Posts Tagged “yay, journalism?”
yay, journalism!
Ah, trend stories, the bane of every journalistic enterprise. On the one hand, they are handy for editors who want to know what "the kids" who will be taking their jobs and houses are up to. On the other hand, they're generally vacuous glosses on subjects that are way too surface-gleaning to even be called "superficial." Greg Sandoval at CNet took the world of "music blogging" under his trend-story wing this morning, and if nothing else it's a primer in how not to tackle this admittedly knotty, yet way too often completely misunderstood subject. Five anti-lessons after the jump.
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CNN Reclassifies Black Crowes As "Grunge," Remains Blissfully Ignorant Of The Concept Of "Irony"
Presenting two CNN anchors who, in the sliver of time that they're allotted to discuss one of the day's biggest soft-news stories, find themselves musing over the true meanings of an official statement from Maxim that they haven't seen. And said statement is regarding a review they haven't read. And it covers a band they're completely unfamiliar with (although they do know that Kurt Cobain isn't the Black Crowes' lead singer)! Who said that there were no good examples of journalism out there in the world? [HT: Gawker]
yay, journalism! redux
After being caught reviewing the new Black Crowes album without reviewer David Peisner actually possessing a copy of said album and claiming the bogus critique as an "educated-guess preview," Maxim has gone one better and awarded another mediocre review to an album that doesn't actually exist yet. Last we heard, Nas' Title That Certain Bloggers Take Great Delight In Printing Whenever Possible had been delayed until late spring. Turns out the rapper has possibly yet to even deliver the tapes to Def Jam; Nas tells the New York Post that he's "finishing the album now" and talking up a new April 22 release date. Perhaps in deference to those long magazine lead times, the educated guessers at Maxim went ahead and gave Nas' unfinished album 2 1/2 circles (out of a perfect five). That's the same score that so incensed the Crowes, but Nas is much more sanguine about the whole affair.
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Nas Is The Latest Artist To Feel The 2 1/2-Star Sting Of Maxim's "Educated-Guess Previews"
After being caught reviewing the new Black Crowes album without reviewer David Peisner actually possessing a copy of said album and claiming the bogus critique as an "educated-guess preview," Maxim has gone one better and awarded another mediocre review to an album that doesn't actually exist yet. Last we heard, Nas' Title That Certain Bloggers Take Great Delight In Printing Whenever Possible had been delayed until late spring. Turns out the rapper has possibly yet to even deliver the tapes to Def Jam; Nas tells the New York Post that he's "finishing the album now" and talking up a new April 22 release date. Perhaps in deference to those long magazine lead times, the educated guessers at Maxim went ahead and gave Nas' unfinished album 2 1/2 circles (out of a perfect five). That's the same score that so incensed the Crowes, but Nas is much more sanguine about the whole affair.
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yay, journalism!
If you've picked up the new issue of Maxim, you may have flipped past a review of the Black Crowes' forthcoming album Warpaint. In the 75 or so words allotted to him writer David Peisner spends half his time talking about the Crowes' 1990 debut album before passing his final judgment, writing off the record as being "boozy, competent, and in slavish tribute to the Stones, the Allmans, and the Faces." The graphical representation of Peisner's review: Two and a half filled circles out of five. Which wouldn't be so bad except for one thing: Peisner never heard the album because the Black Crowes' label, Megaforce, didn't release advances of it to critics. Someone at the label got in touch with Maxim, and the person there in charge of editing the mag's music coverage said that the writeup, stars and all, was actually an "educated-guess preview" and hey, wasn't it better than no coverage at all?
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At "Maxim," Music Writing Is So Easy It Can Be Done Without Actually Hearing The Music In Question
If you've picked up the new issue of Maxim, you may have flipped past a review of the Black Crowes' forthcoming album Warpaint. In the 75 or so words allotted to him writer David Peisner spends half his time talking about the Crowes' 1990 debut album before passing his final judgment, writing off the record as being "boozy, competent, and in slavish tribute to the Stones, the Allmans, and the Faces." The graphical representation of Peisner's review: Two and a half filled circles out of five. Which wouldn't be so bad except for one thing: Peisner never heard the album because the Black Crowes' label, Megaforce, didn't release advances of it to critics. Someone at the label got in touch with Maxim, and the person there in charge of editing the mag's music coverage said that the writeup, stars and all, was actually an "educated-guess preview" and hey, wasn't it better than no coverage at all?
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yay, journalism!
I've been trying to muster up a response to this bit of Tony Sclafani-penned nonsense written under the delusion that, since this year's Best New Artist category in the Grammys is made up of female-fronted bands from tip to toe, it's time to trot out the old "Women In Rock Rock!" trope that has brought so much lazy "trend" journalism to the world in recent years. My objections have, of course, been laid out in this space: the whole idea of creating women as Others in music only serves to further cement the old patriarchal ways, if someone like Feist whose persona possesses a lot of traditionally feminine traits succeeds is it really "progress," etc., etc. But every time I try to read the damn thing, I can't get past its first line, which should probably be in some Hall Of Fame for bad lede-writing because of its blend of bubbleheadeness, press-release-ready bland hyperbole, and, uh, schoolyard taunts:
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Someone Figured Out A Way To Make The "Women In Rock" Concept Even More Offensive
I've been trying to muster up a response to this bit of Tony Sclafani-penned nonsense written under the delusion that, since this year's Best New Artist category in the Grammys is made up of female-fronted bands from tip to toe, it's time to trot out the old "Women In Rock Rock!" trope that has brought so much lazy "trend" journalism to the world in recent years. My objections have, of course, been laid out in this space: the whole idea of creating women as Others in music only serves to further cement the old patriarchal ways, if someone like Feist whose persona possesses a lot of traditionally feminine traits succeeds is it really "progress," etc., etc. But every time I try to read the damn thing, I can't get past its first line, which should probably be in some Hall Of Fame for bad lede-writing because of its blend of bubbleheadeness, press-release-ready bland hyperbole, and, uh, schoolyard taunts:
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yay, journalism!
As previously reported, both Jess and I think that the debut album by the buzzed-to-death New York band Vampire Weekend is perfectly fine. (Possibly of note: Every time I listen to their album, I experience an Orange Juice craving about six tracks in.) But coverage of the band—from its Rolling Stone accolades to all those blog posts—has been absolutely nauseating, to the point where it actually makes me kind of hate the idea of words being used to described music, or at least musicians. I hit some sort of breaking point yesterday, thanks to the "A Night Out With" profile of the band in the New York Times Sunday Styles. In its 489 words, it manages to hit on everything that drives me bonkers about the Columbia-bred band's preppy-smarmy signifiers, and it spends more time talking about the band's hype express than about the music that started that train a-rolling. After the jump, the four sentences that almost had me throwing my paper across the room! More »
The Top Four Sentences From Yesterday's Vampire Weekend Profile That Made Me Vow To Never Read A Story About Them Again
As previously reported, both Jess and I think that the debut album by the buzzed-to-death New York band Vampire Weekend is perfectly fine. (Possibly of note: Every time I listen to their album, I experience an Orange Juice craving about six tracks in.) But coverage of the band—from its Rolling Stone accolades to all those blog posts—has been absolutely nauseating, to the point where it actually makes me kind of hate the idea of words being used to described music, or at least musicians. I hit some sort of breaking point yesterday, thanks to the "A Night Out With" profile of the band in the New York Times Sunday Styles. In its 489 words, it manages to hit on everything that drives me bonkers about the Columbia-bred band's preppy-smarmy signifiers, and it spends more time talking about the band's hype express than about the music that started that train a-rolling. After the jump, the four sentences that almost had me throwing my paper across the room! More »
lock up your children
If there's one thing that could make a local TV news "trend" report even more pitiful, it's crappy college emo, and Chicago's Fox affiliate has produced a segment on the emo lifestyle and its hidden dangers to prove this very point. And in the grand tradition of local TV news, this report is heavy on the melodramatic voiceover and about five years behind the curve.
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Chicago TV "News" Report Flogs Emo's Dead Horse
If there's one thing that could make a local TV news "trend" report even more pitiful, it's crappy college emo, and Chicago's Fox affiliate has produced a segment on the emo lifestyle and its hidden dangers to prove this very point. And in the grand tradition of local TV news, this report is heavy on the melodramatic voiceover and about five years behind the curve.
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yay, journalism!
