Tag: Mexico

  • Narcos: Mexico comes to India

    Narcos: Mexico comes to India

    MUMBAI: Michael Peña and Diego Luna, starring in the Netflix Original series ‘Narcos: Mexico’, along with showrunner Eric Newman, landed in Mumbai on Saturday night and have been busy exploring the maximum city!

    They have had a busy time with exploring the local  food pallet of the city which included coconut water in the by lanes of Matunga, meals at The Bombay Canteen and Trishna, exploring the rich Mumbai cultural explosion through the streets in the Kala Ghoda, Fort and Colaba. They visited the iconic Taj Mahal Palace to marvel at the magnanimous Gateway of India, while enjoying a piping hot glass of the famous Mumbai cutting chai.

    To welcome the stars in Mumbai, Netflix hosted them at Olive Bar and Kitchen in Bandra for an intimate Sunday evening attended by several Indian film makers including Zoya Akhtar, Abhay Deol, Vishal Bharadwaj, Siddharth Roy Kapur, Abhishek Chaubey, Anvita Dutt, Raja Menon, Anand Tiwari, Leena Yadav and Reema Kagti, and the team from Sacred Games – Saif Ali Khan, Nawazuddin Siddiqui, showrunner Vikramaditya Motwane, directors Anurag Kashyap and Neeraj Ghaywan and writer Varun Grover.

  • BARC week 27: Sony sports cluster captures all top five slots

    BARC week 27: Sony sports cluster captures all top five slots

    MUMBAI: The 2018 FIFA World Cup Russia continues its strong run for football viewership in India in its fourth week and guided Sony Pictures Network (SPN) India’s sports cluster to obtain all top five positions in the BARC all India ratings.

    The tournament that is being telecast live on Sony Ten 2, Sony Ten 3 and Sony ESPN channels and live streamed on SonyLIV app and website.

    According to BARC, Sony Ten 3 is at the top spot with 149384 impressions (000s) sum, followed by Sony Ten2 with 146283 impressions (000s) sum. Sony Six, Sony Ten1 and Sony ESPN were the other channels in the list in week 27 data.

    According to the broadcaster, the network’s sports channel and Sony LIV’s total cumulative reach of the tournament is 192.7 million viewers for 58 matches which includes the viewership of live matches, wraparound shows, highlights, repeats, surround programming of FIFA World Cup for a TG of All India CS2+.

    If the broadcaster’s live streaming numbers are to be believed, Sony crossed 96 million viewers across India on the sports cluster TV channels. The channel has got most of its live traction from West Bengal with 20.4 million reach followed by Kerala with 16.9 million reach. Rural market has also shown some interest in FIFA and clocked 63.1 million viewers

    According to BARC, top three matches till now were Nigeria versus Argentina, Japan versus Senegal and Korea versus Mexico with 5.1 million, 4.6 million and 4.3 million impressions across India for a TG above 2+.

    SPN India also informed that 47 per cent of the overall viewership is contributed by local language feeds like Hindi, Malayalam, Bengali, Tamil and Telugu.

  • Indus Vox Media to highlight Tuscany as food and wine destination

    Indus Vox Media to highlight Tuscany as food and wine destination

    MUMBAI: Indus Vox Media has launched a new travel show titled The Drinks and Destinations Podcast. The podcast will release a new episode every Friday and will feature locations such as Tuscany, Greece, Mexico, Rajasthan, Portugal and get an insight into their wines and cultures.

    The next episode goes live on 21 October and will provide a look at Tuscany as a great food and wine destination.

    With hosts Rojita Tiwari and Sameera Khan who will help to sail through a casual boozy brunch, a posh cocktail party, and a wine and cheese luncheon, while offering tips on a craft beer 101 or a trip to an exotic destination.

    “Our attitude towards travel has changed drastically over the last few years. We are now traveling a lot more and have opened up in terms of our choices and interests when it comes to travel destinations. With ‘Drinks and Destinations’ we want to give our listeners essential and interesting information and tid-bits that they won’t find anywhere as they all come from personal experiences. Our first episode received a great response and we can’t wait to see the audience reaction to what we have in store for them!” said Indus Vox Media founder and CEO Amit Doshi.

    The first episode went live on 14 October which gave listeners a sneak peek into the world and experience of global brand ambassador of Sula Vineyards – Cecilia Oldne.

