A Guide to Media Use in Southeat Michigan. First Edition

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ED 225 807 , SER139 837 ,4 TITLE Ekeing Heard: A Guide to Media Use in Southeat Michigan. First Edition. INSTITUTION Michigan Univ., Ann Arbor. School of Natural, Resources. PUB DATE Jun 81, NOTE 81p.; Prepared by Network. PUB TYPE Guides - General (050)

EDHS PRICE MF01/PC04 Plus Postage. , DESCRIPTORS *Communiqation (Thought Transfer); *Communication

. Skills; *Environmental Education; InformatiOn Dissemination; *Mass-Media; News Media; *Publicity; Radio; *Resource Materials; Television IDENTIFIERS Environmental CoMmunications; *Michigan

ABSTRACT This document is designed to help community' organizations and public interest groups in southeastern Michigan succeed in gaining the attention of local (and perhaps national)

media. Chapter 1 provides a framework, a process, with which to . approach media _planning, describing the various media available, starting with newspaperS, television/radio, and progressing into street theater an& media events. Advantages/disadvantages of each communication format are discussed. Also included in this chapter are guidelines for designing more effective messages. Chapter 2 lists major, radio, television, and TV services available in southeastern Michigan, (concentrating'on Detroit, Ann Arbor, and.Flint), major pUblic service-S available, contact-people, ano tips On how.to approach these media contacts to, maximize re-stilts. The third chapter references existing ,"how-to" resources, including books, classes, and workshops that will improve skills in visual design, public speaking, audio-visual production, photography, technical writing, and others. The final chapter provides information on working with other, groups to form temporary and permanent coalitions. The document concludes with a detailed alphabetical listing of subjects, titles, and institutions. (Author/JN)

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*********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *******************************pc*********,***,*********************k*** U S DEPARTMENT OF EDUCATION e NATIONAL INSTITUTE OF EDUCATION EDU ATIONAL RESOURCES INFORMATION CENTER IERIC1 This docutnetTthas becn reuroduced as .ecented from me person or urganizahon onyhattnq it Knot changes have been made to improve reproduction

Points of %new or opintons stated In thisdocu rnent do not necessanly rrresent offical NIE posthon or ponci

BE G D: G 'de to Med% Use .Souet 6c

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"PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY

TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC)." BEWG HEARD: A Guide to Media:Use in Southest Michigan

'by:NETWORK, Ann Arbor,' Michigan

First edition, 1981

Li NETWORKi a nonprofit organi,zation of environmental Communications students in the Behavior and Environment program at the School of Natural Resources, University of Michigan. Our seminar'experiences of designing media campaigns for local nonprofit organizations promizted us to compile Being HArd: A Guide to Media Use in South- east Michigan.. For jnformation on obtaining additional copies of 'this booklet, contact:

NETWORK 1535 Dana Bldg. The University of-Mithigan Ann Arbor, MI 48109

(313) 763-5327 ,

CREDITS: NETWORK members involved in creating this publication are: Louis Borie, Cherise Brandell, Caroline Burns, Pam Cubberly, ()tug Goldstein, Sa dy Kallunki, Ruth Nowicki, Mike(tasters, Angus Nater, Mary Pitcher,/Shari Sitko, Mike Weilbacher, Nancy Yakes. The toyer ' was designed by Rebecca Robinson, School of Art Production Workshop. Publication of the first edition AS made possible through grants or ads from the following organizations: Integrative Studies Center;

' LSA-Studerit Government; Michigan Advertising Works of S.O.A.P.; Michigan Student Assembly; and the School of Natural'Resources. We appreciated the support and assistante We receiveb from numerous , .organizations and individuals. Special thanks goes to Dr. Ronald Rollet, our source of inspiration and guidance.

Copyright 6) 1981 NETWORK.Permission to reproduce material in the booklet may be obtained from the organization. Contents

How to Use TN s Guide 1

Chapter 1 Planning Your Media Campaign 3

lntroduc4lion;Effective Communication; Case Study of a Media CamPaign

Chapter 2. Communication Resources 19

' Books ark] Materials; Courses and Workshops

.ChaOter3 .44as Media Directory 43

"Newspapers; Radio Stations; Television Statioft; Media Mailing List

. 1 Chapter4 Working With Other Groups 69

Index '73

TIP BOX LOCATIONS

Fliers/Brocliures/Pamphlets 10' 'Logos, 71

Medja Event . . .36 Media Mailing Lists 65' Newsletters 42 Performing Media 68

Posters,. ' . 2 Press Conferences 50 Press Releases 18 Public Service Announcements 58 Speeches and Slide Shoil,S 67 Teaser Campaigns 64 Videotape 63 Worksh ps. 17 4 I Advertisement

, Michigan Advertising Works (MAW) is a promotional planning ang.distribution ser'/ice of the S.O.A.P. office available to officially recognized studeht organi- zatiOns at the University of Michigan. The MAW staff is available to work as consultants with students on publicity campaigns.

In addition:tOkthe free consulting service, MAW also provides prime campus advertising spaces to Univeesity organizations for a small fee. Display sites for posters inside glass- enclosed cases around campus as-well as on University buses are available..Large billboard surfaces and banner locations on. the "Diag" may be arranged with us.'

Come in to talk with- us whenever your organization is planning an activity that you want other students and the community to know about. We're located in the S.O.A.P. office, 2400 Michigan -Union, and our phone number is 764-0436. Let Michigan Advertising Works work for you. ,

IWE'ARE I I 1 MICRIG/4.4 ' REAE To I AtwERTislai- kEo 5EE j 1 oRKS THATYOVIC....i 1 I [FOE YOV ) i

