Thanks to, Jenstuds, Jenny, Lucy, Chris, Debbie, Martin, Marc, Jay, Emma and Vlad. Oooppss! That may well have blown everyone's cover.

CONTENTS

1. INTRODUCTION

2. METHODOLOGY

3. DISCUSSION OF FINDINGS

A. Uses and Gratifications

3.1 Listening Time and Social Context

3.2 Specific Shows

3.3 Other Radio Stations.

3.4 Records

B. Effects

3.5 Effects of hearing a record on Radio 1

3.6 Effects of further promotion.

CONCLUSIONS

DEFICENCIES

BIBLIOGRAPHY

1. INTRODUCTION

Radio 1 is one of if not the most popular radio station in the country. Since the mid-1960s it has treated listeners to a mix of new pop music possibly more diverse than its rivals, and a host of DJs which over the years have included the likes of Kenny Everett, Noel Edmonds, and John Peel. However, (as describer in Garfield, 1998) in 1993 incoming station controller Matthew Bannister felt the station had lost touch with its core youth audience.

Bannister to reverse the trend set about repositioning the station, making it more important to youth culture, reflecting in the introduction of a portfolio of new dance DJs such as Pete Tong, and the stations support of Britpop. After a radical fall in listeners, the station has now stabilized, with audiences on the increase again, and as a result can be described as having recaptured the interest of its core audience of 16-24 year olds. At the same time the station has been at the heart of new music trends throughout the 1990s, in its promotion of new acts and artists.

The aim of this project is in two parts. Firstly, why is it youth audiences listen to Radio 1? What do they gain from it? Secondly, what effect exactly does Radio 1 have on its audience? In order to discover this, I have combined the two audience research procedures of the behavioral paradigm; uses and gratifications, and effects. This is reflected in the title of the project, having undergone a change from the original title 'Radio 1- Still the Nations Favourite?' (referred to in the proposal) as this was thought to be too ambiguous in relation to the actual point of the project. Interviews with ten Radio 1 listeners have been carried out in order to discuss these themes. In addition, a number of assumptions Radio 1 has of its audience which are of relevance to this project will be explored (outlined in Frith, 1978, Garfield, 1998). These are:

1. The audience generally listens to Radio 1 while performing other activities

2. Listening is fragmented. Audiences only listen for certain periods

3. Audience members tend to tune in for specific shows

4. Radio 1 has an effect on its audience through the music it plays, encouraging the audience to buy such records

These assumptions will be referred back to again in the conclusion. The uses and gratifications section will explore when and how the audience members listen to Radio 1. The reasons why they listen to Radio 1, such as the DJs and the music played, looking at both daytime and evening Radio 1 programmes. As way of comparison, other radio stations audience members listen to will be discussed in terms of what they offer that Radio 1 lacks and vice versa, and also to be discussed will be how listening to the radio differs to listening to records. The effects' section will explore the effect on the audience' record purchases through the music played on Radio 1. Both, the daytime play list when Radio 1 gets its biggest audience, and the music played in the specialist shows at the evenings and weekends will be discussed. In addition, further forms of promotion will be discussed, within and outside Radio 1, taking into account other forms of music media.

2. METHODOLOGY

My original intention for this project as stated in the proposal was to carry out a number of individual interviews with Radio 1 listeners (although at this point I had failed to state how many audience members I was intending to interview). However on carrying out the research I decided to switch to conducting interviews in the form of group discussions with audience members, in a similar way to Longhurst and Carrabine (2000) in their study of music audiences. In a group environment, especially friendship groups, respondents are able to play off each others comments, which can lead them to revealing more than they would in a one on one interview, and respondents are more likely to talk in a relaxed free flowing manner. Therefore the project entailed interviews with 10 audience members in total, all of which were situated toward the upper end of the 16-24 target audience. These were broken down into discussion groups of five, two, and three respondents in total. Group discussions were carried out on Monday 24th April, Sunday April 30th Friday 5th.May 2000. Throughout the project, respondents are referred to by their initials only. The 2 main aims of the project were broken down into the following subsections:

A. Uses and Gratifications

1. Listening Time and Social Context. When do audience members listen to Radio 1, and for how long? Do audience members listen to Radio 1 while performing other activities, and if so what?

2. Specific Shows. Do the audience members' listen to particular shows on Radio 1 and if so for what reasons? e.g. DJs, music?

3. Other radio stations. Do the audience members listen to other radio stations? e.g. local, national What do they have to offer that Radio 1 doesn't?

