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Re: URL-Chicago rock-crit link

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  • 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 1 of 6 , Dec 3, 2002
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      --- 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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