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If you’re interested in radio, and believe in the inherent power of "the
ear" as an agent of transformation, you’ve come to the right place.
Research
SchardtMEDIA Format Insights
Mapping Public Radio’s Independent Landscape
Research: Mapping Public Radio’s Independent Landscape – Key Findings, Critical Questions
Introduction
Mapping Public Radio’s Independent Landscape
set out to answer the question “what is the value of
independently produced programming in public radio?” Our goal was
to provide a thorough and
objective analysis of a range of areas, including formats for commissioned
work, funding, employment patterns, the programming economy, supply and
demand, methods for evaluating programming,general business affairs,
and the interrelationship between Acquirers and Independent Producers.
“Independent Producer” has a variety of definitions throughout
the public radio system. For the
purposes of this study, ‘Independent Producer” is considered
to be an individual who is responsible
for funding the cost of producing content, either through negotiated
fees, corporation or foundation
underwriting or grant, with their own funds, or some other means. We
provide a glimpse into the role
and contributions of financially independent production houses in the
content analysis portion of the
study, but the primary focus is freelancer reporters and Producers, commentators,
and station-based
Producers who shop out work independently of their station responsibilities.
Our scope is domestic;
foreign broadcasters or Producers who contribute to the content of US
public radio are not included.
This is a benchmark study. It will set a bar for future studies, using
the methodology we created for
this project, to examine how certain measures evolve or whether perceptions
shift over time. For
example, while the findings detailed here give new insight into the volume
of independent content that flows through the public radio system, it
cannot tell us how this compares to five years ago. It will, however,
provide a basis by which we may now make comparisons five years from
now, if we choose to. Likewise, when we ask Acquirers and Producers whether
they believe rates paid to Independent Producers is improving or not,
we are not able to shed light on whether the opinion has shifted at all
over time. In setting a baseline with this report, we will now be able
to ask this question in the future and have perspective on whether opinions
have shifted or not.
The research, which commenced in January 2004, was comprised of an analysis
of nearly 2700
hours of content airing on a sample group of 21 public radio stations
between 6am and midnight from
September 1, 2002 to September 30, 2003 (Addendum
D [PDF]) well as two extensive
on-line surveys –
one of Producers and a second survey of Acquirers. The 345 freelancers,
reporters, and Acquirers
who took time to complete the surveys are affiliated with dozens of public
radio programs, including
those produced or distributed by NPR, PRI, Pacifica, and AIROS, as well
as those originating at local
stations, independent production houses and minority consortia. Nearly
half the Acquirers who
participated in the study (47%) are Program Directors, 35% NPR employees,
12% work for PRI, and
7% work for other national program Producers or syndicates. The profile
of the Producer-participants
is detailed extensively beginning on page 6 of the report.
Research is most useful when it informs action. Now that we have this
report in hand, the Findings
detailed in this report will serve as a common “table” around
which stakeholders will convene in the
period ahead to consider, together, this question of the “value
of independently produced
programming” with new insight that’s offered in these pages.
Please send
us your ideas or comments.
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