Annual Report 2014 CONTENTS

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 2014 CONTENTS Annual Report 2014 CONTENTS 02 Board & Staff Members 03 Acknowledgements 04 President’s Report 05 Chief Executive Officer’s Report 06 Treasurer’s Report 07 Development 09 Membership 11 Song Of The Year 12 WAM Festival & WA Music Conference 14 Singapore West Australia Music (SWAM) Exchange 15 Workshops 16 Regional 18 Marketing & Communications 21 Partners 22–34 Annual Financial Report wam.org.au 1 Contents BOARD President Al Taylor (since May) Andrew Zell (until May) Vice President Noah Shilkin (since May) Al Taylor (until May) Treasurer Steven McCabe Secretary Bel Skinner Simon Reed David Hyams Jacob Snell (since Apr) Jo Carson (since Jul) Stefan Caramia (since Apr) Antonella de Gregoriis (until Apr) STAFF Chief Executive Officer Mike Harris Business Manager Jessica Thomas Regional Officer Nigel Bird Development Manager Georgia Kennedy Industry Development Officer Claire Hodgson Marketing & Communications Officer Aarom Wilson WAM Festival Coordinator Greg Sanders Audience Development Officer Leon Ewing (until Apr) wam.org.au 2 Staff & Board Members Passionately committed isto the championing peak industry Western body responsibleAustralian music since 1987, WAM for supporting, nurturing and growing all forms, genres and levels of original contemporary music in WA. THANK YOU WAM gratefully acknowledges the assistance of the State Government of Western Australia through: Department of Culture and the Arts WAM is also assisted by the Commonwealth Government through: Australia Council for the Arts WAM also greatly appreciates the assistance provided to us by: APRA | AMCOS Our thanks also go to the interns and volunteers whose ongoing efforts in assistingWAM achieve our objectives are greatly appreciated – plus the judges and vollies who help make events like Song of the Year, the WAM Festival and Awards possible and such a fine reflection of the quality of WA music. The West Australian Music Industry Association Inc abn 19 395 503 276 Level 1, 58 James Street, Northbridge | WA PO Box 171 Northbridge WA 6865 p +61 8 9227 7962 e [email protected] wam.org.au 3 Acknowledgements PRESIDENT’S REPORT AL TAYLOR It was little over two years ago that I was asked to be a judge as part of WAM’s ‘Sync to Swim’ initiative. I was given the challenging task of narrowing a shortlist of 30 songs to a final selection of 6. With the quality across all 30 so high it was incredibly difficult. I can only imagine how tough it was pick 30 from the hundreds entered! It was a yet another verification of the amazing breadth and As you will read in Mike’s report, this year has been a year depth of talent we have in this state. This continues to be of consolidation. Changes in the Department of Culture and evidenced through events like the WA Music Awards and the the Arts funding structure and our financials have been a - now 20-year-old - WAM Song of the Year (KUČKA being a key focus, while needing to continue to deliver on all our key world-class deserved winner this year). initiatives to a high standard. Our pool of talent is seemingly bottomless. And, I don’t just However, for WAM to truly, effectively deliver to its vision, mean the musicians; I mean the industry as a whole. There we need to elevate the perceived value of the organisation is no question, when it comes to arts and creativity in this and WA music industry in the hearts and minds of the country, as a state we punch way above our weight. It is community, business and government - to a level that aligns with our considerable contribution. Key to this will be our most notable in contemporary music – and has been for ability to tell our story well, to make the case for the currently some time. We have an abundance of artists doing great unrealised value of the contemporary music industry. things nationally and internationally. As such, we are seeking to undertake a significant research But, the significance of this within this state – I don’t believe project that will specifically focus on identifying the true – is fully realised. Alongside the massive contribution locally cultural and economic impact and value of the contemporary to culture and the economy, there is without doubt an eye to music industry in WA. We cannot underestimate the value of the West from afar as a place that – alongside our resources real, proven numbers as a foundation to seek support and reputation - produces great talent. The contribution to Brand greater funding and contribution. WA cannot be denied. In the next month we will move into our organisational With such a rich vein of talent, our job of championing WA business planning sessions. With a revitalised and incredibly music is perhaps a little easier in one sense. passionate and