16 Evolution of Music Journalism – Lily Crews

MUSIC JOURNALISM IS a principal part of the music industry. Music journalists cover concerts, new releases, and artist profiles, and report on the business of the industry. i Historians believe that music journalism stems from classical music. Early critics would discuss and study composers’ works, publishing their opinions on the performance and music theory in musical journals. One of the first music journals was a German periodical called Allgemeine musikalische Zeitung (“General Music Newspaper”). Founded in 1798 and published by Breitkopf & Härtel, the weekly periodical created the template for the future of music journalism. ii

As music evolved, the journalist evolved with it. The 1960s brought a plethora of new music, with the Beatles changing the industry forever. This change brought new writers to the forefront, with Robert Shelton, Richard Goldstein, and Chris Welch leading the way. iii Underground music fans turned to Lester Bangs, who quickly became a leading influence on rock music. iv As music genres expanded, music journalists began seeking specific niches and started fighting tooth and nail to become experts in their subgenre. As with any profession, elitism seeped into the industry and shifted how critics would write about music.

The 21st Century brought a game changer to the table. The internet provided instant access to a wide range of content and resources. Suddenly anyone with an opinion could become a critic, posting their opinions in online forums, and reviewing new content in videos for YouTube. v Websites like Pitchfork and YouTube began to dominate music journalism, altering the way the general population would discover and form opinions about music. vi

I have invested many hours, even days, in learning about the history of music and how to write about it. My youth was spent reading reviews and opinion pieces about the industry. However, my lack of personal experience in the industry has limited my perspective to that of an outsider. I turned to the music critic I admired the most to discuss the evolution and future of the industry: my father.

Nick Crews began his newspaper career right out of high school as a copy clerk at the Indianapolis Star. He wrote for numerous publications throughout his career. At the Idaho State Journal, he covered political and environmental affairs, as well as the Shoshone-Bannock tribal affairs. When describing his work at the storied Chicago City News Bureau, Crews states, “I covered city politics and the police beats, which in Chicago means ‘homicides.’” Crews broke into music journalism after writing a feature piece about Alphonso County Kellum, a guitarist in James Brown’s classic band (1964-1971) for the Rochester City Newspaper. Kellum was living in Rochester at the time, allowing Crews to interview him directly.

The editor liked the piece and asked Crews to serve as the music editor for the paper going forward. He later returned to The Indianapolis Star, where he became the theatre critic and the arts writer for the publication. Outside of these publications, Crews freelanced considerably during his career, focusing on music. I spoke with Crews about his history in music journalism, his influences, and where he sees the evolution of the industry heading next.

[Q] In your opinion, who made the most long-lasting impact on music journalism?

[A] I’d have to say Lester Bangs. Bangs typically displayed in equal measure utterly stylistic outlandishness and a proven and consistent ability to subjectively assess the music in an engaging way. His critical faculty was wildly erratic, but, for me, that was part of his charm.

[Q] Who is your favorite music journalist? How does their writing style differ from mainstream critics?

[A] In addition to Bangs, I like Paul Nelson. Nelson started out writing about folk music for the Little Sandy Review in the early ‘60s. He went on to write for Rolling Stone and other publications; later as an A&R rep for Mercury Records he discovered and recorded the New York Dolls. Unlike other of the “classic old school/first generation” rock music writers who sometimes seemed more preoccupied with stylistically aping (or outdoing) Lester Bangs’ excesses (Richard Meltzer comes to mind), Nelson wrote elegantly and deliberately with a keen critical eye and with deep respect and regard for the music.

[Q] How do you think websites like Pitchfork and YouTube have affected the music journalist industry?

[A] These outlets have become increasingly influential as traditional music publications have dwindled and disappeared over the years. In addition, I think they likely give writers more latitude and independence of opinion. Negative reviews were sometimes discouraged by the more mainstream music press (which was reliant on advertising dollars from record companies. Even as early as 1968, Rolling Stone editors were pressuring writers like Nelson to tone down the bad reviews to help bolster ad revenue.).

[Q] Where do you see the future of music journalism heading? Do you think it is a positive or negative change?

[A] Music journalism has played a key and sometimes unheralded role in the marketing and appreciation of music for the past 75 years. It will continue to do that – exactly how remains to be seen. However, I do see writers moving away from less “classically literary” styles. David Dalton would write a profile about Janis Joplin and weave in quotes from writers such as Thomas Wolfe and F. Scott Fitzgerald. Nick Tosches would quote classical Greek drama. I sometimes think today’s up-and-coming arts writers do not lay the basic groundwork by acquainting themselves with the basic literary, critical, and cultural traditions and related skills. By the way, you see this trend in today’s singer-songwriters too—they start writing before they’ve read much. The result is a lot of cloyingly self-referential uninteresting lyrics not many cuts above the literary merit of a Hallmark greeting card. All writers should read widely and strive to learn and practice the craft of writing whatever they are writing about.

Now retired, Crews still seeks out opportunities to learn about music. He is currently reading folklore books, as it pertains to the 1960s folk revival and its antecedents. Crews’ passion for music reveals itself in his voice while telling his stories. I asked Crews if he had anything else to add as we ended the interview. His response perfectly describes the relationship between music itself and writing about it.

“Writing gives those who may love music, but who may have limited or no musical ability, a way to participate in the music community. This goes for writers as well as readers. Good music deserves good writing; they are complementary arts with a symbiotic relationship.”