Music Exam 3

What other examples are there of sampling bringing attention to the music of the sampled artist in a positive way?

Today being the 42nd Anniversary of the death of rock legend Jimi Hendrix, we thought we would mark the occasion with a run down of hip-hop's top ten most sampled rock artists Who says rock and hip-hop don't mix? Although those faithful old funk and soul staples may first spring to mind as the cornerstones of hip-hop sampling, rock music has served as a bountiful source of samples ever since the genre's birth From the elusive drum breaks spun by the block party and community center DJs of New York's early hip hop scene to the instantly recognizable guitar riff of the rock-rap crossover hit, rock's presence in hip-hop is both varied and widespread With classics such as Billy Squier's 'The Big Beat' appearing on numerous live recordings of early hip-hop jams (see Force MCs live at Harlem World in 1981 for just one such example) it is hard to pinpoint the first use of a rock sample committed to wax There are nonetheless several key recordings in hip-hop's early history which brought the genre's unlikely love affair with rock to the attention of the world Perhaps the most notable was Run-DMC's 1986 hit 'Walk This Way', a groundbreaking rock-rap hybrid which saw the Queens trio team up with rock veterans Aerosmith to produce one of rock-rap's most memorable hits, skyrocketing rap's mainstream popularity and resurrecting Aerosmith's career in the process No less important is the Beastie Boys' 1986 Rick Rubin produced debut LP, 'Licensed to Ill', an album which spawned two timeless rock-rap singles, 'No Sleep Til Brooklyn' and 'Fight For Your Right'. In this post we pay tribute to the rockers who have wielded the greatest influence on hip-hop, providing the coveted building blocks of hard-hitting drums, memorable guitar riffs and primal screams which have, through the legacy of sampling, become unlikely hip-hop classics Some of the names on our list align neatly with those commonly identified as the most important rock artists of all time, but the list is not without its surprises - when it comes to creating a classic, hip-hop embraces all

Some other cases

Tom Petty vs. George W. Bush (2000) "I Won't Back Down" "Please be advised that this use has not been approved . . . Any use made by you or your campaign creates, either intentionally or unintentionally, the impression that you and your campaign have been endorsed by Tom Petty, which is not true." Bush Also ran afoul of John Mellencamp, and Sting, and Orleans Heart vs. Sarah Palin (2008) "Barracuda" "Sarah Palin's views and values in NO WAY represent us as American women," Heart said in a statement. "We ask that our song 'Barracuda' no longer be used to promote her image The song 'Barracuda' was written in the late Seventies as a scathing rant against the soulless, corporate nature of the music business, particularly for women. (The 'barracuda' represented the business.) While Heart did not and would not authorize the use of their song at the RNC, there's irony in Republican strategists' choice to make use of it there "Tom Petty vs. Michelle Bachmann (2011) "American Girl" Cease and desist letter sent Tom Morello (Rage Against the Machine) vs. Paul Ryan (2012) Ryan cited the outspoken political group as a favorite artist "Paul Ryan's love of Rage Against the Machine is amusing, because he is the embodiment of the machine that our music has been raging against for two decade Don't mistake me, I clearly see that Ryan has a whole lotta "rage" in him: A rage against women, a rage against immigrants, a rage against workers, a rage against gays, a rage against the poor, a rage against the environment Basically the only thing he's not raging against is the privileged elite he's groveling in front of for campaign contributions. R.E.M. vs. Donald Trump (2015) "It's the End of the World As We Know It (And I Feel Fine)"Dropkick Murphys vs. Jeff Fitzgerald/Scott Walker (2012/2015)

"The Sound of Silence"

Written by Paul Simon in the wake of the Kennedy assassination, but not directly about it Since its initial release by Simon and Garfunkel in 1964, the song has compiled many layers of meaning, drawing on the song's and the artists' association with the Vietnam War (and general nostalgia for the 1960s) and New York City

Post-rock

a form of experimental rock characterized by a focus on exploring textures and timbre over traditional rock song structures, chords, or riffs. Post-rock artists are often instrumental, typically combining rock instrumentation with electronics

New Wave

a form of rock music encompassing numerous pop-oriented music styles popular in the late 1970s and the 1980s. It is rooted in mid-1970s punk rock. New wave moved away from traditional blues and rock and roll sounds to create pop and rock music that incorporated disco, mod and electronic music

Heavy metal

a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States

Jam band

a musical group whose live albums and concerts relate to a fan culture that began in the 1960s with the Grateful Dead and The Allman Brothers Band, both of whom held lengthy jams at concerts

Pop punk

an alternative rock genre that combines uptempo punk rock moods with power pop harmonies

Beyoncé, Lemonade (2016)

"Video album" released on HBO Conceived of as a portrait of black, Southern, female identity "Formation" Song and video released in January 2016 foregrounded the expression of social and political views grounded in her racial, regional, and gender idenities References the response to Hurricane Katrina and the Black Lives Mager movement The video, along with her performance at the Super Bowl, drew criticism of "politicizing" pop music

What are the similarities and differences highlighted between Springsteen's The Rising and the Beastie Boys' To the Five Boroughs? In what ways does the author see albums as differing from the singles and live performances in the immediate wake of the 9/11 attacks?

At the time of each album's release, Springsteen's The Rising and the Beastie Boys' To the Five Boroughs offered unique opportunities for listeners to engage in a process of mourning and empowerment Like The Rising, To the Five Boroughs encourages the listener to engage in a process of identity with the artists and with the city In their penultimate album To the Five Boroughs, however, they acknowledge that urban renewal has since changed the landscape of their city There aren't many other events in American history that can even come close to the scope of loss the country experienced, not in peace time, not on American soil, and certainly not broadcast live on national television on every channel

Six Parts Seven

Band from Kent, Ohio, active from 1995-2008 Focused on electric guitar, but incorporating viola, lap steel, piano, vibraphone, banjo Influences from jazz and Americana Instrumental compositions based more on song forms than slow build "I like the idea that music, all music, but especially Instrumental music...is open ended--the listener completes the song by actually listening to it, that listening is an form of creation, too Six Parts Seven, Everywhere and Right Here (2004), "A Blueprint of Something Never Finished Would you place these examples in the same category?

Sigur Rós

Band from Reykjavik, Iceland "Classic" rock band format Guitar, keyboards, bass, drums often augmented by strings and brass, and some electronics/tape effects Styles range from ambient textures to driving rock to pop Unlike most post-rock bands, most tracks feature singing Guitarist Jónsi Birgisson's falsetto vocals are sung in either Icelandic or "Hopelandic" - a "language" consisting of vocables (non-sematic utterances) If he sang in English, would it still be post-rock? • Takk... (2005): "Hoppípolla/Međ Blóđnasir" Live performance from the concert film Heima (Homeland), documenting a tour of outdoor spaces in Iceland

How was Public Enemy revolutionary both in their sound and in their message? What does it mean that they were "reanimating" the voices of iconic black leaders by sampling their speeches?

COMMUNITY CLASSROOM is an educational resource providing new documentary film content and accompanying curricular materials, lesson plans, and homework assignments to high school and community college instructors and youth-serving community-based organizations Film content includes approximately 15 to 20 minutes excerpted from independently produced documentary films from ITVS International's Global Perspectives Project and the Emmy Award-winning PBS series Independent Lens Content is grouped into subject specific segments that correspond to lesson plans and educational activities All COMMUNITY CLASSROOM materials are designed with key education standards in mind, and are available, along with the film content, on DVD and online COMMUNITY CLASSROOM is a product of the Independent Television Service, with support from the Corporation for Public Broadcasting, and with guidance from PBS Teachers, KQED Education Network, American Association of Community Colleges, National Council for the Social Studies, National Council of Teachers of English, National Association for Media Literacy Education and National State Teachers of the Year

Some Laws

Copyright Act of 1891 Ownership of musical compositions (in score form) given to authors rather than publishers Copyright Act of 1909 Protections extended to mechanical reproductions (recordings) Copyright Act of 1976 Protections extended to sound recordings themselves Length of copyright extended Digital Millennium Copyright Act (1998) World Intellectual Property Organization Digital Rights Management The Sonny Bono Copyright Term Extension Act (1998) Adds 20 years to copyright terms, for a total of 70 years after the creator's death The Digital Theft Deterrence and Copyright Damages Improvement Act (1999) Allows fines of $750-$150,000 per track Stop Online Piracy Act (SOPA)/Protect IP Act (PIPA) (2011) Sought to levy penalties against internet hosts in addition to users Failed after protests from both "legitimate" (Google, Wikipedia) and "fringe" (Anonymous) interests Trans-Pacific Partnership (2013-) Massive international trade agreement US is pushing for extreme powers in prosecuting copyright infringement Wait and see...

What is Creative Commons? How does it work, and how does it mediate between the rights of the artist and the creativity of the samplers?

Creative Commons is a nonprofit organization that works to increase the amount of creativity (cultural, educational, and scientific content) available in "the commons" — the body of work that is available to the public for free and legal sharing, use, repurposing, and remixing How Does Creative Commons Work? Creative Commons provides free, easy-to-use legal tools that give everyone from individual "user generated content" creators to major companies and institutions a simple, standardized way to pre-clear usage rights to creative work they own the copyright to CC licenses let people easily change their copyright terms from the default of "all rights reserved" to "some rights reserved." Creative Commons licenses are not an alternative to copyright They apply on top of copyright, so you can modify your copyright terms to best suit your needs We've collaborated with copyright experts all around the world to ensure that our licenses work globally

How have popular musicians reacted to Spotify's business model?

Ever since Thom Yorke's Atoms for Peace removed their albums from Spotify, a heated debate has been raging over the value of streaming music services for musicians and the music industry The argument may have gone mainstream in recent weeks, but it's not a new discussion In fact, the question of how streaming pays off for musicians has been causing ructions within the music industry for a couple of years now It's an emotional debate, and an important one at a critical time for artists and the industry, as they look for the best way forward after more than a decade of declining sales for recorded music, post-Napster Yet it's also a debate dominated by gut feelings and data of varying quality, and a tendency to slip into polarised opinions along the lines of "Spotify is just the latest embodiment of THE MAN!" or "Thom Yorke's a rich HYPOCRITE!" Earlier this year, I published a roundup of views and data on the streaming music / artists debate for industry site Music Ally Now feels like a good time to publish an updated version here, with a selection of 10 pieces for artists and fans alike to read and think about Not Frere-Jones' words, but a useful collection of the tweeted criticisms of Spotify and the streaming business model by Atoms for Peace's Nigel Godrich Independent musician Krukowski (of Galaxie 500 and Damon and Naomi) has already made one influential contribution to the streaming debate with his Making Cents op-ed for Pitchfork last year, breaking down his royalty payments That's an important read, but his new piece has some thoughts on how the music industry might learn from open-source software culture, with musicians finding a new "decentralised" network to distribute streaming music and make money off the back of it Not Meyer's words, but those of cellist Zoe Keating, on whose data the article is based Keating published a Google doc of her digital royalties for a six-month period, to help people analyse where the money was coming from, and what streaming's role might be in that "In the interest of evolving the discussion, I am making myself into a data point," as she put it 97% of Keating's digital income came from sales through iTunes, Amazon and her own Bandcamp page, but as the quote above indicates, she sees streaming in a positive light Also read her What I want from internet radio blog post from November 2012 where her views are just as applicable to Spotify and other streaming services: "I wish I could make this demand: stream my music, but in exchange give me my listener data The new model says that in the future I'm not supposed to sell music: I'm supposed to sell concert tickets and tshirts Ok fine, so put me in touch with the people who will buy concert tickets and tshirts." When artists sell music, they get a one-off cut of the selling price When that music is being streamed, they get a (much smaller) payment for every play Musician Sam Duckworth recently explained how 4,685 Spotify plays of his last solo album earned him £19.22, but the question is just as much about how much streams of the album might earn him over the next 10, 20, 30 years Economist David Touve has been applying his knowledge to exactly this question, in an attempt to provide useful data on how streaming payouts may compare to download sales over time Mulligan is a music industry analyst with a good, balanced handle on how new business models like Spotify fit into the wider scheme of things Again, a key point here is to think about pay-per-play over a longer period of time, rather than simply comparing download and streaming payouts now He also notes that a lot of data around streaming royalties has "been misinterpreted and stripped of crucial context", including the contract an artist is on, whether they write their own songs, and how their music is getting onto streaming services Macias runs US firm Thirty Tigers, which distributes albums for independent artists This was his response to Damon Krukowski's Making Cents article, and he suggested that musicians should be asking their labels tough questions about streaming money, rather than just Spotify and rival services He also suggested that in the earliest days of digital music, the music industry "conducted their affairs in an atmosphere of fear and lack of understanding, and many bad decisions resulted", and warns that now more power is shifting to artists and managers, "let's be careful not to make similar mistakes because we're approaching the discussion from that same vantage point of misinformation and fear" King's interview with Wallach - a musician who's also Spotify's official "artist-in-residence" - is a good primer on how the company is pitching its business model to musicians It includes his hopes for the future that "If we can get to the scale of Netflix - which has 20 million subscribers - we estimate we'd be paying out to artists what iTunes is paying out on a year to year basis" Although more accurately he means how much Spotify would be paying out to the music industry: labels and publishers, and then onto artists and songwriters depending on their deals with those rightsholders This report was published by Spotify's own director of economics, although it's not a direct response to the artist payouts debate Instead, it's an analysis of piracy, sales and streams in one country - the Netherlands - looking at whether Spotify and its rivals have reduced piracy there, and what happens when artists withhold their albums from streaming services No surprise, perhaps, that it suggests the answer to the first question is yes, and that in the second case, artists who withhold see more pirated downloads per legal sale than those who don't Even so, this is a reminder that since they first launched, streaming services have argued that they're cannibalising piracy more than sales, but have lacked definitive data to prove their case This report is Spotify's attempt to make a step forward on that front Google-bashing is increasingly common within the music industry, but this piece from The Trichordist isn't just about that The blog, which campaigns for an "ethical and sustainable internet" for artists, has regularly trained its sights on advertising-supported piracy sites, where ads from big brands (served by major ad networks) may be providing an income for copyright infringement One facet of this argument: if more of those advertising revenues were flowing into the coffers of Spotify and its rivals, they'd be paying artists more money A US scheme was recently announced to block ads from Google and other networks from sites offering pirated content, so there is action on this score Out of the many thousands of words written about Spotify vs Atoms for Peace, this article on trade website CMU has the best blend of balance and constructive suggestions for the future The point is not just that artists can sell tickets and t-shirts so shouldn't worry about how high (or low) their streaming payouts are, though It's a pointer to a healthier relationship between services like Spotify and musicians, where the former find more ways to help the latter make money by pointing fans towards tickets, merchandise, box-sets, crowdfunding campaigns and so on

The Dixie Chicks and the Politics of Genre

Following a public statement against the invasion of Iraq by lead singer Natalie Maines, the Dixie Chicks go from beloved and top-selling country artists to the targets of boycotts and death threats This incident foregrounded the debate over definitions of "patriotism" and the increasingly political nature of genre demographics The "rock vs. country" political idea persists in the current election cycle

What types of organizations were formed to advocate for unrestricted free speech in popular music? What types advocate for some kinds of regulation?

For every critic who urges the ce~sorship of rap and heavy metal lyrics, there is a free speech advocate who views these genres as the last bastion ofmeaningful social criticism Pro-music advocates must stop accepting hearings where they are not heard and legislation that penalizes minimum-wage retail clerks for failing to "protect" minors

High-minded Music Videos

For some performers music videos provided a visual counterpart to their artistic visions Eurythmics, "Sweet Dreams (Are Made of This)" (1983) Synth-pop - a subgenre focused on electronic sounds and drum beats Video as a vehicle for social commentary: some obvious, some not Singer Annie Lennox: "The video is a statement about the different forms of existence. Here are humans, with our dreams of industry and achievement and success. And here is a cow." Peter Gabriel, "Sledgehammer" (1986) Former lead singer of prog rock band Genesis Solo work integrated art rock ideas with pop and world music Video for "Sledgehammer" raised the bar for videos as an art form, incorporating fantastical imagery and stop-motion animation

How does the author interpret the motivations of neo-conservative politicians in the 1980s and early 1990s?

In a self-conscious reaction to the more progressive tone of the 1960s, the neo-conservatives of the Republican Party strove to reassert elements of the nation's Puritan heritage within late twentieth-century American culture Elected officials and appointees alike promoted a sweeping social view of what was acceptably American-centered on the notion of "family values" -in order to satisfy a well-organized, politicized, overtly Christian segment of their party and ensure their continued hold on political power Without a universal, monolithic, external enemy, Communism, it became more difficult for the neo-conservatives in power to assert their moral authority in stark relief It became politically and rhetorically advantageous to make examples of people outside the mainstream of American life as they defined it

How is the process of musical sampling reflected in other musical procedures and in other art forms?

In music, sampling is the reuse of a portion (or sample) of a sound recording in another recording Samples may comprise rhythm, melody, speech, sounds, or entire bars of music, and may be layered, equalized, sped up or slowed down, repitched, looped, or otherwise manipulated. They are usually integrated using hardware (samplers) or software such as digital audio workstations A process similar to sampling originated in the 1940s with musique concrète, experimental music created by splicing and looping tape The mid-20th century saw the introduction of keyboard instruments that played back sounds recorded on tape, such as the Mellotron The term sampling was coined in the late 1970s by the creators of the Fairlight CMI, an influential sampling synthesizer Initially, samplers were unaffordable for most musicians and could only play back short sounds; as technology improved, cheaper samplers with more memory emerged, such as the E-mu Emulator, Akai S950, and Akai MPC Sampling is a foundation of hip hop music, which emerged with 1980s producers sampling funk and soul records, particularly drum breaks, to be rapped over Sampling has since influenced all genres of music, particularly electronic music and pop Musicians have created albums assembled entirely from samples, such as DJ Shadow's 1996 album Endtroducing Samples such as the Amen break, the "Funky Drummer" drum break, and the orchestra hit have been used in thousands of recordings Sampling without permission can infringe copyright The process of acquiring permission for a sample is known as clearance, a potentially complex and costly process Landmark legal cases, such as Grand Upright Music, Ltd. v. Warner Bros. Records Inc (1991), changed how samples are used; as the court ruled that unlicensed sampling constitutes copyright infringement, samples from well known sources are now often prohibitively expensive

Perez Prado genre

MAMBO

How are artists paid by Spotify? How is this model different for independent artists and major labels?

Many artists in the music industry are jumping onto the streaming service bandwagon If you pay close attention to how many times a song has been downloaded, you'll be amazed by the number of streams your favorite artist has You may wonder how much an artist is paid for their songs and if they are paid every time a track is played on Spotify The Los Angeles music promotion company Planetary Group invite you to keep reading as we explain some details surrounding Spotify and examine whether artists get paid every time their music is played on this streaming platform WILL I GET PAID EVERY TIME SPOTIFY PLAYS MY SONG? Whether you are an independent artist or one signed to a major label, you will likely use one or more streaming services to get your music out there for everybody to experience and enjoy Additionally, this will help you obtain revenue for your musical productions Artists of all kinds converge in arguably the most prominent music streaming service around: Spotify They offer the product of their musical labors, hoping it reaches ears around the world and gets as many streams or downloads as it can The reasoning behind this is that the higher the number of downloads, the better the payout However, recent years have seen an outcry from many artists claiming they are not getting paid enough for streaming music on Spotify Many artists have argued that the music streaming giant's payouts are simply not high enough Spotify used to pay between $0.006 and $0.0084 to artists for their songs However, the amount of money mentioned before still needs to be split among different people For instance, the final payout Spotify will grant the artist has to be divided among the artist's record label (if they have one), their publisher, and other entities such as the American Society of Composers, Authors, and Publishers (ASCAP) Recently, Spotify increased its payout per stream However, this increase still needs to be split up between different parties with a financial interest in the work (publishers, writers, etc.) These amounts are still the subject of intense debate among many artists, from those tied to a contract with a major record label or those managing their own careers To put it in perspective, an artist would need roughly 400,000 streams to earn an amount comparable to the average monthly minimum wage Multiple sources have reported that Spotify will continue to increase their payouts as the number of subscriptions for their service grows HOW CAN I BENEFIT FROM A MUSIC STREAMING SERVICE? Streaming services have become a cornerstone of the music industry Millions of people subscribe to these services to enjoy their favorite music at any point in time As we mentioned before, the amount of money left after everybody has gotten their cut is not enough for many artists However, there is another side to this coin that can and should be seen positively One of the main reasons why streaming services are so important is because they allow you to connect with millions of people This includes people who have listened to your songs before or people who may be exposed to your music for the first time This is an exposure you may not be able to get somewhere else Traditionally, other platforms, such as promoting music on the radio, can help you impact a particular segment of the populace However, streaming services such as Spotify can give people access to the music of their favorite artists any time they wish for as long as they want This ease of access and the amount of control the user has over their music may work to your advantage If you are an up-and-coming artist looking to expand your fan base and widen your popular appeal, then music streaming services can help Often, independent musicians struggle to focus on their careers while working on their artistic projects at the same time With the introduction of music streaming services, artists can work on their projects and easily release them on these virtual platforms for the world to enjoy Granted, the return on investment via streaming may not be enough to live on, but it can help to boost your presence in the market Another exciting benefit of streaming your music is having access to valuable data You can see how many people have listened to your music, giving you an idea of what needs improvement or what has been a hit with listeners Despite intense debate regarding revenues and royalties, these digital platforms may become an important part of your music promotion efforts

Riot GRRRL

Movement originating in the early 1990s that offered an alternative to the male-dominated hardcore scene Riot Grrrl meetings provided a space for women to question gender roles and confront their identities while speaking openly about their experiences with rape, sexuality, racism, oppression, and domestic violence Like hardcore, the Riot Grrrl movement had several distinct regional scenes Riot Grrrl Olympia (Washington) Riot Grrrl DC - first RG convention, 1992 Riot Grrrl NYC Media attention lead to the construction of a static image of a dynamic scene, and the cooptation of "grrrl" by the mainstream

American Pop Music after 9/11

Much of the popular music releases in the aftermath of 9/11 highlights the cultural divisions that can accompany genre distinctions, particularly those between rock and country As in other cases, lyrics and musical quotations are often taken outside of their original contexts

How did diverging views on popular music reflect an increasingly prevalent narrative based on the binary opposition of two sides engaged in a "culture war?"