committed Board our mission is to emerge from these sessions with a challenging, ambitious but The extraordinary team at WAM – guided so well by our achievable plan for WAM and – as a consequence – the WA CEO Mike Harris - does an incredible job with what is, by contemporary music industry. A plan that will see WA Music comparison, a very small funding and sponsorship base. positioned as a major force locally and nationally – one that is This year they pulled together a fantastic festival and awards appropriately valued, revered and championed by a powerful, night and managed to introduce the hugely successful Block effective and innovative WAM. Party - destined to be a mainstay, even seasonal event. The WAM Song of the Year awards held at B Shed was a We have been fortunate to have great, insightful input standout show and they continued to successfully deliver key from our highly valued Music Council that will feed into our initiatives like the ‘Sounds of’ series and ‘State of the Art’, the planning sessions, but we also welcome your input as an latter in conjunction with Celebrate WA. The team did all this important member of the WA Contemporary while also turning the organisation from a $120,000 loss to a Music community. surplus - testimony of the prudent management of the CEO In closing, a big thanks to our partners, Mike and his team alongside Business Manager Jess Thomas and our Treasurer and Board members past and present. And, of course for Steve McCabe. your support wam.org.au 4 President’s Report CHIEF EXECUTIVE OFFICER’S REPORT MIKE HARRIS Firstly, I must say it is a real pleasure and an honour to be CEO of WAM: a role I commenced in late February 2014. I have known of, and had some peripheral involvement in, some of WAM’s projects over many years so the opportunity to be part of that is exciting. WAM is a national leader in terms of its role and scope of the projects and benefits it delivers to music in WA. 2014 was a year of reconsolidation for WAM. After the losses needs of regional musicians, via channels such as the of 2013 WAM’s triennial Department of Culture and the Arts Regional Roundtable, allows WAM to implement projects (DCA) funding was also at risk and the first few months of (such as our Sounds of… CD recordings) that go some way to 2014 were spent in review, reforecast and re-planning mode. breaking down the tyranny of distance. Organisationally WAM approached this with collective resolve I need to make mention of the WAM staff group who worked and we were able to re-submit a refreshed Business Plan, bloody hard in 2014 to ensure WAM was in a viable position regain our triennial funding and ultimately deliver a modest at the end of the year. Their efforts are well appreciated by surplus for the year. We were able to achieve this without myself and the Board, and should be by everyone associated having to drop projects or activities, which was an with WAM. Resources are tight and often tired, but they important consideration. continue to deliver fantastic outcomes for music in WA – The end of year financial figures saw WAM deliver an Thank you! operating surplus of $38,140 compared to 2013’s $123,351 There are challenges ahead for the music industry in WA and loss. This has allowed us to retain $20,000 in reserves WAM will play a central role in addressing these challenges. regaining a positive position on the balance sheet. As dull as Obviously there is a lot of discussion about live music and live this sounds to be reporting so prominently, it is imperative music venues and it is imperative that there is a commitment to WAM’s on-going viability that we have a solid financial from both government and opposition to address the footing and a secure reserves safety net. barriers that are a threat to a vibrant live music scene in In April we had a change to the position of President with Perth. We must make it easier for venues to open and to stay Andrew Zell stepping down from the board and Al Taylor open. Other issues also loom: Is the funding framework for filling the role of president throughout the remainder of contemporary music delivering the best outcomes? What 2014. A massive thank-you to both WAM Presidents, and audience development programs need to be in place to the Board, for their efforts throughout the year. There were usher in the next generation of music lovers? And, the on- times when we really drew on their time and energies and I going potential for, and benefits of, an incubator hub space appreciate the on-going commitment. must stay on the agenda. There is an election in less than two years and it is contingent In 2014 WAM delivered numerous projects and events, on all of us to ensure music has a prominent place in any arts big and small, across Perth, Fremantle and the greater or cultural policy.
