Assignment Cover Sheet

• Assignments submitted physically (i.e. on paper, CD, DVD etc .) must be received at Collarts Reception by
4pm on the date that they are due with a completed Assignment Cover Sheet attached; and assignments submitted
electronically (i.e. Turnitin, Moodle or email) must be received before 4pm on the date that they are due with a typed
or scanned Assignment Cover Sheet attached as the first page of the assignment.
• Assignment due dates are published in Unit Outlines. In the case of unforeseen circumstances, and with the
approval of the Degree Leader, lecturers can extend an assignment due date for an entire cohort, but cannot issue
extensions to assignment due dates for individual students.
• If you are experiencing adverse circumstances that are likely to prevent you from meeting the due date of an
assignment, you can apply to the Degree Leader or the Dean for an extension to the assignment submission date.
Such requests must be made on the appropriate form no less than 48 hours (2 days) before the published (or
agreed) due date of the assignment.
• The following grading penalties will be imposed on overdue assignments.

Number of Days Overdue Grade Deduction

One day overdue 10%
Two days overdue 20%
Three days overdue 30%
Four days overdue 40%
Five days overdue 50%

• Assignments not submitted within five working days of the due date will not be graded, but may be considered as
evidence to support the awarding of a conceded pass grade in the subject by the Board of Examiners at the
completion of the assessment period. It is therefore in students’ best interests to complete all assignments, even if
submitted too late to be assessed.
• It is the responsibility of students to retain copies of all submitted assignments. If for any reason an assignment
cannot be located, students can be asked to resubmit. Failure to do so within 24 hours will be treated as non-
submission of the assignment and the above grade deductions will apply from the date of the request.

First Name: Jonty Last Name: Czuchwicki

Student ID Number: 2123 Contact Phone Number: 0405704933

Course of study
Music x Audio Entertainment Man. Entertainment Journalism

Music production Fashion Marketing Content Creation

Unit Name:
(e.g. Critical Thinking ) Entertainment Industry Practices

Assignment: Business Assignment

Lecturer: Katy Richards

Student Declaration of Authorship (Attachment of this document to an electronic submission will be construed as agreement
to the below statement)

• I declare that this assignment is my own work, except where the work of others is clearly indicated in either direct or
parenthetical quotation, or paraphrase, and is referenced accordingly in citation and the bibliography, and it has not
previously been submitted for any assessment at an educational institution.
Student’s Signature:……………………Jonty Czuchwicki…………………………………………………….. Date:…………………22/04/2019……………………………………

Entertainment Industry Practices – Business Assignment

Obtain an ABN (10 Points)

44 814 114 051

Register with APRA (10 Points)

Member Number 821625

Build a Database for Networking Opportunities (10 Points)

Jonty’s Contacts Organisation Role Email

Jon Howarth Nuclear Blast Publicist riotman@bigpond.com
Chris Maric Maric Media Publicist chris@maricmedia.com.au
Daniel Cribb The Music WA and SA daniel@themusic.com.au
Editor
Dan Crannitch 5/4 Booking dan@fivefourentertainment.com.au
Entertainment Agent
Greg Sanders Gun Fever Booking greg@gunfever.com.au
Music Agent
Lisa Bishop Music SA General lisa@musicsa.com.au
Manager
Denis Hogan Crowbar Booking denis@crowbarbris.com
Brisbane Agent
Jack Stav The Workers Booking bookings@theworkersclub.com.au
Club Fitzroy Agent
Janine Morcos Dallas Does Publicist janine@dallasdoespr.com
PR
Melody Forghani Twnty Three Publicist melody@twntythree.com

Create a polished Biography for yourself (20 Points)

Jonty Czuchwicki is a Melbourne based musician who began playing the drums at the age of 8 after being inspired by Animal
from the Muppets. Jonty began playing shows in 2014 primarily in the rock and metal genres. Witnessing drummers
performing live in concert pushed Jonty to start playing in bands. Jonty is studying a Bachelor of Music performance degree
at Collarts.

With command over a variety of genres you can expect to hear Jonty play funk, jazz, blues and experimental music. Jonty’s
drumming style is fast and sporadic; a nimble and heavy hitter, Jonty’s influence from innovators Brann Dailor, Chris Adler
and Tomas Haake are unmistakeable. Ghost note grooves, syncopation, polyrhythmic playing and fast 32nd note fills are key
to his repertoire.

Jonty’s most notable performances were on his band Cobra’s Indonesian tour where he performed to a sold-out audience in
the 200 cap Beerhouse in Malang, Indonesia. Currently Jonty is playing drums in the alternative emo rock band Junk and
working to produce solo material.
Critique a Nominated Gig from A business perspective – 20 Points

Gig: Zachary Leo, JUNK and Damielou

Venue: The Workers Club

Date: Sunday March 3rd

Ticket Price: $10

Venue Hire: $2.20 per ticket

Engineer: $180

Ticket Sales: 15 ($120)

Losses: $60

I was contacted by the booking agent for The Workers Club approximately 2 weeks prior to the show date. He told
me that a full line up had dropped out and asked if I could pull something together in short notice. I was reluctant,
but I consulted the band I play in with fellow Collarts students David Sampson, Marz Cooper and Yanni Apostolidis
to see if they were interested. I recommended that we did not do the show, as we were already promoting a
headline appearance at The Bendigo Hotel for February 28th. Despite my thoughts the rest of the band were keen,
so we took on the show. I projected that it would better my relationship with the booker of The Workers Club.

