DENVER — A public radio station’s foray into native advertising, which seamlessly integrates paid content into a website’s editorial fare, stirred strong opinions at a July 10 session at the annual Public Media Development & Marketing Conference. Attendees packed the room to hear about plans for native advertising on the site of Southern California Public Radio in Pasadena, Calif. The broadcaster received a $33,000 grant in April from the Investigative News Network and the Knight Foundation to experiment with native advertising, also known as sponsored content. Over the six-month pilot stage, which ends in December, SCPR will develop a native-advertising framework for online and mobile platforms. 

Downton Abbey and Sherlock: His Last Vow each picked up 12 primetime Emmy nominations July 10, earning the lion’s share of the 34 nominations for PBS programs. Downton Abbey, a co-production of Masterpiece and Carnival Films, was nominated for outstanding drama series and outstanding directing for a drama series, while Michelle Dockery, who plays Lady Mary Crawley in the period drama, was nominated for lead actress in a series. Four additional cast members are vying for Emmys: Maggie Smith and Joanne Froggatt, both nominated for supporting actress in a drama series; Jim Carter, nominated for supporting actor in a drama series; and Paul Giamatti, a contender in the category guest actor in a drama series.

Margaret Low Smith, NPR’s senior vice president for news, is leaving the network to take a position with The Atlantic as president of its live-event division, AtlanticLIVE. Smith has worked for NPR for 32 years, heading the news division since 2011. Before holding that job, she worked as VP of programming. She started at NPR in 1982 as an overnight production assistant for Morning Edition. “Her departure will be felt as profoundly as any in recent memory,” NPR Chief Content Officer Kinsey Wilson wrote in an email to station executives. “Margaret has devoted nearly her entire professional career to NPR and in that time has become its most determined and eloquent champion.

Plus: A survey finds high loyalty among public radio listeners, and a former news exec moves to PR.

Inconsistent loudness among public radio shows frustrates listeners and poses challenges for technical staffers.

Three of the five final episodes in the Hercule Poirot detective series, a longtime favorite on Masterpiece Mystery!, will debut in the U.S. next month as an on-demand series available exclusively through online British content distributor Acorn TV. Masterpiece’s Mystery strand will present the broadcast debut of two detective stories, The Big Four and Deadman’s Folly, July 27 and Aug. 3, respectively. British drama fans who want to catch the series finale will have to sign up for Acorn TV, the subscription-based streaming service specializing in British drama. The distributor will provide the episodes via its website and Roku channel.

In the first and potentially only government-backed grant program supporting arts coverage by California’s public media stations, KQED, PBS SoCaL and Radio Bilingüe each received one-time funding from the California Arts Council. The Council created its Arts on the Air program as one of several initiatives funded by a special $2 million allocation from the California state legislature. The state aid was split between two arts education initiatives and three grant programs; the council created Arts on the Air specifically to support public, nonprofit media outlets and directed $200,000 to be distributed through a competitive grants process. “It’s a modest program, but the council really wanted to find organizations that would really impact public feeling about the arts, that would build public will and understanding about the value of the arts in our communities,” said Caitlin Fitzwater, spokesperson for the Arts Council.

Georgia Public Broadcasting will fund its new daytime public radio news service on Atlanta’s WRAS through private revenues, not state subsidies, according to Michael H. McDougald, a broadcaster who chairs the state network’s governing commission. GPB “has no intention of using taxpayers’ money to support this new initiative,” McDougald said in an open letter responding to criticism from Public Broadcasting Atlanta, which broadcasts a hybrid format news and music service to the state capitol on WABE-FM. McDougald said the state-owned pubcasting network expects earned revenues to fully support its news and talk programming on WRAS. GPB took over daytime programming of Georgia State University’s 100,000-watt FM station on June 29 through a channel-sharing agreement with the university.

Ange-Aimée Woods, a Canadian journalist who played a key role in the recent expansion of Colorado Public Radio arts coverage, died July 2 in Montreal of apparent heart failure. She was 41. Woods joined CPR in October 2013 as the Denver station’s first full-time arts reporter. She’d spent the previous decade with CBC’s Radio One, working a variety of jobs including as a senior producer on the live drivetime program Homerun and a social media producer. During her seven months at CPR, she worked on launch of its weekly arts program Colorado Art Report. “What really impressed me with her was not only her tremendous chops as a journalist, but also her clear passion for the arts in the very broadest way,” said Chloe Veltman, CPR Arts Editor, who hired Woods as a part of CPR’s grant-funded effort to launch an arts bureau.

DENVER — An increase in sustaining memberships has provided a welcome source of stable income for some public radio stations, but it has also prompted some to rethink their strategies for on-air fund drives. Under a sustaining membership, a donor sets up automatic monthly contributions to a station instead of giving on an annual basis. That reduces the pressure during on-air fund drives to convince listeners to renew their memberships, and stations are responding by redoubling efforts to enlist new members during pledge campaigns. Executives from two stations described their approaches in a July 10 panel discussion here at the Public Media Development & Marketing Conference.

DENVER — The Public Media Platform is moving into the next phase of its CPB grant, shifting its focus to developing a sustainable business plan and more ways for public media stations to access the content. PMP Executive Director Kristin Calhoun announced the project’s next phase July 9 during the “Digital Day” conference leading up to the Public Media Development and Marketing Conference in Denver. CPB’s five-year, $8 million grant to PMP provided $6 million for the nearly completed build-out and $2 million for the “operational phase,” which winds down on an incremental basis through 2016, according to Michael Levy, CPB executive v.p.

The money will go toward the long-term production of the investigative pubradio show.

The end of the so-called net neutrality era poses risks to every organization that relies on the Internet, including pubmedia, according to media advocates who appeared during a July 8 briefing on Capitol Hill.

With analysis from Richard McPherson Individual contributions to local public broadcasting stations are the single largest revenue stream coming into public broadcasting. According to CPB’s latest report on system finances, gifts from members and major donors provided $871 million in gross revenues to public radio and television stations in 2013. That pool of money was nearly evenly divided between radio and television. Public television’s share, $439 million, was flat from 2012 revenues; radio’s $432 million was 5 percent higher than 2012. This river of financial support from individual donors is far larger than the $497 million in federal monies that CPB channeled to local stations in 2013.