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Results for poll on who was you biggest influence


brc

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You cats need to get out more. ... At 54 he makes other musicians look like panty-weight rookies.

 

 

I could name a batch of country folks and saloon players of great talent and skill of whom nobody has a clue... Mr. Mould has, I'm sure, a following. I've heard a lot worse. But ever hear of Tom Fritts? Son of Stan Fritts and the Korn Kobblers that performed across the U.S. for over 15 years, back in the days when that "novelty band" made some pretty good money and played some pretty decent venues and...

 

You handled that well, Milo! Good on ya. [thumbup] You still could've taken him to task for "panty-weight" though. I assume he was going for "pantywaist". Kids today. :rolleyes:

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Surf...

 

Maybe he indeed meant panty-weight - depending on a number of ... variables. <grin>

 

That's really why I didn't question the choice of words. Plus there may be some arcane jargon from one or another social groups involved that I certainly wouldn't catch onto.

 

I do find it interesting that a niche-style music player, regardless of talent and skill would become such an influence on a young picker. How would that happen? How could it happen? What is the effect of that social function among followers of totally different sorts of music and/or lifestyle? How does one in a marketing sense grab hold of however it happened to make it repeatable with other styles of music, products, etc.

 

We're now talking social change, I think, far more than music per se.

 

It does make me wonder, how is social change the same, and how is it different in this communications and personal relationship environment from when I was a kid?

 

My lady friend/co-worker and I were talking about such stuff last week. How does one market certain types of goods and services to a broad marketplace but broken into splinters of perceptions?

 

Interesting to think about.

 

m

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I do find it interesting that a niche-style music player, regardless of talent and skill would become such an influence on a young picker. How would that happen? How could it happen?

 

Well, I think some people find the niche itself attractive. It creates a small enough group to feel safe but not so large a group as to feel mainstream. If I had a nickel for every time I've witnessed the "cool" people jumping ship once the fringe player "sells out" and finds mainstream success...

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Yeah, and it's usually socially attractive for one reason or another.

 

But is the basis of that social/musical group from one's parents, one's peers, one's "love interest," or? That's what I'm wondering.

 

It's not just this particular player. What draws a young picker into bebop jazz today? Where'd he/she hear it? and what's the interest in it? Who's around that young picker that would share that?

 

I don't think it's like when I was a kid and all the kids around me were hearing roughly the same stuff and, of course, thought certain stuff was wonderful and other stuff was for the bubblegummers (do they still exist per se?) and the stuff our parents and other old people liked was boring...

 

There are too many social groups and subgroups today in comparison. So... how does a kid today connect?

 

m

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There are too many social groups and subgroups today in comparison. So... how does a kid today connect?

 

I imagine in a lot of different ways. College radio, for example, helped lot of people connect to bands like Husker Du and REM in the early to mid 80s. (I chose those two bands purposefully since one made it big - ie sold out - and the other didn't). But I'm not really sure if "college radio" exists anymore. The internet has probably helped connect people to many things - old and new, good and bad. There's still a pretty active music press too - it's just moved to the web I think. Though since vinyl is cool again, maybe low budget fanzines will make a comeback too. [biggrin]

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it's hard to say, when I was a teen, it seemed we were more open to give bands a chance. To expose ourselves to a variety of music. from the Beatles, i went to Clapton. Reading interviews with him, I turned to Howlin' Wolf & Muddy Waters, then Charley Christian, Thelonious Monk, Stanley Clarke, Roy Buchanan, Roy Clark, Buck Owens, Johnny Cash, Yes, Focus ...

I didnt care what genre it was. If it was good, it was good. It's as if most people just blindly follow what everyone else is listening to, every radio station playing the same song. oh, wait, it just sounds like the same song...

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I guess I just have a hard time figuring how kids find a place to fit nowadays. It's likely little different from the old days except - the web thing and texting and "social media" add a different level of potential beyond the face-to-face thing we had alone.

 

So... are they going to various bars for the niche social interaction and then discover that subgroup's taste in music and accept it? Or do they find the music somehow and then enter the subculture? Or... The cowboy music/poetry "thing" is an example. "Gay" bars and niche musics is another, IMHO. Is it chicken and egg which comes first, the inclination and then the culture, or the culture and following it toward "its" music?

