August, 2013

Muvi X-Lapse Timelapse Experiements

Yesterday I got hold of a cheap Muvi X-Lapse. It’s basically a device that you can mount on a tripod, and then on top of it you can either place a small(ish) camera or a mobile phone. Then with some kind of intervalmeter software either on your camera or your phone, you can shoot rotating timelapse videos.
The Muvi X-Lapse comes with a clip that should hold most smartphones. I used a paid-for Android app called Lapse It Pro to try it out with my phone. That looks like quite a nice piece of software, although as the makers warn you, processing those still JPGs into a video file can be processor intensive on your phone, so it’s something to do when you have your phone charging.
Today I spent some time using my old faithful Canon A470 camera. It’s a bit beat up, and is very basic, but it runs CHDK. This is “alternative” Canon firmware that you can temporarily (or permanently) install on many Canon point and shoot cameras to give them lots of additional functionality. Most usefully, you can add an intervalmeter to shoot timelapse videos.
Here’s what I shot today:

Timelapse Test in London from Adam Bowie on Vimeo.

The stills were assembled into a video using Quicktime Pro. I fear that I may need to play with the settings in Quicktime, because it does seem to have added a bit of pixelation in that phase. However Quicktime is the easiest way to assemble a video from a series of JPGs. I ensured that I’d set the camera to a 16:9 ratio before shooting. I also ran a batch-file in Photoshop to reduce the filesize down to 1080p video size.
Then it was just a bit of tidying up in Premiere and exporting to Vimeo.
Overall, I’m quite impressed. The major drawback with the Muvi X-Lapse is that you have no control of the speed that it rotates. A full 360 degree rotation will take an hour. All you can do to speed up or slow down the video is decide how frequently you will take pictures. The sunset sequence at the end is taken at 5 second intervals, but most of the rest of the video is shot at between 1 and 2 second intervals.
The Muvi X-Lapse itself is probably built on a kitchen timer mechanism. There are plenty of websites that show you how to make your own timelapse device using things like cheap Ikea kitchen timers. But I was happy to pay a few pounds more and have tripod mounts and smartphone mounts built in for me. I’m happy with my purchase.

State Intimidation

I’m thoroughly sickened to learn of the intimidatory behaviour that representative of the UK have made against the partner of Guardian journalist Glenn Greenwald in holding his partner for 9 hours for questioning under Section of the Terrorism Act. He’s not suspected of terrorism, and therefore it’s entirely intimidatory.
Is this the kind of thing that a democratic country does?
Were it the friend or relative of, say, a Chinese dissident, I wouldn’t be surprised. But is this what we do in the UK?
It’s sickening.
I’ve written to my MP. Feel free to do the same.
Dear Nick de Bois,
I am thoroughly dismayed to read this morning that the UK Authorities have held the partner of a journalist under Section 7 of the Terrorism Act, seemingly to simply intimidate the journalist involved. What seems clear is that the man involved was in no way suspected of being a terrorist himself, suggesting misuse of the law.
This is simply outrageous, and an appalling thing for a democratic country to be doing.
This is the behaviour of a totalitarian regime – something we wouldn’t be surprised to learn that China was doing. When allied with some of the surveillance techniques that are being applied to our every day communications, this seems directly at odds with the libertarianism that the Conservative party claims to stand for.
Just to be very clear. I will NOT be voting in future for any representative of a Government that sanctions this kind of intimidatory behaviour.
I’m loathed to draw analogies with recent history in other parts of Europe, but you can’t help but think of Europe of the thirties.
I demand a full inquiry into how this bullying behaviour was sanctioned. I don’t care how embarrassing the revelations that the Edward Snowden leaks are to the UK or US Governments. I think he’s done us a great service in a time when secret laws, and secret rules seem to prevail.
I look forward to your response.
Yours sincerely,
Adam Bowie

