Showing posts with label journalism. Show all posts
Showing posts with label journalism. Show all posts

Friday, 4 September 2020

Lockdown reads: Great journalism and writing you might have missed, part 9 (August 2020)

Hello and welcome to part nine of my seemingly infinite monthly round ups of interesting and thought provoking journalism I've read under lockdown. The question of whether we are or aren't still under lockdown in the UK is one of many that will crop up this month, along with the wider issue of Covid (always). There's also a lot of music based content, which might (or, then again, might not...) lighten the load a bit. 

Despite the events of last week, I've not actually got any analysis of anti-racism and Black Lives Matter this month. Not because I've stopped caring, more because - from a journalism perspective at least - something like a ripple effect seems to be happening. 

From reporting on individual tragedies, a lot of coverage of the issue has spread out, like a ripple in a pool of water, to wider areas of discussion. This is not just a big debate that won't go away anytime soon, it's also become a series of specific discourses within specific professions and areas of life. Many of which I've highlighted with stories published over the past couple of months, many of which I will no doubt link to in the months to come. 

There has been some discussion this month about Stan culture, a particularly hardcore sub group of fan culture, and the impact it's having on the ability to have free and frank discussions about artists work within the music press. Junkee this month argued the case for anonymous music reviews, particularly when reviewing artists with a massive stan culture around them. The writer Hannah Ewens was interviewed by Bitch about her book Fangirls, which is due to be published in the US soon (it was published in the UK last year), and she also talked about stan culture and how it differs from fan culture. 

Also in music and subculture news, Waging Non Violence published an optimistic piece on how to be punk in a pandemic. There's also some lovely nostalgic musings on seventies punk in this piece for The Courier. Less lovely is the news that female British artists are massively underrepresented on UK radio. Vice are also maintaining that there's no such thing as independent music in an age of Coronavirus

Covid wise, there has been some interesting news stories this month. Local lockdowns kicked in in Greater Manchester, parts of Lancashire and parts of Yorkshire at the end of last month, and just over a week later the Manchester Evening News revealed that local contact tracers in Blackburn were having far more success contact tracing people who'd been exposed to Covid than the national scheme had. The threat of micro lockdowns within lockdown also had the MEN pondering the ramifications for local politics. In a sea of misinformation and fake news, The New Scientist provided a calm and dispassionate analysis of Russia's claims to have found a coronavirus vaccine. They also assessed Sweden's Covid strategy. You can read their Coronavirus essential guide here. As the return to school beckons for students across England, Ireland and Wales, Full Fact did a report on Covid transmission risks in schools



One of the biggest UK stories this month was the exams fiasco, with thousands of students seeing their results downgraded by a computer algorithm created by OFQUAL at the request of a UK government eager to prevent grade inflation. The Overtake produced a heartfelt response to the tragedy of thousands of students from deprived backgrounds seeing their predicted grades downgraded. Whereas the New Statesman concentrated on those ultimately responsible

Another big story to rear its head this month was immigration, with an unwelcome return to the Brexit wars and deeply unpleasant newspaper headlines. In the midst of all the heat and anger, Full Fact took the time to answer the question 'Do refugees have to stay in the first safe country they reach?' And the answer, from a legal perspective, is No. In other news, there's a man travelling across Europe in order to write the message 'Stop Brexit' with a GPS tracker


The i's housing reporter, Vicky Spratt, wrote a very though provoking piece about the increasing trend for converting shipping containers into housing, and what it's like to actually live in one

Vice, meanwhile, were one of the first to report on the disputed election in Belarus, and specifically on the claim that the internet in the country was tampered with during the vote


Wash your hands now. 

Photo one by Rosie Kerr on Unsplash

Photo two by Ben Wicks on Unsplash

Monday, 2 March 2020

Balancing my work and my cheque book

This isn't my desk. I do write at the kitchen table though.
When I went full time freelance in 2018, it was with pretty low expectations.

I wasn't expecting to be able to earn a living solely from freelancing, which is just as well because I totally haven't. I jumped into it with a very basic plan, one that relied on other sources of income such as transcription (don't even bother if you only own a Mac...), proofreading (even more of a non starter...), surveys (pay peanuts) and temping (by far and away the most lucrative option).

While I was pursuing these various adventures, I continued pitching publications. All the freelance journalism guides I've read say it takes at least 12 months to start to make any headway with commissions, and this definitely proved to be the case.

What was interesting was what I was getting commissioned to write. That is, I wasn't getting offered money to write music journalism. Despite music journalism being my most obvious area of experience, the one area I have a proven track record in.

It still amazes me that people were more willing to take a chance on me when it came to writing about, say, Brexit food stockpiling and veg box schemes, the ethics of the personal essay, buses, buses again, and Manchester's plans for the Metrolink than anything music related. I'm incredibly grateful to the editors who trusted me with those pieces, it's opened up a whole other area of specialism for me, and it's stretched me in a way that I needed. But the lack of paid music commissions really niggles away at me sometimes.

Back in November I attended the annual music journalism panel discussion at Louder Than Words and came away with more questions than answers. I was intrigued by the ways in which debates around music journalism, and getting work, had shifted over the past year or so away from 'Don't write for free' to 'Sometimes, you have to write for free'. It seemed like what had been a massive bone of contention had gradually been accepted as a fact of life: Music journalism doesn't pay.

There have been a number of commentary pieces on the state of the industry over the past couple of years, but none of them have been written with aspiring music journalists in mind, which seemed a missed opportunity given that the panel at Louder Than Words has demonstrated, year after year, the need for some solid advice.

Happily, the excellent Jem Collins at Journo Resources agreed that this was a piece worth commissioning, and gave me the thumbs up to proceed.

If anything surprised me, it was the number of people I contacted for interview who didn't respond. Oh, and the lack of reaction when the piece was published. But mainly the number of people who didn't respond. I understand that many writers and editors are drowning in their inboxes, and I sympathise, but I'd written a piece about the ethics of personal essays for Journo Resources a couple of months before and - again, despite it not obviously being my area - the response rate was well above 90%. In the case of my music journalism piece, there was a response rate of 7 out of 30 people or organisations contacted. And only five of those resulted in interviews: The other two were an apologetic email from a writer friend, because it had got lost in her junk folder, and a 'We will not be putting anyone forward for interview' from a large publication who shall remain nameless.

In both cases, I tried to take lessons from the work. In the case of the personal essays piece, I felt well advised ahead of publishing my Florence + The Punk Women piece on Medium, and in the case of the music journalism piece I elected to act on the advice of the writers and editors I'd interviewed in terms of trying to find new publications to write for.

We will see how this pays off, or if it does, but no matter how it pans out, I really enjoyed writing about the current state of music journalism. The people who did speak to me were interesting, obliging, friendly and helpful and gave me, and my readers, lots of helpful advice.

It will be interesting to see what happens next with music journalism as an area of the industry. And what the next discussion at Louder Than Words 2020 will bring.

Image of man at kitchen table by Chris Spiegl on Unsplash