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Speaker 1: Brought to you by the reinvented two thousand twelve camera.

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Speaker 1: It's ready. Are you welcome to you Stuff you Should

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Speaker 1: Know from House Stuff works dot com. This podcast is

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Speaker 1: brought to you by Audible dot com, the Internet's leading

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Speaker 1: provider of audio books, with more than one hundred thousand

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Speaker 1: Should Know listeners, Audible is offering a free audio book

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Speaker 1: One audiobook to consider is Consider the Lobster by David

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Speaker 1: Foster Wallace. Consider the Lobster as a collection of four

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Speaker 1: of Wallace's best essays and is available from Audible. To

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Speaker 1: your choice, go to audible podcast dot com slash stuff.

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Speaker 1: That's Audible podcast dot com slash stuff. Hey, and welcome

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Speaker 1: to the podcast. I'm Josh Clark with me as always

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Speaker 1: as Charles W. Chuck Bryant, and that makes this the

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Speaker 1: super sample version of Stuff you Should Know, The super

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Speaker 1: Stuff Guide to Sampling. Could that be an audiobook? Let's try.

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Speaker 1: As a matter of fact, if you're listening to this

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Speaker 1: right now, just you owe us a dollar. Mail it

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Speaker 1: in Yeah, mail it into thirty three fifty Peachtree Road,

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Speaker 1: Atlanta and Georgia. Carrot up Josh Clark three oh three

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Speaker 1: one three two six s Okay, alright, with that done,

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Speaker 1: we can continue on with the podcast. You know what

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Speaker 1: we should have gotten really creative and just like sampled

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Speaker 1: old podcasts and put them together in two How, Jerry,

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Speaker 1: do you feel like doing that? Nod A mash up?

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Speaker 1: That's what they call that. Sure, that's what the kids

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Speaker 1: call it these days. Yeah, no, we'll just do it

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Speaker 1: straight instead boring and guess is what you call it.

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Speaker 1: I have an intro. Have you heard chuck of a

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Speaker 1: man named Arman Balladian? Arm Intansarian? Nope, no, I have

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Speaker 1: not done. Armin Balladian is the owner and sole employee

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Speaker 1: of a company called Bridgeport, now I have. Bridgeport is

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Speaker 1: a music catalog company, um and like many other music

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Speaker 1: catalog companies, they basically just sit on a lot of

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Speaker 1: copyrights to popular songs the musical composition of those songs. Right,

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Speaker 1: it's almost like owning stock, Yes, like you buy stock

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Speaker 1: in these musics and wait for them to be worth something. Sure,

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Speaker 1: or you can allegedly shadily get your hands on already

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Speaker 1: valuable music. Sure, and then do what Bridgeport did, which

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Speaker 1: is uh, start suing anyone and everyone whoever sampled it.

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Speaker 1: Um So. Bridgeport made a big flap in two thousand

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Speaker 1: five when they m sued Jay Z for his song

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Speaker 1: Justify My Thug. Yeah, I want to go ahead and

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Speaker 1: add a disclaimer here. I am far too square to

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Speaker 1: talk seriously about hip hop, Like I'm really into elevator

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Speaker 1: music right now, seriously. Um So, when I say things

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Speaker 1: like justify my Thug or jay Z or breaks, I'm

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Speaker 1: speaking strictly as an outside observer, an interested outside observer.

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Speaker 1: But I'm not. I'm not from the streets. So like

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Speaker 1: I was, I was down, as they say, from like

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Speaker 1: seven to nine five ish. That was those were my

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Speaker 1: big hip hop years and then but these days you

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Speaker 1: say jay Z, and I know that's the that's the

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Speaker 1: handsome man. Mary did that, pretty lady, Okay, So I'm

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Speaker 1: not done with the new stuff. We had a similar trajectory,

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Speaker 1: except I used to be into it and it sounds

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Speaker 1: like you never were. Right. What in the name of

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Speaker 1: God is a waka flaca? You know? Yes? Alright? So anyway,

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Speaker 1: Bridgeport sue jay Z for sampling Madonna's justifying My Love.

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Speaker 1: Somehow Bridgeport got his hands on the copyright to Justify

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Speaker 1: My Love. It's a pretty big song. And when jay

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Speaker 1: Z sampled that, they sued him. Now this guy runs

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Speaker 1: around suing everybody. Apparently had like seven hundred lawsuits against

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Speaker 1: just people who sample George Clinton's work, and big Attorney spees,

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Speaker 1: right there it is and but when it pays off,

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Speaker 1: it pays off. So this guy has come to be

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Speaker 1: known at Bridgeport. People like him have come to be

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Speaker 1: nowhere called sample trolls. Remember patent trolls when I gave

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Speaker 1: like the absolute wrong definition of that. Well, uh, sample

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Speaker 1: troll is somebody who just buys up songs, hangs out

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Speaker 1: of the copyrights, and then suits people who's sampling without asking.

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Speaker 1: On the one hand, you can make a case that, well,

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Speaker 1: these people are breaking copyright lost by not asking and

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Speaker 1: getting permission to use samples of this. On the other hand,

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Speaker 1: Bridgeport has made it their aim to sue anybody who

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Speaker 1: sampled it at all, even if they've taken the work

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Speaker 1: and made it unrecognizable, right, which that kind of a

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Speaker 1: lot of people around the other side of the aisle

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Speaker 1: going like that's ridiculous. That stifles creativity. This is just

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Speaker 1: one of the many interesting aspects of music sampling. Wow,

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Speaker 1: that was a proper intro. It's been a while, um,

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Speaker 1: and that's one, but it's probably the biggest as far

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Speaker 1: as uh, what people think about how music is used

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Speaker 1: in creativity and ownership. And one of the things that

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Speaker 1: you just mentioned was Bridgepoort is some big corporation. And

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Speaker 1: if you talk to like Hank Shockley, the former producer

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Speaker 1: of Public Enemy, he will say that, you know, we

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Speaker 1: don't have any problems paying music to artists who created

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Speaker 1: the stuff, he said, but they're about these corporations now,

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Speaker 1: and it's just it's greed on their part. Yes, it's

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Speaker 1: just not There are two sides to every story now,

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Speaker 1: and um, the music industry, as we'll see, kind of

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Speaker 1: went on a tear of like suing everybody and protecting themselves,

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Speaker 1: and um, now you kind of understand, like, oh, that's

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Speaker 1: why no one feels bad about this whole music piracy thing. Well,

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Speaker 1: there was a big rush at one point because it

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Speaker 1: was a new genre. I mean, we'll get into the

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Speaker 1: history of how it came to be in all, but

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Speaker 1: it was a new thing and so all of a

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Speaker 1: sudden you know, for the first you know, several years

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Speaker 1: that was open territory and that's when like that, that

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Speaker 1: was the heyday if you ask me, Well, folks nerdier

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Speaker 1: than us might be confused at this point because UM

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Speaker 1: sampling also refers to digitizing music. Uh. What we're talking

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Speaker 1: about is taking a piece of an already established UM

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Speaker 1: piece of music, right, a selection of it, and then

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Speaker 1: recreating it using it, put maybe putting it back to

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Speaker 1: back to back in a loop sometimes um oftentimes actually

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Speaker 1: and then creating something new using this. Yeah right, yeah,

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Speaker 1: so that's what we're talking about with music sampling, all right.

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Speaker 1: It's been around for a while too. Yeah. Uh, well,

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Speaker 1: you mentioned UM taking a snippet. Let's go ahead and

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Speaker 1: just get a couple of examples out there. If we

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Speaker 1: want to start out with trying to explain to people

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Speaker 1: what a sample is, and as people know this, there

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Speaker 1: are no further places to look. Then James Brown's uh

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Speaker 1: V song Funky Drummer. Let's go ahead and hear that

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Speaker 1: that little break beat. Oh it's like that huh yeah,

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Speaker 1: all right, so that's instantly recognizable. So that's funky drummer.