  • Indus Vox Media to highlight Tuscany as food and wine destination

    Indus Vox Media to highlight Tuscany as food and wine destination

    MUMBAI: Indus Vox Media has launched a new travel show titled The Drinks and Destinations Podcast. The podcast will release a new episode every Friday and will feature locations such as Tuscany, Greece, Mexico, Rajasthan, Portugal and get an insight into their wines and cultures.

    The next episode goes live on 21 October and will provide a look at Tuscany as a great food and wine destination.

    With hosts Rojita Tiwari and Sameera Khan who will help to sail through a casual boozy brunch, a posh cocktail party, and a wine and cheese luncheon, while offering tips on a craft beer 101 or a trip to an exotic destination.

    “Our attitude towards travel has changed drastically over the last few years. We are now traveling a lot more and have opened up in terms of our choices and interests when it comes to travel destinations. With ‘Drinks and Destinations’ we want to give our listeners essential and interesting information and tid-bits that they won’t find anywhere as they all come from personal experiences. Our first episode received a great response and we can’t wait to see the audience reaction to what we have in store for them!” said Indus Vox Media founder and CEO Amit Doshi.

    The first episode went live on 14 October which gave listeners a sneak peek into the world and experience of global brand ambassador of Sula Vineyards – Cecilia Oldne.

  • Photograph food for Chef’s Table

    Photograph food for Chef’s Table

    MUMBAI: Food, glorious food. We love to eat it, we love to watch others cook it, and above all, we love to photograph it. From the director of Jiro Dreams of Sushi (David Gelb) comes Chef’s Table, a Netflix original documentary series, that is returning globally for a second season on Friday, 27 May.

    To celebrate season two, the search is on across Asia for the Chef’s Table official Instagrammer. The chosen Instagrammer will visit the six restaurants featured in season two (Mexico! Slovenia! Chicago! Brazil! San Francisco! Thailand!) and document their sensory experience through beautifully-set, mouth-watering and hunger-inducing Instagram shots.

    Sounds delectable? Join in to:
    1. Follow @Netflix_IN
    2. Post your best original food photo to Instagram
    3. Hashtag #MyChefsTable

    For more information, please head on to mychefstable.netflix.com, or refer to the appended image.

    The renowned chefs featured in season 2 of Chef’s Table include: Alex Atala (Brazil); Ana Ros (Slovenia); Dominique Crenn (United States); Enrique Olvera (Mexico); Gaggan Anand (Thailand); and Grant Achatz (United States). The series provides a rare, inside look at the lives and careers of some of the world’s best chefs today on their quests for sensory perfection.
    Chef’s Table season one is now streaming globally on Netflix.

  • Photograph food for Chef’s Table

    Photograph food for Chef’s Table

    MUMBAI: Food, glorious food. We love to eat it, we love to watch others cook it, and above all, we love to photograph it. From the director of Jiro Dreams of Sushi (David Gelb) comes Chef’s Table, a Netflix original documentary series, that is returning globally for a second season on Friday, 27 May.

    To celebrate season two, the search is on across Asia for the Chef’s Table official Instagrammer. The chosen Instagrammer will visit the six restaurants featured in season two (Mexico! Slovenia! Chicago! Brazil! San Francisco! Thailand!) and document their sensory experience through beautifully-set, mouth-watering and hunger-inducing Instagram shots.

    Sounds delectable? Join in to:
    1. Follow @Netflix_IN
    2. Post your best original food photo to Instagram
    3. Hashtag #MyChefsTable

    For more information, please head on to mychefstable.netflix.com, or refer to the appended image.

    The renowned chefs featured in season 2 of Chef’s Table include: Alex Atala (Brazil); Ana Ros (Slovenia); Dominique Crenn (United States); Enrique Olvera (Mexico); Gaggan Anand (Thailand); and Grant Achatz (United States). The series provides a rare, inside look at the lives and careers of some of the world’s best chefs today on their quests for sensory perfection.
    Chef’s Table season one is now streaming globally on Netflix.

  • ‘Teen Wolf’ returns on AXN

    ‘Teen Wolf’ returns on AXN

    MUMBAI: Get ready to howl, ‘Teen Wolf’ fans, because we’ve got a new breed of evil poised to strike and it’s safe to say it will have you counting down the days until the season four premiere on Friday, 27 June on AXN India.

