777 Records

04/07/2025

Public Statement and Condolences from 777 Records

We are deeply saddened to share our heartfelt condolences to the family and friends of Prophet Isaac Setati, as well as to Isaac and The Mighty Messengers and everyone whose lives were enriched by his extraordinary presence. Prophet Setati's spirit will continue to inspire us, and we cherish the moments and memories we were fortunate to share with him. His legacy is one of warmth and profound influence, reflecting the love and connection he fostered in all his interactions.

The passing of Prophet Isaac Setati marks a significant loss for the music community and beyond. He was not only a remarkable leader and gifted musician but also a visionary who significantly impacted the Clap and Tap Music Industry. As the driving force behind Isaac and The Mighty Messengers, he served as a beacon of hope and inspiration, influencing the lives of many through his artistry and leadership.

Through his music, Prophet Setati had a rare gift for connecting deeply with others, using his artistry to bring joy, healing, and a sense of unity to countless individuals. His teaching, preaching, rhythms, and melodies echoed the richness of our shared experiences and celebrated our cultural heritage. As a leader, his integrity, compassion, and resilience guided him in uplifting those around him, nurturing the next generation of talent in the Clap and Tap music scene. Though he has departed, his legacy will continue to resonate in every heart he touched, every note that reverberates, and every life he transformed.

Let us honor his memory by upholding the values of love, unity, and artistic passion that he so fervently embodied. Thank you, Prophet Isaac Setati, for your remarkable gifts and lasting impact on the world. Your spirit will forever echo through your timeless music.

26/06/2025

Free Exposure or Exploitation Disguised as Opportunity?
“We Need Publicity — Not Exposure. We’ve Been Exposed Enough.”

Send a message to learn more

26/06/2025

Free Exposure or Exploitation Disguised as Opportunity?

“We Need Publicity — Not Exposure. We’ve Been Exposed Enough.”

In the world of Indigenous Gospel, especially Clap and Tap music, we’ve carried our traditions with pride. We've trained tirelessly, invested in uniforms, transportation, studio sessions, and instruments — all in pursuit of excellence. But when it comes time for promoters and event organizers to show real appreciation, many hide behind one phrase:

“You’ll get great exposure.”

Let’s be honest — that “exposure” is nothing more than exploitation dressed in compliments.

The Real Cost of “Free Exposure”

Behind every Clap and Tap choir or artist is a story of financial sacrifice, emotional labour, and community investment. You spend thousands on travel, food, instruments, sound equipment, uniforms, rehearsal venues, and more. You wake up early, practice after work, miss family time, and pour heart and soul into every note.
So, when someone offers a "platform" without payment,

Here's what they’re really saying:

• Your time has no value.
• Your cultural offering isn't worth supporting.
• Your music is good enough to attract an audience — but not good enough to earn you a living. Is that acceptable?

You Are Not Just a Choir — You Are a Business!

Once you're being booked to perform, you are no longer just a performer. You are a cultural entrepreneur, an arts professional, and a business. And just like any other business, you must know:

• Your value
• Your rights
• Your cost of doing business

Exposure doesn’t pay for petrol. Exposure doesn’t pay for accommodation. Exposure won’t pay for your next studio session and your next meal. If it’s good enough for their audience, it must be good enough to be paid for.

Three Things Every Clap and Tap Artist Needs
1. Music Education & Development
– You deserve access to training, vocal coaching, business workshops, and digital skills. Growth costs money.
2. To Know Your Worth
– You carry heritage, faith, discipline, and generational knowledge. That’s invaluable. Don’t let them devalue it.
3. To Be Paid for Your Work
– Being called to perform is a transaction. If the promoter is charging at the door or getting sponsorship, the choir must be budgeted for.

Saying “No” Is Also Standing Up for Others!

When you say “no” to performing for free, you’re not just protecting yourself — you’re protecting the entire industry. You’re standing in solidarity with every choir that has ever been underpaid, overlooked, or thanked with a sandwich.

You are sending a message:
"Clap and Tap is not just music. It’s work. It’s culture. It’s value. Pay for it."

The Charity Dilemma: Perform with Purpose, Not Pity
Performing for charity is noble — but even charity has a budget. No event should assume your contribution is free. If they’re paying for tents, sound, catering, or security, they can pay for the music that draws the crowd.

If the event cannot afford to pay its entertainers, perhaps it is not ready to host an event. Exposure is not compensation.

Final Word: Your Talent Deserves a Business Model
If festivals, promoters, churches, or community events rely on your music to attract crowds, they must include you in their budget. Clap and Tap choirs are not just choirs — they are economic contributors, culture carriers, and brands in their own right.

So the next time someone offers you a “great platform” in exchange for your hard-earned art, ask them:

“Do you work for free?”
We’re done being “exposed.”
We demand respect, payment, and professional recognition.
Record Label Exec., Producer, Clap and Tap Music Industry Advocacy/Activist
Patrick BraGib Monareng

Send a message to learn more

26/06/2025

A Public Statement and Rights & Royalties Guide for Clap and Tap Choirs in South Africa. To whom it ma concern!!

26/06/2025

Free Exposure and Pay-to-Play: The Exploitation of Clap and Tap Choirs in the Name of Publicity

“We Need Publicity, Not Exposure — we’ve been Exposed Enough!”

Clap and Tap music is more than a sound — it is soul, heritage, faith, and discipline woven into harmony. Yet too often, the people who carry and create this cultural treasure are the last to benefit from it financially. In the name of “exposure,” we’re seeing a deeply disturbing trend:

• Choirs pay to shoot music videos
• Choirs pay to get broadcast on national TV
• Choirs receive no royalties
• Broadcasters register your content as theirs, claim copyright, and earn performance royalties from your work, if it wasn’t paying them, they wouldn’t be doing it!!

Let’s call it what it is!!:

Exploitation disguised as opportunity.

The Cost of Free Exposure Is Paid by the Artist/Choir
If you’re a choir that has paid for studio time, music video production, transport, uniforms, photography, and rehearsals, you are already an investor in your art. So why, after all of that, are you asked to pay more to be aired, then told you’re being helped with exposure?

When that very broadcaster:

• Registers the song under their publishing name
• Monetizes your performance without your consent
• Collects royalties from SAMPRA, CAPASSO, or SAMRO
• Fails to report back or pay you anything

It’s not exposure — It’s theft with a smile.

You Pay to Be Played — But Never Get Paid

Too many Clap and Tap choirs have fallen into the trap of paying R5,000–R15,000 to shoot a video, another R3,000+ to “submit it” to TV, and still never see a cent from royalties. The truth? That broadcaster is receiving money every time your video airs, yet you see nothing.
You're not just exposed, you're exploited.

If you’re Being Booked — you’re a Professional

Once someone books you to perform, or once your content airs on television, you are no longer “emerging” — you are a professional artist. You must be treated as such:

1. You deserve to be paid
2. You must sign content and usage agreements
3. Your royalties must be registered under your name
4. Your music must reflect you as the rights holder — not the promoter or broadcaster

The Culture of Silence Must End
We’ve heard it too many times:
“You should be grateful to be seen.”
“You’re still new, you’re not known.”
“If you don’t want to do it, others will.”

But this thinking destroys the industry. It devalues the art, breaks spirits, and creates a race to the bottom where exploitation becomes normal. Clap and Tap music — a genre with deep spiritual, historical, and social value — deserves better.

We Must Reshape the Narrative: Publicity vs. Exploitation
Let’s be clear:

• Publicity respects your work and provides fair benefit.
• Exploitation demands your labour but steals the reward.

We need to:
• Stop performing for free under pressure
• Stop submitting content without contracts
• Start demanding royalty tracking and transparency
• Educate ourselves and one another about music business rights

Charity Is Not an Excuse to Undervalue Artists
Even charitable events must budget for performers. If they can hire a sound system, a caterer, or a tent, they can pay the artist. Otherwise, they are not running an ethical charity — they are exploiting goodwill for gain.

Final Message: If They Can’t Afford You, They’re Not Ready
If a promoter, TV channel, or event organizer cannot afford to pay for the content or performance that attracts their audience, then they are not ready to run a sustainable platform. Your music is the product. Your voice is the brand. Your time is valuable.

Say no when it matters. Educate others.
Demand contracts. Protect your rights. Insist on value.
Record Label Exec., Producer, Clap and Tap Music Industry Activist/Advocacy
Patrick BraGib Monareng

Send a message to learn more

22/06/2025

"To the gatekeepers and naysayers of the Clap and Tap Music Industry: At 777 Records, we embrace the journey of authenticity over mere acceptance. We understand that true growth often comes from challenges and resistance. It’s better to be genuine and face struggle than to find success surrounded by superficial applause. We’re committed to our artistic vision, knowing that meaningful connections will always outweigh fleeting praise. Let's continue to push boundaries and inspire true passion in the music we create!"

