Popular First Dance Wedding Songs

  • What It Means To Read A Crowd?

    16 Feb 2020
    DJAA
    1290
    0

    As some couples think about the entertainment for their wedding, they may consider using their own music on an iPod or iPhone. After all, we’ve all had friends over at the house and entertained them with an iTunes or Spotify playlist that we created, so how much harder could it be to rock a wedding?

    The answer: Much harder.

    There’s a huge difference between a few friends singing along at a dinner party or barbecue and trying to get multiple generations up on the dance floor to celebrate a wedding. That’s where a professional DJ comes in. He or she has the experience to curate a playlist (most often with the couple’s input) and then program the night to maximise the dancing time. An experienced DJ will have the music knowledge to know which songs match well with other songs and they’ll know when to change the direction of the music to satisfy as many of the guests as possible. This is where “reading the crowd” comes in.

    A DJ never goes into an event with songs laid out in the order that they’ll be played in. There are just too many factors involved to be that rigid. Rather, they have a general idea of what songs they’ll play throughout the night but they are always observing the crowd and responding to what they see. An experienced DJ can tell when a crowd is tiring, when they want to hear a different genre and when they’re about to erupt. They look for clues from the people on the dance floor as well as the people who are sitting. And they pivot and change course throughout the party based on the feedback (both spoken and unspoken) they receive. These are things that a pre-set playlist can’t do, and it’s the difference between technology and an actual human being controlling the music.

    What are some of the clues a crowd gives off? Starting from the beginning of the event, it can be things like singing along to background music during pre-dinner drinks or bopping in their seats during dinner. If and when the guests move rooms, how do they walk? Are they sauntering in with their heads down looking at their phones or are they sashaying in to the music? When they’re dancing, are they barely moving or are they amped up? Has the energy on the dance floor plateaued or is it still rising? If the guests are sitting down, are they singing along or are they oblivious to the music?

    These (and many other things) are signs that an experienced DJ is looking for and reacting to. Maybe it means it’s time to slow things down and give the crowd a break. Maybe it means it’s time to change genres and try a different style of music. Maybe it means the crowd is ready for some hardcore bangers to take the party to an eleven. But whatever it means, a great DJ is there to respond and keep things flowing throughout the party.

    This article was kindly contributed by Guest Blogger, Mike Walter of Elite Entertainment. The DJ Alliance Australasia along with our international not-for-profit partner Associations, the Canadian Professional Disc Jockey Association (Canada) and the National Association of Disc Jockeys (UK) are publishing a series of articles designed to help the general public better utilise the industry our collective Associations represent. We hope these articles are helpful and function to assist everyone achieve greater event success with mobile DJ & MC entertainment.

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  • Save Yourself The Insurance Headache!

    1 Feb 2020
    DJAA
    1243
    0

    Is your DJ or MC insured?

    All of your suppliers, including the DJ and/or MC should at the very least, hold public liability insurance. A significant number of wedding reception establishments will require that any contractor/vendor who enters their premises provide evidence of current public liability insurance. If it cannot be provided, that particular supplier will most likely be refused access due to the potential risk it represents to the venue. If your venue has this requirement and you have hired a DJ that does not have public liability insurance, you are left with one of the two following options;

    1) Source another DJ who has current liability insurance, or
    2) Personally, arrange public liability insurance coverage for your selected DJ.

    Unfortunately, both of these options are far from ideal.

    In the first option, you probably selected a particular DJ because there was a connection; they can deliver exactly what you are after and/or are within your budget. Because the DJ does not have insurance, you are now placed into a situation where you have to repeat the search process to source a suitable replacement DJ – one that has current public liability insurance.

    Depending on when the venue informs you of this requirement (often the week of the event) there may not be sufficient time to secure an acceptable replacement; you may be left with little or no choice and is unneeded and unnecessary stress in the final days leading up to your wedding or event. Some venues may even insist on the supplier providing Risk Assessment Plans/Risk Management Plans and certification that all electrical equipment is Portable Appliance Tested (tested as safe to use by licensed tester in accordance with requirements specified in AS/NZS 3760) in addition to Insurance Certificate of Currency.

    Personally, arranging public liability insurance coverage in order to avoid the situation outlined in the previous point will mean you will be at the mercy of the insurance companies and as a once off customer, requiring insurance for one night only, do you think the insurance company is going to give you a great deal? Probably not. You will likely be charged a hefty premium and the closer to the event, the larger this premium might become.

