Remixes, popular in the club and mobile DJ trade, might be thought of as a new way of looking at an old or current thing. Songs are remixed for a variety of reasons:
• To adapt or revive it for radio or nightclub play
• To alter a song for artistic purposes or to alter a song to suit a specific music genre or radio format
• To use some of the same materials, allowing the song to reach a different audience
•To alter a song for artistic purposes
• To provide additional versions of a song for use as bonus tracks from the early efforts of remix pioneers Tom Moulton, Larry Levan, and Shep Pettibone, to the prolific contemporary reimaginings of a growing cadre of gifted, talented and creative spin doctors, remixes provide dancers with exciting new beats grafted into familiar tracks; remixes give songs potentially extended lifespans and exposure; and remixes offer listeners vivid, rich, illuminating new interpretations of recognizable material. Viewing a mobile entertainer’s skill set as a song, can jocks find new ways to view and utilize tried-and-true skills? In other words, how do they “remix” what they have to offer clients? START WITH THE VOCAL The return of Whose Line Is It Anyway to national television allows me an opportunity to view the show and the performers in a whole new light. During the Drew Carey-hosted, first run episodes from August 5, 1998 to December 15, 2007. I was only a few years into appearing regularly with Triage, a Central Oregon improvisational troupe. While I was actively learning the craft, I still primarily enjoyed the television show more from an entertainment perspective rather than an entertainer’s perspective. But now, with the rebooted Aisha Tyler-hosted version of the show this past summer, and also with more than ten years of active engagement in improvisation under my belt, I watch the talents of Ryan Stiles, Wayne Brady and Colin Mochrie from a completely different, much more informed perspective. While I still find the show exceptionally entertaining and funny, I understand much more clearly what the improvisers seek to advance with each line, with each physical choice, with each relationship. I can more clearly define the awkward moments, the bits that struggle and, more critically, why. I, also, have a better idea of why certain bits succeed.
Filed Under: Issue #152, Sound
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