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June 16, 2005
Who's talking
Our invited critics include: from the UK: Hugh Canning (Sunday Times), Norman Lebrecht (Evening Standard), Fiona Maddocks (Evening Standard); from Canada: Colin Eatock (freelance), Robert Everett-Green (The Globe & Mail); from Australia: Peter McCallum (Sydney Morning Herald); from the USA: Willa Conrad (Newark Star-Ledger), Andrew Druckenbrod (Pittsburgh Post-Gazette), Lawrence Johnson (South Florida Sun-Sentinel), Joshua Kosman (San Francisco Chronicle), Allan Kozinn (The New York Times), Anne Midgette (The New York Times), Tim Page (Washington Post), Donald Rosenberg (The Plain Dealer), Tim Smith (Baltimore Sun), David Patrick Stearns (Philadelphia Inquirer)Posted by mclennan at June 16, 2005 10:54 AM
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Lebrecht: Why American Arts Journalism Is So Bad Director Weighs In On Critics Biting Back At Toothless Critics AJBlogCentral
Is there a fundamental difference in the ways music critics see their roles? Are European classical music critics different from American critics? Are there different expectations of London critics than New York critics? Between critics in the “second cities” of America and those of Europe? Consequently...
Our invited critics include: from the UK: Hugh Canning (Sunday Times), Norman Lebrecht (Evening Standard), Fiona Maddocks (Evening Standard); from Canada: Colin Eatock (freelance), Robert Everett-Green (The Globe & Mail); from Australia: Peter McCallum (Sydney Morning Herald); from the USA: Willa Conrad (Newark Star-Ledger), Andrew Druckenbrod (Pittsburgh Post-Gazette), Lawrence Johnson (South Florida Sun-Sentinel), Joshua Kosman (San Francisco Chronicle), Allan Kozinn (The New York Times), Anne Midgette (The New York Times), Tim Page (Washington Post), Donald Rosenberg (The Plain Dealer), Tim Smith (Baltimore Sun), David Patrick Stearns (Philadelphia Inquirer)
We’ve asked 15 critics from the US, UK, Canada and Australia to face off in a discussion about how they do their jobs. The conversation will last from Monday, July 18-Friday July 22, 2005. The blog is a lead-up to this year's Aspen Music Festival Critics' Symposium, where Tim Page, Willa Conrad, Greg Sandow and Anne Midgette will be taking part in public panels. Reader comments to the blog...
At the end of this blog (July 22-24), a group of four music critics gather at the Aspen Music Festival for a weekend of discussion. 
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Our Critics
Hugh Canning, Sunday Times
Different Worlds
Norman Lebrecht, Evening Standard
the world revolves, music criticism stands still
Fiona Maddocks, Evening Standard
Hang on, Norman
View from London
Colin Eatock, freelance
Robert Everett-Green, The Globe & Mail
Who Cares If They Read?
Peter McCallum, Sydney Morning Herald
19th Century Vienna
Word without thoughts never to heaven go
To criticise the critic
Willa Conrad, Newark Star-Ledger
More on newspapers underwriting the arts
Another way to look at the American style
Andrew Druckenbrod, Pittsburgh Post-Gazette
Where did I put that periwig?
Lawrence A. Johnson, The Sun- Sentinel (Florida)
The Critic's Role(s)
Joshua Kosman, San Francisco Chronicle
One Voice Per Beat
Allan Kozinn, The New York Times
Reporting and Ink Measurement
Critics and Reporters and Being Played Like a Fiddle
Observations about the observations
One view from New York
Anne Midgette, The New York Times
Tim Page, Washington Post
Donald Rosenberg, The Plain Dealer
Touting Two Tims
Geographical differences?
Tim Smith, Baltimore Sun
David Patrick Stearns, Philadelphia Inquirer
Douglas McLennan, ArtsJournal
Daniels All Around?
Hear Hear for the Two Tims (and Daniel and Mark and...)
Looking For A Critical Connection
Call Off the Attack Dogs!
Critics - Pick A Role
Readers
Resources
Norman Lebrecht doesn't think much of American arts journalism. "The failure to challenge is a fundamental flaw in US arts journalism. The tone in US arts coverage is uniformly respectful, uninquiring, inherently supportive." And how did this happen? Because there are few cities with multiple critical voices. "This monopoly places an unhealthy burden on critics. If theirs is to be the only voice to pronounce on a new show or the fate of an institution, they are obliged to wear a mantle of responsibility that is antithetical to good journalism. A critic is licensed to get it wrong from time to time. Restrict that license and the reviews grow safe and solemn. An era of incorporation fostered a pontifical tone in American arts criticism." La Scena Musicale 04/01/04
Why isn't American theatre criticism more of a "companion piece" than a Consumer Reports verdict, wonders Anna Shapiro. "Two things baffle me and make me angry, and they are this: When somebody writes about a new play and says the play is beautiful; the production is beautiful; the performances are stunning; the directing is weak. That makes me angry. But not as angry as: The direction is beautiful; the production is wonderful; the actors are amazing; the play is weak. That makes even less sense to me." Chicago Tribune 07/03/05
Why the thumbs up/down review has damaged critics' power to set agendas. ArtsJournal 03/14/01
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rock culture approximately
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Jan Herman - Arts, Media & Culture News with 'tude
Tommy T
Tommy Tompkins' extreme measures
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Tobi Tobias on dance et al...
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Sandow
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Beatrix
A Book Review review
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Artopia
John Perreault's art diary
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Conversations from the road (June 22-July3, 2005)
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A public conversation
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Classical Music Critics on the Future of Music
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In Media Res
Bob Goldfarb on Media
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AJ BlogCentral
