Wednesday, December 24, 2008

Culture Bully's Top 15 Mashups of 2008


This is Culture Bully's 15 Top Mashups of 2008. The fact that 2008 was the year that remix culture broke into the mainstream --for better or for worse-- places these tracks at the heart of the zeitgeist

.zip archive here. Go to Culture Bully for a track by track breakdown.

Tuesday, December 23, 2008

Holiday Cheer: Memories of Rome



Since many of you who have been following BuyTheTickets are heading back or are already home here's a special holiday issue of the Weekend Tunes. Something to help you remember how Rome was with you here. Provincial, alive and always ready to take on the best you had to offer. Like these Italian bands covering songs by the great US and UK bands in the 60s. Call it spaghetti rock'n'roll or call it Italian Ethno-Beat. It's very similar to what the film directors were doing with something so quintessentially non-Italian like the western. Whatever they were up to, it definitely is the best way to keep your Italian going. And you can dance to it. Enjoy.
(Most of these songs were posted on the great world music blog Benn Loxo Du Taccu so a tip of the hat to them for digitizing these memories of my childhood.)

Happy Holidays.
It was great to have known each and everyone of you. See/talk/hear from you in 2009.

Caterina Caselli - Sono bugiarda (I'm A Believer)
Fausto Leali - Lei ti ama (She Loves You)
I Dik Dik - Senza luce (A Whiter Shade of Pale)
Gianni Pettenati & The Juniors - Come una pietra che rotola (Like A Rolling Stone)
Gli Uragani - Con quella voce (I Can't Explain)
I Corvi - Bang Bang
I Dik Dik - Sognando California (California Dreamin')
The Little Boys - Lei t'ama (She Loves You)
The Ravers - Tanto carina (California Sun)
Davide e Sara - Facciamo l'amore non la guerra (Good Vibrations)
Caterina Caselli - Paint It Black
I Jaguars - Barbara Ann

Bonus Tune:
The Supremes - L'amore verrĂ  (You Can't Hurry Love)

Saturday, December 20, 2008

Holiday Cheer: RIAA to Stop Suing Music Swappers


Yes, you read correctly. The RIAA is not suing individual on-line music swappers anymore and is abandoning it's practice of 'mass lawsuits'.

Read about it here on p2pnet. Recording Industry vs. The People has an exhaustive collection of links to blogs and news stories about this. RIvsTP is also cautious in celebrating too quickly as it reports that the RIAA's claim of not having filed cases 'for months' is false.

Something to think about before going overboard with too much enthusiasm is the ominous statement that the RIAA, while dropping the individual lawsuits, is "looking for more effective ways to combat copyright infringement". While dropping the lawsuits is undeniably a clear indication of the record industry's complete disconnect with society and their lack of vision for a new business model that adapts itself with the changed rules on the ground, there's a feeling that the 'more effective ways' they are talking about involve getting ISPs to do their dirty work for them --remember the cases of disappearing blog posts and the strange letters that services like Blogger have been sending to the blogs they host? Are the ISPs about to be turned into rogue enforcers of the law? Certain service providers have already agreed to help the music industry and their quick denials about blacklisting file sharers is deeply suspicious. Bob Lefsetz is aware of the problem but he is too happy dancing around the bonfire of the majors to be concerned. Let's hope he's right.

Winter Break Mode


Enjoy the holidays. As we enter the winter break, not having any immediate stuff related to classes, I'll be posting irregularly on random stuff. Weekend Tunes will continue.

Thursday, December 18, 2008

Monday, December 15, 2008

Broadband Universal Service



Given that President-elect Obama has always been a strong proponent of the idea of a democratic access to broadband, there might actually be a chance that this will happen sometime in the near future. The fine print of the deal should be read carefully.

Friday, December 12, 2008

Big River

For those enjoying the privilege of seeing the Tiber spilling out. Stay safe.

The...Web Sheriff





















"So here's the newest soldier in the other Bush-era war with no end in sight: the arbitrary and unseemly battle over music piracy. What began with Metallica calling out Napster (and the Recording Industry Association of America suing a 12-year-old for illegal downloading) has now led here, to a London-based organization of "Internet policing specialists" whose website claims to combat everything from libel to pornography. But the Sheriff has become most notorious for unusual efforts to prevent album leaks, which, until recently, mostly involved leaving ominous comments on personal blogs."


