GREG JAMES RETURNS to SCOTLAND to COMPLETE RADIO 1'S GREGATHLON
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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. -
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). -
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. -
Special Issue
ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018. -
Kid Normal and the Rogue Heroes Social Competition 7Th Mar – 21St
Kid Normal and the Rogue Heroes social competition 7th Mar – 21st Mar 2018 Tell us the most wonderful superpower and you could win a signed copy of children’s book Kid Normal and the Rogue Heroes! 1. By entering this free prize draw you agree to these Terms and Conditions. 2. No purchase necessary to enter this free prize draw. 3. This free prize draw is open from 00:01 am on 7th Mar 2018 to 23:59 on 21st Mar 2018. No entries will be accepted after this closing date. 4. This free prize draw is open to people who are UK and ROI residents above on 21st Mar 2018. All entrants under the age of 16 must have permission from their parent/guardian to enter. The free prize draw is not open to employees of Bloomsbury Publishing PLC (including Bloomsbury USA, Bloomsbury Australia and Bloomsbury India). 5. To enter the free prize draw, entrants must tell us the most wonderful superpower – the more inventive, the better! Entrants can enter by the following methods: Via Facebook: by using the comments section of the competition post on the Greg James Facebook page. Entrants must be 13 or over to enter through this channel. Via Twitter: by using #KidNormal in their post. Entrants must be 13 or over to enter through this channel. Via Instagram: by using the comments section of the competition post on Instagram. Entrants must be 13 or over to enter through this channel. Via email: by emailing [email protected]. 6. Only one entry per person. No entrant may win more than one prize. -
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. -
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. -
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. -
The Afternoon Radio Host Dishes the Dirt on Dating A
GREG JAMES Greg put the rest of the DJ’ing world to shame by landing Radio One’s graveyard shift when hey, mr he was just 21 THE AFTERNOON RADIO HOST DISHES THE DIRT ON deejayDATING A POPSTAR, DRESSING TO IMPRESS AND THE ROCKY (OR NOT SO) ROAD TO RADIO ONE INTERVIEW & WORDS RICHARD LENTON gave radio DJ’ing a shot once. It much time talking to themselves in didn’t take. Sitting in a dark, dank small rooms. No, radio DJs are a very I studio, staring blankly at an array unique breed… of screens, multi-coloured buttons and But one man who’s avoided any of a weathered microphone that appeared these potential pitfalls and established to be suffering from a strange form himself as a thoroughbred in this of alopecia, I quickly found myself business is Radio One’s Greg James. questioning my choice of career move. Four years ago, the lofty 6ft 4in self- Two hours of unbearable solitude (and confessed radio geek was at university a succession of tunes that rubber- in Norwich [insert Alan Partridge stamped the 1980s as the decade that gag here] before being plucked from taste forgot) later, I decided that life as the obscurity of the student airwaves a radio DJ could only lead to one thing to present Radio One’s pre-breakfast for me: being force-fed mind-numbing graveyard shift. His conversational, drugs in an asylum filled with other self-deprecating style immediately once-happy folk who’ve spent too appealed to an increasingly loyal 16 17 GREG JAMES “ I was a fan of Ellie before we follower. -
Complaints to the BBC Stage 1 Complaints
Complaints to the BBC This fortnightly report for the BBC complaints service1 shows for the periods covered: the number of complaints about programmes and those which received more than 1002 at Stage 1 (Audience Services); findings of subsequent investigations made at Stage 2 (by the Executive Complaints Unit)3; the percentage of all complaints dealt with within the target periods for each stage. NB: Figures include, but are not limited to, editorial complaints, and are not comparable with complaint figures published by Ofcom about other broadcasters (which are calculated on a different basis). The number of complaints received is not an indication of how serious an issue is. Stage 1 complaints Between 10-23 December 2018, BBC Audience Services (Stage 1) received a total of 4,636 complaints about programmes. 8,524 complaints in total were received at Stage 1. BBC programmes which received more than 1002complaints are included in the table below: Programme Service Date of Main Issue(s) Number of Transmission Complaints Question Time BBC One 13/12/2018 Felt the 108 programme/panel was biased against Brexit. 96% of all complaints dealt with between 10-23 December 2018 received an initial response within the Stage 1 target period of 10 working days. Recent BBC public responses to significant complaints at Stage 1 are published at: http://www.bbc.co.uk/complaints/complaint/ 1 Full details of the service are in the BBC Complaints Framework and Procedures document. 2 As defined in the BBC Complaints Framework and Procedures and regulated under Ofcom’s Broadcasting Code. 3 Excluding investigations of online material outside Ofcom’s remit. -
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 . -
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