Digital Sampling, Intermediate Copying, Fair Use*
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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
View Full Article
ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 B. The Mashup Genre .................................................................... -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
Press Release Frank Gehry First Major European
1st August 2014 PRESS RELEASE communications and partnerships department 75191 Paris cedex 04 FRANK GEHRY director Benoît Parayre telephone FIRST MAJOR EUROPEAN 00 33 (0)1 44 78 12 87 e-mail [email protected] RETROSPECTIVE press officer 8 OCTOBER 2014 - 26 JANUARY 2015 Anne-Marie Pereira telephone GALERIE SUD, LEVEL 1 00 33 (0)1 44 78 40 69 e-mail [email protected] www.centrepompidou.fr For the first time in Europe, the Centre Pompidou is to present a comprehensive retrospective of the work of Frank Gehry, one of the great figures of contemporary architecture. Known all over the world for his buildings, many of which have attained iconic status, Frank Gehry has revolutionised architecture’s aesthetics, its social and cultural role, and its relationship to the city. It was in Los Angeles, in the early 1960s, that Gehry opened his own office as an architect. There he engaged with the California art scene, becoming friends with artists such as Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell, and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns would open the way to a transformation of his practice as an architect, for which his own, now world-famous, house at Santa Monica would serve as a manifesto. Frank Gehry’s work has since then been based on the interrogation of architecture’s means of expression, a process that has brought with it new methods of design and a new approach to materials, with for example the use of such “poor” materials as cardboard, sheet steel and industrial wire mesh. -
The Iconic Girl Group, “The Good Girls” Are Back!
Oct 16, 2018 08:30 CEST The Iconic Girl Group, “The Good Girls” are back! The Iconic Girl Group, “The Good Girls” are now available for Booking. Their first Reunion Performance was a Sold Out Performance, in Los Angeles. The Good Girls are a female R&B trio from Los Angeles, California that emerged in the late 1980s; composed of Shireen Crutchfield, Joyce Tolbert, and DeMonica Santiago. Watch video on YouTube here The Good Girls were recording artist for Motown Records, and were groomed as a contemporary version of The Supremes with a more urban sound. The group's debut albumAll for Your Love, influenced heavily by Teddy Riley's new jack swing movement, was released 1989, producing the hit single "Your Sweetness" which peaked to #6 on Billboard's Hot R&B/Hip-Hop Songschart. Other notable singlesincluded their cover version of "Love Is Like an Itching in My Heart," and "I Need Your Love". The girls also appeared on the 1990 debut single by MC Trouble entitled "(I Wanna) Make You Mine". The group's second album Just Call Me was released in 1992 with lukewarm success. Two highlights for the group happened in 1990 when they went on Motown's MotorTown Tour and later that year, they would join New Kids on the Block's No More Games tour. [Source: Wikipedia] The Iconic Girl Group, “The Good Girls” are now available for Booking Stephanie M.Jordan [email protected] 312.508.2092 Deft Fox Digital Ltd. is a marketing and media production Company in Malta, Spain and Sweden. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
Andy Warhol Who Later Became the Most
Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15. -
Office of Staff Secretary; Series: Presidential Files; Folder: 6/14/77 [2]; Container 25
