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Levi's® Terms & Conditions
#Levi's® Music Prize Official Rules, Terms and Conditions
You (an individual artist or band, referred to hereafter as "Artist") and Levi Strauss Australia Pty Ltd. (the "Sponsor") are entering into this agreement ("Agreement") for the Levi's® Music Prize. In order to apply to receive and participate in the Levi's® Music Prize, the Artist must accept these terms, and therefore should take the time to understand them. If the Artist consists of multiple members, each member must accept these terms for the Artist to participate.
IF THE ARTIST CLICKS "ACCEPT" AND PROCEEDS TO APPLY FOR THE LEVI'S® MUSIC PRIZE, THIS AGREEMENT WILL BE A VALID AND BINDING AGREEMENT BETWEEN THE ARTIST AND SPONSOR and is in addition to any terms and conditions that may be in effect for the Artist's participation in BIGSOUND. The Artist should print and keep a copy of this Agreement.
Summary of Certain Key Terms and Conditions
The following is a summary of certain key terms and conditions of the Levi's® Music Prize. Please read the Complete Rules, Terms and Conditions below for a complete understanding of the Levi's® Music Prize rules, terms and conditions.
The Levi's® Music Prize consists of a cash award of $AU25,000 awarded four (4) times per year.
To be eligible, Artists must have performed at BIGSOUND in the past five (5) years, and satisfy Australian and New Zealand residency requirements and other eligibility requirements set forth below.
One of the four annual Awards will be made to the winning Artist at BIGSOUND, who will be required to submit a project proposal covering the use of the funds after being named the winner. This proposal will be required within four weeks of being names the BIGSOUND Levi's prize winner.
The other three (3) Awards will be made to Artists who apply for the Levi's® Music Prize by submitting a project proposal during three (3) quarterly application periods from (i) 9 September to 17 December; (ii) 18 December to 10 March; and (iii) 11 March to 11 June. Applications for each period close at 11:59pm (AEST) on the closing date.
Project proposals will be evaluated on the basis of feasibility, quality and specificity of the proposal and budget, and the degree to which the funds would help take the Artist's music career to the world stage. The judging panel will consist of representatives of the Sponsor and music industry professionals as determined by Sounds Australia, and all decisions are final and no conversations will be entered into.
Winning Artists agree, if requested, to perform at future BIGSOUND events, including Levi's® showcase performances, and participate in other promotional activities, events, or music festivals at the reasonable request of the Sponsor. Reasonable travel and accommodation expenses will be paid for by the Sponsor or Queensland Music Network.
In connection with the sponsorship of the Levi's® Music Prize, it is the Sponsor's intention to use recordings of the Artists and their performances for the purpose of promoting the Levi's® Music Prize and the Levi's® brand's association with music and ancillary purposes without further payment of any license or other fee (except for the nominal fee stated below). All other uses of recordings of the Artists and their performances will require the approval of the Artists.
Winning Artists will not be publicly associated with or be involved directly or indirectly in the promotion of any other apparel company that has a significant offering in the denim category from the date of the announcement of the Artist winning the Levi's® Music Prize until eighteen (18) months after the last Levi's® Music Prize award payment is made.
Complete Rules, Terms and Conditions
1) Eligibility.
a. Personal eligibility: The Levi's® Music Prize is open to Artists who meet all of the following requirements:
i. Age – Artists must be at least 18 years of age.
ii. Residency – Artists must legally reside in Australia; provided, that in the case of a band with multiple Artists, no less than 2/3 of the Artists in the band are legal Australian or New Zealand residents. For example, if there are five members of a band, no fewer than four members of the band must be legal residents of Australia or New Zealand.
iii. Exclusions – Individual Artists must not be (i) an employee of the Sponsor, Queensland Music Network Incorporated, any corporate parent or subsidiary company of any of the foregoing corporate entities; or (ii) a member of the immediate family of an employee of any of the foregoing corporate entities in this subsection.
iv. Label Permission/Acknowledgement –Artists must be able to participate in the Levi's® Music Prize without violating any third-party rights or obligations, including without limitation the policies or procedures of any record company with which Artist has an agreement.
b. Collective eligibility: In order to be eligible to receive the Levi's® Music Prize, Artists must meet all of the following additional requirements:
i. Officially showcased at BIGSOUND Festival – Artist must have performed at the BIGSOUND Festival within five (5) years prior to the date of entry of the Artist into this Agreement.
ii. International Exposure – Artist must have undertaken international activity or have gained demonstrable international music label interest (not applicable to the Artist named the winning artist/band as part of the BIGSOUND Award).
iii. Previous Levi's® Music Prize Winners – An Artist who has already won the Levi's® Music Prize within the last three (3) years prior to the date of this Agreement will not be eligible.
iv. Since January 2019 – In addition to Australian residents; The Levi's® Music Prize is open to New Zealand artists/residents. Eligibility to win the Levi's® Music Prize will be back dated to any New Zealand based artists/residents that have played BIGSOUND over the past 5 years (alumni) – to 2015. All other T&C's will apply.
2) How to Participate. There are two ways in which Artists may participate in the Levi's® Music Prize:
a. BIGSOUND Festival Winner – Awarded Once Per Year at The BIGSOUND Festival.
i. The Artist named the winning artist/band at the BIGSOUND Festival (commencing in 2017) will be eligible to receive the Levi's® Music Prize, subject to agreeing to the terms of this Agreement and submitting a Project Proposal for approval after being named the winning artist/band, in accordance with clause (b) below.
b. Submit a Project Proposal – Awarded Three Times per Year.
i. Artists must submit a project proposal ("Project Proposal") during the Application Periods set forth below. Only one (1) Project Proposal may be submitted per Artist for each Application Period.
ii. Artists may submit a Project Proposal at https://www.bigsound.org.au.
iii. The Project Proposal should contain a project description, business plan and budget that details how the funds will be used to advance the Artist's success on an international basis. Project Proposals should contemplate use of the funds within six (6) months of the date of the awarding of the Levi's® Music Prize.
iv. All documents and materials submitted for consideration of the Levi's® Music Prize will not be returned.
3) Project Proposal Application Periods.
a. The application periods are as follows: (i) 9 September to 17 December; (ii) 18 December to 10 March; and (iii) 11 March to 11 June ("Application Periods"). These application periods are subject to change.
4) Project Proposal Guidelines.
a. Language. Project Proposals must be in the English language.
b. True and accurate information. All information provided by Artist regarding Artist and, if applicable, its individual members ("Artist Information") is true, accurate, current, and complete information, and Artist will maintain and update the Artist Information to keep it true, accurate, current, and complete.
c. No violation of third-party rights. Unless otherwise disclosed in the Project Proposal, the exercise by the Sponsor of any of the rights granted by Artist under this Agreement, do not and will not infringe or violate any rights of any third party or entity, including, without limitation, patent, copyright, trademark, trade secret, defamation, privacy, publicity, misleading or deceptive conduct, misappropriation, intentional or negligent infliction of emotional distress, confidentiality, or any contractual or other rights.
d. Full permissions. All persons, if any, who were engaged by Artist to work on the Project Proposal or who appear in the Project Proposal in any manner: have given Artist their express written consent to submit the Project Proposal for unlimited, royalty-free use, exhibition and other exploitation in any manner and in any and all media, whether now existing or hereafter discovered, throughout the world, in perpetuity; have provided written permission to include their names, images, or pictures in or with the Project Proposal (or if a minor who is not Artist's child, Artist must have the permission of minor's parent or legal guardian), and Artist may be asked to provide evidence of such permission in writing as part of the Project Proposal, in a form satisfactory to the Sponsor; have no claims for payment of any kind, including, without limitation, for royalties or residuals against the Sponsor; have no approval or consultation rights or any rights of participation arising out of any use, exhibition or other exploitation of the Project Proposal; and have not been and are not currently under any agreement, including any union or guild agreement, that results in any ongoing obligations resulting from the use, exhibition or other exploitation of the Project Proposal.
e. Confidentiality. Submission of a Project Proposal will not be acknowledged and will not be received or held "in confidence." The act of submitting a Project Proposal does not create a confidential relationship or obligation of secrecy between Artist and the Sponsor.
5) Prize Determination.
a. The BIGSOUND Festival Winner Levi's® Music Prize. One Artist will be named the winning artist/band at the BIGSOUND Festival as judged by the Sponsor and the music industry panel in attendance, and will be eligible to receive the Levi's® Music Prize, subject to agreeing to the terms of this Agreement, submitting a Project Proposal for approval in accordance with clause 2(b) above and returning the Letter of Agreement, after being named the winning artist/band.
b. Applicant Levi's® Music Prize. All compliant Project Proposals received during a Project Proposal Application Period will be evaluated against other Project Proposals during that same Application Period and will be eligible to receive the Levi's® Music Prize for that Application Period.
i. Project Proposals will be evaluated on the basis of (A) feasibility; (B) quality and specificity of the proposal and corresponding budget; (C) the degree to which the funds would help take the Artist's music career to the world stage.
ii. The winner of the Applicant Levi's® Music Prize shall be determined by a judging panel consisting of representatives of the Sponsor and music industry professionals, whose decisions are final. No feedback will be provided to unsuccessful applicants. All determinations by the judges of the Levi's® Music Prize winning Artist are subject to the winning Artist's compliance with the terms of this Agreement.
c. The winner of the Applicant Levi's® Music Prize is required to sign and return their Letter of Agreement to QMusic, within four (4) weeks of the date of the agreement. If any of the conditions of the Agreement are not met, the contract may be void.
6) Cash Award.
a. The BIGSOUND Festival Winner Levi's® Music Prize. The BIGSOUND Festival winning Artist will receive a cash award to fund a project to a maximum of $AU25,000 (the "Award Amount").
To access the Music Prize:
The winning Festival artist must submit a written Project Proposal and budget within four (4) weeks of the date of announcement at BIGSOUND Festival. The Project Proposal should contain a project description, business plan and budget that details how the funds will be used to advance the Artist's success on an international basis. Project Proposals should contemplate use of the funds within six (6) months of the date of the awarding of the Levi's® Music Prize.
On approval of Project Proposal and budget by Levi's®, a Letter of Agreement will be issued. The winner will have four (4) weeks to sign and return the Letter of Agreement.
b. Applicant Levi's® Music Prize. Each Applicant Levi's® Music Prize winning Artist will receive a cash award to fund the project described in the Project Proposal up to 80 per cent of the total project budget amount, or $AU25,000, whichever is the lesser (the "Award Amount").
c. Allocation of Award Amounts. The Award Amount will be paid to the Levi's® Music Prize winning Artist in two parts. 80 per cent of the Award Amount will paid at a time mutually agreed between Artist and the Sponsor based on the Project Proposal schedule and in advance of the project start date. Upon completion of the project, the Sponsor will pay the remaining 20 per cent upon production of invoices and other evidence of expenditure in accordance with the project.
d. Taxes. The Artist is solely responsible for any taxes that may be payable due to the receipt of the Levi's® Music Prize.
e. In addition to the above quarterly cash component; from September 2019 to September 2020 – Stage and Screen will offer a travel voucher of $AU5,000 to each prize winner (awarded four times total) to be used towards relevant travel costs. This $AU5,000 travel voucher is non-transferable and to be booked with Stage and Screen.
7) Winner's Obligations.
The following shall apply to Levi's® Music Prize winning Artists:
i) If requested, the Artist agrees to perform at any future BIGSOUND events, including any Levi's® showcase performances, and participate in related promotional activities or events, at the reasonable request of the Sponsor. The Artist agrees, if requested by the Sponsor or Queensland Music Network, to perform at other Australia and New Zealand music festivals or events, subject to agreement on scheduling (availability) and on terms and conditions to be mutually agreed in good faith between the parties. Reasonable travel and accommodation expenses will be paid by the Sponsor or Queensland Music Network in relation to such activities.
ii) The Artist will participate in promotional activities (including interviews, press and/or media days and photo shoots, together "Promotional Activity") relating to the Levi's® brand, subject to Artist's availability. Reasonable travel and accommodation expenses ("Expenses") will be paid by the Sponsor in relation to Promotional Activity. The Sponsor will not pay for Expenses when the Promotional Activity is integrated into the Project Proposal, for example, filming of the tour where the Sponsor is already funding the tour through the Levi's® Music Prize.
iii) Artist will not be publicly associated with or be involved directly or indirectly in the promotion of any other apparel company that has a significant offering in the denim category from the date of the announcement of the Artist winning the Levi's® Music Prize until eighteen (18) months after the last Levi's® Music Prize award payment is made.
iv) Winning artists of the Levi's® Music Prize are required to share and credit the profile video content piece created by Levi's across their own social media channels (ie. Facebook, Instagram). The timing of this will be communicated by Levi's/QMusic.
v) Winning artists of the Levi's® Music Prize are required to wear Levi's product within any promotional shoots/content creation in relation to the promotion of the Levi's® Music Prize for a period of up to 12 months from the date of receiving the prize money.
vi) Where relevant within media interviews/PR opportunities, the winning artist is to mention the Levi's brand in relation to said artists travel, touring and any creative projects made possible via the financial contribution of the Levi's® Music Prize.
