Recognition, celebration, and validation of contribution in composition was the theme on Friday, Jul. 22, 2022, at the University of Cape Town (UCT) when the District-Six-born Dr Trevor Jones accepted a Doctor of Music, honoris causa.
Marc Marot, responsible for over 100m album sales at Island records, was in SA for 16 days for the 2022 Music Exchange conference in Cape Town and Johannesburg
Marc’s publishing signings include, amongst many others, Massive Attack, De La Soul, Julia Fordham, and Shakespeare’s Sister (Marcy Levy).
Amongst the Artists signed and developed by his team while at Island Records were:
• PJ Harvey
• The Stereo MCs
• P.M. Dawn
• The Cranberries
• Chaka Demus and Pliers
• The Orb
• Ice Cube
• Talvin Singh
• Nine Inch Nails
Albums of the year – Moreira Chonguica – Sounds of Peace and Steve Louw Thunder and Rain.
Band of the year in SA – Temple Boys out of Cape Town, “Saggies” was the big song.
Global act – Bad Bunny is a Puerto Rican rapper and singer. His musical style is defined as Latin trap and reggaeton.
His second tour of 2022 doubled the gross of his last record-breaking trek: The World’s Hottest Tour grossed $232.5 million and sold 944,000 tickets from just 21 shows in the US.
Then you have Harry Styles at #2 and Taylor Swift at #3, as far as international acts are concerned.
What was the most significant benefit that music streaming has brought to live music?
It’s made music discovery borderless. Maybe for the first time in pop music history, it doesn’t matter which language you’re singing in. Five years ago, the idea of Bad Bunny selling stadiums in the USA was crazy.
R. Kelly gets 30 years of jail time.
Things went from bad to worse for R. Kelly in 2022. After being convicted last year in New York on racketeering and sex trafficking charges, the disgraced R&B singer was sentenced to 30 years in prison on those charges in June.
Bush’s “Running Up That Hill (A Deal with God)” blasted back onto the Hot 100 at No. 8 (Jun. 11) and reached a No. 3 high in July, powered by its synch in the fourth season of Netflix’s Stranger Things. Having charted initially, rising to #30, in 1985, the song wrapped the longest run to the Hot 100’s top five in terms of time from a debut on the ranking in the Top Five – 36 years, nine months and two weeks.
Exactly one decade ago, on Dec. 21, 2012, Psy’s “Gangnam Style” made history as the first music video to reach 1 billion YouTube views.
As a result, YouTube’s Billion Views Club was born. A way to celebrate official videos that have achieved peak virality, the club is now home to over 300 music videos, including many of the most iconic hits from the past 10 years — from Adele’s “Hello” to Luis Fonsi’s “Despacito”, featuring Daddy Yankee.
Consequently, for major-label artists, one billion video streams on an official music video would generate about $2.6 million globally. That’s, of course, before the label takes their cut of royalties, which varies widely based on each artist’s deal, and before the artist considers what, if anything, they owe to their featured artists or producers on the track.
All the best for the New Year.
A beautiful evening at Sandton Convention Centre for the Joy of Jazz.
Thank you 702 for the pictures.
The South African Style Awards 2022/3 brought to you by PLASCON South Africa.
This is not about the clothes you wear!!!
The South African Style Awards celebrates individuals who have, in their respective career fields, disrupted the creative process of business.
This year, the South African Style Awards celebrates its 25th anniversary.
Last night 13 illustrious winners were announced at an intimate dinner hosted at the Zebra Square Gallery, dealers in classic cars, future classics and super cars located in Hyde Park Corner Shopping Centre, the quintessential ‘destination centre’ for discerning shoppers, housing luxury brands and fine dining establishments.
From Most Innovative Style to Style Icon, the winners include:
Most Innovative Style winner: Acclaimed content creator and business woman, Kim Jayde
Most Stylish Performing Artist in Film/TV winner Nambitha Ben-Mazwi
Most Stylish Performing Artist in Music winner Boity Thulo
Most Stylish Media Personality winner Leanne Manas
Most Stylish Fashion Designer winner Craig Jacobs
Most Stylish Model winner Rosette Ncwana
Most Stylish Business Personality winners Jeff and Teddy Zaki
Most Stylish Couple winners Lamiez Holworthy and Khuli Chana
Most Stylish Changemaker winner Refilwe Modiselle
The Next Big Thing winners Galaletsang Tshungu, also known as Halle Robinson and Lebo George Molaolwa, also known as Lebo Molax
SA Style Awards Achievement in Business Award winner Lerato Kganyago
Style Icon winner Sipho ‘Hotstix’ Mabuse,
Biko Mabuse in pics attended the event with his dad.
