Radio; Radio 1 Breakfast Show Flashcards
1
Q
when was radio 1 created
A
- 1967
2
Q
what makes the BBC unique
A
- has been around for 50 years - shows UK public’s loyalty
- the friendly + familiar presenters voices create a unique consumer base
- no ads/ publicly owned
- British values/ culture
- aims to inform, educate and entertain
3
Q
name threats to the BBC
A
- Spotify
- social media providing news
- lack of loyalty from younger audiences
- other media outlets criticising their public image
- mistrust after scandals (e.g. Huw Edwards)
4
Q
why was BBC Radio 1 created
A
- the Gov requested it to be made after the banning of pirate radio stations
- these were unlicensed radio stations which played new music, making the BBC annoyed
5
Q
the monthly licence fee is more expensive than all _
A
- the monthly license fee is more expensive than all music streaming services
6
Q
2023: _-24yr olds listened on avg to _hrs of radio per week, _hrs less than an adult
A
- 2023: 15-24yr olds listened on avg to 14hrs of radio per week, 7hrs less than an adult
6
Q
______ people are convicted for TV license fee evasion per week
A
- 1,000 people are convicted for TV license fee evasion per week
7
Q
what is the BBCs effect on the UK economy
A
- for very £1 invested into the BBC, £1.63 is put into the UK economy
8
Q
outline 4 aspects of the R1 Breakfast Show remit
A
- to entertain + engage a broad range of listeners with a distinctive mix of music and speech
- the TA is 15-29yr olds
- should offer a range of new music, support emerging artists (esp those from the UK) and provide a platform for live music
- news, documentaries + advice campaigns should be relevant to young adults
9
Q
outline the 5 public purposes of the BBC
A
1) to show the most creative, highest quality, and distinctive output
2) to provide impartial news
3) to support learning for people of all ages
4) to reflect, represent and serve the diverse communities
5) top reflect the UK and its culture + values to the world
10
Q
what does the R1 BS ensure with the music they play
A
- broadcast 60 hours of music per week
- 40% of daytime music should be from UK acts per year
- at least 45% of music in daytime should be new content
10
Q
outline the political context for the R1 BS to keep their license fee
A
- meeting their remit is essential to them maintaining their position as the UK’s public service broadcaster with their LF funding
- successive conservative governments have tried to reduce/ remove the LF
10
Q
outline the economic context for the R1 BS to keep their license fee
A
- BBC brings revenue to the UK economy – acts as an incentive for the gov to keep their LF
- their LF provides the BBC with a reliable stream of income in a competitive commercial market
- the LF allows them to hire the best talent + produce quality content
11
Q
outline the social context for the BS to keep their license fee
A
- BBC has been judged on delivering ‘Reithian values’ e.g. raising the cultural standards of the nation by educating + informing, esp through channels such as Radio 3’s commitment to the high arts + Radio 4’s commitment to information + education
12
Q
outline the R1 weekly playlist
A
- 50 songs played repeatedly throughout the week – is split into 3 lists
- A list: played 25x, B list: 15x, C list: 5x
- music on daytime R1 is governed by a playlist, of which ‘considers the British, BAME, independent production + gender representation of artists in its playlist, as well as supporting new and emerging artists’
13
Q
Capital’s reach is _%, R1’s reach is _%
A
- Capital’s reach is 16%, R1’s reach is 14%
14
Q
what is the name of the R1BS new music playlist
A
- In New Music We Trust
- is played weekly
15
Q
outline the 4 barriers to reach R1’s target demographic (15-29)
A
- the hosts don’t reflect the TA, so don’t appeal to them
- youth listen to less radio (1/3 less radio than elders)
- 15-29yr olds curate their listening through streaming services – like Spotify
- TA are more likely to listen to podcasts for ‘speech content’
16
Q
what is RAJAR
A
- the official body for measuring radio audience for the UK
- measures the BBC’s audience reach since 1992
- stands for Radio Joint Audience Research
- uses categories to measure audiences (age, ethnicity, region, class)
17
Q
give context to Greg James
A
- born in South London in 1985 (age 38)
- has been a R1 presenter since 2007, started the BS in 2018
- has a background in media - has written children books
18
Q
name the last 3 BS presenters before James
A
- Nick Grimshaw (2012-2018)
- Chris Moyles (2003-2012)
- Sara Cox (2000-2003)
19
Q
outline Chris Moyles as a BS presenter
A
- had ‘laddish banter’
- controversial; e.g. claimed to want to take a 16yr olds virginity
- he brought in many listeners who were outside the target demographic; their average listener age went from 29 to 32yrs
20
Q
outline Nick Grimshaw as a BS presenter
A
- had strong connections to celebrities
- had a reputation of being a partyer
- didn’t bring enough listeners in - was why his contract wasn’t renewed
21
Q
outline Greg James as a BS presenter
A
- brings an unproblematic, humorous, energetic style to BS that helps define it
- actively builds a loyal fandom (e.g. gregulars)
- is able to create a space where listeners can ‘confess’ and ‘be weird’
- although the programme consists mostly of recorded music, James is highly skilled at chatting to members of the public in the same way as celeb guests - these voice sections provide a chatty, feel-good tone
22
Q
what is BBC aim for the Licence Fee
A
- to provide certainty for audiences + stakeholders about what each BBC service should provide
23
Q
what is the main aim of R1
A
- to exhibit high quality, original, challenging, innovative and engaging programmes available on digital platforms
- should also nurture UK talent
24
Q
how does the BS utilise digital technology
A
- programmes, podcasts, playlists are available to stream 30 days after the broadcast on BBC Sounds
- maintains a social media presence for marketing + digital purposes + creating interactive relationship with its AUDs; 2025: R1 Twitter + Instagram have 2 million + followers, YouTube has 3.8 million
- content shared on YT to promote the show + presenter
- broadcasting on DAB radio massively expanded digital radio
- listener can message into the live show through phone-ins, voice notes, texting
- listeners can engage via social media - e.g. on their X, they ask questions, share playlists, posts visual enigmas (clips from the show)
25
Q
how does the BS promote audience participation
A
- features a Scottish presenter (Callum Lesley) - attracts Scottish listeners
- James continuously encourages AP through calling/ texting in (he interacts + reads out messages + call ins)
- does interactive quizzes
26
Q
R1 should broadcast at least __ of news during daytime each __
A
- R1 should broadcast at least 1 hour of news during daytime each weekday
27
Q
what is the Royal Charter
A
- is the constitutional base for the BBC
- it sets out their objective, mission and public purposes
- the current charter began on 1st Jan 2007 and ends on December 31st 2027
28
Q
outline Jimmy Saville in relation to the BBC
A
- one of the most prolific podophiles in the UK
- worked for the BBC for 3 decades on ‘Jim’ll Fix It’ - a children’s show
- there were complaints to BBC during his career - but it was never fully investigated until after his death in 2011
- greatly damaged the BBC’s reputation
29
Q
outline Russell Brand in relation to the BBC
A
- on air, left a message for Andrew Sachs saying he ‘fucked’ his granddaughter
- BBC issued a poor apology on behalf of Brand
- shows BBC cant control their talent (who are paid substantially by taxpayers)
30
Q
outline the origins of BBC radio + Radio 1
A
- in Britain, radio remained a monopoly of the BBC until the 1st commercial radio stations became licensed in 1973
- BBC’s monopoly allowed it to decide what the nation’s taste in music should be
- access to pop music was restricted in the 60s, until competition from pirate radio stations forced the BBC to develop a pop station - Radio 1 - in 1967
30
Q
outline origins of radio
A
- local radio started in the 60s, with stations such as Capital
- radio is a relatively cheap medium to produce, which is why pirate radio stations began, which expanded in the 80s to serve mostly urban communities
- it was renowned for its authenticity + roots, which led to criticism of some stations, e.g. Kiss, who applied for a licence to become mainstream
30
Q
outline the Radio 1 Breakfast Show
A
- the Radio 1 Breakfast Show is produced by the BBC from its own studios
- the BS is considered the ‘flagship programme’ for Radio 1 - e.g. the appointment of a new presenter makes headline news
30
Q
define flagship programme
A
- flagship programme = a TV or radio programme that gains a lot of attention so helps define its channel as a brand
- an example of this is Radio 1’s Breakfast Show
31
Q
outline the political context of radio
A
- radio was the first domestic electronic medium + was subjected to political control
- however, the notion of free media is central to democracy + state media are associated with dictatorships, so its politically important in countries such as the UK for any political control to be at arms length
- this is why the BBC is a public corporation, not a state broadcaster
31
Q
outline the cultural contexts of radio
A
- popular music radio operates wherein pop music is seen as inferior to other art forms, due to its commercial success + accessibility
- this is because cultural conservatives, who are influential in cultural politics, value the high culture found in Radio 3 - as its ‘difficult’ + not commercially successful
- this is key in understanding political debates about the role of BBC Radio 1; politicians, esp RW, argue that there is no reason why licence fee payers should pay for R1 when it’s content can be accessed from commercial radio stations
32
Q
outline the economic context of radio
A
- BBC Radio 1 creates the economic context in which commercial radio has its audience + profits reduced by having to compete with a publicly funded institution (BBC)
- gov can apply pressure on the BBC by reducing its licence free - an econ pressure on R1 to provide distinctive content even if that means losing audiences
33
Q
outline the ownership and control of radio
A
- commercial radio was originally set up in the 70s to be ‘independent local radio’ - but, ownership is becoming concentrated in fewer hands
- e.g. Global Radio owns many of the largest commercial radio brands; Capital, Classic FM, Heart, LBC, Smooth
- however, compared to other media conglomerates that dominate, e.g. film + video games + TV, Global Radio is very small scale
34
Q
outline the ownership and control of the BBC
A
- BBC is a public service broadcaster (PSB)
- it collects the licence fee, which is provided by the Department for Digital, Culture, Media and Sport (DCMS)
- the licence fee is designed so that the BBC doesn’t have to chase ratings or serve the parts of the population most attractive to advertisers, but can supply public service broadcasting (PSB) to the whole of the UK
35
Q
define public service broadcasting
A
- Public Service Broadcasting/ PSB = broadcasting intended for public benefit - those benefits (esp those for the BBC) are subjected to vigorous political and cultural debate
- broadcasting is overseen in Britain by the regulator Ofcom
36
Q
outline the funding of Radio 1
A
- in 2021-22, R1 had a budget of $36 million
- R1’s budget is 1/5 of Radio 3, and about 1/23 of Radio nan Gaidheal (Scottish/ Gaelic radio station)
- this shows how the BBC financially supports the ‘high arts’ (Radio 3) and also serves all the nations + cultures (Radio nan Gaidheal) to meet its PSB requirements
37
Q
in _, the R1 Breakfast Show had _ weekly listeners, making it a smaller audience than for the Radio _ Breakfast Show (over _)
A
- in 2024, the R1 Breakfast Show had 4.4 million weekly listeners, making it a smaller audience than for the Radio 2 Breakfast Show (over 7 million)
37
Q
outline the audiences of radio
A
- most radio audiences are local or national
- broadcasters such as the BBC maintain national AUDs, with national radio stations providing high quality content, and local stations offering specific local content - e.g. local news, sports coverage
- contrastingly, the BBC World Service addresses a global audience with international content in English or content in their national languages
38
Q
outline the role of regulation of radio
A
- UK radio is regulated by Ofcom which in 2017, became the BBC’s first external regulator, replacing the prev system of self-regulation
- the BBC is expected to be of higher standards than the commercial sector due to its licence fee
39
Q
outline the role of Ofcom
A
Ofcom ensures;
- a wide range of high-quality radio programmes are provided + appeal to a range of tastes and interests
- protection from harmful/ offensive material, unfair treatment, and invasion of privacy
- Ofcom holds the BBC to account - ensuring it keeps to its Charter and Agreement by annually publishing a report of the BBC’s performance
40
Q
how does the BBC attract younger audiences
A
- BBC uses online social + participatory media to target a young audience - its social media strategy focuses on 13-36yr olds
- they utilise social media platforms - e.g. their biggest audiences are on Facebook + YouTube, Greg James has 1.5 million followers on Twitter
- in 2012, Nick Grimshaw was made presenter to feature his youth + celeb connections + attract a younger AUD
40
Q
what are 4 elements of the BBC R1 Breakfast Show that reflects their 5 public purposes
A
- the high proportion of UK music played + the low repeat rate
- high quality presentation - the show is ‘good of its kind’
- regular news bulletins (every 30 mins)
- the address to a specifically young AUD helps the BBC fulfil its PSB requirement to reflect + represent the UK population
41
Q
what is the influence of audience targeting of BBC
A
- audience targeting of the BBC radio is influenced by the political context of debates about PSB
- the BBC R1 BS needs to attract a large enough AUD to justify its licence fee funding
- BBC needs to meet diversity targets, to meet PSB criteria
42
Q
outline an issue in attracting young radio listeners
A
- audiences, esp younger AUDs, have consumerist cultural expectations of choice, immediacy and ‘media plenty’, of which radio needs to fulfil if it will compete with online media
- this can be eased with the curated aspect of radio which appeals to AUDs suffering ‘choice fatigue’, esp in mornings
43
Q
name 3 examples of R1 BS’s use of audience interaction
A
- Unpopular Opinion: AUD members phone in opinion they think are unpopular
- Ask the Nation: listeners pose Qs that the audience answers
- Cringe Story: listeners explain the ‘cringey’ story that goes with a particular song
43
Q
define curated media
A
- curated media = media where a professional has made a judgement about what is good, so the audiences can relax + don’t have to make a choice
- e.g. music played in radio
44
Q
outline the audience use of Radio 1
A
- R1 is used by younger AUDs to support a youthful identify, for entertainment + to keep up with developments in popular music
- it can be used by MC AUDs to also keep up to date + maintain youthfulness
- it upbeat tone makes it useful as a background companion for younger AUDs - it doesn’t require concentrated listening
45
Q
outline the audience use of Radio 3
A
- R3 is used by older, MC audiences to maintain a ‘cultured’ identity, for education + entertainment
- it requires cultural capital, e.g. AUDs need to understand the role of genres, composers + performers in diff historical periods
- the complex music played in the evening is not intended to be used as background listening
46
Q
outline the historical/ cultural context of BBC Radio being split into different channels
A
- the BBC originally resisted the separation of types of radio into distinct channels serving diff AUDs - this was for the Reithian mission to ‘improve’ the nation’s culture by introducing a mix of popular + high culture for the UK population
- this cultural elitism was largely eradicated by the consumerism of the 1960s, expressed in youth culture + pop music
- the importation of American pop music radio formats via the pirate station led to a separate BBC pop music station (Radio 1), as well as the segregation of high culture in Radio 3 + 4
47
Q
outline the surveillance needs of a mass audience
A
- surveillance needs = how AUDs uses the media to learn about what is happening in the world
- this need from a mass AUD is met through a range of information-giving programmes
- e.g. R4 offers news, current affairs, documentaries etc
- the needs of a niche AUD, e.g. of R1, are met by youth/ sports news coverage, but mainly through a sense of keeping to date with music + sampling ‘greatest hits’ of the past
48
Q
outline the social needs of a mass audience
A
- social needs = how AUDs uses media to help their social interactions, to feel included within society, or as a substitute for real interaction
- this need can be met by programmes that addresses a wide range of AUDs + uses an inclusive mode of address that alienates as few listeners as possible
- stations aimed at niche AUDs can adopt the communication style of that group - e.g. R5’s informal + opinionated stance
- this para-social interaction, is an important pleasure of radio as a medium, esp for people often in their homes/ cars
49
Q
outline the personal identity needs of a mass audience
A
- personal identity needs = how AUDs use media to find role models, build up their sense of identity, reinforce values + beliefs, etc
- personal identity needs of mass AUDs are more different than for niche AUDs
- e.g. Radio 6 listeners were more committed to the channel when it suggested taking it off air - it’s older fans felt a part of their culture was endangered
50
Q
outline an example of the BBC reaching specialised radio AUDs
A
- the BBC World Service operates radio programming to international AUDs in more than 20 languages - mostly African + Asian languages
- also, as radio is a cheap medium to run, it is accessible in countries where Internet access is limited
