Friday, April 16, 2010

Dissertation Finished!

It has been too long since I have posted, but I have been extremely busy finishing my dissertation. I just defended the dissertation on Wednesday. You can download it here.

Monday, October 12, 2009

Themed post: Michael Jackson

As I was listening though my mashup collection I realized that I have a ton of Michael Jackson mashups.

Here are some of my favorites (in no particular order):

Norwegian Recycling - "Wanna Be Mixin' Something"
You will be hard pressed to find more King of Pop samples in one song. This mashup features 7 Michael Jackson songs and several others. For a list, and to download, visit Norwegian Recycling's website. Norwegian Recycling also made the video:

DJ Schmolli
- "Jacko Breaks Free on Earth"
An excellent mashup from Austria's #1 exporter of Michael Jackson mashups (and more). Unfortunately I don't know who made this video:

Party Ben
- "Promiscuous With You"
Nelly Furtado and Timbaland vs. Michael Jackson. This is a seamless mashup and a seamless video by VJ Brewski:

Go Home Productions
- "Jacko Under Pressure"
Sticking with "Rock With You" a great A vs. B mashup by pioneering mashup legend Go Home Productions (a.k.a. Mark Viddler).

Mad Mix Mustang - "The Way You Got Me That Feeling"
Combining Michael Jackson with James Brown is tempting fate. Toying with two of my musical heroes could either be a colossal failure or a colossal success. Like most of Mad Mix Mustang's mashups this is the latter.

DJ Gauffie - "I Want ABC Back"
The vocals from The Jackson 5's "ABC" over the instrumentals of The Jackson 5's "I Want You Back." This is extremely well done. My mom is two years younger than Michael Jackson and grew up listening to the Jackson 5, watching their TV shows, mimicking their dance moves, and crushing on Jermaine. I played this for her and she didn't notice that it was a mashup until I pointed it out. That is the sign of a well-produced bootleg.

I encourage you to visit the artist's websites where you will find many more excellent mashups.

Sunday, July 26, 2009

New York Times Racial Profiling Fail

I apologize that this is so far off topic, and that I have posted so little recently, but I saw this while reading the New York Times this morning and couldn't let it pass.

This weekend the Times ran a number of different columns reflecting on the arrest of Henry Louis Gates Jr. One of the columns, Obama, Gates and the American Black Man, by Brown University professor Glenn Loury, discusses racial profiling and systemic discrimination against Africa-Americans, particularly black men. I have posted a screen shot below. Notice the advertisement on the right side of the picture (click for a larger image):

To be fair, this ad was almost certainly generated automatically. It could also be coincidence that this ad was generated for this particular article. That being said, running an advertisement for hair straightening products along side an Op-Ed about the injustice of racial profiling and systemic racism is, at the very least, embarrassing and strikingly ironic.

Friday, March 13, 2009

Simply incredible

I am nearly wordless in awe of this mashup project by Kutiman. The project is called Thru YOU. Kutiman has pulled dozens of videos from YouTube featuring individuals playing musical instruments and mixed them into 7 tracks/videos. Each track mashes up numerous separate YouTube videos. This is what creativity, media remixing technology, and Internet communication can do.

Here is one of the tracks:

Kutiman explains a little bit about his project in this video:

All of the videos or linked on the project website here.

This makes me giddy.

Sunday, February 22, 2009

I Have A Weakness For Puns

I guess this is sort of a mashup. Not really, but I love it and I wanted to put it on the blog.

Tuesday, January 27, 2009

Listen To This

This has already been posted widely but in case you didn't see it this is DJ Earworm's United States of Pop 2008:

This mashup combines samples from each of the Billboard Top 25 songs of 2008. Earworm made the video as well. DJ Earworm also created a mashup combining the Billboard Top 25 songs of 2007 last year:
Both of these and many other excellent mashups can be downloaded from DJ Earworm's site.

