Let your fingers do the walking … in the cash register : 1976-1978 : Kay, DSU Bookshop, Dunelm House, Durham University

 FIRST YEAR. I had landed in a ‘one-bookshop town’. The lone academic book retailer in Durham City was bizarrely named ‘SPCK’, aka the ‘Society for Promoting Christian Knowledge’ founded in 1698 by English clergyman Thomas Bray. Naturally, it was packed with books about religion. If you desired a tome documenting the life of Saint Cuthbert on the island of Lindisfarne, then Bob was definitely your uncle. However, if you wanted books to study more mundane contemporary subjects, you were dispatched to considerably shorter shelves at the rear of the premises or up on the first floor.

The Durham University economics department had given me the booklist for my first year. I rushed to SPCK the same day and found that none of the required books were in stock. Could I order them? I was told it would take at least three months for delivery, maybe longer. By then, I would be almost half way through my first year. The same booklist had been given to almost a hundred other freshers because first-year economics turned out to be a ‘unit’ that could be studied as a ‘minor’ alongside ‘major’ subjects. Out of the university’s population of four thousand, a hundred students must all have been chasing the same required materials. Despite this, SPCK staff had gazed at my list as if it was the first time they had seen anything like it.

I visited the university library on Palace Green, next to the hugely imposing cathedral, and looked through the dozens of well-thumbed index cards stored in banks of long drawers. Though multiple copies of the books I needed were catalogued, they all proved to be absent from the relevant Dewey Decimal shelves. I had to fill out handwritten triplicate forms to request they be reserved for me once they were returned to the library. When might that be? The librarian said it was impossible to tell because borrowers often kept books well beyond their return date and there was no way to force them back. Fines were imposed but students simply paid them in absentia of sanctions. Library staff had no suggestions about how I could obtain academic books compulsory for the subject I had arrived to study.

Then I recalled that, whilst attending the ‘Societies Day’ for freshers held in the concrete brutalist student union building, Dunelm House, I had noticed signs for a bookshop. I returned there and found at the end of a long corridor a large, high-ceiling room stacked with second-hand books. The economics section turned out to be small and useless. The shop’s stock bore no relation to academic need. It was merely a marketplace where students could sell books they no longer needed for a few pence. I browsed the other sections and stumbled across an unknown book from 1964 titled ‘Understanding Media’ by someone called Marshall McLuhan. It was the first academic book purchase that spoke to my passion for radio, broadcasting and media. However, having failed to discover a university offering such a degree course, I had had to instead choose ‘economics’ as it was my best subject at school. 

I took McLuhan’s book to the checkout where a tiny woman in her fifties checked the price on the inside cover and charged me. She took my cash and placed it on the little shelf above the drawer of her cash register, joining piles of coins already assembled in the same place. I asked for a receipt, as was my habit, but she said it was not possible. Not only did it appear strange that she had not put my cash in the cash register, but neither had she rung up my purchase. I understood straight away that her actions were, er, wrong. Having been required to help run my father’s business for a decade [see blog], I knew that every financial transaction had to be recorded on the ‘till roll’ of a cash register and then reconciled at the end of the day with the money in the drawer. The equation is: cash in till minus float must equal daily till roll. Many childhood evenings had been spent sat around our tiny kitchen table doing these precise tasks for the bookkeeping my mother brought home from her workplace [see blog].

During that first year in Durham, I revisited the Dunelm House bookshop dozens of times, never finding the economics books I sought, but secretly observing the same elderly shop manager when students either bought or sold books. She did occasionally ring up some of these transactions on her cash register, though the majority followed the pattern of my initial book purchase, neither rung up on the cash register, nor the money deposited within. Beside the till, I would see her write in biro the value of each covert transaction in a tiny notebook. These actions were all being accomplished in plain sight within a bustling shop. Evidently, nobody must ever have challenged her as to why she was operating such a system.

Maybe I am too observant for my own good, but it was self-evident to me that she was ‘on the take’. After the shop closed at the end of each day, all she had to do was total that day’s transactions written in her notebook and walk out with that same amount of cash, in the knowledge that the till roll would reconcile with the cash in the cash register. It was the simplest retail scam and, being the only person employed in the shop, the easiest to pull off. There were no debit card or credit card transactions to confuse the issue. What perplexed me was that nobody else had seemed to notice what she was doing day in day out.

I sailed through that first year using a ring binder of fulsome notes I had made at school for economics A-level and so passed the Durham exam in June without ever having found the requisite texts on my booklist. This was a testimony to the abilities of my school economics teacher, Mr Hodges [see blog]. However, I only just scraped a pass on my economic history paper, having opted not to study history at school because my brain proved unable to learn and recite the long lists of dates, names and locations that the subject required. My first year at Durham was immensely disappointing because I had learnt absolutely nothing that I did not already know about economics. Furthermore, my student life there had been nothing like I had anticipated a university would be.

After the end of the final term, I remained in Durham a few weeks to help the student editor of the 1977 Durham Student Handbook, Tony Jenkins, who had asked me to prepare articles for inclusion in the publication, ready to be sent for printing at City Printers in nearby Chester-Le-Street. Just as I was about to leave Durham to start my regular holiday job working in the bowels of the Associated Examining Board office in Aldershot, I received via internal mail the carbon copies of request slips I had filled out eight months earlier at the university library, informing me that the course books I had requested had finally been returned. I failed to comprehend how a Durham undergraduate was meant to study and learn if they were unable to obtain the necessary books.

