Making world music's first international star : 1985-1988 : Ofra Haza, Tel Aviv & London

 In January 1985, I had arrived in Israel to work as a DJ on a radio station, but this was no ordinary radio. The studios of ‘The Voice of Peace’ were on a ship anchored permanently in the Mediterranean Sea [see blog]. Aware of my interest in cutting edge music, the station’s popular breakfast DJ Dave Asher (who had been living in Israel for some time) [see blog] played me a recent 12-inch single ‘Galbi’ by a young Israeli singer of Yemeni origin named Ofra Haza. It was a traditional Yemeni song, re-mixed and cut up into a state-of-the-art club tune that sounded to me like a new, exciting ‘Middle East meets West’ genre. I wanted to find out more, but the terrible winter storms and shortage of DJ staff meant that I was stuck working on the ship for the next three months.

Eventually, during my first shore leave, I visited the Tel Aviv office of the small independent record company ‘Hed Arzi’ that had produced the Ofra Haza single. They were baffled that a British DJ would be so interested in one of their worst selling record releases, and particularly one that seemed to have such minimal mainstream potential. They humoured me and let me sit at a desk in their office, penning handwritten letters to radio DJ’s and record labels that I knew back in the UK, sent by airmail along with the single and related album ‘Yemenite Songs’.

Within a month, I had received replies from John Peel at ‘BBC Radio One’ and Charlie Gillett at London’s market leader ‘Capital Radio’, both saying that they had played Ofra’s record on their shows and had received enquiries asking where the record could be purchased. During my next shore leave, I returned to Hed Arzi, whose staff were amazed that their song had been played on national radio in the UK. They introduced me to Ofra and her manager for the first time. I wrote again to several UK record labels and one of them, ‘Globestyle’ owned by ‘Ace Records’, was convinced sufficiently by the airplay to release both the single and the album [see blog].

I returned to the UK at the end of 1985 and spent the next two years trying to convince everyone I knew of Ofra’s talent. By 1987, I had given away so many copies of her records to music industry people that Ace Records’ Roger Armstrong said I would be given one last free box. By chance, I had recently been invited to attend a monthly staff meeting of London pirate station KISS FM (at the London School of Economics) [see blog] and, as a last resort, I distributed copies of Ofra’s records from this last box to some of the station’s DJs, mailed from my part-time job with ‘Rough Trade Records’ director Scott Piering. Simultaneously, I attended monthly meetings in a London pub of music industry personnel who created the new genre ‘world music’ and marketed it for the first time in the UK [see blog].

KISS FM DJ's Jonathan More and Matt Black, recording together as ‘Coldcut’, had already enjoyed underground success with some highly original cut-up singles on their ‘Ahead Of Our Time’ label. They liked the Ofra Haza songs so much that they cut up one of them into their homemade remix of US rappers Eric B & Rakim’s latest single ‘Paid In Full’. ‘Island Records’ in the UK released this remix without seeking Eric B’s prior approval, and without clearing the Ofra Haza sample. By the end of 1987, the single had reached number 15 in the UK singles chart, giving Eric B his first British hit and earning significant royalties for the Israeli record company because a third of the track featured Ofra’s voice, a fact I knew because Roger Armstrong had asked me to time the recording with a stopwatch in order to negotiate his appropriate share of royalties from Island Records.

More than anything, the chart success of that Eric B remix stimulated huge public interest in Ofra Haza’s voice beyond the narrower market for the new ‘world music’ genre. In early 1988, I organised interviews for a promotional visit to the UK, shepherding Ofra Haza and her manager Bezalel Aloni to BBC Radio 1, the BBC World Service and London commercial radio stations. Ace Records re-issued Ofra’s ‘Im Nin Alu’ single, which quickly garnered radio airplay this time, despite it being sung in a strange, foreign language. However, the public demand for the single was so great that the independent label had difficulty fulfilling orders, so it licensed the track to ‘Warner Brothers/WEA’. After an initial meeting with the major label at which I passed on all the press coverage I had achieved to date, my direct involvement with Ofra Haza ended abruptly, just as she was invited back to the UK to perform on BBC1 TV show ‘Top of The Pops.’ I had asked Warner to keep me updated but it never did.

After the success of this single internationally, the Israeli record label invited me to London’s ‘Sarm West’ Studios, where the follow-up single ‘Shaday’ was being mixed. It was evident that none of the Warner Brothers personnel involved had any understanding of the unique charm of Ofra’s Yemeni music in the international marketplace. Ofra’s controlling manager was far too keen to turn her into a mainstream pop singer, which is exactly how the public perceived her in Israel. As a result, the follow-up single bombed and, sadly, it seemed then as if Ofra was consigned to be a one-hit wonder as a result of poor career guidance.

