Mashup (music)

From Wikipedia, the free encyclopedia

A mashup (also mesh, mash up, mash-up, blend, bootleg[1] and

bastard pop/rock) is a song or composition created by blending two or Mash-up music
more pre-recorded songs, usually by overlaying the vocal track of one Stylistic Pop · rock · electronic
song seamlessly over the instrumental track of another.[2] To the extent origins
that such works are "transformative" of original content, in the United
Cultural Late 1990s, 2000s;
States they may find protection from copyright claims under the "fair
use" doctrine of copyright law.[3] origins Europe, North America
Typical Digital audio editor ·
instruments sampler · sequencer ·
Contents DJ turntables ·
audio mixer
1 Synonyms Derivative Sampling · sound collage
2 History forms · remix
2.1 Precursors
2.2 Renaissance Subgenres
2.3 Legal issues Glitch pop
3 Subgenres
Regional scenes
3.1 A vs B
3.2 Version vs Version United Kingdom · United States ·
3.3 Abstract Mash Ups Germany · France · Australia · Norway ·
3.4 Glitch pop Netherlands · Switzerland · Sweden ·
3.5 Audio-Viz Mash
Indonesia · Canada · India · Belgium ·
3.6 Remixes
3.7 Bootleg albums Austria · Brazil · Italy · Japan
3.8 Cut-ups
4 Notable mash-up artists
4.1 Girl Talk
4.2 Djs from Mars
4.3 DJ Earworm
4.4 dj BC
4.5 Max Tannone
4.6 The Kleptones
4.7 DJ Cummerbund
4.8 The Legion of Doom
4.9 The Hood Internet
4.10 Madeon
5 Notable mash-up albums
6 See also
7 References
8 Further reading

Synonyms
Mashups are known by a number of different names:

Bootlegs (mostly in Europe, not to be confused with unofficial remixes)

Boots (but not "booty" which is a branch of electro)
Mash-ups
Mashed hits
Smashups (or smash-ups)
 Bastard pop (as in the combined songs are unofficial; this term is rarely used anymore)
Blends
Cutups (or cut ups, a term originally coined by William S. Burroughs to describe some of his literary
experiments that involved literally "cutting up" different texts and rearranging the pieces to create a new
piece.)
Powermixing (usually the pace has to be sped up to allow for more song to be played and thus cannot
play any single blend for the full length of the song)
Crossovers, but it is in a form of mashup, or version vs. version.

In addition, more traditional terms such as "edits" or (unauthorized) "remixes" are favored by many
"bootleggers" (also known as 'leggers).

History
The practice of assembling new songs from purloined elements of other tracks stretches back to the beginnings
of recorded music. If one extends the definition beyond the realm of pop, precursors can be found in musique
concrète, as well as the classical practice of (re-)arranging traditional folk material and the jazz tradition of
reinterpreting standards. In addition, many elements of mashup culture have antecedents in hip hop and the
DIY ethic of punk as well as overlap with the free culture movement.

Precursors

"The Flying Saucer"

In 1956, Bill Buchanan and Dickie Goodman released what they called a "break-in" song, (i.e. material from
one song would "break-in" to another) called "The Flying Saucer". The track, a reinterpretation of Orson
Welles' celebrated War of the Worlds mock-emergency broadcast interspliced with musical snippets comically
dramatizing the portentous patter of the announcer, spawned a raft of imitations. Goodman had several other
similar hits in the 1960s and 1970s.

Novelty records

There have been a number of novelty records and one-off hits that have included uncleared samples. The song
"Your Woman" by White Town features an uncredited sample from a 1932 song "My Woman" by the Lew
Stone Band taken from the soundtrack of the Dennis Potter series Pennies From Heaven. Other notable one-off
bootlegs include DNA's dance remix of Suzanne Vega's "Tom's Diner" (1990) and "You Got The Love" by The
Source featuring Candi Staton (1991). Vega received quite a few unsolicited mixes of her (a cappella) song, and
eventually issued an entire CD of "Tom's Diner" mixes, one notable example being "Jeannie's Diner", in which
a resung verse based on Vega's composition describes the premise of the situation comedy "I Dream of
Jeannie". "Tom's Diner" is likely to be the first song that was "mash mixed" as we now know the process.

One series was John Morales' (later one half of M and M productions) "Deadly Medleys", in which he mixed-
up disco hits of the moment to form beat-consistent collages. In the late 1970s and early 1980s, Dutch producer
Jaap Eggermont produced the Stars on 45 series of records. These records attempted to cram as many hits as
possible into the space of a three and a half-minute pop song, and are more accurately described as medleys. A
similar series by Mirage in the late 1980s took this further by densely layering the songs on its "Jack Mix"
records so that these were very close to later mashups.

