Tag: Rohan Candappa

A Most Unusual, Multi-Media, Transatlantic, Partially On-Air, Pop-Up Gathering by Part of the Old School Clan, 7 May 2016

I had been corresponding with my old school friend Paul Deacon on Facebook for the previous couple of days, sparked by:

As an aside, Paul asked me if Janie and I had listened to his weekly broadcast on The Grand At 101 lately. I had to admit we hadn’t. The show is on Saturday afternoons in Ontario, therefore Saturday evening here. Janie and I are almost always out on a Saturday evening – Ogblog postings passim attest to this fact. It must be more than a year; perhaps even a couple of years since we last tuned in.

However, our Saturday evening plans – feeding friends Kim, Michel and David – had, for practical reasons, been switched to Sunday lunch instead. As it turns out, Sunday 8 May is scheduled to be “sunny, hot, sit in the garden” weather, so the switch was fortuitous in many ways.

In short, we would be around, so I told Paul we’d tune in at least to some of the show. In the course of this correspondence, Paul Hamer (another old school friend) said that he would also tune in “while cooking his risotto”. At the start of the show, Paul Hamer evidenced the fact that he was listening and cooking risotto with this picture:

Paul Hamer Risotto Evidence
Photo courtesy of Paul Hamer

Indeed, Paul Deacon’s posting about his show and all the ensuing Facebook correspondence can be found here.

Once we were listening in, I mischievously sent Paul the following private message, which relates closely to the rag, tag and bobtail records we procured at the Slipped Disc all those years ago:

Ian and Janie messaging in from warm and sunny London. Would you be able to spin a 45 for us today? Ideally a Melodisc classic, such as Jolie La Ville Curepipe by the Alain Permal Mauritius Police Band, Agbogun G’Boro by Tunde Nightingale and his HighLife Boys, Bulgarian Betrothal by the Bulgarian Variety Orchestra or the classic Stop For The Music by The Nutrons. We and your listeners deserve nothing less.

Melodisc was a most unusual label – probably the first truly “Indie” label around – read more about it here.

Of course, I should have known better than to challenge Paul to play an unbelievably obscure 1960s record.

Soon after 20:00 our time, Paul Deacon broadcast a shout-out to Paul Hamer and played some rather unappetising sound effects in honour of Paul Hamer’s jumbo prawn risotto. Paul Hamer’s retort; a photo of said risotto in all its glory – makes better Facebook/Ogblog than it does radio…but it does look very appetising:

Paul Hamer Risotto Full Glory
Photo courtesy of Paul Hamer

I showed Janie the jumbo prawn risotto picture; she suggested I take a picture of the remains of our dinner and upload it. I made an executive decision not to do that. Even if people could imagine that fine meal from the messy carnage of (what had only recently been) a most impressive-looking roast duck…I wouldn’t have wanted to upstage Paul Hamer.

Then a few minutes later Paul Deacon broadcast a shout-out to me and Janie. Much to my embarrassment, he actually played Stop For The Music by The Nutrons as a request for us. “Truly terrible”, was Janie’s verdict on that obscure musical masterpiece.

When Paul (wisely) interrupted the track before the full 125 seconds of noise had completed, he played The Grand at 101 jingle. “Oh, so Paul also has a Room 101 for crappy records then?”, asked Janie. “No”, I replied, “101 is the FM broadcasting frequency of Paul’s radio station”.

To explain, if I put something on a music playlist that Janie really doesn’t like, it doesn’t simply get deleted from that playlist, it gets moved to a playlist named “Janie’s Room 101 Playlist”. The latter playlist would, in extremis, be played continuously on a loop if Janie ever were so badly behaved as to require sending to Room 101 for re-education.

Readers will, I’m sure, be unsurprised to learn that Janie’s Room 101 is more a theoretical construct or “empty threat” than anything approaching reality. She’s stronger than me for a start. Paul Deacon would be a little disappointed by some of the tracks that have ended up in Janie’s Room 101, but there’s no accounting for taste.

Meanwhile, Paul’s radio show. While simultaneously joking with several of us on Facebook, digging out obscure 1960’s Melodisc records…oh, and of course actually broadcasting a show an hour longer than his usual slot to cover for someone…

…Paul Deacon also told us that John Eltham (another old school friend of ours) would be joining him at the studio “any minute”, along with Rich Davies – yet another old school friend, who lives in Ontario near the Deacons.