vii) If the recipient of the Levi's® Music Prize is wearing denim product post winning the Levi's® Music Prize; this is to be Levi's denim (product will be provided by Levi's® at the request of the artists at any time). The duration of this denim category alignment is for a period of up to 12 months from the date of receiving the prize money.
viii) If the winning artist of the Levi's® Music Prize is wearing Levi's denim or product in any social media posts across their owned channels; the artist is to tag @levis_anz
8) Artist's Grant of Rights.
The Sponsor or its agents may record Artist's voices, sounds and images (including any performances, presentations and interviews) at the BIGSOUND Festival, and other events relating to the Levi's® Music Prize. For winners of the Levi's® Music Prize, the Sponsor or its agents may also record the same for any activities related to the winners' Project Proposal (including any locations Artist travels to while on tour, concerts, recording studios and backstage locations) (collectively, the "Recordings").
In return for the payment of A$1.00 and other consideration by the Sponsor, the receipt and sufficiency of which Artist acknowledges, Artist consents to the Sponsor using the Recordings as follows:
i) Artist agrees that the Sponsor or its agents may record such Recordings by any means, including by film, digital recording, videotape, audiotape and photography.
ii) Artist irrevocably and unconditionally grants to the Sponsor any consents and waivers required by the Sponsor under the Australian Copyright Act 1968 (as amended) and any statutory re-enactment or modification and all other laws now or in the future in force in any part of the world which may be required for the exploitation of the Recordings.
iii) The Recordings may be copied, distributed, communicated to the public and otherwise used by the Sponsor, its affiliates and their respective licensees to promote the Levi's® Music Prize, the Levi's® brand's association with music and ancillary uses (the "Purposes") for as long as the Sponsor continues to sponsor the Levi's® Music Prize in any media worldwide, including:
(1) on websites, digital platforms and/or social media platforms owned or controlled by the Sponsor, its affiliates or their respective licensees (including levi.com, blogs managed by the Sponsor, Facebook, Twitter and Instagram);
(2) on television or radio programming;
(3) on print, in-store and out-of-home advertising and press and/or media events; and
(4) on any and all other audio and/or audio-visual media whether now known or hereafter developed.
iv) Artist consents to the use of third party advertising in connection with the Recordings in any media provided that Artist is not represented as personally endorsing the featured products or services.
v) Artist grants to the Sponsor the right to use and to license third parties to use the Recordings or any part(s) of the Recordings and Artist's name, likeness, voice, biographical information and social media posts (relating to the Levi's® Music Prize) of Artist (together, "Content") for the Purposes in any and all media in connection with the exploitation of the Recordings.
vi) Artist assigns to the Sponsor by way of present assignment of present and future copyright and with full title guarantee any and all of Artist's rights in the Recordings and all products and materials arising out of the performances recorded. The Artist agrees to sign all necessary documentation to give legal effect to this subsection.
vii) Artist acknowledges that, subject to any separate agreement between the Sponsor and Artist's record label (if applicable), the Sponsor exclusively owns all rights (including copyright) in the Recordings and owns all master tapes and recordings of the Recordings.
viii) Artist consents to the Sponsor doing (or omitting to do) any acts in respect of the Recordings which may otherwise constitute an infringement of the Artist's moral rights (as far as it is possible to do so). The Sponsor agrees not to use the Recordings in any way which is derogatory to Artist.
Artist acknowledges that the consideration paid to the Artist by the Sponsor pursuant to this Agreement in conjunction with the Recordings includes all equitable remuneration in connection with all uses of the Recordings by the Sponsor for the Purposes (including the grant of all reproduction, distribution, rental and lending rights). The Sponsor shall not be liable to Artist for any royalty or residual payments due to Artist.
Subject to any prior approvals agreed in writing between the Sponsor, Artist's management (if applicable) and Artist's record label (if applicable), the Sponsor shall be entitled to cut, edit, modify, add to, adapt, copy or alter the Recordings in any way in its absolute discretion.
Nothing in this Agreement shall affect Artist's right, or the right of any authorized publisher or co-writer, to collect public performance royalties from any applicable collection society.
Artist agrees to execute and deliver to the Sponsor any and all documents and do any other acts as the Sponsor may reasonably deem necessary to evidence and effectuate all or any of the rights granted to the Sponsor under this Agreement.
Sponsor's use of the Artist's recordings, music and videos and the Artist's involvement in Levi's® brand campaign that are unrelated to the Levi's® Music Prize or the uses described herein shall be subject to mutual agreement between Artist and the Sponsor to be negotiated in good faith, including any compensation to be paid.
9) Privacy.
The Sponsor's privacy policy will apply to the Levi's® Music Prize and to all information that the Sponsor receives from Artists who apply for or participate in the Levi's® Music Prize. The privacy policy contains information about how to access and correct your personal information or make a complaint about a potential breach of privacy. Artists may obtain a copy of the Sponsor's privacy policy by contacting customer service via telephone at 1800 625 603, email at customerservice.lsanz@levi.com or write to the Sponsor at: Level 4, 52 York Street, South Melbourne, VIC 3205, Australia. Participation in the Levi's® Music Prize implies authorization to transfer personal data to jurisdictions other than Australia (including potentially the United States of America) for purposes of administration of the Levi's® Music Prize. The Sponsor collects personal information of Artists to administer the competition and personal information may be used to contact Artists regarding the Levi's® Music Prize. Artists (and their individual members, as applicable) may access, withdraw, and correct their personal data sending a message to the contact details provided above.
10) Limitations and Indemnification.
a. By applying for or participating in the Levi's® Music Prize, the Artist agrees to release, indemnify, defend and hold harmless the Sponsor, Queensland Music Network Incorporated, any corporate parent or subsidiary company of any of the foregoing corporate entities and their respective affiliates, directors, officers, employees, shareholders, sponsors and agents, including advertising and promotion agencies, assigns, and any other organizations related to the Levi's® Music Prize ("Released Entities"), from any and all claims, injuries, damages, expenses, or losses to person (including bodily injury or death) or property and/or liabilities of any nature that in any way arise from applying for the Levi's® Music Prize, participating in the Levi's® Music Prize or related events, or acceptance or use of a Levi's® Music Prize award, or parts thereof, including, without limitation, (i) any condition caused by events beyond the control of the Released Entities that may cause the Levi's® Music Prize to be disrupted or corrupted; and (ii) any printing or typographical errors in any materials associated with the application. Participating Artists agree to be bound by this Agreement. NOTHING IN THIS AGREEMENT LIMITS, EXCLUDES OR MODIFIES OR PURPORTS TO LIMIT, EXCLUDE OR MODIFY ANY STATUTORY CONSUMER GUARANTEES OR ANY IMPLIED CONDITION OR WARRANTY THE EXCLUSION OF WHICH FROM THIS AGREEMENT WOULD CONTRAVENE ANY STATUTE OR CAUSE ANY PART OF THIS AGREEMENT TO BE VOID ("NON-EXCLUDABLE GUARANTEES). SUBJECT TO ANY NON-EXCLUDABLE GUARANTEES, IN NO EVENT WILL THE SPONSOR AND/OR ANY RELEASED ENTITIES BE LIABLE TO AN ARTIST OR A WINNER, AS APPLICABLE, FOR ANY DIRECT, SPECIAL, INCIDENTAL, EXEMPLARY, PUNITIVE, OR CONSEQUENTIAL DAMAGES (INCLUDING LOSS OF USE, DATA, BUSINESS OR PROFITS) ARISING OUT OF OR IN CONNECTION WITH YOUR APPLICATION FOR OR PARTICIPATION IN THE LEVI'S® MUSIC PRIZE, WHETHER SUCH LIABILITY ARISES FROM ANY CLAIM BASED UPON CONTRACT, WARRANTY, TORT (INCLUDING NEGLIGENCE), STRICT LIABILITY, OR OTHERWISE, AND WHETHER OR NOT ANY ENTITY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH LOSS OR DAMAGE. SUBJECT TO ANY NON-EXCLUDABLE GUARANTEES, THE SPONSOR'S AND/OR ITS AFFILIATES MAXIMUM AGGREGATE LIABILITY IN CONNECTION WITH THESE OFFICIAL RULES AND/OR THE LEVI'S® MUSIC PRIZE WITH RESPECT TO ANY AND ALL CLAIMS FOR DAMAGES AND LIABILITIES SHALL NOT EXCEED TWENTY-FIVE THOUSAND AUSTRALIAN DOLLARS ($AU25,000).
b. By submitting a Project Proposal, Artist: (a) represents and warrants that Artist (including severally and jointly each member of the Artist band, as applicable) (i) has read, and agrees to be bound by, the terms of this Agreement; (ii) is eligible to participate in the Levi's® Music Prize; and (iii) has provided information as part of the application process that is accurate, does not violate any third party's legal rights (including without limitation rights of privacy, intellectual property and publicity), and otherwise does not violate applicable law; (b) consents to the use of information contained in the application or Project Proposal, Artist's name and/or likeness by the Sponsor for purposes of promoting the Levi's® Music Prize and future versions of the Levi's® Music Prize (whether online, in print or through any other media now known or hereafter developed), without additional compensation or authorization unless prohibited by law; and (c) agrees to be bound by determinations of the judges, which are final.
c. Artist agrees to take all further acts necessary to effectuate the intent of this Agreement including, without limitation, executing and delivering to the Sponsor and its agents all such agreements, contracts and any other documents to confirm compliance with the Agreement.
11) General Conditions.
a. Verification. The Sponsor has the right to verify each Artist's eligibility and compliance with this Agreement.
b. Irregularities. The Sponsor is not responsible for human error or other factors beyond its reasonable control. To the extent permitted under applicable law, Artist agrees that the Sponsor may cancel, suspend and/or modify the Levi's® Music Prize, or any part of it, if any fraud, technical failures, human error or any other factor impairs the integrity or proper functioning of the Levi's® Music Prize. Artist agrees that the Sponsor may void any Artist's application and disqualify any Artist it finds to be tampering with the operation of the Levi's® Music Prize or to be acting in violation of the Agreement or disruptive manner. Any attempt by any Artist to deliberately undermine the legitimate operation of the Levi's® Music Prize may be a violation of the law, and the Sponsor reserves all rights to seek damages and other remedies (including attorneys' fees) from any such Artist to the fullest extent permitted by law.
c. Discontinuation or Revocation of Award. The Artist agrees that the Sponsor may discontinue the Levi's® Music Prize at any time in its sole and absolute discretion, provided that the Sponsor shall be required to pay the unpaid balance (if any) of the Award Amount to the Levi's® Music Prize winning Artists in accordance with the mutually agreed payment schedule. The Sponsor shall have the right to withdraw the award and the Levi's® Music Prize winning Artist agrees to return any cash award which has been paid out to the Artist upon demand if the Artist (i) changes the project from the Project Proposal in a manner deemed to be material by the Sponsor in its sole and absolute discretion; (ii) postpones the project for a period longer than 6 months from the original start date of the project; (iii) commits any act or does anything that is or shall be an offense involving moral turpitude, contempt, scandal, profanity or ridicule, or which insults or offends the community or any substantial organized group thereof, or which might tend to injure the success of the Sponsor or the Sponsor's brand image, reputation, products or services; or (iv) commits any act or does anything in connection with the Project Proposal or project that violates the intellectual property or proprietary rights of other parties.
d. Identity of Artist Via Email Address. Artists must register with only one email address and physical street address. In the event of a dispute as to the owner of any Project Proposal, the authorized account holder of the email address used to enter will be deemed to be the person who submitted the Project Proposal. The authorized "account holder" is the natural person assigned an email address by an Internet access provider, online service provider or other organization responsible for assigning email addresses for the domain associated with the submitted address.
e. Indemnification. Artist acknowledges and agrees to indemnify, defend, and hold harmless the Sponsor and all of its affiliates, employees, officers, and agents from and against any and all losses arising from, relating to, or connected with participation in the Project Proposal or any part of the Levi's® Music Prize, or any activities incidental thereto including, without limitation: (i) any third-party claims, including, without limitation, any claims for personal bodily injury and/or personal property damage; (ii) claims based on any alleged breach of this Agreement by any person who is part of a Project Proposal or a Levi's® Music Prize; (iii) failure of an Artist to procure an effective waiver or consent; (iv) any claims that the Project Proposal infringes upon or violates the intellectual property rights of any third party, infringes upon or violates any person's or entity's right of privacy; or (v) actual or alleged agreements or arrangements with other Artists or participants. Artist acknowledges and agrees that the obligation to indemnify and hold harmless as set forth in this Section will survive the expiration, lapse, or termination of this Agreement.
f. Sponsor Intellectual Property. The Sponsor owns all rights in connection with the Levi's® Music Prize, including without limitation, the name "Levi's® Music Prize" and associated logos. Participants and winners of the Levi's® Music Prize are not granted any license, whether express or implied, to use the Sponsor's trademarks, logos or any other intellectual property of the Sponsor unless pursuant to a duly authorized and executed written agreement between the parties.
g. Band collaboration. Bands are solely responsible for their own teamwork. Neither the Sponsor nor its agents will officiate or be responsible for any disputes between or among members of any band (including disputes regarding conduct, cooperation, contributions, intellectual property ownership, or prize distribution or sharing).
12) Challenge is Void Where Prohibited by Law.
If the whole or any part of a provision of this Agreement is void, unenforceable or illegal, it is severed. The remainder of the terms of this Agreement have full force and effect and the validity or enforceability of that provision in any is not affected.
13) Governing Law and Dispute Resolution.
Artist agrees that any and all disputes arising from or relating to this Agreement shall be governed by and construed in accordance with the laws of Victoria, Australia. Any action, suit, or case arising out of, or in connection with, the Levi's® Music Prize or this Agreement must be brought in either the federal or state courts located in Victoria, Australia.


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Find artists, get them opportunities & manage it all in one place
Music publishers, what we can do for you?
Get opportunities
Find anyone you need to work with, from producers to artists and more through our global community. Get your songwriters' and artists' music in film, TV and more with sync opportunities, as well as the availability to pitch to Record Labels, Advertising Agencies and more.
Find artists and other industry professionals to work within our global community or even our demo submission tool. One easy place to find and listen to fresh talent.
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Manage your catalogue, metadata and playlists and send tracks professionally to anyone you're working with. If you're a bigger team you may be interested in our Private Network and get one exclusive space to work together.
Find artists & songwriters
Find artists and other industry professionals to work within our global community or even our demo submission tool. One easy place to find and listen to fresh talent
We've created streamlined tools to manage your music and rights information, so you can get started straight away. We're always interested in hearing from publishers across all genres for our projects, so please do get in touch to discuss.
Catalogue management
Manage and store all of your recordings and assets securely in one place. Metadata and rights management are all handled within your private account database. You can assign song data (works) to files and add ID3 metadata information into your files. Our inclusive audio library search tool gives you full flexibility to manage your music and add files to the integrated playlist creator, streamlining the whole curation process.
Manage everything from individual accounts or within our client-branded private network solution. The private network allows teams to collaborate 24/7 from any location, with the flexibility to manage your roster, creators and suppliers within one system.
Pitching music to clients is a breeze with our professional playlist pitching tool which includes high-quality audio and video streaming and options for customisation.
To discuss our solutions and or book a demo, simply get in touch below.
Film & TV placements
Music Licensing Showcase
We secure some of the most exciting Sync placements for our talented Artists, Songwriters, Labels, and Publishers. This has been made possible by working with our established and growing network of skilled Music Supervisors within the Film and Entertainment industry.
American TV Network CBS' ongoing crime drama "NCIS: Los Angeles" starring LL Cool J, Chris O'Donnell and Daniela Ruah follows the Naval Crime Investigation Services team as they take on the toughest cases in LA.
Souluvmuziq's multi-genre songwriter and producer MadD3E's uplifting R&B track "Know Me Better" featuring vocalist Bluesforthehorn secured a seamless sync to begin episode 10 of season 11 on a high.
Bulletproof Season 2
Sky One Sky One's action-drama series "Bulletproof" follows undercover police duo and best friends Bishop played by Noel Clarke (Kidulthood, Adulthood) and Pike played by Ashley Walters (Top Boy) as they pair up to take down criminal gangs across Europe in the pursuit of justice. 5ive 9ine is a genre-bending team comprised of U K Rap pioneer Sway Dasafo and Producer Zagor who landed a Sync for the series' multiple action-packed promotional trailers with their high-intensity Rap track "Born A King".
Piccadilly Pictures / Netflix Originals
Actress Noomi Rapace (The Girl with the Dragon Tattoo, Prometheus) leads the action-packed Netflix thriller "Close" as a deadly bodyguard hired to protect a troubled heiress. Directed & written by Vicky Jewson.
Working with Music Supervisor Claire Freeman we secured two placements with tracks "Kerbela" from artist Orlando Lanzini and "Middle" from JP.
BROS: After the Screaming Stops
Fulwell 73
BAFTA award winning documentary following the reunion of brothers Matt & Luke Goss from the 80s pop band "Bros". Watch how their journey to resolve past issues & deliver long-awaited shows at sold-out London O2 Arena gigs.
We secured a sync for Jess & James 60's pop track "Move" through working directly with established Music Supervisor, Michelle De Vries.
Ridley Scott's "The Terror" airing on AMC is a 10-part horror anthology series based on the bestselling novel by Dan Simmons.
With a catalogue full of nostalgic & vintage tracks suitable for period dramas, working with music supervisor Natasha Duprey we placed "Candy" by Jack Kluger & Jay Clever and his Orchestra.
The BBC drama "The Capture" was a huge hit. A 6-part mini-series about a persistent young detective who begins to discover a multi-layered conspiracy when handling the case of a British soldier who is charged with murder.
We placed a techno track for a specific club scene through Music Supervisor Michelle De Vries for this brief, which featured producer Politis' track "Gravity" within the fifth episode.
The Marvelous Mrs Maisel
Amazon Prime Original
"The Marvelous Mrs Maisel" is an Amazon original comedy/drama set in 1950s Manhattan following the life of Miriam "Midge" Maisel who is refinding purpose through stand up comedy after her husband leaves her for another woman.
We secured a sync for artist Lily Chao, whose track "Picking Tea Leaves and Catching Butterflies" was placed by Reel Music's Robin Urdang.
Portobello Productions
"Moffie", 2019 London Film Festival's Best Film category nominee is a British South African LGBT biographical war drama written & directed by Oliver Hermanus. The film is based on an autobiographical novel by Andre Carl van der Merwe.
Working with Music Supervisor Jack Sidey led to us securing 4 amazing sync placements by 3 separate artists for this film including artists Denny Leroux, Structure and Steve Swindells.
Sony Pictures / Netflix Originals
Critically acclaimed Netflix Original series "Bloodline" is a drama/thriller based in the Florida Keys following the well-off Rayburn family (Kyle Chandler, Linda Cardellini) who has a dark past which slowly unravels leading to an uncertain future.
A sync placement was secured for the final season with "Never Been Good at Goodbyes" by Mike Goudreau & The Boppin' Blues Band by experienced US Music Supervisor Mark Wike.
Biographical drama "American Soul" is a series on BET based on the ambitious story of Soul Train show creator and host Don Cornelius. Set in 1970's Los Angeles, this is a series filled with iconic music, dancing & fashion.
We secured 60s soul group Bud Ross & Pals with their lively track "Do Your Own Thing" working directly with Music Supervisor, Ashley Neumeister.
Sorrento Productions / Lithuania's Tauras Films
"Ashes In The Snow" is a historical drama film based on true events starring Bel Powley (Diary of a Teenage Girl) & Sophie Cookson (Kingsman: The Secret Service). Set in 1941 during Stalin's brutal dismantling of the Baltic region, Lina, a young aspiring artist and her family get deported to Siberia.
Our trailer placement was via LA advertising agency Soda Creative syncing independent artist NEVERGONE's track "Motion".
Def Jam signed artist & dancer Teyana Taylor stars in Universal Pictures' "Honey: Rise Up and Dance". Skyler joins a dance crew to compete for a college scholarship. Discouraged by her family & friends, she tirelessly practices amongst Atlanta's underground dance scene.
Singer, Songwriter Tyler Shamy scored a major sync with "Work You Out" performed by Spencer Sutherland. Thanks to established Music Supervisor, Adele Ho.
Little Drummer Girl
An amazing 6-part BBC mini-series "The Little Drummer Girl" is based on John Le Carre's best-selling novel. Actress and idealist Charlie gets drawn into high-stakes espionage. Starring Florence Pugh, Alexander Skarsgard & Michael Shannon.
Working with Air-Edel music supervisor Matt Biffa, we secured three sync placements for authentic Greek copyright music productions played during the opening scenes set in Greece.
eOne Entertainment's "Private Eyes" is a crime-solving comedy/drama TV Series based in Toronto, Canada. It follows an ex-hockey player and private investigator who form an unlikely partnership.
The soulful R&B track "You Wreck Me" by Artists Kaki & Eddy Smith was placed in the opening scene of EP 9,, S3 through Canadian Music Supervisor, Dondrea Erauw.
Bravo / NBC Universal
Produced by NBC Universal "Girlfriends' Guide To Divorce" is a TV series following a self-help book author who is recently separated and is navigating her life in Los Angeles as a single woman in her 40s.
Working with NBC in-house music supervisor Kerri Drootin, we secured a sync licensefor Artist Sounds Like Moving's track "Away".
Stoller Global Solutions / Netflix Originals
Netflix original comedy series "Friends From College" stars Keegan-Michael Key (Key & Peele, Keanu) & Cobie Smulders (How I Met Your Mother, Avengers). Experiencing nostalgia from their time at Harvard together, a group of friends try to manage their complicated lives whilst entering their 40s.
Music Supervisor Manish Ravel licensed a selection of Polish club music frok us for a nightclub scene featuring Weekend's tracks "Ona Tanczy Dla Mnie" & "Dalem Ci Kwiaty".
Destination Dewsbury
British Indie comedy film "Destination: Dewsbury" based almost entirely in West Yorkshire, follows 4 old friends on a mission to see their dying friend Frank for the very last time. The BBC reported that this made director Jack Spring the youngest feature film director at the time.
A song sync opportunity within the trailer was secured here through Music Supervisor Will Smith using rock band The Great Cynics' energising track "Whatever You Want".
Bulletproof 2
Rise Up & Dance
Manage your catalogue & get opportunities
We're here to help you manage your catalogue and get the most out of your time with tools and sync & A&R opportunities
Sync licensing
We've worked hard to establish ourselves in the sync sector, building up trusted relationships with music supervisors and companies such as Netflix, YouTube Originals, NBC Universal, Sony Pictures, Vice and Universal Pictures. You can get your artists in film, TV, games, adverts and more with our help! To see what sync placements we've had, take a look at a selection of our previous successes.
Manage your catalogue
Manage everything from individual accounts or within our client-branded private network solution allowing teams to collaborate in the cloud 247 from any location, with the flexibility to manage your roster, creators and suppliers within one system.
Easily add metadata
You can assign ID3 metadata and other information into your mp3 files. Our inclusive audio library search tool gives you full flexibility to manage your audio and add files to the integrated playlist creator, streamlining the whole curation process.
Having an effective way of managing the music you receive is key to saving time. Our central tool gives you a branded landing page for submitters to upload and provide their information and music to you.
This reduces inbox clutter and displays demos in an easy one-click play format where you can shortlist and manage as you desire.
The issue is the age-old needle in a haystack scenario, this solution takes the pain out of the process and helps the cream rise to the top.
We are a friendly bunch of people, so feel free to jump on a call for a convo or drop us an email. Just ask for Sophie, Jon, Jack, or Sam or we can come and visit you at your offices - we're down with that as well.
UK & ROW +44 (0) 203 143 3245
North America +1 917 691 2113
UK & ROW concierge@musicgateway.com
North America licensing@musicgateway.com
How Music Publishing Works & Setting up your own Publishing Company
Music publishing has the potential to be one of the most complicated areas of the music industry, but also the most lucrative. As an independent artist, it is vital to understand music publishing and get it right. You could be missing out on revenue that is owed to you whenever your music is played or streamed, and on opportunities to expand the reach of your music through sync licensing and sampling.
We're going to break down everything that relates to music publishing so that you don't miss a single trick.
Music Publishing and your rights
The nature of music publishing is making money from the play and production of your music. Every time your music is printed onto a CD, streamed on Spotify or played on the radio, you should be paid royalties. Music publishing is the process of earning royalties through the exploitation of your musical copyright.
It's paramount when it comes to publishing to first understand your rights as a songwriter. We're going to start with the conception of a new track, as this is where certain copyrights are determined.
