Newcastle university mba consultancy project 2016

Newcastle University MBA Management Consultancy Project April 2016

James Kyne, Amy Orr, Kate Sheerin, Talieh Bonner

Table of Contents Introduction ....................................................................................................................... 4 Situational Summary .......................................................................................................... 5 Retail Location ........................................................................................................................... 6 Local Competition: ..................................................................................................................... 7

Key Themes ........................................................................................................................ 8 Sense Making Process ........................................................................................................ 9 Sense Making: Stage 1 ................................................................................................................ 9 Sense Making: Stage 2 ................................................................................................................ 9

Collaboration.................................................................................................................... 15 A Guide to a Coffee Collaboration .............................................................................................15 Shop Use Class .............................................................................................................................. 15 A little context for Coffee Collaboration ....................................................................................... 16 Approaching Colour Coffee ........................................................................................................... 17 Negotiating the Arrangement ....................................................................................................... 19 Structuring the Arrangement ....................................................................................................20 Further Legal Help ......................................................................................................................... 21

Awareness Building through collaboration and exhibition................................................ 22 Existing Connections: ................................................................................................................22 Wider connections: ...................................................................................................................23 Additional exhibition/gallery partnerships to explore: ..............................................................23 Exhibition space connections to explore: ...................................................................................24 Commercial and mutually beneficial collaborations ..................................................................24

Utilising the Online Space and Marketing Tactics ............................................................. 25 Awareness Strategy .......................................................................................................... 25 Branding ...................................................................................................................................25 Brand Personality ......................................................................................................................26 Branding recommendations: .....................................................................................................27 Brand Personality ......................................................................................................................28 Collaboration Branding .............................................................................................................28 Marketing Activities ..................................................................................................................29 Schedule ........................................................................................................................................ 29 Website ......................................................................................................................................... 29 Social Media .................................................................................................................................. 29 Facebook ....................................................................................................................................... 30 Twitter ........................................................................................................................................... 30 E-mailing lists ................................................................................................................................ 31 Local Press/Media ......................................................................................................................... 31 Online Shop Strategy .................................................................................................................... 31

SWOT and PESTLE Results................................................................................................. 32

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SWOT Analysis – Concept 1: Retaining the Shop Space as Shop/Gallery ....................................32 Strengths ....................................................................................................................................... 32 Weaknesses .................................................................................................................................. 32 Opportunities ................................................................................................................................ 33 Threats .......................................................................................................................................... 33 PESTLE Analysis – Concept 1: Retaining Shop as Shop/Gallery ...................................................33 Political .......................................................................................................................................... 33 Environmental ............................................................................................................................... 33 Social ............................................................................................................................................. 34 Technological ................................................................................................................................ 34 Legal .............................................................................................................................................. 34 Economic ....................................................................................................................................... 35 SWOT Analysis – Concept 2: Transforming Shop into ‘Art Café’ .................................................35 Strengths ....................................................................................................................................... 35 Weaknesses .................................................................................................................................. 36 Opportunities ................................................................................................................................ 36 Threats .......................................................................................................................................... 36 PESTLE Analysis – Concept 2: Transforming Shop into Art Cafe ..................................................37 Political .......................................................................................................................................... 37 Economic ....................................................................................................................................... 37 Social ............................................................................................................................................. 37 Technological ................................................................................................................................ 37 Legal .............................................................................................................................................. 37 Environmental ............................................................................................................................... 37

SMART Goals .................................................................................................................... 38 Short Term SMART Goals ..........................................................................................................38 Medium Term SMART Goals......................................................................................................38 Long Term SMART Goals ...........................................................................................................39

Conclusion ........................................................................................................................ 39 Appendix One................................................................................................................... 40 Appendix Two .................................................................................................................. 42 Appendix Three ................................................................................................................ 45 Appendix Four .................................................................................................................. 46 Appendix Five ................................................................................................................... 47

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Introduction In April 2016, four members of the Newcastle University MBA cohort met with key staff and volunteers at Chilli Studios to act as Management Consultants on a short term project (4th8th April 2016). From the initial meeting, the following objectives became apparent: 1) To understand the importance and the impact of the services that Chilli Studios offers to its members and community 2) To explore the various options to allow Chilli Studios to become self-sustainable from 2018. The project was to take into account existing resources, barriers and obstacles, and to exploit potential opportunities to maximize profitability and increase exposure of the brand and the charity’s profile.

This consultancy report provides a proposal to transform the current retail offering into a combined art and coffee concept in order to increase revenue and diversify and maximise income streams. The following report outlines a clear strategy to take Chilli Studios into a new stage in their business development. The step-by-step guide offers a practical and implementable suggestion to the charity’s current business challenge, focusing on improving the commercial viability of the organization.

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Situational Summary The situation of Chilli Studios within the heart of Ouseburn, a distinctive creative district of Newcastle, close to the Quayside and within short walking distance from the city centre, provides a highly appealing position for the proposed coffee concept. As a targeted district for urban regeneration, including mixed-use, residential and student developments spanning 140 potential development sites, the area offers significant potential for future population growth and a concentrated student population. Currently, the population of Ouseburn is 11,352 with a notably young demographic with 51% of the local population aged between 15-24. Surrounding areas include Byker, with 12,206 residents with a higher age median and 15% within this age bracket. South Heaton has a population of 9,964 representing 39% aged 15-24 (ONS, 2011). This population is forecast to increase due to the amount of residential developments in the pipeline with a ÂŁ100 million investment in residential and student schemes, including:

Residential developments

Complete

The Malings

76 new homes

Foundry Lane

42 new homes Pipeline

Lower Steenberg’s Yard

Mixed use of 34 homes and office space

Spillers Quay

100 apartments

Malmo Quay

80 apartments

Table 1: Residential developments

Student accommodation

Capacity

Union Square, Stoddart Street

233 beds

The Foundry, Clarence Street

410 beds

Portland Green student village, Shieldfield

275 beds and 338 beds

Glass Works, Coquet Street

270 beds

Stepney Yard, Stepney Road

266 beds

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Melbourne Apartments, Melbourne Street

99 beds

The Studios, Howard Street Knoll Court, Tower Street Student Castle, Melbourne Street Table 2: Student developments

Retail Location The area of Ouseburn is renowned as a trendy and bohemian part of the city with a distinctive and artistic atmosphere, drawing in commercial enterprises and visitors alike.

There is a markedly high concentration of creative businesses with the area synonymous with the arts and media sectors. There are nearly 400 businesses employing over 2,000 people in Ouseburn, representing a stable commercial catchment. The location composes the largest creative cluster in the North East, mixing the arts and media (for example, Hoults Yard), including office space for creative enterprises. This presents a rich and diverse mix of potential consumers seeking innovative and independent arts and coffee venues.

The retail location occupies a prominent position on one of the main approach roads into Newcastle city centre, the A193. The road serves as a key bus route, with currently nine bus services having stops immediately outside the building. This presents critical opportunity for not only commuters transitioning to and from their daily routines, but also for those waiting for public transport and seeking a ‘pit stop’. Further, both the Manors metro station and train station are situated a brief walk away. There is a clear lack of similar offerings along this commercial route with no coffee shops within the immediate vicinity. Whilst there is a network of art galleries and coffee shops in the surrounding area, some of which are well established, the proposed coffee concept is differentiated due to its target audience being commuters and it is to be positioned as a convenient, accessible and informal art-coffee ‘pitstop’.

