The future of journalism is Beyoncé.
FJP: All hail Queen Bey.
The future of journalism is Beyoncé.
FJP: All hail Queen Bey.
Ira Glass to Lifehacker. I’m Ira Glass, Host of This American Life, and This Is How I Work.
Quick tip for things to do immediately post-interview:
When I come out of an interview, I jot down the things I remember as being my favorite moments. For an hour-long interview usually it’s just four or five moments, but if out I’m reporting all day, I’ll spend over an hour at night typing out every favorite thing that happened. This is handier than you might think. Often this short list of favorite things will provide the backbone to the structure to my story.
Read through for the gear This American Life uses and its editing process.
Sound Portraits, which was established in 1994 by the brilliant radio producer David Isay, was the predecessor to StoryCorps. The mission was to produce radio documentaries (broadcast on NPR’s All Things Conisdered and Weekend Edition) profiling men and women “surviving in the margins”:
Told with care and dignity, the work depicts the lives of Americans living in communities often neglected or misunderstood. Sound Portraits frequently collaborates with people living in these hard-to-access corners of America, giving them tape recorders and microphones and helping them tell their own stories.
Witness to an Execution, which won a Peabody in 2000, includes interviews with men and women involved in the execution of death-row inmates at the Walls Unit in Huntsville, Texas. These are people who have observed or administered executions countless times. (One-third of all executions in the US have taken place in Texas since the death penalty was reinstated in 1977). The piece was narrated by Warden Jim Willett, who oversaw all Texas executions.
I’m graduating in May in hopes of becoming a journalist. I’ve had internships and I’ve worked for my university’s online news source. Can you steer a terrified senior in a direction? Where should I look? What should I be looking for? What should I work on?” — Helena
We get questions like this fairly frequently and there’s no exact answer. But with yesterday’s announcement of the 2012 Peabody Award winners we’re seeing the incredible range of today’s journalism.This isn’t to say that you can’t quibble with this story winning over that story, or say they could chose more innovative work, but it is to say that if you look at the winners from the Web, radio, television and documentary you see a wild diversity of storytelling approaches and ideas.
And reviewing some of the winners, I think, is a great place to start.
Start with the Web and The New York Times win for “Snow Fall: The Avalanche at Tunnel Creek,” a multimedia feature using aerial photography, video and words while taking advantage of contemporary presentation techniques such as responsive design and parallax in order to augment and further drive the story forward.
SCOTUSBlog is the other Web winner. There are no bells and whistles. Instead, it’s pretty much a text only blog that’s become a go to resource for stories, background and explainers on all things that have to do with the US Supreme Court. Here, deep, thorough, consistent reporting and analysis wins out.
Radio, I think, is in a golden age and the reason I think this is is because of the launch of iTunes back in 2001. This allowed people to easily subscribe to podcasts — and by extension radio programming — that we previously didn’t have access to. Yes, RSS already existed but iTunes gave us an easy interface to either hear or distribute programming. While your local public radio station might not carry it, you can now hear everything from the BBC’s From Our Own Correspondent to The Moth Radio Hour, 99% Invisible and Radiolab among a host of other exceptional programming.
Each of these programs uses different techniques and styles. By listening and analyzing, we learn new tricks that expand our understanding of what’s possible in audio storytelling.
One of this year’s radio winners comes from Radio Diaries, is called “Teen Contender" and follows the 16-year-old Olympic boxer Claressa Shields in a first person narrative from Flint, Michigan to London. Here’s a great breakdown by Julia Barton on the techniques used and how this created great radio.
Other radio winners include WNYC’s Leonard Lopate Show, a “traditional” hosted show about New York’s political and cultural life; This American Life’s “What Happened at Dos Erres,” an incredible radio documentary about a Guatemalan immigrant in Boston “who learns that the man he believed to be his father actually led the massacre of his village”; and NPR for its hard news reporting in Syria by Kelly McEvers and Deborah Amos.
I’ll leave it at this and with the recommendation to explore different types of journalism awards across magazines, multimedia, photography, documentary, radio and the rest. Through it, you’ll come across work that brings about an “Aha!” moment, one that makes you say, “This is what I want to do.” And then start positioning yourself and aiming towards doing it by applying for work — or learning the skills needed to apply for work — in that area.
Hope this helps. — Michael
Have a question? Ask away.
Via Julie Shapiro at Transom.org:
What’s the aural equivalent of a vantage point? From whatever that’s called, from my perch at the Third Coast International Audio Festival, an observation has been increasingly nagging. It’s nothing new, it’s fairly obvious, and it deserves your attention. It is the lack of female hosts in the ever-widening world of podcasts.
I generally keep up (or try to) with what’s out there in the radio/audio/podcast cosmos, so I’ve been aware that male-hosted podcasts (MHPs) out-number women-hosted podcasts (WHPs), easily. But the actual numbers floored me. According to the widely-used podcast-delivery phone app Stitcher, as of mid-February, 2013, out of the top 100 podcasts in their system, 71 are hosted by men (many by two or three men), 11 are hosted by women (of which three are just 60 seconds long), 9 are co-hosted by a man and woman, and 9 are either NPR or BBC news aggregation podcasts with alternating hosts and reporters, or it’s unclear who hosts. iTunes results were similar.
Though these numbers may not surprise, they should alarm you too. And they point to the disappointing truth: that podcasting – hailed back in 2004 as a “revolutionary” new tool for freedom of expression and endless creative opportunity – quickly copped the same gender stereotypes and realities that traditional broadcasting environments have demonstrated throughout history.
Of course I’m not the only one who’s noticed this, or thinks about it. Nick van der Kolk (Snap Judgement, Love + Radio) posited the question via Facebook back in 2011, and Ashley Milne-Tyte (The Broad Experience) wrote about it last year, just to point to a couple of previous public ponderings. But it is an issue that merits continuous noise, so here’s an attempt to bang on a few more pots and pans about the situation.
I asked two dozen people (half women, half men) in the extended Third Coast community (producers, pub radio decision-makers, podcast hosts) to weigh in on the topic. A little more than half responded. Of those who did, approximately 85% were women. What follows are my own thoughts, combined with observations and opinions from those who responded to my questions. Without getting too investigative, or too scientific, or too statistically inclined, there seem to be a few main factors (and many smaller ones) contributing to the egregious imbalance of MHPs to WHPs.
Read on for Julie’s thoughts and examples of great female-hosted podcasts and programming.