Lecture Notes from 11/13
Class on Copyright and Music Industry
1:19 PM Class Begins Introduction of Guests:
Wayne Marshall â Ethnomusicologist. Post-Doctoral Fellow at the University of Chicago. Musician whose main instrument is the laptop. Synthesizes other artistsâ music, doing so without permission to create his own art. Part of a group called âthe Rhythm Method,â named after the Jamaican tradition of taking other artists music and crafting it to make it oneâs own. Also a DJ, though he âclicks instead of spins.â DJ on Monday, November 13, 2006 at the Enormous Room from 10PM â 1PM. Raps as well. In his professional capacity, he writes about music for various publications and journals. Also runs a Blog on Caribbean centric music.
Mike Fricklas â General Counsel for Viacom. Principally a cable programming company. Moved into the internet property world as well, including IFilm and Shockwave. Owns Paramount Pictures. Mr. Fricklas works for the CEO. Viacom thinks of itself as a technology company that has consistently pushed the boundaries of new technology. Principle job is to advise the board of Directors. Spends most time on board governance and corporate transactions, but also spends quit a bit of time on copyright issues. Also works on deals, including the split up of Viacom and CBS.
Our guests are on two sides of a gulf. Each side has used high rhetoric, much like Dylanâs. Nesson argues that it is this type of rhetoric that made the 60âs fail. Unlike the empathic approach, it makes no effort to see the other side, as in Bob Dylanâs âMasters of War.â
Bob Dylanâs âMasters of Warâ â Described as a bad piece of music that becomes very powerful, full of violent imagery and wishes of death for those who drive the machine of war.