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The Slow Death of Everett True: a Metacriticism

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The Slow Death of Everett True: a Metacriticism The slow death of Everett True: A metacriticism Jeremy Thackray A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Creative Industries Faculty Queensland University of Technology 2016 1 Abstract This thesis problematises and investigates the role of the popular music critic in Web 2.0 environments. It does so through an act of metacriticism grounded in my experience as an internationally successful popular music critic for major print publications including NME, Rolling Stone, and Melody Maker. The reflective aspect of the metacriticism is triangulated through interviews with other notable music critics, through a dialectical approach to role definition grounded in the literature, and through the ongoing experiment of Collapse Board, a music blogging site I set up to experience the new environment from the “inside”. Popular music critics have customarily been seen as gatekeepers of ‘cool’ and arbiters of taste. The industrial structure of print allowed critics to earn a living from their craft. The print environment was defined by limited outlets and large readerships with limited access to information. In that environment popular music criticism helped mould the ways popular music was received, consumed, and contextualised. This project asks whether the same holds true in Web 2.0 environments in which audiences have access to the same sources of information through which critics formerly derived their knowledge, authority, and influence. The thesis concludes that there are four major roles of relevance to the critic in the new media environments: bespoke criticism, music critic as fan, music criticism as entertainment, and the music critic as ‘firestarter’. I explain those roles and theorise the various strategies they imply. This doctorate addresses a gap in knowledge around the role of the critic in music taste formation for emerging online environments and thus has significance for the fields of music, music criticism, and all creative fields in which the role of criticism has been key to the success of art and artists. Key words: popular music criticism, web 2.0 environments, user-generated content, popular music, online, blogging, rock music, music journalism, authority, influence, authenticity, rock criticism, music criticism 2.0, firestarters, bespoke criticism, fandom 2 Statement of Originality The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made. Signature: QUT Verified Signature Date: 13 April 2016 3 Table of Contents Abstract ........................................................................................................................... 2 Statement of Originality ................................................................................................. 3 Acknowledgements ......................................................................................................... 7 Preface ............................................................................................................................. 9 1. Introduction .............................................................................................................. 14 Metacritical Analysis ............................................................................................................ 20 Theories of Taste Formation ................................................................................................ 24 Legitimacy .......................................................................................................................... 27 The democratisation of music criticism .............................................................................. 30 Definition as theme ............................................................................................................... 33 Popular music criticism: a very brief historical overview .................................................. 39 A note on ‘popular music’ .................................................................................................. 41 A definition of ‘citizen criticism’ ....................................................................................... 42 Chapter breakdown .............................................................................................................. 43 2. Literature Review ..................................................................................................... 47 Gap in Knowledge ................................................................................................................. 47 The emergence of web 2.0 environments ............................................................................ 60 The illusion of authenticity and music criticism ................................................................ 74 3. The Role of Popular Music Critics in pre-web 2.0 environments ........................ 80 Introduction ........................................................................................................................... 80 The career path of Everett True .......................................................................................... 81 The decline in power of the tastemaker music critic in pre-web 2.0 environments ........ 86 4. Music Criticism, Opinion and the Illusion of Authenticity .................................. 91 Introduction ........................................................................................................................... 91 The problem with authenticity ............................................................................................ 91 The career path of the popular music critic in print media .............................................. 98 A brief aside about platforms and authority ..................................................................... 107 Authenticity and the slow death of Everett True .............................................................. 109 The difference between criticism and opinion .................................................................. 115 Ability to contextualise ..................................................................................................... 116 Ability to construct an argument ...................................................................................... 118 Ability to write ‘well’ ....................................................................................................... 122 Ability to construct authority ............................................................................................ 125 4 Ability to express an opinion and ‘interpret’ music ......................................................... 126 5. The Changing Role (and Value) of Web 2.0 Music Critics ................................. 129 Introduction ......................................................................................................................... 129 Theorising the role of music criticism 2.0 ......................................................................... 129 Bespoke criticism ............................................................................................................. 136 Music criticism as multilogue .......................................................................................... 141 Power Relations and criticism in Web 2.0 ........................................................................ 143 The music critic as conversation-starter ........................................................................... 148 The music critic as troll-David ......................................................................................... 149 “Do all careers in music journalism end in failure?” ........................................................ 152 6. The Function of Music Criticism 2.0 .................................................................... 156 Introduction ......................................................................................................................... 156 Consumer Guide vs Bespoke music criticism .................................................................. 159 Music criticism as entertainment—’let me entertain you’ ............................................... 162 The music critic as ‘firestarter’ ......................................................................................... 164 7. Conclusions ............................................................................................................. 168 Prologue ............................................................................................................................... 168 Introduction ......................................................................................................................... 168 Perceptions of music criticism .......................................................................................... 170 Do the principles of popular music criticism apply in web 2.0 environments? ................ 172 Everett True is dead .......................................................................................................... 173 The multilogue.................................................................................................................. 174 Importance of study ...........................................................................................................
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