I was aware that John Eltham was due to visit Paul and Rich this month, as John had mentioned the visit in correspondence with me a couple of weeks ago. I hadn’t twigged that the visit was so imminent. Indeed, while the broadcast was still going on, Paul wrote:

He’s here now! Just telling us about Rohan…

…the Rohan reference is to Rohan Candappa. I suppose in particular the “telling” was about a gathering we had a few months ago to see Rohan’s wonderful one-man show, which we now learn will be going to Edinburgh this summer – click here to read about it.

So, I woke up this morning to see these wonderful postings on Paul’s Facebook Area:

Johnny & Pauly On The Grand
Johnny & Pauly On The Grand – Photo courtesy of Christine Deacon (I think) via Paul Deacon
A Grand Quartet
A Grand Quartet – Photo courtesy of the waiter via Paul Deacon

I reflect that this connected world of ours is truly marvellous. We can banter with old friends and listen to radio broadcasts across continents. Face-to-face visits across such distances are now affordable, practical realities also. But by gosh it helps if you can multi-task like Paul Deacon!

 

How I Said ‘F*** You’ To The Company When They Tried to Make Me Redundant by Rohan Candappa, Z/Yen Offices, 28 January 2016

Moncada Barracks or the old Z/Yen offices? One or the other.

Back in December, Rohan Candappa wrote to me asking if he could by any chance use the big Z/Yen meeting room on 28 January to try out his latest piece of performance writing early evening on the motley bunch of Alleyn’s alumni (I include myself in that epithet) who gather occasionally in the City for beer, curry and old times’ sake.

Strangely, Z/Yen’s big meeting room is not much used at 19:00 in the evening, so it would have seemed churlish to say no, especially when Rohan agreed to sponsor some beer and nibbles. Linda Cook, our Z/Yen practice manager, was hurriedly elected an honorary Alleyn’s alum for the evening, so the organisation of the event was practically resolved, even with John Eltham out of the country for much of January.

It felt incongruous (in a pleasant way) to have the Alleyn’s gang at the Z/Yen office for the evening. For one thing, I didn’t realise how well behaved we could be when gathered together in the right environment. There weren’t even any teachers to keep us in check.

But to Rohan’s extraordinary piece. The title basically divulges the plot. Rohan expresses in poignant terms the emotions he experienced when told that he was being made redundant. There is nothing funny about the way being made redundant makes someone feel, but the circumstances of this attempted redundancy are quite ludicrous. In the hands of Rohan Candappa, who is highly skilled at bitter-sweet humour as well as the more standard comedy variety, this sad story generated a remarkable amount of laughter. It is a very funny piece.

The humour builds once Rohan reaches the point in the story where, having had time to reflect on his seemingly hopeless situation, he decides to try and win against the odds. He initiates this twist brilliantly by telling the story of the Cuban rebels attacking the Moncada Barracks in 1953 – click here if you want to see the Wikipedia version of the story – although Rohan’s version is more pertinent to his story and far more fun.

Click here if you want to see the pictures Janie and I took of the Moncada Barracks in 2007.  Indeed feel free to hang around in Flickr looking at our Cuba pictures generally.  It’s one heck of a photogenic place.  As long as you promise to come back here afterwards and finish reading this blog piece.

Once the “fight back” part of Rohan’s story starts to unfold, the piece becomes even funnier and has terrific momentum to it. I almost felt sorry for [Insert name here] (the boss behind the attempted redundancy) and his human resources hench-woman…

…I said ALMOST felt sorry for them. Cut me some slack guys. Or say how you felt about it with your own words in the comments section. Don’t just yell at the screen.

There are precious few pieces of theatre about the workplace and even fewer good ones. With all due respect to Vaclav Havel, who wrote several absurdist pieces about work places, I have seen more than one but never got much out of those Havel plays. Indeed, the only really good play about the workplace that comes to my mind is David Mamet’s Pulitzer Prize-winning play Glengarry Glen Ross.  In an intriguing echo of Rohan’s title, btw, the film version of Glengarry Glen Ross (which is a very good movie) has the phrase “F*** You” articulated in an infeasible number of different ways for a two-syllable phrase. But I digress. My point is that the workplace is a big part of our lives but is wicked hard to turn into good drama. Rohan has succeeded in producing some very good drama indeed in this piece, which is a commendable achievement.

