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Featuring, in order of appearance:
ADAM NIELSEN
LITTLEMACHINE
KIM G HANSEN
ROSFORTH
"GOOD COPY BAD COPY"
a film by
16:9 anamorphic
TRT 00:58:30
START 00:02:00
END 01:00:30
rosforth 2007
Mr. Chairman, I want to tell you a story about a local guy done good.
House of representatives 2007
Hearing on the digital future of the United States
By day he's a biomedical engineer in Pittsburgh.
At night he DJs under the name Girl Talk.
His shtick, as the Chicago Tribune wrote about him
is "based on the notion that some sampling of copyrighted material,
especially when manipulated and recontextualized into a new art form,
is legit and deserves to be heard."
In one example, Mr. Chairman, he blended Elton John,
Notorious B.I.G. and Destiny's Child all in the span of 30 seconds.
That sounds good...
For the past 4-5 months I've done a Friday-Saturday show every weekend.
There's a lot of cities and colleges you can play at.
I think it should slow down. I'm getting exhausted.
I just like to sit down and work on music.
ROSFORTH PRESENTS
A film by
This is my spot.
This is my new album. It's called Night Ripper.
On the inside I thank all the artists that I sample.
That was part of the fun for people
to hunt down how many samples they could recognize.
Looking through here, trying to pinpoint them.
I did my own work, but I owe them all credit, because they're blatantly on the album.
And I have a lot of respect for their music.
The album stirred up a lot of controversy this year.
I think people are realizing that I'm not hurting anyone.
That I'm helping them.
Why go after someone who's clearly just trying to make music?
GOOD COPY BAD COPY
I suggest a little hot sauce.
You get a little dose of Pittsburgh culture in here.
Everyone is bombarded with media.
We've almost been forced to use it as an art form.
(It's like anything)
If people were passing out paint for free on the streets
there would be a lot more painters right now.
That's what's happening now with remix culture on the internet.
The current laws are inhibiting the flow of culture and music.
[QUIET!
Please do not disturb
Filming in progress]
Hello. My name is Dr. Lawrence Ferrara.
For about 15 years I've been actively involved in intellectual property
and specifically music copyright.
The key word in master recording claims is a technique called sampling.
If you're a hip hop producer
and you're taking a beat from a recorded piece of music
playing with it in the studio and making it into something else
you're always risking being sued for copyright infringement.
One of the most important cases in the United States
is called Bridgeport v. Dimension Films.
Yes, Bridgeport is the owner of copyrights.
I used to play the accordion.
We have an archive of mostly rap.
They are all mostly sampled.
"Me, Myself and I". That was my first experience of a sample.
It made us understand that we may have to listen to some records and CDs.
The original George Clinton/Funkadelic song was "Get Off Your Ass and Jam".
I'm going to play it to you.
In other words: Get up and dance!
A great song.
If you're familiar with "Get Off Your Ass and Jam"
it's the opening riff to the song that cues you to what's coming next.
Essentially, what we just heard is this...
Three notes on the guitar.
Two seconds was taken from "Get Off Your Ass".
And by the way, it's wonderful to hear learned judges
having to deal with song titles like "Get Off Your Ass and Jam".
Dr. Dre and other members of N.W.A. do a song called "100 Miles and Runnin".
Basically they took a portion of the intro guitar riff and used it as a loop,
but they stretched it out to fit the tempo.
So it sounds more like this...
Now if you listen...
You can hear it in the background. It almost sounds like a siren.
They used it in and out throughout the song.
It's very to hear that...
It's been highly manipulated and the context is so different.
The phrase "de minimis" comes from the Latin "de minimis non curat lex"
which roughly means that law isn't concerned with insignifican offences.
So it was the ideal cae to find de minimis use protecting N.W.A.
Many would say it is de minimis. But it is no.
The court decided that it's illegal to take anything from a recording.
They also said it's not creative.
It was a wake-up call for the industry.
Because they thought they were getting away with it. (They didn't.)
They had a rather stark and severe one-sentence line.
It said: If you sample, you license. Period.
But this is the way hip hop and rap music works.
