Music sampling has become a predominantly digitalized practice. It
was popularized with the rise of Rap and Hip-Hop, as well as
ambient music scenes, but it has a history stretching back to the
earliest days of sound recording and experimental music making from
around the world. Digital tools and networks allow artists to
sample music across national borders and from diverse cultural
traditions with relative ease, prompting questions around not only
fair use, copyright, and freedom of expression, but also cultural
appropriation and "copywrongs." For example, non-commercial forms
of sharing that are now commonplace on the web bring musicians and
their audiences into closer contact with emerging regimes of
commercial web-tracking and state-sponsored online surveillance.
Moreover, when musicians actively engage in political or social
causes through their music, they are liable to both commercial and
state forces of control. Shifts back to corporate ownership and
control of the global music business-online and offline-highlight
competing claims for commercial and cultural ownership and control
of sampled music from local communities, music labels, and artists.
Each case study is based on archival research, close listening, and
musical analysis, alongside conversations and public reflections
from artists such as David Byrne, Annirudha Das, Asian Dub
Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron,
Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta. Sampling
Politics provides ways to listen and hear (again) how sampling
practices and music making work, on its own terms and in context.
In so doing, M.I. Franklin corrects some errors in the public
record, addressing some longstanding misperceptions over the
creative, legal, and cultural legacy of music sampling in some
cases of rich, and complex practices that have also been called
musical "borrowing," "cultural appropriation," or "theft." This
book considers the musicalities and musicianship at stake in each
case, as well as the respective creative practices and performance
cultures underscoring the ethics of attribution and collaboration
when sampling artists make music.
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