Frankly, Mr. McNicholas

If there was any doubt about who would come out on top of the Morrissey/NME "racism" scandal, it's been settled now. One can only imagine the tears in the NME editor's eyes when he read this diatribe by none other than Morrissey himself:

I abhor racism, and apologise - for speaking to NME

I grew up a chanting believer in the New Musical Express. Last week however, I was the victim of the magazine's agenda to cook up a sensational story...

On Friday of last week I issued writs against the NME (New Musical Express) and its editor Conor McNicholas as I believe they have deliberately tried to characterise me as a racist in a recent interview I gave them in order to boost their dwindling circulation.

I abhor racism and oppression or cruelty of any kind and will not let this pass without being absolutely clear and emphatic with regard to what my position is.

Racism is beyond common sense and I believe it has no place in our society.

To anyone who has shown or felt any interest in my music in recent times, you know my feelings on the subject and I am writing this to apologize unreservedly for granting an interview to the NME. I had no reason whatsoever to assume that they could be anything other than devious, truculent and unreliable. In the event, they have proven to be all three...

Into the 90s, the NME's discernment and polish became faded nobility, and there it died - but better dead than worn away. The wit imitated by the 90s understudies of Morley and Burchill assumed nastiness to be greatness, and were thus rewarded. But nastiness isn't wit and no writers from the 90s NME survive. Even with sarcasm, irony and innuendo there is an art, of sorts. Now deep in the bosom of time, it is the greatness of the NME's history on which the 'new' NME assumes its relevance...

he editorial treatment given to my present interview with the 'new' NME is the latest variation on an old theme, but like a pre-dawn rampage, the effects of the interview have been meticulously considered with obvious intentions. It is true that the magazine is ailing badly in the marketplace, but Conor doesn't understand how the relentless stream of "cheers mate, got pissed last night, ha ha" interviews that clutter every single issue of the 'new' NME are simply not interesting to those of us who have no trouble standing upright.

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Listen to "Everyday is Like Sunday":

[Download the MP3 Here]

Dirty Pretty Things: 9 Lives

Listen:

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[Get the "Love Music Hate Racism" Compilation with This Week's NME]

Carry On Up The Morning (Glory)

NME has an interesting, if purely speculative, post about the connection between Pete and Oasis:

There’s been a lot of talk about the influences behind Babyshambles’ new album ‘Shotter’s Nation’. Does ‘Delivery’ rip off The Kinks (maybe a little). Was it really Graham Coxon’s guitar playing that encouraged Pete Doherty to recruit producer Stephen Street (it was).

However one massive influence seems to have been missing in discussion of the album, and Pete’s career so far – Oasis.

The stadium-filling Mancs might seem to jar with the surprise gigs at The Boogaloo Bar favoured by Babyshambles and The Libertines, but from the bigger sound of their new album, to the anthemic qualities of songs like ‘Albion’, ‘Don’t Look Back Into The Sun’ and ‘Time For Heroes’, the hand of Gallagher has never been to far away...

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Young Pete waiting to buy the Oasis album:

Listen to "Baddies Boogie" (Radio Rip):

[Download the MP3 Here]
[Band Website]
[Band Myspace]