http://www.openmusicarchive.org/projects/api.php?action=feedcontributions&feedformat=atom&user=86.143.86.99Open Music Archive Projects - User contributions [en]2026-10-06T02:20:25ZUser contributionsMediaWiki 1.35.14http://www.openmusicarchive.org/projects/index.php?title=Feedback&diff=1761Feedback2006-07-30T23:17:53Z<p>86.143.86.99: </p>
<hr />
<div>The next issue of Feedback will focus on participatory projects. Open Music Archive will contribute to this issue. [http://www.whitechapel.org/content.php?page_id=321 More information on Feedback]<br />
<br />
== Ain’t that dirt? ==<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''"You see, nobody wrote the Livery Stable Blues. Naw. Nobody writes any of that stuff. . . We was in the Schiller café, rehearsin’, see? And I suggests that we take the More Power Blues and hash ‘em up a bit. My friend, Ray Lopez he wrote the More Power Blues. All blues is alike . . .''<br><br />
''We hashed up the More Power Blues and put in the pony cry and the mule cry and the horse neigh, see? Then we rehearsed it for ten days, steaming it up and getting it brown and snappy. Then we had the piece all fixed. . .'' <br><br />
''I'm entitled to the authorship of the Livery Stable Blues, me and Lopez, as much as LaRocca, that’s why I went to Roger Graham and had him publish it. LaRocca done me dirt, so I say to myself, 'He’s done me dirt and I’ll let him out.' He goes and has our Livery Stable Blues put on a phonograph record as his'n. Well ain't that dirt?"''<br><br />
'''Alcide “Yellow” Nuñez testifying in court, October 1917'''<br />
<br />
|}<br />
<br />
The Original Dixieland Jazz Band’s Livery Stable Blues, the first jazz record ever pressed, was the subject of an extended court battle over the composition’s authorship. A mistake made by the Victor Talking Machine Company on its release meant that the tune was published and registered for copyright under a different title: Barnyard Blues. This discrepancy meant that the hit record was unprotected under copyright law.<br />
<br />
Former ODJB clarinettist, Alcide “Yellow” Nuñez, who had been thrown out of the band over a disagreement with band leader Nick LaRocca, saw this as his opportunity to claim rights over the composition and seek revenge for his dismissal. He took the song to music publisher Roger Graham and copyrighted it under the original name of Livery Stable Blues.<br />
<br />
In October 1917 LaRocca took Nuñez to court for plagiarism and the case was heard in the US Federal Court, Northern District of Illinois. It lasted ten days and became big news in the press as both parties gave elaborate testimony in order to prove their rights over the composition. Finally the judge ruled that the tune was based on numerous others – notably More Power Blues – and therefore it was not possible to name a single individual as the author. The case was subsequently thrown out of court:<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''". . neither Mr LaRocca and his associates nor Mr Nuñez and his associates conceived the idea of this melody. . . no human being could determine where that aria came from that they now claim was produced at the Schiller café for the first time . . . Whatever was produced by the rhythm was the result that pleased the patrons of the place, and it was the variation of the original music that accomplished the result and not the original music itself."''<br><br />
'''Federal Judge George A. Carpenter, October 1917'''<br />
<br />
|}<br />
<br />
The irreconcilable dispute between the two parties over the authorship of Livery Stable Blues serves to highlight that a creative work is not the product of a single author but is generated as a result of a collaborative process within a network of individuals. Livery Stable Blues, like all creative works, is the result of a collaboration between individuals spread out in time; collectively built by the contributions of a huge array of musicians and enthusiasts, tweaking, changing, and building upon what came before. Moreover, as Judge Carpenter suggests in his summing up of the case, the tune was developed and tested in public at the Schilller café with the feedback of the crowd helping to determine its melody and rhythm. LaRocca and Nuñez’s highly questionable claims of ownership, brings to light the exploitation of melodies and rhythms collaboratively developed by (mainly black) musicians who would never profit from the music’s global success.<br />
<br />
The conflicts between the collective nature of creative labour and the impulse to lock works down by claiming authorship, played out in the Livery Stable Blues case, continues to haunt creative production. Today, copyright automatically locks every creative work to an apparent author – denying legal reuse by future producers. In an increasingly networked world, where ideas are easier to share than ever before, property rights over knowledge and creativity have become a highly contested area.<br />
<br />
Free/Libre and Open Source software models offer a chance to break with the past, allowing and encouraging ideas to be developed and tested in public spaces – as in the Schiller café – with the participation of all. Licenses, based on sharing, openness, and collaboration, limit the power of copyright – allowing the free use and reuse of creative works for future creative exchange, enriching rather than depleting the public domain.<br />
<br />
<br />
== References ==<br />
<br />
La Rocca, D. J. '''Barnyard Blues''' (New York : Leo. Feist, 1917)<br><br />
Lopez, Ray & Nunez, Alcide '''Livery Stable Blues''' (Chicago : Roger Graham, 1917)<br><br />
Original Dixieland Jazz Band '''Livery Stable Blues''' (Victor 18255, 1917)<br><br />
H.O Brunn '''The Story of the Original Dixieland Jazz Band''' (Louisiana State University Press, 1960)<br><br />
Gillis, Frank '''Biography of a Jazz Tune''' in Jazz Journal (June 1963)</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Feedback&diff=1760Feedback2006-07-30T23:16:25Z<p>86.143.86.99: </p>
<hr />
<div>The next issue of Feedback will focus on participatory projects. Open Music Archive will contribute to this issue [http://www.whitechapel.org/content.php?page_id=321 More information on Feedback]<br />
<br />
== Ain’t that dirt? ==<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''"You see, nobody wrote the Livery Stable Blues. Naw. Nobody writes any of that stuff. . . We was in the Schiller café, rehearsin’, see? And I suggests that we take the More Power Blues and hash ‘em up a bit. My friend, Ray Lopez he wrote the More Power Blues. All blues is alike . . .''<br><br />
''We hashed up the More Power Blues and put in the pony cry and the mule cry and the horse neigh, see? Then we rehearsed it for ten days, steaming it up and getting it brown and snappy. Then we had the piece all fixed. . .'' <br><br />
''I'm entitled to the authorship of the Livery Stable Blues, me and Lopez, as much as LaRocca, that’s why I went to Roger Graham and had him publish it. LaRocca done me dirt, so I say to myself, 'He’s done me dirt and I’ll let him out.' He goes and has our Livery Stable Blues put on a phonograph record as his'n. Well ain't that dirt?"''<br><br />
'''Alcide “Yellow” Nuñez testifying in court, October 1917'''<br />
<br />
|}<br />
<br />
The Original Dixieland Jazz Band’s Livery Stable Blues, the first jazz record ever pressed, was the subject of an extended court battle over the composition’s authorship. A mistake made by the Victor Talking Machine Company on its release meant that the tune was published and registered for copyright under a different title: Barnyard Blues. This discrepancy meant that the hit record was unprotected under copyright law.<br />
<br />
