This almost makes me believe in God:
Showing posts with label Music (other than Adam). Show all posts
Showing posts with label Music (other than Adam). Show all posts
Saturday, April 23, 2011
Friday, April 22, 2011
Friday, February 11, 2011
Born This Way = Express Yourself
If you're Madonna's copyright lawyer, you should be busy screencapping Twitter trend lists right now. The new Gaga song, "Born This Way", sounds so much like Madonna's "Express Yourself" that the discussion on Twitter is causing "Express Yourself" to trend.
Update 2/11/11, 9:47 CST: Someone has mashed them, so you can compare for yourself:
Update 2/11/11, 9:47 CST: Someone has mashed them, so you can compare for yourself:
Wednesday, January 12, 2011
Samples used in My Beautiful Dark Twisted Fantasy
Over the weekend, K and I saw Four Lions and heard, over the closing credits, a melody that is included in Blame Game on Kanye's My Beautiful Dark Twisted Fantasy. That sent me to Kanye's liner notes that I had not read. That, plus LJ and Scooter's interest in the 21st Century Schizoid Man sample, motivated me to investigate the samples further.
With links to a cool site that streams audio of songs with their samples, side by side, here are Kanye's samples, in track order:
Dark Fantasy: Contains samples of “In High Places” by Mike Oldfield
Gorgeous: Contains portions of the composition “You Showed Me,” written by Gene Clark and Roger McGuinn.
Power:
Monster: None
So Appalled: Contains samples of the Manfred Mann’s Earth Band recording “You Are – I Am.”
Devil in a New Dress: Contains samples of the recording “Will You Still Love Me Tomorrow” as performed by Smokey Robinson.
Runaway:
Lost in the World:
Of note, the artistic use of autotune at the beginning of Lost in the World, that I'd given Kanye credit for, is almost entirely the doing of Bon Iver.
With links to a cool site that streams audio of songs with their samples, side by side, here are Kanye's samples, in track order:
Dark Fantasy: Contains samples of “In High Places” by Mike Oldfield
Gorgeous: Contains portions of the composition “You Showed Me,” written by Gene Clark and Roger McGuinn.
Power:
- Contains elements of “It’s Your Thing,” recorded by the Cold Grits.
- Contains elements of “Afromerica” (Francois Bernheim/Jean-Pierre Lang/Boris Bergman)
- Contains material sampled from “21st Century Schizoid Man” performed by King Crimson Taken from the album: In The Court Of The Crimson King.
Monster: None
So Appalled: Contains samples of the Manfred Mann’s Earth Band recording “You Are – I Am.”
Devil in a New Dress: Contains samples of the recording “Will You Still Love Me Tomorrow” as performed by Smokey Robinson.
Runaway:
- Contains a sample of “Expo 83” performed by Backyard Heavies.
- Contains excerpts from Rick James ‘Live at Long Beach, CA’ 1981.
- Contains samples of the Mojo Men recording “She’s My Baby.”
- Contains samples of the Tony Joe White recording “Stud-Spider.”
- Contains portions of “Iron Man,” written by T. Butler, A. Iommi, J. Osbourne and W.T. Ward (Black Sabbath).
Lost in the World:
- Contains portions of “Soul Makossa,” written by M. DiBango.
- Contains a sample of the recording “Think (About It)” as performed by Lyn Collins. Written by James Brown.
- Contains samples of “The Woods” performed by Bon Iver
- Contains samples of “Comment No. 1” performed by Gil Scott-Heron.
Of note, the artistic use of autotune at the beginning of Lost in the World, that I'd given Kanye credit for, is almost entirely the doing of Bon Iver.
Friday, January 07, 2011
My Beautiful Dark Twisted Fantasy
Kanye's album really really is great. It's COMPOSED. It's orchestrated. It's rap but it's not merely rapping over an unrelenting, unchanging synthesized beat under it. It's a rap album with a lovely cello solo for an interlude, for Pete's sake. Melodic hooks galore. Artistic use of autotune; I kid you not. (I cite the beginning of Lost in the World.) Also, Nicki Minaj growls while rapping in Monster and it's weirdly delightful. It deserves all the Grammies it's going to collect.
Wednesday, October 20, 2010
Technology is amazing; creative people are amazing.
"In October of 2010, New York's Atomic Tom had their instruments stolen. Fortunately...they know how to improvise."
