Google+
Subscribe to: Newsletter      Comments      News

Breathe Sunshine Music Conference

Posted by radio On March - 13 - 2013 ADD COMMENTS

The African music industry is one of the fastest growing in the world, yet the continent still lacks the skills and established network of international counterparts. To address these challenges and put Cape Town on the map as a global music hub for African music, the inaugural Breathe Sunshine African Music conference will run from 1-2 April 2013 in Cape Town.

 

At City Hall in the centre of Cape Town, the conference takes place during the same week as the internationally renowned Cape Town International Jazz Festival  and is therefore the perfect opportunity to engage and experience a week of the African entertainment industry through these two world-class events.

 

Says conference founder Trenton Birch of Black Mango, “We have deliberately kept the cost of the conference low as we want to attract a diverse audience from the local community as well as national visitors and many from other African countries, plus European and American delegates who are working with African music in their respective territories.”

 

“Our aim is to make the conference inclusive by engaging representatives from all genres of music and cultural backgrounds. We have been working with an incredible pan-African steering committee who have been advising and contributing to the content and direction of the conference.”

 

The diverse steering committee includes representatives from Ghana, Kenya, Mozambique and Senegal as well as local names such as Roach Roth of African Dope, Mthokozisi Khathi aka DJ Tira of Afrotainment and Suga from Heart FM. Involved in the conference from an international perspective are Oliver Barnett of Putamayo Music (UK), Colin Gayle of Billboard Africa (US) and Volker May of International Music Managers Forum Europe (Germany), as well as South African artists Jack Parow, Francois van Coke, Black Coffee, Euphonik, music journalist Evan Milton and Duncan Ringrose of sShadoworks and Assembly and Brian Little of Seed Experiences to name a few.

 

The Breathe Sunshine African Music conference aims to promote the sharing of information between all involved in the African music community through workshops, panel discussions, presentations and networking. The conference will work on multiple levels ensuring each attendee can maximize their experience with artist empowerment workshops for people new to the industry and an executive networking lounge for music business people to have high level conversations. There will also be an exhibition space and a concert showcasing African talent.

 

The vision is to build a successful and reputable African music industry conference through facilitating knowledge sharing and fostering a spirit of collaboration by empowering both artists and industry across borders.

 

[Issued by: Redflag]

Did you like this? Share it:

Music Exchange, South Africa’s 3rd Independent Music Conference that gets everyone in the music industry talking, is set to take place from 21-22 March, with an additional day confirmed for the 23 March 2013 for workshops (see list below for more details on workshops).

The most influential names in the music industry have signed up to impart and share their knowledge and expertise at this year’s Music Conference 

Some of the Panelists and Artists to look out for are:

Benjy Mudie A&R for Universal Music and Idols mentor, Rashid Lombard, founder of Cape Town Jazz Festival, internationally acclaimed artist Sipho “Hotstix” Mabuse, Music label Ghetto Ruff CEO Lance Stehr, renowned producer Gabi Le Roux, chief editor for Rolling Stone SA Magazine Miles Keylock.

 

Thebe Ikalafeng, ( Ikalafeng is vice-chairman of the Brand Council of South Africa and a non-executive director of Mercantile Bank Holdings, Brand South Africa, WWF South Africa (WorldWideFund for Nature to name a few),  as well as CEO of Brandsrock Mike Joubert   and CEO of SAMRO  Nick Motstate ,  Nick Matzukis  the renowned  Music Attorney is launching his new book at the conference entitled ” South African Music Law, Contracts and Business” – 2013 (third) edition”  as well as Radio personality  Ian Bredenkamp from KFM to name but a few, are all speaking at the conference .

