Music income – Sieben Viertel Fri, 17 Sep 2021 09:49:34 +0000 en-US hourly 1 Music income – Sieben Viertel 32 32 Vaccine passports for live events could revive the music industry – SAMRO Fri, 17 Sep 2021 04:00:36 +0000

DURBAN – The Southern African Music Rights Organization believes that the introduction of vaccine passports for live events is the ideal situation to revive the music industry.

The music industry has been one of the hardest hit by the implementation of the various blockages.

Last Sunday, President Cyril Ramaphosa announced the country’s move to an adjusted Level 2 lockdown.

This has resulted in a change in curfew times as well as allowing larger crowds at indoor and outdoor events.

SAMRO CEO Mark Rosin welcomed the move, adding that more steps need to be taken to enable artists and performers to earn a decent living.

“” Performers and musicians were severely beaten during the COVID-19 lockdown introduced in March 2020, which effectively banned all public performances. This has seriously hampered the ability of artists and performers to make a living and left most of our members in financial difficulty, ”said Rosin.

He said that while SAMRO works tirelessly to collect royalties and expand revenue streams for its members, the main source of income for artists remains the ability to perform at live events.

“Given the devastating effect the Covid-19 lockdown has had on the ability of musicians to make a living, we urge a return to live performances as soon as possible, in a controlled environment,” he said. declared.

“Introducing vaccine passports as a prerequisite for attending live events would be the ideal solution to ensure public safety and curb the spread of the virus, while providing artists with the much-needed opportunity to earn a living,” said he added.

Rosin said that if SAMRO understands the need for people to act responsibly and adhere to measures to help curb the spread of the pandemic, it is critically important that the government do whatever it takes. its power to protect the country’s artists and the music industry as a whole during desperate times. times.

“A vaccination passport is a certification of vaccination status or immunity following a natural infection that confirms that a person is no longer a risk to others.

“The idea of ​​introducing vaccine passports for Covid-19 has been raised by various countries around the world, including member states of the European Union, primarily as a means of allowing unrestricted international travel, as well as ‘open live sports and entertainment events to live attendance,’ said Rosin.

Rosin says SAMRO welcomes the announcement of a possible vaccine passport and urges the government to move forward quickly with the initiative as it would be a crucial lifeline for those who depend on live events as a means. survival.

“We welcome this announcement by the President and call on the government to act quickly to introduce a vaccination passport for South African citizens. While we recognize the need to act responsibly and take an active role in helping to curb the spread of the virus, these measures must be weighed against the fundamental right of artists to earn an income, ”said Rosin. .

SAMRO’s primary role is to administer performing rights on behalf of its members, who are primarily music creators such as songwriters, composers and publishers.

The organization licenses music users (such as TV and radio broadcasters, concert halls, retailers, restaurants, promoters and malls) and collects license fees which are then distributed under form of royalties.


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Student mentorship program gives local college students a boost Thu, 16 Sep 2021 21:22:00 +0000 September 16, 2021

ASU student grassroots efforts survive pandemic and lack funding to make a difference in the community

As a graduate student in political psychology at Arizona State University, Stephanie Cahill never envisioned a scenario in which she would seek to become a construction worker. But when a student at Gililland Middle School in Tempe, Ariz. Told her it was who he wanted to be someday, she went home that night and started digging (no pun intended ).

The following week, when they met again, she presented the student with a spreadsheet filled with resources and information on how to pursue a career in construction.

“We never have the same lesson plan,” Cahill said of the mentoring program she started in Gililland, which recruits students from ASU to mentor college students.

“The idea is to show these kids that they can go to college if they want to. Some don’t, which is why we also talk about career preparation. But we want them to start thinking about those big dreams they have and give them tools to start carving a path to get there. So we listen when they have questions, and if we don’t have the answers, we seek them out and go from there.

Inspired by a social justice course Cahill took in second year, the Grassroots Mentorship program is now in its sixth year and is currently welcoming ASU students to register as mentors.

Despite its informal nature – it is technically not an ASU-affiliated student club, despite being entirely composed and managed by ASU students – the mentoring program has gone through many challenges over the years. , including the pandemic and the obstacle it posed to take the virtual program, as well as the funding disruptions. Although the program twice won the Woodside Community Action Grant (offered by Changemaker Central to ASU), the rest of the time Cahill provided out-of-pocket funding for materials like binders, worksheets and paperwork. food, to help children stay focused.

“We realized that food was an important aspect of getting kids to participate because you can’t really focus when you’re hungry,” Cahill said.

ASU graduate student in political psychology (bottom), Stephanie Cahill, poses with other ASU student mentors (left to right: Jazmin Galvan, Leya Mejia and Sabai Kongjaon) in April 2018 on the court of recreation of Gililland Middle School in Tempe, where they teach kids college and career preparation. Photo courtesy of Stéphanie Cahill

In one of the years the program received funding from the Woodside Grant, they were able to provide enough snacks for the entire school (around 800 students) on standardized testing. Cahill said some of the teachers shared anecdotally that the students performed better than in previous years.

Every Tuesday of the academic year, ASU students visit Gililland, a Title I schoolTitle I schools are those in which children from low-income families represent at least 40% of enrollments. just down the road from Tempe campus, and for an hour after school, they share their knowledge, engage in activities, and answer any questions the kids have about college and career preparation .

“I grew up near Scottsdale, in an area that has significantly higher rated schools, and college has always been something we talked about as a possibility,” Cahill said. “As I got older, I realized that not everyone gets this message when they’re young, and it just felt unfair.”

Then, in high school, a serious athletic injury unexpectedly took Cahill out of the game, plunging her into an identity crisis that she said spoiled her usually sunny character. Eventually, she said, she decided to focus on what she could still do, rather than what she couldn’t, and giving back to her community was one of the first.

With this mindset guiding Cahill, the aforementioned social justice course served as a catalyst in the creation of the mentorship program in Gililland. Charged with undertaking a project that would solve an injustice for the betterment of her community, Cahill began by compiling a list of local low-income schools, intending to host a panel of students at a time to respond. to children’s questions about post-secondary education.

After her idea was rejected by five of the schools, Cahill found herself in the principal’s office in Gililland, waiting to make her pitch, when she heard something that caused her to rethink her approach.

“Some of the kids were talking about what they were struggling with in school and how they didn’t even know where to start, and I was like, ‘Hey, I think I know a way to fix this. “Cahill recalls.

Instead of a one-off panel that invited kids to ask questions about things they might never have even heard of, she thought, how about having regular meetings focused on the topic? ” relationship building, goal setting and giving kids the kind of information they needed based on what interested them – and so let them ask questions.

“(The administrators) were like, ‘It sounds perfect,'” Cahill said. Shortly after this meeting, she was referred to Scott Nasser, a seventh grade science teacher at Gililland who was in charge of after-school programming, to begin coordinating the mentoring program.

ASU student wearing hat with Sparky the Sun Devil on it while playing guitar

Corbin Cowan, a sophomore music education student at ASU and mentor to middle school students in Gililland, shared his own passion with the students when he performed part of Jack Johnson’s song “Upside Down” for them at the event. ‘a Zoom session. Photo courtesy of Stéphanie Cahill

“A lot of the students in our school are not considering post-secondary education at all,” Nasser said. “Either they don’t think they can do it, or they don’t realize the opportunities available to them to help them do it. So the partnership with Stéphanie on this program was really meant to encourage them to start thinking about their future, to start to understand that they are able to go to an institute like ASU.

In addition to addressing the logistical issues of what it takes to go to college, Nasser said the mentoring program also goes a long way in building students’ self-confidence.

“A lot of it is about the social and emotional health of the students now,” he said. “There are a lot of activities where they can just talk about themselves and things they like or might want to do in the future. That’s what kids need: someone in that particular age group that a student is in, to be honest with them about life.

Corbin Cowan, a sophomore music education student at ASU, said getting to know Gililland’s children was his favorite part of his role as a mentor. During a session hosted on Zoom last year, he shared his own passion with students when he performed part of Jack Johnson’s song “Upside Down” for them.

“I volunteered to be part of the program because I wanted to gain more experience working with children since I am planning to become a teacher after I graduated, and I really think it was worth it,” said Cowan.

While he hopes to continue to mentor the program as an upper class student, the leadership may seem a little different. Cahill intends to attend law school and pursue a career in nonprofit law. So her current focus is on building a roster of mentors strong enough to keep the program strong – perhaps even strong enough to expand to other local schools – after she leaves. .

Cahill encourages all ASU students interested in participating in the mentoring program to contact her directly at Learn more about the program by watching this YouTube video.

Top photo by FangXiaNuo / iStock

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What is the impact of the AppStore payments decision on Apple’s inventory? Tue, 14 Sep 2021 14:30:33 +0000

A district judge ruled in the Apple

v Epic Games last week, noting that Apple must allow app developers to offer links to alternative payment methods in apps sold through the AppStore. Until now, Apple’s own payment system has been the only option for developers, and Apple typically charges a commission of between 15% and 30%. However, the judge rejected Epic’s claims that the AppStore is a monopoly. It was actually the biggest legal risk for Apple and the news should be a major relief for investors. Apple stock is down about -3% in trading on Friday, which isn’t a big deal given that the stock remains up around 15% year-to-date and almost 30% in the last 12 months.

Now, the payments decision is a blow to Apple’s highly lucrative App Store business, which we believe accounted for around $ 18 billion in Apple’s revenue for fiscal 2020. It is probably safe to assume that Apple will lose a few billion in annual AppStore-related sales as developers seek to steer customers toward their own lower-cost payment options. However, we believe this is something Apple can handle in the long run for several reasons. First, many developers and customers might continue to prefer Apple’s in-house payment option, due to its convenience and seamless integration with the iPhone experience. Additionally, Apple’s services business has grown rapidly, with sales up 29% in the first nine months of FY21, in part due to the introduction of new subscription services. , which could help mask the longer-term impact of the blow on AppStore Revenue.

Our dashboard Apple Services Revenue estimates revenue figures for AppStore, Apple Music, Apple TV +, iCloud, third-party subscriptions, licensing, Apple Care, and Apple Pay.

[5/5/2021] What’s at stake for Apple as the Epic case goes to trial?

Apple’s highly lucrative services business faces its biggest legal challenge yet, as Epic Games’ lawsuit against Apple and its AppStore went to trial on Monday. Epic alleges that Apple’s AppStore is an anti-competitive marketplace, which blocks customers and diminishes revenues for mobile app developers. The game developer sued Apple in August 2020 after its popular game Fortnite was removed from the AppStore shortly after Epic let gamers bypass Apple’s in-app purchase system, thereby avoiding the commission of 30% on sales. So what is really at stake for Apple and its service business?

Apple relies more and more on the sale of digital services to increase its profitability and stabilize its revenues, which have been somewhat volatile in recent years. Services accounted for around 19% of Apple’s total revenue and around 31% of gross profits in its most recent quarter (Q2 FY’21). Apple has also launched a slew of new service offerings in recent years, ranging from fitness tutorials, paid podcasts, and video streaming. However, we believe that the AppStore and third-party subscription commissions, two key targets of the Epic lawsuit, still account for the bulk of its service revenue, since they mostly include commissions (typically 15-30% of the value of the Epic trial). ‘purchase ). We estimate that the two service revenue streams together accounted for about $ 23 billion of Apple’s estimated $ 54 billion in service sales last year. While we are not speculating on the possible outcome of the case, it is clear that Apple’s revenue would have a significant impact if it were forced to significantly cut commissions or allow app developers to bypass its. store.

