Category: NEWS

  • BIG RTL Thrill gears for launch and unveils logo

    By A Correspondent

     

    The recently named BIG RTL Thrill from the Reliance Broadcast Network and RTL Group joint venture will unveil their logo through a multi-media campaign on May 10. The logo will be revealed through an extensive campaign across its television channel bouquet BIG CBS Prime, Spark, Love, Spark Punjabi, BIG Magic and UTV Bloomberg, which will run through the summer as the channel gears for launch.

     

    The logo of the new channel, which is positioned as the country’s first action entertainment channel, was designed by Singapore-based BDA and will be seen extended across various on-air elements like promo-packaging, on-air graphics and the channel id.

     

    Targeted at male audiences across metropolitan and non-metropolitan areas in the Hindi-speaking markets, the look and the feel of the logo is strong, solid and in-your-face. The red colour signifies energy, aggression and high action. The big, bold and sharp fonts and the rectangular block perfectly reflects the personality and core values of the channels – daring, action-packed, electrifying, sporty, challenging and adventurous. The channel, which is a result of detailed audience mapping and insight mining among Indian audiences, has a logo that is simple, yet impactful and promises to connect well with the mass male audiences in India.

     

    The present joint venture marks RTL Group’s entry into the burgeoning Asian television market and is Reliance Broadcast Network’s second international joint venture, following on the heels of its successful joint venture with CBS Studios International.

     

    Reliance Broadcast Network Limited is a multi-media entertainment conglomerate with play across radio, television, intellectual properties and out of home. It houses the following verticals: 92.7 BIG FM -India’s largest FM Network; BIG CBS – A joint venture with CBS Studios International; BIG MAGIC – which marked the Company’s entry into the regional entertainment space. The company also distributesBloomberg UTV,India’s premier business news channel. In the space of live entertainment the company has BIG Live a division which develops, executes and markets Intellectual Properties, and synergizing excellently with this division is BIG Productions a division which functions as a television content production house catering to the diverse creative needs of the Indian television landscape.

     

     

  • Marketers make hay in Rural India

     

    By Ritu Midha

     

    There’s no denying the unprecedented push being issued by marketers in getting their brands to reach out to rural cities and towns. Most marketers, who earlier had shied away from reaching out to these markets, are now reviving their interest and want to be a part of the action in the so-called Rural India. Till recently, the interest was not translated into action due to various issues like lack of infrastructure, information and consumers loyalty to a few brands that braved adversities and made inroads into these difficult-to-reach markets. However, things are changing now and, to a large extent, the change can be attributed to information access and the penetration strategy adopted by the mobile networks, which were closely followed by handset marketers.

     

    Harish Bijoor
    Avinash Oza
    Mihir Mody
    Mayank Shah

    As per Harish Bijoor, CEO, Harish Bijoor Consults, the rural consumer is just getting the taste of experimenting and owning, and hence a larger opportunity lies there. He elucidates: “I would segment the hinterland into urban, rurban and rural. The hunger deepens as you go from urban to rurban to rural. The opportunity for marketers therefore deepens as one penetrates further down this strata.”

     

    There are a number of pull factors attracting marketers to these areas; one also shouldn’t ignore the emphasis being laid by the government in improving infrastructure and education levels across the country. Avinash Oza, Director Brand Communications, DDB Mudra Max reflects on this sentiment: “The government’s infrastructure vision of connecting rural with urban through construction of roads and rail network has led to migration, mobile working population, and better education – it has also provided an opportunity for marketers to reach out to rural areas, thereby increasing accessibility across categories. In addition to infrastructure, Doorsanchar Kranti (Telecom Revolution) has bridged the rural-urban divide via satellite cable, and DTH connections.” He, incidentally, believes that it is a crime to call them villagers – they are distant urbanites.

     

    Presenting his outlook, Mihir Mody, Founder & CEO, Adwallz, said: “There is awareness and good spending power. Gradually these markets are becoming urban in attitude and awareness, thanks to the medium of television. Marketers, too, are exploring a new world in rural – FMCG and telecom success stories are now attracting other product categories… the sheer numbers are formidable.”

     

    Marketers have taken note of this evolution, and there is an increased focus on rural markets across product categories. Mr Krishna Mohan, CEO, Sales, Emami Limited said: “The great rural-urban divide in household consumption patterns has reduced drastically. Bharat is indeed keeping pace with India when it comes to spending on most fast-moving consumer goods. Rural sales contribute more than 40 to 50 per cent of total sales in various categories for Emami. We have increased emphasis on engaging rural consumers. The market is huge with a lot of potential.”

     

    Mayank Shah, Group Product Manager, Parle Products too is of the opinion that rural markets are indeed opening up, however there might be a difference in purchase behaviour and consumption pattern. He states: “In case of rural buyers, it is smaller units. Instances and opportunities of buying are less and they buy if the right quality is delivered at the right price.”