Singer-producer Jonathan King anticipated the mashup genre with several novelty singles. In 1987, King
accused the Pet Shop Boys of plagiarizing the melody of Cat Stevens' "Wild World" for their song "It's A Sin".
To prove the point, King recorded a version of "Wild World" with an arrangement virtually identical to that of
"It's A Sin". King performed an analogous stunt with a version of "He's So Fine" by The Chiffons arranged in
the style of George Harrison's "My Sweet Lord", making a cheeky reference to the plagiarism suit over the
similarities between the two songs.
Little Roger and the Goosebumps released their single "Gilligan's Island (Stairway)", later renamed "Stairway
to Gilligan's Island" in May 1978 on their own Splash Records label. The song combines the lyrics to the theme
song of the television show Gilligan's Island with the music of "Stairway to Heaven" by Led Zeppelin. Later in
1978, Damaskas and Barnes & Barnes were inspired by Little Roger and the Goosebumps to record "A Day in
the Life of Green Acres," a song that combined the music of The Beatles' "A Day in the Life" with the lyrics to
the theme song of the television show Green Acres.

Frank Zappa

In the 1970s, Frank Zappa developed a technique he called "xenochrony" in which a guitar solo was extracted
from its original context and placed into a completely different song. His recording engineer referred to this as
"the Ampex guitar". In his rock opera Joe's Garage (1979), for example, Zappa's xenochrony can be heard on
every track apart from Packard Goose.

"Rubber Shirt" from the album Sheik Yerbouti consists of a bass track and a drum track taken from two
different live performances melded together in the studio.

John Oswald

John Oswald has been devising illegitimate compositions since the late 1960s. His 1975 track "Power" married
frenetic Led Zeppelin guitars to the impassioned exhortations of a Southern American evangelist at the same
time that hip hop was discovering the potency of the same (and related) kinds of ingredients. Similarly, his
1990 track "Vane", which pitted two different versions of the song "You're So Vain" (the Carly Simon original
and a cover by Faster Pussycat) against each other, was a blueprint for the contemporary mashup subgenre,
glitch pop. Oswald coined the term "plunderphonics" to describe his illegitimate craft. In 1993, he released
Plexure. Arguably his most ambitious composition to date, it attempted to microsample the history of CD
music up to that point (1982–1992) in a 20-minute collage of bewildering complexity. The ambition of this
piece would later be recalled by the British bootlegger Osymyso, whose "Intro-Inspection" captured the pop-
junkie feel of Plexure. Osymyso, who at the time was unaware of Oswald's work, used the same structure of an
accelerando (arranging his source material in order from the slowest tempo to the fastest) to link a few bars
each of 100 songs, creating a simpler sound than the thousands of overlapping and morphing pop
"electroquotations" in Plexure.

Pink Project

In 1982, Italo disco composer and producer Stefano Pulga, under the name Pink Project, had a substantial hit
with "Disco Project", a completely re-recorded version of The Alan Parsons Project's instrumental track
"Mammagamma" (from the album Eye in the Sky), using "Sirius" (from the same album) as an intro, and
featuring the schoolchildren's choir vocals (also entirely re-recorded by female session vocalists) from Pink
Floyd's "Another Brick in the Wall, Part 2" on top of the Parsons track. Technically more similar to a medley of
cover versions (as it did not include any elements directly taken from the original records) than to a mashup,
the record was nevertheless identified with the nascent genre by Italian radio DJs.

Negativland

Though Negativland are seldom acknowledged as musical antecedents of mashups, lacking perhaps the sense
of fun many contemporary practitioners seek in their craft, their struggle against various forms of "censorship"
(in their terms) and legal coercion (for instance, their single "U2" was one of the first pieces of music to be
withdrawn for its use of unauthorised samples) has made them poster children for some mashup commentators
who approach the issue from a more critical perspective, and with an eye to the complicated cultural issues
raised by both accidental and deliberate plundering within music and culture generally.

The Tape-beatles
Also known as "Public Works", The Tape-beatles have used collage techniques to create works of materials
appropriated from various sources.

Double Dee and Steinski

Working under the name Steinski, New York copywriter DJ Steve Stein began (in conjunction with engineer
and fellow studio boffin Doug "Double Dee" DiFranco) the next chapter in the evolution of illicit pop by
producing a trio of underground 12" singles (entitled "The Payoff Mix" (1983), "Lesson 2 (The James Brown
Mix)" (1984) and "Lesson 3 (History of Hiphop)" (1985)) which exerted a powerful influence on an entire
generation of "samplists".

