Showing posts with label radio. Show all posts
Showing posts with label radio. Show all posts

28 August 2026

The day my world stood still [part two] : 7 October 1971 : Kings Ride, Camberley

 Had I been born a century earlier, I suspect my parents would have bundled me off to climb up the insides of neighbourhood chimneys for a few farthings. Things then would have turned out much worse for me, as my mother’s guidance for childrearing was apparently forged by her half-dozen visits accompanying me to 1964’s ‘Mary Poppins’ at the Camberley Odeon. As Julie Andrews had seen nothing immoral about grubby children being pressganged into Dick van Dyke’s happy posse of sweeps, the film seemed to convince my mother that offspring were meant to be seen (working) rather than heard (playing).

Some kids embark upon a paper round once they have learnt to ride a bike. Others help out in the neighbourhood shop for pocket money. Visiting a mini-mart to pay your newspaper bill, you would rightly be surprised to find a child of single-digit age and less than three feet tall stocking shelves. Apparently not my parents! As soon as I could walk, my father was taking me with him in his ostentatious American car to survey local properties whose owners required renovations or extensions. Initially I was charged with holding the end of his long roll-out, wind-up tape measure at the far end of large rooms [see blog]. Before long, I was sketching out on paper the floorplan of buildings and noting their dimensions. Later on, I was calculating floor areas using the long multiplication my father had evidently failed to pay attention to before quitting his education aged fourteen from a Dickensian school he would show me on School Lane, just along from Ron Francis’ long-time photographic studio.

Thanks to an apprenticeship and ‘night school’, my father became a qualified quantity surveyor who passed as an architect by appending ‘AFS ARIBA’ to his name on business cards printed by Southwell Press [see blog]. In his school-hut office in the back garden behind our garage, my first administrative task was to maintain his professional periodicals such as ‘Architects Journal’ in strict date order. Soon he would teach me how to transfer Letraset from large sheets onto architectural drawings. I could calculate the relevant scale for plonking images of furniture, white goods and American-styled human figures onto the tracing paper plans masking-taped to his drawing board. If we did not have the necessary sheet, I would locate it within the huge, well-thumbed ring-bound Letraset catalogue and my father would then walk down to ‘Camberley Stationers’ on the High Street to buy it on account.

Whilst my father was self-employed at home, my mother worked as bookkeeper for a local garage 290 yards away that serviced vehicles, hired out a fleet of coaches and owned the town’s only petrol station on the busy A30 London Road. She would regularly bring her wide accounts ledgers home, set them out on our kitchen table alongside a paper-roll adding machine and require my services to help ‘balance the books’ and calculate the weekly payroll [see blog]. At my school, some classmates were still struggling with basic addition whilst I was already adept at calculating Income Tax and National Insurance deductions for a local company’s workforce.

After leaving school at sixteen without a Certificate, my mother had enrolled for some kind of local secretarial course which led to our home having a manual typewriter and shorthand texts. I taught myself to type and was soon faster and more accurate than my mother. If my parents had to fill out a form, I would type it for them. After my brother was born, his name had to be added to their passports alongside mine, so I typed the application form to be mailed to the Passport Office in Little Venice. When the passports were returned, I was so proud to see that the civil servants had merely cut out the paper on which I had typed my brother’s details and glued it onto a spare page. My handiwork!

Without realising what was happening, I became our family’s ‘administrator’ merely because I excelled at reading, writing and arithmetic. When there were Christmas cards to send to my father’s clients, it was my job to write addresses on dozens of envelopes. When there were letters to be sent to the Council, Inland Revenue or DHSS, I was tasked with typing them and their respective envelopes. After my parents gave me a ‘Kodak Instamatic 126’ camera for my birthday in 1964, I also became the family’s photographer, carefully sticking hundreds of square pics in a photo album and labelling them with precise dates, locations and names. (Decades later, my brother stole this treasured album from our mother’s home before emigrating [see blog], leaving me now without a single family photo, despite having been our family’s only photographer then.)

If I had been a teenager when pressganged into this family work, perhaps I could be accused of some collusion. But I was still under ten years old when all this happened. Other kids in my class went home to spend evenings playing worry-free games in their back gardens, while I returned home to yet another round of administrative tasks. My cleverness was being mercilessly exploited by two un-clever parents who had left school without an examination pass between them. I had no idea why I was clever. I often wondered whether I was truly the offspring of the adults I was being forced to live with. Had I been swapped, accidentally or deliberately, at birth? However, my birth certificate said I had been born at home. How was my DNA related to theirs? During my early years, I had a mop of blonde hair. But neither parent was blonde. I had blue eyes. But neither of my parents had blue eyes. Having watched 1960’s American sci-fi series screened on British television, I even pondered whether aliens had planted me with this suburban family. Was I the boy who fell to earth?

As the years progressed, my parents’ grip over my life tightened. At age eleven, having passed the compulsory ‘Eleven Plus’ exam, I was entitled to join the one grammar school in Camberley, adjacent to the infant/junior school I had attended for six years. Instead, my parents chose to send me to a grammar school twelve miles away at the opposite end of the county, the outcome of my father’s desire to impress a potential business partner [see blog]. I was not even consulted for my opinion before being condemned to spend hours travelling on public transport for the next seven years. I would never again see my many junior school friends.

After my father switched to renting a town centre office, I was additionally charged with calculating, typing and sending out client invoices, statements and reminders on his newly purchased ‘IBM 72’ electric typewriter. I was also required to spend days making photocopies and dyeline prints for my fathers’ clients in a darkened unventilated room, damaging my health irreparably [see blog]. When my father diversified into property speculation with a new business partner, my expertise in maths was required to figure out the potential profits of buying local businesses and redeveloping them with blocks of flats [see blog]. Though not yet a teenager, my calculations would determine whether projects worth millions could prove viable for my father’s latest business, which I had been required to name (‘IMIC Properties Limited’) even though I was still too young to be one of its directors. It was crazy.

The upside of all this work for my ‘family business’ was that, once their tasks were completed, my parents left me alone to pursue my own interests without interference. My mother could not be bothered to divert to Camberley’s only Post Office at the far end of the London Road from the town centre so, while she shopped, I would walk there and cash her fortnightly ‘Family Allowance’ vouchers from the booklet sent by the government. The postal staff knew me by sight because, from the time I could barely peer over their counter, I had been sending and receiving many more letters than my parents. My ‘pocket money’ comprised this useful cash that my mother would let me keep.

During childhood, I developed a wide range of interests that I maintained … until the fateful day in 1972 when my father deserted his family and abandoned his three children, leaving us to grow up in chaotic deprivation [see blog]. After that, I had neither the time nor the money to pursue anything beyond day-to-day survival. After that, I lived an even more isolated existence away from friends and extended family. These unwelcomed losses were initiated in 1968 when my parents relocated to a new housing estate on the edge of town. I was now three miles from my grandparents who, having lived next door almost my entire life, had generously provided the childrearing skills to which my parents seemed oblivious. I was now three miles away from the neighbourhood kids on our street with whom I had played regularly on the roads leading to Barossa Common [see blog]. I was now three miles away from the junior school I would attend for one further year which, until then, had been a short solo ride away on buses 1, 2 or 3c of the Aldershot & District Traction Company Limited. I now had no friends living within miles. I needed a lift to get to school.

In our home on Kings Ride, my parents had bought me a metal full-size pedal-powered go-kart with a handbrake that could travel so fast that it would have proven dangerous to meet a pedestrian on our narrow pavements. Instead, I would drive it along the road outside our house when there was little traffic around, pursued by my neighbourhood mates on their bikes. Sometimes a double decker bus would unexpectedly pass in the opposite direction and you could see the passengers stare out its windows in disbelief. My parents never told me not to play in the traffic and not once was I stopped or told off by passing adults.

My earliest hobby was ten-pin bowling. My parents’ plan since their marriage was to emigrate to Canada, despite knowing nobody there nor having visited the country [see blog]. That was the reason my brother and I were given what they believed were common North American names. That was why my father taught himself to ice skate by practising surreptitiously each winter on the frozen lake of the Sandhurst Royal Military Academy. That was why, every Saturday morning, my parents drove to the nearest bowling alley in Wokingham to practice, accompanied by me. I was tall for my age and soon became sufficiently accomplished to be asked to join Wokingham’s junior bowling team. Every Saturday morning, I would don my team bowling shirt and either compete at Wokingham or our team would be driven from there by coach to an away match at Heathrow, Brighton or one of the few towns that had a bowling alley. One birthday, my parents bought me my own bowling ball with my name engraved next to the finger holes and a ‘mod’ black and white bowling bag in which to carry it.

