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New YouTube Super Stream channel offers more Pinoy content

VIDEO-SHARING website YouTube has partnered with Filipino media companies to launch Super Stream, a month-long effort to allow Filipinos access to select content including movies, series, and sports events.

The Philippines Super Stream YouTube channel contains more than 300 hours of content from ABS-CBN, GMA, TBA Studios, One Sports, One Championship, and DAZN.

A similar effort was launched in Malaysia in the middle of August. The Philippine Super Stream will be viewable until Sept. 26.

“Every day, Filipinos go to YouTube to learn, share their passions, or be entertained. As people limit going out to remain well, we want to make staying safe at home better by introducing Super Stream so everyone can access movies, TV shows and more — for free until Sept. 26,” said Gabby Roxas, Marketing Head of Google Philippines.

The content will be shown on rotation basis and until Sept. 5, the content on the channel includes 25-minute supercuts of One More Chance (2007) by Cathy Garcia-Molina and The Unmarried Wife (2016) by Maryo J. Delos Reyes. Full movies available on the channel include Ang Pagdadalaga ni Maximo Oliveros (2005) by Aureus Solito, Mulawin The Movie (2005) by Dominic Zapata and Mark A. Reyes, Heneral Luna (2015) by Jerrold Tarog, Neomanila (2017) by Mikhail Red, among many others. Full episodes of TV shows can also be viewed on the channel: Encantadia, Anak ni Waray vs Anak ni Biday, Dolce Amore, and Pangako Sa’Yo to name a few.

YouTube Super Stream can be found at https://www.youtube.com/channel/UCYyV0aBDYs1eNdZdIht3JLA/featured. — ZBC

Aboitiz halts renewable power plant in Bukidnon

A RENEWABLES facility of Aboitiz Power Corp. in Mindanao has to temporarily stop after persistent rains in the past months afflicted its operations.

Hedcor Bukidnon, Inc., one of its renewable energy subsidiaries, decommissioned its 30.9-megawatt (MW) Manolo Fortich Hydro Power Plant 1 unit which is slated for damage repairs, the power company told the stock exchange on Thursday.

Continuous rains since June caused soil saturation, erosion, and mudslides which led to pipe dislocations, pipe bursts, and damage to the high head penstock line in the Bukidnon power plant.

Hedcor Bukidnon continues to operate while it is performing a full assessment of the damages incurred by its generator, as well as its financial impact.

Assuming rainfall would let up by the end of October, Aboitiz Power said the full restoration of the power facility will take “approximately eight months,” or by May next year.

The power plant’s insurance brokers, adjusters, and lenders have been informed about the situation, and “the parties are currently undergoing the process of filing the insurance claims,” it said. “Coordination with other key stakeholders is also ongoing,” it added.

Hedcor Bukidnon, held under Aboitiz Renewables, Inc., the power firm’s clean power unit, runs two hydropower generators, which deliver a combined 68.8 MW of power. The Manolo Fortich Hydro Power Plants 1 and 2 form 5% of Aboitiz Power’s sellable capacity share in the energy market.

Aboitiz Power has a market share of 1,540 MW power, touted as the largest renewable capacity owned by a single entity in the Philippines.

On Thursday, shares in Aboitiz Power rose by 2.5% to close at P26.60 each.  Adam J. Ang

Netflix and Amazon Elbow way into talks on streaming Hollywood hits

STREAMING services have already bid up the price of TV reruns, stand-up comedy performances and contracts with top producers. Now they’re coming for blockbuster movies from the studios behind Fast & Furious and Spider-Man.

Universal Pictures and Sony Pictures have begun negotiating with streaming services and cable networks to license their next round of theatrical movies for home video, starting with films set to be released in 2022. ViacomCBS Inc.’s Paramount Pictures also has movies to sell, though it may wait for one of the other studios to move first.

The deals could generate as much as $250 million per studio annually — and, in some cases, more — according to people familiar with the matter. Amazon.com, Inc., Netflix, Inc. and Hulu have all expressed interest in the rights, as have HBO and Starz, said the people, who asked not to be identified because the talks are in preliminary stages.