Sunday, October 17, 2010
Monday, August 30, 2010
NPR's 50 Great Voices Series
As noted below, NPR is doing a series on great voices in recorded music over the decades. One episode airs each week. Here's who they've covered so far:
- Radmilla Cody: Two Cultures, One Voice (May 10, 2010)
- Enrico Caruso: And Confessions of an Operaholic (May 17, 2010)
- Lydia Mendoza: The First Lady of Tejano (May 24, 2010)
- Janis Joplin: The Queen of Rock (June 7, 2010)
- Sandy Denny: Mercurial Queen of British Folk Rock (June 14, 2010)
- Donny Hathaway: Neglected Heart of Soul (June 21, 2010)
- Lauren Hill: The Many Voices of... (June 28, 2010)
- Fairuz: Lebanon's Voice of Hope (July 12, 2010)
- John McCormack: The Charming Irish Tenor (July 19, 2010)
- Khaled: The King of Rai (July 26, 2010)
- Biggie Smalls: The Voice that Influenced a Generation (August 2, 2010)
- Bjork: A Celestial Voice (August 7, 2010)
- Twinkie Clark: Riffing on Gospel (August 23, 2010)
- Ima Thomas: The Soul Queen of New Orleans (August 23, 2010)
- Freddie Mercury: Rock 'N' Roll's Humble Showman (August 30, 2010)
Saturday, July 31, 2010
Music theory exercise
I have a suggestion for an exercise for Michael beginning music theory students: transcribe a recording of a piece of music.
Choose something you haven't seen sheet music for. Select music with some meat to it (i.e. not just I, IV, V, V7 chords), but not overly dense (i.e. not full orchestra). Pick something that you like enough to listen to ad nauseum as you deconstruct it. Consider, though, that your relationship to this piece of music will never be the same. You will forever after hear its parts; listening to it will be a thinking, rather than a feeling, enterprise so don't pick music that you love because of its emotional impact.
Of course, you can write your transcription out on paper. You'll need a big eraser, though, for all the mistakes you'll make. There are software programs for transcribing music that are pretty cool. I haven't researched these fully, so I don't know what's best. I came across Finale which has a suite of programs of varying capability, available on a free trial basis for 30 days. These programs all allow you to enter notes into your score through dragging/dropping a note icon onto a staff, or by "playing" notes on your computer keyboard, or by using a midi keyboard. The software plays your score back to you, so you can hear if you've got it right.
Except for the least sophisticated of the suite (Notepad), the software can automatically provide chord symbols. I'd suggest that you use this capability just as a check on your own chord analysis, a useful part of this exercise.
Start with the melody; then select one instrument at a time and figure out its path through the song. For pop/rock/jazz, I'd suggest doing the bass line after the melody.
In the process of transcription, you'll have to figure out the time signature of your piece; its key; its melody; its harmonies; its phrasing; its tempo and tempo changes; its rhythms; its chord progressions; its organization; the way its lyrics fit; its dynamic changes; and on and on. You'll be forced to grapple with pretty much every concept in music theory.
You may not be able to deconstruct everything, but you'll be surprised at what you can do, once you start pulling the song apart. It's very much like doing a jigsaw puzzle; it's a big impenetrable task to begin, but one little puzzle piece at a time you get intimately familiar with the picture and attuned to the smallest changes of hue. When you're done, qualities of the image to which you were oblivious when you started are pronounced and obvious to you.
Choose something you haven't seen sheet music for. Select music with some meat to it (i.e. not just I, IV, V, V7 chords), but not overly dense (i.e. not full orchestra). Pick something that you like enough to listen to ad nauseum as you deconstruct it. Consider, though, that your relationship to this piece of music will never be the same. You will forever after hear its parts; listening to it will be a thinking, rather than a feeling, enterprise so don't pick music that you love because of its emotional impact.
Of course, you can write your transcription out on paper. You'll need a big eraser, though, for all the mistakes you'll make. There are software programs for transcribing music that are pretty cool. I haven't researched these fully, so I don't know what's best. I came across Finale which has a suite of programs of varying capability, available on a free trial basis for 30 days. These programs all allow you to enter notes into your score through dragging/dropping a note icon onto a staff, or by "playing" notes on your computer keyboard, or by using a midi keyboard. The software plays your score back to you, so you can hear if you've got it right.