John Zorn

The 1990 John Zorn album Naked City features a version of Ornette Coleman's "Lonely Woman" set over the
bassline of Roy Orbison's "Pretty Woman".[4]

Evolution Control Committee

In 1994, the experimental band Evolution Control Committee released the first modern mashup tracks on their
hand-made cassette album, Gunderphonic. These "Whipped Cream Mixes" combined a pair of Public Enemy a
cappellas with instrumentals by Herb Alpert and the Tijuana Brass. First released on home-made cassettes in
early 1992, it was later pressed on 7" vinyl, and distributed by Eerie Materials in the mid-1990s, the tracks
gained some degree of notoriety on college radio stations in the United States.[5]

Renaissance

2 Many DJs and "A Stroke of Genie-us"

The name Pop Will Eat Itself was taken from an NME feature on the band Jamie Wednesday, written by David
Quantick, which proposed the theory that because popular music simply recycles good ideas continuously, the
perfect pop song could be written by [combining] the best of those ideas into one track. Hence, Pop Will Eat
Itself.[6]

The movement gained momentum again in 2001 with the release of the 2 Many DJs album, As Heard on Radio
Soulwax Pt. 2, by Soulwax's Dewaele brothers, which combined 45 different tracks; the same year a remix of
Christina Aguilera's "Genie in a Bottle" was also released by Freelance Hellraiser, which coupled the pop star
with the raucous guitars of "Hard To Explain" by New York's The Strokes in an infectious concoction entitled
"A Stroke of Genie-us".[7]

Software tools

As a result of this, industry standard tools such as the digital audio workstation Cubase and the sound editors
Wavelab, Soundforge and Cool Edit Pro quickly became ubiquitous. Moreover, new tools such as Ableton Live
and Sonic Foundry's (now Sony's) ACID Pro were tweaked to accommodate the needs of this new "scene".
Most notably, such features as beat-mapping (a technique that simplifies the synchronization of samples of
different tempos) and online previewing (allowing the composer to audition a sample, playing at the right pitch
and tempo, alongside their existing composition) made it easy for many people with musical ability but little
professional studio experience to knock together new combinations in a fraction of the time it would take with
traditional tools, such as the magnetic tape John Oswald (and even Coldcut) slaved over in their early days.

Mark Vidler, known as Go Home Productions, summarized it by saying the benefits of such technology of
AcidPro: "You don't need a distributor, because your distribution is the internet. You don't need a record label,
because it's your bedroom, and you don't need a recording studio, because that's your computer. You do it all
yourself."
Get Your Bootleg On, Mashuptown, Bootie, Boomselection, A.D.D

Around 2001–2002, the blog Boomselection[8] was launched. It publicised various challenges which resulted in
hundreds, if not thousands, of new bootlegs being uploaded to sites around the world. While the scene began as
a primarily British phenomenon, the U.S., France and Germany are currently the hotbeds of the modern
mashup movement. However, there are notable bootleggers to be found in practically every corner of the globe
– wherever an Internet connection and a record collection can be found – including Australia, Belgium,
Switzerland, and Sweden.

The Get Your Bootleg on site[9] (affectionately abbreviated to GYBO) became an important launchpad for new
mashup tunes, and was the home of a lively community of bootleggers who offered critiques of new songs, tips
for newbies, pointers on where to find a cappellas, legal advice, publicity for mashup events and general
discussion of issues surrounding the mashup phenomenon.

The name "Get Your Bootleg On" comes from the Missy Elliott track "Get Ur Freak On", which alongside
Eminem’s "Without Me" remains perhaps the most bootlegged, manipulated, remixed and reinterpreted song
from the heyday of the genre. Other popular, frequently bootlegged artists include Britney Spears, Christina
Aguilera, Madonna and Beyoncé.

In early 2005, Boomselection retired itself after a long period of inactivity. The year also marked a series of
cease-and-desist orders brought against a number of bootleg sites, and in early 2006 GYBO received its first
such notice. To survive, the site prohibited the posting of direct links to copyrighted material within the forums,
but allowed users to post links to their own sites containing such material, the defence being that now GYBO
was no more in violation of copyright law than Google. For the most part, the community has rallied around the
site, and continues to support it in its new form.

The void left by Boomselection's demise was rapidly replaced by Mashuptown[10] which was started in early
2005 and is currently the biggest blog source of mashups on the Internet. The site has recently become the
official supplier of mashups to Adam Curry's Daily Source Code podcast.

Also in 2005, Bootie, the biggest bootleg mashup party in the world, began its monthly Bootie Top 10[11]
where it posts for free download its ten best mashups, as selected by Bootie creators and DJs A Plus D.
Launched in San Francisco in 2003, Bootie was the first club night in the United States dedicated solely to the
burgeoning art form of the bootleg mashup, and now hosts monthly parties in several cities around the globe,
including Los Angeles, Paris, Boston, Munich, and New York City. The party's slogan, "Music for the A.D.D.
Generation" also inspired the creation of "A.D.D", Israel's first mash-up dedicated party.[12]

Bonna Music and "Enjoy the Sheket"

Legal mashups are hard to find, but in some relatively small music markets, legal mashups have been released.
Some say that this is because publishers have understood the potential of clearing the rights of major
international artist to be combined with local repertoires, to create a wider consumption for both artists on a
given track.

In Israel, for example, a group called Bonna Music remixed the Depeche Mode song "Enjoy the Silence" with
Balagan's "Sheket" (Hebrew: ‫" ;שקט‬Silence"). The mashup was approved by Martin Gore and released
officially a month before Depeche Mode's new album Playing the Angel in 2005. It was a major hit locally and
when Depeche Mode's first single was released they were more welcome in a market where the local repertoire
is dominant.