As many as a half-dozen services are bidding for the rights, which would let streaming companies show the movies about nine months after the films have appeared in theaters. The winning platforms may have the exclusive rights for 18 months and then regain them for a second window of time, several years later. But the companies are discussing many options, especially since the biggest media giants now have their own streaming services to feed.

Another wrinkle to these negotiations: Some streaming services have inquired whether studios would be interested in producing original movies just for them, one of the people said.

It’s a fresh sign of how streaming is changing the way Hollywood operates, with online services snapping up more of the industry’s top-quality product — rather than settling for reruns and B-movies.

“The way buyers and sellers are going to be thinking about it has completely changed.”

Currently, AT&T Inc.’s HBO has the exclusive rights to new movies from Universal, a collection that includes the latest installments in the Jurassic World and Fast & Furious franchises. Starz, which is owned by Lions Gate Entertainment Corp., holds the exclusive rights to movies from Sony, including the latest Jumanji and Spider Man sequels.

Both HBO and Starz are trying to renew their current deals, which are set to expire at the end of next year. But they’re facing competition from deep-pocketed streaming services — Netflix, Amazon, and Hulu — and find themselves negotiating with studios owned by companies that also have streaming services.

While the importance of original programming continues to grow for streaming services and pay-TV networks, big-budget movies fresh off of theatrical releases remain a major draw in home entertainment. How the current round of negotiations plays out could signal a fundamental shift in who gets the newest movies for home viewing.

“It’s potentially undergoing major change right now,” said Tim Nollen, an analyst with Macquarie Bank.

Streaming services are scrambling to lock down more bingeable content, especially as coronavirus-spurred production problems delay the arrival of new movies and shows. Fox Corp.’s Tubi, an ad-supported, free platform, said Tuesday that it has acquired all four Hunger Games films for streaming.

Netflix was the first streaming service to land movies from a major studio when it got the rights to Disney titles released from 2016 to 2018, including Moana, Avengers: Infinity War and Incredibles 2. Disney eventually declined to renew the deal, preferring instead to stock its own newly created streaming service. Disney movies now appear on Disney+.

Netflix still has the rights to movies from Illumination, the Universal-affiliated animation studio behind Despicable Me, as well as animated productions from Sony. Both Universal and Sony will have to decide whether to continue to license their animated movies separately, or to bundle everything together.

Either way, the influx of new bidders is likely to produce a huge windfall for Sony Corp., Comcast Corp. and other owners of movie studios.

But a company like Comcast will have to decide whether the deals fit with its strategy. It owns Universal and recently launched its own streaming service, Peacock. Does it keep its popular titles for itself — or sell them to rival services? Universal is also planning to rent out its new movies on a pay-per-view basis just weeks after they leave theaters, which could affect the downstream value of those films.

It’s suddenly a very different calculation, Mr. Nollen said. “The way buyers and sellers are going to be thinking about it has completely changed.” — Bloomberg

K-Pop superstars BTS’s agency seeks up to $812 Million in IPO

BIG Hit Entertainment Co., the manager of K-pop boy band BTS, is looking to raise as much as 962.6 billion won ($812 million) in a South Korean initial public offering that is set to be the country’s largest in three years.

Big Hit set the price range for sale of 7.13 million new shares at 105,000 won to 135,000 won each, according to a statement filed on Wednesday. At the top of the range it would have a market capitalization of 4.6 trillion won ($3.9 billion), based on the number of common shares.

Big Hit and BTS have helped popularize K-pop, adding to the rising global visibility of Korean entertainment including TV dramas popular across Asia and films like Parasite, the winner of this year’s Academy Award for best picture. BTS’sDynamite” topped the Billboard’s Hot 100, the first Asian act to be No. 1 on the US Music chart since Kyu Sakamoto’s “Sukiyaki” held the No. 1 spot for 3 weeks in 1963.

The IPO will test investor appetite for K-pop, given that shares of listed rivals SM Entertainment Co., home to boy band EXO, had slumped some 43% this year through June lows given concert cancellations due to the coronavirus pandemic. The shares have since recovered and are now down 3% this year.

Big Hit said in 2017 it was considering a listing and has since built the seven-member ensemble into one of the world’s top live draws, grossing $170 million in 2019, ranking it fifth, just behind Elton John, according to concert trade publication Pollstar.

Big Hit’s will also help galvanize the IPO market in South Korea, which had been suffering from low listing volumes in recent years. Some $2.81 billion has been raised through first-time share sales this year, inching closer to the $3.38 billion that was fetched in all of 2019, data compiled by Bloomberg show.

Earlier this year SK Biopharmaceuticals Co. raised $784 million in what was then the largest Korean IPO in three years. Kakao Games, a unit of Kakao Corp., is set to list on Kosdaq next week, having raised 384 billion won in its offering. The deal drew about 59 trillion won bids from retail investors, according to Yonhap News.

Founder and Chief Executive Officer Bang Si-hyuk is the largest shareholder of Big Hit, owning 43.44% while Netmarble holds about 25%, according to Wednesday’s filing. NH Investment & Securities Co., Korea Investment & Securities Co., and JPMorgan Chase & Co. are leading the offering. — Bloomberg

NGCP yearly revenue ceiling hangs

THE Energy Regulatory Commission (ERC) suspended the provisional collection of revenues by the National Grid Corp. of the Philippines (NGCP) this year due to the changes in power supply and demand caused by the coronavirus disease 2019 (COVID-19) pandemic.

In an order on Thursday, the ERC said it paused the implementation of NGCP’s interim maximum annual revenue (MAR) of P47.05 billion for 2020, which was granted on Feb. 13.

It said it could not consider the supply and demand forecasts previously used as a basis for the determination of the ceiling revenue, and that it should be “reassessed and analyzed as such assumptions no longer hold true in the light of economic disruptions brought about by the COVID-19 pandemic.” 

The commission noted the “significant” drop in power demand between April and June this year, compared with the same months in 2018 and 2019.  For example, April registered the “steepest” decline in demand by 21% year-on-year.

Even if demand picked up two months later, the June level is still lower by 6% over a year ago.

“In this regard, the Commission deems it necessary to suspend the implementation of the approved (interim) MAR 2020, considering that the demand forecasts which were used as basis for its determination…are no longer valid and would therefore need to be re-assessed in the light of current and updated market and economic data,” the order read.

The ERC’s provisional revenue cap was higher by P3.3 billion, compared with last year’s P43.79-billion limit. Despite this, the commission noted a decrease in transmission charges by four centavos per kilowatt-hour (kWh) to P0.4701/kWh.

The revenue limit is seen to “further increase the burden of consumers” during this time of a pandemic, according to a House Resolution No. 953, which seeks an investigation into an alleged surge in power rates. The resolution was filed in June. It remains pending with the House good government and public accountability committee.

The maximum revenue cap is the amount that the system operator can collect from customers for transmission operations.

Presently, the share of transmission charges in customers’ electricity bills is only 4% or P0.04/kWh, according to NGCP. — Adam J. Ang

Prince Harry and Meghan sign broad Netflix production deal

BRITAIN’S Prince Harry and his wife, the former Meghan Markle, signed a wide-ranging production deal with Netflix Inc., becoming the latest global celebrities on the streaming giant’s roster.

The couple, also known as the Duke and Duchess of Sussex, will produce an array of works including scripted and documentary series, documentary films, scripted features and children’s programming, the company said in an e-mailed statement Wednesday.

Harry and Meghan plan to focus on programming about stories and issues “that resonate with them personally,” including things that their nonprofit Archewell is working on, Netflix said. Projects already in production include a nature docu-series and an animated series about inspiring women.

“Our focus will be on creating content that informs but also gives hope,” the couple said in the statement. “As new parents, making inspirational family programming is also important to us, as is powerful storytelling through a truthful and relatable lens.”

Netflix, the world’s largest video streaming service, has invested billions of dollars in splashy programming deals in recent years. Among them, the company has a pact with Barack and Michelle Obama for a similarly broad slate of shows and movies.

Harry and Meghan stepped away from their royal duties earlier this year and moved to the US, seeking to build independent incomes and escape what had been harsh scrutiny in the UK since their 2018 marriage. Meghan had a successful acting career, primarily as a star of the cable series Suits, but Netflix said she doesn’t plan to return to performing. — Bloomberg

Metro Global plans electric transport system for Baguio

METRO Global Holdings Corp. is eyeing to build a transport solution for Baguio City that will use electric vehicles.

