EP 20: Philo Farnsworth on the Role of Sample-based Music in the Digital Age

"There needs to be a mechanism in place so that sampling is no longer a controversial issue and that all musicians are fairly compensated for their work." - Philo FarnsworthIn this episode of MFM Speaks Out, Adam Reifsteck interviews an electronic musician and founder of sampling record label Illegal Art who goes by the alias Philo Farnsworth about the use of samples in recorded music. the label gained immediate notoriety from legal threats surrounding Deconstructing Beck, a compilation made exclusively from sampling Beck's music. While Philo believes that the use of samples of music copyrighted by other artists is an expression of artistic freedom that does not co-opt or compete with the original music, there is a crucial difference between bootlegging/piracy and in the creative transformation of existing culture into new and original works of collage. Nevertheless, this obviously creates a bit of a dilemma in that the copyright holders should be compensated for the use. The solution will require both legislative and technological mechanisms for copyright clearance so that musicians and sound artists can be unhindered in their pursuit of furthering the art form of sampling. Other topics discussed are the evolution of Philo's music through the use of modular synthesis and his latest collaboration with the improvisatory ensemble the Shoshin Trio.Visit Illegal Art at http://illegalart.netThe following music featured in this episode are:Opening track: "Once Again" by Girl Talk, from the album Night RipperMiddle track: "Lesson 2 (James Brown Mix)" by Steinski, from the album What Does it All Mean (Disc One - Retrospective)Ending track: "Part 1, In Gratitude" by Yea Big and Shoshin Trio, from the album The Shape of Emptiness Now CreditsProducer and host:  Sohrab Saadat Ladjevardi aka SoSaLaPublisher: Musicians For Musicians (MFM), Inc.Technical support: Adam Reifsteck (MFM Board)https://musiciansformusicians.org