Except for the least sophisticated of the suite (Notepad), the software can automatically provide chord symbols. I'd suggest that you use this capability just as a check on your own chord analysis, a useful part of this exercise.
Start with the melody; then select one instrument at a time and figure out its path through the song. For pop/rock/jazz, I'd suggest doing the bass line after the melody.
In the process of transcription, you'll have to figure out the time signature of your piece; its key; its melody; its harmonies; its phrasing; its tempo and tempo changes; its rhythms; its chord progressions; its organization; the way its lyrics fit; its dynamic changes; and on and on. You'll be forced to grapple with pretty much every concept in music theory.
You may not be able to deconstruct everything, but you'll be surprised at what you can do, once you start pulling the song apart. It's very much like doing a jigsaw puzzle; it's a big impenetrable task to begin, but one little puzzle piece at a time you get intimately familiar with the picture and attuned to the smallest changes of hue. When you're done, qualities of the image to which you were oblivious when you started are pronounced and obvious to you.
Friday, July 30, 2010
Joan Armatrading
We saw her last night at the Cedar Cultural Center in Minneapolis. Holy coyote; she was amazingly great.
K was a fan from ages ago and introduced me to her music in 1996. I didn't love her then. I liked her music, but didn't like what she did with her voice.
As we were waiting for the show to start last night, we admitted to each other that we weren't very excited to see her. K was expecting her to have aged way past her prime and I was expecting to hear that voice-thing that I dislike. (I don't know if there's a word for it; it's that Anita-Baker swallowed-sound, cat-yowling thing.)
The Cedar is simultaneously a miserable and fabulous place to hear music. The sound system is outstanding. Tickets are general admission and it's not the kind of crowd that shows up hours in advance, so you can always count on getting a really close seat if it matters to you. It's a short bike ride from our house.
The physical environment at the Cedar is wanting, though. They pack waaaaay too many tiny folding chairs into a small space with too few exits. It's an effort to keep my claustrophobic panic at bay. Beer is necessary to take the vividness out of my imaginings of dying in a fire under the feet of a crowd futilely trying to get to the exits while tripping over downed folding chairs. You just know the electrical system is not sufficiently updated. Do we have no fire code in this city? To top it off, there's no discernible ventilation and tap beer is $5.50.
When Joan came on stage, she first thanked us for leaving our television sets behind for the evening. That seemed unnecessarily condescending and obnoxious. We're sweating, we're squashed in here like sardines, and now we're being insulted.
But then she started playing and blew us away. Her voice has aged like fine wine. Powerful, clear, soulful, interesting, expressive, perfectly on pitch, with zero Anita-Baker yowling. Her vocal prime is now. Her guitar-playing was even more impressive. And with a catalog of three decades to pick from, she had no trouble filling a solid two hours with nothing but great songs.
If you get a chance to see her during her current tour, you just have to do it. (Doesn't look like she's got any Texas stops on her schedule yet, but maybe they're yet to come.)
Update (moments later): One of Joan's old songs is Weakness in Me (1982), with lyrics that describe the pull of an affair. If you listen to her singing it as a much younger woman, it's fine. But her delivery of this today -- standing still on stage, no guitar, no microphone in her hand or stand in front of her, with enough years of maturity to sell the sentiments of the song -- was stunning. It's sort of like Ralph Stanley singing O Death or Johnny Cash singing Hurt; advancing age is a trememdous asset to the song.
Updated again (one more moment later): Video is worth a thousand words:
K was a fan from ages ago and introduced me to her music in 1996. I didn't love her then. I liked her music, but didn't like what she did with her voice.
As we were waiting for the show to start last night, we admitted to each other that we weren't very excited to see her. K was expecting her to have aged way past her prime and I was expecting to hear that voice-thing that I dislike. (I don't know if there's a word for it; it's that Anita-Baker swallowed-sound, cat-yowling thing.)
The Cedar is simultaneously a miserable and fabulous place to hear music. The sound system is outstanding. Tickets are general admission and it's not the kind of crowd that shows up hours in advance, so you can always count on getting a really close seat if it matters to you. It's a short bike ride from our house.