In a disclosure to the exchange on Thursday, the listed company said it had signed a memorandum of understanding with the local government of Baguio City to do feasibility studies for the plan.

Part of the “intelligent public transport system” is finding solutions to ease traffic congestion in the city and minimizing its environmental impact.

The system would lay out one interface that connects a monorail, trolleybus, electric bus and similar transport modes powered by electricity. Metro Global will have 90 days to complete the feasibility study. 

The agreement was signed by Baguio City Mayor Benjamin B. Magalong and Metro Global Chairman Robert John L. Sobrepeña.

Last month, Metro Global had announced it was incorporating an infrastructure subsidiary to handle transportation and communication-related projects.

The special purpose vehicle company will be called Metro Renewable Transport Solutions, Inc., and will engage in projects such as buildings, roads, bridges, railways, ports, highways and other passages. 

Metro Global’s main businesses are its equity investments in the railway operators behind Metro Rail Transit. Since 2018, it has also started venturing into renewable energy through solar farms.

The company continued posting losses in the first semester, which amounted to P2.15 million, as its operations remain limited to being a holding company. Trading of its shares at the stock exchange has been suspended since February 2007. — Denise A. Valdez

The write stuff

Movie Review
Dahling Nick
Directed By Sari Dalena

Sari Dalena’s Dahling Nick, some 20 years in the making, is clearly a passion project. If it has any virtues, they stem mostly from what one senses is a filmmaker heedlessly in love with her subject matter (writer Nick Joaquin was both a friend to her father and constant visitor to her childhood home); if it has any flaws they flow from the same abundantly adoring source.

The film doesn’t waste much time, straightaway staging an encounter between a man and a beautiful naked woman walking a crab; the woman faints; the man looks back; the crab clambers up the woman’s breast, its claws poised on either side of a stiffened nipple. The odd, quietly comic, startlingly erotic sequence captures the flavors of Joaquin, whose prose conjures sepia portraits of grandmother and grandfather in stiff poses hiding shameful secrets, faded photographs of horse-drawn calesas (carriage) rolling past dark wood houses — and that lone figure cloaked in deep shadow looking out a capiz window. As was pointed out about Joaquin: he’s like a Spaniard writing in English, with the poise of a foppish gentleman who knows the value of a well-turned phrase.

Comparisons have been made with the better-known Gabriel Garcia Marquez, particularly the passages of “magic realism”; I’d like to point out that not only did Joaquin anticipate  much of what Marquez wrote but did so in English, and his prose — to these eyes anyway — reads far more fluidly than translations of Marquez do (even if translator Gregory Rabassa is so good the author reportedly preferred Rabassa’s version over the original Spanish).

Making those comments? Among others, F. Sionil Jose, Butch Dalisay, Jimmy Abad, Krip Yuson, Greg Brilliantes, Bienvenido Lumbera, Pete Lacaba and his wife Marra Lanot, Erwin Castillo, Recah Trinidad, painter Danilo Dalena (the filmmaker’s father).

Sari Dalena uses their voices to give presence and context to Joaquin, and arguably the MVP of the group is Jose, who seems closest to the writer (of the mourners he appears to be the most stricken) — but they could be reciting the PLDT phone directory and I’d still appreciate their presence. In my book, the prime value of this docudrama — after introducing and dissecting the life and works of its titular artist — is in gifting us with recorded testimonies of some of the best Filipino writers alive. They — how do I put it? — feel like an embattled, even endangered species, longform warriors in this age of brief scribblings on Twitter and Facebook. Seeing them speak and joke and hang mournful expressions on their faces as they remember their friend and colleague is almost — almost — as welcome as seeing them in the flesh.

The subject matter himself is represented by amusing audio recordings and (briefly) video footage at a podium; in the gorgeously shot dramatized sequences he’s played by Raymond Bagatsing, who captures not just his lean darkbrowed beauty as a young man but also his high flung hand gestures, his drawling delivery as literary elder (the older Joaquin reminds me of William Hickey’s Don Corrado Prizzi, only much wittier, and very much in the joke). I remember how Bagatsing electrified the screen with his anguished, preternaturally quiet lead performance in Serafin Geronimo: Kriminal ng Baryo Concepcion 22 years ago. This is the diametrical opposite — a bigger-than-life louder-than-life sketch of a titan of Philippine literature.

