Aye spies

Every so often, a spate of mail from different people, in essence on the same topic but with variations on the main theme, plops through my virtual letterbox.

The cynic in me always wonders whether this is an orchestrated campaign, or whether it stems from genuine interest of people selflessly working for the common good. Inevitably, there follows a flurry of features and letters in the press, with the occasional oblique reference to person(s) involved.

Some people think they can get away with conniving and scheming without anyone noticing. How is it that some journalists fall for tricks that include the words ‘write about me’ wrapped in a tissue of lies?

And then there is the forthcoming digital switchover for local television stations. As has been the case with football matches from different leagues, Favourite and Calypso have so far been available only to people who subscribe to Melita or Go, respectively. The February deadline that was supposed to put an end to this inevitably came and went; it is now rescheduled for June.

This, no doubt, is adversely affecting the advertising revenue for both stations; advertisers would not see the point of paying good money for slots that would not reach a section of the populace, especially when these are not political stations, and they would not be preaching to the already converted. ‘Free to air’ here takes on a sinister turn.

For the record: the EU-27 law relates to digitalisation of media, for example, from the analogue set-up to a digital platform. Locally, this would translate into there being a new platform, open for just six television stations that would be free-to-air, without the necessity of any additional costs or subscriptions.

Favourite Channel company di­rec­tor Romina Bonaci said: “The General Interest Objective (GIO) network legislation is now in the hands of Parliamentary Secretary for Culture Mario de Marco. All amendments have been passed through the Attorney General. The Malta Communications Authority and Malta Broadcasting Authority are pushing hard for this legislation to be presented in Parliament.

“Go completed the GIO platform preparations about six months ago. We receive a constant barrage of communications from Go subscribers, asking us when our station will be made available to them.

“All the other television stations are secure in their free-to-air position. We have a full team, a competitive news room, and a variety of programmes airing throughout the week. We have several more new programmes on hold, until we start being aired on both platforms.”

Given the above, and more, therefore, why is the status still quo?

• Since well before, and especially in the aftermath of Song for Europe, the Performance Rights Society (PRS) dies and payments issue has been gaining momentum.I am given to understand artists who are members of the society do not always fare well. We have the incongruous situation where PBS pays two per cent (commercial stations pay three) of all income from radio towards what is eventually paid to artistes, while at the same time handing out forms for presenters to fill in; while, incongruously, some presenters and DJs do not seem to know what the praxis is.

Howard Keith, director of Jagged House and one of the spokesmen on behalf of UKAM on PRS, told me: “None of the artists we manage – Ira Losco, Tribali, The Rifffs and Airport Impressions – have received the payments they deserve; for some reason the latter are considered a ‘radio act’.

“Suffice it to say Losco has performed over 85 times aboard; and Tribali are probably the only act who received some royalties paid from APRA and the Australian performances, BBC, and some live shows. Royalties through GEMA (German territories) and in Malta are non-existent, or at best inaccurate.

“Yet statements clearly show that PRS adopted a scheme to collect money locally, from which payments were supposed to emanate. We have the hard copies of correspondence to show this.

“It’s just not right to treat artists in this way. We cannot have PRS blaming the main radio stations any more. Cross-collateralisation must be addressed. We have been asking for correct monitoring to ensure correct distribution for years; so why is it happening only now?

“Malta has been robbed of thousands of euros. We have already begun talks with other collecting societies to select one that has credibility. We shall adopt a three- to five- year plan to set up our own society. This is a call for justice. An apology or new schemes from PRS are not enough at this stage.”

Martin Pursey and Barney Hooper of PRS said: “PRS for Music, as the appointed collecting society in the country, basically collects money from people who play music and distributes it to those who write and compose it.

“Logically, it must know whose music is being played so it can pay out accordingly. It is the duty of broadcasters to monitor and report to PRS for Music which staff are playing. PRS for Music sponsored Songwriter of the Year at the latest edition of the Malta Music Awards, which our chairman Ellis Rich attended.

“PRS for Music has announced a deal with Spain-based BMAT Music Innovation for music tracking services in Malta, as a supplement for and parallel to information provided by the media.

“Even a few seconds of a track make it eligible for listing; tracking software will recognise the ‘fingerprint’ of each one. But technology depends on a chain of events; accurate logging, and accurate paperwork, to begin with. Eleven major radio and television stations in the country will be monitored.

television@timesofmalta.com