NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

News

UMG sues Believe for $500m over piracy claims

05 Nov 2024 - 14:37

cc-img flag-img

Universal Music Group (UMG), alongside its subsidiaries UMG Recordings, Capitol Records, and ABKCO Music & Records, with Concord Music Group, has filed a $500 million lawsuit against Believe and its distribution platform TuneCore, accusing them of “rampant piracy” involving its top artists.

UMG CEO Sir Lucian Grainge.

The lawsuit, filed in a federal court in New York and seeking a trial by jury, alleges that Believe distributed altered versions of tracks that are simply sped-up versions of songs by stars like Ariana Grande, Billie Eilish, and Elton John.

UMG claims that Believe’s business model is based on pirating copyrighted music, distributing millions of unverified tracks, including remixed versions of UMG artists’ songs, and falsely claiming ownership on YouTube’s Content ID system.

The lawsuit further states: “Believe’s client list is overrun with fraudulent ‘artists’ and pirate record labels who rely on Believe and its distribution network to seed infringing copies of popular sound recordings throughout the digital music ecosystem.”

UMG accuses Believe of turning a blind eye to widespread copyright violations, claiming the company has failed to take basic measures to prevent piracy. A UMG spokesperson added: “Believe is a company built on industrial-scale copyright infringement… their illegal practices are not limited to cheating artists on major labels but also artists on independent labels.”

Founded in 2005, Believe is a Paris-based company with strong ties to major platforms like Spotify and YouTube. In June, TuneCore, owned by Believe, announced that its artists had earned over $4bn since the company’s founding in 2006, citing success driven by partnerships with digital platforms, the expansion of TuneCore Publishing, and the TuneCore Accelerator programme. However, UMG’s lawsuit paints a different picture, accusing Believe of enabling piracy to fuel its growth.

In May 2024, UMG and TikTok announced a new “multi-dimensional licensing agreement” following a breakdown in their negotiations earlier in the year over fair compensation for artists and songwriters, as well as concerns about AI and online safety. This deal, which follows UMG’s withdrawal of its entire catalogue from TikTok in January after failed negotiations, would see UMG’s music and Universal Music Publishing Group’s songs return to the platform. The agreement is built on a commitment to enhance remuneration for UMG artists and songwriters, provide new promotional opportunities, and ensure protections against generative AI. TikTok users can now look forward to using music from some of the world’s biggest artists, as well as emerging talent, in their videos.

Meanwhile, UMG reported strong Q3 financial results, with revenue of €2.87bn, a 4.3% year-over-year increase, and a 6.9% rise in adjusted EBITDA to €621m. For the year-to-date, UMG’s total revenue reached €8.4bn, up 6.3%, with a 10% rise in adjusted EBITDA to €1.86 billion. The growth was driven by strong performance in all segments, with subscription revenue up 7.6%, although streaming revenue saw a slight decline. Top-selling artists included Taylor Swift, Billie Eilish, Sabrina Carpenter, and Post Malone.

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media