August 2010 BBC Iplayer Press Pack

Total Page:16

File Type:pdf, Size:1020Kb

August 2010 BBC Iplayer Press Pack 1 Monthly Performance Pack August 2010 Sheryl Holland, Publicist, BBC iPlayer BBC Marketing, Communications & Audiences T. 020 8008 5294 | M. 07912 583654 | E. [email protected] Please refer to slide 6 for guide footnotes. 2 Monthly summary – August 2010 • In total the BBC iPlayer received 119 million requests for programmes across all platforms in August 2010, including both online platforms and devices and BBC iPlayer on Virgin Media TV. Requests are much higher than August 2009 with 70 million requests for TV programmes and 28 million for radio programmes, whilst requests on Virgin Media were up to 21 million. • BBC iPlayer’s most-requested title in August was Top Gear, with episode 6 attracting over 1 million requests. Sherlock and documentary Madness In The Fast Lane also delivered strongly, as did the BBC Three Adult Season. For radio, Fry’s English Delight attracted the most requests, followed by sport coverage. • Live TV viewing via the BBC iPlayer dropped back again this month to the level seen before the start of the World Cup. Consistent with previous months: • The profile of BBC iPlayer users is evening out over time in terms of male/female ratio, but remains strongly under-55 in terms of age, which is younger than the typical TV viewer or radio listener’s profile. • On-demand makes up the great majority of TV programme requests (in August, 8% of requests were for live simulcast streams), however about 69% of requests for radio streams are for live programmes, as opposed to on-demand catch-up listening. • BBC iPlayer is used for TV at roughly the same time of day as linear TV viewing, although there is proportionally more daytime and late-peak use. For radio, BBC iPlayer is used far more in daytime than traditional radio listening, which peaks at breakfast-time. Please refer to slide 6 for guide footnotes. 3 Index Page Overview for BBC iPlayer across all platforms 4 Monthly requests 7 Average daily requests 8 Average daily users 9 Weekly requests 10 Weekly users 11 Minutes per user per week 12 Top TV programmes 13 Top radio programmes 14 Live vs on-demand 15 Use of BBC iPlayer for TV by time of day 16 Use of BBC iPlayer for radio by time of day 17 Profile of BBC iPlayer users 18 Glossary 19 Please refer to slide 6 for guide footnotes. 4 Total monthly BBC iPlayer requests across all platforms Includes Virgin Media In total the BBC iPlayer increased to 119 million requests for programmes across all platforms in August 2010, including both online platforms and devices and BBC iPlayer on Virgin Media TV. Virgin Media BBC iPlayer TV requests 130 123 Online BBC iPlayer TV requests 120 118 119 114 116 117 114 20.2 107 19.6 Online BBC iPlayer radio requests 19.8 17.8 17.3 16.7 20.5 97 20.8 19.0 18.5 87 85 87 81 78 76 76 18.1 69 16.7 15.8 16.3 62 14.8 16.2 77.0 15.3 14.8 68.2 67.0 73.4 68.7 69.6 70.1 14.1 59.6 65.2 67.9 14.7 53.2 44.9 44.5 36.7 39.1 43.3 37.2 36.5 36.0 30.8 29.3 32.3 29.9 33.3 30.4 32.7 30.6 26.8 23.6 25.4 24.7 25.7 25.5 26.5 26.1 28.2 27.3 28.1 16.1 18.4 Millions of requests of Millions Jul Jul Apr Jun Apr Jun Feb Mar Oct Feb Mar Aug Nov Dec Aug May May Sept Jan Jan 09 Jan 10 Please refer to slide 6 for guide footnotes. There were measurement problems on 10-11 June which resulted in overcounting on these days. 5 Requests for programmes by device type Includes Virgin Media August saw the number of BBC iPlayer requests for programmes by platform/device grow on platforms except mobile devices, which were stable. Number of requests % of requests (millions) 130 123 120 118 117 118 114 116 15% 15% 14% 20 113 19% 19% 19% 18% 17% 18% 16% 16% 16% 17% 17% 107 20 20 17 18 17 21 1% 1% 3% 4% 4% 97 21 5 19 Other devices 5% 4% 4% 5% 4% 4% 4% 5% 5% 19 5 87 87 6 5 5 85 5 6 18 5 5 4 Virgin Media 17 16 4 16 Wii 1 1 4 PS3 74% 75% 74% 95 71% 73% 75% 73% 75% 72% 73% 70% 70% 88 86 75% 76% 91 85 89 80 83 73 81 85 Computers 64 62 62 Mobile devices TOTAL 7 7 7 6% 6% 6% 6% 6% 5 5 5 5 3 5 5 6 6 5% 5% 3% 1% 1% 4% 4% 5% 5% Jul Jul Oct Jun Apr Oct Jun Apr Nov Mar Aug Feb Aug Nov Mar Sep Dec May Aug Feb Aug Sep Dec May Jul09 Jul09 Jan 10 Jan Jan 10 Jan Virgin Media data arrives later than online stats, therefore the remainder of this report is only for the online BBC iPlayer, available via computer / mobile / games consoles. NB: iPhone data missing over 10 Nov–02 Feb, and Wii stats missing over 22-31 March, due to technical problems Please refer to slide 6 for guide footnotes. 6 Notes on figures in this report These notes apply to pages 4 to 17 in this pack and should be included as footnotes as relevant when quoting any of these figures. A glossary is on page 19. • This data is collected via a BBC internal data warehouse (BBC iStats). The methodology adheres to industry standard guidelines as defined by JICWEBs and ABCe, with the exception that the BBC data is based on a 25% sample of users and not 100%. The BBC are working towards 100% sample over the coming months • In 2009 the BBC refined its methodology for measuring AV requests, so figures for 2007/8 are not comparable. There may be further changes in the data in future releases as we continue to refine the methodology • Please quote the source of these figures as “BBC iStats” • Unless specified otherwise, figures include requests for both on-demand catch-up (streams and downloads), or views of live simulcasts • We cannot report download playback due to data privacy restrictions • All data is for the UK only and excludes listening outside the UK • January 09 data excludes 1-4 January 09 since changes were made to the measurement system on 5 January • This data includes requests via the BBC iPlayer on any BBC website – whether on a programme, channel or station page, via the pop-out console, or on the BBC iPlayer website itself • None of this data following is for the BBC iPlayer on Virgin Media’s TV service - all is for the online BBC iPlayer, available via computer / mobile / games consoles • This report does not include requests for web-only content (such as online news or sport coverage) – only requests for full-length programmes which have been transmitted on a TV channel or radio station Please refer to slide 6 for guide footnotes. 7 Monthly BBC iPlayer online requests There were a total of 98.1m requests to the online BBC iPlayer in August 2010; 70.1m for TV programmes, and 28.1m for Radio content. 120 110 Radio Requests 104 101 101 99 100 98 95 100 TV Requests 93 89 32.7 . 30.4 79 32.3 29.9 33.8 30.6 28.1 80 27.3 71 71 28.2 69 29.3 63 65 61 61 26.1 60 54 25.7 25.5 26.5 47 25.4 26.8 23.6 24.7 18.4 40 16.1 77.0 73.4 70.1 65.2 68.2 68.7 67.4 69.6 67.9 Monthly Requests (millions) 59.6 53.2 44.9 43.3 44.5 20 36.0 36.7 37.1 39.1 36.5 30.8 0 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug 09 10 Please refer to slide 6 for guide footnotes. 8 Average daily BBC iPlayer requests During August 2010 there were 3.2m requests per day on average – 0.9 million per day for radio programmes and 2.3 million for TV programmes. 4 Radio Requests 3.5 3.5 3.5 3.3 3.2 3.2 3.2 TV Requests 3.1 . 3.0 2.9 3 1.1 1.1 1.0 2.6 1.1 1.0 0.9 1.0 0.9 2.4 1.0 0.9 2.3 2.2 2.1 2.0 2.1 2.0 1.9 0.8 2 1.7 0.9 0.8 0.8 0.7 0.9 0.8 0.8 0.8 0.6 2.5 2.4 2.5 2.2 2.2 2.3 2.2 2.3 1 2.0 2.1 Average Daily Requests (millions) 1.7 1.5 1.4 1.5 1.1 1.3 1.2 1.2 1.3 1.2 0 Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug 09 10 Please refer to slide 6 for guide footnotes. 9 Average daily BBC iPlayer users August 2010 saw an average of 1.2 million users per day, with 0.9m for TV content, 0.28m for radio content and 0.05m using both.