In short, the piece is a triumph and I really hope that Rohan progresses with it and gets it a wider audience. It is really thought-provoking as well as entertaining.

We sat in the meeting room chatting for ages after the performance; some of the group are people who have been made redundant, others of us people who have been in a position where we have dismissed staff ourselves. Everyone had experiences, thoughts and points to make. Eventually we realised that we were late for our meal and that our restaurant booking might go south unless we quickly headed south to the Rajasthan. So we migrated and continued our conversations there. A very special evening.

Lunch At Harry Morgan With Richard Goatley, Dinner At Mine With John Random and Rohan Candappa, 5 February 2015

Things were different back then, I realise at the time of writing (January 2017).

For a start, Harry Morgan was on the list of places I definitely wanted to eat, rather than (as now) a place that has gone downhill but still is my last local source of Jewish-style chicken soup and chopped liver, both of which they still do reasonably well.

Secondly, meeting up with Richard for lunch back then was simply a general catch up and chat during the cricket off-season. Richard was Deputy Chief Executive of Middlesex then and little did any of us know that he would find himself in the hot/top seat just a few months later. It’s hard to recall what we discussed; probably some aspects of the team and the clever new commercial arrangements with the MCC, which seemed to me (still seem to me) hugely beneficial for both clubs.

Update:

I now realise that the above lunch was postponed and took place on 12 March before dinner with John White – click here.

I had considered buying some “Jew food” for John and Rohan, but thought that twice in one day might be a bit much for me…and possibly that once in one day might be a bit much for them. Chopped liver is a wonderful, heart-warming dish for the initiated but can seem like a rather crude pate to the uninitiated.

So, even before Richard cancelled, I planned instead to serve them food from Tavola, Alistair “Big Al DeLarge” Little’s splendid deli. I guess I went on my way home from the gym, buying enough tempting Italian dishes, making the meal extremely quick and simple to prepare (once Al and his team have done almost all the hard work).

I know John Random from comedy writing at NewsRevue, i.e. since I was in my late twenties. I know Rohan Candappa from Alleyn’s – i.e. since I was eleven. They are both very good, very funny writers. Both are at stages of their lives/careers where the writing has taken a bit of a back seat, perhaps for too long, while providing for themselves and their families comes to the fore.

I simply thought that these two ought to know each other, without any particular agenda or ideas about why they should or what they might do about it. I also thought that it would be a pleasant evening for the three of us.

It was.

I especially recall one bit of the conversation when Rohan and I reminisced briefly about a big sporty lad at school known as Jumbo Jennings. Seemed able to turn his hand to any sport. Terrifyingly quick and bouncy bowling, I especially remember. Fiendish fives player too. John remarked that they didn’t have schools like Alleyn’s in Hartlepool, but he had always imagined that nicknames such as “Jumbo Jennings” were more the stuff of fiction than reality.

I should have instantly retorted that I’d always imagined that disappearing acts like that of John Darwin, the Hartlepool Canoe Man, were more the stuff of fiction than reality, until that fraud was exposed and we learned that John Random’s cousin was the subject of that proto fake news story.

I’m getting my witty retort in nearly two years late, aren’t I?

There was also some business with John’s bottle of Bulgarian Merlot, which I have documented in my Ivan Shakespeare note from a couple of weeks later – click here. 

(I Married A) Monster From Outer Space – And What That Did For One Of My Earthly Romances, 15 October 1982

Ashley Fletcher reminiscing for me in The Sneyd Ams, 35 years later.

I retrieved this memory vividly at a pilot of Rohan Candappa’s new performance piece on 31 October 2017:

What Listening To 10,000 Love Songs Has taught Me About Love. It’s an exploration of love, and music, and how the two intertwine. it’s also about how our lives have a soundtrack.”

Here is a link to my write up of Rohan’s performance piece.

Somewhat unexpectedly, Rohan used (I Married A) Monster From Outer Space by John Cooper Clarke as one of his examples. If you have never heard a recording of it, here is a vid with an unexpurgated version:

https://www.youtube.com/watch?v=XbRM-canDOs

It was Paul Deacon who introduced me to the recording (the expurgated version as it happens), in April 1982. I know these exact details because I still have the track listing from the relevant cassette, beautifully typed by Paul as part of the gift:

In October 1982, that cassette would have still been in the recent section of my cassette cases and was still getting plenty of play.

