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Younger Bassists: What's Your Current Perspective?

Discussion in 'Miscellaneous [BG]' started by ZenG, Nov 26, 2017.


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  1. How do you view your surrounding musical world compared to "older bassists"?

    What effect does 'older' pop/rock/music have on you?

    Where do you "live' musically?

    Do you think your musical "world view" carries any or as much social relevance compared to works from times gone by?

    Do you think relevance is even important?

    How do you musically interpret the times you are you living in viewed through your current youth?
     
    Stumbo likes this.
  2. No? O.K...I'll go get started on the TalkBass milk pudding breakfast for the rest of us...
     
    nixdad likes this.
  3. Chicory Blue

    Chicory Blue Secretly Queen of the Moon Supporting Member

    As a twenty-something I can’t be sure I’m quite so young as what you’re looking for, and my perspectives are warped anyway, but I’d like to see what others have to say.

    “Older” pop/rock feels to me like something reliable, respectable and timeless. The things that have been contemporary in my time have all felt ephemeral in comparison. There’s so much variety but it all comes and goes, and when it comes back it’s often humorous how dated it sounds. Recalling the 90’s is good for a laugh, while The Beatles are a religion.

    But then, I’m an odd duck. My tastes rarely venture beyond the boundaries of the 40’s to the 80’s, with a real sweet spot in the 60’s-70’s when the blues was high-voltage, the funk was psychedelic, and the pop was sweet but weird.

    I don’t think it’s just deification of the past. The system of delivery has changed over time. Things get to us differently from how they used to, and I think that matters.

    The issue of social relevance is a curious topic. I think the music that reaches the most people has always done so due to its striking a chord on a massive scale. The truly unpopular is seldom heard by anyone- the music that reaches our ears most often does so by virtue of some mass-consensus. Maybe this holds just a bit less true now, since we have only very recently developed platforms for the mass publishing of music and algorithms for connecting people voluntarily with sounds that are extremely unique to their tastes. Maybe songs lose individual importance as a result, though at the same time, with the fringes empowered, maybe music really is more of a dialogue than it has ever been.

    As for how I musically interpret the times, we definitely would appear to live in a time where commercialism and production value reigns supreme, but, really, did we ever not? Still, it seems to be more exaggeratedly so than it may have been. The rebellion of the rock and indie scenes seems now muddled in the hypersaturated outskirts while the actions of media giants make very specific songs ubiquitous.

    It’s easier than it’s ever been to make music, owing to our resources and technology, and yet harder to make *hit* music, owing to the expectation to use that technology. That’s amazing and scary and as helpful as it is problematic.

    On the bright side, I think the marketability of said music still reflects the spirit of the times and what society as a whole idealizes in music. It’s still a cultural melting pot, even if the culture is more or less pasteurized. People are getting used to each other, at least, finding elements of one another’s heritage to celebrate.

    In any case, it’s always been the listener’s responsibility as far as what to make of it. We’re spoon-fed the hits, and we can take it passively and just dance, but we have more access to the art of others across time and space than we’ve ever had, provided we seek it actively, and more resources for understanding it, too.

    I dunno.
    It’s kind of a big question.

    --^@
     
    ZenG likes this.

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