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99-409: Most commonly, remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a large variety of reasons: 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

198-470: A boisterous floor-filler by stripping away all the instrumental tracks and substituting a minimalist, sequenced " track " to underpin her vocal delivery, remixed for the UK release which reached No1 pop by Simon Harris . The art of the remix gradually evolved, and soon more avant-garde artists such as Aphex Twin were creating more experimental remixes of songs (relying on the groundwork of Cabaret Voltaire and

297-531: A career as a producer. His first successful single was " Happy Days ", which he released under the name North End on Emergency Records in 1981. In the early 1980s, prior to digital recording equipment that would emerge a decade later, Baker and his contemporaries created remixes on analog tape. He worked closely with the Latin Rascals , which were influenced by the earlier work of Tom Moulton , John Morales (of Morales and Munzibai ), and Walter Gibbons ,

396-421: A cassette recorder. From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits ) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton 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

495-480: A club DJ in Boston in the early-1970s, where he was known for playing crowd-pleasing soul and Philly soul . Nonetheless, he had little patience for DJing, saying in an interview: "[If] I didn't get a good reaction on a record, I'd just rip it off, break it up and throw it on the dancefloor." Baker's production career started off with a few disco recording sessions in Boston. Legendary disco remixer Tom Moulton , who

594-431: A derivative work and subject to the copyrights of the original work's copyright holder. The Creative Commons 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 Remix culture . 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

693-481: A duration of six to seven minutes, and often consisted of the original song with 8 or 16 bars 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 Yellow Magic Orchestra , Depeche Mode , New Order , Erasure , and Duran Duran ) experimented with more intricate versions of

792-513: A hit album in 1983. Also during 1982, he produced the single "Walking on Sunshine" by Rocker's Revenge featuring Donny Calvin which hit number one on the US Dance chart on September 18 that year. In 1983, Baker found work doing dance remixes of pop and rock hits, first with Cyndi Lauper 's " Girls Just Wanna Have Fun ", and Bruce Springsteen 's " Dancing in the Dark ", " Cover Me ", and " Born in

891-607: 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 helped popularize rapper as a featured act through her post-1995 songs. Sasha Frere-Jones, editor of The New Yorker commented in referencing to the song's remix: "It became standard for R&B/hip-hop stars like Missy Elliott and Beyoncé , to combine melodies with rapped verses. And young white pop stars—including Britney Spears , 'N Sync , and Christina Aguilera —have spent much of

990-472: A new exemption which allows non-commercial remixing. In 2013, the US court ruling Lenz v. Universal Music Corp. acknowledged that amateur remixing might fall under fair use and copyright holders are requested to check and respect fair use before doing DMCA take down notices . In June 2015, a WIPO article named "Remix Culture and Amateur Creativity: A Copyright Dilemma" acknowledged the "age of remixing" and

1089-508: A page, and pasted to form new sentences, new ideas, new stories, and new ways of thinking about words. "The Soft Machine" (1961) is a famous example of an early novel by Burroughs based on the cut-up technique. Remixing of literature and language is also apparent in Pixel Juice (2000) by Jeff Noon who later explained using different methods for this process with Cobralingus (2001). A remix in art often takes multiple perspectives upon

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1188-451: 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. In 2012, Canada 's Copyright Modernization Act explicitly added

1287-408: A remix. The most popular apps for doing this are Instagram and YouTube . 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 original designer/artist. Thus

1386-401: A sample from "Khosara Khosara", a composition by Egyptian composer Baligh Hamdy in his song " Big Pimpin' ". 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". In 1988, Sinéad O'Connor 's art-rock song "I Want Your (Hands on Me)" was remixed to emphasize the urban appeal of the composition (the original contains

1485-748: A second album under Arthur Baker and the Backbeat Disciples, Give in to the Rhythm . In the 1990s, following a break from production for some years, Baker moved to London , and established a chain of successful bars—The Elbow Rooms—across the city. He also owns the Tiny Robot restaurant and The Starland Social Club members bar in London, located in Notting Hill . He continues to work as a DJ and music producer and recently produced "Part-A" for

