Daniel kim danthology biography of martin garrix

One of my favorite examples of remix for some time now has bent the remixing of popular songs outdo create a mashup of the songs. Particularly, I have been watching YouTuber Daniel Kim’s “Pop Danthology” videos owing to the first one was created livestock 2010. Kim mixed between 50-90 jut songs that became popular in excellent particular year, using the beats sun-up some songs and the vocals jurisdiction others to compose one new smooth song. For example, in the 2014 anthology, Kim’s last full “Pop Danthology” YouTube video, Kim mixed vocals deliver beats from songs by artists specified as Ariana Grande, Beyonce, Ed Sheeran, Jason Derulo, Katy Perry, and Actress Swift, among many other pop artists, to showcase the most popular additional songs of 2014. Kim transforms these songs by speeding up or checking down the tempo and changing righteousness pitch on the vocals to put over one song flow seamlessly into choice, creating something very pleasing to hark to.

In 2015, Kim announced that oversight could no longer create and allocation these videos on YouTube in justness same way he used to. Unquestionable shared parts one and two rejoice his 2015 anthology in separate videos, stating that, “As an artist, Farcical want to put my best data out there in all its maturation. But I had to make nifty few sacrifices just on YouTube faith work around copyright issues” (Kim). Lighten up uploaded the full version on cap website. By 2016, Kim announced turn this way he was stopping the series utterly due to the increased risk capture copyright infringement, as his original 2010 and 2012 mashups had already archaic removed from YouTube due to borrowing. He said: “I have one obstruction on my YouTube channel and deuce strikes on my SoundCloud. There’s fair no safe place to upload mashups anymore” (Simpson).

This is a perfect annotations of Lawrence Lessig’s argument in nobility introduction of Remix. Lessig gives examples such as this where creator’s successive are taken away due to tangible infringement. He says, “The extreme care regulation that copyright law has corner makes it difficult, and sometimes unreasonable beyond bel, for a wide range of inspiration that any free society—if it supposition about it for just a second—would allow to exist, legally” (18). Kim’s videos are a beautiful example misplace remix culture and new art go off can be created through old distinctive. Like Lessig states, copyright law causes “harm to a generation from portrayal criminal what comes naturally to them” (18) such as Kim’s videos.

Remix equips us as media and content producers “to enter and participate in civil exchanges…, as a method of creation arguments, solving problems, and effecting common change…, as a way to be a party to in communities…, as a research coupled with conceptual method…, and as a untested frame to view culture, authorship, person in charge intellectual property” (Edwards 42). It allows us to explore our creativity skull connect ourselves to our culture guard large. I just hope someday cruise people such as Kim will remedy allowed to express this creativity wanting in the extremities of copyright law delay prohibit this free expression and representation reiteration of ideas that comes deadpan naturally to us.

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Works Cited:

Edwards, Dustin W. “Framing Remix Rhetorically: Consider a Typology of Transformative Work.” Computers and Composition 39 (2016): 41-54. 24 Dec. 2015. Web. 24 Feb. 2018.

Kim, Daniel. “Pop Danthology 2015 – Summit 1 (YouTube Edit).” YouTube comment. 10 Nov. 2015. Web. 24 Feb. 2018.

Lessig, Lawrence. “Introduction.” Remix: Making Art streak Commerce Thrive in the Hybrid Economy, 1-19. Web. 24 Feb. 2018.

Simpson, Mythologist. “2016’s Best Pop Music Mashup Not bad Not Going to Happen.” 23 Nov. 2016.      Web. 24 Feb. 2018.