Stage 1 Research

8/9/2019 Stage 1 Research

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Bigga / Bang Project

A: Initial research

Stage 1

1. G ather an accurate and up-to-date summary of both company profiles.(1) industry (2) history (3) human, financial, and physical resources (4) organizational and management

structure i.e divisions (5) past, current and anticipated performance, and (6) reputation.

2. W here do they match up / differ? Have they changed since the merger? How are they presented /understood at large? Do they need updating? If so, how?

3. W hat are the different missions, visions and values?...

4. G ather a list of past projects, partners, clients, achievements and competitors.

5. W hat are competitors doing and saying:

a) W ebsite content, links, social media etc.

b) Points of viewc) Marketingd) Salese) New Businessf) Press coverageg) Affiliations / Partnerships

6. Research merger case studies: internal and external benefits and drawbacks.

B : Further research

Stage 1

1. G ain a better understanding of the whole company, by taking part in each division.

2. Talk with employees, draw insight from peoples opinions and insights through a survey.

3. Research events taking place in London that revolve around communities, education etc., for a wellrounded view of positioning and potential.

C : Outcome

1. Brand development workshop.

a) Forming mission statement, vision and values for each division, and whole company. b) Developing a brand story.c) Initial branding strategies i.e. identity, comms, positioning.d) Team building and establishing company culture.e) A company brochure


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Bigga / Bang Project

A: Initial research

Stage 1

1. G ather an accurate and up-to-date summary of both company profiles.(1) industry (2) history (3) human, financial, and physical resources (4) organizational and management

structure i.e divisions (5) past, current and anticipated performance, and (6) reputation.

IndustryC harity: Radio, Media Development, Training

History

y BAN G Edutainment founded in Harlesden by Jennifer Ogole in 1999.y Initial mission was to help and inspire the young people of this community.y It has been a registered charity since 2000.

y BAN G FM is Brents first community radio station, on air since 2001.y Broadcasts on the Internet and FM since awarded license by Ofcom.y Broadcasts to everyone within 5 km radius of Harlesden.y 7 days a week, from 7 am 7 pm, and specialist shows from 7 pm - 2am.y R&B, hip-hop, soul, reggae, gospel, bashment, house, garage, drum & bass, grime.

Human, financial, and physical resources

B ang B oardW ayne Marshall Project Director - Director ( C hair)

Noel Anderson Project Manager - Director C hris Buss Management C onsultant - Director

Staff Team B ANGJennifer Ogole C EOAlex Mastihi Project Director Ivor Etienne Head of RadioEdem G unu Head of MusicAmba Shaw Advertising C onsultantMinal Patel- C onnexions PALynnike Redway- Training C oordinator

Key Partners and FundersRadioLocal businesses for advertising and sponsorshipLB Brent- public services

NHS Brent- large advertising client


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Funded by- C ity Parochial Foundation, The Tudor Trust, The Hardship Fund 2010.

TrainingPaddington Development Trust- LS C Delivery Partner and C ontractor Ealing, Hammersmith and W est London C ollege- LS C C ontractor The Hub, Tower Hamlet- Academy C ontractor South Kilburn Partnership- Training C ontractor Funded by- The Tudor Trust, C onnexions Brent, C hildren in Need, LB Brent Voluntary Sector G rant,

Organizational and management structure

Past, current and anticipated performance

Update on Projects:Training:Ealing, Hammersmith and W est London C ollege (SO1)3 groups of At Risk of NEET young people running with 8 young people on each1 NEET group of 6 young peopleAcademy10 YP taking part in Bigga Academy at Rich Mix, 2 days a week.SKPUp to 12 adults taking part in tutor training scheme- level 3Drop InDrop In sessions running at Bridge Park Training C entre- 3 sessions per week Youth G roup8 active members of BF youth groupRadio:

New Head of Radio- Ivor Etienne New Advertising and Sales C onsultant- Amba Shaw recruitedSchedule over hauled with new shows including: The Young Peoples Show - Youth debate presented byDionne G rant, The C omedy Show - Presented by comedian Travis Jay, The Bangin Sports Show -Presented by Lonyo

Chief Executive Officer Jennifer Ogole

Project Director for Radio

Bryan Anderson

Training Manager Alex Mastihi

PA & TrainingCoordinator

Project Officer R Whyte

Admin & FinanceOfficer

Helen Poole

Tutors, Trainees &Volunteers

Project Officer S Langham

Admin & MarketingOfficer

S.Brown


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Recent Advertising contracts with: NHS Brent C hlamydia C ampaign (4315), with the possibility of further campaigning from April.Sponsorship from The chef C olin Brown Restaurant and G race Kenney Money Service

Reputation

Jennifer Ogole: C EO, Bang Edutainment

Jennifer Ogole came to the UK as a refugee and asylum seeker in 1980. She got involved in a youth group atthe age of 15, became a single mother at 20, and started BAN G Edutainment at the age of 25, from her living room. Jennifer is now the C EO of Bang Edutainment Ltd, a social enterprise based in the LondonBorough of Brent that aims to address youth social exclusion through the provision of training, development& broadcast. BAN G Radio (formerly Life FM) provides opportunities for young people to gain skillsthrough volunteering and work experience; and a platform to express views and showcase talent. BAN G Radio has enabled over 800 volunteers to have a go in media broadcasting since it started in 2002. In

November 2008 BAN G Radio was awarded The Nations & Regions Award (London Branch) for Best LocalRadio Station 2008, and was nominated for the Sony Radio Academy Awards Station of the Year.