    How do you avoid this situation?

    Determine if your venue requires that any contractor/vendor who enters their premises needs current public liability insurance. Make this determination PRIOR to booking any service providers (including your DJ) that will be required to be on the premises before, on or after the day of your celebration.

    Prior to booking your entertainment (or another supplier), ensure that they have appropriate insurance. You might pay a little more for a supplier that does, but this is an indication that the supplier is a professional and takes their role seriously – no true professional would be without liability insurance, it is just not worth the risk.

    Further, you may find that the more expensive supplier could ultimately be a less costly option than if you engaged a lower priced supplier and had to personally cover them for public liability insurance yourself.

    It isn’t a glamorous topic, but save yourself the insurance headache wherever possible and hire properly insured event professionals.

    Note: Public Liability Insurance is the minimum requirement you should be checking for as it protects the client, the venue and the supplier. However, many professional DJs also hold other insurances such as Professional Indemnity, Personal Accident or Equipment Insurance. These are good indicators of someone who treats their profession and the events they’re hired for, most seriously.

    The DJ Alliance Australasia along with our international not-for-profit partner Associations, the Canadian Professional Disc Jockey Association (Canada) and the National Association of Disc Jockeys (UK) are publishing a series of articles designed to help the general public better utilise the industry our collective Associations represent. We hope these articles are helpful and function to assist everyone achieve greater event success with mobile DJ & MC entertainment.

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  • The Spotify Party

    19 Jan 2020
    DJAA
    1264
    0

    Forget Spotify: Why you need a wedding DJ.

    Let’s face it: planning a wedding can be costly. And to keep budgets down, it’s understandable that for many of us, something’s got to give – whether that’s the date, the dress or the entertainment. Before you cross wedding DJ off your priority list and create a free playlist instead, let’s explore why it can be so important to have a wedding DJ.

    Your DJ can ‘feel’ the room

    While putting together your own playlist might be filled with floor-filling favourites, by working with a wedding DJ, they can sense what’s appropriate to play and what the crowd actually wants to hear in the moment, minute by minute throughout the entire party.

    Working with wedding couples months before their big day, a DJ develops an understanding for how important music is to them – what they like and what they really don’t like. This helps a DJ tailor the music to their day without it being prescriptive.

    Ready-made playlists can work, but unless they’re carefully thought out from an entertainment perspective, they can lack flow and feel a little stop/start for guests wanting to party. For example: one minute you’re all dancing to an indie classic you loved from a festival and next, the energy screeches to a halt when a romantic, slow tune comes on, leaving just a few couples on the dance floor. DJs love reading the room, working with the vibe and playing what’s going to keep people partying!

    They have expertise

    When you hire a wedding DJ, you’re not just paying for them to “turn up and play a few tunes,” but for their years of experience within the entertainment industry. Over the years, DJs often work with hundreds of wedding couples to help create their dream days with meaningful music and special moments.

    Like a great movie soundtrack, music at a wedding creates emotion. Music sets the scene. It can rock the party, creating energy and a crazy full dance floor that you just HAVE to be part of or, it can tug at the heartstrings as the newlyweds are lost in each other’s eyes during that perfect first dance or as a bride and her dad take to the floor for that dance with the first man she ever loved.

    Many times, a DJ will help from music choices to planning the timing of the event. DJs help their wedding couples, giving them the advice they need and helping them design a day as unique as they are. You can be forgiven for thinking that a wedding DJ focuses solely on the music.

    DJs are also frequently called upon to be the master of ceremonies, taking the pressure off their wedding couples by looking after timing and pacing of the day. They communicate with the other wedding suppliers (such as the photographer, videographer and reception venue coordinator) to make sure they are prepared for the next event moment – be that the speeches, cutting the cake and the all-important first dance.

    After all of the time spent planning your big day, you deserve to be right there, living and loving every moment, without worrying about what comes next. A Spotify playlist can’t do that, but your wedding DJ will.

    This article was contributed by Alan Marshall of Alan Marshall Celebrations. Alan is a current member and former Chairman of the National Association of Disc Jockeys.

