Music Format Curator

They listen to save you time!

PRX Format Curators are here to help stations quickly locate radio pieces that are more relevant to their local air.

Format Curators are very good in their field: they have proven content expertise and have worked at local stations. They get the challenges of programming to a specific format and a local sound.

Music Format Curator -- David Srebnik

David Srebnik produces Virtuoso Voices, an interview clip and fundraising service heard on 115 stations. As an Associate Producer at NPR, he programmed the music heard on Performance Today, and directed news and music programming at stations in Texas, Michigan, Florida, New Orleans and North Carolina.

What David listens for in musical programming...

Nominate pieces and programs for David to consider.

David's Picks for May 2008

A Musician's Life by Tracey Tanenbaum

So, Tracey - how do you get all this incredible, personal story-telling from the performers you feature?

That's the question and the payoff in each of Tracey Tanenbaum's 5 minute features, "A Musician's Life."

From Kaki King's "complicated" relationship to her guitar - to singer-songwriter Mark Cohn talking about getting out of the business ("If one to two years go by and you really haven't written a song, are you a songwriter?") - we take away each performer's story: what driving life force...forced them into a musician's life.

On the occasions when "A Musician's Life" reveals a darker, less flattering moments from a performer's life (addiction, abandonment, getting shot), we feel the darkness but we don't fall into that darkness - in other words, "A Musician's Life" are highly personal performer snapshots, but also personally and musically uplifting and rewarding snapshots.

"A Musician?s Life" featuring Blues artist Mary Gauthier is a more pointed and poignant illustration of the duality of daylight and dark that typifies a musician's life, and it's these dualities that these radio autobiographies capture so forcefully and so consistently.

"A Musician's Life" is more of radio and PRX story telling at its finest - drama, humor, mystery, irony and pacing with the understanding that the payoff at the end can be a bang or a whisper. Heightening the tension and resolution is the stylish interweaving of music and some stunning hitting of posts - quite remarkable how the music always manages to time out just right.

At five minutes, highly recommended for insertion during your local AAA-based programming and as an insert in other slots where you want to strengthen your music brand and image.

So, Tracey - how do you get all that incredible audio from the performers you feature?

Carole King: Tapestry by Joyride Media

Part Historical Document, part introduction anf part reintroduction to one of music's seminal moments and musical discoveries. Carole King's recording, "Tapestry" introduced the singer-songwriter into mainstream households. The recording became her calling card and a mandatory reference point for anyone in the '70s through '90s who wanted to sing their own songs.

"Carole King: Tapestry," produced by Joyride Media, recounts the days, the business practices, the hoop jumping and creative adventures that brought music and musicians to the recording studio in the late '60s and '70s. Not a documentary, this is high level radio story telling about some truly remarkable music, musicians and music producers. Host Rita Houston, and the show producers, keeps all of the music and Tapestry expert witnesses together. This story, like the music, never grows old.

For your post ATC slot, your program specials slot, and all weekend long, listeners will drop what they're doing for an amazing first time Carole King experience or for a wonderful reconnect with one of the big musical events of 1971.

Echo Location: Soundings in New Music by John Diliberto

Musical enjoyment and music-journalism aside for one moment, the series "Echo Location Soundings in New Music" is one additional opportunity for stations who consider themselves to be in the "Find Out About New and Interesting Music Here" business.

The series, produced and hosted by John Diliberto (Echoes) is a good fit within your arts magazine program, and could, with proper planning and thought, fit within a local music show in the AAA-based neighborhood. The series can also be streamed on your web site.

The music, writing, hosting and production are typical of the radio craft consistently practiced by John Diliberto - making it both good radio and good listener service for those in your audience who look to you for the next CD to add to their personal sound bank.

Bluegrass Review by Philip Nusbaum

I'm a Bluegrass weakling and neophyte. Like many, I know Alison Krause, the "Oh Brother..." soundtrack and a few standards, but that's about it. That either makes me unqualified or possibly well suited to come at Bluegrass music honestly and innocently.

I guess it's Bluegrass that I heard on the Bluegrass Review, but after hearing show #819, I had to do some Bluegrass rethinking and redefining. And I'm grateful for the opportunity to think again.

Maybe that's the program's (and the weekly series) only problem or obstacle -- undoing or getting beyond the sonic and visceral expectations associated with what we've come to believe defines the Bluegrass category and label. Not all bluegrass sounds exactly like, well....you know.

