I also wrote for the Loaf for nearly a couple of years while playing in a couple
of bands and finally quit due to my good conscience, the fact that Slim got all
the good alt. country stuff to write about, and all that was left was Nashville
shite. See, my Mom always said "If you can't say
[EMAIL PROTECTED] wrote:
BTW, Buddy Siegal did cease writing for the Times and is now the music editor
of the OC Weekly, which obviously doesn't have such an ethical problem, or
doesn't have ethics... one or the other.
Now, now. Don't go running down the OC Weekly. This is Orange County
Neal wrote:
I remember a story from a couple years ago. Buddy Blue from the Beat Farmers
was writing music reviews for the LA Times under the name of Buddy Siegal.
But, as I heard the story, once Times Pop Editor Robert Hilburn learned of his
active role as an artist in local clubs, he
In a message dated 1/18/99 4:51:09 PM Central Standard Time, [EMAIL PROTECTED]
writes:
Once that relationship crosses the line, it challenges a writer's
ability to speak freely in print about an album or an artist. And tainted
opinion is the last thing music journalism needs.
Challenging,
In a message dated 1/19/99 4:49:34 AM Pacific Standard Time,
[EMAIL PROTECTED] writes:
BTW, Buddy Siegal did cease writing for the Times and is now the music
editor
of the OC Weekly, which obviously doesn't have such an ethical problem, or
doesn't have ethics... one or the other.
Now,
Neil is right that there's an inherent problem in the relationship
between the reviewer and the performer, but Robert Hilburn is way off of
it (as he is on most everything). The idea that there's a conflict of
interest between playing in clubs and reviewing other bands is
ridiculous,
FTR, that last one the Dallas was supposed to go privately to Dallas. Not that
I divulged my quest for a two-headed love child or anything.
NW
linda ray wrote:
"Nobody's Dan Rather, here, and nobody's covering Congress." (i can't
help but reply!)
Close but no cigar -- I DO cover congress and I did give dan a copy of
the HTC cd the other day and invited him to sit in with us and sing a
coupla train songs any day (we both work for the
I'm finding this debate very interesting. One reason that I've never actively
pursued playing live music in Ithaca is the fact that I've been the local
music writer since 1992. In a small town like this, I've always felt that if I
started trying to get gigs for myself or a band, it would more
In a message dated 99-01-19 17:25:31 EST, you write:
But whatever you call it -- a scene-- a "movement" or whatever -- for
the most part, the publicity isn't going to be done for us - we have to
do some flag-waving ourselves. That's what the punkers and new wavers
did back in the late 80s
In a message dated 99-01-19 12:39:32 EST, Will writes:
Back in the 70s when she breaking into clubs, Patti Smith used to write
great reviews in Rolling Stone. Most reviewers write weak, pandering
crap. Obviously this supposed conflict of interest doesnt get in the way
of good reviewing.
..Anyway, the idea is to grow a "scene" the way we grew up those many
years ago. And if i have to put on my own barn dances and publish my own
little fanzine or ezine or whatever to help it grow, I'll do it.
I have to say I agree. We have a little bluegrass fanzine called The Burr
here
Isn't the title of this post oxymoronic ? g
I was shocked to see a reviewer even stop and think about such things.
Without blowing anybody's cover, I can say without reservation that the
relationships between musicians and the writers who review and cover them
are generally a whole lot closer
I was shocked to see a reviewer even stop and think about such things.
Without blowing anybody's cover, I can say without reservation that the
relationships between musicians and the writers who review and cover them
are generally a whole lot closer than either party lets on
Of course it
In a message dated 1/18/99 4:51:09 PM Central Standard Time, [EMAIL PROTECTED]
writes:
How could the same
person who's trying to get gigs at certain clubs also write objectively about
other gigs at that club? Worth considering.
When I lived in Atlanta I wrote music columns for Creative
[EMAIL PROTECTED] wrote:
So, would it be wrong of me to review this CD? I have no financial interest,
no involvement business-wise, etc.
Absolutely not.
Sarah W.
So, would it be wrong of me to review this CD? I have no financial
interest,
no involvement business-wise, etc.
Absolutely not.
Well... this is a dicey one, and I'd like to think that every journalist on
the planet has at least considered such ethics now and then. If the thank you
is
Who knows?
If you think you have a good (objective, I guess) grasp of what's going
on, then do it.
I have no moral problems criticizing my friends' works of art.
In fact, many of them ask me for my opinion more than I would (when the
positions are reversed).
Different people do things
I don't know why a liner note credit would ever be an issue at all. A liner
note credit can mean nothing or everything, whether you get one or not. It
seems to me the issue is the relationship and to what extent you feel that
colors your judgement about the sound.
LR
At 04:48 PM 1/16/99 +, you wrote:
[EMAIL PROTECTED] wrote:
So, would it be wrong of me to review this CD? I have no financial
interest,
no involvement business-wise, etc.
I've only been mentioned once in liner notes. It was on Sierra's reissue of
Nashville West. I was mentioned because
At 05:10 PM 99-01-16 EST, you wrote:
O.K. this is something I've run into with book reviewing. I never felt I
should review a book if I was acknowledged in any way. But in those cases
there was usually a good reason for the achknowledgement -- I had worked with
the author, done some research
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