If you, or your band, write a song or melody, then that composition belongs to you in the form of copyright. If you're an individual working alone, then it's just you. If you're in a band, then it's up to you as a group to determine who owns what. You can split the ownership any way you like, most split it evenly, but this discussion is something you can negotiate between you. This is the composition right and is only one half of it.
Once your track has been produced, then there exists a master right. If you're an independent artist, chances are you produced it yourself. In this case, you own 100% of the rights to your music. If someone else produced the sound recording, if you're signed to a label then this is the more likely, then whoever produced it owns the master rights.
Now when it comes to copyright in publishing, copyright laws only recognise the lyrics and melody as "the song". This means that when your music is published, only the owners of the composition rights are owed royalties. If you're a master rights holder, your revenue comes through record sales, online or physical.
All understood? Good. Next is royalties, the money you are owed from the circulation of your music. With publishing, there are a number of ways in which you can monetise your music:
Performance royalties: these are owed to each copyright holder whenever their music is played live, via terrestrial and satellite radio, streaming sites, internet radio, plays on TV shows, film, commercials, video games and in stores, bars, restaurants and even more.
Royalties are owed to you by each of the music services, networks, venues and sites that allow for the public broadcasting, or 'performing', of your music. Monies are collected by performance rights organizations.
Mechanical royalties: these are generated through global streaming activities, downloads and the reproduction of your song on physical media such as CDs, vinyl and cassettes.
Mechanical royalties for streams and downloads are separate from performance royalties and the master recording purchase. They are more like the equivalent of printing your song onto a CD. Spotify owes you both performance and mechanical royalties when your track is streamed, Amazon and iTunes include the mechanical royalty in the net pay of the sale of your MP3 file.
Sync licensing: is a licensing agreement settled upon by a media company, most likely through a music supervisor, with an artist or their representative, allowing for a specified track to be synced to a piece of visual media. These can be great exposure for emerging artists and can generate a lot of revenue. Usually, there is a one-off fee for the sync, as well as sync royalties for the use of the song.
Sampling: if you're a composer, this may be more applicable to you. If you create a piece of music, registering it with a rights organisation, and someone else wants to use that piece of music, they must obtain a clearance from you in order to sample it in their work.
Sampling can be lucrative as usually the artist or music publisher may ask for a clearance fee, as well as a percentage of the track revenue. These fees are decided on a case by case basis and negotiated by the parties involved.
Print rights: These are the rights to be paid to the copyright holder for the reproduction of their music in the form of sheet music. Royalties are paid in the same way as mechanical and performance royalties.
These are all the rights you need to be aware of when publishing your music yourself, or by relinquishing a percentage of your rights to a publisher in payment for their services.
What do Music Publishers do and what can they do for artists/songwriters?
So we've discussed the various rights involved in music publishing, now to understand the role of publishers and if you need one. Put simply, they publish and promote your music in order to increase your royalty revenue, then collect them and pay you. In return, the publisher is assigned or licensed a proportion of the rights by the songwriter as payment. This means both the songwriter and publisher can earn revenue from the royalties.
Publishing and royalty collection can be one of the hardest elements of making music as royalty collection can become a full-time job, taking away precious hours that could be spent on the reason we're all here, the music.
We've just discussed all the various royalties and the places that your music could generate them, now think about your time and resources, can you spare them? Or would it more worthwhile employing someone else to do so, who will probably collect more than you could alone?
Music publishers work with Performing Rights Organisations, (PROs), royalty collection agencies and a whole host of other global players in order to collect both your mechanical and performance royalties. They are usually well-connected and can open sync licensing opportunities through a network of music supervisors and contacts across the entertainment industry. Music publishers want to seek out opportunities for your music as a higher royalty revenue for you means a higher royalty revenue for them.
If your music is being listened to by a global audience, it can be difficult as an independent artist to collect all your royalties from the various rights organisations across the world. Music publishers often have ties publishers in other territories who assist them in the collection of global royalties. These are known as sub-publishers. If you sign to a large publisher, they may already have offices in other territories and therefore have no need for sub-publishers.
Depending on the publisher and the nature of the publishing deal, publishers can also provide advances to songwriters to support them in the creation of their music. Similarly to how a record label might give an artist an advance, this debt must be paid back in full to the publisher through the collection of royalties. Once the advance has been paid back, then the artist/songwriter will receive their due royalty payments.
Sync licensing is a great way to earn revenue and increase the reach of your music, this is where a music publisher can really make a difference. Music publishers can be invaluable middlemen for artists and music supervisors who source the music for films, TV, games, commercials and other methods of visual media.
It benefits music supervisors and publishers alike to keep a close network of trusted contacts. Supervisors will often turn to their network of publishers first when they have a new project and publishers can submit music by their clients that they feel would suit the brief. Independent or emerging artists can be appealing for supervisors to source music from as they don't have to pay anywhere near as much to the artists in sync fees, as they would to a major artist. Supervisors have to work within a budget too.
A good publisher should have an array of contacts throughout the entertainment industry; directors, producers, supervisors, advertising agencies and production companies. If you're particularly interested in sync licensing, ask any potential publishers about their contacts and their past successes in sync. If you're a songwriter interested in sync, you should also consider looking into production libraries to submit your music to.
Publishers should also seek to advance the careers of their clients by introducing them to influential players within the music industry. By introducing their artists to A&R teams, producers and co-writers, publishers can encourage growth for their artists at the top of the music industry ladder. Should an artist attract the ears of influential industry players and go on to rise in their career, publishers can ride off the back of this success.
If you're a small artist and you co-own the publishing rights to your music as well as your publisher, even once your contract is over, they still own those rights. If you then make it into the charts and people discover your old music, your old publisher will still receive royalties for those tracks, just as you will. For songwriters, co-writing can be a great way to advance your career through cross musical promotion, resulting in more royalties for you, and again, your publisher.
In a nutshell, music publishers can free you of a lot of paperwork and royalty hunting. They are experts in fighting for every royalty you deserve and opening up new opportunities for artists. If you're a songwriter, not a performer, music publishers can pitch your tracks to big labels and artists they're connected to. They can get the song that you wrote in your home studio, into the charts and sung by a top-selling recording artist.
The wrong music publishing deals
As with any industry, there can be a few cowboys out there who promise big results, but only have their own self-interests at heart. This is unfortunately applicable to the music publishing industry.
When considering a publishing deal, it's vital that you read the terms very carefully and clearly understand how your royalties will be split. It's worthwhile getting a lawyer to read through the contract and ensure you're not going to be swindled of your rights and your royalties.
While advances sound inviting, they are more or less a loan. Even once you've paid this off, you might still see a small return in the form of royalties depending on the copyright agreement you signed your name to in the contract, your publisher may own most of the publishing rights if not all of them. Copyrights last for years beyond your death and so that property will remain theirs long after your contract is over. Beware of 'buyout' and full music publishing agreements that sign all your rights away.
It's essential that you choose the right publisher for you, and to consider how much time and attention they can pay to your music. If you sign to a major music publishers, think of how many other artists they have on their roster and what fraction of their time will they be able to spend on your music. Will they really be able to promote your music better than you when they have only a limited amount of time to spend on your music?
Types of publishing deals
Administration agreements are a popular choice for DIY artists these days, as they do not involve any signing away of your copyrights or publishing rights. These agreements simply employ a third party to administer the rights to your music and protect them; they handle the paperwork, licensing and monetise your music.
Administrators will register your tracks with PROs like the Performing Rights Society, (PRS), in the UK and Broadcast Music Inc, (BMI), in the US. You can register with PROs yourself but it won't cover all the royalties you're owed. These organisations collect your performance royalties in their country, but not your mechanical royalties. You'll also need to register with the Mechanical-Copyright Protection Society (UK) and the Harry Fox Agency (US) to obtain mechanical royalties.
A music publisher will likely already have a registration with PROs all over the world and will handle the registration of your music for you. The organisations mentioned above only operate in two nations across the world. There are many more in which you could be generating royalty revenue and understanding the registration rights for each of these countries is not easy. This is when a publishers' sub-publishing network can really come in handy.
Administrators don't own the copyright to your music but do ask for a percentage of the earnings as a payment for their services. This fee is usually between 5-20% of your earnings but will vary dependent on administrator and contract. Agreements like these can be long term contracts, annual, or limited to one song or album. All of these considerations are up for negotiation at the time of drawing up a contract.
While these deals seem more appealing in terms of royalty and copyright retention, it is purely administrative. One of the benefits of employing a music publisher is the promotional opportunities they can generate for you. With a publishing deal like this, promoting your music would remain your responsibility.
Sub-Publishing agreements or co-publishing agreements are fairly commonplace with songwriters, as it means the publisher is not the sole owner of the copyright, but that they share it with the songwriter. Typically the publisher will own the administrative rights and handle the legal work involved, but the songwriter does not have to sign away the whole of their publishing rights. Normally it's a 50/50 split.
Co-publishing deals are usually long term, yearly or longer still, and there is likely to be an advance. The songwriter would then be required to produce a certain number of radio-friendly tracks throughout the term. These may not be quite what you'd envisage for your music artistically, but instead, the kind of tracks your publisher thinks would sell. To receive a deal like this with a hearty advance, you'll need to have made a name for yourself already within the music industry. Again these details will be negotiated when drawing up a contract.