     

    It is not only the FMCG marketer who is witnessing an increased awareness and demand, but also the durables and electronics sectors. Kamal Nandi, VP – Marketing & Sales, Godrej Appliances explains: “It is not only the towns in these areas which are seeking a metamorphosis, but demand in rural markets too has increased. Though it might still be the entry level products that are being sold there – the aspirations are high, and demand is increasing. For instance, we have seen remarkable growth in sale of single-door refrigerators in these markets.”

     

    The consumerism in rural areas is being led by youth who are better connected, informed and travelled than the generation before. As Mr Oza stated: “Youth here are fast adopters, acceptors and can be termed as change agents. To reach households, the route is to bring youth on your side. Marketers can use youth by following ‘learning with livelihood’ model when they plan to penetrate hinterlands.”

     

    Another trend that has shown marked improvement is penetration of media in rural areas. This has resulted in more number of consumers who are being exposed to brands and their promises. However, the success of a brand in rural areas, to a very large extent, lies in the retailer’s hands – and it is important for the marketers to win them over. Citing an example, Mr Oza said: “Each retail store has 3-4 shop boards. On my visit to Khandwa in Madhya Pradesh, I came across unique shop boards. One brand – Pariwar tea, even deployed shop boards with retailers’ photographs. This shows that Maslow’s hierarchy pyramid works the opposite in the hinterland.”

     

    Beyond being in the good books of retailers, marketers have also realised the importance of educating consumers in these markets. The objective, of course, is to increase awareness levels and thereby consumption. Krishna Mohan stated: “The way forward is to help consumers, especially in the rural areas, to make the switch from loose to branded products or aid new consumption habits, either with novel products or new formats. We have embarked on a project called Swadesh, where Emami through its field staff would cover rural markets directly through dedicated organisation structure for rural operation.” He added: “Communication is another vital factor in ruralIndia. We need to reach out the consumers through innovative ways and create brand recall.”

     

    Though a number of theories have been floating around on the scope that rural markets throw up for brands, what is certain is that this is where the action would come from – and obviously more moolah. This would be driven largely by consumers from these belts that are increasingly becoming savvy, have better disposable incomes and are ready to spend. However, at the same time, the consumer is discerning, price conscious and desires to take small steps. The need of the hour is to communicate to him in a right manner and offer him the right product in the right size – win him over by giving the right advice and see your brand grow. But it must be mentioned here that word-of-mouth or buzz marketing is still the key to a making higher purchase decisions. As one jilted consumer might lead to many being drawn away and that’s the last thing a brand might want to confront itself with.

     

    Imaging: Rafiq, Photograph: Fotocorp

     

  • Mehmet Akay takes over as GM, Southern & Western India, Turkish Airlines

    By A Correspondent

     

    Turkish Airlines has announced that Mehmet Akay as the new General Manager for Southern & WesternIndia. In his role, Mr Akay will be taking charge of Turkish Airlines’ strategic success in this region and will be responsible for driving growth and expansion of the company’s market share inIndia.

     

    Mr Akay started his career with Turkish Airlines inIstanbulin 1999 as a reservation agent. He was engaged in various responsibilities within the airline, including revenue management & pricing specialist. He also had a brief stint as Regional Commercial Manager inVietnamwhere he was posted for 2 years. With a proven record of dynamic leadership, winning attitude and the ability to drive goals and initiatives, Mr  Akay will guide the airline’s journey towards achieving new heights in sales and brand building.

     

    Speaking on the occasion, Mr. Mehmet Akay said: “Turkish Airlines has witnessed outstanding growth in the Indian market in the last few years and is now perfectly poised for a sharp take-off. I am pleased to be in a dynamic and vibrant country likeIndiaand strive to take the company to newer heights in the days to come”.

     

    Established in 1933 with a fleet of only five airplanes, Star Alliance member, Turkish Airlines is a four star airline with 179 aircrafts flying to 193 destinations around the world. Turkish Airlines has received several “Passengers Choice Awards” from the consumer ranking group, Skytrax.

  • Bindass to host ‘Generation Einstein’ tonight

    By A Correspondent [updated]

     

    All roads lead to the Mahalaxmi racecourse today (Monday, May 14) as Bindass will launch the Indian edition of the very successful book ‘Generation Einstein’.  Co-authored by UTV Bindass along with the well-known international author and speaker Jeroen Boschma, the book is being launched in India keeping in mind the specifics of the Indian market and traces the emergence of a global generation in India, their likes, dislikes, lifestyle and what sets them apart from the others.

    The Indian edition of Generation Einstein – authored by Samyak Chakraborty and Arjun Vednayagam – also goes on to explain the communication strategies that marketers could adopt in reaching out to the youth with the help of India-specific case-studies like Tata Docomo, Bindass, Virgin Mobile and many more.

    The book describes a new generation, ‘Generation Einstein’ that was born during the last decade of the previous century. It also stresses upon the significance of the youth as an important part of the market and how fast the new generation understands the world better than anyone else. The book attempts to decode this generation and help marketers reach out to them.

     

    Commenting on the association of Bindass on the launch of book, Kunal Mukherjee, Director-Marketing, UTV & Bindass Networks, said: “Bindass being a 360-degree youth brand continuously looks out for avenues to work with people who engage or reach out to the youth in various ways. Generation Einstein 3.0 provides an insightful look into the working of the youth’s minds, how they make choices, evaluate mediums and more importantly how to establish a connect with them as equals. One of the hardest things to do for any brand today is to get their communication across to the youth and Generation Einstein helps each of us do just that as we decode the youth step by step.”

    The book will also throw light on the new age communication strategies like “Increation’ which is a more effective method of communicating with a youth segment. The new methodology of research – Increation involves putting many ideas to test, then trying to use the reactions to narrow down the ideas. The researcher will look for overlaps on what connects to solutions…leading to that one big insight that results into that one big idea.

    Young people are ultimately suited to working with increation projects. They are extremely creative because of the world in which they live and their present stage of life.

    Entry to the event, which is being organised in association with MxMIndia, is by invitation only. It will be followed by cocktails and dinner.

     

  • 1000 episodes, and counting!

     

     

    By Meghna Sharma

     

    Avika Gaur

    In 2008, when general entertainment channel Colors, was launched by Viacom18 – a joint venture between Viacom Inc and the Network18 Group, there was much promise of  a new spectrum of emotions and entertainment. While there were high profile reality shows on offer, the one serial that caught everyone’s attention was Balika Vadhu, a story of Anandi, married off in a rich family as a child. The show will complete 1,000 episodes today (May 14), a feat not many shows have accomplished in the Indian television industry.

     

     

     

    Ashwini Yardi

    Balika Vadhu show caught everyone’s attention because of its simple story and real emotions. Anandi captured the hearts of millions, making it the No 1 show at that time slot. Talking about Balika Vadhu, former programming head of the channel, Ashwini Yardi recollects: “It is the only show I said yes to in 30 seconds. Balika Vadhu is a cult show that portrays the journey of a child bride into womanhood. Even when the channel was launched, the show wasn’t promoted or marketed as much as the other shows. So, it has achieved everything on its own.”

     

    Child marriage isn’t something new, many young girls and boys are forced into it even today and the government and activists have tried to curb this social evil. Through the show, the writer and the channel wanted to convey the side-effects a child marriage can have on one’s life.

     

    Purnendu Shekhar

    “The realism in the characters and storyline is what made the show connect with its audience. We have never compromised of the plot and concept of the story to gain TRPs. Balika Vadhu is the first show which raised a social issue as its main plot on a primetime. And we wanted to educate people as well as entertain them,” says Purnendu Shekhar, the writer of the show.

     

    Agreeing with Mr Shekhar, Prashant Bhatt, fiction head, Colors says: “The story is the hero. The concept of the show decides how the look and treatment of the show will progress. So much so that the cast, the sites, the look, the makeup, even the language is completely tied to the concept. Balika Vadhu brought about authenticity, consistency and meaningfulness and that has worked. Today, Anandi, Sumitra, Dadisa, Bhairon and many others are household names solely because of the way the characters have been portrayed; the actors literally live their roles. The dialogues and its delivery has raised the bar completely. In totality, the show is an honest effort from our end to highlight issues to a mass audience and its acceptance is a great high for us.”

     

    Monaz K Todywalla

    Of the 197 weeks of being on-air, it’s been the No 1 show in the slot for 172 weeks. According to Monaz K Todywalla, general manager, Madison Media, the reason why the show has worked well for so long is: “The simple storyline of Balika Vadhu, in its early days was a refreshing change from the high drama soaps that existed. The show started off a new trend of addressing social problems that exist within the fabric of the country; people empathize with the story of a young girl who was married at a young age – the twists in her life deal with problems that women in India face. More importantly, because Anandi doesn’t play a victim, but fights odds to emerge a winner.”

     

    Deepak Netram, vice president, Lodestar UM, reasons why Balika Vadhu has been able to cut across masses. “The show was a milestone in the GEC space. It redefined a lot of trends and was a winner for the channel for a long time in many aspects. The show targeted a certain TG and that’s the audience many advertisers want too,” he said.

     

    OTHERS IN THE 1000+ EPISODES CLUB

    Kyunki Saas Bhi Kabhi Bahu Thi – April 2005
    Kahaani  Ghar Ghar Ki – Aug 2005
    Kasauti Zindagi Ki – May 2006
    Kumkum – April 2007
    Woh Rehne Wali Mehlon Ki – June 2009

    At 1,000 not out, Mr Shekhar shared that it wasn’t easy to keep freshness alive in a daily soap: “When I had written the show for Doordarshan in 1992, the show was supposed to have only 25 episodes. I feel till the time the viewers continue watching and enjoying the show, we’ll continue to write.” For the DD version, the young couple were supposed to grow-up in the fourth episode itself, whereas on Colors the show took a time-leap in the 517th episode.

     

     

    Jaahnavi P Paal

    But not everyone believes that the show must be allowed to continue till the ratings become negligible. TV analyst and columnist, Jaahnavi P Paal rues that Indian soap operas tend to lose the plot and drag. I guess the same has happened with Balika Vadhu too. Today, many avid viewers of the show have lost interest in it. Maybe that’s why it has lost its  number 1 spot. I’m a firm believer that a show must end at a proper time instead of being dragged.

     

    However, there’s no denying the fact that as a serial Balika Vadhu changed the trend with its interesting and unusual concept. Social awareness through primetime benefitted the show as well as the channel.

     

     

  • DDB MudraMax bags duties for Ashok Leyland

    By A Correspondent

     

    DDB MudraMax has bagged the media duties of Ashok Leyland – Heavy Vehicles. The incumbent agency was Mindshare. The size of the business is said to be in the range of Rs25 crores. This will be handled out of DDB MudraMax’s Chennai office.

     

    On choosing DDB MudraMax, Alok Saraogi, Head, Brand &Marketing Communications said: “DDB Mudra Group did a great job of viewing our business imperatives from a category, business and brand perspective and brought a refreshing view to our challenges. Their strategy is insightful and impactful and we are pleased to assign our media business to DDB MudraMax. It also helps that we consolidate all media business for the overall benefit of the group.”

     

    Sathyamurthy Namakkal
    Pratap Bose

    On the new win, Sathyamurthy Namakkal, President & Head – DDB MudraMax, Media, said: “This is a prestigious win for us.  With this alignment, DDB Mudra Max consolidates as the sole Media AOR for Ashok Leyland and we are very glad”.

     

    Pratap Bose, COO, DDB Mudra Group, added: “This win comes on the back of Ashok Leyland awarding us their LCV business last year and it is indeed gratifying that our client has reposed their faith in us again. For me, that is what I am most happy about.”

     

    Ashok Leyland is the flagship of the Hinduja Group and a leading manufacturer of commercial vehicles inIndiawith a turnover of US $ 2.5 billion. Ashok Leyland has associate companies in the Czech Republic and the UAE and a joint venture in Sri Lanka, besides exports to over 30 countries worldwide.

     

    DDB MudraMax (Engagement & Experience), provides multi-specialty expertise to help build brands in the age of convergence. DDB MudraMax comprises fourteen strategic business units under four disciplines – Media, OOH, Retail and Experiential. These SBUs provide clients seamless solutions across a wide array of media touch points.

     

  • Sera Bangali honours 13 progressive Bengalis who said no to negativity

     

    By A Correspondent

     

    West Bengal has been a playing field for visionaries who emerged as thought leaders and have shown the way to rest of the countrymen, by just saying no to the negativity. STAR Ananda, Bengal’s leading news channel is celebrating this excellence through Sera Bangali.

     

    Sera Bangali is a pioneering effort by STAR Ananda since 2006 for Bengal is and people from West Bengal who have made their state proud through their achievement. This biggest, and most credible, award function felicitates eminent personalities who have not only achieved excellence in their respective fields but have also helped to bring Bengal in the national as well as international limelight.

     

    The awards are presented in a plethora of categories like art, film, music, education, business, science, sports and lifetime achievement. After runaway success of past 6 years, Bengal has now welcomed 2012 Sera Bangalis. The celebration was held on May 11 at Kolkata. It was a star studded event which started with a grand felicitation ceremony followed by a scintillating entertainment show.

     

    The winners of Sera Bangali 2012 in various categories:

     

    Category Awardee
    Film (Actor) Saswata Chatterjee
    Film (Direction) Srijit Mukherji
    Music Anupam Roy
    Sports Manoj Tiwari
    Sports Shakib Al Hasan
    Public Life Ruchira Gupta
    Education Sushanta Dattagupta
    Science Sumantra Chatterji
    Business Vinayak Chatterjee
    Art Lalu Prosad Shaw
    Sera Abishkar Aneek Dutta
    Lifetime Achievement Sunil Gangopadhyay
    Serar Sera Abhijit Vinayak Banerjee

     

     

    The nominees were selected following an in-depth research made by the MCCS Editorial team.

     

    Past Sera Bangal is have included luminaries like Pranab Mukherjee- Minister of Finance, Dr Muhammad Yunus- Economist and winner of Nobel Peace Prize, Sourav Ganguly, Mithun Chakraborty, Rahul Bose and Anurag Basu.

     

    Speaking on the occasion, Ashok Venkatramani, CEO, MCCS said: “We have dedicated ourselves to the recognition and felicitation of those personalities who have made Bengal proud and continue to do so. Sera Bangali is the truest effort in this direction to recognize those successful Bengal is, who not only have excelled in their respective fields, but have also helped in putting Bengal is in the global arena.”