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Speaker 1: That's funky drummer, And that was who was the drummer there,

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Speaker 1: Clyde stubble Field. Yes, Clyde stubble Field, who has never

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Speaker 1: gotten a sent no, but he's pretty cool man. He

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Speaker 1: is not trying to see anybody's not seeking anything any

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Speaker 1: damage from And this literally thousands of songs have used

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Speaker 1: that drum break right, Yeah, James Brown has been sampled

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Speaker 1: and this is not just that song, but a lot

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Speaker 1: of it comes from Funky Drummer two thousand seven times. Okay,

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Speaker 1: so um the leader, and you can make a case

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Speaker 1: that Funky Drummer provided the basis for hip hop. Like

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Speaker 1: all early hip hop songs, especially in like the mid

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Speaker 1: to late eighties, all used that drum brake, right, Um,

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Speaker 1: stubble Fields not going after anybody for that. But what

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Speaker 1: he did was get together with some documentarians who made

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Speaker 1: something called Copyright Criminals, a documentary called Copyright Criminals to

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Speaker 1: release a special version of the DVD that has all

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Speaker 1: new ready to sample Clyde stubble Field drum brakes that

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Speaker 1: he created just for this and if you want to

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Speaker 1: use them, he's give him like fifteen of your of

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Speaker 1: your sales. So he's like doing it. He's trying out

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Speaker 1: a different model. Well. On the other side to which

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Speaker 1: we haven't mentioned is is and this is a point

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Speaker 1: that a lot of the hip hop producers would make,

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Speaker 1: is that some of these people are being pulled from obscurity.

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Speaker 1: For instance, the second clip we're gonna play, which is

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Speaker 1: the Amen break from Amen Brother and it was a

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Speaker 1: B side from a very little known song from a

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Speaker 1: group called the Winston's We can hear this one, do yes,

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Speaker 1: and We'll hear that right now. So that one, to

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Speaker 1: me is slightly better than Funky Drummer. So that's the

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Speaker 1: A member that's the Amen break, and do that one

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Speaker 1: has been sampled thousands of times, so that one UM

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Speaker 1: gave birth to UM drum and based in jungle, like

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Speaker 1: all all jungle music is based on the deconstruction of

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Speaker 1: the Amen break. If you're interested in hearing about there's

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Speaker 1: a really cool movie like a video. It's like eighteen

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Speaker 1: minutes long. It's a YouTube video and the title is

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Speaker 1: video explains the world's most important six second drum loop.

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Speaker 1: So it gave rise to jungle. UM n W a

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Speaker 1: straight out of Compton used that. Uh, Cold Cut used it,

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Speaker 1: UM and Third Base famously used it as well, and

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Speaker 1: hundreds of others. Yeah, I like their base, and that

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Speaker 1: was because we want to give due to some of

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Speaker 1: these folks who created this stuff. That was Gregory Sylvester Coleman,

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Speaker 1: who was the actual drummer that played that lick, and

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Speaker 1: that was the Winston's. Yeah, the Winston's excellent Gregory Sylvester Coleman.

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Speaker 1: So yeah, I think what you're originally saying is some

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Speaker 1: producers are saying, like you ever heard of Gregory Coleman? Yeah, exactly,

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Speaker 1: So They're they're bringing some of these folks out of

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Speaker 1: obscurity and giving them their due, and I'm sure selling

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Speaker 1: some records for him here there. So although that record

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Speaker 1: is really hard to find, obviously, well they need to

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Speaker 1: press it again, maybe they should. Okay, Uh so you

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Speaker 1: take an l O cool j Ladies love Cool James

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Speaker 1: for instance. Is that what l else stands for? Yeah?

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Speaker 1: You never knew that. Yeah, you even listen to him extensively.

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Speaker 1: He was James something, and you know the ladies love

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Speaker 1: Cool James or EOS cool Jake Cookies. I'm bad see

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Speaker 1: you know, no, I did know. I've just fallen off

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Speaker 1: like you. Okay, Um, so you take the funky drummer

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Speaker 1: from James Brown song, and you take uh Slying the

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Speaker 1: Family Stones, Trip to Your Heart the the background vocals,

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Speaker 1: and then basically you loop those over and over and

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Speaker 1: over and you have a little song called Mama said,

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Speaker 1: Knock you Out. We're about to hear that, well, we're

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Speaker 1: gonna hear him separately. Obviously we already played the Funky Drummer,

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Speaker 1: and now this is uh the Trip to your Heart

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Speaker 1: backing vocals from Slying the Family Stone whom I love.

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Speaker 1: All right, So that's it, dude, over and over and

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Speaker 1: over with ladies love cool James rapping, and you've got

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Speaker 1: a huge, huge hit. Yeah, oh that was a big one.

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Speaker 1: Oh yeah huge. I wasn't a big local jag though.

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Speaker 1: I like the one I don't remember it's called. But

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Speaker 1: it had like the boom box on the cover of

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Speaker 1: the tape, like the album artwork was a boom box.

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Speaker 1: Yeah that was good. It had I'm bad on Okay. Um,

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Speaker 1: it's not always songs that you're sampling. Uh. Sometimes you're

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Speaker 1: sampling stuff from like a TV show or a movie,

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Speaker 1: or like the Living Color song called the Personality. Remember that?

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Speaker 1: Oh yeah, they had like an FDR speech I think

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Speaker 1: it was. Kennedy was FDR had Kennedy took but that

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Speaker 1: that was Kennedy, but he said the only thing we

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Speaker 1: have to fear is fear itself. Yeah, uh, doubting Thomas.

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Speaker 1: They were like a skinny puppy off shoot. They exampled UM.

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Speaker 1: I think the Day the Earth Stood Still UM extensively

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Speaker 1: throughout this one album that they created. It was pretty good.

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Speaker 1: Well and guns and Roses on their song Civil War,

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Speaker 1: remember at the beginning of that they played the cool

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Speaker 1: hand Luke bit uh over the you know, guitar, and

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Speaker 1: then Axel's Weasley Little Boys comes through. Oh and Metallica

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Speaker 1: is one oh yeah, yeah sample Johnny got his gun.

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Speaker 1: That's right in the video too, Right, So those are

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Speaker 1: all samples. You might just think, oh, that's a snippet

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Speaker 1: from a movie, but it's a sample, just like you

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Speaker 1: would use uh the amen breake. Okay. Um. The first sampler,

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Speaker 1: if you want to go back in time a bit

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Speaker 1: um was the melotron. Yeah, the actual not not the person,

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Speaker 1: but the machine that someone used that was created for sampling, right, Yeah,

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Speaker 1: I mean it was. It was the first time that

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Speaker 1: they had ever. You know, it's basically a little keyboard.

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Speaker 1: They're very basic. I wish I had one. They're really sweet,

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Speaker 1: and it has a volume, a tone, and a pitch

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Speaker 1: control a low and high octave you can switch between.

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Speaker 1: And then three samples um uh, A, B and C flutes, violence,

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Speaker 1: and cello. And it was the first time that they

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Speaker 1: basically it ever sampled anything like that. So you press

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Speaker 1: the keyboard key and it plays back a prerecorded loop

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Speaker 1: of a single note of that single note on a flute,

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Speaker 1: let's say, which seems you know, you take that for

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Speaker 1: granted now when you buy these keyboard where you can

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Speaker 1: do a million different things. But back then, the melotron

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Speaker 1: was huge. Oh yeah. And even before that, people would

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Speaker 1: take magnetic tapes like real real tapes and and literally

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Speaker 1: cut and splice them to create their own samples. Well,

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Speaker 1: and if you want to hear a classic example of

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Speaker 1: the melotron, flute and uh, listen to this little clip

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Speaker 1: right here, is it? Aqual no? Ready, aqualung no. That

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Speaker 1: was the intro for the Beatles Strawberry Fields. And that

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Speaker 1: was Paul McCartney playing the flute sample of the melotron

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Speaker 1: on the melotron. I always thought it was just lutes

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Speaker 1: and then like King Crimson and yes and Genesis like

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Speaker 1: they went crazy with the melotron. Yeah, Genesis was awesome

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Speaker 1: early on, awesome, but in a different way, you know, yeah,

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Speaker 1: a very different way. Okay, So you talked about the

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Speaker 1: origins with the tape splicing. Yeah, yeah, I mean you

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Speaker 1: you can go back even further than the melotron. It

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Speaker 1: was at the sixties. Yes, there were these two dudes.