Recommended publications
  • An Analysis of Hegemonic Social Structures in "Friends"
    "I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season.
    [Show full text]
  • My Journal: All About Me and My Family
    MY JOURNAL: ALL ABOUT ME AND MY FAMILY Today’s Date_____________ My Full Name is_________________________________________. I was born in _____________________on the day _____________________in the year ________. My Name Was Chosen For Me Because _______________________________________________. I was named after _________________________________________________________________. I sometimes go by the nickname ______________________because________________________. My eyes are which color? ____________________. My hair is which color? _______________. I look a lot like____________________________________________________________________. I go to _______________________________ School. I am in _________________ grade. When I’m grown up, I would like to be_________________________________________________. My favorite ancestor is _____________________________________________________________. I like this ancestor because __________________________________________________________. I am good at doing these things (talents) ______________________________________________________. My favorites: Friends Food Books Music Subject in school Family History Interview Ideas Name:_______________________________________ Today’s Date:_______________________ When person was born:__________________ Where born:______________________________ When married:_________________________ Where married____________________________ – What do you remember about the first house you lived in and how long did you live there? – Tell me a story about your favorite memory. – Talk to your family about an ancestor who left their native country. Why did they leave? Did they want to be able to go to a church of their choice? Did they follow other family members there? Why did they feel it was important to leave their native country? – What are some of your talents and things you like to do? – Tell me about your family and what it was like growing up? – What did you like best about school? – What kind of games did you play? – Tell me about a day in your life when you were my age.
    [Show full text]
  • The Norman Conquest: the Style and Legacy of All in the Family
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boston University Institutional Repository (OpenBU) Boston University OpenBU http://open.bu.edu Theses & Dissertations Boston University Theses & Dissertations 2016 The Norman conquest: the style and legacy of All in the Family https://hdl.handle.net/2144/17119 Boston University BOSTON UNIVERSITY COLLEGE OF COMMUNICATION Thesis THE NORMAN CONQUEST: THE STYLE AND LEGACY OF ALL IN THE FAMILY by BAILEY FRANCES LIZOTTE B.A., Emerson College, 2013 Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts 2016 © 2016 by BAILEY FRANCES LIZOTTE All rights reserved Approved by First Reader ___________________________________________________ Deborah L. Jaramillo, Ph.D. Assistant Professor of Film and Television Second Reader ___________________________________________________ Michael Loman Professor of Television DEDICATION This thesis is dedicated to Jean Lizotte, Nicholas Clark, and Alvin Delpino. iv ACKNOWLEDGMENTS First, I’m exceedingly thankful for the guidance and patience of my thesis advisor, Dr. Deborah Jaramillo, whose investment and dedication to this project allowed me to explore a topic close to my heart. I am also grateful for the guidance of my second reader, Michael Loman, whose professional experience and insight proved invaluable to my work. Additionally, I am indebted to all of the professors in the Film and Television Studies program who have facilitated my growth as a viewer and a scholar, especially Ray Carney, Charles Warren, Roy Grundmann, and John Bernstein. Thank you to David Kociemba, whose advice and encouragement has been greatly appreciated throughout this entire process. A special thank you to my fellow graduate students, especially Sarah Crane, Dani Franco, Jess Lajoie, Victoria Quamme, and Sophie Summergrad.
    [Show full text]
  • Turn Back Time: the Family
    TURN BACK TIME: THE FAMILY In October 2011, my lovely wife, Naomi, responded to an advert from TV production company Wall to Wall. Their assistant producer, Caroline Miller, was looking for families willing to take part in a living history programme. They wanted families who were willing to live through five decades of British history. At the same time, they wanted to retrace the history of those families to understand what their predecessors would have been doing during each decade. Well, as you may have already guessed, Wall to Wall selected the Goldings as one of the five families to appear in the programme. Shown on BBC1 at 9pm from Tuesday 26th June 2012, we were honoured and privileged to film three of the five episodes. As the middle class family in the Edwardian, inter war and 1940s periods, we quite literally had the most amazing experience of our lives. This page of my blog is to share our experiences in more detail – from selection, to the return to normal life! I have done this in parts, starting with ‘the selection process’ and ending with the experience of another family. Much of what you will read was not shown on TV, and may answer some of your questions (those of you who watched it!!). I hope you enjoy reading our story. Of course, your comments are very welcome. PART 1 – THE SELECTION PROCESS I will never forget the moment when I got home from work to be told by Naomi that she had just applied for us to be part of a TV programme.
    [Show full text]
  • Catherine Bailey Photo: Brandon Bishop
    Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Catherine Bailey Photo: Brandon Bishop Appearing on BBC iplayer as Miss Gale in "Malory Towers". Recently filmed "Grace" (ITV) and "Whitstable Pearl" (Acorn/Buccaneer). Greater London, England, United Other: Equity Location: Kingdom Eye Colour: Brown Height: 5'8" (172cm) Hair Colour: Light/Mid Brown Playing Age: 31 - 40 years Hair Length: Mid Length Television 2020, Television, Francine, Grace, ITV, John Alexander 2020, Television, Fi Marston, Whitstable, Acorn TV / Buccaneer, David Caffrey 2019, Television, Miss Gale, Malory Towers, King Bert Productions, Rebecca Ryecroft 2018, Television, Lady Elizabeth Cavendish, The Crown (season 2), Left Bank Pictures, Stephen Daldry and Benjamin Caron 2017, Television, Louisa Hooper, Hetty Feather, BBC, Sallie Aprahamian 2017, Television, Jess, Strike: The Silkworm Part 1, BBC & HBO, Kieron Hawkes 2016, Television, Nina, Mr Selfridge 4, ITV, Joss Agnew 2015, Television, Olivia Hamilton, And Then There Were None, Mammoth Screen for BBC 1, Craig Viveiros 2013, Television, Sammy Jo Rinsler, Doctors, BBC, Emma Sullivan 2013, Television, Stephanie Weston, Midsomer Murders: Wild Harvest, Bentley Productions, Renny Rye 2012, Television, Esther Robinson (Series Reg), House of Anubis, Nickelodeon/Lime, Tim Hopewell/Tom Poole 2011, Television, Miss Wyckham, The Sarah Jane Adventures, DW Productions Ltd, Joss Agnew 2010, Television, DS Karen Roberts (2 Eps), Holby City, BBC, Chris King 2009, Television,
    [Show full text]
  • Constructing the Public Memory of Arthur Ashe Kristen Norton
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 I Am a Citizen of the World: Constructing the Public Memory of Arthur Ashe Kristen Norton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES I AM A CITIZEN OF THE WORLD: CONSTRUCTING THE PUBLIC MEMORY OF ARTHUR ASHE By KRISTEN NORTON A Thesis submitted to the Department of History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2010 The members of the committee approve the thesis of Kristen Norton defended on April 1, 2010. ________________________________________ Jennifer Koslow Professor Directing Thesis ________________________________________ Andrew Frank Committee Member ________________________________________ James Jones Committee Member The Graduate School has verified and approved the above-named committee members. ii For my madre and padre… iii ACKNOWLEDGMENTS This thesis was by no means a one-person job. I am indebted to so many wonderful people for their help, assistance, and support. First, I would like to acknowledge my family, who has always believed in me. Without their love and encouragement, and at times even their willingness to sit and listen to me vent, this thesis would never have materialized. My parents, who love me thesis grump mood or not, have always supported me. To them I owe so much (including all the money it took to pay for the research trips required to complete this thesis!). And my ―couster,‖ Kelley, deserves special notice as well.