4. Records. How does listening to records differ from listening to Radio 1?

B. Effects

5. Effect of hearing a record played on Radio 1. How likely are the audience members to buy this record?

6. Further promotion. Radio 1 sessions, concerts. Other music media

Each discussion broadly followed these categories of analysis. Each discussion was recorded and lasted no more than 15 minutes each. A full transcript from the first discussion group can be found in the appendix.

3. DISCUSSION OF FINDINGS

A. Uses and Gratifications

3.1 Listening Times & Social Context Listening times were invariably found to be linked to social context. Audience members disclosed that they were most likely to tune into Radio 1 when they were performing other activities.

CH revealed that he usually listened to Radio 1 when he was in the car, the time of day however tended to vary. CH said he usually listened for: "Half an hour, say max. Though if it's both ways, it's really an hour"

Radio 1 often acted as a background to performing work activities. DJ said she listened to Radio 1 while she was "copying up notes, or trying to finish an essay". Similarly CH and JA found Radio 1 a useful background distraction while revising for exams

3.2 Specific Shows

Despite audience members tending to have Radio 1 on as a background distraction to other activities, there were specific shows on Radio 1 the audience members would tune in especially for. It was found that during the day, audience members would tune into Radio 1 to hear specific DJs.

LE listened to Mark & Lard on a daily basis, describing them as "cool".

Audience members often liked listening to such DJs, because they made them laugh. For example, Chris Moyles was a popular choice amongst a number of respondents, because DJ "He's funny, cos he's dead sarcastic" Another respondent said:

JB "I listen to it (Radio 1) when they've got that very funny rude man on. I don't know what he's called though. What's he called? The fat one."

MT "Chris Moyles."

JB "Yeah, Chris Moyles. He is funny."

MJ would regularly tune into Radio 1 for Simon Mayo, because: "He's the man. He's very in touch with student culture."

Some respondents disclosed that they would listen to DJs even if they sometimes found them to be irritating. For example, Chris Moyles:

CH "Oh no, he really annoys me. I don't like him."

MT "I think him himself is a bit of a knob. But him and Melinda, and Comedy Dave are quite good."

CH "Oh yeah, when they're together they put a funny show together, yeah."

LE disliked many of the Radio 1 DJs: "I hate the way Radio 1's going. Sara Cox and Chris Moyles. If they get rid of Mark & Lard, I'll stop listening all together."

LE later revealed that she preferred some of the past DJs no longer with the station, such as Nicky Campball: "He's a better interviewer. Better than Jo Whiley (another Radio 1 DJ). He used to have good guests. Stephen Fry. The good old days."

The music the station played during the day didn't seem to be a prime reason for tuning in; the play list in particular came under fire for playing too much pop music:

PW "All the cheap release boy bands you have to wade through, and occasionally they play a good thing. When the DJ chooses it, it's okay, though the play list tends to be a bit an arse really."

Later, PW argued that Radio 1 should maybe play more alternative music, unlike the same types of pop music all the commercial stations seemed to play:

PW "But they (Radio 1) can play an alternative. They should, but they don't."

CH "They have to play what the majority wants to hear."

JA "They can afford to have a few alternative programmes, but most people don't listen to them."

Similarly disillusioned with Radio 1's play list, LE placed the blame further afield:

Would you say you're disillusioned with Radio 1?

LE "Not Radio 1 specifically, but the music industry. They only play what's popular. The charts have been saturated with pap pop music."

LE went on to state such pop groups as: "Britney Spears, Billie, S Club 7." However in the evenings or at weekends, respondents were more likely to tune into Radio 1 for the music they played than the DJs, because it is at such times that the specialist shows are broadcast:

DJ "Because John Peel plays really good, different stuff compared to daytime. All different sorts; and the Rock Show, because I like Rock music."

In some cases, the specialist DJs themselves were treated with less than respect by respondents despite the music they played:

JR "I find I tune into Judge Jules and Pete Tong (dance DJs) quite a lot."

MJ "They are quite bad DJs."

JR "They're quite funny as well. You've gotta admit some of the stuff Judge Jules comes out with is absolutely hilarious. He makes a complete cock of himself every time he's on the radio. How can you not fault the guy?"

MJ "Cos he's a cock!"

Other respondents found themselves put off the specialist shows, as they tended to play more obscure types of music than during the day, when the station receives its highest audiences. For example, MT on Dave's Pearce's dance show: "It's a bit too much, cos it's a bit too dancey, and trancey, rather than more laid back kinda pop music."

JA meanwhile had this to say: "I listened once to John Peel cos (name withheld) told me to when I was 17, and it was awful. I just don't like the music they play."

