I met John Maxwell sometime in 1973, through my (soon-to-be) wife, Deninee, who, at the time, was a Jamaica Information Service television producer. The Press Association of Jamaica then ran a very popular members’ club off Hope Road, and there, nightly, John, Terry Smith and Ben Brodie, mostly held sway, debating the significant news of the day and all other subjects under the sun. Mercilessly, they would quickly join forces and take on all others who dared to invite themselves into the conversation with a contrary viewpoint.

If some business or political executive stopped by, to sound out a new idea, policy or plan, prior to announcing it publicly, as the powers that be often did in those days, they had better have thoroughly done their homework, because John and his cohorts would immediately don the sceptic’s mantle. Their grilling was not only rigorous, but John’s was often caustic in its sarcasm.

Over the years, I witnessed many a politician and their allies, intellects, academics and company directors, making a quick exit from the Press Club, displaying utter frustration, or worse, exasperation at not being able to sustain their position, in the wake of the battery of statistics and facts that would be reeled off, in rapid fire, from the collective armoury of John and company.

The friendship between John and I grew, and by 1976, our families were spending most Sunday afternoons together in Stony Hill, either at his home (with Mary and two kids), or that of Colin, Elaine Wint-Leslie and their daughter Aliya. The group was sometimes joined by John’s cousin, Richard Thelwell and his lovely wife Hope, Elaine (Molly) Wallace, Jean Wilson, Richard and Marlene Daley… and we often plotted to save the world from itself. On one of those afternoons, John said to us, “To truly break the shackles off the Blackman’s mind, we have to go beyond teaching him about the injustices of slavery, lift the veil, and expose the hidden truth of our contribution to civilisation on all continents, since the glory days of Egypt.”

He introduced me to Ivan Van Sertima, our own JA Rogers, Cheikh Anta Diop, and John G Jackson. In doing so, John Maxwell opened up a new world to me and sent me on a lifelong quest for knowledge of Ancient Africans’ real and lasting accomplishments in architecture and the construction of monumental structures that have withstood the ages, astrology, mathematics and physics, medicine, water management and distribution for irrigation and domestic use, agriculture, the original conceptualisation and development of states and democracy. John was convinced (as am I) that Africans traded with Jamaican Tainos, integrated and established settlements here, long before Columbus dockeded on these shores. As physical evidence, he spoke of the existence of a mini-Pyramid, on an old plantation, somewhere in the hills of St Ann, which historians mistakenly assume had been built by the British, because they had incorporated it into other works. Our archaeologists should research and correct this falsehood, then place a plaque nearby, in John’s honour. The last time he and I spoke, he said, “Charles, it looks like we are the only two dinosaurs left in the press, everyone else is running from their past.” It was his classic play on words. Was he referring to my smoking (of cigarettes)?

Before completing this article, however, I must also pay tribute to Zola Burse, who although American by birth fell in love with all things Jamaican, and adopted its cultural mores with passion. Sadly, he passed away in Florida on December 14.

More than any other single person, as production manager for many years, Zola was initially responsible for steering the technical transformation of Reggae Sunsplash, from a first rate local production, to a first-world production in a third-world country. As the Synergy executive directly responsible for this area of the festival, I will forever be grateful, not only for his guidance, but his willingness, in good faith, to put his reputation on the line, with suppliers, in the interest of the festival. In instances that I remember, vital equipment required, in our thrust to employ the latest, cutting-edge technology, would not even have left the USA, had he not taken personal responsibility for the lease thereof. Zola had grown up in the American Pop Music business and he personally knew most of the major suppliers of concert equipment, including stage, light, sound and band-gear. Over time, he willingly introduced these providers to me, as I built my own independent reputation with them.

Zola was also the production manager for the Sunsplash World Tours. In this regard, he effectively taught us all, including Tony Johnson, the technical and organisational principles, tasks, details and sequences essential to producing a successful tour. He was tour manager for Maxi Priest and Beres Hammond for years, right up to this summer’s tour season.

Walk good my friends, peace and love.

Email: che.campbell@gmail.com