Puerto Rico’s government-controlled WIPR dropped its PBS membership on July 1 — the fourth member station to quit this year. Puerto Rico TV, which produces and broadcasts mostly in Spanish, carried only the English versions of PBS Kids programs. A separate station — Sistema TV (WMTJ), licensed to the private Ana G. Méndez University System — carries a selection of general audience PBS programs.
PBS lost WIPR fees amounting to $713,000 a year. The network earlier lost KCET in Los Angeles on Jan. 1 and two Florida stations as of July 1: Orlando’s WMFE-TV, and Daytona’s WDSC-TV, which shared their service area with a third station, which continues as a PBS outlet. Pedro Rua, WIPR’s executive v.p., said WIPR and PBS negotiated for about a year but could not reach an agreement that would retain the station as a member.
With a nod to mission — and a bid for more major donors — PBS is spotlighting the arts for nine weeks this fall, hoping to bring them back as a regular feature of Friday nights. Productions in the first PBS Arts Fall Festival range from the Los Angeles Opera’s Il Postino to the broadcast premiere of Cameron Crowe’s documentary on grunge-rock pioneers Pearl Jam. The network pulled together some $2 million in funding for the shows, each paired with a different locale and station. The festival will culminate with a yet-to-be-announced fundraising special during December pledge drives. Ratings-wise, it’s a risky move.
The departure of the entire four-person faculty from Maine’s small but influential Salt Institute for Documentary Studies has caused concern among the school’s alumni, many of whom found their way into public radio via Salt’s unique classes in audio production. The teachers who left have either declined to discuss their resignations publicly or said their reasons for leaving were personal and unrelated. The executive director of the Portland-based school and its board of trustees echo those accounts. That has done little to assure alums, however, who fear that the close timing of the departures suggests problems behind the scenes. “It’s a pretty clear picture that there’s an underlying issue and a reason they all decided to leave,” says Jen Dean, a photographer and Salt grad who has represented alumni in meetings with Salt leadership.
John Kaplan was scared. He’d been diagnosed with not one but two types of lymphoma, and chemotherapy had begun to ravage his once-thick head of hair. So he did what came naturally when confronted with human drama: Kaplan, a photographer and teacher of photography, picked up a camera and began to shoot. “For me initially, it was a way to cope with fear,” Kaplan says. He assigned the story to himself and went to work.
The traditional pledge-drive mantra brags about a piece of public television’s ancestral DNA: “PBS — your home for quality, uninterrupted programming.”
So the public reacted fairly predictably when PBS announced at this month’s annual meeting in Orlando that it’s considering internal promotional spots as part of its primetime revamp. As one blogger quipped, “Even though it wouldn’t involve actual commercials, I honestly think that Fred Rogers wouldn’t be happy with this idea.”
But some public TV programmers have responded more with curiosity than with outrage. They realize that the PBS schedule loses hundreds of thousands of viewers between shows and has for years. And by clustering compatible programs, as PBS plans to do for the fall, stations can retain more viewers through the station break. The audience isn’t keen on sitting through the present hodgepodge of video snippets between shows: some eight minutes of national and local underwriting spots, promos, program credits, network and station branding and teases.
Don’t tell the county fire marshal, but the president of PBS keeps working while her staff evacuates the building in deference to a fire alarm. Kerger travels, meets future donors, smiles dazzlingly at galas, and works some more with the determination of a distance runner, which she is.Here she tells readers:
PBS will propose hot-switching station breaks to help build audience flow, though the new practice would make it hard for stations to slide programs around the schedule,
The network needs to raise immediately spendable money, though she wants it to start accumulating an endowment,
Why PBS didn’t promise Bill Moyers a slot on Friday night in particular. Kerger spoke with Current editors in her conference room at PBS headquarters in Arlington, Va. The transcript is edited. Current: The proposed PBS budget for next year makes a point of concentrating attention on primetime.
Jim Lehrer, who has reported the news of the day for more than 50 years, became part of it May 12 when he announced that he will step away from the weeknight anchor desk at PBS NewsHour in June. A big Washington Post story the next day, dominating the feature section, lauded him as “one of America’s most respected newsmen.” It estimated that come June 6, when Lehrer cuts back to once-weekly appearances, he will have anchored some 8,000 broadcasts “and a few zillion newsmaker interviews.”
