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Episode 39

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Published on:

20th Jan 2025

Pirate Radio: The Rebellious Revolution of Radio

Pirate radio stations emerged in the 1960s as a rebellious response to strict broadcasting regulations in the UK, offering a vibrant alternative to the conservative programming of the BBC. These offshore stations, like Radio Caroline, not only provided a platform for popular music but also became symbols of youth culture and defiance against authority. As they gained popularity, they reshaped the music landscape, allowing bands such as The Beatles and The Rolling Stones to reach audiences eager for fresh sounds. However, the pirate radio movement faced significant pushback from the government, leading to legal crackdowns and the eventual implementation of the Marine Offenses Act in 1967. This episode explores the rise and fall of pirate radio, its cultural impact, and how its legacy continues to influence music and media today, even in the digital age.

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Transcript
Levi:

Ahoy there, cool cats and radio rebels.

Levi:

You've tuned in to 042 on the RS band, broadcasting loud and clear from the high seas of history.

Levi:

Today, we're cranking up the wattage on the salty saga of pirate radio.

Levi:

Picture this, a crew of daring DJs rocking the boat, blasting the airwaves with the hits you weren't supposed to hear.

Levi:

No licenses, no limits, and no way the government could keep up.

Levi:

It's rock and roll rebellion, full of sneaky ships, secret songs, and a wild game of cat and mouse.

Levi:

So buckle your life jackets because history lesson with a beat that you can dance to.

Levi:

Let's make some noise.

Levi:

On another episode of the Remedial Scholar.

Levi:

That's ancient history.

Levi:

I feel I was denied critical need to know Information belongs in a museum room.

Levi:

Stop skipping your remedial class.

Levi:

Welcome to the Remedial Scholar.

Levi:

I'm Levi.

Levi:

I think we got a fun one for you.

Levi:

In case that intro wasn't.

Levi:

Wasn't obvious enough.

Levi:

I do hope that we have a good episode every week, but it's not always fun.

Levi:

Last week, very not fun.

Levi:

Kind of feeling.

Levi:

Kind of feeling the pain of the Dyatlov crew, actually right now, because it's like below zero where I live, so.

Levi:

But anyway, this is a little escapism, so let's.

Levi:

Let's, you know, get into that aspect of it, I guess.

Levi:

I don't know.

Levi:

This.

Levi:

This idea for this episode comes from, you know, it's a.

Levi:

Inspiration that I normally have movies.

Levi:

A.

Levi:

I.

Levi:

I think you may have noticed that I enjoy pulling topics from the content that I consume, and movies is one of the biggest pieces of that.

Levi:

So I do love movies.

Levi:

I love to watch them.

Levi:

I.

Levi:

I like to read about them, which is weird too.

Levi:

Some people.

Levi:

I love watching videos where people talk about movies.

Levi:

Not even watching the movie itself, just watching somebody talk about it.

Levi:

Big, big passion of mine.

Levi:

And I would say that it sits just behind music.

Levi:

I get to bring those two things together in a way.

Levi:

Kind of.

Levi:

Not directly, but inspirationally.

Levi:

There's a movie that I.

Levi:

It holds a real special place in my heart.

Levi:

It's called Pirate Radio or the Boat that Rock, depending on where you watched it.

Levi:

I believe it was Pirate Radio the United States, and then pretty much everywhere else, it was the Boat that Rocked.

Levi:

So this.

Levi:

You know, it's funny.

Levi:

Funnily enough, this might surprise you, but, hey, I did go down this weird rabbit hole about this movie as I was writing this.

Levi:

So this is.

Levi:

This is kind of a fun little tidbit that doesn't actually impact anything, but pretty cool for me.

Levi:

So the movie that I'm Pirate Radio was actually written and directed by the same man who wrote and directed one of my all time favorite movies.

Levi:

You would have thought that I would have known that, but no.

Levi:

He's actually written a ton of things that I like and it's wild to me that I never connected these dots, you know, when I started looking things up about this movie and found out how connected all of the things were.

Levi:

Richard Curtis is who I'm talking about and he actually started his writing journey writing for the Mr.

Levi:

Bean TV show with Rowan Atkinson and worked on a show with him called the Black Adder.

Levi:

Actually probably best known for his writing on Four Weddings and a Funeral, the Bridget Jones Diary movies and then also Love actually.

Levi:

And I, I do enjoy that movie as well.

Levi:

He directed and wrote Love actually.

Levi:

And then his next turn as writer director was in the movie that inspired this episode, the Boat that Rocked Pirate Radio.

Levi:

The next one is an all time favorite.

Levi:

About time.

Levi:

Go watch it cry it.

Levi:

Love it.

Levi:

You know, it's.

Levi:

It's absolutely wonderful.

Levi:

I actually went to it in the like I went and watched it on the theater on the base where I was stationed.

Levi:

Didn't look anything up about it.

Levi:

Just kind of walked in and it was great.

Levi:

I fell in love with.

Levi:

That movie is so good.

Levi:

Another fun fact, this guy Richard Curtis actually wrote the episode of Doctor who where he gets to meet Vincent Van Gogh and that's super emotional, but it's a, it's a great episode.

Levi:

Anyway, let's refocus the Boat that Rocked Pirate Radio is a fictionalized version of a real story that we're about to learn about.

Levi:

The synopsis is.

Levi:

In the:

Levi:

Right.

Levi:

The movie features a real who's who of famous actors.

Levi:

The late great Philip Seymour Hoffman, Nick Frost, who's often in movies with Simon Pegg, Chris O'Door O'Dowd, Brannon Brenna Reece Ifans, Little Nicky's brother if you've seen that movie.

Levi:

And then the wonderful, always wonderful Bill Nye and not, not that, not, not the Science guy.

Levi:

This is Bill Nye N I G H Y But he's fantastic.

Levi:

Ultimately, the movie was not a box office banger.

Levi:

Definitely has a cult following.

Levi:

It sits at 59% for critics and 71% for audience rating on the Rotten Tomatoes, Tomatomer, Tomatometer.

Levi:

But I loved it.

Levi:

And it's full of great music.

Levi:

Some say it's kind of shallow and soulless.

Levi:

Series of escapades by people in the six in 60s period clothing, acting, raunchy, having no morals.

Levi:

But that's kind of, that's kind of what the 60s were about, man.

Levi:

I actually learned a few really great songs from this movie, like Stay With Me Baby by Lorraine Ellison.

Levi:

Yeah, that's a great song.

Levi:

Nights in White Satin by the Moody Blues, so Long Marianne by Leonard Cohen.

Levi:

All fantastic.

Levi:

Definitely go check those out.

Levi:

But you know, all that, too much information.

Levi:

But I wanted to give you an idea of the movie that kind of, you know, told like inspired me to go down this rabbit hole.

Levi:

Right.

Levi:

And the reasoning is the movie opens up with some text on the screen flashing between like cuts of people listening to music, whatever, and it talks about how the British government had outlawed pop music and there were a few rebels who tried to share it anyway.

Levi:

And this concept might seem foreign to us in our instant gratification world of hundreds, maybe even thousands of methods of listening to our favorite songs might be super foreign to those of you who listen.

Levi:

Listening, who only think of the radio as that, you know, old music that plays in like, like grocery stores or car washes or when your phone doesn't connect to your car or whatever.

Levi:

It also could feel foreign in the United States because for the most part, we have always heard our favorite artists on the radio.

Levi:

This wasn't always a luxury, but despite radio broadcasting being a relatively new phenomenon, not many countries did it as freely as the United States who had their own issues.

Levi:

But you know, it obviously wasn't a perfect system.

Levi:

Even with that, they still managed to play way more popular music than the United Kingdom.

Levi:

It is weird to imagine a time before all the technology that we have now that gives us instant action of music or whatever, even podcasts.

Levi:

I definitely remember using the radio to listen to many different things when I was younger.

Levi:

When I was a kid, I would wake up at 5am and use my little 9 volt powered hand radio to listen to the morning zoo show from my hometown.

Levi:

They played fun songs, had trivia.

Levi:

This is great.

Levi:

You know, my, my stepdad, he would play like the classic rock channel in his shop.

Levi:

Whenever we'd go over to the shop, he'd always have this one station, 101.5.

Levi:

They had their 40 minutes of non stop rock.

Levi:

So that was, that was cool.

Levi:

Also have distinct memories of my dad always having the radio on in different situations.

Levi:

My dad a lot like me in the fact that, like, he definitely goes through where he was like, I really want to listen to this.

Levi:

And so we would listen to, like, CDs and stuff too, but we.

Levi:

We would also listen to the radio if that was like.

Levi:

Like if he was working on something or, you know, whatever we did.

Levi:

Just every now and then we listen to radio.

Levi:

Yeah, radio.

Levi:

It was.

Levi:

It was super involved until we figured out how to burn CDs, which is also when Limewire came around.

Levi:

So that was kind of the end of my radio concern, because shortly after that is when MP3 players started to become popular ipods.

Levi:

Shortly after that, not to be outdone, the Zune, the superior listening device, was produced as well.

Levi:

But before that, it was all radio most of the time.

Levi:

It's super hard to imagine what life might have been like before.

Levi:

Sounds were constantly filling the void.

Levi:

Now we hear music basically everywhere we go, which is not necessarily a bad thing, but it is pretty much everywhere.

Levi:

Department stores with their predetermined playlists and gas stations have the ambiance.

Levi:

Music, commercials, movies, you know, it can be a lot, I suppose.

Levi:

But before that, long before that, you'd get music through a few different ways.

Levi:

You could go to a music hall, a dance hall, traveling axe, perhaps a local panhandler or somebody in your family who had learned an instrument, and you could.

Levi:

You could buy sheet music.

Levi:

That was.

Levi:

That was a market.

Levi:

Like, there's people producing books of music of popular songs and compiling them so then people could play them at home.

Levi:

And many homes had, like, had a piano, for instance, for such an occasion.

