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Mark Ellen

Mark Ellen (born 16 September 1953) is a British music journalist, magazine editor, broadcaster, and author known for his influential contributions to the UK's rock and pop media landscape over five decades. He began his career in 1977 as a writer for Record Mirror and New Musical Express (NME), quickly rising to prominence as a features editor at Smash Hits during the 1980s, where he helped shape its irreverent style for teenage audiences. Ellen later served as editor of Smash Hits, relaunched Select magazine, co-launched and acted as managing editor of Mojo, and founded Q magazine in 1986, establishing it as a cornerstone of serious music journalism. During his university years at in the 1970s, Ellen played in the short-lived student Ugly Rumours alongside future , an experience he later recounted in his 2014 memoir Rock Stars Stole My Life!, which chronicles his immersion in the music scene from teenage gigs to high-profile interviews. As editor-in-chief of EMAP's music, film, and entertainment titles in the 1990s and early , he oversaw a portfolio that included Q, Mojo, and Empire, before editing The Word magazine from 2002 to 2012, where its eclectic mix of music, culture, and humor earned critical acclaim until its closure amid shifting media trends. Ellen's broadcasting career spans (substituting for ), Radio 2, and Radio 4, as well as television appearances on BBC Two's and co-presenting the 1985 broadcast. He continues to contribute features and columns to outlets such as , , , , and , maintaining his status as a witty, insightful voice on and .

Early life

Birth and family background

Mark Ellen was born on 16 September 1953 in , . He was raised in a middle-class family in a suburban environment in , the youngest of four siblings with three older sisters. His father, Ronnie Ellen, worked as a shipping clerk, served as a , and was a veteran who had lost a leg in the conflict; his mother, Janet, had driven generals during the war. From an early age in the , Ellen was exposed to music through the family's record collection, primarily classical pieces favored by his father and played on the gramophone, though he soon developed a contrasting fascination with rock and pop acts amid the era's local cultural shifts. As a child, he recalled a "fluttery rush of delight" upon first hearing bands like and , igniting his enduring passion for the genre. Ellen attended his first rock festivals as a teenager in the early , including one in 1971, where the chaotic, immersive atmosphere of live performances in sodden fields profoundly sparked and deepened his interest in .

Education and early musical interests

His early years in also sparked an initial interest in music, influenced by his family's encouragement of cultural pursuits. At the , Ellen studied English in the 1970s. During his undergraduate years in the early 1970s, he immersed himself in the vibrant student music scene, co-founding the rock band Ugly Rumours alongside future , who served as lead singer and guitarist. The band, which covered rock and pop songs from artists like and , rehearsed in college rooms and performed at university events, including gigs at festivals and college parties, though it remained an amateur endeavor and disbanded by 1974. Ellen later recalled Blair's enthusiasm for rehearsals, noting it as a key memory of their time together.

Career

Early journalism and music scene involvement

Ellen began his professional career in the late 1970s, contributing articles to key music publications including Record Mirror, (NME), and Time Out. His early work focused on live reviews and features from the emerging rock and alternative scenes, with one of his first credited pieces being a review of Australian punk band The Saints' performance at London's , published in Record Mirror on 4 February 1978. These initial gigs allowed him to immerse himself in London's vibrant underbelly, building a foundation in music writing during a period of rapid evolution in British pop culture. In 1981, Ellen joined as Features Editor, a role in which he shaped the magazine's coverage of both mainstream pop and rock acts, emphasizing accessible, youth-oriented storytelling. Prior to joining, he contributed interviews to and other publications, including conversations with icons like in November 1980 and group in July 1980. His contributions helped bridge fandom with more serious rock journalism, making complex artists approachable for younger readers. Ellen's hands-on involvement in the punk and new wave scenes extended beyond writing, as he regularly attended gigs and conducted interviews with rising talents, positioning himself at the heart of the UK's late-1970s musical upheaval. He engaged directly with punk figures like The Damned's in 1979 and The Jam's , discussing the movement's ethos of rebellion and change in features that highlighted the raw energy of these acts. This period of scene immersion, including coverage of bands like in 1981, underscored his transition from observer to influential voice in discourse. Transitioning to broadcasting, Ellen began presenting on in 1981, initially filling in as a stand-in for established DJs like and David "Kid" Jensen. His early radio appearances, starting with holiday cover slots, introduced his enthusiastic style to a national audience, blending interviews and playlists drawn from his journalism roots in and . This marked his entry into on-air work, complementing his print contributions during the early 1980s.