This week (May 19) Lehrer turns 77. “I feel good about this,” Lehrer told Current May 13. “I thought I might have second thoughts, but no. This was my idea, I planned it, I worked out a way to do it.” That planning began about three years ago, Lehrer says.
Whenever public broadcasting is threatened by hostile politicians, the conventional wisdom is to circle the wagons and fire back. As a member of the public television community for almost 50 years, I would rather see today’s challenge as an opportunity to reassess public television’s goals and achievements. Perhaps we should do this every few years to make sure we haven’t gone astray in our aims and practices. In many ways I think NPR has surpassed its original goals and promises, but public television is another matter. We have accomplished many things.
… The two Grannies and their tour group of 14 were, for the moment, safely ensconced in comfortable floating quarters as mobs paraded through Cairo demanding the ouster of President Hosni Mubarak….
In June 2007, when conservative publisher Rupert Murdoch purchased the venerable Wall Street Journal, actor and philanthropist Paul Newman was upset. Wary of Murdoch’s reputation for buying up and sensationalizing news outlets, Newman sensed trouble ahead for American newspapers. Soon after, Newman called his local PBS member station, Connecticut Public Television. He had a positive relationship with CPTV: President Jerry Franklin says the station once received a donation check written on Newman’s personal account for $300,000. But this time, Newman had a programming idea — and with it, a stunning offer.
When Jim Pagliarini and Judy Diaz say public TV should pay more attention to a younger audience, they’re not thinking of viewers in their 20s and 30s. Their Next Avenue project, based at Twin Cities Public Television, aims at Boomers, the big generation now between the ages of 45 and 65, with its biggest numbers toward the younger end. In contrast, 60 percent of PBS’s audience is over 60, Diaz says, though it has many Boomer viewers. “We’re not reaching them, and we’re not engaging them now,” says Diaz. Boomers — “that’s an NPR audience,” she adds.
Renowned movie critic Roger Ebert, who literally owns the trademarked thumbs-up/thumbs-down gesture, is returning to public TV, where he started his on-air career 35 years ago. Starting in January, Ebert will produce the weekly show Roger Ebert Presents At the Movies, and do a monologue for each episode. The balcony front-row reviewers will be Christy Lemire of The Associated Press and Elvis Mitchell of The Treatment on KCRW with additional opinions from movie bloggers Kim Morgan and Omar Moore. Ebert said he’d known Lemire and Mitchell for some time. “Kim and Omar I met online and admired.”
The show will be distributed through American Public Television.
In his career in the media niche of instructional television, Mykalai Kontilai worked with several respected names in public broadcasting as well as parts of Scholastic Inc., one of the world’s largest producers of educational materials for children and classrooms.
Two of these key relationships for Kontilai or Teacher’s Choice, the ITV sales company where he was a major marketing presence, fell apart abruptly and after a matter of months — those with a past education chief of NETA and a former CPB finance exec. Kontilai finally left the ITV field after Scholastic ended its business relationship in 2006 because, a spokesperson told Current, the company was “dissatisfied with Mr. Kontilai as a distributor of Scholastic product.”
Some of his ITV customers remain strong supporters, nevertheless, while others cut ties with him. Two station executives said they dissolved contracts with Teacher’s Choice early. Leaving the cloistered and shrinking ITV world opened new opportunities, however, culminating thus far in the announcement Aug. 13 that the for-profit company NBR Worldwide, with Kontilai as c.e.o. and partner Gary Ferrell as c.f.o., had purchased Nightly Business Report, a well-established weeknight show trusted by millions of PBS viewers to provide investment news and advice (Current, Aug.
WPBT sells to entrepreneur with history of legal disputes: Mykalai Kontilai, whose NBR Worldwide this month purchased Nightly Business Report, a staple of public TV carried five nights a week on 250 stations, talks about how his years as an instructional television distributor gave him a strong sense of public broadcasting values. ¶ He talks about how he’ll use that background to develop an educational outreach using the show to teach real-world financial responsibility. He talks of his plans to bring NBR to international audiences. ¶ What he doesn’t want to discuss are more than 20 lawsuits from 1999 through 2010 filed in San Diego County Superior Court against him or his companies — including five alleging breach of contract.
After negotiating with PBS for eight months over a proposal to reduce its dues and reconfigure pubTV in the Los Angeles market, the city’s bigget public station announced this week that it may drop out of the network by Jan. 1. If KCET proceeds with that option, PBS would be left without a station committed to carrying its primetime and children’s schedules in the nation’s second-largest media market. It would be the first departure of a major-market member in the network’s history. KCET President Al Jerome told Current that he’d prefer to remain with PBS, but says — if the network doesn’t budge — he has unanimous backing from the station’s board of directors to forgo the PBS brand and the icon series of its National Program Service.
Is a public TV station licensed to a state university system an agency of the state if a legislative committee says so? Attorneys and management at North Carolina’s UNC-TV network conceded that it is, and earlier this month obeyed a General Assembly committee’s demands that it turn over reporting materials from a journalist’s investigation into the licensing of hydroelectric dams by aluminum giant Alcoa.
Three years after Latino activists bitterly criticized Ken Burns’s The War for omitting interviews with Hispanic soldiers and sailors, CPB and PBS concluded negotiations to create a Diversity and Innovation Fund to seed new productions, Current reported. PBS issued this RFP on its website. CPB/PBS Diversity and Innovation Fund
Request for Proposals
Weekly, Primetime Television Series
Objective
This RFP, the first from the Diversity and Innovation Fund, is designed to solicit proposals to provide the NPS with a new, weekly, primetime series – content that will expand viewership and usage, reaching an adult audience on-air and online that reflects the diversity of the 40-64 year old US population. Specifically, the DI Fund seeks to:
Diversify the NPS by attracting more racially and ethnically diverse viewers and Web visitors within the target demographic;
Expand the current NPS audience through the increased use of content created by a diverse group of producers and through the effective use of new and emerging technologies;
Leverage the talent and creativity of executive producers and producers from minority and underserved communities;
Build capacity for the public media system from within those communities; and
Encourage innovation in the planning, production and distribution of public media content. The content should be conceived and budgeted with multiple-platform use (broadcast, VOD, Internet, mobile, DVD, etc.) in mind from the outset. As producers develop their proposals and ultimately their pilot programs, they should consider not only the traditional broadcast components but also the digital strategy which may include web presence, mobile applications, social media, inclusion in the Digital Learning Library and/or PBS Teachers, etc.
From PBS’s June 2010 request for primetime series proposals to be funded by the CPB/PBS Diversity and Innovation Fund. See also Current feature on the Explorer Archetype. The Explorer Archetype
Research shows the most successful brands embody a single archetype. To define and fully leverage PBS’s brand, we are employing Archetypal Branding, a proven strategy in which an organization aligns all activities behind a single unifying concept. We believe adopting this strategy will help us increase audience engagement, raise money and build brand loyalty.
In the beginning, there was CBS Reports. Then came Bill Moyers. It was 1976. Executive Producer Howard Stringer wanted to show the world that the hour documentary was still viable despite the gaggle of magazine-style news shows pushing their way to the screen. Accountants had discovered there was profit in the magazine format and wise men in good-looking suits informed us we were behind the times.
CPB and PBS are completing an agreement that may lead to the agency’s first annual grants for the PBS National Program Service based on measures of diversity and innovation in programming and related projects. Sources tell Current that this funding method would be one of the strongest attempts to encourage diversity and innovation in pubcasting so far, influencing the allocation of $14 million or more over the two-year contract. [Update: The final amount, CPB announced May 13, will be $20 million over two years. PBS request for proposals.]
CPB President Pat Harrison announced to the Board at its January meeting that the two had “reached a signed agreement,” but since then CPB has declined to provide specifics. “Yes, CPB and PBS have a signed agreement that commits funding to projects that emphasize diversity and innovation,” CPB spokesperson Louise Filkins told Current in an e-mail.
