In a decade when more art is released in a month than could be considered properly in a lifetime, and every song recorded in the past century is just a quick Google away, our ideas of originality are changing. Once true uniqueness – the conquest for the unseen and unheard – was one of the first aspirations of art, but now it’s all laid bare: every source of inspiration, every melody borrowed from an unknown artist from the other side of the world or remembered in a dream. In 2017, Robert Shore’s book Beg, Steal and Borrow helped to shatter the myth of originality in art, and even more-so remove the stigma of weaving your influences together to make something new: a newfound embrace of artistic copying and pasting.
In the art world, it was the 20th Century fashion for collages which put originality on the back-burner, by stitching together other works from across mediums (as if a millennium of painters copying Greek statues shouldn’t have done that already). Hip-hop’s sonic collages did the same for music, with producers digging crates in order to find samples and create a hot beat.
However, when it comes to music made by more traditional bands, the perception seems to remain that there is a direct correlation between the talent of an artist and the extent to which their work can be considered ‘original’ to them. (more…)