc, talk about their decision to take up<br />
AMCOS membership.<br />
How has the AMCOS service changed things<br />
for you?<br />
Clive: There are so many forces at work<br />
trying to diminish our income stream that<br />
it’s just incredible to have the backing of<br />
such powerful and worthy people like at<br />
<strong>APRA</strong>|AMCOS. Let’s face it, most musicians<br />
are pussies when it comes to negotiating<br />
and dealing with money issues. <strong>APRA</strong> and<br />
AMCOS are my backup.<br />
“Live Music Week highlights the core of what PBS is<br />
all about – showcasing quality live performances of<br />
the best Australian and international music – its real<br />
music and real radio,” said PBS Event Manager Todd<br />
James.<br />
“As far as we are aware PBS is the only radio station in<br />
Australia, possibly in the world that presents so many<br />
live performances in one week. For that reason we are<br />
taking our station, with the assistance of Federation<br />
Square Management, into the heart of Melbourne for<br />
one day to let the public enjoy the performances of<br />
the artists celebrating the launch of Live Music Week<br />
with us.”<br />
“PBS 106.7FM Live Music Week” 2- 8 December 2007.<br />
Check www.pbsfm.org.au or tune in to PBS 106.7FM<br />
for regular updates.<br />
<strong>APRA</strong>|Amcos services for<br />
unpublished<br />
writers<br />
Rai: As an unpublished writer, I have to<br />
keep an eye on all streams of income and<br />
with both <strong>APRA</strong> and AMCOS membership<br />
I can ensure all areas will be covered. For<br />
a small fee, I know my royalties are being<br />
collected in areas that are outside of the<br />
normal income streams being collected<br />
by my record company. The bottom line<br />
is: if you’re unpublished, and you’re not a<br />
member of AMCOS, you can’t get some of<br />
these streams of income at all.<br />
How important has it been for you as a<br />
creator and artist, to be able to exercise<br />
and manage your rights through <strong>APRA</strong> and<br />
AMCOS? Why?<br />
Clive: My rights, my royalties make up<br />
nearly my entire income these days. It’s<br />
simply how I survive and pay the mortgage<br />
and live month to month. So it is absolutely<br />
vital to me and my family. It frees my<br />
head up to do what I do: compose, without<br />
endlessly stressing about finance.<br />
Rai: I view <strong>APRA</strong> and AMCOS as my business<br />
partners. They help me manage the royalty<br />
collection part of my business and allow me<br />
the freedom to concentrate on the creative<br />
side of my craft. I can be a scatterbrain in<br />
business, time management, accounting,<br />
so it’s good to know I’ve got working<br />
relationships with people in this area who<br />
aren’t: they get it right and do a great job.<br />
Kicking off a successful band while you’re still at school<br />
and working away for the next ten years until you make<br />
it internationally is a fairly big ask – but not for Shimon<br />
Moore and Emma Anzai. Sharing a love of silverchair, The<br />
Living End and Greenday, the Mosman High students began<br />
jamming together in the school’s music room in 1997.<br />
Drummer Chris Mileski joined and Sick Puppies were born.<br />
Moving on from playing covers, to performing their own music<br />
in pubs across suburbia, they built local recognition resulting<br />
in the 1999 release of their debut EP, A Dogs Breakfast.<br />
Shimon dabbled in acting – playing lead role in feature film<br />
Selkie and a guest spot in medical drama All Saints – but the<br />
music biz beckoned when Sick Puppies anthem “Nothing<br />
Really Matters” won Best Song in Triple J’s 2001 Unearthed<br />
Competition. A record deal soon followed, and their debut<br />
album Welcome to the Real World was released. They finished<br />
off the year with a gong from the Australian Live Music Awards<br />
for Best Live Performance.<br />
Tours across the country<br />
soon followed with bands<br />
such Good Charlotte, The<br />
Butterfly Effect as well as<br />
the legendary Deep Purple and Midnight Oil. However, dreams<br />
of cracking the global music market compelled Sick Puppies<br />
to prepare for a ‘make or break’ trip to the USA.<br />
Needing extra money the band members took day jobs.<br />
Shimon scored a posting in Sydney’s Pitt Street Mall, wearing<br />
a sandwich board advertising half price shoes. Pacing the<br />
pavement everyday, he became good friends with Juan Mann<br />
– a performance artist bearing a hand-written sign, generously<br />
offering ‘free hugs’. Watching the initial scepticism and suspicion<br />
of passers-by turn to smiles and warm embraces, gave Shimon<br />
an idea for a documentary. He soon began filming his friend’s<br />
unusual hugs service in action, however, the documentary was<br />
shelved when Sick Puppies headed to LA.<br />
Signing a record deal with indie label RMR in September 2005,<br />
they began work on their new album with new drummer,<br />
Mark Goodwin. Almost a year later, running out of money<br />
and on the verge of returning home, Shimon discovered<br />
Juan was also going through tough times. Creating a cheer<br />
up message, he edited his Free Hugs documentary footage<br />
into a video clip, using Sick Puppies song “All The Same” as<br />
the music bed. Sending it to Juan as a present, he also put<br />
the clip onto video sharing site YouTube – and suddenly Sick<br />
Puppies’ fortunes changed.<br />
Scoring one million hits in its first six days, the quirky<br />
heart-warming clip became a sensation. Prime time<br />
breakfast programme, Good Morning America, broadcast<br />
it to millions of TV viewers. Sick Puppies appearances<br />
on Oprah, 60 Minutes, CNN and a live performance on<br />
The Tonight Show with Jay Leno soon followed. Added<br />
to LA’s influential KROQ in early January 2007, “All The<br />
Same” became a top requested single at commercial<br />
radio stations across North America, entering Billboard’s<br />
Modern Rock chart at #23.<br />
The chorus of support from broadcast, cable and online<br />
media set up a massive welcome for the US debut of<br />
their album. It also sparked interest from numerous<br />
record distributors, including Virgin Records, who signed<br />
Sick Puppies to a deal, just as their album Dressed Up As<br />
Life neared completion.<br />
Released in North America in early April 2007, the album<br />
debuted on Billboard’s Top Heat Seekers chart/new artist<br />
chart at #4. Since then, Sick Puppies have been kept busy<br />
doing guest appearances on radio stations across Canada<br />
and the USA.<br />
Hooking up with Aussie globe<br />
trotters, Wolfmother, at the<br />
SoCo Festival in Atlanta,<br />
the band has also played<br />
support for Jet’s latest<br />
tour, as well as tours with<br />
Texan quintet Flyleaf and<br />
Breaking Benjamin. Their<br />
new single “My World” is<br />
finding a home on US<br />
rock radio and with<br />
plans afoot for tours<br />
of UK, Germany and<br />
Japan, Sick Puppies’<br />
journey from high<br />
school music room<br />
to international<br />
stage is only just<br />
beginning!<br />
By Kathy Grant,<br />
Manager International Distribution<br />
& Monitoring <strong>APRA</strong>|AMCOS<br />
<strong>APRA</strong>P July 2007 > 06
Colin Hay. Photo > Kane Hibbard<br />
> David Albert, John Watson,<br />
Michael McMartin, John Woodruff. Photo > Tony Mott<br />
> Renee Geyer and Marianna Annas.<br />
Photo > Tony Mott<br />
> Shannon Noll and Adam Reily.<br />
Photo > Tony Mott<br />
> Damian Trotter, Augie March and<br />
Clare Bowditch. Photo > Tony Mott<br />
> Eskimo Joe. Photo > Kane Hibbard<br />
> Peter Garrett, Shadow Minister for Climate<br />
Change, Environment & Heritage, Arts.<br />
Photo > Kane Hibbard<br />
> Auntie Joy Murphy. Photo > Kane Hibbard<br />
> Katie Noonan. Photo > Kane Hibbard > Phrase.<br />
Photo > Kane Hibbard<br />
> Senator, The Honourable George Brandis SC,<br />
Minister for The Arts and Sport.<br />
Photo > Kane Hibbard<br />
> Eddie Jacobsen.<br />
Photo > Tony Mott<br />
2007 <strong>APRA</strong> <strong>MUSIC</strong> AWARD WINNERS<br />
Most Performed Australian Work<br />
Title: Lift<br />
Artist: Shannon Noll<br />
Writers: Adam Reily* / Bryon Jones /<br />
Shannon Noll^ / Andrew Roachford (PRS)#<br />
Publishers: BMG Music Publishing Australia* /<br />
eMI Music Publishing Australia Pty Ltd^ /<br />
Mushroom Music Pty Ltd #<br />
Most Performed Foreign Work<br />
Title: Feel Better<br />
Artist: Santana featuring Steven Tyler<br />
Writers: Burleigh Johnson (ASCAP) /<br />
damon Johnson (ASCAP) /<br />
James Scoggin (ASCAP)*<br />
Publishers: Peermusic Pty Ltd / EMI Music<br />
Publishing Australia Pty Ltd*<br />
Most Performed Australian Work Overseas<br />
Title: Are You Gonna Be My Girl<br />
Artist: Jet<br />
Writers: Nicholas Cester / Cameron Muncey<br />
Publishers: BMG Music International / Famous Music<br />
on behalf of Get Jet Music. Inc<br />
Most Performed Dance Work<br />
Title: Flaunt It<br />
Artist: TV Rock featuring Seany B<br />
WriterS: Sean Berchik / Ivan Gough / Grant Smillie<br />
Publisher: Sony / ATV Music Publishing Australia Pty Ltd<br />
Most Performed Urban Work<br />
Title:<br />
Artist:<br />
Writer:<br />
> Jonathan Biggins.<br />
Photo > Kane Hibbard<br />
Get Up Outta The Dirt<br />
Butterfingers<br />
eddie Jacobson<br />
Most Performed Country Work<br />
Title: Nothing At All<br />
Artist: Kasey Chambers<br />
Writer: Kasey Chambers<br />
Publisher: Sony/ATV Music Publishing Australia Pty Ltd<br />
Most Performed Blues and Roots Work<br />
Title: Songbird<br />
Artist: Bernard Fanning<br />
Writer: Bernard Fanning<br />
Publisher: BMG Music Publishing Australia Pty Ltd<br />
Most Performed Jazz Work<br />
Title: Love Me For The Cool<br />
Artist: Mark Sholtez<br />
Writer: Mark Sholtez<br />
Publisher: EMI Music Publishing Australia Pty Ltd<br />
Song of The Year<br />
Title: One Crowded Hour<br />
Artist: Augie March<br />
Writer: Glenn Richards<br />
Publisher: Sony/ATV Music Publishing Australia Pty Ltd<br />
Breakthrough Songwriter<br />
Glenn Richards<br />
Songwriter of the Year<br />
Myles Heskett / Christopher Ross /<br />
Andrew Stockdale (Wolfmother)<br />
Ted Albert Award For Outstanding Services<br />
to Australian Music<br />
Michael McMartin<br />
the view from the stage<br />
By Jonathan Biggins<br />
The 2007 <strong>APRA</strong> Awards, this year celebrating <strong>25</strong> years of rewarding excellence in<br />
Australian songwriting, was a curiously restrained affair. Maybe the audience was<br />
over-awed by the opulence of the venue, Melbourne’s magnificent Town Hall with its<br />
pendulous chandeliers and vast pipe organ dominating the stage. Mind you, always<br />
good to be at a music awards where the biggest organ on display doesn’t belong to<br />
one of the nominees.<br />
Even most of the live performances, after a rousing start from Eskimo Joe performing<br />
their Song-of-the-Year nomination, Black Fingernails Red Wine, took on an introspective<br />
flavour. I think we can safely say Phrase’s urban work Hold On is on this side of melancholy<br />
but while Katie Noonan’s exquisite cover of Bernard Fanning’s Watch Over Me was never going to wander into<br />
toe-tapping territory, TV Rock with Seany B (not to be confused with Humphrey B) certainly did. Colin Hay returned in<br />
solo acoustic mode to reprise Who Can it Be Now, the first hit from Men at Work’s legendary Business as Usual, which<br />
in 1982 (the first year of the <strong>APRA</strong> awards) was the highest selling album in the world. You could understand every word he<br />
