Stunt Journalism

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Something thats always entertained me is when a publication gives an ostentatious trashing or praise to a record or band, you suspect mostly to wake its readers up a bit. I love this kind of stunt journalism - Suede's notorious "Best New Band In Britain" cover would be an example, as might - closer to home - Pitchfork's recent Radiohead and Sonic Youth reviews. What are your favourite and least favourite examples, or do you despise the whole practise?

― Tom, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

I *basically* despise the practice, but *at the time* I thoroughly enjoyed the Romo rhetoric in Melody Maker. It's pretty embarrassing now, though.

― Robin Carmody, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

Only when it's very funny, like Lester Bangs going on at great length about why The Godz or Black Oak Arkansas are the greatest band ever. Otherwise, in the build-'em-up-to-tear-'em-down climate of English music journalism, I would think that kind of thing is business as usual, and it's basically an annoyance and a waste of time, especially when applied to minor-league talents who aren't worth the attention, positive or negative, Suede being an excellent example.

― Patrick, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

I think the Suede thing was at the time less the 'done thing' than it became, which is why people still remember it. It is now 'business as usual', yes, which is sad I think. The great problem with the UK music press is that they don't know the meaning of moderation when it comes to stunt journalism - the great problem with the US press is that they don't do it at all.

― Tom, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

Very true, Tom, unless you count puff pieces (in the US), but I guess the intent of those is to suck up to the readers, not kick them awake.

― Patrick, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

Surely the *silliest* example was when they followed Suede, a year later, with THE AUTEURS: BEST NEW BAND IN BRITAIN. For one thing, the Auteurs were already known about by then; for another, I never rated them.

I kind of have fondish memories of the other Suede one, in Select, March (?) 1993 - 'WHO DO YOU THINK YOU ARE KIDDING, MR COBAIN?' and all that. I think I found it silly, crude and even dated at the time, but now it feels like a journalistic golden age.

I suppose the Melody Maker's strictly unforgettable January 1990 gambit 'THE SUNDAYS LEAD THE CHARGE INTO TOMORROW'S WHIRL' doesn't count as 'stunt'?

Oh. Thought not.

― the pinefox, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

The problem is, that's ALL that exists in music press now so I've become so jaded by it that I can't give you a favorite or least favorite (though rest assured, if an example involves Radiohead, it's my least favorite). Every time I pick up a British mag, it's proclaiming SOMEONE the best band in the universe, which just gets extrodinarily tiresome. They can't ALL be the best band in the universe. That's TOPLOADER'S job (or whomever you want to fill in the blank with - just open this week's NME, I'm sure they have one for you).

― Ally, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

In the states, instead of "stunt journalism" I think you get stunt performers like Eminem who the media then analyzes very seriously for evidence of collective moral decline, as a threat to today's youth, as moral icons (not E, but y'know, some tosser trying to free tibet or start a foundation for rotting trees or something for keeping track of what all the different colors of ribbons stand for or something). I remember and miss the old Addicted To Noise because not only did they run stunt reviews (giving both Spice Girls albums top ratings) but they also had the passionate-fan-hype quality about them, after discovering Cat Power devoting oodles of time to them, or making sure to mention Sleater-Kinney everywhere, or whatever. And when they did an interview, they always seemed so buzzed about it, like they couldn't imagine they'd ever talk to X again, and had to ask every question ever, and run a story that went up to 10 pages. Yeah. And their "Smile" feature was unforgettable.

― Sterling Clover, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

i'd like to see the headline "they play music and therefore will not sell records"

― Kevin Enas, Tuesday, 27 February 2001 01:00 (twenty-four years ago)

I'm almost ashamed to know all these articles you're referring to (what is it with that era Melody Maker, did we all learn it by heart, week in week out?). I used to love that sort of thing, esp. with those cover stories or scene-starter articles (Romo, what a larf!). Of course you've got to keep your distance ;) Of course here in Holland music critics alwats deplore that climate were "Happy Mondays can be on the cover of NME every time they release a single", but then again they can't write for shit and all are still into Elvis Costello, so i rest my case.

― Omar, Wednesday, 28 February 2001 01:00 (twenty-four years ago)

Who is Romo ?

― Patrick, Wednesday, 28 February 2001 01:00 (twenty-four years ago)

It's better that you don't know what Romo is, Patrick. Trust me on this one. ;)

― Omar, Wednesday, 28 February 2001 01:00 (twenty-four years ago)

I once tangled with the Romo scene when a band I was in at the time supported one of the Romo bands at some London toilet or other, possibly the Dublin Castle. Anyway I can't remember their name, but incredibly, Dave Formula (ex-Magazine) was their keyboard player! Approaching 50 years-old, I should think! Anybody remember this bunch? They had a couple of singles out, but I just can't remember their name. Might begin with 'M'.

― Dr. C, Wednesday, 28 February 2001 01:00 (twenty-four years ago)

Dave Formula was in Inaura.

― Geysel Frass, Wednesday, 28 February 2001 01:00 (twenty-four years ago)

Oi, Omar. *I* still like Elvis Costello. Especially Painted From Memory. I can write, but only for toffee.

― the pinefox, Wednesday, 28 February 2001 01:00 (twenty-four years ago)

since as far as i can tell the media has by and large thrown itself at eminem's self-absorbed talentless (going by the first 8 tracks of _mmlp_) feet, i have trouble seeing your point, sterling.

does this question imply that the writers in question don't actually feel the extreme reactions they're reporting? surely one will come across enough things one actually loves or hates that one doesn't need to pull a "stunt" just to wake people up. if the reaction is genuine, why call it a stunt?

― sundar subramanian, Wednesday, 28 February 2001 01:00 (twenty-four years ago)

I'm not accusing the writers of "stunt journalism" at all -- I'm accusing Eminem of being a "stunt performer" who the writers then approach all-too-seriously .

― Sterling Clover, Wednesday, 28 February 2001 01:00 (twenty-four years ago)

The stunt element is mostly in the presentation - the publication using the tools available (front covers, marking systems, etc.) to emphasise the extreme opinions. The felt-ness of the opinions can be real or not real, I guess.

― Tom, Thursday, 1 March 2001 01:00 (twenty-four years ago)

sc: more just that i haven't for the most part seen the media look at eminem as evidence of moral decline. the media generally seems to be on his side.

― sundar subramanian, Thursday, 1 March 2001 01:00 (twenty-four years ago)

Omar: yes, many of us studied the MM obsessively. I'm still recovering :).

Sundar: actually, the only question is who is more homophobic: Eminem or the hypocritical right-wing papers who condemn him. Significantly, the Daily Mail's odious Simon Heffer suggested that, while Eminem apparently looks like he should be put in a lunatic asylum, he "sympathised" with Em's homophobia. Say no more.

― Robin Carmody, Thursday, 1 March 2001 01:00 (twenty-four years ago)

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