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Archive of the category 'Stealing'

Imagining modernity, revising tradition: Nor-tec music in Tijuana and other borders, by Alejandro L. Madrid

Image source: Youtube

Text source: Look Smart: Find Articles

December 2005

Based on extensive fieldwork in Tijuana, San Diego, Los Angeles, and Mexico City, this article explores the intersections of identity, modernity, desire, and marginality in the production, distribution, and transnational consumption of Nor-tec music. Tijuana musicians developed Nor-tec by combining sounds sampled from traditional music of the north of Mexico (conjunto norteno and banda) with compositional techniques borrowed from techno music. The resulting style reflects the current re-elaboration of tradition in relation to imaginary articulations of modernity that takes place in Tijuana’s youth border culture.

Read the entire text at Look Smart: Find Articles

‘Copyright criminals’ look to remix the noise–legally, by Daniel Terdiman

Image source: Copyright Criminals

Text source: Cnet

When Paul Miller, aka DJ Spooky, says he thinks musicians should be able to remix samples of others’ clips into new works, he puts his money where his mouth is.

Miller is part of a group of musicians including Public Enemy’s Chuck D; Parliament Funkadelic’s George Clinton; and the band De La Soul who are allowing the public to mash up audio snippets from interviews they’ve given into submissions for a new remixing competition.

The Copyright Criminals Remix Contest, which is sponsored by the nonprofit copyright licensing organization Creative Commons, is all about promoting remixing culture and encouraging artists like Miller to make their work legally and affordably available for other musicians to manipulate.

Creative Commons has built a licensing system that allows content creators to decide which usage rights to their work to grant others. In every case, the licenses require attribution to the creator. Some allow users to manipulate licensed work for any non-commercial purpose, while others don’t. The ultimate point is to faciliate copyrights that are flexible on which rights users get.

Read the entire article at Cnet

Step Away From the Sampler, by Peter Kirn

Image and text source: Key Board Mag

January 2005

Court rules all digital sampling illegal and the record industry objects — but you still have options

Get this: According to a fall 2004 ruling by the 6th Circuit U.S. Court of Appeals, any use of a digital sample of a recording without a license is a violation of copyright, regardless of size or significance. In its decision in Bridgeport Music et al. vs. Dimension Films, the court said simply, “Get a license or do not sample. We do not see this as stifling creativity in any way.”

“As far as sampling of recordings, they didn’t make it gray; they made it a line in the sand,” says Jay Cooper, a leading entertainment arts lawyer and a former president of the National Academy of Recording Arts and Sciences (NARAS). Previously, courts had applied the question of size and significance to copyright infringement claims, but the new ruling changes that for sampling. Cooper says, “I think they went a little far afield from what the law has been in the past. Basically, the law has generally been there has to be more than a minimal use . . . this case basically said that you could take one note and that could be copyright infringement. They really did say that.”


1 + 1 + 1 = 1: The new math of mashups, by Sasha Frere-Jones

Image source: Gullbuy

Text source: The New Yorker

January 10, 2005

In July of 2003, Jeremy Brown, a.k.a. DJ Reset, took apart a song. Using digital software, Brown isolated instrumental elements of “Debra,” a song by Beck from his 1999 album “Midnite Vultures.” Brown, who is thirty-three and has studied with Max Roach, adjusted the tempo of “Debra” and added live drums and human beat-box noises that he recorded at his small but tidy house in Long Island City. Then he sifted through countless a-cappella vocals archived on several hard drives. Some a-cappellas are on commercially released singles, specifically intended for d.j. use, while others appear on the Internet, having been leaked by people working in the studio where the song was recorded, or sometimes even by the artist.

After auditioning almost a thousand vocals, Brown found that an a-cappella of “Frontin’,” a collaboration between the rapper Jay-Z and the producer Pharrell Williams, was approximately in the same key as “Debra.” The two songs are not close in style—“Debra” is a tongue-in-cheek take on seventies soul music, while “Frontin’ ” is hard and shimmering computer music—but the vocalists are doing something similar. Brown exploited this commonality, and used his software to put the two singers exactly in tune.

