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. Continue reading “Vampire Weekend and the Originality Myth Holding Rock Down”