Spartan Daily, January 29, 2020

Volume 154, Issue 3https://scholarworks.sjsu.edu/spartan_daily_2020/1002/thumbnail.jp

Envisioning a Compulsory-Licensing System for Digital Samples Through Emergent Technologies

Despite the rapid development of modern creative culture, federal copyright law has remained largely stable, steeped in decades of tradition and history. For the most part, copyright finds strength in its stability, surviving the rise of recorded music, software programs, and, perhaps the most disruptive technology of our generation, the internet. On the other hand, copyright’s resistance to change can be detrimental, as with digital sampling. Although sampling can be a highly creative practice, and although copyright purports to promote creativity, current copyright law often interferes with the practice of sampling. The result is a largely broken system: Those who can legally sample are usually able to do so because they are wealthy, influential, or both. Those who cannot legally sample often sample illegally. Many scholars have suggested statutory solutions to this problem. Arguably, the most workable solutions are rooted in compulsory licenses. Unfortunately, implementing these solutions is practically difficult. Two recent developments invite us to revisit these proposals. First, with the passage of the Music Modernization Act (“MMA”), Congress has evinced a willingness to “modernize” parts of copyright law. Second, emergent technologies—from the MMA’s musical-works database to blockchain to smart contracts—can be leveraged to more easily implement a compulsory-licensing solution. This time around, rather than simply discuss why this solution is favorable, this Note will focus on how it can be implemented

The Death of Fair Use in Cyberspace: YouTube and the Problem With Content ID

YouTube has grown exponentially over the past several years. With that growth came unprecedented levels of copyright infringement by uploaders on the site, forcing YouTube’s parent company, Google Inc., to introduce a new technology known as Content ID. This tool allows YouTube to automatically scan and identify potential cases of copyright infringement on an unparalleled scale. However, Content ID is overbroad in its identification of copyright infringement, often singling out legitimate uses of content. Every potential case of copyright infringement identified by Content ID triggers an automatic copyright claim on behalf of the copyright holder on YouTube and subsequently freezes all revenue streams, for all parties, regardless of the legitimacy of the underlying claim. Using the plight of one video game reviewer known as “Angry Joe” as a paradigmatic example of the problems that Content ID can create, this Issue Brief argues that in its present form, Content ID has had disastrous consequences for the doctrine of fair use, YouTube itself, and ultimately, the very spirit of copyright law. By shifting the neutral presumption accompanied with fair use against the uploader, Content ID effectively overrides judicial precedent

Expressions, Spring 2017

College of Humanities and the Arts Newsletter, Volume 1

From A-Town to ATL: The Politics of Translation in Global Hip Hop Culture

This article examines the linguistic and cultural tensions in global Hip Hop culture through an analysis of the performance of Gsann, an emcee from the Tanzanian Hip Hop crew X Plastaz, at the 2009 Black Entertainment Television (BET) Hip Hop Awards in Atlanta. Gsann\u27s rhymes in Swahili, his emphasis on religion, and his global travels distinguished him from his African American colleagues in the cipha. At the same time, the decision by the BET producers to translate Gsann\u27s Swahili rhymes into English has to be seen within the longer history of cultural and linguistic politics in Tanzania and the United States. Thrown into the primetime spectacle of the BET Awards, Gsann\u27s African roots became quickly incorporated into American Hip Hop culture, dominated by African Americans. As this case study of an artist from Tanzania shows, Hip Hop\u27s global journey has brought together artists from around the world without eliding their cultural and linguistic differences

From A-Town to ATL: The Politics of Translation in Global Hip Hop Culture

This article examines the linguistic and cultural tensions in global Hip Hop culture through an analysis of the performance of Gsann, an emcee from the Tanzanian Hip Hop crew X Plastaz, at the 2009 Black Entertainment Television (BET) Hip Hop Awards in Atlanta. Gsann\u27s rhymes in Swahili, his emphasis on religion, and his global travels distinguished him from his African American colleagues in the cipha. At the same time, the decision by the BET producers to translate Gsann\u27s Swahili rhymes into English has to be seen within the longer history of cultural and linguistic politics in Tanzania and the United States. Thrown into the primetime spectacle of the BET Awards, Gsann\u27s African roots became quickly incorporated into American Hip Hop culture, dominated by African Americans. As this case study of an artist from Tanzania shows, Hip Hop\u27s global journey has brought together artists from around the world without eliding their cultural and linguistic differences

Getting Past It's Not For People Like Us: Pacific Northwest Ballet Builds a Following with Teens and Young Adults

This case study examines how the Pacific Northwest Ballet set about trying to cultivate the next generation of ballet-goers. Focusing on teens and adults under the age of 25, the Seattle-based ballet company sought in part to knock down the view of many young people that ballet is stuffy or boring and replace it with the view that ballet could be exciting and meaningful to them. The ballet company attacked the problem on a number of fronts, including revising promotional materials to appeal to younger audiences, posting online videos to familiarize viewers with the ballet, holding teen-only previews, and offering heavily discounted tickets. One result was a doubling over four years of ticket sales to teens

Video Game Music and Legitimacy

From the single-tone Pong (1972) to the meticulous composition and instrumentation in Legend of Zelda: Breath of the Wild’s (2017) soundtrack, video game music has garnered great popularity amongst video game consumers, developing into its own genre of music with subsequent branching subgenres. Yet, is video game music a legitimate musical genre and market or a fad amongst game consumers? What can video game music offer to the music industry? Can the genre change the music industry as it stands today? Following a brief synopsis of the history of Video Game Music (VGM), I discuss arguments against and support for VGM’s legitimacy. I then go into VGM’s influence and legacy in popular music and in music business to answer whether VGM is a legitimate force in music today. Finally, I discuss upcoming business ventures that blend gaming and other industries together