10. “The
ability
to
remix
media,
hack
products,
or
otherwise
tamper
with
consumer
culture
is
their
birthright,
and
they
won't
let
outmoded
intellectual
property
laws
stand
in
their
way”
-‐
Tapsco?
&
Williams,
2008:
52
25. [Trevor
Horn’s]
‘claim
that
he
had
assembled
the
whole
thing,
using
the
Fairlight
CMI
to
sample
Holly
Johnson’s
voice
rather
than
allowing
him
to
actually
sing
anything,
and
with
no
other
band
input’
-‐-‐
Andrew
Blake
in
Cook
et
al,
2009:
p49
28. ‘In
1979,
the
use
of
Page
C
and
Music
Composi0on
Language
(MCL)
meant
that
not
only
was
the
Fairlight
a
synthesizer
and
sampler,
it
also
incorporated
musical
composi0on
abili0es.
By
1982,
a
real-‐0me
programmable
sequencer
was
added.
In
1983,
the
Musical
Instrument
Digital
Interface
(MIDI)
and
Society
for
Mo0on
Picture
and
TV
Engineers
0me
code
(SMPTE)
were
supported’
-‐
Brabazon,
2012:
101-‐2
32. Deadmau5
on
DJing
“It
takes
two
days
to
learn,
as
long
as
you
can
count
to
four”
“People
are
[…]
smartening
up
about
who
does
what
–
but
there’s
s0ll
bu?on-‐pushers
geong
paid
half
a
million.”
-‐
Rolling
Stone,
2012
35. 35
‘All
any
prime
minister
had
to
do
to
gauge
the
winds
was
to
listen
closely
to
the
week’s
45
rpm
single
releases;
they
were
like
poli0cal
polls
set
to
melody
and
riddim’
-‐
Jeff
Chang,
2005:
31
Arthur
‘Duke’ Reid:
“King
of
Sound
&
Blues”
1956,
1957
and
1958
36. Rudolph
‘Ruddy’
Redwood
&
Byron
Smith
1962
–
Jamaican
independence
1964
–
Reid
built
recording
studio
1967
–
The
Paragons
38. Part
3:
the
‘edit’
1972
–
Botel
club,
Fire
Island,
New
York
39. Law
of
the
Land
starts
with
clapping
and
[Gibbons]
used
to
extend
that
sec0on
in
real
0me
but
there
were
a
few
fuck-‐ups,
so
I
said,
‘Why
don’t
we
record
the
song
over
and
over
again,
just
the
beginning
of
it,
and
then
splice
the
magne0c
tape
together?’...
Then
we
pressed
it
to
acetate.
-‐
Lawrence,
2008:
288
40. Part
4:
the
‘break’
1967
–
Clive
Campbell
(AKA
DJ
Kool
Herc)
arrives
in
the
Bronx
from
Jamaica
41. “We
might
an0cipate
a
new
music
based
on
reworking
MP3
recordings
pulled
from
the
Internet
.
.
.
.
In
this
respect,
the
Internet
is
more
than
just
a
means
of
distribu0on,
it
becomes
a
raison
d’être
for
a
culture
based
on
audio
data”
–
Riddell,
2001,
p.341
cited
in
Shiga,
2007:
94
46. The
Prodigy
–
‘Smack
My
Bitch
Up’
–
The
Fat
Of
The
Land
(1997)
47.
48.
49.
50. "In
the
old
days,
samples
were
$2,500
or
$1,500.
…
I
paid
$2,000
for
a
Gladys
Knight
sample
for
'Can
It
Be
All
So
Simple'
off
Enter
the
Wu-‐Tang
(36
Chambers).
That
was
a
big
intro,
and
the
hook
was
repe00ous.
Something
like
that
nowadays
would
cost
$10,000."
51.
52. • “mass
culture
provides
the
building
blocks
for
the
stuff
we
create”
– Lessig
in
Lasica,
2005
53. Industry
response
• lobbying
for
legisla0ve
changes
• court
ac0ons
• educa0on
and
propaganda
campaigns
• technological
means
• For
more
info
see
Allen
(2008)
and
Lessig
(2004,
2008)
54. Expansion
of
U.S.
copyright
law
(assuming
authors
create
their
works
35
years
prior
to
their
death)
55. Piracy
used
to
be
about
folks
who
made
and
sold
large
numbers
of
counterfeit
copies.
Today,
the
term
“piracy”
seems
to
describe
any
unlicensed
ac0vity,
especially
if
the
person
engaging
in
it
is
a
male
teenager.
The
content
industry
calls
some
things
that
are
unques0onably
legal
“piracy”’.
-‐
Litman,
2000:
7-‐8
61. If you were sued every time you accidentally violated copyright
law in a single day how much would you owe?
62. Conclusion
• Less
than
2%
of
works
have
any
con0nuing
commercial
value
(Lessig,
2004)
• CTEA
=
Mickey
Mouse
act?
• ‘Rent-‐seeking’?
• S0fling
crea0vity?
63. • ‘Sound
desk’
-‐
Rob
Jewi?
• ‘The
Beatles
Part
2
8-‐track’
-‐
Paul
Riismandel
• ‘mixtape
from
a
friend
in
college’
–
jessamyn
west
• ‘BASF
DAT
Digital
Audio
Tape’
–
windthoek
• ‘IMGP6827_minidisc’
–
Rae
Allen
• ‘Akai
APC40’
-‐
David
J
• ‘Moog
Li?le
Pha?y
Tribute
Edi0on’
–
Leo
Jun
• ‘Radium
49
M-‐Audio
Keyboard
–
5’
–
Dave
Sag
• ‘roland
tb-‐303
bass
line’
–
dr.
mo?e
• ‘Sample
this’
–
John
Athayde
• ‘Analog
music
playing
device’
–
Robert
Frieberger
• ‘laws
for
atoms’
–
Will
Lion
63