4. What are the main differences between print and online journalism?
The first difference I feel obliged to discuss would be the accessibility of new information. With traditional publications issued perhaps on a weekly or even fortnightly basis, any new content cannot be implemented until the following issue. In comparision to online journalism, web sites / journals / blogs can be updated on a daily, 24/7 basis, allowing for instant access to new information as opposed to periodically - ie; determined by the publication dates of said articles. "Online journalism provides the best arena for distributing news quickly" (Media-Culture, 2004). In short; "for the person who wants an instant update, the difference between rolling news and online is like the difference between jumping on a passing bus or flagging down a taxi. The bus gets you there in the end, but you take in a lot of other scenery enroute" (Ward 2002, p. 134).
For me another primary difference is the level of content one can examine when comparing these two formats. Online, to a degree, allows for an unfiltered volume of information to work with, if not with reference to the size of a particular article, the freedom of the internet allows consumers to pull a limitless amount of data from numerous sources. In comparision to print journalism, such as articles seen in NME or Kerrang for example; the consumer has paid the fee and in return has an exact amount of data available to him. This effectively leads to a double-edged sword. With word counts etc to meet, the content needs to be informative & concise throughout. The freedom to write an article much longer would perhaps come at the deteriment of the piece in question.
Another, perhaps less obvious between these two types of journalism would be the audience participation. More relevant to blogs, but the majority of online articles will have some level of opportunity for reader feedback, whether this be a comments section or email etc. 'The internet provides a far wider range of communication flow than that afforded by any other medium...interactivity distinguishes online journalism from its traditional forms and has created a new relationship between the journalist and the user" (Media-Culture, 2004). In print journalism, the audience is static; ie, the information is presented to them on a regular basis without a clear means of involvement - merely acting as the consumer. Any form of online journalism will have more of an active involvement with its member/readership. A relevant example is TheYoungTurks, a political news site where the audience / consumer play a significant role in the direction of the publication.
M/CYCLOPEDIA OF NEW MEDIA, 2004 Immediacy [online] [viewed 6 May 2011]. Available from: http://wiki.media-culture.org.au/index.php/Online_Journalism:_Immediacy
M/CYCLOPEDIA OF NEW MEDIA, 2004 Interactivity [online] [viewed 6 May 2011]. Available from: http://wiki.media-culture.org.au/index.php/Online_Journalism:_Interactivity
THE YOUNG TURKS, 2011 [online] [viewed 15 April 2011]. Available from: http://www.theyoungturks.com/
WARD, M., 2002. Journalism Online. Oxford: Focal Press
Friday, 18 March 2011
Sunday, 13 March 2011
Popular Music Journalism: Topic 3
3 Think about your own writing. How has it improved from your first to your second assignments? What have you learned? How had proofing and subbing work changed your awareness of your writing?
I believe that my writing/prose has developed significantly from my first to second assignment submission. I have always been confident in my writing ability since college but the demands of journalistic work such as word counts and writing for a specific demographic has meant that I have had to take on a lot of new techniques / stylings to ensure I met the assignment requirements.
Specifically, focus on ensuring my work / pieces were in keeping with the assignment criteria was important, and I was able to carry this across when working on my reviews portofolio. With guidelines being a shade regimental at first, it was a strange experience trying to incorporate my own voice into articles so heavily shaped by the assignment criteria. However, when working on my second assignment, I found the guidelines a lot more welcome, having spent the previous months developing my own prose coupled with a clear indication of the audience I found very beneficial. Another aspect I believe I learned from was keeping to a word count - in particular the need to keep the article / piece as raw and focused as possible. Without the constraints of a word count meant that any piece I had previously worked on had a tendency to be very wordy and lacking in its emphasis; whereas keeping to a max word count meant I had to spend time reviewing my piece, ensuring that any excess was removed whilst keeping the stronger elements intact.
Historically I have found it difficult to review my own works from another perspective but having read through various other journalistic pieces in class with both subbing & proofing oppourtunites have meant in turn I believe my own drafts have felt the benefit. Traditionally I was only able to read my own work from my personal perspective, but development on this aspect during class has meant working on my review portfolio allowed me to re-read my own prose from a target market mindset. One example is my often unnecessary use of cliched vocabulary without seeing how forced and irrelevant its usage was. However on reflection I was able to refine my own prose; 'writing that is full of cliches is annoying to read and suggests laziness on the part of the author' (MacWarlock, 2011)
MACWARLOCK, 2011 Prompt Proofing [online] [viewed 29 April 2011]. Available from: http://macwarlock.co.cc/prompt-proofing-blog-post-how-to-improve-your-writing-part-4/
I believe that my writing/prose has developed significantly from my first to second assignment submission. I have always been confident in my writing ability since college but the demands of journalistic work such as word counts and writing for a specific demographic has meant that I have had to take on a lot of new techniques / stylings to ensure I met the assignment requirements.