sang - probably because we all knew every word. And funny to think that even now, after twenty-five years, we still<br />
have no idea who it could’ve been now.<br />
<strong>APRA</strong>P July 2007 > 08<br />
Things brightened up with the simultaneous appearance of Tex Perkins and Tim Rogers. Obviously workshopping<br />
some material for their future careers as new-wave stand-up comedians, rock’s senior enfants terribles took us<br />
briefly to an edgier universe, although it’s hard to pump the ‘tude when you’re working through the nominations list<br />
for Most-Performed Jazz Work. Maybe they should’ve torn up the winner’s envelope in a frenzy as some sort of<br />
post-modern tribute to the guitar-trashing antics of The Who and every other pale imitation since.<br />
> Tex Perkins, Bernard Fanning and Tim<br />
Rogers. Photo > Tony Mott<br />
Federal Arts minister Senator George Brandis did an admirable job reading out the nominations for most-performed<br />
Australian work overseas. Later, Midnight Oil frontman and Shadow Minister for the Arts, Peter Garrett, recognised the<br />
40th anniversary of the 1967 referendum on Aboriginal rights and introduced Kev Carmody, Paul Kelly and Missy Higgins,<br />
who navigated their way through Droving Woman, a reflective story-telling epic that ran for a good nine minutes. And Songof-the-Year<br />
winners Augie March (wrapping up proceedings with a solid live performance of One Crowded Hour) have all<br />
but cornered the introspection market with their tweed coats, leather elbow patches and Edwardian facial hair - if they<br />
were any more contemplatively laid-back they’d be carpet tiles.<br />
> TV Rock<br />
- Sean Berchik,<br />
Ivan Gough and<br />
Grant Smillie.<br />
Photo > Tony Mott<br />
> David Faulkner and David<br />
HirSchfelder. Photo > Tony Mott<br />
Still, I did manage a rock-and-roll moment at the after-show party which was held in a small phone-booth masquerading<br />
as a pub in Bourke Street. I was accosted by an inebriated woman, apparently romantically attached to an unspecified<br />
nominee, who seemed to specifically blame me for their failure to take out the award. She fixed me with eyes struggling<br />
to focus and slurred repeatedly “I wanna kick your arse”. Thankfully, she didn’t. Or, more accurately, couldn’t - it was<br />
all she could do to remain upright. Roll on next year!
The Copyright Summit – Creators First –<br />
CISAC conference in Brussels.<br />
CISAC, the international umbrella<br />
organisation representing all creators’<br />
collecting societies, held its first creators’<br />
summit in Brussels at the end of May 2007.<br />
The Summit replaced CISAC’s Congress of<br />
Societies with an outward looking two-day<br />
global debate on the future of copyright. The<br />
CISAC Board of Directors (which is chaired<br />
by <strong>APRA</strong>|AMCOS CEO Brett Cottle) decided<br />
the Summit was an essential strategy given<br />
the growing pressure to soften the legal<br />
protection afforded to creators in the online<br />
environment.<br />
Digital technologies have instigated a<br />
worldwide reassessment of the notion and<br />
value of copyright and author’s economic and<br />
moral rights. The CISAC Summit programme<br />
explored the complex approaches to these<br />
issues taken by the creative community,<br />
technology companies and policy makers.<br />
The Summit featured three major themes:<br />
• creators and their rights in the<br />
21st century<br />
• the changing role of collective<br />
management, and<br />
• whether there should be a<br />
new deal for creators and the<br />
entertainment industry.<br />
It was timely that the Summit was held in<br />
Brussels since EC and US policymakers and<br />
ICT industries have recently been focusing<br />
on the value of creative content and the<br />
nature of the expanded creative content<br />
sector. The Brussels location meant that all<br />
the stakeholders in the future of copyright<br />
and the development of viable online art<br />
and entertainment were able to participate.<br />
The Summit fostered a frank dialogue<br />
between influential authors, artists,<br />
creative industry leaders, copyright society<br />
professionals, content service providers,<br />
broadcasters, telcos, aggregators, DSPs,<br />
technology experts, academics, economists,<br />
political figures and lawmakers.<br />
CISAC has been in dialogue for several<br />
years with many emerging actors in the<br />
digital rights debate. It seeks to nurture<br />
productive relationships with all sectors,<br />
including prominent companies and<br />
organisations such as Google, Microsoft,<br />
Creative Commons, and YouTube, and to<br />
advance solutions such as interoperable<br />
DRMs and standard international<br />
numbering and reporting systems. The<br />
keynote speakers included representatives<br />
of these companies as well as creators<br />
such as Charles Aznavour, Billy Bragg, and<br />
Michael Apted to name a few.<br />
The Summit’s programme focused on giving<br />
a voice to creators and how new technologies<br />
will impact their ability to make a living from<br />
their creative work. One of the highlights of<br />
the programme was the debate between<br />
<strong>APRA</strong>|AMCOS CEO and Chair of CISAC,<br />
Brett Cottle and the founder of Creative<br />
Commons, Professor Laurence Lessig on<br />
“The Value of Copyright in the 21st century –<br />
should it be free for all….Really?”<br />
The Summit galvanised co-operation<br />
between societies representing creators<br />
worldwide in meeting the challenges of<br />
using new technology to re-assert the<br />
value and importance of creators and the<br />
administration of their IP rights in the<br />
digital age.<br />
CISAC appoints songwriter Robin Gibb as<br />
its new President and filmmaker.<br />
Renowned songwriter Robin Gibb (of Bee<br />
Gees Fame) has been elected President of<br />
CISAC at the CISAC General Assembly, held<br />
as part of the Summit. Robin will replace<br />
the German composer Christian Bruhn who<br />
has served two terms. Robin’s music career<br />
began in Australia with the Bee Gees. He<br />
has co-written their famous songs such<br />
as ‘Night Fever’ and others such as ‘Chain<br />
Reaction’ for Diana Ross and ‘Heartbreaker’<br />
for Dionne Warwick. Robin has a clear<br />
understanding of the importance of the<br />
international network of collecting societies<br />
to creators and has appeared before the<br />
EC in their defence against attacks from<br />
European broadcasters.<br />
The role of CISAC President is an important<br />
non-executive role representing the millions<br />
of creators who make up collecting societies<br />
around the world. Past Presidents of CISAC<br />
include Richard Strauss (1938-46) and<br />
more recently Marylin Bergman (1994-98).<br />
Acclaimed Mexican film director, Alfonso<br />
Cuaron (Y Tu Mama También and Harry Potter<br />
and the Prisoner of Azkaban), will assume the<br />
role of Vice-President of CISAC.<br />
<strong>APRA</strong>|AMCOS CEO Brett Cottle re-elected<br />
Chair of the CISAC Board of Directors<br />
<strong>APRA</strong>|AMCOS CEO Brett Cottle has been<br />
elected Chair of the CISAC Board of Directors.<br />
Brett has been acting Chair for the last year.<br />
As Chair of the CISAC Board, he will lead<br />
an organisation that represents over 200<br />
societies and the world’s several million<br />
creators. The Chair of the CISAC Board<br />
serves a three year term and is elected by<br />
the Societies that make up the Board.<br />
International<br />
Notes<br />
Scot Morris<br />
Director International Relations <strong>APRA</strong>|AMCOS<br />
Photo > Jan Kuczerawy<br />
Song Summit<br />
Sydney Dates<br />
announced<br />
<strong>APRA</strong>’s inaugural Song Summit will be held<br />
at Fox Studios, Sydney on 3 – 5 April, 2008.<br />
We are thrilled to<br />
announce a key<br />
partnership deal<br />
with the NSW Government<br />
which will<br />
deliver investment<br />
and resources<br />
to support the event. Designed to provide<br />
practical information and workshop<br />
sessions aimed at developing your music<br />
career, Song Summit will boast a stellar<br />
line up of international and Australian iconic<br />
songwriters and business leaders. More<br />
announcements will be made soon. For<br />
further information contact Sarah Cattell<br />
at S3@apra.com.au or check the <strong>APRA</strong><br />
website.<br />
Online<br />
Services<br />
To complement your online <strong>APRA</strong> royalty<br />
statements, we have recently developed<br />
an International Royalty Summary which<br />
provides a review of your foreign income<br />
on a per territory basis across the financial<br />
year, including withholding tax rates and<br />
administrative charges. You can review your<br />
International Royalty Summary via the secure<br />
members section at www.apra.com.au.<br />
GET PAID FOR<br />
YOUR LIVE<br />
PERFORMANCES<br />
The deadline for on-line LPRs (Live<br />
Performance Returns) for the period 1 July<br />
2006 – 30 June 2007 is 31 August. Don’t<br />
miss out. www.apra.com.au<br />
<strong>APRA</strong> Awards<br />
Having just packed our air guitars away<br />
after celebrating <strong>25</strong> years of the <strong>APRA</strong><br />
Awards (see pages 7-8), we now look<br />
forward to honouring our contemporary<br />
classical composers at the Classical<br />
Music Awards, to be held at the Sydney<br />
Theatre on Wednesday 12 September.<br />
While your diaries are open, the Screen<br />
M u s i c A w a rd s a re s l a te d fo r Tu e s d a y<br />
27 November at City Recital Hall in Sydney.<br />
Call for nominations for the Screen Music<br />
Awards are now open. Entry forms can<br />
be downloaded from www.apra.com.au.<br />
For more information, contact Jana Gibson<br />
– jgibson@apra.com.au<br />
the <strong>APRA</strong> roadshow<br />
By Sally Howland<br />
Director Member Services<br />
<strong>APRA</strong>|AMCOS<br />
Photo > Jan Kuczerawy<br />
The <strong>APRA</strong> Roadshow is coming to a town near you. Register your interest and keep an<br />
eye on www.apra.com.au for details.<br />
<strong>APRA</strong>P July 2007 > 10<br />
Further online developments include a<br />
fully integrated membership application<br />
process for both writer and publisher <strong>APRA</strong><br />
and AMCOS applicants. Typically, over the<br />
course of 12 months, <strong>APRA</strong>|AMCOS would<br />
send approximately 7,000 membership<br />
packs to aspiring new members. The new<br />
online membership application process will<br />
virtually eliminate the need for any paperbased<br />
forms. The administrative savings<br />
in terms of handling costs, postage and<br />
stationery will deliver to members’ further<br />
reductions in overheads associated with<br />
this process. We expect the new facility to<br />
be available this September.<br />
City Date/venue Topic register your interest<br />
Adelaide Tuesday 9 October The Indie Special sant@apra.com.au<br />
– Part II<br />
Perth Wednesday 10 October The Indie Special wa@apra.com.au<br />
– Part II<br />
Brisbane Monday 15 October The Songwriter qld@apra.com.au<br />
and the Producer<br />
Melbourne Monday 29 October The Songwriter victas@apra.com.au<br />
and the Producer
ANBASE:<br />
IF YOU BUILD IT, THEY WILL COME<br />
Try the<br />
personal<br />
touch<br />
Laura Imbruglia - singer/<br />
songwriter.<br />
Compiled by Kirti Jacobs and Anthea Sarris,<br />
<strong>APRA</strong>|AMCOS Communications<br />
No-one<br />
likes a lazy<br />
band<br />
Meredith Webb –<br />
Booker, The Annandale.<br />
