Stratégies gagnantes Auditoires et positionnement

Effective strategies Audiences and positioning

Barrera, Lilian; MacKinnon, Emily; Sauvé, Martin 6509619; 5944927; 6374185 [email protected]; [email protected]; [email protected]

Rapport remis au professeur Pierre C. Bélanger dans le cadre du cours CMN 4515 – Médias et radiodiffusion publique

14 juin 2014

TABLE OF CONTENT

ABSTRACT ...... 2 INTRODUCTION ...... 3 CBC RADIO ONE, TODAY ...... 4 Podcasting the CBC Radio One Channel ...... 6 The Mobile App for CBC Radio One ...... 7 Engaging with Audiences, Attracting New Listeners ...... 9 CBC RADIO ONE, TOMORROW ...... 11 Tomorrow’s Audience: Millennials ...... 11 Fishing for Generation Y ...... 14 Strengthening Market-Share among the Middle-aged ...... 16 Favouring CBC Radio One in Institutional Settings ...... 19 CONCLUSION ...... 21 REFERENCES ...... 23 APPENDICES ...... 25 Appendix A ...... 25 Appendix B ...... 25 Appendix C ...... 26 Appendix D ...... 26 Appendix E ...... 27 Appendix F ...... 28

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ABSTRACT

CBC Radio One provides the vital service of informing about the political, artistic, scientific and cultural topics that contribute to citizen engagement and cultural norms. However, the onset of digital media has changed how a majority of Canadians consume media, which has led to a downturn in audience size for many broadcasters. En optant pour une approche à la fois qualitative et quantitative, ce rapport bilingue dresse un portrait des activités – et de l’état de santé global – de CBC Radio One. La programmation, les émissions, les contenus multiplateformes et les interactions avec les auditoires – via les médias sociaux, entre autres – seront analysés de manière critique. This report also explores how CBC Radio One has adapted to the digital era, and more importantly, the next steps it must take to maintain relevance in the coming two decades. The ways in which CBC Radio One has adapted, including the use of podcasting, the development of a mobile application, and the use of social media to encourage audience participation will be presented and analysed. Finally, based on the current situation of CBC Radio One, suggestions for increasing audiences among teenagers, young adults, and middle age demographics, as well as within Canadian institutions will also be provided.

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INTRODUCTION

CBC/Radio- currently operates from 88 radio stations (CBC, 2014) across the country, broadcasting the CBC Radio One and CBC Radio 2 channels, and their equivalent – ICI Première and . CBC Radio 3 is only available online and via satellite radio. For the purpose of this report, only CBC Radio One will be discussed. As part of CBC/Radio-Canada’s mandate, CBC Radio One provides distinctively Canadian programming to national and regional audiences, while serving the special needs of those regions and targeting Canadians from all demographics. However, in light of the recent financial constraints, the CBC has been challenged to prove its relevance in order to increase its budget and to maintain the quality of programming stipulated in its mandate. At the heart of CBC/Radio-Canada’s history, radio broadcasting has suffered from audience declines in recent years, especially on the English- language channels – mainly due to the availability of American content. CBC Radio One, being the English-language radio channel mainly focused on programming, is both the flagship of CBC’s radio content and the platform least prepared for the digital age. This report explores what CBC Radio One is doing, and what it should be doing, in order to be informing, educating, and entertaining Canadians for years to come.