The physical environment at the Cedar is wanting, though. They pack waaaaay too many tiny folding chairs into a small space with too few exits. It's an effort to keep my claustrophobic panic at bay. Beer is necessary to take the vividness out of my imaginings of dying in a fire under the feet of a crowd futilely trying to get to the exits while tripping over downed folding chairs. You just know the electrical system is not sufficiently updated. Do we have no fire code in this city? To top it off, there's no discernible ventilation and tap beer is $5.50.
When Joan came on stage, she first thanked us for leaving our television sets behind for the evening. That seemed unnecessarily condescending and obnoxious. We're sweating, we're squashed in here like sardines, and now we're being insulted.
But then she started playing and blew us away. Her voice has aged like fine wine. Powerful, clear, soulful, interesting, expressive, perfectly on pitch, with zero Anita-Baker yowling. Her vocal prime is now. Her guitar-playing was even more impressive. And with a catalog of three decades to pick from, she had no trouble filling a solid two hours with nothing but great songs.
If you get a chance to see her during her current tour, you just have to do it. (Doesn't look like she's got any Texas stops on her schedule yet, but maybe they're yet to come.)
Update (moments later): One of Joan's old songs is Weakness in Me (1982), with lyrics that describe the pull of an affair. If you listen to her singing it as a much younger woman, it's fine. But her delivery of this today -- standing still on stage, no guitar, no microphone in her hand or stand in front of her, with enough years of maturity to sell the sentiments of the song -- was stunning. It's sort of like Ralph Stanley singing O Death or Johnny Cash singing Hurt; advancing age is a trememdous asset to the song.
Updated again (one more moment later): Video is worth a thousand words:
Thursday, June 03, 2010
Tuesday, May 04, 2010
Monday, March 08, 2010
House of Blues
C and I finally went to the House of Blues here in DFW on Saturday night. We've been wanting to go ever since it opened, but always had scheduling problems when there was someone we wanted to see performing. A few months ago, I was listening to one of the 3 FM stations I regularly frequent on-line (one from Austin, one from Seattle and one in Fayetteville, AR) when they played a 30 minute block from a band I had never heard of - Sound Tribe System 9 (or STS9 as most of their fans call them). I knew nothing about them and when I saw they were going to be at the HOB on a weekend night, I talked C into going. Only after I bought the tickets did I find out from C's college-aged niece that STS9 were a "stoner band". But, since we already had tickets, C and decided what the hell - if it were awful, we'd just check out the rest of HOB.
HOB was a very cool place and we will definitely go back. The performance space was intimate but has great sight-lines (we were in the balcony) and the sound quality was great. Next time we'll go a bit early and eat there and try to get the entire HOB experience.
As for the concert itself, I liked it, though after a bit the songs all sounded sorta similar. And I wouldn't label them as a "stoner" band - I'd call them a "rave" band. I've never been to a rave, but from what I know about them, this was like a mini-rave (lots of glow-sticks). Their light show was incredible and I was a bit nervous about that given my current medical state. Thankfully, nothing happened and other than my ears ringing from the sound, no other ill-effects. They played a little over an hour, then were taking a break and C had had enough.
One last thing - I was afraid I'd be the oldest person there and for awhile (at least in the balcony section), it seemed liked I would be. But as it filled up, there were a few folks that at least appeared older (some there with their kids).
Here is a video of STS9 playing the song that was our favorite:
HOB was a very cool place and we will definitely go back. The performance space was intimate but has great sight-lines (we were in the balcony) and the sound quality was great. Next time we'll go a bit early and eat there and try to get the entire HOB experience.
As for the concert itself, I liked it, though after a bit the songs all sounded sorta similar. And I wouldn't label them as a "stoner" band - I'd call them a "rave" band. I've never been to a rave, but from what I know about them, this was like a mini-rave (lots of glow-sticks). Their light show was incredible and I was a bit nervous about that given my current medical state. Thankfully, nothing happened and other than my ears ringing from the sound, no other ill-effects. They played a little over an hour, then were taking a break and C had had enough.
One last thing - I was afraid I'd be the oldest person there and for awhile (at least in the balcony section), it seemed liked I would be. But as it filled up, there were a few folks that at least appeared older (some there with their kids).
Here is a video of STS9 playing the song that was our favorite:
Tuesday, January 05, 2010
Nine Inch Nails community video project
LJ has previously mentioned Trent Reznor's blog and Reznor's thoughts about band marketing. Today, there's an announcement about the release of a fan video project (Part 1 of 32 starts on YouTube here):
(H/t to Adam's bass player (and AMA kiss-ee) Tommy Joe Ratliff who re-tweeted Trent 's tweet about this.)
This is the wave of the future, letting fans create derivative works freely. (As I opined before, Sony was way off the mark when they made the Singapore dancing group remove their youtube video of the choreographed dance to one of Adam's songs.) NIN gets it right: support it, promote it.
dozens of fans and a network of thousands spanning the entire globe pooled their efforts to create this professional quality ... concert film, and have released it in every format from Blu-ray and DVD to iPod and YouTube. It combines footage from all three shows and includes DVD menus, bonus footage, a PDF booklet and more. That something of this scale was produced entirely by fans, on their own time, purely for the sake of giving something back to the community, is absolutely unprecedented.The result is a full-length concert edit of their Lights in the Sky tour.
(H/t to Adam's bass player (and AMA kiss-ee) Tommy Joe Ratliff who re-tweeted Trent 's tweet about this.)
This is the wave of the future, letting fans create derivative works freely. (As I opined before, Sony was way off the mark when they made the Singapore dancing group remove their youtube video of the choreographed dance to one of Adam's songs.) NIN gets it right: support it, promote it.
Monday, December 14, 2009
Deserted island: Music Edition
Question 1: You're going to be dropped alone on a deserted island for the rest of your life with one album/CD, a device that plays albums/CDs and a magical power supply for said player that will last your lifetime. What's the album?
Question 2: Same thing, but you get 5 albums/CDs.
You're invited to edit into the post, so the answers are on the main page instead of being in the comments.
[Update] LJ: - My 1 album/CD would be U2's "U218 Singles". My 5 album/CDs would be:
1) U218 Singles - U2
2) The Allman Brothers at Fillmore East - The Allman Brothers Band
3) The Downward Spiral - Nine Inch Nails
4) The Singles 86>98 - Depeche Mode
5) Evita (1978 Original Broadway Cast)
[Update] Stephanie: One CD: Garrick Ohlsson's The Complete Chopin Piano Works, Vol. 3, Ballades
1) The Complete Chopin Piano Works, Vol. 3, Ballades - Garrick Ohlsson
2) Greatest Hits - Journey
3) Ballads - Dexter Gordon (coming in 2nd for the jazz slot: Standard Time Vol 3, Resolution of Romance, Wynton and Ellis Marsalis)
4) Icky Thump - White Stripes
5) . . . and Serenity - Glenn Gould
I'll change my mind tomorrow.
Question 2: Same thing, but you get 5 albums/CDs.
You're invited to edit into the post, so the answers are on the main page instead of being in the comments.
[Update] LJ: - My 1 album/CD would be U2's "U218 Singles". My 5 album/CDs would be:
1) U218 Singles - U2
2) The Allman Brothers at Fillmore East - The Allman Brothers Band
3) The Downward Spiral - Nine Inch Nails
4) The Singles 86>98 - Depeche Mode
5) Evita (1978 Original Broadway Cast)
[Update] Stephanie: One CD: Garrick Ohlsson's The Complete Chopin Piano Works, Vol. 3, Ballades
1) The Complete Chopin Piano Works, Vol. 3, Ballades - Garrick Ohlsson
2) Greatest Hits - Journey
3) Ballads - Dexter Gordon (coming in 2nd for the jazz slot: Standard Time Vol 3, Resolution of Romance, Wynton and Ellis Marsalis)
4) Icky Thump - White Stripes
5) . . . and Serenity - Glenn Gould
I'll change my mind tomorrow.
Down the Rabbit Hole
The best song on Adam's album isn't on the album proper. It's a bonus track, available on iTunes, here. Hear the whole thing here, while watching someone's attempt at transcribing the lyrics.
The mystery to me is why this isn't the centerpiece of the album, rather than a bonus track. It's funk, it's glam, it's disco. It's catchy. It's just a little bit weird. It's more Adam-y than the songs that made the album. Adam is clearly having a blast singing this. (Aural trivia: can you catch the vocal hat tip to his Ring of Fire?)
I think the lyrics in the above-linked youtube video are almost accurate, but the line at 0:31 "If it's getting high fee" should be "Hippies gettin' hyphy", I believe. Urban Dictionary defines HYPHY thusly:
Adam is a co-writer on this, along with E. Kidd Bogart and Greg Wells.