Former ODJB clarinettist, Alcide “Yellow” Nuñez, who had been thrown out of the band over a disagreement with band leader Nick LaRocca, saw this as his opportunity to claim rights over the composition and seek revenge for his dismissal. He took the song to music publisher Roger Graham and copyrighted it under the original name of Livery Stable Blues.<br />
<br />
In October 1917 LaRocca took Nuñez to court for plagiarism and the case was heard in the US Federal Court, Northern District of Illinois. It lasted ten days and became big news in the press as both parties gave elaborate testimony in order to prove their rights over the composition. Finally the judge ruled that the tune was based on numerous others – notably More Power Blues – and therefore it was not possible to name a single individual as the author. The case was subsequently thrown out of court:<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''". . neither Mr LaRocca and his associates nor Mr Nuñez and his associates conceived the idea of this melody. . . no human being could determine where that aria came from that they now claim was produced at the Schiller café for the first time . . . Whatever was produced by the rhythm was the result that pleased the patrons of the place, and it was the variation of the original music that accomplished the result and not the original music itself."''<br><br />
'''Federal Judge George A. Carpenter, October 1917'''<br />
<br />
|}<br />
<br />
The irreconcilable dispute between the two parties over the authorship of Livery Stable Blues serves to highlight that a creative work is not the product of a single author but is generated as a result of a collaborative process within a network of individuals. Livery Stable Blues, like all creative works, is the result of a collaboration between individuals spread out in time; collectively built by the contributions of a huge array of musicians and enthusiasts, tweaking, changing, and building upon what came before. Moreover, as Judge Carpenter suggests in his summing up of the case, the tune was developed and tested in public at the Schilller café with the feedback of the crowd helping to determine its melody and rhythm. LaRocca and Nuñez’s highly questionable claims of ownership, brings to light the exploitation of melodies and rhythms collaboratively developed by (mainly black) musicians who would never profit from the music’s global success.<br />
<br />
The conflicts between the collective nature of creative labour and the impulse to lock works down by claiming authorship, played out in the Livery Stable Blues case, continues to haunt creative production. Today, copyright automatically locks every creative work to an apparent author – denying legal reuse by future producers. In an increasingly networked world, where ideas are easier to share than ever before, property rights over knowledge and creativity have become a highly contested area.<br />
<br />
Free/Libre and Open Source software models offer a chance to break with the past, allowing and encouraging ideas to be developed and tested in public spaces – as in the Schiller café – with the participation of all. Licenses, based on sharing, openness, and collaboration, limit the power of copyright – allowing the free use and reuse of creative works for future creative exchange, enriching rather than depleting the public domain.<br />
<br />
<br />
== References ==<br />
<br />
La Rocca, D. J. '''Barnyard Blues''' (New York : Leo. Feist, 1917)<br><br />
Lopez, Ray & Nunez, Alcide '''Livery Stable Blues''' (Chicago : Roger Graham, 1917)<br><br />
Original Dixieland Jazz Band '''Livery Stable Blues''' (Victor 18255, 1917)<br><br />
H.O Brunn '''The Story of the Original Dixieland Jazz Band''' (Louisiana State University Press, 1960)<br><br />
Gillis, Frank '''Biography of a Jazz Tune''' in Jazz Journal (June 1963)</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Feedback&diff=1759Feedback2006-07-30T23:14:20Z<p>86.143.86.99: </p>
<hr />
<div>The next issue of Feedback will focus on participatory projects. Open Music Archive will contribute to this issue [http://www.whitechapel.org/content.php?page_id=321 More information on Feedback]<br />
<br />
== Ain’t that dirt? ==<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''"You see, nobody wrote the Livery Stable Blues. Naw. Nobody writes any of that stuff. . . We was in the Schiller café, rehearsin’, see? And I suggests that we take the More Power Blues and hash ‘em up a bit. My friend, Ray Lopez he wrote the More Power Blues. All blues is alike . . .''<br><br />
''We hashed up the More Power Blues and put in the pony cry and the mule cry and the horse neigh, see? Then we rehearsed it for ten days, steaming it up and getting it brown and snappy. Then we had the piece all fixed. . .'' <br><br />
''I'm entitled to the authorship of the Livery Stable Blues, me and Lopez, as much as LaRocca, that’s why I went to Roger Graham and had him publish it. LaRocca done me dirt, so I say to myself, 'He’s done me dirt and I’ll let him out.' He goes and has our Livery Stable Blues put on a phonograph record as his'n. Well ain't that dirt?"''<br><br />
'''Alicide “Yellow” Nuñez testifying in court, October 1917'''<br />
<br />
|}<br />
<br />
The Original Dixieland Jazz Band’s Livery Stable Blues, the first jazz record ever pressed, was the subject of an extended court battle over the composition’s authorship. A mistake made by the Victor Talking Machine Company on its release meant that the tune was published and registered for copyright under a different title: Barnyard Blues. This discrepancy meant that the hit record was unprotected under copyright law.<br />
<br />
Former ODJB clarinettist, Alcide “Yellow” Nuñez, who had been thrown out of the band over a disagreement with band leader Nick LaRocca, saw this as his opportunity to claim rights over the composition and seek revenge for his dismissal. He took the song to music publisher Roger Graham and copyrighted it under the original name of Livery Stable Blues.<br />
<br />
In October 1917 LaRocca took Nuñez to court for plagiarism and the case was heard in the US Federal Court, Northern District of Illinois. It lasted ten days and became big news in the press as both parties gave elaborate testimony in order to prove their rights over the composition. Finally the judge ruled that the tune was based on numerous others – notably More Power Blues – and therefore it was not possible to name a single individual as the author. The case was subsequently thrown out of court:<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''". . neither Mr LaRocca and his associates nor Mr Nuñez and his associates conceived the idea of this melody. . . no human being could determine where that aria came from that they now claim was produced at the Schiller café for the first time . . . Whatever was produced by the rhythm was the result that pleased the patrons of the place, and it was the variation of the original music that accomplished the result and not the original music itself."''<br><br />
'''Federal Judge George A. Carpenter, October 1917'''<br />
<br />
|}<br />
<br />
The irreconcilable dispute between the two parties over the authorship of Livery Stable Blues serves to highlight that a creative work is not the product of a single author but is generated as a result of a collaborative process within a network of individuals. Livery Stable Blues, like all creative works, is the result of a collaboration between individuals spread out in time; collectively built by the contributions of a huge array of musicians and enthusiasts, tweaking, changing, and building upon what came before. Moreover, as Judge Carpenter suggests in his summing up of the case, the tune was developed and tested in public at the Schilller café with the feedback of the crowd helping to determine its melody and rhythm. LaRocca and Nuñez’s highly questionable claims of ownership, brings to light the exploitation of melodies and rhythms collaboratively developed by (mainly black) musicians who would never profit from the music’s global success.<br />
