Pasifika - APRA

CREATIVE NZ • TE UPOKO O TE IKA 100% NZ MUSIC • MP3 • SOUNZ • THE RAP
New Zealand Newsletter Australasian Performing Right Association Ltd June 2000
www.apra.com.au
Photos: Tash Hopkins
Pasifika
Silver Scroll Award and Sounz Contemporary Award entry forms inside

F R O M T H E
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Mike Chunn
Director of NZ
Operations
The Music Industry Commission (MIC) is a reality.
Helen Clark announced funding for the MIC at
Parliament Buildings in May as part of an overall
funding boost for the arts, culture and heritage
in New Zealand. The MIC will receive a one-off
payment of $2,000,000 which is to be drawn
down at a maximum $400,000 a year. That’s
a resolute amount of money in my books
although there are murmurings here and there
that it should be more. Whatever - the
contemporary popular music industry has been
acknowledged by a NZ government for the first
time and it is up to the MIC to conceive and
enact projects that will (to quote Helen Clark)
“support the development of NZ contemporary
popular music. It’s objectives will include lifting
the earnings in the industry; and creating greater
exposure and awareness of NZ popular music.”
The Ministry of Culture and Heritage after
consultation with the industry has appointed
a Board of Trustees for the MIC which will run
as a non-profit charitable trust. The board consists
in the main of representatives from major industry
bodies as well as artists and practitioners.
They are:
Mahinarangi Tocker Artist
Dave Dobbyn Artist
Suzanne Wilson b-Net Radio
Liam Ryan Tertiary Education
Arthur Baysting
Board Member
Here Come the Noise Police
Is live music an endangered species?
Increasingly over the past couple of years
we’ve had performers lamenting the closure
of venues and the harassment of others due
to noise control regulations.
One of the difficulties in Auckland is the
recent influx of city apartment dwellers, a
Maria Carter Curriculum Consultant/-
Music teacher
Derek Lowe Radio Broadcasters Assn
Murray Cammick Independent Rec. Labels
Arthur Baysting APRA
Mike Chunn AMCOS
Terence O’Neill-Joyce Record Industry Assn
Barbara Cuttance Rampage media/pepsismokefreerockquest
The MIC will meet for an inaugural meeting
shortly, from which initial projects will be
formulated. At the same time, it is envisaged
applications will be called for the position of
Executive Director of the MIC. The MIC office will
be based in Auckland.
The one certainty of the MIC is that it will
work on projects in conjunction with other
industry organisations such as NZ On Air and
Creative NZ so that the optimum results are
achieved. As well, the industry will be targeted
as a whole. The projects will encompass the
needs of musicians and writers at all levels.
If any APRA members have any input into
how the MIC can benefit the NZ music industry
then feel free to write c/o APRA with your
comments. Address the envelope to MIC, Box
6315, Auckland.
In August 1998 I wrote in APrap – “Our industry
is still a flapping bird with its feet on the ground.
When will it fly?”
Helen Clark and her team have just plunged
a syringe of amphetamines in it’s backside.
Watch this space.
Cheers
MIKE CHUNN
few of whom regard the sound of live music
as a reason to pick up the phone and call
in the noise police. One can’t help but wonder
- if it wasn’t for the inner-city vibe - why
they moved there in the first place. Of course
it only takes one call and a club or pub
manager is faced with the choice of turning
down the volume or closing down the venue.
Last month Mike Chunn and I had a
preliminary meeting with Auckland’s mayor
Christine Fletcher and her officials voicing
our concerns. The Mayor emphasised that
she’s keen to establish guidelines so that
everyone’s best interests are served. She
understands the importance of a vibrant
music scene for Auckland and wants to
Australasian Performing Right Association Ltd
An association of composers, authors and publishers of music in
Australia, New Zealand and the South Pacific: Having affiliations with
similarly constituted organisations throughout the world.
Writer Directors:
Arthur Baysting (New Zealand), Jenny Morris, Richard Meale LLB AM
MBE, Michael Perjanik (Chairman), Greg Macainsh, Eric McCusker
Publisher Directors:
Robert Aird Rondor Music (Australia) Pty Ltd, John Anderson EMI Songs
Australia Pty Ltd, Saville Abramowitz Warner/Chappell Music Australia
Pty Ltd, Fifa Riccobono J Albert and Son, Peter Hebbes (Deputy Chairman)
Universal Music Pty Ltd, Ian James Mushroom Music Pty Ltd
Chief Executive:
Brett Cottle LLB
Director of Administration:
Nicholas Hampton FCA
Director of Finance:
Alexander Jeliba FASA Senior
Director of NZ Operations:
Mike Chunn
New Zealand - NZ Head Office
92 Parnell Road, PO Box 6315, Auckland, New Zealand
Telephone: (64) 9 379 0638, Facsimile: (64) 9 379 3205
Membership Email: vhughes@apra.com.au
Internet: http://www.apra.com.au
Wellington
Room 409, Harbour City Centre, Lambton Quay.
PO Box 5528, Wellington
Telephone: (64) 4 499 9151, Facsimile: (64) 4 471 0765
Email: ptogi@apra.co.nz
Registered Office:
Sydney - 6 -12 Atchison Street, St Leonards, NSW Australia,
Telephone: (02) 9935 7900, Facsimile: (02) 9935 7999,
Email: apra@apra.com.au
New Zealand APRAP
Auckland, PO Box 6315,
Telephone: (09) 379 0638, Facsimile: (09) 379 3205
Editor:
Debbie Little Email:dlittle@apra.com.au
Finance:
Ray Crofts
Legal:
Anthony Healey
Art Director:
Peter Urlich
Design:
Lorenzo Design
Contributors:
Scilla Askew, Arthur Baysting, Scot Morris, Harris Evans, Peter Urlich,
Anthony Healey, Martin Lodge, Ted Clarke, Petrina Togi
The opinions expressed in articles in APRAP are not necessarily those
held by the APRA Board.
APRAP is produced by The Baton Brigade
© 2000 Australasian Performing Right Association Ltd.
Printed on recycled paper
develop a good environment for music and
live performance.
The Mayor has agreed to convene a
meeting next month with APRA, council
officials and security firm representatives
about live venues, noise control, poster
advertising for bands and associated issues.
It would be useful for us, before the
meeting, to have a good idea of what happens
in other parts of the country. If performers
have had good or bad experiences in their
relations with councils and their regulations
we’d like to hear about it.
