A remix is an alternative version of a recorded song, made from an original version. This term is also used for any alterations of media other than song (film, literature, beverages etc.).

A remixer uses audio mixing to compose an alternate master recording of a song, adding or subtracting elements, or simply changing the equalization, dynamics, pitch, tempo, playing time, or almost any other aspect of the various musical components. Some remixes involve substantial changes to the arrangement of a recorded work, but many are harmonic, such as creating a "vocal up" version of an album cut that emphasizes the lead singer's voice.

Songs are remixed for a variety of reasons:

to give a formerly popular song a second chance at radio and club 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 recording has been lost or degraded

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

to alter a song for artistic purposes

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 and a cover. A remix song recombines audio pieces from a recording to create an altered version of the song. A cover is a recording of a song that was previously recorded by someone else.

Roots of the remix

Since the beginnings of recorded sound in the late 19th century, certain people have enjoyed the ability to rearrange the normal listening experience with technology. 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.

Modern remixing is also called remick. 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.

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.

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."

Electronic music

Early pop remixes were fairly simple; in the 1980s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl 12-inch singles. These typically had a duration of six to seven minutes, and often consisted of the original song with 8 or 16 bars of instruments inserted, often after the second chorus; some were as simplistic as two copies of the song stitched end to end. As the cost and availability of new technologies allowed, many of the bands who were involved in their own production (such as Yellow Magic Orchestra, Depeche Mode, New Order, Erasure, and Duran Duran) experimented with more intricate versions of the extended mix. Madonna began her career writing music for dance clubs and used remixes extensively to propel her career; one of her early boyfriends was noted DJ John Jellybean Benitez, who created several memorable mixes of her work.

Art of Noise took the remix styles to an extreme—creating music entirely of samples. They were among the first popular groups to truly harness the potential that had been unleashed by the synthesizer-based compositions of electronic musicians such as Kraftwerk, Yellow Magic Orchestra, Giorgio Moroder, and Jean Michel Jarre. Contemporaneous to Art of Noise was the seminal body of work by Yello (composed, arranged and mixed by Boris Blank). Primarily because they featured sampled and sequenced sounds, Yello and Art of Noise would produce a great deal of influential work for the next phase. Others such as Cabaret Voltaire and the aforementioned Jarre (whose ''Zoolook'' was an epic usage of sampling and sequencing) were equally influential in this era.

After the rise of dance music in the late 1980s, a new form of remix was popularised, where the vocals would be kept and the instruments would be replaced, often with matching backing in the house music idiom. A clear example of this approach is Roberta Flack's 1989 ballad "Uh Oh Look Out," which Chicago House great Steve "Silk" Hurley dramatically reworked into a boisterous floor-filler by stripping away all the instrumental tracks and substituting a minimalist, sequenced "track" to underpin her vocal delivery. The art of the remix gradually evolved, and soon more avant-garde artists such as Aphex Twin were creating more experimental remixes of songs (relying on the groundwork of Cabaret Voltaire and the others), which varied radically from their original sound and were not guided by pragmatic considerations such as sales or "danceability", but were created for "art's sake."

In the 1990s, with the rise of powerful home computers with audio capabilities came the mash-up, an unsolicited, unofficial (and often legally dubious) remix created by "underground remixers" who edit two or more recordings (often of wildly different songs) together. Girl Talk is perhaps the most famous of this movement, creating albums using sounds entirely from other music and cutting it into his own. Underground mixing is more difficult than the typical official remix, because clean copies of separated tracks such as vocals or individual instruments are usually not available to the public. Some artists (such as Björk, Nine Inch Nails, and Public Enemy) embraced this trend and outspokenly sanctioned fan remixing of their work; there was once a web site which hosted hundreds of unofficial remixes of Björk's songs, all made using only various officially-sanctioned mixes. Other artists, such as Erasure, have included remix software in their officially released singles, enabling almost infinite permutations of remixes by users. The band have also presided over remix competitions for their releases, selecting their favourite fan-created remix to appear on later official releases.

Remixing has become very prevalent in heavily synthesized electronic and experimental music circles. Many of the people who create cutting edge music in such genres as synthpop and aggrotech are solo artists or pairs. They will often use remixers to help them with skills or equipment that they do not have. Artists such as Chicago-based Delobbo, Dallas-based LehtMoJoe, and Russian DJ Ram, who has worked with t.A.T.u, are sought out for their remixing skill and have impressive lists of contributions. It is not uncommon for industrial bands to release albums which have remixes as half of the songs. Indeed, there have been popular singles that have been expanded to an entire album of remixes by other well-known artists.

Some industrial groups allow, and often encourage, their fans to remix their music, notably Nine Inch Nails, whose website contains a list of downloadable songs that can be remixed using Apple's GarageBand software. Some artists have started releasing their songs in the U-MYX format, which allows the buyers to mix songs and share them on the U-MYX website.

Urban music

Remixes have become the norm in contemporary dance music, giving one song the ability to appeal across many different musical genres or dance venues. Such remixes often include "featured" artists, adding new vocalists or musicians to the original mix. The remix is also widely used in hip-hop and rap music. An R&B; remix usually has the same music as the original song but has added or altered verses that are rapped or sung by the featured artists. It usually contains some if not all of the original verses of the song however, these verses may be arranged in a different order depending on how the producers decided to remix the song.

In the early 1990s, Mariah Carey became one of the first mainstream artists who re-recorded vocals for a dancefloor version, and by 1993 most of her major dance and urban-targeted versions had been re-sung, e.g. "Dreamlover". Some artists would contribute new or additional vocals for the different versions of their songs. These versions were not technically remixes, as entirely new productions of the material were undertaken (the songs were "re-cut", usually from the ground up). In 1988, Sinead O'Connor's art-rock song "I Want Your (Hands On Me)" was remixed to emphasize the urban appeal of the composition (the original contains a tight, grinding bassline and a rhythm guitar not entirely unlike Chic's work). M.C. Lyte was asked to provide a "guest rap," and a new tradition was born in pop music. George Michael would feature three artistically differentiated arrangements of "I Want Your Sex" in 1987, highlighting the potential of "serial productions" of a piece to find markets and expand the tastes of listeners. In 1995, after doing "California Love", which proved to be his best selling single ever, Tupac Shakur would do its remix with Dr. Dre again featured, who originally wanted it for his next album, but relented to let it be on the album ''All Eyez on Me'' instead. This also included the reappearance of Roger Troutman, also from the original, but he ended the remix with an ab lib on the outro. Another well-known example is R. Kelly, who recorded two different versions of "Ignition" for his 2003 album ''Chocolate Factory''. The song is unique in that it segues from the end of the original to the beginning of the remixed version (accompanied by the line "Now usually I don't do this, but uh, go ahead on, break em' off with a little preview of the remix.") In addition, the original version's beginning line "You remind me of something/I just can't think of what it is" is actually sampled from an older Kelly song, "You Remind Me of Something". Madonna's ''I'm Breathless'' featured a remix of "Now I'm Following You" that was used to segue from the original to "Vogue" so that the latter could be added to the set without jarring the listener.

Many hip-hop remixes arose either from the need for a pop/R&B; singer to add more of an urban, rap edge to one of their slower songs, or from the need for a rapper to gain more pop appeal by getting an R&B; singer to sing some lines here and there. When a song by a solo artist does not take off, a remix with additional performers can give the song a second chance.

Thanks to a combination of guest raps, re-sung or altered lyrics and alternative backing tracks, some hip-hop remixes can end up being almost entirely different songs from the originals. An example is the remix of "Ain't It Funny" by Jennifer Lopez, which has little in common with the original recording apart from the title.

Slow ballads and R&B; songs can be remixed by techno producers and DJ's in order to give the song appeal to the club scene and to urban radio. Conversely, a more uptempo number can be mellowed to give it "quiet storm" appeal. Frankie Knuckles saddled both markets with his Def Classic Mixes, often slowing the tempo slightly as he removed ornamental elements to soften the "attack" of a dancefloor filler. These remixes proved hugely influential, notably Lisa Stansfield's classic single "Change" would be aired by urban radio in the Knuckles version, which had been provided as an alternative to the original mix by Ian Devaney and Andy Morris, the record's producers.

Broader context

John Von Seggern of the ethnomusicology department at the University of California, Riverside says that the remix "is a major conceptual leap: making music on a meta-structural level, drawing together and making sense of a much larger body of information by threading a continuous narrative through it. This is what begins to emerge very early in the hip-hop tradition in works such as Grandmaster Flash's pioneering mix recording ''Adventures on the Wheels of Steel''. The importance of this cannot be overstated: in an era of information overload, the art of remixing and sampling as practiced by hip-hop DJs and producers points to ways of working with information on higher levels of organization, pulling together the efforts of others into a multilayered multireferential whole which is much more than the sum of its parts."