Orthodox, Eurocentric notions of American culture were used to demonize internal enemies, and "culture war" was declared on those who would subvert or undermine the treasured "family values" In the view of Richard Bolton, who edited the volume Culture Wars: Documents from the Recent Controversies in the Arts, "opponents of the NEA [National Endowment for the ArtsI practiced a political strategy developed by anti-communists in the 1950s: accuse those with whom you disagree ofsedition and immorality; but first marginalize the opposition and limit its access to public communication" Yet despite the disengagement of broad segments ofthe American populace, the rhetorical skirmishes ofthe culture war played well in the media, effectively promoting the orthodox agenda to those most likely to vote in elections All of these groups are party to, if not instigators of, the "culture war" on American popular music, ready and willing to renew their battles when they see an opportunity or sense weakness among popular music's supporters

Some Legal Cases

Sony BMG Music Entertainment vs. Tenenbaum Joel Tenenbaum accused of shared 30 songs via Kazaa Original verdict (2009): $675,000 On appeal (2010), reduced to $67,500 by District Court Full fines reinstated in First Circuit of Federal Court (2011) Supreme Court denied hearing the case (2012) Capitol vs. Thomas Jammie Thomas-Rasset accused of sharing 24 songs via Kazaa First trial (2007): $222,000 judgment ($9,250/song), but declared mistrial Second trial (2009): $1,920,000 ($80,000/song);on appeal, lowered to $54,000 ($2,250/song); proposed settlement of $25,000 rejected by defense Third trial (2010): $1,500,000 ($62,500/song); again reduced to $54,000 Appeal by plaintiffs: Original judgment of $220,000 reinstated; Thomas-Rasset declares bankruptcyA&M Records, Inc. et al v. Napster, Inc. (2001) 18 Record labels acted together as plaintiffs Napster forced to shut down Record companies awarded $26,000,000 MGM Studios, Inc. et al v. Grokster, Ltd. (2005) US Supreme Court found that companies distributing fire-sharing technology were liable for "acts of infringement by third parties" Grokster shut down, forced to pay $50,000,000. RIAA v. LimeWire (2010) Industry claimed $1,000,000,000 worth of infringement LimeWire ordered by judge to shut down, October 2010 EMI vs. Media Rights Technologies (2010) MRT sold music by Beatles, Coldplay, Radiohead, etc., claiming to have "psycho-acoustically" altered them MRT agreed to pay EMI $950,000

What technologies drive Spotify's user interfaces?

Spotify's direct listing earlier this month on the New York Stock Exchange doesn't mean that the company is taking it easy, as it has just rolled out a new user interface with a number of new features on its freemium tier The catch, for the moment at least, is that only new users will see it Spotify is now providing freemium users access to 15 playlists that include the popular Discover Weekly and daily mixes, as well as its top-rated RapCaviar What's more, these playlists can now be played in any order with no skips, unlike previously where they were limited to shuffle mode Maybe most importantly though, is that these lists will now include the latest releases as well Playlists are a big deal for Spotify and a brand new tool called "assisted playlisting" allows users to type in an event or mood like "birthday party" and receive "contextual recommendations relevant to your music tastes." These lists are also updated as other users add songs to the playlist The new emphasis on playlists is actually a direct assault on both radio and mix tapes, as the streaming giant tries to bridge the gap to make them less meaningful According to Spotify, "Our ad-supported service functions like the biggest radio station in the world 10 billion times a month, listeners across both Spotify and Spotify premium stream a new artist they've never heard before." The company has also updated and simplified the interface on its user's home pages as the user sees all relevant playlists and recommendations sooner Also undergoing extensive updating were its Android and iOS apps that include a new "Data Saver" mode that will reduce its data usage by up to 75 percent when used over 3G According to Spotify, it now has 90+ million freemium users and 157 million total users worldwide 71% of them are under the age of 34 It currently offers 35 million tracks in its extensive catalog In other words, there are no signs that it's slowing down

What are some of the arguments for and against the legitimacy of sampling as a creative art? What backgrounds do the people on each side of this debate seem to come from?

Straw Man Some shrink from a fair quest for the truth by setting up a straw man argument Instead of attacking the opposition head-on, a straw man fallacy misrepresents the opposing position, making it seem weaker than it is

Clyde Stubblefield, the most sampled drummer in hip-hop, worked as a session musician on James Brown's records, and never received publishing or composing credit for music on which he was prominently featured. Is this fair? Why or why not? Should he be compensated for the use of his drum hits and patterns in sampled music?

Stubblefield and Colman were working in an era when it was hard for even big name artists to get the money they were owed - so for mere session musicians it would have been impossible The music business is built upon the exploitation of copyrights and neither musician had any ownership of their most important work In some ways, that is still the accepted lot of the session musician You sell your creativity and instrumental or vocal skills for a one-off fee But without these musicians' extraordinary rhythmic imaginations, the records that we have all been dancing to for the last 30 years would have been lacking that crucial funk factor We should take our hats off to these unsung heroes

Continuities in popular music

Teen Idols Justin Bieber Music and dance Spread of elements of Electronic Dance Music (EDM) into all corners of pop music - a parallel to the ubiquity of "rock" in the 1970s Dance fads still a part of the Top 40 2015-2016: The Whip / Nae Nae The Wobble The Dab The Stanky Leg Songwriting formulas Established forms co-exist with newer models The multi-chorus form Copyright issues Ed Sheeran, "Thinking Out Loud" vs. Marvin Gaye, "Let's Get it On" Same chords, same key, same basic bass line The "answer song" / Celebrity rivalries Taylor Swift vs. Katy Perry East Coast vs. West Coast hip-hop "Honky Tonk Angels" vs. "The Wild Side of Life"Genres and crossover The mainstream absorbs everything Historical hip-hop musical Hamilton is a megahit Crossing genres still carries cultural significance Steve Earle: "The country coming out of Nashville today is just hip-hop for people who are afraid of black people" What he really said: "The best stuff coming out of Nashville is all by women except for Chris Stapleton He's great The guys just wanna sing about getting ****ed up They're just doing hip-hop for people who are afraid of black people I like the new Kendrick Lamar record, so I'll just listen to that." Pop music as "Art" Bob Dylan wins the Nobel Prize for Literature Jay-Z becomes first rapper inducted to Songwriters Hall of Fame

White rappers and appropriation

The discussion of appropriation and privilege is foregrounded in the reception of white performers who engage with hip-hop Artists themselves take a role in the debate over issues of "authenticity" Video: Brother Ali vs. Iggy Azelea and Macklemore Macklemore speaks for himself This, to me, is what it comes down to: You need to know your place in the culture Are you taking or are you contributing? You need to listen, you need to be humble This is a whole debate, but this is not my culture to begin with This is not a culture that white people started I do believe that as much as I have honed my craft and put in years of dedication into the music that I love, I need to know my place Why am I safe? Why can I cuss on a record, have a parental advisory sticker on the cover of my album, and yet parents are still like, 'You're the only rap album I let my kids listen to'? Why can I wear a hoodie and not be labeled a thug? Why can I sag my pants and not be labeled a gangbanger? Why am I on Ellen's couch and Good Morning America? If I was black, what would my [past] drug addiction look like? It would be twisted into something else rather than people being like, 'Get back on your feet!' To me, the privilege that exists in the music industry is the same privilege that exists in America as a whole It's white privilege

How did the early cases of sample lawsuits in the 1990s change the way hip-hop producers approached sampling in subsequent decades? What artists were targeted?

As a result, landmark albums such as De La Soul's Three Feet High and Rising and Public Enemy's It Takes a Nation of Millions to Hold Us Back, built upon a dizzying array of samples, soon became all but impossible to produce because of the costs involved (according to Spin the average base price to clear a single sample is $10,000) To this day, sample-based rap remains a shadow of its former self, practiced only by hip hop's elite—those with the budgets to clear increasingly expensive samples or defend lawsuits when they don't Some of the consequences for rap music as a genre are clear, the most obvious being that the sound of the music has changed The relatively sample-free soundscapes of producers like Timbaland or the Neptunes are a testament to that fact, as are the songs that rely on just one or two samples rather than 20 or 30 But might there be subtler, thematic implications of the decline in sampling? It's notable, for instance, that at the same time sampling was curbed by new copyright enforcement, we also witnessed the sunset of rap's "golden age," a time when dropping socially or politically engaged lyrics didn't automatically relegate artists to "the underground." As someone who studies and teaches about hip hop (and who's been listening to the music for 25 years), I'm not sure that's a coincidence After all, sampling provided an important engagement with musical and political history, a connection that was interrupted by Grand Upright and the cases after it, coinciding with a growing disconnect between rap music and a sense of social responsibility That's not to say sampling always resulted in the lyrics that educated, even during the "golden age." The Beastie Boys' 1989 album Paul's Boutique, a sampling classic, wasn't exactly concerned with social edification But as Hank Shocklee, pioneering member of Public Enemy's production team The Bomb Squad, told me, having open access to samples often did significantly impact artists' lyrical content: "A lot of the records that were being sampled were socially conscious, socially relevant records, and that has a way of shaping the lyrics that you're going to write in conjunction with them." When you take sampling out of the equation, Shocklee said, much of the social consciousness disappears because, as he put it, "artists' lyrical reference point only lies within themselves." When that lyrical reference point can be rooted in previous compositions, the creative possibilities become astonishing Take the first 30 seconds of Public Enemy's song "Can't Truss It," off their 1991 album Apocalypse 91: The Enemy Strikes Black Lyrically, the song argues that in order to understand the present, African Americans have to understand the past—they've got to "get to the roots" and grapple with the historical legacy of slavery To reinforce the song's message, there's an entire storyline of samples underpinning the lyrics, beginning with Richard Pryor's voice saying, "It started in slave ships." Then, immediately following, is a distorted sample of Alex Haley, author of Roots (hence the connection to the song's focus on "roots"), describing the horrors of the Middle Passage That clip then cuts to a sample of Malcolm X's voice, arguing for violent resistance, which ultimately foreshadows Chuck D's vengeance later in the song when he raps, "Still I plan to get my hands around the neck of the man with the whip." All throughout these opening moments, we hear churning helicopter blades, providing a sonic connection to the present and a reminder of the ways in which police and military power are still used to maintain the hierarchies that trace back to slavery The complex use of samples to comment on and reinforce the song's message continues throughout; at one point, there's a sampled bass line from the group Slave, an obvious connection to the lyrical content, and a subtle call to collective action with a recurring but not immediately identifiable sample of James Brown's "Get Up, Get Into It, Get Involved." Calling and responding to one another, the samples and the lyrics create complementary, interconnected narratives that take listeners on a historical tour through music and politics, in the process offering a reminder that rap music resides within creative, intellectual, and communal traditions that are, in the words of Dead Prez, "bigger than hip hop."

What types of stories are told in the songs of The Rising? Were they all written in response to 9/11? How has Springsteen's political engagement changed over the course of his career?

At the time of each album's release, Springsteen's The Rising and the Beastie Boys' To the Five Boroughs offered unique opportunities for listeners to engage in a process of mourning and empowerment In [57], the songs speak of the concrete things of everyday life, "shirts in the closet/shoes in the hall," but they also draw on metaphor, and the dominant metaphor is rising, whether it is the rising smoke of the towers or the fire fighter rising up the stairwell or a spirit lifting out of despair Like The Rising, To the Five Boroughs encourages the listener to engage in a process of identity with the artists and with the city At the time of each album's release, Springsteen's The Rising and the Beastie Boys' To the Five Boroughs offered unique opportunities for listeners to engage in a process of mourning and empowerment Although neither album deals exclusively with these events, Bruce Springsteen's [57] (2002) and the Beastie Boys' [28] (2004) offer two very different viewpoints of the America they wish to commemorate, defend, and support Although musicians quickly responded to 9/11 in many different ways—recording singles, performing at benefits, or donating proceeds from the sales of unrelated projects—Bruce Springsteen (a very visible presence at events right after 9/11, like the Tribute to Heroes benefit) and the Beastie Boys undertook their large‐scale projects after the proverbial and literal dust had settled The collaborative nature of the Beastie Boys' music is quite different from the singular voice with which Springsteen speaks, but both the Beastie Boys and Springsteen express a desire to reach out through the music and share the experience of this event with their listeners Whether it's Springsteen's metaphorical command to "Rise up!" or the Beastie Boys' plea for Americans to learn more about world politics, both artists use the forum of their albums as an opportunity for exhortation Springsteen's lyrics go right to the emotional center of the tragedy, as he uses song after song to explore the different reactions of the people involved There is no way Springsteen could have reached this depth of emotion in a shorter format. [57] was for many the quintessential 9/11 album As Springsteen's album was first, it dealt more with the immediate aftermath and the country's emotional response, while the Beastie Boys waited for the raw emotionality to dull somewhat Springsteen, who took a political stance during the 2004 presidential election (an issue I will discuss in greater detail below), did not include an overt partisan message in [57]—released in 2002—but rather couched issues of politics and human rights in a metaphorical and therefore more universal context The televised benefit concert, which featured Springsteen prominently, raised well over $100 million dollars The listener assumes each of the identities that Springsteen assumes when he sings The America that Springsteen defends is the one full of the working‐class heroes whose job it is to keep us safe from harm every day Springsteen's status as a Jersey Boy also plays into his identity as the artist; New Jersey lost many citizens in the World Trade Center Springsteen has always been keenly aware of this need for identification The first song Springsteen performed at the telethon on 21 September 2001 was "My City of Ruins," which Springsteen neophytes might have believed was written for the occasion, but which was a year old by the time 9/11 happened The "city" of the song's title refers to Asbury Park, but Springsteen, who, by the time of the telethon broadcast had already written rough versions of two songs from [57], opened the telethon with the older song, and its lyrics seemed to take on new emotional meaning We might even go so far as to say that with this song Springsteen cast America as a single community with all of its citizens mourning for their city of ruins In an interview Springsteen said: "After that performance, when I sat down to write a song [for [57]], whatever I wrote was in that emotional context" ([ 4] 66) After Springsteen's breakout '80s hit album [46]—a highly charged political statement about Reagan‐era politics—the artist's subsequent projects tended to shy away from expressing political opinions (with the possible exception of [53]) This is not to say that Springsteen had no strong political feelings; indeed, he has for years been active as an advocate for basic human rights, encouraging audience members to bring food‐bank donations to his concerts and touring with the Amnesty International's Human Rights Now! tour in 1998 ([12] 85)[57] maintained Springsteen's distance from partisan politics Springsteen did not get overtly politicized until 2004 when he joined John Kerry on the campaign trail Of course, the political events after 9/11—not just the Iraq war and allegations that Bush misled the country, but also what Springsteen saw as the Federal government's unjust tolerance of corporate misdeeds—strengthened Springsteen's resolve to play for Kerry's campaign rallies In 2004, Springsteen gave a lengthy interview to Rolling Stone's Jann S. Wenner in which he justified his decision to offer his unambiguous support for the Democratic candidate Poised at what he deemed an important cultural moment, Springsteen decided he would not remain silent: The artist is there to open up discourse, to get people thinking about American identity: Who are we? What do we fight for? What do we stand for? I view these things as a fundamental part of my job, and they have been for the past thirty years Still, in the year following 9/11, political concerns were certainly at the back of Springsteen's mind, if they were there at all The first song Springsteen wrote after the events of 9/11—a few days after, as it happens—was "Into the Fire" and Springsteen has talked about the significance of writing the song in two distinct styles This collapse is a lasting image, one that Springsteen seized upon and inverted The feeling of why Springsteen had to make this album was, on the one hand, wholly personal, that of an artist who works through his own grief with music In an interview, Springsteen told a story of being at the beach a few days after 9/11 A man called out to Springsteen from a passing car: "We need you!" Both Bruce Springsteen and the Beastie Boys understood that their respective audiences needed them to speak out in their own unique way Since [57] was released less than a year after 9/11, Springsteen eschewed specific references to the attack, choosing instead to concentrate on the emotional aftermath of loss

Merle Haggard genre

BAKERSFIELD SOUND

How has Spotify facilitated the success of emerging major label artists like Lorde?

Before New Zealand pop-star Lorde was on every radio station in the U.S. and topping the Billboard Hot 100 list, she was featured on Sean Parker's Spotify playlist--Hipster International Lorde (Photo by Charles Howells--Windish Agency The Napster co-founder, former Facebook president, billionaire and early Spotify backer also runs one of the most influential playlists on the Spotify platform with 814,000 subscribers "I feel like in many ways she's the antidote to disposable pop music," Parker tells me "I feel like it was accessible to the same people who listen to Katy Perry, for instance, but there's obviously something more authentic and personal to Lorde's music I got the sense she represents the return to a singer-songwriter approach to songwriting, and yet she has a knack for writing incredibly infectious melodies." On April 2nd, Parker added Lorde's single "Royals" to Hipster International, a move that would help propel the then unknown sixteen-year-old to international stardom "The moment Lorde's "Royals" was added to Sean Parker's popular Hipster International playlist on Spotify, we saw an immediate reaction around the world," Jason Flom, the head of Lava Records, who signed Lorde this spring, said in an email "Six days later, "Royals" debuted on the Spotify Viral Chart The plays just kept growing as word of the track spread across their network It was the first spark that lit the blaze of attention and activity that culminated in Lorde's incredible album debut." Lorde continued to jump on Spotify's Viral Chart, cozying up with superstars like Katy Perry, Drake and Lady Gaga Steve Savoca, the head of content at Spotify, took notice quickly "It translated into this social phenomenon," says Savoca, who previously worked in digital marketing and business development for music labels like Sony and Warner "The users felt they discovered something really exciting and they wanted to express it They shared the track with friends on Spotify, Facebook and Twitter... it spread like wildfire." Savoca and his Spotify team began promoting Lorde throughout the platform and featured her on the Spotify homepage By May Lorde was already number one on Spotify's Viral Chart--it wasn't until June that traditional radio began to play "Royals." Fast forward to today, Lorde's music has been streamed 100 million times on Spotify (not to mention 92 million views just for "Royals" on Youtube) and is number one on the Billboard Hot 100, beating out the likes of Eminem and Miley Cyrus The foundation help Lorde's first album "Pure Heroine" debut on Spotify at number one this fall with more than six-million plays in its first week It's a big win for Lorde, and for Spotify Founder Daniel Ek, the most important man in music today, started the music platform seven years ago believing that Spotify's huge on-demand catalog combined with big data and social sharing could offer users (and artists) something better than piracy Lorde's success demonstrates the power of those features And in a time when artists like the Black Keys and Radiohead gripe that Spotify's royalty payment system is unfair to artists, the Lorde experience shows that through Spotify's platform an unknown New Zealand teenager can sometimes compete with the likes of Lady Gaga in the fame game Just as Google seeks eyeballs, Spotify is hunting for eardrums As more people listen and listen longer, Ek's platform grows stronger—he can get higher rates from advertisers, convert more users to paid subscriptions and continue to make Spotify a service the music labels can't ignore The more Lordes Spotify can break, the more attractive the service becomes, for both users and artists "It's completely democratic, if [users] like it, they will share it and listen more and more people will discover it," says Savoca "We're brokering relationships here, and when these relationships catch lightning in a bottle like the case of Lorde, it's our job to read that data and to chase those opportunities and make sure we're introducing exciting new artists to our users." As new acts surge on Spotify, Savoca's team will throw marketing muscle behind them--highlighting artists on the homepage, booking them for Spotify gigs, shooting interviews, and placing them in trending playlists and new campaigns like Spotlight that highlight up-and-coming talent The bet is that hosting fresh music and new artists will make Spotify the platform where users, labels and artists want to be "What's interesting is how many new artists get to have the same platform as anyone else," says Savoca "Look at the Billboard charts--you have these superstar super brands mixed with artists no one ever heard of three-months ago and it seems to be happening more frequently It's exciting because people are discovering new and interesting music again, it's not about just cloning the top forty radio to ensure you get on air—it's about making the music you want to make."

Referring to concepts and examples from the course materials, explain the idea of monogenre. How does this concept intersect with other cultural issues?