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Local Competition: 

The Tower Café, Stepney Road, NE2 1TZ



Ouseburn Coffee Company, Foundry Lane Studios, NE6 1LH



The Biscuit Factory, Stoddart Street, NE2 1AN



Ernest, Boyd Street, NE2 1AP



Ouseburn Farm Café, Ouseburn Road, NE1 2PA



The Cycle Hub, Quayside, NE6 1BU



Clocktower Café, Hoults Yard, NE6 1AB



Cook House, Ouse Street, NE1 2PF



Steven Stories Café, Lime Street, NE1 2PQ

The Ouseburn area has a thriving creative scene, attracting 400,000 visitors per year, drawn year-round by a unique mix of small-scale venues catering to the alternative arts, heritage and music. The events scene is growing with notable features including the Ouseburn Open Studios and Ouseburn Festival, whilst during the summer months music festivals boost visitor numbers such as Evolution music festival at Spillers Quay, and Ballast Hills Park attracting 30,000 visitors in May. Ouseburn also has strong representation in Heritage Open Days, Design Events and Late Shows. The drive for improving the arts, music and heritage offering in the area is clearly active, with a proposal for a coordinated approach to cross marketing and event planning for a year long itinerary. This has the potential to generate a consistent stream of custom to the proposed coffee concept.

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Key Themes From our Interviews with key Staff and Volunteers at Chilli, What Major Questions and Themes Began to Develop?  Limited time resource & Limited money resource  How to increase the exposure of the shop space; and increase visitors to it?  How to meet financial objectives?  How to inventory the shop, and what to sell?  How to deal with complex questions of intellectual property?  The Difficulty of pricing the art?  Location & demographics could present a challenge to the regular / predictable sale of art?  The possibility of selling mass produced items to an impulse buying market  Is there a way to use the upcoming “Roots & Wings” promotional animation?  What is the scope for collaborations?  What is the scope for corporate collaborations?

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Sense Making Process Sense Making: Stage 1 How we then attempted to find commonality between themes, and to group together and converge the various ambitions…

Broadly, there are 3 resources available to Chilli:

Space

Money

Time

Of these, Money and Time are stretched and at a premium. Space is available – and is currently being used as an art exhibition space and shop. Of the 3 broad resources, space currently seems to be the most flexible at the present time – and so we have primarily focussed on how to creatively use the shop space in order to develop a suggested sustainability strategy for Chilli’s future.

Sense Making: Stage 2 Following initial research and some long discussions; our ideation and elimination process (please see the photos and Appendices attached to the report for examples) for a future Strategy for Chilli began to take shape.

We were left with two competing concepts for use of the space: 9

Online Strategy

SWOT

Art Gallery & Shop

PESTLE

Collaborations Strategy

AND:

Online Strategy

SWOT

Art Cafe

PESTLE

Collaboration Strategy

Running through both of these potential approaches was our awareness of:

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Arhitecture Project & Roots Wings promo

Community Contact & Engagement

Shop Opening Hours Review

Sustainability

Therefore, we used the SWOT and PESTLE models as a method of identifying as many issues, pro’s and con’s to each concept. The results of that lengthy process will be summarised later.

On discussing the results of the SWOT and PESTLE analysis; it started to become clear to us, that in order to give some useful insights to Chilli, we might need to go to the very core of the shop concept. We might need to question why a retail space was desirable and what it hoped to achieve for Chilli.

Testing our Initial Conclusions: In order to test our assumptions, we reversed the order in which the vast majority of companies evaluate their product offering – from:

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What?

How? Why?

ďƒ¨ i.e. Most companies start with what they already do and make what they already make; then try to build a market around that; and then attempt to connect that with their core objectives‌ To:

WHY? HOW? WHAT?

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 i.e. We wanted to start again with the reasons as to why we want to create a new offering / aspect of the Chilli organisation; then consider how we might do this so that this core objective is retained throughout the strategy and formulation of the offering; thus, in order to find what we can then offer which would be most likely to find as large an audience as possible in Chilli’s particular locality…

Using this reversed method, we thought about: (a) Why it was important to Chilli to have a public space – (i)

To maximise community engagement;

(ii)

To achieve a stable and predictable income stream;

(iii)

To present a public face of Chilli

(iv)

To gain as much exposure as possible

(v)

To strive for sustainability.

(b) With the above in mind, and specific to the shop space and location – How could we then achieve: (i)

Maximum traffic through the space;

(ii)

Maximum opportunity for (perhaps) small, yet regular, donations;

(iii)

Maximum number of people seeing what Chilli does;

(iv)

Maximum and predictable income revenue; but

(v)

With a simple costing and Inventory structure.

(c) This brought us to ‘What’… was a dedicated Art retail space the answer? Or could we use the space another way – whilst staying true to the ethos, aims and aspirations of Chilli, and without the need for time consuming or costly processes…

Preliminary Conclusion: Steps (a), (b), and (c) above brought us back to the potential to use the space as an Art Café… Keeping the themes of:

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We then began to consider whether the best way to achieve such an offering would be through Chilli ‘going it alone’ or via existing brand associations and expertise? Thus we began to look at the idea of collaboration…

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Collaboration

A Guide to a Coffee Collaboration Shop Use Class As a preliminary issue, we think Chilli will need to clarify the permitted Use Class of the shop space for the purposes of planning permissions: 

From our enquiries with Chilli, we are aware only of the terms of the commercial lease with SVP – which states the shop space may be used as “…an art gallery and retail space…”



We also understand that the wider Blackfriars building holds an entertainment licence – but is unclear if, or to what extent, this will cover the shop space.



In any event, the terms of the lease suggest that the Use Class of the shop space – for Council registration and planning permissions purposes – is likely to be Class A1 at present.



It will be important to check this point because, even if Chilli ultimately decides to keep the shop in its current form (rather than switching focus to an Art Café Pit Stop business model), because coffee and food items are already being served to the public from the location.

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

If the Use Class is A1, then Chilli will need to act quickly to clarify their use and potentially register with Newcastle City Council as well as applying to alter the Use Class to a more suitable category permitting service of food and beverages.

If Chilli has any doubts or questions regarding this issue, it is recommended that they seek legal advice from a commercial property specialist; as well as entering into discussions with Newcastle City Council Planning Office (whom are very helpful).

A brief guide to clarifying or altering the Use Class of the shop with Newcastle City Council is provided at Appendix 1.

A little context for Coffee Collaboration Much of our thinking in relation to re-focusing the shop space operations around an Art Café / Pit-Stop offering is explained in other sections of this report.

For the current section, which is perhaps more technical in nature, further context is given by the trends observable in the operating accounts spreadsheets of the shop available to date: 1. November 2015 to February 2016:  There were 76 individual sales recorded during this period;  36 of these sales were café related – or 48%;  28 of the sales were Chilli Art related – or 37%;  The revenue to Chilli generated by café related sales was £165;  The commission revenue to Chilli generated by Chilli Art sales was £173.40

2. February 2016 to March 2016:  There were 51 individual sales recorded during this period;  33 of these sales were café related – or 65%;  11 of these sales were Chilli Art related – or 21%;  The revenue to Chilli generated by café related sales was £87.50;  The commission revenue to Chill generated by Chilli Art sales was £99.60 What can we extrapolate from the two accounting periods to date? It seems to us that the following conclusions are evidenced by the figures: 16

(a) Café related sales comprise a considerably higher proportion of sales than the Art – and this trend appears to be climbing and widening in favour of café related purchases; (b) Thus, the café related sales, although smaller, represent a more reliable and consistent revenue stream; (c) Chilli does not currently undertake costing exercises for the Art being sold. However, if we were to take to the numerous Studio overheads, the materials, and the shop costs all into account and then apply these as part of a costing exercise to the Commission revenues from the Art, it seems a fair conclusion that the NET profit being generated by the Art will be significantly diminished; (d) On the other hand, the café related sales are very easy and consistent to cost, and as a proportion of their sale price are likely to generate a decent rate of return. (e) With © and (d) above in mind, it is interesting to note that the revenues generated by the café items have still been very similar to the art revenues – despite these being much cheaper items. The volume of sales has closed the gap.

These conclusions helped lead us to our recommendation that – in order to achieve a regular, stable, predictable, and profitable (on the basis of costing and overhead absorption allocation) income – the café related business appears more effective.

