RADIO COMMISSIONING FRAMEWORK
Commissioning Brief
Commissioning Brief No.: 99118 6 Music Weekday Late Afternoon Show (talent: Steve Lamacq) From Winter 2021
BBC Radio Popular Music Networks
CONTENTS SECTION A: EDITORIAL OPPORTUNITY ...... 3 1. Network ...... 4 2. The Opportunity ...... 4 3. Music Policy ...... 5 4. Programme Content ...... 5 5. Diversity and Inclusion ...... 5 6. Measures of Success ...... 5 7. Additional Deliverables ...... 6 8. Risk Management ...... 6 9. Additional Information / Requirements ...... 6
SECTION B: PROCESS, ASSEMENT, EVALUATION ...... 8 1. THE FIVE STAGES ...... 8 2. ASSESSMENT CRITERIA...... 10 3. THE EVALUATION TEAM ...... 11
SECTION C: THE COMMISSIONING TIMETABLE ...... 12
SECTION D: FULL PROPOSALS AND REFERENCE INFORMATION ...... 13
APPENDIX 1: EXPERIENCE QUESTIONNAIRE ...... 16
APPENDIX 2: STRATEGIC PRIORITIES ...... 18
2 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks SECTION A: EDITORIAL OPPORTUNITY Commissioning Brief: 99118 – Weekday Late Afternoon Show
Commissioning Owner Samantha Moy Samantha.Moy@bbc.co.uk
Commissioning Contact Robert Gallacher [email protected]
Commissioning Brief Title Weekday Late Afternoon Show
Network 6 Music
Guide Price £800 – ‘Guide Price’ does not include presenter fees, which will be paid directly by 6 Music.
Genre Music
Duration One year with two separate options for the BBC to renew for a further year on the same terms after both the first and second years (1+1+1)
No. of Episodes 255
Transmission Period From Winter 2021
Slot Day Monday to Friday
Slot Time 1600 - 1900
Production Location London
All proposals must be submitted via Proteus and go through Production eligibility checks first. Please make your short proposal using no more than 250 words.
Important Notes: • Short Proposals and your responses to the Production Questionnaire (see Appendix 1, page 15), must be submitted via Proteus before the deadline at noon on Thursday 15th July. • The incumbent does not need to complete either the Production Experience Questionnaire or the Short Proposal. They can go straight to preparing their Full Proposal. • During Stage 1 of the process we will first evaluate the responses given in the Production Questionnaire. We will then assess your Short Proposal. • Shortlisted suppliers will be asked to submit a Full Proposal. This should not exceed two sides of A4 when printed using Arial font, size 11.
3 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks
• These suppliers will also be invited to a Zoom pitch with the Commissioning Team, where they can use a power-point, but we request that they don’t play any video content. • Producers are not permitted to contact on-air talent, without prior approval of the commissioner. • Any producer found to be in breach of this will be excluded from the commissioning process. • The BBC reserves the right at any time prior to the award of a commission, and without incurring any liability to the affected suppliers, to accept or to reject any proposal, or to annul the commissioning process rejecting all Full Proposals. More information relating to all commissioning briefs and rounds, regardless of Networks can be found on the Pitching Ideas page of the Radio Commissioning Website: http://www.bbc.co.uk/programmes/articles/4fC4NcVXqkZntJv8ZHpClD8/pitching- ideas We strongly advise you to submit your Proposals in good time to avoid the possibility of difficulties caused by unforeseen network or transmission problems. No late submissions will be accepted
1. Network
About 6 Music: For music lovers – with a curious spirit BBC Radio 6 Music is a radio station for music lovers with a curious spirit. We shine a light, lend an ear and give platform to music beyond the mainstream. We are a highly distinctive network, playing and celebrating a breadth of artists and music across eras and genres.
Network Strategy BBC Radio 6 Music is seeking to grow its audience, profile and reach of the network amongst 25-44 age group. We want to build an evolved and representative schedule defined by a curious spirit that connect us with new audiences. We aim to deepen and broaden the music we play and stories we tell on air and on demand in partnership with BBC Sounds.
