Sampling is a fascinating musical phenomenon of the middle and second half of the last century. Musicians face the problem of copyright and theft of creativity. The meaning of sampling states that music belongs to all people and does not depend on the author. Musicians who built their work on sampling believed they were creating something new by restructuring and deconstructing existing compositions. Not everyone liked it, but it made a different wave in the musical environment. Sampling until the 2000s (until legal regulations were established) helped artists stay on top of the wave of popularity, as listeners could hear their compositions as a sample and become interested in the original work.
Cultural appropriation in jazz and hip-hop has shown itself, but it seems that it should not become a subject of conflict. Here music plays the role of a connecting factor between people when some musicians, being sincerely interested, inspired, and falling in love, begin to perform the theme of a different culture, which is not typical for them. Nevertheless, cultural appropriation in many respects affects the listeners, who, surprisingly, fell in love with those meanings that were phenomenologically far from them. People loved music about drugs without using them and could listen to gangsta rap without ever getting in trouble with the law.
The multiculturalist space appeared due to the social processes of urbanization and settlement of people. Music (hip-hop, jazz, and rap) never develops in a vacuum but tends to describe the world around it. Ironically, these genres were most influenced by the marginalized, people without shelter, money, and a permanent job. These genres demonstrated how they could affect society by conflicting with a community based on their birth and not for a specific offense. Different cultures interacted on the very bright ground, giving rise to musical diversity and acceptance of foreign cultures even by those who were not expected to.