Radio Caroline celebrates its 50th birthday today, 28th March 2014.
For many, the very founding of the station in 1964 is a major cause for celebration. But I would argue that it is in the station’s long history of survival and independence that the real cause for celebration lies.
Today many people will be celebrating the birth of Radio Caroline in 1964, and it’s founding as the first pirate station off the UK coast by Irishman Ronan O’Rahilly, and rightly so.
Ronan broke the mold, challenged the dominance of established players in both the recording and radio business, and certainly made sure that legal commercial radio on land in the UK was (reluctantly) introduced by the British government probably a decade before they would otherwise have done so.
In the founding of an offshore pirate, Ronan was not unique however. Another station – Atlanta – was being launched at the same time, and was beaten on air by Caroline by just a matter of weeks, and many others followed, including giants such as Radio London (1960s) Radio Northsea (1970s) and Laser 558 (1980s).
No, where Ronan really stood head and shoulders over all others in the field was in his unique ability to make his station last.
To stay on the air, to fight for, and retain independence.
Radio London, and all the other 60s offshore pirates off the UK coast closed down when the 1967 Marine Offences Act became law, criminalising the supply of offshore broadcasting ships, and the buying of advertising airtime on them. But where others left the stage, Ronan fought on, and Caroline continued.
Ronan’s defiance of the Act encouraged others, but none of the offshore stations aimed at the UK in the 70s and 80s managed to last more than a few years. The biggest, and most successful, Laser 558, was only on air for 18 months (and a followup Laser Hot Hits had an even shorter duration).
It was Ronan who stayed the course, and kept Radio Caroline at sea and on air, despite every setback the government or the weather could throw at him. His ability to ressurect the station when it got into scrapes was legendary.
But did Caroline really matter? Once commercial radio had come to the UK, was there a point in Radio Caroline continuing? I would argue that there was, and very much so.
Commercial radio, when it came to the UK, was long over-regulated and tightly bound by needletime and other restrictions which prevented it from funjctioning as true music radio. And stations were often owned by powerful and well-connected people, in effect becoming just as much of an insiders club as the BBC had been in the 60s. Where could you get your music played if you were a new band? Where could you hear album tracks rather than just singles? Not, by and large, on mainstream commercial radio (though there were some honourable exceptions to this).
Caroline continued to stay outside the system, and outside the jurisdiction, right through to the end of the 1980s. And this mattered, not only to the listeners who got enjoyment from it, and the hundreds of staff who passed through it’s doors (well – ok, hatchways) but also to the governments.
Radio Caroline was outside government control, and if there is one thing governments really, really don’t like, it is something outside their control. Especially when that something involves free speech, and the ability to be heard by the masses. The fact that Caroline never said anything seditious, and just quietly got on with sharing great music with its listeners was not the point. There were people out there, on a ship, with a transmitter, capable of being heard, and immune from both government control, and it’s lapdog, big business influence. This had to be stopped.
Did governments really worry that much about Radio Caroline? Oh yes they did . .
Witness the ratification of UNCLOS (United Nations Convention of Laws Of the Sea) by 157 countries around the world, a treaty that ranks offshore broadcasting alongside real piracy (seizure/hijacking/hostage-taking) as well as the slave trade (human trafficking) in terms of a menace that uniquely allows a country to board a foreign registered vessel in international waters.
Extract from UNCLOS:
Unauthorized broadcasting from the high seas
1. All States shall cooperate in the suppression of unauthorized broadcasting from the high seas.
2. For the purposes of this Convention, “unauthorized broadcasting” means the transmission of sound radio or television broadcasts from a ship or installation on the high seas intended for reception by the general public contrary to international regulations, but excluding the transmission of distress calls.
3. Any person engaged in unauthorized broadcasting may be prosecuted before the court of:
(a) the flag State of the ship;
(b) the State of registry of the installation;
(c) the State of which the person is a national;
(d) any State where the transmissions can be received; or
(e) any State where authorized radio communication is suffering interference.
4. On the high seas, a State having jurisdiction in accordance with paragraph 3 may, in conformity with article 110, arrest any person or ship engaged in unauthorized broadcasting and seize the broadcasting apparatus.
Right of visit
1. Except where acts of interference derive from powers conferred by treaty, a warship which encounters on the high seas a foreign ship, other than a ship entitled to complete immunity in accordance with articles 95 and 96, is not justified in boarding it unless there is reasonable ground for suspecting that:
(a) the ship is engaged in piracy;
(b) the ship is engaged in the slave trade;
(c) the ship is engaged in unauthorized broadcasting and the flag State of the warship has jurisdiction under article 109;
(d) the ship is without nationality; or
(e) though flying a foreign flag or refusing to show its flag, the ship is, in reality, of the same nationality as the warship.
2. In the cases provided for in paragraph 1, the warship may proceed to verify the ship’s right to fly its flag. To this end, it may send a boat under the command of an officer to the suspected ship. If suspicion remains after the documents have been checked, it may proceed to a further examination on board the ship, which must be carried out with all possible consideration.
3. If the suspicions prove to be unfounded, and provided that the ship boarded has not committed any act justifying them, it shall be compensated for any loss or damage that may have been sustained.
4. These provisions apply mutatis mutandis to military aircraft.
5. These provisions also apply to any other duly authorized ships or aircraft clearly marked and identifiable as being on government service.
(end of extract)
The ranking of stations such as Radio Caroline alongside the slave trade and ships hijacked by real pirates illustrates just how seriously governments regard the ability of individuals to have access to broadcasting – radio or TV.