Therefore, if the café business could become the primary focus; and could be invigorated by a new brand association and experience, then there may be an opportunity to considerably increase traffic into the shop and sales of café related items – and, as a consequence of increased traffic, impulse and art sales as well.

Approaching Colour Coffee The proposal in principle is simple:

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Chilli Charitable Brand

Colour Coffee Brand

Mutually beneficial Concept Cafe

Why? Because:  Colour Coffee already have connections with Chilli Studios;  Colour Coffee does not have a location in the potentially lucrative (‘Pit-Stop’) location of Chilli Studios;  Colour Coffee is not averse to new and exciting ‘concept’ coffee retail and locations;  Chilli Studios would benefit from selling branded Colour Coffee;  Chilli Studios would benefit from Colour Coffee’s expertise in running cafes;  Assets / set-up costs can be equitably pooled between Colour Coffee and Chilli, making the venture relatively cheap and easy to begin;  Revenues and profits can be shared – and treated in the most tax efficient manner due to the charitable associations and purposes brought about by Chilli’s involvement.

The idea is to use the existing positive links between Chilli and Colour Coffee / Pink Lane Coffee in order to explore the scope for a collaboration in the Chilli Studios shop location.

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Negotiating the Arrangement For Colour Coffee’s purposes (and, ultimately, for the protection of Chilli’s charitable entity and purpose), it may be helpful to think of a collaboration in terms of a Joint Venture.

The term Joint Venture describes a commercial arrangement between two or more economically independent entities.

The Parties involved may choose to enter into a joint venture to share costs on a project or as part of their strategic planning in a particular market.

The parties will need to decide whether to establish a separate legal entity as a vehicle for the joint venture. If so, then the four basic legal forms are: (a) Separate Limited liability company. (b) Limited liability partnership. (c) Partnership (or limited partnership). (d) A purely contractual co-operation agreement.

For Chilli Studios – in the first instance it is suggested that either option (a) or option (d) might be appropriate.

In basic terms, as between Colour Coffee and Chilli Studios, we imagine a collaboration arrangement whereby each party will agree to supply certain of its assets, time, brand, and expertise to the venture:

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Coffee, Brand & Equipment (Colour)

Venue, Staff & Art Brand (Chilli)

Share of Proceeds on every coffee sold

Charitable Associations & Branding (Chilli)

(Both) Barrista Training (Colour)

Structuring the Arrangement Assuming that both parties are amenable to discussing the principle of a joint venture, then the main considerations and discussions between Chilli and Colour coffee will concern the joint venture agreement and the company’s articles of association.

These discussions – and the documents which eventually are produced as a result – should cover, between them, a number of aspects of the joint venture company and its day-to-day operations, including: (a) The scope and purpose of the joint venture. (b) How the joint venture will be managed on a day-to-day basis. (c) The division of power between the parties and the extent of their influence over the management of the joint venture. (d) What assets and contributions each party will put into the venture. (e) How to deal with disputes and deadlock between the parties. (f) The circumstances in which the joint venture will terminate, including the mechanics and implications of termination.

For a detailed worked example of approaching collaboration negotiations and the issues which Chilli should look to discuss, please see Appendix 2.

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Further Legal Help As mentioned to Bob in earlier discussions, we have forged a potential link with Muckle LLP – whom will be happy to have an initial consultation with Chilli concerning charitable legal issues. Further assistance may also be offered depending upon the relationship forged.

Certainly, Muckle LLP are active with a CSR fund and so may be able to offer wider assistance to Chilli in its ventures. The contact for Chilli in this regard is: John Devine (Head of Charities Team) Tel: 0191 211 7905 Email: john.devine@muckle-llp.com When contacting John, please mention Stephanie Coulson – as she is our internal contact with Muckle LLP and whom kindly spoke to John on our behalf.

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Awareness Building through collaboration and exhibition The second dimension of the strategy is focussed on potential collaborations with local arts businesses, i.e. hubs/exhibitions/galleries. From our interviews with key staff at Chilli Studios, it became apparent that Chilli Studios has a number of solid existing local (and national) connections in the area which it is utilising. However, there seems to be great potential to explore this further, the key objectives of this strategy being: 1. To increase the number of distribution channels/space to maximise art sales at minimum cost 2. To maximise Chilli Studios exposure and increase awareness of both the charity’s aims, reasons for existence, and expose talent

Existing Connections: • Ouseburn based: Holy Biscuit (Annual exhibition held there as well as a few of Chilli members showing work in separate shows. Great relationship with venue) • Northern Print (Great relationship. Chilli have had joint projects and members have been on 3 month placements with Northern Print. Also part of the Open studios) • Open studios http://www.ouseburnopenstudios.org/ . Chilli have recently joined this officially to boost connections and visibility alongside more well-known Organisations. Chilli Members include The Biscuit Factory, Chilli Studios, Northern Print, 36 Lime Street, Jim Edwards Studio Gallery and Mushroom Works.

• Lateshows http://www.thelateshows.org.uk/home.html . Chilli have taken part formerly but would be great to develop this further.

• Ouseburn Trust, Ouseburn Futures, Ouseburn Festival • Dave Wild pottery: Chilli connected for larger ceramic projects not possible in the studio small kiln.

• Star and Shadow cinema : https://www.starandshadow.org.uk/ Chill held numerous events together and showcased the Chilli studio film "Apples is Apples" alongside a mental health focused programme of films. https://www.youtube.com/watch?v=NmUftc2w8S8 • Reid framing, Factory framing, Arts centre framing

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•

Joiners - Under the bridge Charity http://www.bykerbridge.org.uk/tyne/utb.html

Wider connections: • North East Arts Studio Partnership (NEASP): Arts 4 Wellbeing (South Shields), Bill Quay Arts Studio (Gateshead), Artrium (Hartlepool), Chilli Studios (Newcastle) and North Tyneside Art Studio. http://www.neasp.org.uk/ • Baltic - Community gallery: Showcased partnership work with NEASP "BARTER" project.

• St Nicholas Hospital Newcatsle - Chilli Studio began here with the Art room more than 8 years ago. Chilli still carry out outreach here and have great connection with The Recovery Centre (now based at Broadacre House).

• Mental Health Concern http://www.mentalhealthconcern.org CEO sits on Chilli board • Launch pad http://launchpadncl.org.uk Mental Health Charity also sits on Chilli board and collaborates on numerous projects and opportunities

Additional exhibition/gallery partnerships to explore: •

The Shipley Gallery, Gateshead

•

Laing Art Gallery

•

Tyneside Cinema – there is a dedicated exhibition space

•

Workplace Gallery, Gateshead

•

The Northern Gallery for Contemporary Art, Sunderland

•

Culture Lab

•

Northumbria University – Galleries inc

•

Newcastle University – Hatton Gallery

•

Gallery North

•

North East Art Collective

•

Links Art Gallery- Whitley Bay

•

Globe Gallery - Globe is a contemporary arts organisation with artists and the community at its heart. It seeks to engage people from all backgrounds by forging relationships with contemporary art, developing creativity, confidence and ultimately social capital in everyone involved.

•

Cobalt Studios

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•

Sanctuary Artspace, Gateshead

•

36 Lime Street, Ouseburn

•

The NewBridge Project

•

The Branch, Gateshead

Exhibition space connections to explore: •

The Journey

•

Bunker Coffee House

•

Pink Lane Coffee Company

Commercial and mutually beneficial collaborations The institutions listed below are potential mutual collaborators who may be interested in exhibiting in selected works, and even potentially paying or hiring pieces. Institutions such as these often display art work in public spaces to create interest and to improve the interior ambience.

• •

University of Newcastle University of Northumbria

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Utilising the Online Space and Marketing Tactics Awareness Strategy This section of the report focuses on recommendations to building awareness of Chilli Studio and Chilli Bizarre. It will keep in mind the key findings from our research and spending time with members, staff and volunteers. As well as reflecting on its current resources; in relation to time, money and space strengths and weaknesses. Whichever business route Chilli takes with the shop space, it is vital to build and increase awareness via its brand and marketing activities to increase financial objectives and gains.

