SAMRO Notes by SAMRO

SEPTEMBER 2017 Â· NO. 7

PERFECTING THE ART OF REINVENTION 10

THANDISWA MAZWAI reclaims her spot in the music industry

TAMARA DEY

24 talks about her

musical journey

BRIDGING THE GAP with legend Letta Mbuli 1

Contents JOHANNESBURG

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Content Writers: Thando Mketsu, Andile Ndlovu, Christina Kennedy

The passing of Paul Ross marks the passing of an era

Thandiswa Mazwai reclaims her spot in the music industry

DALRO / Theatricals turns 50

Duncan breathes new life to the old school Kwaito sound18 Entries

The law regarding sampling and cover versions

Multi-talented Musos

Zoe Modiga – A star in making

Kwaito diva, Tamara Dey talks about her musical journey

CEO Roundtable

28 DJs performing with instrumentalists

Guest Contributors: Jonathan Shaw Design and layout: Lattitude Group

@samromusic

www.samro.org.za

Duncan breathes New life into THE OLD SCHOOL

14 KWAITO SOUND

Multi-talented musos:

22 Dispelling Myths around DJ Licensing

Project Supervisor: Phash Ratshilumela

Editor in Chief: Tiyani Maluleke

@SAMROMusic

Meet the CEO

Exploring synchronisation opportunities and licensing Bridging the gap with legend Letta Mbuli

34 We want more of Timo ODV

Credits

@SAMROSouthAfrica

Meet the CEO

A star in the making

African music eas the biggest winner as two new kings of...

Catching up with the SAMRO Foundation’s 2016 Overseas Scholarships winners

We want more of Timo ODV

EDITOR’S NOTE W

MUSIC CREATORS ARE THE LIFEBLOOD THAT FEEDS OUR MUSICAL HEARTBEAT

elcome to another jam-packed edition of SAMRO Notes! We hope you enjoy tucking into this magazine tailored to entertain and inspire you, our hard-working members, and also to celebrate the vibrancy of the industry we work in. One thing is becoming abundantly clear, in today’s everchanging music industry: you need to be a chameleon to thrive. It’s becoming increasingly essential to be versatile and work across platforms – not just out of necessity but to keep that creative spark alive. Music creators are the lifeblood that feeds our musical heartbeat, and in this edition we feature a mixed bag of veterans, established industry players and boundary-pushing new kids on the music block. Included in this focus is a comprehensive homage to several generations of sublime female music makers. Letta Mbulu is one of South Africa’s grand dames of music, and this evergreen songstress is celebrating a remarkable 50 years of marriage

to fellow creative genius Caiphus Semenya – and is still weaving creative alchemy. We were fortunate to have had an audience with this doyenne, and we also profile Thandiswa Mazwai, who has released a ‘songbook’ album paying homage to our music legends – including Mbulu.SAMRO Notes also chats to the ever-glamorous Tamara Dey, who was dubbed “the first lady of kwaito” when she burst onto the scene. She’s also dropping a new album, this time steeped in a new fusion sensibility that veers towards African pop. If South Africans had barely heard of Zoë Modiga two years ago, they certainly do today. Since winning a 2015 SAMRO Overseas Scholarship for singing, this jazzy songstress has made an emphatic imprint on the music scene. We chat to her about the release of her debut album, Yellow: The Novel. Still on our most dazzling new stars in the SAMRO universe, SAMRO Notes finds out what last year’s two scholarship winners, marimba player Dylan Tabisher and saxophonist

Linda Sikhakane, have been up to since clinching one of the country’s most prestigious music awards for instrumentalists. A lso on our radar in SAMRO Notes is popular hip-hop artist Duncan, who speaks about the ethics and legalities of sampling, and we also take a look at some bubbling-under musicians who we’d love to hear more from – including rising house music star Timo ODV.There’s much more to dip into and enjoy in this edition, as we count down to SAMRO’s annual Wawela Music Awards that toast excellence in music creation across a range of categories. Until the next edition, we wish you all a joyful second half of the year!

Tiyani Maluleke General Manager Marketing

tions and concerns, in respect of the Bill,

cations as Managing Editor: Business

Bigotry is something she has faced many

to the Portfolio Committee on Trade and

Finance, where she was responsible for

a time, she says, especially being a young

Industry in parliament.

the management of three key tax and vat

and black woman.

publications. She then moved on to the

The first woman to take over the reins in the five decades-plus history of the organisation. Being a very young black woman, too, makes it even more extraordinary.

“The history of my appointment is not lost

Dramatic, Artistic & Literary Organisation

“Firstly, I doubt there will be any woman

on me. It’s very special. It’s a moment in

(DALRO), where she was the GM of Corpo-

who can say she’s never felt discriminated

history. But I just think of all the work that

rate and Legal Affairs – and was later pro-

against on the basis of her gender. In most

needs to be done – there’s so much to be

moted to the position of MD. Add to that

cases, I like to bring things out in the open

done,” she says, as she munches on an

a position of Non-Executive Director and

and deal with it – bigotry flourishes in dark

energy bar and drinks a protein shake.

Chairperson of the Governance Sub-Com-

corners. People who are on the receiving

mittee at Media Diversity and Development

end of it are often punished for, as I have,

She acknowledges that it is a

Agency.

but in the end it will work out for you.

ground-breaking moment in SAMRO’s

But it was in January 2014, where the

Being frank and shining a light on these

history. She is the first woman to take over

wheels were set in motion on her journey

prejudices is how they stop,” she says.

the reins in the five decades-plus history of

to the SAMRO hot seat. Migogo joined

the organisation. Being a very young black

CAPASSO in the position of CEO. CAPASSO

Thankfully, Migogo also knows how to

woman, too, makes it even more extra-or-

is a mechanical rights licensing agency

unwind. She credits her family (she is also

dinary.

based in Johannesburg – collecting and

a mother to two children) with keeping her

distributing royalties to its members,

sane. At the time of this interview, she is

“My leadership of CAPASSO was history

which includes music publishers and

waiting for Jay-Z’s 4:44 album to be made

needs to be done – there’s so much to be

in itself. There were a lot of things that

composers.

available on Apple Music, after it was

efits, yoga is said to improve

done,” she says, as she munches on an

CAPASSO did that were a first for us in the

One of her biggest achievements includes

initially only offered on the rapper’s Tidal

energy and vitality – something

energy bar and drinks a protein shake.

country – the strides that we made in the

successfully leading the organisation from

streaming platform. She is a big fan of The

digital licensing sphere. Many firsts in the

licensing revenue of R31 million in 2014 to

Weekend’s Trilogy album, and English indie

She acknowledges that it is a

mechanical rights industry.

R80 million by 2016. CAPASSO also suc-

rock band alt-J, who recently released their

month at the helm of the largest collec-

ground-breaking moment in SAMRO’s

“But being at SAMRO now - the sheer

cessfully licensed the majority of digital

third album, Relaxer.

tive management organisation on the

history. She is the first woman to take over

history and size and position that SAMRO

service providers and over the last couple

continent.

the reins in the five decades-plus history

occupies on the continent, means it’s a

of years entered into agreements with the

totally different ball game. It’s a big jump.

likes of Apple Music, YouTube, MTN and Google Play.

MONG its many reputed ben-

new SAMRO CEO, Nothando

Migogo has needed to get through her first

Back to the yoga.

Often, over the past few weeks, Migogo

AMONG its many reputed benefits, yoga is

The level of responsibility and the number

has spent her time meeting with her new

said to improve energy and vitality – some-

of interested stakeholders are far more. It’s

team as well as key stakeholders and

thing new SAMRO CEO, Nothando Migogo

raising the bar for myself and my career,

She says she loves bagging a big client,

person. When my spirituality calls, I find it

has needed to get through her first month

which is great. I’m really up for the chal-

the completion of a project and enjoys see-

hard to not answer. I immersed myself in

familiarise herself with SAMRO. To top it

at the helm of the largest collective man-

lenge. I love challenges.”

ing her team win, grow and come together.

yoga because I wanted to empty out a lot

all off, she has been involved in intensive

agement organisation on the continent.

ensuring that she gives herself time to

“In life, you’re more than just what you do at work. You have to be a well-rounded

In fact, she talks about “team” often.

of noise that was happening in my head. I

lobbying against the controversial pro-

Migogo’s rise to CEO of SAMRO is even

“Getting to know the people, the SAMRO

needed to receive the enlightenment,” she

posed Copyright Amendment Bill. At the

Often, over the past few weeks, Migogo

more impressive considering that it was

team – and not just the executive team,

recently told Kaya FM.

beginning of August, she led the SAMRO

has spent her time meeting with her new

only 12 years ago that she got her first

but everyone, is important to me. We’re a

delegation in presenting SAMRO’s objec-

team as well as key stakeholders and

taste of the corporate world. After com-

team of about 200 people and I want to

“It’s just a great practice to silence the

tions and concerns, in respect of the Bill,

ensuring that she gives herself time to

pleting her LLB degree, she joined Deloitte

know all the people within the organisa-

mind. It allows me to be selfish and say,

familiarise herself with SAMRO. To top it

SA in 2004 as a Corporate Tax Consultant,

tion,” she says.

