Current (https://current.org/tag/radio-programs-content-news/page/13/)
Within a few hours of phoning the translator who refuted key details in a This American Life show about factories that manufacture Apple products in China, Marketplace correspondent Rob Schmitz was on a plane to meet her…
American Public Media will begin distributing the BBC World Service to U.S. pubradio stations July 1 [2012], ending the British network’s 26-year distribution relationship with Public Radio International. A five-year BBC-PRI contract is expiring, but the two networks will still collaborate on their co-productions such as The World and The Takeaway. Portions of the World Service air on 521 stations in the U.S.
“BBC World Service radio has been enjoying record audiences in the U.S., and we are delighted to be working with American Public Media to ensure that more U.S. listeners have access to the BBC’s impartial international journalism and programming across public radio,” said Richard Porter, controller, English, for the BBC, in a statement to Current. APM declined comment.
CPB ombudsman Joel Kaplan has urged WAMU-FM in Washington, D.C., to release more information about a gathering of major donors and station journalists that prompted the Feb. 22 resignation of WAMU News Director Jim Asendio. The “Meet the Producers Breakfast” featured a panel discussion among WAMU reporters and producers for an audience of about 30 donors who had recently increased their annual contributions to at least $1,000. Asendio said he resigned because he believed the event had breached an ethical firewall insulating station journalists from funders. In Kaplan’s comments, posted March 2 on CPB.org, the ombudsman did not explicitly condemn the event but wrote that the issue “goes to the heart of the station’s ethics.”
“The public deserves more from WAMU,” Kaplan wrote.
Alex Chadwick was lost. It took a journey to an unlikely place — the whitewater rapids of a Utah canyon — for him to find his way back to radio. In 2008, Chadwick found himself absent from the airwaves for the first time in decades. He had stepped down as host of the NPR show Day to Day to return to reporting, only to be laid off a month later, an unceremonious end to 31 years at the network. He then devoted himself to caring for his wife and partner in broadcasting, Carolyn Jensen Chadwick, who was battling multiple myeloma, a cancer of the blood cells.
Update: On March 16, This American Life retracted “Mr. Daisey and the Apple Factory,” its Jan. 6 broadcast that adapted monologist Mike Daisey’s story about working conditions in Chinese gadget factories. Read more. Crunching a two-hour stage monologue into a 39-minute radio piece was a huge challenge for Ira Glass, e.p. and host of This American Life. Glass decided to adapt The Agony and the Ecstasy of Steve Jobs after seeing monologist Mike Daisey perform the show that skewers Apple and Jobs for the harsh working conditions in factories where adored Apple products are assembled.
Update: On March 16, This American Life retracted “Mr. Daisey and the Apple Factory,” its Jan. 6 broadcast that adapted monologist Mike Daisey’s story about working conditions in Chinese gadget factories. Read more. For 16 years, public radio host Ira Glass has charmed listeners with offbeat, quirky stories that captivated minds and won awards. Lately, he’s also been kicking butt, taking names and making a difference. It’s not quite that aggressive.
Miami-based Classical South Florida, an affiliate of American Public Media Group, is expanding its service to the state’s western coast with the $4.35 million purchase of WAYJ-FM, a 75,000-watt station that broadcasts to a potential audience of nearly 1 million listeners in Fort Myers and beyond. The purchase, announced Feb. 14, is part of a three-way transaction with seller WAY Media, a religious broadcasting network that’s moving its Christian pop music service and its call letters to 89.5 MHz in Naples, a 100,000-watt station, formerly WSRX-FM. Though the Naples station broadcasts at a higher effective radiated power (ERP), Classical South Florida’s new station has the better signal, with a higher antenna and larger potential audience. It covers a population of 991,520, compared with 340,913, according to Tom Kigin, executive v.p. for Minnesota-based APMG.
Like many entertainers, Prairie Home Companion host Garrison Keillor has never tried to hide his liberal political leanings, but his decision to host an Obama re-election fundraising party in his Minnesota home last week worked the conservative blogosphere into a lather about NPR’s political bias. Yet NPR has no control over Keillor or his nationally syndicated weekly program. And there’s no guarantee that his program’s distributor, the Minnesota-based American Public Media Group, could heel its star vaudevillian if it tried to neutralize him politically. Keillor owns his production company and is responsible for the show’s content. APMG took a measured stance by endorsing Keillor’s First Amendment rights as an individual.
A commentary created through an experimental radio project of the New America Foundation turned a harsh spotlight on the editorial vetting process at Marketplace, which broadcast a first-person account Jan. 30 [2012] of a man who falsely claimed to be a heroic Army sniper. Whatever the editorial process at Marketplace missed, there were similar shortcomings at San Francisco’s KQED-FM, which also aired the piece, and at the big liberal foundation, whose media project was focused on inclusivity rather than excluding fakers. The two-minute piece by a man named Leo Webb, part of a commentary series titled “My Life Is True,” turned out to be largely untrue. As soon as it aired, the first-person commentary sounded like a load of bull to readers of This Ain’t Hell, a blog that critiques media coverage of the military and takes special glee in exposing phony war stories. It took only some basic fact-checking and a sharply worded blog post to set off an online spanking for producers of Marketplace, American Public Media’s flagship drivetime broadcast, and KQED, one of pubcasting’s top news stations.
