APRA AMCOS

It has contributed to Robbie Williams, Linkin Park, Bruno Mars, and System of a Down.

So should international stars have to use a homegrown support act? Anthony Healey is head of the New Zealand, um, arm of Performing Rights Association, APRA, and joins us now.

Hi, Anthony.

Hi, Lisa.

Really appreciate your time.

Thank you for joining us.

That is Anthony Healey, who is from APRA, which is the New Zealand arm of Performing Rights.

So it collects royalties that artists receive when their, when the recorded music is played in pubs and clubs, but also in, like, cafes, um, and live performances.

So there's APRA, which collects the royalties for the intellectual property, so the actual song, and then there's PPCA, which collects the royalties for the recorded music.

Yeah.

And I'm the chair of PPCA.

Thanks for your time, and I look forward to playing you some more incredible music on the next Classical for Everyone.

This podcast is made with Audacity software for editing, Wikipedia for research, Claude for artificial intelligence, Cleanfeed for remote recording, and the music played is licensed through AMCOS APRA.

Classical for Everyone is a production of Mending Wall Studios, and the producers do not receive any gifts, remuneration, or support of any kind from any organization or individual mentioned in the show.

And if you have listened to the credits, here is some more music for you The American composer John Corigliano is now in his late 80s and has amassed an incredible range of operatic, chamber and symphonic music.

We had planned for a New Zealand test market.

Our launch slate were all artists from Aotearoa, and we felt like that was a really good way to experiment with a whole lot of things, like was the price right? Was it something that worked for different kinds of artists, like legacy artists and emerging artists? But we were really fortunate with the level of industry support that we received in the lead up to launch, and we were able to deal with APRA AMCOS, who's...

holds the publishing rights of Collection Society.

And that enabled us to be able to sell worldwide from day one.

I sang-- I had to sing at, there's a video of this on the internet, actually.

I had to sing at the, um, the Australian, we have this organization called APRA that basically represents songwriters, and I was singing at the APRA Awards.

This must've been 2018 that this happened.

So I think the surgery was maybe, like, January or February, and then I was singing in April maybe or May.

like, you know, a big part of being a publisher is your relationships with PROs.

So, you know, I've run into heaps of people from APRA and like old colleagues that I work with there.

So like that is really beneficial too because otherwise we don't get to see each other face to face.

Yeah.

and that's got definitely a bad name now.

So yeah, there's been a bit of chatter about AI.

Most of my colleagues were, I guess, kind of interested in seeing what the peak bodies had to say at the panel yesterday morning with Aria and APRA.

But like, and it's really, you know, the work they're doing to lobby to make sure that we remember, like, put human creativity at the forefront is great.

There's ultimately, depending on an artist's right situation and their labels or distributors kind of openness to try, there's no reason why they, We can't host an album from the US or UK now.

We've got a publishing deal with APRA AMCOS, which is a publishing rights organisation that has reciprocal deals with the other collection societies around the world.

And we can sort of run the right side of the master.

We're so small and we're so new that we're up for talking to to anyone really in terms of the you know getting rights getting the material we work with and talk to artists and and managers every day you know ultimately this will be something that's accessed likely through at a distributor level but for now we're sort of hand making these things and and love the fact that we're talking to artists.