The Last Bass Outpost
Main Forums => The Outpost Cafe => Topic started by: westen44 on May 06, 2015, 09:10:26 PM
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I've discussed this already to an extent in other topics. The main idea is that there are people out there (like a close relative I have) who dislike the music of the 60s, 70s, 80s, and think "real" music only began with rap/hip-hop in the early 90s. Having been around someone who feels this way in real life, the chasm between someone like myself who likes rock and someone who doesn't is almost impossible to completely put into words. Suffice it to say that there is no room for any compromise or negotiation at all. It's just people having extremely radically different tastes in music. But now we have attempts to quantitatively "prove" that current music is really great and music from the past isn't so great. Certainly, my relative feels that way.
It appears that these so-called "scientists" feel the same way. It isn't enough that they dislike rock music. They also want to prove that it was never even as important as a lot of people seem to think. I doubt if I would have even bothered posting this if I hadn't had to live with it on a personal level for so long. I suspect a lot of it is just a generational thing. It's pretty common for one generation to not like the generation's music that came before it. There are quite a number of articles about this today. This one just happens to be the first one I ran across this morning when I was reading through NME as I often do.
http://www.nme.com/news/the-beatles/85172
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Hip-hop is music?
Seriously, it all depends on how you look at it. If you're talking about charts and record sales, that's different from actual musical influence. And even that can be misleading. A lot of the sounds you heard in the 60s are rarely heard today. But the influence of those groups on the generations since is huge.
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Hip-hop is music?
Seriously, it all depends on how you look at it. If you're talking about charts and record sales, that's different from actual musical influence. And even that can be misleading. A lot of the sounds you heard in the 60s are rarely heard today. But the influence of those groups on the generations since is huge.
They also seem to be really down on 80s music. It seems the people doing the study think music itself reached a low point in the early 80s. I thought there was some really great music at that time. I might agree, though, that maybe some of it was getting derivative and maybe even strange. But I liked it.
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This view of current "music" makes me laugh. I wish I could be alive to witness when the rap and hip-hop fans of today are sitting around the rec room of the local nursing home trying to do "sing alongs." Now THAT will be funny! :o
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Being around someone obsessed with it, I ended up listening to a fair amount of rap. I actually tried to like it, but was simply unable to. Mostly what I heard was late 90s/early 2000s. The only rap artist whose music I could listen to was Tone Loc.
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I suspect that when rock n'roll broke out, people who grew up with polka and big band music found little to like in it. The new form was really based on a very small existing form (blues) but as an evolution of blues that used 3-4 people in many bands, it lacked the instrumentation and melody that they were used to.
I remember that in the early 60's radio stations were playing a LOT of instrumental music - James Bond music, Tijuana Brass, Baja Marimba Band, Al Hirt, Acker Bilk, Antonio Carlos Jobim...at least where I lived, that was programmed on the "popular" music stations. Rock n'roll was more of a specialty sound on a limited number of stations. Peter Paul & Mary were part of the mix with the instrumentals, but Mitch Miller, Patti Page and others were still there.
Then the British Invasion and the Beatles hit. Their earlier rock isn't that much of a stretch (Catch us if You Can, other "soft rock stuff) from big band with vocals. But rock quickly evolved into a more aggressive and louder version of rock n'roll, so it wasn't really that much of a transition from the earlier blues and soft rock.
To me, rap and hip-hop are not a transition, they're a new form and they have no musicality. There's no melody, mostly beat and rhythm. (Sounds like something the big band fans might have said about rock, right???) And I can't understand a word they say, both because I've never been good at understanding lyrics, and because they talk so damn fast. People may like it, but to me it's not what I call music.
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when i was a kid my mom always had pop radio on when dad was at work. thank god! pilgrim, your observation about instrumental music was right on. but how could you of all people forget the ventures. :o
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Ask that relative of yours who all those early rappers listenned to. Chances are he/she won't know or have a ready answer. Be prepared (google it). It`ll be funk, soul, and classic rock.