     

    The entertainment that follows the award function saw performances by distinguished artists like Kunal Ganjawala and Debojyoti Mishra.

     

    STAR Ananda plays the role of the true leader by connecting these luminaries with the people. This is in accordance with the channel’s aim of reflecting and catalyzing the growth and resurgence of Bengal and also celebrating excellence.

     

     

  • Tata Nano partners with MTV India for India’s first Social Road Trip

    By A Correspondent

     

    To celebrate its over 1 million fan base on Facebook, Tata Nano announced the launch ofIndia’s first Social Road Trip called, Nano Drivewith MTV, where the digital world will meet the real world. Tata Nano has partnered with MTV India to create a unique driving experience and will leverage the online medium to treat travel enthusiasts to a 20-day, over 2000 km drive.

     

    Commenting on this unique property, Delna Avari, Head – Nano Product Group, Tata Motors said: “Tata Nano is a personal mobility option for everyone. We are increasingly becoming the popular choice of mobility amongst youth – about 42 per cent of Nano owners are in the 18 to 34 age group. TheNano Drivewith MTV will enable our customers to further understand and experience the brand.”

     

    Tata Motors, MTV and Nano fans will select 4 teams for this drive. Each team will comprise 4 members and these teams will be allocated 4 different routes to be covered in 20 days. The teams will need to overcome obstacles, tasks and move up the ladder. Social media will play a vital role in this unique road trip as viewers will get a chance to vote for their favourite teams online. While the winning team will be awarded with 4 Tata Nanos, the most ardent fan also gets a chance to win a Tata Nano.

     

    In November 2011, Tata Motors introduced the Nano 2012, with a bouquet of features, further improving on its record asIndia’s most fuel efficient petrol car.

     

    With the launch of this drive, over 1 million Facebook Nano fans can look forward to a thrilling social road trip.

     

     

  • Tuborg now in an exciting new avatar

    By A Correspondent

     

    As part of a global enhancement program, Tuborg has announced the launch of a new packaging and visual identity, showcasing an entirely new look, tying into Tuborg’s overall ambition of pioneering innovation in the Indian beer market. This innovation is inspired by the needs of Indian consumers and aims at giving them a global experience.

     

    Tuborg’s new visual identity showcases a refreshing look to entice consumers in a never-before-seen packaging – a bottle that adds a cool new look to its edgy appearance with an easy to hold grip. Tuborg’s tagline: “Open for fun” represents what Tuborg aspires to do – inspire its audience to being open for more and to make most of their lives and have fun.

     

    Building on the existing equities of the Tuborg name and label shape, new ideas have been added such as Tuborg’s new tilted logo. Tuborg has become the number 4 brand within 3 years of its launch. The power of its innovation, quality refreshing taste and youthful imagery has created this incredible growth story, which is unheard of in the beer industry. It was the first inIndiato introduce innovative packaging in the form of a unique pull-off cap, which lends the consumers the freedom to enjoy their drink without having to look for a bottle opener.

     

    Currently, Tuborg is the fastest growing brand in the Indian beer market and has witnessed a significant volume growth of 60 per cent (YTD April 2012 vs. YTD April 2011) and with the new visual identity, the expectations are higher.

     

    “Indiais an increasingly important market in Carlsberg’s global portfolio and we aim to give our consumers a superior quality experience. Tuborg’s new offerings not only reinforce the brand image but also emphasize our commitment to innovate. The new design will be launched acrossIndiaand we are positive that it will be an exciting new experience to our consumers,” said Soren Lauridsen, Managing Director, CarlsbergIndia.

     

    The new Tuborg packaging will be available in 330 ml and 650 ml acrossIndiaby end of May.

     

    In 1880, Tuborg Breweries was established as an export brewery in connection with a private port in a small town north of the Danish capital,Copenhagen. From the outset, its green characteristic look has been very popular with the Danes, and is the leading beer brand amongst them.

     

    Carlsberg India Pvt Ltd (CIPL) commenced operations in 2007, beginning production in Himachal Pradesh. The product portfolio of the company includes its flagship brand Carlsberg and Carlsberg Elephant, Tuborg, Tuborg Strong and Palone 8. Carlsberg India Pvt Ltd (CIPL) focuses on developing and strengthening its brand portfolio through innovation and commitment to superior quality.

     

  • Can a Satyamev-like show be created for radio? Yes, say broadcasters

    By Robin Thomas

     

    Aamir Khan’s ‘Satyamev Jayate’ is the hope to recreate the Sunday morning appointment viewership that was probably lost with the entry of multiple cable television channels in the late 90s. The Sunday morning programme, which premiered on May 6 with much fanfare, has already received rave reviews from viewers and marketers alike.