Magazine editing and publishing achievements

Mark Ellen played a pivotal role in shaping British music journalism through his editorial leadership at Emap, where he founded and edited several influential titles during the and 1990s. As launch editor of Q magazine from 1986 to 1992, Ellen, alongside co-founder , identified a market gap for a sophisticated publication targeting music fans aged 25-35 who had grown up with and rock but felt underserved by the youth-oriented, weekly music press focused on emerging genres like . The magazine's strategy emphasized monthly production with glossy aesthetics, in-depth interviews, high-quality photography, and features on classic and contemporary artists, positioning Q as a premium product akin to hi-fi magazines for serious enthusiasts. Under Ellen's editorship, Q achieved rapid success, with circulation growing steadily from its October 1986 debut to contribute to a peak of 200,000 copies per month by 2001, establishing it as a benchmark for adult-oriented music coverage; the magazine won the PPA's Magazine of the Year award during his tenure. In 1990, Ellen took on the relaunch editorship of Select magazine, transforming it into a key voice for indie rock and the emerging Britpop scene. He shifted its focus toward irreverent, visually striking features on alternative acts like Happy Mondays and Primal Scream, aligning with the "baggy" Madchester movement and broadening its appeal beyond mainstream pop. Circulation stabilized around 75,000 during the second half of 1990, reflecting the relaunch's success in capturing the era's underground energy while maintaining Emap's commercial viability. Ellen extended his influence with the launch of Mojo in 1993, serving as managing editor to introduce a retrospective lens on rock history. Co-developed with Hepworth and art director Andy Cowles, Mojo prioritized long-form storytelling, rare archival material, and coverage of enduring artists like and on its debut cover, appealing to collectors and nostalgics. This approach innovated by blending reverence for the past with critical analysis, helping Mojo build a loyal readership and sustain Emap's portfolio of specialist titles. Later, from 2003 to 2012, Ellen edited The Word, a co-founding venture with Hepworth through their independent publisher . The magazine distinguished itself with eclectic, witty content spanning music, , , and cultural oddities, featuring provocative essays and interviews that avoided silos in favor of intelligent, humorous discourse. Despite critical acclaim for its broad scope and high editorial standards, The Word faced declining print sales amid digital disruption and industry shifts, leading to its closure in July 2012 after circulation fell below sustainable levels. Ellen received the BSME's Award in 2003 for his editorial excellence. Across his Emap tenure, Ellen oversaw contributions to approximately 15 consumer magazines as of the Metro division, driving innovations like elevated production values and audience segmentation that elevated from tabloid to thoughtful, visually engaging narrative. His leadership fostered a golden era for print music media, emphasizing depth and accessibility over ephemeral trends.

Broadcasting and television work

Mark Ellen began his broadcasting career on in the early 1980s, serving as a stand-in presenter for established hosts including , , and David "Kid" Jensen. These appearances allowed him to engage directly with the UK music scene, introducing tracks and discussing emerging artists during a period when the station was pivotal in promoting rock and pop programming. In 1982, Ellen transitioned to television as co-presenter of BBC Two's , a long-running music show known for its live performances and interviews with rock acts. Alongside , he hosted the program from 1982 until its conclusion in 1987, appearing in 97 episodes that featured artists such as , , and . Ellen's role emphasized in-depth commentary on performances, helping to bridge the gap between mainstream pop and for a dedicated audience. A highlight of Ellen's television work came in 1985 when he co-presented the BBC's extensive coverage of , the global charity concert held at . He contributed to the 16-hour broadcast, conducting on-site interviews with performers including Queen's during the event's high-energy atmosphere. This role underscored his growing prominence as a music commentator, capturing the historic convergence of artists like , , and in support of famine relief. Throughout the 1980s, Ellen's broadcasts extended to festival-related coverage, often tied to specials and events like , where he provided live insights into performances and backstage dynamics. His work in this era focused on authentic, unpolished presentations of live music, influencing subsequent music programming.

Writing, books, and recent media ventures

In 2014, Mark Ellen published his autobiography Rock Stars Stole My Life!: A Big Bad Love Affair with Music, a memoir chronicling his decades-long career in music journalism through humorous and reflective anecdotes about encounters with artists, festival experiences, and the highs and lows of the industry. The book, released by Coronet, draws on his personal journey from teenage dreams of rock stardom to professional disillusionment, settling old scores while celebrating music's enduring appeal. Ellen extended his writing into personal family history in a 2016 Guardian article, where he detailed facilitating in-depth interviews with his aging parents to capture their life stories. For his father, Ronnie, he organized recordings divided by decades, which were transcribed, edited, and compiled into a bound volume titled Bill’s Memoirs, incorporating old photographs and family input. His mother, Janet, contributed anecdotes spanning 230 years of family lore, resulting in a separate chronicle that preserved vivid 20th-century insights, such as wartime experiences, for future generations. Since 2006, Ellen has co-hosted the Word In Your Ear podcast with David Hepworth, a platform where they discuss , industry trends, and cultural impacts, drawing on their combined eighty years of expertise in and . The show, which evolved from earlier radio formats and gained prominence in the podcast era, features conversational analyses of albums, artists, and events, often with guest contributors. As of 2025, Ellen's media activities have included commemorations of Live Aid's 40th anniversary, such as a special Word In Your Ear episode reflecting on his role as a presenter during the 1985 event, alongside discussions with Hepworth and critic Boyd Hilton. He participated in live events, including a conversation on the concert's legacy and an April 4 "One Man Show" with Hepworth in , exploring its cultural significance. Additionally, Ellen has contributed feature articles to Louder Sound, such as a 2023 retrospective on Frank Zappa's 1970s career highs and lows, and explorations of obscure rock history like the lost vinyl of Olompali .

Personal life

Family and relationships

Mark Ellen is married and the father of two children. He resides with his wife and children in , , where they have made their home near the River Thames. As of the mid-2010s, the family continued to live together in this location, supporting Ellen's professional endeavors in and .

Health, reflections, and notable associations

In 2016, Ellen embarked on a deeply personal project documented in The Guardian, where he interviewed his aging parents to capture their life stories as intimate chronicles spanning nearly a century. For his father, Ronnie, born in 1920, the process involved recording and editing eight decades of memories into a memoir structured by age periods, revealing details such as wartime injuries and everyday resilience that Ellen described as a "priceless chronicle of a lost age." His mother's account, covering 230 years of family history through notebook entries during visits, similarly preserved vanishing perspectives on domestic life and endurance. Ellen reflected that the endeavor allowed him to pose long-unasked questions, underscoring the value of such records in confronting mortality and the passage of time: "Their real achievement was life itself." Ellen has shared few public disclosures about his own health, focusing instead on broader introspections tied to family legacies in later interviews. His reflections often highlight the emotional weight of documenting elders' narratives as a way to process personal aging without delving into specific medical details. A cornerstone of Ellen's social circle is his longstanding friendship with , developed through decades of collaboration in music journalism; the pair co-hosts the podcast Word In Your Ear, where their banter reflects a brotherly rapport built on shared experiences. From his time at Oxford University, Ellen maintains a notable association with , having played alongside the future in the short-lived student band Ugly Rumours, a connection that has endured beyond their university days despite diverging paths. These ties, along with friendships among contemporaries like fellow journalists and performers encountered in informal settings, underscore Ellen's later-life network rooted in youthful bonds rather than professional endeavors.

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