This theory and idea of work from Warhol, transferred into the ass’s, with bands like “Can” who used tape recorders to sample others’ USIA and duplicate it to make it their own. But, working with tape was burdensome for artists, so during the early ass’s, pop-music fraud received a tremendous boost from the arrival of digital technology. From then on, musicians everywhere could replicate, duplicate and copy history to re-make music on their own with the use of samplers. In today’s environment, society is drenched aurally just as it is visually.
Whether it is clothing or interior design our culture has been conditioned to replicate the past and integrate those ideas into everyday use. Dadaism, the movement Which Andy Warhol was involved in, is a specific artistic style which rejects and questions artistic conventions and traditional notions of beauty, undermines the value system of the establishment and blurs the line between art of everyday use. This is especially present in pop music, which has samplers that musicians are free to use at their discretion; this ranges from beats to melodies and even lyrics.
With the use to a sampler, musicians can convert sound into digital data enabling artists to lift a musical sequence or heat from one song and place it into another. But, in an environment packed to bursting with recorded sounds as well s produce number one hits, piecing together compositions from artists’ such as Muddy Waters or James Brown may be the only alternative to creating music with soul. Although sampling was used in popular music, it was found sparingly until it found it’s first real home in hip-hop Resist appearing in the South Bronx, Des used old records on turntables to cut songs together and create new pieces of work.
Hip-hop first became popular with sampling because it had an appropriative as well as availability to it where could be refigured continuously with old and new songs. In many cases, Hip-hop producers leave stolen samples as originals, Which dead to the illusion of the artist creating the sampled beats, melodies or songs to the listener. Thus, because the listener is unaware that the unique bass line was recorded before they were born, they still think it sounds great. A recent example Of this can be found in Sean Tidy’s song “Angels With Dirty Faces” Which samples the horn riff from Earth.
Wind and Fire’s 1978 song “Fantasy’. Here, P-Daddy, completely changes the meaning of that specific song, to the meaning which he interpreted it as. And, as a result, pop culture demonstrates that it is the rearrangement of traditional meaning from a personal standpoint in the individual Clearly, Andy Whorl’s influence of replication has caused popular music to replicate and duplicate songs from previous artists but this does not cause me to re-evaluate the act of sampling because it has always been apart of history.
For example, many African American songs were copied or stolen by White artists in order to sell for money or fame. This has found to be true in Americas Rock and Roll heart-throb Elvis Presley. Elvis Parsley’s 1954 recording of “That’s All Right,” was a cover of a song previously released by its composer, blueness Arthur “Big Boy” Crude, in 1946. UT because many African Americans were denied rights of airtime on radio stations these songs copied by Elvis became known as Elvis Peerless.
Elvis Presley was not the only artist to sample from African Americans and claim it as his own music though, which leads to further complication of this controversial issue. For example, many artists today have sampled from Elvis’s songs’ but he sampled from African Americans; and as a result, most of the music today has been sampled trot African Americans. Despite the gap between cultures around the world, Whorl’s art, Hip-hop songs and more have inhabited the same space in today’s culture.
Although, Warhol changed pop culture through his innovative idea to replicate the past, he has created a culture in which originality no longer matters. Now, the goal is not to create a masterpiece in art but rather transformer one into your own thoughts, ideas and feelings by questioning issues of ownership and the “proper” subject for art. Creative rummaging for a ready-made source to reuse becomes the crucial talent, supplanting the traditional virtues of imagination and technique. But, without the aspiration to search for new meaning in art, society is at a standstill, replacing a soul in art for a hallowed existence.
