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Marc Brennan Thesis Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia Marc Brennan, BA (Hons) Creative Industries Research and Applications Centre (CIRAC) Thesis Submitted for the Completion of Doctor of Philosophy (Creative Industries), 2005 Writing to Reach You Keywords Journalism, Performance, Readerships, Music, Consumers, Frameworks, Publishing, Dialogue, Genre, Branding Consumption, Production, Internet, Customisation, Personalisation, Fragmentation Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. This thesis, therefore, argues that the production of music journalism is one that is influenced by the practices of consumption. Writing to Reach You Contents List of Figures and Tables Statement of Original Authorship Acknowledgements Introduction: 1 The Performances of Music Journalism: Research, Method, Overview Research Focus Research Context Cultural Studies Popular Music’s “Knowing Community” Music Journalism as a “Textual System” Discourse Methodology Case Study Textual Analysis Interviews Chapter Outline Chapter One: 29 Literature Review: Music Journalism and Academic Insights A Discourse of Music Journalism? Authenticity Postmodernism and Consumer Culture The Influence of Music and other Media The Commonality in Approaches to Music Journalism SECTION ONE: Historical and Industrial Overview Chapter Two: 45 Similarities and Differences in the Histories of Music Journalism Before the Influence of the US Underground Press Authenticity and Music Journalism: A Global Shift? New Genres, New Markets The Genre Map of the UK and Australian Music Press (2001) Chapter Three: 79 Markets, not Medium: The Structure of Music Press Publishing Production/Consumption and the ‘New Economy’ EMAP: From Medium to Markets EMAP, IPC Media: Markets and Networks and the Remnants of Australian Publishing Readerships and New Platforms SECTION TWO: Contemporary Performances of Music Journalism Chapter Four: 110 Frameworks, Readerships and Brands: The Case of the UK Rock Press A Note on Methodology The End of Year Lists – Genre The End of Year Lists – Discourse Britpop, Broadsheets, Branding and Magazine Closures The Effect of Britpop The Brands of the UK Rock Press NME Q Mojo Uncut Chapter Five: 146 Place, Timing and Relevance: The Case of the Australian Street Press The Difference with Australia Happy Hours – Pub Rock in Australia The Characteristics of the Street Press The Brisbane Street Press Features – Functionality Advertising – Relevance The Street Press as Community Media? BrisVegas! The Street Press and the Creative Economy SECTION THREE: Challenges to Established Music Journalism Chapter Six: 183 Customised and Personalised Communities: The Internet and Online Music Sites Understanding the Internet through Genre Content and Design – “purpose and form” Sites of Consumption Online Fan Sites: Redaction and Personalisation ‘Blur’ Online Chapter Seven: 212 Convince, Converse, Consume: The Contemporary Practice of Music Journalism Journalism as Dialogue Britpop – Who Needs Convincing? New Platforms for Music Journalism Conversing with Q Know Your NME Journalism, iPods and the ‘50 Quid Bloke’ Conclusion: 244 Don’t Look Back: Understanding the Future of Music Journalism List of Interviewees 259 Bibliography 260 Magazine References 271 Figure and Tables Figures 1. Music Maker Cover, June 1957 2. Go-Set, Cover, February 7, 1968 3. Revolution, Cover, January, 1971 4. Planet, Cover, Vol.2, No.24, 1972 5. Examples of the ‘Blur vs. Oasis’ Coverage 6. Profile of the NME 7. Profile of Q 8. Profile of Mojo 9. Profile of Uncut 10. Independent Record Label Advertising in the Street Press 11. Retail/Record Company Advertising in the Street Press 12. Venue Advertising in the Street Press 13. ‘Theme Nights’ Advertising in the Street Press 14. NME.com: Home Page and Features Page 15. Mojo4Music.com: Home Page and ‘Enlightenment’ 16. Uncut.net: Home Page and ‘Your Say’ 17. NME.com: The NME Shop 18. Q4Music.com: The Q Shop and the Q Gig Travel Shop 19. www.blur.co.uk: Home Page and ‘New Album’ Bulletin Board 20. www.blurtalk.com: Home Page and Discography 21. www.damon-albarn.com: Home Page and News Page 22. The NME in Reactionary Mode 23. Q: The Knowledge 24. Q: How Was it for You? 25. NME’s Report on the Coverage of The White Stripes Tables 1. Interviews Conducted with UK Music Journalists 2. Interviews Conducted with Australian Music Journalists 3. UK Music Press Map as at January 2001 4. Australian Music Press Map as at January 2001 5. 1990 End of Year Lists by Genre 6. 1995 End of Year Lists by Genre 7. 2000 End of Year Lists by Genre 8. Percentage of Genre Allocation per Title 9. NME’s Circulation History 10. Q’s Circulation History 11. Mojo’s Circulation History 12. Uncut’s Circulation History Acknowledgements The completion of this thesis would not have been possible without the help of my two supervisors. Thank you to Professor John Hartley whose thoughts and ideas drew me into academia in the first place, and who helped me as researcher to develop my own. My thanks to Dr Christina Spurgeon who over the past four years has spent endless hours reading drafts to help me clarify my ideas. Your relentless enthusiasm made the process just that little bit easier. My thanks to those at the Creative Industries Research and Applications Centre (CIRAC), in particular to Associate Professor Brad Haseman, who continually offered support through the PhD process. Thank you especially to Professor Michael Bromley, Brad Haseman, Dr Jillian Clare and Stephen Thompson whose feedback and comments on an earlier version of this thesis contributed to the final product that is presented here. To those ‘behind the scenes’ – David and Rachel Breen, Ann Willis, Catherine Breen, Cath Hart, Craig Glamuzina, Brady Mutch, Carl Forte, Stephen Nicholls, Karen Williams, the Westside Posse, my colleagues at QUT and University of Sydney – thank you for your support. Thank you to all of the music journalists who were interviewed for this thesis. You thoughts, comments, ideas and arguments have always inspired me and your contribution to the work that follows is invaluable. And of course to my partner Alan whose intelligence, wit and drive makes the academic world a better place. Your tolerance of my foul moods and your support throughout this thesis is undoubtedly the reason why I am where I am today. Cheers me dear. Introduction The Performances of Music Journalism: Research, Method, Overview At the beginning of 2001, music journalism briefly became a topic of interest for news journalists in both the UK and to a lesser extent, Australia. Nostalgic and pessimistic, the reports were based around two events that occurred within months of each other. The first of these was the closure of Melody Maker, the world’s oldest music title, that ceased trading along with the decade old Select at the end of 2000. Declining circulation figures were cited as the reason for closures, but the release of the film Almost Famous at the same time added another dimension to the situation. Almost Famous is a story of a young man given his first assignment as a music journalist and follows him on his adventures on tour with a rock band struggling for mass popularity. Set in the early 1970s, the film is overtly nostalgic and refers to an ideal of music journalism that was autonomous and artistic, and one that was free from the demands of the publishing and music industries. As a text, the film provided a narrative that stood in contrast to the contemporary practice of music journalism, and it is this contrast that provided commentators with a contextual framework to examine what were deemed to be the inadequacies of the music press. Representative of the commentary in the UK news press at this time was Mulholland’s (2001) observation that just as Almost Famous “has raised the profile of the humble music hack to hitherto unimagined heights, the British music press is in crisis”(np). Additionally, the author went on to imply that people were no longer reading magazines due to a lack of “rock ‘n’ roll personalities – of decent copy” (np). This view was held by other commentators who argue that “more than any other sector, music magazines rise and fall by the popularity of the music they cover” (Dance Mags Climb, 2001). Academic investigations, too, weighed in on the state of the music press and music journalism in the UK. Forde (2001), for example, argues that in an increasingly overcrowded market, personality journalism, that had been so central to the UK music press in its halcyon days and was evoked as the music journalism ideal in Almost Famous, was being “superseded by a single branded magazine identity” (p.23). In Forde’s summation it is the commercial interests of publishers of the UK consumer music press that contribute to the declining standards of music journalism in that country.
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