So many people have said this is the death-knell for hip hop.
It definitely changed from this to this.
We were on topic of the year with all the majors, including publishers and record labels.
Some people like us, and some people don't.
That's always the case when you have a lawsuit.
Is George Clinton satisfied with the way you administer his song catalogue?
You would have to ask him yourself, not me.
This brings us to the perhaps most interesting issue about intellectual property
and copyright:
Who really owns what? And what is the purpose of copyright?
I'm Siva Vaidhuanathan.
I'm an Associate Professor in the Dept. of Culture and Communication at NYU.
The best example of how copyright law undermines everyone's interests
is "The Grey Album".
It was produced by DJ Danger Mouse.
He was inspired by Jay-Z's "Black Album" and The Beatles' "White Album".
He took the vocal track from Jay-Z and samples of the musical bed from The Beatles
and mixed them together in a brillant way.
He released some discs to a few friends, who posted the songs on the internet.
Within weeks thousands of people had copies of it.
It came to me one day as an art project I wanted to challenge myself.
I had always mixed up different genres of music.
I just hadn't done this particular thing yet.
I took a few weeks and just did it.
It took off from there and got kind of crazy.
Everything he did with that was basically illegal.
The Beatles' publishing company would not allow this to happen.
He agreed not do to any more distribution but it was far too late.
Everybody had it. It was an instant classic.
Culturally you have a very white thing and a very black thing.
It can make beautiful music together.
It's very corny, calling it "The Grey Album".
But I'm trying t change people's perceptions about music and what you can do.
Hopefully I'm getting there. It's a start.
It was probably the most succesful album of 2005.
It if had been sold it might have been the biggest hit of the year.
Danger Mouse never made a dime.
Nobody who copied or distributed the music ever made a dime.
Beatles didn't make a dime. Jay-Z didn't make a dime.
Beatles' lawyers must have made some money but nobody else did.
I'm one of the few people who has a ton of fans that don't have any product of mine.
And that's great. Because it's not dependent on that.
This is the typical setup I use live.
Just hours and hours of cutting. Trial and error.
Once I'm playing, this is stuff I've already worked out.
I just have to mute / non-mute on the right time. I have to go...
Simple drumbeats. Really familiar.
I want to put a Cameo drumbeat on top of this.
So, there's two drumbeats right now.
Beat A...
Beat B... We can put them together.
Then I sampled AC/DC's "Money Talks". You can layer that on top.
Then I can put vocals on top... T.I.
When I record for an album I do a live rendition.
And then I take it back in here and edit it piece by piece together.
I'd be happy to pay royalties for every sample, but that's not what it would be.
To licence a sample would cost millions of dollors which I can't afford.
If sampling would be this form of music where you'd have to give all your money away.
That would still be cool. It would still be this new way to make music.
That would be wonderful.
But in a theoretical world, if I could clear all samples on the album,
and I had a million dollars to do it,
it would still take 50 years to go through the legal hassle and that's just absurd.
I'm Dan Glickman, chairman and CEO of the Motion Picture Association of America.
We represent the six largest motion picture companies.
I'm not the boss of Hollywood.
If I said that I would not have the job very long.
I represent them in Washington and countries worldwide
as we try to deal with the issues we're concerned about.
In the U.S. Constitution there's only one substantive area of law included
and that was protecting creators' rights.
The fouding fathers said that would be determinative of how succesful a country you have.
If you have imaginative and curious people who want to build and make things
the theory was that they wouldn't do it unless you protect that right.
Piracy is the unauthorized taking or theft of that intellectual property without compensation.
The system is very simple.
Here in Gorbuska you have around 2000 shops.
About 30 of those sell original products,
Watch out, will you. I'm being interviewed. Don't you see the mic?
Oh fuck...
Sorry for swearing.
We have to be discrete with the camera, there are guards patrolling.
The European is paid to film the opening night at the cinema.
He transfers the first part of the recording to Russia via internet.
If the pirates here are happy with the price and the recording,
they transfer the money and receive the second part.
Our economy is 30 years behind Europe. To us this is perfectly normal.
The ironic part is that most of the pirated copies
are sold from the shops that are controlled by the police.
Piracy used to be the street variety of piracy. The DVDs or the CDs.
But now more and more is internet piracy,
which is much more complicated than street piracy.
A facilitator is a server that acts as a directory or search engine
and coordinates the mass downloading and exchange
of pirated content between downloaders.
The losses to our companies are about six billion dollars a year.
We know that we will never stop piracy.
We just have to make it as difficult and tedious as possible.
And people have to know there are consequences if they're caught.
I got a phone call saying that there was a lot of policemen there.
And I asked: What the fuck?
I went there with a cab and the police actually stopped the cab.
They wanted to know who I was.
I kept asking: "Who are you?" And they said: "Who are you?"
After a bit of who-are-you'ing, they finally said they were police officers on investigation.
They first asked about the BitTorrent protocol.
Then they asked about The Pirate Bay and my involvement in it.
The obvious goal of the police was to get The Pirate Bay offline
and get the internet supplier offline.
We certainly wanted the local authorities to know
that replication of copyrighted materials was happening and was being distributed worldwide.
You gotta go after the folks who break the law and use local law enforcement to do it.
That was a decision they made, but we talked to them.
They think that U.S. jurisdiction stretches around the world.
It's illegal according to U.S. law, but not according to Swedish law.
The users appreciate that we talk back to them,
and tell them that they don't decide over the internet.
We, the users do.
I see The Pirate Bay as a sort of organized civil disobedience
to force a change of the current copyright laws and the copyright climate.
There is a growing movement among younger people in Europe and in the United States
about free is right and sharing of information should be unrestricted.
If that comes into conflict with copyright, so be it!
After three days the servers were back up and most of the backups restored.
Now the site is virtually impossible to take down.
It was an eye opener for them that there is such a large popular support
for filesharing and the general copyright issues.
I think in Sweden especially it's become a cause célèbre.
There was even a political party created because of this.
The issue at stake was that the Swedish Government
had caved in to pressure from the U.S. entertainment industry
violating Swedish citizen's rights and not giving a damn about Swedish law.
That upset people!
I set up the website and dragged the address into a chat channel.
The next day it had one million hits. Swedish media started calling, then the European.
January 4th my picture was in a Pakistani newspaper.
I said to myself: "What is this? Stop, I want to get off!"
The Pirate Party. Protecting your privacy rights.
Go on, take it and have a read.
Filesharing has pros and cons. The copyright infringement is a drawback.
But if you want to fully get rid of copyright infringement the consequences are unacceptable.
There is a proposition on data storage. It's a new EU directive.
All internet traffic is to be retained for up to ten years.
All emails you send and all your phonecalls will be stored.
That's right. Everyday, private communication.
I think you should read it.
An old revenue stream for the entertainment industry is up against fundamental rights,
such as privacy of correspondence, protection of whistleblowers and freedom of press.
This is a disturbing trend, because they do not understand what this is really about.
They think it's about one profession's right to get paid for its work, but this is not the issue.
If you look at the advantages of filesharing,
every citizen gets all knowledge and culture of the world at his fingertips.
Each citizen is enriched in a way not seen since the advent of public libraries 150 years ago.
What does this music video with Bush and Blair illustrate?
It illustrates the extraordinary potential the digital technology has given (to not just movie studio, not just television stations but) anybody who has a $1500 computer
(can begin) to use sounds and images (from the culture around us) to say things about politics or culture (in way that connect) directly to other people.
Tell me how Creative Commons works, because that is different from copyright as we know it.
Creative Commons is a tool for artists to mark their creativity with the freedoms they intend it to carry.
It's important that it's artists doing this. (No one is taking rights away from anybody.)
They're making a choice about which freedoms they want to associate with their creativity.
Can the artist get payment through Creative Commons?
Creative Commons has a suite of licenses.
If you license your content under a non-commercial license,
others can freely use this for non-commercial purposes.
But if you want to use it for commercial purposes come back and talk to me.
(Unlike some people in the movement) I fundamentally believe in copyright and its need in the digital age.
(The only problem is) it has become so expansive and powerful that it (can begin to) inhibits creativity.
I write books for a living.
When my books are assigned in a college,
kids take my words and do all sorts of junk with them.
But I don't want to file a federal lawsuit and tell them: Stop using my work.
We understand in the context of text that you put the text out there,
copyright protects you from somebody competing with you and selling the original book.
But it ought to be free for people to use and reuse as they want.
Those same norms have got to be part of film, music and graphics.
Imagine the day you got married you could go back and see
all the news stories that were happening and on an anniversary take those
and mix them into a story about your life that you would give to your spouse.
This is the kind f creative opportunity that digital technologies give us quite cheaply,
but the law makes it practically impossible as it is structured right now.
We should update the law to make sense of these technologies.
There are many creative ways to ensure that artists continue to get paid.
But these things on the shelves with content from the 50's, 60's and 70's...
... nobody is being paid for them now anyway.
If kids can use them in school and nobody gets paid; then nobody is worse off.
But even with a simple system to assure compensation for the use,
you can increase the compensation to the artists in a way that they would otherwise not be getting.
If you go to Africa...
Nigerian cinema is nowadays the largest moviemakers of the world.
United states produces 611 films per year.
India produces around 900. Nigeria produces 1200 movies.
And the interesting thing is that all that happened without Nigeria having a copyright law.
Nigerians are 120-130, some say 150 million people.
One in five black people in the world is a Nigerian. One of four Africans is a Nigerian.
So it's quite a lot of people.
For such a large group to not have any kind of connection
to an audio-visual expression that is peculiar to them...
There was a gap in the market.
Everybody is looking to Hollywood. They're selling a lot of sex and violence.
We don't make movies like that.
We make movies that have genuine human stories, real family values,
respect for elders, love for one another.
We don't celebrate killing. We make movies that make a difference.
As a Christian I have always believed in sharing.
We can't go to the L.A. film schools
but we can tell our stories with our own pictures.
They look atrocious, the acting is horrible. But it's piecing together the stories.
So, the first shop we have.
The American market has set the pace for most people.
They are probably the most advanced in the world. That's accepted.
My people say: "You can't be taller and shorter than me at the same time. You have to decide."
So we give them the best of the world. "You take the high end (of the market)."
But there's room to play somewhere else. And we occupy that space quite gladly.
[Yes you can!]
The economics of making movies on celluloid or 35 mm would never work in Africa. (Would never work in Nigeria.)
We don't have the structure to support that.
Nigeria has been the first (country in the world) to accept and develop digital video
as an origination format for feature films.
Nigeria (was the first country in the world) to make direct to video as the first line of release.
The Americans come into that now. The DVD has saved Hollywood. But Nigeria went there first.
When the film is released everyone looks at the executive producer,
the person who puts down the money to make the film.
But the copyright aspect has not been explored. We're trying to give effect to it.
We've been able to start to create that culture of respect for copyright.
This is Alaba International Market.
Nationwide everybody knows about the market.
The producers come here at the market so we can not pirate the work.
The association will arrest you. So we don't pirate Nigerian movies.
But you can pirate foreign movies.
Foreign is okay, since the producers don't come here.
You can produce and sell it at your own price.
Piracy has an interesting connotation in Nigeria.
Because people tend to think: it's criminals who do this,
people would rather buy the counterfeit, cheap copy.
The counterfeit copy in Nigeria costs as much as the genuine copy.
So it's not about the money.
The counterfeit or genuine copy will cost you the same.
And piracy doesn't occur until the genuine copy becomes available.
So if we make the effort to put the genuine copy at the time of release in front of the public
and they have only genuine copies - who will buy the pirate copies?
We're trying to provide solutions to the situation that creates piracy,
rather than just pursue people who are counterfeiting things.
If I convict a pirate, the pirate will not put money in my pocket.
He will still continue to spend my money that I pay the goverment as tax.
The government will have to feed him, the government will have to clothe him.
And take care of him while in prison.
We don't want to look at things from the negative angle.
We want to approach it from the positive angle.
