A Vision of Radical Optimism From the Association of Independents in Radio: We Can Because You Do
Feature article from the January 2010 AIRblast
By AIR Executive Director Sue Schardt
In May of last
year, I gathered my thoughts in advance of AIR's Virtual Annual
Membership meeting, putting them to paper as "There is a Great
Reshaping Going On." Writing about the impact of the economic downturn
on pubradio's talent pool and the tension between new and older
technologies, I called on AIR members to envision ourselves as
"bottomless fonts of new ideas." Today, I sit down to write this piece
more convinced, than ever that we should "focus relentlessly on the
things that inspire us" in the belief that these things that will carry
us forward, even if the way ahead is unclear.
Have we made
progress in the last year? What are the challenges ahead? What new
lights are there on the horizons to pay attention to? To begin, I'll
lay out here a few markers of our "reshaped" world.
Almost exactly a year ago, in the span of about six weeks, we saw
the unraveling of the key public radio platforms for independent and
diverse work. The story is familiar now: Weekend America, Day-to-Day, News and Notes canceled; funding for Barrett Golding's Hearing Voices,
gone; the already fragile economy of independent public radio
production weakened further still. Over the subsequent months, major
station and network programs, beset by economic challenges, reduced or
eliminated their acquisition budgets for independent work or else
changed their rate structure to cope with shrunken program budgets.
The
ability of public radio to retain and cultivate its talent pool remains
compromised, and there is no clear resolution in sight. This is a
significant crisis, not only for AIR, but also for stations, the
networks, CPB, and all concerned about the viability of the industry
going forward.
But 2009 brought movement as well as
retrenchment. For example, a re-energized Third Coast International
Audio Festival is rising to 501(c)(3) independence after budget cuts
last year forced WBEZ to step away from its stewardship. The idea for a
Public Media Corps, modeled after AmeriCorps, was conceived this year.
This initiative of the National Black Programming Consortium (NBPC) is
expected to launch in 2010. It envisions a new role for producers, and
sets its sights on a diverse and more accessible world of public media.
There are also the remarkable achievements of the MQ2 producers,
who took an extremely difficult assignment handed to them by AIR and
CPB — invent new ways to produce at the margin between traditional and
digital media — and accomplished it with only five months and $40,000
each. They worked in faith with AIR, on behalf of its members, on a
great experiment: to help transform public radio into public media. In doing so, they demonstrated the power of individual makers and the wisdom of investing in them.
The
MQ2 project is one approach AIR has taken to bring producers forward
and to find new opportunity in the midst of change. MQ2 is a pilot
project, designed as a first-stage model for the way ahead. MQ2 enjoys
broad support from the stations and networks that incubate the
projects. It demonstrates the powerful role of producer as inventor, as
DIYer, during a time when the industry is badly in need of new ideas
and, yes, inspiration.
In 2010, we expect to take MQ2 in a new
direction: positioning producers to have an even broader impact on
network and stations and influence the shift underway in media.
With
the pace of economic recovery still uncertain, it's more important than
ever to know where we — AIR and producers — fit in. The "big picture"
of what we are up against is that the public radio industry and the
economy that supports it is hardwired to the station-network dynamic.
The revenue for public broadcasting, including the 25 percent of the
$406 million congressional appropriation that comes to radio ($90.5
million)*, flows principally between stations and the networks. There
is no set-aside for radio producers. There have been, and continue to
be, debates among producers about the trees in the forest, so to speak:
$100 versus $75 for a tape sync, or whether changes to the tier payment
structure at NPR works to the disadvantage of senior producers. These
are worthy discussions. But the fundamental change — if there is to be
real change — must happen at a higher level.
This is the
principal challenge, for AIR, for producers, and for all who share our
conviction of the vital importance of a strong producer-driven culture.
We must not simply ask, or expect, or demand. It is on us to do. The
more and better you, producers, do what you do, the more and better
those of us working on your behalf can do as well.
Calls for a New Public Media
In
the last year, we've seen outside constituencies emerge to throw down
gauntlets challenging the basic tenets of the Public Broadcasting Act,
which was last reviewed in 1992.
These groups have laid out a new vision for public media. The recommendations from the Knight Commission on the Information Needs of Communities in a Democracy, The Reconstruction of American Journalism from Columbia University's J School, and Free Press's recommendations presented in Public Media's Moment
call for a restructuring so that that public media, and the taxpayer
dollars that support them, are better focused to meet the needs of
citizens.
Digital technology has put into question the mediating
role of the reporter, the producer, the network, and the local station.
It is the age of "I" and a seemingly infinite choice about what to
listen to and what information sources to rely on. This is happening
across the media spectrum. Newspapers across the country are failing
after a long decline. Many fear that these changes spell a weakening of
traditional journalism.
But while the economic downturn has affected corporate underwriting, public radio continues to see growth in audience.
The decline in corporate media and the relative strength of public
media are the reasons, in part, for the new challenges we're seeing.
Free Press, in particular, takes an activist role, strongly advocating
that a White House Commission be convened to consider various
recommendations on the table for a "new" public media, including
greatly expanded government funding.
There is growing pressure
on CPB and on industry leaders at the networks and leading stations to
come together in order to formulate a common vision for a "new" public
media; to define the road ahead or risk having someone else define it.
One line of thinking goes like this: Public radio is inheriting the
mantle that has slipped away from newspapers. With the decline of the
American newspaper, public radio stations have a new mandate ( to serve
as the primary source or local, community journalism). Bill Kling, CEO
of American Public Media, is the latest in a continuing line of those
stepping forward with a clarion call for stations to engage citizens
and help reinvent journalism. (The Future of News: Creating a New Model for Regional Journalism in America).
A More Different AIR and Survival of the Fittest
Closer to home, AIR continues to expand its ranks with an historic 760
members from 44 states and 11 countries. We have seen emerge in the
last year a new face of AIR. The latest survey of new members
(July–September) tells us that
• 67 percent are 21–34 years old
• 61 percent say they are just beginning their career, with 33 percent in mid-career
• 25 percent are non-Caucasian
• 30 percent work at a radio station
• 55 percent say their primary professional experience is in broadcast/radio
• 27 percent of our new members say Internet/online is where they have their most experience
The number of respondents during the three-month period we've
telescoped here is relatively small, and we will continue to track and
report back on what we're learning about our changing membership
throughout the year.
We have seen BBC joining the ranks of our
membership with networks APM, NPR, and PRI. We have, among us, upward
of 15 producers and staff from each of these organizations.
These newest AIR members come into a mix that includes the industry's
most long-standing and experienced producers, whose work is what drew
so many of the newbies to us. The depth and breadth of our membership
is one of our greatest strengths. Anyone who has participated in our
mentoring program or spent time in the "inner sanctum" of the AIRdaily
listserv understands this. Yet the emphasis on youth, on digital media,
on inventing new formats, and the dearth of CPB funding earmarked for
independent producers bring a different set of challenges to many of
our veteran producers. What comes across, in talking with them, is raw
determination and an astonishing capacity to move ahead in uncertain
times.
As Barrett Golding suggests, "Maybe it's a good idea
to just proceed blindly forward." Steve Rowland in his September 2009
AIRblast feature ponders reinvention and what he should be putting on his business card. Joe Richman (Radio Diaries)
is emblematic of other established producers, putting his creative
energy these days into restructuring his business, anticipating the new
priorities of funders, and developing a digital media strategy while
preserving the art of storytelling, which is the heart and soul of his
work.
This capacity of our veterans for adaptation is an
inspiring example for us all, and the list of producers taking new
directions is fascinating. We're sure to see the emergence in 2010 of
new and exciting models in this arena, as well. Survival of the
fittest, indeed.
Guiding lights
I share here a few tenets honed over the last year that shape my (ever-evolving) thinking today as I look to the year ahead.
1. The change underway is happening at the level of craft. The
transformation of media is being driven from the bottom up, by
individual producers — working independently and at organizations
across the country — learning the new tools, adapting their practice,
and inventing new ways to tell stories and spread their work. Our job
is to recognize them, get them what they need, then step out of the way
and let them lead us to the "new public media" so many are speaking of.
2. "Just hold the space," says Jacquie
Jones, executive director of the National Black Programming Consortium.
The way forward is not always clear. It is sometimes enough to mark a
time and a place and bring the right people to it. See #3. Capture what
emerges.
3. Put energy toward the projects, the people, the organizations, who create a positive charge, who "get" your vision.
Trust your gut. Some of the markers for me as I seek them out are a) Do
they ask me good questions? b) Do they have fire-in-the-belly —
authentic passion for what they do? c) Do they have a vision? Do I
recognize it? Get excited by it? d) Do I feel physically charged when I
walk away?
4. Keep moving. There is a lot
of crazy stuff going on as organizations, funders, partners, change
directions — often unexpectedly and abruptly and with reasons that are
not necessarily clear. It's easy to get hung up trying to figure out
reasons. Do not personalize. Don't look back. Keep your eyes ahead.
Focus on forward motion.
Catching up on back reading recently, I was struck by a concept of "radical optimism" laid out by Jan Verwoert in his essay Exhaustion and Exuberance: Ways to Defy the Pressure to Perform.
"To feel inspired essentially means to realize I Can because You Do,"
he says. "Any form of work that unfolds through addressing the work of
others thrives on this sensation … because another person's thoughts,
works, or conversation make you experience the liberating sensation of
potentiality that, yes, you can also think, feel, speak, and act in this way."
Those of us behind the scenes at AIR — the board and staff — experience
this inspiration through the work of the producers in our industry,
those of you who, day-in and day-out, make all that the public media
industry is built around. The dedication we feel for our work is
inspired by the remarkable perseverance of those of you who have every
reason to choose another profession. We are inspired by and dedicated
to you who, when the call comes, make remarkable, surprising, and
moving work. We Can, indeed, because You Do. We lead by following you.
Comments to Sue@AIRmedia.org
http://www.AIRmedia.org
http://www.MQ2.org
Footnote:
* Of the $406 million FY09 congressional appropriation for public broadcasting, $20 million goes into CPB operations, $24 million goes into the "6 percent" fund for general system support, and the remaining is split 75 percent to 25 percent between television ($271.5 million) and radio ($90.5 million)