![]() The soundtrack of his youth had earlier infused the soundtrack of Love Actually, where he carefully chose songs by Joni Mitchell, Darlene Love, Paul Anka and Lennon & McCartney, among others. ![]() Your parents would shout from downstairs, 'Go to sleep! Turn off the light!' It was one of the things that made me love pop music most, that slight sense of it being illicit and illegal." "You would go to bed at night, put your transistor radio underneath your pillow, switch it on with its little glowing light - and stay up late to hear this fantastic music and voices you could not hear elsewhere. "Every person in my generation has the same memory," recalls Curtis. After completing work on his directorial debut, Love Actually, Curtis again found himself reflecting on childhood memories of nights spent staying up late and listening to The Kinks, Jimi Hendrix, Dusty Springfield, Janis Joplin, and Aretha Franklin - to name but a few - and the larger-than-life personalities providing patter and platters. "For the last ten years, I've been thinking about it as a subject to explore," says the filmmaker. The new movie is the first of his screenplays to be set in the past. But the pirate radio stations were targeted by the government, which did its very best (or, worst) to suppress the (technically illegal) transmissions coming from the waters into the hearts and souls of millions of Brits.įrom that jumping-off point, in Pirate Radio writer/director Richard Curtis continues his cinematic explorations of the most telling and/or hilarious moments of love and friendship. So in the home country of The Beatles and The Rolling Stones and The Who, at the height of British pop music's greatest era, the only way 25 million people - over half the British population - could hear their music (and other favorites) at any time was to tune in to.a boat.īringing the music home were rogue rock-and-roll deejays broadcasting from ships and marine structures anchored just outside U.K. radio airwaves by comparison, 571 American radio stations were showcasing such music 24 hours a day. ![]() In 1966, the government-backed British Broadcasting Company (BBC) broadcast barely two hours of rock and pop music every week over the U.K. You are listening to Radio Rock, and I am The Count,Īnd I'm counting you in as we count down to ecstasy and rock To ride the rocking roller coaster once more. News is read on the half-hour.The dull dudes on the planet are sitting in their slippers and sipping their sherries.īut the people who love to rock and to roll are ready The drivetime show from about 5.30pm is presented by an unidentified DJ and includes traffic news sponsored by a taxi company and a Christmas children’s toy appeal. It begins with Greg Edwards (aka Locky Butler, former owner of CAU FM and previous southside stations) on breakfast from before 9am and includes a competition, adverts and a promo for a daily job spot. This recording was made on Monday 21 st November and is an aircheck of morning and evening programming. Using the strapline ‘the newest voice of Dublin’, the AOR music format was interspersed with various short reflections about life, although not overtly religious. Some of the DJs on CAU FM were also heard on Hope FM and the same equipment was used. Hope FM came about when its owners bought another station CAU FM that had broadcast from November 1987 until July 1988, aiming mostly at the southside of the city. It launched on Monday 12 th September 1988 on 104.2 FM and soon moved to 104.4. Hope FM was a nominally religious station that broadcast to Dublin for the last few months of the pirate era at the end of 1988. ![]() Sunday World advert reprinted by Anoraks UK in November 1988
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