yes, in part because he came out of that SAME tradition, so how do you appropriate something that's actually part of your lived experience?
And then he took it and made it into something different, which again is not appropriation. (Of course, Pat Boone did too, but I think intention matters here)
yes, in part because he came out of that SAME tradition, so how do you appropriate something that's actually part of your lived experience?
And then he took it and made it into something different, which again is not appropriation. (Of course, Pat Boone did too, but I think intention matters here)
And then the Fabs came along and took what Elvis et al did and made that into something different. Again, evolution, not appropriation. Big big difference.
I like what Billy Joel said when inducted into the Hall of Fame, about how if being influenced by someone who came before you is derivative, than they might as well close down the Hall of Fame (hey, that's an idea) because there's no one eligible to be in it.
Also, we should mention Hound Dog here. Because that one is so often brought up. Written by two Jewish men from New York City, so just because it was recorded by a black artist does not make it black music.
The elevator test is the thing you need to practice as an artist: If you create an artwork that is influenced by the work of another and you were to meet them in an elevator, would that artist shake your hand or punch you in the face? In other words, look at what you have made, is it derivative or plagiarised, or have you genuinely built on the foundation to make something new?
I agree, and well I'm not an Elvis expert, it's my understanding that not only did the black community at the time, not criticize Elvis for what he did, but they embraced him for it and welcomed him into their community. I could be wrong and if I am someone will correct me. But I think the people who were actually there should get first dibs on their interpretation of what was supposedly done to them
yes, in part because he came out of that SAME tradition, so how do you appropriate something that's actually part of your lived experience?
And then he took it and made it into something different, which again is not appropriation. (Of course, Pat Boone did too, but I think intention matters here)
And then the Fabs came along and took what Elvis et al did and made that into something different. Again, evolution, not appropriation. Big big difference.
I like what Billy Joel said when inducted into the Hall of Fame, about how if being influenced by someone who came before you is derivative, than they might as well close down the Hall of Fame (hey, that's an idea) because there's no one eligible to be in it.
Also, we should mention Hound Dog here. Because that one is so often brought up. Written by two Jewish men from New York City, so just because it was recorded by a black artist does not make it black music.
The elevator test is the thing you need to practice as an artist: If you create an artwork that is influenced by the work of another and you were to meet them in an elevator, would that artist shake your hand or punch you in the face? In other words, look at what you have made, is it derivative or plagiarised, or have you genuinely built on the foundation to make something new?
I agree, and well I'm not an Elvis expert, it's my understanding that not only did the black community at the time, not criticize Elvis for what he did, but they embraced him for it and welcomed him into their community. I could be wrong and if I am someone will correct me. But I think the people who were actually there should get first dibs on their interpretation of what was supposedly done to them