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.
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This thing will get you set up with making remixes in no time. Making a remix or bootleg is always different from making an original. Sometimes it can be easier because the ideas already exist, and other times it can be more difficult.
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Other small errors fixed. I am always interested in obtaining new shows. Some of the tracks included were from sessions or live show broadcasts of only two or three tracks and it didn't seem feasible to include such short part sets. Theatre de Champs Elysees, Paris, France SB means soundboard; no letters before the number indicates it is an audience recording. I'm looking to get them from the first tour right up to now. Not a bootleg as such but informative for those new to Young or lapsed older fans not familiar with his recent work.
By picking the right tracks, they were able to piggyback on the popularity of new hits or renowned classics, creating a platform for their future original releases. To remix successfully, you need to pick the right record, get the timing right, acquire the rights and add something special to the original. You want to bang out an amazing remix and are looking for the latest EDM hit to work on. These scenarios do occur, where a great remix that gets traction leads to the remixer being supported by the original artist. Realistically, remixes are a great way to get traction and appear on the radar of your favorite labels and artists. Remixes work because when selected strategically, they build upon the reputation of an already popping track—whether current or classic. You can work with the existing elements of the original, instead of having to start from scratch. If the original record is a Trap track, the label might solicit Future Bass, House and Bigroom remixes to reach those untapped audiences. This holds true from a marketing perspective too.