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We have spent a considerable amount of time exposing stories that are untrue, but which others have also spent a considerable amount of time in passing them off as being true. For a number of reasons, which we will explain, vested interests keep on creating and distributing deliberate lies for the general public to believe and then to act upon. Our work consists of attempting to expose those lies, and then present the real story.
Individually these stories may seem to be harmless enough on the surface, even when they are exposed as being totally untrue. But when these same fake stories are viewed as part of a collective campaign, then it is time to ask: Who benefits from the creation of scenarios that are based upon false narratives?
For one answer we only have to go back to World War II and the doyen of authorized lies and deception: Sir Winston Churchill. It is claimed in hindsight that he lied for the good of everyone in order to destroy political and military enemies. But the question is: Did Winston Churchill ever turn off the political machine that funded and created those geopolitical lies?
The answer is no, he did not. His legacy of lies was smothered under classification of a series of laws known collectively as the 'Official Secrets Act'.
In the instance of Winston Churchill, as it relates to our investigations, his key machine of deception was broadcasting. Overtly this machine was headed since its beginnings by a man called John Reith; but in under Winston Churchill its covert aspect was headed by a man named Sefton Delmer.
Under Churchill, what the public saw and heard was an entity called the British Broadcasting Corporation, but what the public did not see and hear was an octopus which reached out in many directions under many different names. The latter operation was under the direction of Sefton Delmer.
Churchill did not restrict himself to a world of lies and deception, he also engaged in warfare on a similar two-tier level: the self-identified Armed Forces, and unidentified terrorists who did not respect any of the treaties surrounding warfare. Churchill also created imitators who picked-up where he left off.
Churchill's deception methodology and his authorized terroristic activities emerged after World War II with the creation of the United States Central Intelligence Agency. The CIA owes its psychological warfare roots to Winston Churchill, but they also owe their 'inspiration' for terrorist warfare to which they publicly deny all knowledge and association.
But for icing on the cake, the supporters of Winston Churchill also made use of "perception management" to create a fake image of Winston Churchill.
You ask: can we prove these accusations?
Yes, we can and yes, we will continue to do so - because that is what our main objective has always been. We just follow the lies, and we keep peering behind them to see not only what, but who is behind them, and who benefits from these lies when the public at large becomes the victim of these confidence tricksters.
There is more about this subject to follow.
In the meantime, please review the latest contents on our 'Pebble Theatre' blog by using the link on the masthead above this editorial.
As part of our ongoing research project we continue to investigate all avenues and sources that become available. One such source will eventually disappear, due to the time-based structure of its Internet hosting site.
That source contains a very interesting note about the character of Ronan O'Rahilly, and so we made a note of its message, in order to examine it further in this editorial. This character analysis of Ronan O'Rahilly was posted by a person calling himself 'Peter Moore', but who really a human being named Malcolm Smith.
Smith has a lot of self-interest to protect from a widely held belief that Ronan O'Rahilly once created an entity called 'Radio Caroline' which over the years has re-emerged in different forms under different circumstances. The latest incarnation involves a project under the financial control of Malcolm Smith.
Although Ronan O'Rahilly is now deceased, his erstwhile supporters continue to fund the 'Radio Caroline' project under the control of Malcolm Smith, which has no relationship whatsoever to the entity that once existed in 1964 under that name which began with an Australian named Allan James Crawford. In 1964, Crawford stated on film that he first met Ronan O'Rahilly sometime at the beginning of 1963, and this statement made in a Grenada TV production, helps to establish a true timeline of the events that both preceded it, and which then followed.
In another Grenada TV program at a later date, Ronan O'Rahilly admitted on camera that he arrived in London, England from the Republic of Ireland, at some time during the year 1961, and in that program he told the audience that his goal in life was to become a film producer. For many years both on film and on paper documents, Ronan O'Rahilly remained consistent in naming his career choice. He did indeed produce a handful of films which did not receive a financially rewarding reception, or the blessings of film critics.
However, as time moved away from the original era of 'Radio Caroline', Ronan O'Rahilly did tell another TV film crew that he was a "marine broadcaster". But that was after the cloak of legal protection for British offshore broadcasting stations had been lifted; the majority of offshore stations had closed down, and the original 'Radio Caroline' stations spluttered into a financial black hole of debt after investors disappeared.
The original ship called 'Caroline' was sent to the breaker's yard and its second ship called 'Mi Amigo' was abandoned in Holland by the Texas owners. This is when Ronan O'Rahilly tried to huff and puff his way into newspaper headlines by announcing new projects using the name of 'Caroline'.
He was unsuccessful.
When Ronan O'Rahilly met Allan Crawford for the first time in early 1963, Crawford had been trying to put together an offshore broadcasting venture to promote his own record labels. Crawford was not alone in attempting to create a British-based offshore radio station.
Prior to Crawford, a British journalist named John Thompson who had lived in Canada, returned to England where he took up residence at Slough after making noises in various publications about starting an offshore radio station. Thompson lacked the finances to make this happen, so he teamed-up with another local Slough resident and they registered a company under the name of Voice of Slough Ltd.
Because of Thompson's Canadian experiences on radio, he had become aware of the activities of Herbert W. Armstrong who had morphed a religious church service program from very local and humble beginnings in 1934 Oregon, into a Hollywood re-styled monologue called 'The World Tomorrow', named after the eponymous 1939 'World Fair'. This program was a mixture of religion and geopolitical commentary and Amstrong's media buyers bought time for airing this broadcast on Canadian stations.
Armstrong had relocated from Eugene, Oregon to Pasadena, California, which is located on the doorstep of Hollywood in the shadow of greater Los Angeles. Half-way between Los Angeles and San Francisco, Randolph Hearst had built his own headquarters for a publishing and broadcasting empire that Orson Welles mimicked with his movie 'Citizen Kane'.
From the turn of the Twentieth Century, Hearst had also established his own business interests in London, England, and that is where he engaged in both a commercial and geopolitical rivalry with Alfred Charles William Harmsworth, 1st Viscount (Lord) Northcliffe. This Lord had his own publishing empire which included titles such as the 'Daily Mail' and the 'Daily Mirror'. Hearst then tried to create his own version of the 'Daily Mirror' in California, but without success.
Politically both men were on opposite sides of geopolitical divide, in which Hearst viewed Britain as America's natural enemy and Germany as its natural friend. When the Twentieth Century dawned, not only had the British Empire been forced by war to surrender its North American colonies, but during the War of 1812, British mercenaries had invaded the USA and set fire to the White House. In the aftermath of the Great War (WWI), military plans were drawn-up in both London and Washington, DC for another war against each other.
At that time the issue was the Navy in both Britain and America, where the Royal Navy was dominant. It was from this military source that radio broadcasting first emerged, and the creation of the General Electric Company of America which gobbled-up the American Marconi Company to create its subsidiary Radio Corporation of America, was only one part of this intense financial and political and near military 'battle'.
It was Hearst who spotted the potential of Billy Graham as a geopolitical mouthpiece, and it was Hearst who groomed him to become a Christian version of the drunk U.S. Senator Joseph McCarthy who was castigated in the United Kingdom for his anti-Communism, while Billy Graham was embraced for claiming that 'Communism was Satanism'. In time even Queen Elizabeth II welcomed Baptist minister Billy Graham to preach to her at religious services held at Balmoral in Scotland.
While all that was going on, Herbert W. Armstrong who had been originally ordained by a different denomination to Billy Graham and then split to form his own brand of religious belief, had begun broadcasting over the original Radio Luxembourg long wave station, before moving to their new and subsequently famous '208' wavelength. But the most time that Armstrong could buy was two nights a week before midnight.
Nevertheless Armstrong's audience grew in Britain, and so he went to the same London advertising agency which had promoted Billy Graham. It was run by two brothers. One managed the Graham account and the other one managed the Armstrong account.
At the time Armstrong was renting a small office in London and as his audience grew, he needed to expand. In Pasadena, California he had opened a liberal arts college, and so he decided to open a second campus in Hertfordshire. The site selected was the former estate of Sir David Yule which had been occupied by his daughter whose interests included a partnership with J. Arthur Rank, and it was the two of them who then built Pinewood Film Studios.
Sir David Yule was buried on the grounds of his estate between Watford and St. Albans, and his tomb reflected images of his days in British India where he was a member of the British East India Company. His interests included exporting jute and publishing newspapers which had connections to those of Northcliffe and his publications.
This is when, at the end of the Fifties, a number of interested parties all converged and ultimately gave birth to 'Radio Caroline'. Ronan O'Rahilly was a mere speck of dust down at the bottom of one leg of this totem pole. In other words he was a young kid who was hired to mouth words written for him to utter. That was it. He was a nothing, a nobody in the scheme of things to come. O'Rahilly's job was to bang a symbolic drum telling the media to look at him and away from the real story. Malcolm Smith has confirmed that Ronan O'Rahilly never amounted to anything in his entire life. He feasted off the droppings from the tables of other people.
Meanwhile, John Thompson with his Voice of Slough Limited company made contact with Armstrong's London advertising agency and managed to get a tentative contract to place the 'World Tomorrow' on his own station which he called the 'Voice of Slough'. This contract was based upon hype and bluff, because Thompson did not have the means to fulfill it. Initially he produced a picture of a small vessel then birthed in Scotland, and he claimed that it was big enough to house a transmitter and broadcast recorded programs that he would make in his own studio. A picture of that studio was also produced.
However, Thompson could not pull off his luck and turn it into cash, and so he became desperate. At that moment a former vacuum cleaner con-man showed up in England. He had convinced a shipping heiress from Vancouver, Canada to leave her husband and children and marry him. His name is Arnold Swanson.
Swanson then started bobbing up and down in the British press along with Thompson, and it eventually became clear that neither Swanson nor Thompson could create a successful offshore radio station, because in reality, neither man had any money in his own right. Both slipped out of the headlines and after Swanson and wife left for Canada, Swanson began to engage in more huff and puff non-broadcasting stories that made the newspapers. But his end came when his wife divorced him following his exposure in the press that he was having sex with young girls, and that episode landed him in a criminal court.
While there are many other elements to this story that takes place between the years of 1959 and 1963, here we want to focus upon Ronan O'Rahilly who showed-up in London, England during 1961, when these real events were already taking place. There are several other major aspects to this story and many more major players who all converge into one timeline, the same timeline that Ronan O'Rahilly enters with his arrival in London. Clearly no one else has this story because no one else has ever written and published it before now, and you will have to wait awhile longer until it is all revealed in a part-work library of books.
But here we want to focus on what Malcolm Smith has written about the flimsy character of Ronan O'Rahilly and we want to dispose of the nonsense that others have written about this person. Malcolm Smith acts as a very able and dedicated garbage man concerning the removal of rubbish created about the life and times of Ronan O'Rahilly.
Ronan O'Rahilly was hired as a detraction to lure investigative journalists away from the true story about the real origins of 'Radio Caroline'. To that end O'Rahilly invented all manner of really silly stories such as the one about 5 years old Caroline Kennedy, daughter of the assassinated President. O'Rahilly claimed that he had personally named both the station and its original ship after this toddler.
In reality Ronan O'Rahilly didn't name anything.
But O'Rahilly's big lie was wrapped in another lie about him flying to the New York in order to buy transmitters for the new ship station. We know that O'Rahilly went to the USA, but he did not go there to buy anything. He was broke and so was Crawford. He went to the USA to plead on behalf of Crawford.
We know from our own investigation and corroborating sources, that Ronan O'Rahilly was sent to Houston via New York in June, 1963, shortly after meeting with Allan Crawford for the first time. We know the name of the Houston hotel in which O'Rahilly stayed, and we know that he even bought a pair of cowboy boots while he was in Houston.
We know that he went from Houston to Galveston to see a ship docked there. Its name is 'Mi Amigo' and it was under the care of Bill Weaver, Manager of Gordon McLendon's KILT radio station in Houston. The vessel had been stripped by Weaver, and Crawford wanted to lease it together with all of the broadcasting equipment then in storage at Houston.
Weaver was told to refuse any such request. Crawford, who O'Rahilly represented, did not have the kind of money to buy the ship as a broadcasting vessel, and so Weaver sent O'Rahilly packing back to London - empty-handed.
We will be explaining this extremely complicated story in detail within our forthcoming library of books. But now we want to focus upon a very strange post written by Malcolm Smith. On August 27, 2022, Smith submitted this post using the name of 'Peter Moore'. It appeared on the 'Free Radio Forum' at 10:18:37, and in part, this is what he told another correspondent about Ronan O'Rahilly:
'.... you need to understand the Ronan way of doing things. When still almost a child he saw that his sister who owned a donkey was selling donkey rides to raise money for the local convent. He took over the donkey, sold rides and put the money in his pocket. "Money in my pocket" or "Juicy Lucy" as he described it was how he ran his life and all was like those donkey rides only hugely multiplied.'
Malcolm Smith claimed to have had a very close working relationship with Ronan O'Rahilly, and so when O'Rahilly died, Malcom Smith came into possession of some rather interesting information. It supports the true purpose and aims in life of Ronan O'Rahilly which for the most part went unfulfilled. Smith continued with these words:
'I his lifetime of possessions that were abandoned in storage and which we rescued, was a letter from his father who says that people were asking what his son was doing but that he was too ashamed to say. Another letter asks Ronan not to discuss any business ventures with his father as they are "just a ploy to get money.'
Smith added this about Ronan's father who was a very successful entrepreneur and manufacturer who had strong business connections to the British Board of Trade via export licenses. Aodoghan O'Rahilly also developed a container port and the revived a ferry service from the Irish Republic to the main island of Great Britain:
'Aodoghan O'Rahilly wanted Ronan to get some sort of conventional career, thus when he said that for a very substantial payment he could buy an executive career in the film industry, Aodoghan loaned him the money on the promise of prompt repayment. Asking later about his money Ronan said that it had been spent paying the wages for a film crew for one week. Even his own father was fair game. .... Money flowed one way, i.e. to him .... I am just saying from long personal experience, how the man lived his life.'
Simply put, Ronan O'Rahilly was a liar and a con-man.
Ronan O'Rahilly was not in any way, shape or form, the originating creator of the twin stations that existed from 1964 to 1967 which became known as 'Radio Caroline North', and 'Radio Caroline South'. There are really serious political reasons why you don't know the real story behind the creation of 'Radio Caroline', and it has nothing to do with pop music, djs or that ludicrous tag line about "Swinging England".
But to read the complete story, and to learn who the other key players were, and how and why they all converged on one moment in time during 1964, you will have to wait until we are ready to announce publication details of our part-work library of books.
There was a man who called himself Lewis Carroll who wrote gibberish either for children, or about children, with an emphasis on very young girls. Today, such interest would be deemed 'unhealthy' and even suspicious of intent to either commit a crime, or even as an indicator that a crime may have been committed. That crime is generally described as paedophilia, which is further explained as being a psychiatric disorder involving adult fantasies about prepubescent children.
Lewis Carroll, who lived between the years 1832 and 1898, wrote his poem 'The Walrus and the Carpenter' as a part of the text in his book called 'Through the Looking-Glass'. At the time that he wrote it in 1871, the Twenty-first Century laws against the creation and even the possession of materials classified as paedophilia were a long way off into the future.
Lewis Carroll was a strange person because he was obviously intellectually gifted in many areas, while religiously attached to the Church of England. But it was others who came after him who took a look at his works and began attributing meanings that defied the advice of 'Occam's razor'. Given the known factors about Lewis Carroll, he might have been considered as more than a mere suspect of pedophiliac activities, had he only recently begun writing about a young girl named Alice.
But what this man wrote, was, on its face, mere gibberish. Others have placed all kinds of interpretations on his words, and perhaps one of the most interesting is in the identity claimed for the Carpenter in his poem:
"The time has come,' the Walrus said,
To talk of many things:
Of shoes — and ships — and sealing-wax --
Of cabbages — and kings --
And why the sea is boiling hot --
And whether pigs have wings.'
But wait a bit,' the Oysters cried,
Before we have our chat;
For some of us are out of breath,
And all of us are fat!'
No hurry!' said the Carpenter.
They thanked him much for that."
According to one author who has researched the works of Carroll, his instruction to the man who was hired to illustrate Carroll's work, makes a mockery out of the philosophers who came later and began attributing a religious identity to the 'Carpenter'. Martin Gardner who wrote 'The Annotated Alice', claims that Carroll gave the illustrator John Tenniel a brief in the form of several drawings from which to chose one of them.
There were three such pictures: a carpenter, a butterfly and a baronet. The character in the poem could have been changed by Carroll to reflect any one of them, because it is not about a specific person. Tenniel picked the carpenter. But that did not stop others from coming along and identifying the 'carpenter' as being a reference to Jesus! Yet the author of the poem was not Tenniel, but Carroll. Had Tenniel picked 'baronet' instead of 'carpenter', the allegorical subliminal connection to Jesus being a carpenter could not have been inferred from the text written by the author of the poem.
This business of attribution by those who were not there and had no part in the event, is extremely mischievous, because it advances an interpretation that never existed when the original event took place. This is especially true when it comes to the study about the origins of broadcasting, which by way, seems to have attracted a number of paedophile disc jockeys.
Too many books and articles and even radio and television programs have been made to assert various storylines about broadcasting, and many of them are totally untrue. One classic example concerns a random reference to a character named 'Jimmy Ross'. The original reference appeared as part of a short news item in connection to another person. No other details were given about 'Jimmy Ross', other than in 1964, he was supposedly one of the two main financiers behind the original 'Radio Caroline'.
Decades pass by, and then in 1990 a novel appeared that referred to a fictitious family named Shaw. The husband was identified by the wife as 'Jim', and a stranger who had never met Mr. Jim Shaw began to call him 'Jimmy'. Naturally the reader was then given to assume that Jim Shaw and Jimmy Shaw are the same person, because 'Jimmy' is but a variation of James.
Now the author of that novel is named Ian Cowper Ross, and the real father of Ian Cowper Ross is Charles Edward Ross. The real mother of Ian Cowper Ross is Phyllis Ross. We know this for a fact because we hired a private investigator to research this family, and we bought a copy of the marriage certificate of Ian Cowper Ross in which both of his parents are identified.
Neither of his parents ever had the surname of 'Shaw', either before or after their marriage to each other. We investigated Census Records and a lot of other authentic and official documentation to learn who Mrs Charles Edward Ross was before she got married. We discovered who her parents were and that her husband had been married before in New Zealand and then got divorced in London. We know that their son Ian had a step-brother who came from the first marriage of Ian's father. We tracked the Ross family residences until the time that Ian left home. We know all about his two vehicle accidents, his hospital stay and his court appearance for reckless driving. Then we traced the entire career, marriage and offspring of Ian Cowper Ross and wife, throughout their lives. In other words, we know all of the essential details about this family.
We also know where Charles Edward Ross worked.
But those who want to create a fictitious account of how 'Radio Caroline' was financed in 1964, then claim that the author of the novel who is Ian Cowper Ross, is the true identity of the person named Paul Shaw in the novel written by Ian Cowper Ross. They do this in order to claim that Paul Shaw, who in reality is the fictitious son of a fictitious father named Jim or Jimmy Shaw in the novel, is really the son of 'Jimmy Ross' - a compound faked name made-up to fit a bogus scenario.
But the true identity of Ian Cowper Ross' father is Charles Edward Ross, and there is no record anywhere about him ever being called 'Jimmy'. If anything, he would be called Charlie. However, one year after his novel about Paul Shaw was released, a BBC-TV documentary was shown featuring Ian Cowper Ross, live and on screen. In that TV program and in subsequent interviews following the TV screening, Ian Cowper Ross began to 'tease' the audience by claiming that incidents relating to Paul Shaw described in the novel. actually happened in real life.
But Ian Cowper Ross tried to employ the trick of deceit by tip-toeing up to the edge of validating parts of the novel as a biography, but never conclusively asserting that it was in fact a true account. However, he could never do that because it was obvious from other parts of the novel that it was a work of fiction, and selective validation by inference, is not the same as making a statement that something is true.
Nevertheless, this novel of 1990, published years after the real time period of 1964 in which the work of fiction is supposed to have occurred, merely helped Ian Cowper Ross get over a rather difficult time in his life when he became short of money and short of new networking contacts. The book opened new doors for him as witnessed by the BBC-TV documentary one year later. In other words his novel was a self-serving project that seems to have paid off, for him personally.
On the other hand, what Ian Cowper Ross' novel did for the true story of broadcasting was open a floodgate of new publications about 'Radio Caroline', and all of them began to parrot the falsehoods in Ian Cowper Ross' novel. That included at least one academic work. Up until that moment in time, the original falsehoods spread by the press about Caroline Kennedy becoming the original inspiration for the name of the station and one its radio ships, were being rapidly demolished as invented lies designed to conceal the truth. Therefore Ian Cowper Ross invaded a void in the storyline and filled it with another lie. Because it was a void the media bought the new lie and began to spread it far and wide.
Just as some tried to turn Lewis Carroll's 'carpenter' into Jesus, so a strange cult of radio enthusiasts have now tried to identify Charles Edward Ross as a merchant banker in the City of London. These absurd assertions created a requirement for the authors of this work to digress from investigating the true origins of 'Radio Caroline' to discover who the real father of Ian Cowper Ross is, and what Charles Edward Ross did for a living.
So that is what we did.
Charles Edward Ross was one of the directors of a parent dry cleaning business that he helped to franchise. The owner was not Charles Ross, and the owner moved to Southern England from Scotland. But none of that has anything to do with the history of 'Radio Caroline'. However, we now have a total file on the life and times of the entire Ross family and we will at some point in time reveal what we know. But since that is not the purpose behind our investigation, that will come later.
We can tell you that this business of tacking on explanations long after the fact has skewed the real story about broadcasting in a big way. To know the history of broadcasting you have to know about the creation of the British Crown and what it is. You also have to know about the creation of the General Post Office (GPO) in England. In addition to that, you also have to know your history about how and why America got its independence from Britain, and how the two nations have been at an on again, off again, on again, off again hot war and cold war cycle, up through the early years of the Twentieth Century.
Forget "special relationship". That is a joke. An insiders sour joke, and it really is a myth.
Broadcasting is an American-British story that has been separated by the Atlantic Ocean. It is a story that revolves around the development of both the U.S. Navy and the Royal Navy, and the emerging dictionaries in both the USA and UK. That is where similar words used in either country can have opposite meanings.
It is within this state of confusion that misunderstandings abound. Even oft-used words in the UK, and corresponding oft-words used in the USA that can have similarity of meaning, can also have a totally different interpretation. Over the course of time, words become so co-mingled that they can sometimes cause dangerous, and sometimes embarrassing results for a speaker when the context of location is ignored. The speaker may be trying to express a meaning that the hearer comprehends as something other than what the speaker was intending to convey.
For this reason the origin of broadcasting has become totally obliterated. In fact, it is this interchangeability in the use of words that has led to a muddied and muddled story. Not only is the domestic story totally garbled and separated from reality, but the international story has just made it worse. It is such a mess that it caused us to go back in time to the origins of the laws that govern broadcasting, and that is why we became engaged in researching such obscure topics as the break with Rome by King Henry VIII of England. Those topic will be included within the context of the story which will be published as a part-series work, similar to the 'Time-Life' Library of books. The mechanics of our version will also follow a similar page size and formula to the 'Time-Life' blueprint.
This new library will present a new storyline within its many volumes. Right now we are involved with the mechanics of that process. The books will be published one at a time and they will form part of an open-ended library collection. Readers will then be able to add additional volumes from this series to their collection.
The days of British domination of past, present and future events is rapidly drawing to a close, and as a result, big changes are taking place in the geopolitical understanding of current events. The real mouthpiece for British Crown propaganda first appeared in the Twentieth Century, and it was given the name of the British Broadcasting Corporation.
By utilizing the letters 'BBC', this Crown institution has been misleading the world by stating that it is now celebrating 100 years of its existence, but that is a lie. The British Broadcasting Corporation began in 1927 and the present year is 2022, which results in a deficit of years to mark that centenary.
From 1922 to the latter part of 1926, another entity, a British and American cartel, used the letters 'BBC' that referred to the British Broadcasting Company Limited. It was a monopoly which had shareholders; a lot of shareholders, and their interests were protected by the Crown.
But for most of the Twentieth Century a gag was in place that prevented the dissemination of information which would enable entities such as our 'Trio' from bluntly accusing the 'BBC' of promulgating wholesale lies on behalf of the British Crown. Meanwhile, a steady stream of writers have shoveled forth a slanted and heavily redacted version of events for the British public to read about the origins and beginnings of both the 'BBC' as a business cartel, and as a corporation acting as a mouthpiece for the British Crown corporation sole.
However, technical advances have taken place that include bringing the Internet into the homes of millions of people. When it became layered with the World Wide Web, then it also opened the door to the accessibility of information. It then became as simple as turning on a series of switches to uncover the deep, dark and dirty secrets of British censorship when another element was added to this mix.
Several privately run operations made original Content available everyone, wherever they happened to be.
Forget 'Wikipedia' which is both unreliable, twisted and biased due to the fact that anyone, for any reason can 'edit' it with one proviso: no original content. In other words, only the previously biased rubbish that has been in circulation before can be cited as a 'Wikipedia' source. At first 'Wikipedia' sounded like a great idea, but when original material was excluded, it meant that 'Wikipedia' was only republishing slanted, biased and uncorrected information. So from where then, and from when then, has this change, this lifting of the lid on censorship taken place?
There are now several sources available to any researcher. Some require subscription fees that go to maintaining archives, and others rely upon donations. Even 'Wikipedia' relies upon donations, both big and small. But these other archives are genuine and authentic original source archives, and they include many previously unavailable or restricted access books. They also include a huge library of digitized contemporary publications dating back to the Eighteen Century, and some before that.
In addition to those sources, another digital library has opened up a world of published books and articles about the contemporaneous account of how broadcasting developed in both Britain and America during the Twentieth Century. The story that these publications reveal is often at variance with the story that everyone has come to accept about the development of broadcasting in both Britain and America. In fact, the Atlantic Ocean has provided a convenient curtain separating British sources from American sources and vice versa.
However, it took until the dying years of the Twentieth Century for both the method of delivery and the sources from which delivery is made, to come together and make true investigative journalism possible for the first time. Now, in the Twenty-first Century, the floodgates are opened to a pouring forth of a huge stream of knowledge that is now sweeping away the works of censored material.
The censors are the ones who took contemporary material and twisted it to cause misunderstandings that led to false conclusions about many topics that the 'BBC' regurgitated into the ears and eyes of its listening and viewing audience. Then the anoraks, the so-called lovers of 'free radio' got in on this act, and they have continued to spew forth their own sickly and poisonous mess upon a cult-like following.
But while on the one hand the days of this censorship are passing with speed, on the other hand the Crown and its cohorts are reacting with speed. They are coming up with ever more woke means to 'protect us all' from inflammatory, incendiary, 'racist, 'sexist' terminology of the past. But it is all a lie. It is merely a back door means of enforcing censorship.
The Crown censors know that truth is a danger to its existence, and therefore a source of vulnerability in defending its own wealth to the detriment of the majority of people alive today. Truth emanating from contemporary accounts of past events will nail the British Crown and its Secret Service manipulative censors to the masthead of deceit, fraud, torture, slavery and warfare.
Those who believe in true individual freedom and freeborn rights; natural rights that everyone is equally born with, well, 'they' are in a race against time to publish new and comprehensive accounts of past events, based upon this new wealth of information. We are involved in this process.
Our 'enemy' is not only British and other governmental State censors, but those idiotic and foolish minions who fall into line and form cults that worship inventive characters such as Ronan O'Rahilly. He has become more of a cartoon caricature than any form of reflection as to who that person really was.
In his instance, he was a paid conman whose job it became to mislead and misinform, but who then came to believe in the very same propaganda which had been coming from his own lips. To this day, his followers have become even sillier, even more childish, and even more uneducated and more akin to lapdogs serving their Master, the British Crown corporation sole.
The veil of censorship could soon descend upon us all by a backdoor method of preventing all new research based upon original and authentic contemporaneous material. The enemies of freedom are purveyors of propaganda and currently, one of their favourite methods of censorship by denying knowledge is being employed in the name of protecting 'the children'.
Yet these censors are the real child abusers, and the real reason for their censorship is to protect the source of their own financial interests from exposure. Those sources are the same sources that reveal who built the stately homes of Britain by using money derived from slavery. In by-gone years those slaves produced such addictive and health destructive products as tobacco and opium. Today the vested interests dominating Crown management are involved with any and every endeavor that can be restricted via monopoly control to produce income unchallenged by competition.
The BBC was created as a monopoly to restrict, not to further knowledge. The British Crown has never been concerned with 'protecting the young' or anyone else. The British Crown was built on slavery. Not just Black slavery, because the Crown hates all those who oppose it.
The British Crown is wrapped in tomfoolery: such as the religious rigmarole which has just been passed-off as a funeral for its symbolic and now dead Queen. Its BBC went overboard in ramming the nonsense of a State funeral down the throats of all who were stupid enough to listen to it and watch it.
But Elizabeth Windsor was not the only person who died prior to those propaganda broadcasts. However, unless it was someone known to you personally, you probably have no idea who those other deceased people were. Yet you know who Elizabeth Windsor was, and in all probability, she was not related to you.
The British Crown is concerned with protecting itself. It first had to license the printers and the publishers when mass media began to emerge. But its greatest threat came from broadcasting. There had never been anything quite like the 'BBC' unless you want to compare it with the voices of those who control State religions, and England has been bombarded by both State broadcasting and religion, and both invoke the name of a god as their shield. If you challenge the British Crown, you challenge 'God'!
So everyone who believes in individual freeborn rights may be in a real race against time to publish and circulate new information, before a another dark age descends. That could be when the electricity which enables us to not only see in the dark, but to read those electronic characters which appear on computer screens, becomes licensed by the Crown for 'legitimate use'. After all, if we are to 'Save the Planet' we can't have power stations pumping out harmful gasses just to provide frivolous and harmful dissent for the few.
The Crown is our Saviour.
There was a time, not so long ago in the British Isles, when recorded broadcast music was rationed by Crown licensing. The offshore stations of the Sixties, and particularly the ones created by Don Pierson of Texas, helped to force a change in that area. But while Don Pierson opened the airwaves to anyone who wanted to buy time to disseminate religiously orientated political views, today in the British Crown dominated world of 2022 broadcasting, that is still not permissible.
The Crown tells you what to believe because the Crown tells you what is fit for you to see and hear. It needs to protect the financial interests of its inner core and secretive Privy Council membership. They are the censors behind the scenes of all British broadcasting, but you will have difficulty in putting names to most of them.
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