Global's Best Ever Rajar Results

Total Page:16

File Type:pdf, Size:1020Kb

Global's Best Ever Rajar Results GLOBAL'S BEST EVER RAJAR RESULTS Global is still the UK's number one commercial radio company with a weekly reach of 23.2 million listeners. HEART Heart is still the largest commercial radio station in the UK with a weekly reach of 9.1 million listeners. More about Heart's results » CAPITAL Capital is the UK’s second largest commercial radio station, with 7.3m listeners. Capital London has attracted another 290,000 listeners in the past 3 months, taking its total to 2.2m. This makes it London’s number one commercial station! More about Capital's results » CLASSIC FM Classic FM has seen strong growth in the past quarter, with reach up 2% and hours up 8%. It now reaches 5.4 million listeners across the country each week. More about Classic FM's results » SMOOTH Following Heart, Capital and Classic FM, Smooth is now the UK’s fourth largest commercial station. Smooth reaches 4.6 million listeners, which is growth of 7% from last quarter. More about Smooth's results » LBC LBC’s high profile continues to attract new listeners. 46,000 more are now tuning in, taking LBC’s weekly reach to 1.3 million nationwide. In London alone, LBC 97.3 reaches nearly 1 million each week. More about LBC's results » XFM XFM enjoys impressive growth this quarter. Reach is up 5% to 926,000 listeners and hours are up 9% to 4.9 million. XFM’s Manchester station is the star performer, with reach up a staggering 39% from last quarter, taking its reach to 231,000 More about XFM's results » CAPITAL XTRA Capital XTRA has added 30,000 new listeners over the past year. It now reaches 838,000 listeners a week, growth of 4%. More about Capital XTRA's results » GOLD Gold has a weekly reach of 857,000 – up 11% from last quarter! Hours are up an even more impressive 15%, to nearly 7 million. More about Gold's results » ------------------------------------------------------------------------------------------------------------------- COMMENTING ON THE RAJAR FIGURES: Ashley Tabor, Founder & Executive President of Global said: “It’s an immensely special day for the team at Global with our best RAJAR ever, leading the pack in the fiercely competitive London market with Capital, Heart and Smooth all enjoying phenomenal success. I’m very proud that Dave Berry & Lisa Snowdon continue to win at breakfast, and Capital London as a whole has added nearly 300,000 listeners, taking it clearly past all commercial competitors in the UK’s biggest market. “Overall, Global’s brands are reaching more people than ever. A staggering 23.2 million people are listening each week in the UK – these figures reflect the hard work and dedication of every single person working at Global.” Richard Park, Group Executive Director and Director of Broadcasting at Global, said: “This is a great result for our brands. With an impressive new line up including Kate Garraway, Andrew Castle and Tina Hobley, Smooth has proved itself a force to be reckoned with, in London and across the network, enjoying significant growth in all regions. I’m also particularly proud of the stellar quarter enjoyed by Heart, with more of our audience listening for even longer on our largest brand.” ------------------------------------------------------------------------------------------------------------------- Source: RAJAR / Ipsos-MORI / RSMB, period ending 22 June 2014. All stations and groups results are reported on their specified reporting period and TSA. For more information on what the brands offer in terms of reach and coverage, click on their logos below: .
Recommended publications
  • RAJAR DATA RELEASE Quarter 1, 2020 – May 14 Th 2020
    RAJAR DATA RELEASE Quarter 1, 2020 – May 14 th 2020 COMPARATIVE CHARTS 1. National Stations 2. Scottish Stations 3. London Stations 4. Breakfast Shows – National and London stations "Please note that the information contained within this quarterly data release has yet to be announced or otherwise made public and as such could constitute relevant information for the purposes of section 118 of FSMA and non-public price sensitive information for the purposes of the Criminal Justice Act 1993. Failure to comply with this embargo could result in prosecution’’. Source RAJAR / Ipsos MORI / RSMB RAJAR DATA RELEASE Quarter 1, 2020 – May 14 th 2020 NATIONAL STATIONS STATIONS SURVEY REACH REACH REACH % CHANGE % CHANGE SHARE SHARE SHARE PERIOD '000 '000 '000 REACH Y/Y REACH Q/Q % % % Q1 19 Q4 19 Q1 20 Q1 20 vs. Q1 19 Q1 20 vs. Q4 19 Q1 19 Q4 19 Q1 20 ALL RADIO Q 48945 48136 48894 -0.1% 1.6% 100.0 100.0 100.0 ALL BBC Q 34436 33584 33535 -2.6% -0.1% 51.4 51.0 49.7 15-44 Q 13295 13048 13180 -0.9% 1.0% 35.2 35.5 34.4 45+ Q 21142 20535 20355 -3.7% -0.9% 60.2 59.4 57.9 ALL BBC NETWORK RADIO Q 31846 31081 30835 -3.2% -0.8% 44.8 45.0 43.4 BBC RADIO 1 Q 9303 8790 8915 -4.2% 1.4% 5.7 5.6 5.6 BBC RADIO 2 Q 15356 14438 14362 -6.5% -0.5% 17.4 17.0 16.3 BBC RADIO 3 Q 2040 2126 1980 -2.9% -6.9% 1.2 1.4 1.3 BBC RADIO 4 (INCLUDING 4 EXTRA) Q 11459 11416 11105 -3.1% -2.7% 13.1 13.4 12.9 BBC RADIO 4 Q 11010 10977 10754 -2.3% -2.0% 11.9 12.0 11.7 BBC RADIO 4 EXTRA Q 2238 2271 1983 -11.4% -12.7% 1.3 1.4 1.2 BBC RADIO 5 LIVE (INC.
    [Show full text]
  • DJ Tiiny, Capital XTRA, Various Dates, 1900
    v Issue 424 12 April 2021 DJ Tiiny Type of case Broadcast Standards Outcome Resolved Service Capital XTRA Date & time Various dates, 19:00 Category Commercial communications on radio Summary The presenter played music tracks in return for payment. The Broadcasting Code prohibits any payment that may influence the selection or rotation of music for broadcast. In view of the action taken by the Licensee when it became aware of the presenter’s actions, we considered the matter resolved. Introduction Capital XTRA is a local radio station providing an urban contemporary black music service for African and Afro-Caribbean communities in North London. It is simulcast nationally on DAB, satellite and cable services. Capital XTRA’s licence is held by Capital Xtra Limited, which is owned by Global Media & Entertainment Limited (“Global”). DJ Tiiny was a show broadcast weekly on Friday evenings. A complainant alleged that the presenter played some artists’ music tracks in return for payment. Global contacted Ofcom and confirmed the allegation, saying that it had been alerted to the matter on 27 January 2021 and that the presenter’s contract of employment had been terminated the following day. Ofcom considered the matter raised potential issues under the following Code rule: Rule 10.5: “No commercial arrangement that involves payment, or the provision of some other valuable consideration, to the broadcaster may influence the selection or rotation of music for broadcast”. Issue 424 of Ofcom’s Broadcast and On Demand Bulletin 12 April 2021 1 We therefore requested comments from Global on how programmes in which the presenter had played music tracks in return for payment complied with this rule.
