title: Creative License: The Law and Culture of Digital Sampling
author:  Kembrew McLeod 
description: <div>&ldquo;[A] very readable layman&rsquo;s guide to the legal framework underpinning the American sampling regime. . . . [A] great addition to the growing library of works showing that the endless addition of expanded property rights does nothing to &lsquo;promote the progress&rsquo; of music, stifles expression and serves only to let Jimmy Page buy another Aleister Crowley first edition.&rdquo; - Peter Shapiro, <I>The Wire</I></div><br /><br /><div>&ldquo;Do you ever listen to records like the Beastie Boys' <I>Paul&rsquo;s Boutique</I> or Public Enemy&rsquo;s <I>Fear of a Black Planet </I>and wonder why they sound so different from today&rsquo;s hip-hop? It turns out one of the biggest reasons may be copyright law. . . . McLeod and DiCola always keep an eye on the bigger picture. They are as interested in the cultural as the legal, and the book succeeds greatly in broad terms as a history of music sampling.&rdquo; - John McLeod, <I>Flagpole</I></div><br /><br /><div>&ldquo;<I>Creative License</I> is for musicians, music fans and anyone interested in the history of hip-hop, sampling, and mash-ups, as well as for those who are curious about the evolution of US copyright and licensing laws. It&rsquo;s also incredibly timely, given the present climate of our musical culture, when the internet has made sampling&mdash;in every medium&mdash;a way of life.&rdquo; - Christel Loar,<I> PopMatters</I></div><br /><br /><div><I>&ldquo;Creative License</I> is recommended not just for music geeks or music business geeks, but for anyone interested in law, the arts or both. Well written and treated with care, McLeod and DiCola&rsquo;s work should be read on college campuses around the country.&rdquo; - Stephon Johnson, <I>Amsterdam News</I></div><br /><br /><div>&ldquo;<I>Creative License</I> is a fantastic and deep look at the business, art, culture, ethics, history and future of musical sampling. The authors&mdash;respected academics/writers/filmmakers&mdash;undertook to interview a really amazingly wide spectrum of people involved in music production, and what emerges is a clear picture of how legal rulings, historical accidents, musical history, good intentions, naked greed, and conflicts of all kind came to produce our current, very broken system for musical sampling. . . . It's a fascinating and important read.&rdquo; - Cory Doctorow, <I>Boing-Boing</I></div><br /><br /><div>&ldquo;Readers whose experience started with &lsquo;Can&rsquo;t Touch This,&rsquo; matured with <I>The Gray Album</I> and ended with <I>All Day</I> can expect to have their knowledge substantially broadened. Music junkies, intellectual property lawyers and cultural critics will journey into &lsquo;enemy&rsquo; territory. The authors give voices and personalities to sampling artists, holders of publishing and reproduction rights, and the sampled artists who have become a natural resource for the other two groups.&ldquo; - David A.M. Goldberg, <I>Honolulu Weekly</I></div><br /><br /><div>&ldquo;Kembrew McLeod and Peter DiCola have written a masterful exploration of the complex creative, financial, and legal issues raised by digital sampling. Their book should be required reading for anyone with a serious interest in music copyright.&rdquo;&mdash;<B>Jessica Litman</B>, author of <I>Digital Copyright</I></div><br /><br /><div>&ldquo;The fact that a seemingly simplistic artistic notion&mdash;of collecting, meshing, and arranging previously recorded sounds&mdash;would eventually result in a sharp and comprehensive book, <I>Creative License</I>, and companion film, <I>Copyright Criminals</I>, is mind boggling. This study is a work of art in itself, so solid that it may leave no other choice but to be sampled as well.&rdquo;&mdash;<B>Chuck D</B>, co-founder of Public Enemy</div><br /><br /><div>&ldquo;<i>Creative License</i> provides a solid explanation of music copyright process and practice and the law for anyone from the legal novice to the full-time music lawyer.&rdquo;</div> (Eric Farber <i>California Lawyer</i>)<br /><br /><div>&ldquo;A methodical yet accessible exploration that addresses concerns from several perspectives and invites spirited discussion. Essential for students of intellectual property law, aspiring recording artists or producers, and hip-hop history buffs.&rdquo;</div> (Neil Derksen <i>Library Journal</i>)
zlib_text: Text copyright © 2014 by Marthe Jocelyn and Richard Scrimger
  Illustrations copyright © 2014 by Claudia Dávila
  Published in Canada by Tundra Books, a division of Random House of Canada Limited, One
  Toronto Street, Suite 300, Toronto, Ontario M5C 2V6
  Published in the United States by Tundra Books of Northern New York, P.O. Box 1030,
  Plattsburgh, New York 12901
  Library of Congress Control Number: 2013943886
  All rights reserved. The use of any part of this publication reproduced, transmitted in any
  form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or
  stored in a retrieval system, without the prior written consent of the publisher—or, in case
  of photocopying or other reprographic copying, a licence from the Canadian Copyright
  Licensing Agency—is an infringement of the copyright law.
  Library and Archives Canada Cataloguing in Publication
  Jocelyn, Marthe, author
  Viminy Crowe’s comic book / by Marthe Jocelyn and
  Richard Scrimger; illustrated by Claudia Dávila