SUMMARY OF DRAFT BBC OPERATING LICENCE - RADIO

The BBC Trust is dead. April 3^rd 2017 sees Ofcom become the BBC's first external regulator.  Accordingly, Ofcom’s developing an 'Operating Framework' for the BBC, covering regulation of the BBC’s performance, compliance with content standards and impact on competition.

The BBC is required to ensure its portfolio of radio stations offer “the broadest variety of output and that the range of musical output on its popular radio services is broader than that of comparable providers”.

Below is a summary of key points relating to radio of the draft new operating licence, and, in italics, a summary of the relevant parts of the old service licence. Neither is exhaustive.

As Ofcom says: “Regulatory conditions previously set by the Trust that deliver this were maintained and increased where appropriate. Other Trust targets were not retained. Where appropriate, new conditions have been set to ensure delivery of these aims”.

This speedy summary is not exhaustive and offers no comment within. I do observe, however, that the proposals appear less specific about target audiences, although there are over-arching responsibilities to serve all. Radio 1 goes from the former ‘15-29 year olds…and younger teens’ requirement to simply ‘young audiences’ and there appears to be nothing to suggest that BBC local radio retains its 50+ focus. BBC local stations may also share output with ‘neighbouring stations’, without limit.

The closing date for responses to the consultation is 17 July.

Radio 1

Principally a popular music services aimed at young audiences, with a commitment to the best new music, but also containing significant speech output

The time allocated to news during Daytime each weekday is not less than one hour and includes at least two extended bulletins, of which at least one must be in Peak Listening Time; and it provides regular bulletins during Daytime at weekends.

The BBC must ensure that in each Year the number of first-run documentaries is not less than 40. For the purpose of this requirement “first-run documentaries” includes documentaries which have been first broadcast on 1Xtra.

In each Year at least 45% of the music in Daytime is from UK acts and at least 50% of the music in Daytime is New Music, of which a significant proportion must come from new and emerging UK artists;

In each week it broadcasts at least 60 hours of Specialist Music; and

In each Year it broadcasts at least 175 new sessions (excluding repeats) that have been recorded within the previous month; and the station plays a broader range of music than comparable providers, taking into account both the number of plays and the size of the playlist, at both Peak Listening Time and Daytime.

Former service licence

Target audience is 15-29 year olds and it should also provide some programming for younger teenagers.

Broadcast at least 1 hour of news during daytime each weekday, including two extended bulletins

Provide regular bulletins during daytime at weekends

At least 60 hours of specialist music each week

At least 40% of the music in daytime is from UK acts each year

At least 45% of the music in daytime is new each year, with continuous particular support for new and emerging UK artists alongside established acts

Feature coverage of at least 10 festivals and significant live events8 in the UK and abroad each year

At least 160 new sessions each year

Contribute to BBC Radio’s commitment to commission at least 10% of eligible hours of output from independent producers

Broadcast at least 40 new documentaries each year

Offer at least 2 major Social Action campaigns, supported across daytime output and online each year, together with a number of other initiatives

1Xtra

A service of contemporary black music, with a focus on new and live music, alongside significant speech output for young audiences

The time allocated to news during Daytime each weekday is not less than one hour and includes at least two extended bulletins; and it provides regular bulletins during Daytime at weekends.

The BBC must ensure that in each Year the number of documentaries is not less than 40. 

For the purpose of this requirement, “documentaries” includes repeats.

Former service licence

At least 60% of the music played on the station in daytime is new each year

Ensure that at least 35% of all music played in daytime is from the UK each year

Contribute to BBC Radio’s commitment to commission at least 10% of eligible hours of output from independent producers

Broadcast at least 1 hour of news during daytime each weekday, including two extended bulletins

Provide regular bulletins in daytime at weekends
Broadcast at least 40 documentaries each year

Radio 2

A service providing a broad range of popular and specialist music and speech output including news, current affairs and factual programming

The BBC must ensure that the time allocated to news and current affairs programming each week is not less than 17 hours, of which not less than 3 hours must be in Peak Listening Time; and it provides regular news bulletins.

The BBC must ensure that in each year: the time allocated to arts programming is not less than 100 hours. For the purpose of this requirement, “arts programming” includes repeats;  the time allocated to documentaries is not less than 130 hours. For the purpose of this requirement, “documentaries” does not include repeats; and the time allocated to religious output is not less than 170 hours, and that the output covers a broad range of faiths. For the purpose of this requirement, “religious output” includes repeats.

