ABSTRACT
The art of digital sampling in (primarily) African American hip hop is intricately connected to an African American/African diasporic aesthetic which carefully selects available media, texts, and contexts for performative use. Thomas Porcello explains that digital sampling allows one
to encode a fragment of sound, from one to several seconds in duration, in a digitised binary form which can then be stored in computer memory. This stored sound may be played back through a keyboard, with its pitch and tonal qualities accurately reproduced or, as is often the case, manipulated through electronic editing. (69)
Porcello concludes, perhaps rightly, but in any case reductively, that “rap musicians have come to use the sampler in an oppositional manner which contests capitalist notions of public and private property by employing previously tabooed modes of citation” (82).