Specifically, focus on ensuring my work / pieces were in keeping with the assignment criteria was important, and I was able to carry this across when working on my reviews portofolio. With guidelines being a shade regimental at first, it was a strange experience trying to incorporate my own voice into articles so heavily shaped by the assignment criteria. However, when working on my second assignment, I found the guidelines a lot more welcome, having spent the previous months developing my own prose coupled with a clear indication of the audience I found very beneficial. Another aspect I believe I learned from was keeping to a word count - in particular the need to keep the article / piece as raw and focused as possible. Without the constraints of a word count meant that any piece I had previously worked on had a tendency to be very wordy and lacking in its emphasis; whereas keeping to a max word count meant I had to spend time reviewing my piece, ensuring that any excess was removed whilst keeping the stronger elements intact.
Historically I have found it difficult to review my own works from another perspective but having read through various other journalistic pieces in class with both subbing & proofing oppourtunites have meant in turn I believe my own drafts have felt the benefit. Traditionally I was only able to read my own work from my personal perspective, but development on this aspect during class has meant working on my review portfolio allowed me to re-read my own prose from a target market mindset. One example is my often unnecessary use of cliched vocabulary without seeing how forced and irrelevant its usage was. However on reflection I was able to refine my own prose; 'writing that is full of cliches is annoying to read and suggests laziness on the part of the author' (MacWarlock, 2011)
MACWARLOCK, 2011 Prompt Proofing [online] [viewed 29 April 2011]. Available from: http://macwarlock.co.cc/prompt-proofing-blog-post-how-to-improve-your-writing-part-4/
Popular Music Journalism: Topic 1
1. What is the role of the music journalist today?
To answer this question it is important to first understand the definition of the term 'role'. Generally regarded as the 'proper or customary function; the rights, obligations, and expected behaviour patterns associated with a particular social status' (Dictionary, 2011), even so the 'role' of the current-day music journalist is a difficult one to define. The ever-changing landscape of technological and social advances dictate that traditional broadsheet communications are not entirely relevant; an image which many would consider an established image of music journalism. The advent of the digital revolution has meant that the internet has encouraged a significant increase in the level/degree of user-generated journalism, as opposed to the traditional means of leaving this aspect to companies / established publications.
Journalism in any chosen field should be about reporting the facts of a chosen matter to a target audience. Music Journalism can cover a wide range of topics, from album and gig reviews, to news regarding a bands status or direction for the future - supposedly without bias or personal belief; unfortunately this is not always true. A high level of current high-street music journalism cater to their set demographic of a relative scene/sub-culture; this coupled with economic interests mean that true journalistic ideals will always be sacrificed in place of finanicial security / meeting a target audiences demands. The need to ensure your work is in keeping with the ideals of a certain sub-culture / scene runs parallel to financial issues, and with the vast majority of online content being free; means the traditional role of a music journalist today differs greatly from that of those perhaps 50 years earlier. In my later blogs I will discuss this position further; looking to understand and identify whether user/consumer-based music criticism could be cosidered journalistic in the traditional sense.
The modern day journalists in my opinion are a necessary evil, providing doses of scripted criticism and entertainment in equal measures. 'As Shuker noted: "The music press and critics are not, at least directly, vertically integrated into the music industry...A sense of distance is thereby maintained, while at the same time the need of the industry to constantly sell new images, styles and product is met' (Jones, 2010). Whether this can be deemed true music journalism is indeed questionable.
DICTIONARY, 2011 [online] [viewed 13 March 2011] Available from: http://dictionary.reference.com/browse/role
JONES, 2002. Pop Music and the Press. USA, Philadelphia: Temple University Press
To answer this question it is important to first understand the definition of the term 'role'. Generally regarded as the 'proper or customary function; the rights, obligations, and expected behaviour patterns associated with a particular social status' (Dictionary, 2011), even so the 'role' of the current-day music journalist is a difficult one to define. The ever-changing landscape of technological and social advances dictate that traditional broadsheet communications are not entirely relevant; an image which many would consider an established image of music journalism. The advent of the digital revolution has meant that the internet has encouraged a significant increase in the level/degree of user-generated journalism, as opposed to the traditional means of leaving this aspect to companies / established publications.
