Free PDF Creative License The Law and Culture of Digital Sampling

[Free.fMIg] Creative License The Law and Culture of Digital Sampling

[Free.fMIg] Creative License The Law and Culture of Digital Sampling

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How did the Depression-era folk-song collector Alan Lomax end up with a songwriting credit on Jay-Zs song Takeover Why doesnt 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 industrys approach to digital samplingthe act of incorporating snippets of existing recordings into new onesholds 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 Pauls Boutique (1989) and Public Enemys Fear of a Black Planet (1990), two albums from hip-hops 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. Three Contracts Every Music Producer Should Know And finally this agreement is for a series of masters to be fully produced for an indie label It provides for a royalty for the sale or license of the Recordings Digital Music Sampling: Creativity Or Criminality? : NPR IRA FLATOW host: Way back when there used to be a distinct line between producers of culture and consumers Somebody at a network or a production company Frequently Asked Questions About Copyright 10 GLOSSARY OF TERMS Author under the US Copyright Law is either the person who actually creates a copyrightable work or if the copyrightable work is Creative Commons license - Wikipedia A Creative Commons (CC) license is one of several public copyright licenses that enable the free distribution of an otherwise copyrighted work A CC license is used Summaries of Fair Use Cases - Copyright Overview by Rich The best way to understand the flexible principle of fair use is to review actual cases decided by the courts Below are summaries of a variety of fair use cases Open Textbook Library - University of Minnesota Make a difference in your students' lives with free openly-licensed textbooks Textbooks every student can access and afford Open textbooks are textbooks that have Now You Know Everything About Music Publishing The following guest post comes from Budi Voogt an artist manager label owner and Soundcloud enthusiast expert He writes about music marketing and the industry on Course Descriptions Reynolds Community College AMERICAN SIGN LANGUAGE [back to top] ASL 100 Orientation to Acquisition of ASL as an Adult 2 cr Presents a brief introduction to the US Deaf Community focusing on Remix culture - Wikipedia Lawrence Lessig described the Remix culture in his 2008 book Remix in comparison to the default media culture of the 20th century under usage of computer technology Counterfeit Chic At the start of the downturn Counterfeit Chic predicted two contradictory effects on the market for streetcorner copies: Some increased sales potential as consumers
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