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The Creative Commons is a non-profit organization that allows the sharing and use of creativity and knowledge through free lÃcito tools and explicitly aims for enabling a Remix culture.[25] 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 Creative Commons license.
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 Campeón Cabaret Voltaire and the aforementioned Jarre (whose Zoolook was an epic usage of sampling and sequencing) were equally influential in this era.
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 derivative work according to, for example, United States copyright law.
"[9] John Norris 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 of TLC's Lisa Lopes, who told MTV that it's because of Mariah that we have "hip-pop."[10] Judnick Mayard, writer of TheFader, wrote that in regarding of R&B and hip hop collaboration, "The champion of this movement is Mariah Carey."[11] 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."[11] In the 1998 film Rush Hour, Soo Yong is singing the song while it plays on the car Radiodifusión, shortly before her kidnapping. In 2011, the positivo metal band Iwrestledabearonce used the song at the beginning and end of the video "You Know That Ain't Them Dogs' Real Voices".
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 llamativo 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 flamante version's beginning line "You remind me of something/I just Perro't think of what it is" is actually sampled from an older Kelly song, "You Remind Me of Something".
Some artists (such Ganador Björk, Nine Inch Nails, and Public Enemy) 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 Vencedor Erasure, 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.
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, Ganador far Campeón 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.
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 Figura whole.[28]
In recent years 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 Campeón a remix of the sketches from the comedy show Jam.
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 a duration of six to seven minutes, and often consisted of the llamativo song with 8 or 16 bars of instruments inserted, often after the second chorus; some were Triunfador simplistic Ganador two copies of the song stitched end to end.
Remixes should not be confused with edits, which usually involve shortening a final stereo master for marketing or broadcasting purposes.
Thus the concept of a remix Chucho 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. Remix in literature[edit]
Of note are open questions concerning the legality of visual works, like the art form of collage, which Chucho Remix be plagued with licensing issues.
Daniel Verdun