How to teach audience - Alan Hunt by Tallis Media Online

The Media Studies Conference .Monday 30 June - Wednesday 2 July 2003 The National Film Theatre, South Bank, London

How to Teach...Audience by Alan Hunt

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SFI A Level Media Studies Conference July 2003

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How To Teach Audience The blurb in the programme for this workshop states that the seminar will 'offer the opportunity for teachers new to Media Studies to consider ways into the core concept of Audience'. With this in mind, this session will not trawl through the numerous and somewhat onerous historical studies and various models, theories and perspectives concerning the concept of media audience. However, some of the terms that you should recognise from your reading are included in a Key Terms Glossary that you can use as a checklist. An assumption is being made that you will not want to be patronised as you will have done your own reading/study prior to teaching Media Studies for a living! So this is not a 'what to' teach, but a 'how to'. If you do need some pointers a Recommended Reading List is included separating reading for teachers from that for your students. Media institutions also use many different labels to define, construct and measure their audiences. The fact is, this is an inexact science with many of the techniques being market sensitive information and therefore not in the public domain. That said, some useful information is available and can stimulate classroom activities so a list of Useful Websites has been included: but this is far from exhaustive. This pack contains a number of Resources that teachers may find useful, some of these will be referred to during the presentation. In addition a Programme List from which extracts will be screened during the session is also included apologies that I have not got all the original transmission dates.

I also stated in the original blurb that 'This workshop will offer suggestions for creating work schemes without the new teacher feeling overburdened'. I suspect that a list of Lesson Suggestions will be the most welcomed resource for new teachers and I have therefore drawn upon past classroom experiences of how I tackled audience teaching - teachers new to all this should go with those ideas that they feel most comfortable with and those that they can resource. The Audience is a core concept in Media Studies and this is quite rightly reflected in all the specifications. It is rather artificial to separate any of the concepts and offer exclusive schemes of work - good media teaching takes any media text, be it a film poster, a web-page, a television documentary clip or a student's own production and through analysis will address all the core concepts in some way or another, depending upon the focus of study at the time. However, in order to reassure ourselves that the ground is being covered there are times when a more direct approach will be required (such as preparing AS students for an audience research coursework project or preparing A2 students for an essay question on media effects or regulation). The session will not provide an exhaustive 'how to' scheme but will talk through a range of ideas and resources categorised under five key areas: • • • • •

INSTITUTIONAL DATA & SOURCES HISTORY OF THEORIES & MODELS MEDIA EFFECTS FINDING THE AUDIENCE WITHIN THE TEXT STUDENT CENTERED AUDIENCE RESEARCH

The ideas are designed to give you a way into the concept, especially if you are worried that you are not addressing it proportionately in your teaching. You can use one of the ideas or a number of them.

How To Teach Audience - Lesson Suggestions

APPLYING THEORY

USES & GRATIFICATIONS Provide the goup with a list of possible gratifications - set them the task of writing about why they like their favourite 3 or 4 programmes or get them to conduct a short research study. Use one of the numerous, published studies where qualitative responses are categoried under various 'needs' as a stimulus for comparison or class discussion (a good one on quiz shows was produced by McQuail et al in 1972 yet works well today in the light of Millionaire and similar. STUDY OF WEBSITES OR CHAT ROOMS TO ASSESS THE ACTIVITY OR PASSIVITY OF THE AUDIENCE Discuss an article from the net that challenges dominant ideology - would such an article be published elsewhere - if so where? New technology & new democracy? - a powerful audience resisting dominant ideologies via the internet? UTOPIAN PLEASURES A possible way into exploring the pleasures we get from decoding certain genres especially those which are escapist/entertainment in focus, is to examine Dyer's categories of fantasy and ask students to analyse and label their assessment of their own enjoyment of action films for example. DISCUSSION OF REALISM & VERISIMILITUDE If we make judgements about the quality or plausibility of the fictional world offered in a text and then assess whether we accept different levels depending upon our expectations of genre and our social experience interesting discussions can take place 'well we don't like London's Burning in my house, my dad is a fireman and he says its not believable'

MEDIA EFFECTS DEBATES

VIOLENCE View a range of clips from various formats and genres. Get the class, in groups to define screen violence first. Why is the violence in Schindler's List justified but not the violence in Reservoir Dogs? MEDIA EFFECTS - RAP MUSIC AND GUN CULTURE Summarise two different arguments from the press articles. Write a treatment/storyboard a Hip Hop narrative promo where issues of representation (guns/violence; gender; conspicuous wealth) are challenged? MORAL PANICS View an extract from 'The Agony & the Ecstasy'. Provide the class with a list of recent news events: include in this list a story about a 'gun culture shooting', 'the internet stalker' or European football violence, amongst other invented stories that would be unlikely to spark social/political response and action or a snowballing of reporting. Get them to justify what they have included in the list and why.

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Set the class the task of inventing a moral panic and writing some tabloid headlines remember that it must conform to certain criteria: exaggerated reporting; an assumed breakdown in social/moral behaviour; a political/state/institutional response; the further reporting of this response (and hence its self fulfilling)

MEDIA INSTITUTIONS/MARKETING & ADVERTISING WRITING A READERSHIP PROFILE (OR DRAWING A POSTER) Analyse the representation of the reader presented in the media packs or editorial front page of a lifestyle .magazine - students write their own profile for a new magazine (or an eXisting one for which they cannot obtain marketing information). Remember that the copy needs to signify the reader's affluence and love of consumer products. STUDYING A SOCIO-ECONOMIC DATA TABLE Get students to study the JICNARS categories - get them to list a range of jobs/professions tha match each category. They could interview two or three people and then decide which of thee more modern marketing lifestyle labels (DINKYS and so on) would fit their interviewees? FOCUS GROUP Conduct your own research - assess the merits of different styles of question and different stimulus materials. Video your focus group discussion and then write an evaluation, along with transcripted examples. SCHEDULING EXERCISE Students devise their own schedule for a channel of their own invention. They could use a blend of programmes from different channels - or invent some of their own. Results could be presented in the form of visuals/stills and presented as a simulated business presentation. CHANNEL FOUR A BLEND OF PUBLIC SERVICE AND COMMERCE Channel Four and its remit - students could log on to the Channel's website and study its ethos - then look at the schedules to find evidence as to whether the broadcaster is fulfilling its obligations. How does the Channel manage to survive without topping the ratings charts? DIGITAL TELEVISION New broadcast media - does more mean more choice? Analysis of the output of a new channels in terms of product origin or genre - present results as a table/chart.

TEXTUAL/SEMIOTIC APPROACHES - SEEING THE AUDIENCE WITHIN THE TEXT UNDERTAKE SOME BRIEF CONTENT ANALYSIS OF THE FEMALE CHARACTERS IN A DAYTIME ADVERTISEMENT BREAK. Summarise and quantify, in a table, the range of different characters in one or more advertisement breaks - what conclusions can be drawn about the nature of daytime audiences? SCRIPTING OR STORYBOARDING AN ADVERTISEMENT THAT CHALLENGES STEREOTYPES. Get students to list their hobbies, interests, style, ethnicity, gender - devise an advertisement that addresses others like themselves. To what extent do they feel that they belong within a niche audience or do they feel that mainstream culture represents them?

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ANALYSE THE REPRESENTATION OF CHARACTER ON THE FRONT COVER OF TWO LIFESTYLE CONSUMER MAGAZINES Similarities and differences? Can students devise a brand new magazine that would be viable in terms of possible advertising revenue and circulation? Search the net - are there websites that offer an equivalent platform to that proposed by their new title? Why is the net able to support niche sites? ART HOUSE FILM (I have screened sequences from Greenaway & Jarman) = Following general analysis that assesses the way such texts break with mainstream conventions (improving students understanding of the texts that they more usually consume) students write a response to a short answer question asking why such texts will always be marginal (appreciation of audience, institution, taste and decency, high v popular culture debates) HIGH & LOW? TELEVISION GENRES Get students to list one programme form each TV genre they can think of. Produce a table on the board with the most popular programme title sitting alongside the genre label. Which ones do they watch? Who do they think the target audience is? When are such programmes scheduled? How expensive do they appear to be in terms of production costs? Do they have difficulty admitting to watching certain programmes. Analysis - each student should summarise 2 -3 conclusions: can they make links in terms of gratifying needs; gender and genre? Age and subject matter? Control of the remote in the home? Family viewing versus lone viewing?

OTHER IDEAS FILM MARKETING CAMPAIGN TARGETING A SPECIFIC AUDIENCE FILM LANGUAGE EXERCISE EXAMINING POINT OF VIEW OR HOW MUCH WE KNOW COMPARED TO THE CHARACETRS IN A NARRATIVE THE TV SCHEDULES THEN AND NOW - COMPARE AN OLD TV TIMES 'WHATS ON' PAGE TO A RECENT ONE - ARE WE DUMBING DOWN? ROLE PLAY AN ADVERTISING AGENCY PITCH INTERVIEW & RECORD PRIMARY SCHOOL CHILDREN ABOUT THEIR VIEWING HABITS COMPARE THE MODE OF ADDRESS OF THE CONTINUITY ANNOUNCEMENTS ON TWO SEPARATE RADIO STATIONS OR TWO DIFFERENT TIMES OF THE DAY. RESEARCH PROJECT - ATTITUDES TO NEW MEDIA TECHNOLOGIES AMONGST DIFF AGE GROUPS RECORD A RANGE OF ADVERTISING BREAKS FROM DIFFERENT TIMES OF THE DAYCAN STUDENTS GUESS THE TIMES? SUMMARISE BRITISH VIEWING PATTERNS A STUDENTS OWN CONSUMPTION - HERE IS MY PERFECT TV SCHEDULE ('ME TV')

How To Teach Audience - Programme List

'The Hamster Factor' (BBC2) Docu featuring the making of the Terry Gilliam Science Fiction film, 'Twelve Monkeys'. It examines the role between art and product; between a strong willed director and the studio financiers - this clip features strange audience research that might be useful when evaluating research methodologies. 'Cutting Edge: Absolutely Marie Claire' (Ch4 21/11/94) Behind the scenes look at life in a publishing company. 'Children & Marketing' (BBC2 1999) Documentary looking at the efforts made to ensure that children are brand aware at at early age. 'The Glittering Haze: Advertising and Society' (Ch4) Superb two episodes one of which examines representations in advertising and the other looks at audience targeting strategies. 'The English Programme: Who Influences Who?' (Ch4 6/2/95) Useful examination of the institutional, representational and audience concerns at J17 magazine - pitched for KS4 but ok. 'For Men Only' (BBC2 29/7/94) Comparison of the different readership profiles of four titles in the men's lifestyle magazine market. 'The BBC Breakfast News: Jack Magazine launch story. (2002) Due to its audience profile this news report offers a bemused, economic report on the 'lads' magaZine market 'Blue Dreams' (BBC2 1996) This documentary examines Levi Jeans, their past and their current role as a cultural artefact/icon. Students find the focus group sequence interesting & amusing. '1984' (Radford 1984) A relatively faithful adaptation of the novel - useful for helping students to appreciate the concerns over propaganda and mass society at the time Orwell was writing. 'Fear of a Red Planet' (BBC2/0U) Excellent examination of the political, scientific and popular cultural reasons as to why Welles managed to panic a nation.