At a time when many radio programmers are experimenting with Internet-based media, it may seem unusual for a station to take on producing content for listeners to “hear it here” — here within its own walls of bricks and mortar. Yet stations across the nation are doing just that…
Having lost its digital projects fund last year, CPB lacks the money to develop the American Archive much further, according to Mark Erstling, senior v.p. The next step is to find an outside institution to adopt and support creation of the proposed archive of public stations’ historic audio, video and films.
That helps explain why professional archivist Matthew White left CPB Jan. 13 after two years as executive director. “It was very clear to him that things were going to change significantly,” Erstling says, and White accepted an offer to lead a “significant” archiving project abroad. White could not be reached for comment. CPB declined Current’s multiple requests for interviews with White over the previous two years.
All but one of the dozen pubradio stations in NPR’s Project Argo plan to keep their specialized beat-bloggers working, even though the project’s original grant money is running out.
There’s a new game in town — relatively new to public television, anyway. Blessed with digital multicast channels and eager to attract new viewers, PBS stations are finding success with high-school football and other sports as varied as NASCAR and Special Olympics on their schedules. Station execs concede that airing more sports can mean preempting PBS program staples — maybe exchanging Frontline for field goals. They can also face questions about the propriety of carrying women’s basketball in place of Washington Week in Review. Still, they insist, gains in viewer interest, the opportunity to promote other shows during game broadcasts, and the positive vibes of bringing communities together more than justify any inconvenience or criticism.
There was no shortage of ideas for keeping Capitol News Connection afloat. CNC’s stock in trade was chasing down politicians for local legislators’ take on the day’s developments in Congress. Before it was shuttered in September, public radio’s little nonprofit news bureau on Capitol Hill tried expanding into online news reporting, revising fees, selling localized coverage of Congress to newspapers and TV stations as well as pubradio, and developing widgets and apps to boost its income. As founder and CEO Melinda Wittstock worked relentlessly against recession economics to save the cash-strapped newsroom, she turned to a dot-org hope. Her conception for NewsIt, a crowdsourced social-media news platform, was perhaps her biggest idea to date.
Colorado Public Radio has found a new use for the spare AM frequency that it couldn’t sell. OpenAir 1340 took to the air last month, bringing the Denver area a Triple A–format station featuring rock, folk and indie music ranging from the present day to rootsy influences. The station signed on Oct. 31 with the song “Colorado” by Denver band Paper Bird, an early indicator of OpenAir’s commitment to showcasing local music. CPR has already recorded more than a dozen local bands in its studios for broadcast on OpenAir.
Norman Corwin, a radio writer and producer whose pioneering programs made him one of the most renowned creators of shows during radio’s Golden Age, died Oct. 18 [2011] of natural causes. He was 101. Corwin’s name may be unfamiliar to most people today, but during the 1940s his productions for CBS drew huge audiences and influenced a generation of writers and directors in all media. He wrote on a wide range of subjects in a ringing, poetic tone that had few parallels in its time and would be almost unheard of on today’s airwaves, even in public radio.
NPR is dropping distribution of World of Opera as of Nov. 11. The new distributor will be WDAV Classical Public Radio in Charlotte, N.C., and licensed to Davidson College. Lisa Simeone will continue as the show’s host, the licensee said. Simeone, a freelance radio broadcaster, was fired Oct.
Public radio is once again struggling to define the line between on-air talent who report as ethically bound journalists and those personalities who are permitted to express opinions. Freelance radio broadcaster Lisa Simeone, a veteran host of public radio documentary and music programs, was fired late Oct. 19 from Soundprint, the independently produced long-form doc series, for violating NPR’s ethics code. Her role as spokesperson for “October 2011,” an anti-war group aligned with the Occupy Wall Street movement that has staged protests in Washington, D.C., put her longtime affiliation with public radio in jeopardy. The Capitol Hill newspaper Roll Call first questioned whether Simeone’s activism violated journalistic ethics in an Oct.
Possibilities include a jazz show for NPR and PBS stations, and an HD channel dedicated to the musical library.
NPR’s next president already knows how a strong production house can continue to work with pubcasting stations — and also expand its reach with non-broadcast distribution partners. For nearly 12 years Gary Knell has managed one of PBS’s prize program providers, Sesame Workshop, which made cable deals and vastly enlarged its audience on the Web while keeping the first play of its primo content on PBS. Knell, like his NPR predecessor, Vivian Schiller, as well as recent PBS leaders, wants to play the major original productions in as many venues as possible, though with the member stations continuing to hold an exclusive broadcast window. “It’s radio-first distribution,” Knell told Current, “Then it should be made available more broadly, tweeted and smeeted,” he said, coining a word for additional varieties of social media. “We’ve got to make sure that we’re all over all that stuff.”
Under David Britt, Knell’s predecessor as president of the Manhattan-based production institution, the Workshop negotiated an end to PBS’s exclusive rights to its flagship program, Sesame Street, and in 1999 released older episodes to a cable venture — Noggin, a cable net co-owned with Viacom’s Nickelodeon.