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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 -
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. -
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 -
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. -
Marketing Plan
ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A. -
Sony Group Statement on U.K. Modern Slavery Act
Sony Group Statement on U.K. Modern Slavery Act We make this Statement pursuant to Section 54 of the United Kingdom (UK) Modern Slavery Act 2015 (the “Act”) to identify actions we have taken on a Sony Group-wide and global basis during the financial year ending March 31, 2020 to prevent slavery and human trafficking from occurring in our business operations and supply chains. Not all Sony Group1 companies (“Sony”) are subject to the Act. However, all Sony companies throughout the world are required to comply with applicable Sony policies, so we discuss the actions we have taken group-wide at a global level in this Statement. This Statement covers all Sony companies operating in the United Kingdom who are required by the Act to publish a statement, including but not limited to, Sony Europe B.V., Sony Interactive Entertainment Europe Ltd., Sony Music Entertainment UK Ltd., Columbia Pictures Corporation Limited, Sony DADC Europe Limited and other subsidiaries of Sony Corporation (collectively referred to as “Sony reporting entities”, “we” or “us”). The list of Sony reporting entities covered by this Statement as of March 31, 2020 is available in the Annex. Our Human Rights Commitment Slavery and human trafficking can occur in many forms, such as forced labor, child labor, domestic servitude, sex trafficking, and related forms of workplace abuse. In this Statement, we use the terms “slavery and human trafficking” to include all forms of slavery, servitude and forced or compulsory labor, and human trafficking. Sony is committed to maintaining and improving systems and processes to help identify and address risks of human rights violations related to our business operations and supply chains throughout the world. -
Unpopular Culture and Explore Its Critical Possibilities and Ramifications from a Large Variety of Perspectives
15 mm front 153 mm 8 mm 19,9 mm 8 mm front 153 mm 15 mm 15 mm TELEVISUAL CULTURE TELEVISUAL CULTURE This collection includes eighteen essays that introduce the concept of Lüthe and Pöhlmann (eds) unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey, from Christian rock and country to clack cetal, from Steven Seagal to Genesis (Breyer) P-Orridge, from K-pop to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies. Martin Lüthe is an associate professor in North American Cultural Studies at the John F. Kennedy-Institute at Freie Universität Berlin. Unpopular Culture Sascha Pöhlmann is an associate professor in American Literary History at Ludwig-Maximilians-Universität Munich. 240 mm Martin Lüthe and Sascha Pöhlmann (eds) Unpopular Culture ISBN: 978-90-8964-966-9 AUP.nl 9 789089 649669 15 mm Unpopular Culture Televisual Culture The ‘televisual’ names a media culture generally in which television’s multiple dimensions have shaped and continue to alter the coordinates through which we understand, theorize, intervene, and challenge contemporary media culture. -
2019 Sony Group Statement on UK Modern Slavery
Sony Group Statement on U.K. Modern Slavery Act We make this Statement pursuant to Section 54 of the United Kingdom (UK) Modern Slavery Act 2015 (the “Act”) to identify actions we have taken on a Sony Group-wide basis during the financial year ending March 31, 2019 to prevent slavery and human trafficking from occurring in our business operations and supply chains. Although not all Sony Group1 companies are subject to the Act, we have undertaken a Group-wide approach to our human rights commitment, and make this Statement on behalf of all Sony Group companies (sometimes collectively referred to as “Sony”). As such, this Statement covers all Sony Group companies operating in the United Kingdom, who are required by the Act to publish a statement, including but not limited to Sony Europe B.V., Sony Interactive Entertainment Europe Ltd., Sony Music Entertainment UK Ltd., Columbia Pictures Corporation Limited, Sony DADC Europe Limited and other subsidiaries of Sony Corporation. The list of Sony Group companies covered by this Statement as of March 31, 2019 is available in the Annex. Our Human Rights Commitment Slavery and human trafficking can occur in many forms, such as forced labor, child labor, domestic servitude, sex trafficking, and related forms of workplace abuse. In this Statement, we use the terms “slavery and human trafficking” to include all forms of slavery, servitude and forced or compulsory labor, and human trafficking. Sony is committed to maintaining and improving systems and processes to help ensure that there are no human rights violations related to our business operations or supply chains. -
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). -
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. -
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. -
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.