Levi:

You'd also end up hearing music at the local bar, restaurants, that kind of thing.

Levi:

And this was all before a few scientists began exploring the realms of waves and not the watery ones, the spooky electrical ones.

Levi:

This dates back actually pretty far, but on a very small scale.

Levi:

Wasn't until a man named Michael Faraday began exploring electromagnetic effects in the real world.

Levi:

He hypothesized that there were electromagnetic waves in the air all around, like a crazy person.

Levi:

Then some other people began to take his ideas and kind of run with them.

Levi:

ames Clerk Maxwell in the mid-:

Levi:

Did so he began to write formulas to explore this.

Levi:

And through these equations, he found that there was, like, this was true, but equations improving it not really the same.

Levi:

You.

Levi:

You can write all the formulas you want, but then you gotta put it in practicality.

Levi:

Actual did receive a lot of praise from this, including one Albert Einstein.

Levi:

So that's kind of cool.

Levi:

Beginning in:

Levi:

These experiments in the late:

Levi:

Good job.

Levi:

Essentially, Hertz set up a simple device, often called a spark gap transmitter that created sparks between metal spheres.

Levi:

The spark produced ripples of electromagnetic energy similar to what we now call radio waves.

Levi:

To detect these waves, he placed a loop of wire or sometimes two tiny metal.

Levi:

Tiny like beads.

Levi:

And then like a short distance from the transmitter.

Levi:

And then that would show it.

Levi:

Right.

Levi:

Whenever these waves reached the loop, a small spark appeared, which meant that energy had traveled through the air with no wires connecting the two devices.

Levi:

So we're talking about witchcraft.

Levi:

The really groundbreaking part was when he demonstrated that these waves behave just like light by reflecting them off metal sheets.

Levi:

Showing they could be refracted when passing from one medium to another.

Levi:

And then measuring how they became weaker or stronger at different points.

Levi:

Hertz confirmed that these radio like waves exhibited the same properties Maxwell had mathematically described.

Levi:

So, yeah, he also proved they were polarized, meaning you could change their apparent strength by rotating the receiving loop and measured their wavelength and frequency very precisely.

Levi:

All these findings added up to a big win for Maxwell's theory.

Levi:

You know, it's, it's not just a theory anymore.

Levi:

He, somebody did it.

Levi:

Also find this very fascinating because literally at the same time, Jack the Ripper's terrorizing people.

Levi:

This guy's just like, all right, well see, what can we, what can we do with like space waves?

Levi:

Anyway, Hertz actually didn't think there were any useful applications for this revelation.

Levi:

But, you know, he still was like, it is.

Levi:

You can do it.

Levi:

Meanwhile, other scientists were finding out something similar.

Levi:

We actually talked about one of these people in a previous episode, Luigi Galvani, the guy with the frog corpses.

Levi:

His little experiment where he found sparks to cause frog limbs to move when he touched with a scalpel.

Levi:

Right.

Levi:

Had like electric charge scalpel.

Levi:

Yeah.

Levi:

Anyway, another famous inventor had dabbled in the proven theories of Hertz, super famous Nikola Tesla.

Levi:

Tesla had read Hertz's research, but believed that wireless electricity was.

Levi:

That was the move.

Levi:

And so he focused on that, and that felt more applicable than radio waves.

Levi:

The general consensus was that radio waves, if real, probably only traveled in straight lines and thus wouldn't be useful for anything super long distance.

Levi:

And that same conclusion, coupled with the belief that instead of radio waves being what was happening in the spirit experiments, it was Just electromagnetic induction actually led Thomas Edison to give up on pursuing any of these.

Levi:

This science, which, you know, probably saved a bunch of inventors from having their invention stolen.

Levi:

So that's, that's a win.

Levi:

Still, electromagnetic discovery and testing in this field would lead to a variety of different tinkering things that paved the way for others in 19.

Levi:

In:

Levi:

Anyway, Alexander Popov, a Russian scientist, piggybacking off the previous designs, made a receiver that of sorts that was like a lightning detector, which is kind of sweet.

Levi:

This receiver was even tweaked and then it could actually like record lightning.

Levi:

So not only could it detect it, but then when lightning happened up to 30 km away, he made it so it would make an indication on this paper roll that was fed into it.

Levi:

So that's, that's pretty sweet.

Levi:

The electromagnetic, electromagnetic signals caused by lightning in the area change the conductivity of the device when the radio waves passed through it.

Levi:

This breakthrough set the stage for others to take the baton and run forward with it.

Levi:

Popov's receiver proved that radio waves could reliably carry signals, initially just as dots and dashes in the lab, but enough to show the promise of wireless telegraphy.

Levi:

Telegraphy, yeah, telegraphy, who knows?

Levi:

Taking that concept a step further, Nikola Tesla, once more in this story, demonstrated a radio controlled boat using similar electromagnetic principles, not merely to transmit code, but to remotely command the machine.

Levi:

It's actually pretty awesome.

Levi:

The, essentially the first RC vehicle.

Levi:

Tesla was trying to lobby this technology to the military, but they felt that it was too futuristic and thus unproven, so they couldn't find any applications for it.

Levi:

However, this leap did show that wireless discovery of Popov like could do so much more than what people thought it could be doing.

Levi:

You know, more than just Morse code transmissions.

Levi:

Also, if you're a video game fan, you may find this story similar to one from red Dead Redemption 2.

Levi:

The Wild Eyed eccentric inventor Marco Dragic has a lab similar to Tesla's Wardenclyffe Tower.

Levi:

Even has a small side mission where he asks you to pilot this boat to show off some navy officers to potentially buy it.

Levi:

Super fun Easter egg in that game.

Levi:

Anyway, what does any of this have to do with pirates playing Jimi Hendrix in the United kingdom in the 60s?

Levi:

Well, to be fair, it's all about radio.

Levi:

I wanted to give some history of how radio got to the forefront of entertainment and this I think is interesting stuff.

Levi:

Any, anyway, soon enough a man named Uglielmo, he's Italian, so I'm assuming that's how you say it.

Levi:

Guglielmo.

Levi:

Guglielmo Marconi.

Levi:

Maserati.

Levi:

Bugatti would begin to use the efforts of his predecessors in a way that they didn't really think of or weren't able to focus on.

Levi:

He did a very small scale version of some things that they were already doing.

Levi:

Smaller scale, simplified, but more effective.

Levi:

He built on the complex breakthroughs of Tesla, Popov and others.

Levi:

But instead of chasing dramatic demonstrations, you know, he honed it into a point to point telegraphy, or telegraphy, whatever, the ability to reliably send more signals from one location to another across the ever increasing distances.

Levi:

By obsessing over simpler circuits, more sensitive receivers and powerful yet focused transmitters, Marconi quickly turned the theoretical possibilities into practical results.

Levi:

It wasn't as flashy as a radio controlled boat, but his approach revolution revolutionized communication by proving that wireless could be scalable and dependable, which then set the stage for global radio networks.

Levi:

his story really takes off in:

Levi:

You know, just the regular run of the mill stuff, but you know, his, his early radio apparatus actually, you know, he filed the patent for it, but there's a lot of, a lot of like crowd work in this.

Levi:

There's a lot of other scientists, bits and pieces because he studied all these things and kind of put them all together because while they were focusing on one specific thing, he was like, all right, you guys all got this thing going, I'm going to take the ball and run with it.

Levi:

Yeah.

Levi:

But so once Marconi kind of had an idea of what he had, he took it to the British government, but not the military.

Levi:

He took it to the telegraph engineer and proved that his concept works reliably.

Levi:

Practical distance, continuously.

Levi:

Super important that he was able to show that this continued to work outside of lab conditions.

Levi:

Essentially following that, Marconi was busy building his own company, originally called the Wireless Telegraph Trading Signal Company, no shortage on words in that title, and began to, began to set up test stations.

Levi:

Written firstly on the isle of Right.

Levi:

And he managed to send signals up to 34 miles or 55 kilometers, which is pretty impressive considering what was it, 30 kilometers that the, the lightning thing could detect.

Levi:

So he's almost doubled that and he's actually sending messages.

Levi:

Pretty sweet.

Levi:

And following these like successes, he began to demonstrate what is known as Marconi's Law.

Levi:

Essentially the taller the antenna, the farther the signals could travel.

Levi:

For the next couple years he installed gear in various lighthouses, ships and even on a Royal yacht at the request of the Prince of Wales.

Levi:

Quickly proving how practical and helpful he his wireless telegraphy could be for maritime communication.

Levi:

d hotly debated event came in:

Levi:

So yeah, you might go yeah.

Levi:

Didn't he only just get like 30 some miles?

Levi:

Yeah.

Levi:

Critics point that the atmospheric interference might have produced the signal.

Levi:

But whether or not he truly bridged the Atlantic that day, his like, whether or not that happened, it still continued to empower him to, to follow it.

Levi:

Right.

Levi:

Within a few years he opened factories, won the support of the navies and shipping lines and was busy transmitting real time news to ocean liners.

Levi:

By:

Levi:

Nobel Prize in physics, shared it with Carl Ferdinand Braun.

Levi:

You know that's, that's, that's pretty impressive.

Levi:

In the:

Levi:

In the early days after Marconi's breakthrough, radio was mostly a point to point tool rather than anything like the broad entertainment that we have today.

Levi:

Operators sent simple Morse code messages between ships, lighthouses and shore stations for navigation, weather updates and in emergencies.

Levi:

There's a huge improvement on cable telegraphs, especially for the maritime use.

Levi:

Now ships could stay in contact when they were far out at sea and beyond any physical connection to land.

Levi:

Instead of everyone tuning into a broadcast, wireless telegraphy function like private messages intended for practical, often life saving purposes.

Levi:

But over time, pioneering minds realized that radio waves could carry not just dots and dashes, but also human voice and eventually music.

Levi:

Experimenters like Reginald Fessenden and Lee de Forest developed technologies, most famous, most famously the Audion tube.

Levi:

This allowed audio signals to be amplified and transmitted.

Levi:

st milestones was Fassenden's:

Levi:

Now I want a horror movie where these sailors did not know about this and then they just go crazy.

Levi:

I think that would be great.

Levi:

Horror movie Hollywood, get at me.

Levi:

These moments hinted at radio's entertainment potential.

Levi:

The technology still wasn't fully consumer friendly.

Levi:

Equipment was expensive, signals were inconsistent and audiences were small.

Levi:

Meanwhile, the US had their own inventors tinkering, tinkering away at this phenomenon.

Levi:

I mentioned Lee de Forest.

Levi:

He actually toyed with arc transmitters to Find an alternative to the infrequent and discontinuous pulses that the spark transmitters were using that the other guys had been using up to this point.

Levi:

This eventually led to a continuous wave signal, the type of signal used in AM or amplified or amplitude modulated transmissions.

Levi:

AM radio, bam.

Levi:

Yeah.

Levi:

For the next decade nothing major changed.

Levi:

It was, you know, the biggest thing was that the militaries of the world began using wireless telegraphy Morse code during World War I.

Levi:

Following the war, we have the first bit of radio entertainment.

Levi:

The Dutch, the bane of Austin Powers.

Levi:

As far as Nigel Powers.

Levi:

th,:

Levi:

And this would run four nights a week on the FM transmissions.

Levi:

ut they cease broadcasting in:

Levi:

early radio broadcast was in:

Levi:

This also doesn't, doesn't surprise me.

Levi:

I know that the joke is that Germans, you know, Nazis specifically fled to Argentina after World War II, but there was already a decent population of Germans in Argentina before that.

Levi:

That's why they picked Argentina to flee to.

Levi:

But the bigger picture is that Wagner was very anti Semitic and his music was loved by the Nazis.

Levi:

So of course this was broadcast in Argentina.

Levi:

But I digress.

Levi:

,:

Levi:

,:

Levi:

The a new York college student had received an amateur license and broadcasted concerns on Thursday nights, which or concerts, not concerts, which could reach around 100 miles away, which is pretty cool as a student.

Levi:

r first regular broadcasts in:

Levi:

The twenties also gave birth to the musical broadcasting over radio in the United States.

Levi:

Stations began to see the potential of playing music people enjoyed either by way of a live band in the studio or a phonograph recording.

Levi:

Stations even began to hire bands just to play in the studio like a full time band, like the late night talk shows have.

Levi:

There is also an issue that they wanted to fill the airwaves when they weren't broadcasting like content, like when they weren't saying things, when they weren't reading the news or whatever, which is kind of funny to think about.

Levi:

Before the money man got involved, radio was mostly music with smaller broadcasts of news or other things.

Levi:

And advertisers began to realize the potential in commercial entertainment which inspired the growth of advertised music stations.

Levi:

As this became more and more popular, there were advances in technology that made it easier to broadcast improved transmitters, then receivers and the introduction of transistors augur the potential for radio itself.

Levi:

While things like phonograms and the eventual vinyl records allowed higher quality music to be played.

Levi:

Also gave a wider variety of potential music to play.

Levi:

No longer bound to just having a band play in the studio with the vinyl.45 which stood for 45 RPM often had a single from a musical act or radio stations along with jukeboxes capitalized and then made it easily digestible for the common listener.

Levi:

And they made it easy for the artists to be heard outside of, you know, people just seeing their posts in the newspaper going to concerts.

Levi:

All right, so we are up to speed with radio broadcasting.

Levi:

Let's back up and discuss one of the main actors of this episode.

Levi:

The BBC.

Levi:

And not that one.

Levi:

The British Broadcasting Company which was actually.

Levi:

It's different from the current BBC.

Levi:

That's the.

Levi:

That's BBC you were thinking of, right?

Levi:

British Broadcasting Corporation.

Levi:

I'm sure it was.

Levi:

Anyway, while the US is over there having all their fun and making radio broadcasts of concerts or whatever, the UK is doing things a little differently.

Levi:

Some distinct laws prevented the licensing of new radio stations in the United Kingdom.

Levi:

Due to the fact that the time to the fact that at the time the United States was experiencing a boom thanks to the Department of Commerce regulating and selling licenses.

Levi:

The UK meanwhile did not have the same regulations going on.

Levi:

The regulation of mass communication had already been assigned to the General Post Office.

Levi:

That means outside of print.

Levi:

Any widespread communication was under their umbrella.

Levi:

The British government held a certain level of skepticism in regards to commercial radio.

Levi:

They were worried that there would be a prioritization of profits over quality.

Levi:

Can't argue with that now.

Levi:

And also profits over cultural enrichment fair.

Levi:

This sentiment extended into the first major licensed company outside of the BBC.

Levi:

The only licenses really issued were hobbyists experimental transmissions, that kind of thing.

Levi:

The military also put their 2 cents in on the issue stating that interference from hobby radios had been picked up by them and that this could potentially be a security issue.

Levi:

The Post Office put a moratorium on licenses for a bit.

Levi:

Company officially formed in:

Levi:

One of their plans was to remain advertiser free.

Levi:

This would keep the creative control in their hands and they wouldn't be dependent on advertisers for money.

Levi:

So they wouldn't have to like basically work with them and do things they requested because they didn't have to.

Levi:

They didn't have their money to be pulled out from underneath them.

Levi:

And that feels Fair.

Levi:

That's a, that valid, right.

Levi:

A big part of the early identity, identity of the BBC was that the, or one that was close to the, the way that the British government kind of held their views, especially in, in terms of their views of what productive radio broadcasting should be and more importantly what it shouldn't be.

Levi:

One large part of this was the BBC's first general manager, man named John Reith.

Levi:

He was the son of a Scottish Presbyterian minister and himself was strict in his convictions.

Levi:

He enlisted during World War I where he was injured by a sniper shot in the cheek.

Levi:

All right.

Levi:

He discussed his displeasure of this event while lying on the stretcher saying, quote, I'm very angry and I've spoiled a new tunic.

Levi:

All right, pretty, it's pretty hardcore.

Levi:

He's mad because he ruined his shirt.

Levi:

After being injured, he was sent to a factory producing goods for the war.

Levi:

He was placed in charge of all sorts of things including like inspecting things, estimating costs, general management tasks.

Levi:

Following this he was sent to the United States of all places where he was overseeing Production of Enfield MK1 rifle at Remington Arms in Pennsylvania.

Levi:

He was doing similar stuff to what he was doing before, but yeah, like honing his manager skills.

Levi:

Following the war he worked as a secretary for the ministers of Parliament before responding to an advertisement in the newspaper for a general manager job.

Levi:

He's like, hey man, I've been a general manager, let's do this now.

Levi:

He did have zero experience in this field, but he was given the job and took it with a fervent, took to it with a fervent intensity.

Levi:

He was soon leading the BBC in the same manner in which he led any of the other jobs he's held.

Levi:

His goals for the BBC were to inform, educate and entertain in that order.

Levi:

And the use of entertain is pretty subjective.

Levi:

His idea of entertainment leaned heavily towards what he considered morally uplifting and culturally enriching.

Levi:

Under John Wright's leadership, the BBC focused on classical music, opera, educational lectures and serious drama, leaving little room for popular music.

Levi:

Light hearted programming that audiences in other countries were enjoying at that time.

Levi:

One of the tools that allowed the BBC to avoid playing much popular music was something called needle time.

Levi:

Needle time referred to the maximum amount of recorded music the BBC was allowed to broadcast each day as agreed upon with the musicians union and the record companies.

Levi:

It originated from fears that playing too many records would undermine the live musicians who relied on paid performances for their livelihoods.

Levi:

To protect these jobs, the musicians union pushed for strict limits and the BBC agreed to cap airtime for records at Just five hours per day.

Levi:

Most of the remaining time was filled with live performances by BBC orchestras and musicians, ensuring steady work for them while keeping the airwaves free of much music.

Levi:

Much of the pop music that was growing in popularity.

Levi:

The system was convenient for the BBC because it realigned perfectly or aligned with Wright's conservative vision.

Levi:

The limited needle time allowed the BBC to avoid playing emerging genres like jazz and later rock and roll blues, which writhe and his peers viewed as culturally inferior or morally corrupting.

Levi:

Instead, the BBC, it filled its schedules with live classical music.

Levi:

Like I said, you know, high culture stuff.

Levi:

In contrast, commercial radio stations in the United States and elsewhere embrace popular music.

Levi:

American stations gave DJs freedom to play the latest jazz, blues and eventually rock and roll, kind of drawing in younger audiences.

Levi:

Everybody's super excited and loving life.

Levi:

Meanwhile, the BBC's rigid control over its programming combined with needle time restrictions left many British listeners, especially teenagers, frustrated by the lack of modern youth oriented music on the airwaves.

Levi:

I also want to pause for a moment and discuss this aspect because it's not one I ever really considered before.

Levi:

But you know, just as we talked last week with the youth culture in the Soviet Union leading to sports tourism taking off, the teenage boom of the fees and 60s transformed youth culture across western world.

Levi:

But the experience in the United Kingdom had its own unique flavor, right?

Levi:

Shaped by the aftermath of World War II.

Levi:

For a generation raised in the shadow of bomb cities, ration books, you know, stories of their parents, sacrifices, the war left a huge impact on their psyche.

Levi:

Their parents had endured hardship, loss, rigid societal structures that demanded self sacrifice for the greater good.

Levi:

For the post war generation, this wasn't a world they wanted to inherit.

Levi:

The teenagers of the:

Levi:

One focused on individuality and self expression and fun.

Levi:

The war had also brought about significant social and economic shifts that created the conditions for this cultural transformation.

Levi:

Child labor laws preventing child labor right meant that young people were no longer sent to factories or mines as soon as they were old enough to work.