‘these 90 minutes are mine’. You can’t

all off, she has been involved in intensive

where she gained experience and an un-

lobbying against the controversial pro-

derstanding of corporate tax and interna-

She speaks about a team pulling togeth-

be selfish sometimes, because you will

posed Copyright Amendment Bill. At the

tional tax, as well as the audit function.

er – without agendas and politics. She

soon be depleted.”

to the Portfolio Committee on Trade and Industry in parliament. “The history of my appointment is not lost on me. It’s very special. It’s a moment in

beginning of August, she led the SAMRO

history. But I just think of all the work that

delegation in presenting SAMRO’s objec-

make it far if you don’t have the ability to

demanded to know of any instances of bigIn 2007, she joined Fleet Street Publi-

otry, and promised it would be eliminated.

The passing of Paul Roos marks the passing of an era Many of today’s SAMRO members may

in Latin and Greek and, in 1932, an LLB.

Towards the end of 1961, he left his

and printing of the various forms, tariffs

not know the history of the organisation

Paul Roos, Gideon’s son, was later to say

position as director-general of the SABC

and licence forms in both (English and

and the debt it owes to the Roos family.

that although Gideon had studied classics

to launch the South African Society of

Afrikaans) official languages,” Paul later

The passing of Paul Roos in March 2017

and law, his first love was the creative and

Composers, Authors and Music Publishers,

recalled. From there, SAMRO started to

marked the passing of the last living son

performing arts, and in 1933 he joined the

SAFCA. A few months later it was

focus on two main activities - organising

of the legendary Gideon Roos, founder of

African Broadcasting Company in Cape

renamed the South African Music Rights

its country-wide licensing operations

SAMRO. At this time, it is appropriate for

Town as a cub announcer.

Organisation. Eight years later, through

to run efficiently, and setting up its

SAMRO to reflect on the three men, father

a resolution adopted at a special annual

documentation department that kept

and sons, without whom it would not have

general meeting, the name was changed

the records of composers, authors and

again, and so was born the Southern

publishers as well as those of musical

African Music Rights Organisation. The

works.

come into existence in the early 1960s. “In 1961, the future of SAMRO was to hold many challenges but also numerous successes, and its full history has yet to be told, but the passing of Paul Roos brings to an end the chapter that started with its birth. SAMRO owes a debt of gratitude and honour to the founding fathers of the organisation,” says Abe Sibiya, SAMRO’s Acting Chief Executive Officer. This edited short essay about Gideon and his son Paul, written by Sandile Ngidi, is in partial

“the passing of Paul Roos brings to an end the chapter that started with its birth. SAMRO owes a debt of gratitude and honour to the founding fathers of the organisation”

new name sought to reflect that SAMRO was not just for South Africans but would

But Paul Roos rose through the ranks

be active throughout the region. The new

as SAMRO grew in size, reputation

organisation was a tribute to Gideon’s

and stature. Recalls Monica Seeber,

sense of visionary commitment. His son

currently the treasurer of the Academic

Paul remembered him as someone who

and Non-fiction Authors’ Association of

expected all his staff and colleagues to

South Africa (ANFASA): “When I joined

work hard and make sacrifices where

its staff, more years ago than I care to

required. In its first financial year, which

remember, Paul Roos was the chairman

ended on 30 June 1962, the new collecting

of the DALRO board, having recently

society earned a total income of R192 000.

retired as its managing director. I recall

settlement of that debt, but only partial, as

his presence at a workshop about

the organisation itself, and the thousands

“The new name sought to reflect that SAMRO was not just for South Africans but would be active throughout the region. The new organisation was a tribute to Gideon’s sense of visionary commitment. “

The organisation initially rented three

of composers and lyricists who have

In 1937 Gideon became the first Afrikaans

small offices at Cavendish Chambers near

comprehensive knowledge of the subject

benefited from it, is its own testament

and English announcer at the new SABC,

what was then the main Johannesburg

and the authoritative yet unfailingly polite

to the Roos family. SAMRO has been

which had been formed in 1936, and he

Post Office in Jeppe Street. There were

manner in which he answered question

home to many families and has served

married “the promising soprano” (as Paul

initially only three staff members: Pa Roos

after question.” We at SAMRO extend our

many families, of staff and of composers,

Roos put it) Esther Mentz, who often sang

himself, Pa’s former secretary at the SABC,

condolences to Paul Roos’s loved ones as

therefore we owe a debt of gratitude to

on SABC radio. This love for his wife and

and a messenger. Soon afterwards, Gideon

we pay tribute to the family dynasty that

SAMRO’s first family – especially to Pa

for classical music saw Gideon translate

recruited his sons to work with him. Paul,

laid the foundations for the internationally

Roos and his boys.Gideon Roos was born

a number of operas and operettas into

who joined the staff on 16 August 1961,

renowned copyright asset management

in Worcester in the Western Cape on 28

Afrikaans.

was the administrative assistant to the

society that we have become today, more

October 1909. After attending school in

general manager. “My first task was to

than half a century later. Rest in peace,

Stellenbosch, he studied at the University

Gideon had a strong sense of service

wade through all the files… then followed

Paul Roos, and may the music continue to

of Stellenbosch and obtained a BA degree

to the music fraternity in South Africa.

the redesigning, adaptation, translation

follow you wherever you go.

The best artists don’t give us what we want, but rather what we didn’t know we needed. This certainly rings true of Thandiswa Mazwai and her latest offering, Belede – a jazz tribute album that revisits some of South Africa’s classics. . Among the attributes that set Mazwai apart are undoubtedly her soothing vocal delivery, her strong opinions and her image. It is not hard to see how she fostered such a close relationship with the late Busi Mhlongo – one of the legends she honours on Belede. The album (which comes seven years after her second solo album, Ibhokwe) also features classics including Dorothy Masuka’s ‘Nontsokolo’, Hugh Masekela & The Union of South Africa’s ‘Mamani’ and Letta Mbulu’s ‘Jikijela’ – a song that still finds relevance in the modern South Africa. We caught up with “King Tha” to talk about the significance of the latest album and her new sound. Question: With Belede, you honour some of the country’s greatest musicians and, indeed, those who inspired you. But what led to the decision to record such an album?

r e h s m i a l c e Thandiswa r h t i w e n o r h t y r t s u d n i c musi m u b l a k o o b g son E I HOPE TO TODAY I AM A MUSICIAN AND IN MY TIM US TO CREATE A SPACE WITHIN MY MUSIC FOR TANDING.” RS DE UN R FO CH AR SE D AN E TH OO -S LF SE

Answer: The intention behind doing this album changed over time. The most visceral reason was pain. I had spent quite a few years wrapped in a lot of that for different reasons and I had begun to fear the sound of my own voice. I always say when Mam’ Busi Mhlongo died, I felt like everything should be silent. She was one of my dearest friends and my musical master. What grew out of that pain was a need to honour some of these relationships and the mentorship that their music and spirit represented to me. Dr Hugh Masekela had at some point suggested that I do a kind of “songbook” and recommended a lot of music from early choral right up to Sophiatown and beyond. Over time, I made my own choices that resonated with the idea of tribute while inserting contemporary concerns. Question: We were at the launch of the album at the Soweto Theatre some time back, where you talked about how tough it was to pick which songs to cover. How many songs did you consider, and how did you finally settle on the nine-song track list? Answer: On selection: I chose the artists I wanted to honour and then chose the song I felt best suited the whole intention of the album. As you can imagine, these artists have vast catalogues with music for all

seasons. I mean, my favourite song that Mam’ Letta and Bra Hugh do is ‘What is Wrong with Groovin’? but ‘Jikijela’ fitted in so well with the narrative of the Fees Must Fall student uprising, in my view. Another example would be Busi Mhlongo, whose music is some of the most incredible displays of vocal prowess, and I could have tried some – with no success, I’m sure – but I chose ‘Wakrazulwa’ from her final album because of a story she told me about that song on a trip to Réunion before she recorded it. Question: Do you have a favourite on the album? A: My favourite is all of them but I play ‘Kulala’ and ‘Wakrazulwa’ to an almost obsessive level. Oh and ‘Westwind’, ‘Mamani’ and ‘Malaika’, and and... Question: You’ve also said you named the album after your mother in an attempt to hold onto her memories and teachings. Does this also apply to the musicians who have inspired your progress as a singer/ songwriter? Answer: I named it after my mother because she was the first rebel in my life and she introduced me to the ideas that these musicians stood for. As I honour them, I also honour the spirit of the rebel, Belede. My mother died when I was 16 years old and she has been my obsession ever since. Question: There has always been a hint of nostalgia in your work, and reflection – positive or not – on times past. Since we’ve just celebrated Youth Month, tell us what role music played then and, indeed, now in soothing bruised hearts? Answer: I was born in 1976, so I have little idea of the role that music played back then. I know that the music that rebels sang was about the pain of being black and the struggle to free ourselves from [that pain]. Today I am a musician and in my time I hope to create a space within my music for us to self-soothe and search for understanding. Question: With that in mind, we wonder about your early days when you auditioned for Shell Road to Fame. Did you ever foresee that you would become such an important voice, that you would be here reminding us to uphold and celebrate the memories of the stalwarts of yesteryear – those who helped unshackle us? Answer: I could have never imagined that my life would turn out this way. I was literally pushed, physically, by friends to do the Shell Road to Fame audition because

