View source for SI25 Broadcast 6: Protocol to Free Britney

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== Radio recording == 

{{audio|mp3=https://pzwiki.wdka.nl/mw-mediadesign/images/3/37/Compressed_Radio_Week_8.mp3
|style=width:100%; border-radius:25px;}}
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[[File:68747470733a2f2f6d656469612e67697068792e636f6d2f6d656469612f5173676745594b463476306e6333314a464c2f67697068792e676966.gif|thumb|alt=she really does says hi|Britney says hi]]
<span style="color:lightpink;text-shadow:2px 2px 2px lightpink;font-size:7vh;font-family:TimesNewRoman; text-align:center;">[https://hub.xpub.nl/cerealbox/~aksellr/WEEK_8_soundboard/ ''' &#10038; Soundboard Week 8 &#10038;''']</span>

== Concept ==
The '''Week 8 Radio Show''' revolved around the concept of copyright and ownership in the music industry, especially in regards to covers and sampling, as well as the insidious side of manufacturing identity of musical talent in the pop industry. Additionally, the show referenced Cultural Icon '''♔ Britney Spears ♔''', and her iconic song ''Gimme More'', as well as numerous versions, covers and snippets of the song, as example of the aforementioned themes and concepts.

== Roles ==

* '''Tessa''' (producer) /'''Feline''' (interface)
* Feline
* Imre
* Zuhui

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==Setup==
[[File:FreeBritneySetUp.png|left|306x306px]]

=====Set-Up at Radio Worm=====
Since their were some unresolved technical difficulties at the radio studio, we were only able to use one laptop (Zuhui's) for the audio input. 

We made two soundboards with all the .mp3:

[https://hub.xpub.nl/cerealbox/~aksellr/WEEK_8_soundboard/ ① HTML Soundboard]

[[SI25 Week 8 Audio|② WIKI Soundboard]]

With each soundboard open in two windows. 






==Scripts ==

===Gimme Lore | Charlie's script===
'''A 'folkloresque' retelling of the history of the Princess of Pop Britney Spear's Gimme More'''

'''Based on:''' [https://britneyspears.fandom.com/wiki/Gimme_More Gimme More (Britneyspears.fandom)] [https://www.songfacts.com/facts/britney-spears/gimme-more Songfacts] '''References:''' [https://genius.com/Britney-spears-gimme-more-lyrics Lyrics] [https://britneyspears.fandom.com/wiki/List_of_Britney_Spears_Songs Britney Spears Songs]

Once upon a time in Las Vegas, there was a princess, not yet queen, called Britney. Princess Britney was lucky, for she was much beloved by the folk and commanded all their attention. Especially for her beautiful singing voice, musical talent and sexy moves known to all in the Kingdom of Pop, and beyond. 

More so, she was in love herself. With a prince she had married and with whom she  had had, soon after, or before, given birth to a perfectly healthy boy. 

Oh, she was a happy one, and born to make everyone happy. 

But, however much beloved, as was the custom with any heir to the kingdom, the princess's life and action had always been subject to the watchful eye of the folk. After all, the title of a true pop royalty had to be earned and be bestowed by the folk, through vigorous democratic census. As such, a pop princess had to perform as the perfect and proper ICON at all times. So, to make sure the princess didn’t fall short of her title, a dedicated league of chaperones was appointed, to follow and surveil her at all times of the day, and night, and report to the folk, any public display of misbehavior.

Oh to live under such scrutiny, only a true rightful princess could bear it! For Britney however, the incessant patronage by the folk, with their chaperones always around, drove her up against the wall of torment. Especially, since she had become a mother. And as everyone knows, a mother HAS to be judged even more so! And as it happened, the princess had just fallen pregnant, one more time. 

To quench all doubt and judgement by the folk, therefore, Princess Britney resolved to prove herself worthy of her position, once and for all! Henceforth, she set out on a mission to compose the most beautiful, most delicate and most splendid of songs the world had ever heard. One song to prove them all. One song will find them. One song to give them all, and when the lights are down to blind them; In the Kingdom of Pop where they always want more.

And so she did happily ever after till the world end. And the rest is history.