A remix may also refer to a non-linear re-interpretation of a given work or media other than audio. Such as a hybridizing process combining fragments of various works. The process of combining and re-contextualizing will often produce unique results independent of the intentions and vision of the original designer/artist. Thus the concept of a remix can be applied to visual or video arts, and even things farther afield. Mark Z. Danielewski's disjointed novel ''House of Leaves'' has been compared by some to the remix concept.

Remix in literature

A remix in literature is an alternative version of a text. William Burroughs used the cut-up technique developed by Brion Gysin to remix language in the 1960s. Various textual sources (including his own) would be cut literally into pieces with scissors, rearranged on a page, and pasted to form new sentences, new ideas, new stories, and new ways of thinking about words.

''Naked Lunch'' (1959) is a famous example of an early novel by Burroughs based on the cut-up technique. Remixing of literature and language is also apparent in ''Pixel Juice'' (2000) by Jeff Noon who later explained using different methods for this process with ''Cobralingus'' (2001).

Remix in art

A remix in art often takes multiple perspectives upon the same theme. An artist takes an original work of art and adds their own take on the piece creating something completely different while still leaving traces of the original work. It is essentially a reworked abstraction of the original work while still holding remnants of the original piece while still letting the true meanings of the original piece shine through. Famous examples include the Marilyn prints of Andy Warhol (modifies colors and styles of one image), and ''The Weeping Woman'' by Pablo Picasso, (merges various angles of perspective into one view). Some of Picasso's other famous paintings also incorporate parts of his life, such as his love affairs, into his paintings. For example, his painting ''Les Trois Danseuses'', or ''The Three Dancers'', is about a love triangle.

Other types of remixes in art are parodies. A parody in contemporary usage, is a work created to mock, comment on, or make fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. They can be found all throughout art and culture from literature to animation. Current television shows are filled with parodies such as South Park, Family Guy, and the Simpsons.

The internet has allowed for art to be remixed quite easily, as evidenced by sites like memgenerator.net (provides pictorial template upon which any words may be written by various anonymous users), and Dan Walsh's Garfieldminusgarfield.net (removes the main character from various original strips by Garfield creator Jim Davis).

Remix in media and consumer products

In recent years the concept of the remix has been applied analogously to other media and products. In 2001, the British Channel 4 television program ''Jaaaaam'' was produced as a remix of the sketches from the comedy show ''Jam''. In 2003 the Coca-Cola Corporation released a new version of their soft drink Sprite with tropical flavors under the name Sprite Remix.

Copyright Implications

Because remixes may borrow heavily from an existing piece of music (possibly more than one), the issue of intellectual property becomes a concern. The most important question is whether a remixer is free to redistribute his or her work, or whether the remix falls under the category of a derivative work according to, for example, United States copyright law. Of note are open questions concerning the legality of visual works, like the art form of collage, which can be plagued with licensing issues.

There are two obvious extremes with regard to derivative works. If the song is substantively dissimilar in form (for example, it might only borrow a motif which is modified, and be completely different in all other respects), then it may not necessarily be a derivative work (depending on how heavily modified the melody and chord progressions were). On the other hand, if the remixer only changes a few things (for example, the instrument and tempo), then it is clearly a derivative work and subject to the copyrights of the original work's copyright holder.

The Creative Commons non-profit group created the ccMixter website to provide remixers with creative material licensed for remixers to use with permission. A number of netlabels have similarly used liberal licensing to facilitate remixing.

See also

Musical montages

Sound collage

Cover version

Multitracking

Ccmixter

Assemblage

WhoSampled

References

External links

"The Remixmasters", ''Slate'' (July 29, 2002) at slate.msn.com

Category:Musical techniques

ar:ريمكس bg:Ремикс cs:Remix da:Remix de:Remix es:Remix fr:Remix ko:리믹스 it:Remix ka:რემიქსი lmo:Remix hu:Remix nl:Remix ja:リミックス no:Remix pl:Remiks pt:Remix ro:Remix ru:Ремикс simple:Remixing sk:Remix sl:Remix fi:Remix sv:Remix tr:Remix uk:Ремікс zh:重混

name	Jamie xx
landscape	yes
background	non_vocal_instrumentalist
birth name	Jamie Smith
origin	London, UK
instrument	Sampler, drums, steel drums, turntable, personal computer
genre	Indie pop, electronic music, post-dubstep
occupation	Producer, remix artist, DJ
years active	2005–present
label	XL Recordings, Young Turks
associated acts	The xx, Gil Scott-Heron
website	}}

Jamie Smith (known by the stage name Jamie xx) is an English music producer and remix artist. He is a member of the London-based band The xx. Jamie's sound is influenced by fellow British acts Burial and Kode9.

