| rdfs:comment
| - Originally known as the New Musical Express, the NME is one of Britain's best known and most divisive music magazines. Launched in 1952 as a newspaper, the NME picked up many fans by being one of the earliest proponents of bands such as The Beatles and The Rolling Stones. While slow to follow musical trends, the paper acted as a vanguard for punk and later socialist movements under the Thatcher government, and released several influential mixtapes for then-underground acts such as Scritti-Politti. Has nothing to do with the Big Bad of Kirby Right Back At Ya. The magazine has examples of:
- It became the leading pop weekly in the 1970s, succeeding Melody Maker by changing its approach. At the time, Pete Frame wrote: Amusing to see that the New Musical Express have undergone a very peculiar transfiguration from teenybop to progressive heavy, man. The older guys seem to have stepped into the shadows and left it to a new, young, forceful breed of journalists to explore areas of progressive music; good for laughs. (Zigzag 24, early 1972, no page number)
|
| abstract
| - Originally known as the New Musical Express, the NME is one of Britain's best known and most divisive music magazines. Launched in 1952 as a newspaper, the NME picked up many fans by being one of the earliest proponents of bands such as The Beatles and The Rolling Stones. While slow to follow musical trends, the paper acted as a vanguard for punk and later socialist movements under the Thatcher government, and released several influential mixtapes for then-underground acts such as Scritti-Politti. Today, the paper focuses mostly on the indie and dance rock scenes. It has, however, become notorious for hyping nearly every band featured in its pages to near-messianic levels. Sometimes the bands that it hypes become stars (like Arctic Monkeys and Kaiser Chiefs), other times they don't (anyone remember Shitdisco or Pull Tiger Tail?). It also has extremely close ties with youth television - most notably, The Mighty Boosh and Never Mind the Buzzcocks. And its own spinoff music TV channel. Has nothing to do with the Big Bad of Kirby Right Back At Ya. The magazine has examples of:
* Hype Aversion - The unfortunate fate of many bands featured.
* Sesquipedalian Loquaciousness - The NME's review style often uses the same colourful, psuedo-Dickensian style that Russell Brand would later be famous for.
* Shout-Out - The NME is often mentioned in songs (almost always as a Take That), from The Sex Pistols' "Anarchy in the UK" to Scroobius Pip's "Thou Shalt Always Kill".
- It became the leading pop weekly in the 1970s, succeeding Melody Maker by changing its approach. At the time, Pete Frame wrote: Amusing to see that the New Musical Express have undergone a very peculiar transfiguration from teenybop to progressive heavy, man. The older guys seem to have stepped into the shadows and left it to a new, young, forceful breed of journalists to explore areas of progressive music; good for laughs. (Zigzag 24, early 1972, no page number) Despite this mockery, the new NME recruits, who included future celebrity rock journalists Nick Kent, Charles Shaar Murray (both of whom had written for underground papers) and Ian Macdonald, brought a more critical and irreverent tone to the paper, which contrasted with the earnestness of much Melody Maker writing and helped pave the way for the arrival of punk. After 1976 NME was the pop paper most sympathetic to Peel's tastes and remained so until the mid-1990s. While Peel never wrote a regular column for NME, as he did for Disc & Music Echo and Sounds, he was frequently mentioned in its pages, and wrote occasional pieces, such a review of the publication's Ruby Trax 40th anniversary release in the 1992-10-10 issue.
|
![[RDF Data]](/fct/images/sw-rdf-blue.png)