Before we get started, I'd like to remind you that I wholeheartedly reject the categorization of music for the purpose of making one genre "better" or "more important" over another To limit oneself to one specific type of music is akin to limiting oneself to one specific type of food We can discuss genres in order to help a musical conversation (French cuisine tastes different than Cajun food, but both are enjoyable to eat) but to only allow art to live in one specific cubbyhole does a disservice to the artist and the consumer of the art I recently had an off-the-record sitting-in-a-bar conversation (the best kind of conversation) with a super-well respected music producer about the current state of the music industry Basically he told me that he views the current music industry as a direct mirror-image of what it was in 1963 - just before the Beatles broke The Music Industry in 1963: A few record labels controlled everything Labels were mostly run by "money-men" and sales people from other industries (did you ever wonder why Music Row in Manhattan and the center of the early-Sixties music industry grew just a few blocks north of the Garment District?) Homogenized musical stylization that consumers mindlessly consumed because they assumed nothing better existed Pre-packaged stars and tours blotted the musical landscape as corporate types took all that was good about the rock rebellion of the Fifties and turned it into something you and your mom could all enjoy together whilst driving to the A&P in dad's Skylark Meanwhile, white America was pretty much unaware of the Delta Blues while British teenagers were injecting the sounds of the Mississippi Delta into their heads on a daily basis Good music is always available if you know where to find it My earliest memory is watching JFK's funeral on television with my brother My second earliest memory is a Beatles' song coming on the radio while driving with my parents (in a Ford) They weren't happy. Can you imagine the bloodshed and screaming if someone ever forced them to get a haircut? I don't really know what my mom meant by this (I was like four), but I do know my mother had an unparalleled talent for cracking wise, so it's anyone's guess Unfortunately for years afterward I thought if you let your hair grow too long and got it cut, your head would bleed and it would hurt Besides the uncomfortable memory of an impressionable youth, I don't need to tell you the impact the Beatles had on modern music, but what I will say is that because of the state of the politics and culture, something was going to break at that particular moment in time Maybe the Beatles got lucky or maybe they made it happen, but either way, we can rightly say that the Beatles changed everything for the next 45 years Musical microgenres and the monogenre are not new, it's just that the current music industry resident-geniuses-in-charge have successfully eliminated micro-genres from mass distribution in their myopic pursuit of mass appeal artists and quick returns on their investments Regional and Time-Specific Music American music grew from five distinct genres: Gospel/Spiritual, African folk music, British/Irish folk music, Military music and classical. Military music which was very popular in the years between the Civil War and the turn of the 20th Century has since been enveloped into American Classical, while the best examples of current American classical and orchestral music are found in theatrical soundtracks, which are not to be confused with Broadway-type music which comes from an amalgamation of early-American broadside music, minstrel music and the European Renaissance Delta Blues is different from Chicago Blues, even though the initial musical practitioners of Chicago Blues were all emigrants from the Mississippi Delta New York jazz, in the form of be-bop, is markedly different from New Orleans Dixieland Bluegrass music, specific to the Appalachian region, is completely different from the Bakersfield Sound, yet each of these aforementioned sub-genres are instantly recognizable as belonging to their main genre Take some time and play with your Pandora or Spotify account; listen to a history of popular American music and you will see trends develop The American music scene has always been rich because of its regionalization: The Beach Boys (Southern California) were completely different from the Standells (Boston). The O'Jays (Philadelphia via Canton, OH) were altogether different than the Isley Brothers (New York via Cincinnati, OH) In both cases, the music was recognizable as being similar in genre, but the individual talents and the vibe of the scene the music was being made in resulted in completely different feels ZZ Top (pre-Eliminator) and Stevie Ray Vaughn sound like they sound because of where they come from and where most of their music was developed (Texas), while George Thorogood and His Delaware Destroyers play the same music but don't sound anything like them Tommy James grew up in Michigan and played pop music in the vein of Fabian and Bobby Rydell until he moved to New York and immersed himself in the scene there in the late 60s and subsequently produced such classics as Crimson and Clover and Crystal Blue Persuasion Both are pure pop songs but both are also unmistakably counter-culture in message Every good musician and songwriter will tell you openly that they steal (borrow) from their influences As a musician you take the best of what you've heard and been influenced by and through some strange alchemy of talent turn it into something (hopefully) uniquely your own As positive as I am about the future of music, I can't help but wonder if the current state of the industry and the reliance on the two supergenres for revenue is going to stifle musical creativity going forward There are some who say that music in general is in a downward spiral because of this, but I still tend to disagree The Supergenre and the Monogenre Have you noticed that pretty much every male person between the ages of 25 and 38 all pretty much have a beard, the same haircut, the same plaid shirts, the same skinny jeans and the same suede desert boots? This is what I like to call the "fashion monogenre." Fashion (and music) is always in a struggle between being hip and fitting in or serving the individual. (Note: To those of you in the above picked on demographic who don't dress this way - I'm just making a silly allegory to help me make my point I'm not saying every guy this age dresses this way, in fact some don't even have beards) To show you how 'hip' works, here's a handy chart I like to call The Cycle of Hip: The best thing that ever happened to Bruce Springsteen was that he became a major rockstar The worst thing that ever happened to the Jersey Shore music scene was Bruce Springsteen Starting in about 1979, if you didn't look or sound like The Boss you didn't fit in to what people thought New Jersey Music should look and sound like. Some genius even coined a name for it: SOAP (Sound of Asbury Park) Every local songwriter thought they were the next Bruce and every local act searched high-and-low for a sax player It sucked Bruce is really good and he even waved at me once in downtown Freehold, but really, everybody has to be Bruce Jr. now? You might say that the very unique and compelling microgenre of Springsteen soon became the boring and trite supergenre of SOAP as non-artists chased after Bruce's magic money-making musical elixir Now that the people who are forcing bro-country on us have discovered hip-hop, the last two distinct musical movements in this country have been gene-spliced together into something that is bland and boring while at the same time completely devoid of any redeeming musical qualities But who cares? A couple of acts are making scads of money off of it Data for chart compiled from Statista.com Over the past few years, the only genre that saw a general increase in sales is rap While there are a lot of factors playing into the overall decline in music industry sales (streaming, less interest in physical product, piracy, boredom) we really can't ignore the fact that maybe the industry is producing product nobody really wants It's easy for the music industry to blame everyone else for their problems because it keeps the powers that be from having to take a long hard look at the mirrors in their collective executive washrooms, but I would suggest maybe they take stock in their product offerings and business model before they blame us for their problems Do you remember the 2002 Lincoln Blackwood Pickup Truck? Of course you don't, at $52,000 it was a lame excuse for a truck and an ugly car, so this horrible product that nobody wanted was only produced for one year Right now, in what was once known as popular music but is now more correctly referred to as corporate music, there are two supergenres: corporate rap and corporate country (derisively referred to as bro-country) Back when I was hip and up on things like current culture, I always looked forward to when our moms would start copping our clothing and music, because then I knew it was time for a new movement to break out. (Dads are generally too annoyed to cop our styles and our songs overtly - they do it clandestinely, like when they're driving you and your friends to the movies) Now the Today Show, and every other corporate entity chasing after every mom's expendable cash, is pushing homogenized rap and bro-country down our throats under the guise of full-package entertainment Have you ever noticed how completely similar every single corporate artist's stage show is anymore? Overly synchronized dancers that are trying to be sexy but are really just boring A long-haired, grungy guitar player with lots of hip tattoos Costumes A smirky drummer Everybody plays at least two measures on some giant drum just before the hook We are fast approaching a time when every song will have the following: A heavy kick drum and synthesized bass line with a snare that falls only on 2 and 4 Droning instrumentation with very few (if any) chord changes A hook that can be shouted at high-volume by drunken concert-goers and is sung by a "crossover" artist who supplies a loop of his or her voice A rap section Upwards of thirty people all banging on large drums while swaying back and forth and looking dreamy There you have it I have just written and arranged every popular song for the next three years. Welcome back to 1963, now if we could just fast-forward from there... The Microgenre, Or What We Used To Call "Music" In the past three years I have spent a lot of time (14 trips) traveling between New Jersey and Nashville This has done three things for me: a) broaden my current musical horizon, and b) remind me how much I despise bro-country and the pre-packaged whiskey drinkin', joint tokin', women who compete with them (aka Corporate Country), and 3) helped me memorize the location of every Cracker Barrel between Carlisle, PA, and Lebanon, TN You might say that eating and fueling up on the current Great American Road Trip is a monogenre of indistinct, overly starchy food, interspersed with the occasional Flying J or Sheetz At least in New Jersey we have Wawa where the help is rude, the gas is pumped for you, and the Shorties are delicious But alas, Wawa is expanding nationwide You might say that the peculiarly regional microgenre of the rude employee and the Shortie is becoming a monogenre of boring and annoying travel experience I've Been Prattling On About the Corporatization of Anything and the Decline of Everything, So Where's the Good News? The old business model of distribution, promotion and artist development is dying a rapid death All of those boring songs with lots of bass and kick and nary a melodic instrument among them all popping along crisply at 120 beats per minute while throbbing beneath an auto-tuned photogenic personality are in reality the frantic death rattle of an industry that has lost its ability to survive in the modern market The monogenre does not mean that all music will be nothing more than boring samples of everything that came before it On the contrary, as people grow tired of the same formulaic cookie-cutter corporate "act" they will (as they have always done) seek out music that fits their tastes and needs on their own Just because its on television or on the radio doesn't mean its good In fact, nowadays you could make the argument that the people who produce television and radio are so devoid of creative thought that they think they are doing the creative thing by copying the other creative people a few notches down the dial from them (see the Cycle of Hip) The Microgenre Revolution Has Begun Nashville, not the city but the concept, is a perfect allegory of what is happening across the industry The expensive offices filled with uncreative accounting types are scrambling to stay alive by throwing the same old tired music at a complacent public, while in bars and house shows across the city independent musicians are building followings and honing their craft one low-paying show at a time This might be a good time to remind you that the Beatles played many of their first shows at a club called the Casbah, which was in the basement of drummer Pete Best's mom's house While we can't deny that most popular music will always be a derivation of something that has come before it, there are still an awful lot of chord progressions matched with melody lines that haven't been played yet There are still songwriters out there with something unique to say who will invariably say something that touches us We just have to find them in different ways now than we have for the past half century and that's actually a good thing We're on our own now without being told what we should be listening to by faceless media moguls a thousand miles away What's proving to be very bad for giant media corporations is fantastic for us regular people Fans and musicians will continue to coin names for their specific styles of music (vaporwave or seapunk anyone?) but at the end of the day it's about taste and what hits you psychically, not about what some radio programmer or television producer or record label accountant thinks is good music I've always reserved the right to listen to Five Finger Death Punch or Daft Punk depending on my mood and not my hipster identification card The death of the 20th Century record industry (and subsequent rebirth) will result in an artistic backlash that leaves all of us music lovers with more choices and more good music That is not a bad thing Right now, my most played Spotify station is my St. Paul & the Broken Bones station This is because I am currently in the mood for a bit of Southern soul and funk mixed in with some plain-old roots rock Next month I may be on a reggae kick, but to me its all just music When a Carpenter's song comes on my Sirius/XM 70s station I listen to it with joy That is, until I get to a traffic light, then I turn it way down lest someone think I'm totally into the Carpenters. (So much for my not caring about not fitting in with the hipsters) Have no fear, the monogenre will only eat your brain if you let it The best defense against a boring corporate take over of your brain is to find the stuff that suits your mood and your tastes and not worry about the genre Who cares if some corporate beancounter turns their product into a monogenre as long as we can still find good music to listen to on our own? Each and every one of us is a microgenre of tastes and interests onto ourselves and it's nice to know there's a variety of music available to fit our own personal microgenre

The Use of Rock in U.S. Politics

Beginning in the 1970s, political candidates have used popular music as a component of their campaigns Advertising Campaign appearances Songs are often chosen based on a fragment of lyrics or just an instrumental portion; their use sometimes goes against the intent of the artist and/or the artist's political views

"Born In the U.S.A."

Bruce Springsteen and the E-Street Band "Born in the U.S.A." (1984) Song presents a critical look at the treatment of U.S. veterans, but referenced by Reagan reelection campaign as depicting conservative values Springsteen subsequently increased his involvement in politics

Robert Johnson genre

COUNTRY BLUES

I Want My MTV

Cable enabled specialized channels - movies, news, sports, music The origin of videos lies in advertising - (think Hard Day's Night) Early videos low budget, uncertain return Focus on visuals skewed the market in its own ways August 1981: The Buggles, "Video Killed the Radio Star" (1979) Pseudo-live performance enhanced by visuals (no real story) New Wave with elements of disco (esp. drums in verse) Video format foregrounds image, including race MTV initially aimed at main demographic of cable subscribers - suburban whites

Godspeed You! Black Emperor

Canadian band that emerged from an improvisational collective Entirely instrumental, incorporating experimental sounds (extended guitar techniques, taped sounds); brass and strings Long, multi-sectional tracks ranging from 5 to 20 minutes+ Cinematic connections Portions of "East Hastings" (1996) used in the film 28 Days Later (2002) Started a trend of post-rock use in film The politics of instrumental music "All music is political, right? You either make music that pleases the king and his court, or you make music for the serfs outside the wall It's what music (and culture) is for, right? To distract or confront, or both at the same time? ...We're at a particular junction in history where it's clear that something has to give: problem is that things could tip any which way We're excited and terrified; we sit down and try to make a joyous noise But we make instrumental music: means that we have to work hard at creating a context that ****s with the document and points in the general direction of resistance and freedom Otherwise it's just pretty noise saddled to whatever horse comes along." The post-rock form: the slow build Lift Your Skinny Fists Like Antennas To Heaven! (2000): "Gathering Storm"

Athens, GA: R.E.M.

Classic rock band: basic drums; jangly guitar; melodic bass; individualistic vocals (Michael Stipe) with "moderately cryptic" lyrics "Indie" years: I.R.S. Records Murmur (1983): "Radio Free Europe" Document (1987): "The One I Love"; "It's the End of the World As We Know It (And I Feel Fine)" Platinum record; Rolling Stone, Dec. 1987: "America's best rock & roll band" Warner Bros. Deal: major distribution but retain creative control Exploration of pop sound with more overt politics Green (1988): "Stand"; "Orange Crush" Out of Time (1991): "Losing My Religion"; "Shiny Happy People"

How did state-level lawmakers attempt to assert controls over popular music?

Clearly, some lawmakers feel comfortable about their authority to regulate material deemed "harmful to minors"

The 90s

Cold war over - America stands as the dominant superpower President Bill Clinton - young, fun, shrewd Economic upturn, driven by tech companies Email goes mainstream Racial tensions still present - Rodney King; O.J. Simpson MTV goes reality TV

Boston, MA

College audience in a large urban market leads to a diverse scene The Pixies Frantic guitar and screaming mixed with melodic hooks and clever lyrics Surfer Rosa (1988) "Break My Body"; "Where Is My Mind?"; "Gigantic" (sung by bassist Kim Deal) Morphine A real alternative: trio of 2-string slide bass, baritone sax, drums Cure For Pain (1992): "Buena"; "Candy"

Washington, D.C.

Deeply political: critical of government; anti-skinhead Discord Records - Ian MacKaye Minor Threat, Minor Threat (1981) "Straight Edge": song about rejecting alcohol/drugs/ promiscuous sex; inspired a movement "Out of Step (With the World)": "Don't smoke / Don't drink / Don't **** / At least I can ****ing think / I can't keep up / I'm out of step with the world" Fugazi, Fugazi (1988) "Post-hardcore": More sophisticated music, precisely rhythmic guitar, feedback, loud/soft forms, more clearly articulated politics $5 shows; no merchandise; no moshing "Suggestion": anti-rape song told partly from woman's point of view

How does popular music illustrate the exemptions that have been established for First Amendment protections of free speech?

Despite the ironclad language that Congress shall make no law abridging free speech, American courts have allowed several types of content-based restrictions on speech For every critic who urges the censorship of rap and heavy metal lyrics, there is a free speech advocate who views these genres as the last bastion of meaningful social criticism The next week Skyywalker Records, as plaintiff, filed suit in federal district court on its own behalf and that of the members of 2 Live Crew Judge Jose A. Gonzalez, who heard the case, stated the issues succinctly: 'Two distinct and narrow issues are presented: whether As Nasty As They Wanna Be is legally obscene; and second, whether the actions of the defendant Nicholas Navarro, as Sheriff of Broward County, Florida, imposed an unconstitutional prior restraint on the plaintiffs' right to free speech"In a case brought on behalf of Washington State musicians, retailers, national record companies, and others, attorneys for the American Civil Liberties Union of Washington argued that the law was unconstitutional because it violated individuals' rights to free speech and due process, constituted a prior restraint, and was vague On 29 October 1992, a King County Superior Court judge declared the law unconstitutional

How does the Beastie Boys' To the Five Boroughs compare with their previous releases in terms of its musical style? How is their connection to New York City depicted in different aspects of the album?

Each one of these musical releases encouraged listeners to engage in a process of identification with the recording artist, the musical style, and perhaps the narrative of the lyrics "My city" wasn't just Asbury Park, New Jersey, any more; it was New York City, Washington, DC, Shanksville, Pennsylvania The cover of [28] features a drawing of the New York City skyline—Twin Towers still intact—by artist Matteo [14]

Rock, Hard and Soft

AC/DC Australian group influenced by British blues rock Raspy vocals, heroic guitar style, songs built on catchy riffs Substantively influenced 80s hard rock and metal "Highway to Hell" (1979) "Back in Black" (1980) Huey Lewis and the News California-based; radio-friendly; "easy-rockin', sunny, and wholesome" "The Heart of Rock and Roll"; "If This Is It" (1984) "The Power of Love" (1985) *Back to the Future "Hip to Be Square" (1986)

Music Business in the '80s

After peaking in 1978 with over $5 billion in sales, the music industry hits a slump Already declining profits are worsened by the beginning of a national recession Record companies were now often just a small part of large transnational corporations The US remained the largest market for music (31% of global sales), but other markets grew in importance The biggest mainstream hits often featured a melding of elements several genres - a continuation of the cross-racial and cross-genre musical dialogues of earlier decades

New traditionalists

Alternative/Indie

How did Spotify establish relationships with the major record labels?

For decades, the path to stardom in the music industry has usually gone through a major record company Almost every artist today who reaches the top of the charts — whether Kanye or Adele, Beyoncé or Drake — has gotten there with help from one of the three conglomerates that control around 80 percent of the business: Universal, Sony and Warner Now Spotify is experimenting with another approach, one that is making those labels nervous Over the last year, the 12-year-old company has quietly struck direct licensing deals with a small number of independent artists The deals give those artists a way onto the streaming platform and a closer relationship to the company — an advantage when pitching music for its influential playlists — while bypassing the major labels altogether Although the deals are modest — with advance payments of tens or hundreds of thousands of dollars, according to several people involved — the big record companies see the Spotify initiative as a potential threat: a small step that, down the line, could reshape the music business as it has existed since the days of the Victrola Spotify, a Stockholm company that went public in April, has offered few details about its entry into the talent marketplace It has not revealed which artists it has made deals with, and declined to comment for this article According to six people in the music industry who have been briefed on the recent deals, but were not authorized to discuss them publicly, Spotify has paid advances to management firms and other companies that represent artists who are not signed to a record label For now, that means up-and-coming acts and older artists who have gained control over their vintage hits Spotify is offering artists two advantages: a bigger financial cut and ownership of their recordings The deals, furthermore, are not exclusive, leaving the artists free to license their songs to other streaming companies, like Apple Music and Amazon Spotify typically pays a record label around 52 percent of the revenue generated by each stream, or play, of a given song The label, in turn, pays the artist a royalty of anywhere from 15 percent to, in some cases, 50 percent of its cut By agreeing to a direct licensing deal with Spotify, artists and their representatives are able to keep the whole payout The closest the company has come to making its ambitions public was during an earnings call in July, when Daniel Ek, the company's chief executive, confirmed reports in Billboard and elsewhere that Spotify was pursuing direct deals with independent artists He was careful to add that such deals did not mean Spotify was turning into a record company — something that Spotify's contracts with the big labels forbid, according to people briefed on the terms of those contracts "Licensing content does not make us a label, nor do we have any interest in becoming a label," Mr. Ek said on the call "We don't own any rights to any music, and we're not acting like a record label." The next Ed Sheeran or Ariana Grande may be attracted by the very thing Mr. Ek cited in arguing that Spotify is not becoming a label With its 83 million subscribers — and nearly 100 million more who listen free — the service can offer significant exposure to artists without asking them to give up something that traditional record companies demand as part of any deal: ownership of their recordings Taylor Swift is one artist who is intent on keeping her work She will become a free agent this year after the expiration of her deal with Big Machine, an independent label in Nashville that is distributed by Universal, and she is said to be seeking a deal that would give her ownership of her recordings Spotify's decision to forge closer relationships with artists comes with a big risk, however In the end, it may not be worth antagonizing the labels that the company depends on, said Amy Yong, a media analyst at Macquarie "They are treading carefully," Ms. Yong said "They do not want the Big Three to shut then out from their library of content for the sake of signing deals with up-and-coming artists at a higher margin That's not an economic trade-off that you want to do." The major labels have signaled their disapproval of Spotify's under-the-radar initiative in various ways Through anonymous comments in news articles, music executives have indicated that they could punish Spotify by withholding the licenses the company needs to expand to India The labels have also suggested they will be unwilling to compromise with Spotify as its contracts with the labels expire over the next year Representatives for the three major labels declined to comment for this article In what may be another sign of the tensions between the entrenched music industry and the streaming service, the three conglomerates have lately favored Spotify's rivals with promotional goodies Universal, for example, created an exclusive playlist with Apple Music "It's almost a warning shot by the labels to remind Spotify that, as these stories play out, it's not just Spotify that controls the narrative," said Bill Werde, the director of Syracuse University's Bandier Program on the music industry and a former editor of Billboard magazine One company that has made a deal with Spotify is Human Re Sources, a small distributor founded by J. Erving, an artist manager who has worked with Troy Carter, Spotify's departing head of creative services In an interview, Mr. Erving said Spotify had paid a modest advance that helped him establish his company Human Re Sources, he said, is able to pitch songs directly to Spotify's internal teams — a rare advantage in the industry's vast do-it-yourself landscape Spotify has not given favorable rates to artists affiliated with Human Re Sources, Mr. Erving said, and it has not guaranteed them placement on its playlists But the company's artists have had success penetrating Spotify's most influential playlists, like New Music Fridays and Rap Caviar. Some of them, like Jussie Smollett — an actor in the hit television show "Empire," who makes slithery R&B — have also made it onto a Spotify billboard in Times Square "Spotify has been very supportive of the stuff that we have released to date," Mr. Erving said "But Apple and Pandora have been very supportive as well." In preparation for its public stock listing, Spotify hinted that it had big plans to change the "old model" of the music business, which it said relied on "gatekeepers" like record companies and radio In their place, Spotify said, it wanted to usher in a new era that would help new artists break through more easily That stance has put Spotify in an awkward position between investors, who are rooting for disruptions that could lead to profits, and music business executives, who would like the streaming service to stay in its lane According to public filings, Spotify had about $4.9 billion in revenue last year but almost $1.5 billion in net losse Its stock price has risen steadily since April, and the company is valued at roughly $34 billion Below the level of the giant conglomerates, the attitude toward Spotify's moves has been anything but hostile. Its entry into the talent marketplace may give artists more leverage, said Zack Gershen, an executive at Mtheory, a company that consults with artist managers "From our perspective, options are good," Mr. Gershen said "Options create competition They create innovation They help everybody discover what the future of this business is."

Nirvana genre

GRUNGE

AC/DC genre

HARD ROCK

Minor Threat genre

HARDCORE

Metallica genre

HEAVY METAL

The Carter Family genre

HILLBILLY

Hank Williams genre

HONKY TONK

What were some of the first releases after 9/11? What responses did they elicit from listeners?

