- Posts tagged BBC
- Explore BBC on posterous
The BBC's Value
the BBC contributed at least £7.7billion to the UK economy in 2008/2009 - which generates at least two pounds of economic value for every pound of the licence fee
A nice little soundbite to throw at those who suggest that funding the BBC is a waste of public money.
Popjustice: Another quick thing about BBC radio then we'll be quiet
The BBC's chief operating officer, Caroline Thomson, is in The Guardian today talking to 'media executives' about 6 Music. Her point - sit down before you read this - is that 37-year-olds (37 being the age of 6 Music's average listener) are catered for by commercial radio. She goes on to make some good points about the BBC's critics but Christ alive the idea that everybody aged 37 (or any age) enjoys the same type of music is so ridiculous that it would be funny were it not coming from the mouth of someone who actually has some control over the BBC's new strategy.You have to admire the spunk of someone who can stand up in front of media execs and claim with a straight face that someone who currently spends all day listening to Broken Bells, Vampire Weekend and French Horn Rebellion (all of whom, we feel compelled to point out here, are shit) on 6 Music will in any way be well catered for by the commercial sector, but let's be serious here: 6 Music's listeners will be no better served by the commercial sector than a man with no arms would be by a lifetime's supply of mittens. This is stated quite clearly in the Steve Lamacq story we linked in today's Newsdump, in which a former operations director (ie bigwig) at GCap Media (now Global, who run Capital, Heart etc) says that "commercial radio can never replicate 6 Music's cultural value – it's not viable for us to do so. We will gain nothing from this closure yet the music industry will lose much".
So that's 6 Music, but the other thing we would like to mention today (and we really will stop banging on about it after this) is that anybody who claims that Radio 1's mainstream output is replicated in the commercial sector is similarly mental. This is where the world's greatest website comparemyradio.com comes up again. Let's compare what Radio 1 played last month with what Capital FM (to pick an example out of the air) played last month.
Most of Radio 1's critics - mainly people who never listen to the station or any other mainstream radio and think Radio 1 is just 24-hour Chris Moyles - simply have no grasp of how the station operates after 7pm, or how well it caters for new music across multiple specialist genres. Even in daytime, taking the playlist into account, Radio 1 is hardly as 'OMG Cheryl Cole' as the station's more clueless critics seem to imagine. As comparemyradio.com puts it:
We're not saying Radio 1 is perfect but, as with 6 Music, its critics should at least know what it is they're criticising because otherwise the whole debate is just a complete shitshow.
David Mitchell: Scandalous Attacks on the BBC
Illustration: David Foldvari
When the Conservatives' deputy chairman, Lord Ashcroft, revealed that his party donations are dwarfed by the sums he's withholding from the nation by tax avoidance, the Tories didn't panic. They decided the crisis didn't require large-scale political fire-fighting – a little squirt would do. But George Osborne's terribly busy these days so they plumped for Michael Gove.
I doubt he was thrilled. Ashcroft is what an old-school Tory might describe as "the sort of chap who wants to run the club but won't pay his subs", the club in this case being Britain. It's a difficult position to defend and interesting that Ashcroft didn't try himself. Maybe he kept saying: "Shut up or I'll buy you!" when he practised TV interviews. That doesn't go down as well on Channel 4 News as it does when booking a table at a busy Belizean restaurant.
Gove did a decent job fielding Jon Snow's questions and then beetled over to the BBC to face Newsnight's Kirsty Wark. Gove's tactic was to keep repeating that the other main parties were bankrolled by men with equally poor senses of civic duty and ignore Wark's point that Ashcroft's role as deputy chairman made his case different. Then, at the end, Gove went on to the attack.
"We'll be watching, Kirsty," he said darkly (although it's not as if he ever sounds like Bagpuss) and then, in a significant tone: "The broader question will be, 'Is the BBC failing in its duty to hold other parties to account?'", leaving Wark to wrap up the interview in a fluster ill-concealed by a pretence of being hurried. Maybe she had the director general screaming in her earpiece: "Tell him we'll get rid of CBeebies if he'll just leave us alone!"