'The People's Century: Picture Power' (BBC2 1999) Excellent potted history of broadcasting which looks at the development of PSB and the cultural & political impact of television across the world. 'Channels of Resistance: Episode One, Distress Signals' (CH4 1993) Excellent series that examined the various ways television was used on a local basis - deals with all the fundamental questions of media imperialism and representation. Ep One looks at Canadian community lY, public service ethos in Europe and internationallY programme sales fairs. 'Britain On The Couch: Consumed' (Ch4 1999) Subjective documentary from a popular psychologist. One of the case studies looks at the effect fashion and glamour texts have on one young woman. 'Youth Culture: The Agony & the Ecstasy' (BBC2 29/4/00) An excellent history and examination of the concept of moral panic. 'The BBC Nine O'clock News: panic buying - petrol (19/9/00) 'Children of the Video' (BBC2 1995) Superb, simply structured ethnographic study of children's exposure to violent videos. 'Dispatches: computer games' (Ch4 2000) Emotive, sensationalist account of the effects of computer games on young boys - reconstructed laboratory experiments are cited as proof of effects. Always leads to class debate. 'Newsnight: Lead story' (BBC2 6/1/03) Obviously any news coverage of a contemporary effects panic would be useful - this is one of the most recent. 'Panorama: The Killing Screens' (BBC1) Wide ranging effects docu with a balance of talking heads including a child psychologist (Newsom) and media academics. Very good on Power Rangers. 'Schindler's List' (Spielberg 1993) Good for discussing whether on screen violence, in graphic detail, is ever justified.

The Video Library: Contact at 020 8607 8423 John Easson at Richmond upon Thames College www.rutc.ac.uk

How To Teach Audience:... Recommended Reading List .~

student reading G Branston & R Stafford (1999) The Media Student's Book Second Edition (Routledge) ACCESSIBLE LAYOUT & STYLE FOR STUDENTS. J Nicholas and J Price (1998) Advanced Studies in Media (Nelson) T O'Sullivan, B Dutton & P Rayner ed (1998) Studying the Media, An Introduction. Second Edition (Arnold) ACCESSIBLE LAYOUT & STYLE FOR STUDENTS T O'Sullivan & T Jewkes (1997) The Media Studies Reader (Edward Arnold) A NUMBER OF ESSAYS SOME OF WHICH STUDENTS COULD MANAGE: AN OVERVIEW OF AUDIENCE RESEARCH & CRITICAL PERSPECTIVES AND A RANGE OF CASE STUDIES (TECHNOLOGY IN THE HOME, TABLOID READERSHIP, 'VIDEO NASTIES') S Price (1997) A-Z Media &. Communication Handbook (Hodder & Stoughton) P Rayner, P Wall, S Kruger (2001) AS Media Studies: The Essential Introduction (Routledge) THE AUDIENCE CHAPTER IS NOT ONLY UP TO DATE, BUT CONTAINS A RANGE OF EXCELLENT ILLUSTRATIONS & DATA FOR STUDENTS

teacher reading len Ang (1985) Watching Dallas (Methuen) M Alvarado, R Gutch & T Wollen (1987) Learning The Media (Macmillan) CHAPTER COVERING MANY OF THE KEY ISSUES IN TEACHING AUDIENCE COUPLED WITH CONSIDERATION OF A CLASS OF STUDENTS AS AN AUDIENCE H Baehr, G Dyer ed (1987) Boxed In: Women and Television (Pandora) M Barker and J Petley (1997) III Effects: The Media/Violence Debate (Routledge) A NUMBER OF ESSAYS DEBUNKING THE MORAL PANIC AROUND CASES SUCH AS THE JAMIE BULGER 'STORY'

D Barrat (1986) Media Sociology (Tavistock) DATED BUT EASILY DIGESTIBLE B Bleiman S Broadbent J Grahame & M Simons Powerful Texts (English & Media Centre) USEFUL CHAPTER ON INSTITUTION & AUDIENCE AT THE PUBLISHERS OF J17 MAGAZINE. THERE IS AN ACCOMPANYING IV PROGRAMME. G Branston 'Audience' in D Lusted ed (1991), The Media Studies Book, (Routledge) A CLEAR & CONCISE GUIDE FOR NEW TEACHERS COVERING ALL THE ISSUES D Buckingham (1987) Public Secrets, Eastenders and its Audience (BFI) D Buckingham (1995) Reading Audiences (Manchester Univ Press) R Dickson et al ed (1998) Approaches to Audiences (Edward Arnold) G Dines & J M Humez ed ((1995) Gender, Race and Class in Media (Sage) CONTAINING SEVERAL INTERESTING ETHNOGRAPHIC, HIGHLY FOCUSED AUDIENCE STUDIES B Dutton (1977) The Media (Longman) POSSIBLY THE BEST OVERVIEW OF THE HISTORY OF THE EFFECTS DEBATE & CONTEMPORARY APPROACHES. NEW MEDIA TEACHERS START HERE! A Goodwin, G Whannel eds (1990) Understanding Television (Routledge) USEFUL CHAPTER ABOUT SCHEDULING FAMILY VIEWING L Masterman (1980), Teaching About Television (Macmillan) STILL A KEY TEXT FOR THOSE NEW TO TEACHING MEDIA STUDIES. THERE IS A USEFUL CHAPTER COVERING MANY OF THE KEY ISSUES IN TEACHING AUDIENCE D Morley (1992) Television, Audiences and Cultural Studies (Routledge) K Thompson (1998) Moral Panics (Routledge)

How To Teach Audience - Key Terms Glossary

ABERRANT DECODING When an audience 'fails to get the message' and reads a text the wrong way (Neil Kinnock's famous election rally is said to have cost him the election, the same could have been said regarding the empty flag pole above Buckingham Palace following Diana's death) (see preferred reading, polysemic) ACCESS The issue as to how individual members of a society get to create their own representations, or to respond to the dominant culture AGENDA SETTING The assumption that powerful media producers set the parameters of what we, the audience, are concerned about at anyone time. Press and broadcast journalists are often cited as the main perpetrators of this due to the dominant ideological world view of editors and 'gatekeepers'. AUDIENCE SHARE Broadcasters are as keen to secure a proportion of the available audience as they are to achieve high ratings especially when factors such as seasonal fluctuations are considered. BARB The Broadcasters Audience Research Board commissions research companies to collect mainly quantitative television viewing data on a daily basis. This is used to compose ratings tables subsequently used to gauge TV advertisement spot costs. Some qualitative, 'audience appreciation' information is also collected. BRAND MAPPING A marketing technique where demographics and lifestyle research is used to position products within the market BEHAVIOURIST APPROACHES Many early approaches to academic research into effects were supported by laboratory based stimulus response experiments which were then related to wider assumptions about media audiences in society. CENSORSHIP In its purest form - government control over access to information/entertainment within the media. Some countries/cultures are prone to more control than others (State press & broadcasting) in the West most usually applied to film certification and distribution.' The underlying assumption is that certain social groups are more 'vulnerable' than others: children; women in the home; male youths. '\

CONNOTATION The meaning that we detect within a text - usually deliberate /intentional and generated by denotation. Connotation is at the 'second order of signification' according to Barthes (see denotation, myth, ideology) CONSTRUCTION The often quoted line 'Commercial television produces audiences not programmes' encapsulates the idea that commercial media build audiences for potential advertisers and . sponsors and that they do this at the expense of art or culture.

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CONNOTATION See Signification CONSUMER CHOICE See Uses and Gratifications COUNTER CULTURE See Subculture COPYCAT BEHAVIOUR CULTIVATION CULTURE The 'artefacts' generated by a society - the language, symbols, works of art & popular culture. Different groups in society (subcultures) have their own recognisable artefacts or culture DEMOGRAPHICS DESENSITISATION DIGITAL TELEVISION The site of much debate concerning the real nature of media output and whether more channels will actually mean more choice and whether a publicly funded system that directed our viewing is sustainable in its present form. Are we likely to 路buy into what we 'want' as opposed to what we 'need' and is it just Big Brother that we want? (see public service broadcasting) DOMINANT IDEOLOGY If an ideology is a cohesive, natural seeming system of beliefs then a dominant ideology is a belief system which currently holds sway in society. Said to be generated (not always deliberately) by the dominant institutions/groups in a society DOMINANT/NEGOTIATED/OPPOSITIONAL READING The position or level of acceptance we might give to media messages and their inherent ideology based upon our social, class, political outlook and the context of consumption. Parkin, Hall and Morley all offer slightly different labels for a broadly similar approach. Typifies the more up to date academic approach to audience research form the 1980s onwards DUMBING DOWN Debates about the increasing commercialisation of media output and its consequent 'cheapening' of (usually popular) culture have been charged with being elitist because 'high' culture rarely faces similar criticism. Not the recent phenomenon people suppose it to be. ENGAGEMENT EFFECTS A catchall term for all those questions, research and study into the relationship between the media and the audience. The word is mainly used when a negative effect is implied or looked for. ETHNOGRAPHY The more contemporary, sociological approach to audience research that involves the researcher embedding themselves in the subculture and values of the group being studied. This form of research acknowledges the importance of context in an audiences' consumption of culture.

FRAGMENTATION FRANKFURT SCHOOL The Jewish academics who fled Nazi Germany to subsequently write from within and observe American commercial culture and its related development of mass media, advertising and consumer goods. Their left wing perspective saw the audience as victims of the glamorous ideological messages of powerful state and commercial institutions. Notable writers were Theodor Adorno, Max Horkheimer and Herbert Marcuse. See hypodermic needle. HAMMOCKING A scheduling strategy - place untested, unpopular programmes between more successful ones - does this imply that audiences can be tricked? Is this strategy still valid in a digital, channel-surfing environment? HIERARCHY OF NEEDS Maslow's list of physiologica I and psychological needs that drive the audience, the most basic needs we all wish to gratify but the higher ones, such as self and social esteem, which we may gain from media consumption, will differ between individuals. HYPODERMIC NEEDLE The most popular (probably because students can remember it!) name for the first broad model or theory of the relationship between audience and text. This rather bleak view of the audience as an atomised yet homogenised mass of passive recipients (injected by the drug of political propaganda or attractive capitalist/consumer ideology) is understandable if we consider the time and events when the model was first proposed. Having witnessed the rise of Fascism in Europe in the 1930s mass society theorists then saw the rise of television, cinema and advertising in America. (see Frankfurt School) IDENTIFICATION INDEPENDENT As opposed to mainstream. Used in Media Studies to describe those organisations which according to O'Sullivan, target a minority audience, have a commitment to experimentation and a 'collectivist form of production' (an exception is 'Independent Television' - an anachronistic description due to its conception as an alternative to the SBe) INTERPELLATION See Mode of Address - the way the preferred reading of a text 'positions' us - a slightly more negative connotation is attached to this term (see mode of address) INTERTEXTUALITY The characteristic of borrowing images, conventions, codes, characters from different texts/genres By doing this whole sets of connotations or myths can also be borrowed and direct at/addressed by a specifically addressed audience MAINSTREAM Institutions which generate products for large/mass audiences. Texts therefore have to be safe, formulaic, inoffensive (see independent) MASS MANIPULATION MODEL MEDIA IMPERIALISM Despite much evidence to suggest that world cultures read Western media in numerous ways, and, although often facing economic difficulties in the global market, produce their own media products and programmes, an established concern is the vulnerability of Less

