Kimenuka P-Funky Majani na Jose Chameleon, kisa wimbo wa 'Bomboclat'

[mzaramo]

Hivi Saida nae si nyimbo yake ilitumika kwa movie ya Mr.Perry Nani alilipwa kati ya Muta na saida

Alilipwa Mutta.

Saida hamiliki kitu chochote kutoka kwenye nyimbo zake za Zamani...Zote ni Mali halali za bwana Mutta.

 

[mzaramo]

Kwani beat hiyo chameleon hakumlipa majani wakati ana mtengenezea huo wimbo? Nadhani wimbo na beat ni mali ya msanii sio vya producer, bila hivyo basi producer itabidi alipwe kila msanii anapoingiza hela kupitia wimbo na hiyo beat. P funk ilifaa awe analipwa kwa kila show ambayo chameleon ameumia huo wimbo na beat, mauzo ya cd, iTunes, ring tones nk.

Duuu mkuu upo dunia gani?

Beat ni Mali ya Producer...Producer hawezi kuuza haki yake kwa laki mbili anayopewa na msanii.

Producers wetu wanashindwa kuingia mikataba na wasanii yaani kifupi wasanii wetu wanawanyonya Producers ila kisheria Producer anatakiwa apate hela nyingi mno kuliko ile laki 2 aliyolipwa kama Studio time na msanii

Nchi zilizoendelea kuna mikataba kabisa ukifanya show,ukiuza ringtone,Soundtrack,Albam na vingine vyote lazima kuwe na percent ya Producer.

Ila bongo ukifanya hivyo wasanii hawaji kwenye studio yako.

 

[screpa]

Huu ndio utofauti wa PFunky na producers wengine bongo, na ndio maana hawezi kufulia kizembe, kazi zake zote zilikuwa zinaendana na mikataba, so nyimbo za kina Nature, ProfJay, JayMo, Ngwea,Afande,n.k huwezi kuzitumia bila kumpa chake

 

[SuperKapeto]

Halaf hyo Movie ni kuhusu kitabu na Maisha ya Mtu Phiona Mutesi so amelipwa na Disney movie jst watengeneze muvi yake...Pfunk tafta chako tu

 

[SuperKapeto]

psquare wenyewe nyimbo yao ipo

 

[elmagnifico]

Kama chameleon amepewa dola 50,000 je faida ya hiyo filamu ikiingia sokoni itakuwa ngapi? jumlisha na gharama ku-shoot USA.

Wenzetu gharama za movie zinakuwa bils tshs movie nyingine zinakula mpaka 400 bils tshs.
Nahisi kapewa ndogo pia 50,000 kwa wenzetu kawaida sana

 

[Fortunatus Buyobe]

Bado ni hela ndogo sana! Pharalle Willium Aliiba nae kazi za watu akaambiwa alipe ($ 7.3 Mil) (£ 4.8 Mil) sema P Funk akiwapata wanasheria wazuri anauaga umaskini!

Unakumbuka ishu ya Mwana Fa na tigo sijui ilikuja kuishia wapi!! Sheria za kulinda maslai ya kazi za wasanii sehemu kama Marekani ni kali sana

P funk akomae waache kutuchezea watz

 

[knysna]

sasa namuamini shigongo alivyolalamika kutapeliwa na Camelion, bahati mbaya wabongo wengi wakabaki kumtupia matusi shigongo eti kisa cameleon ana pesa hawezi kudhulumu, haya sasa wayaone na ya huyu.

Cameleon tapeli kafundishwa na wabongo utapeli miaka ile kipindi hajakua hata msanii, magetoni Pretoria.

 

[NALIA NGWENA]

Majani syo zoba lazima wamlipe

 

[Chige]

Hiyo sio bongo muvi. Lupita nyongo ni wa kimataifa zaidi. Ameshashiriki filamu na wakongwe kina brad pit. Keshabeba tuzo za oscsar ambayo bado ni ndoto ya actors wengi wakubwa marekani. This is not a matter to underestimate. P funk anaongea hadi anataka kulia. Ametumia pesa nyingi kufatilia haki yake. Anasema lawyer kumlipa kwa saa tu anatumia dola 4000. Chameleon ni tapeli. Watanzania tupige kelele juu ya ujangili huu.