Recommended publications
  • 247. Org Apra Amcos Correction.Pdf
    COPYRIGHT AND THE DIGITAL ECONOMY APRA|AMCOS SUBMISSIONS TABLE OF CONTENTS EXECUTIVE SUMMARY ............................................................................................. 4 OVERVIEW ................................................................................................................. 5 Australia's emerging digital economy and the Australian music industry ................ 5 A response to the Issues Paper’s general introductory comments .......................... 6 The importance of the communication right .......................................................... 10 Commercial/non-commercial ................................................................................ 10 Matters outside the scope of this inquiry ............................................................... 12 International obligations ........................................................................................ 13 The US system ..................................................................................................... 15 The Inquiry ............................................................................................................ 17 Question 1 ......................................................................................................... 17 Guiding principles for reform ................................................................................. 29 Question 2 ......................................................................................................... 29 Caching, indexing and other
    [Show full text]
  • Perth Music Interviews Ben Stewart (Filmmaker) Amber Flynn
    Perth Music Interviews Ben Stewart (Filmmaker) Amber Flynn (Rabbit Island) Sean O’Neill (Hang on Saint Christopher) Bill Darby David Craddock (Davey Craddock and the Spectacles) Scott Tomlinson (Kill Teen Angst) Thomas Mathieson (Mathas) Joe Bludge (The Painkillers) Tracey Read (The Wine Dark Sea) Rob Schifferli (The Leap Year) Chris Cobilis Andy Blaikie by Benedict Moleta December 2011 This collection of interviews was put together over the course of 2011. Some of these people have been involved in music for ten years or more, others not so long. The idea was to discuss background and development, as well as current and long-term musical projects. Benedict Moleta [email protected] Ben Stewart (Filmmaker) Were you born in Perth ? Yeah, I was born in Mt Lawley. You've been working on a music documentary for a while now, what's it about ? I started shooting footage mid 2008. I'm making a feature documentary about a bunch of bands over a period of time, it's an unscientific longitudinal study of sorts. It's a long process because I want to make an observational documentary with the narrative structure of a fiction film. I'm trying to capture a coming of age cliché but character arcs take a lot longer in real life. I remember reading once that rites of passage are good things to structure narratives around, so that's what I'm going to do, who am I to argue with a text book? Fair call. I guess one of the characteristics of bands developing or "coming of age" is that things can emerge, change, pass away and be reconfigured quickly.
    [Show full text]
  • Annual Financial Report 30 June 2020
    Australasian Performing Right Association Limited (a company limited by guarantee) and its controlled entity ABN 42 000 016 099 Annual Financial Report 30 June 2020 Australasian Performing Right Association Limited and its controlled entity Annual Report 30 June 2020 Directors’ report For the year ended 30 June 2020 The Directors present their report together with the financial statements of the consolidated entity, being the Australasian Performing Right Association Limited (Company) and its controlled entity, for the financial year ended 30 June and the independent auditor’s report thereon. Directors The Directors of the Company at any time during or since the financial year are: Jenny Morris OAM, MNZM Non-executive Writer Director since 1995 and Chair of the Board A writer member of APRA since 1983, Jenny has been a music writer, performer and recording artist since 1980 with three top 5 and four top 20 singles in Australia and similar success in New Zealand. Jenny has recorded nine albums gaining gold, platinum and multi-platinum status in the process and won back to back ARIA awards for best female vocalist. Jenny was inducted into the NZ Music Hall of Fame in 2018. Jenny is also a non-executive director and passionate supporter of Nordoff Robbins Music Therapy Australia. Jenny presents their biennial ‘Art of Music’ gala event, which raises significant and much needed funds for the charity. Bob Aird Non-executive Publisher Director from 1989 to 2019 Bob recently retired from his position as Managing Director of Universal Music Publishing Pty Limited, Universal Music Publishing Group Pty Ltd, Universal/MCA Publishing Pty Limited, Essex Music of Australia Pty Limited and Cromwell Music of Australia Pty Limited which he held for 16 years.
    [Show full text]
  • COMMUNITY RADIO NETWORK PROGRAMS and CONTENT LIST - Content for Broadcast on Your Station