I became a manic stamp collector, initially steaming off the stamps on my family’s incoming mail and later visiting the regular Stampex exhibition in the Central Hall at Westminster. My weekly visits to the local library were useful to consult the Stanley Gibbons stamp catalogues in the reference section upstairs. Before long, I had saved enough pocket money to buy my own copies, along with a special stamp album that had spaces to mount every British stamp ever issued. I would write to a stamp dealer in Much Wenlock, enclosing a Postal Order bought from the Post Office to purchase all sorts of strange and wonderful stamps from countries around the world. Every occasion a new set of commemorative stamps was issued, I would traipse down to the Post Office, stick them on the associated special envelope and send it to myself as a ‘First Day Cover’. I even saved up to buy Britain’s first stamp, the 1840 ‘Penny Black’.

My maternal grandfather had sown the seeds of my fascination with the radio medium. I loved listening to music radio stations and discovered I could hear stations from all over Europe on an ordinary portable radio. In my early years, I would comb my parents’ and grandparents’ daily newspapers for any stories about radio, cut them out and stick them in a series of scrapbooks I maintained. Then I would enter every competition I heard announced on radio and, as my knowledge of popular music was good, send in postcard entries. I won quite a few contests on 'BBC Radio London' after it opened in 1970, usually with prizes of vinyl albums (such as the debut of the amazing group Batti Mamzelle). Despite my dozens of entries, I never won anything from national 'BBC Radio One' after its launch in 1967. However, I did win some albums (including ‘King Tubby Meets The Upsetter At The Grass Roots Of Dub’) from Tommy Vance’s Saturday ‘TV On Reggae’ show with Raymondo (alias Ray Edwards) on London’s 'Capital Radio' in the early 70’s. 

I badgered my parents into buying me a Trio 9R59DS radio receiver so I could listen to more radio stations from further away on the shortwave band. Due to my fear of heights, I persuaded schoolfriend Jeremy Mitchell to climb trees at each end of our garden to hang as an antenna a long piece of copper wire I had bought from my grandfather in the ironmonger shop ‘Dolton Bournes & Dolton’ on the High Street, his workplace following the closure of Camberley’s timber yards [see blog]. I bought the thick annual ‘World Radio & Television Handbook’ so that I could find the address of every radio station I heard in order to write to them. I was sending off dozens of letters a month and receiving all sorts of packages in return – programme schedules, postcards, badges, playlists, magazines, books and pennants. The postman often was carrying so much mail to deliver to me alone that he would knock on our front door rather than try and fit it all in our wall-mounted post-box.

I subscribed to monthly Roneo-ed newsletters that shared information about distant radio stations that could be heard and I would send the editors my lists for publication of new ones I had heard recently. I even travelled by train on my own to a meeting organised by some of these radio fans (‘DX-ers’) held in Reading one weekend but, sat amongst men who were twice and three times my age, I was too intimidated to utter a word. However, my listening taught me to identify languages from around the world and to understand the geography of continents. I can still recall the names of many of the oddball radio stations I heard, such as Austria’s ‘Der Schulungssender des Österreichischen Bundesheeres’ on 6221kHz. I think this global knowledge was the reason I managed an ‘A’ grade for my Geography O-level. It also gave me motivation to one day visit some of the faraway places whose radio I had listened to and whose citizens I had corresponded with.

As well as being an enthusiastic radio listener, I was also interested in the technical aspects of the medium. One Christmas in the 1960’s, I asked my parents for a junior home electronic kit that taught me about resistors, capacitors, circuit boards and to build basic projects. A few years later, I would accompany my aforementioned school friend Jeremy on trips to ancient Edgware Road shops to buy second-hand electronic parts so that we could build our own valve-powered radio transmitter to launch an AM pirate radio station. We possessed some suitable circuit diagrams from hobby magazines and were inspired by weekend London pirate stations we had heard.

Starting with technical books held in the upstairs reference section of Camberley library, I studied the theories of how radio transmitters, receivers and antennas functioned and their practical applications. This led me to a correspondence course to take the ‘RAE’ radio amateur examination that would allow me to communicate on the airwaves with other radio ‘hams’. For a small charge, I was mailed study notes by post, learnt them, wrote answers to a set of questions and sent them back. If my responses were correct, I would be mailed the next unit of the course. It could be a rather laborious process at times, but there was nowhere locally I could undertake the necessary training to take this exam.

One of my less technical interests was launching helium-filled balloons from our back garden, attached to postcards asking the finder to write to me with the location it had landed. Most of these efforts disappeared without a trace but occasionally I would receive a card from somewhere in West Europe that one had reached, a few of whom I started writing to regularly as pen pals. I think it reflected my early notion that there must be a bigger world out there beyond the suburban town where my mother’s family had lived for generations. It was a symptom of my alienation from my parents and the quest for an existence that promised more than small-town living. I already felt I did not belong there and I was seeking somewhere else where I might feel more at home (“going where the weather suits my clothes”).

One of the properties my father had insisted I help him measure to prepare for some rebuilding work was the future Lakeside Country Club in Frimley Green to be launched in 1971. We met its owner, musician Bob Potter, to whom I explained my interest in learning music studio production. He also ran the Bob Potter Studio in nearby Mytchett and invited me to attend a forthcoming recording session there by jazz duo John Dankworth and Cleo Laine whom I had seen on television. Although I was not (yet) a fan of jazz, this seemed to be a great opportunity to understand the basics of music recording techniques. I enthusiastically accepted the invitation and looked forward to that visit.

I was a regular customer of the large toy shop on Princess Street where I saved up to buy Airfix plastic model kits and multiple little pots of Humbrol paint, taking them home to assemble whilst trying not to glue my fingers together. Aircraft models appealed most, perhaps because my parents occasionally took me to Heathrow Airport on weekends to stand on the open observation platform of the new Queen’s Building with a free map showing airline logos so that we could identify planes taking off and landing. I built and carefully painted a Fokker DR1, Harrier ‘Jump Jet’ and Gloster Whittle, adding the transfer markings provided with each kit. I was yet to travel on a plane so aircraft seemed exciting and other-worldly.

I had started buying soul and reggae records in 1969, initially from Dykes record shop on the corner of Park Street and Princess Street where a line of soundproofed listening booths along the right-hand wall permitted visitors to request from the shop assistant an audio preview of a single or album before deciding whether to purchase it. Within a few years, I was making Saturday solo trips to London to buy imported soul records unavailable in Camberley from Contempo Records on Hanway Street and imported reggae from the many stalls in and around Granville Arcade in Brixton [see blog]. Though my termly green cardboard train season ticket to commute to school only reached as far east as Egham [see blog], I would continue on the same line to Waterloo station, flash my pass hurriedly at the gate and then only have to pay the minimal Tube fares to travel around London. Sometimes I might go further to visit the many reggae shops in Harlesden or to Lord Koos’ outlet for hard-to-find releases.

In early 1972, My father impulsively booked a holiday in Jamaica for our whole family so I made plans to explore its reggae haunts I knew about while the rest of them would be lounging on the beach [see blog]. We had recently visited Spain for a short family holiday which had proven an unmitigated disaster [see blog] so I considered it more productive for me to set personal objectives to achieve on this holiday, putting as much distance as possible between me and my troublesome father.

A significant reason I had developed so many interests was because, throughout my years at infant and junior schools, no classmates lived anywhere near our home. As the eldest child, neither did I have siblings with whom to play. Then, for two years, my parents spent every weekend on the plot of land the opposite side of town where they were building their dream house. They took my younger brother with them but always left me at home alone the entire weekend. I was never bored as I had developed so many interests that I could pursue. I was perfectly happy in my own company, particularly as my parents demonstrated little interest in me even when they were present. If I wanted interaction, I would go next door and play dominoes for hours with my grandfather on his wooden dining table, notching up our scores with matchsticks on his ancient cribbage board.

Two subsequent events ruined this equilibrium in which I had existed during my early years. Firstly, the move to our new house on the edge of town two miles from Camberley town centre. Until then, I had been only a short unaccompanied walk away from the shops, municipal library and railway station. Now I needed a lift from my parents because the two bus routes 39b and 34a from our new location ran only hourly and two-hourly respectively during peak times. Neither was there a single shop near our new home.

Secondly, my father’s departure four years later left my mother without a car [see blog] or the resources initially to buy one. The impact was two-fold: I was stranded on an outlying housing estate without transport; and the money to support my interests was no longer available. I still visited the Post Office, though less regularly than before, as it was now three miles away instead of a brisk walk. I would cash the Family Allowance vouchers there but now the money had to be passed to my mother to support us because my father was deliberately denying his family any financial help.

It was not just the lack of money that changed my life going forward. Having unexpectedly had additional responsibilities as our family’s ‘eldest child’ thrust upon me, I could no longer find sufficient hours in the day to pursue my own interests. Until then, I had spent most of my childhood in my own company whilst my siblings were under the eye of one or other of my parents. From now on, because my mother was at work every weekday from morning ‘til night, I was left with my younger brother and sister whenever I was home from school. I had become the family babysitter, supervising a nine-year old and one-year old for hours on end. This was not how I had anticipated my teenage years would be spent from age thirteen to eighteen.