Key objectives of Awareness strategy: •

To maximise Chilli Studios exposure and increase awareness of both the charity’s aims, reasons for existence, and expose artist’s talent.

•

To increase the number of distribution channels/space to maximise art sales at minimum cost.

Branding Building a strong brand used to be something only commercial businesses focused on.

However, over the years non-profit organisations have had to undergo the same process, as the voluntary sector grows in the UK and donation marketplace has become saturated.

Our initial research of Chilli Studio and Chilli Bizarre did cause some confusion due to two separate brands, see below for two logos. Furthermore, from our discussions with key staff and volunteers it was clear the two brands were extremely integrated, as Chilli Bizarre was established to support the Chilli Studios as well as Chilli Bizarre would not exist if it did not have artists work from Chilli Studios. The only clear link of the two via visual branding is the word Chilli.

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This integration of the two is vital to building a future brand which will strengthen and support all Chilli’s functions. Although both brands are visually strong and current to trends, for a new customer or onlooker they could be viewed as coming from different organisations. Meaning the onlooker may have to do further investigation to identify the possible relationship of the name Chilli.

Brand Personality Alongside building a strong tangible brand an organisation should consider identifying the intangible brand personality. This is the way the organisation uses the brand to attract and engage with consumers, donors and supporters. This can be achieved by creating an identity that adopts a set of human traits associated with the charity.

Stebbins and Hartman (2013) conducted research into Charity Brand Personality and wanted to discover, ‘can smaller charitable organisations leverage their brand personality to influence giving’. Further to this report a copy of Stebbins and Hartman’s publication will be provided as an insight for Chilli and for future considerations. This research highlights the different personality dimensions from consumer and charity brand personalities; see table (Appendix Three).

The strongest part of Chilli’s personality is made up of the people involved (members, staff, volunteers and supporters) who all play a key part to the organisations past, existence and future. Visiting Chilli Studios and Bizarre as well as reviewing printed material, for example, booklet named Creatively – improving Mental Health. It is clear what Chilli Studios is all

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about and gives a firm base of its brand personality as it is reflected in Chilli’s mission, developments and future aspirations and represents all stakeholders.

The next stage is to integrate this into the new Chilli Bizarre function of the organisation by echoing this personality in all marketing activities. By establishing a strong brand personality as well as a visual brand there is a greater chance onlookers will engage and react in a different way. As Chilli Bizarre is a consumer function of Chilli Studio Charity, both consumer brand personality dimensions must be considered. However if a coffee collaboration becomes involved in the shop as an Art CafĂŠ these will follow suit and become integrated into Chilli Bizarre brand.

Branding recommendations: Linking two identities into one brand 1. Utilise the chilli illustration to being the main brand of the organisation, as the main identity and link of all functions or arms of the organisation together, creating a branding umbrella see below as an example.

2. The other great thing about the chilli as a food as it comes in several colours: yellow, green, red, orange, and purple. This could be utilised as different functions in the organisation could be associated by a different colour, still keeping the white chilli in play to connect them together.

3. Utilising the chilli logo will take advantage of Chilli Studios 12 year reputation as a good cause organisation in the North East; as discussed at final meeting and presentation Chilli is more than Chilli Bizarre being established in 2016.

4. To work towards streamlining all internal and external visuals and activities by using same logos, fonts, colours, and images which are used to build or create awareness or inform people.

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Umbrella branding

Brand Personality 5. Utilise the Chilli Brand Personality by creating marketing awareness activities which show off Chilli’s traits and strengths linked with mentioned personality dimensions which attract consumers, donors and supporters. This of course can be used as a framework for Chilli to add too. a. Emotional Engagement: Fun, Inspiring, Innovative b. Service: Dedicated, Creative c. Voice: Enthusiastic, Bold d. Benevolence: Supportive e. Progression: Empowering, Transforming, Engaging 6. Increases brand awareness by utilising Chilli Studio personality through involving all staff, members, and volunteers as it shows off a deeper greater background to its brand.

Collaboration Branding 7. As mentioned previously in report, bringing in an established local coffee brand will bring with it established brand awareness and loyalty into the Chilli Bizarre.

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Marketing Activities As we understand Chilli’s resources are limited. In this section of the report we have highlighted several marketing activities which do not cost anything more than the time taken by staff, members and volunteers.

Schedule Before deciding what activities should be conducted we recommend Chilli devise a schedule of marketing activities which fit the time frames of staff and members. Also to develop and create continuity for consumers, onlookers and supporters to increase brand awareness.

You will find an example of a Marketing schedule based on four key times to organise activities of before announcement day, announcement day, on sale day and follow up/push marketing in Appendix Four.

Website Two things we have to recommend for Chilli Studio’s website is to utilise the shop page by introducing a wider product range which is provided in Chilli Bizarre or provide a link to Esty account. The second is vital for increasing Search Engine Optimisation, SEO is to introduce a news story page which should be maintained with stories like announcements, on sale days for products or things that are happening in the studio. The more pages an organisation has connected to its page the higher the website will show up on website searches via google or bing. To SEO for increasing sales would need words added in secret contents section on website. For example, words like buy art, independent art, alternative art, local art sale or shop etc.

Social Media Social media is the cheapest and easiest form of marketing available, as it is direct to the audiences who are interest in such projects and buying outsider art. The idea is not to let the audience on these platforms forget you are there or who you are or what you are about.

Also the issue of time as a resource came to light in discussions with Chilli Studios as employees and volunteers time is already stretched. An idea we have to help with this issue

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is to share the ownership of some social media platforms, by allowing a member or volunteer doing a day/week in the life off them at Chilli Studio and the work they create.

Facebook In the schedule, there are a couple of activities Chilli Studio could utilise to enhance awareness through this platform. Before this we recommend considering combining Chilli Studio and Chilli Bizarre pages together to create brand continuity this will also allow the person responsible for the pages to post via one page not having to do both. Facebook has a function to combine pages and it only takes a couple of days to process, collaborating likes and follows in one place.

Firstly, normal Facebook activity is posting statuses, for these the only recommendation we can give is to always have a photo or short video of something related to brand or products.

Secondly, create events for new products or key artists. Facebook events can be as long or short as you need but what is great it is another page out there on the web linked with Chilli Studio, increasing SEO for art audiences.

Twitter Twitter is a tricky one as it can take a lot of time to build up awareness as its very in the moment and posts become out dated quickly however there are a few things Chilli could do to enhance twitter. Always include a photo or short video like Facebook statuses as it provides a quick colourful interesting visual for people on the go. Next, when announcing new exciting things, engage with communities by creating a conversation to key contacts who may retweet or forward information on to other contacts, For Example, ‘have you heard @baltic? @chillistudio is really excited to announce @JoBloggs and his photography will be on sale from this Friday. Check it out’

Other activities to help increase awareness on twitter are utilising and connecting with hashtag networks at certain times and on certain dates. For example, #northeasthour on

30

Mondays 8 to 9pm and Tuesday 2 to 3pm. Or tweeting #hashtags that are trending daily to be involved in conversation.

E-mailing lists It is important to keep up to date with regular supporters and customers via social media however it is also important to do this via email E-shots. One platform that is free up to 2,000 contacts is MailChimp, Chilli can build generic e-shot temple that can be updated on a weekly, bi-weekly or monthly basis to send out to email databases, collected via the shop or at events. There is the also the idea of adding an email sign up to the website to allow people the option to sign up to updates of when visiting the website. Depending on website system these updates can be automatic to update MailChimp directly with no administration needed.

Local Press/Media The north east has an array of contacts who want to know about exciting and different things happening in their region. In Appendix Five, you will find a list of key contacts from media, press, blogs etc. sending these regular updates via Eshots or press releases. This will allow Chilli Studios to become in embedded in their minds as an interesting place to visit and encourage these them to include Chilli into publications or make announcements on their behalf.

