I don't think it's amazingly unrealistic to reduce it to that, yeah - that's
what it always comes down to, every time an artist or label has got pissed
about someone making cash out of sampled work. Basically, by most people's
moral codes, the guy who does the work deserves the reward. In this case Dan
Bell is seen as the guy who's done the work, but Josh Wink is going to get
the reward - not just cash, but props, and strengthening of his reputation
as a "master producer" in the mainstream dance music industry. This is seen
as unfair, and hence people get pissed. At the end of the day, money does
matter - it pays the bills. I'm sure many of us would like to see Dan Bell
get a cut of whatever revenues Josh's track brings in. Maybe this moral take
on things is wrong, and the guy who does the work *shouldn't* get the reward
- maybe the guy who's able to pull off the cheeky exploit and benefit from
the work should be seen as ultimately the smartest and most canny guy, and
therefore the guy who deserves the cash. That's what Adam Smith would
presumably say...

Brendan

-----Original Message-----
From: Jones, George [mailto:[EMAIL PROTECTED]
Sent: 12 April 2002 17:27
To: '[EMAIL PROTECTED]'; Jones, George; [email protected]
Subject: RE: [313] Bell v Wink


So then... I'm to assume the problem is money? Josh could make lotsa money
off of this and everyone's pissed? Is this the case?
-----Original Message----- 
From: [EMAIL PROTECTED] 
[mailto:[EMAIL PROTECTED] 
Sent: Friday, April 12, 2002 12:27 PM 
To: [EMAIL PROTECTED]; [email protected] 
Subject: RE: [313] Bell v Wink 


> -----Original Message----- 
> From: Jones, George [mailto:[EMAIL PROTECTED] 
> Sent: 12 April 2002 17:10 
> 
> Everyone is "inspired" by another artists work at 
> some point in time, why are you guys making such 
> a fuss over this one instance? 
The distinction is that Wink stands to make quite a lot of money from his 
track, while most of the other guys who do tracks that are derivative of Dan

Bell's work just put out obscure 12" that only us weirdos even hear about, 
let alone buy. That's what's annoying - the amount of reward Wink gets for a

piece of derivative work is utterly out of scale with the effort and 
creativity he's injected into it. No-one would even be speaking about this 
if Josh Wink was an unknown, dropping 500 pressings of a DBX-style tune on a

label no-one had heard of. 
Maybe it's just envy - perhaps we'd all like a job where all we do is make 
lazy, plagiaristic tracks, using a deep pool of underground music to draw 
from, and then banking serious cash as the general public flock to our "new"

and "innovative" releases. It'd be easy, wouldn't it? I'd make a track that 
was a pretty straight copy of "Rhythm" from Minimal Nation - sampling George

Clinton as well, but programming the main melody line on a Nord Lead and 
maybe sticking some 909 rimshots in as well, then wait for the dollars to 
roll in while suing everyone who mentions the name "Robert Hood" on a 
message board. Life would be good! 


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