Here’s why you need to build a fanbase:<br />
it’s like money in the bank. It<br />
can get you that residency you’ve<br />
been coveting. It can get your music<br />
heard. It can get booking agents and<br />
managers to pay attention. You can<br />
bring it to the table, along with your<br />
music, and people will notice.<br />
We’ve spoken to the experts. Singer/<br />
songwriters, managers, booking<br />
agents, venue managers – they all<br />
agree: a decent fan-base can be your<br />
launch pad to success.<br />
And the only way to make it happen is<br />
to work at it. Like all relationships,<br />
a fan-base takes careful nurturing.<br />
Being business-like helps, but it’s<br />
the personal touch that keeps fans<br />
loyal. And today, internet technology<br />
makes that easier. Read on to find<br />
out how and why.<br />
USE IT OR<br />
lose it<br />
Dorry Kartabani – Booking<br />
Agent, The Harbour Agency<br />
There are many ways to<br />
collect data: email lists,<br />
MySpace, posters, handbills,<br />
press ads and so on. People<br />
need to know about you<br />
before they become fans.<br />
However, collecting data<br />
does not make an effective<br />
fan-base. The artist needs to<br />
interact with their fan-base:<br />
whether by personal group<br />
emails or by hanging out at<br />
a show after a performance<br />
and always performing at<br />
their best. That’s what gets<br />
people talking and that’s<br />
how an effective fan-base<br />
comes about.<br />
On building a fan-base…<br />
MySpace and YouTube should<br />
only be a part of the strategy,<br />
not all of the strategy, in<br />
collecting a fan-base. They<br />
can be a total waste of time<br />
if not used correctly.<br />
Shihad. They changed their<br />
name to Pacifier and had<br />
to start over. They’ve now<br />
reverted to their old name,<br />
Shihad, and did some dates<br />
recently with Evanescence<br />
and played to a brand new<br />
crowd. They did a great job<br />
warming up the crowd – it<br />
was inspiring to watch them.<br />
They haven’t had a record out<br />
in 18 months, but their hard<br />
core fans are still there; and<br />
they’re consciously working<br />
at establishing themselves<br />
with a younger crowd.<br />
Multinational corporations<br />
spend millions on setting<br />
themselves up as a life style<br />
choice for a generation.<br />
Bands need to do the<br />
same thing. Go back to the<br />
well frequently, challenge<br />
yourself, take the time to<br />
draw new crowds – it’s<br />
important to still reconnect<br />
with the younger crowd.•<br />
Bring the<br />
fans into<br />
your world<br />
Gregg Donovan - Step2 Artist<br />
Management<br />
Photo > Tristan Still.<br />
I’ve been playing since late<br />
2001, and I’ve always taken<br />
a mailing list with me to<br />
my shows so people can<br />
put their email down and I<br />
let them know when I have<br />
shows coming up. I guess<br />
a personal touch works<br />
wonders.<br />
It doesn’t take long to write<br />
something once a month or<br />
whenever you have time to<br />
directly address your fans<br />
(as few or many as you may<br />
have). People feel like you’re<br />
their friend. The personal<br />
touch thing has been the<br />
best. It has a subtle effect. I<br />
don’t know if it’s measurable,<br />
but people seem to enjoy my<br />
silly emails. And if they don’t,<br />
they can unsubscribe!<br />
On MySpace pages…<br />
I think they are a really<br />
positive thing. You can hear a<br />
song on a friend’s page, click<br />
on the music player, and be<br />
taken directly to the band’s<br />
page to hear more! Or if<br />
someone hears one song of<br />
mine on the radio, MySpace<br />
gives them the opportunity<br />
to listen to other tracks, see<br />
what shows I have coming up,<br />
and learn a bit more about<br />
me. <strong>Of</strong> course, a website can<br />
offer these things too, but<br />
MySpace provides a familiar<br />
format that is easy and quick<br />
to navigate.<br />
Don’t forget to…<br />
Be humble, be nice to<br />
people, reply to their emails,<br />
take time to talk to them<br />
(even if they’re really weird).<br />
The weirdos are the most<br />
passionate, devoted music<br />
fans out there. Trust me - I<br />
work in a record store.•<br />
Bands need to be very<br />
organised in terms of following<br />
work sheets, playing<br />
times, loading instructions<br />
and be very proactive in<br />
promoting themselves, the<br />
event and the hotel. No one<br />
likes a lazy band!<br />
A fan-base is very important.<br />
If they have a huge following<br />
that comes to their shows<br />
(not just a huge MySpace<br />
friend list) every booker,<br />
venue and promoter will take<br />
notice. Lots of fans mean<br />
lots of gigs.<br />
On building a fan-base …<br />
Our [The Annandale’s]<br />
website is by far the best<br />
source of developing a fanbase<br />
as is MySpace. All of<br />
our show and venue info is<br />
listed on our site, plus we do<br />
most of our ticketing trade<br />
through there. People have<br />
the option to sign up to our<br />
weekly newsletter. To date<br />
we have over 8,000 recipients<br />
plus a good whack of mates<br />
on our MySpace page too!<br />
On MySpace pages…<br />
I think they’re perfect for<br />
bookers, as it gives you the<br />
ability to really see what a<br />
band has to offer in the way<br />
of demos, gig listings, what<br />
they’re up to, where they’ve<br />
been and even who is seeing<br />
them/being their friends. I<br />
think a MySpace site can<br />
show a lot more of a band’s<br />
‘personality’ than a proper<br />
website.•<br />
You can<br />
never have<br />
enough<br />
advertising<br />
Loren McHenry - Booker, The<br />
Hopetoun, Surry Hills<br />
We ask bands to email<br />
their full details and playing<br />
history in Sydney. We also<br />
have a new band program<br />
that runs on Monday nights<br />
so bands can show us what<br />
they’ve got.<br />
We have no day trade in here<br />
so we totally rely on bands<br />
bringing the people into the<br />
room so the main criteria is<br />
that they make the effort to<br />
get people along to their shows<br />
and that they show initiative<br />
in the way they promote and<br />
organise the show.<br />
The band/artist’s fan-base is<br />
the main factor when deciding<br />
to book them. We are a very<br />
small boutique pub; the only<br />
way we can survive is to have<br />
people spending money over<br />
the bar.<br />
On building a fan-base…<br />
Use mailing lists, street teams,<br />
just basically get news about<br />
your show out through every<br />
avenue possible. There’s plenty<br />
of free advertising out there for<br />
bands on a budget and you can<br />
never have enough advertising.<br />
Websites and MySpace pages<br />
are awesome. It makes my job<br />
a hell of a lot easier to contact<br />
and listen to different bands.•<br />
Use it or<br />
Don’t lose them once you have<br />
them. Collecting names is<br />
easy, keeping them interested<br />
is the challenge. Keep building<br />
your profile in the media and<br />
on the scene. Make sure your<br />
show and songs are up to<br />
scratch. Promote all your<br />
shows in the right media. Get<br />
the right people talking about<br />
you (e.g., reviews). In regards<br />
to looking for an agency,<br />
always remember, the good<br />
agent will always find you...•<br />
Go back to<br />
the well<br />
Owen Orford, Booking Agent<br />
– TPA Entertainment Agency<br />
Responsive career bands<br />
have a depth in their<br />
relationships with their<br />
audience. You can salvage<br />
a career when you’ve got a<br />
great live fan-base. We’ve<br />
just had a really pleasant<br />
result for Shihad – the group<br />
hit a rough patch after 9/11<br />
when their American label<br />
refused to release their<br />
album under the name<br />
The kind of artists we<br />
manage – Melanie Horsnell,<br />
Josh Pyke, Grinspoon and<br />
Airbourne – they’re singer/<br />
songwriter acts that put on<br />
great live shows; artists<br />
who have a long life-span<br />
ahead of them. They’re not<br />
artists who are aiming for<br />
just one big radio hit. If you<br />
don’t have a fan-base, but<br />
you have some good media<br />
and a bit of a song, the next<br />
time round, those people<br />
aren’t going to be there<br />
for you. There’s no base to<br />
fall back on. Creatively, all<br />
artists have records that<br />
aren’t as strong as the last<br />
one and maybe the next<br />
one’s going to be stronger<br />
than all the previous ones.<br />
But if you have a core fanbase<br />
that’s always there for<br />
you, it gives you the luxury<br />
of being able to make<br />
mistakes, to experiment<br />
more and to do more with<br />
your career.<br />
<strong>APRA</strong>P July 2007 > 12
User Generated Content<br />
licensing and copyright challenges<br />
By Frank Rodi, Online & Mobile Licensing Manager,<br />
<strong>APRA</strong>|AMCOS<br />
Josh Pyke’s debut album<br />
came in at number four. And<br />
that’s because he had a core<br />
fan-base there to launch off.<br />
It took four years of serious<br />
development to create that<br />
launch pad to go from.<br />
Without that launch pad, you<br />
might have a great looking<br />
rocket, but you’re not going<br />
anywhere.<br />
What’s the best way of<br />
using the internet to build<br />
a fan-base?<br />
The internet is crucial and<br />
it’s a fabulous new tool but it<br />
has to be looked at like one<br />
of those big pin-up notice<br />
boards at university that’s<br />
full of stuff about guitar<br />
lessons and houses to rent<br />
and other ads. Everybody’s<br />
walking by it not necessarily<br />
paying attention. There’s<br />
still a lot of important work<br />
to be done offline in order<br />
to attract people to you<br />
online. To make sure your<br />
ad is pulled off that bulletin<br />
board and you’re the focus<br />
when people are walking by<br />
– that’s the really big job<br />
to do offline. So online is a<br />
fabulously powerful tool, but<br />
you still need to do all the<br />
traditional things to make<br />
it work.<br />
Forget that you’re in the<br />
music business and start<br />
seeing yourself as being<br />
in the entertainment business.<br />
That’s where the industry<br />
seems to be heading in the<br />
short term: delivering a<br />
whole package that’s seen<br />
as value for money. So, for<br />
example, offering a DVD<br />
that contains the music, a<br />
documentary on the band,<br />
a t-shirt or a cap, all at a<br />
lower price. Think of your<br />
music as a whole package.<br />
Think in terms of ringtones,<br />
wallpaper on your website,<br />
creating a brand that has<br />
a community around it,<br />
video games, downloadable<br />
t-shirts prints that they<br />
can print on themselves<br />
and having things that they<br />
can interact with. Get them<br />
involved and into the band’s<br />
world. •<br />
Fan<br />
maintenance<br />
is the key<br />
Paul Stepanek - Paul<br />
Stepanek Management (PSM)<br />
These days building a fanbase<br />
is definitely a multiple<br />
strategy. Not only do you have<br />
to use traditional methods<br />
by playing live and being in<br />
people’s faces on a regular<br />
basis, the importance of<br />
online marketing and the web<br />
is undeniable. Apart from your<br />
own site, community based<br />
websites and playing live,<br />
brand associations are also<br />
more and more common.<br />
Finally, fan maintenance is the<br />
absolute key to the success of<br />
a band/artist. If you have a<br />
good product, obtaining fans<br />