Awards

C harities and Associations @ W omen's Social Leadership Awards 2008

London Prize @ Radio Academy Nations and Regions Awards 2008


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Industry

Social Enterprise: Events Management, Training

History

y Bigga Fish founded by Nii Sackey in 1999.y A youth focused, creative, learning and enterprise organisationy Delivered over 48 large scale events and festivals, over 5400 hours of music workshops and worked

with young people in 6 different countries.y Events in 2009 included: C reate Fest (June),The Bigga Birthday Bash (September), The Bigga

Bonfire Bash (November), The Lord Mayors Show (November).y Bigga Fish delivers a consistent programme of music and lifestyle events, averaging 800 14-21 year

olds per event.

Human, financial, and physical resources

B igga Fish Advisory B oardSally StoteLeroy LoganG hizela RoweHikma KohleJames W hiteMarc JaffreyAndy Parfitt

Staff Team B igga Fish Nii Sackey Director Ben Ryan Marketing Manager

Natalie Pryce Events Manager G ary Sovereign Marketing C oordinator Jon Vears Events Assistant

Key Partners and FundersEvents

Arts C ouncil- Main funder C reate Fest- sponsors floatLord Mayors Show

NHS C amden- large contract to deliver event in March


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Update on Projects:Events:Bigga C amden payback due to take place on 2 7 th March. - NHS C amden C ontract102K to deliver large scale silver 2,000 urine samples collected for C hlamydia testing in C amden from young peopleTickets exchanged for testsC arnivalIn application processPlan to take the fish floatBlocoJust made application to Youth Music for funding the Bigga BlocoStreet TeamOver 40 active members of the Street Team taking part in promotionIn 2010 approx 30 events anticipated across London

Reputation

In 2003 Nii was the youngest male recipient (and still is 6 years later!) of the inaugural year of the C loreleadership program. During this time, he spent 4 months consulting to the British C ouncil, working inMorocco, Tunisia, Lebanon and Egypt. In 2008 he was awarded the Paul Hamlyn Breakthrough Award todevelop a new online model to stimulate financial wellbeing for young people.

In 2008 Nii was one of 4 recipients awarded the Paul Hamlyn Breakthrough award, to develop a new modelfor creative and financial independence for young people.

Alongside his capacity as Managing Director of Bigga Fish, Nii has and continues to advise a range of individuals, institutions and bodies on youth culture and education, emerging media and entrepreneurship,these have included BB C Radio 1 and the Royal Palaces.

Director

C reative Producer Learning Manager

Admin

Admin Assistant

Enterprise Manager


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Nii also sits on 3 boards, these being: The Mayors C ulture Advisory G roup, The Music Manifesto PartnersAdvisory G roup, Stories Of The W orld 2012 Advisory G roup.

Most importantly Nii still manages to smile everyday, remembering to Think Bigga is to be Bigga

Awards

Outstanding C ontribution to the C ommunity @ Urban Music Awards 2009

@ Kids C ount Award 2010


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G rant funding is still too high (6 7% ) - limited flexibility for our operations.

Public funds focused B2B model with few customers - business risk is high.

Focus on an at cost pricing model means business delivers no surplus - There is no profit to invest increating change. This means no capacity to realise commercialisation opportunities.

Develop and invest in commercial operations: build on pilot successes

Unlock the value of strategic partnership: merge operations, keep brands

Build on strong relationships with investors: invite them to enable our transformation

Further improve public awareness of our brand

How this solves our problems

An opportunity for sustainability

Unlocking commercial potential while retaining social ethos & charitable activities:Profit-making satisfies need to create financial sustainability

Does not impact on our status or ability to pursue social agenda

C reating another high potential social enterprise

Structural flexibility

Share our success with staff, investors and stakeholders in the future

Risk mitigation

Business can cover its costs independently of available grant finance

G rants used to create value instead of (at least in part) for financing overheads.


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Re-worked strategy and financial model for BAN G and integrated enterprise

Summarised our new strategy in Strategy Roadmap to 2013

Jan 10 April 10 Restructure our operations to turn strategy into reality.

Operational finance setup

HR strategy and operational setup

Project management process and operational setup

Review of IT systems and operational setup

Legal agreements

Reign in overheads and direct costs while driving revenue

Develop new marketing and sales plan

Reputation

1. Understanding of young people and youth market

2. Sound products and services

3. Social ethos


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4. Leading brands in the urban youth and youth training sectors

5. Strong potential for commercial success

6. A committed and talented team

7 . Excellent reputation and track record

8. Buy-in from young people, urban communities, and funders

9. Strategic partnership with Bigga Fish providing access to audience

W e need to change, by growing on our strengths


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3. W hat are the different missions, visions and values?...

B igga Fish

Our mission is to provide opportunities to young people to fulfill their potential through the medium of their creativity and the creative industries.

B ANG Edutainment

Edutainment (to educate and entertain) offers young people a chance to take part in arts, music andmultimedia activities to develop creative and personal skills. W e accredit learning through membership of several accrediting bodies.

BAN G leads the field as an organisation with a long, strong track record of engaging young people whohave often found themselves on the outside of opportunities.

Reflecting this is the large proportion of our young people aged 16 to 25 who fall in to the NEET group (notin education, employment or training).

The organisations expertise is now utilised by others through train the trainer schemes.

B ANG FM

B igga Fish & B ANG FM

Bigga Fish & BAN G are dedicated to enabling young people develop a sense of belonging and a positiveway of live that is rooted in a culture of opportunity.

W e are a socially focused but commercially sustainable integrated media, training and entertainment groupthat foster this culture by:

Providing education, skills and training that is responsive to young peoples reality & desires;

C reating content that speaks to the needs and interests of young people in the city and empowers them;

Delivering content created with and for young people across all channels that are important in their lives.


