Contrary to my paean to Richard M. Daley’s support of Chicago’s music and arts, Chicago Tribune rock-crit Greg Kot writes of the Mayor’s treatment of the local music scene as a “second class citizen.” It’s true the City has messed with club venues — Marguerite Horberg of established the multi-genre Hot House years back and now runs the progressive culture initiative Portoluz regaled me last weekend with tales of fire inspectors evacuating theaters mid-show over petty infractions and other harrassments; Kot reminds us of Chi’s failure to get behind its indigenous rock, blues, pop and jazz as New Orleans, Austin and other U.S. cities have. Jury’s out on whether Daley’s been overall good or bad for music, but the issue deserves careful analysis, and I urge Jazz Beyond Jazz readers to take a look at Kot’s piece as well as this collaborative Trib report.
Future of music journalism: It’s about the audience (?)
The dozen “music journalism” professionals at yesterday’s Condition Critical panel of the Future of Music Coalition’s three-day long “policy summit” became somewhat divided (at least from my perspective) over the course of a well-attended hour & three-quarters session. At one end of a spectrum of opinion were the old guard — me, Greg Kot of the Chicago Tribune and Tom Moon, formerly of the Philadelphia Inquirer — asserting that good music journalism puts the music in context, “illuminates, educates and entertains” its readers and reaches beyond its niche to satisfy those who are not devoted yo but may be curious about a given musical topic. At the other was Raymond Leon Roker of URB/URB.com and Todd Roberts, co-founder of the Daily Swarm, who suggested that success in music journalism comes from amplifying, echoing and reinforcing the interests of the largest attractable audience. I may be drawing this too reductively, but it felt like an argument: developing substantive content vs, ever-better marketing, without much interest in content, using the processes of social media.