Full publishing agreements are fast becoming a thing of the past as songwriters and artists have more knowledge of the industry and the resources available to make it on their own. These essentially mean a publisher would purchase the full publishing rights to a track for a lump sum paid to the artist/songwriter. Therefore the composer would see no royalty revenue as the publisher would own the full copyright.
Don't be blinded by the money a publisher my wave in front of your face for your music, think about the longevity and potential success of the track. Does it have the potential to bring in more throughout its lifetime in royalties than they are offering you now? If you retain the rights to that music, you can decide how it is used. Don't sign away your artistic baby to someone else who would use it for purposes you'd deem unworthy.
As we've touched on above, publishing agreements can last for as little as one song, or for the length of its copyright history, (70 years after the death of the last author in the UK). Every time you sign a publishing agreement, consider the length of time you are prepared to commit to, and what that will mean for your music should your career take off.
What to look for in a music publisher?
When you're signing a publishing deal, there are certain things you should look out for. The first is, of course, the share of the copyrights and therefore your royalty income.
Depending on your skills as a music creator and what you want to see in return, like royalties, syncs, connections, career progression, you should only sign a deal with a publisher if you feel confident they can deliver. Think about when is the right time in your career to employ a publisher and what kind of deal would benefit you most.
Consider who else the publishing company represents, are their other artists/songwriters in a similar genre to you? If you're interested in sync licensing for TV and film, then this could have an impact on which music supervisors approach them for potential syncs. Aim for a publisher who has desirable connections for your goals.
How many other artists/songwriters does this publisher represent and how much time can they allocate to your music? When negotiating the percentages of royalties with a potential publisher, ask how much time, attention and resources they will be able to spend on your music. Make sure they're doing enough work to earn their share of your royalties.
Contacts and networking opportunities should also be on your checklist for a music publisher. Are they sociable and able to connect you to someone who could do wonders for your career? Publishers act as the representation for your music, it's their job to protect and promote it. They should be working hard to provide exposure, showcasing opportunities and introductions with influential players in the industry.
Songwriters rely on their publishers' connections to major artists, labels and producers in order to earn revenue from their songs. If your publisher can't open doors to the industry for you, you have a slim chance of paying back your advance. Does this publisher have past success in securing cuts with chart-topping artists?
Accounts and payment of royalties
It's your publisher's job, as part of the administrative rights, to pay you your portion of the collected royalties. All the revenue your music has earned and has been paid to them through the rights organisations across the world they registered your music with, should be paid to you according to the terms set out in your contract.
Payments made to publishers by PROs can vary with each organisation or agency. The PRS, for example, pays artists/publishers quarterly, whereas the MCPS pays royalties monthly. Your publisher will likely have a standard payment schedule to their artists, dependent upon when they receive payments from the PROs.
How to start a music publishing company
This is a lot of information to take in, and even more to consider. If after reading this you'd rather not relinquish any of your publishing rights to anyone else, there is another option; you could start your own publishing company.
By publishing your music through your own publishing company, you keep 100% of the publishing rights owed to you by copyright, through the purchase and use of your music. Do not take this on lightly, you will be responsible for the contractual payment of your rights holders, as well as protecting their works against breaches of copyright. An early music publisher's salary can vary based on the success of the music in their catalogue, and, as we've repeatedly said, on their hard work.
As with starting up any business, there are certain processes and business decisions to undertake:
Starting up – first things first you'll need a name, a business bank account and to register your business with HMRC.
Setting up an office – this doesn't have to be literally, but there are still costs involved. You'll need some accounting software, maybe a website, cloud storage, music management, record keeping. Are you going to employ anyone to help you out?
Investment – how are you going to fund this company? There will outgoings before there are incomings so you'll need some money behind you, especially if you want to entice songwriters with advances. Are you going to take out a loan? It could be a good few years before you see any return of investment on this venture.
Legalities – there's a lot of legal work involved in music publishing so unless you're legally minded or trained, you're best off entrusting the help of a lawyer to assist you with contract write-ups and copyright breaches. This could be one of the most costly, but necessary, elements of your business.
Musicians – do you have anyone in mind for your catalogue? You will need to scout musicians to publish their music and act as their representation. The relationship you have with your artists must be honest and transparent, you need to know all of the people involved in the composition and production of their music in order to maintain accurate metadata and copyrights.
Registration – You'll need to register all the music in your catalogue with a PRO. As a writer, you can only affiliate yourself with one PRO, but as a publisher, you can affiliate with more.
If you register with a PRO as a publisher you'll face a higher membership fee, and if you register with many you'll have to consider the cost of this. You could team up with other publishers in other territories, (sub-publishing), to take advantage of their knowledge, offering the same service from you in return. This would require an agreement between you and your sub-publishing counterpart, over the royalty splits between you for each of your artists.
Connections – You'll need to start establishing connections within the music and entertainment industries. Your artists/songwriters will expect you to open doors for them with producers, A&R people, label reps, music supervisors and other artists/songwriters. You'll need to start attending events, networking effectively and maintaining relationships with other professionals in the industry.
This is one area you really need to get right as a DIY artist or songwriter. Think carefully about your music and whether you require a publisher or not. There are ways to manage your music publishing independently but you should consider what else a publisher can do for your career.
What a music publisher does?
In the music industry, a music publisher (or publishing company, also known as a rights holder) is responsible for ensuring that their songwriters and composers that are signed to them, receive royalty payments for the public broadcast of their songs and when their songs and compositions are used commercially.
This revenue includes synchronisation (sync for short) to media which will generate a sync fee for the writers and the master rights holder.
Publishers also seek to place songs with artists, which is known in the business as getting a cut. As many songwriters don't perform their own songs or are front-facing artists and therefore rely on their network and publisher to place these songs. Finally, publishers will also connect songwriters with other songwriters and artists for co-writing sessions and sometimes, songwriting camps to stimulate new songs.
What percentage do music publishers take?
The publishing agreement terms will depend on the leverage the songwriter or artist may have in the marketplace, for example, if you have just come out of a deal and secured a big hit record, clearly this puts you in a very strong negotiating position as you have a track record of the monies you generate from public broadcast revenue and proof that you are still writing big records.
However, on the other hand, if you are a young songwriter with potential, but very little in the way of traction in the market or songs placed with good artists, then the publisher will more likely have the strongest position.
It's all very give and take and there's no one publisher that ticks everyone's boxes, so do your homework and at the point you may be offered a publishing deal, get a lawyer. The terms for a typical publishing agreement would be a 70/30 split of net revenue in favour of the writer, but would not normally go below 50% or higher than 80%.
Publishing splits for publishing admin services are different, as these companies don't do what a traditional music publisher does (or should do) and therefore take less of a %. Sync revenue splits can be slightly lower splits than the broadcast % splits.
Do you need a music publisher?
Actually, no you don't need a music publisher, but being with the right one can make a huge difference to your career and that all depends on how pro-active that music publisher is with your career development.
Getting your royalties collected these days isn't an issue, and the right publisher will help place your songs with artists, get your music licensed for sync (TV, Film, Ads & Games) and co-writing with other established artists.
What is a publishing deal music?
A music publishing contract is a legal contract between a music publisher and a songwriter or author or composer of an original song. You can get a song signed as a single song assignment or get signed as a writer for all your songs to date and all the songs you writer during the term of the agreement. This later basis would also normally include picking up the publishing of your previously written songs.
The publisher will then handle the collection of your song royalties and account to you normally on a quarterly or bi-annual basis.
Q: How do I set up a music publishing company?
Create a brand or company identity (if you don't already have one)
Register your music publishing company with a PRO (performing rights organisation) such as ASCAP, BMI or PRS (UK) and note there is a fee to register, at PRS it's £400
Decide if you wish for the PRO to collect all your royalties worldwide, or you enter into sub-publishing agreements with other publishers by territory.
Register your catalogue of songs at the PRO
Then the real hard work starts, securing sync licensing placements, song cuts and songs exploited in the marketplace
Q: What does BMI do for songwriters?
In the USA there are three PROs (Performing Rights Organisations) being ASCAP, BMI, and SESAC. Canada has SOCAN, GEMA (Germany), PRS (UK) and it's these organisations that collect performance royalties on behalf of songwriters and publishers – that's it, their sole purpose is to collect performance royalties on your behalf.
Q: How do music royalty payments work?
Public performance of songs (radio, TV, live performance) will generate performance royalties for the songwriters. These royalties are collected by the PROs (ASCAP, BMI, SESAC, PRS).
In the USA, terrestrial broadcasters (AM and FM stations) do not pay performers or sound recording copyright owners; they only pay the songwriters, whereas in the UK and Europe both copyright owners earn revenue and account back to the PROs.
Q: How much does it cost to start a music publishing company?
BMI charges $150 for a company to join and zero for songwriters. In the UK it costs £100 to join as a songwriter and £400 to join as a music publisher.
Q: Is ASCAP a music publisher?
ASCAP, BMI and SESAC are all not music publishers. It's important to understand that ASCAP, BMI, SESAC, SOCAN (Canada) and other performing rights organisations collect performance royalties on behalf of songwriters and music publishers and therefore are not your publisher, and do not act as your publisher.