     

    It’s time to kill the anticipation of the mystic revulsion series of ‘Teen Wolf’ created with the nail biting finale last season.  Referring to the tragic ending of season three and the anticipated triumphant return, season four of Teen Wolf is titled as “Can’t Go Back”.

     

    As we head in to season four, the very dark nature of this canny, engaging, addicting show will lighten up but only a little. The premiere Season, The Dark Moon, shot outside of Beacon Hills, begins in Mexico reflecting the time in the lunar phase in which the moon is the least visible in the sky and it’s often thought of a time of reflection and grief.

     

    This season, still healing from tragic losses, Scott (Tyler Posy), Stiles (Dylan O’Brien) & Lydia (Holland Roden) return to a new semester of school with more human worries than supernatural, while also trying to help their new friend, Malia (Shelly Henning), integrate back into society. But a surprising resurrection brings a new threat to Beacon Hills along with the emergence of another mysterious enemy known simply as The Benefactor.

     

    The eye brow raising opening sequence, based in Mexico, will take the “Teen Wolf” gang to a new direction. The storyline notches up to a new supernatural level as the resilient teenagers now have extraordinary challenges to face.  What’s more you ask? Well, Teen Wolf will be welcoming a new supernatural character and it’s said that this paranormal creature will huff and puff and blow Beacon Hills away with one giant roar.

     

    What is this new entity added to the acclaimed series? Well, it’s a “werejaguar,” and it’s played be the one and only Jill Wagner.

     

    Get set for an action packed series and emotional connect between the supernatural and humans.

     

    Join the pack in their redefining phase with the new Alpha on 27 June at 11 PM only on AXN India

  • ‘We hope to build the TNA brand in India’: TNA EXECUTIVE VP ANDY BARTON

    ‘We hope to build the TNA brand in India’: TNA EXECUTIVE VP ANDY BARTON

    For little over a decade now, Total Nonstop Action Wrestling, commonly referred to as TNA, has emerged a strong competitor to World Wrestling Entertainment (WWE). Headquartered out of Nashville, Tennessee, TNA is a privately-held American organisation which deals mainly in professional wrestling with other sources of revenue being live events, product licensing and direct product sales. In India to promote the brand in a big way, Andy Barton, executive VP of licensing and international television distribution, TNA, spoke to Sidharth Iyer of indiantelevision.com about TNA’s journey so far, the India connection and the road ahead.

    Excerpts from the conversation…

    As someone who’s been with TNA since inception, how has the journey been for you so far?

    My background is in the field of entertainment and it is very gratifying as what we do is very different from any other form of entertainment and we are a 360-degree company. We own and control everything; we produce the television content, we own and control our live events program, the licensing of consumer products, so our job is basically to produce content and monetise it.

    In this unique form of entertainment, most of the content that is seen around the world is exported from US. Save for Mexico which has two very vibrant companies and Japan that has about five, there is no home-grown wrestling other than America and Japan.

    How does it feel coming to India and what are your plans for TNA here?

    I had come to India last year and got talking to several people, and when we left mid-December 2012, we felt that the fit was so good with Sony Six – they are a young brand and so are we, compared to our respective competitors.

    The excitement they have generated with The Ultimate Fighting Championship (UFC) and some of the other properties they have, like the Indian Premiere League and NBA. The excitement they showed about marketing our product in those two or three hour long meetings we had last year and the way they spit balled ideas, we felt even they want what we are looking to do with our brand. The rest is history.

    How do you plan to promote TNA in a big manner in the Indian subcontinent?

    We have plans but the number one priority is to build the brand; we know that WWE has been on air here for over 15 years, so the first biggest step for us is to build the brand in the country and from a promotional stand point, we are looking for some local talent, as it will build connect with the audience much faster if they get to see a local wrestler fighting it out with the best in the business.

    This time round, we have come with a three city tour lined up over the next few days and have superstars like Kurt Angle and Gail Kim to promote the TNA brand. Finally, it boils down to the live events that we plan to conduct in the country to give that touch and feel factor to the fans, who will be able to build a better connect with their heroes and get to know them up close and personal.

    There is a huge opportunity in the live event space, because if you go back in time, WWE came with a live event to India way back in 2002 with RAW’s Tour of India. We at TNA do believe that we have to get on the ground and take advantage of the fact that we have such an interactive show. So, it’s all about building our fan base one by one.