Historically, music has provided a voice for protest, solidarity, and hope during and in the aftermath of difficult times.In this article, I will discuss two popular music reactions to 9/11 and its aftermath As Springsteen's album was first, it dealt more with the immediate aftermath and the country's emotional response, while the Beastie Boys waited for the raw emotionality to dull somewhat In the case of 9/11, the music industry, perhaps seen as trivial in the immediate aftermath, formed one of the first and most successful fundraising efforts less than two weeks after 9/11, America: A Tribute to Heroes.Since [57] was released less than a year after 9/11, Springsteen eschewed specific references to the attack, choosing instead to concentrate on the emotional aftermath of loss At the time of each album's release, Springsteen's The Rising and the Beastie Boys' To the Five Boroughs offered unique opportunities for listeners to engage in a process of mourning and empowerment Each was an opportunity for listeners to engage in identification, both national and individual, because the consumers of each of these products identify with the music (stylistically) and the events of 9/11 (as Americans); each allowed listeners to partake of a process of collective mourning and empowerment; and both addressed the idea of America in distinct ways The collaborative nature of the Beastie Boys' music is quite different from the singular voice with which Springsteen speaks, but both the Beastie Boys and Springsteen express a desire to reach out through the music and share the experience of this event with their listeners It was only after the Armed Forces realized the impact such songs had on the war effort, both at home and abroad, that they began producing V‐discs (V for Victory) for listeners (Haddix and McEniry "Popular Songs") Popular music's place in the national psyche was closely scrutinized, especially by those who worried that certain songs might further traumatize listeners While it seems clear that pulling certain violent songs might accommodate more sensitive listeners, the mere specter of censorship frightened some in the industry Each one of these musical releases encouraged listeners to engage in a process of identification with the recording artist, the musical style, and perhaps the narrative of the lyrics To share such grief and such courage with both the characters in the songs' narratives, and with other listeners, can be a powerful experience

What was the PMRC, and how did their efforts contribute to a broad trend of legal action against popular music? What are some specific examples of music that was targeted?

In July and August of 1985, a private lobbying group, the Parents Music Resource Center (PMRC), took similar actions, proposing a product labeling system directly modeled on the one operating in the motion picture industry: A rating of "X" was requested for "profanity, violence, suicide, or sexually explicit lyrics including fornication, sado-masochism, incest, homosexuality, bestiality and necrophilia" "DA" was requested for lyrics concerning drugs and alcohol, "0" for lyrics concerning the occult, and "Y" for lyrics concerning violence Catalyzed by the concerns of the NPTA and the PMRC, government hearings on content-based labeling of popular music products raised the specter of possible legislation Documents of the time indicate that both the NPTA and PMRC insisted that their efforts were driven by a desire for consumer information and child protection, not censorship While they made no call for legislation, the hearings received high-profile media attention-in part because the PMRC membership included the wives of five senators (among them Mary Elizabeth "Tipper" Gore, wife ofthen subcommittee member Albert Gore, Jr.), six members ofthe House of Representatives, and several Bush administration officials (most notably Susan Baker, spouse oftreasury secretary/chief ofstaff James A. Baker) Mrs. Gore insisted that the PMRC had not called for the hearings and that subcommittee chair John Danforth had-at the urging of his wife, also affiliated with the PMRC Emboldened by public reaction to the PMRC hearings on Capitol Hill and the growing ascendancy of cultural conservatism, new kinds of cases against popular musicians began appearing on court dockets Where the NPTA and PMRC claimed to be calling only for enhanced consumer information to assist parents in their role as gatekeepers for their children's consumption of popular culture, this case took another step Unlike the PMRC hearings, which got extensive coverage, thanks to celebrity testimony and the involvement of legislators' wives, this probe went virtually unnoticed in the mainstream media The strategy of putting pressure on corporations to control the distribution of cultural products has gone mainstream via the PMRC, NPCBW, and others

Danger Mouse was asked to "cease and desist" by The Beatles' record label, and his Grey Album was stopped, but ultimately it became a viral phenomenon. Could there have been a way for the music industry to make it a viable recording beyond just a copyright infringement case?

In conclusion, we can identify remixes that engage even more thoroughly in artificial Oulipian constraints, as in Lenka Clayton's remix video, "Qaeda Quality Question Quickly Quickly Quiet." In a remix such as this, the power of potential criticism demonstrates a potential political dimension as well Using a constraint quite popular among Oulipians—the alphabetic list—Clayton reorders every word of Bush's 2003 State of the Union address in alphabetic order The resulting twenty minute video is a new recitation of the State of the Union, literally word for word Through the use of alphabetic constraint, Clayton's video enacts a potential reading of the State of the Union Unmoored from their original semantic positions, the individual words are rattled off as a list that reveals the latent, even hidden, meanings of Bush's speech Clayton's work demonstrates that potential criticism can move beyond playful combinations of pop culture and investigate and reveal the latent meanings and duplicity contained in the texts that constitute our civic and political lives Clayton's video calls to mind what Jacques Roubaud has said about Raymond Queneau's "A Hundred Thousand Billion Poems:" Its constraint is rather elementary, but its potentiality is spectacular."

How did the music-making process of groups such as Public Enemy use samples? What was their purpose and how did they view their use of sampling to create music?

In many ways Hip Hop is quintessentially American music It was first created in the Bronx, NY, a borough of New York City that at the time was economically depressed, dangerous and mostly forsaken by the local government The pioneers of Hip Hop, young people of color living in struggling communities and limited in their opportunities, embraced modern music technologies (first turntables, then drum machines and later samplers) but used them creatively, often in ways their manufacturers never intended Indeed, the origin story of Hip Hop is one of opening doors that seemed tightly shut To many listeners, the first commercial rap releases were surprising, something that seemed new, even unexpected Many of the early rappers who performed at the block parties that spawned the genre had not themselves conceived of Hip Hop as something one could record and sell For instance, in Soundbreaking Episode 6 Public Enemy's Chuck D recalls that before the Sugar Hill Gang's breakthrough release, "we couldn't even imagine a rap record." However, as radical as it sounded to the average American listener in 1980, Hip Hop had deep connections to African-American and Afro-Caribbean music traditions in its performance style and in its use of turntables and prerecorded material as the primary "instrument" in the band In this lesson students explore the creative concepts and technological practices on which Hip Hop music was constructed, investigating what it means to "sample" from another style, who has used sampling and how Then, students experience the technology first hand using the Soundbreaking Sampler TechTool Students will follow patterns of Caribbean immigration and the musical practices that came to New York City as a result of those patterns, finally considering the ways in which Hip Hop reflects them Moving forward to the late 1980s and early 90s, what some consider Hip Hop's "Golden Age," this lesson explores how sampling might demonstrate a powerful creative expression of influence or even a social or political statement Finally, this lesson encourages students to consider the conceptual hurdle Hip Hop asked listeners to make by presenting new music made from old sounds

What organizations continued the push against aspects of popular music in the 1990s? What types of music was targeted? What types of evidence was brought into the discussion?

In the 1990s legislation proposing content-based restrictions on popular music and other popular media was drafted and sometimes brought to the floor for consideration in several state legislatures Liability will only attach when the intention of dissemination was to cause the ensuing injury In 1990 a musical work was declared obscene for the first time, thus raising the threat that popular music could be moved outside First Amendment protection in the third way allowed by Supreme Court opinions-potential harm to minors Based on a request from law enforcement, on 9 March Broward County, Florida, judge Mel Grossman issued an order, an advisory opinion, that the record "As Nasty As They Wanna Be" by the rap group 2 Live Crew was obscene The Broward County sheriffs office received and copied the order, and decided to "warn stores as a matter of courtesy" If the Pennsylvania measure becomes law, record manufacturers would be required to place a large fluorescent yellow warning label on LP's, tapes, and CD's that contain lyrics descriptive of or advocating "suicide, incest, bestiality, sado-masochism, rape, involuntary deviate sexual intercourse, murder, ethnic intimidation, and/or illegal use of drugs or alcohol"

Gangsta Rap

In the 1990s, copyright litigation shifts practices from extensive sampling to "beat making" Gangsta rap Focus on darker elements of urban life, graphically depicted, angry Grounded in social and political criticism N.W.A., Straight Outta Compton (1989): "**** Tha Police" Ice-T, O.G. Original Gangster (1991) These themes later incorporated with a newly constructed image of success and sometimes played for humor Snoop Dog, "What's My Name?" (1993) East Coast vs. West Coast Rivalry between hip-hop communities and centers of production leads to violence, including the murders of prominent rappers Notorious B.I.G. Tupac Shakur

Hip-Hop in the Mainstream

In the later 1980s, hip-hop became a fixture of mainstream pop Run-DMC "Walk This Way" (1986) - collaboration with Aerosmith increased interest in hip-hop in rock listeners Beastie Boys Punks go hip hop Licensed to Ill (1986): "(You Gotta) Fight For Your Right to Party" Paul's Boutique (1989): a masterpiece of samplebased hip-hop; establishes them as more mature artist Queen Latifah Prominent female voice in hip hop All Hail the Queen (1989): "Ladies First"

Post-Rock

In theory: "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords" Term emerged from rock journalism in the early 1990s In practice: a wide range of (mostly) instrumental music, usually guitar based, often incorporating a cinematic scope Styles range from (post-)metal to shoegaze/ambient Business practices intersect with indie/hardcore Bands often interested in politics, expressed through song and album titles, projected videos International: because of its instrumental nature, bands fans of the genre from all over the world listen to the same bands "Post-Rock Facebook page" based in Istanbul, Turkey; has 100,000+ followers

How are the racial issues that permeate the history of American popular music manifest in the sample clearance/copyright industry?

In this quote, Chuck D expresses the frustrations he and his rap group, Public Enemy, experienced in the early 1990s when trying to create music for their new album Public Enemy created a new sound on their previous records with the aid of music sampling, a fairly new practice in which musical artists incorporated "samples" of sound recordings from other musical works This technique, in utilizing musical sounds of the past, created whole new works of musical collage Public Enemy's creative process has been described as "a songcraft from chipped flecks of near forgotten soul gold [A] guitar vamp from Funkadelic, a moan from Sly, a growl abducted from Bobby Byrd aren't rhythmically spliced in but melodically sequenced in colorful narratives Think of Romare Bearden." When major record companies became conscious of rap's musical sampling phenomenon, they began charging prohibitive prices for the use of sound recordings they owned.' As a result, Public Enemy suffered artistically as their style of simultaneously sampling a multitude of different sound recordings finally became too expensive under this new regime As a consequence, Public Enemy's later records utilized fewer samples Public Enemy represents only one of the many Black performers and musicians that have been affected by a copyright law that is structurally incompatible with their creative process The Black musical tradition works in a "trope of revision," that is, it is a highly creative tradition that builds and improves upon the music within its community Copyright's confines do not reward this specific type of composition, however, since it Speaking of Bearden and his practice of collage, jazz musician Branford Marsabs explains, "Collage is improvisation, because you're taking known images and you're putting them in a way that ordinarily they don't belong together." Moreover, copyright acts to the detriment of those who create new works out of the old by granting the author of the original work a monopoly on the creation of such "derivative" works Hence, the modern day Public Enemy resembles the frustrated blues singer of the 1930s who stopped performing because he could not earn a livable wage for his work, or the stymied early R&B singer who could not produce and promote his hits fast enough to compete with the rock'n' roll imitation of his own work The body of copyright law, with its vast revisions and amendments, was originally intended to encourage creativity and protect creators' work Yet the Black musical idiom has been and continues to be excluded from such benefits because it does not fit into copyright law's construction of ownership and composition Copyright's requirements have stood in the way of Black musicians' integrity as artists and their economic reward, since copyright law has historically granted a limited ownership to those who can conform a musical work into standard musical notation Copyright's notions of authorship and composition undermine the Black musical customs of (1) community composition, as exemplified by oral tradition and call-and-response; (2) rhythmic and musical complexity; and (3) improvisation The combination of this cultural clash and America's history of racism has prevented Blacks from receiving recognition for their musical contributions or copyright's promises of compensation Additionally, by failing to incorporate the Black musical idiom, copyright law heightens Black musicians' vulnerability to exploitation in a social milieu already accustomed to exploiting Black labor The stories of stolen song credits, unconscionable contracts, and unpaid royalties, though numerous, are not the primary focus of this Note However, such circumstances added to the already burdensome plight of the Black musician who tried to maneuver in a copyright regime that was not adaptive to his cultural musical idiom This Note contends that the American copyright regime's failure to incorporate the Black musical creative process has devastated the integrity and economic potential of generations of Black musicians This Note begins with a discussion of copyright law and then examines Black musical traditions and how they have conflicted with American copyright law through the years Part I explains the history of American copyright law and its theoretical underpinnings Part II relates common Black musical traditions in more detail Part III illustrates how the foundations of Black musical traditions can be found in Negro Spirituals Part IV outlines the notion of Black music as it evolved in ragtime Part V describes how copyright undermined the traditions of blues, jazz, and R&B Part VI explains how rock 'n' roll's prominence embodied copyright's clash with the Black musical tradition Part VII portrays the history of the hip-hop musical phenomenon and illustrates how copyright's negative treatment of digital sampling continues to denigrate the Black musical tradition PartVIII discusses the need for a more culturally inclusive copyright regime Part IX concludes the Note by discuss

"Stealing"

Infringement by consumers Direct copying of tapes or CDs Downloading/uploading of digital music or video files Peer-to-peer (P2P)/File sharing Napster (1999-2001) LimeWire (2000-2010) Grokster (2001-2005) The Pirate Bay (2003- )

Copyright concepts

Intellectual Property (IP) "intangible assets" - musical/literary/artistic works; inventions and discoveries; symbols, words, and phrases Places copyright, patents, trademarks in analogous relationship with traditional property rights Copyright/Licensing = Control of Money Creators vs. Owners Publishing vs. Recording Plagiarism Fair use vs. Infringement Illegal distribution / "piracy"

What is Steinski's view on sampling? What was his intention with creating his "collage" pieces?

Is it acceptable to take the work of others and make that part of your own creation? Can you copyright a sound? Copyright Criminals examines these questions and others raised by hip-hop artists' use of sampled music Through interviews with producers and DJs, musicologists and legal experts, the film lays out the issues involved in sampling and describes how lawsuits have changed the way hiphop music is produced Hip-hop began as street entertainment and musical expression among African Americans and Latinos in poverty-stricken areas of the Bronx in the 1970s It became not just a genre of music but a cultural movement, encompassing dancing, graffiti art and slang At street parties, hip-hop DJs found ways to emphasize and extend the drum breaks in popular music, and then began incorporating those breaks in their own musical creations One example is Clyde Stubblefield's "Funky Drummer," recorded with James Brown, which has been the most sampled of those breaks Throughout the film, numerous clips of hip-hop music illustrate the use of sampling Sampling became the hallmark of hip-hop music, with some recordings using dozens of samples As long as hip-hop was perceived as an urban underground phenomenon, sampling went unchallenged But, as the popularity of the music grew during the 1980s and early 1990s and hip-hop began making money, others in the music industry took notice Traditional artists, whose music was being sampled, felt they should be paid for the use of their music and their record labels filed lawsuits for infringement of copyright Two cases in particular, both brought in the early 1990s, had sobering effects on the practice of sampling: the Biz Markie case, in which singer-songwriter Gilbert O'Sullivan sued for the use of a phrase from his popular song, "Alone Again, Naturally," and the $1.7 million lawsuit against De La Soul for unauthorized sampling of the Turtles' music Legal actions against hip-hop producers have made them more cautious and has given rise to a new industry of sample licensing, since permissions must be obtained for every piece of sampled music on a new recording Some musicians have found ways to skirt the law by altering their samples electronically, and some samplers are going underground Legal victories have settled the claims of some record labels, while others have ended in defeat; however, questions about sampling remain Is it art? Is it improvisation on an existing theme or outright theft of artistry? Does it really use technology in an original and creative way? Sampling lawsuits have also brought to light the need for copyright law to adjust to new technologies for recording and distribution of creative works What the film makes clear is that the development of new digital recording technology has democratized the process of creating music Anyone can produce a mashup and send it out on the Internet Popular music today is part of a vibrant remix culture that threatens the traditional structure of the music business As record producer Tom Silverman says at the end of the film, "Society moves forward.... It evolves through taking old things and changing them." Musicians and recording artists, using digital technologies, are following their own rule book Clearly, copyright law needs to catch up in order to protect artists' rights while allowing musical creativity to grow and flourish

Issues

Is rock inherently "liberal"? Conservative-leaning musicians include Ted Nugent, Kid Rock, Gene Simmons (KISS), Dave Mustaine (Megadeth), Joe Perry (Aerosmith), Johnny Ramone Is it illegal or unethical to use an artist's song without their consent? Maybe, maybe not: playing songs at a live event is theoretically covered by the same licensing as bars and concert halls; use in advertising is another matter Most politicians cede to C&D letters, because politics

Some Cases

Joe Satriani v. Christopher Martin et al. [Coldplay] No. 08-7987, complaint filed (C.D. Cal. Dec. 4, 2008) Coldplay, "Viva la Vida" (2008) vs. Joe Satriani, "If I Could Fly" (2004) Verdict: Coldplay settled out of court, undisclosed terms Pharrell Williams, et al. v. Bridgeport Music, et al. Robin Thicke, "Blurred Lines" (2013) vs. Marvin Gaye, "Got to Give it Up" (1977) Argument by musicological witnesses shifted from traditional copyright claims (based on written music) to a more reductive analysis (based on sounding similarities) Gaye estate awarded $7.4 million in March 2015; appeals pending Tom Petty vs. Sam Smith (no court case) Petty, "I Won't Back Down" (1989) vs. Smith, "Stay With Me" (2014) Petty and co-writer Jeff Lynne given songwriting credits and 12.5% of royalties

The Critical Cover: Intertextuality and "Imagine"

John Lennon (1971) Neil Young (2001) "America: A Tribute to Heroes" telethon "straight" cover transfers association from original context of Vietnam war era A Perfect Circle (2004) Radical changes to music paired with video imagery to foster a new meaning The critical cover: "rel[ies] on listener recognition of the original as [they] interact dialogically with ...their original recording."

How did the filmmakers use sampling and remixing in the film sequences? How could this usage be considered to fall under the fair use provisions of copyright law, which stipulate that copyright restrictions (as generally interpreted) do not apply to acts of criticism, transformation of meaning, and education?

Like all artists, musicians will sometimes borrow material from one another, referencing or using pieces of another's music in their own The complication, however, is that copyright law gives right to work If you use "samples" of other people's music in your own music, you should first obtain written permission, so as to avoid allegations of copyright infringement This is particularly true if you intend to release your music commercially and profit from the sales The process of obtaining permission from the owners of the sampled music is referred to as "sample clearance." Failure to obtain the proper permission could lead to serious consequences, including lawsuits for money damages or the inability to distribute your music to the public As a musician, you obviously will want to avoid both outcomes Fortunately, the sample clearance process can be fairly straightforward, depending on the music and artists involved

Pushing the limits

Madonna not alone in presenting overt sexuality in lyrics, image, music Prince Music combines heavy funk of George Clinton with pop writing, virtuosic instrumental performance, and an overtly sexual image "1999" (1982) - crossover to pop top 10 Purple Rain (1984) : "When Doves Cry" Janet Jackson Michael's sister; earlier recordings follow a similar path to his, emphasizing pop-oriented dance music Control (1986): "Nasty" features a narrative in which she demands respect while maintaining her own sexual agency janet. (1993): Jackson secured a record-breaking record contract, and pushed her status as a sex symbol

How is the model for royalty distribution different between Spotify and AM/FM radio?

Many today would agree that streaming dominates the music market As a songwriter, it's essential that you understand how streaming works and what kind of publishing royalties are generated—in other words, how much you can make on your music when it's streamed Streaming has become the way most people listen to music, but it's a broad term 'Music Streaming' can refer to anything from listening to internet radio or simply watching a music video on YouTube—it basically means listening to a song without downloading it Streaming is typically referred to by one of two types: Non-interactive and Interactive These are defined by whether the listener is able to choose what songs will play next or not (ability to 'interact' with the streaming service) Based on what kind of stream your song gets, the way to collect and what kind of royalties are generated will differ The royalties that are produced from a stream are broken up into two different types: Sound (or master) recording royalties and publishing (or composition) royalties Sound recording royalties are paid out through record labels, distribution companies, and SoundExchange (a global collection society for non-interactive streams) Publishing royalties can be harder to get a hold of They are dependent on what country the stream occurred in and whether you've registered at specific collection societies To review how composition royalties are earned and collected, check out this deep dive In this article, we'll dive into the two different streaming types and show you how to begin collecting your publishing royalties on all of your music streams To collect mechanical royalties, you will need to become a publisher affiliate at different mechanical rights organizations (MROs) If you live in the US, these are the Harry Fox Agency (HFA) and Music Reports (MRI) If you're based outside of the US, you'll have to check with your domestic collective management organization (CMO) to either determine if that society is already collecting your mechanical royalties or if they have a separate society to do so To collect mechanicals outside of your home country, you'll need to register as a publisher affiliate with every MRO or CMO your song is streaming in This can be a long and tedious process, to streamline the affiliation process with each, you can sign up with Songtrust These are the same type of royalties that are produced when your song is played on terrestrial radio (AM/FM) These kinds of services only generate performance royalties How to Collect: Join a collection society referred to as a PRO (performing rights organization such as ASCAP, BMI, and SESAC in the US), or a CMO (collective management organization such as GEMA, SACEM, etc outside of theUS) Collection societies are responsible for tracking and collecting performance royalties generated from non-interactive streams When your song generates performance royalties outside of the US, these are collected from the CMO/PRO of the country the song was streamed in Oftentimes, these can be collected through your PROs reciprocal agreements with their foreign counterparts However, these agreements aren't always going to get you all of your international performance royalties By signing up with a service like Songtrust, you can become directly connected with these entities to be sure that you're receiving all that you've earned on your music

Demographics and Democracy

Majority role vs. minority protections A majority of minorities? Tolerance, inclusion, and "diversity" Race, region, sexuality, gender, class, age Contexts of songs Relationship to technology and media

Metaphors of American Identity

Melting pot Assimilation - surrender of individual/minority identity to homogenous "normative" culture Mixed salad Coexistence - individual/minority identites are maintained within a heterogeneous culture

Van Halen, "Jump"

Metal in Los Angeles tended to be less gothic, more fun, with a predilection for sing-along anthems Strong ties to glam (i.e., KISS) Van Halen 1984 (1984): "Jump" Displays Eddie Van Halen's effortless playing on guitar and synthesizer The synthesizer was a controversial addition in the eyes of some metal fans

The Politics of Heavy Metal?