     

    Appointment viewing in television has become a common practice, with examples galore like season one of Kaun Banega Crorepati (KBC) or soap operas suchas ‘Kyun Ki Saas Bhi Kabhi Bahu Thi’ or even earlier epic programmes like the Ramayana and Mahabharata, wherein viewers would often set the time aside for their favourite shows.

     

    But can the same be said about radio? Does a radio programme have appointment listenership? Can they create shows of the calibre of ‘Satyamev Jayate’?

     

    One of the reasons why television programming has evolved is said to be only because of multiple channel offerings, similarly radio programming is also said to evolve with more channel offering, different genres and thus big property shows which could draw more loyal listeners.

     

    According to GG Jayanta, National Marketing Head, Radio Mirchi, a similar kind of experience exists on radio, albeit on a smaller scale, despite the fact that music is the largest chunk of programming on most radio stations. “The breakfast show, from 7am to 11am, usually tackles issues that resonate with local sentiments – be it the case of the battered girl child or petty corruption or question paper leaks or pot-holed roads. There are expert opinions, listener call-ins, diverging points of view et al – but the tone and manner is always upbeat and offers a ray of hope to the listener – entertaining, but not frivolous. It makes for engaging content leaving the listener with a feeling that there is someone listening to their plea. This interactivity is what makes radio powerful.”

     

    One of the challenges for radio today is the lack of differentiation in content as most radio stations arguably sound the same, especially in the kind of music they play. Gone are the days when radio programmes like ‘Binaca Geet Mala’ and ‘Sangeet Ke Sitaron Ki Mehfil’ were highly popular with listeners who set aside time to listen to these programmes.

     

    Anil Machado, National Programming Head, Radio One, felt: “Radio has a lot of appointment listeners, mostly during the weekends. Programming in every medium is a challenge today, but it depends on how you create a differentiation in your content. The moment a radio station begins to move away from the herd and create a differentiated content, it will attract more listeners and thus bring appointment listenership.”

     

    Nonetheless, those were the days when there were not as many FM stations and the television onslaught was yet to take place. Whether or not multiple frequencies in FM Phase III would create differentiated and innovative shows and shows that of a ‘Satyamev Jayate’s’ calibre, only time will tell. But radio broadcasters would like to disagree. “In fact, Aamir Khan was on air with RJ Jeeturaj on Radio Mirchi Mumbai, wanting to interact with the audience and gauge their reaction to the show. Therefore, a similar sort of programming can happen on radio or for that matter any medium but, what is important is the audience should feel enriched,” said Mr Jayanta.

     

    Radio broadcasters are of the view that such programmes have always been part of radio and that the next step forward for the industry should be attempts to create differentiation in content in order to create more appointment listeners. But there are some who feel that more than shows like Satyamev Jayate, what would work on radio are shows with localised content.

     

    Sarthak Kaushik, Director, Programming, Hit FM felt: “A radio version of Satyamev Jayate’s calibre will not work because radio is an intensely personal and a local medium, so essentially it is the local issues that work on radio. As far as appointment listenership is concerned, it is mainly depends on the maturity of the audience. Radio is one medium which allows a lot of experimentation, all one needs is courage to experiment with a programme and how confident one is to promote that programme.”

     

  • Reviewing the Reviews: Vanity Unfair

    Jaana Pehchana

    Key Cast: Sachin, Ranjeeta, Birbal, Vikram Sahu, Mehmood Junior

    Written and Directed By: Sachin

    Produced by: Ajit Kumar Barjatya, Kamal Kumar Barjatya

     

    One of the essentials of a movie sequel is that the original should have been a great hit, or at least a film that audiences remember with affection. And there really is no point for a sequel coming out 33 years later—by which time the original is not even a distant memory. So Jaana Pehchana, the very belated sequel to Hiren Nag’s Ankhiyon Ke Jharokon Se (1978), is just a vanity exercise for director Sachin Pilgaonkar, who was the toothy, curly-mopped, cutesy protagonist of the original, opposite Ranjeeta (who retired years ago after a fairly successful but also unremarkable career).

    The Rajshris, producers of AKJS and several small-budget, non-star-cast films in that period, have refused to change with the times. Their last monster hit was Hum Aapke Hain Koun in 1994, and for Jaana Pehchana, they have used the same strategy of releasing it in one moviehall – the delightfully retro Liberty. HAHK had picked up, thanks to its stars (Salman Khan-Madhuri Dixit) and popular music.  Jaana Pehchana mostly retreads the old movie in the form of lengthy flashbacks and reuses Ravindra Jain’s score that now sounds too high-pitched and annoying.

    Very few bothered to review Jaana Pehchana, and obviously it comes out rather poorly in comparison with the old film, which was hardly a classic to begin with—plucked as it was from 1970 Hollywood weepie Love Story. It’s not very likely that many of the current crop of reviewers would have seen the original—though they will get more than a glimpse in Jaana Pehchana.  And seeing Mehmood Junior, Birbal and the once ubiquitous Rama Kaka provides unintentional giggles.

