• Thursday, March 28, 2024
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BusinessDay

COSON v. MCSN: let the music pay who exactly? (2)

Abubakar Malami

After several petitions by MCSN, Abubakar Malami, the Attorney General of the Federation issued a directive mandating the approval of MCSN as a CMO, having met all the criteria under Article 2 Copyright (Collective Management Organisations) Regulations 2007 (CMO Regulation). Contending with this development, COSON filed an action COSON v. MCSN & NCC Suit No: FHC/L/CS/1259/2017 praying the FHC to withdraw the approval. The suit was dismissed and MCSN’s appointment was  validated.

COSON’s License is Suspended

Subsequently, COSON’s operating license was revoked by NCC, following the lingering factional dispute in the governing board of COSON as to legitimate leadership. According to reports, part of this resulted from allegations of financial mismanagement against COSON by some influential artistes under COSON’s repertoire.

As a result NCC issued a directive mandating COSON to, amongst other things, hold an Annual General Meeting to elect directors. This directive was ignored by COSON which led NCC to revoke its license under Article 3(i) CMO Regulation. 

Current Position on CMOs in Nigeria

As at the date of this article, it would appear that COSON does not have the right to demand for royalties from any person during its suspension. Incidentally in NCC v. Tony Okoroji & Ors. Charge No: FHC/L/338C/18, the NCC also proceeded against key personnel of COSON for demanding royalties with its suspended as a CMO an action punishable under section 39 NCA. The crux of the matter is lis pendens – thus no action can be taken to disrupt the status quo. COSON cannot demand royalties until its suspension is lifted either by the NCC or through the final judgment of court of competent jurisdiction.

COSON’s suspension, if lifted, would result in the existence of two CMOs (MCSN and COSON). While Nigeria has always operated a single CMO system (MCSN and COSON at some point operated simultaneously for about fourteen (14) months), the law does not prohibit a multiple CMO system. The CMO Regulation which guides the operations of CMOs in Nigeria arguably contemplates more than a single CMO; the reality is that there is currently no prescriptive provision for only one CMO in Nigeria.

Accordingly, belonging to a CMO is optional and artistes decide who they want representing them; thus MCSN and COSON (if it successfully scales it legal hurdles) can only collectively manage artistes respectively registered under them. It is therefore advisable that before making payments to CMOs for copyright usage, “users” request for the artistes in the repertoire of the collecting society (whether MCSN or COSON). This is to ensure dues are paid to the right organisation, the right fee is charged and double payments are avoided.

Comparison with other Jurisdictions

In other jurisdictions like America, their music industry operates a multiple CMO (also known as Performing Rights Organisations (PRO)) system, with organisations such as BMI, ASCAP, Pro Music Rights (PMR), Global Music Rights (GMR) etc.  The CMOs operate by managing the copyright of their registered artiste members. The major challenge with a multi CMO system is the issues of double payments.

On a positive note, a multiple CMO system would promote accountability on the part of the CMOs. Over the years major drawbacks of CMOs include abuse of powers; non- transparent operations; monopolistic behaviour to create profit for themselves; mismanagement of artiste royalties; selling expensive blanket licenses etc. For instance in 2009 the CEO of an Insight Firm in America, accused ASCAP for allegedly  only  remitting  royalties to artistes whose music are on one of the US top 200 grossing songs of the year.

Also just recently, according to news reports, TuFace Idibia petitioned the NCC against COSON leadership over alleged mismanagement of funds and corruption. A CMO, being a company limited by guarantee, is allowed to recover expenses incurred in the recovery of royalties. Tuface’s allegations related to ‘bogus’ fee expenses for security agents, legal fees etc. A multiple CMO system would balance the bargaining powers of both the copyright user and the copyright owner by setting reasonable fees, promote competition among CMOs, etc.

Conclusion

Clearly, the CMO system is not without flaws and it is fraught with many challenges. The concept of royalties payment by CMOs is one that cannot be mathematically ascertained, as it is impossible to determine the exact number of times artiste’s songs were played vis-à-vis another artiste to determine who gets a higher percentage. The process is based on fair assumptions.

However, certain mechanisms can be put in place to ensure transparency such as encouraging a comprehensive database of artistes from the combined repertories of CMOs, display of license fees for the various categories of artiste, public audits, transparent disbursement of funds etc. A recent example in America was the consent decree issued pursuant to agreement between ASCAP, BMI and the US Department of Justice to ensure that PROs were bound by certain rules, control abuse of power and ensuring fair access to PROs’ musical repertoire.

The purpose of CMOs is to ensure artiste’s rights are protected and no one exploits their works without proper compensation. Most artistes, despite airplay or other usage of their works, have nothing to show for it while the infringers enjoy the benefit it brings to their businesses. A multiple CMO system may be just what NMI needs to provide competition amongst CMOs and keep them on their toes. In the end, if we say let ‘the music play’, the music must in turn pay the artistes.

 

Frank Okeke & Titilade Adelekun Ilesanmi

•Frank Okeke & Titilade Adelekun Ilesanmi are commercial lawyers with LeLaw Barristers & Solicitors, Lagos, Nigeria