Online Shop Strategy It would be greatly beneficial for Chilli Studios expand their product offering on website and on Etsy by providing a range of products from a very low price range, being categorised as impulse buys which should also be introduced into physical shop. This will also increase SEO when people are searching for low prices products however creating awareness that Chilli Studio sells high end/priced products as well as.

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SWOT and PESTLE Results As mentioned earlier in the report, the group conducted a SWOT and PESTLE analysis of the two concepts (retaining the shop as a shop, and transferring the shop into an Art Café). The results have been summarised below:

SWOT Analysis – Concept 1: Retaining the Shop Space as Shop/Gallery

Strengths 

Strong membership base



Good/abundant source of products



Pride in the shop in current form



Good space and shop front



Very visible location



Short/medium term funding in place – time to develop shop further



Overheads and costs relatively low



Utilising Trustee time to assist in making connections and gaining expertise

Weaknesses 

Budgeting and costing



Limited/inconsistent opening hours



Lack of accessibility (i.e. parking)



A lot of passing foot fall but not necessarily target market/those interested in buying art



Isolated location



Lack of resources (time, experience and money)



Aimed at a very niche ‘outsider’ market



Pricing model



Opportunities for further exposure not always exploited 32

Opportunities 

Abundance of local events to participate in



A large range of potential local collaborative partners



Several wider exhibition venues to develop (e.g. Laing Gallery)



Corporate partnerships who may support outsider art, e.g. university connections



The products tell a ‘story’/ ‘cause’ which adds value to the offering



Roots & Wings promotional release – timing to be taken advantage of



Architecture collaboration



Maximisation of social media using existing membership resources

Threats 

Local competition in similar price range



‘Charity Shop’ Association – harmful for brand image



Better/larger local gallery spaces that are more attractive to visitors



The involvement and potential interference of landlord



Limited short term funding in place



Shutters down when shop closed creates negative image and lack of visibility



Crowded art market



Food and drink licencing – existing certification maybe inadequate



Hygiene certification – same as above

PESTLE Analysis – Concept 1: Retaining Shop as Shop/Gallery Political 

Lack of local Authority and other public funding opportunities



Relationship with landlord



Membership priorities vs. management and commercial priorities?



Members’ resistance to change/adaptation/changing business model

Environmental 

Small/potentially claustrophobic space and limited capacity



Situated on a busy main road

33



Lack of parking facilities



Lack of other shops in same area/shopping help

Social 

Ouseburn as the ‘Arts Hub’ of Newcastle



Increasing awareness/social acceptance of mental health



Proximity to homeless hostel



Proximity to new and future student developments



Demographic of who buys ‘one-off’ original art and the area of the shop



Ethical consumerism and greater emphasis on social values



Transient emotions/ local connections & loyalty



Greater emphasis on local self help & communities taking control



Recognition that cultural activity contributes significantly to improved economic performance and innovation, social integration and building of social capital.

Technological 

Internet and social media under utilised



Option for Gift Aid on website to be added



Ability to offer donation on website would be a helpful addition



Lack of online/digital catalogue to purchase art/products



Opportunities for digital print and media download sales or free with donations



People are members of multiple communities- virtual/ online/ ethics and interest driven rather than geographical



Creative industries are a key component of the knowledge economy and a generator of new products & services



Faster turnaround of information & news but at a shallower depth taken for granted (Twitter & Blogging etc)

Legal 

Threat to community/charitable purpose by pursuing commercial objectives



Saint Vincent de Paul contract/agreement to be considered



Regulatory issues, with regard to any sale of food and drink



Terms of lease/restrictive covenants 34



Intellectual property – how is this being dealt with?



Transacting with vulnerable people, are there safeguards in place?



Fiduciary duties



Impact of sales on individual benefits?

Economic 

Low income location



Income vs. known overheads?



Financial sustainability if zero funding is in jeopardy



Small niche target market



No contingency/development funds



Element of rent includes utilities – no need to account in increase in energy overheads if transforming shop into cafe



Growing value of the arts & creative sector in relation to rest of economy (7% employment & 4-6% growth depending on sub sector) but less public money available to support it



Growth in internships and volunteering as a way of becoming economically engaged



Transparency & accountability placing increased emphasis on proving impact

SWOT Analysis – Concept 2: Transforming Shop into ‘Art Café’ Strengths •

Regular and consistent income stream

•

Easy to cost and price

•

Attracts a larger proportion of community into the space

•

Still displays member’s art

•

Becomes a more social and diverse setting

•

Space potentially better suited to coffee shop usage

•

Has most, if not all, of the strengths of shop’s analysis

35

Weaknesses •

Funding for conversion costs?

•

Would there be a negative internal perception in changing direction?

•

Potential lack of training/experience in making coffee and serving food

•

Under-resourced to run café

•

Willingness to change opening hours radically?

•

Still a limited amount of space – layout and display issues

•

Capacity to run inventory and stock control

•

Depends upon affiliation/collaboration with coffee partner?

Opportunities •

Affiliation with Colour Coffee/Pink Lane branding – new and wider interest in the art as well

•

More regular and dependable income & more spontaneous donation opportunities

•

A natural opportunity to change brand perception

•

More community contact if selling coffee rather than art

•

No other coffee ‘pit-stop’ in that specific area – well placed for foot traffic and bus stop

•

Impulse buys of small items (cards etc)

Threats •

Other coffee venues in wider area i.e. Ouseburn Coffee brand

•

Terms of lease?

•

Shop – Coordinator employment contract?

•

Attractiveness of coffee offering to passing traffic

•

Opportunistic commuter parking on Lime Street, professionals may not walk up hill.

•

Funding will run out to limit time to try

•

Could funding be lost?

36

PESTLE Analysis – Concept 2: Transforming Shop into Art Cafe Political 

Same as ‘shop’ analysis

Economic 

Coffee a more affordable offering for the area



A more likely impulse offering and opportunity for small donations & gift aid



Easier to cost & price and to price competitively

Social 

A more sociable/accessible method of getting community through the door



A much wider buying demographic & more demographically appropriate product offering



Coffee ‘pay it forward’ scheme



Awareness generation

Technological 

Will expensive new equipment be required?



Otherwise as per shop analysis

Legal 

Hygiene certificates?



Council usage allow change?



Lease terms of use?



If selling art, then same issues as per shop analysis



Identical to shop analysis

Environmental 

Cup disposal and wastage disposal etc

37

SMART Goals The following paragraphs provide Chilli Studios with a list of short term, medium term and long term goals to help achieve the project mission. They have been formulated according to priority, ease of implementation and practical application. These goals have been devised using the SMART principles (Specific, Measurable, Attainable, Realistic and Timely).

Short Term SMART Goals 

Arrange a meeting with the Colour Coffee Company to discuss possibility of future affiliation using their coffee/branding



Re-establish/pick up contact with existing exhibitor connections. Aim is to increase and regularise distribution channels for selling art work.



Expand online store offering, so that it can be an outlet to sell art. Implement online catalogue and inventory. Take photographs of items that can be sold.



Streamline branding (Chilli Studios/Chilli Bizarre/NAGAS). Does this cause confusion?

Decide on one theme.



Construct signage to direct and alert visitors to the store. Signs on Lime Street and by the Tanners Pub could increase visibility and awareness of Chilli Studios. (Ouseburn Futures may be able to assist with this and potentially provide funding).



Speak with members about their involvement with Social Media campaigning online.

Establish whether they would be happy to engage and promote Chilli Studios this way.



Opening hours



Keep shop shutters open during office hours



Gift Aid facility on website



Donation functionality on website

Medium Term SMART Goals 

If go ahead is agreed on transition to ‘Art Café’, establish agreement with Colour Coffee Company (or alternative)



Increase social media campaigns and awareness

38



Enter into conversations with architecture students about re-design of the shop into café



Keeping connections alive with exhibition and sales channels



Chilli Studios branded merchandise, post cards, re-usable coffee cups and other low price points saleable items

Long Term SMART Goals •

Providing there is funding, Chilli Studios may wish to look at hiring a campaign worker to oversee fundraising, events, marketing, awareness building and collaboration opportunities.