Our dashboard Apple Services Revenue estimates revenue figures for AppStore, Apple Music, Apple TV +, iCloud, third-party subscriptions, licensing, Apple Care, and Apple Pay.

[8/17/2020] Epic lawsuit hits Apple stock where it hurts

Last week, Epic Games sued Apple (NASDAQ: AAPL) for antitrust violations, after its popular game Fortnite was removed from the AppStore shortly after Epic let players bypass the purchasing system. integrated Apple, thus avoiding the 30% commission on sales. Although Apple has had arguments with developers in the past, the Epic lawsuit is notable for several reasons. First, the Epic lawsuit comes at a time when tech giants, including Apple, are increasingly under scrutiny by regulators over their market power. Second, Apple is more dependent on its services business than ever, with hardware growth slowing (services profits grew 5 times faster than hardware profits in the first three quarters of fiscal 2020) , and Epic’s lawsuit targets Apple’s commissions, which we estimate is Apple’s most profitable source of income.

Apple made around $ 360 million in commissions from Fortnite over the past two years through Sensor Tower – a relative drop in Apple’s bucket that generated more than $ 260 billion in revenue last year. [1] However, if Epic sees a favorable judgment and if Apple is forced to reduce its commissions or change the terms of its AppStore, it will most likely set a precedent, leading other developers to demand similar terms.

So what could be the financial impact of an overall reduction in commissions by Apple? Apple is cutting app sales and subscriptions by 30% (15% from the second year of subscription) and we estimate total commission revenue to be nearly $ 20 billion over the course of the year. ‘fiscal year 19 (out of a total of approximately $ 46 billion in service revenues). . If Apple cut commissions by 20% from 30%, that would reduce total commissions from around $ 7 billion to around $ 13 billion. While the revenue impact is small for Apple (less than 3% of Apple’s total revenue), the profit impact would be more pronounced since commissions are likely to be almost entirely profit. We estimate that Apple’s operating profit would be around 10% lower if commissions were reduced, given that Apple posted operating profit of around $ 64 billion in FY19. .

Now, the 30% commissions are actually pretty standard in the industry – Alphabet’s Google (NASDAQ: GOOG), which is also facing a similar lawsuit from Epic, as well as Microsoft and Amazon, are charging roughly the same fees on sales of applications in their respective marketplaces. . However, Apple has the most to lose given the scale of its business. AppStore revenue is roughly twice that of Google’s Playstore.

See everything Featured analyzes from Trefis and download Trefis data here

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Dave & Buster’s start to come out of a hole the size of COVID Fri, 10 Sep 2021 20:11:38 +0000

Are the arcades officially back? After a long period of drought during the worst months of COVID-19, restaurant chain Dave & Buster’s posted record second quarter results, including their highest ever earnings of $ 378 million. The company’s comparable store sales also rose 3.6%, more than the figures before the 2019 pandemic.

The increase in sales (especially entertainment / game sales as opposed to food) was due to the now fully open store list (plus a new store), which attracted more traffic than in previous quarters during the lockdown and periods of dining room restrictions.

“With the opening of all of our stores, we are seeing strong demand for our brand, including rapid sales growth in our California stores as it accelerated during the quarter,” said Scott Bowman, director Dave & Buster’s financier during Thursday’s earnings call. “With record sales and solid execution of our margin improvement initiatives, we were able to generate record profitability for the quarter. “

During the second quarter, the company rolled out its new collapsed menu that features higher quality ingredients and more user-friendly items. They also introduced new games, live entertainment (like live music and quizzes), and leaned more into digital adaptation. For example, last quarter Dave & Buster’s rolled out its new mobile app, from which customers can pay, earn points, and activate games with their phones.

“Mobile web adoption has been extremely strong, significantly exceeding our expectations,” Dave & Buster CEO Brian Jenkins said Thursday. “The majority of our customers are now using technology, and our success on this front has been crucial in facilitating a more efficient operation while also allowing us to deliver a great D&B experience. “

Dave & Buster plans to open four new stores by the end of 2021, including an imminent opening in Brooklyn, NY, with 6 to 8 additional new stores coming in 2022.

In the second quarter ended August 1, 2021, revenue increased by $ 33 million compared to the same quarter in 2019, and more than seven times total revenue of $ 50.8 million in the same quarter in 2020. Dave & Buster’s net income was $ 52.8 million. , or $ 1.07 per share, compared to net income of $ 32.4 million, or $ 0.90 per diluted share in the second quarter of 2019.

As of August 1, Dave & Buster’s had 142 stores in its portfolio, with a net new store opening during the quarter.

Contact Joanna at [email protected]

Find her on Twitter: @JoannaFantozzi

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ELECTRICITY, DESIRE AND GRATITUDE | The Ojai Music Festival returns in 2021 – VC Reporter Thu, 09 Sep 2021 04:11:27 +0000

ON THE PICTURE : The Attaca Quartet will be one of the many highlights of the Ojai 2021 Music Festival, which will take place from September 16 to 19. Photo by David Goddard

by Mike Nelson

Forgive Ara Guzelimian if he looks a little excited – too excited, even – when he talks about the upcoming Ojai Music Festival.

“I have received a lot of emails with all caps and exclamation marks from the artists who will be performing this year,” laughed the artistic director and executive of the festival. “The desire to make music for someone else is such a powerful inner motivation, and now that we finally have the chance to do it again after being slowed down by the pandemic – well, how we feel , I think, is close to elation.

An understatement, certainly. The Ojai Music Festival celebrates its 75th anniversary from September 16 to 19 and returns after the cancellation of 2020. This year’s event will attract both new and returning artists, to the delight of music lovers delighted to renew a tradition that has been acclaimed around the world.

