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The South African Broadcasting Corporation (SABC) and the Premier Soccer League (PSL) have announced that a 5 year trade exchange agreement between both parties regarding radio broadcasting rights has been reached. Speaking at the announcement, the chairman of the PSL, Dr Ivin Khoza expressed excitement at the prospect of deepening the relationship between the fans and supporters of the PSL and the beautiful game. “Every week day from 5 o’clock in the morning till 11 o’clock at night, across 11 radio stations of the SABC, in every language spoken by all South Africans, reaching every part of our great country”.

The agreement is set to enhance the already established relationship between the PSL and the SABC. Eleven radio stations will not only continue to be broadcasting live PSL matches but will be introducing weekly magazine programs focusing on the PSL. All PSL announcements will be made through SABC radio platforms.

The SABC’s Acting Chief Operations Officer, Mr. Hlaudi Motsoeneng said “For us, we are delighted that we can utilize the power of our radio stations, to fulfil our mandate of showing sports of national importance. For the South African public, the love of soccer is strong and this partnership with the PSL will ensure that we can provide our audiences with compelling sports programming, while generating revenue for the organisation.”

This season the PSL introduced Q-Innovation, which ensures that every league game played by the clubs is played as if it were a knock out match. In a speech announcing the partnership, PSL Chairman Dr Khoza said public interest and participation had become more important than ever before and that fans and supporters of the beautiful game wanted more than just being followers of the game. The magazine show will be a big part of the PSL’s Q-Innovations strategy by providing communication support. “With every game having the status of a knockout competition, it is time to bring in the public to participate directly in the excitement of the Q-Innovation”

Participating radio stations are; Ukhozi; Umhlobo we Nene; Phalaphala; Munghana Lonene; Motsweding; Lesedi; Ligwalagwala; Thobela; Ikwekwezi; Radio Sonder Grense; Radio 2000 and SAFM.



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Posted by radio On November - 22 - 2012 ADD COMMENTS

Algoa FM DJs have been shifted to new weekend time-slots; following analysis of audience likes and wants. Algoa FM operations director Alfie Jay said that the station decided to refresh the DJ line-up following in-depth research analysis which included focus groups, the station’s recent brand audit and the latest RAMS (Radio Audience Measurement Survey) figures. “The need for the station to refresh and adapt its line-up persisted as a common thread amidst these sources,” he says

According to Jay, research was piloted across the station’s footprint including respondents from Eastern and Southern Cape. The consequent changes to the line-up are scheduled to take effect on December 1 this year (2012).“We make it a priority to invest in extensive research so that we can address the ever-changing needs and preferences of our target audience and clients. In doing so, we also meet the interests of our presenters to continue growing and evolving our brand,” says Algoa FM managing director Dave Tiltmann.

The changes to the line-up are as follows: Wayne Hart will present the Algoa FM Top 30 on Saturday mornings, followed by husband and wife team Mio and Queenie Khondleka presenting Saturday lunch. Briony Sparg will remain in her Saturday afternoon slot with Gordon Graham broadcasting “live” from the Algoa FM studio in East London between 7 and 10pm. On Sundays, the morning will begin with Charl Leslie serving up breakfast, followed by Lance Du Plisses in the mid-morning classics hot seat. Tové Kane will present Sunday lunch followed by Briony Sparg and Viv Bozack between 7 and 10pm. The other change to the line-up sees Charl Leslie and Queenie swopping their weekday time-slots.

Jay further said that the presenters who’ve been selected to fill these time slots best reflect the lifestyle of our weekend audience. “We are confident our listeners will enjoy the changes and that the station will benefit from increased interest and subsequent audience growth”.

Issued by Algoa FM


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Posted by radio On November - 21 - 2012 ADD COMMENTS

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[By Helen Phushela]

Social networking has now taken over the world; people are no longer limited to sending letters, SMSes or making phone calls to communicate. It has become more economical to Tweet, BBM, WhatsApp or Facebook someone than to call. Radio stations have taken full advantage of these mediums to reach a wider audience. In the days of landlines and telegrams people could not put a face to the voice. Radio presenters were not as popular as small screen personalities. Social networks provide interaction and of-cause free marketing.

Social networking sites such as Facebook, twitter, MySpace, and linked-in quadrupled from 2005 to 2009. Society says that the sites are good for their social life and interacting with others. While celebrities and media personalities reckon they bring them closer to their fans. On the other hand sceptics still say it is the dangers of social networks outweigh all these other functions.  According to data released by the South African Audience Research Foundation, 16.4% of South Africans with access to the internet use it for social networking. People spend most of their time on social networks, breaking news are now on twitter before they are aired. E.g. the passing of kwaito star Brown Dash and song star Whitney Huston and many others were tweeted minutes after they died. Journalists now have to compete with social networks; this is changing the news and information landscape. Now people tune into radio for quality detailed news, others for confirmation of what they heard or read on twitter, Facebook or tumbler. “Though I haven’t been using social media that much, I think it is all about engagement, posting things that are of interest to your followers and fans. Communicating my work to them and letting them in on who DJ Scratch is.” Said a local radio station DJ. Using these platforms gives radio personalities a full on identity, they get to build their brand as well.