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CBC RADIO ONE, TODAY

The CBC Revenue Group reported on December 12, 2011 that CBC Radio One had “captured a record 9.9 percent share overall in the five markets measured by PPM - , , , and ” – a figure that they deemed exciting enough to consider ‘spectacular’. In a more recent study, they determined that Vancouver’s regional CBC Radio One “is the number one station in the market overall… with a 12.3% share overall” (CBC, 2013). Because of these mildly successful numbers, “the public broadcaster’s French and English radio networks [have remained] ad-free” (Friends of CBC, 2014, p.17). While these audience shares have been enough to keep CBC Radio One ad-free for now, they may not be enough to ensure the channel’s survival over the next two decades. Radio is often criticized for appealing only to older audiences who are loyal to this platform, and CBC Radio One is no exception. Indeed, a 2007 survey by Canadian Media Research Inc. (CMRI) found that 47.4% of regular CBC Radio listeners are between the ages of 55 plus, 36.3% are 35-54, and 16.3% are 18-34. As for occasional and non-listeners, more 18-34 year olds tuned in, but the majority of audience members remained the 35-54 year- olds (See Appendix E). Appendix C shows that AM/FM radio listening is facing a decline in usage. Because of this, it is essential for the CBC to attract younger audiences. In today’s digital age, attracting younger audiences means accessing the networking and interactive potential of the . According to the latest studies by Statistics Canada and Internet Advertising Bureau, the level of Internet advertising revenue has surpassed radio and is approaching TV (See Appendix B). Analysis of CBC Radio’s homepage reveals the level of quality and the effort that CBC has put towards keeping up to date with the technology of new media (See Appendix A). Highlighted in red are links to CBC Radio’s pages on various social media platforms, their newsletter, their

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mobile number and their inventory. This indicates that the CBC understands how vital online forms of their radio programming and audience interaction are to their success. Overall, the website appears professional and of high quality. A 2008 study prepared for the Friends of by CMRI reveals many insightful facts on the audience of CBC radio: “About 4 in 10 Canadians listen to CBC Radio on a monthly basis [22%].” (p. 6). This is the percentage for Canadians that listen to CBC radio occasionally – 10 hours or fewer per month. “19% are regular listeners (more than 10 hours per month). Regular CBC listeners, on average, spend over 55 hours per month with CBC radio” (p.6). The CRMI study (2008) asked respondents to agree or disagree with the statement When I first turn on the radio each day, it is to get caught up with news, weather and other information. The results showed that “over 40% of regular listeners strongly agree with this concept and another one- third agree” (p.16). They also found that “about one-half (49.1%) of non- CBC listeners report local news as a primary reason for listening. Some two-

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thirds of occasional and regular CBC listeners say that local news is a primary reason for listening, basically equal in importance to music” (p.20). Another CBC study discovered that “the CBC Radio One audience wants more comedy (66%), entertainment (61%) and news (58%). Only a minority want more arts (37%), drama (35%), or sports (31%). They are split on the question of popular music, with 46% wanting more and 41% wanting less” (2005, p.14). Possible courses of action in response to these statistics will be discussed shortly.

Podcasting the CBC Radio One Channel have been around since the 1990s, but they became a popular medium when Apple announced that it would be “taking Podcasting mainstream by building everything users needed to discover, subscribe, manage and listen to Podcasts right into iTunes” (Apple, 2005). A 2004 article in The Guardian predicted the endless possibilities that the internet could offer radio broadcasters: “Liberating the listeners from time and place, and allowing them to talk back to the programme-makers is one thing: liberating the programme-makers is even better. You can get away with a lot more on the internet” (Hammersley, 2004). Podcasting has since presented opportunities and challenges for private and public radio, including the CBC; as Hammersley theorized, it is an alternative and flexible medium for radio programs, but there is the threat of the grueling competition that comes along with every media innovation. The CBC Radio podcasts are also available on CastRoller.com, PodBean.com, Stitcher.com, last.fm, and NorthCountryPublicRadio.org. Vinyl Café, , The Current, and Definitely Not The Opera, are some of the thirty- one CBC Radio One programs available as podcasts. According to Menduni, podcasting is the fourth and final phase of radio innovation (all part of a larger scope of Digital Revolution) and is a “means of broadcasting listenership and increasing listeners’ involvement” (Menduni,

