by Mx. Kris Vyas-Myall

It finally happened; the Golden Age of Pirate Radio has come to an end around the British Isles. After three and a half years of pop music coming from the high seas, they have (almost) been completely silenced. British music fans are primarily reduced to listening to middle of the road requests on Housewives’ Choice or popular songs as interpreted by the BBC Scottish Radio Orchestra.

So how did we get from the country being surrounded by radio stations back to 3 BBCs stations and a signal from the continent?

Journey Out of Limbo

The legal loophole that Pirate Radio had operated in was not one that could continue on indefinitely. As I noted in my first article back in 1965, the UK was a key signatory of European Agreement for the Prevention of Broadcasts transmitted from Stations outside National Territories and so had to find a way to bring things to an end.

There had also been complaints from various different directions about these broadcasts:

* Foreign embassies were complaining that the signals were interrupting official broadcast channels (although others have claimed those signals were coming from behind the Iron Curtain)
* Shipping companies made the case that the pirate ships did not have set routes nor pre-agreed transmission frequency so were a hazard to transport
* Musicians unions argued that the amount of gramophone records played meant their live performances were being impacted
* Some record companies complained they were not receiving royalties from these stations (a fact that is disputed)

It also probably did not help when Reginald Calvert, owner of Radio City, was killed by Oliver Smedley, the former owner of rival station Radio Atlanta, in a row over transmitter parts in June of ’66.

So, a solution needed to be found. Obviously, the Pirates wanted to move towards legalization of their activities. I think you would have been hard pushed to find DJs that enjoyed being on rusty old ships or hanging out in abandoned sea forts, and the move towards an American style proliferation of commercial radio stations was probably their preferred option.

This was the proposal presented by Paul Bryan MP: to try to have around 200 local commercial stations throughout the UK, with major cities able to enjoy a choice of seven or eight different channels if there was enough demand.

Public show of support

The Pirate radio groups have been trying to drum up support for their cause in various ways. These have included measures from a single, We Love the Pirates, to a letter writing campaign to MPs, to the Free Radio rally in Trafalgar Square at the end of May.

Perhaps the most audacious has been the attempts to influence politics. During the April council elections in London, ads were run in support of the Conservative Party on Pirate Radio (due to the party’s support of legalization of commercial radio) and subsequently the Conservatives won 82 out of the 100 seats. Not only was this the first time they had held control of the London council since 1931, it is also the largest majority held by one party in the council’s almost 80 year history.

Political show of Opposition

Edward Short, Postmaster General

If the Pirates and the Free Radio Association thought this kind of activity might exert pressure on the Postmaster General, Edward Short, they were sorely mistaken. If anything, it seemed to harden attitudes, with questions raised of whether further legislation was necessary to prevent any other kind of political broadcasting. Legislation has also been included to make it an offence for writers and artists to provide any kind of material or for the preaching of sermons on unlicensed radio (nicknamed “plastic gospels”).

Even a compromise proposal from Left wing MP Hugh Jenkins to allow for a smaller number of local commercial stations under a public authority, acting as a parent station, was rejected. Instead, the Marine Offences Bill or Marine Broadcasting (Prevention) Act was passed, making it illegal for anyone in the UK to provide any kind of support to these pirate radio stations. The law came into force on 16th August.

By then almost all the pirate radio stations had been shut down. Some had already begun to close earlier in the year, with advertisers wanting to jump ship before legislation went into effect. Others were able to survive a little longer, due to space being bought by the tobacco industry (who used it as a way to get around restrictions on their industry) and right-wing groups such as the Monday club (for whom this has become a cause célèbre).

However, as the deadline got closer, stations began to realize the game was up. The government had already begun to bring prosecutions where they could claim broadcasts had happened in British waters and rather than face a clampdown, they are silent. Now ships are being sent the scrapyards and forts are being dismantled.

There was even an investigation of the Amateur Athletics Association for making use of free advertising space on Radio Caroline. Although no prosecution followed I think this shows how strongly the government has taken the job of stopping the Pirates.

However, there is one last station determined to find a way to fight on…

The Rights of Man

As I noted previously, there are two legal radio stations you can try to listen to, if your signal allows. The night broadcasts of Radio Luxembourg from the continent, and the low powered broadcasts of the UK’s only legal commercial station, Manx Radio.

The Isle of Man’s relationship with the UK is a complex topic I could easily do an entire article on itself, but needless to say, the Tynwald (Manx Parliament) objected to the imposition of this legislation on an island with its own commercial radio station and without any consultation and so it was rejected.

This created a constitutional crisis because it meant that Pirate Radio could simply park up and get the operational support they needed from an island just Sixteen Miles off the British coastline and have the perfect venue to keep broadcasting. Which is exactly what Caroline North did when they dropped anchor there in early August.