The pros of social media for radio, is that it allows for listeners to interact with their favourite radio personalities long after the show is over. They know who is behind the mic and can now know a bit more about the voice blasting through their speakers on their way to work. Every station and presenters are brands that need to be marketed to keep them relevant. Social media works as a gig guide as well, for radio personalities to let their fans and listeners know where they will be. It has made it easy and possible for them to maintain their fan base. Now they are no longer a world away from the people who buy their music and listen to them daily. It’s a vehicle to cross promote their shows.

That is where the four C’s also come into play, Connect, Communicate, Curate and Create. Social media has created a perfect platform for radio stations and show presenters to connect with listeners by enabling them to post topics on Facebook, to tweet and to blog on content. The show goes on even after the last jingle plays. Communicate, letting listeners into their lives and keeping things above board. Curating by pointing listeners in the right direction, music links and show recordings, articles etc. Creations, letting people know where you at, where your heading after the show. Giving them a chance to bump into you and say hi.

Social networks do not have regulations that can actually secure a conviction if someone infringes on your rights. Social networks such as twitter have made and brought down many stars, many celebrities launched attacks on each other on social networks. Tarnishing their brand, when their relevance is short lived and people quickly pull away. They are also good hunting ground for stalkers.

Never the less the pros of social networking outweigh the cons, sceptics may think of it as prowling place for dodgy and unruly people. Truth of the matter is that social networks provide for free marketing for all businesses, radio included. Listeners get to connect with personalities as if they were friends. The gap between radio and its audience has been bridged.

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 [By Kgomotso Moncho]

The SABC Crown Gospel Music Awards took place on the 18 of November at the Durban ICC honouring some of the best artists in gospel music. This annual event takes place in Durban and this year it celebrated “5 Years of grace.”Gospel is a top selling genre in South Africa and these Awards are an attraction in the country’s musical calendar. The Crown Gospel Music Awards have become one of KZN’s flagship events, hosted by the KZN government. They have become so big in their five years of existence that even President Jacob Zuma has become a regular guest. He was absent this time around, but was represented by two of the first ladies. 

Rebecca Malope was the recipient of the Best Gospel TV Show award.

  If you are of the thought that Gospel is a somber and conservative genre, the SABC Crown Gospel Music Awards dispelled this with raucous and explosive performances from the likes of gospel queen, Rebecca Malope and fellow artist from Nigeria, James Okon. Of all the music awards ceremonies in the country, these ones are probably the most collaborative, where the audience is very much part of the show, joining in with every hymn or chorus. And things can get unpredictably joyous. When First lady, Ma Ntuli came on to present an award, the crowd broke out singing ‘Umshini Wam’ for instance.

Reality 7 recipient of the Best Acapella award.

Ntokozo Mbambo and Hlengiwe Mhlaba. Ntokozo won the awards for Best Female and Best Gospel Artist

The role of radio and especially community radio in promoting gospel music was honoured with the Best Gospel Community Radio Show awarded to Thetha FM’s Gospel Tunes and Best Gospel Radio Show awarded to Ligwagwala FM’s Siyadumisa show. Rebecca Malope’s It’s Gospel Time took the award for Best Gospel TV Show.

 The SABC Crown Gospel Music Awards have grown so much so that new categories were added on this year. These include Best Gospel Poetry and Best Gospel Rap taken by Vusumuzi Phakathi and Thabang Byl (of Last Days Fam) respectively, who are forces within their individual and overlapping fields. Adding on to this brand, the founder of this event, Zanele Mbokazi announced that the International Gospel Music Blestival (word play on blessing and festival) would be happening in Durban on December 31 featuring one international act and many of SA’s cream of the Gospel crop. “It’s a date,” she said.


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Posted by radio On November - 16 - 2012 ADD COMMENTS

[By Chloe Smith]

How Copyright Organisations and Royalties affect the Broadcasting Industry of South Africa (Part 1)

The relationship between radio stations and copyright organisations is one that goes back to the beginning of radio in South Africa. How much of what we hear broadcast across the country is dictated by copyright laws and royalties?

Copyright organisations

Copyright organisations have been in existence for the majority of the 20th century. Their main objective is to ensure that the rights of music-creating individuals and all who are associated with the production process are protected. Copyright organisations uphold the copyright laws of South Africa and monitor the payments of royalties to artists, their record labels, their publishers and anyone else that helped to create the album/song.