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2007, p.9). Listener involvement means allowing the listener to select personalized content at their leisure, thus increasing consumer freedom. A review of the Vinyl Café podcast provides a clear example of consumer response to the flexibility of podcasting: “I’ve been waiting for [Stuart McLean’s] stories to come into podcast form for a long time... Thank you CBC!” (iTunes, ‘yetibuddy’, 2007). This review was given shortly after the first Vinyl Café podcast was released. The CMRI noted, however, that podcasting has received a cooler reception among listeners. Its research found that, “when asked whether podcasting, i.e., downloading of radio programs, was valuable, only 3% of regular CBC listeners strongly agreed; non-listeners were much the same. Only occasional CBC listeners showed some interest in podcasting, and roughly one-half of listeners and non-listeners strongly disagreed that podcasting was valuable” (2008, 12). However, there have been plenty of podcasting heroes to consider as role models for talk radios aspiring to attract young adult audiences. Welcome to Night Vale is a podcast produced by Commonplace Books. The podcast, a series about the fictional town of Night Vale, is presented as a realistic talk radio show, complete with local weather, news, and community concerns. Out of 455 ratings, the average user rated the series 5 stars out of 5 (iTunes, 2014b). Though the CBC has yet to emulate its success, Commonplace Books has shown that teenagers will listen enthusiastically and in large numbers to a radio-style podcast if it is done correctly.

The Mobile App for CBC Radio One Consumers today are adopting more and more devices and services that give them more control over when they access content (See Appendix D). The CBC Radio mobile application is available on iTunes for iPhone or iPad users and also as an android application. The reviews available via iTunes of the Apple version of the product show the average rating out of

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7,534 ratings by customers/users was 3.5 stars out of 5. The most raving review reads: “I have been a fan of CBC Radio for a very long time and was quite confused with how to LISTEN to Radio one and two on my iPhone… I’m glad to see an official app from CBC. I can listen to CBC Radio 3 and various Radio 3 podcasts within the app itself, which I really like! Now I don’t need three different applications JUST to play three different feeds!” (iTunes, ‘guesswhofan’, 2009).

The negative feedback from users largely concerned technological issues. For example, “This app worked for ages on my perfectly good iPhone with ios3; now tries to start and shuts down...Now I’m screwed and can’t go back to the earlier version. Sorry CBC, you lost a listener” (iTunes, ‘Edward Pants, Esq.’, 2012). The review details show that 10 out of 13 customers found this review helpful. Evidently, the advancement of technology has its drawbacks – especially when the majority of your audience members are middle-aged to newly retired people who find it straining to keep up with the constant upgrades and innovations. The diagram below shows the search results for “News radio” apps via the iTunes Store. CBC Radio is the first result. The second result, HiDef Radio, has virtually no customer reviews. TuneIn Radio has plenty. They have a higher customer rating: 4.5 stars out of five. The top reviews are short and sweet, explaining that this app does not provide a single channel but rather a wide variety of channels. This app actually provides a different platform to listen to regular AM/FM radio – a useful tool if you don’t a car or have a standing radio at home or in the

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workplace. A second search for “Talk radio” reveals mostly the same competition with the addition of Bell Media Talk Radio. Bell Media Talk Radio is a product of Astral Media, and has an average rating of 2.5 stars out of 5 from a total of 30 ratings, thus indicating that this app is not very popular. The rest of the results are other platforms to access conventional AM/FM stations (iTunes, 2014a). Generally speaking, the mobile app for CBC Radio One has been a good stepping stone into garnering larger listenership for CBC talk radio. The technology may need some fine-tuning, but based on the positive reviews and the lack of strong, direct competition, the CBC Radio App holds plenty of potential.