In 2007, Smith joined The xx accompanying old school friends Romy Madley Croft, Oliver Sim, Baria Qureshi from the Elliott School, notable for alumni including Hot Chip, Burial and Four Tet. The band's first album ''xx'' was released in August 2009 and went on to become platinum in the UK.

In July 2009, one month prior to the album release, The xx were presented by the FACT Magazine in their FACT mix series. The tape was mixed by the then relatively unknown band member Jamie and featured amongst other tracks three exclusive Jamie xx edits and a solo production. He later received numerous opportunities to remix tracks for artists such as Florence + The Machine, Jack Peñate and Glasser.

Jamie xx went on to produce series of remixes of songs by Gil Scott-Heron from his 2010 album ''I'm New Here''. The first remix single "NY Is Killing Me", credited to Gil Scott-Heron and Jamie xx, aired on radio stations across the UK and Europe in late 2010, followed by "I'll Take Care Of U" in January 2011. Both singles drew a lot of attention by the public and critics and set the way for a 13-track remix album entitled ''We're New Here'', came out on February 21, 2011 on the XL Records label and produced entirely by Jamie xx. "We're New Here" received very positive critical acclaims and was named ''"masterpiece in its own right"'' by BBC's Ele Beattie. A full album preview could be streamed on the website of The Guardian as early as February 14.

His single, "Far Nearer" charted at #128 in the UK singles chart.

References

Category:English record producers

name	Muhammad VIII
title	King of Tunisia
reign	15 May 1943 - 25 July 1957
full name	Muhammad al-Amin
native lang1	Name in Arabic
native lang1 name1	الأمين باي بن محمد الحبيب
birth date	September 04, 1881
death date	September 30, 1962
death place	Tunis, Tunis GovernorateTunisia
place of burial
predecessor	Muhammad VII
successor	Husain Beyas Pretender 30 September 1962
dynasty	Husainid Dynasty
father	Muhammad VI al-Habib
religion	Islam }}

Muhammad VIII al-Amin (4 September 1881 – 30 September 1962) (, ) was the last bey of Tunisia (15 May 1943 and 20 March 1956). He was the first head of state (as king or bey) of independent Tunisia from 1956 until he was deposed in 1957. He was the son of Muhammad VI al-Habib, bey of Tunis.

Muhammad became bey after the Free French Forces deposed his cousin Muhammad VII al-Munsif on the accusation that he was a Vichy collaborator. On 20 March 1956 he proclaimed the independence of Tunisia and became King of Tunisia with the style of His Majesty. A monarchy did not meet the expectations of future president Habib Bourguiba, who replaced the Royal Guard at Carthage Palace with his own loyal soldiers. By his command all the telephone lines to the palace were cut and the king put under house arrest 15 July 1957, and on 25 July the Tunisian Constituent Assembly deposed the king.

Muhammad was moved to a government-watched residence at La Manouba, but was permitted to return to Tunis after his wife died. He never abdicated his throne rights. He died in Tunis and was buried at the Tomb of King Muhammad al-Amin. Muhammad was succeeded as head of the Husainid Dynasty and heir to the throne and titular king by Husain Bey.

Bibliography

''Martin Meredith''. The State of Africa. — Free Press (London), 2005. — ISBN 978-0-7432-3222-7

Al-Amin, Muhammad 8 Al-Amin, Muhammad 8 Muhammad 8 al-Amin Muhammad 8 al-Amin

ar:محمد الأمين باي ca:Muhammad VIII al-Amin de:Lamine Bey es:Muhammad VIII al-Amin fr:Lamine Bey pl:Muhammad VIII (Husajnidzi) ru:Мухаммад VIII аль-Амин

Name	Sean Kingston
Background	solo_singer
Birth name	Kisean Anderson
Born	February 03, 1990Miami, Florida, United States
Years active	2006–present
Label	Beluga Heights, Epic, TM3 Records, E1 Music
Occupation	Singer, songwriter, rapper, actor
Genre	Hip hop, R&B;, reggae fusion
Website	}}

Sean Kingston (born Kisean Anderson; February 3, 1990) is a Jamaican-American singer. He pursued a music career and debuted in 2007 with the album ''Sean Kingston''.

Early life

Kingston was born on February 3, 1990, in Miami, Florida and moved to Kingston, Jamaica when he was six. He attended high school in Ocho Rios. His grandfather by marriage was the noted Jamaican reggae producer Lawrence Lindo, who worked under the stage name Jack Ruby. At age 11, Kingston spent 21 days in jail for breaking and entering, and Kingston lived in a car while his mother was incarcerated for identity theft.

Music career

2007–2008: ''Sean Kingston''

Sean Kingston was discovered through MySpace by Tommy Rotem at Beluga Heights, and signed to the label in a partnership deal with Sony. Beluga is a label notable for its focus on discovering and developing artists. In an interview with HitQuarters label head and producer J.R. Rotem described this process with regards to Kingston:

"Sean Kingston was a rapper when we found him and it was a development process to get him more melodic. At Beluga we essentially refine the talent so that it's more of a marketable product."

In a venture between Epic Records and Koch Records, Kingston recorded and released the single "Beautiful Girls" in May 2007. The single, based on the bass line and lyrical "association" of the 1961 hit "Stand by Me" by Ben E. King, reached number one on the US ''Billboard'' Hot 100 for three weeks and topped the UK Singles Chart along with many other international charts. Similarly, the song "Me Love" samples the main hook out Led Zeppelin's "D'yer Mak'er", from their 1973 album ''Houses of the Holy''. The song also debuted at number one in Australia, where it knocked off Fergie's "Big Girls Don't Cry", which had been at number one for nine weeks. The song stayed on the Canadian Hot 100 number one spot for over six weeks before getting knocked down to third place by the Plain White T's. "Beautiful Girls" remained at number one in Canada longer than any other song in 2007. In 2007, Kingston was the opening act for Gwen Stefani's ''The Sweet Escape'' Tour and for select dates on Beyoncé's ''The Beyoncé Experience'' Tour. Since Sean is a Jamaican singer, he got his stage name "Kingston" from the capital of Jamaica called Kingston, Jamaica. Which lead him to having the stage name "Sean Kingston".

2009–2010: ''Tomorrow''

The album ''Tomorrow'' was released on September 22, 2009. Big-name producers involved in the album included former Fugee Wyclef Jean; RedOne (of recent Lady GaGa fame); plus Sean's original mentor, J.R. Rotem. So far, the singles "Fire Burning", and "Face Drop" have been released. Additionally, five promotional digital singles were released leading up to the album.

Kingston co-wrote Jason Derülo's "Whatcha Say". He also found the R&B;-reggae singer Iyaz on MySpace and signed him to his record label. He also recorded the track "Miss Everything" for the UK girl-group Sugababes studio album Sweet 7 which was released March 15, 2010 in the UK. Kingston and DJ Khaled are being featured on Bow Wow's new single "For My Hood", from the upcoming movie, ''The Lottery Ticket''.

2010–present: Third studio album, King Of Kingz and other projects

According to Sean Kingston, he is already working on his next album. The lead single was confirmed to be "Dumb Love". The song's chorus samples 1957's, Come Go With Me by the Del Vikings. The song is also featured in a episode of ''The Suite Life on Deck'' which Kingston guest starred on. The album will also feature T-Pain, Nicki Minaj, Kanye West, Wyclef Jean, Akon and Dr. Dre. The first single from the album is "Eenie Meenie" featuring Justin Bieber, released on March 23, 2010, which is also included on Bieber's ''My World 2.0'' album. This collaboration with the young star has been the source of much disapproval from the rap community. The second single from the album is "Letting Go (Dutty Love)", which features a verse from Nicki Minaj. It was released on iTunes August 3, while the third is "Dumb Love" and was released on iTunes September 8. Sean Kingston's new song "She Moves" samples Irena Cara's "What a Feeling" from the film ''Flashdance''. This has not been release as a single. A fourth single "Party All Night (Sleep All Day)" was released on December 21, 2010. The song leaked online in December 2010. The music video has already been shot. The video was released on December 23, 2010. Sean said this would be the song of the new year.

Kingston represented the continent of America to sing the Official Theme Song of the Singapore 2010 Youth Olympic Games, ''Everyone''. He collaborated with four other international artists representing their continent, South African Jody Williams representing Africa, Singaporean Tabitha Nauser (Asia), British Steve Appleton (Europe), and Australian Jessica Mauboy representing (Oceania) However, Kingston was unable to attend, the Singapore Youth Olympics 2010 opening ceremony, due to passport mix ups. Sean was invited to featured on Cash Money Records/former So So Def member Bow Wow on his single "For My Hood". He performed it with him along with DJ Khaled on BET's television program 106 & Park the day after release.

Sean Released his first mixtape King Of Kingz on February 3, 2011 as a free Download only. The mixtape includes guest appearances by Akon, Flo-Rida, Soulja Boy, Justin Bieber, B.O.B and Tory Lanez.

Kingston will release a mixtape with pop star Justin Bieber, called ''Our World''. It will feature about 12–14 songs and includes their versions of songs like "Pretty Boy Swag" and "Billionaire". The mixtape is finished and Kingston showed his fans a preview on uStream on August, 19, 2010. The release date is yet to be confirmed. Kingston also went on to perform on first leg of Bieber's tour. On April 25, 2011, Kingston performed at Cross Roads Hotel in front of 2,000 people in Lilongwe, Malawi. Kingston was recently in Zimbabwe performing there and is scheduled to perform in Ghana in June 2011. He performed a street concert on April 29, 2011, at Utah State University.

Television appearances

For his 18th birthday, Kingston appeared on the US TV show ''My Super Sweet 16''. The show was memorable for Sean's elaborate entrance to his party, which involved Sean arriving at his party on a private yacht, wearing his own personalized white suit.

Sean appeared on the Nick Jr. Original Series ''Yo Gabba Gabba''.

He was also featured as a guest star on the 2009 remake of ''The Electric Company''.

He made appearances on the MTV reality show ''The Hills'' and ''MTV's Cribs''.

In 2010 he appeared in the "Party On!" episode of the Disney Channel series ''The Suite Life on Deck'' as himself and performed his latest single "Dumb Love"

In 2010 he appeared in Katy Brand vs. series on ITV2 in the United Kingdom

For his 21st birthday, Sean appeared on MTV's ''My Super Sweet 16''.

Activism

Kingston filmed a public service announcement with Do Something to encourage teens to become active in their communities by forming a Do Something club.

Miami Beach jet skiing accident

On May 29, 2011, Kingston was involved in a jet skiing accident in Miami Beach, Florida. Kingston and a female passenger were severely injured when their jet ski struck the bridge connecting Palm Island with the MacArthur Causeway at approximately 6 pm. He was taken to Jackson Memorial Hospital in Miami, where he was placed in the intensive care unit and listed in stable condition. He suffered a fractured wrist and broken jaw along with water in the lungs, but is expected to make a full recovery. As of June 24, Kingston has been discharged from hospital and is to continue his recovery at home.

Discography

;Studio albums

''Sean Kingston'' (2007)

''Tomorrow'' (2009)

'' TBA'' (2011/12)

;Official mixtapes

''King Of Kingz'' (2011)

''Our World'' (2011) (with Justin Bieber)

''Greatness'' (2011)

Awards/nominations

*2008, Outstanding New Artist (nominated)

MOBO Awards

*2007: Best Reggae Acts

Teen Choice Awards

*2007: Choice R&B; Track "Beautiful Girls"

*2007: Choice Summer Track "Beautiful Girls" (nominated)

*2009: Choice Summer Song "Fire Burning" (nominated)

References

External links

Official UK website

Category:1990 births Category:Living people Category:American emigrants to Jamaica Category:American male singers Category:American people of Jamaican descent Category:American pop singers Category:American rappers of Jamaican descent Category:American reggae musicians Category:Epic Records artists Category:Hip hop singers Category:Jamaican people of American descent Category:Jamaican male singers Category:Jamaican pop singers Category:Jamaican rappers Category:People from Kingston, Jamaica Category:People from Saint Ann Parish Category:Rappers from Miami, Florida Category:Reggae fusion artists

cs:Sean Kingston da:Sean Kingston de:Sean Kingston es:Sean Kingston eo:Sean Kingston fa:شان کینگستون fr:Sean Kingston ko:션 킹스턴 id:Sean Kingston is:Sean Kingston it:Sean Kingston he:שון קינגסטון sw:Sean Kingston lt:Sean Kingston hu:Sean Kingston nl:Sean Kingston ja:ショーン・キングストン no:Sean Kingston km:ស៊ាន ឃីងស្តន pl:Sean Kingston pt:Sean Kingston ro:Sean Kingston ru:Шон Кингстон simple:Sean Kingston fi:Sean Kingston sv:Sean Kingston tl:Sean Kingston th:ฌอน คิงสตัน tr:Sean Kingston vi:Sean Kingston zh:尚恩·金斯顿