===Stolen and adapted from "Unlicensed: Bootlegging as a creative practice", Ben Schwartz, Valiz, [https://pad.xpub.nl/p/Cover_version_script | Tessa's script]===

'''I. Cover Version''' 

A cover can envelope the work, but it can also open it up. The best covers tend to create space; between the original and the copy or reproduction, between the artist and the artist, between the thing and everything else. A cover ask what is possible within what is given, a theft shows what's possible within what's given. Cat Burns recently stole "Teenage Dirtbag", made it black, female, queer. Is that even the same song? Maybe we're asking the wrong questions. Maybe it was never about copying. Maybe it was about stealing all along.  

Maybe she just translated language through feelings. Because lately, I, Ben Schwarz/ Tessa/ Anyone reading, have been thinking of theft as a translation. A translator must find what is "unfathomable, mysterious and poetic" in the original and interpret this as the essence of a new language. 

Coleman Barks, rumi translator, is known for his translations that prioritize feelings over fidelity. As such, a bootleg, a cover, a theft, must aspire to be greater than a reproduction. It should open up space for the possibility to transform, and even transcend.  

However not all of them are created with such noble aspirations, as some people see covers as a  mimetic practice. In the global subculture of celebrities impersonations, which involves an intense competitive circuit, greatness is defined by how closely one can get to becoming Michael Jackson, the king of pop, or Britney Spears, princess of the same kingdom. There's no intent to adjust or update, rather the self disappears and in its place, is a red latex jumpsuit, blond hair, and a bright smile. At the core, a mimetic cover is an homage. But a cover's ability to celebrate its source can go further, and in doing so can become something else, such as an interpretive cover.  

According to Anthony Huberman, an homage falls somewhere between admiration and research. A tribute maybe? A cover opens up the possibility to express admiration in a way that emphasizes affect over effect. I love it over I get it. We find things that other people wouldn't think of finding there. 

"Respect" was originally a song by Otis Redding, in which he demands respect from "his woman" after a long day at work. But the "Respect" most of us are familiar with is Aretha Franklin's rendition. The track surpasses a stylistic interpretation; the most powerful change for the track is actually the context of the word respect, considering the realities of Franklin as a black woman in the late 60s, early 70s. The song became a demand for something that could no longer be denied. She had taken a man's call for respect from a woman, and flipped it. The US had never heard anything like it. 

The track demonstrates that even in repetition, there's always a "quality of difference". A cover is never just the same thing, but rather a progression or regression.  If a mimetic cover repeats and a transformational cover shifts, then a transcendent cover stutters. Despite the necessity of a cover to work within the limitations of its predecessor (it said original but we've established before there's no such thing as an original piece of work), there remains a possibility for these structures to be manipulated.

===Copyright | Feline's Script===
Copyright is a legal concept that grants creators exclusive rights over their original works, such as books, music, art, films, software, and other intellectual property. These rights generally cover the ability to reproduce, distribute, display, perform, and adapt the work. Here’s a breakdown of some key aspects: 
*'''Purpose'''
Copyright’s primary goal is to encourage creativity by giving creators a period during which they can control and profit from their works. It provides an incentive for authors, artists, and other creators to invest time and resources into producing original works.*'''Automatic Protection'''
In most countries, copyright protection is automatic as soon as a work is created and "fixed in a tangible form," meaning it’s written down, recorded, or otherwise permanently captured. Unlike trademarks and patents, there’s usually no need to register for copyright for it to be valid, although registration can sometimes strengthen enforcement.
*'''Duration of Copyright'''
Copyright protection doesn’t last indefinitely. In many jurisdictions, it lasts for the creator’s lifetime plus an additional period (commonly 70 years after the creator’s death). For corporate works or anonymous works, it may last a fixed number of years (e.g., 95 years from publication in the U.S.).*'''Rights Granted'''
Copyright holders have the right to: Reproduce the work (make copies). Distribute copies

====Copyright in Music ====
Copyright in music is a bit more complex than in other types of works because music usually involves multiple rights and rights holders. Here’s a breakdown of how it works: 
*'''Types of Copyright in Music'''
In music, there are typically two distinct copyrights:

Musical Composition Copyright: This covers the underlying melody, harmony, lyrics, and other original elements of a song, usually owned by songwriters and composers, often administered by music publishers.

