New music "rag" (newspaper) Rarity Dean is writing for as a freelance journo at the start of Requiem For Stage Diver & Bass Guitar. It occupies a possibly serviced office suite on Swallow Street in Weca.

2: “I know you’ve reviewed all these bands’ shows in your time, Rarity. That’s not the point,” Harry Barber the associate publisher of Showtime had said to me in his grating stage XVI accent, as I sat on the window-ledge of his office, failing in my attempt to distract him from this dressing-down by flashing my thighs at him. “Our readers want to know about A Dangerous Mix Up, or whatever it’s called, so we need to cover it, OK?”

"To me the Showtime offices looked like part of one of those furnished suites you found advertised in the Standard that you could rent by the hour: shared receptionist, shared toilets and shared lack of character, but at the launch party Harry had assured me there was serious money behind the publication. The per-word rate was the best in town and if the mag went belly-up after a few issues I’d cope somehow. I just needed the money for as long as I could keep it rolling in."

"In fact in no words at all. When I next pitched Showtime a feature (about the post-sound amnesty scene, the ban on recorded music and the persecution of punters who failed to consign their songsticks to the bonfires) Harry didn’t even do me the courtesy of replying."

4: "Of course, there were other markets to consider, the biggest of which, the Grid, I could of course disregard. The remaining music papers had each covered Sam’s death in varying degrees of detail and, having given Showtime first refusal, I’d left it a bit too long before contacting Gig-Goers’ Guide, Band Express and Box Office Ninja."

31: "
As always, a bunch of veteran journos from the Grid, Showtime, the Gig-Goers’ Guide, Band Express and Box Office Ninja were hogging a long table near the Downton Street window and among them a face I hadn’t seen in years: old Dave King, the man who’d created a niche for himself on Beat International magazine, a more technical new music mag aimed primarily at musos, and who was still there 40-plus years later."