Creative License: The Law and Culture of Digital Sampling

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9780822348757: Creative License: The Law and Culture of Digital Sampling
Review:

"Communication is much like a work of art--it is a process of copying, repeating, and varying what we hear. There is no originator or owner of that which shapes our very being, and Creative License demonstrates how placing restrictions on creative commentary can stifle our cultural development." Vicki Bennett, aka People Like Us "The fact that a seemingly simplistic artistic notion--of collecting, meshing, and arranging previously recorded sounds--would eventually result in a sharp and comprehensive book, Creative License, and companion film, Copyright Criminals, is mind boggling. This study is a work of art in itself, so solid that it may leave no other choice but to be sampled as well." Chuck D, co-founder of Public Enemy "Kembrew McLeod and Peter DiCola have written a masterful exploration of the complex creative, financial, and legal issues raised by digital sampling. Their book should be required reading for anyone with a serious interest in music copyright." Jessica Litman, author of Digital Copyright "A methodical yet accessible exploration that addresses concerns from several perspectives and invites spirited discussion. Essential for students of intellectual property law, aspiring recording artists or producers, and hip-hop history buffs." - Library Journal "With the high-cost, litigation-aware environment that has emerged around the art of sampling, many artists simply won't sample any more. As the authors of this excellent book acknowledge...This is not simply a book for people with an interest in hip hop production. It is a must for anyone who is interested in copyright stories so absurd that they reveal the contradictions and tensions at play when unclear and convoluted laws put creativity and commerce on a collision course." Martin James, Times Educational Supplement

From the Publisher:

How did the Depression-era folk-song collector Alan Lomax end up with a song-writing credit on Jay-Z's song "Takeover"? Why doesn't Clyde Stubblefield, the primary drummer on James Brown recordings from the late 1960s, including "Funky Drummer" and "Cold Sweat," get paid for other musicians' frequent use of the beats he performed on those songs? The music industry's approach to digital samplingoincorporating snippets of existing recordings into new onesoholds the answers. Exploring the complexities and contradictions in how samples are licensed, Kembrew McLeod and Peter DiCola interviewed more than 100 musicians, managers, lawyers, industry professionals, journalists, and scholars. Based on those interviews, Creative License puts digital sampling into historical, cultural, and legal context. It describes hip-hop during its sample-heavy golden age in the 1980s and early 1990s; the lawsuits that shaped U.S. copyright law on sampling; and the labyrinthine licensing process that musicians must now navigate. The authors argue that the current system for licensing samples is inefficient and limits creativity. For instance, by estimating the present-day licensing fees for the Beastie Boys' Paul's Boutique (1989) and Public Enemy's Fear of a Black Planet (1990), two albums from hip-hop's golden age, the authors show that neither album would be commercially viable today. Observing that the same dynamics that create problems for re-mixers reverberate throughout all culture industries, the authors conclude by examining ideas for reform.

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Descripción Duke University Press, United States, 2011. Paperback. Estado de conservación: New. 213 x 155 mm. Language: English . Brand New Book. How did the Depression-era folk-song collector Alan Lomax end up with a songwriting credit on Jay-Z s song Takeover ? Why doesn t Clyde Stubblefield, the primary drummer on James Brown recordings from the late 1960s such as Funky Drummer and Cold Sweat, get paid for other musicians frequent use of the beats he performed on those songs? The music industry s approach to digital sampling-the act of incorporating snippets of existing recordings into new ones-holds the answers. Exploring the complexities and contradictions in how samples are licensed, Kembrew McLeod and Peter DiCola interviewed more than 100 musicians, managers, lawyers, industry professionals, journalists, and scholars. Based on those interviews, Creative License puts digital sampling into historical, cultural, and legal context. It describes hip-hop during its sample-heavy golden age in the 1980s and early 1990s, the lawsuits that shaped U.S. copyright law on sampling, and the labyrinthine licensing process that musicians must now navigate. The authors argue that the current system for licensing samples is inefficient and limits creativity. For instance, by estimating the present-day licensing fees for the Beastie Boys Paul s Boutique (1989) and Public Enemy s Fear of a Black Planet (1990), two albums from hip-hop s golden age, the authors show that neither album could be released commercially today. Observing that the same dynamics that create problems for remixers now reverberate throughout all culture industries, the authors conclude by examining ideas for reform. Interviewees include David Byrne, Cee Lo Green, George Clinton, De La Soul, DJ Premier, DJ Qbert, Eclectic Method, El-P, Girl Talk, Matmos, Mix Master Mike, Negativland, Public Enemy, RZA, Clyde Stubblefield, T.S. Monk. Nº de ref. de la librería LIB9780822348757