Please get in touch via fax (09) 379 3205
or e-mail: baysting@voyager.co.nz

Memberstuff
Your Membership Managers
Auckland:
Vanessa Hughes
92 Parnell Road, Auckland
PO Box 6315, Auckland
Ph: (09) 379-0638
Ph: (09) 300-9573
Set Lists vs Live Performance Returns
Set lists are required for promoted concerts as well as some events
and festivals. These shows are licensed separately and the fees
collected by APRA are paid out to those works specifically performed.
Do not list these performances on your live performance return.
You must submit a copy of your Set List to the promoter or APRA.
The Set List must include the full title and composers of each song
performed. If a member is unsure as to whether or not a set list is
required then please contact us. All other local public performances
should be submitted on your Live Performance Return. These forms
are available from the APRA office.
Don’t forget to advise us
when you change address -
no address no cheque!!
Withholding Tax
Payments received from performances overseas usually have
withholding tax deducted from them in the country from which they
were paid. This tax deduction is a tax credit and can be claimed
in your annual tax return. This credit is deductible from your actual
tax to pay. The amounts deducted are listed on your royalty statements
and are identifiable from their inclusion in brackets.
GST
If you are GST registered please send us an invoice for the GST
portion of your royalties.
Attn: Film & Television Composers
Index Cards should accompany Cue Sheets for each audio visual
production for which you have composed music.
Wellington:
Petrina Togi
Room 409, Harbour City Tower
29 Brandon Street, Wellington
PO Box 5528, Wellington
Ph: (04) 499-9151
Dates to Remember
Live Performance Returns (Local/School/Classical)
Submit by 31st July every year
Jingle Forms
Submit by 31st July every year
Overseas Live Performance Returns
No deadline but send in A.S.A.P.
ASCAP Program
14th October
Ambient Music Reporting Form
Submit by end of Feb every year
Register your works online (WebWorks):
You will need your 9 digit CAE number, your 6 digit APRA account
number and your surname. You can then check your list of works,
register new works, contact APRA etc. New registrations are received
by our head office in Sydney and then processed within two to
three days.
Submit your live performances online:
From June 2000 on, you should be able to complete and submit
your LPR’s online, via our website. We’ve been refining and improving
our existing online LPR service to make it easier and more efficient
for you. As in 1999, the cut-off date for electronic LPR’s will be 31
August 2000.
Want to know if your band name already exists?
For band name registration, legal advice and music industry news
check out the Internet Band Register on www.bandreg.com
www.apra.com.au
3

4
New Weightings for Commercials and Promos
In 1999, the Commercial Music Producers Association (CMPA) asked the
APRA Board to increase the weightings it applies to music used in broadcast
commercials and promos.
The rates were reviewed in 1992, however there was no change
to the applicable rate (5% of featured music for TV jingles). The rates
were also previously reviewed in 1989 when the rate for TV jingles
was increased from 2.4% to 5% (of featured music). That rate has stood
ever since.
The Board’s Distribution Committee reviewed the CMPA submissions
and, in September 1999, resolved that with effect from Distribution 37A
(that is, from 1 January 2000):
a) music contained in television station ID’s and programme promos will
receive 15% (increased from 10%) of a full credit for each second of duration.
Once all weightings are taken into account the effective payment is 49%
of an unweighted value.
b) music contained in television advertisements and public service
announcements will receive 7.5% (up from 5%) of a full credit for each
second of duration. Again, once all weightings are taken into account the
effective payment is 24% of an unweighted value.
The Board has also decided to make no change to the weightings for
advertisements, promos and IDs broadcast on radio.
Three more CDs in our SOUNZfine series will be winging their way to
international and NZ broadcasters over the next couple of months. The
CDs which include works by 18 NZ composers and many of our leading
musicians will help to get more NZ music broadcast internationally. The
music ranges from major works by Douglas Lilburn, Eve de Castro-Robinson
and John Psathas to electroacoustic music by David Downes and
performances on Maori instruments by Richard Nunns and Hirini Melbourne.
One of the CDs has a specific focus which particularly demonstrates the
diversity of influences in NZ music.
SOUNZfine is part of a wider strategy to increase international sales
of NZ music. The announcement of new arts funding has given us hope
that other projects to further this will now become reality. While continuing
some of our current education and publication projects we will also be
In the last APRAP I wrote about problems in protecting traditional
waiata and on discussions we have been having with Maori on
cultural protection.
In Australia there has been increasing exploitation of traditional
music, for example by sampling of music held in ethno-musicological
collections. A major report has just been completed on indigenous
cultural and intellectual property rights.
The report, Our Culture, Our Future, is funded by ATSIC - the
Aboriginal and Torres Strait Islander Commission - and is based on
extensive research by Terri Janke, principal consultant with legal
In making its decision the Board stated that forming distribution rules
of this kind is not a mathematical task. There is no “correct” or “incorrect”
conclusion; there are only judgements that must be exercised fairly,
reasonably and in good faith.
Sally Howland
Music-use weighting factors from 1 January 2000
Type of music use Weighting
Television (Vocal or instrumental)
Featured 100%
Opening and closing (theme) 75%
Background 50%
Programme promotions, station IDs 15%
Advertisements and public service announcements 7.5%
Radio (Vocal or instrumental)
Featured 100%
Advertisements, station IDs, public service
announcements, stings, bridges, programme promos
and news themes 50%
Making Waves - NZ Music for Broadcast
Protecting Indigenous Culture
working towards new initiatives which we hope will see composer exchanges
with other countries and more residencies in NZ.
Exciting times!
PS If you have heard a work you think deserves to be entered in the
SOUNZ Contemporary Award, then please let us know -
sounz@actrix.gen.nz
Scilla Askew
The Centre for New Zealand Music (trading as SOUNZ) - promoting
New Zealand composers and their music.
PO Box 10042, Level 1 39 Cambridge Terrace, Wellington
Tel: 04 801 8602, Fax: 04 801 8604
Email: sounz@actrix.gen.nz Website: www.sounz.org.nz
firm Michael Frankel & Co.
Ms Janke met with indigenous people, government departments,
industry organisations and other interested individuals concerned
about the appropriation of traditional culture through commercialism,
new technology and globalisation.
The report contains several recommendations which the music,
recording, film and entertainment industry is encouraged to read
and adopt in their day-to-day practice. The full report can be accessed
on the net at www.icip.lawnet.com.au
A.B.

Photo: Petrina Togi
APRA Says Farewell to Donna White
Left to Right: Claire Rodgers & Jennie
Allen from RIANZ, Donna White
Donna White has been the APRA NZ
branch finance manager since the office
moved to Auckland in July 1992. Donna
was in the accounts division of Sony
Music when I was working there in what
is now known as Malcolm Black’s job.
Donna was impressive in her
communication and persuasion skills
and I knew she was the one for APRA. Over a beer at the Cavalier pub I
asked her to join me as my first team member. She had no idea how
APRA worked or what her job entailed but then neither did I so we just
got into our trunks and dived into the deep end of the pool.
Over the next eight years, Donna played a crucial role in establishing
The union of the www and MP3 technology has opened the gate
for music writers… a gateway to a virtual market place never before
imagined.
But is it the nirvana that it seems? Is your music safe out there
in digital-world? What is MP3? Is it the answer? And most importantly
who will hear my music and will I get anything in return?
MP3 is a digital recording format that delivers near CD-quality
sound and unlimited copies without degradation. The software to
convert music into MP3 files is freely available on the net to the
extent that “MP3” is the most searched phrase on the Internet. Once
converted an MP3 file can be sent to friends, played back on a
computer, a portable MP3 player or converted to CD.
MP3 web sites have emerged offering unsigned artists, often free
of charge, the facility to include their work on the web site. Browsers
to the site then chose to listen to or download individual songs or
albums. Any charge to the consumer that downloads the song should
be split between the artist and the site owner.
In the US MP3.com was launched as a simple directory and news
service for the nascent MP3 community in the States. It evolved
into the world’s largest download site (boasting more than 500,000
users a day) where unsigned bands can promote and distribute their
music online.
APRA member Alan Brown and his band Mistake Theory featured
on MP3.com’s web site front-page artist spotlight last year resulting
in some 843 downloads of their song “Shallow” in just a 2 day
period.
In New Zealand, MP3.net.nz want to deliver NZ’s first
comprehensive NZ music website, acting as a virtual interactive
broadcaster and music distributor. As entertainment lawyer and
founder of MP3.net.nz Chris Hoquard says, “the quality of NZ music
has never been better. Many bands don’t have an option – if people
want to search out NZ music then we can be a focal point for this
interest and represent a wider spectrum than ever.”
“On our site the artist retains control and ownership of their
music. They simply licence it to us non-exclusively to distribute
and sell it. Anyone is able to enter the site, read about or listen to
an artist’s work and then download or purchase the direct mail CD.
We share the proceeds 50/50. It’s just another tool in the artists
promotional arsenal.”
the accounting and IT systems that are so crucial
to the running of the NZ branch. Her extraordinary
talent for assimilating billions of bytes of
information; her ability to focus on problems
in microseconds and tackle them with aplomb;
her pride in her work and her fantastic results
all made her a valuable, wonderful person
to work with.
And now Donna is on Norfolk Island fishing and shooting the breeze.
Farewell, Donna. Many thanks.
Mike Chunn
APRA would like to take this opportunity to welcome Ray Crofts to the
Finance Management chair with Isobel Martinez as Finance Assistant.
MP3: Music for the Masses or Just Masses of Music?
There’s no doubting the benefit of the web to music writers. The
market it creates is huge. So if an audience can find its way through
the plethora of music sites crowding the web, what are the risks?
Ian James, Managing Director of Mushroom Music and long time
director of APRA, agrees that the technology is amazing, but advises
caution.
“My main concerns are the renegade nature of the Net and the
way that MP3 technology plays right into these hands. There’s a
web mindset that the net is free, copyable, and downloadable. No
one should have to pay for it…”
Currently APRA is negotiating licence arrangements for the
transmission and reproduction of musical works (on behalf of
AMCOS) with most of the major websites in NZ that have a music
presence.
Before you make your music available to a website think about:
• The agreement – does it ask for your entire copyright? If you
already have a record deal or publishing agreement or if you are
a member of APRA you may have already assigned certain rights
to a record company, publisher or APRA. If that’s the case then
you can’t assign all your rights to someone else.
• The security – check that the site has secure mechanisms in place
to either prevent downloads or to prevent further copies being
made of the original download. Or just provide a 30 second clip
of your work – not the whole song. If copying doesn’t bother
you, don’t worry.
• The money – is there an agreement to pay you for the number
of downloads made of your work? Will it make money for you
or just create advertising revenue for the site? Is it possible for
the site to track downloads of your music and does the site have
an APRA or AMCOS licence to copy and transmit your work to
the public?
• The exposure – what will the site do to promote your work? Is
it easy to find? The net is still considered most effective when
used in conjunction with traditional promotional materials i.e.
playing live, recording demos, and record companies all still
form part of the equation.
• The out clause – how easy is it to change your mind and get off
the site? Will it cost you? Will leaving effect your rights?
Anthony Healey
5

Photo: Mike Clinton
William Dart
6
Noodles & Spaghetti William Dart by Martin Lodge
Irreverent polymath? Workaholic? Grey eminence of NZ music? William
Dart is all that and more. Music commentator, editor, reviewer, composer,
performer, broadcaster, panelist/consultant, collector, traveller, full-time
university lecturer — William doesn’t sleep much.
He has a breadth and depth of knowledge of NZ music that is unparalleled.
He moves readily between different fields of music, revealing a genuine
appreciation and love for an amazing variety of genres, styles and eras.
On his desk as I talk with him there are CDs of Norwegian jazz singer Karin
Krog, an album of various orchestrations of Schubert Lieder and the new
Wendy Carlos collection of Bach electronica. ‘On the question of moving
between popular and classical areas of music, I just think of noodles and
spaghetti’ he says. ‘Essentially the same but
called different names according to the cultural
background of the user. The Chinese call it
noodles, the Italians call it spaghetti — it’s the
same food. And so with music, but we might
shift on to a four lane highway, to change
metaphors. Classical, rock, jazz . . . the musicians
are all travelling towards the same “destination”
which is communicating with the listener.
They just approach the goal from different
perspectives’.
Talk to William about music for more than
five minutes and he’ll start effusing about the
art of songwriting: ‘The three-minute song
form is a fantastically demanding discipline,
from Dowland to Chris Knox. And Chris’s new
album, Beat, has some of the sharpest songwriting that I’ve heard this
year. And it’s an album with a sting in its tail, which many critics rather
overlooked. After Chris has sung the final number listed — the nearest he’ll
ever get to a Tudor lutesong — you have to hang in for a few minutes
silence and then there’s another stack of songs’.