There are three Copyright Organisations in South Africa. The most popular is SAMRO (South African Music Rights Organisation) but SAMRO also shares the copyright floor with AIRCO (The Association of Independent Record Companies) and RISA (The Recording Industry of South Africa).

SAMRO is recognised as the primary copyrights organisation in the country, representing the interests of the largest number of local artists. AIRCO is a non-profit organisation, which strives to protect the rights of independent artists in South Africa and enable them to be locally and internationally recognised. RISA is dedicated to promoting and safeguarding the interests of local musicians and record companies, working towards an industry that represents the new South Africa.

SAMRO and RISA are both associated with the IFPI (The International Federation of the Phonographic Industry), an international organisation that seeks to monitor copyright laws and associations worldwide. IFPI acts as an umbrella organisation for copyright organisations.

The Berne Convention, an international standard of copyright laws, maintains certain standards to ensure that copyright organisations all over the world approach any and all copyright and royalties issues from an internationally approved standpoint, to best protect musical artists and their works. SAMRO attends the Berne Convention yearly to maintain an internationally recognised standard in South Africa.


Local copyright law

Any musical works created in South Africa are automatically copyrighted upon creation and recording. This copyright is valid for a period of fifty years after the music is officially created (this would rely on the time of recording and distribution).

Performing Rights are owned by the author or composer of the musical works. The Public Performance royalties are paid to the copyright organisation, who takes a small administration fee and distributes the royalties accordingly to the composer(s), their publisher and any other organisation, company or individual who has been granted royalties by the composer(s).

Needletime Rights are granted by the original composer(s) of a musical work or their entrusted body of representatives, such as the copyright organisation that they are registered with. This means that any organisation that would like to distribute, broadcast or reproduce this music is then required to pay Needletime Royalties (also known as “pay-per-play”), which are collected by the copyright organisation.

The Performers’ Association of South Africa Trust (POSA) is associated with SAMRO and monitors the Needletime Royalties for any SAMRO member, ensuring that local radio stations are paying the correct amount of royalties to SAMRO for the use of the musical works.


International Law

Copyright Organisations in other countries whose members’ musical works have been broadcast in South Africa are associated with local copyright organisations. This means that radio stations pay the royalties due to the local copyright organisation, who then interacts with the copyright organisation in the other country to transfer the royalties to them for distribution.

What it means for radio

The biggest concern with royalties in South Africa is that there is no industry standard. The agreed percentage payable on physical copies of recorded music and the distribution thereof is 5% of the retail price. The royalties payable on the broadcasting of copyrighted music has no official limit or agreed upon percentage, which means that it is completely subjected to whichever agreement is reached between the original composer(s), their recording company and/or their copyright organisation. As there is no standard percentage or fee that all musicians need to adhere to, the royalties on various copyrighted music can vary greatly and contesting any royalties in a court for being excessive can be pointless and reach no satisfactory conclusion.

South African musicians rely on radio stations as a medium of advertising their new music, a source of income and a way to generate CD sales outside of the radio industry. If radio stations can no longer afford to pay the royalties demanded by the copyright organisations or the composer(s), not only will the listenership for that station suffer but the music industry in South Africa as a whole.

Is there a way for the citizens of South Africa to ensure that their radio stations survive without killing the growth of the local music industry? Should there be some sort of agreement among copyright organisations, recording companies and South African composer(s) to ensure that royalties agreed upon follow a standard set of calculations and procedures based on the composer(s) popularity, their CD sales, the revenue brought to the radio stations through the broadcast of their music and any other factors that can prove that the royalties that they demand are deserved?

The validity period of a copyright does provide a loophole for radio stations in that if the musical work was created more than fifty years ago, radio stations do not need to pay royalties on this work. Unfortunately, this loophole applies only to radio stations whose target audience wish to listen to older music and does nothing for radio stations that rely on a younger market for listenership, which means that only a few radio stations can lessen their expenses in this area.


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Posted by radio On November - 16 - 2012 ADD COMMENTS

Last month, METRO FM shocked the nation when it announced that the date for this annual spectacle had been moved to next year. At a press conference, spokesperson for the SABC Kaizer Kganyago said the awards were undergoing a major makeover. In a recent statement, the station has announced that it will be launching nominations for the awards from the 22nd of November extending its submission period to record companies.

The 12th year anniversary of the Metro FM awards is set to be a spectacle; the station has some surprises in store for listeners. The road to the Metro FM awards will be kicking off with a launch for the new destination and a top 5 announcement party and listeners stand a chance to win tickets to these events. Last year the awards were held at Mbombela Stadium in Nelspruit and were hosted by Tbo Touch and Zizo Bedo. Some of the big winners at the awards included Zahara, AKA and Big Nuz who also entertained audiences with their popular hit songs. It is yet to be seen if the Metros will live up to the standards they have set in the last 11 years.