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Being He'ard/iv b

if Haw to Use T4is Guide

Have you ever ca)led a press conference NETWORK's members came together with,the and no one came? Maybe you thought about vision of producing a guide for groups in publishing a newsletter, but didn't know southeastern Michigan that would shed some where to begin? 'Did.you ever ),,nt to cortAct light on these and other media-related a TV station, but didn't know what to say, questions and concerns. Being Heard-is the whom to say q,to? Do you suffee from product,of that vision. "media frustrati6n"? If the answer to any , Chapter 1, "Planning Your Media Cam- of, these questions is "yes," then this book is for you and your organization. paign," gives you a framework, a process, with which to approach media Being Heard: A Guide to Media Use is planning. it describes the various designed to help community organization metlia that are available to you, start- and public interest gPoups in southeastern ing with newspapers, television and Michigan solve tile media puzzle. By using ' radio, and progressing into street this guide, your-group will better succeed theatre and media e'vents. By listing in gaining the attention of local, and per- the uses, advantages, and disadvantages haps even national, media. In short, your of each communication format, your organizationesiage will be heard'. organization can better decide what combination of media is ifjproprite our domplex media environment, there for your group andour Message. Also are da?e.ns of ways you can be fleafd. And )9clUed in the first,chapter are guide- some of them don't even cost money. However, lines For desi'gning,more effettive very'lfew organizations have.meFpbers that messages. ft concludes with-a.case are skilled in public relations and corn- ,tudy of the Public interestsea(ch' Nnunications. Many groups,often don't know Grokup in (PIRGIM): the fullrange of media available to them. . Using the hit-or-miss method of publicity Chapter 2, "Mass Media Directory," lists often misses more than_it hits. With this the major print, radio, and TV services in guide, you will be able to plan a compre- southeastern Michigan, concentrating on hensive media strategy for your group, carry the urban centers of DethDit, Ann Arbor, it oul successfully, and enable your group and Flint. The survey includes the major 4 to get it's message out. contact people.at these media, arid describes the range of public services available through each one.In addition, we've pre- The membe'rs of NETWORK are veterans of sented a series of. tips that give You the a wide variety of organizations and public ins;de scoop on how to best approach these intere'st groups, and have seen.the same media contacts to maximi-ze your results. questions come up hundreds ciftimes when groups tackle Publicity campaigns--how long This information, may, at some point, before an event should we put up our pos- become outdated, sincepeople change jobs ters?.How do we get the newspapers to cover and media change formats. Recognizing our event? How should we write a public this, we have left plenty of white space seruiCe announcement? We have beccAle aware for you to write in comments and changes that too many groups waste too muCh, time 1:1sed on your own working experience with with these questions% these media.

Being Heard/1 The third .chapter, "Communication Gaining access to the media vd getting I Resources:" references existing "how-to" your message out ares in the final analysis, reseurces, including books, classes, and not overwhelmingly difficult. The caras workshops, that will improve your skills aren't stacked against you. All you need in visual design, pOlic spe41ng, audio- is a clear, concise purpose and a firm visual production, photography, writing, understanding of your audience. Then, etc. For example, if you need technical by some imaginative brainstorming,.list information on how to design and produce al) the media you can use. Choose the 11-,r a poster or write a newsletter, this best combination, design the Content, section wi41 contain the best resources and implentent yoUr compaign. Above all, you can turn to for guidance. be direct, be sincere, be honest, and -- with a little patience and perserverance, The.final chaver, "Working With Other the media will work for you. .Groups," provides useful information on working with other groups to form tempo-p And remember, being heard by the rary and permanent coaliaons. Such media is not a privilege, it's a right. combined ehergies often result in very ' 'Take the information in this guide, successful media efforts, much more than apply it to your organization, and put if each group was working alone. an end to'thON "media frustration" woes. Good luck. Being Heard concludes with an index tog-l-P-you find specific informai'ion quickly.

Scattered throughout this,book are several, tip boxes,Which include pointers on the most commonly used mPdia formats. Check

, the table of contents for'arv.omplete listing of all the 'tip box topics.

Ire Posters

WHAT: Poylers are attention-grabbing visuals used to announce an event: Therinformation should be brief enough to be retained by a passerby,

HOW: Posters zan range from four-color gji,s,sy 18" by 24" formats to a more 114;modest, 11" by 14" black ink on heavy (6olored) stock. They should be placed 'up 12-14.days befoYe the .even,t. if'yo'Ll post them much eaHier, they will .either get knocked down by' the elements br by people. In addition, people can't remember events that are too far saff. To put them up, assign members a poster route, and have them periodically re-check it and replace posters that have disappeared. lf,the design is striking,, put a slash or heavy X across the front to discourage poster losses to "art collectors." ,. 6..,./W,OV04r..../...1....ovverMyno..o.sayNewm..,.W...s...,..00.erWa.amre..Ws.,....,

Being Beard/2 4. a 1. Planning Your Mea Campaign

IntrOdlibtion Deftiirig Your Goals

'The first ste'pin developing your media strategy is to define your organi- 'Many community organizations have mixed zation's goals: What do you hope to. feelings about the terms "media" and "public accomplish? What issue(s) are you relations."They are aware that these can concerned about?What do you want to be powerful communications tools, but are be done about them? Do you want.to: unsure hOW to use them. They may think that effective media campaigns are expen- 1) Educate people about the existence sive and require the servides of experts. of the issue (bring it to their .1 Trueitdoesn't hurt to hire experts,to attention)? bring'your message to the people. But it

. . , isn't necessary. A small, number of people, 2) Change people's attitude or operating with a,limited budget, can )be aviors in relation 'to the issue? 4 still make a big impact. The key is . or4anization. 3) Motivate people,to do something about the issue? You can bring your organization's message to the people in many different ways. Each method of communication ,used Are your goals short-term or lon,g-term? is a "medium" for your message. So when Most suctessful campaigns have both types we speak of media, we are.referring to all of goals spread out along a realistic time forms of communication, not simply radio line, with the short-term goals acting as -and television, for example. It will be building blocks to achieve the long-term, up to your group to decide which,medium goals. Persuading people to sign petitions (or media) best fits your needs, using agajinst the.local use of a pesAicide, for the guidelineq in this manual7 example, may be a shorA-term goalin your long-term plan to convince the city govern- Regardless of your media choices, you ment to ban its use entirely. Accomplishing will still need to follow the same basic short-term goals serves several purposes. planning steps: defirie your goals; iden- Since these goals are more easily attained, tify your audience; select your media gaining them will give your group added formats; and develop the cOntent of your incentive to deal with your long-term massage. You'd be surprised how many ,goals. Each short-term goal that you o'rganizations pick their media format reach will give added support and before they have clearly thought out Ao your overall campai6n.,. . their goals ar.target audiTces. 'They The viilr also give,you,)Rme flexibility are making t process much more diffi- in dealing with the differeheasvects *Nt cult than i needs to be. of your media strategy.