The nearest William comes to ranting is when you turn the subject to
critics. William made his name writing concert reviews for the Listener and
talking about rock and other contemporary music on the then Concert
Programme back in the late 70s, ‘with the Sex Pistols snuggling up to
Mozart and Haydn, so to speak’. He’s always felt a special engagement
with the music happening in this country. ‘Quota or no quota, I’ve always
ensured that New Horizons has at least a 30-40% local quota and it’s
been great creating interview-based documentaries with musicians like
Mahinarangi Tocker, Dave Dobbyn, Chris Knox, Matthew Bannister and
Bryce Galloway. Last year, when Concert FM commissioned me to make
a two-hour documentary about New Zealand music in the 90s, I rifled
back amongst my old interview tapes and found some illuminating gems.’
‘Perhaps I’m a little naive, but I cannot imagine why we don’t support
New Zealand music more fervently. Firstly, it’s being created by artists and
musicians who are trying to survive in this country; secondly, it’s music
that talks to us about issues that directly concern us in New Zealand. We
made an awful gaffe years ago by playing Sibelius at Expo 70. And did
we really have to celebrate our America’s Cup victory with Australian music?’
William feels strongly that critics are not doing what they should do.
‘I simply can’t imagine why a critic would want to live in this country and
to ignore its culture. How could one local reviewer write up two concerts
by the Auckland Philharmonia, enthuse about Mahler and Bruckner, and
totally ignore a 20-minute work by a New Zealand composer which was
on one of the programmes?’ And composers are chided too: ‘The Composers
Association needs far more visibility. It was great to see Gillian Whitehead,
Helen Bowater and Brigid Ursula Bisley up at the APRA Music Awards last
year alongside the Neil Finns and the like, but there needs to be a noisy
and well orchestrated campaign against anything that overlooks the New
Zealand composer’. Some years ago, incensed by Kiri Te Kanawa’s dismissal
of our music as ‘a few little Maori songs’, William gathered together six
pages of rebuffs from local composers and musicians and published them
in Music in New Zealand.
It was William’s involvement with Art New Zealand which he has edited
since 1982 that inspired him to produce Music in New Zealand, a quality
journal that is not afraid to have Greg Malcolm and Moana rubbing shoulders
with Douglas Lilburn and the Kiwi Concert Party. ‘I could see what Art New
Zealand was doing in terms of affirming that our country had all this
marvellous art and realised that the same thing needed to be done for
our music’.
William is just back from Sydney, where he was a keynote speaker at
the recent Australian and New Zealand Musicological Society Conference,
sharing the platform with Americans Susan McClary and Rob Walser, author
of the 1993 classic Running with the Devil: Power, Gender and Madness
in Heavy Metal Music. William’s paper, entitled “Our Song: Towards a Kiwi
Vernacular” pointed out that ‘there is a real connection, spiritual and musical
between Douglas Lilburn’s Sings Harry and the songs of Dave Dobbyn.
Now all we need is for someone to get Dave to record it and give it the
immediacy that it cries out for’.
William hit his half century a couple of years ago, but vividly remembers
his childhood in Whakatane: ‘I was an eccentric child and a little on the
solitary side, making a life out of music, roller-skating and quite manic
collecting. The skates are now under the bed, although William still
occasionally dons his Waikato rep blazer; and these days the collecting
from Santa Claus songs and classic peanut butter glasses (William’s
collection has starred in Peter Wells’ film Little Queen and inspired Peter
Peryer to take one of his most celebrated images of the 80s) to CDs,
especially in those $5 bins ‘where you make the most extraordinary finds’.
‘Whakatane was wild macho territory in the early 60s, with compulsory
military drill for boys, and a small-town seediness halfway between In the
Heat of the Night and Harper Valley. And it was there I had a heaven-sent
piano teacher, Violet Rucroft, who had come back from the Royal Academy
and set up a music studio in town with pianos and equipment ranging
from Varese 78s to some Dolmetsch virginals. Ru was a Forest and Bird
fanatic, dividing her passion between weeding the Urewera and grilling
us on our Mozart sonatas. The pukekos and many Whakatane youngsters
reaped the benefit’.
William ended up in the classrooms of Edgewater College in the 70s
and 80s, and his students were fed a diet of VarËse and Van Dyke Parks,
his students staging suites from Marat-Sade for chamber music concerts
and enlivening prizegivings with Walton’s FaÁade and discreet raunch
from Kurt Weill. During his final two years at the chalkface, he toured with
two shows he had — Songs to the Judges, co-written with Mervyn Thompson,
and Give Us a Kiss, a gay review, put together with John Curry, both toured
by the Students Arts Council.
Since 1998 William has been lecturing full-time in the Music Department
at the University of Waikato where he enjoys sharing his expertise in New
Zealand music, and popular music studies from the history of rock through
to Broadway musicals. He is also in demand as a graduate supervisor of
theses, yet manages to keep making the radio shows, edit the magazines,
perform…. Sleep is still a rare luxury.

International Update
APRA is closely monitoring and is an active participant in some
international e-commerce projects. Here’s a snapshot of the major
projects and what they hope to deliver.
International Music Joint Venture (IMJV)
In November 1999, ASCAP (the American Society of Composers,
Authors and Performers), BUMA–STEMRA (the Dutch society) and
MCPS-PRS (UK), formed the IMJV Company to develop a shared
service centre – a one stop data shop – to help them increase their
efficiency and reduce costs.
The societies plan to offer IMJV’s shared back office services to
music societies across the world. IMJV will not have creator or
publisher members, it will simply use one system to process
international music transactions, such as:
• keeping track of new works and agreements
• tracking performances on television
• tracking radio and public performances
• handling mechanical rights sales transactions.
Societies who want to use IMJV’s system will pay a set transaction
fee. Although information will be shared, each society will still
maintain its separate cultural integrity and independence.
IMJV is now consulting with collecting societies and music publishers
around the world to assess its business model, its impact on publishers,
resolve business issues and review its proposed copyright management
system design. The plan is to start building the system in 2000 and
to go live in the second half of 2001.
APRA/AMCOS is monitoring IMJV’s progress and its impact on
the established CISAC Common Information System (see below). We
will consider becoming involved with IMJV at a later stage, if it will
prove to be beneficial.
