Daughter Of The Night - Matt Minglewood - ;Radio Sampler-Not For Sale; (Vinyl, LP) download full album zip cd mp3 vinyl flac
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Go behind the scenes of A Little Night Music with the design team to get a glimpse into the process of creating this exciting production. Begins at pm, with Happy Hour beforehand. This is a FREE event. RSVP Required. Please contact the box office at And it was it was actually another DJ that came and he mixed - he was mixing like four records together and it sounded like -to me - it sounds like a mess to everybody else.
And because all the different, you know, textures just playing off of each other gave another rhythm. It created another sense of harmony. It created another sense of timing and different things. So it kind of like Daughter Of The Night - Matt Minglewood - ;Radio Sampler-Not For Sale; (Vinyl that aspect of it kind of like propelled me into wanting to do more of those things on a commercial level, as you put it. McLEOD: Well, I think it's basically the central part of popular culture if you think about social networking and the way that people interact with each other across great distances.
And they get to collaborate with each other, you think about open-source software, the way that people collaboratively create stuff, they're essentially taking samples of computer code and remixing them. And the same is true with music. I mean, I know a year-old who make mash-up videos on YouTube and upload Daughter Of The Night - Matt Minglewood - ;Radio Sampler-Not For Sale; (Vinyl. It's just - it's almost part of the DNA of - not just youth culture but just popular culture more generally. I'm Ira Flatow, here with a bunch of guests talking about it.
And Dean, how does the recording industry see sampling as a big problem. Do they - do you - you're basically stealing somebody else's intellectual property, their musical property. I would say probably, you know, 10 years ago, that was the general perspective.
But they, like everyone else, have matured a lot. I don't work in the recording industry anymore. I now work for the tech sector. But I think there's been a certain maturation over the years, and the recognition that consumer choice is at the center of anything and everything that they do.
And so, as consumers want content, music that includes the kind of sampling that you demonstrated before, that they should figure out a way to enable that. And I think more and more, they're working at doing just that. SHOCKLEE: I think it's just an art form, and I think that - you know, you have to understand, to me, the original copyrights were there to protect the entire embodiment of the recording itself, you know, not necessarily the little pieces that was coming from it.
So, thus, you know, as we start to move more towards into the future and technology starts to increase, well, you know, now these things have to now metamorphosize, have to change. And the copyright laws have to now become updated to deal with the new landscape that we have. You know, you have kids that are listening to YouTube and you have kids that's -that are watching DJs perform. And records are now more than - it's more of an instrument for us We're going to talk a lot more about sampling.
Our number, And what do you think? Do you think it's an art form? Do you think that there's a middle ground someplace between using someone else's intellectual property or their music and allowing artists to become new - to experiment with new kinds of sounds?
Tell us. Stay with us. We'll be right back after this break. I'm Ira Flatow. We're talking this hour about digital sampling and copyright law with Hank Shocklee, co-founder and producer of Public Enemy and the president of Shocklee Entertainment. Kembrew McLeod, associate professor in the Department of Communication, University of Iowa, also the co-producer of the documentary "Copyright Criminals.
There's a well-known case that's been really influential called the - referred to as the Bridgeport case, which basically, the court said, more or less - and I think this is a direct quote - get a license or do not sample. And even if you - it affirms that even one second of a sound recording - and we're talking about the sound recording just then - lifting the sample from another record, that's an infringement. So, yeah, some courts have ruled that that is, in fact, the case.
There is, of course, in the United States, a kind of loophole called fair use. And that allows for quoting from copyrighted works for purposes of criticism, commentary and recontextualization. And that is not considered an infringement, Daughter Of The Night - Matt Minglewood - ;Radio Sampler-Not For Sale; (Vinyl.
Hank, do you think that these laws all have to be changed to allow for kids to be creative with the sampling? I think that everything should be fair use, except for taking the entire record and mass producing it and selling it yourself. Anything - if you take a chorus, if you take the entire intro from a record, eight bars or whatever it takes, I think that - all that should be fair use.
GARFIELD: It really is an attempt to figure out what's fair as - and so, you know, I think Hank's approach doesn't give enough credit to the work that - the role that ideas and copyright play in really being the seed corn for innovation that improves people's lives in this country.
The concept that someone could - you could spend your entire career developing something and because someone decides to take 75 percent of it instead of percent means that you don't have a way of being compensated, to me, simply sounds unfair. And then there's - every time someone takes a little bit, makes a loop, they would get a little bit of dough out of that?
What would be wrong with that? So there are whole sample libraries that you can purchase. But the downside of that is the sample libraries typically are produced by, you know, session musicians creating, like, short snippets and stuff. And the stuff that people really want to sample is, for instance, Clyde Stubblefield's drum beat from "Funky Drummer. But why can't I get something, you know, from some of these popular tunes that are going to be sampled any way the kids want to do it?
Why can't we find a way to put those up on iTunes or add little bits of it, somehow, in a system there? It's the reason you now have The Beatles on iTunes where previously you didn't. You know, they made the determination, at some point, that it was appropriate. And before then, they thought it wasn't. And so, as the person who spent the time developing the work, you should, I believe, have some control over how that work is used.
Just take the example of cover songs, where the songwriter, sincehas no right to prevent someone else from covering. You know what I mean? So anyway, I think we need to find a middle ground.
I think we need to revisit, you know, what we did a hundred years ago, what Congress did a hundred years ago when they rethought copyright law and they enabled -they basically enabled the 20th century music industry to exist because the music industry was based largely on cover songs.
And back then, before email, faxes and stuff like that that make it even easier to negotiate contracts, back then, you didn't have any of that stuff. And so - basically, what I'm getting at is the entire tradition of cover songs would have been wiped out if, a hundred years ago, Congress didn't have the foresight to create a little bit more artistic elbow room. And keep in mind that the - you know, Clive Stubblefield, you know, is not a copyright owner.
James Brown is not a copyright owner. George Clinton is not a copyright owner. The copyright owners are corporations, and most of the corporations that are have affiliates with the record companies. So thus - so when we talk about artists, you know, that term is being used, but that's not really the case here. We're really talking about corporations.
I mean, you can look at, basically, the golden age of sampling during the '90s for hip hop, and you just saw so much unique sounds coming out. And I - that's when I started deejaying. I've been doing it for 15 years. You can check me out at soundcloud. But it's basically, you know, stifling a lot of the creativity because a lot of the people who get these samples and play them - a lot of people rediscover music from past genres by listening to these samples.
And, you know, I think those corporations that are holding those copyrights hostage are missing out on a huge marketing opportunity, basically, because they're not going to - these people are Daughter Of The Night - Matt Minglewood - ;Radio Sampler-Not For Sale; (Vinyl getting into these electric genres where people aren't able to listen to snippets and soundbites of old music where they're going to say, hey, where did that come from?
Where did RZA get that sample from? Where did it RJD2 ph get that sample from? And then rediscover past genres of music and buy those albums, because I know I did, through just sampling Daughter Of The Night - Matt Minglewood - ;Radio Sampler-Not For Sale; (Vinyl through just being interested in the music and trying to research and find out how these sounds are put together. And I think that's one of the most lost aspects from the golden age of sampling that we have today, what you can call, I don't know, the Timberlanization ph of hip hop where Anyway, I mean unintelligible.
You were giving me a thumbs-up. I mean, look at Roger Chapman, for example. Roger Chapman's career wasn't going anywhere. And then, all of a sudden, Dre decides to sample him on "California Love. So let me go get Roger Chapman himself and come in here and actually perform that live.
Can you find any - I'd like to get a sample. Are there people who make you a sample, something? It's matter of whether you can legitimately obtain it. And I actually agree with Hank and, I think, Kembrew.
I don't think anyone is well-served by having these songs locked up in some locker somewhere that - so that people can't discover them.
I think at bottom this comes down to how do you facilitate that consumer choice in a way that's fair, you know, that benefits the artist and benefits consumers. Let's see if we can get a couple of more calls in here from our listeners.
Let's go to Kyle ph in Grand Haven, Michigan. Hi, Kyle. When speaking from a commercial standpoint here, as we're talking about music, we're trying to copyright in a sense - put a label on human emotion, taking away from its artistic value, I feel, at least. Any comment on that? And what about if you treated the sample as actually a pictorial, as a waveform? You know, Tama or - can copyright the sounds of their drums.
I mean, the - I mean, when we another thing that hasn't come up yet is the discussion of the public domain. And the public domain is that which isn't copyrighted, usually because it's either never was copyrighted or Congress sets limits on the amount of time that something can be copyrighted.
Well, Congress keeps extending the length of copyright. Well, anyway - so, basically, the only stuff that we can sample is anything pre, if you're safe. And whos going to want to sample that? I mean, someone who is really creative could do something interesting with that. But the stuff that really resonates with people is more contemporary, but, anyway McLEOD: But going back to, like, the idea of copyrighting a sound or whatever - like, think about the public domain.
Like whenever - and -oh, no. Going back to Ford, you know, he could have made a killing, you said. Well, yeah. Every time we step in our cars, we go on a ride in the public domain, because everything in our cars, you know, is built on previous ingenuity. And at one point in time, it was released so that anyone can use it. So that's another dimension that I wanted to introduce. And that's quite okay, you know? But in - but I bought a record. I own the record and I can't take a piece of it and sample it and use it for my own record, for whatever purpose, whether it's commercial or non-commercial.
But you couldnt then sell the patent behind the carburetor of the car, which is the parallel concept here. GARFIELD: Well, the idea is you can sell the objective manifestation, like the CD, but the actual creative work, someone invested time and energy in that and so you can't just take that and sell that.
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