By Tuulikki Pietilä
This publication reports the long term advancements within the South African recording and provides to the present literature an realizing of the superiority of casual negotiations over rights, rewards and gear within the recording undefined. It argues that patronage beneficial properties usually infiltrate the contractual relationships within the undefined.
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Hardcover: 341 pages (332 - this pdf dossier [blank pages omitted])
Publisher: Springer; 1st version (February 22, 2012)
Printed publication Dimensions: 6. 1 x zero. eight x nine. 2 inches
Additionally: a bookmarked vector pdf.
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Extra resources for Contracts, Patronage and Mediation: The Articulation of Global and Local in the South African Recording Industry
Gallo’s triumphant history continued with the acquiring of its major competitors. Teal Records was initially established in 1956 for distributing the American RCA-Victor records and later also A&M Records. 3 In 1976 Teal was merged with Gallo. Later an entity entitled Teal-Trutone was formed as a joint venture by Gallo and Polygram (Allingham, interview by the author 2013). Most of the other important local companies that emerged were gradually incorporated into Gallo. 4 RPM Record Company had opened its own studios in the 1970s, and was a very prominent actor in the market.
This is because the royalties often only start to be paid after the record company has recouped or deducted the production-related costs from the revenues; this is called the break-even point. The label representatives often say that recouping production costs has not been the practice in South Africa, because of the relative poverty of artists and their relatively low royalties (due to the low wholesale prices on which the royalties are calculated). 60 I will return to this issue in Chapter 7.
The label licensed some of the artist’s tracks and The South African Recording Industry 33 re-mastered them for the US market. 47 The slow and cumbersome ‘internal’ procedure means that South African albums produced by the major companies seldom get licensed to third parties. 48 With their more flexible structure and focus on local music, independent labels are often better positioned to get local music to international markets than the major labels are. Thus, the critical arguments concerning multinational labels and their emphasis on international music are right in the sense that those companies seldom offer channels for domestic music to the international markets.