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This article needs attention from an expert on the subject. Please add a reason or a talk parameter to this template to explain the issue with the article. When placing this tag, consider with a. A song, piece of artwork, books, video, or photograph can all be remixes. The only characteristic of a remix is that it appropriates and changes other materials to create something new. Most commonly, remixes are a subset of in music and song recordings. 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 Since the beginnings of 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 , such alterations became more common. In those decades the experimental genre of used tape manipulation to create sound compositions. Less artistically lofty edits produced medleys or of various types. The fluid evolution of music that encompassed , , and was embraced by local music mixers who deconstructed and rebuilt to suit the tastes of their audience. At first they simply dropped the vocal , but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix, isolating and repeating , and adding various effects like echo, and. The German band also used other effects on side two of their album by manipulating their previously released single multiple ways, utilizing playback at different turntable speeds or mangling by using of a cassette recorder. From the mid-1970s, DJs in early discothèques were performing similar tricks with songs using loops and to get dancers on the floor and keep them there. One noteworthy figure was 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 City. Along the way, he invented the and the vinyl format. Contrary to popular belief, Gibbons did not mix the record. In fact his version was a of the original mix. Moulton, Gibbons and their contemporaries , , and later and at proved to be the most influential group of remixers for the era. 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. His contemporaries included and. Contemporaneously to disco in the mid-1970s, the dub and disco met through Jamaican immigrants to , energizing both and helping to create. Key figures included and. Problems playing this file? These typically had a duration of six to seven minutes, and often consisted of the original song with 8 or 16 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 , , , , and experimented with more intricate versions of the extended mix. They were among the first popular groups to truly harness the potential that had been unleashed by the -based compositions of such as , Yellow Magic Orchestra, , and. Contemporaneous to Art of Noise was the seminal body of work by composed, arranged and mixed by. 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 and the aforementioned Jarre whose was an epic usage of and were equally influential in this era. After the 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 idiom. Underground mixing is more difficult than the typical official remix, because clean copies of separated such as vocals or individual instruments are usually not available to the public. Some artists such as , , and 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 , have included remix software in their officially released singles, enabling almost infinite permutations of remixes by users. The band have also presided over remix competitions for their releases, selecting their favourite fan-created remix to appear on later official releases. 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 and 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 -based Delobbo, -based , and Russian , who has worked with , are sought out for their remixing skill and have impressive lists of contributions. It is not uncommon for industrial bands to release albums which 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. Some industrial groups allow, and often encourage, their fans to remix their music, notably , whose website contains a list of downloadable songs that can be remixed using 's software. Some artists have started releasing their songs in the format, which allows buyers to mix songs and share them on the U-MYX website. Remixes have become the norm in contemporary , giving one song the ability to appeal across many different musical genres or dance venues. The remix is also widely used in and rap music. An 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, these verses may be arranged in a different order depending on how the producers decided to remix the song. In the early 1990s, 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. Some artists would contribute new or additional vocals for the different versions of their songs. They feared the sudden change was completely left field for her music, and worried it would jeopardize the album's success. Finally, the Bad Boy remix used guest raps from O. B and background vocals by Puff Daddy. There is a version omitting Ol' Dirty Bastard's verses. The Bad Boy remix garnered positive reviews from music critics. No wonder most rock critics can't get behind her. The song and its remix arguably remains as one of Carey's most important singles to date. You could argue that the 'Fantasy' remix was the single most important recording that she's ever made. This also included the reappearance of , also from the original, but he ended the remix with an ab lib on the outro. A separate music video was filmed for the remix, shot in black and white and featuring a cameo appearance by Dogg. When a song by a solo artist does not take off, a remix with additional performers can give the song a second chance. 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. 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. Thus the concept of a remix can be applied to visual or video arts, and even things farther afield. Main article: A remix in literature is an alternative version of a text. 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. Remixing of literature and language is also apparent in Pixel Juice 2000 by who later explained using different methods for this process with Cobralingus 2001. This section possibly contains. Please by the claims made and adding. Statements consisting only of original research should be removed. April 2015 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 while still holding remnants of the original piece while still letting the true meanings of the original piece shine through. Famous examples include by Andy Warhol modifies colors and styles of one image , and 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 Les Trois Danseuses, or The Three Dancers, is about a love triangle. Other types of remixes in art are parodies. 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. A famous song parody artist is , and current television shows are filled with parodies such as , , and. The internet has allowed for art to be remixed quite easily, as evidenced by sites like memgenerator. In recent years the concept of the remix has been applied analogously to other and products. In 2001, the television program was produced as a remix of the sketches from the show Jam. In 2003 released a new version of their with flavors under the name. Remix production is now often involved in media production as a form of parody. This form of remix is also used in advertisements, creating parodies of famous movies, TV series, etc. For example, published a commercial poster that parodied the movie Dark Knight. Virtua Fighter 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 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. Virtua Fighter Remix 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 original flat-shaded models. In the west, a CG Portrait Collection Disc was also included in the Saturn bundle. 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. Sega would also bring Virtua Fighter Remix to Sega Titan Video arcade hardware. 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 according to, for example, United States copyright law. Of note are open questions concerning the legality of visual works, like the art form of , which can be plagued with licensing issues. 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 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. The 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. They created a website that allows artists to share their work with other users, giving them the ability to share, use, or build upon their work, under the. The artist can limit the copyright to specific users for specific purposes, while protecting the users and the artist. Remixes will inevitably encounter legal problems when 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. 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 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. 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 that one needs the permission of the copyright owner to engage in mashups or acts of remixing. 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 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 which is itself free to remix under a. The 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 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. 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. In 2012, 's explicitly added a new exemption which allows non-commercial remixing. In 2013, the US court ruling acknowledged that amateur remixing might fall under fair use and copyright holders are requested to check and respect before doing. Retrieved April 29, 2011. His cut-up poem, Minutes to Go, was broadcast by the BBC and later published in a pamphlet. I was in Paris in the summer of 1960; this was after the publication there of Naked Lunch. I became interested in the possibilities of this technique, and I began experimenting myself. Of course, when you think of it, was the first great cut-up collage, and had done a bit along the same lines. 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. Knickerbocker, Conrad, Williams S. Burroughs, 'The Paris Review Interview with William S. Burroughs' in A Williams Burroughs Reader, ed. John Calder London: Picador, 1982 , p. In Keywords in Remix Studies. Retrieved 13 December 2011. 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.