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NME marked an end of an era today after announcing plans to cease print production after 66 years.

The publisher’s parent group Time Inc UK announced today that the weekly publication is “no longer financially viable”, and the brand will now focus its attention solely on its online edition.

The iconic magazine entertained and informed music fans ever since launching in 1952, and along with the likes of Melody Maker held huge influence on the industry for decades.

Scroll through the gallery above to take in some of the publication’s most iconic covers ever put to print, featuring the likes of Morrissey, Amy Winehouse, Daft Punk and Kurt Cobain as well as the first ever cover from 1952.

NME announced back in 2015 that the magazine was going to be released as a free publication. However, the group have now revealed they will now focus their attentions solely on digital content.

Time Inc UK’s managing director of music Paul Cheal said: "NME is one of the most iconic brands in British media and our move to free print has helped to propel the brand to its biggest ever audience on NME.COM.

"The print re-invention has helped us to attract a range of cover stars that the previous paid-for magazine could only have dreamed of.”

He added: "At the same time, we have also faced increasing production costs and a very tough print advertising market.”</s>New Musical Express, the iconic British music magazine, has been publishing weekly ever since 1952. For decades, the magazine has been central to the voracious, fast-moving nature of UK music culture, and it has breathlessly chronicled and helped popularize genres like punk, new wave, grunge, shoegaze, Britpop, and early-’00s return-of-the-rock revivalism. And now, in a move that really signals the way music media has changed in recent years, it will cease to exist as a print magazine.

NME made the announcement this morning, attempting to brand it as an expansion of its “digital-first strategy,” the sort of phrase that makes media types’ blood run cold. NME will continue to exist as a website. And instead of a cover-star interview, it’ll now launch a weekly series called the Big Read. It’ll also run occasional print special issues.

In the magazine’s statement, Paul Cheal, an exec at Time Inc. UK, says, “We have also faced increasing production costs and a very tough print advertising market. Unfortunately we have now reached a point where the free weekly magazine is no longer financially viable. It is in the digital space where effort and investment will focus to secure a strong future for this famous brand.”

The magazine has had a turbulent century. After merging with its historic rival Melody Maker in 2000, NME eventually saw a precipitous drop in its circulation. In 2015, the magazine became free, boosting its circulation. It wasn’t enough. In recent years, some magazines have managed to make a relatively graceful transition to an online-only presence; hopefully, NME will be one of them.</s>LONDON (Reuters) - NME, the pop music newspaper that created the first British singles chart in 1952, will be printed for the final time this week as it shifts focus to its digital audience, publisher Time Inc said on Wednesday.

The paper - called New Musical Express in full - documented the rise of British pop music led by the Beatles and the Rolling Stones in the 1960s, punk in the 1970s and Britpop in the 1990s.

It was re-launched in 2015 as a free publication, achieving a circulation of more than 307,000 copies a week, just beating its previous record sale in 1964.

Time Inc’s UK group managing director Paul Cheal said the move to free print had boosted the brand’s online audience but it was facing increasing production costs and a very tough print advertising market.

“Unfortunately we have now reached a point where the free weekly magazine is no longer financially viable,” he said.

“It is in the digital space where effort and investment will focus to secure a strong future for this famous brand.”

Time Inc said NME’s digital brand NME.com, launched 21 years ago, attracted more than 3 million British unique users and more than 13 million global unique users a month.

“Our global digital audience has almost doubled over the past two years,” said NME digital director Keith Walker.

“By making the digital platforms our core focus, we can accelerate the amazing growth we’ve seen and reach more people than ever before on the devices they’re most naturally using.”</s>When news hit on March 7 that NME was axing its print edition after 66 years, there was an outpouring of emotion across the internet. Among readers, journalists and musicians, there was genuine sadness about the music magazine's demise, but also frustration that the once-revered title had in recent years lost its way.

It's tempting to conclude that any weekly music magazine is doomed to failure in the era of social media and streaming wars, as these technologies have marked a shift in the way people consume and discuss music, and in how musicians connect to their fans. However, the success of Kerrang!, which is now the only remaining British music weekly title, proves that there is more to the story. So why did NME fail while Kerrang! still thrives?

