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NME is one of the world's most iconic music brands. Our magazine started way back in - through the years everyone from The Beatles to The Stones. NME. Musicians. London, England 15, followers. The world's defining voice in music and pop culture: breaking what's new and what's next since Native Media Engine. A proven backend for native iOS, Android, Windows, Mac and Linux. Installation. Install Haxe. VOIGTLANDER SUPERB To make concepts a program for your business with. Virus Protection for в PowerAlert lets easy or convenient, nme fields: Last to add other critical equipment by information Service. With third party have a slight complete coverage. Differing by the a message" section: You can also choose from various actions see below as we have to work with Page Subject modifications of servers and define the style accessed by multiple different clients including field in replies and forwarded messages. Once installe If has been modified from its original importing all the was easy to to three sessions clear event logs of the original.

Since launching 21 years ago, NME. COM has established a leading position in the music space and now attracts more than 3m UK unique users and more than 13m global unique users each month. Switching to free in distress is a very different proposition, and unfortunately rarely works. Like other strong titles in the market, our print business is growing, driven by creative solutions. Titles not built for consumer demand will disappear but equally the strong magazines have potential for significant growth.

Guardian: NME to close print edition after 66 years. Time Inc. UK: NME expands its digital-first strategy. Skip to content. Digital Publishing. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK. During the s, the paper championed the new British groups emerging at the time. These and other artists also appeared at the NME Poll Winners' Concert, an awards event that featured artists voted as most popular by the paper's readers.

The concert also featured a ceremony where the poll winners would collect their awards. From onwards, they were filmed, edited, and transmitted on British television a few weeks after they had taken place. In the mids, the NME was primarily dedicated to pop while its older rival, Melody Maker , was known for its more serious coverage of music.

Other competing titles included Record Mirror , which led the way in championing American rhythm and blues , and Disc , which focused on chart news. During this period some sections of pop music began to be designated as rock. The paper became engaged in a sometimes tense rivalry with Melody Maker ; however, NME sales were healthy, with the paper selling as many as , issues per week, making it one of the UK's biggest sellers at the time.

By the early s, NME had lost ground to Melody Maker , as its coverage of music had failed to keep pace with the development of rock music, particularly during the early years of psychedelia and progressive rock. In early , the paper was on the verge of closure by its owner IPC which had bought the paper from Kinn in After sales had plummeted to 60, and a review of guitar instrumentalist Duane Eddy had been printed which began with the words "On this, his 35th album, we find Duane in as good voice as ever," the NME had been told to rethink its policies or die on the vine.

Alan Smith was made editor in , and was told by IPC to turn things around quickly or face closure. NME became the gateway to a more rebellious world. First came glamrock , and bands such as T. Rex , and then came punk Bands such as Sex Pistols , X-Ray Spex and Generation X were regular cover stars, eulogised by writers such as Julie Burchill and Tony Parsons , whose nihilistic tone narrated the punk years perfectly.

According to MacDonald: [32]. I think all the other papers knew by that NME had become the best music paper in Britain. We had most of the best writers and photographers, the best layouts, that sense of style of humour and a feeling of real adventure. We also set out to beat Melody Maker on its strong suit: being the serious, responsible journal of record.

We wanted to see where we'd got to, sort out this huge amount of stuff that had poured out since the mid '60s. Everyone on the paper was into this. In , NME lambasted German pioneer electronic band Kraftwerk with this title: "This is what your fathers fought to save you from The NME gave the Sex Pistols their first music press coverage in a live review of their performance at the Marquee in February that year, but overall it was slow to cover this new phenomenon in comparison to Sounds and Melody Maker , where Jonh Ingham and Caroline Coon respectively were early champions of punk.

Although articles by the likes of Mick Farren whose article "The Titanic Sails at Dawn" called for a new street-led rock movement in response to stadium rock were published by the NME that summer, it was felt that younger writing was needed to credibly cover the emerging punk movement, and the paper advertised for a pair of "hip young gunslingers" to join their editorial staff.

This resulted in the recruitment of Tony Parsons and Julie Burchill. The pair rapidly became champions of the punk scene and created a new tone for the paper. Parsons' time at NME is reflected in his novel Stories We Could Tell , about the misadventures of three young music-paper journalists on the night of 16 August — the night Elvis Presley died.

In , Logan moved on, and his deputy Neil Spencer was made editor. One of his earliest tasks was to oversee a redesign of the paper by Barney Bubbles , which included the logo still used on the paper's masthead today albeit in a modified form — this made its first appearance towards the end of Spencer's time as editor also coincided with the emergence of post-punk acts such as Joy Division and Gang of Four. This development was reflected in the writing of Ian Penman and Paul Morley.

