Editing Remix (section)

==In popular music==
[[File:Madonna - The Celebration Tour live London14 10 2023 (53270974497).jpg|upright|left|thumb|According to the [[Guinness World Records]], [[Madonna]] is the most remixed act.<ref name="GWRBD">{{cite web|url=https://www.guinnessworldrecords.com/news/2018/8/madonnas-career-in-10-records-as-queen-of-pop-turns-60-536857|title=Madonna's career in 10 records as Queen of Pop turns 60|publisher=Guinness World Records|first=Riley|last=Baker|access-date=April 21, 2022|date=August 16, 2018|archive-url=https://web.archive.org/web/20200324135554/https://www.guinnessworldrecords.com/news/2018/8/madonnas-career-in-10-records-as-queen-of-pop-turns-60-536857|archive-date=March 24, 2020}}</ref> Her remix album ''[[You Can Dance]]'' is credited with helping popularize remix albums releases.<ref name="Jon">{{cite web|url=https://www.readersdigest.co.uk/culture/music/how-madonna-popularised-the-remix-album|title=How Madonna popularised the remix album|work=[[Reader's Digest]]|first=Jon|last=O'Brien|access-date=November 2, 2022|archive-url=https://web.archive.org/web/20221102172208/https://www.readersdigest.co.uk/culture/music/how-madonna-popularised-the-remix-album|archive-date=November 2, 2022|date=November 2, 2022}}</ref>]]

Recent technology allows for easier remixing, leading to a rise in its use in the music industry.<ref>{{Citation|title=How sampling transformed music|author=Mark Ronson|date=9 May 2014 |url=https://www.youtube.com/watch?v=H3TF-hI7zKc| archive-url=https://ghostarchive.org/varchive/youtube/20211107/H3TF-hI7zKc| archive-date=2021-11-07 | url-status=live|language=en|access-date=2020-02-12}}{{cbignore}}</ref> It can be done legally, but there have been numerous disputes over rights to [[Sampling (music)|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 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".<ref>{{Cite web|url=https://www.hollywoodreporter.com/thr-esq/big-pimpin-trial-jay-z-832532|title="Big Pimpin' " Trial: Jay Z Song Stirs International Copyright Law Debate|website=The Hollywood Reporter|date=15 October 2015}}</ref>

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 a tight, grinding bassline and a rhythm guitar not entirely unlike [[Chic (band)|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."<ref>{{Cite AV media notes|title=Mixed Up (Deluxe Edition)|others=[[the cure]]|last=Smith|first=Robert}}</ref>	

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 original mix. The remix is also widely used in [[hip hop music|hip hop and rap music]]. An [[Contemporary R&B|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, but they may be arranged in a different order.

[[File: MariahGMA.jpg|thumb|upright|Carey helped popularize having a rapper as a featured act through her post-1995 songs with her remix of "[[Fantasy (Mariah Carey song)|Fantasy]]" featuring [[Ol' Dirty Bastard]].]]
In the early 1990s, [[Mariah Carey]] became one of 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 (song)|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 the ground up).  Carey worked with producer [[Sean Combs|Puff Daddy]] to create the official [[Bad Boy Records|Bad Boy]] remix of "Fantasy".<ref name="nickson3">{{cite book |last=Nickson |first=Chris |date=1998 |title=Mariah Carey Revisited |location=New York |publisher=St. Martin's Griffin |isbn= 978-0-312-19512-0 |page=137}}</ref> The Bad Boy remix features background vocals by Puff Daddy and rapping by Ol' Dirty Bastard, the latter being of concern to [[Columbia Records|Columbia]], who feared the sudden change in style would affect sales negatively.<ref name="shapiro2">{{cite book |first=Marc |last=Shapiro |title=Mariah Carey |url=https://books.google.com/books?id=-52eG8YN4tAC |year=2001 |publisher=ECW Press |isbn=978-1-55022-444-3 |page=92}}</ref> Some of the song's R&B elements were removed for the remix, while the bassline and "[[Genius of Love]]" sample were emphasized and the bridge from the original version was used as the chorus.<ref name="nickson3"/> There is a version omitting Ol' Dirty Bastard's verses.<ref name="nickson3"/> The "Bad Boy Fantasy Remix" combines the chorus from the original version and the chorus of the Bad Boy Remix, removing Ol' Dirty Bastard's vocals from his second verse.<ref name="nickson3"/> Carey re-recorded vocals for club remixes of the song by [[David Morales]], titled "Daydream Interlude (Fantasy Sweet Dub Mix)".{{sfn|Nickson|1998|p=149}}