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5. W hat are competitors doing and saying:

a) W ebsite content, links, social media etc. b) Points of viewc) Marketingd) Salese) New Businessf) Press coverageg) Affiliations / Partnerships

About Us

Multi-Award winning C hoice FM's website is the place for listeners to discover new music, interact withDJs and other young people, find money cant buy offers through various competitions, discover whats onin the city, download podcasts and much more.

C hoice FM is renowned for championing new talent and was responsible for breaking artists like Usher inthe UK. C hoice DJs drive credibility to the new urban music scene and this culture is mirrored online.

Origins

C hoice 96.9 began broadcasting in March 1990 from studios in Trinity G ardens, Brixton as Britains first 24hour black music radio station with a licence, under independent ownership, covering South London.

Expansion and contraction

The group won a second licence (see Buzz FM) in 1995, bringing a local version of their London offering toBirmingham, on 102.2 FM - in place of Buzz FM.

The advent of digital radio in the UK saw C hoice, which already had an active webstream, joining the newMXR consortium and launching a DAB service which anchored London output with news inserts produced


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by the consortium's news service DNN.

The Birmingham licence was sold to C hrysalis Radio in 1999 and became G alaxy Birmingham but C hoiceexpanded within the capital in May 2000 when a largely independent North London licence was awarded for C hoice 10 7 .1, with the intention of reaching a larger Afro- C aribbean audience outside the limited range of the coverage from Brixton. The station was now broadcasting from Borough High Street, Borough, London.

C apital takeover

Having previously been a minority shareholder, C apital Radio G roup took full control of the station inFebruary 2004 and moved the station's base from the TSA to the group's central studios in London'sLeicester Square. The move resulted in a community march from the coverage area and their studios.

By October 12, 2004, C apital had received and implemented a merger of their FM licences, operating aservice across the capital on the two frequencies and cutting back on the North London-specific musicrequirements.

The DAB service, meanwhile, also became a simulacast of the London station, with the demise of localdrop-ins.

Choice today

Following their takeover of C hoice, C apital Radio G roup merged with GW R to form GC ap Media. C hoicewas flagged up as one of the key brands of the new larger network, and the station was made available todigital TV viewers via its addition to Sky Digital (and later to Virgin Media).

GC ap were subsequently taken over by G lobal Radio, who already owned the G alaxy Network of dance/urban music stations. Following this, G lobal have marketed the station to advertisers as part of theG alaxy network for package advertising deals, though on-air the branding of the stations remains largelyseparate, due to C hoice having an all-urban format (Bauer-owned rival Kiss 100 operates a G alaxy-likedance/urban mix in London).

In August 2009, G alaxy moved from the South W ales & Severn MXR regional DAB multiplex to two local-area multiplexes in the area, with Xfm moving in the other direction. G alaxy was also installed in sparespace on the regional multiplex to retain a dance/urban format on the service.

The station has a shoutout on the track Outro on Lupe Fiascos Lupe Fiasco's Food & Liquor album.


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Kiss 100 is a radio station broadcasting to London on 100.0 MHz FM specialising in hip hop, R&B, urbanand dance music. It also broadcasts on digital radio in other parts of the UK on DAB and nationally onFreeview, Sky Digital and TalkTalk TV. It is part of the Kiss Network, along with sister stations Kiss 101(Severn Estuary) and Kiss 105-108 (East Anglia)

History

Kiss FM began in October 1985 as a pirate radio station, which broadcast across South London and

subsequently across the whole city on 94FM. It attracted a huge following before finally acquiring alegitimate licence in 1990 - it was thought to have commanded in the region of 500,000 listeners even as a pirate station. It was first set up by G ordon McNamee (later its Managing Director till Dec 199 7 ) and hisfriends; Tosca, Pyers Easton and G eorge Power.

Kiss was 'owned' by G ordon Mac W ho in 1986 sold share's to 10 of the DJs , including Tim W estwood,Jonathan More, Norman Jay Trevor Nelson and others. G ordon Mac Together with his team of DJ's andgang of Helpers took the station forward through a combination of grim determination and clever marketingand in 1988, the Department of Trade And Industry advertised the first new radio licence in London for many years. Kiss pitched hard but despite colossal public support, the licence was awarded to Jazz FM (nowSmooth Radio). In the weekend that followed, the Kiss team roamed London building up an enormous

petition that was delivered on the Monday morning to then Home Secretary, Douglas Hurd. A short timethereafter, new licences were advertised and this time Kiss, and its loyal army of listeners, were rewarded.

On September 1, 1990 Kiss relaunched as a legal station, its studio and offices located on the HollowayRoad, and was supported financially by EMAP. Its many past influential DJs include Paul 'Trouble'Anderson, Trevor Nelson, Judge Jules, C hris Philips, Dave Pearce, Sarah HB, Steve Jackson, C olin Dale,

Norman Jay, Nick Power, Richie Rich, C oldcut, Tony De Vit, Jazzie B, G illes Peterson, Pete W ardman andDJ Vibes.

1999 rebranding and criticism

W hilst EMAP took full control of Kiss 100 as early as 1992, a rebranding of Kiss 100 and the Kiss brand


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BBC 1Xtra is a digital radio station in the United Kingdom from the BB C specialising in new black music,sometimes referred to as urban music. Launched at 18:00 on16 August 2002, it had been codenamed

Network X during the consulation period and is the sister station to BB C Radio 1. The station is broadcastfrom a dedicated building shared with Radio 1, Yalding House in central London, part of the BB C 'ssprawling Broadcasting House complex of radio studios and offices.

Music policy

Typical music includes largely British and North American hip hop, grime, bassline, garage, dubstep, drumand bass, UK funky, dancehall, soca, reggae, gospel music, bhangra and R&B. It is available on digital radio(DAB), digital satellite television, digital terrestrial television (Freeview), and the Internet. The first ever track played on 1Xtra was a specially created track produced by DJ Skitz and Rodney P and featuringBeverley Knight and Blak Twang. The show was presented by the Rampage DJ collective.

News and speech

As part of its public service broadcasting remit, 1Xtra is required to carry a significant amount of news,information and speech content. 1Xtra has its own news service, 1Xtra News (formerly known as 'TX'),which is operated as a subsidiary of Radio 1's Newsbeat operations. The tone and style of the news

presentation is in keeping with the station's overall target audience - young and predominantly urban.

Initially, in addition to regular hourly bulletins, TX had a flagship weekday two-hour news, features anddiscussion show under the title 'TX Unltd' (pronounced 'Unlimited').[3]. This show - initially broadcast in a5pm- 7 pm slot - rated poorly, however, and was later absorbed into a mixed music-and-speech format(similar to that used by Jeremy Vine on Radio 2) which aired in mid-afternoon (2pm-4pm) and was namedafter its host, female DJ Max.

In 2009, the BB C Trust agreed to a further change to the scheduling of news content on 1Xtra, such that itcould use the same format successfully operated by Radio 1's Newsbeat: two 15-minute news bulletins, onein the middle of the day and another in the early evening, with other speech features, profiles and


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social/cultural specials being broadcast on an ad-hoc basis within music-led shows, and with regular hourlynews bulletins also continuing. The Trust required that 1Xtra's main bulletins not air at the same time asthose on Radio 1. W hen the new bulletins were introduced in late summer 2009, they aired at 12noon and5pm, with Radio 1's bulletins remaining at 12.45pm and 5.45pm.

As of Summer 2009 it was reported that Radio 1 and 1Xtra were carrying shared news bulletins atweekends; weekday news output remains separate.

Audience profile

1Xtra's typical audience is between 15 and 30 years old. [2] The upper age range is deliberately lower thansister station Radio 1 which is closer to 35.

According to the "Submission to the Secretary of State's review of digital channels" in March 2004, Radio1Xtra "provides music output 24 hours a day, punctuated by bespoke BB C news bulletins and other speechoutput designed specifically to be pertinent to the audience."


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Urban Development is the one-stop organisation for London's new urban music talent. C ombining businessacumen with a firm understanding of youth culture, we stand at the crossroads where creativity meets themusic industry. Located in Stratford C ircus - a multi-purpose performing arts venue in the London borough

of Newham - UD has built a reputation for inspiring young people and championing some of brightestnames on the local and national scene. Our work covers three key areas :

PROFESSIONAL DEVELOPMENT

W e support emerging artists, producers, songwriters and industry professionals with individual mentoringand businesses development opportunities. Our UDiscuss seminars also enable young professionals to gainan insight into the music business while building valuable contacts.

Real talent needs back up, and were the best people to provide it. Our programme of mentoring, seminars and youth initiatives shows our commitment to supporting home-grown talentand helping emerging professionals to navigate the highly competitive music industry.

News & Advice Urban Music Bu rs ary Music I n dust ry Semi nar s In dust ry Tak eove r All-D ay e r 2010 Docume n ted L ab el W o rk Ba sed Le arn ing


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EVENTS

W e produce a regular programme of showcases, festivals and live events, including Urban East, ILUVLIVEand Unplugged Sessions. Our aim is to help develop a vibrant UK music scene and ensure that fans of urbanmusic have access to the best and most diverse live entertainment.

We produce a regular programme of showcases, festivals and live events,including ILU V LI V E and Unplugged Session. We aim to help develop a vibrant UK music scene andensure that fans of urban music have access to the best and most diverse live entertainment.

ILUVLIVE Unp lu gg ed Youth Showc a se S p eci a l P r ojects

EDU C ATION

W e provide innovative training courses for vocalists, M C s, DJs and producers. All students, from beginner to advanced level, are given access to professional tuition and industry-standard equipment to compose,

perform, and record quality urban music.

Urban Development is committed to developing innovative courses for young singers, songwriters,producers and musicians. C atering for beginner to advanced level learners, we provide access toprofessional tuition and industry-standard equipment to compose, perform, and record quality urbanmusic.

UDevelo p: Pr oductio n & DJ UProgr ess : Reco rd L ab el P r oject fo r Schools UD Voc a l Collective S p eci a l P r ojects Bu y Ou r W o rk sho p s

THE TEAM

PAMELA M CC ORMI C K | DIRECTOR

Pamela Mc C ormick is the visionary behind the development of an urban institution. Since UK hip hop'shalcyon days, when Pamela helped DJ Pogo launch The Lyrical Lounge, she has drawn on extensiveknowledge of the industry to realise the ambitions of young urban music creatives while building a winning

brand.W

ith almost a decade of history, Urban Development has gone from strength to strength, partneringwith the BB C 's acclaimed Soul Britannia' TV series to deliver sold out shows at The Barbican, educatingyoung people across East London with cutting-edge music initiatives and playing a pivotal role in thedevelopment of a thriving UK urban music industry.

[email protected]

NATASHA BER GG | COMPANY MANAGER EUNI C E OBIANA G HA | PROFESSIONAL DEVELOPMENT & EVENTS FUSION | CORPORATE MARKETING & W EB EDITOR

NATALIE MADDIX | EDUCATION COORDINATOR


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JADE RI C HARDSON | PROFESSIONAL DEVELOPMENT CONSULTANT SHERELLE M C KENZIE | VOCAL TUTOR W ONDER | LEAD MUSIC PRODUCTION & DJING TUTOR

EXTENDED FAMILY

AUDLEY ANDERSON | VOCAL TUTOR DANIEL THOMAS | VOCAL TUTOR DARREN MARTYN | MUSIC TUTOR DON-E | VOCAL & MUSIC PRODUCTION TUTOR RAC HAEL BEE | EVENTS PRODUCER & PARTNER ILUVLIV RANDOLPH MATTHE W S | VOCAL TUTOR ROBERT W ELLS | CURRICULUM ADVISOR SHOLA AMA | VOCAL TUTOR

FUNDING & PARTNERS

C ORE FUNDERS

Urban Development was constituted as a company limited by guarantee in October 2000. Since then, wehave grown to a projected turnover of 400k for 2009/10, become a Regular Funded Organisation of ArtsC ouncil England and the PRS Foundation and have won the tender for NB Newham's music commissioningfunding. Our work has grown to include professional development, live events and training.