3.3 Other radio stations

Most respondents said they listened to other radio stations on a regular basis. JB was more likely to listen to commercial radio stations than Radio 1 because: "They always play the music I like (pop music). Whereas on Radio 1 they have periods when they play dance music."

Similarly, EP preferred listening to commercial stations: "It's from when I went to school, always listened to them on the school bus."

However, other respondents saw commercial stations as particularly off putting compared to Radio 1. Here's MT on why he prefers listening to Radio 1 than commercial stations:

"Cos you don't get crappy adverts in between. GWR (a Bristol based commercial station) you get all the adverts, which just drives you mad. I listen to a radio station for the DJs and music, not adverts."

MJ argued that even though Radio 1 played similar music to commercial stations during the day, he'd still rather listen to Radio 1, because: "The DJs are more constructive (on Radio 1). If you listen to Galaxy (a commercial dance station) then it's really like monotonous. It's not funny, it's just banal."

A number of respondents listened to other national stations, because there offered different types of music, and could serve different purposes to Radio 1.

MJ "If I'm working then I'll listen to a bit of Classic FM, and don't laugh, but if I'm in a sexy mood then I'll listen to a bit of Jazz FM."

LE also liked listening to Radio 2: "I prefer the DJs. Terry Wogan and Jonathan Ross. Jonathan Ross is really cool. He's dead funny. I suppose he's like a Southern Mark & Lard."

Some respondents listened to non-music radio stations, as they found they had much to offer that Radio 1 didn't.

PW "I only listen to Radio 1 when I'm at work. Otherwise I'll listen to Radio 4. Cos it's got some good comedy shows on it, and the news service is the best you can get."

5Live was also popular among respondents.

LE "You get live footy matches on it. I heard it this morning analysing the Election results. That's good. Except when they slagged off Manchester."

5Live was also praised for its news service (JA), and it's discussion programmes (CH).

3.4 Records

Respondents viewed listening to records differently to how they viewed listening to Radio 1, or the radio in general. When respondents specifically wanted to listen to music, the playing of ones own records was viewed more favourably.

DJ "CDs are music that you want to listen to. It's your choice. Radio isn't your choice of music."

MJ went further, stating that he tended to listen to records to create a certain mood, something Radio 1 couldn't provide. He also said: "You can switch the radio on, you know what's coming, and you know its gonna piss you off. This is a cynic talking. If you've got your own CD collection, I tend to go for stuff that's a little more interesting, a little more structured."

However, CH pointed out that the radio was useful for finding out about music you didn't own, such as forthcoming releases and new acts.

B. Effects

3.5 Effect of hearing a record on Radio 1

The likelihood of audience members buying a record they've heard on Radio 1 tended to depend on the types of music they liked. Respondents were found to have fixed ideas about specific types of music they liked or disliked, which had a knock on effect on the types of music they would likely buy.

PW summed this point up well: "I tend to know what I like. I suppose if I hear a band I like on Radio 1, and go, ahh, there's a new record coming out, then I'll think about looking for it in the record shop. Some bands I may not have heard before, but I like. It's not some sort of hypnotic effect. You don't find me going out and buying Billie or anything."

JR was a respondent who was more likely to buy less mainstream types of dance music, not usually played during the day, but more likely found in the specialist shows: "Some of the dance stuff. Like on Pete Tong's show. It's not the sort of stuff you'd get on Sara Cox's show (breakfast DJ)."

Even though she liked the pop music played on Radio, JB said she was still unlikely to buy any of it, putting economic factors as a reason: "I only get CDs if someone buys them for me. They're so expensive. It's like £14. I'd rather spend it on something else."

LE was more likely to tape songs off the Radio 1 she liked, as opposed to buying them, again because of financial factors. The only likelihood of buying a single she liked was if it included other attractions: "I buy it if it's £1.99, not £3.99; unless it's got a CD ROM or free postcards."

CH however liked listening to types of music on Radio 1 that he wouldn't buy. However, If a record received too much airplay on Radio 1, then this could put audience members off buying it.

MJ "If you hear a single on the radio, and you think that's a good song, then you hear it day after day after day. Overplayed, so in the end you don't go and buy it."

MJ was also unlikely to buy more specialist types of music, because he now felt out of depth, unable to keep up with ever changing music scenes that were deemed to be more 'underground' than mainstream. "When I was younger, when I was really into indie and rock stuff, I'd listen to Steve Lamacq (Evening Session DJ). That made you want to go out and buy the stuff, but you had to be really into the scene to get something out of it."

3.6 Effects of further promotion

Audience members tended to see record airplay on Radio 1 as part of a wider marketing strategy in the promotion of records; with the aim of pursuding the audiences to buy such products. Artists could gain further promotion on Radio 1 for example through interviews, or sessions: The effectiveness of such devices was seen to be variable:

LE "I actually went out and bought the Doves (album) cos of a session on Radio 1, but that's about it."