Good Copy Bad Copy

Good Copy Bad Copy is a 2007 documentary about the current state of copyright and culture. It has a heavy
focus on the mashup community, containing interviews with Girl Talk and Danger Mouse that reveal an
emerging understanding of digital works and the obstacle to their authoring copyright presents.
Glee

Mash-ups have been featured on many episodes of the popular American TV series Glee. They first appeared in
the episode "Vitamin D", which featured mashing up Bon Jovi's "It's My Life" with Usher's "Confessions Part
II" and Beyoncé Knowles's "Halo" with "Walking on Sunshine" by Katrina and the Waves.

DJ Hero

The 2009 video game DJ Hero brought mash-ups together with gameplay elements from the Guitar Hero series
using many of the same songs that are routinely cut-up in the online remixing scene. Notably, the tracks which
use musical ideas from "Bitter Sweet Symphony" credit the sample source Andrew Oldham Orchestra rather
than The Verve, even though the Verve's use of the sample and the surrounding legal controversy is what
popularized the frequent use of the sample in mash-ups.

RIP: A Remix Manifesto

RIP!: A Remix Manifesto is an open source documentary created by Brett Gaylor and Greg Gillis (Girl Talk).
The film consists of a remix of clips submitted by numerous contributors to the Open Source Cinema project. It
focuses in particular on the legal "grey area" of remixing existing copyrighted works.

Legal issues

Copyright Act of 1976

Lists the rights of copyright holders in the United States, including several copyright provision
amendments. It became a law in October 1976 and was implemented in January 1978.
Mashup artists are permitted to remake an original song as long as the new song is substantially similar
to the original song. In turn, the mashup artist must pay the original artist $0.94 for every copy of the
song they sell for a profit.
Asking permission to use the song is not required, as long as payment is made.

Fair Use Law

There are 4 factors a piece of work being considered for infringement must go through:
1. Purpose and character of the use
2. Nature of the work being used
3. Amount and substantiality of the portion used in relation to the whole
4. Effect on the market for the original

Subgenres
A vs B

The original manifestation of mashups in the 2000s was putting an a cappella against a completely different
backing track, in order to make a "third song". Following "A Stroke of Genie-us" in 2001, the genre has
continued to focus on this basic premise.

Another notable "versus" song is "Zombi – Zombie Nation" which combined Zombie Nation's "Kernkraft 400"
with Goblin's Zombi theme and was featured on the official soundtrack of the film Shaun of the Dead.

In addition, Go Home Productions, Party Ben and DJ BC, amongst many others, have produced a number of
critically acclaimed songs in this vein, and in some instances have secured record deals on the back of these
exercises, which arguably serve as "demo MP3s" of their musical and production skills.
Another example of a legitimate release on the back of an unofficial one can be seen in Illicit's "Sneaky
Armada",[13] which combined Groove Armada's "I See You Baby" with Teddy Pendergrass's "You Can't Hide
From Yourself". This was subsequently re-played, re-vocalised and re-released on Azuli's Yola label as
"Cheeky Armada"[14] in September 2001 when it reached number 72 in the UK Singles Chart.[15] Illicit also
released numerous other unofficial "versus" songs during the same period.[16]

However, not all mash-ups are as simple as A vs B. In some cases, DJs will mash 3, 4, 5, and even 6 songs to
form one complete track. Mixing more than two tracks together can be a daunting task, and it requires a great
deal of skill. Notably, DJ Earworm has combined the yearly top 25 songs according to Billboard into a single
mashup since 2007, which has spawned similar creations from popular DJs such as Robin Skouteris or Daniel
Kim. These mashups are typically uploaded to YouTube and attract a lot of attention in the pop culture world.

Girl Talk is known for his style of multi-track mashing; most of his mashups contain samples from 20–30
different tracks. Girl Talk is famous for his style of "cutting" through different songs and often building to the
climax of a song, upon which the song settles into a groove before cutting away again.

Version vs Version

Mixing two or more versions of a song to create a duet or alternative version of a song is what a version vs
version is set to accomplish. It can mix two different versions of a song, such as a ballad and original version,
or a cover version of the song. Some of the more popular version to version mixes are language mixes, which is
mixing multiple languages into one song. A slightly less popular style of this is mashing two different remixes
or the original and a specific remix of a song together. Version vs Version mashups usually have the same
original instrumental but sometimes it is changed to benefit the song.

Abstract Mash Ups

Music collages which refer to avant-garde music practice and Musique Concrète. These are not intended for the
dance floor and are made using all types of music and sound as valid sound sources to be played
simultaneously and often manipulated. Beat matching and stylistic or aesthetic similarities are not an important
factor in these mash ups. Chaos, dissonance and harmony are all possible results.