In 2000, I was shocked to learn of Ofra’s death at the age of 42 from AIDS-related organ failure. I emailed the family in Israel, asking to attend the funeral, but received no response. Two years later, an Israeli ‘Channel 2’ television film crew came to London and filmed an interview about my role in creating their country’s most successful international pop star [for 70-minute ‘The Life & Death of Ofra Haza’]. They had just filmed a similar interview with John Peel at his home, during which he impressed them by producing my handwritten letter that had accompanied the Ofra records I had initially sent him from Israel seventeen years earlier. The interviewer asked me if I had made a fortune from ‘discovering’ Ofra Haza for the international market. I laughed. All I had ever received was one cheque for £200 from Ace Records in 1988 to reimburse my expenses for taxis, refreshments and food during Ofra’s initial London promotional visit. Neither Hed Arzi, nor Ace Records, nor Haza’s estate has communicated with me since.

Ofra’s incredible voice lives on through the music she recorded, although I am always reminded of the parts of her life that had been unbelievably tragic. The crucial roles of the late John Peel and Charlie Gillett in her international success should not be forgotten. Ofra Haza’s music arrived in the Western world at a time when the public welcomed sounds that challenged their expectations. We are musically much the poorer for the loss of Ofra, and of John and Charlie, from our world.

[Green Productions in Israel has just completed a video documentary ‘One Song’ in Hebrew that narrates the story in detail for the first time of how ‘In Nin Alu’ became an unlikely pop chart hit.]

My thwarted career as teenage reggae music journalist : 1972 : Jamaica

 I blame Jesse James. Though cowboys and westerns held zero interest for me, something about the record ‘Jesse James’ appealed, much as an Israeli novelty song ‘Cinderella Rockefella’ the previous year had possessed sufficient charm to become my first ever vinyl single purchase. Now, having heard this reggae tribute to the outlaw played on ‘BBC Radio One’ or ‘Radio Luxembourg’, I placed my order at the record counter on the first floor of ‘Harveys’ department store in Camberley and, within a fortnight, it arrived. There was no song, merely Laurel Aitken shouting "Jesse James rides again" with gunshot effects over an incessant rhythm. Nevertheless, I had just purchased my first reggae record [Nu Beat NB 045] and I loved it. It was 1969.

After that, my reggae buying accelerated as fast as pocket money would permit. There was the intriguing instrumental single ‘Dynamic Pressure’ [London American HLJ 10309] recorded at Federal Studio, but so-named as the original had been cut by Byron Lee at his Dynamic Studio. I inexplicably bought the terrible cover version by Brit studio band The Mohawks of ‘Let It Be’ [Supreme SUP 204] for reasons I cannot recall. A recently opened second Camberley record shop in the High Street displayed a rotating stand of reggae albums from which I bought ‘The Wonderful World of Reggae’ [Music for Pleasure MFP 1355] because it cost only 14/6 for twelve tracks. I had been unaware it actually comprised (half-decent) cover versions by London session musicians of recent reggae songs heard on the radio.

In 1970, I bought several reggae singles that had reached the UK charts, including ‘Young Gifted and Black’ [Harry J HJ 6605], ‘Montego Bay’ [Trojan TR 7791] and ‘Black Pearl' [Trojan TR 7790], all of which I was to discover later were cover versions of American songs. During this era prior to Jamaican sound engineers’ creation of ‘dub’, most B-sides were straight instrumental ‘versions’ of their A-sides. However, it was the occasional exceptions that offered my earliest insight into the remarkable creativity and fresh ideas issuing from Jamaica’s (and London’s) recording studios:

The B-side of ‘You Can Get If You Really Want It’ [Trojan TR 7777], a straight cover of Jimmy Cliff’s song, was a Desmond Dekker original ‘Perseverance’ with great lyrics over an amazingly fast rhythm track that came to unexpected abrupt halts. I still love it more than the A-side.

The B-side of ‘Leaving Rome’ [Trojan TR 7774], an exceptionally haunting instrumental laced with strings, was another instrumental ‘In the Nude’ with trumpet player Jo Jo Bennett double-tracked improvising over an urgent rhythm. This must have been the first ‘jazz’ recording I had heard and I loved it.

