Charles Prince Midamba✊🏾

Mr. @OCTOPIZZO, please get your Facts right. First on CMOs we have fixed the issue and we dis not need to change the law, just implement it. Collections are now being done via Ecitizen. The CMOs get 30% and the musician 70%. Secondly, MCSK is no longer alive licenced CMO. There is a new Copyright laws and it is about to come for Public participation. There is much that has been done and much awaits, but President @WilliamsRuto is leading the way in protecting artists. The issue at hand happened in 2019 and the President in this meeting took charge to ensure the 30 artists access justice. I am willing to engage you on FACTS, kuja ofisi and raise the issues, I show you the progress and we agree on what remains and we do it. @eddiebutita is doing the little he can, he is aligned to FACTS and SOLUTIONS. Join him and let is contribute to solving.

Acha kutupima @eddiebutita This matter cannot be reduced to personalities or proximity to power it is, at its core, a question of policy, law, and institutional reform. For over a decade, kwanza kwanzia 2010 stakeholders in the music industry (artists, producers ) have consistently raised concerns around copyright protection, enforcement, and fair remuneration. These are not new issues, nimepiga hadi msee wa MCSK na Kiti huko bomas ju ya pesa yetu and and nothing has been resolved nor will be resolved through commentary alone, nor by deflecting responsibility outward. They require deliberate legislative review, strengthened regulatory frameworks, and the political will to implement and enforce meaningful change. Na ulisema earlier this is not political. WELL IT IS! It is also important to recognize that intellectual property is a technical field. Effective engagement demands not only passion for the arts, but a clear understanding of the legal, commercial, and creative ecosystems that govern it. Advocacy must therefore be grounded in expertise, not merely access or association. & you are not an expert nor are you an artist. Where rights have been contractually assigned particularly in international markets those transactions carry legal consequences that cannot simply be reversed through public pressure. The focus, instead, should be on ensuring that artists are properly advised, protected, and empowered at the point of negotiation, so that such outcomes are not repeated. Domestically, there must be urgent attention given to the governance and accountability of collective management organizations such as Music Copyright Society of Kenya and Kenya Association of Music Producers etc . These bodies exist to safeguard creators’ rights, yet persistent concerns about their transparency, distribution, and oversight continue to undermine trust within the industry for year! Sijawai kuona ukiongea junya MCSK. Reform here is not optional, it is essential. Equally, the industry must confront its own internal standards. The increasing reliance on derivative or unoriginal production practices raises legitimate challenges in copyright identification, monitoring, and enforcement. Ma artists na producers wana downloads riddims online na wanataka ku monitor, Intellectual property systems are designed to protect originality; when that foundation is diluted, enforcement becomes inherently more complex. If there is genuine commitment to progress anzeni na MCSK. Am uchoree hizi sideshow na sanitizer syndrome.

The CAF Appeal Board decided that in application of Article 84 of the Regulations of the CAF Africa Cup of Nations (AFCON), the Senegal National Team is declared to have forfeited the Final Match of the TotalEnergies CAF Africa Cup of Nations (AFCON) Morocco 2025 (“the Match”), with the result of the Match being recorded as 3–0 in favour of the Fédération Royale Marocaine de Football (FRMF). cafonline.com/news/caf-appea…