I have put warnings up before about the type of trick emails that are sent to people.
Never be tempted to click on any link that looks too good to be true – like this
I have edited the links in this email so they go nowhere
05T7T54O3…@05t7t54o3.usvia f6035—40—us-west-2.compute.amazonaws.com Wed, 3 Jun, 04:37 (2 days ago)Reply to meWhy is this message in spam? Lots of messages from f6035—40—us-west-2.compute.amazonaws.com were identified as spam in the past.Report as not spamWE PAY FOR YOURSHOPPINGFree participation | Worth £500Hi Keith You have been selected as one of the potential winners and stand a chance to win free groceries! Participate now to secure your chance! Hopefully soon you will have a shopping cart full of free groceries. Good luck! CONTINUE ›This offer is organised independently. The organiser has no relationship – including any affiliation nor sponsorship relationship – with the manufacturers of the products shown. The trademarks are the property of their respective owners. If a trademark is shown, this is always under ‘reasonable use principles’, as this use is necessary for the description of the product. All images are shown for illustrative purposes only.
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I was privileged to receive a copy of this 508 page chronicle of the UK’s pioneering offshore commercial radio station when it was first published. My copy is part of limited numbered edition. It was when I received an update to the section on Ronan O’Rahilly from the author this week, to update the book, that I realised I have not reviewed it yet.
I started to read the book as soon as it came out. Then I read a little each day, but when I was on holiday in March I finished it very quickly.
Paul told me that he got a lot of the information from people who were on Caroline, but he has skillfully woven it into a seamless story about the country’s offshore station from the sixties right up to date. The first few chapters also give the reader an introduction to the birth of radio in the UK and radio stations that broadcast to the UK from abroad.
A good book of this sort needs an index, and a very useful index is included at the back, which is customary in all good works.
I was also interested to read about the money that George Harrison put into Caroline, and the ways that Ronan obtained finance for the station.
On one hand Caroline is a total entity to the listener, it is and was “Free Radio”, but in reality it was by necessity a group of companies that kept the ship and programmes afloat. I will not tell you any more because that is well documented in the book.
The hardback book is bound very well, and if you hold the spine in your hand to read it, the pages turn over effortlessly. Some books necessitate that you fold them to read them, as they are bound too tight together.
I was interested to read Paul’s account of when he broadcast on Caroline as the breakfast host, as Paul Alexander, in the seventies. I heard these programmes and all of the Caroline programmes from February 1965, at the age of 13. I bought a Luxembourg 8 GEC Radio with birthday money, and I found the station on the Luxembourg Bandspread band ! I hope to be able to buy one of these radios if it comes on to the market, as it eventually wore out in the 80s!
Paul also explains about the Start of Radio 1.
This gives a through overview of all things Caroline and I am glad to have this book on my bookshelf.
If you would like to buy the book, I recommend the hard back.
I remember being rung up when still living at home with my parents by Ronan O’Rahilly for the phone number for the Radio Geronimo set up. He had a lovely calm voice, and I was only to pleased to supply that, I had regularly visited the Geronimo headquarters during my lunchtime whilst working at BBC Publications. Later on Radio Seagull opened up, and Barry Everett and others from Geronimo were on board broadcasting.
Here from the Guardian is his obituary – not all facts will be correct about the station but it saves a lazy blogger from typing something up himself.
Ronan O’Rahilly: pirate radio’s godfather made a sea change in British pop
Ronan O’Rahilly was nothing if not a man with a lot of ideas. The problem was that a lot of them were the kind of ideas that might lead you to think the person behind them was completely nuts.
In 1970, he announced a plan to start a pirate TV station: he claimed to have spent a million pounds on the idea, which involved broadcasting from two cargo planes equipped as studios, constantly circling the British Isles. Around the same time, he convinced the actor George Lazenby to abandon the role of James Bond after one film, telling him that the Bond franchise would collapse in the 1970s, and that he would be better served appearing alongside Germaine Greer in a mostly improvised film O’Rahilly was producing called Universal Soldier. By 1978, a year after The Spy Who Loved Me grossed £148m at the global box office, Lazenby was reduced to pleading for acting jobs in the pages of Variety and offering to work for free.