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Speaker 1: They were the two Piers I call them, um, Pierre

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Speaker 1: Schaeffer and Pierre Henry, but probably Pierre amri Um. And

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Speaker 1: they were I guess what you would call a couple

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Speaker 1: of um avant garde musical artists, and they created what's

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Speaker 1: called music concrete spreaky stuff. Did you hear any of it? Yeah?

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Speaker 1: I did. There's UM again, the YouTube factors in heavily

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Speaker 1: in this episode. UM. If you want to find out

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Speaker 1: a little bit about music concrete, UM, check out the

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Speaker 1: nineteen BBC documentary The New Sound of Music. That is

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Speaker 1: very awesome. Actually, yeah, that guy was a really great

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Speaker 1: host down so he talks about musique concrete where it's

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Speaker 1: basically like these people before they were tape recorders. Even

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Speaker 1: I don't know how they were doing this, I guess

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Speaker 1: real the real and then these guys were doing splicing. Um,

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Speaker 1: they would record the sound of a can falling or

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Speaker 1: the sound of a metronome or you know, a piece

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Speaker 1: of music off of you know, the radio, and then

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Speaker 1: they would splice it all together into something that's like

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Speaker 1: barely listenable. But it was. It was electronically reproduced music,

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Speaker 1: and it formed the basis of everything that came after

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Speaker 1: it that had anything to do with electronic from like

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Speaker 1: Pink Floyd to all electronic music, to the Residents to

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Speaker 1: Silver Apples, to all these people who craft work who

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Speaker 1: created electronic music. It's all based on this, these two

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Speaker 1: guys creating this in or something like that. Did you

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Speaker 1: see the part of the video where they took the

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Speaker 1: tape by hand and we're dragging it through. That ended

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Speaker 1: up sounding like and I think was sort of the

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Speaker 1: origins of record scratching. That's what it sounded like to

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Speaker 1: me as well. Of course it was produced back in

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Speaker 1: the day, so they didn't say it was before record scratching.

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Speaker 1: This is about this. Actually it was coming out at

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Speaker 1: the same time, So that was nine nine, and that's

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Speaker 1: been like DJ Cool Hirk and Grandmaster Flash. We're starting

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Speaker 1: to get really good. They were playing high school, so

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Speaker 1: people were taking notice. That is true. So jumping back

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Speaker 1: again in nine, James Tenney uh took Blue Swede shoes

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Speaker 1: from Elvis Presley and have you heard this thing? Yeah?

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Speaker 1: It's very avant garde, is the way to put it. Yeah,

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Speaker 1: that's a good way to put it into collage number

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Speaker 1: one was what he called it. And it is in

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Speaker 1: many many parts virtually unrecognizable. Yeah. Oh yeah, it's really

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Speaker 1: hard to listen to. It is very hard to listen

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Speaker 1: to it. It's a it's a a piece of electronic

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Speaker 1: music that deconstructed. It's so it's Blue Swayede. She's deconstructed time.

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Speaker 1: And I mean if you look back and you're like,

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Speaker 1: holy cow. The video on YouTube shows like the guy

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Speaker 1: sitting in front of his setup and it's like pretty

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Speaker 1: extensive and like I was obviously, you know, out of

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Speaker 1: his mind. Um, lots of drugs, wasn't he. When you

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Speaker 1: look back at and you're like, oh that was what

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Speaker 1: That's pretty impressive work, Yeah, exactly. Um. Dicky Goodman and

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Speaker 1: Bill Buchanan in nifty six had a more commercial version

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Speaker 1: of of I guess you would call it music Concrete

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Speaker 1: with Flying Saucer. Did you listen to that one I did.

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Speaker 1: That was the stuff we heard on FM radio growing up.

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Speaker 1: Remember all that matchup stuff they used to do, like

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Speaker 1: Bette Miller's from a Distance with like the during the

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Speaker 1: first goal four. I don't know what to remember that now.

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Speaker 1: I mean, like when the radio stations would do these

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Speaker 1: um well, let me go and say what it was

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Speaker 1: and play a snippet um flying saucer. They took rock

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Speaker 1: and roll hits from that era and mashed it up

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Speaker 1: with a fake news report about aliens landing from outer space,

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Speaker 1: and it sounded a little something like this, we interrupt

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Speaker 1: this record to bring you a special bull of them.

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Speaker 1: The reports of a flying saucer hovering over the city

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Speaker 1: have been confirmed. The flying saucers are real. That was

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Speaker 1: the Clatters recording to real We switch you now to

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Speaker 1: all on the spot reporter Dom Tom take it away.

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Speaker 1: So that's the stuff that we heard on FM radio,

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Speaker 1: like they would do. I remember when I was a kid.

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Speaker 1: They would say like, we're gonna call so and so

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Speaker 1: right now, and and they would say, hey, how are

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Speaker 1: you feeling, And all of a sudden you'd hear but

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Speaker 1: couldn't sleep at all last night. And then they would

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Speaker 1: ask him another question to be like an interview, and

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Speaker 1: the answers were snippets from from rock songs answering, which

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Speaker 1: is really like, I mean, it had to say in

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Speaker 1: the seventies and eighties. For sure. I don't have a clip,

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Speaker 1: so I'm gonna have to describe it. But the Bette

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Speaker 1: Midler thing was slightly different. It would be like Bette

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Speaker 1: Miller's from a Distance, interspersed with patriotic speeches. Oh yeah, yeah,

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Speaker 1: I remember that. Remember that? Yeah, that that was sampling,

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Speaker 1: I guess. So it's most jingoistic form at the very least.

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Speaker 1: It was a mash up right those Oh by the way,

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Speaker 1: those flying saucer guys, Um Buchanan and Goodman, they went

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Speaker 1: on to do a lot of those things, like they

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Speaker 1: did one during the energy crisis of seventy four crisis

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Speaker 1: of seventy nine. But it'd be like, um, how much

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Speaker 1: gas will be ration? Just enough for the city, dude,

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Speaker 1: I remember that, That's what I was remembering. Yeah, Oh,

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Speaker 1: I was not cognizant at that time. I had a

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Speaker 1: lot of like poop, my own poop on my hands

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Speaker 1: from like playing with it at that when you were thinking, wow,

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Speaker 1: this is really neat stuff. Yeah, I was a little

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Speaker 1: radio kid back then. Also, I want to say one

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Speaker 1: more thing, Um, I went a little deeper in the

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Speaker 1: music concrete thing, and apparently Phillips right the manufacturing concern Um.

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Speaker 1: They tried to get into electronic music in like the

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Speaker 1: late fifties and had this whole little wing that was

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Speaker 1: that let a couple of guys just go to town

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Speaker 1: like trying to make popular electronic music. And if you

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Speaker 1: search Acid House from nineteen eight on YouTube, these guys

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Speaker 1: did a pretty good job of it. It is very

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Speaker 1: clearly like the predecessor of like it's listenable. It's not

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Speaker 1: just like just it's not it's not even avant garde.

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Speaker 1: It has like a beat to it and a melody,

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Speaker 1: and it's just it's really neat interesting. I don't have

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Speaker 1: that clip either. We should do a podcast on the

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Speaker 1: mogue that should Okay, that'll that'll be coming. Didn't you

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Speaker 1: guys do that on the B side? I think so,

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Speaker 1: But well, we'll do it up. But we've gotten requests

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Speaker 1: for more music stuff. That's why I picked this one up.

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Speaker 1: So you flash word a little bit and you mentioned

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Speaker 1: cool DJ Hirk Graham, DJ Grandmaster Flash who a lot

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Speaker 1: of people think that was the group. It was Grandmaster

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Speaker 1: Flash and the Furious Five if you remember, and uh,

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Speaker 1: they hit it big in nineteen eighty with the song Freedom,

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Speaker 1: which sampled Get Up and Dance by the band Freedom

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Speaker 1: pretty straight up. Well that that kind of took this

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Speaker 1: whole thing into mainstream. Well, and that's when scratching started

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Speaker 1: to wouldn't it. Yeah, Grandmaster Flash definitely started scratching. DJ

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Speaker 1: cool Hirk started sampling very clearly like he's the guy.