 

Artists who are speaking at the Conference include :Arno Carstens, R J Benjamin ,Chad Saaiman ,  Jimmy Nevis, Dubmasta China ,  Andrew McPherson  ,Mark Haze ,The Rudimentals , REBURN , Shadowclub , 7th Son , Goodnight Wembly, Dino Michael , DJ Da Capo. International producer and record label owner Charles Webster who produces luminaries such as Black Coffee, Bucie, MiCasa,Tracy Thorn (Everything But The Girl/Massive Attack) , Cathy Batistessa, Vanessa Daou, Wendy and Lisa and Robert Owens to name a few)

 

Delegates will hear about the future of music from the “who’s who” of the music industry. All panelists and speakers will make themselves available for the full two days. Delegates will move into focused presentations on a number of topics and these will be followed by panel discussions with experts in each field.

Delegates are encouraged to submit their demos via the Soundcloud link on the website.5 to 10 bands /Artists / DJ’s and Music Professionals will be selected and given the opportunity to showcase their talent at the showcase evening at the end of Day 1. Attendance for the Showcase evening will be free to delegates.

A number of key International Music Aficionados will also be present…”Speakers will be published shortly.

Please see website for a full list of Artists and Panelists and for further details on Topics to be discussed at this year’s 2013 Music Conference. www.musicexchange.co.za

Music Exchange Offering:

A 2 day ticket purchased for Music Exchange at R499 will include the following:

 

1. Catering for                                      21, 22 and 23 March 2013

2. Showcase Evening on the                  21 March 2013

3. Concert Evening on the                     22 March 2013

4. Workshops –                                    23rd March as follows:

 

  • ADMT – African Dance & Music Technology – An interactive DJ interactive workshop which will include how to DJ/ production / remixing / mastering and running label etc.

 

  • With Dino Michael and Charles Websterwho is producing luminaries such as Black Coffee, Bucie, MiCasa,Tracy Thorn (everything but the girl/massive attack) , Cathy Batistessa, Vanessa Daou, Wendy and Lisa and Robert Owens to name a few!!!!) The very talented SA Producer & DJ Da Capowill also be part of this interactive workshop

 

  • The Score – Music database and Music Portal for Artists – “How to use this database to List Your Gig Guide” and other effective tools.

 

  • Contracts and Advise Legal  – Ankia Pelser

 

  • Web development  and Sugaman.Org  – Brian Currin

 

Did you like this? Share it:

Zooming in on Donald

Posted by radio On March - 1 - 2013 ADD COMMENTS

[By: Helen Phushela]

“The Love I know I Deserve” the loud screams of people singing along to Donald’s I Deserve single. The song has held its own on the charts since its release last year February. For those who live under a rock, Donald Moatshe is the new R&B hype master, who has all women and men across the age difference singing along to his music. He is one of Mzansi’s best talent yet, he is from Northam just outside Rustenburg. Where he went to St Dominic Primary and then became a University of Johannesburg student. Donald burst onto the music scene with his biggest single I Deserve (The love I know I deserve). This gave him the right ladder to super stardom, lending him a national anthem.

Image by:salyrix.co.za

  

Donald Moatshe has been in the music industry for 8 years, unnoticed he has written songs for the likes of Kelly Khumalo and Kwela Tebza. His first album was titled Just Donald, and was released in 2009 under DJ Cleo’s Will of Steel Productions (WOS). Donald has since left WOS to start his own label, D-Exclusive in 2011. “I took a long time thinking about it and made a life changing decision so that I could grow” said Donald. In 2012 he released his second album Train of Love, which has the track “I Deserve” a chart topping lead single.

 

Donald started working on his second album in 2011; he wanted to target a younger crowd so he made a dance album. As a song writer and vocalist this didn’t come as a problem. On the album he worked with Chris J. from Ghana. The hit-single I Deserve came from a personal experience that the artist went through after an accident he survived in August 2011. He did not receive support from his girlfriend and says that the album is like a diary for him as it talks about how he crawled so that he can walk again. “It took me literally 30 minutes to write those lyrics and verse”. At that very moment he knew that was a song he just had to share with South Africa; little did he know that it would become this big. The song’s video received airplay from Channel O, Live Amp and MTV; it now sits at 109,017 and ‘In Denial’ with 98,112 views on YouTube.

