LO1 Task 2: Ownership of Different Types of Radio Stations
Kerrang! - Commercial/National
Kerrang! began in 1981 as a well-established brand following its success as a magazine and branching into radio. Kerrang! 105.2 Radio first aired in 2004 as a specialist rock music radio station in the Bauer Passion subsidiary of Bauer Media. Bauer Passion is a national station which publishes Kerrang! Radio. Bauer therefore, have cross-media ownership through the production of magazines and radio within the Kerrang! brand. Box television is also a part of this cross-media ownership through the promotion of Kerrang! in Bauer's joint venture with Box Television. Kerrang! is a music channel in Box Television which Bauer own 50% of. Kerrang! Radio is accessible through DAB & Freeview therefore, through Freeview (accessible through blackbox device or television) audiences can access Kerrang! Radio without having to be in the West Midlands where Kerrang! Radio typically airs. This allows Kerrang! Radio to reach an annual audience of 1.4 million listeners. Areas like Birmingham, Coventry and Wolverhampton are Kerrang!'s TSA (Target Sample Area) however, due to Freeview, listeners outside the TSA can still listen to Kerrang!.
Kerrang! is also accessible through FM radio (if in the TSA), Freeview, DAB, the Kerrang! app (Blackbox theory - Henry Jenkins 2010), Radio Player or streamed on the internet via the Kerrang! website. This also conveys the horizontal integration of Bauer through the cross-media ownership and use of technological convergence to access Kerrang! Radio. Horizontal integration is furthered through the synergy of Bauer's cross-media ownership of magazine, radio and television where Kerrang! host an award show in partnership with Relentless (an energy drink which appeals to the rebellious, teenage target demographic in connotations of rock music stereotypes). Kerrang! also produce an album (CD) of the top music artists of the year; sponsoring bands like the Red Hot Chilli Peppers. Kerrang! use a DJ (Disc Jockey) for a presenter such as Luke Wilkins and Johnny Doom who reflect the genre of the indie rock scene (e.g. men with long hair and sunglasses as a rock stereotype).
Kerrang! has an audience predominantly male mainstream appeal as an alternative to pop music as a commercial station. Examples of featured bands include Led Zeppelin, Nirvana and System of a Down; these'll also be featured on the yearly CD or Kerrang! award show. Kerrang!'s average reach is 374,000 people with average. listening being 2,685 hours a week, a 39% female and 61% male audience, typical of the dominant male stereotype in rock. 50% of listeners are of the ABC1 profile due to the requirement of disposable income for the magazine, albums and events which follow the radio station. The target demographic ranges between 15-35 which is typical of rock as something representative of the rock zeitgeist of the late 1900's and Kerrang's brand dating back to 1981 with dedicated fans.
Hallam FM - Local/Regional
Hallam stands as the top radio station for the people of Sheffield, Rotherham, Doncaster, Barnsley and Chesterfield, making it the most listened to radio station in South Yorkshire. To achieve such a consistently large listenership, Hallam have released weekly listener surveys to determine what music they play; citing their success as 'listening to what listeners want'. Therefore, as in line with their target audience, they play adult contemporary music. To further this, the station has partnerships with local businesses such as Wednesday/Sheffield United Stadium, and Ponds Forge International Arena. Hallam FM is also a part of the Bauer Media conglomerate with presenters from multiple age and gender backgrounds such as Big John (Big John at Breakfast), JK and Joel, Steve Priestley (Late N' Live) and Becky Hayes. Hallam FM however, does have local regional competitors such as 105 Capital FM and BBC Sheffield as local radio broadcasters. Bauer uses RAJAR figures to collate information regarding listenership of both Hallam FM and its competitors.
Hallam's audience consists of a 54:46% Female: Male ratio, a 37% ABC1 profile of audiences ranging between 25-45. These listeners accumulate 10 avg hours each and 3623 hours total with a reach of 361,000 people. Some example locations which Hallam FM targets include: Sheffield, Hatfield, Doncaster, Stocksbridge, Chesterfield, Worksop, Retford, Barnsley and Rotherham.
Hallam FM is accessible through simulcast via an online website and 'hallamfm' app as well as FM and DAB radio. This therefore, allows the station to reach both digital native and migrant audiences through the benefit of technological convergence as audiences can access Hallam FM through traditional means (e.g. DAB) or through a Blackbox device. Radio Player also hosts Hallam FM as one of its many stations, furthering audience accessibility through its inclusion on a mass demographic app.
Sheffield Live - Community/Local
Sheffield Live functions as an independent community radio station: this means that, according to Ofcom, Sheffield Live is a 'small scale, not-for-profit station operated for the benefit of the local public or particular communities'. Therefore, Sheffield Live operates for social gain; this including: services for underserved groups, discussion and expression of opinion within the community, provide education to those not employed by the station and to strengthen the community it serves by fostering further understanding of character and needs for a given community.
The company who runs Sheffield Live are 'Commedia Sheffield Ltd. which is operated by CEO Sangita Basudev. The station has been awarded it's license by Ofcom for following the Broadcasting Act (1990) and the Community Radio Order (2004) guidelines. These acts state that community radio cannot earn more than 50% of the programme's running costs from one source of advertising or on-air sponsorship. Therefore, to fund running cost, Sheffield Live earn income from public funding such as grants, donors, National Lottery or charities. Ofcom however, also provide an annual Community Radio Fund These guidelines for Sheffield Live require their ethos and output to not match or resemble main commercial or PSB channels like Bauer or BBC radio channels within the community area. Their target listenership within the Sheffield area typically ranging in less than 50,000. Surveys have shown a weekly audience reach within the Sheffield (transmission) area of 11% or 32,000 people every week. Some example target locations would include the City Centre, Nether Edge, Burngreave, Gleadless, Abourthorne and Darnall. To target Sheffield's diverse communities, Sheffield Live air a diverse music list ranging from reggae, Asian pop, dance, RnB, indie pop and chart. Furthering these diverse communities, the broadcasts are mainly aired in English however, are occasionally aired, like in Hindu/Urdu and Chinese. To further reach to digital native audiences, the station also has an online website for audiences to learn more about the service and to encourage local listeners to get involved with the programme.
Lo-fi hip hop radio (beats to study/relax to) - Internet/Streaming
The broadcast of Lo-fi hip hop radio began in 2017 and has been streamed live on sites like YouTube and YouTube music since (with only one interruption in 2019 due to abusive copyright strike laws leading to a 48 hour hiatus). Through the distribution of these streams on social media, their demographic of digital native audiences taking advantage of Blackbox devices to access these tunes anywhere (e.g. commutes). Technological convergence also helps to further advertise the streams across multiple platforms as hyperlinks to the various other social media pages for 'Lo-fi girl' are detailed in the descriptions of each video; this therefore, allowing the channels to earn more revenue due to synergy giving audiences easier accessibility to the stream channels on various social medias. The stream's themselves also contain QR codes leading to the other social media channels.
Shock Radio (University of Salford) Non-Profit University/College Radio
Shock Radio is a student led radio station to encourage the media students (or anyone else who's interested in radio) of the University of Salford to gain on air experience; this has led to them becoming 'Manchester's biggest student radio station'. First airing in 2002, the Shock Radio project was led by student petitions to convey the demand for student radio to the student union so that, managed by Matthew Haley, the radio could secure a license to officially broadcast. The role of a non-profit radio station acted as a perfect point for student experience and a vicarious selling point for the University to encourage media students to get involved with a real, non-commercial radio station. This also means the omission of commercial adverts and sponsorships within Shock Radio broadcasts.
The station has undergone many visual rebrands: its existence as a continuation of a cancelled student radio station from 1998 'Storm FM' and the perpetual cycle of students arriving to and departing university, has led to a variety of personalised programmes which characterise the student life of Salford. Now hosting over 90 shows and running 24 hours a day, the station is managed by Alfie Mulcahy (as of 2025) as well as a committee of 10 other students. Due to the non-profit nature of Shock Radio, its listenership consists of local areas throughout the city of Manchester, Salford and the University's campus: the audience then consists of a diverse mix of male and female, primarily ABC1, student (18-25) demographic. The online website which allows audiences to listen to Shock Radio via a Blackbox device as well as having access to recorded programmes via time-shifting on 'Mixcloud' furthers ease of access toward a student, digital native demographic.
BBC Radio 4 - Public (PSB)
Dating back to 1967, the BBC, originally founded by John Reith (1922), branched out their radio media to create BBC Radio 2-4 which were individualised to target separate audiences. This was through focusing on different hard or soft subject matter in relation to their respective target demographics. As a part of the BBC, Radio 4 must follow the broadcasting codes set by Ofcom and their ethos to 'educate, inform and entertain' the diverse audiences of the UK. These regulations, as well as political unbiases, are required of the BBC for the Charter's renewal which is determined by the Royal Charter: this ensures the BBC can run as a public service broadcaster with editorial independence, following their renewal.
The BBC's role as a PSB, foremost as with any other radio/TV station, is to follow the broadcasting codes set by Ofcom to ensure: privacy, fairness and standards in programming. Another stipulation which contrasts BBC radio (as well as TV) to other conglomerate radio owners like Bauer (or ITV) is through funding. Rather than income through commercial gain or sponsorship (unless for non-commercial gain) the BBC (and vicariously BBC Radio) gain income through the TV license which acts as an annual subscription to BBC media for £169.50 per annum.
Radio 4 in comparison to BBC TV channels, does not have to adhere to the post-9pm watershed, filtering adult/mature content from younger audiences however, inappropriate content is instead signposted/warned of before airing. With programme and podcast examples such as 'Taking Back Khartoum' and 'Call Johnathan Pie' which contain uncensored political rants/discussions, the target, mature (ABC1) demographic of BBC Radio 4 is revealed. This evident in contrast to BBC Radio 1 which features programmes/podcasts like 'Groupchat with Nat and Vicky' and 'Radio 1's Chill mix' as they target comparatively mass (Radio 1) and niche (Radio 4) audiences. The listenership of Radio 4 is 60:40% Female: Male, 71% ABC1 and 48% are aged 65 and above. However, as the BBC utilize technological convergence, they reach a digital native audience, particularly within other stations like Radio 1 with programmes that take advantage of simulcast like Radio 1 Live Lounge, allowing audiences to listen to and watch radio via Blackbox device on the BBC Radio 1 (and 4) websites. These broadcasts are aired across the UK, as of BBC's role as a PSB, from Radio 4's station in London.
Comparison of Stations
Where these radio stations differ is entirely defined by purpose and audience; these come by extension of the platforms which they're hosted on. In comparison, Lo-fi girl and BBC Radio 4 share entirely juxtaposing demographics; this is due to the contrast between the desired content and distribution of media dedicated toward digital migrant and digital native audiences. BBC Radio 4 is intended for a digital migrant audience therefore, its main distribution method is traditional radio; the website and simulcast elements exist for a solely secondary audience of digital natives who are likely to access that content. Lo-fi girl however, as an internet founded (and based) streaming channel, can only target that demographic; this furthered by its branding (e.g. anime aesthetics) and collaborations which share the younger, digital native demographic. This contrast also conveys the comparative means of ownership and contrasting means of gaining profit. The purpose of Radio 4 is to (primarily) inform and educate an audience and this is due to its distinction from other mass demographic BBC radio channels like Radio 1 therefore, conveying the ethos and need to appeal to many (mass or niche) demographics to justify the purchase of the TV license and renewal of the Royal Charter in service as a PSB. Lo-fi girl and other channels like Shock Radio exist primarily for entertainment as they exist for a digital native audience; they're methods of synergy (e.g. a website or social media channels) are evidence of that. This also furthered in presenter/imagery representations of the same target demographic in contrast to the older representations in stations like Radio 4, Hallam FM and Sheffield Live. Though the latter do also contain younger representations of presenters to further their target demographics. The ownership purpose of this in relation to local/regional/community radio being to reflect the people and culture of the location: Hallam FM's multi-language broadcasts being evidence of this. Sheffield Live in comparison to Hallam FM however, as a smaller budget station, lacks these representations of diversity due to their position as community radio in contrast to regional broadcast. The quote 'small scale, not-for-profit station' evidencing this in comparison to Shock Radio: instead selling the content of the station as a vicarious experience for the presenters as it is entertainment or information to the local community audience; budgeted sponsorships held aside for this purpose. In relation to the BBC however, and its funding in, comparatively similar, non-commercial gain, their role as a PSB dictates their funding through a national TV license. They act as a national service rather than a representation of a specific community; this specialized in their local channels like BBC Radio Sheffield, rather than their mass and national radio stations like Radio 1 and 4.
Conglomerate ownership like Kerrang! with Bauer Media contrasts the distribution and access that audiences have to services like BBC Radio 4; this is evident in the conflicting methods of funding. The requirement of a TV license to access content as a yearly fee for the BBC in comparison to the commercial gain of stations like Kerrang! encourage and discourage audiences to interact with their content: the cost of a TV license may be unjustifiable or commercial advertisements may be unwanted. Indie stations like Sheffield Live also rely on this commercial funding however, their ownership dictates a limitation on fund amount; leading to further local or donor involvement to keep the local station running. A regional station like HallamFM however, despite it's similar broadcast range, is not limited by this funding restriction as it functions with local partnerships and a subsidiary position, like Kerrang! within Bauer Media. However, in comparison to the free ownership of Shock Radio (non-profit) and Lo-fi Girl (Internet) conglomerate radio is limited in the extent at which it's content creators have creative freedoms (e.g. student created shows and the freedom of owning a social media channel leading to further experimentation). The non-profit and freelance structure contrasts the corporate ownership stipulations to provide content which would be otherwise safe to maintain a consistent profit.
Therefore, overall, these stations contrast in their means of funding, whilst methods of funding or omission from commercial gain may parallel, the respective size is always in relation to the target demographic of niche or national (and in the case of streaming, global) radio. The ethos (for the BBC and Salford) and income (Lo-fi, Sheffield Live and Hallam FM) dictate the content and audience for each respective station as is constituted by their individual owners (and purpose).