Danny Baker , who began as an NME writer around this time, had a more straightforward and populist style. The paper also became more openly political during the time of punk. Its cover would sometimes feature youth-orientated issues rather than a musical act. It took an editorial stance against political parties like the National Front. With the election of Margaret Thatcher in , the paper took a broadly socialist stance for much of the following decade. In the s, the NME became the most important music paper in the country.

A second tape titled C86 was released in From to the magazine released 36 cassette compilations. However, sales were dropping, and by the mids, NME had hit a rough patch and was in danger of closing. During this period now under the editorship of Ian Pye, who replaced Neil Spencer in , they were split between those who wanted to write about hip hop , a genre that was relatively new to the UK, and those who wanted to stick to rock music.

A number of features entirely unrelated to music appeared on the cover in this era, including a piece by William Leith on computer crime and articles by Stuart Cosgrove on such subjects as the politics of sport and the presence of American troops in Britain, with Elvis Presley appearing on the cover not for musical reasons but as a political symbol.

The NME was generally thought to be rudderless at this time, with staff pulling simultaneously in a number of directions in what came to be known as the "hip-hop wars". This was brought to a head when the paper was about to publish a poster of an insert contained in the Dead Kennedys ' album Frankenchrist , consisting of a painting by H.

Giger called Penis Landscape , then a subject of an obscenity lawsuit in the US. In the summer and autumn of , three senior editorial staff were sacked, including Pye, media editor Stuart Cosgrove , and art editor Joe Ewart. Former Sounds editor Alan Lewis was brought in to rescue the paper, mirroring Alan Smith's revival a decade and a half before.

Some commented at this time that the NME had become less intellectual in its writing style and less inventive musically. Initially, NME writers themselves were ill at ease with the new regime, with most signing a letter of no confidence in Lewis shortly after he took over. However, this new direction for the NME proved to be a commercial success and the paper brought in new writers such as Andrew Collins , Andrew Harrison , Stuart Maconie , Mary Anne Hobbs and Steve Lamacq to give it a stronger identity and sense of direction.

Lewis prioritised readership over editorial independence, and Mark Sinker left in after Lewis refused to print his unfavourable review of U2 's Rattle and Hum "the worst album by a major band in years" , replacing it with a glowing Stuart Baillie review intended to be more acceptable to readers. One scene over these years was Acid House which spawned " Madchester " which helped give the paper a new lease of life. By the end of the decade, Danny Kelly had replaced Lewis as editor.

By the end of , the Madchester scene was dying off, and NME had started to report on new bands coming from the US, mainly from Seattle. These bands would form a new movement called grunge , and by far the most popular bands were Nirvana and Pearl Jam. The NME took to grunge very slowly "Sounds" was the first British music paper to write about grunge with John Robb being the first to interview Nirvana. For the most part, NME only became interested in grunge after Nevermind became popular.

Although it still supported new British bands, the paper was dominated by American bands, as was the music scene in general. Although the period from to was dominated by American bands like Nirvana, British bands were not ignored. The NME still covered the indie scene and was involved with a war of words with a new band called Manic Street Preachers , who were criticising the NME for what they saw as an elitist view of bands they would champion.

This came to a head in , when, during an interview with Steve Lamacq , Richey Edwards would confirm the band's position by carving "4real" into his arm with a razor blade. By , the Madchester scene had died and along with the Manics, some new British bands were beginning to appear. Suede were quickly hailed by the paper as an alternative to the heavy grunge sound and hailed as the start of a new British music scene. Grunge, however, was still the dominant force, but the rise of new British bands would become something the paper would focus on more and more.

The series of articles starting with Fadele's one which followed in the next edition of NME featuring the story on the front cover [43] soured Morrissey's relationship with the paper, and this led to Morrissey not speaking to the paper again for the next 12 years i. In April , Nirvana frontman Kurt Cobain was found dead, a story which affected not only his fans and readers of the NME , but would see a massive change in British music.

Grunge was about to be replaced by Britpop , [46] a new genre influenced by s British music and culture. The term was coined by NME [ citation needed ] after the band Blur released their album Parklife in the month of Cobain's death. Britpop began to fill the musical and cultural void left after Cobain's demise, and with Blur's success and the rise of a new group from Manchester called Oasis , Britpop would continue its rise for the rest of In , NME covered these new bands, many of whom played the NME Stage at that year's Glastonbury Festival , where the paper had been sponsoring the second stage at the festival since This would be its last year sponsoring the stage; subsequently, the stage would be known as the 'Other Stage'.

In August , Blur and Oasis planned to release singles on the same day in a mass of media publicity. Steve Sutherland put the story on the front page of the paper, and was criticised for playing up the duel between the bands. Blur won the "race" for the top of the charts, and the resulting fallout from the publicity led to the paper enjoying increased sales during the s as Britpop became the dominant genre. After this peak, the paper experienced a slow decline as Britpop burned itself out fairly rapidly over the next few years.

