ILLEGAL ART COMPILATION CD
Stay Free! aldizkariak eta Illegal art webeguneak osatutako musika bilduma. Egile eskubideen inguruan arazoak edo gai horien inguruan lan egiten duten artistekin osatzen den diska hau online eskuratu ahal da Illegal art webgunean bertan. Mp3ekin batera kantu bakoitzaren azalpen interesgarriak topa daitezke.
Recopilatorio de música publicado por el magazine Stay Free! y la web Illegal art. Este disco formado por diferentes aportaciones de artistas que han tenido problemas legales referentes a derechos de autor, o que trabajan directamente con este tipo de cuestiones se puede descargar directamente desde la web de Illegal art. Los archivos mp3 vienen acompañados de interesantes explicaciones.
01 Negativland U2: Special Edit Radio Mix (5:46)
02 Biz Markie Alone Again (2:52) *
03 People Like Us Swinglargo (5:20)
04 Culturcide They Aren’t the World (4:30) *
05 The Evolution Control Committee Rocked by Rape (4:28)
06 Beastie Boys Rock Hard (4:53) *
07 Dummy Run f.d.(1:23)
08 John Oswald black (2:01)
09 Corporal Blossom White Christmas (3:19)
10 Tape-beatles Reality of Matter (2:37)
11 Public Enemy Psycho of Greed (3:11)
12 The Verve Bittersweet Symphony (4:35) *
13 Wobbly Clawing Your Eyes Out Down to Your Throat (1:21)
14 De La Soul Transmitting Live from Mars (1:07) *
15 Buchanan and Goodman The Flying Saucer (4:18) *
16 The JAMs The Queen and I (4:50) *
17 Elastica Connection (2:20) *
18 Steinski and Mass Media The Motorcade Sped On (4:26) *
19 Invisibl Skratch Piklz white label edit (5:30) *
20 Xper.Xr Wu-chu-tung (1:43)
21 Boone Bischoff Happy Birthday To You (0:28)
* usado sin permiso
Music has always been a craft of borrowing. In traditional, or folk, music, melodies and lyrics were handed down from generation to generation. At every stage, musicians would change the tune or substitute words at will, adapting songs to their own situations.
Like their predecessors, the artists featured here have drawn from the music around them–whether by borrowing a guitar riff or taking a digital sample–to create something new. But unlike their folk ancestors, they all run the risk of getting sued.
Two technologies, separated by centuries, have brought us to this point. First, writing and printing gave birth to the composer and the idea that a single person could own a piece of music. Second, sound recording allowed music performances to be stored and replayed–again, permitting an individual (or a company) to claim it as property.
These two kinds of musical property are reflected in present-day copyright law: “publishing rights” apply to the ownership of written music and “master rights” apply to the ownership of a recording of that music. When you use a portion of someone else’s recording of a song, you need permission from the publisher and “clearance” from the owner of that recording. When you record without these permissions–and the exorbitant fees that go with them–you’re in trouble. Not surprisingly, only a few musicians, like Puff Daddy and Fatboy Slim, can afford to sample legally.
For our culture to be a space for free expression and for creativity to flourish, audio artists must be able to build on bits and pieces of preexisting music. While the “fair use” doctrine allows artists to appropriate other works, it does so only in cases of commentary or parody. Fair use doesn’t apply to the majority of “second-takers,” those artists who reuse sounds without directly referring to the original.
Most of these tracks would never have existed if the artists had adhered to copyright law. Many other works might never be heard unless we act soon to grant artists the right to create them.
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