Starting in February 2020, the new board appointed qualified attorney, Mark Rosin as CEO. He is on a two year contract as a turnaround strategist. Rosin, 61, has worked in the South African music industry for 30 years, for record companies, composers, publishers and broadcasters. He left a law practice at Rosin Wright Rosengartenin 2011 to join the firm’s biggest client,eTV, where he worked for nine years including as COO and head of strategy. He has specific instruction to identify a suitable successor within 18 months that will fit the employment equity status. He says, “I got one big talent – I know what I don’t know.”
Performance Rights in South Africa
South African Music Rights Organisation (SAMRO) owns the monopoly right in South Africa to issue the global identifiers IPN#s for composers, authors, arrangers and publishers; and International Standard Musical Work Code (ISWC) for musical works. SAMRO has Section 6 performance and mechanical rights in musical and literary works to issue licences to users of public performance, broadcast and transmission through diffusion services rights. SAMRO issues licences to users of public performance, broadcast and transmission through diffusion services rights.
SAMRO is a key African continent member of International Confederation of Societies of Authors and Composers (CISAC) since 1963.CISAC is dominated by America’s BMI and ASCAP, whilst PRS in the UK, SACEM in France and GEMA in Germany are enormous.CISAC member organisations collect on average 8 billion Euro’s annually of which less than 1% is collected by African organisations, and 0.4% by SAMRO. DALRO was formed by SAMRO in 1967 for licencing Reprographic reproduction rights, public performance and reproduction rights for literary works.
SAMRO contributes 0.4% to the global collection and is unregulated.
The spotlight is shining on SAMRO to correct some of their historical legacies and corruption including AEMRO in Dubai, the DP scandel and split and pyramid membership structures.
Although mechanical royalties has become a quickly diminishing sector of the music industry, SAMRO has invested fortunes of member’s money to influence the market.
Parallel to the rise in live music is the rise in the “experience economy.” Fans do not want physical product, but memorable experiences in what is termed the shift from materialism to experientialism.