    [Show full text]
  • ANNIE LEVY Make-Up Designer and Hair Stylist Special FX Artist Visa and Social Security for North America
    ANNIE LEVY Make-Up Designer and Hair Stylist Special FX Artist Visa and Social Security for North America FILM & TV STARSTRUCK – SEASON 2 Hair and Make-up Designer Avalon Television / HBO / BBC1 Director: Jamie Jay Johnson SEXY BEASTS Hair and Make-up Designer Lion TV / Netflix Directors: Sam Campbell, Roman Green THE ROYAL WEDDING LIVE WITH CORD & Personal Hair, Make-Up & SFX to Kristen Wiig TISH Director: Andrew Steele HBO & Sky Atlantic WHO DO YOU THINK YOU ARE (USA) Personal Hair & Make-up to Josh Duhamel TLC / Shed Media US Director: Graham Sherrington MY FAVOURITE SKETCH Personal Hair & Make-up to Sally Phillips ITV/ Potato Director: Richard Pengelley A LEAGUE OF THEIR OWN XMAS SPECIAL Personal Hair, Make-up & SFXto Jack Whitehall SKY ONE/ CPL Productions Director: David Taylor JAMES ACASTER: REPERTOIRE Personal Hair & Make-up to James Acaster Netflix/ Turtle Canyon Media Director: Stuart Laws PROFESSOR GREEN: DANGEROUS DOGS Personal Hair & Make-up to Professor Green BBC Three/ Antidote Director: Matt Pelly JOLT Crowd Supervisor, Hair & Make-up Metropolitan Studios Director: Tanya Wexler THE FAST SHOW CELEBRATION Hair & Make-Up Designer Gold/ Crook Productions Director: Paul King/ Angus McIntyre GRINGOLANDIA Hair & Make-Up Designer (series 2-3) Netflix/Lone Star Productions Director: Cristobal Ross CLASS DISMISSED Hair & Make-Up Designer (Series 2-4) BBC ONE Director: Dermot Canterbury STATH LETS FLATS Hair & Make-Up Designer (Pilot) Channel 4 Director Dan Clarke JONNY PELHAM’S COMEDY SHORT Hair & Make-Up Designer Sky One Director:
    [Show full text]
  • Introduction to Ascential Our Investment Case
    INTRODUCTION TO ASCENTIAL OUR INVESTMENT CASE Clear long-term vision. Helping leading global brands connect with their customers in a data-driven world. Structural growth. Demand for information, data & analytics driven by growth of digital commerce. Market leaders. We are leaders, with a unique blend of specialisms, in the high growth areas in which we operate. Robust business model. High recurring and repeat revenue, with more than 50% revenues from digital subscription and platforms, across diverse global customer base. Attractive financial profile. Track record of high single digit revenue growth, strong margins and cash generation, supported by sound capital allocation. Introduction to Ascential 2 OUR CUSTOMER PROPOSITION Our information products and platforms support our customers to do three simple things… CREATE THE RIGHT MAXIMISE THE OPTIMISE DIGITAL PRODUCTS BRAND MARKETING COMMERCE IMPACT Know which products Know how to get Know how to execute the consumer wants maximum creativity with with excellence on the tomorrow. optimised media. winning platforms. 1. 2. 3. Introduction to Ascential 3 SEGMENTAL OVERVIEW –2019 Segment Revenue % Revenue1 Growth1 EBITDA2 Margin Business Model Advisory 10% Digital Subscriptions Product £86m 21% +8% £36m 42% & Platforms 90% Design Digital Subscriptions Advisory & Platforms 11% Marketing £136m 32% +9% £51m 37% 37% Events 52% Advisory 6% Digital Subscriptions & Sales - Platforms 94% Digital £90m 22% +21% £13m 15% Commerce Sales - Digital Subscriptions & Events Platforms 4% Non Digital £68m 16%
    [Show full text]
  • Addition of Heart Extra to the Multiplex Is Therefore Likely to Increase Significantly the Appeal of Services on Digital One to This Demographic
    Radio Multiplex Licence Variation Request Form This form should be used for any request to vary a local or national radio multiplex licence, e.g: • replacing one programme or data service with another • adding a programme or data service • removing a programme or data service • changing the Format description of a programme service • changing a programme service from stereo to mono • changing a programme service's bit-rate Please complete all relevant parts of this form. You should submit one form per multiplex licence, but you should complete as many versions of Part 3 of this form as required (one per change). Before completing this form, applicants are strongly advised to read our published guidance on radio multiplex