    The DJ Alliance Australasia along with our international not-for-profit partner Associations, the Canadian Professional Disc Jockey Association (Canada) and the National Association of Disc Jockeys (UK) are publishing a series of articles designed to help the general public better utilise the industry our collective Associations represent. We hope these articles are helpful and function to assist everyone achieve greater event success with mobile DJ & MC entertainment.

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  • Agreements Are Essential

    7 Jan 2020
    djaa_admin
    1039
    0

    Have you ever heard of a bride or groom having their DJ cancel on them? And sometimes with only weeks to go before the big day?

    As you can probably imagine, the stress this causes ahead of the largest party someone has (probably) ever planned in their life is terrible. This happens more often than it should and for a variety of reasons. The primary reason though, is one you can protect yourself from:

    Have a signed agreement or contract with the DJ company you hire.

    In most cases where a DJ has reportedly cancelled on an event, it happens where there was never a signed agreement, thus making it very easy for a DJ to back out of their commitment. Often times it was a family friend or a friend-of-a-friend who said “Sure, I can DJ your party!” only to have them back out when the pressure of the event began to draw near or another fun weekend opportunity presented itself. It isn’t always friends-of-friends though, in some cases, DJ companies don’t use agreements. That needs to change and you can do something about it.

    Anyone hiring a DJ should always request an agreement that both parties (you and the DJ company) agree to. By ensuring you work only with a DJ that uses an agreement, you will be saving yourself from a lot of potential headache.

    A proper and fair agreement is designed to protect both parties. The agreement should protect the interests of the DJ AND your interests as the client. It should have balance to it and safeguards for both, the person hiring the DJ, and the DJ themselves.

    At a minimum, quality agreements should always include your full name and the DJ company name along with some sort of identification information for each (often through an address, phone number or email address). It should also include the precise date and location of the event. This ensures your DJ will show up on the appropriate date and at the proper location of your party.

    Detailed cancellation information should also be listed. For example, what happens if you have to cancel on the DJ or what happens if the DJ can, for some reason, no longer fulfill the agreement? The agreement should detail out appropriate protections for both you and the DJ around this topic. Many agreements also include the name of your DJ written on the agreement so that you can be sure you’re getting your preferred entertainer.

    Lastly, the agreement you sign with your DJ or MC should state the services to be provided and the total fee for those services. All payment terms should also be clearly stated so as to avoid any unpleasant surprises later.

    There are many other items that can and will be listed in a quality agreement, but simply having one is a start. A DJ and/or MC has the ability to impact a party in such a massive way, do not hire one without a written and signed agreement.

    You don’t want to be that person, weeks away from one of the most important events of your life, struggling to find an entertainment replacement, do you?

    Sign an agreement with your entertainer. This is a huge step toward ensuring you have the celebration of your dreams!

    The DJ Alliance Australasia along with our international not-for-profit partner Associations, the Canadian Professional Disc Jockey Association (Canada) and the National Association of Disc Jockeys (UK) are publishing a series of articles designed to help the general public utilise the industry our collective Associations represent. We hope these articles are helpful and function to assist everyone achieve greater event success with mobile DJ & MC entertainment. These articles are published every two weeks and will continue throughout 2020.

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  • OneMusic: What Do I Do? What Do I Need?

    22 Sep 2019
    DJAA
    252
    0

    The aim of this post is to somewhat clarify the situation following the establishment of PPCA and APRA AMCOS joint venture, OneMusic and the impact on Disc Jockeys.

    First some basics, Copyright is a federal law governed by the Copyright Act (1968). The Act exists to ensure that people who make creative content (musical, literary or dramatic works, and sound recordings and films) are able to protect their content. When someone creates a piece of music (or a piece of text, a graphic, a photo, a film or anything else that is protected under copyright laws), a whole system of legal rights and obligations comes into play. These rights and obligations outline what someone can and can’t do with the material.

    There is generally more than one owner of copyright in any given musical track. The composer who wrote the music owns copyright in the musical works. The lyricist who wrote the lyrics owns copyright in the literary works. The artist who performed the music owns copyright in a sound recording of their live performance. Finally, the maker of the recording (typically a record company) owns copyright in the sound recording.

    The different types of rights in any given musical track are referred to as Mechanical & Performance Rights.

    In Australia there are a number of organisations which manages and licences the Mechanical and Performance rights;

    APRA (Australian Performing Rights Association) administers the “performance rights” and is the collecting society which collects and distributes licence fees for the public performance and communication to the public of musical works and their lyrics on behalf of its members, namely composers, song writers, music publishers and other copyright owners.