Common Information System (CIS)
CIS is a collaboration by CISAC societies to develop standard systems
for copyright documentation and royalty exchange between copyright
societies around the world. Some documentation tools have already
been developed are or being developed. CIS is now clarifying key
legal, financial and technical points relating to these subsystems.
Senior executives at APRA have participated in the development
of some of these subsystems.
Protonet
Protonet is an web-based search engine that will allow other societies
to make online queries about foreign repertoire and also help to
resolve conflicts. It is being developed by BMI and ASCAP (USA),
SACEM (France), SGAE (Spain) and SIAE (Italy) with CISAC as an
observer. Both the IMJV and CIS plan to use Protonet as an additional
tool to achieve their aims.
is an international collaborative project, supported by
the European Commission, that is developing standards and service
specifications to support e-commerce in intellectual property in all
sectors of the content industry, not just music. It is working with
the various other e-commerce metadata models, such as SDMI, CIS
and DOI. The Copyright Agency Ltd (CAL) and APRA will be cohosting
the first meeting to be held in this part of the
world later this year.
DAWN 2001
The Japanese society, JASRAC, is developing DAWN 2001 (“Designs
for the Administration of Works using New technology”). DAWN
will provide systems for tracking internet and satellite transmissions
by using tools such as electronic watermarks, electronic billing
systems, copy protection, secure distribution channels, electronic
authentication and electronic usage reports. JASRAC hopes that
DAWN will monitor and prevent illegal usage, ensure fast and
accurate distribution for all music uses and be compatible with CIS
and other international projects. JASRAC is currently establishing
a consortium with internet content distributors and neighbouring
rights owners (broadcasters, record companies and film and multimedia
producers).
Horizon Project
BMI (US) is promoting its system enhancements which allow online
works registration for songwriters, composers and publishers,
electronic payment and royalty information, electronic cue sheet
registration by film and TV producers, watermarking digital reporting
by broadcasters, online licence fee payment and a new release of
their web search engine named BMIMusicBot.
SongFile is the initiative of the Harry Fox Agency (HFA) and the
National Music Publishers Association in the US. It is a website
which aggregates several sites, including a large database of song
lyrics, a site listing retailers of sheet music, recordings, instruments
and concert information. It also has links directly to HFA, ASCAP
and BMI for licensing information and to other significant music
sites on the web. The site is reputed to have more than a million
visitors a month. You can visit SongFile at www.songfile.com.
by Scot Morris, APRA Director of International Relations
“We will begin with Schubert’s ‘Unfinished’ Symphony, and that will
be followed by Beethoven’s ‘Unwanted Sexual’ Overture.”
New Yorker
7

8
Graeme Nesbitt 1950 – 2000
Graeme Nesbitt, 1970
Graeme Nesbitt; promoter, performer and
professional party animal, died on May 17
of cancer at his home in Malaysia. He was
50 years old.
A seminal figure in NZ rock history, Nesbitt
was our first “hippie entrepreneur” as a
promoter and manager. Sporting a Che
Guevara look – beard and beret – Nesbitt
formed the Victoria University Rock-Blues
Society and embarked on a series of concerts
Mike Farrell 1948 – 2000
People play catch with the term legend. One dictionary definition reads
“An unverifiable story handed down by tradition from earlier times and
popularly accepted as historical”. Much of Mike’s life is verifiable but a
whole lot will be etched in the mythology of the bars, clubs, recording
studios and roadside tearooms of New Zealand. By any definition we lost
a true kiwi music legend in the early hours of Saturday 20th of May. Today
we laid Michael John Farrell to rest.
Many people throughout New Zealand have been privileged to hear
Mike’s recorded work and maybe were blessed enough to experience
him live and shining brightly. Many more though know the name Mike
Farrell from word of mouth. Tales tall and occasionally true regarding this
enigmatic genius flew thick and fast. Everyone had their own take on
this fiery Irish son, and Mike kinda liked it that way.
Educated at Mana College in Titahi Bay, Wellington Mike came under the
early influence of music teacher, Louis Fox (father of big band leader
Rodger Fox). Louis actively encouraged the young guitar player’s interest
in music styles that extended beyond the di-rigeur pap of the mid 60’s.
Mike was soon performing with his first band Fantasy and other local
acts on the Wellington scene.
Through bands such as The Bitter End, Rebirth and Tom Thumb Mike’s
reputation spread. He became the first bona fide guitar hero in Wellington
during the late 1960’s. Friend and fellow musician Neil Hannan recalls
a piece of graffiti at the time that ran “If Clapton is God then Mike Farrell
is number 2”. He went on to play with seminal NZ bands like Rough
justice with Rick Bryant and Country Flyers with Blues icon Midge Marsden,
the beginning of a long and productive personal and professional association
with Midge. Their artistic culmination was the classic Burning Rain. Mike
composed that song as well as Little Ray, Elle and co wrote Struck Down
by the Blues and Nadine. Mike received a gold record for his contribution
to the album and a Silver Scroll nomination for Burning Rain.
Mike’s guitar expertise found him gracing the stage with such diverse
performers as Stevie ray Vaughan, Champion Jack Dupree, Jimmy Witherspoon,
Wilco Johnson (Dr Feelgood), Jerry Harrison (Talking Heads) and Glen
Shorrock (Little River Band) and on the local front the Backdoor Blues
Band and NZ Blues Brothers Revue. He was often spoken of as a great
blues guitarist, and he was. He was a fine electric and acoustic blues
player and vocalist. However he was just so much more. He could turn
his attention to many genres of music and still shine. His own music
reflected the diverse influences that had shaped him. Country, rock, pop
urban and country blues were filtered through that wonderful Celtic soul
described in Dix’s “Stranded in Paradise” as the capital’s “first true
psychedelic shows”. He then organised the first university Students
Arts Festivals and went on to manage bands like Mammal, The Red
Hot Peppers, the Wide-Mouth Frogs and Dragon. As a promoter he
toured folkie Phil Ochs and ska act Little Millie Small and as a performer
he reached the finals of Studio One in the trio Country Deal.
Nesbitt’s wife, mother and sister were at his bedside when he
moved on.
A.B.
of his. Most of all he was a songwriter with a rare gift for melody, harmony
and lyrical honesty.
On a personal note Mike and I had just had just finished an album
called Wildlife, created over the last two years in between paying the bills
and painting the house. I am so sad that he never got to see its release.
