Popular Music journalism

1 popular

1.1 20th century rock criticism
1.2 critical trends of 21st century

1.2.1 2000s
1.2.2 2010s


1.3 gender , race theory

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20th century rock criticism

us music writer robert christgau, 1 of first rock critics in 1960s

music writers started treating pop , rock music in 1964 after breakthrough of beatles... . 1 of music magazines in britain, melody maker, complained in 1967 how newspapers , magazines continually hammering [i.e., attacking] pop music . melody maker magazine advocated new forms of pop music of late 1960s. 1999, quality press regularly carrying reviews of popular music gigs , albums , had key role in keeping pop in public eye. more pop music critics began writing, had effect of legitimating pop art form ; result, newspaper coverage shifted towards pop music rather pop social phenomenon .

in world of pop music criticism, there has tended quick turnover. pop music industry expects particular rock critic disappear popular view within 5 years; in contrast, stars of rock criticism more have long careers book contracts, featured columns, , editorial , staff positions @ magazines , newspapers. critic robert christgau originator of consumer guide approach pop music reviews , approach writing pop recording reviews designed consumers decide whether buy new album.

in realm of rock music, in of classical music, critics have not been respected subjects. frank zappa declared that, rock journalism people can t write, interviewing people can t talk, people can t read. in guns n roses song in ring , axl rose verbally attacked critics gave band negative reviews because of actions on stage; such critics andy secher, mick wall , bob guccione jr. mentioned name.

critical trends of 21st century
2000s

in 2000s, online music bloggers began supplement, , degree displace, music journalists in print media. in 2006, martin edlund of new york sun criticized trend, arguing while internet has democratized music criticism, seems s spread penchant uncritical hype .

carl wilson described upsurge in pro-pop sentiment among critics during 2000s, writing new generation [of music critics] moved positions of critical influence , mounted wholesale critique against syndrome of measuring popular music norms of rock culture .

slate magazine writer jody rosen discussed 2000s-era trends in pop music criticism in article perils of poptimism . rosen noted of debate centered on perception rock critics regard rock normative ... standard state of popular music ... else compared . @ 2006 pop critic conference, attendees discussed guilty pop pleasures, reconsidering musicians (tiny tim, dan fogelberg, phil collins) , genres (blue-eyed soul, muzak) rock critics have long dismissed lightweight, commercial music. rosen stated new critical paradigm called popism —or, more evocatively (and goofily), poptimism . poptimism approach states: pop (and, especially, hip-hop) producers important rock auteurs, beyoncé worthy of serious consideration bruce springsteen, , ascribing shame pop pleasure shameful act.

american pop music critic ann powers

in 2008, ann powers of los angeles times argued pop music critics have been contrarians , because pop music [criticism] rose challenge taste hierarchies, , has remained pugilistic, exhibitionist business throughout pop s own evolution . powers claimed [i]nsults, rejections of others authority, bratty assertions of superior knowledge , threats of physical violence stuff of pop criticism made, while @ same time, best [pop criticism] offers loving appreciation , profound insights how music creates , collides our everyday realities . stated pop criticism developed slap @ establishment, @ publications such hippie homestead rolling stone , rawker outpost creem, adding 1980s generation of post-punk indie rockers had lately (in mid-2000s) been taken down younger poptimists, argue lovers of underground rock elitists not embracing more multicultural mainstream . powers likened poptimist critics debates bands , styles scrum in rugby , in [e]verybody pushes against else, , move forward in huge blob of vehement opinion , mutual judgment .

2010s

music critic , indie pop musician scott miller, in 2010 book music: happened?, suggested, part of problem lot of vital pop music made 22-year-olds enjoy shock value, , s pathetic when elders cornered unalloyed reverence . miller suggested critics navigate problem being prepared give young artists credit terrific music without being intimidated frame of mind dark subject matter gets passing grade , stating critic should able call young artist musical genius while in same breath declaring or lyrics morally objectionable. reacting state of pop music criticism, miller identified major issue critics failure credit artist getting feeling across , pointing out critic lester bangs ball of emotion @ times , nonetheless never related favorite artists people develop skill of conveying feelings. don t feel comfortably acknowledged being moved result of honest work. artists in writing vaguely ridiculous, fascinating primitives, embodying archetype accident of nature.

jezebel s tracy moore, in 2014, suggested 1 of virtues of writing how music made 1 feel, in contrast linking sounds of other artists, avoid excluding readers may not have musical knowledge broad of writer. in contrast, miller believed analytical readers appreciate more music talk in music criticism , suggesting sensitively modest doses of musical analysis provide helpful support conclusion great melody writing occurred or didn t . example, miller noted critics identify catchy melodies specific passages within song , in way working musicians might discuss a-minor in second measure of chorus .

stevie chick, writer teaches music journalism @ city university london, said, think more other journalism, music journalism has got powerful creative writing quotient it.

tris mccall of newark star-ledger discussed approach music criticism in 2010 interview, stating, of [critics] begin writing music because love much. can t wait tell our friends , neighbors re hearing. according mccall, on course of long professional career, enthusiastic impulse share never fades . mccall expressed interest in examining why people respond respond to. hazard guesses. m wrong, hope m provocative.

gender , race theory

applying critical theory (e.g., critical gender studies , critical race theory) music journalism, academic writers suggest mutual disrespect between critics , artists 1 of many negative effects of rockism. in 2004, critic kelefa sanneh defined rockism idolizing authentic old legend (or underground hero) while mocking latest pop star... music journalism infected rockism has become, according yale professor daphne brooks, challenge of concerned historical memory , popular music performance .

simon frith noted pop , rock music closely associated gender; is, conventions of male , female behaviour . according holly kruse, both popular music articles , academic articles pop music written masculine subject positions . kembrew mcleod analyzed terms used critics differentiate between pop music , rock, finding gendered dichotomy in descriptions of serious, raw, , sincere rock music distinguished trivial , fluffy, , formulaic pop music . mcleod found cause of dichotomy lack of women writing in music journalism: 1999, number of female editors or senior writers @ rolling stone hovered around whopping 15%, [while] @ spin , raygun, [it was] 20%. criticism associated gender graphically discussed in 2014 jezebel article struggles of women in music journalism, written music critic tracy moore, editor @ nashville scene. moore described how female music blogger, admitted outsider threatened no stereotypes, greeted enthusiasm men, in contrast moore s own experiences self-described insider nevertheless expected prove or earn way male-dominated journalism scene.

according anwen crawford, music critic australia s monthly, problem women [popular music critics] our role in popular music codified long ago ; result, ...most famous rock-music critics—robert christgau, greil marcus, lester bangs, nick kent—are male . crawford points [t]he record store, guitar shop, , social media: when comes popular music, these places become stages display of male prowess , , adds, female expertise, when appears, repeatedly dismissed fraudulent. every woman has ever ventured opinion on popular music give variation [of experience] ...and becoming recognized expert (a musician, critic) not save [women] accusations of fakery.

daphne brooks, in 2008 article write rock: racial mythologies, feminist theory, , pleasures of rock music criticism , wrote in order restructure music criticism, 1 must focus on multiple counternarratives break away racial , gender biases embodied in contemporary cultural fetishizations of white male performative virtuosity , latent black male innovations . brooks focused on ways rock music criticism has shaped , continues shape our understandings of racialized music encounters, , alternative stories might tell . brooks pointed robert christgau s statement that, after beatles arrival in america, rock criticism embraced dream or metaphor of perpetual revolution. worthwhile bands supposed change people s lives, preferably better. if failed so, meant didn t matter. unsurprisingly, according brooks, history of women ve been sustaining tradition of writing rock since 60 s has been largely hidden in american culture .

brooks theorized perceptions of female artists of color might different if there more women of color writing them, , praised ellen willis significant feminist critic of rock s classic era. willis, columnist new yorker 1968 1975, believed society enlightened ecstatic experience of visions expressed through music s rhythm , noise , such joy lead people different ways of sharing. brooks wrote confluence of cultural studies, rock studies, , third wave feminist critical studies makes possible more ever continue critique , reinterrogate form , content of popular music histories . in brooks view, bravely breaking open dense equations of gender, class, power, , subcultural music scenes , music journalists, activists , critics such ellen willis have been able brilliantly, no 1 before [them], challenge intellectual , political activism , agency of entire music industry.