Although there are now many books in circulation about 'Radio Caroline' and how and why it began, they are all rooted in either the initial plan to confuse, mislead and obfuscate in order to conceal the real storyline, or they are swimming in a sea of vanity and self-glorification because their authors have based everything in their pages upon hearsay and gossip. Paul Alexander Rusling admits that hearsay and gossip is the foundation of his 'bible'.
Rusling repeatedly made this admission after he stole documentation from us. and tried to weave it into a fictitious narrative of his own, and then basked under a small spotlight powered by his own vanity. He sees nothing wrong in his actions and Rusling is not alone in his amoral behavior. Disc jockeys such as Peter Waters Dingley also engaged in this practice.
Dingley was 'branded' with the name 'Johnnie Walker' in 1966, after he applied at the London Hilton Hotel for a job on Don Pierson's twin offshore stations aboard the mv 'Olga Patricia'. The on-air name he was given came from two names on a sound bite on a non-musical voice cart. Dingley applied the interpretive spelling of that first name to match the one applied to bottles of the eponymous Scotch whiskey brand.
But at the expense of Don Pierson, and full of puffery, Dingley resorted at one stage to telling a totally fictious tale about Don Pierson's long-deceased mother. It was part of a bogus interview recorded for sale in the UK on a cassette series called 'Tapetrix'. The owner of that brand later issued a correction with the excuse that he did not know that what he had recorded and sold was a fictitious tale. He claimed that he only became aware of this when he heard a personal rebuttal interview with Don Pierson. It was recorded by Mervyn Hagger.
Unfortunately the son of Don Pierson then engaged in a similar practice of misinformation when he made and sold a video about 'Radio England'. Therein rests part of the problem in publishing restorative truth: Infamy sells and self-promoted vanity clouds the question of honesty and moral judgment by those engaging in deception for personal gain.
All of this begs this question: why do individuals attempt to boost their own egos by depressing the reputation of other people?
Vanity, and hoped-for inexpensive self-gain, seem to be the main reasons.
This work has met with howls of personal attacks by individuals who are afraid of being exposed as frauds. But seldom, if ever, is there an academic challenge of line-by-line questions relating to the authenticity of underlying textual source material. It is easier for the fraudsters to attack the messenger rather than the message, even to the extent of pretending that the author is one person and not three people. This is why a narrator is used to link three separate storylines into one central story.
However, the story of 'The Trio' is not about three silhouettes on a wall, it is about three people who have three independent lives with multi-faceted life stories. Only part of their lives come together as 'The Trio'. Although this storyline has a combined central theme, the three individuals who compose that theme, have lived three separate and totally independent lives. They are not biologically related, and neither are they related by politics or religion.
Quite often in relating the main theme of this story, other aspects of the lives of these three individuals have a direct bearing upon their lives lived as a team. These snippets of information must be told later as insets, or backstories, and that is the approach being taken in this partwork.
Therefore we follow our own 'YesterCode' where the 'Event' represents the main theme, and then the chronology follows on. But when it is necessary to explain a backstory, the chronology of the main event may have moved on in time. So the chronology of the backstory will then pre-date the central event or theme.
There will be many examples of this process in the telling of the main storyline that will be covered within these pages.