And as we go along we'll remove all forms of negativity.
Copyright is not about stopping people from using your work,
but getting them to use your work legally
and giving you money for what they've done with your work.
God said: "Abraham, lift up your eyes!"
He said: "Lift up your eyes, and look. Everything you see, I am giving you."
I am saying to you today: "Lift up your eyes a little."
This economy has required that we distill our own unique method of creation motion pictures.
That we have done.
Slap your lap three times!
There's a huge chunk of that American market that's right in our ballpark.
That's the African American market.
People say: "You will never connect with them."
(Bottom line is) we have more things in common than the African Americans themselves realise.
There are genes in our bodies that respond to each other,
they respond to our songs, our stories, our music.
That community essentially is a market waiting to connect with this Nigerian community.
Of course they can try to shut us out, but that' snot possible these days anyway.
When it was up to a few to decide what was on in the U.S. cinemas, they could keep you out.
But now everyone is on the internet. You can access anything from anywhere.
So if you have a product that's valid abroad, I can reach them from here.
Society is the biggest competitor for Hollywood, the music industry and the publishing industry.
So you have this new competitor that is everyone else.
So the law has been consistently changed in the past 12 years
in order to protect certain very specific interests.
Especially for the North American cultural industry.
In order to prevent society from becoming the producer of culture in itself and for itself.
My name is Olivier. I'm the head of marketing at VP records.
We're the largest reggae label in the world.
This is the heart of the operation.
The music starts in Jamaica, comes here and gets spread to the world from this warehouse.
The first album that almost everybody knows sold six million units.
That was with less airplay and marketing than this album which sold half of that.
So clearly there's a crisis going on.
There's a significant damage done to the value of music by services like Napster
where everybody feels "why would I pay?" You can't compete with free.
How can you compete with something free? You can't. We can't.
You need copyright as an incentive to people to create.
First we go to the internet service provider and say:
One of the most important things you have in your business model is music.
When you look for new subscribers you say how important music is.
If you believe music is important then respect music.
Cooperate with those who produce the new music you need for your business.
We need protection against the stealing of our music.
It's too hot in here. It's like a sauna. Let me just cool down.
The figures show that seven billion dollars in value has been lost
in the record industry in the last six years.
I don't have the exact number, but thousands of jobs have been cut.
Digital downloading killed the music business.
Major records stores such as Tower Records have closed, which is really sad.
There's a tremendous turf battle going on.
If the record companies stick to their old business model in the new technology...
It will not work. It will only slow down the development.
If they close down all the peer-to-peer networks in Europe,
there will be one in China or in Russia, like allofmp3.com.
If you close those down, they'll be on Pacific Islands.
Or they will be on a boat.
We want penalties which any reasonable person would see as a deterrent.
If you have a first offender in piracy, you have to have a proportionate penalty.
Major and repeat offenders need a real deterrent.
In the world of crime that involve prison sentences.
They've started sueing people. Which is not a great thing to do.
The people who upload are the biggest fans, the real music fanatics.
Everyone knows the music industry is evil.
When you use Limewire or eMule,
you really don't feel bad, because it's not an industry you want to give money to.
There is no indication that consumers mind paying artists.
There's plenty of indication that consumers aren't happy to pay corporations.
We need to make people want to support the musicians and the record labels.
To make this happen they have to feel good about it.
I love going to the record store and buying a CD.
That's what I did when I bought the first record I love, Nirvana's "Nevermind".
I went to the record store with my parents, hunted it down,
read the liner notes and listened to the album.
That is an awesome experience. A lot of kids don't get to experience that growing up.
They don't have this nostalgic connection and love for consuming music.
The perception of the value of music by the consumer has declined.
What we need to do (as records labels and anybody that wants to work in music) is to rethink how we sell music.
There's the "all you can eat" model.
You pay ten dollars per month with no limit on your consumption.
But you don't own. That may be one way.
Another way (the French) is to get a percentage of the revenue
from the telecom and cellphone companies and internet service providers,
and allocate a certain amount to the copyright owners as compensation.
