RIP A Remix Manifesto

Sampling nowadays is so common and some artists have taken it to a level that it is an art to use samples. If used correctly. My paper will focus on how sampling became a new way to create songs. And expose how big the sampling industry is. Web pages like Beatport sell samples and stems. So Dj’s can download them and mix them live. If a piece of music is distorted, might that be transformative and even be fair use? Using various resources and examples I will discuss whether should or shouldn’t there be a compulsory license for sampling.

Transformative qualities are an essential aspect of deciding the applicability of fair use when borrowing from copyrighted works. Transformative equates to works that step beyond the replication of a copyrighted work. This can be accomplished by changing the purpose and adding artistic value to the new creation. Through the incorporation of a new purpose and character, consideration of the minimal portion used of the copyrighted work, and inspection of the lack of effect on the market of the original work, it is conclusive that Kanye West’s “Champion” falls under the protection of fair use when taking into account its incorporation of Steely Dan’s “Kid Charlemagne.” West uses a

Is important for anyone who has created any intellectual property to protect it. In the music industry, in order for someone to protect their work, they must obtain a copyright. Music has been around before anyone could obtain a copyright and when the invention of the computer came along it made it easier for someone to steal another artist's intellectual property with the help of the internet. This paper will cover what events have taken a big role in copyright protection for artist, the consequences if someone was to break the rules of a copyright which is called copyright infringement, and how will a copyright hold in the future. Were copyrights enacted without the thought of life changing technology, and how can some music companies

Imagine the number one song of the year with the most downloads, streaming numbers and views on Youtube could not be nominated for a Grammy. Up until June 2014, artists could not be nominated for such an award unless the song was completely their own, meaning there was no sampling of past music. This may not sound like a big deal until songs like “SOS” by Rihanna or “Ice Ice Baby” by Vanilla Ice became chart topping tracks, and are both derived from older songs. Mark Ronson, music producer and DJ, speaks about how sampled music has changed the way generations discover music, as well as how creative ideas flourish from sampling other artist’s music. In this TED talk “How sampling transformed music,” Ronson gives his opinion on how artists transform

Art has undoubtedly become a decisive aspect of our culture; embedded in the way we learn and grow on a daily basis. Art forms such as music, television and dance dominate our society as an outlet of freedom of speech for humanity. The evolution of music has rapidly exceeded its original classifications, developing new genres with greater appeal to an audience, hence its influence on society has expedited. In recent times, lyrics (specifically rap lyrics) have been introduced into the court room as a form of documented confessional evidence, evidently challenging law’s authoritative nature. This essay will closely follow the genre of rap and its relationship with law, through cases based in the United States of America (USA). In addition, the trial of Simon Bikindi in Rwanda and Smith v The Queen will be used to form an acute analysis on the influencing factors of relevance, identity, freedom of speech and current constitutional law.

In this essay, you will read about an artist in the name of Robert Matthew Van Winkle, known professionally as Vanilla Ice who became famous for a while, not because of his talent, but because of the copyright of someone else baseline. He thought changing the rhythm of David Bowie’s “Under Pressure” baseline and not giving him credit would avoid him from any questions. In this essay I will provide you my opinion of Vanilla Ice’s song “Ice, Ice, Baby”as an example of plagiarism, with evidence provided of what he did wrong, and what he could have caused.

With technology growing more and more each day, it is no surprise that the music industry is transitioning to rely more and more on online sales. However, problems can arise from this when artists are taken advantage of by people who illegally download their music off of the internet for free. When one college radio host publically stated that she illegally downloaded her music, a professor by the name of David Lowery saw a problem with this and decided to speak up about it. He wrote a letter addressed to the college radio host, Emily, called “Letter to Emily White at NPR All Songs Considered”. With this, he also addresses the general public and calls them to make a change in their music buying, or lack thereof, habits. He explains that illegally downloading music is not a harmless task and we must understand the effects that it has on the artists as well as the music industry as a whole. While Lowery has strong uses of ethos, logos, and pathos, his conversational and

Music can be observed as one of the oldest pieces of art and entertainment. The industry is evolving at a hasty rate, with all thanks to the exponential growth of technology. Trends have come and gone over time since media productions are compelled to accompany these changes in technology in order to keep profit. With these advancements, the experience for the music industry and the user has terrifically changed. In this essay, I argue that there has been a drastic evolution in how the way music is recorded and consumed over several centuries. Throughout this period, several pioneers have met the needs to organize craze and association of a feasible business standard for the future of the music industry.