is the easy part, however,<br />
keeping them is what many<br />
bands struggle with.<br />
What works …<br />
Having a functional website<br />
that communicates information<br />
to your audience<br />
quickly is the best way to<br />
go. Kids want the info fast<br />
and unless you can give it<br />
to them within a couple of<br />
clicks you will lose them.<br />
Having ’Fan Traps’ and<br />
‘Auto Responders’ on your<br />
website will assist in fan<br />
maintenance and encourage<br />
your fans in feeling part of a<br />
community.<br />
Regular blogs which create<br />
a thread about the band that<br />
people want to follow and<br />
check in on from time to time<br />
is also an excellent tool. Give<br />
something away to your fans<br />
for signing up to a mailing<br />
list e.g. a free download,<br />
wallpaper, banner, 2-for-1<br />
entry to your next show –<br />
it all helps to secure their<br />
email address. Short viral<br />
videos are an excellent tool<br />
to keep people interested in<br />
the artist as communication<br />
is more intimate through<br />
visuals, so a visual tour diary<br />
or video blog are both great<br />
ideas.<br />
On MySpace<br />
and YouTube …<br />
These two sites alone have<br />
changed certain aspects of<br />
the music business. It gives<br />
the consumer the power to<br />
choose what they like and<br />
taste-test the artist. It also<br />
gives the artist/management<br />
instant market research<br />
and shows what people are<br />
reacting to by the number of<br />
plays, views, comments etc<br />
In my opinion, the greatest<br />
aspect of these sites is that<br />
they give you instant access<br />
to your fans. It is key for<br />
bands to embrace these<br />
sites and know everything<br />
there is to know about them<br />
and maintain contact with<br />
their fans on a daily basis<br />
and update the content as<br />
often as possible. It certainly<br />
helped Sick Puppies on their<br />
journey in having over 15<br />
million people take notice<br />
of their “Free Hugs/All the<br />
same” video.•<br />
The<br />
Ultimate<br />
Fan Club!<br />
Melanie Horsnell – singer/<br />
songwriter<br />
Having a fan-base is the only<br />
way an independent artist<br />
can really get some of the<br />
bigger gigs if there is no<br />
label to push you onto a bill.<br />
You have to rely on building<br />
up a good crowd to prove<br />
yourself for bigger shows<br />
and supports.<br />
On MySpace pages…<br />
It’s the best way for fans<br />
to find and communicate<br />
with you. It’s the ultimate<br />
fan club! I remember being<br />
annoyed at band sites that<br />
were purely a front and who<br />
never answered messages,<br />
so I have tried to be active<br />
and reply to as many people<br />
as possible. This really<br />
helps as then those people<br />
reply and tell their friends.<br />
It compounds. It is time<br />
consuming but dreadfully<br />
fun in an old school fan club<br />
sense. I’ve found it much<br />
more useful than a regular<br />
website, much more instant<br />
and alive.•<br />
One of the great things about my<br />
job at <strong>APRA</strong>|AMCOS is the constant<br />
evolution of new technologies and<br />
applications. This also happens<br />
to be one of the most challenging<br />
parts of my role as Online & Mobile<br />
Licensing Manager, as often there<br />
are no simple answers for dealing<br />
with rapidly shifting paradigms<br />
and in an environment where<br />
legislative and regulatory changes<br />
often lag behind.<br />
Over the last few years we’ve been<br />
catapulted into a new world of<br />
digital media, where users have<br />
taken control of how they engage<br />
and interact with content. No<br />
longer beholden to music directors<br />
of multinational radio stations or<br />
the odd late night music show on<br />
TV, audiences have much greater<br />
access to a wide range of content<br />
that can be consumed at a time<br />
and place of the user’s choosing.<br />
The balance of control is shifting<br />
from the broadcaster to the creator<br />
– to the point where media content is<br />
now being produced and determined<br />
by the end-users themselves. This<br />
2007 call for apra & amcos<br />
board nominations<br />
In accordance with the <strong>APRA</strong> and<br />
AMCOS Constitutions, nominations<br />
for the position of Director can be<br />
received up to 60 days prior to<br />
the date of the Annual General<br />
Meeting (AGM).<br />
The <strong>APRA</strong> AGM and the AMCOS<br />
AGM will be held on 16 November<br />
2007. Accordingly, nominations for<br />
the <strong>APRA</strong> Director positions and<br />
AMCOS Director positions must be<br />
received by the Company Secretary<br />
at the <strong>APRA</strong>|AMCOS head office in<br />
Sydney, by no later than close of<br />
business Friday 14 September.<br />
<strong>APRA</strong> Board<br />
At the AGM, the <strong>APRA</strong> writer full<br />
members are to elect two (2)<br />
Writer Directors, including a New<br />
Zealand Writer Director, and the<br />
publisher full members are to elect<br />
two (2) Publisher Directors. The<br />
New Zealand Writer Director will<br />
be elected by New Zealand Writer<br />
Full Members, and Australian<br />
Writer Full Members will elect the<br />
Australian Writer Director.<br />
The retiring <strong>APRA</strong> Directors have<br />
served three (3) successive annual<br />
terms in office. All four (4) retiring<br />
new phenomena is known as User<br />
Generated Content (UGC) - part<br />
of the Web 2.0 revolution - and is<br />
characterised by the emergence of<br />
such sites as MySpace, YouTube,<br />
Wikipedia, Flickr and Second Life.<br />
Web 2.0 has been enabled by the<br />
arrival of faster, cheap and widelyavailable<br />
broadband, and is a term<br />
applied to the perceived ongoing<br />
transition of the World Wide Web<br />
from a collection of websites to<br />
a full-fledged computing platform<br />
serving web applications to end<br />
users. Ultimately it’s claimed that<br />
Web 2.0 services will replace many<br />
desktop computing applications.<br />
Web 2.0 also has a strong emphasis<br />
on online collaboration and sharing<br />
among users. The perception that<br />
individuals are being handed back<br />
‘control of the web’ may also be<br />
one of the reasons user generated<br />
sites such as MySpace and YouTube<br />
have been so quickly embraced by<br />
the masses.<br />
Popular content across Web 2.0<br />
ranges from music, digital video,<br />
Directors are eligible, and intend to<br />
stand, for re-election.<br />
AMCOS Board<br />
At the AGM, AMCOS full members<br />
are to elect four (4) Directors. The<br />
retiring AMCOS Directors have<br />
served three (3) successive annual<br />
terms in office. All four (4) retiring<br />
directors are eligible, and intend to<br />
stand, for re-election.<br />
Nominations<br />
Writer Directors of <strong>APRA</strong> must be<br />
Writer Full Members. Publisher<br />
Directors of <strong>APRA</strong> must be<br />
representatives of Publisher Full<br />
Members. Nominees for positions<br />
on either Board must be eligible<br />
to receive notice of, and attend and<br />
vote at, the AGM in November.<br />
AMCOS Directors must either be Full<br />
Members, or the representatives of<br />
Full Members.<br />
Nominations must be in writing<br />
and signed by a full member,<br />
and must also be signed by the<br />
nominee. For a copy of the <strong>APRA</strong><br />
and/or AMCOS Nomination Forms<br />
and to discuss your eligibility for<br />
nomination, please contact <strong>APRA</strong><br />
blogging, podcasts, photography,<br />
games, virtual spaces and wikis –<br />
a term used to describe websites<br />
where visitors can add, remove,<br />
edit and change content.<br />
The dilemma for copyright<br />
owners is determining the most<br />
appropriate approach: initiating<br />
take-down regimes, entering<br />
into licence agreements, or a<br />
combination of the two. Indeed<br />
recently, some copyright owners<br />
have sought deals with particular<br />
UGC websites, whilst others are<br />
intent on preventing their property<br />
being used on these services. What<br />
is abundantly clear is that many<br />
UGC sites rely on access to and<br />
use of, the intellectual property of<br />
others to drive their sites.<br />
<strong>Of</strong> course it isn’t just users that<br />
have been attracted to UGC sites;<br />
they have also raised the interest of<br />
big media players. The last couple<br />
of years have seen billions of dollars<br />
exchange hands with News Limited<br />
purchasing MySpace and Google<br />
buying YouTube.<br />
and AMCOS Company Secretary,<br />
Dean Ormston on (02) 9935 7900 or<br />
email dormston@apra.com.au.<br />
If you are nominated for a position<br />
on either Board, and you consent to<br />
the nomination, you will be asked to<br />
provide short biographical details<br />
that we will provide to all eligible<br />
full members prior to the AGMs<br />
in accordance with the <strong>APRA</strong> and<br />
AMCOS Constitutions. You can read<br />
the Constitutions, and the Charters<br />
of Corporate Governance which<br />
outline the responsibilities of <strong>APRA</strong><br />
and AMCOS Directors, at http://<br />
www.apra.com.au/corporate/<br />
DocsPolicies.asp<br />
Queries<br />
Any queries relating to the<br />
nomination process or eligibility for<br />
nomination should be directed to<br />
the Company Secretary.<br />
Dean Ormston<br />
Company Secretary<br />
Corporate Affairs & Communications<br />
02 9935 7900<br />
dormston@apra.com.au<br />
Other sites such as Second Life have<br />
developed a virtual world where<br />
avatars can roam through virtual<br />
streets, attend virtual rock concerts<br />
and have a dance at virtual nightclubs<br />
- whilst listening to real copyright<br />
music. Again, wonderful new licensing<br />
challenges which need to be carefully<br />
considered and addressed. Perhaps<br />
one solution would be to establish a<br />
virtual collecting society within this<br />
new virtual world!<br />
Major Australian media companies<br />
are also becoming involved, with<br />
organisations such as the ABC and<br />
Telstra purchasing virtual land on<br />
Second Life. Currently they are in<br />
the process of finding new ways to<br />
exploit their (and others’) content<br />
within this cyberspace.<br />
<strong>APRA</strong>|AMCOS sees these<br />
challenges as new opportunities to<br />
generate money for our members.<br />
As an organisation we’ve always<br />
embraced new distribution models,<br />
while reinforcing the basic rights of<br />
our members to control how their<br />
work is used and to receive fair<br />
remuneration. Watch This Space!<br />
THINK<br />
GREEN<br />
THINK<br />
E-VOTING<br />
<strong>APRA</strong>|AMCOS is<br />
committed to improving the<br />
way we do business to help the<br />
environment and reduce costs.<br />
Over the past year we have been<br />
inviting members to register for<br />
e-voting and other electronic<br />
communications, including<br />
accessing Annual Reports and<br />
AGM notices online. To date,<br />
24% of <strong>APRA</strong> members (eligible<br />
to vote) have signed up for<br />
electronic communications.<br />
14<br />
This year we are aiming to<br />
increase this to 50% and make<br />
significant reductions in paper<br />
use and costs. If you haven’t<br />
already registered, please email<br />
enotices@apra.com.au with the<br />
subject heading “Register Me”<br />
and we’ll make sure you become<br />
part of our green solution.