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Speaker 1: He's from Kingston, Jamaica, and he moved to New York

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Speaker 1: in nineteen sixty seven, I think, and started bringing like

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Speaker 1: his turntables to block parties and he would just he'd

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Speaker 1: find like a drum break or something, and then a

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Speaker 1: drum break from another song, and he just keeps like

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Speaker 1: putting him together. So it was like one long drum break,

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Speaker 1: maybe bring in a little bit of a bassline. And

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Speaker 1: I went back and listened to some of it and

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Speaker 1: it was good stuff, man, was it? And he's doing

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Speaker 1: this in like the mid seventies, and uh, yeah, he

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Speaker 1: started sampling as we know it, like turntable sampling. Crazy yeah,

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Speaker 1: innovating Josh. That's even better than Crazy Marley Marl is

385
00:23:15,280 --> 00:23:17,159
Speaker 1: someone else we should mention if we're talking about. But

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Speaker 1: the early heyday he was a house producer for the

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Speaker 1: Juice Crew, which was Big Daddy, Kane and Bismarcki among others,

388
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Speaker 1: but he also produced Eric B and rackiem uh Ellow

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Speaker 1: cool J. And he was like he's often cited, is

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Speaker 1: like the early leader. What about Redhead Kingpin? I don't

391
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Speaker 1: know that. What's that he's He's like in there somewhere. Yeah,

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Speaker 1: Big Daddy came in. You just blasted me with the nostalgia.

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Speaker 1: Oh yeah, remember the hat where the gumby haircut? Yeah,

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Speaker 1: oh yeah, the what they call that, the high high right.

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Speaker 1: I always thought it was called the gumby. That's what

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Speaker 1: you call it. Huh, Well, they may called it gumby, heiric.

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Speaker 1: I don't know until it's a fade essentially, um the

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Speaker 1: Beastie boys, see what I was talking about, Like back

399
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Speaker 1: in the day, in the in the eighties, late eighties,

400
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Speaker 1: they were constructing full songs from dozens of samples. And

401
00:24:15,359 --> 00:24:17,600
Speaker 1: this was before you had to pay permission rights and

402
00:24:17,600 --> 00:24:19,800
Speaker 1: stuff like that. So you get a song like Hey

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Speaker 1: Ladies from Paul's boutique, which is he asked me the

404
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Speaker 1: pinnacle for the Beastie Boys. Ladies, Paul's boutique, Yeah, I

405
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Speaker 1: don't know if it's the pinnacle, it's well, I think

406
00:24:31,359 --> 00:24:33,720
Speaker 1: it's one of several pinnacles. We'll check. Your head was

407
00:24:33,760 --> 00:24:36,560
Speaker 1: great too, but Paul's boutique was great. Hey, ladies use

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Speaker 1: sixteen samples and that was not on the low side.

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Speaker 1: But uh, Terminator X of Public Enemy and the Beast

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Speaker 1: Boys would craft songs out of dozens and dozens of samples.

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Speaker 1: And that's that's DJ Hurricane you're giving props to. He's

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Speaker 1: the Beast Boys. J was he always I believe, so okay,

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Speaker 1: but I think they all like wrote the stuff together.

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Speaker 1: Um as we'll find out because the the court case

415
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Speaker 1: against the BC boys was Newton versus Diamond Ouch, and

416
00:25:07,880 --> 00:25:12,399
Speaker 1: we all know who Diamond is, Dustin Diamond, Mike The's Brothers,

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Speaker 1: No no, no, uh, groups like day Las Sole Public

418
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Speaker 1: Enemy in the BCS were crafting these songs whereas nowadays,

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Speaker 1: partially because I think they're not as good and creative,

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Speaker 1: and partially because you have to pay rights. You'll get

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Speaker 1: like a kid rock who just plays this one loop

422
00:25:31,080 --> 00:25:33,000
Speaker 1: over and over and that's the sample he uses in

423
00:25:33,080 --> 00:25:35,560
Speaker 1: a song. So it's not like he's crafting these songs

424
00:25:35,560 --> 00:25:38,240
Speaker 1: out of dozens and dozens of samples. Well, Public Enemy

425
00:25:38,280 --> 00:25:42,320
Speaker 1: even said, like, after all these lawsuits and threats of lawsuits,

426
00:25:42,720 --> 00:25:45,400
Speaker 1: if you're crafting a song out of seventeen other songs,

427
00:25:45,920 --> 00:25:48,680
Speaker 1: you basically have to like figure out something else because

428
00:25:48,720 --> 00:25:50,760
Speaker 1: you can't do it anymore. And I mean, what a

429
00:25:50,840 --> 00:25:53,320
Speaker 1: buzz kill two to make a song and then take

430
00:25:53,400 --> 00:25:57,800
Speaker 1: it to the to the your record company overlords who

431
00:25:57,840 --> 00:26:00,439
Speaker 1: say like, Okay, we can get this cleared, we can

432
00:26:00,480 --> 00:26:03,840
Speaker 1: get this cleared. This one we can't clear no way

433
00:26:03,840 --> 00:26:08,600
Speaker 1: wherever clearing this. Yeah, so you have, like I don't know,

434
00:26:09,040 --> 00:26:11,960
Speaker 1: two thirds of your song is intact, but the other

435
00:26:12,040 --> 00:26:14,960
Speaker 1: third is it has holes in it. You know, that's

436
00:26:15,160 --> 00:26:17,280
Speaker 1: it kind of takes away from the whole thing. But

437
00:26:17,400 --> 00:26:21,400
Speaker 1: at the same time, yeah, I mean again, it's breaking

438
00:26:21,600 --> 00:26:23,720
Speaker 1: a law. It's a copyright law, and it's not an

439
00:26:23,840 --> 00:26:26,800
Speaker 1: arbitrary law. It's not as it's not a superfluous law.

440
00:26:27,160 --> 00:26:29,879
Speaker 1: There is validity to it. You know, Well, let's go

441
00:26:29,880 --> 00:26:32,639
Speaker 1: ahead and talk about it. Then, Okay, copyright law the

442
00:26:32,680 --> 00:26:35,399
Speaker 1: one that changed everything. It wasn't It was not the

443
00:26:35,440 --> 00:26:39,200
Speaker 1: first copyright lawsuit I think those guys um who did

444
00:26:39,200 --> 00:26:41,440
Speaker 1: the flying saucer thing were the first to start attracting

445
00:26:41,480 --> 00:26:46,800
Speaker 1: copyright lawsuits yea um. But the first one as far

446
00:26:46,960 --> 00:26:49,560
Speaker 1: that that changed hip hop, I guess it was Bismarck

447
00:26:49,640 --> 00:26:54,199
Speaker 1: Key landed a beef from one Gilbert O'Sullivan who wrote

448
00:26:54,280 --> 00:26:58,800
Speaker 1: the song alone Again naturally for you Got what I

449
00:26:58,840 --> 00:27:03,800
Speaker 1: Need or whatever? No Alone Again his song from I

450
00:27:03,840 --> 00:27:06,680
Speaker 1: Need a Haircut. Um. That album it's called Alone Again,

451
00:27:07,240 --> 00:27:11,439
Speaker 1: and um, bismarckis lifted pretty heavily from that, and he

452
00:27:11,480 --> 00:27:13,840
Speaker 1: was signed to Warner Brothers, and Warner Brothers got sued

453
00:27:13,960 --> 00:27:17,439
Speaker 1: by the owners of Alone Again naturally right, and the

454
00:27:17,520 --> 00:27:23,120
Speaker 1: judge ruled in um the copyright holders favor against Warner Brothers.

455
00:27:23,160 --> 00:27:25,679
Speaker 1: So all of a sudden, Warner Brothers, big business, big company,

456
00:27:26,160 --> 00:27:29,840
Speaker 1: starts circling the wagons like, okay, whoa wa wa, whoa there,

457
00:27:29,880 --> 00:27:33,560
Speaker 1: we're really exposed right now because all of our hip

458
00:27:33,600 --> 00:27:36,000
Speaker 1: hop artists are running around sampling anybody they want to,

459
00:27:36,440 --> 00:27:39,520
Speaker 1: and now we can get sued for it. And the

460
00:27:39,600 --> 00:27:42,520
Speaker 1: judge caught a lot of flak because he said, and

461
00:27:42,600 --> 00:27:45,520
Speaker 1: not only not only am I ruling in your favor?

