In some ways, we live in a Golden Age of music journalism. The field is at its largest and most diverse, so artists are generally covered by those with specialized knowledge of and appreciation for the artists’ sonic traditions.
Yet music journalism is also dying. Pitchfork Magazine is the latest victim of a familiar cycle: conglomerates swallow up independent operations, orient them towards profit with dispassionate schemes cooked up by consultants, and gut them the second it blows up in their faces.
Social Media spectacle fills the void. Shortform videos centering fandoms and hot takes insulate us from criticism, inquiry, and the uncomfortable notion that there is better music out there to discover, that sometimes we’re going to be confused on the first listen, and that it takes work to expand our horizons.
Unlike other outlets operating inside of or agnostic toward the institutions that shape art, Jellybones is defined in opposition to the institutions – record labels, corporate media, awards committees, social media, celebrity, the market, global capitalism. Although we can love pop music, Jellybones is a platform for writers to investigate critically the relationship between these structures, pop music, and society.
In accordance with our mission, Jellybones will always be worker-owned and will never seek profit nor accept corporate sponsorship. Today, we focus on interviews with tomorrow’s most influential artists from around the world. We have exciting plans for the future, including playlists, essays, podcasts, and video content. If this resonates with you, feel free to email. We’re always down to chat about music, and we’re looking to grow our team if exceptional candidates arise.
Welcome to Jellybones.
Signed,
Ali Cyrus Saeed, Editor-in-Chief
ali [at] jellybones.net
Young Fenimore Lee, Editor & Founder
young [at] jellybones.net
Justin Rui Han, Editor & Designer
justin [at] jellybones.net