Music journalists need a keen ear, an avid passion for writing and the ability to conduct engaging interviews in order to be effective journalists.
As mainstream music magazines on both sides of the Atlantic began to lose their hold on youth culture, fanzines emerged. British publications like The Legend and Vague preserved punk amateurism’s punk amateur ethos of old-style rock journalism.
Jeff Apter
With social media and music streaming platforms at their disposal, musicians now have more control over how their musical narrative is communicated to audiences – diminishing the need for traditional music journalism in modern culture.
This documentary investigates the sometimes tenuous relationship between music journalists and their subject matter, specifically musicians and the industry at large. It addresses several of the pressing issues facing modern journalism – for example how black writers tend to specialize in certain genres only.
Aspiring music journalists should immerse themselves in the local music scene and cover shows to gain exposure in the press. Likewise, they can submit reviews blindly (without knowing whether they will be published) to online publications without any assurance they will be accepted; Lester Bangs was an example of such an approach as he began by writing for small papers before eventually working his way up to Rolling Stone magazine.
Al Aronowitz
Aronowitz lived a vivid, captivating life as an eccentric music journalist for both New York Post and Village Voice, covering cultural rebels of the Swinging ’60s with his Pop Scene columns.
Aronowitz had unrivaled access to legendary writers like Jack Kerouac and Allen Ginsberg as well as musical icons Bob Dylan, the Beatles, and Jimi Hendrix – as well as accessing many others including Bob Dylan, the Beatles, and Jimi Hendrix – in terms of accessing their inner fears and turmoils as well as inside information on drug use by these icons. On August 1, 77 year-old Aronowitz died due to cancer at home in Elizabeth New Jersey surrounded by three children and two grandchildren – while The New York Public Library will preserve all letters addressed to David Solomon an editor at Playboy magazine from David Solomon by this journalist David Aronowitz before and after death by Playboy editor David Solomon at Playboy magazine as a means to remembering his letters written directly about this writer from this writer himself.
Jim Arundel
Music journalists are experts on various musical styles, and often attend concerts by artists in their field of expertise. Additionally, they write reviews, features and columns for newspapers, magazines and radio broadcasters while attending musical festivals or performances.
Jim Arundel began as a staff writer for Melody Maker magazine before transitioning into reviewing editor for Mojo magazine. While serving in that capacity, he covered an array of musicians such as Sandy Denny, Joni Mitchell and Kate Bush while still contributing a reissues column to Mojo.
Music journalists often serve as gatekeepers of musical taste and can impose their narratives upon musicians they cover, which has not always gone over well with artists themselves. Frank Zappa once famously quipped, “Most rock journalism consists of people unable to write interviewing people unable to talk while for people unable to read!” This statement illustrates the sometimes tenuous relationship between music journalists and those they cover.
Loraine Alterman
Music journalists’ jobs vary considerably: staff writers for daily newspapers may cover country and hip-hop music; an alt-weekly freelancer monitors local rock scenes while emailing publicists; while music bloggers scour underground scenes looking for emerging talent. All music journalists spend considerable amounts of time listening.
Music writers strive to craft questions that provoke thought from both rock musicians and classical composers when interviewing them, rather than simply asking how many types of guitars were played on a particular album or the like. Instead of asking guitarists which kind they used on their debut record for instance, Alterman instead asks about its impact on sound production.
Many musicians approach rock journalism as either a hobby or integral component of their careers, while successful music journalists must work hard, network with like-minded people, and hope they find luck along their journey.
Keith Altham
As a journalist, it is vital that questions ask of artists which challenge them to think creatively and respond in unique and innovative ways. By forcing artists out of their comfort zones and prompting them to think outside the box, journalists can promote greater artistic development in artists themselves and ultimately the overall field.
Altham inspired Jimi Hendrix to ignite his guitar during Monterey Pop Festival 1967, writing for New Musical Express as well as having a successful PR career for bands like The Who.