SECOND YEAR. Durham had been the only university not offering a student radio station to which I had applied through UCCA. Despite having received unconditional offers from Warwick, Lancaster, Keele and Loughborough, I chose Durham because I was told it had a better ‘reputation’ for future job prospects. To console myself at its lack of opportunities to practice radio, at the start of my first year I had volunteered at the student newspaper ‘Palatinate’, despite having never previously written anything for publication. I enjoyed working in its small office in Dunelm House, though it had proven a culture shock to be surrounded by loud, brash upper-class students who dominated the editorial team [see blog]. My skills were uniquely practical because, unlike my posh peers, I could already type copy quickly and accurately on an IBM Golfball typewriter, plus I had experience in design and layout from working on my father’s architectural plans. When the newspaper editor post was advertised in my third term, I stood for election but was terribly disappointed at the student council meeting that my candidacy was not supported by outgoing incumbent George Alagiah. Evidently, I did not possess the ‘right stuff’ that oozed from him and his posh team. Having invested so much time and skills within the student publication, I made the difficult decision to walk away entirely.

Instead, from the beginning of my second year, I volunteered to attend the Finance Committee of Durham Students’ Union [DSU] where I was soon appointed ‘secretary’, taking minutes of weekly meetings and preparing its agendas. The committee was chaired by Kate Foster, the Union’s full-time sabbatical ‘Deputy President (Finance)’ with whom I quickly developed a good working relationship. Foster was a friendly, quietly confident introvert, the opposite of the ‘media types’ who had dominated the student newspaper. My knowledge of accounts and business gained from working for my parents from such an early age proved relevant and useful in understanding the Union’s financial issues. Unexpectedly, none of my first-hand knowledge of real-world finance was being developed by the highly theoretical and dull economics course I was studying [see blog]. Worse for my academic success, I had no better luck in obtaining the requisite books cited by the second-year reading list than I had experienced in my initial year.

In the third term of my second year, I shared my long-held observations about the practices in the Student Union’s second-hand bookshop with Foster, who was ultimately responsible for ‘DSU Services’. We both stood in the bookshop and observed the woman at the till openly taking money from students but not ringing it up on the cash register. Kay must have been so used to operating in this way that she had no qualms about anybody observing her ‘skimming’ of the shop’s revenues. Foster agreed that this employee’s behaviour was totally unacceptable. After questioning, the woman was sacked immediately. Until a replacement manager could be appointed, the bookshop was manned/womaned by student volunteers.

I felt no guilt about my role in getting Kay sacked. I had no qualms about this elderly woman losing her job. Yes, the majority of Durham University students she had served in the bookshop came from families that probably had more money than sense. But Kay was no ‘Robin Hood’ character redistributing her customers’ wealth to the poor. She had stolen the Student Union’s earnings for herself. The amounts might have appeared minor, compared to most middle- and upper-class white-collar crimes which, ironically, were more likely to have been committed by the families of her customers. But during the years that she worked in this job, she must have accumulated significant sums tax-free. Not enough to buy a yacht, certainly, but sufficient to take some nice vacations and purchase new three-piece suites.

Since that day when, at twenty, I was involved in my first sacking (of a woman who would have been almost three times my age), one mystery has remained unsolved in my mind. Though I never learnt when the Union’s bookshop first opened, I do know that the Dunelm House building opened in 1966 (with a concert by the Thelonius Monk Quartet to whose music, by remarkable coincidence, I am listening whilst writing this). It appeared to me that Kay might have worked alone in that bookshop for at least a decade. How many students had passed through that shop during that time. Tens of thousands? How many ‘Deputy President (Finance)’ officers before Kate Foster had managed Kay’s employment during all those years. At least ten? Yet none of those students who bought or sold a book and must have witnessed what Kay was doing at her cash register ever seemed to conclude that something inherently ‘wrong’ and ‘unlawful’ was taking place?

Only after having arrived at Durham did I discover that 95% of its students had come from private schools. My new environment where I was surrounded by ‘affluent’ people was a shock for which I had not been prepared. They behaved like nothing I had seen before. They already seemed to know each other, they moved in ‘brigades’ that were named things like ‘green wellies’, ‘god squad’ and ‘rah-rahs’ and they ignored anyone who was evidently not ‘one of them’. You would never have found any of these privileged offspring working behind the cash register of a shop as Kay had done for years. Neither did they feel the need to understand how accounts or business functioned. Their families employed accountants to handle such grunt work, even as some still employed servants in their grand homes. None of them apparently had the faintest notion that the working class ‘townie’ taking their cash in the Dunelm House bookshop was so obviously stealing part of it.

THEN & NOW. I am reminded of a more recent incident from 2022 when then UK prime minister Rishi Sunak staged a public relations stunt at a petrol station where he filled his car with petrol. He attempted to pay at the cash desk by placing his debit card under the barcode reader, instead of the payment reader, evidently having never previously made a ‘contactless’ payment. Then it transpired that the modest red Kia car he had filled with petrol was not his but belonged to an employee of the petrol station. Had he even ever filled his own (unseen) luxury car with petrol before? As ever, the privileged betray themselves by attempting to demonstrate mundane tasks they have never HAD to do themselves.

It might be imagined that my own experience of class divergence at Durham University half a century ago must belong to a bygone era. Surely, ‘things’ have moved on since then? Mmmmmm. But perhaps it has always been, and will always be, this way. The privileged class has always run Britain, has always controlled opportunities for themselves and they are hardly going to sacrifice glittering outcomes to which they feel entitled to help the rest of us who have no access or right to their immense resources and social connections. We only inhabit their world on sufferance. Durham has always been a ‘finishing school’ for posh kids not clever enough to get into Oxbridge, where they can continue the ‘fun’ they enjoyed at their private schools, find a suitable wife from their own class and bag a lucrative job as a barrister, politician, newspaper editor or some such [see blog].