In the mid-70s, O’Rahilly became obsessed with the spiritual teacher Ram Dass and his philosophy of Loving Awareness, assembling a rock band of the same name to spread the message: O’Rahilly’s big idea was to promote them as the new Beatles, which in critical terms was a little like drawing a vast target on their foreheads and inviting people to take aim. That said, the band’s members might have felt they got off lightly, given that O’Rahilly’s original plan was to literally call them the Beatles.
But then, you could forgive O’Rahilly his more whimsical and hubristic flights of fancy. After all, he’d had one idea that changed the face of pop music in the UK. Radio Caroline wasn’t the first pirate radio station – Denmark’s Radio Mercur had begun transmitting from a ship moored in international waters back in 1958 – but it was by far the most important and influential. O’Rahilly had become fixated on the idea while managing Soho nightclub The Scene and working as a manager for Georgie Fame. The Scene was very successful: it catered to mods, playing soul, blues and R&B, music for which there was no outlet on British radio. The BBC’s Home Service restricted pop music to two hour-long shows a week, Saturday Club and Easy Beat. The BBC wasn’t interested in playing the Georgie Fame single that O’Rahilly had pressed up, so O’Rahilly announced he would start his own radio station to play Fame’s music, using the Radio Mercur model.
Launched in March 1964, apparently named after John F Kennedy’s daughter and staffed by DJs recruited from dancehalls and bars – among them Tony Blackburn, Johnnie Walker and Tony Prince – Radio Caroline, “your all-day music station”, was an instant sensation, not least because its only competition came from Radio Luxembourg, always marred by poor reception in the UK, and a plethora of imitators: Radio Atlanta, Radio London, Radio City, Swinging Radio England. It displayed a willingness to promote artists too wild or innovative for the BBC to touch – riot-provoking R&B iconoclasts the Pretty Things were Caroline regulars; in early 1965, the station alighted on the chiming guitars and harmonies of the Byrds’s Mr Tambourine Man.
It developed an ability to turn singles into hits and artists into stars: the Honeycombs’s Have I the Right? and Tom Jones’s It’s Not Unusual, both No 1 singles, were initially broken by Radio Caroline; Pete Townshend was always quick to credit Caroline’s importance in the Who’s rise to success. In addition, there developed a kind of underclass of singles that never actually became hits, but entered the national consciousness as a result of Caroline playing them to death: Marc Almond recalled hearing David McWilliams’s psychedelic oddity The Days of Pearly Spencer over and over again as a child (Caroline’s attachment to the song was linked to the fact it was released on a label owned by one of its directors); in 1992, his cover of the song finally turned it into a Top 5 smash.
It even affected the English language: the term “anorak”, meaning nerdy obsessive, was apparently first coined by Caroline DJ Andy Archer to describe the station’s die-hard fans, who would sail out to the ship on which it was situated in order to meet the DJs.
Eventually, the success of the pirate stations provoked both the government and the BBC into action. In August 1967, the Marine Broadcasting Offences Act was introduced; the following month, most of Caroline’s big stars abandoned the station for the newly launched Radio One, a legal station created in its image. The pirate era’s eulogy was provided by the Who: their December 1967 album Sell Out was modelled as a fake broadcast by the now-defunct pirate Radio London.
O’Rahilly and Caroline doggedly carried on – Johnnie Walker stuck with them for a little while longer – but became increasingly obscure: Radio Caroline tended only to impinge on the national consciousness when its ship sank, necessitating rescue by lifeboats. If O’Rahilly’s subsequent schemes tended to the hare-brained, they occasionally contained the germ of an idea. Pirate TV eventually came to pass, without the aid of aircraft; the members of the unfortunate Loving Awareness formed the core of Ian Dury’s Blockheads.