Our winners and guests toasted with VALDO by Vinitalia and received luxurious gifts from Panier des Sens, a sensorial brand of French origin that embraces eco-friendly values and is passionate about sustainability.
The dinner was a prelude to the much anticipated and highly acclaimed SA Style Awards ceremony to be held on 12th February 2023 with a nod to the international awards season.
“PLASCON South Africa is proud to be part of the SA Style Awards 2022/3.
Style is inspired by a palette and variation of hues, making this a perfect collaboration between these two iconic brands SA STYLE AWARDS x PLASCON. This year’s winners each unique in their choice of tones, colour their world with creativity and individuality, acknowledged by the SA STYLE AWARDS.” – explains Suvasin Moodley, PLASCON South Africa Head of Decorative Marketing.
Sipho Mabuse delighted to be on the bill 4 December 2022
By Rachel Reynolds
I was driving home when I tuned into Smile FM and happened upon a man speaking about a conference this coming weekend at which industry ‘heavy weights’ were going to be present. The incredulity in his voice as he spoke, unable to believe that so many artists were passing up this opportunity to attend the conference, made me listen more closely – what was the catch? He spoke of Trevor Jones, a composer who scored Notting Hill, being one of the keynote speakers, and mentioned that the conference would be an intimate gathering of no more than 50 people. The tickets must be astronomical,
When I got home, I immediately checked the price: R250. Just a little more than I would pay to see a modern-day Notting Hill in the cinema, for a two-day experience and chance to meet Trevor Jones as well as Marc Marot, former MD of Island Records who signed bands like Massive Attack, PJ Harvey, and The Cranberries.
I spent this small amount to attend what turned out to be one of the most inspiring and insightful weekends of my year—this coming from a woman who has travelled to six countries in the past six months.
Though I can’t possibly translate the experience of the weekend on to paper for you (though an amazingly successful poet – Siphokazi Jonas – who also featured at the conference probably could), I will try my best to deliver the most important points of contention to artists who couldn’t, but should’ve, made it.
It is not for the public to know what they want
Marot is adamant that this is the truth. The public don’t know what they want—you must show them what they want. Steve Jobs was used as a case in point, as he knew the only reason the public didn’t say they wanted a choice between 50 font types was because they didn’t know that such a thing was possible. This was in sharp contrast to how Eb Inglis, KFM host, described radio’s operational structure; rather than playing what they deem the public should be listening to, stations survey their listeners and play what is on demand instead.
The room breathed a collective sigh of relief when Inglis clarified that this didn’t necessarily mean artists should pander to society’s current craze, but rather keep making unique art and work hard on promoting themselves. He made a point of informing the listeners that radio wasn’t the platform to do this.
It might not be your art that is unsuccessful, but that the platform you use to justify its success needs to change
Many people think the radio can make or break an artist, and musicians will send their tracks to a station with high hopes, only to be ghosted. The reason for this is found in people’s misunderstanding of the age-old question that plagues us all: Which came first, the chicken or the egg? Or in this case, radio or success? Inglis makes it clear that, while radio used to play a pivotal role in initiating the popularity of songs, the advent of social media has meant its role has changed. Rather, the radio plays what has already been made popular through other platforms, such as Tik Tok, Twitter, Instagram and even Facebook. Here the answer is sometimes the chicken comes first, and sometimes the egg—depending on the decade you’re farming in. Or, in this case, making music.
Woven between the economics of the entertainment industry, is of course law and politics. My music producer friend sat next to me, mouth agape, as Nick Matzukis explained more than 15 types of royalties that can be earned from a single piece of music. He insisted, “There is money in art folks – if only everyone knew!” This led to a discussion of contracts and the bad things that happen when you don’t know what you’re signing (another case in point— Jared Leto’s Thirty Seconds to Mars).