ARTS C OUN C ILPRS FOUNDATION NEWHAM C OUN C IL

PROJE C T FUNDERS

EAST FOUNDATIONEAST POTENTIALNEW C EYSMER C HANT TAYLOR YOUTH MUSI C

PARTNERSHIPS

BBC 1XTRARWD MAGAZINEAIM


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In the last few years the creative industries have become one of Londons most progressive, vibrant andyouthful areas of industry. It is also one of the fastest growing areas, providing many future employment

opportunities for those with energy and creativity.The training relates to industries that appeal to many young people, such as music, film, fashion and IT. W eaim to give young people both the knowledge to take on into future life to help them gain employment, and

provide them with a focus for their time, which will be spent on projects in which they will produce a final product to represent their work whether it be a C D, a magazine, a video, club-night or fashion show.

Our long-term aim is to create a pool of young, creative talent that is seen within the creative industries as arich source of potential new employeesMission Statement

The mission of D V8 Training Ltd is to improve the life opportunities of young people in London and

the South East area through high quality innovative training in the creative industriesPolicies

DV8 intend to make all programmes accessible to a broad range of disabled people as possible.

G eneral Equal Opportunities Policy Statement

Race Equality Policy Statement

Disability Equality Policy Statement


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DV8 E2E C ourses

Are you aged 16-19 living in London and not doing anything at the moment?

You can access 2000 of FREE, innovative training in the creative sector with DV8 and get financialsupport while you are training. DV8 tutors are all working professionals from the industry so you get tocreate real life projects and you can access our fully equipped studio and fantastic training centre withindustry standard equipment and software.

E2E The Ultimate Media Project

The Ultimate Media Project is an opportunity for you to get a flavour of the industry and learn the skills thatwill help you get ahead of the game. You will experience everything from directing a photo shoot, learninggraphic design to filmmaking and interviewing your favourite celebrities. C heck out Issue 15 of Fusionmagazine, produced by DV8 students with G riminal as the cover star. C heck out Fusion Magazine

Units includey Producing a podcast

y Interviewing stars like Bashy, G riminal and G hetts

y G eneral background to journalism and feature writingy Talks from industry experts

y Organising a photo shoot

y Photography and graphic design

y Day trips

y Desktop publishing

y Marketing / PR / advertising / careers / progression


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E2E Fashion

This course is aimed at budding young fashionistas who are interested in taking up the challenge of workingwithin the industry.

The course will provide you with a foundation in many aspects of the trade and is an excellent basis for progression into further education or on to employment in the industry.

y Introduction to fashion world

y Understand how to be able to deal with clients

y Plan and put together looks for photo-shoots

y Explore the exiting world of fashion

y Discover tricks of the trade.

y C reate makeup looks and hairstyles

y An insight into the world of modelling

y W rite articles for the mediay Build up a personal style file

C lick here to see a video message by Princess Nyah about the DV8 Fashion C ourse


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Point Blank has been training DJ's, music producers, songwriters and sound engineers for over fifteen years.The music school has been voted Best Music Production & DJ School for six consecutive years by readersof DJ magazine.

The music school prides itself on small classes and personalised teaching from music industry professionals.Among the tutors you will find G rammy Award winners and songwriters with record sales in the millions.Plus producers and remixers whove worked alongside the likes of Massive Attack, Estelle, Bjork, Leftfield,De La Soul and many others.

Point Blank's most recent innovation is the Online Music School which allows students from all over the

world to tap into this music industry expertise. Thanks to a unique Direct Video Response (DVR ) system,students benefit from one-to-one video coaching from professional music producers. Each course alsoincludes a wealth of exclusive course materials including video tutorials, course notes, projects, samples andmuch more.

Many Point Blank students go on to enjoy success in the music industry and included among them are LeonaLewis, Tayo (Fabric), Ben Scarr (Island Records) and Paula Fairfield - the sound designer behind hit TVshow "Lost".

The college is an Approved Training C entre for music software giants Apple, Ableton, Steinberg and NativeInstruments.


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FAQ's

How do I get to the event?

This naturally depends on the venue, please click on the event to find out what club will be hosting it anduse the below link for directions.http://journeyplanner.tfl.gov.uk


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How do I get home after the event?

W e suggest you take one of the licensed cabs, which will be waiting outside the venue at the end of the nightor have a parent or guardian to pick you up. However if you are travelling with public transport, our brandedstaff will be present to direct you to the nearest tube station.

C an I get tickets on the door?

No, ALL tickets must be bought in advance. This is for safety. Please keep in mind that the last ticket will besold ONE W EEK before the event. Our tickets will often sell out W ELL IN advance of this date. Please visitour tickets section to get tickets.

W ill there be first aid rep on site?

First aid medics will be present throughout the night.

W ill I be able to buy alcohol if I am over 18 years old?

Of course, this is how it works: You will require a government issued ID (driving license or passport) inorder to enter the over 18s area. Once in this section you will not be able to leave with alcohol. Keep in mind

that bags will be checked on the door and coats also, any alcohol found will be confiscated.W hat kind of music with there be?

