We realised that many people have more interests than just music these days and we want to reflect that.
How is Bullit different from any other music magazine?
We’ve got a strong writing crew; fresh and top writers too. And we’ve got a good editorial base. We cover film, travel, games – and, with 164 pages, we can go a lot deeper than most in a magazine market decreasing in variety and in pagination.
Aren’t all music journalists simply failed pop stars?
I’m a has-been. I was a drummer in a number of bands, but please don’t ask which ones as any modicum of credibility I have will be shot. The ones that aren’t, though, have egos the size of planets.
How can the PR industry help you?
I want my phone to ring off the hook and my inbox to be chock-a-block with what’s going on. If anyone hasn’t seen Bullit, please get in touch.
So when do you wish PROs would just go away?
The only time, now and again, is two days before deadline – that horrible, horrible time. They ask if I got that CD and I don’t even care; I’ve been working for 14 hours. But I never ignore or bar calls.
What’s the best way for them to get in touch?
Email, then follow up with a call. But keeping it at arm’s length is probably better for both parties.
What’s the best story you’ve ever had from a PRO?
Probably one we had in our launch issue, because of the timing. We were offered an interview with Suede and it turned out to be the last ever Suede interview. Through the PR we got in touch with the biographer and the manager and it turned into this great piece – an opus on Suede and their views on the music industry.