If the majors have the RIAA and the IFPI pressuring ISP's and blogger services directly to do their bidding for them, the indies have the "web sheriff". The Village Voice tells all. Make sure you take a look at the web sheriff's own web site and check out the 'Outlaws Gallery' which will tell you all about the things that you're doing on the web that the sheriff finds 'disturbing'. If it weren't real, this would have been a perfect Yes Men prank.

Tuesday, December 9, 2008

Visualization


















(click on the image)

The artist Andrew Kuo dissects every moment of the new Kanye West single, "Love Lockdown".

(from The New York Times)
Posted using ShareThis

Monday, December 8, 2008

(Viva La) Rip Off?



Is this the difference between sampling/mashup/remix culture and ripping off/stealing/plagiarizing? This has nothing to do with copyright issues. Coldplay are in trouble: legally and morally.
How embarassing.

Exam Coming Up


Study Guide.

Filippo Minelli, Contradictions























"what i want to do by writing the names of anything connected with the 2.0 life we are living in the slums of the third world is to point out the gap between the reality we still live in and the ephemeral world of technologies."

("Facebook", spray paint on scrap-yard, Bamako - Mali, 2008 )
("Microsoft", Paint on barrels, Bamako-Mali. 2008)
("Flickr", Paint on wall, Phnom Penh-Cambodia. 2007)
("Myspace", Paint on wall, Phnom Penh-Cambodia. 2007)

More pieces in this series and artist's statements here.
More of Filippo Minelli's work here.

Also take a look at the Wooster Collective's website: A Celebration of Street Art

Nollywood Credit Crunch



















We talked about Nollywood, the thriving Nigerian film industry, working in an alternative 'copyright' regime a while back. Here is an article from Modern Ghana about the credit crunch in that national film industry. Love the comparison of the cash crunch to a biblical plague --can you imagine the New York Times leading a story with this paragraph?

"Though it is cheery news that the cash crunch invading the world like the biblical plague in the time of Moses is showing signs of subsiding, the effect of the global cash crunch has, however, changed the power equation and landscape of the Nigerian movie industry otherwise known as Nollywood."

Saturday, December 6, 2008

Text

Jay-Z on iLike - Get updates inside iTunes

On The Media Bits




















(click on image for readability)


Some interesting features on this week's On The Media as usual courtesy of the good people of WNYC and the listeners (like you) who live there.

An interview with James Boyle on his new book, The Public Domain:Enclosing the Commons of Mind. See previous post on Boyle and his chapter on mashups.


The insanity of "terms of service agreements" that we all accept without ever possibly having the time to read them. Did you know that they turn us all into prosecutable hackers?



A reflection on the ways in which Indian media covered the Mumbai attacks. If you are looking for an analysis and an image of a particularly complex media system with a characterizing history look no further.


On a related note, the role of Twitter and other social media in reporting the crisis in India. Be sure to look at Gaurav Mishra's Gauravonomics Blog where he reflects on "The Role of Citizen Journalism in the Aftermath of the 11/26 Mumbai Terror Attack"
The flipside of course is how the attackers used an array of commercial technologies --from Blackberries to GPS navigators to anonymous e-mail accounts-- to organize their deadly attacks.

Wednesday, December 3, 2008

Critical Race Studies and Digital Media














"This imagery has a history."


"Like many white liberals, I had viewed the absence of explicit racial markers in cyberspace with some optimism-seeing the emerging "virtual communities" as perhaps our best hope ever of achieving a truly color-blind society."

Henry Jenkins reflects on the myth that the online world is essentially color-blind. In this article he reflects on what is wrong with this argument. He also interviews Sarah N. Gatson (Part One & Part Two") on why the myth carries such persistent force.

Plus on the gaming side, Black Professionals In Games: N’Gai Croal Talks Stereotypes, Finding Video Games’ Spike Lee + More N'Gai Croal: Interview on the Resident Evil 5 Trailer.

"This imagery has a history. It has a history and you can’t pretend otherwise. That imagery still has a history that has to be engaged, that has to be understood … If you’re going to engage imagery that has that potential, the onus is on the creator to be aware of that because there will be repercussions in the marketplace.

"The point isn’t that you can’t have black zombies. There was a lot of imagery in that trailer that dovetailed with classic racist imagery. What was not funny, but sort of interesting, was that there were so many gamers who could not at all see it. Like literally couldn’t see it. So how could you have a conversation with people who don’t understand what you’re talking about and think that you’re sort of seeing race where nothing exists?

"There was stuff like even before the point in the trailer where the crowd turned into zombies. There sort of being, in sort of post-modern parlance,
they’re sort of “othered.” They’re hidden in shadows, you can barely see their eyes, and the perspective of the trailer is not even someone who’s coming to help the people. It’s like they’re all dangerous; they all need to be killed. It’s not even like one cute African — or Haitian or Caribbean — child could be saved. They’re all dangerous men, women and children. They all have to be killed. And given the history, given the not so distant post-colonial history, you would say to yourself, why would you uncritically put up those images? It’s not as simple as saying, “Oh, they shot Spanish zombies in ‘Resident Evil 4,’ and now ‘black zombies and that’s why people are getting upset.” The imagery is not the same. It doesn’t carry the same history, it doesn’t carry the same weight. I don’t know how to explain it more clearly than that."


More reactions to these images here and here (make sure you read --some of-- the comments section and relate them to Croal's comments above on 'those who can't see it') and here.

N'Gai Croal's Blog on Gaming: Level Up
Resident Evil 5 Trailer


Related: A copy of DS title Animal Crossing Wild World sent out to media yesterday by Nintendo came loaded with most of the game's secrets unlocked, it also included a surprise: a racial slur.

(m)Apple

Tuesday, December 2, 2008

OutMSNBCed


For those who have seen Outfoxed: there's a new lap dog in town...

Monday, December 1, 2008

The Public Domain



James Boyle's The Public Domain: Enclosing the Commons of the Mind is licensed under a Creative Commons Attribution-Noncommercial-Share Alike License. It available for download from Yale University Press here.

"Musical styles change over time and so do their techniques of appropriation. Sometimes musical generations find their successors are engaging in different types of borrowing than they themselves engaged in. They do not always find it congenial. It is striking how often musicians condemn a younger generation’s practice of musical appropriation as theft, while viewing their own musical development and indebtedness as benign and organic. … [Sampling] is a different kind of borrowing than the adaptation of a chord pattern from a gospel standard to make an R&B hit. But which way does the difference cut as a matter of ethics, aesthetics, or law?"

This is good material for people working on copyright and appropriation for their final papers. Chapter 6 ("I Got A Mashup") is especially pertinent. Read it together with Matt Mason's "We Invented the Remix" chapter from The Pirate's Dilemma posted a few weeks back. Chapter 6 is here, from the 'annotatable' version on the website of Boyle's book.

Sunday, November 30, 2008

Term Papers: Get Them, They're On Sale!















"Writing model term papers is above-board and perfectly legal. Thanks to the First Amendment, it’s protected speech, right up there with neo-Nazi rallies, tobacco company press releases, and those "9/11 Was An Inside Job" bumper stickers. It's custom-made Cliff Notes. Virtually any subject, almost any length, all levels of education — indulgent parents even buy papers for children too young for credit cards of their own. You name it, I've done it."

Nick Mamatas was a paper-writer-for-hire, and is now full of remorse for taking money from cheaters.
Read the confession: "The Term Paper Artist" from The Smart Set, Drexel University's On-Line Paper and hear the On The Media interview below:

Pink and Blue





















Statement by the artist, Jeongmee Yoon:

"To make "The Pink and Blue Project" images, I visit the child's room, where I display and rearrange his/her colored accessories. I ask my models to pose for me with their pink or blue objects, in an effort to show the viewer the extent to which children and their parents, knowingly or unknowingly, are influenced by advertising and popular culture. I first lay out the larger items, blankets or coats, and then spread smaller articles on top of the clothes. This method references objects that are displayed in a museum collection. In some pictures, the children even look like dolls."

