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LetвЂ™s briefly re-re-visit David ByrneвЂ™s talk about music venues: To risk sounding like a broken record, whatвЂ™s unique about sampling is the way it demonstrates the evolution of musical space.

Musicians and innovators across artistic and intellectual fields have always been consuming and creating вЂ“ building upon and directly borrowing from each otherвЂ™s work.В Creation has never been about reinventing the wheel, but rather itвЂ™s been about continuously improving and building upon the invention of the wheel. Romantic composer Gustav Mahler responded to similar allegations concerning his Third SymphonyвЂ™s utilization of one of BeethovenвЂ™s themes with a slightly less aggressive, вЂњAny fool can see that.вЂќ When approached by those who realized his First Symphony borrowed musical phrases from BeethovenвЂ™s Ninth Symphony, 19 th century German composer Johannes Brahm asserted вЂњAny jackass can see that.вЂќ Regardless of whether weвЂ™re talking about samplingвЂ™s intricate, involved sound collages or simple patchworks, we still need to answer the first question вЂ“ is the notion of incorporating and building upon previous music unique or innovative? Click on the screenshot to visit the site.

Take, for instance, Public EnemyвЂ™s iconic track вЂњFight the Power.вЂќ Over the course of five minutes, the collective raps over and intricately weaves together about 19 samples вЂ“ ranging from the break beat from James BrownвЂ™s вЂњFunky DrummerвЂќ to a two-second riff from Syl JohnsonвЂ™s вЂњDifferent Strokes.вЂќ A History of Thievery Website and mobile app dedicated to revealing sampling connections.

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The producers of these tracks would dexterously isolate, manipulate, and patch together a handful of elements from a handful of different songs, movie clips, and historical speeches to synthesize a single track. On the opposite side of spectrum, were the sound collages of a diverse set of hip-hop acts, such as Public Enemy and De La Soul. Vanilla Ice, while something of an archetype and not entirely unoriginal or kitsch as a pop artist, only represents a fraction of the timeвЂ™s sampling movement.

вЂњBut what the photographer is to the painter, is what modern producer/dj is to the modern instrumentalistвЂќ.

This brings to mind the Vanilla IceвЂ™s transparent repurposing of вЂњUnder PressureвЂќ by David Bowie and Queen for вЂњIce Ice BabyвЂќ вЂ“ a track that drastically and infamously outsold its predecessor. Some cases of sampling are relatively simple, heavily sampling the entire framework of preceding tracks. ItвЂ™s much easier to take something thatвЂ™s already awesome and play it again with your name on it.вЂќ

вЂњAs a creative tool, like, for someone to use a sample of an existing piece of music for their music, I think itвЂ™s an extraordinarily lazy artistic choice.

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The 80s and early 90s contain a significant series of moments in musical history that many endearingly and nostalgically refer to as Hip-HopвЂ™s вЂњGolden Age of Sampling.вЂќ During this time period, our modern conception of the art, maybe the crime, of incorporating previous pieces of music into oneвЂ™s own composition and recording was born.Д«ut does this notion of incorporating and building upon previous music indicate something uniquely innovative to the 1980s and 90s? Or is it, as rock producer Steve Albini proposes, indicative of something uniquely lazy? The above video is an independent, collage-style documentary that provides comprehensive coverage of the sampling issue.

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