His work both as a producer and musician was outstanding and I had
high hopes that it would see Mike get the widespread recognition I have
always felt was his due. With Mike’s passing I now realise that it’s the
songs that we wrote together that were such a gift, such a revelation. He
gave a musical voice to my words and feelings that may never have seen
the light of day. He unlocked doors for me and taught me the importance
of finding truth in your work. Mike was a passionate man and a passionate
artist and he knew that you must make the things you do in life count,
there was no second best. He did the same for so many people over the
years and that is another part of his legacy.
Mike said in a Herald interview ten years ago “you know I think after
all these years, I’m still getting better - just getting closer all the time”. He
was right. He did get better, he did get closer, but he had come to know
that it wasn’t about a destination, it was a journey. It’s a journey that will
continue because he gave so much.
At the funeral service, Midge Marsden spoke of that fearsome Farrelli
talent, “he was the musical Godfather”, that look that he gave on stage
(in some quarters known as the hairy eyeball) when things didn’t go right
or someone hit a bum note. If that look could make hell freeze over, the
smile you got when you did something cool would make it melt again.
A piece by Jean Cocteau filtered through the spirit of Django Rheinhart
and long time friend Mathurin Molgat captured the essence of Mike and
was used as part of the service:
Michael Gone: He was one of the humble, the proud.
He lived as we dream of living in contentment and harmony.
His peace was contagious and infectious, his spirit vagabond.
His rhythms were his, like a tigers stripes,
Like his laugh, the look in his eye. They make him
invisible to a world that wanted mediocrity, conformity.
Liam Ryan summed it up for all when he addressed Mike’s kids and
said you can say your dad was a legend, a true legend. He turned to
Mike and encapsulated his life with the words “That’s a take”, everybody
in the house understood.
Ted Clarke

“Show Me the Money”
Jeremy Winter is the Arts Advisor for the
Music Arts Development program at Creative
New Zealand. CNZ have done very well from
the Coalition Government’s cultural funding
announcement. In response to queries from
our membership, we put Jeremy on the spot.
Q: How does Creative New Zealand run?
Jeremy Winter
CNZ runs two funding rounds per year with
closing dates late February and late July. The decision-making
process takes three months from the closing date and we don’t fund
retrospectively (ie no grants for money already spent on a project).
Funding Guides and application forms are available from our three
offices in Auckland, Wellington and Christchurch and arts advisers
are happy to answer any questions after a prospective applicant
has firstly read the guide.
Q: How did Creative New Zealand come into being and what is its
brief regarding New Zealand music?
Creative New Zealand is the trading name for “The Arts Council of
NZ, Toi Aotearoa” which came into being with legislation passed
in 1994. In a number of ways this Act gives CNZ a wider brief than
the former QEII Arts Council with responsibility “to encourage,
promote and support the arts for the benefit of all New Zealanders”.
One of the major ways we do this is through giving grants but there
is also an important communication and advocacy role. At present
most of our funding comes from the Lottery Grants Board ( $20M
per year) with under $3M through Vote:Culture. Grant decisions
are made after seeking advice from external specialist assessors,
by two arts boards and a committee for Pacific Island arts. A
significant proportion of the funds available supports established
infrastructure arts organisations such as theatre companies and
regional orchestras. About $5,000,000 per year is currently available
for “Project funding” to individual artists and to project-based arts
companies. The money has to cover all art forms (theatre, visual
arts, literature, moving image, dance, music etc.).
Q: Who are the Musicians you’re trying to reach?
Project funding for musicians is targeted at the range of genres
(classical, experimental, jazz, pop/hiphop etc.) with a priority on
creating, developing and presenting original innovative and high
quality NZ music. Within each funding round we try to support
experienced and emerging artists. Given limited funds one of the
main questions the Board asks is “will a grant at this time make a
difference to whether or not this worthwhile project goes ahead
(will it be a catalyst?) and what is the future potential (is it strategic?)”.
Evidence of some previous success/commitment and the support
of other parties (e.g. record company investment to cover CD
manufacturing and distribution) gives confidence. An upper limit
for a debut CD would be about $5,000 but, depending on the project
and the artists, many grants are much larger than this.
Q: What specific programmes do you offer?
We have three funding programmes that are the same for all art
forms: New Work (which is generally where a musician would apply
to write and/or record previously unreleased material), Creative
and Professional Development (might involve research,
workshops/courses, mentoring) and Presentation, Promotion and
Audience Development (such as concert tours in NZ and overseas).
There are no set amounts put aside for each art form or each type
of application - everything competes with everything else, but to
give you a general idea $150,000 - $200,000 has gone to
contemporary pop/rock/jazz projects each year.
Q: How many people apply and how many people are successful?
In the current round we have 200 applications for music project
funding. About 50 are likely to be successful. The fact that we run
out of money is heartbreaking - because as a rule another 50
applications would deserve support each time.
Q: What makes a good application?
One of the main funding criteria is artistic excellence and quality
support material including CD/cassette demos is essential (We are
now asking for 5 copies so that all applicants get a fair hearing
from all the assessors), Also required is a clear description of what
the project will achieve and how it will happen; how it fits the
priorities for the CNZ Funding Programme; and a reasonably detailed
budget showing all anticipated costs (including musicians fees -
often overlooked) and anticipated sources of income. Often the
budgeted deficit (say after a year’s CD sales) will equal the size of
grant requested. It is a not helpful to inflate the ‘ask’ with extravagant
studio hire rates. Considering the huge number of applications to
read and analyse we don’t want to have to wade through an
autobiography and a thesis on the ‘philosophy of art’ in order to
find the ‘guts’ of the application buried towards the end.
Q: What is the situation with Te Waka Toi?
Te Waka Toi is one of the two boards under the umbrella of the
Arts Council. It currently has about $1,000,000 per annum to allocate
and a number of its grants are supporting music and performing
arts activities. In general TWT limits itself to projects “by Maori
(artists) and for Maori (audiences)” so a lot of artists who
identify themselves as Tangata Whenua apply to the Arts Board
instead, because they are creating and presenting for the general
public. There is also the Pacific Islands Arts Committee which
operates along similar lines and allocates about $300,000 in grants
per annum.
Thanks very much Jeremy, you have been very helpful.
A.B.
Contact: www.creativenz.govt.nz
“A lot of you used to know us as the L.A. Punksters.
Then for a while we were the Rappin’ Rapmen. Now
we call ourselves Los Latinos del Momento.”