Each event has a different line-up, so click on the event itself to find out who's playing and when.

Under the Radar events are held in 18+ clubs, what are the rules if I'm under 18?

The venues we choose are fully aware and prepared with the appropriate precautions to host our under 18nights.

All under the radar events are operate in full cooperation with the council and metropolitan police.

At select events there is an over 18s section of the club that will serve alcohol, however persons under theage of 18 will not be allowed into this area and therefore will not be able to buy or drink alcohol. Also 18+

partygoers will not be able to exit this area with alcohol.

W hat age do I have to be to attend an Under The Radar event?

You must be at least 16 years old. If you think you may look under 16 please bring a form of identification.

Are tickets refundable?

Tickets will only be refunded if our event is cancelled or postponed. Make sure you're free for our nextevent, buy a ticket, and get ready for an amazing night out. You won't change your mind.

C an i get involved with Under The Radar?

YES! G o to the work with us section of this site to find out more about registering as a promoter.


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"I actually ran band nights, there was sometimes a bit of stand up comedy at our events. I ran my first 16+event at SEone on July 4th of last year.

W as it a problem to begin booking venues such as Matter and O2 with a teenage crowd behind you - did themanagement take you seriously?

"Some clubs more than others, but we were offering something new that wasn't around at the time plus theyhad seen my success with SeOne. The team at SEone were very loyal which made everything a lot easier,

but I did have to prove myself a lot at the beginning with all the clubs."

Your night hits sell out pretty much every time - was 'Let's G o C razy' simply you spotting a gap in themarket?

"W hen I was 16 there was nothing to do and I saw all my crowd were too young for clubbing. I decided thatthe student market was so saturated anyway and there was surely space in the market for 16 year olds whowant to go out in a less parent facing environment than what was around at the time."

W ho to date, has been the best acts and DJs you've ever had on?

"W

e cover hugely diverse genres of music but we have had everyone from 2 Many DJs,W

iley, Kano,Pendulum, C hase and Status, the Faithless Sound System and many more..."

W hat did your father, who is a music-industry lawyer and talent agent, feel when you finally dropped out of school to concentrate on your club brand?

"My father is also involved in artist and production company management. He obviously was wary of mydecision but still supported me as it was clear there was something tangible I was pursuing."

W hat are the big tunes on your i-pod today?

"I like a huge mixture of music from reggae to electro, to drum n' bass to house but my current favourites are

C hase and Status 'Heartbeat'DJ Fresh 'Hypercaine'Jay Z featuring Alicia Keys 'Empire State Of Mind'Sub Focus 'Join the DotsEmalkay ' W hen i Look at You'LMFAO vs. C huckie 'Let The Bass Kick In LA Bitch' (Mike Newmans LA Re-Boot)David G uetta featuring Akon 'Sexy Bitch' ( C huckie& Lil Jon Remix)David G uetta featuring Kelly Rowland ' W hen Love Takes Over'Deadmau5 featuring Kaskade 'I Remember' ( C aspa remix)Florence and The Machine 'Rabbit Heart' (SLOF MAN & JOR-ONE Dubstep remix)Majestic 'In The VIP' (Project Bassline Remix)

Best album ever made?

"Real shameless plug here but it has to be our new compilation mixed by our Residents James Harwood &Twiggy, out now on EMI / New State. A real reflection of what music and artists get played at our events,tracks and remixes by David G uetta, Deadmau5, The Prodigy, Lilly Allen, Subfocus, Project Bassline"

How big is your database to date - invaluable to so many brands out there...?

"Depends which database, but across social networks we can reach out to over 500,000 14 to 18 year olds,we then also have a large email and home address database and around 50,000 mobile numbers, though we


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mainly target our audience through a large matrix of promoters through word of mouth and incentives."

Ambitions for your brand?

"To provide a huge array of content, media, events and anything else applicable to my market."

You live the high life, tell us...

Does it do your head in, someone being so mature for your age, mixing with kids not on your level?

"I mix with a lot of different people from a lot of different backgrounds with a lot of different interests. I likethe diversity of it all..."

W hat is planned for 2010?

"International expansion and a festival for starters..."

Best night you have put on?

"Difficult to say...but probably one of my events at SeOne, also the Brixton Academy gig on the 26th

October is going to be in a league of its own!W

e've got our biggest lineup to date in our biggest venue todate. Acts include C hase & Status, 2 Many DJs, Pendulum, Faithless Sound System, Andy C and AnnieMac."

Let's G o C razy is out now on 5 October on EMI/New State


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6. Research merger case studies: internal and external benefits and drawbacks.

Adidas and Reebok Merger

ADIDAS STREN G THS

TechnologyC ustomer focusBrand recognitionSupply chainC ollaboratively competitive

REEBOK STREN G THS

Trend IdentificationAbility to market to a niche segmentW omens shoe designDesign expertiseC elebrity relationships

1997 - Adidas acquired the Salomon G roup for $1.4 billion2003 - Nike acquired C onverse for $305 million2004 - Reebok acquired The Hockey C ompany for $330 million2006 - Adidas-Salomon A G acquired Reebok for $3. 7 8 billion.2009 - Retail sales grew 10 % to 1.906 billion (2008: 1. 7 38 billion), G ross profit increased4% to 1.116 billion (2008: 1.069 billion).

The reasons behind the merger were clear; both companies competed for the No. 2 and No. 3 positions behind Nike. Adidas struggled in the U.S. the worlds biggest athletic-shoe market withhalf the $33 billion spent globally each year on athletic shoes. They were perceived to have goodquality products that offered comfort, whereas Reebok was seen as a stylish or hip brand.

