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Mashup (Music)

Mashup

A mashup (alternatively known as a mesh, mash up, mash-up, blend, bastard pop [1] or bootleg [2]) is a creative endeavor, most commonly a song, that is constructed by merging two or more pre-recorded pieces of music. The typical method involves taking the vocal track from one song and seamlessly overlaying it onto the instrumental track of another. This process often necessitates adjustments to the tempo and key of the combined elements to achieve a cohesive result. [3] These creations are often considered "transformative" works in relation to their original source material. In the United States, such transformative works may be afforded protection against copyright infringement claims under the "fair use" doctrine, a principle within copyright law. [4]

Stylistic Origins

The stylistic roots of the mashup can be traced to a confluence of genres, including Pop, Rock, and Electronic music.

Cultural Origins

The genesis of the mashup phenomenon can be pinpointed to the late 1990s and early 2000s, with significant developments emerging from both Europe and North America.

Derivative Forms

As a creative process, the mashup draws heavily from and contributes to several related artistic techniques, notably Sampling, sound collage, and the remix.

Regional Scenes

The global reach of the mashup is evident in its vibrant regional scenes, with notable activity in: • United Kingdom • United States • Germany • France • Australia • Norway • Netherlands • Switzerland • Sweden • Indonesia • Canada • India • Belgium • Austria • Brazil • Italy • Japan • Russia

History

While the term "mashup" might evoke a more contemporary image, its conceptual precursors and early manifestations can be found much earlier. A pivotal, though perhaps not explicitly labeled as such at the time, example is Harry Nilsson's 1967 album Pandemonium Shadow Show. Within this album, Nilsson's rendition of "You Can't Do That" by the Beatles is not a straightforward cover. Instead, Nilsson meticulously recreated his own vocal performances of over a dozen Beatles songs, weaving them into a singular track. [5] The genesis of this unique approach, as Nilsson himself described, stemmed from a simple guitar chord that, in his realization, could serve as the foundation for numerous Beatles melodies. [6] This innovative recording has led some to credit Harry Nilsson as the progenitor of the mashup.

However, the lineage of the mashup extends further back, with several other recordings considered early examples or direct precursors. Bill Buchanan and Dickie Goodman's 1956 track "The Flying Saucer" is frequently cited. [7] [8] Marshall McLuhan's spoken-word album The Medium Is the Massage from 1967, [10] and the John Benson Brooks Trio's experimental Avant Slant from 1968, also exhibit qualities of sonic amalgamation. [10] The burgeoning hip hop scene contributed significantly, with Grandmaster Flash's 1981 track "The Adventures of Grandmaster Flash on the Wheels of Steel" being a prime example of live manipulation and blending of existing records. [11] [12] [13] Even Paul McCartney dabbled in the concept with his 1983 track "Tug of Peace," [14] as did Climie Fisher with the "Hip Hop Mix" of "Rise to the Occasion" in 1987. [15] The novelty act Jive Bunny and the Mastermixers achieved significant success with their 1989 album Jive Bunny: The Album, [16] and the influential electronic act Coldcut released "Journeys by DJ: 70 Minutes of Madness" in 1995, a pioneering work in the DJ mix format that heavily incorporated sampled and blended material. [17] [18]

While its title suggests a medley, the 1983 track "Do It Again Medley with Billie Jean" by the Italian music project Club House is often regarded as one of the earliest commercially released mashups. This track masterfully combined elements of Steely Dan's 1973 hit "Do It Again" with Michael Jackson's contemporaneous chart-topper, "Billie Jean". The song achieved considerable success, reaching number 11 in the UK and charting within the top 10 in Belgium, Ireland, and the Netherlands. [19]

Another noteworthy early example emerged in 1985 with the Tubes' studio album, Love Bomb. The second side of this album featured the track "Theme from a Wooly Place," which ingeniously juxtaposed the tune "Wooly Bully" in one audio channel with "Theme from A Summer Place" in the other. [21]

The year 1990 marked a significant milestone when Norman Cook, under his alias Beats International, secured the number one spot on the UK Singles Chart with "Dub Be Good to Me". This track was, in essence, a mashup that re-recorded vocals from the SOS Band's "Just Be Good to Me" and layered them over the instrumental backing of the Clash's "The Guns of Brixton". This achievement signified the first mashup to gain substantial mainstream recognition. [22] [23]

In 1990, John Zorn's album Naked City presented a bold reinterpretation of Ornette Coleman's "Lonely Woman", setting it against the iconic bassline of Roy Orbison's "Pretty Woman". [24] importance of example(s)?

Anticipating the surge in mashup popularity during the 2000s, German trance act Fragma experienced immense success with "Toca's Miracle". This track, a mashup of their earlier single "Toca Me" and Coco Star's 1996 hit "I Need a Miracle," was initially created by British DJ Vimto in 1999. "[Toca's Miracle]" topped the UK charts and reached the top 10 in Australia and across Europe. [25]

The mashup movement experienced a resurgence in 2001 with the release of As Heard on Radio Soulwax Pt. 2 by Soulwax's Dewaele brothers, a meticulously crafted blend of 45 distinct tracks. In the same year, a remix of Christina Aguilera's "Genie in a Bottle" by Freelance Hellraiser gained considerable attention. This remix ingeniously paired Aguilera's vocals with the distinctive guitar riff from "Hard to Explain" by New York band the Strokes, under the title "A Stroke of Genie-us." [26]

In 2001, English producer Richard X created a clandestine mashup that blended Adina Howard's "Freak Like Me" with Tubeway Army's "Are "Friends" Electric?". Titled "We Don't Give a Damn About Our Friends," this track became a popular underground dance anthem under his alias Girls on Top. Due to difficulties in securing permission for the original vocals for commercial release, Richard X enlisted the English girl group Sugababes to re-record the vocals. Released in April 2002, this version propelled the Sugababes to their first UK number one single and brought significant recognition and mainstream appeal to the mashup genre. Richard X continued his success with two more top 10 hits: "Being Nobody" (number 3), which combined the vocals of Chaka Khan and Rufus (band)'s "Ain't Nobody" with the instrumental of the Human League's "Being Boiled" and featured Liberty X, and "Finest Dreams" (number 8), where American vocalist Kelis sang the vocals from the SOS Band's "The Finest" over the instrumental from the Human League's "The Things That Dreams Are Made Of".

At the 2002 Brit Awards, held on February 20, 2002, Australian pop singer Kylie Minogue delivered a memorable performance that fused her number one hit "Can't Get You Out of My Head" with New Order's seminal track "Blue Monday". This live rendition is widely considered one of the first instances of a mainstream artist utilizing a mashup in a performance setting. It was later ranked at number 40 on The Guardian's comprehensive 2011 list detailing 50 Key Events in the History of Dance Music. [27] The mashup itself, christened "Can't Get Blue Monday Out of My Head," was subsequently released as the B-side to Minogue's single "Love at First Sight" and was later included on her 2008 remix album Boombox. In the years following this event, mashups became an increasingly common tool for major artists in their live shows, particularly as a means to contemporize older material and align it with the thematic and sonic qualities of their newer work. For instance, during her 2006 Confessions Tour, Madonna integrated elements of the Trammps's "Disco Inferno" into her performance of her 2000 hit "Music", effectively bridging the gap between the songs and enhancing the tour's overarching disco theme. On her 2008 Sticky & Sweet Tour, she performed a mashup of her 1990 anthem "Vogue" with the instrumental backing of her then-recent single "4 Minutes", thereby updating the classic track with the more urban sonic palette of her Hard Candy album.

