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use depending on the amount of original content used, the nature of the content, the purpose of the borrowed content, and the effect the borrowed content has on an audience. Unfortunately, there are no distinct lines between copyright infringement and abiding by fair use regulations while producing a remix. However, if the work that is distributed by the remixer is an entirely new and transformative work that is not for profit, copyright laws are not breached. The key word in such considerations is transformative, as the remix product must have been either sufficiently altered or clearly used for a sufficiently different purpose for it to be safe from copyright violation.
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the whole or a substantial part of the original material has been reproduced, copied, communicated, adapted or performed – unless a permission has been given in advance through a voluntary open content license like a
Creative Commons license, there is fair dealing involved (the scope of which is extraordinarily narrow), a statutory license exists, or permission has been sought and obtained from the copyright owner. Generally, the courts consider what will amount to a substantial part by reference to its quality, as opposed to quantity and the importance the part taken bears in relation to the work as whole.
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that one needs the permission of the copyright owner to engage in mashups or acts of remixing. Lessig believes that the key to mashups and remix is "education – not about framing or law – but rather what you can do with technology, and then the law will catch up". He believes that trade associations – like mashup guilds – that survey practices and publish reports to establish norm or reasonable behaviours in the context of the community would be useful in establishing fair use parameters. Lessig also believes that
Creative Commons and other licences, such as the
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1106:, who worked with Jay-Z's Roc Nation, tried to sue his former manager for remixing his songs without permission, claiming that he gave his manager the go-ahead to use his work for some remixes, but not others. Deadmau5 wanted reimbursement for the remixes his manager made after they had severed ties, because he claimed it was his "moral right" to turn these future remixing opportunities away if he had wanted to. The two parties reached an agreement in 2016 that kept
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to obtain the right holder's permission (US District Court, Stephanie Lenz v. Universal Music Corp., Universal Music
Publishing Inc., and Universal Music Publishing Group, Case No. 5:07-cv-03783-JF, January 24, 2013). Given the emergence of today's "remix" culture, and the legal uncertainty surrounding remixes and mash-ups, the time would appear to be ripe for policy makers to take a new look at copyright law.
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804:" sample were emphasized and the bridge from the original version was used as the chorus. There is a version omitting Ol' Dirty Bastard's verses. The "Bad Boy Fantasy Remix", combines the chorus from the original version and the chorus of the Bad Boy Remix together, removing Ol' Dirty Bastard's vocals from his second verse. Carey re-recorded vocals for club remixes of the song by
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1077:. The song is unique in that it segues from the end of the original to the beginning of the remixed version (accompanied by the line "Now usually I don't do this, but uh, go ahead on, break em' off with a little preview of the remix."). In addition, the original version's beginning line "You remind me of something/I just can't think of what it is" is actually
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1344:. A parody in contemporary usage, is a work created to mock, comment on, or make fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. They can be found all throughout art and culture from literature to animation. Famous song parody artists include
56:) is a piece of media which has been altered or contorted from its original state by adding, removing, or changing pieces of the item. A song, piece of artwork, book, poem, or photograph can all be remixes. The only characteristic of a remix is that it appropriates and changes other materials to create something new.
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City. At first, Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom
Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the
645:, are sought out for their remixing skill and have impressive lists of contributions. It is not uncommon for industrial bands to release albums that have remixes as half of the songs. Indeed, there have been popular singles that have been expanded to an entire album of remixes by other well-known artists.
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agreement allows users to use copyrighted materials without asking the permission of the original creator (section 107 of the federal copyright law). Within this agreement, the copyrighted material that is borrowed must be used under specific government regulations. Material borrowed falls under fair
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There are proposed theories of reform regarding the copyright law and remixes. Nicolas Suzor believes that copyright law should be reformed in such a manner as to allow certain reuses of copyright material without the permission of the copyright owner where those derivatives are highly transformative
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in 2013 a district court ruled that copyright owners do not have the right to simply take down content before undertaking a legal analysis to determine whether the remixed work could fall under fair use, a concept in US copyright law which permits limited use of copyrighted material without the need
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Canada is one of a few countries, if not the only one, to have introduced into its copyright law a new exception for non-commercial user-generated content. Article 29 of Canada's
Copyright Modernization Act (2012) states that there is no infringement if: (i) the use is done solely for non-commercial
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There are two obvious extremes with regard to derivative works. If the song is substantively dissimilar in form (for example, it might only borrow a motif which is modified, and be completely different in all other respects), then it may not necessarily be a derivative work (depending on how heavily
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had been released on the Saturn in a less-than-impressive state. Sega had attempted to make an accurate port of the Sega Model 1 arcade version, and therefore chose to use untextured models and the soundtrack from the arcade machine. However, as the Saturn was incapable of rendering as many polygons
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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. You could argue that the 'Fantasy' remix was the single most important recording that she's ever made." Norris echoed the sentiments
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The Bad Boy remix garnered positive reviews from music critics. "Fantasy" exemplified how a music sample could be transformed "into a fully realized pop masterpiece". The song and its remix arguably remains as one of Carey's most important singles to date. Due to the song's commercial success, Carey
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was created to address many of these flaws. Models have a slightly higher polygon count (though still less than the Model 1 version); they are also texture-mapped, leading to a much more modern-looking game that could effectively compete with the PlayStation. The game also allows players to use the
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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(removes the main character from various original strips by
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era. The
Salsoul catalog is seen (especially in the UK and Europe) as being the "canon" for the disco mixer's art form. Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. (He is certainly the most high-profile remixer to do so.)
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The exclusive rights of the copyright owner over acts such as reproduction/copying, communication, adaptation and performance – unless licensed openly – by their very nature reduce the ability to negotiate copyright material without permission. Remixes will inevitably encounter legal problems when
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who invented the dance remix as we now know it. 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. His tapes eventually became popular and he came to the attention of the music industry in New York
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believes that for the first time in history creativity by default is subject to regulation because of two architectural features. First, cultural objects or products created digitally can be easily copied, and secondly, the default copyright law requires the permission of the owner. The result is
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A remix in art often takes multiple perspectives upon the same theme. An artist takes an original work of art and adds their own take on the piece creating something completely different while still leaving traces of the original work. It is essentially a reworked abstraction of the original work
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A remix may also refer to a non-linear re-interpretation of a given work or media other than audio such as a hybridizing process combining fragments of various works. The process of combining and re-contextualizing will often produce unique results independent of the intentions and vision of the
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remix of "Fantasy". 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. Some of the song's R&B elements were removed for the remix, while the
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Released in
October 1987 is said to have "laid the groundwork for hip hop's entry into the UK mainstream". Dorian Lynskey of The Guardian named it a "benchmark remix" and placed it in his top ten list of remixes. The Coldcut remix "Seven Minutes of Madness" became one of the first commercially
557:, known as The Originator of House Music, was the first producer to change the art of remixing by creating his own original music, entirely replacing the earlier track, then mixing back in the artist's original lyrics to make his remix. He introduced this technique for the first time with the
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Many hip-hop remixes arose either from the need for a pop/R&B singer to add more of an urban, rap edge to one of their slower songs, or from a rapper's desire to gain more pop appeal by collaborating with an R&B singer. Remixes can boost popularity of the original versions of songs.
791:". Some artists would contribute new or additional vocals for the different versions of their songs. These versions were not technically remixes, as entirely new productions of the material were undertaken (the songs were "re-cut", usually from the ground up). Carey worked with producer
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Because remixes may borrow heavily from an existing piece of music (possibly more than one), the issue of intellectual property becomes a concern. The most important question is whether a remixer is free to redistribute his or her work, or whether the remix falls under the category of a
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remix usually has the same music as the original song but has added or altered verses that are rapped or sung by the featured artists. It usually contains some if not all of the original verses of the song however they may be arranged in a different order than they originally were.
