Radio Caroline 50th anniversary

[Radio Wrangler]

I'm not a legal boffin, but I have read the terms of various licences.

Anyone in the UK is allowed to listen to certain transmissions. These are
1) Licensed broadcast stations
2) Licensed radio amateurs
You are held to the terms of the sound receiveing licence which everyone is considered to have. Some of its terms are printed on the TV licence.
3) If you have a TV licence, then you may receive signals from licensed TV broadcasters.

And that's it!

It specifically states that it is an offence to intentionally receive any other transmissions (so radio astronomy seems OK). In the event of any other transmission being received, you are prohibited from passing on the material to any third party, and you are prohibited from disclosing even that something had been received. You are allowed to disclose these things to a person acting on behalf of the secretary of state etc etc. This sounds like you can be prosecuted for intercepting anything, and if found out and charged, it sounds like you could be prohibited from telling your defence lawyer. Words like draconian don't quite do this justice (Justice? Whazzat?)

If you have an amateur radio licence, you are already permitted to listen to them, all it adds on the listening front is permission to listen to standard frequency transmissions. That isn't in the broadcast(sound) or TV licences, so all those MSF self-setting clocks are illegal, unless you have an amateur licence.

Cellphones. Yup these are licensed and the licences are held by the network providers. Your phone comes under whoever you get service from. These are the licences they paid billions for.

Bluetooth, 802.11 (wifi), PMR466, car key fobs etc. These come under the heading of licence free short range devices. They must be type approved equipment of very low EIRP. I think model control comes under this as well.

CB, still licensed. Covers reception as well as transmission. Listening is illegal without one.

That's it. Unless you have a specific licence, listening to anything is illegal, and the penalties for the WT act were womphed up to take out illegal broadcasters, so that means jail and unlimited fines as the maxima.

Of course, in practical terms it isn't much enforced. It is very difficult to find an illegal listener unless they themselves reveal it. And the authorities aren't much bothered unless there is another fish to fry, then it becomes something extra they can load on, or maybe the only thing they can make stick. Al Capone was jailed for non payment of taxes.

Unless you are covered by a licence, all listening is illegal.
Passing on or acting on information received is a further crime.

The whole thing is a swiss cheese of loopholes. As a radio amateur I can use certain bands only under the acceptance that I give way to official stations who are primary users, and they may ask me to close down... when I am required by my licence terms to close down. OK so far. But it's illegal to listen to them, and further illegal to act on what's heard according to the WT act.

In practice, lots and lots of people are listening to anything they can find and everyone knows it. In practice anything sensitive is encrypted but the WT act hasn't caught up yet. It probably never will, just in case....

The only good advice is to not discuss the reception of anything except for broadcasters and amateurs.

David

[AC/HL]

Originally Posted by JohnBHanson

I believe that it was never illegal to listen to anything - but was illegal to pass on info or act on info heard that you were not supposed to hear

That's all that can be enforced realistically.

[telstar]

Stations like Caroline would not have been in existence if public broadcasting (BBC) had been more aware of public requirements.
Caroline only started because its founder (Ronan O' Rahilly) was originally a music producer. He tried to promote Georgie Fame, and to try and get his records played on BBC Light and Luxembourg stations. He found out that there was a problem with both stations, they had preferences with the four big record companies (hence anything not included in these monopolies was taboo). The rest is history, he had to start his own station to feature the groups & artistes that could not get past this "blockade".
It is very hard to imagine how difficult it was to hear music on the Light Programme (you had to be an "established" artist to get featured on it, how you got in to that circle I can not comprehend?). I tried to explain that to some young people once, they found it difficult to believe, but it is true. About one hour a day was allowed (just like the script mentioned in the comedy "The Boat that Rocked", though some of the story was incorrect).The BBC could also "make or break your career", and especially if your music did not meet with their criterion. One example was with an instrumental (one of those Joe Meek clavioline ones) called "Night of the Vampire" by The Moontrekkers (1961). Because it had O.T.T s.f.x in it, the BBC tried to ban it. However, they then accepted it a short while afterwards. There was a surge to buy copies of it, the record pressing plant could not keep up with demands (also I believe that there was a strike at the plant). When it was resolved, the record failed to get in to chart, stalling at no.50, when it was good enough to gain higher positions. It was a really good record that was ruined by mis-understanding
When it came to having music on early television programmes, "The Six-Five Special" was allowed to feature mainly skiffle, but not continuously. You had to have a programme break (not adverts), but watching leisure activities climbing mount Snowdon or Ben Nevis (most odd!)
It was not just pop music that was monitored before 1964, people with other talents also had to face scrutiny by the BBC. It is a bit of a nuisance when the system fails people's requirements!!
Cheers
Mike

[Valvepower]

Hi All,

This may be of intrest.

Pirates to rule the Air Waves on BBC Radio Norfolk

BBC Radio Norfolk has put together a top-line up of ex Pirate Radio DJs, who will broadcast throughout Easter Monday [April 21]. The day has been put together to celebrate the 50th anniversary of Radio Caroline.

The broadcast kicks off at 7 am and features many ex pirate DJs, including Norwich born, Tom Edwards.

Tom and his fellow band of pirates will be selecting music from Easter 1964 to August 1967, the golden era of Pirate Radio.

The full-line up of the day is as follows:

7am: Ray Clark (Ex Radio Caroline and current BBC Essex presenter)

9am: Andy Archer (Ex Radio Caroline and former BBC Radio Norfolk presenter)

11am: Tom Edwards (Ex Radio Caroline, Ex Radio 1 and Radio 2 and former BBC Look East presenter, born and bred in Norwich)

1pm: Keith Sukes (Current BBC Radio Norfolk, Ex Radio London and Radio Caroline, Radio 1 and Radio 2 and Radio Luxemburg.)

4pm: Colin Berry (Ex Radio Caroline and BBC Radio 2)

6pm: Pirates At 50 (one hour documentary produced by Paul Rowley)

Regards
Terry.

[emeritus]

Pre-pirates, there was indeed a strict limit on the amount of "needle time" allowed on the BBC, I think due to agreements between the BBC and the musicians' unions. Thus popular music programmes such as "Saturday Club" didn't normally play current records, but had live musicians such as the NDO (Northern Dance Orchestra) playing tunes from the hit parade. if you were lucky, the actual artists would be featured. I have a couple of BBC audio cassettes of the Beatles live at the BBC, featuring music from such live broadcasts.

When I got my first tape recorder in 1962, the main BBC programmes that I could record records from were "Two Way Family Favourites" and "Top of the Pops" on Sunday, "Housewife's Choice" weekdays, and precious little else. I did try recording from Luxembourg, and occasionally short wave, but line time base interference on medium wave from TVs was often a problem.

The daytime pirate broadcasts (when hardly anyone was watching TV as normally only the test card was being transmitted) greatly expanded my choice of music sources. I still have the tapes, which include random snatches of station announcements and jingles, but the EL3585 I recorded them on suffered from the soggy rubber syndrome and is currently u/s.

[telstar]

The strange arrangement between the BBC & the music licensing authorities ("needle time") did not do much for radio listeners that wanted to listen to music, nor was it much use to musicians either. When the so called "Pirates" did arrive, record companies welcomed them (even giving "freebies" for them to promote). It just goes to show what a difficult time it was for everyone. There was a vast amount of talent in existence before "Beatlemania", but not many got a look in, thanks to this and other factors. All these early talents should have been allowed to filter through for people to enjoy in the 1960's.
I am convinced that the intentions of the offshore stations were conveniently mis-understood, the government had no intention of allowing commercial radio, let alone granting them a licence.
The plans that helped to outlaw them in 1967 were probably as bad as say Beeching & the railways, in respect of both plans were not properly thought through (even though they were completely different subjects). There were actually no plans to replace the radio stations, it was all going to go back to pre 1964 programming. When change did come, Radio One was merely a satellite of Radio Two, and was very limited. At least in the 1970's they had a decent night time programme with Alan Black & Anne Nightingale, featuring progressive rock music, unfortunately this did not last long.
Cheers
Mike

['LIVEWIRE?']

If I haven't already mentioned this, somewhere I still have a letter received in 1964 from a Government department (probably the then GPO)in response to my writing to them re; R. Caroline, in which they stated that 'the three national radio services provided by the BBC were sufficient', and they had no plans for any additional services provide by the BBC or anyone else!

[G6Tanuki]

It's interesting to compare the attitude of the UK Radio Authorities [i.e. the still-Reithian BBC] trying to regulate the availability of broadcast popular music to the masses, and the similar-era in the US where "Payola" was the order-of-the-day and record-producers/promoters were offering wads of cash and free sexual-favours upfront to DJs in order to get their records on-air...

The "Light Programme" never played much Motown.

[telstar]

Hi. It is a great shame that the BBC were kept under the control of the Reithian influence. My mother once told me that she attended the Northern School of Music in Manchester (when she was younger) for a singing career. She gained excellent qualifications (classically trained), and also sang to a packed house at a concert in Leeds Town Hall in 1947, backed by the Fairey Aviation Band. The BBC were also in charge of any potential talent in those days, and scrutinized all applicants for their educational standards (the criterion was to have a grammar school education). My mother did not attend such a school, so she was unfairly blocked from entering the entertainment establishment. Her qualifications alone should have given her an access to the entertainment industry, and should have earned her quite a bit of money! There were no talent shows in those days, and she was "let down" by a dreadful system.
I know this was not pop music, but I am just illustrating it to show viewers how music for the masses was controlled by a rather unfair system. No wonder change was to come!
Cheers
Mike

[telstar]

Hi Anyone heard the tribute programme to the Pirate Radio Stations on BBC Radio 2 last night at 22.00? It was very well produced. It seems that the Postmaster General (Tony Benn) actually enjoyed the offshore stations, but was probably told to have them closed down, but he was not the actual P.M.G that finalized it. There is another programme next Monday night at 22.00.
Cheers
Mike

[Junk Box Nick]

I thought it did the cultural significance of the pirate stations quite well.

Many things came together in that period, the emergence of the 'teenager', new music styles, fashion, an end to deference, a general air of optimism and technological advances that included the arrival of the transistor radio.

Without all these things, pirate radio would probably have never happened.

[AC/HL]

The Second World War was said to have ushered in some of those, it was just a slow process.

[m0cemdave]

Interesting programme, and I also thought it was quite well produced.

However it seemed to lump Luxembourg in with the pirates which is not quite right. Also missed one of the reasons the pirates were preferred to Lux when they started - much nicer to listen to because they didn't suffer from deep fading.

It certainly made me remember listening on my Perdio trannie to Caroline North in the early 60's. Ramsey Bay to West Lancs over a sea path meant a good strong signal.

[Junk Box Nick]

In my locality all the pirates suffered from fading at night. Caroline South on 1187kHz, which was my preferred station, was often accompanied by an warbling opera singer on one of the other stations occupying the same frequency.

The reason why I disliked Luxembourg was those 15 minute shows that were referred to in last night's programme and that the records were often faded half way through to get in the alloted number of plays. I was, of course, unaware of the sponsor regime at Luxembourg.

After the demise of the pirates Luxembourg seemed to adopt their style of show and the bingo programmes disappeared. Luxembourg became the choice of night-time listening at school though by 1971 I was listening more and more to RNI, and then Caroline reappeared in 1972 with its all album format. Actually, in that era there was quite a choice because the music policies were quite different. Lux with chart pop (and "Jenson's Dimensions" in the early hours if you were able to stay awake), Caroline with albums and RNI with it's eclectic mix of pop and continental artists.

[telstar]

Hi. Anyone listened to the second part of the programme (Monday night)? I missed it myself, and will have to see if I could use the facilities that the BBC provide to hear it.
With regards to Luxembourg, this was only a pirate before WWII, I was informed that it was the only one to gain a license after 1945. Anyone remember those awful records in the 1960's that Luxembourg promoted with hit tunes of the day being sung & played by unknown artistes & groups? We were given some of these records, and did not really enjoy them.
Looking back at it all, it is hard to believe what we had to live through just to be able to listen to music. I know young people probably couldn't envisage what it was like, and (with due respect) I believe that many older people have forgotten the real details of that time.
The so called Pirates were viewed as"baddies", but this is grossly unfair. This situation was not of their making. The real "baddies" were in various authorities that failed to understand what it was all about. In the first programme about this subject (two weeks ago), a guy from the musicians union could not understand how difficult the rules were to get music played on the radio all that time ago. What I would like to know is "What was the point of making records when the media & performing rights people put stumbling blocks in your way"?
I really enjoyed the day out at Liverpool for the 50th anniversary, and I was able to meet like minded people. This was the second event of this nature that I attended, the first being at Walton on The Naze in Essex for Radio London in 1997. They played the original programme tapes, jingles, and the commercials (they are also enjoyable to hear as well!).
It would be great to have a Nostalgia Channel on the radio (24/7) for all to enjoy, which encompasses these stations (a bit like 10 Gold in Holland), and sponsored by all the authorities that made it difficult in the first place. The I.L.R authority should also be involved in sponsoring it, well without the pirates they would not be here! If it means so much to the BBC that stations like Caroline changed the way that we listen to music forever. I don't think that it is an impossible task, it would make very interesting and educational listening.
I would like to have seen the "Pirate Radio Essex" event at Harwich some years ago (transport links by railways was a problem at that time), and the Radio North Sea and Radio Mi Amigo events there. With the LV18 out of action, these are a thing of the past.
Regards
Mike

