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“have not bought a record in the last 6 months” or young music magazine readers whose
knowledge of current music eclipses their knowledge of early rock.
That critics seek to appeal to the broader readership reveals that the function of the critic
as a consumer guide goes beyond directly influencing sales. If criticism does not directly
influence the purchases of most readers, it does contribute to the range of sources, including
radio and MTV, that cumulatively create a buzz and lead to sales. A few of the critics I talked to
acknowledged some truth in the aphorism that “Writing about music is like dancing about
architecture,” admitting that when it comes to an individual deciding whether or not he likes an
album, nothing beats hearing it firsthand. Yet music criticism can provide context, help to situate
an artist against the larger music and cultural universe.
Returning to the role of the critic as artist and the view of criticism as art, popular music
criticism, it is hoped, will also have “value in and of itself” (Pete). To lead, to inform, and to
entertain are the functions of the popular music critic’s idealized role as consumer guide.
However, there are other figures that can influence the dialogue that extends from critic to
reader.
Producer of Text: The Institutional Role
Before music criticism can make its way to the consumers, it must pass through the
publication’s editors. Popular music critics are subject to many of the same rules and regulations
as other writers. Various aspects of the critic’s role as a producer of text contribute to the look
and content of music criticism.
Space plays a major part in deciding the style and content of music criticism. In general
interest publications, reviews are few and usually short. The limited amount of space devoted to
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Some informants thought that perhaps concert previews have a greater effect on ticket sales than album reviews do
on album sales, since the stakes were perceived to be lower. The consumer is buying an experience rather than an
Convention