Beat Bulletin October 2014

Collecting societies play a crucial role in promoting and developing the collection and distribution of music royalties. They also protect the intellectual property of music creators.

In South Africa, the Southern African Music Rights Organisation (SAMRO), National Organisation of Reproduction Rights (NORM), the Composers Authors and Publishers Association (CAPASSO), the South African Music Performance Rights Association (SAMPRA) and the Performers Organisation of South Africa Trust (POSA), are copyright collecting societies whose focus is to ensure that composers, publishers and performers are compensated adequately for their creative works.

SAMRO was established in 1961 to administer the copyright of composers, lyricists and publishers. SAMRO administers Performing Rights by collecting licence fees from music users such as broadcasters, restaurants, clubs, hotels and distributing these licence fees to composers, lyricists and publishers as royalty income.

NORM represents publishers in Mechanical Rights administration. NORM recently restructured its activities, partnering with SAMRO to set up CAPASSO which now administers Mechanical Rights.

In July 2014, CAPASSO took over licensing the reproduction of musical works. CAPASSO is authorised, by way of mandate from its members, to issue such Mechanical Rights licences, collect the licence fees and distribute them as royalties to its members. As SAMRO no longer administers Mechanical Rights, members are urged to join CAPASSO for their Mechanical Rights administration.

SAMPRA was established to serve the needs of copyright owners of music sound recordings, with a mandate to collect and distribute royalties to the members of the recording industry of South Africa (RiSA) wherever their recordings are broadcast, diffused or communicated to the public. SAMPRA administers Needletime Rights.

POSA is a trust that was established to administer Needletime Rights on behalf of recording artists/musicians who have assigned their Needletime Rights to SAMRO. Needletime Rights make sure performers and recording artists get paid when their music is played in public. These are the people who were in the studio playing the instruments, or singing the lyrics when the recording was made. As long as they contributed to a recorded performance that was captured on CD, tape, MP3 or any other recording device, recording artists have Needletime Rights over that recording

“The importance of registering works with the relevant collecting organisation cannot be overstated. These organisations play a crucial role in further ensuring value for the works of musicians,” says Tiyani Maluleke, SAMRO’s Marketing General Manager.

She adds that SAMRO encourages all musicians, the recording industry and performing artists to have a full understanding of the collecting bodies. “These bodies actually exist for musicians’ benefit, however a number of musicians have missed out on collections and royalties because of a lack of knowledge of the importance of registering with a collecting society,” notes Maluleke

POSA and SAMPRA have recently partnered to ensure the effective administration and distribution of Needletime Rights royalties. This partnership will improve the administration of Needletime Rights and ensure that artists and recording companies reap the full benefits of their works.

The awards are a collaboration between SAMRO, Chaka Chaka Productions, Princess of Africa Foundation and City of Tshwane. The awards came about largely through the efforts of Yvonne Chaka Chaka who knocked on a number of doors to get funding and support in order to see backing and session musicians honoured for the key but often unacknowledged role they play in the industry.

In an interview with the Sowetan, Chaka Chaka said that she was inspired by musicians like Mandisa Dlanga, who has backed a number of musicians including her and Johnny Clegg and Beulah Hashe who has backed up Letta Mbulu and Caiphus Semenya.

She highlighted the fact that success did not necessarily mean being the star and that backing vocalists and session musicians dedicate a great deal of their time supporting artists and bands both onstage and in studio.

“Session artists have to be recognised because they contribute a lot to selling albums. When an album sells gold and multi-platinum, these people get nothing,” she said adding that without these musicians we would not have stars like Brenda Fassie.

The awards are set to take place in 2015. More details will become available closer to the event.

Here is what she had to say…

Q: What changes have you seen in SA music in the last 10 years? 

A: Women have moved to the forefront of South African music. Since Judith Sepuma, who introduced the listeners to Afro and Jazz mix, our music has turned around and there has been a significant increase of women in music. Women are introducing interesting and exciting sounds.  Since the world has been curious about South African music, we are seeing a lot of opportunities for South African music internationally. South African musicians are also collaborating a lot with international acts, especially with other African musicians.

Unfortunately CD sales have gone down, and this has been very challenging for upcoming musicians. However, they need to learn alternative ways of marketing their music, given these industry changes, and learn to do things themselves instead of relying too much on recording companies.

Q: What do you think is important for SA musicians to remember when making music? 

A: Tell and recite South African stories through music, it is all about bringing it back home. It makes no sense to try to be like everybody else when we have unique and diverse cultures in our country, and have an opportunity to tell our stories to the world through music. Our diversity sets us apart from the rest of the globe. It makes us special and we should explore music opportunities in our diversity.

Q: What do you think makes a song a hit or a flop? 

A: People love catchy music. As our audiences become smarter, musicians need to look into what people want, which platforms they utilise and find smart ways to reach their audiences. Create a balance by reaching out to audiences in a way that they understand and can relate to. The key point is to get your listeners to understand what your music is about and keep to that genre so that they associate it with you. Make sure that your music is easy to remember.

Q: How do you market new song releases? 

A: Airplay and interviews are the best ways to get a new release heard. Audiences learn from repetition, that’s how Americans have managed to get it right. So when you release a new song, just get it out there and get it heard, over and over again.

Q: How can musicians market their music with a low- cost budget? 

A: Find alternative ways of doing things. Explore digital marketing platforms to market your music; social media continues to present musicians with opportunities to expand their works at very low cost. Put yourself out there. Facebook and Twitter are great low-cost marketing platforms that if used effectively can yield really great results. Marketing music is all about having it out there.

Q: What advice would you give to musicians starting out? 

A: They need to look for opportunities to get their music played. If you are invisible, nobody will ever know you. Look for places to play your music. People need to know who you are.  And along the way you will get to learn tricks. So take the chance and get your music out there.

Q: What are your thoughts about music and education? 

A: Education makes you sound refined as a musician. I have appreciation for education, and would have loved the opportunity to further my studies. Over the years, I have found that education also means reading and being informed.  I read a lot of informative books such as science and psychology books, and appreciate the insights that I get from those books.

Q: What has been the impact of your SAMRO membership on your work as a musician? 

A: There was a time in my life when things were very difficult and it felt good to have that SAMRO pay cheque. In fact, that cheque actually got me my first car. I have seen great benefits from the role that SAMRO has played in the collection and administering of my works, it feels even better on a good year.

Q: What are your thoughts on SA music industry today compared to 20 years ago?

A: It has really declined. Twenty years ago, people were selling 500 000 tapes a year. Today people hardly buy CDs anymore. And some of the companies that used to make CDs have closed down. The music industry overall has become very difficult. If people just want the fame without the hard work, they will never make it.

Q: What projects are you currently working on? 

A: I am touring the country with the Lira: Her Story tour which will end in March next year. I will probably have an album at just about the same time. But we will see as time goes by.

Q: What advice would you give to young people entering the music industry? 

A: Have a vision for yourself. Be willing to do the work and there is no formula for this game. The South African music industry is a big pie and you just have to come with what you have and be the best that you can be.