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	<title>MLA Commons | Amanda Sewell | Activity</title>
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	<description>Activity feed for Amanda Sewell.</description>
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				<title>Amanda Sewell&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1660873/</link>
				<pubDate>Wed, 21 Aug 2019 23:41:03 -0400</pubDate>

				
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				<title>Amanda Sewell deposited The Sampling Network of Public Enemy's "Bring the Noise"</title>
				<link>https://hcommons.org/activity/p/1602571/</link>
				<pubDate>Mon, 05 Mar 2018 15:57:52 -0500</pubDate>

									<content:encoded><![CDATA[<p>Since its release in 1987, Public Enemy’s “Bring the Noise” has been sampled over one hundred times by more than sixty different hip-hop artists. The resulting tangle of artists, producers, sampled material, and sampling techniques from the past twenty-five years creates a complex network of sampling practices and traditions surrounding “Brin&hellip;<span class="activity-read-more" id="activity-read-more-1602571"><a href="https://hcommons.org/activity/p/1602571/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Amanda Sewell deposited Paul's Boutique and Fear of a Black Planet: Digital Sampling and Musical Style in Hip Hop</title>
				<link>https://hcommons.org/activity/p/1602565/</link>
				<pubDate>Mon, 05 Mar 2018 15:36:40 -0500</pubDate>

									<content:encoded><![CDATA[<p>The Beastie Boys’ Paul’s Boutique (1989) and Public Enemy’s Fear of a Black Planet (1990) often draw comparisons because of their profuse and eclectic use of digital sampling. These two hip hop albums, however, use sampling in markedly different ways, a fact that is obscured because no well-developed language exists to differentiate how and why t&hellip;<span class="activity-read-more" id="activity-read-more-1602565"><a href="https://hcommons.org/activity/p/1602565/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Amanda Sewell deposited How Copyright Affected the Musical Style and Critical Reception of Sample-Based Hip-Hop</title>
				<link>https://hcommons.org/activity/p/1602564/</link>
				<pubDate>Mon, 05 Mar 2018 15:31:00 -0500</pubDate>

									<content:encoded><![CDATA[<p>In 1991, the first lawsuit regarding sample-based hip hop, Grand Upright Music Ltd. v. Warner Brothers Records, was decided in court, and this decision forever changed how artists and their record labels approached sample-based hip hop. Although several lawsuits had been filed before 1991, all of those were settled out of court. There was no&hellip;<span class="activity-read-more" id="activity-read-more-1602564"><a href="https://hcommons.org/activity/p/1602564/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Amanda Sewell&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1602563/</link>
				<pubDate>Mon, 05 Mar 2018 15:22:55 -0500</pubDate>

				
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				<title>Amanda Sewell deposited A Typology of Sampling in Hip-Hop</title>
				<link>https://hcommons.org/activity/p/1602562/</link>
				<pubDate>Mon, 05 Mar 2018 15:15:09 -0500</pubDate>

									<content:encoded><![CDATA[<p>Hip-hop producers rely on several specific formulas to create sample-based hip-hop. Developed with a combination of analysis and ethnography, this typology of sampling is a systematic terminological and conceptual approach to this repertoire. There are three main types of samples: structural samples, surface samples, and lyric samples. Each of&hellip;<span class="activity-read-more" id="activity-read-more-1602562"><a href="https://hcommons.org/activity/p/1602562/" rel="nofollow ugc">[Read more]</a></span></p>
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