"I mean, I would hope that I have a style or personality that is evident wherever I go"
About this Quote
There is something almost sheepish about the way this line begins: "I mean, I would hope..". Dunn isn’t declaring a brand; he’s half-apologizing for wanting one. That’s the tell. In a music culture that constantly pressures artists to be both authentic and endlessly adaptable, he stakes out a modest but firm desire: continuity. Not fame, not dominance, just recognizability - a thread of self that survives the gig, the genre, the room.
As a working musician (and especially as someone known for moving through stylistically elastic projects), Dunn’s phrasing reads like a defense against the fear of becoming purely functional. Session players, sidemen, and shape-shifters are often praised for disappearing into the music; he’s arguing for the opposite kind of professionalism: bringing an imprint you can feel even when you can’t name it. "Style or personality" is a careful pairing. Style alone can sound like costume; personality alone can sound like ego. Together, they suggest craft plus presence - the way a bassist’s choices, restraint, timing, even humor can create a signature without hogging the spotlight.
The context is a late-20th/early-21st century art economy obsessed with "identity" as a marketable asset. Dunn’s intent lands in a more human register: the hope that wherever he goes, he doesn’t leave himself behind. It’s not a manifesto; it’s a quiet insistence that adaptability shouldn’t require erasure.
As a working musician (and especially as someone known for moving through stylistically elastic projects), Dunn’s phrasing reads like a defense against the fear of becoming purely functional. Session players, sidemen, and shape-shifters are often praised for disappearing into the music; he’s arguing for the opposite kind of professionalism: bringing an imprint you can feel even when you can’t name it. "Style or personality" is a careful pairing. Style alone can sound like costume; personality alone can sound like ego. Together, they suggest craft plus presence - the way a bassist’s choices, restraint, timing, even humor can create a signature without hogging the spotlight.
The context is a late-20th/early-21st century art economy obsessed with "identity" as a marketable asset. Dunn’s intent lands in a more human register: the hope that wherever he goes, he doesn’t leave himself behind. It’s not a manifesto; it’s a quiet insistence that adaptability shouldn’t require erasure.
Quote Details
| Topic | Confidence |
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