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Genre: Documentary | Music

Sampling, cutting, pasting, linking, remixing – das Fundament des Hip-Hops. In der mit viel groovy Sounds angereicherten Doku “Copyright Criminals”  erfährt man, wie Pioniere das Recycling von Musik entdeckten und vorantrieben und was die Anwälte davon hielten. Ansehen!

Randnotiz
Zu diesem Thema wurden kürzlich ein paar interessante Fakten zusammengetragen:

Die Alben „Pauls Boutique“ von den Beasties und „Fear of a Black Planet“. Beide Alben sind Hip Hop-Klassiker, beide konnten noch mit rechtlich ungeklärten Samples arbeiten. Beide Alben sind heute praktisch nicht möglich und wären nach der Meinung von ein paar kulturell Minderbemittelten illegal. Würde man die Samples klären, kostete Pauls Boutique 19,8 Millionen Dollar bei einem Erlös von 2,5 Millionen, Black Planet würde 6,8 Mio. kosten bei einem Erlös von 1,5 Mio. That’s how Lawyers fucked up music.

“Copyright Criminals examines the creative and commercial value of musical sampling, including the related debates over artistic expression, copyright law, and (of course) money.

This documentary traces the rise of hip-hop from the urban streets of New York to its current status as a multibillion-dollar industry. For more than thirty years, innovative hip-hop performers and producers have been re-using portions of previously recorded music in new, otherwise original compositions. When lawyers and record companies got involved, what was once referred to as a “borrowed melody” became a “copyright infringement.” The film showcases many of hip-hop music’s founding figures like Public Enemy, De La Soul, and Digital Underground—while also featuring emerging hip-hop artists from record labels Definitive Jux, Rhymesayers, Ninja Tune, and more.

It also provides an in-depth look at artists who have been sampled, such as Clyde Stubblefield (James Brown’s drummer and the world’s most sampled musician), as well as commentary by another highly sampled musician, funk legend George Clinton.As artists find ever more inventive ways to insert old influences into new material, this documentary asks a critical question, on behalf of an entire creative community: Can you own a sound?”