    Our take: The stars have arrived in 2011 in decent shape, but did anyone miss Sachin and Ranjeeta so much as to want to see them romance again? The Rajshri style of filmmaking looks almost primitive by  today’s sophisticated standards, but it is also equally true that filmmakers of that period knew how to tell a story without relying on styling and digital tools.

    A generous two stars by DNA’s Akanksha Naval Shetye and Soumyadipta Banerjee (two to write on this film?) and a title that states: Jaana Pehchana is the cake rather than the icing.  “While many in their upper 40s will find it entertaining and won’t mind a nostalgic trip down memory lane, the younger cine-goers may find it hard to bear. Sachin clad in white shorts running around with Ranjeeta in pretty frocks on Juhu beach; Birbal and Jr Mehmood providing comic relief, in a way that – like the bell bottoms – only suited that decade, might evoke laughter, instead of get them to relate to the romance.”

    Mayank Shekhar gives the film one star and refers to the 50ish protagonists as “geriatric”—which is terribly ageist. Odd that only he remembers the Mallika Sherawat vehicle Khwahish.  He writes, “Calming allure of the earlier film comes through. The last time Bollywood remade Love Story, they’d turned the Ali MacGraw classic into a slut-fest on the rocks called Khwahish (2003), heavy publicised for its 17 kisses that the makers had kept count of. Sachin asks his girl out instead in more charming ways, “How about a date? Din mein dono saath saath rahenge, ghoomenge (We’ll spend a day together, travel around?) Any objections?” Not at all. Heroine’s floored. Hero drives her around in a two-seater convertible. This is ultimate comfort cinema in deliciously crummy Eastmancolor for those of a certain vintage that grew up appreciating film for its appealing simplicities.”

    Gaurav Malani writing in the online version of the Times of India notes, “So it doesn’t matter whether you have watched the original film since you get to see most of it in the sequel. But that’s precisely why the sequel doesn’t work for you either, because with the repeat telecast of the original, it sets a direct contrast and thereby highlights the mediocrity of the sequel.”

    Preeti Arora of rediff.com gives it two stars, but her headline says it all, ‘Jaana Pehchana is outdated.’  Not one to mince her words, she writes, “The characters live in a perfect world, a second opportunity for love is being handed to them but romance is something which happens once in a lifetime. Reaching out for it a second time around isn’t something selfless people indulge in. But in today’s times these perfect worlds do not exist. People do not give up on romance or life merely because one relationship ends abruptly.  It is these good-as-gold characters with outdated values in their simplistic uncomplicated world which make the film unbelievable.”

    Trade journalist Komal Nahata, whose reviews appear on koimoi.com, gives the film one star but is also rather kind, praising the script and the performances. But adds, “Today’s audience may not be enthusiastic to watch yesteryear actors Sachin and Ranjeeta play the central roles in what basically remains a love story albeit with a difference. Moreover, there is an entire generation of under-30s, which may never have seen Ankhiyon Ke Jharokon Se. Of course, the film can be fully understood even if one hasn’t seen the first part (AKJS) but again, the question arises: without having seen and loved AKJS, how many among the youth (which comprises a sizeable chunk of our audience today) would be keen to watch Jaana Pehchana?”

     

     

    Deepa Gahlot is a National Award-winning film reviewer and a veteran writer and commentator on the arts. She currently heads programming for Theatre and Film at the National Centre for the Performing Arts, Mumbai

  • RAM releases the second Radio Listenership sweeps for 9 cities

    By A Correspondent

     

    RAM (Radio Audience Measurement) service, launched by TAM Media Research in 2007 for the radio industry, has released the second round of its 9 cities Listenership Sweeps. The first round was released in October 2012, along with the announcement of the news on RAM panel coverage expansion to 9 additional cities – Ahmedabad, Chennai, Hyderabad, Indore, Jaipur, Kanpur, Lucknow, Nagpur and Pune. Prior to that, RAM operated out of the four Indian metros – Bangalore, Delhi, Kolkata and Mumbai only.

     

    As planned and announced, the second sweeps data is for the period of February-April 2012. This sweeps, released by RAM, will help the radio industry: broadcasters & media planning agencies, to assess the impact that radio medium is having on audiences in towns other than the major metros.

     

    Commenting on this release, LV Krishnan, CEO said: “The second roll out is as per timelines committed by us. After the first sweeps in October last year, the second one shows interesting changes in radio consumption patterns. While in some markets, radio consumption base itself has seen an increase, in others, granular trends like Out Of Home (OOH) listenership has seen an encouraging increase.”

     

    RAM’s second sweeps highlights certain interesting changes in radio consumption behaviour, not only across the 9 cities, but also in comparison to the October 2011 sweeps release.

