Superficial pop will always exist - there've always been Fabians - but when people like Dire Straits and Bruce Hornsby start having hits, it suggests that there's a revolution going on in music.
Interpretation
The quote highlights the coexistence of superficial music with deeper, meaningful music, indicating a shift towards more authentic artistry.
Bonnie Raitt's quote reflects on the landscape of the music industry, pointing out that while superficial pop music has always been present, there are signs of a shift towards more substantive and heartfelt music. When artists like Dire Straits and Bruce Hornsby achieve commercial success, it suggests a cultural revolution, where audiences are increasingly valuing depth and authenticity in music over mere popularity.
In practice
This quote could be shared in a music blog discussing the evolution of genres.
I'm happy to say that at 62, I think I've reached that point where stuff doesn't bother me as much, and my gratitude level has gone way up, especially having gone through the loss that I've had, and losing so many of the great artists that I was close to. They taught me how to see it with a grain of salt and a lot of humor and perspective.
I'm just glad that I'm the musical equivalent of a character actress, because blues singers can keep singing and having an audience at 35, and someone like Madonna's gonna have to find something else to do, 'cos I don't care how pointy those bras are that she wears, they're still gonna look a little odd when she's 55!
Especially girls, but any kids exposed to music programs and arts programs do much better on their tests. They have a better chance of going to college. They can focus better. You know, we're not just automatons learning how to work machines and do engineering and math and science. All of that's great, but you've got to build a whole person.
I think it's our job to write about what we're going through at the moment, and being 41, I'm not going to write about the same things I wrote about at 20. I don't think artists should be farmed out to pasture just because they're in rock n' roll.
Nobody taught me to play bottleneck. I just saw it and taught myself. I got an old bottle and steamed the label off, put it on the wrong finger, I basically did everything wrong until I met some of the Blues legends early in my career who taught me another way. I didn't have anyone to tell me women didn't play bottleneck.
We did a two month tour with Taj Mahal that was really healing and cathartic and a good distraction after my brother passed away. Then I knew I wanted to take a year off, and it was really nice to have that chance to fall apart.
I didn't want to play it boring and safe. I also didn't want to innovate too much. Second albums, man, they're even scarier than first ones.
At night in the country, you'd be surprised how that music carries. You could hear my guitar way before you get to the house, and you could hear the peoples hollerin' and screamin'.
'Society's Child' was a real hard record to start with. That's all you want is for you to put your first record out and have people screaming at you in the streets. But it taught me right away that what I was doing was valuable and important.
I was around nine when a babysitter snuck 'Who's Next' onto the turntable. The parents were gone. The windows shook. The shelves were rattling. Rock & roll. That began an exploration into music that had soul, rebellion, aggression, affection.
I get offended when people say, 'So, being a white rapper...and growing up white...after being born white...' It's all I ever hear!
I have been accused of being a very simplistic, very lyrical player, and that's okay. That just comes from the blues, which is my background. But every day you wake up and transcend. You can't ever rest on your laurels.
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