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 Everett True

Haim | An open letter to Christopher R. Weingarten

Haim | An open letter to Christopher R. Weingarten

An interesting volte face for the field of music criticism – from opinion-leaders and gate-keepers to mainstream cheerleaders

 Everett True

What do you think of the current state of Australian music | answers for BIGSOUND 2013

What do you think of the current state of Australian music | answers for BIGSOUND 2013

I hope at least 34% of the people attending get laid by someone unexpected.

 Scott Creney

It’s Your Funeral, Motherfuckers

It’s Your Funeral, Motherfuckers

There’s a point to be proven, you understand. Nothing personal, it’s just business.

 Everett True

The art of creating popular music criticism in 2012 | 50 REALLY HOT PHOTOS OF KATY PERRY TOPLESS*

The art of creating popular music criticism in 2012 | 50 REALLY HOT PHOTOS OF KATY PERRY TOPLESS*

So. I guess my question for today is: Is it all worth it? Is this what we really have to do to compete in the modern world?

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“Music fans have to stop being so fucking menopausal” | An interview about teens, emos, chavs, music

Subcultures stop being creative as soon as they become aware of themselves as subcultures.

 Everett True

Do I think Pussy Riot will provoke a new coming of Riot Grrrl? (my answer to a question from The Guardian)

Do I think Pussy Riot will provoke a new coming of Riot Grrrl? I don’t think Riot Grrrl ever went away

 Everett True

NME | the brand | needs a new brand | leader | a brief comment

Brand? BRAND?!! It’s a motherfucking music paper, you corporate assholes.

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Read:Response: (to) Omar Shahid on Lowkey, Logic, Immortal Technique, English Frank, Mic Righteous

Rappers are working class. Critics are middle class. They don’t understand each other.

 Everett True

Another news story predicting the demise of the NME

I admire Krissi’s self-belief and her lack of perspective: it’s what always kept me strong during my U.K. music press years.

 Everett True

Music journalism is the new boring | a response

Never before has there been a greater opportunity for music journalists to be tastemakers and discoverers of exciting talent. Never before has that opportunity been so resolutely rejected.