Prince Charles explains 'pebble theatre'.
Don Pierson [right]
explains how a young
Prince Charles made a
request to join the
Radio London fan club.
Prince Charles explains 'pebble theatre'.
Don Pierson [right]
explains how a young
Prince Charles made a
request to join the
Radio London fan club.
This morning, the alternative UK State controlled ITV channel franchise called 'Good Morning Britain', decided that it had to get out ahead of the tidal wave of exposes that may be about to sweep parts of the so-called Free World with revelations about the origins of Covid 19.
HOLY COW! - Donald Trump may have been right: The current Chinese regime is the embodiment of evil (for lack of a better word). So ITV-GMB has rebroadcast part of an Australian Sky-TV documentary. It is primarily the work of an investigative journalist who recently wrote a book:
But where did we find it and how did we find it?
The fact is that we are still trying to find it, because it has been deliberately buried - just as the story behind Covid 19 has been deliberately buried.
It is also amazing the former head of MI6 - the same man who set up the downfall of President Donald Trump by using the mysterious Professor Mifsud who was attached to Stirling University in Scotland - is now on the same side of the Wuhan story as Donald Trump. It is head-scratching to say the least. But on this broadcast documentary here is Trump, and here is the Head of U.S. Intelligence and the former Head of MI6, all semi-gagged by someone above them so that they cannot tell all that they know. That sounds like the current President Joe Biden who keeps telling journalists that he is not allowed to answer their questions.
Just who is calling the shots?
If you want the story of slavery you only have to look at Buckingham Palace for the latest in a long line of criminal thugs, now represented by a handbag carrying old women. But how could she harm anyone? Ask how the Vatican can head-up an international gang of pedophiles and you see the problem: A guy in a white dress wearing a funny hat who does not seem to be sporting a gun.
How could the little old lady and the cross-dressing religious man hurt anyone?
No one is to blame say the censors, and to hear that message you only need people like Garry Stevens, Paul Rusling, etc., etc., to turn the tables and point this way crying "Shame on you"! (Meaning us.)
Now look again at the 1938 Nazi rallies in Germany. Look at all those girls having orgasmic experiences while waving their Swastika flags. Now look at those girls in 1964 doing the same thing in the Ed Sullivan Theatre as the Beatles come on stage. Yes, and those girls at the massive 21st Century rallies in Communist China seem to be enjoying similar experiences.
Dr Joseph Mengele was one in a long line of evil people who enjoyed experiences such as drowning 'witches' and burning people to death that they disagreed with, or gained personal gratification from sexually abusing others of a younger age.
A stretch to link disc jockeys playing golden oldies with lyrics asking "Have I the right to kiss you?"
No, indeed no!
Watch this video to see and hear Jimmy Saville introduce the Honeycombs ....
While on the subject of misleading others by using some form of corrupted Biblical tract, consider this verse taken from the English Standard Version. It is found in James 3:1 - "Not many of you should become teachers, my brothers, for you know that we who teach will be judged with greater strictness." Maybe Paul Rusling should have inserted that line into the beginning of his own text that he calls 'The Radio Caroline Bible'. However, if he had done that, and then pondered its meaning before he sent it off for print-on-demand publication, he might never have published his 'bible' in the first place!
The story of 'Jimmy Ross' has a convoluted point of origin.
It began with a fictitious character called 'Paul Shaw' in a 1990 novel written by Ian Cowper Ross.
In that book, the fictitious 'Paul Shaw' refers to his fictitious father simply as 'Daddy'.
The fictitious 'Paul Shaw' recites that his fictitious mother who he does not name, identifies her fictitious husband by the first name of 'Jim'.
In the 1990 novel, another fictitious character named 'Liam O'Mahoney' who is visiting the fictitious 'Shaw' family, addresses the fictitious 'Daddy' of the fictitious 'Paul Shaw' as 'Jimmy'.
Now we move ahead one year to a 1991 BBC-TV show where the real Ian Cowper Ross appears on screen to talk both about his real life 'Daddy' (but not identified in any other way), and by inference, he associates the fictitious character named 'Liam O'Mahoney' in his 1990 novel with Ronan O'Rahilly.
By inference on the 1991 BBC-TV show, the fictitious events described in the 1990 novel by Ian Cowper Ross, are then transposed to real life events and real people.
In that way, 'Daddy' in the 1990 novel becomes associated with the real life father of Ian Cowper Ross, and 'Liam O'Mahoney' in the novel who calls the father of the fictitious 'Paul Shaw' by the name of 'Jimmy', is then associated with the real life Ronan O'Rahilly and therefore, again by inference, Ronan O'Rahilly supposedly addressed the real life father of Ian Cowper Ross as 'Jimmy'.
