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Caryl Phillips
Caryl Phillips born 1958, St. Kitts, West Indies website: www.carylphillips.com Education B.A. (Honours) The Queens College, Oxford University (1979) Honorary Degrees • Hon. D. Univ: Leeds Metropolitan University (1997) • Hon. D. Univ: University of York (2003) • Hon. D. Lett: University of Leeds (2003) • Hon. D. Lett: University of the West Indies (2010) • Hon. D. Lett: University of Edinburgh (2012) • Docteur Honoris Causa: University of Liege, Belgium (2015) Publications Fiction • A VIEW OF THE EMPIRE AT SUNSET (2018) • Farrar, Straus, and Giroux. USA • Random House/Vintage. UK • THE LOST CHILD (2015) • Farrar, Straus, and Giroux. USA • Oneworld. UK • IN THE FALLING SNOW (2009) • Harvill Secker. UK • Knopf. USA • DANCING IN THE DARK (2005) • Secker and Warburg. UK • Knopf. USA • A DISTANT SHORE (2003) • Secker and Warburg. UK • Knopf. USA • THE NATURE OF BLOOD (1997) • Faber and Faber. UK • Knopf. USA • CROSSING THE RIVER (1993) • Bloomsbury. UK • Knopf. USA (1994) • CAMBRIDGE (1991) • Bloomsbury. UK • Knopf. USA (1992) • HIGHER GROUND (1989) • Viking. UK • Viking. USA • A STATE OF INDEPENDENCE (1986) • Faber and Faber. UK • Farrar, Straus and Giroux. USA • THE FINAL PASSAGE (1985) • Faber and Faber. UK • Penguin. USA Non fiction • COLOUR ME ENGLISH (2011) • Harvill Secker. UK • The New Press. USA • FOREIGNERS (2007) • Harvill Secker. UK • Knopf. USA • A NEW WORLD ORDER (2001) • Secker and Warburg. UK • Vintage. USA • THE ATLANTIC SOUND (2000) • Faber and Faber. UK • Knopf. USA • THE EUROPEAN TRIBE (1987) • Faber and Faber. UK • Farrar, Straus and Giroux. USA Anthologies • THE RIGHT SET: A TENNIS ANTHOLOGY (1999) [Editor] • Faber and Faber. UK • Vintage. USA • EXTRAVAGANT STRANGERS: A LITERATURE OF BELONGING (1997) [Editor] • Faber and Faber. -
Response to Ofcom Consultation on the Future of Public Service Media
Response to Ofcom Consultation on the Future of Public Service Media About this submission 1. AudioUK is the trade body for the audio-led production sector in the UK. AudioUK has four core priorities: Business; Representation; Community; and Excellence. As well as producing the annual Audio Production Awards it also runs the successful Audiotrain craft skills training programme, which has so far provided around 2,500 learner days. AudioUK, along with Radiocentre, oversees the administration of the Audio Content Fund which distributes a grant from the UK government to fund public service content on commercial and community radio. As a member of the Government Broadcasting, Film and Production Working Group, AudioUK has produced guidelines for safe working in audio production during the COVID-19 pandemic. 2. We recognise and agree with Ofcom’s reasoning for changing the language around PSB. We believe ‘Public Service Media’ is a better term to describe the content produced, partly to reflect the wider range of media created, as well as the manner in which it is distributed. 3. However, we do here refer to ‘public service broadcasters’ (‘PSBs’) to differentiate between the licenced PSBs – BBC, ITV/STV, Channel 4, S4C, Channel 5 - and other broadcasters also providing content which is officially designated PSM content – the main example being commercial and community stations broadcasting programmes funded by the Audio Content Fund. Audio as part of public service media 4. The UK has a thriving audio content production industry with an independent sector made up of around 200 companies around the UK. These companies create compelling content across a wide range of genres which engages audiences and offers them different voices, perspectives, talent and ideas. -
The BBC's Use of Spectrum
The BBC’s Efficient and Effective use of Spectrum Review by Deloitte & Touche LLP commissioned by the BBC Trust’s Finance and Strategy Committee BBC’s Trust Response to the Deloitte & Touche LLPValue for Money study It is the responsibility of the BBC Trust,under the As the report acknowledges the BBC’s focus since Royal Charter,to ensure that Value for Money is the launch of Freeview on maximising the reach achieved by the BBC through its spending of the of the service, the robustness of the signal and licence fee. the picture quality has supported the development In order to fulfil this responsibility,the Trust and success of the digital terrestrial television commissions and publishes a series of independent (DTT) platform. Freeview is now established as the Value for Money reviews each year after discussing most popular digital TV platform. its programme with the Comptroller and Auditor This has led to increased demand for capacity General – the head of the National Audit Office as the BBC and other broadcasters develop (NAO).The reviews are undertaken by the NAO aspirations for new services such as high definition or other external agencies. television. Since capacity on the platform is finite, This study,commissioned by the Trust’s Finance the opportunity costs of spectrum use are high. and Strategy Committee on behalf of the Trust and The BBC must now change its focus from building undertaken by Deloitte & Touche LLP (“Deloitte”), the DTT platform to ensuring that it uses its looks at how efficiently and effectively the BBC spectrum capacity as efficiently as possible and uses the spectrum available to it, and provides provides maximum Value for Money to licence insight into the future challenges and opportunities payers.The BBC Executive affirms this position facing the BBC in the use of the spectrum. -
FREEVIEW DTT Multiplexes (UK Inc NI) Incorporating Planned Local TV and Temporary HD Muxes
As at 07 December 2020 FREEVIEW DTT Multiplexes (UK inc NI) incorporating planned Local TV and Temporary HD muxes 3PSB: Available from all transmitters (*primary and relay) 3 COM: From *80 primary transmitters only Temp HD - 25 Transmiters BBC A (PSB1) BBC A (PSB1) continued BBC B (PSB3) HD SDN (COM4) ARQIVA A (COM5) ARQIVA B (COM6) ARQIVA C (COM7) HD ARQIVA D (COM8) HD LCN LCN LCN LCN LCN LCN LCN 1 BBC ONE 65 TBN UK 12 QUEST 11 Sky Arts 22 Ideal World 64 Free Sports BBC RADIO: 1 BBC ONE NI Cambridge, Lincolnshire, 74 Shopping Quarter 13 E4 (Wales only) 17 Really 23 Dave ja vu 70 Quest Red+1 722 Merseyside, Oxford, 1 BBC ONE Scot Solent, Somerset, Surrey, 101 BBC 1 Scot HD 16 QVC 19 Dave 26 Yesterday 83 NOW XMAS Tyne Tees, WM 1 BBC ONE Wales 101 BBC 1 Wales HD 20 Drama 30 4Music 33 Sony Movies 86 More4+1 2 BBC TWO 101 BBC ONE HD 21 5 USA 35 Pick 36 QVC Beauty 88 TogetherTV+1 (00:00-21:00) 2 BBC TWO NI BBC RADIO: 101 BBC ONE NI HD 27 ITVBe 39 Quest Red 37 QVC Style 93 PBS America+1 726 BBC Solent Dorset 2 BBC TWO Wales BBC Stoke 102 BBC 2 Wales HD 28 ITV2 +1 42 Food Network 38 DMAX 96 Forces TV 7 BBC ALBA (Scot only) 102 BBC TWO HD 31 5 STAR 44 Gems TV 40 CBS Justice 106 BBC FOUR HD 9 BBC FOUR 102 BBC TWO NI HD 32 Paramount Network 46 Film4+1 43 HGTV 107 BBC NEWS HD Sony Movies Action 9 BBC SCOTLAND (Scot only) BBC RADIO: 103 ITV HD 41 47 Challenge 67 CBS Drama 111 QVC HD (exc Wales) 734 Essex, Northampton, CLOSED 24 BBC FOUR (Scot only) Sheffield, 103 ITV Wales HD 45 Channel 5+1 48 4Seven 71 Jewellery Maker 112 QVC Beauty HD 201 CBBC -
BBC Radio 2 Beatles BBC Radio 2 Beatles
RADIO MUSIC BBC Radio 2 Beatles BBC Radio 2 Beatles Last September BBC Radio 2 produced a spin off four-day Beatles Pop-Up DAB service marking the 50th anniversary of the release of the iconic Abbey Road album, broadcast from Abbey Road Studios, and celebrating the Fab Four as a group, as individual artists, and as songwriters, with a mix of live shows, simulcasts (with the parent network), and classic content from the extensive R2 & Apple Records archive. This was a partnership between R2 and Apple/Universal Music, and because of the place the band hold in the hearts of the public, it was an opportunity to invite talent from right across BBC Radio (Scott Mills, Lauren Laverne, Zoe Ball, Nicky Campbell and Greg James), and the music and entertainment industries (Dave Grohl, Gary Barlow, Grace Dent, Jack Savoretti, Paul Merton, John Bishop, Katie Melua and Guy Garvey), to share their love of the band, and their music catalogue. By utilising these names, alongside radio brands like Desert Island Discs, Mastertapes & Sunday Love Songs, we could not only target the band’s evergreen fans, but also a new younger 25-44 demographic. We also weaved complimentary simulcasts into the schedule, kicking off with the UK’s most popular radio programme, the Ken Bruce Show, live from Abbey Road, and then a special live concert from Studio 1, featuring presenter Guy Garvey (who also performed), the BBC Concert Orchestra, Rick Astley, Mark King from Level 42, Ruby Turner and Cerys Matthews, all interpreting classic Beatles songs in front of a small audience of competition winners. -
A Distinctive BBC
