Though far from cutting edge (ATC did a similar story on mashups in June of 2002) this story is an interesting and comprehensive overview of this phenomenon. It was a really smart decision to integrate the interview with "The Freelance Hellraiser" so heavily in the piece. The interview highlights the deejay's charisma and personality, as well as his expertise at this practice.
A few editorial notes:
* The piece would be stronger if the reporter would walk through the clear definition of mashups up front. This definition doesn't come until two minutes into the piece. Even then, to someone unfamiliar with mashups, it may not fully explain the concept.
* The piece assumes a knowledge of the source music--which may be a dangerous assumption. How many people know Destiny Child's or Eminem's repertoire well enough to know that what we're hearing is an alteration? Some listeners will get this immediately. Most won't.
* The order of some of the interview cuts could flow a bit better. For example, about 2:30 into the piece, the interviewer asks about any reaction to mashups from record labels. A logical follow-up, about the reaction from artists, doesn't come until several questions later, at 8:15 into the piece. These two questions should have been placed together for a more logical flow.
A well-informed look at a music production style emerging from the underground. Musical samples are used to illustrate the technique discussed. Accessible and cutting-edge at the same time. Sonorous dialog between American and English dialect speakers. With an appropriate segue, this piece could air next to a hard news story about intellectual property, file sharing or celebrity image-ownership. Air this now and boost your station's hipness factor.
Comments for UK Bootlegs and Mashups
Produced by David Clements
Other pieces by David Clements
Rating Summary
2 comments
Eric Nuzum
Posted on October 17, 2003 at 05:31 AM | Permalink
Review of UK Bootlegs and Mashups
A few editorial notes:
* The piece would be stronger if the reporter would walk through the clear definition of mashups up front. This definition doesn't come until two minutes into the piece. Even then, to someone unfamiliar with mashups, it may not fully explain the concept.
* The piece assumes a knowledge of the source music--which may be a dangerous assumption. How many people know Destiny Child's or Eminem's repertoire well enough to know that what we're hearing is an alteration? Some listeners will get this immediately. Most won't.
* The order of some of the interview cuts could flow a bit better. For example, about 2:30 into the piece, the interviewer asks about any reaction to mashups from record labels. A logical follow-up, about the reaction from artists, doesn't come until several questions later, at 8:15 into the piece. These two questions should have been placed together for a more logical flow.
Michael Joly
Posted on October 09, 2003 at 05:31 AM | Permalink
Review of UK Bootlegs and Mashups
A well-informed look at a music production style emerging from the underground. Musical samples are used to illustrate the technique discussed. Accessible and cutting-edge at the same time. Sonorous dialog between American and English dialect speakers. With an appropriate segue, this piece could air next to a hard news story about intellectual property, file sharing or celebrity image-ownership. Air this now and boost your station's hipness factor.