Remix Music Quotes

To help my ducks improve their swimming ability, I remixed Mozart with whale sounds, and I pulse the music through their SplashTub. Snatch your tickets now, because they’re laced with catnip and going fast.

Johnny made me feel like I was clever without trying to be. And pretty. And valued. He made everything about me seem more special. Like, say I was a song. Well, Johnny made me feel as though I’d been remixed. The melody didn’t change, but it wasn’t just the same one-dimensional sequence of notes anymore. Instead, he brought out all these harmonies — these low and high notes — that made the music fuller. No more discord or dissonance. Around Johnny, I was the best possible rendition of myself.

I get in, and she turns the music down. It’s Nusrat, remixed and clubby, but damn good as always.

Vanity 6’s most famous song, ‘Nasty Girl’, may be less well-known than Prince’s greatest hits, but it’s among the most influential songs Prince has written. It’s easy to trace a line from Madonna, who in her earliest incarnation could have been a fourth member of the band, on to Janet Jackson, whose 1986 song ‘Nasty’ (produced by two former members of The Time) reverses the gender from ‘nasty girls’ to ‘nasty boys’, to Britney Spears, who claimed that the track ‘Boys’, from her 2001 album Britney, had ‘a kinda Prince feel to it’, but actually lifts directly from ‘Nasty Girl’ (the song is produced by The Neptunes, and its remixed version, ‘Boys (The Co-Ed Remix)’, features vocals from Pharrell Williams, a producer and rapper and diehard Prince fanatic). Britney’s ‘Let’s turn this dance floor into our own little nasty world’, and repeated invocations to ‘get nasty’, are clear Xeroxes of Vanity’s ‘my own little nasty world’ and ‘dance nasty girls’.

against the velvet rope force fields that kept everyone without an invitation at bay. As I walked toward the entrance, the crowd bombarded me with a mix of insults, autograph requests, death threats, and tearful declarations of undying love. I had my body shield activated, but surprisingly, no one took a shot at me. I flashed the cyborg doorman my invitation, then mounted the long crystal staircase leading up into the club. Entering the Distracted Globe was more than a little disorienting. The inside of the giant sphere was completely hollow, and its curved interior surface served as the club’s bar and lounge area. The moment you passed through the entrance, the laws of gravity changed. No matter where you walked, your avatar’s feet always adhered to the interior of the sphere, so you could walk in a straight line, up to the “top” of the club, then back down the other side, ending up right back where you started. The huge open space in the center of the sphere served as the club’s zero-gravity “dance floor.” You reached it simply by jumping off the ground, like Superman taking flight, and then swimming through the air, into the spherical zero-g “groove zone.” As I stepped through the entrance, I glanced up—or in the direction that was currently “up” to me at the moment—and took a long look around. The place was packed. Hundreds of avatars milled around like ants crawling around the inside of a giant balloon. Others were already out on the dance floor—spinning, flying, twisting, and tumbling in time with the music, which thumped out of floating spherical speakers that drifted throughout the club. In the middle of all the dancers, a large clear bubble was suspended in space, at the absolute center of the club. This was the “booth” where the DJ stood, surrounded by turntables, mixers, decks, and dials. At the center of all that gear was the opening DJ, R2-D2, hard at work, using his various robotic arms to work the turntables. I recognized the tune he was playing: the ’88 remix of New Order’s “Blue Monday,” with a lot of Star Wars droid sound samples mixed in. As I made my way to the nearest bar, the avatars I passed all stopped to stare and point in

In a 1963 performance entitled "Who R U?" at the San Francisco Museum of Art, Stern and Callahan added highway sounds to the mix, moving them from speaker to speaker in the showroom. They also had individuals placed in booths around a central auditorium, miked their conversations, and replayed them simultaneously in an eighteen-channel remix. By 1965 this show had morphed into a program called "We R All One," in which USCO deployed slide and film projections, oscilloscopes, music, strobes, and live dancers to create a sensory cacophony. At the end of the performance, the lights would go down, and for ten minutes the audience would hear multiple "Om's" from the speakers. According to Stern, the show was designed to lead viewers from "overload to spiritual meditation."19 In the final moments, the audience was to experience the mystical unity that ostensibly bound together USCO's members.

For five years, NPGMC (named after Prince’s backing band, the New Power Generation) offered a monthly or annual membership that not only let fans get new releases, but also provided access to prime concert seats and passes for events like sound checks and after parties. We had Sam Jennings, his digital producer, on our Subscribed podcast, and he detailed just how committed Prince was to creating a sense of value around his service: “They were getting about three or four new songs every month, live versions, remixes, all kinds of things. Plus an audio show. We called it an audio show but it was basically a podcast! It was essentially an hour-long radio program that Prince put together in his studio that we provided as a download. The idea was to create an ongoing experience for them, so that they want to be a part of it. They get the music, they get the downloads, but they’re also investing in a larger experience, which is the community of subscribers themselves. The question was how do we make them feel more like members, and less like customers?

The Klavaret won resoundingly that year, singing in their traditional method: vibrating their stamens at the precise frequency of empathy, allowing the audience to hear one another’s favorite childhood lullabies, thousands upon thousands of them, at which point Suns n’ Roses broke down, mashed up, and remixed that noise into a truly sick beat. Last year, they finally managed to snatch the crown again with their dance craze ‘Let’s Talk About Our Feelings So No One Has to Hurt Inside.’ It would have been a unanimous verdict, except for the Yurtmak, who vomited on their ballot and then put it in the box with a huge, razor-toothed grin.

To kids coming of age in a world of technology and unhinged capitalism, our music seems to sound the way global capital is — liquid, international, porous, and sped up.