The B-side of ‘Rain’ [Trojan TR 7814], a cover of the Jose Feliciano song, had ‘Geronimo’ wrongly credited to singer Bruce Ruffin but consisted of a man shouting "Geronimo" and "hit it", echoed over a rhythm I later learned was by UK band The Pyramids. It was bizarre but fascinating.

Most significant was the B-side of ‘Love of The Common People’ [Trojan TR 7750], another cover version with a string arrangement overdubbed in the UK by ‘BBC Radio 2’ doyen Johnny Arthey’s orchestra. The instrumental ‘Compass’, credited to producer Joe Gibbs’ studio band ‘The Destroyers’, could not have been more different than the unrelated smooth A-side. It literally changed my life. Essentially it was a jazzy solo saxophone workout, but over an instrumental track drastically different from anything I had ever heard. The walking bass was turned up loud but had been deliberately dropped out of the mix on occasions. The continuous rhythm track had been filtered to leave only its high frequencies and then echo added, making the result impossible to determine which instruments were playing. The whole thing was bathed in enough reverb to sound as if was recorded in a bathroom.

For me, ‘Compass’ was a really radical production, emphasising the bassline and using studio effects to contort other instruments into sounds that were unrecognisable and ethereal. The sound engineer (likely Winston ‘Niney’ Holness at Gibbs’ studio in Duhaney Park, Kingston) had transformed a typical reggae rhythm track recorded (for an unrecognisable song) onto four-track tape into something completely different and incredibly creative, using only a standard mixing desk and some basic electronic effects. It was the first example I had heard of a ‘mix’ that had not tried to reproduce musical instruments as they sounded naturally, but to have deliberately distorted them into unnatural noises that created a whole new audio experience. It was the first track I had heard that stripped a recording down to so few elements: a pumping bass, a bizarre ultra-tinny ‘clop-clop’ rhythm and a booming saxophone. ‘Compass’ was a harbinger of ‘drum and bass’ mixes which reggae would soon pioneer (the first occasion I saw this term used was the B-side of Big Youth’s 1973 single ‘Dock of The Bay’ [Downtown DT 497]).

More than anything, it was ‘Compass’ that hooked me onto reggae at the age of twelve. I played that B-side at home hundreds of times but was desperate to hear more recordings like it. Not easy when you live thirty miles outside of London. Instead, my reggae research started in earnest. From the ‘Recordwise’ record shop owned by Adam Gibbs opposite my school in Egham [see blog], I collected weekly new singles release pamphlets distributed to retailers and stared longingly at the many titles of new reggae releases, more of which were issued in the UK during this period than all other music genres added together. I joined the shop’s ‘record library’ which loaned vinyl albums to customers for a fortnight for a small charge. I soon ‘worked’ in that shop during lunchtimes as my knowledge about popular music was becoming encyclopaedic. But, above all, I became obsessive about reggae.

I wrote to ‘Trojan Records’, one of London’s two major reggae distributors, requesting information and was invited to join the newly created ‘Trojan Appreciation Society’ run by two female fans. For my subscription fee, I received monthly Roneo-ed newsletters, some free records and a huge gold metal medallion imprinted with the company’s logo attached to an imitation gold chain, which I wore to school every day under my white school shirt and striped tie for the next five years … until the gold paint had worn off on my chest. I had a fold-out double-sided A2 sheet of all Trojan’s past releases, listed by each of its myriad of weird and wonderful record labels, which I would peruse in awe for hours. I so wanted to hear all this wonderful music, but how?

My luck was in. I was already an avid fan of ‘BBC Radio London’ when it launched Britain’s first ever reggae radio show, ‘Reggae Time’ hosted by Steve Barnard on Sunday lunchtimes. To the chagrin of my mother’s attempts to serve our family’s Sunday dinner, I would sit listening with headphones plugged into our hi-fi system, cataloguing a list of every record played each week from the very first show, recording songs onto cassettes. It was my much-needed window into the world of reggae and enabled me to enjoy almost two hours of new releases weekly, interviews with artists and dates of sound system events (inevitably all in London). Doing my homework on weekday nights, I would listen to my cassettes over and over again until I knew the songs by heart. From then, my pocket money was used to buy less well-known reggae records beyond those in the charts and played on mainstream radio. My personal reggae ‘wants list’ inevitably grew longer and longer.

Somehow, I discovered the existence of a music and entertainment magazine published in Jamaica named ‘Swing’. I may have finally identified its address in an international publishing directory in the local library, sending them cash for a subscription and henceforth received monthly copies by air mail. Along with interviews and features, it published advertisements for record shops and record labels in Jamaica, offering a first-hand insight into the island’s reggae industry. I devoured each A4 colour issue and treasured them like valuable artefacts.

