By Charles Fairchild
This booklet marks the 10th anniversary of The gray Album. the net unlock and flow of what threat Mouse referred to as his 'art undertaking' used to be an unforeseen watershed within the turn-of-the-century brawls over electronic artistic perform. The album's suppression encouraged common electronic civil disobedience and taken a sequence of contests and conflicts over artistic autonomy within the on-line global to mainstream knowledge. The gray Album highlighted, via its very shape, the profound adjustments wrought through the hot expertise and represented the fight over the tectonic shifts within the construction, distribution and intake of tune. yet this isn't why it issues.
The gray Album concerns since it is greater than only a smart, if legally ambiguous, amalgam. it truly is an incredible and compelling case research concerning the prestige of the album as a cultural shape in an period whilst the album seems to be wasting its coherence and gear. probably most significantly, The gray Album issues since it alterations how we predict concerning the traditions of musical perform of which it's a half.
threat Mouse created a large, creative statement on varieties of musical creativity that experience outlined every kind of song for hundreds of years: borrowing, appropriation, homage, derivation, allusion and citation. The fight over this album wasn't with regards to who will get to take advantage of new know-how and the way. The conflict over The gray Album struck on the center of the very legitimacy of an extended recognized and valued type of musical expression: the translation of the paintings of 1 artist via another.
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Extra resources for Danger Mouse's The Grey Album
There is little hope that this situation will change any time soon. indd 52 52 • 25/07/2014 12:12 CH A RLES FA IRCHILD Ownership rights, authorship rights and natural rights to music The fundamental issue here is that in our everyday lives we are supposed to have access to three kinds of rights over music: ownership rights, authorship rights and natural rights. At present the only ones that seem to be universally, formally and legally acknowledged are ownership rights. Authorship rights are occasionally accorded formal recognition in very specific and limited circumstances.
9 This is exactly what happened to Danger Mouse and his distributors. indd 50 50 • 25/07/2014 12:12 CH A RLES FA IRCHILD ideas about the management of intellectual property. One is typified by the possibility, however vague and contradictory, that anyone can make unlicensed use of existing work. 11 The other idea is characterized more by the explicit acknowledgment of specific and limited exceptions to the otherwise stringent restrictions on such use. The latter has not so much replaced the former as much as it has become increasingly more common.
This really shouldn’t be too much of a surprise. A small number of very large corporations have controlled a massive chunk of global music sales for decades. The numbers they make public are central markers of that control. As I will show in the next section, these numbers always express a fundamental distinction in the market for music: the importance of market value over sales numbers. indd 24 24 • 25/07/2014 12:12 CH A RLES FA IRCHILD 1980s. 24 As I argued in the introduction, the music industry, like all industries, has no choice but to pursue constantly increasing profits by any and all means.