Remix is the most commonly used but perhaps the least theorized concept in our current theory, due to its connection to vernacular use and grassroots practice. Larry Lessig is somewhat of a public intellectual posterboy for this concept, regularly showcasing the prevalence of remix practice among primarily young twenty-first century composers. However, Lessig doesn’t seek to understand Remix as a concept; he takes the process as a given in service to his arguments for copyright reform. In rhetoric and composition, the term is often used, but little has been done to theorize it. Kathleen Blake Yancey begins to chart this territory in her article “Re-designing Graduate Education in Composition and Rhetoric: The Use of Remix as Concept, Material, and Method,” in which she likens remix to the invention practices of classical rhetoric: “the combining of ideas, narratives, sources…for the creation of new texts” (5-6). Yancey’s definition is focused on the process of invention, showing how the juxtaposition of texts can yield new ideas via copying, revising, and putting different materials togetherr: she gives examples of Shakespeare adapting plays for different audiences, citizens copying poems out of commonplace books, and scrapbooking as examples of remix. This definition is paralleled in Kirby Ferguson’s short film series entitled “Everything is a Remix”; the