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[ASTRO] Re: Puffy Daddies and such...
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Well, I'm kinda puffy and I'm a daddy, but I don't know much about
anybody named Puff Daddy. From the sound of things, this is a blissfull
ignorance indeed.
Is he the one who did a "song" relatively recently that VERY heavily
sampled "Let's Dance" by David Bowie? There's a lot of grey area and
room for argument in this whole creativity/sampling debate thing, but...
Whoever ripped off the Bowie song used so much of the original song and
added so very little material or new structural ideas to it that I think
it should be classified a "remix" rather than a new song with samples
from another.
I'm concerned in cases like this is that the current audience is probably
mostly un-aware of the source music and will attribute a lot of creative
merit to the current artist that isn't rightfully theirs. Seems kinda
low to me. Just so you know, I'm not a huge Bowie fan and I don't
consider the original song to be a really big deal, although it does
have a strong "hook", as they say in the Biz.
Obviously, all creative work is built upon the legacy of work that
has come before. But when a particular piece of music is heavily
used as source material for a new work, it seems polite to at least
give credit. Y'know, "based upon" or "including portions of" kind
of credit.
I have a bit of a problem with John Williams being elevated as a great
film composer, when he's really just a great arranger of scores based
upon other original works. For his most memorable scores, most particularly
the Star Wars movies, Williams didn't stray far from the "scratch tracks"
that Lucas had provided: portions of The Planets by Gustav Holst,
The Rite of Spring by Igor Stravinsky, and Dvorak's 9th Symphony. Yet
Williams only very belatedly and begrudgingly acknowledged this in
interviews for recent re-issues of the sountracks.
Following by wandering train of associations: Just last night I
saw/heard the Oregon Symphony premeire an excerpt from Williams'
score for "The Stepmother". Pure treacle, but apparently original,
unless he's started spoofing Yanni.
All of this Communist baloney about artists not accepting money
is hardly worth a response, but now I've gone and done it.
Doh! This probably comes from the "sellout police"; people who
crucify bands who make the simple human mistake of selling their
souls to big-brother labels.
Seriously, folks, there are no easy answers. How many of you are aware
of the whole U2 vs. Negativland debacle, or the Casey Kasem vs. Negativland
lawsuit? These things raise tough questions about intellectual property,
freedom of speech and "artistic license".
Mookie
On Wed, 9 Dec 1998, ersrhead wrote:
> .. begin astro-transmission [Q-10IAE27.Z5]
>
> there is no such thing as being original. everything has been done before.
> deal with it. every form of expression is in one way or another (and to one
> extreme or another) a copy of something else. so what.
> by the way, if you write a piece of music and are concerned about whether
> or not you are going to get paid for it, step on down from your ego. if you
> are making something for profit, then it is not art (music). it is a
> product. if you ARE making art (music), then you should share it....not
> exploit consumers by making them pay an exorbinant price for it, or for
> suing people because they didn't pay you to borrow your borrowed idea.
>
>
> love, ian
>
>
> >.. begin astro-transmission [Q-10IAE27.Z5]
> >
> >>>hell, puff daddy does the same basic trick all the time... hehe
> >there's a lotta that [hip-hop] (for lack of a different description)
> >cover sheet going around...and its interesting...especially in Puff
> >Daddy's case who could make a CD of the shtuff he's covered and
> >mutilated. at any rate....i really have no point other than to point
> >this out and consider the money he's made off of other peoples
> >talent...specifically by denying them credit for their creativity the he
> >enjoys so much to just...'borrow'.
> >
> >its late so
> >.orev.gwar
> >.tom.my
> >
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