<br />
The conflicts between the collective nature of creative labour and the impulse to lock works down by claiming authorship, played out in the Livery Stable Blues case, continues to haunt creative production. Today, copyright automatically locks every creative work to an apparent author – denying legal reuse by future producers. In an increasingly networked world, where ideas are easier to share than ever before, property rights over knowledge and creativity have become a highly contested area.<br />
<br />
Free/Libre and Open Source software models offer a chance to break with the past, allowing and encouraging ideas to be developed and tested in public spaces – as in the Schiller café – with the participation of all. Licenses, based on sharing, openness, and collaboration, limit the power of copyright – allowing the free use and reuse of creative works for future creative exchange, enriching rather than depleting the public domain.<br />
<br />
<br />
== References ==<br />
<br />
La Rocca, D. J. '''Barnyard Blues''' (New York : Leo. Feist, 1917)<br><br />
Lopez, Ray & Nunez, Alcide '''Livery Stable Blues''' (Chicago : Roger Graham, 1917)<br><br />
Original Dixieland Jazz Band '''Livery Stable Blues''' (Victor 18255, 1917)<br><br />
H.O Brunn '''The Story of the Original Dixieland Jazz Band''' (Louisiana State University Press, 1960)<br><br />
Gillis, Frank '''Biography of a Jazz Tune''' in Jazz Journal (June 1963)</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Feedback&diff=1758Feedback2006-07-30T23:14:03Z<p>86.143.86.99: </p>
<hr />
<div>The next issue of Feedback will focus on participatory projects. Open Music Archive will contribute to this issue.[http://www.whitechapel.org/content.php?page_id=321 More information on Feedback]<br />
<br />
== Ain’t that dirt? ==<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''"You see, nobody wrote the Livery Stable Blues. Naw. Nobody writes any of that stuff. . . We was in the Schiller café, rehearsin’, see? And I suggests that we take the More Power Blues and hash ‘em up a bit. My friend, Ray Lopez he wrote the More Power Blues. All blues is alike . . .''<br><br />
''We hashed up the More Power Blues and put in the pony cry and the mule cry and the horse neigh, see? Then we rehearsed it for ten days, steaming it up and getting it brown and snappy. Then we had the piece all fixed. . .'' <br><br />
''I'm entitled to the authorship of the Livery Stable Blues, me and Lopez, as much as LaRocca, that’s why I went to Roger Graham and had him publish it. LaRocca done me dirt, so I say to myself, 'He’s done me dirt and I’ll let him out.' He goes and has our Livery Stable Blues put on a phonograph record as his'n. Well ain't that dirt?"''<br><br />
'''Alicide “Yellow” Nuñez testifying in court, October 1917'''<br />
<br />
|}<br />
<br />
The Original Dixieland Jazz Band’s Livery Stable Blues, the first jazz record ever pressed, was the subject of an extended court battle over the composition’s authorship. A mistake made by the Victor Talking Machine Company on its release meant that the tune was published and registered for copyright under a different title: Barnyard Blues. This discrepancy meant that the hit record was unprotected under copyright law.<br />
<br />
Former ODJB clarinettist, Alcide “Yellow” Nuñez, who had been thrown out of the band over a disagreement with band leader Nick LaRocca, saw this as his opportunity to claim rights over the composition and seek revenge for his dismissal. He took the song to music publisher Roger Graham and copyrighted it under the original name of Livery Stable Blues.<br />
<br />
In October 1917 LaRocca took Nuñez to court for plagiarism and the case was heard in the US Federal Court, Northern District of Illinois. It lasted ten days and became big news in the press as both parties gave elaborate testimony in order to prove their rights over the composition. Finally the judge ruled that the tune was based on numerous others – notably More Power Blues – and therefore it was not possible to name a single individual as the author. The case was subsequently thrown out of court:<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''". . neither Mr LaRocca and his associates nor Mr Nuñez and his associates conceived the idea of this melody. . . no human being could determine where that aria came from that they now claim was produced at the Schiller café for the first time . . . Whatever was produced by the rhythm was the result that pleased the patrons of the place, and it was the variation of the original music that accomplished the result and not the original music itself."''<br><br />
'''Federal Judge George A. Carpenter, October 1917'''<br />
<br />
|}<br />
<br />
The irreconcilable dispute between the two parties over the authorship of Livery Stable Blues serves to highlight that a creative work is not the product of a single author but is generated as a result of a collaborative process within a network of individuals. Livery Stable Blues, like all creative works, is the result of a collaboration between individuals spread out in time; collectively built by the contributions of a huge array of musicians and enthusiasts, tweaking, changing, and building upon what came before. Moreover, as Judge Carpenter suggests in his summing up of the case, the tune was developed and tested in public at the Schilller café with the feedback of the crowd helping to determine its melody and rhythm. LaRocca and Nuñez’s highly questionable claims of ownership, brings to light the exploitation of melodies and rhythms collaboratively developed by (mainly black) musicians who would never profit from the music’s global success.<br />
<br />
The conflicts between the collective nature of creative labour and the impulse to lock works down by claiming authorship, played out in the Livery Stable Blues case, continues to haunt creative production. Today, copyright automatically locks every creative work to an apparent author – denying legal reuse by future producers. In an increasingly networked world, where ideas are easier to share than ever before, property rights over knowledge and creativity have become a highly contested area.<br />
<br />
Free/Libre and Open Source software models offer a chance to break with the past, allowing and encouraging ideas to be developed and tested in public spaces – as in the Schiller café – with the participation of all. Licenses, based on sharing, openness, and collaboration, limit the power of copyright – allowing the free use and reuse of creative works for future creative exchange, enriching rather than depleting the public domain.<br />
<br />
<br />
== References ==<br />
<br />
La Rocca, D. J. '''Barnyard Blues''' (New York : Leo. Feist, 1917)<br><br />
Lopez, Ray & Nunez, Alcide '''Livery Stable Blues''' (Chicago : Roger Graham, 1917)<br><br />
Original Dixieland Jazz Band '''Livery Stable Blues''' (Victor 18255, 1917)<br><br />
H.O Brunn '''The Story of the Original Dixieland Jazz Band''' (Louisiana State University Press, 1960)<br><br />
Gillis, Frank '''Biography of a Jazz Tune''' in Jazz Journal (June 1963)</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Feedback&diff=1757Feedback2006-07-30T23:13:48Z<p>86.143.86.99: </p>
<hr />
<div>The next issue of Feedback will focus on participatory projects. Open Music Archive will contribute to this issue.<br />
<br />
[http://www.whitechapel.org/content.php?page_id=321 More information on Feedback]<br />
<br />
