Since its release in 1987, Public Enemy’s “Bring the Noise” has been sampled over one hundred times by more than sixty different hip-hop artists. The resulting tangle of artists, producers, sampled material, and sampling techniques from the past twenty-five years creates a complex network of sampling practices and traditions surrounding “Brin…[Read more]

The Beastie Boys’ Paul’s Boutique (1989) and Public Enemy’s Fear of a Black Planet (1990) often draw comparisons because of their profuse and eclectic use of digital sampling. These two hip hop albums, however, use sampling in markedly different ways, a fact that is obscured because no well-developed language exists to differentiate how and why t…[Read more]

In 1991, the first lawsuit regarding sample-based hip hop, Grand Upright Music Ltd. v. Warner Brothers Records, was decided in court, and this decision forever changed how artists and their record labels approached sample-based hip hop. Although several lawsuits had been filed before 1991, all of those were settled out of court. There was no…[Read more]

Hip-hop producers rely on several specific formulas to create sample-based hip-hop. Developed with a combination of analysis and ethnography, this typology of sampling is a systematic terminological and conceptual approach to this repertoire. There are three main types of samples: structural samples, surface samples, and lyric samples. Each of…[Read more]

During an interview, Andris Nelsons, music director of the Boston Symphony Orchestra, stated unequivocally that sexual harassment was not a problem in the world of classical music because, “If [people] could realize how important [music and art] are…I believe they would become better human beings.” The interview was in response to the recen…[Read more]