Sampling is NOT a Crime, its an art.

The title of Benjamin Franzen and Kembrew McLeod's documentary airing on PBS stations implies that sampledelia is a crime.
Copyright Criminals asks DJs, producers, label heads, lawyers and music critics, how sampling music and using it to make new music became a crime.

Sampling as we know it today began in the late 80's as early hip hop and house music producers used various samplers to take snippets of records, and combined them to make music which would eventually dominate music charts and dance floors around the world.

The doc does show a little about how musicians are 'influenced' by other musicians to the point of mimicking and how the Beatles (viciously anti sampling) sampled stuff for their White Album.

I've always championed electronic music artists and their sampling ways. I believe the main reasons record labels and artists took such a hard stance against this new form of music making was because of course money and good old discrimination. The majority of early sampledelia artists were black and brown and some were gay. Many had kept gay disco and their clubs open through the musical drought that preceded them where 'the best' at the top of the charts at that time were Bruce Springstein and Fleetwood Mac (sp?). When these new generation producers began making sounds out of other sounds, labels (their lawyers) and artists saw a way to make money and give some innovative, creative artists that were making sound scapes never heard before, a hard time.

I admit that some folks who sample and simply loop a part of a popular song over and over with out changing its pitch, or adding any of the various effects available, are lazy and not very creative. They are just using the sample for its popularity. See: MC Hammer "Can't Touch This" (samples Rick James' "Super Freak") and anything by Puffy who blatantly rips off Bowie and The Police.


The majority of artists that utilize samplers often spend days digging through music for the perfect beat or chromatic scales. They reverse, speed up or slow down, delay, reverb, pan, split, make stereo into mono, and many other tricks to change the sample to make it work in their piece.

Many often employ complicated mathematic algorithms to make sure they are not clashing frequencies and some to intentionally clash frequencies in order to produce never before heard frequencies. A lot of dedication and work goes into a lot of production, but many stuck in the 'musician with a traditional instrument can only make music- mindset, don't see (or hear) the revolution happening in their ears.

Check the website for future air dates. The doc is worth viewing much like Scratch and Maestro are essential in understanding music forms made from the margins.

Frank Del Rio 50 th B-day

A couple of weeks ago I went to Circus for an invite only b-day dinner party for legendary LA DJ Frank Del Rio.

Del Rio's DJ sets in the mid 1980's to 1990's at Circus Disco where he was the resident, as well as many other locations, were what helped shape DJ mixing styles and programming for many DJs.

He was one of the big name DJs that was both illusive and ubiquitous as only the best DJs are.

In high school I would hear about how he blended this song or that. After school I would run home to try to do the mix myself, if I even had the records. All us high school DJs, at that time, were in awe of him. To run into him, at Exodus Records in Montebello or at his record Cut Above Records on Melrose, was like bumping into a celebrity. Any record he said was cool, we would buy two copies. He was also one of the first remixers to come out of L.A. and was one of the first Latino names we got to see on the records us DJs were buying up in stacks. He let us know how far this DJ thing could go.

Of course there were other DJs we looked up to like Poison and Nemesis, but Del Rio was a resident at Circus and only the best DJs played there. Martin Rodriguez, Victor Flores, Henry De La Pe~a and Del Rio were the big four in our parlay. They set the standard for what a good DJ sounded like from spinning at Circus. To be honest us youngsters only heard mixed tapes or heard stories from people who were old enough to go to Circus.

The first time I heard Del Rio was at a 'Rock of the 80's' at Pico Rivera Sports Arena. He plugged in a reel to reel and started off with the theme from "The Twilight Zone." The rest was a seamless mix of pieces of songs I knew mixed with a lot stuff I didn't. Mind blowing, but I didn't know what the reel to reel was for.

Years later I heard him at The Red Onion in West Covina on two turntables. The night was going ok, the earlier DJ couldn't gel the crowd. As soon as Del Rio got on the sound got better, louder and the floor erupted. He had two copies of "Knock On Wood" and was looping the opening drums going back and forth between the copies. Flawless.

Years later Richard and I invited him to judge our annual Power Tools DJ contest. We hadn't seen or heard about Del Rio in a while and were so stoked that he showed up. We were more nervous than the contestants. I don't even remember who won that year.

Then Frank Del Rio disappeared.

Rumors of him living in Tijuana, going Christian, dieing, hiding out, selling cars; spread and changed over the years.

He actually got a bad case of diabetes, lost a leg from it and at one point was in a coma.
With the growth of the retro disco parties thanks to Back to Disco and other websites, Del Rio has come back and hosted his own parties with his girlfriend Annie.

When I got invited to his 50th B-day party was like being invited to the big kid's table.

As I sat there and listened to people speak on mic for all to hear about their memories with Del Rio at Circus and as a friend, while he sat on the stage surrounded by his family it really was an LA history moment. This man with the help of so many other players, promoters, DJs, lightmen, and others had really touched a generation of disco dancers from mostly the Eastside of L.A.
He is our Larry Levan, our David Mancuso, our Nicky Siano. Those guys shaped NYC DJ culture, we got ours.
Thanks Frank.