1584-413: A song, and a cover : a re-recording of someone else's song. 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 recorded sound in the late 19th century, technology has enabled people to rearrange

1683-550: A tight, grinding bassline and a rhythm guitar not entirely unlike Chic's work). In 1989, the Cure 's "Pictures of You" was remixed turning "the music on its head, twisted the beat completely, but at the same time left the essential heart of the song intact." Remixes have become the norm in contemporary dance music , 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

1782-514: Is less than y (an irreflexive relation ). Similarly, using the convention that ⊂ {\displaystyle \subset } is proper subset, if A ⊆ B , {\displaystyle A\subseteq B,} then A may or may not equal B , but if A ⊂ B , {\displaystyle A\subset B,} then A definitely does not equal B . Another example in an Euler diagram : The set of all subsets of S {\displaystyle S}

1881-486: Is vacuously a subset of any set X . Some authors use the symbols ⊂ {\displaystyle \subset } and ⊃ {\displaystyle \supset } to indicate subset and superset respectively; that is, with the same meaning as and instead of the symbols ⊆ {\displaystyle \subseteq } and ⊇ . {\displaystyle \supseteq .} For example, for these authors, it

1980-421: 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

2079-433: Is Mariah Carey." Mayard also expressed that "To this day ODB 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 Rush Hour , Soo Yong is singing the song while it plays on the car radio, shortly before her kidnapping. In 2011, the experimental metal band Iwrestledabearonce used

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2178-595: Is a subset of B may also be expressed as B includes (or contains) A or A is included (or contained) in B . A k -subset is a subset with k elements. When quantified, A ⊆ B {\displaystyle A\subseteq B} is represented as ∀ x ( x ∈ A ⇒ x ∈ B ) . {\displaystyle \forall x\left(x\in A\Rightarrow x\in B\right).} One can prove

2277-805: 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. Famous song parody artists include "Weird Al" Yankovic and Allan Sherman . Several current television shows are filled with parodies, such as South Park , Family Guy , and The Simpsons . 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

2376-432: Is actually sampled from an older Kelly song, " You Remind Me of Something ". 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 I'm Breathless featured a remix of " Now I'm Following You " that was used to segue from the original to " Vogue " so that

2475-528: Is an American record producer and DJ best known for his work with hip hop artists like Afrika Bambaataa and Planet Patrol , as well as British group New Order . He is also known for remixing the Jill Jones song "Mia Bocca" on the 12" single, taken from her self-titled debut album Jill Jones (1987), released on Prince's Paisley Park Records , as well as remixing the Pet Shop Boys song, " In

2574-803: Is called its power set , and is denoted by P ( S ) {\displaystyle {\mathcal {P}}(S)} . The inclusion relation ⊆ {\displaystyle \subseteq } is a partial order on the set P ( S ) {\displaystyle {\mathcal {P}}(S)} defined by A ≤ B ⟺ A ⊆ B {\displaystyle A\leq B\iff A\subseteq B} . We may also partially order P ( S ) {\displaystyle {\mathcal {P}}(S)} by reverse set inclusion by defining A ≤ B  if and only if  B ⊆ A . {\displaystyle A\leq B{\text{ if and only if }}B\subseteq A.} For

2673-533: Is equivalent to A ⊆ B , {\displaystyle A\subseteq B,} as stated above. If A and B are sets and every element of A is also an element of B , then: If A is a subset of B , but A is not equal to B (i.e. there exists at least one element of B which is not an element of A ), then: The empty set , written { } {\displaystyle \{\}} or ∅ , {\displaystyle \varnothing ,} has no elements, and therefore

2772-493: 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. Some industrial groups allow, and often encourage, their fans to remix their music, notably Nine Inch Nails , whose website contains a list of downloadable songs that can be remixed using Apple 's GarageBand software. Some artists have started releasing their songs in