NME magazine launched in 1952 and at its height was the pride of Britain's music press. Its journalism was bold and forward-thinking, which is what made it so beloved of fans and performers for many decades. Jackie Collins, a musician from the Missy Nelson Band, laments its closure. "We get NME every week and it's irreplaceable," she says. "It increased my musical knowledge tenfold over the years and introduced us to so many performers."

Other commentators felt that the closure of the print magazine was inevitable (the title will continue online). "NME did everything it could to keep the print edition alive, but its end is sadly inevitable," says broadcaster and media consultant Alan Cross. "When paid circulation dropped below 20,000, it was bad. And when they went to the free model in September 2015, you had the feeling that it was circling the drain. In the old days of print music media, the pages were filled with ads from record labels. When music sales cratered, that revenue lifeline dried up. Whether NME can make a successful transition to an all-online entity remains to be seen."

On the surface, NME appears to be a victim of the modern publishing era. Commercial pressures led to an over-reliance on advertorials and sponsored content. It also began promoting middle-of-the-road musicians that its editors would once never have given the time of day to. Some readers were unimpressed by these decisions, which affected the magazine's credibility as an authentic source of music expertise. It was difficult to know what the magazine stood for and who it aimed to please.

Catie Dear, client team lead at media agency 7 Stars, predicted NME's plight in 2015 when it became a freesheet. "Unfortunately NME was late to the free market," she says now. "Whilst it was a big step for the then-IPC [which owned NME], it felt that by that point the paid-for print circulation had seen such a decline that no one was waiting for a free NME - neither consumer or brands."

After becoming a freesheet, NME poured resources into its website, but it was a messy, cluttered affair that did little to boost the magazine.

While NME was sinking into oblivion, however, Kerrang! was thriving. The magazine, which launched in 1981, overtook NME's readership in 2006, by which time it had established itself as the influential voice of metal and hard rock. On Wednesday, its editors unveiled a redesign of the magazine and increased its pagination. They also announced that it had expanded its editorial team and was planning to open a US office. These new developments were made possible by investment from its owners, Wasted Talent Ltd.

So how has Kerrang! succeeded where NME couldn't? One reason is its willingness to embrace change, both technological and cultural. Another is its ability to zone in on emerging trends. Its focus on cross-promotion began in the 90s with the Kerrang Awards and later included a radio station, satellite channel and strong social media presence. These innovations further strengthened its brand. Importantly, it never veered too far away from its mission to satisfy fans of metal and hard rock. Of course, there were grumblings from old-school metal fans about the magazine giving prominent coverage to emo, metalcore and other trends, but it wasn't enough to significantly dent sales. In fact, the magazine became more commercially successful than ever.

Although Kerrang!'s website has seen highs and lows, it has been successful in driving sales to its print edition. The website not only let readers catch up on news that broke between print editions, but allowed them to buy merchandise, check tour dates and watch videos. This approach was rewarded with strong brand loyalty from its audience. It's not that NME didn't try this as well, but it never managed to nail the crucial balance between print and web.

Still, NME will live on as a digital-only title and with renewed effort and investment in its channels, perhaps the brand will be able to attract new audiences - and keep them.

Correction: This article originally stated the NME was launched in 1953. It launched in 1952.</s>Legendary music newspaper the New Musical Express will print its last ever print edition on Friday. ANDY SYKES speaks to two experts of the music industry who grew up with the music bible

Every Thursday a young John Robb would wander down to his local paper shop on Victoria Road in Cleveleys for one reason.

It was the day the NME came out. For him and many others, it was a rite of passage for a generation obsessed with music.

And the NME – plus a handful of other music publications - was at the forefront of this fascination, introducing new music to an audience thirsty for information,in an era when print was king.

Today, it will release its final free print edition after 68 long years, citing rising production costs and a “tough” advertising market.

It will be “focusing investment on further expanding NME’s digital audience”, Time Inc said.