The Drowned Man

In recent years there has been something of an explosion in immersive experiences. Although these events always sound to me like something I’d probably like, I’ve been quite slow in actually getting involved.
Up until now, the closest I’ve got is probably Secret Cinema. I went to one of their earlier productions – Funny Face at the Royal Academy. But I was left disappointed. The film was projected from a DVD (one I noted that I could have got from a shop for about a fiver), the seating was uncomfortable, and although they had lots of performers entertaining you, none of it really made up for a pillar obscuring a full third of the screen. There’s something to be said for watching films being projected in purpose built premises.
Since then Secret Cinema has gone from strength to strength, although I’ve not been back, put off by the spiralling cost, and the fact that in general, I like to know a little about what I’m going to see ahead of time. That probably means I’ve missed out, but I can live that.
Theatrically, I’ve really been limited to In The Beginning Was The End from dreamthinkspeak which was performed in the rooms between Somerset House and King’s College earlier this year. You entered that production in small groups and then explored a series of rooms which allowed you to mostly see a story unfolding before your eyes. The order of rooms you visited had a linearity to them. You weren’t forced into rooms a, b and c in sequence, but you’d probably visit all three of them before moving onto d, e and f. As a result, although not everybody saw everything, there was a structure to the piece and the story filled itself in as it went along.
Now I’ve not been to a previous Punchdrunk production, so this was something a bit new to me. The Drowned Man in presented in an old Post Office sorting depot next door to Paddington Station. You enter through the area where the vans would have delivered and collected the mail, but once beyond that, you’re in a completely different world.
The first thing that hits you when you get inside is the vastness of the enterprise – with several enormous floors filled with rooms of varying sizes. We’re inside a Hollywood film studio at the end of its run at some indeterminate period of its history (clues inside suggest anytime between Hollywood’s “Golden Age” with contracted players, through to sometime in the sixties).
We’re told that the production itself is based on Büchner’s fractured masterpiece Woyzeck. But really that doesn’t matter. And a key thing to say about this production is that you’re not going to come out of it with an especially clear picture of what is going on. Fractured is definitely the right word for this production.
Indeed with scenes being acted simultaneously in different parts of the building, it’s simply not possible to completely stitch everything together. Indeed you may well come out of it without having an awfully good idea of what happened at all.
Once you’re inside, you’re given a mask to wear. This is important, because it allows you differentiate yourself from fellow audience members. You’re also strongly encourage to not go around in the group in which you arrived, but to have an individual experience. I think that this is the best way to experience it, although I saw many couples holding hands lest they lose track of one another – something that’s surprisingly easy to do in the often dimly lit and often crowded areas. You’re also told to remain completely silent throughout. I went in a party of four and we were forcibly broken up even before we’d left the elevator you enter the building via. We had agreed to meet at the bar at set time, although in the event only three of us managed – the fourth not actually finding the somewhat hidden bar.
So you’re off on your own ready to explore. And what a lot there is to explore. The exquisiteness of the set is a sight to behold, and it’s clear that many many months of work were spent building it and populating it with objects – thousands and thousands of them. It being a “film studio,” there are many elements of the film world from sets, to costume and make-up areas through to special effects and sound. Each are wonderfully rendered, and you could spend all your time in there just examining the props in detail. Indeed it seemed that some people were doing just that. I especially loved the foley room with hundreds of objects and microphones to be “dubbed” onto Temple Studio’s films. It reminded me strongly of the where Toby Jones’ character worked in Berberian Sound Studio.
But if you’re not going to get excited about prop porn, you then need to seek out action, and this is perhaps the most infuriating thing about the production. Very quickly each actor gets something of a following, perhaps fifty or more people. People stay with an actor because they can then follow a single thread of the storyline. But when two or three people are interacting, they draw quite a crowd. To begin with this was fine, but later on, it felt that bigger and bigger crowds were gathering. When a scene had been played out (and I say scene, but as often as not, I’d really describe it as a dance with minimal if any dialogue), audiences would choose which character they’d follow, and in the performance I saw at least, that would become something of a bun-fight.
Although the masks afford an anonymity to proceedings, so that you don’t feel unduly uncomfortable watching sometimes quite sensitive scenes, I also felt that they allowed some audience members the right to be rude. Hidden behind their masks they could barge in without a care of others either blocking them or pushing through doorways. If you’ve ever been in an office fire drill, you know how crowded the stairwells get. Well at least in that circumstance everyone is going the same way. Imagine if you’re trying to go up against the flow!