Journalism in any chosen field should be about reporting the facts of a chosen matter to a target audience. Music Journalism can cover a wide range of topics, from album and gig reviews, to news regarding a bands status or direction for the future - supposedly without bias or personal belief; unfortunately this is not always true. A high level of current high-street music journalism cater to their set demographic of a relative scene/sub-culture; this coupled with economic interests mean that true journalistic ideals will always be sacrificed in place of finanicial security / meeting a target audiences demands. The need to ensure your work is in keeping with the ideals of a certain sub-culture / scene runs parallel to financial issues, and with the vast majority of online content being free; means the traditional role of a music journalist today differs greatly from that of those perhaps 50 years earlier. In my later blogs I will discuss this position further; looking to understand and identify whether user/consumer-based music criticism could be cosidered journalistic in the traditional sense.
The modern day journalists in my opinion are a necessary evil, providing doses of scripted criticism and entertainment in equal measures. 'As Shuker noted: "The music press and critics are not, at least directly, vertically integrated into the music industry...A sense of distance is thereby maintained, while at the same time the need of the industry to constantly sell new images, styles and product is met' (Jones, 2010). Whether this can be deemed true music journalism is indeed questionable.
DICTIONARY, 2011 [online] [viewed 13 March 2011] Available from: http://dictionary.reference.com/browse/role
JONES, 2002. Pop Music and the Press. USA, Philadelphia: Temple University Press
Track Review
Biffy Clyro - Whorses
Summer-americana feel to the 3 minutes, soft but loud, Nirvana feel to the track. Backings of punk-rock with clean vocals across the top. The result; leading to a distortion-laden chorus
Ian Drury & + The Blockheads - Aint hast...
Resonates with a very british feel, laces of Ska / Reggae, not dissimilar to madness. Punk, musichall.
Corinne Bailey Rae - The Sea
Emotional, angst-ridden melody which is slow to unfurl, slow-tempo'd pop with lacings of piano. Billy Holiday, Katie Melua, soul and jazz sounds to it.
Virus Syndicate - Hijak
Brooding, vampiric , but introduction of sampling and synths, aggressive MC'ing
New Young Pony Club - Ice Cream
New Order, Blondie. Vocal style similar to Delta Five, Talking Heads, Dresdon Dolls
My Chemical Romance - Helena
Thrash: Slayer, Anthrax, Queen, Black Flag, Garage Punk, Velvet Underground, Goth (Marilyn Manson).
Kanye West - Soul Jazz, Little Richard, Aretha Franklin, Chakra Khan, Ray Charles. Graduation-era included Elton John & Daft Punk etc, Strings influence from Portishead, Wu Tang Clan, RZA, U2.
Circa Survive - Beach Boys, Beatles, Nirvana, Zeppelin, Frank Zappa,
Le Martells - One of Those
Very infectious indie-pop, structured with resolutely british lyrics, all encased with an easy to follow melody. A great number which has been well worked on, no part of this song sounds out of place, the pace of the piece serving as both its wit and confidence (sorry, screwed up this last bit)
Apollos Arrows - Start at the End
Electronic Post-rock intro, which all changes 30 seconds in, with a jump into aggressive, sharp, choppy Wombats-esque progressive rock. Despite the lack of distortion, the relentless assault on the rhythm guitars serve their purpose well, strong track whilst rough around the edges.
The Sharps - Midnight State
Solent outfit harnessing a sound not a far cry from the likes of Fleetwood Mac and America, but it is their vocalist which draws the strongest comparison, to Arctic Monkeys' Alex Turner. A track which I feel needs improvement; whilst echoing the feel of already-established acts, missing that key lick/melody which would provide that extra kick.
Fly Frankie Fly - We Are One
Bass-laden synthetic grooves, but repetitive verses/chorus transform the track into resembling a dance number. Poor use of distortion. MGMT, Depeche Mode, Pet Shop Boys seem likely candidates for influencing their sound.
The Chromatones - In My Eyes
Striking vocal range, whilst musically very easy to draw comparisons to Manic Street Preachers. Fairly repetitive song structure with a half-hearted use of dual vocals. Despite the strong intro, the remainder of the track fails to live up the short-lived standard, wellowing in a pool of sub-par rock music for the last 2 minutes.