The film’s dramatic high point I’d say is the National Artist brouhaha in 1976. Marcos’ Martial Law was in full swing, and dissidents including Pete Lacaba languished in prison. Joaquin didn’t want anything to do with Marcos, but the dictator was persistent: he needed Joaquin’s literary prestige to gild his corrupt regime. Joaquin’s solution was elegant and flamboyant both as he stood at the podium, hands outstretched crucifixion style.

Are there flaws? Well — yes. As mentioned, Sari shows such obvious love for her subject you can imagine her hard pressed to trim her film, reduce the material on Joaquin. To be fair there’s plenty — I think The Woman Who Had Two Navels was short changed and there is no mention of the two other film adaptations of Joaquin’s short stories: Tikoy Aguiluz’s Tatarin, which, for all the quips about modern dance choreography, is a handsomely photographed and produced take on “The Summer Solstice”; and Johnny Tinoso and the Proud Beauty, based on the short story of the same title, which for all its budgetary limitations (the enchanted spirits dancing in the night are basically torches hung on wires) is an evocative retelling of Beauty and the Beast (Beast as a grave melancholy figure, Beauty a witty acid-tongued spoiled brat).

The three hour length doesn’t really bother me, but the sense of shapeless overindulgence does. The material needed more discipline to go down easier, I felt, a clearer structure or direction, perhaps a livelier pace — something that the newcomer or casual reader can hang on to while plunging deep into this expanded Joaquinverse. Between this overflow and the usually sparse documentary segments you see cobbled together for Filipino TV shows or magazines, however, I’d definitely prefer this: a labor of love that offers too much of the man and his writings to easily digest at one sitting. Joaquin — never known for his restraint — deserves at least this much. 

*In my opinion a canny marketing term for “fantasy” which (again in my opinion) is what distinguishes Marquez** from Joaquin: canny marketing.)

**I do like Marquez, for the record; I think his One Hundred Years of Solitude is one of the great books of the 1970s. But there is only one Nick Joaquin.

Gov’t sets P3.2-billion Balik Probinsya budget

THE GOVERNMENT has allocated P3.2 billion for the “Balik Probinsya” program in the proposed P4.5-trillion budget for 2021, with the aid program targeting 10,000 participants who will leave the cities and establish businesses in their home provinces.

“To promote regional socio-economic development, we infused P3.21 billion for our ‘Balik Probinsya, Bagong Pag-asa program.’ This could also help in the decongestion of Metro Manila,” Budget Assistant Secretary Rolando U. Toledo said in a briefing Thursday.

He said funding will help relocators with their moving costs and support their livelihoods.

“This is done by providing transportation, relocation assistance and transitory family support packages and livelihood settlement grants to 10,000 returning families and receiving community members,” Mr. Toledo said.

In a Viber message Thursday, he said P2.2 billion will going into the Department of Social Welfare and Development’s proposed budget.

He said P500 million was allocated to the National Housing Authority and P500 million to the Department of Agriculture.

The government rolled out the program to encourage families to move to the provinces in order to decongest Metro Manila and spur growth in the countryside.

Acting Socioeconomic Planning Secretary Karl Kendrick T. Chua said the program’s long-term goal is to rebalance regional development, adding that the government should make sure participating regions are “interconnected so the supply, flow of goods and services, people, investments and trade would be unhampered.”

Mr. Chua said basic services such as water, sanitation, housing, education and health facilities should also be present in provinces participants are returning to.

“Those will make this program more sustainable and help in the recovery of our economy. What we know from this crisis is congestion and agglomeration are not necessarily helpful when this pandemic is expected to not resolve itself as quickly as possible,” he said.

In May, the Trade department said it will offer livelihood kits worth P5,000-15,000 for participants who want to set up businesses after leaving the capital. — Beatrice M. Laforga

China Bank sets up $2-billion euro note program

CHINA BANKING Corp. (China Bank) is looking to raise $2 billion in fresh funds via euro bonds to support its operations, it said on Thursday.

The lender said in a disclosure to the Philippine Stock Exchange yesterday that its board of directors approved on Wednesday the establishment of a $2-billion euro medium-term note program.