it was at our campus. I was a deeply shy kid who played brave. I guess I’m still doing that as an adult. When you are a black kid growing up in a township it’s hard to dream, hard to visualise yourself in another world with different circumstances. I have a line on my song ‘Zabalaza’ which says: “If you take my hand I’ll show you how to dream.” Q: You’ve said that you never dreamed of being a famous musician. Does it still unsettle you to think that you are looked up to by so many? Answer: Fame alienates. I have never gotten used to it. Question: You have been a vocal supporter of the Fees Must Fall movement, which, in the context of the music and media industry, could be viewed as being rebellious (a label you have embraced). Has this ever landed you in trouble with labels, sponsors or music fans? Answer: I have been blessed that, in 21 years, no label has ever tried to muzzle me. And thankfully I have no sponsors, so nobody is worried about whether my opinions will affect their brand. Besides, I have become a lot more diplomatic after 21 years in this business (laughs). Question: Was it inevitable that we would find ourselves back here, where the black youth is fighting for access to quality education, just as our forefathers did? Answer: The continued political dissent in South Africa was definitely inevitable because there has been no radical change in the lives of the ordinary black person. I’m reminded of the line: “What freedom is this that I have only the freedom to choose my new chains?” It is acutely important that the students don’t abandon their cause because of how it has highlighted such important ideas as the intersectionality of our struggle and the true decolonisation of our education system and life experience. It is very important that the African child gets an empowering, Afrocentric education and that the African woman is freed from the shackles and violence of patriarchy. Question: What can we expect to see from Thandiswa Mazwai for the rest of 2017? Answer:This year I hope to take the music to all those who support it and, at some point, I will go to the studio for my next project. I have already penned some songs.

DALRO

DALRO, one of SAMRO’s subsidiaries, does vital work in licensing businesses to use copyrightprotected words and images. This year, the organisation celebrates a remarkable 50 years in business. With that in mind, it is worth sharing DALRO’s story and raising awareness of the valuable work it does.

celebrates

YEARS

WHO IS DALRO?

copying something if you host articles on

WHY DO COMPANIES NEED TO GET

right to make any copyright-sensitive use

your subscription. Your company needs

of the machine. When you pay a copyright

The Dramatic, Artistic and Literary Rights

your shared drive or intranet for others

A DALRO BUSINESS LICENCE?

of that work. Copyright law dictates that

permission from the owner of the works.

fee as well, you also pay for the content

Organisation (DALRO) is a non-profit

to view or, externally, on your corporate

the purchased copy may be read or oth-

DALRO has been mandated by publishers

– arguably the most valuable part of the

organisation that provides licensing

website and Facebook pages. This also

erwise enjoyed, and may be resold, given

to give permission in a form of a licence.

photocopied page.

solutions to allow companies to use copy-

includes printing out or emailing articles

right-protected words and images. Fees

you receive from your public relations or

from licences are paid to DALRO’s creator

media monitoring agency.

members. Copyright-protected works

include published books, newspapers,

Is my organisation infringing copyright?

magazines, theatre scripts, paintings and

The basic rule is that any organisation

scientific journals.

that wishes to copy a published work will

DALRO’s role is to make the process of gaining copyright approval from individual publishers easier. The licences act as an insurance policy that protects organisations from breaching copyright. They also provide assurance that publishers are being rewarded for their work and effort.

away or destroyed, but the work embodied in the copy may not be reproduced or pub-

BUT SHOULD INFORMATION NOT BE

licly performed without a licence.

FREE AND IN THE PUBLIC DOMAIN? The royalties collected by DALRO find

I HAVE A SUBSCRIPTION FOR A

their way back to the rights owners – the

PUBLICATION. WHY DO I NEED A

people who have, through their mental

AM I STILL IN BREACH OF COPY-

LICENCE?

efforts, created the intellectual property

Organisations run on information, so it

being consumed. Without reimbursement,

makes sense that activities involving shar-

they have little incentive to go on creating,

ing and storing articles are part of your

and there would be no information. In any

everyday business routine. But sharing

case, no photocopied page is free: you pay

and storing activities are not covered by

for the paper, the ink, the toner and the use

need permission from the copyright owner.

RIGHT IF I BUY THE BOOK I’M COPY-

WHAT IS COPYING?

If your organisation reproduces articles,

ING FROM?

Copying can mean anything from photo-

either in print or digitally, and shares these

copying articles to scanning and emailing

internally or externally, it is likely infringing

them to colleagues or clients. You are also

Purchasing a copy of a work – such as a book, scientific journal, magazine or a newspaper – does not give the buyer the

Contact DALRO at dalro@dalro.co.za to find out about obtaining a comprehensive business licence, or visit www. dalro.co.za for more information.

DUNCAN BREATHES NEW LIFE INTO THE OLD SCHOOL KWAITO SOUND Duncan first stepped into the mainstream music space when he was featured by hip-hop star Zakwe on a track titled ‘Isukile’. Months later, the then new kid on the block recorded and shot a video for his street single titled ‘Khayalami’, featuring Prokid, Redbutton, Zakwe and Musa. He had to work hard on his craft with his underground crew, 4051, before his patience and perseverance paid off. Duncan finally got his big break with the release of his hit single ‘Tsiki Tsiki’, which samples kwaito godfather Mdu Masilela. The song enjoyed high radio rotation before the release of his debut album, Street Government. Right there and then, his street cred was established and his career took off – and Duncan has never looked back. He continues to breathe life into the new sound that’s coming out of KwaZulu-Natal. Now a solo artist, he is grateful for all the work he did with the now-disbanded 4051 crew, describing it as his “training ground”. Although he knew that music was his calling, he admits that the impact of his first album’s “overnight success” was somewhat overwhelming and unexpected. “I was able to take care of my mother, treat her well and put food on the table,” he says. “Street Government changed my life and I will hold it dear to my heart. The album opened doors for me; it really made me.” Street Government produced several hits, including the catchy re-remix of ‘Tsiki Tsiki’, featuring Mampintsha, Professor and AKA, and ‘Mi Thatha’, featuring DJ Tira. Talking about the album, Duncan points out that it was a collection of the styles and influences he grew up listening to. His take on sampling is simple: he has no problem with it, as long as it’s done correctly. This means getting permission to rework the song, and crediting the author and composer of the original work. To him, sampling ‘Tsiki Tsiki’ was a sign of respect to Masilela and the kwaito greats who shaped the uniquely South African genre. Just as Duncan was helped by his friends and fellow artists when he started out, he is paying it forward by assisting aspiring underground artists to make it into the mainstream. He occasionally hosts musicians in his Skuva Nation initiative, encouraging artists to chase their dreams, much like he did. Duncan’s latest offering, Balaclava, hit the shelves recently and is doing well on iTunes. This one is a real treat for his fans and features collaborations with Kwesta, Ngane, WTF, Dreamteam, Nana Attah and many more.

JONATHAN SHAW IS AN ESTABLISHED RECORD PRODUCER AND MUSIC BUSINESS CONSULTANT AND LECTURER. THE THIRD EDITION OF HIS BOOK, THE SOUTH AFRICAN MUSIC BUSINESS, IS AVAILABLE THROUGH ADA ENUP PUBLISHERS.

WHAT THE LAW SAYS ABOUT

SAMPLING AND COVER VERSIONS

The late Pablo Picasso – a Spanish

the same way. But if you are anything

is exponentially worse, so much so that

painter, sculptor, printmaker, ceramicist,

like me, then perhaps songwriting

we have seen the rise and fall of the

stage designer, poet and playwright

is not your strong point. Sure, I’ve

recorded music business in the space

once said: “Good artists borrow, while

come up with some ditties, but I’m far

of a couple of decades. Anyone can

great artists steal,” and many musicians

more a purveyor of someone else’s

get a recording of a song in seconds.

have tossed around ideas on how this

strong accompaniment or melody

While this describes the state of play in

philosophy can be applied when making

line. Sometimes it’s just easier to

selling records, the truth is that many

music. Why come up with something

use a great song than try to write

performers have used songs written by

original when you can just take it from

one yourself. Back in the early 1900s,

songwriters other than themselves. It

somewhere else? Almost everything

this became a particular problem,

was common practice from the 1950s

we hear in music today has been

highlighted through the development of

to the 1970s for record companies to

expressed, if not exactly, then in some

the printing press and the piano roll. It

take a song by one singer/songwriter

warped rip-off. There are only 12 notes

was all too easy to print or programme

and give it to another, “better” artist

in the modern Western music scale, so

a song instead of needing someone to

who suddenly made the tune famous.

how could so many songs possibly have

perform it. Suddenly, a song that was

So many songwriters, perhaps you

been written or played in so many ways?

scarce through performance became

included, have lamented the use of your

accessible to a wide audience through

song by someone else. “How can they

Well, not all pianos are equal, not all

technology.

take my song?” we cry, when the law

hands so steady and not all brains think

Fast forward to 2017 and the problem

has evolved to allow just that.