redpajama_set_name: RedPajamaCommonCrawl


However, the painful on my knee was getting better after I kept doing the exercise for one month. It barely hurt when I bend my knee now.First of all, the whole process is much clearer because making appointment makes process efficient. People just show up on the schedule time instead of waiting in the hall way for hours. Secondly, I was asked to take an X-ray although I mentioned my bone does not hurt because the doctor wanted to make sure everything was checked before making the conclusion.


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Armed Robberies Rise in Texas Cities
Over the last two years, Texas cities have been struggling to contain a spike in violent crime as armed robberies rise.
A report in U.S. News noted police in Austin are trying to stem an increase in robberies and overall violent crime in a fast growing metro area.
In March, The Austin American-Statesman reported a spike in violent crime that left half a dozen people dead as partygoers flocked to festivals. Violent crime rose by 10 percent in 2016, and Austin recorded more homicides than it had in years.
In the year through March 13, police reported 187 robberies, including four at banks and 28 at businesses. Police said in about half of these instances – 92, the robbers were armed with a gun. The gun was fired in nine robberies.
Armed robberies rise in Texas
The armed robberies rise is unusual for the area and has alarmed police officers.
Assistant Police Chief Joseph Chacon who runs Austin's violent crime division said:
"We don't think things are out of control by any means, but we are constantly taking note of where we are to make sure we don't get to that out-of-control point."
In Austin 2016 was the first year in about a decade that violent crime numbers rose. Police have concentrated on identifying crime hot spots and trying to disrupt them through fast response tactics.
Last year, we noticed the biggest spike in gun crime across the nation since 1971. Homicides rose in Fort Worth even though overall crime fell in the city.
Notwithstanding the massive increase, the overall murder rate across the United States remains about half what it was in 1991, the year a violent crime wave in the late 1980s came to a head.
If you are charged with murder in Texas you could lose your liberty or even your life. Armed robberies also carry heavy sentences. To convict a defendant of armed robbery in Texas, prosecutors have to prove beyond all reasonable doubt the defendant knowingly or recklessly caused injury while committing a theft.
Don't forget it's the prosecution's job to prove your guilt. An experienced criminal defense attorney can build a powerful case against the prosecution and alert a jury to inconsistencies in the evidence that could point to your innocence.


Thirty-six years ago, a counter-insurgency operation, code named Phoenix, began operating in Viet Nam. Targeted kidnappings, torturing suspects, and extra-judicial killings were employed against a terrorized Vietnamese population, the objective being to secure intelligence concerning the identities of unknown enemies. It has been born again in the middle- east, and once again it hides behind a fog of war generated by taxpayer money and hidden by the pentagon.


In response to an increased demand for WiFi Internet access, World WiFi Network Inc. recently announced their plans to set up hotspots in Caribbean ports of call where crew members, passengers, tourists and locals can access the Internet wirelessly. A roaming network, customers can connect with one account at all locations, and can purchase plans online or prepaid Internet surf cards at each hotspot location.
With more than 50 active hotspots, World WiFi Network projects to have one or more hotspots in the most frequented ports of call in the Caribbean by the end of 2013. Customers can lookout for the World WiFi Network SSID to connect to or simply view the hotspots at www.WorldWiFiNetwork.com prior to their visit.