In August 2003, Madonna's single "Hollywood" was remixed and combined with "Into the Groove" for a performance with Missy Elliott under the title "Into the Hollywood Groove." This collaboration, part of a promotional campaign for the clothing retailer GAP, drew criticism for what some perceived as the commercial exploitation of the underground culture surrounding mashups. [28]

Launched in San Francisco in 2003, Bootie emerged as the first recurring club night in the United States exclusively dedicated to the burgeoning art form of the bootleg mashup. By 2019, the event had expanded its reach, hosting monthly parties in numerous cities worldwide, including Los Angeles, Paris, Boston, Munich, and New York City. The party's memorable slogan, "Music for the A.D.D. Generation," even inspired the creation of "A.D.D," Israel's inaugural party focused solely on mashups. [29] The "Best of Bootie" mashup compilation series, produced by Bootie founders A Plus D, became an annual internet sensation. Released every December since 2005, each compilation garnered immense popularity, with the downloads requiring substantial bandwidth, often exceeding 5,000 GB. [30]

Despite the fact that mashups largely remained in the underground, with only a few exceptions gaining widespread notice (such as the works of DJ Cummerbund [31] and Bill McClintock [32]), the practice of remixing other artists' music without prior consent has persisted. The increasing difficulty in maintaining visibility online, due to automated copyright detection systems like Content ID and cease and desist orders from original artists, has made it challenging for these creations to remain accessible. [33]

Live Mashups

DJs possess the capability to construct mashups in real-time during live performances. This involves the selective integration of various song components, such as instrumental passages, vocal lines, and drum beats, drawn from multiple tracks. This technique can be executed with music released in a stem format or with audio processed through stem separation technology. Prominent DJ software that offers stem separation capabilities includes Rekordbox, Serato DJ, VirtualDJ, Djay, Traktor, and Engine DJ. [34]

Video Games

The concept of mashups has also been integrated into the realm of video games. DJ Hero, a rhythm game developed by Activision and released in 2009, featured over 90 pre-made mashups, challenging players to hit notes on a turntable controller to score points. [35]

More recently, Fuser, released in 2020 by Harmonix, provides players with the tools to create their own mashups using over 100 songs. The game allows users to combine four instrument stems from the master recording of various tracks. [36]

In December 2023, Fortnite introduced a new game mode called Fortnite Festival. Within the Jam Stage and Fortnite Battle Royale modes, players are now able to create mashups using a library of over 100 songs.

