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“
The subliminal depths of radio are
charged with the resonating
dimension of tribal horns and
antique drums. This is inherent in
the very nature of this medium, with
its power to turn the psyche and
society into a single echo chamber.
The resonating dimension of radio
is unheeded by the script writers,
with few exceptions.
”
Marshall McLuhan,
Understanding Media
(1964)
first time in public radio’s history, there is
an even greater onus on finding new ways
to tell the public radio success story to
funders while continuing to diversify the
sources of revenue.
2.
Programming culture. The public
radio news franchise, driven by the growth
of the research culture, is one of the proud
markers of the industry’s success. Yet, in
the voices of the programme managers,
network executives, and producers who
were debriefed on the findings, we hear a
clarion call to return to distinctive values
that some feel have been lost as the
industry as matured…values that set public
radio on its path to success in the first place
– evocative use of sound, programming that
transcends the use of word or script.
3.
Diversity. The baby boomers who
have shaped and guided the U.S. public
radio industry in its 36 year development
are approaching retirement. Where is the
next generation of leaders, managers and
creative producers going to come from? Is
the independent community, which we’ve
learned through our study is more diverse
in age, ethnicity, and gender than the
industry as a whole, an important resource
to be better cultivated?
4.
Innovation. There is desire, but little
time or place, to develop new, experimental
programme ideas…and an acute
awareness that innovation is critical to the
future success of the industry. The majority
of acquirers and producers alike believe
that programming from independent
producers is “more innovative and ground-
breaking than programming produced by
the stations and networks,” leading some
key station and network leaders to greater
receptivity to programme partnerships with
independent producers.
There are new conversations to be had
about the role of independent producers,
public service programming, and a vision
of the future. The six points below are
intended to help inform a new agenda for
those wanting to find new ways forward in
the challenging period ahead:
1.
Consider that a sector of experienced,
high quality producers may be under-utilised.
2.
Establish and, if necessary, expand
the index of values that define successful
programming.
3.
Make time and resources available
for programme innovation to allow
programme makers to incubate and
experiment with bold new ideas that can be
smartly, reliably executed and supported.
4.
Find a home for sound-rich or
experimental formats; reinvigorate and
renew the distinguishing characteristics of
the medium.
5.
Build trust and foster stronger
alliances between producers, stations, and/
or networks for mutual benefit.
6.
Scare yourself. Encourage and even
demand risk-taking in editorial meetings by
seeking out or assigning stories that go
beyond the boundaries of what is considered
the norm…stories that genuinely give reason
for the editor to squirm a bit; stories that can
only be done if you throw away conventional
wisdom. Suspend your aversion to failure.
Adopt a try-it-again attitude, and encourage
those around you to do the same – especially
if you are in a position of leadership.
Public radio has a proud history of service
and innovation the world over. Our history,
however, is just that. If, looking to the future,
innovation is a priority, now is not the time
for complacency. We need to ask: who are
the innovators among us? We need to look
aggressively beyond our own walls to attract
and support a new generation of creators.
We need to make space for them to work.
There is no simple formula, but it is certain
that, in today’s world, the way forward lies
in strengthening our appetites for risk,
looking for and cultivating new talent, and
promoting bold, out-of-the-box thinking
as we develop new relationships to sustain
our work.
Boston-based Sue Schardt/
SchardtMEDIA specialises in
developing programmes and
emerging strategies for the newly
competitive media marketplace.
She has worked extensively with
AIB members such as Radio
Netherlands and World Radio
Network. She welcomes
comments and questions at
sue@SchardtMEDIA.orgFor the purposes of the study,
“independent producer” was
defined as individuals who work as
sole proprietors, commentators, or
are employed full or part-time and
produce freelance on the side.
The total amount paid by
stations on programming
production and acquisition, as
reported by the Corporation for
Public Broadcasting, during the
period of the study (FY2002) was
US$259million.