#sample culture

[pear-pies]

Select Magazine - September 2000

[bacchanal5]

MF DOOM fans are generally skirting the edge of sufferability (myself included), though digging through samples got me in my soul and R&B era.

Old rap, even early 00s, have deep cut samples and the old inspiration music still hits.

[soillodge]

[weekendance]

Chiamiamola “Loyalty to the familiar” ok, facciamo finta che ’sta superficialità cialtrona ci vada bene. Alcuni estratti da un notevolissimo pezzo di Jon Caramanica per il NY Times su come certi fenomeni d’oggi riusino la musica di ieri, e in cosa tale riuso differisca in maniera piuttosto netta rispetto alla sampling culture degli anni ’90 e Zero. NY TIMES “Many of the catchiest songs of this year were also the catchiest songs of 2007, or 1998, or 1987, both custodians of old memories and triggers of new ones. Three songs relying on this approach went to No. 1 on the Billboard Hot 100. (…) Time is a flat circle, blah, blah, blah. But this specific wave of songs — from Jack Harlow, Burna Boy, Lizzo, Central Cee, Nicki Minaj and so many others — reflects a certain cynicism about how stardom is generated, or sustained, in the current moment”. “The internet has collapsed linear time, making the music of three decades ago fundamentally as accessible as the music of today. It has also eroded the value of newness. In a TikTok-led cultural economy, in which people are willingly and excitedly aggregating themselves around collective challenges, the lure of participation in an established trend or idea is just as powerful as the urge to create something utterly new, if not more so”. (Oppure, a voler essere meno generosi) “It is aesthetically lazy. It’s a way to harness pre-existing star power, or familiarity, as a proxy for generating your own; a running start for an artist who might not be quite sure how to run on their own. A cheat code. This tactic has been used by artists early in their careers, some with hardly any profile at all, like the rapper Armani White, whose TikTok breakout Billie Eilish uses the same sample as N.O.R.E.’s Nothin’, a classic jubilant Neptunes production from 2002, applying a punchier flow. (Using Eilish’s name for the title: another low-cost accelerant.)” (E pure con una notevole propensione all’avvitamento dei rimandi) “Latto’s Big Energy is an updating of Mariah Carey’s Fantasy (Remix), which is itself based on Tom Tom Club’s Genius of Love.” In some ways, this moment is an extension of the peak hip-hop sampling and interpolating era of the 1990s, though samples were often chosen then with an eye toward tethering hip-hop to its forebears, soul and jazz, and they were an argument for hip-hop’s musical and cultural seriousness”.