There was no gradual change in my life. In the weeks before my father left us, I was still busy with my own interests. Then, suddenly, everything had to be dropped. My go-kart was never used again. My bowling ball remained in its 1960's two-tone bag to this day, kept as a reminder of a now distant past when I once scored over 200 in a competition game. I was not given the chance to say farewell to my bowling team friends because I never returned to Wokingham bowling alley. My various stamp albums were placed in a large plastic shopping bag, never to be examined again. My plans to build a radio transmitter with school friend Jeremy came to nothing, as did our electronics buying trips to Edgware Road. Although I was close to completing the radio amateur correspondence course, I abruptly ended the monthly correspondence because now I would never have been able to afford the equipment even if I gained a licence.

Correspondence with overseas pen pals came to a sudden halt due to my lack of time. Bob Potter’s invitation to attend a recording session would never be fulfilled because my father now disowned me and was hellbent on doing everything he could to disrupt my future, despite my childhood having been spent working for his various businesses. I never again bought or assembled another Airfix model kit, let alone visited Camberley’s toy shop. Regular record-buying trips to London had to be curtailed because, without parental transport, buses from our home to the railway station were unreliable outside of weekday daytime hours. Besides, my pocket money had all but disappeared, sacrificed to more essential needs. My much-anticipated visit to Jamaica was scotched when my father changed the names on our family’s four tickets to that of his new mistress and unknown flunkies [see blog].

What activities was I left with? My radio listening continued because I already had the equipment and it was a free pastime. As a much-needed escape from my family responsibilities, at weekends I would sometimes stay up all night listening to faraway stations. I tried for months to receive a North American station on Medium Wave and my perseverance paid off during the early hours when I distinctly heard ‘CJON 930’ in St John’s, Newfoundland. Encouraged, I soon heard ‘Radio Demerara 760’ from British Guyana and ‘Radio Rebelde 670’ from Cuba. I knew even then that I wanted a career in radio.

I also continued my long running passion for music. I discovered that, instead of visiting London to buy reggae records, I could save money by writing directly to the UK record companies that issued them, claiming to be a record shop named ‘Channel One’ (copied from the recording studio I idolised in Maxfield Avenue, Kingston, Jamaica). Whereas in shops an album would cost £2.15, I could buy the same record ‘wholesale’ for a little over half that price. A typed letter and accompanying Postal Order proved sufficient to convince them to send me the desired albums, often accompanied by marketing materials, their catalogues, additional album sleeves and free promotional copies of singles. I was never asked difficult questions about my fake record shop bizarrely located on a suburban Camberley housing development.

There was no time then to think too deeply about these myriad changes to our family’s existence. We just had to cope with the way things were now. I never complained. It is only in retrospect that I understand how much of my youth was taken away from me by my parents. I never spoke to anyone at school about these changes or the responsibilities foisted upon me at such an early age. I tried to carry on as if everything was fine and that nothing significant had changed. But it had. I was no longer the youthful kid with diverse interests that I had been until now. I had been forced to become an adult though I was only just a teenager. Worse, I felt I would never have complete control over my destiny now that I was tied inextricably to my family’s immediate needs, but continuing into the longer term as well. My life had undergone significant change soon after the day in 1971 when my sister was born … a change that would unexpectedly impact my life from then on.

[continued at part three]

14 January 2026

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.]

7 December 2025

Letter from Cambodia - munching mince pies by the Mekong : 2004 : BBC World Service Trust, Phnom Penh

 Dear John

Since we last spoke before Xmas, I have made a move …. to Phnom Penh. I am writing this sitting on a hotel balcony overlooking the Mekong River. How did this happen? Nearly two years ago, when I was living in Brighton, I was interviewed by the BBC World Service Trust for a job managing their projects in Africa and Asia. I didn’t get the job but they said they would get back to me if something suitable came up. I heard nothing more until the week before Xmas, when a message was left on my voicemail asking me to call the BBC office about a possible consultancy job in the New Year. Apparently, they had contacted Owen [Leach, former colleague at Star TV India and Metromedia International Inc.] to track down where I was now, he had told them about my job at the Radio Authority, which they found was closed, so they tried Ofcom. They wanted me to go to Cambodia as early as possible in 2004 to support their project there that was partnered with three Phnom Penh radio stations. Could I spare two or three months? [see blog]

Only a week earlier, my line manager at Ofcom (who too transferred from the Radio Authority) had told me that I would have no work to do during the first quarter of the year and that “there is nothing for you to contribute to” with regard to Ofcom’s strategic review of the whole radio licensing process. So I asked if I could take unpaid leave to do the BBC work. My request was refused. I asked if I could take paid leave to do the work, since I had eight weeks of holiday accrued that had to be taken by year-end 2004. My request was refused. Suddenly, I was told that there were essential tasks that I would be needed to work upon during the first quarter of the year. I was also told that, when the radio licensing regime restarted in the second quarter, it would be essential for me to be there. So when could I take the vacation to which I was entitled? I received no answer. I thought long and hard about the options open to me. I had applied for all sorts of jobs internally with Ofcom that were more suited to my skills (in departments dealing with audience research, market intelligence, policy & strategy), but no one had offered me anything. The prospect of spending at least three months sitting at my desk doing nothing (just like my job at the Radio Authority) whilst the new Ofcom radio licensing strategy was being decided by others did not appeal to me. I had already spent a year doing almost nothing. So I quit. [see blog]

A week later, I was heading for Cambodia. I arrived here on Tuesday of last week without even had a meeting with the BBC World Service in London. They sent me the airline tickets, a contract and a certificate of health insurance. I am here initially for two months, but which is likely to be extended to three months. They are paying for my hotel bill at a very nice, newly built ‘boutique’ hotel owned by two French businessmen. My room is huge. The hotel has wireless internet access and a modern restaurant. They have contracted me as a consultant (their first, so the contract is numbered WST 001), but the manager in London says that, if the work is successful, I should get further work out of the BBC. He has been very honest and admitted that I am helping them out of a large hole. The project is paid for by the UK government Department for International Development (DfID) who want results by their year-end this April before they will renew funding for 2004/5. My job is to produce the required results. The pay isn’t great (£750/week + US$100/week pocket money) which they have admitted, but they say they are eking it out of the existing budget, as a consultant was not budgeted for.

The BBC set up an office here last year (there is no BBC Phnom Penh correspondent) which now employs around 40 people. It is in a beautiful colonial villa next door to the British Embassy. It has everything you could want – drivers, computers, mobile phones, photocopiers, etc and the essential air conditioning. There are several UK staff here – the project manager is an ex-‘Panorama’ filmmaker, the head of radio is an ex-World Service studio manager, the head of TV was executive producer of ‘EastEnders’. I had no briefing before I left as to what I was expected to do here, so I have spent this weekend reading all the BBC documents about the project, and now have a better idea. The BBC is shifting its strategy from simply making the odd programme or series to be broadcast in developing countries towards a more holistic approach of training staff of existing radio stations in developing markets (i.e. Cambodia) to be market leaders. But the BBC doesn’t have any staff who can do that because existing staff are used to having huge BBC resources available to them to achieve even simple objectives. Small-scale cheap commercial radio is simply not their forte. Even a simple phone-in, in BBC terms, is thought to need a staff of at least 5 full-time people for a single weekly show. The BBC has signed contracts with three stations here to deliver a mixture of pre-recorded spots, phone-in shows and management training (combined with hardware purchase) that will make these stations market leaders. There are 18 stations in Phnom Penh. My job is the training. Money is almost no object. DfID has given the BBC £3.3m for 3 years, not only for radio but also for the production of a two episode/week soap for TV. [see blog]

Phnom Penh isn’t as basic as I expected. True, there is no public transport or taxis, but every fifth vehicle is a 4-wheel drive and there are internet cafes on every corner. Although it’s the winter, it is very hot and dusty here, particularly in the middle of the day when the city closes down for a daily two-hour siesta. There are fewer shops than India and no corner convenience stores. I have just found the nearest supermarket to my hotel this morning, which is almost a mile away, but was surprised to find it took credit cards. There are no ATM’s in Cambodia. Everything is denominated here in US dollars as the local currency is worthless. The city is filled with Westerners as there are so many aid projects here of one sort or another. There is a daily English-language newspaper and an English radio station (‘Love FM’), despite the fact that very few Cambodians speak English. All shop signs and road signs are in Khmer and English because of the sheer number of aid workers here. The city is laid out in the Parisian style by the French with wide boulevards (though the traffic travels in both directions on both sides of the street) and vast gardens that stretch down to the river. Lots of Buddhist temples everywhere. Not so much outright poverty as Mumbai, but then Phnom Penh is a small city and there is no apparent rural-to-urban drift. Most people that survived Pol Pot lived in the countryside and stayed there. [see blog]

Anyway, enough of me. Let me know how things are going. I have intermittent wireless internet access at the hotel, and more reliable internet access at the office. If your itinerary passes this end of the world, please drop in. I’m sitting here eating mince pies (made in Australia) that I bought from the supermarket and thinking about ordering a pizza delivery tonight. Sometimes I wonder if I am really in Cambodia at all (although the endless karaoke phone-in shows on all radio stations remind me that I am not somewhere ‘normal’) [see blog]. Our only worry at the moment is that King Sihanouk has left for China to have a serious operation and, if he were not to survive, there is no succession plan in place and the likelihood of a people’s revolution because parliament has never been recalled since the last election. Oh, and the chicken flu that has arrived here Friday from Vietnam and Thailand. Apart from that, things are fine.