The music of "Bluegrass Review" might not be right for your music format - but I propose it might be a better fit for some formats than you, me and we might expect. It's fun, pretty, virtuosic -- the harmonies can turn your insides out, and the story lines resonate and translate to contemporary times.

Even though the show operates within a theme, there was plenty of contrast and superb musical flow.

And how many show hosts do you know who can create relevant breaks in 20 - 40 seconds - with more than the obligatory information, and plenty of natural personality and "hostiness"? Meet Phil Nusbaum.

David's Picks for April 2008

Church Music by Charles Lane

The International School Choir Gospel Competition in Brooklyn is one of the recurring gathering points for the people you'll hear from, but the competition (or winning) is not at the heart of the story. You'll hear who sings in church, why they sing and some of the different approaches to musical styles, including the urban, Gospel, African-American experience, the Contemporary Christian Music sound, the classically spiritual choral tradition and the Gospel Hip Hop scene.

"Church Music" is a viable and stimulating programming opportunity in context with, and in contrast to, the "Barack Obama Pastor Disaster" story.

But music labels and categories go by the wayside just minutes into the program. The role of the Church in today's society and our overall economic and social health are areas touched on as well. My one word of suggested caution for those who may consider the program is the time spent off of the strictly musical focus in the program's second (21-minute) segment.

There's an outstanding, rising to sensational flow of elements and voices. You will especially love the voices, the stories, and the stories you'll hear within the voices themselves.

Solid hosting and production, as well, from Charles Lane, Church Music is a mostly feel good, life and radio affirming piece for your listeners. (Music intensive and all-news stations should audition the entire piece to ensure the music fits your station's sound.)

Mock Funding Credits

An April 2008 On-Air Fundraising Option (a)

Looking for a pledge drive moment of levity for your listeners and your colleagues?

This is it.

This brief spot adds perspective and tongue and cheek to Public Radio fundraising and public radio in general. Great moment to inject when your pitching has become too serious, or when you're on the verge of landing in the dreaded afternoon lull.

This I Believe - Yo-Yo Ma

An April 2008 On-Air Fundraising Option (b)

Pretty nice read from cellist Yo-Yo Ma - suitable for your classical music programming, classical music imaging and as a fundraising option.

But this is not just a "classical" programming option. His points about music serving as a meeting place for citizens from different cultures, and people with different views, makes this a fitting on-air fundraising segment for a variety of public radio formats.

For example, "Every day I make an effort to go toward what I don't understand. This wandering leads to the accidental learning that continually shapes my life."

Edit this piece, as needed, to fit within the constraints of your station's fundraising and standard break-length philosophies - with the permission of the Licensor (This I Believe).



Symphony Space Live: The Ying Americans from Murray Street Productions

There's a small but powerful force of radio hosts, producers and writers who are winning the war against the music education traditions that have made "music education" a four letter word on classical music radio.

Here's one of those victories.

"Symphony Space Live: The Ying Americans" is a pure musical experience with concise, well intoned and interesting musical and historical background. The Ying Quartet plays Samuel Barber's String Quartet, and relatively new quartets by Michael Torke and Patrick Zimmerli. (Please note the music and performance advisory at the end.)

Without pomp and circumstance host Stefon Harris and writer Jackson Braider give us a sense of who put the American in String Quartets written by American composers. It's a question that can't necessarily be completely understood or answered, and that may be what makes the program work as both music and "music education." The host, writer and producers don't try -- or try too hard -- to find definitives. Nor do they leave us guessing. Discovering or getting close to identifying the source of the American in American String Quartets is confidently left to our own ears.

Consider airing this program after ATC on Weekdays, or later in the evening as your schedule permits. It's also suitable for weekends and any of your regularly established documentary or specialty programming slots.

As always, significant pre-promotion is highly recommended to get the sound of the show and the music in the heads of your listeners. Barber's String Quartet, and its eternal Adagio, is one of the program's draws, and that may be the only invitation your listeners need.

The melodies and harmonies of Michael Torke's "Corner in Manhattan: Sixth Avenue in the Afternoon" will grow on you (a few moments of Ying scratchiness aside). Patrick Zimmerli's "American Spiritual" for String Quartet begins warmly and reclaims much of that warmth after alternating sections that are more conflicted in nature. Some of Zimmerli's motifs are, quite frankly, profoundly moving.

