Quotes About Remixing

I like remixing Barry White and ABBA songs.

I think that the audience intuitively understands the idea of sampling and remixing stories. That's why electronic music is global.

The proper thing to do would have been to first ask my consent before remixing 'Mungda.'

It is not only just a Indian phenomenon but it's happening the world over. People are taking old movies and remaking them; old serials are being made into web series. There is no harm in remixing the song if you do it well.

As a firm believer in the power of songwriting, I feel privileged to be part of a team that continues to help us all understand the true force and impact of lyrics and music around the world. Genius is special - it's remixing the digital playbook and owning a new space in music and tech.

The songs that are getting recreated by us or fellow industry friends are because these songs were gold in their time and needed to be heard even today. Remixing them is a way to make them popular to the youth of today who haven't heard them before.

Most artists are going into the studio for a fixed period of time, and they say that's their album. I can't relate, because I've never made music in that way. I come from a culture of editing and remixing.

We're very historically tried and true when it comes to our albums. We pick the best songs; we get rid of the songs we feel don't fit on the album, and we don't work on remixing or remastering albums.

I'm remixing an R.E.M. track called 'I've Been High' from their last album, 'Reveal.' It's a beautiful song, but record execs didn't put it out as a single because it didn't sound like the R.E.M. we're used to. So I asked Michael Stipe if I could have the tapes to do a remix, and he agreed.

some of the most important work that we can do as scholars may more closely resemble contemporary editorial or curatorial practices, bringing together, highlighting and remixing significant ideas in existing texts than remaining solely focused on the production of more ostensibly original texts.

I've remixed lots of other people's songs, from Adele to Electric Light Orchestra to Beyonce, so when my record label said, 'Why don't you give 'Ibiza' to someone to remix?' I said, 'Sure,' because I like the idea of people reimagining art and making something new out of it.

With 'Scratch,' our goal is to allow people to mix together all kinds of media, not just sounds, in creative ways. We want people to start from existing materials - grabbing an image, grabbing some sound, maybe even bits of someone else's program, and then extending them and mixing them to make them their own.

This wide, fast-moving system of technology bends the culture subtly, but steadily, so it amplifies the following forces: Becoming, Cognifying, Flowing, Screening, Accessing, Sharing, Filtering, Remixing, Interacting, Tracking, Questioning, and then Beginning.

I don't know why we, in the art world, cannot unpack things and sort of make hybrid notions of a practice. We're very rigid. It's funny, though; in music, we have no problem sampling, mixing and remixing. But in the art world, why can't we take little parts of history and mix it together?

I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular?