RADIO COMMISSIONING
Commissioning Brief
Commissioning Brief No.: 10012 Bundle C: Two Dance DJ Shows Talent: Annie Nightingale / Pete Tong From September 2021 BBC Radio Commissioning Brief – Popular Music Network
CONTENTS
SECTION A: EDITORIAL OPPORTUNITY ...... 3 1. Network: Radio 1 ...... 4 2. The Opportunity ...... 4 3. Music Policy ...... 5 4. Programme Content ...... 5 5. The Opportunity ...... 5 6. Music Policy ...... 5 7. Programme Content ...... 6 8. Key Measurables ...... 6 9. Diversity and Inclusion ...... 6 10. Key Deliverables ...... 6 11. Risk Management...... 6 12. Additional Information / Requirements ...... 7
SECTION B: PROCESS, ASSESSMENT, EVALUATION ...... 8 1. The Four Stages ...... 8 2. Assessment Criteria ...... 9 3. Evaluation Team ...... 10
SECTION C: THE COMMISSIONING TIMETABLE ...... 11
SECTION D: FULL PROPOSALS AND REFERENCE INFORMATION ...... 12
APPENDIX 1: Strategic Priorities ...... 14
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SECTION A: EDITORIAL OPPORTUNITY Commissioning Brief: 10012 – Bundle C: Two Dance DJ Shows
Commissioning Owner Aled Haydn Jones
Commissioning Contact Robert Gallacher Robert.Gallacher@bbc.co.uk Rachel McHalroy [email protected]
Commissioning Brief Title Bundle C: Two Dance DJ Shows
Network Radio 1
Guide Price £875 per show - ‘Guide Price’ does not include presenter fees, which will be paid directly by the Network
Genre Music
Duration One year with two separate options for the BBC to renew for a further year on the same terms after both the first and second years (1+1+1)
No. of Episodes 50 eps per show, 100 in total
Transmission Period From September 2021
Slot Day and Time Weds: 2300 – 0100 Fri: 2200 – 0000
Production Location London
Important Notes: • Suppliers should submit a Full Proposal via Proteus which should not exceed two sides of A4 when printed using Arial font, size 11. • These suppliers will also be invited to a Zoom pitch with the Commissioning Team, where they can use a power-point, but we request that they don’t play any video content. • Producers are not permitted to contact on-air talent, without prior approval of the commissioner. • Any producer found to be in breach of this will be excluded from the commissioning process. • The BBC reserves the right at any time prior to the award of a commission, and without incurring any liability to the affected suppliers, to accept or to reject any proposal, or to annul the commissioning process rejecting all Full Proposals. More information relating to all commissioning briefs and rounds, regardless of Networks can be found on the Pitching Ideas page of the Radio Commissioning Website:
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http://www.bbc.co.uk/programmes/articles/4fC4NcVXqkZntJv8ZHpClD8/pitching- ideas
We strongly advise you to submit your Proposals in good time to avoid the possibility of difficulties caused by unforeseen network or transmission problems. No late submissions will be accepted
1. Network: Radio 1
About
BBC Radio 1 is a youth music brand aimed at 15-24 year olds. Its focus is to entertain through music across several platforms. Our linear and on demand programmes and mixes showcase a wide range of new music genres and support emerging artists, in particular those from the UK; with over 60 hours a week dedicated to specialist music programming.
Podcasts, news and other speech content discusses relevant topics for our young people providing information, companionship and a safe space for their voices and issues to be heard.
Network Editorial Strategy & Objectives
Radio 1 will continue to become the number one British radio brand for 15-24 year olds establishing itself at the centre of youth culture in the UK. The station plays a key part in reaching as many young diverse audiences for the BBC across the UK.
The network’s primary focus is to grow habitual consumption of linear and on demand youth content in BBC Sounds by providing industry leading music programming and mixes with the curation and context from our world leading DJ’s and presenters which cannot be found elsewhere. Speech and entertainment content will focus on what is relevant to 15-24 years olds and should always contextualise older reference points. Success of the current strategy will rely on strategically using the full 360 of the Radio 1 brand across linear, on demand, visual and social to create specific content designed to match the mood and needs of young adults in the UK.
Producers who are shortlisted should include any thoughts on how their specific programme can assist in delivering the strategy outlined.
2. The Opportunity
Annie Nightingale Presents… Wednesdays 2300 – 0100 Radio 1 and Radio 1 Dance
Annie Nightingale is Radio 1’s longest standing DJ and this commission should centre around her passion and reputation as a new music curator. With a focus on bass music and all its sub genres this late-night show will provide a platform to champion exciting new DJ’s, artists and sounds as well as celebrating established acts from the scene.
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3. Music Policy This is a new music focussed show centred around bass music and should represent emerging acts and scenes from both the UK and internationally. As a curator of music with an extensive broadcasting career Annie should also utilise her extensive knowledge to reflect influential heritage artists where relevant. Due to the growth of streaming sites as the primary source for new music discovery production teams should keep in mind our ability to provide context and excitement around our playlists. The show should contain two unique guest mixes each week curated by talent relevant to the bass world. The production team will be expected to programme the remaining music content in consultation with the presenter and work alongside other night-time shows and the music team to manage the transition of relevant new tracks and artists to the Future Artist meeting and where appropriate to the Radio 1 playlist.
4. Programme Content This show is music based and should be reflected in the content with a ratio of 80% music to 20% speech. We would like to hear ideas for creative and innovative music features and mix ideas that would work well live and on demand in BBC Sounds. As one of Radio 1’s late night music shows we would also expect four special programmes a year celebrating an artist, event or a genre specific focus.
5. The Opportunity Pete Tong – Fridays 2200 – 0000: Simulcast on Radio 1 and R1 Dance, and various repeats on Radio 1 Dance
With this commission we are looking to capitalise on Pete Tong’s reputation as an authority in the international dance community using his status to bring dance fans to BBC Sounds. Showcasing the biggest and best new beats and electronica this show will provide the ultimate guide to the hottest and most exciting dance music from the UK and across the globe.
6. Music Policy
This is a mix show and should highlight Pete Tong as a curator and champion of dance music, focussing on the UK and international club scene and the hottest tracks circulating in that world. As a centre point to the Radio 1 Dance stream, we are looking for innovative approaches to guest mixes that showcase exclusive content from global dance acts, enticing dance fans to BBC Sounds.
The producer should have an in-depth knowledge of dance music and its many genres and will work closely with the presenter to playlist the show and book the guests and mixes. They will need to show they have strong contacts in the dance industry, and we want to see suggestions of future guest bookings and hear ideas for possible stand out moments in the Radio 1 dance calendar.
The team will also be expected to work alongside other night-time shows to cross promote content and key network projects. They will also collaborate with the music team to manage
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the transition of relevant new tracks and artists to the Future Artist meeting and where relevant to the Radio 1 playlist.
7. Programme Content This show should consist of a continuing mix of music with a ratio of 80% music to 20% speech. We would like to hear ideas for creative music features and builds on how to maximise the long established ‘Essential New Tune’ focussing on how these could work to grow live and on demand numbers in BBC Sounds.
This show will be pre-recorded, however on occasion the team may be asked to deliver live content or specials for example OB’s from festivals, clubs or network led projects such as Radio 1’s Dance Weekend. During these events, the producer will be expected to work closely with Radio 1’s Music and Live Events teams and advise on the editorial suitability of potential line-ups for such shows.
8. Key Measurables Live and on demand numbers in BBC Sounds to increase over the course of the contract.
9. Diversity and Inclusion
At Radio 1 we want to reflect the diversity of the UK and are interested to hear your inclusive ideas and how they might be reflected by the content, the music, the guests and the presenter. You may also wish to consider how this show might contribute to the expanded 50:50 Diversity initiative. (More detail can be found in Appendix 1 at the end of this Brief).
10. Key Deliverables • To ensure the show in BBC Sounds looks enticing with accurate programme descriptions, artists photos, tracklistings and information for future episodes. • To deliver additional or re-formatted content for BBC Sounds when required (for example programme clips / relatable content for R1 Dance). • We do not expect a social media proposition for this show; however, we do recognise that during key moments such as the specials outlined above, there is room for creative ideas to engage and interact with listeners and on demand consumption. • To collaboratively work with network departments and other suppliers across R1 to maximise strategic dance moments and wider station messages.
11. Risk Management
If you are successful and secure a pitch, we would like you to include a detailed transition plan and an explanation of how you will manage the transition from the current production of the programme, with minimum disruption.
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12. Additional Information / Requirements • The ‘Guide Price’ does not include presenter fees, which will be paid directly by Radio 1. • The contract will be offered as a “fixed price” deal and the BBC will assume that any elements included in proposals can be successfully delivered within the guide price given. • Production teams will be expected to adhere to all relevant editorial and copyright guidelines in place; and deliver all necessary production related paperwork in a timely fashion – e.g. Compliance Forms, Music Reporting and Proteus. • We expect these shows to be pre-recorded. • Access to all necessary broadcast production systems, as well as studios to enable the broadcast/recording of the show, will be made available in New Broadcasting House London, at no cost to the successful supplier throughout the contract. In addition, special recording procedures are in place for Annie Nightingale to ensure the health and safety of this presenter which the production team will be expected to keep in place. • On occasion the production team will be expected to work with new talent developing and nurturing their broadcasting skills. This will be in consultation with Network
Compliance and BBC Editorial Guidelines
You will be required to deliver programmes that are in line with the BBC’s Editorial Guidelines and be able to adapt to the BBC’s changing editorial and business needs during the period of the commission.
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SECTION B: PROCESS, ASSESSMENT, EVALUATION 1. The Four Stages
Stage 1: Full Proposal
Step 1: We may issue further relevant programme production information to all producers proceeding to this stage. If sensitive information is being released, then producers will be asked to sign a non-disclosure agreement (NDA).
Step 2: Producers proceeding to this stage will be invited to provide a Full Proposal, via Proteus, responding to this commissioning brief, which includes all the elements outlined in Section D (“Full Proposals”). For guidance, your Full Proposal should not exceed two sides of A4 when printed using Arial font, size 11.
Step 3: Producers will be offered the opportunity to discuss the programme brief with the commissioning editor prior to submitting their full proposal.
Stage 2: Interview / Pitch
Step 1: You may be invited to an interview/pitch meeting on Zoom with the evaluation team. We will notify you which members of the evaluation team will be attending this meeting and you should expect to be asked to discuss and elaborate on your proposal and answer questions about it. It is also possible we may ask you to bring additional relevant material to this meeting – we request that you do not use any video content, though audio clips are acceptable.
Step 2: Following the interview/pitch, the evaluation team will re-evaluate your Full Proposal against the assessment criteria outlined on page 9, taking into account the responses given during the pitch, and any additional material requested. The evaluation team may then decide to award the contract to the producer(s) which best meets the assessment criteria; Note: At any stage of the process, we may need to come back to you to seek clarification. Your answers will be factored into the evaluation process as appropriate.
Step 3: Or we may decide to hold second interviews, for example, in the event where we need more information to be able to differentiate between proposals.
Stage 3: Contract Signed
Stage 4: Feedback If you’re unsuccessful after attending an interview / pitch meeting, you may request feedback. Once notified you have two weeks to request feedback. Requests for feedback should be made to Robert Gallacher. Feedback will be provided within two weeks of receiving the request.
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2. Assessment Criteria We will assess your Full Proposal and pitch according to the main criteria below (editorial proposal and capability, strategic priorities, value for money and risk). More details on how we will make our assessment will be given to all those shortlisted at the same time they are asked to submit a Full Proposal.
Assessment Criteria Weighting Editorial proposal and capability 65% Key Indicators ➢ Editorial Fit: Fit of editorial proposal to Radio 1’s strategy and music policy, as well as BBC Radio’s overall vision and objectives ➢ Creative challenge: Response to specific creative and editorial challenges set out in brief ➢ Specialist knowledge: Demonstrable specialist music knowledge and industry contacts as well as depth of knowledge of youth culture ➢ Format: Format and structure of the programme ➢ Agility: Ability to innovate and evolve programme in line with changing audience habits Other Indicators ➢ Plans for engaging young audiences via social media and interactive content ➢ Experience of creating genuine 'appointment to listen' features and content ➢ Proposed production team’s track record in producing programmes for a diverse range of youth audiences ➢ Ability to work collaborative with other production teams and suppliers ➢ Ability to manage and develop high profile on-air talent ➢ Ability to identify and book suitable artists for live music sessions and events Strategies to evolve listener engagement 20% ➢ Appeal to new diverse audiences (music, speech content, digital) ➢ Diversity of ideas and people (on-air and off-air) ➢ Ideas for contributions to 50:50 strategy ➢ Digital innovation (achievable within your proposed price) Value for Money 5% ➢ Budget: the financial plan for the production, including a full budget breakdown showing production and overhead costs. ➢ Price: confirmation that the price per episode (for both the audio and visual content) is in line with the brief ➢ Efficiency: efficiency of the production process, ability to deliver additional value to the BBC ➢ Contract terms: acceptance of key contract terms (including compliance with applicable UK law) Risk 10% ➢ Transition: the ability to run a smooth handover of the production from the incumbent production team ➢ Production: the ability to produce shows of large scale and volume with a consistent and experienced production team ➢ Business continuity: adequacy and robustness of business continuity plans; ability to continue the production in case of business disruption ➢ BBC reputational: the ability to produce a programme which poses limited / no risk to the reputation of the BBC ➢ Legislation and policy: the ability to comply with all relevant UK legislation and BBC policies (not limited to editorial policies) ➢ Conflict of interest risk
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3. Evaluation Team The following people may be involved in the evaluation of your proposal at various stages: • Aled Haydn Jones, Head of BBC Radio 1 • Rachel McHalroy, Commissioning Executive, BBC Radio 1 • Chris Price, Head of Music, BBC Radio 1 • Robert Gallacher, Commissioning Editor, BBC Radio Pop Networks • Joe Harland, Head of Visual Radio & Digital, Pop Networks • Mark Waring, Senior Rights and Business Affairs Manager • Raluca Albu, Senior Procurement Manager
Subject matter experts (e.g. production experts, visual content specialists, network management or finance advisors etc.) may also be consulted. See Section B for information on the commissioning process and assessment criteria, and Section C for the Commissioning Timetable.
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SECTION C: THE COMMISSIONING TIMETABLE
The commissioning process for this opportunity consists of a number of stages, as set out in the timetable below:
STAGE TIMINGS (all Midday) ACTIVITIES 1. Launch Tues 27th April Publication of commissioning brief documentation and round opens in Proteus. 2. Full Proposal Thurs 10th June Deadline for Full Proposal to be submitted via Proteus
3. Interview/ Pitch w/c 14th and 21st All producers shortlisted and who submit a Full June Proposal will be invited to attend a pitch via Zoom. PLEASE MAKE SURE YOU ARE AVAILABLE FOR PITCHING FOR THESE WEEKS – PITCHES WILL NOT TAKE PLACE AT ANY OTHER TIME. th 4. Commission w/c 28 June Either: Commission award decision made, decisions made commissioning specification completed, and and contracts contract issued. signed Or: Producers invited to second interviews. August / Agreement of all programme related deliverables September 2021 and technical specifications (for further information on Radio 1 requirements, please see the BBC’s commissioning website). Full contract signed.
th 5. Feedback By 9 July Shortlisted producers may request feedback.
We will assess your proposal according to this timetable. Late submissions cannot be accepted.
If you have any questions about this commissioning brief that need answering before you submit your Proposal, please ensure you email them to either [email protected] or [email protected] by 7th June at the latest.
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SECTION D: FULL PROPOSALS AND REFERENCE INFORMATION
Important Points to Note
Your Full Proposal must be entered into the main ‘Synopsis’ section in Proteus by noon on Thursday 10th June – late submissions cannot be accepted. It should adopt the structure below and, for guidance, should not in total exceed two sides of A4 when printed using Arial font, size 11. Proposals not complying may be rejected by the Commissioner whose decision in this matter will be final.
