Long before you explode, last scandal of SGAE, radio stations already were with rights editorials from authors in exchange for broadcasting ir songs.
The copyright of Macarena, Spanish song more commercially successful of Story, not only of The River. Also, and refore cobra, a publishing house that belonged until recently to Group Haste, owner of Top 40.
The reason: if you had to do Macarena a success, it was imperative that sound, and much, in The 40. It is called Wheel of radios, has been for decades a part of business record and uncovers reality that facts similar to those being investigated in National court from three months ago (not on radio, but on tv) are quite common in this sector: transfer of rights as payment for sound in media.
The investigation into fraud of Wheel has been incorporated into public debate issue of copyright in television programs of early morning. While judicial process moves forward, a look back shows that Wheel was already invented.
As now, authors who want to participate in Wheel to give 50% of ir rights to publishers created by own tv -with goal that y can get a return of what you have to pay to SGAE - for years, who wanted to sound on commercial radios of Spain (40 principales, Cadena Dial) had to pass by box.
And not songs any: 20 April (Celtic), who cares (Alaska and Dinarama), Girl (Social Security), a Hundred gulls (Duncan Dhu), I'm going to have a good time (Male G)... Exitazos music in Spanish that in his time were published via New Editions SA (Our) / Nova ediciones musicales, network editorial belonging to Prisa Group.
The authors have signed contracts for exploitation of ir works for life, so that economic return generated by that music for years continued reversing in radio companies that popularized. Take case of Macarena: 14 weeks at number 1 on american chart and close to 4,500 versions.
in Addition to thicken account of The River, Our pocketed amounts non-negligible for her. last year, Prisa Radio sold catalogues of publishers of Nova and Lirics & Music BMG, owned by Bertelsmann, who since n manages rights of exploitation of aforementioned songs.
"I gave him publishing of my first songs to Group in a Hurry to change sound in now swill out of The 40 main". Teo Cardalda, founder of Low Blows and Accomplices, sums up mechanism of Wheel radio. "I have on loan to Grupo Prisa, publishers of my songs. I, Nacho Mañó of persons Involved, The Secrets... All cedíamos part of our editorial to sound in top 40. And per secula seculorum. I have never said anything nor have I ever protested anything. Why now you take hands to head to negotiate a contract publisher with a television if it is only thing that is left to us?".
"it Was toll I had to pay to sound in radios," says a former executive of one of multinational record companies of era, who also points out that percentage of rights that are used to assign to radios was 50%, although it varied from one case to anor. "It was a usual practice" to which musicians agreed to "required, encouraged or coerced". The procedure was similar to that of "collector of frac" or to what in America is known as payola, illegal practice that has emerged in USA in early TWENTIETH century by broadcasters admitted bribes in exchange to radiate more specific topics. A figure of radio of that era uses anor simile more resonant: "it Was a tax revolutionary".
Speaks musician Alex Nut, who had hits with Zombies, Tequila and in a duet with Christina Rosenvinge: "Stay with rights is something I have always done radios in a Hurry, for example 40. I don't see what's wrong with it. No law prohibits it. They have showcase for this music to sound, n why don't you go to harness that power to decrease a little money y pay in rights, which are enormous amounts? In addition, that in early morning sounds music of poor quality is completely false. What is poor quality [saxophonist] Jorge Pardo? I've never had music re, but I also have stopped getting my payouts because it exists. If y know how to ride business well, good for m."