Remix
Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes (which they called "versions") of reggae tunes.
Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s.
Moulton, Gibbons and their contemporaries (Jim Burgess, Tee Scott, and later Larry Levan and Shep Pettibone) at Salsoul Records proved to be the most influential group of remixers for the disco era.
[4][5][6][7] Early pop remixes were fairly simple; in the 1980s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl 12-inch singles.
They were among the first popular groups to truly harness the potential that had been unleashed by the synthesizer-based compositions of electronic musicians such as Kraftwerk, Yellow Magic Orchestra, Giorgio Moroder, and Jean-Michel Jarre.
Primarily because they featured sampled and synthesized sounds, Yello and Art of Noise would produce a great deal of influential work for the next phase.
Another clear example of this approach is Roberta Flack's 1989 ballad "Uh-Uh Ooh-Ooh Look Out (Here It Comes)", which Chicago House great Steve "Silk" Hurley dramatically reworked into a boisterous floor-filler by stripping away all the instrumental tracks and substituting a minimalist, sequenced "track" to underpin her vocal delivery, remixed for the UK release which reached No1 pop by Simon Harris.
Underground mixing is more difficult than the typical official remix because clean copies of separated tracks such as vocals or individual instruments are usually not available to the public.
Artists such as Chicago-based Delobbo, Dallas-based LehtMoJoe, and Russian DJ Ram, who has worked with t.A.T.u., are sought out for their remixing skill and have impressive lists of contributions.
[11] In 1988, Sinéad O'Connor's art-rock song "I Want Your (Hands on Me)" was remixed to emphasize the urban appeal of the composition (the original contains a tight, grinding bassline and a rhythm guitar not entirely unlike Chic's work).
In 1989, the Cure's "Pictures of You" was remixed turning "the music on its head, twisted the beat completely, but at the same time left the essential heart of the song intact.
[13] The Bad Boy remix features background vocals by Puff Daddy and rapping by Ol' Dirty Bastard, the latter being of concern to Columbia who feared the sudden change in style would affect sales negatively.
[14] Some of the song's R&B elements were removed for the remix, while the bassline and "Genius of Love" sample were emphasized and the bridge from the original version was used as the chorus.
[13] Carey re-recorded vocals for club remixes of the song by David Morales, titled "Daydream Interlude (Fantasy Sweet Dub Mix)".
[17] Sasha Frere-Jones, editor of The New Yorker commented in referencing to the song's remix: "It became standard for R&B/hip-hop stars like Missy Elliott and Beyoncé, to combine melodies with rapped verses.
"[17] John Norris of MTV News has stated that the remix was "responsible for, I would argue, an entire wave of music that we've seen since and that is the R&B-hip-hop collaboration.
George Michael would feature three artistically differentiated arrangements of "I Want Your Sex" in 1987, highlighting the potential of "serial productions" of a piece to find markets and expand the tastes of listeners.
In 2001, Jessica Simpson released an urban remix of her song "Irresistible",[22] featuring rappers Lil' Bow Wow and Jermaine Dupri, who also produced the track.
[28][29] 50 Cent tried to sue rapper Rick Ross in October 2018 for remixing his "In da Club" beat, due to their publicized feud.
Thanks to a combination of guest raps, re-sung or altered lyrics and alternative backing tracks, some hip-hop remixes can end up being almost entirely different songs from the originals.
Frankie Knuckles saddled both markets with his Def Classic Mixes, often slowing the tempo slightly as he removed ornamental elements to soften the "attack" of a dancefloor filler.
These remixes proved hugely influential, notably Lisa Stansfield's classic single "Change" would be aired by urban radio in the Knuckles version, which had been provided as an alternative to the original mix by Ian Devaney and Andy Morris, the record's producers.
[31] Various textual sources (including his own) would be cut literally into pieces with scissors, rearranged on a page, and pasted to form new sentences, new ideas, new stories, and new ways of thinking about words.
Famous examples include The Marilyn Diptych by Andy Warhol (modifies colors and styles of one image), and The Weeping Woman by Pablo Picasso, (merges various angles of perspective into one view).
The internet has allowed for art to be remixed quite easily, as evidenced by sites like memgenerator.net (provides pictorial template upon which any words may be written by various anonymous users), and Dan Walsh's Garfieldminusgarfield.net[32](removes the main character from various original strips by Garfield creator Jim Davis).
"A feminist remix is a creative resistance and cultural production that talks back to patriarchy by reworking patriarchal hierarchical systems privileging men.
North American owners would get Virtua Fighter Remix for free if they registered their Saturns, while Japanese customers would later receive a SegaNet compatible version.
Of note are open questions concerning the legality of visual works, like the art form of collage, which can be plagued with licensing issues.
There certainly appears to be a strong argument that non commercial derivatives, which do not compete with the market for the original material, should be afforded some defense to copyright actions.
[39] Stanford Law professor Lawrence Lessig believes that for the first time in history creativity by default is subject to regulation because of two architectural features.