Levi:

And free secondary education gave them time to develop as individuals.

Levi:

For the first time, there was a clear distinction between childhood and adulthood, with the teenage years emerging as unique period of life.

Levi:

This gave rise to the teenager as a cultural identity, a concept that didn't exist for earlier generations who had gone straight from school to adult responsibilities.

Levi:

Now young people had time and as post war economic recovery improved, many had a little bit of disposable income to spend on leisure Fashion and music.

Levi:

However, the generational divide wasn't just about economics or education.

Levi:

It was also about cultural rebellion.

Levi:

Their parents had grown up in a world of strict hierarchies, social hierarchies, conservative values and clear expectations about their roles in society.

Levi:

For British teens who had been raised hearing about the war's destruction, the sacrifices it demanded, the original rigid conformity felt stifling.

Levi:

They wanted to reject the austerity of the past and embrace something new, something loud, vibrant, full of life.

Levi:

This rebellion found its perfect outlet in music.

Levi:

The rise of rock and roll, with its raw energy and rebellious spirit, offered a soundtrack to the generational shift.

Levi:

American icons like Elvis Presley and of course Chuck Berry, yes, electrified young British audiences who flocked to coffee bars, jukeboxes and dance halls to hear their music.

Levi:

And much to their parents chagrin, subcultures like the Teddy Boys epitomize this rebellion, wearing flamboyant Edwardian inspired suits as they dance to infectious rhythms of rock music.

Levi:

Later, the mods and rockers took to took the low, the cultural baton, expressing their individuality through sharp fashion, scooters, motorcycles and rivalries.

Levi:

But in the UK there was a major hurdle.

Levi:

The BBC's strict programming.

Levi:

These kids want this stuff and they can't get it because of the BBC.

Levi:

Under John Rice conservative vision, the BBC had prioritized classical music, educational talks, cultural refinement, which left little room for the popular rock and roll that these teens needed the needle.

Levi:

Time rules, limited pop music.

Levi:

And then the personal preference of the people running the BBC also further cemented, like hey, we don't want to hear that stuff anyway.

Levi:

So we're just going to.

Levi:

We're just going to not right.

Levi:

Restricting access to the songs that resonated with this generation that was hungry for change.

Levi:

And also reminds me of another movie, funnily enough, because that's how my brain works.

Levi:

If you've ever seen Good Morning Vietnam, great movie.

Levi:

If you haven't, you need to watch it.

Levi:

There's a scene where Robin Williams, Adrian Cronauer just finished his first broadcast at the military radio station and one of his supervisors, Lieutenant Hawk, is reminding him that inappropriate music shouldn't be played.

Levi:

He says, furthermore, you are to be, but you are to stick to playing normal modes of music, not weird stuff.

Levi:

Those we'd find acceptable here would be, would include Lawrence Welk, Jim Neighbors, Monty Avani, and then Robin Williams goes Whispers, Percy Faith and Lt.

Levi:

Hawk goes Percy Faith, good.

Levi:

Andy Williams, Perry Como and Certain Salad.

Levi:

Certain Salads, Holy Cow and certain ballads by Mr.

Levi:

Frank Sinatra, Robin Williams's character, responds, would Bob Dylan be out of line?

Levi:

And Hawk goes way, way out of line.

Levi:

But you know this in the scene.

Levi:

He also goes on to describe the Beach Boys as inappropriate, too inappropriate to book them for like a show, like a live, like a USO show.

Levi:

Man, I enjoy the Beach Boys, but I would not consider them to be remotely inappropriate.

Levi:

I think they have maybe three or four songs that insinuate anything that's not, you know, pretty tame.

Levi:

But anyway, that's this, that's the environment that they had going on, you know, the, the BBC and the government kind of heavy handedly parenting people basically.

Levi:

In response, British teenagers found ways to satiate their musical desires.

Levi:

They saved up to buy records, frequently went out to like dance halls or clubs to see the bands play.

Levi:

Tuned into faint signals from different broadcasts, you know, faint broadcasts that they could get to catch glimpses of musical revolution happening that they were feeling left out.

Levi:

Up.

Levi:

These resourceful workarounds not only fueled their passion for music, but also created fertile ground for homegrown music scene to develop.

Levi:

Inspired by rock and roll and the rhythm and blues of America, young British musicians began to create their own sounds.

Levi:

Bands like the Beatles and the Rolling Stones, born from working class roots and the vibrant energy of youth clubs and small music venues, captured the rebellious spirit of the times.

Levi:

The war's impact on the British youth, combined with new opportunities brought by child labor reforms and education, created a generation determined to live differently.

Levi:

They didn't want to do the same things that their parents did.

Levi:

They didn't want to have the same sacrifices or conformity.

Levi:

Instead they had embraced this music, this fashion, this stuff that was happening.

Levi:

Their hunger for change, fueled by the rejection of the BBC's conservative ism of the BBC's, not by the BBC's conservatism and their parents traditions, laid the groundwork for some revolutionary shifts that were about to emerge.

Levi:

Including defiant response to their lack of access to the music they loved.

Levi:

Right.

Levi:

I also learned a little bit about this from Keith Richards book.

Levi:

The iconic guitarist for the Rolling Stones, Keith Richards grew up on a street in Dartford, Kent, where bomb craters from World War II still scarred the ground as he was growing up, constant reminder of the war's impact on his family and community.

Levi:

In post war Britain, life was tough, you know, rationing, sense of austerity, defining everyday life.

Levi:

But for kids like Richards, music became an escape.

Levi:

He discovered American blues crackling through radio broadcast and cheap records, falling in love with the raw, emotional sound of artists like Muddy Waters or Howlin Wolf, that music with its grit and authenticity resonated deeply with the generation of teens tired of the conservative traditions of their parents.

Levi:

Richards even met Mick Jagger on the train because of the blues records Jagger was carrying.

Levi:

So kind of cool that that friendship sparked from that moment.

Levi:

For Richards and his peers, the blues wasn't just music.

Levi:

It was a way to rebel against the greatness of post war life and create something new and exciting.

Levi:

And the radio that he heard was no doubt not the BBC.

Levi:

They barely played music, let alone modern pop music.

Levi:

Right.

Levi:

There was no way that the American stations were reaching the shores of the British isle.

Levi:

So where did it come from?

Levi:

Well, to answer that, we need to travel back in time just a little bit less than 500 miles away as the crow flies from London to Luxembourg.

Levi:

In:

Levi:

Francois and Marcel Annan, became fascinated with the emerging radio technology.

Levi:

While the Annan family weren't hobbyists, they were very entrepreneurial and they had a very intense passion for what radio could do.

Levi:

They, they saw the vision.

Levi:

In the late 20s they helped found a company, Luxembourg.

Levi:

I don't know, it's, it's like it's all Frenchified, it's compani Luxembourgy.

Levi:

Bourgeois looks in bourgeois de radio diffusion.

Levi:

So clr with the bold vision of creating a cross border commercial broadcasting powerhouse.

Levi:

Unlike amateur enthusiasts working in sheds or backyards, a saw radio potential as a mass medium for entertainment and information.

Levi:

They invested in powerful transmitters that allowed Radio Luxembourg to beam its signal across Europe, targeting listeners from far beyond their small country.

Levi:

Radio Luxembourg was set apart by its independence.

Levi:

Based in a neutral nation with lenient broadcasting laws, the station wasn't bound by the strict regulations that limited broadcasters in places like the UK right or state controlled stations in France and Germany.

Levi:

While those broadcasters prioritize cultural enrichment and impose rules like needle time, like we talked about, Radio Luxembourg embraced a commercial model funded by advertisers.

Levi:

This freedom allowed it to fill its schedule with popular entertainment.

Levi:

Before.

Levi:

Before the emergence of roc.

Levi:

Rock and roll icons like Elvis.

Levi:

Yeah.

Levi:

Before the emergence of rock and roll icons like Elvis Presley and Chuck Berry.

Levi:

Radio Luxembourg played music that defined the 40s, such as Bing Crosby, Andrew Sisters, Glenn Miller's orchestra.

Levi:

These artists, known for their smooth vocals big band sound, were staples of the station's broadcast, which catered to audiences hungry for accessible, entertaining content.

Levi:

For British teens in the:

Levi:

Well, not really across The Atlantic.

Levi:

Well, the sounds were, I guess American artists.

Levi:

As rock and roll began to emerge, the station pivoted to feature, you know, the more popular acts like I talked about, you know, Chuck Berry, Elvis and the like.

Levi:

Radio Luxembourg's success revealed a growing demand for youth oriented content that traditional broadcasters failed to meet.

Levi:

Its accessibility to them and then ability to sidestep national restrictions and provide thrilling new wave type of stuff.

Levi:

Not new wave, I guess that's, that's an actual thing.

Levi:

It's a new wave of entertainment which contrasted starkly with the BBC.

Levi:

Right.

Levi:

Before the 60s, the BBC had a reputation for being cautious, controlled and sometimes downright prudish.

Levi:

Still, moments that it had that, you know, they tiptoed towards pushing the boundaries.

Levi:

They had risque stuff, right.

Levi:

They had comedy on their, on their show with like shows like the Goon show which had a, you know, anarchic surreal humor, kind of mocked British traditions.

Levi:

But it was daring for the time and resonated with the younger audiences.

Levi:

And so these were the things that they did to capture young people without playing popular music.

Levi:

They, they thought that if you could create these comedy shows or things that, you know, these events that were smart but funny, that was better than listening to pop music essentially.

Levi:

But as the 50s move on, music really challenged the BBC's conservatism.

Levi:

They wanted to play stuff that could get them listeners, but also they didn't want to think, they wouldn't want to play things that were deemed obscene in any way.

Levi:

They did actually play a few things by Elvis Presley.

Levi:

They selected safe ballads like Love me Tender or Are you lonesome tonight, avoiding like Jailhouse Rock and Hound Dog and stuff like that.

Levi:

But they, they, they opened it up a little bit is basically what I'm trying to say is they, they started to bring in a little more things but it wasn't enough.

Levi:

And so for people to get popular music, they had to go now to TV was becoming a little more, not super popular.

Levi:

But you know, there was variety shows that started to emerge.

Levi:

Right, thank you.

Levi:

Lucky Stars would feature pop music acts from time to time, but you know, sanitized family friendly format, you know, choosing songs ahead of time.

Levi:

But yeah, so even with this little bit of pop music entering the fray, it was still restrictive, it was still not exciting and fun the way that the, the youths wanted it.

Levi:

Right.

Levi:

The BBC had moments of progress, but its cautious approach often fell short of meeting the desires of young generations that were, that were very eager for change.

Levi:

Enter the Irish.

Levi:

That's right.

Levi:

If you ever want anything done Anything fun to happen, get the Irish involved.

Levi:

Only the Irish could save England from being boring.

Levi:

A man named Ronan O'Reilly.

Levi:

O'Reilly was a musical manager.

Levi:

He was trying to get some airtime for one of his artists.

Levi:

Specifically, he was seeking to either get a record deal or get on the radio.

Levi:

Whatever could help first, right?

Levi:

It was kind of a messy deal because at the time, if you wanted to get on the BBC, you needed a record deal, but couldn't really get a record deal without getting on the radio.

Levi:

So it was, it was a very confusing thing.

Levi:

So Ronan got the idea to take his artist music to the lone wolves over at Radio Luxembourg to play his music.

Levi:

Sound logic.

Levi:

These guys have been playing edgy, edgy tunes outside of the scope of laws of their neighboring countries for a while now.

Levi:

Unfortunately, Mr.

Levi:

O'Reilly found out that Radio Luxembourg also required artists to be on one of their partnered record companies first.

Levi:

Not so much that they needed to be, but that these record companies paid well to put their artists in the lineup.

Levi:

So you'd have to outbid them to get your, your one guy on there, unless he was part of them, then they'd just pay it, right.

Levi:

Allegedly, Ronan had told the Luxembourg fat cats, quote, after managing my own artist, I have to create my own record label because nobody will record them then.

Levi:

And if I then find that no radio station will play their music, it seems that the only thing now is to have my own radio station.

Levi:

And they responded by laughing at him, which is, it's got to be one of the worst ways to, to respond to an Irishman.

Levi:

They're going to do whatever they said they're going to do out of pure spite.

Levi:

Now, soon, Ronan found himself brainstorming with, with his friends and other investors various ways that he could prove them wrong and more importantly, prove himself right.

Levi:

He found out that there was loopholes of sorts in the way of bird law, international waters law more closely associated with the dominion of the little understood maritime law by way of arrested development.

Levi:

Less Charlie Day, more Jason Bateman.

Levi:

Anyway, sorry, Ron was discussing his plans when he had been told by someone about a radio station called the Voice of America, which had operated from the sea via a ship from the United States and had broadcasted various things.

Levi:

But the main goal was to share, quote, unbiased news about the world.

Levi:

Now, I understand how this might not sound like it was realistic, being as how the station was called the Voice of America.

Levi:

How could they be unbiased?

Levi:

Apparently, they shared bad news about the United States in an effort to not look Biased.

Levi:

I don't know how well this went through.

Levi:

But anyway, that's what they did.

Levi:

Regardless of the purpose of this vessel, or their truth, the idea got Ronan's wheel spinning and soon he was lobbying investors to help get the idea off the ground, or into the water, if you will.

Levi:

Pausing for a moment to explain the International Waters Plan.

Levi:

International Waters essentially put the legality of a vessel on the flag it flew, which was the registration of the ship.

Levi:

So if you're on a ship registered to one country, but so far offshore that they are not inside the territorial waters of another, they were only beholden to the former.

Levi:

Ronan aimed to find a ship and keep it outside of the range of the United Kingdom's waters.

Levi:

The distance, about three miles, which isn't too bad.

Levi:

This wasn't also a new idea.

Levi:

There are a few precursors.

Levi:

There's Radio Nord and Radio Veronica, both offshore broadcasting stations, which were preceded by other marine stations.

Levi:

Even though the idea was not a wholly original one, the demand was great for the product they could deliver.

Levi:

Since the idea was not remarkably original, Ronin had competition, trying to be the first one in the United Kingdom.

Levi:

So while working hard to convert an old ferry boat to suit his needs, fundraising for equipment and the like, another man was also attempting to be the first.

Levi:

An Australian.

Levi:

Australia businessman named Alan Crawford.

Levi:

However, ronan had something Mr.

Levi:

Crawford did not.

Levi:

Connections.

Levi:

You see, Ronan's family just so happened to run the Irish port of Green, or Grinor maybe.

Levi:

And Ronan inherited a revolutionary tenacity from his grandfather who died in the Irish War of Independence.

Levi:

Alan Crawford was, you know, outfitting his ship in the same port at the same time, the Mi Amigo, which he would dub Project Atlanta.

Levi:

Ronin arranged a blockade of sorts to prevent Atlanta from beating him to sea.

Levi:

O'Reilly was ready.

Levi:

He had outfitted the MV.

Levi:

I don't know what it means.

Levi:

It's Frederica.

Levi:

Fredericia.

Levi:

Frederica.

Levi:

I don't know.

Levi:

With all the bells and whistles to make it functional mobile radio station, they had turned the ship's mast into a towering 165 foot antenna, capable of broadcasting a strong AM signal across much of the United Kingdom, even parts of mainland Europe.

Levi:

At the heart of the operation was a 10 kilowatt transmitter, a powerhouse piece of equipment that ensured the signal would read, would be clear, far reaching and reliable.

Levi:

Inside, the ship was transformed into a professional broadcasting hub, complete with turntables for vinyl records, reel to reel tape machines for pre recorded content, mixing console for live and recorded programming, and high quality microphones for the DJs.

Levi:

Everything was designed to deliver a polished sound even as the waves crashed outside.

Levi:

Wasn't even just a technical feat.

Levi:

It's also a self sustaining operation.

Levi:

The ship's diesel generation, the ship's diesel generator kept the equipment powered even during long stretches at sea.

Levi:

Spare parts and backup systems ensured that technical issues wouldn't sink the broadcasts.

Levi:

While the crew onboard.

Levi:

Crew lived and worked in modest accommodations, complete with cabins, a kitchen and shared spaces to keep spirits high.

Levi:

It was ambitious, bold, and a direct challenge to the rigid norms of traditional broadcasting.

Levi:

With the ship ready to go, there's just one thing left.

Levi:

Deciding on a name that would embody the spirit of the station.

Levi:

And that inspiration came from an unexpected place.

Levi:

Legend goes that while Ronan was scrounging up investors made near and far, he made his way to the United States.

Levi:

Part of this was to secure advertisements, but also to get some record labels on board, pun intended, sending some of their artist catalogs to be played for.

Levi:

The pop star of the United Kingdom was on such trip, where he found his inspiration for the name of the pirate vessel.

Levi:

As the story goes, Ronan visited the United States at the height of President Kennedy's popularity.

Levi:

A time when Kennedy's family symbolized a new youthful energy.

Levi:

While in Washington D.C.

Levi:

ronan reportedly came across the image of Caroline Kennedy, the President's young daughter, playing in the Oval Office.

Levi:

The photo struck him.

Levi:

He was here was this child embodying a carefree spirit in the midst of the serious rule bound world of government.

Levi:

For Ronin, it was a perfect metaphor for what his radio stations aimed to achieve.

Levi:

Injecting fun, freedom and rebellion into the the rigid structure of British broadcasting.

Levi:

With that, the name Caroline was chosen, a nod to both youthful defiance and fresh independent energy his station sought to represent.

Levi:

Ellie described the photo this way, quote, climbing under his desk, disrupting the whole work of the government was his daughter Caroline.

Levi:

And she was smiling.

Levi:

,:

Levi:

They began testing their transmissions four days later.

Levi:

And on 28th March at noon, Caroline sent out its first broadcast.

Levi:

Easter, Easter time.

Levi:

Whoa.

Levi:

This was actually a pre recorded broadcast, allegedly because they were too nervous to go on and do it live.

Levi:

So we'll do it live anyway.

Levi:

DJ Simon D announced, this is Radio Caroline on 199 meters, your all day music station.

Levi:

When the DJ on that first broadcast proclaimed they were on 199 meters, it was like opening a secret door for listeners.

Levi:

For those tuning in across the United Kingdom, that number wasn't Just a technical detail.

Levi:

It was an invitation.

Levi:

It meant that they had found something different, something rebellious and alive, in stark contrast to the stiff, predictable sound of the BBC.

Levi:

For the average teenager or music fan, adjusting their radios to that wavelength was an act of curiosity and maybe even defiance.

Levi:

Suddenly their speakers were alive with the energy as the first song crackled through.

Levi:

Not Fade Away by the Rolling Stones.

Levi:

The choice of this track wasn't random.

Levi:

It was a statement.

Levi:

The Rolling Stones were perfect ambassadors of this new movement.

Levi:

By:

Levi:

They weren't just making music, they were redefining it.

Levi:

Not Fade Away, with its bold rhythm and swagger, mirrored exactly what the station promised to its listeners.

Levi:

A sound and spirit that wouldn't fade away no matter what.

Levi:

What rules or restrictions the establishment tried to enforce.

Levi:

The Stone's meteoric rise to fame reflected the hunger of the new generation, borrowing heavily from American blues artists like Muddy Waters and others like him.

Levi:

I mentioned Howlin Wolf too.

Levi:

And Stones brought a gritty emotional power that struck a chord with British teens.

Levi:

Their live shows were electric and their fan base growing at an incredible pace.

Levi:

But their exposure in traditional outlets was super limited.

Levi:

And now pirate radio offered them and artists like them, a way to reach people who wanted their music without being filtered through outdated rules or restrictions.

Levi:

This leads to a major shift in how the music industry saw radio stat.

Levi:

Before stations like this, musicians and record companies were wary of needle time and, you know, and this, this was a justification that places like the BBC used to their advantage in order to not play popular music.

Levi:

But pirate stations turned this thinking on its head.

Levi:

They proved that the radio didn't hurt record sales as previously understood by needle time.

Levi:

Right?

Levi:

That was the agreement.

Levi:

Oh, well, if you play our music, too much of people won't want to come see us or they won't buy our records.

Levi:

Not true.

Levi:

And that's what pirate radio started to show.

Levi:

Artists and their record labels began to realize that having their musical broadcasts wasn't.

Levi:

Wasn't an acceptable thing.

Levi:

It was essential.

Levi:

Now pirate radio stations helped forge new partnership between the airwaves and the music industry, showing that radio wasn't a competitor.

Levi:

It was a platform for growth and an amplifier for the energy of the generation that wanted to hear it.

Levi:

Right.

Levi:

The hunger of that generation shook out to the tune of an estimated 7 million listeners a few months after launch.

Levi:

Pretty impressive.

Levi:

By July, Ronan O'Reilly O'Reilly also decided on a merger with the man who almost beat him to the waves.

Levi:

Alan Crawford.

Levi:

Renaming Radio Atlanta into Radio Caroline South.

Levi:

While Radio Caroline proper was now Radio Caroline North.

Levi:

They split locations, growing their reach by doing so.

Levi:

Caroline north would now anchor around three miles away from the Isle of Man, while Caroline south stayed in its original intended location near Essex.

Levi:

Combine, the two ships could cover all the British Isles, Ireland, you know, super big reach.

Levi:

And with this huge reach, they were now impacting the musical scene, allowing acts like the Rolling Stones, the Kinks, the who to find eager receptive audiences.

Levi:

Pirate radio's constant rotation of these artists music helped elevate them to start, then also established their lasting influence on popular culture.

Levi:

Many artists who may have been overlooked in traditional channels were suddenly at the forefront of a youth driven musical revolution.

Levi:

These stations also fundamentally reshaped the advertising landscape brands like Coca Cola, Cadbury and Levi's Capital has on the youthful audience.

Levi:

Pirate radio attracted crafting advertisements that resonated with this vibrant, free spirited demographic.

Levi:

Pirate radio became a testing ground for targeted advertising, enabling these brands to deeply connect with their audience and grow into household names.

Levi:

ensured dominance during the:

Levi:

Pirate radio was one of the first major platforms to show how music, youth culture and consumerism could all align into one one aspect.

Levi:

Basically, the success of stations like Radio Caroline also sparked a wave of copycat ventures on land and at sea.

Levi:

These included smaller pirate radio stations like Radio Radio London, Radio 270, Radio City, which mimicked the freeform programming and youthful appeal of their predecessors.

Levi:

While not all of these stations could sustain the level of influence or success, they collectively amplified the disruption pirate radio brought to the media landscape.

Levi:

Their proliferation demonstrated the public's hunger for diverse and accessible content.

Levi:

And then they competed fiercely for audiences and advertisers.

Levi:

Some even resorted to dramatic and occasionally violent confrontations, as seen in disputes involving Radio City.

Levi:

Pirate radio.

Levi:

Pirate radio may have helped launch careers of countless musicians and provided this cultural spark and economic power that flourished in these these new ways.

Levi:

But it was all not sunshines and rainbows and the waves of radio piracy.

Levi:

In the first year radio's rise, both the UK government and the BBC were caught completely off guard.

Levi:

They weren't ready for how quickly these stations captured the public's attention, especially with the youth.

Levi:

And their responses were more reactive than proactive.

Levi:

Government began monitoring broadcasts, worrying about potential interference with emergency communication frequencies.

Levi:

And they also pressured advertisers and business businesses to steer clear of sponsoring the pirates, hinting that association with These stations might land them in trouble.

Levi:

Meanwhile, officials issued public warnings, painting pirate radio as amateurish and irresponsible.

Levi:

But the people spoke and the people liked the pirates more.

Levi:

The BBC, on the other hand, responded with its own attempts to discredit the pirate station, labeling them as disruptive and unprofessional.

Levi:

Instead of addressing the real reason these stations were so popular, the BBC largely stuck to its usual programming.

Levi:

At this point, they offered little for the younger generation who carved the fresh music, craved the fresh music that the pirate radio stations were playing.

Levi:

Behind the scenes, there was some nervous chatter at the BBC about what to do for the public, especially the youth.

Levi:

None of this mattered.

Levi:

They were tuning in to hear the music they loved, something that BBC wasn't offering the government warning.

Levi:

And the BBC's criticism actually emphasized how out of touch the traditional broadcasters were with people, with what people wanted.

Levi:

For a while, the pirates were unstoppable, showing just how disconnected the establishment was from the cultural shift happening right under their nose.

Levi:

While the government stewed over their inability to do anything, the pirates enjoyed the fruits of their labor.

Levi:

They weren't just making waves on the air, they were changing the music scene.

Levi:

Artists who struggled to get airtime on traditional outlets like the BBC had an audience that was ready to listen to them.

Levi:

I already mentioned, like, the Beatles and the Rolling Stones, they were already super popular, but, I mean, this helped for sure.

Levi:

The Kinks, with their raw and rebellious energy, gained traction with hits like you really Got Me, while the who's My Generation became an anthem for disillusioned youth.

Levi:

Across the Atlantic, pirate radio helped solidify some American legends and also gave life to some others.

Levi:

You know, people like Aretha Franklin, Bob Dylan, Jimi Hendrix actually really were popular on pirate radio stations.

Levi:

And it was, it was very diverse.

Levi:

It wasn't just like rock and roll, but it was, it was, it was this huge mix of just lovely stuff.

Levi:

It was just good music, but pretty sweet, right?

Levi:

And when they weren't broadcasting, life aboard the pirate ships is pretty interesting.

Levi:

DJs and crew members lived in tight quarters, right?

Levi:

They're not huge ships.

Levi:

They're very, they're very small.

Levi:

And they had to make room for their makeshift studios they, that they had built inside, right?

Levi:

Which probably cut down some of the free space that they had to balance this.

Levi:

DJs did not stay on the ship all the time.

Levi:

They rotated.

Levi:

They had like, you know, a couple weeks on, couple weeks off kind of thing.

Levi:

Meals were very simple, practical stuff, a lot of canned foods, a lot of real, real easy Things they did get supplies pretty regularly which included food, equipment and also music.

Levi:

They got new music all the time.

Levi:

They would get music ahead of time.

Levi:

They would get early releases of things.

Levi:

One documentary that I watched talked about how they got was the Beach Boys, Good Vibrations.

Levi:

They got it early and they played it like a ton.

Levi:

This is, which is awesome because I would do.

Levi:

Now they did get a lot of like, like I said, they got music in forms of.

Levi:

They would get records.

Levi:

But I don't know if you know this, but when you're playing a record you don't want the surface underneath of it to be moving around because it works by the gravity of the needle being down into the grooves.

Levi:

So if you off kilter that shifts the gravity of the needle.

Levi:

So they actually didn't use needle and vinyl a lot.

Levi:

They actually used like taped, taped music like on reels.

Levi:

So, so that was kind of interesting because I would have assumed they would have done vinyl.

Levi:

But it does make sense why they didn't, right?

Levi:

Outside of like just the general work of the, of the life they did.

Levi:

I mean they had all sorts of different things that they did, but they would, would play pranks on each other every now and then.

Levi:

Maybe if you, one of the news guys is reading the news and then he'd turn around and all his papers were on fire, somebody lit him off while he's trying to read him, you know, different, different things.

Levi:

Trying to distract the DJs.

Levi:

It was a, was a big one.

Levi:

Just to keep life entertaining, try to keep it fun.

Levi:

And the dedication of these DJs to their craft, to the ships, you know, it made pirate radio the phenomenon it was.

Levi:

But it didn't just boost the radio stations popularity, it also kind of turned them into almost icons themselves, the DJs.

Levi:

You know, nobody knew what these guys looked like so they would receive a bunch of fan letters all the time.

Levi:

And when it came to the BBC trying to say that they weren't that like what it was bad.

Levi:

And then they put out a vote and Radio Caroline specifically had gotten like so much more votes than the BBC did.

Levi:

And so it was like these guys were heroes almost.

Levi:

Now.

Levi:

Radio Caroline's monopoly on the pirate radio scene did not last long.

Levi:

Early days it was the, it was the king.

Levi:

It was the king of the 24 hour music broadcasting.

Levi:

They had substantial profits at the beginning, before competitors arrived, they were making around 20,000 pounds a week, which is crazy.

Levi:

Brands were like fighting for ad space, knowing how important and how vast their listener base was.

Levi:

And because of that A lot of copycats began to form up.

Levi:

Like I mentioned before, Radio City, Radio London, Radio 270.

Levi:

Now this competition was exciting, you know, competitive environment of the radio radio stations trying to vie for dominance.

Levi:

It was, it was exciting.

Levi:

But it also had new challenges to be brought.

Levi:

The airwaves now felt crowded.

Levi:

There's so many stations and there is like overlapping frequency sometimes, which would cause interference and degraded the quality of the broadcasts.

Levi:

It was also not uncommon for rival stations to accuse one of the others that they deliberately sabotaged them.

Levi:

The expansion of the, the radio pirate like expansion of copycats also kind of killed the novelty, right?

Levi:

It wasn't as exciting because there's, there's a lot of them I guess now.

Levi:

So it's not, not pretty cool.

Levi:

But you know, also you had the fact that while Radio Caroline took their job very seriously, not all the copycats did the same.

Levi:

A lot of them did some crazy antics.

Levi:

They would swear more, you know, stuff like that where it's like they were tarnishing the reputation of the movement, which originally, yes, they were kind of, you know, sidestepping the laws a little bit, but really it was just to give people access to music.

Levi:

It wasn't about doing crime.

Levi:

So.

Levi:

And like their reputation also would take a major hit when a murder occurs.

Levi:

There's been a murder.

Levi:

The rise of pirate radio stations attracted this wide range of people thought they could make a lot of money doing it.

Levi:

You know, you'd get a musical lovers, entrepreneurs, but then you'd also get like more unscrupulous type of criminal kind of people trying to exploit the new trend for personal gain.

Levi:

As the pirate radio movement grew in popularity and profitability, it became inevitable that less savory figures would enter the scene.

Levi:

These figures of these stations operated outside the law and with no government oversight, they became fertile ground for criminal activity too.

Levi:

One of the more infamous episodes of this era involved two key figures in pirate radio.

Levi:

David Such, a flamboyant personality and leader of the Screaming Lord Such and the Savages band.

Levi:

And Oliver Smedley, a businessman and radio pirate pirate operator.

Levi:

Pirate radio operator Such had founded radio such a quirky, chaotic station run from a World War II era.

Levi:

Fort Seafort off the coast of England station gained attention but lacked the professionalism or funding to truly compete with larger operations like Radio Caroline.

Levi:

Smedley, seeing the potential in an operation, partnered with Such to transform the station into Radio City more polished and lucrative entrepreneur.

Levi:

He had the skills to do so.

Levi:

However, their partnership quickly soured due to disputes over finances and control of the station.

Levi:

Tensions escalated when Smedley, feeling cheated, attempted to take back the equipment he claimed was rightfully his.

Levi:

,:

Levi:

Heated exchange that followed, Smedley shot Such as business partner Reginald Calvert, killing him.

Levi:

Incident marked a turning point in pirate radio, Exposing the dangers and chaos that could emerge in an unregulated and highly competitive industry.

Levi:

Murder shocked the public and gave critics of pirate radio additional ammunition to argue for its suppression.

Levi:

It also underscored how far some were willing to go in pursuit of control and profit in the high stakes world of, you know, just criminal activity in general, but also specifically offshore broadcasting.

Levi:

Around the same time, some operators began to take even greater risks setting up land based pirate radio stations, which were easier to run, but far more susceptible to legal crackdowns.

Levi:

A combination of ambition, rivalry, criminal opportunism ultimately became part of the mythology of pirate radio.

Levi:

It highlighted its rebellious spirit and the darker consequences of operating outside of the law.

Levi:

The murder of Reginald Calvert became this big turning point and the government saw this.

Levi:

They, they utilized this.

Levi:

Up until then, Officials struggled to shut down tents offshore stations.

Levi:

These offshore stations because of the jurisdictional loopholes.

Levi:

You know, international waters, but beyond legal, you know, they're, they're beyond the legal reach.

Levi:

But when this guy got killed, the government was starting to put pieces together of like, all right, we really need to do something.

Levi:

We have evidence that now there's criminals involved in this, so it's not just free love and music anymore, right?

Levi:

Public opinion started to shift.

Levi:

The government ramped up its own efforts to clamp down on these stations.

Levi:

They increased maritime surveillance, Keeping closer eye on supply boats to try and starve the ships out of resources like food and fuel or fresh records, even on land.

Levi:

Authorities turned their attention to growing number of illegal transmitters popping up in urban areas, conducting dramatic raids to shut them down.

Levi:

Started warning advertisers and record labels against supporting pirate stations, Threatening legal consequences for those who dared to fund the broadcasters.

Levi:

Behind the scenes, lawmakers began laying the groundwork for tighter regulations.

Levi:

urish, eventually passing the:

Levi:

This law made it illegal for anyone in the United Kingdom to work with, supply or advertise pirate radio stations, Even if the broadcasts were coming from international waters.

Levi:

Their big pull here was because that the frequency of the pirate radios were interfering with emergency communication systems.

Levi:

And while there was Grounds for this.

Levi:

It wasn't necessarily a common thing, but you know, the pressure did start to take its toll.

Levi:

Smaller stations struggled to survive.

Levi:

As resources dried up, more raids became frequent.

Levi:

And then in the wake of the escalating tensions and dramatic fallout from like incidences of the Calvert murder, British government knew it needed more definitive solution.

Levi:

And that's why the Marine and Broadcasting Offenses Acts kind of got hammered home, right?

Levi:

Introduced by Tony Benn, labor labor guy, Postmaster General also, he's staunch opponent of pirate radio and long had argued that these stations were not only disrupting emergency communications, but also undermining the authority of the state.

Levi:

So he spearheaded this whole thing.

Levi:

came into effect in August of:

Levi:

Trying to close all of the loopholes that pirate stations had exploited made it illegal, like I said, for British citizens or companies to work with or advertise these radio stations.

Levi:

And this meant no more fuel deliveries, record shipments, even crew hires for pirates.

Levi:

Anyone caught supporting the station faced hefty fines or imprisonment.

Levi:

By targeting the vital supply chains that kept these operations afloat, the government effectively choked the life out of most pirate stations.

Levi:

For many, the act was the beginning of the end.

Levi:

Stations like Radio London, one of Caroline's largest rivals, shut down immediately before the deadline.

Levi:

They signed off with emotional farewells to their loyal listeners.

Levi:

Knowing they couldn't sustain operations under new legal restrictions, advertisers quickly pulled out it and the logistical challenges of running a pirate station without domestic support became insurmountable.

Levi:

So you know that's kind of the end, right?

Levi:

Writing on the wall, the final bell tolling.

Levi:

But Radio Caroline wasn't.

Levi:

Most stations unwilling to bow to the government's demands, Caroline defiantly continued to broadcast past the law's implementation.

Levi:

Their crew and operators embraced their outlaw status, cementing the station as a symbol of the resistance and rebellion.

Levi:

Caroline's endurance wasn't just about music.

Levi:

It was about principle.

Levi:

As the last pirate standing pirate station standing, I guess they became the embodiment of the free spirited ethos that had fueled the pirate radio movement from the beginning.

Levi:

enses act came into effect in:

Levi:

Recognizing the appetite for contemporary music and cultural energy that pirate radio had ignited, the BBC launched Radio 1.

Levi:

They strategically poached some of the most popular pirate DJs like Tony Blackburn and John Peele, rebranding themselves as a new home for pop music.

Levi:

In doing so, they brought mainstream legitimacy to the trends that had once flourished in defiance of the BBC's monopoly.

Levi:

Cleverly, the BBC mimicked the pirate format, but sanitized it enough to stay within the government regulations.

Levi:

The rebellious allure of being a pirate radio.

Levi:

Pirate radio DJ was, you know, it was gone.

Levi:

You had the stability of a corporate, state approved role.

Levi:

For many former pirates, the charm of the late night broadcasting on high seas, filled with freedom and risk, was no longer there.

Levi:

Meanwhile, Radio Caroline refused to surrender.

Levi:

Still defying the new law, they continued broadcasting illegally.

Levi:

But you know, that act did make it criminal for advertisers to supply or work with them.

Levi:

So they're cut off from the UK's resources.

Levi:

Caroline's operators relied on international advertisers, offshore suppliers, covert networks to deliver records and fuel.

Levi:

However, life on the boat was increasingly difficult.

Levi:

Supplies were harder to secure, dipped, and many DJs started to abandon ships.

Levi:

And they were lured by the BBC stability or commercial opportunities.

Levi:

Caroline's bold defiance turned into a desperate fight for survival in a world where competitors had either adapted or gone legitimate.

Levi:

In its early days, Radio Caroline was a financial powerhouse, earning an estimated 50 or 500,000 pounds annually, equivalent to millions of pounds today.

Levi:

Advertisers were eager to reach the station's massive audience of young listeners hungry for the latest pop hits.

Levi:

At its peak, Caroline was a dominant force, reshaping the UK radio and reaping significant profits.

Levi:

But after the Marine Offenses act, cost of operating skyrocketed.

Levi:

Keeping a ship running offshore became prohibitively expensive, requiring constant fuel, food, ship maintenance, broadcasting equipment and all that outside of the United Kingdom.

Levi:

Right.

Levi:

They couldn't, they couldn't do business with anybody in the United Kingdom anymore.

Levi:

So they struggled.

Levi:

All these covertly sourced products and, you know, their prices, way more than they were paying before.

Levi:

Under the table deals, all these things were insufficient to sustain operations.

Levi:

By:

Levi:

The station's two ships were seized by Dutch creditors due to unpaid debts.

Levi:

Creditors who were owed a lot of money for leasing the ships sent tugboats to repossess them and then towed them to Amsterdam.

Levi:

The seizure left the crew stranded without funds or resources to return home.

Levi:

Many relied on the goodwill of others to make their way back to respective countries.

Levi:

What started as a cultural and financial revolution ended in silence.

Levi:

Radio Caroline's resilience in the face of these challenges became a testament to the rebellious spirit of pirate radio and had changed British broadcasting.

Levi:

After pirate stations were shut down in the 60s, the UK music scene didn't just pause, it continued to evolve.

Levi:

The Rebellious energy that stations like Radio Caroline had sparked carried into mainstream.

Levi:

Even if the government and the BBC would never want to Admit it, the BBC's launch of Radio 1 filled that void.

Levi:

Right, we talked about that.

Levi:

But as much as Radio 1 mirrored the pirate format, it couldn't replicate the freewheeling spirit or cultural diversity those stations had.

Levi:

Popular music still thrive, with genres like punk and glam rock and disco finding their footing.

Levi:

But mainstream radio stuck to safe mass market playlists, leaving many underground scenes and minority artists without a platform.

Levi:

re the pirate stations of the:

Levi:

It's kind of crazy.

Levi:

There's two waves of this their predecessors.

Levi:

Like their predecessors, they filled the gaps left by these mainstream outlets.

Levi:

This time they had a different mission, as amplifying voices of minority communities and underground music scenes in cities like London, Birmingham.

Levi:

Pirate stations became the lifeblood of genres like jungle, garage, drum, drum and bass, reggae and grime.

Levi:

Grime in particular emerged as a distinct British genre, blending fast speeds of jungle, bounce of garage and the lyricism of dancehall and hip hop to reflect the realities of urban life.

Levi:

Meanwhile, genres like jungle and drum and bass carried the raw energy of underground rave culture, while dancehall and reggae kept strong ties to the Caribbean communities that had been long time pirate radio supporters.

Levi:

Stations like Cool FM and Rinse FM weren't just playing tracks, they were creating communities, giving a voice to listeners who didn't see them themselves reflected in mainstream radio.

Levi:

These stations weren't just about the music, though.

Levi:

You know, like I said, they, they were these cultural things.

Levi:

It was like, I don't know, it showcased minority cultures, black and Asian cultures in the uk, giving air time to the music, but also the conversations that mattered.

Levi:

In those communities, pirate DJs had the freedom to play what they loved without worrying about the playlist dictated by corporate sponsors.

Levi:

It was raw, real, refreshing, free of gatekeeping.

Levi:

But of course, government wasn't thrilled.

Levi:

Authorities like Ofcom worked hard to shut these stations down, citing safety and interference concerns, radio raiding broadcasts and confiscating equipment.

Levi:

Still, the pirates persisted and their success forced even mainstream outlets like the BBC to adapt.

Levi:

Extra in:

Levi:

And similar how the predecessors of the 60s pirate radio, the 90s ones, also made household names of these artists.

Levi:

Grime stars like dizzy, rascal DJs like Zane Lowe and others had done their work, cut their teeth in the pirate world before hitting the Mainstream.

Levi:

And these stations kind of proved that when mainstream outlets turn a blind eye, there's always going to be a demand for an alternative.

Levi:

Pirate radio may not have been legal, but it definitely kept the heart of British music beating in all its raw, vibrant diversity.

Levi:

And while the resurgence of pirate radio in the 90s brought fresh energy and purpose to the airwaves, its story didn't really end there.

Levi:

It evolved.

Levi:

gital technology in the early:

Levi:

As online streaming and digital platforms became more accessible, many stations that had operated illegally transitioned into legitimate digital digital spaces.

Levi:

Platforms like MixCloud, YouTube, Spotify have become havens for underground music, offering global reach without the legal risks of old school piracy.

Levi:

cured broadcasting license in:

Levi:

The shift allowed pirate stations to evolve into legal platforms still celebrating the communities that they had built.

Levi:

At the same time, some pirate station persisted in their old original form, particularly in urban centers where they were, where they remain, a critical voice for communities underrepresented in the in the mainstream media.

Levi:

These stations bridged the gap between the old and the new, blending the rebellious spirit of pirate radio with the connectivity of the digital age.

Levi:

Ultimately, the second wave of pirate radio didn't fade away.

Levi:

It laid the foundation for how music is shared and celebrated today.

Levi:

It influenced the rise of niche genres and democratized the music industry in a way, inspired artist led platforms.

Levi:

The legacy of this movement lives on, proving that independent broadcasting continues to amplify unique voices even in a world of digital transformation.

Levi:

The evolution from radio piracy to digital piracy and ultimately the streaming era reveals a continuous battle between the content and the commercialization of of the culture.

Levi:

Radio stations of the 60s and 90s disrupted the establishment order by amplifying underrepresented voices genres and then giving to those communities that wanted that.

Levi:

ilarly, digital piracy in the:

Levi:

Platforms like Napster, Limewire and the Pirate Bay became digital heirs to pirate radio's rebellion legacy, offering content for free and challenging the industry to adapt or falter.

Levi:

But as with pirate radio, digital piracy ultimately forced the industry to evolve.

Levi:

Just as the BBC created Radio 1 to recapture pirate radio audiences, streaming platforms like Spotify, Apple Music and Netflix Emerged to counter digital piracy with convenience and affordability.

Levi:

These services made it easy for consumers to access vast libraries of music and media legally.

Levi:

But they also brought their own set of challenges, Particularly for artists.

Levi:

While Spotify and its counterparts resolved the problem of piracy by cutting into industry profits, they created a new issue, underpaying their creators, who worked hard to, you know, and make the stuff that drives their success.

Levi:

Artists earn fractions of a penny per stream, making it difficult for all but the most popular performers to earn a substantial income from streaming.

Levi:

The rise of playlists and algorithm driven discovery has further shifted the power to tech companies, which act as a modern gatekeeper of sorts, deciding who gets promoted and who gets heard.

Levi:

This mirrors the monopolistic structures that early pirate radio sought to dismantle.

Levi:

Only now they exist in a digital ecosystem.

Levi:

Meanwhile, the commercialization of the music industry has reached new heights in other areas, such as live events.

Levi:

While streaming platforms have made music more accessible, ticket prices for concerts have never been higher, pricing out many fans from seeing their favorite artists live.

Levi:

Factors like dynamic pricing, corporate sponsorships, and ticket scalping have made live performances increasingly inaccessible.

Levi:

Major companies such as Ticketmaster dominate the live industry, further consolidating powder and leaving fans with few alternatives.

Levi:

This has fueled a resurgence in people finding creative ways to circumvent these costs, Whether through sharing subscription accounts, Accessing pirate streams of live events, or seeking secondhand tickets at reduced prices.

Levi:

This economic imbalance perpetuates the cycle of rebellion and innovation seen throughout the history of piracy.

Levi:

Just as pirate radio defined defied licensing fees and airplay restrictions, modern consumers are finding creative ways to access content and experiences without succumbing to corporate price gouging.

Levi:

So in many ways, the commercialization of streaming and live events parallels the restrictive policies that once inspired the the rise of pirate radio and digital piracy.

Levi:

Fans still want affordable, unrestricted access to the music and media that they love.

Levi:

But the barriers, whether in ticket prices or royalty payouts, continue to push some toward alternative methods, often illicit methods.

Levi:

Ultimately, the streaming era has democratized access to music and media in ways that were once unimaginable.

Levi:

But it is also concentrated power and wealth into the hands of a few corporations.

Levi:

The enduring lesson is ultimately, when industries fail to balance profit with fairness, people will always find a way to disrupt the system.

Levi:

And that's it.

Levi:

I hope you enjoyed learning about these pirates.

Levi:

Different pirates than the last time, Albeit, you know, more musically talented.

Levi:

I think I love this rabbit hole that this took me down.

Levi:

I had no idea that this would be so fascinating, but just seeing how the evolution of music and entertainment in general has been shaped is is super interesting to me.

Levi:

The evolution from radio piracy to digital piracy and ultimately to streaming era reveals this continuous battle between content and commercialization and culture in general.

Levi:

Radio stations of the 90s, pirate radio stations of the 60s and 90s disrupted the establishment, provided voices for the communities, but then, you know, ultimately outlasted by the regulations.

Levi:

Digital piracy eventually coming around doing the same thing.

Levi:

Pretty this is very intense.

Levi:

All right.

Levi:

Anyway, if you have a topic you want me to talk about, please let me know in the comments of this podcast.

Levi:

Wherever you're listening on the social media, comments you can do.

Levi:

Also in YouTube, if you learned something you've enjoyed this show, please review us wherever possible.

Levi:

I have four reviews on Apple Podcasts and there's substantially more than that who listen.

Levi:

So if that's you, if you're here with us, please please go review the show helps boost us in the algorithm.

Levi:

Share us wherever possible and of course visit all our friends whose links are in the description.

Levi:

With that keep questioning the past.

Levi:

The future will thank you.

Levi:

See you next time.

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About the Podcast

The Remedial Scholar
A weekly dive into forgotten topics or underrepresented subjects. Anything historical and everything interesting.
Welcome to The Remedial Scholar, a captivating podcast that takes you on an extraordinary journey through history. Join me, Levi, your knowledgeable host, as I guide you through the vast realms of the past, unraveling captivating stories and shedding light on underrepresented historical subjects.

In this podcast, we embark on an adventure through time, offering you a unique perspective on the world's fascinating chronology. From ancient civilizations to modern revolutions, we delve into a wide range of topics that fall under the historical umbrella. However, our focus lies on those subjects that often go unnoticed or deserve a fresh approach.

Prepare to have your curiosity ignited as we dig deep into the annals of history, unearthing forgotten tales, and shedding new light on familiar narratives. Whether you're an avid history buff or someone with a budding interest in the past, The Remedial Scholar caters to all levels of historical knowledge. Our aim is to make history accessible and captivating, presenting it in a digestible format that will leave you craving more.

About your host

Profile picture for Levi Harrison

Levi Harrison

I was born and raised in a small town in Nebraska. Throughout my adolescence, I spent my time with family and friends, and I also pursued my love for art. This passion stayed with me even after I graduated from high school in 2012 and enlisted in the United States Navy, just two months later.

During my four-year service in the Navy, I worked as an aviation structural mechanic, mainly dealing with F/A-18s. My duty stations were in Fallon, Nevada, and Whidbey Island, Washington. In 2015, I embarked on a deployment aboard the USS Theodore Roosevelt to support Operation Inherent Resolve, countering ISIS forces in the Persian Gulf.

After my deployment, I decided to conclude my enlistment and returned to Nebraska. I initially pursued a degree in History Education at the University of Nebraska at Kearney before shifting my focus to Art Education. However, I eventually paused my studies to pursue a full-time job opportunity.

When the global pandemic hit in 2020, I made the decision to move closer to my older brother and his children. Now, I'm back in school, studying Graphic Design. My passion for art and history has always been apparent, as evidenced by my choice of majors when I left the military. These passions continue to drive me to learn and create constantly.

It was this fervor that inspired me to launch "The Remedial Scholar," an endeavor through which I aim to share historical knowledge with others who share the same passion for learning and creating.