 

I Deserve reached Top 10 on the Media Guide charts. Also securing first place on RAMs Top 100 & Top 40 charts. Donald says that the song Denial explains how it feels to get into a new relationship with old wound. “You sort of hold back and your partner can feel it when you not fully committed to them.” After six nominations at the Metro FM awards, Donald took home best produced album and best styled artist/group awards. He has managed to keep a slick clean cut look to keep his female fans going gaga. In an emotional thank you speech Donald thanked his fans and announced his album hitting the gold mark in sales. When listening to the 12 track album one can’t help but bob their head and dance to tracks such as Dance with me. 

 

He has gone through so much to produce this album and got positive feedback. “I’m over whelmed by all these good things that are happening to me. It doesn’t matter how bad the situation is, you can make a comeback.” He says he still believes in love now more than ever and it will only happen when it should.

 

Did you like this? Share it:

Narrowcasting: Widening the royalty net

Posted by radio On February - 27 - 2013 ADD COMMENTS

Keitumetse Setshedi, SAMRO’s Broadcasting and Online Transmissions Manager, and Xolani Zulu, Accounts Executive for Mechanical Rights at SAMRO, explain some of the ins and outs of narrowcasting – a potential additional revenue stream for music creators and an excellent branding tool for music users. 

What is narrowcasting?

This form of television or radio broadcasting is defined as the transmission of content to a certain targeted section of the public – such as the music you hear in the supermarket or at the shopping mall.  Whereas broadcasting is aimed at a larger, general audience, narrowcasting is, as its name implies, geared towards a smaller, defined niche audience. 

How is the narrowcasting signal transmitted?

It is usually transmitted via satellite or the internet to a restricted audience, not to the general public. 

Is a broadcasting licence required to narrowcast?

Such in-store or in-house radio stations do not require an ICASA licence. But a business or entity does need to obtain a music usage licence from SAMRO, authorising them to narrowcast SAMRO members’ music. A licence to use or play music in public is required by law, in terms of the South African Copyright Act.

Obtaining a SAMRO licence to narrowcast will help ensure that the Performing Rights royalties that accrue from the public use of the musical works will be channelled to the SAMRO members who created them.  

What are some examples of narrowcasters?

A narrowcaster can be used for any venue. The most common examples are in-store radio stations like Mr Price’s Red Cap Radio, but even hospitals, schools, taxi ranks or airports can narrowcast their own content, as the concept is simply about relaying a signal to a specific target audience. 

What about music that is relayed via a public address (PA) system – is that narrowcasting?

No. An airport or taxi rank can “broadcast” some content through its PA system, not as a narrowcaster but merely playing pre-recorded content aired from its offices. 

Can narrowcasting be used for special once-off events?

Yes.

 How can SAMRO music creators benefit from narrowcasting?

Narrowcasting is yet another avenue for SAMRO members to reap the rewards for their creative output whenever their original music works are used publicly. The Performing Rights royalties that accrue to them through this method of public music usage will be paid to them during the regular SAMRO distribution cycles. Members can rest assured that SAMRO is continuing to work hard to protect their music rights and is continuing to pursue ways to ensure compliance in this growing industry. 

What are the advantages of narrowcasting for a business? 

For businesses, the principal benefit is that the music creates a feel or ambiance. That then adds value to the business’s offering, as it helps create a pleasant setting that is enjoyed by the target market, and it makes the audience stay longer (e.g. at a restaurant) and keep coming back.

Narrowcasting is also becoming a popular form of marketing and branding by retailers. They use customer demographics to select the type of music played in specific areas at specific times of the day.

What are some of the challenges concerning the licensing of narrowcasters?

New digital technology and online streaming has made commercial music more “freely” available and is posing licence compliance challenges for SAMRO – in several areas of music usage, not just narrowcasting.  Not all narrowcasters possess a SAMRO licence, or are aware that they require one. However, the SAMRO Sales Department is actively addressing this challenge.  

And what are some of the opportunities or pluses?

Narrowcasting is also presenting SAMRO with exciting new opportunities for growth. It is a potential additional revenue stream for SAMRO’s music creators, and SAMRO is always looking for new ways to extract the optimal value from members’ music in order to maximise members’ earnings. Furthermore, the use of digital media is far more accurate when it comes to reporting and capturing data, which will be a definite advantage going forward. 

How does SAMRO keep abreast of the volume of licensed music used in narrowcast channels?

SAMRO collects playlists and cue sheets from all licensees. This allows the organisation to track music usage and perform statistical analyses to determine the appropriate licence fees, which will ultimately be passed on to the music creators as royalty income. 

In addition, SAMRO collects market intelligence and receives information from members whose music is played by some of the narrowcasters. In some cases the organisation conducts cold-calling exercises to investigate the use of rights-protected music. Who at SAMRO can members and music users contact to enquire about the possibilities offered by narrowcasting?

Source: This article first appeared on SAMRO’s website www.samro.org.za

 

Did you like this? Share it:

ECO-FRIENDLY MUSIC FESTIVAL IN JOZI

Posted by radio On February - 9 - 2013 ADD COMMENTS

9th March 2013 sees Rain Productions, Pangolin Productions & Mix FM 93.8 in association with Obikwa and Greenpop, host Johannesburg’s premier Eco-Friendly Acoustic Music Festival: “Rise & Shine”

 

The festival will provide an opportunity for music-lovers to experience the garden oasis that is Sandton Central Park, while enjoying some of South Africa’s brightest musical talents in their acoustic formats. In addition, Rise & Shine, in association with Greenpop, will plant a tree for every 50 people that attend the festival, compensating for the festival’s carbon emissions. Collectively, festival-goers will all be contributing to a small forest taking root.

 

Tickets are available at www.ticketbreak.co.za at R150 per person, with the option of paying an additional R100 for a ‘Green ticket’, whereby Greenpop will plant a tree on your behalf somewhere in Africa.  A certificate with the co-ordinates of your sponsored tree will be sent to you once its toes are in the soil. The line-up includes Shadowclub, Tidal Waves, Naming James, NakhaneToure, Yo Grapes, Chiba Fly, Phoenix Smith, Some Grow Young, Shotgun Tori, and Jeremy Loops – a founding member of Greenpop.

 

In addition to the world-class music on offer, festival-goers are encouraged to arrive at the park as early as 8.00am for a Yoga session included in the ticket price. With the Gautrain within walking distance from Sandton Central Park, guests from as far as Pretoria, Centurion, Midrand, Benoni&Rosebankare encouraged to join in the festivities. The festival concludes at 6.00pm and the Gautrain runs every 30 minutes until 8.30pm on the day.

 

Festival-goers driving to the event are encouraged to car-pool and to park their vehicles at Sandton City from where it is a gentle 500m stroll to the park. Saturday parking is a flat-rate fee of R10 for the day. This outdoor production aims to showcase – through entertainment, enjoyment & experience – what can be achieved through a collective awareness.

 

“The best time to plant a tree was 20 years ago, the next best time is now” Chinese proverb

 

Did you like this? Share it:

METRO FM MUSIC AWARDS NOMINEES ANNOUNCED

Posted by radio On January - 17 - 2013 ADD COMMENTS

The 2013 METRO FM Music Awards Finalists announcement, was held last night at a cocktail event at Summerplace,  in Johannesburg.

The nominees, the industry and the media were invited to witness which artists have made it as finalists in this year’s awards.  Given the fact that the awards did not take place last November as it is the norm, the Finalists announcement was highly anticipated.  Metro FM being a station that celebrates local music, the guests were entertained by South Africa’s sensation and talented DJ Black Coffee, followed by DJ Ganyani and last but not least, the hilarious, ever colourful and  energetic Dr Malinga.

The MC’s at the event were our very own smooth Wiliam Lehong, The Black Chinese Guy, of the Pyajama Party Show and the ever so classy Azania Mosaka who presents Total Bliss weekdays on METRO FM.  Needless to say they did a sterling job.