== Ain’t that dirt? ==<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''"You see, nobody wrote the Livery Stable Blues. Naw. Nobody writes any of that stuff. . . We was in the Schiller café, rehearsin’, see? And I suggests that we take the More Power Blues and hash ‘em up a bit. My friend, Ray Lopez he wrote the More Power Blues. All blues is alike . . .''<br><br />
''We hashed up the More Power Blues and put in the pony cry and the mule cry and the horse neigh, see? Then we rehearsed it for ten days, steaming it up and getting it brown and snappy. Then we had the piece all fixed. . .'' <br><br />
''I'm entitled to the authorship of the Livery Stable Blues, me and Lopez, as much as LaRocca, that’s why I went to Roger Graham and had him publish it. LaRocca done me dirt, so I say to myself, 'He’s done me dirt and I’ll let him out.' He goes and has our Livery Stable Blues put on a phonograph record as his'n. Well ain't that dirt?"''<br><br />
'''Alicide “Yellow” Nuñez testifying in court, October 1917'''<br />
<br />
|}<br />
<br />
The Original Dixieland Jazz Band’s Livery Stable Blues, the first jazz record ever pressed, was the subject of an extended court battle over the composition’s authorship. A mistake made by the Victor Talking Machine Company on its release meant that the tune was published and registered for copyright under a different title: Barnyard Blues. This discrepancy meant that the hit record was unprotected under copyright law.<br />
<br />
Former ODJB clarinettist, Alcide “Yellow” Nuñez, who had been thrown out of the band over a disagreement with band leader Nick LaRocca, saw this as his opportunity to claim rights over the composition and seek revenge for his dismissal. He took the song to music publisher Roger Graham and copyrighted it under the original name of Livery Stable Blues.<br />
<br />
In October 1917 LaRocca took Nuñez to court for plagiarism and the case was heard in the US Federal Court, Northern District of Illinois. It lasted ten days and became big news in the press as both parties gave elaborate testimony in order to prove their rights over the composition. Finally the judge ruled that the tune was based on numerous others – notably More Power Blues – and therefore it was not possible to name a single individual as the author. The case was subsequently thrown out of court:<br />
<br />
{|cellpadding="20"<br />
|- valign="top"<br />
|<br />
<br />
''". . neither Mr LaRocca and his associates nor Mr Nuñez and his associates conceived the idea of this melody. . . no human being could determine where that aria came from that they now claim was produced at the Schiller café for the first time . . . Whatever was produced by the rhythm was the result that pleased the patrons of the place, and it was the variation of the original music that accomplished the result and not the original music itself."''<br><br />
'''Federal Judge George A. Carpenter, October 1917'''<br />
<br />
|}<br />
<br />
The irreconcilable dispute between the two parties over the authorship of Livery Stable Blues serves to highlight that a creative work is not the product of a single author but is generated as a result of a collaborative process within a network of individuals. Livery Stable Blues, like all creative works, is the result of a collaboration between individuals spread out in time; collectively built by the contributions of a huge array of musicians and enthusiasts, tweaking, changing, and building upon what came before. Moreover, as Judge Carpenter suggests in his summing up of the case, the tune was developed and tested in public at the Schilller café with the feedback of the crowd helping to determine its melody and rhythm. LaRocca and Nuñez’s highly questionable claims of ownership, brings to light the exploitation of melodies and rhythms collaboratively developed by (mainly black) musicians who would never profit from the music’s global success.<br />
<br />
The conflicts between the collective nature of creative labour and the impulse to lock works down by claiming authorship, played out in the Livery Stable Blues case, continues to haunt creative production. Today, copyright automatically locks every creative work to an apparent author – denying legal reuse by future producers. In an increasingly networked world, where ideas are easier to share than ever before, property rights over knowledge and creativity have become a highly contested area.<br />
<br />
Free/Libre and Open Source software models offer a chance to break with the past, allowing and encouraging ideas to be developed and tested in public spaces – as in the Schiller café – with the participation of all. Licenses, based on sharing, openness, and collaboration, limit the power of copyright – allowing the free use and reuse of creative works for future creative exchange, enriching rather than depleting the public domain.<br />
<br />
<br />
== References ==<br />
<br />
La Rocca, D. J. '''Barnyard Blues''' (New York : Leo. Feist, 1917)<br><br />
Lopez, Ray & Nunez, Alcide '''Livery Stable Blues''' (Chicago : Roger Graham, 1917)<br><br />
Original Dixieland Jazz Band '''Livery Stable Blues''' (Victor 18255, 1917)<br><br />
H.O Brunn '''The Story of the Original Dixieland Jazz Band''' (Louisiana State University Press, 1960)<br><br />
Gillis, Frank '''Biography of a Jazz Tune''' in Jazz Journal (June 1963)</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Future_Projects&diff=1756Future Projects2006-07-30T22:59:19Z<p>86.143.86.99: </p>
<hr />
<div>==Feedback==<br />
<br />
The next issue of Feedback will focus on participatory projects. [[Feedback | Open Music Archive will contribute to this issue.]]<br />
<br />
Artists Eileen Simpson & Ben White have recently initiated the Open Music Archive project to source and distribute music that has fallen out of copyright. The Open Music Archive is situated within the current discourse surrounding notions of authorship, ownership and distribution, reanimated by a porting of Free/Libre and Open Source software models to wider creative contexts.<br />
<br />
<gallery><br />
image:OCslideshow_30.jpg<br />
image:OCslideshow_04.jpg<br />
image:OCslideshow_63.jpg<br />
image:OCslideshow_65.jpg<br />
</gallery><br />
<br />
Property rights are founded on the principle of limitation and because copyright removes works from the public domain, they deny the legal possibility of free creative use by others. The Open Music Archive is concerned with the public domain and creative works whose proprietary interests have expired; music that is not owned by any one individual and is held in common by society as a whole. <br />
<br />
Under copyright law, a music recording has two automatically assigned propety rights: A musical compositon has a property right and a recording has a separate and independent property right. These rights are limited by term. In the UK, the term of copyright in a literary, dramatic, musical or artistic work is limited to the life of the author plus 70 years, while the term of copyright in a sound recording is limited to 50 years from the date of recording.<br />
<br />
We have painstakingly tracked down out-of-copyright 78rpm recordings, digitised them, and will distribute them via the Open Music Archive website. The full tracks will be available as source recordings for use and re-use as material for future creative exchanges (full site launch: 9th Jan 2006). The project aims to share this resource and to build a larger archive in open collaboration with others. The archive website will distribute this music freely, form a site of exchange of knowledge and material, and be a vehicle for future collaborations and distributed projects.<br />
<br />
'''Audience Participation:'''<br />
<br />
