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The Relationship Between the BBC and the Commercial Radio Sector

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The Relationship Between the BBC and the Commercial Radio Sector The Relationship Between the BBC and the Commercial Radio Sector in promoting DAB (Digital Audio Broadcasting) in the United Kingdom. John P Devlin A thesis submitted in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy November 2015 ABSTRACT The place of Digital Audio Broadcasting (DAB) in the UK provides an interesting area of study. As of 2015, it is a platform which has been in existence for twenty years. During that time its position has been nebulous. It represents only one method of listening to radio output in a digital format but one in which the BBC, and latterly, the commercial radio sector, placed a huge degree of trust. It has however not become the standard mode of radio listening. One can argue that after much proactive effort from within the UK radio industry, its position may be beginning to falter somewhat in the commercial sector while remaining a paramount policy objective for the BBC. The aim of this thesis is to account for the emergence of DAB and its impact on the relationship between the BBC and the commercial radio sector. It examines the separate and joint roles of each in promoting DAB and highlights how this led to a unique period of cooperation between the two. A historical backdrop is necessary in order to establish the previous state of relations, before embarking upon the core of the thesis which argues that both parties adopted significant changes of posture in order to promote DAB. I argue that the implementation of DAB as a new radio technology represents a marked period of institutional change within the UK radio industry. In playing distinct, separate roles, I show how this reveals a maturity within the industry whereby the BBC and the commercial sector reached a point of equality. In promoting a joint role, based on a policy of overt cooperation, I demonstrate how this represented a major shift in the historical relationship between both parties. Relying on a small canon of secondary sources and an extensive survey of primary source documentation, as well as interviews with some of the key players in DAB and the UK radio industry as a whole, this thesis provides a study of a significant period in British radio history which witnessed the development of a nascent radio platform, coupled with a significant change in the dynamic of existing relationships within the industry. In doing so, it delivers a wider historical interpretation of a particular point in radio history and marks a critical phase when the very nature of the industry changed. i ACKNOWLEDGEMENTS I would like to express my gratitude to all those who have helped me in the course of researching and writing this thesis. I would particularly like to thank my supervisory team at Bournemouth University Media School. Professor Sean Street whose knowledge of radio history, the radio industry and programme making quite rightly places him as one of the leading academics and practitioners in the field. Professor Hugh Chignell whose academic input in the field of radio history is well documented and whose theoretical approach to the study of radio helped me appreciate the value of radio as a subject for serious academic scrutiny. Dr Kristin Skoog, who became a supervisor in the latter stages, provided the necessary encouragement and support I needed to reach completion as well as proferring considered, thought provoking and much valued feedback. Also at Bournemouth Media School, Jan Lewis provided both the necessary administrative support and impetus. I would also like to thank the archivists at the BBC Written Archives Centre at Caversham and in particular Jess Hogg who offered great assistance and patience at all times. Finally, I would like to thank all those whom I have spoken to or merely read in the course of this research and those and who share a passion for radio and the area of radio studies. ii DECLARATION OF AUTHORSHIP I, John Patrick Devlin, hereby declare that all the material contained in this thesis is my own work. iii TABLE OF CONTENTS Abstract………………………………………………………………………………..i Acknowledgements…………………………………………………………………...ii Declaration of Authorship……………………………………………………………iii Table of Contents…………………………………………………………………….iv INTRODUCTION…………………………………………………………………....1 The Research Aim………………………………………………………………6 Methodology………………………………………………………………..…10 Notes on Existing Literature…………………………………………………..16 SECTION 1 THE BBC AND THE COMMERCIAL RADIO SECTOR: THE HISTORICAL CONTEXT…………………………………………………………………….…….21 CHAPTER 1 – The Emergence of an Industry: The BBC and its Competitors, 1922 -1967……………………………………………………………………….…...22 From New Technology to New Industry, 1896 -1939………………………...23 BBC Return to Monopoly, Competitors Return to the Market, 1939 - 1955.