Copyright can be defined as the legal right granted to an author, composer, playwright, publisher, or distributor to exclusive publication, production, sale, or distribution of a literary, musical, dramatic, or artistic work.
“Can I get a Amen?” is an audio installation that unfolds a critical perspective of the Amen as mentioned.
The video narrated by Nate Harrison attempts to emphasise and dissect its influence on contemporary culture – the author also briefly analyses its peculiar relationship to current copyright law. (nb – the video can be located on our YouTube Playlist, along with other Amen-related vids. Click here to check it out.
The beginning stages of sampling occurred with underground music.
Consequently, the practise of infringement went under the radar.
The Creators of the Amen
Those sampling the drum loop, then went on to copyright their finished pieces and thus financially benefit from this usage, in most cases without acknowledging the rightful owners and creators of the Amen
The Winstons
Drummer G. C Coleman
Richard L. Spencer
FOR Copyright:
Judge Alex Kozinski states that, “overprotecting intellectual property is as harmful as under protecting it…Culture is ipossible wihtout a rich public domain”.
Konzinski also reinforces the idea that, “like techonology, culture grows by accretion, each new creator building on the works of those who came before”.
Over protection siftles the very creative force its supposed to nurture.
Public Domain = Openly available to everyone and not subject to copyright protection.
AGAINST Copright: In the constant struggle between protection of intellectual property and freedom to create/ recycle/ innovate, the inventors of the Amen Break got a bad deal – Whether it is 6 seconds or six hours, it is still there creation.
Did not get paid for the perpetual extensions for their work throughout time – But paying for a drum beat is like saying that you own the “c” chord.
Whelans commentary on this point…
The Story of the Shibboleth
During our interview with Dr. Andrew Whelan mentions this story in regards to The Amen.
A Shibboleth is a kind of linuistic password: A way of speaking that identifies one as a member, or a non- member, of a particular group.
A social power that set the standards for who belongs to the group.
The purpose of a Shibboleth is exclusionary as much as inclusionary.
The idea is that some superficial characteristic is taken as a signal for how to view the person who has it – usually “good” if the person is in the group, “bad” if the person is judged to be outside the group.
In the story, two Semitic tribes, the Ephraimites and the Gileadites, partake in a great battle.
The sentries asked those considered to be ‘undercover’ outsiders to say the word Shibboleth. The Ephraimites, who had no “sh” sound in their language pronounced the word with an “s” and where thereby unmasked as the enemy and slaughtered.
Today, even with music and its usage (such as the Amen) the Shibboleth incorporates a wider meaning referring to the “in – crowd” where the word can be used in a wider sense, such as ‘jargon’…
The proper use of which identifies speakers as members of a particular group or subculture. Eg. The followers and users of the Amen Break Beat.
“Can I get a Amen?” is an audio installation that unfolds a critical perspective of the Amen as mentioned.
The video narrated by Nate Harrison attempts to emphasise and dissect its influence on contemporary culture – the author also briefly analyses its peculiar relationship to current copyright law. (nb – the video can be located on our YouTube Playlist, along with other Amen-related vids. Click here to check it out.
The beginning stages of sampling occurred with underground music.
Consequently, the practise of infringement went under the radar.
The Creators of the Amen
Those sampling the drum loop, then went on to copyright their finished pieces and thus financially benefit from this usage, in most cases without acknowledging the rightful owners and creators of the Amen
The Winstons
Drummer G. C Coleman
Richard L. Spencer
FOR Copyright:
Judge Alex Kozinski states that, “overprotecting intellectual property is as harmful as under protecting it…Culture is ipossible wihtout a rich public domain”.
Konzinski also reinforces the idea that, “like techonology, culture grows by accretion, each new creator building on the works of those who came before”.
Over protection siftles the very creative force its supposed to nurture.
Public Domain = Openly available to everyone and not subject to copyright protection.
AGAINST Copright: In the constant struggle between protection of intellectual property and freedom to create/ recycle/ innovate, the inventors of the Amen Break got a bad deal – Whether it is 6 seconds or six hours, it is still there creation.
Did not get paid for the perpetual extensions for their work throughout time – But paying for a drum beat is like saying that you own the “c” chord.
Whelans commentary on this point…
The Story of the Shibboleth
During our interview with Dr. Andrew Whelan mentions this story in regards to The Amen.
A Shibboleth is a kind of linuistic password: A way of speaking that identifies one as a member, or a non- member, of a particular group.
A social power that set the standards for who belongs to the group.
The purpose of a Shibboleth is exclusionary as much as inclusionary.
The idea is that some superficial characteristic is taken as a signal for how to view the person who has it – usually “good” if the person is in the group, “bad” if the person is judged to be outside the group.
In the story, two Semitic tribes, the Ephraimites and the Gileadites, partake in a great battle.
The sentries asked those considered to be ‘undercover’ outsiders to say the word Shibboleth. The Ephraimites, who had no “sh” sound in their language pronounced the word with an “s” and where thereby unmasked as the enemy and slaughtered.
Today, even with music and its usage (such as the Amen) the Shibboleth incorporates a wider meaning referring to the “in – crowd” where the word can be used in a wider sense, such as ‘jargon’…
The proper use of which identifies speakers as members of a particular group or subculture. Eg. The followers and users of the Amen Break Beat.
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