Read the entire article at The New Yorker


Mixmaster Mike- photo by Chris Taylor

Image source: Virtual DJ

Text source: Manovich.net 

winter 2007

It is a truism today that we live in a “remix culture.” Today, many of cultural and lifestyle arenas – music, fashion, design, art, web applications, user created media, food – are governed by remixes, fusions, collages, or mash-ups. If post-modernism defined 1980s, remix definitely dominates 2000s, and it will probably continue to rule the next decade as well. (For an expanding resource on remix culture, visit remixtheory.net by Eduardo Navas.) Here are just a few examples of how remix continues to expand. In his 2004/2005-winter collection John Galliano (a fashion designer for the house of Dior) mixed vagabond look, Yemenite traditions, East-European motifs, and other sources that he collects during his extensive travels around the world. DJ Spooky created a feature-length remix of D.W. Griffith’s 1912 “Birth of a Nation” which he appropriately named “Rebirth of a Nation.” In April 2006 Annenberg Center at University of Southern California ran a two-day conference on “Networked Politics” which had sessions and presentations about a variety of remix cultures on the Web: political remix videos, anime music videos, machinima, alternative news, infrastructure hacks.[1] In addition to these cultures that remix media content, we also have a growing number of software applications that remix data – so called software “mash-ups.” Wikipedia defines a mash-up as “a website or application that combines content from more than one source into an integrated experience.”[2] At the moment of this writing (February 4, 2007), the web site www.programmableweb.com listed the total of 1511 mash-ups, and it estimated that the average of 3 new mash-ups Web applications are being published every day.[3]


Radio Show: The Creative Remix, by Benjamen Walker. If remixing is an art form why are the lawyers running the conversation?

Image source: Wikipedia

Text source: Creative Commons Radio
The Creative Remix, with host Benjamen Walker, is an hour-long “lawyer free” examination of the art, culture, and history of the remix. The hour kicks off with a musical analysis of DJ Dangermouse’s infamous remix of the Beatles and Jay-Z. Then we go back in time to check out the ancient Roman art of the poetry mash-up, or the Cento. Then we rewind to the 18th century to check out the birth of copyright and how it effected writers like Alexander Pope; and the early 20th century when the visual artist Marcel Duchamp used the remix to reinvent everything. We also take a field trip to the Mass Mocca museum of modern art to check out the exhibit “Yankee Remix.” Walker brings along a few grad students and a pair of curmudgeonly New England antique collectors to investigate different attitudes towards remixing.


40-min MP3 of the history of bastard pop, remix and mashup

Image source: DJ Food

Text source Boing Boing

October 5, 2005

This is a 40-minute MP3 of a British radio broadcast called “DJ Food – Raiding the 20th Century” that attempted to sum up the entire cut-up/remix/mash up music movement. It’s lots of crazy, whacky, jarring, harmonious, tricksy, and serendipitous sound, and it made me laugh and think. The landing page for the MP3 has an exhaustive list of the samples employed.


TV Remix – Media criticism in real time

TV Remix by Philipp Rahlenbeck

Note: This announcement is archived for historical purposes.

Image source: http://fluctuating-images.de

Text source: http://www.netcells.net

Red Light Concert #10
TV Remix – Media criticism in real time
Philipp Rahlenbeck is jumping channels for us
Saturday, November 12, 2005, 8pm
fluctuating images, Jakobstr.3, 70182 Stuttgart

Recently, the BBC opened parts of their programme archive, as an opportunity for VJs to create video mixes out of footage from old documentaries on art, society, and nature. A special licence allowed free treatment of the images.


Can I Get An Amen, by Nate Harrison

Can I Get An Amen?, 2004
recording on acetate, turntable, PA system, paper documents
dimensions variable
total run time 17 minutes, 46 seconds

Image and project source: nkhstudio.com

Can I Get An Amen? is an audio installation that unfolds a critical perspective of perhaps the most sampled drum beat in the history of recorded music, the Amen Break. It begins with the pop track Amen Brother by 60’s soul band The Winstons, and traces the transformation of their drum solo from its original context as part of a ‘B’ side vinyl single into its use as a key aural ingredient in contemporary cultural expression. The work attempts to bring into scrutiny the techno-utopian notion that ‘information wants to be free’- it questions its effectiveness as a democratizing agent. This as well as other issues are foregrounded through a history of the Amen Break and its peculiar relationship to current copyright law.

Remixing Hollywood, by JA

Image source: http://irish.typepad.com/photos/covers/darknet.html

Text source: Bright Cove

June 24, 2005

This past week I spent my time among two disparate crowds — in San Francisco with Supernova’s new media digerati, content anarchists, and self-publishing blogging media visionaries, among others, and in Los Angeles with Hollywood’s “Masters of the Universe”, those responsible for producing the most mainstream of mainstream film and TV, and individuals who are architecting the strategies for media empires making their shift to the Internet.


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