Current (https://current.org/tag/radio-programs-content-news/page/12/)
“There is no objective, journalistic version of the show,” Daisey said. “I will be, always, making constant lies of omission by leaving out tons and tons and reams and reams of details.”
Decades ago, a teenaged Raquel Bitton locked herself in her San Francisco bedroom, suffering miserably from her first broken heart. Her only comfort was an album by Edith Piaf, the diminutive French chanteuse known as “the Little Sparrow.”
“It is the love that you love,” Piaf sang in “C’est L’amour.” “It is love that makes you dream. It is love that wants love. It is love that makes us cry.”
“I listened to it all and came out of my room with a decision to get onstage and sing — and to love again,” Bitton said. “I put together a little revue singing Piaf’s songs, telling pieces of her stories.
Responding to a June 15 auditors’ report expressing “substantial doubt” that the Pacifica Foundation has the financial wherewithal “to continue as a going concern,” Executive Director Arlene Engelhardt recently notified the five Pacifica radio stations to prepare for deep cuts in their budgets and staffing. The audit, which examined the foundation’s finances for fiscal year 2011, was the second consecutive report questioning Pacifica’s financial viability. Although Engelhardt disputed the auditors’ warnings — “We can always take to the air and raise money,” she said — she directed the stations to make cuts of at least $1 million from their collective budgets. The reductions were to be made immediately, but at Current’s deadline, decisions being made at local stations could not be confirmed. While Pacifica has made substantial progress in reducing its operating deficit from $2.7 million in fiscal 2009 to $564,000 in 2011, “we still have not made inroads on the debt,” Engelhardt said in a telephone interview.
Crossover appeal plays a vital role in public radio’s growth. Many of our best programs — including the top daily newsmagazines — have it….
WNYC will move production of The Takeaway to later in the day and trim its length to one hour starting in September in an effort to boost carriage of the off-the-cuff news show that set out to challenge Morning Edition.
The New York station launched The Takeaway with co-producer Public Radio International in 2008 as an alternative to NPR’s morning blockbuster — the newscomer with a more spontaneous approach and increased audience interaction. But after four years, the show airs on the primary broadcast signals of 55 stations, up by just 15 since September 2009. Ten additional stations air it on digital multicast channels.
In this commentary, NPR’s v.p. of programming responds to Ira Glass’s suggestion that stations not devote prime weekend airtime to Car Talk reruns after the Magliozzi brothers retire this fall. Like Ira, I’m really excited about all the innovation in public radio today. Each of these new programs will need several things if they are to grow and prosper: an intellectual spark, real talent giving them a unique, authentic voice, money, smart plans for development, and stations willing to take a small risk. There is one other critical thing they need to grow and prosper: Car Talk. Airing Car Talk on Saturday mornings doesn’t stand in the way of innovation.
I enjoy Car Talk. I like those guys. And as a public radio lifer, I’m grateful for what Tom and Ray Magliozzi did to bring a vast audience to public radio, year after year.. … But — with all respect to Doug Berman and my colleagues at Car Talk Plaza — I think when they stop making new episodes in October, they should be pulled from Saturday mornings.
It was raining in Baltimore Sept. 23 when independent producer Jay Allison delivered his “benediction,” the traditional closing speech of the Public Radio Program Directors annual conference. The bleary, conferenced-out audience listened closely. Allison, who learned the nonfiction radio craft when NPR was a startup and went on to start up a few radio institutions himself, reminded attendees why perseverance matters. They gave Allison a standing ovation before dispersing under the dark sky.
“Car Talk is the exemplar for consolidation and homogenization on the noncommercial end of the dial,” writes Paul Riismandel, adviser to WNUR-FM at Northwestern University, on Radio Survivor. Riismandel notes that “as syndicated programming has taken over the programming schedule of public stations, local news, information and culture is pushed off. Car Talk is a program which pushed the frontier of this movement.” He cites the 1997 uproar when Wisconsin Public Radio canceled its popular local About Cars program to carry Car Talk, which culminated in a hearing before the state legislature (Current, March 17, 1997). WPR received Car Talk free in exchange for continuing a contract to distribute its own syndicated program, Whad’Ya Know?
NPR announced June 8 that Tom and Ray Magliozzi, hosts of the popular and long-running Car Talk, will lay down their wrenches and stop recording new episodes as of October. The show will continue, however, with producers repackaging calls mined from Car Talk’s 25-years-deep archive.
NPR announced Friday that Tom and Ray Magliozzi, hosts of the popular and long-running Car Talk, will lay down their wrenches and stop recording new episodes as of October. The show will continue, however, with producers repackaging calls mined from Car Talk’s 25-years–deep archive. The Magliozzis, also known as Click and Clack, the Tappet Brothers, started recording Car Talk 35 years ago at Boston’s WBUR. NPR brought it to national distribution a decade later. It grew into public radio’s most popular show, as measured by average-quarter-hour listening, and became a fixture on many weekend morning lineups on public radio.