462
00:27:45,640 --> 00:27:47,159
Speaker 1: I think that this should go to some sort of

463
00:27:47,160 --> 00:27:52,400
Speaker 1: criminal prosecution, right, because this is their defense. Warner Brothers

464
00:27:52,480 --> 00:27:55,160
Speaker 1: defense was it's rampant. Everyone's doing this and we've been

465
00:27:55,160 --> 00:27:57,639
Speaker 1: doing it for ten years, Like what's your problem. And

466
00:27:57,680 --> 00:27:59,760
Speaker 1: the judge was like, well, if that's the case, then

467
00:27:59,760 --> 00:28:02,000
Speaker 1: we we need to really start looking into this, and

468
00:28:02,040 --> 00:28:06,600
Speaker 1: that shut everything down. That's when sampling went from art

469
00:28:07,000 --> 00:28:09,800
Speaker 1: to business. Yeah, I'm surprised it took that long for

470
00:28:09,840 --> 00:28:12,560
Speaker 1: people to catch on. And it was money that is

471
00:28:12,600 --> 00:28:14,600
Speaker 1: what did it as sales and when you know, it

472
00:28:14,640 --> 00:28:18,320
Speaker 1: was just like DJ's and Queens was no big deal

473
00:28:18,440 --> 00:28:20,840
Speaker 1: in the nineteen seventies and early eighties, but all of

474
00:28:20,880 --> 00:28:23,520
Speaker 1: a sudden, these artists, these hip hop artists were making

475
00:28:23,560 --> 00:28:26,560
Speaker 1: money on work from that was previously recorded by other

476
00:28:26,600 --> 00:28:30,960
Speaker 1: people and people saw green. Essentially, it's true they saw

477
00:28:31,000 --> 00:28:34,679
Speaker 1: dollar signs. They do um, But let me ask you this,

478
00:28:34,760 --> 00:28:38,320
Speaker 1: should the original people, the original artists, like I can

479
00:28:38,440 --> 00:28:43,000
Speaker 1: understand just hating on corporations because they didn't create this

480
00:28:43,120 --> 00:28:46,000
Speaker 1: at all. This happened to own it or whatever, but

481
00:28:46,320 --> 00:28:49,280
Speaker 1: it should the original artists expect some sort of compensation

482
00:28:49,360 --> 00:28:52,720
Speaker 1: for somebody who's making millions of dollars by taking some

483
00:28:52,800 --> 00:28:55,880
Speaker 1: of that original work. Do they what do they deserve

484
00:28:55,920 --> 00:29:00,800
Speaker 1: any kind of consideration? I think I agree to depending

485
00:29:00,920 --> 00:29:05,640
Speaker 1: on how like what degree the work has changed. Yeah,

486
00:29:05,840 --> 00:29:09,040
Speaker 1: I say, used the crap out of it, but get

487
00:29:09,080 --> 00:29:13,480
Speaker 1: permission and pay royalties. Yeah, Like, if if that's the

488
00:29:13,520 --> 00:29:15,920
Speaker 1: genre you're if that's what you're choosing to do, Like,

489
00:29:15,960 --> 00:29:18,120
Speaker 1: no one's forcing these people to do that, that's what

490
00:29:18,160 --> 00:29:20,600
Speaker 1: you're choosing to do, then you've got to play by

491
00:29:20,640 --> 00:29:23,280
Speaker 1: the rules. That's what I think, and then go wow

492
00:29:23,400 --> 00:29:26,360
Speaker 1: with it. Well, I guess that's kind of like the

493
00:29:26,400 --> 00:29:29,560
Speaker 1: status quo now, and that's not working necessarily. It's leading

494
00:29:29,600 --> 00:29:33,160
Speaker 1: to like your beef with Kid Rock, Well, my beef

495
00:29:33,200 --> 00:29:35,920
Speaker 1: is that he's just not very good. It's large. It's

496
00:29:36,000 --> 00:29:38,760
Speaker 1: larger than that. You'd be careful, man. He gets in

497
00:29:38,880 --> 00:29:42,560
Speaker 1: fights and stuff. Yeah, waffle house is in Atlanta, so

498
00:29:42,800 --> 00:29:45,600
Speaker 1: he knows where we live. I saw BISMARKI the airport

499
00:29:45,600 --> 00:29:47,080
Speaker 1: one time. By the way, you be hung out with

500
00:29:47,120 --> 00:29:50,200
Speaker 1: Bismarck Key wants played PlayStation. Yeah, saw I'm on the

501
00:29:50,280 --> 00:29:52,320
Speaker 1: on the little internal train and I was like, is

502
00:29:52,360 --> 00:29:55,360
Speaker 1: that yeah? That is I mean I thought for about

503
00:29:55,360 --> 00:29:56,880
Speaker 1: a half a second and I was like, then I'm

504
00:29:56,880 --> 00:30:00,480
Speaker 1: worrying that gray curly powdered wig now and he didn't

505
00:30:00,480 --> 00:30:04,160
Speaker 1: with uh all right, so let's talk about what the

506
00:30:04,200 --> 00:30:07,600
Speaker 1: cost of it is. Um ten dollars No, not ten

507
00:30:07,640 --> 00:30:10,880
Speaker 1: dollars um. At first it was something it was called

508
00:30:10,880 --> 00:30:13,520
Speaker 1: a buy out, so you purchased rights to sample a song.

509
00:30:13,560 --> 00:30:16,000
Speaker 1: It wasn't that much money. But like I said, as

510
00:30:16,040 --> 00:30:20,240
Speaker 1: sales grew in the rap and hip hop world, and uh,

511
00:30:20,280 --> 00:30:23,320
Speaker 1: you know rock band said it too, they started pay

512
00:30:23,680 --> 00:30:28,520
Speaker 1: rollover rates, which is you gotta pay per your sales, right,

513
00:30:28,640 --> 00:30:31,080
Speaker 1: which all of a sudden, you know, the bill got

514
00:30:31,160 --> 00:30:34,440
Speaker 1: larger and larger and larger, and you're not necessarily just

515
00:30:34,480 --> 00:30:38,200
Speaker 1: paying one person. No, No, you might pay the copyright

516
00:30:38,200 --> 00:30:41,280
Speaker 1: owner of the composition of the music. And if you

517
00:30:41,360 --> 00:30:44,880
Speaker 1: use a specific recording rather than record that composition yourself

518
00:30:44,920 --> 00:30:47,080
Speaker 1: and use it right, then you have to pay the

519
00:30:47,160 --> 00:30:50,800
Speaker 1: owner of that particular recording, which aren't necessarily one and

520
00:30:50,800 --> 00:30:54,080
Speaker 1: the same, right, and they both might want equal amounts

521
00:30:54,120 --> 00:30:55,880
Speaker 1: of money rather than giving you a deal. You know,

522
00:30:56,400 --> 00:31:00,920
Speaker 1: or if you're Vanilla Ice, you would just slightly altered

523
00:31:00,960 --> 00:31:05,480
Speaker 1: Queen's famous baseline from under pressure, not even so much

524
00:31:05,480 --> 00:31:09,280
Speaker 1: as credit them on your album. Forget asking for rights.

525
00:31:09,360 --> 00:31:12,320
Speaker 1: He didn't even say like special thanks to to Queen,

526
00:31:13,000 --> 00:31:17,200
Speaker 1: and uh settle out of court eventually for an undisclosed

527
00:31:17,200 --> 00:31:20,280
Speaker 1: sum of money. He raises jet skis now under the

528
00:31:20,360 --> 00:31:23,040
Speaker 1: name Vanilla Ice. Does he he also? He has a

529
00:31:23,040 --> 00:31:26,240
Speaker 1: home renovation show too, Does he really? Yeah? Oh yeah,

530
00:31:26,280 --> 00:31:30,960
Speaker 1: he flips houses. Yeah yeah, it's pretty weird. It's not weird,

531
00:31:31,280 --> 00:31:35,880
Speaker 1: it's weird for him to do it. Uh. Mc hammer

532
00:31:36,960 --> 00:31:40,520
Speaker 1: very famous for his sampling of h and Can't Touch

533
00:31:40,560 --> 00:31:46,320
Speaker 1: This and his pants super freak? Oh yeah yeah did he? No,

534
00:31:46,480 --> 00:31:48,160
Speaker 1: he did that was all on the up and up?