The next issue of Feedback will focus on participatory projects. Open Music Archive is built using an Open Source model. Users are able to interact with the archive by uploading and downloading recordings, and existing material can be tagged by any user, creating new ways to navigate and group material.<br />
<br />
The projects area of the site uses a wiki engine. Unlike a standard wesite, a wiki allows any user to contribute, participate, and make changes to the content. Users can remix tracks from the archive, generate discussion, and post their new work to the website using Creative Commons licences.<br />
<br />
Open Music Archive establishes a deterritorialised and autonomous zone constructed from material lying beyond the boundaries of property law. The archive does not attempt to interpret material in a fixed way but to make it available for participation and new possibilities. The archive can grow though open participation with no fixed boundaries or limits. <br />
<br />
Capital looks for potential resource in everything. Open Music Archive, on the other hand, does not operate to harvest out-of-copyright recordings for money-profit, its motivation is enthusiasm for the enrichment of the public domain.<br />
<br />
[http://www.openmusicarchive.org/projects See current projects]<br />
<br />
<br />
==Open Music Archive presents Free Songs==<br />
'''A Proposal'''<br />
<br />
[[Image:Free_Songs.jpg|left|300px]]<br />
<br />
Artists Eileen Simpson & Ben White have recently initiated the Open Music Archive project to source and distribute music that has fallen out of copyright. The Open Music Archive situates itself within the current discourse surrounding notions of authorship, ownership and distribution, reanimated by a porting of Free/Libre and Open Source software models to wider creative contexts.<br />
<br />
Property rights are founded on a principle of limitation and because copyright removes works from the public domain, they deny the legal possibility of free creative use by others. The Open Music Archive concerns itself with the public domain and creative works that are not owned by any one individual and held in common by society as a whole. We have painstakingly tracked down original 78rpm recordings, digitised them, and placed them in a web-based archive. The full tracks are available as source recordings for use and re-use as material for future creative exchanges and is a vehicle for collaborations and distributed projects.<br />
<br />
We propose to continue to reanimate the archive by inviting bands to respond to source recordings by performing cover versions of songs. The bands will select from a compilation of twenty source tracks from the Open Music Archive; mostly 1920s recordings of jazz, blues, and country songs (examples are included) The cover versions will be recorded and Creative Commons ShareAlike licences will be used to license the ‘new’ recordings so that their constituent parts become, in perpetuity, a legally protected creative resource. <br />
<br />
'''Background'''<br />
<br />
From early in the 20th Century it was common practice among record labels to have singers or musicians "cover" a record that was a significant commercial hit. They would then release the song on their own label in hopes of cashing in on the tune's success. Today, covers continue to win audiences who like to hear a familiar song. New artists are often introduced to the record buying public with performances of well-known, "safe" songs; the chance of commercial success can be increased and credibility gained by using a proven hit. Popular tunes are relentlessly revamped by boy bands, a Stars in their Eyes contender, or Brenda from X-Factor. <br />
<br />
Through our project, the commercial device of the cover version is negated; the tracks are unlikely to be familiar to the audience and they don’t generate money through royalties because their property rights have expired.<br />
<br />
‘Open Music Archive presents Free Songs’ seeks to deconstruct the cover version, disrupt authority in the archive, and deny the legal and commercial structures of the music industry. We aim to enrich rather than deplete the public domain and reclaim what is public in an age of relentless privatization.<br />
<br />
'''Example source songs from the archive'''<br />
<br />
[http://www.openmusicarchive.org/audio/Pinetops_Boogie_Woogie.mp3 Pinetop's Boogie Woogie by Clarence Smith]</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Futuresonic_2006&diff=1752Futuresonic 20062006-07-25T12:40:59Z<p>86.143.86.99: </p>
<hr />
<div>{|cellpadding="0"<br />
|- valign="top"<br />
|width="350px"| <br />
<br />
[[Image:Hydraulic control.jpg|350px]]<br />
<br />
|}<br />
<br />
For [http://www.futuresonic.com Futuresonic 2006] Eileen Simpson & Ben White present '''Leverage''', a new project which centres around the creation and animation of copyleft licensed 12 inch vinyl scratch tools containing a range of samples, beats and extracts made from the out-of-copyright blues, jazz and folk housed in the [http://www.openmusicarchive.org Open Music Archive]. <br />
<br />
For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at ‘beta stage’ where vinyl test pressings can be sampled in scenario akin to the record shop listening area – with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats. <br />
<br />
Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project – a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records. <br />
<br />
In the hands of a turntablist, the record player is revealed as a hardware instrument – one that needs vinyl software to operate. The DJ’s instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material – and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code – which, like free/libre and open source software, is distributed freely.<br />
<br />
The project encourages open creative exchange and demands that subsequent creations are licensed under identical terms. Through Leverage, out-of-copyright and copyleft material is inserted into an existing network of production to prise open new possibilities. <br />
<br />
<br />
See Leverage at '''Instrument''', an exhibition of artist-made instruments, noise-generators, audio-visual manipulators, and head twisters by sound artists and noise-makers.<br><br />
'''20-29 July at 1830 Warehouse, Museum of Science and Industry, Manchester''' <br><br />
[http://10.futuresonic.com/urban_play/instrument/ Read more about Instrument]<br />
<br />
<br />
''Futuresonic 2006 runs from 20 - 22nd July at various venues around Manchester''<br />
<br />
<br />
== Downloads == <br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 1 a.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 1 Side A'''<br><br />
<br />
'''1.''' I'm Sober Now ''(Smith)''<br><br />
'''2.''' New How Long Intro ''(Carr)''<br><br />
'''3.''' Night Latch Key Loop ''(Liston/Simpson/White)''<br><br />
'''4.''' Deep Blue Sea cornet solo ''(Smith)''<br><br />
'''5.''' Deep Blue Sea Intro ''(Smith)''<br><br />
'''6.''' Six Cold Feet in the Ground ''(Carr)''<br><br />
'''7.''' Train Whistle ''(Rodgers)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_1_a.mp3 Record 1 Side A] 6.2MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 1 b.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 1 Side B'''<br><br />
<br />
'''1.''' Jump Steady Intro ''(Smith)''<br><br />
'''2.''' Evil Minded Blues ''(Liston)''<br><br />
'''3.''' Beat One ''(Blythe/White)''<br><br />
'''4.''' West Coast Guitar ''(Blake/Simpson/White)''<br><br />
'''5.''' Beat Three ''(Smith/Bolden/Beiderbeck/White)''<br><br />
'''6.''' Scratch static noise<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_1_b.mp3 Record 1 Side B] 6.3MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 2 a.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 2 Side A'''<br><br />