In his article, Brooks strongly focuses on how protesting work with music based on moral, physical and perceptual. A song is written not only to sell, it is also composed depend on individials’ speeches that about peace, avoiding violence and war. Brooks expresses people against themselves when they protest because they would be arrested by violence, so people should not protest and ask themselves why they have to protest. However, actually, people need to protest because it is also their benefits that they must protect. Protesting and avoiding against themselves, it seems to be impossible, but it is not. Protest music can make impossible to possible. Brooks analyses how majority, chorus, and footnote impact to a protest music. In addition,

Today, our culture has been colonized by private “property rights and the only solution for artists who appropriate other peoples’ work rest with the legal concept of “Fair Use” These laws are intended to allow free appropriation in certain cases of commentary and are the sole acknowledgment within copyright law of a possible need for artistic freedom and free speech. However, the principle of fair use is interpreted conservatively and is being held from many “infringers.”

The Supreme Court has tried to explain that the Copyright Clause of the Constitution was intended to establish independent, entrepreneurial, self-sustaining authorship and publishing as the means of serving the public interest in securing the production of valuable literary and scientific works. To that one must ask what are the consequences of remix? When I think about it remixing has left a positive and inferior aspect of life for many people. When people are able to steal or copy the work of an individual without any consequence they are sending a clear message saying that they are free of the law. Therefore, I propose that the copyright office of the state of Washington should change the copyright policy of remixing so that it may benefit more people than just the original artist.

For songwriters and composers, music publishing has been an integral part of their professional lives, and quite possibly one of their most valuable and lucrative income streams. At its core, music publishing can be defined as the promotion, sale and administration of music catalogs and copyrights. (Strasser, 2010 p.18) However, historically - in the late nineteenth century, before musical recordings existed, publishing was based around the distribution and sales of printed sheet music for people to perform. (Rutter, 2011 p.92) Soon after though, the development of alternative entertainment such as radio and TV would also call for the duty of the music publisher to be widened to what it is today. (Strasser, 2010 p.18)

Over the past fifty years, the British Music Publishing industry has undergone dramatic changes. It has evolved as an entity with innovations in technology, changes and creations of laws and new mediums to promote and exploit songs to a wider audience. Therefore, the way in which the music publishing industry operates and exploits its assets has completely transformed, and continues to do so at a rapid pace. This paper will attempt to explore the ways in which publishers exploit song copyrights and the way in which this has changed over the past 60 years. It is important to define what is meant by copyright and its role within the industry. The Performing Right Society website states: “Copyright

Copyrighted works fall into two categories in the music world. The first is recorded performance, one first has to get permission from the recorded label to use a song. Next, the composition underlying a specific performance has to come straight from the artist. For “pass the mic,” the B. Boys got permission from the record label but not the artist, Newton therefore sued but lost. “The reason serves as a useful introduction to how to think about intellectual property”

The Anthology of Rap is a guide to everything hip-hop from 1970 to 2010. Starting with artists such as Afrika Bambaataa, Grandmaster Flash, and Sugarhill Gang then ending with Kanye West, Eminem and other modern artists. While this book does focus more on the lyrics of certain songs, the authors, Adam Bradley and Andrew DuBois, mention the song’s samples and how the artist used them within the song. This book provides a great understanding of how the use of samples have changed over the course of hip-hop history. Comparing my findings with other references such as “Creative License: The Law and Culture of Digital Sampling annotation” I can find out exactly how the use of samples changed during and after the result of the trials listed in the