Download e-book for kindle: Contracts, Patronage and Mediation: The Articulation of by Tuulikki Pietilä

By Tuulikki Pietilä

ISBN-10: 1137562323

ISBN-13: 9781137562326

ISBN-10: 1349557153

ISBN-13: 9781349557158

This ebook reviews the long term advancements within the South African recording and provides to the prevailing literature an knowing of the superiority of casual negotiations over rights, rewards and gear within the recording undefined. It argues that patronage beneficial properties frequently infiltrate the contractual relationships within the undefined.

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Extra resources for Contracts, Patronage and Mediation: The Articulation of Global and Local in the South African Recording Industry

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30 Contracts, Patronage and Mediation Indeed, a common prediction among the record label representatives and producers interviewed by Andersson (1981) in the beginning of the 1980s was that the South African music market would only become more internationally oriented. For instance, the producer Grahame Beggs maintained that ‘It appears to me that black tastes are becoming more white and more European-oriented records are being bought. The actual tribal stuff is falling away. The township music is a force of its own, but when township music comes across, leans a little more towards white music, then we might have something not just dynamic but exportable’ (Andersson 1981, p.

A distribution deal means that an independent artist or label gives their catalogue, or some products from it, for distribution by another label; the former retains the ownership of the catalogue and is responsible for the marketing of their products. These deals appear appealing because the label or the artist that owns the catalogue receives a larger share of the revenues than is the case with licensing deals; for instance, a distribution deal might offer an 80% share. Distribution and licensing deals were increasingly done until the mid- and late-2000s, after which striking a distribution deal in particular has become more difficult, as will be discussed in the next chapter.

7 Of the multinational record companies, EMI was the most enduring competitor for Gallo. EMI itself was formed in the United Kingdom in 1931 when the Gramophone Company and Columbia Graphophone 22 Contracts, Patronage and Mediation Company merged. 8 EMI South Africa was formed in 1951 and it was initially owned 50/50 by the parent company in the UK and the local company Polliacks. Until that time the parent company had occasionally sent a field unit to make recordings in South Africa, but, in 1951 EMI opened its own studio.

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Contracts, Patronage and Mediation: The Articulation of Global and Local in the South African Recording Industry by Tuulikki Pietilä

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