DOCSLIB.ORG

Rde Programme Dublin 2014 140124B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rde Programme Dublin 2014 140124B Radiodays Europe 23-25 March 2014 at CCD in Dublin Preliminary Programme 2014-01-24. Radio Summit: Radio´s Conncected Future Helen Boaden (Radio Director, BBC, UK), Jacqueline Smit (CEO 538 Group, Netherlands), Mayram Salehi (Managing Director, NRJ Group, France) Cilla Benkö (Director General, Swedish Radio) Four top-level radio executives from leading European broadcasters, both private and public, share their views on the present challenges and opportunities for radio. Each of them will present their ideas in a short keynote speech, which will be followed by a discussion about collaborations, competition and the connected future of radio. Speakers: Helen Boaden (Radio Director, BBC Radio, UK), Jacqueline Smit (CEO 538 Group and President of RAB NL, the Netherlands), Mayram Salehi (Managing Director of General Management, NRJ Group, France), Cilla Benkö (Director General, Swedish Radio and member of EBU Executive Board). Ireland’s best PD´s and programmers Dave Kelly (Group PD, UTV), Liam Thompson (Group PD, Communicorp), Gabrielle Cummins (CEO, Beat 102-103, Waterford), David Healy (PD, RTÉ 2fm) Ireland has one of the most dynamic and exciting radio industries in Europe with exceptionally strong public and private sectors - from the RTÉ through to national, regional and local commercial radio. This session will speak to some of the key PDs and programmers from some of the biggest and best radio stations around the Ireland. They’ll share insights into their formats and reveal how they programme their stations for success in the highly competitive Irish marketplace. Radio is in its greatest ever periode of change Helen Boaden (Radio Director, BBC, UK) Helen Boaden, Radio Director of the largest and most influential broadcaster in Europe, the BBC. Radio sales are falling, while the sale of smartphones and tablets are booming. Time spent listening to radio are going down in all age groups – especially among the 15 to 30 year olds. These are ”iceberg” challenges coming slowly towards us where we can see the top, but do not know quite how deep the problem may be, she says. After a year back in radio, where she also started her career, Helen Boaden is ready to share her status report for radio today and her visions for the next era for radio. The Edward Snowden case - The whistle blower, the publisher and the policital pressure Paul Johnson (Deputy Editor, The Guardian, UK) Snowden's disclosure of the US mass surveillance of international phone- and internet communication was last year's largest scandal with far-reaching consequences for journalism, privacy and politics. Paul Johnson , deputy editor of the London newspaper The Guardian which were the first and main publisher of the Snowden material, tells the inside story about how his paper got onto the case, how they handled it, the political pressure they met and the further perspectives they see in the case. The breakdown of breaking news Andy Carvin (Social Media Strategist, NPR, USA) News media must take more responsibility for the after life of their news stories on social media, says Andy Carvin, social media strategist of NPR, USA. The rush to be first with breaking news produces news stories which at times are less than accurate or even directly misleading. Combined with intensive activity on social media this can open for echo chambers of prejudice and conspiration theories. In this session Andy Carvin outlines how news journalism can and should adopt new standards and working methodes in the age of social media. Speaker: Andy Carvin is Senior Strategist for Social Media at Natoinal Public Radio (NPR) in Washington DC, USA. Tony Blackburn – in conversation Tony Blackburn (Radio Legend, BBC Radio 2, UK) Tony Blackburn is a radio legend. He started his broadcasting career on the pirate ships Radio Caroline and Radio London in the 1960s, and due to his popularity was the DJ chosen to launch BBC Radio 1 in 1967. He presented the Radio 1 Breakfast Show and went on to host all the other major shows at that station right up until the mid 80s. He was a regular host of the BBC TV programme Top of the Pops throughout the 70s and 80s and was one of the stars used to help launch the new 'Capital Gold’ in the late 80s where he hosted the breakfast show again. Being one of the most recognisable voices on radio, Tony went on to work at all the major UK radio networks, public and commercial. He continues to be a major presence on the airwaves and he now hosts the Pick of the Pops Programme on the UK biggest radio station, BBC Radio 2. In 2014, Tony Blackburn celebrates his 50th anniversary of being on the radio, and what better way to celebrate than at Radiodays Europe! In this session, Tony will be in conversation with John Simons , where he’ll talk about the major changes he’s seen in radio over the last 50 years, what has kept him working in the business so long, and share some of his best radio stories. 