Now turn your mind to Freshers’ Week on the 1982/83 year; my third. Thus spake my diary:

That’s not a bad few days.

I saw The Beat at the Freshers’ Ball on the Wednesday. I’m pretty sure I liked them a lot before I saw them live. But once I’d seen them live I liked them even more. They were a terrific live act. I especially remember the Keele audience going wild for Ranking Full Stop and of course Stand Down Margaret, but pretty much all of the gig was superb as I remember it:

https://www.youtube.com/watch?v=zFaFVhyjb5Y

Writing in October 2017, I only wish that someone would write something with similar sentiments about our current prime minister. I mean, where’s Simon Jacobs when you need him?…

https://www.youtube.com/watch?v=DM4lSw68-AE

…ah, there he is. Thank you, Simon. But I digress.

Two nights later, with just one evening between gigs for me to recover (by “getting quite intoxicated”, apparently) it was Culture Club. That gig was eagerly awaited. They had been unknowns when booked, but were Number Two in the charts come Freshers’ Week, with the clever money suggesting that they would be Number One by the time the next chart came out – which they were.

Liza was at that gig with Ashley Fletcher and a few others of that Hawthornes Hall crowd. Liza wasn’t a Keele student; she had just enrolled on an art school type course at North Staffs Poly as it then was. Liza lived in The Sneyd Arms; she was landlord Geoff O’Connor’s daughter.

35 years later…Ashley in The Sneyd Arms – with thanks to Ashley & Sal for the picture

I remember being underwhelmed by the Culture Club gig. To be fair, their rise (and therefore the increase in expectations) had been stratospheric – in truth they were still a fairly inexperienced band who would have seemed “better than most” if people hadn’t been expecting overnight superstars. I remember them playing “Do You Really Want To Hurt Me” at least twice. I think it was just twice. Fairly short set, though.

Weird vid, but if you want to see/hear the song:

https://www.youtube.com/watch?v=2nXGPZaTKik

Anyway, Liza and I went on to the Postgraduate Bar – KRA afterwards – I have a feeling that Ashley and the rest went on somewhere else. Then one thing led to another with Liza.

I was over the moon, I took her back to my place…and we ended up going out for the rest of that academic year, basically.

I vaguely associate the start of my relationship with Liza with Culture Club. Very vaguely. Until I looked at the diary to prepare this piece, I had completely forgotten that Liza and I got started the night of that gig.

But when Rohan spoke about (I Married A) Monster From Outer Space I had a strong memory flash about it. For a start, I realised that I always associate that record with starting out with Liza.

I cannot swear that the following interaction took place that very first evening/night…I’d rather like to think it was…but I clearly remember Liza rummaging through my cassettes, finding the above one and yelping with joy that I had “I Married A Monster”, which she loved.

It was one of those joyous things; the shared pleasure in a rather obscure, let’s face it, weird, recording. It helped to cement Liza’s and my relationship in those early days. We knew that we must have plenty in common, because we both really liked that John Cooper Clarke record. What additional evidence could you possibly need?

In Rohan’s show, he didn’t really explore the business of how we use the discovery of shared taste in songs to help cement our relationships. But I think that happens often and is quite a central part of why music is so important to us, whether we are seeking, starting, in or ending relationships.

But thanks, Rohan, for helping me to recover this memory through “Monster”. And thanks Paul Deacon, for all you did to help me and Liza, without ever knowing it, until now.

By the way, Rohan’s favourite line from “Monster” is:

…and it’s bad enough with another race, but f*ck me, a monster from outer space.

That might be my favourite line too. But Liza’s favourite line was:

…she lives in 1999, with her new boyfriend, a blob of slime.

Perhaps that was Liza’s way of trying to keep me on my toes; “you’re not the only pebble on the beach…if you keep on like that I might prefer to date a blob of slime…”.

I’m done, but you might enjoy this ranting poetry version of I Married A Monster:

https://www.youtube.com/watch?v=q6emQpBXe5Y

Uncle Manny’s Funeral & The Hoover Factory, 15 May 1981

I recovered this Hoover Factory memory vividly at a pilot of Rohan Candappa’s new performance piece on 31 October 2017:

What Listening To 10,000 Love Songs Has taught Me About Love. It’s an exploration of love, and music, and how the two intertwine. it’s also about how our lives have a soundtrack.”