Summer-americana feel to the 3 minutes, soft but loud, Nirvana feel to the track. Backings of punk-rock with clean vocals across the top. The result; leading to a distortion-laden chorus
Ian Drury & + The Blockheads - Aint hast...
Resonates with a very british feel, laces of Ska / Reggae, not dissimilar to madness. Punk, musichall.
Corinne Bailey Rae - The Sea
Emotional, angst-ridden melody which is slow to unfurl, slow-tempo'd pop with lacings of piano. Billy Holiday, Katie Melua, soul and jazz sounds to it.
Virus Syndicate - Hijak
Brooding, vampiric , but introduction of sampling and synths, aggressive MC'ing
New Young Pony Club - Ice Cream
New Order, Blondie. Vocal style similar to Delta Five, Talking Heads, Dresdon Dolls
My Chemical Romance - Helena
Thrash: Slayer, Anthrax, Queen, Black Flag, Garage Punk, Velvet Underground, Goth (Marilyn Manson).
Kanye West - Soul Jazz, Little Richard, Aretha Franklin, Chakra Khan, Ray Charles. Graduation-era included Elton John & Daft Punk etc, Strings influence from Portishead, Wu Tang Clan, RZA, U2.
Circa Survive - Beach Boys, Beatles, Nirvana, Zeppelin, Frank Zappa,
Le Martells - One of Those
Very infectious indie-pop, structured with resolutely british lyrics, all encased with an easy to follow melody. A great number which has been well worked on, no part of this song sounds out of place, the pace of the piece serving as both its wit and confidence (sorry, screwed up this last bit)
Apollos Arrows - Start at the End
Electronic Post-rock intro, which all changes 30 seconds in, with a jump into aggressive, sharp, choppy Wombats-esque progressive rock. Despite the lack of distortion, the relentless assault on the rhythm guitars serve their purpose well, strong track whilst rough around the edges.
The Sharps - Midnight State
Solent outfit harnessing a sound not a far cry from the likes of Fleetwood Mac and America, but it is their vocalist which draws the strongest comparison, to Arctic Monkeys' Alex Turner. A track which I feel needs improvement; whilst echoing the feel of already-established acts, missing that key lick/melody which would provide that extra kick.
Fly Frankie Fly - We Are One
Bass-laden synthetic grooves, but repetitive verses/chorus transform the track into resembling a dance number. Poor use of distortion. MGMT, Depeche Mode, Pet Shop Boys seem likely candidates for influencing their sound.
The Chromatones - In My Eyes
Striking vocal range, whilst musically very easy to draw comparisons to Manic Street Preachers. Fairly repetitive song structure with a half-hearted use of dual vocals. Despite the strong intro, the remainder of the track fails to live up the short-lived standard, wellowing in a pool of sub-par rock music for the last 2 minutes.
Tri-Media Considerations
After spending recent Journalism lessons studying the semiotics of sample magazines, there are cetain aspects which I feel are paramount when considering your own layout
Colour
When used effectively, can determine whether the comsumer will choose that article over others. Unfortunately, as with the case of Audio Addict, I felt there were too many occasions where either the contrast or pallette was completely ineffectual, certainly putting me off from choosing that article.
Font
On reviewing the semiotics of NME, whilst I noticed they had incorporated various fonts, it wasn't until we had, as a group, reviewed Audio Addict. On reflection, NME were able to effectively vary the use of fonts according to the context and audience of a piece, despite what seemed at time a hogpodge of styles. Although Audio Addict kept to a set of clear defined rules across the magazine in general, the use of Comic Sans in particular highlighted how important it was to consider the font may portray to the audience; keep it professional but appealing to possible consumers.
Colour
When used effectively, can determine whether the comsumer will choose that article over others. Unfortunately, as with the case of Audio Addict, I felt there were too many occasions where either the contrast or pallette was completely ineffectual, certainly putting me off from choosing that article.
Font
On reviewing the semiotics of NME, whilst I noticed they had incorporated various fonts, it wasn't until we had, as a group, reviewed Audio Addict. On reflection, NME were able to effectively vary the use of fonts according to the context and audience of a piece, despite what seemed at time a hogpodge of styles. Although Audio Addict kept to a set of clear defined rules across the magazine in general, the use of Comic Sans in particular highlighted how important it was to consider the font may portray to the audience; keep it professional but appealing to possible consumers.
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