Current (https://current.org/tag/journalism/page/13/)
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.
Backed by a $200,000 Knight Foundation grant, PBS will develop a proposal for a public affairs channel — working title, Public Square — that public TV stations could air on DTV multicast channels, the network announced Jan. 8 [2004]. The channel would offer “sustained electronic journalism” that contrasts with other networks where “sleaze repeatedly trumps substance,” said Hodding Carter, president of the John S. and James L. Knight Foundation, in a news release. “You might say what CNN’s potential seemed to be at the height of its potential is where we’re going,” Carter told Current. Repeats of PBS public affairs shows on the new channel could bulk up the programs’ audiences, cable-style, but Public Square would also need exclusive programming, said PBS co-chief program executive Coby Atlas.
A revised ethics guide for public radio asks journalists to “remain reportorial” instead of spouting opinions when they’re off the air, and it urges that they apply the same standards to call-in shows and websites as they do to newscasts.
A revised ethics guide for public radio asks journalists to “remain reportorial” instead of spouting opinions when they’re off the air, and it urges that they apply the same standards to call-in shows and websites as they do to newscasts. CPB, which underwrote the project, will release the concise guide, Independence and Integrity II, on its website this week [PDF]. The authors are Alan G. Stavitsky, associate dean of the University of Oregon School of Journalism and Communication, who wrote the original pubradio ethics guide in 1995, and NPR ombudsman Jeffrey Dvorkin. Though the pair consulted widely — discussing issues with pubradio and other journalists at the Poynter Institute last spring and then in workshops at three stations — Dvorkin says they didn’t end up with ambivalence about what they wrote. One reason is that the authors avoided hairsplitting in favor of brevity.
I know more than a few public radio listeners who, while admiring the news reports on Morning Edition and All Things Considered, reserve their most ardent enthusiasm for what Bob Edwards once called “ornaments” — short, revealing commentaries scheduled between the “important” stories. A master of the form, Alice Furlaud, has been supplying commentaries for nearly as long as NPR has been broadcasting, first from Paris and more recently from her home on Cape Cod. Like another of my favorite NPR commentators, the psychiatrist Elissa Ely, Furlaud is a uniquely gifted, acerbic writer with a New England plainspokeness that adds considerable authority to what she says. Furlaud and Ely make no effort to disguise their exceptional intelligence. If you believe, as I do, that intelligence adds abundantly to attractiveness, you may concur that they are very sexy stylists.
An educational experience 4.6 billion years in the making,” says the clever tagline for WGBH’s big September series Evolution. The way the Boston producers have been preparing for the reaction from creationists, you’d think they expect the controversy surrounding it will last almost that long. “Evolution is two steps away from abortion,” said Anne Zeiser, director of national strategic marketing for WGBH, placing the flash point at which evolution ignites fundamentalist outrage. Recent polls show that 45 percent of Americans say they believe in creationism, and many Christians view Charles Darwin’s theory of natural selection as an assault on their faith. Evolution, a seven-part, eight-hour co-production of WGBH’s Nova science unit and billionaire Paul G. Allen’s Clear Blue Sky Productions, will kick off the PBS fall season Sept.
“I don’t remember talking to you before. I can’t remember yesterday. Tomorrow I won’t remember this. It’s not there.” “Is that distressing?”
For the faculty of Wake Forest University, the hush order given to reporters at the university’s WFDD-FM last September came too close for comfort.”I’ve never seen anything rile the faculty on this campus like this did, and I’ve been here 11 years,” says law professor Ronald Wright. “A lot of faculty members identified with those reporters. We’re both in the business of telling the truth.” “What has occurred on our campus violated certain ‘givens’ about what a university should be: a place where freedom of thought and expression thrive,” said this month’s report by an ad hoc committee appointed by the faculty senate. The defense of free speech on the campus in Winston-Salem, N.C., has whipped up antagonisms, uprooted most of WFDD’s news staff, and required lots of long, tense meetings, but the issues may be nearing resolution.
