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Best mashups of popular songs

These unlikely combinations are just a small taste of what the world of mashups has to offer. Check out the list below! Have you ever wondered what it would sound like if Post Malone were in an emo band? The track should come as no surprise considering even Hawthorne Heights once said Malone would be a perfect fit for one of their songs. Clearly, they knew what they were talking about. At The Disco? Michael Jackson meets Panic! This works so well that it leaves us to wonder: Maybe Gerard Way really is soap? Scene icons Fall Out Boy and Panic! Instead, Poppy and Breaking Benjamin come together to form a mashup that has a serious reggae-rock feel to it.
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This article lists songs of the A vs B " mash-up " genre that are commercially available as opposed to amateur bootlegs and remixes.
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I know that a solid portion of this list is just random pop songs mixed with "Toxic" but this might be the best of them all.
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Pop Danthology 2014 Daniel Kim

Abstract Mashups, also known as bootlegs or bastard pop, epitomize current changes in the production of, and interaction with, popular culture. Mashup artists utilize computer technology to remix and reshape the culture around them, and to build and maintain community. By looking at the history of the mashup genre, the dispersed nature of the mashup community, the production techniques used by mashup producers, and the impacts of copyright law, this article demonstrates that the mashup genre and the worldwide community of its fans and producers are on the cutting edge of popular music, technology, and copyright. Keywords : Mashup, mash-up, bootleg, copyright, remix. Despite extraordinary effort on the parts of media corporations, the concept of a finite work has been shattered. Computers, editing software, and Internet access, tools increasingly available across income and geographic lines, are used by millions of people worldwide to reshape the content of culture. Movies, television, music, books, photographs, paintings, news reports, all media is reconceptualized, recontextualized, and broadcast via the Internet countless times over by individuals and groups who see themselves as active producers, not passive consumers. This article focuses on one aspect of this paradigm shift: mashups and the community of artists and fans that has grown around them. A mashup is a piece of recorded music that is comprised entirely of samples taken from other recordings and remixed to create a single new track. A standard mashup features samples from two or more songs, usually by different artists, edited into one track via the manipulation of elements like tempo, pitch, and key.
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Techniques used in this video: Harmonic Mixing and Wordplay. This is a great formula for mashups: take a modern beat Avicii , combine with a famous older song Rick Astley and add the hook from a third song Chumbawamba. An example of wordplay, where one vocalist finishes a lyric that another one has started. Trance music mixed by the legendary Shane His harmonic mixing is perfect and he was one of the early adopters of Mixed In Key. Our software helps him put together his DJ playlists. There are famous formulas in every genre, but this is insane. Huge 1 hits were all using the exact same song structure. Check it out. This is a classic video.
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Abstract Mashups, also known as bootlegs or bastard pop, epitomize current changes in the production of, and interaction with, popular culture. Mashup artists utilize computer technology to remix and reshape the culture around them, and to build and maintain community. By looking at the history of the mashup genre, the dispersed nature of the mashup community, the production techniques used by mashup producers, and the impacts of copyright law, this article demonstrates that the mashup genre and the worldwide community of its fans and producers are on the cutting edge of popular music, technology, and copyright.

Keywords : Mashup, mash-up, bootleg, copyright, remix. Despite extraordinary effort on the parts of media corporations, the concept of a finite work has been shattered.

Computers, editing software, and Internet access, tools increasingly available across income and geographic lines, are used by millions of people worldwide to reshape the content of culture. Movies, television, music, books, photographs, paintings, news reports, all media is reconceptualized, recontextualized, and broadcast via the Internet countless times over by individuals and groups who see themselves as active producers, not passive consumers.

This article focuses on one aspect of this paradigm shift: mashups and the community of artists and fans that has grown around them. A mashup is a piece of recorded music that is comprised entirely of samples taken from other recordings and remixed to create a single new track. A standard mashup features samples from two or more songs, usually by different artists, edited into one track via the manipulation of elements like tempo, pitch, and key. A mashup often features the vocals taken from one track juxtaposed with the instrumentals taken from another.

The use of preexisting recordings in a new piece of music, called sampling, is not unique to mashups. However, mashups typically consist exclusively of samples. In this respect mashups are unlike hip-hop, dance remixes, or other genres of music in which samples are combined with new content. The sources used to construct a mashup are usually from the realm of popular music.