<br />
'''1.''' One Dime Loop ''(Jefferson/Simpson/White)''<br><br />
'''2.''' Train Whistle Loop ''(Rodgers/Simpson/White)''<br><br />
'''3.''' Beat Five ''(Blake/Simpson)''<br><br />
'''4.''' One Dime Blues ''(Jefferson)''<br><br />
'''5.''' Back on the Wagon ''(Smith/Blake/Jefferson/Poole)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_2_a.mp3 Record 2 Side A] 6.4MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 2 b.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 2 Side B'''<br><br />
<br />
'''1.''' Little Bits ''(Blythe)''<br><br />
'''2.''' Beat Six ''(Blythe/Parkertron)''<br><br />
'''3.''' Pinetop's Boogie Woogie ''(Smith)''<br><br />
'''4.''' Rolls Royce Papa ''(Liston)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_2_b.mp3 Record 2 Side B] 6.4MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
These records are released under a [http://creativecommons.org/licenses/by-sa/2.5/ Creative Commons Attribution-ShareAlike 2.5 license].<br />
<br />
== Discussion == <br />
<br />
Our discussion with Drew Hemment, curator of Futuresonic, is available [[Talk:Futuresonic_2006 | here]].<br />
<br />
== Thanks == <br />
<br />
Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Futuresonic_2006&diff=1751Futuresonic 20062006-07-25T12:40:10Z<p>86.143.86.99: /* Downloads */</p>
<hr />
<div>{|cellpadding="0"<br />
|- valign="top"<br />
|width="350px"| <br />
<br />
[[Image:Hydraulic control.jpg|350px]]<br />
<br />
|}<br />
<br />
For [http://www.futuresonic.com Futuresonic 2006] Eileen Simpson & Ben White present '''Leverage''', a new project which centres around the creation and animation of copyleft licensed 12 inch vinyl scratch tools containing a range of samples, beats and extracts made from the out-of-copyright blues, jazz and folk housed in the [http://www.openmusicarchive.org Open Music Archive]. <br />
<br />
For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at ‘beta stage’ where vinyl test pressings can be sampled in scenario akin to the record shop listening area – with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats. <br />
<br />
Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project – a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records. <br />
<br />
In the hands of a turntablist, the record player is revealed as a hardware instrument – one that needs vinyl software to operate. The DJ’s instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material – and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code – which, like free/libre and open source software, is distributed freely.<br />
<br />
The project encourages open creative exchange and demands that subsequent creations are licensed under identical terms. Through Leverage, out-of-copyright and copyleft material is inserted into an existing network of production to prise open new possibilities. <br />
<br />
<br />
See Leverage at '''Instrument''', an exhibition of artist-made instruments, noise-generators, audio-visual manipulators, and head twisters by sound artists and noise-makers.<br><br />
'''20-29 July at 1830 Warehouse, Museum of Science and Industry, Manchester''' <br><br />
[http://10.futuresonic.com/urban_play/instrument/ Read more about Instrument]<br />
<br />
<br />
'''Friday 21 July 11am'''<br><br />
Eileen Simpson & Ben White talk about Leverage and the Open Music Archive project.<br><br />
'''1830 Warehouse, Museum of Science and Industry, Manchester'''<br><br />
[http://10.futuresonic.com/urban_play/artist_talks_and_performances/ More info]<br />
<br />
<br />
''Futuresonic 2006 runs from 20 - 22nd July at various venues around Manchester''<br />
<br />
<br />
== Downloads == <br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 1 a.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 1 Side A'''<br><br />
<br />
'''1.''' I'm Sober Now ''(Smith)''<br><br />
'''2.''' New How Long Intro ''(Carr)''<br><br />
'''3.''' Night Latch Key Loop ''(Liston/Simpson/White)''<br><br />
'''4.''' Deep Blue Sea cornet solo ''(Smith)''<br><br />
'''5.''' Deep Blue Sea Intro ''(Smith)''<br><br />
'''6.''' Six Cold Feet in the Ground ''(Carr)''<br><br />
'''7.''' Train Whistle ''(Rodgers)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_1_a.mp3 Record 1 Side A] 6.2MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 1 b.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 1 Side B'''<br><br />
<br />
'''1.''' Jump Steady Intro ''(Smith)''<br><br />
'''2.''' Evil Minded Blues ''(Liston)''<br><br />
'''3.''' Beat One ''(Blythe/White)''<br><br />
'''4.''' West Coast Guitar ''(Blake/Simpson/White)''<br><br />
'''5.''' Beat Three ''(Smith/Bolden/Beiderbeck/White)''<br><br />
'''6.''' Scratch static noise<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_1_b.mp3 Record 1 Side B] 6.3MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 2 a.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 2 Side A'''<br><br />
<br />
'''1.''' One Dime Loop ''(Jefferson/Simpson/White)''<br><br />
'''2.''' Train Whistle Loop ''(Rodgers/Simpson/White)''<br><br />
'''3.''' Beat Five ''(Blake/Simpson)''<br><br />
'''4.''' One Dime Blues ''(Jefferson)''<br><br />
'''5.''' Back on the Wagon ''(Smith/Blake/Jefferson/Poole)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_2_a.mp3 Record 2 Side A] 6.4MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 2 b.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 2 Side B'''<br><br />
<br />
'''1.''' Little Bits ''(Blythe)''<br><br />
'''2.''' Beat Six ''(Blythe/Parkertron)''<br><br />
'''3.''' Pinetop's Boogie Woogie ''(Smith)''<br><br />
'''4.''' Rolls Royce Papa ''(Liston)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_2_b.mp3 Record 2 Side B] 6.4MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
These records are released under a [http://creativecommons.org/licenses/by-sa/2.5/ Creative Commons Attribution-ShareAlike 2.5 license].<br />
<br />
== Discussion == <br />
<br />
Our discussion with Drew Hemment, curator of Futuresonic, is available [[Talk:Futuresonic_2006 | here]].<br />
<br />
== Thanks == <br />
<br />
Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Futuresonic_2006&diff=1750Futuresonic 20062006-07-25T12:36:33Z<p>86.143.86.99: /* Discussion */</p>
<hr />
<div>{|cellpadding="0"<br />
|- valign="top"<br />
|width="350px"| <br />
<br />
[[Image:Hydraulic control.jpg|350px]]<br />
<br />
|}<br />
<br />
For [http://www.futuresonic.com Futuresonic 2006] Eileen Simpson & Ben White present '''Leverage''', a new project which centres around the creation and animation of copyleft licensed 12 inch vinyl scratch tools containing a range of samples, beats and extracts made from the out-of-copyright blues, jazz and folk housed in the [http://www.openmusicarchive.org Open Music Archive]. <br />
<br />
For [http://10.futuresonic.com/urban_play/instrument/ Instrument], the project is presented at ‘beta stage’ where vinyl test pressings can be sampled in scenario akin to the record shop listening area – with the option to skip through the rare original recordings, new remix tracks, short vocal snippets, percussive noises, samples, breaks and beats. <br />
<br />
Collaboration is central to the activity of the DJ who constantly combines, re-works and extends existing creative output. The artists promote collaboration and seek to explore its significance and value for creative production. For Instrument they invite scratch DJ '''Parkertron''' ([http://www.fingathing.com Fingathing]) and filmmaker '''Kid Jenson''' to participate in the project – a collaboration which is documented through a video, shot by Jenson, featuring Parkertron testing the Leverage records. <br />
<br />