Lobby Loyde<br />
This year, the Australian music industry was saddened by the passing<br />
of two rock greats: Billy Thorpe and Lobby Loyde. Billy and Lobby shared<br />
the stage in the late sixties and early seventies as Billy Thorpe and The Aztecs.<br />
Over the past four decades they have inspired several generations<br />
of songwriters, performers and music lovers.<br />
Lobby Loyde<br />
1942-2007<br />
“More than anyone else, Lobby helped create the Australian guitar<br />
sound. Long before Angus (Young) or Billy Thorpe or the Angels or<br />
Rose Tattoo. Lobby inspired Australian bands to step forward and<br />
play as loud and aggressively as they could. People are still trying<br />
to copy it today.” Angry Anderson (The Age, 2006)<br />
Lobby Loyde – born John Baslington Lyde – influenced countless<br />
performers both here and overseas through his playing,<br />
songwriting and production work. After ground-breaking stints with<br />
the Purple Hearts and the Wild Cherries, and a crucial tenure from<br />
1969-1972 as a member of Billy Thorpe’s new Aztecs, Loyde forged<br />
a new band, The Coloured Balls, in 1972. They performed with Billy<br />
Thorpe and others on the sunbury ‘73 live album, Summer Jam.<br />
in the mid-70s, Lobby released a solo album and spent four years<br />
in the UK where he embraced punk. Upon his return to Australia<br />
he joined rose Tattoo as bass player. Then in the ‘80s, Lobby<br />
moved into production and live sound mixing, producing acclaimed<br />
recordings for the sunnyboys, Kevin Borich, Machinations, Flaming<br />
Hands, X and Painters and Dockers. He returned to the stage in<br />
the early ‘90s with the super group Dirt.<br />
2002 was a stellar year for Lobby: he reunited The Coloured Balls<br />
to take part in the Long Way to the Top concert tour and celebrated<br />
his 40th year in music by being inducted into the Australian Blues<br />
Foundation Hall of Fame.<br />
in 2006 Lobby was inducted into the AriA Hall of Fame. Having<br />
been part of the Australian musical landscape since the 1960s,<br />
Lobby was a true rock and roll renegade, loved by music fans and<br />
musicians alike. Lobby passed away on saturday 21st April after a<br />
long battle with lung cancer. He will be sorely missed.<br />
Billy Thorpe<br />
Billy Thorpe<br />
1946-2007<br />
Most people knew Billy Thorpe as a master showman;<br />
a charismatic presence on the stage who could work a crowd<br />
like no other performer. Billy was also an exceptional songwriter:<br />
over his 50-year career, he crafted and performed iconic Australian<br />
pop and rock songs. songs such as “it’s Almost summer” and “Most<br />
People i Know...” are part of our national history as much as they<br />
are part of the personal hist ory of any music lover in the 60s and<br />
70s. Billy’s songs inspired and influenced generations of Australian<br />
songwriters and musicians. His talent, enthusiasm and genuine<br />
passion for the Australian music industry will be greatly missed,<br />
but never forgotten.<br />
in February of this year, Billy was appointed Director of support Act<br />
Limited. His acceptance letter to the sAL Board captured perfectly<br />
his spirit and dedication to Australian songwriters and music.<br />
“One of my main reasons for the benefit idea is to help fill SAL’s<br />
coffers with some serious funds ASAP that can both elevate SAL<br />
and its effectiveness as an organisation and be used to give<br />
applicants a more significant amount of money when needed…<br />
The public will soon grow weary of fund raisers for old musicians;<br />
I felt something needed to be done now that affords more meaningful<br />
grants to those who genuinely need it. Particularly terminal patients.<br />
And that takes real money. Hence the idea of a super benefit that<br />
produces a super SAL fund and negates the necessity of doing a<br />
benefit every time one of our musical brothers or sisters goes down.”<br />
Billy was farewelled by family and friends at a memorial service<br />
at the sydney entertainment Centre in March. All in attendance<br />
echoed the sentiment expressed by Billy’s close friend, Michael<br />
Chugg, in his tribute to the rock legend:<br />
“Have a safe journey mate; don’t be too hard on Elvis, Lennon<br />
and Hendrix when you tell them you’re taking over the band.”<br />
> Lobby Loyde & Billy Thorpe – inducted into the ARIA Hall of fame, 2006. Photo > Martin Philbey, courtesy ARIA<br />
> david Hirschfelder<br />
> Basil Hogios<br />
By Michelle O’donnell, Manager – film & TV writers <strong>APRA</strong> | AMCOS<br />
Michelle O’donnell<br />
Photo > Jan Kuczerawy<br />
YAnTrA De viLDer has scored the new film by<br />
david Bradbury. while politicians and sections of the<br />
media call for a nuclear ‘solution’ to global warming,<br />
award-winning film-maker david Bradbury’s latest<br />
documentary, A Hard Rain, presents the other side of<br />
the debate, exposing the hidden agendas and the grim<br />
truths behind this push for a nuclear Australia. It’s a<br />
compelling and chilling indictment against uranium<br />
mining and the nuclear industry. david Bradbury is<br />
one of Australia’s best known and most successful<br />
documentary filmmakers. His films have been shown<br />
on all the major Australian commercial and public<br />
broadcast networks as well as overseas. He has<br />
won countless international film festival prizes and<br />
been the winner of five AfI awards and two Academy<br />
Award nominations (Frontline and Chile:Hasta Cuando?)<br />
Bradbury has been following the nuclear debate for<br />
the past 30 years and has previously made three major<br />
films on the issue: Public Enemy Number One, Jabiluka,<br />
and Blowin’ in the Wind.<br />
Richard Roxburgh’s new film Romulus My Father has<br />
a score composed by BAsiL HoGios. films featuring<br />
Basil’s work have also screened in major film festivals<br />
around the world. His orchestral score for SuB was<br />
nominated for an <strong>APRA</strong>/AGSC award for Best Score<br />
for a Short film, and he won the prestigious directors’<br />
Choice Gold Medal at the Park City film Music<br />
festival. A graduate of the AfTRS Screen Composing<br />
course, Basil received the 2005 Sydney Theatre Award<br />
for Best Score, for the critically acclaimed Three<br />
Furies (Scenes from the Life of Francis Bacon). He has<br />
worked with major Australian theatre companies,<br />
including Melbourne Theatre Company (Don’s Party),<br />
Bell Shakespeare (The Tempest) and Griffin (Holding<br />
The Man, Mr Bailey’s Minder and Burning.)<br />
DAviD HirsCHFeLDer has been extremely busy;<br />
he has just finished the score for the Canadian film<br />
adaptation of Romeo dallaire’s autobiography, Shake<br />
Hands with the Devil. The book details the personal<br />
journey of dallaire as uN Commander through the<br />
1994 Rwandan genocide and how dallaire’s request for<br />
more aid went ignored by the united Nations. The film<br />
was shot in Rwanda, post production in Montreal and<br />
the score was composed and recorded in Melbourne.<br />
Shake Hands with the Devil will be released late 2007.<br />
david’s second project is the film The Children of Huang<br />
Shi with director Roger Spottiswoode and a stellar<br />
cast including Jonathan Rhys Meyers, Radha Mitchell,<br />
Chow yun-fat, Michelle yeoh and david wenham. It is<br />
the true story of young British journalist, George Hogg<br />
(Meyers), who with the assistance of a courageous<br />
nurse (Mitchell) and a Chinese partisan fighter, saves<br />
a group of orphaned children during the Japanese<br />
invasion of China in 1937. Scoring commenced in<br />
Melbourne in April.<br />
Veteran Melbourne-based composer GeorGe<br />
DreYFUs will be travelling to Germany later this year<br />
for a series of concerts featuring live performances<br />
of his music accompanying Tim Burstall’s silent film,<br />
Sebastian’s Greatest Adventure. The performance will<br />
take place at the Apollo-Saal of the Staatsoper unter<br />
den Linden in Berlin on November 4 & 5. for more<br />
information email gdreyfus@bigpond.net.au .<br />
The federal Government’s film Package, announced<br />
in the 2007 budget, will be seen as a huge boost to<br />
Australian filmmakers and the future of the Australian<br />
film production industry. The value of the commitment<br />
by Government is an estimated additional $280 million<br />
over the next four years. The new Producers’ Rebate<br />
scheme will replace 10BA, and hopefully simplify the<br />
process of Government taxation concessions and is<br />
not artificially capped. The increased Location Rebate<br />
also includes post production, digital and visual effects<br />
(PdV) expenditure.<br />
A P r A P J u ly 2 0 0 7 > 1 6
Byron Bay singer-songwriter MATT SEABERG has<br />
released his debut album, Gemini’s Many Sides.<br />
Working with producers PAUL GOMERSALL (BLUR,<br />
KATE BUSH, GEORGE MICHAEL) and MARK WARD;<br />
the album features nine tracks showcasing a plethora<br />
of vocal styles and smorgasbord of influences from<br />
funk, rock and ballads, to groove, blues and world<br />
music. Matt will be touring the east coast in august,<br />
check out www.mattseaberg.com or www.myspace.<br />
com/mattseabergmusic for gig details<br />
WOMEN IN DOCS (ROZ PAPPALARDO and CHANEL LUCAS)<br />
are strapping on their trustworthy Doc Marten boots for<br />
another trip to the States in July and August, this time to release<br />
their acclaimed follow up album, Red Wine and Postcards,<br />
through Baria Records. More info - www.womenindocs.com<br />
and www.myspace.com/womenindocs<br />
West Australian bluesman DAVE HOLE has just released his<br />
ninth album. Rough Diamond is available locally through Black<br />
Cat/Shock and in USA on the Blind Pig label. Widely regarded<br />
as one of the all-time slide guitar greats, Dave has just returned<br />
from a European tour which<br />
included a sell-out concert at the<br />
prestigious Moscow International<br />
Performing Arts Centre. See -<br />
www.davehole.com<br />
On their latest release, Australian<br />