In each Year at least 40% of the music in Daytime is from United Kingdom acts; and at least 20% of the music in Daytime is New Music, of which a significant proportion must come from new and emerging United Kingdom artists;

In each Year it broadcasts at least 260 hours of live music;

In each Year it broadcasts at least 1100 hours of special music programmes; and

The station plays a broader range of music than comparable providers, taking into account both the number of plays and the size of the playlist, at both Peak Listening Time and Daytime.

 Former service licence

Ensure that at least 40% of the music in daytime is from UK acts each year

Ensure that at least 20% of the music in daytime is new each year

Broadcast at least 260 hours of live music each year

Broadcast a broader range of music than any other major UK radio station with over 1,100 hours of specialist music programmes each year

Broadcast over 100 hours of arts programming each year

Contribute to BBC Radio’s commitment to commission at least 10% of eligible hours of output from independent producers

Broadcast at least 16 hours of news and current affairs programming each week, including regular news bulletins

Broadcast at least 130 hours of documentaries each year

Broadcast at least 170 hours of religious output 14 each year covering a broad range of faiths

Radio 3

A service centred on classical music, alongside other music and art forms and speech output, and with a strong focus on live and specially recorded music

The BBC must ensure that it provides news at intervals throughout the day.

The BBC must ensure that in each Year: at least 45% of the station’s music output consists of live or specially recorded music; it broadcasts at least 440 live or specially recorded performances; it commissions at least 25 new musical works (excluding repeats); and it broadcasts at least 35 new documentaries on arts and cultural topics (excluding repeats).

 Former service licence

Ensure that at least 40% of the station’s music output will consist of live or specially recorded music each year

Broadcast at least 400 live or specially recorded performances each yearCommission at least 20 new musical works each year

Broadcast at least 20 new drama productions each year

Contribute to BBC Radio’s commitment to commission at least 10% of eligible programmes from independent producers

Broadcast at least 30 new documentaries on arts and cultural topics each year

Ensure that at least 40% of relevant spend is incurred outside the M25 area each year

Radio 4

A speech-based service including news, current affairs, factual programmes, drama, readings and comedy

BBC must ensure that the time allocated to news and current affair programmes (including repeats) in each Year is not less than 2,750 hours; and it provides daily reports of Parliamentary proceedings when Parliament is sitting.

The BBC must ensure that in each Year: the time allocated to original documentaries (excluding repeats) covering a range of different subjects is not less than 375 hours; and the time allocated to original religious programming (excluding repeats) is not less than 200 hours.

In respect of BBC 6 Music, the BBC must ensure that the time allocated to speech-based features, documentaries and essays each week is not less than 10 hours on average across each Year.

 Former service licence

Broadcast at least 2,500 hours of news and current affairs programmes each year

Broadcast at least 600 hours of original drama and readings each year

Broadcast at least 180 hours of original comedy each year

Contribute to BBC Radio’s commitment to commission at least 10% of eligible hours of output from independent producersBroadcast at least 350 hours of original documentaries each year

Broadcast at least 200 hours of original religious programming each year

4 Extra

A speech-based service offering comedy, drama and readings, mainly from the BBC archive

5 Live

24-hour coverage of news and sport

The BBC must ensure that in each Year the proportion of its output that is news and current affairs programming is not less than 75%; and there is extensive coverage of local and general elections, and of elections to the United Kingdom’s devolved chambers, as well as regular coverage of European and international politics.

The BBC must ensure that in each Year live commentary, news and other programming is offered on at least 20 sports.

Former service licence

News and current affairs programming represents around three-quarters of output each year

Contribute to BBC Radio’s commitment to commission at least 10% of eligible hours of output from independent producers

BBC Radio 5 live sports extra

A part-time extension to BBC Radio 5 live providing additional live coverage of sporting events

6 Music

A service of popular music outside the current mainstream, together with speech output which provides context for that music

The BBC must ensure that the time allocated to news in each week is not less than 6 hours.

Contribute to BBC Radio’s commitment to commission at least 10% of eligible hours of output from independent producers

Former Service licence

Ensure that no more than 30% of all music played each year is new

Broadcast at least 400 hours of archive concert performances each year

Broadcast at least 6,500 concert tracks or sessions from the BBC’s music archive each year, with at least 1,150 in daytime

Broadcast at least 300 new sessions  each year

Feature at least 10 hours a week of speech-based features, documentaries and essays on average across the year

Broadcast at least 6 hours of news each week

BBC Local

In each Year, Speech content is on average at least 60% in Core Hours; and  100% at the Breakfast Peak.  (also Scotland, nan Gàidheal, Wales, Cymru, Ulster, Foyle)
“Core Hours” means 06:00 to 19:00 on Mondays to Fridays, and “Breakfast Peak” means 07:00 to 08:30 on Mondays to Fridays.

BBC must ensure that service provides news and information of particular relevance to the area and communities it serves at intervals throughout the day; and it provides other content of particular relevance to the area and communities it serves. 

The BBC must ensure that in each week the time allocated on each BBC Local Radio station to original, locally-made programming is not less than 95 hours (Guernsey 80, Jersey 80, Somerset, 70). For the purpose of this requirement, “original, locally-made programming” includes programming shared with neighbouring stations broadcast between 06:00 and 19:00.

Former service licence

The target audience should be listeners aged 50 and over, who are not well-served elsewhere, although the service may appeal to all those interested in local issues. 

There should be a strong emphasis on interactivity and audience involvement.

Broadcast an average of at least 60% speech content in core hours and 100% at the breakfast peak each year

Broadcast at least 85 hours of original, locally-made programming each weekMusic output should be mainstream in peaktime and include specialist in off-peak hours. 

Specialist music should be appropriate to the area. Current and recent chart hits should represent no more than 15% of weekly music output

BBC Local Radio should contribute to this purpose amongst its audience. It should provide opportunities for new and emerging musicians from the local area and support local arts and music events by providing event information.

Others (highlights only)

BBC Radio Scotland, the BBC must ensure that in each week the time allocated to news and current affairs (including repeats) is not less than 50 hours; it provides several regional opt-outs each weekday, offering news, sport and information, and some regional opt-out community programming in the evenings; and it provides content and music of particular relevance to Scotland.

BBC Radio nan Gàidheal, the BBC must ensure that it includes news frequently across the day, particularly between 07:00 to 08:30 and 16:00 to 19:00 on Mondays to Fridays and 07:00 to 11:00 on Saturdays and Sundays; and it provides content and music of particular relevance to Scotland.

BBC Radio Wales, the BBC must ensure that in each week the time allocated to news and current affairs (including repeats and acquisitions) is not less than 32 hours; and it provides content and music of particular relevance to Wales.

In respect of BBC Radio Cymru, the BBC must ensure that in each week the time allocated to news and current affairs (including repeats) is not less than 23 hours; and it provides content and music of particular relevance to Wales

BBC Asian Network, the BBC must ensure that the time allocated to news and current affairs programming each week is not less than 24 hours.

 Programme-making in the nations and regions:

The BBC must ensure that in each Year at least one third of relevant Expenditure is incurred outside the M25 area. “Relevant Expenditure” includes Expenditure on first-run originated programming, but does not include Expenditure on news or sport output. For the purpose of this requirement, “first-run originated programming” means programming which is commissioned by or for a UK Public Radio Service and has not previously been broadcast on a radio service in the United Kingdom.

In meeting the requirement, the BBC must ensure that some of the relevant Expenditure is incurred in respect of Radio 1; Radio 2; Radio 3; Radio 4; and BBC Radio 5 live.

In respect of Radio 3, the BBC must ensure that in each Year at least 40% of relevant Expenditure is incurred outside the M25 area. For the purpose of this requirement “relevant Expenditure” includes Expenditure on first-run originated programming and Radio 3’s allocation of the central orchestras’ subsidy but does not include Expenditure on news or sport output.

How Many Ads Are Too Many?

As a jock, pressing the button to start a long commercial break is a depressing moment. You suspect that listeners are unlikely to enjoy the next few moments quite as much as the rest of the stuff you are doing. At the back of your mind, you fear you may never see them again. 

There is little point moaning about ad breaks per se, of course. Without the revenue, commercial radio would not exist. It's a presenter's job to make sure what they do is difficult to leave.  And making listeners want to return if they do nip off. Today's best programmers are commercially-canny and must accept the right decision for the business as a whole. 

But what is the right decision? What is the correct ad loading which serves the best long term interest of our medium?

In the days of radio's first regulator, ad minutage was regulated, as it is still on TV. I remember back in the eighties feeling despondent on an Easter Saturday seeing a full ad log of the nine whole minutes. 

I am a fan of commercial freedom, in general terms, so I can quite see the reason for having repealed that rule. After all, turning down revenues at busy times meant your station was unable to make sufficient hay whilst the sun shone to make up for the darker times which inevitably arrive.  

It's interesting to consider whether the retention of a nine minute limit would have done more to retain a sensible yield. We know that, particularly with national revenues, following both the consolidation of media-buying and the arrival of so many alternative advertising media, the price for radio nationally is at a disturbingly low level, when one considers the persuasive value of our great medium.

Now, of course, there's more than just the spots.  There are sponsor credits, sponsored content and other revenue generating content. I had hoped that the new freedoms Ofcom offered would allow us to replace ad spots with engaging commercial content - at a premium price, not simply supplement spots.

I worry when I hear the volume of commercial content on some stations. There must be a stage at which it becomes simply intolerable to listeners. No one would argue that sixty minutes an hour of such material is tolerable. What about 59 minutes? 58? At what stage do we say it becomes tolerable, and by what evidence are we judging?

Long term questions arise. Even if a listener stays with you, are you risking diminution of their love for the medium. And what of a new generation, growing up in a world of entertainment choice? Are they ever going to grow to love us if we soak the assets unduly? In taking short term decisions to boost revenues this financial year so we can draw pretty graphs for Board meetings, are we actually doing long term harm to our businesses? 

What of effectiveness? If my precious car dealership appears in the middle of a four minute break, I suspect listeners would fail to recall my message, no matter how brilliant the creative. I acknowledge that research suggests turn-off diminishes the further one gets into the break, but what of attention levels? Whilst longer, less frequent breaks do minimise the number of turn-off points, a heavy loading means you lose songs - and listeners notice.

Back in my Chrysalis Radio days, there was an 'ad unit' rather than minutage policy.  The theory was that listeners noticed 'yet another ad' more than the overall break duration. For many years, the policy there was twelve units per hour - and category exclusivity within the break - lending a competitive edge to the armoury of our sales force. Rather like collecting a round of drinks at a bar, we'd only be expecting our audience to remember three or four distinct messages.  

I monitored a single ad segment on a station recently and heard eleven different client names. That's a failure to respect the integrity of the spots.

In an Australian study, the proportion of ads recalled by respondents listening to low ad volume was more than double that of the high ad volume listeners. They were also twice as likely to recall the product category, and twice as likely to correctly identify the brand. In addition, the respondents exposed to a low volume of ads showed almost three times greater prompted advertising recognition.

Closer to home, RadioCentre research in 2000 suggested that  ad recall was 42% higher in the solus Newslink spots than standard advertising breaks.

Are today's long, frequent ad breaks, plus other commercially-driven inventory simply asking too much of our audience, and producing campaigns which produce too little return on the advertisers' investment. Again, that's hardly good for our business long-term.

We know too that zapping from station to station is becoming more prevalent in a push button world where stations are much easer to find. Although station repertoires are not growing hugely with increased choice, I've experienced a levelling out of listening between P1 and P2 stations and a driving down of time spent listening. Is ad tune out and the ease of efficient flicking one of the reasons? 

As for proudly boasting those ludicrous 'ad-free' days or hours. That's just conceding you know you're really annoying people at every other time - and implying BBC radio is better. 

If commercial radio were launched today, I believe it would simply fail to build audiences to current levels if stations carried as much interruptive commercial content as it currently does on some stations. 

If one examines how radio works at its persuasive best, it would not be through four minute ad breaks. If we believe, as most music stations do, that a four and a half minute news bulletin is 'too long' to hold the interest of a listener, why do we feel that an ad break of that duration is not too long? 

Radio advertising probably has its DNA in early speech radio and drama - and the TV world - hence little playlets and spots. Were commercial radio launched today with its tight music formats, in a world where the BBC operates competitive mainstream offerings, would it depend on spots to the same extent? I suspect we would have more deeply-embedded, imaginative, entertaining  branded content - presenter endorsement - and maybe short solus 'messages', possibly played over intros. That's it.

The challenge is getting from where we are now to a sensible place before it's too late. Ralph Bernard, ex GCap CEO, shared with me the agony of Capital's 2005 decision in to halve the number of ads, and the particular circumstances which drove it.  It's not an easy call for a Board needing to optimise this year's performance. 

In the UK, whilst a radio operator could set itself apart to advertisers by offering more conspicuity to a client message, it would find itself difficult to do so appreciably to listeners, when they already have a no-ad option with the BBC. How large Radio 1 and 2 audiences would be if they had to carry ads, we can only speculate.

Maybe our clients need to start making their voices heard on the matter of minutage. And be prepared to put their hand deeper in their pockets for a solution which works better for us both.  Sadly, our negotiating position is weak.

Expecting commercial radio to drive audiences forward - and expecting the ads to produce a return on investment for advertisers - without a satisfactory ceiling on commercial loadings is a tough call.  Should PDs really carry the blame for any falling audiences when the amount of control they have over what is broadcast is ever-diminishing?

Is it not time for the best radio companies to establish a sensible ceiling for commercial loading of all kinds - in the long term interests of listeners and advertisers - and be clear on what that policy is. 


Grab a copy of my book 'How to Make Great Radio'.

Every Time We Say Goodbye

Listening back to Howard Bentham's farewell announcement on BBC Oxford, I heard him dwell on all the things he promised he wouldn't dwell on, and do many of the things he suggested were not his style. His listeners would have inferred what he implied, and I'm not sure it was a good move for his long term career.

It used to be the case that many last shows didn't happen. If management had decided you'd committed a sin or your contract was not to be renewed, you turned up next day to be whisked quietly aside to be told you wouldn't be appearing on the radio again any time soon. Partly because macho management liked a quick drama; and partly because they feared what you might say when you opened you mouth.

Now, I detect last shows are being tolerated, whether or not the leaving is at the presenter's behest. Not least because listeners can, and do, challenge stations when presenters move on. They usually form the view that management don't know what the hell they are doing; and convey that in rather fewer characters on social media. Sometimes four is sufficient. They are always on the side of the presenter, given if they didn't listen they wouldn't care.

Similarly, presenters now continue to live on social media after their last show, so will be able to give their tupennorth there should they wish, notwithstanding any post contract restrictions. On-air, at least there can be some agreement  between presenter and management about what is said and how.

Of late, we have heard Janice Long in tears- - and Alex Lester ended in reflective mood. Brian Matthew demanded a valedictory show. As I left Trent it was very much a case of embarrassing tears.

Chelsea's lovely Key 103 farewell was a real 'farewell to a lifetime friend at the train station' moment, as listeners correctly point out, they'd grown up with her. In the most under-stated, yet beautiful farewell, Alice Arnold simply croaked on her last word - and that Terry Wogan farewell is still played as an outstanding piece of radio.

If we believe that presenters become friends to listeners, and I could talk for hours on that topic and lean on reasonable evidence, then it seems to me rude not to allow them to say farewell. And, with social media  crusaders, the station will get harangued for doing otherwise anyway.

To my knowledge, as a PD, I didn't ever forbid a final show (maybe just one!) even though I knew some folk were more than a little annoyed about their imminent demise. I find usually that if you trust presenters, they reciprocate. I can name many who had been on the wrong end of the difficult conversation who took it with huge professionalism and generosity to their successor. They have gone on to other jobs and enjoyed a continuing career elsewhere.

But, if you are going to be afforded the privilege of saying goodbye, even though many listeners may not care you are off, then you should behave honourably.

Remember you are addressing your listeners. If you want to address your bosses, just wander over and shout at them. You don't need a transmitter.  When you have a go at your bosses, it feels to a listener like when they pop round to stay at their friends' house who then have a marital row.  It is uncomfortable.

And remember too, your demise is likely not the fault of the person taking over from you.

Whatever you feel in your heart, show the professionalism for which you were hired and the professionalism which will get you another gig.

Your copy of 'How to Make Great Radio'  can be with you within seconds by e-book - or within a couple of days by post

A New Dawn for Commercial Radio

It’s been a long time coming, but many in the commercial radio sector, but not all, will be delighted to see today’s announcement from DCMS on the future regulation of commercial radio.

The pass was sold some time ago.  Those who seek detailed regulation of what is broadcast by commercial companies were disappointed many years ago.  We are where we are; and the remaining rules seemed to achieve little, apart from costing companies money and giving the regulator a muscle to flex when politically needed.

The consultation document today is significant and, for the first time, breaks the link between the present and the inherited regulations dating back to the industry’s earliest years.  The past is over.

No longer will Ofcom have an over-arching duty  ‘to secure a range and choice of radio services’.  It will simply have to secure the provision of news and other core information such as traffic and travel information and weather. This would apply to all national and local FM or AM stations, whether simulcast or not, and also to DAB stations upon FM switchover.  Stations will still need to continue to source local news from within the existing editorial areas.

The signals for this move have been around some time.  There is a worry that with declining local press, there is a threat to the scrutiny of local democracy.  This change will mean that solid journalism from commercial radio is preserved.  And don’t tell me commercial radio news is generally poor.  I have heard true, true excellence, sometimes outdoing the BBC in some markets.  

Be warned, however.  If regulation goes the way it usually does, one can expect Ofcom rightly to monitor this remaining news strand with huge, huge enthusiasm.  Ofcom will have more focused powers to set news/core information for digital stations too.

All other format requirements which apply to local or regional FM AM licensees other than news/key information will also disappear. So, stations can at last play the music they want to.

In practice, we are not too far from that now.  The industry is in very few hands; and, as we have seen with the panorama of Global services, they are more than happy to cover the waterfront.  They don’t need regulatory intervention.  They have little interest in cannibalising their own audiences – and are already playing everything that mainstream 15-55 audiences require and is commercially sustainable.

National and local multiplex operators will no longer need to ensure there is a range and choice of services carried on their networks. Few could argue that the existing DAB services fail to offer variety; and if services (provided as they are sometimes by third party contractors) are not sustainable economically, then what was the multiplex operator supposed to do if they failed anyway?

There is a hint that the small-scale DAB experiments will be rolled out – and let’s congratulate Ofcom on doing the running, in a very unregulatory sort of way, on that development.

Local commercial stations won’t be told where their studios can be. What will matter is whether their news and info is relevant.  Companies hitherto have been obliged to build separate studio complexes just to keep the regulator happy.  It was madness, particularly in a case I was familiar with where the matter boiled down to a matter of yards.  The only reason the rule was retained was because it could be enforced with ease. A political and convenient face-saver which suited a time and place in regulatory history.

DCMS don’t seek to make any changes to change the format requirements placed on the three national analogue licences (Classic FM, Absolute Radio and talkSport). All three have the option of renewing these licenses until 2023 and they have indicated willingness to do that.  DCMS is even asking if the licences should be extended further.

Content regulation will not change; the 'fit and properness' of licence holders will be examined in the same old way; but the current restriction on overseas-based radio services  on UK DAB multiplexes might be removed.  That was a nonsense, prohibiting, for example, the Irish service RTE from being broadcast here should a provider wish to propose it.

DCMS notes that if all the above is accepted, there will be little to distinguish between potential operators in any future analogue licence award processes, so views are sought on whether Ofcom should continue to offer up any new or renewed licences at all.  Just like in most right minded communities, the beauty parade is dead.

Overall, DCMS are satisfying themselves that these proposals strengthen the protection of the core public service purposes, ensuring that the sector remains dynamic and relevant, characterised by strong brands, offering increased choice of national and local services which are enjoyed and valued by listeners.

It notes that not all operators will wish to take advantage of all the freedoms.  As now, I can point to areas where just about all radio groups do things that they are not obliged to, because they think it’s better for listeners and for the business.

The consultation concludes with the final philosophical question about whether radio should continue to be regulated in the old-fashioned way when the World has changed beyond recognition.

They are right. It is time for those of my generation and older who grew up loving the old approach to realise that it can never be the same again.

As I sit here at 8.00 at night, I can access more radio entertainment than I have ever been able to.  I can tweet a presenter if I feel like it, even when they are not on the air, and probably get a response.  I can go online for efficient accurate school closure information. And if I want to swap an old telly for something, I go on ebay and swap it for cash.  I can also go and set up a community radio station if I really want.

Most of all, I can find a radio station here or somewhere else which is playing exactly the sort of music I love, all the time.   But I can still turn on the radio and hear news bulletins. They may be shorter than they used to be, but they are certainly more tailored to the needs of the audience.

Years ago, at this time of night, we’d be into the Country show by now, and there’d be nothing else on FM to choose from instead apart from Radio 2,3 and 4.

Life has moved on. A sensible regulator has moved with it. In the 50s, as TV grew, the BBC was not obliged to carry on broadcasting all its drama, quiz shows and light entertainment.  We need to ascertain where radio fits into a new world and do it brilliantly.

And then we can rest in the knowledge that radio can survive.  Make no mistake, some familiar radio stations need to make more profit, or indeed some profit if they are to remain on air.  We should congratulate the investment into the sector from all the major radio groups, and many others, and admire the enviable glitz Global have brought.  Without that passion and investment across the Board, this industry would be in a sorry state.

One final note. Market forces can sort out most things where there is enough supply and demand.  Audiences over 55 will not be well-served by commercial music radio; nor are they.  The BBC must address that huge gap proudly.

In my experience of these processes, flags are flown and a point or two is edged back by concession as proposals are tuned and implemented. But, by the scale and nature of these proposals, what is almost certain is the future will be a very different place.  Well done, DCMS, for producing, at least, some sweet treats which are not fudge. Let’s see how the consultation is responded to.

On World Radio Day, let’s celebrate another chapter for this great thing called radio – as it enters its third age.

The Style Guide

As a young programmer, I'd often get pretty depressed. I'd kick off my shoes and try to relax at the weekend, only to hear one of my presenters doing something I felt should be done differently. They'd ignored what I'd said. These idiots, frankly, ruined my Saturday. Why on earth don't people do as they are told.

Come Monday, not gifted back then with very much skill in getting the most out of decent jocks with grown-up persuasive dialogue, I'd hammer out a note with a threatening title and lots of words underlined. Some in bold. Even a big font or two. I felt a lot better after that. The matter was sorted. Everyone would surely now do everything I'd told them.

This week, a screenshot of a format note for the Bauer City stations was posted on social media. Whoever leaked that internal memo originally shouldn't have done. I don't think it was very clever. If you don't like where you work, get another job.

I confess I nod, at least, to the intention of some of the note's content. If you really have jocks who think that a great tease is a list of the songs to come, then you really ought to do something about it. It's a British radio disease and we must find the cure.

Maybe we should help the talent to really understand what great teasing is - and how it works. If they really can't come up with anything on their own, maybe find some new jocks?

Let's not get sniffy about a format note per se.  Every sensible radio station has a policy or two to follow, not least when you're a music radio station scrapping over a popular audience demo. It's your Highway Code. Sometimes, the rules are written down; sometimes they're just carefully inherited. I'd wager there's even a memo somewhere about the Radio 2 'news in' procedure.

In my early career, I'd assemble a lengthy style guide. The Lincs FM version amounted to a stapled paperback with a glossy cover. It detailed every single hang-up I ever had about radio - riddled with frequent use of the word 'don't' and the phrase 'a dim view will be taken of...'. It was cathartic to write, but I suspect none of my recruits ever troubled to read it thoroughly, let alone obey it.

On the day your children become teenagers, you could stick a Post-it of "Dos and don'ts" on the fridge door and expect your offspring to do grow up to be perfect successful, respected individuals. You can rest assured that they'd likely take great pleasure in ignoring your edicts the second your back is turned. Alternatively, you could try to bring them up with a sense of values, respect and work ethic - and hope that they grow up well in their own unique way.


If you hire the right people, they'll be bright enough to take on board the necessary programme structure of daytime music radio if you explain well-enough what the goal is - and share some secrets and techniques with them as part of an ongoing coaching, supportive relationship. But as for the execution, I'd rather hope my jocks were funnier than the PD.

Radio 2 boasts some great names who are talented communicators, but there are techniques even some of them appear to miss.  I'm not sure anyone has ever taken the time and trouble to sit down with them and share a few thoughts. Their presenters are bright people, and I'm sure many of their faces would light up if they were treated to a little audience insight delivered in the right way. I suspect, however, that a memo wouldn't cut the mustard.

Without necessarily agreeing wholly with Ashley Tabor's reported view that there are simply not enough great jocks in the UK to have decent ones across the schedule on every station, there's probably something in it. There are people on air now who wouldn't have a radio job were there only fifty stations. They just wouldn't have made the grade. We compensate for those by issuing notes and telling presenters what to do. That approach probably reduces the opportunity for really bad radio, not least because we largely tell them to shut up.

Running a lot of stations is a challenge: sadly, you don't have a lot of time for subtlety. But the best approach is to hire the right people - people who are more entertaining than you are - and have grown up conversations not about what to do, but why. Then build the atmosphere for them to do their best work.

On teasing, if they understand why we do it, and that the overall objective is simply making their show difficult to leave, and they have heard great examples, they'll do it better than you ever could. If they understand how Rajar works, and its importance to their career, they'll probably make damn sure the station name sticks out like a neon sign.

Selling in new music is what John Peel did instinctively without any format commandments. It's what human beings do to their friends. One of my good PDs used to pull off a great example and play it at a presenters' meeting, embarrassing the jock concerned by heaping on the praise. His colleagues jeered, whilst vowing quietly to out-shine him next time.  As for incessant positioning statements, I'm a bit of a cynic.

On every issue, when the penny really drops, presenter behaviour will change forever. It's not about format policing, it's about quality coaching and great support. Presenters need to be loved and believed in. It's not so much about notes or style guides; it's about sharing insight, appreciating the good stuff honestly, building productive relationships - and pure inspiration.

Quality coaching of good talent will produce incomparable, memorable radio. And, as I say to every jock I trust, if you break the rules but it's brilliant, I'll be the first one to applaud. Name one radio great who hasn't been a rule-breaker.

My book is a bit of a style guide. Well, just food for thought really. 'How to Make Great Radio'.

Bye just now, Desmond Carrington

To be on-air at the age of ninety, hosting your favourite sort of radio, is something most broadcasters dream of. Desmond Carrington managed it.

When he announced in September 2016 that his last programme was to air in a month’s time, it was clear that his familiar voice occupied a special place in the Nation’s heart. Hardly surprising after seventy years on-air.

"Love this guy. Sad to see the show end".

"An absolute legend. One of our greatest radio voices. I shall miss him terribly".

"How I'll cope without him completely I don't quite know."

Like many broadcasters of his generation, born as radio itself was born, his performances began on stage. At his professional debut at Nottingham’s Theatre Royal, in 1942, he played opposite Noel Johnson in ‘Goodbye, Mr Chips’. Noel was the voice of radio’s Dick Barton.

Following the War, Desmond persuaded his way on-air at BFBS in what was then Ceylon (Sri Lanka).

On his return to the UK, alongside some independent radio production for the BBC and Radio Luxembourg, he was to return to acting, this time on TV, playing the part of the hearthrob Dr. Anderson in Emergency - Ward 10.   He even was the chap who asked you to swap your normal washing powder for Daz in the 60s TV ads.

He was first heard on BBC Radio in 1946 as a member of the BBC Drama Repertory Company and later began broadcasting on the BBC Light Programme with ‘Movie Go Round’ and programmes like Housewives’ Choice.

October 1981 saw the start of 'All Time Greats' on BBC Radio 2. This Sunday lunchtime programme became a familiar part of the English Sunday tradition. He moved in 2004 to Tuesdays, as ‘The Music Goes Round’ before settling in 2010 in his familiar Friday evening slot. Desmond broadcast from his home in Perthshire, where he was able to draw upon his own rich personal record collection of over 250,000 tracks, spanning every genre of music from the last century.

Originally pre-recorded, he began broadcasting live on the day Princess Diana died in 1997, feeling, rightly, that a live programme would better reflect the Nation’s mood that day.

Desmond was voted British Radio Personality of the Year in 1991 – and was awarded the Gold Badge of Merit in 1989 by the British Academy of Songwriters, Composers and Authors.

The trend for today’s radio is authenticity. Desmond was authentic. Yet his programme was a warm reality, a chap playing his favourite songs fondly to friends from the comfort of his own home, his cat by his side.

“I’m one of the luckiest people in showbusiness – at home in beautiful countryside, doing what I love. It’s not work, it’s pleasure. Why should I stop?” 

He did stop, with reluctance, as he said on-air as he announced his departure: "I wasn't too well after my 90th birthday and it has been a bit difficult to carry on”. His remark was an understatement. He’d battled cancer and lived with Alzheimer’s disease for several years, suffering a second heart failure on Christmas Day 2015. “I’m eternally grateful to the superb doctors and nurses of the Scottish NHS for saving my life”.

With Desmond’s departure, another silvery sliver of that comfortable, warm, reassuring Light Programme sound flitters off into radio history. Radio will never be quite the same again.

Bye, just now.