Guilty of Not Being White

Punk is inherently music for the oppressed, yet it is often seen as a genre catering exclusively toward white male subcultures. However, when looking at the genesis of punk, one sees a rich history of blackness and radicalization usurped by white artists over time. From Elvis utilizing rock and roll in a more marketable fashion for a white populous than Ray Charles, to Minor Threat’s proclamation that the oppression of whites was on par with anti-blackness, to the mistreatment of black nonbinary punk act Fuck U Pay Us during a sold-out Bikini Kill concert, it is plain to see multiple instances of black punk voices being extinguished by supposed white allies, ultimately altering the histories of a genre centered around marginalized voices. Nevertheless, by dissecting the appropriation of black music and fashion, one begins to see that blackness not only created punk, but still permeates in the genre’s genes on a level more potent than white contemporaries. Looking at Afropunk, 80s Hardcore, the literary work of James Baldwin, and cover songs by black punk bands, this chapter’s argument will seek to understand people of color’s displacement in punk, as well as what steps need to be taken to reclaim identity, subvert the violence of white appropriation, and remain visible in a genre made for people of color.

Mimicking the mimics: problematizing cover performance of Filipino local music on social media

The performance of cover songs in popular music has long been a subject of critical discussion and debate due to the artistic, social, cultural, and commercial issues that covers raise. In non-Western societies, most popular songs covered by artists are Anglo-American, a situation which implicitly privileges Western music and reinforces both the “west and the rest” trope and the cultural imperialism thesis. Taking American amateur artists and their online videos performing Filipino popular music as case studies, this article examines how social media platforms facilitate and problematize center-periphery relations in popular music through a diffusion of cultural products “from the rest to the west.” Moreover, we show that more than the promise of audience reach, the phenomenon reflects how these cover artists embody cultural and social situatedness in Filipino culture. As they mimic the mimics, they also embody an identity in motion.

Pelanggaran Hak Cipta Musik Berbentuk Cover Song di Media Sosial

The purpose of this study: 1) To find out copyright violations in the field of music in the form of a cover song by recording through social media connected with Law Number 28 of 2014 concerning Copyright. 2) To find out the factors that influence copyright violations in the music field in the form of cover songs by recording through social media. The writing of this thesis uses a statute approach, by reviewing amendments to Law Number 28 of 2014 concerning Copyright and its implications for copyright and its implementation by state institutions and the Republic of Indonesia Law No. 19 of 2016 concerning Amendment of Law Number 11 Year 2008 Regarding Information and Electronic Transactions. Results of research conducted by the author: When someone does a cover song through social media without permission from the creator, both for the purpose not for commercial or commercial purposes, it is an infringement of copyright. Factors that influence the occurrence of violations of copyright in Indonesia include: 1) Weak law enforcement against violators. 2) Works on the internet can easily be duplicated and disseminated globally in a short period of time and in large quantities. 3) There is no limit on the place of the offender because a domain name or website can be accessed by anyone globally. 4) Procedures for events between countries in dealing with violations of copyright on the internet, such as to determine who the perpetrators are and when they occur and determine the jurisdiction of violations still vary.

Pelanggaran Hak Cipta Musik Berbentuk Cover Song di Media Sosial

The purpose of this study: 1) To find out copyright violations in the field of music in the form of a cover song by recording through social media connected with Law Number 28 of 2014 concerning Copyright. 2) To find out the factors that influence copyright violations in the music field in the form of cover songs by recording through social media. The writing of this thesis uses a statute approach, by reviewing amendments to Law Number 28 of 2014 concerning Copyright and its implications for copyright and its implementation by state institutions and the Republic of Indonesia Law No. 19 of 2016 concerning Amendment of Law Number 11 Year 2008 Regarding Information and Electronic Transactions. Results of research conducted by the author: When someone does a cover song through social media without permission from the creator, both for the purpose not for commercial or commercial purposes, it is an infringement of copyright. Factors that influence the occurrence of violations of copyright in Indonesia include: 1) Weak law enforcement against violators. 2) Works on the internet can easily be duplicated and disseminated globally in a short period of time and in large quantities. 3) There is no limit on the place of the offender because a domain name or website can be accessed by anyone globally. 4) Procedures for events between countries in dealing with violations of copyright on the internet, such as to determine who the perpetrators are and when they occur and determine the jurisdiction of violations still vary.

Teaching Recording and Sampling with Audio Projects

This chapter presents a first set of project plans, which deal mainly with the mechanics of working with recorded sound, with basic editing techniques, and with the concept of the multitrack timeline. As projects progress, they introduce successively more complex techniques. The projects include making a song from pre-existing audio clips, making a radio advertisement, creating a simple remix using acapella tracks, analyzing a professional multitrack recording, creating custom cover songs, and using a variety of editing techniques to create a fully formed soundtrack for a movie clip. The chapter also discusses the specific affordances of Ableton Live for arranging and performing audio clips, compares the traditionally linear Arrangement View with the innovative nonlinear Session View, and explains rationales for using each one depending on musical context.

Innovation and conformity in music reproduction: A network analytics approach to contestants’ song covering in reality shows in Mainland China and the U.S.

