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Since this primary season makes me want to melt my own face in acid, I imagine many of you feel the same way. So here’s a good argument about nothing political at all–stop listening to the music of your teenage years and explore new tunes. Nothing says “I stopped trying to listen to music years ago” than a person saying, “The kids these days just aren’t making good music.” Of course, exploring older music also has value so even going beyond listening to Dylan and Stones records to explore Sir Douglas Quintet albums is a good idea. But this is most important for listening to new music. Which you need to do.

In early 2012, Fusilli wrote about the Gee-Bees in a column for the Journal and started a website called ReNewMusic.net, devoted to introducing out-of-touch listeners to some of the best new music being made today—from Bon Iver to D’Angelo, Frank Ocean to the Arctic Monkeys, Janelle Monae to St. Germain. And the idea led to his new book, “Catching Up: Connecting with Great 21st Century Music,” which compiles 50 of his columns with short essays on the generational bias that too often passes for deep insight or sturdy critical thinking.

“We’re surrounded by people who, despite a narrow perspective, insist the music of their youth is superior to the sounds of any other period,” he writes. “Most people who prefer old music mean no harm and it’s often a pleasure to listen to them talk about their favorite artists of the distant past. But others are bullies who intend to harangue is into submission, as if their bluster can conceal their ignorance. They ignore what seems to me something that’s self-evident: rock and pop today is as good as it’s ever been.”

This is an important idea, especially in 2016, when pop music seems like a uniquely apt medium for a range of expression. Kendrick Lamar and Beyoncé, among others, are addressing African-American identity and police brutality in stirring songs like “Alright” and “Formation.” Adele and Taylor Swift are writing eloquently about female desire, while Sturgill Simpson and Kacey Musgraves are helping to overturn the gloss-country establishment in Nashville. And if guitar rock is your thing, look to Australia, where acts like Courtney Barnett, Royal Headache and Rolling Blackouts Coastal Fever are producing some of the most exciting indie-rock anthems of the decade.

The idea that these young artists should be considered alongside the Beatles and the Stones and Dylan might be easily dismissed as another form of generational bias if it came from a millennial or even a Gen-Xer. But Fusilli is a Baby Boomer who grew up in the ’60s and ’70s and has been writing about music for most of his life. He has a deep knowledge of pop history and even penned an excellent book on the Beach Boys’ “Pet Sounds” (as part of the 33 1/3 series), but more crucially he possesses a driving curiosity about the new music. That makes “Catching Up” a galvanizing read even for those listeners who can name every jazz artist on “To Pimp a Butterfly” or every sample on Kanye’s “The Life of Pablo.” But Fusilli says he wrote the book for “people who are the opposite of the Gee-Bees—that is, secure in their status and welcoming of new ideas.”

In that spirit, I’ve really enjoyed the music of John Moreland in recent weeks. This is off his 2015 album, “High on Tulsa Heat,” which I strongly recommend.

And the new Wussy album is coming out soon. The first song, “Dropping Houses” is typically great.

And in the spirit of older music you might not know if you aren’t of that age, allow me to introduce you to Sir Douglas Quintet, led by the single most underrated individual in the history of rock and roll, the late great Doug Sahm, not to mention Augie Meyers on the organ. Evidently Hugh Hefner had his own late-night show where he wore a tux, interviewed people, and danced to rock and rollers like Sir Douglas Quintet. If you look carefully, you can see Michael Caine dancing as well. 1969, what a time.

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