Being Heard/3 Defining these goals will probably be D the most difficult step in the planning 2) Who is ffected by theovel...a1J process, but itis the most,important for 7 two reasons. First of-all, it,witl force issue? you to consider what can realistically be, 3) What other organizations also accomplished. Secondly, it will help you divide the issues and goals into workSble share some of your goals? units which can be handled according to Who may have some inflGence over your available resources and time. At 4) the outcome or decision-making process this poirlt, itis crucial that all members . concerning the issue? `a.your organizasion understand and agree upon these goalS'. Otherwise, yoli may find your group splintering. into-factions later If you can ansWer these questions, you will on. This wilJ weaken thestrUcture of have identified your audience. Note that your organization, lower morMe, and damage ,people will have different reasons for your credibility. And in public issues, being ikterested in an issue. Since you credibility is very important. can't speak tO each person individually, you will need to group theseinterests Goals, whether long- or short-term, into a number of audience categories. The 4 can fall into different categories. Issue- issue of a new city park, for example, rwlated goals involve informing and perhaps might attract groups like recreation enthu- motivating people to do something about a siasts, surrounding residents, and urban particplar issue. Organizatiqnal goals beautification groups. You must be aware concern the activities and cohstituenoy of what attracts each group to the issue, ' of your group. Connected to both of these and try to appeal to each of theseihterests are fund-raising goals to help your group within the confines of your goals. This is function ang/Or. finance a goal, such'as not-dishonest if you do not promise Some- purchasing land fora mature preserve. It thing you can't realistically deliver. is probable that your organization will The more diverse your areas of supportin have goals which overlap the6e categories. . an issue, the greater your supportand We list.them simply to help you identify z, credibility. and-define what $ou hope to tccomplish. Onoe you have made a-detailed outline of your goals, and 'set-them up along .some time line, you are ready to form a strategy. Selectin.g Your Media

Now that you have defined your goals, 'and identified and classified .your Foaence, Defining Your Audience you are ready to select the types o dia. -to use in getting out your ore$sage.* Your If.your organization had unlimited time firs. , step is to evaluate whit resources and funds, yOu could probably take your and skills your group already posseses. mesSage to everyone.Since it's unlikely Useful skills include wrifirig,AraKing, that you do, you need to.determine wbo photography, visual design, keylining, light be interestel'in-hearimg your me'ssage. publicespeaking', typing, runhing office ' You must go afterl'ose people who can equipment, and so ori. If your organization )est help you achieve yourgoals. Remember, owns, or has access to, typewriters, audio- people will be willing to listeh to your visual eeluipment, duplicating equipment, message and help you, if they think they and telephones, you have a head start. will benefit. Other individuals or groups who are willing to donate their skills, equipment, and/or Beginrby 'looking at Ihe goals,you have time to your effort can be a big help. defined. Then consider the following However, you should survey your own questions: resources thoroughly befOre relying on outside help--it can save you money and 1): Who will benefit if you accompli-sh all,pw you .to retain more control over these goals? ' your Campaign.

Being Heard/4 Ideally, tyere should be one person managing your media strategy throughout the process. ThiS person may or may not also act as the organization liason to established media such as newspapers, and eadio and television stations. Here is where many groups rtrn into problems. It may be more egalitarian to let everyone have a say in dealing with the public, (%9 but having one person as an official contact will be more efficient and will 0. 0 enhance your credibility. 0 0

People rely upon different commuhica- tions channels for information on issues which affect them. You must determine _-9 which types of media will best reach each of the audience categories you have already identified. For example, 'inner- city dwellers with 14mited transportation'

will respond bette'r to messages on the - radio and television than to information given cross-town at a rally or demonstra can announce meetIngs, rallies, or hear- tn. If you.are,appealing to this ings, at which your message will bedeliv- ered. The advantages of a PSA are 1) you paticular group, you must employ the media chanriels that they use to gather control 'the content when you write the information. There are many types of script, and 2) the station may record or media to choose from, each with its own even tape your PSAor you, or may simply, read your script over the air. The disadvantages and disadvantages. The greater the number you effectively use, advantages are that it must fit a precise the greater your chances of successfully time-frame (10, 30, or 60 seconds), and you have no contcol over when the message getting your message across. will be aired. Some stations bury their PSAs in their early morning (1 a.m.) pro- gramming, since they receive no financial 42 Types of Media return for being public-spirited. PSAs are definitely worth doing, however, since your only cost is the time it takes Mass Media to write your script. If you have the time and talent, you" may be able to pre- To reach the greatest number of people record your PSA and deliver the finished quickly, you cam't beat the "mass media"-- product to the station. Some stations television, radio, newspapers and maga- prefer this, while others adept scripts zines. These media not only have, large only. So be sure to check with the . audiences, they also offer certain free statrons in your area. .channels of communication for those who know how to rig.e them. Other free radio and television tools include interview shows, call-in shows, guest editorials (and rebuttals), and Radio and Television community calendars. On all but the lat- ter, you will be able to deliver a more By law, radio and television stations detailed message than you can in a PSA. are required to set aside a certain amount You can also be controversial and politi- of their air-time for public service cal. Using these media,requires a person announcements. These PSAs may be used to be relaxed, informed, and articulate. by any individual or gToup with a non- A spokesperson who knows the issue and political, non-controvensial mies-sage for doesn't freeze up at the sight of a cam- Ihe public. You cannot use a PSA to era or microphone can be worth his or her attack a polluter, for example,1but you weight in gold to your organization.

Peing Heard/5 Newspapers and Magazines ,

Letters-to-the-e'ditor have been the launching point of many environmental and social change movements. These letters are a forum for'facts and'opinions,.and can be formal or informal. Editorial pages are .read by many people, with many diverse interests, who view this medium as. a place where %he "little gdy" can be heard. Let- ters e4pressing oprnions or referring to previ'ous events or'articles are -espec,ially News Coverage: V7 I welcome. A well-timed letter-writing caTpaign can focus a lot of attention on your topic. LeAters printed in newspapys .Getting commercial;news (TerSge'on. reflect'pore day-to-day isstres while television, radio, and in the newspapers

the publ.ishing dead,lines of magazines . requires sales skills--Iyou must sell your lequice topics which will remain in the organization's issues, events and stories news for,at least several months. Maga- to,these businesses which, in74.44uL., are zines usually have more specialized trfing-to sell thei.r, product tor-the public.' readershipsthan newspapers, but may cover What you are seJling is newsworthiness-- a larger geographical area of distribution. that elusive attribute which makes.people Their readers feelthe magazine voices sit up and tal;e notice. 'A nevisworthy item their own intereses, and so may be more has one or more of the following7tharac- easily persuaded by messages which fit teriStics: with the magazine's editorial views. ,1) It has a human interest or local If your organization has the money to % wIgle which deals with interesting or : spend, you may swish to take out ads in unusual People or events. newspapers and magazines. (If your mes.sage is, very current, remember,the 2) It has a broad a.udience and affects diFfewence in publishing deadlines between a lot of people (partic'ular,l-y good for ',the two ftledia--your magazine ad may not local stories). appear urftLl three or, four monthsafter you submit it.) Ads can be expensive, 3) It is humorous, unique, or- but' yOlu can include appeals for money ' insightful. and/or action you want the reader to 4 take, such as writing letters to 4) It involves people or events Congress. Many ads of this type are already in the paws. written as an open letter to the reader, and iriClude a:pail-in coupon so the 5) .It has bearing on, or ties in,

readet can request more information.., . with, other issues which are topical. This is-also an excellent way to b4ild.' your list of supporters and Fontad%s. If There are a variety of ways to get your budget is really limited, youcan 0 media coverage, including'press releases,

