"...In fact, the `dramatic critic' of a newspaper, in ordinary circumstances, is at his best a descriptive reporter, and at his worst a mere theatrical newsman. As such he is a person of importance among actors and managers, and of no importance whatever elsewhere. Naturally he frequents the circles in which alone he is made much of; and by the time he has seen so many performances that he has formed some critical standards in spite of himself, he has also enrolled among his personal acquaintances every actor and manager of a few years' standing, and become engaged in all the private likes and dislikes, the quarrels and friendships in a word, in all the partialities which personal relations involve, at which point the value of his verdicts may be imagined. Add to this that if he has the misfortune to be attached to a paper to which theatrical advertisements are an object, or of which the editor and proprietors (or their wives) do not hesitate to incur obligations to managers by asking for complimentary admissions, he may often have to choose between making himself agreeable and forfeiting his post. So that he is not always to be relied on even as a newsman where the plain truth would give offence to any individual...
"All this does not mean that the entire Press is hopelessly corrupt in its criticism of Art. But it certainly does mean that the odds against the independence of the Press critic are so heavy that no man can maintain it completely without a force of character and a personal authority which are rare in any profession, and which in most of them can command higher pecuniary terms and prospects than any which journalism can offer. The final degrees of thoroughness have no market value on the Press; for, other things being equal, a journal with a critic who is good-humored and compliant will have no fewer readers than one with a critic who is inflexible where the interest of Art and the public are concerned. I do not exaggerate or go beyond the warrant of my own experience when I say that unless a critic is prepared not only to do much more work than the public will pay him for, but to risk his livelihood every time he strikes a serious blow at the powerful interests vested in artistic abuses of all kinds (conditions which in the long run tire out the strongest man), he must submit to compromises which detract very considerably from the trustworthiness of his criticism. Even the critic who is himself in a position to brave these risks must find a sympathetic and courageous editor-proprietor who will stand by him without reference to the commercial advantage--or disadvantage--of his incessant warfare. As all the economic conditions of our society tend to throw our journals more and more into the hands of successful moneymakers, the exceeding scarcity of this lucky combination of resolute, capable, and incorruptible critic, sympathetic editor, and disinterested and courageous proprietor, can hardly be appreciated by those who only know the world of journalism through its black and white veil..."
Why counter protests don't work
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