In the hands of a turntablist, the record player is revealed as a hardware instrument – one that needs vinyl software to operate. The DJ’s instrument can only be activated using a set of vinyl tools, in the same way that computer hardware requires an operating system and a suite of software to function. Unlike the conventional battle record, which samples unlicensed commercial recordings[http://en.wikipedia.org/wiki/Battle_records], the Leverage scratch tools are assembled entirely from out-of-copyright material – and so exist outside commercial and bootleg economies. The project adopts the form and structure of the battle record to build open vinyl code – which, like free/libre and open source software, is distributed freely.<br />
<br />
The project encourages open creative exchange and demands that subsequent creations are licensed under identical terms. Through Leverage, out-of-copyright and copyleft material is inserted into an existing network of production to prise open new possibilities. <br />
<br />
<br />
See Leverage at '''Instrument''', an exhibition of artist-made instruments, noise-generators, audio-visual manipulators, and head twisters by sound artists and noise-makers.<br><br />
'''20-29 July at 1830 Warehouse, Museum of Science and Industry, Manchester''' <br><br />
[http://10.futuresonic.com/urban_play/instrument/ Read more about Instrument]<br />
<br />
<br />
'''Friday 21 July 11am'''<br><br />
Eileen Simpson & Ben White talk about Leverage and the Open Music Archive project.<br><br />
'''1830 Warehouse, Museum of Science and Industry, Manchester'''<br><br />
[http://10.futuresonic.com/urban_play/artist_talks_and_performances/ More info]<br />
<br />
<br />
''Futuresonic 2006 runs from 20 - 22nd July at various venues around Manchester''<br />
<br />
<br />
== Downloads == <br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 1 a.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 1 Side A'''<br><br />
<br />
'''1.''' I'm Sober Now ''(Smith)''<br><br />
'''2.''' New How Long Intro ''(Carr)''<br><br />
'''3.''' Night Latch Key Loop ''(Liston/Simpson/White)''<br><br />
'''4.''' Deep Blue Sea cornet solo ''(Smith)''<br><br />
'''5.''' Deep Blue Sea Intro ''(Smith)''<br><br />
'''6.''' Six Cold Feet in the Ground ''(Carr)''<br><br />
'''7.''' Train Whistle ''(Rodgers)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_1_a.mp3 Record 1 Side A] 6.2MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 1 b.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 1 Side B'''<br><br />
<br />
'''1.''' Jump Steady Intro ''(Smith)''<br><br />
'''2.''' Evil Minded Blues ''(Liston)''<br><br />
'''3.''' Beat One ''(Blythe/White)''<br><br />
'''4.''' West Coast Guitar ''(Blake/Simpson/White)''<br><br />
'''5.''' Beat Three ''(Smith/Bolden/Beiderbeck/White)''<br><br />
'''6.''' Scratch static noise<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_1_b.mp3 Record 1 Side B] 6.3MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 2 a.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 2 Side A'''<br><br />
<br />
'''1.''' One Dime Loop ''(Jefferson/Simpson/White)''<br><br />
'''2.''' Train Whistle Loop ''(Rodgers/Simpson/White)''<br><br />
'''3.''' Beat Five ''(Blake/Simpson)''<br><br />
'''4.''' One Dime Blues ''(Jefferson)''<br><br />
'''5.''' Back on the Wagon ''(Smith/Blake/Jefferson/Poole)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_2_a.mp3 Record 2 Side A] 6.4MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
<br><br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="160px"| <br />
<br />
[[Image:Leverage 2 b.png|left|150px]]<br />
<br />
|<br />
<br />
'''Record 2 Side B'''<br><br />
<br />
'''1.''' Little Bits ''(Blythe)''<br><br />
'''2.''' Beat Six ''(Blythe/Parkertron)''<br><br />
'''3.''' Pinetop's Boogie Woogie ''(Smith)''<br><br />
'''4.''' Rolls Royce Papa ''(Liston)''<br><br />
<br />
{{Icon_soundfile}} [http://www.openmusicarchive.org/audio/leverage_2_b.mp3 Record 2 Side B] 6.4MB (right-click/ctrl+click to download)<br><br />
<br />
|}<br />
<br />
These recordings are released under a [http://creativecommons.org/licenses/by-sa/2.5/ Creative Commons Attribution-ShareAlike 2.5 license].<br />
<br />
<br />
== Discussion == <br />
<br />
Our discussion with Drew Hemment, curator of Futuresonic, is available [[Talk:Futuresonic_2006 | here]].<br />
<br />
== Thanks == <br />
<br />
Parkertron (Fingathing), Kid Jenson, John K & Kelvin Brown (Eyes Down), Andy Soup, Saul Richards, Sneaky (Fingathing), Nick Alexander (TUNDRA*), Tina & Werner (Vinyl Carvers), Drew Hemment (Futuresonic), Neil Cummings & Marysia Lewandowska (Chance Projects)</div>86.143.86.99http://www.openmusicarchive.org/projects/index.php?title=Main_Page&diff=1749Main Page2006-07-25T11:12:57Z<p>86.143.86.99: /* Futuresonic 2006 */</p>
<hr />
<div>'''[http://www.openmusicarchive.org Open Music Archive]''' initiated by artists Eileen Simpson & Ben White, is a collaborative project to source, digitise, and distribute out of copyright music recordings. <br />
<br />
'''Open Music Archive Projects''' is a forum for projects using material from the archive. Use this wiki to [[Feedback%2C_suggestions_and_project_ideas | post feedback, suggestions or project ideas]].<br />
<br />
==Futuresonic 2006==<br />
<br />
{|cellpadding="0"<br />
|- valign="top"<br />
|width="310px"| <br />
<br />
[[Image:Hydraulic control.jpg|left|300px]]<br />
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'''Leverage''', a new project for [http://www.futuresonic.com Futuresonic 2006], centres around the creation of copyleft licensed 12 inch vinyl records containing a range of samples, beats and extracts from the archive in a format referencing scratch tools, breaks compilations and battle records. [[Futuresonic_2006 | Read more . . .]]<br />
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Sample Leverage at [http://10.futuresonic.com/urban_play/instrument/ Instrument], an exhibition of artist-made instruments, noise-generators, audio-visual manipulators, and head twisters by sound artists and noise-makers.<br><br />
'''20-29 July at 1830 Warehouse, Museum of Science and Industry, Manchester''' <br />
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'''Friday 21 July 11am'''<br><br />
Eileen Simpson & Ben White talk about Leverage and the Open Music Archive project.<br><br />
'''1830 Warehouse, Museum of Science and Industry, Manchester'''<br><br />
[http://10.futuresonic.com/urban_play/artist_talks_and_performances/ More info]<br />
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''Futuresonic 2006 runs from 20 - 22nd July at various venues around Manchester''<br />
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==Screen Tests @ Canal==<br />
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An evening of short films and a party to celebrate the opening of:<br />
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'''[http://www.canalonvyner.org/ Canal]''' 29 Vyner St, London E2 9QD<br />
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Friday 2 June 2006<br><br />
Screenings from 8.30pm<br />
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'''The Light Fantastic''' - Ken Russell, 1960<br />
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'''Behive''' - Jim Self and Frank Moore, 1985<br />
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'''Screen Tests''' - Neil Cummings, Marysia Lewandowska, Eileen Simpson, Ben White, 2005<br />
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Party to follow<br />
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Canal is a temporary project room and studio run by Matthew Darbyshire, Anna Colin, Sarah McCrory, Olivia Plender, Melissa Franklin, Djordje Ozbolt and Celine Condorelli.<br />
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==Screen Tests DVD==<br />