New Yorker
9

10
THE RAP
At last, I hear you say, some decent reading!
Life can’t be all facts and figures so here’s
another delicious slice of industry tittle tattle,
straight from the horse’s mouth.
New Zealand’s favourite covers band are in
shock. Yes, the mercurial HitList (formerly
known as The Peter Stuyvesant Hit List before
smoking became passe,) was hit with a
bombshell recently when ’Wild’ Chris
Anderton decided to pursue a new career
in catering, leaving the rest of the band
without a frontman and sex symbol. Bass
player, Sweet Baby Dave will, evidently, be
reluctantly filling the gap.
Looking across the Tasman, there are obvious
comparisons being made between our lovely
lasses, TrueBliss and their Australian
counterparts, Bardot. The Rap held an
informal poll at the weekly after-works
drinkypoos and the result was an
overwhelming vote of confidence for our
local girls who it seems, have stronger voices
and more personality even if only on a
quarter of the budget. Meanwhile, it’s
rumoured that the “Blisster’s” Carly, “Not
Those Shoes” Binding, has been furiously
penning possible songs for a new album.
Speaking of good looking girls, the rather
disturbing photograph above was stuck
under the door of The Rap offices the other
day by unknown persons who obviously
have more than a passing acquaintance
with the two ‘individuals’ pictured. An
accompanying note informed us that unless
the subjects of the photo made a decent
donation to the SPCA immediately, then their
identities would be revealed to the media,
promising careers in Music Publishing would
be seriously threatened and certain wives
and girlfriends would be “off to Mother’s”
until some serious explanations had been
provided. Always able to see the lighter side
of things, The Rap has decided to invite our
readers to offer their ideas on the dynamic
duo’s identity and the first correct entry will
receive an autographed copy of Poison. Clue;
they ain’t The Proclaimers!
Latest musical export doing well is that
charming and well-mannered APRA member,
Mark de Clive-Lowe whose sparkling new
album, 6 Degrees, gained a European release
via the Universal Jazz label and is receiving
glowing reviews in London. One scribe from
a trendy magazine called DJ Mag was moved
to write, “..if this is the future, give me more.”
All sounds rather flash! Let’s hope the young
man doesn’t forget his roots.
And as the nation’s commercial radio
networks kafiddle and kafuddle over support
of indigenous music, Auckland’s 95 bFM
can wallow in the unbridled success of their
recent New Zealand Music week. How
extraordinarily good it was to hear all those
fine tunes and know that they all came from
our own backyard. The live-to-air’s were
particularly inspiring and The Rap would like
to take it’s hat off to bFM but we’re having
a bit of a bad hair day, Luv.
On the subject of hair, songsmith and chef,
Greg Johnson threw a very stylish soiree in
honour of the release of his latest CD, The
Sea Breeze Motel. No ordinary old club or
bar for Mr Johnson’s launch but only the
fabulous Concert Chamber of the Town Hall,
dolled up and decked out to enhance the
theme, including jugs and jugs of the
infamous cocktail of the same name. Well
talk about kiddies in a toy shop – the gathered
horde of media-types and ‘celebs’ didn’t have
to be asked twice to start drinking and before
too long, we were all getting along like a
house on fire as Greg and band delivered a
bevy of catchy new tunes, hummable enough
to grace commercial radio. The whole evening
All the goss’ you could wish for. If you’ve got
anything tasty that we all should know about,
drop us a line here at; therap@hotmail.co.nz
P.S No porn thankyou!!!!!
was a tremendous success… what The Rap
can remember of it!
And not be outdone in the catering department,
the Helen Young Studio at Radio New Zealand
recently staged performances by Mt. Eden’s
Tim Finn, Herne Bay’s Greg Johnson, the still
undiscovered Christine White, Wellington’s
Breathe and they really went overboard with
the accompanying finger food. The highlights
were the mini hash-browns with sour cream
and salmon and the Szechwan prawn rolls
with coriander. Absolutely scrumptious and it
has to be said that The Rap made a bit of a
pig of itself. The music wasn’t bad either.
The Battle of the Bands has run in Auckland
for a few years under the promotional
expertise of APRA member Andrew
Featherstone (with sponsorship from DB
Export). Andrew looks to be expanding and
taking the successful series further out to
the rest of the country. We wish him all
the best in bringing out the best new talent.
APRA sponsors the Battle Of The Bands
songwriting award. “Big Ups” to Paul Barrett
(right), pictured here with Andrew Featherstone,
who won the award for the 1999 series.
Well au revoir everyone and until next time,
remember that if someone annoys you, it
takes 42 muscles to frown…. BUT it only takes
8 muscles to reach out and bitch-slap that
cretin upside the head.

Board profile: Peter Hebbes on people and publishing
Peter Hebbes, managing director of Universal
Music Publishing Group, places a high value
on family and relationships.
It’s why he thinks music publishing will
survive the Internet: “True publishers work
constantly with the writers to develop their
creative abilities. Online sites are simply electronic
shop fronts. There’s a lot more to publishing
Peter Hebbes
than making music available to people”.
It’s there again when he talks about the song writing process: “A song
is like a child, if you nurture it, it grows and develops”.
It’s in the obvious pride he feels when he reels off the successes of
current writers such as Paul Begaud (who recently had two huge hits with
Terri Clark in the States and another with Honeyz in the UK), Andrew
Klippel (previously a writer/performer with Euphoria and AK Soul and now
a top writer/producer with his own company), and Pieter Bourke who
with Lisa Gerrard, co-wrote the music for the Michael Mann film, The
Insider, starring Russell Crowe and Al Pacino, and earned themselves a
Golden Globe nomination for their efforts.
And it’s definitely there in the many charitable causes he’s personally
involved in: Founder Member of The Golden Stave; Nordoff-Robbins Music
Therapy – an organisation that uses music to reach autistic children;
Australian Inter-Country Adoption Society for Children; and Variety Club
of which he has just been appointed President.
Hebbes joined the APRA Board in the early 80s and has been deputy
chairman of the Board for the last five years. “Belonging to the APRA Board
is quite prestigious,” he says. “I’ve learnt a lot from dealing with issues
that affect all members of APRA. I admire creative people and I’m proud
to look after their interests.”
