{"id":5341,"date":"2011-01-15T18:19:41","date_gmt":"2011-01-15T22:19:41","guid":{"rendered":"http:\/\/www.rocktownhall.com\/blogs\/?p=5341"},"modified":"2011-01-16T15:35:57","modified_gmt":"2011-01-16T19:35:57","slug":"since-i-stole-you","status":"publish","type":"post","link":"https:\/\/www.rocktownhall.com\/blogs\/since-i-stole-you\/","title":{"rendered":"Since I Stole You"},"content":{"rendered":"

Last weekend’s New York Times Magazine<\/a><\/em> contained an article about Girl Talk<\/strong> entitled, “The 373-Hit Wonder.”<\/a> In it, there is a brief history of the Mash-Up<\/strong>,\u00a0starting with a 1906 entry of Charles Ives<\/strong> progressing through the Beatles<\/strong>‘ 1968 “Revolution 9”;\u00a0K-Tel Records<\/strong>;\u00a0Lee Scratch Perry<\/strong>‘s production of Blackboard Jungle Dub<\/em>;\u00a0Stars on 45<\/strong>; the 1989\u00a0Plunderphonic<\/em> by John Oswald<\/strong>; 1996’s Endtroducing…<\/em>, by DJ Shadow<\/strong>; the Avalanches<\/strong>‘ Since I Left You<\/em>;\u00a0The Grey Album<\/em>, by Danger Mouse<\/strong> in 2004… and then craziness ensues with samples going wild.<\/p>\n

The article states that Girl Talk’s “sound collages are radically different from their sources, far more than the sum of their parts,” but notes the potential for a “gold mine” of lawsuits that could ensue from gaining permission to use the samples. Gregg Gillis<\/strong>, aka Girl Talk, reported that he has never been sued or asked to desist, and that “one of the acts he samples…proudly put a link to Girl Talk on their home page.”<\/p>