licence variations, which can be found at: http://licensing.ofcom.org.uk/radio-broadcast- licensing/digital-radio/radio-mux-changes/ Part 1 – Details of multiplex licence Radio multiplex licence: DM01 National Commercial Licensee: Digital One Contact name: Glyn Jones Date of request: 15 January 2016 1 Part 2 – Summary of multiplex line-up before and after proposed change(s) Existing line-up of programme services Proposed line-up of programme services Service name and Bit-rate Stereo/ Service name and Bit-rate Stereo/ short-form description (kbps)/ Mono short-form (kbps)/ Mono Coding (H description Coding (H or F) or F) Absolute Radio 80F M Absolute Radio 80F M Absolute 80s 80F M Absolute 80s 80F M BFBS 80F M BFBS 80F M Capital XTRA 112F JS Capital XTRA 112F JS Classic FM 128F JS Classic FM 128F JS KISS 80F M KISS 80F
    [Show full text]
  • BT Group (WACC Response, Oxera Report)
    Quantifying the relative risk differences between FTTP and FTTC Prepared for BT Group plc 14 January 2021 Final: public www.oxera.com Final: public Quantifying the relative risk differences between FTTP and FTTC Oxera Contents 1 Introduction 2 1.1 Summary of main findings 2 1.2 Structure of the report 3 2 Ofcom’s proposals on WACC and relative systematic risk differentials 4 2.1 Theoretical support for differences in systematic risk 4 2.2 Overview of Ofcom’s analysis and proposals 7 3 Income elasticities and asset betas 10 3.1 BT consumer experiment and income elasticities 10 3.2 Calculating the relationship between income elasticity and asset beta 12 3.3 Predicting the asset beta wedge between FTTC and FTTP 13 3.4 Conclusions 15 4 Conclusion 16 A1 Details of consumer choice experiment 17 Boxes, figures and tables Box 2.1 Illustration of the relationship between operating leverage and systematic risk 6 Table 2.1 Summary of Ofcom’s proposals 9 Box 3.1 The field experiment commissioned by BT 10 Table 3.1 FTTP regression coefficients 11 Table 3.2 FTTC regression coefficients 11 Table 3.3 Projection of income elasticity for copper 12 Table 3.4 US panel regression’s results 13 Table 3.5 Estimated asset beta wedge due to income elasticity 14 Table A1.1 FTTC’s products summary statistics 17 Table A1.2 FTTP’s products summary statistics 17 Table A1.3 Respondents’ income in FTTC survey 18 Table A1.4 Respondents’ income in FTTP survey 18 Final: public Quantifying the relative risk differences between FTTP and FTTC 2 Oxera 1 Introduction Oxera has
    [Show full text]
  • Reality, Realism and Fantasy: a Study of Ray's Children's Fiction Hirak
    Reality, Realism and Fantasy: A Study of Ray’s Children’s fiction Hirak Rajar Deshe Arpita Sarker Research Scholar (M.Phil.) University of Delhi India Abstract In my paper I intend to first explain different form of realism by discussing Ian Watt‟s definition of realism, in The Rise of The Novel comparing and contrasting it with Brecht and Luckas‟s idea of realism as explained in Bertolt Brecht: Against George Luckas. Secondly I will discuss in brief the difference between reality and realism in a work of fiction. Thirdly, I will talk about the portrayal of reality and realism in children‟s literature, using socialist realism and Brecht‟s view on it. In order to discuss third part of my paper I will analyze film maker Satyajit Ray and his socialist- realist- fantasy film Hirak Rajar Deshe. The movie is adapted from Ray‟s father‟s collection of work for children name Goopy Gayen and Bagha Bayen. Keywords: Fantasy, Reality, Realism, Socialism, Brecht. www.ijellh.com 50 Children‟s literature is a genre that is vastly dependent on fantastic elements that make it appealing to children and adults. The fantastic elements, on the surface, act as a model for psychologically cushioning that protects the child from the harsh realities of life and bestow moral messages to the masses. But the fantastical element alone cannot reveal the social, political, or moral message the fiction intends to spread. The fantasy element is hence paradoxical complicated by the presence of realism in Children‟s Literature. The use of realism, in the façade of fantasy, and larger than life characters, has helped writers to adhere to the real intention of children‟s literature.