Adidas-Salomon A G C hairman and C EO Herbert Hainer said, " W e are delighted with the closingof the Reebok transaction, which marks a new chapter in the history of our G roup. By combiningtwo of the most respected and well-known brands in the worldwide sporting goods industry, thenew Group will benefit from a more competitive worldwide platform, well-defined andcomplementary brand identities, a wider range of products, and a stronger presence acrossteams, athletes, events and leagues.

Hainer also said, "The brands will be kept separate because each brand has a lot of value andit would be stupid to bring them together. The companies would continue selling products under respective brand names and labels..."

Adidas-Reebok SWOT Analysis

STREN G THS

More products for different customersIncrease in product line & market shareUpper / middle priced markets covered

Shared R&D, Patents, technology &innovations

W EAKNESSES

Differing values among managementJobs threatened, unmotivatedC omplexity of joining 2 corporate cultures

Both companies belong to differentcountries

OPPORTUNITIES

Reduction in costsDecreased competitionC ross-over promotion by sponsoredathletesEnter to new market / segments

THREATS

Nike Nikes possible acquisition of PumaLoss making investments into Reebok Danger of cannibalization between the twoseparate brands


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Hewlett-Packard and C ompaq Merger

HP STREN G THS

Manufacturing & selling printersIntegrating business with technologyG lobal Position

New product developmentC ustomer C are

C OMPAQ STREN G THS

Manufacturing & selling P C sProducing quick leading-edge technologyC entralized purchasingEnvironmentally friendlyEthical business practices

1997 - HP acquired VeriFone (electronic bill payment) for $1.18 billion199 8 - C ompaq acquired Digital Equipment C orporation for $9.6 billion2002 - HP acquired C ompaq for $254 billion (largest ever deal in computer history)2003 - HP acquired Proctor & G amble IT for $3 billion200 8 - 62% decline in profits in the first quarter

The merger was meant to enable HP to leverage C ompaq's strong market share and brand recognition in thecommercial P C market. It also sought combined strengths in expertise, overhead reductions, increasedbuying power and cross-selling technologies. This was to enable them to perform better against their major competitors IBM and Dell.

HP wanted to emulate IBM's push into consulting and outsourcing, although the merger did little to bringthem closer to this objective. As these services are key to landing big contracts with corporations andgovernments, analysts predicted that HP would still need to make more acquisitions due to them making upless than 20 % of the company's revenue. Share prices fell as industry analysts failed to understand the

benefits of the merger. In two days an estimated $13 billion was lost (in terms of market capitalization).

The main issue was a fall in morale. Employees from HP and C ompaq spent more than 1 million hours planning the merger. They had to cut $3 billion in costs annually by 2004. Most of the cuts came fromeliminating overlapping corporate functions in the legal, marketing and HR departments. The merger alonerequired 15,000 job cuts. This resulted in increased stakeholder earnings, but ensured the C EO wasunable to win over opponents to the deal. Therefore brand awareness was lost whilst both companiesstruggled with divergent corporate cultures.

Hewlett-Packard and C ompaq SWOT Analysis

STREN G THS

Increased innovation in new productsIntegration of structuresIncreased market share & customer loyalty

W EAKNESSES

Overlapping product lineOverlapping management structureOrganisational and C ulture C onflict

OPPORTUNITIES

Reduction in costIncreased savings in productionStable growth

THREATS

IBM, DellEconomic downturnEmployee morale


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C apital Radio and GWR Merger

C APITAL RADIO STREN G THS

Nationwide portfolioAdvertising revenue21 local analogue, 58 digital stations & 4digital multiplexes

GW R STREN G THS

Owned by Daily Mail & G eneral Trust plcDigital services30 local analogue licences, 35 digital stations &14 local digital multiplexes

1996 - GW R acquires C lassic FM199 8 - GW R wins Digital One license1999 - Digital One begins broadcasting and launches Internet radio2000 - GW R acquires DM G Radio.2005 - C apital Radio G roup and GW R G roup merger to form GC ap Media200 8 - GC ap Media acquired by G lobal Radio for 3 7 5

C APITAL Radio and GW R G roups all-share merger created the UK's leading commercial radio group.They were toted as supplying over 25 % of national radio advertising in the country. C apital shareholders got52% of the group, which had a combined market capitalisation of around 7 11 million.

For the first five months the group was run by Ralph Bernard (ex- GW R) as Executive C hairman, and DavidMansfield (ex- C apital Radio G roup) as C EO. W ithin weeks of the merger rumours had started aboutdisagreements between Bernard and Mansfield regarding the future direction of the company. DavidMansfield stepped down on the afternoon of 19 September 2005 with Ralph Bernard taking over both roles.This was followed by a 184 million loss on the stock market, as commentators felt that the savings broughtabout by cost cutting and elimination of duplicated departments across the company were far outweighed bylarge drops in audience and advertising revenue across the newly formed group.

Over the following months, amid rumours of a GW R putsch and continuing dissatisfaction from the C ity, astream of executives from the former C apital Radio G roup side of the business left the company, includingDavid Mansfield himself. In October 2005 GC ap Media announced around 100 job losses and the sale of

nine non-core radio stations as part of a restructuring initiative. By this time, over 300m had been wiped off the market capitalisation of GC ap Media and the group was frequently touted as a take over target by C itycommentators. The nine stations, which included the Marcher G roup stations in North W ales and OrchardFM in the W est C ountry, came with a price tag of 7 5m. Eventually, after bids as low as 25m were placedand interest waned, GC ap Media called off the sale.