“The response from the public has been overwhelmingly positive, with early festival pass sales surpassing recent events,” Guzelimian said. “It speaks to people’s desire to take control of their lives. “

Under the direction of Guzelimian and Music Director John Adams, the Ojai Music Festival 2021 showcases its Californian heritage with an array of local artists and composers, while welcoming those on the global stage and maintaining its adventurous spirit and sound. approach to the presentation of new music. The list of selections includes the world premieres of “Sunt Lacrimae Rerum” by Dylan Mattingly and the revised version of “La Calaca” by Gabriela Ortiz, as well as the west coast premiere of Samuel Adams’ “Chamber Concerto” and the first Esa concert -Objects Found by Pekka Salonen.

Among those making their debut at Ojai are Rhiannon Giddens and Francesco

Pianist Víkingur Ólafsson makes his first appearance at the Ojai Music Festival in 2021. Photo by Ari Magge

Turrisi, pianist Víkingur Ólafsson, the Attacca Quartet, violinist Miranda Cuckson and recorder Anna Margules. Returning artists include pianist / composer Timo Andres, the LA Phil New Music Group, and the Los Angeles Chamber Orchestra.

The event is a bit of a homecoming for Guzelimian, a native of Southern California who first attended the Ojai Festival as a student at UCLA and served as its artistic director amidst the 1990s. He recently resigned after 13 years as provost and dean of the Juilliard School in New York, after eight years as senior director and artistic advisor to Carnegie Hall. He spoke by phone with the Ventura County Reporter before returning from New York.

VCR: After a year of shutdown due to the pandemic, what’s it like to do live music again?

Guzelimian: It’s pretty exciting. We all crave things in our lives that bring us together and connect us with each other. The few musical events I have recently attended outside have not only had an added electricity, but also a sense of gratitude so tangible that we can do what we love.

How has the pandemic affected your plans for this upcoming festival?

We have all learned to be part-time epidemiologists and public health experts, and we are very fortunate to receive constant guidance from health officials and county hospitals. So we have a fairly large set of fairly strict protocols; we require proof of vaccination and masking, to ensure the highest standards of safety and protection for all.

Does the festival decrease or add more events compared to previous years? And what about the tone or direction of the festival?

It is slightly reduced, but quite comparable to the norm of the last 10 years. As for the tone, it’s very positive. It’s the 75th festival, and because I grew up in Southern California and have been coming to Ojai since I was a teenager, I wanted it to be kind of back to basics; which was taking shape before the pandemic and has taken on greater urgency since.

There is therefore a Californian element among composers and performers, to honor the Californian heritage. John Adams, our Music Director and native of Northern California, brings in six young composers, including two native Californians. I also wanted artists who are new to our audience as well as those who honor the history of the festival, like the LA Chamber and LA Phil. Southern California has one of the largest pools of great independent musicians in the world, and many of them suffered from the pandemic and had no income, so we wanted to honor them.

I also wanted to honor California’s Indigenous heritage, so Chumash Elder Julie Tumamait will do a blessing before the Friday night concert and lead a series of events exploring the music, culture and cosmology of the Indigenous people of the Valley of the ‘Ojai, looking at the landscape through the eyes of culture and legend. Because we get the name “Ojai” from the Ventureño Chumash word “Awha’y”, which means “Moon”.

And we will be doing recent concerts with Mexican music, since this region was once part of Mexico and Spain. Gabriel Ortiz, the leading composer in Mexico today, will be present for the performance of several of his works.

Normally the festival takes place in June, so what does September present in terms of challenges and opportunities?

Now is not the month, it is just a matter of coming back to life, and doing it under these circumstances. There will be the downside of strict protocols, but there is a fairly universal understanding among everyone that this is what it takes to make live music possible.

After being in New York for several years at Julliard, what does it mean for you to get involved in California again?

The call of the house is so intense. I usually drive in Ojai de Ventura, and my first sight of the Ojai Valley is something I feel deeply. The valley and the party [are] so wrapped up in memory and meaning, and I just want to do all I can to renew that spirit even in the face of challenges.

The 75th Ojai Music Festival takes place September 16-19 at multiple venues in Ojai, starting with “Festival Prelude” on September 16 at 9 pm at the Libbey Bowl. The events will be streamed live and archived later on Proof of vaccination will be required for all ticket holders, as will masks and social distancing at all concerts and events. For tickets and other information, call 805-646-2053 or visit

]]> 0 IT department seizes another OMR property of the Sasiakala clan, snatched from music director Gangai Amaran in 1994 Wed, 08 Sep 2021 10:44:00 +0000 Chennai:

The Income Tax Department on Wednesday attached another sprawling Old Mahabalipuram Road property belonging to the VK Sasikala clan on Wednesday. The property, a farm in Payyanur on OMR, was once owned by famous film music director Gangai Amaran whom he was forced to sell to Sasikala in 1994.

Sasikala had great faith in former CM and late AIADMK leader J Jayalalithaa. After spending four years in prison in Bengaluru in a disproportionate case, in which Jayalalithaa was also convicted, Sasikala is now back in Chennai at the head of a dissident faction of AIADMK.

The property includes land that once belonged to the music director, sources said.

Last October, the IT department attached the Siruthavur farm to the name of J Ilavarasi and VN Sudhakaran, parents of Sasikala and Kodanad Estate owned by Sasikala.

Notice from the IT department at the entrance to the property

Gangai Amaran had said earlier that Baskaran, son of Sasikala’s sister, Vanitha, had taken him to the Poes Garden residence in Jayalalithaa at that time. There he met Sasikala, who told him that the Chief Minister had visited the land of Payyanur and loved it very much, and that she was very interested in buying it. Gangai Amaran said the house was not for sale.

Although he and his family members were unwilling to sell the land, they were forced to sell it in October 1994 for Rs 13.1 lakh.

