Having finished the “first pass” on the Real Life Survival Guide website, we’ve been hard at work on a new version of the corresponding radio show. In the past, the site (and an earlier program) were made up of a series of interviews with experts on “life’s little problems”, and we began the process of creating the 2011 demo using the same paradigm. We searched our contact lists, issued pleas to friends and neighbors, and ended up with some great interviews about “life’s little problems”.
Assembling The Cast of Characters
My co host is Duo Dickinson, an architect, author, and friend since our days at the Park School of Buffalo. (Duo was also a weekly contributor when the show first aired on WNPR in 2007.) The demo is being produced by Sarah Miner, who comes to us from the WNPR newsroom, and she’s being assisted by intern alumnus Joe Dupnik. Our first interviews were with Janet Rosier (about what your high school junior needs to know about college admissions), Patrick Comins (on coping with woodpeckers that – well, peck – on your house), and CPA Bill Zeidenberg, who talked about which personal records we all need to keep for tax purposes and emergencies. They were all fantastic.
The Learning Curve
As work progressed, it became apparent (at least to me) that we were neglecting the original concept for the Guide: that the community would provide the answers. We were interviewing experts because the community didn’t exist, but as I posted the questions on Facebook and Twitter, conversations had begun in earnest – and they were yielding some great stuff! As a result, what you’ll hear from now on will be more voices from the interactions that occur on the website, with experts filling in the voids. This could get interesting…
For the first few years after I went out on my own, I wasn’t making the kinds of connections I needed to make. (I was – and still am – working on the creation of a radio program and online community dedicated to “sharing stuff you should know”.) Then, in the Spring of 2009, a wonderful woman (and beloved Connecticut television news anchor) named Ann Nyberg formed a group called “Navigating Change“.
Connecting
Ann saw what was happening in the media business and took action, building a network of passionate, creative, and wonderfully supportive people.
Through the group I’ve met Suzi Craig (who finally explained Twitter to me), Brent Robertson, (he created my logo, above), and Gary Choronzy, who redesigned this site, and is currently working on “The Real Life Survival Guide”.
Without a connection to this talented group, I don’t know where I’d be right now.
The Lesson
Whether you’re just starting out, or in a job and contemplating a move, know this: it’s hard to go it alone. That makes it vitally important to get access to a network of helpful, like minded people.
…and if the network doesn’t exist, I’d consider getting your “Nyberg on” and building one.
SOCIALisBETTER
The great recession has really shuffled the deck when it comes to our employment status. Full time positions are being eliminated, and certain tasks are being farmed out to freelancers. At the same time, digital technology has dramatically changed the infrastructure requirements for creative independents. Filmmakers, for example, used to require expensive cameras, lighting equipment and processing capabilities. Now all they need is an HD camera and a copy of Final Cut Pro.
Evolution
I think we need to move beyond the classification “freelancer”.
Because of the changes of the past 10 – 15 years, “creative independents” are no longer tied directly to larger institutions. As a result, they create great content for the sake of creating great content.
A Few Examples
We’re in the early innings, but creative independents are emerging among people I know personally:
Anthony Fantano independently produces “The Needle Drop“… and WNPR airs the program on Saturday nights. The Needle Drop is now syndicated (through The Public Radio Exchange, or “PRX“), and features a popular Website and podcast.
Annie Mecca and Bob Marrone have a podcast called Jazz Stew. It’s an example of what is possible when you combine passion (Annie’s love of jazz) and know-how (Bob’s spot on production values).
Ed Bartlett has turned a Facebook Group into a dynamic Web community.
… and Norm Golden independently produces a comedy series called 50 to Death, and is shopping it to the major distribution channels.
The list goes on and on.
It’s a good time to be a “CI”.
jbcurio
One of my top priorities these days is the planned relaunch of “The Real Life Survival Guide”, a Website and radio show dedicated to helping people deal with everyday problems.
Traditional media meets digital
I’m excited about the prospect of producing a traditional radio show that is closely tied to a Web-based community. People will ask questions on the site, and I’ll find experts to provide the answers for the show.
Ad Platforms
I plan be as creative as possible when it comes to selling ads. By building campaigns around both radio and the Web, our partners will expand their “reach” dramatically. The radio campaign will drive traffic to the site, and the corresponding Web presence will provide the ability to interact with potential customers in real time.
Strategic Planning
Strategic planning is crucial when “marrying” traditional advertising with digital. If you don’t have a concise and engaging call to action, your message will be lost in the shuffle. Content is still king.
Joe M500
As someone who’s been involved in the radio business for over 30 years, I can honestly say that the only radio content that seems to inspire me these days is the stuff that’s being produced by non-commercial, or “public” stations. (Full disclosure – I work for one.) Why is this the case? I believe that it comes down to three things: intelligence, passion, and variety.
Intelligence
I do not contend that people who work in commercial radio are stupid. The problem is that commercial radio is about profit, and it’s a lot cheaper to play the same Pink Floyd song over and over than it is find smart people with interesting things to say. You play music that’s been researched, get the best ratings you can, and sell commercials based on those ratings. Public stations don’t have commercials per-se, and there are strict rules regarding underwriting. Add to this the fact that most non-commercial stations cover only a portion of their operating costs from underwriting, and you’ve got built-in incentives to engage listeners in ways that will compel them to become “members” and donate money. This has led to the production of smart (and ultimately successful) programming like All Things Considered and Wait Wait, Don’t Tell Me!
Passion
When you’re being paid to play the same Pink Floyd song over and over, it’s hard to summon much passion. I’ve been in commercial radio studios where the talent seems about as engaged as someone who’s flipping burgers. Many commercial jocks have been told, in no uncertain terms, to restrict their “chatter” to the station’s agenda – slogans, sponsors, and the benefits of an upcoming set of “commercial-free music”. (Does anybody else see the irony in this?) When I walk into the newsroom of WNPR (where I’ve been working for 3 years as an independent producer), I see passionate people working on content they believe in. Wonder who’s turning out the more compelling product…
Variety
In a recent conversation, I was speaking with a friend about stereotypes as they apply to public radio. The first thing that comes to mind is the “Schweddy Balls” sketch on SNL. The truth of the matter, however, is that public stations will air just about any kind of programming. You hear college students playing a wide variety of musical genres. You hear LOCAL news. You hear faith-based programming. And you hear two guys from Boston giving automotive advice.
In an era of seemingly limitless media choices, there are still constraints when we get in our cars – we generally end up flipping through the same old stations. If you’re tired of “Comfortably Numb”, public radio might be a good option.
