
Remixes have been a constant since the late '70s. Artists have been holding remix contests since at least 1983, when Tommy Boy advertised for a prize to the chancer(s) who best recast G.L.O.B.E. & Whiz Kid's "Play That Beat, Mr. DJ" and inadvertently birthed unto the world Double Dee & Steinski, the latter of whose
What Does It All Mean? overview was released this year to great (and deserved) acclaim. R&B and hip-hop and disco and indie rock and house and techno and dub and mainstream pop with its different mixes for different formats and even country (what's
Up!, Shania Twain): all not only utilize the remix, each genre has its own set of rules for it. And between NIN and Radiohead's fan-made deconstructions grabbing headlines and cut-up disco ruling clubland, not to mention the usual fusillade of hip-hop mixtape posse cuts, dance producers trading tweaks as normal, and—fuck it—Girl Talk, 2008 is a Year of the Remix if any has been.
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