In one scene a character was handed a letter and she slowly opened it. Cue lots of barging, led by one lady in particular who effectively encourage the others, all crowding round to see if they could read the letter over the actress’s shoulder. I found it all a little unbecoming.
So I was left with a dilemma. I could follow the hordes around and see more of the action. Or I could step away from them and discover more myself. I tended towards the latter.
Now I know from reading reviews in advance, and talking to others afterwards, that there were a series of more intimate one-on-one encounters taking place around the set. That sounds a bit seedy, but I’d heard about actors grabbing audience members and dragging them off into secret rooms, even locking them in. This is obviously a very visceral experience, but not sadly one that I had. Based on the number of people at the finale (and I’m still not sure how they managed to orchestrate it in such a way that everyone turned up in the same place at the same time), there was an awfully large audience who’d had staggered start times, and perhaps 30-40 actors. It simply wouldn’t have been possible for every audience member to have had such a one-to-one encounter.
I did, happily, find the bar which was beautifully fashioned in the manner of a cocktail lounge. There was a live band with a crooner who gave way to a very good lounge singer belting out a few classics. We even had a bit of cabaret in the form of a contortionist act.
And the bar does let you take off your masks which is important, because it can get very hot inside there. I trust that the masks are disinfected between performances! You’re definitely advised to wear light clothes since I suspect the old Post Office building has never had state of the art air conditioning anyway. Perhaps this will be less of a problem later in a run that continues through until December.
At all times, there’s a powerful music soundtrack that’s piped through just about the entire building. Although certain areas seem to have their own specific audio pieces, as a whole the effect is to give you the feeling of wandering through a David Lynch film. In particular the nightclub from Mulholland Drive – Silencio. And yes, I am aware that they’ve actually built that in Paris. I imagine too that the music acts as cues for the actors to ensure that they get to right places at the right times.
So overall, a powerful piece, although I came away having experienced something, I couldn’t tell you entirely what it was. I’d almost be tempted to go again, were it not quite an expensive production to see, and there being no certaint that I’d get lots more out of it a second time.
Part of me wonders if I prefer the idea of immersive theatre to the actuality. I’m not sure, and I’d certainly try some other productions. But I’d also like to go to something where there are fewer people. I suspect that the economics of putting on a production on this scale means that you have to let upwards of a thousand people in at any one time to make it work. Nonetheless, I’d like something a little less crowded. And there’s a benefit to having some kind of linear approach to proceedings.
What I will say is that going in a group does mean that you can go to the pub afterwards, compare notes, and learn about bits that one of you saw that others didn’t. We were able to fill in quite a few holes in this manner later on.
In general, I would recommend it as an experience, but I’d have some reservations from a theatrical perspective.
Interestingly, after I’d spent the evening in this faux Hollywood experience, I listened to this week’s Saturday Play Jake Liebowitz: A Life in Film by Frederick Raphael. The play is said to be based on Raphael’s own experiences, but it’s another fake Hollywood story. In this case in the form of a faux documentary detailing the life and work of auteur Liebowitz. I say “auteur” but he mostly seems to come off as one of those Hollywood blow-hards. Although American, you hear bits of people from Hitchcock to Ridley Scott in the story. It begins at the end of the studio system and in the years of naming names to McCarthy, before surging forward to the latter part of the twentieth century.
Eleanor Bron plays his interlocutor, Alexandra Crawley, who might be a kind of Dilys Powell or even Joan Bakewell figure who’s run across the Liebowitz on multiple occasions throughout his career, and handily recorded them.
The beauty of the piece is in the multitude of fake film clips we get throughout the film, all of which are pitch perfect in their quality. Director Dirk Maggs has seen to it that the sound of the piece is absolutely spot with poorer quality in earlier films than later. But things like music, the nature of the dialogue and effects are all completely in place for each of the films’ periods.
The only slight issue I’d have with this part of the production is that when you hear real film clips on the radio, unless a producer has been busy with the scissors, there are various unexplained silences when characters are “doing things” during the dialogue. Whereas radio can’t stomach those silences, so scenes play much faster. (Think of those American radio adaptions of classic Hollywood films, often with the same actors, who managed to get a 90 minute film down to 30 minutes for radio.)
It’s a beautifully made piece, although I couldn’t always really get a feel for each of the fake films. And unfortunately, at times, the person I had in my head was maker of schlock Jaz Milvane, sometime buddy of Ed Reardon. And that’s someone you want people thinking about. And despite every British actor worth his or her salt, currently appearing in US TV series with perfect American accents, the flaws are easier to hear on radio.
Nonetheless, it’s worth a listen (Although I see Gillian Reynolds hated it).

