Gays & Lesbians in Public Radio, which was active from the late 1980s to the mid-’90s, was a small but dedicated group.
Decades ago, Karl Schmidt occupied himself by staging elaborate award-winning works of theater for radio broadcast. At 90, he’s still weaving compelling stories on the air, but he’s down to a troupe of just one actor — himself.
Opponents of aid to public broadcasting created plateaus in CPB spending in early 1980s and again in 1990s. But the general upward swing of this chart doesn’t mean more spending power. After adjusting for inflation, FY2000’s $300 million is worth 5 percent less than the FY90 figure of $229.4 million. Figures are rising again since failure of the zero-it-out movement: $300M for FY2000 and $340M for FY2001. CPB’s first appropriation in FY68 was just $5M, but from there the sum often rose by $10M or $20M a year.
Retrieved from NPR.org Nov. 25, 2012
Underwriting credits acknowledge organizations which fund public radio programming. Federal law mandates this identification and further allows for the non promotional description of the sponsors products and services. The following guidelines assist NPR and its underwriters in developing credit language that complies with FCC and IRS regulations for non-commercial broadcasters.NPR underwriting credits must contain:
The legal name of the underwriter, to be read immediately after the standard opening phrase, “Support for NPR comes from NPR member stations and…
Credits may also include the following:
Non-promotional, value-neutral, descriptions of organization, products and services. Names of operating divisions and subsidiaries.
PTFP’s last annual grant round came toward the end of fiscal year 2010, and the agency later began soliciting applications for FY 2011, but the lingering recession and budget stalemate took down the grant program early in 2011. In fall 2011 the Commerce Department agency National Telecommunications and Information Administration announced $20.45 million in PTFP grants for 126 projects. Nearly half the money, $9.9 million, went to replace old equipment at existing stations;
$5.1 million went to extend or start 30 radio services and 1 TV service;
$4.1 million helped TV stations with conversion to digital operation, a major expense during PTFP’s last years. A handful of other grants went to four emergency repair projects during the year, digital radio upgrades, facilities planning by future applicants, a radio reading service for the blind, a distance learning project and the perennial grantee PEACESAT. 2010 PTFP Awards
AlabamaAlabama Educational Television Commission
A project to assist the Alabama Educational Television Commission, Birmingham, AL, with the acquisition and installation of a Flywheel UPS unit and a 3,000 gallon diesel fuel tank for WIIQ-TV, Demopolis, AL.
Ron Hull, a former director of the Program Fund, reflects on the value of buffer from partisan politics
Jan. 2, 1979 — Robben Fleming, a university president and an authority on (labor) negotiations, comes to CPB as its third president. Also in January, the politically appointed CPB Board suspends its committees to reevaluate their roles. This decision shelved the board’s Program Committee, which traditionally had voted aye or nay on national production proposals for public TV. Even before Fleming arrived, the CPB Board had been rethinking this process.
To the editors:
Amanda Hirsch asks if the “value proposition” for public media is different today from what it was in the 1960s, and if tax dollars are essential in support of noncommercial media (Current, Oct. 22). I was there in the 1960s, making the case along with a great number of others who believed in the “educational broadcasting” that was at that point the core of our movement. The notion of federal funding came only after all other options had been declared politically or financially impossible. Many of us continue to worry that in our treasured democracy public money in support of any mass medium is precarious at best and downright dangerous at worst.
There are now enough public radio stations to reach more than 90 percent of the American public, and pubcasters have adding specialized stations to increase listening options in areas where pubradio already exists. So it’s rare that all-new stations arise, especially in the East, or can afford to get going with sparse populations. An exception: the twin stations of Cape & Islands Public Radio, WCAI on Cape Cod, Mass., and WNAN on Nantucket Island. Founder Jay Allison, a nationally prominent independent radio producer, surveyed colleagues nationwide for advice on the stations’ sound. A selection of the responses:
Jeffrey Dvorkin, [then] v.p., news, NPR, Washington, D.C.
This is an opportunity that doesn’t come along very often.
It was raining in Baltimore Sept. 23 when independent producer Jay Allison delivered his “benediction,” the traditional closing speech of the Public Radio Program Directors annual conference. The bleary, conferenced-out audience listened closely. Allison, who learned the nonfiction radio craft when NPR was a startup and went on to start up a few radio institutions himself, reminded attendees why perseverance matters. They gave Allison a standing ovation before dispersing under the dark sky.
See also Current coverage. Alabama network’s mission statement before the Alabama Educational Television Commission revised it June 12, 2012
Alabama Public Television Mission, Vision, Values, and Diversity Statement
Each of us is born with a natural desire to learn. We seek to explore our world and to understand life and the people around us. Alabama Public Television is a center of discovery for people of all ages. We motivate children to learn, empower students and teachers to succeed, and provide a lifelong path to knowledge.