    WWE has a substantial lead over us, but if you have a home depot at one corner, then you have a lows depot at the other. So, competitors bring out the best in each other; but if you really see the time that WWE has been in this space all by itself after WCW went out of business, we have provided that competition to them over the past 12 years and to keep doing that, it requires hard work, capital, advertising and commitment of our talent.

    Speaking about commitment, for our three city promotional tour in India, Kurt Angle, our hall of famer is here to promote the brand on his birthday and is away from his wife and two kids for the benefit of the company. I can’t ask for anything more.

    What are your views on the biggest competitor that you have in WWE? How are you pushing the envelope to gain a bigger market share?  

    Let me give you a global perspective; we at TNA play the long ball and this strategy relates to the entire world. If we look at the UK market – we have pushed ahead of WWE there and our show is watched more in comparison to WWE week in, week out. Ditto for Germany. In the US of course, it’s going to be tough to carve a space when there is already such an old and established brand and the same is with India.

    But looking at the history of the wrestling business, there have been a lot of brands that have come and perished like Extreme Championship Wrestling (ECW) and obviously World Championship Wrestling (WCW), that was tremendously successful but it just boggles your mind that a company that was making that kind of money and was hugely popular went bust.

    There is healthy competition and WWE’s product is different from ours and it’s all going to come down to hard work and it is imperative that we sign on an Indian talent. We have earlier ties with India when we produced ‘Ring Ka King’ with Colors which gave us production capability in the country. We also opened a wrestling school in India.

    As far as professional wrestling in India is concerned, there isn’t a lot that is happening in this space. I think if we can help with the infrastructure and help the people in India who are interested in getting into professional wrestling.

    It is a well known fact that many wrestlers move from one organisation to another from time to time and also make the move back; how does this work?

    Well, it’s something that depends completely on the superstar, in Kurt’s case – he has been with us for an equal amount of time that he was with WWE. Similarly, Gail Kim too was earlier with WWE, then made the shift to TNA, went back to WWE for a short stint, and has ever since been one of our leading superstars.

    Such movements don’t generally work for everyone, but if you take a look at our wrestlers compared to WWE, we are more on the road than them. So it is really encouraging for young talent that wants to be on the road for 300 days a year. And at the end of the day, it’s all about promoting young talent for the industry and keeping the roster fresh to keep the audience hooked to the show.

    That said, there comes a time in every wrestler’s time when he has fought everyone and there is no storyline left for him to play either the good guy or the bad guy. That’s when they plan to move across to other brands and refresh their own identity and again strike a chord with a newer set of viewers.


    As far as professional wrestling in India is concerned, there isn’t a lot that is happening in this space. I think if we can help with the infrastructure and help the people in India who are interested in getting into professional wrestling.

    We also look at how good the wrestler is with the microphone and his overall presence and accordingly align his image and expect things to work out, but we end up making mistakes many a times and do things to make it better.

    How does the company go about with different storylines and scripts? And how does it generally work?

    Like for soaps, we have writers and script writers, there are outlines given, ideas that come up and then there are ideas that are dismissed altogether. So the process is very similar to that in any other creative field.

    The process may start with the storyline or with the star, so we intend to use the potential of the talent by using an interesting storyline and seeing how the audience reacts to his personality. But the process is very similar to any other show, where we have people sitting around the table and just bouncing ideas off each other.

    Finally, what does the future hold for TNA globally and in India?

    Well, it’s only going to be growth, growth and more growth. WWE has been in its incarnation ever since Vince Junior took over from his dad nearly 30 years ago while we have been around for 12 years. So, I think it is for us to create the legacy of an entertainment company that will last and thus, we need to sign more and greater talent, more live events, better storylines and so on.

    We have no off-season, we work all 52 weeks a year – so the toll that it takes on the staff is immense – from those who write the show, to the crew that works on VFX and post production, from the ground staff to the wrestlers and referees.

    In terms of India, this is the genesis of something big. I see many more visits to the country; we will be ensuring that we are in constant touch with our fan base out here through various initiatives, and I hope that within a short span of time, we will be able to build the TNA brand and further hold live events here that will be telecast globally. We hope to bring down our superstars and get them to put on a full three hour show and sign autographs and interact with fans here.

  • FremantleMedia has two new CEOs for its Latin America Offices

    FremantleMedia has two new CEOs for its Latin America Offices

    MUMBAI: There’s change atop at FremantleMedia’s Latin America office. FremantleMedia, one of the largest creators, producers and distributors of television brands in the world, announced the appointment of two new Chief Executive Officers (CEOs) for its Spanish and Portuguese-speaking operations in Latin America.

