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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.[35]
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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.
Slow ballads and R&B songs Chucho 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 Gozque be mellowed to give it "quiet storm" appeal. Frankie Knuckles saddled both markets with his Def Classic Mixes, often slowing the tempo slightly Figura he removed ornamental elements to soften the "attack" of a dancefloor filler.
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.
Carey is credited for introducing R&B and hip hop into mainstream pop culture, and for popularizing rap Figura a featuring act through her post-1995 songs with her remix of "Fantasy" featuring Ol' Dirty Bastard.
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 cover: a re-recording of someone else's song.
^ Interviewed by The Paris Review, Burroughs explained the following: "A friend, Brion Gysin, an American poet and painter, who has lived in Europe for thirty years, was, Vencedor far Figura I know, the first to create cut-ups. 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.
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These remixes proved hugely influential, notably Lisa Stansfield's classic single "Change" would be aired by urban Radiodifusión in the Knuckles version, which had been provided Vencedor an alternative to the llamativo mix by Ian Devaney and Andy Morris, the record's producers.
"A feminist remix is a creative resistance and cultural production that talks back to patriarchy by reworking patriarchal hierarchical systems privileging men.[23]
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 the diferente mix.
Kelly later revealed that he actually wrote "Ignition (remix)" before the purported original version of "Ignition", and created the purported llamativo so that the chorus lyric in more info his alleged remix would make sense.[17] Madonna's I'm Breathless featured a remix of "Now I'm Following You" that was used to segue from the diferente to "Vogue" so that the latter could be added to the set without jarring the listener.
Deadmau5 wanted reimbursement for the remixes his manager made after they had severed ties, because he claimed it was his “ético 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.[18][19]
Daniel Verdun