Alan Partridge: Alpha Papa

On Radio 4’s Film Programme recently, Mark Gatiss has been re-examining TV spin-off films from the seventies including film versions of Are You Being Served, On the Buses, and the only one he really rated, Porridge.
The feature-film spin-off has a long history in UK television, although as Gatiss explained it was largely used as a device to be a bit cruder or racier than TV allowed. I imagine that the stars got a slightly larger cheque than TV paid as well. And because the budget was a little bit bigger, they largely had to go somewhere. Invariably it didn’t work – at least not on any quality level. The films were quite frequently profitable though.
Even with the recent highly successful Inbetweeners movie, they had to go on holiday as the staff of Grace Brothers had before them. And notably, I thought that the film was not as good as the TV show, although the box office takings, and the forthcoming sequel suggest that this doesn’t really come into play.
So taking a character like Alan Partridge and putting him on the big screen could be very dangerous. But they’ve got it right. Steve Coogan, Armando Ianucci, Peter Baynham et al have actually given us many different versions of Partridge beginning with On The Hour and Knowing Me, Knowing You on Radio 4, as well as their TV versions. Later there was I’m Alan Partridge, before more recently we had Midmorning Matters for the web, reworked for Sky, alongside a couple of one-off documentaries. I wouldn’t neglect the brilliant memoir either.
Short of Alan Patridge: The Play (and Coogan has certainly performed as him on stage), only the film was left.
In Alpha Papa, North Norfolk Digital has just been taken over by Goredale Media who are renaming the station Shape, with the strapline, “The Way You Want It To Be.” Those of us in the radio industry might see a certain accuracy in this trend, although I must admit that I preferred North Norfolk Digital’s previous strapline: “Sustaining and maintaining our core listenership in an increasingly fragmented marketplace.” I think that really reaches out to the listeners.
When late-night DJ Pat Farrell gets fired following Alan’s shameless attempt to save his own skin upon realising it was one of the two of them, he takes action into his own hands and a hostage situation begins, with Alan as the go-between.
It’s a good mechanic, and it allows Alan to realise that he could become famous once again if he plays his cards right.
Tim Key, who plays Alan’s “Sidekick Simon” gets lots of the best lines, even if he does spend most of the film gaffer-taped up with a cooking pan on his head. And Phil Cornwall’s Dave Clifton who has been there and done it rings a few bells. It’s great to see Lynn and Michael back too.
It’s great fun seeing some bits of Norfolk that I’m fairly familiar with – Cromer Pier and Sheringham High Street both featuring in various parts of the film. I couldn’t help but notice that one of Partridge’s fellow DJs is a certain Wally Banter. This should in no way be confused with BBC Radio Norfolk’s own Wally Webb who has the prime 0400-0630 slot, and who slightly scarily, does seem to think he’s the basis for Partridge. (I should also note that my dad genuinely loves his show including his sandwich-filling based daily phone-in).
And DRUK should be pleased, because never have so many DAB stations appeared on screen in a movie! Go on. Who else was curious to know if someone really did fiddle with the settings of their DLS on DAB to get that Pure radio read the way it did?
Another real joy of the film is the music. There’s an opening sequence of Alan singing along to Roachford that is just priceless, but all the way through it’s beautifully chosen. At one point, Alan, in a panic, puts the Ski Sunday theme tune on.
It’s easily the funniest film I’ve seen this year.
I should mention that I’ve also recently seen The World’s End, the last of the so-called “Cornetto Trilogy” from Simon Pegg, Nick Frost and director Edgar Wright. And while I enjoyed it, I didn’t love it nearly as much as I loved Partridge.
The problem with The World’s End is that Pegg’s character is so unlikeable, and is so irredeemable, that the whole thing doesn’t really hang together. I did laugh a lot earlier on, as the “gang” first gets back together and then, somewhat inexplicably, agree to go on the pub crawl that Pegg’s character insists on.
The soullessness of a certain type of contemporary pub is well drawn, and it was amusing seeing the garden cities of Welwyn and Letchworth doubling as the fictional Newton Haven.
The cast is top-notch too with Eddie Marsan, Paddy Considine and Martin Freeman all doing sterling work as fellow classmates who’ve long since grown up. Rosamund Pike is also there, but she really gets very little to do. And I’d have personally liked to have had a bit more of Mark Heap.
I loved the TV series Spaced, and a lot of that attention to detail is still there – especially in the music cues, which those of a certain age will appreciate immensely. But ultimately I was left a little wanting.
And I’m afraid I found the end a bit disappointing. While it clearly had a lot of that John Wyndham-style invasion theme to it, I’m not sure that the it really needed the ending it got. And the coda was just weird and actually made me forget about the far more enjoyable earlier parts of the film.
I’ve no doubt at all, that like Shaun of the Dead and Hot Fuzz, it will be worth rewatching a few times on TV at a later date. And like Alpha Papa, I appreciated the fact that nobody has tried to make the film “accessible” for an international audience. They’ll either get it or they won’t.
Still, if I’m a bit down on The World’s End, it can only be better than something called Pain and Gain, for which I’ve only seen a trailer. It’s a Michael Bay film, and he seems intent on pastiching himself. I’m not sure of it’s supposed to be a comedy, but my jaw dropped to the floor when I saw the trailer. For a start it’s all in that horrific yellow tinting that he can’t stop doing. There’s an entire blog post to be written about what goes for “grading” on some films these days. But Bay is the worst offender, and it’s like you’re watching the entire trailer (or, god help you, film) through a really cheap pair of sunglasses from the early seventies. I suspect that I’ll never, willingly, see the film, so a review of the trailer seems fair. And while we’re at it, I’m not at all sure what to make of We’re The Millers, whose trailer seems to mostly be about letting the audience know that Jennifer Aniston is a stripper who gets down to her underwear in at least two different scenes. Maybe it’s a funny film, but I’m not sure that’s what I got from the trailer. What I do know is that co-star Jason Sudeikis is definitely funny in the recent NBC Sport Premier League promo (even if it’s mostly filmed at Spurs).

RAJAR Q2 2013

RAJAR Q2 2013
Yesterday, the DCMS finally got around to publishing something that became neither a white paper, nor a green paper, but instead Connectivity, Content and Consumers: Britain’s Digital Platform for Growth – a policy statement that bundled a lot of things together.
Importantly for radio, it reinforced the Government’s commitment to make an in-principle decision on radio switchover later in the year. The radio bit is on pages 29-30.
Why do I begin with this for a RAJAR report? Because yesterday’s announcement was predicated on digital listening having reached 34% of all listening, and in fact it has now risen to 36.8% of all listening being via a digital platform.  

What’s more, 57.8% of people who listen to the radio do so, for or at least some of the time on a digital platform. 
So we’re seeing some real growth. And I think digital is the real theme of this quarter’s RAJAR numbers. 
Anyway, let’s get back to some listening figures. 
If you follow radio industry news, you may well have seen the announcement that Bauer Media is in the process of buying Absolute Radio – my employer. There are plenty of links in my previous blog post. I won’t get into that any further here, because a) I don’t know a great deal more, and b) it has some regulatory hurdles to overcome before it happens.
However, this has been a remarkably good RAJAR for all the stations here in One Golden Square, so you’ll forgive me if I start with them.
Reach for the Absolute Radio Network has increased by over half a million on the previous quarter (and closer to six hundred thousand on the previous year). At over 3.7m, you’d have to go back to 2000 in the heady days of Chris Evans at Virgin Radio, to find a bigger reach for the business. And for hours, you’d have to go back to 1999. That was a different time in radio terms (People put up with AM for one thing).
The main Absolute Radio station is up to two million, while Absolute 80s and Absolute Classic Rock also achieved record numbers.
Indeed Absolute 80s is now confirmed as the biggest commercial digital-only station (it’s worth noting that following the rebrand of Kerrang! in the midlands, Planet Rock’s figures now include the FM figures for that service). Absolute 80s is now bigger than BBC 1Xtra in terms of both reach and hours.
Elsewhere nationally, Radio 2 has grown again. Another all-time record for the station that only last quarter set a previous all-time record.
Radio 4 has seen its reach grow, while hours drop back a little, and it’s perhaps a disappointing quarter for Radio 3. Five Live falls back in reach a bit to 6.0m, while TalkSport has bounced back a bit increasing to 3.2m reach. They may not be as happy with their hours which are pretty flat and below 20m.
And Radio 1 controller Ben Cooper, who has been doing the rounds a bit recently explaining what he’s doing with the station, will perhaps be pleased to see his audience grow a little. Reach has bounced back to 11.0m from 10.3m last time around. The question is, is his audience getting younger? The reason everyone is obsessed with the average age of Radio 1 listeners is because the BBC Trust has told him to get the age down, and in any case, it’s these are the next generation of radio listeners – and we need to get them hooked early.
The answer is that the age has gone down… a bit. Last time around, the average age of a Radio 1 listener was 34.0, but this time it’s 33.7 (Based on 15+. It’ll be a little lower if you include 10-14s – the youngest group RAJAR measures).
To put the difficulty of his task into perspective, here’s a chart that explains what he’s having to do as he tries to ditch older listeners.

This chart shows a snapshot of the reach of Radio 1 listeners by year, comparing Q2 2009 with Q2 2013.
If we look beyond grandparents being forced to listen to Radio 1 by their grandchildren, there are still frightening numbers of people in fifties and sixties. And as for people in their forties? What are they doing there? I guess it’s not for nothing that even Tim Westwood has been handed his P45. Shifting those “festival dads” on is not proving easy.
The chart does show you that a big chunk of people in their late thirties and early forties has gone over time. But the maths are stacked against Radio 1.
But age aside, I think the really interesting stat is to do with how people are now listening to Radio 1. Their listeners, strangely, have really been behind the curve listening to the station digitally. A recent piece of research suggested that only 3% of Radio 1 listeners preferred to listen to Radio 1 via an actual AM/FM radio. And yet, even today, nearly 69.2% of the station’s listening is through precisely one of those devices.
However, Radio 1 listeners are closing that digital gap – and very fast. Just six months ago, only 22.8% of Radio 1’s listening was digital, and that has now shot up to 30.8%. What’s more, while the most popular digital platform remains DAB at 15.9%, the internet is catching up very fast indeed, and a full 9.0% of listening to the station is via the internet.
Now RAJAR doesn’t break out exactly what platforms that listening is occurring on, but we can fill in the blanks elsewhere. Smartphone and tablet sales are jumping quickly. Indeed in 2012, tablets alone jumped 167% – and we’ve seen a whole raft of cheaper 7-8″ tablets released since then.
RAJAR does measure a general “listen via mobile phone” figure, which includes FM listening on those devices. And what that shows is that more people than ever – now 23.5% of all adults, 42.9% 15-24s – listen to the radio via a mobile phone. While I wouldn’t discount FM listening, I don’t think it’d be unfair to suggest that it was mobile app usage that is driving this number.
And the most recently released BBC iPlayer stats show that even with a recent summer dip in overall listening, mobile and tablet listening has shown consistent growth over the first half of this year (Page 7 of this PDF document).
Undoubtedly this internet growth is being driven by mobile apps like RadioPlayer, and in particular, BBC iPlayer Radio which has been on Android as well as iOS for a few months now.
And this isn’t just a Radio 1 trend. Kiss is even more internet driven with 9.6% of its listening coming that way, while the Capital Network is at 8.0%; both well ahead of 6.0% average.
If what the way the youth of today are listening to the radio is any kind of predictor of future behaviour of the broader population – and I genuinely believe that to be the case – then we can look for significant continued growth of internet listening to “traditional” radio.
With the popularity of Spotify, and forthcoming launches of services like Apple’s iTunes Radio, alongside more people having better and faster mobile data (OK – 4G is going to take a while yet), and more WiFi networks included with your ISP (e.g. BT, Sky), a behavioural change is taking place.
There is a lot of room for internet listening to yet grow.