In a sense, it didn’t matter. An entirely new breed of pirate station emerged, with more or less the same USP as Caroline had once had: playing music that the BBC tended to ignore and helping to change pop in the process. Launched in 1970, Radio Invicta was “Europe’s first and only all-soul station”, and eventually launched the careers of Pete Tong and Gilles Peterson; Kiss FM, which appeared after Invicta went off air, featured Tim Westwood, Trevor Nelson, Coldcut and Soul II Soul’s Jazzie B among its alumni. The Dread Broadcasting Corporation was Britain’s first black-owned station; largely remembered as an outlet for reggae, it featured a hip-hop show presented by Neneh Cherry. A bigger explosion in pirate radio came with the rise of acid house and its myriad subgenres: Kool FM was instrumental in the development of drum’n’bass; Rinse, Deja Vu and Delight did the same for grime.
It was all a long way from Tony Blackburn on board the Mi Amigo, but whether they knew or cared, all these stations effectively owed Ronan O’Rahilly some kind of debt. “Who knows what would have happened had Ronan not got hold of my brain?” pondered George Lazenby, a little dolefully, in a posthumous tribute. British pop music could ask itself the same question.
The Village Loudspeaker: What’s happened to truly local radio?
By Richard LattoBBC South
7 March 2020
With half of all local commercial radio stations in the UK now owned by three companies, and national programmes increasingly replacing regional ones, the future of truly local radio is looking uncertain.
In 20 years, local listening has gone from 40% of the market to less than 25%, and many stations have disappeared or been absorbed into consolidated “network centres”.
Last year, 36 local commercial breakfast shows were replaced with two national programmes, and 10 entire regional sites closed completely.
“We’ve seen a lot of local radio presenters lose their jobs and it’s quite a sad situation around the country,” says Stuart Clarkson, deputy editor of RadioToday.
He estimates that more than 250 presenters will lose their jobs as a result of national programming replacing local broadcasting as the industry continues to shrink.
“Things have changed a lot socially as well,” Mr Clarkson says. “These days people listening to the radio tend to want to hear music. Local radio is less important now and I think with the change we’ve had in social media people get their information and local content from different places.”
He said more and more “heritage” names in broadcasting are being replaced with large brands like Heart, Capital and Smooth.
“So Jamie Theakston and Amanda Holden are on local radio stations around the country,” he added.
One of the most successful stations in the independent local radio marketplace was Plymouth Sound, which at one point reached 63% of the city’s population.
The station’s controller was Louise Churchill, who also presented a phone-in for nearly two decades. She says their philosophy was “to be for the community, with the community and about the community”.
“You had the chance to phone the station and express your view on the government or the council, or the local golf club… and you would be heard all over the city,” she adds.
Presenter Ian Calvert says the station’s team also lived locally. “We knew every road, we knew most people who owned stores, shops and pub landlords. It was like Emmerdale or Dibley.”
He adds that at the height of the station’s popularity “it went crazy, it was like pop-star stuff” but “those days are gone”.
Over the years that followed its successful launch in 1975, Plymouth Sound Radio changed owners, became less local, and was rebranded to Heart in 2009.
The station eventually closed its local studios in August 2010, and its fate is one that has befallen many stations around the country.
Technology has allowed radio groups to consolidate their assets and broadcast from large network centres, such as those operated today by Global Radio in London and the Bauer Media Group in Manchester.
Of the 329 stations operating analogue local radio licences in the UK, more than half are now owned by three media companies, according to a 2018 report from the Media Reform Coalition.
Vital public service
With the majority of commercial stations reducing their local output, in some areas the BBC has been the only remaining local broadcaster.
And figures for the corporation’s network of 39 stations have fallen from 10 million listeners per week in the 90s, to an all-time low of 5.6 million last year.
“Younger audiences are interested in local things so we have to deliver that material in the best possible way we can,” said Chris Burns, head of audio and digital for BBC England.
She said that in the future content could be delivered in “bite-sized form” using tools such as the BBC Sounds service.
“We need to find new ways to reach these audiences while preserving the very best of what we already do.”
Burns says traditional linear BBC local radio stills provides a vital public service, such as during the Sheffield flooding in 2019, when the station staged a charity concert to help flood-hit residents.
