What are the best practices for recording a podcast or radio show in front of a live audience? We recorded a podcast in front of a live audience to find out. This live episode of The Pub about how to do live episodes (a new height of meta-ness) was recorded at the Public Media Institute’s Co-Prosperity Sphere at the Public Media Millennials Facebook group Third Coast after-party in Chicago, organized by host Adam Ragusea and Colorado Public Radio’s Stephanie Wolf.
Why did McDonald’s heiress Joan Kroc leave more than $200 million of her wealth to NPR and not a cent to PBS? Because no one at PBS returned a phone call. That’s one of the revelations reported by longtime public radio journalist Lisa Napoli in her new book, "Ray & Joan: The Man Who Made the McDonald's Fortune and the Woman Who Gave It All Away."
Also on The Pub this week, we continue our conversation with UCLA law professor Eugene Volokh about whether journalists are at all different from regular people in the eyes of the law, apropos of a prosecutor’s attempt to charge "Democracy Now!" host Amy Goodman in connection to her Dakota Access Pipeline reporting.
If doctors make the worst patients, what can you expect when you have the most celebrated radio producer of his generation as a guest on your radio show? WNPR’s Colin McEnroe found out when he had Ira Glass on The Colin McEnroe Show Thursday and they ended up having an extensive on-air conversation about how to edit the sound of Glass getting up to adjust the air conditioning in his New York studio.
McEnroe guest-hosts The Pub this week and presents his complete conversation with Glass, which they recorded just a few weeks after the 2016 Public Radio Program Directors conference where Glass singled out McEnroe’s show as a rare example of innovation in public radio (and where he erroneously referred to McEnroe as “Chris” in front of basically everyone important in the system).
Their fascinating conversation on WNPR ranged from the merits of pledge drives and why Glass enjoys producing pitch packages (his top reason has nothing to do with supporting the mission) to the semiotics of this election season and how Donald Trump is, in McEnroe’s typically esoteric words, “hacking away at the umbilicus between signifier and the signified.”
NPR put out a crowing press release this week, headlined “NPR Sees Large Ratings Increase,” that I think made a complicated and perhaps unknowable situation seem a lot simpler — and perhaps a little rosier — than it really is. On this week’s episode of "The Pub," I invite NPR audience development chief Israel Smith and researcher Susan Leland to really flesh out the numbers and speculate about what’s driving them.
Also, in the Opening Shot, I talk about the abortive prosecution of Democracy Now’s Amy Goodman and whether the First Amendment really does grant special rights to journalists (short answer: no).
A new federal regulation set to go into effect Dec. 1 will hugely increase the number of American workers who must be paid overtime. According to a client advisory issued by the Washington-based law firm Pillsbury, “broadcasters in particular may feel the impact of the changes given the staffing models used by many TV and radio stations.” Don’t we know it.
On the show this week, Pillsbury attorney Rebecca Rizzo explains why broadcasters — managers and employees alike — need to be particularly concerned with this enormous impending change to how people get paid, and what everybody needs to know.
Also, in the Opening Shot, veteran public radio and podcast producer Julia Barton bemoans the trend of podcast think piece authors adorning their articles with stock art of microphones.
Why has no one ever heard of Don Voegeli? He composed one of the most famous and enduring pieces of theme music ever written — the dignified fanfare that has played at the top of NPR’s “All Things Considered” every evening for four decades. It’s one of hundreds of pieces Voegeli composed for the early days of public radio.
Unlike “Morning Edition” theme composer BJ Leiderman, who negotiated a perpetual on-air credit for his work, Voegeli never asked for credit. He didn’t even ask for money. As a music professor at the University of Wisconsin and longtime employee of WHA (later Wisconsin Public Radio), Voegeli saw the music he contributed as simply an extension of his regular public service mission.
Don Voegeli died in 2009, but now his son Jim is hoping to remind the world just how talented, prolific and widely heard a composer his father was.
Jim has just completed assembling the four-CD collection Beautiful and Lovely: The Music of Don Voegeli. It includes many variations of the “ATC” theme, along with dozens of other early public radio themes, film scores, concert music and commercial jingles heard nationwide.
On this week’s episode of “The Pub,” Jim plays his favorite pieces from the collection and talks about his father’s remarkable and occasionally tragic life.
Also, in the Opening Shot, I talk about Ira Glass’ misnomer faux pas at PRPD, the BBC show “Sarah and Duck” and its amazing theme song, the resignation of BBC radio chief Helen Boaden, and the cancellation of Gimlet’s widely praised Mystery Show.
If you want NPR to pick up your radio show or podcast, you’ll want to pay attention to N’Jeri Eaton, NPR’s senior manager for program acquisitions. Eaton and her colleagues plan to launch an online portal in October for content creators — both those who work at NPR and those who don’t — to pitch ideas for new shows that NPR might help produce or distribute.
Eaton discussed the new pitch portal during a live recording of The Pub at the 2016 Public Radio Program Directors conference in Phoenix, where she also announced a major expansion of NPR’s Story Lab, the network’s content innovation unit.
Also on the show this week, host Adam Ragusea contemplates the costs of doing “edgy” programming (and the costs of not doing it), with the help of hilarious listener-complaint stories submitted by OETA’s Cassie Gage and KMFA’s Chris Johnson, and one from KBIA’s Nathan Lawrence about a lady who thought her horses didn’t like Tom Ashbrook. Seriously.
NPR reporter Sarah McCammon grew up in Kansas City in a conservative evangelical Christian home. She went to private Christian schools and even an evangelical college. Now McCammon covers the Donald Trump campaign for NPR, and if you wondered how she got into a private meeting in June between Trump and evangelical leaders, now you know. Her background has been her superpower out on the Republican campaign trail, where she says she can “speak the language” of evangelical voters.
On this week’s show, McCammon tells the story of how she grew up, how her faith may have changed over time, how she came to journalism and what it’s like on the Trump beat.
Also, New Hampshire Public Radio’s Sam Evans-Brown has the Opening Shot this week, in which he pleads with his fellow environmental reporters to lighten up a little. Evans-Brown hosts NHPR’s new environmental podcast "Outside/In."
ISSUE ONE! Do debate-style public affairs shows inherently trivialize serious issues? Arguing “yes” this week on The Pub is host Adam Ragusea. Arguing “no” is Carlos Watson, CEO of OZY Media and host of Point Taken, the new PBS late-night debate show produced by WGBH.
Also this week, Slate/Panoply podcast host and producer Andrea Silenzi makes the case for branding recurring segments with a catchy name, and the opening commentary segment of The Pub finally gets a name (with help from its listeners).
If you’ve ever worked with veteran public radio host and reporter John Sepulvado, it might not surprise you to learn that he’s an alcoholic. It may, however, surprise you to learn just how bad things got when he hit bottom before entering rehab last year. On this week’s show, Sepulvado tells his story with brutal frankness and more than a little gallows humor. It does have a happy ending; he’s now 20 months clean and the new host of “The California Report” from KQED.
Also on the show, host Adam Ragusea contemplates the various, imperfect metrics for gauging the success of a podcast. And we want your help in naming The Pub’s signature segment.
What are NPR's most active commenters going to do now that NPR is banishing comments from its site? On this week’s episode of The Pub, my favorite perennial NPR.org commenter speaks — “Sanpete from Utah” is his handle. Call him Kent.
Also on the show, should your organization follow NPR’s lead in dumping on-site comments in favor of engagement on other platforms, like Facebook and Twitter? Inside Higher Ed v.p. and former NPR social product manager Kate Myers and WDET g.m. Michelle Srbinovich disqus — er, I mean, discuss.
What do the Public Radio Exchange, WGBH in Boston and the Nine Network in St. Louis have in common? All have recently made significant investments in brick-and-mortar facilities for public engagement. On this week’s episode of The Pub, we talk about why public media organizations would want to reach people in person instead of over the air — so much so that they’d build a facility in which to do it. Plus, host Adam Ragusea offers a metaphor about what public media can learn about community engagement from religion ... by forcing his audience to sing together.
A couple years before all the cool kids started quitting NPR and launching podcasts, political reporter Andrea Seabrook quit NPR in 2012 and launched a podcast, "DecodeDC." She’s the OG of that particular trend. Seabrook left "DecodeDC" last summer after a successful run, and now she’s come back to public radio as the new Washington bureau chief for "Marketplace." On The Pub, she tells us how she’s going to do public radio political coverage differently this time around.
Also, host Adam Ragusea reviews the NPR/"PBS NewsHour" collaboration on convention coverage. Unfortunately it seems as though TV and radio are like chocolate and vanilla — you can’t mix them without the former totally overpowering the latter.
Matt Martinez of KPLU in Tacoma, Wash., shares what he thinks others can learn from his station’s shockingly successful bid for self-preservation and independence. Also, the GM of KUOW, at one time planning to buy KPLU, discusses lessons from the year-long saga.
Plus, host Adam Ragusea tries to diagnose the cause of a dramatic spike in NPR newsmagazine ratings, and he visits a Next Generation Radio boot camp to find out why even some of the young people of color who would attend such a training aren’t big NPR listeners.
Here’s a protip for broadcast reporters who might get arrested: Turn on your recording device’s key lock, so that when the cops tackle you, it won’t matter if the stop button gets mashed. You’re going to want that tape.
That is one of many lessons that Ryan Kailath learned this past weekend — the hard way. The reporter for WWNO in New Orleans was covering an anti–police brutality march in Baton Rouge on Saturday when police arrested him for obstructing a highway.
This week on The Pub, Kailath tells his story, shares other tips he picked up for reporters who might find themselves in a similar pickle, and talks about where his case stands.
Also, some updates — and some mea culpas — on last episode’s interview with Code Switch leader Alicia Montgomery, which at least one listener found troubling.
People (read: online commenters) ask NPR’s Code Switch team all the time: “Why do you guys make everything about race?”
Alicia Montgomery, supervising senior producer for Code Switch, sees that question and scratches her head.
“I wonder if these are the same people who read the sports section and say, ‘Why is everything in here about a game that was played?’”, she told us on The Pub.
This week on The Pub, Montgomery talks about the long-anticipated new Code Switch podcast, responds to criticisms of her unit from both the right and left, and her take on NPR’s broader efforts to sound more diverse.
Also on the show, host Adam Ragusea begs public media to stop referring to the podcasting market as the podcasting “space,” and three of public radio’s most exciting podcasters — Embedded’s Kelly McEvers, We Live Here’s Kameel Stanley and The Organist’s Andrew Leland — talk about how they made their shows stand out in an increasingly crowded space market.
On this week’s episode, recorded live at the Public Radio News Directors Inc. conference in St. Louis, two editors play a game we call: Betcha Can’t Fix This Script!
Also, NPR Collaborative Coverage Senior Editor Bruce Auster discusses the impending editor shortage in public media and ways that the system could help foster the next generation of editors.
Plus, host Adam Ragusea considers whether public radio is really experiencing an “existential crisis,” as proclaimed recently by The Wall Street Journal.
If you work at a station and you create a new show, does your station necessarily own it? Can you make money with it? What about if you only do it in your off-hours, like Rebecca Lavoie does? Lavoie works as New Hampshire Public Radio’s digital director by day, but at night she privately produces a “surprise hit” podcast that draws six-figure downloads and thousands of dollars in sponsorship per week. This week on The Pub, we talk about the weirdness that can arise between entrepreneurial podcasters and their public media employers.