At the same time, proposals were discussed to significantly increase the power of Manx Radio’s transmitter, to be able to compete with Radio Luxembourg and cover most of Britain and Ireland.

As you can imagine this caused a lot of anger in Westminster, and talks were held to try to resolve the crisis. Eventually the legislation was forced to come into effect at the start of this month. Plans for an extended transmitter are shelved and Caroline North is once again isolated (although they say they are stocked with supplies and will continue broadcasting).

On the other side of the country, Caroline South is officially operating out of The Netherlands, with several DJs moving there to avoid any risk of prosecution. How long this tactic will last is the question. The Dutch parliament is considering legislation similar to that of the UK, to come into force in 1968.

Common Ownership of the Means of Production

So, is that it? Pop music is banished from British airwaves? Not quite, whilst the government may be engaged in what Paul Channon MP called:

unreasonable, dictatorial, a killjoy, pettifogging socialist nonsense.

Mr. Short and Mr. Wilson are also not stupid. There is clearly a demand for pop music radio and if something isn’t done to address that fact, it won’t be long before other illicit means are deployed to provide it.

The government white paper came out in February outlining the new approach which, perhaps unsurprisingly for a socialist government, outlined the plans for a new national BBC pop radio station. This will broadcast at least six hours of records per day, along with live performances from the artists and special recordings. In addition, there are plans for 9 experimental local BBC stations, subsidized by local services.

This new radio station is to come in as Radio 1, as part of a reorganization of BBC Radio. The Light Programme (Light Music) is to become Radio 2, The Third Programme (classical) is to become Radio 3, and The Home Service (talk and scripted) is to become Radio 4. However, at least initially, no extra funds will be assigned to the radio service, so Radio 1 and Radio 2 will be sharing programming.

In a further sign of this as a form of nationalization, the new Radio 1 DJs are former Pirate Radio alumni, from big names like Tony Blackburn, to the hippy’s favourite John Peel. So, even though we may not be getting a continuation of multiple stations giving us 24 hour hit records, there will at least be some continuity.

Will the crown ever appeal as much as the Jolly Roger?

In 1718 over 200 pirates accepted the King’s Pardon and gave up their life of piracy. However, a number of them, most famously William “Blackbeard” Teach, soon grew bored and went back to a life on the high seas.

The question now remains, which way will things go today? Will the new “Radio 1” replace the Pirates in the hearts of the nation’s youth? Or will many of them follow Caroline’s lead and return to life under the Jolly Roger?

The new service debuts on 30th September. Until then, you will have to stay tuned to the Light Programme. As this issue is being stapled and sent out, you should be able to hear the sounds of Bernard Monshin and his Rio Tango Orchestra and extracts of The Val Doonican Show from the pier in Great Yarmouth …. groovy…

by Mx. Kris Vyas-Myall

BBC Radio

For those outside the UK it may surprise people how closely controlled radio broadcasting is by the BBC. Whilst we have had commercial television for 10 years, you officially only have a choice of the BBCs 3 radio stations (unless you happen to live on the Isle of Man, but I will get to that later).

These are The Home Service, which is primarily dedicated to talk and drama (with a strong religious and educational focus), Network Three, which is primarily dedicated to classical music but with some jazz and educational content in between (such as Spanish For Beginners & Shorthand Dictation), & The Light Programme, for mainstream entertainment.

However, although The Light Programme is theoretically a national service for mainstream entertainment, this should not be mistaken for being a pop music radio station as you would have in America. The time is more regularly devoted to big band and soundtracks, with one of the most popular programmes being Housewives’ Choice

There are some specific slots set out for the kind of music that regularly appears on the charts, primarily on a Sunday. One of the most popular is Brian Matthew’s Easy Beat which, as the name suggests, tends to feature more easy listening popular artists such as Kenny Ball, The Hollies, and Val Doonican. Whilst it does feature some interesting artists, the Sunday Morning slot (just prior to broadcast of a church service) does not make it the most lively programme. At 4pm is Pick Of The Pops which features chart music and presented by Alan Freeman. Finally, late at night is The Teen Scene, which also features interviews with popular artists.

Why does the BBC provide so little for modern pop music? From what I have heard, many at the BBC radio consider their remit to be educational and do not have a high opinion of current musical trends. As such, it is not surprising that many people have sought out alternatives to the BBC’s monopoly over the airwaves.

Offshore Stations

Being next to the continent of Europe, those in the South of England can often get foreign signals quite easily.

The most popular of these is Radio Luxembourg. With (they claim) the most powerful radio transmitter in Europe they have been broadcasting in French and English to Britain since the 1930s. This decade they have begun to target the teenage market primarily and using American style DJs live. Until last year Luxembourg was the easiest place to access pop music.

There is now one commercial station officially licensed by the UK, Manx Radio. The Isle of Man, which sits in the North Sea between The Lake District and Northern Ireland, is a crown dependency but has its own parliament and laws. Last year they negotiated with the British Parliament to be allowed their own commercial radio station.