2. The Opportunity STEVE LAMACQ (Monday-Friday 1600-1900, from London)
Presented by Steve Lamacq, this show is a key part of the daytime schedule, traditionally known as ‘drivetime’.
The programme is a gateway into 6 Music for curious music lovers of all ages and its presentation should be informative, upbeat, and inclusive. It should appeal to the core 6 Music listener while providing an entry point for younger audiences – in particular the Eclectic Enthusiast. It should be designed for both a live linear listening experience and on demand in BBC Sounds.
4 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks
For 2021 and beyond, 6 Music is seeking to capitalise on the mobility of the audience during this timeslot and the opportunity to appeal to an audience who are ‘on the move’. Production are encouraged to think about what the audience want when they finish their day at work and move to a different environment/mood state to listen: whether it be the ‘drive home’ or the ‘close of the laptop’ to relaxing at home.
3. Music Policy Programmed by the 6M Music team in partnership with the presenter and the production team, this multi-genre programme aims to share and contextualise new music alongside classic records to build a music show with flow and curation at its heart for a drivetime audience.
4. Programme Content Steve Lamacq’s programme should appeal to the musically curious as well as those who enjoy an easy, nostalgic listen – thereby reaching those opportunity audiences who may think 6M is not for them, as well as satisfying core listeners. We welcome new ideas for:
• A music clock that reflects the mood state of a listener at 4pm, 5pm and 6pm which still feels authentically Steve Lamacq • A daily, interactive, sharedriving feature at 5pm with a 15m music sweep as its focus. It should appeal to opportunity audiences and fanbases. Production suppliers are encouraged to think about how this feature can appeal to a broad range of listeners to ensure 6 Music is the go-to platform that captures the ‘in car / compromise’ listen. • A refreshed Friday format to reflect that end of week feeling • A music/playlist format to make 6 Music and Steve Lamacq famous in Sounds. Ideally, this would form part of one of the daily shows, and be made into a separate episode for Sounds
5. Diversity and Inclusion 6 Music wants to reflect the diversity of the UK and the network are looking for new approaches to evolve listener engagement – which will broaden the appeal of the show to new audiences. We are interested to hear your inclusive content ideas and how they might be expressed across the music played, stories told and scenes explored. You may wish to consider how this show might contribute to the expanded 50:50 Diversity initiative (more details in Appendix 2).
6. Measures of Success Growing live listener numbers in that slot - as measured by RAJAR – and on-demand numbers in Sounds.
5 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks
The show is designed to appeal to a musically curious audience who are open and eclectic in their tastes. We welcome ideas that help to grow the show’s digital footprint. We are interested in hearing how features could be developed as stand-alone properties in BBC Sounds. In addition to this, the show should be navigable and promotable across the network, in Sounds and on socials, and contain moments that highlight appropriate content from other 6 Music shows.
7. Additional Deliverables We require the following for inclusion in BBC Sounds and for Network Digital Support (filming, photography, social assets):
• Accurate and compelling programme titles and descriptions ahead of TX, when programme content is confirmed, in order to capitalise on press opportunities or Digital Support (as listed above). Data should be updated post-TX, where appropriate, as soon as possible • Tracklistings updated online as soon as practicable • Bespoke episodic images taken and delivered to Network Digital teams where appropriate, eg: featuring the presenters and their guests, or to reflect a theme of the show • Syndication of show content to record companies/agents/guests, as appropriate
8. Risk Management
If you are successful and secure a pitch, we would like you to include a detailed transition plan and an explanation of how you will manage the transition from the current productions of the programme, with minimum disruption.
9. Additional Information / Requirements • The ‘Guide Price’ does not include presenter fees, which will be paid directly by the Network. • The contract will be offered as a “fixed price” and the BBC will assume that any elements included in proposals can be successfully delivered within the guide price given. • Production teams will be expected to adhere to all relevant editorial and copyright guidelines in place; and deliver all necessary production related paperwork meeting required deadlines – e.g., Compliance forms, music reporting, and keeping Proteus up to date. • The shows are to be live. • Access to all necessary broadcast production systems, as well as studios to enable the recording of the show, will be made available in Wogan House, London, at no cost to the successful supplier throughout the contract.