Engaging with Audiences, Attracting New Listeners The use of social media to interact with customers, sponsors, communities, and just about anyone has proliferated the world of business since the mid 2000’s. The CBC first tested the social media waters in November of 2007 on both Twitter and Facebook. They created an English Twitter account for CBC Radio on November 2008. This account has attracted 64.7 thousand followers. It posts roughly every half hour, responds to its fans, retweets their tweets and announces program features and contests (@cbcradio, 2014). CBC Radio One programs also maintain their own accounts, which carry out the same roles. CBC Radio’s Facebook account has 46,510 likes. Each Radio One program also has its own Facebook page. CBC Radio: The Current joined Facebook April 9, 2010, and has, as of June 6th, 20,719 likes. Other popular programs are on CBC Radio with 9,696 likes, Q on CBC Radio with 30,697 likes and Vinyl Café with 41,662 likes. On The Current, invites her listeners to ask questions or leave comments about the topic at hand via social media. The words are displayed almost exactly as she says them on the Checking-In

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compilation of the most recent stories talked about of the week: “Have thoughts on any of these stories you'd like to share? Tweet us @thecurrentcbc. Or e-mail us through our website. Find us on Facebook... And as always, if you missed anything on The Current, grab a podcast” (CBC The Current, 2014). These practices show that the CBC is well aware that their presence on social media is mandatory. Though its activities leave room for improvement, CBC Radio One has moved in the right direction with their involvement on social media. It has improved listener interactivity, increased accessibility, and encouraged audience participation, but its strategies have not yet increased audience size.

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CBC RADIO ONE, TOMORROW

With the current level of success of the CBC in adapting to today’s challenges in mind, the following proposals will attempt to address their shortcomings with specific policies to engage future audiences, to draw the attention of young adults, to maintain older audiences and to reinforce listenership via institutional practices.

Tomorrow’s Audience: Millennials As mentioned above, young people are a minority in the radio audience. Bélanger and Manchester (2013) note that this already small audience share dropped markedly between 2006 and 2011. As they transition to music-streaming services, teenagers are less likely than ever to make a habit out of talk radio programming. But what has CBC Radio One done to draw in young audiences? Increasing accessibility to programming will change nothing if the content being accessed does not reflect the needs and interests of its audience. As a solution, we propose that CBC Radio One offer a program that specifically targets Canadians between the ages of 12 and 19: the Millennial generation. Format. In order to reach out to – and form habits in – this demographic, certain scheduling requirement are necessary. First, the program should take place a minimum of three times per week, preferably with a Monday through Friday lineup similar to Ideas, in order to create and reinforce listening habits. Second, in order to capture the preferred demographic while minimally infringing upon adult peak audience times, the program should be aired between 4:00 and 4:30pm; as such, it will play at the same time as teenagers are heading home from school. Perhaps most importantly, the program will need to be podcasted in the most natural way possible, so that the experience of listening to the podcast will be identical to listening to the program via analog radio. This can be achieved by pre-recording the program, such that the podcast will be

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downloaded on subscribers’ tablets and smartphones at the same moment it begins to play over the radio. There should be no special emphasis on the fact that they are listening to a podcast version of the episode; the audience is already aware of the platform, and has no reason to be reminded. At the end of each episode, podcast and analogue alike, the host should also make a subtle and quick mention of an interesting program taking place later in the day or week. For example, the host could mention that any dinosaur lovers should tune in to the next episode of Quirks & Quarks, as they would be discussing a fossil discovery, or that readers who love a particular book might enjoy its discussion on the next episode of The Next Chapter. The goal in this, of course, is to encourage young listeners to discover other programs that may interest them, and to grow audiences across all programs. It should go without saying that a cornerstone of a youth-targeting program should be a very strong social media presence, across multiple platforms. At the very least, the program should be active on Facebook, Twitter, YouTube and Instagram, but as digital trends change the program’s social media habits should closely follow. Tone. Though the programming targets and is designed for teenagers, the tone should be smart and witty enough that adults can equally enjoy it. Under no circumstances should the show ever ‘talk down’ to its audiences; only by respecting and encouraging the capacities of its audience can CBC Radio One inform and educate youth as well as entertaining them. Additionally, in order to keep a relatable feel to the program, the host(s) should be and sound young. The radio is full of voices like their parents and grandparents; giving youth a host in their twenties will feel authentic while also providing some sentiment of authority and ‘coolness’. The program Instagram account should provide ‘behind-the scenes’ shots of the hosts having fun in the studio and being silly with guests they interview.