    AMCOS (Australasian Mechanical Copyright Owners Society) only grants licences to reproduce the musical work, and the copyright in the recorded version of the musical work, i.e. the “mechanical rights”.

    Prior to 1997, APRA & AMCOS were two separate organisations. In 1997, they formed an alliance and became APRA AMCOS and now is a music rights organisation representing its members plus grants licenses to play, perform, copy, record or make available their members’ music, and then distribute the royalties back to those members.

    ARIA (Australian Recording Industry Association) grants licences for the reproduction of the sound recording (“mechanical rights”), where it is authorised to do so, and distributes the fees it collects among individual sound recording copyright holders (usually the record company/label).

    PPCA (Phonographic Performance Company of Australia) grants licences for the broadcast, communication or public playing of recorded music (such as CDs, records and digital downloads or streams) and music videos (“performance rights”).

    OneMusic is an APRA AMCOS and PPCA joint licensing initiative launched in 2019 and offers joint public performance licences so there is no longer any need for separate licence agreements and invoices from PPCA and APRA AMCOS (“performance rights”).

     

    Rights Owners

    Performance Right

    Mechanical Right

    Songwriters, Composers and their Publishers

    APRA

    AMCOS

    Recording Artists and their Record Labels

    PPCA

    ARIA

     

    What does the OneMusic initiative mean for Disc Jockeys?

    With the introduction of OneMusic, the onus to have a public performance licence to play recorded music in public has been shifted to venues (clubs, pubs, restaurants, community halls, councils, cruise ships, function, convention & conference centres, places of interest, activity & amusement, cinemas, schools, live adult entertainment and much more). The only time a DJ would require a separate public performance licence is if they are also the promoter of an event.

    1. If a DJ uses music on original, legally purchased CD’s or Vinyl i.e. no digital music, they do not require any other licence to comply with the Copyright Act.
    2. If a DJ uses digital music whether purchased in digital format or by “ripping” from legally acquired CD’s or Vinyl, then a reproduction licence is required. This was also the case prior to the introduction of the OneMusic initiative and nothing has changed here.

    In short, OneMusic simplifies public performance requirements only (“performance rights”).

     But doesn’t every DJ use some form of digital music?

    Unless all your music is in the format mentioned in 1. above, then to be completely legal, you require a licence to cover the mechanical rights in your music. As mentioned above AMCOS administers the copyright of the musical work and ARIA administers the copyright of the musical recording – a licence covering the mechanical rights from  AMCOS – Application Form for a Casual Blanket Licence and applicable current rates can be found at http://apraamcos.com.au/media/customers/CBL_Casual-Blanket-Licence-Application-Form.pdf and for the mechanical rights administered by ARIA – Application Form Licence for Reproduction of Sound Recordings, can be found at http://www.aria.com.au/pages/documents/ReproductionLicenceApplicationform20.10.09.pdf.

    I hope that you now have a better understanding of the copyright requirements and clarifies what is required in regards to the music you use at your events.

    Post Script

    The DJAA has negotiated a Licence Agreement to cover both the “mechanical rights” of AMCOS and ARIA at a far more favourable rate and additional inclusions, however whilst the intent was to negotiate a licence which would be available for all DJs, APRA AMCOS have restricted the availability of this licence to DJAA Members only.

    The DJAA wishes all DJs who desire peace of mind in regards to complying with copyright requirements and protecting their business, the opportunity to also be able to obtain the negotiated licence. Accordingly, the Committee held a Special General Meeting in early 2019 and Members voted on amending the Constitution and removing the requirements that many had stated, were a barrier to becoming a member and created a General Level membership. There are no requirements for this level of membership other than abiding with the Code of Conduct, Code of Ethics and any Guidelines set.

    Not only have the requirements been removed from the General Level, but becoming a General Member could not be easier, just click on the following link “Join DJAA as a General Member“, select whether you wish to pay monthly or annually, complete the form to create your account and process payment – that’s it!! Simple. You are then officially a DJAA Member and as a member eligible for the special priced DJAA negotiated Licence 😊

    This post was contributed by Serge Olivieri. Serge is an Accredited Member of the Alliance and currently serves on the DJAA Committee, is based in Sydney, New South Wales and runs DJ:Plus! Entertainment.