6 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks
Compliance and BBC Editorial Guidelines
You will be required to deliver programmes that are in line with the BBC’s Editorial Guidelines and be able to adapt to the BBC’s changing editorial and business needs during the period of the commission.
Presenter during commissioning process Following submission of a Full Proposal, suppliers who have been shortlisted for a face to face pitch will be invited to have a short phone chat with the presenter.
7 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks
SECTION B: PROCESS, ASSEMENT, EVALUATION 1. THE FIVE STAGES All incumbents will automatically go through to stage 2: Full Proposal
Stage 1: Production Experience, Short Proposal and Initial Shortlisting
Step 1 : Production Experience
• Complete the Production Experience Questionnaire in Appendix 1 using no more than 100 words per response. Please note the questions used in this brief may differ from those used in other 6 Music briefs. • Enter your responses in the ‘Add/Edit Notes Here’ section in Proteus.
The questionnaire is designed to allow the BBC to understand more about your company and your experience of producing 6 Music style programmes.
Commissioning Editor Robert Gallacher and Business Affairs Manager Mark Waring, together with others from the evaluation team, will evaluate all production questionnaires against the editorial brief set out in Section A before evaluating the Short Proposal.
NB: your short proposal may be declined at this stage if the information you provide indicates you do not meet the criteria, so please answer these questions carefully.
Step 2: Short Proposal Suppliers who performed best on their production questionnaire (by best demonstrating their experience and capability in producing 6M style programmes) will then have their Short Proposal assessed and a shortlist will be compiled. • Your Short Proposal should be no more than 250 words and summarise your specific ideas for ALL programmes within the brief. It should demonstrate your ability to produce the programme, set out your editorial ambitions and address the requirements set out in Section A of this brief. • Enter your proposal in the ‘Short Synopsis’ section in Proteus before the deadline at noon on Thursday 15th July.
Step 3: Shortlisting notification You will be notified of the outcome of Stage 1. Shortlisted suppliers will be asked to submit a Full Proposal. No feedback will be provided for unsuccessful proposals at this stage.
Stage 2: Full Proposal
Step 1: We may issue further relevant programme production information to all producers proceeding to this stage. If sensitive information is being released then producers will be asked to sign a non-disclosure agreement (NDA).
8 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks
Step 2: Producers proceeding to this stage will be invited to provide a Full Proposal, via Proteus, responding to this commissioning brief, which includes all the elements outlined in Section C (“Full Proposals”). For guidance, your Full Proposal should not exceed two sides of A4 when printed using Arial font, size 11. The Production Experience answers will only be considered during Stage 1 of the commissioning process. Producers may wish to consider repeating some, or all of the information given in the Full Proposal.
Step 3: Producers will be offered the opportunity to discuss the programme brief with the commissioning editor prior to submitting their full proposal.
Stage 3: Interview / Pitch
Step 1: You may be invited to an interview/pitch meeting with the evaluation team on Zoom. We will notify you which members of the evaluation team will be attending this meeting and you should expect to be asked to discuss and elaborate on your proposal, and answer questions about it. It is also possible we may ask you to bring additional relevant material to this meeting – but we ask that you do not play any video content.
Step 2: Following the interview/pitch, the evaluation team will re-evaluate your Full Proposal against the assessment criteria outlined on page 10, taking into account the responses given during the pitch, and any additional material requested. The evaluation team may then decide to award the contract to the producer(s) which best meets the assessment criteria; Note: At any stage of the process, we may need to come back to you to seek clarification. Your answers will be factored into the evaluation process as appropriate.
Step 3: Or we may decide to hold second interviews, for example, in the event where we need more information to be able to differentiate between proposals.
Stage 4: Contract Signed
Stage 5: Feedback If you’re unsuccessful after attending an interview / pitch meeting, you may request feedback. Once notified you have two weeks to request feedback. Requests for feedback should be made to Robert Gallacher. Feedback will be provided within two weeks of receiving the request.
9 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks 2. Assessment Criteria We will assess your Full Proposal and pitch according to the main criteria below (editorial proposal and capability, value for money and risk). More details on how we will make our assessment will be given to all those shortlisted at the same time as they are invited to submit a Full Proposal.
Assessment Criteria Weighting Editorial proposal and capability 65% ➢ Fit of editorial proposal to overall Network Strategy and Music Policy ➢ Demonstrable specialist music knowledge and industry contacts ➢ Depth of knowledge of alternative music across all genres from the late 1960s ➢ Format and structure of the programme ➢ Proposed production team’s track record in producing recent and relevant music programmes of high quality ➢ Ability to contribute to the network’s key editorial processes and creative moments across the year ➢ Ability to work collaboratively with other production teams and suppliers Other Indicators: ➢ Ways to support delivery of BBC Radio’s vision and objectives ➢ Ability to innovate and evolve programme in line with changing audience habits ➢ Plans for engaging young audiences via social media and interactive content ➢ Experience of creating genuine 'appointment to listen' features and content ➢ Ability to manage and develop high profile on-air talent ➢ Ability to identify and book suitable artists where relevant ➢ Ability to deliver OB programming from festivals and key events ➢ Ability to innovate across digital platforms as approved by Network/Digital Editor, Head of Visualisation etc. Strategies to evolve listener engagement 20% ➢ Appeal to new diverse audiences (music, speech content, digital) ➢ Diversity of ideas and people (on-air and off-air) ➢ Ideas for contributions to 50:50 strategy ➢ Digital innovation (achievable within your proposed price) Value for Money 5% ➢ Financial plan – including budget showing production and overheads. ➢ Price per episode ➢ Efficiency of production process ➢ Acceptance of key contract terms (includes compliance with all applicable UK law) Risk 10% ➢ Transition risk ➢ Production risk (ability to produce shows of large scale and volume with a consistent and experienced production team) ➢ Business continuity
10 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks
Assessment Criteria Weighting ➢ BBC reputational risk ➢ Ability to comply with all relevant UK legislation and BBC policies (not limited to editorial policies) ➢ Conflict of interest
3. The Evaluation Team The following people may be involved in evaluating your proposal at various stages:
Samantha Moy, Head of BBC Radio 6 Music Jeff Smith, Head of Music, BBC Radio 6 Music Camilla Pia, Assistant Commissioner, BBC Radio 6 Music Robert Gallacher, Commissioning Editor, BBC Radio Pop Networks Joe Harland, Head of Visual Radio, Digital and Social, Pop Networks Mark Waring, Senior Rights and Business Affairs Manager Raluca Albu, Senior Procurement Manager
Subject matter experts (e.g. production experts, visual content specialists, network management or finance advisors etc.) may also be consulted. See Section B for information on the commissioning process, timetable and assessment criteria.
11 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks SECTION C: THE COMMISSIONING TIMETABLE The commissioning process for this brief consists of a number of stages, as set out in the timetable below:
STAGE TIMINGS (all Midday) ACTIVITIES Launch 31st May Publication of commissioning brief titles
1. Short Proposal Tues 15th June Publication of commissioning brief documentation and shortlisting and round opens in Proteus.
Thurs 15th July Deadline for submission, via Proteus, of Short Proposal and Eligibility Questionnaire responses
Thurs 22nd July Producers shortlisted notified of outcomes, asked to prepare a Full Proposal and invited to an interview/pitch.
2. Full Proposal Thurs 22nd July Opportunity to talk to commissioners about the programme brief.
Thurs 31st August Deadline for Full Proposal to be submitted via Proteus
3. Interview/ Pitch w/c 6th September All producers shortlisted and who submit a Full Proposal will be invited to attend a pitch via Zoom. PLEASE MAKE SURE YOU ARE AVAILABLE FOR PITCHING FOR THIS WEEK – PITCHES WILL NOT TAKE PLACE AT ANY OTHER TIME. th 4. Commission w/c 13 Either: Commission award decision made, decisions made September commissioning specification completed and and contracts contract issued. signed Or: Producers invited to second interviews. October 2021 Agreement of all programme related deliverables and technical specifications (for further information on Radio 2 requirements, please see the BBC’s commissioning website). Full contract signed.
th 5. Feedback 24 September Shortlisted producers may request feedback.
We will assess your proposal according to this timetable. Late submissions cannot be accepted.
