PUBLIC radio is drawing its largest audience ever, some 28 million listeners nationwide each week. But if it’s a golden era, you wouldn’t know it from the frenetic activity to remake the genre.
In WNYC’s antiquated downtown Manhattan studios, the veteran National Public Radio and NBC journalist John Hockenberry and his co-host, Adaora Udoji, formerly of CNN, are rehearsing to find a comfortable rapport for their new live morning news program, which begins Monday. Flush from a $2 million Knight Foundation grant, this program, “The Takeaway” is designed with it partner, Public Radio International, and collaborators including The New York Times, the BBC World Service and the Boston public station WGBH, to be a stark counterpoint to the taped interviews on NPR’s venerable “Morning Edition.”
In the Chicago area, an 11-month-old FM station, :Vocalo, never mentions that it is affiliated with Chicago Public Radio. There’s no “All Things Considered” or “Car Talk”; instead hosts weave together interviews, commentary, reports and music, culled from user submissions to a companion Web site, vocalo.org.
NPR itself started the Web-radio hybrid “Bryant Park Project” last fall, hoping younger listeners would like to hear lively hosts banter about news and culture. And NPR’s year-old midday talk show “Tell Me More,” anchored by the former “Nightline” correspondent Michel Martin, aims at diverse new voices.
The urgency to find new formats is driven by audience research that can be read as glass half-empty or half-full. The 28 million weekly public radio listeners recorded by Arbitron in spring 2007 topped the previous high of 27.5 million in 2004. But the research also showed that the listeners were tuning in for shorter periods.
Public radio “had an enormous surge in listening over about a 10-year period from the mid ’90s up through about 2003, principally driven by a huge response to public radio’s news and information programming,” said Tom Thomas, co-chief executive officer of the Station Resource Group, a public radio consortium. But since 2003 “the audience has essentially been flat,” he said.
To address this, the consortium recently received a Corporation for Public Broadcasting grant to identify ways to get the audience growing again, and “Everything is on the table,” Mr. Thomas said.
Last year some 1,400 people entered the Public Radio Talent Quest, an online search for new hosts run by the Public Radio Exchange, a Web site, prx.org, where independent radio producers market their content. None of the three winners — a science blogger, a slam poet and a nonprofit executive who is a storyteller — reflect that typical public radio sound, said Jake Shapiro, the exchange’s executive director.
Executives stress that the new programming won’t abandon in-depth news, just “get away from a tone that feels too clubby,” said Graham Griffith, executive producer of “The Takeaway.” Nor do they want to tinker with existing programs; they just want more options for more people.
“A lot of the research that guided public radio’s direction in the last 30 years focused on us discovering a niche we could serve and serve well,” of highly educated, news-craving listeners, said Maxie Jackson, WNYC’s senior director for program development. But, he added, that formula “didn’t appeal to people of color.” He called it an issue of tonality.
“The Takeaway,” Mr. Jackson said, could be a model. It will be interactive, he said, and multicultural, with “voices, perspectives, contributors and stories that are relevant to a wide swath of people.” Its tone, he said, “has to be more compelling, with more verve.”
“People want to feel that the hosts are committed to the topic,” he added.
At a recent run-through, an Iowa State University economist discussed global food riots, and an assistant professor at Morehouse College dissected the Atlanta Ballet’s collaboration with the hip-hop star Big Boi. Listeners were encouraged to comment online about how fuel costs would affect vacation plans.
The morning hours where radio thrives have become a battleground, even though NPR’s “Morning Edition,” with 12.9 million listeners a week, is the second-most-listened to national radio program, behind Rush Limbaugh’s.
NPR itself created “Bryant Park Project” because the organization is “mission-driven, and if we can reach more people, great,” said Ellen Weiss, NPR’s vice president for news.
The program had a tough start. One host, Luke Burbank, quit just before the first day, Oct. 1, although he didn’t leave until mid-December. The Remaining host, Alison Stewart, is on maternity leave. Online listening is growing, and with few broadcast stations carrying the program, a plan to go Internet-only has been discussed. Ms. Weiss said that would not happen but declined to discuss coming changes.
Meanwhile in February, with competition looming, NPR cut the fees to carry “Morning Edition” that stations had long complained about by a total of $5 million (to take effect next fiscal year).
Still, stations in Boston, Cape Cod, Baltimore, Miami and across Wisconsin have committed to give “The Takeaway” a try, although “Morning Edition” will still be widely available in those places. On WNYC “Morning Edition” will shrink to five hours between the AM and FM stations, to make way for two hours of “The Takeaway.”
By June 30 the new program will be broadcasting four hours daily, although not all stations will carry the whole thing. Mr. Griffith envisions “The Takeaway” as a “breakfast table,” where a nationwide conversation can take place. Mr. Hockenberry uses a more high-tech metaphor, calling it in an interview “a massive multiplayer game, the rules and title of which are, basically, curiosity.”
