The Online Library of Music Journalism “An Essential Resource” – Library Journal
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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. -
Marc Zermati
Marc Zermati: farewell to the 'hippest man in Paris' Zermati, who has died aged 74, was an anglophile dandy whose label Skydog crashlanded rock’n’roll into conservative France Andrew Gallix Wed 17 Jun 2020 13.42 BST arc Zermati, who died of a heart attack on Saturday at the age of 74, was a true underground legend: a national treasure France had never heard of and probably did not deserve. Rock Is My Life – the title of a 2008 exhibition celebrating his career on the radical fringes of the music business – would serve as a fitting M epitaph. Skydog, which Zermati co-created with Pieter Meulenbrock in 1972, was the first modern indie label, directly inspiring the launch of Chiswick and Stiff in England – its most successful release was the Stooges’ Metallic KO in 1976. As a promoter Zermati organised the world’s first punk festival, at Mont-de-Marsan, and introduced bands such as the Clash to a French audience. His heroin addiction and wheeler-dealing landed him on the wrong side of the law, and in latter years his curmudgeonly rightwing views alienated many people. But as one of the earliest champions of punk his importance in rock history cannot be overstated; if cut, he would have bled vinyl. Zermati was born into a family of Sepharadi Jews in Algiers. Growing up against the bloody background of the war of independence, he took refuge in rock’n’roll records imported from the US, which were more readily available – as he often boasted – than in metropolitan France. Like so many other pieds-noirs (the name given to people of European origin born in Algeria under French rule) the family fled to la métropole in 1962, when the country gained independence. -
Art to Commerce: the Trajectory of Popular Music Criticism
Art to Commerce: The Trajectory of Popular Music Criticism Thomas Conner and Steve Jones University of Illinois at Chicago [email protected] / [email protected] Abstract This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts. Keywords: music journalism, popular music criticism, rock criticism, Rock’s Backpages Though scant scholarship directly addresses this subject, music journalists and bloggers have identified a trend in recent years toward commerce-specific framing when writing about artists, recording and performance. Most music journalists, according to Willoughby (2011), “are writing quasi shareholder reports that chart the movements of artists’ commercial careers” instead of artistic criticism. While there may be many reasons for such a trend, such as the Internet’s rise to prominence not only as a medium for distribution of music but also as a medium for distribution of information about music, might it be possible to discern such a trend? Our goal with the research reported here was an attempt to empirically determine whether such a trend exists and, if so, the extent to which it does. -
A Music Critic on His First Love, Which Was Reading
them over, and get its mitts on record distribution in the bargain. Nor is it all about the Benjamins. If by popular music you mean domestic palliatives from “Home Sweet to Celine Dion, OK, that’s another realm. But most of what’s now played in concert halls and honored at the Kennedy Center has its roots in antisocial impulses—in a carpe diem hedonism that is a way of life for violent men with money to burn who know damn well they’re destined for prison or the morgue. Most music books assume or briefly acknowledge these inconvenient facts when they don’t ignore them altogether. But they’re central to two recent histories and two recent memoirs, all highly recommended. Memphis-based Preston Lauterbach’s The Chitlin’ Circuit and the Roots of Rock ’n’ Roll For anyone who cares about the history of pop—and also, in a better world, anyone relishes the criminal origins of a mostly southern black club scene from the early ’30s to who cares about the history of the avant-garde—Between Montmartre and the Mudd the late ’60s. Journalist-bizzer Dan Charnas’s history of the hip-hop industry, The Big has a big story to tell. Popular music is generally identified with the rise of Payback, steers clear of much small-timeClub thuggery and leaves brutal LA label boss Suge Knight to Ronin Ro’s Have Gun, Willsong Travel, publishing butROBERT plenty and of piano crime manufacture stories rise up inas theprofits mid-nineteenth century. But starting snowball. Ice-T’s Ice devotes twenty-fivein the 1880s, steely artists pages toand the other lucrative fringe-dwelling heisting operation weirdos have been active as pop the rapper-actor ran before he madeperformers, music his composers, job. -
SYS-Programma-6-2020.Pdf