If you have any questions about this commissioning brief that need answering before you submit your Short Proposal and eligibility responses, please ensure you email them to either [email protected] or [email protected] by 9th July at the latest.
12 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks SECTION D: FULL PROPOSALS AND REFERENCE INFORMATION
Important Points to Note
Your Full Proposal must be entered into the main ‘Synopsis’ section in Proteus by noon on Thursday 31st August – late submissions cannot be accepted. It should adopt the structure below and, for guidance, should not in total exceed two sides of A4 when printed using Arial font, size 11. Proposals not complying may be rejected by the Commissioner whose decision in this matter will be final.
The BBC reserves the right at any time prior to the award of a commission, and without incurring any liability to the affected suppliers, to accept or to reject any proposal, or to annul the commissioning process rejecting all Full Proposals.
Part 1 – Your detailed Full Proposal, showing your response to the BBC’s requirements outlined in Section A of this commissioning brief.
Part 2 – A section containing the following information: (i) The name and contact details of your nominated representative (a single point of contact within your organisation who will be responsible for all communication related to the commissioning brief). (ii) The planned location for the production team who will produce the show should you be successful. (iii) Evidence that you have the skills to deliver, or the ability to acquire the skills to deliver, the production of the programme in line with this commissioning brief. (iv) Details of third party suppliers. You may want to work in partnership with third parties to deliver the brief. If so, you should include: o responses on behalf of each partner o details of the responsibilities of each partner o an outline of the main personnel who will be responsible for the production and delivery of the programme o an explanation of how working in partnership would be successfully achieved, including a proposed legal structure (e.g. one lead contractor and sub- contractors). (v) Details of your proposed total programme and per episode cost, broken down by price to BBC Public Service and any other funding sources. As part of our strategic priorities the BBC is making a commitment to the real living wage (as described by the Living Wage Foundation – see livingwage.org.uk). The per episode cost of the programme should be budgeted to account for the real living wage and the Full Proposal should include details of how compliance with the real living wage will be achieved. And all details should be included in a template as below:
13 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks
Production Costs Daily Rate Days/Week Total Executive Producer £0.00 Producer £0.00 Assistant Producer £0.00 Production Manager £0.00 Total: £0.00 Overheads @ % Production fees @ % Grand Total – ex VAT £0.00
(vi) Depending on the detail of your proposal, if you are successful in your bid to produce the programme, Transfer of Undertakings (Protection of Employment) Regulations 2006 (and/or any superseding or amending legislation) (“TUPE”) may apply.
If TUPE applies we would therefore ask you, at an appropriate point during the tender process, about the assumptions being made in respect of the application of TUPE to your bid, as part of your production talent planning, and how such assumptions have impacted on the detail of the bid. You should seek your own legal advice as appropriate.
To inform overall production talent considerations, and enable you to make an assessment regarding the potential application of TUPE, the BBC may release an indication of the current production roles, and any relevant information of those currently employed on the programme.
When we know which suppliers are interested in this Brief, the BBC may engage with the producers to discuss the impact of their assumptions regarding TUPE on their bid. This will include reaching an understanding of the proposed production team associated with their bid, how the producer proposes to implement the legal requirements of TUPE (where applicable), and a commercial negotiation regarding any financial considerations connected to their TUPE assessment and its impact, which will then form part of the overall evaluation prior to the final decision being made.
By submitting your proposal, you confirm acceptance of the key contract terms.
Please refer to this important information supporting your Full Proposal submission:
More information relating to all commissioning briefs and rounds, regardless of Networks can be found on the ‘Pitching Ideas’ page of the Radio commissioning website:
14 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks 1. Important Points To Note
Proposals must be submitted in accordance with the following instructions.
Proposals not complying with these instructions may be rejected by the Commissioner whose decision in this matter will be final.
All Full Proposals should be submitted using Proteus by noon on Thursday 31st August. For guidance, it should not in total exceed two sides of A4 when printed using Arial font, size 11. We strongly advise you to submit your final responses in good time to avoid the possibility of difficulties caused by unforeseen network or transmission problems. No late submissions will be accepted. If additional supporting material is requested prior to the pitching meeting, we will notify you of how and when to submit this in good time ahead of that meeting. This commissioning brief is not a contract. However, the information contained in this commissioning brief, together with your responses, will form the basis of the final contract between you and the BBC. The BBC reserves the right to exclude any producer that is found to either: a) have provided information which is untrue, or b) be in breach of any of the terms of the non-disclosure agreement.
