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Ah ah… now that's too loud for a zipper. 😂

Caitlin, your experience at the Melody Maker was so unfortunate. I was a music journalist from about 1970 to 1982 and I used to know your old editor Jonesey, as you call him, when he had just joined the MM. I was freelancing for the NME on and off for about three years when Nick Logan and Neil Spencer were the editors. We were given immense freedom to write about what we wanted. If we were passionate about it and felt it had its place then the editors would say: OK, give me 1,000 words. I was rarely sub-edited. I mostly wrote their country music coverage which, as you can imagine, was not exactly, normal NME fodder, but I convinced them that the music was changing and reaching a younger audience and they said: OK, tell us what's happening. I was apparently successful enough that NME alternative culture stalwarts like the late Mick Farren started to take an interest in the music. Tony Parsons later summed all this up by saying: Stay close to the things you love and take a baseball bat to the rest. You don't have to slag everything off as a matter of course. Taking up your narrative in How To Be A Woman, when Allan Jones joined the Melody Maker he had the mane of auburn hair but instead of having the build of a bison was slim, sylph-like and girlish, to the extent that the NME gossip column christened him epicene, giggling Allan Jones.' He pioneered the journalism of provocation - getting wildly pissed, asking the rock stars impertinent or even insulting questions, and getting his head punched. I think the MM signed him up as their answer to the NME's Nick Kent who was the other enfant terrible of music journalism. All great fun back then. It's been getting corporate ever since.

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