$ 4000/hour?!

By average, Hollywood entertainment attorneys wana-charge $500/Hour... sasa $4000mbona itakuwa wamempiga sana hasa ukizingatia kinachopiganiwa hapo ni $50K.

 

[Fortunatus Buyobe]

$ 4000/hour?!

By average, Hollywood entertainment attorneys wana-charge $500/Hour... sasa $4000mbona itakuwa wamempiga sana hasa ukizingatia kinachopiganiwa hapo ni $50K.

Sorry niliover look ni usd 400/hour

 

[Mkoroshokigoli]

Lupita nyongo ni raia wa wapi?

Kenya nadhani

 

[genacide]

Prodyuza mkongwe wa muziki nchini, P-Funky 'Majani' kakinukisha kwa Jose Chameleon kisa ni wimbo wake wa Bomboclat kutumika kama soundtrack kwenye movie ya Lupita Nyong'o iliyoshootiwa Marekani. Katika uchunguzi, 'Majani' kabaini Chameleon ndio kalipwa.

Majani akawasiliana na Chameleon akitaka maelezo jamaa akamdanganya eti kapewa dola 2000 kumbe kapewa zaidi ya dola 50,000. Majani kashtaki COSOTA wakafatilia Uganda bt jamaa hawakujibu chochote. Majani kawasiliana na Walt Disney watayarishaji wa movie wameomba wayamalize nje ya mahakama lakini nao watadili na joseee.

Credit Bongo5.com

Wamlipe na elephant man maana wimbo wake huo..so ni copy and paste 98%.na kama umetumika kwenye movie hiyo jamaa lazima atausikia tu.

 

[Chige]

Nope, beat always ni ya producer. Ndiye anayetunga hiyo beat na haki ya umiliki wa producer inalindwa na copyright laws. Ni kama wewe ununue software mfano Windows 10, una haki ya kuitumia lakini sio kuuza wala kumpatia bure mtu mwingine maana kwa kununua hiyo CD umenunua haki ya kuitumia na sio umeuziwa umiliki. Hili jambo maproducer wengi ambao hawajaenda shule hawalitambui-wanawaachia beat wasanii ndo wafaidike.

So hata kama Chameleone angelipia hiyo beat ili itumike kwenye bongoclat, bado PFunk ana haki na hiyo beat kama beat itatumika kutengeneza wimbo mwingine au kama itatumika kama soundtrack.

Kwa kifupi, sheria ya hakimiliki hairuhusu yafuatayo:
-kunukuu
-kubadilisha(modify)
-kutumia kwenye maonyesho
-kutafsiri
-kuiga
-...
Hii ni kwa kazi yoyote ya kisanii-wimbo,movie,beat,mchoro,program za computer,nk.

ALWAYS? I hope unafahamu maana ya ALWAYS!

Who own exclusive right ya beat inategemeana na nature ya mkataba! Remember, hapa hatuzungumzii Kibongobongo!

Leo hii ukienda kwa Mkuu wangu magnifico na akakutengenezea beat na kuuzia at full price... hapo inaweza kuwa defined as Work For Hire!!!

Hapa Producer anakuwa ame-transfer ownership to buyer/artist. Kama magnifico ni smart enough anaweza ku-demand kwamba, hata kama ni Work For Hire (Exclusive License to Artist) lakini mkataba utoe haki ya royalty cuz', IPR mara nyingi kama sio zote zinatoa benefits za royalt kwa creator.

Why inakuwa considered as Work For Hire?! Assume unafungua Studio/Label na ni wewe ndie unalipa 100% ya gharama zote hapo studio. In addition, unaajiri Producer na unamlipa mshahara!

Do you believe hizo beats zitakuwa ni mali ya Producer?!

TIP: Kama wewe ni Producer na mtu anafungua Studio na anakuajiri ni bora badala ya kutolea macho mshahara aliokuahidi, hapo hapo demand mkataba utoe haki ya royalty kwa kazi utakazotengeneza, or unakataa kabisa mshahara lakini una-demand 50/50 ownership of produced materials. In most cases, hakuna atakayekubali kukupatia hiyo 50/50 lakini Royalty unaweza ku-demand.