    [Show full text]
  • Javone Prince Actor · Male
    Javone Prince Actor · Male TELEVISION PRODUCTION (ROLE) COMPANY PROJECT DETAILS DEATH IN PARADISE Red Planet Pictures/BBC1 Dir. Ian Barber HORRIBLE HISTORIES Lion Television Prod. Lisa Mitchell SLICED Dave Dir. Al Campbell THE QUEEN AND I Little Bert Ltd. Dir. Dan Zeff THE DUMPING GROUND CBBC Dir. Dave Beauchamp STILL OPEN ALL HOURS BBC One Dir. Dewi Humphreys STICKY BBC Three Dir. Ed Tracy FIND ME IN PARIS Cottonwood Media Dir. Matt Bloom / Randall Thorne MURDER ON THE BLACKPOOL EXPRESS UKTV Dir. Simon Delaney ZAPPED! Baby Cow for UKTV Dir. Dave Lambert DRUNK HISTORY Comedy Central Dir. Tom McKay INSIDE NO. 9 BBC Two Dir. Guillem Morales A MIDSUMMER NIGHT'S DREAM BBC One Dir. David Kerr I WANT MY WIFE BACK Main Street Pictures Dir. Paul Norton Walker FLAT TV BBC Three Dir. Nick Collett THE JAVONE PRINCE SHOW BBC Two Dir. Phil Bowker HANK ZIPZER (Series 2 & 3) CBBC Dir. Various INDEPENDENT TALENT GROUP LTD 40 WHITFIELD STREET LONDON W1T 2RH TEL: +44 (0)20 7636 6565 FAX: +44 (0)20 7323 0101 REGISTERED IN ENGLAND NUMBER 4338525 EMPLOYMENT AGENCY, REGISTERED OFFICE 40 WHITFIELD STREET LONDON W1T 2RH FOOD OF LOVE (Pilot) Channel X Dir. Matt Tiller BABYLON Fox/Channel 4 Dir. Danny Boyle THE JAVONE PRINCE SHOW (Pilot) BBC Two Dir. Phil Bowker OUTNUMBERED Hat Trick Productions Dir. Andy Hamilton / Guy Jenkin TITTLE TATTLE Bwark Dir. James Griffiths QUICK CUTS BBC Four Dir. Natalie Bailey PHONESHOP (Series 1, 2 & 3) Retort Dir. Phil Bowker PLEBS Rise Films Dir. Sam Leifer VERBATIM BBC Dir. Alecky Blythe / Fatima Salaria LIFE'S TOO SHORT BBC Two Dir.
    [Show full text]
  • What My Family Should Know
    What My Family Should Know A GUIDE FOR GETTING YOUR AFFAIRS IN ORDER Name: Date Completed: 1 Foreword We cannot stress too often the importance of getting your personal affairs in order. This process is important for everyone, but even more important for those who often find themselves living away from family and friends. Throughout your life, you have tried to protect your loved ones and now you have a chance to help them at a time when they will need that help the most. Taking the time to plan now and record information for your loved ones will be the most unselfish gifts of love you can give. What My Family Should Know Although many of us are efficient in our daily lives and keep meticulous records in our professions, most of us leave inadequate and incomplete records of our economic and personal affairs when we die. When and how your benefits will be paid and how your estate will be settled are many questions that must be answered. This guide has been compiled to help you record the necessary facts for your family, your attorney and your executor. We suggest you complete this record and store it in a safe place so it will be available for possible revisions by you and later use by your family. It is not recommended that you keep this guide in your safety deposit box since most are sealed after death. 2 PERSONAL INFORMATION Name: Social Security No. Date of Birth: Place of Birth: Current Home Address: Home Telephone #: Work Telephone #: Supervisor’s Telephone #: Prior or Permanent Address: Marital Status: Married: Divorced: Widowed: Single: Separated: Date and Place of Marriage: Name of Spouse: (Please complete if different than above) Current Home Address: Telephone #: Spouse’s Employer: Address of Employer: Work Telephone #: Name of Former Spouse: Current Home Address: Work Telephone #: Date & Place of Marriage: Date & Place of Divorce: Registry of Children: Given Name Date of Birth Place of Birth SSN Address Current as of: 3 PERSONAL INFORMATION - SPOUSE Name: Social Security No.
    [Show full text]
  • COVID-19 Self Isolation Family Guide
    COVID-19 Self-isolation Advice for Families Self-isolation is when you do not leave your home because you have, or might have coronavirus (COVID-19). It is very important that anyone who has the virus, or might have been exposed to it, restricts the number of people they come into contact with for 10 days. This is the most effective way of preventing coronavirus from spreading. If you test positive for coronavirus or have been identified as a contact by NHS Test and Trace, you must now self-isolate by law. Who needs to self-isolate? You will need to self-isolate for 10 days if: You have tested positive for coronavirus or have symptoms and are awaiting a test result Someone you live with has symptoms or tested positive Someone in your support bubble has symptoms or tested positive You’ve been told to self-isolate by NHS Test and Trace Find out more online: www.worcestershire.gov.uk/coronavirus How do I self-isolate? Day 0 1 2 3 4 5 6 7 8 9 10 Day: 11 Symptoms Resume start or normal test date activities (if no following symptoms) COVID-19 guidance. Self-isolation Your isolation period includes the day your symptoms started (or the day your test was taken if you do not have symptoms) and the next 10 full days. If you have tested positive for COVID-19 or have been told to self-isolate, you must: Go home and stay home Not go out to get food and Not leave your home, unless medicine – order it online, for urgent medical reasons or by phone, ask a friend or you are at serious risk of harm contact Here2Help Stay away from those Not use taxis or you live with public transport Not go to work or school Not have visitors in your or public places home, including friends and family – except for people providing essential care Only take exercise within your home, garden or private outdoor space Talking to your child about coronavirus Children might not fully understand self-isolation and they will probably have mixed feelings about the experience.
