Since graduating, Lila Diamond ’23 has taken a creative path that stands out among so many alumni who have pursued careers in technology, finance, or medicine. Rather than following a more traditional professional track, Diamond has pursued work in music and journalism, combining both through her role as editor in chief of Bitchfork, an emerging independent music magazine. She runs the publication alongside her close friend Emma Dvorkin ’24, also a Ransom Everglades alumna. Diamond is an especially compelling person to speak with as of now because Bitchfork continues to gain traction, reflecting a broader moment in which young creatives are reshaping how music criticism and cultural commentary are being produced. She’s part of a broader movement to challenge the male-dominated music (and music journalism) industry by building platforms that center new voices and reshaping who gets to lead these conversations.

I spoke with Diamond over the phone for nearly an hour. During this interaction, which was edited for length and clarity, we discussed a plethora of topics, beginning with the transition moving from Miami to New York. Our conversation later explored how Bitchfork began, what motivates her editorial vision, and how her background as a musician shapes the way she writes about other artists. We also discussed vulnerability, criticism, and plans for the future, as well as what it means to build a creative platform at a young age while navigating through both personal expression and public voice.

What do you think being in New York gives you creatively that you couldn’t get anywhere else? Why NYU?

Well, I chose NYU because I really wanted to be in their music program, and I’m still so thankful that I got in. But I mean, New York just has a really, really, really fast and fun and creative energy. I think that actually, Ransom helped me in that sense. New York is very get-up-and-go. I’m on my feet the entire day, working, talking to people, meeting people, and networking. I think that Ransom really helped me in terms of that culture because in New York, everyone is just hustling as hard as they can. And I think it’s really inspiring to be around passionate people.

You write criticism, but how do you respond to criticism? Especially if it comes from people whose opinions you respect?

I try not to take it personally. Even though it’s hard because your art is so close to you as a person. So that’s that. If you don’t want to read it and support it, you don’t have to.

How does writing about music change the way you listen to it?

I think that sometimes, when I’m critiquing something, I have a unique view because I also make music. Besides understanding a lot of the technical decisions that are made, I think that I can empathize a lot with what it means to be an artist and what it means to put something out. Especially because most people don’t have that background understanding.

What’s the story behind Bitchfork? What made you and Emma want to collaborate on this project?

I was on a family trip in Barcelona, and I went to the bathroom, and I don’t know why, but I was like, “Oh my god… Bitchfork.” The name came first, a little bit. I don’t know if I would have done it without the name; it’s so great. And I came out of the bathroom, and I was like, “Mom, I just had the best idea in the world, an all-female music magazine, and it’s called Bitchfork.” And that was that. It literally just came to me, and it was the best light bulb moment I’ve ever had. Emma and I were both editors of The Catalyst, which was kind of how we got close, which was a lot of fun. And so, I knew she had a great work ethic, she’s super smart, and she’s great at editing. She was looking to start writing; she was a journalism major. And I was like, ‘Well, I have this idea if you have any interest in being an editor.’ And she was super excited.

What influenced you to make Bitchfork female-centered and run?

It was the second semester of last year. I go to a pretty small music program inside of NYU, and I had a lot of free time because I was only taking classes Monday through Wednesday. The majority of my friends are guys, and it’s all about them. Constantly. What shows they’re playing, what songs they’re working on, or like, “Listen to this.” And I kind of needed a break. I was so done with going to so many male-led shows. My friends were only photographing male bands, and the minute it clicked, it clicked. Then my best friend, Nafeli, is a very, very, very talented graphic designer. We’d been toying around with the idea of making a magazine. We both are super pro-women, and we were kind of like, “Well, let’s make a music magazine.” And it was such a challenge at first, only highlighting women because we don’t think about how male-dominated the industry really is. Which kind of makes it all the more rewarding, because now I feel like I’m listening to so much more female music, and my friends are also, which is so great. We’re not really trying to discriminate, obviously. We’re just trying to elevate women to the forefront of the music industry.

Bitchfork has a very deliberately edgy style. What kind of conversation are you trying to provoke by creating it this way?

Well, it’s kind of funny. One of our really, really big inspirations was Supreme. Bitchfork is not so feminine in terms of its design, and we did that on purpose: when you compare it to like Polyester Magazine or Byline, those are some very feminine magazines. We want it to really fit in with a kind of male culture, because then it’s like, “Wait, this is made by women?”

