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227 Abdul-Jabbar, Kareem, 132 Abercrombie Factors, 120 Afrika Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law Richard L. Schur http://www.press.umich.edu/titleDetailDesc.do?id=822512 The University of Michigan Press, 2009. Index Abdul-Jabbar, Kareem, 132 Baker, Houston, 190n19 Abercrombie factors, 120 Bamboozled, 120, 207n5 Afrika Bambaataa, 47 Banneker, Benjamin, 158 Afrika Islam, 47 Barbershop, 2, 190n1 Allegory, 86, 160, 176 Basie, Count, 30 American Express, 85–87, 91, 93 Basquiat, Jean-Michel, vi, 85, 121–22, Anten, Todd, 123 203n84 Aoki, Keith, 34, 90 Bearden, Romare, 22, 42, 154, 192n67 Appropriation, 13, 40–41, 53, 83–84, Beastie Boys, 44 89, 102, 109, 111, 113, 115–17, Beatty, Paul, 186, 189n8, 192n67 134, 160, 183 Bell, Bernard, 70 Appropriation art, 40, 83–84, 89, 102, Bell, Derrick, 26–27, 99–101, 137, 178, 122, 125, 129, 160 181 Arewa, Olufunmilayo, 90–91, 114–15, Berger, Maurice, 154, 160 177, 189n5 Berlin, Ira, 154–55 Arlington Heights vs. Metropolitan Best, Stephen, 3, 90–94, 149, 177 Housing Development Co., 24 Bhabha, Homi, 139–41, 148, 159 Armstrong, Louis, 30 Biting, 48, 53, 84, 179 ASCAP, 13 Black Arts Movement, 121, 131, 135, A Tribe Called Quest, 32–33 172, 195n5 Aunt Jemima, 125, 135–37, 180 Blackface, 79, 92, 128, 130, 136 Austin, Regina, 3, 104–5 Blow, Kurtis, 186 Authenticity, 44, 51, 56, 58–59, Blues, 13, 34, 38, 42–44, 47, 54, 57, 60, 65–66, 113, 119, 121–23, 70, 91, 97, 107, 151, 164, 177, 185 128, 134, 166–67, 171, Boogie Down Productions, 54, 186 203n84 “Boondocks,” 30–31 Autobiography of Miss Jane Pitman, 5 Boyd, Todd, 3, 20 227 Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law Richard L. Schur http://www.press.umich.edu/titleDetailDesc.do?id=822512 The University of Michigan Press, 2009. 228 / index Bridgeport v. Dimension Films, 202n56 Rhetoric, 32, 59, 90, 111, 140–41, Brown, James, 32, 52–53, 65, 203n68 153 Brown, Michael, 110 Coltrane, John, 30, 31 Brown, Sterling, 42 Combs, Sean, 9, 184 Brown v. Board of Education, 14 Commodi‹cation, 92, 151 Bush, George W., 59 Cone, James H., 15 Buskirk, Martha, 158 Constitution Color-blindness, 27, 140 Campbell v. Acuff-Rose, 38–40, 137, 142, Constitutional Convention, 100–101 179 Copyright, 64, 120 Carbado, Devon, 181 Founding ideals, 7, 16 Chappelle, Dave, 59, 120, 186 Freedom of Imagination, 143 Charles, Michael Ray, 102, 119–38, Segregation, 14, 191n46 161, 170, 172–73, 180 Coombe, Rosemary, 117, 123, 177, (Forever Free) Aneminentevaluation, 193n47 126–27 Cooper, Anna Julia, 2 (Forever Free) The NBA, 130 Cooper, Martha, v–vi (Forever Free) Servin’ with a Smile, Copeland, Huey, 174 129 Copyright law. See Fair use; Unfair use President, 136–37 Assumption of equal bargaining Vote Black, 136–37 power, 103, 131, 151, 194n47 Christian, Barbara, 79, 199n23 Assumption of race neutrality, 13, Chuck D, 184, 185 39, 90–91, 102, 109, 128, 148, Civil Rights Act of 1964, 18 164–65, 167, 177, 179, Civil Rights Movement 193–94n47, 208n15 Hip-hop generation, 2, 37, 97, 