onek durer,nil simana ,nil nirjon ekaki e mon, hariye jaoa khuje paoa r abar hariye jaoa…..

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 been 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[edit]
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[edit]
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[edit]
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.

In the UK, the most notable exponent of the genre is Poj Masta, a teenage schoolboy whose work has been keenly supported by DJs such as Eddy Temple-Morris and James Hyman of London’s Xfm radio station. Their weekly show, “The Remix”, has played a major role in nurturing new bootleggers and bringing them to the attention of a wide audience.[17]

Audio-Viz Mash[edit]
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.”[citation needed]

Remixes[edit]
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[edit]
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.[18]

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.[citation needed]

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.[19]

Cut-ups[edit]
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[edit]
Girl Talk[edit]
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[edit]
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[edit]
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.

dj BC[edit]
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[edit]
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[edit]
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.[20]

DJ Cummerbund[edit]
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.[21] Since then, he continues to release mashups[22][23] via Youtube and occasionally perform live DJ sets in the NY metro area.

The Legion of Doom[edit]
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.[24][25] The album has since been released through Illegal Art.

The Hood Internet[edit]
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.[26]

Madeon[edit]
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[edit]
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[27]
2012: Commonasm – Common and Nas with Soviet soul and jazz[28]
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.[29]
“Love” by the Beatles (for the Cirque du Soleil show, Love) in 2006.
See also[edit]
Mashup (culture)
Mashup (video)
Sound collage
Plunderphonics
WhoSampled
Parody music
Quodlibet
Pastiche
“One Song to the Tune of Another”
References[edit]
Jump up ^ [1] Archived 17 June 2006 at the Wayback Machine.
Jump up ^ Geoghegan, Michael and Klass, Dan (2005). Podcast Solutions: The Complete Guide to Podcasting, p.45. ISBN 1-59059-554-8.
Jump up ^ Code of Best Practices in Fair Use for Online Video, American University, Center for Social Media
Jump up ^ Dancing in Your Head. Books.google.co.uk. Retrieved 18 December 2014.
Jump up ^ [2][dead link]
Jump up ^ “Who the hell is Clint Mansell?”. Sickamongthepure.com. Archived from the original on 10 October 2004. Retrieved 18 December 2014.
Jump up ^ Wolk, Douglas (21 January 2008). “Barely Legal”. Villagevoice.com. Retrieved 18 December 2014.
Jump up ^ “DYMTEST”. Boomselection.info. Retrieved 18 December 2014.
Jump up ^ “GYBO – Index page”. Gybo5.com. Retrieved 18 December 2014.
Jump up ^ “Mashuptown.com”. Mashuptown.com. Retrieved 18 December 2014.
Jump up ^ “Bootie Blog”. Bootieusa.com. Retrieved 18 December 2014.
Jump up ^ Jam, Billy. “Music For Generation ADD: Mashups quietly mature into a thriving subculture” Archived 25 July 2008 at the Wayback Machine., New York Press, 23 May 2007
Jump up ^ “Sneaky Armada”. Discogs.com. Retrieved 18 December 2014.
Jump up ^ “Cheeky Armada”. Discogs.com. Retrieved 18 December 2014.
Jump up ^ Roberts, David. Guinness Book of British Hit Singles & Albums. Guinness World Records Ltd 17th edition (2004), p. 267 ISBN 0-85112-199-3
Jump up ^ “Not On Label (Illicit Remix Series)”. Discogs.com. Retrieved 18 December 2014.
Jump up ^ Frere-Jones, Sasha. “1 + 1 + 1 = 1; The new math of mashups.” The New Yorker, 10 January 2005, Pg 85.
Jump up ^ Rambarran, Shara (2013). “’99 Problems’ but Danger Mouse Ain’t One: The Creative and Legal Difficulties of Brian Burton, ‘Author’ of The Grey Album”. Popular Musicology.
Jump up ^ “Mashup best-of 2006 album”. Boing Boing. Retrieved 18 December 2014.
Jump up ^ [3] Archived 3 October 2012 at the Wayback Machine.
Jump up ^ “Shed A Tear For This Sad Remix Of Smash Mouth’s ‘All Star'”. nerdist.com. Retrieved 15 May 2016.
Jump up ^ “‘PantsFeet’ Is The Cool New Nickelback Jam That Will Speak To Your Soul”. digg.com. Retrieved 13 October 2016.
Jump up ^ “Rush’s YYZ finally gets a vocal in mysterious Milkshake mash-up”. teamrock.com. Retrieved 1 December 2016.
Jump up ^ “The Legion of Doom » Blog Archive » ‘Incorporated’ goes live”. The-legion-of-doom.com. Archived from the original on 10 February 2012. Retrieved 18 December 2014.
Jump up ^ “The Legion of Doom leak own album”. Punknews.org. Retrieved 18 December 2014.
Jump up ^ “The Hood Internet”. Thehoodinternet.com. Retrieved 18 December 2014.
Jump up ^ “De La Soul + Soviet soul and jazz = De La Soulviet” – Los Angeles Times, 28 October 2011
Jump up ^ “TenDJiz Talks Soviet Jazz and Hip-Hop Mashup Album CommoNasm” – Miami New Times, Jule 9, 2012
Jump up ^ “”Numb/Encore” wins a Grammy”, ‘Jay-Z And Linkin Park Win Best Rap/Sung Collaboration Grammy’. Rockdirt.com 9 February 2006
Further reading[edit]
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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