     

    Some highlights are:

    • Ahmedabad, Chennai & Hyderabad are the growth markets. Southern metros have seen more than 30 per cent growth in listening thresholds while Ahmedabad has witnessed 15 per cent growth
    • Pune,Kanpur,IndoreandNagpur, have remained almost the same levels as the previous round

     

    Ahmedabad:

    • Average audience has seen a significant increase in morning while other day parts, remained at the same level. The peak at 9am has grown by 70 per cent.
    • The increase in morning day part is due to 10 per cent growth in cume reach levels.
    • Share of Out of Home listening has grown significantly. Particularly during travel/conveyance with share of listening growing from 9 to 16 per cent
    • Cume reach levels have gone up across all the days, while Sunday has seen a significant growth
    • Time spent levels have seen a very marginal drop across the days. Sunday remains the day with highest time spent level
    • While 90 per cent of cume reach build up was achieved by afternoon earlier, now 95 per cent of the audience can be targeted by the morning day part alone at a weekly level

     

    Chennai:

    • While cume reach levels have dropped across all the day parts, time spent levels have significantly increased. The maximum increase in time spent being in the morning day part.
    • The audience build up has got spread through the day. It takes up to afternoon day part to cover 95 per cent of all audience.
    • Share of SEC C’s listening has grown from 37 per cent to 43 per cent
    • Share of in-home listenership grows from 76 per cent to 87 per cent
    • While Saturday had the highest listenership thresholds the previous round, Sunday has grown beyond Saturday in round 2 – both in terms of cume reach and time spent

     

    Nagpur:

    • The weekly listenership levels have remained at the same levels as the previous round
    • The daily cume reach has gone up, with Sunday being the maximum, but time spent levels are down across all the days.
    • Share of In-home listening grows from 82-87 per cent

     

    Jaipur:

    • Drop in listenership thresholds across the day
    • The same reflects in the cume reach levels across the day parts
    • Dominance of SECDE in Jaipur’s listenership contribution is normalized. Proportionate contribution from all SECs to listenership
    • Morning day part continues to be the one where listenership peaks, though at a lower threshold
    • Sunday emerges as the one with highest cume reach and time spent levels
    • The audience build up has got spread through the day. It takes up to afternoon day part to cover 95 per cent of all audience

     

    Indore:

    • The listenership peaks have interchanged between mid morning and morning, morning peak emerging as the highest. Other day parts are more or less are at the same threshold
    • At a weekly level, morning day part emerges as the highest in cume reach and time spent
    • Mid-morning day part saw a reduction cume reach levels.
    • TSL level growth in night day part
    • Share of In-home listening significantly drops from 94 per cent to 71 per cent. Maximum growth in Car share of listening at 22 per cent
    • Saturday loses audiences as Sunday emerges as the destination of maximum listening
    • Faster cume reach build up across the day as 95 per cent of the audiences are reached by the mid-morning day part

     

    Hyderabad:

    • Across the day parts TSL has almost doubled
    • Evening and night day parts have grown significantly while morning has witnessed a drop in listenership levels.
    • The drop in morning day part is primarily due to drop in cume reach levels, while TSL has grown.
    • Contribution from SEC A & B increases
    • 6 per cent drop in share of in-home listening, reflected in the growth of listening share from car/travel/conveyance
    • Equal and high threshold of listenership across weekdays and weekends
    • Evening and night day parts add significant amount of audiences to cume reach build up

     

    Pune:

    • Similar listenership thresholds across the day parts
    • Mid-morning to night, there is a drop in cume reach levels, but across the day parts there is a growth in TSL levels
    • Contribution from different places of listening remains the same
    • Sunday emerges as the destination of highest listenership
    • Audience addition from afternoon grows in the current year

     

    Lucknow:

    • Listenership thresholds drop across the day parts, while night primetime holds the thresholds
    • While there is cume reach growth in some of the day parts, there has been TSL drop across all of them
    • Share of listening from 35+ age group comes down
    • Contribution from in-home listening grows from 89 per cent to 93 per cent
    • Cumulative audience on Sunday grow from 82% to 94%
    • Weekdays and weekends have similar thresholds of TSL

     

    Kanpur:

    • Marginal changes in day part wise preferences
    • Growth in consumption share fromSECABand 45+ age group
    • OOH share of listening grows from 23 per cent to 29 per cent, majority of the growth coming from car/travel
    • Sunday emerges as the clear leader in listening thresholds

     

    TAM is a joint venture between Nielsen Company and Kantar Media Research. Besides measuring TV Viewership, TAM also monitors Advertising Expenditure of Television, Print & Radio through its division AdExIndia. Since 2004, it extended its presence in the PR Measurement & Analysis space for Corporate/Marketing Clients by setting up a separate division – Eikona PR Measurement.

     

    In 2007, the joint venture introduced RAM (Radio Audience Measurement) service to track Radio Listenership for the Indian Radio Broadcast Industry. In year 2009, TAM launched a division, called TAM Sports that specializes in monitoring Sports Sponsorship ROI.