afro-guitar enthusiasts OKAPI<br />
GUITARS seem to be drifting<br />
northwards. Their new album Haram<br />
Homebrew is drier and harsher than<br />
their previous release. The band’s<br />
> David Hole’s new album Rough Diamond.<br />
characteristic interplay of two or more<br />
melodic guitars is augmented by banjo,<br />
bottleneck slide, dulcimer, pedal steel and sparse horn parts. Frequently<br />
drum kit is bypassed in favour of smaller percussion such as bongos and<br />
doumbek. www.okapiguitars.com<br />
ALIKI is about to release her third album in six years. One year in the<br />
making, Promise will deliver a surprise package to listeners past and<br />
new. Radio and television airplay is in the pipeline, including a nice piece<br />
for Country Music Television fans. Radio savvy, catchy melodies make this<br />
album a stand out, the result of work by producer/co-writer STEVEN DIX.<br />
Promise will be available through Crossroad Distribution, Koorong and at ALIKI<br />
concerts across Australia - www.aliki.com.au<br />
Northern Territory singer and songwriter HARMONY JAMES has taken<br />
out first place in the country division of the International Songwriting<br />
Competition with her song “Tailwind”. The song is also her current radio<br />
single and has been turning heads throughout the country since its March<br />
release. Harmony’s recently released, self-titled debut EP is available for<br />
purchase at www.harmonyjames.com<br />
Sydney-based singer-songwriter LUKE RUSSELL has released his debut album<br />
The Kiss That Lasted All Weekend - a little bit pop, a touch alt-country, with a dash<br />
of folk and blue-eyed soul. A heartfelt, hand-made record (the album was recorded<br />
in his bedroom); The Kiss That Lasted All Weekend is available now on Half A Cow,<br />
distributed by MGM. www.halfacow.com.au<br />
Compiled by<br />
Bowden Campbell<br />
and Milly Petriella<br />
Contributions should be emailed<br />
to bcampbell@apra.com.au<br />
Deadline for the December 2007<br />
issue is 19 October 2007.<br />
AUDREY AULD MEZERA’s<br />
album Lost Men and Angry Girls<br />
(Reckless Records) topped the<br />
Freeform Americana Roots<br />
(FAR) chart in February and<br />
March, and reached #2 on the<br />
EuroAmericana chart in March.<br />
Her song “Losing Faith” won<br />
the Chris Austin Song Contest,<br />
MerleFest in 2006. More info -<br />
www.audreyauld.com<br />
> Audrey Auld Mezera<br />
Perth based big band MFO,<br />
lead by 2004 <strong>APRA</strong> PDA<br />
recipient MACE FRANCIS, has<br />
just released a brand new CD<br />
– MFO LIVE, recorded while on<br />
tour in the eastern states last<br />
November. 2007 has already<br />
been a successful year for MFO<br />
with the release of the new CD, a<br />
WAMI nomination for Best Jazz<br />
Act, commissioning of new work<br />
and plans for another eastern<br />
states tour later this year. See<br />
www.macefrancis.com or www.<br />
myspace.com/macefrancis.<br />
Australia’s Vietnam Veterans are<br />
delighted that ABC Shops have<br />
chosen to add the new fundraiser<br />
CD, Vietnam Dreamscape, to<br />
their retail shelves. The album<br />
features 14 original songs<br />
that provide the listener with a<br />
window into the conscious and<br />
subconscious minds of combat<br />
veterans. Written and performed<br />
by FRANCIS EDWARDS; for<br />
more information go to www.<br />
myspace.com/francisjedwards<br />
> Francis Edwards<br />
After a year of trekking between<br />
the west and east coasts, Perth<br />
band THE WOODENELVES<br />
have released their debut<br />
album, Trips Between Worlds;<br />
recorded in Sydney under the<br />
direction (and drumming) of<br />
TIM POWLES along with the<br />
bass of STEVE KILBEY (fellow<br />
member of THE CHURCH). The<br />
band will be gigging heavily to<br />
support the release – see www.<br />
myspace.com/thewoodenelves<br />
or www.thewoodenelves.com<br />
for details.<br />
> The Woodenelves<br />
Melbourne-based garage rock<br />
‘n blues ‘n soulers, 84 have<br />
released their debut album, You,<br />
Me and Infamy. Having completed<br />
a North American tour, they<br />
recorded their debut album<br />
at Chowtown Studios, Detroit.<br />
The band toured nationally to<br />
celebrate the release in May, and<br />
performed at Toronto’s NXNE<br />
Music Conference in June.<br />
The album is available now<br />
on Warthog Records through<br />
Shock. Visit www.myspace.<br />
com/84ishere for more.<br />
HARRY ANGUS (THE CAT<br />
EMPIRE) has teamed up with<br />
noted composer, producer<br />
and <strong>APRA</strong> Award winner<br />
JAN SKUBISZEWSKI to form<br />
JACKSON JACKSON. Their<br />
debut album, The Fire Is On the<br />
Bird, is described as “a true<br />
breath of jazzy, funky, afro-beaty,<br />
hip-hoppy fresh air”. Out now<br />
on EMI – see www.myspace.<br />
com/jacksonjacksonmusic<br />
AZTEC <strong>MUSIC</strong> continue to<br />
release classic Australian<br />
albums from the past. Aztec have<br />
re-issued singer-songwriter<br />
ROSS RYAN’s third album …my<br />
name means horse, packaged<br />
in their famous six panel digipak,<br />
with two bonus tracks, a<br />
24 page book with rare photos<br />
and liner notes by Ted Lethborg.<br />
Also re-issued is At Home With<br />
You, the classic second album<br />
from the legendary<br />
X. Featuring<br />
IAN RILEN, STEVE<br />
LUCAS and CATHY<br />
GREEN, the album<br />
was produced by<br />
LOBBY LOYDE<br />
and features the<br />
HUNTERS AND COLLECTORS’<br />
horn section on three tracks.<br />
The disc also contains an entire<br />
show recorded live for a 3PBS FM<br />
radio broadcast at The Prince <strong>Of</strong><br />
Wales Hotel, Melbourne in 1985.<br />
More info - www.aztecmusic.net<br />
‘The Girl Who Wants To Be With<br />
The Girls’ is the second single<br />
for Brisbane’s THE INCREDIBLE<br />
STRAND. Recorded at Black<br />
Box Studios, the song has been<br />
lifted from the foursome’s debut<br />
platter, The Name <strong>Of</strong> This Band<br />
Is The Incredible Strand and<br />
follows the 2006 release of ‘You<br />
Broke My Heart At The Big Day<br />
Out’. A video and solid touring<br />
are ahead – check out www.<br />
theincrediblestrand.com for all<br />
the info.<br />
> The Incredible Strand<br />
JUZZIE SMITH’s music is the<br />
result of an eclectic blend of<br />
many genres and cultures.<br />
His music travels from a<br />
mellow world music vibe with<br />
slide guitar, didge and throat<br />
singing to high energy, foot<br />
stomping blues numbers with<br />
his harmonica, resonator, beats<br />
and kahun percussion. He has<br />
now released his third album,<br />
Happy Daze and is embarking on<br />
a string of pub and club dates to<br />
support the release. More info -<br />
www.juzziesmith.com<br />
Maverick music/<br />
art group, THE<br />
BRASS BED,<br />
known for their<br />
unique trashnoir<br />
sound, have<br />
released their<br />
first DVD, The Super 8 Video LP. It’s<br />
the complete visual companion to<br />
their album Save Your Breath. The<br />
DVD is available online at www.<br />
geocities.com/thebrassbed<br />
and for more good times see<br />
myspace.com/thebrassbed.<br />
DARREN PERCIVAL spent the<br />
90s touring the world with<br />
JAMES MORRISON. A trip to<br />
New York in 2004 to study under<br />
his mentor, a cappella master<br />
BOBBY MCFERRIN, inspired<br />
him to create the live show Out <strong>Of</strong><br />
The Loop. Now performing under<br />
the moniker MR PERCIVAL, he<br />
has released a CD of the show,<br />
painting with his voice to create<br />
rich soundscapes and sublime<br />
grooves. Distributed by Vitamin,<br />
Out <strong>Of</strong> The Loop is available now<br />
and MR PERCIVAL is touring in<br />
support. www.mrpercival.com<br />
Sydney band RASTAWOOKIE<br />
are sharing their global sounds<br />
with their debut album Perfectly<br />
Ordinary. Produced by TONY<br />
BUCHEN (MACROMANTICS,<br />
BLUE KING BROWN), their<br />
compositions are influenced by<br />
music from South America, the<br />
Caribbean and across the globe<br />
to the modern western world<br />
where organic meets electronic.<br />
Perfectly Ordinary is out now<br />
through MGM – check out www.<br />
rastawookie.com for tour dates.<br />
AMANDA EASTON is well known<br />
as the promoter of POP TARTS;<br />
she’s also well known<br />
as a session and backing<br />
singer, performing<br />
with artists such as<br />
POWDERFINGER,<br />
RICHARD CLAPTON<br />
& WENDY MATTHEWS.<br />
But she has now released<br />
her own second<br />
album of theatrical pop,<br />
Chanteuse. In stores nationally<br />
and available for download at<br />
www.amandaeaston.com<br />
Former LEFT NUT drummer<br />
MATT PURSELL built himself a<br />
studio in a rural setting outside<br />
Perth; taught himself a bit of<br />
guitar and the art of recording<br />
and the result is his new project –<br />
A BUCKET OF PUS. Raw and Sore<br />
is an album influenced by years of<br />
listening to metal, punk and great<br />
Australian hard rock, as well as<br />
playing in and watching many<br />
awesome local bands. www.<br />
myspace.com/abucketofpus<br />
The first song JOANNE<br />
MCDONNELL wrote - “Treat<br />
Me Good” - ended up being<br />
a hit for a popular Australian<br />
band, BACHELOR GIRL. Twelve<br />
months ago, McDonnell had<br />
a humanitarian calling. After<br />
researching the Darfur crisis,<br />
Joanne wrote “Beautiful Mother<br />
(Song For Darfur)” Joanne is<br />
selling “Beautiful Mother” on<br />
Broadjam and will donate all<br />
proceeds to Oxfam Australia’s<br />
Sudan appeal. See - www.<br />
broadjam.com/jo<br />
MIST & SEA is a new collaboration<br />
between VINCENT GIARRUSSO<br />
(ex-UNDERGROUND LOVERS)<br />
and JASON SWEENEY/CAILAN<br />
BURNS (of PRETTY BOY<br />
CROSSOVER). The debut album,<br />
Unless, released on Popfrenzy<br />
Records, features 13 new songs<br />
of electro pop and wall of sound<br />
guitars! See www.popfrenzy.<br />
com.au<br />
18
UBLISHERNEWS<br />
Compiled by<br />
Mark Eades and Anthea Sarris<br />
Contributions are welcome and should<br />