•

Maintain reputation as successful Art Café in the Ouseburn Area

•

Continue to exploit distribution and sales channels for art work

•

Maintain credible collaborations

Conclusion The Chilli Studio’s brand is distinctive and independent offering a unique narrative of a worthy cause. Throughout the report, the objectives and strategy have attempted to align with the sensitivity and core values of the organisation. The approach that has been detailed is a realistic and manageable process to increase profitability and yet stay true to the charity’s overall mission. The empowering, user-led service has great potential to increase exposure and engagement in the community. After exploring opportunities for growth, the MBA Management Consultancy Team conclude that the ‘Art Café’ and coffee collaboration concept has great potential to increase community engagement and improve overall revenue through the introduction of an additional product line and service. Chilli Studios has a powerful and emotive story, and by exploring further commercial avenues has the potential to expose the Chilli mission and also draw positive awareness to mental health.

39

Appendix One Generally speaking, Use Class and Planning Permission issues are settled according to the Town & Country Planning Act 1990 (“TCPA 1990”), and the much more recent addition to that regime – the Town and Country Planning (General Permitted Development)(England) Order 2015 (“GDPO 2015”). Please refer to Appendix 1 for details of Sections specifically relevant to Chilli in the present situation.

As to Newcastle City Council’s approach to planning, they can be relatively strict and the following should assist: 

Because Chilli is already serving coffees and cake from the shop space, it should be in contact with: Food Safety Service Public Safety & Regulation Room 702 Civic Centre Newcastle upon Tyne NE1 8QH Phone: 0191 2787878 Email: rspp@newcastle.gov.uk



Newcastle City Council takes the position that all food businesses are legally required to register the business with Council 28 days before starting to trade. There is no fee for registration it simply involves completing a form.



Following a dialogue with the Council, and following registration, Chilli should have much clearer idea as to whether it would be required by Newcastle City Council to submit a Planning Permission form (which is available online at https://ecab.planningportal.co.uk/uploads/appPDF/M4510Form004_england_en.pd f) in order to formalise a change of Use Class. However, as mentioned above, it seems to us that formal planning permission may not be required in this instance due to the deemed consent provided by GPDO 2015.

Relevant section of the Planning Regulations for Chilli might be as follows: 

Under the TCPA 1990, planning permission is required for the carrying out on land of any development (section 57(1), TCPA 1990). Development is defined as the

40

"carrying out of building, engineering, mining or other operations in, on, over or under the land or the making of any material change in the use of any buildings or other land" (section 55(1), TCPA 1990). As such, there is a basic requirement for planning permission to be obtained if there is a material change of use of any buildings or land. 

Unhelpfully, The TCPA 1990 does not define "material change of use"! However, some material changes of use do not require planning permission from the local planning authority (LPA) because deemed planning permission is granted by the GPDO 2015 ("permitted development"). Unless otherwise specified, these permitted changes of use are not reversible ("the ratchet effect") unless planning permission is obtained from the LPA.



For Chilli’s purposes, if the current Use Class of the shop space is Class A1; then it may be possible to use ‘Class C’ of the GPDO 2015 deemed permissions in order to change the Use Class from A1 (shop / retail space) to Class A3 (Café / Restaurant) without the need for full planning consent.



However, please note that it is still necessary to inform Newcastle City Council of the change of Use and to register the fact of food service with them. This should ordinarily be done before you start operating food service operations.



Also, Chilli’s landlord will need to be involved in the process – not least because the current lease will need to be changed to include wording which permits the space to be used as a café as well as a retail space…

Whether or not Chilli decides to re-focus the shop strategy in manner we will be suggesting, it will still be necessary to give some thought to this section of the report. We say this because, to our knowledge, food and drink sales already form a part of the shop operations (i.e. from the accounting spreadsheets, sales of food and beverages are already the most common sales of the shop) – and so the issue of Classes of Use and permissions (both from the Council and from the Landlord) will need to be covered off to ensure peace of mind and safe operating.

41

Appendix Two Worked Illustrative Example for Collaboration Negotiations: For the sake of this report, let us say that Colour and Chilli decide to select option (d), as described in the above section, as the means for establishing the collaboration – i.e. a purely contractual cooperation agreement. If we take this example, then discussions with Colour should include the following types of issues: 1. There are a number of reasons why parties to a joint venture might prefer a purely contractual arrangement (rather than establishing a separate legal entity in which they invest) – i.e.  The parties may prefer to retain control over their own assets, business and employees, rather than transferring them to a joint venture vehicle.  There will be fewer administrative and filing requirements when establishing a purely contractual arrangement.  A contractual joint venture avoids the relative formality and permanence of a corporate structure. A purely contractual arrangement is likely to be easier to terminate than a joint venture operated through a separate legal entity.  A contractual joint venture has no effect on the direct taxation of the joint venture parties as there is no transfer of their respective businesses to a separate legal entity.

2. For Colour and Chilli, having a clear purpose and intention for the collaboration will be important from the beginning. For instance, we can envisage that the collaboration will have the aims of:  A resource sharing arrangement – i.e. Chilli is supplying a concept café space in a potentially very good ‘pit-stop’ location, charitable associations, art, staff, and community engagement; and Colour is supplying coffee materials, branding and its own expertise.  The development of a new coffee product offering unique to Chilli’s location and ethos.  A Strategic Alliance for marketing and branding purposes.

3. With regard to the above, once Chilli and Colour are clear as to these main aims of the venture, then it will be simpler to determine what the contractual obligations between them ought to be.

42

4. Structure of the venture: If it is decided that a contractual arrangement is the most appropriate structure, although a separate joint venture company is not being set up, there will be a number of other, initial structuring points that may need to be addressed – i.e:  Is there any risk that the contractual joint venture would be considered to be a partnership? If the parties do not want to be considered to be in a partnership then they can ensure that the participants do not carry on any business in common, that neither party has authority to bind the other, and that the agreement expressly states that neither party is a partner of the other (such statements will not be conclusive); ensure that any profits accrue to each participant separately rather than jointly to the participants; avoid joint and several liability for business debts; and ensure that the different businesses and assets that make up the joint venture are kept separate, and remain under the ownership of the relevant participant in the venture rather than being merged.  It will be important that the parties are clear as to their respective roles in, and contributions to, the venture, and what they are each prepared, and able, to contribute. This will assist greatly in the negotiation and drafting of what may be quite complex joint venture documentation. Some questions to consider in discussion are: (i) (ii)

What duties and obligations will each party have?

What rights will the parties grant to each other and to third parties (for example, licences to use intellectual property)? (iii) How long is the relationship between the parties intended to last? (iv) How will certain categories of costs be borne? (v) In what proportion will the income generated from the project be allocated? (vi) As discussed elsewhere in this report - because the parties are jointly selling the coffee, the marketing strategy will need to be agreed…  It will be important to ensure that the project scope and the parties' responsibilities are covered in sufficient detail in the operational aspects of the documentation so that the project can be operated in practice. For instance: (i)

(ii)

(iii) (iv)

The object and scope of the venture, and where it will be marketed. You do not want to end up inadvertently competing with Colour’s other locations!!

The duration of the venture or project. What are the milestones or other criteria by which the successful completion of the project can be established?

A joint marketing plan which allocates responsibilities and sets targets.

The respective roles and contributions of the parties to the venture, ensuring it is clear that the parties retain ownership of the respective

43

(v) (vi)

(vii)

(viii) (ix) (x)

(xi) (xii)

(xiii)

assets they are using in relation to the project and will continue to carry out their own respective businesses separately.

A provision confirming that each party is responsible for its own taxes.

If necessary, some cohesive policy on any contractual dealings with third parties and liabilities to third parties: For instance, should the agreement include indemnities from each party to the other in respect of any claim by a third party?

The position of the Shop employee(s) will need to be covered off in terms of whether there is a risk that employees could transfer under the Transfer of Undertakings (Protection of Employment) Regulations 2006 (SI 2006/246) to the party supplying the services (so that it has an exposure for employee claims and costs associated with dismissal of those employees)? If so, should the party receiving the services (i.e.

Colour) share in or bear those costs by way of indemnification?

The arrangements for calculating and dividing profits as between the parties.

The identification of a person for each Colour and Chilli whom will oversee the actual implementation of the project for each party?

Who will own any intellectual property rights developed during the project? To what extent will the parties have access to, or rights over, confidential information, know how, other intellectual property rights or data developed in the course of the venture or existing apart from it?

Confidentiality undertakings from each party.

Provisions for resolving disputes between the parties, for example escalation procedures or mediation or arbitration procedures (for more detail, see Dispute resolution below).

Termination arrangements.

By having reference and regard to the above example checklist, Chilli should be able to structure a fruitful negotiation with Colour (or any other collaboration partner, for that matter) – such that the main considerations will then have been dealt with in discussions.

We are aware that the issues can seem complicated – but, in reality, once a discussion begins (especially given the relatively small scale of the shop space and venture), these issues should be quite simple to address and resolve.

44

Appendix Three Organisation type Consumer Brand Personality

Larger Charity Brand Personality

Other/Smaller Charity Brand Personality

Dimensions Sincerity, excitement, competence, sophistication and ruggedness (Aaker’s 1997).

Integrity, nurturance, sophistication and ruggedness (Venable et al 2005), Emotional engagement, service, voice, tradition, benevolence, progression and conservatism (Sargent et al. 2008).

45

Appendix Four

Before Announcment

Launch Day

Sale Day

Follow up

• Gather Information Artist, Name, Bio, Price ranges, possible discounts, Agreed launch and onsale dates.

• With information provided prepare press release for launch day (please see guidelines).

• Prep online selling page on esty to launch on sale day

• Send off press release to provided media list • News story on Chilli Website??

• Facebook annoucment and event page, • Twitter annoucement with link to full info • Intagram images with full info • Eshot to regular supportors Mailing list

• Second facebook annoucment and share event page.

• Twitter images of work and link to full info: either facebook or website.

• launch esty page.

• optional: follow up spesific press and media who may be interested in certain types of arts work.

• Every week or two weeks, depends on length of time in shop or online, retell people via social media that the work is available. This could involve redoing some of the suggestions above.

46

Appendix Five Press COMPANY Culture, The Journal

FIRST NAME Ashleigh

SURNAME Smithson

Cumbrian Newspapers Ltd

Julie

Whitfield

Director, Business Development Durham Advertiser Evening Chronicle Evening Chronicle Evening Chronicle Event Cover Hartlepool Mail Hexham Courant Hexham Courant Hexham Courant

PJ Promotions Gordon Simon Chris Janet Ian Jane Arts Editorial Department

Michelle

Jim David Sam Angela David Sarah

Callan Whetstone Wonfor Upex Sedgwick Jeffery

Barbara Rebekah Robyn

Hodgson Bickerton Durdy

JC Press International Journal Journal Journal Journal Journal and Culture Magazine Journal/Chronicle Journal/chronicle

Barr Duke Styles Taylor Monaghan Dodd Desk

POSITION Regional Events

EMAIL ashleigh.smithson@trinitymirror.com Julie.Whitfield@cumbriannewspapers.co.uk

ATP Events Gazette House Entertainment Reporter Entertainment

Reporter Reporter

pj.mitchell@atpi.com promotions@gazettemedia.co.uk gordon.barr@ncjmedia.co.uk simon.duke@trinitymirror.com chris.styles@ncjmedia.co.uk eventcoverproductions@hotmail.com ian.monaghan@northeast-press.co.uk jane.dodd@hexham-courant.co.uk arts@hexham-courant.co.uk news@hexham-courant.co.uk jim_callan@talk21.com david.whetstone@ncjmedia.co.uk sam.wonfor@ncjmedia.co.uk angela.upex@ncjmedia.co.uk david.sedgwick@northeast-press.co.uk sarah.jeffery@ncjmedia.co.uk

Trainee Reporter Student Reporter

barbara.hodgson@ncjmedia.co.uk bickertonrebekah88@hotmail.com robyndurdy@yahoo.co.uk

47

KYEO TV LightLoad

Gordon Sally Geoff

Barr Proud Tims

Becky Shelley

Bickerton Staines

Lynsey

Fairless

gordon.barr@ncjmedia.co.uk

northeastpublishing@hotmail.com geofftims@yahoo.com Marketing Executive Destination & Events Media and PR Manager Membership Advisor, NECC

bickertonrebekah88@hotmail.com shelley.staines@ngi.org.uk lynsey.fairless@necc.co.uk

Middlebrough Evening Gazette

News Desk

promotions@nne.co.uk

Middlesbrough Evening Gazette

News Desk

news@eveninggazette.co.uk

Mike Lynch Advertising

Mike

Lynch

mike@mikelynchadvertising.co.uk

Mike Lynch Advertising

Rachel

Pierce

Rachel@mikelynchadvertising.co.uk

Mike Lynch Advertising Morpeth Herald NCJ Media News Guardian News Guardian News Guardian News Guardian News Guardian News Guardian North News North News

Neil Terry Jonny David Tegan Gemma Sharon Anna David Picture News Desk

Northeast Press

Sharon

Hackett Sedgwick Chapman Marriner McManus Smith Whetstone Desk

McManus

Reporter Reporter Photographer

neil@mikelynchadvertising.co.uk morpeth.herald@northeast-press.co.uk jnl.newsdesk@ncjmedia.co.uk david.sedgwick@northeast-press.co.uk tegan.chapman@jpress.co.uk robyndurdy@yahoo.co.uk anna.smith@northeast-press.co.uk david.whetstone@ncjmedia.co.uk pictures@northnews.co.uk news@northnews.co.uk Sharon.mcmanus@northeastpress.co.uk 48

Northern Echo Northern Echo Northern Footlights NTC NTC

Claire Gavin John Dixon Claire Duncan

Hunter Havery

Palatinate Newspaper Peterlee Star Sales Director

Jodie News Desk Nick

Smith

Scunthorpe Telegraph Shields Gazette Shields Gazette Shields Gazette Sunderland Echo Sunderland Echo Sunderland Echo The Courier The Courier The Courier The Courier The Courier The Shields Gazette Tourist Information NARC Online Whitehot Comms Whitehot Comms

James Gary News Mike Katy Neil Andrew Fran Listings Aimmee Arts Music Gary Lesley Eugenie Nicky Lyn

Burrell Welford Desk Kelly Wheeler Watson Harrison Editor

Edge Bennett

Cole

Phillipson Online Editor

claire.hunter@nne.co.uk gavin.havery@nne.co.uk johna.dixon@btinternet.com claire.edge@northtyneside.gov.uk duncan.bennett@northtyneside.gov.uk editor@palatinate.org.uk mail.news@northeast-press.co.uk nick.cole@scunthorpetelegraph.co.uk james.burrell@northeast-press.co.uk gary.welford@northeast-press.co.uk gazette.news@northeast-press.co.uk scoop.sundaysun@ncjmedia.co.uk katy.wheeler@northeast-press.co.uk neil.watson@northeast-press.co.uk andrew@andrewharrison.org.uk courier.culture-music@ncl.ac.uk courier.listings@newcastle.ac.uk c2.editor@newcastle.ac.uk courier.culture-online@ncl.ac.uk courier.photos@ncl.ac.uk gazette.news@northeast-press.co.uk

