shifts in popular opinion you have noticed

You millennials show some respect to REM goddamnit! What's the matter with you kids? I blame the synths.

What rem songs should i listen to? I only know the radio staples and they dont do it for me

Murmur 4ever - anything from it will do

I get the feeling that REM's music is too earnest for the times we're living in now, maybe excepting Chronic Town and Murmur

Sonic Youth is an interesting one, I thought their influence would live on like VU's, but that doesn't seem to be the case

fables of the reconstruction is the one rem album likely to appeal to hipsters of the future - dark, murky difficult even by early rem standards. plus the joe boyd connection

Stockhausen definitely saw a rise in popularity in the last ten years or so of his life. I saw a concert of Hymnen he gave at the Royal Festival Hall sometime in the late 80s where the place was no more than 20% full. By the time of his last London concert in 2005 he was selling out concert halls easily.

Even as a 90s kid REM felt like a band you respect, but you don't really love.

I think he would have sold out concerts in London in the (late) 60s and the 70s, don't know what was going on in the late 80s. Critically he's been in decline since the 70s, the whole Licht thing didn't help there. (xp)

My brother's dog name is dylan. I named mine Bowie (is it not an awesome name for a dog!? Bow-ie... erm) and he thought naming it after a classic rock artist sounded cool. Asked him what he thought of Dylan's music and couldn't really tell me any song by him. He said he liked that one that guns n roses play.

It happens a lot with classic rock artists and it shouldn't bother me but it does. Everybody knows Dylan, Hendrix, Elvis, Bowie to name a few but when I want to actually talk about their music it seems most people only know them as icons but don't really know much about them and only recall one or two songs. They're supposed to be remembered by their music not their fashion style.

Muriel's Wedding and Priscilla Queen of the Desert -- Aussies definitely ushered in the Abba reappraisal -- culminating in Mamma Mia, I guess, but I feel like Abba is pretty canonical at this point.

Erasure's Abba ep that went to #1 preceded this. There was an abba special on tv not long after this. think that influenced the aussie stuff

i think that might be true of rap in general though. most extreme rap fandom begins in teens/20's and focuses on the now almost exclusively with the exception of the super-extreme who are history buffs.

disagree with this; i don't think it's true in the UK, at least. i'm 24 and when I was at school and university there were loads of people who were massively into some of the touchstone 80s/90s rap albums (Enter the Wu -Tang, Straight Outta Compton, The Chronic, Doggystyle, People's Instinctive Travels...). it definitely wasn't just history buffs because plenty of those guys would never dig any deeper into the genre, but you could stick that stuff on at any kind of gathering of people and everyone would know what it was and be into it.

if anything i encountered far more people who were anti-contemporary hip-hop and privileged the perceived authenticity of stuff from the 90s.

re-appraisals in the early-mid 90's for ABBA were topped off by this in 1999 which seemed utterly bizarre but fantastic

http://www.mojo4music.com/media/MOJO66_Abba.jpg

re: the origins of goth
Pete Scathe on the history of goth:
Goth - Name
http://www.scathe.demon.co.uk/name.htm

Aargh, such an apparently painstakingly researched article which repeatedly gets Mary Harron's name wrong (unless there was also a Mary Hannon writing articles about Factory Records at the same time, but I'm guessing the article referred to may be this one, though I can't read the full text)

I'm not too into her films but I think her career arc is p. cool and interesting btw and would like to read more of her (post)punk-era music writing

It was cool to like the Beatles in the mid-90s, then in the 00s it felt like that baton got passed onto the Beach Boys. On the whole though, sixties rock/pop has never felt so, maybe not 'unfashionable', but irrelevant to hip musical discourse as it is now. When bands talk about psychedelia, they're not talking about the sixties bands, they're talking about Spaceman 3 or Can or whatever...

I always thought ABBA were considered a bit of a cheesy musicals and student-nights band until more recently, when people started digging out The Visitors again...

I was thinking about how, if anything, grunge has developed a huge cultural cachet that didn't exist at the time. I remember radio personalities and the music press being all 'grunge is just people who can't even be bothered to enunciate properly groaning over standard-issue four-chord riffs' (an interesting parallel with some of the critique levelled at a lot of trap hiphop today).

I don't know enough "young people" to know the real shifts in opinion but it has been weird reaching the age where the music of my tween years is now oldies, and what does and doesn't get played

the local stations and Radio 2 play a whole lot of early 90s stuff at "drivetime" (at least on the occasions I get a lift home with someone who listens to the radio), and recently I heard Ugly Kid Joe and Jesus Jones, both such a joke at the time and mostly forgotten by the late 90s that I never expected to hear them on cheery nostalgic radio 25 years later

plus it makes me feel old thinking, does this music really serve the same purpose now as the doo-wop-to-"California Dreamin'" Golden Oldies stations of the 80s?

Get used to it, you'll grow old and die to the soundtrack of Meghan Trainor, Kanye and Maroon 5 playing on the radio.

is indie-rock, in the traditional sense, still even a thing among people under 30? With Radio X in the UK, which is supposed to be an 'alternative' station but very clearly targets a 30-45 year old contingent of men who just can't throw away their Oasis CDs.

natalie merchant waits in the wings, expectantly, ready to lecture and uplift a new generation of listeners

It seems like the same process that's broken up musical tribalism has also broken up the 20 year cycle of reassessment. Like, in the early 00s, there were all the guitar bands revisiting disco punk and Gang of Four, skinny tie punk, and the electroclash rethink of synth pop. Then the yacht rock thing. Then there were motions toward nu-pigfuck later in the decade, but it didn't really happen, and now it's just mish-mash. With everyone free to explore everything, I'm not sure you get the gravity to pull a discarded genre back together.

yeah, sometimes revivalism feels like a rote thing that 'just has to happen' now, rather than an organic rediscovery of a forgotten style of music. failed attempts to resuscitate Britpop and grunge in the past point to this. now it's more like media and label execs just look at what was popular exactly 20 years ago and find acts based on that, which means that in the UK we're about to get a nice big dose of eye-liner rock (Placebo, Skunk Anansie, Garbage), Scot-pop (something that happened in the NME) and err... Kula Shaker.

seriously, my college age son listens to what he calls "indie rock" yet there's no accompanying ideology or hermetically sealed clique/scene. he seems to likes everything BUT rock/pop oldies though he reveres 90s rap/R&B. he's amused by 70s new wavers in my collection like talking heads & pere ubu just because of their sheer weirdness. he insists david byrne is some kind of comedian.

I'd definitely say Talking Heads, Pere Ubu and Devo have a comedic element to them, and that's part of why they're good.

"Fear of Music" has some of the funniest lyrics ever.

oh yeah

which means that in the UK we're about to get a nice big dose of eye-liner rock (Placebo, Skunk Anansie, Garbage), Scot-pop (something that happened in the NME) and err... Kula Shaker.

what is Scot-pop?

There's something condescending about the current spate of Lionel Richie love but I can't quite identify what's so off-putting about it. But if Lionel leads to a rediscovery of Jerry Bulter and Lou Rawls all is forgiven.

xp as I say, I think it was a thing the NME tried to start one week circa 1996 after Bis appeared on Top of the Pops.

did people know of Can, Faust, Neu! etc. in the 90's?

I knew of Can and Faust (pretty much just Future Days and Faust/So Far at the time) because some of their stuff was still in print. Neu! I'd heard of but never actually heard until the CD reissues.

When you wrote Scot-Pop I thought you meant Travis and Texas.

I knew of Can and Neu! via Stereolab etc but I'd only heard covers of their songs until Audiogalaxy.

I can't remember the first time I heard of Can/Neu!, myself. That kind of thing seems like the 'old' music with the most current hip cachet though.

I'd say their reappraisal coincided with the rise of long-form noodly post-rock circa 2000 - Sigur Ros, Coldplay, G!YBE etc?

Can and Neu! I knew about through Stereolab, or at least through people who were big Stereolab fans. This was the late 90s. I have no idea if they're still a thing with anyone under 30.

yeah I dunno if this is just my own little internet experience but I don't recall anyone talking about those bands until right around the time of those Neu! CD reissues, which I think people managed to romanticize quite a bit, along with say Future Days, because they were several decades old and yet didn't sound dated in the slightest - confirming there was more to the narrative than just Kraftwerk, who were indeed prescient but those albums were clearly recorded in that late-70's/early 80's era

The first time I probably heard/heard of Neu! was the Ciccone Youth album but I don't think I knew what the eff a Neu! was at the time.

Faust still doesn't sound at all dated to me, fwiw.

yeah I mean - how could they? you'd be crazy to want to pick up that particular baton, though I'd argue that maybe Animal Collective did, in some sense?

I saw Faust live in the early '90s; they toured after Rien came out in...'94 maybe? They set off a road flare onstage and almost choked everyone in the club to death.

Punkers like John Lydon and Pete Shelley were bigging up Can at the end of the 1970s, and there's a Neu! track on one of those NME 80s compilation tapes - in the UK at least, they've been in a pretty constant state of reappraisal/rediscovery

Every Picture and Gasoline Alley are great, too, but Stewart basically never gave a shit if he was taken seriously or not. He never even made a clumsy/fumbling/self-conscious late-career attempt to get back to his early '70s peaks.

― Montgomery Burns' Jazz (Tarfumes The Escape Goat),

https://upload.wikimedia.org/wikipedia/en/d/d7/RodStewart_Time_albumcover.jpg

Answering a post way upthread: in the '90s loving Bowie and Roxy in America was a lonely thing. My friends thought I was bizarre, for Bowie was still a joke b/w 1989-1995.

Few bands' respect/credibility/influence have just gone over a cliff like The Police. Like, NO ONE gives a shit anymore. Young people in particular, but also olds who may have liked them in the past.

Here's a thing: Dub music is a thing that seems to ebb in and out of popularity every 6-7 years, right? I don't think it's particularly popular right now, but even as recently as 2011 you had people like Ekoplekz and Demdike Stare doing their own underground takes on dub.

You know who is having a rough decade? U2. So much that it probably has hurt their overall standing.

Few bands' respect/credibility/influence have just gone over a cliff like The Police. Like, NO ONE gives a shit anymore. Young people in particular, but also olds who may have liked them in the past.

Like, recently? I can buy that but I was at one of those 2007 shows and people definitely gave a shit then

Yeah, since the reunion tour. After that happened, nosedive.

I hang out around college students all day, and while some may not identify Sting or the Police as the band playing "Message in a Bottle" or "Every Breath You Take," all of them can hum or sing at least a few verses.

Basically this thread is confirmation bias.