There’s a growing disparity between the haves and have-nots among public stations. Their abilities to expand services and revenues are diverging. And if they were to collaborate on fundraising, they’d want different results from it. That was the scene as described by 20 execs and consultants in the Public Media Futures forum held Feb. 16 in Washington, D.C., by the communication schools of the University of Southern California and American University in cooperation with Current.
President Barack Obama released his fiscal 2013 budget Feb. 13, which, as expected, contains $445 million in advance funding for CPB in fiscal year 2015. CPB has some chance of remaining at that level for four straight years. Congress appropriated $445 million for fiscal 2012 and 2013 as well, but those amounts are vulnerable to rescission, depending on the political winds. For fiscal 2014, the Democratic-controlled Senate would repeat the same allotment while the Republican-controlled House would reduce it to zero.
Rumors started quickly, trying to explain why the Chicago News Cooperative was closing. The Internal Revenue Service had rejected the co-op’s application for nonprofit status. Then it was said that the MacArthur Foundation had refused to fund the startup out of fear it might take down City Hall friends. The truth was more prosaic. Several events — its tax status, its inability to lasso a deep-pocket donor and the demands of its publishing partner the New York Times — moved the news co-op to suspend operations Feb.
Radio news veteran Jim Asendio resigned as news director of Washington’s WAMU-FM last week after an internal dispute over a private fundraising event turned into a public clash over the editorial firewall protecting the station’s newsroom. Asendio objected when top managers required him and two reporters from his staff to participate in a “Meet the Producers” breakfast and panel discussion that the station hosted for major donors Feb. 22. The choice was stark, the news director said: “I could either not show up and be in trouble, or show up and violate my ethics, so I tendered my resignation.”
The showdown, first reported by Washington Post media critic Erik Wemple, put a spotlight on one of the touchiest subjects in cash-strapped newsrooms — firewalls designed to protect working journalists from undue influence by funders and to prevent appearances that such conflicts exist. Similar conflicts are playing out behind the scenes at public radio stations across the country, according to Iowa Public Radio’s Jonathan Ahl, who is president of Public Radio News Directors Inc.
“Some of our members have given us the indication that people aren’t necessarily crossing the firewall, but they’re walking up to it and peeking over it” too often, Ahl said.
While a local public broadcasting station traditionally romances big-donor prospects in its locality, it can occasionally find itself in a jealous spat with a national network courting prospects in its nation. It happened recently in Denver….
Nothing comes easily to public radio, not even a good idea. About 30 years ago, Wisconsin Public Radio veteran Jack Mitchell came up with the concept of banding together small stations throughout Wisconsin into a centralized system, within which a mothership would handle overhead and distribution, thus freeing up resources for stronger local content. Today, Wisconsin Public Radio operates 33 stations that benefit from strength in numbers – some of which might not exist today were it not for a centralized system. Each station is tied to one of two statewide networks, one featuring the NPR newsmagazines and classical music and the other mostly state-oriented talk programming. WPR “has twice as much programming” as a single network, said Mitchell, who now teaches at the University of Wisconsin – Madison, and the networks don’t air the same programs at the same time.
The evaporation of the Commerce Department’s Public Telecommunications Facilities Program and the dwindling of other funding sources have created a critical situation at stations needing to purchase or update equipment for broadcasting. PTFP had provided public stations more than $233 million in capital funds since 2000. The congressional budget ax fell in April 2011, zeroing out PTFP’s annual $20 million allotment for matching grants. Compounding the problem is the parallel fall-off of state money, which also helped some stations cover equipment costs. At the same time, hardware for the first digital TV installations in the early 2000s is slowly approaching replacement time.
With this package of articles, Current begins publishing a series of articles on Public Media Futures, appearing in conjunction with a two-year series of quarterly forums starting this month. The forums are co-sponsored by USC Annenberg’s Center on Communication Leadership and Policy and American University’s School of Communication, which publishes Current. Both the articles and the accompanying forums are planned to amplify and contribute to conversations already underway in the field about serious issues facing public service media companies in the 21st-century. The recession and trends in media technology are shaking the structural and financial foundations of public media, suggesting that some of the system’s major operating assumptions will have to change. These articles include commentaries from thinkers in the field as well as reports by Current writers.
As the chorus calling on public media to add more local journalists grows, let’s be mindful of the specific ways adding journalists can dramatically improve local public service. Just by enlarging its newsroom to four, five or six journalists, a station will gain the human wherewithal to unleash a proper beat system. Beats cause reporters to become specialists. With a news staff of six, for example, a newsroom could have reporters well versed in the actors, history and nuances of a starter set of beats — education, health, business, law, environment and arts/culture. These specialists are more likely to break original stories, to know when it’s important to follow up, and to extract meaningful news analysis from a week’s events.
Between the years 1995 and 2010, public television stations’ cash revenues rose, plateaued and then crashed with the 2008 recession, falling altogether 14 percent. Public radio stations, meanwhile, expanded their revenue by 67 percent,
Next year’s Public Media Development and Marketing Conference, the annual event organized by pubradio’s Development Exchange Inc., will include a new track for pubTV professionals, produced by PBS. The conference runs July 12-14 in Seattle. The track will focus on pledge practices, fundraising and community engagement around children’s programming, and television-specific research. DEI and PBS announced the collaboration in a statement Dec. 6.