A weekly half-hour program about space aliens — probably the only one in public radio (but who knows?) — has just been renewed for 26 weeks. Starting last Halloween, SETLAB Radio (the acronym means “Study of Extra-Terrestrial Life and Answers from Beyond”) has aired Sunday afternoons in south Texas — on KMBH in Harlingen and its repeater, KHID in McAllen. Host Russell Dowden says he’s gotten dozens of reports from Rio Grande Valley listeners that they, too, have seen unidentified flying objects. Then, several weeks ago, someone anonymously sent in a “very weird and very real-looking” image of a bulb-headed alien supposedly photographed aboard a U.S. Navy vessel. “It looks a little different from the normal Gray alien type, and has funny, textured skin.
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.”
All of these years, Diane Rehm’s voice: the vehicle for ordinary sentences she enunciates so emphatically that they carry their utmost weight. But creaky on the edges, hitting snags. It’s a voice reliably there at midmorning on her NPR talk show, familiar; listeners love it. Except for the inevitable detractors, who say they find Rehm grating, or schoolmarmish. Love or hate that voice, it’s illuminating to learn that a physical problem contributes to Rehm’s on-air distinctiveness.
Two decades ago, Jim Lehrer and Robert MacNeil gave public television a kind of news program that contrasted greatly with the aims of big-network journalism, and the distinction has grown year by year with the decay of the network news divisions. Contributing Editor David Stewart, retired director of international activities at CPB, profiled Lehrer for a forthcoming book on the major programs of public TV. In 1970, on a steaming summer morning in Dallas, I walked into a large room of the public TV station KERA and met Jim Lehrer for the first time. He was seated alone at the end of a long rectangular table, its surface strewn with daily papers, reporters’ notes, overflowing ashtrays and half-empty mugs of coffee. He was studying a clutch of wire service stories, shirt sleeves rolled back, tie pulled away from his unbuttoned collar — the city editor from central casting, I remember thinking.
Four days before the May 27 airing of “Innocence Lost: The Plea,” Frontline’s third documentary on the Little Rascals child-abuse case in Edenton, N.C., the prosecutor announced she was dropping all remaining charges in the long and troubling legal action. For producer-director Ofra Bikel and her colleagues at Frontline, the decision brought a rare sense of gratification. Over the past seven years, Bikel’s persistent scrutiny of a prosecution she had come to believe was unjust has made a big difference in many people’s lives. Whether the effect has been for the better or the worse depends on how close you live to Edenton, and which side of the Little Rascals case you want to believe. “It’s not very often that a television program can set people free,” commented David Fanning, Frontline’s senior executive producer.
A longtime NPR correspondent — then vice president in charge of the network’s news division — adapted this article from his remarks at Washington State University. Buzenberg later held top news posts at Minnesota Public Radio before moving to a prominent nonprofit newsroom, the Center for Public Integrity. Critics of sleaze, sex and violence in movies, music and the media have given public broadcasters their best chance yet to make a positive case for the value of public broadcasting to American society. In contrast to the anything-goes-as-long-as-it-makes-money values of some commercial media, public broadcasters have a compelling story to tell. It is a story of high standards and public-service journalism, even though public broadcasting also has been under attack, the most serious since it was established by Congress in 1967.
In 1995, Current asked three of public TV’s highly regarded program-makers to write “Dear Impresario” letters to the next chief programmer at PBS — a position then vacant. Danny Schechter is the executive producer of Globalvision Inc., producers of Rights & Wrongs: Human Rights Television, which the previous PBS programmer, Jennifer Lawson, had declined to distribute. PBS’s future rests on a “vision thing.” We all know that systems generally are resistant to change, and that managers of most of our most venerable and vulnerable enterprises tend to be risk-adverse and prudent, seeking to be safe rather than sorry. Yet as we look at the landscape of modern life, we can see the wreckage of those institutions that clung to old ways of thinking and doing in a turbulent world.