Music Journalism
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Can Pete Paphides outdo Spotify's Discover Weekly?

Can Pete Paphides outdo Spotify's Discover Weekly? | Music Journalism | Scoop.it
Curators v computers: music journalist Pete Paphides goes head to head with Spotify’s Discover Weekly feature in a bid to beat its algorithm and nail a music lover’s taste
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Music blogs | How to edit music criticism | COLLAPSE BOARD

Music blogs | How to edit music criticism | COLLAPSE BOARD | Music Journalism | Scoop.it
Top U.S. music critic Scott Creney offers some pungent advice on How To Be A Music Critic
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What did Pitchfork get right when most music magazines are losing sales? | Media | The Guardian

What did Pitchfork get right when most music magazines are losing sales? | Media | The Guardian | Music Journalism | Scoop.it
The US indie website, bought this week by the publisher of Vogue, continues growing as the NME goes free, and Q and Mojo’s print circulations slide
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The World Needs Female Rock Critics - The New Yorker

The World Needs Female Rock Critics - The New Yorker | Music Journalism | Scoop.it

en sayRock music has rarely offered women the same tangible promise of social rebellion and sexual freedom that it has given men—though plenty of women, myself included, have tried all the same to find those liberties in it.

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Been saying this for years... the world also needs a less masculine language through which music critics express themselves

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Did Pitchfork Kill the Rock Critic? The changing landscape of music journalism

Did Pitchfork Kill the Rock Critic? The changing landscape of music journalism | Music Journalism | Scoop.it
By Alex Baumgardner

If Horatio Alger had read the Pitchfork story, he might have dropped to his knees and wept.
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Perspective: Simon Price - Crack Magazine

Perspective: Simon Price - Crack Magazine | Music Journalism | Scoop.it
Simon Price is one of the most respected (and loathed) music critics in the UK.
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Don't think Simon is loathed... some interesting points here though

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Word Up! 2015: Why Music Criticism Matters - YouTube

With panellists Alexis Petridis (Head Music Critic, The Guardian), Michael Cragg (Features Editor, Popjustice) Mike Diver (Online Editor, Clash, SSU), Dom La...
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NME denies reports that it will go free after slump in sales - The Independent

NME denies reports that it will go free after slump in sales - The Independent | Music Journalism | Scoop.it
Venerable music magazine NME has denied reports that it is to become a free publication, after its sales crashed to a record low.
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Music Criticism Has Degenerated Into Lifestyle Reporting

Music Criticism Has Degenerated Into Lifestyle Reporting | Music Journalism | Scoop.it
In the new paradigm, artists generate coverage by their clothes, hook-ups, and run-ins with the law. What happened to the music?
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Pop Music Critic Leaves The New Yorker to Annotate Lyrics for a Start-Up

Pop Music Critic Leaves The New Yorker to Annotate Lyrics for a Start-Up | Music Journalism | Scoop.it
Sasha Frere-Jones will be an executive editor at Genius, a website founded on the idea of annotating rap lyrics that is mounting an ambitious expansion.
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The Quietus | Opinion | Black Sky Thinking | How The Baby Boomers Stole Music With Myths Of A Golden Age

The Quietus | Opinion | Black Sky Thinking | How The Baby Boomers Stole Music With Myths Of A Golden Age | Music Journalism | Scoop.it
In an extract from the Quietus' new eBook, Luke Turner despairs of John Lennon tooth cloning and the cultural stranglehold the baby boomer generation have over culture and the media...
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Some interesting ideas here...
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Consumer Insights: The Music Experience in 2014 - Viacom Corporate

Consumer Insights: The Music Experience in 2014 - Viacom Corporate | Music Journalism | Scoop.it
Today, music is as emotionally relevant as ever – and consumers have a myriad of ways to experience it, from streaming and downloading to live concerts and more. Thanks to social media, fans also have unprecedented access to their favorite artists.
Martin James's insight:
Some interesting insight into music consumption which does if course have direct links to how we approach music journalism
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Opinion: In Defense of Music Writing Outside Legacy Media

