SAMRO are having to let junior level staff go. This can also be understood as positive for the industry as SAMRO operate at over 20% costs which is double global standard. Added to that they have many junior level staff, noted by the resignation of the previous CEO.
Government needs to regulate SAMRO and ensure their membership hierarchy and the 4.6 million times payment difference between top and bottom earner is legitimate. And it needs to be assessed whether the fact that only the board chooses full members has resulted in favouritism in accounting and payment.
What are the monitoring and what are the payment systems?
There is no oversite or regulation at SAMRO, so it cannot be certain which royalty payments are monitored accurately and which are simply lumped into an aggregate assessment where “market share” rather than plays is the basis for apportionment.
This is a ready and obvious reason for the destruction of African music. The individual writer cannot compete with the aggregator.
The solution to this crisis is education, know-how, oversite and regulation.
In the following article first published in Noseweek the “historical legacy issue” of charging for works in the public domain is brought into light. This has been a double edged sword for the industry for more than 55 years re-apportioning both SAMRO clients fees and members royalties according to a “rule.”