An early example of this can be heard on John Cage's multi-radio composition "Imaginary Landscapes No. 4"
(1951) for 12 radios, 24 performers and a conductor. Perhaps the most famous Abstract Mash Up is The Beatles
"Revolution 9" featuring on their White Album from 1968 which includes samples of conversations, classical
music and edited and manipulated samples played simultaneously. Other examples of the psychedelic nature of
these mash ups can be heard on "Heart Beat, Pig Meat" by Pink Floyd from the soundtrack to the film Zabriskie
Point; "The Beatles Play the Residents and the Residents Play the Beatles" and the album The Third Reich 'n
Roll by The Residents and early turntable work by Christian Marclay.

A current (2013) example of Abstract Mash Ups can be heard on radio shows by Joel Cahen (a.k.a. 'Spax') on
Resonance fm in London. The series of shows which began in 2005, feature live abstract mash ups using MP3s,
turntables, CDs, DVDs and field recordings as simultaneously played sound sources. The third season of this
series, Soundsoup, March 2008–April 2010, veered the style towards a more narrative based one.

Glitch pop

Glitch pop is a subgenre of the mashup scene which marries the Digital Signal Processing (DSP) wizardry
associated with Kid 606 and Tigerbeat6 records to the ostensibly familiar contours of pop. Sometimes this is
done in a spirit of "homage"; sometimes it serves merely as a form of ridicule and even vilification; often it is
both at the same time.

An example of the "double science" at play in glitch pop is Skkatter's "Dirty Pop", which takes a song that is
already an epic of carefully constructed digital micro-malfunctions (BT's deconstruction of *NSYNC's "Pop")
and pushes it even further out to the margins of musical mayhem. Similarly, Australian bootlegger and glitch
pop co-conspirator Dsico (real name Luke Collinson) has reworked a number of R&B tunes by such artists as
The Neptunes and (again) *NSYNC in a spirit that is at once both satirical and steeped in fanboydom. In most
cases these remixes render ostensibly mainstream songs "avant garde" and fresh, sometimes by working against
the spirit of the original, but often by leveraging the sugar rush at the heart of much of the best contemporary
pop, and adding sonic CGI to its emotional armoury.

Audio-Viz Mash

SiX DwArF is a non-commercial mashup artist from Scotland in the UK with a twist. He creates cross-genre
mashup tunes but also invents mashup promo videos to go with them which feature on Mash TV, hosted on
Veetle and on various video hosting sites. SiX DwArF also creates homemade promos to champion songs that
do not already have one in which he feels deserves it, receiving praise from various artists. His modus operandi
is: "There's no campaigns, zero commercial gain, no vested interests. Nothing is sacred. Don't do genre... it's
stereotype by another name."

Remixes

Technically, all mashups are remixes. But while most are made up entirely of plundered material, some
bootleggers have fused old a cappella tracks with completely new compositions of their own device. An
example of popular remix artists that primarily remixes single songs but also mashes songs are The White
Pandas. The Chicago-based duo has emerged as one of the biggest upcoming DJs.

Another popular example with fans of Japanese pop is Evil Morning, an album which combines vocal tracks
from Morning Musume and their associated artists with new instrumental tracks that rearrange or replay the
original music in the style of hard rock or heavy metal.

Bootleg albums

DJ Danger Mouse's critically acclaimed remix project The Grey Album effectively launched a new pop
subgenre. While The Beatles had made appearances on several mash-up tracks prior to this album (for instance
PPM's "A Life in the Day" and JPL's "Let It Be Missy Elliott (Beatlesmix)"), The Grey Album distinguished
itself by being made up entirely of samples from The Beatles' White Album and vocals from Jay-Z's The Black
Album. The project received considerable attention following EMI's legal threats towards distributors of the
album.[17]

Another album is Jon Moskowitz Presents Blue Eyes Meets Bed-Stuy, produced by DJ Cappel & Smitty (2005).
This is a remix/mash-up album of The Notorious B.I.G. and Frank Sinatra. The project was very well received,
with major online and print coverage. It was conceived and executive produced by Jon Moskowitz. DJ Cappel
and Smitty took The Notorious B.I.G.'s a cappellas and remixed them with notable Frank Sinatra songs, by
contributing Sinatra's solos, hooks and choruses.

The Best of Bootie mashup compilation series is compiled and produced each year by A Plus D, creators of the
international mashup club Bootie. The compilations have been released in December every year since 2005,
and are annual Internet sensations, with each album garnering over 5000GB+ of downloads.[18]

Cut-ups

While there is some overlap between the terms "cut up" and "mash up", the former has increasingly come to
refer to pieces that rely on the humour (or pathos) of reconstructed spoken word and video material. This may
be due to the fact that the term "cut up" was used decades earlier by novelist and artist William S. Burroughs to
refer to his literary cutups as well as his tape recorder experiments, which featured spliced vocal tracks in the
same way that his written cut-ups literally cut up and rearranged various texts.
The best known cutups remix political speeches and rallies to satirical effect. Simon Hunt, under the
pseudonym Pauline Pantsdown used the speeches of Pauline Hanson, an anti-immigration, controversial
Australian politician to parodic effect in the songs I Don't Like It and Backdoor Man. Johan Söderberg's
"Endless Love", in which George W. Bush and Tony Blair appear to serenade each other like lovebirds, Chris
Morris' "Bushwhacked", a détournement of Bush's 2003 State of the Union Address, or Sarkoskanking by
Polémix and La Voix Off, a cut-off of Nicolas Sarkozy's speeches.

