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Creativity, Consumption, and Copyright in the Mashup Community

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Creativity, Consumption, and Copyright in the Mashup Community Mashnography: Creativity, Consumption, and Copyright in the Mashup Community By Liam McGranahan B.A., San Francisco State University, 2003 A.M., Brown University, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Program in Music: Ethnomusicology at Brown University Providence, Rhode Island May 2010 © 2010 Liam McGranahan This work is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/us/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. This dissertation by Liam McGranahan is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date__________ ___________________________________ Kiri Miller, Advisor Recommended to the Graduate Council Date__________ ___________________________________ Wayne Marshall, Reader Date__________ ___________________________________ Marc Perlman, Reader Date__________ ___________________________________ Jeff Titon, Reader Approved by the Graduate Council Date__________ ___________________________________ Sheila Bonde, Dean of the Graduate School iii Curriculum Vitae Education 2010 Ph.D., Ethnomusicology, Brown University Dissertation: Mashnography: Creativity, Consumption, and Copyright in the Mashup Community, advised by Kiri Miller 2005 M.A., Music (Ethnomusicology), Brown University Master’s Thesis: A Survey of Garifuna Musical Genres with an Emphasis on Paranda, advised by Paul Austerlitz 2003 B.A., with honors, Anthropology, minor in World Music and Dance, San Francisco State University 1981 Born, July 31, Portland, OR Teaching and Professional Activities 2009 – 2010 Guest Teacher, African-American Studies, Lincoln High School, Portland, Oregon I am currently collaborating with head teacher Michael Sweeney to design and teach an African-American music unit in spring 2010. Chair, “Ethnomusicology and the Digital Age” roundtable discussion, Society for Ethnomusicology Northwest Chapter meeting, Portland, Oregon 2008-2009 Teaching Assistant, “Musical Youth Cultures” (MU 0062), Brown University Professor Kiri Miller (43 students enrolled) Winner of a 2009 Brown University Teaching with Technology Award. Taught two course meetings: “Hip-hop and B-boy Culture” March 19, and “British and West Indies Crossovers” April 7. Evaluated assignments, quizzes, and papers, advised students on multimedia web-based final projects, held regular office hours, monitored class attendance and participation. Lecturer, “World Music Cultures” (MU 0040), Brown University Co-taught by advanced graduate students (~15 students enrolled) Co-designed syllabus, taught multi-week unit on the musics and cultures of Latin America and the Caribbean. 2005-2006 Planning Committee Member, Music Department Colloquium Series, Brown University 2003-2006 Advising Proctor, Dean of the College Office, Brown University iv Worked in conjunction with the Dean’s Office to coordinate freshman and sophomore advising, provided technical and program assistance to faculty, students, and peer advisors. 2002-2003 Research Assistant for Professor James Quesada, Anthropology Department, San Francisco State University Conducted literature reviews; provided feedback on drafts of a forthcoming manuscript. 2002-2003 Research Assistant for Professor John-Carlos Perea, American Indian Studies Department, San Francisco State University Conducted archival library research. 2000-2002 Research Assistant, Professor Hafez Modirzadeh, Music Department, San Francisco State University Created a digital database of the University’s uncataloged world music holdings. Presentations and Publications 2010 “Boulevard of Broken Songs: The Reciprocal Relationship of Mashups and Samples.” Delivered at the International Association for the Study of Popular Music national conference, New Orleans, Louisiana. “Mashing Up Society.” Delivered at the Society for Ethnomusicology Northwest Chapter conference, Portland, Oregon. 2008 Review: “Oliver Greene, Play, Jankunú Play: The Garifuna Wanaragua Ritual of Belize.” Ethnomusicology 52 (2). 