6/14/77 [2] Folder Citation: Collection: Office of Staff Secretary; Series: Presidential Files; Folder: 6/14/77 [2]; Container 25 To See Complete Finding Aid: http://www.jimmycarterlibrary.gov/library/findingaids/Staff_Secretary.pdf THE PRESIDENT'S SCHEDULE Tuesday - June 14, 1977 8:15 Dr. Zbigniew Brzezinski - The Oval Office. 8:45 Mr. Frank Moore The Oval Office. 9:30 Mr. Jody Powell The Oval Office. .i:45 Drop-By Meeting of Leaders of Veteran/ (10 min.) Military Groups. (Ms. Midge Costanza). The Roosevelt Room. 10:00 Budget Revie\'1 Meeting. (Mr. Bert Lance) . (2 hrs.) The Cabinet Room. 1:30 Budget Review Meeting. (Mr. Bert Lance). (90 min.) The Cabinet Room. 3:15 Secretary Harold Brown ....... ,The· Office. :oval. (15 min.) ~ :00 Meeting with Senator Joseph R. Biden, Jr. (15 min.) and the Delaware Delegation. (Mr. Frank Moore) - The Cabinet Room. 4:20 Drop-By White House Conference on HIRE. (15 min.) . .. ~he East Room. Lo Reception for the Inaugural Portfolio (10 min.) Artists The Rose Garden. .l' THE WHITE HOUSE WASHINGTON June 14, 1977 < / Gretchen Poston The attached was returned in the President's outbox. It is forwarded to you for appropriate handling. Rick Hutcheson cc: Z. Brzezinski Frank Moore THE WHITE HOUSE WASHINGTON z 0 H 8 H C) :>I ,::C Iii MONDALE COSTANZA EIZENSTAT JORDAN EXECUTIVE ORDER LIPSHUTZ Comments due to I")( MOORE Carp/Euron within POWELL 48 hours; due to WATSON Staff Secretary next day FOR STAFFING FOR INFORMATION ~ FROM PRESIDENT'S OUTBOX LOG IN/TO PRESIDENT TODAY IMMEDIATE TURNAROUND ARAGON BOURNE HOYT HUTCHESON JAGODA WEL S KING VOORDE < • MEMORAND UM THE WHITE HO U SE W AS HIN G T O N June 13, 1977 MEMORANDUM FOR: THE PRESIDENT FROM: GRETCHEN POSTON RE: GUEST LIST FOR PM FRASER LUNCHEON 12:30 p.m. -
Note About the Drumsets Almost All Drum Sets Use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the Rest, Layer 4 for Only the Hi-Hats
Intro The Techno Synth Construction Yard 32 MB ROM is a stunning collection of great new sounds designed for the dance, ambient and techno producer or artist. European sound designer Rob Papen has assembled over 600 of his best samples and coupled them with the Proteus 2000’s ultra-powerful synth engine to create a sound set like you’ve never heard before! Proteus’ 12 knob controllers let you tweak sounds to your heart’s content. Presets can morph into completely new sounds and textures at the touch of your fingers. Explore the presets by pressing the Audition button! The Techno Synth Construction Yard includes 136 spankin’ new RIFFs which you can use as backing tracks in your music. Note about the Drumsets Almost all drum sets use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the rest, Layer 4 for only the hi-hats. This means also that the open hi-hat and closed hi-hat work together like real drums! This layering is also useful when using separate outputs or adding FX In the basic setting of the presets the knob control- lers for FX-A and B work only on Layer 2 (snares) and Layer 3 (rest of percussion and drums). Layer 1 and Layer 4 will stay dry for the FX-A knob (K). The non-GM sets have extra Bass and Snare Drums in each kit. Also Note: Many presets have a drum kit located at C-2 to A#1. 2 E-MU Systems TEKNO-Snyth 2 10/28/99, 4:36 PM Note about the MIDI G and MIDI H Controllers Almost all presets use clocked LFOs (MIDI G and MIDI H) to make the sound sync with your song. -
The Ticker, October 27, 1992
,..._,...·..:-....~,~.~ ~..<I(::~;.,oi;~~~bP"'1ll$;.,rf!lt.~..:~~_ .... ..... , __ ...._ .... ' .. ". _.. ~. t , :~\~~:~~~~ ....---. _.~.....-c.--~~ _- ~ --__ ,- -.::r -•. ~: . .';'- - _- •. --- --..-~ .,-' ~ ':,.' _ '.,"" -;- ,~. .. • -," ,'-' .' ...' .. "'.':'... '.' '. , ': ... -. f:" . ,..~ ""., , •. ....,,'.. ~ '~ I-li,• ..• ~ ·.~" ~.. •"~"'.••:ra"""~' 0 Vol. 63, Number 2 Baruch College. • City University of New_.- Ypr_. October 27,1992 Former RivalsJo--.,.-. By FarahGehy Thetwohavealreadyworked knowledge him. ,. Charles Weisenhart and ,toget~,onthe USS. ,They Quaterman saidheis the,"1 e- Simon Herelle, opponents iII worked, along with ether del- gal interim chair. Iftheydon't last years Day. SessionStu- egatesto the USS, to curtail recognize me {at the Board dent presidential race, have theelectionsoftheUSSChair. meetings], they're in violation forged an alliance, and they The election, which was to be ofthe Higher Education Law, are now working' together to heldOctober11, was re-sched- Section 6204." reform the UniversityStudent uled for November 8. , The law states' that there Senate. ,. HerellerWeisenhart .and must be consecutive student · Herelle, the DSSG presi- - otherdelegatesworkedtopost- representation atBoard meet dent as well .as Baruch's del- pone the electionbecause they ings. ThejobofChairis to vote . egate to the USS, said that, feel the USS should be re- and participateatBoardmeet Weisenhartwashisfirstchoice . formed. ings. The Chair is the only to be the alternate delegate. "We should be able to imple- student vote in CUNY "If we had to get anything ment reforms before the elec- Themajorityofthe delegates done in government this year, tions," said Herelle. wantreforrns"inordertoavoid the elections had to end," said The delegates are looking to the scandals of the previous Herelle, regarding the fiercely implementspecificguidelines, years,"saidQuatennan."We're contested race for D.S.S.G. which have notyetbeenset, to trying to change the image of president last year. -
Thou Shalt Not Steal: Grand Upright Music Ltd. V. Warner Bros. Records, Inc. and the Future of Digital Sound Sampling in Popular Music, 45 Hastings L.J
Hastings Law Journal Volume 45 | Issue 2 Article 4 1-1994 Thou hS alt Not Steal: Grand Upright Music Ltd. v. Warner Bros. Records, Inc. and the Future of Digital Sound Sampling in Popular Music Carl A. Falstrom Follow this and additional works at: https://repository.uchastings.edu/hastings_law_journal Part of the Law Commons Recommended Citation Carl A. Falstrom, Thou Shalt Not Steal: Grand Upright Music Ltd. v. Warner Bros. Records, Inc. and the Future of Digital Sound Sampling in Popular Music, 45 Hastings L.J. 359 (1994). Available at: https://repository.uchastings.edu/hastings_law_journal/vol45/iss2/4 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Thou Shalt Not Steal: Grand Upright Music Ltd. v. Warner Bros. Records, Inc. and the Future of Digital Sound Sampling in Popular Music by CARL A. FALSTROM* Introduction Digital sound sampling,1 the borrowing2 of parts of sound record- ings and the subsequent incorporations of those parts into a new re- cording,3 continues to be a source of controversy in the law.4 Part of * J.D. Candidate, 1994; B.A. University of Chicago, 1990. The people whom I wish to thank may be divided into four groups: (1) My family, for reasons that go unstated; (2) My friends and cohorts at WHPK-FM, Chicago, from 1986 to 1990, with whom I had more fun and learned more things about music and life than a person has a right to; (3) Those who edited and shaped this Note, without whom it would have looked a whole lot worse in print; and (4) Especially special persons-Robert Adam Smith, who, among other things, introduced me to rap music and inspired and nurtured my appreciation of it; and Leah Goldberg, who not only put up with a whole ton of stuff for my three years of law school, but who also managed to radiate love, understanding, and support during that trying time. -
Top 40 Singles Top 40 Albums
13 June 1988 CHART #620 Top 40 Singles Top 40 Albums Don't Turn Around Sweet Lovers Tiffany Wonderful Life 1 Aswad 21 Holidaymakers 1 Tiffany 21 Black Last week 1 / 5 weeks FESTIVAL Last week - / 1 weeks VIRGIN Last week 1 / 18 weeks Platinum / WEA Last week 35 / 10 weeks FESTIVAL Alphabet Street New Sensation 1987 Seventh Son Of A Seventh Son 2 Prince 22 Inxs 2 Whitesnake 22 Iron Maiden Last week 3 / 3 weeks WEA Last week 21 / 2 weeks WEA Last week 2 / 13 weeks Gold / EMI Last week 10 / 6 weeks EMI Breakaway Where Do Broken Hearts Go The Lonesome Jubilee Actually 3 Big Pig 23 Whitney Houston 3 John Mellencamp 23 Pet Shop Boys Last week 2 / 10 weeks FESTIVAL Last week 33 / 2 weeks BMG Last week 3 / 24 weeks Platinum / POLYGRAM Last week 15 / 18 weeks Gold / EMI Push It I Saw Him Standing There Bonk Miracle 4 Salt N Pepa 24 Tiffany 4 Big Pig 24 Willy De Ville Last week - / 1 weeks POLYGRAM Last week 6 / 5 weeks WEA Last week 19 / 2 weeks FESTIVAL Last week 41 / 3 weeks POLYGRAM Gimme Hope Jo Anna One Tree Hill The Lion And The Cobra Freight Train Heart 5 Eddy Grant 25 U2 5 Sinead O'Connor 25 Jimmy Barnes Last week 11 / 4 weeks FESTIVAL Last week 18 / 12 weeks Gold / FESTIVAL Last week - / 1 weeks FESTIVAL Last week 14 / 22 weeks Platinum / FESTIVAL Sweet Little Mystery Tell It To My Heart Whenever You Need Somebody The Only Game In Town 6 Wet Wet Wet 26 Taylor Dayne 6 Rick Astley 26 The Warratahs Last week 4 / 5 weeks POLYGRAM Last week 22 / 13 weeks BMG Last week 6 / 19 weeks Platinum / BMG Last week 25 / 14 weeks VIRGIN Pink Cadillac I Need A Man Phantom Of The Opera Turn Back The Clock 7 Natalie Cole 27 Eurythmics 7 Original London Cast 27 Johnny Hates Jazz Last week 7 / 9 weeks EMI Last week 30 / 4 weeks BMG Last week 9 / 45 weeks Platinum / POLYDOR/POLYGRA..