Here is a link to my review of that performance piece.

Somewhat unexpectedly (to me), one of the songs Rohan featured in the show was Hoover Factory by Elvis Costello.

In case you are not familiar with the piece (and/or the building), less than two minutes of divine vid, below, will give you all you need:

I came across the song in March 1981- click here for the story of my cassette swaps with Graham Greenglass and my trip to see Elvis (sadly a Hover Factory-free concert) with Anil Biltoo, Caroline Freeman and Simon Jacobs.

I listened to the cassettes Graham made for me a lot in that final term of my first year at Keele. I especially liked the Hoover Factory song, even before the events of mid May.

Wednesday 13 May 1981

I was in the Students’ Union that evening (as usual) when I got tannoyed.

The sound of Wally across the tannoy saying:

would Ear Narris come to reception please. Ear Narris to reception…

…became a commonplace in my sabbatical year…

…I even have a towel emblazoned with the legend “Ear Narris”, a gift from Petra…

…but this was probably the first time I had ever been tannoyed in the Students’ Union.

It was my mum on the phone. My father’s older brother, Manny, had died suddenly of a heart attack. I was needed at home. Rapidly. Traditional Jewish funerals are conducted very soon after death and that branch of the family was/is traditional. I went to bed early, knowing I would need to make a very early start (by student standards) the next day.

Thursday 14 May 1981

A flurry of activity.

Early in the morning, I went round to see a few academics to reschedule my essays and excuse myself from a tutorial or two. I recall the topology tutor (professor?) seeming incredibly strange. Twice I told him that my uncle had died and twice he said back to me, “I’m sorry to hear that your father has died”.

Once I had agreed my absences and extensions, I legged it to London, having arranged to stop off at the place near Euston where the religious paperwork for births, marriages, deaths and stuff used to get done. Woburn House if I remember correctly.  Anyway, I was suitably “family but not immediate family” (the latter are officially in mourning and are not allowed to do stuff) to help get the paperwork sorted out.

I learnt that Uncle Manny was (officially) born in Vilnius, although the family hailed from the “twixt Minsk and Pinsk” Belarus part of the Pale of Settlement. The family might have already been on the move by the time he was born or that answer might, at the time, have seemed more acceptable when the UK arrivals paperwork was being done.

When I got home, I recall that Grandma Anne, 88/89 years old, was in our house and in the most shocking state. Apparently Uncle Manny had collapsed in her kitchen and she was unable to get past the collapsed body of her son to try to call for help. A nightmarish scenario that would seem unlikely & overly melodramatic if used in fiction. Grandma Anne never really recovered from the shock of this event and didn’t survive that calendar year.

It was the first time I had witnessed death at close hand. I was very small (8 or 9) when Uncle Alec, the oldest of the four brothers, died; in truth I had been shielded from it. But this time I was very affected by witnessing and being part of this family bereavement.

From left to right, Uncles Manny, Michael and Alec

Friday 15 May 1981

The funeral, at Bushy Cemetery. We were driven out as part of the funeral cortege of course.

I had only been to one funeral before – as it happens at the same cemetery – that of Bernard Rothbart, a teacher at Alleyn’s – perhaps two years earlier. I’ll write that one up for Ogblog when I come to it.

I’m not sure I had ever been out on the Western Avenue before – at least not knowingly and not with senses heightened. In fact, I’m pretty sure I had no idea where we were until I saw that magnificent Hoover Building loom into view.

Oh my God. That’s it. That’s the Hoover Factory…

“Yes, dear”, said mum. “Your ‘Uncle Josh’ used to work for Hoover”.

I don’t think mum got the point.

I couldn’t stop thinking about the line from the song, “it’s not a matter of life or death. What is? What is?”  Because my family was suddenly experiencing something that really was a matter of life or death. And people really did, profoundly care who does or doesn’t take another breath. I wanted to understand, but Elvis wasn’t helping; his song was just stuck in my head.

Hoover Factory remained stuck in my head for the rest of the day…the rest of the week…the rest of the term.

And the rest of that term turned out to be a very eventful few weeks indeed for me:

Going Steady With A Girl, Her Name Is Julie, November-December 1978

A couple of recent happenings and one imminent happening at the time of writing, mid-October 2017, triggered this early romance memory and some musical connections.

The imminent thing is the pilot of a new piece on Halloween Night 2017 (I don’t think we should read anything into the date) by my old school friend, Rohan Candappa. Rohan describes his nascent piece thus:

What I’m going to perform is a show called ‘What Listening To 10,000 Love Songs Has taught Me About Love’. It’s an exploration of love, and music, and how the two intertwine. it’s also about how our lives have a soundtrack. And how the songs on that soundtrack can both contain and convey so much meaning, so much of who we are.

As it happens, a few months ago (April 2017), Rohan gave me permission to publish a written “party piece” of his here on Ogblog, which I suspect has some of the emerging themes for his performance piece. Here is a link to my cover note and link to Rohan’s (well worth a read) piece, which includes links to several of my own “party pieces” and some music links.

In one of my party pieces, describing my November 1978 party, I alluded to my progression, at that very party, from random tonsil hockey player to a somewhat steadier approach to romance.

Julie was the first person I described as my girlfriend and with whom I described myself as “going steady”. This comparatively deep and meaningful relationship lasted a full five weeks, possibly even slightly longer. So this was a really serious relationship, until it all started going awry, at the post Twelfth Night party at Alleyn’s School just before Christmas – reported on Ogblog here.

The other recent event which helped conjured up these vivid 1978 memories is more obscure. Janie and I have been listening to John Shuttleworth’s Lounge Music on Radio 4 / iPlayer. It is very silly, but Janie and I enjoy the nonsense and of course novelty/comedy music has been very much my thing since I was a youngster. I only recently discovered the fact that John Shuttleworth is the alter-ego of Graham Fellows, who first found fame as Jilted John, back in that very same autumn of 1978.

I was relentlessly teased at the time by friends who knew I was “going steady” with “a girl, her name is Julie…” with excerpts from both sides of the Jilted John record.

Now look, I must be fair on my old friends from Streatham BBYO (the youth club where Julie and I hung out in those days) and my old friends from Alleyn’s School. If one of my pals had been following, almost word for word, the trajectory of Jilted John’s hapless romances, I’d have been up there leading the teasing myself.

But the upshot is, when I look back on the soundtrack of that first steady romance of mine, the only music I can truly connect with it is that Jilted John record.

Perhaps that Jilted John record really is an “exploration of love, and music, and how the two intertwine”?

Or perhaps in my case it “contains and conveys so much meaning, so much of who I am.”

If so, oh dear.

Anyway, try both sides of the record; I must admit to enjoying hearing both again after all this time.

Parenthetically, I’m sure I can hear the riff from the 1980 classic, “Stand Down Margaret” by The Beat in “Going Steady”. Stand Down Margaret has its own place in my life’s soundtrack, a little bit later in my young life, from the University days.

Also parenthetically, Going Steady was originally the A-Side of the record…

…but the Jilted John side went down better on radio play and became the A-side. The “Julie” story is within the better known side of the record – Jilted John:

A Marathon Day Of Court Sport; Fives At Alleyn’s School And Fridge Ball At Woodfield Avenue, 4 December 1974

diary-december-1974-smaller

What a sporty day Wednesday 4 December 1974 must have been for me. Just in case you cannot read what the day’s entry says:

11th in chemistry.

Fives lost 15-3 to Wrightson & Weber, beat Mason & Candappa 15-7 and beat Pavasi & I Goodwin 15-3, 15-0.

Fridge ball 533.

Some of this perhaps needs explaining. “11th in chemistry” is and perhaps will remain a bit of a mystery. 11th in the year would be quite good; whereas 11th in the class more predictably mediocre in that subject. It’s not well explained in the diary; much like my answers in the chemistry test, no doubt.

No, it is the fives and the fridge ball that caught my eye for further exposition.

Four Sets Of Fives 

I have already written up a bit about fives – in a piece about a so-called uneventful day the following June – click here. But if you cannot be bothered to click, you should simply be aware that, at Alleyn’s, we played Rugby Fives and you should also be aware that Alan Cooke became my regular doubles partner, so I’m sure those doubles matches were teamed with him.

Looks as though Cookie and I warmed up as the afternoon went on; perhaps this was a breakthrough afternoon for our nascent doubles pairing. Earlier references to fives in my diary seem to be singles games.