Therefore, using this same bogus reasoning, the fictitious and unnamed mother of the fictitious 'Paul Shaw' who calls her fictitious husband 'Jim', is actually referring to the real life father of Ian Cowper Ross.
Just one big problem with all of that: The real life father of Ian Cowper Ross is named Charles Edward Ross. He is not known as 'Jim' or 'Jimmy, even though in 2019, Paul Alexander Rusling went so far as to state on page 51 that: "While Ross senior's Christian name was Charles, many of his close friends and colleagues knew him simply as 'Jimmy'."
For inspiration Rusling turned to the work of Ray Clark who published a book in 2014 about Radio Caroline for which he interviewed Ian Cowper Ross, and on Clark's page 38, he quoted Ian Cowper Ross talking about Ronan O'Rahilly: "He (O'Rahilly) sat there and gave the spiel to 'old Jimmy'. I can't believe that he would call my dad Jimmy; the whole idea of it was unbelievable ... 'Jasus Jimmy, you won't believe it when you see this' ...."
With the creation of this fictitious character referred to as 'Jim' and 'Jimmy' that leaped from a 1990 novel onto a 1991 BBC-TV show, and then into a 2014 book by Ray Clark, to a 2019 book by Paul Rusling, the words of Ian Cowper Ross which speak of 'Jimmy', and which are placed into the mouth of Ronan O'Rahilly, are never actually connected by Ian Cowper Ross to claiming that 'Jim Shaw' or 'Jimmy Shaw', is Jimmy Ross. Ian Cowper Ross lets viewers and readers connect those dots. What Ian Cowper Ross says is that "I can't believe that he (Ronan O'Rahilly) would call my dad Jimmy; the whole idea of it was unbelievable ...."
That's just it. It was "unbelievable" because it is simply not true!
But now Wikipedia is reporting that a 'Jimmy Ross' was the head of MacFisheries, CarPhone Warhouse and all manner of different companies, all without any proof whatsoever, and neither could there be, because 'Jimmy Ross' is not the 'Daddy' of Ian Cowper Ross, and neither did Ian Cowper Ross actually say that he is! Just how devious Ian Cowper Ross has become over the years is becoming apparent, because he has certainly helped to cause the self-deception of a lot of people who have tried to fathom the origins of Radio Caroline.
Now part of this has been possible because trying to nail down the hard facts about the life and times of Charles Edward Ross is very difficult, and there is obviously a reason why Charles Edward Ross did not want anyone to know who he really is. How much Ian Cowper Ross knows about his real father is another matter again.
But the deception begins in 1964 with the first Press Release that was issued by Leslie Perrin and Associates, and its author appears to be David Block who was working for Perrin.
The true story was never intended to be read by anyone, and the nearest thing to a nod in the direction of the true story that was published in the press, was the emergence during early 1964 of Jocelyn Stevens. It was in a Granada television program shown during early 1964, and filmed in Stevens' Fetter Lane office. Seated in a corner on one side of his desk, Stevens gathered around him a very shy and young Ian Cowper Ross, whilen another corner next to Stevens' desk sat a very nervous and young Ronan O'Rahilly. A very ill-at-ease Christopher Moore sat against another wall facing sideways in front of Stevens' desk while smoking a cigarette and portraying a look that he wished he was not there.
Jocelyn Stevens was forced into the limelight because Ronan O'Rahilly was not yet up to the job of answering press questions about who was behind Radio Caroline. Planet Sales was not a company, it was not based at Fetter Lane, and consequently Stevens and O'Rahilly could not be 'joint managing directors' of something that did not exist.
During this period of time Leslie Perrin and Associates were employed to front various spokespeople who all claimed to represent Radio Caroline. But when all else failed, Jocelyn Stevens had to step forward. Stevens had been involved since the very beginning and that takes us back in time to at least the year 1960!
The British Broadcasting Corporation transmits a constant stream of rubbish to the world, and yesterday they were at it again with another 40 minutes about a station they called 'Radio Caroline', except that it wasn't. This is the reason why we are drawing a line under August 14, 1967 when the original and real Radio Caroline died - forever.
But what the BBC is doing is promoting this totally false narrative that a station called 'Radio Caroline' is still on the air - now with a UK broadcasting licence. This is the fake history that is being taught to students today, and it is that same mythology that the BBC is once again endorsing and broadcasting to the general public.
Why are we so concerned?
Because BBC programs such as this one, have been built upon deception under the pretense of actuality, and that is the main fare of the authorized story about the past that is constantly promoted by the UK Establishment. This BBC program is typical of a form of presentation about the past that was 'perfected' in WWII using a mandate by Winston Churchill, but placed under the direction of Sefton Delmer.