Also, Carmel Delshad talks about her transition from being a radio reporter at WMFE to being an engagement producer at AJ+, Al Jazeera’s innovative social video unit.
Plus, host Adam Ragusea uses a narrative structure that he calls “the long-lost twins reveal” to talk about how public media can transcend what he calls “the newsmagazine mentality,” in part by adopting an interview style he calls “the Full Buckley.” (He likes to name things.)
Newsbusters editor Tim Graham concedes that he has no evidence that a foundation influenced NPR's news coverage. But he also argues that’s beside the point. “If you’re Ploughshares, when you give money to NPR, you know what you’re getting,” Graham said. “You know that you’re not going to get a Fox News. You’re going to get what may be seen as the opposite of Fox News.”
This week on the The Pub, Graham and host Adam Ragusea debate this and other conservative complaints about public media.
Also on the show, we introduce you to Suzanna Kruger, a biology teacher at Seaside High School in Oregon who used to regularly assign her students Nova videos to watch online at home — until they started running up against the new Passport paywall.
If you’ve ever heard some digital slurp, bloop or BOOM in a radio story and thought “How’d they make that?”, listen to this episode of The Pub to find out. Sound designers Jonathan Mitchell of Radiotopia’s audio fiction podcast The Truth and Alex Overington of New York Public Radio/Q2 Music’s Meet the Composer podcast open up their laptops and demonstrate how they create the kind of digital effects that pervade today’s high-touch audio storytelling.
Also on the show:
- An analysis and a defense of WBAA’s decision (since reversed) to drop This American Life from its schedule.
- WNYC Vice President of On-Demand Content Paula Szuchman previews WNYC’s upcoming women’s podcast festival “Werk It.”
- Audience members play a game called “Auto-Tune the Radio” in which they have to identify famous public radio voices that have been amusingly altered.
On this week’s show, five steps to becoming a better interviewer from public radio's Celeste Headlee. Also, an explainer of the new public TV interconnection system that is expected to cost upwards of $200 million. Is it worth it?
Are journalists allowing themselves to be the instruments of other people’s policy advocacy?
A new American Press Institute study surveyed both journalists and funders to get a sense of their respective expectations. This week on The Pub, host Adam Ragusea talks with API’s Tom Rosenstiel about the study and its implications for how newsrooms should relate to their benefactors.
Also on the show, NPR’s Jim Zarroli rejects the label of “he said, she said” journalism applied to his work on last week’s episode by NYU journalism professor Jay Rosen; and the one thing that men — yes, men — should never do at a Q&A session.
New York University journalism professor Jay Rosen is hardly the only critic alleging timidity and false balance on the part of public media journalists. But his most cutting criticism is a much simpler allegation: lazy reporting.
Rosen was the main attraction at a live recording of The Pub on host Adam Ragusea's home turf — Mercer University’s Center for Collaborative Journalism, which he visited this week.
Also on this week’s episode, Adam argues that the podcasting industry is becoming dangerously concentrated in New York.
On The Pub this week, we ask three smart station leaders: What’s the point of local TV stations when viewers can — and increasingly do — watch national programming online? Also on the show, a war of essays about the future of public radio vis-à-vis podcasting prompts veteran public radio host and humorist John Moe to enter the fray. Hear him perform his satirical essay “Public Radio Story Private Pods: Now, Forever, and Yesterday.”
Get this, there’s a thing called the “Radio Scholarly Interest Group” — a bunch of academics from around the world who study radio. They invited host Adam Ragusea to talk to them at the 2016 Society for Cinema and Media Studies conference in Atlanta.
Adam's talk was about how podcasting is changing public radio. He goes through the numbers (people still aren’t listening to podcasts that much), the creative and economic opportunities, the NPR-station politics, and the two crises that he sees podcasting bringing about in public radio: a mission crisis and a crisis of localism.
That talk, plus the extensive and enlightening Q&A afterward, is this week’s Pub!