The Bad Boy remix garnered positive reviews from music critics. "Fantasy" exemplified how a music sample could be transformed "into a fully realized pop masterpiece".<ref>{{cite magazine |url=http://www.slantmagazine.com/music/feature/best-singles-of-the-90s/247/page_4 |title=Best Singles of the 1990s &#124; Music |magazine=Slant Magazine |access-date=2012-08-15 |archive-date=2012-10-26 |archive-url=https://web.archive.org/web/20121026120304/http://www.slantmagazine.com/music/feature/best-singles-of-the-90s/247/page_4 |url-status=dead }}</ref> The song and its remix arguably remains 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.<ref name="new yorker">{{Cite magazine|url=http://www.newyorker.com/archive/2006/04/03/060403crmu_music|title=Mariah Carey's record-breaking career|last=Frere-Jones|first=Sasha|date=2006-04-03|access-date=2010-07-25|magazine=[[The New Yorker]]}}</ref> 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 the past ten years making pop music that is unmistakably R&B."<ref name="new yorker"/> Moreover, Jones concludes that "Her idea of pairing a female songbird with the leading male [[Emcees|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."<ref name="new yorker"/> [[John Norris (MTV News reporter)|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 (band)|TLC]]'s [[Lisa Lopes]], who told MTV that it's because of Mariah that we have "[[hip-pop]]."<ref>{{cite web|url=https://www.youtube.com/watch?v=KDf1rIhRtKg | archive-url=https://web.archive.org/web/20111211221125/http://www.youtube.com/watch?v=KDf1rIhRtKg&gl=US&hl=en| archive-date=2011-12-11 | url-status=dead|title=Celebrities Praise Mariah Carey: Part 1 |publisher=YouTube |access-date=2012-08-15}}</ref> Judnick Mayard, writer of ''TheFader'', wrote that, regarding R&B and hip hop collaboration, "The champion of this movement is Mariah Carey."<ref name="thefader.com">{{cite web |url=http://www.thefader.com/2011/01/14/suite903-rb-rejected-and-betrayed/ |title=Suite903: R&B, Rejected and Betrayed |publisher=Thefader.com |date=2011-01-14 |access-date=2011-04-04 |archive-date=2011-09-11 |archive-url=https://web.archive.org/web/20110911150131/http://www.thefader.com/2011/01/14/suite903-rb-rejected-and-betrayed/ |url-status=dead }}</ref> Mayard also expressed that "To this day [[Ol' Dirty Bastard|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."<ref name="thefader.com"/> In the 1998 film ''[[Rush Hour (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 the song at the beginning and end of the video "You Know That Ain't Them Dogs' Real Voices".
Indie artist [[Grimes (musician)|Grimes]] has called "Fantasy" one of her favorite songs of all time and has said Mariah is the reason there is a Grimes.<ref>{{cite web|url=http://www.brooklynvegan.com/archives/2013/12/grimes_lists_he.html |title=Grimes Favorites |publisher=Brooklyn Vegan |access-date=2013-12-03}}</ref>
[[File:JessicaSimpsonMay10.jpg|thumb|left|Jessica Simpson's "[[Irresistible (Jessica Simpson song)|Irresistible]]" (So So Def Remix) featuring [[Bow Wow (rapper)|Lil' Bow Wow]] and [[Jermaine Dupri]] had an incredible impact in 2001.]]
[[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 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 the original, but he ended the remix with an ad-lib on the outro. [[Mariah Carey]]'s song "[[Heartbreaker (Mariah Carey 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]].<ref name="MTV News 2">{{cite web | title=Mariah Carey Casts "Rainbow" For Next LP; Taps Missy, Da Brat For Remix |url=http://www.mtv.com/news/articles/1426929/19990813/carey_mariah.jhtml|archive-url=https://web.archive.org/web/20010809024811/http://www.mtv.com/news/articles/1426929/19990813/carey_mariah.jhtml|url-status=dead|archive-date=August 9, 2001|work=[[MTV News]]|publisher=[[MTV]]|date=1999-08-13 | access-date=2009-05-07}}</ref> 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 (Jessica Simpson song)|Irresistible]]",<ref name="baltimore">{{cite news|url=https://www.baltimoresun.com/2001/09/01/one-blond-diva-in-for-long-haul/|title=One blond diva in for long haul|first=Cheryl|last=Lu-Lien Tan| authorlink=Cheryl Lu-Lien Tan|work=[[The Baltimore Sun]]|publisher=[[Tribune Company]]|date=September 1, 2001|access-date=2011-06-01|archive-date=2012-09-26|archive-url=https://web.archive.org/web/20120926001223/http://articles.baltimoresun.com/2001-09-01/features/0109010048_1_jessica-simpson-christina-aguilera-teen-pop|url-status=live}}</ref> featuring rappers [[Bow Wow (rapper)|Lil' Bow Wow]] and [[Jermaine Dupri]], who also produced the track.<ref>{{cite web|url =http://www.mtv.com/news/articles/1454467/nas-cypress-hill-remixes-due.jhtml|archive-url =https://web.archive.org/web/20121107120031/http://www.mtv.com/news/articles/1454467/nas-cypress-hill-remixes-due.jhtml|url-status =dead|archive-date =November 7, 2012|title =Nas, Cypress Hill, Jessica Simpson ride the Remix wave|author =Wiederhorn, Jon|work =[[MTV]]|publisher =[[MTV Networks]] ([[Viacom (2005–present)|Viacom]])|date =2002-05-22|access-date =2011-01-10}}</ref> It samples the [[Kool & the Gang]]'s song "[[Jungle Boogie]]" (1973) and "[[Why You Treat Me So Bad]]" by [[Club Nouveau]] (1987).<ref name="slant">{{cite magazine|url =http://www.slantmagazine.com/music/feature/this-product-contains-previously-released-material/165|title =This Product Contains Previously Released Material|magazine =Slant Magazine|first =Sal|last =Cinquemani|date =2002-07-02|access-date =2011-01-10}}</ref>
[[File:Melanie Chisholm byte.jpg|thumb|right|The main single of "[[I Turn to You (Melanie C song)|I Turn to You]]" by [[Melanie C]] was released as the "Hex Hector Radio Mix", for which [[Hex Hector]] won the 2001 [[Grammy]] as [[Grammy Award for Remixer of the Year, Non-Classical|Remixer of the Year]].]]