…31 Competition Driven by Pop Music, 1955 -1967………………………………41 Conclusion…………………………………………………………………..…46 CHAPTER 2 – A Level Playing Field: The BBC and Independent Radio, 1967 - 1988 ……………………………………………………………………….…48 BBC Radio: Twin Services, National and Local………………………………49 The Competition: A New Radio Entity………...……………………………...59 The BBC Reaction: Emphasis on Local……………………………………….68 Conclusion………………………………………………………………….….75 CHAPTER 3 – Competition on All Fronts: The BBC and Commercial Radio, 1988 - 1995 …………………………………………………………………………..78 Non-ILR and Non-BBC Radio Actors: Outside the Box……………………...80 Commercial Radio: Achieving a National Platform…………………………..84 BBC Radio: A Period of Crisis………………………………………………..92 iv Conclusion…………………………………………………………………...101 SECTION 2 THE BBC AND THE COMMERCIAL RADIO SECTOR: THE DAB ERA, 1985 - 2003……………………………………………………………….………………...103 CHAPTER 4 – Digital Radio in the UK…………………………………….….….105 Defining Digital Radio………………………………………………….……106 The Road to DAB in the UK………………………………………….……...112 Problems with DAB………………………………………………………….121 CHAPTER 5 – DAB and the BBC……………………………………………..….125 The Early 1990s: Consolidation of DAB………………………………….…126 The Mid 1990s: The London Experiment……………………………………135 The Late 1990s: The Internet, A Digital Threat?.............................................144 The Early 2000s: New Services……………………………………………...150 Conclusion…………………………………………………………………... 159 CHAPTER 6 – DAB and the Commercial Sector………………………………....163 Pre 1990: The Commercial Radio Sector and New Technology……….…....165 The Early to Mid 1990s: Taking a Back Seat………………………..………170 The Late 1990s: In the Driving Seat…………………………………...…….177 Conclusion………………………………………………………….………..191 CONCLUSIONS..……………………………………………………………….…197 Cooperation…………………………………………………………………. 200 DAB: A Success? ……………………………………………………………202 The Journey Continues……………………………………………………….205 Glossary……………………………………………………………………….……210 Appendix…………………………………………………………………………...212 References………………………………………………………………………….214 v INTRODUCTION 1 During the course of 2002 the BBC launched five new national radio stations.1 This was the first time a new national BBC network had been established since BBC Radio Five went on air in August 19902 and before that the creation of Radios 1, 2, 3 and 4 back in 1967. Outlining her plans for the five new national radio services on the 28 September 2000, Jenny Abramsky (Managing Director, BBC Radio)3 emphasised the fact that the services would: Aim to attract audience groups under-served by existing BBC Network Radio, such as young families and people from ethnic minority backgrounds. Not only would the commissioning of new, quality programming be paramount, the new stations would also draw on the BBC’s speech and music archives and give wider exposure to events, such as sports, where the corporation already owned the rights.4 As well as simply extending the range of BBC Radio output by creating distinctive, public service radio stations, Ambramsky highlighted the need to take advantage of different emerging digital platforms and emphasised that: Each of the new services would be available via digital satellite, digital cable, the internet and digital radio sets.5 The unique feature of the new services was that they would be digital services and therefore not available through the ubiquitous, standard, analogue radio receiver which had dominated the radio listening market for the previous 75 years. Changes to its radio portfolio had already occurred on a few occasions throughout the corporation’s history. The BBC had fostered a strong relationship with its audience during the 1920s and 1930s (Briggs 1995, Vol 2, p235) but with the Second World War 1 Five Live Sports Extra launched on 2nd February, 6 Music on 11th March, 1Xtra on 16th August, Asian Network on 28th October and BBC 7 on 15th December. 2 Subsequently relaunched as Radio Five Live in March 1994. 3 Abramsky was appointed Director of Radio in 1999. Her job title was changed to Director of Audio & Music in 2006 and she retired from this position in 2008. The official title of the BBC’s head of radio has changed over the years. So, for example, Liz Forgan (1993-1996) was Managing Director, Radio. The present incumbent, Helen Boaden, is referred to under the original name, Director of Radio. 4 BBC Press Release, Sept 28, 2000. 5 ibid. 2 looming the corporation became more alert to the varying needs of this audience and began to recognise the necessity of catering for differing listener tastes and aspirations. This saw the eventual creation of the Empire Service and the emergence of the Home Service from the National and Regional Programmes. By 1946 the then Director General, Sir William Haley, recognised a need to reflect a wider range of tastes and develop a more settled
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