FCC members approved the proposed sale of WQED’s second station, WQEX, in a split vote. See also the text of the order, Dec. 15, 1999.William Kennard and Gloria Tristani (Democrats) Michael Powell and Harold Furchtgott-Roth (Republicans) Susan Ness (Democrat)   Statement of Chairman William Kennard and Commissioner Gloria Tristani, dissenting in part We disagree with the majority’s decision not to designate Cornerstone’s application for hearing. Under Section 73.621 of our rules, an applicant for a reserved channel must demonstrate that the station “will be used primarily to serve the educational needs of the community.” If there is any substantial and material question of fact on that issue, the Commission must designate the application for hearing on the issue of whether the applicant’s proposed programming is primarily educational.

On Dec. 15, 1999, the FCC approved a swap/sale deal that would have enabled Pittsburgh public TV station WQED to sell its second channel, WQEX, to raise capital and pay longstanding debts. (The deal fell through Jan. 18, 2000, when Cornerstone TeleVision backed out.) See also separate statements by the commissioners. WQED developed the complex plan after the commission in 1996 declined to drop the noncommercial reservation on WQEX. (In FCC references to Channel *16, the asterisk indicates a reserved channel.) A controversial section of the text below, Additional Guidance, attempted to clarify FCC policy toward religious broadcasters using reserved noncommercial educational channels, but it prompted legislation including Rep.

When producer Robert Saudek died in 1998, his New York Times obituary called him “the alchemist-in-­chief of what is often called the golden age of television.” From 1952 to 1961, the product of Saudek’s alchemy was Omnibus, a weekly that did what public TV now aspires to do, but on commercial network TV. It turned out to be one of the last but finest gasps of the Cooperation Doctrine — the notion that commercial broadcasting could ignore the bottom line and the largest available audience. [More on the Cooperation Doctrine.] For the December 1999 pledge drives, PBS distributed the first-ever TV retrospective on the famous series, “Omnibus: Television’s Golden Age,” from New River Media.

This American Life is hot. The weekly radio program produced by WBEZ, Chicago, and distributed nationally since June 1996, airs on 325 public radio stations. Ira Glass, TAL‘s creator and producer, has become something of a celebrity. The subject of lengthy feature stories in national magazines, he now turns up in TV and radio interviews to publicize a Rhino Records CD, “Lies, Sissies and Fiascos: The Best of This American Life.” His own life, frequently described by himself and others, emerges as one of frenetic activity, a contemporary Scheherazade, obsessively devoted to creating stories that he hopes “will give voice to those outside the mainstream.”

"Credibility is the currency of our programming."

Not every American will buy what Ric Burns and Lisa Ades are selling, but in the 10 hours airing this week on many public TV stations they make the strongest possible case for the greatness of New York City. Diehard New York–haters will quickly overdose on the soaring rhetoric and the flyovers of the fantastical Chrysler Building, but that’s no surprise to Burns. “The ambivalence toward New York is very powerful and a central component of the story,” he says. “It has only gotten stronger as power has accumulated there.” The story was so big that the producers gave up squeezing it into 10 hours and will deliver two more hours early next year — a sixth episode covering 1931-99.

With the search for Ervin Duggan’s successor now underway, public broadcasting has an opportunity to reflect on how the next PBS president should deal with the many controversial issues facing the system — 30-second spots, leasing of the digital spectrum, and delivery of PBS programs on DBS, to name a few.Amidst these raging debates, we should not lose sight of our commitment to diversity and multiculturalism. How will we provide a narrative space for different ethnic and racial groups to express their hopes and fears, their struggles and triumphs, their successes and failures? How will we allow various ethnic minorities to speak in what one commentator calls the “voice of color.”

The Carnegie Commission on Educaational Television, a 15-member panel created in 1965 by a major foundation, the Carnegie Corporation of New York, released its report, Public Television: A Program for Action, on Jan. 26, 1967. Carnegie I popularized the phrase “public television” and assisted a legislative campaign for federal aid to the field. (Public radio was added later by Congress.) See also the the Summary of recommendations. Members of the Commission James B. Conant, Former President, Harvard University Lee A. DuBridge, President, California Institute of Technology Ralph Ellison, Author John S. Hayes, United States Ambassador to Switzerland David D.

Terry Gross is interviewing the actor Dustin Hoffman. He is about to launch what is probably a set piece about his work with Mike Nichols on The Graduate, an obligatory story in most of his interviews. She knows this, having set up the subject. She also knows it is a story the audience may have heard before. He explains that Nichols offered him three pieces of advice. The first was “Don’t act.” Without hesitation she asks, “Do you suppose he meant get out of the profession?” and laughs. He laughs, too. His is one of surprise while hers is teasing, mischievous.

As we debate how best to program classical music on public radio, we seem often to take for granted that we face an “either/or” conundrum. We seem to assume that our music can only serve either mission or market, can only please either music lovers or music likers, can only achieve the music’s full artistic potential or build audience. I believe that a “both/and” solution to the puzzle exists at a sweet spot in the middle of these divergent pairs of broadcasting goals, a solution which surpasses mere minimal compromise. Please note that my belief is not based on any kind of argument for or against the inviolable sovereignty of classical music.

Summary of Recommendations, July 1993 These are the recommendations of the Twentieth Century Fund Task Force on Public Television, released in the July 1993 report Quality Time? The complete 188-page paperback, including a background paper by Richard Somerset-Ward, published by the Twentieth Century Fund Press, is available for $9.95 through the Brookings Institution (1-800-275-1447). See also Current coverage, Aug. 9, 1993, and list of members. On mission The mission of public television should be the enrichment and strengthening of American society and culture through high-quality programming that reflects and advances our basic values. In order to fulfill its mission, America’s system of public television needs fundamental structural change.

A ground-floor chance to secure channel space on direct broadcast satellites is opening up for noncommercial organizations that have the wherewithal to deliver educational or informational public-service programming. DirecTV, the largest DBS system, has set a Sept. 1 [1999] application deadline for prospective programmers to be considered in its initial selection of new channels. PBS, Internews, and Free Speech TV are among the nonprofits vying for the space. DBS services–a once-crowded field of competitors that has merged down to two major players–are under orders from the Federal Communications Commission to allocate 4 percent of their video channel capacity for noncommercial educational programming.

To continue receiving CPB aid, public stations must now certify that they don’t exchange member or donor names with political groups, or sell names to them, or buy names from them. “Our goal is to restore the public’s trust in the work public broadcasting does every day,” said CPB President Bob Coonrod. The new grant rule, issued July 30 [1999], responds to congressional condemnations of the mailing list dealings that apparently involved dozens of public TV and radio stations in recent years. A CPB survey of the 75 largest public TV stations found that 26 had exchanged member or donor lists with political groups and 33 had rented lists from political groups, Coonrod told Congress the week before.