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• W346391285 abstract "I. INTRODUCTION Digital sampling is method by which musicians place previously recorded portions of artist's work in a new recording. (1) The legal ramifications of digital sampling have been said to add another layer of complexity to copyright (2) This complexity has created a burden for advancement of rap music, a genre that depends on sampling, almost entirely, for its distinctiveness. (3) The lack of a clear legal standard promulgated to handle digital sampling has led to a wealth of copyright scholarship. In fact, popular appeal of digital sampling scholarship has led one scholar to declare subject, the student author's favorite dead horse (4) as it relates to copyright infringement. While that assertion may be true, this particular note beats to a different tune. This note focuses on educational use defense to copyright infringement and its application to rap music. Specifically, position advanced is that sampling is an inherent aspect of rap music, and rap music has a useful, artistic, educational value for African Americans. Therefore, digital sampling by rap artists should be accommodated in educational use provision of Digital Millennium Copyright Act (DMCA). (5) Additionally, incorporation of rap music under educational fair use should allow for use and sharing of samples in rap songs absent licensing fees. This note further suggests that among manners by which rap music can progress and be promoted, as suggested in Copyright Clause of Constitution, (6) is to embrace technological advancements of last decade, particularly peer-to-peer (P2P) file sharing. The integration of P2P technology for rap artists can provide faster and greater access to samples to be used in songs; however, recent judicial mandates have made its incorporation difficult. African Americans are chief purveyors and beneficiaries of rap music. The Internet Age, however, finds African Americans lagging behind other races in computer access and usage. The ascension of Napster, a P2P file sharing program, was rap music's hope, and file-sharing program's ultimate downfall was a roadblock in genre's progression. If Congress or Judiciary uses its power to accept rap music educational fair use exception, many woes stifling progress of rap music can be stalled, including excessive sampling payments. II. COPYRIGHT LAW AND THE AFRICAN AMERICAN The Copyright Clause of Constitution was passed during Constitutional Convention without much debate. (7) During this Convention, it appeared self evident that there must be a mechanism in place to secure products of mind and encourage further intellectual development. At time that Copyright Clause was penned, African American slaves were viewed as property. The country's highest Court would later declare this perception law. (8) Whereas property cannot own property, it is not at all unreasonable to suggest that founders of United States of America, in all their infinite wisdom, did not have Blacks in mind when they penned Copyright Clause. Under Copyright Act, producers of intellectual work are entitled to a bundle of rights, (9) which 1909 Copyright Act makes explicit. (10) Under 1909 Act, however, one's work was entitled to copyright protection only after publication or registration. (11) Although copyright law was facially neutral, meaning it did not have intention of harming African Americans, it nevertheless had a disparate impact on them. (12) The African American culture is an artistic and creative one. During passage of 1909 Act, much of popular music was taken from African American culture, (13) For a class of people that had very little access to education and economic assistance, 1909 Act's rigid notice and formal registration requirements made African Americans vulnerable to exploitation. …" @default.
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• W346391285 date "2004-03-22" @default.
• W346391285 modified "2023-09-26" @default.
• W346391285 title "Let's Keep It on the Download: Why the Educational Use Factor of the Fair Use Exception Should Shield Rap Music from Infringement Claims" @default.
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