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Their personalities should also be conveyed by their topical postings on Twitter and Facebook posts. The program should also move at a fast pace to keep listeners active, and should maintain a style of dry wit, as can be found in popular American non-fictional television, such as The Colbert Report and The Daily Show. Content. As an introduction to the selling points of CBC Radio One, it is important to give a variety of content-types; the program should include - with some stipulations - interviews, news and music. Interviews should be kept under five minutes, and should only include very topical and engaging guests. For example, Commander could tell a story about his experience on the International Space Station on the same day that an important news item features outer space, or when the upcoming HBO production of ’s Maddaddam airs, she could discuss her inspiration for the book. Current events should also be given at a brisk pace, but here the emphasis should be on humour and should avoid a ‘news report’ tone while explaining issues. Again, the show should seek to borrow from the styles of The Colbert Report and The Daily Show, with more bite than the Report, and more explanation than This Hour Has 22 Minutes. Music, by comparison, should focus on showing young Canadians to young Canadians. We propose that the program do this by highlighting the talent of small-time Canadian bands in which all members are under twenty years old. The show could play one song, give some backstory on the band, and then provide directions to exploring more of their music online via YouTube, SoundCloud, Bandcamp and similar platforms. These links should also be shared and promoted across social media platforms. This segment will be doubly useful, addressing the goals of offering exclusive, relatable content and of encouraging peer-to-peer marketing of the program by young

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musicians who are being featured or who are hoping to be featured in the future. Similar goals would be accomplished by the additional content included in every episode: the inclusion of interactive challenges posed to listeners. As Gazi et al explain, “socialization of technology… gives the individual an unprecedented role insofar as participation in the process of creating and handling content” (2011, p.64) and this role must be recognized and celebrated to earn the respect of Millennials. More effort-laden competitions could offer small prizes, and smaller challenges could simply offer to promote entries via social media. Examples of these challenges might be to have listeners tweet a haiku about a topic discussed in an interview, or to submit a lip synch video of a Canadian song. All entries would be shared and retweeted by the program account, and when appropriate for the format, winning entries could also be played or read out on air.

Fishing for Generation Y Unlike the Millennial age group, Generation Y will not be drawn in by targeted programming, though their use of radio is dropping at a similar rate. This is for two reasons: the first is that launching a program to draw Millennial listeners and Generation Y listeners at the same time would be distasteful to Generation Y, which loves to differentiate itself from Millennials, but the second, and more important reason is the content already on air is perfectly applicable to Generation Y needs. 20 to 35 year olds, as adults, should respond to CBC Radio One as well as adults ten years their senior, but the data from the 2008 CRMI study mentioned above shows that they do not. The problem, then, is not content but format and habit. To address the former, CBC Radio One must make tangible improvements to their app and podcasting technology. For the latter, a market re-positioning campaign should draw new audiences in the 20 to 35 demographic, and a

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strong social media presence to integrate CBC Radio One into the Generation Y daily routine. Format. As mentioned above, podcasting remains awkward compared to analogue radio. No one needs to be told they are listening to a podcast, and that the CBC does so reminds listeners bluntly that the program is supposed to be over the radio. This does not create a welcoming atmosphere to the new audience member, especially for an age group that does everything over the internet. More pressing is the issue of the CBC Radio App. While it is technically functional, the app is messy, counterintuitive, and not at all user-friendly. By viewing the screenshot in Appendix J, one can see that CBC ads are covering their own content, and that while the content almost fits on one screen, the user cannot quite see the entire layout at once. It also appears to scroll horizontally, as it cuts off images at the edge of the screen, but in fact only scrolls vertically. These issues are irritating to the young user and confusing to the older user, but also easily corrected by re-arranging the layout on the page. A larger project, which makes an equally important impact on user experience, is to instill a degree of personalization. At present, there is no reflection of users’ habits in the app’s presentation. A user should be able to choose regions of interest and favourite shows, and thereafter be greeted with these options; personalization of content is, after all, one of the major advantages of digital media. To encourage habitual use, an app’s layout must be habit-forming. Habit. But of course, one must convince a potential audience to try a media before they can become habitual users. To this end we propose an advertising campaign focused on a market re-positioning of CBC Radio One. Central messaging in the campaign would be to portray radio as something timeless but trendy, a classic pastime suitable for the young and cool.