You still write music and produce it yourself, but what do you think music allows you to express that writing alone doesn’t?

I think that they are both real forms of self-expression. Songwriting and actual writing, like in music journalism, are very similar to me, but obviously, songwriting is a little bit more emotional. Production is totally separate. I produced my last EP with my friends, and that was such a fun experience because you’re really experimenting. It’s hands-on, whereas when I’m writing songs, I’m in my room, or I’m writing an article on my laptop, being in a studio is such a fun experience that music journalism does not give me, and so I always hope to have a little bit of that still with me in my future.

When you’re writing a song, how do you know when something is more honest versus when it’s kind of performative?

It’s so funny. I had a music teacher, maybe in like freshman year, tell me that the act of songwriting is always performative because if you’re writing something and you’re putting it out, that is not for yourself. And I kind of disagree, because I am an extremely private person when it comes to my music. I’ve written so much, and I’ve released such a small handful. For me, music journalism is so much more performative because I write something, and I post, and I’m like, “Look at this, please read this! Listen to what I’m saying!” But in a song, I’m like, “Oh my god, don’t listen to it.”

When you’re writing music, where do you think your ideas usually begin? Do you hear sounds you like, feel an emotion and grab your notebook, pick up your guitar, or is this something entirely different?

I love words. I’m definitely a writer first. So I have a notebook. I’m really big on my Notes app. I write down lyrics or things like that. And then, or if I start with a melody, I’ll just voice memo on my phone. And then I usually start on the guitar, because that’s my main instrument. But recently I haven’t been playing the guitar as much, so I’ve been more on piano. I’ve had a lot less time to write music lately, which is a little upsetting, but I’m planning on taking an advanced songwriting course when I get back. Hopefully that will get me back into shape.

How do you decide what parts of yourself to reveal in your songs and what to keep private?

It genuinely depends on what my friends think is okay. Some writing is so personal. If I’m going to write something about someone, they’re going to know, my friends are going to know. So I definitely will work a lot with my friends. And then, my roommates aren’t in my music program, so for this last EP, I had to play it for them before I released it and be like, “Is this okay? Just letting you know, this is what I’m going to put out.” They were like, “You’re fine.” But it’s so personal, and it’s such a reflection of my life and my character and my relationships that, yeah, it’s really scary to put out.

What do you hope that someone feels or understands after listening to your music, as compared to what you hope someone feels or understands after reading something that you publish?

See, I’m like the worst songwriter ever, because when I put out music, I genuinely am like, “No one judge me. I don’t know what I’m saying, I don’t know who she is, don’t take her seriously.” After all, I just feel so vulnerable in that version of myself. But in terms of my published writing, I want everyone to read it because I’m so proud of it. I’m so opinionated. I’m proud of my opinions. I’m less proud of my emotions.

What kind of work do you hope people associate with your name in the future?

I keep joking with my friends and my mom that I really just want to run a media empire. I just want to have something that I’m super, super proud of that is a really good representation of myself and my taste, and that inspires people. I want to be at the forefront of what is dictating culture a little bit. I would love for Bitchfork to be the biggest magazine in the world, and I’m going to keep working until I get there.

And how do you think you’re going to get there?

I plan on just meeting more people, spreading the word. We’re going to start doing really big launch parties, which is the plan in New York. Hopefully, the word just catches on, and we just grow. We’re trying to roll out partnerships and sponsors for this next issue. I really want Bitchfork to grow. It’s my little baby, and I hope she really grows up.

What’s a question you wish people would ask you, but they don’t?

I wish that people asked me more about what I’m listening to.

What are you listening to, Lila?

Let me see. Right now, embarrassingly, Cameron Winter finally hit me. I’m loving the Rosalia album, I think she’s so talented. I’ve been loving this girl, Salem Anne, that Izzy sent me. I’ve been loving the Between Friends album. Loving BassVictim, always. I’m super into this girl, TTSSFU. And Rooster, that rap album. I’ve been loving it.

Do you have any artists that you think are on the come-up?

Yes, I’m super into this girl. Her name is Hollis Howard. She’s from LA, and she will be featured in our upcoming Bitchfork issue. I think she’s sick.