Think of this: Forget terrorism or drug trafficking (neither of which are grounds for search and seizure of ships in this convention). The one thing that 157 different government agree is the really, really dangerous menace of the high seas, the force that causes most harm to society, is to have a bunch of hippies on a ship sharing their love of the latest Nick Cave album.
In some countries, this fear takes the form of keeping most media state owned. The UK and Ireland, as more liberal democracies, don’t do this any more, though in point of fact they had to be dragged kicking and screaming into the era of commercial radio by the offshore pirates in the case of the UK, and landbased ones in Ireland. But the instinct to control runs deep, and where hard power cannot be used, soft power is always an alternative.
If you can’t restrict access to broadcasting to directly state-owned operations, you can at least operate your licencing system in such a way that those who have control of most of the licences are known, and safe, and establishment.
And safeness breeds sameness and lack of diversity, which is one of the reasons why it is so very important to have alternatives who are outside the cosy circles of the industry, even if to be such an outsider feels, at times, like being a lone voice crying in the wilderness.
Since Radio Caroline came ashore in 1991, there have been many, many opportunities to sell out, and let the brand or the station take investment from big groups or big business.
All of these, while seemingly friendly and from corporations who doubtless would have promised to respect the station’sethos, would certainly have led to the destruction of Caroline in pretty short order – sanitised, corporatised and probably eventually discarded too. This has happened to so many great independent radio stations, so many idealistic groups of individuals. That Caroline stayed away from this temptation is a minor miracle, and here all credit is due to Ronan O’Rahilly and in latter years Peter Moore for refusing to take the easy option and sell out.
Caroline has ploughed a lonely furrow over the years, surviving on the margins, but it has stayed independent, and for that, we can truly give thanks, and wish the station a very Happy 50th Birthday.
Radio Caroline is still alive and can be heard today via the new frontier of independent, uncontrolled speech – online. Tune in at www.radiocaroline.co.uk or download the smartphone app.
Steve Conway – a proud member of the Caroline family
Here is the playlist for the second episode of An A-Z of Great Tracks, and there are a couple of entries here that I thought long and hard about before settling on the final list.
The show aired on Jan 8th 2014 on 8Radio.com, in its regular weekly slot – 8-9pm Wednesday evenings.
So, the second show of the series, and we are still wending our way through the very beginning of the letter A, those tracks who titles start with the word “A” – we’re not yet even up to actual words beginning with the letter a, which is a week or two away.
I’ve pretty much settled the running order for all my A tracks – 16 weeks worth – but as always with live radio, I will sometimes make changes at the last minute based on mood or feel, or, in this case, balance (As the programme was airing I added in the Foo Fighters track to provide a bit more contemporary rock, as otherwise this hour would have been very heavily retro – it’s usually more balanced, but the luck of the draw means that you will tend to get clumps of older or newer tracks together from time to time. And as a result of this, a track that would have finished the show got pushed into next week).
A couple of tracks in particular gave me pause for thought when I was compiling the list, and in both cases, I eventually went with my heart over my head.
The first was “A New England” – a track originally written by Billy Bragg, but made famous by Kirsty McColl.
Now, I adore Kirsty McColl, and her work will feature a number of times in this marathon trawl from A-Z.
And I loved her version of this track, which is, to all intents and purposes, the “standard” version as far as most people are concerned.
But the Billy Bragg performance is so powerful, and the lyrics written by Bragg seem – to my male mind anyway – to resonate more powerfully when sung as a male lamenting an uninterested girlfriend, than in the reverse. And the copy I have of Bragg doing this track is acoustic, and really, really punchy. So the lesser-known Billy Bragg recording won out in this instance over the more normal “hit” version.
There are going to be many more such decisions to be made as I go through the A-Z and come across tracks recorded multiple times by different artists – which version to choose? The musically significant or the hit version? original or cover? I think my decision will be made in the same way each time – referring to my heart and listening to how each version makes me feel. because that, for me, is what elevates a track from “Good” to “Great”.
The other hard decision was whether or not to include the 23-minute long prog-rock classic “A Plague of Lighthouse Keepers” in a one hour radio slot.
Here again it was heart against head. My gut instinct is that this is a brilliantly devised and performed masterpiece of rock from an era where tracks which occupied an entire side of an LP (as this did) were, if not the norm, at least a regular feature of the music scene. Van Der Graaf Generator are a hugely regarded band, still recording and performing today, and this track in its entirety forms an important part of their stage show.
For the music head in me, the track is a definite yes.
However, with my radio hat on, I worry about the wisdom of including a track whose running time takes up more than a third of my entire slot. It’s only the second show in the series, do I want to scare potential listeners away with a very long, complex and obscure piece of music? It would be different if the show was well established, but on the second week . .
But that last point is a fallacy. it shouldn’t matter where in the run of episodes it crops up – the question is, does the track merit playing?
Mainstream radio would never play it in a thousand years (outside, perhaps of a specialist slot). And that itself is an argument for me to include it – I’ve been on the outside, breaking down the walls of mainstream, and transgressing its limits for the whole of my radio career.
Ultimately, it is back to my emotional, gut reaction – this is a truly epic track, a “great” piece of music if ever there was one.
And so into the A-Z of Great tracks it went.
One of the greatest things about producing this series, by the way, is the fact that all of the above discussions take place entirely inside my own head, and I don’t have to seek approval, or run any of this past anyone else.
8radio.com have faith in me to do it my way.
My show, my playlist, and 100% my own decisions . . which is really “great” also!
You can catch An A-Z of Great Tracks every Wednesday evening 8-9pm on 8Radio.com.