China Bank said the program will let it tap demand abroad for local issuances.

“The proceeds of this program will be used to support the bank’s general funding requirements,” it said.

“The euro-medium term note program gives the bank the agility to tap the offshore markets quickly when presented with the right market conditions. This widens our range of funding options,” China Bank Senior Vice-President and financial markets segment head Magnolia Luisa N. Palanca said via Viber. Further details were not available on Thursday.

China Bank said in February that the central bank approved its planned issue of P15 billion in unsecured subordinated debt qualifying as Tier 2 capital under Basel III requirements.

The lender last year established a P75-billion bond program to raise funds for its operations. It raised P30 billion via its maiden issue of peso fixed-rate bonds in July 2019.

China Bank booked an attributable net income of P3 billion in the second quarter, higher than the P2.33 billion it posted in the same period a year ago. This was on the back of better net interest income, even as it increased its loan loss provisions in anticipation of the impact of the coronavirus pandemic on its asset quality.

This brought the bank’s first-half net earnings to P5.22 billion, up from P4.19 billion a year ago.

Shares in China Bank closed at P20.85 apiece on Thursday, up by 25 centavos or 1.21% from the previous day. — K.K.T. Jose

ERC targets audit of NGCP assets by October

THE Energy Regulatory Commission (ERC) is still looking for private auditors to check into the facilities run by privately led National Grid Corp. of the Philippines (NGCP).

In Monday’s Senate Energy Committee hearing, Senator Sherwin T. Gatchalian said the security concerns on the transmission firm’s assets might be raised to the President, so the audit can proceed months after the panel prodded the company to undergo it. NGCP was alleged to be refusing state audit.

But NGCP said it “has never resisted any audit,” and it is just awaiting the government regulator’s order to look into its books.

“All NGCP asks that it can be done in accordance with all applicable laws, rules, and regulations, as well as the provisions of its concession agreement and franchise,” it said in a statement sent to BusinessWorld.   

“The ERC has already issued an order regarding the audit of NGCP, and we are awaiting only the details in this regard,” it added.

The audit on NGCP’s transmission assets is expected to be conducted either by this month or by October, “depending on the bidding process to be conducted,” ERC Commissioner Floresindo B. Digal said in a Viber message.

In November last year, Sen. Risa N. Hontiveros-Baraquel filed Senate Resolution No. 223 which seeks to probe the transmission company’s facilities and the implication of its ownership to national security. NGCP is owned by a consortium led by Monte Oro Grid Resources Corp. of Henry Sy, Jr., Calaca High Power Corp. of Robert Coyiuto, Jr., and the State Grid Corporation of China (SGCC), which holds a 40% interest.

“In its ten years of being the system operator of the country’s transmission grid, some of its activities have raised government and public concerns, particularly lingering questions on the vulnerability of the national grid to cyber and other forms of security attacks,” the Department of Energy (DoE) said in a statement in February.

Legislators wanted the company to submit into an audit by the DoE and state-led National Transmission Corp. (TransCo). But NGCP said it will only agree on a review led by the ERC, which is the “only government audit prescribed by law.” It referred to a provision under Republic Act No. 9136, or the Electric Power Industry Reform Act (EPIRA).

A Senate hearing on the resolution was canceled in March due to the absence of NGCP President Anthony L. Almeda for health reasons. Sen. Gatchalian, who leads the Senate energy committee, said they are still looking for a time to continue the hearing.

“I suggested to the National Security Adviser to bring this up to the President because… it’s a transmission grid operating in our entire nation, and it’s imbued with public interest and national security,” Sen. Gatchalian said in the recent hearing.

“The President should already execute some form of instruction to conduct that inspection in the spirit of national security,” he added.

The NGCP was given a government franchise on December 1, 2008, to run state-owned transmission facilities. Sen. Gatchalian has warned that its franchise will get revoked if it will not undergo government audit. — Adam J. Ang

Managing ‘red circle pay’ workers during the pandemic

Sometime ago, you wrote about “red circle pay” employees who should be considered possible candidates for retrenchment due to the adverse effects of COVID-19. We’re not planning to retrench our employees, but we have discovered that we have around 20 non-management employees who are receiving salaries higher than the maximum limit of their respective grade levels. We realize that this has created salary distortions and eroded internal equity with our junior supervisors. My question is this: how do we correct the situation?  — September Morn.