    COMMUNITY RADIO NETWORK PROGRAMS AND CONTENT LIST - Content for broadcast on your station May 2019 All times AEST/AEDT CRN PROGRAMS AND CONTENT LIST - Table of contents FLAGSHIP PROGRAMMING Beyond Zero 9 Phil Ackman Current Affairs 19 National Features and Documentary Bluesbeat 9 Playback 19 Series 1 Cinemascape 9 Pop Heads Hour of Power 19 National Radio News 1 Concert Hour 9 Pregnancy, Birth and Beyond 20 Good Morning Country 1 Contact! 10 Primary Perspectives 20 The Wire 1 Countryfolk Around Australia 10 Radio-Active 20 SHORT PROGRAMS / DROP-IN Dads on the Air 10 Real World Gardener 20 CONTENT Definition Radio 10 Roots’n’Reggae Show 21 BBC World News 2 Democracy Now! 11 Saturday Breakfast 21 Daily Interview 2 Diffusion 11 Service Voices 21 Extras 1 & 2 2 Dirt Music 11 Spectrum 21 Inside Motorsport 2 Earth Matters 11 Spotlight 22 Jumping Jellybeans 3 Fair Comment 12 Stick Together 22 More Civil Societies 3 FiERCE 12 Subsequence 22 Overdrive News 3 Fine Music Live 12 Tecka’s Rock & Blues Show 22 QNN | Q-mmunity Network News 3 Global Village 12 The AFL Multicultural Show 23 Recorded Live 4 Heard it Through the Grapevine 13 The Bohemian Beat 23 Regional Voices 4 Hit Parade of Yesterday 14 The Breeze 23 Rural Livestock 4 Hot, Sweet & Jazzy 14 The Folk Show 23 Rural News 4 In a Sentimental Mood 14 The Fourth Estate 24 RECENT EXTRAS Indij Hip Hop Show 14 The Phantom Dancer 24 New Shoots 5 It’s Time 15 The Tiki Lounge Remix 24 The Good Life: Season 2 5 Jailbreak 15 The Why Factor 24 City Road 5 Jam Pakt 15 Think: Stories and Ideas 25 Marysville
    [Show full text]
  • YEAR in REVIEW Australian Music Industry Based on a Strong the YEAR in REVIEW – Vision to Become a Globally Recognised Music Nation Powerhouse
    YEAR IN REVIEW Australian music industry based on a strong THE YEAR IN REVIEW – vision to become a globally recognised music nation powerhouse. MESSAGE FROM CHIEF Financial Overview A record year for APRA AMCOS with group EXECUTIVE DEAN ORMSTON revenue breaking the $400m milestone, Brett Cottle AM retired as CEO in June 2018 after 28 rising by 8.7% from $386.7m to $420.2m, an years presiding over a period of extraordinary increase of $33.5m on the back of continued change and growth for the organisation. Over strong growth in consumer demand for music the past 6 months there have been many delivered digitally. ‘farewell’ events and acknowledgements For APRA, gross collections rose by 10.4% to of Brett’s contribution to APRA AMCOS, $323.3m (excluding AMCOS management the wider rights management and fees), while AMCOS revenue rose 3.3% to music industries, both locally and $95.9m. internationally. I would like to add my Operating expenses across the group – personal further thanks to Brett for comprising APRA pro forma costs, system being a leader unparalleled, and a development related costs, costs of generous mentor. administering AMCOS and stand-alone This year’s report highlights the AMCOS costs – were $57.1m, up 13.1% strength of the organisation’s from last year’s figure of $50.5m. economic performance, breadth of Despite the increased system member service, and commitment to development spend APRA Net improving our industry’s ecosystem. Distributable Revenue – the amount Critical to the health of our sector is available for distribution to a direct conversation and relationship members and affiliated societies – with Federal and State governments.
    [Show full text]
  • EVENTS OUR CONSULTATION PROCESS with YOU Onemusic Australia Is Consulting with You and Would Like to Hear What You Think
    EVENTS OUR CONSULTATION PROCESS WITH YOU OneMusic Australia is consulting with you and would like to hear what you think. This paper sets out the proposed rates to apply to events and performances where music is used. It covers APRA’s existing rates for National and other Event Promoters and PPCA’s Tariffs B, E2, E4 and X and simplifies those separate licences and schemes by providing a combined approach. It is relevant for concert promoters, event and festival promoters and producers, performance spaces and those running ad hoc events from time to time that are not covered under other OneMusic licence schemes. Some OneMusic licences, such as Places of Interest, Councils, Hotels also cover events, subject to certain thresholds, and for events outside those limits, the rates here apply. You can access information about those licences here. We realise it can be confusing to have to pay music licence fees to two organisations. Starting from mid-2019, OneMusic Australia will be the one organisation for all your music licensing needs, and you’ll be able to pay for your licence online. It’s not easy to build a single licence scheme that suits everyone, so we’ve come up with a proposal which builds on previous discussions with industry and where possible applies the same metrics to the one event. We’d like you to take a look and provide us with your feedback. Live Performance Australia have prepared a summary for their members (June 2019) and you can read this here. This paper covers the proposal for licensing for the following types of events: ■■ Promoted music events and festivals (including free events); ■■ General entertainment events where music is used but not the primary focus (including free events).