My parents’ hands-off attitude to childrearing allowed me to pursue my interest in reggae without interference. From the Camberley High Street record shop, I bought another 1970 compilation ‘Tighten Up Volume 3’ [Trojan TTL 32] for 15/6, this time comprising twelve amazing original recordings. It became the first of many album purchases on ‘Trojan Records’. When I Blu-Tacked onto my bedroom wall its daring poster of a full-length naked woman daubed with the album’s song titles, my parents did not even blink. My mother even liked some of the reggae records I played loudly on the hi-fi system in our open-plan living room, particularly ‘Leaving Rome’.

In 1972, my father announced that he had booked a family winter holiday for the five of us to Jamaica, paid for with cash proceeds from dodgy property deals with his latest business partner Bill Beaver [see blog]. He had shown no prior interest in my music and probably had no idea this was where reggae originated. It was just a lucky coincidence. Until then, the furthest our family had vacationed was Spain [see blog], making this our first long-haul destination. I was over the moon. While my family sunbathed on the beach, MY objective would be to travel to Kingston and explore the reggae music industry. I started to write out an address list of all the recording studios and record shops whose names I had found printed on record labels, album sleeves and in ‘Swing’ magazine.

As an avid reader of Charlie Gillett’s column in ‘Record Mirror’, I had ordered his 1970 book ‘The Sound of the City’ and been amazed to realise it was possible to write about popular music in a scholarly and meticulously researched format. Establishment voices then considered ‘pop music’ frivolous and worthless, condemning it as ephemeral, while their favoured classical music was deemed valuable and enduring. Gillett’s paperback opened my eyes, became my musical ‘bible’ for years to come and changed my life’s direction. I wanted to write about reggae in the same passionate yet factual way that Gillett had documented American black music so brilliantly. I already knew the names of reggae’s producers, recording studios, record labels and artists. A ‘research’ trip to Jamaica would complete the jigsaw puzzle.

I owned a Bush portable cassette recorder with microphone I would take with me to record interviews. I had a Kodak Instamatic camera and I might be able to borrow my father’s Canon Dial 35mm camera. Although I had no contacts in Jamaica, my plan was to find and hang out at the addresses I had researched. At that time, almost no journalist in Britain was writing about reggae music. Although I lacked formal training beyond my English GCE, I was already a competent writer and believed, on my return to Britain, I could approach music publications to interest them in my unique content. I could be a young reggae music journalist. I might have been a naïve fourteen-year-old, but it seemed an exciting prospect.

Then, weeks before we were due to fly to the Caribbean, my father suddenly told us he was leaving our home [see blog]. I had observed my parents’ relationship recently dogged by shouting, arguments and violence, but he offered no explanation of where or why he was going. Only afterwards did we learn from our gobsmacked neighbour Mark Anthony that my father had run off with his recent teenage bride to set up house in a posh part of Weybridge. As suddenly as it had been announced, our family holiday to Jamaica was withdrawn. My father did take the vacation, but without his (former) family and instead accompanied by who knows. I was left with my list of Jamaican addresses and a working holiday plan that was in tatters.

In the years that followed, reggae was suddenly ‘discovered’ by the mainstream music press that sent journalists, sometimes knowing next to nothing about the music, to Jamaica to report on the industry there. Weeklies ‘NME’ and ‘Melody Maker’ splashed reggae artists on their front covers. More knowledgeably, Carl Gayle wrote excellently in the ground-breaking ‘Black Music’ magazine launched in December 1973. Dave Hendley started a ‘Reggae Scene’ column in fortnightly ‘Blues & Soul’ magazine. An amazing A5 fanzine ‘Pressure Drop’ was launched from Camden in 1975 by Nick Kimberley, Penny Reel and Chris Lane with a penchant I shared for lists, such as its original discography of Big Youth singles.

I read all these writers’ reggae articles avidly and was pleased to see my favourite music now exposed to a wider audience. However, my appreciation was tinged with sorrow that I had no involvement in this ‘movement’ despite the knowledge I had acquired since buying my first reggae record in 1969. It was hard not to occasionally entertain the jealous notion that 'it should have been me' (as the song goes). Instead, my time and resources were diverted by unexpectedly bearing the mantle of eldest of three siblings in a one-parent family while my mother held a full-time day job and cleaned offices during evenings [see blog]. My ambition to write about reggae had to be put on hold until attending university in 1976 … by which time reggae music had suffered press overkill and ‘punk’ was the next big thing.

