GWR In Trouble

Back in the late 19th Century, ask anybody in the South West what GWR stood for, and they'd say either, God's Wonderful Railway, or Great Western Railway. Now in the 21st Century, ask that same question, and you'd probably get a reply along the lines Gormless, Worthless Radio or words to that effect.

Here in the 21st Century, GWR is known as a radio conglomerate and not a particularly popular one among the listeners. Their listenership is down, and the advertising market is down too, meaning that their profits slumped 70% in the last financial year. These are troubled times for a company which started off from a merger between Wiltshire Radio and Radio West back in 1985. So just what has GWR done so wrong in the past year?

Well, it could be that they created a bad strategy within the past couple of years, when they bought up a whole raft of stations, when the ownership rules were last relaxed. The company had a new station, only on Digital Satellite, called The Mix. The Mix was and is basically what GWR wanted their local FM stations to be, albeit with a few changes to reflect the smaller, more localised audiences the local stations had. So, where the local stations had local info, The Mix usually had promos. Then on top of that, The Mix was networked for at least 11 hours a day from 7pm to 6am, consisting basically of a listeners top 30, late night love, and an overnight programme.

However, the worst was yet to come. Over on AM, there was a completion of a process that had been going on for years. Those AM services that had not been assimilated under the Classic Gold brand were then brought under that brand, among them, Plymouth Sound AM, who had been running a successful local service on AM separately from FM for 9 years. In the 6 months following that re-branding, Plymouth's AM service dropped from a regular audience of well over 60,000, to a regular audience of barely over 20,000. Similar patterns were happening right across commercial local radio with every service losing listeners, but the GWR owned services seemed to be worst hit out of them all.

This meant that advertising revenue fell away, quite sharply in some areas, as advertisers looked for bigger audiences elsewhere. The Radio Authority also intervened saying there should be a minimum local requirement of 16 hours on FM. This meant that suddenly 3 extra hours of local programming had to be found in the stations' schedules. Most took an early breakfast slot of 3am to 6am, but some did go for the 7pm to 10pm evening slot. However, they were only local versions of the Top 30 listeners' chart.

GWR was expecting advertising revenue to pick up in 2001, but two things prevented that from happening. One was the Foot and Mouth outbreak, which did not help business confidence generally and caused a lot of problems for many local economies across the country from Devon to Scotland. The second incident was September 11th, and although this didn't have as great an impact as Foot and Mouth, it did help to keep a downer on business confidence. It is now expected that the advertising market won't pick up until the second half of 2002, and although commercial radio has seen a pick up in the number of listeners again, GWR is seemingly lagging behind the rest of the sector.

It is this writer's opinion that GWR needs to rethink its network-orientated strategy. Stations that are truly local by name and by nature are doing well again, in some cases, even better than they were before. It would therefore seem to indicate that locally produced programming is far better at getting listeners for any potential advertiser, than a semi or mostly networked schedule.

Regional Rollercoaster

Out of all the channels that currently exist, only 3 channels provide a terrestrial regional service to the English regions, BBC-1, BBC-2 and ITV. Every other service available is national, pan-European or even international in focus.

So why are there so few regional services? The short answer is money. To provide a basic regional service, for instance to the West, South, East, Midlands, North, Wales, Scotland, and Northern Ireland, you have to find eight new locations for studios. To run the entire service from your broadcast headquarters, at least eight new transmission suites need to be built and suddenly we're talking hundreds of millions of pounds. Currently only Sky could even consider something like that.

The BBC offer a 14-region terrestrial service, covering the South West, West, South, South East, East, East Midlands, West Midlands, North West, North, North East and Cumbria, Channel Islands, Scotland, Northern Ireland and Wales, and are in the process of carving a 15th region out of the South East for London. A comprehensive service like this is the most expensive route to take, with the pick of the regional bunch, ITV, having 27 regional divisions operated by 15 licensees in 14 regions. A 27-region service requires 27 transmission suites, at a time where ITV tries to consolidate into a single company.

Even without consolidation, regional output has already suffered. The BBC used to produce some great regional feature programming, including "Floyd on Food" and "Secret Nature", both from the Southwest. The BBC picked up these shows nationally as well as many other programmes from the regions. The three main regional production centres for the network, Bristol, Birmingham and Manchester, specialise in certain types of productions. The only things the individual regions produce are local news, weekly topical news documentaries and a regional parliamentary programme. All are news based with no feature-based material at all - no fun stuff.

You might have expected ITV to pick up the slack here but the picture is similarly bleak. For instance, Westward and TSW had been great providers of regional programming, some of it being shown on the network. Successor company Westcountry, however, have produced only news and factual programming, with a tiny amount of entertainment-related material produced by local independents. Even after Carlton rebranded Westcountry, things did not really improved. Although the "Carlton Production" slide is seen a lot, the great majority of these productions are from London and the Midlands.

