There’s a NYT article today talking about new music.
It’s unintentionally hilarious.
It starts by noting that the 2022 Saucy Santana single, “Booty,” not only uses the same Chi-Lites sample that gave Beyoncé her signature song, “Crazy in Love,” (the Beyoncé song is essentially nothing without the Chi-Lites sample - if there’s anything good about the Beyoncé song, it’s the liberal looping/sampling of the awesome horn riff by the Chi-Lites, which is clearly the defining characteristic of ‘Beyoncé’s song’) but that the artist is really appropriating Beyoncé, wearing an almost identical outfit in the video as Beyoncé used in the “Crazy in Love” video and mimicking her moves.
So a ripoff of a ripoff.
We’re talking about mind-bending levels of artistic vacancy here.
Here’s the laughable apologia offered by the NYT writer for this stupefyingly-low standard of originality in modern pop music:
”No longer burdened by the expectation of innovation, established artists essentially use these well-worn samples to firmly insert themselves into the historical pop slipstream.”
Ya can’t make this stuff up.