Managing Radio
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The Marie Curie Hospice, Cardiff and the Vale
Welcome to the Marie Curie Hospice, Cardiff and the Vale We’ve put together this folder with information about our hospice that you might find useful – such as the services we offer, how we can help and what you can expect from us. We want you to have a really comfortable stay with us, and get the most out of what we can offer. So just let us know if there’s anything that you need or something we can do for you, your family and your friends. You can always speak to your nurse if you have any questions or concerns about your care, or have any thoughts or suggestions about our hospice. We’re here to provide you, and those close to you, with our very best care and support. Paula Elson, Hospice Manager Marie Curie Hospice, Cardiff and the Vale Bridgeman Road, Penarth, Vale of Glamorgan CF64 3YR Reception: 02920 426 000 Ground floor ward: 02920 426 017 First floor ward: 02920 426 027 Email: [email protected] mariecurie.org.uk/cardiff Contents Your room 2 Food and drink 5 Medication 6 Information for your visitors 7 Preventing infections and how you can help 9 How to reduce your risk of falling 11 Our services and how we can help 12 Sources of information and other support for you 15 General information 16 How we keep your information safe and confidential 17 Let us know what you think 18 A little about Marie Curie 19 How you can support our work 21 List of TV channels and radio stations 22 Hospice information for in-patient care Page 1 Your room Your bed As your bed is adjustable, our nursing staff will explain to you how the bed’s control buttons work. -
Our Manchester Voluntary and Community Sector
Our Manchester Voluntary and Community Sector Grants Programme 2018/2019 Annual Report Community Hub Contents Foreword Manchester’s Voluntary and Community Sector This annual report celebrates the successes (VCS) organisations are a vital part of the fabric of the VCS organisations funded by the Council. Foreword 3 of the city. Their work is key to reaching those It’s wonderful to see what has already been untouched by Manchester’s success, to create achieved in the first year of the programme. Introduction 4 resilient and vibrant communities, and to make sure that they are able to access the best of It’s also a great opportunity to look forward Our year in numbers – what Manchester has to offer. The VCS plays and outline our ambitions for the next two 2018/2019 6 an important role in improving people’s skills years of the programme. This includes working and job prospects, encouraging residents to to strengthen our partnership with Manchester Supporting individuals 8 get involved in their neighbourhoods, building Health & Care Commissioning to extend the local partnerships, and celebrating the city’s reach of our investment and support to a Community impact 10 diverse communities. The work of voluntary broader range of organisations and residents. organisations is also typical of the Our Supporting volunteering We also recognise that these successes only Manchester way of working: listening to represent a portion of what VCS organisations in the city 12 people and recognising the best in them, deliver across the city. Despite the many and working together to improve the lives Better relationships 14 challenges and changes we face, our ambition of individuals and communities. -
The Regulation of Commercial Radio Broadcasting in the United Kingdom
NORTH CAROLINA JOURNAL OF INTERNATIONAL LAW Volume 14 Number 2 Article 5 Spring 1989 The Regulation of Commercial Radio Broadcasting in the United Kingdom Timothy H. Jones Follow this and additional works at: https://scholarship.law.unc.edu/ncilj Part of the Commercial Law Commons, and the International Law Commons Recommended Citation Timothy H. Jones, The Regulation of Commercial Radio Broadcasting in the United Kingdom, 14 N.C. J. INT'L L. 255 (1989). Available at: https://scholarship.law.unc.edu/ncilj/vol14/iss2/5 This Article is brought to you for free and open access by Carolina Law Scholarship Repository. It has been accepted for inclusion in North Carolina Journal of International Law by an authorized editor of Carolina Law Scholarship Repository. For more information, please contact [email protected]. The Regulation of Commercial Radio Broadcasting in the United Kingdom Timothy H. Jones* The regulation of commercial radio broadcasting in the United Kingdom is about to enter a period of rapid change. The Govern- ment is committed to increasing the number of commercial radio sta- tions and to a measure of deregulation. Legislation to effect these changes is expected in the near future. Up to the present time, an independent agency, the Independent Broadcasting Authority (IBA or Authority), has strictly regulated commercial radio broadcasting.' Commercial radio services have been restricted to those of a "local" character.2 This regulation of Independent Local Radio (ILR) is generally regarded to have been a failure, and the IBA's effectiveness as a regulatory agency has been called into question on numerous occasions. -