“The TV cameras may have gone, but the reality is that the aftermath is still something people live through and that’s what local radio can give you that I don’t think anyone else can do,” she says.
With advancements in technology it is increasingly possible for people to develop and run their own local stations.
Former local BBC and commercial radio presenter Duncan Warren and his son have set up Goldmine, which broadcasts on digital radio across Cornwall.
“56% of listeners in Cornwall are now listening on DAB so we have now become the main listening force,” he explains.
Stuart Clarkson from RadioToday has also been observing how community radio has expanded within the industry.
He said: “We’ve got a few hundred community radio stations dotted around the country and the plan is for even more of those to appear.”
Southampton’s Voice FM is one community radio station with a full schedule of local programmes.
Presenter Daniela Da Palma said they try to feature local guests and focus on issues that affect the local community, which makes them “very special”.
But many community radio managers have expressed frustration at Ofcom’s funding restrictions, which mean the majority of stations can only raise 50% of their income from commercial sources.
Tony Gillham, manager of Black Cat Radio in St Neots, says that with more money they could “compete with the big boys on equal terms” and provide a much better service for the area.
He added: “The big boys are in it to make money, we’re in it to make programmes, which is exactly where we started out in the 70s.”
I Love The Smell of Punk In The Morning- “Radio Radio”- Elvis Costello & The Attractions. “Radio Radio” was the final song on the second Elvis Costello album “This Years Model.” It was first written in 1974 as “Radio Soul” and had a positive view towards the radio but by 1978 the focus of the […]
In my blog posted in the summer of 2017, I explained the BBC’s plans for local radio and the reasons for the closure of some of our medium wave transmitters – which happened in January last year. This was the first stage of putting into action a plan that the BBC originally announced in 2011. Starting in February 2020, and completing in mid-2020, we will be moving on to the next stage of the plan, closing a further 18 medium wave transmitters across England, Scotland and Wales. There is a list of services affected at the end of this blog post.
My earlier blog post explained why we are closing some local medium wave transmitters, but I wanted to recap again here. The majority of radio listening in the UK – including to the BBC – is now digital, and digital listening is continuing to grow. We want to make our services available to you when and how you want them, but it’s also right that the BBC continues to ensure that the ways we distribute our services represent good value for money for you, the licence fee payer.
The BBC is committed to a digital future for radio, and in the past few years we have funded local DAB expansion, made all local radio stations available on digital terrestrial TV (such as Freeview), and we have transformed our online and mobile offering with BBC Sounds. Together with FM (which has recently been expanded for Radio Wales), these ways of receiving our stations now make up the great majority of listening, and as a result continuing to transmit these services on medium wave would no longer represent good value for money.
This change was planned as long ago as 2011, but we have taken a measured approach to implementing it to ensure that as many of you as possible have already moved on to other ways of receiving the services before we make this change. We know that the changes will impact some of you, and that’s why we’re speaking about the plans again now. We want to make sure that people listening to these transmissions will be able to use other methods to hear the same programmes.
All stations which will be affected will continue to be on FM and digital outputs (such as DAB, digital television, or online). For most people, re-tuning their radios or cars to FM or DAB is likely to be the simplest solution.
You can use our Problem Assistant tool to get more information on how to access all BBC services in your area.
The stations which will no longer be transmitted on MW are:
Three Counties Radio (3CR)
Radio Solent (for Dorset)
In addition, the following stations will have reduced MW coverage:
Areas in and around both Aberdeen and Kirkcudbright
Tywyn, Forden and Llandrindod Wells transmitter areas
stock “Last Train To London” is a song by the Electric Light Orchestra (ELO) and a fifth track on the Album “Discovery” was released in 1979 in the UK as a double A-side single with “Confusion”. It peaked at number 8 in the UK Singles Chart. However, in the US the two songs charted separately, […]
BBC Essex broadcaster Tim Gillett is retiring after 35 years on the air in the region.
Tim has been breaking the news to Essex since 1986 when he was taken on by Essex Radio as a junior reporter.