"The Pink and Blue Project" was at first motivated by my daughter. At five years old, she loves pink so much that she wants to wear only pink clothes and use only pink toys or objects.

I found that she is not unusual and most other little girls in the U.S. and South Korea love pink clothing, accessories and toys. This phenomenon seems widespread among various ethnic groups regardless of their cultural background. It could be the result of an influence of customs or the power of pervasive commercial advertisements for merchandise such as Barbie and Hello Kitty.

While producing the "pink" images, I also became aware that many boys have a lot of blue possessions and started photographing them as well. Through advertising, consumers are directed to buy blue items, symbolizing strength and masculinity, for boys; and pink items, symbolizing sweetness and femininity, for girls.





















Artist Page on ArtInfo.

Slide Show.

What's Wrong With Cinderella? (in case you missed it in last week's post --from The New York Times, Dec. 24, 2006)

Saturday, November 29, 2008

Time Code


Links to a mix of takes on Mike Figgis' Time Code from the popular press to the on-line specialized/cinephile:

State of the Art
(Chicago Reader)
Time Code Review (Senses of Cinema)
One-Time Performance: Time Code (Pop Matters)
Digital Cinema Plays With Form (Wired)
Transcript of Mike Figgis Interview (BBC)
Musing on Modern Film (The Black Table)

If you enjoyed Time Code and are thinking about other films which 'play with form' under the cultural pressure of digital media, one area to investigate would be the Charlie Kaufman, Spike Jonze, Michel Gondry, Roman Coppola connection (films like Eternal Sunshine of the Spotless Mind, Being John Malcovich, Adaptation, Human Nature, Synecdoche, C.Q., Be Kind Rewind and/or the assorted music videos and short films these directors have produced). The fact that they share and form a sort of collaborative community is also important as they switch creative roles for each other's projects. Certain features of these films have also seeped into more mainstream films like the Will Ferrell feature Stranger Than Fiction or a number of Adam Sandler films like Punch-Drunk Love and specifically Click.
There are, of course, all those other generally sci-fi films which deal with digital media cultures overtly, in content. But that's a whole different story (which some of you might want to tackle).

Friday, November 28, 2008

Weekend Tunes

Pole - Dusseldorf (Mike Huckaby SYNTH Remix)
Lightning Bolt - 2Morro Morro Land
The Bug feat. Flow Dan - Jah War (Loefah Remix)
Benga - Crunked Up
Stevie Wonder - Superstition (Justice Remix)
Thom Yorke - And It Rained All Night (Burial Remix)

What Teachers Need To Know About Fair Use



The full report is available from The Center For Social Media.
"This document is a code of best practices that helps educators using media literacy concepts and techniques to interpret the copyright doctrine of fair use. Fair use is the right to use copyrighted material without permission or payment under some circumstances —especially when the cultural or social benefits of the use are predominant."

That's what the disclaimer at the top of this blog is all about. The point is, of course, that copyright law permits a wide range of uses of copyrighted material without permission (or payment) and this report helps educators create a consensus around the interpretation of what FAIR USE is. Following the lead of documentary filmmakers (Bound By Law) this is the best way to ensure that educators can resist and oppose stringent interpretations of copyright law, especially those that have a negative and restrictive impact on the cultural and social uses of media material.

Study Practice


For the students in the mass media/mass comm classes, check out last week's On The Media segment about

"Small, web-only, not-for-profit newsrooms [that] are springing up around the country and scooping much larger dailies with nuts-and-bolts reporting. Voice of San Diego, for example, has managed to uncover a handful of government scandals in the past few years with a staff of only ten. Executive editor Scott Lewis believes this may be the future of journalism."

Apart from it's general interest, the interview with Scott Lewis offers a number of questions and brings up a number of issues that you could use to prepare for the end of the semester exams specifically as review for material we covered up to mid-term. Also, read the New York Times article that is related to the audio piece, the title speaks for itself: Web Sites That Dig for News Rise as Watchdogs.
If you can follow all the implications in the article and in Lewis' reflections on how, for example, the Voice of San Diego is operating as a non-profit public/community media source and follow the many references to the institutional media issues we have talked about (ie. how VoSD can do things other commercial news organizations can't) I think you are at a very good point in your 'review' of pre-midterm stuff.