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Category Archives: Authentication
A striking memoir by Gus Simmons
2022-03-22 Authentication, News coverage, PoliticsRoss Anderson
Gus Simmons is one of the pioneers of cryptography and computer security. His contributions to public-key cryptography, unconditional authentication, covert channels and information hiding earned him an honorary degree, fellowship of the IACR, and election to the Rothschild chair of mathematics when he visited us in Cambridge in 1996. And this was his hobby; his day job was a mathematician at Sandia National Laboratories, where he worked on satellite imagery, arms-control treaty verification, and the command and control of nuclear weapons.
During lockdown, Gus wrote a book of stories about growing up in West Virginia during the depression years of the 1930s. After he circulated it privately to a few friends in the cryptographic community, we persuaded him to put it online so everyone can read it. During this desolate time, coal mines closed and fired their workers, who took over abandoned farms and survived as best they could. Gus's memoir is a gripping oral history of a period when some parts of the U.S.A. were just as poor as rural Africa today.
Here it is: Another Time, Another Place, Another Story.
WEIS 2020 – Liveblog
2020-12-14 Authentication, Cybercrime, Legal issues, Politics, Security economics, Security psychologyRoss Anderson
I'll be trying to liveblog the seventeenth Workshop on the Economics of Information Security (WEIS), which is being held online today and tomorrow (December 14/15) and streamed live on the CEPS channel on YouTube. The event was introduced by the general chair, Lorenzo Pupillo of CEPS, and the program chair Nicolas Christin of CMU. My summaries of the sessions will appear as followups to this post, and videos will be linked here in a few days.
Towards greater ecological validity in security usability
2020-06-26 Academic papers, Authentication, Open-source security, Web securityAuthentication, passwords, User studiesFrank Stajano
When you are a medical doctor, friends and family invariably ask you about their aches and pains. When you are a computer specialist, they ask you to fix their computer. About ten years ago, most of the questions I was getting from friends and family as a security techie had to do with frustration over passwords. I observed that what techies had done to the rest of humanity was not just wrong but fundamentally unethical: asking people to do something impossible and then, if they got hacked, blaming them for not doing it.
So in 2011, years before the Fido Alliance was formed (2013) and Apple announced its smartwatch (2014), I published my detailed design for a clean-slate password replacement I called Pico, an alternative system intended to be easier to use and more secure than passwords. The European Research Council was generous enough to fund my vision with a grant that allowed me to recruit and lead a team of brilliant researchers over a period of five years. We built a number of prototypes, wrote a bunch of papers, offered projects to a number of students and even launched a start-up and thereby learnt a few first-hand lessons about business, venture capital, markets, sales and the difficult process of transitioning from academic research to a profitable commercial product. During all those years we changed our minds a few times about what ought to be done and we came to understand a lot better both the problem space and the mindset of the users.
Continue reading Towards greater ecological validity in security usability →
Security Protocols 2019
2019-04-10 Academic papers, Authentication, Banking security, Cybercrime, Privacy technology, Security psychologyRoss Anderson
I'm in the Security Protocols Workshop, whose theme this year is "security protocols for humans". I'll try to liveblog the talks in followups to this post.
Future ID
2019-03-19 Academic papers, Authentication, Cybercrime, Electronic voting, Legal issues, Politics, Privacy technology, Security economicsRoss Anderson
I'm in the FutureID3 workshop in Jesus College, Cambridge, and will try to liveblog the talks in followups to this post.
Financial Cryptography 2019
2019-02-18 Academic papers, Authentication, Banking security, Cryptology, Cybercrime, Protocols, Security economics, Security psychologyRoss Anderson
I'm at Financial Crypto 2019 and will try to liveblog some of the sessions in followups to this post.
2018-02-26 Academic papers, Authentication, Banking security, Cryptology, Cybercrime, Legal issues, Privacy technology, Protocols, Security economicsRoss Anderson
Manifestos and tech
2017-05-19 Authentication, Cybercrime, Internet censorship, Legal issues, News coverage, Politics, Security economicsRoss Anderson
The papers went to town yesterday on the Conservative manifesto but missed some interesting bits.
First, no-one seems to have noticed that the smart meter programme is being quietly put to death. We read on page 60 that everyone will be offered a smart meter by 2020. So a mandatory national programme has become voluntary, just like that. Regular readers of this blog will recall that the programme was sold in 2008 by Ed Milliband using a dishonest impact assessment, yet all the parties backed it after 2010, leaving no-one to point out that it was going to cost us all a fortune and never save any carbon. May says she wants to reduce energy costs; this was surely a no-brainer.
That was the good news for England. The good news for friends in rural Scotland is high-speed broadband for all by 2020. But there are some rather weird things in there too.
What on earth is "the right of businesses to insist on a digital signature"? Digital signatures are very 1998, and we already have the electronic signature directive. From whom will businesses be able to insist on a signature, and if I'm one of the legislated victims, how much do I have to pay to buy the apparatus?
All digital businesses will have "to support new digital proofs of identification". That presumably means forcing firms to use Verify, a dysfunctional online authentication service whose roots lie in Blair's obsession with identity. If a newspaper currently identifies its subscribers via a proprietary logon, will they have to offer Verify as an option? Will it have to be the only option, displacing Facebook and Twitter? The manifesto also says that local government will have to use Verify; and elsewhere that councils must publish planning applications and bus routes "without the hassle and delay that currently exists." OK, so some councils could so with more competent webmasters, but don't worry: "hundreds of leaders from the world of tech can come into government to help deliver better public services."
The Land Registry, the Ordnance Survey and other quangos that do geography (our leader's degree subject) will all band together to create the largest open repository of land data in the world. So where will the Ordnance Survey get its money from then? That small question killed the same idea in 2010 after Tim Berners-Lee sold it to Cameron.
There will be a levy on social media companies, like on gambling companies, to support awareness and preventive activity. And they must not direct users, even unintentionally, to hate speech. So will Facebook be fined whenever they let users like a xenophobic article in the Daily Mail?
No doubt in view of the delicacy of such regulatory decisions, Leveson II is killed; there will be a Data Use and Ethics Commission instead. It will advise regulators and develop the principles and rules that will give people confidence their data are being handled properly. Wow. We now have the Charter of Fundamental Rights to give us principles, the GDPR to give us rules, and the ECJ to hammer out the case law. Now the People don't have confidence in such experts we're going to let the Prime Minister of the day appoint a different lot.
The next government will further strengthen cyber security standards for government and public services, so presumably all such services will have to use expensive networks such as the NHS-wide network from BT which will expect them to manage their own firewalls without telling them how to.
But don't worry. It will become "as difficult to commit a crime digitally as it is physically". There is text about working "with international law enforcement agencies to ensure perpetrators are brought to justice" but our local police force isn't allowed to do anything effective about online accommodation fraud committed by a gang in Germany. They have to work through the NCA – who don't care. The manifesto signals more of the same: the NCA will get to eat the SFO, which does crimes over £100m, leaving them even less interested in online crooks who steal a thousand pounds of deposit from dozens of students a year.
In fact there is no signal anywhere in the manifesto that May understands the impact of volume cybercrime, even though it's now most of the property crime in the UK. She rather prefers to boast of the falling crime over the past seven years, as if it were her achievement as Home Secretary. The simple fact is that crime has been going online like everything else, and until 2015 the online part of it wasn't recorded properly. This was not the doing of Theresa May, but of Margaret Hodge.
The manifesto rather seems to have been drafted in a geek-free room. And let's not spoil the party by mentioning the impact that tight immigration targets will have on the IT industry, or for that matter on higher education. Perhaps they want us to hope that they don't really mean that part of it, but perhaps we'd better make a plan to open a campus in India or Canada, just in case.
Pico in the Wild: Replacing Passwords, One Site at a Time
2017-05-03 Academic papers, Authentication, UsabilityDavid Llewellyn-Jones
The Pico team have just returned from Paris, where Kat Krol presented at both EuroS&P and the affiliated EuroUSEC workshop on usable security.
Pico is an ERC-funded project, led by Frank Stajano, to liberate humanity from passwords. It lets you log into devices and websites without having to remember any secrets. It relies on "something you have": in the current prototype, that's your smartphone, potentially coupled with other wearables, though high-security niche applications could use a dedicated token instead.
Our latest paper presents a new study performed in collaboration with the Gyazo.com website, where we invited users to test out the Pico authentication app for logging in to the site. A QR code was displayed on the Gyazo login page for the duration of the trial, allowing users to access their images simply by scanning the QR code and avoiding the need to enter a username or password.
Participants used Pico for two weeks, during which time we collected feedback using telemetry data, questionnaires and phone interviews. Our aim was to conduct a trial with high ecological validity, avoiding the usual lab-based studies which can run the risk of collecting intentions rather than actual behaviour.
Some of the key results from the paper are that participants liked the idea of Pico and generally found it to be secure and less cognitively demanding than passwords. However, some disliked the need to scan QR codes and suggested replacing them with another modality of interaction. There was also a general consensus that participants wanted to see Pico extended for use with more sites. The pain of password entry on any particular site isn't so great, but when you scale it up to the plurality of sites we all routinely have to deal with, it becomes a much more serious burden.
The study attracted participants from all over the world, including Brazil, Greece, Japan, Latvia, Spain and the United States. However, it also highlighted some of the challenges of performing experimental studies 'in the wild'. From an initial pool of seven million potential participants – the number of active users of the Gyazo photo sharing site – after reducing down to those users who entered passwords more regularly on the site and who were willing to participate in the study, we eventually recruited twelve participants to test out Pico. Not as many as we'd hoped for.
In the paper we discuss some of the reasons for this, including the fact that popular websites attempt to minimise the annoyance of password entry through the use of mechanisms such as long-lived cookies and dedicated apps.
While the purpose of the paper is to explore usable security and end-user reactions, it also allowed us to test out the Pico nginx reverse-proxy lens. Using this we could deploy Pico to the Gyazo website as in-page Javascript, demonstrating seamless deployment (zero changes to the backend Gyazo code) and removing the need for the user to install a browser plugin. The tech worked like a charm throughout the trial.
The paper is available from the Internet Society and the abstract for Kat's short talk, covering future Pico evaluation studies, is available from the EuroS&P website.
2017-03-20 Academic papers, Authentication, Banking security, Cybercrime, Electronic voting, Legal issues, Politics, Privacy technology, Protocols, Security economics, Security engineeringRoss Anderson
I'm at the twenty-fifth Security Protocols Workshop, of which the theme is protocols with multiple objectives. I'll try to liveblog the talks in followups to this post.