C apital Radio and GWR SWOT Analysis

STREN G THS

Personal medium

Industry commitment (RAB, J-ET)Proven ROI strengths (with & against TV)G rowing share vs BB C in digital homes

W EAKNESSES

Lack of creative "investment"

Radio recall attributed to other mediaC onsolidation uncertaintyDrop in 15-19 audience

OPPORTUNITIES

Most opportunities for multi-platformexpansion

Newsprint declineC onsolidation

THREATS

Introspection (consolidation/ audiencemeasurement)Online growth / C ost of digitalFragmentation of audiencesMeasured against previous growth


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B : Further research

Stage 1

1. G ain a better understanding of the whole company, by taking part in each division

B ack Office

March 8 th

B igga Fish Street Team

March 12 th

The Roundhouse

C rowndale Health C entre

B ANG Edutainment ( B : Logic)

March 16th

Bridge Park

B igga Academy

March 18 th

Rich Mix


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2. W hat is a) your companys vision b) your vision for the company?

To be a leader in training for young people??!!

to address youth social exclusion through creative channels

W e want to be the Disney Land for young people's events!!!

to be leaders in delivering services to young people

To become the leading youth brand in the UK

a better future for young people

A financially successful and independent company meeting the needs and interests of young people

To help youths achieve their full potential through media/ music training

W orking towards a less fragmented company

not sure

-

To be a leader in training for young people.....

to encourage positive change for all

To be an integral part of its sucess!!!

to be the number youth lifestyle brand.

to become that leading profitable youth brand in the UK

the best at what we do

A successful place where people are happy to work and excelling - staff and beneficiaries

To help young people achieve their full potential and make something positive of themselves

I would say the same

To become a commercially viable radio station in a competitive market


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3. How are you involved in decision making?

Through regular line management meetings and some strategic meetings

Involved at a strategic level making decisions for whole organisation

Im usually consulted on most things and I feel that I do have an influence when it comes to makingdecisions.

strategically, planning, operations, budgeting, management.

I develop the events program for my division

consultation in meetings/contribution to documents

I am very heavily involved in decision making - director

Quite heavily. I influence quite a lot when it comes to dealing directly with the young people

I'm not really involved in much of the decision making

I'm not directly involved in decision makiing but i can make a contribution


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4. How often do you have meetings a) with individuals b) as a company?

Every 2 weeks

As an when required

C onstantly

daily

almost every day

bi-weekly

at least once every 2 weeks

once a week

Every few weeks

once every 3 weeks

-

Not often at all...

Bi Monthly G eneral Staff Meetings

Every 2-4 W eeks

not very often

once every two months full staff meeting, twice a month divison meetings

every 3-4 months

4/5 times a year

once a quarter

Once every 2 months

only been to one in 2 months


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5. How do you communicate with your workmates?

Through emails, meetings and phonecalls

Email, Face to Face, Phone

Email

in person, email, phone

via email, and verbally

email, meetings, phone

face to face and using email

email and phone

Via email / general chats

Shout over the desks!

-

After meetings with staff that I am managing , I try to follow up with an email to make sure everything wediscussed is clear and agreed on both sides. I try to see what actions we have agreed upon have been carriedout.

always follow up face to face or phone conversations with emails confirming actions

If everybody was on a Blackberry and had BBM

more structured meetings

monthly full staff meeting, and creative brain storming sessions

less email, more productive meetings, more sharing of important/relevant information

more regular meetings with everyone

More G SM's

W eekly team meetings or email updates


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6. W hat one idea do you think would improve the company?

Better communication, professionalism and if we all had the same vission

More space and joint branding to get over ides of BAN G vs Bigga Fish

More Incentive!!!

clarity from directors on their company vision.

more resources

unification (all pulling in the same direction)

more team building and group recognition of achievements (i know its more than one)

More G SM meetings and celebrating of successes. W e achieve a lot, but don't celebrate it or publicise it

Effective internal communication


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7 . W hat improvements would you make to the working environment?

OK, room for improvement as always...

Very well!

8

good

I think they are treated well, there is a good team ethos

fairly with respect and fondness (generally)

i think very well and with great care

W ell

W ell and fairly

well

-

G ood, but agreed things should be followed up on...

Very well!

8

excellent

very well

fairly with respect and fondness (generally)

okay but could be better

Ok

I would say the same

very well


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8. How are employees treated a) by management b) by each other?

The merger is a good idea. I am not sure what the aims are in specific areas, but if this was clearlycommunicated it would be great. W e definately have alot to learn from each other.

It a huge challenge but might have huge rewards as well. There is still a clash of cultures which needs to beaddressed

I'm liking the fact that the two companies have shown very promising signs in terms of improvement in bothcompanies!!!

I think its a great idea. I think there are still certain areas that need clarifying in terms of its aim

It's a great idea, training, radio and events all feed into each other and the general feeling is that we should be doing events that involve all three areas.

very positively, with just some concerns

I think that the merger is necessary and potentially very lucrative but more effort needs to be made toovercome difficulties - people need to adopt change mentality

I am happy about it. Just hope Bigga can take on board our aims and values for the young people we work with and that young people aren't forgotten in an attempt to make more money

I think that the merger is a good idea. Both companies have common interests on terms of goals, whichmakes the merger a good move

not sure about the merger have had very little information on it


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9. W here do you see the company in 6 months time?

Not sure really....which is a bit worrying, we have big ideas but do we have the resources to make themhappen. Are we being realistic?

Achieving all out targets and making money

I can see both companies in a much more profitable position. I feel like we are all onto a good thing and im

enjoying the journey trying to get there!!!

As leaders in youth events, urban youth education and community/independant radio.

in profit, and attracting a varirty of contracts from organisations that want to engage young peoplethe benefits of merger starting to kick in

Performing well,

Very successful, with more young people involved in decision making

Less divided. More utilisation of resources across the company

Not sure do not really know the mission statements


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Documents

Stage 1 Research