Opinion: In Defense of Music Writing Outside Legacy Media | Music Journalism | Scoop.it

yThe state of music criticism is in the toilet, according to Ted Gioia. Or it’s never been better, at least when it comes to pop, if you agree with Jody Rosen’s side of the polemic. But if you’re a music journalist or editor of color, you know these are two somewhat narrow views of a much wider landscape. You might be wondering what’s the use of a music critic nowadays, if listeners are bombarded with ever more algorithms to personalize and curate their tastes on Pandora, Spotify, iTunes and the like. But human critics can beat recommendation machines at finding the tasty nugget you didn’t know you were going to like, or to understand a bit more of the “how” and “why” different types of music work — or not. Gioia, a veteran jazz critic, says that contemporary music criticism has decayed into mere lifestyle and gossip writing: discussing how Kanye references Louis Vuitton in a song but not its keys, harmony, technique, or musical influences, for example. It’s easy to agree with Gioia’s claim that more musical knowledge would improve a whole lot of writing about popular music. But beyond that, his rant against writing about the cultural fabric that pop songs are woven into is a bit of a throwback. That tradition of music criticism —especially when you’re talking about pop music— is not precisely new, and its products deserve equal respect as a review that only considered the musical aspects of a piece of pop music (just ask Greil Marcus). And while we can agree that coverage of music and other arts now leans more towards vapid celebrity worship, this plays out differently when you look beyond legacy media. Gioia and Rosen are so into showing off their music macher bona fides, and their shelfies, that they neglected to recap the state of music writing telenovela for those who haven’t tuned in to the developments of the last 15 or 20 years. In short, alternative weeklies and mass-market newspaper features sections shriveled. And while online outlets opened up space for thousands of new voices, they quickly drowned each other out. What’s more: the click-hungry, attention-starving nature of the internet has quickly turned many music writers into people looking for epiphanies where they otherwise might see only average records. But even online, where no one knows you’re a dog (or a “foreigner,” as many Latinos are considered regardless of where they were born), the place where you come from or live in matters — and so does the language you write in. Rosen accuses Gioia of not referencing any specific music writers, then proceeds to name-check critics in just three kingdoms of the cultural reporting Westeros — House New York Times, House New Yorker and House Village Voice. That completely leaves out anyone who doesn’t work for legacy media, or who knows about and cares about music beyond the pop/hip-hop/country spectrum that takes up most of the space in those publications. And even when those writers take up the occasional Latin or “world” music piece, they sometimes produce some cringe-worthy moments. No self-respecting Latino music critic would have described King of Cursi Ricardo Arjona as “one of Latin pop’s finest lyricists” after he sold out Madison Square Garden. But a certain New York Times critic did, and no one called him on it. So can we talk about that lack of musical knowledge? Latino writers, and writers from other communities living the bicultural life, have long had to master twice the material to get half the attention. If you present yourself as a “Latin music critic” within the U.S. mainstream (read: English-language) media market, you’re expected to know all about Latin pop, salsa, bachata, rock en español, flamenco, regional Mexican music, the multiple genres of Cuba and Colombia, and even music from Brazil — which is almost a musical continent in itself. Plus, you need to understand how U.S.-based Latin artists draw from a variety of American musical traditions (which sometimes includes all-American salsa and all-American conjunto). And don’t forget to have in your pocket handy translations from one national context to another (every country has its own Bob Dylan or Beatles). The same goes for writers involved with contemporary music from other parts of the world, who have to know their chaabi from their rai, and their kuduro from their baile funk. Norteño acts like Los Tigres del Norte sell out scores of arenas yearly. Chilean singer/rapper Ana Tijoux was making crossover waves way before she appeared in the “Breaking Bad “soundtrack. But writers who caught on to them early and smartly, such as Ramiro Burr or NPR’s Alt.Latino crew, get no recognition in this state-of-music-writing tally. Nor do the writers and sites that have consistently championed and dug into what’s new and noteworthy in the Latin American diaspora, such as Club Fonograma and, surprisingly, the energy-drink-sponsored Red Bull Panamerika. Nor do writers who operate outside of legacy media staff jobs, like Julianne Escobedo Shepherd or Wayne Marshall. Nor do newer magazines and sites that go short more than long, like The Fader, MTV Iggy or Sounds and Colours. And that goes double if you’re writing in Spanish. The internet was supposed to erase all national boundaries and open up a space for smart, dedicated writers. But which U.S. critics bother to read, even via Google translate, sites like La Banda Elástica? It’s still tough to get much of the U.S. public to pay attention to music sung in other languages, barring the occasional crossover hit or dance craze (e.g., Gangnam Style), but a well-informed music critic can still be a guide to bits of fun and joy outside the well-trodden path. And that’s a function worth keeping. Lifestyle reporting and poptimism may rule the writing venues that Gioia and Rosen are arguing over, but for the rest of us, there’s plenty to read and recommend to maintain a well-balanced music crit diet. Carolina González is a freelance writer who’s written about music on and off since the 80s in newspapers, magazines, online and in public radio. José Manuel Simián is executive editor of culture and lifestyle website Manero and a freelance writer

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Good music writing is just a click away...

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Robert Hilburn On Being a Music Journalist - YouTube

In this clip from www.artisthousemusic.org - Robert Hilburn, music journalist for the LA Times, describes the job of a music journalist. Robert believes the ...
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NME: How a Music Magazine Took Indie into the Mainstream | NOISEY

NME: How a Music Magazine Took Indie into the Mainstream | NOISEY | Music Journalism | Scoop.it
From punk in the 70s, the indie explosion of the 00s, to Chris Moyles peeping out from underneath a bank worker’s train seat, NME Magazine has changed beyond recognition.
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Hot Stuff: Disco and the Remaking of American Culture eBook: Alice Echols: Amazon.co.uk: Books

Hot Stuff: Disco and the Remaking of American Culture eBook: Alice Echols: Amazon.co.uk: Books
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‘It was a classic case of naive creatives, not protecting what they’d got’

‘It was a classic case of naive creatives, not protecting what they’d got’ | Music Journalism | Scoop.it
Shindig!’s Jon Mills and Andy Morten on the perils of striking a magazine publishing deal without the proper paperwork
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The latest on the Shindig story...

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Shindig magazine takeover and rebranding

Shindig magazine takeover and rebranding | Music Journalism | Scoop.it
There’s something going on that I feel I need to share with readers of this blog as it involves a magazine that I’m very fond of and, of late, have had dealings with. Shindig! is one of the only music magazines I regularly read, possibly the most informative about certain areas of music I’m particularly interested in, but also one that has recently been the subject of a sudden takeover by their publisher. A little history: Shindig! started out as a fanzine, edited by Jon ‘Mojo’ Mills and Andrew Morten, specialising in Psych, Garage, Beat, Powerpop, Soul and Folk. Volcano Publishing started working with them in 2007, initially publishing six times a year and getting them into record stores and newsagents, inc. WH Smiths. The mag then went monthly and, despite heavily focusing on 60s and 70s artists, also embraced the new and covered many new bands making music in these styles which is what initially drew me to it in 2013 when they featured Broadcast, Ghost Box, Giallo soundtracks and more. Earlier this week news started to filter out that the next issue (original cover above) had been doctored by the publisher without the editor’s consent and rebranded as ‘Kaleidoscope’ (incorporating Shindig!). Relations between the mag and the publisher had been rocky for some time and things had come to a head to the effect that Volcano Publishing had taken control of the mag, re-titling it as they don’t own the name Shindig!, cutting off email addresses and re-routing Shindig’s website address to their new ‘Kaleidoscope’ pages. See ...Read more…
Martin James's insight:

The small part of me that worked in publishing gets this... the larger part of me that believes in editorial teams should be involved in major decisions like this. Especially if they founded the magazine in the first place. It's all a bit like football management

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Richard Goldstein's 'Another Little Piece of My Heart' recalls '60s

Richard Goldstein's 'Another Little Piece of My Heart' recalls '60s | Music Journalism | Scoop.it
For Richard Goldstein, one of the earliest practitioners in the burgeoning field that would come to be known as rock criticism, writing about music was a lifeline. Fresh out of Columbia University's journalism school in 1966, the utopian energies of rock provided a window through which he could glimpse a very different kind of future being born. And he recognized instinctively that this new music required a new kind of writing to comprehend it. So he invented it.
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Did rock critcism really start in the US?

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How Rap Genius and explainer sites are killing music journalism

How Rap Genius and explainer sites are killing music journalism | Music Journalism | Scoop.it
“"RapGenius.com is white devil sophistry / Urban Dictionary is for demons with college degrees" - Kool AD, "Middle of the Cake" Last year, jazz critic and music historian Ted Gioia wrote a widely-re...”
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Creative industries worth to UK economy reaches record high

Creative industries worth to UK economy reaches record high | Music Journalism | Scoop.it
Music, film, TV, video games and books now worth £76.9bn per year or £8.8m per hour

Via Bruno Crolot
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Paul Morley: ‘Pop belongs to the last century. Classical music is more relevant to the future’

Paul Morley: ‘Pop belongs to the last century. Classical music is more relevant to the future’ | Music Journalism | Scoop.it
For years, rock critic Paul Morley viewed classical music as a pompous art form of the past. So why does the former NME writer now believe it is so revolutionary?
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Interesting... 

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Consumer Insights: The Music Experience in 2014 - Viacom Corporate

Consumer Insights: The Music Experience in 2014 - Viacom Corporate | Music Journalism | Scoop.it
Today, music is as emotionally relevant as ever – and consumers have a myriad of ways to experience it, from streaming and downloading to live concerts and more. Thanks to social media, fans also have unprecedented access to their favorite artists.
Martin James's insight:
Some interesting insight into music consumption which does if course have direct links to how we approach music journalism
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