APM series examines exoneration in the U.S.
Posted: June, 07, 2013
By Graham Vyse
Posted: June, 07, 2013
By Graham Vyse
Posted: May, 29, 2013
By Mike Janssen
Posted: April, 03, 2013
By Ben Mook and Mike Janssen
Posted: April, 22, 2013
By Mike Janssen
Posted: May, 16, 2013
By Andrew Lapin
Posted: April, 18, 2013
By Mike Janssen
Baltimore’s WEAA has begun piloting the Michael Eric Dyson Show, a midday talk show that is being reincarnated for a second try at pubradio syndication. CPB awarded $505,000 to WEAA last fall to create a new public radio home for … Continue reading
If any news subject lends itself to coverage by multistation collaborations, it’s the environment of places like the Ohio River Valley, a region of 25 million people who share the river’s assets and liabilities.
Louisville Public Media’s WFPL is leading plans to build a pubradio reporting consortium for the region, starting with a public conference this month. Continue reading
Chicago Public Radio’s board, staff and executives didn’t mince words in their latest strategic plan about their bold experiment known as Vocalo. “As a website Vocalo must be seen as unsuccessful so far.” Continue reading
Looking to lift up your midday radio audience? Try some uplifting music. That’s a lesson from 10 classical radio stations that have been jiggering their midday playlists with help from a listening study backed by CPB and conducted by the … Continue reading
Two daily public radio programs for African American audiences have risen from the ashes of News and Notes, a talk show that NPR cancelled in March. But acrimony over plans, funding and personalities involved in the midday programs has split the African American Public Radio Consortium, a key station constituency for any broadcast aimed at black listeners. Continue reading
These projects were the spawn of Makers Quest 2.0, a CPB-funded, $500,000 initiative, organized by the Association of Independents in Radio (AIR), to support multimedia works with radio components. Continue reading
Stations that stream all four movements of the entire symphony could be seen as violating the law’s detailed rules — the “performance complement”—and risking the statutory license for streaming given them by Congress. Continue reading