679:, was intended to suggest the packaging of a homemade mixtape, with the Side A half (of a Maxell cassette J-card) as the front cover and the Side B half on the back cover. It also came with an actual CD featuring ten of the songs discussed in the text. Indeed, the look of mix tapes, featuring hand-written notes on the recording medium manufacturer's supplied labels, has become one of the aesthetic conventions of modern design, a distinct style that designers may attempt to copy or cite. Many have been so widely distributed that the
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might not get any further than track one, side one if I delivered what she wanted straightaway, so I buried it in the middle of side two), and then you've got to up it a notch, or cool it a notch, and you can't have white music and black music together, unless the white music sounds like black music, and you can't have two tracks by the same artist side by side, unless you've done the whole thing in pairs and...oh, there are loads of rules.
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711:, which featured stories and submissions from eighty mix tape enthusiasts.) However, this perception of the mix tape as a work of art has been criticized as resulting in a sort of elitism, with creators becoming more concerned with finding arcane and surprising combinations of tracks than with creating a tape that is listenable, enjoyable, or appropriate to its intended recipient. (In
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standpoint, such issues as avoiding an excessive amount of blank tape at the end of one side (which requires careful planning of the length of each side of the mix) and reducing the audible click between songs (which requires mastery of the pause button on the cassette recorder) have been identified as part of the shared experience of mixtape aficionados. From an
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195:, the sound quality of cassettes was not good enough to be seriously considered for music recording until further advances in tape formulations, including the advent of chrome and metal tape. Before the introduction of the audio cassette, the creation of a pop music compilation required specialized or cumbersome equipment, such as a
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would often distribute recordings of their club performances via audio cassette, as well as customized recordings (often prepared at exorbitant prices) for individual tape purchasers. These recordings tended to be of higher technical ability than home-made mixtapes and incorporated techniques such as
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In the mid-1990s, Rave mix tapes were very popular. The regulation was very relaxed as the DJs themselves played and mixed songs from other artists without paying the royalties. The First company which made DJsLive set commercials was NASA Hannover. This company had a mailing list including 100 DJs.
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To me, making a tape is like writing a letter—there's a lot of erasing and rethinking and starting again. ... A good compilation tape, like breaking up, is hard to do. You've got to kick off with a corker, to hold the attention (I started with "Got to Get You Off My Mind", but then realized that she
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cartridge was more popular for music recording during much of the 1960s, as the cassette was originally only mono and intended for vocal recordings only, such as in office dictation machines. But improvements in fidelity finally allowed the cassette to become a major player. The ready availability
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While the process of recording a mix onto an audio cassette from LPs or compact discs is technically straightforward, many music fans who create more than one mixtape are eventually compelled to confront some of the practical and aesthetic challenges involved in the mixtape format. From a practical
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Today, websites concerned with electronic music provide mixes in a digital format. These usually consist of recorded DJ sets of live, beat-matched mixes of songs, which are used by DJs seeking to demonstrate their mixing skills to an online audience. Some radio shows worldwide specialize in mix
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From an artistic point of view, many creators of mix tapes seem to regard them as a form of emotional self-expression, although whether a mix tape retains the same web of emotional associations when passed from its creator to the recipient is, at best, debatable. Some argue that in selecting,
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with hip hop beats (known as "blends"). Blend tapes were developed to promote one or more new artists, or as a pre-release by more established artists to promote upcoming "official" albums. Often, mixtapes contain "freestyles" with vocals placed over the instrumentals of a preexisting song.
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to hand. The tapes represent each jockey's concept of programming, placing, and sequencing of record sides. The music is heard without interruption. One- to three-hour programs bring anywhere from $ 30 to $ 75 per tape, mostly reel-to-reel, but increasingly on cartridge and cassette." Club
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can be seen as an evolution of the mixtape, in that it appropriates existing songs to give them new meanings through their juxtaposition, but does so in a quicker, more integrated style. This practice is heavily derived from the use of song loops as musical backdrops for an MC's rhymes in
207:. As cassette tapes and recorders grew in popularity and portability, these technological hurdles were lowered to the point where the only resources required to create a mix were a handful of cassettes and a cassette recorder connected to a source of pre-recorded music, such as a radio or
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point of view, many enthusiasts believe that because a tape player, unlike a CD player, lacks the ability to skip from song to song, the mixtape needs to be considered in its entirety. This requires the mixtape creator to consider the transitions between songs, the effects caused by
719:.) On a very basic level, the creation of a mix tape can be seen as an expression of the individual compiler's taste in music, often put forward for the implicit approval of the tape's recipient, and in many cases as a tentative step towards building the compiler's personal
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and MP3 players and the gradual disappearance of cassette players in cars and households have led to a decline in the popularity of the compact audio cassette as a medium for homemade mixes. The high point of traditional mixtape culture was arguably the publication of
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issued free of charge to gain publicity or avoid possible copyright infringement. However, the term has been applied to a number of releases published for profit in the 2010s, and the line between a release billed as a mixtape and one referred to as a
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A distinction should be drawn between a private mixtape, which is usually intended for a specific listener or private social event, and a public mixtape, or "party tape", usually consisting of a recording of a club performance by a
740:'s earliest days, the music only existed in live form. Performers' music was spread via tapes of parties and shows. Hip hop mixtapes first appeared in the mid-1970s in New York City, featuring artists such as
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Many enthusiasts also devote substantial attention to the packaging of a mix tape intended as a gift, sometimes going so far as to create cover art and customized liner notes. The cover of the original
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in 1995. Since then, mixtapes have largely been replaced by mix CDs and shared MP3 playlists, which are more durable, can hold more songs, and require minutes (rather than hours) to prepare.
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tape nearly disappeared shortly after the turn of the 1980s. The growth of the mixtape was also encouraged by improved quality and increased popularity of audio cassette players in
123:) is a compilation of music, typically from multiple sources, recorded onto a medium. With origins in the 1980s, the term normally describes a homemade compilation of music onto a
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of the cassette and higher quality home recording decks to serve the casual home user allowed the cassette to become the dominant tape format, to the point that the
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juxtaposing, or even editing originally unrelated tracks of pop music into a new work of art, the "author" of a mix tape moves from passive listener to
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have gained fame for creating new songs by combining fragments of existing songs (which need not necessarily belong to the same genre). The resulting
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In the mid-1980s, DJs such as Brucie B began recording their live music and selling them as mixtapes, which was soon followed by other DJs, like
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describes the mix tape as "one part
Victorian flower album, one part commonplace book, one part collage, and one part recital.")
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the songs and creating seamless transitions at their beginnings and endings with fades or abrupt edits. Essayist
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described this definition of the mixtape as "perhaps the most widely practiced
American art form".
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Unspooled: In the digital age, the quaint cassette is sent reeling into history's dustbin
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in the process of musical creation. (Some legitimacy for this viewpoint was provided by
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and Doo Wop. Ron G moved the mixtape forward in the early 1990s by blending R&B
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McMahon, Andrew (2005): "The Mixed Tape", Everything in
Transit—Jack's Mannequin.
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culture, a mixtape often describes a self-produced or independently released
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and intended to be sold to multiple individuals. In the 1970s, such DJs as
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by jockeys to serve as standbys for times when they did not have disco
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Nine Hills to
Nambonkaha: Two Years in the Heart of an African Village
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proprietors, as well as DJs, would often prepare such tapes for sale.
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Throughout the 1980s, mixtapes were a highly visible element of
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Homemade mix tapes became common in the 1980s. Although the
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recorder, that was often inaccessible to the casual music
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972:. Continuum International Publishing Group, 2003, p.506
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1087:"The Significance of the Mixtape in the Streaming Era"
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Continuum encyclopedia of popular music of the world
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984:"For the Mix Tape, A Digital Upgrade And Notoriety"
1138:For the mix tape, a digital upgrade and notoriety
1059:Mitchell, Shamika Ann (2007). Mickey Hess (ed.).
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913:"BurnLists: The Digital "Mix Tape" Comes of Age"
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630:a soft song with a loud song, and the overall "
103:mixtape with a handwritten label: "Funky Stuff"
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1281:Take the Cannoli: Stories from the New World
471:Learn how and when to remove these messages
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179:An early pirated 8 track mixtape from 1974
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660:A handwritten track listing for a mixtape
608:Learn how and when to remove this message
590:Learn how and when to remove this message
528:Learn how and when to remove this message
427:Recording Industry Association of America
287:. However, the increased availability of
500:Relevant discussion may be found on the
60:: vague phrasing that often accompanies
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512:to additional sources at this section.
1136:Gallagher, David (30 January 2003). "
860:Mix Tape: The Art of Cassette Culture
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811:If You're Reading This It's Too Late
1236:Last night a mix tape saved my life
1266:Stuever, Hank (29 October 2002). "
493:relies largely or entirely upon a
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1234:Paul, James (26 September 2003).
982:Gallagher, David (January 2003).
452:This section has multiple issues.
386:Legal issues in the United States
271:reported, "Tapes were originally
265:. One 12 October 1974 article in
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167:has become increasingly blurred.
1177:Keller, Joel (22 January 2004).
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1508:Two turntables and a microphone
1188:Mobley, Max (5 December 2007).
460:or discuss these issues on the
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938:Rosen, Jody (29 April 2004).
849:Compressed audio optical disc
675:, a 2003 essay collection by
1252:The New York Review of Books
1179:PCs killed the mix-tape star
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250:Kool Herc and the Herculoids
1793:Sound production technology
1106:Ellis, Bret Easton (1986).
570:the claims made and adding
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1245:Sante, Luc (13 May 2004).
1219:O'Brien, Geoffrey (2004).
1039:The Rough Guide to Hip-Hop
337:Additionally, DJs such as
72:Such statements should be
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1704:Releases and distribution
1190:"Requiem for the Mixtape"
911:Resnick, Michael (2006).
248:and the Soulsonic Force,
222:car entertainment systems
1513:Vinyl emulation software
1201:Moore, Thurston (2004).