Yours, Grant

25 January 2004

27 October 2025

New upstarts clobber complacent commercial radio industry two-decade market monopoly : 1973-2005 : Independent Local Radio, UK

 The UK commercial radio industry has grown dramatically since the first station launched in 1973. The history of the industry can usefully be divided into two chapters:

1.  1973 to 1990

At the beginning of this period, local commercial radio stations were opened only in the UK’s biggest cities and then, in the 1980's, new stations were launched in smaller cities and in largely rural counties. The regime was characterised by the word 'monopoly', as only one commercial station was licensed in each location (London was the only exception, with two stations licensed with very different formats). Each station broadcast its programmes simultaneously on the AM and FM wavebands, enabling it to reach the maximum possible audience in its coverage area. Each station’s success depended upon its ability to attract listeners away from national and local BBC stations, and its ability to attract advertising to the new radio medium and away from competitors such as the local press and regional television.

Listening figures to local commercial stations were generally very high. They were new, exciting and offered something more local and less stuffy than BBC stations. Because each local station was a separate local company, run by a local Board and financed by local shareholders, each station cultivated its 'localness' to the maximum in order to attract listeners. London’s 'Capital Radio' was a prime example of the success such a strategy could have. Using the slogan 'In Tune With London', every day the station used its converted red double-decker bus to visit a different London location, handing out stickers and leaflets, as well as offering listeners the opportunity to meet presenters and request songs. These 'personal contact' strategies paid enormous dividends and generated substantial loyalty between listeners and their local station. By the 1980's, they were supplemented by community outreach projects and charity fundraising marathons. 'Capital Radio' had a JobCentre branch and a flat share information service in its foyer [see blog], which became young Londoners’ first means of finding accommodation in the city.

By the end of the 1980's, local commercial radio was a big success with listeners and had developed a loyal following across two generations of listeners, giving it substantial audience figures across a wide variety of ages. Up and down the country was a range of fiercely individualistic, quirky stations, each with their own name, each with their own 'star' presenters, and each adopting their own idiosyncratic music format. By now, each had woven itself into the fabric of its community and was as much a part of local life as the town’s football team or the local bakery chain.

The one aspect of local commercial radio that proved problematic was stations’ inability to surpass their 2% share of total UK advertising expenditure. This percentage stubbornly refused to grow, even during times of an advertising boom and radio became known within the advertising industry as the '2% medium'. It was viewed as an 'extra' to be added to media campaign plans in times of boom, but quickly struck off when the economy was not so good. As a result, advertising revenues fluctuated enormously during downturns in the economic cycle and one local station was even forced into liquidation.

Radio’s main problems in attracting national advertising were:

• Even all the stations added together did not cover the whole UK

• Because each station was independently owned, buying a campaign on all existing stations was a labour-intensive task

• Station advertising rates and packages varied hugely, more dependent upon stations’ ability to extract such prices from local advertisers than any standard cost per thousand

• Station formats varied as much as their names, so that some stations delivered considerably older or more female-orientated audiences than others.

Because national advertising was so problematic, the majority of advertising sold on local commercial stations was derived from local businesses. By the late 1980's, local radio had proved its effectiveness at marketing local products to local listeners, and a bond had been forged between local business owners and the local sales teams of stations that was the economic lifeline of these broadcasters.

At the same time, by the late 1980's, complacency started to infiltrate local radio that resulted directly from stations’ lack of competition for listeners and lack of competition for local advertisers. Stations started to work less hard than they used to in order to please both their audience and their local business community. The government’s regulator released stations from having to fulfil many of their community obligations. Instead of seeing that work as an intrinsic part of their loyalty-building strategy, stations such as 'Capital Radio' closed their Community Department overnight [see blog]. At the same time, stations had their eye on merging with nearby stations to increase profitability, or arranging stock market flotations to generate capital for acquisitions. Several stations diversified into all sorts of businesses from theatres to restaurants, seeing themselves as 'entertainment' rather than purely 'radio' companies. In the 1980's, anything that involved making money seemed a good idea.

For the first time in its history, the late 1980's saw 'Capital Radio' suffering declining audiences and, like other local commercial stations, it had no idea what to do about the problem. It had only ever competed against the BBC for audiences and, only then, back in its very early days. Since then, it had always taken its audience for granted and simply presumed that listeners would never turn to any other station. All the local stations still enjoyed a monopoly over commercial radio advertising in their patch. It was something they felt they had a right to. The 1980's economy was booming. Everyone was getting rich quick.

2.  1990 to now

The existing radio stations received their first major shock when the regulator suddenly licensed a range of 'incremental' stations in areas that already had existing local stations. This was the first time that the so-called 'heritage' stations had ever faced competition from newcomers. For example, in London, 'Capital Radio' lost audience straight away to 'Melody Radio' (targeting older people), 'KISS FM' (young people), 'Jazz FM' (wealthy middle-aged people) and 'Choice FM' (the Afro-Caribbean community). Suddenly, the audience that 'Capital' had taken for granted for so long was deserting it in droves for stations that sounded new, fresh, innovative and in touch with London, something that 'Capital' had done less and less of in recent years.

The second shock came when the regulator licensed three national commercial radio stations, a full thirty years after local commercial stations had been introduced. The industry had been arguing for years that it could never break through the 2% barrier (of all advertising spend) unless businesses and agencies were able to offer clients a proper 'national' opportunity to book a single campaign across the whole UK. New national commercial stations could offer such a deal and give the existing local radio stations a chance to share in radio’s enhanced visibility. As a compromise, the new stations were deliberately introduced in such a way so as not to impact local commercial radio audiences too greatly. The national 'popular music' station was to be confined to the poor-quality AM waveband, while only a minority-interest music station would be allowed the coveted national FM slot.

The third shock came when, having seen the success achieved by some of the specialist music stations that were part of the 'incremental' experiment, the regulator decided to roll out a programme of many more new local stations in more areas with existing 'heritage' stations. Thus, the 1990's heralded the biggest and fastest expansion of radio stations the UK had ever seen, immediately after a period of relatively slow industry growth in the 1980's. The shock of moving from a stagnant period of complacency to suddenly being immersed in a highly competitive situation where they had to fight for both listeners and advertisers proved a wake-up call for many local stations. What followed still has a considerable impact on the radio landscape of today. The radio industry underwent a fundamental re-structuring that included:

a.   The emergence of radio groups

A limited amount of consolidation had occurred during the 1980's, largely based on regional geography, whereby groups were formed from the combination of several local stations in a region (i.e. Midlands Radio Group Ltd, Suffolk Group Radio Ltd). As early as 1985, GWR Radio Ltd started a series of acquisitions based on the simple motivation that 'big is better' and the trend continued throughout the 1990's with stations bought and sold for greater and greater sums of money.

b.   The entry of media groups

Starting in 1990, large cross-media groups such as EMAP plc, Virgin Group Ltd and Chrysalis plc bought their way into the radio industry, acquiring a mix of heritage stations and newly launched stations. This substantially increased the sale prices of local stations.

c.   National advertising

The launch of the three national radio stations had the desired effect of attracting national advertisers and agency media buyers to radio for the first time. With local stations now consolidated into fewer groups, it became easier to buy campaigns through a single selling point to run on stations across a region or regions. Both the national and local stations benefited from the influx of national revenues.

d.   Cost cutting

In an industry where costs are mostly 'fixed costs' and revenues are almost infinitely 'variable', GWR Group pioneered the strategy of cutting costs to the bone at the many stations it acquired. According to GWR CEO Ralph Bernard: “It became very evident that if you don’t have size, you don’t have the ability to do things and you are forever trying to find the money to fix leaks, literally.” GWR’s policy of implementing economies of scale across its stations led to the centralisation of many tasks.