 

I guess there's also something about watching a young couple at a rodeo who are watching the action, but then never talking to each other but gluing their faces to their "devices" for some reason or another.

 

Don't get me wrong; I use my Android phone for email, texting, voice, voice recording, emergency photos, web access... but NOT with the person sitting next to me, nor ignoring them. I'm not a technophobe by any definition.

 

But changes in social interaction to me has strong - and sometimes frightening - overtones that affect all sorts of marketing, music and political implications. That's a bit more of interest to me even than Mr. Mould's music - or anyone else's.

 

m

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...What draws a young picker into bebop jazz today? Where'd he/she hear it? and what's the interest in it?...
...I went to Clapton. Reading interviews with him, I turned to Howlin' Wolf & Muddy Waters, then Charley Christian, Thelonious Monk, Stanley Clarke, Roy Buchanan, Roy Clark, Buck Owens, Johnny Cash, Yes, Focus ...

Karloff's post is my answer to milod's question.

 

In my early teens through reading about the 'likes' of my favourite guitarists I 'discovered' Big Bill Broonzy, Robert Johnson, Muddy Waters and so on and so on.

Through listening to Joni Mitchell's 'Mingus' I discovered the Be-Bob crowd. Through them......and so on and so on.

Willie 'The Lion' Smith; Keith Jarrett; The Count and The Duke; Chuck Mangione; Zoot Sims.

Through this process the list of my 'discoveries' numbered, literally, in the thousands.

 

My local library had a music section (vinyl!) with albums by all of these previously unknown - to me - musicians.

Anything great was circulated around my friends (and, later on, bandmates) and, by the nature of things, soon these acts/albums became well-known - and not just as 'esoteric weird stuff' - by almost our whole year at school. True; back then there were fewer 'genres' around and we had a much smaller number of discs available to us as compared to the media-fest we have today but at the same time I think we were more open to the idea of listening to music which was outwith our ken.

 

P.

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I don't know if total lack of knowledge the Bob Mould name designates that I'm old, living in an isolated region of the U.S., or some other factor of my existence.

 

I'd never heard of him. Nor of any connection of the name to any sort of music. It made me wonder somewhat whether the more urban community is on an entirely different world than that in which I live that has to do with local, regional and national politics and economics, a broad swath of musical and entertainment styles and ... yeah, I'm old and live in a world of centuries rather than a few decades.

 

 

Having heard your fine playing and thinking about the artists whose names you mention, I think you not having heard of Bob Mould has more to do with the style he plays. If you have not been into hard rock for the past twenty years or so, I doubt you'd know his work.

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You are correct, but on his fast songs he plays at the same tempo and screams and after 3 songs it becomes just a blur. Song titles or words are pointless then.

 

Yeah, some of the fast Husker Du stuff is too much even for me.

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Having heard your fine playing and thinking about the artists whose names you mention, I think you not having heard of Bob Mould has more to do with the style he plays. If you have not been into hard rock for the past twenty years or so, I doubt you'd know his work.

I don't know if you have read every post, but if you do, how would you describe this recent surge of Mr. Mould?

 

Got any insight? Why the sudden popularity? Or would you explain him being under the radar all these years?

 

Don't know if this is coming off combative at all- it isn't. It's very much me wanting the inside-looking-out perspective from the outside-looking-in.

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I don't know if you have read every post, but if you do, how would you describe this recent surge of Mr. Mould?

 

Got any insight? Why the sudden popularity? Or would you explain him being under the radar all these years?

 

Don't know if this is coming off combative at all- it isn't. It's very much me wanting the inside-looking-out perspective from the outside-looking-in.

 

I think people that came up in the 80s and 90s listening to college radio obviously knew who he was even if we weren't Husker Du or Sugar fans. So, he has the name recognition. Then you have the reissue of Sugar's Copper Blue a couple years ago with liner notes from popular artists, like Interpol, talking about how Copper Blue was an important album was for them. That's more attention and people are dusting off their old copies of Husker Du and Sugar albums and remembering how great they were. Then Bob releases Silver Age to rightly deserved positive reviews and people are talking about how killer his live shows are. Now he's everywhere and people are again remembering how great his entire catalog is.

 

At least this is my theory.

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