Apparently some Time story got killed at the last minute, because this barely copyedited piece on the recent resurgence of hard-rock bands that can only be described as "odd" for a lot of reasons somehow made it to the magazine's site. Not only is Don Dokken referred to as "Dan" in the story's second sentence (ouch!), and not only does Vince Neil's assertion that Motley Crue is in its heyday right now go unquestioned, and not only was the Rocklahoma festival—which, if anything, was the moment that hard rock could have been claimed as ruling the roost during the just-completed summer concert season—completely ignored (as was the fact that many of these touring bands were full of reshuffled hired guns), the numbers that were presented as evidence of writer/CNN Headline News personality Kris Osborn's "rock is back!" thesis were subject to some curious inflation:
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"Time" Lets Hard Rock Fanboy Fawn Over His Idols
Apparently some Time story got killed at the last minute, because this barely copyedited piece on the recent resurgence of hard-rock bands that can only be described as "odd" for a lot of reasons somehow made it to the magazine's site. Not only is Don Dokken referred to as "Dan" in the story's second sentence (ouch!), and not only does Vince Neil's assertion that Motley Crue is in its heyday right now go unquestioned, and not only was the Rocklahoma festival—which, if anything, was the moment that hard rock could have been claimed as ruling the roost during the just-completed summer concert season—completely ignored (as was the fact that many of these touring bands were full of reshuffled hired guns), the numbers that were presented as evidence of writer/CNN Headline News personality Kris Osborn's "rock is back!" thesis were subject to some curious inflation:
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yay, journalism!
Yesterday's Los Angeles Times had a hole where its "Big Picture" column, written by Patrick Goldstein, usually was; a note on the front page of the paper's Calendar section said that the reason was Goldstein being "on assignment," but according to LA Observed, the column that was set to run yesterday was actually spiked. Why? For laying out a pretty rational strategy where the Times could bolster its circulation and street cred by engaging in "covermount" promotions similar to the one Prince did with the Daily Mail in the UK. Luckily, LA Observed snagged the column in full, so we can see just how crazy Goldstein's suggestions are:
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"LA Times" Kills Column That Suggests Record Business, Newspaper Business May Be In Trouble
Yesterday's Los Angeles Times had a hole where its "Big Picture" column, written by Patrick Goldstein, usually was; a note on the front page of the paper's Calendar section said that the reason was Goldstein being "on assignment," but according to LA Observed, the column that was set to run yesterday was actually spiked. Why? For laying out a pretty rational strategy where the Times could bolster its circulation and street cred by engaging in "covermount" promotions similar to the one Prince did with the Daily Mail in the UK. Luckily, LA Observed snagged the column in full, so we can see just how crazy Goldstein's suggestions are:
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yay, journalism!
Britney Spears, who's now apparently handling her own publicity in addition to her styling and choreography, requested a sit-down interview and photo shoot with the tabloid OK!, which took place yesterday; according to sources, Brit Brit "looked dead" during the shoot, didn't close the door when she went to the bathroom, and wiped grease from some fried chicken she was eating on a Gucci dress. (Which, we suspect, is tougher to get out of fabric than, say, Cheez Doodle dust.) Anyway, there was some question over whether OK!, which recently bought photos of Nick Lachey schtupping his girlfriend in a hot tub for the sole purpose of suppressing them, would even run the interview at all. But in the end, "journalism"—and not our culture's fascination with the meltdowns of young women who at some point used to be considered hot, and definitely not OK!'s desire to not look like a wimp in the face of a thousand gossip blogs—won out:
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Britney Spears' Meltdown To Pay Incredible Dividends For Second-Tier Tabloid
Britney Spears, who's now apparently handling her own publicity in addition to her styling and choreography, requested a sit-down interview and photo shoot with the tabloid OK!, which took place yesterday; according to sources, Brit Brit "looked dead" during the shoot, didn't close the door when she went to the bathroom, and wiped grease from some fried chicken she was eating on a Gucci dress. (Which, we suspect, is tougher to get out of fabric than, say, Cheez Doodle dust.) Anyway, there was some question over whether OK!, which recently bought photos of Nick Lachey schtupping his girlfriend in a hot tub for the sole purpose of suppressing them, would even run the interview at all. But in the end, "journalism"—and not our culture's fascination with the meltdowns of young women who at some point used to be considered hot, and definitely not OK!'s desire to not look like a wimp in the face of a thousand gossip blogs—won out: More »
yay, journalism!
Apparently, 50 Cent doesn't live up to his own name! Or he does, but only just! Because, you know, he's, like, broke! Isn't that ironic?! Don't'cha think?! Because he's named after money but the actual money he himself has—you know, the money belonging to a guy named (whoa!) 50 Cent (!)—has been dwindling! Just ask the NY Daily News' Rush & Molloy, who cadged their choice tidbit from a feature in the new XXL, which leaves us with a couple questions. And they write the "cleverest" headline imaginable to illustrate it! It's excellent! By the way, does Rush or Molloy subscribe to XXL?
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