Issued by Metro FM


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Posted by radio On November - 16 - 2012 ADD COMMENTS

In a statement,, has expressed disappointment by comments made by Communications Minister Dina Pule’s technical advisor, Roy Kruger, about the broadcaster’s commitment to DTT. The statement came after launched law suit proceedings against the Minister’s appointment of Sentech to manage conditional access to set-top boxes. According to the broadcaster, Kruger’s description of the lawsuit as “stupid” and the reason for delaying the DTT launch is highly irresponsible and misinformed. takes DTT and the lawsuit very seriously and has always supported the migration to DTT as a path to a multi-channel free-to-air environment.  According to’s Chief Operating Officer, Bronwyn Keene-Young says; “Kruger’s comments are unacceptable, especially in the context of’s repeated public statements that a successful DTT platform is crucial to the sustainability of terrestrial broadcasters in South Africa. Terrestrial broadcasters are losing audience share as viewers increasingly move to other platforms offering multi-channel options. It is for this reason that has a critical and vested interest in the success of DTT to maintain its viability and to offer South Africa a high quality multi-channel free-to-air product. In fact, as a single-channel free-to-air broadcaster, we probably have the most to lose by DTT delays.”

etv’s case against the Minister aims to ensure the establishment of strong and stable DTT platform and reflects its commitment to a successful launch. Keene-Young continues, “Kruger’s comments that is “holding up the country” is a false accusation and ironic given the fact DTT migration is being delayed due to a lack of regulatory certainty with no finalised DTT regulations, no finalised Sentech tariffs for broadcasters and no strong communications campaign around DTT. Anyone following’s submissions to ICASA will know that the broadcaster fully supports DTT migration but this does not mean we should be forced to accept unlawful instructions from the Minister. In fact, we wonder why Mr Kruger has sought to go down this road. What are his motives?” is well within its right to advocate for a strong and stable DTT platform so as to ensure a fair and efficient digital broadcasting environment.

Issued by etv

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Posted by radio On November - 16 - 2012 ADD COMMENTS

 According to data from Multichoice’s DSTV-i– past 7 day viewership, CNBC Africa’s South African viewership peaked at 600,000 viewers in the first week of October. The increase in audience numbers on channel 410 was across multiple key demographics, which saw average viewership advance by almost a third to 443, 000, up from the first quarter ratings of 335, 000 viewers.

The increase comes off the back of the channel’s first reality television show, ‘Top Trader’, which saw the winning contestant walk away with R250 000 cash. ‘Political Exchange’, which features interviews with key policymakers, had made its debut in August and is anchored by seasoned journalist Karima Brown.

According to CNBC Africa’s Chief Editor, Godfrey Mutizwa, Top Trader and political exchange both brought a different type of viewer to CNBC Africa. “Both programmes go to the heart of what we are trying to do which is educate Africa’s aspirational viewers about markets and investments while at the same time, offering a platform for business people to better understand the policy making process and the personalities behind it. “In November, Bruce Whitfield, one of the country’s best financial journalists, joined CNBC Africa, spawning two new shows.

Whitfield is presenting ‘squawk with Bruce’ and ‘Share Shootout’, further increasing the variety and content depth at the channel.

Issued by CNBC Africa

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Posted by radio On November - 16 - 2012 ADD COMMENTS

Kaya FM has seen a few changes to their line up in the last month or two, which has included Kuli Roberts joining the 180 Show with Bob Mabena, Mapaseka Mokwele taking over Home and Ben Dikobe filling in the 22:00 to 02:00 slots on Friday and Sunday. The Art of Sunday is another exciting new addition to the station.

The show is an urban four hour show packaged as a ‘magazine’ one listens to, delivering relevant quality information, cultural movements and entertainment with weekly series and a focus on information, entertainment, tourism and lifestyle.

Greg Maloka, MD of Kaya FM is excited about the format of Brenda Sisane’s show. “The Art of Sunday is a distinctive radio show that contributes positively to the modern values of the urban community which we as a radio station services.” He adds, “This show promises to deliver something completely different by combining old fashioned values, current topics that are of interest to the Afropolitan and cutting edge radio broadcasting creativity.”

The Art of Sunday with Brenda Sisane will start broadcasting from Sunday, 18 November between 10:00 and 14:00 on Kaya FM 95.9.


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CASE NUMBER: 46/2012











The Complainant in person

Respondent: Mr Bruce Mkhize, Regulatory Compliance Manager, Regulatory Affairs.


Hate speech – religion – political party criticised – not hate speech based on religion

Van Den Heever vs Multichoice Channel 122, Case No: 46/2012(BCTSA)



The comedy Channel of DSTV carried a cartoon in which Jesus is identified with allegations against the ANC. Hate speech not present since religion was not attacked.

Complaint not upheld.


To view full judgement, follow this link:

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