index
Page numbers with italics indicate tables.
adaptation/transformation concept,
7, 46, 96, 98, 102, 194–201
ad hoc system of licensing, 17,
250–51, 266–67
Aerosmith and Run-DMC collabora-
tion, 94–95, 132
Aesop Rock, 188, 195
African American music tradition,
48–49
Afrika Bambaataa, 55–57, 65–68,
114–15, 175
Alapatt, Eothen: on bureaucracy in
licensing, 167–68, 172; on com-
modification of sound, 102; on
compulsory licenses, 227; on
creative constrains, 138–39; on fair
use doctrine, 239; on licensing fees
vs. lawsuits, 110–11; on negotia-
tions, 161; on timing difficulties in
licensing, 170
album restrictions assessment,
201–2, 210–12; album sales rev-
enue and, 209–10, 299nn19–20;
Beastie Boys and, 14, 21, 28, 29,
208, 213, 298n13, 299n29; data
collection and, 203–4, 298n13; li-
censing cost estimates and, 204–6,
205, 207, 208, 209, 299n15, 299n18;
Public Enemy and, 14, 22–23,
25, 201–6, 207, 212–13, 298n13;
samples and, 203–4
Allen, Harry: on golden age of
sampling, 132; on intergenera-
tional musical dialogues/tributes,
99–100; on license to play records,
131; on record costs under licens-
ing, 27; on technology innovations,
61–62
Arcade Fire: Neon Bible, 9–10, 11,
284n10
artists: business experience and,
155–56; competing interests of
sampling/sampled musicians
and, 121–24; featured artist status
and, 80–81, 92, 291n10; on fees for
licensing, 80, 116, 118; on lawsuits
vs. fees for licensing, 111–14; on
lawsuits vs. licensing, 111–15; legal
experience and, 155–56; musicians/
musical ideas and, 7–8, 283n9;
publishers’ dealings with, 121;
quantitative approach to work
and, 130; record companies’ deal-
ings with, 122–23; refusal of, to
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