There's not a great danger in releasing the first single from an album without a video because the momentum from the last album will cause large numbers of fans to buy it.
— Robert Hilburn
Artists frequently argue that videos trivialize a song and that touring for months at a time works against the creative process, not to mention maintaining a normal lifestyle. Doing something about these complaints, however, is rare because promotional videos and touring are considered essential elements in building multimillion-unit album sales.
I'm guilty of being perceived as having narrow taste. I went after the artists that I thought were important - Dylan, Joni Mitchell, Bruce Springsteen and stuff.
With the Internet today, it is possible to do some mixed media things where you can write about an artist and link to a song or video by that artist. But that was unheard of in the years I was at the paper.
The greatest impact of 'We Are the World' seems to have been the video, which lets us see the singers take their turns at the microphone without any sense of star ego.
Some people will never take Madonna seriously - just as many never took Marilyn Monroe seriously. Novelty images - especially that of a sex symbol - are hard to erase.
I thought the message of the artist was more important than the writing style. I tried to be clear; I wanted everyone to be welcome. I think some of the more serious writers wrote to a more elite audience than that. They're the ones who were defining the seriousness of rock n' roll.
The Cure is clearly above average but seemingly unable to rally itself to move to a higher plateau.
If you care about who I want to write about, I'll write about the people you want to read about.
Thanks to the arrival of such spirited and purposeful groups as X, the Blasters, R.E.M., and the Replacements, American rock has made a spectacular comeback.
Elvis may have been my first hero, but you couldn't relate to him.
Through the '80s, nobody cared about Johnny Cash.
At the 'L.A. Times,' I always wanted to write about artists I thought were meaningful. So I interviewed Bob Dylan, John Lennon, Bruce Springsteen, U2, Stevie Wonder, Michael Jackson, Eminem, White Stripes. And I could understand how almost everybody I interviewed had a sense of artistry.
I loved Roger Miller.
The Internet has changed how young people listen to music. Television programs like 'American Idol' changed how people listen to music. It was no longer the songwriters that we celebrated; it was the singers.
Some writers sit down every day for two or three hours, at least, to write, whether they are in the mood or not. Others wait for inspiration.
Johnny Cash was a good man. He tried to live up to his faith. It was just difficult.
By 27, Bob Dylan had already written 'Highway 61 Revisited,' the Beatles had released 'Rubber Soul,' Bruce Springsteen had recorded 'Born to Run' and U2 had delivered 'The Joshua Tree.'
When the Eagles were starting out in the early '70s, it would have been hard to imagine anyone in the fledgling, country-accented rock group someday seriously challenging the artistic punch of Neil Young or Joni Mitchell.
I took a musician friend of mine to a Rolling Stone concert once, and all he did was cringe. I asked him what was wrong, and he said, 'Keith Richards' guitar is out of tune.' But 'Tumbling Dice' still sounded great to me.
One of my great frustrations for 35 years at the paper was the fact I couldn't play a record for the reader when I was writing about an artist. How can you describe the beauty of Emmylou Harris' voice without hearing it, the sensual lilt of a Duane Allman guitar solo without actually hearing it, or the growl of Johnny Rotten without hearing it?
Country music tends to be so sentimental and homespun, it's easy to stumble into self-parody, but Haggard has brought a freshness to the themes that places him alongside Hank Williams and Willie Nelson as one of the greatest country music writers.
Because record companies do not routinely release sales figures the way film studios do, the weekly charts in trade publications like 'Billboard' provide the best independent measure of record appeal.
I think there's a lot of writers who took rock music more seriously: Greil Marcus, Jon Landau.
Even though The Cure helped pioneer the jangly, dance-oriented guitar and keyboard style it continues to embrace, there are other bands that now employ the post-punk style with greater flair. This leaves The Cure's live presentation seeming a bit anonymous.
It's a different world because of the Internet and bloggers. Now, every editor is concerned about speed because every minute counts. Speed is more important than content. Whoever gets a review out first becomes the authority.
I think Pearl Jam, greatly inspired by The Who, really did become a sort of musical conscience of a generation. I love such passionate songs as 'Not for You,' 'Wishlist,' and 'Long Road.'