Metallica, "One" (1988) Lyrics from the point of view of a wounded WWI soldier who can't communicate Changing meters "Machine gun" rhythm in guitars and double bass drum Like Hendrix's "Star-Spangled Banner," this song can be seen from different angles James Hetfield: "War is a part of man. We're just writing about it. It's not good or bad, it's just a thing."

Seattle, WA: Grunge

Mix of punk, garage band, indie rock aesthetics Spread of grunge aided by soundtrack of film Singles (1992) Genre based more on location and image than shared musical sounds Nirvana "Anti-pop" image, but sophisticated writing by Kurt Cobain Purposefully rough music (sound and execution) Blunt lyrics about mental illness, drug use Nevermind (1991): "Smells Like Teen Spirit" "Loud/soft" form Pearl Jam Blends elements of grunge aesthetic with more traditional rock elements (esp. guitar solos) Ten (1992): "Jeremy"; "Alive" Soundgarden "Black Hole Sun" (1994): psychedelic rock, metal

"World Music"

Music from outside the US was marketed as a single "genre," often obfuscating its actual cultural origins Paul Simon, Graceland (1986) Singer-songwriter Simon drew on a variety of musical styles to record this album, especially South African popular music The music of the album is anchored by bassist Bakithi Kumalo and guitarist Ray Phiri "Diamonds on the Soles of Her Shoes" features South African vocal group Ladysmith Black Mambazo The album has drawn criticism for the imbalance in power (reflected in royalty payments and accolades) between Simon and the musicians featured on the album, as well as the politics of Simon working in South Africa despite the cultural boycott of the country in the era of Apartheid

Traveling Wilburys genre

NEW TRADITIONALISTS

Talking Heads genre

NEW WAVE

Rock as a Platform for Political Expression: U2

New wave influence, with heavy (local and global) political leanings, spirituality, drama Simple songs with skillful arrangements; big, singable choruses Lead singer Bono became an influential figure in global politics "Sunday Bloody Sunday" War (1983) - written in commemoration of the 1972 Bogside Massacre of 26 Irish protesters by British Army Rattle & Hum (1988) - Live performance driven by emotional response to Remembrance Day Bombing creates an intertextual connection to the original recording

Waylon Jennings genre

OUTLAW COUNTRY

Alt-Country

Originally "alt.country" - a tag for an AOL chat room Suburban musicians influenced by punk, country, indie rock Draw on country songwriting styles, instrumentation (fiddles, banjo, pedal steel) Uncle Tupelo Singers/songwriters Jay Farrar and Jeff Tweedy No Depression (1990): "No Depression" (Woody Guthrie cover) March 16-20, 1992 (1992) All acoustic; Farrar: "This should insulate us from that industry bullshit, people looking for the next Nirvana." Son Volt (Farrar) Straightaways (1997), "Left a Slide" Wilco (Tweedy)The label has also come to include country artists (both new and established working outside of the mainstream, similar to the ideals of the outlaw/progressive country of the 1970s k. d. lang Canadian singer-songwriter who Johnny Cash "American Recordings" - a series of albums produced by Rick Rubin (Co-founder of Def Jam Records; worked with Beastie Boys, Red Hot Chili Peppers, and many others) Featured new music and a wide range of covers, re-established Cash as major figure in American music, appreciated especially outside the world of country "Hurt" (2002) - cover of Nine Inch Nails; video transforms the song into a meditation on mortality

The Politics of Packaging

Parental Advisory Labels Introduced by the Recording Industry Association of America in 1985 after hearings in the US Senate Parents Music Resource Center Led by the "Washington Wives," a group of spouses of U.S. politicians, this group pushed for hearings in the US Senate in 1985 Focused on the "Filthy Fifteen" Included Prince, AC/DC. Madonna, Cyndi Lauper, Black Sabbath, Twisted Sister, Def Leppard, W.A.S.P. Speaking against the move to label records were Frank Zappa, Dee Snider (of Twisted Sister), and John Denver

The 1980s

Peak and denouement of Cold War America firmly established as dominant world power and center of culture Rise of conservative politics and business culture Ronald Reagan AIDS emerges Technology PCs introduced Cable television Cultural Narratives The Big Chill (1983): hippies grow up, turn into Yuppies, stress out about it The Breakfast Club (1985): persistence of youth culture Wall Street (1987): The evil of corporate greed

How do the musical responses to 9/11 compare to the responses to the attack on Pearl Harbor in 1941?

Perhaps the best historical model for this study is the Japanese bombing of Pearl Harbor in 1941 Pearl Harbor is a flashpoint event, the one that officially brought the United States into World War II, and there are popular musical responses to it What is problematic about this comparison is that, unlike the 9/11 responses, musical reaction to Pearl Harbor was much more homogeneous, with the vast majority of mainstream music supportive of America's entrance into the war With the attack on Pearl Harbor, the issues about a peacetime draft seemed to disappear Just ten days after the 7 December attack, bandleader Sammy [21] recorded a song (co‐written by Dan [21], lyrics by [21]) called "Remember Pearl Harbor" (Haddix and McEniry "Popular Songs") It peaked at no. 3 in January of 1942 The attack on Pearl Harbor also inspired songwriters to give vent to their anger in much the same way that country artist Toby [20] did in his controversial fist‐pumping anthem "Courtesy of the Red White and Blue" after 9/11 Many people were upset with the blatant jingoism of lyrics like "And you'll be sorry that you messed with/The U.S. of A./[Be]cause we'll put a boot in your ass/it's the American Way," but it might be easy to forget that the attack on Pearl Harbor spawned such songs as "The Son‐of‐a‐gun Who Picks on Uncle Sam," "Praise the Lord, and Pass the Ammunition," "Let's Put the Axe to the Axis," and "We're Gonna Have to Slap the Dirty Little Jap (And Uncle Sam's the Guy Who Can Do It)" (Haddix and McEniry "Popular Songs")

Other 1990s Rock Trends

Pop Punk Largely centered in California, combines speed and intensity of punk with pop hooks, cultural irreverence Green Day • Lyrics about casual drug use, masturbation, bisexuality Dookie (1994): 5 hit singles including "Longview"; "Basket Case"; "She" Blink-182 Enema of the State (1999): "What's My Age Again"; "All the Small Things" Industrial Mix of electronic music with live performance; often features harsh vocals and metal-influenced guitar sounds Nine Inch Nails Singer/songwriter/producer Trent Reznor "Industrial-strength noise over a pop framework" (Rolling Stone) The Downward Spiral (1994): "Closer"; "Hurt" Marilyn Manson • Industrial sound + glam, performance art; provocative imagery and lyrics Associated with Columbine Massacre of 1999

Pop Music and Sexual/Gender Identities

Pop songs still reflect relationships and identity Lady Gaga, "Born This Way" Macklemore & Ryan Lewis (feat. Mary Lambert), "Same Love" Musicians entered the popular discourse surrounding transgender rights North Carolina's HB2 (the "Bathroom Bill") drew boycotts by artists such as Bruce Springsteen as well as major athletic organizations Other musicians decried the exclusion of fans in the region, including the band Against Me!, whose singer Laura Jane Grace saw performing in NC as an important act of political resistance

Referring to the course materials, provide a definition of "intertextuality" and explain how the concept is manifest in multiple versions of either "The Sound of Silence" or "Imagine" that are discussed in the course materials.

Postmodern art, as Graham Allen has defined it, is art that "rejects notions of originality . . . and cultivates a willfully derivative and intertextual approach This brings us then to the notion of intertextuality, a concept that has become quite attractive for musicologists and music theorists over the past two decades Drawing from ideas in literary criticism, the central premise behind musical intertextuality is, in short, that compositions acquire meaning not in and of themselves, but through their relationship to a potentially infinite universe of other works For the music analyst, perhaps the greatest advantage of an intertextual approach is that it allows us to step beyond the formalist ideal of analyzing pieces entirely from within As Kevin Korsyn has put it, "[o]nce we abandon the idea of pieces as closed entities, thenthe distinction between what is inside and what is outside the piece breaks down, and compositions become knots of intertextual forces Despite their growing appeal, studies in musical intertextuality have so far been rather narrow in scope There are some notable exceptions, to be sure—John Covach's essays on the Rutles and Spinal Tap, for example, and Serge Lacasse's recent work toward developing a typology of intertextuality for recorded popular music—yet it seems that many, if not most, of these intertextual studies have focused on compositions culled from the canon of nineteenthcentury tonal masterworks While Bloom's theory offers a provocative model for describing the poetics of influence in a composer such as Brahms, it is perhaps unnecessarily cumbersome when dealing with a composition in which—as seems to be the case with most pop and rock songs—the intertextual resonances are in no way contingent upon the composer having taken some anxious stance towards the past In a seminal 1985 article, Robert Hatten outlines a theory of musical intertextuality with the potential for a much broader range of application He suggests that intertextuality in music operates on two essential levels: stylistic and strategic Stylistic intertextuality occurs when a composer adopts distinctive features of a pre-existing style without reference to any specific work in that style Indeed, there are many striking instances of stylistic intertextuality among the Beatles' mature output, such as the appropriation of high-Baroque devices in the string-octet accompaniment to Paul McCartney's "Eleanor Rigby," or the ultra-compressed synopsis of Indian raga form in George Harrison's "Love You To" (both songs from the Revolver album) Strategic intertextuality is more pointed, occurring only when a composer makes deliberate reference to a particular earlier work or works, and this can involve a variety of techniques such as quotation, structural modeling, variation, or paraphrase At the risk of oversimplification, we might say that the goal of an intertextual analysis is to unravel the many ways in which the stylistic and strategic references contribute to the meaning of the new piece I shall now look closely at three late Beatles songs—all, coincidentally enough, composed by John Lennon—as a means of demonstrating how strategic intertextuality can work to enrich a pop-rock song's overall message We begin with a very famous example in which the intertextual references are immediately recognizable: the timeless anthem "All You Need is Love" (1967) The circumstances surrounding the genesis of this song are unique, and will be important to remember as we get to the heart of the meaning projected by the intertextual references Nevertheless, the combination of the piccolo trumpet with the famous theme of the two-part invention serves only to intensify the intertextual reference to Bach Yet Lennon's subtle allusions to the music of these earlier songs make the web of intertextual references in "Glass Onion" especially meaningful Only an intertextual reading of the song, carefully bouncing it off of the earlier tracks that it references, allows us to unravel these sophisticated and multiple layers of meaning The intertextual analyses in this article have been, of necessity, very selective, and they only begin to scratch the surface of the aesthetic richness offered by the late songs of the Beatles Yet I believe that the analytical implications of such an intertextual approach are much broader, with the potential for illuminating a wide range of pop and rock music throughout the post Beatles era In defense of his Bloomian interreading of pieces by Brahms and Reger in relation to a prior piece by Chopin, Kevin Korsyn suggests that "perhaps the . . . greatest strength [of an intertextual reading] is the space it carves for the imagination, allowing music analysis to recover the element of fantasy that is as necessary to theorizing about art as it is to artistic creation Keeping with this element of fantasy, I shall conclude by evoking John Lennon's "glass onion" as a metaphor for a kind of intertextual lens, a lens through which we are better able to view the richness of imagery that saturates the Beatles' late music

Streaming Pros and Cons

Pro: "Economic disintermediation" Listeners -> industry control -> musicians Con: It's harder than ever for individual musicians to make a living

Madonna

Professional dancer turned singer; made a career of pairing dance-friendly music with controversial lyrics and images First album, Madonna (1984) yielded several dance singles - "Borderline" ; "Lucky Star"; "Holiday" (#16 pop/#25 R&B) Sound: Electronic drums (with backbeat); keyboards; synth Image: Turns "punk" into fashion; followed glam rock in foregrounding issues of gender and sexuality Like a Virgin (album and song, 1985) was a commercial success as well as a topic of cultural discourse Later songs and videos draw heavily on symbolism and continued to draw controversy "Papa Don't Preach" (1986) tells an ambiguous story of teen pregnancy "Like a Prayer" (1989) combined sexual and religious images

What impact(s) does sampling have on the original artists? Is the effect generally good or bad for the sampled artist? In what ways?

Pros The right sound can really add something special to your song Song creation is like a puzzle with the melody, instruments, lyrics, and vocals Sometimes the right sample can be just the piece you need to complete the puzzle If you are trying to recreate an elaborate sound that would require you to hire musicians, it may cost less to pay for sample clearance If the song contains a popular hook or phrase, listeners will relate more quickly which could boost your songs popularity (if done right) Cons Sample clearance can be costly These costs vary widely depending on the person or company granting permission Roughly speaking you can hire a sample clearance company for around $250 per sample If you add a couple of samples to a few songs on your EP or album that can really add up If you decide to add samples to your music without clearing them, you could end up with a lawsuit on your hands Lawsuits are expensive so word to the wise: Every sample needs to be cleared Alternatives To avoid these headaches, here are a few ideas that may help in the music creation process instead: Sampling music from other indie artists is a great way to not only save money, but find some really great original sounds You'll generally have an easier time obtaining permission to use the sample, and the costs may be less This is a win-win for both artists as they will each be promoting the song for their own purposes Instead of sampling music from other artists you can purchase sample and loop CD's or downloads By doing a quick Google search for 'sample music' you'll get many results for clearance free samples and loops (many free!) that you can use in your music One of the most cost effective alternatives to sampling would be to recreate the sound your way You can sing, play, or program many of the same sounds with home studio equipment It may not sound the same as the original artist or song, but at least you can say it's all your own This saves time and money in the long run

Hip-hop and the Politics of Sampling

Public Enemy MCs Chuck D and Flava Flav Production by the Bomb Squad (including Hank Shocklee) Chuck D: "Our music is all about samples... We put loops on top of loops on top of loops." Samples can be selected for aesthetics or political/contextual meaning Samples are a form of "performative quotation," interjecting a source's sounding voice in addition to their words

Bikini Kill genre

RIOT GRRRL

Bill Haley genre

ROCK N ROLL

How did radio stations and other media outlets adjust their practices in the aftermath of 9/11?

Radio stations began a process of self‐imposed censorship of certain songs on the airways, some with lyrics of violence or some that seemed "anti‐American" to individual DJs and station managers

"The Sound of Silence" (1981)

Recorded in a live concert in NYC's Central Park, with an audience of more than 500,000 The first major reunion of the two singers since splitting in 1970 Although most of the concert featured a full band, this song was performed as an acoustic duo, conflating the hit folk rock version with their overarching identity as a duo

Musical Responses to 9/11: Rock vs. Country

Remembrance "public grief and collective healing" Alan Jackson, "Where Were You (When the World Stopped Turning)" (2001) Response "mourning and empowerment" "popular geopolitics" and "banal patriotism" Toby Keith, "Courtesy of the Red, White and Blue (The Angry American" (2002) Reflection Artists use music to commemorate the event, probe the meaning of subsequent geopolitical events, and to reinforce community Bruce Springsteen, The Rising: "The Rising"(2002) The Beastie Boys, To the Five Boroughs: "Open Letter to NYC"; "It Takes Time to Build" (2004)

New Traditionalists

Rock without pretense or irony, and a clear engagement with earlier (pre-corporate) styles Bruce Springsteen and the E-Street Band Earnest storytelling, working class themes and image, older sounds - sax, Spector-esque orchestral arrangements "Born to Run" (1975) Born in the U.S.A. (1984): "Glory Days"; "Born in the U.S.A." Tom Petty and the Heartbreakers Jangly guitar (i.e., The Byrds), poetic lyrics and gruff delivery (Dylan), psychedelic imagery "The Waiting" (1981) "Don't Come Around Here No More" (1985) Solo TP: Full Moon Fever: "Free Fallin'"; "I Won't Back Down" New Trad Super Group: The Traveling Wilburys (Petty, Dylan, Orbison, Harrison, Jeff Lynne [ELO]) • "Handle With Care" (1988)

Aretha Franklin genre

SOUL

Lynyrd Skynyrd genre

SOUTHERN ROCK

The Eurythmics genre

SYNTH POP

The Jam Band

Scene(s) centered on live performances, improvisation, fan communities Built on enduring success of the Grateful Dead and the Allman Brothers Band Individual acts and collective events (H.O.R.D.E.) Fans trade tapes of live performances Phish Heir apparent to Grateful Dead Combine elements of prog rock, psychedelic rock, jazz A Live One (1995): "Stash"; "Harry Hood" Commercial jam bands The Spin Doctors, Pocketful of Kryptonite (1991): "Two Princes" Blues Traveler, Four (1994): "Run-Around" Dave Matthews Band, Under the Table and Dreaming (1994): "Ants Marching"; "Satellite"

How is Eclectic Method's video performance similar or different from listening to a DJ mix and scratch? What might an economically viable solution be for allowing Eclectic Method to legally pursue their art, even recording and releasing it to the public?

Scratching, sometimes referred to as scrubbing, is a DJ and turntablist technique of moving a vinyl record back and forth on a turntable to produce percussive or rhythmic sounds A crossfader on a DJ mixer may be used to fade between two records simultaneously While scratching is most associated with hip hop music, where it emerged in the mid-1970s, from the 1990s it has been used in some styles of rap rock, rap metal and nu metal In hip hop culture, scratching is one of the measures of a DJ's skills DJs compete in scratching competitions at the DMC World DJ Championship and IDA (International DJ Association), formerly known as ITF (International Turntablist Federation) At scratching competitions, DJs can use only scratch-oriented gear (turntables, DJ mixer, digital vinyl systems or vinyl records only) In recorded hip hop songs, scratched "hooks" often use portions of other songs

Public Enemy, "Fight the Power" (1989)

Selected samples Excerpt from a speech by civil rights activist Thomas N. Todd (0:00-0:17) Trouble Funk, "Pump Me Up" (backwards, 0:17-0:24) "Chuck, chuck" from The Dramatics, "Whatcha See is Whatcha Get" (0:23) Bass line from J.Bs., "Hot Pants Road" (0:24) Drum break from James Brown, "Funky Drummer" (0:24)

What event prompted the introduction of the 21st Century Media Responsibility Act of 1999? Was this legislation successfully enacted?

Senator Lieberman and Senator John McCain of Arizona introduced the 21st Century Media Responsibility Act of 1999, which would require assessment of the amount and nature of violence in media products, giving the media industry six months to come up with a labeling standard A later version of content-based legislation regarding popular culture, the Tennessee 21st Century Media Responsibility Act of 2000 (H.B. 2158), began as a bill calling for industry labeling of music, movies, and computer games according to their violent content

Heavy Metal

Similar use of aggression to punk, but a different form of cultural defiance (hedonism as a virtue) More elements of drama, showmanship Virtuosity, especially in fast playing on the guitar, bass, and drums "Shredding" - high-speed scales with lots of distortion Themes range from the macabre to the mundane See This is Spinal Tap (1984) - "This goes to 11"

Changing Tunes...

Some artists took aggressive stances against their music being copied One such band was Metallica, esp. drummer Lars Ulrich MTV Music Video Awards (2000) skit made an ethical argument - "sharing's only fun when it's not your stuff" Other bands and artists took a more fan-centered view Ulrich himself later praised the positive side of file sharing

Alternative Hip-Hop

Some hip-hop artists made a point of rejecting the gangsta image and focusing on "positive" social messages A Tribe Called Quest - The Low End Theory (1991) Album features veteran jazz bassist Ron Carter "Verses from the Abstract" The Fugees, "Fu-Gee-La" (1996) "We're trying to do something positive with the music because it seems like only the negative is rising to the top these days. It only takes a drop of purity to clean a cesspool." - singer/rapper Lauryn Hill

What was the result of Spotify's initial trial in Sweden?

Sundin's happiness is mirrored by much of the music industry in Sweden Music sales have increased by more than a quarter from their nadir in 2008 and Sweden has become one of the first countries in the world where streaming services - listening to music over the internet without owning it - make more money for the industry than CDs or downloads Almost three-quarters of the SKr990m (£86m) made last year came from streaming If it does, people like Ash Pournouri will be the winners The 32-year-old is manager and producer of Avicii, whose track "Wake Me Up" is the most streamed song yet on Spotify, with more than 200 million listens His At Night Management company is based at one of Stockholm's most prestigious waterfront addresses The first-floor office is home to four recording studios of various sizes and a cinema room with an enormous screen At its heart is a boardroom pimped out by Ralph Lauren almost entirely in black, from the wallpaper to the mixing bar "I want to show people how successful we are There is still life in the business, and still a lot of potential for people to make it," says Pournouri, clad in a black jacket, denim shirt and skinny tie Meeting rooms are all named after famous songs: "Summertime", "Paranoid", "Teen Spirit" and "Empire State" Forster and I first meet in "Pretty Vacant" - named after the Sex Pistols song and complete with tartan wallpaper and pictures of birds and rabbits dressed as aristocrats Forster is understandably bullish about the potential of Spotify for the industry "Piracy is effectively dead in these markets for young people Young people are paying €120 a year for music," he says Others are more circumspect Daniel Johansson is a music industry researcher at Linnaeus University who praises Spotify for being "the first service to meet the needs of people" But he has several concerns One is whether streaming is reaching saturation point already Royalties grew very little in the second half of 2013 compared with previous years And Johansson notes that, adjusted for inflation, music industry revenues were SKr255 per person in 2000, against just SKr103 per person last year Spotify has done well by bundling its offer with telecoms operators, first in Sweden with Telia (it has announced a similar deal in the US with Sprint) But it has mostly faced rivals with relatively little financial muscle such as France's Deezer Johansson says it could be a different story if Apple converts iTunes into a streaming service "If iTunes does that, there will be a lot of people that have left iTunes to go to Spotify that will come back because they have an iPad or iPhone," he says, adding that a company such as Netflix could even add music to film streaming Equally, it is uncertain to what extent Sweden can serve as a model Three things made 2009 a crucial year for music in Sweden First, there was the criminal trial of the men behind The Pirate Bay All were eventually found guilty of infringing copyright law Then came an anti-piracy law based on an EU directive The day after its introduction internet traffic in Sweden dropped by 40 per cent, says IFPI's Werner Third, there was the rapid rise of Spotify, which used an invite-only system to create a buzz in Sweden Johansson says: "What we have seen since 2008-2009 in Sweden is kind of exceptional The market was perfect for Spotify to dominate I'm pretty sure that will change in the coming years It's seldom that the first player on the market is the one that succeeds Just think of AltaVista and Google."

