![]() As a radio critic, I know full well that my reviews will never get the space of those that discuss TV or film. On The Culture Show or The Review Show, for instance, contemporary art will always trump standup comedy. There is still a hierarchy of culture in the media. It was only during the 90s that newspapers began to cover pop music in a serious way only very recently that computer games were deemed worthy of mention. Our interests – our personal cultural choices – are what define a good part of our identity.Īnd mostly, those choices are ignored by the mainstream media. ![]() We naturally gravitate to others who share our interests, whether we spend our time collecting first editions, following Stockport County, yomping up mountains or watching three series of Breaking Bad all in one go. Everyone else just does stuff they like, with people who like it too. Professional critics spend their time whizzing between private screenings and secret gigs, opening nights and exclusive playbacks. The point is that most people – especially those outside the high-culture capital of London – are involved in culture of their own choice, often of their own making. ![]() When I said the Face – a magazine that prided itself on representing all aspects of British youth interests – every single one of them replied: "Never heard of it." When I was writing for the Face, during the 1990s, I went to interview some boy racers: young lads who spent all their money souping up their cars in order to screech around mini roundabouts or rev their engines in supermarket car parks until their tyres smoked.
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