Economically Developed Countries in terms of cultural erosion & homogeneity in the face of mainly American product. Effects theory on a global scale? MEDIATION A word best used to describe the effect that transmission/communication or 're'presentation has upon reality. Mediation is the process 'in the middle' between reality and receiver. So, no media text (not even the news) can really present reality, everything is changed, everything is mediated. MODE OF ADDRESS The tone of voice used by a media text when addressing its audience - usually via the voiceover but can also be used to describe the way a printed text 'speaks' to its audience - does it address the audience as if its producers assume that they already agree with what's being said? "Here's the science bit, pay attention!" (Its OK you don't have to really - you're like me - you just want to look good ..... ) Does the text ask us to feel involved, or to be happy, or serious and so on. Interpellation is like mode of address but is less to do with the way a text addresses you and more to do with how it tries to position you ideologicallypolitically. MORAL PANICS A Stanley Cohen term - an hysterical, stylised ongoing treatment of a series of news events. Once an event is labelled as part of this 'worrying phenomenon' similar events are more likely to be noticed by news reporters and reported yet again - hence things snowball and appear far more significant than they really are. The tabloids are the main perpetrators of this but certain moral panics spill-out into other media. As the phrase suggests, these issues relate, however loosely, to morality within society eg terrorism, gun culture, politicians sleaze, paedophiles and so on. MYTH A Roland Barthes term - an idea or a story that's not true but one which, nevertheless, members of a culture are thought to believe in or at least accept as a long running joke, easy stereotype or quick shorthand to convey an idea: so there are implications here in terms of the audience debate. Sometimes more appropriate to use myth in place of stereotype. For example, it is a myth that Scotland is mystical and traditional, it is a myth to say that Marlboro cigarettes are more rugged than others NARROWCASTING NATIONAL READERSHIP SURVEY The NRS is carried out by the Joint Industry Committee for Newspaper Advertising Research (JICNAR). A large scale survey of ownership of goods, media consumption and demographics annually surveying just under 40,000 random people. NEW TECHNOLOGIES New media technologies are often cited as providing more choice or more control for the audience (and less for institutions) over what they consume. Other positions, such as the role such technologies play in either spreading or reducing availability of information (internet surfing) or the effect they may have upon the nations health (channel surfing couch potatoes) or the question as to whether new technologies offer more choice in terms of content or more of the same commercial content (see dumbing down) illustrate how technology is part of the audience debate. NICHE AUDIENCE A carefully targeted, minority audience usually with specific tastes (sometimes such audiences can be very attractive to advertisers provided they can be reached without too much wastage) PLEASURE

POINT OF VIEW POLYSEMIC If a text can be said to be open to several interpretations or readings (if it means more than one thing or is ambiguous) then it is polysemic. Generally this is prevented by anchoring the connotation with a key image or caption so as to 'close' the reading POPULAR CULTURE POSITIONING Visual media invite us to occupy a physical space within the narrative or in relation to the frame, but ideologically, we are also invited to occupy what Masterman called a 'social space'. . PREFERRED READING A Stuart Hall term - this is what the institution wants you to see/understand within a media text. As we all know, we can sometimes offer a radical or oppositional reading (a David Morley term) by rejecting the message (see aberrant decoding) PRESSURE GROUPS Refers to institutions such as the National Viewers and Listeners Association who, through use of strong personalities or skillful PR manage to get access to the agenda for their viewpoints often due to the sensationalist nature of their pronouncements PRIMARY, SECONDARY AND TERTIARY VIEWING The level of activity that we have when in front of the TV set - fully engaged or doing the ironing? PRIMARY & SECONDARY RESEARCH Primary research is original, new research generated by the student through direct contact with and analysis of the text or audience under study. Secondary research is that which the student produces from studying other published research, articles or webpages. PRIMETIME A television scheduling term used to indicate the time most attractive to advertisers since the largest available audience are thought to be watching. Therefore the programmes tend to be conventional, safe and popular. Approximately 7pm until 10.00pm PROPAGANDA Deliberate, political communication designed to influence the mind of the receiver. A term used particularly within war-time, or by the West when describing the media systems of countries/cultures 'we' are not friendly with. A key concern of the Frankfurt School prior to and during WW2. PUBLIC SERVICE BROADCASTING A system of broadcasting which sees members of the audience as citizens rather than consumersi. It is based upon serving the needs/interests of the public rather than the economic needs of the shareholders - the two are not thought to be compatible. The BBC is the oldest public service broadcaster in the world and in many countries PSB barely exists or doesn't exist at all - wholly commercial or state run models are the alternatives QUALITATIVE Focus group research: a small, carefully selected sample of the target audience take part in a relatively unstructured but directed discussion, often using stimulus material. The objective is to discover attitudes beliefs, feelings rather than the large scale number crunching associated with quantitative research.

RATINGS Expressed as a percentage of the available audience who actually viewed a broadcast. The standard measurement of audience size usually converted into millions by factoring in population figures. READERSHIP PROFILES Publishing companies written synopses of the archetypal, targeted reader often contained in media packs and distributed to potential advertisers. They usually represent the reader as affluent and sociable for obvious reasons REACH When programmes 'touch' people for a predetermined time (15mins or half the running time). RECEPTION THEORY A broad label for contemporary, usually ethnographic studies, that achnowledge the power of media messages but also reject the idea that there is a mass audience passively consuming these messages in the same way. Hall and Morley gets much credit for initiating this approach REGULATION A significant amount of the regulation of the British Media concerns the 'protection' of the audience - either through an assessment of 'standards' (implying that we will happily accept the cheapest most frivolous television, for example) or through insisting on balanced representations (no gratuitous violence!) or through preventing sectors of the audience from consuming certain media at certain times of the day. REINFORCEMENT REPRESENTATION If Media Studies concerns itself with the accuracy or fairness of the representation of people, places and ideas and contests, as is often the case, that the self -representation of sub-cultural groups is preferable to a mass, homogenised representation of culture produced by institutions that favour one particular viewpoint, then this must be due to an implicit belief in the importance and power of such representations and the effects these may have upon sectors of the audience. RESISTANCE SCHEDULING SIGNIFIED/SIGNIFICATION The semiotic approach to texts that underpins most Media Studies approaches acknowledges the active part played by the audience. Signification, the process by which signs are coded and decoded, ends with the receiver, the audience, reading meaning - the 'signified' (the concept referred to by the physical signifier according to Saussure) is in mind of the individual audience member. SOCIO-ECONOMIC CATEGORIES The crude, some say outdated categorisation of the adudience based upon a belief that social income and occupation dictate media consumption. To some extent this is obviously true but lifestyle and attitude research is seen as just important in audience research. SPECTATOR

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SPIRAL OF SILENCE Noelle-Neumann's 1970s model of the effects of dominant ideology upon the individual who, despite holding oppositional positions will nevertheless be silenced by the social pressure of going with the majority. SUBCULTURE As a contrast to mass society perspectives, this term acknowledges the differences and vibrancy amongst the audience, especially when we consider that many sub-cultures reject dominant culture of subvert media and cultural signs for their own aims (usually symbolic: style icons) SUBJECTIVE VIEWPOINT A useful distinction can be made, between the way mainstream fictional texts, for example, usually ask us to take an objective, omniscient point of view within the narrative - when subjective, character viewpoints are offered this is clearly signalled by technical codes such as the extreme close up denoting facial features, or the cut to a point of view shot, or the zoom into an eyeball. TIME-SHImNG The use of new receiver technology (the VHS, cable based video on demand and now PVR) to set viewing times. TWO STEP FLOW An early theory, developed by Lazarsfeld, Berelson and Gaudet following the study of American political campaigns and voting intentions in the 1940s. This moved away from the belief in a passive audience and begun to emphasise social reiationships - essentially the theory stated that audiences were more likely to use broadcasts as reinforcement for the beliefs they accepted from opinion leading individuals/peers. USE AND GRATIFICATIONS Emerging from the 1950s onwards but often linked to a famous Halloran statement from 1970 ('Get away from the habit of thinking in terms of what media do to people and substitute for it the idea of what people do with the media'.) this model almost represents a complete turn around from the passive audience seen within the Hypodermic Needle Model. Here the audience are seen as having control, requiring choice, having needs that required satisfying. Commercial companies buy into the rhetoric of the powerful consumer and a 'Iassez faire' market model for obvious reasons. Numerous lists of the social needs that we possess and gratify through our exposure to different media have been published - four categories were suggested by McQuail et al in the 1970s: diversion; personal personal relationships; identity; surveillance. UTOPIAN PLEASURES A possible way into exploring the pleasures we get from decoding certain genres especially those which are escapist/entertainment in focus, is to examine Dyer's categories of fantasy VIOLENCE A common feature of representation that is extremely problematic when a definition is attempted or when a judgement about its appropriateness is made VERISIMILITUDE An assessment of the technical and symbolic codes employed to create plausible worlds in fictional (usually film) texts. This is about making judgements and discussing suspension of disbelief - so it has a place in the teaching of audience

How To Teach Audience - Useful websites

www.adassoc.org.uk

ABC www.abc.org.uk

www.raiar.co.uk

www.rts.org.uk

www.barb.co.uk

www.nrs.co.uk

MediaLab

www.cia.co.uk/medialab/

1"1-

www.mediachannel.org

www.guardian.co.uk

www.filmcou nci I.org. uk

www.bbc.co.uk www.bbc.co.uk/info/report2002

www.pearlanddean.com

www.MediaEd.org.uk

~C~ielse

www.acnielsen.co.uk

www.adbusters.org

http://www.imdb.com

How To Teach Audience - resource A

Cosmopolilan. SOURCE: Adllerti...ing Age:Novcmbcr 7, 1987.

How To Teach Audience - resource B

~ DOYOU CAUA WOMAN-. -WHo's MADE IT10THE IOP?-

A1s. SOURCE: Adi'erli,illg Ag.?, March 7, 1988, p. 5-7.

How To Teach Audience - resource C

THE READER

The 19 reader is a young woman with the world at her feet She wants the best that life can give and 19 is here to help her get it. She reads 19 because it is the only magazine that really understands her. 19 knows that she is smart and wants intelligently-written features on important topical issues from relationships to politics and the environment. She wants fun, gossip and information on the latest film, music and video releases. Because she's -funky and stylish, looking good is crucial to the 19 girl, which is why fashion and beauty form oyer half of 19's eqitorial content. Creatively styled fashion stories combine designer labels with quality qlassics and High Street suss. -The reader loves 19's beauty pages because they are indulgent but practical, because they inform and inspire. Studying, choosing a career or taking time out to travel are major options for the 19 girl and our regular eight-page FUTURES section is there to help her decide on the right path to take.

19 is unique. It is the only magazine that provides her with exactly what she wants. Every month. APRIL JOYCE EDITOR

How To Teach Audience - resource 0

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What? Another women's magazine? Well, ;~ ~ yes, fair point. There are plenty out there -already. Only... it's just that not all of us want to read 70 Ways To Act Dumb Around A Smart Guy or How To Dress A Stone Lighter, much less give a monkey's about pushing back the cuticles on our nails with orange sticks (what are orange sticks, anyway?). Some of us, you see, have different aspirations - some of us have what is generally known as, oh I don't know, let's call it A Life. And life is what minx is all about - living it, enjoying it, grabbing it by the throat, lusting after it. If you're more interested in pleasing himthan pleasing yourself, well. you know where to look. If you're still alive, however, come and TONI RODGERS Editor play... It'll be cool. Trust us.

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Fashion . of LQneIy ed Steph '. .'Planetguldes ~ Stevens has ~ ~ checked out been kicking. ~~ :~.j Chiang Mal in it Euro96 . .Thailand for. st)'te this .. 1II1s month's. month with· Issue (page·132). When she's . her glam Faritasy Fooball .. nottraveiling.Jennifer has 'shoot' (page 96). "Frankly, a part·time~job as a ear I'mjustrelieved that Arsenal's mechanic. "'like It so much, finally got a manager," says I do it for free.·- We always the girl who named her cat knew she had a screw 1oo5e. . Ian (above) after Mr Wright.

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.: .been up to her hairfollicles In rich, blonde . . posh girls (page 10). -niey annoy me, but I still want to grab some peroxide and stan shopping at Guca." Given Polly's propensity forfoullanguage, we doubt she'll ever qualify.

OCTO£HR i996

minx

How To Teach Audience - resource 02

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How four men quit their jobs and otrich

Sex tips we tried on ourown girlfriends Befitter at30than 20 'Shesan oldtrolloo t

Vinnie Jones: Agony unde

Rollerball! James Caan on the ultimate cinema bloodsport

When lirlfriends attack! Don't lether jealousy ruin your life ~PEI;IAL ~EP

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DVD explained, Robert Harris, James Coburn on Bruce lee, become arich landlord

How To Teach Audience - resource F

elcome to LATER, the new magaz ine for men. It's intended to offer somethinggenuinelyfresh and entertainingforthe kind of man who feels he may be outgrowing the existing glossies. It focuses on issues which really mean something to those of us who haven't been teenagers for some time.Things like careers, success, money and women. We know that, for most of us the decade starting in our midtwenties will be the most prosperous and exciting of our lives. LATER is intended to be acelebration of that time. We feel that once you start swapping kebabs and dead-end jobs for a decent career and some of life's finer pleasures, that's when thefun really starts. If it looks like you might be a LATER man then it's worth knowing that this prem ier edition includes aonce-only tria l subscription offer of ÂŁ9 forthefLrst six editions. Details can be found on page 155. We've really enjoyed making LATER and we're very keen to find out if it's ringing any bells. Feelfree to write in with praise, complaints or simply acopy of this page with offensive doodles drawn on my picture in Biro.

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I'M WASTED.

I've drunk too much alcohol

o My skills aren't being fully utilized in my current job position

A NEW MONTHLY MAGAZINE FOR MEN.

our 28 APRIL.路 SPECIAL PRICE

拢1.50

How To Teach Audience - resource I

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How To Teach Audience - resource J

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,Lshaml'd to see our partners reading, claims its cditOl; Phil Hilton, fonnerly at Men's HeallJl. He is dedaring war on tit.s 'n' bum journalism, he says. 'There:, a real gap in thcmarket . bC<'anse of FHM llnd Loaded. 'I11eir enormous sur.r:ess has sent everyone else down the same route: Hilton says. Which Icaves little to reflect the aspirations and intercsts of I.1ter Mall, So outgoes ragcr, fourlettel' words, B-list celeb dlicks in skimpy underwear; in comes money, SUCCt'ss, nostalgia, keeping fit ... and relationships, replacing one-night stands, L1ter Man, you St'c, "wanls something he can slap

on the coffee table and heund hL~ p,lI'lner can take an interest in; Hilton snys. "As ynu getoJder, 111Jmen no longerseem to come from another planct. We're nOlsettingout to treat thcm likc so much meat: Later sounds likc the stuffof dreams ... and that's jnst what it is, '111e fin.t clue comes from thc cover, Ilith its obligatory topless babe; the second from the perplexing mix in issue one, 'Iroe, thcre are pithy items on gangsters, ravc culture and Robert Hanis, and a lively mi_~ of news and reV:eWi. But then therc's aillice onl.\lw to spot ajealous girlfriend - "Docs she seem 10 he

phoning l'OU at work rather a lot? I-l,l~ shc hired a hitm'lil to rnt ofr your penis?' - and, sandwiched hetll'ccnlhe cun)' taste test and l~ulogy to Diamond Whitc, tips from the SAS on how to appease ynnr girlfriend when your mates drop round unexpcctedly. 'Sex tips wc tried on 0~1I' own partners· iuclude sex in public, DIY blue movies and, lllost l:Onlrovcrsial ofall, lelling her take control. Then 111ere is the series in which "real women talk sex" _ readers' wives with clothes on (illSt). All of which sounds familiar. One can't help wondering if Later Man amount.~ to much more than Loadl'd

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avcyousccn this man? Al';cO 25-40, he's wcll-oO; has a mortgage, long-term girlfriend, agrowing intere.\t in the fincr things in life. Let me introduce ." Later Man_ He is Lond<Xl 1~'lCl growo up: someone who still w,lUls a laugh bnt has responsibilities, too, who has acareer, not ajob, who wanls to understand women and who, thanks to the focus groups, from 111is wee.k gets his very own magazine, Later is brought to us by IPe, who also fathered Loaded. Billed as a new glossy aimed at men who 11,WC grown wr~)' ofthe leery lager years, it's a magazinc wc won't be

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Lad \Iith greying hair. Clare Chambers, winner ofthis year's P,lI'ker Romantic Novel ofthe Year award, admits to feeling perplexed, "It wouldn't fry my husb,md's onion," she says. ~rhey're a bit unambitious in the assumptions they makc about men'sinteresls, It's all velY materialLstic." And women, she point.~ out, "featnre onl\' in rrlation to sex", Dave Hili,journalist aud author ofThc Futurc ofMen, adds: "Women are still alien-·- not just difJ'erent, but somehow frightening, And everything ahout Later Man seems conformist lind predictable: Later isn't setting out to address

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the erisis in m:lsc'ulinitv - whieh Hill admits would be ham to do and be cntertaining and aspirational. But with its heavy emphasis on nostalgia - pages are dCI'ot:cd to Ilarry Sheen, James Hunt, Porridge.L1ter Man's lot seems even sadder. -rhe emphasis is on being younger," Hill says. "That's the fantMy, And it encourages men to enjoy that and not feci cmbarrlLsscd abollt iL" Which in Illany respecL~ is what Loaded sets out to do. Strip away the veneer ofmatmity, thcn, and what do you get? An Identlkitlads' mag. Maybe we'll havc to wait abit longer. For Even Latcr Man, perhaps.

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How To Teach Audience - resource L

A The xxxxxxx:x reader is not concerned about first relationships, first jobs or first year on campus. S/he deals with adult issues and makes adult purchases. S/he is an emotionally and financially experienced person. The xxxxxxxx reader is not fresh out of college or a mother of three. She is a woman at a very different stage in her life and wants a magazine that will specifically address the complexities she faces with authority, intelligence and humour. Should she marry the man she has been living with for three years? Is now the right time to have a child? Or should she go for promotion instead? Can she do both? xxxxxxxxx is the only magazine that understands her emotional needs - and helps provide the answers.

B xxxxxxx readers have a thirst for knowledge which allows them to learn and become an authority on a variety of issues of interest to them. xxxxxxxx readers are early to adopt new products, so their knowledge and experience make them a credible source of information for their peers. :xxxx:xxxxx readers display all the characteristics of opinion leaders. They are highly sociable and transmit information to friends, neighbours and work-mates on a daily basis.

C The xxxxxxxx reader's main interest is her social life and her main priority is looking good. That means spending her Saturdays shopping in the High Street, making consumer decisions of an affluent young adult, spending her own money on clothes, on new beauty treatments and appliances - and constantly updating her image. Now that she can really afford to be fashion conscious she wants to be first with the latest trends - and she looks to xxxxxxxxx: for inspiration and information.

o Who is the xxxxxxxxx reader? In our mind he can be either the young lawyer, or the guy in the dock that he is representing. He wants the important things in life, like sex, football, drinking, sports, music, clubs, fashion and comedy. What does the xxxxxxxx reader listen to? What does he wear? What does he drink? Easy. Music. Clothes. Alcohol. The xxxxxxx reader isn't one type of man determinable by age, class or background. But he is clearly sussed about whats funny, whats happening and who's who.

How To Teach Audience - resource M

E Readers of xxxxxxx are in an experimental stage of their life. xxxxxx readers are becoming consumers of beauty products for the first time. Because her life is changing so fast, xxxxxxxxx is there to reassure. She is around sixteen years of age, single but looking. She has an average monthly disposable income of ÂŁ84. and a bank account. In her bedroom you will find a computer on with which she completes her studies and certainly a CD player. In fact, she spends ÂŁ12.87 a month on CDs.

F The xxxxxxxx reader is worth talking to. Quite simply, he or she is the trendiest and most sophisticated member of their peer group. With image being all important to the average teenager, it is not suprising that their mates see them as a vital, source of informa,tion. Being a teenage in the Nineties is about economic power without economic responsibility. Advertise to the xx:xxxxx reader now and you will be investing in the future of your brand

G The xxxxxxxxx reader is young, active, enquiring and eager to learn. The boys enjoy football and cycling, watching sports on TV, listening to music, playing computer games, saving the environment and generally getting involved. The girls enjoy many of the same things. They are at the top end of primary school - big fish in a little pond. Their parents can't bear them to go without. The kids will even influence their parents choice on household goodies like cereals, snacks and sweets. Indirectly they are very powerful consumers.

H The xxxxxxxx reader requires a candid, no-bullshit take on the way we live life in the Nineties. She, as a key BritiSh woman, stands alone in the world with her sense of humour, her eclectic sense of style and her intelligent, irreverent approach to life. She is interested in far more than just fashion (although she reads xxxxxxxxx because its fashion pages are the best in the business). She reads xxxxxx because she trusts the words of top political writers, commentators and interpreters. Whether its travel, eating out, forging that career or just caring - the xxxxxxxx reader likes it straight.

How To Teach Audience - resource N

How To Teach Audience - resource 0

How To Teach Audience - resource P

How To Teach Audience - resource Q

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How To Teach Audience - resource S

RATE CARD

Page Colour Page 1St 50% or requested position Pagel5t33% Pagel5t15% DPS DPS Island or requested POsition or 1st 50% DPS15t33% DPSlSl15% IFC Gatefold IFC DPS aBC IBC 112 Page 1/2 PageFM Advertorial Page OPS Inserts loose Bound TIp on subject to negotiation Classified

Spec Sheer (Dimensions are listed Depth xWidth) Full Page Trim Full Page Bleed Full"Page Type DPSTrim DPSBleed DPSType 112 H-oPS Trim 112 HoOPS Bleed 1/2 HoOPS Type 1/2 Page HTrim 1/2 Page HBleed 1/2 Page HType 1/2 Page VTrim 1/2 Page VBleed 1/2 Page VType NB: live matter and type safetyallow 10mm from trim

3.500 4,200 4,550 5,250 6.300 7,500 8,200 9.500 28,000 11.500 6,300 5,250 2,200 2,700 7,800 . 13,500

Schedule 2002 issue

Septemb~r/October

November 2002

on sale date _._----8th Aug 2002

copy deadline 1St/uly 2002 6th Sept 2002

17th Oct 2002 --------------_. . December 2002 11th Oct 2002 14th Nov 2002 -_ - -'-'-'--january2003 8th Nov 2002 ..•

