Links for the week

Professor Cor Heebie McJeebie rails against those damned Student Reviewers and their ill-informed opinions – “A very negative, 350-word review was published by the Hotel Cadillac’s student-run newspaper, The Weekly Rate, written by a part-time student named Spiro Fitch. Through the Tenured Faculty Freedom of Information Act, I was able to ascertain that Fitch is enrolled in only four classes this summer. He’s also a kitchen-worker in the cafeteria.”

(In no way related to Sequenza21’s recent and surprisingly, er, ‘high-spirited’ attack on the American Record Guide (and then each other) – now pulled. Basically, the gist was that insurance salesmen had no place doing a bit of part-time work reviewing concerts cos, well, whaddatheyknow? Show me the PhD, then we’ll talk…)

Here’s a thought – maybe people who aren’t ‘qualified’ to the hilt actually say more interesting things about music than those who aren’t.

Expect less music and more insurance salemanship from now on here at the Rambler 😉

Elsewhere: riddim method has mp3s from the Resonance FM/Kick Up the Riddim show last month, including Kid Kameleon and Ripley, both of whom were excellent company when they were over here.

Matt has a prehistory of British electronic music.

The Guardian has Michael Berkeley on musical completism; the Telegraph has Ivan Hewett on musical nationalism. Angus Batey meets Timbaland.
Side Effects on time and melody.


9 thoughts on “Links for the week

  1. Shame that people felt there ws a need to have that bit on sequenza 21 pulled.

    From my readin’ of the material on 21 many of its contributors are looking for ways where classical/new music can reach more and more people but surely one side-product of that will be people that do not have the formal qualifications or people that have other frames of reference writing reviews of records/concerts.

    Funnily enough, over on ilm, there was a discussion on how much of the pop/rock canon you need to absorb in order to have any right-to-write on a national newspaper, etc. Quite different from a student newpaper, but issues of knowledge are touched upon.

  2. Not sure why it got pulled Julio, but my guess (and this is a complete guess) is that the comments had started to get surprisingly, and unnecessarily, bitchy.

    My own feeling is that *any* thoughtful response is valid; if you’re chief music critic for the Times, your paper credentials don’t really matter much, it all comes down to how well you write and with how much insight into the music. As long as your ears and your laptop are properly hooked up, it doesn’t matter what qualifications you have.

  3. Thank you, Prof. Rutherford-Johnson, for associating me with the history of British electronic music.

    Though I have always felt a sense of admiration and servitude toward the British, I must admit that I myself am from Rochester, New York.

    However, you might be interested to know that I assisted in the conception of Trevor Wishart’s “Journey into Space.” The accentuated letter “C” on the record cover is a manifestation of my hypothesis that electronic music resonates most naturally in the key of C. Indeed this was the case with early electronic works, until Desmond Leslie’s composition “Death of Satan” traded a natural, organic sound, for a sound generated by “kilobits.”

  4. The S21 post is available in Google’s cache:

    I actually read Prof. McJeebie’s post before this one so I didn’t know it related to anything specific. I find it really amazing that Dr. Melanie Mitrano actually dismissed migrant workers (especially considering the recent immigrant protests in the US) and Burger King employees. Extraordinary.

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