When a US police academy sponsored a Best Speeding Alibi Contest, honorable mention went to an exasperated father who was stopped with a load of fighting, squealing children in his backseat. He told the traffic officer: “I was trying to get away from all the noise behind me.”

In your case, you can’t get away from the “noise” behind you as it will continue to hound you unless you correct it as soon as you can. It’s one of the reasons why compensation must remain confidential as a matter of policy for all organizations. However, this should not be considered a license for you to perpetuate the “red circle pay” in your salary structure.

The sooner that you can correct it, the better for your organization. But first of all, what’s the meaning of a “red circle” salary? Simply, it’s the pay of workers who have reached, if not exceeded the ceiling of the company’s salary structure.

What’s the cause of a “red circle” salary? Red-circling happens when a company gives across-the-board pay increases to employees in compliance with company policy or a Collective Bargaining Agreement (CBA). Many in management consider such policies counterproductive because they give equal pay increases to all employees regardless of their work performance.

But not exactly, according to one “senior official” of the National Trade Union Center (NTUC) — Philippines. He says: “It’s the direction of the trade unions. Increase and increase alike; everyone is similarly affected by inflation. One for all, all for one. Performance or productivity compensation will come on top of that.”

In other words, an across-the-board salary increase is given to all employees to account for inflation. Merit increases due to excellent performance should come in addition to this across-the-board increase.

NTUC considers itself a“a free, independent, democratic trade union center, with members in all industries and sectors, including those in the informal economy and migrant workers.” Many of their union members work in export processing zones.

CORRECTIVE MEASURES
So, how can management solve “red circle pay” to avoid salary distortions, ensure that internal equity is maintained, without violating the CBA? It’s easier than you think. As long as your company is attuned to the latest industry salary and benefits survey and employee morale, then you can perform the corrective measures as follows:

One, update your salary structure once every two years. This must include all pertinent data from the latest industry survey. If you’re in the banking sector, don’t even think of adjusting your pay structure to meet the level of the telecommunication industry. You must focus on the dynamic changes in your own industry, as most people are likely to seek work with competitors. It’s less likely for employees to move to other industries, unless their skills also apply to the other workplace.

Without a dynamic, formal salary structure, it would be difficult for you to understand the problem or implement any corrective measures.

Two, re-classify “red-circle pay” workers. You can promote non-management workers to the next job grade. Expand his responsibility by assigning him to meet the requirements of the new job. If the worker has reached the ceiling with no room for re-classification, try to offer a promotion as an entry-level supervisor.

In the event that the non-management worker refuses to accept the promotion to supervisor due to loss of overtime premium pay or simply to avoid managing people, then you can force the issue by promoting the person just the same but to a “staff” supervisory function and not a “line” function where one must manage a team.

Also, take comfort in the thought that transfer is a management prerogative.

Last, consider the work performance of all “red circle pay” workers. It will help level the playing field for workers, especially the new entrants in the next higher job grade level. Ramon Segismundo, former Senior Vice-President for Human Resources of Meralco, prescribes a solution:

“For a superior performer, I think we can live with the salary aberration. For an average performer, we can start to slow down or even freeze the amount of future increases. For a below-average performer, we have to talk to the red circle case and identify options. Nevertheless, in a pandemic, red circle situations raises the proverbial red flags.”

ROLE OF HUMAN RESOURCES
Organizations must establish and maintain all basic policies and procedures to ensure a robust and fair compensation system to all workers similarly situated. This includes a dynamic salary structure, job evaluation program, and a performance management system, among others. This can only be done with the active and primary role of the HR department that must be attuned to industry management best practices, including all social and labor legislations.

In addition, the HR department must conduct an annual employee morale survey to help understand the gaps in corporate management and at the same time to avoid employee issues arising out of inequity in the payment of salaries. Without becoming aggressive or defensive, HR must immediately correct negative employee perceptions about compensation and benefits. In many cases, this can be done by the HR manager and his support staff without feeling uncomfortable, going overboard, or even from deviating from accepted two-way communication styles.

 

Send anonymous questions to elbonomics@gmail.com or via https://reyelbo.consulting