Listen:

Wednesday, November 26, 2008

Kilbourne, Kellner and Cinderella


Here are a number of articles that many of you could use to integrate the readings in light of your different projects. Remember that the readings in the course packet are also integral in helping you develop a viable project and paper.

Kilbourne - Cutting Girls Down To Size
Kellner - Advertising and Consumer Culture
Apologies as the pages for this last article are in inverted order.

Peggy Orenstein - What Wrong With Cinderella?
This last one is not an academic article but it nonetheless raises a number of good questions and issues. From the New York Times, free registration might be required.

Monday, November 24, 2008

Copyfight

In case some of you were wondering what happened to the last Weekend Tunes installment which just seems to have disappeared into thin air:

Just today I received this letter from the good folks at Google explaining why THEY just went ahead and deleted the post, preemptively. Revel in the obscure and opaque wording:

Blogger has been notified, according to the terms of the Digital Millennium Copyright Act (DMCA), that certain content in your blog infringes upon the copyrights of others. The URL(s) of the allegedly infringing post(s) may be found at the end of this message.
The notice that we received from the International Federation of the Phonographic Industry (IFPI) and the record companies it represents, with any personally identifying information removed, will be posted online by a service called Chilling Effects at http://www.chillingeffects.org/
. We do this in accordance with the Digital Millennium Copyright Act (DMCA). Please note that it may take Chilling Effects up to several weeks to post the notice online at the link provided.
The IFPI is a trade association that represents over 1,400 major and independent record companies in the US and internationally who create, manufacture and distribute sound recordings (the "IFPI Represented Companies").
The DMCA is a United States copyright law that provides guidelines for online service provider liability in case of copyright infringement. We are in the process of removing from our servers the links that allegedly infringe upon the copyrights of others. If we did not do so, we would be subject to a claim of copyright infringement, regardless of its merits. See http://www.educause.edu/Browse/645?PARENT_ID=254 for more information about the DMCA, and see http://www.google.com/dmca.html for the process that Blogger requires in order to make a DMCA complaint.
Blogger can reinstate these posts upon receipt of a counter notification pursuant to sections 512(g)(2) and 3) of the DMCA. For more information about the requirements of a counter notification and a link to a sample counter notification, see http://www.google.com/dmca.html#counter.
Please note that repeated violations to our Terms of Service may result in further remedial action taken against your Blogger account. If you have legal questions about this notification, you should retain your own legal counsel. If you have any other questions about this notification, please let us know.

Sincerely,
The Blogger Team


The letter is the same standard letter that Google/Blogger has been sending to blogs hosted on blogspot.com at the request and under threat of the IFPI (International Federation of the Phonographic Industry) & the RIAA (Recording Industry Association of America).

Just a couple of comments:

-BuyTheTickets is an educational blog aimed at a very restricted audience, it is non-commercial and for all intents and purposes any material linked to on this blog should be considered as fair use, as per the disclaimer at the top.
-It is important to note also that there is no actual copyrighted content uploaded by BuyTheTickets that is hosted on any of Google's servers. Blogger simply hosts hyperlinks to files hosted elsewhere. So Google really has no obligation nor any business in removing these links.
-Google is further not playing by the rules as their letter simply offers the URL of the removed blog post but does not specify which link/material is actually causing the problem. This blocks the possibility of any counterclaim since counterclaims need to be filed by referencing specific content. Cease and desist letters at least reference specific material that the legitimate copyright holder would like to see removed. In this case, even wanting to go along with a request to remove the copyrighted content, this would be impossible since I have no idea what materials and what use is being contested.
-If Google keeps this up it will drive everyone away from Blogger as it leaves people no choice but to move their sites to other servers.


















What happened to Google's slogan: "Don't Be Evil"?

Sunday, November 23, 2008

What We Watch and How We Watch It

This week's issue of The New York Times Magazine is their yearly Screens Issue. While usually dedicated to Hollywood, the cinema and theatrical exhibition, they figured that

"when you watch moving pictures these days, a theater is the last place you are likely to be. Cable, YouTube, DVDs, DVR, news briefs in the elevator and cartoons on your cellphone — through a variety of media, we now consume fragmented narratives on multiple screens. From a 16-second panda-sneeze video to 60 straight hours of “The Wire,” this is the way we watch now." Permalink here.

