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Links 1 through 10 of 16 by Joe Windish tagged music

Greg Gillis: I go in and out of work mode. And the stuff I sample, I like it to be Top 40. I like it to be familiar songs. I like to take the bits and pieces and try to recontextualize them. I still buy CDs, and I like listening to full albums. So when I throw in the new Lloyd Banks release to check it out, certain things may jump out at me...But at the same time, when I’m listening to a whole record, it’s easy to forget about the sampling aspect, just because there are a lot of non-singles, a lot of B-sides, a lot of stuff that could work as a sample but might not have that same power as the song that will hit the radio. When I throw on CDs, I just sorta listen and don’t think about it much. But when I’m walking around in the grocery store or driving my car, things are always popping out at me. It’s not always so intuitive – Oh, that would go well with this other thing. It’s more, Oh, that’s a nice isolated part — I should cut that up and try it out with a hundred different things.

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People who illegally download music from the internet also spend more money on music than anyone else, according to a new study. The survey, published today, found that those who admit illegally downloading music spent an average of £77 a year on music – £33 more than those who claim that they never download music dishonestly.

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Eighty years ago, two young African-American men, Thomas Shipp and Abram Smith, were lynched in the town center of Marion, Ind. The night before, on Aug. 6, 1930, they had been arrested and charged with the armed robbery and murder of a white factory worker, Claude Deeter, and the rape of his companion, Mary Ball.

That evening, local police were unable to stop a mob of thousands from breaking into the jail with sledgehammers and crowbars to pull the young men out of their cells and lynch them.

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Duke Law Professor James Boyle describes the history of a single song - protesting the government's inept response after Hurricane Katrina - and its century-old lineage in the work of Kanye West, Ray Charles, and others. Each borrowed from others, yet they borrowed in different ways, with different legal rules, in different musical cultures. At the end, we can sense how future music may be shaped and what our musical culture may give up in the process. Sponsored by the Center for the Study of the Public Domain.

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Terrific profile of Gillis. EXCERPT: He uses just two programs: Adobe Audition to cut up and manipulate individual samples, and AudioMulch to turn samples into loops and then combine loops into songs. For Gillis, the first stage in the creation of a Girl Talk song is the easiest one: listening to tons of music, whether it’s the local hip-hop station or his parents’ old James Taylor records, keeping an ear out for possible samples, anything from the perfect half-second squeal of guitar feedback to a piano intro or percussion breakdown that he can pluck out and turn into a loop. (While working on Feed the Animals, he collected 8,803 samples, which he sorted into sixty-nine different folders on his laptop.)

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Michael Kinsley in 1984 on Michael Jackson: "What's happened to Michael Jackson isn't too different from what they used to do to young male singers in Europe a few centuries ago, to keep their voices sweet. In another way, it resembles the exploitation of child stars like Judy Garland in the heyday of the Hollywood studios. In fact, what American capitalism has done to Michael Jackson is even a bit like what the Soviets do to their women athletes."

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Economists Felix Oberholzer-Gee and Koleman Strumpf have just released a new Harvard Business School working paper called File Sharing and Copyright that raises some important points about file sharing, copyright, and the net benefits to society.

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My TMV post on Lambert is here:
http://themoderatevoice.com/34887/lamberts-ecstasy-and-kristianity/

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My niece writes"O M G... NEW ALBUM!" She's a wing-nut. Backstory here: http://atypicaljoe.com/index.php?/site/comments/wing_nuts/

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