From there it's easy enough to point to Walk This Way and Bring The Noise to show how one could not exist without the other (rap kept the phrase 'rock out' but morphed it into 'rock the mic') and even things like Rapture and The Magnificent Seven to show how Punk Rock and Rap/Hip Hop are actually twins - born at the same time in the same city with mutual respect and even some overlap.... then show them this (argued by some to be the first punk band):
(http://graphics8.nytimes.com/images/2009/03/15/arts/15rubi_600.jpg)
(http://i.ytimg.com/vi/D9obRQDQsEI/maxresdefault.jpg)
Don`t do this to win; do it to expand both your horizons.
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westen44. responding to something you posted in a less than shiny, happy way is not putting my nose in your business. one you post something in a public forum its out there for the world to respond to. i don't think you would lasted very long at the old dude pit.
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No, but then The Dudepit wasn't exactly a role model in treatment of posters voicing opinions that for whatever reason displeased someone or the powers that were there at the time. We had and have no intention following these footsteps here, commendable as many things were there, the "ganging up"-thing wasn't among them. I'll never forget my first experience when I innocently voiced - as an owner of these beasts - that the history of rock'n'roll would not need to have been rewritten, had 8- or 12-string basses never been invented. A bunch of King's X'lers and Cheap Tricksters went directly for my throat and when I added that I had no recollection of the 12 string bass playing any role in "I want you to want me"'s radio success (not that you could even discern it on that blurry and echo-y Budokan recording), it got real frenzied. Some people can't handle the truth.
https://www.youtube.com/watch?v=5j2F4VcBmeo
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Two observations:
- The British Invasion in the US in the 60ies was by any standard more successful than the one in Arnheim in 1944. That said, the Waffen SS would have probably preferred The Beatles to British paratroopers.
- Of course Rap and Hip-Hop is music and it has left a lasting imprint on other forms of music. The way the drums sound and the patterns they play today even on New Country recordings has a Rap/Hip-Hop influence, just as the drumwork of Disco in the 70ies crept into how, say, AC/DC used the drums in their music. Punk brought prominent bar-chording back into music (at the cost of riffs that had dominated it for much of the early 70ies) and you can still hear that today with bands like Green Day or Jimmy Eat World. Reggae spawned syncopated rhythms and if there had been no Bob Marley, there would have been no Police and Police's influence grew branches into the strangest places, be it Canada (80ies Rush) or Ireland (U2). Nirvana/Soundgarden - no, I don't like them -, but their non-traditional approach to harmony and where chords are allowed to go can be heard in so much commercial music today, not just with Nickelback.
To a ghetto kid today, Grandmaster Flash & The Furious Five is a more relevant cultural influence from the past than Sgt. Pepper, with me it's the other way around. But while I'm typing this, my office stereo blares "Sons & Lovers" from Alcatrazz' second album (featuring a then little-known guitarist named Steve Vai), so don't believe what I say.
And I never bought into the theory that music today is less elaborate than it used to be. The focus of what parts of the music are elaborated and emphasized just changes over time, that is all. I find drums and vocals too loud in a lot of modern recordings, my son and my significant other always complain that Ian Gillan's vocals are buried in the mix on DP recordings (when Ian Gillan pushed the fader up once in the studio in the early 70ies, Blackmore pushed it down again and snapped: "Who do you think you are, f***ing Tom Jones?!")
The influences of the British Invasion are alive and well, I assure you, just listen to how backing vocals are employed today, but so is the influence of funk, R'n'B, rap, hip-hop and drums'n'bass. I listened to Parliament (Funkadelic) intensively for the first time comparatively recently - that music wasn't any less intricate than, say, a Jethro Tull record and I was amazed how many things I heard that have become staples in modern music. And it's all intertwined anyway: No Beatles, then no Sly & the Family Stone, no Sly, then no rap and hip-hop like we hear it today.
Don't!!!
Push me ...
'cause I'm ...
Close-to-the ...
Eeeeeeeedge ...
I hated it when it came out - has it had a lasting influence? Darn right it has and I like it today.