Aid to Channel 4 Linked to Digital Switchover Invitation to Submit Comments Pursuant to Article 88(2) of the EC Treaty
C 137/16EN Official Journal of the European Union 4.6.2008 STATE AID — UNITED KINGDOM State aid C 13/08 (ex N 589/07) — Aid to Channel 4 linked to digital switchover Invitation to submit comments pursuant to Article 88(2) of the EC Treaty (Text with EEA relevance) (2008/C 137/10) By means of the letter dated 2 April 2008 reproduced in the authentic language on the pages following this summary, the Commission notified the United Kingdom of its decision to initiate the procedure laid down in Article 88(2) of the EC Treaty concerning the proposed financial support to Channel 4 to enable it to meet the costs of digital switchover. Interested parties may submit their comments on the measure in respect of which the Commission is initi- ating the procedure within one month of the date of publication of this summary and the following letter, to: European Commission Directorate-General for Competition State Aid Registry SPA 3 6/5 B-1049 Brussels Fax (32-2) 296 12 42 These comments will be communicated to the United Kingdom. Confidential treatment of the identity of the interested party submitting the comments may be requested in writing, stating the reasons for the request. TEXT OF SUMMARY The UK authorities accept that the notified measure constitutes an aid within the meaning of Article 87(1) of the Treaty. They argue however that the measure is compatible with the Treaty by virtue of Article 86(2), having regard to the Commission's 1 PROCEDURE Communication ( ) on the application of the State aid rules in relation to public service broadcasting (‘the Communication’) and the three particular criteria according to which the compati- The measures on which the Commission has opened the proce- bility of aid of this nature falls to be judged, namely, definition, dure laid down in Article 88(2) was brought to the Commis- entrustment and proportionality. -
BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
Digital Switchover of Television and Radio in the United Kingdom
HOUSE OF LORDS Select Committee on Communications 2nd Report of Session 2009–10 Digital switchover of television and radio in the United Kingdom Report with Evidence Ordered to be printed 18 March 2010 and published 29 March 2010 Published by the Authority of the House of Lords London : The Stationery Office Limited £price HL Paper 100 The Select Committee on Communications The Select Committee on Communications was appointed by the House of Lords with the orders of reference “to consider communications”. Current Membership Baroness Bonham-Carter of Yarnbury Baroness Eccles of Moulton Lord Fowler (Chairman) Lord Gordon of Strathblane Baroness Howe of Idlicote Lord Inglewood Lord King of Bridgwater Lord Macdonald of Tradeston Baroness McIntosh of Hudnall Bishop of Manchester Lord Maxton Lord St John of Bletso Baroness Scott of Needham Market Publications The report and evidence of the Committee are published by The Stationery Office by Order of the House. All publications of the Committee are available on the intranet at: http://www.parliament.uk/parliamentary_committees/communications.cfm General Information General information about the House of Lords and its Committees, including guidance to witnesses, details of current inquiries and forthcoming meetings is on the internet at: http://www.parliament.uk/about_lords/about_lords.cfm Contact details All correspondence should be addressed to the Clerk of the Select Committee on Communications, Committee Office, House of Lords, London SW1A 0PW The telephone number for general enquiries is -
Download Valuing Radio
Valuing Radio How commercial radio contributes to the UK A report by the All-Party Parliamentary Group on Commercial Radio The data within Valuing Radio is largely drawn from a 2018 survey of Radiocentre members. It is supplemented by additional research which is sourced individually. Contents 01 Introduction 03 Overview and recommendations 05 The public value of commercial radio • News and information • Economic value • Charity and community 21 Commercial radio people 27 Future of radio Introduction The APPG on Commercial Radio helps provide this important industry with a voice in parliament. With record audiences and more ways to listen than ever before, the impact of the industry should not be underestimated. While the challenges facing the sector have changed over the years, the steadfast commitment of stations to provide public value content every day remains. This new report, the first of its kind produced by the APPG, showcases the rich public value content that commercial radio provides to listeners for free. Valuing Radio explores the impact made by stations up and down the country, over and above the music and entertainment output that audiences expect. It looks particularly at radio’s role in providing news and information, the sector’s significant support for both charitable fundraising and education, in addition to work to improve diversity within the industry. Alongside this important public value content is a significant economic contribution to local economies across the UK. For the first time we have analysis on the impact of local advertising and the return on investment (ROI) that this generates for particular nations and regions of the UK. -
Review of BBC Local Radio Report Prepared for BBC Management
Review of BBC Local Radio Report prepared for BBC Management John Myers February, 2012 Myers review of BBC Local Radio - January 2012 Preface In November 2011, I was asked by BBC management to review the operations of BBC Local Radio. The brief was to examine the working practices of the local radio network, to investigate areas of possible savings without impacting the on-air performance and review the current levels of management and back office staff. This work was conducted over a short period of time and therefore my findings can only be considered to be an overview. Furthermore, this is my personal opinion based on what I have learned and is certainly not meant to be a detailed cost analysis of each station or the network as a whole which would require extensive and detailed work to be carried out over a longer period of time. In addition, the savings are approximate totals and are not meant to be precise. While my task was not to review content specifically, I did so if I felt it impacted on the cost of running local radio or where it provides context, colour or background to a particular point. Where practical, I have offered a solution to any issues uncovered if it is not contained within my main findings and recommendations. The review was carried out between the 11th November and the 9th December respectively and nine stations were visited within the network portfolio. These were Cumbria, Essex, Merseyside, Shropshire, Nottingham, Tees, Manchester, Oxford and BBC Sussex and Surrey. I was assisted in this task by the BBC‟s Policy and Strategy team. -
Completed Acquisition by Global Radio Uk Ltd of Gcap Media Plc
COMPLETED ACQUISITION BY GLOBAL RADIO UK LTD OF GCAP MEDIA PLC UNDERTAKINGS TO BE GIVEN BY GLOBAL RADIO UK LTD TO THE OFFICE OF FAIR TRADING PURSUANT TO SECTION 73 OF THE ENTERPRISE ACT 2002 WHEREAS: (a) On 6 June 2008 Global acquired GCAP; (b) It appears to the OFT that, as a consequence of that transaction, a relevant merger situation has been created in the UK; (c) The OFT has a duty to refer a completed merger to the CC for further investigation where it believes that it is or may be the case that the creation of that merger situation has resulted or may be expected to result in a substantial lessening of competition within any market or markets in the UK for goods or services; (d) Under section 73 of the Act the OFT may, instead of making such a reference and for the purpose of remedying, mitigating or preventing the substantial lessening of competition concerned or any adverse effect which may be expected to result from it, accept undertakings to take such action as it considers appropriate, from such of the parties concerned as it considers appropriate, in particular having regard to the need to achieve as comprehensive a solution as is reasonable and practicable to the substantial lessening of competition and any adverse effects resulting from it; (e) The OFT considers that, in the absence of appropriate undertakings, it would be under a duty to refer the acquisition of GCAP to the CC; and (f) The OFT further considers that the undertakings given below by Global are appropriate to remedy, mitigate or prevent the substantial lessening of competition, or any adverse effect which has or may have resulted from it, or may be expected to result from it, as specified in the Decision. -
Revisions to Digital Radio Technical Codes Statement Following Consultation
Revisions to Digital Radio Technical Codes Statement following consultation STATEMENT: Publication Date: 11 June 2019 Contents Section 1. Overview 1 2. Introduction 3 3. Adjacent Channel Interference (ACI) and blocking processes 7 4. Spectrum masks for DAB 15 5. DAB+ audio encoding 18 6. Digital Radio Technical Code: other proposed revisions 21 7. Technical Policy Guidance for DAB Multiplex Licensees: other proposed revisions 27 8. Other issues raised by respondents 28 Revisions to Digital Radio Technical Codes: Statement following consultation 1. Overview Ofcom published a consultation on 4 February 2019 which proposed making changes to the existing technical rules that the UK’s DAB digital radio broadcasters are required to comply with as a condition of their licences. We proposed these changes with the aim of ensuring that our rules remained appropriate and proportionate. The consultation closed on 28 March 2019, and we received 28 responses to our proposals from industry stakeholders and members of the public. We have considered all of the points raised by respondents, and we have made certain revisions to our proposed changes in light of the comments that we received. This Statement concludes the consultation process, sets out our analysis of the points raised by respondents, and includes our final decision on the proposed changes to the technical codes. The new Technical Code documents1 will come into force today (11 June 2019). 1 https://www.ofcom.org.uk/tv-radio-and-on-demand/information-for-industry/guidance/DAB-Technical-Policy- Documents 1 Revisions to Digital Radio Technical Codes: Statement following consultation What we have decided – in brief The main changes that we have decided to make are in the following areas: ACI/blocking procedures We are proceeding with the changes that we proposed in relation to the management of ‘Adjacent Channel Interference’ (ACI) and 'blocking’, which are technical effects that can disrupt reception of existing DAB stations when new DAB transmitters are built. -
Digital One’S Response to the Ofcom Consultation “Future Pricing of Spectrum Used for Terrestrial Broadcasting”
Digital One’s Response to the Ofcom Consultation “Future pricing of spectrum used for terrestrial broadcasting” 1. Digital One operates the UK’s only national commercial DAB digital radio multiplex. Its shareholders are GCap Media (63%) and Arqiva (37%). Digital One’s transmission network (which is operated by Arqiva) is the world’s biggest DAB digital radio network with coverage well in excess of 85% of the British population. Digital One’s multiplex broadcasts: - the three INRs (Classic FM, Virgin Radio and talkSPORT); - four digital-only national stations (Capital Life, Core, Oneword and Planet Rock) with a further station being launched in the next few months; - TV channels and an Electronic Programme Guide broadcast as part of BT Movio. Digital One is a leading stakeholder in the UK’s Digital Radio Development Bureau and the WorldDAB Forum (which is responsible for the DAB digital radio standard and works to coordinate the international roll-out of Eureka 147 based technologies). 2. Digital One is licensed under the 1996 Broadcasting Act, and has licence obligations which help deliver public policy benefits. These limit Digital One’s ability to use the spectrum it has been allocated in the most efficient manner (in economic terms). For example: - the obligation to operate a transmitter network which delivers high population coverage; - the obligation (at the direction of the Secretary of State for the Department of Culture, Media and Sport) to carry the three INRs and to offer each INR an amount of capacity dictated by the regulator; -
Berry, Richard (2013) Radio with Pictures: Radio Visualization in BBC National Radio
Berry, Richard (2013) Radio with pictures: Radio visualization in BBC national radio. The Radio Journal, 11 (2). pp. 169-184. ISSN 1476-4504 Downloaded from: http://sure.sunderland.ac.uk/id/eprint/5210/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Radio with Pictures: Radio Visualisation in BBC National Radio Richard Berry University of Sunderland Abstract. Radio has always had pictures. The ones the listener created in their own minds and this is, most of us agree, one of the medium's greatest strengths. However, radio is increasingly consumed on a digital platform (such as DAB Radio, Digital TV, a mobile device or a computer) on devices with screens, rather than a dial. This creates a problem for radio because when we look at the device we are listening to we see a screen that often lacks rich content. The process of Radio Visualisation is about filling this space. This papers focus, though, is the other ways in which radio is visualising itself online in a process that deploys transmedia storytelling techniques that build relationships with the audience, builds brands and helps broadcasters to tell stories in ways never before possible. In the spring of 2011 2.84 million British TV viewers watched a radio programme on their Televisions. They were tuning in via interactive television (or the 'red button') services to watch the BBC Radio One breakfast presenter Chris Moyles attempt to break a world record for the longest radio programme. The BBC installed a series of fixed cameras in the programme’s regular studio at the BBC's Yalding House studios, with added 'roving' cameras to allow the presenters to broadcast from other parts of the building and a cafe across the street.