IMPORTANT: Producers wishing to submit a proposal under this brief are not permitted to contact BBC production staff, seeking information about the programme, during the commissioning period without prior consent from the commissioner. Producers are not permitted to contact on-air talent, unless shortlisted, and with prior approval of the commissioner. Any producer found to be in breach of this clause will be excluded from the commissioning process.
The BBC may modify the commissioning brief (including the timetable as outlined in Section B.1) at any time prior to the submission deadline. Any such amendment will be notified in writing to all prospective producers. To allow time for such amendment to be taken into account, the BBC may, at its discretion, extend the deadline for receipt of submissions.
By submitting your proposal, you confirm acceptance of the key contract terms.
15 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks APPENDIX 1: EXPERIENCE QUESTIONNAIRE Guidance The Experience Questionnaire is the first part of your submission the BBC will consider as part of the process. Once completed, please copy and paste your responses into the Add/Edit Notes Here section of the Create Proposal page in Proteus – as per the screen grab below.
Proteus Screen Grab
Copy and paste Eligibility Section below into this field in Proteus.
You MUST complete Section 1 ONLY if you plan to submit a full proposal as part of a partnership.
Please list each partnership and describe the responsibilities each partner will take. [Insert details]
Please indicate the lead company with whom the BBC will contract. [Insert details]
Please include the key personnel responsible for the production and delivery of the programme and details of the partnering company they are currently contracted to.
Part 2: Production Experience
You MUST still complete Section 2 - Eligibility Production Experience.
In no more than 100 words per response, please outline your relevant production experience, using recent examples, in the following areas:
2.1 We require a production base with relevant experience and staffing depth in national music-radio production, particularly within music beyond the mainstream – both studio-based and in the live event/OB environment.
[Insert details]
16 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks 2.2 We require a production base with relevant ‘production team’ experience of producing a non-mainstream music radio programme, with strong current relationships with record labels, artists, DJs and producers and an understanding of the BBC Archive.
[Insert details]
2.3 We require a production base with an understanding of the importance of multi-platform content, and recent company/production team experience of producing engaging content for online and social platforms.
[Insert details]
2.4 We require a production base with relevant production team experience of talent management to the level required and the ability to build those relationships quickly and effectively.
[Insert details]
2.5 We require a production team with a realistic understanding of the pressures, staffing and infrastructure involved in producing daily shows over a sustained period.
[Insert details]
Please note: the answers given in response to the above questions will only be considered during Stage 1 of the commissioning process. If you are shortlisted and invited to submit a Full Proposal, you may wish to consider repeating some, or all of the information given in your Full Proposal.
17 of 18 6 Music Comms Brief: Weekday Late Afternoon v3
BBC Radio Popular Music Networks APPENDIX 2: STRATEGIC PRIORITIES
Diversity & Inclusion
Diversity & Inclusion is a priority for ALL of us. We want BBC Radio & Music to be demonstrably the best organisation in the audio sector to work for and with. We are fully committed to making this a place where people feel welcomed, appreciated, respected, and that they can be themselves and produce their best work.
We commit to diverse teams, representative programmes and inclusive culture and will ensure that leadership and workforce D&I representation meets the BBC’s targets.
To support this, we are committing £12 million of the R&M annual competed programme commissioning budget over the next three years from 21/22 to commissions that meet two of the following three priorities: i. diverse stories and portrayals, covering the nine protected characteristics plus social mobility ii. diverse production leadership - where “diverse” includes ethnicity, socio-economic background and disability. iii. diverse company leadership - where “diverse” includes ethnicity, socio-economic background and disability.
Our D&I commitments will help create an inclusive culture for all, increasing gender, ethnicity, socio-economic and disability diversity, and helping to deliver on the BBC's new 50:20:12 diversity targets for Gender, BAME and disability representation.
18 of 18 6 Music Comms Brief: Weekday Late Afternoon v3