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Classified Hip-Hop, Or I wanna blow up like Marilyn Monroe’s skirt[1], Compiled by John Ranck

Image source: The Crate Digger
Text source: Simmons College

The Introduction

Hip hop as a ding an sich is marked by some confusion. Consider the name; is it “hip hop,” “hip-hop” or “hiphop”? You will see all three used in titles in this bibliography. Hip hop is, at the same time, a cultural phenomenon that developed in the late 70’s in the projects in Brooklyn and the Bronx, and a musical style from that phenomenon. Nevertheless, hip hop has become a pervasive element of popular culture, as witnessed by this bibliography. There are hip hop exercise videos, children’s books as well as books, magazines, magazine articles and theses about it.

Read the entire entry at Simmons College

The Three Basic Forms of Remix: a Point of Entry, by Eduardo Navas

Image source: Turbulence.org
Layout by Ludmil Trenkov
Duchamp source: Art History Birmington
Levine source: Artnet

(This text has been recently added to the section titled Remix Defined to expand my general definition of Remix.)

The following summary is a copy and paste collage (a type of literary remix) of my lectures and preliminary writings since 2005. My definition of Remix was first introduced in one of my most recent texts: Turbulence: Remixes + Bonus Beats, commissioned by Turbulence.org. Many of the ideas I entertain in the text for Turbulence were first discussed in various presentations during the Summer of 2006. (See the list of places here plus an earlier version of my definition of Remix). Below, the section titled “remixes” takes parts from the section by the same name in the Turbulence text, and the section titled “remix defined” consists of excerpts of my definitions which have been revised for an upcoming text soon to be released in English and Spanish by Telefonica in Buenos Aires, Argentina. The full text will be released online once it is officially published.


The History of the Homemade DJ (Or How I Learned To Stop Worrying and Love the Remix), by Prof D

Image and text source: beastiemania

Quick, what do these names have in common: the Prunes, Fatboy Slim, Large Professor, Prisoners of Technology, Prof D? If you guessed people who have remixed Beastie Boys songs, you would be correct. Huh? While you should be familiar with the first four names, the last and many other are evidence of the growing trend of fans becoming their very own mix masters.

Listen Everybody Cause I’m Shifting Gears I’m

In order to understand this phenomenon, it is necessary to travel back in time. Remixes used to be available in two ways, the most commercially available were B-Sides of a song released as a single. The Beastie Boys were especially prolific in the addition of numerous remixes and non album tracks to entice fans to purchase the single in addition to the album. This trend of including remixes began in the Paul’s Boutique era with the release of several remixes that were essentially dub versions of original songs such as And What You Give is What You Get, Dis Yourself in 89 (Just Do It) and 33% God.



Image and text source: http://mixhistory.mixfreaks.nl/
In the 80s (’till the 90s) in Holland the mixing-season started.
A lot of guys started making mixes which where broadcasted on national radio.
I liked them and taped a lot of the mixes and decided to keep track on some remixers.
In the early 90s they stopped broadcasting those mixes on the radio. (and they started again in 2001!)
Those mixers kept going on offcourse.
Some started their own company, others kept remixing or started their own acts/studios.
On these pages I try to keep track on what projects/remixes they made.Around 2000 some new remixers popped up. They met together with other fans in an online community called Mixfreaks.
Some of these mixers also made mixes which were broadcasted on national dutch radio.

Radio Veronica had the ‘thuismixwedstrijden (79-83)’ ,the ‘Home-Edit Mixes(83..)’ & Ben Liebrand’s In the Mix, Grandmix and Minimix (1983-1992/2000-????) and Tros & Veronica Top 40 Mixes
TROS had its share with the Bond van Doorstarters, Tros Club Mix, Disco Mix Club and The Pitch Control ReRemix
AVRO had the RicksMix and the Avro’s Driemaal Doordraai Live-mixes
The Kro had ‘And The Beat Goes On’ (1983-1985)

TMF (The Music Factory) had from 1995 till 2000 the TMF Video Yearmix
Radio 538: 538 Yearmixes AND rebroadcast of Grandmixes AND the MilleniumMix And broadcasting of Liebrand’s Minimixes..
Slam FM : Klubbsound yearmixes since 1996 and “In 2 The MilleniumMix” all by Initial Studio

History of the remix, reblog from TXU: The Real Talk on the Streets

Image and text source: http://www.bbc.co.uk/1xtra/tx/

Date of publication, uncertain

1Xtra’s ‘Remix Kid’ Seani B uncovers the origins of remixing…
How has the art has changed over the years?