be emailed to asarris@apra.com.au<br />
Deadline for the December 2007 issue<br />
is Friday 19 October.<br />
> Simon Carter<br />
EMI Music<br />
Publishing Australia<br />
EMI Music Publishing Australia<br />
has signed singer/songwriter/<br />
producer SIMON CARTER of<br />
Sydney band, THE COPS, to a<br />
worldwide Publishing Agreement.<br />
The Cops have finished their<br />
second album Drop it in their<br />
Laps which they describe as<br />
“a mashing of rock, funk, soul,<br />
electro, hip hop and pop… a<br />
cross-pollinating smorgasbord<br />
of tasty sing-along choruses,<br />
arse-shaking beats and whacked<br />
out lyrical quests”.<br />
All Music<br />
Publishing and<br />
Distribution (AMPD)<br />
Essex Music of Australia and<br />
Cromwell Music of Australia<br />
have entered into a print music<br />
agreement with AMPD for the<br />
exclusive administration of<br />
their print rights in Australia<br />
and New Zealand, commencing<br />
1 February 2007.<br />
AMPD (formerly Allans<br />
Publishing) will produce a series<br />
of print music publications<br />
based on the Essex and<br />
Cromwell catalogues, and will<br />
also administer licences for<br />
further exploitation of the print<br />
rights, including single sheet<br />
music and digital print rights.<br />
Print publications based on the<br />
Essex and Cromwell catalogues<br />
will be released under the new<br />
Sasha Music Publishing label<br />
which AMPD has developed for<br />
contemporary popular repertoire.<br />
Catherine Gerrard, Executive<br />
Director Publishing and Copyright<br />
of AMPD said, “We are delighted<br />
to represent these catalogues. It<br />
is a great step forward for us in<br />
our publishing activities which<br />
have been growing steadily and<br />
solidly for the last few years<br />
in the contemporary popular<br />
area. The catalogues are full<br />
of great works including many<br />
significant tracks from across<br />
the last few decades!”<br />
Bob Aird, who signed the deal<br />
as a Director of both Essex and<br />
Cromwell said that it is a very<br />
exciting opportunity to further<br />
expose the catalogues in print<br />
– both as printed books and in<br />
new digital exploitation avenues.<br />
“There are songs in these<br />
catalogues which are part of the<br />
world’s music heritage, including<br />
classics from Pete Seeger, Shel<br />
Silverstein, Marc Bolan, John<br />
Denver, and many others. We<br />
are confident that AMPD will<br />
introduce them to new print/<br />
digital audiences with focused<br />
marketing and distribution”.<br />
Fogsongs Music<br />
Fogsongs Music Publishing<br />
has signed TRAVIS CAUDLE -<br />
principal song writer for Perth<br />
band THE WOODENELVES to a<br />
worldwide publishing agreement.<br />
Travis said; “Having Fogsongs<br />
on board helping us as we<br />
launch our first album is a<br />
great support, and we’re really<br />
excited about it. It’s given me a<br />
chance to further concentrate<br />
on songwriting and gigging with<br />
the band as Marshall and Paul<br />
help look for new opportunities<br />
for us in new markets.”<br />
Marshall Cullen MD of Fogsongs<br />
said “signing a Perth writer as<br />
talented as Travis adds the<br />
much needed WA location to<br />
our roster so that we now have<br />
writers signed in every state and<br />
territory. As we are looking at<br />
strong US opportunities for The<br />
Woodenelves material, I believe<br />
great things will come from our<br />
partnership - expect to see the<br />
boys on the east coast sooner<br />
than you think.”<br />
ABC<br />
Music Publishing<br />
JONAH’S ROAD writers JOHN<br />
KATER and ROD AULD have<br />
been signed to ABC Music<br />
Publishing – bringing with them<br />
their current repertoire, featured<br />
on the new Jonah’s Road<br />
album, Counting Down The Days<br />
(2007), and their personal and<br />
individual repertoires of original<br />
and outstanding songs.<br />
“The addition of Rod and<br />
John is a great step in further<br />
consolidating our roster of<br />
strong songwriters – I’ve always<br />
been very keen on Jonah’s Road<br />
since I first came across them,<br />
playing live in 2005 when they<br />
were nominated for Best New<br />
Talent and Best Vocal group/<br />
Duo at the Golden Guitars.<br />
They’ve gone on to confirm the<br />
industry belief that they’re the<br />
contemporary country pop group<br />
this music has been looking out<br />
for. As writers, their songs are<br />
fresh, dynamic and very much<br />
new country”, said Head of ABC<br />
Music Publishing, Eloise Nolan.<br />
Songwriters, record producers<br />
and screen music composers<br />
JOHN KANE and MARK<br />
WALMSLEY were joint winners<br />
of Best Song at the 2007 JD<br />
Light Music Awards, for their<br />
song “Satellite of Love”,<br />
co-written with upcoming<br />
artist and songwriter, DIANNA<br />
CORCORAN.<br />
Kane and Walmsley are no<br />
strangers to the ABC – as screen<br />
composers they have written<br />
theme music and underscore<br />
for the Simpson le Mesurier and<br />
ABC TV serial drama Something<br />
in the Air, Dimensions, George<br />
Negus Tonight, Australia Wide,<br />
The Hopman Cup Tennis, The<br />
Australian Womens’ Open Golf<br />
and the current ABC 2 Digital TV<br />
station idents. Recently John and<br />
Mark were invited to compose<br />
theme music and underscore<br />
for the prestigious celebration of<br />
fifty years of ABC television, The<br />
ABC <strong>Of</strong> Our Lives.<br />
Mushroom<br />
Music Publishing<br />
Mushroom Music Publishing<br />
have experienced a busy and<br />
successful year supporting the<br />
international launches of LOVE<br />
OF DIAGRAMS, HOWLING<br />
BELLS, THE DRONES, JOSH<br />
PYKE and DEVASTATIONS,<br />
while somehow managing to<br />
find a spare hand to sign the<br />
next wave of talent.<br />
May saw the signing of ARIA<br />
award winning Best Female<br />
Artist, CLARE BOWDITCH. Next<br />
in line for Bowditch’s crown<br />
will be the recently acquired<br />
freshcomer songstress AMAYA<br />
LAURICIA whose moody and<br />
beautifully crafted music<br />
channels the brilliance of Mazzy<br />
Star, Neko Case and Neil<br />
Young.<br />
Mushroom also celebrated the<br />
signing of KID CONFUCIUS, the<br />
Sydney based dynamic 9-piece<br />
soul/hip-hop/gospel/funk/urban<br />
act whose nostalgic output is<br />
classic Detroit era Motown driven<br />
by African rhythmed big beats<br />
and angelic falsetto vocals.<br />
Melbourne raucous garage<br />
punks EDDY CURRENT<br />
SUPPRESSION RING will now<br />
be penning underground hits<br />
under the Mushroom banner.<br />
Mushroom has also picked up<br />
DAVE McKINNEY who produces<br />
funky jams and block party<br />
breaks as FLOW DYNAMICS.<br />
> Fur Patrol<br />
> Clare Bowditch<br />
> Amaya Lauricia<br />
> Kid Confucius<br />
> Eddy Current Suppression Ring<br />
> Flow Dynamics<br />
Native Tongue<br />
New signings:<br />
Singer-songwriter NED COLLETTE<br />
who released his debut album<br />
Jokes & Trials in ’06 and is now<br />
supporting Joanna Newsom<br />
and Camera Obscura in the UK<br />
and Europe.<br />
STEVE MERRY and JOEL<br />
BATTERSBY of the brilliant<br />
blues rock duo THE FUMES.<br />
Brothers DAN and BILL<br />
HAZARD of Brisbane Electro/<br />
Breaks icons SOMA RASA who<br />
have just scored a placement in<br />
the forthcoming Microsoft game<br />
Project Gotham Racing v.4.<br />
Auckland bred SXSW sensation<br />
GASOLINE COWBOY, set to<br />
release their debut album Pave<br />
The Way this year.<br />
NZ Electronic trio MINUIT who<br />
are also releasing their debut<br />
Australian album in 07.<br />
New releases:<br />
Australia’s Queen of rockin’<br />
blues MIA DYSON will release<br />
her third studio album in June.<br />
THE BRUNETTES are about<br />
release their stunning new<br />
album Structure & Cosmetics<br />
through Sub Pop in the US.<br />
After a short break FUR PATROL<br />
will release the brand new Long<br />
Distance Runner EP in June.<br />
International:<br />
Native Tongue has secured<br />
administration of the Stage<br />
Three Music catalogue that<br />
includes songs by Aerosmith,<br />
ZZ Top, CSS, Boy Least Likely<br />
To, Gerry Rafferty, David Essex,<br />
The Decemberists, The Subways<br />
and Mattafix among others.<br />
Synchronisation licenses<br />
THE DUKES “Mornin” in the<br />
US series Brothers & Sisters<br />
screening on the ABC network<br />
in America and the 7 Network in<br />
Australia.<br />
GASOLINE COWBOY’S “The<br />
Truth” in the PBS series Carrier.<br />
ORiGiN Music Group<br />
The ORiGiN Music Group have<br />
had an action packed 2007 to<br />
date with new international<br />
catalogues added including<br />
Rive Droite/Right Bank an<br />
independent publishing, management<br />
and production<br />
powerhouse based in Paris,<br />
London and Los Angeles.<br />
US Composer PETER WOLF has<br />
signed with ORiGiN Network to<br />
represent his compositions in<br />
Australia and NZ for the hit TV<br />
series Commissioner Rex (SBS)<br />
ORiGiN also now represents the<br />
Miami based publishing catalogues<br />
of Nota & J & N Publishing and<br />
the Music Asset Management<br />
Catalogue out of LA.<br />
New local signings for ORiGiN<br />
include…<br />
Composer/actor PAUL GODDARD<br />
aka COLEMAN SMITH who<br />
has recorded an album of<br />
songs, instrumental works and<br />
a children’s project with the<br />
working title of Lavender Lane.<br />
KRIS SCHROEDER of the<br />
dynamic Melbourne based band<br />
THE BASICS. Their new album<br />
Stand Out Fit In (MGM) is out now<br />
and the band will tour in Japan<br />
and the UK in September.<br />
Composer TIM HOPKINS who<br />
has returned from New Zealand<br />
after recording his new album<br />
Hear Now After.<br />
Melbourne based multi<br />
instrumentalist and composer<br />
JAKE MASON. Jake’s band<br />
COOKING ON THREE BURNERS<br />
has recorded a new album.<br />
Baked, Boiled & Fried is due for<br />
release in June on the No Frill<br />
label (Inertia) in Australia and<br />
Freestyle Records in the UK.<br />