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To encourage thorough social media penetration, the use of humour and hipster visuals is appropriate. For example, the juxtaposition of enduring, traditional objects (Greek statues, phonographs, pocket watches, antique radio sets) with sleek, modern contexts (on an airplane, in a nightclub, through the lens of Google Glass) can be used to create humour and nostalgic interests, followed by a tagline such as “Made in the past. Perfected for the future”, suggesting that the older media need not be replaced by new media, but rather complemented by it. Finally, a widespread social presence is essential to integrating a media into the life of a tech-savvy Generation Y Canadian. To some extent this is already underway, but a greater degree of interactivity, encouraging users to create, control and propagate content would coax a genuine identity, personality and sense of human interest from the mere stiff formality of a company using social media because they’re supposed to. In real terms, this means sharing user-submitted content, encouraging feedback that affects programming and content, and creating social media exclusive content.

Strengthening Market-Share among the Middle-aged La génération X – les adultes de 35 à 50 ans – constitue une portion importante de l’auditoire de CBC Radio One. Il est donc primordial de miser sur ce groupe en créant avec lui des liens durables. La fidélisation de cet auditoire est un aspect non négligeable des efforts stratégiques recommandés pour les années à venir. Convivialité, accessibilité et objectivité sont toutes des facettes à exploiter – certaines davantage – afin d’atteindre les objectifs souhaités et de maintenir le rendement voulu. Passage au numérique. D’abord, précisons que ce segment de l’auditoire est considérablement orienté vers l’écoute de CBC Radio One via la diffusion AM/FM – la radio traditionnelle. Cette distinction est en grande partie attribuable au fait que les adultes de la génération X ne sont

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généralement pas aussi familiers que les générations plus jeunes avec l’utilisation des plateformes de diffusion numériques : baladodiffusion, application mobile, etc. Afin d’amener les auditeurs à adopter ces plateformes, elles se doivent d’être extrêmement conviviales et accessibles : leur utilisation doit être des plus simple et intuitive possible. Plus l’écoute de CBC Radio One est facile, plus l’auditoire aura tendance à être au rendez- vous, toutes plateformes confondues. Cependant, tel que mentionné précédemment, l’application mobile actuellement proposée par CBC Radio One n’est pas conviviale. La baladodiffusion présente également des lacunes. Le fait d’amener les 35-50 ans à consommer CBC Radio One via de nouvelles plateformes aura comme effet d’assurer leur présence de manière plus sûre, pour les années à venir. En effet, la loyauté de ce groupe est susceptible de s’effriter dans le cas d’une migration plus drastique vers la diffusion numérique. Nous constatons d’ailleurs que plusieurs sont prêts à faire une transition – complète ou partielle – vers l’écoute numérique. Toutefois, le manque d’encadrement, de même que le fait que cette façon de consommer la radio soit clairement étiquetée à l’intention des jeunes, nuit à cette migration. Afin d’atteindre cet objectif, nous proposons comme stratégie d’élaborer des tutoriels – sous forme de courtes capsules vidéos, ou encore d’infographies – portant sur l’utilisation de la baladodiffusion et de l’application mobile de CBC Radio One. Ces outils constitueraient un accompagnement pas-à-pas vers les nouvelles plateformes. Cette approche s’inscrit évidemment dans l’optique plus large d’une campagne de repositionnement auprès des 35-50 ans : une campagne basée sur l’idée que la radio évolue, mais conserve les assises qui lui confèrent sa notoriété – tout comme la génération X évolue – prudemment – au fil des tendances. Faire référence aux plateformes numériques en onde – pendant les émissions diffusées sur les ondes AM/FM – est également une stratégie

