Crime & Courts

MACC begins probe into RM30mil in unpaid royalties to artistes

PUTRAJAYA: The Malaysian Anti-Corruption Commission (MACC) has initiated a probe into alleged unpaid royalties to recording artistes.

Sources close to the investigation said a simultaneous operation was conducted in four offices involved in the collection of royalties, namely Public Performance Malaysia (PPM), Recording Performers Malaysia (RPM), Music Authors' Copyright Protection (MACP) and Performers' Rights and Interest Society of Malaysia (Prism).

"The graft busters initiated a probe with regard to the information (shared) by Malaysian Artistes' Association (Karyawan) president Datuk Freddie Fernandez in a dispute over unpaid royalties for recording artistes.

"For now, investigators have taken all the necessary documents to assist in their probe.

"Several individuals will be called in soon to assist in investigation into the matter," the source said.

Meanwhile, MACC deputy chief commissioner (operations) Datuk Seri Ahmad Khusairi Yahaya, when contacted, confirmed they have started a probe on the matter.

He said it is still too early for the MACC to comment on their investigation.

"To be fair to everyone, we urge all quarters not to sensationalise this issue.

"Give us enough time to conduct a transparent, fair and professional investigation," he added.

The case is being probed under Section 18 of the MACC Act 2009.

Fernandez had recently said that Karyawan would seek MACC's intervention in a dispute over some RM30 million in unpaid royalties for recording artistes.

He had expressed dismay over the possibility that several "hidden hands" might have manipulated the collection of royalties for their own gain.

He had also urged the MACC to investigate whether there are elements of corruption in the running of the four bodies.

Fernandez had disagreed with the Domestic Trade and Consumer Affairs Ministry's recent move to end Music Rights Malaysia Bhd's (MRM) role as the sole collector of music royalties.

He had said that the system, in which MRM represented the three different rights in a piece of music (musical works, sound recordings and recording performers), was working well and should be maintained.

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