Well, in terms of South African law,

adapt the work is exclusively held by the

in this way. So, it’s a risky business to

within the Copyright Act, we have what

owner of the work. Imagine you now go

go about sampling different recordings

is known by the jargon “Mechanical

and put a killer bridge part into an old

unless you want to chance not being

Rights”, allowing for the reproduction of

favourite. If you were to add a bridge to

able to clear them, but you can hope

a song as long as it is unchanged by the

another person’s music, it means you

the rights holders see the commercial

manufacturer. The thinking behind this

are infringing on their rights. I always

potential and strike a deal with you.

clause, as outdated as it may seem now,

flip this scenario around on people and

Generally you’ll be asking for a royalty in

is to make provision for the physical

say: “Can I take your chorus and put it

the new work which, if successful, can

replication of songs on a disc or tape.

in my song?” The objections abound as

bring you earnings through mechanical

The idea is that you record a song as

soon as it’s your own precious creation.

income, performance income from

is, then put it on a CD or other physical

If you really feel you have to use parts of

SAMRO and being used in films, TV

media such as cassette or vinyl, and

someones else’s song, you would need

shows and documentaries (known as

manufacture it for distribution in stores.

to approach the rights owner, usually

synchronisation revenue).

Mechanicals, as they are fondly called,

a savvy music publisher, in order to

allowed one record company to cover

clear the usage of this new version of

Another example is the spat between

a song with a different singer, and

the work. Adding to the complexity of

DJ Pex and DJ Tira. DJ Tira, according

automatically be granted permission to

this, the law also gives the ownership

to reports, took a 2011 vocal of Wendy

use the song if they have notified the

of this new piece to the owner of the

Soni recorded by Pex for his track

rightsholder and paid the applicable

work that’s being changed. So, back

‘Ntokaz’enhle’ and used it in his own

royalties.

to the killer bridge part you wrote: as a

dance track, ‘Intokazi’, in 2013. DJ Tira

stand-alone piece of music it may be

believed he had a verbal agreement

The other thing the rightsholder of the

yours, but as soon as you want to shove

from DJ Pex to use the recording and

song has, though, is that no one else

it into an old favourite, you will first have

music, and also had an SMS from DJ

can use it in this way until they have

to face the music publisher to clear

Pex saying he was allowed to use the

decided where and how it’s publishing

the adapted work and then also lose

sample. There are no further reports on

for the first time. It is a fairly involved

ownership of the new work. The bridge

what subsequently happened, but DJ

process from a legal perspective,

may be yours, but the bridge-plus-old-

Tira may have overstepped DJ Pex’s

but the organisation CAPASSO (the

favourite would belong to the publisher.

vague authorisation. DJ Pex’s publisher

Composers, Authors and Publishers

would possibly have all the rights

Association) is tasked with clearing

To make things even more complicated,

to DJ Tira’s music as an adaptation,

mechanicals. So, as long as you don’t

many new artists are “borrowing” little

and can therefore control how it’s

change the song in any material way, all

pieces of recordings they like and

used. Take care when using someone

you need to do to use it is to clear it. An

splicing them together to make a new

else’s intellectual property. Get the

example of this in practice is the artist

song. Nothing better than not having to

proper clearances before releasing an

Josh Groban covering Bright Blue’s

create that amazing vibe yourself, right?

adapted work and make sure you have

struggle song ‘Weeping’ from Gallo

Well, this not only creates an adaptation

something in writing. On the other

Publishers and Muffled Music in 2008.

of the music that may be impossible to

hand, it’s often hard to find information

Following its success in 1987, ‘Weeping’

clear with all the publishers involved, but

on songs one would like to potentially

was covered numerous times by South

the artist has now confounded the issue

cover or sample, especially by new

African artists, with Groban’s production

by also using another entirely different

artists.Notify your songs with SAMRO

team drawing on the backing vocals of

and CAPASSO and clearly indicate your

Ladysmith Black Mambazo and Vusi

Using a sound recording now requires

publishing information everywhere. It’s

Mahlasela to record the song.Let’s say

the clearance of the record company

in your in interest, especially when it

you want to change or add something to

that paid to make it in the first place.

comes to earning the royalties you’re

someone else’s song. The Copyright Act

Also, note that a rights holder - be it a

due, to have these details easily found

refers to this as making an adaptation

musician or company - can just simply

on your tracks, social media platforms

of the music or lyrics. This right to

refuse to allow you to use their asset

and website.

Multi-

talented musos: Building your brand is the name of the game Gone are the days of sticking to only one form

Joao da Fonseca, better known as J’Something was born

Unathi Msengana is a singer, actress, and TV and radio

of artistic expression. Nowadays, musicians

in the Algarve in Portugal. His family immigrated to South

personality best known for hosting a show on Metro

have various platforms and options available

Africa, where he later met Mo-T and Dr Duda, forming

FM’s drive-time show with Glen Lewis (a show she left

to them to spread their wings and showcase

the hit-making house music trio Mi Casa. Their albums,

in early 2017) and for being a judge on M-Net’s popular

their many skills in showbiz. The opportunities

Mi Casa Music and Mi Casa Su Casa, topped music charts

reality singing competition, Idols, since 2011.

are endless but with so much competition in

and reached triple-platinum-selling status. But amid

the entertainment industry, lucrative deals

the success of the group, J’Something had other ideas

Over the years, she has collected a string of accolades.

can sometimes get dirty, causing some serious

brewing. If you were to browse through his social media

In 2003, she walked away with two awards at the

rivalry in celebrity circles.

pages, you would realise that he loves to cook and eat

Metro FM Music Awards, for Song of the Year and Best

good food. In 2014, Something’s Cool (J’s creative agency)

Dressed Artist. With two South African Music Awards

But, managed correctly, branching out may

announced a much-anticipated cooking show titled

nominations, she has also shared the stage with

not only serve as a creative outlet for an

Something’s Cooking on Mzansi Magic. The 13-episode

musicians such as John Legend and Youssou N’Dour.

artist’s multi-faceted talent but may also

season was a success and reached more than two million

In 2004 and 2005, she was named as one of the Top

prove valuable for their brand and career

viewers. In 2015, he hosted a second cooking show: a

10 people in Media by The Star newspaper and as the

advancement. This move can help them

13-part format called What’s For Dinner? on SABC 3 – this

Most Promising Woman in Media at the MTN Media

reach a wider and more varied audience,

time, more than 10 million people tuned in. The What’s

Awards.

generating multiple revenue streams and, more

For Dinner? partnership extended into radio, print,

importantly, remaining relevant and at the top

cooking classes and a digital strategy.

of their game in the industry.

She may have recently left Metro FM, leaving fans shocked and confused, but her followers can rest

We’ve put together a list of some of the

Between working on his music and shooting cooking

assured that all is not lost as this multi-talented

musos who’ve managed to make a successful

shows, he also managed to partner with various brands

powerhouse is exploring new horizons. In a recent

transition pursuing other interests within the

as well as appear at Taste of Cape Town and the Good

interview with Gareth Cliff on Cliff Central, Unathi

industry and, in some instances, in unlikely

Food and Wine Show – and has recently opened his own

confirmed she is now an author, with a book on health

places… Who knew they could do that?

restaurant, Something’s Cooking with J, at Times Square,

and self-acceptance due for release later in the year.

Anga Makubalo is a diversely gifted entertainer. He is a popular actor, model and singer best known for his starring role as MJ Memela, the son of the vicious Mawande, in the SABC1 soap opera Generations. Makubalo, also known by his music stage name NaakMusiQ, is also athletic. When he was younger he relocated with his mother to Johannesburg and, in 2003, was accepted at Edenvale High School on a sports bursary, participating in soccer, cricket, athletics and rugby. He attended acting and presenting classes at Talent International and later became a part-time teacher at the same school, coaching and mentoring young people. In 2009 he studied contemporary music at Damelin in Bramley, being taught by the likes of Benjy Mudie and RJ Benjamin. He made a guest appearance on the SABC1 show Mmino Mania in 2011, as a singer. From 2008 to 2009 he was a presenter on SABC2’s Hectic 9 Nine. He’s currently in the popular telenova Igazi on Mzansi Magic.

Menlyn, in Pretoria.Having designed the South African Airways business class menu and being a regular feature in the media for his soulful recipes, he says it is exciting to be working on his first cook book and his third longformat cooking show for international distribution. 18

ZOE MODI GA

Palesa Nomthandazo Phumelele Modiga’s ID book already contains enough names but if she could add one more, it would surely be Audacious. Her wardrobe could be described as bold – so, too, the album sleeve for her debut album, Yellow: The Novel. But bold is too bland an adjective to describe this young star in the making. Ours is a country blessed with boundless talents, yet in the music industry, even ingenuity is not always enough. It demands everything of those who dare call themselves musicians, with no promise of any rewards. It can provide musicians with the highest of highs and lowest of lows. It can chew you up and spit you out. Modiga can list plenty of examples of some of her idols who have witnessed their zenith and soon plummeted to the nadir of their careers – Nina Simone, for one. Yet, this Durban-born 23-year-old seems more assured in her voice (and image) than most newcomers we’ve witnessed in the past. Something about her suggests she will be just fine. She jokes that she wants to perform on the

SHE DECIDED THAT IF SHE WAS TO SOAR LIKE AN EAGLE, SHE WOULD HAVE TO

FLY SOLO. 20

moon, or the planet Saturn, one day. “Okay, that might be far-fetched. I just want to stay level-headed, and I know that I am going to soar because I haven’t given myself any option not to,” she says. Modiga, winner of SAMRO’s 2015 Overseas Scholarships Competition for jazz singers, began her long journey to Yellow: The Novel by attending the National School of the Arts in Johannesburg, where she trained in classical piano, clarinet and singing. Following that, she enrolled at one of the country’s best music schools, the University of Cape Town’s South African College of Music, specialising in jazz vocals. However, for undisclosed reasons, she was unable to complete her degree.