21/06/2025

14/06/2025

To effectively utilize and engage CMOs (Collective Management Organizations) like SAMRO (South African Music Rights Organization), SAMPRA (Southern African Music Performance Rights Association), CAPASSO (Composers, Authors and Publishers Association), and RISA (Recording Industry of South Africa) for The Clap and Tap Music Industry in South Africa, a strategic approach can be taken. Here’s a detailed informative guide on how these organizations can be leveraged to benefit the music industry:

1. Understanding the Role of CMOs

- SAMRO: Manages the rights of music composers and authors, including licensing and royalties collection. Engaging with SAMRO ensures that songwriters receive fair compensation for public performances of their works.

- SAMPRA: Focuses on collecting and distributing performance rights for recorded music. They are essential for artists and labels to receive royalties from public broadcasts and performances of their recordings.

- CAPASSO: Represents music publishers and songwriters, managing mechanical rights and licensing for reproducing music. Collaboration with CAPASSO ensures that creators are paid for mechanical reproductions.

- RISA: Acts as the umbrella organization for the recording industry, advocating for rights holders and providing valuable industry insights and guidelines. They can play a significant role in supporting local artists and improving industry standards.

2. Strategic Collaboration

- Licensing Education and Workshops: Organize workshops in collaboration with CMOs to educate artists and industry stakeholders about rights management, licensing requirements, and the importance of registering their works. This can empower musicians and producers and increase compliance with legal standards.

- Creating Partnerships for Events: Host or sponsor music events focusing on local talent and genres popular within The Clap and Tap Music Industry. Involve CMOs in these events to help with licensing and to draw attention to the importance of rights management.

3. Advocacy and Representation

- Industry Advocacy: Work with RISA to advocate for policies that enhance support for local music creators and promote fair industry practices. This could involve lobbying for better royalty distribution systems or favorable tax incentives for local music production.

- Joint Marketing Campaigns: Use the resources of CMOs to run awareness campaigns that promote South African music both locally and internationally. This can include digital initiatives that highlight the unique styles and stories behind The Clap and Tap Music.

4. Digital Integration

- Utilizing Digital Platforms: Encourage collaboration between CMOs and digital distribution platforms to ensure that music uploaded online is adequately licensed. This ensures that artists from The Clap and Tap Music Industry receive royalties from streaming services.

- Analytics and Reporting Tools: Develop or adopt tools in partnership with CMOs that provide analytics on music consumption, helping artists understand how their music is being received and where improvements can be made.

5. Networking and Community Building

- Creating Networking Opportunities: Utilize the CMO’s networks to create events where artists can connect with producers, publishers, and industry experts. Such interactions can lead to collaborations that enrich the music scene.

- Mentorship Programs: Establish mentorship programs pairing emerging artists with established musicians who are experienced in navigating the industry and working with CMOs. Mentorship can provide guidance on best practices for rights management and music production.

6. Research and Development

- Conducting Research: Partner with CMOs to conduct research on industry trends and musicians' needs within The Clap and Tap Music Industry. Use this data to inform strategies that better serve artists and adapt to changing market dynamics.

- Investment in Local Talent: Encourage CMOs to invest in grants or funding opportunities for local artists, fostering innovation and diversity within the music industry. This can stimulate creative output and contribute to the overall growth of South African music.

7. Engaging with Global Standards

- Aligning with International Practices: Work with CMOs to ensure that local practices align with international standards, which can foster international collaborations. This could involve learning from successful international CMOs and their strategies.

- Showcasing South African Talent Abroad: Leverage RISA’s global partnerships to promote South African music internationally, participating in global events and showcases to raise awareness of The Clap and Tap Music Industry.

Conclusion

By strategically engaging with SAMRO, SAMPRA, CAPASSO, and RISA, The Clap and Tap Music Industry in South Africa can enhance its operational frameworks, promote local talent, and develop a more sustainable music ecosystem. This collaboration will not only empower artists but also stimulate the growth of the industry as a whole, creating an environment where creativity can flourish, and stakeholders are fairly compensated for their contributions.