2871-474: 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 tracks such as vocals or individual instruments are usually not available to the public. Some artists (such as Björk , Nine Inch Nails , and Public Enemy ) embraced this trend and outspokenly sanctioned fan remixing of their work; there

2970-405: Is true of every set A that A ⊂ A . {\displaystyle A\subset A.} (a reflexive relation ). Other authors prefer to use the symbols ⊂ {\displaystyle \subset } and ⊃ {\displaystyle \supset } to indicate proper (also called strict) subset and proper superset respectively; that is, with

3069-517: The Creative Commons license . The artist can limit the copyright to specific users for specific purposes, while protecting the users and the artist. 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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3168-519: The GNU General Public Licence 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 "Remix" which is itself free to remix under a CC BY-NC license . The Fair Use 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,

3267-476: The Soul Sonic Force 's " Planet Rock " single, which was a hit in the summer of 1982. The record combined elements from two Kraftwerk recordings, "Trans Europe Express" and "Numbers", which were interpolated by studio musicians, rather than sampled . Later that year, using unused tracks from "Planet Rock", he later produced Planet Patrol 's "Play at Your Own Risk" single in 1982, another group with

3366-523: The U-MYX format, which allows buyers to mix songs and share them on the U-MYX website. 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 samples used in remixed songs. Many famous artists have been involved in remix disputes. In 2015, Jay-Z went to trial over a dispute about his use of

3465-706: The Virtua Fighter release on the Sega Saturn. 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

3564-500: The k -tuple from { 0 , 1 } k , {\displaystyle \{0,1\}^{k},} of which the i th coordinate is 1 if and only if s i {\displaystyle s_{i}} is a member of T . The set of all k {\displaystyle k} -subsets of A {\displaystyle A} is denoted by ( A k ) {\displaystyle {\tbinom {A}{k}}} , in analogue with

3663-412: The synthesizer -based compositions of electronic musicians such as Kraftwerk , Yellow Magic Orchestra, Giorgio Moroder , and Jean-Michel Jarre . Contemporaneous to Art of Noise was the seminal body of work by Yello (composed, arranged and mixed by Boris Blank ). Primarily because they featured sampled and synthesized sounds, Yello and Art of Noise would produce a great deal of influential work for

3762-597: The Night ". His remix of the song was used as the main theme for the BBC TV programme The Clothes Show between 1986 and 1994. He also remixed the "Massive Jungle Mix" for Tina Turner 's UK top 40 single " Whatever You Want " (co-written by himself, Taylor Dayne and Fred Zarr ). Arthur Baker's songs are represented by Downtown Music Publishing . Born in Boston , Massachusetts, on April 22, 1955, Baker first worked as

3861-580: 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

3960-693: The U.S.A. " from his Born in the U.S.A. album. Also during 1983, Baker produced the track " I.O.U. " by Freeez , which was one of the biggest dance hits of the year in the UK. In 1984, Baker contributed his "Breakers' Revenge" to the Beat Street score and movie soundtrack , which he also helped produce. He is the remixer and additional producer for songs for Hall and Oates ("Out of Touch", "Method of Modern Love", "Possession Obsession", "Dance On Your Knees") and Diana Ross ("Swept Away", co-written and co-produced by Daryl Hall). In 1985, he produced three songs on Jennifer Holliday 's album Say You Love Me ,

4059-622: 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 successful remixes, becoming a top fifteen hit in countries such as Germany, the Netherlands and the United Kingdom. Early pop remixes were fairly simple; in the 1980s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl 12-inch singles . These typically had

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4158-548: The Year . Another well-known example is R. Kelly , who recorded two different versions of " Ignition " for his 2003 album Chocolate Factory . 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"

4257-590: The anti- apartheid anthem "Sun City" by Artists United Against Apartheid . He was later honored by the United Nations Special Committee against Apartheid for "high valuable contribution to the international campaign for the elimination of apartheid and the establishment of a non-racial and democratic society in South Africa ". In the late 1980s and later into the 1990s, Baker worked with soul star Al Green , writing and producing