That’s when, as she puts it, “the album

I wanted my debut to be me introducing

wrote itself”.

myself to the world as I am without feeling like I needed to compromise myself – be

“I got inspired because us musicians often

it my image, sound or aesthetic. I write

get inspiration from the darkest things. It

songs, I sing them, I produce them, I work

was supposed to be the saddest time of

with amazing musicians and I believe in

my life, but ended up being inspiring. In

being seen in this light.”

that sense, the album crafted itself. The material floated out. I definitely owe that

She continues: “Even the things I stand for

to something a lot bigger than myself,”

at this point in my life, I feel like it would

she reflects. She describes how she works

be difficult for any corporate company to

and how she learns as “unorthodox”,

attach itself to that. I really want to change

but this only serves to strengthen her

the spaces I exist in. I have enough to do it

nonconformist identity. Modiga picked

alone. It’s a lot of work but I have enough

herself up and auditioned for SAMRO’s

in me to go it by myself. ”One thing is for

Overseas Scholarships Competition in

sure: there are many who are rooting for

2015, only to win it. The competition,

her to succeed. What does it mean to the

which boasts successful alums including

young Modiga to have the endorsement

pianist Bokani Dyer and bassist Benjamin

of some of the biggest names in the

Jephta (incidentally, both contributed to

industry? “It’s more than heart-warming!

her 23-track album), has been held for

I grew up listening to these people. As

more than 50 years.

much as I grew up listening and watching Beyoncé, I also had national examples like

As one of the SAMRO Foundation’s

Thandiswa, Lira, Simphiwe Dana and Boom

flagship music education awards, the

Shaka.” “So, having someone who has

competition rotates on a four-yearly

opened a lot of doors for me without even

cycle, alternately rewarding vocalists,

knowing that, and having them receive

instrumentalists, keyboard players

my work like this, is a big deal. Anybody

(pianists and organists) and composers.

would want to be attached to their kind of

But Modiga chose not to take up her

brilliance.”

scholarship immediately (she’s yet to), because she wanted to audition for reality

Another thing that is brilliant is this album

TV singing competition The Voice on

– from the imagery to the message, and of

M-Net. She felt it would help “set up a

course the music and vocals, which move

few things, career-wise”. There, she was

from soaring to quiet, vulnerable, beautiful

mentored by multiplatinum-selling and

and playful. It is a truly impressive, if

award-winning singer Lira, who helped

audacious, soul jazz album that reveals

see her “protégée” into the top eight of

more layers of itself with each listen.

the competition. The ‘Feel Good’ singer

Modiga composed most of the songs

was at Modiga’s album launch at the

across Yellow: The Novel’s two volumes,

Joburg Theatre’s Fringe venue in March,

and put her own twist on Brazilian singer

and watched proudly alongside Modiga’s

Flora Purim’s gorgeous and inspiring

mother, and fellow songbird Thandiswa

‘Open Your Eyes You Can Fly’ and Winston

Mazwai. On Twitter, Mazwai would later tell

“Mankunku” Ngozi’s ‘Yakhal’inkomo’.

her followers that she knew the moment she first saw Modiga perform on TV that she was destined for great things. Several record labels tried to snap her up, but eventually she decided that if she was to soar like an eagle, she would have to fly solo. Yellow: The Novel was then released independently. “When I look at Yellow, I don’t think I could align it to any label, certainly not locally,” she says. “I really did want to bet on myself with this work.

SAMRO DISPELS MYTHS

AROUND DJ LICENSING

n the last few years, SAMRO has been on a drive to encourage more of South Africa’s DJs to become licensed. However, some DJs are still not licensed due to misconceptions, but here is a quick Q&A to set out the facts.

Is it true that SAMRO is trying to make

more money by charging DJs licence fees?

A: This is incorrect. DJ licensing collections form part of the royalty payments made to composers, lyricists and publishers for the use of their copyrighted music.

Q: There is the perception that venue owners must submit playlists to SAMRO on behalf of DJs. Is this true?

playlist to be submitted to SAMRO, so that

Q. Is it illegal for DJs to copy music?

SAMRO can calculate a payment fee per use in line with the playlist.

A: By law, any person making use of music for public performances needs a

Q: If they are members of SAMRO, should

licence. Any DJ sampling, making copies

DJs still pay for a DJ licence?

or mixing another person’s music without a DJ licence does so illegally, and this is a

Yes. The SAMRO membership enables

criminal offence. By law, it is prohibited to

DJs to get paid royalties for their own

make copies of anyone’s music without a

music; a DJ licence enables DJs to pay for

licence.

the use of other people’s music (in order

Apply for your DJ licence today

for those musicians and composers to get compensated for the DJ’s use of their

You can visit the music section on the

copyrighted music).

SAMRO website, www.samro.org.za where you will find the relevant application

Q. If someone gives a DJ permission to

forms. You can send an email to SAMRO

play their music, does the DJ still have to

and a SAMRO agent will contact you and

pay for a licence?

help you get licensed. You can also visit SAMRO branches directly or call SAMRO

A: Yes, they do still have to be licensed,

and someone will assist you in getting

unless the DJ produces written approvals

licensed.

from all the lyricists, composers, record companies and publishers whose music

Call 011 712 8362/63/73 or email: licens-

they use as proof of permission. However,

ing@samro.org.za

no musician or composer would want their work used without compensation or remuneration, as their music is their livelihood.

A: No, this is not so. Every DJ must keep a

She signed with Oskido’s new music label, Africa Lit at the end of 2016 and jumped into the studio with producers such as DJ Maphorisa, 37Mph, Kamera, Sketchy Bongo, Emblazon, Ganja Beats, Gemini Major and Armeen Harron. She hopes to tour through Africa this year and next, to break into the continental market. Recently, SAMRO Notes sat down with the talented vocalist to find out more about her journey in the industry and her musical endeavours.

KWAITO DIVA

Question: You have been in the

industry for about 15 years – was music always part of the plan? Specifically, was the kwaito genre anywhere on your radar?

Talks about her musical journey

Answer:

Other than love and family, music has always been the only plan and I've expanded on that dream quite substantially over the years. First and foremost, I've always been an obsessed music fan and I knew I wanted to sing. I was dabbling with songwriting and poetry from a very young age. An open mind and an eclectic taste in music is what led me to fall into the kwaito scene naturally. This organic approach to music is something that remains incredibly important to me.

amara Dey has become known as an artist who has crossed all cultural, age and language barriers. The songstress is not shy to take on different musical styles while remaining committed to putting out great compositions. Her music has been described as our “unofficial language” celebrating the heart and soul of South African youth culture. And 2017 is set to be one of her most exciting years yet. Dey spent 2015 and 2016 writing and recording songs for a string of young artists and working on a number of new demos for her long-awaited solo album, titled Dey L’Afrique set to be released in 2017.

You burst onto the scene in 2000 with your collaboration with the hitmakers Brothers of Peace on the chart-topping single ‘That' Impahla Yakho’. Do you still look back on that period and the impact it had on your career?

A: Anyone looking back at their lives will tell you about a handful of truly defining moments and this was one for me. I often think back to this time and how incredibly special it was. I was welcomed into that world with love and open arms, and I believe I experienced the true spirit of ubuntu. I try to keep that same energy living on in my work and my day-to-day life.

Q: You've been able to swiftly manoeuvre in the entertainment industry, crossing barriers without skipping a beat. How did you manage the switch from kwaito to a house/dance sound with your band Flash Republic?

A: I've always believed that in order to

be a great songwriter and artist, you need to expose yourself to as much music as possible – taking it all in and slowly edging closer to defining and then redefining who you are as an artist. I'd immersed myself so deeply into the local house and kwaito

scene at one stage that I'd lost touch with what was going on musically in the rest of the world. I spent some time exploring various sounds from abroad and this soon led to the birth of Flash Republic. We had an incredible run that I am truly most grateful for. We made music for 10 years with reckless abandon, we got to play dream gigs on stages across the world, and we all received an incredible education in the writing and producing of dance music along the way.

You have been fortunate to have a flourishing and award-winning music career. What is the "secret" to your staying power?

I guess my only secret is that I'm still simply just a fan like everyone else. I buy music, am obsessed with music and you'll still find me out there in the mix – watching bands, going to parties, attending festivals and on dance-floors getting down with everyone else. Staying connected to the music, to fashion and art, to people, to the youth, to new forms of communication and selfexpression, is something I thrive on and I take a lot of inspiration from these things when it comes to making music. Q: Looking at your social media presence, your eclectic style is undeniable. Your colourful and vibrant personality shines through. Is your style - from the colour of your hair to your clothing, deliberate? We can almost tell what mood you're in from your posts as well… A: Yes, it's absolutely deliberate and I have so much fun with it. I've always relished in the art of self-expression in all its forms and being able to communicate with my friends and fans using these “new languages”.

Your fans should be overjoyed that you will be dropping a new album this year. What can they expect?

I'm beyond excited to be dropping my new solo album called Dey L'Afrique later this year. It took much longer than I had imagined. I had to figure out my new sound but also wanted it to be as honest as possible, and a lot of blood, sweat and tears ensued. I drew from the many genres I've loved and have dabbled in over the

years, including house, African pop, soul, electronica and more. It's a fusion sound that would best be described as African pop.

You're eyeing the continent – not an easy market to break into. Any special collaborations to look out for?

The dream now is to tour Africa and be recognised and celebrated as an African artist. I want to follow in the footsteps of acts like Mafikizolo, Tiwa Savage, D'banj and Wizkid, to name but a few. I'm collaborating with a string of artists and producers from North, West, East and Southern Africa, and my first single off the project, titled ‘Stuck in our Way’, features D'banj. I'm also very blessed to be working with Oskido again. He has always shared my musical vision and continues to be an incredible guiding force in my career.

You're never one to be found doing only one thing. Are there any other projects we can look out for – perhaps theatre once again?

Although I'd so enjoy doing theatre again, I'm not sure it's on the cards for me. I'm developing a fashion and lifestyle brand called Dey L'Afrique; I'd also love to write a book and make babies.

Music has always been the only plan and I’ve expanded on that dream. 25

CEO Musi O R c M SA ue to plant Ind u n i p t s o n si o c

d n u o R ed s y se r t ve i t

counts of the key issues – successes and challenges faced by musicians.” – Tiyani Maluleke. Tiyani Maluleke.

ta b l e s 26

We are able to gain firsthand accounts of the key issues successes and challenges faced by musicians. e are able to gain first-hand ac“W

SAMRO has presented another round of successful CEO Music Industry Roundtable discussions this year, with the first being hosted in Mpumalanga and the second in Durban. The latest leg of these information-sharing sessions took the baton from the Johannesburg and Cape Town engagements. These music industry roundtable events are being held by SAMRO to spur regular nationwide conversations and elicit meaningful input that will help develop the South African music industry.

the Independent Communications Authority of South Africa (ICASA); music legends Ray Phiri, Gabi le Roux, Arthur Mafokate, Phuzekhemisi and Sipho Makhabane; and representatives from Kaya FM, Ligwalagwala FM, Rise FM and Gagasi FM. “Hosting these sessions regularly in different provinces is proving beneficial for both SAMRO and artists in the various regions,” says Tiyani Maluleke, SAMRO’s General Manager: Marketing and Communications.

Since the roundtable discussions began in 2016, participants have included the SABC’s Kaizer Kganyago and Nomvuyiso Batyi of

“We are able to gain first-hand accounts of the key issues – successes and challenges faced by musicians. This enables us to

proactively engage and address these matters accordingly. The large turnout has been encouraging and demonstrates that the industry is receiving these sessions well and is finding value in these forums.” At the upcoming sessions, details of which will be communicated in due course, SAMRO will address members’ concerns and the topical issues of music airplay and local content quotas. “We are looking forward to our next session and hope for an even larger turnout. We promise to have another great panel of experts to share their know-how on issues affecting the industry,” says Maluleke.

PERFORMING WITH

REHEARSAL Do not leave the performance to chance and hope everything will miraculously come together in spectacular fashion. It is not only the DJ’s reputation on the line but the band or musician’s reputation will also be affected if the performance is substandard. So put in the time and effort and rehearse as much as possible before the show.

INSTRUMENTALISTS

Performing to a live audience is never something to take for granted – it takes a lot of time, preparation and planning. With many music collaborations across various genres, this makes it even trickier to execute and give the audience a performance they won’t easily forget. This is no different when it comes to deejays and live bands. Dance music has evolved over the years with gigs no

VENUE The venue has to be suitable and be able to accommodate the joint venture. Many clubs usually only accommodate a small area for a DJ with the rest dedicated to the patrons so prior arrangement for stage and set up may be required.

longer being a one man show but an interactive experience of music, vocalists, live instruments and dance.Adding live musicians to your set changes the crowd’s experience massively. It creates a dynamic atmosphere and brings a different feel to a DJing set. While the audience dances to the tight beats that are being played, a musician will be hard at work adding different musical layers to the sound. Here are the top 5 tips to a successful joint performance between a DJ and a musician or instrumentalist.

DJ-BAND\ ARTIST FIT

TECHNICAL SUPPORT

Ensure the chosen band is a brand match to your audience and style. The chosen band needs to understand your style and your vision on how the two sounds and energy can come alive on stage.

All the required equipment and systems to support the performance should be identified well in advance to ensure the club or venue will be able to accommodate technical requirements envisaged for the gig.

PROMOTING THE EVENT Do not leave the performance to chance and hope everything will miraculously come together in spectacular fashion. It is not only the DJ’s reputation on the line but the band or musician’s reputation will also be affected if the performance is substandard. So put in the time and effort and rehearse as much as possible before the show.

Exploring synchronisation opportunities and licensing

: What clearance process would one have to undertake to gain rights or permission to use music for sync? : The music user of the requested copyright would be required to undertake the following steps: •

•

Establish the copyright holder(s) this would include the publishing and master recording copyright information. SAMRO and CAPASSO are great sources to acquire this information for local titles. Establish your intended use of the music (sometimes you may only need clearance for the publishing rights based on your particular usage). Once usage rights have been established, it is ideal to communicate with a music supervisor to pursue the negotiations of licensing on your behalf. Once the request for usage has been shared with the rights holder, they will share a costing for your intended use, subject to their client's approval. Once the costing has been approved from both licensor and licensee, the licensor will issue a formal synchronisation/licence agreement to the licensee for official acknowledgment and consent for the requested usage. This will be followed by payment from the licensee to the licensor for this usage. After this… Oh, happy days!

: How does a publishing house assist with this process? Is it advisable going at it alone or doing it through a music supervisor/publisher? 2. : It would be in any composer’s best interest to obtain the assistance of a music publisher/supervisor (or, better yet, a music publisher that offers a supervisory service). Music publishers have the knowhow to find and place the correct music for any particular scene and often work closely with filmmakers, ad agencies and production companies to ensure your music is heard by the relevant decisionmakers. : Is this a sustainable revenue stream that musicians can explore? : Many up-and-coming and established composers make a living from scoring films, composing scores for TV shows and writing jingles for TV commercials. However, there are 3 main revenue streams that come from syncs: •

•

: How does one get involved in producing music for sync – commercials, TV programmes and films?

If you are considering pursuing synchronisation or “sync” opportunities for TV, film, and adverts, then read on. Brett Vorster and Zwelibanzi Sisislana of Sheer Publishing, one of Africa's largest independent publishing houses and provider of a comprehensive range of music-related services, explain what sync licensing is all about.

: Any composer interested in producing music for commercials, TV programmes and films should ideally reach out to a publisher to assist them in finding placement for their music via filmmakers, TV producers, ad agencies and production companies.

•

: How important is it to have the correct sound for sync? : Think of your favourite movie scene of all time… perhaps watch it again. Take particular notice of the music in that scene and how it makes you feel. Now watch that scene again, but this time without sound. How do you feel? Our brains react faster to auditory stimuli than visual stimuli and for this very reason, it is vital to have the right sound for sync.

Synchronisation fees: A one-off sync fee is charged by the licensor to the licensee and is paid upfront for the use of the particular piece of music. Mechanical royalties: A Mechanical Rights royalty is earned when a piece of music is reproduced on to, for example, film or TV. Composers should be aware that if a sync fee has been paid for a particular piece of music, the mechanical royalty in this instance would be waived. Where production/library music is involved, sync fees are not applicable. When using production music for film and/ or adverts, a broadcast mechanical fee is paid for this particular usage. Mechanical Rights royalties are paid to the copyright holder by CAPASSO six months in arrears. Performance royalties: Every time a piece of music is “performed” to the public, a Performing Rights royalty is generated. Performing Rights royalties are paid to the composer by SAMRO 18 months after the music was used.

: What are some of the memorable sync projects that Sheer has been part of? : We have worked on countless memorable sync projects in the past. But to name three: 1.

DStv’s What Do You See? campaign featuring the legendary Gabriel Macht (better known as Harvey Specter from

the hit TV show Suits). Sheer licensed John Newman’s iconic Love Me Again to give the visuals a perfect sonic identity. We licensed Not Giving In by British band Rudimental, featuring John Newman, and provided music supervision for Hennessy’s Never Stop, Never Settle that has been airing for some three years and is still going strong. For Hunters Dry we used a remake of Matthew Wilder’s Break My Stride – a modern-day take on not letting everyday hurdles set you back.