14/06/2025

A detailed overview of who can register and license works at the main Collective Management Organisations (CMOs) in the South African music industry: SAMRO, SAMPRA, and CAPASSO.

1. SAMRO (South African Music Rights Organisation)

Overview:
SAMRO is the primary body representing the performance rights of composers, songwriters, and music publishers. It manages the rights related to musical works.

Who Can Register:
- Composers and Songwriters: Individuals who have created original musical compositions (including lyrics).
- Music Publishers: Entities that manage rights on behalf of composers/songwriters.
- **Arrangers:** Those who have adapted existing works for performance or recording.

Licensing Works:
- Members must complete registration forms and submit works for inclusion in SAMRO’s database.
- Registration allows creators to collect royalties from public performances, broadcasts, and mechanical reproductions of their works.

2. SAMPRA (South African Music Performance Rights Association)

Overview:
SAMPRA represents the rights of recording artists and record labels concerning their sound recordings. They focus on the performance rights of recorded music.

Who Can Register:
- Recording Artists: Performers whose rights are associated with the physical or digital recordings of their music.
- Record Labels: Entities that produce and distribute music recordings on behalf of artists.

Licensing Works:
- Artists and labels register with SAMPRA to collect royalties from public performances of their recordings, such as in clubs, radio stations, and television broadcasts.
- Registration requires documentation proving the ownership of the sound recordings and the rights to the respective works.

3. CAPASSO (Composers, Authors and Publishers Association)

Overview:
CAPASSO focuses on the licensing and collection of royalties for the use of musical works in audiovisual productions and other media. Their primary role is to manage mechanical rights.

Who Can Register:
- Composers and Songwriters: Similar to SAMRO, they must have original works.
- Music Publishers: They can register on behalf of their composers to ensure that mechanical rights are managed effectively.

Licensing Works:
- CAPASSO licenses the use of music in various formats and collects royalties for these usages.
- To register, owners must provide details of their works and demonstrate rights to the compositions.

Registration and Licensing Process

1. Application: Interested parties must fill out specific registration forms for each CMO, providing details such as personal information, works being registered, and proof of rights (if necessary).

2. Verification: CMOs will verify the provided information against their databases to ensure the applicant's claims are legitimate.

3. Membership Fees: There may be registration or membership fees involved, which vary between organizations.

4. Royalty Collection: Once registered, the members can begin to accumulate royalties from licensed uses of their works. Each CMO offers various platforms to help members track their earnings.

Conclusion

Each CMO plays a crucial role in the South African music industry by protecting the rights of music creators and ensuring they receive fair compensation for their work. Understanding the distinctions in who can register and how to license works is vital for anyone involved in the music industry, particularly in areas related to performance rights, sound recordings, and mechanical uses.

By registering with SAMRO, SAMPRA, and CAPASSO, composers, songwriters, artists, and publishers can better safeguard their creative outputs and benefit from their musical contributions.

14/06/2025

In the absence of a contract or formal agreement, the determination of who gets paid royalties when a client pays for a music video recording and it gets broadcast on TV can be complex, but generally follows these principles:

1. Copyright Ownership: The creator of the music video (the production house or videographer) typically holds copyright to the video, unless otherwise specified. This gives them certain rights over how the video is used.

2. Music Rights: If the video features a song, the rights to that song must also be considered. Songwriters and composers generally own the rights to their music, and organizations like ASCAP or BMI manage their royalties.

3. Performance Royalties: The performers in the video (artists, actors, musicians) may be entitled to performance royalties due to their participation in a broadcasted performance. These royalties are typically collected by PROs under various licensing agreements.

4. Broadcasting Fees: The broadcaster is usually required to pay licensing fees to use copyrighted content. If the music video is professionally produced, these fees would likely go to the copyright holders (including music publishers and record labels if applicable).

5. No Formal Agreements: Without contracts, disputes might arise over rights and royalties. Generally, the parties involved would need to negotiate any compensation or profit-sharing informally, based on the industry norms or potential moral rights (such as attribution).

6. Legal Considerations: In cases where no formal agreements exist, any party can potentially claim rights, but legal ownership and rights might then be adjudicated if disputes arise. It’s important that all parties understand that the lack of a clear contract can complicate rights to revenue and royalties.

To ensure fair distribution of royalties and rights to content, it is always advisable to have clear contracts in place before creating or distributing content.