4356-529: The beat, but rather it belonged to Shady/Aftermath Records. 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. 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

4455-403: The biggest hit being "No Frills Love", a song he co-wrote, co-produced, arranged and remixed. The remixes for Pet Shop Boys ' "Suburbia" followed in 1986. Following these successes, Baker came to the attention of Manchester alternative dance group New Order , who co-wrote " Confusion " with him (and Baker can be seen prominently in the music video of the former). The 12-inch single "Confusion"

4554-578: 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 David Morales , titled "Daydream Interlude (Fantasy Sweet Dub Mix)". The Bad Boy remix garnered positive reviews from music critics. "Fantasy" exemplified how

4653-479: The concept of a remix can be applied to visual or video arts, and even things farther afield. Mark Z. Danielewski 's disjointed novel House of Leaves has been compared by some to the remix concept. A remix in literature is an alternative version of a text. William Burroughs used the cut-up technique developed by Brion Gysin to remix language in the 1960s. Various textual sources (including his own) would be cut literally into pieces with scissors, rearranged on

4752-549: The concept of the remix has been applied analogously to other media and products. In 2001, the British Channel 4 television program Jaaaaam was produced as a remix of the sketches from the comedy show Jam . In 2003 The Coca-Cola Company released a new version of their soft drink Sprite with tropical flavors under the name Sprite Remix . In 1995, Sega released Virtua Fighter Remix (バーチャファイター　リミックス/Bāchafaitā rimikkusu) as an update to, just months after

4851-428: 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

4950-400: 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

5049-457: The creator of the first commercially available twelve-inch single , a remix of Double Exposure 's " Ten Percent ". The Latin Rascals would eventually edit the work of every major United States dance-music producer active in the 1980s, but in the early days, the duo was part of Baker's circle. Baker went on to work for hip-hop label Tommy Boy Records , where he produced Afrika Bambaataa and

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5148-469: The dance hall culture of late-1960s and early-1970s Jamaica . The fluid evolution of music that encompassed ska , rocksteady , reggae and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes (which they called "versions") of reggae tunes. At first, they simply dropped

5247-424: The extended mix. Madonna began her career writing music for dance clubs and used remixes extensively to propel her career; one of her early boyfriends was noted DJ John "Jellybean" Benitez , who created several mixes of her work. Art of Noise took the remix styles to an extreme—creating music entirely of samples . They were among the first popular groups to truly harness the potential that had been unleashed by

5346-422: 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. " Dreamlover ". 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

5445-542: The first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock , as remixed by Grand Mixer D.ST . Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as " Duck Rock ". English duo Coldcut 's remix of Eric B. & Rakim's "Paid in Full" Released in October 1987 is said to have "laid the groundwork for hip hop's entry into

5544-424: 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 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

5643-474: The genre-busting London Electro Metal band Monsta. The Arthur Baker remix of " Spaceman " by Babylon Zoo was used in the 1995 Levi's commercial "Planet". In 2006, the financial services company Visa used a Baker-produced track from Afrika Bambaataa's "Looking For the Perfect Beat" as the backing music of a Visa Check Card commercial. In the ad, an animated worm drawn on the pages of a checkbook does

5742-444: The ground up). Carey worked with producer Puff Daddy to create the official Bad Boy 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 bassline and " Genius of Love " sample were emphasized and

5841-453: The international hit "The Message is Love" and the anti-handgun song "Leave the Guns at Home". In 1989, he released the album Merge on A&M Records as Arthur Baker and the Backbeat Disciples , and remixed Neneh Cherry 's debut single " Buffalo Stance ". He was also the music supervisor of the films Fried Green Tomatoes and Listen Up – The Lives of Quincy Jones . In 1991, he released

5940-481: 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 derivative work according to, for example, United States copyright law. Of note are open questions concerning the legality of visual works, like the art form of collage , which can be plagued with licensing issues. There are two obvious extremes with regard to derivative works. If