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  • Help!! Someone Stole Content From My Website!

    22 Sep 2019
    DJAA
    636
    0

    The following is a guide to the steps I have taken to address the problem of DJs stealing my original material from my website and reproducing it or substantially reproducing it on their website over the last twenty or so years. This has involved both those based in Australia and from overseas (USA, UK, New Zealand, South Africa, etc.). In all but a few rare cases, I have been very successful. Those, which were not successful, have, not surprisingly, ultimately gone out of business and the web site eventually disappeared. As you can appreciate, if they resort to stealing other people’s material, one would be led to believe that they also do not adhere to ethical standards in their day to day business dealings and accordingly, do not last in business.

    I believe this is the most cost-effective approach to take and gives reasonably quick results without having to resort to legal action, which can be quite costly.

    This is the process that I use:

    1. A cease and desist email to the offending website owner;

    The website owners email address will generally be found on the website or you may need to do a WHOIS enquiry (which is detailed and linked below

    Note: The cease and desist notification needs to be flexible. My emails are usually targeted exclusively at plagiarists. This means that certain parts of this wording may not apply in other cases. Please edit to suit your needs.

    (a) A softer approach:

    Dear Sir/Madam

    It has come to my attention that you are republishing original content from <<YOUR WEBSITE LINK>> on your website, at <<INFRINGING LINK>> which contains <<TEXT, DESIGN, CODE,CONCEPTS, PHOTOGRAPGHS OR WHATEVER HAS BEEN STOLEN>> that is a direct replication of intellectual property owned by <<YOUR COMPANY / BUSINESS NAME>>.

    Your unauthorised use of original material from <<YOUR WEBSITE LINK>> is in violation of copyrights owned by <<YOUR COMPANY / BUSINESS NAME>>.

    Please remove the unauthorised <<COPY, PHOTOGRAPPHS OR WHATEVER HAS BEEN STOLEN>> from your website. Failure to do so will result in the instigation of alternative remedies.

    Sincerely,

    <<YOUR NAME>>

    OR

    (b)  a more hard-line approach:

    Dear Sir/Madam,

    You are using a work that I own the copyright of. The name of the work involved is “<<WORK NAME>>”. It appears on a site operated by you at <<INFRINGING LINK>>. I have reserved all rights to this work, which was first published on <<ORIGINAL LINK>> in <<YEAR OR DATE OF PUBLICATION>>.

    Your copying and or use of my work, which appear at the link above, is unauthorised. You neither asked for nor received permission to use the piece nor to make or distribute copies of them in the manner you have.  Furthermore, you have taken credit for my work and caused confusion as to whom the original author of the work is. Therefore, I believe you have willfully infringed my rights and could be liable for statutory damages. Further, such copyright infringement is a direct violation of International Copyright Law.

    I demand that you immediately cease the use and distribution of the work and all copies of it, that you remove any further works you may have stolen and that you desist from this or any other infringement of my rights in the future. Furthermore, I demand that you post an apology on the site clarifying who the real author is and that you inform others that might have been misled by your misuse of the works’ origins.

    If I have not received proof of compliance from you within 72 hours, I shall consider taking the full remedies available to rectify this situation including contacting my lawyer and/or your site’s administrators.

    Sincerely,

    <<YOUR NAME>>

    Personally, I have had much more success using the softer approach with 85-90% of those that I send them to removing the content. If after seven days they have not removed the content or responded, I forward the original email again with the following words added to the Subject : FINAL REQUEST and amending the last sentence to : Failure to do so, within seven days will result in the instigation of alternative remedies.

    My experience is that a significant number of those left will remove the content after the second email.

    This will leave those that think they are above the law or believe that you will not do anything. In these instances, you need to ascertain who is the host of the website by doing a ‘whois’ enquiry.

    2. Ascertaining the Web Host

    A ‘whois’ enquiry can be done at: http://whois.domaintools.com/  If this does not return anything just google for example; “whois UK” for UK domains, or “whois Australia” for Australian domains and so on. The relevant equivalent site should return the results you require.

