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FS Master List-10-15-09.Xlsx
Festival Sounds Song List by Artist - Updated 10-15-09 A B 1 Artist Song 2 1 King Of House 3 112 U Already Know 4 112 Peaches And Cream (Remix) 5 112 Peaches and Cream [Clean] 6 112 Dance With Me 7 311 All mixed up 8 311 Down 9 311 Beautiful Disaster 10 311 Come Original 11 311 I'll Be Here A While (Breakbeat Remix) 12 311 I'll Be here a while 13 311 Love Song 14 311 It's Alright 15 311 Amber 16 311 Beyond The Grey Sky 17 311 Prisoner 18 311 Rub-A-Dub 19 311 Don't Tread on Me 20 702 Where My Girls At(Radio Edit) 21 Arabic Greek 22 10,000 maniacs Trouble 23 10,000 Maniacs Because The Night 24 100 Songs for Kids Ten Little Indians 25 100% SALSA S Grupo Niche-Lluvia 26 2 Live Crew Face Down Ass Up 27 2 Live Crew Shake a Lil Somthing 28 2 Live Crew Hoochie Mama 29 2 Pac Hit 'Em Up 30 2 Pac California Love 31 2 Pac and Snoop Doggy Dogg 2 Of Americas Most Wanted 32 2 pac f/Notorious BIG Runnin' 33 2 pac Shakur Hit 'Em Up 34 20thfox Fanfare 35 2pac Ghetto Gospel Feat. Elton John 36 2XL feat. Nashay The Kissing Game 37 3 Doors Down It's Not My Time 38 3 Doors Down Be Like That (AmericanPieEdit) 39 3 Doors Down Let me Go 40 3 Doors Down Let Me Go 41 3 Doors Down It's Not My Time 42 3 Doors Down Here Without You 43 3 Libras A Perfect Circle 44 36 mafia Lollipop 45 38 Special Hold on Loosley 46 38 Special Back To Paradise 47 38 Special If Id Been The One 48 38 Special Like No Other Night Festival Sounds Song List by Artist - Updated 10-15-09 A B 1 Artist Song 49 38 Special Rockin Into The Night 50 38 Special Saving Grace 51 38 Special Second Chance 52 38 Special Signs Of Love 53 38 Special The Sound Of Your Voice 54 38 Special Fantasy Girl 55 38 Special Caught Up In You 56 38 Special Back Where You Belong 57 3LW No More 58 3OH!3 Don't Trust Me 59 4 Non Blondes What's Up 60 50 Cent Just A Lil' Bit 61 50 Cent Window Shopper (Clean) 62 50 Cent Thug Love (ft. -
Songs by Title
16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A. -
Adapting Copyright for the Mashup Generation
ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 † Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley, School of Law. I thank my sons Dylan and Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background about mashup culture. I also thank Mark Avsec, Jane Ginsburg, Eric Goldman, Molly Van Houweling, David Nimmer, Dotan Oliar, Sean Pager, and participants at the Berkeley Law IP Scholarship Seminar, Berkeley Law Faculty Seminar, and Fifth Annual Internet Law Work-in-Progress Conference for comments. -
C:\Users\Petermenell\Desktop\RCLA
Draft: March 1, 2015 Note: This is a work in progress, with some sections needing further refinements. I welcome comments. Adapting Copyright for the Mashup Generation Peter S. Menell* ABSTRACT Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. This article contends that by adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. Such an approach sidesteps the inherent problems of relying upon fair use while promoting cumulative creativity. * Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley School of Law. I thank Dylan, Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background. I also thank Mark Avsec, Jane Ginsburg, Molly Van Houweling, David Nimmer, Dotan Oliar, Sean Pager, and participants at the Berkeley Law IP Scholarship Seminar and the Berkeley Law Faculty Seminar for comments. -
Creativity, Consumption, and Copyright in the Mashup Community
Mashnography: Creativity, Consumption, and Copyright in the Mashup Community By Liam McGranahan B.A., San Francisco State University, 2003 A.M., Brown University, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Program in Music: Ethnomusicology at Brown University Providence, Rhode Island May 2010 © 2010 Liam McGranahan This work is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/us/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. This dissertation by Liam McGranahan is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date__________ ___________________________________ Kiri Miller, Advisor Recommended to the Graduate Council Date__________ ___________________________________ Wayne Marshall, Reader Date__________ ___________________________________ Marc Perlman, Reader Date__________ ___________________________________ Jeff Titon, Reader Approved by the Graduate Council Date__________ ___________________________________ Sheila Bonde, Dean of the Graduate School iii Curriculum Vitae Education 2010 Ph.D., Ethnomusicology, Brown University Dissertation: Mashnography: Creativity, Consumption, and Copyright in the Mashup Community, advised by Kiri Miller 2005 M.A., Music (Ethnomusicology), Brown University Master’s Thesis: A Survey of Garifuna Musical Genres with an Emphasis on Paranda, advised by Paul Austerlitz 2003 B.A., with honors, Anthropology, minor in World Music and Dance, San Francisco State University 1981 Born, July 31, Portland, OR Teaching and Professional Activities 2009 – 2010 Guest Teacher, African-American Studies, Lincoln High School, Portland, Oregon I am currently collaborating with head teacher Michael Sweeney to design and teach an African-American music unit in spring 2010. -
Mash-Ups: a Collision of Creativity and the Law
___________________________ Mash-Ups: A Collision of Creativity and the Law __________________________ Adam Marcus Table of Contents Page Introduction..................................................................................................................................... 1 A Bundle of Rights ......................................................................................................................... 1 Sampling ......................................................................................................................................... 2 Slip-Cueing, Beatmatching, and Remixes ...................................................................................... 2 Mash-ups......................................................................................................................................... 4 Legal Troubles ................................................................................................................................ 5 Sampling Recordings...................................................................................................................... 7 Fair Use........................................................................................................................................... 8 Purpose and Character of Use................................................................................................... 9 Nature of Copyrighted Work .................................................................................................. 11 Amount/Substantiality -
4393 Songs, 12.5 Days, 29.49 GB
Page 1 of 116 Music 4393 songs, 12.5 days, 29.49 GB Name Time Album Artist 1 a 2:34 Big Daddy Adam Edwards 2 a 2:34 Big Daddy Adam Edwards 3 The A Team 4:19 The A Team - Single Ed Sheeran 4 A.I.M. Fire! 4:00 Triple J Hottest 100 of 2011 Art vs. Science 5 Abc 3:00 Jackson 5 6 Abc 3:00 Jackson 5 7 ABC 2:57 Essential Michael Jackson [Dis… The Jackson 5 8 ABC 2:57 The Essential Michael Jackson… The Jackson 5 9 ABC 2:59 Jackson 5 10 Absolutely Everybody 3:42 101 Aussie Hits [CD4] Venessa Amorosi 11 ACAPULCO SUN 2:41 CLASSIC COLD COLLECTION JOHN FARNHAM 12 ACAPULCO SUN 2:41 CLASSIC COLD COLLECTION JOHN FARNHAM 13 Accidentally Kelly Street 3:20 101 Aussie Hits [CD4] Frente! 14 According To My Heart 3:15 Counting The Beat - Australian… the Reels 15 According To You 3:19 According To You Orianthi 16 Achy Breaky Heart 3:25 100% Hits Volume 6 Various Artists 17 Act Your Age 2:41 Triple J's Hottest 100, Vol. 21 Bliss n Eso 18 Act Yr Age 3:20 Company Bluejuice 19 Adam 0:10 Crocq's Album Crocq 20 Adam 0:10 Crocq's Album Crocq 21 The Adam's Family Theme 1:21 Halloween Garage Rock The Horror Theme Ensemble 22 Addicted To Bass 3:54 101 Aussie Hits [CD4] Josh Abrahams & Amiel Daemion 23 Addicted To You Custom Backi… 2:30 Karaoke Version Avicii 24 Addictive (Dirty Version) 3:46 Addictive CD Single Truth Hurts feat. -
C:\Documents and Settings\Peter Menell\Desktop\Research\Copyright\RCLA\Menell Adapting Copyright for the Mashup Generation 10-2
Draft: Oct. 21, 2014 Note: This is a preliminary draft. Comments welcome. Adapting Copyright for the Mashup Generation Peter S. Menell1 TABLE OF CONTENTS I. Music Mashups A. A Personal Journey B. The Mashup Genre 1. Creation of Music Mashups 2. Types of Music Mashups 3. Marketing, Distribution, and Monetization 4. Live Performance, DJ Production, and Collaboration with Established Artists II. The Legal, Market, and Policy Divides A. The Copyright Backdrop 1. General Framework 2. Application of Copyright Law to Digital Sampling B. What’s Past is Prologue?: The Rap and Hip Hop Genres and Digital Enforcement 1. Rap/Hip Hop’s Rocky Road to Constrained Copyright Legitimacy 2. The Digital Copyright Enforcement Debacle C. The Uncertain and Distorted Mashup Music Marketplace D. The Copyright Policy Divide III. Bridging the Divide: The Case for a Mashup Compulsory License A. Economic Analysis of the Music Mashup Stalemate 1 Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley School of Law. I thank Dylan, Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background. All views expressed, errors, and omissions are my own. -1- B. The “Cover” License as a Model for Opening up the Remix Marketplace C. Designing a Remix Compulsory License 1. Eligibility Requirements 2. Revenue Sharing 3. Administrative Process 4. Additional Features and Limitations i. Interplay with Fair Use ii. Use Limitations iii. Endorsement Disclaimer iv. Changes to Statutory Damages 5. Possible Extensions D. Additional Benefits of a Remix Compulsory License 1. Enrich Input Materials 2. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Musical pastiche, embodiment, and intersubjectivity : listening in the second degree Permalink https://escholarship.org/uc/item/92c7n0db Author Tonelli, Christopher Joseph Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Musical Pastiche, Embodiment, and Intersubjectivity: Listening in the Second Degree. A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Christopher Joseph Tonelli Committee in Charge: Professor Jann Pasler, Chair Professor Norman Bryson Professor Michael Davidson Professor Jocelyne Guilbault Professor Mitchell Morris 2011 Copyright Christopher Joseph Tonelli, 2011 All rights reserved This Dissertation of Christopher Joseph Tonelli is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2011 iii TABLE OF CONTENTS Signature Page ……………………………………………………………….……....iii Table of Contents ……………………………………………………………….…....iv List of Tables………………………………………………………………………....vi Acknowledgment ……………………………………………………………………vii Vita …………………………………………………………………………………...ix Abstract…………………………………………………………………………..…....x Introduction…………………………………………………………………..….…….1 0.1 Pastiche and Mimesis…………………………………………………….. 3 0.2 Pastiche and Other Forms of Imitative Practice………………………...…8 0.3 Popular Music and Pastiche: