The Role of a Critic

In response to “The Pernicious Rise of Poptimism” by Saul Austerlitz

Check out this thought-provoking article in last week’s New York Times Magazine. It’s about the rise of consensus-driven coverage in music criticism. Austerlitz explains that there has been a shift away from critical thought caused, in part, by the fact that music is essentially free to consumers. Critics embrace “poptimism” as a means to stay relevant and are now driven by human-interest, “descriptivist” stories (and the millions that will Google Justin Bieber’s recent arrest rather than his latest album). In the age of free information and essentially free access to music, he is trying to make the point that the role of the critic has been downgraded from “telling consumers what to purchase” and arguing and pleading for the “underappreciated” to cheerleading for pop stars. 

I definitely agree that the platform for music delivery and music criticism has changed. Mass distribution of music and music criticism, like radio or even MTV, allowed fewer producers/critics to have more influence over a broader population. Across all aspects of information and experiences (not just music and not just online), we now have a proliferation of curated delivery channels that are customizable down to our target age/location/personality/and mood. Niche genres are reinforced as decidedly niche in those dark corners of the Internet (and in-person Meetups facilitated by the web) that allow specific groups to congregate in ever more insular circles. Conversely, what’s popular is what rises in Google optimization --- the most votes, the most shared, the most likes.

So for music criticism, what will it take for “honesty, curiosity, diligence, and pluralism” to cut through the noise? How can critics play their role and not come off as “snobbish” or out of touch? Here is where I think Austerlitz misses the point. The role of a critic is not tell people what to buy or root for the underdogs; it is to help people think for themselves and make informed decisions.

Austerlitz explains that other disciplines like books, film and restaurants still uphold a rightful place for critics because people still have to pay to for the products. But I would argue it has less to do with the price tag and distribution, and more to do with the way these industries have empowered consumers. They have maintained a role for curators because they have done a better job of fostering amateur movements and ownership among fans. Blogs are to Books, as YouTube is to Film. In music, Myspace fell flat as an amateur music platform.

In the realm of informed decision-making and criticism, AllRecipes.com, Yelp and Iron Chef are the three new Michelin Stars. At dinner parties, people are more likely to speak freely about umami and the presentation of their last meal out, rather than out themselves with more than a passing comment about the last show they saw. I actually applaud “American Idol” and “So You Think You Can Dance” that helped put the vocabulary of experts in the mouths of the American masses. But I think they fell short with only a binary judgement mechanism. It still came down to whether you liked or disliked it. 

Why is it that we have wine tasting parties where hosts hand out a tasting wheel, giving us the power to fully appreciate and discuss the complexities of our experience, but when it comes to music, critics keep the tasting wheel to themselves. Where was the Siskel and Ebert of music growing up? If critics want a role in music, step it up. Give listeners a toy chest of vocabulary, an ARENA for loudly expressing their own critical opinions, and a new playground for a music makers movement. Leave cheerleading and the buyers guide to the corporate producers and Billboards. Critics have bigger fish to fry. 

Starting Out and Breaking Out

Whether you are emerging in your career or switching to a new company, you are facing a steep learning curve. They say starting a new job ranks right up there with moving house on the stress meter.

A fresh perspective is valuable.

In addition to the copious notes on new procedures, keep a list of questions and observations. You may not know yet who to go to for answers – but you’ll learn to navigate the departments soon enough.  More importantly, you are bursting with “we should try X”, “why aren’t we already doing Y”, and “at my old job we did Z.”

This is a result of the rapid fire connections you are making between your unique combination of past workplace experiences, the new team and resources you now have and your personal beliefs. The verve of aligning your skills with the vision of the company was crystal clear during your interview process – you are now ready to apply it! 

That’s awesome. Hang on to that energy, write it down and find the best path.

Organizational Change.

Bringing you on means change for the organization. Any small question of “Why do we do it this way?” can actually be questioning a delicate balance of power, ritual and accumulated institutional knowledge.

If the answer you get back is: "That’s the way we do things around here."

My first instinct is to

If that is not an option, check out Kotter’s Model for an 8-step process of leading change. The new buzzword is “intrapreneur” (God help us) and the most useful framework I’ve found is the Competing Values Framework developed by Jeff DeGraff. Check out the Opera Conference 2013 presentation given by one of Jeff’s protégés, Ann-Li Cooke (she's on at 1:14:20).

Why it matters.

• Avoid frustration when you are not able to implement everything you want to immediately. 
• Find a positive and productive path for applying your valuable skills and ideas.
• Understand how organizational culture and history are factors in navigating change going forward.

Informational Interviews

Sounds like something only a vampire would want to do, but let’s get real.  We’ve all seen by now people getting what they want and confirming the old adage, “it’s not what you know, it’s who you know.”

What? Info interviews are short meetings or phone calls so you can learn more about a person, job, or field.

Why? It’s really one of the best ways to expand your network, whether you are looking to change jobs, find professional partners or just get new ideas.

Who? Think of someone whose work you admire. Who has your dream job? Don’t get shy here.

How? It’s always best to get a personal introduction, but cold emails are worth a try too. Do some research on their org, latest project, career path, etc. Shoot an email asking for only 20 minutes of their time, highlight at least one thing you find interesting about them and explain that you want to learn more about their work and career path. Even if you’d love it to be a job interview, it’s really not, so don’t send your resume unless they ask. 

Sample Questions:

1. What were some of the most influential experiences that got you to where you are today?
2. Describe your typical day; what are your daily responsibilities?
3. What are the biggest challenges of your job?
4. What gets you up in the morning and what keeps you up at night?
5. What are some trends in the field that you foresee over the next few years?
6. Where does your organization want to go and how do you want to get there?
7. Who else would you recommend that I talk to?

This last one is key. Pick out one topic that you chatted about to hone in on and ask if they can recommend someone else you can talk to. And thus the networking continues.

Why it works.

• Curiosity and enthusiasm go a long way—people love talking about themselves and giving advice to eager people and reflecting on their own paths.
• They will remember your face (ideally you can meet in person), interest, energy, etc.  Even better if they remember you when there is a job opening they hear about.
• Generally when you ask people about themselves, they’ll return the favor and you’ll get to share your passions, aspirations…or more explicitly what kind of work you are looking for.