    [Show full text]
  • Fitness Centre and Fitness & Wellbeing Instructors
    FITNESS CENTRE AND FITNESS & WELLBEING INSTRUCTORS SIGN UP Licensing Enquiries 1300 162 162 [email protected] onemusic.com.au September 2021 NOW The Fitness Centre and Fitness and Wellbeing Instructors scheme is designed for our music used in Your licence explained a facility or when instructing clients in fitness, toning or strengthening. All Inclusive OR Background music Music in Classes You may have our music or music videos playing in go to page 2 for Location go to page 3 your gym, yoga studio, barre or Pilates studio, or go to page 3 perhaps you have an outdoor training session, boot camp or cross fit business or indoor aqua fitness For examples of how this licence works in practice, see page 7. sessions where our music is played. Your Zumba or For a guide on how to complete your Licence Agreement go to circuit class is likely to have our workout music, just as onemusic.com.au/easy our motivational music is often played in martial arts and boxing training. Where that music is controlled Draw on the power of music by OneMusic Australia, this scheme will cover all of these uses. 10% reduced feeling of exertion when music is listened to versus when no music playing. (1) Why do I need a OneMusic licence? During yoga and pilates participants prefer Shows your organisation respects and supports a moderate level of complexity in music (a songwriters and recording artists, our cultural simple rhythm and a lack of orchestration). (2) creators. Aerobics participants prefer simple (not 1 (2) Permission. If you use music that is complex) music.
    [Show full text]
  • Annual Transparency Report APRA Consolidated for the Year Ended 30 June 2020
    Annual Transparency Report APRA Consolidated for the year ended 30 June 2020 (i) (a) Total rights revenue per type of use $ Broadcasting 101,990,983 Digital 111,264,438 General Revenue 71,790,308 Educational 4,086,381 International 53,026,334 342,158,444 (c) Income on investment of rights revenue $ Interest 928,952 All interest income is distributed to rights holders. (ii) (a) Total operating costs $ Total expenses 65,944,523 (b) Total remuneration to board directors $ Directors Fees 631,115 (c) Cost to revenue ratio* 15.48% *For the purposes of calculating this ratio AMCOS is treated as a business unit within APRA and the costs of that business unit are offset by that manangement fee received. 1 (iii) (a) Total revenue attributed to rights holders $ Total revenue 343,280,631 Total expenses* 53,154,083 Net revenue owing to rights holders 290,126,548 *Total expenses include the value of management fee revenue netted off against the expenses incurred in earning that management fee revenue. It is the net surplus or deficit which is attributed to rights holders. (b) Total amount paid to rights holders $ Australian Writers 74,201,102 Australian Publishers 105,382,770 New Zealand Writers 8,478,483 New Zealand Publishers 160,176 Other rights holders 14,594,925 International affiliates 101,182,646 Total amount paid to rights holders 304,000,103 (c) Total amount attributed but not distributed $ Unidentified amounts and amounts in dispute 18,332,940 Amounts awaiting distribution 138,698,725 Total amount not distributed 157,031,666 2 (iv) Information about undistributed funds, including: (a) reasons why funds remain undistributed At the end of any financial year APRA will always have undistributed royalties.
    [Show full text]
  • Panel Transcription Date
    The State of Industry Report - Panel Transcription Date: 03/08/17 Moderator: Lars Brandle, Music Journalist, Billboard Magazine Speakers: Brett Cottle, CEO, APRA AMCOS; Dan Rosen, Chief Executive Officer; ARIA; Kim Tran, Director, Policy & Programs, Live Performance Australia LB: I would like to ask Brett, CEO of APRA AMCOS to open this and share with us some numbers. BC: Thanks Lars, I think in keeping with the timing we have I will be fairly brief in my comments. The perspective I am going to give you is of course that of the collecting society APRA AMCOS, which looks after the interests of songwriters and publishers, only a part of the ecosystem, but an important part. It is difficult to draw any conclusion other than that the industry is back in boom times, from the kinds of figures that I will refer to today. There are roughly three points I would like to make. The first is that digital revenue for songwriters and publishers is almost now at the level of revenue from the broadcast sector. In the year to 30 June 2017, we will be reporting across APRA and AMCOS digital revenue of $110 million. Included in digital are subscription and ad driven streaming services, digital downloads, video on demand and user generated content. The combined figure across those businesses this year will be $110 million. The figure from broadcasting this year, including all radio and television, across Australia and NZ will be $125 million. By way of indicating how we have travelled, two years ago digital revenue was $48 million and broadcast revenue was $122 million.