I didn't have any idea that Gwen Stefani would evolve into this symbol of womanhood in America, but to me, that's not a musical story: it's a fashion story.
When I was in high school in the '50s, all pop music - Elvis, Chuck Berry, Little Richard - was aimed at teenagers. I loved that stuff.
I was driving to school at Reseda High School - I was a junior, and it was early 1956. I had a '49 Ford. I was listening to the country station, and 'Folsom Prison Blues' comes on... It didn't sound like the stuff I was hearing on the pop stations.
Kendrick Lamar is a great, great thinker. He's a tremendous artist.
What's amazing is how rock n' roll lasted. It started losing its commercial power in the late 1990s. But think of swing, which we think of as this big music before rock n' roll. It only lasted five years in total. So, rock going 50 years is amazing, because young people want new things.
Growing up in the icy isolation of Hibbing, Minn., Dylan, who was still Robert Allen Zimmerman then, found comfort in the country, blues, and early rock 'n' roll that he heard at night on a Louisiana radio station whose signal came in strong and clear.
I didn't know if I should tell people that Johnny Cash had an affair with his sister-in-law while his wife was pregnant. How much does the public need to know about a performer?
The way he tells it, George Michael was born to be a pop star. It's as if nothing else really mattered during his childhood. Even the name was part of the pop creation.
I don't understand why people take Beyonce so seriously. You don't feel like there's a living, breathing person. It's not flesh and blood. It's just flesh and flesh.
I don't want to be the cranky old guy, but a lot of critics are too forgiving of mediocre artists. When you see these 'American Idol' people on the cover of 'Rolling Stone' being written about as serious artists, there's something wrong with that. You can erase them from the history of rock n' roll, and you wouldn't notice.
In 1980, after 10 years at 'The Times,' I was at a crossroads in my personal life. I loved my family, but I was also so obsessive about my work that I found myself devoting more and more time to it. I wanted to be everywhere there was a good story, and that meant I had to choose between that and being with the family on important days.
Like David Bowie, Madonna visualizes music so that her best work seems equally designed with the stage or screen in mind - not just the jukebox.
When I met Johnny Cash, I didn't know what to ask: where were you born, who was your favorite recording artist, what's your favorite color - I didn't know.
I was getting calls in 1970 from teenagers, little girls, and they'd say, 'Oh, I like your stories about so-and-so so much. How old are you? 20?' 'No. Older than that.' '30?' 'No. Older than that.' And they'd hang up.
Elvis Presley, The Rolling Stones, David Bowie and The Sex Pistols may come and go, but rebellion remains a key part of the rock n' roll experience. However, that rebellion - the outgrowth of a youthful search for independence and identity - doesn't always take the same form.
You had to read what I wrote if you lived in L.A. in 1975 and cared about pop music.
John Cougar Mellencamp - I didn't like him in the beginning. I liked some of the stuff around the 'Scarecrow' period. I go back and forth on him all the time, but I think he's a good artist. I don't know if he's a great artist or not, but he rose above his original level of achievement.
The first time I saw Pearl Jam, I thought Eddie Vedder had seen too many Jim Morrison videos, and I didn't like the music very much. But by the third album, I really liked them after all.
I really thought I knew Johnny Cash. I thought I didn't need to spend a lot of time researching his life. But I wasn't within 50 miles of knowing Johnny Cash. I knew he was a good guy and a dedicated artist, but I didn't know the demons, the struggles he had in his personal life.
His belief in the power of music to convey ideas - not just entertain - has filtered down to musicians in every field, from alt-rock to hip-hop, from Bruce Springsteen and U2 to Arcade Fire and Kanye West. Popular music is different because of Johnny Cash.
Without people like Dylan and the Beatles and people like Paul Simon, I think rock n' roll would have died out like Dixieland jazz.
'Walk on the Wild Side' was a very catchy song.
As soon as I started working at the 'Los Angeles Times,' people warned me not to get too close to artists because it could make it difficult to review their work, and you can never really tell if the 'friendship' is genuine.