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Remixes should not be confused with edits, which usually involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, and a
1176:" 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. In the age of social media, anybody can make and upload a remix. The most popular apps for doing this are
618:, have included remix software in their officially released singles, enabling almost infinite permutations of remixes by users. The band has also presided over remix competitions for their releases, selecting their favourite fan-created remix to appear on later official releases.
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were creating more experimental remixes of songs (relying on the groundwork of
Cabaret Voltaire and the others), which varied radically from their original sound and were not guided by pragmatic considerations such as sales or "danceability", but were created for "art's sake".
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and do not impact upon the primary market of the copyright owner. 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.
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modified the melody and chord progressions were). On the other hand, if the remixer only changes a few things (for example, the instrument and tempo), then it is clearly a derivative work and subject to the copyrights of the original work's copyright holder.
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of instruments inserted, often after the second chorus; some were as simplistic as two copies of the song stitched end to end. As the cost and availability of new technologies allowed, many of the bands who were involved in their own production (such as
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purpose; (ii) the original source is mentioned; (iii) the individual has reasonable ground to believe that he or she is not infringing copyright; and (iv) the remix does not have a "substantial adverse effect" on the exploitation of the existing work.
614:) embraced this trend and outspokenly sanctioned fan remixing of their work; there was once a web site which hosted hundreds of unofficial remixes of Björk's songs, all made using only various officially sanctioned mixes. Other artists, such as
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to remix language in the 1960s. 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.
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While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form which is remixed in numerous examples. Literature, film, technology, and social systems can all be argued as a form of remix.
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is perhaps the most famous of this movement, creating albums using sounds entirely from other music and cutting it into his own. Underground mixing is more difficult than the typical official remix because clean copies of separated
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2507:. I felt I had been working toward the same goal; thus it was a major revelation to me when I actually saw it being done." Cf. Knickerbocker, Conrad, Williams S. Burroughs, 'The Paris Review Interview with William S. Burroughs' in
1085:". Kelly later revealed that he actually wrote "Ignition (remix)" before the purported original version of "Ignition", and created the purported original so that the chorus lyric in his alleged remix would make sense. Madonna's
755:, giving one song the ability to appeal across many different musical genres or dance venues. Such remixes often include "featured" artists, adding new vocalists or musicians to the original mix. The remix is also widely used in
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by Pablo Picasso, (merges various angles of perspective into one view). Some of Picasso's other famous paintings also incorporate parts of his life, such as his love affairs, into his paintings. For example, his painting
744:'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,
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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. An example is the remix of
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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
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in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of easily editable magnetic tape in the 1940s and 1950s and the subsequent development of
2479:, Burroughs explained the following: "A friend, Brion Gysin, an American poet and painter, who has lived in Europe for thirty years, was, as far as I know, the first to create cut-ups. His cut-up poem,
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for free if they registered their Saturns, while Japanese customers would later receive a SegaNet compatible version. Sega would also bring Virtua Fighter Remix to Sega Titan Video arcade hardware.
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and Mariah may still be the best and most random hip hop collaboration of all time", citing that due to the record "Fantasy", "R&B and Hip Hop were the best of step siblings." In the 1998 film
565:'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
1375:"A feminist remix is a creative resistance and cultural production that talks back to patriarchy by reworking patriarchal hierarchical systems privileging men. Examples include Barbara Kruger's
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became one of the first mainstream artists who re-recorded vocals for a dancefloor version, and by 1993 most of her major dance and urban-targeted versions had been re-sung, e.g. "
838:—have spent much of the past ten years making pop music that is unmistakably R&B." Moreover, Jones concludes that "Her idea of pairing a female songbird with the leading male
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Recent technology allows for easier remixing, leading to a rise in its use in the music industry. It can be done legally, but there have been numerous disputes over rights to
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524:). 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. Others such as
593:, an unsolicited, unofficial (and often legally dubious) remix created by "underground remixers" who edit two or more recordings (often of wildly different songs) together.
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of hip-hop changed R&B and, eventually, all of pop. Although now anyone is free to use this idea, the success of "Mimi" suggests that it still belongs to Carey."
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Remixing has become prevalent in heavily synthesized electronic and experimental music circles. Many of the people who create cutting-edge music in such genres as
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on screen as Model 1 hardware, characters looked noticeably worse. Many claim it to be even worse than the Sega 32X version, thanks to the added CD loading time.
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in the late 1980s, a new form of remix was popularised, where the vocals would be kept and the instruments would be replaced, often with matching backing in the
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863:, wrote that in regarding of R&B and hip hop collaboration, "The champion of this movement is Mariah Carey." Mayard also expressed that "To this day
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while still holding remnants of the original piece while still letting the true meanings of the original piece shine through. Famous examples include
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is a non-profit organization that allows the sharing and use of creativity and knowledge through free legal tools and explicitly aims for enabling a
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are important mechanisms which mashup and remix artists can use to mitigate the impact of copyright law. Lessig laid out his ideas in a book called
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according to, for example, United States copyright law. Of note are open questions concerning the legality of visual works, like the art form of
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went to trial over a dispute about his use of a sample from "Khosara Khosara", a composition by Egyptian composer Baligh Hamdy in his song "
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began her career writing music for dance clubs and used remixes extensively to propel her career; one of her early boyfriends was noted DJ
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737:". Osama Fahmy, a nephew of Hamdy, argued that while Jay-Z had the "economic rights" to use the song, he did not have the "moral rights".
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are solo artists or pairs. They will often use remixers to help them with skills or equipment that they do not have. Artists such as
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Early pop remixes were fairly simple; in the 1980s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl
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magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track
2487:. I became interested in the possibilities of this technique, and I began experimenting myself. Of course, when you think of it,
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original designer/artist. Thus the concept of a remix can be applied to visual or video arts, and even things farther afield.
957:. A separate music video was filmed for the remix, shot in black and white and featuring a cameo appearance by Snoop. In 2001,
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to use some of the original song's materials in a new context, allowing the original song to reach a different audience
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acknowledged that amateur remixing might fall under fair use and copyright holders are requested to check and respect
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successful remixes, becoming a top fifteen hit in countries such as Germany, the Netherlands and the United Kingdom.
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In the west, a CG Portrait Collection Disc was also included in the Saturn bundle. North American owners would get
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1821:"Offiziellecharts.de – Eric B. & Rakim – Paid in Full". GfK Entertainment Charts. Retrieved January 21, 2013.
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has called "Fantasy" one of her favorite songs of all-time and has said Mariah is the reason there is a Grimes.
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make extensive use of Remixes in their formats to create a hotter, more up-beat sound than their market rivals.
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used the song at the beginning and end of the video "You Know That Ain't Them Dogs' Real Voices". Indie artist
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multiple ways, utilizing playback at different turntable speeds or mangling by using a cassette recorder.
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Carey helped popularize having a rapper as a featured act through her post-1995 songs with her remix of "
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such as vocals or individual instruments are usually not available to the public. Some artists (such as
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used tape manipulation to create sound compositions. Less artistically lofty edits produced medleys or
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helped popularize rapper as a featured act through her post-1995 songs. Sasha Frere-Jones, editor of
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explicitly added a new exemption which allows non-commercial remixing. In 2013, the US court ruling
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again featured, who originally wanted it for his next album, but relented to let it be on the album
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commented in referencing to the song's remix: "It became standard for R&B/hip-hop stars like
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to create a connection between a smaller artist and a more successful one, as was the case with
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mixes (which they called "versions") of reggae tunes. At first, they simply dropped the vocal
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Some industrial groups allow, and often encourage, their fans to remix their music, notably
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used in remixed songs. Many famous artists have been involved in remix disputes. In 2015,
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to improve the first or demo mix of the song, generally to ensure a professional product.