Don't miss the "Immersions" video by photographer Robbie Cooper; pictures in this post are stills taken from it.
Unfortunately The NYTimes is still anchored to an old-media paradigm so no embedding of their videos; at least that I know of. If anyone knows how to do this please email.
Also included: how to sell soap in a post-TV world; the year's most memorable 'clips'; the Netflix algorithm that monitors you while suggesting cool movies and a reflection on the sit-com as a TV-genre in transition.

Friday, November 21, 2008

Thursday, November 20, 2008

What Street Dream?

Young Jeezy crosses words with Duke University professor Mark Anthony Neal, and draws the parallel between rapper double consciousness—the "Snoop Dogg that sells records" vs. the "Snoop Dogg that's sitting with Larry King talking about the election"—and Obama's own wink-and-disavowing nod at the rap community. (Village Voice)

"Jeezy's a fascinating figure in this conversation," Neal says. "Because if we think about his rap persona, as a cat that's slinging dope on the corner, who's disaffected because the political process doesn't work ... for a figure like that to come in from the cold and go into a voter booth and decide, 'This is going to be the first time that I'm going to cast a vote' — I think it speaks volumes to where the larger community is in terms of these kinds of marginalized figures, who've never been involved in the process."

"Suddenly, recording artists don't have to go the traditional routes to get out their messages," Neal says. "They don't have to go through the traditional label structure. And if there's something they want to respond to in real time, they can do so via this new technology."

[Here. Links to the songs discussed, on the NPR website --streaming only.]

Saturday, November 15, 2008

Readings Recap For Everyone

With the end of the semester fast approaching here is what for most of you will be the last onslaught of readings. To keep things tidy and orderly, given also the number of posts this past week, you can click on the links below if you want to be taken to the reading assignment specifically related to your class. Otherwise just browse below. Enjoy.

Advanced Communication Theory
Race & Gender
Spectatorship
New Media

New Media: Collective Intelligence & Interactivity


Matt Mason - We Invented The Remix

Henry Jenkins - Photoshop for Democracy

New Media Aesthetic Archeology
including: Lev Manovich - From Borges to HTML; Jorge Luis Borges - The Garden of Forking Paths; Vannevar Bush - As We May Think

Henry Jenkins - Interactive Audiences? The 'Collective Intelligence' of Media Fans
Repost of article. MIT link was dead...but now is back on-line: here it is from Jenkins' MIT site...

Dancehall/Reggae History Bonus (Recommended Reading):
Dick Hebdige - from Cut'N'Mix: Culture, Identity and Caribbean Music

Spectatorship: Fan Cultures Readings


Michel DeCerteau - The Practice of Everyday Life

Richard Dyer - In Defense of Disco

Joli Jenson - Fandom as Pathology
John Fiske - The Cultural Economy of Fandom

Alexander Doty - There's Something Queer Here

Race and Gender Extra On-Line Readings

Susan Sontag - On Camp

Richard Dyer - In Defense of Disco
Richard Dyer - Judy Garland and Gay Men

Joli Jenson - Fandom as Pathology

Alexander Doty - There's Something Queer Here

Bruce LaBruce - Pee Wee Herman: The Homosexual Subtext

Advanced Comm Theory Readings

Jostein Gripsrud from Understanding Media Culture
Chapter 4 - Semiotics
Chapter 5 - Hermeneutics
(including discussion on genre and melodrama specifically)

Fredric Jameson - Postmodernism and Consumer Society

Wassup

Some of you might have missed this.
(Thanks to Henry Jenkins for the 'reading')

This is a good example of what is called 'spreadable media content'. The point here is of course that by going viral the 'original' Budweiser commercial simply furthered the commercial message of the brand. The 'refixed' one, however, by working on the 'nostalgia' factor triggers and begs for the same kind of viral 'forwarding'; difference is that this time the message is a political one.
The original Bud ad is below.