_._----

~~~_13thoe~~102 March 2003

-_.12th Dec 2002

.~-----

23rd Ian 2003

------

April 2003

20th Ian 2003 -----17th Feb 2003

May 2003

17th Mar 2003

lune2OO3

17th Apr 2003

14th Apr 2003

15th May 2003

20th Feb 2003

--.-_.

20th Mar 2003

£45 per 1,000 £65 per 1,000

---

Contacts: £6Oscc Anna Hyde Advertising Director

225 X170mm 231 x176mm 205 x150mm 225x340mm 231 x346mm 205 X320mm 110x340mm 116 X346nim 102 x320mm 110x170mm 116x176mm 102 x150mm 225xBomm 231X86mm 205x65mm

VictorIa Greaves Advertising Manager Aideen Clarke Advertising Anthony White Advertising David Gyseman Production Director Ian Thorley Publisher

All technical specifications available on request. Please call: Helen Crouch on 02D-7687 7041. Or David Gyseman on 020-76877039.

02D-7687 7047 anna-hyde@i!gmogs.com 02D-7687 7045 vietorio.greoves@i!gmogs.com 02D-76877055 oideen.clorke@i!gnmgs.com 020-76877050 anrhony. white@ijgmogs.com 020-76877039 dovid-gysemon@i!gmogs.com 020-7687 7042 ion.thorleY@i!gmogs.com

I IFeel Good 9Oallington St. london. ECJVOBQ Tel: 02D-7687 7000 Fax: 020-768'7 7099

How To Teach Audience - resource T

The secret of success: know your readership Dylan Jones Monday May 19. 2003

Ihe-G.Ya.rd.ian The successful launch of a consumer magazine is predicated on many, many things. However, the most important factor. and one which is frequently overlooked, is making the reader feel as though they are the member of an elite and rather special club. This could be a club with over 500,000 members (like Heat. say), or 23.594 (the UK newsstand sale of The Face). Back in the early 1980s, when Smash Hits was selling nearly a million and half copies every fortnight, its target audience - teenage boys and girls assumed they were part of an exclusive club. Smash Hits' readers didn't know whether the magazine sold two million or 2,000, and they didn't really care. This clubby feel is especially true of men's magazines, or at least magazines that are aimed at men. Every successful music or lifestyle title aimed at men has had some sort of "members only" feel at some point. Look at the NME in the 1970s. Q in the 1980s, or Loaded in the 1990s - all of them felt as though they were being put together by six men in an office, and they all read all the better for it. Two magazines have launched in the past year which aspire to the same locker-room mentality: Word and Jack. Word is published by half a dozen Emap refuseniks, headed editorially by David Hepworth and Mark Ellen, who between them have been responsible for Smash Hit~, Just 17, a, Mojo, Heat, Select and Empire. It's aimed at the thirtysomething chap who spends 拢50 in HMV on a Friday night before catching the train home, who still consumes music and movies with a passion, and wants a magazine full of wellpresented discourse. Unlike Mojo or Uncut it is not set in the past, and has a host of expert writers pontificating on everything from Lucinda Williams and Blur to the Matrix and James Ellroy. When it is good Word reads like a bargain-basement New Yorker and looks like Vanity Fair's younger cousin. I love it: it's a cult title with broad appeal, and has the ability to make the reader feel like a member of an extremely select gang. According to Hepworth, it only needs an ABC of 35,000 to work, and looks set to achieve that with ease. Jack. on the other hand, launched last year to great fanfare, announcing that it was the "next big thing', the magazine tor the post-Loaded generation. Jack's mistake was in teillng everyone that the magazine was indeed like a gang and that all you had to do to become a member was to buy into its less路than路 erudite sense of humour. Launched by James Brown, who was the brains behind Loaded, Jack forgot one of the golden rules of launches: never announce your intention - never tell your readers they are in a club in case they don't feel like joining. Jack compounded this error by telling ad agencies that they were competing against men's magazines at the top end of the market, rather than the likes of Maxim and FHM. whose editorial Jack mimics. Jack, along with all the other titles in Brown's IFG group. has recently been bought by Felix Dennis, who picked the company up for a song (拢5.1 m): the magazine needed to sell over 60,000 a month to break even, but at the moment they are only selling around half ot that. Brown's version of Jack has been a failure, and it remains to be seen if Dennis can sprinkle some fairy dust on it. In a way Word and Jack are very similar magazines. Both are small independents with a DIY ethos, both are run by former mavericks with a good track record, and both display a very male sense of humour. Neither Word nor Jack had a lot of marketing muscle behind them when they launched, neither had a huge launch campaign, and neither has bought much noticeable advertising since. Both are magazines which are meant to build on word of mouth. But so far only one ha~ been successful. The lesson here"is simple: if you want a successful launch (and who would want a failure?), you need to identify your readership with razor-sharp accuracy, and you need to ireat them with respect. You need to treat them as individuals who potentially want to be in the company of other like-minded souls. What you don't do is announce that you are a new club, open for business, and that you are enrolling new members. That way madness lies. Either that, or bankruptcy

How To Teac h Audience - resource U

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The' m3ga?ine. whidl was billed by LPG as "the best new eunlirmed men's mag in ~'e:lrs", was Widely of the title h:ld reached 6()~o of expected 10 !'l::vitali%e the men's its 90,000 millal prim nm, bUt! markel. However. ir appeal's CO Saj~lh~j~ :t.~.~.~~ l(X)Carl~'[('I;jJltk. be 011 COurse to become a niche 'p'he fI.l.!. s,/lcs. lille I(J!' the older men's market, The lirle is Cm (he newS-Stands G'Jthenhan iJ threat to mass ,m:lr- fOr IWO months and wiJl he ( liCl men's mags Such as F/{M Or follOwed up b)' a kCOllel (:c!iti<,>n { loaded. in AUQusr, after t>,'hich (he• title I '~ . 'Ibm Gleeson, managing direc. will become a mOnth I)' Ir(J11l October. ,

He's reinventing the men's magazine (again), JAMES BROWN on his search for a new team and a new perspective

This Jack • IS no lad >

Sitting In that attic office, listening to Arabic radio, talking about TV shows, picking up Loaded for the first time in years to see if it was sUll doing what we used to do - tUld beiug thaukful that /lothing of my era remains. When I stnrted n,'G (l Feel Good magazine publishers), the ad dit"eetor, Alllla Hyde, and I went up to Leeds and walked round the streets knocking on doors, trying to get advel1ising for the official football club magazine. I'd gone from lunching with the likes of Cartier, Gucci and 'l'llg Heuer to chatting WiUI a woman in a shoe

shop. For Anna the change lVas even Illore startling: she'djustleft Emap, where she'd J'CcenUy CQnclnded a cross-title advertising deal with Nike worlh £lm. We looked at each othe.; as we caine away \\~lh one ad - for Morgan Leltings, an estate agent - and 'WOIIdel'ed if it was really wOlthwhile, Three years on I know it was. I like the adverts in ,Tack so much I've listed them next 10 the contents page. They look greatIlilfiger, Prada, Paul Smith, Gllcci. When you look Ullllllgh the mag, I really uelieve it. feels like yuu've got the world in your pocket. We've

included a mixture of must-haves \\~th whateveJ'washed through. We found ourselves at Uri Geller's hOllse on sOllie oUler business, and the amount of pictures on dis·· play of him with the world's most famous 201h-cenhnians caught OIU' eyes. And so Uri ended up talking to us about Michael Jackson, Muhammad Ali, John Lennon and his mUIlI, It's the nearcstJock gels to celebdly, We toolc exception to Naomi Klein's expression "No Logo" and reproduced a spread of our favour-te togos. Ii's a ',veird rnnge of content. Our reviews include bread and wine,

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teeth. Our \\~Idlife expert is Dr Karl Shukel; who CQntributes to I'lntean Times but who also recently won a quarter of n million pounds on Who ""ltlt~ to be'a MiUiOtUli,'e? You need Jllck to propel you on; Hunting for a squad: I found Samh Hay-at a dub; met Richard Bacon at a racetrack; and .ron Honson and I have kilown each oUler since we were juniors on Sounds back in the Eighties. Because he travels all ovet' the world - an International mali of mystel)' .- our (ashioll directoJ; \Villiam Gilchdst, shot the work as he went along, Theil he told us he intended to run aU the different stories spliced up, William Burroughsstyle, so no two consecutive

...

spreads are t.he same. We thought week the presslU'e just built and he was mad, but it looks great. built and the office grew celily Weil'dly, throughout productioll . silent, apart from the sound of lIlonth, William's heard went grey. brains cracking and eyos dl1'ing in With a week to go, Paul Hen- front of screens, derson, the senior \il:e-presidentin Jocl' is the magazine to read berharg(~ of content - a title he stole tween the s.erenget~ the office (1'0111 Homer SlmpsoJl- announced and the terrace. You can read it he was to become a dad Ule dav our anywhere; it fils in your pocket 01' Ulird Wsue is due. We laughed at the your gil'lfliend's handbag - or hel' \iJ1l0udjon sclledule (rom hell that JIlOUUI, one wag commented. I wasn't too Sllre I could still do he w.ill face this autumn, relieved that we've all got our firstboms out it. ( feel like Bobby Robson; I f(Oel into tile world already. Then Simon my age. I know I've recruited the announced he ""'!IS getling mame<l. talent and got Ihe stories, but from It. was as if the closer we got to lhe raising the. money to getling the madness ofgOj,lg live \~iUl Ull! m3g· mags into Ule shops, it's been a long a.zine, the more we searched (or se· process. And you knolV what's the cUl'ity in our jJersonallives, biggest basl.al'll challenge of all. As we went through the (list Tomon'ow I've got to start issne 2.

shot.guns Dnd llclltleys, Mill amI The Streets, The point be t.hat there's Sll much going on there I'll wanled to break out of formula o( hooks page, film pa restauranl page. Mag~lillCs are aboul peopl say this time and again; one ~ son CAN cJullIge 11 magaZine b' alwllYS think it helps to get a I.e, feel than spend all your money some expensive writers you J rcad in newspapers for a fmct of a magazine cover price. I also think it's impOI'tant to and find new writers: people \\ are hungry arid keen to cut th

How To Teach Audience - resource W

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weekly 1'0/1,. [ife, "'hi"" wa' only

Falling ad

4~un~hetl six ltwt'lth~ ngo pln~ 'A-fl1rip

I~evenues

make a cull inevitable, writes Nicl< \

athiason Wl~: MAY allln\'e fill r GralJr}mag, bu Ll.pe (!(fl'S r){~t, l.JLlO;t ~rtJesday th{Jf)..'i.f·ft:~U 1,)11 the

WOltlEm's' uwgAz1rlP )narket"~ s~"'rti{)rdt· l1.r~n. ~ff)fna'r ':~ .1rnlrru1.J. frs (h~a1h llrou$(ht Lf.J ,1n i)n..~ 7(j yt~ars of r"~l~i ~ws. kn\U·iAll.'f jJ<llt('CTl(: ~lll(j ~]rtjclcs:OJl f:-1Hnly 1i'(,,(, for the dh.,<:P.J·IJl.t"go ()ldel' \\'Q'nwu, It wa~ (\ wTJn wOt;>k 111' IVr;'<j. hl{£tdqultrfl:J1t 01") l..o'HJon·~ SOlllh n;:mlt us excelJ1ixr~~ frol..U U1(' c..'(nnrtttny,

Oiaire Hffilth and B,;(IfII1J, YVllr Gorde/l, ari.d J:[OIm;su1id hfe{J$. ITfJc!ical 'PrJTt'1';l' ing's Cumpk/e Guide 10 "J'(/~;rl(Jlu. ..y \\rQ~ r¢~urrH.'d.

to Us parent (Hit),

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If JJ:ldustry .1nsiders $Uj' 1ho cut." ~h()uld have CQlne eC:\l'Hpr. .1PC's ()blWSsiou ,\ylth o"U:1J',k-et dhnl'e andsJzf' bJlndcd It to thl'"

