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Jack Morris Sherman (January 18, 1956 – August 18, 2020) was an American guitarist, best known as the second guitarist for the Red Hot Chili Peppers, between Hillel Slovak's departure and return. He played on the band's debut album, and co-wrote much of their second album, Freaky Styley. He went on to collaborate with musicians Bob Dylan, George Clinton, Feargal Sharkey, and Peter Case.

Jack Morris Sherman (January 18, 1956 – August 18, 2020) was an American guitarist, best known as the second guitarist for the Red Hot Chili Peppers, between Hillel Slovak's departure and return. He played on the band's debut album, and co-wrote much of their second album, Freaky Styley. He went on to collaborate with musicians Bob Dylan, George Clinton, Feargal Sharkey, and Peter Case.

Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included DJ Kool Herc and Grandmaster Flash. Cutting (alternating between duplicate copies of the same record) and scratching (manually moving the vinyl record beneath the turntable needle) became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock, as remixed by Grand Mixer D.ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". English duo Coldcut's remix of Eric B. & Rakim's "Paid in Full" Released in October 1987 is said to have "laid the groundwork for hip hop's entry into the UK mainstream".Dorian Lynskey of The Guardian named it a "benchmark remix" and placed it in his top ten list of remixes.The Coldcut remix "Seven Minutes of Madness" became one of the first commercially successful remixes, becoming a top fifteen hit in countries such as Germany, the Netherlands and the United Kingdom.

Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included DJ Kool Herc and Grandmaster Flash. Cutting (alternating between duplicate copies of the same record) and scratching (manually moving the vinyl record beneath the turntable needle) became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock, as remixed by Grand Mixer D.ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". English duo Coldcut's remix of Eric B. & Rakim's "Paid in Full" Released in October 1987 is said to have "laid the groundwork for hip hop's entry into the UK mainstream".

From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first, Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single ("Ten Percent", by Double Exposure). Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton, Gibbons and their contemporaries (Jim Burgess, Tee Scott, and later Larry Levan and Shep Pettibone) at Salsoul Records proved to be the most influential group of remixers for the disco era. The Salsoul catalog is seen (especially in the UK and Europe) as being the "canon" for the disco mixer's art form. Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. (He is certainly the most high-profile remixer to do so.) His contemporaries included Arthur Baker and François Kevorkian.

From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first, Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single ("Ten Percent", by Double Exposure). Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton,

From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City.

Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica. The fluid evolution of music that encompassed ska, rocksteady, reggae and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes (which they called "versions") of reggae tunes. At first, they simply dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix, isolating and repeating hooks, and adding various effects like echo, reverberation and delay. The German krautrock band Neu! also used other effects on side two of their album Neu! 2 by manipulating their previously released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using a cassette recorder.

Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of easily editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions. Less artistically lofty edits produced medleys or novelty recordings of various types.

While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form which is remixed in numerous examples. Literature, film, technology, and social systems can all be argued as a form of remix.

Remixes should not be confused with edits, which usually involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, and a cover: a re-recording of someone else's song.

While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form which is remixed in numerous examples. Literature, film, technology, and social systems can all be argued as a form of remix

to adapt or revise a song for radio or nightclub play

to create a stereo or surround sound version of a song where none was previously available

to improve the fidelity of an older song for which the original master has been lost or degraded

to alter a song to suit a specific music genre or radio format

to use some of the original song's materials in a new context, allowing the original 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 or for a B-side, for example, in times when a CD single might carry a total of 4 tracks

to create a connection between a smaller artist and a more successful one, as was the case with Fatboy Slim's remix of "Brimful of Asha" by Cornershop

to improve the first or demo mix of the song, generally to ensure a professional product.

to improve a song from its original state

A remix is a piece of media which has been altered or contorted from its original state by adding, removing, and/or changing pieces of the item. A song, piece of artwork, book, video, poem, or photograph can all be remixes. The only characteristic of a remix is that it appropriates and changes other materials to create something new.

Most commonly, remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a variety of reasons:

Aleksey Anatolyevich Navalny ( born June 4, 1976 , Butyn , Odintsovo district , Moscow region , RSFSR , USSR [3] [7] [8] ) is a Russian opposition leader [9] [10] , lawyer , political [11] and public figure [2] [3] who gained initial notoriety for his investigations into corruption in Russia [12] . A number of leading media are positioned as the main leader of the Russian opposition [13] . Creator of the " Anti-Corruption Fund ", which unites subsidiaries: " Smart Voting " [⇨] , "Navalny Trade Union" [⇨] , " RosPil ", "RosZhKH" [⇨] , " RosYama ", "RosVybory" [⇨] , "The Good Machine of Truth ".

He took second place in the 2013 Moscow mayoral election , receiving 27.24% of the vote and losing to Sergei Sobyanin [14] . Since November 2013, he has been the head of the Central Council of the political party " Russia of the Future " [15] . In December 2016, he announced his intention to participate in the presidential elections in Russia , which took place in March 2018. According to the editors of Vedomosti , he turned out to be in fact the only politician who conducted a full-fledged election campaign in 2017 [16] , however, on December 25, 2017, the CEC refused to register him due to an outstanding conviction in the Kirovles case [17][18] .

Vox Media revamped The Verge's visual design for its fifth anniversary in November 2016.Its logo featured a modified Penrose triangle, an impossible object.On November 1, The Verge launched version 3.0 of its news platform, offering a redesigned website along with the new logo.

In September 2016, The Verge fired deputy editor Chris Ziegler after it learned that he had been working for Apple since July.Helen Havlak was promoted to editorial director in mid-2017.In 2017, The Verge launched "Guidebook" to host technology product reviews. In May 2018,