186, Concept of the user, 103–4 190n1 Constitution, 64, 120 Legacy, vi, 96, 164, 166, 180 Criticism, 116–17, 137, 142, 149, Limits, 27, 90, 94–95, 99, 101, 134, 152, 157, 178, 180 136, 166, 186 Derivative uses, 19, 35, 38–41, 66, Litigation strategy, 13, 27, 93–94, 85, 102, 114, 142, 147–49, 152, 101, 164 202n54, 203n84 Response to hip-hop generation, Expansion, 35, 63–64, 101, 103, 124, 22 143–44, 152, 180 Romantic narratives, xi, 95 History of, 90–91, 101 Victories, 18, 94, 96–97, 101, 164 Idea/expression dichotomy, 65–66, Clinton, George, 32, 65, 203n68 82–83, 179, 198n92 Clorox bleach, 125–27 Incentives for creativity, 107, 116, Cohen, Julie, 103–4 131, 144 Colescott, Robert, 35–37, 125, 194n54 Indigenous cultural rights, 110 Color-blindness Ongoing cultural uses of texts, 19, Art criticism and history, 153, 158, 38, 48, 85, 107, 111–13, 116, 119, 159 131, 135 Legal discourse, vi–vii, 25, 39, 41, Piracy, 116 64, 91, 94, 101–2, 137, 140–41, Public domain, 90 144, 177, 179, 191n55 Romantic conception of authorship, Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law Richard L. Schur http://www.press.umich.edu/titleDetailDesc.do?id=822512 The University of Michigan Press, 2009. Index / 229 104, 109, 113, 115, 148–49, Derrida, Jacques, 28, 34, 141 183–84, 198n89 & 90 Dessa Rose, 5, 74 Sampling, 38–41, 66, 101, 118, 172, Disney, 130, 146 193–94n47, 195n60, 203n68 Dispossession, 118 Segregation, 193–94n47 DJ Jazzy Jeff, 47, 49 Signifyin’, 33–34, 38–41, 193n41, Domino, 48–49 193–94n47, 202n54 Domino, Fats, 13 Stable vs. dynamic texts, 13, 35, 48, Donaldson, Jeff, 135 82–83, 91, 107–8, 114, 137, Douglas, Aaron, 42 156–57, 202n54 Douglass, Frederick, 158 Tangible form, 44 Analysis of music, 42 Tool for redistribution of property Narrative Life of Frederick Douglass, 4, rights, 13, 91, 101, 107, 110, 7, 8, 32–33, 190n19 113–14, 137, 148–49, 151–52, Signifyin’, 32–33 177–78, 203n68 Wind Done Gone, 146 Copyright symbols in art, vi, 93, Dr. Dre, 60, 186 121–22, 125, 130, 135, 189n4, Du Bois, W.E.B., 2, 4, 8–14, 15, 17, 42, 203n84 173–74, 185 Cornell, Drucilla, 139–40 Duchamp, Marcel, 158–59 Corregidora, 5, 42, 74 Corrin, Lisa, 154, 160 Ellington, Duke, 30, 197n47 Crenshaw, Kimberlé, 26, 99, 199n19 Ellis, Trey, 172, 189n8, 189n4 Critical legal studies (CLS), 25–27, 29, Ellison, Ralph, 30, 42, 126, 133, 94, 95–96, 99 166–67, 169–70 Critical race theory (CRT), vii–viii, 23, EPMD, 50 26–27, 29, 38–39, 131, 139–44, Everett, Percival, 169–71, 174–75 152–53, 163, 177–84, 186, 199n19 Crouch, Stanley, 79–80 Fair Use, ix. See Copyright law; Crudup, Arthur, 13 Transformative use; Unfair use Cultural appropriation, 13, 41, 107–8. Complementary use, 116–17, See Appropriation; Ownership; 195n70 Property rights Creative process, 103, 107–14, 161 Cultural imagination, ix, 97, 125, 128, Cultural criticism, 104, 107, 109, 134, 137, 141, 147, 153, 157, 116–17, 120, 142, 157, 165 162–64, 168–69, 171, 178. See De minimis doctrine, 138, 202n56 Imaginary Domain Derivative uses, 103–4, 116, 142, Cultural studies, vi, 70, 109, 132, 