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Albert Speer
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Puerile Polemic
Mar 1999
time: 00:23
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http://www.cbsnews.com/stories/2004...ain641872.shtml
quote:
A federal appeals court ruled Tuesday that rap artists should pay for every musical sample included in their work — even minor, unrecognizable snippets of music. |
quote:
The case centers on the NWA song "100 Miles and Runnin," which samples a three-note guitar riff from "Get Off Your Ass and Jam" by '70s funk-master George Clinton and Funkadelic.
In the two-second sample, the guitar pitch has been lowered, and the copied piece was "looped" and extended to 16 beats. The sample appears five times in the new song. |
copyright laws going to far?
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Whaleboy
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Please make all cheques payable to Whaleboy
Jan 2003
time: 05:23
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Now, ideally I am against this. Little, simple riffs, are kinda like phrases in language. I don't think its reasonable to copyright a particular turn of phrase, as opposed to a ream of text, a document, whose combinations of words/notes are certifiably unique... i.e. whereby for someone else to use them it would have to be a breach of copyright... there was no reasonable chance they could have thought of it on their own and it would not be something you'd use everyday.
For example, copyrighting the chord sequence Am, G, Fmaj7 is ridiculous. Copyrighting "Stairway to Heaven" on the other hand (whose final part uses the aforementioned chord sequence) is legitimate.
On the other hand, I support every and all measure used to rid the world of the abomination that is rap.
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Buck Birdseed
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Khoon Ki Pyasi Dayan (1988)
Nov 2000
time: 05:23
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*sigh*
I shouldn't even begin to discuss something with Asher who's repeatedly showed no understanding of what art is about whatsoever.
But alright, I'll give it a go.
Asher, you need to disavow yourself of the notion of the individual as the sole purveyor of creativity. In fact, loads of truly great music and art has grown forth in communities, with people making marginal improvements on each other's work, spurring each other on to do better things, competing and co-operating.
Sampling allows you to experiment with the music of others, to expose portions of it, to see what it's like juxtaposed with other music, with new melodies and rhythms, to analyse it by taking it apart. The great hook baked into a slab of pompous crap is taken out, given fresh air, set apart with a new melody that fits it perfectly but that the first artist could never have come up with; together two generations have created a piece of music vastly superior to what either could do on their own.
The Jamaican producer has created a riddim, true, but only if it's good enough will it get versioned by the leading Deejays, thus neatly cutting out all the crap. Each Deejay will produce a very different version of the song, his personal competition entry in the fierce dancehall market; only the best remain at the end. The music is vastly better than if one person had done it all the way through.
The cut-up artist takes a familiar piece of music and changes its meaning completely simply by switching a few phrases around. The audience gets to think about the meaning of the music in an entirely different way from before, about what art is and what creativity is, about how music and genres and language works. As it inspires thought it is better than the original piece cut-up.
A dance producer uses the sampler as an instrument, creating sounds quite unlike whatever originally went in. He has the entire world at his fingertips, every existing instrument, every potential instrument, and can from the most minute of building blocks create startling soundscapes that vastly outshine any of the tiny segments that went in.
And so on.
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09-09-2004 21:47
ACK!
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