It will be transparent to the consumer. Just added to your phone bill. You won't see it.
Any music you want just go ahead and consume it.
The blanket license, the global license is going to come.
If you have 600 million people worldwide paying 50 dollars a year,
to access and do whatever they like with all the music that's available,
you get the current size of the retail of the record business over the counter.
Why don't they go for it?
Because they built up their business
around controlling the OECD market, the rich world market.
They've ring fenced it. And the rest of the world is full f what they call "pirates".
I really don't know if down the line everyone will just be downloading for free.
I personally enjoy downloading music. I try to buy records when I can.
I often can't find them. My records are scattered over five households.
So I download something to use in a song,
because I don't want to go through the hassle of finding it.
What will not change is the need to market. This... Nobody's heard of them.
This is probably millions of dollars in marketing. This is close to zero.
You can't just take a product and dump it on the internet.
(Big myth) "The internet is levelling the playing field".
The way we market the big titles has changed.
Maybe you don't have to own it, but you want to listen to it.
Steamed, dual delivery, download, mobile. It doesn't matter.
In the North of Brazil, you have the Tecno Brega movement.
Tecno Brega is the mix of techno, especially electronic beats from the 80's,
and "brega" which means "kitch" or "cheesy". So it means Techno Cheesy.
Amazing stuff! It's excellent. I lot it, and it's really great.
I'm a music producer.
I make remixes of Tecno Brega in my studio on the top floor.
This is my wife. This is my mother, Katharina.
In here my father is working.
He is making a shelf for my studio.
First I hear to a song on the radio.
Then I try to find the song on the internet and dwnload it from a filesharing service.
I listen to it on the computer to see if it's suitable for remixing.
Tecno Brega derived from Brega Calypso, which comes from the Belém do Pará.
In Tecno Brega you remove the acoustic instruments. It's totally electronic.
So I'm a producer, not a musician.
We can't use the bass of this song, because it's another style of music.
Ours is different. We need to create another bass line but with the same notes.
You have a music producer, who has a recording studio.
Probably a small one with good equipment.
They invite the artists to these studios to make the CDs.
They deliver it to the street vendors, so that they can replicate them.
The only people making a profit out of CD sales are the street vendors.
The musicians don't expect any money from releasing the CDs.
My nickname is Spok from the Downtown Market.
I do the T and the C for Cyclone and the S for Superpop.
Here you can get all the songs you want compiled on CDs.
You can buy a mp3 CD with 150 to 200 songs on the same CD.
---
It sells a lot when well compiled with Tecno Brega. See, now this guy wants it.
I go to the Tupinambá often, because the girls are hot.
Patty Potência is so hot.
Agatha is hot too.
The "aparelhagem" or the sound system, is a very important element in Tecno Brega culture.
The different sound systems compete against each other
about who has the most cutting-edge updated equipment.
They realize that CDs are not a good business model,
but merely an advertisement.
They organize parties where you have 5000 people coming. Then you make money.
Hey, I'm DJ Dinho from Tupinambá. The number one soundsystem in Brazil.
The music is made to promote the artists.
The artists don't use the music to sell millions of copies.
It's to give the artist attention and to get shows.
Tecno Brega is first played at the soundsystem parties, the biggest outlet for our music.
They start to play the song and then it becomes popular.
DJ Dinho is gonna play for you
and this song is gonna be a hit.
Oh Dinho! I'm here in front of you and not looking good. Are they recording?
Dinho, I look horrible. I can't believe it.
She thinks it's for my TV program.
The woman didn't think she was well dressed...
Come to Tupinambá.
Do the T with me
and let's dance like that.
Now I'm doing a remix of the song "Crazy" by Gnarls Barkley.
I'm turning it into Tecno Brega.
The story of the Gnarls Barkley: they are two guys.
Danger Mouse and Cee-Lo. Danger Mouse became very famous.
He mixed "The White Album" by the Beatles with "The Black Album" by the rapper Jay-Z.
He did it without permission and without caring about copyright.
He's very lucky... And also very lucky not to be in jail!
After this he was hired to produce Gorillaz. Do you know Gorillaz?