    [Show full text]
  • Capital Birmingham Should Not Be Allowed to Make the Changes to The
    Spence, Mr Consultation question: Should regional radio station Capital FM (Birmingham) be permitted to make the changes to its Character of Service as proposed with particular regard to the statutory criteria as set out in the summary? (The Broadcasting Act 1990 Section 106 (1A) (b) and (d) relating to Format changes). Capital Birmingham should not be allowed to make the changes to the Character of Service as this would essentially change the station from am urban/black music station to a hit music station format which can potentially stop playing urban music if they wanted to if in the future it becomes less mainstream. The format change represents a real danger to the radio landscape in Birmingham as it can so significantly reduce the choice of music available in the area over time. It will make the station sound too similar to it's main competitors in the area on FM. I am not happy with the decision in particular to remove the commitment to listeners of African or Afro-Caribbean origin in terms of content and music. I do not believe the music output of Capital Birmingham should be allowed to be aligned to that of Yorkshire or London without a readvertisement of the license as the change requested is far too significant. I believe that the format must retain the words 'URBAN CONTEMPORARY BLACK MUSIC' and 'REGGAE, RnB AND HIP HOP' in order to be an acceptable request. The new requested format is already provided in much better quality by BBC Radio 1. I am not happy with the way the station has been allowed to gradually change from Choice FM in the mid 90s to the present day Capital FM with such a dramatic change in music output despite only slight changes to the official OFCOM agreed station format, while Choice London and Capital FM co-exist in London providing 2 very different sounding services.
    [Show full text]
  • RDE 2018 Vienna Prel Programme 18No Yellow
    Radiodays Europe 2018 “The World Is Listening” Vienna 18-20 March 2018 Conference Programme Sunday Masterclasses at the end of this programme. V18 20180307 Monday 19 March 9.00-10.00 Track 1 Hall E Radiodays Europe 2018 – official opening: The World is Listening Welcome to Radiodays Europe 2018 in Vienna! What are the big themes for radio this year? How is our industry changing? What are the new challenges and the latest innovations in radio and audio in 2018? Don´t miss this fast paced first session, with a number of shorter keynotes, interviews and surprises! Radio industry keynote: The revolution will be broadcast: reinventing radio Bob Shennan (Director, Radio and Music, BBC, UK) From a complete re-imagining of its national networks 50 years ago to the introduction of a new family of digital networks, and a growing catalogue of award-winning podcasts, the wheels of revolution at BBC Radio rarely cease turning. Bob Shennan looks forward to reaffirming the BBC’s relationship with its audience and to introducing the joys of radio to a new generation of listeners by leading the way with new digital technologies. Welcome addresses: Anders Held (Co-Founder and Manager, Radiodays Europe, Sweden) Corinna Drumm (Director General, Austrian Association of Commercial Broadcasters VÖP, Austria) Monika Eigensperger (Head of Radio, ORF, Austria) European industry addresses: Graham Dixon (Head of Radio, EBU, Switzerland) Stefan Möller (President, AER, Finland) Thematic keynotes: Getting it together Siobhan Kenny (CEO, Radiocentre, UK) Radio companies often obsess about how they can gain an advantage over their broadcasting competitors. Siobhan Kenny considers when it makes sense for radio businesses to collaborate and reveals how working together can help deliver strong business benefits for the whole industry.