Apologies to David Pavesi – firstly for the surprising mis-spelling of his name, as we knew each other well from primary school as well as at Alleyn’s. But also apologies to him and Ian “Milk” Goodwin for the drubbing. Why we played a second set against those two after a convincing first set I really cannot imagine. Perhaps they requested another chance. Perhaps we four wanted to play some more and everyone else had disappeared.

Fridge Ball

I suppose I do need to explain the magnificent and extraordinary sport of fridge ball, just in case the reader is unfamiliar with the game.

I realise at the time of writing (2016) that fridge ball has rather a lot in common with my current passion, the ancient game of real tennis – click here for one of my pieces and links on that game. 

In short, fridge ball is to table tennis what real tennis is to modern (lawn) tennis, but instead of a medieval courtyard, which is the theatre of play for real tennis, the theatre of play for fridge ball is a modern kitchen. Fridge ball is played with a ping-pong bat and a ping-pong ball.

Sadly, there are no photographs of the 3 Woodfield Avenue, London, SW16 fridge ball court as it looked in 1974, but there is a photograph of the court from 2012, when the house was being refurbished in preparation for letting – see below.

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In front of the visible wall (to the left of the picture) stood a large 1960’s-style fridge-freezer; the surface against which the ball has to be hit. The floor surface back then was linoleum of a rather insipid hue. In the photograph you can actually see a layer of blue glue awaiting some fancy modern flooring substance, the suitability of which for fridge ball was not even tested.

The game, simply, is to hit the ball against the fridge door as many times as possible, ideally getting some interesting bouncy business off the floor and/or the jauntily angled pantry door (shown open in the photo but naturally closed for play) and/or the panel doors below the sink,and/or divider doors (just out of shot at the bottom of the photo, which at the time had helpfully unobtrusive recess slots rather than potentially rally-ruining handles).

If the ball is accidentally hit to the left of the fridge (to the kitchen entrance), the ball is out and the rally is over. If the ball is hit to the the right of the fridge (an entrance that leads to a little laundry area and side door to the house), the ball is out and the rally is over. If the ball is hit above the fridge, gawd help you because the ball will probably get stuck behind the fridge and is the devil’s own job to retrieve. Needless to say the rally is over but also, almost certainly, your enjoyment for the evening, as mum and dad take matters into their own hands to terminate the game at that juncture.

If you hit the ball hard enough for it to get some action off the back surface or the cooker, the ball is still in play but that is a dangerous tactic given the strange bounces you might get back there. Aficionados of real tennis might enjoy the idea of hitting the grill/grille – a winning shot in realers but merely part of the ongoing fun/difficulty in fridgers.

Where you can see drawers at the back of the court/right hand side of the photograph, in my day there was a recess under a surface there and a stool kept in that space.  If the ball went into that recess it was out and the rally was over, making the back of the court even more treacherous than it would be today.

A second bounce does not necessarily terminate the point, although most second bounce situations tend to lead to the ball not bouncing at all and ending up dead, which thus ends the rally.

It really is a magnificent game, full of skill and playable as an addictive solo game, not entirely unlike the pinball addiction that subsequently grabbed me for some time. Indeed given the size of our family kitchen, it worked best as a solo game.

But here’s the thing.

Fridge ball 533.

Just think about that for a moment. A 533 stroke rally. That is a remarkable score.

I think there was also a playing condition that allowed for externalities (such as mum wanting to do the washing up or dad wanting a cup of tea), such that the player could catch the ball in the non-bat hand (not scoring a stroke for the catch, btw) and then continue the rally once the interruption was over. Frankly, I can’t imagine having had the run of the kitchen for long enough to score 533 without such a playing condition. Not on a midweek evening after playing four sets of fives at school.

What a marathon sporting day.

Does anyone reading this piece remember playing fridge ball with me or similar games in their own (or other people’s) homes? I’d love to hear all about it if you did.

What On Earth Was Downing Doing? Alleyn’s Aghast At 1S Drama Friday Outrage, 25 January 1974

Sometimes the handwriting in my juvenile diaries is hard to decipher.

Other times, the scrawl is legible but the text is hard to interpret. The entry for 25 January 1974 is such an instance, rereading it 50 years later.

P.E. good + drama good. trial me a witness Downing made a mess of it.

Let us not fret about my pre-teen punctuation and sentence structure…or lack thereof.

