It brought me back to my college radio days when I called labels in an effort to get many of the same things. It also allowed me to get on the phone, and even occasionally send emails (although I don’t have an exact recollection of doing so), contacting record labels, publicists, musicians themselves, requesting promo copies of new CDs, tickets, backstage access, press and photo passes, and press materials (electronic press kits, to my knowledge, had not been invented in 1996 the PDF, then only three years old, was a term with no meaning in my vocabulary). With the sometimes sparsely documented nature of what I was researching – Slim Dunlap might have been a later member of The Replacements, but you were unlikely to find many entries about him in the Readers’ Guide to Periodical Literature – the project allowed me to do something I had very rarely done to this point: get online. One of the things that I liked about the project was that it allowed me to do research at the library, on those evenings that I wasn’t at shows. What I endeavored to do was write both objectively and subjectively, personally and impersonally, formally and informally, in a style that could feasibly be applied to any number of topics, but in this case rock music. ![]() From the outset my plan was to combine concert and record reviews, artist sketches and interviews with observations drawn from my personal experience as a concertgoer. It was January and it seemed like an altogether appealing way to pass the time, to see as many shows as I could manage over the course of the year, and write about it. Excerpt from an unpublished and unfinished 1996 book on concerts in Chicago
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