Hardcore Politics

Successor to punk in the U.S. Loud, fast, aggressive Songs often very short Themes of alienation, irreverence DIY aesthetics Independent labels Often connected to political/social movements Regional styles had specific political issues (or lack thereof) Los Angeles - anti-corporate antics Black Flag, "Wasted" (1978) Fast, loud, with screamed lyrics; moshing Minneapolis/Twin Cities - accessible aggression Hüsker Dü, "Makes No Sense at All" (1985) More pop-oriented melodies and song structures

Technological changes

Technologies of consumption Compact cassettes Prerecorded tapes surpass vinyl sales in 1984 Recordable - piracy (yar!) Compact discs Commercially introduced in 1983, surpass vinyl by 1988 Technologies of production - music goes digital Sound broken down into 1s and 0s Technologies of consumption Compact cassettes Prerecorded tapes surpass vinyl sales in 1984 Recordable - piracy (yar!) Compact discs Commercially introduced in 1983, surpass vinyl by 1988 Technologies of production - music goes digital Sound broken down into 1s and 0s Drum machines Digital synthesizers Digital samplers and sequencers MIDI

Explosions in the Sky

Texan quartet of three guitarists and a drummer Despite being seen by critics and fans as one of the quintessential post-rock bands, they reject the term "We don't consider ourselves post-rock at all; we consider ourselves a rock band." Call their music "cathartic mini-symphonies" EitS's music has been used in many television shows and films, including the Texas-based show Friday Night Lights The Earth Is Not a Cold Dead Place (2003): "Your Hand In Mine" Multiple lead guitars; songs slow-build towards climactic moments emphasizing higher notes, fast tremolo guitar

Michael Jackson

The "King of Pop" Expanded the Motown tradition - singer, dancer, engagement with "cultivated" music 1975 - moved to Epic Records, collaborated with producer Quincy Jones Music carefully arranged to build on disco's steady beat, funk's bass lines, pop melodies, rock guitar Released a string of successful singles and albums Thriller (1982) 7 top 10 singles; 2 #1s on both charts - "Billie Jean"; "Beat It" Cross-racial (/genre) collaborations Paul McCartney ("The Girl is Mine") Eddie Van Halen ("Beat It") Bad (1987) 4 #1s on both charts: "Bad"; "The Way You Make Me Feel"; "I Just Can't Stop Loving You"; "The Man in the Mirror"

"The Sound of Silence" (2003)

The Grammy Awards ceremony returned to NYC after years in LA Simon and Garfunkel stated they were aware that "The Sound of Silence" could be taken as a political statement with war brewing, but that they weren't looking to use the forum for this purpose: Garfunkel: "We're aware that it has resonance for the times, yes, but we chose it because it was the first hit we ever had and it put sort of a bookend on our career." Like the Central Park version, they performed the song acoustically A change in melody and phrasing is introduced at the lines Hear my words that I might teach you Take my arms that I might reach you" But my words, like silent raindrops fell And echoed In the wells of silence

Streaming and the Evolving Music Marketplace

The digital marketplace: in the face of file sharing, new avenues were needed to monetize music The iTunes store (2003) succeeded through its relative ease of use, a price point that was accepted by consumers, and its integration with the iPod iTunes sales charts provided an extremely direct metric of sales YouTube launches in 2005 became a major vehicle for music and music videos Streaming audio offered not only a new way to listen, but new ways to discover and explore (and monetize) music Pandora Internet Radio (2000) - combines with the Music Genome Project to select music for the listener based on their tastes Spotify (2008) - "freemium" model - free service includes ads; subscription service includes various perks The Economics of Streaming Music: Taylor Swift vs. Spotify Some artists have opted out of Spotify and other streaming services due to concerns over sound quality and the specifics of artist compensation, which is calculated based on plays Artists receive between $0.006 and $0.0084 per play, with most of the revenue generated going to other people Alternative distribution models Some artists aim to deal directly with consumers using either digital stores (iTunes, Bandcamp, etc.) or fundraising sites (Kickstarter, PledgeMusic, etc.) A popular independent model is "pay what you want" pricing, pioneered by Radiohead, with their 2007 release, In Rainbows 1 million+ downloads at an average of $2.26 -> $2.7 million

Latina/o Superstars

The growing market for Spanish-language music in the '90s is reflected by the rise of superstar Latina/o performers Gloria Estefan Singer for Miami Sound Machine (1977-89); Solo pop star in the '90s "Turn the Beat Around" (1994) Selena Mexican American singer; the "Queen of Tejano"/ "Tejano Madonna" Murdered in 1995 "Amor Prohibido" (1994) Ricky Martin Puerto Rican singer; began in boy band Menudo "Livin' La Vida Loca" (1999) - breakthrough hit for Latin music Enrique Iglesias Son of Spanish pop star Julio Iglesias "Bailamos" (1999)

"Monogenre"

The idea that all individual styles are merging into a single genre of pop music, leading to: The marginalization of "micro-genres" with smaller market power The loss of genre identity, and thus cultural identity Criticism of this trend is grounded in the idea that the music of the popular mainstream is inherently compromised by commercial considerations (i.e., "Authenticity!!!!")

What criteria were offered for the investigations of the proposed Special Committee on American Culture?

The proposed committee would be called the Special Committee on American Culture

Referring to concepts and examples from the course materials, explain how changes in technology contributed to the transformation of the music industry from the late 1990s to the present. Instead of artists and songs, you should refer here to specific companies and technologies from throughout this period.

The rise in the prevalence of the Internet has had a wide range of implications in nearly every industry Within the music business, the turn of the millennium came with a unique, and difficult, set of challenges While the majority of academic literature in the area focuses specifically on the aspect of file sharing within the Internet as it negatively impacts sales within the recording sector, this study aims to assess the Internet's wider impacts on the broader music industry In the same time that record sales have plummeted, the live music sector has thrived, potentially presenting alternative business models and opportunities This paper will discuss a variety of recent Internet-related developments including the rise of legal digital distribution, key economic implications, general welfare effects, changes in consumer preference and social phenomena as they relate to both the recording and live entertainment sectors I employ a time series multiple regression model to evaluate the statistical significance of the relationship between the Internet's rise and the value of record sales For the concert industry, I will examine recent trends and descriptive data as they relate to the Internet's prevalence While David Bowie's 2002 predictions that opened this study may have seemed extreme at the time, the results and analysis of this study suggest that they may in fact be coming to fruition The landscape of the music industry continues to transform, from both an economic and social perspective, largely due to the rise of the Internet and related technological advances Although sales displacement due to illegal file sharing was likely a key contributor to the drastic drop in record sales of the early 2000s, the impact of the Internet now represents a much broader change presenting the music industry with a set of unique challenges, and opportunities Record labels, which enjoyed an extended oligopoly, no longer have the market dominance to keep their prices at a level above equilibrium with major shifts in areas they once almost exclusively controlled--production, distribution and promotion of music The resurgence of the single song sale format, one that was nearing extinction prior to 2000, was catalyzed by illegal file sharing and subsequently capitalized on with the advent of legal digital distribution This shift in consumer preference and expansion of their selection, likely creates a more accurate representation of the free market demand schedule for music as fans are more inclined to pay 99 cents for a song of their choice than $10 or more for a full album While music listeners enjoy greater selection and lower prices, the value of record sales continue to deteriorate The negative, statistically significant and economically important coefficient of the time trend variable with regard to the value of record sales supports the notion of a downward trajectory commencing at the turn of the millennium High correlation between the time trend and broadband penetration, also negative and significant when included individually, variables further implies the importance of the Internet and its broader influences. Interestingly, the general welfare of artists, who often saw little profit from the sale of their recorded works, does not seem to follow the decline in record sales The advances of the Internet have made wide distribution of music easy and affordable allowing some to forego the former necessity of signing a record deal Further, the social media phenomenon and growth of online music communities have allowed rising artists to connect and establish with the appropriate fan base and provided new marketing techniques for already established acts Some musicians have begun utilizing these new outlets to release portions or, in some cases, all of their music for free as a unique type of sampling promotion for live performance, the main source of income for most artists This reversed strategy, among other developments fueled by direct and indirect influences of the Internet, may help describe the expansion of the concert business during the contraction of the recording industry Beginning in the 2000s, the live music business has seen unprecedented growth particularly from the bottom up This developing base may be attributed to the ability of smaller acts to easily promote themselves and establish and expand their following Another notable change comes with the re-emergence, and reinvention, of the music festival business model, featuring over 100 artists over the course of several days The - 68 - large number and variety of artists at these events is likely made possible by the industry's growing base of small to mid-level acts Within the top ranks of the live music sector, music festivals have proven a driving force of both ticket sales and revenue Concerts may not hold the full solution to losses in record sales but will likely continue to play an increasingly important role in the broader music industry As many of the key functions of the record label become irrelevant, they will be forced to trim down to remove inefficiencies and work to develop innovative business strategies One way in which these companies can stay pertinent is by shifting focus to broader artist career cultivation and expanding the realm of their contracts to include concert-related revenues This strategy has begun to take hold with the development of "360 Deals." Regardless of the correct approach, it is evident that the classic structure of the recording side of the industry cannot be sustained in the 21st century There is little doubt that the wide-ranging social and economic implications of the Internet have had an adverse impact on the value of record sales However, these struggles have been wrongly attributed to the broader music industry The impacts of the Internet have removed inefficiencies within the original system allowing artists to easily reach an essentially unlimited audience and providing consumers lower prices and a constantly growing selection of music New business opportunities, particularly in the areas of digital distribution and live entertainment, will likely take center stage as the progression of the Internet continues Moving forward, the success of the music industry will be largely dependent on innovation, a cornerstone of the post-Internet era

Copyright Criminals (2009)

Themes Ethical vs. legal practices The nature of creativity/art Terms and People Sampling - the use of already recorded material in a new composition Clyde Stubblefield - drummer for James Brown, whose drum parts are often sampled in hip hop, yet received no compensation, even when sampling is done "officially" Grand Upright Music, Ltd v. Warner Bros. Records Inc., 780 F. Supp. 182 (S.D.N.Y. 1991) Rapper Biz Markie sued for unauthorized sampling; the ruling fundamentally changed the emerging practices of hip-hop. Mash-up - the juxtaposition of multiple existing recordings (usually portions thereof) to make a new work Danger Mouse, The Grey Album Remix - the alteration of a complete existing recording

In what ways was George Clinton's career revitalized by hip-hop's sampling of his music. What reasons does he theorize for the popularity of this use of his recordings?

There is no doubt that George Clinton is the man who helped pave the way for funk artists, serving as the embodiment of funk music His career, which has stretched over half a century (including his work with Parliament-Funkadelic), has encompassed an array of melodic charm, soulful come-ons and downright legendary anthems And, in addition to his impact on funk, his influence on hip-hop is also unmatched Clinton is a cornerstone in the genre and has been featured on recent albums like Big Boi's "Sir Lucious Left Foot: The Son of Dusty Chico" (2010) and Kendrick Lamar's "To Pimp a Butterfly" (2015) His impact in rap goes further than collaborations, too He is one of the most sampled artists of all time Before he plays Boston's House of Blues on Saturday, Feb. 25, here's a list of coveted hip-hop classics that sample Clinton's extensive body of work and are proudly nostalgic testaments to his genius

Referring to concepts and examples from the course materials, explain how digital sampling challenges traditional concepts of musical creativity and how legal issues transformed the practice in the late 1980s and 1990s.

This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how sampling has been legally differentiated from other types of musical copying Secondly we show that, despite this, comparable ethical codes exist within and across musical methods wherein sampling is part of the spectrum of activities Thirdly, we discuss the ubiquity of digital technology within popular music production and the resultant closer relationship between sampling and other musical techniques moving onto, fourthly, how the sampling aesthetic has become integrated into musical practice in a manner insufficiently accounted for by its legal and industrial contexts This 'post-sampling' reality places sampling and other musical techniques along a spectrum, in practical and ethical terms, and musicians would be better served by sampling being treated as part of the overall musical palette, allowing both scholars and the law to concentrate on ideologies of practice across the tools that musicians use rather than between different specific techniques This article draws on research examining the ethics and politics of musical copying, copyright and digitalisation It involved interviews with musicians, managers and producers at different stages of their careers and including practitioners across various genres within 'popular music' as it may be broadly understood, covering different levels of commercial operation, from session players and backroom writers to featured artists Sampling constitutes a continuum of activity, sometimes distinct from other musical practices but very often merged into them Encompassing the same fundamental motivations as any form of musicianship, it is informed by and emerges from the affordances of near ubiquitous digitalisation - a kind of 'post sampling' musical environment wherein sampling and other musical practices intermingle We illustrate via our respondents' recollections how musicians filter their creative work through ethical codes and technical practices to arrive at an account of the sampling aesthetic in which they operate We then discuss the disjunction between this aesthetic and the prevailing industrial conditions, which inadequately account for the continuum of practice Before examining how our respondents described their use of digital technology and sampling, however, it is important first to look at the legal context of copying, sampling and copyright since this underpins and informs the moral, musical and technical discourses within which they operate The status of the sample and digital sampling equipment in popular music has been contentious and disruptive, yet also partly taken for granted Sampling has been simultaneously demarcated from other aspects of musical practice - it is technically distinct - and elided into them - it is judged according to similar criteria To examine how this disparity plays out we must acknowledge initially why sampling has been set apart The technical aspect - especially in connection with copyright - means that legally there is a kind of binary component to the similarity between the derivative and the sampled work that matches the digital binary of the technology used to enact it and is the crux of the matter If we acknowledge this as an underlying aspect of musical creation, it now bears mention that the technical aspects of sampling which historically marked it off from other forms of musical copying have found their way into both the production practices and the economic value chain of music, especially popular music, at large We look next at how digital technology has become imbricated with music making to the extent that assessments of musical and moral intent are difficult to disentangle from whether musicians do or do not distinguish themselves by their use of samples The first point to make here is that whilst genre-based accounts, like those focusing on hip-hop (e.g. Schloss, 2004; Williams, 2013), have usefully drawn attention to the shortcomings and inequities of the law as applied to emerging genres, we wish to foreground how sampling as a musical technique echoes codes and ethical communities of practice found right across music making, and musical copying From quotation through influence - and up to sampling - musical practice can be 'as much a fusion of previous music as it is a new work of creative expression ... [s]ome appropriation is inevitable' If we acknowledge this as an underlying aspect of musical creation, it now bears mention that the technical aspects of sampling which historically marked it off from other forms of musical copying have found their way into both the production practices and the economic value chain of music, especially popular music, at large We look next at how digital technology has become imbricated with music making to the extent that assessments of musical and moral intent are difficult to disentangle from whether musicians do or do not distinguish themselves by their use of samples This cuts both ways, historically The incorporation of prior recordings, popularised and commercialised in hip-hop, also pre-dates digital sampling and, as above, cuts across genre lines As a technique it can, for instance, be found in the analogue practices of composers such as Stockhausen, Cage and Riley and the music concrete of Pierre Schaeffer and others The key issue here is less that art music developed such techniques ahead of popular music but, rather, that analogue incorporation of recordings predated digital technology Sampling, then, developed and expanded pre-existing processes of musical appropriation. Indeed, John Oswald made this point explicitly, highlighting the tensions between the aesthetic and legal realms through both text (1985) and music His 1985 essay discussed appropriation as a compositional method, and the subsequent avant garde work Plunderphonic explored the concept through an album featuring unauthorised samples that, although overtly non-commercial, still ran into legal threats from the Canadian Record Industry Association Sampling, then, is both an aesthetic and a technical choice that aligns increasingly easily with both live performance and the studio environment The manipulation of recorded sounds - from other recordings, the musicians' own performances or even environmental sounds - is a creative practice that sits alongside the manipulation of acoustic or amplified sounds via striking, plucking or blowing physical objects As a viable dispositive choice for musicians across genres - and not in itself a criterion for generic or personal ethical judgements - sampling has become a fundamental aspect of the popular music aesthetic, a development we now discuss A crucial aspect of the changes to music-making since the advent of widely available digital sampling is the way in which it has, as per Toynbee's 'radius of creativity', become a key 'possible' on the palette of available options to most musicians This shift was not, however, without controversy en route to the current situation as the tensions played out between musicians whose 'habitus' accounted for sampling and those for whom it did not A jazz-funk flautist recalls debates in the 1990s as sampling gradually became embedded into everyday practice We began with an overview of how sampling is treated differently to other types of musical derivation despite being essentially 'a continuation of some of the forms of creative practice well-established in popular music' We finish with examples of how the more diffuse 'post-sampling' aesthetic of a continuum of practice running throughout popular music culture - the use of samples as part of a wider musical palette than the 'recognisable snippet' model - encounters tensions with industry practice still heavily hedged around a legal framework that evolved from a pre-sampling era Regardless of whence the individual components that incrementally constitute a new song are derived, or how they are pieced together, it becomes subject to the vicissitudes of an array of commercial interests in the wider field of distribution and consumption And industrial culture has been slower than musicians to accommodate the aesthetic realities of sampling as a continuum of practice The manager quoted above told the instructive tale of one of his acts - a successful and critically acclaimed band - having to delay the release of a compilation because the rights-holders of a small sample on one song (previously unreleased in that version, which was from a radio broadcast) still regarded sampling as a form of theft and held out for an unrealistic deal But while this focus on specifically musical concerns may be a welcome sign, particularly for those whose palette-based use of samples is intrinsic to their work, many lack the resources for protracted, costly court proceedings Furthermore, the underlying tension between the creative process and the legal ramifications of, as above, having to 'worry about it' if the fruits of that process may reach a wide audience reveals a fracture between the social and musical everyday norms for musicians and their surrounding legal-industrial structures Our purpose has been to illustrate, by way of their own experiences and words, how musicians have come to operate in a realm characterised by an ever more integrated relationship between sampling and other musical practices This continuum does not solely constitute acceptance of both the technology and the musical practice as standard creative endeavour after a period of controversy Indeed - notwithstanding the streamlining of the licensing process since the 1990s (Morey, 2012, p. 54) and indications that courts may in future lean towards a less absolutist approach to samples - it remains the case that the field is tilted against sampling industrially (licensing is expensive and puts the sampler at the mercy of rightsholder) and legally (failure to license risks legal repercussions, particularly for successful songs) A view of the field of popular music practice as existing across a continuum - in a post-sampling era - allows us to concentrate on how musicians negotiate the ethical aspects of copying and copyright This will assist in developing a coherent typology of copying, one not in hock to genre ideologies or value-sets that insufficiently account for actual practices as opposed to the transactions and property rights that accrue from them In doing so, we may help to place musicians at the centre of the narrative on copying and seek to develop an understanding of copying and creativity that better supports musical work on the ground and, for scholars, moves towards a more nuanced account of the 'shaded areas' of underlying ethical codes of creative practice

What kind of deals did Spotify strike with the major record labels?

