Creative License PDF ePub eBook

Books Info:

Creative License free pdf 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.

About Kembrew McLeod

Kembrew McLeod is Associate Professor of Communication Studies at the University of Iowa. He is the author of Freedom of Expression(R): Resistance and Repression in the Age of Intellectual Property and Owning Culture: Authorship, Ownership, and Intellectual Property Law, and co-creator of the documentary film Copyright Criminals. Peter DiCola is Assistant Professor at Northwestern University School of Law. He is a board member and former Research Director of the Future of Music Coalition.

Details Book

Author : Kembrew McLeod
Publisher : Duke University Press
Data Published : 25 May 2011
ISBN : 0822348756
EAN : 9780822348757
Format Book : PDF, Epub, DOCx, TXT
Number of Pages : 325 pages
Age + : 15 years
Language : English
Rating :

Reviews Creative License

17 Comments Add a comment

Related eBooks Download

  • Party Music free pdfParty Music

    Examining the culture and politics of the Black Power era of the late 1960s. this book explores the relationship of soul music to the Black Power movement from the vantage point of the musicians and black revolutionaries themselves..

  • Fado Portugues free pdfFado Portugues

    26 songs in melody line arrangements for voice and guitar. with chord boxes and full lyrics in English and Portuguese. Fully illustrated throughout with background notes for each song. Includes a CD containing classic recordings of every song in the book performed by the original artist..

  • Song Title Series - The Rat Pack free pdfSong Title Series - The Rat Pack

    In this book "The Rat Pack" Frank Sinatra. Dean Martin and Sammy Davis Jnr. have all contributed song titles from the albums that they made together. Legally I can not use Lyrics or Music because of Copyright but I can use song titles so a total of 1337 song titles (Italicized) have been used to make the following story possible..

  • Sampling Media free pdfSampling Media

    This book puts sampling studies on the academic map by focusing on sampling as a logic of exchange between audio-visual media. While some recent scholarship has addressed sampling primarily in relation to copyright..

  • Meet the Musicians free pdfMeet the Musicians

    With exclusive interviews with musicians of the New York Philharmonic. helpful hints. and a kid-friendly approach. this book is an all-access guide to the world of classical music..

  • Creative License free pdfCreative License

    . 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