The mystery to me is why this isn't the centerpiece of the album, rather than a bonus track. It's funk, it's glam, it's disco. It's catchy. It's just a little bit weird. It's more Adam-y than the songs that made the album. Adam is clearly having a blast singing this. (Aural trivia: can you catch the vocal hat tip to his Ring of Fire?)
I think the lyrics in the above-linked youtube video are almost accurate, but the line at 0:31 "If it's getting high fee" should be "Hippies gettin' hyphy", I believe. Urban Dictionary defines HYPHY thusly:
San Francisco Bay Area, shortened perhaps from English dialect "hyperactive"; other sources cite a combination of "hype" and "fly." Popularized by E-40 and the Federation's song "Hyphy" (2004); first known use on record by Keak Da Sneak in 1998 (on "Cool," from his LP Sneakacidle).Also, others have opined that the line at 1:52 is "It starts in the bass and ends in the crystal ball", rather than "It starts in the vase and it ends in the crystal bowl".
1 : dangerous and irrational: CRAZY;
2 : amusingly eccentric; without inhibition: GOOFY
"They were getting hyphy up in the club Saturday night."
Adam is a co-writer on this, along with E. Kidd Bogart and Greg Wells.
Friday, December 11, 2009
If you were 12, you'd be so excited about this, but we older folks can have fun with it too
There's a new website, vevo.com, devoted to legally streaming professional music videos on demand. It's having a lot of technical difficulties in its first few days of existence, partly due to bandwidth and partly because it doesn't seem like the programmers are done yet. But give it a few weeks and I'm sure the kinks will be worked out.
Vevo allows you to search for videos (by artist, genre or time period) and it offers quite a few OLD music videos, so if you want to take a walk down memory lane to the 80's, you can do that. (The earliest one I could find is performance video of Chuck Berry 1959 but it looks like Vevo has aspirations to go back further.)
Vevo allows embedding. [Update 12/13/09: Videos removed so as not to slow your page-loading time.]
If you find any old favorites of yours, do share!
Vevo allows you to search for videos (by artist, genre or time period) and it offers quite a few OLD music videos, so if you want to take a walk down memory lane to the 80's, you can do that. (The earliest one I could find is performance video of Chuck Berry 1959 but it looks like Vevo has aspirations to go back further.)
Vevo allows embedding. [Update 12/13/09: Videos removed so as not to slow your page-loading time.]
If you find any old favorites of yours, do share!
Saturday, November 21, 2009
Lady Gaga before she was Lady Gaga
Although you may not recognize her without a crazy outfit, here she is:
The first three and a half minutes, in particular, are fab.
(The poster claims they have rights to post the video and they made it available for embed, so I have.)
The first three and a half minutes, in particular, are fab.
(The poster claims they have rights to post the video and they made it available for embed, so I have.)
Thursday, November 12, 2009
Sony, your copyright lawyers need to meet with your marketing folks.
Some kids posted to YouTube a video of themselves dancing a choreographed dance routine to Adam's first single, For Your Entertainment. The song sounds like it's playing on a boombox in the studio where they're dancing, i.e. the quality of the sound in the video is not particularly good. Adam saw the video, tweeted that he loved it and linked to it. (Tens of thousands of people watched the video over the course of 24 hours.)
As soon as I saw Adam's tweet, I was curious about the copyright implications. Did this tweet from Adam constitute a license to use the recording? The use of the recording was clearly prima facie copyright infringement, but it seemed to me like it was also such good marketing for the song that the better business practice would be to let the video be. But no. Sony demanded the video be removed from YouTube.
I realize that Sony needs to police its copyright rights, but if I were Sony, I'd let those kids know they need a license and then grant them that license for $1 to use the song in this manner. And if Sony were really smart, they'd sponsor an online dance competition and dole out $1 licenses left and right.
As soon as I saw Adam's tweet, I was curious about the copyright implications. Did this tweet from Adam constitute a license to use the recording? The use of the recording was clearly prima facie copyright infringement, but it seemed to me like it was also such good marketing for the song that the better business practice would be to let the video be. But no. Sony demanded the video be removed from YouTube.
I realize that Sony needs to police its copyright rights, but if I were Sony, I'd let those kids know they need a license and then grant them that license for $1 to use the song in this manner. And if Sony were really smart, they'd sponsor an online dance competition and dole out $1 licenses left and right.
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