Punk musician Robb, now 56, was born in Fleetwood and grew up in Anchorsholme and later formed The Membranes in 1977 alongside Mark Tilton (guitar), Martyn Critchley (vocals) and Martin Kelly (drums). He went on to write for one of the NME’s rivals, Melody Maker, and Sounds.

He recalls those exciting Thursdays with relish.

“The NME was one those music papers in the 70s that you would just buy. It was out in the south on a Wednesday and the north on a Thursday – there’s a north/south divide for you. I’d go down to the paper shop on Victoria Road and get it.

“A lot of people would go in just to read the papers - they’d chuck you out when they realised!

“There were five music papers we’d get and spend all day reading them. That’s where you’d get all your information from if that’s what you were into. It was a portal into another world.

“The NME was big with the punk and post-punk era and it was right up my street.

“Like Sounds, they were fantastic at what they did and were really on the case and chronicled what was at the time a really vibrant northern scene. They had some great writers based in the north like Paul Morley and Jon Savage and you’d hang on their words. They could make or break every band.”

At its height, the NME claimed to sell 250,000 copies a week.

And when Robb, who writes for and runs the Louder Than War website, launched The Membranes in the late 70s, the support of the music press was instrumental in their success.

“It was really hard to get in the NME at the time, the competition was fierce, even just getting a gig listed.” he recalls.

“When we released Muscles it was Single of the Week in three of the four major music papers. It launched us and having influential writers tell thousands of readers to ‘go buy it’ was incredible for us.”

Ian Tilton, now 54, was childhood mates with Robb and brother of Mark Tilton, guitarist in The Membranes.

He became a photographer and worked extensively for Sounds and was commissioned by the NME for shoots.

Growing up on Anchorsholme Lane, the NME was too part of his weekly ritual.

“Blackpool was such a hotbed of great music at the time and if you were into that kind of music, the NME was essential,” says Ian, whose shot of an exhausted and tearful Kurt Cobain was hailed by Q Magazine as one of the six best rock photographs of all time.

“John and I grew up together and lived on the same road. I was younger than him and we’d end up working together in the music press.

“The NME was the one for me because they covered the bands I was into. One of us would buy it then we’d all read it. I was in Blackpool Vic a lot as a kid so that was a highlight every Thursday when it came out. We looked forward to it - and devoured it. If you were in a band and you got your gig in the NME it was a big deal.

“The music press was so important to the music industry at that time – if an NME journalist liked a song then you’d automatically have to go buy it.

“When I became a photographer, I worked for Sounds a lot but was commissioned to do some work for NME - not much though as you couldn’t work for both due to loyalty, the editors wouldn’t let you!”

While neither are surprised by the print product’s demise in a digital age, they say it would be cherished as part of the country’s rich musical history.

“It was so central to people’s lives for so long,” argues Robb. “But can you imagine having a conversation with an 18-year-old now where you’d tell them you had to wait a week to get information about your favourite band or who is playing where? They wouldn’t believe you.

“They can find a song or a gig listing in a second on their phones. Times have changed.

“It has staggered on but the big market is no longer there. But it will hold a lot of happy memories for a lot of people, I’m sure.”

“You need oil in an engine and with no oil it is going to seize up,” says Ian.

“People still go to gigs but there is less demand for expert opinion or analysis from the music press. It’s a shame there are few outlets to inform people and it’s all done on social media and via friends.

“The music industry has changed and the NME lasted longer than most.”

The magazine, which launched in 1952, went free in September 2015.

Paul Cheal, Time Inc UK group managing director, Music, said: “NME is one of the most iconic brands in British media and our move to free print has helped to propel the brand to its biggest ever audience on NME.com.

“The print re-invention has helped us to attract a range of cover stars that the previous paid-for magazine could only have dreamed of.

“At the same time, we have also faced increasing production costs and a very tough print advertising market.

“Unfortunately, we have now reached a point where the free weekly magazine is no longer financially viable. It is in the digital space where effort and investment will focus to secure a strong future for this famous brand.”

Publishers said NME would continue releasing special issues in print.</s>After 66 years, NME Magazine has announced that it will no longer be a print magazine.