Finding new talent
Universal, like other publishing companies, receives music demos each
day from hopeful songwriters. While most of these get a hearing, a good
demo is no guarantee that a band will be noticed – “there’s a hell of a
lot of luck in it” says Hebbes. “It’s quite often who you know that gets
The Radio Broadcasters Association (RBA) conference was held in
May in Christchurch and again APRA was asked along with NZ On
Air and RIANZ to put together a showcase of NZ music. The last
two RBA conferences featured showcases and the response to each
one points to growing interest from radio programmers, station
managers etc to checking out up and coming talent.
This year the line-up featured – betchadupa, Fur Patrol, Breathe,
Eye TV and Greg Johnson who all had current product out.
Around 200 radio personnel came along, sat in the comfort of
the Christchurch Town Hall function room, sampled the liquor and
food courtesy of RCS who provide scheduling software to the radio
industry and responded positively to the music. Each act put on a
great show and their performances were interspersed with video
clips of newly released records compiled by Daniel Wrightson of
Juice TV. Special mention must go to Debbie Little of our office
and local Chch boy Lindon Puffin who co-managed the whole
operation and made it the success it was.
your foot in the door in the first instance”.
The process becomes that much easier if you’ve already got a name
for yourself. Hebbes says Australian record and publishing companies
normally sign acts that are already performing live and attracting an
audience. Which is why he is disappointed by the number of live music
venues closing or becoming gambling establishments. “It’s very sad.
I’m told that it’s cheaper to put in poker machines than it is to support
live music”.
Being found
“Band comps such as Breeding Ground and university comps are a great
way for undiscovered bands to perform before industry professionals and
punters alike and to receive opinions and advice from those whose job
it is to discover the next big thing. JJJ Unearthed has been the biggest
and most successful forum for discovering new music, and many bands
have gone on to achieve big time success, notably Grinspoon (signed
to Universal Records) who were the first band to be unearthed.
“The big music festivals are great assets to the industry and a fantastic
way to gain exposure on a large scale for local artists who have a relatively
small profile, in particular Homebake with it’s all-Australian line up. These
should be encouraged and supported,” says Hebbes.
What’s ahead
Hebbes believes our music industry will be more electronically driven in
future. But, he argues, “first and foremost it’s the song that counts. How
it’s delivered to the consumer and by what means are just the variables
in this particular equation”.
“Life changes, the one constant is copyright; ownership of the song.
The writer, publisher and APRA will be there at the end, protecting the
writers’ lifeblood, their music. There are a lot of challenges ahead of us
and the Internet, in my opinion, is a new business, not just a new format.
Therefore we must develop new ways of doing business. We cannot use
20th century systems to solve 21st century problems – we have to get
creative in our approach to business and, at Universal, I believe we have
the right team in place to pull it all together.”
2000 NZ Music Showcase Goes South
Clockwise from the top: Sean Sturm, Eye TV,
Liam Finn & Joe Bramley, betchadupa, Julia Deans, Fur Patrol,
Richard Small, Andrew Talby & Pet Johnson, Breathe.
Photos: Paul Kennedy
11

We would like to applaud
and celebrate the work
of Erana Hemmingsen,
and her support of the
local music industry. As
programme director at Te
Upoko O Te Ika, in
Wellington, Erana made
the decision to broadcast
100% New Zealand and
Maori music, a year ago.
Yes you read right – 100%! – making Te Upoko O Te Ika the
only station in the country to do so. Erana took the initiative
to support artists and composers, by playing and promoting
their music. Erana is herself a singer/songwriter with Tuahine,
and an APRA member. The team at the station includes other
APRA members and prominent local musicians – such as
Kevin Hodges, Maaka McGregor, Mina Ripia, Brent Thompson,
Geoffrey Karena, Jackie Hemmingsen and others. The
involvement by musicians at the station brought home the
realities of the local music industry, and the struggles that
many have faced. Te Upoko broadcasts from the top of the
New Plymouth to Kaikoura on 1161AM, and at last count it
had 52,000 listeners. The station has been broadcasting for
From left: Raewyn Haenga, Brian Hemmingson
and Erana Hemmingson.
12
Erana Hemmingsen - 100% New Zealand Music Te Upoko O Te Ika
12 years and broadcasts predominantly in the Maori Language.
With so much good local music around, Erana can’t
understand why other stations think playing 10 percent is so
hard. She says there is so much variety of local music available,
covering all genres. “We didn’t want to sound like an overseas
radio station and we want to promote the people that live
here. The other thing is Wellington musicians were so supportive
when we started. They provided a lot of music to keep our
station running”. Erana is also supportive of the NZ On Air
Hit Discs, and a quota system for those who haven’t taken
the initiative yet to support New Zealand music. She believes
that quota should not be less than 50%. Erana also feels that
a lot of overseas music does not promote positive issues for
our youth, which was another reason they decided to go 100%
New Zealand and Maori music.
Erana welcomes new music for the station, and if anyone
would like their works to be broadcast, please send your music,
singles or albums to: Te Upoko O Te Ika Maori Radio, PO Box
2705, Wellington. Please also include a contact phone number,
and some information.
Congratulations Erana – we hope other programme directors
will follow your lead!
Petrina Togi
Cruising the Apra Tent at Pasifika
How often do you get to hear top songwriters talking about their
craft? And delivering acoustic versions of their songs in a friendly
outdoor atmosphere? Well, not often enough. But if you’re around
for Auckland’s annual Pasifika festival, the APRA workshop tent
delivers just that. This year’s event was up with the best; the fans
flocked in and the rain stayed away.
Highlights were Tim Finn (relaxed performances of old and
new songs and great anecdotes about the strange circumstances
surrounding the birth of some familiar standards), Jordan Luck
(showing why he is one of our premier exponents of the pop
ballad) and “da bomb” King Kapisi, who showed the young, mainly
Polynesian audience the ins and outs of hip hop.
Other stars were Greg Johnson, Gaille Tinihau, the Strong
Islanders, stand-up comic Eteuaiete, Ramon, Lindah E and Ermahn.
The sound and stage management was handled expertly (as
always) by Tony McMaster and the students from the Music and
Audio Institute of New Zealand. A huge thanks to all, especially
Donna Hoha who lent us her wonderful MC skills for the day.
This year’s Pasifika festival was the biggest yet and some people
are seriously saying it should become a two or three day event.
Backstage at the APRA Tent, Tim Finn with King Kapisi and DJ Raw
pictured with young up & coming hiphoppers
APRAP JUNE 2000 APRA, 92 Parnell Road, Auckland, PO Box 6315, Auckland. Phone 0-9-379 0638, Fax 0-9-379 3205