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Mocking stars: Myanmar's popular plagiarizers
YANGON, Myanmar - Think of a match of "Name That Tune" with two metallic minds as candidates. There is one from Myanmar, a south-east Asiatic country that is still throwing off tyranny. In Myanmar, the formerly Burmese national isolation, the song is known under a completely different name: "Exits" by the quadrangular, tattooed rockers Lay Phyu.
What the hell is Lay Phyu, the Florida-Headbanger? He' the greatest live rocker in Myanmar. And, like most Myanmar bands, he has become famous by tearing down international hit notes, underlining them in Myanmar texts and singing and passing them on to innocent supporters as completely new.
However, the general population has no idea," said Diramore, a 39-year-old popular musician, music director and extraordinary lecturer at the National University of Arts and Culture in Myanmar. As with many of Myanmar's abnormalities, traces of copying can be traced back to the ruling regime, which has only recently given up immediate caution. Up until last year, all Myanmar's widespread mass media needed the consent of censors, which eliminated contents that were considered critical, offensive or even blatantly inappropriate.
Until recently, under dramatic culture censure occidental metal was only available on CD's or cassettes that had been sneaked in from abroad. They are spawning a musician''platypus'', the'copy track', a type of song that cannot be described simply. It' not a song of honour or covers, the primal composers are seldom recognized. It' not a wholesaler thief; the texts are at least inventive and sometimes quite poetical.
Just like the 60s vocalist Pat Boone, who produced milquetooth cover for South America by Solul Record, the copy-track industry revises overseas songs with vanilla-sweet, censorship-friendly Myanmar texts. In Myanmar's musical world, the copy tracks are profoundly indigenous. The organizers gathered the greatest Myanmar celebrities for the first show by an internationally renowned performer in many years - a Jason Mraz show supported by the U.S. Ambassador in December:
R Zarni and Sai Sai. Woonna kyaw's consciousness is not so clear. He tore off an absurd song from ABAP two years ago and used it as a soundtrack to a boob job for a boob job. "Shame on me," said Wunna Kyaw. Myanmar's popular icons are not the only ones who make money with international music.
Myanmar's You Give License for "You Give love a bad name" is a golden store story, not a Bon Jovi reef; N Sync's "Bye Bye Bye Bye Bye" will be re-released for babyshoes. The only deterrence to plagiarize the idea of making money out of popular music is, for the time being, high-minded ideas and shabby laws - the Burma Copyright Act of 1911 - which date back to the years under Britain's overlords.
"Wunna Kyaw said, "We simply have no real (intellectual property) law in this state. Myanmar's recreational industries should not stop plagiarising because of a government order, Wunna Kyaw said. He has been encouraging young directors to see the stealing of IP destroy their ability to expand beyond Myanmar. It quotes a Yangon-based movie team that fights for the right to a plagiarised song after recording their movie at an Singapore stage.
Nobody in the county knew how to make a hip-hop beats. "Much of their first record, published in 2000, was sequestered by a heavymetal recording technician because "he was the only type to use a computer in a recording studio," Yan Yan Chan said. In addition, hip-hop is a born-and-swappeculture based on sampling and looping soulsamples.
Nevertheless, he shuns the conclusion that his childrenhood characters - like rock star Lay Phyu - have everything they need to forgive. But, just as acid made Myanmar's roads crumble with hip-hop, Lay Phyu introduced heavymetal to this monastic and oppressive people' nationalism.