Since the 1970s, the practice of deejaying has been integrated into music-making and musical performance in hip hop, dance music, and other cultures. Disc jockeys have also become recognized as producers and authors of sound recordings. I examine how changes in the technological, legal and commercial environment of disc jockeys in the 1990s are articulated in the styles and methods of deejaying. I argue that the conspicuous and covert styles of sampling articulate different forms of authorship, economic interests, and notions of originality. While the covert style has been crucial to the emergence of the DJ-as-author and deejaying as a legitimate art, the conspicuous style of copying on the edges of DJ culture troubles the tenuous links between the new DJ-stars and their works.

No description available.

Thesis (M.A.)--Kent State University, 2009-08-11. / Title from PDF t.p. (viewed Mar. 31, 2010). Advisor: Max Grubb. Keywords: Mad Daddy; Cleveland; radio; Pete Myers; disc jockey; rock and roll; radio personalities. Includes bibliographical references (p. 69-74).

published_or_final_version / Language Studies / Master / Master of Arts

Thesis (M.S.)--Ohio University, August, 2004. / Includes bibliographical references (p. 68-70)

Thesis (M.A.)--University of Hong Kong, 1989.

Thesis (M.A.)--University of Hong Kong, 1989. / Also available in print.

Thesis (M.S.)--Ohio University, August, 2004. / Title from PDF t.p. Includes bibliographical references (p. 68-70)

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 83-88). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 601-626).