168, 149 179, 187, 194n47 Emphasis on melody, 114 Culture wars, 28, 31, 43, 68, 93, 97 Four factor test, 102–3, 109–17 Literal or fragmented similarity, 114 Dead Prez, 59 Parodies, 39–40, 109, 111 Deejaying, v, vi, 44, 47–49, 54, 78, 85, Racialized Doctrine, 40, 101–2, 155, 158, 186 104–5, 111, 125, 127–28, 135, De La Soul, 44, 54, 186 137, 149, 194n47 Delgado, Richard, 26, 27, 181–82, 184 Secondary Use, 104, 114, 142–43, Delueze, Gilles, 58, 60, 88 149, 157 Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law Richard L. Schur http://www.press.umich.edu/titleDetailDesc.do?id=822512 The University of Michigan Press, 2009. 230 / index Fair Use (continued) Hansberry, Lorraine, 14, 191n46 Signifyin’, 35, 39–40, 157, 194n47 Hargest, Tania, 204n95 Substitutional copying, 116–17, 144, Harper, Michael, 42 195n70 Harris, Cheryl, 8, 64 Trademark, 123–28 Harris, Michael, 125, 128 Unfair Use, 101–2, 105 Hawthorne, Nathaniel, 199n22 User, 103–4 Hill, Lauryn, 186 Federal Communications Commission, Hip-hop 152 Activism, 8, 9, 61, 172 Flow. See rhythmic asymmetry/›ow Aesthetics de‹ned, 43–63, 69, Foucault, Michel, 25, 123, 155 193n46, 195n15. See Irony; Layer- ing; Rhythmic asymmetry/›ow; Gabel, Peter, 95–96 Sampling Gaines, Ernest, 5 Authenticity, 44, 59, 65–66, 121–25, Gaines, Jane, 92 167–68, 171 Gallagher, Ellen, 186, 189n8, 207n5 Con›ict with Civil Rights genera- Garner, Margaret, 72, 75, 82 tion, 19–23, 97–98 Gates, Henry Louis, 185 Gender, 139 Culture wars, 97–98 Generation, ix, 2–3, 8, 14, 15, 21, 23, Frederick Douglass, 32 47, 68, 100, 141, 185, 190n7 Signifyin’, 27–31, 34–35, 37, 39, 41, 43 Growth, 26, 47, 54, 68–71, 121, 152, Slave narratives, 4 172–73, 182–83, 196n7 Testimony in The Wind Done Gone In›uence of legal decisions, vi–x, 23, litigation, 147–48 35, 38–41, 44, 45, 63–67, 72, 101, 2 Live Crew, 40–41 104–5, 137–38, 142–43, 168, George, Nelson, 3, 21, 172 177–78, 193n47 Gershwin, George, 91 Lyrics, 22–23, 32–33, 59–60, 186 Ghetto Fabulous, 184 Materialism, vi, x, 3, 5–23, 27, 43, Gilroy, Paul, 77, 115 50, 65, 141, 163, 165, 178, 184, Golden, Thelma, 5, 173 193n45 Gone With the Wind, 112, 117, 142, (use of ) Metaphor, 22–23, 31–32, 144–45, 148–49, 180, 205n35 34–35, 57–61, 66, 186 Gonzalez, Jennifer, 159 Middle-class life, 184–85 Google, 116, 176, 202n64 Misogyny, 46, 186 Graf‹ti, v–vi, 44, 50, 84, 85, 121, 187, Origins, ix, 54 193n46 Paranoid Style, 208n25 Grandmaster Flash, 47, 49, 185 Relation to high culture, vi, 35–37, Grand Upright Music v. Warner Broth- 43–44, 46, 48, 55, 69–70, 77–78, ers, 38–39, 45, 195n60 83, 126, 150, 157, 168, 171, Greene, K. J., 13, 90–91, 177 173–74, 182, 185–87, 200n50, Greene, Stephanie, 124 206n71, 207n5 Guinier, Lani, 140–41, 183, 191n55 Transformative borrowing, 36, Gutièrrez-Jones, Carl, 27 48–49, 83, 85, 142, 145, 155 Violence, 44, 166, 186–87 Halpern, Sheldon, 120, 124 Holiday, Billie, 13 Hammons, David, 22, 125, 153 hooks, bell, 139–40 Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law Richard L.
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