Mashups are firmly rooted in the popular music tradition. In fact, one defining quality of a mashup is the adherence to popular song form some combination of verse, chorus, and bridge. As will be discussed in more detail below, their song structure sets mashups apart from other types of sample-based music and related genres like turntablism. Mashups are primarily distributed via the Internet. Many mashup artists [i] have their own websites; others use personal blogs that link to file hosting sites where their work can be downloaded.

Mashups are publicized, distributed, and critiqued in online forums popular with the community like gybo5. Mashups are also heard and shared in dance clubs across the country, receive occasional radio airplay, are featured in podcasts, and commercially released on rare occasion. In this article I will address the history of the mashup genre from its roots in experiments with recorded sound to the most current wave of digitally created mashups, provide an introduction to the mashup community which exists on a continuum of virtual community and physical community, describe the production techniques used to create mashups, and, finally, discuss the impact of copyright on the genre and the responses of community members.

Due, in part, to the relative youth of the mashup genre there has been little written by scholars or in popular media about its history. Constructing a history of mashups is further complicated because mashups consist solely of copyrighted works and, as a result, very few mashups are ever released commercially.

The vast majority of mashups are distributed for free over the Internet leaving no physical archives. Information that I have gathered from interviews and reading posts on online forums has informed much of the following history as well as the scant scholarly and popular literature on the subject.

DJ Earworm, a prominent mashup producer and author of a mashup how-to book, devotes several pages of his book to the history of the mashup genre Roseman, Earworm situates mashups in a very long continuous history. He writes,. Mashups are just a bit more direct and honest about it Earworm xvii. In Chapter Two of his book Earworm points to specific examples of this type of borrowing from the Western music tradition, such as Gregorian chant, motets, and quodlibet.

Earworm argues that all of these genres combine or re-work preexisting music to create new music Earworm However, like Earworm, several of the scholarly works on mashups attempt to show a connection between mashups and Western art music, specifically musique concrete McLeod In addition to musique concrete, mashups have been likened to pastiche Gunderson, 2 and to the collage aesthetic associated with modernism in the visual arts Levay 22; McLeod Levay draws a comparison to visual arts,.

Members of the community also acknowledge a connection to musique concrete and other examples of Western Art music that have used sampling.

In a discussion thread on the community forum Get Your Bootleg On GYBO , dj BC explained that he and two other mashup artists were preparing a talk on mashups for the Cambridge Center for Adult Education in Massachusetts and were seeking advice on what important moments in mashup history should be raised.

Fab A piece by Steve Reich or John Cage bears little resemblance to most contemporary mashups. This connection is tenuous. In contrast to the works of minimalist composers and musique concrete, the vast majority of mashups sample popular music. One could just as easily make the argument that hip-hop, electronica, or any other music that uses sampling is a part of the same lineage.

While there are some shared production techniques, mashups, hip-hop, electronica, and musique concrete are all very different musical genres. Developments in the history of popular music are more helpful for outlining mashup history.

There is agreement within the mashup community and in the scholarly literature that mashups belong in the continuum of remix music. Remix is an umbrella term that encompasses all types of music that alter original recordings to create new versions, or remixes, of those recordings.

Sampling is one of the many techniques used in remixing, and mashups are one of many genres of remixes. Remixers see recordings as source material, not as finished products. Remixing extends beyond just recorded sound to video, photos, essentially any medium can be remixed, especially if digital. A mashup artist approaches recordings the same way and the specific techniques and tools used by mashup artists are used more widely than just for creating mashups.

There is strong consensus in the scholarly community that remixing has its roots in Jamaica Brewster and Broughton , Levay ; Stolzoff ; Veal Levay writes,. As early as the s, Jamaican selectors disc jockeys were constructing metatexts in dancehalls by playing a series of records linked by key, tempo, artist, or themeā€¦ This performance style was later refined by disco DJs and reinvented by hip-hop DJs Levay outlines the movement from playing recordings in a user-defined order, to using various hardware tools and performance techniques to manipulate the recordings themselves.