Back in 1968, a letter from Ian S White of Durham’s (all-male) Grey College was published in the student newspaper Palatinate under the heading ‘Elitist Students?’ It criticised “the elitism of so many students, the feeling that they are somehow special and that they must not therefore associate with the ‘townies’. […] At the moment, the will, on the part of the University, does not seem to be present.”

That ‘will’ for change within the university was always a pipe dream. From the time in 1963 when Durham demerged from Newcastle University, it was purposefully designed “to provide for the North of England a Collegiate University, one in which the undergraduate experience would be essentially the same, though simpler (and less expensive) than that afforded by Oxford and Cambridge in the South.” This strategy was doggedly pursued from 1963 until his death in 1984 by ex-Army university registrar Ian Graham who “sought out also a large number [of students] whose names were known to him through his acquaintances in the schools or among previous generations of students.” Graham excelled at populating ‘his’ university with this old (private) school tie/old boy network that would eventually span generations of Britain’s most elite and privileged dynasties. [see blog]

What about after 1984? Whilst seeking a photo online of the DSU bookshop, I accidentally stumbled across a 2024 article in Palatinate by English student Stella Fenwick:

“When I arrived in Durham, I was faced with the fact that, for half of the year, this little northern city is transformed into a cacophony of London accents, and vastly different educational backgrounds compared to anyone I had met before. […] Though we may relish the prestige of being second to Oxbridge, we must confront the disproportionate number of privately-educated students accepted to these universities. […] We are promised by novels and shows that we will ‘find ourselves’ at university, but for many this moment never comes. The broken promise, which we believe is broken only by ourselves, leaves us feeling inferior to the people that have experienced Durham in the Instagram-able, Oxford-like way.”

It is simultaneously so sad and so outrageous that the experience of ‘higher education’ for us non-privileged students, who should benefit from it the most, still remains tainted at Durham by the behaviours and attitudes of the privileged elite who have always overwhelmingly dominated university cohorts.

I imagine that, had I not intervened, Kay might have continued working in that bookshop and stealing cash until the day she dropped dead … impervious because, amazingly, both her student managers and her student clientele had absolutely no clue how the day-to-day world of commerce functions below their own rarefied strata of British society.

[First published at https://peoplelikeyoudontworkinradio.blogspot.com/2025/11/let-your-fingers-do-walking-in-cash.html ]

Givin’ up Free! for funk (radio) : 1989-1991 : Free! magazine / Touch magazine, KISS FM, London

 August 1989. There was a momentary lull in the usually frenetic activity at the [former London pirate radio station] ‘KISS FM’ office, whilst we awaited the next Independent Broadcasting Authority [IBA] announcement that would give specific details of the application procedure for the two new London FM [commercial radio] licences on offer. [KISS FM co-founder] Gordon McNamee turned his attention to other matters, since he understood that there was still no guarantee of KISS FM winning the licence, even on its second attempt.

On several occasions, I had mentioned to McNamee my belief that there existed significant untapped commercial potential in KISS FM’s magazine, ‘The Written Word.’ A year earlier, the publication had started life as a single A3 sheet newsletter, entitled ‘94,’ that had been produced on a word processor and had been printed without photographs. At that time, it had been intended solely as an update for the station’s fans and its main feature had been the KISS FM programme schedule. As the station’s mailing list increased in size, so too had the content of the magazine. By the final issue of The Written Word, the thirty-two pages had included lots of photos, record reviewsinterviews and information about the London dance music scene. There were also several pages of paid-for advertisements which had helped to defray the increasing costs of printing and postage.

For several years, I had been fascinated by the proliferation of free magazines in London, with weekly titles such as ‘Ms London,’ ‘Girl About Town’ and ‘Midweek’ handed out during the morning rush hour to thousands of commuters at London’s railway and underground stations. For revenue, these magazines depended entirely upon the advertising space they sold, but their distribution costs were low and their print runs were huge. An increasing number of more specialist magazines were being produced and financed in this way. Travelling through Waterloo railway station one day, I had been handed a free entertainment and what’s on magazine that was aimed specifically at high earning commuters living in the suburbs. In my area of Northwest London, I regularly received a free copy of a general interest, colour magazine aimed at homeowners in the locality.

One of the problems KISS FM had encountered with The Written Word was the huge cost of sending out thousands of copies of each issue individually to every person on the station’s growing mailing list. I believed that these expenses could be reduced dramatically by distributing the magazine as a free giveaway to a wider readership that would pick it up from dance music record shops, music venues and clubs in London. Many more copies would have to be printed to circulate the magazine in this way, but the advertising space within it could be sold at a much higher price, since it would be reaching many more readers. Instead of being solely a KISS FM publicity vehicle, the enlarged publication could be London’s first giveaway magazine to be aimed specifically at the city’s dance music community.

McNamee liked my idea and could see the potential it offered him to earn much needed revenue to cover the overheads of running the KISS FM office. After several weeks discussing with him my proposal for the magazine, McNamee asked if I would like to launch the project and be its editor. I had experience in this field, having been editor of the student newspaper [‘Palatinate’] and student handbook whilst at university, and having launched an independent music magazine [‘N.E.’] in Northeast England. I accepted McNamee’s job offer and handed in my notice to the record company where I had worked during the last two years. McNamee said he would pay me £100 for three days’ work each week, plus eight per cent of the net profits generated by the magazine. Although this worked out to be less money than I had earned from the record company, I believed that the new job would improve my career prospects and provide an opportunity to be more closely involved with KISS FM.

Besides, my recent experiences with the record company had left me frustrated and eager to explore a new work opportunity. Back in 1985, whilst working in Israel, I had discovered a female singer named Ofra Haza whose music, a kind of ‘Middle East meets West’ sound, I believed would be marketable in Europe. Since then, I had worked hard promoting her music and had succeeded in achieving airplay on national radio in the UK and positive press coverage. By 1989, one of the Ofra Haza songs I had found in Israel four years earlier had reached number fifteen in the UK singles chart. It was released by the independent record company for which I had been working. I asked the company for some compensation towards all the work I had done to make this artist a success, including a UK artist interview tour I had arranged in early 1989. The directors had met and decided to offer me a cheque for £200. I felt insulted by this amount, particularly as my years of work had given the company its biggest chart hit in a long time. Worse, the credit for Ofra Haza’s chart success was being taken in press interviews by someone else working at the record label. Now, all I wanted to do was quit the company, having earned almost nothing from four years of work having created Israel’s biggest international pop music star, and yet not having even gained any recognition.

I started work at the Blackstock Mews office on 22 August 1989, the first occasion I had earned money from KISS FM, despite having been involved in the business since the beginning of the year. I had been spending more and more time in the office, working with the other staff, but had never been offered remuneration. I looked forward to becoming a proper employee, although the one person in the organisation who did not seem to welcome my appointment as editor of the new publication was Lindsay Wesker [son of playwright Sir Arnold Wesker]. He had been editor of The Written Word, until its recent closure, and he probably felt that this experience, combined with his previous work for the ‘Black Echoes’ music paper, should have made him the ideal candidate for this new post. McNamee told me privately that he was well aware of Wesker’s antipathy towards my appointment, but assured me that he wanted fresh blood to be in charge of the project.

The day after I handed in my notice to the record company, I convened an evening meeting at the KISS FM office to discuss the new magazine. After a considerable amount of brain-storming, [co-worker] Heddi Greenwood suggested it could be titled ‘Free!’ reflecting not only the fact that it was to be a giveaway magazine, but also the notion of personal freedom to which dance music fans would be able to relate. Her suggestion was accepted unanimously. It was agreed that the first monthly issue would be published at the beginning of October 1989, that the print run would be around 30,000, and that the magazine should divorce itself entirely from the KISS FM campaign for a radio licence that had dominated The Written Word. Everyone felt that it was most important for the magazine to be viewed as an authoritative, independent guide to the London dance music scene. Heddi Greenwood would handle the advertising sales for the magazine, and McNamee had appointed Lindsay Wesker its deputy editor in a gesture of reconciliation. I set to work writing a substantial business plan that outlined the magazine’s purpose and ethos, which would also be used in presentations to potential advertisers. Over several pages, I defined the editorial content of Free!, its intended readership and the reasons I believed it would prove so successful.

Now that I had become the fifth paid worker in the KISS FM office, McNamee arranged a second-hand desk and phone extension for my arrival. I was now working at Blackstock Mews on a regular basis, from which I gained a greater insight into the way in which the members of the KISS FM team worked and their respective roles within the organisation.

I was busy putting together the blueprint for the new Free! magazine. I visited a cheap photo-typesetting company in Brighton, commissioned quotes from printing companies, called meetings in the office of potential contributors, and commissioned a logo design. McNamee was becoming increasingly enthused about the potential profit offered by the new magazine, and so he quickly became more involved in its day-to-day running. He had almost stopped talking about KISS FM altogether and, despite our awareness that the new London FM licences were in the pipeline, McNamee directed the whole office’s efforts into this new publishing venture.

One extremely hot and sunny weekend in late August, the KISS FM staff spent the whole of Saturday and Sunday transforming the hitherto unused downstairs room at Blackstock Mews into an office for Free! All the accumulated rubbish was completely cleared out and the dark, dreary room was repainted – ceiling, walls, floor, everything. McNamee bought a job lot of small second-hand desks, which were moved outside to the Mews for us to paint in gloss black. The office stereo system was rigged up outdoors to provide us with musical entertainment, and McNamee dug out some old cassette recordings of programmes from KISS FM’s pirate days, which he had kept in his desk drawers, to entertain everyone.

Some brand-new shelves and storage units were purchased from the IKEA furniture store, which McNamee and I assembled in the new downstairs office. There was one piece of furniture with which McNamee became obsessed: the construction of a huge, rectangular glass-topped table, more than six feet in length. It was the closest he could achieve, for now, to the impressive pieces of furniture he had admired in the opulent boardrooms of KISS FM’s new, corporate shareholders. Between the clear glass table top and its felt underlay, McNamee spent hours carefully positioning press articles about KISS FM and pages from The Written Word magazine, along with some of the station’s publicity materials. Once the glass top had been screwed down to the base, the whole thing looked remarkably like a personal shrine to the KISS FM pirate radio station that McNamee used to run and to the commercial radio business to which he aspired.

One chapter in his business career now having ended, McNamee seemed determined to bury the deep disappointment of the failed [first] KISS FM licence bid and, instead, to put all his energies into turning my idea for Free! magazine into the money-spinner he longed for. The dream of KISS FM radio was very quickly being forgotten.

When I had accepted the job of editor, McNamee had promised that I would also be spending some of my time working on the second licence application, but the launch of Free! was proving to be very demanding and there was still little sign of action within the organisation about the radio licence. 

McNamee hardly ever mentioned KISS FM any more, and the only aspect of the second licence application that seemed to occupy him was satisfying the chairman’s desire to assemble an advisory committee. Since the failure of the first bid, there had not been a single office meeting to discuss what had gone well or badly in the previous campaign, or to analyse what had been the good and bad points of the application. Whenever I broached the subject of the second licence bid with McNamee, he would shrug it off and change the subject to the potential success of Free! magazine, which had overtaken KISS FM as his pet project. This state of affairs frustrated me immensely, because it seemed as if McNamee had lost interest in making a second licence bid at all. He had already discarded KISS FM’s past and the possibility of winning second time around. In fact, McNamee had confided in a close friend, Joe Strong, manager of Dingwalls venue in Camden, that losing the licence had left him “absolutely devastated” and “absolutely inconsolable.”

I was perplexed. I arranged to meet a fellow journalist and radio worker, Daniel Nathan, whom I had known since moving to London in 1986, and with whom I felt I could discuss this problem. As the two of us walked across Blackheath one weekend, I ranted to Nathan about how incredibly close I thought KISS FM was to winning a licence on this second occasion, and how frustrating it was that McNamee seemed intent on wasting the opportunity. I had been the only member of the KISS FM team to attend the IBA press conference announcing ‘London Jazz Radio’s win (Nathan had been there too) and it was obvious to me how much enthusiasm some of the IBA staff had shown towards KISS FM’s bid. This time, there was likely to be a similar number of applicants for the two new licences and, unless KISS FM could submit an almost perfect application, the IBA would feel duty bound to award licences to other groups who proved that they were better organised.

Talking to Nathan clarified, in my own mind, the gravity of the situation. These two new London licences were likely to be the last on offer until sometime in the mid-1990’s. To throw away the chance of winning a black music station for radio listeners in London at this stage would be utterly crazy, particularly after so many people had campaigned for so many years in the hope of just such an eventuality. I decided that, even if McNamee was prepared to remain slumped despondently in his office chair, consigning KISS FM to a space in his glorious past, I certainly was not. If he wanted to wallow in his own despair, that was fine with me. He could carry on playing nostalgic tapes of his old KISS FM shows to everyone in the office, as he had been during recent weeks, but I was determined to do something more positive about winning the station a licence.

On returning to work the following week, at the first opportune moment, I confronted McNamee across his desk in the open plan KISS FM office. Why was he not doing anything about the second licence bid? Did he not believe KISS FM could win? If everyone else still had faith in KISS FM, was he not letting them all down? Was any work being done on a revised application? Was not Free! magazine merely a short-term distraction? Almost anyone could start a new magazine, but how many people could win a radio licence? Why had he slumped into total inaction? As I questioned McNamee, I could sense the other staff at their desks in the office trying to bury their heads in work and look as if they were not listening to our conversation. I explained to McNamee that I thought he was throwing away the biggest business opportunity he was ever likely to encounter in his life. I told him that, of the people within the KISS FM office, I seemed to be the best qualified person to organise and co-ordinate the second licence application [having previously researched and written successful project applications to Durham UniversityManpower Services CommissionNorthern Arts and Princes Trust]. For the moment, that work seemed to me to be a far more appropriate use of my skills than editing Free!, particularly as nobody else seemed to be doing anything about the KISS FM bid.

I suggested to McNamee that someone else should be brought in to edit Free! magazine while I devoted my full attention to re-working the KISS FM licence application. I had already prepared the groundwork for the new magazine during the last month, and the project could easily be handed over to another editor at this stage. On the other hand, if we did not act on the KISS FM bid now, we would never be offered another chance.

During this monologue, McNamee listened to me, smiled a lot, but said virtually nothing in reply. I could sense that, deep inside, he was incredibly angry that anyone should even dare to challenge his authority in this way. I had seen him act this way before, but only when directing his anger towards others who had displeased him. Instead of showing any response of anger or emotion, McNamee just glowered at you and clammed up. It was his usual cold shoulder treatment – ex-communication rather than confrontation – and you had to wonder whether he was already plotting some ghastly revenge to extract upon you in the future for your supposed crime. McNamee continued to be wholly unresponsive to my questions, so I told him that I planned to start work immediately on KISS FM’s application and that, initially, I planned to do some research in the comparative peace of my home. I promised I would willingly explain and hand over all the tasks I had completed on Free! magazine to whomsoever he wished. After all my suggestions, McNamee still offered me no response, so I gathered together my work and left the office.

After that ‘meeting,’ it was almost a week before I heard anything at all from McNamee. I had been busy working at home, as I had planned, and although I had regular telephone conversations with the other staff in the KISS FM office, McNamee had carefully avoided any contact with me. To me, this sort of behaviour appeared incredibly childish – McNamee seemed to be putting the vanity of his own ego above the need for his radio station to win a licence. Then, late one evening, he phoned me from home. He offered no explanation or apology for his attitude towards me that day in the office, and he gave no reason as to why he had failed to contact me at all during the intervening week. Our conversation was unemotional and business-like. He told me that, from now on, he would pay me £100 for spending three days each week working on the KISS FM licence application. He said he wanted more of my time, but I explained that I had other work commitments during the week on which I could not renege. He made it sound as if this arrangement had just come to him in a flash of inspiration, and that his offer was obviously too good for anyone to turn down.