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proposée. Nous pouvons déjà constater que cette pratique est en place dans certains contextes, mais d’étendre l’approche à l’ensemble des émissions ne pourra que s’avérer bénéfique. Positionnement. La génération X souhaite établir une relation de confiance avec les médias qu’elle consomme. Pour se faire, les médias qui souhaitent exploiter ce segment se doivent de mettre en œuvre des stratégies visant à mieux joindre et fidéliser l’auditoire voulu. La grille horaire actuellement proposée par CBC Radio One convient bien, de façon générale, à un auditoire âgé entre 35 et 50 ans. Nul besoin d’élaborer une refonte de celle-ci pour attirer ce groupe démographique. Ainsi, le positionnement se joue sur une autre facette du diffuseur. Nous proposons l’adoption d’un positionnement plus humain – plus vrai – par CBC Radio One, de sorte que les auditeurs appartement à la génération X soient davantage enclins à être au rendez-vous. Cette stratégie comporte divers aspects. D’abord, il est primordial de s’assurer que les contenus présentés sont objectifs et justes, particulièrement au niveau de l’information et des commentaires. L’équilibre entre les diverses opinions proposées est d’autant plus important, surtout au niveau politique. Évidemment, il s’agit déjà d’une pratique courante, mais de mettre le tout en évidence aura un impact positif. Puis, une campagne publicitaire ayant comme idée centrale un slogan du style « Your Radio One » contribuera à faire du diffuseur une entité avec laquelle les 35-50 ans seront plus familiers. En sommes, l’établissement d’une relation durable avec la génération X sera davantage possible, d’une part, si on leur permet d’évoluer avec le diffuseur – d’où la nécessité de l’accompagnement vers le numérique – et d’autre part, si l’on s’assure que l’image véhiculée par le diffuseur concorde avec les intérêts de l’auditoire.

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Favouring CBC Radio One in Institutional Settings La quatrième et dernière recommandation à l’intention de CBC Radio One est de s’assurer que sa présence dans les milieux institutionnels soit favorisée. Nous entendons par là l’intégration de certains éléments de la programmation, de contenus complémentaires ou d’extraits d’émissions dans des environnements propices au développement d’une habitude de consommation médiatique. Nous incluons dans cette stratégie les milieux scolaires, les environnements de travail, les lieux communautaires, etc. Une telle pratique permettrait une plus grande visibilité pour CBC Radio One – une visibilité différente, audacieuse. Valeur pédagogique. Des émissions comme Ideas, traitant notamment d’enjeux sociaux, peuvent très bien servir de complément à certains cours offerts dans les écoles secondaires. En fait, plusieurs contenus de CBC Radio One peuvent servir de compléments à certaines matières enseignées, tant à l’élémentaire qu’au secondaire. La promotion de cette valeur pédagogique que possède déjà le diffuseur est susceptible d’amener une nouvelle gamme d’auditeurs à consommer certains contenus – que ce soit en direct, en ligne ou sur une plateforme mobile. De plus, la présence du diffuseur dans de tels milieux contribuerait grandement à faire de CBC Radio One un réflex - une habitude - auprès de tous les groupes d’âge. Partenariats. L’idée d’inclure des éléments de programmation de CBC Radio One dans certains milieux est en partie inspirée de ce que le Groupe Média TFO – diffuseur public franco-ontarien – a mis en œuvre récemment. En effet, la nouvelle offre de ce diffuseur consiste en une gamme de contenus multiplateformes – dont des applications mobiles – regroupés sous le sigle TFO Éducation (Groupe Média TFO, 2014). Ce groupe a établi des partenariats à la fois avec d’autres entités médiatiques et des institutions scolaires.