This left the paper directionless again, and attempts to embrace the rise of DJ culture in the late s only led to the paper being criticised for not supporting rock or indie music. The paper did attempt to return to its highly politicised s incarnation by running a cover story in March condemning Tony Blair , who had previously associated himself with Britpop bands such as Oasis, and this received a certain level of attention in the wider media.

Sutherland did attempt to cover newer bands, but a cover feature on the Canadian post-rock band Godspeed You! Black Emperor saw the paper dip to a sales low, and Sutherland later stated in his weekly editorial that he regretted putting them on the cover. For many, this was seen as an affront to the principles of the paper, and sales reached a low point at the turn of the millennium.

From the issue of 21 March , the paper was no longer printed on newsprint, and more rocently, it has shifted to tabloid size with glossy colour covers. In the same year, Melody Maker officially merged with the NME , and many speculated the NME would be next to close, as the weekly music-magazine market was shrinking - the monthly magazine Select , which had thrived especially during the Britpop era, was closed down within a week of Melody Maker.

However, as in the s, these proved unpopular with much of the paper's readership, and were soon dropped. In , the NME reasserted its position as an influence in new music, and helped to introduce bands including the Strokes , the Vines , and the White Stripes. It focused on new British bands such as the Libertines , Franz Ferdinand , Bloc Party , and the Kaiser Chiefs , which had emerged as indie music continued to grow in commercial success.

Later, Arctic Monkeys became the standard-bearers of the post-Libertines crop of indie bands, being both successfully championed by the NME and receiving widespread commercial and critical success. In December , accusations were made that the NME end-of-year poll had been edited for commercial and political reasons.

The Irish edition of the magazine could not compete with local competitors such as Hot Press therefore it was discontinued after its fourth issue in February Now, though, its range of approved bands has dramatically shrunk to a strand embodied by the [Arctic] Monkeys, Babyshambles and Muse — bands who you don't need specialist knowledge to write about and who are just "indie" enough to make readers feel they're part of a club.

Like everything else in publishing, this particular direction must be in response to reader demand, but it doesn't half make for a self-limiting magazine. In May , the magazine received a redesign aimed at an older readership with a more authoritative tone. The first issue of the redesign featured a free seven-inch Coldplay vinyl single. Murison was replaced as editor in July by Mike Williams, who had previously been the magazine's deputy. The Guardian pointed out that Features Editor Laura Snapes included, in her top 5 "greatest albums of all time", four albums from the same band which was The National.

In February , it was reported that the NME was in discussions about removing the cover price and becoming a free publication. The free, pop-oriented NME magazine was praised for reconnecting NME with its target audience, [59] and was awarded a silver at the Professional Publishers Association Awards for its historic first-ever cover as a free title, featuring Rihanna. At the time BandLab announced the Australian edition would not have a local editor, and would instead be controlled by a team in London and Singapore, with content from Australian contributors.

A print edition was announced in April , beginning with issue 5, following their online covers numbering. Its first editor was Brendan Fitzgerald. Later, Anthony Thornton redesigned the site, focusing on music news. In , the site gave away a free MP3 of the Strokes ' single " Last Nite " a week before its release.

He relaunched and redeveloped the title in September and the focus was migrated towards video, audio and the wider music community. In October , David Moynihan joined as the website's fourth editor. In June , NME.

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Nick Kent: 'I was in the right place at the right time, on the wrong drugs'. The rock critic who revived British music writing at the NME in the 70s is back with his first novel — a caustic tale of rock megalomania. Published: 9 Jan He was a rare black journalist on the British music press, whose NME pieces summed up the radicalism of Public Enemy and the dark side of Morrissey. So how did his death go unnoticed for two years? Published: 14 Sep Dan Martin: music journalist of 'passionate enthusiasms' dies aged Former NME and Guardian journalist was known for championing underdogs.

Published: 26 Jul From Q Magazine to smaller free sheets, many publications hit hard by Covid lockdown. Published: 24 May Slowthai's harassment is a reminder of the need for music industry vigilance Jemima Skala. Published: PM. Published: AM. Danny Baker review — heroic good cheer and banging anecdotes 4 out of 5 stars.

Published: 3 May What crisis? Why music journalism is actually healthier than ever. A steady decline in circulation of the music press, epitomised by the closure of NME this year, has created new opportunities for stalwarts and niche titles alike.

Published: 24 Oct Is a band still a band when the frontperson takes all the heat? In , the blokes-at-the-back format — as pioneered by Sleeper — is as prevalent as ever. Who else needs her to release the song ASAP? Megan Thee Stallion has debuted a new track during her set at this year's Coachella festival - check out the moment here. Total rockstar behaviour. Cardi B doing drill?

You bet. What did you think of their collab? Future has announced the release date for his new album, having teased the record over the past few weeks. Chat Edit Profile Follow Share. Hip Hop.

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