Creative License: The Law and Culture of Digital Sampling
Creative License: The Law and Culture of Digital Sampling
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创意许可：数字采样的法律和文化
DOI：
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发表时间：
2011
期刊：
影响因子：
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通讯作者：
Peter DiCola
中科院分区：
文献类型：
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作者：
Kembrew Mcleod;Peter DiCola
大萧条时期的民歌收藏家艾伦·洛马克斯是如何在Jay-Z的歌曲《Takeover》中获得词曲创作功劳的？克莱德·斯塔布尔菲尔德(Clyde Stubblefield)是詹姆斯·布朗(James Brown)20世纪60年代末录制的《Funky Drummer》和《冷汗》等歌曲的主要鼓手，为什么其他音乐家频繁使用他在这些歌曲中表演的节拍，为什么不能拿到报酬？音乐行业对数字采样的方法--将现有唱片的片段合并到新的唱片中--掌握了答案。Kembrew McLeod和Peter DiCola在探索样品许可方式的复杂性和矛盾性时，采访了100多名音乐家、经理、律师、行业专业人士、记者和学者。在这些采访的基础上，创意许可将数字采样置于历史、文化和法律背景中。它描述了嘻哈在20世纪80年代和90年代初以样本为主的黄金时代，塑造了美国关于样本的版权法的诉讼，以及音乐家现在必须应对的错综复杂的许可过程。作者认为，目前的样品许可制度效率低下，限制了创造力。例如，通过估算Beastie Boys‘s Paul’s Boutique(1989)和Public Enemy‘s Fear of a Black Planet(1990)这两张嘻哈黄金时代的专辑的当前许可费，作者们表明，这两张专辑都不能在今天进行商业发行。作者观察到，给混音器带来问题的相同动态现在在所有文化产业中都产生了反响，作者通过审查改革的想法得出了结论。
受访者包括David Byrne、Cee Lo Green、George Clinton、De La Soul、DJ Premier、DJ Qbert、折衷方法、El-P、Girl Talk、Matmos、Mix Master Mike、Negativland、Public Enemy、RZA、Clyde Stubblefield、T.S.Monk。
How did the Depression-era folk-song collector Alan Lomax end up with a songwriting credit on Jay-Z’s song “Takeover”? Why doesn’t 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 industry’s approach to digital sampling—the act of incorporating snippets of existing recordings into new ones—holds 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 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.