And this gets back to that objective standard the OP was sort-of railing against. There shouldn't be competitiveness because we're all different and we celebrate the individual, yes? Well, you only get to be an individual after you've proven you can do what's already out there. You can't create a new language until you've mastered the given one, right? Otherwise, you're just spouting off words you don't understand because you didn't take the time to learn the ones that were already there.
Exactly Bo, this is the only thing on the table right now. The contrary view here is talking about about steps 2-10 when we're still talking about
step 1.
Rant--- (never played this card, but will now)
You have to prove yourself first as a YOUNG player with nothing to show but your good intentions. The reason I'm rolling my eyes is because I am the one in this thread actually going through this process
right now, at the OP's relative age, and at this particular time in history, while actually moving forward with hard earned mid level name rec. If anyone thinks getting through at ages 17-25 is possible in this changing business climate without the willingness to compete, then sure give it a try. But /and I will say it again/ if you persist with your contrary notion, I and those other 200 arrogant/elitist bad competitive guys will still continue to play the gigs you think you deserve based on your good intentions, and you will always have an excuse for why that is other than the one you look at in the mirror every day.
Besides, you want to seriously talk about arrogant? Can you think of anything more arrogant than a kid bringing his self esteem issues into a place trying to create music? Yapping like I do on a drum forum is one thing, but to think an overly sensitised
me attitude belongs in a creative enviornment is another matter entirely. In fact young guys who see it this way embarass the rest who are trying to do it right. Truth be known that level of silliness becomes a youth related stereotype and gets in everyone's way, because mentors and employers start believing we're all that clueless.
This isn't the 60s, 70s or 80s. If you older guys thought it was hard then, well it was a piece of cake compared to how things are put together now. Try even for a moment to imagine your starting out at this particular period of history. You can't, because in five years we're looking at an entirely different way to do business. Your laid back way might have worked just fine in a nostalgic
coke on the LP cover, no responsibilities, three TV stations,
get me a record label era. But this isn't how it's done now. And yeah some 40-60 year old musician may be able to hang on for a while based on connections and practices formulated when times were easier, but if you're young and just starting out and you're listening to these
it's all cool guys for your advice, then all I can say is
have a great life.
You want to play
right now and actually be heard by human beings, you have to be tough and be willing to hold your ground and even take a little when you don't think it's right. If you take an attitude other than this one you are
a fool.
I just have to say this because it needs to be said, and quite frankly I'm at a stage in this computer dialogue process where I no longer care what some think. There are just too many editorializers on the Internet who think art is about them and them alone. They think you just arrive at something and soar without doing any legwork, while skipping as many steps as you desire, while at the same time condemming the process because they're too ignorant to even know what the process is. Then when someone contradicts these people they judge your perspective a personality flaw and insult you with passive aggressive nonsense because in their ongoing confusion, they become insulting and condescending because they simply don't know any better.
As for what guys like John Clayton and Dick Berk say in the present, again they're not coming up right now, and they're pulling your chain anyway. I think Clayton is great but Rashied Ali once told me that he was intensely ambitious as a young guy, and that was because he had to get in the door first before he could provide vaunted perspectives on
Down Beat interviews. Of course he doesn't believe music is a competition. He makes art with guys who are already in the door. Good grief, he's not talking about people first starting out and neither is Berk. He played for Mingus for crying out loud, one of the most competitive musicians who ever lived. How arrogant for a high school guy to even create the mindset to believe that John Clayton is speaking directly to him. Is the OP Tony Williams?
Give me a break.
rant over---