. still place ads in the classified section. press confèrences)'and media events. The lmost everyone reads.this section'at some media event is an event staged more for time or another, particularly the Friday, the benefit of reporters than the public. Saturday and Sunday editions. Consider If you're successful, the public will be them an inexpensive way of advertising able to hear, watch, and read about Fein

your message. the news. , Rallies, demontration marches,

Being deard/61 and sit-ins are /ypes of media events. The press release is a media format The people who organize such events of which is often overlooked or misused by course would like a large public turn-out, organizations. Press releases are capsu- but the truly successful media event is lized news stories, writte in a precise wel)-attended by the press. If.your format, and sent to the mfts media and issue is newsworthy, and if you plan the other organizations. Maps media event carefully (notifying'the press in organizations receive dozens of press advance and staging it when reporters releases a day, and they obviously can't ai-e available), you have a good chance use them all. But about half of all of getting coverage from sever,al maala stories in newspapers do begin as press sources. The media event takes a lot of' releases, and sOme are printed verbatim. fime to plan, but iood press coverage Remember they are proposed news articles, could propel you and your cause into,)the and must sound like news articles. (See national news. the press release,tip boxon page 18 for other pointers.)

; Tip press conference takes less time to prepare and,again is primarily for the benefit of reporters. It can also 6e deadly boring, so keep rhese to a minimum. Other Public Media Television news wants events that are visual. Reporters usually prefer an action event over "talimg heads" any day, and so will the public. Many organiza- In addition to the media event, your tions either call too many conferences organization can also reach large groups during their campaign, or call th9m before of people through speeches, workshops, they've established their credibirity with conferences, and information fairs. the press. Be sure you have a really news- Good public speakers are much in demand worthy item to give out before annquncing a by all kinds of organizations, and thetv- conference,-and try to time it so that the fore speeches are an excellent way of announcement of your news will give your taking your message to many.different interest groups. Being aware of your campaign a boost. Remember, it must be 6 news. audience's'general attitude toward your issue will help you determine how to best present your organization's cause. If the speaker you send is prepared .and delAvers your message well, the audience can be mOved to act upon what they've heard. So be ready to circulate petitions or some other such follow-up activity to reinforce the speaker's message.

Workshops, conferences, and information fairs require an enormous amount'of planning and preparation, but they may yield more Building credibility and contacts with $ermanent changes in people's behavior and media is a process, so be courteous and attitudes than do speeches! People who helpful as you inform local media people participate in these learnimg experiences of the background and importance of your are actively involved, even if they are organization, its purpose, and the issues only looking at exhibits and picking up and actions you support. Be patient and . literature. Since they have made the cultivate the friendshiR of areporter or effort to come., you must make the effort other newspe4son from each media source. to inform and entertain Aem. It's much He or she will probably be more than easier to walkaway from an exhibit table happy to cover the progress of your issue than to walk out of a public lecture, if you can supply t ingredients for a particularly if a person is self-conscious. newsworthy.story. It sometimes helpful So try to attract the attention of these to mainfain the relatio ship by giving participants. And once you have their that person an exclusime at that media attention, keep it. One great way source. 3 through visual media.

Being Heard/7 1I

bumper stickers', banners, balloons, buttons, sandwich boards, and so on. The list is, Visual and Wriiten Media endless. If you have trouble getting *leas, go into any store and look atall the merchandise that has a picture or words

Any of these . Fliers, pamphlet's, brochures and posters printed or= stitched onto it. have,been traditional forms of public com- items can be used to publicize your organi- munication Tor most community organizationr. zation's message and raise money for your Thete media forms have their uses and should cause at the same time. The sky's the be ,ombined'with other communication formats limit--you can even ,hire a sky-writer! to make up yourbedia strategy.

Fliers, pamphlets and brochures are printed media tOlchAliffer -primarily in the number of pages and the degree of complexity each contains. Fliers consist of a -single printed page, usually handed out to (and thrown away by) individuals as they walk by. They are good for announcing up-coming events and are-easy and cheap to produce using simple duplicating equipment or speedy printing services. The extent . to which a flier is distributed depends upon how many people are handing it out, how many people walk by it, and how many fliers are available for distribution. t- Pamphlets and brochures are more expensive :1 and time-con4uming to produce, but are more r likely to be kept by people for,future refer- -- cm. 7t, ence. Pamphlets are single theets which are -- pos- folded into three or fdur paq'ts per side, while brochures are multi-paged. The format of,these two types of media allow for more, detailedrinformation and the use of drawings and photographs. The more complex designs are usually also more expensive. Pamphlets Visual aids such as slides and movies and 4ochures are too expensive to freely almost always make speeches and lectures hand out on street corners and are usually more effective and enjoyable. Your made to be a short introduction and descrip- organization may wish to put together tion of your organization; its purpose, and an audio-visual information package services offered. about your topic, complete with slides, movie or videotape, and synchronized Posters are basically visual messages. soundtape or handbook. This package They are eye-catching, can announce up-coming can travel around spreading your message events, and,Oually reinforce your message , while you remain at home. It's a great or attitudes about your issue. No:lever, way to reach more audiences,but for they copvey the least amount of ihfdrmation maximum effect, a member of your group can be axpensive, and if reallyattractive, should be present to answer questions

may be "appropriated" by people. Neverthe- (and work the AV equipment). The cost of . less, posters are a very effective way to audio-visual equipment can be prohi- catch the public's eye. bitive, so first'try to borrow the equipment you need, then resort to There are also many media forms which renting. If you feel you must buy, combine written and visual elements. Your consider sharing the expense and use organization might consider putting its of the equipment with other organiza- message on such diverse items as t-shirts, tions.