    [Show full text]
  • Winslow Environmental Organization
    SUBMISSION A MUSIC NATION – PRIORITIES FOR AUSTRALIA’S MUSIC INDUSTRY APRA AMCOS – WHO WE ARE APRA AMCOS has been representing Australian songwriters, composers and publishers since 1926. With 100,000 members across Australia and New Zealand, our membership includes the very best and brightest of established and emerging musical talent at home and around the globe. We administer rights on their behalf, supporting songwriters, composers and publishers in an industry that is a flagship of Australian culture and creativity, generating billions of dollars each year for the Australian economy. We are affiliated with similar collective management organisations around the world. So when Australian and New Zealand songs and compositions are played overseas, Australian and New Zealand writers get paid. We also help music customers in Australia and New Zealand access music from the rest of the world. We work in partnership with government to support the development and career paths within Australian music through the cornerstones of live music, digital distribution, local venues, education and the global stage. APRA AMCOS has successfully initiated and lead industry and government co- investment strategies, developing highly regarded capacity building programs, most notably; SongMakers, Live Music Office, SongHubs and SOUNDS AUSTRALIA. We advocate on behalf of music creators' rights and the Australasian music industry locally, nationally and internationally. Our Ambassador Program includes over 150 influential music creators representing the breadth and diversity of our membership, music publishers, and other industry stakeholders such as music venue operators and music managers. Collectively we promote the importance of music creators’ rights and our role in administering those rights to industry, all levels of government, the media and the wider community.
    [Show full text]
  • Annual Report 2017
    CONTENTS President’s Report 4 Treasurer’s Report 6 CEO’s Report 8 QMusic Program Report 10 QMusic Management Committee 16 QMusic Staff 19 Income & Expenditure Statement 22 Assets & Liabilities Statement 23 Statement of Cash Flows 24 3/374 Brunswick Street PO Box 878 Fortitude Valley QLD 4006 Notes to the Financial Statements 25 Australia T (07) 3257 0013 Statement by Members of the Committee 30 E [email protected] www.qmusic.com.au Independent Audit Report 31 Queensland Music Network Incorporated ABN 14 083 014 720 Disclaimer to the Detailed Income & Expenditure Statement 33 Promoting the artistic value, cultural worth and commercial potential of Queensland music. Detailed Income and Expenditure Statement 34 QMusic - The Queensland Music Network - is a registered non-profit association dedicated to developing, servicing and representing the Queensland music industry. QMusic acknowledges that Aboriginal and Torres Strait Islanders are the custodians of the land and recognise the disadvantage caused by colonisation and dispossession. Aboriginal and Torres Strait Islander music plays a critical role in the broader Australian music context and Australian culture overall. QMusic is committed to working with community to build opportunities for Aboriginal and Torres Strait Islander artists and music businesses. QMusic acknowledges the support and funding of the Queensland Government, Australia Council for the Arts and APRA AMCOS 2017 ANNUAL REPORT 3 PRESIDENT’S REPORT Like the wider music industry, QMusic has known its share of challenging times in more than two decades in existence. Those times have helped to place the positive moments into perspective. And 2017 will go down as a strong year for QMusic.
    [Show full text]
  • Australia Council Support for Music
    Inquiry into the Australian music industry Submission 98 AUSTRALIA COUNCIL FOR THE ARTS SUBMISSION TO THE STANDING COMMITTEE ON COMMUNICATIONS AND THE ARTS INQUIRY INTO THE AUSTRALIAN MUSIC INDUSTRY OCTOBER 2018 1 Inquiry into the Australian music industry Submission 98 Committee Secretary Standing Committee on Communications and the Arts PO Box 6021 Parliament House Canberra, ACT 2600 Dear Secretary, The Australia Council for the Arts welcomes the opportunity to provide this submission to the Inquiry into the Australian Music Industry. As the Australian Government’s principal arts funding and advisory body, the Council invests in artistic excellence through support for all facets of the creative process; increases awareness about the value of the arts; and is committed to the arts being more accessible to all Australians. Conducting, commissioning and publishing research into, and about, the arts is a key function under the Australia Council Act 2013.1 This submission outlines the role Council plays in supporting and promoting the diverse, excellent and energetic contemporary music culture. We would welcome the opportunity to discuss this further with you. Yours sincerely, Tony Grybowski Chief Executive Officer Australia Council for the Arts 1 Australia Council Act 2013 s.9 (Aust) 2 Inquiry into the Australian music industry Submission 98 Contents Executive summary 4 AUSTRALIA COUNCIL SUPPORT FOR MUSIC 7 FACTORS CONTRIBUTING TO GROWTH AND SUSTAINABILITY 9 Music practice 9 Disruption and resilience 11 Live music 14 Festivals 15 National
    [Show full text]