He also told me that I would no longer be involved in Free! magazine in any capacity. He wanted me to visit the office and hand over all my paperwork to the newly appointed editor, who would be Lindsay Wesker. Finally, he disclosed the caveat that must have taken him almost a week to concoct. When my work on the licence application ended in November, I would no longer be paid by KISS FM, and neither could I resume the editorship of Free! magazine. In essence, I was being allowed to have my own way in the short term but, in the end, I had been made to sacrifice a permanent job at KISS FM. I would be forced to look elsewhere for work once the licence application process was over. This did not worry me excessively because I sincerely believed that KISS FM could win the licence this time around, whereas McNamee seemed already to have resigned himself to failing on the second occasion. This new arrangement cut my pay to a basic £100 per week, because I would no longer draw the percentage of profit that McNamee had previously agreed I would derive from Free! magazine. I was not told the details of the deal that McNamee had struck with Wesker to take over editorship of Free!, but Wesker could not hide his delight at assuming the position he must have felt he had always deserved.

However, when the much delayed first issue of Free! was eventually published at the beginning of November, Wesker’s tendency to indulge himself shone from the inside of the magazine. He contributed one page of his own photos and three and a half pages of his record reviews to the beginning of that first edition. These reviews included glowing critiques of a single released by KISS FM’s own label ‘Graphic Records’ and of a track recorded by Wesker’s partner, Claudette Patterson. I was no longer allowed any involvement in Free! and my name was deleted from the magazine’s masthead, in disregard of my work developing the original idea and setting the project in motion. Free! had been my ‘baby’ and I had had to sacrifice it for KISS FM. From then on, Wesker spent most of his time in the downstairs Free! office at Blackstock Mews, while the rest of us continued to work upstairs on the business of KISS FM and Goodfoot Promotions [Limited].

Personally, I was very disappointed to no longer be involved in the launch and organisation of Free! magazine. However, I firmly believed that KISS FM would win the London licence if I could come up with the necessary facts and figures in this second version of the application form. There would always be another opportunity in the future for me to launch a new publishing project. Right now, this might be the last opportunity I would have to win London a black music radio station. The hard work had only just begun, and a lot of responsibility was suddenly resting upon my shoulders.

February 1990. During recent months […], Lindsay Wesker had become totally absorbed in his role as editor of the monthly magazine Free! and he was now spending little time on KISS FM matters. The February 1990 edition of the magazine presented the first opportunity for KISS FM to explain, in its own words, exactly how it had won its [second application for a] radio licence. Wesker wanted to write the article, but McNamee intervened and insisted that I should pen the two-page feature. Despite the magazine having been my original idea, this was the only occasion I was asked to contribute to Free!, and then only because McNamee had insisted. Wesker seemed incredibly territorial about the project he now viewed as ‘his baby,’ and he appeared to like to do as much of the work on the magazine himself as was possible.

June 1990. The next job appointment I needed to make was the station’s record librarian, who would be supervised by KISS FM’s head of music, Lindsay Wesker. Since taking over the editorship of Free! magazine from me the previous year, Wesker had had little involvement in the re-launch of KISS FM. He seemed almost obsessed with the monthly magazine, spending many late nights in the ground floor office writing articles and reviewing records. Since Wesker had no prior commercial radio experience to contribute, I had not been particularly worried by his absence. However, the person appointed as record librarian would report to Wesker, which is why it was vital for him to be involved in their selection. I loaned Wesker a large folder of all the applications I had received for this job [I had advertised in ‘The Guardian’ newspaper] and I asked his opinion of which might be the most suitable to interview.

The next day, Wesker returned the folder to me, having marked the handful of candidates he felt were most suitable. I looked through his selection and was puzzled by his choices. I asked him why he had chosen those particular applicants, none of whom had previous library experience. He explained that there were two qualities he had been looking for – the candidates had to demonstrate knowledge of dance music, and they had to be female. At first, I thought he was joking, but I quickly discovered that he was not. Wesker explained to me his theory that a record librarian had to be a woman, and stated that he was not interested in working with someone who was not a proven expert in dance music. I was shocked that Wesker could be so irrational in choosing a suitable person for the job. His method of appointing staff was proving to be as bizarre as that of McNamee.

February 1991. Gordon McNamee [now KISS 100 FM managing director] suddenly announced that the station would no longer publish Free! magazine after the January 1991 issue. I was proud to have created the idea for the magazine a year and a half earlier. Although I was no longer associated with its editorial team, I was sad to see Free! close just as KISS FM was proving to be a success with listeners. McNamee explained that the magazine was no longer earning sufficient revenues from advertising to cover its printing costs. However, there were rumours of other reasons for the closure. It was alleged that two KISS FM directors wanted to close Free! because it clashed with their publishing interests. Tony Prince owned the monthly ‘MixMag’ magazine which had recently switched from subscription-only to retail sales. Free! would be a direct competitor. It was also alleged that KISS FM shareholder EMAP [plc] planned to launch its own monthly dance music magazine. Free! would be a direct competitor. Fortunately, Free! found an alternative financial backer and was reborn [under new ownership] as ‘Touch’ magazine, which published similar editorial content.

Once Free! had moved out, the large downstairs room on the ground floor of the [KISS 100 FM] Holloway Road building suddenly looked very empty. I spent an evening picking through the debris left in the office of the magazine that had started life as ‘94’ in July 1988, and which had been such an important part of the pirate station’s campaign to win a licence. Free!’s sudden closure was a bad omen. Staff in the building started whispering about further cuts that might be made to save the company money.

FREE!, nos. 1-15 (November 1989 – January 1991), London.