The BBC reserves the right at any time prior to the award of a commission, and without incurring any liability to the affected suppliers, to accept or to reject any proposal, or to annul the commissioning process rejecting all Full Proposals.
Part 1 – Your detailed Full Proposal, showing your response to the BBC’s requirements outlined in Section A of this commissioning brief.
Part 2 – A section containing the following information: (i) The name and contact details of your nominated representative (a single point of contact within your organisation who will be responsible for all communication related to the commissioning brief). (ii) The planned location for the production team who will produce the show should you be successful. (iii) Evidence that you have the skills to deliver, or the ability to acquire the skills to deliver, the production of the programme in line with this commissioning brief. (iv) Details of third-party suppliers. You may want to work in partnership with third parties to deliver the brief. If so, you should include: o responses on behalf of each partner o details of the responsibilities of each partner o an outline of the main personnel who will be responsible for the production and delivery of the programme o an explanation of how working in partnership would be successfully achieved, including a proposed legal structure (e.g. one lead contractor and sub- contractors). (v) Details of your proposed total programme and per episode cost, broken down by price to BBC Public Service and any other funding sources. As part of our strategic priorities the BBC is making a commitment to the real living wage (as described by the Living Wage Foundation – see livingwage.org.uk). The per episode cost of the programme should be budgeted to account for the real living wage and the Full Proposal should include details of how compliance with the real living wage will be achieved. All details should be included in a budget template as below:
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Production Costs Daily Rate Days/Week Total Executive Producer £0.00 Producer £0.00 Assistant Producer £0.00 Production Manager £0.00 Total: £0.00 Overheads @ % Production fees @ % Grand Total – ex VAT £0.00
(vi) Depending on the detail of your proposal, if you are successful in your bid to produce the programme, Transfer of Undertakings (Protection of Employment) Regulations 2006 (and/or any superseding or amending legislation) (“TUPE”) may apply.
If TUPE applies we would therefore ask you, at an appropriate point during the tender process, about the assumptions being made in respect of the application of TUPE to your bid, as part of your production talent planning, and how such assumptions have impacted on the detail of the bid. You should seek your own legal advice as appropriate.
To inform overall production talent considerations and enable you to make an assessment regarding the potential application of TUPE, the BBC may release an indication of the current production roles, and any relevant information of those currently employed on the programme.
When we know which suppliers are interested in this Brief, the BBC may engage with the producers to discuss the impact of their assumptions regarding TUPE on their bid. This will include reaching an understanding of the proposed production team associated with their bid, how the producer proposes to implement the legal requirements of TUPE (where applicable), and a commercial negotiation regarding any financial considerations connected to their TUPE assessment and its impact, which will then form part of the overall evaluation prior to the final decision being made.
By submitting your proposal, you confirm acceptance of the key contract terms.
Please refer to this important information supporting your Full Proposal submission:
More information relating to all commissioning briefs and rounds, regardless of Networks can be found on the ‘Pitching Ideas’ page of the Radio commissioning website:
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APPENDIX 1: Strategic Priorities
Diversity & Inclusion
Diversity & Inclusion is a priority for ALL of us. We want BBC Radio & Music to be demonstrably the best organisation in the audio sector to work for and with. We are fully committed to making this a place where people feel welcomed, appreciated, respected, and that they can be themselves and produce their best work.
We commit to diverse teams, representative programmes and inclusive culture and will ensure that leadership and workforce D&I representation meets the BBC’s targets.
To support this, we are committing £12 million of the R&M annual competed programme commissioning budget over the next three years from 21/22 to commissions that meet two of the following three priorities: i. diverse stories and portrayals, covering the nine protected characteristics plus social mobility ii. diverse production leadership - where “diverse” includes ethnicity, socio-economic background and disability. iii. diverse company leadership - where “diverse” includes ethnicity, socio-economic background and disability.
Our D&I commitments will help create an inclusive culture for all, increasing gender, ethnicity, socio-economic and disability diversity, and helping to deliver on the BBC's new 50:20:12 diversity targets for Gender, BAME and disability representation.
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