ii,itgeist: ::1rl"0I·tiger~ bl.t~' 1.UtO a qoJoct

number ofwinni.ngpowl'Or bro"uuls lhi,\t they bl?lieve hnv\) a <J'irlJC1 conUt:('ti<Hl \\:ilh readf;>Ts. S':'('f.lndary spt'ucl i~ J:Eserved 1'1.11' U)C reFt. On the face of it. tlw e:losures repre· SEllt il disl11ill period for women's nla!~a· zincs. Lagt 'I-Iay. IPe puiJed lh'" plug ',ll1 Nom. whieh hf~d h,:{'1l Jaunchl'd only the yt'.a!. b~for~. Oth"r titleg c\(Jsed in tho past IS JlloulbF inc1uC'f:l Aura, Frat;k, Dpti<J11_s. and the OTH.-e-lnight.:y WOTTle'II'S

,)].errlJn ag W(;'11 n_.:.;~John Browu'$" I.Jare. 'riIn Hl'(lol,~.lP(~SQut.lltmJlk·$tl1a:jla,(· itlg dJrEJcl('\r. who wa~ n:~sp(\usibJ€' f'or t h(J l'eNmUrllOStll'hlXi by AOI.1'im?Wart",l' S.l.X ctn~tlrf:~. dis,lJlisfOep:; tolh that ll,p. ,)"0(' I,,,· £ U IliJll{)lI.lbld,~J fin,' .,thl,r hw is 'in ~vl:'lL~mkd0(~ltn(\, "nt! Gul lJ("Jol>~. 'The SiUn(: lhinghllJil"'n<Jd In tho ",,,rJ) TW,'. blnnf'11 WtJlV f!ownmarl<t!t Nin..·t'e~.· he ('slllnin{~d, ·.M{lUU7.1n(~S will elo8{'OUl new OJlt;>:; wHI ]...uUlf',h wJ\cn V·if' _._-~--~_.,---_.-.;., co-rut' (Jut o( reCHSo810tL The fWCh)T (;111\· I stant)'v l't-~i1)v(:nls itself. Forty l'\(;'r ('(mlli" titles rl!t.v~ ll~\'u IfllUJchecl in 111(~ paSoI If)

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jt~ctjons un.: fur l,)t:~tt,;"r f hilT1 fo}' rwwslJ:-.c rter~. Zf.mJth. tho )lll~(.bwbn}'cr,'Jst\m~.l.t()l:;

thtu lhi~ year arlvOJ Using- in ('On",lUner titles ..",'ill inert!lt,Se hy 5 p(.'r (f,;int .nfainst it f.) pr·r cent l1('v..':::;papt.'" f1o\l,.'ntllrn, Hut

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whll'.h tilt~Hr clem' ofgJ.o15slos, Consumer tltJef:. have also succPtYled 111 hookl(lg a

ht«llCI' propmtloll orthe otlspend ur fist ill''';'](.( consumer gootls (FMCG) Imlllci.

fr(Jul. compftulps such as lJnHf.>veJ' l'ructl~r

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grmtrJyon UWTOVOJ1Ueo(W\)tnell'fj t1tl~'3, It S(:f~ms lili:l'ty 1hore ,\'UI he other Cli~t.J: :Ml..,~t

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(1S A}al'r(' Clni~ )";eo}:n & !'old. Adv('rl1<ipn; llnd !'t~:Hlels to Gon~ hfand~.,· gRid C:P\)~jn£' Slltll»lln, ?~'UIUI's !l"Hdofr1l1o>s..'· A Ilnml~~H' (,t t\th'.s lWYf:' (:ut p-rit'\,;:. tv cotnpt3{(J H Bauer'l) RiJu!"is battl1n,; rn IH1U in tlu'l'puoers dt'~llitt' widesjH"ad

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nhvl flp,ht.iTlt.i it r'('AI'(fu;'\l'it m-ti(:,-p.

oltht)t,l.Ub doS:UYt~ :i::: s(!en Hi:: lb('. la~t. rt·:;()I't. bC'{'luse it would ]l',w\'{' the Bue \V!(lliusl. SPOChllisf: lut\l?;:\?Jnes. Natlonn) M~.\g!1?.irHf~ dl"'cision lO CUt ("!.t"n.!XUllj',o:, ('o\er priG£' has bi:ell ,t high},191, ~ll ra[(~-,r\', Ncg(li.la:HrlHS \...· itb \'\lH

ju.:,t under tht:~ 4(!{l,(X)t) mal k. ''''Hh:;I. i'..6 m tuarl,(:.'ting ~r)f.md, UlofJ1tn.lt h:Js aU r:-),~,.. tt'l:1 new T'f~(Hjer~ to w<.'U1nn .!~ nJ:"'I~/l1il\m~, Bunt int<') i~ flvl?oYf~UI' bus"lru:$:; pJ~fJ1 W~l<:' a £.1.5tl Cl)Vi~r j;)rh~p, which 'UHlt·t":I1t.~ It'; COIllpt1titiOl) by on nV(~rRf.~~ 70 p{~r carll, Ii WI1., that prit.~~ tbfl t funny St.'to a I) launchill~! the c('vcr price war. But (;lomollr's pullli..:;hing director. Sim,')n KJppin, $"id: "Themagw;ine, whl~h lwv" rhopppd thoir prico [jn n:,tnUatir:lltl ('1I'(J u.lissingtht:.· point, YOL1'v-e got 1..c,loOK itt

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c. m(l~ Nndl "ash cow,

Mf)anwhi]<., ]),'.'I\\'J1 Bt-hi. nvu1l.\ging of WOlJu:~rl',o;,; lril','llt...t lOr 8m:\}.l man, said that two oft",,. till~.·· nJyi awl NNV H~011'lan .~ W(.'f(J cUjt.l: l.n~ (JQublf" d1.{!it g:n:)\V'( h. and llt'Xt ~,('l)nwrY'$ t\H(' (Urnct~)r

t1guros should conCirm

rf'l~tl..!l t~lrc\J·h)·

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ers don't w;.mt to bt' aS$;f\cj ..lt rl tl wit h J(lS1JfS, They want to l'f.' wltll tlll' big. ~oxy bHtnds,' sll£>' ~n1d, A.n over(''Tuwdpd n\3J'.ket will "t'l' J)'lun' (~lsualt1e~.

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How To Teach Audience - resource X

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How To Teach Audience - resource Y

How To Teach Audience - resource 20

Leaders

These kids leok the stuff cf teday's gang leader or school captain, and tcmorrow's right stuH. They are independent, concerned, responsible. hard. working. competitive and gregarious. (And probably good-looking too. cammit.) From the ranks 01 these youngsters ar" likely to develop tomorrow's teachers. nurses, politician~. journalists and ,he cener businessmen. Career success is very important as'is earning money and enjcying work. Although they save well, they enjoy spending money. They like shopping for clothes, and are SUfficiently aware of their appearance 10 be heavy users of cosmetics, and the boys to use after-shave, and hair care products. They are not overly influenced by their friends, yet they spend a lot of time in their company and frequently go out to a pub, cinema or to live music.

FoÂˇllowers

In military terms, these are L'le nation's privates. In just about everything they think and do, they perform to the norm. They want to be like their friends. Wanting more responsibility and standing out from the crowd is definitely someone else's duty. Friends are their great comfort. Having friends round, viSiting their homes, or just hanging out are central to an uncluttered life. When friends visit, the TV Is always on in one room, and Radio One delivers seamless chart music in the others. Followers are over 60% girts and they become more populous the further north one goes. Alter Funseekers, Followers are the most voracious consumers of media. They read the Mirror, Mail and Express but not the Sun so much, reflecting their northernness. They prefer magazines to books. wi:h the boys reading Computer and Video Games, and Smash Hits, which the girts also read, along with Just Seventeen, TV Hils, Bella. and More! Magazines play an important role in life. Followers love to talk with friends about the things they've read; they swap magazines and read each others'. TV is the other life support system. Soaps are unmissable, with Home & Away just out-pointing Neighbours as queen of the screen. But, really, they'll just watch what's on when they get a chance to sit down. w

Armchair Rebels

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;

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These kids have attitude. They are the youngest of the clusters with an average age of 15 which may well excuse me'r negative, apathetic natures. Perhaps they will soon mature and revise their uncaring, selfish and unthinking at1i1udes. Thankfully, they are also the smallest group, at only 8"10 of under twenties. Armchair Rebels are more likely to try drugs than other kids, and they think sot! drugs ought to be legalised. Crime. they believe, would not increase if sentences were lighter. Keeping fit or eating sensibly is anathema. They eat more snacks, sweets and consume more fizzy drinks than other kids. They believe less than anyone else that smoking harms others or thaI drinking can be just as bad for people. Sex with someone you haven'! known long is OK, and a full 30% of Rebels do not think AIDS is something they should worry about. Nor do they worry about anything else really.

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How To Teach Audience - resource 2E

In Africa, a leading phamlacelitical

company experimented on more than 200 children caught up in a meningitis outbreakwithout their parents' consent. The cornpany says it got a verbal agreement; the parents ofat leasthalfdle children say they were1!-'t asked - and that they certainly didn't give consent. In Toronto, ~ leading academic researcher into blood diseases was victimised v;~en the negative results she c.uue up with weren ~ the ones a drug company wanted to see. And in Honduras, an Aids activist has to.smuggle cheap generic drngs into theC(luuo:y because ofthe prohibitiVe prices charged for course costs $55,000. The company live-saving medicine. marketing it, though, made $SOOm Thesestories are recollllted in . from commercial sales of it last year. tonight's brave and campaigning To support the case for high investigation ofBig Pllanna, as the pri.ces, the·companies trot out the most profitable indnsoy in dle hoary old adage thatdrngs costs world is l"llown. It looks at how far hundt'eds ofmillions to develop compllnies will go to get their drugs and that theyonly·have~.20-year approvedand'to keep prjces high. windowto e~p!oit patent medicine. 'I11ere's nothing much in the Critics argue that research is often general sweep of this programme govenunellt-fiulded and thar many that we· don't already know; where ofthe drugs are only slight variations its power lies, though, is in the ofexistingmedicines. '·-accum.ulative effect ofthe deClil. BigPhanna aettU1l1f~~as only . .'. ~ sOmli)tthat.1detlil i;'pe~.-··'-=:;-~ 1 peJ'c€ent 0 tumo tel" en . ;:'-"'--'.. . ."''-''''-' Take Yung (pictured), for example. more than double that is spent on He risked his life to cake part in administration and marketing. And experimental trials in Korea for a 81 per cent more people work in new leuJremia drug; now, he can't marketing. 11an in R&D. The figures afford to buy the drug he helped alone tell you what Bjg Phanna is bring to market because a years really all about.• StlJo:rtPrice

How To Teach Audience - resource 2F

TV: Friday

Inspector force Mark Thomas on weapons manufacture. s we slide closerto war, 'Mark Thomas Weapons Inspector' is a timely expose of the intemational double-standards Bush and Blair are currently schooling us to accept as the norm. As the title hints, Thomas focuses on access to information about weapons manufacture, deploying his familiar comedian-eumagitator tactics to attempt UN-style ins:>ections at bases in Britain and the United States. This isn't a new thing, apparently. 'There's a history of citizens' weapons inspections which grew out of the antinuclear movement.' he tells me. 'It's a

growingthing, this yippie idea of theatre and protest. And there's always these games that go on between activists and institutions where the activists are constantly challenging legalities and the small print.' Thomas too invokes Intemational Court of Justice law on nuclear weapons (they're illegal) and draws attention to the Nuclear NonProliferation Treaty's clauses on reduction and elimination of nuclear weapons. 'But how do you apply intemationallaw in domestic situations?' he wonders. 'The failure of Intemational treaties to be applied

is ultimately ajudicial failure: It's when Thomas and his team get to the US that things become really frightening. It transpires America has completely rebooted the biological arms race in the last 12 months, firstly by pUlling the rug from underthe main treaty monitoring it. then by massively upping production of its own biological weapons. 'They've developed illegal delivei)' systems and abomblet for anthrax,' Thomas believes. 'These are easilylhe most lethal kind of weapons because you can start epidemics with them: Thomas is regularly accused of preaching to the converted but tonight's early slot could alterthat. 'The MarkThomas Product' had been moved so late that 'it had virtually slipped into a parallel time lone. You needed a Tardis to view it. ' Whatever you think ofThomas (and he has plenty ofdetractors), you have to admire his tenacity..,just want to annoy some people, especially the militai)'estabfishment.路 He dropped the term 'Comedy' from his last series and the prankish elements in tonight's programme feel a bit forced. Does he still see himself as a comedian? 'I don't know,' he muses. 'I don'tthink Channel 4 know either. I don'tthink theyknowwhatto do with me. Maybe I'vetumed into some weird Alan Titchmarsh of activism- 路Squatters' Makeover" or something. God, puta gun in my mouth ifthat happens.' Kieron Corless 'MarkThomas... Weapons Inspector', 7.30pm, C4.

How To Teach Audience - resource 2G

Three at last! With a simulcast preview this Sunday on BBC2, the Beeb is launching BBC3, its long-delayed digital channel aimp.d at 25- to 34-year-olds.Yet more GI-eaded "yoaf' TV? Not at all-- in aschedule full of original, home-grown pmgrammes. amuch wider age-range of audience could be in for atl-eat

h~' ie~.~~hann.e14's Big Jae holffi t heen ~asy

But \~itn 50 per cent of thE: ch3nneJ'~ Lonteni reqUIred by the Co\~rn(JJel1llo for }oimn.l' V.ugh.n. !-lis 1(101 benngin:tl progr.tmming, \:aughan's silcom·\.\'ritine debul 'Orribr~ in which contract y,.ith the BBCmems he'll b~ bellJ~s!arred,gol ~1 critiC31 mauling. 3nd prG\"Jding new ideas for~ho'W'S for e\'cn no').' the t;II~lojds nrc still THlblishing BBC <"hanneh:. TI1C5t" will not induc.lc siorii.os sugg~ljllg he gave '" you~ Kelly 'Orrib/v: "1 "'..ould never sh)' away fiuln BTool a hard time on The njgJj~akfuri. \',.,iting'lIlo1hersi!cOfn , bull wOll!dn't be "J think I'm .Jw."geltin;;lhJ: jn it a~lin - p~f'lc like me in my be..:," i:H:C".mse pe.ople (:njoyed me $0 much 111tit hox docsn 'tappe~r to include on The Big Rrea~1ds! that lht,y fcd politit.~" even though \1111ghan is keen, disnppcintcd wilh other")llN..'S. And '" was never asked to hoot Haw 1Got (gllesS a public·school bov with a Nt!Ws jor yO"..:.. which I "'.':'$ Quite: i:td crimina! rccord who supposedly g~t.s arJOut I did w;jnl toco.! ~t;aigllt [.;i million.a yeJr ... well, VO\l're nol political ~hOY.·. bul there \.\"J~ outrage ft.'aHy{'am:ngytlun:cli 1IJ.1Jlyfricnd:,.." in Ih~ tHai! t.l,.. t I should discuss politics, Ht: ~;Iso fe(:ls he'~ been misreoresented: lor some: reasoll:' "[I dVC$n't('()L!1{; out th'lt fl)rth~ BBC, So with plellt,T' more of Vilugh:m t(t I gel poid half wh'll ~;,t for th. The Rig COme. docs lit: feel nBC, is hili n.llllraJ Breakf'l:;t." And tht KclJ;: Brook ~,!(),.it's? hOlne? "les niCt for Il)(: becatlse ,I <::lll get "It's iust:J Mirror/Sltll thing, \VhutJ nnd tll(: ·.aiTle$iot ... cro.~ tTtev.-eck.<lnd also"mr in~redibl':! is re:idillgtllall'rn HIe !):Id gll)' b,~'en't got lh~l; BBC 1 prt~sUTC, \",'hct~ no\'~', ill nC\\"Sp~lpe:r.;. tllM didn'~ ~tCtp everything is so ttnder the miCfo~copC,"

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How To Teach Audience - resource 2H

urn

How BBC3 are yout Find out right now ... The BBCs spent months and months in focus groups and research trying to gauge the audience for BBC3, but it took us a mere halfan hour to come up with this instant test of how likely you'll be to tune in. We've already run the quiz online and found that an impressively high 7 per cent of you are bang on target for the new channel. So tick your answers,then turn to page 18 to see how much ofaThreebie you are.

.I , Who ra1:es highest on

your laughometert .A Smith and Jones B French and Saunders C VicandBob

2.You're buying

a DVD player - how would you pay for Itt A On the never-never with a creditcard B Immediately with a debit card C What's a DVDI :I. Which group provides the

soundtrack to your lifet AU2 B The Rolling Stones C Coldplay

4. The Office is... A the most original comedy of the last decade B amusing at times, but derivative C 'unfunny-ldon'tgetthejoke

S. Buying a car Is... A something I have done often B something Iplan to do C Âˇvery much like making love to a beautiful woman

6.Your favourite British film of recent years is: A Mrs Brown B East Is East C Billy Elliot

7. Your kind of chat show host is: A Michael Parkinson B Jonathan Ross C Graham Norton 8.How do you take your coffeet A Cappuccino B Tall skinny latte C Milky with two. sugars

9. Which couple would you like to have round for dinnert A Madonna and G4Y Ritchie ...~~. B Paul McCartney and Heather Mills â&#x20AC;˘ "'( ,,' C Posh and Becks

I O.And whose recipe would you cook for themt A Nigella Lawson B Delia Smith C Jamie Oliver

How To Teach Audience - resource 21

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part of the vieW-ing' menu ~:nd diet They are not offset by I" .. ·· ....,............ . serious news and political PROGRAMMES such as The affairS programmes designed' Weakest Link are damaging to attract.teenagers." ':, pUpils and threateniilg the 'lIe.. Wbrrie.~ that lbe B:S~; slabili!:v of society. according which;· 'maKeS 771c Weakes'!. /'. to the headmaster of a leading Link'pieserited'~y Anne RabbiCatholic school:' .lori, and rrYA~nidl .shows . Giles Mrrcet. Headmastet Who. Wanls totbc' a,lMlllllmof Prior l'Mk 'College in ~at~ iJite?,presenhidi'bJl~. Q3ris and chairman'Of the Catholic Tarrant. risk5pawhing'~gcner(ndept'ndell! S!=hoo'ls COllfer· ation' of dis'en(nwchj$ed em:e, helieves t1uit teacners are School-leaven;. .' , &:':1'" being fo!'ced to WOlk overtime 'Our . schools will. have 10 ~them andlo ai:foid Ih~ tenlJllaIII ulldll the darpage done to work increasingly hard to, ~tion to fall. j~to pa.~sivjl:Y. .rir pupils by "mindless" tele.viSioll, cotnperlsate for'this vacuUm in' :1Cyll.iclSm ab<%t JX)Jitics n ~"'r "In the media·driven world, helping our yOUlig peopJe..to·. Dr Mercth believeIj .'Ujilt of; • ~pl1lar entertainmenl, maRe >. well-iiJfomled judg-~ ~ broa~lcastcrll sbouici ~iJ1!",ge r:,llllipm fr.r:tual k.1l()~je<4;C, men,ts <,thoUI the ~vorld around' ',11~e. ,~nterCSf oj, 1'CI!lJ.ng~rs \'by r:ltT.enhan deepeqmderstand" , :'.' '.' " " , .~ lng,.,ls at II premiun~literally tn.· TiS' so III ~Il(/Ie'l,~ ~rame 5hqws such , . JL{L . ,.f ~ ,15 'rhe Weakest Link! and Who .•. .:. f,.·: ," . ' ", W(/IiL~ ib lie.1I Millio(lyire7; I~e~".\ \.• ; " " .... is .t,o say at U1e con~~.ence. in THt};'9JleJ.1 U!,ive~.'il~. is hI ( .,Boum~moutli today. t';', ma,ke"peak;~fl1e pro~mmesj ..As well M these t via-ab- for BUCOlie as t.pe l"Orpora-' se$sed. programmes. vat't!\)llS don. t.ak~,:,urgellt actiOTJ to list Ulmiia rages: tOll Ilf!s,)icll ·increase.' its: arts cO\1eh\ge lists, poor fists, Wh~"S' in, '(A"dll,nLSben·.1n Writes). ", \V)lal's out, even a listo( s()~" "J'h~.tilih~iIY will pl'(;dlile caHed Gre.ate$t Britons. none tbe type o(~ti("atlolllilyet acof whom t-an meaningfLilIY,be' ce.ssibl~". Pf 9gf.;i.tplU:t -S:, ,'I'liich" compared to allY 9f Ule olliers. critics s'W"ha,ve. ~I&l\ppeared ' "Togcthci' with sO;lps~alld from pFfrlli~tirite BW:·. l~ . olbe.r undemanding cntertain- . The"l'lrstl.bppn 1lIIllVCI:Slly, ment. they.ctmstitule a IMge prograritnl~ 'made for BB~ Educatio Cortespondent~·

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How To Teach Audience - resource 2J

'rHE mDEPf<~DENT

Tuesdll,1' 7,January 2003*

EDITORIAL &- 01

Stop shooting from/the hi he public debate following the shooting of four teenage girls in Birmingham last Friday has followed-a trilliblingly predictable patterp. The Goveounent says it was planning to crack down on guns all along, announces some draconian-sounding measures that will· mean more people being bangeil up for longer and' then cheapens the argument further by " some tabloid point-Scoring. ~ The offender this time is the Cultureminlster Kim Howells, who dismissed the whole arlform of hip·hop as "these hateful lyrics that these boasting macho idiot rappers come out with". He described the most popular musical genre with young British men as "abig cultural problem. Lyrics don't ldlJ penple but they . don't half enhance the fare we get from videos and films. It has Created a culture where killing is almost a fashion accessory.'. ' . It:js tempting to dismiss these comments as the ramblings of a poorly-briefed junior minister, but Howells isbccoming a' serial offender. Last;)'eal;he erupted into an iIl·informed rant about contempo. rary art on the evidence of one 'fumer Prize exhibition and a long-ago course in watercolours.HoweUisrn, indeed. can now be identified as a whole approach to life: afacile populist attitude to the new, repre-

senting itself as "common sense" and dismissing anything it doesn't understand as "rubbish", "idiotic", or "crap". This is especially' unhelpful ",11en it comes to hip-hop (a us youth culture movement in· creasingly popular in Britain, associated with black subcultures) for so many reasons that it is hard to know where to begin. There are, of coursP, very ugly aspects to hip-hop, and it is cheap - as well as wrong ..: to diSmiss these concerns as racist, as some did yesterday. (Howells is a fool, yes; a racist, no). The claims by many hip-hop artists that they are merely reporting the realities oflile in the US's black ghettos is disingenuous at best. Many of these artists are describing a realil:y that they have very little experience of - for example tlie Detroit born rapper "BOss", aka Lichelle Laws, grew up in a middle-<:Iass Detroit neighbowhood where she attended ballet and piano lessons and went to private schools. It is, of course, possible that at ballet classes in the classier suburbs of Detroit,.the dying swan is in fact HIV positive and the Sugar Plum Fairy from The Nutcmcker massacres the badass dudes from Swan Lake, but it seems unlikely. Even some of those with authentic experience of ghetto life make the

squalor of.gun crime and drug addiction seem attractive. On top oIthis, there are hideous strains of misogyny and homophobia in some hip-hop music. The terms "bitch" and ''bo'' are still used to characterise black women, with the male artists serving as .their pimps. The depiction of gay people ' is often even worse: the attitude of' a member lilthe rap grolip Public Enemy, speaking in 1990, is typical. "There's not II word in any African language Uiat describes homosexuals; he said.:"There are lIo such words. They [both thewords and !he gay people) don't exist" . Homosexuality ~ portrayed as a WesternperversionthatonJyrarely infects the black ,community, and gay-bashing is openly iIicited. The Jamaican DJ Beenie Man,-fur ex-. ample, biatantlypcomotes the exeeulion and murder of gay men and ~ lesbians. On the traCk "Damn"'he" sings: "I'm {jreaming of a new Jamaicai"eome. to execute' all the gays." In his ret'Cllt hit "Bad Man . Chi Chi Man" he instructs his listeners to c)las,e gay DJs olI stage and kill them~' At this. point, Howelts is probably sounding Ii~e aman to admire. How can I criticise a man who stands up to: lhosebigOls? Wel~ Howells has notbothered to find out that there are substantial move-

JOHANN 'HARf' ,

.. '

The ugli6ipads"of .

hip-hoe .enie}ged when tlie civil rights . . Jnl!vement was seen . h' fi'l I

to ave. (1l:e(

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ments for reform, attacking thel very flaws. within the hip·h( movement itself. Feminist hip-bl is a boom industry:' my favourite asong entitled "Your Revolution" I Sarab Jooe~ that fights bal against the idea ihatblack politic revolution is. somehow intimate

How To Teach Audience - resource 2J2

<<md start listening· cqnn~cte<l tobhwk wClI:nen being easy' lays:' 'The 'opening lyric is: ''Your revoluti6n will nothappen between these'thighs," Anybodywho Wants to know more about feminist hlp-hop and black women fi~hting back-against misogyny (rather than than being the passive victims that critics like Howells assume) would be well advised to read Joan Morgan'simpressive book WMn Chick-

~ 'C~ 'fIome to

Roost...

My ~ife as a HipRop Feminist.

