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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. Sales were apparently lower when photos of hip hop artists appeared on the front and this led to the paper suffering as the lack of direction became even more apparent to readers. 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. The insert was 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 Alan 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 , Stuart Maconie , Mary Anne Hobbs and Steve Lamacq to give it a stronger identity and sense of direction, although Mark Sinker left in after the paper refused to publish a negative review he wrote of U2 's Rattle and Hum.
Initially many of the bands on the C86 tape were championed as well as the rise of Gothic rock bands but new bands such as the Happy Mondays and the Stone Roses were coming out of Manchester. 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 Alan Lewis as editor. Oasis issue in August NME started in the thick of the Madchester scene, covering the new British indie bands and shoegazers.
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. Melody Maker was more enthusiastic early on, largely through the efforts of Everett True , who had previously written for NME under the name "The Legend!
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.
In , the NME also had a very public dispute with its former hero Morrissey due to allegations that he had used racist lyrics and imagery. This erupted after a concert at Finsbury Park where Morrissey was seen to drape himself in a Union Flag. The series of articles which followed in the next edition of NME [15 ] soured Morrissey's relationship with the paper and this led to Morrissey's not speaking to the paper again for over a decade.
When Morrissey did eventually speak to the NME in , he made it clear it was only because the three writers concerned had long since left. 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 , [16 ] a new form of music influenced by British music of the s and British culture. Britpop began to fill the musical and cultural void left after Cobain's death, and with Blur's success and the rise of a new group from Manchester called Oasis Britpop would continue to explode for the rest of In NME covered many of these new bands, and many of the bands 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 their 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. In the week of the election the paper featured an interview with the leader of the Labour Party , Neil Kinnock , who appeared on the paper's cover.
He had appeared on the cover once before, in April However sales were dropping, and by the mid s 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. Sales were apparently lower when photos of hip hop artists appeared on the front and this led to the paper suffering as the lack of direction became even more apparent to readers.
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. The insert was 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 Alan 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 , Stuart Maconie , Mary Anne Hobbs and Steve Lamacq to give it a stronger identity and sense of direction, although Mark Sinker left in after the paper refused to publish a negative review he wrote of U2 's Rattle and Hum. Initially many of the bands on the C86 tape were championed as well as the rise of Goth rock bands but new bands such as Happy Mondays and The Stone Roses were coming out of Manchester.
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 Alan Lewis as editor. The start of saw the paper in the thick of the Madchester scene, and covering the new British indie bands and shoegazers.
By the end of , the Madchester scene was dying off, acid house was suffering from being the subject of a vigorous campaign to outlaw it by the John Major government, 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. Melody Maker was more enthusiastic early on, largely through the efforts of Everett True , who had previously written for NME under the name "The Legend! 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 more and more upon. In , the NME also had a very public dispute with its former hero Morrissey due to allegations that he had used racist lyrics and imagery.
This erupted after a concert at Finsbury Park where Morrissey was seen to drape himself in a Union Flag. The series of articles which followed in the next edition of NME [ 8 ] soured Morrissey's relationship with the paper and this led to Morrissey's not speaking to the paper again for over a decade.
When Morrissey did eventually speak to the NME in , he made it clear it was because the three writers concerned had long since left. 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 , [ 9 ] a new form of music influenced by British music of the s and British culture. Britpop began to fill the musical and cultural void left after Cobain's death, and Blur's success, along with the rise of a new group from Manchester called Oasis saw Britpop explode for the rest of This would be their last year sponsoring the stage, subsequently the stage would be known as the 'Other Stage'.
The first average circulation published in February of , copies per week was the highest in the brand's history, beating the previous best of ,, recorded in at the height of the Beatles' fame. UK claimed to have more than 13 million global unique users per month, including 3 million in the UK. In March , the publisher announced that the print edition of NME would cease publication after 66 years and become an online-only publication.
The brand's most recent editor is Charlotte Gunn, replacing Mike Williams, who stepped down in February W latach Od marca redaktorem naczelnym jest Charlotte Gunn.
Tidningen grundades av av Theodore Ingham. Webbupplagan, NME. Sista ordinarie numret av papperstidningen gavs ut i mars och en festivalguide i april NME started in the thick of the Madchester scene, covering the new British indie bands and shoegazers. E dbr :NME. Cover of the December digital issue featuringDavid Byrne en. Southwark, London, England en.
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