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A project in collaboration with [http://www.chanceprojects.com Neil Cummings & Marysia Lewandowska] that evolved from British Art Show 6.<br />
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The Free DVD was launched at the [http://www.tate.org.uk/modern/eventseducation/symposia/anticipatingthepastartistsarchivefilm5202.htm Anticipating the Past: Artist: Archive: Film] conference on the 12th-13th May, at Tate Modern.<br />
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The DVD includes three new films - edited from archive film material, with a soundtrack made from out-of-copyright records - along with the original material and source files. The material is released under a [http://creativecommons.org/licenses/by-sa/2.5/ Creative Commons license], enabling anyone to use and re-use Screen Tests for future creative exchange.<br />
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'''Screen Tests 1/4 Screen Tests'''<br><br />
The film unfolds as a series of Andy Warhol-like screen tests, slowly revealing the location and the occupation of those before the camera - students and models from the Manchester School of Art.<br />
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'''Screen Tests 2/4 Dragline'''<br><br />
Dragline stumbles across an autonomous event, and echoing 1970’s structuralist film, returns the default setting of contemporary digital practice - sampling and looping - to its industrial roots.<br />
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'''Screen Tests 3/4 Broadcast Times: The Birth of Westward'''<br><br />
As the exhibition train leaves the platform, we are taken on a documentary journey of “a happy hunting ground for tycoons” the birth of commercial television broadcasting.<br />
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'''Screen Tests 4/4'''<br><br />
The Northern Region Film and Television Archive, based in Newcastle did not respond to several attempts at contact, eventually we spoke over the telephone and they declined any involvement.<br />
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[http://www.artscouncil.org.uk/ Arts Council England] funded the production of this DVD through Grants for the arts.<br />
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'''If you would like a copy of the Screen Tests DVD email info@openmusicarchive.org'''<br />
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==Dragline: British Art Show Nottingham==<br />
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'''Dragline''' and '''Screen Tests''' are showing at [http://www.angelrowgallery.com/ Angel Row Gallery] as part of British Art Show 6, Nottingham (21st April - 25th June)<br />
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Angel Row Gallery<br><br />
Central Library Building<br>3 Angel Row<br><br />
Nottingham<br>NG1 6HP<br />
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Catch a live performance of Screen Tests in Nottingham at 7.30pm on 19th May at Powerhouse, Victoria Studios (part of the Nottingham Trent buildings)<br />
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[http://www2.ntu.ac.uk/ntsad/bonington/bas6_10.shtml more details]<br />
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==Dragline @ Swiss Institute NY==<br />
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Preview of our new film '''Dragline''' - remixed archive material, with a soundtrack made from out-of-copyright records, produced in collaboration with [http://www.chanceprojects.com Chance Projects] showing at:<br />
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[http://www.swissinstitute.net Swiss Institute] 495 Broadway, 3rd Floor, New York, NY 10012<br />
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Thursday March 23, 7pm<br />
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==Open Music Archive presents an Evening of Free Music and Films==<br />
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[[My_Goodniss|Archive playlists, remix samples, and photos]]<br />
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==British Art Show 6, Manchester (28th Jan -2nd April 2006) ==<br />
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We were invited by artists [http://www.chanceprojects.com Neil Cummings & Marysia Lewandowska] to collaborate on Screen Tests for the British Art Show 6 in Manchester. Screen Tests is a film composed entirely of material found and released from the North West Film Archive. The ten minute film is accompanied by a sound track made from out-of-copyright recordings. These source recordings are available in the Open Music Archive to download:<br />
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[http://www.openmusicarchive.org/audio/Grandmas_Ball.mp3]<br />
[http://www.openmusicarchive.org/audio/Intro_And_Tarantelle.mp3]<br />
[http://www.openmusicarchive.org/audio/O_Patria_Mia_From_Aida.mp3]<br />
[http://www.openmusicarchive.org/audio/Oi_ya_nestchastay.mp3]<br />
[http://www.openmusicarchive.org/audio/Umbrellas_To_Mend.mp3]<br />
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See '''Screen Tests''' at [http://www.urbis.org.uk Urbis] until 2nd April 2006<br />
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On 18th February (6-8pm) at [http://www.whitworth.manchester.ac.uk The Whitworth Art Gallery] a DJ remix of Screen Tests was performed live by Ben White.<br />
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==OMA @ Open Congress, Tate Britain==<br />
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Open Music Archive presented at Open Congress (Tate Britain 7th-8th October 2005) <br />
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[http://opencongress.omweb.org Open Congress] was Inspired by Free Software: software that challenges conventional practices of authorship, ownership and distribution. The innovative congress explored these implications for art, visual culture and cultural production in general. <br />
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For Open Congress, Open Music Archive presented a DJ set of music made entirely of samples of out-of-copyright music recordings, mainly sourced from 1920s 78rpm records. An accompanying [[Open Congress slideshow images | slideshow]] uncovered the process of tracking this material.<br />
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[[Open Congress performance images]]<br />
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[http://www.tate.org.uk/onlineevents/archive/open_congress/sound.htm Tate Online Events Archive (video of the performance)]<br />
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Listen to an excerpt of the live performance: [http://www.openmusicarchive.org/projects/audio/Open_Congress_excerpt.mp3 MP3 (5.3MB)] | [http://www.openmusicarchive.org/projects/audio/Open_Congress_excerpt.ogg Ogg Vorbis (3.7MB)]<br />
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==DJ Performance of Screen Tests, BALTIC Centre for Contemporary Art== <br />
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Ben performed a live remixed version of '''Screen Tests''' for the launch of British Art Show 6 at BALTIC, Newcastle.<br />
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[[BALTIC_images | Photos of the performance]]<br />
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Future live performances are scheduled for Manchester, Nottingham and Bristol <br />
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'''Screen Tests''' is at BALTIC from 24th Sep - 8th Jan 2006<br />
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==Future Projects==<br />
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[[Future Projects | Future collaborations and distributive projects.]] <br />
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|}</div>86.143.86.99