Years ago, a photo Forrest Black and I shot of Malcolm Jamal-Warner was almost published by Vibe. At the time, Malcolm Jamal-Warner was starring on Malcolm & Eddie with Eddie Griffin, but still best known for whatever it was he did on The Cosby Show. (I can’t speculate because I’ve never seen The Cosby Show, although I have seen a Chris Rock spoof of it.) I admit that I was interested in shooting him mostly because he was a charismatic guy with the world’s largest diamond tongue ring, at a time when tongue rings were still, ya know, radical. Vibe expressed interest and held onto the print for months. I was really excited to appear in such a large circulation music and lifestyle magazine then, but, alas, they eventually passed and sent my stuff back. No idea why to this day.

But now I know Vibe will never be on my list of credits because effective today, the magazine has ceased to exist. Staffers were in the middle of work on a Michael Jackson tribute issue when they received a memo, from CEO Steve Aaron, telling them they could basically go home. Vibe was hit hard by a combination of lack of access to venture capital and the huge decline in advertising, especially in Vibe’s bread and butter automotive and fashion categories, due to either recession belt-tightening or companies plain going out of business. I’m not a huge fan of venture capital because I feel it puts the banking people in control over creative, while allowing companies to spend vast sums on overpriced parties and coders and real estate in a way which can make otherwise viable businesses unable to compete in an environment where the venture capital-funded businesses will soon also go under due to irrational business plans. Nonetheless, I’m not thrilled that the taxpayers bailed out the banks but not really the automotive industry and this means companies like Vibe have to be shuttered.

I would think the Vibe web site would be an asset with some value, and the closing memo says digital did well for them, simply not well enough to counterbalance the rest in this economy, only apparently it is not for sale, so it may have too many liens from venture capital folks on it or something along those lines. At any rate, the issue of Vibe on the stands now, with Eminem on the cover, will be its last and the web site will stop updating immediately and be closed in the next month. I love magazines and it saddens me to see this rash of magazines folding.

Over the years, I think Rolling Stone magazine has maintained a higher standard of journalism than most music rags. The majority of music publications are written by writers in the employ of publicists and most rarely have an article on topics other than a performer’s favorite color or fictional creative process. Although their musical tastes and mine are not always precisely the same, Rolling Stone is usually an example of what journalism ought to be.

A week or so ago writer Elizabeth Goodman did a brief piece for Rolling Stone’s online incarnation where she really blasted Trent Reznor. Full disclaimer: The Nine Inch Nails album Pretty Hate Machine pretty much changed my life. When the “Get Down, Make Love” single came out, I drove from DC to Chicago, partly so I could get it from Wax Trax before it was widely available. Some of this is a topic for another article, but I wanted to fully disclose where I’m coming from on this.

In the recent Rolling Stone piece, Elizabeth Goodman chortled about Trent Reznor not being allowed to be giddy with happiness, being goth and all. Reznor apparently confided to Rolling Stone that he had perhaps taken so long between albums because he had sort of lost his confidence and was too worried what people thought of him. The goth-industrial icon went on to explain that he felt he was developmentally past that and was likely to only improve as an artist. The writer quoted what he said and summed it up saying, “After tiring of patting his own back, Reznor went on to pontificate on another of his recent epiphanies.” A little harsh. Apparently, Reznor’s second epiphany was realizing that he didn’t care much for the twenty bands playing overly-generic, over-produced, whiny-ass emo songs he had heard on the radio and that he couldn’t much tell them apart. (Bad news Trent: most radio stations don’t really have a whole twenty bands in rotation at any given time.)

The artist went on to say that he was suspicious of the motives of why a guy might be trying to start a band today: “Is he trying to change the world and do something different and express himself…or is it because they want to fuck Paris Hilton and be photographed outside trendy restaurants?”

I think Trent is right. The nature of celebrity has changed so much. For example, I used to get so excited when a channel like HBO wanted to come shoot at my punk rock group house and interview me and Forrest Black, even though none of us had cable at the time. But HBO was not secretly trying to set up cameras in my house to catch me breaking it off with a lover or having an argument with a housemate about whose dishes were in the sink. (The dishes were mine; I use plastic now.) At the time, if HBO sent a production crew over, they were going to let me outline which areas were public and which were private, they were going to respect my wishes, and news was a straighforward interview, and not getting photographed with the wrong sex partner in a trendy restaurant.

The really cool thing about the Rolling Stone article is that it has enough rawness to be journalism. The cynic in me wonders if maybe it is not just a very very clever placed article, something designed to appeal to the sort of people who liked Pretty Hate Machine. But Elizabeth Goodman’s article feels like actual music journalism. She didn’t just write the same nonsense bullet points from a publicist which one normally sees in music articles these days. She held my interest. She may not have personally liked Trent, but she wrote her article in a way where readers could actually get a human feel for both the journalist and the journalistic subject.

So, kudos to Rolling Stone and Elizabeth Goodman and Trent Reznor for all still flying the flag.

Incidentally, Trent has been on the cover of Rolling Stone at least twice. I’m just sayin’.