     

    Daniela Busoli has been promoted to CEO FremantleMedia Brazil, based in S?o Paulo, while Adrián Santucho becomes the new CEO of FremantleMedia Mexico, US Hispanic and Pan-Regional Productions, based in Miami.

     

    The new CEOs will directly report to FremantleMedia’s Chief Executive Officer, Cecile Cout-Frotaz and will be responsible for the overall management of the day-to-day operation of their businesses and will drive the strategic vision for operations in their respective markets.

     

    The CEOs will develop and produce programmes for broadcasters in their territories and will work closely with FremantleMedia International’s licensing and sales operations.

     

    On announcing the appointments, Cecile Frot-Coutaz, FremantleMedia’s CEO said in a release: “I am delighted to have Daniela and Adrián leading our operations across Latin America and the Hispanic US. Both are well-respected executives, and their drive and experience will really help FremantleMedia exploit the many opportunities available to us as we look to grow our business in these incredibly vibrant markets.”

     

    Busoli and Santucho joined FremantleMedia from Endemol in Latin America and boast extensive experience in working across well-established formats in the entertainment industry. They will take up their respective posts with immediate effect.

  • IRF 2013: James Cridland: Indians love their radio

    IRF 2013: James Cridland: Indians love their radio

    James Cridland is a radio futurologist and managing director of Media UK and Radio DnS. He was the Digital Media Director for Virgin Radio in London in 2001; in 2007 he joined the BBC to work on the BBC iPlayer for Radio; he also worked at PURE, Audioboo, UK Radioplayer. He is a trustee of the Radio Academy, and sits on the International Radio Festival Advisory Board.

    At the recently concluded International Radio Forum (IRF 2013) at Zurich, Cridland had a session on “How People Are Listening to Radio in Today’s Multiplatform World – and what your station needs to do about it.” This is part I of a two part summary of Cridland’s session by The Indian Television Dot Com Pvt. Ltd. group South India Head Tarachand Wanvari. Excerpts:
    New Broadcast Format

    Cridland began by saying,”Let us talk about how people are tuning into radio in today’s world. There is the internet, FM and AM, there is a new broadcast format – DAB+ or HD radio and then radio broadcast through the TV that is strongly visible in a many of countries. The UK is one of the countries that broadcast radio in all the four formats like most European countries. In terms of popularity, FM is first; internet is the third most popular in terms of number of people tuning into live radio, but it’s alongside TV as well.”

    Cridland revealed that based on the latest figures, for the first time ever in the UK’s radio history internet streaming of radio stands way above radio over TV. “This counts anything and everything that anybody classifies as being a radio station. This is from a pretty robust census survey. We have noticed something interesting here, FM radio is broadcast radio, TV is broadcast, DAB is broadcast, as is HD and there is a real story here in terms of the continuing strength of broadcast.”

    However, Cridland admitted that both AM and FM have seen slow decline over the last five years while DAB in the UK has had a slow increase as have TV and internet radio, but the last two were still very small.

    “There is an awful lot of talk about how internet radio is the future of radio. The reality right now is that internet is a quite small part of radio consumption at present. But no predication can be made for next 5-10 years. Right now broadcast is preeminent in terms of radio consumption,” said Cridland.

    “In the UK, only 20 per cent of radio listening is in car, DAB is pre-installed in 33 per cent of all new cars. In the UK we have no pure play radio stations that are internet only. One of the reasons is a very strong public service broadcaster (BBC), and also the music rights in the UK are expensive”, said Cridland.

    “The US is quite different, where comparatively, 50 per cent of all radio listening is in cars. Pandora is preinstalled in a third of all new cars, and if it were a radio station. It would have a seven percent of the market share in the US. Over fifty percent of Pandora’s consumption is on mobile. HD radio is preinstalled in thirty percent of all new cars and Sirius XM is pre-installed in a number of new cars, but a majority of people actually don’t buy the service once the free period lapses”, further revealed Cridland.

    Comparing the various landscapes

    “Actually when you start looking at the US for radio consumption, then it is very different, because the US has a very different media landscape. HD radio works brilliantly in the US. It should work brilliantly in Canada and in Mexico as well,” said Cridland.

