To conserve space, it seems prudent to start this off by honoring two huge
groups of people, namely (1) everybody I thanked in each of my three previ-
ous books, all written in eras overlapping my writing in this one; (2) any and
all friends on Facebook (more or less 570 these days—I’m kind of selective)
who no doubt inspired me somehow and somewhere. If you’re in either of
those categories, consider yourself appreciated; if not, feel free to look and
see who is.
Before there were “social networks,” there were social networks. Also after.
So if I ever agreed or argued with you at Why Music Sucks, Radio On, ilxor
.com, or Singles Jukebox; or ever worked with you at the Village Voice or Bill-
board; or ever spent every noon
Tuesday for years on a Rhapsody confer-
ence call with you, we should probably go out for a beer sometime.
Editors who first printed these pieces (and frequently improved them) in-
clude but are by no means limited to Milo Miles at the Boston Phoenix; Jim
Walsh at City Pages; Rob Kenner at Complex; Dave DiMartino, Bill Holdship,
and John Kordosh at Creem; Greg Boyd and Bill Reynolds at Eye Weekly; Chris
Chang at Film Comment; Siobhan O’Connor at
Alastair Sutherland at
Graffiti; Maura Johnston at Idolator; John Payne at L.A. Weekly; Jessica Suarez
Hive; Phil Dellio (who also mailed me a Matchbox 20 photo I used in
here somewhere, and whose own recent collection Interrupting My Train of
Thought belongs on your reading list as well) at Radio On; Keith Moerer at Re-
quest; Garrett Kamps, Sam Chennault, Rob Harvilla, and Stephanie Benson at
Rhapsody; Nick Catucci at; William Swygart at Singles Juke-
box; Sue Rollinger at the Spectrum; Simon Reynolds, Charles Aaron, and Chris
Weingarten at Spin; Will Fulford- Jones at Time Out London; Doug Simmons
and Harvilla at the Village Voice; and J. Edward Keyes and Jayson Greene at
Wondering Sound (called eMusic at the time).
(Some related legal stuff:
“September 11: Country Music’s Response”
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