SAMRO isn’t (that) bad…
For a bit of an outsider to the industry, I did not know what SAMRO (Southern African Music Rights Organisation) was. But I could tell from the comments and questions it is an organisation whose relationship with musicians is akin to that of Jacob Zuma with South Africans. “Where is my money?” was the audience’s collective question, which CEO Mark Rosin attempted to answer using the operational structure and logistical challenges SAMRO faces in a third world country to justify its reputation. The crowd seemed only semi-convinced of Rosin’s effort to acquit SAMRO. One of these was an attendee whose suggestion for SAMRO to adopt blockchain technology to track artists and their earnings more accurately, was taken a little too lightly by Rosin for the guest’s taste. The attendee happens to work for a company that uses this technology for sustainability.
Since we have touched on all the other subjects of life, why not Biology? This is my own analogy to characterise what I think may be the biggest takeaway from the conference: South Africa lacks connective tissue, which is the life blood of a high-functioning art industry. We need to collaborate more, understand our strengths, and join forces to become more powerful. Instead of using idealistic phrases like these with no backing, the conference showed attendees what the anatomy of collaboration looks like on the ground, using Trevor Jones and Siphokazi Jonas as, yet another, case in point.
We got to hear Jonas read her poetry, before hearing it a second time with music that Jones had chosen to accompany it. He explains “I walk into walls while walking, I leave food to burn all while I am thinking about your poetry and how to make it work with my music”. The experience was heightened, and the tone of the poem changed dramatically with the London Symphony Orchestra booming out the speakers in synch with Jonas’ empowering voice. Both pieces of work are brilliant alone, but unforgettable together.
Coming from an Economics background, I have written a lot here about the prospects in the industry for South African artists, perhaps at the expense of replicating the inspirational tone of the conference. But rest assured, it could be felt through each anecdote, laugh and conversation that undoubtedly involved a cross-pollination of ideas. There really is no other opportunity that I know of that offers this level of engagement, advice, inside-knowledge and look into the lives and careers of some of the world’s most phenomenal creatives.
Luckily, Music Exchange (MEX22) is traveling to Johannesburg this coming weekend on the 12th and 13th of November.
If you are an artist, go. If for some reason you can’t, take this notion with you: There is money in art. There is also money in information, whether it’s how the industry is regulated or how two South Africans successfully collaborated. Scoring Notting Hill, and paying bills are not mutually exclusive.
Mark Rosin is the Southern African Music Rights Organisation (SAMRO) Chief Executive Officer (CEO).
Rosin assumed the top position in February 2020. Mark will speak about SAMRO and the Road map forward – The detailed Programme is below
Mark holds an LLB specialising in corporate, media and entertainment law from the University of the Witwatersrand.
Rosin’s career in media and entertainment spans more than three decades, during which he has represented South African and international music industry clients in litigation and commercial matters. As an attorney he represented music publishers, composers, recording artists, recording companies, live concert promoters and visiting international artists.
From 2011 until the first quarter of 2019, Rosin was employed by eMedia Investments, home of e.tv, eNCA and Openview in various roles, holding the position of Group Chief Operating Officer since 2014.
Prior to his appointment at SAMRO, he was operating as a freelance legal and business affairs consultant.
Under Mark’s leadership, SAMRO has seen a significant increase in revenue from music users, in part because SAMRO signed more favourable contracts with them. This has resulted in higher royalty payouts to our members.
We have the great pleasure and privilege of presenting the speakers and topics for the Music Exchange 2022 (#MEX22) conference.
The emphasis is on Exchange – Arrive to engage and ask questions of all the speakers and meet fellow creatives. You never know who is in the room. You have read about our keynote speakers over several weeks, Marc Marot and Dr Trevor Jones, and now we are pleased to share the balance of our Cape Town programme.
All the speakers have a lived reality and are actively invested in the local and international entertainment economy.
An extraordinary gathering, down memory lane as we celebrate the LEGEND’s birthday with Sipho Mabuse.
Sipho is regarded as a multi-instrumentalist with a charismatic presence, for more than 50 years … Come honour the man for his pioneering contribution to the music industry.
Venue: Leano Restaurant & Live Music – 81 De korte Street Johannesburg
Friday 11th November 2022 – 7.30pm
Tickets from Quicket or the door.