Editor’s Wrap It’s telling that th<strong>is</strong> year’s <strong>APRA</strong> Song of the Year and Breakthrough Awards were won by M<strong>is</strong>sy Higgins. Sebastian Chase, one of the interviewees in our feature article th<strong>is</strong> <strong>is</strong>sue (You can go your own way, page 8), would recogn<strong>is</strong>e her story immediately as one of evolving partnerships. Chase says all art<strong>is</strong>ts start out independent – as M<strong>is</strong>sy did till her d<strong>is</strong>covery on Triple J Unearthed. He says the art<strong>is</strong>t’s journey <strong>is</strong> one from self-belief to success. Independent or major doesn’t matter: what matters <strong>is</strong> the partnerships you make to promote your music along the way. WHAT’S MY SCENE GOING GLOBAL: THE CAT EMPIRE AUSTRALIAN MUSIC ONLINE, IN TIME 2 4 6 8 10 12 14 16 18 20 22 Contents>> >> Photo by: Bridget Elliot M<strong>is</strong>sy’s story fits th<strong>is</strong> plotline perfectly. From independent roots her partnerships evolved: a partnership with John Watson of John Watson Management, a record deal with local label Eleven (backed by the significant d<strong>is</strong>tribution engine of Virgin/EMI), to the 2002 international deal with Warner Bros Records. The route from self-belief to success <strong>is</strong> one that interests a lot of members – more than 500 people attended <strong>APRA</strong>’s recent Indie Roadshow in Melbourne. You can read what our panel<strong>is</strong>ts said on page 8. Also th<strong>is</strong> <strong>is</strong>sue, a beautiful tribute on Paul Hester, of Crowded House, by Deborah Conway (page 10); a wrap up of the <strong>APRA</strong> Awards, courtesy of the inimitable Jonathan Biggins (page 12); an update on <strong>APRA</strong>’s background music licence negotiations (page 15) and Scot Morr<strong>is</strong>’s prom<strong>is</strong>ed follow up on the FTA (page 13) – th<strong>is</strong> time focusing on new performer’s rights and moral rights. And all the other usual suspects. Enjoy – we’ll be back again in December. Kirti Jacobs PDA POSTCARDS YOU CAN GO YOUR OWN WAY REMEMBERING PAUL HESTER 2005 <strong>APRA</strong> MUSIC AWARDS WINNERS THE VIEW FROM THE STAGE To The Point <strong>APRA</strong> honoured the songwriters and publ<strong>is</strong>hers whose works were most performed over the previous year at the recent <strong>APRA</strong> Music Awards held in Sydney. We extend our sincere congratulations to all the winners and nominees and thanks to the organ<strong>is</strong>ers and participants for delivering a most memorable evening. We now look forward to honouring our classical composers at the Classical Music Awards to be presented by <strong>APRA</strong> and the Australian Music Centre on 18 July at the Sydney Conservatorium. While the art and business of music continues unabated, there’s a new development on the legal front which poses serious questions for copyright owners. The Government has called for subm<strong>is</strong>sions on the proposed inclusion of US-style Fair Use exemptions in the Australian Copyright Act. Their d<strong>is</strong>cussion paper ra<strong>is</strong>es the possibility of the introduction of a royalty-based licence for private copying. It’s timely to be looking at th<strong>is</strong> <strong>is</strong>sue because with the proliferation of devices such as iPods and Foxtel’s PVR in the market, private copying of music <strong>is</strong> as widespread as it ever was. Everyone agrees that it’s ridiculous to have a law which makes an infringer out of anyone who copies into another device a piece of music they’ve already bought as a CD, for example. What’s uncertain <strong>is</strong> to what extent that private copying should be free or renumerated. <strong>APRA</strong>’s view <strong>is</strong> that there <strong>is</strong> a clear and compelling moral case for access to be accompanied by compensation. A broad-based licence for private copying <strong>is</strong> a workable solution that will benefit the composer and the music user. In the months ahead, <strong>APRA</strong> will be strongly arguing th<strong>is</strong> case on behalf of its songwriter, composer and publ<strong>is</strong>her members. Brett Cottle, CEO <strong>APRA</strong> INTERNATIONAL NOTES MEMBER NEWS BACKGROUND MUSIC: WHAT’S IT WORTH PUBLISHER NEWS SCREENRAP MUSIC TO WATCH PICTURES BY SONGWRITERS SPEAK WHAT’S HAPPENING <strong>APRA</strong> NZ FOCUS ON TAS MUSIC >> Photo by: Bridget Elliot JIM KEAYS >> The Mustangs >> Masters Apprentices >> Cotton Keays & Morr<strong>is</strong> What are you currently working on? I’m working with Russell Morr<strong>is</strong> on material for our live shows with Cotton Keays & Morr<strong>is</strong>. One song, Hard To Take It Easy, <strong>is</strong> already included in the set. I have also just written Melbourne Victory’s new soccer anthem. I’m also about to fin<strong>is</strong>h the last couple of songs for my new album, Caledonia. What are you l<strong>is</strong>tening to? Some new stuff, some old stuff and stuff in between. The new stuff includes Audioslave, Evermore and Powderfinger. The old stuff includes Little Feat, Dylan, Muddy Waters and Elmore James. The stuff in between includes Willie De Ville, and Paul Rodgers (Tribute to Muddy Waters). What <strong>is</strong> your favourite book about music? Ian McFarlane’s Encyclopedia of Australian Rock & Pop. John Lennon’s Spaniard in the Works, and In H<strong>is</strong> Own Write and my own, H<strong>is</strong> Master’s Voice. What <strong>is</strong> your favourite film that <strong>is</strong> about music or <strong>is</strong> it a musical? Spinal Tap. Everything in it has happened to me at some time. Hard Day’s Night & Leningrad Cowboys Do America. What <strong>is</strong> your favourite music website? Don’t do websites except for music memorabilia on ebay. What <strong>is</strong> the best live gig you’ve ever been to, whether you were on the bill or not? Lots! Beatles at Centennial Hall, Adelaide 1964; Stones at Centennial Hall, Adelaide 1965; Free at Lyceum, London 1970; Pink Floyd at Hyde Park, London 1970; Jethro Tull at Festival Hall, Melbourne 1972. Plus honorable mentions to Bob Dylan, Who, Easybeats, Tom Waites, Yes, Yardbirds & Warren Zevon. What <strong>is</strong> the quickest song you have written and which song took the longest to write? Turn Up Your Radio. It only took about 20 minutes. The slowest was Th<strong>is</strong> Song which took about three years. Who have been your greatest musical influences? Early rock & roll performers Little Richard, Jerry Lee Lew<strong>is</strong>, Eddie Cochrane, Fats Domino, Buddy Holly, Elv<strong>is</strong>, etc. Then Beatles, Stones, Dylan... the usual suspects. What do you enjoy the most about co-writing? It takes the song away from your singular point of view and transports it to places you <strong>never</strong> think of on your own. Who would you most like to collaborate with and why? I’m fundamentally a lyric<strong>is</strong>t so I’d prefer to collaborate with a guitar player or keyboard player – someone like Pete Townsend or Eric Clapton. But Nic Cester from Jet would be cool, too. What’s your favourite song (that you’ve written)? Because I Love You – it has become an evergreen / classic. Waiting For The Big One – many people comment that it sounds familiar despite having <strong>never</strong> heard it before; and Love Is, an overlooked Masters song from the Panama Red album. What song written by another writer do you w<strong>is</strong>h you had written, and why? Like A Rolling Stone – spoke to a generation of kids trying to find their way in a whole new post-war world. What lyric can’t you get out of your head? “Do what you wanna do, be what you wanna be, yea”. What <strong>is</strong> the best career advice you were ever given? Being a rock musician was definitely not seen as a career so there was nobody before me to get advice from!! But my advice to others <strong>is</strong> to WRITE SONGS. The songwriter supports the entire music industry despite what record companies, managers, agents, etc. may tell you. If you were not a songwriter, what might you have ended up doing? Probably a painter. I still love painting and try to do it whe<strong>never</strong> I get a break from gigging. If it wasn’t for music and art, I’d probably be in jail!! A P R A P J U L Y 2 0 0 5 > > 0 2