The Barber, Torke and Zimmerli quartets each project a clear, deep beauty and deserve radio consideration. The decision of whether the music fits stations' programming philosophy will likely vary. I'd like to stay out of that decision process, because it understandably and properly varies from station to station. But, I certainly feel the substance and craft of the music is worth your consideration.



Radio Lab: Pop Music by WNYC

Why do dreadful songs haunt us and never leave our head? That's how the show begins and it's a theme that recurs throughout.

But there's more to the show than just a witty investigation of this familiar topic.

Compelling narratives, mixed with engaging back and forths between Radio Lab's soul mates and cohosts, Jad Abumrad and Robert Krulwich take us miles beyond the "damn, this is annoying" factor associated with songs and melodies that linger like bad house guests.

Listeners will hear why melodies (good, really bad and really good) stay in our head -- but also, how they come into the composer's head to begin with -- Tony Hatch's "Downtown," for example, made famous by Petula Clark.

The shows hosts and guests also investigate why American Country Music is just as popular -- maybe even more popular -- in Asia, Africa and other places where English is not spoken. There's even an accordion story with a happy ending.

Typical of many Radio Lab topics, delivery and sound-craft, this edition is funny, clever and endlessly inventive. It's also fascinating. You'll take away some PhD level medical, psychological, neurological and musicology mega data you previously thought only the genius next door could understand.

"Radio Lab, Show 405: Pop Music" is a credible candidate for your midday schedule, post ATC and for weekend airings. The driving pace of audio probably places it later, rather than earlier in the day.

This particular program, like many earlier Radio Lab shows, lives as much as a significant informative and entertaining opportunity for listeners as it is for us who want to make memorable and compelling radio.



Jazz Masters Moments by NEA Jazz Masters

NEA Jazz Masters, a series of 10 vignettes (1:00-1:30), focusing on a moment between two artists or a notable jazz moment in time. These are energizing feel-good pieces that inform and entertain along the way.

Especially strong: Ramsey Lewis tells the unassuming origin of his colossal hit, "The In Crowd;" "Slide Hampton on the Art of Improvisation" and "Buddy Defranco on Achieving his Musical Status."

Offered as Black History Programming, but more than appropriate for enhancing and enriching your fundraising sound. They're also worth thoughtful consideration for use during local jazz programming and within ME and ATC cutaways -- not as fill, but as a way to promote local jazz programming and your station's jazz brand.

Very tasteful overall, with clean, sparse writing and discreet hosting from Delfeayo Marsalis.

David's Picks for March 2008

Live from Austin: Joe Ely

Two threads run through "Live from Austin: Joe Ely": first, a powerful, at times shattering musical sound piece and concert featuring Texas Singer/Songwriter Joe Ely. Perfect for AAA, NPR News and eclectic music formatted stations.

The second thread is a low key, fawn-free journalistic quest for an understanding of the commercial fame that has stayed half an arm's length away from this Texas music troubadour.

David Brown hosts both the quest and the concert. The answer or, perhaps, key to Ely's unfulfilled fame, according to Brown, lies in the live concert setting where Ely is in his true element both as a singer / performer and as a soft spoken storyteller who engages his audience with no wasted words.

For music intensive stations, there are no music-to-talk ratio issues of concern. This is a concert first and foremost, and a damn good concert at that. Besides Ely, you'll also be stung by accordion artist, Joel Guzman.

With this musical evidence (remember DB has a law degree in the wings), the show makes the case that the key to more fame, if Ely wants it, may just be with more concerts and concert recordings.

The mix and assembly between Brown (at times post-voiced in the Studio) and Ely on stage could be a bit more seamless, but this is a minor point in the larger context and realities of creating a live concert and chat within a 59 minute format with 2 internal breaks.

Great hosting and presence from David Brown -- and the music, especially Randy Banks' "Where is My Love" -- makes this special worth serious promotion and multiple airings.

The Clash: Revolution Rock

Best placed on stations with AAA, Alternative Music, eclectic music formats and possibly dual format, NPR News / AAA stations.

Three strong appeals for this program, all from the listener's perspective, but there's a Radio insiders appeal as well.