My main concern here is with the reference to Downing.

There was no-one named Downing in 1S.

I asked a few 1S pals to hive mind this problem. Who was Downing and what on earth might Downing have done to “make a mess of it”?

Dave French suggested:

I remember that Drama class well, it was in the afternoon. Mistakenly, the dinner ladies served up magic mushrooms with lunch that day. That probably explains it – Downing was just ‘in your head’. It was quite embarrassing really; I still have nightmares.

Rohan Candappa offered an alternative theory:

Actually I remember the boy ‘Downing’. Downing was his nickname. It was a Cockney rhyming slang thing: Downing Street – Warwick Frearson.

To be honest, I think none of us really knew how rhyming slang worked.

Hmmm. The half-century-old 1S hive appears to be a bit of a struggling colony these days, especially in the matter of remembering the finer details of class activities. I can’t imagine any of the above evidence holding up in a jury trial.

“Erase from your minds inadmissible, hearsay evidence…”

I decided instead to seek help from the internet. I put the name “Downing” into the Alleyn’s 1970 Facebook Group search and found “Mike Downing” in our group, stitched up (or should I say “introduced”) by Steve Williams some years ago.

A Google Search of “Mike Downing Alleyn’s” found the gentleman on LinkedIn, asserting that he spent 1972-1979 at Alleyn’s (a year above us) and again a visible connection with Steve Williams.

There was nothing else for it. I contacted Steve Williams. Steve confirmed that Mike Downing was indeed a year above my 1S year, two years above Steve. Steve also confirmed that Mike was and still is a top bloke, who would no doubt enjoy the fifteen minutes of fame (or infamy) and rise to the challenge of trying to recall what might have happened.

Frankly, I can only imagine a few possibilities for this mystery diary entry.

The most plausible in my mind is that Mike Downing inadvertently entered our classroom half way through a double lesson. Opening the wrong classroom door by mistake during another class’s lesson was not an uncommon occurrence at Alleyn’s.

But in order to make it into my diary – a very rare mention of a specific event – the interruption was, presumably, during a key dramatic moment while I was giving evidence. I imagine myself fully in character. Lost within my back story and the highly-charged dramatic circumstances in which my character found himself. Such an interruption would, in those circumstances, have utterly demolished the fourth wall. My potentially monumental acting career thus cruelly interrupted, never again to find the giddy artistic heights that were just that moment about to blossom. A mess of it indeed.

The other possible answer to the Downing mystery is that Downing was part of that drama class and somehow muffed his lines. Perhaps he got tongue-tied or incriminated himself or failed to cross-examine me well enough to expose the implausibility of my evidence.

Is it possible that we occasionally (or even regularly) combined forces with a second year class on drama Friday? Or might Downing have been attending remedial first year drama classes, having made a mess of drama when he was a first year…only to go and make a mess of it again as a remedial member of our class?

I put it to you, dear readers (aka members of the jury) that we need to call at least two additional witnesses to the infamous “made a mess of it” event. Mr Ian Sandbrook (Sir) and Mr Mike Downing. Unless someone else who was there on that fateful day has memories to share.

For sure the sentencing needs to be a lot more incisive than the 25 January 1974 diary entry

Postscript One: Mike Downing Writes:

I seem to recall that I was in the end of year production of Dr and the Devils by Dylan Thomas for which I received critical acclaim in the school magazine 😉 but that may have been 1973. A later foray into Drama spanning some 40 years revealed that I was always late to put my book down and could paraphrase with the best of them when the lines were not forthcoming! I was also in the G & S society production of Trial by Jury so maybe that makes sense and I may well have messed up but old age has reduced it all to a vague blur! Shame you didn’t get to critique some of my later efforts as I definitely got quite good at the whole drama thing in the end🤣. Came close to going professional at one stage but rather preferred the security of a regular pay cheque. Does that jog your memory at all? I doubt it refers to my older brother 1968-75 who never went near a stage in his life.

Postscript Two: Ian Sandbrook (“Sir”) Responds:

IAN SANDBOOK: I am very sorry, but I have absolutely no recall of Downing’s intervention in the drama class of Jan 25th 1974…

IAN HARRIS: Don’t worry about your lack of memory. It’s my diary and I cannot remember this stuff, so I cannot realistically expect others to remember it for me.