2005 “Creolization, Transnationalism, and Diaspora in Paranda.” Delivered at the Society for Ethnomusicology annual conference, Atlanta, GA. 2004 “Finding Your Way in a Ghost World.” Delivered at MU 291 Student Conference, Brown University Awards and Scholarships 2009-2010 v Dissertation Fellowship, Brown University Graduate School 2008-2009 Dissertation Fellowship, Brown University Graduate School Teaching Assistantship, Brown University Graduate School 2003-2006 Tuition Scholarship, Brown University Music Department 2003-2006 Advising Proctorship, Brown University Dean of the College Office 2003-2006 Summer Research Funding, Brown University Graduate School Professional Memberships Society for Ethnomusicology Popular Music Section Latin American and Caribbean Music Section Society for American Music Popular Music Interest Group Music of Latin America and the Caribbean Interest Group International Association for the Study of Popular Music vi Acknowledgements None of this would have been possible without the generosity and helpfulness of members of the mashup community. I am grateful to all of the mashup artists that I have been privileged to interview and get to know, as well as those who I have only known through their posts on Internet forums and through listening to their mashups. I am particularly indebted to DJ Adrian and The Mysterious D, who I am proud to call friends, and the rest of the Bootie DJs and organizers in Boston, New York, Portland, San Francisco, and Los Angeles. This dissertation also would not have been possible without the tireless help, support, and advice of Professor Kiri Miller. I remember being surprised when I emailed her my dissertation proposal and she returned it with in-depth comments and annotations three hours later. This pattern continued through the entire dissertation process. At the times when I doubted that I could finish the dissertation on time (or at all), Kiri helped me to plan a schedule and accomplish what I thought impossible. I honestly cannot imagine a better advisor than Kiri Miller, and I am certain that I could not have done this without her help. I am grateful to Wayne Marshall, Marc Perlman, and Jeff Titon for being on my dissertation committee, reading this work in various forms, and offering insightful comments. In addition to serving on my committee, Jeff and Marc have been inspiring teachers and mentors during my time at Brown, and I am honored to have been able to know and learn from them. I would also like to acknowledge Professors Anani Dzidzienyo and Paul Austerlitz both of whom I am fortunate to have taken courses from vii and worked with. I am deeply grateful to the staff at the Brown Music Department and Orwig Library: Jennifer Vieira, Kathleen Nelson, Mary Rego, Ashley Lundh, Nancy Jakubowski, Sheila Hogg, and Ned Quist. I would also like to thank Cliff Murphy and James Ruchala who have been great classmates and friends in graduate school and in life. No one has had to endure more of my anxiety and complaint than my friends and family. I am truly lucky to have such supportive, loving, interesting, smart, and funny people in my life. Finally, I would like to acknowledge the center of my life without whose love and companionship I would be nothing: my beagle Furious McNiemitz. Ha! In all seriousness, meeting my wife Elizabeth Niemitz was the greatest thing that has ever happened to me. That she agreed to spend her life with me is a miracle and I am a considerably better person for it. Without Elizabeth’s love, intelligence, patience, and support, I would never have been able to make it through this process. It was Elizabeth who showed me that pop music rocks. viii Table of Contents 1. Bastards and Booties: An Introduction 1 2. “It Goes Beyond Having A Good Beat And I Can Dance To It”: Mashup Aesthetics and Creative Process 35 3. Clubs, Computers, and Radio: Sites of Mashup Distribution and Reception 71 4. The Mashup Community Online and Off 118 5. The Voice of the Mashes: Agency and the Democratization of Technology 150 6. “Turning Copyright Infringement Into Dance Floor Gold!”: Copyright and the Mashup Community 178 7. “The NirGaga Saga”: Conclusions 217 Works Cited 227 ix Tables and Figures Table 1: Timeline comparison of “I Want You Back” and “ABC” 51 Table 2: Structure of “I Want ABC Back” arranged linearly 51 Table 3: Construction of the vocal and instrumental sections of “I Want ABC Back” 53 Table 4: List of United States Bootie nights and basic information 75 Figure 1: Bootie Portland flier featuring mashup image of Jon Bon Jovi and George Michael 79 Figure 2: GYBO thread from January 2010 94 x Chapter 1 Bastards and Booties: An Introduction Imagine John Travolta strutting down the streets of Brooklyn circa 1977 with a can of paint in one hand and two slices of pizza folded in the other. You sink into the hypnotic groove of the Bee Gees’ “Stayin’ Alive.” Perhaps, depending on your age, you even begin to do the hustle. But something isn’t quite right. Instead of Barry Gibb’s soaring falsetto, an ominous voice declares, “We don’t need no education,” and a chorus of children chant, “All in all, it’s just a, another brick in the wall.” Travolta disappears and now the fascistic hammers of Pink Floyd’s “The Wall” are marching in time down
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