'Tony Blackburn In Conversation' is the chance to meet a true radio legend, and simply not to be missed! Radio in car: under attack? In-car listening is a huge part of radio listening. Yet, the dashboard is changing. The internet is coming to cars: and with it, an infinite choice of music, news and entertainment from established broadcasters but also new entrants, with the possibility to disrupt radio - and, perhaps, kill some forms of radio programming. In the US, Pandora, not radio, is the choice for many in-car. What's next in Europe? An important strategy session focusing on radio’s heartland. Speakers: Fred Jacobs, Jacobs Media, and the inventor of the Classic Rock format. Fred helped organise DASH, the Connected Car AudioTainment Conference, last October. More speakers TBA. The World’s Greatest Radio Apps James Cridland, Radio futurologist, UK. (More speakers TBA). What are the world’s greatest radio apps? What features make a brilliant radio experience on mobile and tablets: and which broadcasters are leading the world in mobile? If radio's future truly is mobile, how is the radio industry adapting to this new world? With demonstrations and discussion, this session will examine best practice in radio apps from across the world, and focus on some of the best examples from the BBC, TuneIn and more. James Cridland is a radio futurologist, and Managing Director of media.info. He launched the world’s first 3G radio app in March 2005 for Virgin Radio, and has also worked for the BBC. Successful programming strategies for digital platforms Martin Liss (Energy FM, Germany), Line Gevelt Andersen (NRK, Norway), Matt Deegan (Fun Kids, UK) New platforms like digital radio and online offer new opportunities to existing radio broadcasters and new entrants. But what is successful - for audiences and businesses alike? How can we best use these new platforms for revenue generation and extending brands? We hear from three different broadcasters about the opportunities of new radio formats and strategies for getting the most out of these new platforms: how can programmers entice audiences to switch, and what works commercially? Speakers: Matt Deegan is the Creative Director of Folder Media, a radio and new media consultancy. Folder Media runs 2011’s Sony Digital Radio Station of the Year, Fun Kids. At that awards Matt was also nominated for Radio Programmer of the Year for his work on the station. Martin Liss is National Programme Director for ENERGY FM in Germany, responsible for five FM stations, 30+ web radio streams, as well as ENERGY’s nationwide DAB+-offering in Germany. ENERGY/NRJ is the largest radio brand in Europe, with stations in 21 countries worldwide. Line Gevelt Andersen, Head of Programme at NRK, Norway, who recently laid out a new strategy for all radio on all platforms and succesfully launched a new channel on DAB, called P1+, targeting an older demographic. iTunes Radio – Lessons from America Larry Rosin (Edison Research, USA) Spotify, Deezer, Pandora. And now iTunes Radio. What´s the impact on radio? In September of 2013 Apple introduced iTunes Radio in America. This introduction was interpreted in the US as being proof of the legitimacy of the streaming audio market and a serious threat to the market leaders in the American streaming space, principally Pandora. It’s also yet another competitor for the time and attention of American consumers for broadcast radio to deal with. Six months in, what kind of impact is iTunes Radio having on the audio market? Larry Rosin, Co- founder and President of Edison Research will have fresh-from-the-field data to share with delegates. As iTunes Radio launches throughout Europe, delegates will get insider’s information on what to expect and how to prepare. Speakers: Larry Rosin is the co-founder and President of Edison Research and has been recognized as one of the leading thinkers in the field of media research. He advises many of the world’s largest media companies, including Time Warner, Sony, and Disney/ABC. More speakers TBA. Getting The Best Out Of Talent Andy Parfitt (Saatchi & Saatchi, UK) Radio stations are full of talented and creative people. But how do you best manage and motivate them? How can you attract the most talented individuals to your organisation and then retain them? And how do you grow and nurture new talent within a company. Andy Parfitt will present his guide to getting the best out of talent, give tips and advice on dealing with creative people on a daily basis, and then share in conversation with Nik Goodman some of his stories about working with amazing talent at both BBC Radio 1 and the world famous advertising agency, Saatchi and Saatchi.
Load more

Recommended publications
  • Broadcast Bulletin Issue Number 228 22/04/13
    Ofcom Broadcast Bulletin Issue number 228 22 April 2013 1 Ofcom Broadcast Bulletin, Issue 228 22 April 2013 Contents Introduction 4 Standards cases In Breach Retention and production of recordings My Channel, 24 December 2012, 04:00 5 Cancer: Forbidden Cures Showcase 2, 8 May 2012, 19:00 8 The Alan Titchmarsh Show ITV, 14 February 2013, 15:00 31 Advertising Scheduling cases In Breach Breach findings table Code on the Scheduling of Television Advertising compliance reports 37 Fairness and Privacy cases Not Upheld Complaint by Mrs Karen Peaston Obese: A Year to Save My Life, Sky1 HD, 30 January 2012 and repeat broadcasts until 13 May 2012 38 Complaint by Miss Karen Richardson EastEnders, BBC 1, 25 December 2012 46 Other Programmes Not in Breach 49 Complaints Assessed, Not Investigated 50 Investigations List 56 2 Ofcom Broadcast Bulletin, Issue 228 22 April 2013 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content as appear to it best calculated to secure the standards objectives1. Ofcom must include these standards in a code or codes. These are listed below. Ofcom also has a duty to secure that every provider of a notifiable On Demand Programme Services (“ODPS”) complies with certain standards requirements as set out in the Act2. The Broadcast Bulletin reports on the outcome of investigations into alleged breaches of those Ofcom codes below, as well as licence conditions with which broadcasters regulated by Ofcom are required to comply. We also report on the outcome of ODPS sanctions referrals made by ATVOD and the ASA on the basis of their rules and guidance for ODPS.
    [Show full text]
  • Anne Karpf/The Sound of Home? Some Thoughts on How the Radio Voice Anchors, Contains and Sometimes Pierces (Pre-Print Version; Published in The
    1 Anne Karpf/The sound of home? Some thoughts on how the radio voice anchors, contains and sometimes pierces (pre-print version; published in The Radio Journal, vol.11, no.1, April 2013, pp.59-73) Abstract This article argues that while psychoanalytic theory has been valuably employed by television, film and cultural studies, there has been no comparable 'psychoanalytic turn' in radio studies. It suggests that the concept of 'containment', as developed variously by Wilfred Bion and Esther Bick, might go some way to explain the powerful role that the voice of the radio presenter can play in the regular listener's internal world, with the capacity both to 'hold' the listener together, and to transform overwhelming fears into more manageable feelings. It argues that the disembodied radio voice does this partly because it recalls the prenatal power of the maternal voice, and partly through the temporal order that regular radio voices impose on the internal and external world. Both Second World War British radio catchphrases and Roosevelt's Fireside Chats are discussed in relation to their containment function. The article also explores the radio as a transitional space, as defined by Donald Winnicott, through which it can constitute listeners into an 'imagined community'. It ends by reflecting on the impact of the angry voice of 2 the 'shock-jock' which, it suggests, amplifies rather than contains overwhelming feelings.1 Contributor's details Anne Karpf is Reader in Professional Writing and Cultural Inquiry at London Metropolitan University. A journalist, broadcaster and radio critic of The Guardian for seven years, her books include 'The Human Voice' (Bloomsbury, 2006; Ehrenwirth, 2007; Autrement, 2008; Soshisha, 2008).
    [Show full text]
  • Media Nations 2019
    Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube.
    [Show full text]
  • The Radio 1 Breakfast Show with Nick Grimshaw Industries
    AS and A LEVEL MEDIA STUDIES Factsheet Industries and audiences factsheet: The Radio 1 Breakfast Show with Nick Grimshaw Industries Production and distribution • The Radio 1 Breakfast Show with Nick Grimshaw is broadcast weekdays from 06.30-10.00 am. • The Breakfast Show has been running since 1967, but Nick Grimshaw took over as the 15th presenter in 2012. • BBC Radio 1 is broadcast on FM, DAB, Freeview, Freesat, Virgin, Sky, or online via BBC Radio Player (including via the phone or tablet app) where it can be heard live or streamed for 30 days. • It is produced by the BBC from its own studios at Broadcasting House in London. • There’s a useful BBC Academy podcast (with transcript) about how the programme is produced http://www.bbc. co.uk/academy/articles/art20170619095219011 • You can also hear what one of the producers (Fiona Hanlon) thinks when she talks about what it’s like to work on the programme: https://www.shu.ac.uk/learn-more/radio-1- breakfast-show • The music is largely playlisted – what is going to be played on daytime Radio 1 is decided by a committee; they choose around 40 records each week for repeated daytime play (A-list records get 25 plays a week, B-list 15, and C-list eight to 10). It’s explained here: http://www.bbc.co.uk/ programmes/articles/SYYQz3WNpBJFs6MrRcs0B5/how-do-i- get-my-music-played-on-radio-1 . Choices are partly guided by what’s already popular with young people online; many older artists are not included as the network is trying to keep an under-30 audience.
    [Show full text]
  • Nick Grimshaw
    Nick Grimshaw Nick Grimshaw has worked in the UK broadcast industry for over 15 years and is firmly established as one of the country's most successful radio and TV personalities. He currently hosts BBC Radio 1's Drive Time show, and in 2019 joined the cast of Channel 4’s Celebrity Gogglebox with his niece Liv. Born in Oldham in 1984 Nick took his first steps into broadcasting on student radio while studying Communications & Business Studies at the University of Liverpool. During holidays he interned at a music PR agency, and on graduation threw himself into the music industry as a radio plugger and DJ promoter. In 2006 Nick was spotted by Channel 4 and was signed up as a presenter for E4 Music and the channel’s morning show, Freshly Squeezed. With his easy charm, pop culture knowledge and confidence in front of the camera Nick quickly established himself as one of the UK's hottest young talents. Having cut his teeth in national TV, Nick was next signed up by BBC2 where he co-hosted three series of their youth music show Sound, alongside Radio 1's Annie Mac. The pair’s chemistry proved a winner and Nick soon joined Annie on Radio 1 hosting the Sunday evening Switch youth strand, which became a huge hit with listeners. This led to Nick being given his first solo BBC Radio 1 show in 2008 as host of the Weekend Breakfast Show, before moving on to present the prestigious weekday 10pm to midnight New Music slot the following year.
    [Show full text]
  • Laura-May Coope I'm the Social Media Producer at Radio 1 and 1Xtra. I'm
    Laura-May Coope I'm the social media producer at Radio 1 and 1Xtra. I'm obsessed with big ideas, the internet and music. I lead the structure and development of social spaces for both Radio 1 and 1xtra. I’ve recently been announced as a member of the Radio 1 Breakfast Show team with Nick Grimshaw – producing social media for the show, generating new feature ideas and building the new brand both online and on air. You can see a snippet of my activity on the @R1Breakfast account which I run. I've been leading social media for BBC events for 3 years, including BBC Radio 1's Big Weekend, Hackney Weekend, 1xtra Live, BBC Reading & Leeds, Radio 1 at Edinburgh Fringe, In New DJ’s We Trust Live, Radio 1 Sex Night, 1xtra at London Fashion Week, 1Xtra Soundclash, The Teen Awards 2011/2012, The Big Conversation, Chris Moyles Longest Show Ever + Children in Need Rocks. I’m also a regular speaker at Radio Academy events and BBC Departmentals and lecture at Universities including Westminster and Portsmouth. And to keep my brain extra busy I run music website www.milk-teeth.com and have recently launched an Internet Party called Crystal Vision TV: http://wearecrystalvision.com/ I’ve spent three years building the station from its social media infancy into of the of the UK’s most popular and engaging media brands. Here are a few examples of my work: • Hackney Weekend Beats and Pieces: http://bit.ly/Qen5rx • Edinburgh YouTube Takeover: http://bit.ly/UMQD5I • The AmazingPhil & DanisnotonFire Christmas Day Show: http://bbc.in/xOprf1 • The Scott Mills and Mista Jam Twitter race : http://bbc.in/twitterrace • U CNTRL Katy Perry: http://bbc.in/ucntrldkaty • The Radio 1 Tumblr: bbcr1.tumblr.com • Team Grimmy: http://bit.ly/OSvBNf • InstaGrim: http://on.fb.me/SSFRF4 • Reading (Festival) Presents with Biffy Clyro, Paramore, Fred Durst and loads more: • http://bbc.in/readingpresents • In New Music We Trust with Skream, Benga, Annie Mac and others : http://bit.ly/inmwtvideo Say hello: @lauramaycoope .
    [Show full text]
  • RESEARCH to EXPLORE PUBLIC VIEWS ABOUT the BBC: APPENDICES for the Department for Culture, Media and Sport
    RESEARCH TO EXPLORE PUBLIC VIEWS ABOUT THE BBC: APPENDICES For the Department for Culture, Media and Sport Prepared by: GfK Social Research Appendices: contents Qualitative Discussion Guide and Stimulus ........................................................................... 3 Objective area 1 discussion guide and stimulus: group discussions ......................... 3 Objective area 1 discussion guide and stimulus: telephone depth interviews ....... 13 Objective area 2 discussion guide and stimulus: group discussions ....................... 18 Objective area 3 discussion guide and stimulus ............................................................. 30 Quantitative questionnaires ...................................................................................................... 44 First survey ................................................................................................................................ 44 Second survey .......................................................................................................................... 50 Qualitative Discussion Guide and Stimulus There were three strands of qualitative research, reflecting three strands of objectives: Objective Area 1: gathering views of the BBC amongst underserved audiences. Objective Area 2: exploring the Charter Review consultation themes amongst the general public. Objective Area 3: investigating attitudes towards willingness to pay for BBC services, and reaction to funding models amongst the general public. Separate discussion guides
    [Show full text]
  • BBC Group Annual Report and Accounts 2018/19
    BBC Group Annual Report and Accounts 2018/19 BBC Group Annual Report and Accounts 2018/19 Laid before the National Assembly for Wales by the Welsh Government Return to contents © BBC Copyright 2019 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as BBC copyright and the document title specified. Photographs are used ©BBC or used under the terms of the PACT agreement except where otherwise identified. Permission from copyright holders must be sought before any photographs are reproduced. You can download this publication from bbc.co.uk/annualreport Designed by Emperor emperor.works Prepared pursuant to the BBC Royal Charter 2016 (Article 37) Return to contents OVERVIEW Contents About the BBC 2 Inform, Educate, Entertain 4 Highlights from the year p.2 6 Award-winning content Strategic report 8 A message from the Chairman About the BBC 10 Director-General’s statement 16 Delivering our creative remit Highlights from the year and 18 – Impartial news and information award-winning content 22 – Learning for people of all ages 26 – Creative, distinctive, quality output 34 – Reflecting the UK’s diverse communities 48 – Reflecting the UK to the world 55 Audiences and external context 56 – Audience performance and market context 58 – Performance by Service 61 – Public Service Broadcasting expenditure p.8 62 – Charitable work
    [Show full text]
  • We Talk to Radio
    APRIL 20, 2002 Volume 20, Issue 17 £3.95 Music euros 6.5 Pet Shop Boys' Release (Parlophone) is this week's highest new entry on M&M's European Top 100 Albums chart, at num- ewe talkis® to radio ber five. M&M chart toppers this week EMI overtakes UniversalNRJ in 'play Eurochart Hot 100 Singles SHAKIRA in European album sharefor publicity' Whenever Wherever (Epic) by Emmanuel Legrand With a 23.7% album chart share, allegations European Top 100 Albums EMI is ahead of Sony Music which, CELINE DION LONDON - In a first quarter of 2002after a poor performance in 2001, has by Kai R. Lofthus A New Day Has Come that saw few new made an impressive recovery,thanksto OSLO - NRJ Norway is being accused of (Columbia) releases,EMIRe- cordedMusichas chart -topping releases adjusting its playlist to schedule songs European Radio Top 50 moved ahead of Uni- from Shakiraand they were initially reluctant to play, on KYLIE MINOGUE versal Music in Euro- Anastacia and contri- the basis that its logo will be featured in In Your Eyes peanalbumchart butionsfromSarah record company TV ad cam (Parlophone) share. Connor, Creed, Jean - paigns for the tracks concerned. According tosta- Jacques Goldman and While managing directors of European Dance Traxx tisticscompiled by Jennifer Lopez. With the majors in Norway could not DB BOULEVARD M&M based onour its 20,7% share, Sony be reached for comment, inde- Point Of View exclusive Eurochart Hot 100 Singlesmoves up from third to second posi- pendent labels which cannot (Airplane) and European Top 100 Albumstion in the crucial albums ranking, afford much TV advertising have told chartsduring thefirstquarter,compared to the same period of 2001.
    [Show full text]
  • Bbc Sounds We Had…
    QUARTER 1 2021 BETWEEN JANUARY AND MARCH 2021, ON BBC SOUNDS WE HAD… Another record quarter with 342 million plays of all content across radio, podcasts and music mixes. An average weekly audience of 3.7 million users across the app, website and voice activated devices with a peak of 3.9 million. A record 149 million plays to on-demand radio and podcast content in this quarter. A total 4.3 million plays of music mixes*. Source: BBC ATi, Q1: w/c 28/12/20 – w/c 22/03/2021 inclusive 2 BBC SOUNDS * Sounds music mixes only, network mixes are included in overall OD figure as per previous editions HOW ARE AUDIENCES LISTENING? Live v On-demand (Hours) Live v On-demand (Plays) 35% 45% 55% 65% Live On-demand Source: BBC ATi, Q1: w/c 28/12/20 – w/c 22/03/2021 inclusive BBC SOUNDS BBC SOUNDS – ON-DEMAND RADIO Top Ten OD Programmes: Plays – All Top Ten OD Programmes: Plays – U35 Top Ten OD Programmes: % – U35 skew 1 The Archers – R4 1 Radio 1 Anthems – R1 1 Radio 1 Anthems – R1 The Thursday Murder Club by Richard Osman - Radio 1’s 24-Hour LOL-a-thon with Scott & Chris 2 2 Radio 1’s Dance Anthems – R1 2 R4 – R1 3 Hercule Poirot – R4E 3 The Archers – R4 3 Radio 1 Breakfast with Greg James – R1 4 Drama – R4 4 The Unbelievable Truth – R4 4 Kenny Allstar – R1X 5 Desert Island Discs – R4 5 In Our Time – R4 5 Nick Grimshaw – R1 6 In Our Time – R4 6 Football Daily – 5L 6 Scott Mills – R1 7 The Unbelievable Truth – R4 7 Elis James and John Robins – 5L 7 Radio 1 Early Breakfast – R1 8 Paul Temple – R4E 8 Radio 1 Breakfast with Greg James – R1 8 1Xtra’s Rap Show with Tiffany Calver – R1X 9 The Infinite Monkey Cage – R4 9 Woman’s Hour – R4 9 Radio 1’s Future Sounds with Annie Mac 10 Woman’s Hour – R4 10 Radio 1's Dance Party with Annie Mac – R1 10 Radio 1’s Party Anthems – R1 %U35 filtered on min.
