In Todd Matshikiza’s autobiography, Chocolates for My Wife (1961), which describes the exiled South African writer and musician’s first two years in London, he recounts being interviewed by a “man from the newspapers” (Matshikiza 1961a, 38) about his role as composer of King Kong, the South African jazz musical that was about to hit the West End stage. He recalls being warned about the voracious British media by a well-meaning friend, who tells him: