Current (https://current.org/tag/journalism/page/12/)
Tom Bettag, the former ABC Nightline and CBS News producer, says he’s “on a very fast timeline” to report to PBS by June 15 [2009] about what public TV’s separate and unequal newsgathering units could and should do by collaborating online….
A new journalism training program offered by NPR News and funded by CPB will train 22 public radio reporters from 19 states to cover business and economics in their communities.
PBS will go public Wednesday with discussion of its News & Public Affairs Initiative — an ongoing study that’s weighing options for cooperation and online collaboration among its news units and with those of public radio. Journalists from public TV and radio have had their “first sit-downs about what might be possible in the syncing of radio and television,” says Tom Thomas, co-c.e.o. of the Station Resource Group. Appearing with PBS officials in a PBS Showcase session, 11 a.m. May 13, will be project facilitator Tom Bettag, former ABC Nightline e.p. The initiative is funded by a Pew Charitable Trusts grant to the public TV network. Reps from the NewsHour, Frontline and other PBS public-affairs units and from NPR and other public radio news units have been invited to meet for discussions the day before. PBS asked Bettag to consider how public TV can reinvent its public affairs offerings, and Bettag has been quizzing leaders of news units, according to David Fanning, e.p. of Frontline.
“News this good isn’t free.” I find myself delivering some variation on that remark during every single public radio pledge break on WNPR this spring. We’ve been saying this in Connecticut for years: “Despite the fact that you don’t have to pay for public radio news, you can’t expect to just keep getting stories about the Mexican drug war from John Burnett … or Anne Garrels reporting from an unstable Pakistan for nothing.” Right? We tell our listeners all the time that their contributions make our high-quality journalism possible, and without their help, it could all go away. So it’s understandable that newspaper people might have been a little piqued by the memo leaked to Jim Romenesko’s Poynter.org blog this month.
NPR programming on public radio stations topped its previous audience record by reaching 27.5 million listeners a week during Arbitron’s fall 2008 survey period. The weekly cume audience for all NPR programs and newscasts, Sept. 10 to Dec. 10, beat the previous high of 26.4 million set last spring. It is one of several ratings gains announced March 23 by NPR Research:
Measuring audiences for non-NPR as well as NPR programs on those member stations, the weekly cume hit another all-time high, 32.7 million, 6 percent larger than fall 2007.
Groundbreaking collaborations are beginning to surface as public broadcasting stations partner with laid-off print journalists to bolster multiplatform local and regional reporting.
“Being in Baghdad is a narrow escape every day,” says Loren Jenkins, NPR foreign editor, reflecting on the dangers surrounding the network’s team of reporters and Iraqi employees who have covered the Iraq War and occupation for five years.
NPR’s next president made one giant leap in the news business two years ago when she moved from long-form documentary production into digital media for the New York Times Co., but it wasn’t the first or the last of Vivian Schiller’s career.In the early 1980s, Schiller was living in the Soviet Union, working as a translator and guide for professional groups touring the country, when she was hired as a “fixer” for the Turner Broadcasting System. The job required her to do everything from translating during negotiations for TV productions to making dinner reservations, and it gave her an entrée into television. “I fell in love with media,” she said. Schiller rose from entry level to executive v.p. of CNN Productions, an award-winning documentary unit. Her predecessor in the job was Pat Mitchell, who left CNN in 2000 to become PBS president.
Posted in Current’s former online forum, DirectCurrent, by moderator Steve Behrens on July 17, 2008 at 12:28pm
Last year, public radio’s Digital Distribution Consortium Working Group predicted (see page 10) that freeing content could result in mashups such as “a Hidden Kitchens regional food content site that mashes up DDC audio and video content with Google Maps and Flickr photos about local restaurants and food events; a Science Talk site that draws on DDC science content combined with selected blog posts on related topics.” And there probably will be much more significant unforeseen innovations, as the DDC authors would probably agree. But to media traditionalists, freeing content also rips it from a relatively concrete “place” (radio station or website) that carries underwriting and is clearly associated with an institution that seeks to generate good will and membership, subscription, foundation or taxpayer support. Thus the freed content gets much-improved distribution, and probably added value from the mashing-up. But the institutions best positioned to reap revenue are companies like Google that put relatively little money into generating content themselves.
It was purely by chance that a team of veteran NPR journalists was working in Chengdu, the capital of China’s Sichuan province, on May 12 [2008] when the destructive force of a 7.9 magnitude earthquake, its epicenter just 50 miles away, killed some 70,000 people and left millions homeless. “You never want to feel you’re lucky to be somewhere when a huge disaster strikes,” said Andrea Hsu, the All Things Considered producer who managed advance logistics for ATC’s first weeklong broadcast from a foreign country. Hsu was one of four NPR journalists in Chengdu when the earthquake struck, turning the tiny news operation she had set up in a Sheraton hotel into the only Western broadcast news source for coverage of the disaster. After a scouting trip in February, ATC chose Chengdu as its home base for a week of special broadcasts, May 19-23, intending to introduce listeners to a region of China rarely covered in Western media. The city was more ethnically diverse than most and boasted an interesting cultural history, and local officials seemed open-minded about granting access to NPR’s journalists, Hsu recalled. Plus, the local food was really good.
There was no single reason why the NPR Board ended Ken Stern’s 18-month run as chief executive officer — or at least none that any participant in the decision would describe publicly after Stern’s abrupt exit March 6 [2008]. Judging from what board members, station execs and other observers are willing to say, it came down to a lack of confidence in Stern’s ability to lead the organization in directions that public radio’s various stakeholders — especially NPR stations — could embrace. “I can’t comment on the nature of that decision,” said Dennis Haarsager, a longtime station leader now serving as interim c.e.o., “except to say that it was more forward-looking as opposed to backward. No malfeasance should be imputed from this.”