Being a music journalist today can be challenging when fans are so much closer to their artists. Yet journalism still plays an essential role in rock music culture – just take Cameron Crowe’s movie “Almost Famous”, which celebrates music journalism.
Barbara Ellen
Barbara Ellen began writing for music fanzines like Wax Lyrical and Gigs before going on to work for the NME in the late 80s. While at NME she met Sex Pistols, Kate Bush, Cure and ABBA as well as surviving Madchester without being photographed with flares that might incriminate them.
She has written for various UK music magazines such as Rhythm, Record Collector and Kerrang!, as well as contributing to television and radio programs.
She currently works as a freelance journalist and has contributed to Music Week, DJ, and Muzik magazines. She specializes in dance music from the 90s as well as punk/metal label Autumn Records which she co-founded; additionally she co-authored “The Way We Live Now,” an authoring book for Autumn Records; as well as being a regular contributor for US magazine MOJO magazine.
Paul Elliott
Paul Elliott has been writing about music since 1985, when he started as a contributor for Sounds magazine. Over time he has contributed articles to Kerrang!, MOJO, Q, Heat Total Sport Blender (US), Metal Hammer and many other publications – even authoring two books: first Guns N’ Roses biography and Star Man; an autobiography about rock bodyguard Danny Francis.
The film examines the relationship between rock journalism and musicians, in particular Rolling Stone founder Jan Wenner who is not presented in an especially flattering light by the filmmaker. Additionally, theories regarding why rock journalism may be dying as well as new forms of music reporting and publishing that have altered rock genre itself are discussed.
Philip Elwood
On Sunday at the Great American Music Hall, a who’s-who of musicians, music writers and other entertainment industry figures gathered to remember and commemorate Phil Elwood – their friend, mentor and musical icon. Broadcast live on KPFA radio station, it was both solemn and joyous in equal measures.
In our first of two special episodes devoted to rock journalism, Angus Batey of Walking on the Moon: The Untold Story of British Heavy Metal joins to discuss his career at NME and Vox magazines; giving exposure to bands like Lou Reed and Roxy Music long before mainstream press had.
Phil Elwood was a journalist-turned-PR operative whose clients included Gaddafi and Assad families, whom he recalls being hired by. In this account of his success and regrets in public relations work – which eventually began eroding away at his conscience until they nearly brought about mental illness – Elwood tells how this experience ultimately caused mental breakdown.
Richard English
Richard English contributed to Melody Maker and NME magazines during their heydays in the late ’60s/early ’70s; additionally he contributed articles for Sounds magazine and Tower Records’ TOP magazine. Richard also wrote a book about Gram Parsons that was released posthumously. Richard passed away in 2009.
Jonathon Green was an indispensable contributor to London’s underground press during the ’70s and ’80s, writing for NME, LET IT ROCK, i-D City Limits The Big Issue Careless Talk Costs Lives as well as writing his seminal work Love Goes to Buildings on Fire which covered this scene.
Tim Footman writes for numerous publications such as The Guardian, Mojo, Kerrang! and Classic Rock magazines as well as co-founding Rock’s Backpages. Based in London he was trained from scratch working on UK music titles like NME, i-D and Record Collector.
Juliette Jagger
Rock music journalists tend to be passionate music enthusiasts first and foremost. Their expertise lies in musical styles they cover and often attend concerts by those they cover; their viewpoints influence industry-wide.
Passion can drive others’ appreciation of music; however, it may also restrict taste or force journalist’s narratives onto artists – as evidenced in Almost Famous. Music journalism can be an intricate field.
Creem and Crawdaddy publications were among the first to feature artists like Lou Reed, Roxy Music and Captain Beefheart long before mainstream press gave coverage to these bands and artists. Many early writers from these publications continue their careers today in new media or other fields; Carol Clerk wrote for Melody Maker, Q and UNCUT before becoming Deputy Editor at British GQ. Others freelance for NME Guitar Buyer and Record Collector among other titles.