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In the 1990s, with the rise of powerful home computers with audio capabilities came the
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song "It's a Cold, Cold World", in May 1988. Another clear example of this approach is
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Modern remixing had its roots in the dance hall culture of late-1960s and early-1970s
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This article is about an alternative version of a recorded work. For other uses, see
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in music and song recordings. Songs may be remixed for a large variety of reasons:
949:" was remixed, containing lyrical interpolations and an instrumental sample from "
254:
From the mid-1970s, DJs in early discothèques were performing similar tricks with
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to suit the tastes of their audience. Producers and engineers like Ruddy Redwood,
170:, such alterations became more common. In those decades the experimental genre of
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2443:"Federal Judge Tosses Rapper 50 Cent's 'In Da Club' Remix Suit, Appeal Expected"
1226:
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was asked to provide a "guest rap", and a new tradition was born in pop music.
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In recent years the concept of the remix has been applied analogously to other
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1473:(バーチャファイター リミックス/Bāchafaitā rimikkusu) as an update to, just months after the
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format, which allows buyers to mix songs and share them on the U-MYX website.
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1099:" so that the latter could be added to the set without jarring the listener.
262:) to get dancers on the floor and keep them there. One noteworthy figure was
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1967:""Big Pimpin' " Trial: Jay Z Song Stirs International Copyright Law Debate"
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2424:"Deadmau5 Reaches Settlement with Play Records over Unauthorized Remixes"
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2210:"Mariah Carey Casts "Rainbow" For Next LP; Taps Missy, Da Brat For Remix"
1989:
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347:. Cutting (alternating between duplicate copies of the same record) and
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Records would feature the "cut up" style of hip hop on such records as "
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1717:""This is a journey into sound…" The sample that made hip hop history"
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radio. Conversely, a more uptempo number can be mellowed to give it "
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Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture
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1356:. Several current television shows are filled with parodies, such as
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1287:. Statements consisting only of original research should be removed.
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provided the dance version of the first commercial 12-inch single ("
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516:. Contemporaneous to Art of Noise was the seminal body of work by
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who later explained using different methods for this process with
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software. Some artists have started releasing their songs in the
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would feature three artistically differentiated arrangements of "
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of the original mix. Moulton, Gibbons and their contemporaries (
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was embraced by local music mixers who deconstructed and rebuilt
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to improve the fidelity of an older song for which the original
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took the remix styles to an extreme—creating music entirely of
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Contemporaneously to disco in the mid-1970s, the dub and disco
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by Andy Warhol (modifies colors and styles of one image), and
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proved to be the most influential group of remixers for the
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2795:"Remix Culture and Amateur Creativity: A Copyright Dilemma"
2763:"Remix Culture and Amateur Creativity: A Copyright Dilemma"
1795:""Official Singles Chart Top 100". Official Charts Company"
1610:"Remix Culture and Amateur Creativity: A Copyright Dilemma"
1217:
A remix in literature is an alternative version of a text.
1151:
producers and DJs in order to give the song appeal to the
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is credited with helping popularize remix albums releases.
1881:"Madonna's career in 10 records as Queen of Pop turns 60"
1823:"Offizielle Deutsche Charts - Offizielle Deutsche Charts"
855:, who told MTV that it's because of Mariah that we have "
577:. The art of the remix gradually evolved, and soon more
2285:"Nas, Cypress Hill, Jessica Simpson ride the Remix wave"
1276:
808:, titled "Daydream Interlude (Fantasy Sweet Dub Mix)".
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acknowledged the "age of remixing" and the need for a
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was released as the "Hex Hector Radio Mix", for which
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was released as the "Hex Hector Radio Mix", for which
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version of a song where none was previously available
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used the same idea in 'The Camera Eye' sequences in
2325:"This Product Contains Previously Released Material"
923:", which proved to be his best selling single ever,
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to provide additional versions of a song for use as
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241:also used other effects on side two of their album
2511:, ed. John Calder (London: Picador, 1982), p. 263.
2348:Billboard Dance Club Play Songs (4 September 1999)
1435:was produced as a remix of the sketches from the
245:by manipulating their previously released single
1203:has been compared by some to the remix concept.
937:instead. This also included the reappearance of
185:. The fluid evolution of music that encompassed
2441:October 04, Robert Storace; PM, 2018 at 06:20.
2158:
2156:
2014:. New York: St. Martin's Griffin. p. 137.
1095:" that was used to segue from the original to "
1515:, which can be plagued with licensing issues.
973:, who also produced the track. It samples the
4100:Cinema / television / video
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751:Remixes have become the norm in contemporary
8:
4634:Palimpsests: Literature in the Second Degree
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2568:
951:Ain't No Fun (If the Homies Can't Have None)
2543:. New York:NY: Routledge. pp. 147–157.
2539:Keifer-Boyd, Karen; Liao, Christen (2018).
2459:: CS1 maint: numeric names: authors list (
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1835:: CS1 maint: numeric names: authors list (
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2651:"Transformative Use of Copyright Material"
2166:. Thefader.com. 2011-01-14. Archived from
2164:"Suite903: R&B, Rejected and Betrayed"
1067:, who recorded two different versions of "
641:, and Russian DJ Ram, who has worked with
569:and substituting a minimalist, sequenced "
3268:Music technology (electronic and digital)
2136:"Celebrities Praise Mariah Carey: Part 1"
1908:"How Madonna popularised the remix album"
1303:Learn how and when to remove this message
715:is the most remixed act. Her remix album
486:, who created several mixes of her work.
149:: a re-recording of someone else's song.
140:to improve a song from its original state
2608:"Copyright Act 1968 (Cth) ss 31": 85–88.
2493:was the first great cut-up collage, and
2406:"Deadmau5 Sues Over Remixes and Mashups"
2075:"Best Singles of the 1990s | Music"
1883:. Guinness World Records. Archived from
542:) were equally influential in this era.
335:, energizing both and helping to create
225:, and adding various effects like echo,
2110:"Mariah Carey's record-breaking career"
2061:
1693:
71:to adapt or revise a song for radio or
2700:Download Lessig's Remix, Then Remix It
2622:
2611:
2541:Feminism. In Keywords in Remix Studies
2452:
2350:Billboard.com. Retrieved 30 June 2017.
1857:
1828:
1561:which is itself free to remix under a
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675:
667:Some radio stations, such as the UK's
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2497:had done a bit along the same lines.
2362:"Grammys Cast a Wider Net Than Usual"
961:released an urban remix of her song "
109:to alter a song for artistic purposes
27:Media altered from its original state
7:
1147:and R&B songs can be remixed by
528:and the aforementioned Jarre (whose
2684:"Mashups, Remix, and Copyright Law"
2659:Queensland University of Technology
1703:http://www.everythingisaremix.info/
331:met through Jamaican immigrants to
96:to alter a song to suit a specific
2360:Boucher, Geoff (January 4, 2001).
1340:Other types of remixes in art are
1120:in October 2018 for remixing his "
387:'s remix of Eric B. & Rakim's
25:
3109:Recording studio as an instrument
2639:Mashups, Remix, and Copyright Law
2249:"One blond diva in for long haul"
2108:Frere-Jones, Sasha (2006-04-03).
1906:O'Brien, Jon (November 2, 2022).
1715:Herrington, Tony (15 July 2019).
904:had an incredible impact in 2001.
520:(composed, arranged and mixed by
3285:
2824:
2793:Rostama, Guilda (June 1, 2015).
2761:Rostama, Guilda (June 1, 2015).
1879:Baker, Riley (August 16, 2018).
1766:. Greenwood Press. p. 152.
1447:released a new version of their
1257:
440:Problems playing this file? See
418:
3500:Two turntables and a microphone
1949:from the original on 2021-11-07
1852:"Dutch Charts - dutchcharts.nl"
2323:Cinquemani, Sal (2002-07-02).
2283:Wiederhorn, Jon (2002-05-22).
1942:How sampling transformed music
1414:In media and consumer products
1110:from making any new remixes.
1063:Another well-known example is
896:" (So So Def Remix) featuring
414:Scott Brown - "Elysium" (1999)
1:
4563:Pierre Menard, Author of the
4409:Archetypal literary criticism
3969:Literature / theatre
2829:The dictionary definition of
2392:"The Confessions of R. Kelly"
1590:Lenz v. Universal Music Corp.
1491:original flat-shaded models.
1372:Garfield creator Jim Davis).
859:." Judnick Mayard, writer of
375:and the creative team behind
59:Most commonly, remixes are a
4375:Source criticism in the arts
4043:Readymades of Marcel Duchamp
3292:Record production portal
2368:. p. 13. Archived from
2222:. 1999-08-13. Archived from
1477:release on the Sega Saturn.
1410:(2008) by artist Sian Amoy.
1337:, is about a love triangle.
1028:, reached number six on the
1020:Released on July 12, 1999, "
316:His contemporaries included
4576:Reality Hunger: A Manifesto
3263:Music technology (electric)
2509:A Williams Burroughs Reader
1734:Lynskey (14 October 2004).
1585:Copyright Modernization Act
1422:and products. In 2001, the
1385:Your body is a battleground
1283:the claims made and adding
1081:from an older Kelly song, "
4796:
4682:Appropriation in sociology
1939:Mark Ronson (9 May 2014),
1555:GNU General Public Licence
1210:
1083:You Remind Me of Something
508:, Yellow Magic Orchestra,
213:popularized stripped-down
40:
29:
4687:Articulation in sociology
4210:Revivalism (architecture)
4023:
3696:Releases and distribution
3281:
2575:Lessig, Lawrence (2008).
2526:garfieldminusgarfield.net
2522:"garfield minus garfield"
2138:. YouTube. Archived from
2041:. ECW Press. p. 92.
1986:Mixed Up (Deluxe Edition)
93:has been lost or degraded
4399:Aesthetic interpretation
3505:Vinyl emulation software
1532:Creative Commons license
927:would do its remix with
484:John "Jellybean" Benitez
432:'s "Elysium" - original.
339:. Key figures included,
161:Since the beginnings of
41:Not to be confused with
36:Remixes (disambiguation)
4641:The Pictures Generation
4420:The Death of the Author
3480:Sound system (Jamaican)
2447:Connecticut Law Tribune
2010:Nickson, Chris (1998).
1458:flavors under the name
1381:We are not what we seem
983:Why You Treat Me So Bad
795:to create the official
685:Cite magazine requires
500:-based compositions of
258:songs (using loops and
4712:Copyright infringement
4692:Cultural appropriation
3428:Direct-drive turntable
2649:Nicolas Suzor (2006).
2621:Cite journal requires
2555:"Virtua Fighter Remix"
2410:The Hollywood Reporter
2035:Shapiro, Marc (2001).
2012:Mariah Carey Revisited
1971:The Hollywood Reporter
1701:Everything is a Remix
1652:Electronic dance music
1599:DMCA take down notices
1502:Copyright implications
1017:
905:
780:
722:
709:Guinness World Records
460:Yellow Magic Orchestra
428:29 second sample from
407:
32:Remix (disambiguation)
4739:Participatory culture
4707:Intellectual property
3180:Ghostwriters in music
2736:U.S. Copyright Office
2247:(September 1, 2001).
1760:Hess, Mickey (2007).
1445:The Coca-Cola Company
1093:Now I'm Following You
1091:featured a remix of "
1071:" for his 2003 album
995:
965:", featuring rappers
891:
770:
757:hip hop and rap music
706:
534:was an epic usage of
406:
4414:Artistic inspiration
4238:Intertextual figures
4205:Parody advertisement
1496:Virtua Fighter Remix
1488:Virtua Fighter Remix
1471:Virtua Fighter Remix
1377:You are not yourself
1197:'s disjointed novel
1116:tried to sue rapper
1102:In 2015, EDM artist
1040:The main single of "
996:The main single of "
783:In the early 1990s,
502:electronic musicians
168:multitrack recording
4749:Recontextualisation
4702:Information society
4697:History of printing
4677:Academic dishonesty
4438:Genius (literature)
4127:Literal music video
4038:Photographic mosaic
3833:Chopped and screwed
3551:Chopped and screwed
2742:on 20 December 2007
2719:Bloomsbury Academic
2305:on November 7, 2012
2245:Lu-Lien Tan, Cheryl
1920:on November 2, 2022
1429:television program
1393:Self-Hybridizations
1347:"Weird Al" Yankovic
1331:Les Trois Danseuses
1319:The Marilyn Diptych
1195:Mark Z. Danielewski
1172:'s classic single "
1058:Remixer of the Year
1014:Remixer of the Year
975:Kool & the Gang
892:Jessica Simpson's "
579:avant-garde artists
547:rise of dance music
211:Lee "Scratch" Perry
4780:Musical techniques
4426:Divine inspiration
4215:Video game modding
4057:By source material
3749:Hip hop production
3398:Magnetic cartridge
3094:Hip hop production
2561:. 29 October 2021.
2412:. 26 October 2015.
2394:. 20 January 2016.
2189:"Grimes Favorites"
1973:. 15 October 2015.
1800:OfficialCharts.com
1268:possibly contains
1018:
906:
879:Iwrestledabearonce
875:experimental metal
836:Christina Aguilera
781:
723:
408:
322:François Kevorkian
178:of various types.