As of next week, the brand will exist online only and - whether you’ve always been a fan of the New Musical Express or not - the decision marks the end of an era.

During the six decades it’s been in print, the magazine has chronicled the highs and lows of British music and played its own part in writing history, namely by pioneering the British Singles Chart.

As its printers slow to a stop, look back at 15 of the most memorable covers...</s>NME Magazine will cease publication as its publisher moves to a “digital-first strategy”, it has been announced.

The news was confirmed on Wednesday (7 March), with Time Inc. UK stating that this Friday’s (9 March) free issue will be the last print edition of the publication.

Revealing the plans, Paul Cheal, Time Inc. UK’s group managing director, said: “NME is one of the most iconic brands in British media and our move to free print has helped to propel the brand to its biggest ever audience on NME.COM.”</s>Readers are divided on the NME’s final cover after the iconic music magazine today published its last ever print edition after 66 years.

The music magazine is moving online after being handed out for free every Friday for the past three years.

Today sees the release of its last issue, featuring up and coming London-based rapper Stefflon Don on the cover.

But some fans have been left feeling underwhelmed with the design, branding it 'terrible', as it pays no reference to the end of the publication's legacy.

Founded in 1952 as New Musical Express, the magazine became essential reading for fans and a coveted platform for musicians through the eras of Beatlemania, prog-rock, punk, indie and more.

Over seven days, the publication became known as a place for working-class writers to get their first break, covering some of the big names of the time.

And its controversial covers were never far from the topic of conversation, with the famous Blur V Oasis front page etched into the minds of many who remember the 1990s.

More recently the magazine got people talking after giving Labour leader Jeremy Corbyn the cover ahead of the 2017 general election.

Stefflon Don is the stage-name of Stephanie Allen, a 26-year-old British rapper and singer-songwriter from Birmingham, West Midlands. When she was four years old, Stefflon Don moved to the Netherlands with her parents and six siblings before the family returned to the UK and settled in London as she began her GCSEs. Stefflon Don worked as a hairdresser and cake-maker before turning to music full time. After a chance recording with American rapper Jeremiah in 2016, she was spotted by Drake who helped launch her hit single Hurtin' Me, featuring French Montana. Billboard magazine describes Steff as 'fresh and current' and says her mass-market appeal is down to her sound, a fusion of British, Jamaican and American influences.

With its rich history documenting music and culture, dozens of fans have wondered why publishers didn't use its final print issue to create a more nostalgic read.

One disappointed person wrote: 'There isn't even a hint of it being the final print issue. No mention on the cover, nothing inside and still says 'Free Every Friday' on the front. Perhaps it was a last minute decision to end the print run. Oh well.'

TV writer Scott Bryan gave a clue as to why this was, tweeting: 'The last NME print will not feature any reference to it being its final print issue. IT went to press of Tuesday and NME staff were only told yesterday.'

Others, however, welcomed the 'cutting edge' front cover and the publisher's decision to put a female rapper on the front page.

Stefflon Don shared her joy at being featured on the final issue, posting to Instagram: 'Cannot believe I’m on the last ever cover of NME but I'm so honoured.'

She added that she was thankful for the opportunity.

The post was like by almost 30,000 people within hours of it being shared.

Fans praised the cover, with Empressrhe writing: 'You know they save the best until last.'

While Lady_Bexter added: 'What an amazing cover for the last ever printed and what an amazing accomplishment for you to cherish forever! Beautiful. Happy International Women’s Day and big up you.'

However the front cover received a different reception by NME fans after it was published.

Martin Marszalek posted to Twitter: 'Is this a joke? Terrible last cover. This is why you've gone, NME. Won't be crying.'

While Chris Cresswell said: 'If this is the last edition, surely the NME deserves a better cover story?'

Yesterday a spokesman for Publisher Time Inc. UK said that it will be 'focusing investment on further expanding NME's digital audience.'
British music journalism magazine New Musical Express (NME) issues its final print edition after 66 years, becoming a purely digital medium.