Being Heard/8 . The newslettgr is a Written communi- most of the people went home that night cation medium used by many organizations and told their friends about the giant for keeping members informed of issues rabbits they had just talked Vo. and events. They can't compete with daily newspapers for breadth ofcoverage but are very usefulin providing current inforMation on seleeted topics of interest to the group. Newsletters can be quite effective in supporting the activities of the existinggroup, and in

, reinfbrcing the members' attitudeson certain issues. They are a personalized medium,.and can legitimately provide biased information,. Costumes can.promote a wide variety Magazine articles carr-be a very of, events; here are a few that have 'effective,way to publicize your message, been created in recent years: ctppending upon which magazine the articte appears in. You have a better --"Captain Ecology," a caped super- chance of being published in &magazine hero to promote Earth Day. 'which has a specialized readership (fishermen, for example) than one which --Grotesque nuclear flienster to caters to the general public. (The publicize an anti-nuclear rally. reference section'of the public library carries d4rectories such as The Literary, ' --Bright yellow, haloed "Sun" Marketplace, which lists types of . character to focus attention on an articles each publication is looking alternative energy conference. for.) Remember that it takes months (or longer) for an article to appear --Gorilla costume to promote a in print after it has been accepted, natural resources symposium. so you need to consider whether this medium fits into your, defined time' The only limitations on the use of schedule for accomplishing your goals. costumes are your imagination, your good You may want to try local publications judgment as to what's appropriate for (Particularly if your issue is of local you, and your budget. However, 4ith a interest) which may have shorter dead= little creativity, you should be able lines and a greater chanCe of accepting to overcome budgetary limitations. your article. You'll really need to

.research the market on this medium, , Once you have successfully used costumes in your media campPigns, why not go one step further and engage in street /heatre (sometimes called guerilla theatre, also known as' radical street 'theatre--but it doesn't haveto be

, An effective but often overlooked, radidal). Your group can take advantage communications toolis the use of of street theatre by creating simple and costumesbnd theatre. One evening, innovative scripts that publicizeyour two members.of NETWORK were dining in event and/or shed light on isues of a Greek restaurant, when in'bounced concern to you. three women dressed as Oink-and-white ---Easterbunnies. They wenefrom table Street theatre can happen wherever to table, hpnding out fliers on the up-, you find lots of people--in parks and coming Easter Seals telethon. Everyone shopping malls, on college campuses and patiently listened, even joked with the sidewalks. Street theatre is 100% legal; rabbits. Not only did the costumes your only concern is that the production help promote the event, to people in the does mot block sidewalks. Have one r'estaurant, but Easter Seals was able member of your group available to talk to capitalize on a "ripple-effect"-- to police if any problems arise.

Being Heard/9 Good street theatre is an effective communications device for many reasons. People's inherent curiousity will make them stop and watch your perforMance. Once you've got your audience, Challenge Which Media to Use them to listen to the informatiog you present in a new, imaginative way. When street theatre is well done, your audience As you can see, there are many ways will be educated, yet they'll be having to communicate with people. You must fun. Isn't that the best way to learn? now decide which media methods will best get ydur message across. You want to Some stroeet-wise hints: be imagina- obtain the most efTicient and wise use tive; use music and audience sing-alongs of yo!Jr resources. RemeMber that each whenever possible; incorporate juggling, target audience may rely upon different tumbling, mime, and phyical action; media sources for information. Utilize incorporate humor into your act when as many of these as possible. Never possible; make your costumes colorful lose sight of your goal-they're the and.flashy; use signs to identify,your reason you're planning, this media group and explain characters or situa- strategy. Once you've decided which tions; use make-up and masks; involve media you will use, you're ready to your audience in the production. You design the content of the message can't go wrong. you will present to each audience.

Fliersfrochures/Pamphlets

WHAT: ,Flier - one page "handout" usuallp announcing an-event. They have a.short-term effect. Pamphlet also one page, but folded. These can be saved and used for future reference. Brochure several sheets of paper stapled into pages, used to present a prograth or,an issue.

HOW: The key is'having a particular audience in ) mind who will,want to read, keep, and study the information you plan to convey.

Fl.iers can be put together in a hurry for quick communications. Just type--or even print--the information, have it copied, and distribute however you wish.

- Pamphlets take a bitImore know-how. You need to decide how it will be folded (usually in thirds the long way), as,well as how it will be opened,

and where the "white space" and graphics should go. You should aim to - produce a-nice Jooking, easy-to-follow pamphPet that people'will want to keep.

Brochures'requirp the,same steps as Ramphlets, but they have wholepa9es rather than folds. You would use a brochure when you have alot to say to a specialized audience and have a bit of money tp spend.

Being Heard/10 Effective Conmunication

% your cause. What can you do to enhahce your persuasiveness and increase such Barriers,to Persuasion effects?Many thingsl Here.are some guidelines.

Before you actually write your message, As mentioned earlier, the objective . lump all Ahe members of your audience of your communicati.om efforts can be to together, and identify their common needs, ,educate your audience, to change their values and interests. This will help attitudes, and/Onf.to motivate then to determine the .type of message that will Clo something. Often this requires be most effective with_your audience as . persuasion--yoy have to show your audi- - a whole. 4ndividuals do react differently ende that yOur topic is worth leaening to the same message depAding on personal about, changin'g their minds.about, or characteristics and their confidence in previously4-held opin-ions. doihg something about.-iPerhaps to .-- Bua t sinceyou soTe of our readers, the-use of "pet- carot run personality Msts on everybody ,. suasive tactics" seems unethical. or design an)individualized message for e- However, we see nothing illegitimate each person, categorizing seems to be 'about.using persuasion to point out,the 'the'most effective approach. relevance of ah,is'sue to a particular Once ydu have categorized and analyzed person or group or showing how others t could benefit by helping you. But your a.udience, use tht following guide,, be honest. If you are not, the pliblic lines.to design your message. These-- will guidelines synShesize information on com- find out eventually, and'your 1 efforts will backfire. munication theory and research from the literature listed on page 33. Keep in mind that the members on0( youn audiehce are not sponges waiting tO soak up any information the mass media pours 1. Keep your message simple. Use fam- out. To be effective, you'r message mustt-,, iliar terms, limit each communicatron to overcome several barriers:One rather one or two major.points, and simplify obvjous barrier may be youraudience's complex issues. Provide more inforT existing ideas if your message contra- mation upon request. dicts them. A second possible obstacle is the Ofluence of social groups-- 2. Give supporting evidence. Take.your family, church, social class, political audience along on your "reasoning trip" to organizations and the like. If people shOW how you reached your conclusions. value their membership in these groups, the will probably reject any message 3. State what you want your audienc e to fbat seems to clash their perceived 'think_or do explicitly. This is espe- norms. cially imOortant with complicated issues or messages because it will help insure These barriers can thwart media tha.t your aydience understands your atteppts to convert an audience from one intent. However, bluntness may be less . strongly:held_position to another. .How'. effective with hostile, suspicious, or ever, you,can use She media effectively highly intelligent audiences that dislike to persuade those who lack.firm opinions being told what to do. on your topic. Equally important, , the media can reinforce-youc existing 4. Put your main point either first or supporters by providing them ways to last in your message or better yet in verbalize their position, and by both places. Your key conclusions will continually strengthening and legitimizing be remembered better if they aren't tbeir,positive feelings and actions towards buried in the middle. If your'audience