“I arrived at Radio House in Southend from working as a radio reporter on Humberside, just as the Jeremy Bamber trial was getting underway,” said Tim.
“Within months I was reporting on the great hurricane of 1987 and interviewing Margaret Thatcher on the 1987 General Election trail.”
Tim went on to broadcast live from the Queen’s opening of the QEII Bridge in 1991 and become Essex Radio and Breeze AM’s news editor.
In 1994, Tim was appointed a senior broadcast journalist at BBC Essex in Chelmsford, where he became an assistant editor, news editor, programmes editor, a presenter and in recent years, weekend editor. He was also responsible for putting together Pirate BBC Essex in 2004, 2007 and 2009.
“Those celebrations of 60s offshore pirate radio were by far the pinnacle in listener terms of my time in radio,” says Tim.
Tim, who’s 59, has also reported and presented on seven general elections, countless local elections, and presented BBC Essex’s 2014 Clacton by-election programme coverage.
Tim is one of few broadcasters who’ve worked for both commercial and BBC radio in Essex. He said, “I feel so privileged to have broken so much news for the people of Essex over the years, and to try to offer some entertaining and informative radio programmes.”
He leaves BBC Essex just weeks after popular presenter Peter Holmes also departed.
I had to share this gem with you – came into my inbox today! The person has the surname of Emad. Beware some spam is not as obvious as this!
William G. Emad <email@example.com>Wed 05/02/2020 15:17William G. EmadInterim Assistance General Manager,(Operations,Maintenance,Transportation)Philadelphia International Airport8000 Essington AvenuePhiladelphia, PA 19153, USAEmail: firstname.lastname@example.org Re: Your Abandoned Package For Delivery I have very vital information to give to you, but first I must have your trust before I review it to you because it may cause me my job,soI need somebody that I can trust for me to be able to review the secret to you. I am Mr.Williams G. Emad, head of luggage/baggage storage facilities (Operations,Maintenance,Transportation) here at the PhiladelphiaInternational Airport USA. During my recent withheld package routine check at the Airport Storage Vault, I discovered an abandoned shipmentfrom a Diplomat from Africa and when scanned it revealed an undisclosed sum of money in a Metal Trunk Box weighing approximately110kg. The consignment was abandoned because the Contents of the consignment was not properly declared by the consignee as ?ONEY?atherit was declared as personal effect to avoid interrogation and also the inability of the diplomat to pay for the United States Non InspectionCharges which is $3,700USD. On my assumption the consignment is still left in our Storage House here at the Philadelphia InternationalAirport Philadelphia till date. The details of the consignment including your name, your email address and theofficial documents from the United Nations office in Geneva are tagged on the Trunk box. However, to enable me confirm if you are the actual recipient of this consignment as the assistant director of the Inspection Unit, I willadvise you provide your current Phone Number and Full Address, to enable me cross check if it corresponds with the address on theofficial documents including the name of nearest Airport around your city. Please note that this consignment is supposed to have beenreturned to the United States Treasury Department as unclaimed delivery due to the delays in concluding the clearance processes so asa result of this, I will not be able to receive your details on my official email account. So in order words to enable me cross checkyour details, I will advise you send the required details to my private email address for quick processing and response. Once Iconfirm you as the actual recipient of the trunk box, I can get everything concluded within 48hours upon your acceptance and proceedto your address for delivery. Lastly, be informed that the reason I have taken it upon myself to contact you personally about this abandoned consignment is because Iwant us to transact this business and share the money 70% for you and 30% for me since the consignment has not yet been returned to theUnited States Treasury Department after being abandoned by the diplomat so immediately the confirmation is made, I will go ahead andpay for the United States Non Inspection Fee of $3,700 dollars and arrange for the box to be delivered to your doorstep Or I can bring itby myself to avoid any more trouble but you have to assure me of my 30% share. I wait to hear from you urgently if you are still alive and I will appreciate if we can keep this deal confidential. Please get back tome via my private Email ( email@example.com )for further directives: You can call me on my telephone number and drop a message at Tel: 214-307-5586 Thank you. Williams G. Emad