Other forms of record promotion outside Radio 1 were also seen to be important. Magazines such as 'Smash Hits' (EP), or the NME (LE), where the audience could further there knowledge about different acts, in some cases pursuding them to buy such records.

JR talked about how Radio 1 could act as a route into a particular music scene:

"I first heard Goldie (a drum 'n' bass artist) in about '91, and that was on Radio 1 actually. Simon Mayo played it, and it was about 31 in the charts. F**kin' hell that was a top tune. And then after that a lad at college was a drum 'n' bass DJ and he gave me loads of tapes, and I went out on loads of drum 'n' bass nights, stuff like that."

This suggests that JB had made a conscious effort to pursue this interest, rather than Radio 1 or the music media in general acting as a one way effect. Indeed, throughout this section, respondents have indicated that the effect of Radio 1 on its audience is limited, the consumer having some autonomy over what records they intend to buy.

4. CONCLUSIONS

Far from being final, the findings from this project can be said to have only scratched the surface of: A. The uses and gratifications audience members gain form Radio 1, and B. The effects Radio 1 is deemed to have on its audience, from an audience perspective. Nevertheless some conclusive remarks can be made, and the assumptions Radio 1 has of its audience outlined in the introduction can be examined to a certain extent. Referring back to the question laid out in the introduction 'Why do people listen to Radio 1?' a whole range of different reasons were discussed by the audience members, which were invariably linked to the assumptions Radio 1 had of its audience. The majority of respondents discussed Radio 1 in terms as a backdrop to other activities such as work, in doing so backing up this assumption. In most cases audience members expressed that their listening habits with Radio 1 tended to be fragmentary, listening for only limited periods, backing up the second assumption. Also in line with the third assumption, the majority of audience members who said they listened to Radio 1 regularly, said they had certain shows they would tune in especially to listen to, whether it be for certain DJs such as Chris Moyles, or types of music from specialist shows such as John Peel. However for all respondents, Radio 1 was found to be not enough to sate their uses and gratifications. Audience members admitted to turning to other radio stations such as Classic FM or 5Live as they provided what Radio 1 didn't, whether it be different types of music, or non musical features such as football commentary, or news coverage. Also a large number of respondents would choose their own record collections over Radio 1 or radio in general, when they wanted to listen to music in a more structured way. With reference to Radio 1 acting as a promotional vehicle in pursuding audiences to purchase particular records, audience members expressed a preference for only set types of music whether it is pop, indie, rock, or dance. Therefore these were the genres of music respondents were likely to buy. In some cases however, audience members said they were unlikely to buy records whether they liked them or not. This therefore seems to suggest that Radio 1 doesn't simply act as a one way effect; that respondents can actively use the station as a way of developing musical tastes, and discovering new artists. However the final assumption that Radio 1 does have some effect on its audience could be confirmed. In addition though, Radio 1 was seen as part of a wider promotional industry for records and artists, which included other forms of media such as magazines and television programmes. Such media was also found to be at the audience's disposal, but could also cumulate in pursuding audience members to make purchases of records.

5. DEFICENCIES

The effects section of the project can be deemed to be relatively underdeveloped in comparison to the uses and gratifications section. Not enough attention was paid to how the music media in general effects the audience's record purchases, especially in the first group discussion. A major area not covered in any detail in the project, but should definitely have been put under consideration is the added effect of peer groups on the formation of musical tastes on the audience. Therefore it can be said that the project may have given the misconception that only the music media such as Radio 1 has the ability to promote and disseminate information about records; and that peers have no part in informing others of correct record purchases. The majority of respondents were found to have anti-pop music attitudes, especially towards acts likely to feature in the Top 10 singles charts, such as S Club 7 and Billie. Or other respondents, who confessed a liking to pop music, however suggested that they were unlikely to purchase such records. Therefore this begs the question, who buys such records? and can Radio 1 be said too be a prime player in the promotion of such pop acts? Part of the problem could lie with the fact that all respondents were located in the upper half of Radio 1's target audience of 16-24. A project where the respondents were evenly spread across this age band may have revealed more. In addition interviews with Radio 1 listeners who fall outside this age bracket could have provided same data for comparison.

6. BIBLIOGRAPHY

FRITH, Simon (1978) The Sociology of Rock, Constable, London

GARFIELD, Simon (1998) The Nation's Favourite, Faber & Faber, London

LONGHURST & CARRABINE, in GONOW & WARDE (2000) Ordinary Consumption