Indeed, Stern’s fans and critics alike say he contributed significantly to strengthening NPR’s financial standing and positioning it as a news organization capable of global coverage. Stern did not respond to Current’s interview request through NPR’s spokesperson.
“Let’s face it,” writes a prominent pubradio station news director, “despite 40 years of evolution, we have produced a lot of journalism, but we still lack full commitment. Especially local news commitment.”
PBS Ombudsman Michael Getler thought several of the America at a Crossroads films were excellent and described one in particular, Operation Homecoming: Writing the Wartime Experience, as “one of the most gripping hours I’ve spent in front of the tube in quite a while.” But he also agreed with critics and viewers who blasted PBS for giving an hour to neocon adviser Richard Perle during the series. The decision to re-present the initial case for a war “that has, at the very least, gone badly” instead of examining what went wrong and where the powers that be should go from here represents a “stunning avoidance of the real crossroad that we are at,” Getler wrote. He also criticized the series’ lack of substantive discussion of the Israeli-Palestinian conflict.
Ellen Weiss, an award-winning producer and editor in NPR’s news division over 25 years, will become its leader, the network announced last week. She is the newsroom’s first homegrown journalist after three veeps who established their journalistic credentials elsewher
Weiss, who had been interim news v.p., moves up from her previous job as senior editor of the national desk to succeed Bill Marimow, who became editor at the Philadelphia Inquirer. Marimow, a Pulitzer Prize-winning print reporter, was credited with strengthening NPR’s investigative reporting during more than 2½ years at NPR, including eight months as top news executive. The announcement to the NPR News staff capped an exceptional week for Weiss, who was offered the promotion April 3 and learned the next day that she would share a Peabody Award. Weiss and two colleagues — correspondent Daniel Zwerdling and producer Anne Hawke — won a Peabody for December’s investigative report on the military’s treatment of soldiers returning from war with emotional wounds (story).
Lisa A. Phillips has just started appearing in bookstores to promote her newly published Public Radio Behind the Voices (CDS Books, 334 pages), which profiles 43 national program hosts and other stars. To be ready in case she’s interviewed, Phillips has virtually memorized her book. Quick! Who had accountants for fathers? She ticks them off: Ira Glass, Michael Feldman and Bob Edwards.
Lance Orozco is one of Southern California’s most honored and recognized journalists. Yet he doesn’t work for the Los Angeles Times or a commercial megastation. Orozco has instead landed dozens of awards from area press groups by making an unlikely news powerhouse out of tiny KCLU-FM in Thousand Oaks, a Ventura County suburb northwest of Los Angeles. The station employs just four full-time staffers but has won a flood of praise for the extensive local coverage spearheaded by Orozco, its news director and reporting dynamo. Last month the Associated Press Television and Radio Association of California and Nevada awarded KCLU and Orozco nine of its Mark Twain Awards, including one naming him Radio Reporter of the Year.
Friday afternoon, things changed for producers who need to use somebody else’s footage and music in their documentaries. Clearing rights may still cost a lot and take too much time, as in the past, but Patricia Aufderheide and Peter Jaszi believe producers now have a solid rationale for not paying excessive and confounding fees for copyrighted materials in certain cases. On Nov. 18 [2005], the Association of Independent Video and Filmmakers, the Independent Documentary Association, public TV’s Independent Television Service and the series P.O.V., and other media groups endorsed a Statement of Best Practices defining four kinds of situations when a producer, under the “fair use” provisions of copyright law, need not pay for a film clip, a shot of a painting or a snatch of music. Aufderheide, director of the Center for Social Media at American University in Washington, D.C., and Jaszi, an intellectual property expert at the university’s law school, convened groups of experienced filmmakers around the country to look closely at the producers’ (and their lawyers’) working definition of fair use.
Are CPB’s new ombudsmen promoters of healthy journalistic discussion or unwelcome monitors now peering over reporters’ shoulders? It depends whom you ask. As longtime journalists Ken Bode and William Schulz last week issued their first reports, observers both inside and outside public broadcasting questioned their appointments. CPB officials, among others in the system, said public broadcasting will benefit from the new oversight. Bode’s and Schulz’s first missives had only minor quibbles with recent NPR reports on Iraq.
Jim Lehrer, co-founder and host of PBS’s NewsHour, spoke April 12, 2005, at the PBS Showcase meeting in Las Vegas, where he accepted the PBS Be More Award. At one point, he refers to CPB’s appointment of a pair of ombudsmen, announced a week earlier. Thank you. It is always a pleasure to be among the professionals who make up my public television family, and have done so for more than 30 years. There are indeed many familiar friendly faces in this room, but few that would have been in a comparable place when I began my life in public television.
When Bill Moyers signs off after the Dec. 17 [2004] broadcast of Now with Bill Moyers, he will leave behind one of the longest and most productive careers in the history of public television.He came to PBS in 1971, the first of the crossover journalists — Tim Russert and George Stephanopolous are among his heirs — who parlay experience in government and politics into high-profile journalism. He’s produced and appeared in more than 400 hours of programming — the equivalent of almost 20 years of Frontline, American Experience or Nova. And the equivalent in variety as well: covering not only news and public affairs, but also addiction, death, religion, sports, music, China and the Hudson River. He’s won a raft of awards, among them 30 Emmys and 11 Peabodys, including a rare individual Peabody for career achievement.