Notable cut up artists include Cassetteboy, Osymyso, rx, Cartel Communique and Evolution Control
Committee.

Notable mash-up artists

Girl Talk

One of the most well known artists in the mashup industry is Gregg Michael Gillis, otherwise known as Girl
Talk. He studied engineering in college and then quit the industry in 2007 in order to focus solely on his music
career. He is originally from Pittsburgh, PA and is one of many artists under the record label, Illegal Art, which
specializes in music sampling. Other artists with Illegal Art include Junk Culture and People Like Us. Girl Talk
has released five albums with Illegal Art: Secret Diary, Unstoppable, Night Ripper, Feed the Animals, and All
Day. Girl Talk does not believe that they are violating any factor of the Fair Use Laws as the law does not
specify for mashups and remixes and the length of the song that is used. Thus, Girl Talk feels that they should
not have to pay the sustained artists a fee for the work they are using. However, others feel that Girl Talk is
violating the Fair Use Law and should be penalized.

Djs from Mars

With the rise of electronic dance music in the mainstream media, Italian duo Djs from Mars became a notable
act in mash-up making. Most well known for mixing opposite genres, on a 128BPM club beat, the duo has
toured the world extensively and their mashups have been played by DJs such as David Guetta, Bob Sinclar,
Martin Solveig, among others. Wearing box-masks over their heads, the satirical duo has been mixing Lady
Gaga with Metallica, Skrillex with Oasis and over 30 different songs into one with their "Megashuffle
MultiBootleg". Djs from Mars' success was confirmed in March 2011, when the pair opened a show for Tiesto,
in Atlantic City.

DJ Earworm

Jordan Roseman (a.k.a. DJ Earworm) gained popularity when he came out with his mashup "United States of
Pop" in 2007. The mashup contains the top 25 songs of the year according to the Billboard Year-End Hot 100
singles of 2007. He has since released one at the end of each year. Earworm has also released mashups he has
done for Capital FM's Summertime Ball since 2010. In addition, Earworm was asked to create multiple mixes
for the 2012 Summer Olympics to be played at various venues throughout London. Maybe we should search
for dates and fix them. 2012 is in the past now.

dj BC

Bob Cronin (a.k.a. dj BC) has been heard on radio stations from New York to Paris. He is known for founding
both Mash Ave and Bootie Boston. dj BC is associated with the fictional band The Beastles which BC created
in 2004. The band is a combination of music from The Beatles and the Beastie Boys. BC's band has released
three albums, dj BC presents The Beastles, Let It Beast, and Ill Submarine. Other notable works from BC are
Glassbreaks, in which the music of Philip Glass is combined with artists such as Lil Jon and Kanye West, and
Wu Orleans, a mashup of Wu-Tang Clan and the local music found in New Orleans, Louisiana for the first
anniversary of Hurricane Katrina.

Max Tannone
Max Tannone is a New York-based producer who has released multiple mashup albums. He is most well known
for his first album entitled Jaydiohead released in 2009. The album combined the music of Jay-Z and
Radiohead. Tannone has since released seven more albums, Doublecheck Your Head, Mos Dub, Dub Kweli,
Selene, Ghostfunk, Mic Check 1234!, and Champagne Jerry - For Real, You Guys.

The Kleptones

The Kleptones is a one-man musical group led by English producer Eric Kleptone. Their first release was in
2003 with their album Yoshimi Battles the Hip-Hop Robots. It was not until 2004 though that they received
attention with their album A Night at the Hip-Hopera. The album combined the music of Queen with various
music selections from rap, movies, and other various sources. In 2005, Eric Kleptone was awarded the Webby
Award for Artist of the Year by the International Academy of Digital Arts and Sciences.[19]

DJ Cummerbund

NY-based DJ Craigory Morgoone (a.k.a. DJ Cummerbund) received worldwide attention and critical acclaim
after releasing his mashup "The Sound of Smash Mouth" which featured a variety of sad movie scenes to
accompany the melancholy amalgamation of All Star by Smash Mouth and a cover of The Sound of Silence by
American heavy metal band Disturbed.[20] Since then, he continues to release mashups[21][22] via YouTube and
occasionally perform live DJ sets in the NY metro area.

The Legion of Doom

The Legion of Doom is an electronic production team consisting of Chad Blinman and Trever Keith. The group
is most known for their album Incorporated which featured a variety of A vs B style mashups. The album was
originally leaked online due to multiple artists not wanting their music being used in mashups.[23][24] The
album has since been released through Illegal Art.