Screen composer and 2006 <strong>APRA</strong><br />
Award winner JAY STEWART<br />
has signed with ORiGiN for all<br />
international territories outside<br />
of Australia & NZ.<br />
ORiGiN Music has acquired the<br />
publishing rights to the music<br />
for CHERYL WEBB’s conceptual<br />
piece The Numerology Suite and<br />
will be assisting Cheryl to get<br />
the music out there.<br />
Bonza Music Publishing<br />
has entered into a worldwide<br />
association with ORiGiN.<br />
Bonza is developing a number<br />
of original Australian artists<br />
including BLACK GENIUS,<br />
HEIFER, HEY DA VINCI and<br />
MICHAEL HOPE.<br />
DIANA ANAID has released a<br />
solo acoustic album Live at the<br />
Bush Theatre, recorded near her<br />
home in northern NSW.<br />
> Diana Anaid<br />
MISHELLE BRADFORD JONES<br />
is recording an album with<br />
a new band she has formed<br />
with guitarist/composer PHIL<br />
BURTON. Nashville based NICK<br />
BROPHY is producing the album.<br />
MARK O’SHEA is in Nashville<br />
co-writing with DONAVAN<br />
CHAPMAN and GARY HANNAN.<br />
Mark has demoed four new songs<br />
with producer MARK MOFFATT.<br />
<strong>APRA</strong> Award winning composer<br />
ADRIAN VAN DE VELDE has<br />
made a short film titled Hero. In<br />
addition to writing and directing,<br />
the film features his own music.<br />
ALLAN CASWELL’s Golden<br />
Guitar winning duet with DREW<br />
McALISTER “There’s a little bit<br />
of country in us all” is now out<br />
as the new single and video from<br />
Allan’s Al’s Bar & Grill album.<br />
Flashpoint Productions<br />
- represented by ORiGiN<br />
worldwide - have completed<br />
the production of a great new<br />
album by singer songwriter<br />
LOUISE ANTON. The album was<br />
produced by HARRY VANDA with<br />
string arrangements by LARRY<br />
MUHOBERAC.<br />
<strong>APRA</strong>P July 2007 > 20
John Chong-Nee: 2007 <strong>APRA</strong> NZ PDA Recipient<br />
Celebrating the craft of songwriting<br />
Compiled by Abbie Rutledge, Communications and Events Coordinator <strong>APRA</strong> New Zealand<br />
> John Chong-Nee. Photo > TOPIC<br />
<strong>APRA</strong> NZ is proud to announce<br />
the recipient of the 2007 <strong>APRA</strong> NZ<br />
Professional Development Award<br />
- John Chong-Nee.<br />
To say John Chong-Nee has had a successful run<br />
would be an understatement. <strong>APRA</strong> member since<br />
2000, he is registered as being a writer and/or<br />
co-writer of over 60 works, including the 2003 Silver<br />
Scroll nominated I11 Semantics track ‘Highway’.<br />
It began in the early ‘90s with seven piece group<br />
Semi-MCs, out of which formed AKA Brown a duo<br />
with Sam Feo II. AKA Brown were picked up by UPR<br />
(Urban Pacifika Records), Phil Fuemana saw beyond<br />
John’s MCing talents and the young musician began<br />
his ever-blossoming career working with the likes<br />
of Dobbyn and Finn. Following their performance at<br />
the ’98 Silver Scroll Awards the AKA Brown remix<br />
of the iconic Dave Dobbyn track “Beside You”,<br />
brought Chong-Nee’s skills into the limelight and<br />
Dawn Raid Entertainment soon signed him up as<br />
their in-house producer.<br />
Undeniably John Chong-Nee is one of New<br />
Zealand’s most in demand collaborators, even<br />
P-Money agrees, rating him as “Australasian RnB<br />
producer #1 hands down”.<br />
His Dawn Raid production credits are literally<br />
a list of the ‘who’s who’ of Urban Pacific<br />
music - The Deceptikonz’ Elimination album,<br />
Mareko’s debut album White Sunday, plus<br />
groundbreaking compilations Southside Story<br />
and Str8 From Tha Streets.<br />
The credits don’t stop there, writing and producing<br />
on various other projects including - Che Fu “2 b<br />
Spasifik”, Ben Lummis “One Road”, PNC “Rookie<br />
Card”. Remixing for the likes of Katchafire and<br />
providing his own tracks for multi-platinum selling<br />
compilations Major Flavours & RnB Superclub. A<br />
career highlight would have to be his work on “First<br />
Edition” with Dei Hamo; in 2004 they achieved three<br />
#1 singles including the highest selling single of<br />
the year “We Gon’ Ride”.<br />
Stepping out from behind the desk and back to<br />
his original musical roots, John Chong-Nee finally<br />
released his own album Just Getting By On Love in<br />
2006 – producing no less than six Top 20 NZ Airplay<br />
chart hits.<br />
John’s skills have not gone unnoticed internationally<br />
and the PDA is going to allow him to travel to<br />
the United States to accept invitations of various<br />
writing, producing and performance collaborations.<br />
With his legacy of training up local musicians and<br />
being extremely open with his knowledge, <strong>APRA</strong><br />
believe this award will not only benefit Chong-Nee<br />
but many New Zealand artists in the future.<br />
<strong>APRA</strong> presented six songwriting sessions over the Easter Long Weekend in April.<br />
Sessions at BluesFest and The Great Escape provided valuable opportunities to<br />
discuss, examine, promote and celebrate the craft of songwriting.<br />
BluesFest 2007 > Byron Bay<br />
> Paul Greene plays a Gibson Guitar<br />
In collaboration with BluesFest and Southern Cross University<br />
<strong>APRA</strong> presented three Songwriter Speaks sessions at Byron Bay<br />
High School. The sessions were open to <strong>APRA</strong> members and SCU<br />
students and featured international guest songwriter, zydeco master,<br />
Terrance Simien as well as home-grown artists Kevin Bennett<br />
(The Flood) and Paul Greene (Hirst and Greene).<br />
Feedback from attendees….<br />
> Terrance Simien and <strong>APRA</strong> member Bonnie > Terrance Simien and The Zydeco Experience > ‘How to get a gig’ - panel discussion<br />
“What I enjoyed most was that the musicians and industry leaders were presented in an accessible<br />
light showing them for the people they are and allowing them to be accessible to myself and others.”<br />
“Each of the three sessions was inspiring and informative and made us aware of the opportunities<br />
<strong>APRA</strong> offers to artists. We have made a mental note to check the <strong>APRA</strong> website every week from here<br />
on in. To be able to sit with Peter Noble and Chuggy was amazing! Congratulations to all those who<br />
made this possible.”<br />
In addition, <strong>APRA</strong> and Music Bound hosted a panel discussion<br />
on “How to get a gig” with a focus on issues faced by Indigenous<br />
performers. The panel featured promoter Michael Chugg, BluesFest<br />
organiser Peter Noble, Glenn Wright from Vitamin Records and<br />
Indigenous songwriters/performers Troy n Trevelyn.<br />
The Great Escape > Newington Armory,<br />
Sydney Olympic Park<br />
> Dan Kelly, Bow Campbell and Melanie Horsnell > Carlo and Natalie from Blue King Brown<br />
Songwriter Speaks sessions were held each afternoon of<br />
The Great Escape Festival, in the Mess Hall at Newington Armory,<br />
Sydney Olympic Park.<br />
The first session featured indie soul favourite, Dan Kelly and<br />
NuFolk songwriter Melanie Horsnell; then Blue King Brown’s<br />
Carlo Santone and Natalie Pa’Apa’A discussed their unique fusion<br />
of soul, percussive rhythm, sweet melodies and political lyrics in<br />
the second session; and finally, eclectic storyteller and composer<br />
of bold pop songs, Darren Hanlon and ARIA Nominee Holly<br />
Throsby lead the third.<br />
In spite of the cold and blustery conditions, the energy of the festival<br />
flowed into the Mess Hall with over 80 people attending each session.<br />
All sessions covered a diverse range of topics including: song writing<br />
techniques – how to take an idea and develop it into something<br />
that can be performed or recorded; co-writing - how it works, and<br />
sometimes doesn’t; as well discussions on the creative evolution<br />
of particular songs. Several of the songwriters treated the audience<br />
to live acoustic performances. The audiences in return were highly<br />
responsive and enthusiastic<br />
during the Q&A component.<br />
Photos > Edwina Pickles<br />
<strong>APRA</strong>P July 2007 > 22<br />
<strong>APRA</strong> has a regular, annual program of Songwriter Speaks sessions.<br />
Check the website www.apra.com.au for details of sessions near you.
Glenn Shorrock<br />
“As well as reminding me of my youthful attractiveness<br />
this photo brings back memories of two fine gentlemen in<br />
particular our great former chairman, Ted Albert.”<br />
Snapped at the Sydney Hilton: Glenn Shorrock (left), and<br />
Hal David (right), presented Board Chairman and head of<br />
J. Albert & Son, Ted Albert (centre), with the first of two<br />
gold awards at the inaugural <strong>APRA</strong> Music Awards in 1982.<br />
Alberts won the awards on behalf of songwriters Harry<br />
Vanda and George Young, for “Love is in the Air”; and Bon<br />
Scott, Angus and Malcolm Young for “Highway to Hell”.<br />
MOMENTS<br />
IN <strong>MUSIC</strong><br />
By Glenn Shorrock<br />
Where it all began –<br />
the first ever <strong>APRA</strong> Music<br />
Awards 1982<br />
Have you<br />
got a photograph<br />
that captures a<br />
moment in music?<br />
Send your<br />
submission<br />
with <strong>25</strong>0<br />
words on why<br />
it’s special to<br />
asarris@apra.com.au<br />
and it could<br />
appear on the<br />
back of the<br />
next Aprap.<br />
Design: Elastik Printing: No Time To Lose ©2007 Australasian Performing Right Association Ltd, Sydney, Australia. Print Post No: 55003/02262 ISSN: 1441-4910. Printed on environmentally friendly paper using soy-based inks.<br />
Box 6315, Wellesley St, Auckland 1141, New Zealand. The opinions expressed in articles in Aprap are not necessarily those of the Australasian Performing Right Association. Editor: Anthea Sarris asarris@apra.com.au<br />
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<strong>APRA</strong> is an association of composers, authors and publishers of music in Australia, New Zealand and the South Pacific having affiliations with similarly constituted organisations around the world. Writer directors: