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Re: URL-Chicago rock-crit link

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  • Perfect Sound Forever
    I ve been having a lot of arguments with other writers about this- interesting split that half the
    Message 1 of 6 , Dec 3, 2002
      <http://www.chicagomag.com/pressbox/pressbox_story.htm#more>


      I've been having a lot of arguments with other writers about this-
      interesting split that half the people think that these guys are full of
      themselves (and full of shit) while the other half think they're fine
      with what they're saying (with some exceptions).

      I'm leaning toward the former view (they're full of it), especially
      where they're asked "Does working in Chicago affect your writing?" and
      suddenly, their ugly sides come out. Even as a New York writer, I'm
      fine with admitting that Derogatis is right about a cultural writing
      elite here: I saw that in full force at a recent Spin/Blender
      battle-of-the-bands and it made me want to vomit. I think it's the same
      to some extent everywhere though (more in NY though since many major
      mags are HQ'd here) and the panel goes on to prove it by touting their
      own Chicago clique.

      I think that Chicago has a really interesting, thriving music scene (for
      a long time now actually) and they have a right to blow their own
      trumpet about it. My only problem is when they try to parade around
      like they're the best thing going- that's what they seem to be accusing
      NY of.

      Also, when they slam Jon Parales at the NY Times for not being a real NY
      writer, Derogatis and Kot fail to mention that a lot of what they cover
      is not Chicago music. Like Parales, they cover new releases and acts
      that happen to be rolling into town. Peter at the Chicago Reader does
      cover more local stuff but so do less national papers in NY.

      It's a shame because the rest of the time that they're talking there,
      they come across are the serious, committed writers that they are. I
      love Jim and respect Greg but I hope they get over themselves soon.

      I'd be really interested to hear what other people think of that
      round-table article.


      Best,
      Jason
      --
      Perfect Sound Forever
      online music magazine with warped perspectives
      perfect-sound@...
      http://www.perfectsoundforever.com
    • samchecker
      ... Hmm. I think it would have been nice if they expanded a bit on something they barely touched upon--the fact that it s not a critic s job to just report
      Message 2 of 6 , Dec 3, 2002
        --- In fearnwhiskey@y..., Perfect Sound Forever <perfect-sound@f...>
        wrote:

        > I'd be really interested to hear what other people think of that
        > round-table article.

        Hmm. I think it would have been nice if they expanded a bit on
        something they barely touched upon--the fact that it's not a critic's
        job to just report what happened at a show. It's their job to give
        their *opinion* of it. I mean, 95% of the angry letters critics get
        are along the useless lines "How can you say (insert band here) suck?
        They're great! You're full of sh*t!". I just bang my head on the
        table every time I read one of these. Hopefully the critic's opinion
        is worth printing because it's informed by a deeper knowledge of music
        than the average reader has. And after a while of reading any given
        critic, you get a sense of what he/she likes vs what you like and
        gauge the opinion accordingly.

        I liked the fact that they brought up the notion that the restaurant
        reviewer doesn't have to review McDonald's, even though the music
        critic is expected to review that dump's audio equivalent. I also
        agree with you, Jason, that the unwarranted and cheap attacks on NYC
        writers and the town in general weakened the argument considerably.

        And maybe I missed it, but they didn't really address the magazine
        writer's initial assertion that music writers, in general, aren't very
        good *writers*. I just snagged the power pop issue of Magnet, and a
        have to say that a more comprehensive collection of tortured
        metaphors, clumsy sentence construction, and cliche masquerading as
        wit would be hard to find outside of a high school newspaper. I mean,
        here's a slick mag with tons of ads, and I know more than a few good
        underemployed writers. How could this happen? (Seeing rockcrit's
        most egregious example of the Peter Principle, Fred Mills, in the
        masthead gives me a clue, though.)

        But I digress. I was most impressed with DeRogatis' remarks about
        writing his reviews for a kid with $20 in his pocket. To me, the
        ability to make that kid want to run out and buy a CD after reading a
        review, convinced that the disc is going to kick his ass, is the mark
        of a really good critic.

        Mark
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