    [Show full text]
  • TV & Radio Channels Astra 2 UK Spot Beam
    UK SALES Tel: 0345 2600 621 SatFi Email: [email protected] Web: www.satfi.co.uk satellite fidelity Freesat FTA (Free-to-Air) TV & Radio Channels Astra 2 UK Spot Beam 4Music BBC Radio Foyle Film 4 UK +1 ITV Westcountry West 4Seven BBC Radio London Food Network UK ITV Westcountry West +1 5 Star BBC Radio Nan Gàidheal Food Network UK +1 ITV Westcountry West HD 5 Star +1 BBC Radio Scotland France 24 English ITV Yorkshire East 5 USA BBC Radio Ulster FreeSports ITV Yorkshire East +1 5 USA +1 BBC Radio Wales Gems TV ITV Yorkshire West ARY World +1 BBC Red Button 1 High Street TV 2 ITV Yorkshire West HD Babestation BBC Two England Home Kerrang! Babestation Blue BBC Two HD Horror Channel UK Kiss TV (UK) Babestation Daytime Xtra BBC Two Northern Ireland Horror Channel UK +1 Magic TV (UK) BBC 1Xtra BBC Two Scotland ITV 2 More 4 UK BBC 6 Music BBC Two Wales ITV 2 +1 More 4 UK +1 BBC Alba BBC World Service UK ITV 3 My 5 BBC Asian Network Box Hits ITV 3 +1 PBS America BBC Four (19-04) Box Upfront ITV 4 Pop BBC Four (19-04) HD CBBC (07-21) ITV 4 +1 Pop +1 BBC News CBBC (07-21) HD ITV Anglia East Pop Max BBC News HD CBeebies UK (06-19) ITV Anglia East +1 Pop Max +1 BBC One Cambridge CBeebies UK (06-19) HD ITV Anglia East HD Psychic Today BBC One Channel Islands CBS Action UK ITV Anglia West Quest BBC One East East CBS Drama UK ITV Be Quest Red BBC One East Midlands CBS Reality UK ITV Be +1 Really Ireland BBC One East Yorkshire & Lincolnshire CBS Reality UK +1 ITV Border England Really UK BBC One HD Channel 4 London ITV Border England HD S4C BBC One London
    [Show full text]
  • Localness on Commercial Radio Full Name Erzsebet “Erzsie” Nagy Contact Phone Number N/A Representing (Delete As Appropriate) Self Organisation Name N/A
    Consultation response form Consultation title Localness on commercial radio Full name Erzsebet “Erzsie” Nagy Contact phone number N/A Representing (delete as appropriate) Self Organisation name N/A Your response Question Your response Question 1: Do you agree that Ofcom’s duty to secure ‘localness’ on local commercial radio Before I write anything, I should state that I am stations could be satisfied if stations were able a U.S. citizen and do not reside in the United to reduce the amount of locally-made Kingdom or have British citizenship, but have programming they provide? If not, please visited occasionally and know of people in the explain the reasons and/or evidence which UK. support your view. There was nothing in the Ofcom rules that stated a U.S. citizen could not participate, so I have decided to participate anyway. All content is original research. ---- Localness should never be reduced on local commercial radio stations. There is research to back this up, proven by statistical research from 2008-2014. There is substantial research that proves listeners value local content to some extent, and not just in major circumstances like floods, terrorist attacks, fire, major emergencies. Rather than reducing local-made programming, some radio stations should be, by statutory requirement, have as much local programming and content as necessary. There is substantial evidence from American researchers – 2004, 2008, 2012, 2014 that proved listeners value locality as a major selling point. Unofficial research in 2007 has proved this. No station should be local for only 3 hours a day, whatever the day of week.
    [Show full text]
  • Service Review
    Delivering Quality First in Northern Ireland DELIVERING QUALITY FIRST IN NORTHERN IRELAND EXECUTIVE SUMMARY The BBC in Northern Ireland aims to bring the highest quality, most distinctive programmes and services to local audiences, reflecting the diversity of its cultures, communities and languages, and informing, educating and entertaining all its citizens. Our ambition is to deliver content driven by the unique needs of our local audiences, fulfilling the BBC’s public purposes within the context of political, economic and social change in Northern Ireland. The capacity to evaluate and reflect a Northern Ireland society during this period of significant transformation is at the heart of our proposition. Northern Ireland-specific output such as BBC Radio Ulster/Foyle is extremely popular and highly distinctive. On television, BBC Newsline and the current affairs programme Spotlight combine with live sports coverage and a wide range of non-news programming such as The Estate, Belfast Blitz and House of the Year to deliver significant value to local audiences. In the first quarter of 2011, ten of BBC One Northern Ireland’s top twenty programmes were locally made Northern Ireland programmes. Within a very competitive television news market, the BBC’s television news specifically for Northern Ireland audiences (BBC Newsline) is highly trusted and valued by our audience. When the BBC’s programmes for Northern Ireland audiences opt into the BBC One and BBC Two network schedules, they consistently add to the overall channel performance. BBC Radio Ulster/Foyle reaches on average almost 38% of the Northern Ireland adult population each week – amongst the highest reach of all of the BBC’s national and local radio services.
    [Show full text]