[steve c]

Hi
I am normally on the vintage TV and video section so have missed this thread. Radio Caroline has been a major part of my life and I have been a supporter of the station for most of the last 50 years. The station is still going strong today on the internet. There was a period of satellite transmission and for a while could be found on the Sky EPG, unfortunately the costs involved meant leaving that platform a while back The station today has many well known presenters from the past and runs from its studio in north Kent although many of the jocks use links to their own studio facilities. The Ross revenge has now been lovingly restored at her mooring in Tilbury docks.
All of the stations history can be found on their web site along with programme details and a link to radio player www.radiocaroline.co.uk
Another site for the faithful can be found here www.woodleynet.co.uk/index3.htm
Look out for the podcast page and find Steve Silby, he does a 4 hour show on Fridays afternoons. On the 50th anniversary, 28th March, he did a special called voices from the sea with part 2 the following week. These 2 shows are a stunning bit of radio history giving between them an 8 hour history of the station complete with all the old jocks, adverts and dramatic situations as they played out live on air.
The Woodley site also has a load of info about the Ross, indeed both sites can take a long while to go through as there is so much great stuff to go through.
If you guys get a chance give the Old Lady a listen, the music content is in my opinion some of the best around but then I am old and rather biased.

OK ---- back to my vintage TV stuff

Steve

['LIVEWIRE?']

I have an MP3 CD of R. Caroline North's programmes broadcast between 9.00AM & 6.45PM on 14th. August 1967 on 259M. It's subtitled 'The last day for many of the established DJs', and, AFAIK, consists entirely of recordings made during the transmissions, not re-creations like the 'Don't touch that dial' CDs. Makes interesting listening, though not all CD players can read such discs. There are no notes with the CD, which I bought at the NVCF a couple of years ago.
With all due respect to 'telstar' in post # 75, I think there are some errors in it. According to a book about R. Luxembourg, the station was never a 'pirate', though it was accused of 'pirating' the LW frequency used for the English Service pre-WW2.
AS for the 'awful' records, I understsnd that to refer to cover versions of hits of the day on the MajorMinor label which at one time R.Caroline had to play due to the MM label being owned by one of Caroline's backers. AFAIK '208' always played 'original' recordings, British or American, although some discs thought to be the originals weren't
E.G. Quite a few hits by white U.S. singers were covers of originals by black artistes, whose records were seldom released in the UK at the time (Sorry if this is a little OT!)

[Station X]

From what I remember Major Minor records were original recordings (not cover versions), but some of them (most?) weren't very good. DJ Johnny Walker spoke of throwing them out of the port hole.

http://en.wikipedia.org/wiki/Major_Minor_Records

It was the Embassy (Woolworths) label which released cover versions of top ten hits.

['LIVEWIRE?']

Graham,, you are correct, although what I meant was that the MM label didn't normally release discs by the big names of the day, although IIRC The Dubliners were on that label.
As I type this I'm listening to part of the CD I mentioned above, featuring DLT (Can we mention him?) playing some Major Minor records, amongst others, at the moment 'A Whiter shade of Pale' As to Embassy, I don't think any radio station ever played their records.

[womer_uk]

After the '67 act - O'Rahilly was just a spokesman as Jewish music publisher Phillip Solomon (owner of the 'Major Minor' label) had complete control of Caroline's playlist.

75% of the playlist was 'plug' singles - either Major Minor or other new releases which record companies had paid £100 a week to have played.

Johnnie Walker actually left Caroline in January 68, after being told off for playing all the plug singles in one lump, so he had a full hour of his own choosing.

He later rejoined a few weeks later to present a progamme featuring Otis Reading tracks (he had only just died) - and just stayed on afterwards.

He was also banned from getting a job on Radio 1 for a year (a BBC rule)

They employed him in March 1969.