801:MMM (Money Making Mitch)
36:Mixtape (disambiguation)
1488:Sound system (Jamaican)
1436:Direct-drive turntable
1279:Vowell, Sarah (2001).
1121:Erdman, Sarah (2003).
1037:Shapiro, Peter (2005)
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185:compact audio cassette
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34:. For other uses, see
1294:Warner, Alan (1995).
1162:Hornby, Nick (2003).
1147:Hornby, Nick (1995).
1008:Hornby, Nick (2005).
866:Portable media player
699:, and finally active
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191:appeared at the 1963
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1808:Audiovisual ephemera
506:improve this article
319:The Solid Steel Show
74:clarified or removed
27:Compilation of music
1559:Chopped and screwed
1273:The Washington Post
1091:artists.spotify.com
919:on 10 December 2006
1803:Compilation albums
1757:Hip hop production
1406:Magnetic cartridge
1261:Sonata for Jukebox
1255:. (This review of
1221:Sonata for Jukebox
1142:The New York Times
1014:. pp. 62–63.
988:The New York Times
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555:possibly contains
405:. You can help by
328:Eddy Temple-Morris
306:series, including
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1735:
1726:Digital pool
1544:Beatmatching
1529:Audio mixing
1379:Effects unit
1374:Drum machine
1295:
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1247:Disco Dreams
1240:The Guardian
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894:. Retrieved
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836:Music portal
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786:HotNewHipHop
782:LiveMixtapes
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518:October 2022
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454:Please help
451:
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407:adding to it
402:
336:
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282:
266:
259:beatmatching
254:DJ Hollywood
242:Furious Five
230:
226:Sony Walkman
213:8-track tape
211:player. The
197:reel-to-reel
182:
161:studio album
145:
137:beatmatching
120:
116:
112:
108:
106:
92:
79:
66:unverifiable
58:weasel words
55:
1721:Rare groove
1639:Slip-cueing
1614:Needle drop
1503:Synthesizer
1421:Phono input
1369:DJ software
1345:turntablism
1049:, p.332-333
757:a cappellas
732:1980s–1990s
701:participant
677:Nick Hornby
669:edition of
667:McSweeney's
636:Nick Hornby
628:juxtaposing
380:turntablism
314:BBC Radio 1
68:information
1787:Categories
1634:Scratching
1609:Music loop
1549:Beatmixing
1522:Techniques
1453:Microphone
1396:Headphones
1195:Crawdaddy!
1021:0141925078
944:The Nation
923:15 January
877:References
806:Puff Daddy
778:SoundCloud
727:In hip hop
564:improve it
457:improve it
289:CD burners
277:turntables
263:scratching
121:mixed tape
99:A compact
1680:Transform
1663:Scratches
1644:Pitch cue
1498:Subwoofer
1426:PA system
1352:Equipment
890:"Mixtape"
753:Kid Capri
742:Kool Herc
693:archivist
623:aesthetic
568:verifying
510:citations
502:talk page
463:talk page
433:Aesthetic
355:DJ Shadow
351:DJ Z-Trip
347:DJ Spooky
268:Billboard
228:in 1979.
82:July 2021
56:contains
1629:Sampling
1619:Phrasing
1564:Chopping
1458:Minutoli
1364:DJ mixer
1257:Songbook
1203:Mix Tape
1164:Songbook
822:See also
796:Lil Baby
717:didactic
672:31 Songs
343:DJ QBert
240:and the
133:playlist
117:mix tape
113:mix-tape
18:Mixtapes
1736:Mixtape
1569:Covered
1478:Slipmat
1473:Sampler
1441:SL-1200
954:13 July
896:4 April
738:hip hop
562:Please
371:mash-up
326:), and
324:Kiss FM
218:8 track
201:8 track
189:Philips
171:History
152:R&B
148:hip hop
109:mixtape
1711:DJ mix
1604:Medley
1599:Mashup
1448:Laptop
1384:Reverb
1302:
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993:23 May
854:DJ mix
808:, and
697:editor
361:, and
296:novel
273:dubbed
252:, and
62:biased
1690:Chirp
1685:Flare
1670:Orbit
1624:Remix
1554:Break
1341:DJing
1183:Salon
816:Drake
784:, or
721:canon
367:remix
156:album
1762:Rave
1695:Crab
1675:Tear
1584:Drop
1401:iPod
1343:and
1300:ISBN
1285:ISBN
1259:and
1225:ISBN
1207:ISBN
1168:ISBN
1153:ISBN
1127:ISBN
1112:ISBN
1067:ISBN
1043:ISBN
1016:ISBN
995:2008
956:2017
925:2007
898:2012
744:and
681:CDDB
363:Rjd2
261:and
150:and
1579:Cut
1574:Cue
1359:CDJ
1270:".
1140:".
814:by
804:by
794:by
736:In
685:ID3
638:'s
566:by
409:.
369:or
353:or
332:Xfm
312:on
205:fan
199:or
187:by
163:or
146:In
119:or
64:or
1789::
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316:,
244:,
234:DJ
209:LP
129:CD
127:,
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