''''feing.Heard/11 is both deeply concerned about and fam-' iliar with your topic, state your strong- est arguments first;

5. Emphasize your own pos2tion, but give both sides to a contr?versia1 issue.. One- ided messages are, the best way to reinforce those already committed to your position. Two-sided messages, however, . are more persuasive with audiences thal are highly educated or initially opposed, to your position. In addition, presenting both sides and countering your opposition

gives your audience an advance basis for , ignoring or discounting opposing arguments, lead to significant long-term changes which in all.likelihood they will hear in atlitudes and behavior by getting later. people tO commit themselves to an issue. b. Talk about the legitimate needs and 10. Build your credibility in every way values of.Vour audience that demonstrate possible. Credibility wilt make your how it's in their self-interest to support audience more-apt to' follow your sugges- . you'. Don't always talk in terms of your tions. Emphasize your status, integrity, own concerns. For instance, if you want prOfessionalism, expertise,.and leadership. cultural center built in your town, Show that your organization has'stable emphasize the center's potential as a personnel and traditions acceptable to your part-time music hail when addressing audience: In'addition, stress your similar- music*ians and music lovers; point out ities with your audience if people see the'extra business the center would attract you as similar, they may also see yob as when pursuing support from nearby store- voicing Aheir own best interests. Increase owners stress how such an institution your credibility by finding sponsors that would contribute a progressive, cultural people otherwise would perceive as your image to your town if your audience values, potential opponents.. For example,if you such an image. These audiences may never want mandatory deposits extended to non- even have considered building a cultural carbonated beverages, get beverage re- center, but by stressing particular tailers--who many people feel would loose aspects of your proposal you can mores from your proposal--to publicly advocate easily earn their interest and support. the extension. Referring to social groups favorable to your position that 8. Nake your message positive. Most _are in turn trusted and admired by your people would rather hear about the aUdience is one way tO cultlyate,"credi- favorable results of doing 'X' than the bility by association."Get these groups . unpleasant results of doing 'Y'. This to sponsor you officialry and quote approach is especially important when them in your messages. And remember, the dealing with people who disagree with you. credibility or lack of credibility of the By focusing on the rewards of adopting publication or media type you use, and even your position rather than denying any of the person introducing you on a talk advantages tO their point of view, you Oow, may rub off on you. avdid attacking their existing opinions head-on and thus avoid rejection. Following these ten proposed guidelines should increase the effectiveness 9. Emphasize solutions and always give and persuasiveness'of your message. But your audience something to do. For instance, don't overlook the importance of such don't just warn your audience that masses assets as sincerity and a firm belief in of algae are suffocating their lakes. Tell your cause. By knowing how to keep the them they can help resuscitate them by writ- public receptive and how to minimize the ing their senator, buying nonpolluting soaps, barriers to your message, your organ- signing a petition, or whatever. Such ization isin a good position to simple forms of active participation can realize its goals.

,Being,4eard/12 Case Study ofa Media Campaign

! You may think that'PIPGIM had exten- sive past experience in dealing with the PIRGIMAnti-Draft Rally media on,this ,scale,thus explaining the national coverage their event received. On the contrary, this was _really the first time they'd made such an effort for NOTE: The opinions '.represented in this widespread coverage.. As John describes, case study are not-necessarily those "It was two weeks of hysteria, anxiety, held by the au,thors of this book. This bewilderment, excitement, depression--we case study is cited only to illustrate Oere all manic-depressive the whole time, media use in action. ndt knowing if it would come off. But then tt,Came off...it was quite a bit of work, but wtHearned a whole'lot and On January 20, 1980, President Carter we'll be able td do'it again quicker now announced to the nation his desire to _tit was all trial and error, which is reinstate the registration for.the draft. why we're so proud.. John Lebne,of the Public IntereSt Research Croup in Michigan (PIRGIM) at the University of Michigan, was alarmed. In John's But what did PIRGIM do to get this kind opinion, ,reinstatment of registration of coverage? John contends that it's meant a draft was soon to follow, and a really a matter of improving your odds, move towara renewal of the draft could "The media is really a funny animal:: Who ( mean that the President and the Pentagon knows, they (the press) might have ended - intended to involve the U.S. in another up coming just because it was a slowlnews war. day." But they did come. Three TV . ftations, representing the three major That night John received a call from networks, were there with film crews and one of his colleagues at PIRGIM, who was reporters. Also.reporters from s'everal also concerned about the speech.,They local and statewide newspapers and radio got together later that evening and stations were in evidence. decided they wanted to have a rally, a teach-in, and a conscientious objectors' One thing John points out is,."You campaign, for starters. Their main goals have to think of the practical situations were to arouse the U. of M. students and involved in getting coverage. For us, the to ret the public know,,that there was major TV networks'are coming out of strong student opposition to the Presi- Detroit, .so they have to'drive allthe dent's plans. way to Ann Artior. The news crews could've* been on their way out here and gotten a About two weeks later, Walter Cronkite call saying, 'Hey, there's an eight-alarm did a piece on the nation-wide campus up- fire over on Woodward,' and they might've risings in reaction to the President's gone there instead. They ,only have so announcement. U. of M. was mentioned, many film crews--if it4s a big news day and footage of the January 30th rally they have to cover the biggest news." organized by PIRGIM was among-tike scenes- . accompanying Mr. Cronkite's report. , John is sure of one thing. "We PIRGIM was not mentioned by name. Mr. wouldn't have been on any news if 44e Cronkite drew a parallel between these hadn't put together a press packet." rallies and those of the 60's anti-war ThOr press packet included: a press movement. The flavor of his commentary release on the rally; a statement explain- was, as John puts it, one of "...look at ing PIRGIM's anti-registr.ition and draft those kids, they're at it again." Lt stance with supporting facts; a list of. wasn't exactly what pIRGIM would have PIRGIM's other anti-draft activities; a liked, but John was pleased that their formal policy statement from PIRGIM's rally had made the national news: state board of directors; brief policy

Being Heard/13 statements from the rally's speakers; a Friends Service Committee; and Tom formal olicy statement from the -cchomaker of the Wesley Foundation. .They also had a statement by Bishop MichiIPn Student Assembly, expressing support of the rally; supportive state- Thomas Gumbleton, one of the clergy that ments from a U.S. congressman, a Michigan visited the Iranian hoStages for the state senator, and a bishop. Christmas of 1979, which was read at the rally. "We were surprised," John relates. "With a press packet," John explains, ."We thought they (the media) would play "you make it very easy for the media to up Bishop Gumbleton's statement, but I put your event on the news. Instead of didn't see his name in any of the reports. making the reporter write a summary of If he had been there it would probably the event, we saved them time--we did it have been different, but he couldn't for them."You also increase your con- make it." trol over how your event is portrayed by making your message clear and tangible.