e.   Local advertising

As stations became incorporated within larger and groups, national advertising became of more and more importance to their owners. The bedrock of local radio, local advertisers, soon became serviced by regional rather than local sales teams, until eventually they were serviced hardly at all from a national sales office. As a result, local advertising revenues became less and less important to groups that were growing bigger and bigger.

f.   London agencies

With the rise of youth brands in the marketplace, and the evident success of London youth station 'KISS FM' [see blog] in creating a commercial focus for a demographic that had never before been served by commercial radio, London advertising agencies suddenly wanted to buy campaigns on stations that delivered 15- to 34-year-olds. Faced with both local and national competition for audiences and revenues for the first time, local heritage stations suddenly started chasing a younger audience. As a result, the middle-aged audience that had been loyal to their local commercial stations for many years started to drift away (mainly to 'BBC Radio Two'), alienated by stations playing too much dance and rap music.

g.   'BBC Radio One'

Although the turn of the 1990's had been a scary time for local heritage stations as they suddenly faced competition in their own areas from competing commercial stations for the first time, they were all helped immeasurably by the BBC’s decision to change drastically the programming of its most popular station, 'Radio One'. Until then, this station had a remarkably large audience of diverse ages that overshadowed local commercial stations in most regions of the country. As a direct result of the BBC’s bizarre volte-face, between 1992 and 1994 five million listeners left 'Radio One' and most sought refuge in local commercial radio. These latter stations’ audiences suddenly boomed and they became the most listened to in their markets, without having to change or do anything different. The BBC had unintentionally saved their backsides.

h.   Lack of investment

With audiences growing hugely because of the demise of 'BBC Radio One'; with revenues booming because of the ability to sell national advertising on larger and larger groups of stations; and with stock market values of radio groups buoyed by the industry’s breakout from its former position as the '2% medium', group owners were quick to redistribute their substantial profits to shareholders. After a relatively lean period in the 1980's, 'radio' was suddenly riding on a 'high' in the financial community. Ignoring the fact that their product had only become popular as a haven of last resort for listeners fleeing 'Radio One', group owners invested almost none of their lucky profits back into the development, improvement or update of their product.

i.   Networked programmes

Instead, station owners sought ways to cut even further the fixed costs of their station operations. Led by GWR Group plc, groups persuaded the regulator to let them network some programmes from a central production studio, instead of each of their stations producing all of its own content. In a lengthy process of attrition, by bullying a regulatory agency that lacked any long-term strategic plan for the industry, group owners were allowed piece by piece to extract the 'localness' from their local stations. Local voices, local station names, local celebrities, local music, local content and local news all became sidetracked or dispensed with by many group-owned stations.

j.   The rise of brands

Led by EMAP plc, which championed the notion that nationally recognisable brands were preferable to local identities, many local radio stations were stripped of the very characteristics that had made them 'local' in the first place. In an attempt to make their product controlled, homogenous and universal, the largest radio groups invested considerable sums in state-of-the-art technology that enabled stations up and down the country to be playing exactly the same record at exactly the same time, appended at the end of the song by a jingle that said 'Coventry' or 'Newcastle' as appropriate, depending upon the station’s location.

k.   Format convergence

Although the listener is now offered a considerably wider choice of commercial radio stations in most local markets than was the case in the 1980's, the industry is plagued with competitors who are all trying to move towards the same middle ground [see blog]. In yet another war of attrition that the regulator has lost again and again, many stations have stretched the definition of their prescribed programme formats to (and often beyond) their limits. This has created a situation where stations that are (by the regulator’s definition) meant to be complementary are in fact found to be competing for the same audience demographic and for the same advertisers in the very same market, by playing exactly the same music. This leads to substantial market 'cannibalisation' whereby competitors merely steal audience from each other, rather than attract listeners from the biggest competitor, the BBC.

l.   The decline of the music industry

Commercial radio in the UK, modelled on 'BBC Radio One', has always relied upon the universal popularity of 'popular music' to be the cornerstone of its programmes’ appeal. Until around 1990, almost everyone in the UK had a common notion of what a 'pop hit' was. But from the time that 'Radio One' refused to play the first 'house music' record that reached Number One in the singles chart, it was obvious that such communal experiences were on their way out. The subsequent rise of 'dance' music amongst young people polarised popular music and led to a substantially fractured music market. Now, the market for singles is all but dead, CD sales are at an all-time low, and the cult of 'celebrity' has replaced the cult of 'pop stars'. Frankly, commercial radio stations have almost no idea any more what music they should play to attract listeners.

[Excerpt from 'A Brief History Of United Kingdom Commercial Radio & A Strategy To Create Genuinely Local Radio', Grant Goddard, 2005, 33 pages]

14 October 2025

He’s the queen of snubs : 1989-1991 : Gordon McNamee, KISS 100 FM, London

 September 1989. The other information I needed was a copy of the finished KISS FM application form from the last bid [for a London FM commercial radio licence - see blog], and a copy of the huge appendix that had accompanied it. [Pirate radio station co-founder Gordon] McNamee pulled out his own private copies from a shelf unit alongside his desk, and told me that my need for these last remaining copies of the documents was greater than his at that moment in time. I took both documents and started flicking through them on the train journey home, hoping they might offer me some inspiration.

The application looked pristine, as if it had been completely untouched. Then I came across the page that outlined KISS FM’s intended staff structure, showing each job in the company and how much it would be paid. In pencil, McNamee had scribbled out two of the station’s seventy-seven staff positions. One was the programme director, a position created specifically for [application co-ordinator] Dave Cash, but which was no longer required since he had dropped out of the bid. That change was understandable. However, the other post McNamee had crossed out was the station’s programme controller, the job for which I had been earmarked. No new posts had been added to the diagram, no jobs had been re-titled and no other amendments had been made. It was clear that, in the new scheme, Dave Cash and I no longer held positions within the company. These changes left KISS FM’s head of music, Lindsay Wesker, reporting directly to McNamee, who now acted as both the company’s managing director and programme director.

I was shocked to have found out accidentally that I seemed already to have been ousted from the KISS FM master plan. What should I do? During the weeks and months that followed, McNamee made no mention of this revised staffing structure, so I started to forget about its implications. Maybe these had been mere doodlings that McNamee had made immediately after the failure of the first licence application. I had no idea.

It was only much, much later I would learn that these scribbles held far more significance for my future than ever I could have imagined at the time.

May 1990. [McNamee’s personal assistant] Rosee Laurence had been busy for weeks, organising a surprise thirtieth birthday party for McNamee at Flynns nightclub in London’s West End. She had printed and distributed specially printed invitation cards to everyone involved in KISS FM and to the media contacts the station had built up over five years. Laurence asked me if I would make a speech at the event, trumpeting McNamee’s successes and congratulating him on behalf of everyone involved in the station. I was very reticent as I had always hated making public speeches. However, Laurence insisted that I should make the speech, though she agreed that I could share the task with KISS FM DJ Dean Savonne, who was one of McNamee’s oldest friends.

On the evening of 10 May 1990, several hundred people gathered inside Flynns club to see McNamee arrive in the company of his parents, who had pretended they were taking him out for a meal to celebrate his birthday. As he was shepherded through the front door, the whole room burst into a chorus of ‘Happy Birthday,’ followed by tribute speeches from Savonne and me, along with a brief introduction by KISS FM financial director Martin Strivens. The whole event was rather flamboyant, worsened by McNamee’s expression of blank surprise at the huge welcome he had been given. Mentorn Films was present with cameras and floodlights to commit the whole event to videotape for inclusion in the documentary about KISS FM. This made the evening much more of a media spectacle than a private birthday celebration.

That evening, and the next day in the office, it was obvious that McNamee was not at all pleased by Laurence’s organisation of the surprise event. He showed no gratitude and acted as grumpily as he had ever done in our company. I had given him a pair of solid silver cufflinks as a birthday present, though he had hardly even thanked me for the most expensive gift I had ever bought for anyone. The only thing that seemed to concern him was Mentorn’s filming of the event [for a Channel 4 TV documentary]. His mood did not improve until he had persuaded the company to agree not to use any footage from that evening in its documentary. It appeared that, because McNamee had been unable to rehearse his performance for the surprise birthday party, he did not want to be seen on film as he really was – a moody, often grumpy, man who seemed to like to feel in control of people around him and who liked to appear sufficiently powerful to make them jump to his commands.

September 1990. Eight days after KISS FM’s arrival on the airwaves [having won a London radio licence on its second attempt - see blog], the station staged a huge public launch party in the form of a daytime open-air concert on Highbury Fields, only a few hundred metres away from the Holloway Road office. Although publicity for this event had initially been very slow, by the beginning of the month the event had gathered a momentum that seemed impossible to stop. Naturally, the station had promoted the concert extensively on-air during its first week, and new acts were being added to the all-star line-up on a daily basis.

