For the first time we can now reveal the outline of the story that we are still working on. It is the story that Paul Alexander Rusling does not know or understand. But because of his brazen theft of our own copyrighted work which we paid to research with both time and money, we could not proceed until he released what he claims is his 'updated bible'. We had to legally mitigate our financial damages by waiting to see what he would publish as a result of stealing our work. We doubt that his lack of credibility will now allow him to steal from us again, because the story you are about to read is at total variance to the nonsense that he has now published twice in a book that he calls 'The Radio Caroline Bible'.
UPDATE ADDED: In order to create a more complete outline, an insertion was added after the initial posting regarding the 1961 arrival of Ronan O'Rahilly in London. This insertion is indicated by an asterisk.*
First, the real fight for 'free radio' began to come to active life in 1959, and then it went into high gear during the first few years of the Nineteen Sixties.
Second, the fight that then took place with the Pilkington Committee, was a form of non-violent Tory 'civil war' over ideology. The success of the Labour Party after World War II introduced legislation that the Conservative Party could not rescind. This included political planning that led to the creation of the National Health Service. But throughout the Nineteen Fifties there were really only two political parties because the old Liberal Party had been replaced as the second party by the Labour Party. In that climate the Tories were split between a faction that adhered more to Liberal ideology, versus the de facto faction which believed that they were stuck with a mixture of capitalism and socialism.
Third, this political fight within the Tories was really a fight between 'new' Tories and old aristocrats. But the aristocrats were recruiting new members and those aristocrats formed one half of the Establishment which was another name for the British Crown, which still is a corporation sole. That is an entity created to live "forever", even though its figurehead is human and naturally (sometimes unnaturally), always dies. Then a new figurehead steps in. Translated into ordinary language of the moment, it pitched Queen Elizabeth II as the Crown figurehead, against her sister Princess Margaret who represented that faction of the Establishment that was not in control of the nation, but which was a privileged group that saw the masses who voted politicians in and out of office, as a rabble to be disdained and kept in their place.
Fourth, the 'enemy' of 'free radio' had not changed since the creation of the BBC. It was the newspaper and printing industry who saw the BBC and broadcasting in general as a rival that threatened the controlling power of the international press barons, and much of the British press was in the hands of non-residing British aristocrats. The musicians came under the control a union dominated by the Labour Party, but the press was under the control of the Conservative Party, while the printers of its publications fell under the influence of the unions controlled by the Labour Party. But since the Tories were in power during the Nineteen Fifties into the Nineteen Sixties, this is where and why and how the 'fight for free radio' took place.
Fifth, Jocelyn Stevens was part of the aristocracy, but he trained to become a printer. He also inherited via his mother, a sum of money which allowed him to buy an existing company that had acquired a magazine for the Establishment called 'The Queen'. The editor of that magazine was Beatrix Miller who had ties to Vogue magazine on both sides of the Atlantic Ocean. It was Beatrix Miller who came up with a style sheet for writers that she called 'Caroline'. But her original version of 'Caroline' was born at the end of the Nineteen Fifties and it represented the aristocratic readership of 'The Queen'.
Then along came Jocelyn Stevens and Charles Orr Stanley. In 1959, these two, for different but compatible reasons, embarked upon a plan to reshape the control of the Establishment. (Remember, we are not talking about the 'rabble', but the people with money and power who pull the strings controlling the 'rabble'.)
Stanley was a Protestant Irishman with a home that ended up on the 'wrong side' of the Irish border, the non-British side. But Stanley was a pragmatist who got along with the Roman Catholics and even the ardent Irish who demanded independence for the entire island of Ireland, because Stanley built some of his industries on both sides of the Irish divide, and he employed a lot of people. Thus, Charles Orr Stanley was able to maintain his family home in the Republic of Ireland, and keep his business headquarters in Cambridge, England.
Paul Rusling and his anoraks are really uneducated buffoons. They spout a lot of nonsense and know absolutely nothing - about anything. Qualified radio engineers such as George Saunders view Rusling's advice on technical matters as that of a mere child pretending to be something that he is not. Rusling shows off his total lack of knowledge by stealing information and then melding it into a silly book called 'The Radio Caroline Bible'.
Rusling stole information from the 'Trio'. Some of that information concerned Stanley's 'Radio Cambridge' of 1960, but Rusling failed to grasp its significance. That radio station actually broadcast from Cambridge on the Royal Agricultural Show grounds where the station was built. The press hailed it as Britain's first local radio station. It was not a 'dummy' as Rusling claims, because it actually broadcast and had the capability of upping its power of outreach. This prototype was of the kind that Stanley wanted to sell as a 'packaged' radio or television station. Stanley did not want to run radio stations. Rusling does not seem to know that 'Radio Cambridge' was then replaced by another Pye 'packaged' station called 'Radio Westminster', and this was also in the year 1960 when Stanley was trying to engage with the Pilkington Committee.
When the Tory Pilkington Committee slammed the door on Stanley, and the Tory Postmaster General dithered about what to do next, he decided to do nothing at all. So the curtain of censorship came down and blotted out a lot of information about what really did happen.
Ronan O'Rahilly showed up in 1961, after this first era had come and gone !
Stanley knew that he needed to get that faction of the Tory Establishment which was represented by Princess Margaret, on his side, if he was to overcome the Tory Establishment in power that was represented by Queen Elizabeth II. This was not a power game that the school dropout named Ronan O'Rahilly knew anything about. O'Rahilly was 'Irish' and not 'English', and that was a 'problem' that Charles Orr Stanley ran into in his first meeting face-to-face with Anthony Wedgewood Benn.
Benn whittled his name down to Tony, but he remained an aristocratic snob who tried to ingratiate himself with the Labour Party, but he did not fit in with their agenda, and so he remained a head-scratching question mark. On the one hand, he and his American wife with the ironic name of Caroline, gravitated towards the British aristocratic class of privilege, while on the other hand Tony and Caroline Benn attached themselves to the Labour Party where he was soon to be given power of control over communications in the United Kingdom. At that time, while disdaining Charles Orr Stanley as a human being and representative of British industry in general, in fact, Tony Benn was very close to endorsing the Pye Broadcasting Plan that Charles Orr Stanley represented.
But Charles Orr Stanley, Tony Benn and Ronan O'Rahilly were all peas tossed from the world of British politics. In one sense they had all emerged from similar pods, the pods deemed not fit for purpose by inspectors engaged in political packaging. The British Tory Establishment did not like Charles Orr Stanley because he was an 'Irish' upstart who dared to challenge the Italian Marconi interests which were wedded to the birth of British broadcasting under the banner of 'BBC'. Ronan O'Rahilly was a kid from Ireland who no one wanted and that eventually turned Ronan O'Rahilly from being a young man in a suit doing his father's business bidding, into a rebel without a cause, or an anarchist by his own definition. Then there was the snobbish Tony Benn who did not like Charles Orr Stanley and who totally ignored Ronan O'Rahilly as a nobody from nowhere.
Tony Benn tried to make himself out to be a man of the 'common people', but the British Labour Party union base did not view Tony Benn as one of their own, because he was not. Tony Benn was born into the privileged world of the select few who snobbishly dominated the British Establishment. This trio of Charles Orr Stanley, Ronan O'Rahilly and Tony Benn were as similar as they were different in their attitude towards life, but only Charles Orr Stanley ever created anything that really connected with the lives of the working people, and yet, he was an outsider who was destined for oblivion in the eyes of the British Establishment. They simply wrote him out of 'their' story.
On the other hand, other individuals have written Ronan O'Rahilly into a story which they invented, while Tony Benn has simply faded away like the eponymous soldier in that English folklore song that General Douglas MacArthur referred to at the end of his career.
In once sense Jocelyn Stevens also belongs in this oddball category. Jocelyn Stevens was part of Princess Margaret's 'Set', and yet, because Princess Margaret was also an oddball who didn't seem to belong to the British base of Establishment political power, Jocelyn Stevens did not fit in either. Like Princess Margaret, Jocelyn Stevens was in a constant struggle to find his niche, but in the end he seems to have concluded that he had to create that niche that he was to belong to.
It was a strange niche, and it evolved out of a confused Tory power base which began to find its form in 1956 when Tory Prime Minister Anthony Eden launched his failed invasion of Egypt during the Suez Crisis. Stevens was disgusted. But Anthony Eden was an old timer, unlike the young Elites who graduated from Cambridge University to become a gang that infiltrated the upper echelons of British power, and did their best to destroy the majesty of the British Crown on behalf of Joseph Stalin's Union of the Soviet Socialist Republics (USSR).
Jocelyn Stevens valued privilege and not ideology, so he locked on to a cobbled-together mixture of excess socio-political thinking that identified with Princess Margaret; media manipulation and the quest for satisfaction as mouthed by Mick Jagger. However, like Mick Jagger who threatened legal retaliation against Jocelyn Stevens who identified Jagger with 'Radio Caroline', Jocelyn Stevens attempted to create a strange new cultural animal that was still born upon arrival by the year Nineteen Sixty Seven.
Jocelyn Stevens' vehicle for reform was the aristocratic fuddy-duddy magazine called 'The Queen'. Stevens tried his best to convert 'The Queen' magazine into 'Queen' magazine and aim it not a society matrons, but at a hip and wealthy younger generation still attached to titles of nobility. To do this, Stevens used Beatrix Miller's style sheet called 'Caroline', and redefined her corseted and symbolic lady as a swinging young slut who disdained both corsets and bras. This was a girl that could give sexual satisfaction to Mick Jagger because she had both money and connectivity to the aristocracy, but with an air of privacy.
When Beatrix Miller learned of Jocelyn Stevens' plans to sully her imaginary image of 'Caroline', she quit on the very day that Stevens backed the registration of a sales company called Planet Productions Limited in Ireland. It had been formed to sell advertising time on a forthcoming 'Radio Caroline'. But, there was no doubt that Miller's 'Caroline' had begun to morph into 'Radio Caroline', and that fact was so noted in British business magazines.
'Radio Caroline' was to be aimed at young housewives, but soon this audio version of the Caroline style sheet came to abandon the idea of "no sex before marriage" - in keeping with the avant-garde ideas of Mary Quant who was influencing the replacement of stodgy images created by the established fashion houses. Miller could see what was coming and she wanted no part of it. So she left Stevens and his company and went to the Continent on holiday. Then she reappeared in the editorial offices of 'Vogue' magazine in New York where Miller's idea of decorum and taste were still admired.
Stevens' next move was to recruit a young kid who loved money and expensive cars which his 'Daddy' could afford to give him. His 'Daddy' was not a part of the aristocracy. He was a married New Zealander with a son who came to London and got divorced; married again and had another son that he called Ian. His name is Charles Edward Ross, and because years later, his son wrote a novel about a 'Jimmy Shaw', Rusling seems unable to accept the fact that Charles Edward Ross is not 'Jimmy Shaw' who did not exist. So Rusling has joined a moronic tribe who try to convince equally moronic anorak followers that the friends of Charles Edward Ross called him 'Jimmy'.
What Rusling and his really thick followers do not know, because they never asked, is what did Charles Edward Ross do for a living when he started living in Chelsea? The answer is that he attached himself to a dry cleaning business in Scotland, which, with the help of a merchant bank called Close Brothers, had been taken nationwide throughout the British Isles as a franchise.
Meanwhile John Sheffield had created a group of holding companies. The primary company was called Norcros, but there was a Southcros and a Scotcros as well. They all owned the shares of smaller companies and they marketed those shares collectively in order to raise capital that individually these companies could not get. Jocelyn Stevens not only married John Sheffield's daughter who also served Princess Margaret, but back in 1960, Jocelyn Stevens also became a director of Southcros. So in the year before Ronan O'Rahilly set foot in the UK, Stevens and Sheffield were already bound together by a marriage and by business interests. No 'Jimmy' introduction was necessary in 1963, because their relationship was firmly underway in 1960 before Ronan O'Rahilly even showed up!
While Ian's 'Daddy' built a large dry-cleaning enterprise in conjunction with its founder, they relocated the dry-cleaning head office to Chelsea, and the founder of the company relocated to Sussex to join Charles Edward Ross which enabled the founder's daughter to become a debutante and thus mix with the aristocracy. But there were other connections to the dry-cleaning business because one of the companies that Norcros took over was the largest manufacturer of dry-cleaning equipment in the British Isles.
Of course this link to dry-cleaning is not the stuff of excitement and it is totally unrelated to broadcasting, but that is the world that young and spoilt Ian Cowper Ross grew up in, and wanted out of. In fact, Ian Cowper Ross was born in Chelsea, while his older step-brother had been born in New Zealand. Ian was pampered by his father, and so at age 18 he was able to smash an expensive Jensen car into a bus, after he had crashed an expensive motorbike into a plate glass window. That Jensen car crash put Ian into hospital where he almost lost his foot, and then it put him in court for dangerous driving.
'Daddy' needed to do something about Ian.
Ian's step-brother was into several activities with a business partner, and they also had their base on the King's Road in Chelsea. Their activities included a restaurant and a car wash business on the King's Road, while also engaging in trying stage a theatrical musical production, without much success.
Ian wanted to join the aristocracy and the easiest way to do that was to marry into an aristocratic family with ties to other aristocratic families, and that is what he did. His choice of aristocratic families led him to become entwined with the financial string-pullers behind the Beatles' merchandising gold mine. Ian also became 'bait' for Jocelyn Stevens while Ian was on his way to finding the love of his life in a very aristocratic British family.
Among the various businesses that Sheffield's holding companies had control of was Jensen cars, which is how Ian came to get his hands on one and caused a serious road accident. But it was Sheffield's interest in the manufacture of dry-cleaning equipment, and the dry-cleaning retail franchise of which Charles Edward Ross was a director; the financial exploitation of that business by Close Brothers merchant bank, and the directorship of Jocelyn Stevens in a Sheffield holding company, that all three became aware of each other very early in the Nineteen Sixties. That was long before the arrival of Ronan O'Rahilly from his home near Dublin in the Republic of Ireland.
Meanwhile, young Ian was being 'used' by Stevens while Ian was using Stevens to get his leg in the door of the aristocratic world. While all this was going on Charles Orr Stanley was quietly working on his 'Radio Cambridge' and 'Radio Westminster'. That project had teamed-up with a Conservative MP who had formed a company back in 1959 called 'Radio Yorkshire (Development) Ltd'. That MP also became a director of Close Brothers, the merchant bank.
Another part of the Stanley plan was in setting up a company that his freelance designer Alan Bednall described in the book called 'Radio Man'. That 'secret' (we know its identity) company had its base on the Isle of Man, and it was connected to the initial plans to set-up a high-powered 'Radio Manx'. The people running that operation (apart from Manxmen), were from Shipley, Yorkshire, home of the eponymous radio station tied to 'Radio Cambridge' and 'Radio Westminster'.
Now it is as an offshoot and accidental interest, that the arrival of Ronan O'Rahilly in 1961 collided with all of these ongoing interests. Ronan O'Rahilly was their 'stooge' and young Ian Cowper Ross became an ancillary script writer to help weave a mythology around this man who Wikipedia has fallen for hook, line and sinker.
O'Rahilly was a Roman Catholic and therefore he was not a magnet drawn to the Protestant world of the British Establishment, so he became their 'useful fool'. He was initially sent on a mission by his industrialist father to raise money for his father's business, but he became side-tracked into the club world run by the likes of slum landlord Peter Rachman and the gangland world of the Kray Brothers.
However, when the Tory Pilkington Committee slammed the door in Stanley's face, he turned to a dual-track in his plans to secretly force changes on the British government. Concurrent with Stanley's plans on land, he had been involved with a continuing series of plans to create a de facto broadcasting station from offshore. Those plans went through several projects and eventually ended up with 'Radio Caroline'. That is how this gigantic jigsaw puzzle came together with the creation of 'Radio Caroline' on board a ship.
*Naturally this scenario raises the question about the presence of Ronan O'Rahilly. He wasn't in on any of this at the beginning, nor was he a source of money, so what did anyone need him for? After all, the silly story spun by Ronan O'Rahilly involving Georgie Fame and Caroline Kennedy are not a part of the story spun by Ian Cowper Ross, and the O'Rahilly tales are total nonsense that contribute nothing. So where did he fit into this game plan being orchestrated by Charles Orr Stanley?
Why was a second ship necessary when the Mi Amigo was available and ready to go? Allan Crawford lacked the money to buy it, and Charles W. Weaver had instructions not to lease it. O'Rahilly had been in London since 1961, but he played no part in the creation of Radio Caroline until he met up in early 1963 with Allan Crawford. Crawford is on camera making that statement, after he had time to pin down the date, and that date fits in with related timelines recalled by other people.
When Project Atlanta Limited was registered at the beginning of August 1963, it had very few people on its board of directors. The heavy hitters came in later. Some were related to the printing and publishing industry, including the firm that printed the original Radio Caroline rate card showing an address on Regent Street. The original recorded programs for Radio Caroline were made in Crawford's studio and the original meeting that brought together Wijsmuller, A. N. Thomas, Harry Spencer and Ronan O'Rahilly, took place in Crawford's office and studio on Dean Street. That seems to have occurred during January 1964. Planet Productions Ltd was not registered as a sales company until February 25, 1964, and on that day Beatrix Miller threw in the towel and quit 'Queen' magazine.
There was no Radio Caroline company.
So with all this money changing hands, who was orchestrating the movement of these plans to create Radio Caroline. Alan Bednall says that it was Charles Orr Stanley's son named John. Other people who worked for John Stanley confirm this information.
The records of the company that owned the mv Fredericia shows that it was sold at the tail end of 1963 and that it became the mv Iseult. We know that before O'Rahilly became an anarchist in 1966 (or earlier), he was still working with his own father into 1964-1965, and his father was trying to create a ferry boat and container ship business. But we also know that Ronan O'Rahilly's father was strapped for money. So the mv Iseult was resold to become the mv Caroline and O'Rahilly Sr., also gained income from outfitting both the Caroline and Mi Amigo from workers using his property. This idea was clinched when Harry Spencer from the Isle of Wight was warned off at the last moment from doing work on the ships on the Isle of Wight.
Aside from money coming in from printers to fund all of this, there was also money coming in from people connected to the nascent offshore oil and gas industry. They wanted to explore the North Sea off Great Britain, but at the time there were no laws except for the defunct 'Hovering Acts' that governed the kind of offshore activity these explorers wanted to undertake in international waters. So the potential possibilities versus the risk of government intervention needed to be tried out as a practical experiment, and Bill Weaver was not allowing anyone to experiment with the Mi Amigo. When the mv Fredericia renamed mv Iseult became available, the grandson of Henri Deterding, the man who built-up Shell Oil, joined the board of Project Atlanta Limited as a director.
Thus Radio Caroline popped-up out of nowhere, or so it seemed. It had no management company and no boss except for Jocelyn Stevens and Ronan O'Rahilly, and neither one had ties to broadcasting. The man who pulled all of the strings was Charles Orr Stanley, and the man who carried out behind-the-scenes management was his son John.
Paul Rusling knows nothing of this. For proof read his 'updated bible'. As Mike Wilson has already explained, Rusling played his last card with his 'updated bible' and exposed himself as a money-grubbing, unethical loaf who sponges off others. He makes claims about his qualifications that the engineering world laughs at. Now he has fallen face downwards into a slime pit of his own creation, we can at last begin to tell you what we now know.
We did not want to even begin to hint at the real story (which we have yet to explain in detail within a forthcoming series of books), because we knew that Rusling would try to steal it.
Now that Rusling has finally and forever tied himself to someone called 'Pinky' and to Malcolm Smith and his irrelevant operation that calls itself 'Radio Caroline', which has absolutely no connection to the original Radio Caroline of 1964-1967, we can begin to make good on our promise to reveal for the very first time anywhere, the fully documented and amazing story behind the aristocratic creation of Radio Caroline. We can tell you why it came to an end on August 14, 1967, and why it will never, ever to return to the airwaves again.
The first partwork book in the name of 'The Trio' - which incorporates our previously published academic works; our broadcast scripts, journalism articles and related books authored by Dr Gilder with cooperating assistance from 'The Trio' - is now in the editorial stages of production.
[The above monologue is copyright 2021 in both the United States of America, the United Kingdom, and in all other countries recognizing original work, with all rights held by Mervyn Hagger, Eric Gilder and Genie Baskir.]