    “In the UK, the owners of the radio ratings service are all radio stations. The same happens in Belgium in France and across most of Scandinavia. The US is a very competitive radio market and all the players don’t work together. That’s why, HD, a good protective technology works brilliantly for the US and fits in with the differences in media consumption there. “

    “In Europe it is a different story and in India too it’s even more different. In India, they love their radio. Radio has a future there because 94 per cent of the listeners in Mumbai tune into radio on mobile phone, only 16 per cent on radio receiver. So radio consumption is very different, depending on where you go across the world,” said Cridland.

    New broadcast platform

    Cridland said, “New broadcast platforms create choice. You can see that if you are a program maker, all of a sudden there is a bunch of additional choices that you can actually have. Loads of additional choice is great news if you are making content because it means that there are more places that want to buy and air your content that enables you to be heard by more people”
    “You can see that all of a sudden we have radio stations for specific niches. Planet Rock is one good classic example of a Rock station that never gets onto FM. Then a religious radio, Premiere Christian Radio and the United Christian Broadcasters; we have got additional music choice from services such as Absolute Radio which is actually growing their business and additional the public service broadcasters business as well.”

    Taking a quick look at broadcast versus internet, Cridland said, “I believe podcasting and on-demand content is where radio has headed. On-demand is a great way of getting more people tuning in, but we can only forget about the power of live radio at our peril.”

    Countries exploring new broadcast platform

    “There are a number of examples where internet and broadcast are working together. For example, Kronehit -a CHR station in Austria. They have a bunch of additional services online-from Kronehit Love which plays love songs to Kronehit Balkan Bees, because they have a lot of people from the Balkans who’ve moved over into Austria so they have produced a radio station especially for them. They can’t do this on FM because they can’t get additional licenses, but they can do it on things like DAB+ and on the internet world, and they also have their own personalised music,” informed Cridland.

    “Similarly if we go to Australia, Southern Cross Austereo- one of the largest radio groups in the world broadcast has a bunch of radio stations across Australia in FM, AM and DAB+. They also have Songl which is their equivalent of Spotify,” added Cridland.

    “In Turkey – Spectrum Medya runs a bunch of radio stations. You have to register if you wish to listen to those radio stations online. Once you have registered then the ad-breaks online contain specific advertising for your type of demographics. It is a great way of making additional revenue, but only possible on the internet,” opined Cridland.

    “In the US there’s a company called Entercom that runs a bunch of radio stations. They work with a company that helps them sell advertising online for which you don’t need to register. All you have to do is to visit their websites and listen. They have teamed up with a company that knows the websites that you have been to. So,if a person has booked a flight to New York, they’ll give him an ad for hotels in New York. It is a great way of earning more cash from your advertiser,” felt Cridland.

    “The cost of broadcasting on the internet to a larger audience is significantly more than broadcasting over FM or HD or DAB+. There is a pretty low threshold where the internet suddenly becomes quite expensive. I am not saying that internet is a bad thing. In fact, internet and broadcast do work together really well, but it is going to be a long time before internet gets even to twenty percent of the listeners” revealed Cridland.

    Elaborating further on the way radio and internet work together, Cridland said, “The States have really cracked this. There’s Nextradio, it uses FM to get the audio from an FM station with a ludicrous name of Hack FM and it is using the internet to get additional information on a mobile device. One can click to play this song and click to get more information and more actions such as sharing and liking. All of this is available through HD radio.”

    “Analogue FM will never die out. It’s a noble aim for any country to try and phase out FM, I can’t see it happen. If I was a pirate radio broadcaster, I’d be rubbing my hands in glee at that prospect. FM does a great job if you can get an FM license.”

    Radio receivers

    “The problem is that radios are rubbish. In a typical radio, when you turn it on, it asks you if you want FM radio or DAB+ or do you want internet radio. It is almost as if it is a set of different radios in one unit sharing one speaker and they all work differently which is bizarre. The TV industry has completely got the user experience sorted out.”

    Speaking on standards on radio receivers, Cridland said that there were no standards. If someone was to buy an FM radio in the US and brought it to Europe, it wouldn’t pick up half the radio stations and the ones that it did pick up would sound rubbish. In Japan, European FM radio would probably pick up half the radio stations there, they used a different waveband. Cridland said that AM works differently in the US as compared to Europe. There were no worldwide standards. “We need to have a continental standard, and the continental standard for Europe is DAB+, and a DAB radio stations is also available on a DAB+ receiver.”

    (Part II, about how people are listening to radio on the mobile, will be published soon…)