A distinctive BBC April 2016 1 TABLE OF CONTENTS Foreword 1. Executive Summary 2. What is distinctiveness 3. Measuring distinctiveness today – what the audience thinks 4. Measuring distinctiveness today – comparisons to other services 5. Enhancing distinctiveness in the future 2 FOREWORD I believe that the case for the BBC is a very straightforward, pragmatic one. We have produced, and continue to produce, some of the very best programmes and services in the world. That is why people like the BBC. That is why they enjoy it. That is why they trust it. That is why they value it. That is what they pay us to do. If the BBC stands for anything, it stands for quality. In just the last month, we have seen Panorama’s exposé of the Panama Papers; Radio 4’s previously unseen footage of Kim Philby speaking to the Stasi; the domestic abuse storyline on The Archers; Inside Obama’s White House and Behind Closed Doors; The Night Manager, Undercover and Cuckoo. We have just launched the 2016 BBC Proms. And those are just a few highlights. This is the BBC I believe in. A beacon of cultural excellence in a world increasingly awash with media of all kinds. A trusted voice in a crowded arena, accountable to the public and focused on their interests, independent of both government and market. A benchmark of quality. But the unique way the BBC is funded places two further obligations on us. Because the BBC’s funding is independent, that gives us creative freedom. That means a BBC that must be more prepared than ever to take risks. -
Annual Report on the BBC 2019/20
Ofcom’s Annual Report on the BBC 2019/20 Published 25 November 2020 Raising awarenessWelsh translation available: Adroddiad Blynyddol Ofcom ar y BBC of online harms Contents Overview .................................................................................................................................... 2 The ongoing impact of Covid-19 ............................................................................................... 6 Looking ahead .......................................................................................................................... 11 Performance assessment ......................................................................................................... 16 Public Purpose 1: News and current affairs ........................................................................ 24 Public Purpose 2: Supporting learning for people of all ages ............................................ 37 Public Purpose 3: Creative, high quality and distinctive output and services .................... 47 Public Purpose 4: Reflecting, representing and serving the UK’s diverse communities .... 60 The BBC’s impact on competition ............................................................................................ 83 The BBC’s content standards ................................................................................................... 89 Overview of our duties ............................................................................................................ 96 1 Overview This is our third -
Absolute Radio Network Audience Reach Increases by Over Half a Million Year on Year
Under Embargo until 0.01am Thursday 2nd February ABSOLUTE RADIO NETWORK AUDIENCE REACH INCREASES BY OVER HALF A MILLION YEAR ON YEAR The Absolute Radio Network has significantly increased by over a quarter (+27%) Yr on Yr taking the station to 2.8 million reach and steady Qtr on Qtr. (-1.0%) Absolute Radio’s reach has grown by 224,000 to over 1.6 million, an increase of 16.3% Yr on Yr and stable Qtr on Qtr (-0.3%) Absolute Radio has grown it’s reach by 6% in London to 816,000 Qtr on Qtr, up 21% Yr on Yr. The Christian O’Connell Breakfast Show has increased to 1.2 million reach, up significantly by 22.7% Yr on Yr and 6.2% Qtr on Qtr. 71% of Absolute Radio’s Network total listening is now via a Digital platform, against a industry average of 29% The Absolute Radio Network has posted a solid performance this RAJAR, significantly increasing its reach by over a quarter (27%) year on year - taking the station to 2.8 million listeners. On the quarter, the station has remained steady (-1.0%). Absolute Radio Network’s hours have risen to 18.9 million, an increase of 18.6% year on year with only a dip on the quarter of 7.2%. The Absolute Radio station now has a 1.6 million reach, an increase of 16.3% year on year, and again, stable on the quarter (-0.3%). The station has 11.2 million hours, an increase of 18.1% year on year and 8.8% on the quarter. -
904-4 BBC NR AC Wales 210612.Indd