535
00:31:49,800 --> 00:31:52,600
Speaker 1: Is he really? Yeah? He was back then? Well he's

536
00:31:52,920 --> 00:31:56,200
Speaker 1: got you gotta pray just to make it today. So's

537
00:31:56,320 --> 00:32:02,520
Speaker 1: run from run dmc huh and and I s ized

538
00:32:02,560 --> 00:32:05,720
Speaker 1: baby is out there flipping houses. They all got to

539
00:32:05,720 --> 00:32:08,600
Speaker 1: do something. And Dustin Diamond from Saved by the Bell.

540
00:32:09,360 --> 00:32:12,400
Speaker 1: Uh it was not. He was evicted. He was in

541
00:32:12,440 --> 00:32:14,880
Speaker 1: the process of being evicted, and he had he launched

542
00:32:15,080 --> 00:32:17,520
Speaker 1: a web campaign to save his house. I remember that.

543
00:32:17,800 --> 00:32:21,360
Speaker 1: I wonder whatever happened. I don't know. Um. The drum

544
00:32:21,480 --> 00:32:24,680
Speaker 1: intro for led Zeppelin's When the Levee breaks, That thing

545
00:32:24,680 --> 00:32:27,560
Speaker 1: has been sampled dozens and dozens and dozens of times.

546
00:32:27,840 --> 00:32:34,360
Speaker 1: But it's so massive and it's so immediately recognizable that

547
00:32:34,440 --> 00:32:37,440
Speaker 1: it takes over a song. You know what I'm saying, Like,

548
00:32:37,480 --> 00:32:41,240
Speaker 1: I don't. I don't think it's a It's just it's

549
00:32:41,480 --> 00:32:44,880
Speaker 1: basically like, oh, this this is a led Zeppelin sample,

550
00:32:45,000 --> 00:32:48,600
Speaker 1: rather than like that's a great thing about um. Amen, brother,

551
00:32:48,920 --> 00:32:50,720
Speaker 1: It's like no one ever heard of that. But it

552
00:32:50,760 --> 00:32:53,760
Speaker 1: was a perfect drum break that leads that level when

553
00:32:53,760 --> 00:32:57,080
Speaker 1: the levee breaks, it's it's too led Zeppelin, so too recognizable,

554
00:32:57,120 --> 00:32:59,880
Speaker 1: and you're off of it. Yeah. I just started thinking

555
00:32:59,880 --> 00:33:03,760
Speaker 1: of about Robert Plant right. I think they were down

556
00:33:03,840 --> 00:33:06,280
Speaker 1: with it. Though. Jimmy Page I remember, was totally cool

557
00:33:06,280 --> 00:33:09,240
Speaker 1: with it. Yeah, yeah, with am using that. Of course

558
00:33:09,440 --> 00:33:14,160
Speaker 1: it wasn't his lick it. Uh, he's not around to

559
00:33:14,200 --> 00:33:19,480
Speaker 1: say anything. No. In two thousand three, the Best Boys,

560
00:33:19,520 --> 00:33:25,080
Speaker 1: I said, the landmark case Newton v. Diamond Um, they

561
00:33:25,240 --> 00:33:27,240
Speaker 1: did a sample and we'll hear it right now. The

562
00:33:27,320 --> 00:33:31,400
Speaker 1: very beginning of past the mic contains this six second

563
00:33:31,520 --> 00:33:46,440
Speaker 1: flute stable. Do you hear that? It's like three notes

564
00:33:46,560 --> 00:33:50,920
Speaker 1: on a flute. And they got the rights, the sample

565
00:33:51,040 --> 00:33:54,600
Speaker 1: rights um for the sound recording, but not the compositional

566
00:33:54,720 --> 00:33:57,320
Speaker 1: rights because they were like, you know, this guy played it,

567
00:33:57,360 --> 00:34:00,360
Speaker 1: so we'll pay him, but it's three notes on a flute, Like,

568
00:34:00,560 --> 00:34:03,120
Speaker 1: we don't feel like we should have to pay compositional rights. Yeah,

569
00:34:03,160 --> 00:34:05,200
Speaker 1: I've always thought it was something like eight notes was

570
00:34:05,280 --> 00:34:07,280
Speaker 1: the cut off or something like that, like there's a

571
00:34:07,320 --> 00:34:10,759
Speaker 1: center number of notes. I remember that from being a kid.

572
00:34:11,120 --> 00:34:12,680
Speaker 1: I don't know why that would have come up when

573
00:34:12,719 --> 00:34:14,960
Speaker 1: I was a kid, but I seem to remember that. Well.

574
00:34:15,000 --> 00:34:17,520
Speaker 1: The BC Boys won their case, actually, and the judge

575
00:34:17,560 --> 00:34:21,799
Speaker 1: said that the brief composition um, consisting of three notes

576
00:34:21,840 --> 00:34:25,040
Speaker 1: separated by a half step, is not sufficient to sustain

577
00:34:25,080 --> 00:34:29,719
Speaker 1: acclaim for copyright infringement. So that was we already played

578
00:34:29,760 --> 00:34:32,239
Speaker 1: the clip, didn't we here? So that was it. And

579
00:34:32,640 --> 00:34:34,440
Speaker 1: also you can not only hear at the very beginning

580
00:34:34,440 --> 00:34:37,479
Speaker 1: of that song, but you hear underlying the entire song.

581
00:34:38,960 --> 00:34:41,680
Speaker 1: It's the best sample of all time, best best use

582
00:34:41,719 --> 00:34:46,479
Speaker 1: of a sample. Uh, your favorite? How about that doesn't

583
00:34:46,480 --> 00:34:48,400
Speaker 1: have to be best? You know what my favorite is

584
00:34:48,480 --> 00:34:54,040
Speaker 1: from the BC Boys? Um, hey, ladies, remember when um,

585
00:34:54,080 --> 00:35:00,400
Speaker 1: it's it's from Ballroom Blitz. You know that song, Ballroom Blitz? Yeah, terrible,

586
00:35:00,480 --> 00:35:04,040
Speaker 1: terrible song that's sampled. BC Boys sampled that song and

587
00:35:04,040 --> 00:35:06,600
Speaker 1: hey ladies, when they break that one part down, it

588
00:35:06,640 --> 00:35:10,760
Speaker 1: goes she thinks she's the passionate one that's from Ballroom Blitz.

589
00:35:11,600 --> 00:35:15,160
Speaker 1: Huh wow. Yeah, so that's my favorite one. I definitely

590
00:35:15,280 --> 00:35:18,640
Speaker 1: wouldn't have ever ever caught that. I you still love

591
00:35:18,680 --> 00:35:20,560
Speaker 1: the BC Boys back in the day, have you ever

592
00:35:20,600 --> 00:35:26,560
Speaker 1: heard um uh uh the pop will eat Itself? Uh yeah,

593
00:35:26,760 --> 00:35:29,400
Speaker 1: back in like the early nineties are kind of tronic.

594
00:35:29,440 --> 00:35:31,200
Speaker 1: They had a song there, well, they're one big song.