The art and craft of radio and pubic radio's other core values are on solid display in this successful music documentary. The music itself, and the story behind the music, share equal billing and appeal on significant levels.

The compelling human storytelling components of the program evolve naturally. So does the musical story for those not familiar with the Clash and the punk movement they either founded or refined while also taking it to new and substantial musical levels.

This show, I think, will please Clash fans who have lifted the band to cult status, and there is similar appeal for other broadly tasted music fans. I'll let the more knowledgeable Clash fans and experts speak for themselves, but I suspect they'll say this Joyride Production does the band justice.

And while radio, and PRX, are first and foremost about listeners, this program serves as a living template, instructional device and perspective provider for those learning, teaching and honing their radio documentary chops. A pleasure to hear and an inspiring pleasure to learn from.

Appreciative strokes to Joyride Media for knowing how to format and package the program for use on the radio and to host Delphine Blue who knows exactly what she's doing and saying.

Jazz Profiles: Bill Evans

Timely for now, timely for nearly any air time, and especially timely if you find yourself in a position to introduce the soul, struggle, whimsy and aching beauty that pervades Bill Evans' music to first time listeners. But this is also a celebration for all Bill Evans fans and admirers.

Host Nancy Wilson and JP producers unobtrusively, yet with clarity and authority weave their way in and out of the music to bring you the relevant descriptors and biographical notes that make the many veins of Evans' music resound so movingly and memorably.

The program's autobiographical elements that explain the fueling and shaping of Evans' music may stand out a bit on a local jazz shift, but will work superbly in your station's specialty program or documentary slots. There's also a place for the program from late morning on during your weekend programming.

The Bill Evans story, like Bill Evans' music, never gets tired. Jazz Profiles has done a superb job of advancing the story of a musician whose music can speak quite nicely for itself. This show will appeal to those making their first or second acquaintance with Bill Evans and will also warm up those who were converted long ago. Getting ready to Fundraise? Do you Podcast?
Two :30s from Charlie Schroeder...

Fundraising Testimonial

Nicely done, hits all the right values and uses a variety of everyday voices, without sounding everyday. A clever 30 second fundraising spot for news stations and news/music stations that sparkles without the glitter.

Podcasting Fundraiser

More nice work and craft. Very timely and strongly suited for listeners to Public Radio stations who podcast. The fundamental steps of the "Giving Path" are nicely illuminated over an attractive sound bed. This 30 second spot could run all year round, and would work well on your web site and as the entry or exit point within your station's podcasts.

David's Picks for February 2008

Thoughts in Sound

This program succeeds on several levels.

It's a near masterfully programmed hour of music, an enveloping audio-sonic tapestry, and a compelling review of contemporary music history that never becomes audio or academically retentive.

Though this is an overwhelmingly musical program, it also serves as an ode and intro to sound and the sound that turns into what we call music.

To open our ears to sound in perhaps a new way, host and producer John Diliberto focuses on the once renegade and now generally accepted compositional movements known roughly as "music by random selection," "electronic," "pre-minimalism," "classical-pop fusion" and "minimalism" innovated and championed by composers including John Cage, Karlheinz Stockhausen, LaMonte Young, Terry Riley, Brian Eno, Philip Glass, John Adams and Steve Reich.

Illustrative, opinionated clips from these gentlemen-maverick composers are well chosen and well edited as they weave in and out of the musical examples. The talk is smart, informative and accessible. No degree required.

The talk-to-music ratio is 50-50, more or less, but there's so much colorful and pleasingly extroverted music supporting the ideas and information, the lasting impression is that this is ultimately an all-music show.

Again, music programmers of all music categories will be impressed, I think, with the sheer variety of music and how it's ordered to flow and fit the informational goals of the program while still making it a stunning "listen-to music" experience.

John Diliberto is superb as host and guide, with a tight, guiding script and informed presence. "Thoughts in Sound" is organized and packaged in various lengths and formats for maximum programming flexibility.

"Thoughts in Sound" could work on a weekday afternoon on some stations with proper advance promotion. It will clearly work well in the evening or on the weekend on music and music/news stations. Promo materials are provided.

This I Believe Pledge Spot -- Joan Tower: The Power of Music

Some musicians can't talk or readily put together coherent thoughts about the music they love and likely perform better than most. They simply put their heart, soul and understanding into their instrument.

