Future of Music Coalition respects intellectual property and copyright. We believe that musicians and songwriters must have the ability to be compensated for their work, regardless of where or how that work is used or accessed.
We also recognize that creators are not a monolithic group, and may have a variety of perspectives on issues at the intersection of copyright and technology. That’s why we think it is so important that the artist perspective is represented in debates about intellectual property in the information age. read more
[…] McLeod and DiCola believe that people, not corporate entities define society and that even wonderfully radical art or technology is still beholden to that society. They supplement this sentiment with a proposal to reform sample clearance laws, under which artists are free to sample within reason, and rights holders can pay a fee to a third, possibly governmental, party to stop the sampling artist. It’s an interesting idea that requires all parties to create a shared perspective on the new digital reality. But given the political dimension of our society’s inability to be proactive about anything, their proposal is largely an academic exercise. read more
In the last thirty years, technology has transformed the conversation between past and present musicians: it is now possible to quote a previous work not only note for note, but byte for byte. The turntable and the sampler are the hip-hop artist’s quintessential instruments. The culture of hip-hop bricolage, coupled with intense commercial pressures in the recording industry and an inevitable proliferation of rip-off artists, has created difficult challenges for copyright law and for the concept of licensing. Several cultures must adapt to each other, and often they are doing so in the courtroom. read more
New York has made the cover of plenty of albums, from The Freewheelin’ Bob Dylan (161 W. Fourth St.) to Led Zeppelin’s Physical Graffiti (96 St. Mark’s Place) to the first New York Dolls album (131 Second Ave.). The corner of Rivington and Ludlow is home to another: Paul’s Boutique, the landmark 1989 album by the Beastie Boys.
“Creative License” is recommended not just for music geeks or music business geeks, but for anyone interested in law, the arts or both. Well written and treated with care, McLeod and DiCola’s work should be read on college campuses around the country.
The April release of Creative License: The Law and Culture of Digital Sampling marked the collaborative effort between the book’s authors and the team at Future of Music Coalition. Co-authored by Kembrew McLeod and FMC board member Peter DiCola, with contributions from Jenny Toomey and Kristin Thomson of FMC, Creative License is a significant contribution to the debate surrounding the law of digital sampling. read more
At first glance, you might think that Creative License: The Law and Culture of Digital Sampling is only for certain types of musicians, or for attorneys specializing in copyright and intellectual property law. You might also think, based on the title and the fact that digital sampling has been a part of popular music for several decades now, that the book is a little late to the game. Fortunately, neither of these impressions is accurate. read more
Do you ever listen to records like the Beastie Boys’ Paul’s Boutique or Public Enemy’s Fear of a Black Planet and wonder why they sound so different from today’s hip-hop? It turns out one of the biggest reasons may be copyright law, a topic explored by Kembrew McLeod (no relation) and Peter DiCola inCreative License: The Law and Culture of Digital Sampling (March, Duke University Press).
“I should have mentioned before, that, in the autumn of the preceding year,  I had form’d most of my ingenious acquaintance into a club of mutual improvement, which we called the Junto; we met on Friday evenings. The rules that I drew up required that every member, in his turn, should produce one or more queries on any point of Morals, Politics, or Natural Philosophy, to be discuss’d by the company; and once in three months produce and read an essay of his own writing, on any subject he pleased.” - Benjamin Franklin read more