595
00:35:31,280 --> 00:35:37,719
Speaker 1: Psycho Sexual actually sampled um a classical composition Eric Sati's

596
00:35:37,840 --> 00:35:42,040
Speaker 1: Jina pet It's really awesome. I'd heard I love Jinna

597
00:35:42,160 --> 00:35:46,040
Speaker 1: Peeny and I love psycho Sexual, and then one day

598
00:35:46,080 --> 00:35:47,640
Speaker 1: I just heard it just where I was like, oh

599
00:35:47,680 --> 00:35:51,160
Speaker 1: my god, that's that. That's that's one of my favorite favorite,

600
00:35:51,760 --> 00:35:55,120
Speaker 1: like probably of all time was um ice Cube's Good

601
00:35:55,200 --> 00:35:59,719
Speaker 1: Day using the Isley Brothers Footsteps in the Dark, and

602
00:35:59,719 --> 00:36:02,480
Speaker 1: then Dr Dre's The Chronic was like that was just

603
00:36:02,600 --> 00:36:05,279
Speaker 1: the soundtrack of one year of my college life and

604
00:36:05,320 --> 00:36:10,080
Speaker 1: that was a lot of George Clinton and Andre was

605
00:36:10,120 --> 00:36:12,880
Speaker 1: actually one of the first people to stop sampling and

606
00:36:12,960 --> 00:36:19,200
Speaker 1: start recreating uh stuff with live musicians himself, which is

607
00:36:19,239 --> 00:36:22,799
Speaker 1: called producing. Yeah, you're right, And now he has his

608
00:36:22,840 --> 00:36:25,319
Speaker 1: own line, I've had funds. Should we talk about Danger

609
00:36:25,360 --> 00:36:29,640
Speaker 1: Mouse real quick? Sure? The Gray Album? He famously in

610
00:36:29,680 --> 00:36:31,960
Speaker 1: two thousand four did a mash up of the Beatles

611
00:36:31,960 --> 00:36:35,879
Speaker 1: White Album and jay Z's The Black Album and called

612
00:36:35,920 --> 00:36:39,000
Speaker 1: it the Gray Album. Very creative and h E. M I,

613
00:36:39,320 --> 00:36:42,360
Speaker 1: who owned the Beatles recordings. Even though Jay Z and

614
00:36:42,360 --> 00:36:44,840
Speaker 1: Paul McCartney were totally fine with it, they shut it

615
00:36:44,880 --> 00:36:48,080
Speaker 1: down and said, you're not selling this. No, but it

616
00:36:48,160 --> 00:36:50,880
Speaker 1: made his career. Yeah, and it got around on the

617
00:36:50,880 --> 00:36:53,239
Speaker 1: internet such that he was like, fine, I'm not selling it,

618
00:36:53,280 --> 00:36:55,120
Speaker 1: but everyone's gonna hear it. Anyway. I'd go hang out

619
00:36:55,080 --> 00:36:58,600
Speaker 1: with CLO and do some stuff and MF and we'll

620
00:36:58,640 --> 00:37:02,280
Speaker 1: just make some money from instead. Oh chuck. What about

621
00:37:02,280 --> 00:37:06,360
Speaker 1: cover songs? Yeah, since nineteen o nine, you can cover songs.

622
00:37:06,719 --> 00:37:11,719
Speaker 1: You can play a song faithfully, especially live, uh, and

623
00:37:11,800 --> 00:37:15,680
Speaker 1: not pay the owner of the composition assent, as long

624
00:37:15,719 --> 00:37:17,840
Speaker 1: as you don't alter it, like played in a different

625
00:37:17,920 --> 00:37:23,279
Speaker 1: language or something like that. Um. And there's a lot

626
00:37:23,320 --> 00:37:25,600
Speaker 1: of people who say, well, wait a minute, that's like

627
00:37:25,920 --> 00:37:29,520
Speaker 1: that's a sample in its entirety. This is crazy. What

628
00:37:29,760 --> 00:37:32,480
Speaker 1: is the deal? And everyone has said, we don't know,

629
00:37:32,520 --> 00:37:34,759
Speaker 1: we'll figure it out in another ten years. You know

630
00:37:34,800 --> 00:37:37,759
Speaker 1: what bugs me is when these new country artists will

631
00:37:37,800 --> 00:37:42,400
Speaker 1: cover a song that's like a year old, like another

632
00:37:42,440 --> 00:37:44,880
Speaker 1: song and release it's a great acclaim. Well that that

633
00:37:45,000 --> 00:37:48,239
Speaker 1: used to happen like a lot um like more than

634
00:37:48,280 --> 00:37:50,920
Speaker 1: one person would record the same song and they get

635
00:37:50,960 --> 00:37:53,400
Speaker 1: released about the same time, like in the fifties and

636
00:37:53,440 --> 00:37:58,040
Speaker 1: the sixties. Um, so just be glad you don't live then,

637
00:37:59,040 --> 00:38:02,920
Speaker 1: because you'd be going crazy. That's true. And uh, just

638
00:38:02,960 --> 00:38:04,799
Speaker 1: so you guys know, the reason we're able to play

639
00:38:04,840 --> 00:38:08,359
Speaker 1: these clips is because something called fair use, which we've

640
00:38:08,360 --> 00:38:11,279
Speaker 1: talked about a lot with Jerry, So you just put

641
00:38:11,280 --> 00:38:14,000
Speaker 1: your pens down, lawyers, because we know what we're doing.

642
00:38:14,360 --> 00:38:16,440
Speaker 1: It's only in the United States, and it is the

643
00:38:16,480 --> 00:38:21,040
Speaker 1: exclusive right granted to us to play a snippet of

644
00:38:21,080 --> 00:38:24,200
Speaker 1: something without acquiring permission, as long as we use it

645
00:38:24,320 --> 00:38:29,600
Speaker 1: as commentary, criticism, research, teaching, or news reporting. Well wait

646
00:38:29,640 --> 00:38:32,040
Speaker 1: a minute, this is what we're doing. Does that mean

647
00:38:32,080 --> 00:38:36,279
Speaker 1: that if this has heard in Australia though it is,

648
00:38:36,400 --> 00:38:39,400
Speaker 1: are we still covered by fair use that. I don't know. No,

649
00:38:39,600 --> 00:38:43,640
Speaker 1: we'll find out. All right, Well, let's it for music sampling.

650
00:38:43,719 --> 00:38:46,280
Speaker 1: This turned out better than I thought. You got anything else? No,

651
00:38:46,400 --> 00:38:49,440
Speaker 1: I mean you got any more samples? Keep you I'm

652
00:38:49,440 --> 00:38:53,279
Speaker 1: putting my turntable back in my pocket and h you

653
00:38:53,280 --> 00:38:58,120
Speaker 1: know they had those little iPhone turntables now, which is

654
00:39:00,120 --> 00:39:06,600
Speaker 1: come on, yeah, um Jerry instagatism. If you want to

655
00:39:06,840 --> 00:39:09,360
Speaker 1: learn more about music sampling, you can type that into

656
00:39:09,400 --> 00:39:11,799
Speaker 1: the handy search part How Stuff Works dot Com, which

657
00:39:11,840 --> 00:39:19,640
Speaker 1: means it's time for listener mail. Before listener mail, Josh,

658
00:39:19,640 --> 00:39:22,719
Speaker 1: I want to point people, um who are into sampling

659
00:39:22,880 --> 00:39:26,280
Speaker 1: in the history of sampling to go to who Sampled

660
00:39:26,400 --> 00:39:28,440
Speaker 1: dot com. I'm glad you mentioned, as I'm meant to

661
00:39:28,480 --> 00:39:30,879
Speaker 1: mention it too. It's a really awesome website and it's

662
00:39:30,960 --> 00:39:33,359
Speaker 1: um allows you basically you can you can search for

663
00:39:33,880 --> 00:39:37,040
Speaker 1: artists who have sampled and who have been sampled, and

664
00:39:37,520 --> 00:39:40,680
Speaker 1: uh search for songs and they basically throw them up

665
00:39:40,680 --> 00:39:43,360
Speaker 1: side by side as two turntables like the original sample

666
00:39:43,760 --> 00:39:46,879
Speaker 1: or the original uh you know, break or whatever, then

667
00:39:46,960 --> 00:39:48,880
Speaker 1: how it was used. It's pretty cool, you complain, I'm

668
00:39:48,880 --> 00:39:53,000
Speaker 1: simultaneously Yeah, that's awesome. So that is who Sample dot Com.

669
00:39:53,000 --> 00:39:55,120
Speaker 1: All right, Josh, I'm gonna read this. It's kind of

670
00:39:55,120 --> 00:40:00,560
Speaker 1: a long one, but this is about spies and this

671
00:40:00,640 --> 00:40:03,080
Speaker 1: is from Tom and he said that his family has

672
00:40:03,080 --> 00:40:06,239
Speaker 1: a strange tendency of being arrested on suspicion of being

673
00:40:06,760 --> 00:40:10,440
Speaker 1: Kiwi spies New Zealand spies in France. They all were

674
00:40:10,520 --> 00:40:14,560
Speaker 1: Trench coats. The first story concerns my parents on their honeymoon.