Friday, November 14, 2008

Weekend Tunes

Afrikan Boy - L.A.G.O.S.
Alan Vega, Alex Chilton, Ben Vaughn - Promised Land
Hallelujah Chicken Run Band - Kare Nanhasi
Terry Lynn - Kocky/Kingston Logic

Bonus Tune:
Gianfranco Reverberi - Nel Cimitero di Tucson (from Preparati la bara! OST)
Main sample used by Danger Mouse in Gnarls Barkley's Crazy
Primarily for the new media folks
since some of them expressed interest in this song

Thursday, November 13, 2008

Jamming The New York Times


"SPECIAL" NEW YORK TIMES BLANKETS CITIES WITH MESSAGE OF HOPE AND CHANGE
Thousands of volunteers behind elaborate operation:
1.2 million copies of a "special edition" of The New York Times were distributed in a number of cities across the US. The edition, which bears the same look and feel as the real deal, includes stories describing what the future could hold: national health care, the abolition of corporate lobbying, a maximum wage for CEOs, etc. Like the real NYT, an on-line version was also prepared. Look around, click on the links, read the articles: Thomas Friedman's editorial --significantly titled "The End of the Experts"-- is well worth the effort (for once).
PDF of the actual paper in high quality.
Ongoing video releases. Official video below.

The New York Times responds.
It looks like the work of The Yes Men even though their website has no mention of the whole thing. Yet?

Can I Get An Amen


Can I Get An Amen?, 2004
Nate Harrison
recording on acetate, turntable, PA system, paper documents
dimensions variable
total run time 17 minutes, 46 seconds


Project Website.

The story of the Amen Break, a six-second drum sample from the b-side of a chart-topping single from 1969 by funk-soul band, The Winstons. This break was used extensively in early hiphop and sample-based music (NWA, Mantronix). Later it single-handedly became the basis for drum&bass and jungle music --a whole genre of music and an entire musical subculture resting on 6 seconds of sampled drums.

Monday, November 10, 2008

Barack & Curtis


(Tip to Billy at Dream and Critique for this video)
A short documentary film examining the contrasting styles of masculinity exhibited by President Elect Barack Obama and Rapper/Mogul Curtis Jackson, aka 50 Cent. Directed by Byron Hurt.

Friday, November 7, 2008

Weekend Tunes

Extra Golden - Obama
Cody ChesnuTT - Afrobama
Cocoa Tea - Barack Obama
Samba Mapangala - Obama Ubarikiwe

Bonus Tune: LCD Soundsystem - Us v Them

Good Copy Bad Copy



Directed by Andreas Johnsen, Ralf Christensen and Henrik Moltke, Good Copy Bad Copy is another documentary dedicated to remix culture and the problematics of the mash-up. Pretty current, it includes good interviews with Danger Mouse on his Grey Album, Girl Talk on the ethics of sampling and a good survey of the varieties of intellectual property laws around the world. Alternatives to the current regime like Creative Commons licenses or blanket licensing fees are also explored.

If you want to 'own' a copy here's the link for the torrent.

In a related note, Disney just released its first Blu-Ray title, Sleeping Beauty. The disc contains over one hundred and twenty pages of legalese for you and the kids to read including a 57 page EULA (End User License Agreement) to access the BD-Live content and a 63 page privacy policy. The kids are going to be thrilled. It's like the multiplication of the brooms in Fantasia. Read about it on Format War Central.

Wednesday, November 5, 2008

'08



Redundant at this point unless you've been sleeping in, but here it is 'on the record'

RiP: A Remix Manifesto



Here's the trailer for another one of them remix manifestos. Starring, yes, Girl Talk...

From the project website:
In RiP: A remix manifesto, Web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers.
The film’s central protagonist is Girl Talk, a mash-up musician topping the charts with his sample-based songs. But is Girl Talk a paragon of people power or the Pied Piper of piracy? Creative Commons founder, Lawrence Lessig, Brazil's Minister of Culture Gilberto Gil and pop culture critic Cory Doctorow are also along for the ride.
A participatory media experiment, from day one, Brett shares his raw footage at opensourcecinema.org, for anyone to remix. This movie-as-mash-up method allows these remixes to become an integral part of the film. With RiP: A remix manifesto, Gaylor and Girl Talk sound an urgent alarm and draw the lines of battle.