Mixtape

For video, see Video mixtape. For other uses, see Mixtape (disambiguation).

In the modern music industry, a mixtape is a musical project with looser constraints than that of an album or EP. Unlike the traditional album or extended play, mixtapes are labeled as more informal projects that allow for more creative freedom, less commercial pressure, and more emphasis on personal tone. The term has significantly increased in popularity over the years, due to high-profile artists marketing their musical projects as such. Mixtapes also have been inconsistently referred to as albums by media outlets such as Pitchfork, Rolling Stone and Complex. This has caused notable confusion on the difference.

A compact audio cassette mixtape with a handwritten label: "Funky Stuff"

Prior to the end of the mixtape era, mixtapes used to describe homemade compilations of music, usually through a cassette tape, CD, or digital playlist. The songs were typically beatmatched and consisted of seamless transitions at their beginnings and endings with fades or abrupt edits.

Mixtape Era (1980s - early 2000s)

An early pirated 8 track mixtape from 1974

Homemade mix tapes became common in the 1980s. Although the compact audio cassette by Philips appeared at the 1963 Berlin Radio Show, the sound quality of cassettes was not good enough to be seriously considered for music recording until further advances in tape formulations, including the advent of chrome and metal tape. Before the introduction of the audio cassette, the creation of a pop music compilation required specialized or cumbersome equipment, such as a reel-to-reel or 8 track recorder, that was often inaccessible to the casual music fan. As cassette tapes and recorders grew in popularity and portability, these technological hurdles were lowered to the point where the only resources required to create a mix were a handful of cassettes and a cassette recorder connected to a source of pre-recorded music, such as a radio or LP player. The 8-track tape cartridge was more popular for music recording during much of the 1960s, as the cassette was originally only mono and intended for vocal recordings only, such as in office dictation machines. But improvements in fidelity finally allowed the cassette to become a major player. The ready availability of the cassette and higher quality home recording decks to serve the casual home user allowed the cassette to become the dominant tape format, to the point that the 8 track tape nearly disappeared shortly after the turn of the 1980s. The growth of the mixtape was also encouraged by improved quality and increased popularity of audio cassette players in car entertainment systems, and by the introduction of the Sony Walkman in 1979.

A distinction should be drawn between a private mixtape, which is usually intended for a specific listener or private social event, and a public mixtape, or "party tape", usually consisting of a recording of a club performance by a DJ and intended to be sold to multiple individuals. In the 1970s, such DJs as Grandmaster Flash and the Furious Five, Afrika Bambaataa and the Soulsonic Force, Kool Herc and the Herculoids, and DJ Hollywood would often distribute recordings of their club performances via audio cassette, as well as customized recordings (often prepared at exorbitant prices) for individual tape purchasers. These recordings tended to be of higher technical ability than home-made mixtapes and incorporated techniques such as beatmatching and scratching. One 12 October 1974 article in Billboard reported, "Tapes were originally dubbed by jockeys to serve as standbys for times when they did not have disco turntables to hand. The tapes represent each jockey's concept of programming, placing, and sequencing of record sides. The music is heard without interruption. One- to three-hour programs bring anywhere from $30 to $75 per tape, mostly reel-to-reel, but increasingly on cartridge and cassette." Club proprietors, as well as DJs, would often prepare such tapes for sale.

Throughout the 1980s, mixtapes were a highly visible element of youth culture. However, the increased availability of CD burners and MP3 players and the gradual disappearance of cassette players in cars and households have led to a decline in the popularity of the compact audio cassette as a medium for homemade mixes. The high point of traditional mixtape culture was arguably the publication of Nick Hornby's novel High Fidelity in 1995. Since then, mixtapes have largely been replaced by mix CDs and shared MP3 playlists, which are more durable, can hold more songs, and require minutes (rather than hours) to prepare.

Additionally, DJs such as Grandmaster Flash, DJ QBert, DJ Spooky, DJ Z-Trip or DJ Shadow, The Avalanches, and Rjd2 have gained fame for creating new songs by combining fragments of existing songs (which need not necessarily belong to the same genre). The resulting remix or mash-up can be seen as an evolution of the mixtape, in that it appropriates existing songs to give them new meanings through their juxtaposition, but does so in a quicker, more integrated style. This practice is heavily derived from the use of song loops as musical backdrops for an MC's rhymes in hip hop music, which is also related to turntablism.

Modern Mixtapes (early 2000s - present)

Artist Lil Wayne, who has over 20 mixtapes.

In the 21st century, the definition of a mixtape has change significantly, now they are essentially a recognized alternative to studio albums, especially in genres of hip-hop, R&B, and indie music. They allow artists to release music without industry-level expectations expected from the likes of a concept album. Mixtapes have become staples in genres like hip-hop, R&B, and indie music and are sometimes released as holdovers or low-key releases between studio albums. Lesser-known artists may release them free online on more accessible streaming platforms like SoundCloud to gain exposure, while prominent industry artists may release "commercial mixtapes" on streaming services. Notable examples include Street Gossip by Lil Baby, MMM (Money Making Mitch) by Puff Daddy, and If You're Reading This It's Too Late by Drake.