The voting lines opened today 17th of January 2013 for the public to vote for their favourite artists to win the most coveted award, a Metro FM Award this year.  Remember to sms category name and favourite artist to 34764.  The voting lines will then close at 11:59 on the 17th of February 2013.

For the full list of finalist visit www.metrofm.co.za/content/news/metro-fm-music-awards-finalists-announcement-2013

Issued by Metro FM

Did you like this? Share it:

FINDING REASON

Posted by radio On December - 19 - 2012 ADD COMMENTS

Picture taken from chekadigital.co.za

[By Chloe Smith]

 REASON is a relatively new name in the South African Hip Hop scene. His debut album, Audio 3D, was released in June this year to an enthusiastic local fan-base. The first single, Do It Like I Can, quickly became popular and saw a decent amount of air-time all over the country. Radiobiz caught up with REASON as the debut screening of the video for A LOT ON MY MIND, his latest single.

 So how did you get into the music industry?

Proverb got me in. I played him my music, asked him what he thought of it, he gave me a review and introduced me to a couple of his music-industry friends. And the rest is history.

 Your single “Do It Like I Can” won an award at the South African Hip Hop Awards. How did that feel?

That was quite cool. That was a real honour, truly because I’ve seen the song grow from where it was this time last year. More so because it was recorded three times! The song has grown and come alive and I’ve seen it performed. People look at me funny when I’m performing it with people jumping and screaming. So I’m really excited about that.

 Was not being able to collect your first award as a musician difficult for you?

I think it was a nice story. I kind of felt that it was cool to have somebody go up on stage and say that Reason couldn’t come and accept his award because he’s shooting a video.

 His decision to host the screening of his latest video, A Lot On My Mind, in Newtown was a bold move. Most artists opt for the glamorous, high-end venues, especially when they’re new to the scene and want to make a name for themselves quickly. REASON is just as ambitious as the rest of them but I think that he understands his scene and the people that make up the Hip Hop scene better.

 What was the background behind “A Lot On My Mind”?

There was a lot on my mind at that time in my life. I was broke, my girlfriend wasn’t working, my grandmother was sick so I was going out to drink to forget about it. I was just in that weird space. I also had an album coming out so it was quite an awkward time. So that’s what the song was about – that period in life. But I think for the most part, we put it out as second single because we realised how much people could relate to the song. Everybody’s got a lot on their minds. So that’s why we put it out as the second single. Apart from the fact that it’s a banging song.

 One could say that choosing Kitcheners as the venue communicated an older, more seasoned glamour and style and that by choosing to screen the video there, REASON was linking the underground side of Hip Hop to his single. A bold and clever move – unlike glamorous screenings, no one had any qualms about raising their glasses in the air and grooving the minute A Lot On My Mind came on.

 What was the filming process like for the “A Lot On My Mind” music video?

That was really cool. We were working with Justin from Gorilla Films. He knew what he wanted to shoot; pretty much had all the pictures in his mind. It was a night shoot over two nights and then we banged it out. I didn’t even receive my award because we were shooting.

 Sponsored by Millers, the screening was a definite success, with the crowd jammed into the small space in front of the screens. A sense of camaraderie seemed to fill the comfortable space, as if everyone there knew that you were a lover of Hip Hop, which made you a friend. The beer was cold, the music was loud and the vibe was pumping. Camera flashes illuminated the faces and the old-fashioned wallpaper, chandeliers glinted in the ceilings and somehow everyone seemed to be living only in that moment, as if reality was more real then and the only time was the present. REASON himself milled with the crowd, greeting people and holding conversations in a very relaxed manner. His down-to-earth approach to the night ensured that everyone somehow felt personally connected to him through the event.

 Do you feel that the South African Hip Hop industry is becoming too Americanised?