Kinyume chake, endapo magnifico atakupatia beat bure au at small fee, hiyo inaitwa Non-Exclusive License to artist. Hapa Producer ndo anakuwa na exclusive right ya kazi yake na ndie copyright owner!

Kutokana na hilo, hapa Producer anaweza kuitumia kazi yake tena na tena na msanii huwezi kulalamika kwamba beat ambayo ulitumia Producer kaitoa kwa Artist mwingine kwa sababu ni mali ya Producer.

Hapa ndipo natoa heshima kwa Diamond na Team yake! Mkataba wake na Universal ni Label vs Publisher Contract kwahiyo kazi za Diamond n WBC daima dumu zitabaki ni mali zao.

Kinyume chake, Kiba vs Sony kama hawakuwa makini na mkataba... usije kushangaa ukisikia ngoma zote anazotoa Kiba hivi sasa sio mali yake kwa sababu mkataba wake ni Artist vs Label. Ili tusionekane tuna chuki; haina haja kwenda mbali sana lakini ukizingatia ni Kiba vs Rockstar4000 vs Sony... trust me, ni worse!

On the other hand, the same applies kwenye film industry. Original creator wa film ni Screenwriter/Mwandishi wa Script. Hawa wana mikataba ya aina kuu mbili (Hollywood case)... by percentage production cost ambayo inakuwa between 2.5 to 5% na total sale.

Waandishi wakubwa huwa wana-demand asilimia ya production cost! Kwahiyo kama movie imeekuwa produced $100 Million; Mwandishi anakula $5 Million yake for 5%. Hata hivyo, waandishi wengi huwa wanauza.

Kama Mwandishi umeuza Script yako iwe kwa producer/production company, hapo unakuwa ume-transfer ownership yako to a Buyer! Kuanzia pale unaposaini mkataba kwamba umeuza, unakuwa si tena Copyright Owner wa hiyo script.

Endapo script yako hatai-produce, huwezi kumuuliza kwa sababu umeshachukua chako! In addition, aliyenunua anaweza kuifumua script mzima akabakiza title tu na idea... huwezi kulalamika popote kwa sababu huna chako!!

Depending na nature of contract, hapo subiria tu bonus kama mkataba unataja bonus endapo box office gross revenues itafika kiasi fulani. Pamoja na bonus, labda subiri some lump sum payment endapo inafanyika remake ya filamu husika hapo baadae... or, subiri some few dollars/episode endapo same script inaendelezwa kuwa Tv Series na mambo mengine kama hayo.

Hata hivyo, hayo hayafanyiki kwa sababu wewe ndie mmiliki wa Script... sio ya kwako hiyo kwa sababu ulishauza na hayo yote yanategemeana na mkataba. Hapa ndipo unapokuja umuhimi wa Entertainment Attorneys and not just Lawyers!!!

The ONLY thing ambacho hapo akina mjadala ni CREDIT ambayo si pesa! Kwamba, no matter what, lazima jina la Mwandishi lipite kwenye screen! Hata kama Buyer aliifumua script mzima akabakiza Title peke yake, bado copyright law inamlazimisha kutoa credit za uandishi kwako!!!

Kwa issue ya P Funk na kwa kuangalia industry yetu ilivyo East Africa, sina shaka ni yeye ndie anaweza kuwa na exclusive right! Hata hivyo, asitarajie makubwa sana unless kesi yake iwe P Funk vs Walt Disney na sio P Funk vs Chameleon.

Hata hivyo, hapa kwa P Funk vs Walt Disney watalazimika ku-prove kwamba Walt Disney ametumia soundtrack bila ya ruhusa ya Copyright Owner... meaning, kwamba Cameleon sio exclusive right owner.

Hapa napo atakutana na changamoto nyingine... Je, waliindikishiana Mkataba na Chameleon unaoonesha yeye P Funk ni Exclusive Right Owner wa hiyo kazi? Watu wanadhani Producer ile kutengeneza kazi tu tayari by default anakuwa na exclusive right!