176:novelty recordings
4762:
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4669:artistic concepts
4657:Russian formalism
4383:
4382:
4223:
4222:
4112:Anime music video
4095:
4094:
4087:Statue of Liberty
3885:Musical quotation
3828:Bootleg recording
3772:
3771:
3759:Record collecting
3485:Speaker enclosure
3475:Sound system (DJ)
3299:
3298:
2901:Critical distance
2366:Los Angeles Times
2301:). Archived from
2254:The Baltimore Sun
2226:on August 9, 2001
2048:978-1-55022-444-3
2021:978-0-312-19512-0
1887:on March 24, 2020
1773:978-0-313-33902-8
1637:Category:Remixers
1391:, Orlan's (1994)
1335:The Three Dancers
1325:The Weeping Woman
1313:
1312:
1305:
1270:original research
1219:William Burroughs
1074:Chocolate Factory
777:Ol' Dirty Bastard
707:According to the
514:Jean-Michel Jarre
423:
345:Grandmaster Flash
269:breakdown section
16:(Redirected from
4787:
4581:
4571:
4558:
4389:Related artistic
4355:Imitation in art
4325:Assemblage (art)
4234:
4033:Combine painting
4021:
4006:Verbatim theatre
3981:Cut-up technique
3880:Music plagiarism
3818:
3799:
3792:
3785:
3776:
3737:Related articles
3646:Video scratching
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3205:Session musician
2870:Music production
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2747:
2738:. Archived from
2728:
2722:
2721:(2008, archived)
2712:
2706:
2697:
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2661:. Archived from
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2476:The Paris Review
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2261:. Archived from
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2196:
2191:. Brooklyn Vegan
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2081:. Archived from
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2007:
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1981:
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1698:
1614:copyright reform
1604:In June 2015, a
1524:Creative Commons
1308:
1301:
1297:
1294:
1288:
1285:inline citations
1261:
1260:
1253:
1223:cut-up technique
1213:Cut-up technique
1165:Frankie Knuckles
699:In popular music
694:
688:
683:
681:
673:
633:-based Delobbo,
526:Cabaret Voltaire
425:
424:
405:
369:Grand Mixer D.ST
367:, as remixed by
172:musique concrète
21:
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4744:Pirate politics
4717:Derivative work
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4661:
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4543:
4536:
4532:Story structure
4527:Stock character
4507:Formula fiction
4495:
4493:
4492:Standard blocks
4486:
4392:
4390:
4379:
4308:
4280:
4229:
4219:
4178:
4107:Abridged series
4091:
4079:Michelangelo's
4071:Michelangelo's
4052:
4017:
4010:
3996:Jukebox musical
3964:
3809:
3803:
3773:
3768:
3764:Record producer
3732:
3691:
3650:
3581:Harmonic mixing
3509:
3455:Monitor speaker
3408:Monitor speaker
3339:
3330:
3300:
3295:
3286:
3284:
3277:
3226:
3195:Record producer
3148:
3144:
3133:
3087:
3083:
3072:
3013:Double tracking
2969:
2962:
2953:Sound recording
2891:Audio mastering
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2867:
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2638:
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2620:
2610:
2607:
2606:
2602:
2593:
2592:
2588:
2574:
2573:
2566:
2553:
2552:
2548:
2538:
2537:
2533:
2520:
2519:
2515:
2473:Interviewed by
2472:
2468:
2451:
2440:
2439:
2435:
2422:
2421:
2417:
2404:
2403:
2399:
2390:
2389:
2385:
2375:
2373:
2372:on July 7, 2012
2359:
2358:
2354:
2346:
2342:
2333:
2331:
2322:
2321:
2317:
2308:
2306:
2282:
2281:
2277:
2268:
2266:
2259:Tribune Company
2243:
2242:
2238:
2229:
2227:
2208:
2207:
2203:
2194:
2192:
2187:
2186:
2182:
2173:
2171:
2162:
2161:
2154:
2145:
2143:
2134:
2133:
2129:
2120:
2118:
2107:
2106:
2097:
2088:
2086:
2073:
2072:
2068:
2060:
2056:
2049:
2034:
2033:
2029:
2022:
2009:
2008:
1997:
1988:(Media notes).
1984:Smith, Robert.
1983:
1982:
1978:
1965:
1964:
1960:
1952:
1950:
1938:
1937:
1933:
1923:
1921:
1913:Reader's Digest
1905:
1904:
1900:
1890:
1888:
1878:
1877:
1873:
1856:
1849:
1848:
1844:
1827:
1820:
1819:
1815:
1805:
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1793:
1792:
1788:
1778:
1776:
1774:
1759:
1758:
1754:
1744:
1742:
1733:
1732:
1728:
1714:
1713:
1709:
1699:
1695:
1691:
1686:
1667:Musical montage
1622:
1550:Lawrence Lessig
1509:derivative work
1504:
1416:
1400:Evelin Stermitz
1309:
1298:
1292:
1289:
1274:
1262:
1258:
1251:
1215:
1209:
1200:House of Leaves
1190:
1188:Broader context
1170:Lisa Stansfield
1035:Dance/Club Play
959:Jessica Simpson
921:California Love
917:I Want Your Sex
742:Sinéad O'Connor
701:
687:|magazine=
684:
674:
668:
650:Nine Inch Nails
608:Nine Inch Nails
510:Giorgio Moroder
451:12-inch singles
447:
446:
438:
436:
435:
434:
433:
426:
419:
416:
409:
403:
398:
383:". English duo
373:Malcolm McLaren
309:Salsoul Records
285:Double Exposure
248:Super/Neuschnee
159:
129:Brimful of Asha
54:reorchestration
46:
39:
28:
23:
22:
15:
12:
11:
5:
4793:
4791:
4783:
4782:
4777:
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4757:
4756:
4751:
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4704:
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4660:
4659:
4654:
4649:
4644:
4637:
4630:
4623:
4618:
4610:
4605:
4602:De Copia Rerum
4598:
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4590:
4586:
4585:
4583:
4582:
4572:
4559:
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4362:
4357:
4352:
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4342:
4337:
4332:
4327:
4322:
4316:
4314:
4313:Other concepts
4310:
4309:
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4306:
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4296:
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4281:
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4278:
4273:
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4151:
4150:
4149:
4139:
4137:Re-cut trailer
4134:
4129:
4124:
4119:
4114:
4109:
4103:
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4097:
4096:
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4009:
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3998:
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3988:
3983:
3978:
3972:
3970:
3966:
3965:
3963:
3962:
3957:
3952:
3947:
3942:
3937:
3932:
3927:
3922:
3917:
3912:
3907:
3905:Plunderphonics
3902:
3897:
3892:
3887:
3882:
3877:
3872:
3867:
3862:
3857:
3852:
3847:
3846:
3845:
3835:
3830:
3824:
3822:
3815:
3811:
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3804:
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3794:
3787:
3779:
3770:
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3767:
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3756:
3751:
3746:
3740:
3738:
3734:
3733:
3731:
3730:
3725:
3720:
3715:
3710:
3708:Battle records
3705:
3699:
3697:
3693:
3692:
3690:
3689:
3684:
3679:
3674:
3669:
3664:
3658:
3656:
3652:
3651:
3649:
3648:
3643:
3641:Voice-tracking
3638:
3633:
3628:
3623:
3618:
3613:
3608:
3603:
3598:
3593:
3588:
3583:
3578:
3573:
3568:
3563:
3558:
3553:
3548:
3543:
3538:
3533:
3528:
3523:
3517:
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3508:
3507:
3502:
3497:
3492:
3487:
3482:
3477:
3472:
3467:
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3457:
3452:
3447:
3442:
3437:
3436:
3435:
3430:
3420:
3415:
3410:
3405:
3403:Mixing console
3400:
3395:
3390:
3385:
3384:
3383:
3378:
3368:
3363:
3358:
3353:
3347:
3345:
3341:
3340:
3331:
3329:
3328:
3321:
3314:
3306:
3297:
3296:
3282:
3279:
3278:
3276:
3275:
3270:
3265:
3260:
3255:
3250:
3245:
3240:
3234:
3232:
3228:
3227:
3225:
3224:
3219:
3218:
3217:
3207:
3202:
3200:Rhythm section
3197:
3192:
3187:
3182:
3177:
3172:
3167:
3162:
3160:Audio engineer
3157:
3151:
3149:
3147:
3146:
3142:
3138:
3135:
3134:
3132:
3131:
3126:
3121:
3116:
3111:
3106:
3104:Overproduction
3101:
3096:
3090:
3088:
3086:
3085:
3081:
3077:
3074:
3073:
3071:
3070:
3065:
3060:
3055:
3050:
3045:
3040:
3035:
3033:Exciter effect
3030:
3025:
3020:
3010:
3005:
2995:
2990:
2985:
2980:
2974:
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2964:
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2874:
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2866:
2865:
2858:
2851:
2843:
2837:
2836:
2820:
2819:External links
2817:
2815:
2814:
2782:
2753:
2723:
2707:
2692:
2675:
2641:
2632:
2623:|journal=
2600:
2586:
2564:
2546:
2531:
2513:
2490:The Waste Land
2466:
2433:
2415:
2397:
2383:
2352:
2340:
2329:Slant Magazine
2315:
2275:
2236:
2201:
2180:
2152:
2127:
2115:The New Yorker
2095:
2079:Slant Magazine
2066:
2064:, p. 149.
