All interviews were conducted by the author except for Blixa Bargeld, Monte Cazazza, Clint Conley, Joseph Jacobs, Cole Palme, and Mike Thorne, which were done by Geeta Dayal.
Large nod to Simon Frith and Howard Horne for Art into Pop, their classic analysis of the unique role of the U.K. art school system in postwar British pop culture—and a significant influence on Rip It Up and Start Again
RIP John Peel.
Finally, I’d like to offer a fervent salute to the journalists and editors of the weekly rock papers of the late seventies and early eighties—the real golden age for music journalism, whatever you might have heard to the contrary. Alongside the original interviews done for the book, back issues of the three main U.K. weeklies—NME, Sounds, and Melody Maker—served as my prime research resource. Reading the “inkies” back in the day was what made me want to be a music writer in the first place; rereading them for Rip It Up and Start Again, I was freshly impressed by the critical insight and stylistic brilliance of the writing, the quality of the reportage, and, most of all, by the ways in which the writers made a genuine contribution to the scene of their day by generating new ways of thinking about music. Impressed—and inspired all over again.
Rip It Up and Start Again Page 57