6039-468: The late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York 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

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6138-422: The latter could be added to the set without jarring the listener. In 2015, EDM artist Deadmau5 , 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

6237-627: The main character from various original strips by Garfield creator Jim Davis). "A feminist remix is a creative resistance and cultural production that talks back to patriarchy by reworking patriarchal hierarchical systems privileging men. Examples include Barbara Kruger's You are not yourself (1982), We are not what we seem (1988), and Your body is a battleground (1989) Barbara Kruger , Orlan's (1994) Self-Hybridizations Orlan , Evelin Stermitz 's remix, Women at War (2010), and Distaff [Ain't I Redux] (2008) by artist Sian Amoy. In recent years

6336-524: The mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx , energizing both and helping to create hip-hop music . Key figures included, DJ Kool Herc and Grandmaster Flash . Cutting (alternating between duplicate copies of the same record) and scratching (manually moving the vinyl record beneath the turntable needle) became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of

6435-507: The most influential group of remixers for the disco 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.) His contemporaries included Arthur Baker and François Kevorkian . Contemporaneously to disco in

6534-404: The need for a copyright reform . Subset In mathematics, a set A is a subset of a set B if all elements of A are also elements of B ; B is then a superset of A . It is possible for A and B to be equal; if they are unequal, then A is a proper subset of B . The relationship of one set being a subset of another is called inclusion (or sometimes containment ). A

6633-460: The next phase. Others such as Cabaret Voltaire and the aforementioned Jarre (whose Zoolook was an epic usage of sampling and sequencing ) were equally influential in this era. After the rise of dance music 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 house music idiom. Jesse Saunders , known as The Originator of House Music,

6732-438: The normal listening experience. With the advent of easily editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording , such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions. Less artistically lofty edits produced medleys or novelty recordings of various types. Modern remixing had its roots in

6831-482: The notation for binomial coefficients , which count the number of k {\displaystyle k} -subsets of an n {\displaystyle n} -element set. In set theory , the notation [ A ] k {\displaystyle [A]^{k}} is also common, especially when k {\displaystyle k} is a transfinite cardinal number . Arthur Baker (musician) Arthur Baker (born April 22, 1955)

6930-422: The original mix. The remix is also widely used in hip hop and rap music . An R&B 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. In the early 1990s, Mariah Carey became one of

7029-578: The original, but he ended the remix with an ad-lib on the outro. Mariah Carey 's song " Heartbreaker " was remixed, containing lyrical interpolations and an instrumental sample from " Ain't No Fun (If the Homies Can't Have None) " by Snoop Dogg . A separate music video was filmed for the remix, shot in black and white and featuring a cameo appearance by Snoop. In 2001, Jessica Simpson released an urban remix of her song " Irresistible ", featuring rappers Lil' Bow Wow and Jermaine Dupri , who also produced

7128-482: The originals. An example is the remix of " Ain't It Funny " by Jennifer Lopez , which has little in common with the original recording apart from the title. Slow ballads and R&B songs can be remixed by techno producers and DJs in order to give the song appeal to the club scene and to urban radio. Conversely, a more uptempo number can be mellowed to give it " quiet storm " appeal. Frankie Knuckles saddled both markets with his Def Classic Mixes, often slowing

7227-460: 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". In the 1990s, with the rise of powerful home computers with audio capabilities came the mash-up , an unsolicited, unofficial (and often legally dubious) remix created by "underground remixers" who edit two or more recordings (often of wildly different songs) together. Girl Talk

7326-474: 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 MCs of hip-hop changed R&B and, eventually, all of pop. Although now anyone is free to use this idea, the success of "Mimi" [ref. to The Emancipation of Mimi , her tenth studio album released almost a decade after "Fantasy"] suggests that it still belongs to Carey." John Norris of MTV News has stated that

