That said, I remember sitting around my then-girlfriend’s back yard in 1998, idly leafing through the Trading Post and looking at stuff going cheap I would have killed for in 1990. Linotypes! Halftone camera setups! Entire clunky publishing systems, Mac IIx still in the middle! That stuff was sorta fun. Except that even 1991-level desktop publishing knocked it into a cocked hat for convenience and ability to get the damned information out, of course.

So I feel some slight old man’s schadenfreude at these meddling kids set to the task of producing a magazine with the technology of the 1980s. Poor dears had to do arithmetic to work out their layout. HA! HA!

Writing about anything artistic on Wikipedia is arse, though, unless you can find critics to quote. Printed ones by preference. (Wikipedia’s epistemology is severely broken at the edges, and knowing how it got that way doesn’t actually help.) Google Books and Google Scholar help, but if you don’t have access to a significant clippings pile, or a really well-indexed library collection, it’s ridiculously difficult to write about things that happened before 1995. Though McFarlane is still on the Internet Archive and basically just needs someone experienced in Wikipedia’s little ways slogging through it. Do you feel lucky, punk?

A buncha MP3s just really doesn’t cut it. Who has time, for one thing?

Now culture is preserved endemically. I see records on Australian indie MP3 blogs with thousands of downloads — the original was a pressing of 500, twenty copies even leaving that city.

To sell records, you need to (1) compete with every record ever made; (2) convince people who can get your music free to want to give you money; (3) after they’ve already listened to your record repeatedly (“try before you buy” can be assumed). If you can make people want to give you money for a record they’ve heard lots of times that competes with every record ever made … then you can sell a record.

The scarce commodity is people’s attention. The only telly I watch is YouTube to amuse my baby daughter, and even that has a hard time keeping my attention more than sixty seconds. I load my MP3 player with fresh stuff and dispose of the weak links daily.

Which catches your attention, a rock journalism blog or an MP3 blog? Industry news gets readers, before the bitterness becomes terminal. Live performance can be written about, but you never see that linked from the MP3 blogs. And I’d have to leave the house.

Where’s room for the modern Lester Bangs? Does good rock journalism require music to be hard to get for dancing about architecture to substitute? Or just never-mind-the-quality-feel-the-width bloody-mindedness?

Where have you gone, Byron Coley? Our nation turns its lonely eyes to you.