Sound Recording Copyright: This covers a specific recording of the musical composition, which is often owned by the record label that produced it or the artist who performed it.
*'''Exclusive Rights'''
Each type of copyright grants specific exclusive rights:

For musical compositions, copyright holders can control reproduction, distribution, public performance, and derivative works. Public performances cover radio play, streaming, live performances, and more.

For sound recordings, copyright holders control reproduction, distribution, and derivative works (like remixes). Public performance rights for sound recordings in the U.S. are limited, although digital public performances (like streaming) are covered.
*'''Music Licensing''' 
When others want to use a copyrighted song, they typically need to obtain a license. Common types include:

Mechanical License: Allows the licensee to reproduce and distribute a musical composition, like when a song is covered or sold on physical or digital media.

Synchronization License: Required when a song is used in sync with visual media, such as films, commercials, or video games.

Performance License: Allows the public performance of a musical composition, such as in concerts, radio, or streaming services. Performance rights organizations (PROs) like ASCAP, BMI, and SESAC in the U.S. collect royalties for public performances on behalf of songwriters and publishers.*'''Fair Use in Music'''
Fair use can allow limited use of copyrighted music without permission for purposes like criticism, commentary, parody, or educational use. However, fair use in music is complex and often contentious because even brief samples can be protected.*'''Sampling and Derivative Works'''
Sampling is using a portion of a copyrighted song in a new work, like hip-hop tracks that incorporate parts of older songs. Even short samples usually require permission (a license) from the original copyright holders, as they create a derivative work.
*'''Duration of Copyright in Music'''
Like other copyrighted works, music copyrights generally last for the creator's lifetime plus 70 years. However, sound recording copyrights can have slightly different durations depending on the country.

In sum, music copyright involves layered rights and stakeholders, with various licenses needed to legally use songs in different ways.

====Sampling====
Sampling in music is the act of taking a portion, or "sample," of an existing sound recording and reusing it in a new song or musical work. This sample can be a melody, rhythm, vocal phrase, or any sound that has been recorded. Sampling is popular in genres like hip-hop, electronic music, and pop, where artists often draw on existing works to create new, unique sounds. Here’s a closer look at the practice of sampling, its legal implications, and creative potential:
*'''Types of Sampling'''
Looping: Repeating a sample, often a short drumbeat or rhythm, to create a foundation for a new track. Chopping: Breaking up a sample into smaller segments and reordering or manipulating these pieces to create a different sound. Interpolation: Re-recording a melody, vocal line, or beat instead of directly sampling it from the original recording. This approach can avoid the need for a license for the sound recording itself but still requires permission for the musical composition.
* '''Legal Aspects of Sampling'''
Sampling usually requires two types of permissions:

Sound Recording License: This is permission from the owner of the recording itself, typically a record label. Composition License: Permission from the songwriter or music publisher for the underlying composition, even if the sample is as short as a single melody line. Failure to obtain proper licenses for a sample can result in copyright infringement, leading to legal issues, fines, and even the forced removal of the song from public distribution.*'''Challenges and Costs in Clearing Samples'''
Complexity: Identifying and locating copyright holders can be complicated, especially for older songs or obscure samples. Cost: Clearing samples can be expensive, with fees depending on factors like the sample's length, the popularity of the original track, and how it will be used in the new song. Time-Consuming Process: Negotiating and obtaining permissions can take time, which can slow down or limit the creative process for artists.
*'''Creative Impact of Sampling'''
Sampling is often used to pay homage to past artists or genres, blending influences to create new sounds. It can add layers of history and meaning to music, as a sample can evoke nostalgia or provide context for listeners familiar with the original. For example:

Cultural Connections: Sampling allows artists to connect with a certain era, style, or artist. It can create a bridge between different musical generations. Aesthetic Choices: By manipulating samples—pitch-shifting, reversing, or altering sounds—producers and musicians can build an entirely new auditory experience from existing sounds.
*'''Famous Legal Cases and the "De Minimis" Debate'''
Legal cases around sampling have shaped the music industry’s approach to copyright:

Grand Upright Music, Ltd. v. Warner Bros. Records, Inc. (1991): This landmark case involved rapper Biz Markie’s unauthorized use of a Gilbert O’Sullivan song. The court ruled in favor of O’Sullivan, leading to stricter rules around sampling. Bridgeport Music, Inc. v. Dimension Films (2004): This ruling reinforced that any amount of sampling requires a license, rejecting the idea that a short or “de minimis” sample might be considered fair use. As a result, even brief, highly altered samples are generally not legally safe without permission, though debates over “de minimis” sampling continue in some legal circles.
*'''Sampling in the Digital Age and Sampling Libraries'''
Today, there are various royalty-free sample libraries and sites (e.g., Splice, Loopmasters) where artists can legally acquire samples for use without seeking additional licenses. However, royalty-free samples come with their own licenses, which usually prevent reselling or using them in isolation, and they may lack the distinctive identity that makes sampling historical music so compelling.
* '''Ethical Considerations'''
Some artists view sampling as a form of musical "collage" and argue it is a transformative, creative process that enriches both the new and original works. However, there’s also debate on whether it’s fair to use another artist’s work without compensation. This balance of creativity, homage, and ownership rights is at the heart of the ongoing discussion around sampling.

'''In Summary'''

Sampling is a powerful tool for musical innovation, but it’s tightly regulated to protect original artists’ rights. The practice sits at the intersection of creativity, law, and ethics, and while it opens doors to endless creative possibilities, it requires careful navigation of copyright law.

====Copyleft in Music====
Copyleft in music is about allowing creators to share their work freely, granting others the right to use, modify, and distribute it, often with the requirement that derivative works remain open and available under similar terms. Here’s a closer look at how copyleft applies in music:
*'''Creative Commons Licenses'''
The most popular way to apply copyleft in music is through Creative Commons (CC) licenses. Creative Commons offers a range of licenses that musicians can use to allow different types of usage while retaining certain rights. Some key CC licenses in music include:

CC BY (Attribution): Allows others to remix, adapt, and build upon the music, even commercially, as long as they credit the original artist. CC BY-SA (Attribution-ShareAlike): Others can modify the work for any purpose, including commercial, but any derivative works must be shared under the same terms, preserving the copyleft principle. CC BY-NC (Attribution-NonCommercial): Allows others to remix, adapt, and build upon the music, but only for non-commercial purposes. These licenses give musicians the flexibility to control how their work is shared, reused, and remixed while promoting free access and collaboration.
*'''Open Music Movement'''
The Open Music Movement is inspired by copyleft principles and promotes music that anyone can access, use, and modify. Musicians release songs under open licenses to encourage others to build upon their work. Key groups and platforms supporting open music include:

Jamendo and Free Music Archive: Platforms where musicians can upload and share music under open licenses, often allowing users to download and use tracks for free or with simple attribution. Libre.fm: A free music platform committed to open music, similar to Last.fm but focused on music licensed under Creative Commons and other free licenses.*'''Copyleft in Sampling and Remix Culture'''
For musicians who want to share their work for sampling or remixing, copyleft-aligned licenses are ideal. They enable artists to retain credit while encouraging others to use their music to create new works, a significant benefit in genres like hip-hop and electronic music, where remixing and sampling are fundamental.

For example:

CC BY-SA licenses are well-suited for music that might be sampled or remixed, as they allow modifications but ensure that derivative works remain open. Some artists create sample packs and release them with open licenses, making them freely available for other musicians to use in their productions.
*'''Copyleft for Sheet Music'''
Copyleft principles also apply to sheet music. Platforms like IMSLP (International Music Score Library Project) host public domain and copyleft sheet music that musicians and composers make freely available. Similarly, Mutopia Project provides sheet music of classical pieces under open licenses, which is particularly useful for musicians looking for free and legal access to musical scores.*'''Legal and Practical Limitations'''
While copyleft allows greater freedom, it’s not without limitations:

Control Over Commercial Use: Musicians who release work under open licenses often have limited control over its commercial use, depending on the license type. Some licenses (like CC BY-NC) prevent commercial use, but others allow it. Potential for Misuse: Open licensing can sometimes lead to unauthorized commercial exploitation if users ignore the license terms or fail to provide proper attribution. However, open licenses do provide a legal foundation to address such misuse. 
*'''Copyleft and Fan Communities'''
Some artists encourage fan-made content under copyleft-like principles, allowing fans to create remixes, covers, or videos with the artist’s music. This approach fosters community engagement, though it doesn’t always involve formal licensing. Artists like Nine Inch Nails and Radiohead have occasionally released stems or tracks under permissive terms, inviting fans to remix and redistribute their work non-commercially.

