“We have a strong program that’s … really closing that gap,” says the organization’s new executive director. “But it’s not supported enough by organizations that need the diversity and … have the funding to help us invest in that.”
Current contributor Adam Ragusea’s July commentary “Why you’re doing audio levels wrong, and why it really does matter” has become one of our most popular posts in recent months. Today Public Radio Exchange and the Association of Independents in Radio continue the conversation with a webinar on audio levels hosted by Ragusea and American Public Media technical coordinator Rob Byers, whom Ragusea interviewed for his Current piece. The hourlong session starts at 1 p.m. Eastern time; register here.
The Association of Independents in Radio and Public Radio News Directors Inc. have published guidelines to assist freelance reporters in negotiating pay rates with stations. The guidelines use a scale model that assigns three tiers to the experience levels of producers and also accounts for the effort spent on pieces. They also take station budgets into account. The suggested pay for a beginning-level reporter working on a “superspot” — a short-turnaround story involving minimal effort — is $100–$150. On the high end of the scale, an advanced-level reporter working on an “advanced feature” involving extensive research and a sophisticated narrative would command a pay range of $500–$900.
The Association of Independents in Radio and Public Radio News Directors Inc. are collaborating on a set of guidelines for local pubradio stations to consult when setting freelancer rates. To lead the initiative, AIR recruited Susanna Capelouto, former news director at Georgia Public Broadcasting. Over the next month, Capelouto will survey news directors and station managers across the country to inform the guidelines, which she hopes to publish by Dec. 1. AIR will draw from a pay guide that it developed for NPR in 2002 and updated last year and from a guide that it created for American Public Media’s Marketplace in 2012.
The recession in Dayton provides the backdrop for ReInvention Stories, a multimedia Localore project that brought together the Association of Independents in Radio, a local NPR station, and a pair of Academy Award–nominated veteran documentary filmmakers.
The National Endowment of the Arts announced $4.68 million in funding to 76 media-arts projects April 23, including new grantees such as the Online Video Engagement Experience (OVEE) developed with CPB funding, a new initiative from the Association of Independents in Radio called Spectrum America and Sonic Trace, a multimedia production at KCRW in Santa Monica, Calif., that was created through AIR’s recently concluded Localore project. For a second year, the NEA will continue to support projects that use digital technologies to go beyond traditional broadcasting platforms. In its announcement, the endowment highlighted a $100,000 grant to OVEE, a digital platform that allows web users to interact while watching PBS and local station content. The Independent Television Service developed the technology with support from CPB. AIR also received $100,000 for Spectrum America, a project that will pair media artists with public stations as they experiment with “new approaches to storytelling.”
Sonic Trace, a co-production at KCRW initiated through AIR’s 2012–2013 Localore initiative, received a direct NEA grant of $75,000 to continue exploring the experience of Latino immigrants. NEA also backed digital media projects at NPR, providing $100,000 for music programming and multimedia content.
These bylaws were approved, Nov. 15, 1988, when AIR was incorporated as a nonprofit in New York. ARTICLE ONE: MEMBERSHIP
Section 1. Membership
A.I.R. shall be a membership organization. There shall be three categories of membership:
a. Organizational Membership – shall be open to organizations providing radio/audio programs and services (including but not limited to, production, presentation, research, distribution, exhibition, or education).
NPR and the Association of Independents in Radio unveiled a new payment structure for news reports Jan. 1, raising rates 7.5 percent for station-based and indie radio producers, effective immediately. NPR adopted a three-tiered compensation system and established standard rates for tape syncs. “NPR’s decision to increase rates, which comes at a time of tight budgets, is intended to reflect our commitment to the vital network of station-based and independent reporters whose contributions enhance our programming every day,” NPR interim news chief Margaret Low Smith said in an email. Reaching agreement took nearly a year of negotiations with AIR and internal consultations at NPR, according to AIR President Sue Schardt.
Usually the only speakers in the “public comment” period after an NPR Board meeting are several regional reps of stations, but they were joined Feb. 25 by Sue Schardt, executive director of the Association of Independents in Radio. Schardt spoke extemporaneously to the board and NPR execs about how public radio could address criticism that has undercut its case for continued federal aid. This is an edited transcript. I speak as someone who has 23 years of experience in the industry.
Issued by the Association of Independents in Radio (AIR) and the Producers’ Advocacy Group, June 1999, and revised Jan. 23, 2001. PDF. INTRODUCTION: The Association of Independents in Radio* (AIR) and the Producers Advocacy Group** (PAG) present the following code in an effort to clarify and standardize rates and practices for working with freelancers in the public radio industry. In recognition of the central role freelancers and independent radio producers play in enriching the content of almost all the important programs on public radio, AIR and PAG recommend the following guidelines when public radio networks, stations or shows use the work of freelance radio producers:
LIVING WAGE: Freelance producers should be paid at a rate which allows a decent living.
This code was published in June 1999 by the Association of Independents in Radio (AIR) and the Producers’ Advocacy Group (PAG) to guide negotiations between freelance producers and buyers of radio production, such as NPR. Reproduced with permission of AIR. INTRODUCTION
The Association of Independents in Radio* (AIR) and the Producers Advocacy Group** (PAG) present the following code in an effort to clarify and standardize rates and practices for working with freelancers in the public radio industry. In recognition of the central role freelancers and independent radio producers play in enriching the content of almost all the important programs on public radio, AIR and PAG recommend the following guidelines when public radio networks, stations or shows use the work of freelance radio producers:
Freelance producers should be paid at a rate which allows a decent living. At minimum we urge acquirers to match the prevailing rate scale, including benefits, paid to staff reporters and producers doing comparable work in comparable markets.