First developed by Jamaican reggae producers in the 1960s to create dub music, remixing was picked up by hip hop pioneers and disco DJs to develop new styles.

P Diddy is one the most famous remixers of all time – if that title is in your sights, listen up for Seani’s tips on how to put together your own remix track.
Who’s the remixer of the remixers? How has remixing blurred the boundaries between different musical genres in the UK?


IPod’s Groovy Factor, by Michel Marriott

Image source: http://www.popularmechanics.com/

Text source: NYTimes

February 22, 2007

WHAT do flying plastic pigs, dancing daisies and robotic Barbie dolls have in common? An iPod.
Skip to next paragraph
Lars Klove for The New York Times

With more than 90 million players sold worldwide since its introduction in 2001, the iPod has spawned a lucrative accessories industry. At least 3,000 types of iPod extras have received Apple’s blessing — mostly no-nonsense options like cases, earbuds and amplified speaker systems, including the $300 SoundDock line made by Bose.

But another trend is developing, one more playful and not always with Apple’s approval or knowledge.

Call it iSilly, a growing number of products in which fun is emphasized over function, and cute or irreverent often trumps wow. All of these items, some costing as little as $10, have been created to plug into an iPod — or, in many cases, any audio source that has a standard 3.5-millimeter headphone jack.

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Grandmaster Flash brings hip-hop to hall of fame, By Jeff Vrabel

Image source: http://www.stern.de/computer-technik/

Text source: Yahoo News

Mar 9, 2007

NEW YORK (Billboard) – You could spend the better part of a day listing the things Grandmaster Flash & the Furious Five did first: In the embryonic days of the New York rap scene, they were among its first superstars, they helped pioneer the freestyle battle and Grandmaster Flash was instrumental in inventing the art of break-beat DJ’ing.

Legend also has it rapper Mele Mel was the first to dub himself an “MC”; fellow rapper Cowboy is credited with coining the term “hip-hop.”

So it makes perfect sense to add another first to the list: On March 12, Grandmaster Flash & the Furious Five will become the first hip-hop act inducted into the Rock and Roll Hall of Fame. It was 25 years ago that their groundbreaking single “The Message” helped hip-hop kick down the door into a world of bigger audiences, and in their third year of eligibility, the act — comprising Grandmaster Flash, Kid Creole, Mele Mel, Scorpio, Raheim and the late Cowboy — will join a class that includes R.E.M., Van Halen, Patti Smith and the Ronettes.


TurntablistPC: Computer/Turntable hybrid

Image source and text: http://www.mogensjacobsen.dk/art/turntablepc/index.html

TurntablistPC is a telematic hybrid of a turntable (gramophone) and an old personal computer.

TurntablistPC is a server which third-party websites can access. A small file is hosted on the TurntablistPC. Subscribing websites place a short piece of code on their pages. This code sends information to the TurntablistPC. When somebody visits one of the subscribing websites, the TurntablistPC spins the record.
Control is remote and hidden. But output – audio – is local only (through speakers in the TurntablistPC).


Loving the Ghost in the Machine: Aesthetics of Interruption by Janne Vanhanen

(Source: CTheory)


[…] I hear no great conceptual divide between various music machines. Whatever means there are available for recording acoustic phenomena or presenting sound, no matter what the source, making sound reproducible and thus variable, all phonographic technologies have the potential to deterritorialize sound and music. Maybe the greatest singular moment in nomadic use (= an act of capturing forces, making a new machinic assemblage of existing machinic formations) of phonographic machinery has been the emergence of hip-hop DJ’ing and the misuse of vinyl records, making a pair of turntables into a nomadic war machine. For a better part of the last century the record remained inactive, a storage capsule of time.


The Turntable by Charles Mudede

(Source: Ctheory.net)

Common talk deserves a walk, the situation’s changed/ everything said from now on has to be rearranged.

— T La Rock

The hiphop DJ is a meta-musician, an author, a programmer, an organizer of recorded fragments and a builder of databases whose talents are uniquely suited to survival and meaningful cultural production in our emerging era of total digital cross-reference.

— David Goldberg

At the dead center of the spiraling galaxy of hiphop culture is the turntable. This is where everything starts: on the grooved surface of a record spinning on the wheels of steel. All truth is here, all meaning — everything that is hiphop…Indeed, an act of pure hiphop devotion might be to let a record play from start to end on a turntable…

— DJ Dusk


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