2054:
2047:
2027:
2020:
1995:
1976:
1958:
1931:
1898:
1871:
1842:
1813:
1786:
1772:
1752:
1726:
1707:
1692:
1690:
1687:
1685:
1684:
1679:
1674:
1672:Plunderphonics
1669:
1664:
1659:
1654:
1649:
1644:
1639:
1634:
1629:
1623:
1621:
1618:
1608:article named
1503:
1500:
1481:Virtua Fighter
1475:Virtua Fighter
1415:
1412:
1389:Barbara Kruger
1311:
1310:
1265:
1263:
1256:
1250:
1247:
1211:Main article:
1208:
1205:
1189:
1186:
1138:Jennifer Lopez
1134:Ain't It Funny
1088:I'm Breathless
1026:Jennifer Paige
981:" (1973) and "
971:Jermaine Dupri
939:Roger Troutman
934:All Eyez on Me
913:George Michael
902:Jermaine Dupri
828:Britney Spears
815:The New Yorker
802:Genius of Love
800:bassline and "
700:
697:
555:Jesse Saunders
437:
427:
417:
412:
411:
410:
401:
400:
399:
397:
394:
389:"Paid in Full"
365:Herbie Hancock
329:remix cultures
305:Shep Pettibone
277:Walter Gibbons
275:vinyl format.
273:12-inch single
233:. The German
163:recorded sound
158:
155:
142:
141:
138:
135:
121:
110:
107:
104:
94:
87:
84:surround sound
76:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4792:
4781:
4778:
4776:
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4772:
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4755:
4754:Remix culture
4752:
4750:
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4745:
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4740:
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4732:
4730:
4727:
4723:
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4709:
4708:
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4703:
4700:
4698:
4695:
4693:
4690:
4688:
4685:
4683:
4680:
4678:
4675:
4674:
4672:
4664:
4658:
4655:
4653:
4652:Postmodernism
4650:
4648:
4645:
4643:
4642:
4638:
4636:
4635:
4631:
4629:
4628:
4624:
4622:
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4609:
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4604:
4603:
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4597:
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4587:
4578:
4577:
4573:
4567:
4566:
4560:
4555:
4554:
4550:
4549:
4547:
4542:Epoch-marking
4539:
4533:
4530:
4528:
4525:
4523:
4520:
4518:
4517:Jazz standard
4515:
4513:
4512:Genre fiction
4510:
4508:
4505:
4503:
4500:
4499:
4497:
4489:
4483:
4482:Western canon
4480:
4478:
4475:
4473:
4470:
4468:
4467:Genre studies
4465:
4463:
4460:
4456:
4453:
4452:
4451:
4448:
4444:
4441:
4439:
4436:
4434:
4433:
4429:
4428:
4427:
4424:
4421:
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4415:
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4410:
4407:
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4397:
4396:
4394:
4386:
4376:
4373:
4371:
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4351:
4348:
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4343:
4341:
4338:
4336:
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4331:
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4326:
4323:
4321:
4318:
4317:
4315:
4311:
4305:
4302:
4300:
4297:
4295:
4292:
4291:
4289:
4287:
4283:
4277:
4274:
4272:
4269:
4267:
4264:
4262:
4259:
4257:
4254:
4252:
4249:
4247:
4244:
4243:
4241:
4239:
4235:
4232:
4226:
4216:
4213:
4211:
4208:
4206:
4203:
4201:
4198:
4196:
4195:Internet meme
4193:
4191:
4188:
4187:
4185:
4181:
4175:
4172:
4170:
4167:
4165:
4162:
4160:
4157:
4155:
4152:
4148:
4147:Shot-for-shot
4145:
4144:
4143:
4140:
4138:
4135:
4133:
4130:
4128:
4125:
4123:
4122:Found footage
4120:
4118:
4115:
4113:
4110:
4108:
4105:
4104:
4102:
4098:
4088:
4085:
4083:
4082:
4077:
4075:
4074:
4069:
4067:
4066:
4062:
4061:
4059:
4055:
4049:
4046:
4044:
4041:
4039:
4036:
4034:
4031:
4029:
4026:
4025:
4022:
4019:
4013:
4007:
4004:
4002:
3999:
3997:
3994:
3992:
3989:
3987:
3984:
3982:
3979:
3977:
3974:
3973:
3971:
3967:
3961:
3958:
3956:
3953:
3951:
3948:
3946:
3943:
3941:
3938:
3936:
3935:Sound collage
3933:
3931:
3928:
3926:
3923:
3921:
3918:
3916:
3913:
3911:
3908:
3906:
3903:
3901:
3898:
3896:
3893:
3891:
3888:
3886:
3883:
3881:
3878:
3876:
3873:
3871:
3868:
3866:
3865:Interpolation
3863:
3861:
3858:
3856:
3855:Cover version
3853:
3851:
3848:
3844:
3841:
3840:
3839:
3836:
3834:
3831:
3829:
3826:
3825:
3823:
3819:
3816:
3812:
3807:
3806:Appropriation
3800:
3795:
3793:
3788:
3786:
3781:
3780:
3777:
3765:
3762:
3760:
3757:
3755:
3752:
3750:
3747:
3745:
3744:Controllerism
3742:
3741:
3739:
3735:
3729:
3726:
3724:
3723:Remix service
3721:
3719:
3716:
3714:
3711:
3709:
3706:
3704:
3701:
3700:
3698:
3694:
3688:
3685:
3683:
3680:
3678:
3675:
3673:
3670:
3668:
3665:
3663:
3660:
3659:
3657:
3653:
3647:
3644:
3642:
3639:
3637:
3634:
3632:
3629:
3627:
3624:
3622:
3619:
3617:
3614:
3612:
3609:
3607:
3604:
3602:
3599:
3597:
3594:
3592:
3589:
3587:
3586:Interpolation
3584:
3582:
3579:
3577:
3574:
3572:
3569:
3567:
3564:
3562:
3559:
3557:
3554:
3552:
3549:
3547:
3544:
3542:
3539:
3537:
3534:
3532:
3531:Beat juggling
3529:
3527:
3526:Back spinning
3524:
3522:
3519:
3518:
3516:
3512:
3506:
3503:
3501:
3498:
3496:
3493:
3491:
3488:
3486:
3483:
3481:
3478:
3476:
3473:
3471:
3468:
3466:
3463:
3461:
3460:Pitch control
3458:
3456:
3453:
3451:
3448:
3446:
3443:
3441:
3438:
3434:
3431:
3429:
3426:
3425:
3424:
3423:Record player
3421:
3419:
3416:
3414:
3411:
3409:
3406:
3404:
3401:
3399:
3396:
3394:
3391:
3389:
3386:
3382:
3381:Digital delay
3379:
3377:
3374:
3373:
3372:
3369:
3367:
3364:
3362:
3359:
3357:
3354:
3352:
3349:
3348:
3346:
3342:
3338:
3334:
3327:
3322:
3320:
3315:
3313:
3308:
3307:
3304:
3294:
3293:
3280:
3274:
3271:
3269:
3266:
3264:
3261:
3259:
3256:
3254:
3251:
3249:
3246:
3244:
3243:Interpolation
3241:
3239:
3236:
3235:
3233:
3229:
3223:
3220:
3216:
3213:
3212:
3211:
3210:Backup singer
3208:
3206:
3203:
3201:
3198:
3196:
3193:
3191:
3188:
3186:
3183:
3181:
3178:
3176:
3173:
3171:
3168:
3166:
3163:
3161:
3158:
3156:
3153:
3152:
3150:
3143:
3140:
3139:
3136:
3130:
3127:
3125:
3124:Wall of Sound
3122:
3120:
3117:
3115:
3112:
3110:
3107:
3105:
3102:
3100:
3097:
3095:
3092:
3091:
3089:
3082:
3079:
3078:
3075:
3069:
3066:
3064:
3061:
3059:
3056:
3054:
3051:
3049:
3046:
3044:
3043:Octave effect
