What do rock ‘n’ roll and rock journalism have in common? Out of many things, probably, one is that they were both once assumed to be ephemeral. But if the prevalence of classic-rock st…
When Hoskyns started the site, Rock’s Back Pages was targeted at garden-variety music buffs, but it morphed into more of a research database for libraries, professors, students and documentarians. With individual subscriptions now set at $220 a year, those who don’t have a professionally or academically vested interest in taking a deep dive through rock history will find themselves settling for the free offerings on the front page, which will be plentiful enough for most casual browsers.
It’s quite an achievement that this has become an institution going on for two decades now. What were your expectations when you started this, and how have you exceeded them? And the focus shifted toward being geared more toward academia or researchers or libraries, and away from just wanting to get to your average NME or Rolling Stone reader to pony up a few bucks a month.
And the homepage still has stuff that average consumers can partake in, that’s like a little taste of what they can get with the full subscription? But we just lost one of the great British metal writers, Pete Makowsky. I was never a metal head, but I remember reading Pete’s stuff in Sounds in the ‘70s. So to me, it’s important to have he new wave of British heavy metal, which I think was a very I think important and pretty cool moment in British pop music culture. In terms of what we have each week and how we present it on the homepage, we want it to kind of reflect the diversity and depth of what’s in the archives.
Earlier, you said that even though you want to include genres and artists that go up to the present day, there was a peak period for rock journalism. And this maybe speaks to discussions and arguments some of us have all the time.
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