Earworm is one of the most talented mashup artists out there. His production skills are incredible. Earworm is also the author of a mashup instruction book which is quite good although sadly not Mac compatible (he uses Sony's Acid Pro). DJ Earworm is best known for creating mashups with a large amount of samples all melded together seamlessly. However unlike other mashup artists, such as Girl Talk, that use tons of samples in a sort of frenetic collage, Earworm's mixes sound much more like recognizable songs with verses, choruses, and lyrics from multiple sources that are often tied to a common theme. For more about DJ Earworm's style check out this article from the MIT Technology Review which also features a cool "make your own mashup" tool.

Monday, January 26, 2009

Copyright Squelches Local Music

I am currently living in Providence, RI approximately 410 feet from Patrick's Pub. Pat's is an Irish pub and the only neighborhood bar in the area that you would want to go to. Aside from an excellent pint of Guinness and the traditional Irish favorite "Nachos Tipperary", the pub used to feature frequent live music from local bands, a weekly Irish music session, karaoke, and a juke box.

For those of you who, like myself, are somewhat new to the intricacies of copyright, any venue that serves food or alcohol and plays copyrighted music must pay licensing fees. For example, if a bar wants a juke box they have to pay licensing fees. The only way to legally avoid paying licensing fees is to require musicians to perform only their own original works (no covers), have a juke box that only plays music in the public domain, or simply have no music at all.

There are three main organizations that collect these licensing fees ASCAP, BMI, and SESAC. When Musician  A writes a song that he/she intends to publish Musician A will register the song with these organizations. These organizations then track the amount of times that Musician A's song is played on radio, television, on jukeboxes, or by cover bands, and give a portion of the licensing fees that they have collected from the venues that play the music (like Pat's Pub), radio stations, clubs, etc.  to Musician A. The payments to Musician A are known as royalties.

Here's the problem: there is no way that these organizations can possibly track the amount of times that a single song is played on every radio station, television station, in every bar or concert hall. So instead they use a number of variables and algorithms to determine who gets what royalties. In the end, the vast majority of the royalties collected go to a small amount of very popular musicians and their record companies. Meanwhile Musician A will likely never see any royalties from his/her work.

In other words the system is broken. In practice it is little more than a racket in which three large organizations collect a lot of money, keep some of it, and give the rest to a handful of already wealthy musicians and their even wealthier record labels. 

This is not to argue against the idea behind royalties. Musician A should get paid for his/her work. A radio station sells advertising and can charge more based on the station's popularity which is determined largely by the music that they play. A pub makes money by selling food and drinks and attracts customers, in part, with live or recorded music. Since these entities are making money due, in part, to the works of the musicians whose music they are playing, it is only fair that they should have to pay those musicians for their work.

Unfortunately, as explained above, it isn't that simple. Take Patrick's Pub as an example. I have been there on a number of occasions and never heard much in the way of Top 40 pop either performed live or on the juke box. Yet there is a very high chance that the bulk of the fees that are collected from Pat's Pub are going to those Top 40 artists. Meanwhile the musicians whose music is being played at Pat's might not be getting any money at all from the licensing fees that the pub is paying.

There is another problem with all of this and Pat's Pub again provides a good example. The owner of Patrick's, either because he was unaware or unwilling, did not pay his licensing fees and was caught. ASCAP sued Patrick's Pub for up to $120,000 in damages. This made news nationally because Pat's pub is a local hangout for many Providence politicians. This NY Times article gives a good summary of the case. Patrick's settled the case for $16,000 and is still open.

As a result of the suit, and this is the worst part, Patrick's no longer has any live music. The owner of the pub is too concerned that he may run afoul of another of the three licensing companies and so he has decided to just stop all live music. This means that local bands have one less place to play, people have one less place to come together and be a part of local music culture, there is no longer an Irish music session, the pub is unable to attract people in with music, and the reduced amount of customers along with the fine has put the pub in danger of closing.

Who does all of this serve? The profits of a select few record companies and their most popular recording artists. The system as it exists currently is not helping local musicians, it's not helping local establishments, and it is certainly not serving local communities. I used to really enjoy seeing music at Pat's Pub. It was entertaining to watch and gave a unique view into the community. Now that is gone.