Purpose

Mixtapes give give artists the ability to explore themes, styles, and sounds that may not be supported by traditional commercial projects. Some artists may use the mixtape-format to test new sounds or take risks without the obligational weight of an album. The absence of formal promotion, industry-standard production, or chart performance makes mixtapes often feature a more raw and experimental project, which may be preferable to their fans.

Release and Marketing

While mixtapes used to be distributed for free, Spotify, Apple Music, and Soundcloud have blurred the line between what is considered a full-on album versus what is considered a mixtape.

However, artists typically distinguish an album from a mixtape in two ways:

Atypical promotion for the mixtape Faces by Mac Miller. People downloading the mixtape would have to make their own sandwich as a form of CAPTCHA in order to listen.

Marketing

The marketing of a mixtape is usually minimal, spontaneous, and unorthodox. In contrast, studio albums often have more professional media campaigns, music videos and a set release. Because of a mixtape's "unpredictability" that varies from artist, mixtapes may entertain fans with excitement due to surprise releases.

Digital Release and Promotion

On streaming platforms, mixtapes are nearly identical in format, as both include album art, titles, and track lists. However, mixtapes may lack the proper promotion and radio play that traditional albums offer. Artists may informally promote their mixtapes by posting to their own social media (as opposed to having a management team do it) or by directly engaging with their fans online. Mixtapes are usually a more personal rollout of music.

Cultural and Artistic Value

Rapper Travis Scott performing his mixtape at a concert in anticipation for his album.

The mixtape's role in modern music has become popular among all artists. For independent and emerging artists, mixtapes are a gateway to building a fanbase and experimenting with their sound. For established artists, mixtapes can be used as an outlet for personal expression and experimentation to escape the pressures of a record label or commercial appeal. The value of a mixtape lies in its ability to define the artist rather than an industry standard, making it an important concept in music.

Mixtapes can also serve as a precursor to an upcoming album for artists. As an example, Travis Scott released his mixtape, Days Before Rodeo as an anticipation project for his debut album, Rodeo. Another example is While We Wait by singer and songwriter Kehlani. The mixtape was released to promote the upcoming release of her album, It Was Good Until It Wasn't. Generally, mixtapes can be used as both a standalone project or an invitation to another upcoming project.

Current trends

Singer and songrwriter PinkPantheress, who released her debut mixtape as a result of her hit singles "Pain" and "Break It Off".

Mixtapes allow artists to share their music in a lowkey setting with their fans, and likely encourage feedback and interaction from fans rather than professional critics. This idea of engagement and experimentation is often popular with artists who care more about building their fanbase rather than mainstream success.

While the traditional album might stick to one theme, mixtapes allow artists to present music that could be considered eclectic or genre-blending, challenging the expectations of conventional concept albums. For example, the debut mixtape Drunken Babble by Kali Uchis was described by GQ as "dreamy R&B vocals with tough-talk rap lyrics, DIY beats, samples and influences spanning soul, reggae, doo-wop and synth-pop."

In an era of short-form content, mixtapes are valuable in that they give room to maintain relevance and adapt to the fast pace of social media. One song can blow up an artist, and mixtapes give the ability for artists to answer quickly to their recent success and ride their wave of fame. Because of the flexibility that mixtapes allow, releasing them on platforms like TikTok can instantly increase an artist's mainstream recognition and reach a broader audience, and of course, without the expectations of a full album rollout. As an example, R&B artist 4Batz released his debut mixtape U Made Me a St4r after the overwhelming success of "Act II: Date @ 8".

See also

• Compilation album
• Compressed audio optical disc
• DJ mix
• Mix Tape: The Art of Cassette Culture
• Portable media player
• Video mixtape

Further reading

• Ellis, Bret Easton (1986). Less Than Zero. ISBN 0-679-78149-8.
• Erdman, Sarah (2003). Nine Hills to Nambonkaha: Two Years in the Heart of an African Village. ISBN 0-8050-7381-7.
• Gallagher, David (30 January 2003). "For the mix tape, a digital upgrade and notoriety". The New York Times.
• Hornby, Nick (1995). High Fidelity. ISBN 1-57322-551-7.
• Hornby, Nick (2003). Songbook. ISBN 1-57322-356-5.
• Keller, Joel (22 January 2004). PCs killed the mix-tape star. Salon.
• Mobley, Max (5 December 2007). "Requiem for the Mixtape". Crawdaddy!.
• Moore, Thurston (2004). Mix Tape. ISBN 0-7893-1199-2.
• McMahon, Andrew (2005): "The Mixed Tape", Everything in Transit—Jack's Mannequin.
• O'Brien, Geoffrey (2004). Sonata for Jukebox. ISBN 1-58243-192-2.
• Paul, James (26 September 2003). Last night a mix tape saved my life. The Guardian.
• Sante, Luc (13 May 2004). Disco Dreams. The New York Review of Books. (This review of Songbook and Sonata for Jukebox describes the mix tape as "one part Victorian flower album, one part commonplace book, one part collage, and one part recital.")
• Stuever, Hank (29 October 2002). "Unspooled: In the digital age, the quaint cassette is sent reeling into history's dustbin". The Washington Post.
• Vowell, Sarah (2001). Take the Cannoli: Stories from the New World. ISBN 0-7432-0540-5.
• Warner, Alan (1995). Morvern Callar. ISBN 0-385-48741-X.