>Many of us agree on some common basic points (e.g. "sampling
>is fun") but some don't go as far as others on some other more extreme
>points (e.g. the fight for the freedom to sample is part of the fight
>against late capital).
I can't say i believe, but i'm waiting to be convinced..
steev, i presume you are talking about the erosion of individual rights when
they come up against the all-conquering corporate machines. what do you
hope the struggle for sampling rights will achieve?
i think the important talking point over the Sony/UR issue came about
because of the difference between the "no-copyright" stance held by some
here, and the "alternative-copyright" (copyleft?) ideas that you and others
propose. Because if one wishes to abandon copyright, one can't very well
complain if someone else violates it, even if it is Sony. The 'copyleft'
viewpoint, however, as i recall it dimly, would retain some rights over a
composition and would differentiate between "artistic"/"fair use" and
bootlegging etc. Interesting to see what happened when the roles were
reversed from normal, in that it was the major company who performed the
invasive, copyright-violating act.
So, should we really oppose anything sony does on principle, because they
are just a money-grabbing monster? and is it relevant to a greater
anti-corporate struggle if we fight for the freedom to sample? (Thinking
about RTMARK, maybe it becomse more relevant.)
Don't worry, steev, we take your comments/insults with good spirits. But if
you call me an idiot again, i'm going to bootleg your entire back catalogue
& sell it on the cheap.. (Or maybe licence it to Sony!)
FG
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"It's about using the sample in a way that it doesn't directly rip off the sound of the original... It's a shame that has been done as often as it has. It means that the price of buying samples is enormous. We think just paying respects in the sleeve is probably enough but the courts disagree." - Darren Feltmann of The Avalanches