Driving into work that Sunday morning, my journey came to a standstill a mile from the office. Cars had already been parked along the roads leading to the event, and the pavements were jammed with people walking to the event. It took me an hour to travel the final mile to the radio station, a distance that usually only took a matter of minutes, even in the weekday rush hour. Suddenly, it was brought home to me very clearly how enormous KISS FM’s listenership must be after only a week. At the radio station, everybody was excited because we could look out of the office window at the back of the building and see, literally, thousands of people teeming into Highbury Fields. These were our listeners! For the last week, we had been broadcasting into the ether above London, never knowing whether more than a few hundred people were listening to us. But here was the proof. If any one event made the entire KISS FM staff believe that the station was already a success, it was the sight of all those people who had decided to spend a sunny September day with us ... just because we had invited them.

Although most of the day’s activities were taking place at Highbury Fields, the KISS FM building was also very busy. The entire floor used by the programming department had been turned into a changing room for the artists to use. This proved very convenient for us to grab interviews with each of them before they went on-stage. Sufficient material was gathered during that one day to make dozens of editions of ‘The Word’ programme over the following few weeks. I went downstairs to the production studio and found a very fraught Lyn Champion, head of talks, in animated conversation on the phone. She put the phone down and told me that Gordon McNamee had been calling her, demanding that she put on-air a live link from the Highbury Fields stage. I was surprised. During all the preparations, McNamee had not mentioned to me anything about a live link-up.

Investigating further, I found that McNamee had unilaterally arranged for the station’s engineering contractor to set up a microwave radio link from the event stage to the studio, without informing us. Champion was very concerned that the quality of the audio received from the stage was so awful that it did not bear transmission on the radio. I listened too and, indeed, it sounded like someone playing a stereo system very loudly in a bathroom. The quality was appalling and would sound exactly that way coming out of listeners’ radios. I felt that it would do neither the station, nor the artists who happened to be performing at the time, any service to broadcast such poor-quality sound. Besides, I was not sure that KISS FM had even sought permission from any of the artists to relay their live performances to the whole of London.

I contacted McNamee on his mobile phone at the event and told him that, after listening to the microwave link, I agreed with Champion that the sound quality was too poor to put on-air. McNamee exploded with anger and called me every swear word under the sun. However, I refused to lose my temper and told him that, from where I was standing in the studio, the quality would sound dreadful for the stations’ listeners, a fact that he would not be able to appreciate himself, being at the event. Everybody in the studio had agreed upon this – Champion, me and the DJ on-air at the time. It would be crazy to put something on-air that sounded so bad. McNamee raged at me some more and then the phone line went dead.

I imagined that McNamee might turn up at the studio and put the live link on-air himself, but maybe he was too busy enjoying the privileges of the VIP Enclosure he had organised backstage at Highbury Fields. I never saw McNamee visit the station studios that day, but I realised that I would bear the brunt of his bitterness at some point in the future, so I would not have escaped unscathed.

More importantly than putting the event on-air, by mid-afternoon the police and transport authorities were asking the station to broadcast appeals asking people not to try and travel to the event because the area could not cope with more visitors. I happily obliged. These announcements only served to reinforce in the minds of our listeners the power that the station was able to wield after only one week on-air.

At the very end of the day, when the crowds had finally dispersed happy and fulfilled, I cleared up the debris that the artists had left in their ‘dressing room’ and drove a mile or so down the road to the after-event party that had been organised. There were bouncers on the door of the venue, to whom I identified myself as a KISS FM staff member and showed my ID card. They made me wait ... and wait ... and wait. Then, one of them came back and told me that I was not on their list of approved guests. I told them that I must be. I worked for KISS FM and this was the radio station’s party. They insisted that I was not one of the invited guests of whom they had been made aware. I realised that there was little point in getting angry with two very large bouncers that KISS FM had contracted for the event. The only person I knew that would be inside the event with a mobile phone was McNamee. This was not a good time to ask him a favour. Instead, I drove home frustrated and angry at my exclusion.

December 1990. After the failure of the second [in-store] radio station at the Trocadero [shopping centre], McNamee busied himself with the organisation of a staff party to celebrate KISS FM’s one hundredth day on-air. On the evening of Sunday 9 December 1990, the station’s entire staff, accompanied by members of the board and several journalists, filled The Underworld club in Camden, a venue that was only a few yards away from KISS FM’s first office in Greenland Street. The event was an updated version of the annual KISS FM awards ceremony that had started in the station’s pirate days. McNamee thoroughly enjoyed taking the role of circus ringmaster for the night and, just like the Oscars event, he announced the short-listed candidates for what seemed like a never-ending succession of prizes.

Some of the awards were serious in nature – David Rodigan won ‘Best Daytime Show,’ Tee Harris won ‘Best Specialist Show,’ and Paul Anderson won the prize for ‘Best Mixer.’ There were also many joke awards with which McNamee could thoroughly enjoy embarrassing his staff – Sonia Fraser won the ‘Biggest Flirt Award,’ and Malcolm Cox won KISS FM’s ‘Worst Dancer Award.’ During several hours of ceremonies, McNamee ensured that just about everybody at the station was either nominated or won an award. After a stage show in which three members of the programming department dressed up to present a skit on stage of a soul song by The Supremes, the guests were left to mingle, accompanied by music selected by former LWR DJ Elayne who had been hired for the night.

It was an enjoyable evening and a good way for everybody to relax after three months of hard work. Once the awards section of the evening was over, several of the staff from my department came up to me, one by one, to express surprise that I had not been mentioned at all in McNamee’s ceremony or been nominated for any prize. One concerned member of my team expressed outright indignation that I had not even been thanked for my contribution to the station’s successful launch. “Have you not worked harder than anybody to make this whole thing work?” she asked.

I shrugged off these comments as if I was not bothered about my complete omission from the night’s events. But I too could not have helped but notice that McNamee had left me out. I was not at all surprised. McNamee usually made no bones about snubbing in public those former colleagues who had fallen from his favour. That night, everybody celebrated the fact that KISS FM had already won 750,000 listeners. McNamee seemed to be celebrating the fact that he did not need my services anymore.

June 1991. I knew that, whatever story McNamee had told the press about the reasons for my dismissal [see blog], I could be sure that the reasons he must have offered to the company’s board to ensure my sudden departure were probably much more lurid and fantastic. I dreaded to think what McNamee might have been saying, in confidence, to colleagues within the radio industry about what dreadful deeds I was supposed to have committed at KISS FM before he had found me out. Was there anything that McNamee would not do to try and destroy my reputation?

That question was answered three weeks after my dismissal. I received a phone call late one evening from Daniel Nathan, a colleague in radio whom I had employed at KISS FM temporarily to help train the DJs. The two of us regularly exchanged news about developments within the industry. At the end of the conversation, Nathan asked me how I had reacted to the newspaper report about my dismissal. “What report?” I asked him, knowing that the media trade magazines had already run out of steam with the story. He went away for a while and returned to the phone with the Independent On Sunday newspaper in which he had seen the article.

Under the headline ‘KISS FM Keeps Status Quo,’ the report said: “KISS FM, London’s hippest radio station, has fought off an attempt to take it into the mainstream of pop music. But the former pirate has dismissed its head of programming after he suggested that ‘the radical sound of young London,’ as KISS calls itself, ditch the soul, Latin, house R&B, rare groove, salsa, blues, hip hop, reggae and bhangra music styles that made its name. Grant Goddard, head of programming at KISS, was sacked by the managing director, Gordon McNamee, after proposing to dismiss the weekend disc jockeys and play more commercial music to compete with Capital Radio.”

I could not believe the ‘story’ that Nathan was reading to me over the phone, but the article continued: “While a soured Mr Goddard fed the trade press stories of a crisis – ‘Struggling KISS Goes Mainstream’ declared the magazine Broadcast – Mr McNamee, or Gordon Mac as he is known, had gone to Spain for a rest. By the time he returned, the rumour was that Virgin, the principal shareholder, was selling out to the publishing company EMAP, who were to install a rock music supremo to win new listeners. ‘That’s all rubbish,’ said Mac yesterday. ‘We’re not about to start playing pop music, although of course we are interested in taking listeners from other stations, including Capital.’“ 

The article continued with a glowing biography of McNamee, trumpeting his abilities, accompanied by his photo. I could not believe what Nathan had just read to me down the phone line. This was the first national newspaper to pick up the story of my dismissal, but the newspaper had made no attempt to discover my side of the story. Furthermore, McNamee’s lies had surely reached their zenith in this article. And the journalist had peppered the article with inaccuracies – Virgin was not the principal shareholder in KISS FM. EMAP, far from buying the radio station, already had a substantial stake in it. I was absolutely livid and was determined to do something about it.

Once I found the relevant issue of The Independent On Sunday in my local library the next day, I noticed that the article had been written by Martin Wroe. The name was familiar to me because Wroe had written regularly about KISS FM since January 1988, when a piece in The Independent, entitled ‘Pirates Who Storm The Open Airwaves,’ had been accompanied by a photo of McNamee standing in the pirate KISS FM studio. Wroe’s first article had offered a glowing account of “Gordon Mac, the twenty-seven year old North London entrepreneur who controls KISS FM.” In at least four further articles about the station, Wroe had described McNamee as “a hip young media mogul” and had referred to “the excellent audience figures of KISS FM.” If I had wanted to choose someone to write a positive account of recent events at KISS FM, who better to ask than a journalist, on a national newspaper, who had never said a negative word about me?

I was incensed that Wroe had made no attempt to contact me to discover my side of the story, despite the fact that the article had been published three weeks after my dismissal. Every other journalist who had written about my exit from KISS FM had at least spoken to me about the story, even if they had not believed my version of events. Wroe had written a straightforward character assassination piece, much as McNamee might have wanted. Just when I thought McNamee had finished sticking the knife into my back publicly, he had played his trump card.

September 1991. However, it was not until three months after Wroe’s article had been published that the newspaper printed a full retraction and apologised for Martin Wroe’s wholesale inaccuracies.

[Excerpts from ‘KISS FM: From Radical Radio To Big Business: The Inside Story Of A London Pirate Radio Station’s Path To Success’ by Grant Goddard, Radio Books, 2011, 528 pages]

23 August 2025

You can lead a boss to wisdom but you can’t make her an expert Expert Witness : 2006 : Claire Enders, Enders Analysis

 Another day, another meeting. Though this one was most unusual. Not a word had been spoken during the past hour. I was sat in the basement Meetings Room. I had a pile of papers in front of me to discuss. I had thoroughly prepared. However, after arriving early, I was still the only person present. My boss had insisted upon this meeting. So where was she? There was no phone call or message to inform of a delay. One really is the loneliest number. Having waited an hour, I returned to my desk upstairs in the team office. Strangely, nothing would ever be mentioned to me about that meeting. It was as if it had never not happened.

Once is an accident. Twice might be a coincidence. Three times is an act of passive aggression. This should have been the last of three meetings demanded of me in an email from my boss’ personal assistant. Their purpose was to brief Claire Enders about the processes by which British radio stations make payments to songwriters for playing their music. She was to be grilled as an ‘Expert Witness’ during a landmark hearing of the obscure ‘Copyright Tribunal’ that had all the trappings of a court proceeding. However, she never arrived for any of those three meetings, never explained her absences and no subsequent attempt was made to reschedule them. For three hours across three days, I had been waiting in vain. The email to me had read:

“We have put in the diary 1pm on Wednesday 13th September for you to spend the afternoon with Grant. We have also blocked off 10th/11th October for your second session with Grant.”

Claire Enders had responded to me and two colleagues who were tackling non-radio issues:

“The initial format I would favour is seminars each w GG [me], JB and AE to outline the key issues covered by each and how we have dealt w them. I will take notes. Ideally, each of GG, JB and AE should this week prepare a set of materials for the topic covered which includes all pleadings and relevant points and witness statements divided by topic. I will then read the materials then expect to be quizzed by each of GG, JB and AE on each topic until I am word perfect. Plse copy this to GG Thank you Plse don't forget that either GG or JB need to be in court with me for my evidence (two full days) and either one will have to have an encyclopedic grasp of our three reports in order to assist.”

After our September meeting had become the first unexplained no-show, the timing of two further dates arrived by email: “GG in for 9th October 3pm, 10th October 1.30pm”.

Why had it fallen upon me to tutor the ‘star witness’ of the defence team? I had been hired by Enders Analysis that April to research and write analyses for its subscribers about the British radio industry [see blog]. However, by year end, I had found no time to write anything for publication. Instead, I was waylaid once my employer discovered that I seemed to be the only person in the office who understood the intricacies of music copyright. I was surrounded there by ‘analysts’ who wrote reams about their specialist media industries but who seemed scarcely to have sullied their hands working on the ‘shopfloor’ of sectors they professed to understand intimately.

I was different from them. They knew it, I knew it. They were posh. I was not. They had been privately educated. I had been born in a council house. My knowledge of the radio industry had been amassed from working my way up from ground zero, fuelled by a childhood thirst for knowledge about broadcasting. I was still at junior school [see blog] when I created multiple scrapbooks filled with newspaper articles about radio, scissored and UHU-ed from my parents’ and grandparents’ daily newspapers. I was still at secondary school [see blog] when I presented weekly music programmes on multiple London pirate radio stations, as well as producing identification jingles played across their output.

In 1980, my first paying job was at Newcastle commercial radio station ‘Metro Radio’ [see blog] whose declining ratings I turned around using my knowledge of pop music, my study of American music radio playlist systems and my economics training. One of my additional responsibilities as acting head of music was to correlate the reporting to copyright agencies of all the music played. Every presenter of every programme was required by law to handwrite A4 forms that recorded for each record played its song title, its artist, its record label, catalogue number and the duration in minutes and seconds it was used on-air. Around 300 songs played each day resulted in dozens of scrappy pages that regularly contained only partial information and blank spaces. A replacement computer system had been promised but never appeared. The forms had to be dispatched to three British statutory music copyright agencies: PPL, PRS and MCPS.

Some presenters hated this ‘extra’ work. They would put off doing the paperwork until their live show had finished, then forget and zoom off, instead piling all the records they had played in their locker, along with the blank forms and a vague promise to do it ‘later’. Much of the station’s record library ended up locked away for weeks in presenters’ lockers bursting with vinyl unavailable for airplay. When pressed to complete forms weeks later, they would have no memory of which track they had played from an album or its on-air duration so, naturally, they just made it up. From my perspective, any completed form – however inaccurate – was better than none at all and would reduce the grief I received from copyright agencies about missing data amongst the reams of paper submitted. It was chaotic. Did any artist or songwriter ever get paid the correct amount by the radio station using their works?

In 1990, prior to launching London’s KISS FM [see blog], I had to create a reporting system from scratch for the music it played. I was the only management team member who even understood our legal copyright obligations. Again, the promised computer system never arrived. I appointed one team member, Myrna McHugh, to co-ordinate the paper-based administration and, during our busiest times of the year, the workload required her to supervise a team of ‘temps’ hired to collate the voluminous information. The station regularly played ‘mixes’, ‘dubplates’ and ‘white label’ records whose copyright details were particularly challenging to determine.

In 2001, working in India on the launch of its first commercial FM radio station ‘Radio City’ [see blog], I met with the country’s copyright agencies to understand how to create a system to report the music played. Though our station was owned by Rupert Murdoch’s ‘Star TV’ business, I invited our competitors, including ‘The Times of India’ newspaper, to my presentation in a Mumbai hotel conference room to explain how music copyright functions and the legal requirements with which all our newly licensed radio stations would have to comply. I was pleased to be teaching my acquired knowledge to others.

By the time I joined Enders Analysis in 2006, my three-decade media career had also taken me to work at radio stations in Israel, Russia, Hungary, Germany, Latvia, the Czech Republic, Lithuania and Estonia [see pdf].

I stumbled into my latest job just when a music copyright dispute was about to be heard before the Copyright Tribunal. The earliest wave of American online music streaming businesses had launched in Britain and disputed how much they should have to pay for the music they played to their subscribers. Their argument was simple: claiming their business model was no different from existing British commercial broadcast AM/FM radio stations, such as London’s ‘Capital Radio’, so they should pay the same low rates. However, those rates had been agreed in 1973 when commercial radio was first licensed in Britain, an era when it was unimaginable that consumers would someday request and hear specific songs via the internet.

The songwriters, represented by the Performing Rights Society (PRS), disputed the argument of these online businesses who added no ‘radio station’ value in the form of presenters, information, news and features to their non-stop back-to-back music. PRS had hired Enders Analysis to provide data and arguments to win its case. Claire Enders would appear before the Tribunal as an Expert Witness for PRS. During the months leading up to the Tribunal hearing this case, my role was to refine those arguments and to research/analyse the radio and music streaming markets to provide documented evidence. Some of this work I have subsequently published, such as ‘The Differences Between Traditional Terrestrial Broadcast Radio and Internet Radio’ and ‘Audio Podcasts and The Market for Podcasting’ (23 and 35 pages respectively).

I recall that one day, waiting at the Lebanon Road tram stop, a ‘Eureka’ moment made me realise that a document I had earlier found online undermined the argument presented by the music streaming companies that their product was ‘radio’. I contacted PRS and, working with its lawyers at Denton Wilde Sapte [see blog], we jointly developed a cohesive case backed by evidence to present in writing prior to the commencement of Tribunal hearings on 28 September 2006.

