Style Oddball? cut up a sentence into samples
Need New Body Flip 2:00 I want your heart
https://www.youtube.com/watch?v=_rCLpUy6yZg
Ghostface - Blue and Cream (over the video of me painting my sneaker.
Del featuring El-P Offspring
“For the backpackers, the computer hackers, the misplaced famous, the video gamers, the deranged krylon stainmakers” — El-P 3:50
The prohibition against copying another person’s associated or signature style in hip-hop music strongly appealed to me as I came of age. Simultaneously there was a prohibition against wackness. These two poles are an interesting place to play between, because it encourages you to study and develop, in a community: isolated, I found mine online, before I ventured out into the neighborhood. Doing the safe thing, what a non-head might call “tasteful” was precariously close to the thing that would get you dissed or roasted. This seems to have changed drastically as the value of being able to cultivate a vibe through your music takes precedent and the image is even more crucial as a vehicle for meaning, maybe because of the much-increased access recording tools and distribution platforms.
“IMAGE IS NOTHING, THIRST IS EVERYTHING, OBEY YOUR THIRST: SPRITE” was an old commercial I remember. Corporations emulating the voice of practitioners whose work was for a long time seen as not worthy of investment. Times change. I heard tales of DJs soaking the labels off of their records to keep their precious breaks or tracks a secret. I understood this action to be a way of protecting your style from copycats, or protecting your livelihood as the person that can fill and catalyze the dancefloor. This practice continued with an update today with the faux-pas around track IDs, or recording sets. Technology can change how communities form, but ideologies can adapt too.
https://www.youtube.com/shorts/6mMFpNfJaik tattoo
https://www.youtube.com/watch?v=IS1hCSsmH1E&ab_channel=Vox
The trick that made animation realistic.
You can patent a device but you can’t patent THAT. Dance and mime are protected as dramatic works - a work that has movement, a story or action.
Choreography has been protected by UK copyright law since 1911 (although protection only began in 1976 in the USA).
In the US context, improvised choreography is permitted to be copyrighted, whereas social dances—cannot be protected. This is noteworthy because many social dances have been created by Black people over the century in the US, none have the potential to be copyrighted, however Cab Calloway’s dance routine, which was done live multiple times and documented on film, would have been able to be copyrighted theoretically, making the fact that the animation studio made money off of it without him receiving anything, especially egregious.
The Simpsons seson7ep18 13:53 animation is built on plagiarism
It’s not just the dance moves of Cab Calloway that were taken, but also the vocal style of Baby Esther which was taken to create Betty Boop, and there are innumerable other examples happening over the history of the United States. The discourse of cultural appropriation, and cultural erasure has been happening for decades, given a boost via social media platforms. The practice we saw with early animation is also seen in music and other entertainment forms and continues to the present with the most dominant entertainment form: video games, with Fortnite taking Blockboy JB’s Shoot dance etc. Style is the thing that creates the movements, the way of looking, the taste, the sound, the smell; it’s the approach that forecasts the thing that becomes product or service when commodified.