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"All Samples Cleared!": The Legacy o...

McLeish, Claire E. A.

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"All Samples Cleared!": The Legacy of Grand Upright v. Warner in Hip-Hop, 1988-1993.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"All Samples Cleared!": The Legacy of Grand Upright v. Warner in Hip-Hop, 1988-1993./
作者:	McLeish, Claire E. A.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	290 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Rap music. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28383932
ISBN:	9798708708328

"All Samples Cleared!": The Legacy of Grand Upright v. Warner in Hip-Hop, 1988-1993.
McLeish, Claire E. A.

"All Samples Cleared!": The Legacy of Grand Upright v. Warner in Hip-Hop, 1988-1993. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 290 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2020.

This item must not be sold to any third party vendors.

In December of 1991, the first lawsuit concerning digital sampling was settled in court. Involving rapper Biz Markie and singer-songwriter Gilbert O'Sullivan, Grand Upright v. Warner has been widely hailed as a landmark legal decision, as well as a disaster for musical creativity in hip-hop. In this dissertation, I begin by interrogating the case's significance both in legal and cultural terms, and go on to assess its lasting musical impact in a variety of ways. First, I consider how the case garnered its landmark status, and then expose how historiographic snap judgments created the received narrative about the case. Next I consider Grand Upright as the culmination of a series of debates settled out of court, involving artists such as Vanilla Ice, MC Hammer, and Tone Loc. Decided during a moral panic concerning crime and rap music, the Grand Upright decision echoed widespread media discourse that conflated sampling with theft. Having engaged with the legal and cultural debates surrounding the case, I then turn to its musical impact: I conduct a corpus study of over three hundred songs drawn from 1988 to 1993, a period often referred to as the "golden age" of hip-hop. My findings suggest that while the average number of samples per song does change, these trends are not equally distributed across subgenres. I explore which genres and artists are most commonly sampled, observing how features common to much African-American vernacular music are especially important in the sampling canon. Because artists can no longer take access to samples as a given, I then consider other forms of intertextuality in golden-age hip-hop songs, such as cover songs and interpolations. I conclude with a series of vignettes on how the effects of sampling lawsuits continue to be felt in today's music industry, with examples drawn from Kanye West and Jay-Z, De La Soul, and Kendrick Lamar. Ultimately my aim is to offer a revisionary history of hip-hop sampling and copyright in the golden age by reframing Grand Upright as a picture of creative resilience rather than catastrophe.

ISBN: 9798708708328Subjects--Topical Terms:

3561107
Rap music.
Subjects--Index Terms:

Grand Upright v. Warner

"All Samples Cleared!": The Legacy of Grand Upright v. Warner in Hip-Hop, 1988-1993.
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520 $a In December of 1991, the first lawsuit concerning digital sampling was settled in court. Involving rapper Biz Markie and singer-songwriter Gilbert O'Sullivan, Grand Upright v. Warner has been widely hailed as a landmark legal decision, as well as a disaster for musical creativity in hip-hop. In this dissertation, I begin by interrogating the case's significance both in legal and cultural terms, and go on to assess its lasting musical impact in a variety of ways. First, I consider how the case garnered its landmark status, and then expose how historiographic snap judgments created the received narrative about the case. Next I consider Grand Upright as the culmination of a series of debates settled out of court, involving artists such as Vanilla Ice, MC Hammer, and Tone Loc. Decided during a moral panic concerning crime and rap music, the Grand Upright decision echoed widespread media discourse that conflated sampling with theft. Having engaged with the legal and cultural debates surrounding the case, I then turn to its musical impact: I conduct a corpus study of over three hundred songs drawn from 1988 to 1993, a period often referred to as the "golden age" of hip-hop. My findings suggest that while the average number of samples per song does change, these trends are not equally distributed across subgenres. I explore which genres and artists are most commonly sampled, observing how features common to much African-American vernacular music are especially important in the sampling canon. Because artists can no longer take access to samples as a given, I then consider other forms of intertextuality in golden-age hip-hop songs, such as cover songs and interpolations. I conclude with a series of vignettes on how the effects of sampling lawsuits continue to be felt in today's music industry, with examples drawn from Kanye West and Jay-Z, De La Soul, and Kendrick Lamar. Ultimately my aim is to offer a revisionary history of hip-hop sampling and copyright in the golden age by reframing Grand Upright as a picture of creative resilience rather than catastrophe.
520 $a En decembre 1991, la premiere poursuite concernant l'echantillonnage numerique a ete reglee devant les tribunaux. Impliquant le rappeur Biz Markie et l'auteur-compositeur-interprete Gilbert O'Sullivan, la decision Grand Upright c. Warner a ete largement saluee comme une des plus marquantes en la matiere, en plus d'etre qualifiee de desastreuse pour la creativite musicale dans le hip-hop. Dans cette these, je questionne d'abord l'importance de ce dossier tant sur le plan legal que du point de vue culturel, pour ensuite evaluer ses consequences musicales a long terme. Premierement, j'examine la facon avec laquelle ce dossier a acquis son statut de cause marquante, et je montre que des jugements historiographiques hatifs en ont faconne l'histoire officielle. Ensuite, je situe l'affaire Grand Upright comme l'aboutissement d'une serie d'autres controverses reglees a l'amiable, impliquant des artistes comme Vanilla Ice, MC Hammer et Tone Loc. Intervenue en pleine panique morale sujet des liens entre criminalite et musique rap, le jugement Grand Upright s'est fait l'echo d'un discours mediatique plus large associant l'echantillonnage au vol. Ayant debattu des enjeux legaux et culturels lies a cette affaire, je m'interesse ensuite a ses consequences musicales, en dressant un corpus de plus de 300 chansons lancees entre 1988 et 1993, une periode souvent decrite comme « l'age d'or » du hip-hop. Mes recherches montrent que meme si le nombre moyen d'echantillonnages par chanson fluctue, une telle tendance ne se reflete pas uniformement parmi les differents sous-genres. J'identifie les genres et les artistes les plus souvent echantillonnes, observant a quel point les traits les plus typiques de la musique vernaculaire afro-americaine sont particulierement prises dans le catalogue d'echantillons. Puisque les artistes ne peuvent plus tenir l'echantillonnage pour acquis, j'explore d'autres formes d'intertextualite dans les chansons issues de l'age d'or du hip-hop, telles que les reprises ou les interpolations. Je conclus avec une serie de vignettes qui montrent que les effets des poursuites en matiere d'echantillonnage continuent de se faire sentir dans l'industrie musicale d'aujourd'hui, a partir d'exemples tires de l'oeuvre de Kanye West et Jay-Z, De La Soul et Kendrick Lamar. Mon but ultime est de proposer une version revisee de l'histoire de l'echantillonnage et du droit d'auteur dans l'age d'or du hip-hop en resituant l'affaire Grand Upright non pas comme une catastrophe, mais comme un exemple de resilience creative.
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650 4 $a African music. $3 3561110
650 4 $a Black culture. $3 3561111
650 4 $a Video recordings. $3 575241
650 4 $a Hip hop culture. $3 3560772
653 $a Grand Upright v. Warner
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