The Hood Internet

The Hood Internet is a Chicago duo consisting of Aaron Brink and Steve Reidell. The duo specializes in
combining hip hop and indie rock music. They have released one studio album, FEAT released under the Decon
record label. In 2009 at the BRIT Awards the musical group The Ting Tings performed a pairing of songs that
The Hood Internet had released the year earlier. The pairing was The Ting Tings' "Shut Up and Let Me Go" and
"American Boy" by Estelle.[25]

Madeon

French DJ and producer Hugo Pierre Leclercq (a.k.a. Madeon) received acclaim when his YouTube video "Pop
Culture", in which Leclercq performs a live mashup, went viral. He has since released three more mashups
along with multiple remixes, singles, and production and songwriting credits. In addition, he has released two
EPs, The City and Japan Only EP.

Notable mash-up albums

Albums by A-Trak

2007: fr:Dirty South Dance

Albums by Girl Talk

2003: Unstoppable
2006: Night Ripper
2008: Feed the Animals
 2010: All Day

Albums by The Kleptones

2003: Yoshimi Battles the Hip-Hop Robots (rappers over The Flaming Lips ' Yoshimi Battles the Pink Robots )
2004: A Night at the Hip Hopera (rappers over Queen)
2010: Uptime / Downtime

Albums by Max Tannone

2009: Jaydiohead
2009: Doublecheck Your Head
2010: Mos Dub
2010: Dub Kweli

Albums by wait what

2010: the notorious xx

Albums by TenDJiz

2011: De La Soulviet – De La Soul with Soviet soul and jazz[26]

2012: Commonasm – Common and Nas with Soviet soul and jazz[27]

Albums by Neil Cicierega

2014: Mouth Sounds

2014: Mouth Silence
2017: Mouth Moods

Other notable albums and individual tracks

The American Edit album by Dean Gray (a collaboration between Party Ben and Team9) was based on
the album American Idiot by Green Day and carried the original version of one of the most well-known
mashups, "Boulevard of Broken Songs".
"Toca's Miracle" by Fragma – mashup of Coco Star's "I Need a Miracle" and Fragma's "Toca Me".
The Grey Album by Danger Mouse (2004) – mashup of Jay Z's The Black Album with The Beatles' The
White Album
"Doctor Pressure" originally created by Phil 'n' Dog in 2004, eventually released by Mylo in 2005.
"Numb/Encore" by Linkin Park & Jay Z, the most popular of the six mash-ups on their album Collision
Course. The song was a hit amongst radio stations and eventually went on to win a Grammy.[28]
"Love" by the Beatles (for the Cirque du Soleil show, Love) in 2006.
"Everyday Chemistry" a mashup album consisting of several solo Beatle songs to make one album
credited to The Beatles. And this album is to have been supposedly found in an alternate universe by a
man with the name 'James Richards'