Universal, Sony and Warner all inked 24-month deals with the streaming platform last spring/summer, MBW understands - with Warner the last to put pen to paper in August One of Spotify's biggest victories during these 2017 negotiations centered on its gross margin All three majors agreed to reduce the average percentage of Spotify per-stream revenue they received in order to give the company a better chance of profitability (Sources suggest this average percentage fell from 55% down towards 52% - although, certainly in the case of Universal, the reduction was granted on the basis that Spotify hit steep subscriber targets.) Partly as a result of this reduction in payouts, Spotify's gross margin improved dramatically in 2017 - up 7% year-on-year to 21% from 14% in 2016 The labels' acquiescence to giving Spotify a bigger slice of the pie was proudly mentioned by Spotify CFO Barry McCarthy at the streaming company's Investor Day in March McCarthy said: "The [gross margin improvement] wasn't a magic trick - the labels were acting in their own self-interest to shore up Spotify's economically-challenged margin structure, because of the growing importance of a healthy Spotify to the entire music industry ecosystem." Today, however, gripes at those same major labels over the "economically-challenged" Spotify are growing... almost as fast as the public market cap of Daniel Ek's company (currently: $35bn) One very senior US-based source at a major record company tells MBW: "If Spotify comes in here [during the 2019 re-negotiations] and asks for any sort of margin improvement, we're going to laugh them out of the room "Over the last six months, trust has eroded and they've started doing things which seem blatantly out to get us They're valued at a multiple which is much higher than any major label today; perhaps it's now time for us to start clawing that margin back." "IF SPOTIFY COMES IN HERE [DURING THE 2019 RE-NEGOTIATIONS] AND ASKS FOR ANY SORT OF MARGIN IMPROVEMENT, WE'RE GOING TO LAUGH THEM OUT OF THE ROOM." Another senior source, at a separate major, says: "We're not going to entertain the idea of giving them more margin relief; it's not going to happen There are a range of options on the table: what if we separated [Spotify's] Top 100 artists from other artists during the negotiations? We're thinking about all of this stuff." Spotify's relationship with the majors has faltered following revelations that the streaming service is striking direct licensing deals with artists Daniel Ek (pictured) has confirmed this move, but clarified: "Licensing content does not make us a label, nor do we have any interest in becoming a label." The majors' view of Spotify has been further soured, we're told, by the platform's announcement this week that it's allowing 'free' users to skip advertising in Australia - as part of a trial designed to personalize consumer-facing marketing on its service One major label source we spoke to today (August 14) questioned whether this move was in breach of the contractual agreement signed by their company and Spotify last year In fact, MBW has spoken to a range of executives in the upper echelons of the major rights-holders over the past week - and ascertained what some of the key 'pain points' will be for Spotify when it comes time to re-negotiate with the music industry's biggest players next year Here are just a handful 1) THE FUTURE OF FREE Earlier this year, MBW noted that the major record companies were considering whether to block Spotify's long-awaited move into India, by refusing to license the company in the territory (Interesting to note that a beta launch in India was expected from Spotify over the course of this summer, and is still yet to materialize.) We called this licensing blockage a "nuclear option" for the majors but, in reality, it was lightweight versus the real Big Kahuna "We're always, always looking at Spotify's free tier," one major label source tells MBW "If we pulled it completely, we might lose [a nine-figure sum] each year But would that mean that subscription revenue would actually grow at a stronger rate? It's an ongoing debate." "THERE IS A STRONG ARGUMENT TO ERADICATE FREE FROM THE CHARTS ENTIRELY." Another source at a separate major says: "Everyone knows it's really important for us to have maybe four or five globally relevant players in [music streaming] It's obvious that it's in Spotify's long-term strategy to try and disintermediate us [via recent direct licensing deals with artists], so anything which drives competition and does not advantage Spotify is good thing right now." They added: "We've re-thought the charts [to give better weighting to premium streams] and we may do so again; there is a strong argument to eradicate 'free' from the charts entirely It's not just about volume of streams anymore - per-stream [royalty] rates are considerably better on Apple Music. " One option growing in attractiveness, says one label source, would be to refuse to license Spotify's free tier in the most mature markets in the world "Why do we still have an ad-supported tier in Sweden, Norway and the Netherlands, where penetration is so high already?" they ask "That conversation will definitely play out - either next year, or in the next re-negotiation cycle after that "A year ago, if you were to ask anyone [at a major] you'd have been told that the free tier is a great driver of [premium subscriptions] But look at Apple Music: they've just over-taken Spotify in the US with premium plus [three-month] trials Have we arrived at a new phase in the evolution of streaming? Maybe." 2) PROMOTIONS This one has all three majors gnashing their teeth In Spotify's previous negotiations with the labels, the company scored itself serious leeway in terms of its ability to offer consumers cut-price trials of its premium tier The firm has also bulked up its subscription base with its Family Plan - allowing up to six people to access premium Spotify, all for $14.99 a month Meanwhile, the firm's Student Plan enables those in further education to access Spotify Premium for $4.99 a month (This deal also includes a Hulu sub in the US.) In its F-1 fiscal document, released earlier this year, Spotify argued: "While the launches of our Family Plan and our Student Plan have decreased Premium ARPU due to the lower price points per Premium Subscriber... each of these Plans has helped improve retention across the Premium Service." "WE'RE TAKING A MUCH HARDER STAND ON THIS STUFF." It's also true, however, that Spotify includes every user of its Family plan within its paying subscriber figure, which hit 83m at the end of Q2 "We're taking a much tougher stance on this stuff," one major source tells MBW "We've witnessed a tremendous amount of co-operative marketing and promotion of Spotify's business - a lot of which has been under-written by us There have been a lot of breaks and preferential rates to help Spotify with telcos and other distribution partners "Over the last 10 years, this was the right thing to do, as it helped educate the consumer about a new model But now, there's a good understanding of streaming in most markets - and the company we're underwriting for has a valuation of over $30bn "Spotify was by far the most aggressive [streaming platform] in terms of asking for [help with promotional deals and bundles] We're going to rein that in, and get them to underwrite their own consumer acquisition from now on." Another industry source comments: "I think that Spotify's Family Plan, $15 for six accounts, is all kinds of wrong There's far too much value there "You could charge $10 for the first account, and maybe a smaller amount per additional account on top, for example." 3) ARPU It's the acronym which turns major label executives white as a sheet Spotify's ARPU [Average Revenue Per User] has seen a perilous decline in recent years - largely thanks to a combination of telco bundles, those Family and Student Plans, plus market-sensitive pricing According to MBW's calculations based on Spotify's fiscal filings, the average Spotify subscriber worldwide is now paying approximately USD $30 less per year for their account than they were in 2015 ($8.16 per month in 2015 vs. $5.83 in Q2 2018.) "Spotify's focus is 'how do you grow subscribers?', rather than the actual economics of those subscribers," one major label source tells MBW "We're starting to shift our thinking much more to revenue per user Certainly in the more established markets, you want the conversation to change at this point Another major source added: "Some [ARPU reduction] is unavoidable; if you bring in China, Russia, India, Brazil - these are low ARPU markets and no-one expects to get a $10-per-month price point like you do in the US But Family Plans, Student Plans and all the subsidizing of the promotions is massively driving down revenue per user as well." Additionally, there is a groundswell of discussion over Spotify's advertised monthly price point Spotify launched in the US in 2011 at $9.99 per month When you apply reverse inflation to that $9.99 today, in Q3 2018, it would be worth $8.92 "Look at most other consumer products or services, and there'll be a price change or increase at some point," says one industry source "Yet Spotify has never increased their prices, even in those Nordic markets where it all started [back in 2008] "Moreso than just increasing the price on the basic product, we're pushing them to create new tiers of the service so they can up-sell people to [a higher price bracket with] hi-res audio, a more complete video catalog or different curation and programming." 4) DATA... AND WHO PAYS FOR IT Major rights-holders are becoming increasingly annoyed that an artist and their manager can access in-depth data about an act's streaming performance via the much-lauded Spotify For Artists portal - yet other stakeholders cannot Labels and publishers can, at best, hope to receive raw Spotify data about the same act with little of the granularity the artist themselves can study "We've been in heated discussions with Spotify on this point for some time," says one source "We're the ones investing in the artist, and yet we're left under-educated when a manager calls wanting to discuss a data point Spotify hides behind a handful of wonky reasons for this, including split rights between labels and publishers." "SHOW ME HOW MUCH SPOTIFY HAS INVESTED IN THE CAREER OF A GIVEN ARTIST VERSUS WHAT WE'VE INVESTED. AND THEN SHOW ME WHAT RIGHTS THEY OWN AS A RESULT IN BOTH CASES, THE ANSWER IS ZERO." Concern is also growing at major labels over Spotify's hopes to charge companies for access to data in the future "Can Spotify really be so effective with their data that they add a bunch of value by predicting breakout artists and hits?" asks one major executive "They seem to think they can do so in a way which we're willing to pay for: I'm very skeptical about that They add: "It comes back to the competition question: if Spotify is 25% of the market share for streaming in future, so it's a four-party game with Apple, Amazon, YouTube etc., how can they drive those kinds of insights and hope to get us to pay for them?" One particularly aggrieved major label source says: "Show me how much Spotify has invested in the career of a given artist versus what we've invested And then show me what rights they own as a result In both cases, the answer is zero "They're planning to sell us data which already belongs to us." 5) NON-MUSIC CONTENT... AND NON-MAJOR CONTENT We were bound to mention it at some point, weren't we? Fake artists Senior figures at all three majors remain steadfast in their belief that Spotify is filling certain 'mood' and 'ambient' playlists with tracks from pseudonymous artists, recorded by composers working for production music houses like Epidemic Sound These same sources also remain steadfast in their belief that Spotify is licensing this music at a cut rate versus what it would typically pay for major label material "'Fake artists' is a big deal, and it's coming to a head in the next round of negotiations," one major source tells MBW "The issue is that Spotify has the power of retail and radio rolled into one - they're a combined gatekeeper across both those things "This is the equivalent of a retailer putting a 'no-brand' product on the shelf, but then promoting the hell out of it on the radio It's obviously about clawing back margin for them, but they are unpacking the premium nature of this music - it's a substitutional move with an entirely commercial purpose." Another weapon in Spotify's arsenal when it comes to improving its gross margin is the company's new love for podcasts The firm yesterday (August 13) agreed a deal which will see BBC Podcast content become playable Spotify "THE BIGGER THE PERCENTAGE OF [PODCASTS] IN SPOTIFY'S AUDIO MIX, THE BIGGER THE MARGIN OPPORTUNITY TO BE HAD." BARRY MCCARTHY, SPOTIFY This follows a big-money deal, announced in June, to exclusively bring Amy Schumer's 'cast, 3 Girls, 1 Keith, to the platform Speaking to MBW over the phone ahead of Spotify's Q2 earnings call the other week, the company's CFO Barry McCarthy explained that podcast content offers a unique route to margin improvement: podcasts can be naturally aligned with audio brand sponsors, who become part of the 'cast itself "Podcast content everywhere [therefore] includes ads - on our platform as well - both for free users and paid users," said McCarthy "There is an opportunity to expand margins He added: "The opportunity and the challenge is to take all the insights we have into listener taste to unlock the world of podcasting; if we do that I think there's an opportunity for it to become significant part of the overall audio mix "The bigger the percentage of [our] mix, the bigger the margin opportunity to be had The news that non-music content could be robbing hours of listening away from music on a music-led platform is, well, hardly music to the record companies' ears "There are protections in place as to how much Spotify is allowed to dilute music content as a share of the total contribution," says one major source "Like a lot of this stuff, perhaps we need to remind them that it's actually down in black and white in our contract

Monogenre

Who cares? Not that many people Typically journalists and bloggers who are focused on a particular genre What is at stake? Ownership/identity What are some of the underlying causes? Chances in patterns of music consumption Generational shifts in attitudes towards genre What kind some other concerns be? For one, the continued objectification of women in many genres, along with the perpetuation of gender and racial stereotypes

Alt-country

a loosely defined subgenre of country rock, which includes acts that differ significantly in style from mainstream country music, mainstream country rock, and country pop

Hard rock

a loosely-defined subgenre of rock music typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar, and drums, sometimes accompanied with keyboards. It began in the mid-1960s with the garage, psychedelic and blues rock movements

Hardcore

a punk rock music genre and subculture that originated in the late 1970s. It is generally faster, harder, and more aggressive than other forms of punk rock

Gangsta rap

a style of hip hop characterized by themes and lyrics that generally emphasize the "gangsta", "O.G" and "Thug-Life" lifestyle

Phish genre

JAM BAND

Uncle Tupelo genre

ALT COUNTRY

Grunge

a rock music genre and subculture that emerged during the mid-1980s in the Pacific Northwest U.S. state of Washington, particularly in Seattle and nearby towns. The early grunge movement revolved around Seattle's independent record label Sub Pop and the region's underground music scene

Synth-pop

a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument

Who is Sean Parker?

an American entrepreneur and philanthropist, most notable for co-founding the file-sharing computer service Napster, and serving as the first president of the social networking website Facebook

Riot Grrrl

an underground feminist punk movement that began in the early 1990s in Washington state and the greater Pacific Northwest. It also had origins in Washington, D.C., and spread to at least 26 countries. It is a subcultural movement that combines feminist consciousness and punk style and politics

What is "windowing"?

used by the Internet's Transmission Control Protocol (TCP) as a method of controlling the flow of packets between two computers or network hosts Sliding windows is a method by which multiple packets of data can be affirmed with a single acknowledgment

Looking backwards

"Catalog" becomes as important as new releases CDs marketed as superior in every way Albums from throughout rock history reissued, remastered, expanded Sales of older material bolstered by classic rock radio format Fred Jacobs, Detroit, MI VH-1: rival channel to MTV, focused first on more "adult" demographic, then "rockumentaries" Older artists continue/rekindle success Eric Clapton, Unplugged (1992): "Layla" The Beatles, Anthology (1995) Santana, Supernatural (1999): "Smooth" Sting, Ten Summoner's Tales (1993) U2, Zooropa (1993); Pop (1997)

Some examples of the Monogenre

"Country rap" - usually "bro country" with either rap-inspired beats or vocals, or collaboration with rap artists Florida Georgia Line, "Cruise" (feat. Nelly) Nu Metal - hard rock with rap vocals Other rap/rock/pop/etc. crossover Macklemore and Ryan Lewis, "Downtown" (feat. Melle Mel, Kool Moe Dee, Grandmaster Caz, and Eric Nally Combines different approaches to rap with a hook that is essentially an independent rock song Compare to other songs that either sample another song for the hook or interpolate a separate performance Puff Daddy, "I'll Be Missing You" (feat. Faith Evans & 112) Eminem, "Stan" (feat. Dido) Macklemore and Ryan Lewis, "Same Love" (feat. Sara Lambert) Coldplay, "Princess of China" (feat. Rhianna) Musical exoticism amuck!

Indie Rock and Alternative

"Indie" provided a different way to make and market music Independence from corporate influence Contrast to both mainstream rock and metal Simplicity of style Anti-commercial image Many scenes centered in college towns; "college radio" becomes separate category CMJ [College Music Journal] New Music Report (charts reprinted in Rolling Stone) "Alternative" brands the style and aesthetic of "indie" as a marketing tool "Authenticity"? Many "indie" artists always had aspirations of stardom

Ethics?

"Moral principles that govern a person's or group's behavior" A process of distinguishing right and wrong behavior Vs. social conventions? Vs. laws? Vs. aesthetics?

'90s Country: New, Old, and Alt.

"New Country" Continues to update the mainstream country sound with elements of pop, but also reveres the past Artists include Garth Brooks, Tim McGraw The bluegrass/old-time revival Older styles are still looked to for "authenticity" Encapsulated and spotlighted by the 2000 film O Brother, Where Art Thou? and its soundtrack Alt. country A strand of country artists going against the grain of mainstream country A strand of alternate rock that looked to country for "authenticity"

Music, Memory, and Politics

Individual vs. collective memory Intertextuality Shared experience "...drawn, haphazardly, into emotional alliances..." "Imagined community" Musical genre: style + sound + social context + ?

Referring to specific artists and songs, discuss the changing ways that pop musicians from the 1980s through the present have combined their artistic work with personal and political expression. Include at least one example from the 20th century and one from the 21st.

"There something's happening here," Stephen Stills sang in "For What It's Worth," a 1966 song about a confrontation between students and police in Los Angeles And for a time, there was Radio stations filled the air with protest music, most of it about the escalating war in Vietnam as rock musicians railed against Washington and those European allies who supported the conflict As the war wound down protest music seemed to vanish too Idealistic student activists had flocked to the anti-war campaigns, but in the 1970s widespread disillusionment set in, and the next generation of musicians tended to focus on love lost and the failed crusades of the late 1960s "Doctor my eyes," Jackson Browne lamented in 1972, "Was I unwise to leave them open for so long?" Just five years later, the Eagles mourned the passing of that youthful activism in California, singing that "we haven't had that spirit here since 1969." By 1980, the context for politically aware music had changed The tail end of the Baby Boom generation had developed a consciousness that encompassed a critique of American imperialism beyond Vietnam, while the younger Generation X, those born between 1965 and 1976, came of age questioning the dichotomy of Cold War politics and the threat of nuclear annihilation Both anger and anxiety fused in protest music against American policies during the Reagan administration Just as television had exposed the older generation to world events, so too did it change the ways in which the younger generation received music Radio continued to play an important role in broadcasting music, but teenagers with cable television (or friends with cable television) demanded, "I want my MTV." The network, Music Television (MTV), which operated like a visual radio station playing music videos introduced by "video jockeys" (VJs), quickly became ubiquitous and was instrumental in the superstardom of such performers as Madonna and Michael Jackson Yet in its earliest years the station programmers drew upon any available content, from concert films of bands popular in the 1960s and 1970s to British acts as yet unknown in America The latter, whose LPs were hard to find and rarely heard on the radio, opened up a world for young American audiences both in terms of musical styles and in perspective U2, Midnight Oil, the Clash, the Police, Simple Minds, and Nina and her "99 Luftballons" exposed American teens to international issues and influences American musicians too expanded their gaze beyond North American shores Reflecting a growing unhappiness with America's foreign policies, the music served as a reminder of the ever-present link between politics and popular protest One issue was the Reagan administration's covert war against the Marxist government in Nicaragua In 1984 Jackson Browne, a longtime resident of Los Angeles fluent in Spanish, journeyed throughout Central America The result, two years later, was the album Lives in the Balance, which included the title track of that name as well as "For America" and "Soldier of Plenty." The album was released just before the Iran-Contra scandal broke, giving new meaning to Browne's lyrics, "I want to know who the men in the shadows are." For a generation of artists who had protested the final years of Vietnam, it appeared that once again "a country [was] drifting to war." For that reason, Bruce Springsteen began to perform the 1969 anti-Vietnam War song "War" as part of his live show and warning audiences that "blind faith in your leaders will get you killed." Another issue was South Africa's apartheid policies, President Reagan's endorsement of Pretoria's National Party, and American corporate investments in South Africa Despite rising calls across the nation for sanctions and the liberation of jailed African National Congress (ANC) leader Nelson Mandela, Reagan announced in 1985 that the "reformist administration" of South Africa had "eliminated the segregation that we once had in our own country." Musicians responded in various ways Steven Van Zandt of the E Street Band crafted a protest song entitled "Sun City," named for a tourist resort and casino located in one of the "homeland" apartheid states created by the South African government A number of western artists had played the venue, despite a 1968 United Nations cultural ban on performances in the country What began as a single song quickly turned into an album of the same name and a new organization: Artists United Against Apartheid (AUAA) The album, which was banned in South Africa, featured a number of musicians identified with other protest movements, including Bob Dylan, Browne, U2's Bono, Bonnie Raitt, Miles Davis, Pete Townshend, Ruben Blades, Joey Ramone, and Peter Gabriel In the refrain of title song, "Sun City," the artists shouted out, "I ain't gonna play Sun City." Two years before, in 1983, singer Linda Ronstadt was offered $500,000 to play at the resort. She accepted, but invited Rolling Stone journalist Aaron Latham to come along Like other American artists she insisted on an integrated audience, although in the end very few blacks attended While there, Ronstadt engaged both blacks and whites, hoping, she said, "to get a dialogue going." By defying the UN resolution, she argued, she brought like-minded blacks and whites together in an integrated venue Even more complicated was Paul Simon's 1986 album, Graceland Inspired by African rhythms, Simon wrote and recorded the album in South Africa It featured African artists and introduced the vocal group Ladysmith Black Mambazo to American audiences. Simon steered clear of politics, and as was the case with Ronstadt (who appeared on the album), nobody believed he was sympathetic to the South African government Yet both the ANC and AUAA condemned Simon's violation of the boycott Twenty-five years later, despite the collapse of apartheid and the 1994 election of Nelson Mandela to the South African presidency, the subject remains sensitive In 2012, Dali Tambo, son of the late ANC president Oliver Tambo, recalled, "At that moment in time, it was not helpful We were fighting for our land, for our identity. We had a job to do, and it was a serious job." As far as Tambo was concerned, Simon brought fame to a handful of black South African musicians while weakening a global boycott on racial segregation The legacy of colonialism in other parts of the African continent also captured the attention of musicians. Harry Belafonte, a Caribbean American singer with a long record of civil rights activism, had become concerned with the poverty, starvation, and violence in sub-Saharan Africa and helped form the non-profit USA for Africa in 1985 The lead singer of the English band Boomtown Rats, Bob Geldof, however, was the first to rally pop artists to the cause Beginning on October 23, 1984, the BBC aired reports by journalist Michael Buerk from Ethiopia where famine had killed over eight million people in the previous two years Images of families starved to skin-covered skeletons, children with bellies distended and covered with flies while government officials refused to alleviate their suffering horrified viewers Moved to action, Geldof contacted Ultravox singer Midge Ure, and the two composed the anthem "Do They Know It's Christmas?" to raise funds for relief They prodded leading British artists, including Sting, U2, Phil Collins, Boy George, George Michael, and Duran Duran, to record the song as the supergroup Band-Aid in November 1984 Released in early December, the single spent five weeks in the number one spot of Billboard magazine's charts and sold one million copies in its first week of sales escalating to a total of 3.5 million in the UK and 2.5 million in the US, and returned to the charts the following Christmas Inspired by the British efforts, Belafonte contacted American singer Lionel Ritchie to help in a similar effort among American artists Ritchie collaborated with Michael Jackson, already a pop icon as a result of Thriller, and producer Quincy Jones in writing the song "We Are the World." On January 28, 1985, an eclectic group of artists gathered to record the song, including Bob Dylan, Stevie Wonder, Billy Joel, Bruce Springsteen, Kenny Rogers, Paul Simon, Cyndi Lauper, Diana Ross, and Ray Charles The single was released on March 11, 1985, followed by an album containing previously unrecorded singles by participating artists Sales reached $10.8 million by May 1986, with 90 percent of the proceeds going toward famine relief in Ethiopia, Tanzania, and the Sudan, and 10 percent to organizations providing relief for hunger and homelessness in the United States Geldof used the momentum of both Band-Aid and USA for Africa to organize Live Aid, a daylong concert spanning two continents, on July 13, 1985 More than 72,000 people crammed into Wembley Stadium in London, with 100,000 more in JFK Stadium in Philadelphia, while an estimated 1.9 million people in 150 nations tuned in to radio or television broadcasts The roster of bands included Queen, Elton John, Black Sabbath, David Bowie, Sting, the Who, Paul McCartney, U2, Madonna, Tom Petty, Tina Turner, a Led Zeppelin reunion, and Eric Clapton Phil Collins managed to play both venues by taking the supersonic Concorde from London to Philadelphia The concert raised approximately $283.6 million through ticket and merchandise sales and donations, and inspired other artists to hold similar mega-concerts for charitable causes, such as Amnesty International, in subsequent years These efforts to provide relief to Africa were not universally hailed. While no one would dispute the sincerity of Geldof, Belafonte, or other participants, many questioned the naiveté of their goals Singer Joan Baez praised the youthful American audience at Live Aid by saying, "this is your Woodstock," but few of the millions who tuned in understood either the anti-war impulse of the earlier concert or the problems that resulted in the famine in Africa Geldof himself explicitly avoided any overtly political statement "I wanted it to be absolutely, simplistically direct," Geldof said Indeed, few African artists or images of Africa appeared in any of these relief efforts, and Africa itself was invoked as a monolithic and exotic place deserving pity Two Ethiopian activist attended the recording of "We Are the World," but the video did not include them, showing only full-bodied pans of American artists The lyrics of both the British and American songs did not cry for change so much as extol the euphoria of giving Many of the artists who appeared at Live Aid had played at Sun City Despite President Reagan's interest in being part of the Live Aid event and the attendance of Prince Charles and Princess Diana, no discussion emerged as to the culpability or responsibility of their governments in addressing crises in Africa Most cynically, just as advertising had co-opted the counterculture of the 1960s, corporations such as Pepsi—which employed both Ray Charles and Michael Jackson as spokesmen at the time of the "We Are the World" recording—discovered the benefits of cause-related marketing Simplicity seemed an inherent problem with the conception of the entire enterprise The charitable desire to "feed the world" stood in sharp contrast to criticism of structural problems Government corruption and civil war caused 56,000 tons of food to rot in the ports of Ethiopia while the government continued the policies that caused the famine in the first place, and both government and opposition forces used financial aid to purchase arms Similar problems abounded in other nations that received aid from USA for Africa For the artists and fans of politicized music, the world had become both larger and more complicated in the 1980s Teens and young adults no longer suffered the consequences of US foreign policy themselves, as they had in the 1960s Expressing outrage through song in order to spur people into action became ever more frustrating Jackson Browne and Steve Van Zandt explicitly identified their music as protest music Yet the songs and events that raised the most money specifically avoided political commentary Rather than provoke anger at injustice, they made emotional appeals for benevolence The deepest fury, perhaps, emerged from domestic iniquity as hip-hop gained increasing popularity with its infectious beat and rage against endemic poverty and racism persisting in America's own cities

Bessie Smith genre

CLASSIC BLUES

What artists have been able to benefit the most from streaming on Spotify? What types of artists benefit the least?