    Example: This is what I did for an instance where a DJ in Canada had used my content on their website. I performed a “whois” enquiry for: perfectlittleweddings.ca on Domain Tools which gave the following result:

    Domain name:           perfectlittleweddings.ca
    Domain status:         registered
    Creation date:         2014/01/28
    Expiry date:           2016/01/28
    Updated date:          2015/01/18
    DNSSEC:                Unsigned

    Registrar:
    Name:              Go Daddy Domains Canada, Inc
    Number:            2316042

    Name servers:
    ns15.domaincontrol.com
    ns16.domaincontrol.com

    Note the Name Servers:

    Name servers:
    ns15.domaincontrol.com
    ns16.domaincontrol.com

    Next we need to determine the web host – Go to http://www.ipaddress.com

    Type in the name server details into the search box e.g. ns15.domaincontrol.com (from above)

    As you can see in this example, the host of domaincontrol.com is GoDaddy.com

    Go to the Web Host website, locate the Legal Section and somewhere in there you will find that the host supports the protection of intellectual property and that the terms of the hosting agreement forbid the breach of a trademark, service mark, or copyright. There should also be a process outlined to report any infringements by owners of the intellectual property to the host.

    Continuing with the above example, on the Go Daddy site, I located the Legal section which includes copies of all Agreements & Polices. As you can see (marked with arrow) they have a Trademark/Copyright Infringement Policy. This Policy details the process to follow for Go Daddy.

    Note:  A “whois” enquiry can, in some instances, also be useful to ascertain an email address for the owner of the website when there is no email address on the infringing site because it only has a form that needs to be completed for enquiries and can be used for the initial cease and desist email.  In some instances, the form may also be used to send the cease and desist notice should no email address be able to be determined. E.g.

    As can be seen in the above example the owners/registrants email address is secretary@djaa.com.au and if there was no email address on the website, this can be used for the initial cease and desist notice.

    In some cases you will find that the above process will not give you the information you require or the host will not have a Legal page or an Acceptable Use Policy. In this instance you will need to conduct a number of online searches to ascertain if there is a parent company whose policies apply to all the subsidiaries. It can get a little convoluted and is difficult to document, but can be done. A number of years ago I had someone whose name server was vpweb.com. If you typed this in, it did not return a site. Through a series of searches, I eventually worked out that it has something to do with Vista Print, went to the Vista Print site and ascertained that my email to the host had to go to: abuse@systemec.nl.

    3. Contacting The Web Host (Template)

    To Whom It May Concern,

    I am writing to you to avail myself of my rights under the Copyright Act and this is a Notice of Infringement. I wish to report an instance of what I feel in good faith is an instance of Copyright Infringement. The infringing material appears on the web site <<INFRINGING WEBSITE URL>>  <<(INFRINGING WEBSITE NAME)>> for which you are the designated agent/host.

        1. The material which I contend belongs to me, and appears illegally on the Service is the following:

    <<TITLES OF WORK>>

        1. The material appears at the website address/es:

    <<ADDRESS OF INFRINGING WORK>>

        1. The material appears on my Web site at these address/eses:

    <<ADDRESS OF ORIGINAL WORK>>

        1. My contact information is as follows:

    <<NAME, ADDRESS, PHONE NUMBER AND EMAIL>>

        1. I have a good faith belief that the use of the material that appears on the service is not authorised by the copyright owner, its agent, or by operation of law.
        1. The information in this notice is accurate, and under penalty of perjury, I am either the copyright owner or I am authorised to act on behalf of the copyright owner.

    I declare that this notification is true and correct.

    It is requested that the unauthorised content be removed.  Your prompt attention to this matter is appreciated.

    Signed: <<YOUR NAME>>

    NOTE:

    Whilst not required, I have had great success by attaching copy of all correspondence with the infringing party and any proof that helps validate that I am the copyright holder. Details on how to help prove that the material/photograph, etc. was on your website prior to the infringing website is detailed a little further below (Item 5).

    If it is obvious that the material has been stolen and the email gets to the right person, this letter has resulted in the host pulling the website completely without warning to the owner. Some will advise their client (infringing website owner) first. Once the host contacts them, they know you are serious and generally will comply.

    Sometimes you have to be a little persistent with the host. This arises because the infringer is their client and if they upset the client, they may take their business elsewhere – this is where you need to quote them, if you have it, that the client is not in compliance with their own Acceptable Use Policy and they are hosting unauthorised copyrighted material.

    Occasionally, the host has a multitude of re-sellers who are virtual hosts and whilst it resides on their server, they maintain it is not their client and it can be quite frustrating as they will not divulge the re-sellers’ details, yet usually maintain that they have advised the re-seller of the problem. Doesn’t happen too often, but can be really annoying. Persistence is paramount in this situation.