After putting togeLher their press packet and mailing copies to their target media, John and his colleagues called the newspapers, and TV and radio stations they were approvhing to tell them the press packet and/or pdblic ser.vice announcement (PSA) was on the way.

Another important aspect of dealing with the medi(a John discussed is making an event "newsworthy". When you make. contacts with reporters, be positive about your event. "You want to play it up," says John. "But don't go too far. If you don't'deliver, later on it may "Billy Carter is- a really good example, come bbck to you when yob have a really hOw the media wors," quips'John. "His important event you want covered, and opini.en qs no more worthy of public they remember' what happened before... announCements, than yours or mine. But Honesty is s..tilth.e best policy." he's 'newsworthy'--he's the Presidehes brother." As John points out, "A key rul6 to remember is to put yourself, Ln the mind In regards to PSA's, John'points out of the organization you're delling with, that "you want a formal, triple-spaced in this c!ase the media--what do Zhey look PSA, typed in all caps, because that's for? Say you're the person sending out what will be put in front of the the news crews, and you have our PSA, a announcer to read: If you just call PSA about an Equal Rights Amendment con- and say, 'Yeah, will you take this down ference in Kalamazoo, and whatever else --ANTI,DRAFT RALLY, U. OF M. DIAG',' is going on. What would attract you FRIDAY NOON...' some guy might be more to one event thananother? Then scribbling it'on a piece of paper, if try to,deliver that to the media in the that. Then it gets lost, and why should most compact form you can, so it's easy they have to decipher this guy's hand- for them to cover." PIRGIM attempted writing on this piece of scrap pailer' to do this with their press packet and when they have PSA's that are typed up the,speakers;at their rally. and easy to read?" This 'rule' can apply to press releases or anything you "We tried to come up with people that might want the media to use--you should would draw not only the crowd, but the find out what style or format the news- redia too."Speakers at the rally paper, televisioR or radio station wants, included: Carol King, the President of and when they want it,if you want them NOW tn Michigan; Howard Simon, Executive to use your PSA or press release. You'll Director of the Michigan American Clvil find more of this type of information Liberties Union; Joe Volk of tIce American in Chapter 2.

Being Heard/14 John suggests that if you're trying feet it's in the public's interest to C. to get the media to cover yaur event, . partrcipate in government. There's a you should notify them repeatedly, as whole country of people out there that far in advance as possible (within complain about what our government is reason). "Then the media knows your doing, but they don't try to have any event is coming up and. Ihey can try to input into it. They've never written rearrange stuff. Instead of going to a a.letter; they've never made a phone Detroit public school and doing a profile call; and they've done zero to try and on the State's best gymnast, or some affect thejr government. The whole other less timely event, they can come democratic process is based on the to your event instead,..You have to participation of the masses of people remember that the mass media is a heayy saying, 'This is what we want!' If we bureaucracy, and messages get lost in ,don't let government know what we want, the shuffle."That's why it's important how can we expect them to0 act the way to call the media back to reMind them we want? The best way to notify the of your event. John Peels it is espe- largest number of people, including

cially important to call.the media again representatives and lawmakers, i.s at least the week before, and then again through the mass media. And the best the day before or day of the event (if way to get on the mass media," concludes possible), no matter if they say they'll John, "is by making a newsworthy event be there or'not. But he careful, there's very easy to report." a fine-qine between being efficient and being a pest! Calling twice at strategic times is better than calling four or five times and getting on your contact's- nerves. Critique of' PIRGIM

If done right, these pre-event contacts can have the effect of showing the media Media Campaign that you know what you're doing. As John puts it, "If they see you making success- , ful media efforts towards them,it implies that you'll peobably have a successf,p) event as well." And the media will In light of what we've described probably-be there. earlier about planning a ymmunications strategy, how did PIRGIM do? Did they, But why should you bother spending define their goals and audience(s), and time and energy courting thelmass media? select.the,appropciate media? Was their It depends on your goals and Our desired media campaign a success? audience, whether you'd want the Me of -coverage PIRGIM did foe this event. Many The goals of PIRGIM's anti-registra- of the tips given here apply to local, as tion rally,were to get U. of M. students well as state and national media. And "riled up," and to inform the public of there is at least one important and the students' oppositidh to registration unexpected benefit PIRGIM received for for' the draft. A longer-term goal was their efforts--"Now we get calls from the to stop registration before it started. media, saying,'Hey, what's goifig on?' fhese goals seem to fall into two of the We've also been called to be on,radio categories we described: educational shows. That one event has vastly improved and motivational. PIRGIM wanted to obi- relations with the media...We're a motivate students-to take some kind of little more 'newsworthy' just in ourselves action against the registration proposal, now," says John. even if it was only attending the rally. They also wanted to educate students John feels that the rally and media about what reinstatement of registration coverage it received was an overwhelming would mean for them. PIRGIM wanted to success for PIRGIM. It not only gbt their educate and inform the public about message out,it was also a small boost.for what they saw as the implications of another, longer-range goal of PIRGIM's-- r;egistration. They also wanted to making the public's voice heard,. "We demonstrate the strong student opposition to it. Being Heard/15 4. 4 $.