How much are simple thank-you calls to donors worth to public television stations nationwide over the course of a year? Potentially, about $4.6 million. That’s one of the bright possibilities emerging from the Contributor Development Partnership, an ambitious effort to identify and disseminate the most effective local fundraising practices. The service, funded by CPB and WGBH (Current, Feb. 7), has been busy all year crunching detailed financial data from 76 participating stations.
Two years after its Makers Quest 2.0 project tapped independent producers to stretch the creative boundaries of public radio, the Association of Independents in Radio is launching Localore, a major CPB-backed initiative designed to jump-start new-media experiments at local public broadcasting stations.
… Management can support responsible behavior, however, by designing compensation systems that reward it. These techniques include offering a livable base salary augmented by commissions … and using a year-end bonus to reward such activities as assisting in philanthropic requests….
Looking to expand the pool of companies that place underwriting spots on public radio stations, Boston’s WBUR unveiled results from its first-ever study demonstrating that sponsorship credits deliver a return on investment for corporate underwriters. Online surveys by Lightspeed Research, conducted in two waves since October, measured substantial gains for both new and continuing sponsors across 12 different product categories — including banks, supermarkets, health care and auto services. WBUR Station Manager Corey Lewis, who initiated the research, said the results demonstrate that public radio underwriting can compete with and even outperform advertising campaigns on three metrics: influencing customers’ purchasing frequency, perceptions of quality and consideration of a company for future purchases. NPR’s influential research on the “halo effect” of public radio sponsorship — identified in 2003 and confirmed by further survey research last fall — showed strong links between listeners’ perceptions of quality and purchase consideration for companies that underwrite public radio programs, according to Lewis and other research and underwriting specialists. To measure the underwriters’ return on investment, the WBUR study added questions about purchasing frequency.
Current’s first Pledge Pipeline previews 36 shows heading to public TV on-air membership drives in December 2011, March 2012 and beyond. Producers and distributors provided this information in response to Current’s questionnaire. December ’11
’60s Pop Rock: My Music
Producing organization: TJL Productions. Distributor: PBS. Length: 75 minutes in four acts (SD 4:3).
As public broadcasting braces for expected cuts from its most predictable revenue source — the annual CPB appropriation — system leaders are talking as much about saving money as raising more of it. Collaboration and consolidation — ideals that pubcasters have long espoused but rarely implemented — were buzzwords at this month’s Public Media Marketing and Development Conference in Pittsburgh. Top fundraisers, station execs and analysts urged their peers to tear down walls that separate local stations and cooperate to preserve and strengthen audience service.
Keynoters Fred and Paul Jacobs, sibling radio consultants from Detroit, delivered the starkest diagnosis and most urgent prescription — formation of a commission to analyze station finances and design a restructured, pared-down system of stations. Pubradio leaders already working in these trenches described a new strategy for preserving service as more universities spin off their stations. In his first major speech since promotion to chief exec of American Public Media/Minnesota Public Radio, Jon McTaggart said pubradio can tackle its funding challenges and competitive threats by relentlessly focusing on audience service.
Having witnessed the damaging one-round knockout of NPR fundraiser Ron Schiller in March, public radio’s development pros are working to adapt the lessons they’ve learned about ethics and prudence into a set of best-practices guidelines for use throughout the field. But they’re already tiptoeing around a clear discrepancy between the major ethical code of professional fundraisers and a common practice in public broadcasting — paid commissions on underwriting sales. DEI, the national agency for pubradio fundraising that convenes its annual Public Media Development and Marketing Conference in Pittsburgh later this week, has assembled a group to draft ethical standards for fundraising in nonprofit public media. DEI is leading the re-evaluation as part of its CPB-backed Leadership for Philanthropy project, which aims to help stations improve their major-gift fundraising. The main starting point for DEI’s advisory council is the Code of Ethical Principles and Standards of the Association of Fundraising Professionals, which prohibits commission-based compensation for nonprofit fundraisers.
“Blessed Be the Ties that Bind” may be music to churchgoers, but many station leaders find it discordant. No matter how much CEOs welcome the blessings of major gifts, they tend to start doubting if they find strings attached. Increasingly, big donors do attach conditions. Not all want to see their name on a building or a room, but they do want to see their gifts used for purposes that matter to them, even when giving to the operating fund. Donors give for their own reasons; the fact that a station needs “to pay the power bill,” as one CEO put it, tends to be less compelling than content about topics that matter to them.
The traditional pledge-drive mantra brags about a piece of public television’s ancestral DNA: “PBS — your home for quality, uninterrupted programming.”
So the public reacted fairly predictably when PBS announced at this month’s annual meeting in Orlando that it’s considering internal promotional spots as part of its primetime revamp. As one blogger quipped, “Even though it wouldn’t involve actual commercials, I honestly think that Fred Rogers wouldn’t be happy with this idea.”
But some public TV programmers have responded more with curiosity than with outrage. They realize that the PBS schedule loses hundreds of thousands of viewers between shows and has for years. And by clustering compatible programs, as PBS plans to do for the fall, stations can retain more viewers through the station break. The audience isn’t keen on sitting through the present hodgepodge of video snippets between shows: some eight minutes of national and local underwriting spots, promos, program credits, network and station branding and teases.
