Crack Magazine Was Made Using
A good print magazine should give its readers a jolt of excitement every single time they see a new issue, and it needs to be edited by people who are grateful for the attention of everyone who picks it up. If a publication isn’t like this, then it’s probably not worth the paper it’s printed on.
03 Greedo 100 Bands ft. OMB Peezy Liz Phair Divorce Song (Girly-Sound version) Jimmy Lacoste Subway System Junglepussy Ocean Floor ft. Wiki Lolina Fake City, Real City Let’s Eat Grandma Falling Into Me Snail Mail Pristine Slowthai T N Biscuits Björk Arisen My Senses (Jlin remix) Flame 1 Shrine 700 Bliss Ring The Alarm High Ingleton Falls Mavis John Use My Body Years & Years Sanctify Kali Uchis After the Storm Minnie Riperton Inside My Love
The role of music journalism is often debated in an era when artists can communicate directly with their fans and it takes less time to locate an album stream than it does to read the first paragraph of a review. Over the years I’ve thought about these conversations a lot, and I’ve never doubted the significance of quality culture media. Good writing arouses intrigue, it can enhance your emotional connection with music or art and it often provides the immense satisfaction of seeing a thought or feeling that you can’t quite articulate written down with precision and wit. And when an artist is represented with exciting design and photography, their aesthetic world is extended. That’s the kind of publication we want Crack Magazine to be, and I actually think we reached that standard a long time ago.
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April 2018
crackmagazine.net
Issue 87
This is the last time I’ll be writing our Editor’s letter. As of next month, Anna Tehabsim will be stepping up to the Editor role, and I’ll continue to work with her as the Associate Editor. So there are going to be a few changes, but one thing will stay the same: Crack Magazine is one of the good publications, and it’s in the hands of people who care.
Kali Uchis shot exclusively for Crack Magazine by Molly Matalon in Los Angeles, February 2018
EDITORIAL
Davy Reed, Editor
