{"id":1427,"date":"2009-02-03T22:06:04","date_gmt":"2009-02-04T03:06:04","guid":{"rendered":"http:\/\/wayneandwax.com\/?p=1427"},"modified":"2015-01-07T14:02:30","modified_gmt":"2015-01-07T18:02:30","slug":"pop-champagne-pop-copyright","status":"publish","type":"post","link":"https:\/\/wayneandwax.com\/?p=1427","title":{"rendered":"Pop Champagne, Pop Copyright"},"content":{"rendered":"

<\/a><\/p>\n

Listening to the Federation<\/a>‘s recent mixx of reggae hottage for Mad Decent<\/a>, a few things struck me per recent<\/a> conversations<\/a> here:<\/p>\n[audio:http:\/\/media.libsyn.com\/media\/maddecent\/mad_decent_radio_44_federation.mp3]\n

1) the use of the “hey<\/a>” sample in the intro (0:30-0:40), like an airhorn or any other selector sound effect<\/a> (speaking of which, check the first sound<\/a> on that page — you can’t make this stuff up, folks!)<\/p>\n

2) the use of the beat from “Pop Champagne” as a riddim. Importantly, not only do we hear Elephant Man’s unauthorized voicing “Sweep the Floor” (akin to “Rampin Shop<\/a>,” legally speaking), but we also hear TWO DUBPLATES that also employ Ron Browz’s minimal beat. These latter recordings were no doubt commissioned by Federation Sound themselves (so special<\/em>), and they call attn to the degree to which such “remixes” or “unauthorized” recordings are deeply embedded in performance practice: as long as selectors need to move a crowd and kill a next sound, they’re going to be asking artists to voice on the latest hype. That sort of activity is essentially un-police-able, in part because it resides on the margins of the music biz (if however central to reggae industry), in part because it moves so fast.<\/p>\n

For another example, see the Fed’s most recent dancehall reggae mega-mix<\/a>, in which the beat from Kanye’s “Heartless” propels a couple tracks: 1) Dr.Evil’s no-brainer (but brilliant) “counteraction<\/a>“; and 2) yet another instance of Ele hopping pon the now ting quick as he can.<\/p>\n

These all illustrate that despite overreaching laws and chilling effects, the riddim method<\/a> is alive and well in Jamaica and the dancehall diaspora. Maybe more notably, it has caught on outside Jamaica in a way that perhaps outstrips reggae’s “original” model for creative (and contemporaneous) reuse.<\/p>\n

Indeed, the most remarkable examples illustrating the global uptake of the riddim method in the last year happened in hip-hop. The beats from Lil Wayne’s “A Milli<\/a>” and MIA’s “Paper Planes<\/a>” essentially became global riddims, generating about a zilli<\/a> remixes, freestyles, versions, voicings, wot-ever-u-call-em (and that’s not even counting post-milli beats<\/a> and such). <\/p>\n

Can the law catch up to something faster than it?<\/p>\n","protected":false},"excerpt":{"rendered":"

Listening to the Federation‘s recent mixx of reggae hottage for Mad Decent, a few things struck me per recent conversations here: [audio:http:\/\/media.libsyn.com\/media\/maddecent\/mad_decent_radio_44_federation.mp3] 1) the use of the “hey” sample in the intro (0:30-0:40), like an airhorn or any other selector sound effect (speaking of which, check the first sound on that page — you can’t […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[141,404,12,408,421],"class_list":["post-1427","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-copywrong","tag-hip-hop","tag-mixx","tag-reggae","tag-remix"],"_links":{"self":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/1427","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1427"}],"version-history":[{"count":32,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/1427\/revisions"}],"predecessor-version":[{"id":1462,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/1427\/revisions\/1462"}],"wp:attachment":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1427"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1427"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1427"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}