Enter composer Joan Tower: she can talk, she can tell stories and move you with her words. And, she will likely help your station raise money in only 89 seconds.

From the "This I Believe" Series, the American composer discusses the power of music in her life. She lists her own connections and reliance on classical music in a way that will resonate with your listeners, who will both see and remember their own connections and emotional attachments to the music they love.

Within the context of classical music fundraising, this is a powerfully crafted message that reinforces the value and benefits of classical music on Public Radio. The spot reflects what research has taught us about why people listen to classical music (and what we know anecdotally), and it will provide additional authority to your on-air fundraising sound.

Outside of fundraising programming, this piece will shine up your arts magazine programming, and with thoughtful and exceptional creative planning, placement and forward promotion, it could also fit within a local classical music shift.

WNYC's Fishko Files: An Hour with Ned Rorem

Another musician who can both compose and talk in high scaling degrees of profundity, clarity and wit is American composer Ned Rorem.

WNYC's "cultural attache' " Sara Fishko talks with the American composer in a not too long ago version of the "Fishko Files."

There's plenty of music and interesting and amusing musical anecdotes. One of several highpoints is hearing Rorem say, and then explain convincingly, that French music is "profoundly superficial" and German music is "superficially profound."

The back and forth between the composer and host includes well chosen excerpts from Rorem's own compositions, including the Barcarolles, the Concerto for Piano Left Hand, Eleven Studies and several songs.

Rorem remembers some of his first and early run-ins with Leonard Bernstein, Aaron Copland and Virgil Thompson, and presents his theory that links composition to acts of musical thievery and cover up.

Rorem is a fascinating, intriguing and compelling thinker who expresses ideas and opinions easily, and no matter the complexity, he always speaks in listener language. Though highly opinionated, he never annoys or condescends. More importantly, he always provides clear and intelligent support of those strong opinions.

Music-to-talk ratio is ideal.

Highly suitable for evening and weekend classical music programming. I could hear this on a Saturday afternoon after the MET and easily on a Sunday afternoon or late morning.

Musicians in their Own Words Modules of various lengths

David Schulman's excellent Musicians in their Own Words series recently expanded to one hour documentaries. In his original (shorter) module concept, he features violinist Hilary Hahn in two separate pieces talking about two different composers: Bach and Mendelssohn.

With Hilary Hahn: In Her Own Words...on Mendelssohn, David Schulman juxtaposes the violinist's audio liner notes for Mendelssohn's popular Violin Concerto with her insight into how the genius of the music is easier to explain than it is to play. Schulman is a master radio and musical craftsman: he knows just how and when to let the music speak for itself; he consistently chooses the right musical moment to amplify the text and knows when to use the music as a warm bed in support of the text.

Consider using this 1:42 module during the weekday or weekend late morning / afternoon day part, prior to playing Hilary Hahn's recording of the Mendelssohn Violin Concerto (Sony Classical SK 89921). Or, use this module as an enhanced forward promo for the Hahn / Mendelssohn recording being played later in the same day.

With Hilary Hahn: In Her Own Words...on J. S. Bach, the violinist talks about the challenges of playing Bach, where Hahn says, "There are almost too many choices." Beginning with her early days of learning and playing Bach, Hahn transitions to illustrating how Bach usually has several different melodies happening simultaneously. With each of Hahn's illustrative points, Schulman adds the right musical illustration. Like the Mendelssohn module, you could air this 2:45 piece prior to Hahn's Bach recordings (Sony Classical - SK 62793 or DGG - 474 199-2).

With both of the Hilary Hahn "Musicians in Their Own Words" modules, David Schulman creates a near perfect example of music education or music appreciation without the academic shackles and inflections that have made those terms deadly on the radio.

David's Picks for January 2008

Max Roach--Drums Unlimited

The challenge in producing a music documentary is getting that balance between music and talk, musical enjoyment and musical education. To my ear, too many music documentaries and some of the weekly music shows leave listeners hungry for the music -- they never get their musical fill.

I like this documentary. Even though the talk to music ratio is about equal, Producer Ben Shapiro has found a way to give us the history, context, personality and innovations behind one of music's top players and thinkers without sacrificing a strong musical presence.

Host Kenny Washington is clearly a Max Roach fan, but hosts this program without fawn. Equally impressive, Mr. Washington is also a drummer with an ability to avoid drum-speak when introducing and exalting Roach's innovations.

