Types of Remix
The Remix paradigm is multi-layered and is defined by a variety of factors. The Dissertation proposes a categorisation system in Chapter Four.
Furthering the idea of the censor remix is the restrictive remix or the employment of remix for political ends that was observed in all former Communist states, including Bulgaria. In the years until 1989 (the collapse of the Zhivkov regime), in order to filter out Western ‘Capitalist’ influences, Bulgaria’s Communist regime regularly ordered or supervised the production of localised versions of the original. One of the first examples is Emil Dimitrov’s 1964 Ако имах чук, based on the 1949 If I Had a Hammer (The Hammer Song) by Pete Seeger and Lee Hays, which was also recorded by another Bulgarian pop-music icon, Lili Ivanova the next year. Some performed a moralising function through their lyrics, a notable example being Todor Kolev’s Жигули, based on Louis Prima’s 1956 Just a Gigolo - I Ain’t Got Nobody (which is a remix itself of the 1929 adaptation by Irving Caesar of the 1928 Austrian song “Schöner Gigolo”). Such remakes of Western European and American music were written and composed under the dictation of the Party. Other popular restrictive remixes include the 1978 Спри се by Signal (sourced from same year Uriah Heep’s Free Me), the 1968 Тя днес си купи билет by Lili Ivanova (sourced from 1965 The Beatles’ Ticket to Ride), the 1980 Лодка по Реката by Mimi Ivanova (sourced from the same year Boat on the River by STYX), Margarita Radinska’s 1969 Бенг Бенг (sourced from the 1966 Cher Bang Bang), FSB's След десет години (sourced from Le Orme - Amico di ieri) and so on and so forth.
Essentially a type of selective remix where an existing easily recognizable piece is remade in a new style but the new piece, the remix, is performed by both artists or bands in a collaborative manner.