The tax department official said these properties were purchased by the three because they were Benamis of Jayalalitha.

Earlier last year, the Income Tax Service pegged a total of 84 properties, in two phases, with a total value of over Rs 1,900 crore owned by Sasikala and his relatives.

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The real story of the impact of COVID on regional QLD galleries Tue, 07 Sep 2021 21:00:59 +0000

One thing we have learned about this pandemic is that its impact is uneven.

A clear illustration of this is the Queensland museum and gallery sector. While this state hasn’t faced blockages like Victoria and NSW, its tourism experiences have presented their own challenges.

ArtsHub met Rebekah Butler, Executive Director of Museums & Galleries Queensland (M&G QLD), who said “times have not been easy for our industry”.


While Butler remained supported by the ability of Queensland museums and galleries to adapt to new working practices and develop new initiatives to support their communities, she said that “visitor confidence has been affected in many communities “.

“A lot of visitors don’t feel comfortable going back to the premises,” she explained. And while “some museums and galleries have anecdotally reported increases in retail sales…

Butler continued that one of the biggest concerns is “pivot fatigue” across the industry, as well as pressures for increased delivery to resource-constrained sites as domestic tourism has increased, in some. triple case.

She warned that “staff workloads have increased exponentially due to the need to respond to instant locks, changing health guidelines and occupant density rules.”


Domestic tourism across the country has skyrocketed over the past year and some arts organizations, particularly QLD inland, have seen record numbers of tourists.

But with this apparent success comes apprehension, as the record number of visitors has not been matched by the record workers to serve them. Daily visits in some cases have tripled, but these small galleries and museums are still run by the same number of volunteers.

The Mount Isa Underground Hospital and Museum are feeling the impact of increased tourism on volunteers. Image provided.

The volunteer-run Mount Isa underground hospital and museum, which saw a record number of visits in 2021, is a case in point.

Erica Shaw, Mt Isa Volunteer Coordinator, said: “The museum has grown from two volunteers present to four at all times, as the museum visit is a guided experience. Many older volunteers have chosen not to return after COVID, which puts additional pressure on current volunteers.

“The Museum cannot keep up with recruiting and training volunteers quickly enough to meet the volume of visitors,” Shaw continued.

“Visitors appear to be tourists making ‘long trips’ and staying in regional and remote areas of Australia in order to avoid COVID hot spots,” she said.

Read: Regional artistic audiences evolve with the pandemic

Butler added that “funding to help develop audio-visual accompaniments, which could relieve current volunteers,” was one way to make these fluctuations and pressures more manageable, but that depends on government investment.

Unlike Mount Isa, Cairns – which before COVID attracted more than 2.7 million tourists a year – is struggling, not only because of the halt in international travel, but also the impact of the border closures by the states.

Dr Jonathan McBurnie, Creative Director, Townsville City Galleries, reported that “Since the pandemic, the overall numbers have been dropping. On average, current visits are about 1/3 of what they were before COVID (a 66% decrease).

But in a glimmer of good news, the Cairns Museum reports that school visits to their space have increased significantly.

“It was an unexpected result, but a positive one. Schools from places like South East QLD that traditionally traveled between states on school trips went to Cairns instead, ”the museum said.


But it’s not just about the number of people, the dollar numbers are the key to this story as well.

Butler explained, “Some museums and galleries have anecdotally reported increases in retail sales. Although people may not be able to travel, they still want to spend money and do so locally – they are looking for tailor-made gifts that are not commercially available.

“In contrast, others in our industry are reporting significant revenue losses due to the decline in retail and trade activities,” she continued.

The Abbey Museum of Art and Archeology, located in Caboolture, is a unique collection comprising the most important collection of stained glass and painted in Australia, as well as prehistoric objects, ceramics, ironwork, woodwork, sculptures, rare books, paintings and frescoes from the Renaissance and Baroque periods.

To support its operations, it presents the Abbey Medieval Festival each winter – Australia’s largest celebration of medieval arts and culture attracting more than 800 medieval reenactors, jousters, musicians, actors and street performers.

Medieval Abbey Festival, 2019. hoto Brett Croese.

Around 30,000 visitors from across Australia typically attend, contributing more than $ 2 million to the economy of the Moreton Bay area. But the festival had to be canceled for a second consecutive year in 2021, one week before delivery.

“The organization’s staffing levels have been affected. In particular, their paid manager is now working on a voluntary basis, which is not sustainable, ”said Butler.

“To its credit, the abbey has implemented many innovative fundraising initiatives in an attempt to recoup their lost income, but additional support is urgently needed.”


Butler warned that overall, support is desperately needed, especially for the volunteers in this space. “Many volunteers have not returned to their volunteer roles after last year’s major lockdown or, when volunteers have returned to the workplace, they feel more comfortable doing return duties. the House.”

“The sector depends on volunteers, but many don’t feel comfortable returning to places where people come and go frequently.”

Rebecca Butler.

She also notes that “programs need to be redesigned; visitor expectations must be managed; communications and messages need to be continuously updated – this takes a lot of resources and keeping pace with these pressures has negative consequences for people’s mental health and well-being.

“The government has focused on jobs,” she continued. “Which is important, but so are volunteers in the area and creating safe environments for them to return to work.”

“The small to medium-sized public museums and galleries sector is in urgent need of operational support for expenses such as staff, overhead and programming,” she continued. “Expenses that pre-COVID would be covered by an organization’s income-generating activities.”

Butler therefore argues that “the local government [who often manage these small-to-medium galleries] should be included in all funding programs. ‘

She observed that “there is greater financial support for the performing arts and music industries, and while there is no doubt that this support is essential to sustaining the performing arts sector, there is an imbalance ”.

Data from Museums & Galleries QLD’s 2019 Annual Statistical Survey shows that overall, Queensland’s public galleries supported around 8,000 living artists that year.

“So supporting our industry, supporting our artists,” said Butler.

In Queensland, there are around 300 collections run by organizations run by volunteers. Many of these collections contain elements of national, national and, in some cases, international importance.

Read: Frontline pressure points are different for the regional arts sector

But one organization that has already closed is the volunteer-run association Adderton: House and Heart of Mercy, closed to the public on Sunday September 5, 2021.

Museums & Galleries Queensland is doing what it can to help the sector in need, partnering with the Australian Museums and Galleries Association to deliver the $ 3 million grants program for culture, heritage and the arts regional tourism (CHART). But in the end, Rebekah Butler believes that additional government funding is needed to help the sustainability of the sector to emerge from the pandemic.

In the meantime, the CHART grant program will allow organizations to apply for up to $ 3,000 in 2021-2022 to support community arts organizations such as local museums and galleries as well as historical societies.

“We hope there will be a strong scope of applications from Queensland,” she said.

Gina Fairley is the National Visual Arts Editor for ArtsHub. For a decade, she worked as a freelance writer and curator across Southeast Asia and was previously the regional editor for the Hong Kong-based magazines Asian Art News and World Sculpture News. Prior to writing, she worked as an artistic director in America and Australia for 14 years, including in regional galleries, biennials and commercial sectors. She is based in Mittagong, regional NSW. Twitter: @ginafairley Instagram: fairleygina

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Why developing countries are so fond of cryptocurrencies Tue, 07 Sep 2021 04:00:51 +0000

Marc Filippino
Hello from the Financial Times, today is Tuesday, September 7, and this is your FT News Briefing.


Marc Filippino
Boris Johnson is preparing to announce a significant tax hike today. And the military coup in Guinea worries people about aluminum production. Additionally, many developing countries find cryptocurrencies attractive. And the greatest experience begins today in El Salvador.

Jonathan wheatley
This is not a Mickey Mouse country, okay? It is a small country in Central America. It seems a little weird that it is doing this, but it is a test case.

Marc Filippino
I am Marc Filippino. And here’s the news you need to start your day.


Marc Filippino
Today British Prime Minister Boris Johnson will announce a tax hike of more than £ 10 billion. The money will go to emergency support for the NHS. It will also be used to gradually reform the welfare sector in the UK. But FT political editor George Parker said members of Johnson’s own party were rather unhappy with the idea of ​​a tax hike.

George parker
The Conservatives promised the electorate in 2019 that there would be no increase in taxes or major tax rates. It would be a flagrant violation of the manifesto. Second, they like to think of themselves as a low tax party, although the track record shows that at present the UK tax burden is the highest since the late 1960s. So it is quickly losing that. reputation. And the third thing is how this tax hike will work. Basically it is a tax paid by all people on their income, but it does not include payments for rental income or dividends. And this does not apply to people over the age of 66 either. This means that the people most likely to be on welfare in the short term, at least not, will also pay anything more. And what is the point of this? Well the government is going to put a cap on the amount anyone can pay for social care in their lifetime of around £ 80,000. Now the goal is to prevent people from having to sell their homes if they face catastrophic costs for social care. You can see the criticism of this policy that you are addressing to low income people. They are probably renting a property, they are being asked to pay more. So people who live in homes worth a million pounds can bequeath their homes to their privileged children. It doesn’t sound fair. It’s not fair, but Boris Johnson will go ahead anyway because he thinks it is inevitable that this tax, some kind of tax is going to have to increase, it will be this additional cost.

Marc Filippino
George Parker is the political editor of the FT.


Marc Filippino
The Guinean army said it overthrew the country’s president, 83-year-old Alpha Condé on Sunday. He was elected in 2010 and won a controversial third term last year. Guinea is the second largest producer of bauxite in the world, a raw material necessary for the manufacture of aluminum. And news of the coup put aluminum prices on Monday at their highest level in a decade. FT West Africa correspondent Neil Munshi said the coup leaders were trying to allay the fears of industry leaders around the world.

Neil Munshi
On Monday, the junta leader tried to somehow reassure the global mining industry by saying that ports would still be open for export, that the country’s mining companies should continue to operate as usual and that airports would be open again. . And he said it was all for the purpose of ensuring continuity of production, which somehow underscores the importance of the mining industry to Guinea’s economy.

Marc Filippino
Yes. Neal, can you tell us a little more about the importance of the mining industry in Guinea?

Neil Munshi
So mining and you know that bauxite production in particular makes up the bulk of the country’s exports and it’s extremely important to the country’s economy. But at the same time, over the years, it has been the subject of blatant corruption allegations involving big mining companies around the world and politicians. And that hasn’t done much for the Guinean people who remain among the poorest in the world.

Marc Filippino
Neil Munshi is the FT’s West Africa correspondent.


Marc Filippino
Twenty years after adopting the US dollar as its national currency, El Salvador will today become the first country in the world to make Bitcoin legal tender. Those in favor of the move say it will reduce the fees Salvadorans pay to send remittances to their country, which accounts for a quarter of the country’s GDP. Critics say the rushed plan could cost poorer Salvadorans dearly when the price drops and provide a shield for money launderers. But whether you think it’s a good idea or a bad idea, it happens. And the FT’s Jonathan Wheatley says crypto isn’t just popular in El Salvador. It is really gaining ground in many developing countries.

Jonathan wheatley
What we have seen is that acceptance becomes adoption becomes quite high in places where people don’t necessarily trust the national currency. A currency must therefore serve as a medium of exchange, a store of value and a unit of account. And in all of these aspects of use, emerging market currencies are often imperfect. You often get runaway inflation or unpredictable inflation that can go up and down quite quickly. You get very sudden and unpredictable movements in the exchange rate. It can be very difficult to do things that, you know, some of us in advanced economies find quite easy to do. If I drive through Europe and get a parking ticket in Italy, once I get home I can pay for it by bank transfer from my checking account. And that sort of thing, if you’re in Lagos, is extremely complex and bitcoin and other cryptocurrencies make it a lot easier. And although obviously during the time it takes to complete the transaction, the value can move very strongly and cryptocurrencies move very strongly in value. However, when you are used to the value of your own national currency changing extremely quickly, then this kind of risk becomes much more acceptable.

Marc Filippino
Okay, Jonathan, from what I understand is that this is not necessarily new. Emerging markets tend to adopt new technologies early. Like cryptocurrency, this isn’t the first time we’ve seen this kind of transition in developing countries, is it?

Jonathan wheatley
No, absolutely. And in fact, you know, when a new technology comes along, a lot of times they tend to adopt it quickly because it allows them to jump over the absence of a previous technology. The example we give is M-Pesa in Kenya, which is now present in several other countries, which essentially allows people without a bank account to use their mobile phone accounts as bank accounts. Basically, telecom operators operate like a bank. And it allowed the unbanked to become banked without bank accounts. And what some people are hoping is that not only with cryptocurrencies, but with distributed ledger technology in blockchains, this is one of the applications of what is behind crypto, that other things could happen that would allow this kind of leapfrog. The classic example would be the cadastre or the cadastre. In general, in a large number of developing countries there is hardly any cadastre and certainly a very precarious cadastre. So people do not have rights to their own property and, more importantly, they are not able to take advantage of this right to lend for investment and growth. So you have a whole bunch of dead capital in many emerging economies that could be unlocked by a cadastre or a functional land register more generally. And some are hoping that the distributed ledger technology blockchain would allow that to happen.

Marc Filippino
Jonathan, I’m coming back to El Salvador a bit. You know, what are other countries looking at when they watch this experience unfold?

Jonathan wheatley
Well, one point we made in our Big Read was that this is not Mickey Mouse country, okay? It is a small country in Central America. It seems a little weird that he is doing this, but it is a democratically elected government. It is not under the sanctions of anybody. It is a member of the IMF. It is inserted into the international financial system. And, you know, one commentator we interviewed pointed out that this was a test case. I mean, we’ll see whether or not it’s possible for a country to accept cryptocurrencies and whether or not it works, it will be very, very interesting anyway.

Marc Filippino
Jonathan Wheatley is the FT’s Emerging Markets Correspondent. Thanks Jonathan.

Jonathan wheatley
You’re welcome. My pleasure.


Marc Filippino
Before we go, let’s take a look at the movies, the first Marvel superhero with an Asian main character has made the buzz.

Audio clip
I thought I could change my name. . . This time in your life. But I never could. . . Let’s give a shout.

Marc Filippino
Shang-Chi and the Legend of the Ten Rings made $ 90 million in ticket sales in the United States over the Labor Day weekend. This makes Shang-Chi the most successful Labor Day outing on record. The previous record holder was the movie Halloween. Shang-Chi’s exit was a bit risky on Disney’s part. It was the first film from its Marvel studio affiliate to debut exclusively in theaters since the start of the pandemic.


Marc Filippino
You can read more about all the stories at This has been your daily FT News briefing. Make sure to come back tomorrow for the latest business news.

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What is an artist in the age of algorithms? Mon, 06 Sep 2021 12:00:00 +0000

In 2021, technology role in the way art is generated remains to be debated and discovered. From the rise of NFTs to the proliferation of techno-artists who use generative antagonistic networks to produce visual expressions, to smartphone apps that write new music, creatives and technologists are continually experimenting with how art is produced. , consumed and monetized.

BT, the Grammy-nominated composer of the 2010s These machines full of hope, has become a global leader at the intersection of technology and music. Beyond producing and writing for David Bowie, Death Cab for Cutie, Madonna and the Roots, and composing sheet music for The Fast and the Furious, Small city, and many other shows and movies, he helped develop production techniques such as stuttering editing and granular synthesis. Last spring, BT released GENESIS.JSON, software that contains 24 hours of original music and visual art. It contains 15,000 individually sequenced audio and video clips that he created from scratch, which cover various rhythmic figures, field recordings of cicadas and crickets, a live orchestra, drum machines and a myriad of ‘other sounds that play continuously. And he lives on the blockchain. It is, to my knowledge, the first composition of its kind.

Ideas like GENESIS.JSON be the future of original music, where composers use AI and blockchain to create entirely new art forms? What makes an artist in the age of algorithms? I spoke with BT to find out more.

What are your central interests at the interface of artificial intelligence and music?

I am really fascinated by this idea of ​​what an artist is. Speaking in my common language — music — is a very small range of variables. We have 12 tickets. There is a collection of rhythms that we generally use. There’s a kind of vernacular of instruments, tones, timbres, but when you start adding them up it becomes this really deep data set.

At first glance, it makes you wonder, “What is special and unique about an artist?” And that’s something I’ve been curious about my whole adult life. Seeing the research going on in artificial intelligence, my immediate thought was that music is a fruit at hand.

Nowadays we can take the total sum of the output of the artists and we can take their artistic works and we can quantify it all in a training set, a massive multivariable training set. And we don’t even name the variables. RNNs (Recurrent Neural Networks) and CNNs (Convolutional Neural Networks) name them automatically.

So you’re referring to a body of music that can be used to “train” an artificial intelligence algorithm that can then create original music that resembles the music it was trained to. If we reduce the genius of artists like Coltrane or Mozart, say, into a practice set and can recreate their sound, how will musicians and music connoisseurs react?

I think the closer we get it becomes this weird valley idea. Some would say that things like music are sacrosanct and have to do with very basic things about our humanity. It’s not difficult to get into some sort of spiritual conversation about what music is as a language, and what it means, and how powerful it is, and how it transcends culture, race and time. So the traditional musician might say, “It can’t be. There are so many nuances and feelings, and your life experience, and that sort of thing that goes into music production.

And the kind of engineer in me goes, well, look what Google did. It’s a simple sort of MIDI generation engine, where they’ve taken all of Bach’s works and he’s able to spit [Bach-like] fugue. Because Bach wrote so many fugues, this is a great example. He is also the father of modern harmony. Musicologists listen to some of these Google Magenta fugues and cannot distinguish them from the original works of Bach. Again, this makes us wonder what constitutes an artist.

I am both excited and very worried about this space in which we are developing. Maybe the question I want to ask is less “We can, but should we?” And more “How can we do it responsibly, because this is happening?” “

Right now, there are companies that are using something like Spotify or YouTube to train their models with living artists, whose works are copyrighted and protected. But companies are allowed to take someone’s job and train models with them right now. Should we do this? Or should we first talk to the artists themselves? I think we need to put in place protection mechanisms for visual artists, for programmers, for musicians.

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No business like show business to stifle inflation Fri, 03 Sep 2021 21:00:42 +0000

Dreaming: Hipgnosis acquired the rights to works by artists, like Blondie (co-founded by singer Debbie Harry, pictured)

One of the words you’ll hear a lot this fall is “uncorrelated,” as the focus is on the damaging impact of inflation on investment portfolios.

Who knows if the rise in the cost of living is only “fleeting” (another seasonal word), or here to stay?

But, wisely in my opinion, many people may still wish to diversify, sheltering themselves from the adverse effects of inflation through uncorrelated, i.e., unrelated, investments in stocks or obligations. After all, inflation is the thief of savings.

Various routes are available. They come with risks, of course. But deciding that inflation does not return after 30 years of absence can also be a gamble.

You can get into show business by betting on investment funds that own the rights to hits like Fleetwood Mac’s Go Your Own Way or Blondie’s Heart Of Glass.

Or you can help save the planet through trusts that support energy efficiency and other infrastructure projects designed to help upgrade or reduce carbon emissions.

Duncan MacInnes of the Ruffer Investment Trust argues that we are in “a constantly more inflationary environment” due to the rebounding economy. The key factors that are expected to drive prices higher are the billions of pounds in savings accumulated during the lockdown and stimulus packages from the US Federal Reserve and the Bank of England.

MacInnes argues that anyone whose money has been invested in the traditional 60:40 split between stocks and bonds – still seen as a bulwark against dangers like inflation – may now be vulnerable.

Many portfolios have been built on the assumption that bonds and stocks are uncorrelated: when stock prices go down, bonds go up and vice versa. However, MacInnes argues, “Two hundred years of data shows that stocks and bonds are correlated when inflation is above 3%.

The Bank of England is forecasting inflation to rise to 4 percent this year, but it is unlikely to counteract it by raising interest rates as that could hamper the recovery.

The Ruffer Trust is designed to stay ahead of inflation and also to protect capital and income.

He owns a mix of indexed gilts, gold mining stocks, defensive stocks like BP and Shell, and a stake in Hipgnosis, the investment trust that holds song royalties, a stake selected for the uncorrelated nature of its yields.

Created in 2018, Hipgnosis – which stands for hip knowledge – has acquired the rights to works by artists, producers and songwriters like Blondie (co-founded by singer Debbie Harry, the Eurythmics, Lindsey Buckingham and Christine McVie of Fleetwood Mac, as well as 50 Cent, the rapper and entrepreneur famous for the album Get Rich Or Die Tryin ‘who might be impressed by the trust’s 4.3% dividend yield.

The smaller Round Hill Music Royalty Trust, with a dividend yield of 4.24%, debuted late last year. He has the rights to Tesla (the heavy metal band, not the automaker) and also to some early Beatles songs and some Celine Dion hits. Sources of income for the trusts include live music, as well as music played in pubs and bars and used in television, movies and commercials. But their primary focus is to tap revenue from the accelerated music streaming boom from Apple, Spotify, YouTube, TikTok, and Peloton.

Merck Mercuriadis, Founder and Investment Advisor of Hipgnosis, says, “The explosion of streaming has transformed music from a consumer discretionary purchase into a utility purchase.

Mercuriadis is a former manager of Beyonce, Morrissey and Iron Maiden, an experience that has served him well in his current career.

Experience: Merck Mercuriadis is a former manager of Beyonce, Morrissey and Iron Maiden

Experience: Merck Mercuriadis is a former manager of Beyonce, Morrissey and Iron Maiden

He is not the only one from this point of view. Bill Ackman, director of the Pershing Square Holding Trust, said the total addressable streaming market is “every person on the planet”. You can raise an eyebrow at this statement. Still, the Hipgnosis share price is 19% higher than when it was launched, and the trust represents a 4.7% premium to the net worth of its assets. Round Hill Music is at a premium of 6.65 percent. This suggests that the possibility of diversifying into this sector, with its promise of improving yields, is attractive to many.

seductive one for many. SDCL’s Energy Efficiency Income Trust – known as SEIT – shows a 13.57 percent premium, further underlining the attractiveness of uncorrelated assets, especially when combined with a 4.3 percent dividend yield.

As Jonathan Maxwell, a trusted manager, SEIT, explains, is focused on projects that reduce huge and costly levels of energy waste in areas such as buildings, whose air conditioning systems are often damaging to the planet. Demand for these services is skyrocketing as countries and businesses seek to meet carbon targets.

Maxwell says, “It’s good for the environment – and a boost to business productivity.

If you want a mix of music and infrastructure, the TM Cerno Capital Fund, which has a stake in Hipgnosis, provides both.

Of course, you can be indifferent to inflation. Yet anyone who sang the hits of Barry Manilow (now owned by Hipgnosis) in the 1970s will remember the pain it causes.

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