Jamaican musicians were on the cutting edge of remixing popular music although, as outlined above, the composers of musique concrete and other early experimenters with recorded sound were also treating recordings as open and remixable contemporaneously. I am not asserting that Pierre Schaffer and Steve Reich invented the remix, but simply that it is difficult to point to any single origin.

Mashups are a specific type of remix and are distinguished by several qualities. Rarely does a mashup creator add any new material. This is in contrast to much sample-based music in which samples are disguised or used solely for interesting sonic properties with no intention of their being recognized see Schloss for a discussion of this practice in hip-hop production.

Additionally, the length of a sample used in a mashup tends to be much longer than what is used in many other sample-based remixes. Rather than taking a sample and deconstructing it for a split second of sonic material such as one single snare drum hit , a mashup producer typically uses long, even entire song-length, pieces of samples to maximize their recognizability.

The term mashup is recent. This date is in keeping with the emergence of the contemporary mashup scene. For the sake of clarity I delineate between contemporary mashups and their influences. The limiting factors are that contemporary mashups are created using almost exclusively samples from preexisting recorded sources, they consist of predominately musical sources, are conceived of as a new song adhering to some recognizable song form, and are made with digital audio editing software and hardware.

Using these criteria I argue that the contemporary mashup genre emerged from the United Kingdom in At the time mashups were known primarily as bootlegs or bastard pop. The term bastard pop, a tongue-in-cheek reference to a mashup being the illegitimate offspring of two pop songs, has mainly fallen out of use. The term bootleg, and bootlegger, is still used within the community and by the media, especially in the United Kingdom. In the U. The first dance club night dedicated to mashups began in in London. Originally called King of Boots, the name was soon changed to Bastard and, while no longer a regular club night, it is still revered by the mashup community.

As the mashup scene in the United Kingdom was getting established an important development occurred. In November the music blog Boomselection. Boomselection was the first blog focused on mashups and, according to many in the mashup community, the first MP3 blog of any kind on the Internet. While this claim is impossible to verify, Boomselection was, at the very least, one of the first. On Boomselection direct download links for mashups were posted. Up until that point mashups could be found on peer-to-peer filesharing networks such as Napster, but there was no central site making mashups available for download.

Shortly after Boomselection. GYBO started in February , on a free, basic message board hosting service. It began as a reaction to the emerging craze of bootlegs and the increase in popularity of bedroom production. A combination of easier access to cheap music production software and the internet as a tool for sourcing acapellas and instrumentals helped make Get Your Bootleg On as it was then an attractive place for the bootleg community to form McSleazy Mashups started to gain attention outside of the United Kingdom due, in large part, to the Internet.

After the scene continued to grow on the Internet as well as in nightclubs. The mashup album was critically acclaimed, but much of the attention that the album received was due to the controversy surrounding its copyright status. Danger Mouse did not license any of the samples that he used he also only sold a very limited number of CDs and then released the album for free over the Internet , and several websites that were hosting the album for download were issued cease and desist orders see McLeod In response, numerous websites took part in the Grey Tuesday protest on February 24, The websites involved collectively disobeyed the cease and desist orders by hosting the Grey Album for illegal downloading for a hour period and the online protest was covered widely in the media.

The popularity of the genre has continued to grow and in October Activision Games released DJ Hero, a video game in which the player creates mashups. The game follows the same concept as the popular Guitar Hero and Rock Band franchises but the player controls a turntable and mixing console.

The music for the game is entirely mashups of pop songs most of which where created by established mashup artists and members of the mashup community. In addition to a big-budget video game, the genre now has a mainstream star in Girl Talk. Despite using hundreds of uncleared samples, Girl Talk releases his mashups via the record label Illegal Art. He has become a successful full-time touring musician and legitimate mainstream celebrity in the United States. He is the most widely recognized mashup artist today and, arguably, is better known than any other mashup artist past or present.

Many members of the mashup community consider Girl Talk to be an outsider because he does not perform at mashup events or participate in online mashup forums. The mashup community is larger now than ever before with numerous club nights worldwide, occasional radio play, podcasts, and over 16, registered users on GYBO McSleazy What started with a handful of producers and fans has grown to become a worldwide community, and mashups are now a widely recognized part of the landscapes of popular music and popular culture.

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