The hosts of Car Talk, the popular pubradio show celebrating its 25th season this fall, are retiring, they announced to listeners today (June 8). Tom and Ray Magliozzi, aka Click and Clack the Tappet Brothers, actually started the show 10 years earlier at WBUR in Boston. Tom is 74 years old, Ray is 63.An NPR press release said that they will not tape new shows but their weekly call-in series will continue to be distributed from their archives of 1,200 shows beginning in October. The two will continue to write their twice-weekly “Dear Tom and Ray” column.Car Talk evolved out of what was supposed to be a call-in show with a panel of mechanics, according to a June 1995 story in Current. The WBUR volunteer/producer called the brothers to sit on the panel and Tom agreed, thinking that it would generate business for the pair’s fledgling garage.
Vince Gardino, New York Public Radio’s executive director of underwriting, is departing the station after 14 years to become executive director of the American Classical Orchestra, which performs music from the 17th to 19th centuries using authentic period instruments. His last day with the station is June 8, and he’ll start with the orchestra July 2.For 12 years, Gardino served as chair of the PMDMC Heritage Group, a best-practices working group of corporate support leaders of major market stations. He also was lead negotiator with the Radio Research Consortium for pubradio’s Arbitron contracts, and recently was appointed as the pubradio representative on the Arbitron Radio Advisory Council.”His consistent focus and hands-on style with the clients and sales team helped propel revenue growth through both robust and challenging financial landscapes,” the station said in a statement.
Nearly a year ago, two of the East Coast’s largest metropolitan pubcasting powerhouses took over nine New Jersey pubradio stations, casting uncertainty over the future of public radio news coverage for Garden State listeners. The outlook has begun to brighten as New York Public Radio, operator of WNYC and WQXR, and Philadelphia’s WHYY have brought the New Jersey stations into their operational systems and refined plans to expand and deepen their reporting on New Jersey. For four decades, the New Jersey state government owned and subsidized public radio and TV services delivered through the New Jersey Network. Then last year, New Jersey policymakers decided they wanted out of the broadcasting business. WHYY acquired five stations and NYPR bought four.
On Sunday, June 10, L.A. Theatre Works debuts a radio docudrama about the federal court case that overturned the referendum that banned same-sex marriage in California. Director Rob Reiner assembled an all-star cast to perform 8, which was written by Oscar-winning screenwriter Dustin Lance Black. Brad Pitt plays Chief Judge Vaughn Walker of the U.S. District Court for Northern California; Martin Sheen and George Clooney portray the lawyers who joined forces to argue for gay rights — Ted Olson and David Boies, respectively. Olson and Boies had been combatants in arguing Bush v. Gore before the U.S. Supreme Court, so their alliance in the Perry case added a twist to the case and the dramatization. Kevin Bacon plays the lead attorney for Prop 8’s proponents.
Radio Ambulante, an ambitious monthly radio show and podcast which hopes to revolutionize Spanish-language radio, launched its pilot episode today. Radio Ambulante (which roughly translates to “radio on the move”) is the brainchild of acclaimed Peruvian-American writer Daniel Alarcón, whose novel Lost City Radio, was named Best Novel of the Year by the San Francisco Chronicle and the Washington Post, also claiming the 2009 International Literature Prize. Also on the Radio Ambulante team are Martina Castro (managing editor of KALW News), Mandalit del Barco (general assignment correspondent at NPR West), entrepreneur Carolina Guererro, and journalist Annie Correal, whose work has aired on NPR, WNYC and This American Life. The show is based out of KALW-FM in San Francisco, and the Pulitzer Center on Crisis Reporting serves as the program’s 501(c)3 fiscal sponsor. The pilot episode, “Moving: Migration, Exile, and Travel,” weaves together four stories centered around “moving,” a thematic structure similar to that of This American Life.
The weekend installment of NPR’s afternoon newsmagazine starts its 35th year on the air this month — and its third year of a different sound that has piqued the interest of station programmers and the network’s own staffers.
A conference about ideas and creativity provided the latest opportunity for a group of adventurous radio producers to challenge their own inventiveness by producing as much radio as they could in a day and a half. The six producers behind Longshot Radio reconvened in New York May 3 and 4 to create crowd-sourced, socially networked audio in conjunction with the 99% Conference, where speakers discussed how to put ideas into action. Longshot covered the event in conjunction with WNYC’s Radiolab, whose host, Jad Abumrad, was one of the featured speakers. Within 30 hours, Longshot emerged with 75 pieces of raw tape gathered at the conference and contributed via Internet by people in 18 cities in the U.S. and Canada. More than 20 people beyond the core producers contributed, and Hsi-Chang Lin composed original music on the spot to score the pieces.
NPR, the National Association of Broadcasters and advocates for low-power radio expressed opposing views to the FCC in a proceeding that will shape the future of the commission’s expanding class of low-power FM broadcasters. For the second time since it created the LPFM service in 2000, the FCC has been preparing to accept another round of applications from would-be LPFM operators. In March the commission asked broadcasters and other stakeholders to comment on changes that it may implement before granting the next wave of low-power licenses. The licenses go strictly to noncommercial operators, and so far have permitted stations of only up to 100 watts. This time the stakes are particularly high for LPFM hopefuls, as the commission expects all available LPFM frequencies may be exhausted in the next application window.
Public radio listeners are hearing more local news in Buffalo, where two stations that competed against each other are now operating as one.