675
00:40:16,360 --> 00:40:18,960
Speaker 1: It was immediately following the sinking of the Rainbow Warrior

676
00:40:18,960 --> 00:40:23,560
Speaker 1: in Auckland Harbor by French saboteurs. My parents were traveling

677
00:40:23,560 --> 00:40:25,680
Speaker 1: into France from the UK when they were arrested and

678
00:40:25,680 --> 00:40:30,280
Speaker 1: detained on suspicion of being New Zealand counter terrorists. Nothing

679
00:40:30,280 --> 00:40:32,560
Speaker 1: could be further from the truth by the way they

680
00:40:32,560 --> 00:40:35,000
Speaker 1: were held in separate holding cells for two days, when

681
00:40:35,000 --> 00:40:38,759
Speaker 1: French agents would come inside to sell smoking cigarettes and

682
00:40:38,840 --> 00:40:41,600
Speaker 1: yelling at them in French. It's pretty terrifying for my mother,

683
00:40:41,640 --> 00:40:43,640
Speaker 1: who was only twenty one at the time. And after

684
00:40:43,680 --> 00:40:46,319
Speaker 1: two days they were released and dropped off at the

685
00:40:46,360 --> 00:40:48,719
Speaker 1: New Zealand embassy where they learned of the incident back

686
00:40:48,760 --> 00:40:52,560
Speaker 1: in Auckland. So that's one incident. The second story is

687
00:40:52,640 --> 00:40:57,640
Speaker 1: my comes from great great Auntie Anne, or Sister Marine.

688
00:40:58,320 --> 00:40:59,879
Speaker 1: She's a nun with the Order of the Little Sister

689
00:41:00,040 --> 00:41:02,640
Speaker 1: to the Poor, and she is ninety eight years old

690
00:41:02,840 --> 00:41:06,960
Speaker 1: this year and is still going strong. Her story originates

691
00:41:06,960 --> 00:41:10,120
Speaker 1: with the Nazis. She had been with her fellow nuns

692
00:41:10,160 --> 00:41:12,880
Speaker 1: in rural France looking after the elderly who had been

693
00:41:12,880 --> 00:41:16,399
Speaker 1: abandoned as the Nazis approached. They were also sheltering three

694
00:41:16,400 --> 00:41:18,600
Speaker 1: to four British airmen who had been shot down nearby.

695
00:41:19,400 --> 00:41:21,640
Speaker 1: When the Nazis arrived, they rounded up the nuns, and

696
00:41:21,680 --> 00:41:24,440
Speaker 1: the airmen accused the nuns of being spies. She and

697
00:41:24,480 --> 00:41:27,879
Speaker 1: her fellow nuns, of which she was mother superior, were

698
00:41:27,880 --> 00:41:34,360
Speaker 1: taken to a pow camp interrogated by Gestapo officers He's nuns.

699
00:41:35,560 --> 00:41:38,279
Speaker 1: Eventually she was marched into the commandant's office told she

700
00:41:38,360 --> 00:41:41,399
Speaker 1: was being taken away. Believing she was going to be shot,

701
00:41:41,560 --> 00:41:44,399
Speaker 1: she told them she would not cooperate unless her nuns

702
00:41:44,400 --> 00:41:47,960
Speaker 1: were also set free. Turned into a pretty hostile negotiation,

703
00:41:48,080 --> 00:41:50,279
Speaker 1: and she stuck to her guns, even though at one

704
00:41:50,320 --> 00:41:53,279
Speaker 1: point she was looking down the barrel of one. The

705
00:41:53,280 --> 00:41:56,120
Speaker 1: commandant finally agreed and bundled all the sisters together on

706
00:41:56,120 --> 00:41:58,200
Speaker 1: a freight train where they believed they were going to

707
00:41:58,239 --> 00:42:01,920
Speaker 1: be executed together. Sadly, the train stopped. The guards on

708
00:42:01,920 --> 00:42:04,160
Speaker 1: the train threw the nuns out one by one into

709
00:42:04,160 --> 00:42:06,799
Speaker 1: the snow, the doors closed, and the train sped off.

710
00:42:07,480 --> 00:42:10,200
Speaker 1: Sister Marie eventually led her nuns to the convent, where

711
00:42:10,239 --> 00:42:12,239
Speaker 1: they spent the last two years of the war, not

712
00:42:12,400 --> 00:42:15,680
Speaker 1: only helping the elderly, but also sheltering and competing members

713
00:42:15,719 --> 00:42:20,160
Speaker 1: of the French resistance. So she he said. Tom said,

714
00:42:20,160 --> 00:42:22,759
Speaker 1: if I could read this on the podcast, I know

715
00:42:22,880 --> 00:42:26,000
Speaker 1: Auntie Anne would really appreciate the airtime for the convent

716
00:42:26,640 --> 00:42:29,440
Speaker 1: in which she has dedicated over seventy years too. And

717
00:42:29,480 --> 00:42:32,759
Speaker 1: I would appreciate letting people know about why nobody and

718
00:42:32,840 --> 00:42:37,399
Speaker 1: my family feel safe in France. Me so year old

719
00:42:37,440 --> 00:42:41,480
Speaker 1: Auntie Anne, the nune. We thank you for all your

720
00:42:41,520 --> 00:42:44,360
Speaker 1: work over the years, and I hope you make it

721
00:42:44,719 --> 00:42:48,120
Speaker 1: a hundred and twenty Yeah waited four the Nancy's Yeah.

722
00:42:48,760 --> 00:42:51,920
Speaker 1: How about that? That's from Tom. Are thanks a lot,

723
00:42:52,000 --> 00:42:55,800
Speaker 1: Tom for letting us know that we appreciate it. Um. Wow,

724
00:42:56,480 --> 00:42:59,000
Speaker 1: I guess if you have a cool family story, we

725
00:42:59,040 --> 00:43:01,040
Speaker 1: want to hear that we're all always are always up

726
00:43:01,080 --> 00:43:05,759
Speaker 1: for those. Uh, there's a plethora that's entirely on true,

727
00:43:05,760 --> 00:43:08,359
Speaker 1: there's actually just three, but there's three ways you can

728
00:43:08,360 --> 00:43:12,840
Speaker 1: get in touch with us, yes, electronically. One is through Twitter.

729
00:43:13,400 --> 00:43:17,400
Speaker 1: Our Twitter handle is uh s y s K podcast

730
00:43:17,560 --> 00:43:19,960
Speaker 1: all one word. If you're not following us on Twitter,

731
00:43:20,080 --> 00:43:22,960
Speaker 1: you're missing out. Believe me, I agreed. Um. Also, you

732
00:43:23,000 --> 00:43:24,960
Speaker 1: can hang out with us on Facebook. We're on there

733
00:43:24,960 --> 00:43:29,040
Speaker 1: pretty frequently, all right, Yeah, uh Facebook dot com slash

734
00:43:29,040 --> 00:43:31,839
Speaker 1: Stuff you should know, and you can send us an

735
00:43:31,880 --> 00:43:38,880
Speaker 1: email to Stuff Podcast at Discovery dot com. This podcast

736
00:43:38,960 --> 00:43:41,600
Speaker 1: is brought to you by audible dot com, the Internet's

737
00:43:41,680 --> 00:43:44,880
Speaker 1: leading provider of audiobooks, with more than one hundred thousand

738
00:43:44,960 --> 00:43:48,920
Speaker 1: downloadable titles across all types of literature and featuring audio

739
00:43:49,000 --> 00:43:52,480
Speaker 1: versions of many New York Times bestsellers. To try Audible

740
00:43:52,480 --> 00:43:55,280
Speaker 1: Free today and get a free audiobook of your choice,

741
00:43:55,640 --> 00:44:01,799
Speaker 1: go to audible podcast dot com slash Stuff. Be sure

742
00:44:01,840 --> 00:44:04,720
Speaker 1: to check out our new video podcast, Stuff from the Future.

743
00:44:05,080 --> 00:44:08,040
Speaker 1: Join Houstefwork's staff as we explore the most promising and

744
00:44:08,120 --> 00:44:14,239
Speaker 1: perplexing possibilities of tomorrow. Brought to you by the reinvented

745
00:44:14,280 --> 00:44:16,960
Speaker 1: two thousand twelve camera. It's ready, Are you