London is always a good place to look, and as usual, it’s all change. Last quarter, you may remember, a lot of London stations lost a lot of listeners for no clear reason. Well the good news is that they’ve returned. Capital, Heart, Kiss and Magic have all seen significant gains, with Capital able to say that they’re number one in reach, while Heart has that honour in hours. Actual, in hours (or share) terms, it’s very tight with very little between Heart, Kiss, Magic, LBC and Capital in that order. LBC has also had a decent set of numbers coming off winning Arqiva Commercial Station of the Year last month.
Radio 1Xtra has put on some reach, while 6 Music and 4 Extra have fallen back a bit. Smooth 70s has jumped 7.2% in reach. And as mentioned Planet Rock now includes the former Kerrang! 105.2 in its figures, so gets a massive one-off jump this time around. Jazz FM (which is reported to be coming off Digital One) and The Hits have also seen growth.
A decent set of commercial results in London means that the gap between commercial radio and the BBC has closed a little. Commercial radio is now at 43.7% (from 41.9%) while the BBC is at 53.9% (from 55.7%). That’s quite a big jump in overall share terms.
What’s happening at breakfast? Well Nick Grimshaw has put on a few thousand, and he’s kept his average age down a bit at 33.0 – just below the station average. Over on Radio 2, Chris Evans lost 53,000 listeners. For most stations that would be significant, but not for Radio 2. He still has just short of 10m listeners at breakfast alone (9.75m in fact). TalkSport did well at breakfast and Simon Bates picked up a few listeners at Smooth. In London there was growth for most of the main shows, although Dave & Lisa sit at the top of the commercial pile (Evans and the Today programme are ahead overall).
Finally, here’s my usual Google Motion Chart. There’s a small version below, but you’re better off playing with the big version, where you can read my notes and see suggested options for using it.

And here’s the London version of the same chart. It has more data behind it meaning that you can be a lot more flexible in looking at trends by different demographics. Again, you should use the larger version (note that the London version can be slow to load).

RAJAR has put together a rather good infographic, which I’m reproducing below. It details some of the main stories overall but plenty more that’s worth looking at.
RAJAR Inforgraphic Q213v3.jpg
For more on RAJAR visit:
The official RAJAR site
Radio Today for a digest of all the main news
Media UK for lots of numbers and charts
One Golden Square for more Absolute Radio details
Paul Easton for analysis
Media Guardian for more news
Matt Deegan for more analysis
And there are always RAJAR Smilies
Source: RAJAR/Ipsos-MORI/RSMB, period ending 23 June 2013, Adults 15+.
Disclaimer: These are my own views, although they’re based on work I’ve done for Absolute Radio, and through whom I get access to the data. I also sit on the RAJAR Technical Management Group representing commercial radio. Just so you know.