From polyglottism to branding

Abstract

The popular music press in the UK has undergone a number of important changes since the mid-1990s. These changes are due to a variety of factors including the emergence and proliferation of high-production glossy niched monthly titles, the fragmentation and over-saturation of the market for consumer music titles, the bureaucratic restructuring of music magazines, the occupational re-evaluation of the music journalism profession and an increasingly PR-led industry climate. What all this has meant is that the space devoted to, and the access required for, ‘immersion reporting’ – the New Journalism touchstone which informed the music press through the 1970s and 1980s – has been greatly reduced, resulting in a refocusing of resources and the once autonomous ‘personality writer’ being superseded by a single branded magazine identity. The article draws on interviews with music journalists, editors, editors-in-chief and press officers as well as participant observation in music magazines, all conducted as part of the author's PhD research at the University of Westminster.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 24 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.