'''In Summary''' Copyleft in music is about sharing and openness. Through Creative Commons and other open licensing models, musicians can allow their music to be freely accessed, remixed, and shared, sometimes with conditions that ensure derivatives remain free. This approach is particularly popular in genres that embrace remix culture and is supported by a growing number of platforms dedicated to open music.

====Covers====
Cover music refers to a new performance or recording of an existing song by someone other than the original artist. Unlike sampling, which uses portions of a previous recording, a cover song involves creating a new rendition of the song’s underlying composition—its melody, lyrics, and structure. Covering music is popular among musicians and fans and can introduce songs to new audiences. However, covering songs involves specific legal considerations. Here’s what to know about cover music: 
*'''Mechanical Licenses for Cover Songs'''
Requirement: When artists want to record and release a cover of someone else’s song, they generally need a mechanical license to legally reproduce and distribute the composition. This license gives permission to record the song but doesn’t involve using the original recording—just the underlying composition. How It Works: In the U.S., mechanical licenses can be easily obtained through organizations like the Harry Fox Agency or services like Easy Song Licensing. Once an artist has a mechanical license, they can legally sell or distribute their version of the song. Royalties: For every copy of the cover song sold or streamed, royalties are paid to the copyright holder of the composition (usually the songwriter or publisher).*'''Public Performance Rights'''
When cover songs are performed publicly, such as in concerts, bars, or streamed online, public performance licenses are required. These licenses are usually handled by Performing Rights Organizations (PROs), like ASCAP, BMI, or SESAC in the U.S., and PRS in the UK. Venues and platforms typically have blanket licenses with these organizations that allow for the performance of any song in their catalog, so individual artists or bands usually don’t need to secure performance licenses themselves when playing covers live.
*'''YouTube and Online Video Platforms''' 
Posting a cover song on platforms like YouTube or Instagram can be complex. Many of these platforms have licensing agreements with music publishers that allow cover songs to remain available, but rights holders may still claim ad revenue from these videos. Content ID System: YouTube uses Content ID to identify copyrighted compositions, which allows rights holders to monetize, block, or track views of cover videos. Many cover videos remain live as long as ad revenue goes to the original rights holder.
*'''Transformative Covers and Fair Use'''
A transformative cover—one that significantly changes the original song (e.g., altering the lyrics for satire or parody)—might fall under fair use. However, this is a gray area and often requires a legal interpretation. If a cover is too similar to the original, fair use may not apply, and permission might still be needed. Parody covers may sometimes qualify as fair use if they comment on or critique the original song, but to avoid legal issues, it’s usually safest to obtain permission or consult with a copyright expert.
* '''Derivative Works and New Arrangements''' 
If a cover significantly changes the arrangement or lyrics, it may be considered a derivative work, not just a straightforward cover. Derivative works generally require direct permission from the rights holder, as they go beyond simple reproduction. For example, creating a jazz version of a pop song with extensive modifications to the harmony or melody might qualify as a derivative work rather than a cover, requiring additional permissions. 
*'''Cover Songs on Streaming Services'''
Distributing cover songs on streaming platforms (e.g., Spotify, Apple Music) typically requires a mechanical license, just like selling physical copies. Services like DistroKid and CD Baby help artists legally distribute cover songs by managing licensing and royalty payments. Streaming platforms themselves pay royalties to songwriters and publishers for covers as part of their standard licensing agreements, so artists uploading cover songs to these services often only need to worry about obtaining the mechanical license.
*'''Benefits of Covering Songs''' 
Covering songs can be a way for emerging artists to gain attention by performing familiar songs, often attracting listeners who might then discover their original music. Covers can also be an homage to favorite artists and influences, with fans appreciating new interpretations of well-loved songs. Some artists have even launched their careers through unique covers, like Whitney Houston with her cover of Dolly Parton’s "I Will Always Love You," or Jeff Buckley’s interpretation of Leonard Cohen’s "Hallelujah."
*'''Examples of Popular Licensing Services for Cover Songs'''
Harry Fox Agency (HFA): Manages mechanical licensing in the U.S. and is a common go-to for licensing covers. Loudr and Easy Song Licensing: These services simplify the process by helping artists obtain necessary licenses for covers and taking care of royalties. DistroKid: Allows artists to distribute cover songs to streaming platforms and handles the necessary licensing and royalty payments on their behalf.

'''In Summary''' Cover music is a popular and often legally straightforward way to reimagine and perform existing songs. By obtaining the correct licenses and paying royalties, artists can legally release cover songs, allowing them to engage with audiences through familiar music while exploring their creative interpretations.


===Ownership of identity script | Zuhui's Script===
https://pad.xpub.nl/p/ownership_of_identity

inspired by the monologue from [https://www.youtube.com/watch?v=rIK-q6JoOeU The Fall of the House]

+ stealing lines from k-pop industry forum

<nowiki>**</nowiki>read it with a tone of jaded, pop industry sociopath with the lack of humanity on steroids**

"When you find an artist, don’t just make them a star. Stars burn out, stars fade. No, make them a channel. Something you can tune into, subscribe to, binge-watch. Get the fans hooked on their content, not just their music. You’re not just creating a musician—you’re crafting a 24/7 stream of brand identity, a character arc you can control, a personality you can update, reboot, and reformat whenever the metrics demand it.

First, build the ‘backstory.’ Get the fans to feel like they discovered them, saw them raw, saw them 'before they were polished'—because, of course, we want to think they’re real. But filter it, sculpt it. Get them singing in their bedroom, voice notes in the shower. They’re ‘just like us,’ but on-brand. Every little imperfection, every hint of vulnerability should be carefully curated, because authenticity is the premium package these days.

Then? Optimize. Decide what’s trending and wrap it around them. Are people nostalgic for the ‘90s? Put them in vintage tees and scrunchies. Are they craving dark, edgy vibes? Send them to a therapist for ‘rehabilitation’ and make sure they’re caught reading existential philosophy book on a park bench or something. You’re crafting a lifestyle, something the fans can live vicariously through. They’re not just an artist—they’re an aesthetic.

Now, give them a show. Not an actual show, of course—people don’t come for the real story. Give them an ongoing soap opera, something that the fans can’t look away from. Stage every relationship, every heartbreak, every tweet that ‘accidentally’ goes viral. Let them unfollow and re-follow their exes, post cryptic lyrics that fans can analyze, make every week feel like an episode with cliffhangers. And always make sure they’re a trending topic, like they’re part of your daily news feed.

Then spice up the narrative. Create a storyline for their life, how hardworking young artist struggling in the pop industry, the tears, blood and sweat. Or blood, tears and sweat. The pain of clawing their way up to to ‘make it’. Every long studio night, every little setback, every ‘candid’ moment of self-doubt—it’s all part of their climb, their heroic rise.  Then package it, make it look authentic, make it feel real. 

And to cement it? Make it cinematic. Plan a 3 episode worth Netflix documentary, or a 4 part YouTube series. Title it something like "Homecoming," “Raging fire" or “Break the silence"—something that sounds brave and  monumental. In Episode 1, they’re a raw talent, innocent, humble beginnings. Episode 2, they’re struggling, battling through the industry machine. Episode 3, the triumphant rise, the tears, the crowds chanting their name. Capture every tear, every raw moment as if it’s a revelation, like it’s truth. 

By the end, the fans aren’t just watching an artist—they’re following a hero. They’re invested in the dream, hooked on the storyline. Every song, every lyric feels like a chapter in this grand epic you’ve orchestrated, every concert a triumphant return to the stage. People buy tickets to feel the victory, buy merch to feel part of it. You’ve made their life a myth, and the audience is paying to be part of the legend.

Now monetize. Their name? Trademark it. Their image? Copyright it. Release limited-edition merchandise every time they wear a new outfit. The only way the fans can ‘really’ get close is if they buy the backstage passes, the personal livestreams, the VIP meet-and-greets. People want access, and you make them pay for every inch. Release “exclusive” content on a premium platform, where they can read the artist’s personal journal or get a front-row seat to their self-care routine. Why not charge a monthly subscription? 7.99 to ‘follow their journey’— 12.99 for the deluxe tier. Depends on how much they care for their star.