This new program follows Sefton Delmer's style of presentation:
It contains a certain amount of true reporting about the sinking of the Mi Amigo in 1980, but it mixed-it with a totally fictitious story about broadcasting after August 14, 1967 by a station using the name of 'Radio Caroline'. This only reinforces the falsehood that back in 1964, Ronan O'Rahilly was the originator of the authentic station called Radio Caroline. He was not, and neither is there any continuity that is alleged to stretch from Radio Caroline of 1964-1967, to the event that Nick Richards is now relating on the BBC World Service.
Until 2015 we thought that the true story about the origins of Radio Caroline was known. We had already begun to publish our work with a precursory introduction under a two-part title called 'UK Offshore Radio' (which is still available Online.) Then the fog of confusion descended and everything ground to a halt.
As we have previously revealed in our two Blogs, as well as in an article published in the magazine of the Communications Museum at Burntisland in Scotland, we were confronted with a conundrum. That mystery began with a book called 'Radio Man'.
The initial problem began when the authors of 'Radio Man' claimed a very different heritage to the existing and accepted story, because their version was at variance with the one stated in books; magazine articles; newspaper features and broadcasts.
It took us over two years to root out the true story, and one reason for the delay is that the person who had commissioned the publication of 'Radio Man' had spent almost £100,000 in the process. The net effect was to deceive by obfuscation, and therefore mislead readers. While the story in 'Radio Man' is at variance with the 'pop' version, its harm is compounded by the careful substitution of words used in print, in order to change the meaning of the original research text prior to publication.
We do not believe that this was an accident.
We eventually discovered that the twisting of facts to partially deceive, was nothing more than a process put into play by Winston Churchill during World War II. This Churchillian strategy was deliberately invented to confuse and misinform the Nazi German leaders. It even confused President Roosevelt who was not told at first about the Churchillian plan of intentional deception. So the USA began to spend money and manpower to investigate what was perceived to be information coming from Nazi Germany, when it was really coming from Churchill's autocratic and secretive United Kingdom.
But by the Nineteen Sixties, that same methodology was being employed by British entrepreneurs to deceive the British electorate. Back in WWII it wasn't just one group of men and women who were engaged in a single operation, and nor was it simply passive propaganda. In WWII this was an operation outside the realm of standard warfare.
Winston Churchill commissioned several bodies on a 'need-to-know' basis to engage in an over-arching plan of action. In some instances its operatives acted like terrorists. Some were pornographers; some were engaged in polemics wrapped around religion, and others in musical entertainment to attract potential victims. Back in WWII it all fell under the umbrella of the UK Official Secrets Act, and while the true story has been dribbling out since the end of WWII, not all of it is known to this day.
But decades later, it was not as if just the same WWII methodology had been employed to conceal the real story of offshore radio, because in some instances the very same people had been recruited - because of their wartime know-how.
That is what we ran into when trying to research this story.
Most of the offshore radio fans did not, and still do not, have a clue.
Don Pierson, the Texan who created Radio London, Britain Radio and Radio England, was also deceived. He reacted to the fantasy and not to the facts, and it led to his downfall with regards to his financial involvement in those stations. In the instances of Britain Radio and Radio England, it also led to those stations becoming financial disasters.
So we are now getting ready to begin a new series of part-publications, and each one will consist of a two-sided approach. One section will debunk the myths, while another one will spell out the real story.
After several of these part-publications have been released, they will then be edited to conform to a single volume, with more part-publications to follow. They will likewise be grouped together as another volume that will eventually become a continuing series of volumes, as we originally promised prior to 2015. In this way, if we need to correct any part of a part-volume with additions or deletions or amendments, we can do so relatively quickly and at low cost.
We will keep you informed as to our publishing progress.
In the 1960s, while Marshall McLuhan was busy explaining to Canadian students why "the medium is the message", in England, it was Beatrix Miller who was inventing a fantasy message about a girl named Caroline. By the 1980s, it was Tanith Lee who aptly but coincidentally extrapolated a true picture of that phantasmic girl: "The final shreds of her identity and her role seemed to discard her. She was left, a pebble spun through chaos, no firm ground anywhere for sanity to take a stand."* Back in 1965, investigators for the UK Board of Trade were coming to the conclusion that no matter how diligent they were, they would never find the parents of Caroline, because her parents did not exist. Caroline was an audible illusion. She was merely a false perception of a real sound that had been intentionally stimulated in the minds of listeners to deceive them: Caroline is the girl who never was. *Lee, Tanith. Day by Night. ISBN 10: 0879975768
Due to the amount of material already published on this Blog, and on our companion Blog, we are in the process of merging both timelines and placing our previously published research work into the order in which it should appear. As soon as this process is completed we will begin adding newly researched information. This will enable us to speed-up the first print date for our continuing part work and make it available before the end of this year.
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