Bazzi was just a kid from Michigan until success came for him Overnight stardom is usually a myth, but once Bazzi's song "Mine" hit streaming services such as Spotify and Apple Music, that's pretty much how it went In the pre-streaming days, it took months for a song to become a hit, and for a quirky singer-songwriter like Bazzi, might never have happened at all Thanks mostly to his streaming success, Bazzi's songs have been heard more than a quarter of a billion times, and he now has a major label deal and a hit on Billboard's Hot 100 chart Because streaming sites rely on fan-driven metrics, "real artists have actual shots at being successful," Bazzi says "Back in the day, you could've been the most talented dude with the best songs, but if the gatekeepers didn't like you, you weren't going anywhere Streaming has allowed people to come out, literally." Streaming services are the dominant way for fans to consume music, and industry leader Spotify began trading on the New York Stock Exchange, with an initial valuation of nearly $30 billion The success of streaming has upended lots of conventional wisdom in the music industry: the need for physical product, the dominance of superstars, the boundaries between genres, between old and new music Streaming services are changing how we listen to music, but they're also changing what we listen to. Thanks to streaming, sad rap is king, '80s-style "Stranger Things" playlists are everywhere and Ed Sheeran is the biggest pop star in the world and not just a friend of Taylor Swift who seems like a nice guy Streaming reflects what people will actually listen to on their own, when provided with infinite choices that aren't entirely constrained by what radio programmers, retailers and record company executives put in front of them With streaming services, "it's more data-driven, and more give-the-people-what-they-want-driven, because it's so limitless," says Steve Knopper, author of "Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age." "You don't risk bad ratings with Spotify There's so many different places to put stuff If you put something on and it doesn't get hits, you can just take it off Data-wise, it's a purer experience." Of course, streaming services aren't an entirely pure reflection of audience desires Site curators are the new music industry gatekeepers, using a combination of newfangled algorithms and old school taste to craft the playlists that help make stars "I think we should put a lot of effort into seeing the trends that go down, and using them to put music in front of people that they would never have found," says Nick Holmsten, Spotify's global head of shows and editorial "Spotify is reflective of consumers This is not radio — we cannot force music on people." The streaming landscape is still very much in flux Many listeners have yet to make the transition from physical to on-demand streaming, and upcoming advances will bring even bigger changes The likely next phase: More sophisticated voice recognition systems ("Alexa, make me a Chainsmokers playlist"), and advanced streaming systems in cars will help nudge the last remaining consumer holdouts toward a cloud-based model To some extent, streaming charts reflect the traditional Billboard charts, which tally both streaming numbers and physical sales Using either metric, genres like hip-hop are thriving, while rock is wilting But services like Spotify and Apple Music have otherwise upended a genre caste system that took the record industry decades to create Thanks to streaming, old-fashioned superstars are brought back down to earth, bedroom musicians like Bazzi are celebrities and there's a whole new ecosystem of winners and losers Winner: Hip-hop Streaming services are a beast that needs constant feeding Younger hip-hop artists, already accustomed to providing sites such as SoundCloud with a constant stream of mixtapes and features, have adjusted to its demands more quickly than artists from other genres, and have thrived accordingly At the heart of rap's streaming dominance is something more ephemeral: Some songs just stream better than others, for reasons that no one can really explain yet Hip-hop streams better than other types of mainstream music, and trap music streams better than other types of hip-hop "There used to be this formula in hip-hop," says Carl Chery, head of artist curation at Apple Music "You make a song about a girl, with an R&B-friendly beat and an R&B hook, it was more likely to get on the radio Now, it doesn't matter If you look at the charts, not a lot of new songs follow that old formula It's all trap When you have a good song with a trap beat, it's more likely to stream faster than anything else." Luis Fonsi, left, and Daddy Yankee perform "Despacito" at the 60th annual Grammy Awards (Matt Sayles//Invision/AP) Winner: Latin pop Latin music fans, like hip-hop fans, are early adopters of streaming who were underserved by Top 40 radio, until the Luis Fonsi/Daddy Yankee behemoth "Despacito" changed everything The first Spanish-language song to hit 1 billion listens on Spotify, it helped unleash a wave of reggaeton and Latin trap streaming hits Last year, Latin music consumption was up 110 percent on Spotify "Radio programmers say, 'We can't put "Despacito" on the radio because it has Spanish lyrics That can't be on a Top 40 station,' " Knopper says "On Spotify, there's no filter like that, and suddenly 'Despacito' becomes huge and radio can't ignore it, and there's this snowball effect." Winner: Heavy metal Back in 2015, when Spotify compiled a list of the world's most loyal music fans, broken down by genre, metal fans were No. 1. (Blues fans were the least loyal.) Like many genres that are popular on streaming services, metal is often ignored by terrestrial radio, but its success bucks almost every other trend Streaming services are song-based ecosystems that reward boundary-free foraging, but metal fans tend to strongly self-identify as metal fans They listen to whole albums, spend outsize amounts of time listening online and seek out music from revered elders, gateway bands like Metallica and Slipknot, says Bob Lugowe, director of promotions and marketing at indie metal label Relapse Records "If you're into black metal or death metal, you're probably going to listen to almost every new release in that genre The metal listener, they're much more of an active listener than a passive listener." Loser: Rock If heavy metal's popularity on streaming services reflects its growing cultural cachet in the broader world, the opposite is true of rock "I don't think rock is exciting at all right now," Lugowe says "A lot of these big rock artists like Shinedown or Seether or Breaking Benjamin, they're not cool That's just how it is, there's a stigma attached to them, almost They're red-state rock." Indie and alternative rock is also in the doldrums When Spotify released a list of its most popular rock bands last year, it skewed toward millennial-friendly, EDM-influenced acts such as Twenty One Pilots and Imagine Dragons, shutting out bands such as Radiohead and Arcade Fire Sam Hunt has seen success in streaming, but many of his fellow country musicians have been slow to find an audience on the new platforms (John Shearer/Country Rising/Getty Images) Loser: Country Country fans are traditionally late adopters who tend to prize familiar artists and sounds, delivered in a familiar way Perhaps more than any other mainstream fans, they still buy CDs and rely on old-school gatekeepers to introduce them to new music Country songs often don't do well on streaming services unless radio has broken them first (the opposite of, say, hip-hop) Country artists account for only about 5.6 percent of all streams — they account for about twice that much when it comes to the sales market — though that number is growing, thanks in part to younger, stream-friendly stars like Kane Brown and Sam Hunt Last September, Randy Goodman, the chairman and CEO of Sony Music Nashville, delivered a speech to country-music insiders about the growing power of streaming Its message: Come to Jesus, Nashville "We either adopt or we die," said Goodman Country fans must learn not to fear the initially overwhelming new world of streaming services For holdouts, education is crucial Streaming service reps will be on hand at the upcoming CMA Fest to provide basic tutorials on their services "We've got to be more aggressive about educating our traditional core audience," says Goodman "I don't want to walk away from them I can't afford to." Loser: Pop Pop is still one of the top streaming genres, though it consistently lags behind rap While the rise of streaming has brought a new energy and a sense of open artistic possibilities to Latin music and hip-hop, pop seems diminished somehow, its hitmakers boxed in by the constraints of writing a song that will stream "They're very challenged with streaming, because people just want to get to the hooks quicker," says Arjan Timmermans, head of pop programming at Apple Music "A long intro just doesn't work that well People want to get right to whatever is the catchy element of the song Soon enough all of the pop is going to sound the same You already kind of see that, you can tell what's a streaming song and what is not." Once listeners discover an artist through a playlist, it's the artist's job to keep them engaged To be a streaming superstar in any genre is to constantly worry about your listener counts "Listen, it's addicting, which is why I choose to stay away from it," admits singer-songwriter Bazzi "It's almost like a drug If I do 3 million instead of 4 million, it's like, 'Oh, they don't like me.' I'm insecure, because I put my happiness into something that isn't real I choose to not pay attention to it like that, and feed my happiness with things that aren't numerical, rather than, did I stream the best today?"

An Alternative to Copyright

Creative Commons Allows creators to clearly define what rights they reserve Critics argue that this freedom is built into traditional copyright law Examples A cappella albums (Jay-Z, The Black Album) Nine Inch Nails, Ghosts I-IV (2008)

"The Sound of Silence" (2011)

10 years after 9/11, Paul Simon performed at Ground Zero, cementing a link between the song and the 2001 attacks Transposed to a different key, as Simon sings the melody Instrumental introduction added More variation in the melody and phrasing, facilitated by the reduction to one singer

"Ripping off" vs. "Stealing"

Infringement by artists Infringement by consumers

"Ripping off"

Infringement by artists Plagiarism - taking someone else's ideas and presenting them as your own. "Biting" - a violation of hip-hop ethics

Bob Marley genre

REGGAE

What were Spotify's concerns when Apple announced its own streaming service?

Spotify claims Apple isn't playing fair and is harming consumers And the Swedish music streaming service is taking its complaint to European Commission antitrust regulators CEO and founder Daniel Ek alleged that Apple, which with its own Apple Music streaming service competes directly against Spotify, "introduced rules to the App Store that purposely limit choice and stifle innovation at the expense of the user experience - essentially acting as both a player and referee to deliberately disadvantage other app developers." Ek outlined his case in a statement released on the Spotify blog and in a Time to Play Fair web post "After trying unsuccessfully to resolve the issues directly with Apple, we're now requesting that the EC take action to ensure fair competition," he said Apple has not responded to a USA TODAY request for comment Spotify hasn't spelled out the economic damage to the company but has complained about Apple's practices for years Apple introduced Apple Music in 2015 Ek says that Apple requires Spotify and other digital services pay a 30 percent tax on purchases made through Apple's payment system, including upgrading from Spotify's free to premium service "If we pay this tax, it would force us to artificially inflate the price of our premium membership well above the price of Apple Music And to keep our price competitive for our customers, that isn't something we can do," Ek wrote Spotify users pay $9.99 a month for its Premium offering, which as of a partnership announced Tuesday will include some free Hulu content That's the same price Apple charges for an individual Apple Music subscription According to Ek, if Spotify decides to forego Apple's charge, "Apple then applies a series of technical and experience-limiting restrictions on Spotify For example, they limit our communication with our customers - including our outreach beyond the app In some cases, we aren't even allowed to send emails to our customers who use Apple Apple also routinely blocks our experience-enhancing upgrades Over time, this has included locking Spotify and other competitors out of Apple services such as Siri, HomePod, and Apple Watch." Ek says Spotify wants to be treated the same as other apps such as Uber and Deliveroo, which aren't subjected to what he terms "the Apple tax." Spotify claims Apple applies the tax to a "targeted" group of rivals "Competition pushes us to evolve and improve both the customer and creator experience It's not something we ever have - or will - shy away from So, let me be clear that this is not a Spotify-versus-Apple issue," Ek said "We want the same fair rules for companies young and old, large and small It is about supporting and nurturing the healthy ecosystem that made our two companies successful in the first place." Apple announced a media event to be held on March 25, in which the company is expected to introduce a new set of subscription services, focused on news and entertainment Spotify claims the timing of its complaint has nothing to do with Apple's upcoming event

MJ and MTV

Video a natural format for a highly visual performer: dance moves, wardrobe MTV vs. "Billie Jean" Video originally rejected as MTV felt it would not appeal to their white, middle class demographic Its ultimate success led to more diverse content and increased MTVs overall importance as site of marketing The music video as art form "Beat It" (March 1983): showcased narrative and dance in a style reminiscent of the musical (and film) West Side Story "Thriller" (Dec. 1983) Directed by film director John Landis (Animal House, The Blues Brothers, American Werewolf in London, ) Extra plot elements (11+ minutes for a 4 minute song) in original release; shorter version also released High quality visual effects

Who is Daniel Ek?

a Swedish billionaire entrepreneur and technologist Ek is best known as the co-founder and CEO of the music streaming service Spotify

How did Spotify's business model contrast with that of Apple's iTunes store?

We believe that technology achieves its true potential when we infuse it with human creativity and ingenuity From our earliest days, we've built our devices, software and services to help artists, musicians, creators and visionaries do what they do best Sixteen years ago, we launched the iTunes Store with the idea that there should be a trusted place where users discover and purchase great music and every creator is treated fairly The result revolutionized the music industry, and our love of music and the people who make it are deeply engrained in Apple Eleven years ago, the App Store brought that same passion for creativity to mobile apps In the decade since, the App Store has helped create many millions of jobs, generated more than $120 billion for developers and created new industries through businesses started and grown entirely in the App Store ecosystem At its core, the App Store is a safe, secure platform where users can have faith in the apps they discover and the transactions they make And developers, from first-time engineers to larger companies, can rest assured that everyone is playing by the same set of rules That's how it should be We want more app businesses to thrive — including the ones that compete with some aspect of our business, because they drive us to be better What Spotify is demanding is something very different After using the App Store for years to dramatically grow their business, Spotify seeks to keep all the benefits of the App Store ecosystem — including the substantial revenue that they draw from the App Store's customers — without making any contributions to that marketplace At the same time, they distribute the music you love while making ever-smaller contributions to the artists, musicians and songwriters who create it — even going so far as to take these creators to court Spotify has every right to determine their own business model, but we feel an obligation to respond when Spotify wraps its financial motivations in misleading rhetoric about who we are, what we've built and what we do to support independent developers, musicians, songwriters and creators of all stripes So we want to address a few key points: Spotify claims we're blocking their access to products and updates to their app Let's clear this one up right away We've approved and distributed nearly 200 app updates on Spotify's behalf, resulting in over 300 million downloaded copies of the Spotify app The only time we have requested adjustments is when Spotify has tried to sidestep the same rules that every other app follows We've worked with Spotify frequently to help them bring their service to more devices and platforms: When we reached out to Spotify about Siri and AirPlay 2 support on several occasions, they've told us they're working on it, and we stand ready to help them where we can Spotify is deeply integrated into platforms like CarPlay, and they have access to the same app development tools and resources that any other developer has We found Spotify's claims about Apple Watch especially surprising When Spotify submitted their Apple Watch app in September 2018, we reviewed and approved it with the same process and speed with which we would any other app In fact, the Spotify Watch app is currently the No. 1 app in the Watch Music category Spotify is free to build apps for — and compete on — our products and platforms, and we hope they do Spotify wants all the benefits of a free app without being free A full 84 percent of the apps in the App Store pay nothing to Apple when you download or use the app That's not discrimination, as Spotify claims; it's by design: Apps that are free to you aren't charged by Apple Apps that earn revenue exclusively through advertising — like some of your favorite free games — aren't charged by Apple App business transactions where users sign up or purchase digital goods outside the app aren't charged by Apple Apps that sell physical goods — including ride-hailing and food delivery services, to name a few — aren't charged by Apple The only contribution that Apple requires is for digital goods and services that are purchased inside the app using our secure in-app purchase system As Spotify points out, that revenue share is 30 percent for the first year of an annual subscription — but they left out that it drops to 15 percent in the years after That's not the only information Spotify left out about how their business works: The majority of customers use their free, ad-supported product, which makes no contribution to the App Store A significant portion of Spotify's customers come through partnerships with mobile carriers This generates no App Store contribution, but requires Spotify to pay a similar distribution fee to retailers and carriers Even now, only a tiny fraction of their subscriptions fall under Apple's revenue-sharing model Spotify is asking for that number to be zero Let's be clear about what that means Apple connects Spotify to our users We provide the platform by which users download and update their app We share critical software development tools to support Spotify's app building And we built a secure payment system — no small undertaking — which allows users to have faith in in-app transactions Spotify is asking to keep all those benefits while also retaining 100 percent of the revenue Spotify wouldn't be the business they are today without the App Store ecosystem, but now they're leveraging their scale to avoid contributing to maintaining that ecosystem for the next generation of app entrepreneurs We think that's wrong What does that have to do with music? A lot We share Spotify's love of music and their vision of sharing it with the world Where we differ is how you achieve that goal Underneath the rhetoric, Spotify's aim is to make more money off others' work And it's not just the App Store that they're trying to squeeze — it's also artists, musicians and songwriters Just this week, Spotify sued music creators after a decision by the US Copyright Royalty Board required Spotify to increase its royalty payments This isn't just wrong, it represents a real, meaningful and damaging step backwards for the music industry Apple's approach has always been to grow the pie By creating new marketplaces, we can create more opportunities not just for our business, but for artists, creators, entrepreneurs and every "crazy one" with a big idea That's in our DNA, it's the right model to grow the next big app ideas and, ultimately, it's better for customers We're proud of the work we've done to help Spotify build a successful business reaching hundreds of millions of music lovers, and we wish them continued success — after all, that was the whole point of creating the App Store in the first place

Pop Music and Racial Identities

Cultural appropriation Expression of subaltern idenities

George Clinton genre

FUNK

Green Day genre

POP PUNK

Sigur Rós genre

POST ROCK

Where is Spotify's corporate headquarters?

Stockholm, Sweden

In what ways can the turntable, as used in hip-hop, be considered a musical instrument? What were the original reasons for using turntables and samplers to make music?

The humble turntable has put music in a spin over the last 50 years - giving rise to a whole new genre of sound, artistic skill and culture The turntable has been used as a musical instrument since the 1940s and 1950s when experimental composers began sampling and creating music entirely produced by the turntable However, it wasn't until the 1990s that the term 'turntablism' was coined This definition marked a significant transformation in the role of the disk jockey (DJ), which had been evolving since the 1970s Traditionally the role of the DJ was to play records on the turntable, mixing in one track after the other The emergence of a new music genre, hip hop, produced DJs who were significantly more skilled These DJs - or turntablists, as they came to be known - were performers and musical artists in their own right who moved records whilst playing on the turntable to manipulate the sound and create original compositions For many hip hop connoisseurs, DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa are turntablism's forefathers Through practice they developed extremely high levels of hand eye co-ordination and an uncanny ability to find precise points in a song by dropping the needle on a record Kool Herc is widely credited with developing the 'break-beat' technique which extends the break - the song's climax - indefinitely Two copies of the same record are put on the decks, and the mixer switches between them, creating a rhythmic beat by looping the breaks Inspired by Herc, Bambaataa expanded awareness of break-beat deejaying through his famous street parties. It was a protégé of Grandmaster Flash, the Grand Wizard Theodore, who created 'scratching' - the sound made when the record is rubbed back and forth He discovered the technique by accident as he stopped the record with his hand to hear what his mother was shouting out to him In the 1980s scratching was one of the main features of the emerging turntablist artform and a staple of hip hop music Herbie Hancock's 1983 single "Rockit" is perhaps the most influential record of the period because its use of scratching established the DJ as one of the key pillars of the song The 1990s saw an increase in the invention of new, more sophisticated turntable techniques DJs began to push the boundaries of what they could achieve and a range of new scratches were created DJs Spinbad, Cash Money and Jazzy Jeff transformed turntablism by inventing the 'Transformer scratch' - so named for the sound it created which echoed the popular 1980s cartoon This technique of flicking the cross fader back and forth on the mixer whilst simultaneously scratching gave a greater tonal range and allowed DJs to experiment with the rhythmic qualities The Crab, named because the DJ's fingers move back and forth from side to side like a crab whilst flicking the cross fader, also came out of turntablists innovating to establish their own signature styles However, it is Beat Juggling which is perhaps the most important development of the decade A DJ uses the mixer, in combination with the turntables, to switch between two identical records at lightning fast speed, looping or re-combining individual sounds to produce an entirely new beat This technique effectively evolved turntablism from reworking existing tracks to composing music With the rise of hip hop the DJ had undergone a dramatic transformation - from a player of records, to a composer of new, exciting music and a chain in the creation of an entirely new artform Turntablism continues to evolve, with artists innovating to be the fastest, most creative players of their instrument - the once humble turntable

Patsy Cline genre

NASHVILLE SOUND

Pete Seeger genre

URBAN FOLK

Music for everyone?

What is music like for people who are deaf or hard of hearing? ASL (American Sign Language) interpretations of pop music Interpreters Amber Galloway Gallego, Holly Maniagy and others have developed new techniques for interpreting a wide range of music, including hip-hop Sign language-based theatre groups have expanded their engagement with musicals and pop music Ingrid Michaelson with Deaf West Theatre, "Hell No"

Bill Monroe genre

BLUEGRASS

Donna Summer genre

DISCO

Snoop Doggy Dogg genre

GANGSTA RAP

Carlos Santana genre

LATIN ROCK

Emerson, Lake, and Palmer genre

PROGRESSIVE ROCK

George Gershwin genre

TIN PAN ALLEY