But don’t just stop there. Expand. A product line, a skincare brand, maybe even their own fragrance. Because the fans don’t just want to hear them—they want to smell like them, live like them. Every piece of them is a potential market, every part of them something you can package, promote, and profit from. And if they ever get tired? Remind them that this isn’t just a career—it’s a community. Tell them they have a ‘responsibility to their fans.’ Make them feel guilty for wanting space, for wanting something real. Because they’re not just a person anymore—they’re a full-scale media ecosystem.

And if they ever try to escape it, ever try to post something unapproved, or say something that doesn’t fit the ‘brand’? Remind them of the contract. Remind them that their very name, their likeness, is company property now, like an algorithm you can turn on and off. And if they still want to leave? Start a rumor, leak a scandal, say they’re ‘difficult’ or ‘burnt out’—spin their exit as a plot twist, something you can use to rebrand them later. Make them a hashtag. ‘Free Britney.’ Start a petition. Because even rebellion, even freedom, we can monetize.

And then, once you’ve stripped away everything that made them real, everything that made them 'them'—you don’t even have to keep them. Because now you’ve got the blueprint. You can just create the next one. The perfect artist, but more streamlined. A new face, a new story, built exactly to spec. Because in the end, the artist isn’t the point. The story is the point, the brand is the point. And you can tell that story again and again, endlessly.

So sit back, watch the ad revenue roll in, and remember: you’re not just selling music. You’re selling a feeling, a fantasy, a carefully manufactured dream that keeps people coming back. And all it costs is a person."


===Immortalized Imprisonment and Transforming Identity | İmre's Script===
In cultures with oral history, folklore is how information is passed down, by elders after dinner surrounded by people drinking tea. The stories of creation, war love and redemption pass like biscuits shared and bitten. 
They mark the identity of the people, not only their victory and loses but their morals, virtues and those that are valued. They didn't belong to anyone but the people, they weren't a property to be owned or created, they were neither original not unique. 
Identity can never be fixed, will never sit still, it is made and remade with every second, every new information every instant of a new encounter. 
As the identity of the culture changes so does the stories, as the myths are told and retold new customs enter in between speeches, the values pick from the hands of the heroes and reshapes their journey.
The transformative nature of folklore grants cultures control over their identity. 
One such encounter that shaped and reshaped the stories of the old were religion. As Christianity spread the story of Eve, a women's first action became sin, the consequence pain and suffering. 
As Islam started mingling with Dede Korkut, the women who took arms and fought on horseback turned into damsels to be saved or disappeared all together. 
Change is the only constant, transformation can sometimes means censor. 

Copyright was first borne from the need of censoring dangerous information spreading. Printed work had to be licensed by those chosen by the rulers. The license gave the print-houses the right to copy. 
The licenses were granted not to the authors, but to print-houses and publishers. It was meant to stop the spread of those ideas deemed dangerous, not to protect the rights of their creator.
In time our understanding of copyright changed, and was adjusted, now it needs the creation to be fixed and stable. 

To be transformed into a saying, even at the price of her/his life. 
To lose the chance to transform by becoming writing, writing that remains
folklore changes with the culture, doesn't stay constant, it is allowed to live and breath and go through its own journey. 
However the record of what was will be lost.
Immortality of a singular moment
a specific arrangement of words
speech flies, writing remains
if you are defined by your work, do you chose remembrance over transformation
to turn yourself into a statue to be consumed for recognition
"active invisibility to provide the freedom of not being tied to your creations" 
forced visibility, being made a property, held responsible with no decision making power.
being immortalized in your imprisonment.
It's Britney Bitch.

Can I steal what has never been yours?
play with it? Burn it, shuffle, sample, elongate?
can I make it mine (ours), color the walls of your cell? Steal your voice, use your name?
Take your story from online sources, and rewrite it myself

Its never about my own position to reclaim my name, but always about my name being reclaimed by the agenda of the people that I'm associating with 
I am sorry Britney, I can't free you, I couldn't even steal your name, song or story since none belonged to you, but hey, maybe your name can free me?

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