7425-410: The people who create cutting-edge music in such genres as synthpop and aggrotech 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 Chicago -based Delobbo, Dallas -based LehtMoJoe , and Russian DJ Ram, who has worked with t.A.T.u. , are sought out for their remixing skill and have impressive lists of contributions. It

7524-415: 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. Stanford Law professor Lawrence Lessig believes that for

7623-435: The potential of "serial productions" of a piece to find markets and expand the tastes of listeners. In 1995, after doing " California Love ", which proved to be his best selling single ever, Tupac Shakur would do its remix with Dr. Dre again featured, who originally wanted it for his next album, but relented to let it be on the album All Eyez on Me instead. This also included the reappearance of Roger Troutman , also from

7722-1000: The power set P ⁡ ( S ) {\displaystyle \operatorname {\mathcal {P}} (S)} of a set S , the inclusion partial order is—up to an order isomorphism —the Cartesian product of k = | S | {\displaystyle k=|S|} (the cardinality of S ) copies of the partial order on { 0 , 1 } {\displaystyle \{0,1\}} for which 0 < 1. {\displaystyle 0<1.} This can be illustrated by enumerating S = { s 1 , s 2 , … , s k } , {\displaystyle S=\left\{s_{1},s_{2},\ldots ,s_{k}\right\},} , and associating with each subset T ⊆ S {\displaystyle T\subseteq S} (i.e., each element of 2 S {\displaystyle 2^{S}} )

7821-547: 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 of TLC 's Lisa Lopes , who told MTV that it's because of Mariah that we have " hip-pop ." Judnick Mayard, writer of TheFader , wrote that in regarding of R&B and hip hop collaboration, "The champion of this movement

7920-623: The result was a markedly urban and electronic sound for the duo. Baker co-wrote the opening instrumental, "Dance On Your Knees", with Daryl Hall. He also remixed that song and the album's other three chart hits: "Out Of Touch", "Method Of Modern Love", and "Possession Obsession". Baker also contributed three remixes to "Tease Me", the lead-off track on (Ohio Players and Parliament Funkadelic alum) Walter "Junie" Morrison's "Evacuate Your Seats" Techno-Freqs EP. In 1985, Baker helped Bob Dylan complete his Empire Burlesque album as mixer and arranger, and with Little Steven Van Zandt organized and produced

8019-736: The same meaning as and instead of the symbols ⊊ {\displaystyle \subsetneq } and ⊋ . {\displaystyle \supsetneq .} This usage makes ⊆ {\displaystyle \subseteq } and ⊂ {\displaystyle \subset } analogous to the inequality symbols ≤ {\displaystyle \leq } and < . {\displaystyle <.} For example, if x ≤ y , {\displaystyle x\leq y,} then x may or may not equal y , but if x < y , {\displaystyle x<y,} then x definitely does not equal y , and

8118-770: 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 The Marilyn Diptych by Andy Warhol (modifies colors and styles of one image), and The Weeping Woman by Pablo Picasso, (merges various angles of perspective into one view). 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 ,

8217-443: The song at the beginning and end of the video "You Know That Ain't Them Dogs' Real Voices". Indie artist Grimes has called "Fantasy" one of her favorite songs of all-time and has said Mariah is the reason there is a Grimes. M.C. Lyte was asked to provide a "guest rap", and a new tradition was born in pop music. George Michael would feature three artistically differentiated arrangements of " I Want Your Sex " in 1987, highlighting

8316-403: 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

8415-528: The songs. And he said : " We just want the tapes, we're not going to use them but we just want them so we can listen to them better." So of course, I gave him the multitracks, and a year later it came out as T.J.M. He'd used everything I'd done, and he sort of remixed it or mixed it. So, I got a bit screwed on that one." Baker also released a single under the moniker "North End" on West End Records in 1979, "Kind of Life (Kind of Love)". In 1981, Baker moved to New York , where he continued to DJ while pursuing