"Set myself together..."
"It's there..."
The majority of songs here are copies of other songs.
They are easier to adapt to Tecno Brega and Melody.
They already made a copy of Guns N' Roses... and U2.
A-ha...
Even Pink Floyd.
Dire Straits...
Take it easy.
This copy was the biggest hit of all time.
Freddy Mercury, Queen, right... All these bands...
About the copyright... The artists don't worry about it.
They don't want to make money through copyright,
but from making shows and being successful in that way.
I'll get this song on the radio and you'll see.
When the band The Pixies reunited a couple of years ago,
the press was raving about them using a new business model.
They recorded their concerts live. So on your way out
you would buy a CD of the concert you had just heard.
The Tecno Brega movement in Belém had been doing that four years before the Pixies.
The interesting thing about these emerging cultural industries
is the fact that they are very innovative in terms of business models.
The whole industry has a lot to learn.
Society as a whole has a lot to learn from these emerging cultural forms of production,
that are taking place in the poor areas of the world.
We all got to rethink the way we do our business. (It's not going to be easy.)
Companies are going to change hands, artists are going to squeal.
Other artists are going to make a fortune. It'S going to be a turbulent time.
I am kind of thrilled.
I have to hurry up and do a lot of things
because maybe things are going to change drastically.
It's okay if it affects the business. Hopefully the music won't get screwed up.
You need to take a look at your environment.
The limitations of your environment.
The advantages. And then do things which are peculiar to you.
And be proud of them.
People will not do things for free.
It defies human nature to paint a picture or do a statue and just give it away.
There might be a few people like that, but they probably don't eat very well.
I gotta run.
The copyright maximalists, the Hollywood types, say really strict control
will grow the industry faster than anything. But in fact that's wrong.
Freedom drives a more vibrant economy than restriction and control.
The culture has changed. In the 60's, 70's and 80's it was an individualistic approach.
With the internet there's been a second mix tape culture,
where you borrow from here and there, make a video mashup and post it on YouTube.
Everybody becomes a creator by taking pieces here and there.
Forget whether they steal or not, that's a reality we have to live with.
There is a risk that copyright will just atrophy and die. Noone will enforce it.
We've got to think about it in a radical way, so that it makes sense.
You can hear songs on the radio with riffs that sound just like Black Sabbath
more so than me cutting up Bachman-Turner Overdrive,
will sound like Bachman-Turner Overdrive.
I can manipulate these sources more than people ripping off chord progressions.
It's just different musical tools.
57% of teenagers have created and shared content on the internet.
That's not peer-to-peer filesharing, that's about 99%.
This is people actually creating material and making it available.
To us, the couch potato generation, this is bizarre.
But to them it's the natural way to understand the world and create.
You can either call them criminals or pirates
and use all the tools of law and technology to block them.
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Or we can encourage them by making material available,
that give them a better understanding of their past
and a better opportunity to say something about the future.
Creativity itself is here on the line
and striking a balance between protecting the rights of those who own intellectual property,
with the rights of generations of future young and old people to create.
This is Gnarls Barkley, "Crazy" remix from these Brazilian people.
Brazilian music is going so crazy right now.
I can definitely chop up those beats at the beginning.
I'm always looking for the most minimal elements.
Just a beat at the beginning.
Copy that. Paste that.
It's all about making it the tightest loop possible.
This is their beats cup up using only the remix.
Right now, I'm making a remix of a remix. I'm remixing the remix.
So if you want to get kind of experimental on it...
It goes back to the whole folk culture thing.
Remixing a Brazilian remix of an American song.
The idea of passing these ideas down.
Gnarls Barkley had a specific story to tell and they passed it along.
The Brazilians reinterpreted it, added their own beat and flavor.
It comes back to some guy from Pittsburgh with a laptop.
I reintrepret the Brazilian version. It's just a spread of musical ideas.
In this day and age, the most efficient way to have artistic growth
is the passing down ideas from recycling ideas.
I can chop this up more. Here's the chorus part.
Let me put that in here. So just that one second...
Pretty fun to cut stuff up.