Radio May 2001

Everything You Need to Know

All Things Considered has only improved with age, the author finds. But it could still aim for deeper realms

Illustration by Mark Matcho

Many years ago, when I was moving to one of the most rural corners of the eastern United States, I spent several days driving back roads with real-estate agents. Given my budget, I would look at anything—nothing was too ramshackle, too long on the market, too far from the road. Before I would even walk up the driveway, though, each property had to pass one test: could I pull in a National Public Radio station on my transistor, or was some mountain blocking the signal? If I couldn't hear NPR, I'd scratch the place off my list.

For most of my adult life All Things Considered (and the NPR programs that have descended from it) has been a regular part of my day. Trying to critique it is like trying to critique my golden retriever: her habits and tics have become so integral to my life that they no longer command conscious attention. Still, with ATC approaching its thirtieth birthday, on May 3, I kept wondering about something I'd always heard: that in its early years the program was fresher, more high-spirited, more venturesome. As early as 1982 Susan Stamberg wrote in her compendium Every Night at Five that the program's in-house joke was that the "Golden Age of All Things Considered was always six months before you came to work here."

NPR has a complete tape library of the program, reel after reel stretching back past the days of Watergate and the energy crisis, right to the very first broadcast, which coincided with a mammoth anti-war demonstration. ("Excuse me, sergeant," the reporter Jeff Kamen could be heard asking a police officer. "Is that a technique? Where the men actually try to drive the motorcycles right into the demonstrators?" "Naw, it's no technique," the sergeant replied. "We're trying to go down the road and the people get in front of you. What are you gonna do? You don't stop on a dime.") Shows from 1996 to the present are nicely catalogued on the show's Web site, but tapes from before the 1990s are not easily available—a situation that some university or foundation should remedy, so that any report-writing high school student could get at these voices from the past on the Internet. These tapes demonstrate all sorts of things: for instance, that even just three decades ago Americans spoke much more colorful English, with a much wider array of accents; and also that the sheer amount of history-making news broadcast on any ordinary afternoon in the early seventies overwhelms our calmer time.

What the tapes don't demonstrate is an Edenic All Things Considered.

At the very, very beginning the show did sound different. The theme music was all cheerful Moog, and Mike Waters, one of the hosts, reverberated like a cross between Orson Welles and Jehovah. It didn't matter that his echoing voice moved through the news at a stately pace: the program's small staff was clearly struggling to come up with enough polished pieces to fill ninety minutes. In July of 1971, for instance, ATC reported on a conference of anti-war activists that the reporter described as "predictable." But that didn't stop him from offering an uninterrupted five minutes and ten seconds of a speech by the former Alaska senator Ernest Gruening attacking U.S. involvement in Vietnam. Sound-bite journalism is surely the bane of our age, but I am duty-bound to say that anyone who now broadcast such segments each night would soon have no listeners. Perhaps we would be better off if we still had the ears for such rambling, but we don't.

Clearly the producers felt the same way, because by about 1977 the show had hit the stride it has maintained to this day—a combination of crisp professionalism and intelligent warmth that has built an audience of 1.6 million an evening. Carl Kasell was reading the news, Bob Edwards was co-hosting the program with Susan Stamberg (Morning Edition, Edwards's baby, was yet to be conceived), Linda Wertheimer and Ira Flatow were providing reports. Much of the current cast was in place: Noah Adams, Cokie Roberts, Scott Simon, Robert Siegel. Though the show was covering newsmakers of the now distant past (Bert Lance!), and though some of the issues of the day seem bizarre to our ears (Robert Krulwich anchored a special report on why women might want to have jobs), the tone, the length, and the ambiance would be instantly familiar to any current listener of ATC or Morning Edition or the weekend versions of these shows. Right at the beginning the format could have gone in any number of directions. For instance, to close a 1971 report on pinball parlors Mike Waters cued The Who's "Pinball Wizard," not for twelve bars but for its glorious entirety. By about 1977, though, the show's experimentation had largely ended, and the daily lineup was set: harder news in the first and third half hours, softer stuff in the second and—since 1995, when the program expanded to two hours—fourth. Each half hour in turn progressed from newsier news to features and interviews. Letters from listeners on Thursday. And so on.

To call it a formula sounds like criticism. In fact the routine has allowed for more variety than can be found on any other program on the air—wonderful contests (create an itinerary that would really show America to a visiting Chinese dignitary), numberless interviews (when Stamberg left the show, in 1986, to launch Weekend Edition Sunday, the staff presented her with a computer printout of the 15,000 interviews and reports she had done). The scripts are writerly. The hosts seem like good friends at the office: they're informal but without any of the phony, jokey banter that blights every commercial newscast. Best of all, the show has achieved a steadiness, a regularity, that allows it to take chances, to devote a quarter hour to some unlikely topic—say, the history of Patsy Cline's "Crazy"—without scaring off listeners. Trusting its quality, listeners give it the benefit of the doubt, in the same way that Beatles fans were willing to entertain the idea of sitars. Charles Kuralt, writing about the show a decade after it started, said, "It's obvious that it is not put together by jaded old geezers looking backward at humanity's wrecks and disasters, but by energetic young men and women looking ahead." That may be twenty years less true than it used to be, but for the most part those men and women have matured with little cynicism and much grace.

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