My passion for reggae continues to this day. Listening to ‘Compass’ now still makes me shiver. Four decades after buying that single and playing it to death, I accidentally discovered its original vocal version was ‘Honey’ by Slim Smith [Unity UN 542], a truly unremarkable song that had masked a remarkable rhythm track. For me, that remains one of the enduring wonders of discovering reggae’s multiple versions.

[Click on the record labels to hear their music. I curate several reggae playlists on Spotify.]

Just my imagination running away … to Australia : 1972 : Eric Hall, Strode’s School

 A schoolboy babysitting two infant-school-age girls at night? Quick, call the police! Notify child protection services! … But wait! This was the 1970’s. That boy was fourteen-year-old me. Back then, few would have jumped to the (mistaken) conclusion that anything untoward was happening. How naïve we seemed to be!

My mother had few close friends and I fail to recall how she had come to know Cathy Bingham, who had recently moved into a new-build house at the far end of Byron Avenue, less than a kilometre away within our suburban housing development. Seeking a means to supplement my meagre pocket money, my mother had suggested to Cathy I could babysit her two young daughters if she and her husband wished to go out for an evening. I could only help out on Friday or Saturday as my school set two homework subjects each weekday and required my efforts to be submitted the following weekday. The resultant babysitting arrangement worked well and I was grateful for Cathy’s generous compensation which funded my purchase of more reggae and soul records.

Cathy was a genuinely lovely person who had moved to Camberley from Peru where her husband had apparently been posted by his employer. Prior to the birth of her daughters, she had had a job driving new cars from their Detroit production line down the Pan-American Highway for delivery to dealerships in Lima. I considered this a ‘dream job’ since my father had already stimulated my interest in American cars and I longed for the day I would be able to drive long distances myself.

One babysitting evening, once the girls had been put to bed upstairs, I spent the remainder of my time sat on the sofa in front of the television. I watched a recent British movie named ‘Walkabout’ about a father who suddenly abandons his two children in the middle of the Australian outback. The scenery was spectacular and the story fascinating of the children’s chance meeting with an Aboriginal boy who demonstrates his traditions to them and saves their lives. It made a huge impression as my first television experience of Australia beyond the formulaic ‘Skippy’ series.

I had already leafed through many large-format photo books of faraway lands, including Australia, whilst sat at a desk in the first-floor reference section of the local public library. I had been impressed by the mud-brick high-rise buildings in Yemen, the desert libraries of Timbuktu and the Ayers Rock sandstone monolith. Along the same Dewey Decimal shelf, I had recently discovered the first ‘Lonely Planet’ guide as a Roneo-ed set of booklets hand stapled together. All these readings had stimulated my desire to travel abroad, since most of our family holidays to date had been taken within Britain.

Australia was also on my mind after a recent chance meeting with a young Australian girl who was working in the bookshop on Station Road in Egham. I had made an earlier visit to the shop in 1970 to order a book (that changed my life) documenting American black music, ‘The Sound of The City’, which I had seen mentioned in its author Charlie Gillett’s weekly column in ‘Record Mirror’ magazine. My second visit was to exchange several ‘book tokens’ that had been awarded me as ‘School Prizes’. On that occasion, shop assistant Jan Somerville spent considerable time helping me choose paperbacks that might interest me, including ‘Exodus’, ‘Dune’ and ‘Topaz’. Her advice was particularly useful as I had no idea what to buy, my parents having almost no adult books at home.

I was instantly smitten with Jan as she was the first interesting girl around my age (well, she must have been two years older) I had met and, to my lusty adolescent eyes, she resembled heartthrob Susan Dey from ‘The Partridge Family’. She explained that her family had temporarily moved to Britain and she had found a job for a year in Egham’s large, well-stocked independent bookshop. After that, during my school lunch-hour, I would pop into the shop and chat with her regularly. When she finally returned to Australia with her parents, she gave me a slip of paper with her address in Clontarf, New South Wales. I was sad to lose my first ‘schoolboy crush’ but we wrote to each other for a while and she sent me a small toy koala which I have kept since. I had hoped to visit her one day … but life intervened.