    4. Delisted From Google

    The last step if all the above fails is to try getting them de-listed from Google, whilst I have not found it necessary to do this as yet, depending on how strongly I felt about the situation, I would;

    Email to Google would be very similar to that sent to the host making appropriate amendments to reflect that you are writing to Google and not the web host.

    5. Document, Document, Document

    Obviously, it is prudent to obtain copies of the infringing pages as soon as discovered, produce pdfs of it or download the entire site at a certain date (there is free software available that does this easily). Some think they are clever and initially remove the material, then sometime later reinstate all or part of the material. If you have copies of the previous events the Hosts will act much more readily. It also means that you need to every so often pay a visit to those sites which have removed your material to ensure that they have not reinstated any of it.

    There is a handy little tool called Internet Archive Wayback Machine ( https://archive.org/web/ ) which allows you to check any website and see what it contained at various points of time. Unfortunately, there is no regular schedule that it goes through your website and takes screenshots of it, but has proved invaluable to me in demonstrating that (i) I had the material in question on my site years before it appeared on the infringing website and (ii) proving that the material in question was not on the infringing website prior to a certain date.


    Whilst all the above may appear complicated, I have found that the initial emails takes care of the bulk of them. You then need to make a call as to how important it is to get a particular site that has your material on it removed. This will determine how far you take it.

    I do not believe legal action, other than possibly a letter from your legal representative to the host and owner as a scare tactic to make them think you are serious, is feasible as more often than not, they are located in different countries/jurisdictions and the any legal action would be largely cost prohibitive.

    I hope this helps but please do not hesitate to contact me if you wish to discuss your particular issue or to ask any questions.

    This post was contributed by Serge Olivieri. Serge is an Accredited Member of the Alliance and currently serves on the DJAA Committee, is based in Sydney, New South Wales and runs DJ:Plus! Entertainment.

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  • Simon McCuskey

    2 Sep 2019
    DJAA
    2186
    0
    MC, VIC
    Simon McCuskey

    Simon MC is Simon McCuskey – a polished, award winning master of ceremonies, television host and presenter. Simon MC’s philosophy is that you are only given one chance to deliver an event right!

    With over fifteen years’ experience, Simon has hosted numerous television shows, presented radio segments and been a master of ceremonies for a variety of events. These include: weddings, engagements, festivals, conferences, gala events, awards, corporate functions – any occasion that needs to bring the best out of people!

    Let’s celebrate once, yet remember it forever. Let’s do it!

    Additional Information:

    • Service Area: Melbourne and surrounds

    Contact This Member

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  • Mark O’Dwyer

    20 Aug 2019
    DJAA
    2180
    0
    DJ, MC, QLD

    Spanning ten-plus years, Mark has supported over twelve hundred weddings as an MC and DJ across Australia and New Zealand, plus as a Dance Instructor (Latin American and Ballroom) for private dance lessons. For you, this experience means guidance, solutions and fun along your wedding journey.

    Mark, who also has a University Business Degree plus a project management background, knows you deserve a certain standard of qualified, professional support towards your important wedding.

    Additional Information:

    • Service Area: Brisbane and surrounds

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  • Sean Hay

    27 Feb 2019
    DJAA
    2301
    0
    DJ, MC, NSW

    Sean Hay has been DJing for over 10 years. He started in Albury in 2008, and was trained by some of the regions best DJs.

    Life took him to QLD, where he continued to DJ for a major company, right across North East NSW and South East QLD, frequenting many of the areas biggest venues.

    When love brought him back down south in 2014, Sean realised a long sought after dream, and Haze DJ Entertainment was born. Since its launch, he has entertained at hundreds of weddings, private parties, and corporate events. He specialises in Weddings though, and feels honoured to be invited to share in someones big day.

    Sean is able to coordinate your ceremony, canapé hour and reception music, as well as MC your reception if required.

    He also has a photo booth available for hire.

    Please feel free to get in contact for a full run down of the services that Sean provides, and how he can take the stress out of the entertainment side of your day.

    Additional Information:

    • Service Area: Albury, Wodonga, Canberra & surrounds

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  • Scott Eichler

    18 Dec 2018
    DJAA
    1191
    0

     Additional Info

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