If I had known in advance that Mr. Washington sings along with the music, to emphasize the innovative character of his approach to rhythm or melody, I probably would have diminished my expectations. But, Washington's brief sing-alongs are a great bit -- and, in a sense, better than words as a way to underscore and highlight Max Roach's inventions and musical contributions.

I'd suggest running this program after your weekday news block at 7 or 8 pm. It's perfect for the weekend afternoons and evenings, and would especially add hope to a Sunday evening in anticipation of a dreaded Monday morning.

Max Roach Drums Unlimited does break the unofficial "length-of-drum-solo" rule near the top of the show (I'm not sure if you're allowed more than 15 seconds . . .), and there's a bleeped S-word at 58:03 in . . . FYI.

An Hour with Oscar Peterson
WNYC's Sara Fishko gets into Oscar Peterson and his music right away. It's a classic grab you moment from the outset.

Ms. Fishko recognizes the best way to "get" Oscar Peterson is to hear him play, pop in for a few seconds with a biographical highpoint, follow it with a Peterson sound bite or brief conversational back and forth, and then let the music fade up and establish itself once again.

There's a lot of insider language that surrounds the essence of music making, and it frequently is at the heart of radio's deadliest moments as we attempt to explain something so inside it's irrelevant or too inside that it's unexplainable. Some musicians talk well, and it's a program high point when Oscar Peterson explains what does it mean to play "pianistically."

Several historic Oscar Peterson events (most notably a devastating rendition of "I Get Along Without You Very Well" from London's Royal Festival Hall in 1978), endow this hour with special warmth and additional credibility.

While the reality of the music we play on the radio becoming background music is troubling in certain contexts, there can be background music programming of substance and purpose. This program will entertain and please listeners both in the background of their listening room or if they sit perched in front of their radio.

With his recent passing, the best programming option is the sooner the better. This includes after your evening news block, during the dinner hour and late evening. Weekends: all day and night.

Discoveries at Disney Concert Hall: Violinist Joshua Bell in Concert
Violinist Joshua Bell finds the concert setting liberating. In a recent interview he revealed, "I don't particularly like studio recordings. It's not conducive to abandon which you need to have in music."

That abandon is evident in a recital NPR Music recorded at Disney Hall in Los Angeles. As part of NPR's Discoveries at Disney Series, Joshua Bell brings his signature warm and supple tone to Beethoven, Prokofiev, Tchaikovsky and Bartok.

Morning Edition Co-host Renee Montaigne hosts the hour of music that also includes brief takes from Bell on the music hear throughout the program. His description of the Beethoven Violin Sonata No. 5 ("Spring") is an especially good set up. Musical high points come in the 2nd Movement of Beethoven's "Spring" Sonata, and the violinist completely captures the gypsy spirit in the gypsy inspired Rhapsody No. 1 by Bela Bartok.

Excellent, to the point, scripting, a pleasing host presence, good flow throughout and strong performances make this highly suitable for evenings and weekend afternoon programming. The nature of the music, and the appropriate music to talk ratio, makes this program worth considering for weekday afternoons as well.

Small point worth mentioning -- within the context of an all-Classical Music station or a classical music programming block, the "Discoveries at Disney" opening theme and break music is not purely classical in sound, but well within the classical realm.

Minus a few violin scratches in the Third Movement of the Beethoven Sonata, this is a compelling and enjoyable hour of music, and an excellent opportunity to promote and present "special" programming on your station with one of the world's most popular violinists.

The Mozart Academy
Getting ready for your first fundraising campaign of 2008?

"The Mozart Academy" (1:59) by Sally Herships is a warm and sweet piece that would be ideal to insert during classical music fundraising programming. It effortlessly affirms the beauty and joy of classical music, while also reminding us of music's power to move us -- especially children.

As a fundraising piece, there are natural pledge tie-ins you'll identify immediately. The pieces' feel-good spirit speaks for itself and would be a pleasing addition (and maybe pleasing contrast) to your fundraising program content and sound.

Pacing and flow are strong.

At just under two minutes "The Mozart Academy" may not fit in to your station's programming guidelines for your local classical music shifts, but it's worth considering for your arts-magazine programming.

The program requires an Intro and Outro, and Intro/Outro text ideas can be found on the PRX piece page.

© 2008, The Public Radio Exchange