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Digital Culture: Copyright Activism & Music Mashups - Guide by Pfeifer, Matter, & Kechjian, Study notes of Art

Ramapo College of New Jersey (RCNJ)Art

Prof. Jonathan M. Lipkin

This reading guide explores the concept of copyright activism and mashups in music through the lens of kembrew mcleod's confessions of an intellectual (property). The creation and controversy surrounding the grey album, the history of musique concrete, and the emergence of mashups as a new pop music genre. It also touches upon the deconstructionist method and the role of copyright activism in challenging societal norms.

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Uploaded on 08/18/2009

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Week 7 Reading Guide: By Caitlin Pfeifer, Thomas Matter and Anya Kechjian

Professor Lipkin

CNTP 350: Digital Culture

5 March 2009

Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono,

and My Long and Winding Path as a Copyright Activist-Academic by Kembrew McLeod

Vocabulary:

Goliath- a very large, powerful, or influential person or thing

Musique concrete- tape-recorded musical and natural sounds, often electronically

distorted, arranged in planned combinations, sequences, and rhythmic patterns to create

an artistic work

Feigned- Not real, pretended

Modular- constructing with standard units of dimensions that allow flexibility and or

variety in use

Formulaic- made according to a formula

Multinational- a large corporation with operations and subsidiaries in several countries

Dissertation- any formal discourse in speech or writing

Outline:

Introduction:

•2004- hip-hope artist danger Mouse produced the Grey Album

•Combined the Beatles’ White Album and Jay-Z’s Black Album

•Received lots of coverage

•Downhillbattle.org- created an online protest against lawsuits for hosting the

album

•Under the copyright system, owners insist that it’s illegal to sample without

permission

•It is okay for musicians to record their own versions of a song by registering the

cover and paying the appropriate licensing fee

•The Beatles never offered sampled reinterpretations of their work

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Download Digital Culture: Copyright Activism & Music Mashups - Guide by Pfeifer, Matter, & Kechjian and more Study notes Art in PDF only on Docsity!

Week 7 Reading Guide: By Caitlin Pfeifer, Thomas Matter and Anya Kechjian

Professor Lipkin CNTP 350: Digital Culture 5 March 2009 Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist-Academic by Kembrew McLeod Vocabulary: Goliath- a very large, powerful, or influential person or thing Musique concrete- tape-recorded musical and natural sounds, often electronically distorted, arranged in planned combinations, sequences, and rhythmic patterns to create an artistic work Feigned- Not real, pretended Modular- constructing with standard units of dimensions that allow flexibility and or variety in use Formulaic- made according to a formula Multinational- a large corporation with operations and subsidiaries in several countries Dissertation- any formal discourse in speech or writing Outline: Introduction:

2004- hip-hope artist danger Mouse produced the Grey Album
Combined the Beatles’ White Album and Jay-Z’s Black Album
Received lots of coverage
Downhillbattle.org- created an online protest against lawsuits for hosting the album
Under the copyright system, owners insist that it’s illegal to sample without permission
It is okay for musicians to record their own versions of a song by registering the cover and paying the appropriate licensing fee
The Beatles never offered sampled reinterpretations of their work

Compulsory right- allowed people to remake others’ music since the Copyright Act of 1909
The Grey Album was banned Backspin, Background
Musique concrete- tape-recording technology of music
John Cage- experimented with the tape recordings
Imaginary Landscape No. 5- called for the use of any 42 records to be “treated as sound sources, rather than being what they were”
Williams Mix and Fontana Mix- used sound fragments from street noise coughing, swallowing, etc.
Revolution #9’s rhythm was built from the sound of twenty tape loops pillaged from the archives of EMI, the Beatles’ record label. Mash It Up
2001- mashups came about as a new kind of pop music genre
“A Stroke of Genie-us” was the first mashup
Mashups allow composers to juxtapose two or more songs in interesting ways
Mashups couldn’t have happened without the digital distribution power of the Internet
File-trading networks such as Kaazaa, Limewire or the first Napster make it possible for mashups to circulate
There will always be new ways to combine things
Mashups follow the deconstructionist method
Deconstruction cannot be understood in the abstract because it is first and foremost an activity
Deconstruction is similar to the word analysis
The deconstructionist is a revolutionary reader, one who targets society’s old, taken-for-granted meanings
Mashups take two completely different songs and combine them together
Mashups are an extension of the experimental spirit of hip hop
Mashups allow people to participate in – make and remake – the pop culture that surrounds them
Mashups are a form of creativity
They depend on the recognizability of the original Negativland, Copyright Activism, and Pranks
Negativland- consisted of a group of audio pranksters who emerged in the early 1980s on the West Coast, a collective whose sound-collage endeavors initially came to the attention of the fringes of rock audiences