text:
import ActionManager from "@enhavo/app/action/ActionManager";
import EventDispatcher from "@enhavo/app/view-stack/EventDispatcher";
import View from "@enhavo/app/view/View";
import DataEvent from "@enhavo/app/view-stack/event/DataEvent";
import * as $ from "jquery"
import ComponentRegistryInterface from "@enhavo/core/ComponentRegistryInterface";
import PreviewData from "@enhavo/app/preview/PreviewData";

export default class PreviewApp
{
    public data: PreviewData;

    private readonly actionManager: ActionManager;
    private readonly eventDispatcher: EventDispatcher;
    private readonly view: View;
    private readonly componentRegistry: ComponentRegistryInterface;

    constructor(
        data: PreviewData,
        eventDispatcher: EventDispatcher,
        view: View,
        actionManager: ActionManager,
        componentRegistry: ComponentRegistryInterface
    ) {
        this.data = data;
        this.eventDispatcher = eventDispatcher;
        this.view = view;
        this.actionManager = actionManager;
        this.componentRegistry = componentRegistry;
    }

    init() {
        this.actionManager.init();
        this.view.init();

        this.data = this.componentRegistry.registerData(this.data);
        this.componentRegistry.registerStore('previewApp', this);

        this.eventDispatcher.on('data', (event: DataEvent) => {
            if(event.id == this.view.getId()) {
                if (!event.data || event.data.length === 0) {
                    return;
                }
                this.data.inputs = event.data;
                // delay submit so vue has time to update form
                setTimeout(() => {
                    this.submit();
                }, 500);
            }
        });

        this.view.addDefaultCloseListener();
        this.view.ready();
    }

    submit()
    {
        $('form').submit();
    }
}

redpajama_set_name: RedPajamaGithub


Elizabeth and Joe Rich, of Ottumwa, Iowa, first connected with Brad Van Voorhis, MD, and his team just over 10 years ago to discuss their potential for in vitro fertilization.
The couple began their journey to becoming parents a bit later in life, Elizabeth says. They were aware of the possible risks with pregnancy at Elizabeth's age and decided to consult their primary care physician for guidance. In order to create the safest and healthiest pregnancy possible for both mother and baby, their doctor recommended they see Van Voorhis at University of Iowa Hospitals & Clinics.
Van Voorhis has been serving patients at UI Hospitals & Clinics for 28 years and has been directing the only IVF program in eastern Iowa—one of only two such programs in the state—since 2003.
In addition to the IVF program's profound medical innovations, they work with families to keep the cost of treatment down as well as provide financing options for their patients. Van Voorhis says this enables a wide variety of people to come into the program for assistance in building a family. This, too, impressed Elizabeth and Joe, and reassured them that this was an attainable option for their family. Elizabeth says that she is forever grateful for the opportunities the IVF program offered.
Van Voorhis' unique care strategy also sets his clinic apart. He collaborates with all members of his team, which includes experienced physicians, lab staff, sonographers, and many other specialists, in order to design an educated and individualized approach to each family's needs.
"Communication, individual care, and the desire for knowledge from all aspects of our team contribute to our success," Van Voorhis says.
Weekly team meetings focus on ideas and solutions for each individual case, and serve as a constant reminder of the individual impact that the team has on these families' lives.
At the end of their journey, Elizabeth says that she and Van Voorhis were good friends, and he would always be someone she could seek guidance from in all aspects of care. From phone conversations that lasted long after the clinic was closed for the night, to helping friends find the right care for their families because of Van Voorhis and his team, Elizabeth says that they were cared for every step of the way.


text:
Rosa Valeria Sarmiento Martínez (Valparaíso, 29 de octubre de 1948) es una directora, guionista y montajista chilena, que ha trabajado tanto en cine como en televisión. Es miembro de la Academia de Artes y Ciencias Cinematográficas de Hollywood.

Biografía
Nacida en Valparaíso (Chile), en donde estudió cine. Se casó con el cineasta Raúl Ruiz en 1969 y cuatro años después se vieron obligados a trasladarse a París (Francia) debido al golpe militar de Augusto Pinochet en Chile.

El debut de Sarmiento como directora se produjo tan sólo un año antes, con el estreno del documental Un sueño como de colores (1972), centrado en un grupo de mujeres dedicadas al striptease; el tono de este trabajo permanecería en muchos otros documentales dedicados a la mujer, al machismo y a temas similares. Desde entonces, se ha desempeñado también como montajista y guionista, colaborando en numerosos proyectos con su marido. También ha participado como actriz en la película Diálogos de exiliados (1975) y en el cortometraje Voyage d'une main (1985), ambos dirigidos por Ruiz.

Su documental Un sueño como de colores permaneció perdido e inédito durante décadas, pero en 2021 fueron encontrados los negativos originales de la película y la Cineteca Universidad de Chile inició un proceso de restauración de estos.

Trayectoria

Cine

Televisión

Premios y reconocimientos
Festival Internacional de Cine de San Sebastián

Referencias

Bibliografía
Nomadías. El cine de Marilú Mallet, Valeria Sarmiento y Angelina Vásquez de las autoras Elizabeth Ramírez y Catalina Donoso (2016)

Enlaces externos

Actrices de cine de Chile
Directores de cine de Chile
Directores de televisión de Chile
Guionistas de cine de Chile
Montadores de Chile
Nacidos en Valparaíso
Alumnado de la Universidad de Chile

redpajama_set_name: RedPajamaWikipedia


Original de Robert Platt (1930): Chile, train stopped near piles of lumber at Quitratúe.
Lugar: Quitratúe en la Región de Araucanía, Chile.
(©) American Geographical Society Library, University of Wisconsin-Milwaukee Libraries; Digital ID: pl005625.


CHINO HILLS – Ayala has had one of the more storied girls cross country programs in the Inland Valley, and now you can place junior Taylor Khan at the top of Ayala's all-time list.
Not only did Khan become the first runner in school history to break 18 minutes at Mt. San Antonio College, but she helped lead the Bulldogs to a berth at the CIF State Championships and ultimately a sixth-place finish in Fresno.
Khan's breakthrough year earned her Inland Valley girls runner of the year honors for 2010.
Ironically, Khan tried cross country as an alternative to other sports with which she struggled.
So in addition to playing piccolo in the school band, Khan tried running.
"As a freshman, I joined because I wanted to run," she said. "I realized I thought these people are crazy, how hard everybody works.
It started during the summer when she and fellow junior captains Jaclyn Gonzalez and Chandler Colquitt dedicated themselves to the team goal: make it back to state.
Khan ran her 17:55 in the Division 1 and 2 team sweepstakes races at the Mt. SAC Invitational and broke Briana Cahn's school record of 18:01.
Khan did not run as well in the heat at league finals on the same Mt. SAC course. She finished seventh in 19:42 as teammate Jaclyn Gonzalez was league champion.
"I don't know what happened," Khan said. "I put it behind me. I tried to move on from it. I'm still happy because we won league.
She ran much better at CIF-SS Division 2 Prelims, in which she was seventh (18:58). The next week at CIF-SS Finals, she ran an identical time and was 17th.
With the Ayala girls qualifying for state for the first time since 2006, Khan had a little bit left for Fresno's Woodward Park course.
Earlier in the year, she finished 10th in the girls championship race in 18:30. In cold and damp conditions, Khan bettered that effort at state with a time of 18:25, which was good enough for 16th place and helped lead Ayala to a sixth-place team finish.
The time was the third-best in school history at Woodward Park.
Most of Khan's goals revolve around the team. As a captain, she is a leader during offseason workouts.
"Some people like to talk to a whole group," she said. "My approach is one on one with girls.
With Khan leading the way and setting more school records, there's a lot Ayala can achieve in 2011.


I am trying to ascertain the likelihood that the UK will experience a power shortage this winter, ie, the probable amount of time that the UK energy production capacity will be less than demand. I have one constant and two variables. The constant is fixed energy capacity - derived from sources such as coal plants, nuclear plants, etc. Then there is a variable capacity - wind. Total capacity is therefore fixed capacity plus wind capacity. The other variable is demand.
I have a data set that gives the wind capacity and demand for every 5 minutes of the past 8 years. From this I have been able to establish the probable frequency distribution of wind capacity and demand capacity for this coming winter, attached in a pdf. How do I calculate the probability that for any given 5min time stamp the wind capacity will be sufficiently small and the demand sufficiently high that total capacity is smaller than demand?
The easiest way that I could come up with was a Monte Carlo simulation using your empirically derived distributions. I came up with a probability that demand would exceed capacity approximately 0.55% of the time.
That's really helpful thank you very much, it's exactly what I needed.
I will need to do this calculation for a range of different datasets. I'm a bit of an amateur when it comes to statistics and I've never modelled a monte carlo simulation before. I was just wondering what software you used to conduct this analysis, and if you know of anywhere I might be able to find a step by step guide as to how to do it?
I used Quantum XL. It is an Excel add-in, and is currently priced at $549 USD.
This link has a step-by-step for Minitab. While there are some Minitab-specific instructions, the actual steps are fairly generic. There are also a lot of YouTube videos that may be helpful.