The Workers Club have a set of requirements that usually must be completed 6 weeks out from the show, this
includes the full line up, booking the sound engineer, creating a poster and delivering 10 copies to the venue,
creating a Facebook event and sending a high resolution picture to the venue. Naturally the booker didn’t mind
that this would be completed closer to the show date, but it did mean that the show was only announced one
week out from occurring, not to mention three days after a headline show that had been promoted heavily for
one month.

As we were didn’t have much time to shop around for the most affordable sound technician we went with one for
the cost of $180 which is certainly above our range as a new band and we prepared ourselves with the possibility
of walking away with little profit to split between the bands or simply come out at a loss. We saved money by
working the door ourselves but unfortunately, we had not produced any merch to sell to help recoup our losses.

Critically and from a business perspective the gig was not a success. A lesson was learnt that it’s not worth
performing a favour for someone at the expense of your own business. All the shows revenue, along with an
additional $60 went to paying the sound technician. In future I would not take on a show at such a large venue
(220 capacity) on such short notice.

In future I would make sure that line up, engineer, Facebook page, poster and press release are all ready to go
prior to announcing the show 6 weeks in advance. It is also important from a business perspective to have
merchandise and recorded music available. Utilising street press, local radio and using the show as a single launch
would all have helped the gig financially.
Critique a Basic Contract – 30 points

Film Synchronisation Contract

“Composer hereby licenses to Employer and its assigns, as their interest may appear, on a non-exclusive basis, the following
rights including, without limitation, the complete, unencumbered, exclusive and perpetual right throughout the world to
exhibit, record, reproduce, broadcast, televise, transmit, publish, copy, print, reprint, vend, sell, distribute, perform and use
for any purpose, in connection with the motion picture as defined herein, whether or not now known, invented, used or
contemplated, and whether separately or in synchronism or timed relation with the Picture or trailers, clips or portions
thereof, or any other motion picture or otherwise, all or any part of the matters and things referred to in this paragraph and
to refrain from all or any part thereof. Employer or its assigns may add lyrics from all or any part thereof. Employer or its
assigns may add lyrics in any language, and otherwise add to, subtract from, arrange, rearrange, revise and adapt all such
material and the Picture in any manner, and Composer hereby waives the "moral rights" of authors, as said term is
commonly understood throughout the world.”

This contract is very expansive. If a composer was considering this contract, they should know important figures
such as the budget of the motion picture and the assets of the studio producing the motion picture. The
Composer should also know the value of their composition. If the composition has already been released
commercially the composer can consider record sales, chart positions, radio and performance royalties, rates
negotiated for previous synchronisations and their current touring income as a metric for the value of their
compositions. These two figures should be considered when negotiating a rate. Considering the expansiveness of
the contract, it would be recommended that the composer negotiated the highest possible rate.

It must also be considered whether there is a point at which there is no monetary price for the level of control
that Employer is demanding over the composition. The Employer is demanding they have the composition to ‘use
for any purpose’ along with the ability to ‘add lyrics in any language, and otherwise add to, subtract from,
arrange, rearrange revise and adapt all such material… in any manner’.

Without explicit details of the studios intentions to use the piece of music this contract is very weak and would
not be recommended to commercial musicians whose composition is a part of a wider collection of pieces that
they make a living from releasing and touring on. For instance; a composition about environmental impact could
ended up on a tie in advertisement for the motion picture that is sponsored by Coca-Cola; the largest waste
producer of plastic waste in the world (Laville, Sandra, 2019). The lyrics could be changed to Javanese and
broadcasted in Indonesia where it may not come to the Composers immediate intention.

Section 1 (b) also prevents the Composer or anyone acting on their behalf from acting to prevent or interfere with
the Employer’s rights stated in the contract. Thus, the contract is completely binding, and the Composer must be
completely sure that the sum is worth the stipulations. The addition of an exit clause would make this contract
much more desirable.

Section 1 (c) also states that no payments related to the use of their composition can be made to the Composer
besides the lump sum agreed on in the contract. This means that if the film performs better than it was expected
the Composer will not receive any additional money. It also means that if the song is included on an ‘Official
Motion Picture Soundtrack’ that the artist will not receive royalties for this use of their composition. Negotiating
percentages of potential income streams from the use of the composition in the motion picture would this
contract more recommendable.
Lest there was total transparency over the intended use for the composition between the Employer and the
Composer I would only recommend this to musicians who have composed music deliberately to shop to studios
as music for the screen. For commercial musicians, the sum offered must be weighed against the integrity and
non-monetary value they have placed in their own music or product.

Bibliography

Laville, Sandra, 14/03/2019. Coca-Cola admits it produced 3m tonnes of plastic packaging a year, The Guardian.
Accessed 22/04/2019. Link: https://www.theguardian.com/business/2019/mar/14/coca-cola-admits-it-produces-
3m-tonnes-of-plastic-packaging-a-year