: Generally, would advertising agencies commission work for a specific project or pull from an existing library? In this respect, how does Sheer negotiate on behalf of artists? : It should be understood that every project differs from a creative perspective and for this reason, it would be a combination of both. When a very specific piece of music is required, an agency may commission a piece of music to get that particular sound. Budget is also a factor that comes into consideration when agencies are looking to license or use a particular piece of music. If the client has a big budget, they may use a commercial track or even commission a piece of music. When an agency has a smaller budget, production/library music is a fantastic alternative and very cost effective. : How important is it for music creators and music users alike to be SAMRO members, especially those wanting to delve into sync services? : What we have come to realise over the years is that there are many composers out there doing commissioned work for agencies. While these composers are receiving their synchronisation licence fees, many of them are unaware of the residuals that are due to them in the form of performance royalties, which is a revenue stream you would be completely missing out on if you are not a SAMRO member. It is vital to have SAMRO membership as performance royalties can be a healthy revenue stream. If you would like any further information regarding music publishing, music for sync, production/library music, and music supervisory services, please contact Sheer Publishing on 011 438 7000 or drop then an email at info@sheer.co.za. 31

Sometimes I say: Let's just conduct thE audience and let them sing; we don't need to sing any more. It's fantastic to watch. I will cherish that for the rest of my life.

This year, Letta Mbulu celebrates her 75th birthday – in the year that her iconic Not Yet Uhuru album, which was her first to be released

It certainly didn’t hurt having the love of her

1991 to perform, she admits to being

life by her side. She says what also helped

astonished at how many people knew

was that the pair shared the same ideologies.

her music. “I mean, we did shows in

She laughs when we probe her about how

Lesotho, Botswana and Zambia but when

they have made their marriage work. It’s a

we came back to South Africa, that’s

platitudinous question – to which she gives

when we got to realise how much our

an equally hackneyed response: “There really

music was being appreciated and this

isn’t any secret recipe. If there was, I would

Lebo Sekgobela and Amanda Black at

really hit us very hard. People sang our

have packaged it and sold it for millions! It’s

the Divas International Fest in Mamelodi,

songs word for word and it was amazing.

just people caring for each other, sharing

Tshwane, on 26 August 2017. Inevitably,

I could not believe it. That has since

we ask her about the secrets behind

continued, no matter where we perform

this child Brenda… my gosh! There was

her career longevity and her consistent

in this country,” she says.

something I saw in her. She internalised the

success over several decades.

music. She gave me goose bumps. It just

after she and husband

“Sometimes I say, let’s just conduct the

reminded me that there are a lot of incredible

“Sometimes we forget that we are

Caiphus Semenya returned to

audience and let them sing; we don’t

artists in this country,” she beams. So, if

administered to do the work that God

need to sing any more. It’s fantastic to

she found that performance so exciting,

South Africa from exile, turns

sent us to do. We don’t realise that

watch. I will cherish that for the rest

we wonder what she made of Thandiswa

whatever we do is a gift from Him.

of my life.” Mbulu says she never once

Mazwai’s cover of ‘Jikijela’ for her latest jazz

It’s God speaking through us. If we

worried that she was wasting her time

tribute album, Belede.

understand that, there’s no reason we

by being a recording artist, despite the

cannot achieve longevity,” she says.

repressive apartheid censorship laws.

We spotted Mam’ Letta and Bra Caiphus at

25. Just last year, she and Bra Caiphus celebrated their golden wedding anniversary – a whole five decades of making sweet music as a couple. But although she has slowed down markedly from her days of touring the world, Mam’ Letta is not about to slip quietly into retirement. It’s not even a subject worth pondering, it becomes clear when we speak to her. What she never gets tired of, however, is talking about her love for music and performing. She is set to play alongside Bra Caiphus, Rebecca Malope, Simphiwe Dana, Lira, Zonke,

But upon her return to the country in

“We knew we weren’t making a mistake.

the Soweto Theatre when Mazwai launched

“Artists get to a stage where they think

We wanted to tell our people that not only

the album. Of witnessing the performance

they are ‘it’ and untouchable – you are

can we tell our story via music, but can

and Mazwai’s reinterpretation of the classic,

not; you’re there for a reason and you

also educate them.” She says the people

she says: “You know, it’s a habit of mine to

must understand that.” Her purpose

of South Africa kept her and Bra Caiphus

sit down and listen to other artists, especially

was to be a voice for the voiceless

going during the tough years in exile.

the young ones, because they are coming

– especially for black people during

“We used to watch the happenings in the

up with different ideas and sounds. I was at

apartheid. Mbulu spent many years

country on TV and cry. We’d see young,

Thandiswa’s show and I enjoyed her concert

in exile in the United States, where

vibrant and resourceful people throwing

a lot. I have always enjoyed her shows. I think

her career really took off – seeing her

stones at the police. That would motivate

she is one of the most spiritual artists that

join forces with international music

us; we would say: We can’t stop now. If

this country has and she puts meaning into

icons including Harry Belafonte, Hugh

the youth can do this, we must support

what she does. She is a very passionate artist,

Masekela, Michael Jackson and Quincy

them in some ways, and hopefully our

and you need that.”

Jones on several successful projects.

music can get to them.”

SIX OTHER ARTISTS WE WANT TO HEAR MORE FROM:

We want more of Timo

ODV

It took four years of writing, singing, producing, mix and mastering all alone in said studio to come up with countless demos – many of which were rejected by labels. “We want more,” must be the most

mastering all alone in said studio to come

comforting crowd chant for any artist in

up with countless demos – many of which

In March this year, the opening track of his

the world. It usually comes after great

were rejected by labels.Universal Music

Origins EP, ‘Dancing Again’, was certified

show when an artist returns to the stage

eventually woke up, smelled the coffee

gold. “I can remember telling my manager

to perform an encore of crowd favourites.

and signed him. The marriage spawned

that if the single can get 5 000 Shazams,

That is exactly the feeling one is likely to

the runaway hit ‘Save Me’, on which he

it will make me the happiest ever. It’s now

get after a great music marathon, listening

collaborated with Sarah Jackson. The

got well over a million streams and over

to rising house music star Timothy Oude

listener’s first inkling when hearing the

100 000 Shazams! Thank you everyone for

Vrielink, known as Timo ODV. The artist

song was to find out who the artist was.

your support,” he said. If you still hadn’t

has just released an EP titled Origins, a

Was it Avicii? The vocals on the song were

heard of Timo ODV until now, or hadn’t

collection of 10 thumping house bangers

slightly reminiscent of Sam Smith’s on the

given the 27-year-old muso’s music a

packed into a 41-minute project.

hit ‘Omen’. The thought that he could be

chance, we suggest you do. Something

South African didn’t even cross the mind.

about his impressive and ambitious tracks

Before being signed to Universal Music,

– including ‘Find My Way’, ‘Make You Love

Timo ODV had let go of his graphic design

But Timo ODV is certainly South African.

Me’ and ‘I Need You’ –

art dreams and decided to put whatever

And don’t get it twisted: this is not about

tell one that this music machine will soon

cash reserves he had into building a home

any disparity in quality but rather about

be playing on international stages and

studio. That’s when he began, like many a

Timo ODV’s sound, which borrows a little

dominating more charts.

modern-day artist, teaching himself how to

from prominent names in the industry

panel-beat house beats. It took four years

including Sketchy Bongo, Disclosure,

of writing, singing, producing, mixing and

Calvin Harris and perhaps even Goldfish.

Inga Hina:

Langa Mavuso:

The Zambian-born Johannesburger

We’re still to hear anything other than her

Langa is his father’s surname and Mavuso

released his debut EP titled Free in

powerful 2015 soul ballad ‘Philisa’ and

is his mother’s. His real name is Nathi, and

March this year, and we were blown

her collaboration with Mobi Dixon on the

this University of Cape Town-trained jazz

away. It is hard to believe this man (real

blockbusting club hit ‘Trigger’, to which she

musician’s gorgeous velvety voice can stand

name: Moonga Kapambwe) is yet to

lent her weighty vocals. Hina also featured

alongside any we’ve heard from a male

celebrate his 21st birthday – so polished

on DJ Fortee’s album The Groove. Yet that is

vocalist in this country. The 23-year-old

are his vocals and so well-rounded and

all we needed to hear to make up our minds

National School of the Arts alum is featured

soulful his music. Make time to watch

on the promise of this Port Elizabeth-born

on Spoek Mathambo’s latest Mzansi Beat

his fantastic video for the single ‘She’.

songstress. She has promised fans on social

Code album. He is now working with world-

media that an album is in the pipeline. We’ll

renowned DJ Black Coffee.

Moonga K:

hold her to that.

