•The postmodern sensibility that anything can be considered cool in an ironic 'I know it's bad, but it's so bad it's good' way. This to me is people’s guilty pleasure of music, which is not considered to be good by others but we are perhaps embarrassed to admit that we like it. My personal guilty pleasures include Sean Paul, Pit-bull and the Wanted.
· Work that is created based (entirely or in part) on older material. This incorporates sampling and will take you from the realms of hip hop culture transporting you finally in today’s modern fragmented musical landscape. You will have to listen to some of the artists to fully appreciate them and their work. An example of this is the Jay-Z’s song Brooklyn We Go Hard, which sample’s heavily from Santogolds song Shove it.
· Audiences that are both niche and mainstream. E.g.: Radio 1, 1xtra, BBC6, XFM The best example of this is looking at the Radio 1 line up, which plays more mainstream music during the day and then during the evening shows like Zane Lowe play music to more niche audiences.
- The state of the music industry incorporating any recent developments that change how we access/ interact with music e.g.: Spotify, X Factor, iTunes, illegal downloading, free cds with newspapers etc
· The ways in which people engage and listen to music e.g.: iPod, DAB, mobile phones etc.
· The legal issues surrounding sampling. (Led Zeppelin borrowed heavily from old bluesmen and it took years for the songwriters to be credited and paid royalties. The same group took a hard-line stance initially to be sampled by hip hop groups.) Sampling is widely used these days in music but early sampling caused many legal cases. In March 1963, The Beach Boys released "Surfin' USA". Chuck Berry's music publisher Arc Music sued over what was a note-for-note cover of Berry's "Sweet Little Sixteen", and was eventually granted co-writing credit for Berry, and royalties from the record.
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