CRITIC'S DEFENSE

Rip It Up, Issue 176, 1 March 1992, Page 22

CRITIC'S DEFENSE

I'm writing to 'Pamela Des Barnes' who told Kirk Gee that as he didn't play music he wasn't qualified to justify his position as a critic and then paraphrased another RIU writer who said "those who cannot play, criticise". The qualifications Kirk and other music critics possess is a deep-seated love and respect of music and musicians and an extensive working knowledge of the genres in which they write. As Stamp's music editor I organise reviews from people like myself, who fit into the above

description, through to musicians with well-respected local bands from the Nixons to Goblin Mix.

The voluntary time, effort and energy I put into my position with Stamp results from my true enjoyment of music. I honestly feel that through publicising and constructively criticising music I am, in my own small way, furthering the cause of the local music industry, something which I can't support financially or musically and I resent people insinuating that I and others like me only do what we do out of some "desire to be known as an important and integral part of the Auckland music scene". At least we're making some contribution! Finally, 'Pamela' also stated that being published didn't make Kirk's opinion any more relevant than anyone else's. I can't speak for Kirk, but I work long and hard at what I do. I actually listen to the bands I review, rather than sit at the back of the Gluepot getting pissed. I talk to a lot of musicians about their work, I spend hours in front of a computer screen typing in copy and on the phone . j finding appropriate reviewers. I've even been thanked by a band's manager for giving a fairly negative, but still objective review of his band. Maybe my or Kirk's opinions aren't any more relevant than anyone else's, but somebody must be interested in what we have to say or magazines like RIU and Stamp wouldn't exist. Next time, 'Pamela', think about it before you shit all over someone else's work. i

JO SCHMIDT