It was 5 December 2006 when Claire Enders was called as an Expert Witness before the Tribunal. I was sat in the front row on the lefthand side, between the PRS lawyers and their barrister, while the American internet team were on the opposing benches. Throughout the Tribunal, I would follow carefully the proceedings and write thoughts on Post-it notes passed to the lawyers who then made suggestions to their barrister. Enders faced me from the witness box a few metres away to the left of the Bench of three elderly judges. It resembled one of those courtroom scenes so beloved of television dramas. Enders was pressed by the barrister for the streaming services as to her expertise in the radio industry:

Kenneth Steinthal [New York Bar representing MusicNet, Yahoo!, AOL, RealNetworks, Napster and Sony]: “What exactly did you do to analyse the webcasting business before submitting your first witness statement?”

Claire Enders [Expert witness for PRS]: “In preparation of it?”

Steinthal: “Yes.”

Enders: “In preparation of it, the radio specialist I have on the team, who is called Grant Goddard, and I discussed, you know, what we were looking for, and in particular we looked at a large number of webcasts. We did a lot of internet research into the various models. We looked at what had been written about them in the US. It was also part of the job to look at how the different services behaved, you know, actually experiencing them.”

Enders: “My colleague, Grant Goddard, spends a lot of time analysing various web-based phenomena, as do many of my team, and so we listened to them and looked at how they behaved and so forth. So a lot of desk-based research and experimenting with the services themselves.”

Steinthal: “Can we separate what your colleagues did from what you did and ask you to focus on what you personally did to analyse the webcasting industry?”

 Enders: “I personally spent time on ‘Yahoo!’ and ‘AOL’.” […]

Steinthal: “Other than spending time on ‘Yahoo!’ and ‘AOL’ to get a sense of what those services were comprised of and looking at ‘Shoutcast’, again focusing on what you did to analyse the webcasting market, what else did you do, if anything?”

Enders: “I also read the -- I am sorry, I am not a lawyer, but the various documents that had been prepared by the various parties, various legal documents making various claims about their industry -- about the specific aspects of both ‘iTunes’ with the MNO’s and so forth so. I am sorry, I think those are called pleadings, but there are other documents that have different names. So I was trying to understand what the issues were between the two sides.”

Steinthal: “Did you interview anyone engaged in webcasting?”

Enders: “I did not do so personally.”

Steinthal: “Is there anything else you did, other than what you have just testified to, to ready yourself for preparing your first report in May 2006?”

Enders: “No.”

Steinthal: “Other than your experience in connection with the potential ‘EMI’ interest in ‘Viva’ and in ‘Classic FM’ in the early 90’s, do you have any first-hand experience in broadcast radio?”

Enders: “It depends what you call first-hand, because I have always been an analyst and a strategist, so that -- I am not an operations person. I have not run a station or anything, I just analyse business models. So, by that nature, one is always a bit removed from the coalface, if I may say.” […]

Steinthal: “Prior to this case, had you had any experience with respect to the licensing by MCPS or PRS of either terrestrial radio stations or internet radio stations?”

Enders: “No.” […]

Steinthal: “… I am trying to find out whether you did anything other than looking at the industry reports, for example, and talking to your colleagues as you testified earlier in doing –"

Enders: “Desk research, we did a lot of desk research.”

Steinthal: “Excuse me?”

Enders: “We did a lot of desk research, looking for – searching for information online.”

Steinthal: “Anything else that you did to inform yourself, to make the comparison that you made in your various reports between terrestrial radio and webcasting?”

Enders: “Other than looking at websites and doing desk research and listening to the stations themselves and so forth?”

Steinthal: “Right.”

Enders: “No.”

It was 11.35 on the morning of the first of day of testimony by Claire Enders. We had only started at 10.30. For the remainder of that long day and all of the next, I put on a poker face whilst cringing inside at my boss’ difficulty providing detailed answers to questions fired at her about the British radio industry. She had undoubtedly read my documents for the Tribunal, but why had she not been prepared to meet me so that I could share my acquired knowledge and expertise? Why the reluctance to fulfil face-to-face meetings she herself had demanded? Enders’ apparent view was that I toiled at “the coalface” whilst she was “not an operations person” but worked to “just analyse business models”, a latter-day Ian MacGregor to my underground mining activity. She and I never spoke about her performance those two days.

After twenty days of hearings, it took until 19 July 2007 for the judges to publish their 91-page verdict. It noted criticisms voiced during the hearings that Enders was “a commentator or a highly-paid industry observer rather than being a lively participant in any relevant field”. However, it did highlight that “in particular, she gave evidence to refute the suggestion that webcasting [‘streaming’ in today’s parlance] and commercial broadcast music [‘radio’] should be regarded as comparable products”, the argument I had successfully proven.

Overall, the judges’ verdict on Claire Enders’ performance as an Expert Witness was hardly positive:

“Even taking into account Ms Enders’ inexperience in this jurisdiction, her performance as an expert was, we thought, rather uninspiring. Her reports (which comprised a fulsome lever arch file of evidence together with numerous lever arch volumes of exhibits thereto) consisted to a large extent of data which had indeed been sourced by others, sometimes by a team which she herself led and the reliability of whose work she (often unquestioningly) relied on - only to find it wanting on closer examination. We certainly sympathise with the impossibility of mastering everything within so large a corpus of material. Nonetheless, on a number of key issues, she seemed confused, occasionally inaccurate and, more importantly, sometimes unable to provide reasons for the assumptions upon which her evidence was based. Surprisingly, she had not actually read the New JOL [‘New Joint Online Agreement’] but relied on a summary thereof. We do not wish to give the impression however that Ms Enders’ evidence was misleading; it was not. But we were not greatly assisted by it.”

Nevertheless, our client PRS and its legal team at Denton Wilde Sapte were very pleased with the Tribunal’s outcome. They invited me to participate in celebratory drinks after work in a Fleet Street members club. As the only Enders Analysis employee to have sat between them on the legal front bench throughout the proceedings, I had been impressed by their professionalism and gratitude for my contributions. My work had made a difference. Henceforth, music streaming businesses operating in Britain would be required to make considerably greater payments (‘royalties’) to songwriters whose music they were using. Not merely songwriters within Britain but throughout the world. The business model of American music streaming services operating in the UK would necessarily have to change.

In a subsequent presentation 'Online Radio: The UK Business Model' I made in 2012 to the ‘Music 4.3: Smart Radio’ conference in London, I noted how this Tribunal had determined music streamers’ costs for using songs would be much more expensive than rates paid by UK commercial radio stations. The Tribunal had decided that “the per play rates in [online] agreements for pure webcasting [music streaming] are approximately six times those … under the [commercial radio] agreement.” The reason it gave was that “the Tribunal was of the view that independent commercial radio offered quite a different service to an [online streamed] ‘music, music, music’ service”.

As the Tribunal verdict had produced a ‘win’ for PRS, Enders Analysis offered to pay for myself and my work colleagues to share a celebratory afternoon outing. I should not have been surprised that they chose to take ‘afternoon tea’ at the Savoy Hotel in the Strand, a venue for the rich and privileged I had heard of but never coveted. My younger posher colleagues enjoyed themselves at “London’s most famous hotel”. I would have much preferred to spend an evening at the Jah Shaka reggae sound system.

The Tribunal verdict noted that Enders Analysis had charged its client PRS £750,000 for “preparing their reports” though additionally there were “VAT [at 20%] and charges for [Claire Enders’] attendance at the hearing”. The judges concluded that “incurring expert fees of this order of magnitude (and even taking into account […] the substantial sums of money at stake) was, in our view, seriously disproportionate”. Enders Analysis’ billing to PRS had likely exceeded one million pounds.

Within only a few years, most of the American ‘applicants’ who had forced this costly Tribunal – Yahoo!, AOL, RealNetworks, Napster and Sony – exited the UK music streaming market, each having spent millions on legal fees and their own bevy of Expert Witness submissions and expenses. It demonstrated what a ‘black hole’ exists for American online start-ups who seem to have unlimited money to try to push their way into countries around the world on their own terms, using their own lawyers to argue the unarguable and to attempt to stomp on overseas legal precedents. 

My first nine months at Enders Analysis had been diverted into full-time work on this legal case instead of writing media analyses for its subscribers. Regardless, I had been pleased to utilise my ‘expert’ knowledge of music copyright gained over decades on the radio industry shopfloor. One day at work, Claire Enders stopped me on the office staircase, thanked me for my work on the Tribunal and unexpectedly offered me a bonus which I gratefully accepted. It may have been no more than a few percentage points of her ginormous fee but, combined with accumulated savings from my and my wife’s salaries, it provided us a deposit for the purchase in 2007 of our first home … at the age of forty-nine.

It was the first and last bonus I received in any workplace.