Online Reporting Support – CCLIReporting is a vital part of being a licence holder and, when done regularly, only takes a few minutes a week. Your reports enable CCLI to accurately and fairly distribute royalties to the owners of the works you use. Under your licence Terms of Agreement, you’re required to report if you hold any of the following licences: Church Copyright Licence (CCL) /Collective Worship Copyright Licence (CWCL)Report weekly or as often as you reproduce songs in your services or assemblies.

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Music Reproduction Licence (MRL) /Collective Worship Music Reproduction Licence (CWMRL)Report whenever you photocopy, scan or file- share sheet music for the songs you’ve reproduced. CLA Church Licence. Report on an ongoing basis the photocopies you make of non- music publications. PPL Church Licence. Report your church’s use of recorded music once a year, towards the end of your licence period.

If you’re new to Online Reporting or need a refresher, you can download or print our brief step- by- step guide: REPORTING GUIDEAlternatively, the information and resources below will help you get started with online reporting, then assist you in reporting quickly and accurately. Signing in for the first time: Go to https: //olr. Watch Dirty Pretty Things Online Hitfix on this page.

If you already have a CCLI Profile or are a Song. Select® user, you can log in use your existing user name (your email address) and password. If not, create your Profile by selecting the “Create Your Profile” tab and following the simple steps. You’ll then need to link your Profile to the church or organisation for which you are reporting copy activity.

For this you’ll need your ACCESS CODE which you’ll find in the email or letter you received at renewal (you’ll only need this code once). If you can’t find your Access Code, please contact us. Reporting Categories. Print. The reproduction (i. Example: A church or school reproduces four songs in a printed song sheet for their service/assembly. The person reporting should enter one (1) in the Print category for each song included in the original print copy of the sheet, not 2.

You would not need to report the songs again if the same sheets were used on multiple occasions. However, if additional/replacement copies of the same sheet were made on a separate occasion, you would again report once for each song included. Additionally, three unique custom arrangements of a one of the songs were made and distributed among the band’s string, brass and percussion players, totalling ten members. The person reporting should report a further (3) Print copies of that particular song representing the number of unique arrangements made, not ten for the number of copies distributed.

Action: Report one (1) copy activity each time a song is reproduced in a service/song handout or transparency etc., or when a custom arrangement is made. Do not enter the total number of sheets made.

Digital. The projection of songs electronically through presentation software. Example: Report one (1) against a song each time it is projected using a computer projection system.

If you’re a church which has multiple services, or the song is projected in the main service as well as during a children’s/youth group meeting in a separate room, report each time the song is projected. So if a song is projected in the main morning service, again in the Sunday school, and again in the main evening service, report (3) for that song under Digital. Action: Report one (1) copy activity against a song on each occasion it is projected. Record. When copyright- protected songs (including congregational singing, choirs, keyboard arrangements, orchestrations and vocal/instrumental performances) are captured on an audio or video recording of service/meeting .

Note: pre- recorded music (from a CD or MP3) cannot be captured on the recording in any manner. Watch Make Mine Music Online. Example: A service is recorded during which five songs are sung. Ten recordings are duplicated and distributed. Report one (1) reproduction for each song captured in the recording. Action: Report one (1) copy activity against a song each time it is recorded. Do not report the number of recordings made and distributed.

Note: Audio and video recordings represent two separate forms of reproduction. If a song is recorded in both formats, please report a reproduction activity of one (1) for each type. Translation. The translation of a song’s lyrics from the original published version into a preferred language, exclusively for use in church worship services or school assemblies and only where no published version is available. Example: A church or school translates the lyrics of a song originally published in the English language into Danish (a permitted activity because a Danish version of the song is not available). Action: Report one (1) copy activity pertaining to the creation of the translation. Video Help- Guides.

These videos will show you the various aspects of the reporting process, with tips to make reporting quicker and easier. Watch Now. Support Resources. Unauthorised Songs. A list of the most commonly searched for songs which are not authorised by the CCL/CWCL or MRL/CWMRL. CLA Church Licence Copy Sheet.

A printable copy sheet that you can stick next to your photocopier to encourage users to record the details copies they’ve made. Reporting FAQs. Search Frequently Asked Questions about the reproduction of song words and sheet music in worship. Customer Support. If you have any questions or comments concerning your CCLI copyright licence(s), please contact Customer Support or call 0.