Contestants in music reality television shows usually cover songs by other singers; however, excessive song covering is seen as a sign of lacking innovation. Informed by frameworks of innovation, conformity, and cultural capital, this study examines the patterns of song covering practice with a network analytics approach by examining the networks formed by the contestants’ song co-covering practices—an edge is created between two contestants if they cover songs from the same original singer—and how contestants’ positions in those networks are related to their performance outcomes. Examining contestants’ co-covering networks on the U.S.’s and mainland China’s versions of The Voice (an international music reality television show), the social network analysis largely supported the conformity hypothesis: contestants were connected to a certain extent, meaning that most contestants covered songs from similar original singers. Contestants’ betweenness centrality was positively associated with performance outcomes.

Cover versions as an impact indicator in popular music: A quantitative network analysis

In contemporary popular music, covering or adapting previous songs signals a tribute or reworking of popular hits, which implies acknowledgement of the original musicians. This connection can be interpreted as a form of musical impact among artists. A network graph with more than 106k artists and 855k cover versions extracted from the web site SecondHandSongs was created. The objective is to explore the shape of this network, identify the most relevant artists according to different impact measurements and to visualize connections between music genres. This analysis is done from a longitudinal perspective with the aim of understanding how cover versions can inform us about the history of the contemporary popular music. Results show that the number of covers by artist is skewed distributed, diminishing gradually since the 1950s. Different network metrics have allowed to identify the most covered (weighted indegree), the most influential (PageRank) and the most crossover artists (weighted betweenness centrality). The network graph also shows that genre affinity is the main criterion for covering songs between artists, language being the second. Remakes from other genres reflect that Jazz and Pop/Rock are the most influential because they emerge stronger and form the core of their respective sub-networks. Cover songs describe two cycles. In a first phase from 1900s to 1950s, dominated by Jazz and Vocal artists, the covers are more frequent and associated with the notion of reworking (e.g. jazz standards); in a second stage, since the 1950s, when the Pop/Rock emerges, cover songs are less common and seen as tribute.

PELANGGARAN HAK EKONOMI TERHADAP PEMANFAATAN LAGU YANG TERDAFTAR OLEH KONTEN KREATOR YOUTUBE

Creating YouTube content using a song that has a copyright and is covered and then uploaded on a YouTube page, is basically a common thing for most people, but from the side of songwriters, their rights are often violated because of the widespread use of works without permission which causes the creators to not get economic rights for the use of these creations. Many popular songs are made cover songs to be uploaded on the youtube page not only to gain popularity but also make cover song content to get profit / payment from youtube. The use of copyrighted songs should first ask the author for permission, but in practice there are still many YouTube content that violates intellectual property rights. The research method used for writing legal scientific papers is a normative research method using a statute approach in analyzing the issues discussed in this study. The use of a song created for YouTube content in the form of song covers requires permission from the songwriter and this is very much supported by YouTube in terms of intellectual property rights because copyright owners have exclusive rights in the form of economic rights over their creations which are a form of appreciation for a work. If someone covers a song without permission from the songwriter, the content can be reported to YouTube to take action against whether it will be blocked or monetized due to the benefits obtained from content. In addition to the resolution of copyright disputes made by YouTube, there are also legal remedies for the creators by filing a lawsuit with the commercial court or by taking non-litigation.Keywords: Content Creator, Copyright, Economic Rights. AbstrakMembuat suatu konten youtube dengan menggunakan lagu yang mempunyai hak cipta dan dicover kemudian diupload di halaman youtube, pada dasarnya adalah hal biasa bagi kebanyakan orang, akan tetapi dari sisi pencipta lagu sering dilanggar haknya karena maraknya penggunaan ciptaan tanpa izin yang menimbulkan pencipta tidak mendapatkan hak ekonomi atas penggunaan ciptaannya tersebut. Banyak lagu yang populer dibuatkan cover lagu untuk diupload di halaman youtube tidak hanya sekedar untuk mendapatkan popularitas akan tetapi membuat suatu konten cover lagu untuk mendapatkan keuntungan/bayaran dari youtube. Pemanfaatan lagu yang mempunyai hak cipta seharusnya meminta izin terlebih dahulu kepada pencipta akan tetapi pada prakteknya masih banyak ditemui konten-konten youtube yang melanggar hak kekayaan intelektual. Metode penelitian yang digunakan untuk penulisan karya ilmiah hukum ini adalah metode penelitian normatif dengan menggunakan pendekatan perundang-undangan dalam melakukan analisis terhadap isu-isu yang dibahas pada penelitian ini. Pemanfaatan lagu ciptaan untuk konten youtube berupa cover lagu memerlukan izin dari pencipta lagu dan hal tersebut sangat didukung oleh youtube terkait dengan aspek hak kekayaan intelektual karena pemilik hak cipta mempunyai hak eksklusif berupa hak ekonomi atas ciptaannya yang merupakan bentuk apresiasi terhadap suatu karya. Apabila seseorang melakukan cover lagu tanpa izin dari pencipta lagu maka konten tersebut dapat dilaporkan ke youtube agar ditindak apakah akan diblokir atau dimonetisasi terkait dengan keuntungan yang didapat atas suatu konten. Disamping penyelesaian sengketa hak cipta yang dibuat youtube, juga terdapat upaya hukum bagi pencipta dengan mengajukan gugatan kepada pengadilan niaga atau bisa menempuh jalur non litigasi.Kata Kunci : Hak Cipta, Hak Ekonomi, Konten Kreator