(Credits: Far Out / Irina Lepneva)
Originality is a trick. That’s wrong. It does not exist. Most of what people do not like in most modern music is that it does not feel original enough, or authentic enough in its own reinvention to look like something new, fresh or exciting. But it is not only a pop thing – the end of originality has reached all the corners of all genres, through the whole history of music. Just ask Tom Petty.
Certainly, the subject itself is actually quite difficult to navigate, because what East Originality, really? Does this offer something that no one else has done before? Or is the reuse of things that have already been done, in a way that seems freshly creative or innovative? And with regard to motivation or the final objective, is the originality really authentic in your vision, and not to fold in the masses?
Whatever the possibilities in terms of definition, it is clear that, whenever the subject appears, No one really knows. But what remains clear is that most of the time, when things seem to venture too close to imitation, this is when musicians run the risk of landing in hot water. Innumerable quarrels, prosecution and other benefits through history have proved as such, which asks another question: when it is inspired and when is it plagiarism?
In art, it is in a way the question to a million dollars. Everyone is inspired by something, but by shaking this line between the basic copy, so to speak, and the borrowing of tones or tropes to expand another type of world or atmosphere becomes a bit vague. And that should not even mention the question of the community and popularity, such as, for example, if a musician benefits from a particular song structure, or a melody too used, or even a well -known expression, which can claim to have used them first, in an industry based on standards?
All of these questions are what caused Petty to meet a little problem about plagiarism. Most of the artists will be accused of having done something originally or too similar to someone else at some point in their career, and Petty’s came with his 1991 song “ Into the Great Wide Open ‘, in particular the line “Rebel without index”, that some accused him of directly withdrawing the replacements “ “ “ I will be a few years earlier.
Of course, knowing how well the sentence was well established, especially in music, Petty clearly did not think about it when he added it in the song, which he held, especially since he claimed that he had not even heard the replacement song before writing “ `in the big big open ”. “I must be honest: I have even heard the replacement file,” said Petty Chicago tribune.
“It’s just a real common line that everyone says all the time. I think Meat Loaf also used it on one of his files,” added Petty. “It’s a cliché, yes, but it sounded so well in this place, and it sums up the character so well that I had to use it. It is a sentence that was there, like” Twist and Shout “.”
In all honesty, “rebellious without index” is a common sentence in music, even then, then assuming that Petty took it and claimed it as its own and the only one would be a range. And that sounds true even after having considered the fact that there is almost no way that he has not heard “ I will be you ‘after the opening of the replacements for the Heartbreakers in 1989 and played the song most nights.
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