Confessions of an Intellectual (Property)
In this reading McLeod discusses outdated intellectual property laws in relation to mash-ups. Using Danger Mouse’s The Grey Album as an example, he shows how mash-ups are not just the two or more elements involved, but an entirely new piece of music. He mentions, regarding mash-ups, that “as a form of creativity, they are quite limited and limiting. First, because they depend on the recognizability of the original, mashups are circumscribed to a relatively narrow repertoire of Top 40 pop songs.” I disagree strongly with this because a mash-up should not have to rely on people recognising the original songs. When two songs are mashed up, a new piece of music is created, so recognising the two original pieces is only relevant if the listener wishes to deconstruct the mash-up and separate it into it’s original elements. I am currently working on a piece of music which combines samples from a Requiem by a lesser known French composer with a slowed down breakbeat, and the result is a lush hip hop track which absolutely does not rely on recognising the original pieces in order to enjoy the music.