Radio New Zealand’s radio results are out, and RNZ National has dropped into third place for its weekly cumulative audience behind The Edge and The Breeze.
RNZ National has maintained its number two spot behind The Edge following, the release of the last radio survey of the year, which reveal a drop in its audience numbers.
“Imagine stations with those shares now,” said radio industry veteran David Gibbs upon seeing radio survey results from a quarter-century ago—a fitting response, given there was once a single station with an 18 percent share of New Zealand ears. We look back to see how much radio has changed.
The third radio survey of the year gives RNZ National a weekly audience of 625,500 listeners, just 300 shy of the nation’s biggest radio station, The Edge. RNZ National programme manager David Allan shares his thoughts on why the station—and RNZ’s other properties—are tracking so well.
RNZ has joined the radio survey party this week and in a similar showing to the previous results, RNZ National sits in second place for audience reach and the top spot for talkback radio.
Radio New Zealand’s radio survey may be a week later than the commercial stations’ results, but that doesn’t mean it’s not a competitor for radio glory. RNZ National is number two for weekly audience and takes out the news radio crown once again.
Radio New Zealand has blown out 50 candles this week to mark Checkpoint reaching half a century of current affairs reporting. It’s now the longest-running news and current affairs programme on local radio and television with no sign of stopping. We talk to head of content Carol Hirschfeld about maintaining its remit as a serious news programme, radio with pictures and Checkpoint with John Campbell.
RNZ’s latest piece of digital innovation is putting listeners’ voices to air through a self-recording app called VoxPop.
In the wake of last week’s commercial radio celebrations, Radio New Zealand has something to cheer about following the release of its survey results by GfK. RNZ National has maintained its spot at number two for audience reach against its commercial competitors and saw growth where other news stations saw a drop.
In a very challenging environment, media companies have had to get increasingly creative to increase their revenue or decrease their costs. Fairfax has started selling fibre. Sky is looking to shack up with Vodafone. And in a recent staff email, the RNZ executive team announced that it was looking for potential buyers to take over ownership of its central Auckland building. We talk to CEO Paul Thompson about why it’s selling the asset.
No one in the industry has found the perfect solution to consistently making money from online journalism, but this isn’t due to a lack of trying. We look at three recent examples of the digital experimentation going on in the industry.
After 18 months of having its comment section switched on, RNZ has announced it will no longer allow comments on its website and it will phase out the capability on its site by the end of the week, instead encouraging comments on its social media channels, we chat to RNZ’s Megan Whelan about why it made the decision and what it means for its audience. PLUS: how technology might improve comment sections in the future, and Fairfax’s approach to its comment sections.
Over the past few years the country’s main media companies have spent millions creating the integrated newsrooms of the future to keep up with the demands of a fragmented audience. RNZ has made similar multi-media moves (and even changed its name recently to mark its cross-platform aspirations), but as a government-funded, non-commercial broadcaster it has had to make these changes within its existing budget, which hasn’t changed for eight years. But last week the Radio New Zealand Amendment Bill was passed after being under consideration for ten years, finally providing clarification for RNZ’s commercial capacity as well as its values, new and old, as New Zealand’s national broadcaster.
On 4 February, thousands of TPPA (Trans Pacific Partnership Agreement) protestors filed onto Auckland’s city streets carrying signs, chanting and blocking off access to motorway access points to mark their objection to the agreement as our government was putting pen to paper. And among all the chaos were the nation’s media outlets, all competing to get the best coverage of the event and live-streaming it directly to thousands of online viewers. Here’s a rundown of how the media used live-streaming to create a more immersive experience for viewers, and a look at what the dangers are of live-streaming events like these.
For the first time (for the most part) in eight years, government-funded RNZ has invested in paid advertising in Auckland, collaborating with Rainger and Rolfe, as part of its goal to double its audience by 2020 and promote the ‘RNZ’ insignia.
RNZ’s long-awaited multi-platform Checkpoint with John Campbell debuted last night, and the show caused so much buzz that RNZ’s website crashed from all the traffic. We chat to RNZ head of content Carol Hirschfield about the teething issues, the benefits of multimedia broadcasting and the overall response of the show.
Nielsen’s All National Radio survey showed that the weekly cumulative radio audience for RNZ National and Concert was 564,000 people aged 15 and over, a decent year-on-year lift when compared to the 503, 000 listeners recorded in the previous survey. We talk to Paul Thompson some of the moves that led to this uptick in weekly listener numbers.
Yesterday afternoon, RNZ head of Radio John Howson informed the department he leads that the state broadcaster has proposed disestablishing seven roles, including the one he holds.
Radio New Zealand has followed in the footsteps of the BBC, ABC and NPR by adopting the acronym RNZ. And while this is a relatively small change, the state broadcaster’s chief executive Paul Thompson says it’s reflective of the organisation’s reach beyond traditional channels into new digital mediums.
Last week we ran a story on Radio New Zealand’s website redesign approach, after it went to the public to ask for suggestions around design and layout. Now, we chat to its head of digital, who has filled us in on some of the thinking behind the strategy.
Radio New Zealand is taking the unusual step of going to its audience for suggestions for the redesign of its new website, something it says it’s never done before. So does the strategy make sense? Or should it be focusing on user behaviour? PLUS: Te Papa’s similar approach.
Over the past few years, social media has become an enormous part of the lives of many. Studies show we spend hours online per day, and much of this time is spent perusing Facebook, Twitter, Instagram and the like. And apart from stalking old school friends who have become more successful than you, or (for some) discovering what Kim K’s latest move is, these have also become platforms for people to openly share their views, exercise their right to free speech, and learn what others think about relevant and important issues. This activity on social media has led to many news publishers embedding tweets in their online stories, or further, basing an entire story around a strong public reaction to a tweet. So, we decided to ask ‘why?’
The rise of the digital has disrupted many aspects of life: from the way we research, to the way we contact one another, to the way we lock our houses. The disruption of newspapers and magazines is common knowledge, and this in turn has affected the way cartoonists work. Over the years the Sunday funnies page has had less space allocated to the funny and often thought-provoking illustrations and many cartoonists have headed over to the digital realm. One of these is Toby Morris, a cartoonist for RNZ and The Wireless. He tells us how his craft has changed, and how this isn’t such a bad thing. We also chat to fellow cartoonists award-winning Anna Crichton and long time cartoonist Brendon Boughen for their perspective.
Former Fairfax Media New Zealand executive editor Paul Thompson has been head-hunted by Radio New Zealand, now leading the public broadcaster as its chief executive and editor-in-chief.