Manx radio began broadcasting in June from a small hilltop caravan. Its programming makes for an unusual combination, as it has the pop records and attempts to recreate the styles American disk jockeys you can hear on Radio Luxembourg, but mixed in between them is a lot of local flavour. We get the real sense this is a true rural homespun affair with ads for local businesses and news of life on the island. In many ways these idiosyncrasies make it as different as it might be possible to get from the stuffed shirt attitudes we get from the BBC presenters.

However, many people are turning their dials to a new kind of programming, pirate radio

Pirate Radio

Radio piracy is nothing new. The 1930s was also a major period for pirate radio: the IBC were broadcasting English language radio from mainland Europe, whilst West End hotels broadcast live dance bands from their own ballrooms. I am personally too young to remember those days, yet it is curious to wonder where we would be if the war had not disrupted so many of these.

The direct antecedents of today’s pirate radio ships are probably Radio Mercur and Radio Veronica. The former starting in 1958 for Scandinavian audiences and the latter for Dutch listeners in 1960, these broadcast from offshore ships and showed that 1) There is an audience for all-day pop music radio aimed at the teenage market & 2) it could be a successful commercial operation. And around a year ago British audiences got their own version, Radio Caroline.

Ronan O’Rahilly, owner of the Scene club and small-time record company owner, decided to park just a few miles off the British coast and began broadcasting a different kind of radio. Here it is a steady stream of pop music with casual DJ platter and a freedom to promote newer artists to the audience. One good example of this is 24 year old Tom Jones, whose debut record It’s Not Unusual has not been played on the BBC but has been getting regular airplay and has been slowly climbing the British charts as a result.

One of the best loved DJs is Tony Blackburn who intersperses his playing of fantastic pop records with a regular stream of quick puns. A world away from the reserved presenters you get on The Light Programme.

Since the merger with Radio Atlanta (another Pirate Radio ship that quickly followed Caroline’s lead) these two ships can broadcast to almost the entire British Isles. However, there are a couple of flaws in the broadcast. Foreign signals disrupt the broadcast after 9pm which means the show stops broadcasting. Also, from what I have heard, in Northern Scotland, South Wales, and Cornwall the signal gets very weak. It is best able to supply those in the South East and North West of England.

However, Caroline now has a major rival in the form of Radio London. Also known as Big L or Wonderful Radio London, was started by a group of Texan Car Dealers in the mould of Radio Caroline and based on a former minesweeper sporting a radio mast which is (they claim) more than 200ft tall.

Whilst only in operation since December they have already attracted a loyal audience via a combination of the clear experience demonstrated by their team and being explicitly a top 40 station, with their own weekly Fab 40 Chart we get to hear from.

Then we have the more unusual case of Radio City. In order to understand this you have to first know of two oddities of British life, the sea forts and Lord Sutch.

During the Second World War a whole range of armoured forts were built off the British coast in order to help defend against German attacks. These have since all been decommissioned and have been sitting empty off the British Coast. Last year one of these was seized by David Edward Sutch AKA Screaming Lord Sutch.

Lead singer of the rock group Screaming Lord Sutch and the Savages, Sutch has become much written about in the newspapers for his unusual stunts, such as outlandish stagecraft and standing for election as a candidate for The National Teenage Party. Yet his records had a lot of trouble getting any airplay and he has been outspoken about the need to liberalise radio.

As such last May he took over Shivering Sands fort and began broadcasting Radio Sutch. As well as record play there were such segments as readings from erotic novels and other material designed to shock. This enterprise ended up being more important for the stunt than the actual broadcast as the transmitter was only able to reach a small area of the mainland and he soon sold it to his unofficial manager Reginal Calvert, who renamed and relaunched the operation as Radio City.

This is a somewhat more professional operation than Sutch put together, able to hit a lot more people but retains a little of the more eclectic content with output varying between new music releases to comedy to even evangelical broadcasts from local religious organisations.

The Current Battle

So as the number of pirate radio broadcasts continues to grow, so does the opposition to it from the government’s side. As well as the continued outspoken statements from The Postmaster General Anthony Wedgewood-Benn, Britain became a key signatory to the European Agreement for the Prevention of Broadcasts transmitted from Stations outside National Territories in January, designed to stop Pirate Radio.

In 1962, the Government had investigated the possibility of licencing of commercial radio but had concluded there was no demand for it. Yet a report from last year found that in areas where Radio Caroline has a good reception around one-fifth were identified as Caroline ‘addicts’, 70% of them under 30 years old. At the same time a Gallup Survey estimated the listening audience at seven million.

Pirate radio clearly has a big cultural grip on the British Youth and is loathed by the establishment. Who will win in this battle remains to be seen, but I will keep turning my dial to 199 for my daily dose of Caroline.

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