WALES AUDIENCE COUNCIL REVIew 2011/12 a 01 Foreword by the National Trustee 02 Audience Council activity 04 Audience Council Wales report on BBC performance 09 BBC performance against Public Purposes 14 Audience priorities for 2012/13 17 Audience Council Wales 18 Contacts Cover image BBC National Orchestra of Wales at one of its concerts for special schools. FORewORD BY THE NaTIONal TRUSTee announced. This has been hugely welcomed by audiences. The Roath Lock drama production facility in Cardiff Bay, which now provides a home for Pobol y Cwm, Casualty and Doctor Who, was delivered on budget and on time. It potentially provides a huge boost for the creative industries in Wales. Following the Westminster Government’s announcement that S4C would be funded from the licence fee from 2013, I strongly welcome the new agreement reached with S4C and I look forward to the BBC and S4C exploiting future opportunities for co-operation for the creative, social, educational and “The Roath Lock drama economic benefit of audiences in Wales. production facility in Cardiff Bay, The year under review saw the departure which now provides a home for of Keith Jones as Director BBC Wales Pobol y Cwm, Casualty and Doctor and the appointment of Rhodri Talfan Davies to that post. I am grateful to Keith Who, was delivered on budget for his substantial support for the work of and on time.” Audience Council Wales and contribution to BBC Cymru Wales over many years. I warmly welcome Rhodri’s appointment The BBC’s Audience Councils advise the and look forward to working closely with Trust on how well the BBC fulfils its Public him during the months and years to come. -
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. -
BMJ in the News 29 March
BMJ in the News is a weekly digest of journal stories, plus any other news about the company that has appeared in the national and a selection of English-speaking international media. A total of 27 journals were picked up in the media last week (29 March-4 April) - our highlights include: ● Research published in The BMJ finding that levels of adherence to the UK’s test, trace, and isolate system are low made national headlines, including BBC News, The Guardian, and The Daily Telegraph. ● A BJSM study suggesting that physical inactivity is responsible for up to 8% of non-communicable diseases and deaths worldwide was picked up by CNN, ITV News, and Gulf Today. ● A study in The BMJ revealing that people discharged from hospital after covid-19 appear to have increased rates of organ damage compared with similar individuals in the general population made headlines in the Times of India, Huffington Post, and Asian Image. BMJ PRESS RELEASES The BMJ | British Journal of Ophthalmology British Journal of Sports Medicine | Thorax EXTERNAL PRESS RELEASES BMJ Nutrition, Prevention & Health | BMJ Open Gut | Journal for Immunotherapy of Cancer Stroke & Vascular Neurology OTHER COVERAGE The BMJ | Annals of the Rheumatic Diseases BMJ Case Reports | BMJ Global Health BMJ Open Gastroenterology | BMJ Open Ophthalmology BMJ Open Science | BMJ Open Sport & Exercise Medicine BMJ Supportive & Palliative Care| Heart Journal of Epidemiology & Community Health | Journal of Medical Ethics Journal of Medical Genetics | Journal of NeuroInterventional Surgery Journal -
Consideration of a Request from Wireless Group Media (GB) Limited to Launch a BBC Competition Review
Consideration of a request from Wireless Group Media (GB) Limited for Ofcom to launch a BBC Competition Review BBC radio sports rights acquisition Date: 18 December 2018 Consideration of a request from Wireless Group Media (GB) Limited to launch a BBC Competition Review Background 1.1 The UK has a successful broadcasting sector, sustained by a competitive media landscape of which the BBC is a central part. But because of its remit and scale, the BBC inevitably has an impact on competition in the wider media market. The effects of the BBC on competition may be positive: it may serve to stimulate demand and grow markets, as well as encouraging innovation within the sector to the benefit of audiences across the UK. However, as a large publicly-funded organisation, the BBC may also harm the ability of other companies to compete effectively, potentially by crowding-out investment in UK content and services from other companies, which could ultimately reduce choice for viewers and listeners. 1.2 The agreement between the Secretary of State for Culture, Media and Sport and the BBC (‘the Agreement’) gives Ofcom discretion to carry out a BBC Competition Review (‘BCR’) where we have reasonable grounds for believing the carrying out of a public service activity is having a significant adverse impact on fair and effective competition. 1.3 Ofcom’s published guidance sets out the procedures we follow in determining whether or not to launch a BCR (‘the Guidance’).1 The Guidance identifies a BCR as a tool for examining existing services to which the BBC has made incremental changes over time, or where market conditions have undergone significant change.