Very complicated.

 

[Chige]

Sorry niliover look ni usd 400/hour

Okay... hapa sasa nakubaliana kwa 101% manake ndo prevailing rates hizo.

 

[Kalamu Yangu]

Shigongo anasoma taarifa hii akitabathamu

 

[Fortunatus Buyobe]

ALWAYS? I hope unafahamu maana ya ALWAYS!

Who own exclusive right ya beat inategemeana na nature ya mkataba! Remember, hapa hatuzungumzii Kibongobongo!

Leo hii ukienda kwa Mkuu wangu magnifico na akakutengenezea beat na kuuzia at full price... hapo inakuwa defined as Work For Hire!!!

Hapa Producer anakuwa ame-transfer ownership to buyer/artist. Kama magnifico ni smart enough anaweza ku-demand kwamba, hata kama ni Work For Hire (Exclusive License to Artist) lakini mkataba utoe haki ya royalty cuz', IPR mara nyingi kama sio zote zinatoa benefits za royalt kwa creator.

Why inakuwa considered as Work For Hire?! Assume unafungua Studio/Label na ni wewe ndie unalipa 100% ya gharama zote hapo studio. In addition, unaajiri Producer na unamlipa mshahara!

Do you believe hizo beats zitakuwa ni mali ya Producer?!

TIP: Kama wewe ni Producer na mtu anafungua Studio na anakuajiri ni bora badala ya kutolea macho mshahara aliokuahidi, hapo hapo demand mkataba utoe haki ya royalty kwa kazi utakazotengeneza, or unakataa kabisa mshahara lakini una-demand 50/50 ownership of produced materials. In most cases, hakuna atakayekubali kukupatia hiyo 50/50 lakini Royalty unaweza ku-demand.

Kinyume chake, endapo magnifico atakupatia beat bure au at small fee, hiyo inaitwa Non-Exclusive License to artist. Hapa Producer ndo anakuwa na exclusive right ya kazi yake na ndie copyright owner!

Kutokana na hilo, hapa Producer anaweza kuitumia kazi yake tena na tena na msanii huwezi kulalamika kwamba beat ambayo ulitumia Producer kaitoa kwa Artist mwingine kwa sababu ni mali ya Producer.

Hapa ndipo natoa heshima kwa Diamond na Team yake! Mkataba wake na Universal ni Label vs Publisher Contract kwahiyo kazi za Diamond n WBC daima dumu zitabaki ni mali zao.

Kinyume chake, Kiba vs Sony kama hawakuwa makini na mkataba... usije kushangaa ukisikia ngoma zote anazotoa Kiba hivi sasa sio mali yake kwa sababu mkataba wake ni Artist vs Label. Ili tusionekane tuna chuki; haina haja kwenda mbali sana lakini ukizingatia ni Kiba vs Rockstar4000 vs Sony... trust me, ni worse!

On the other hand, the same applies kwenye film industry. Original creator wa film ni Screenwriter/Mwandishi wa Script. Hawa wana mikataba ya aina kuu mbili (Hollywood case)... by percentage production cost ambayo inakuwa between 2.5 to 5% na total sale.

Waandishi wakubwa huwa wana-demand asilimia ya production cost! Kwahiyo kama movie imeekuwa produced $100 Million; Mwandishi anakula $5 Million yake for 5%. Hata hivyo, waandishi wengi huwa wanauza.

Kama Mwandishi umeuza Script yako iwe kwa producer/production company, hapo unakuwa ume-transfer ownership yako to a Buyer! Kuanzia pale unaposaini mkataba kwamba umeuza, unakuwa si tena Copyright Owner wa hiyo script.

Endapo script yako hatai-produce, huwezi kumuuliza kwa sababu umeshachukua chako! In addition, aliyenunua anaweza kuifumua script mzima akabakiza title tu na idea... huwezi kulalamika popote kwa sababu huna chako!!

Depending na nature of contract, hapo subiria tu bonus kama mkataba unataja bonus endapo box office gross revenues itafika kiasi fulani. Pamoja na bonus, labda subiri some lump sum payment endapo inafanyika remake ya filamu husika hapo baadae... or, subiri some few dollars/episode endapo same script inaendelezwa kuwa Tv Series na mambo mengine kama hayo.