[Excerpt 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]

POSTSCRIPT

Having purchased my first soul record (‘Time Is Tight’, Booker T & the MG’sStax 119) in 1969, I had been thrilled in 1973 to find a new homegrown monthly colour magazine ‘Black Music’ on the shelves of my local newsagent. I devoured every issue cover-to-cover until its closure in 1984 and wrote to many of its advertisers selling soul and reggae records. I could never have imagined then that, almost two decades hence, I would become the founder of Britain’s longest running monthly black music magazine, created as ‘Free!’ and renamed ‘Touch’ until its closure in 2001.

KISS FM boss Gordon McNamee’s cruel obliteration of my name from the magazine’s history has since empowered his long-time colleague Lindsay Wesker to claim online I created a magazine called free! and to have created free! Magazine and Created free! Magazine and created free! Magazine. I am reminded of the iconic Norman Whitfield soul song ‘It Should Have Been Me’. Evidently, history is written by the vipers.

[First published at https://peoplelikeyoudontworkinradio.blogspot.com/2025/07/givin-up-free-for-funk-radio-1989-1991.html ]

Mining for radio news in an editorial black hole : 2004-2007 : Paul Boon, The Radio Magazine

 Magazine editors. What do they do? “They create editorial calendars, develop story ideas, manage writers, edit content and manage the production process…” according to Google. Makes perfect sense. Except sometimes…

Journalism started for me in 1976 when I volunteered for student newspaper ‘Palatinate’ and attended regular meetings under editor George Alagiah who managed a team of section editors, discussed ideas for stories and sub-edited our writing efforts. Subsequently I contributed articles to many publications, including ‘rpm Weekly’, ‘City Limits’, ‘For The Record’, ‘Jazz Express’, ‘Broadcast’, ‘Music Week’, ‘Jocks’, ‘NME’, ‘Now Radio’, ‘Music & Media’ and ‘Radio World’, whose editorial systems worked in much the same way. There was dialogue, there were meetings, story ideas were passed upwards and downwards, teamwork and editorial direction were de rigueur.

In late 2004, lifelong radio industry buddy Bob Tyler called to say he was relinquishing his job as news editor of ‘The Radio Magazine’ and asked if I wanted to take over. I was desperate for paying work, having just returned from a poorly paid freelance contract in Cambodia and then been hung out to dry by ‘BBC World Service Trust’ whose promise of further, more lucrative work never materialised. I had been applying for radio-related job vacancies but none had resulted in an offer. This was the second occasion that Tyler had passed on his editorial jobs to me, for which I remain eternally grateful.

https://drive.google.com/file/d/1fDcJlHbzJhcOhJ-GAkFhU_xFcNXmLaqQ/preview

I knew ‘The Radio Magazine’ as the only weekly publication for the UK radio broadcast industry, published as a colour A5 booklet. In May 1986, it had been launched as a scrappy paid-for fanzine named ‘Now Radio’ by Howard Rose, former pirate radio presenter under the aliases Crispian St John and Jay Jackson, filled with gossip and opinion for wireless ‘anoraks’. In October 1992, I had begun to write and publish a weekly four-page ‘Radio News’ newsletter which I photocopied and distributed for free by mail to a small group of people I thought would be interested, not as a competitor to Rose but complementary since my focus was hard news, information and statistical analysis of ratings.

Unexpectedly, within weeks of my newsletter’s debut, Rose relaunched his fanzine as ‘The Radio Magazine’ with a new layout and new features that looked remarkably similar to mine, such as an events calendar and analysis of ratings. This seemed somewhat coincidental, given his fanzine’s prior six-year, 177-issue history. Any ambition to eventually transform my tiny newsletter into a paid-for magazine had been effectively scuttled, so I persevered for twenty issues before ceasing publication. Unfortunately, ‘good ideas’ prove impossible to copyright and I had already learnt to my cost that the radio industry included people not averse to taking credit for my innovations.

Nevertheless, twelve years later, I was so desperate for income that the opportunity to write for ‘The Radio Magazine’ had to be accepted. Rose had tragically died in 2002 during routine surgery, bizarrely one week after selling his magazine business to Sir Ray Tindle, a local newspaper and radio station owner. Paul Boon had taken over as managing editor and had employed acquaintance Bob Tyler as news editor until now. Boon was asking me what payment I would require to do the job. I quoted him the National Union of Journalists’ rate per word for contributions to the very smallest publication. He responded by saying he would only pay half that rate. I was disappointed but reluctantly accepted his measly offer, reasoning that some income would prove better than none at all. After all, this job might not last long.

At the outset, I decided upon a financial survival strategy for myself. I would need to spend zero to gather news stories because my expenses were not to be reimbursed. This meant no phone calls, no interviews, no travel to meetings. I would have to depend upon second-hand sources I could cull from the internet, newspapers and magazines. In order to maximise my payments, I would submit as many news stories as I could write, since I was to be paid per word written. Doubtless, the magazine must be receiving dozens of press releases from every organisation connected with the UK radio industry. Naturally, as with my previous magazine work, I anticipated these would be regularly forwarded to me by the editor for a quick rewrite…

Except that they were not. I quickly learnt that no press releases, no news tips, no rumours, no nothing was forwarded to me by the magazine. There were no editorial discussions, no phone calls, no meetings, no guidance, no delegation of work. In fact, nothing at all except the odd emailed complaint about things I had written. I started work in December 2004 but, by New Year, Boon wrote a complaint to my predecessor Bob Tyler:

“I’ve just had David Bain of CFM on the phone complaining about an out-of-context story with the “wrong perspective” which was printed this week.  It was a local press story and as we all know local reporters do not understand radio and in this case printed a story which was not factually correct.  We then reprinted, courtesy of Grant the same errors. While I know it has been difficult to contact people at stations over the Christmas period I really think these types of story need to be checked out.  We are not in the market of producing overtly partisan stories which demoralise staff at stations. I had a similar call from another station before Christmas.” [sic]

Already, I was baffled as to why ‘The Radio Magazine’ functioned unlike any other publication for which I had worked previously. The managing editor was printing my stories mostly verbatim (fine), sometimes chopping their ends to fit a page (okay), changing my headlines (no problem), but otherwise was only communicating with me by forwarding complaints. Another one arrived in April 2005:

“We have been fending off an irate Simon Horne of Virgin Radio who says the article you wrote (Issue 681) was based upon a mis-quote published in the Scottish Daily Record (or similar paper). Furthermore he is upset that he was not contacted over the story to either check the facts or to give them an opportunity to respond.” [sic]

Surely, this sort of beef should have been with the journalist who had originally quoted the complainant’s words, not with me who had merely extracted the quote from a respected newspaper. Normally, you might expect a managing editor to defend their staff when they had evidently done nothing wrong, but Boon’s reaction in a further email to me was:

“We just cannot let this continue.  The Scottish press are notorious for getting facts wrong, heaven knows they have some big axes to grind up there. Time would have allowed for a quick call to the appropriate press officer, Collette [Hillier] can give you a list if you don’t have one. Even an email would have given us some support.  Virgin are advertisers as well as news fodder, so treating them fairly seems only reasonable.” [sic]

Editorial ‘dialogue’ continued in a similar vein for my entire time as under-resourced news editor of the magazine. Every Monday morning, I emailed as many stories as I could muster, receiving no feedback other than occasional complaints from radio industry personnel who did not approve of what had been published. However, I was submitting so many news stories to maximise my earnings that the magazine regularly added additional pages to print them all, week in, week out…

Except for four issues per year when Boon required no news stories from me because, despite my training in statistics, he insisted upon covering the radio industry’s quarterly audience ratings results. Having collated and analysed radio station data since 1980, I regularly attended the RAJAR organisation’s press conferences announcing its latest numbers at a central London lecture theatre. Boon was present too but did not acknowledge me or seek to collaborate.

Apart from Boon (and Tyler), nobody was aware of my role providing the bulk of ‘The Radio Magazine’s editorial content, as a result of its news stories being published without author bylines. At the time, I was content with this arrangement because I was busy applying for full-time jobs in the radio industry and believed that I was unlikely to be offered employment if it were evident that I was reporting everything that was happening within the sector. 

My somewhat distant relationship with the magazine continued until March 2007 when I received an unanticipated email from Boon:

“I am sorry to say I have been forced to bring to a close the freelance arrangement we have with you for news stories. I am sorry. […] On a personal note, I’d like to thank you for the detailed and analytical dimension you have brought to your stories covering the radio industry in these stormy times. My thanks once again.” [sic]

It was the first (and last) occasion I received positive feedback from Boon. By then, I had thankfully found better paid work as a media analyst so the resultant loss of earnings was less consequential. However, this apparent ‘warm glow’ of gratitude vanished almost immediately. Prior to my abrupt dismissal, I had registered for a free press pass to attend a forthcoming radio conference whose organisers then contacted ‘The Radio Magazine’ to rightly confirm my credentials. Boon responded to them bluntly:

“Grant Goddard does not work for this publication.”

I wrote to Boon accusing him of “rudeness” because, instead of simply explaining to the organisers truthfully that, since registration, I was no longer news editor, his words connoted I was a liar. Was he already seeking to erase my substantial and transformational involvement in his magazine during the previous two years? My suspicions were far from allayed by Boon’s response to me:

“I think rudeness is rich coming from you, but that is a separate issue. […] Just chill my friend – life is too short!” [sic]

On that sour note, our email correspondence ended once and for all.

In November 2008, Boon started a job with government regulator Ofcom’s radio licensing division in the same role I had held five years previously. Perhaps he was sat at my former desk. Given that I (and predecessor Bob Tyler) had written 90% of his magazine’s editorial, I pondered whether any number of anonymous “detailed and analytical” news stories published in ‘The Radio Magazine’ might have accidentally fallen into Boon’s journalism portfolio. Any number between zero and the 848 I had written? Those words ‘detailed’ and ‘analytical’ might even have figured in Ofcom’s job description for the role.

During Boon’s subsequent “nine-year stint” at Ofcom, his CV states he was:

“Chapter Editor of the radio & audio chapter of Ofcom’s Communications Market Report an annually published in-depth insight into UK radio and audio developments.” [sic]

My work had once again passed through Boon’s hands! In 2003, having been The Radio Authority’s staff member with a maths/analysis background, I had been ordered to undertake a mammoth project to create for Ofcom the new regulator’s first historical database combining commercial radio licence, audience and financial information in a group of interlocking Excel spreadsheets. My complex formulae were required to summarise the state of the UK commercial radio industry, for publication in Ofcom’s initial annual ‘Communications Market Report’. Naturally, uncredited once again.

https://www.slideshare.net/slideshow/embed_code/key/HYdNRjEzCgpV8E?startSlide=1

[None of the hundreds of issues of ‘The Radio Magazine’ appear online. My news stories for the publication are available to read at https://www.scribd.com/lists/3527224/Radio-broadcasting-industry-news-stories-by-Grant-Goddard ]

[Originally published at https://peoplelikeyoudontworkinradio.blogspot.com/2024/02/mining-for-radio-news-in-editorial.html ]