Adelle Nqeto

Ryki

Brazo wa Afrika:

The petite singer/songwriter and guitarist actually

The 20-year-old released her debut self-titled

The young house music DJ from Limpopo was

began playing violin when she was 12 years old, but

EP earlier this year on the back of some

featured on House Afrika Sessions 3 with the

popular collaborations with Kyle Watson

memorable ‘Afrikan Sax’. He also followed that

(Such a Mess) and Aewon Wolf (Please Try).

up with two EPs, Brazo wa Afrika Visits Mofunk

She also features on Timo ODV’s ‘Make You

Records and 2015’s Changes. He is currently

Love Me’. She makes very danceable music.

working on an album and, to whet fans’ appetites,

was unable to marry her poems and stories with the sound of the violin. But all of that changed when she picked up the

guitar, which she is now rarely

seen without on stage. After playing festivals as part of the duo Flint, Meet Spark, the songstress finally released her solo effort – a folksy debut EP called Lights. Look out for the single ‘Make Something Beautiful’, a perfect song to add to your road trip playlist.

he returned this year with a new single called ‘Voice of Love’, which features vocals from Tiffany Rosebud. The song was given away for free and clocked up more than 48000 downloads. 35

AS TWO NEW KINGS OF THE KEYS WERE CROWNED DURING THE SAMRO OVERSEAS SCHOLARSHIPS COMPETITION ON SATURDAY NIGHT.

jazz pianist Hotep Idris Galeta. Both

student Teboho Kobedi scooped the

global audience, promoting the broader

were accompanied by Romy Brauteseth

R8000 SAMRO/De Waal Study Award,

performance of their work.

on upright bass and Marlon Witbooi on

Gauteng music professional Lifa Arosi

drums. With such a high standard of

won the R10 000 merit award, and UCT

Another SAMRO Foundation initiative

technical ability and performance flair, it

graduate Elizabeth Gaylord received the

is a project to document the region’s

was a tough ask for the adjudicators, led

SAMRO/Fishers Award of R6 500.

indigenous musical heritage by

by non-voting chairman Leon van Wyk. The After a thrilling final round of piano

transcribing recordings of fading cultures

In turn, De Beer impressed with his

blue-chip panel included Karenda Devroop

Former SAMRO scholarship winner

into musical scores that will be available

Bokani Dyer’s rousing I Am an African

for analysis, performance and study

performances at UNISA’s ZK Matthews

performance of a prescribed work in

interpretation of works by Scarlatti, Haydn

and Melvin Peters (dual-genre panelists),

Hall in Pretoria, Soweto-born Ntando

his category. Ngcapu is a Tshwane

and Chopin.

as well as Mokale Koapeng, Theo van Wyk,

jazz composition, based on the seminal

throughout the world. This will be carried

Ncgapu (26) was named winner of the

University of Technology graduate and

Bongani Ndodana-Breen, Franklin Larey

speech by former president Thabo Mbeki,

out in partnership with specialists in the

Jazz category and Megan-Geoffrey Prins

will be able to use his R200 000 award

Both finalists also performed a SAMRO-

and Nina Schumann (Western Art Music);

also premiered during the scholarships

fields of ethnomusicology, composition

finals, with Dyer on piano, Brauteseth on

and transcription.

(27) from Riversdale in the Western

to further his postgraduate studies or

commissioned composition by local

and Susan Barry, Nduduzo Makhathini,

Cape came up tops in the Western Art

professional development abroad. The

composer Jeanne Zaidel-Rudolph, Catch

Roland Moses, André Petersen and Andile

bass, Witbooi on drums, Spha Mdlalose on

Music category. The evening was also a

runners-up were Nicholas Williams (31)

Me if You Can, designed to test the

Yenana (Jazz).

vocals, Joe Makhanza on kora and Mandla

“Through both the online archive and IAM

celebration of South African music and a

from Cape Town and Willem de Beer (25)

technical prowess of the pianist as well as

Mlangeni on trumpet. In keeping with the

projects, the increased global access and

“I Am” theme – which also ties in with the

exposure to South African compositions

rallying call to forge an authentic African

from Pretoria, in the Jazz and Western Art

their interpretative ability.

In the Western Art Music section, two

musical identity, with the premiere of three

Music categories, respectively, who will

Jazz pianist and former SAMRO

subsidiary awards went to semi-finalist

unifying African humanist philosophy of

will also translate into money in SAMRO

new homegrown compositions, various

each received R70 000. Williams was also

scholarship winner André Petersen

Lourens Fick, a Master’s student at the

Ubuntu – SAMRO Foundation Managing

members’ pockets,” said Le Roux.

other South African compositions and

awarded R10 000 for the best performance

provided the commissioned work for

University of Stellenbosch – the SAMRO/

Director André le Roux said indigenous

For more information, visit www.

African music (also referred to as IAM)

samrofoundation.org.za

powerful musical tributes to the late Ray

of a prescribed Jazz composition.

the Jazz finalists, an ode to his wife

Flink Award of R30 000 and the merit

Phiri and Johnny Mekoa.

Prins’s choice of repertoire encompassed

titled For Chan. Ngcapu gave dynamic

award of R10 000. The SAMRO/Fishers

would be the strategic focus for the

challenging works by Haydn and Lyapunov,

performances of works by Oscar Peterson,

Award of R6500 went to University of Cape

SAMRO Foundation in the coming years.

as well as Toccata for Piano, a work

Chick Corea and Antônio Carlos Jobim,

Town graduate Bronwyn van Wieringen,

Included in this is the development of the SAMRO Online Archive, a digital music

Prins, who is studying towards his

He also received R10 000 for the best

Doctorate in Musical Arts at the Cleveland

by South African composer Graham

while Williams brought effortless style to

who is embarking on a Master’s degree

Institute of Music, will receive a R200

Newcater, 55 years after he won the first

his renditions of songs by Herbie Hancock,

at the Royal Academy of Music in London

portal that will enable South African

000 scholarship to help fund his studies.

SAMRO scholarship winner in 1962.

Kenny Kirkland and the late South African

next month. In the Jazz category, TUT

composers’ scores to be accessible by a

Catching up with the SAMRO Foundation’s 2016 Overseas Scholarships winners

o’burg’s Linder Auditorium re-

promising postgraduate music students

sounded with passin and music

or early-career professionals.

last August, when the two 2016

Cape Town-based marimba player Dylan

SAMRO Overseas Scholarships

Tabisher, who won the Western Art music

winners were chosen.Following a tense

category of last year’s SAMRO Overseas

final round of live performances, saxo-

Scholarships Competition, says entering

phonist Linda Sikhakhane (Jazz music)

was about more than the prospect of

and marimba player Dylan Tabisher (Western Art music) were announced as the winners of the two R200 000 scholarships – much to the delight of the large audience at the Linder, who had been captivated by an evening of energetic bluechip performances by the winners as well as by the runners-up, Benjamin Jephta (bass guitar) and Sally Minter (flute). We caught up with the two winners to chart their respective musical journeys since winning the prestigious prize, awarded every year by the SAMRO Foundation to

Dylan Tabisher

J 40

Linda Sikhakhane

o’burg’s Linder Auditorium

mances by the winners as well as by the

was about more than the prospect of

Saxophonist Linda Sikhakhane, who won

album, Mother Tongue - a relationship that

to get an opportunity to reach out to the

resounded with passin and music

runners-up, Benjamin Jephta (bass guitar)

pocketing the cash prize.“I entered the

the 2016 SAMRO Overseas Scholarship for

has only grown since Sikhakhane began

world and I wanted the exposure. I love

last August, when the two 2016

and Sally Minter (flute). We caught up with

competition because I saw it as a platform

Jazz music, has since been working on his

working on his own album, titled Two

music - I wanted to interact with a lot of

SAMRO Overseas Scholarships

the two winners to chart their respective

for me to test myself and improve as a

debut album. The 25-year-old Umlazi-born

Sides, One Mirror.

musicians and spread the word and who I

winners were chosen.Following a tense

musical journeys since winning the pres-

musician, and push myself to my perform-

University of KwaZulu-Natal alum studied

final round of live performances, saxophon-

tigious prize, awarded every year by the

ing limits – that means testing my nerve

jazz under the mentorship of Professor

He credits Makhathini for his counsel while

the competition in a positive light. “It can

ist Linda Sikhakhane (Jazz music) and

SAMRO Foundation to promising post-

within such intense situations.”Winning

Mageshen Naidoo. He has played with

crafting the album, which also features

build you as a musician,” he said.

marimba player Dylan Tabisher (Western

graduate music students or early-career

the competition has opened up several

respected musicians including Barney

pianist Sanele Phakathi, bassist Nhlan-

Art music) were announced as the winners

professionals.

international doors for the muso. At the

Rachabane, Marcus Wyatt, Sibongile

hla Radebe, percussionist El Hadj Ngari

of the two R200 000 scholarships – much

Cape Town-based marimba player Dylan

end of July he will be participating in the

Khumalo, Feya Faku and Brian Thusi. He

Ndong, drummer Sphelelo Mazibuko and

to the delight of the large audience at

Tabisher, who won the Western Art music

Universal Marimba Competition & Festival

also formed part of Afrika Mkhize’s septet

vocalist Omagugu Makhathini. Talking

the Linder, who had been captivated by

category of last year’s SAMRO Overseas

in Belgium, before attending a marimba

and the group H3. Sikhakhane also played

about entering the SAMRO competition, he

an evening of energetic blue-chip perfor-

Scholarships Competition, says entering

summer camp in Greece. He also has plans

tenor saxophone on Nduduzo Makhathini’s

said: “I decided to enter because I wanted

am.”He advised this year’s entrants to view