Released on July 12, 1999, "[[Always You (Jennifer Paige song)|Always You]]" remix by [[Jennifer Paige]] reached number six on the ''[[Billboard (magazine)|Billboard]]'' [[Hot Dance Club Songs|Dance/Club Play]] chart.<ref>[http://www.billboard.com/charts/1999-09-04/dance-club-play-songs Billboard Dance Club Play Songs (4 September 1999)] Billboard.com. Retrieved 30 June 2017.</ref>

The main single of "[[I Turn to You (Melanie C song)|I Turn to You]]" by [[Melanie C]] was released as the "Hex Hector Radio Mix", for which [[Hex Hector]] won the 2001 [[Grammy]] as [[Grammy Award for Remixer of the Year, Non-Classical|Remixer of the Year]].<ref>{{cite news|url=http://articles.latimes.com/2001/jan/04/entertainment/ca-8072/13|archive-url=https://archive.today/20120707151811/http://articles.latimes.com/2001/jan/04/entertainment/ca-8072/13|url-status=dead|archive-date=July 7, 2012|title=Grammys Cast a Wider Net Than Usual|page=13|work=Los Angeles Times|first=Geoff|last=Boucher|access-date=April 29, 2011|date=January 4, 2001}}</ref>

Another well-known example is [[R. Kelly]], who recorded two different versions of "[[Ignition (song)|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" is [[Sampling (music)|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.<ref>{{Cite web|url=https://www.gq.com/story/r-kelly-confessions|title = The Confessions of R. Kelly|date = 20 January 2016}}</ref>  Madonna's ''[[I'm Breathless]]'' featured a remix of "[[Now I'm Following You]]" that was used to segue from the original to "[[Vogue (Madonna song)|Vogue]]" so that the latter could be added to the set without jarring the listener.

In 2015, [[Electronic dance music|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 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.<ref>{{Cite web|url=https://www.hollywoodreporter.com/thr-esq/deadmau5-sues-remixes-mashups-834630|title=Deadmau5 Sues Over Remixes and Mashups|website=The Hollywood Reporter|date=26 October 2015}}</ref><ref>{{Cite web|url=http://exclaim.ca/music/article/deadmau5_reaches_settlement_with_play_records_over_unauthorized_remixes|title=Deadmau5 Reaches Settlement with Play Records over Unauthorized Remixes|website=exclaim.ca}}</ref> 
	
[[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 the beat, but rather it belonged to Shady/Aftermath Records.<ref>{{Cite web|url=https://www.law.com/ctlawtribune/2018/10/04/federal-judge-tosses-rapper-50-cents-in-da-club-remix-suit-appeal-expected/|title=Federal Judge Tosses Rapper 50 Cent's 'In Da Club' Remix Suit, Appeal Expected|first1=Robert Storace |last1=October 04|first2=2018 at 06:20|last2=PM|website=Connecticut Law Tribune}}</ref>

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 end up being almost entirely different songs from 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 [[Sentimental ballad|ballads]] and R&B songs can be remixed by [[techno]] producers and DJs in order to give the song appeal to the [[Nightclub|club]] scene and to [[Mainstream urban|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 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 (Lisa Stansfield song)|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 a remix. The most popular apps for doing this are [[Instagram]] and [[YouTube]].