Thursday, 29 January 2015

National Digital Radio - The Future

I calculate I have nineteen DAB radios.  It’s a little over the top I know.  Hats off to Hertfordshire’s Pure for doing some great early running on the sets; and to Yorkshire’s Roberts for their sturdy classics.  And to Psion for coming up with their spiky PC peripheral Wavefinder; and to Wayne Hemingway for designing ‘the Bug’, which is still my favourite aesthetically.

It’s all a far cry from 1993 when I sat in the offices of the then regulator, the Radio Authority,  at Holbrook House to be trusted with what would have been one of the first DAB sets.  With components and transformers nailed to a huge plywood board, it hummed nicely and smelt of Scalextrix.

Life’s moved on since then, and after a slower start than most had hoped, DAB is now attracting a quarter of all radio listening across the UK (RAJAR W3 2014, Ipsos-Mori, UK TSA).  With the recent brand extensions being spawned on the first national multiplex, Digital One, which is now populated like a student house, one feels, at last, that the time of DAB has come. 

Now, the second national multiplex is imminent; and, at last, this country is poised to enjoy the sort of   broadcast listening choice which has been denied to us for years.  Given the small geographic size of our populous country, we have not been able to re-use FM frequencies to the extent they have in other countries.

Clearly, with my day job being at Orion Media, I’m hugely excited about our own ‘Listen2Digital’ bid to operate that multiplex, which was duly dropped off yesterday at Riverside House.  The USB stick in a sturdy manila envelope does not physically seem to do justice to the sweat and toil which went into assembling the pages of the formal application document over many, many, months.  If you’ve ever assembled a licence application, you know it feels like the A Level exam from hell.

We evidently think it’s a compelling case, and across the piste it offers a fresh new approach for national DAB radio, both in terms of the players involved and the services.  We think the public proposals are exciting; and we hope Ofcom also nods vigorously at some of the format details we have submitted in confidence which, frustratingly yet thoroughly understandably, we cannot yet speak publicly about at this stage.  I should say a big well done too to the other parties involved in the consortium: the mighty Babcock, who’ll be assembling the transmission infrastructure, and our good friends at Folder Media and Sabras.

The other great news is that Gem, currently our East Midlands FM AC service, would go
national, as one of our 18 proposed services.  There is no AC brand on national commercial DAB at present, with Heart operating only on local DAB, so its service is not taken into account as the applications are judged by the regulator.  AC is, therefore, a gaping hole in national provision and we reckon we’ve got the very best answer to it.  The AC audience also sits in the female 25-44 commercial hot-spot, helping to ensure the success of our business, and contribute to much-needed growth and stability for DAB.

Adult Contemporary proved of huge appeal in our extensive national research.  It is a hugely popular format across the World; and it’s strange to believe that it did not really arrive in the UK until our Chairman, Phil Riley, launched the Heart brand in the West Midlands in 1994.  He had hair back then, as he started his 13 year tenure running the format, so it’s no surprise he knows what he’s doing in arguing the AC case with our investors.  Maybe we should have roadsigns at the edge of all our cities, East and West, suggesting that the Midlands is the birthplace of the AC format in the UK.  I’ll get my paintbrush out.   

I’m personally hugely proud, not least because I’m a Nottingham lad.  In three years, Gem has achieved huge East Midlands success, becoming market leader by hours in several audience sweeps, and beating all audience levels for any station ever on that 106 FM frequency.  Let’s remember that 106 was a love-child in so many acquisitions, and being batted from owner to owner, it has operated variously as Radio 106, Century and Heart.  We have done well, despite good old Heart remaining on DAB in the patch and no TV platform for Gem.

It’s won because it’s a great product, and Mike Newman and the team there, including Naomi Robson and Andy Price heading the marketing efforts deserve plaudits.  They’ve built an AC format with real spirit, and one commanding real engagement, judging by all the qualitative research and feedback we garner.  It already has the polish of a national brand.

Sam & Amy have played a great part too, aided by Dangerous Dave and produced by Paul Iliffe.  That show has turned into a national treasure, carrying off Radio Academy awards in categories populated otherwise by indignant London and national names. The real crown just has to be that ‘Personality of the Year’ award last year.  The programme is British breakfast radio at its best; and we look forward to twisting a version of that product round for the national service.

May we plead that Ofcom put all else to one side and make this licence award as quickly as possible. We’re anxious to get on with the job.




Monday, 5 January 2015

The Darkest Moments



There used to be a dusty folder on the windowsill at Radio Trent in the '80s, marked ‘Obit’.  Inside lay a bundle of dog-eared typed sheets bearing instructions on what to do if someone significant took their last breath. 

The manila file included a list of the Royal Family, bundled into neat categories, depending on their relative importance, from Her Majesty the Queen downwards.  Back then it was the job of the regulator, rather than the broadcaster, to determine just how upset we might be in each case; and to tell us exactly what to do.  Just below the names of great blue-blooded Royal nieces lay the names of less significant individuals like the Prime Minister.

In all my early days on-air, we were poised nervously for the death of the Queen Mother, then well into her 70s.  To a spotty broadcaster, that seemed very, very old and I expected the grimy red obit light to flicker in the studio half way through my list of ‘lost and founds'.

As she bounded through the decades in ruddy health, regardless of our plans, I recall wondering whether the IRN celebratory documentary commemorating her 80th birthday seemed to include a few tributes in a puzzlingly sombre tone.

In those days, the UK had emerged from decades of Royal deference into a new cynicism.  When we rehearsed our plans to take the needle off the Boney M song in favour of the National Anthem and a touch of Mozart, many wondered whether preparations were a touch over the top.  Would anyone now, apart from their loving relatives, really have an appetite for much more than a quick news flash and maybe a toning down of any adjacent trite content? 

Then Diana died.

We all remember where we were and what we were doing that day in 1997.  I was awake at
night, for some reason, hearing the story unfold on BBC 5 Live.  By then I was a regulator, although one which had sensibly moved on from prescribing procedure.  Those I knew in radio called me frantically, asking "what do we do?", seeking a regulator to blame for their actions.

Stations were cautious about following their instincts and responding in a way which reflected the mood of the Nation.  The majority rightly did, in both BBC and commercial sectors.  Regular programming was suspended, in favour of newsflashes and segues of sensitively-programmed music. Radio 1 broadcast ambient tunes; and Capital famously went near-Classical.  Presenters spoke from the heart.

On that day, broadcasters learnt the way contemporary stations should respond to a crisis.  Ask yourself how much does it mean to your listeners; and respond fittingly.  Such broadcasting can be compulsive listening.

Sensible stations prepare well. Speech stations will, of course, have ample produced material at the ready for any likely casualties; and music stations have broad provisions in place.   

What is key is a broadcaster able to switch to the required pace and style; equipped to summon the right words to chime with their audience on that day.  It is the mark of a great broadcaster to be able so to do; regardless of what they do usually on their shows.  Some of today’s broadcasters can manage that switch. Witness our own young Adam Wilbourn (Free Radio) on the death of Nelson Mandela.  Having delivered the breaking story minutes before the hourly junction, he had to fill to the news bulletin with material which necessarily had to be about Mandela. The broadcast marked out a man with the intelligence to do the job.

Clearly, broadcasts needs to be informed accurately too, with news coverage and comment of a volume which befits the format. And a line signalling the time of the next news update; preferably not throwing forward to an ‘update on the death’, given a death is the final word.  Reaction to the death may, of course, be possible.

The regulators no longer tell you what to do.  Ofcom point to the over-arching common-sense requirement that you do not offend with your approach; and the BBC Editorial Guidelines state: “It is important that individual output areas are conversant with their own rules concerning the treatment of obituaries". Each format and each media outlet is charged with taking responsible decisions and for preparing suitably.

Sadly, there are all too many cases when presentation talents such as these are required.  In recent weeks, Clyde 1 and the Scottish stations had to rise to respond sensitively to the news of the refuse lorry crashing into the pedestrians on the streets of Glasgow.

"My fellow Glaswegians  pulling together right now, it's times like this, we're like one big family". Clyde 1 23rd December 2014

Forty years on from the Birmingham pub bombings, our presenters at Free Radio in the Midlands nodded to the day with sensitivity, alongside excellent news coverage and a documentary assembled by Dan Dawson.

Fifty years on, exactly, from the death of Sir Winston Churchill in January 1965, it’s interesting to listen back to the announcementstyle of a bygone generation.  ‘This is London’.  ‘Here is a newsflash’.  ‘This is London’ (again), with each of those three lines delivered at the speed of a hearse, with portentous gaps between, sufficiently lengthy to dash off to retrieve a Purcell LP from the gram library.   

Preparations had been well rehearsed, given the former PM’s illness and age; indeed, draft scripts had been written three years before:



“The words are like great boulders falling silently down a cliff into the sea.”  Robert McKenzie, BBC World Service Script 1962

One day, some words you need to utter will be like those great boulders.

Thursday, 25 December 2014

A Wonderful Christmastime

I always fear that Christmas day on the radio will once again be stuffed with dull pre-records and friendless second-tier presenters saying they are 'sitting in' for someone better; and sounding as though they really would prefer to be somewhere else.

It's been truly lovely this year, though.  Mind you, radio should get Christmas right. 108 years ago, on Christmas Eve 1906, the first ever radio programme transmission happened to coincide with the festive season.  Good old Reginald Fessenden planned 'Oh Holy Night' on the violin, together with some passages from the Bible, to be beamed a mile through the newly discovered airwaves.  BBC Local Radio management will be delighted to learn his wife, Helen, was indeed down to co-host; although she became so frit as the red light went on, she backed out.   Reg had to grab the good Book off her.

UK radio plc has delivered a great Christmas 2014. Radio 2 let Paul O'Grady off the lead, sounding just right on this most special day. Warm and companionable. Some performers don't make the transition well from TV to radio, but Paul, maybe given his groundings face to face in some of the UK's more eccentric clubs,  is a born communicator.  Not to schedule Paul on Radio 2 on Christmas Day would have made me question the sanity of the Controller.

To hear Radio 1 play Eartha Kitt on Christmas Day was a delight.  I love the fact that, for one day, the station was sufficiently confident in its skin to say 'fuck the format, it's Christmas'.  Imaging on the station featured the great Guy Harris (@santamessages) as Father Christmas, sounding just a tad younger and a little less ho-ho than he does on (my own) Free Radio, where his irreverent branding sounds a million dollars this year.  On Free today, I enjoyed that same Santa, for there is only one, interviewing Noddy Holder.  Noddy was quizzed on , amongst other things, his bank manager's annual Christmas delight.  The question could easily have been reversed, given how Guy is rightfully carving out a brilliant reputation as the voice of Christmas.

Capital was largely true to format, yet sounded upbeat and clearly in party mood, with Bassman enjoying himself and reaching out to those who've had to slip on their DYMO badge and work uniform for the day.  Classic FM sounded typically warm and welcoming with the truly lovely Anne-Marie Minhall wearing a silly hat and playing Christmas requests.

Heart boasted Olly Murs in fine form.  Like TV stars, some music personalities sound great when listed on the schedule, but they just cannot manage the radio thing really.  Olly can - and there is the sniff of real potential there, should he ever get sick of the singing malarky.  His show today was well-produced, authentic, with promising storytelling, and utterly feelgood.  Again, Heart, which is leaning just a tad more credible nowadays as it clears demographic room for its Smooth sister, cast caution to the wind and bunged on Robbie & Nicole's 'Somethin' Stupid'.  Olly observed he hadn't heard it for ages. I suspect it might be ages before they play it again too.

Clyde 1's Kate and Stu faced the tough task of waking  up Glasgow on a Christmas Day too many families will rather forget as they reel from last week's tragic accident.  Warm and involving, with callers and just the right range of Christmas songs,  this was the sort of radio the City needed, and which many commercial stations got spot on this year.

Kenny Everett was a Christmas present to the Nation in 1944, so it was eminently fitting on what would have been his 70th birthday that many stations paused to mark his contribution to our medium.  The Kremmen episodes were dubbed from Racal Zonal and aired; and Paul Rowley's documentary on BBC 4 Extra imagined what mischief this pensioner would be up to now were he still on the schedule.

BBC Local Radio has a real place in the heart at times like this. Those stations attract vast numbers of 55 pluses, steeped in radio.  Those individuals  are not ancient, but they do seek conversational, engaging radio and not a youngster saying the bleeding obvious and shouting 'tweet me, tweet me'. Many stations got it right, with carol services, a nod to faith and a friend in the room.  My other half, Paul Robey, is entertaining with aplomb through Christmas afternoon on BBC Radio Nottingham, and the wealth of contributions shows the appetite  for warm communicators on those stations.  

I do hope at least some stations are just as warm and engaging as we hop into the New
Year. If I wanted a non stop party, I'd stick my iTunes on. Some listeners will indeed be sat alone, and many of a certain age will  look to radio for a companionship no other media can provide.

So, a great Christmas Day 2014 on radio. Good scheduling and some great presentation on what should be the best ever day to be on the air.  Presenters at their most relaxed, audiences in a good mood, and a recognition that, on this one single day, there is no such thing as a target audience.  Just about everyone is wearing a silly jumper and hat, talking rubbish and singing the same songs:  prince or pauper,  north and south, old and young.

In closing, may I just express the wish that stations adopt the 'twenty-fifteen' pronunciation for next year. We've had five years to get this right.   In marking the 100th anniversary of WW1, no-one refers to 'One thousand nine hundred and fourteen'.  Can we agree 'twenny-fifteen'  as a rule for next year?

Unless you are Olly Murs, in which case 'Two farzand n'four'een", replete with glottal stop, sounded strangely attractive. 

(And well done to you wherever you are, on air, in the newsroom or 'behind the glass' today. Thank you)

Monday, 15 December 2014

Sales Execs are from Mars; Presenters from Venus

I'm lucky to have worked in some truly great radio stations where the commercial and programming teams get on with mutual respect and understanding, regardless of the often very different characters involved.  I've also worked in ones where open hostility has been declared. Most stations live in a healthy place some way in-between.

It is easy to be perplexed about the way those in commercial teams on radio stations sometimes just don't appear to comprehend their colleagues across in the programming team.  And vice versa. 

The commercial animals might watch the programming elves wander in cheerily, dressed scruffily, half way through the day and then witness shrieks of laughter as the jocks banter in their messy corner of the office. They must deduce that these folk really don't do much work at all.  Meanwhile, the programmers watch the sales exec turning up in a daze after a day off sick, having sold something which really doesn't fit on the station which the relevant exec rarely listens to.  They can both wind each other up.

A sales person rightly focuses on their financial target like a fighter pilot.  Unlike presenters, they don't earn the amounts they've become accustomed to unless they succeed.  They have to be well-informed and doggedly persistent.  They are trained to overcome objections too; so the way they seek to overcome programming's objections is hardly surprising. They want to smash their target, get notes from appreciative clients and carry off the bonuses around which they have built their lifestyles, then wallow in the respect that their success brings. 

Meanwhile, the programming team just want to be number one by Rajar, by having fun and producing the best content they can.  A surfeit of less-than-fascinating commercial content can seem to get in the way of victory. They like the bunce too, but maybe more a symbol of recognition than the key benefit per se. Unlike sales execs, their fees stay much the same from month to month, whether they have great shows or not.  But it can all end very suddenly. 

Different goals, so hardly surprising they approach things differently.

In many stations I have worked, management meetings have concerned themselves with dreary AOB points about how we can get departments to understand each other more.  Regular 'update emails', lavish bowling nights and cheap buffets are devised to lubricate better integration and comprehension. Everyone turns up merrily at the social events, only to gather in their usual cliques.  

The fact is that these people can often simply be very different sorts of folk.  Those who take great pride in sealing a sales deal may not derive the same satisfaction from a smooth segue. The reason we end up sitting at different desks is because we are likely quite different individuals.

Why are journalists not quite like their paranoid yet jolly programme-hosting colleagues? How can one expect a journalist, trained to look under the bonnet at every spurious press release, to open a rabble-rousing 'all-staff' email from management and say 'Gosh, that's fabulous'. They are more likely to say 'Hmmmm. what are they not saying here?'. It's exactly what this intelligent bunch of talented people have been trained to do.

Presenters get annoyed when the tools of their trade don't work. They reported it last week to the technical team; and it's still not fixed.  Meanwhile, three engineers are gathered round a new cardboard box which has arrived bearing the ingredients for new toys. I wonder if Marconi paid more attention to mending his mother's toaster or by generating sparks in his loft. Thank goodness, for all of us, that engineers are wired as they are.

We are driven by different things. Here's my rough and ready 'Shun' theory: Sales execs - Commission; Presenters - Recognition; Journalists - Suspicion; and Technical staff  - Innovation. 

I concede I am generalising wildly.  Some more complex individuals do command a great understanding of more than one area.  Some of the greatest technical minds now have a refreshing ability to grasp how presenters think.  Some of today's best sales execs are utterly brand aware and understand programmers and radio.  Some self-employed presenters are truly commercial animals, looking after their station's business as diligently as they do their own. 

Those individuals who do acquire a 360 degree view of how things work are those most likely to end up rising up the tree as they realise that, in the end, everyone really is working for the same ultimate objective: listening figures and profits. 

As commercial content grows ever closer to programme content and vice versa, it is important for the programming folk to understand that execs need to hit targets and to appreciate that it's tough to tell clients what to do.  It's important, similarly, for sales execs to listen to the radio station they work for.  Saying 'loved that bit this morning' to a jock will help make that next bit of commercial content really glow.

The other solution is inter-departmental relationships. Sleeping together does have a remarkable impact on cross-department understanding. But that, rightly, is unlikely to be an action point on many management meeting agendas



Wednesday, 10 December 2014

An Academy Fit for Radio's Third Age

No-one much seemed to take much notice of BBC 6 Music. Until they threatened to close it. It has never looked back.

The Radio Academy AGM felt a little like that tonight. As Chairman, Ben Cooper (Controller BBC Radio1 and 1Xtra by day), mentioned in his own warm-up, usually one has to strong-arm a few mates to make AGM's quorate.  This one was seething with bristling radio folk. 

Of all the words Ben spoke tonight, quorate was the only one he struggled with. It is a silly word.

This was the meeting when the membership demanded answers. What had happened to the Academy they loved? Why? Why so suddenly? Why, oh why, on why. 

It was a meeting convened on the seventh floor of the stunning new BBC building, but the passion in the room could easily have filled the six floors below.

Ben opened, observing that this was the room in which he conducted Radio 1 presenter meetings, before listing a few presenter names, for the sake of the older folk in the audience. Of whom there were many. I suspect jock meetings prepared him well for this, the gig of his life.

Prepared statements were delivered by Ben, acting interim CEO Gloria, and deputy Travis. They were carefully crafted, and all said as much as they clutched the Radio 1 huge mic shield, beneath which we presume was a microphone.  Each statement told us how difficult it all was. Sad. Tough choices. Hard times. Changing times.  Everybody had worked hard. Very hard. Hard times. Tough times. 

Radio's polite audience listened, well, politely.  Then questions began. Half an hour was promised, although Ben suggested they need not necessarily take that long. I suspect he harboured a dream they might not.

Question by question, the room warmed up. Founder members spoke up, confessing they had not had an awful lot to do with things of late, but it all seemed a bit odd. They sought clarity. Some clear clarity which would clear things up clearly. 

John Myers, ex head honcho, was summoned for a cameo, with typical Myers northern bluntness shining through when it came to the topic of awards. Not to have any, he suggested, would be a "sad indictment of our industry".  He's right. You can do awards in many ways. What matters is your work being judged fairly by peers across the industry. There is no need to be paying an arm and a leg to be sat a mile away from a Park Lane stage, unable to hear the PA properly, eating a chunk of animal unknown.


Ben answered questions with the tact one expects of a politician of his stature, riding the bucking horse which is the Academy Chair's post. Just imagine that gig. Behind closed doors, you chair an organisation which is funded by, essentially, three factions which are at war during the day; and have to reach accord over warm orange juice by night. 

The questions became more incisive. Members had come to see a movie, and we seemed only to have seen the opening credits.  If the 'branches doing their own thing' model was to be adopted, who would co-ordinate? 'We will decide those things early next year' reassured Ben in his measured tones, with a gap between each carefully chosen sentence, long enough to play a JAM shotgun in. 

In short, this is an organisation people in radio love. They aren't quite sure what it is always, but they love it anyway. It is an organisation in a fast-changing world, finding it tough to continue in the present climate, with sponsor cash falling away and patrons' cash by no means assured. Each patron member too is now big enough to do its own big things if it wants.  Like every single radio station in the United Kingdom, it cannot continue functioning in the way it has for thirty years.

A member of the audience dared to suggest Ben lacked vision. His Chairman's mask fell. "You know how to get me riled", he said. A few people laughed. It was not a joke. 

Ben then assumed the tone one presumes some presenters have heard several times before when they ignore the music log or don't turn up. He spelt out his passion, his pride, his general visions in life. He added what his vision might be for the Academy, but insisted it was not just his view that counted. This was the Thatcher moment. No, no, no. His monologue was Shakespearean. His performance immaculate. He got my Oscar. From that moment on, everybody knew the score. FX applause. 

Things have to change. Radio has. The Academy has to. I write as one of its earliest members, and a lover of radio past. But the Trustees are correct. This uncomfortable juxtaposition of chandeliers and showbiz, gentleman's club and entertainment conglomerate cannot continue in this confused way. It's not where we are any more. Those who just object to change because it's change really have to get a grip. 

Most in the room felt that the early communication and handling of the challenges could have been better addressed. Ben's response illustrated how difficult that process would have been. Most in the room felt a huge debt to the outgoing team in the Academy office who have been, from my view, just stunning. Most thought, quietly, don't we still need at least some of those talented folk, and let's hurry up and work out a way how we can fund them to coordinate the great things we need to do.

2015, I hope, will bring a confident, sustainable and cohesive new Radio Academy, which will have some form of awards, some considerable devolved activity, and an event which celebrates this great medium, reflecting the changing backdrop in which radio sits, and educating the huge number of people in ancillary worlds we need to persuade about radio's exciting present and future. Plus lots of chances to meet new contacts and to learn a thing or two. A place to meet old friends, and one in which the next generation will feel welcome.

I suspect Ben's having a drink tonight. You deserve it, matey. We look forward to reviewing the considered options once we've got this horrible year out the way. 

Once again, when it comes to passion, no-one does it quite like radio. 


Wednesday, 29 October 2014

Spooky stations

The unmistakable sound of someone being sick in a toilet.  It’s not the most attractive sound, but one which sensible late night disc jockeys at Nottingham’s Radio Trent claimed to hear in the depths of night, when alone in the station’s 1794 building.

That was just one of the odd things reported from this former women’s hospital, which had clearly witnessed its fair share of deaths in its early period.  Others reported a ghost wearing a hat frequently gliding through the main studio; and an old woman wobbling a table.  Maybe not too surprising when one remembers the subterranean studios were once the hospital’s mortuary.

Castle Gate, the home of the UK’s13th ILR station, was not the only set of premises which was said to house an extra ghostly freelancer. Back in the early days of commercial radio, it was almost mandatory to find a building with a rich past, regardless, it seems, of how unsuitable it was for a fast-moving media business.

Wiltshire Radio, later to become the lead player in GWR, was housed in a 17th Century house. The first MD’s PA reported a pipe-smoking chap appearing in the Lime Kiln studios complex, only to be heard falling, leaving behind just that unmistakable smell of pipe smoke. On another occasion, it’s reported that the plug to an electric typewriter was pulled out its socket, held aloft, before being replaced. I also gather in later years that a ghost was said to turn on the TV to adult channels late at night. Were they not the days, though, when stations had uniformed security guards sat there alone in the wee small hours?

Beacon Radio’s original premises on Tettenhall Road in Wolverhampton had been a roomy orphanage, and again the home of some considerable teary bairns through the years.  One spooky room was said to house the ghost of a poor baby who passed into the spirit world back in the 19th Century. Little wonder paranormal investigators would routinely ask to spend some time in that building; and it was to be featured in 'Most Haunted'.

Surely something spooky happened in the 1876 ecclesiastic Leicester Sound building next to beautiful Victoria Park?  Indeed.  In this Downton Abbey house, I gather someone hanged themselves on the stairs, in its life before radio.  Gazing at the stained glass windows on the first landing, in the light of the 40W bulbs, it’s easy to imagine. Upstairs on the top floor, in what was believed to be the nursery, poor little mites, stricken by the many illnesses of a century past were said to live on; sat, no doubt, on a pile of paper ad logs and playing with the daisy wheel printer.

I take no delight in announcing the demolition of old West Canal Wharf building from where the ill-fated CBC (later Red Dragon/Capital) was launched. Even though launch PD, Dan Damon, did say he’d get back to me about a job I’d applied for in 1980.  Still waiting. That old place is said to have had its fair share of apparitions.  Maybe they set fire to my rejection letter before despatch.

Let's not forget good old Red Rose radio (now Rock) where hardened journalists would fear the late shift. Booooooooh. And BBC Radio Lincolnshire's home to this day, the former Radion cinema on the edge of the historic quarter, which is said to house a lone usherette to this day, serving lukewarm Kia-Ora orange juice to enthusiastic BAs.

It's not just here in the UK. These things appear to happen around the world. I gather a station in Jasper, Alabama also claims its own resident ghost. Like Trent, it uses the loo.  But let’s not worry unduly, though, about WDIE, where every single breakfast host died within three years of being given the peak show. 

Given there is no definitive book on radio ghosts, I am certain this list is not exhaustive.  Do feel free to add your own.