So regional programming has already suffered on television, and it looks like it will continue to suffer under a single ITV company coupled with light-touch regulation. Because being regional eats up money and profits, expect to see even less in the future.

The first word in jingles - PAMS

2001 marked the 50th anniversary of a company which in its own way, revolutionised radio worldwide.

Until 1951 any jingles that were heard on a radio station in the United States of America had been produced locally. An example of this was KLIF, a station that went live in 1947. The station had its own staff singers, which might seem strange now, but it was fairly common practice back then.

The station's music director, Bill Meeks collaborated with the singers to produce the station's first on-air jingle package. In 1951 Bill Meeks left KLIF and founded a company called PAMS, which promoted itself as a commercial music production house and advertising agency whose initials originally stood for Production, Advertising, Marketing and Sales, the four areas that Bill felt clients needed help in. In later years, the S was changed to mean Service.

The company was based in Dallas, Texas. But this was not by accident, rather, it was by the design of a gentleman called Bill Harris, who was the local director of the American Foundation of Musicians. He pushed for musicians to be paid transcription rates rather than the much higher national advertising rates. Had this not happened in 1951, its quite possible that PAMS might have been based in New York or Los Angeles and as such it might have meant that radio stations today would be traveling to those locations rather than Dallas for their jingles.

Soon after, PAMS sold the very first syndicated package of jingles to KDNT in Denton, Texas. This was to become known as the Series 1 package. The package was basically a collection of pre-recorded backing tracks, an economical and flexible way of producing station ID's. However the package had no consistent logo melody. The package was produced specifically for the station, therefore it was not a custom package, but a syndicated package.

In 1955, PAMS started to face some serious competition in the sector with the formation of Commercial Recording Corp., and three former PAMS employees got together in 1958 to form Futuresonic, but despite the competition from these and many other companies including Music Makers, Jingle Mill and Pepper Sound, PAMS became known as the world's most creative and dominant supplier of radio jingles.
In all, PAMS created 49 numbered packages with numerous variants, many named packages for clients across the world. Among the stations that used PAMS jingles were

• BBC Radio 1 and Radio 2
• WABC in New York
• WMGM
• WYNR
• WFUN
• WXYZ
• KFWB
• KGW
• WGAR
• WWDC
• WLS
• KLIF
• KNX
• and many others including pirate station Radio London.

Some of the more well known backing tracks include Series 15, originally produced for WABC in New York, but never actually used by the station and Series 18, the package that introduce the electronic voice of “Sonovox” to the world of radio jingles. PAMS also produced a series of jingles based on the hits of The Beatles at a time when Beatlemania was sweeping across all 50 states of the US.

In the late 1970's, PAMS ceased trading because of financial problems, but the company never went into bankruptcy, nor was it dissolved. For over 10 years the future of the company and the jingles themselves were left hanging on legal threads.

Then in 1990 another former PAMS employee, Jonathan Wolfert, who had left PAMS in 1971 to form his own company, JAM Creative Productions, bought the shares of the company.

You might think that the story ends here, but you'd be wrong. Because in the years since the company became inactive, several other companies, including the Creative Productions Marketing Group (CPMG), had started offering re-sings of the PAMS packages. It meant extensive legal research had to be carried out to determine who held the valid copyright to the PAMS material. It was eventually determined that the original PAMS corporation, that had been bought by Jonathan Wolfert, still owned the jingles. PAMS had to resort to legal proceedings to resolve all the conflicting claims.

A settlement was reached in February 1997 and since then, JAM have sold re-sings of the classic jingles out of Dallas, Texas, whilst a company called KenR offer re-sings out of Toledo, Ohio.

Brand X

ITV has become ITV1, SkySports.comTV has reverted to being known as Sky Sports News - two recent examples of just how important the correct brand is to television stations and networks. But branding isn't just the station name, it's also everything that identifies the station as being what it is. So, just why is the brand so important?

One reason is to help viewers build a familiarity with the station. Westward's brand was a very strong one in the South West of England, and indeed still is, despite the fact that it disappeared from our TV screens at the end of 1981. Why is it so strong?

One reason is that although Westward changed their idents a few times, they never changed their symbol - it was always the Golden Hind - and the continual use of this symbol for 20 years meant that people built a familiarity with it. Every time that ship appeared on the screen, you knew you were watching Westward.

Another thing that helped build familiarity was the regular team of station hosts, otherwise known as Continuity Announcers. When Roger Shaw told you that now on Westward was The Avengers, again, you knew you were watching Westward, because his face and voice became associated with Westward, and many years later, TSW as well. Familiar faces, familiar voices and a familiar symbol, amongst other things, helped to create a very strong brand for Westward, one which survives almost 20 years of disuse.

By way of an aside, in the United States, consumers regularly rate General Electric second out of 10 manufacturers for Blenders. The company stopped manufacturing white goods of this type more than 20 years ago. A powerful and quality brand is self-perpetuating.

Another reason why brand is so important is that it helps identify the sort of programming you can expect. Cartoon Network shows nothing but cartoons, Discovery Channel is all about documentaries, Disney Channel is children's and family entertainment, brands like that are familiar and give a good idea what the station is about.

But what about a brand like Boomerang? Now what kind of channel is that? It sounds like something to do with Australia or thrown weapons. In fact, Boomerang shows classic cartoons, such as Tom and Jerry, Droopy and Barney Bear. But again, if you'd never heard of the channel before, would you know that it showed classic cartoons? Possibly not, which is why it was initially introduced to the viewing public as a strand of programming on Cartoon Network, before it was launched as a separate channel.

Getting brands associated with whatever the channel wants you to associate it with, has always been a problem. Before 1956, would anyone have associated the word Granada with the North or North West of England? Possibly not, but it is now, and has been for quite some time, associated with the north. On the other hand, could you associate Rediffusion with any particular part of the country? Possibly not, because in the station name, there is no geographical indication of where the channel broadcasts or in this case, broadcasted, to. That's why from about 1964, you saw the words Rediffusion London on screen, in order to build that kind of association.

EuroNews or EuroSport have a similar kind of association, but this time you know they broadcast right across Europe, because of the Euro in their name. Other station names, such as Thames, Southern, Grampian and Ulster, are geographic names, in order to gain the respect of the local audiences. Names like that have a distinct advantage over names without any such geographic reference, such as Rediffusion, ABC, ATV or Carlton.

Also names that are based on the programming that's on the channel, such as Sky Sports 1, UK Gold, Travel Channel and BBC Knowledge have an advantage over channels where the name of the channel has no immediate reference to the programming, such as Q, Hallmark, Trouble and Bravo.

So, if you want your brand to stand out from the crowd, especially in today's very crowded multi-channel market, you need every advantage you can get. Just having your logo permanently on screen all the time won't cut it any more. Not distinctive enough, everybody's doing it. You need to make your station symbol, ident or logo very distinctive, something that will grab your viewers attention.

You need to have your announcers present it distinctively, you have to promo your station and programmes consistently and judiciously, so that you're viewer doesn't think they've seen everything the programme or channel might have to offer.

But most importantly, the brand has to become familiar in people's minds fairly quickly, and the brand has to be respected, otherwise your potential audience might not turn to your channel and that will prove disastrous.

DigitalTV.com

The biggest revolution in broadcasting history since the birth of commercial television began in the UK in 1997 with the launch of digital television.

More channels and more choice were promised to the viewer. Today, in 2001, we see that digital has brought us more channels to choose from, but they are not all successful.

The Money Channel has had some well-reported financial problems. Simply Money was simply losing money and relaunched itself as a shopping channel.

Some of the Asian-language services have gone from subscription to free to air and back again in order to tempt subscribers to their services.

Add to that the reports that some programmes on the major digital channels such as BBC Choice, E4 and ITV2 have had no viewers at all, and you can see that the digital channel revolution has suffered similar problems to the dot com revolution.

But why? Simply, there are so many channels and services out there fighting for your attention and viewing time but not enough hours in the week, never mind a day, to view them all.

Plus, the services are as diverse as they come with channels all about fashion, computer games, health, dance music and extreme sports, mixed in with the more traditional multi-channel fare of entertainment, news, movies, sports, pop music and classic television programmes.

With so many new channels coming on stream almost on a weekly basis, it is quite easy to forget that before the digital era, several analogue satellite and cable channels also found the going somewhat tough.

Country Music Television, The Weather Channel and The Family Channel, amongst others, all had difficulty getting their services accepted by enough viewers to make running a channel worthwhile. Even Sky with their deep pockets had troubles with The Comedy Channel, Sky 2 and Sky Sports Gold in the pre-digital era.

But these and other quite high profile difficulties haven't put off the television companies who have launched new channel after new channel or brought existing channels to Sky Digital.

Okay, you say, so satellite and digital channels have had some problems, but what's that got to do with dotcoms? Well, the parallels between the dotcom revolution of the late 1990s and the multi-channel revolution that began in 1997 are quite astounding.

The dotcom revolution saw a massive increase in the number of online shopping websites, a rise that was not supported by an equivalent rise in the number of online consumers.

In the same way, the expansion in the number of channels available to the viewing audience has not been reciprocated by a similar increase in the number of households able to view these digital channels.

Therefore, there will be a point when the number of channels will be so large that the viewing audience and the advertising market will be unable to support them all.

To a small extent we have seen that already, but with the continued expansion of channels, it will not be long before this particular bubble does what the dotcom bubble did and bursts, leading to a number of quite high profile channel failures right across the spectrum of digital channels

We all know that 2000 was the year when the dotcoms began meeting with their logical conclusion, leaving a lot of casualties in their wake. 2001 has seen the first few failures of the digital TV revolution.

Could the next year see the bursting of this bubble? The only people who can decide that are the ordinary people in the street.

Will you watch the programmes on these new channels, and buy the products advertised on them or will you just stick with the channels and programmes you know and love?

Now, for the first time since September 1955, the future of television is back in the hands of the viewers and advertisers.

The Avengers

The Avengers was produced from January 1961 to September 1969 and during its run it had two theme tunes, 5 main characters, countless strange villains and some very weird situations. But above everything else, it had some great chemistry. It was that chemistry between the main characters that made it the success it still is today.

The first season started out with two main characters, Patrick MacNee as John Steed and Ian Hendry as Dr David Keel. Johnny Dankworth, who would later write the music for Tomorrow’s World as well as much else, was commissioned to write the theme, and the music he wrote symbolized the more serious nature of the plots of the original few series.

The opening titles were striking - a series of clear black and white cards, sometimes mixed over the stage where the opening scene would take place. Ian Hendry was given top billing in the first season and the series firmly revolved around him ‘avenging’ the murder of his practice nurse girlfriend. Hendry had previously starred in a short series called “Police Surgeon” for ABC in 1959 and was playing a very similar character in the new series. The first two episodes, which served as a pilot, were filmed on videotape, while the next seven were transmitted live. The rest of the season was recorded on videotape.

After 26 episodes had been produced, a strike by British Actors Equity halted production temporarily. Still at the start of his career, Ian Hendry took the opportunity to leave the series to pursue film work. When production restarted, producers hired Honor Blackman to partner Steed in the role of Cathy Gale. This was reflected in the still-serious and stark title sequence.

Cathy Gale didn’t appear in every season 2 episode, with either Venus Smith (Julie Stevens) or Dr. Martin King (Jon Rollason) partnering John Steed to fill the gaps. The opening titles in these circumstances would just credit Macnee. The Dankworth theme music remained in place but the plots slowly started to develop towards the quirkiness that was to set the series apart.

By season three, the bit players had been removed and Cathy was the full-time partner. Importantly for ABC, the show was now being exported worldwide – except to the United States, where 405-line monochrome standard videotape had become unpopular with the networks as they moved to 525-line colour. ABC did export season three, but the US ABC network as buyers demanded in return that the next season was recorded on film, and that the show would become colour. But season four was to see the loss of the second lead actor: Honor Blackman had secured the role of Pussy Galore in the next James Bond film, Goldfinger and departed to begin filming at Pinewood.

ABC began searching for someone to take her place. The character was re-written in anticipation of a new actress, and even Howard Thomas, MD at ABC, was engaged in the casting process. A name was chosen on the basis of what they were looking for in the new character and the new actress: she must have Man Appeal – ‘M’ Appeal – Emma Peel. The ‘M’ appeal was found in actress Diana Rigg, and the show was on its way from being a success to being a classic.

Season four marked a relaunch for the series. The Dankworth theme no longer suited the mood of the stories, which were quirkier than ever before, and Laurie Johnson was commissioned to compose a new theme. The opening titles also changed to a series of still pictures of the two stars, Macnee & Rigg, in typical Avengers-like poses. Whilst season four was in black and white, the next season would see the programme being filmed in colour, despite ABC Weekend and the rest of ITV still being in monochrome themselves.
Season five also saw another change in the opening titles, with a filmed sequence involving the two stars.

During the season, the ABC endcap was significantly different. It would start “ABC Production” minus the famous triangle logo and end showing that ABC stood for Associated British Corporation – a name invented by ABPC to fill the letters and avoid confusion with US ABC.

Diana Rigg decided to leave the show at the end of the penultimate season and producers brought in Linda Thorson to play the role of trainee Tara King, a character she created and named herself. But NBC scheduled the popular ‘Rowan and Martin’s Laugh-In’ against the new series on ABC-US and the ratings went into freefall.

The production team was replaced and the character of Tara King was toughened up but that didn’t help ABC-US’s ratings and the show was cancelled in 1969.

ABC Weekend had also moved on to become Thames Television, and the show was no longer networked in the UK, ABC’s parent company having chosen to hold on to the rights rather than deed them to the part-owned Thames.

Since coming to an end, the show has received many plays in syndication worldwide including showings in the UK on Channel 4 and Granada Plus. The show can be found playing in its Blackman, Rigg and Thorson variants in all Francophone countries where it has become a popular cult hit. The series has been released several times on sell-through video and is known for being the height of British style and eccentricity throughout the world and in its home country. The Avengers has become a continuing legacy of ABC and all it stood for.