Hata hivyo, hayo hayafanyiki kwa sababu wewe ndie mmiliki wa Script... sio ya kwako hiyo kwa sababu ulishauza na hayo yote yanategemeana na mkataba. Hapa ndipo unapokuja umuhimi wa Entertainment Attorneys and not just Lawyers!!!

The ONLY thing ambacho hapo akina mjadala ni CREDIT ambayo si pesa! Kwamba, no matter what, lazima jina la Mwandishi lipite kwenye screen! Hata kama Buyer aliifumua script mzima akabakiza Title peke yake, bado copyright law inamlazimisha kutoa credit za uandishi kwako!!!

Kwa issue ya P Funk na kwa kuangalia industry yetu ilivyo East Africa, sina shaka ni yeye ndie anaweza kuwa na exclusive right! Hata hivyo, asitarajie makubwa sana unless kesi yake iwe P Funk vs Walt Disney na sio P Funk vs Chameleon.

Hata hivyo, hapa kwa P Funk vs Walt Disney watalazimika ku-prove kwamba Walt Disney ametumia soundtrack bila ya ruhusa ya Copyright Owner... meaning, kwamba Cameleon sio exclusive right owner.

Hapa napo atakutana na changamoto nyingine... Je, waliindikishiana Mkataba na Chameleon unaoonesha yeye P Funk ni Exclusive Right Owner wa hiyo kazi? Watu wanadhani Producer ile kutengeneza kazi tu tayari by default anakuwa na exclusive right!

Very complicated.

Kaka umeeleza kwa kirefu sana na nimefurahi kwa somo ulilotoa limenipanua sana ufahamu wangu. Bt kwa kesi ya P funk ana exclusive rights ndio maana hata COSOTA wanamsaidia katika hilo. Pia kumbuka chameleon hakutengenezewa hiyo beat. Waliotengenezewa walikuwa prof j na feroz

 

[Chige]

Ka

Kaka umeeleza kwa kirefu sana na nimefurahi kwa somo ulilotoa limenipanua sana ufahamu wangu. Bt kwa kesi ya P funk ana exclusive rights ndio maana hata COSOTA wanamsaidia katika hilo. Pia kumbuka chameleon hakutengenezewa hiyo beat. Waliotengenezewa walikuwa prof j na feroz

I see! Basi aliyefanikisha hiyo deal atakuwa very stupid manake amefanikisha deal na TAPELI...!!

Sasa na huyo Jose hakufahamu kwamba sooner or later ingefahamika?! Hafahamu kwamba anaweza kuwa sued!! Manake, there's no way Walt Disney wanaweza kutumia hiyo kazi bila kujiridhisha kwamba Chameleon ndie "rightful owner". Na kama walijiridhisha ina maana walijiridhisha kupitia forged docs kwamba Chameleon ndie mwenye exclusive right wakati sio na hivyo moja kwa moja kuingia kwenye tuhuma za Forgery na Copyright Infringement.

 

[naumbu]

Kwani beat hiyo chameleon hakumlipa majani wakati ana mtengenezea huo wimbo? Nadhani wimbo na beat ni mali ya msanii sio vya producer, bila hivyo basi producer itabidi alipwe kila msanii anapoingiza hela kupitia wimbo na hiyo beat. P funk ilifaa awe analipwa kwa kila show ambayo chameleon ameumia huo wimbo na beat, mauzo ya cd, iTunes, ring tones nk.

Umeshawah kuisikia hiyo beat?Hiyo beat ilitumika kwenye wimbo wa nikusaidiaje wa Prof Jay na Jose akairudia kwenye Bomboclat bila ruhusa ya Majani,wakayamaliza na sasa hivi amempiga tena huko WD;Majani na Master Jay na baadhi ya Producers huwa wanajimilikisha beat me kuzisajiri hawampi haki muimbaji

 

[yutu]

p funk ni mbishi naamini hii ishu ataifuatilia mpaka mwisho

Na hivi kafulia ndo kabisa