    [Show full text]
  • Broadcast and on Demand Bulletin Issue Number
    Issue 351 of Ofcom’s Broadcast and On Demand Bulletin 9 April 2018 Issue number 351 9 April 2018 Issue 351 of Ofcom’s Broadcast and On Demand Bulletin 9 April 2018 Contents Introduction 3 Broadcast Standards cases In Breach Steve Allen LBC 97.3FM, 28 December 2017, 04:00 5 Gem at Breakfast Gem 106, 9 to 11 January 2018, 06:00 9 In Breach/Not in Breach Today BBC Radio 4, 10 August 2017, 06:00 12 Resolved Peston on Sunday ITV, 14 January 2018, 10:00 24 Max Rushden (filling in for Jim White) Talksport, 8 January 2018, 12:00 27 Broadcast Licence Conditions cases In Breach/Resolved Provision of information: Diversity in Broadcasting Various licensees 32 Tables of cases Investigations Not in Breach 36 Complaints assessed, not investigated 37 Complaints outside of remit 47 BBC First 49 Investigations List 51 Issue 351 of Ofcom’s Broadcast and On Demand Bulletin 9 April 2018 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content to secure the standards objectives1. Ofcom also has a duty to ensure that On Demand Programme Services (“ODPS”) comply with certain standards requirements set out in the Act2. Ofcom reflects these requirements in its codes and rules. The Broadcast and On Demand Bulletin reports on the outcome of Ofcom’s investigations into alleged breaches of its codes and rules, as well as conditions with which broadcasters licensed by Ofcom are required to comply. The codes and rules include: a) Ofcom’s Broadcasting Code (“the Code”) for content broadcast on television and radio services licensed by Ofcom, and for content on the BBC’s licence fee funded television, radio and on demand services.
    [Show full text]
  • Broadcast Bulletin Issue Number 272 02/02/15
    Ofcom Broadcast Bulletin Issue number 272 2 February 2015 1 Ofcom Broadcast Bulletin, Issue 272 2 February 2015 Contents Introduction 3 Standards cases In Breach The Radio 1 Breakfast Show with Nick Grimshaw BBC Radio 1, 6 November 2014, 07:55 5 Advertising Scheduling cases In Breach Breach findings table Code on the Scheduling of Television Advertising compliance reports 8 Resolved Advertising minutage Cartoonito, 11 October 2014, 08:00 Tru TV, 11 October 2014, 09:00 and 10:00 9 Advertising minutage The Travel Channel, 11 October 2014, 08:00 and 09:00 11 Fairness and Privacy cases Not Upheld Complaint by Mr Kevin Richards Week In Week Out: Undercover Veteran, The Battle for Treatment, BBC1 Wales, 22 October 2013 13 Complaint by Mr John Ashworth Call the Council, BBC 2, 22 May 2014 43 Complaint by Miss Jade Oakley Saints and Scroungers, BBC 1, 2 October 2014 51 Investigations Not in Breach 56 Complaints Assessed, Not Investigated 57 Investigations List 65 2 Ofcom Broadcast Bulletin, Issue 272 2 February 2015 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content as appear to it best calculated to secure the standards objectives1. Ofcom must include these standards in a code or codes. These are listed below. Ofcom also has a duty to secure that every provider of a notifiable On Demand Programme Services (“ODPS”) complies with certain standards requirements as set out in the Act2. The Broadcast Bulletin reports on the outcome of investigations into alleged breaches of those Ofcom codes below, as well as licence conditions with which broadcasters regulated by Ofcom are required to comply.
    [Show full text]