    [Show full text]
  • Wherever My Family Is: That's Home!
    THE CHILDREN’S BUREAU presents Wherever My Family Is: That’s Home! Adoption Services for Military Families The Color Purple… In military jargon “purple” refers to an issue or operation that includes all uniformed services – Army, Navy, Air Force, Marine and Coast Guard. Purple is what you get when you mix the greens, blues and khakis of the various uniforms. In today's military climate, the services work jointly in many instances, overcoming hurdles en route to their goal. In the same way, adoption professionals and military families can be “purple” as they work towards the common goal of providing great families for waiting children. Special Acknowledgements The Families – we wish to thank the military families who so generously contributed their time and sto- ries to this Guide – George and Cecilia Greene Jan and Jenny January John Leavitt Jim and Gail McCloud Jim and Karen Potts We wish you and your families the best that life has to offer. The Social Workers – we encountered some very dedicated social workers in our journey. Our heartfelt thanks to: Margaret Linnemann, MSW, LCSW, Foster Care Program Manager, State of Oklahoma Robin Gibson, BSW, Adoption Specialist, State of Oklahoma Robin Preusser, VIDA, Voice for International Development and Adoption Your commitment is truly admirable! The Practitioners – we also want to acknowledge those “practitioners” (social workers, chaplains and other professionals) in military family service centers, adoption exchanges and public and private agen- cies who provide creative adoption services and support for military families and the children who wait. You know who you are! This Guide and all of the work of The Collaboration to AdoptUsKids is funded through a cooperative agreement with the U.S.
    [Show full text]
  • Download Full History
    Heart At the Gameof the The History of Edgbaston Priory Club Matt Cole I am delighted to introduce this notable history of the Edgbaston Priory Club The story of Edgbaston Priory Club charts the route from with a few words recording the long association between the Calthorpe Estate the very invention of lawn tennis, through the development of the game and the Club. nationally and internationally to the club’s place as one of The Calthorpe Estate started in Edgbaston when my family first acquired land here in 1717. Since then we have seen the progressive development of the area Britain’s foremost sporting venues and communities. as a community with some of the best places to work, live and play and in It represents the combination over time of two clubs and many which the Club has been a constant since 1875. personalities reflecting the best of both elite achievement and public We have supported the evolution of the Club over the years, from its participation. From its very beginning, Edgbaston Priory has been formation soon after the birth of tennis in Edgbaston, through the merger of the Edgbaston and Priory Tennis Clubs, and latterly the site enlargement and development of new facilities. At the I am excited by the potential for the Club to raise both its own profile and that of Edgbaston in the top flight of UK sport. My family and all of us who are Heart involved with the Estate wish the Club well for the future. of the Sir Euan Anstruther-Gough-Calthorpe, Bt.
    [Show full text]
  • Proposed Changes to BBC Iplayer and BBC Three
    BBC Market Impact Assessment: Proposed changes to BBC iPlayer and BBC Three Qualitative research report Prepared for Ofcom Prepared for Ofcom 1 Contents Contents ........................................................................................................................................................... 2 1 Executive summary ............................................................................................................................... 4 1.1 Background to the research .................................................................................................................... 4 1.2 Summary of key findings ......................................................................................................................... 5 2 Background and objectives ................................................................................................................. 11 2.1 Background ............................................................................................................................................ 11 2.2 Research aim and objectives ................................................................................................................. 12 2.3 Research approach ................................................................................................................................ 12 2.3.1 Overview ........................................................................................................................................... 12 2.3.2 Workshop groups –
    [Show full text]