That study is bonkers, it's like asking whether mankind owes more - Creationists can tune off now - to reptiles or to amphibians in its evolution. The answer is that we wouldn't be there today in the shape and form we are if either one of them hadn't existed.
(http://www.google.de/url?source=imgres&ct=tbn&q=https://www.cardcow.com/images/set7/card11808_fr.jpg&sa=X&ei=dZ1LVZWvMIqM7Qb2x4GABw&ved=0CAUQ8wc&usg=AFQjCNFiO3r6zSXE-3QqEsDEXYCiXGY33A)
(http://www.google.de/url?source=imgres&ct=tbn&q=http://slamxhype.com/wp-content/uploads/2011/11/brooks-brothers-outfits-kermit-the-frog-2-620x413.jpg&sa=X&ei=2Z1LVaScMeqO7Aa50YHwCg&ved=0CAUQ8wc&usg=AFQjCNH3xYQGUiECc0mxbBHqa44zW7Q5zg)
Free your mind and your ass scales will follow.
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These "academics" chose the data to fit the answers they wanted.
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No, but then The Dudepit wasn't exactly a role model in treatment of posters voicing opinions that for whatever reason displeased someone or the powers that were there at the time. We had and have no intention following these footsteps here, commendable as many things were there, the "ganging up"-thing wasn't among them. I'll never forget my first experience when I innocently voiced - as an owner of these beasts - that the history of rock'n'roll would not need to have been rewritten, had 8- or 12-string basses never been invented. A bunch of King's X'lers and Cheap Tricksters went directly for my throat and when I added that I had no recollection of the 12 string bass playing any role in "I want you to want me"'s radio success (not that you could even discern it on that blurry and echo-y Budokan recording), it got real frenzied. Some people can't handle the truth.
Not too long after you joined the Pit, Dude sent me one of his nastynote private messages threatening to ban you because you had said something about his pal Rudy Sarzo that he didn't approve of. It was something unoffensive, you wondered why he still spoke with such a strong accent after being in this country so many years.
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I almost immediately regretted that comment - Sarzo's Spenglish eeza indeeda 'orribla (I have an interview CD from his Whitesnake phase), but as a Cuban immigrant kid he probably spoke Spanish in the Cuban exile community all the time and my comment was smart alecy and patronizing about someone I have no idea of what access to better language education opportunities he had.
To this day I feel guilty about it when Herr Sarzo is mentioned anywhere, so companero Rudy, if you read this, never mind your accent, you looked and played hot with Quiet Riot (and with your naturally dark hair as opposed to the bottled blond look in WS daze).
It's one of the examples where Herr Hornung should have kept his Über-mouth shut for once. :-[
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when i was a kid my mom always had pop radio on when dad was at work. thank god! pilgrim, your observation about instrumental music was right on. but how could you of all people forget the ventures. :o
I didn't fergittum. I just kinda lumped them in. Surf music was kind of a tangent that didn't make it onto the "family" listening stations much, at least in the small markets where I lived.
I remember going to the supermarket and checking out the bins with 33 RPM LPs in them and finding these one-off cheapo records with titles like "Sound of the Drags" by The Blasters...and similar recordings that were obviously put together quickly and were destined to be the only time that group showed up on vinyl. I think I still have one or two of them. Probably had some people playing on them who later were better known.
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westen44. responding to something you posted in a less than shiny, happy way is not putting my nose in your business. one you post something in a public forum its out there for the world to respond to. i don't think you would lasted very long at the old dude pit.
Your post to me on that thread was totally uncalled for. I don't even think you understood the point I was making.
It's obvious that you and I have totally different personalities which are going to endlessly clash. I see no reason in continuing what will inevitably be fruitless discussions. My purpose on the LBO is to follow what people say about music and basses, not to get into one argument after another with you. I am not interested, okay? As for the dude pit, I don't care what happened there and how long I might have lasted there is irrelevant to me.
As for public forums, I'm sure our views on those differ, too. Whatever your views are on them, I really don't care. Seriously, maybe you just aren't used to being around people as apathetic and jaded as I am. And I'm not saying that that's a positive thing about myself, but it's the way things are with me. If I come across as abrasive to anyone, it isn't intentional at all. Also, I do have an introverted eccentric personality which sometimes people misinterpret. I attempt to be articulate, but I'm sure I'm not always successful at it.
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Sigh, Nofi, now what happened while I let you out of my eyes for a few seconds?
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I have to put in a giant disclaimer that I have read the article but not the study it links to - BUT - I'm immediately suspicious that they talk about hip-hop's "entry into the US charts in 1991." That's either a giant typo in the article, or the study authors are on some other planet where they have radically different understandings of what's meant by "hip-hop", "charts", or "1991". There were certainly giant rap hits well before 1991.
I just checked. "Rapper's Delight" cracked the US top 40 in 1980, for chrissakes. That's the mainstream Billboard top 40, not one of the more specialized charts.
So, this seems like pure gobbledygook to me.
Also it sounds like the kind of thing where you can define musical characteristics however you want to get the results you want. You could likely easily re-do the study to prove the opposite.
Going even further, without having actually read the study, we should be skeptical that the article actually presents its conclusions correctly. Reporters do not exactly have a good track record in that regard with scientific reporting.
Scientists: Preliminary laboratory results suggest an association between large amounts of chemical compound X and cancer in laboratory rats. X is found in trace amounts in many fruits.
Reporters: Hey everybody! Scientists have proven strawberries give you cancer!
Scientists: No we didn't.
Reporters: Look! A train on fire!
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"I just checked. "Rapper's Delight" cracked the US top 40 in 1980, for chrissakes. That's the mainstream Billboard top 40, not one of the more specialized charts."
I was gonna say - and Queen's Annother One Bites the Dust (initially a non-single picked up by black radio stations) followed not too much later bringing rap or hip-hop into rock (though Aerosmith had been there earlier with their original Walk this Way from Toys in the Attic in 1975). Rhythmic music with rhythmic, but largely spoken lyrics has been with us now for more than 35 years at least, of course it has rubbed off on a lot of other styles.
And the rhythm guitar from Eminem's 8 Mile could pass as a backing track for a myriad dark and doomy heavy metal songs. I can just envisage Rob Halford, Geoff Tate, Ronnie Dio or Bruce Dickinson hollering over it.
https://www.youtube.com/watch?v=xFYQQPAOz7Y
All kinds of influences merge and that is generally a good thing.
https://www.youtube.com/watch?v=0o6Ti4uUU30
As Herr Osterberg has already observed:
https://www.youtube.com/watch?v=dngc-fQjBJ4
I just learned that Iggy is a leftie and can't tune a guitar. But I'm proud of myself: It's already May 8 here in Germany and I have inadvertently posted a clip that contains "it's what Hitler didn't like". What a way to celebrate!!! :toast:
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Lord Buckley was rapping in the 50's. His cut "The Nazz" is a real classic. And he was whiter than Wonder Bread, and in his 40's when he came to public notice.
https://www.youtube.com/watch?v=U0x5x8lyON8
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There have always been talking records. What Lord Buckley and other talkers did was not hip-hop.
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I love all of this microscopic analysis. I feel like I'm at work! There are links between just about every genre if you look for them. No artist has ever evolved in a vacuum devoid of preceding music to build on. The real issue for me is musicality. I just don't find rap or hip-hop musical. Does is add something positive or timeless to our culture? Everyone can judge that for themselves.
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Music is more than melody or harmony. It's also rhythm. Are tribal drums not music? Under harmony standards, most Blues is totally limited, three chords I-IV-V or less, but does that make Blues unmusical?
Aerosmith's Walk this Way was in my book already pretty darn close to rap, both as regards urban lyrical content (they sure weren't singing about demons and wizards), rhythmic structure of the backing music and the way Tyler emphasized/placed the lyrics. Had the Luftschmitze been from a black neighborhood in Boston (Blacksmith? :mrgreen:), I'm sure they would today be credited as cracking the charts in 1975 with the first rap song ever.
https://www.youtube.com/watch?v=ATWUtBsFTT0
Unfortunately and ironically, US Radio continues to remain a pinnacle of segregation - of all places!
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There have always been talking records. What Lord Buckley and other talkers did was not hip-hop.
No, but it (beat poetry generally) was a seminal precursor; I mean, the man is talking some jive there.
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No, but it (beat poetry generally) was a seminal precursor; I mean, the man is talking some jive there.
Agreed with both Dave and Granny. Buckley was certainly there first, and he was pretty well known in some circles. It wasn't hip-hop, but add the beat and you're pretty well there. I'd sure like to know if any of today's hip-hop types or rappers know who he was.
As Bill points out, this stuff doesn't evolve in a vacuum. There are always ties in numerous directions.
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Today's MCs, maybe not - I'd say 50/50 chance depending on who.
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Lord Buckley on You Bet Your Life rapping Shakespeare
https://youtu.be/CNhstToY9kk?t=2m
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I like that cut!
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Music is more than melody or harmony. It's also rhythm. Are tribal drums not music? Under harmony standards, most Blues is totally limited, three chords I-IV-V or less, but does that make Blues unmusical?
Aerosmith's Walk this Way was in my book already pretty darn close to rap, both as regards urban lyrical content (they sure weren't singing about demons and wizards), rhythmic structure of the backing music and the way Tyler emphasized/placed the lyrics. Had the Luftschmitze been from a black neighborhood in Boston (Blacksmith? :mrgreen:), I'm sure they would today be credited as cracking the charts in 1975 with the first rap song ever.
https://www.youtube.com/watch?v=ATWUtBsFTT0
Unfortunately and ironically, US Radio continues to remain a pinnacle of segregation - of all places!
Bovine scatology Uwe. I don't know what US radio stations you are listening to, but you can find any form of music you want in every little town in the US. Segregation, really? The only segregation I see is stations specialize in a particular genre to appeal to a defined audience segment. It this it's called targeted marketing, or something like that. We have every form of music imaginable on our local stations here in little ole Rochester. If you want rap or hip-hop or want to sing along and slap your bitch or pop a cap in someone's head, it's right here on the airwaves. No censorship here.
I never said musicality didn't include rhythm, beats, drums and all sorts of other instruments that don't carry a tune or harmony. I just wasn't very clear. I was trying to say that I believe every artist is influenced, positively or even negatively, by preceding music of all genres they are exposed to growing up. The links from one genre to another are pretty clear as you folks have noted in numerous posts.
We just disagree on what's art and what enhances a culture. And we all know, we'll all never agree here on what is art and what isn't!
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Agreed with both Dave and Granny. Buckley was certainly there first, and he was pretty well known in some circles. It wasn't hip-hop, but add the beat and you're pretty well there. I'd sure like to know if any of today's hip-hop types or rappers know who he was.
As Bill points out, this stuff doesn't evolve in a vacuum. There are always ties in numerous directions.
George Harrison knew who he was. In fact, GH's song "Crackerbox Palace" is about Lord Buckley's house in Los Angeles. Actually, the song is about more than that, but it all goes back to a chance meeting GH had in 1975 at a music festival in France. He met someone called George Greif and remarked to him that he reminded him of Lord Buckley. Harrison refers to Buckley (and the song) in his autobiography. He says Buckley was a hip comedian who was very important to him in the 60s.
Greif told George that he had been Buckley's manager for 18 years or so, something which is noted in the autobiography as being an incredible coincidence. When George got home, he wrote "Crackerbox Palace." There is a reference in the song to Greif and also one to Buckley in the song. The line "know that the Lord is well and inside of you" isn't talking about the Lord God (as some may assume,) but about Buckley. There is a footnote in the autobiography about that.
I think the song has been misinterpreted a lot and there are things about it I'm not quite sure of myself. But it's literally impossible for the song to make sense without knowing about Buckley. In all honesty, it has never been one of my favorite GH songs but some people seem to really like it. I do like the lyrics, though. "Crackerbox Palace" seems to be referring to Buckley's house, maybe even Harrison's house, too, (where the video was filmed,) but most of all to the world itself--as noted in the autobiography.
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I've always been surprised at the connections that run through music. Buckley > Harrison doesn't seem that odd. You juts never know who met who, or why someone might have gotten curious about some aspect of the past and incorporated it into their music.
Very cool story.
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Starts about 0:45
https://www.youtube.com/watch?v=JZ9U4Cbb4wg
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Starts about 0:45
https://www.youtube.com/watch?v=JZ9U4Cbb4wg
I just found this:
http://www.huffingtonpost.com/2014/06/09/hugh-jackman-ll-cool-j-ti-tonys_n_5472691.html
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I've always been surprised at the connections that run through music. Buckley > Harrison doesn't seem that odd. You juts never know who met who, or why someone might have gotten curious about some aspect of the past and incorporated it into their music.
Very cool story.
I'm sure there is a great deal that could be said about Buckley. In reading about him, I also noticed he had an Ed Sullivan connection. That appearance on Groucho Marx was exactly 20 years before "Crackerbox Palace" would come out.
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That's a remarkable connection between Buckley and George Harrison. Never knew that.
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That's a remarkable connection between Buckley and George Harrison. Never knew that.
Here is the song--strange as it is. What I always liked about George was how he added so much to albums such as Revolver, the White Album, and Abbey Road. Then when the solo careers began, I liked his solo work through "Living in the Material World." But after Pattie Boyd left him he fell apart and at one point even became suicidal. It's reflected in the music, too. He put himself back together, but came back in a different way. There would never be another album like LITMW, although all the albums had much to offer. (Notice Buckley's manager's name is supposed to be spelled "Greif" in the video, not Grief.)
Another thing I didn't know is that evidently George played bass on several songs on "Abbey Road" if what this guy is saying at the bottom is correct.
https://www.youtube.com/watch?v=ZLf7Obblk1s
https://www.youtube.com/watch?v=1Dqav_OljgY
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Unfortunately and ironically, US Radio continues to remain a pinnacle of segregation - of all places!
Copy that! Growing up, my favorite station was a weird rock/urban format that literally would play Danzig back to back with Prince and then have a Bobby Brown song followed by Judas Priest followed by Micheal Jackson and the Police, basically MTV's early format with real metal added. Nowadays, you have all kinds of different types of radio stations in the US, but they all play the same ten damn songs within their respective genres. My local "modern rock" station just went country (because the other ten of those locally aren't enough) and even though it was so bad that the local music segment on Sunday Nights (there's a local Pantera clone that sounds better than Pantera's last three albums) was its high point, it pissed me off. Still hearing grunge and light metal on the dinosaur classic rock station helps, but man... just man!
The blame falls squarely on corporate radio chain owners who blanket-program the same playlists across the entire nation because allowing a DJ or program director to choose his own music is somehow communism. ...but ads are sold in national blocs, which are split, you guessed it, right along the same genre lines: unrestrained capitalism making your life progressively shittier.
RE: the OP's relative who thinks that "real music" began with 90's hip hop: don't argue with an idiot (and I LIKE that stuff!)
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@Psycho Bass Guy
The relative in question is, in fact, pretty smart. But her taste in music is something that might be hard to even describe. It's mostly just hip-hop, though. I'd say she takes after her father (who I'm not related to by blood, thank God.) I once heard him say he didn't understand what was so great about the Beatles--that he didn't know what the big deal was. As a 16 year old, he and a friend drove from Tennessee to see Woodstock. But it wasn't for the music. They just heard there was party going on and all that. He did somewhat take note of Hendrix, but I think a lot of that had to do with being woken up by such deafening sounds in the morning. Long story short, if someone has no use for the Beatles and barely even seems to be interested in the music at Woodstock despite being there in person, it does cause me to question their taste in music. I could say more, but will leave it at that.
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Sounds like your shirttail relative is one of those people who just doesn't get music. Folks like that do exist, I've met a few over the years.
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Sounds like your shirttail relative is one of those people who just doesn't get music. Folks like that do exist, I've met a few over the years.
A similar discussion is going on over at TB and the younkers there are predictably at odds with us grey-hairs about the issue. Radio has changed drastically over the past 20+ years, and it's not for the better. I hate to say that, because live radio is the thing I most enjoy doing, and in most places, the opportunity just isn't there anymore.
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What is played on radio these days is what sells. Simple as that, as distasteful as it is.
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Sounds like your shirttail relative is one of those people who just doesn't get music. Folks like that do exist, I've met a few over the years.
This person who was at Woodstock but wasn't quite sure why, is also tone deaf the best I remember. He would be about as useful in a recording studio as I would be in a spacecraft trying to be an astronaut. He has some talents, but music isn't one of them.
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This person who was at Woodstock but wasn't quite sure why, is also tone deaf the best I remember. He would be about as useful in a recording studio as I would be in a spacecraft trying to be an astronaut. He has some talents, but music isn't one of them.
Therefore, he is a self-qualified expert music commentator. Figures. :P
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My big regret was not going to Woodstock when a friend invited me to go along. I had just flown back from the Philippines the day before and was exhausted. We lived in Philly and could have easily driven there. Duh.
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Good thing you didn't bother. The roads to Woodstock were jammed ........ ;)
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Therefore, he is a self-qualified expert music commentator. Figures. :P
He is a self-proclaimed expert on several things. Thankfully, I don't have to be around him anymore, after having to be around him, though, for many years.
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The thing about Woodstock is I suspect for some it might be a bittersweet experience in retrospect. There would be quite a realization that the world will never see anything like that again. I have a friend who was a teenager about 14 at the time. By chance, her family was camping and could hear Woodstock in the distance. I think her father wisely told her she wouldn't be allowed to go. Still, she talks with regret of being so close and so far away from Woodstock.
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He is a self-proclaimed expert on several things. Thankfully, I don't have to be around him anymore, after having to be around him, though, for many years.
In one of his early books, author Robert Ringer called a person like this "the schmexpert" -- somebody who wants to be known as an authority even though he doesn't have the knowledge to be one.
It's a useful term. Take Uwe's friend Anne Erickson, for example. She's a schmexpert on Gibson basses.
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In one of his early books, author Robert Ringer called a person like this "the schmexpert" -- somebody who wants to be known as an authority even though he doesn't have the knowledge to be one.
It's a useful term. Take Uwe's friend Anne Erickson, for example. She's a schmexpert on Gibson basses.
A lot of truth to that, though. I had forgotten about Robert Ringer. Based on my observations, the real experts on Gibson basses are here. Certainly I'm not speaking of myself. I do well to just try to play. But anyone interested in Gibson basses should find quite a lot of what they're looking for here. A place for nonconformists to be sure.
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In one of his early books, author Robert Ringer called a person like this "the schmexpert" -- somebody who wants to be known as an authority even though he doesn't have the knowledge to be one.
It's a useful term. Take Uwe's friend Anne Erickson, for example. She's a schmexpert on Gibson basses.
Dave you're the other guy that read that book!
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Dave you're the other guy that read that book!
You and I and a lot of others. Looking Out For Number One was #1 on the NYT best seller list for quite a while.
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Good thing you didn't bother. The roads to Woodstock were jammed ........ ;)
Yep, when I saw the news the next day I was a bit relieved, but sad nonetheless.
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I can imagine. So many gigs I could have seen but missed for various reasons. P-funk comes to mind...
Imagine how Joni Mitchell felt! She could have PLAYED Woodstock! But she "canceled at the urging of her manager to avoid missing a scheduled appearance on The Dick Cavett Show".
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I can imagine. So many gigs I could have seen but missed for various reasons. P-funk comes to mind...
Imagine how Joni Mitchell felt! She could have PLAYED Woodstock! But she "canceled at the urging of her manager to avoid missing a scheduled appearance on The Dick Cavett Show".
There were quite a few others who didn't play and in some cases for reasons even more lame than that. That one is lame, though.
http://ultimateclassicrock.com/woodstock-who-didnt-play/