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3018:
3014:
3011:
3009:
3006:
3003:
2999:
2996:
2994:
2991:
2989:
2988:Chorus effect
2986:
2984:
2981:
2979:
2976:
2975:
2973:
2971:
2965:
2959:
2956:
2954:
2951:
2949:
2946:
2944:
2941:
2939:
2936:
2934:
2931:
2929:
2926:
2922:
2921:Wah-wah pedal
2919:
2917:
2914:
2913:
2912:
2909:
2907:
2904:
2902:
2899:
2897:
2894:
2892:
2889:
2887:
2884:
2883:
2881:
2879:
2875:
2871:
2864:
2859:
2857:
2852:
2850:
2845:
2844:
2841:
2835:at Wiktionary
2834:
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2170:on 2011-09-11
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2142:on 2011-12-11
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2085:on 2012-10-26
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1677:Sound collage
1675:
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1663:
1662:Multitracking
1660:
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1653:
1650:
1648:
1647:Cover version
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1597:before doing
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1528:Remix culture
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1266:This section
1264:
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1244:
1240:
1236:
1231:
1228:
1225:developed by
1224:
1220:
1214:
1207:In literature
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1052:won the 2001
1051:
1047:
1043:
1042:I Turn to You
1038:
1036:
1033:
1032:
1027:
1023:
1015:
1011:
1008:won the 2001
1007:
1003:
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998:I Turn to You
994:
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979:Jungle Boogie
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821:
820:Missy Elliott
817:
816:
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806:David Morales
803:
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728:
720:
719:
718:You Can Dance
714:
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692:
679:
678:cite magazine
671:
670:"Frisk Radio"
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563:Roberta Flack
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337:hip-hop music
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227:reverberation
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127:'s remix of "
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37:
33:
19:
4667:Related non-
4639:
4632:
4625:
4614:
4600:
4589:Theorization
4574:
4564:
4551:
4430:
4345:Found object
4340:Détournement
4174:YouTube poop
4169:Video mashup
4117:Collage film
4080:
4072:
4063:
3991:Found poetry
3986:Flarf poetry
3919:
3895:Parody music
3875:Music mashup
3850:Contrafactum
3718:Digital pool
3615:
3536:Beatmatching
3521:Audio mixing
3371:Effects unit
3366:Drum machine
3283:
3272:
3248:Loudness war
3215:Ghost singer
3190:Orchestrator
3185:Horn section
3068:Reverse echo
3028:Equalization
2998:Delay effect
2948:Punch in/out
2943:Ping-ponging
2911:Effects unit
2906:Effects loop
2896:Audio mixing
2886:Audio filter
2831:
2808:
2802:. Retrieved
2776:
2770:. Retrieved
2756:
2744:. Retrieved
2740:the original
2735:
2726:
2710:
2695:
2678:
2667:. Retrieved
2663:the original
2654:
2644:
2635:
2614:cite journal
2603:
2595:"What we do"
2589:
2576:
2558:
2549:
2540:
2534:
2525:
2516:
2508:
2502:
2488:
2484:
2480:
2474:
2469:
2446:
2436:
2427:
2418:
2409:
2400:
2386:
2374:. Retrieved
2370:the original
2365:
2355:
2343:
2332:. Retrieved
2328:
2318:
2307:. Retrieved
2303:the original
2295:MTV Networks
2288:
2278:
2267:. Retrieved
2263:the original
2252:
2239:
2228:. Retrieved
2224:the original
2213:
2204:
2193:. Retrieved
2183:
2172:. Retrieved
2168:the original
2144:. Retrieved
2140:the original
2130:
2119:. Retrieved
2113:
2087:. Retrieved
2083:the original
2078:
2069:
2062:Nickson 1998
2057:
2038:Mariah Carey
2037:
2030:
2011:
1985:
1979:
1970:
1961:
1951:, retrieved
1941:
1934:
1922:. Retrieved
1918:the original
1911:
1901:
1889:. Retrieved
1885:the original
1874:
1845:
1816:
1804:. Retrieved
1798:
1789:
1777:. Retrieved
1762:
1755:
1743:. Retrieved
1740:The Guardian
1739:
1729:
1721:909Originals
1720:
1710:
1700:
1696:
1632:Audio mixing
1609:
1603:
1588:
1578:
1570:
1546:Stanford Law
1544:
1540:
1536:
1521:
1517:
1505:
1495:
1493:
1487:
1486:
1480:
1479:
1474:
1470:
1464:
1460:Sprite Remix
1440:
1430:
1417:
1407:
1406:(2010), and
1404:Women at War
1403:
1392:
1384:
1383:(1988), and
1380:
1376:
1374:
1370:
1366:The Simpsons
1351:
1345:
1339:
1334:
1330:
1323:
1317:
1314:
1299:
1290:
1267:
1242:
1234:
1232:
1216:
1198:
1191:
1142:
1130:
1126:
1112:
1108:Play Records
1101:
1086:
1072:
1062:
1039:
1029:
1019:
987:Club Nouveau
967:Lil' Bow Wow
963:Irresistible
947:Heartbreaker
943:Mariah Carey
932:
925:Tupac Shakur
907:
898:Lil' Bow Wow
894:Irresistible
868:
860:
813:
810:
785:Mariah Carey
782:
775:" featuring
750:
739:
724:
716:
666:
647:
620:
612:Public Enemy
588:
575:Simon Harris
559:Club Nouveau
544:
529:
490:Art of Noise
488:
464:Depeche Mode
448:
358:
352:
341:DJ Kool Herc
326:
318:Arthur Baker
299:, and later
253:
246:
215:instrumental
180:
160:
151:
143:
114:bonus tracks
102:radio format
78:to create a
65:audio mixing
58:
53:
49:
47:
4734:Open source
4522:Plot device
4472:Originality
4455:Fan fiction
4320:After (art)
4276:Translation
4132:Parody film
4016:Visual arts
3945:Tribute act
3808:in the arts
3713:Rare groove
3631:Slip-cueing
3606:Needle drop
3495:Synthesizer
3413:Phono input
3361:DJ software
3337:turntablism
3238:Click track
3222:Vocal coach
3165:Backup band
3145:professions
3119:Turntablism
2993:Compression
2978:Pitch shift
2938:Overdubbing
2878:Engineering
2746:13 December
2485:Naked Lunch
1924:November 2,
1806:January 21,
1243:Cobralingus
1235:Pixel Juice
1227:Brion Gysin
1163:" appeal.
1161:quiet storm
1024:" remix by
844:John Norris
753:dance music
735:Big Pimpin'
551:house music
522:Boris Blank
498:synthesizer
476:Duran Duran
430:Scott Brown
301:Larry Levan
293:Jim Burgess
281:Ten Percent
264:Tom Moulton
125:Fatboy Slim
98:music genre
4769:Categories
4627:Nachahmung
4613:Dionysian
4553:L.H.O.O.Q.
