The 2nd Edition of Music Journalism 101 is a real thing. I’ve finished going through the first edition to revise it and update it.
And along the way, I was horrified. Actually, legitimately horrified.
I thought: ‘Did I ACTUALLY release this book, like this, into the market?’
And then I thought: ‘Did all those people who reviewed it ACTUALLY ignore all these fucking errors?’
Holy shit, you guys are waaaaaaaaay more forgiving than me. If I had been critiquing this work as a third party, I would have torn it to shreds.
Shreds, you guys. Bloody, dripping, awful, meat-trailing shreds. It’s that bad.
Which means that the second edition is going to be fucking fantastic in comparison. The beautiful thing about releasing it as an audiobook first is that I get to go through my archive of interviews for samples. What to do, what not to do, how it can go well, how it can go bad. The thought hit me when I was in the studio for the first session, and I was like holy shit this means we can actually do some amazing things.
And my producer was like, ‘You know, that would be seriously awesome. You should do that.’
In the interim, I’m flogging my Patreon like it’s a dead horse, because I really want it to work. I really love the idea of having a group of people who are inspired enough to support my work, and who in return can be my Second Eyes for critical review releases and that kind of thing. Art is so much about community. The only trouble is that Twitter is not about sharing any more. People like things like the passive consumers they are – they don’t share them.
Sigh. What do you do eh?
But of course, this is home. So you will still get some rad things here too. The only difference is that my patrons get all my works for free. Forever.
And in the meantime, let me know what sort of samples you’d like to hear on the book? Maybe Rob Halford telling me he’d like to see Santa in a thong? Leave a comment and let me know.