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Descripción Duke University Press, United States, 2011. Paperback. Estado de conservación: New. 213 x 155 mm. Language: English . Brand New Book. How did the Depression-era folk-song collector Alan Lomax end up with a songwriting credit on Jay-Z s song Takeover ? Why doesn t Clyde Stubblefield, the primary drummer on James Brown recordings from the late 1960s such as Funky Drummer and Cold Sweat, get paid for other musicians frequent use of the beats he performed on those songs? The music industry s approach to digital sampling-the act of incorporating snippets of existing recordings into new ones-holds the answers. Exploring the complexities and contradictions in how samples are licensed, Kembrew McLeod and Peter DiCola interviewed more than 100 musicians, managers, lawyers, industry professionals, journalists, and scholars. Based on those interviews, Creative License puts digital sampling into historical, cultural, and legal context. It describes hip-hop during its sample-heavy golden age in the 1980s and early 1990s, the lawsuits that shaped U.S. copyright law on sampling, and the labyrinthine licensing process that musicians must now navigate. The authors argue that the current system for licensing samples is inefficient and limits creativity. For instance, by estimating the present-day licensing fees for the Beastie Boys Paul s Boutique (1989) and Public Enemy s Fear of a Black Planet (1990), two albums from hip-hop s golden age, the authors show that neither album could be released commercially today. Observing that the same dynamics that create problems for remixers now reverberate throughout all culture industries, the authors conclude by examining ideas for reform. Interviewees include David Byrne, Cee Lo Green, George Clinton, De La Soul, DJ Premier, DJ Qbert, Eclectic Method, El-P, Girl Talk, Matmos, Mix Master Mike, Negativland, Public Enemy, RZA, Clyde Stubblefield, T.S. Monk. Nº de ref. de la librería LIB9780822348757

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Descripción Duke University Press. Paperback. Estado de conservación: new. BRAND NEW, Creative License: The Law and Culture of Digital Sampling, Kembrew McLeod, Peter DiCola, How did the Depression-era folk-song collector Alan Lomax end up with a song-writing credit on Jay-Z's song "Takeover"? Why doesn't Clyde Stubblefield, the primary drummer on James Brown recordings from the late 1960s, including "Funky Drummer" and "Cold Sweat," get paid for other musicians' frequent use of the beats he performed on those songs? The music industry's approach to digital samplingoincorporating snippets of existing recordings into new onesoholds the answers. Exploring the complexities and contradictions in how samples are licensed, Kembrew McLeod and Peter DiCola interviewed more than 100 musicians, managers, lawyers, industry professionals, journalists, and scholars. Based on those interviews, Creative License puts digital sampling into historical, cultural, and legal context. It describes hip-hop during its sample-heavy golden age in the 1980s and early 1990s; the lawsuits that shaped U.S. copyright law on sampling; and the labyrinthine licensing process that musicians must now navigate. The authors argue that the current system for licensing samples is inefficient and limits creativity. For instance, by estimating the present-day licensing fees for the Beastie Boys' Paul's Boutique (1989) and Public Enemy's Fear of a Black Planet (1990), two albums from hip-hop's golden age, the authors show that neither album would be commercially viable today. Observing that the same dynamics that create problems for re-mixers reverberate throughout all culture industries, the authors conclude by examining ideas for reform. Nº de ref. de la librería B9780822348757

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