4477:Simulacrum
4286:Adaptation
4266:Plagiarism
4200:Joke theft
4183:Other arts
3976:Assemblage
3838:Contrafact
3626:Scratching
3601:Music loop
3541:Beatmixing
3514:Techniques
3445:Microphone
3388:Headphones
3170:Bandleader
3129:Xenochrony
3084:aesthetics
3048:Noise gate
3008:Distortion
2970:processing
2933:Microphone
2804:2016-03-14
2772:2016-03-14
2732:"Fair Use"
2669:2012-08-14
2655:LLM Thesis
2559:Sega Retro
2499:Dos Passos
2428:exclaim.ca
2334:2011-01-10
2309:2011-01-10
2269:2011-06-01
2230:2009-05-07
2195:2013-12-03
2174:2011-04-04
2146:2012-08-15
2121:2010-07-25
2089:2012-08-15
1953:2020-02-12
1779:29 January
1745:15 October
1689:References
1682:WhoSampled
1627:Assemblage
1548:professor
1449:soft drink
1443:. In 2003
1402:'s remix,
1362:Family Guy
1358:South Park
1293:April 2015
1277:improve it
1237:(2000) by
1122:In da Club
1050:Hex Hector
1022:Always You
1006:Hex Hector
955:Snoop Dogg
853:Lisa Lopes
793:Puff Daddy
789:Dreamlover
658:GarageBand
583:Aphex Twin
545:After the
540:sequencing
442:media help
349:scratching
260:tape edits
207:King Tubby
191:rocksteady
133:Cornershop
4502:Archetype
4494:and forms
4450:Fan labor
4330:Bricolage
4271:Quotation
4159:TV format
4065:Mona Lisa
3960:Vaporwave
3955:Variation
3915:Quodlibet
3910:Potpourri
3900:Pasticcio
3890:Nightcore
3672:Transform
3655:Scratches
3636:Pitch cue
3490:Subwoofer
3418:PA system
3344:Equipment
3080:Practices
2983:Auto-Tune
2958:Tape loop
2928:Diffusion
2704:wired.com
2376:April 29,
1891:April 21,
1579:In 2012,
1469:released
1465:In 1995,
1427:Channel 4
1281:verifying
1239:Jeff Noon
1221:used the
1178:Instagram
1118:Rick Ross
1046:Melanie C
1031:Billboard
1002:Melanie C
977:'s song "
945:'s song "
909:M.C. Lyte
870:Rush Hour
740:In 1988,
639:LehtMoJoe
627:aggrotech
595:Girl Talk
506:Kraftwerk
468:New Order
381:Duck Rock
333:the Bronx
297:Tee Scott
235:krautrock
116:or for a
73:nightclub
4722:Fair use
4615:imitatio
4608:Diegesis
4432:Afflatus
4404:Anti-art
4391:concepts
4335:Citation
4299:Literary
4261:Pastiche
4246:Allusion
4230:concepts
4228:General
4154:Supercut
3940:Standard
3930:Sampling
3814:By field
3621:Sampling
3611:Phrasing
3556:Chopping
3450:Minutoli
3356:DJ mixer
3155:Arranger
3114:Sampling
3038:Flanging
2916:Talk box
2455:cite web
2215:MTV News
1990:the cure
1947:archived
1860:cite web
1831:cite web
1736:"Dorian"
1642:Ccmixter
1620:See also
1595:fair use
1573:Fair Use
1563:CC BY-NC
1456:tropical
1379:(1982),
1342:parodies
1245:(2001).
1104:Deadmau5
1069:Ignition
1065:R. Kelly
989:(1987).
861:TheFader
746:the Cure
643:t.A.T.u.
623:synthpop
581:such as
536:sampling
504:such as
271:and the
4647:Pop art
4621:Mimesis
4565:Quixote
4365:Reprise
4304:Theatre
4190:In-joke
4164:Vidding
4028:Collage
3728:Mixtape
3561:Covered
3470:Slipmat
3465:Sampler
3433:SL-1200
3058:Pumping
3023:Ducking
2968:Signal
1566:license
1559:"Remix"
1513:collage
1432:Jaaaaam
1424:British
1408:Distaff
1387:(1989)
1275:Please
1182:YouTube
1145:ballads
1114:50 Cent
1079:sampled
1037:chart.
929:Dr. Dre
857:hip-pop
832:'N Sync
824:Beyoncé
797:Bad Boy
773:Fantasy
761:R&B
727:samples
713:Madonna
637:-based
631:Chicago
616:Erasure
591:mash-up
553:idiom.
531:Zoolook
494:samples
480:Madonna
472:Erasure
396:History
385:Coldcut
289:re-edit
183:Jamaica
157:Origins
18:Remixer
4580:(2010)
4570:(1939)
4557:(1919)
4370:Satire
4360:Mashup
4350:Homage
4256:Parody
4251:Calque
4142:Remake
3925:Riddim
3870:Medley
3860:DJ mix
3703:DJ mix
3596:Medley
3591:Mashup
3440:Laptop
3376:Reverb
3258:Medley
3253:Mashup
3063:Reverb
3053:Phaser
2299:Viacom
2045:
2018:
1770:
1657:Mashup
1581:Canada
1452:Sprite
1437:comedy
1364:, and
1249:In art
1174:Change
1149:techno
1054:Grammy
1010:Grammy
883:Grimes
834:, and
635:Dallas
610:, and
600:tracks
567:tracks
512:, and
474:, and
360:Rockit
283:", by
243:Neu! 2
219:tracks
203:tracks
195:reggae
118:B-side
91:master
80:stereo
61:subset
43:DJ mix
4775:Remix
4544:works
4462:Genre
4443:Muses
4081:Pietà
4073:David
4048:Swipe
4001:Trope
3950:Trope
3920:Remix
3821:Music
3682:Chirp
3677:Flare
3662:Orbit
3616:Remix
3546:Break
3333:DJing
3273:Remix
3231:Other
3141:Roles
3099:Lo-fi
3002:STEED
2832:remix
2715:remix
2687:(PDF)
2577:Remix
1454:with
1439:show
1420:media
1396:Orlan
1333:, or
1157:urban
1143:Slow
1136:" by
1097:Vogue
1044:" by
1000:" by
985:" by
953:" by
877:band
759:. An
731:Jay-Z
662:U-MYX
654:Apple
604:Björk
571:track
518:Yello
354:Slate
313:disco
307:) at
256:disco
237:band
231:delay
223:hooks
147:cover
131:" by
50:remix
4729:Meme
4596:Dada
4294:Film
3843:list
3754:Rave
3687:Crab
3667:Tear
3576:Drop
3393:iPod
3335:and
2799:WIPO
2767:WIPO
2748:2011
2627:help
2461:link
2378:2011
2043:ISBN
2016:ISBN
1926:2022
1893:2022
1866:link
1837:link
1808:2013
1781:2021
1768:ISBN
1747:2004
1606:WIPO
1571:The
1522:The
1467:Sega
1350:and
1180:and
1153:club
969:and
900:and
822:and
691:help
625:and
538:and
455:bars
343:and
320:and
303:and
239:Neu!
229:and
209:and
197:and
75:play
52:(or
34:and
3571:Cut
3566:Cue
3351:CDJ
3017:ADT
2717:on
2702:on
2504:USA
2290:MTV
2220:MTV
1583:'s
1441:Jam
1279:by
1056:as
1012:as
865:ODB
851:'s
849:TLC
847:of
840:MCs
656:'s
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