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Nous proposons à CBC Radio One de s’inspirer de ce modèle – qui semble très bien fonctionner jusqu’à présent – afin, d’une part, de faciliter la mise en œuvre du projet et, d’autre part, de pouvoir joindre un plus grand bassin d’auditeurs potentiels, via divers milieux, tel que mentionnés précédemment. Omniprésence. L’idée d’intégrer CBC Radio One à certains milieux peut également s’étendre vers un aspect plus communautaire. Nous entendons par là l’implication concrète du diffuseur dans des activités au sein des communautés, partout au pays. Que ce soit par l’entremise de partenariat, de parrainage, ou simplement par la présence de représentants d’une station de CBC Radio One lors d’événements publics – festivals, compétitions sportives, etc. – cette stratégique offre une vitrine intéressante pour tisser des liens avec le public et mettre en valeur la programmation. Cela permet également d’impliquer les communautés, dans une optique de représentativité des différents milieux à travers le pays. En sommes, miser sur la présence de CBC Radio One dans une multitude de milieux, et à diverses fins, aura comme impact de faire découvrir le diffuseur à de nouveaux auditoires, de mettre en valeur ses contenus et, conséquemment, de créer un réflexe – une habitude – de consommation.

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CONCLUSION

En sommes, après une analyse de l’environnement – écosystème médiatique – dans lequel évolue CBC Radio One, nous croyons que le diffuseur se verrait avantagé d’adopter les stratégies proposées dans ce rapport. Cela lui permettrait de développer de nouveaux segments, de conserver les auditoires actuels et d’assurer sa viabilité à long terme. En premier lieu, dans l’objectif d’assurer la continuité de l’auditoire, il est primordial que fidéliser la génération Millenium. Pour ce faire, nous proposons à CBC Radio One d’élaborer une grille horaire adaptée, d’adopter un ton vif et intelligent en ondes, d’offrir des contenus variés et de penser un positionnement authentique, qui saura plaire aux jeunes. En second lieu, afin de mieux joindre les jeunes adultes, soit la génération Y, il est important d’offrir des outils numériques conviviaux, permettant la consommation des contenus de manière agréable, faisant de l’expérience de l’auditeur une des plus mémorables. Un positionnement dynamique, vibrant, est également partie prenante de la stratégie pour mieux combler les besoins de la génération Y. Ensuite, la génération X étant le segment le plus important, à l’heure actuelle, pour CBC Radio One, il est de mise d’établir une relation durable avec elle. Pour se faire, le diffuseur se doit de faciliter la consommation de ses contenus via l’ensemble de ses plateformes – la génération X étant moins familière avec les outils numériques. Un positionnement objectif est aussi une caractéristique à considérer dans l’approche globale d’une offre durable pour les 35-50 ans. Finalement, il est essentiel de faire de l’écoute de CBC Radio One un réflexe – une habitude – auprès du plus grand nombre de personnes possible. Afin d’accomplir cet objectif et de développer un lien durable avec les auditoires, le diffuseur devra songer à un positionnement pédagogique – mettre en évidence la valeur ajoutée de son offre. Cela sera possible en

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partie grâce à une présence communautaire, de même que dans les environnements scolaires et les lieux de travail. Bref, de penser une approche plus dynamique, plus conviviale et qui répond aux attentes d’un plus grand nombre de Canadiens, provenant d’une large gamme de régions et de segments démographiques, sera non seulement bénéfique pour le diffuseur, mais également pour les auditoires, qui seront mieux servis, de diverses façons, par leur CBC Radio One.

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REFERENCES

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APPENDICES

Appendix A

Appendix B

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Appendix C

Appendix D

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Appendix E

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Appendix F

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