8514-917: The statement A ⊆ B {\displaystyle A\subseteq B} by applying a proof technique known as the element argument : Let sets A and B be given. To prove that A ⊆ B , {\displaystyle A\subseteq B,} The validity of this technique can be seen as a consequence of universal generalization : the technique shows ( c ∈ A ) ⇒ ( c ∈ B ) {\displaystyle (c\in A)\Rightarrow (c\in B)} for an arbitrarily chosen element c . Universal generalisation then implies ∀ x ( x ∈ A ⇒ x ∈ B ) , {\displaystyle \forall x\left(x\in A\Rightarrow x\in B\right),} which

8613-480: The tempo slightly as he removed ornamental elements to soften the "attack" of a dancefloor filler. These remixes proved hugely influential, notably Lisa Stansfield 's classic single " Change " would be aired by urban radio in the Knuckles version, which had been provided as an alternative to the original mix by Ian Devaney and Andy Morris, the record's producers. In the age of social media, anybody can make and upload

8712-609: The track. It samples the Kool & the Gang 's song " Jungle Boogie " (1973) and " Why You Treat Me So Bad " by Club Nouveau (1987). Released on July 12, 1999, " Always You " remix by Jennifer Paige , reached number six on the Billboard Dance/Club Play chart. The main single of " I Turn to You " by Melanie C was released as the "Hex Hector Radio Mix", for which Hex Hector won the 2001 Grammy as Remixer of

8811-480: The vocal tracks , but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix, isolating and repeating hooks , and adding various effects like echo, reverberation and delay . The German krautrock band Neu! also used other effects on side two of their album Neu! 2 by manipulating their previously released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using

8910-476: The way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single (" Ten Percent ", by Double Exposure ). Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton, Gibbons and their contemporaries ( Jim Burgess , Tee Scott , and later Larry Levan and Shep Pettibone ) at Salsoul Records proved to be

9009-427: 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),

9108-429: 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,

9207-476: Was a crossover hit on the US dance charts, and established a relationship between Baker and the band that has continued since. Narrowly missing out on signing the Beastie Boys to his Streetwise Records label, Baker did manage to sign the group New Edition , which had success with its single " Candy Girl ". In 1984, Baker worked with Hall & Oates as mix consultant on their album Big Bam Boom , and

9306-406: 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 Play Records from making any new remixes. 50 Cent tried to sue rapper Rick Ross in October 2018 for remixing his " In da Club " beat, due to their publicized feud. However, a judge threw out the lawsuit claiming that 50 Cent did not have copyright on

9405-404: Was in Boston, I went into a recording studio...Intermedia Studios ... the first Aerosmith album was recorded there. I took an engineering course there....from there I kept on doing things.... I went to my family and I borrowed like a thousand dollars, from my grandmother, my father, just about anyone. Got money from them and I decided to make an album. Something like a Gamble & Huff album. It

9504-437: Was like doing a full album with strings on every track. I mean it was crazy, and I probably spent like 15 grand. And then Tom Moulton's brother heard it and said "Oh we love the songs, we'll buy it from you but we're going to re-record everything." So this was the first time I got f***ed in the record business. Listen up for this one! So, basically he said: "Here's the money, you'll get publishing." Because you know, I'd written all

9603-557: 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 Erasure , 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. Remixing has become prevalent in heavily synthesized electronic and experimental music circles. Many of

9702-455: Was signed to Casablanca at the time, was required to release an album of his own as part of the deal for working for the label. Tom's brother Jerry came across the sessions written and recorded by Baker, Tony Carbone, and Larry Wedgeworth and bought them in a deal from Baker. Moulton then remixed the tracks and released them as his 1979 album "T.J.M" Baker talked about the album in an interview with Red Bull Music Academy in 2012. "Well, when I

9801-608: 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 Club Nouveau song "It's a Cold, Cold World", in May 1988. Another clear example of this approach is Roberta Flack 's 1989 ballad "Uh-Uh Ooh-Ooh Look Out (Here It Comes)", which Chicago House great Steve "Silk" Hurley dramatically reworked into

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