I think it’s not necessarily Americanised – I think it’s popularised. People are getting to understand the relevance of making music that is actually popular to people. But I think for the most part, it’s really impressive that everybody has their own integrity and they push their own agendas and they push their own perceptions, as opposed to those of the Americans. But trends are trends. There will always be baggy jeans, there will always be American accents and there will always be grills and stuff like that. I think for the most part, when it comes down to the music, as popularised as it may sound, it really is authentic, it really is South African.

Plans for the future?

Music, music, more music. Tours, videos, collaborations, more music, tours, videos, collaborations – just bigger and bigger.

 If you could tour any country in the world, which country would you visit?

I always used to want to go to Jamaica but it seems like everybody is going to Jamaica now. So for now, I’ll say Nigeria.

Why Nigeria?

Because of the stories that I hear, I want to see if it really is that terrible…. but also to get an understanding of their industry. As a musician, we all know that they have one of the strongest and most independent industries in the African continent and it influences us as much as it influences overseas. I think it would be, on a music level, to study how they get to that level where these guys are finding America and they’re opening up Def Jams in Africa. Just to understand how to make things go that big.

 Despite a few technical glitches, the crowd walked away satisfied. REASON even announced that he would play the video twice, because he felt like it and nobody complained. I’m definitely looking forward to seeing more of REASON, more of his music and definitely more of his videos.

Did you like this? Share it:

CAN’T GET ENOUGH OF MICASA

Posted by radio On December - 14 - 2012 ADD COMMENTS

After the huge success of their previous 3 music videos, Mi Casa will be releasing their much-anticipated fourth video for their latest radio single, Can’t Get Enough, directed by the well-respected Tristan Holmes from Star Productions.

The video was shot in just over 20 hours and oozes sexiness in its black and white form. The video tells the story of a relationship between a guy (J’Something) and a girl (Model Jennifer Pietersen) – although it’s not your typical boy meets girl scenario. Instead she is completely frozen in ice, a metaphor for the emotional and physical walls she has created around herself. Our romantic hero is able to melt the barriers she has created against him through his unrelenting love for her and through his music. As the ice melts he is able to free her from the ice enabling love to conquer all.

 The single Can’t Get Enough is only available on the recently released THE PLATINUM EDITION version of the groups much acclaimed 2011 debut album, put together personally by the band in order to ‘give something back to the fans’.

The PLATINUM EDITION boasts the full original album with three bonus tracks – acoustic versions of “Heavenly Sent’ and ‘I’ll Be There For You’ and a brand new track, ‘Can’t Get Enough’, already riding airwaves around the country.  There is also a full bonus disc of remixes by producers such as Charles Webster, Atjazz, Gregor Salto, Royal K, QB Smith, Dr Duda and Chymamusique as well as celebrated videos from ‘These Streets’, ‘Heavenly Sent’ and ‘La Vida’.

 This has been a great year for MiCasa after bagging three SAMAs and having just released their Platinum Edition album, the band has spent the better part of 2012 touring both local and internationally, playing up to 12 gigs on some weeks and working the Mi Casa brand into what it is today – a well oiled machine.  

The music video for Can’t Get Enough will be launched on MTV Base: Spanking New O’Clock on Friday 14 December at 16h00.

 Issued by Red Flag

Did you like this? Share it:

 [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.

 

Did you like this? Share it:

ROYALLY DECREEING THE MUSIC WE LISTEN TO

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.

 

Did you like this? Share it:

Young trailblazers rise to the occasion on Algoa FM

Whilst one of Algoa FM’s recent on-air appointments moves into weekdays, another joins the station for the very first time. […]

SABC appoints Phathiswa Magopeni as News Exec

The South African Broadcasting Corporation (SABC) is pleased to announce the appointment of Ms. Phathiswa Magopeni as the Group Executive: […]

Radio2000 invited to broadcast in East Africa

SABC Radio Station, Radio2000 has been invited to tour Tanzania from 4 – 11 February 2018 by Tanzania Tourist Board. […]

Chris Maroleng appointed as SABC’s COO

The Chairperson of the SABC on behalf of the board of the public broadcaster is pleased to announce the appointment of […]


TAG CLOUD

POPULAR