Finlay

Lesley.Finlay@inkwellpress.co.uk narcmagazineonline@gmail.com

Harrison Spencer

nicky@whitehotcomms.co.uk lynspencer1@sky.com

49

Magazines COMPANY Accent Mag/NE Times Accent Magazine Accent Magazine

FIRST NAME Mike Kevin Rachel

Audiences North East

SURNAME Grahamslaw Wright Mccaffery

POSITION

Email mike.grahamslaw@accentmagazines.co.uk

Editor Deputy Editor

Rosselli

kevin.wright@accentmagazines.co.uk rachel.mccaffery@accentmagazines.co.uk MarketingSales.Union@newcastle.ac.uk

Conference Magazine

editorial@myvenues.co.uk

Crack Magazine

Helen

helen@thecrackmagazine.com

Culture Mag

News Desk

culture.mag@ncjmedia.co.uk

etc Mag Inkwell Press

Georga Pete

Spottiswood Dixon

georga.spottiswood@northeast-press.co.uk

Inkwell Press

Lesley

Finlay

Lesley.Finlay@inkwellpress.co.uk

Lifestyle

Steve

Noble

adam@kyeo.tv

NE Lifestyle Staff Living North Arts Editor

Nicolle Roz

Thompson Tuplin

Living North Magazine

Janet

Blair

Living North Magazine

sarah

Lill

L'Mamita

Steve

Colman

Steve.Colman@magicradio.com

NARC

Claire

Dupree

narcmedia@googlemail.com

Narc Magazine

Lindsay

Teggert

NE Followers Online (Magazine)

Becky

Madeley

becky.madeley@ngi.org.uk

Stephen

Patterson

stephen.patterson@newcastlene1ltd.com

David

Merrin

david@room501.co.uk

informermag@btinternet.com

Writer/Assistant Editor Arts Editor Editor editor/Whats on/Arts

Living North Magazine

NE1 NE1 (getintonewcastle.co.uk)

Editor

northeastpublishing@hotmail.com roz@livingnorth.com janet.blair@livingnorth.com sarah.lill@livingnorth.com livingnorth@btconnect.com

info@narcmedia.com

50

NE1 Magazine Newcastle University 'The Courier' Newcastle University 'The Courier'

Tracey

Hare

newcastle@raring2go.co.uk

Chris

Scott

chris_scott89@hotmail.co.uk

Fran

Infante

editor.union@ncl.ac.uk

North East Life Magazine

Michael

Hamilton

Michaeljhamilton@aol.com

Novel

Kerry

Kitchin

kerry@novelmagazine.co.uk

Novel

Lee

Halpin

lee@novelmagazine.co.uk

Novel Magazine

Andrew

Dipper

editor@gigglebeats.co.uk

Raring2Go

Anna

Skelton

Raring2Go Magazine

Alys

Evans

newcastle@raring2go.co.uk newcastle@raring2go.co.uk

room501 publishing Roundabout The Crack Magazine The Informer novel

Bryan Carol Jane Pete Kerry

Hoare

bryan@room501.co.uk

The Little Pages Magazine

Jo/Suzanne

info@roundaboutpublications.co.uk

Stafford Dixon Kitchin

jane@thecrackmagazine.com informermag@btinternet.com

kerry@novelmagazine.co.uk info@the-little-pages.co.uk

51

Radio COMPANY BBC BBC BBC BBC BBC BBC BBC BBC Radio Newcastle BBC Sport

FIRST NAME

SURNAME

Simon

Logan

Steve Laura Sue Alfie Peter Claire

EMAIL

Drayton Marshall Sweeney Joey Grant Rutter

POSITION Presenter Afternoon show Producer Mid-Morning Producer Presenter Breakfast Show Presenter Saturday Breakfast Afternoon show

Jonathan

Miles

BBC Radio Newcastle

Jonathan.miles@bbc.co.uk

Ian

Dennis

ian.dennis@bbc.co.uk

BBC Tyne Wear Capital FM

Rahul

Shrivastava

rahul.shrivastava@bbc.co.uk

Anna

Harding

Anna.harding@capitalfm.com

Capital FM Century FM CVFM Galaxy North East GMG Radio Magic Radio Metro Radio Metro Radio

Marie

Christopher

Capital FM

News Desk

simon.logan@bbc.co.uk steve.drayton@bbc.co.uk jane.downs@bbc.co.uk sue.sweeney@bbc.co.uk Laura.Marshall@bbc.co.uk peter.grant1@bbc.co.uk Claire.Rutter@bbc.co.uk

Marie.Christopher@capitalfm.com news@centuryfm.co.uk

Aidan

Prince

aidan.prince@cvfm.org.uk

Claire

Arnold

claire.arnold@galaxyfm.co.uk

Franklin

northeastnews@gmgradio.com

Justin

Kings

Entertainment

Mark

Cliffe

markcliffe@metroradio.co.uk

Dan

Black

dan.black@metroandmagic.com

Metro Radio (Night Owls Producer)

Tony

Mcshame

tony.mcshame@bauarmedia.co.uk

Metro Radio, Marketing Director

Dominic

Munnelly

dominic.munnelly@metroandmagic.com

justinkings@metroradio.co.uk

52

NE1 FM NE1fm

Sandra

Tang

Sam

Harris

Weekend Breakfast Show

samharris01@aol.com

Mark

CorcoranLettice

Head Of Music

nsr.music@newcastle.ac.uk

Keith

Newman

Liz

Franklin

Smooth Radio Spark Sunderland Spark Sunderland

Deborah

Parkinson

Sun FM Sun FM Sunday Sun

Peter

Dixon

Helen

Rogers

helen.rogers@sun-fm.com

Mark

Selling

news@sun-fm.com

Newcastle Student Radio Union Society Radio Northumberland Radio Teesdale

sandra.tang@newcastlene1ltd.com

keith@highlights-public-relations.co.uk

Folkal Point

liz.franklin@orange.net deborahparkinson@sleeperznewcastle.com

Music

music@sparksunderland.com

News

news@sparksunderland.com

Teesdale Mercury / Teesdale Radio

News Desk

The David Puttnam Media Centre

Jonny

Tony

Radio Teesdale

Peter.Dixon@radioteesdale.co.uk

echo.news@northeast-press.co.uk

Chambers

jonny.chambers@bauermedia.co.uk

McShane

jonny.chambers@sparksunderland.com tony.mcshane@baummedia.co.uk

TV

53

COMPANY

FIRST NAME

SURNAME POSITION

EMAIL

BBC

Pete

Grant

peter.grant1@bbc.co.uk

BBC BBC

BBC Radio Newcastle Look North TV

BBC

Alfie

Downs

alfie.joey@bbc.co.uk

BBC

Steve

Drayton

steve.drayton@bbc.co.uk

BBC

Emma

Wass

Emma.wass@bbc.co.uk

bbcnewcastle.news@bbc.co.uk newcastlenews@bbc.co.uk

BBC News

newcastlenews@bbc.co.uk

BBC North East

Andrew

Dixon

BBC STUDIO NUMBER ITV Tyne Tees

Colleen

Cairns

ITV Tyne Tees

Lucy

Taylor

colleen.cairns@itv.com lucy.taylor@itv.com

ITV Tyne Tees

Nicola

Morgan

Nicola.Morgan@itv.com

ITV Tyne Tees

Richard

Salkeld

richard.salkeld@itv.com

ITV Tyne Tees

Listings

Presenter

Sharuna

Sagar

Sky Tyne and Wear

Picture

Desk

sharuna.sagar@bbc.co.uk gazette.photos@northeastpress.co.uk

Sky Tyne and Wear

James

Marley

philippa.goymer@bskyb.com

Sky Tyne and Wear

Ruth

Holliday

ruth.holliday@bskyb.com

Forward Planning

Listings@itv.com

Tyne and Wear BSkyB Made in Tyne and Wear

andrew.dixon@bbc.co.uk

tourist.info@newcastle.gov.uk Anna

Foster

news@madeintyneandwear.tv

54