SEEYOUSO U N D™ INTERNATIONAL MUSIC FILM FESTIVAL THE HEART OF RUM RONDIPLOMATICO.COM P DIPLOMATICO_IT M FACEBOOK.COM/DIPLOMATICOIT IMPORTATO E DISTRIBUITO DA COMPAGNIA DEI CARAIBI - WWW.COMPAGNIADEICARAIBI.COM - BEVI RUM DIPLOMÁTICO RESPONSABILMENTE Seeyousound VI 4 Istituzioni 8 Giurie 10 Into the Groove 16 Trans-Global Express 34 LP Doc 44 LP Feature 52 7inch 60 Soundies 70 Frequencies 78 Eventi e Proiezioni Speciali 80 Opening & Closing Party 89 Programma 91 Thanks&Partners 96 Tickets&Info 97 Credits 98 3 + SEEYOUSOUND VI EDITION TURIN In astronomia il numero 6 indica l’Ammasso della Farfalla, una nebulosa di stelle particolarmente brillante e ricca. Ecco, direi che se penso a ciò che è diventato Seeyousound in questi primi sei anni di vita, mi viene facile paragonarlo ad un ammasso di stelle brillanti. Abbiamo lavorato sullo staff, formando professionisti che oggi lavorano con le più importanti realtà culturali locali e nazionali. Si è costruita una diffusa rete di relazioni con festival, fondazioni, musei, istituzioni e organizzazioni che negli anni si è consolidata ed oggi rappresenta un bene prezioso fatto di scambi e progettualità culturale condivisa. Abbiamo creduto e investito in un progetto ambizioso di sviluppo nazionale della rete dei nostri festival, che oggi rappresenta un unicum nel panorama culturale nazionale ed è stato oggetto di studio da parte dell’Università Bocconi di Milano. Infine, abbiamo dialogato costantemente con il nostro pubblico, per intercettarne le aspettative e realizzarne i desideri. Il futuro è ancora da venire ed il passato è alle spalle, quindi, per il momento, godiamoci lo spettacolo: stay fresh, stay SYS. -
Book Proposal 3
Rock and Roll has Tender Moments too... ! Photographs by Chalkie Davies 1973-1988 ! For as long as I can remember people have suggested that I write a book, citing both my exploits in Rock and Roll from 1973-1988 and my story telling abilities. After all, with my position as staff photographer on the NME and later The Face and Arena, I collected pop stars like others collected stamps, I was not happy until I had photographed everyone who interested me. However, given that the access I had to my friends and clients was often unlimited and 24/7 I did not feel it was fair to them that I should write it all down. I refused all offers. Then in 2010 I was approached by the National Museum of Wales, they wanted to put on a retrospective of my work, this gave me a special opportunity. In 1988 I gave up Rock and Roll, I no longer enjoyed the music and, quite simply, too many of my friends had died, I feared I might be next. So I put all of my negatives into storage at a friends Studio and decided that maybe 25 years later the images you see here might be of some cultural significance, that they might be seen as more than just pictures of Rock Stars, Pop Bands and Punks. That they even might be worthy of a Museum. So when the Museum approached me three years ago with the idea of a large six month Retrospective in 2015 I agreed, and thought of doing the usual thing and making a Catalogue. -
6. the Evolving Role of Music Journalism Zachary Woolfe and Alex Ross
Classical Music Contemporary Perspectives and Challenges Classical Music This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from Contemporary Perspectives and Challenges leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music Classical Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences. Edited by Paul Boghossian Michael Beckerman Julius Silver Professor of Philosophy Carroll and Milton Petrie Professor and Chair; Director, Global Institute for of Music and Chair; Collegiate Advanced Study, New York University Professor, New York University This is the author-approved edition of this Open Access title. As with all Open Book publications, this entire book is available to read for free on the publisher’s website. -
Gonzo Weekly #363/4
Subscribe to Gonzo Weekly http://eepurl.com/r-VTD Subscribe to Gonzo Daily http://eepurl.com/OvPez Gonzo Facebook Group https://www.facebook.com/ groups/287744711294595/ Gonzo Weekly on Twitter https://twitter.com/gonzoweekly Gonzo Multimedia (UK) http://www.gonzomultimedia.co.uk/ Gonzo Multimedia (USA) http://www.gonzomultimedia.com/ Gonzo Daily Blog https://gonzo-multimedia.blogspot.com/ fellow when – last week – I sat down and wrote my editorial for this issue. But, as you have probably guessed, I have been overtaken by events. Dear friends, Nearly 22 years ago, I was deep in the At least once a year I end up having to Mexican desert with my partner in crime write two editorials. This is usually, as in Graham Inglis. I can’t remember exactly this case, because I have been overtaken by what happened, but something went events. terribly wrong with the equipment of the film crew with whom we were making a This week and last week I have been documentary for UK Channel 4. We were without a secretary, because Olivia is in a steep valley full of cactuses, and we starting a new job, and although she will coined a silly phrase which has become still be doing a day a week working for me, part of our parlance ever since about things she is working full time for the first couple having gone Prickly Pear Shaped. And I of weeks as she goes through induction. guess that has been the way things have gone within my life ever since. So, I thought I was being a diligent young “It is with great sadness that we received the news of the passing of John Brodie Good, aged 61, who died peacefully last Tuesday evening, 29th October, following a heart attack. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 11 LOUIE LOUIE, The Kingsmen Produced by Ken Chase and Jerry Dennon; written by Richard Berry Wand 143 1963 Billboard: #2 Really stupid, really great. Not really dirty, but so what? "Louie Louie" is the most profound and sublime expression of rock and roll's ability to create something from nothing. Built up from a Morse code beat and a "dub duh dub" refrain, with scratchy lead vocal, tacky electric piano, relentless rhythm guitar, and drums that sound like the guy who's playing 'em isn't sure what comes next, "Louie Louie" scales the heights of trash rock to challenge the credentials of all latter-day rockers: If you don't love it, you've missed the point of the whole thing. Naturally, this Parthenon of Pop didn't spring from the head of the Muse. A Muse would probably have slain it on sight, or passed away herself from the shock of something so crude and fine. "Louie Louie" was born in much more prosaic circumstances, as the B side of "You Are My Sunshine," an R&B version of the Jimmie Davis country standard recorded by Richard Berry and the Pharoahs and released on Flip Records in 1956. Berry was a veteran Los Angeles session singer who'd sung lead on the Robins ' "Riot in Cell Block #9," the first big hit for producers Jerry Leiber and Mike Stoller. The Pharoahs were Berry's cohorts of the day, Flip his patron of the moment. "You Are My Sunshine" made only a small buzz but when L.A. -
The BG News January 31, 1980
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 1-31-1980 The BG News January 31, 1980 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News January 31, 1980" (1980). BG News (Student Newspaper). 3698. https://scholarworks.bgsu.edu/bg-news/3698 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. The 3*G He ws Bowling TSrccn State University Freshmen career goals reflect changing economy by Denlta Sakal "There is an American myth that stall raporter Profs say students now more materialistic than 10 years ago life in the business world is dull. Business is interesting, and a very coordinator of career development ever wanted. In fact, young people is a reflection of hearsay about the CASEY SAID one reason for meaningul life can be lived in it," A national survey of college and counseling psychologist, said today are even settling for less," job market. the general increase in business she continued. freshmen suggests that this year's the increase in those persons seek- Wygant said. "Women's horizons have expand- studies is the need to enter a class-especially women-are more ing business degrees is in accor- One of the major findings of the ed. -
1 When They Said Sit Down, I Stood Up
1 When They Said Sit Down, I Stood Up: Springsteen’s Social Conscience, Activism, and Fan Response Susan Hamburger, Ph.D. The Pennsylvania State University “Glory Days: A Bruce Springsteen Symposium” Monmouth University, West Long Branch, New Jersey September 9, 2005 Bruce Springsteen’s increasing politicization from supporting other musicians’ causes (No Nukes and Amnesty International) to social issues he personally embraces (food banks) inspires audiences to follow his lead with charitable causes. Whether donating food, money, or labor to community food banks, raising money for the Kristen Ann Carr Fund for cancer research, or saving the Tillie façade on Palace Amusements, Springsteen’s fans draw inspiration from his example. Yet dissention among fans arose when Bruce joined Vote for Change to actively campaign for John Kerry. This paper explores the interplay between Bruce’s activism and fan reaction. From singing at the No Nukes concerts to food bank exhortations from the stage to actively campaigning for John Kerry, Bruce Springsteen has consciously and thoughtfully selected the causes he supports and speaks out on behalf of. Although Bruce played at a benefit for presidential candidate, George McGovern in 1972, he did not involve himself in politics or causes, keeping a low profile. Beginning with the Musicians United for Safe Energy (M.U.S.E.) anti-nuclear benefit concerts, September 22-23, 1979, 2 filmed and released as No Nukes, Bruce’s association with grassroots activism and benefit concerts set the stage for his first phase of charitable work—showing up and playing music. By lending his musicianship to the benefit, Bruce implied that he supported the anti-nuclear movement yet he did not speak out on M.U.S.E.’s behalf either in the concert program or from the stage. -
A Chapter in Rock History Auringer’S Photos, Design Work Featured in CREEM Tribute Book
LapeerArea Thursday, December 13, 2007 VIEW Section C A chapter in rock history Auringer’s photos, design work featured in CREEM tribute book BY MIKE ARNHOLT from view. VIEW Editor CREEM has now been LAPEER — The resurrected publication this on a new month of a tribute website www. to the “golden age” creem maga- of rock ‘n’ roll, zine. com and Detroit style CREEM: with the new America’s Only Rock HarperCollins ‘n’ Roll Magazine, hit book by another bookstores across the former CREEM country with a strong photographer, local connection. Robert Matheu, Hadley native, Lapeer look of CREEM, and his along with Brian High 1964 grad and now J. Bowe. This col- VIEW Production Manager orfull hardcover Charlie Auringer was an coffeetable book integral part of CREEM for features historical its first 17 years. and I was reprints of stories, In 1964, Charlie left always too tired to party with covers and photos Lapeer and headed off to the the band.” from its beginning with com- Detroit to college at Wayne legendary Grande The years he spent at mentary from the editors and State. Ballroom, Olympia Stadium CREEM are a slice of history artists who were in CREEM He was caught up in the and Cobo Hall, including Jeff today, but at the time “We over the years. energy and excitement of Beck with Rod Stewart, Elvis were just having a lot of Charlie’s passion for design concerts by Bob Dylan, The and Cream, among others. fun,” Charlie says. remained, and he moved on Beatles and others. CREEM went national in His concert photos were to design Detroit’s alternative “It was the music that 1971 and Charlie pho- Auringer and two of his pho- electric, but he had fun with newspaper, Metro Times.