All this explains why, on the occasion that English Language homework required me to write an essay about a landscape I had never visited, I naturally chose Australia. My teacher, Eric Hall, was a young man (relative to the majority of ancients that taught us) who wore tweed suits and was eager to show off what he probably believed was his sardonic wit. However, I read his attitude as sarcasm, a quality I found less than endearing after having arrived at the school wholly ignorant of his subject. Many of my classmates had previously attended private ‘prep’ schools and already knew what a noun, adjective, verb and tense were. I had never heard these terms because my state junior school had been keen to develop our creative skills rather than grammatic pedantry. I faced a steep learning curve at Strode’s School.

When I started my third year, I had been disappointed to be told that Mister Hall would be our ‘form master’, with whom we were required to register our attendance twice a day. My already poor rapport with him deteriorated considerably when, without prior consultation, my father impulsively booked a package holiday at an Egham travel agency for me and him to visit Florida during school term to witness the launch of an Apollo space mission [see blog]. As a result, my mother was angry that her husband had not discussed this indulgence beforehand and had apparently demonstrated no desire to be accompanied by her and my two siblings. Mister Hall was outraged to be informed of my impending absence as a fait accompli and insisted that my trip be cancelled, which my father refused. Subsequently, my relationship with not only Mister Hall but most of the school administration was soured. I was never to be awarded a further School Prize.

At the end of our English Language period, Mister Hall walked around our desks, handing back each of our essay books … except for mine. After returning to his seated position at the front of our classroom, he said:

“You can all go now. Except for Goddard, who I want to see afterwards.”

Now what I had I done wrong? He opened my workbook to the page of my latest essay and pointed at it disparagingly.

“Your essay about Australia was very descriptive and incredibly detailed. Have you ever visited Australia?”

“No,” I replied.

“Well, I just do not understand how you could have written about somewhere you have never experienced with so much detail about its landscape and features,” he commented sourly.

I had no idea what he was trying to imply. I had worked very hard to produce a good essay and now he was trying to say obliquely that my work was too good? How was I expected to explain that?

“I’m interested in Australia,” I said. “I have seen films and read books about it, which is the reason I chose to write my essay about it.”

“Well, I am afraid I do not believe that you wrote this essay,” said Mister Hall angrily. “I have come to the conclusion that you must have copied it from some book. That is the reason that I have had to give you a fail mark for this piece of work and, naturally, this will be reflected in your end-of-term report.”

I was horrified. How could Mister Hall be so cruel? I understood he had never liked me, but I had never contemplated he could be so nasty to a student who had worked as hard as they could in order to be successful in his subject. From then on, despite my regular ranking as one of the top five students within my year of sixty pupils, Mister Hall’s comments in my termly school reports were consistently negative. His and a few other teachers’ similar attitudes to me during my seven years at Strode’s coloured my entire secondary school experience. For the first time, I learnt what it meant to be despised by an adult in a position of authority. It was an incomprehensible change from my previous positive experiences at Cordwalles Primary School, where my incredible teachers had been generous to a fault with their mentoring of me and my classmates [see blog].

I had no choice but to soldier on at school under the tutelage of Mister Hall. I took the GCE ‘O level’ exam in English Language the following year and achieved an ‘A’ grade. Three years later, I passed the ‘Use of English’ exam required of entrants to Oxford and Cambridge universities.

Before those subsequent academic successes, my life was changed irrevocably later in 1972 when my father deserted our family to run off with a newly married teenage bride who lived a few doors away on our street. The brief trip to Florida was the final occasion I spent time with my father until the day he died. Not only did he unknowingly negatively impact my school life for the remaining four years, but he knowingly impacted my family’s lives forever [see blog]. The evening that I had chanced to watch the father in ‘Walkabout’ maroon his children in the outback was paralleled only months later in my own life when my father walked away from his three children, condemning them to an unexpectedly different future.

Despite these personal setbacks, Cathy Bingham’s experience of driving through the American continent in the 1960’s continued to inspire my ambitions. In 1984, I hatched a plan to hitchhike from the United States down the Pan-American Highway to Nicaragua to visit my friend Tony Jenkins who was there providing news reports to ‘The Guardian’ and ‘BBC World Service’. I visited the London embassies of all the countries I would pass through and obtained the necessary visas. However, this plan was stymied by a six-month wait for the BBC to inform me whether my second-round interviews for separate producer jobs at ‘Radio One’ and ‘Radio Two’ had been successful. In the end, I was rejected for both. Angry that my travel plans had been thwarted by the excessive wait, I enquired why to BBC Personnel, only to be informed by its employee that in future I would need to prove to interviewers that “you are one of us”.

Evidently, I never was.

[8mm film of Eric Hall by classmate & dear friend Martin Nichols]