See Also

References

  1. ^ Sinnreich, Aram; Gluck, Marissa (29 June 2005). "Music & Fashion: The Balancing Act Between Creativity and Control" (PDF). Norman Lear Center: 1–45. Archived from the original (PDF) on 3 September 2013. Retrieved 13 June 2021. {{cite journal}} : CS1 maint: numeric names: authors list (link)
  2. ^ Rojas, Pete (1 August 2002). "Bootleg culture". Salon.com. Archived from the original on 17 June 2006.
  3. ^ Geoghegan, Michael and Klass, Dan (2005). Podcast Solutions: The Complete Guide to Podcasting, p. 45. ISBN 1-59059-554-8.
  4. ^ "Code of Best Practices in Fair Use for Online Video". Center for Social Media, American University. 22 February 2010. Archived from the original on 2 June 2010.
  5. ^ Fennessey, Sean (6 August 2013). "Deconstructing Harry". Grantland.com. Retrieved 20 January 2021.
  6. ^ Myers, Mitch (6 March 2019). "How Harry Nilsson Made the Beatles' Catalog into His Own Russian Doll, Creating Rock's First Great Mashup". Variety.com. Retrieved 20 January 2021.
  7. ^ Banks, Dave (29 August 2018). "'Between Two Castles of Mad King Ludwig' Adds More Game to Your Gaming". GeekDad. Retrieved 16 April 2019.
  8. ^ "The Recombinant DNA of the Mash-Up". The New York Times. 6 January 2011. Retrieved 3 April 2023.
  9. ^ Wang, Oliver (20 March 2012). "'The Medium Is the Massage':A Kitchen Sink of Sound". NPR. Retrieved 20 August 2023.
  10. ^ Matson, Joseph R. (December 2014). "Dig: Sound and Music in Hip Culture book review". Notes. 71 (2): 297–299. doi:10.1353/not.2014.0153.
  11. ^ Pollock, Bruce (2017). "1980-1984". America's Songs III: Rock! Milton Park, Oxfordshire: Taylor & Francis. p. 195. ISBN 9781317269649. Retrieved 9 April 2023.
  12. ^ Brown, Ralph (20 February 2014). "Readers recommend: stop-start songs – results". The Guardian. Retrieved 9 April 2023.
  13. ^ Blyweiss, Adam (20 November 2014). "10 Essential Mashup Milestones". Treble. Retrieved 9 April 2023.
  14. ^ Hart, Ron (6 October 2015). "Paul McCartney: Tug of War / Pipes of Peace Album Review". Pitchfork. Retrieved 17 October 2023.
  15. ^ Masterton, James (16 July 2015). "Rookie's Revenge". Chart Watch UK. Retrieved 4 October 2023.
  16. ^ Willis, Daniel J. (17 November 2019). "REWIND: It's mashup week, featuring Girl Talk and Amerigo Gazaway". Riff Magazine. Retrieved 5 October 2023.
  17. ^ Clay, Joe (19 May 2015). "New Colour: Coldcut's Journeys By DJ - 70 Minutes of Madness". The Quietus. Retrieved 5 March 2024.
  18. ^ Brown, Nick Gordon (30 April 2019). "The Life and Times of the DJ Mix CD". Defected. Retrieved 6 March 2024.
  19. ^ "The Recombinant DNA of the Mash-Up". The New York Times. 6 January 2011. Retrieved 23 January 2022.
  20. ^ "DO IT AGAIN-BILLIE JEAN (MEDLEY)". Officialcharts.com. 23 July 1983.
  21. ^ "Love Bomb (The Tubes album)". Acearchive.org. Retrieved 8 February 2024.
  22. ^ "Search | Official Charts". Officialcharts.com.
  23. ^ "The Pre-History Of Mashups, Medleys And Mixes". Radio Clash. Retrieved 22 January 2022.
  24. ^ Santoro, Gene (1994). Dancing in Your Head. Oxford University Press. ISBN 9780195356427. Retrieved 18 December 2014.
  25. ^ "The Mashup that made Fragma Vs. Coco - Toca's Miracle (1999)". Steemit.com. 12 March 2018.
  26. ^ Wolk, Douglas (21 January 2008). "Barely Legal". Villagevoice.com. Archived from the original on 3 August 2008. Retrieved 18 December 2014.
  27. ^ Vine, Richard (15 June 2011). "Kylie mashes up Can't Get You Out of My Head with Blue Monday at the Brits". The Guardian. Archived from the original on 15 December 2013. Retrieved 21 August 2013.
  28. ^ Margolis, Lynne (8 August 2003). "Sellout or smart marketing?". The Christian Science Monitor. Archived from the original on 29 June 2011. Retrieved 25 September 2011.
  29. ^ Jam, Billy (23 May 2007). "Music For Generation ADD: Mashups quietly mature into a thriving subculture". New York Press. Archived from the original on 25 July 2008.
  30. ^ "Mashup best-of 2006 album". Boing Boing. 11 January 2007. Retrieved 18 December 2014.
  31. ^ "DJ Cummerbund's Astonishing Mashups Create Unexpected Collaborations Between Rock, Soul & Hip Hop Icons". DJ Cummerbund. 17 May 2023.
  32. ^ "Bill McClintock YouTube Channel". Bill McClintock. 1 November 2023.
  33. ^ "Parody in the Age of Remix". MIT Press. 27 June 2023.
  34. ^ Morse, Phil (15 January 2025). "Which DJ Platform Has The Best Sounding Stems In 2025?". Digital DJ Tips. Retrieved 1 May 2025.
  35. ^ "DJ Hero Was the Closest We Ever Got to Mixing Music and Gaming". Vice.com. 13 September 2016.
  36. ^ "Harmonix's new game Fuser lets you mash together pop songs". Theverge.com. 26 February 2020.

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.
  • Brøvig-Hanssen, Ragnhild (2018). "Musical Recycling: Mashup Aesthetics and Authorship." Selected Paper of Internet Research, SPIR, 2016: The 17th Annual Conference of the Association of Internet Researchers. Berlin, Germany. spir.aoir.org.
  • Brøvig, Ragnhild (2023). "Parody in the Age of Remix", available in Open Access, MIT Press. mitpress.mit.edu ISBN 9780262545396.
  • 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 [1]. ISBN 1-55849-829-X.