How should Gove's remarks be interpreted? The cheap tricks of a deft debater? The usual politician's paranoia about BBC bias? Maybe it's my own paranoia but I thought he meant: "We're not going to have to take much more of this shit. There are going to be some changes round here."
The next morning, as Mark Thompson announced his plan to close a couple of radio stations, slim down the website, spend less on imported programmes and sport and generally get his tanks off the Murdochs' lawn, and reseed it, he insisted in the Guardian: "The proposed changes are not a piece of politics." Smashing! That means they can't be. If politics were involved, he'd have to say so, wouldn't he? There's probably some sort of law, like with salt in ready meals. But who can blame him for addressing political realities when the Tories are sharpening their knives live on Newsnight?
Over the last two years, as recession and internet have obliterated their profits, the BBC's competitors have conspired to make headlines out of its failings. Not even Katie Price's insatiable thirst for publicity can elicit as much press as the corporation gets while trying to keep a low profile. Every night, it's metaphorically falling out of some nightclub, inadvertently showing its muff.
And the politicians have joined in, as if they genuinely believe this torrent of negative coverage is an expression of public concern rather than corporate envy. This, in turn, forces the director general to court the politicians. Not that he can ever win, as Ed Vaizey, the shadow culture minister demonstrated. When it was first leaked that 6 Music may close, he welcomed it; three days and a Twitter storm later, he said he'd become "an avid listener". What would Thompson have had to jettison to keep him onside for a whole week?
The BBC exists in a nest of paradoxes. First, it's supposed to be impartial yet accountable – impartial politically, but accountable to the licence fee payer. But how is that accountability to manifest itself other than through politicians whom its impartiality should empower it to ignore? Getting people to text in their snow pictures seems to be the current best guess.
Second, it's supposed to provide content that the free market wouldn't otherwise support and not hamper commercial competitors too much, and yet remain popular enough to prevent viewers resenting the licence fee. People, including Thompson last Tuesday, say the BBC should "concentrate on what it does best", but most of us wouldn't pay £142.50 a year just for the Proms and Storyville. We also want Strictly Come Dancing, Football Focus and, in millions of cases, Jonathan Ross.
And third, the licence fee is unfair. It's basically a poll tax (maybe that's why Mrs Thatcher kept it). It would be much fairer to fund the BBC from income tax. But that would destroy its independence and leave its future in jeopardy at every budget. That's why I firmly believe that the licence fee is the only workable system, a fudge though it undoubtedly is.
These contradictions make it very easy to find fault with the BBC and let its critics evade the real question which is, simply: do we want it or not? It's a binary choice, all or nothing. I once came across a very persuasive analysis of organisations (it's from the book Intelligent Leadership by Alistair Mant) which divides them into two categories: bicycles and frogs.
A bicycle is put together from interchangeable parts. You can take a bicycle-like system apart, polish or improve elements and then reassemble it into something that works better. A frog, however, evolved as a whole. If you chop a little bit off, it'll muddle along. And another little bit and another and it'll still be a frog, albeit a less functional one. But finally, with one tiny further change, it will cease to be a frog and nothing you can do will ever put it back together. Well, the BBC is an organisation to melt Miss Piggy's heart.
Its anatomy isn't perfect, as I've discovered while making The Bubble, a BBC news-based panel show with which BBC News has refused to co-operate. But sometimes a frog kicks itself in the head, I suppose – or to characterise BBC News's decision in a way to better reflect how they see themselves in relation to comedy, head-butts itself in the rectum.
I understand why the BBC frustrates the private sector – it makes business much harder for them. But I don't know why they expect the public to care, other than out of concern for the Murdoch and Rothermere families' finances. In all their whingeing, they've consistently failed to point to any other country where, thanks to the unfettered function of a free market, better television, radio and online content are available.
On the contrary, the BBC is the envy of the world. Why are we letting its competitors, and the politicians they have frightened or bought, tell us that we can't keep it as it is?
Great stuff from David Mitchell in the Guardian
More on the BBC Strategic Review
The BBC has lost confidence in its own vision.
The BBC has been able to innovate and experiment because of its unique funding and remit. At a time of great uncertainty in the media industry, people look to the BBC to take a lead, and it continues to do this with initiatives such as Project Canvas. But ironically it seems that Mark Thompson does not ‘get’ digital in the way that even his much-maligned predecessor John Birt did. And while consumption of media continues to evolve with the rise of on-demand content across different platforms the BBC’s response seems lacking in conviction. Where the BBC once led fearlessly, it now seems fearful and curiously out of step.
Again, read the whole article if you're interested, but in this case the quoted paragraph stood out for me.
BBC Strategic Review : 25% cuts to Online? You have to be kidding.
The following is an extract from this article. Go read the whole thing!
Still, even if 6 Music were to be killed – which would be a shame – it would hardly spell the end for BBC Radio. But imagine if BBC Radio’s budget were cut, not by 1.5%, but by 25% – that’s £147 million. Here’s what they’d have to chop:
- Radio 1
- Radio 2
- Radio 3
and they’d still need to find £2 million to make up the shortfall. A 25% cut would cripple BBC Radio.
Or let’s look at TV, which the BBC spends £2.335 billion on. A 25% cut would require savings of £584 million, and for that, you’d need to axe:
- BBC 2 (including Horizon, The Thick of It, Mastermind, University Challenge, Songs of Praise, Newsnight…)
Alternatively, you could kill everything other than BBC 1 and BBC 2, which would mean saying goodbye to:
- BBC 3
- BBC 4
- CBBC
- CBeebies
- BBC Alba (BBC Scotland)
- BBC News 24
- BBC Parliament
- BBC Red Button
- BBC HD
Either way, the BBC’s TV operation would be devastated.
The BBC's Budget (click to zoom in)
Thankfully, no-one is proposing 25% cuts in TV or Radio. No, they’re just proposing it for BBC Online.
A really good article on why the BBC's Strategic Review's biggest threat is the proposed cuts to Online. I recommend clicking the link to read the whole article.
BBC newsman kept hidden for two decades, forced to bear children
This presenter is bearing up remarkable well considering what he's apparently been through...
BBC's Richard Halton on Canvas
we have proposed things like including storage in the devices which enables content to be taken off air. The best example is that on a Monday, 25% of our iPlayer traffic is from last night's Top Gear. So why have a million people playing Top Gear over their ISP on Monday, instead just drop it into the hard drive as soon as it has been broadcast. This will mean that when the consumer presses play on iPlayer in the Canvas box they won't know if it coming from IP or over the hard drive, and they won't care either. If we put it in the box, it takes all of the load from the networks and reduces the cost for them. We published the figures recently, we think that 40% of the traffic to Canvas boxes could be offset by programmes being intelligently recorded onto the box. It's a big number.
The whole Q&A is interesting, but this bit on intelligent pre-recording for VoD is very interesting indeed. That 40% is certainly an impressive figure! And with intelligent recording based on your previous viewing habits, it could get even better. This stuff has been done on its own before, but it's much more interesting as a part of an IP based solution - keeping the flexibility and huge content base of IP deliver while using recorded-broadcast to greatly reduce the ISP load.
R&D Workspaces: Some Quotes
One of the challenges I work on in developing BBC R&D North's new premesis (both the interim solution and our long term base at MediaCity:UK) is figuring out just what we as a department need to do our work. I've talked a little about the technology, but the physical environment is important too. Just what makes a space that engineers can work effectively in? I'd love to hear any suggestions you may have (use the comments), but I also thought I'd share some quotes I found when trying to quantify and communicate the environment we're trying to create.
BBC News through the ages
As BBC News launches new branding around its rolling channel and bulletins, take a look back at how the on-screen presentation has changed over the years.