See also
Mashup (culture)
Mashup (video)
Sound collage
Plunderphonics
WhoSampled
Parody music
Quodlibet
Pastiche
"One Song to the Tune of Another"
References
1. [1] (http://dir.salon.com/story/tech/feature/2002/08/01/bootlegs/index.html) Archived (https://web.archiv
e.org/web/20060617042328/http://dir.salon.com/story/tech/feature/2002/08/01/bootlegs/index.html) 17
June 2006 at the Wayback Machine.
2. Geoghegan, Michael and Klass, Dan (2005). Podcast Solutions: The Complete Guide to Podcasting,
p.45. ISBN 1-59059-554-8.
3. Code of Best Practices in Fair Use for Online Video (http://www.centerforsocialmedia.org/fair-use/best-p
ractices/online-video) Archived (https://web.archive.org/web/20100602194555/http://www.centerforsoci
almedia.org/fair-use/best-practices/online-video) 2 June 2010 at the Wayback Machine., American
University, Center for Social Media
4. Dancing in Your Head (https://books.google.com/books?id=Is9QbUl1PJ4C&pg=PA286).
Books.google.co.uk. Retrieved 18 December 2014.
5. [2] (http://www.evolution-control.com/sounds/gunderphonic/index.htm)
6. "Who the hell is Clint Mansell?" (https://web.archive.org/web/20041010210309/http://www.sickamongth
epure.com/files/2002/07/Mansell/Mansell.html). Sickamongthepure.com. Archived from the original (htt
p://www.sickamongthepure.com/files/2002/07/Mansell/Mansell.html) on 10 October 2004. Retrieved
18 December 2014.
7. Wolk, Douglas (21 January 2008). "Barely Legal" (http://www.villagevoice.com/2002-02-05/music/barel
y-legal/). Villagevoice.com. Retrieved 18 December 2014.
8. "DYMTEST" (http://boomselection.info/). Boomselection.info. Retrieved 18 December 2014.
9. "GYBO - Index page" (http://www.gybo5.com/). Gybo5.com. Retrieved 18 December 2014.
10. "Mashuptown.com" (http://www.mashuptown.com). Mashuptown.com. Retrieved 18 December 2014.
11. "Bootie Blog" (https://web.archive.org/web/20091222011812/http://www.bootieusa.com/blog/labels/Top
10.html). Bootieusa.com. Archived from the original (http://www.bootieusa.com/blog/labels/Top10.html)
on 22 December 2009. Retrieved 18 December 2014.
12. Jam, Billy. "Music For Generation ADD: Mashups quietly mature into a thriving subculture" (http://ww
w.newyorkpress.com/20/20/music/Music3.cfm) Archived (https://web.archive.org/web/2008072500000
0/http://www.newyorkpress.com/20/20/music/Music3.cfm) 25 July 2008 at the Wayback Machine., New
York Press, 23 May 2007
13. "Sneaky Armada" (http://www.discogs.com/Various-Exquisite-EP/release/72643). Discogs.com.
Retrieved 18 December 2014.
14. "Cheeky Armada" (http://www.discogs.com/Illicit-Feat-Gramma-Funk-Cheeky-Armada/release/106937
0). Discogs.com. Retrieved 18 December 2014.
15. Roberts, David. Guinness Book of British Hit Singles & Albums. Guinness World Records Ltd 17th
edition (2004), p. 267 ISBN 0-85112-199-3
16. "Not On Label (Illicit Remix Series)" (http://www.discogs.com/label/Not+On+Label+(Illicit+Remix+Ser
ies)). Discogs.com. Retrieved 18 December 2014.
17. Rambarran, Shara (2013). "‘99 Problems’ but Danger Mouse Ain’t One: The Creative and Legal
Difficulties of Brian Burton, ‘Author’ of The Grey Album" (http://www.popular-musicology-online.com/
issues/03/rambarran.html). Popular Musicology.
18. "Mashup best-of 2006 album" (http://www.boingboing.net/2007/01/11/mashup-bestof-2006-a.html).
Boing Boing. Retrieved 18 December 2014.
19. [3] (http://www.webbyawards.com/webbys/specialwin.php) Archived (https://web.archive.org/web/2012
1003145130/http://www.webbyawards.com/webbys/specialwin.php) 3 October 2012 at the Wayback
Machine.
20. "Shed A Tear For This Sad Remix Of Smash Mouth's 'All Star' " (http://nerdist.com/shed-a-tear-for-this-s
ad-remix-of-smash-mouths-all-star/). nerdist.com. Retrieved 15 May 2016.
21. " 'PantsFeet' Is The Cool New Nickelback Jam That Will Speak To Your Soul" (http://digg.com/video/pa
ntsfeet-dj-cummerbund-nickelback/). digg.com. Retrieved 13 October 2016.
22. "Rush's YYZ finally gets a vocal in mysterious Milkshake mash-up" (http://teamrock.com/feature/2016-1
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23. "The Legion of Doom » Blog Archive » ‘Incorporated’ goes live" (https://web.archive.org/web/201202
10040453/http://www.the-legion-of-doom.com/?p=10). The-legion-of-doom.com. Archived from the
original (http://www.the-legion-of-doom.com/?p=10) on 10 February 2012. Retrieved 18 December
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 24. "The Legion of Doom leak own album" (http://www.punknews.org/article/15898). Punknews.org.
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25. "The Hood Internet" (https://web.archive.org/web/20141219032615/http://www.thehoodinternet.com/200
8/06/estelle-vs-ting-tings.html). Thehoodinternet.com. Archived from the original (http://www.thehoodin
ternet.com/2008/06/estelle-vs-ting-tings.html) on 19 December 2014. Retrieved 18 December 2014.
26. "De La Soul + Soviet soul and jazz = De La Soulviet (http://latimesblogs.latimes.com/music_blog/2011/1
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27. "TenDJiz Talks Soviet Jazz and Hip-Hop Mashup Album CommoNasm (http://blogs.miaminewtimes.co
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28. ""Numb/Encore" wins a Grammy (http://rockdirt.com/jay-z-and-linkin-park-win-best-rapsung-collaborati
on-grammy/16614/)", 'Jay-Z And Linkin Park Win Best Rap/Sung Collaboration Grammy'. Rockdirt.com
9 February 2006

Further reading
Paul Morley (2003). Words and Music: A History of Pop in the Shape of a City. Bloomsbury. ISBN 0-
7475-5778-0.
Jeremy J. Beadle (1993). Will Pop Eat Itself? Faber & Faber. ISBN 0-571-16241-X.
Roseman, Jordan (2006). Audio Mashup Construction Kit. ISBN 0-471-77195-3.
Hughes, J. & Lang, K. (2006). Transmutability: Digital Decontextualization, Manipulation, and
Recontextualization as a New Source of Value in the Production and Consumption of Culture Products.
In Proceedings of the 39th Annual Hawaii International Conference on System Sciences – Volume 08.
Sinnreich, Aram (2010). Mashed Up: Music, Technology & the Rise of Configurable Culture [4].
ISBN 1-55849-829-X.

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