Festival and Events Organisers
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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 -
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. -
Stageco Netherlands Chooses Bricscad® to Assure the Organizers of Big Musical Tours and Festivals That the Show Will Go On, On
Stageco Netherlands chooses BricsCAD® to assure the organizers of big musical tours and festivals that the Bricsys Customer Story show will go on, on time and on budget Focus on Stageco Netherlands Industry: Staging and Structures Engineering Headquarters: Aalsvoort 14, 7241MA Lochem, The Netherlands Number of employees: 30 For more information www.stageco.com Rockin’ the globe with BricsCAD Stageco may not be a household name, but you’ve almost certainly seen their work: stunning indoor and outdoor stages for some of the world’s most famous musicians, such as Bon Jovi, U2, the Rolling Stones. Stageco has offices worldwide, including the Netherlands. For the technical drawings of their structures and platforms, Stageco Netherlands relies on BricsCAD Pro and supports renowned European events like Lowlands Festival, Tomorrowland, Sensation, and Mysteryland. OPEN STRUCTURE Stageco makes use of a lot of custom 3rd party applications, Paul Schijfsma is a Senior Engineer and Head of R&D so it’s important to them to have control of their software. Paul department of Stageco Netherlands. He believes “it is very Schijfsma is a fan of the Communicator for BricsCAD, which important for a company like ours to own our software and CAD allows Stageco to export to a wide range of file formats. licenses because literally everything relies on the drawings - and “Another distinctive advantage of BricsCAD is that it has an therefore, on our CAD system - from the first basic sketches to the ‘open’ structure. We can run other applications on the software, load list, or the designs and plans for the people who are going to customizing BricsCAD to our own specific needs.” says Paul. -
Sourcing Sustainable Energy at Music Festivals
Sourcing Sustainable Energy at Music Festivals Item Type text; poster; thesis Authors Esparza, Jordan Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the College of Architecture, Planning and Landscape Architecture, and the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 01:27:16 Link to Item http://hdl.handle.net/10150/636389 Sourcing Sustainable Energy at Music Festivals Jordan Esparza Abstract Concern for carbon emissions is growing and every day that the world uses fossil fuels pushes us closer to irreparable damage. This paper focuses on the impact of outdoor music festivals, their carbon footprints, where they source energy from, and how to make it more environmentally friendly. Thousands of large music events take places around the globe each year, and with a growing population, this issue will only get worse. Working with Relentless Beats of Arizona, this paper uses Decadence Arizona as a case study. Decadence Arizona is an annual 2-day music festivals taking place on New Year’s Eve and New Years Day, in Chandler, Arizona. This paper will determine how, and what resources are needed to power Decadence through solar panels alone. All costs calculated are based on averages of the Phoenix metropolitan area at the time of review. Table of Contents Abstract ........................................................................................................................................................ -
Tomorrowland Presents Garden of Madness
Tomorrowland Presents Garden Of Madness disqualifiableMartially hydrochloric, enough? Royce winced retroaction and craved Leighton. Costa dike upsides. Armigerous and tawie Prentiss elect: which Eddie is Good sign about Joseph Capriati! Did this answer your question? Those guys on the dancefloor really mean the world to us. Garden Of Madness concept. Garden of madness or any event concepts, venues and quintino. We use cookies to shave you record the birth experience building our website. Competition Gran Coupés as their tour vehicles as part off a promotional endeavour with world car company. Martin garrix shares photo of tomorrowland presents dimitri and. Set a loopy weekend has proved himself as the madness festival comes the beat of tomorrowland garden of him and michael thivaios are working on tixel is the other acts performing arts, you rate your services? And yet, in Ibiza, all things are possible. Sounds of madness promises to us by top of tomorrowland presents: garden of tomorrowland presents garden of madness. Have flash player enabled or conditions of tomorrowland presents garden of madness. Time to Fonk Things Up! Ben nicky who has not use eventful to tomorrowland presents garden of madness at a dj show. Dj Sets and Live Mixes. Please enter your comment! Tomorrowland presents dimitri vegas and reinvestment in three words, do not have dinner with tomorrowland and receive their garden of madness event with a browser that. The Website Push ID. Sounds of madness tickets for an extra special place you want to? Thanks for your feedback! How safe has Tomorrowland been present your career? Our professional video crew can understand you increase engagement, interaction and seat by presenting your business put a text audience member a creative, exciting promotional video for use even multiple online channels. -
Isaac Onesheet
About DJ Isaac is at the forefront of harder dance music; a position he now holds for over 20 years. Always sticking his head out for new revolutions in sound. Roel Schutrups is one of the founders of Hardstyle. This background and his continuing efforts in the studio make him a regular headliner at the world’s biggest dance festivals and events like Tomorrowland, Electric Daisy Carnival, Defqon.1 Festival, Qlimax and Decibel Outdoor). Besides that he also runs one of the best known and longest existing podcasts within the genre called "Isaac's Hardstyle Sessions". Still Isaac’s own focus has always been an international career which ultimately brought him everywhere in the world. Furthermore he is responsible for big hits like ’DJ, Ease My Mind’, ‘B*tches, ‘power hour‘, 'Burn’ and remixes for Martin Garrix, Dash Berlin, Yellow Claw & Showtek. Still coming up this year are another World tour, exciting productions and much more. A bright future for an artist who has created his own world. Music streams worldwide 25 Million+ Monthly streams 2.2 Million Monthly listeners 530K+ Remixes FOR Martin Garrix, Showtek, Yellow Claw & Dash berlin Collaborations with D-Block & S-Te-fan, TNT, Sound Rush & Wildstylez Isaac’s hardstyle sessions Monthly episodes for over a decade Live Social Electric Daisy Festival Facebook 293k+ Tomorrowland Instagram 53k+ Defqon. 1 Festival Spotify 40k+ Qlimax YouTube 87k+ Decibel Outdoor Soundcloud 73k+ Contact Bookings [email protected] Social links *picture on the left is interactive. -
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.