_. Gay hip-bop is iUsb. establishing itself as a sub-genre, ,,1th groups such as G-Minus and DJDC,'who ~yso1;l~pne,tracK~"Wha_t we got,at stake is, when I'm:·chillin. whether or not I'm willinio fake where the break in m§"Tist be."This information has -always.been out ther~ for~body-who wants it. But like thos~~whoWHte off.all Israelis as .supporters of Ariel Sharon's brutalitY. thus alienating good and decent peace activists such as those of'Gush ShalotD, Howells alienates these progresdiVe aSpects of hip-hop by writing the whole shebang off simply as 'idiots". • And our bold and courageous minister of state also didn't bother to inform himself about the social activism that most of the hip-hop movementhas united behind in the last few years. In NewYork, hip-hop stars <including Sean 'P Diddy'-

Combs) and their fans united to protest against plans to cut the city's education budget - a move that would have hit poor black kids hardest - and succeeded. The HipHop Sununit Action Network, convened in 2001, campaigns against -censorship, racist policing ana black educational disadvantage to powerful effect. The American tradition of black civil rights activism is now expressed through this movement. We must not forget that sever.al hip-hop stars have roots in the radical black tradition: Tupac Shakur'smother, for example, was , iinprisoned for her role as a Black Panther activist. . The ugliest parts of hip-hop gang tribalism and gUll culture emerged anYW3Y when the civil , rights movemelltwas seen-to have . failed, arid blac;k political identity disintegrated. These dark undercurrents plopped out, the rancid afterbirth following the still-born . dreamS of Martin ~uther King Jr. It was' the failure of progressive movements to engage black communities and offer them hope which .gave birth to the ugliness Howells laments. Now that it is spreading to Britain, he should ask himselfwhy; is it because of a lack of economic opportunity for young black men, even in a country with such low unemployment? He should not try to

depress or bully awaythe fresh political activ:i:sts who are emerging from hip-hop movement Instead of raging against the w'hole movement, why doesn't Howells suggest that radio stations dedicate more time to progressive hip-hop artists? Why doesn't he suggest that the National Lottery offer developmentgrants to young women and gay men in the black community to expand further the horizons of hip-hop culture?:But then, it is so much easier to tapinto the fear of black people, of young people, the new, And it is so much easier to. rant againsthip-hop than to admit that guns and gangs are the inevitable byproduct ofpUtting our profitable recreational drugsm- . dustry into the hands of crullinals. Legatise drugs and have them. properly sold in chemists and ifflicenses, and there willbe no morley to buy guns. When prohibition of alcohol ended in the US in the 1930s,' most gangs (then associated with; the filthy Irish and Italian imnugrants, of course) went bust, and Chicago s florists could look forward to Valentine's Day again. Next time Kim decides to diss hip-hop to the Thday progranune posse, he might actually make an effort to find aut about the music, or he will deservedly get his ass kicked. ]ohann@johannhari.com

How To Teach Audience - resource 2K

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DAVID DUJNKET'l', the 'Home . NIGEl. MOIUUS Secretary, culled for talk.~ yes··. AND ,JASON BeNNF.n:o terday with record industry chiefs ove.' ,~olent!yrics in rap • his concerns. He said: "J am music. He backed comments by. coocerned.we need to talk to Kim Howells, the Culture min· . record Producery, to distribu· isler, who sParked accusations ". tors, to those wlto are engaged of rncism when he denounced in Ihe mUSic business about "boaslingmacho idiot rappers". what is 'and)sn't acceptable." Mr Blunket! launched an He sing!ed"Qut. the .New YOJ'k attack on rap musicians :for rappC!' Ja1'Z, :whom"he acglamorising gun violence as cused of includIng uappaUiug" police continued ·the hunt for . violence in bis'lyrics. U,e killers oftwo teenage girls' Mr Howells attacked "idiots" who died in crossfire between . such as the London group So feuding BIrmingham gangs. Solid Crew; U,roe o( whose 30 He said he did not believe in ., mem~ bave.peen convicted celk«lrship but the record in· .'or:!ace lri.aI. on gun chargcs: • dustry had 10 be made aware.of . "It is a big Tt'l!ltural problem, .

L.vrics don't kill people but !hey don't hnJJ enhance the fare we gctn:om videos and films;ltha.\ created a culture where killing is almost a fashion aC<..'e.ssory· Simon Hughes, the'l1bernl DemOtTal )lome affairs spokesman, called for a code 0 conduct between broa\:lcasters, rec:onl executiVes and. politi· cians to b."Ul music videos that glamorised guns and "iolence. Mr Blunkett's deputy, ,John, Denham, the Home Oflk'e l\:lil\' , isler of Sl.1le, struck a mOl'e conpli:liory note, He said he was "not entire'ly convinced"' that politicians were 'best placed to comment on pOpUlar

ANALYSIS

Rap was are'actl6n':~ to yiolent sQciety, not a cause 'of it , ANYONETRVINGto trace link. between hip bop music and gun violence will in<!Vitably look at the United Slates. where Slreet kiJJings, drive·by shootillgs, violent rap lyrics and the murders of thlW prominent hip bop stars have provided fodder for headline wdtel'S over the past 15 years. Many of the issues swirling in the aftermath of the New Ycar shoolings. of Latisba ShakespMr" and Charlene Ellis have a1rendy bad an "", haustive airing on U,is side of tlle AUsnuc. Politicians, led by Tipper Gore, the wife of ti,e ior.mcr vice-pl'esidentAl Gore., have campaigned for years 10 clean up rap IjTics and restrict children's access to explicit material wbich, they say, enCOlll'ages Ihe climate of vio· lence. Like 'Kim UO\I<'CIIs, M.s Gore has been nc<.-useO of cverything from raci.sm to reac· tionary cullw'a! censorship, ']'he IlOlicc and FBI have launched countless investiga· lions into possible link.~ between the moguls and DJ s who create the most violent strains ofhip hop music Ilnd the shoolings of some or their closest L.-iends and 8S5OCiatcs. " ,Last week, the feds raided

BY A!\'DREW GUMllF;L

in Los Angeles the MmJhatlan 'offict's of Mur· der Inc, a luridly named l'I\<)O'rd labell'esponsible for such stars as Ashanti and Ja Rule in'" search for evidence possIbly linking the outfitto a nOlOrious New York drug gang 'Wliose leader ·grew up in Ule some nelgllbourhood as"Murdcr Inc's founder, I.'V Gatti. On Christmas Eve. police in Los Ang"le.s rearrested the gangsta rap entrepreneur Suge Knigl.t and threw him into jail on a parole violation afler a year·long investigation into shootings involving employees and associates of Mr Knight's company, Tha Row (formeriy known as Death Row R<.-eordsl, It was Death Row which. in the early Nineties, spawned such acts a5 Snoop Dogg, who was charged and acquitted of a mUI'det; and Tupac Shakw; who was shot and robbed ill the lobb,v of a New York recording studio in 1993 and, three years hJler, shot to death w!tile driv· ing in Mr Knigbt's car in Las Vegas. At the sartle time, Death Row bet-BOle iegendnry for storics'<>fintimidilti.on. beatings

and general thuggi5hness,

PUSUCENEMY . . . _ . . . AttItUde to wOmen a':;d.gunS: Aaoior Flav w"; ""osIed on d1erg J 199'. In 1993, tM.·wns ;;n"r9€il willi' a:\enwted rm.rdcr /or ~"dIy ly~cs: 'From yp) BUl!l-Rusl, :rh"Soow:. 'Cory>e

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til ta"f' ~o" ~o ;th'; back and show'r,oo some of my lecnn~ue$, ap : a$S-~~~tcn <.. -.'. _ '. . , •. >".: ~" sl<lIiesthal full somewhere between reality and the deliberate macho posturing that is part of rap's public appeal.

Tupac's murder w?s

fol~

lowed three mDnths later by the killing of one of bis Easl C""st rh;als, the Notoriuus 3.I.G. Both 'crimes remain llnsolved~ , .....j.

IDld both remain the Obj,lC1 of ' tmdleS8 CODF:pirn<.'Y tbeO!ics1n ~ volving East. Coast-West Coa.sl rh..1.ilriesin the mnsicbusiness, gang showdo"",,s between tb" LA (,lips and Jlloods, possible I police corruption and more. I Last Or1ul~!: Jam 'Mastel" .Jay. D.) "iUlth" s"millal~'ight-

How To Teach Audience - resource 2K2

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in gangsta rap lyrics cultUre and emphasised the . impprtance of supporting com· munities'hit'by gun crime. .Deteet!ves reveal"d yesterday that gangsters were helping ,th"1 inves1.igatioD into the 'murders of Latlsha Shakesporn:,e, 1.T,' and lIer cousin Charle.De Ellis, '18, They were -shot dead outside a pMty at a 'hair salon in Birchfield Road, Astan', Birmingham, iD the early hours of2 January, Latisha had been hit four times and Charlene had been struck by three bullets, fired from a.9mm .sub-machine gun. Cb<lrlene's twin, Sophie, lIDd Chm-yl Shaw, l7. were wound-

ed in the incidenl, Warned on a feud between two rival dnig gangs, the n",ger Bar Boys' and the Johnson Crew. Detective Superintendent Dave Mirfield, who is leading the inquiry,- said 8Om.e gang members had come-forward with Information. He. also reVe3Jed about six people were believed to be responsible for the shootiog and members of the two rival gangs were present at the party. He said: 'Clearly, for any meniberof an associaUon such as this to come forward and give us evidence relatiog to other gangs is a big step,"

Aske<!llbout.theJ:i.urger Bar:' added: ";t'ht1Y Une girls] Were BllysandtheJohnsl!nCrew,he'''.not members of gangs and· said: "These lwo. gangs are were not associated with any two of the most prolific gangs gangs,~ in Birmingham. I believe these Earlier M.m-cia Shal<espenre. two gangs. may have been in- tlle mother ofl.atisbu..md: "My yolved in'this shooting.n's stilJ _ daughter 'was a good girl She unclear as to which gang killed was well educated in private these girls." He added: "Several SdlooL SlIe had ambitions to significant vdtnestrcs have wor.k wlU, 'children, She did come fOrWlll'CI and have cleo not go out very often, only to the scribed in d.etall events that local youth clUb. The only reatook place before, during and son she was allowed out on New after the killings." . Years night was becaUStl the Del: Sup! Mirfield said the party bad been organL~ed by men who killed the girls had friends and family. She was aJso been seen to tire at ICRst nol a member of any gang." seven shots into a white: }'\)rd Leadin& ar1icie, page 12: Orion parked near by, He Johann Har!, pagtl .13

back, ya'know wlJi»J'1'tJ aain', rll stop",- "'''d-l>old in your . , -'.. .~ _. :. Eric:;: !vlCmToe~ .

inner-city culture in lbe Eightjes marked by the explosion of crock cocaine usc, the y,,1despread availabili13' of hand· guns (particularly the so-<:alled Saturday Night Sp<.'Cial) and the growing marginalisation of un~olved. ,young black men exci uded In the Q.nited SLates, gangsLa rap out of a desperate ~(rom the."greed is·good': ethos

jes rap group Run DMC, ·was shIrt dead in New York. HL, kllling, which seemed particu· Iarly shocking since he had nothing to do with glllmorising ';olen<.'C in his work, is also

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of the Reagan era. There may in3lity and the music business, be some analogies to tht' at leaSI at the margins, Much spread of cocaine and Illegal police energy has been spenl firearms in Britain today, . looking fnr evidence of drug laundered Rap as a whole was largely money heing a response 1.0 the grim social through record companies, an endeavour t1w.t has iMJ far n"lltdp. conditions. 110: a spur to VJ<r lonce in itself, Clearly, though, "5 liUle hcad\'\-ny &:; tlJe v-drious tllere were 1inks bet\>.-een crim· murde,~ inve.c;tigat.i~m<s. r,~.

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