Dear White People on Netflix Is Everything That The Movie Could Have Been Plus More. You Might Should Watch It. Actress Logan Browning attends the Dear White People premiere during the SXSW Conference and Festivals on March 1. Austin, Texas. (Michael Loccisano/Getty Images for SXSW)(There are no spoilers in this piece. You’re welcome.)Let’s get this out of the way early: The movie Dear White People wasn’t very good.

It wasn’t terrible, it just wasn’t very good. For a movie with such a provocative title and premise, I was remarkably underwhelmed by the actual movie.

When my friend and I left the theater we literally had nothing to say about it. A movie that actively addressed so many issues should not have been so…welp. I don’t know if it was my own expectations, or what. Who knows? But I’m guessing I wasn’t alone in that thinking and that lack of word of mouth positivity didn’t do much to help it out in terms of movie goers or conversation. Time goes on and in May of 2.

Dear White People had struck a deal with Lionsgate to turn that movie into a Netflix show. A few things of note here: 1) I trust the shit out of Netflix at this point. Netflix Original series and Google are pretty much my ministry; 2) I was also surprised because I presumed that the folks at Netflix saw the movie and couldn’t have been any more whelmed than the general public.

Plus, in the middle somewhere was supposed to be some musical that Justin Simien (the show’s creator and director) was putting together. All that to say, I wasn’t exactly anticipating this switch to the small screen but I like good things and try to support Black art and if Netflix saw it lookin’ like an easy come up, ya bish, then I was going to at least give it some country.

Plus, if I can watch Deuces starring Larenz Tate and Meagan Good (am I the only person who has to look up how to spell her name every single time I write it) in a movie that is a knock- off of Power meets In Too Deep, on purpose, then I can definitely watch Dear White People. And yes, Deuces is a thing, and yes, it is on Netflix right now. It’s also nice to see Rick Gonzalez mixing his characters from Biker Boyz, Coach Carter, and November Rule into one. That boy good.(On a side- note, there needs to be an underrated role player hall of fame that would definitely include Rick Gonzalez and Jason Weaver. It could even be called the Clifton Powell Hall of Fame for Underrated Role Players in the Cinematic Arts. It should be in, like, Charlotte.)Back to the lecture at hand. Dear White People on Netflix is EVERYTHING that the movie should have been plus some and I believe that the Black delegation is comfortable in saying that DWP is now cooking with gas. It’s compelling, it’s provocative, it’s well acted, it’s relevant, it’s nuanced, it’s funny where it needs to be, it’s satirical, it’s, basically, entirely fucking awesome.

It’s got power, poison, pain, and joy, hustle though, ambition and flow inside it’s DNA. By turning the premise of the movie – a rich, white Ivy league institution dealing with it’s racism, spurred by student activists – and delving more deeply into individual characters and fleshing out what makes them tick, it becomes a way more enlightening and enjoyable product. And it’s ALL entirely believable. There are no reaches. There are no situations that aren’t possible or likely.

If you attended a predominantly white institution, it’s entirely possible that this whole show WAS your college experience. Samantha White, the mixed girl with the powerful “Dear White People” radio platform that is intent on calling out racism and injustice, who ALSO happens to be the one dating a white dude, is still the central character. She’s the sun, but other characters in the universe get an unabridged injection of interest. It’s got…it’s got…it’s got…hm…realness, now it just kills shit and the show benefits tremendously because of it. I’ve admitted that I can be sensitive at times (I have no shame about This Is Us drawing thug tears) but there are few scenes in this series that will break down even the thuggiest of edu- thugs because it could be you. Dear White People creatives leveled this shit all the way up, taking in all of the things that have happened in the past few years (including some of the criticism of the movie) and distilling them into the college experience. I have to say, kudos to the team behind Dear White People.

Everybody involved must have sat down at the table (no word on if Solange was present) and decided that they were going to ante up. The first episode is mostly a rehash of the movie (though better), but from Chapter II and on and on to  Chapter X, shit gets real.

Word to Shyheim. While Greenleaf is a show for you if you’re for the shits, Dear White People is a show that’s funny and edifying at the same time. It’s a real show that could be anybody’s life on a college campus, especially nowadays. The dialogue is right, the situations real, the execution is well done. Dear White People is what the movie should have been, but I needed the television version to understand why. The thinkpieces will come fast and furious and they will be laudatory.

They will be right. Et facta est lux.