2.4 '4

In order to reach their other audience, PIRGIM's goals led them to address . two audiences: U of M s-tudents and the generalqPublic, PIRGIM focused on the general public. Both factlions were getting as much media, co4erage as possi- necessary to create and.convey FIRGIM's ble far the rally. Thej, contacted the message, because their intention was major TV networks, newspapers, and radio to let as many people as posSible stations out of Detrpit and Toledo, and know how students were reacti.ng to sent them copies qf their press packet, President Carter's proposal. 'a,,-described in the case study. They M:46 sent press Rackets to the national news magazines, such as Newsweek and But how could this wide range of Time, although neither of i-hese gave people help PIRGIM,achieve their longer- them any coverage. term goal of stopping registration? The interview with John Leone revealed that informing the public was a preven- °PIRGIM's press packet seemed very complete and apprqpriate for the event. tativempasure. PIRGIM wanted to pr- - vent.,arpulllic attitude of, "Well, the Regarding the "guidelines for effective studentt-didn't seem to care about a communication" which we gave you in Chapter 1, the press packet met these , possible draft, and they're the ones most,directly affected, so why shoula lriteria fairly well. The messa& was we care?" simple--PiRG1M's opposition to'the draft. Their reasoning was presented, and their The speakers at the rally provided maPil pdints were stated clearly. They alsb 13riefly mentioned the oppositLon's different 'aspects of-the anti-regjstration point'Of view, and then countered it. issue that might attract specific sectors of fhe general public. Women's,,civil PIRGIM attempted to build credibility, as disdussed earlier, by gaining support liberties, and religious groups, were represented by these speakers. In this from \various other organizations. way, .P1RGIM s'hOlded the diversity of suppqrt they had on this issue, whi h, The rally itseLf was really a "media as we have.pointed out,.helps build eventn--a Vehicle with which PIRGIM could and thus inform the credibility. This also demonst attract, the media that PIRGIM,defined specific aceiences public about,fhe registration issue and PIRGIM'did they wanted to reach within th: 'road show their opposition to it. and over-used category called the many things tC increase the"newsworthi- They tried to get "general pub.lic." ness" of Che rally. ,s1 notable speakers, and in the case of 'In selecting their media,,PIRGIM Bishop Gumbletonl they had a statement They tried cq worked on two levels and attempted to '.by a newsworthy person. reach both their audiences. To reach insure good attendance of the rally so The the students and get them to participate that its size would be credibFe. in the rally, PIRGIM used a lot of local- Tecency of the President's announceftnt,

in the news et-the time , ized media strategies., In Ann Arbor, ,which was still according to John, the quickest.way to of the raIlY, made bie rally eiren mare Finally, they scheduled the reach the 'greatest number of students is timely. through Poste'rs ahd fliers. Thus PIRGIM rally at a time, during regular busPness had posters and fliers of different -hours-, when the press would be able to Sizes and colors plastered around campus. attend. The only problem with thete media at U. of M.is that students receive so many Was PIRGIM's media campaign.success-- handouts that their effect is diluted. fuL2 Successis subjective, and there.J- Also, critics tend to "edit"'posters by are Many kinds of media-use success-- tearing them down as soon as ,they are personal, organizational, and issue- Indicatiai of PIRGIM's '- put up. This can get4expensive ahd related. time-consuming. Finally, PIRGIM also- s-uccest in some aspects.of their cam- sent.out public service announcements, paign are evident.v,They had a good especially press packets, and entries for events turn-out at the rally, calendars to local radio stations and considerrng the winter weather. The. en'd publications. malor TV networks, radio stations,

Being Heard/16 newspapers were represented at the comparisons between current student ' rally. Many newspaper articles and demonstrations and those in the '60±.ls,? evening news reports covered the rally, Was there.any impressidn made on t4 including Walter Cronkite's mention of general publi, and ,if so, what kind? it on the national news. And PIRGIM's

. ' improved relations with the media follow- There is really no way to measure' ing the rally, as'discussed in the case media success, or lack of it. Th4 study, also indicate\success,. is especially true when a group is aimihg for immediate media exposure as Other aspects of success, such as well as long-term change effects. These building toward their long-term goal of goals are enhanced by remembering to use 4 stowing registration, are not as easily an organized and well-defined approach seen. How many students actually wrote to publici,ty, by creating a favorable .to their representatives about the rapport with the media, and by providing registration issue?Were the reasons, information that is clear and in a form for the rally lost in the constant that can be easily.used. ,, .,....wyr,.,5.,;,%./,.. ,..0,../,OW 56. Workshops

WHAT: Workshops are events,aimed at educating people through participation. There are two basic types: the hands-on project. (such as building a

solar greenhouse) and the discussion-instrucaon , workshops (to create plans for l'evitalizing neighborhoods, for example). 'Arkshops can last one day or continue over a series of weekends.

HOW: The following are some suggestions to 'aid you in developing a Workshop.

Define your goals, your audience, and what other groupmay wish to work with you on the workshop.

- *Plan your promotional strategy at the same time as you plan the content of the workshop. Develop a timeline"for P.R. and a schedule for what needs to be done by what date in order-to be ready by event time. - ; *bevelop a broad base of support from people in the community. Gain sponsorship from public and private agencies, k4y individgals, and educators. Such endorsements increase the credibiliti of the workshop and may offer valuable assistance and insight.

*Create a steering committee to assist in delegating responsiblity. Talk to people who have organized workshops before. Attend a few and observe the planning. Do you want to include a lunch? Is a field trip_ useful? How wilt you handle registration?

Remember people often like to do things. Many people are bored by meetings but .,N,.914.../....,0will come out for a community clean-up. ,10...//, 73eing Heard/17

5 ";7716 Ana Arbor Coalition for a' Secoml Erwironrn&ntal Decade ..1t-144 417 OEN)IT,jkal, 'Ate ARM, MI. 48104 (761-318() I.

For ire eJlite release;April 15, 1480. Press Releases

For mere infoloatisl, call 761-3186.

° 45 S:C0110 PSA

To commktyJr.,te the tenth anniversary of Earth Day, a Censer of local enlir,n_ rve,tai vroups have loinel to.ether as the "Ann Arbor C,,alitinn for a Sccsnd Envt- ronnental Decade" ty ssonaar an Earth Day '80 fair this Tuesday,A);11 2210. The fair will lo. hel.! it's' 10 IN lo 7 PM en Main Street between William and DaAhing-

A,fi in d'wn.ewa Ann Arar.

ThrJu'L, ot tha Jay, s',Ocespera:.ns from, both.government and citizen orranis,- dons will speak es environsental to,.,ics. Local musicians will pr-vieC enterain- nynt between sp..okyrs. The fair will also feature uisplaYs on recyclinf,alCcrna- tive encrry and °Ir,4r1aty techn,logy. Environnental groups will set up booths on current cnviroAcental issues 2$ well.

The Ann Arler Trantportation Auth:rity has printed free Lus coupons for use un Earth Day '80, to enccurase citizens tole'ave their cars behind anl use MASS transit i4:ead.#

So cone t,the Earth Day '80 fey!' on Main Street this Tuysday, April 22n4, to show yo..r vu,port for envir-nnental goals during tile 1930's. Note that this sample press release 0 on the left can also sefve.asaIPSA.

WHAT: A proposed news article, written by a source.(you) and sent,to a newspaper or othermediurtrin the hope that it will be published.

HOW: Make sure what you say is news. If there is anything new in what you're writing about, say it first.

First paragraph should answer who, what, where,when, and hdw. Make each paragraph two to three sentences long. Each sentence should be no longer than 35 words. VP

VV Arrange the information in order of most to leastimportant. Be careful to not destroy the logical order of your news. Try for a loca3 angle. Attribut* everything, except the most obvious factso to some'source.

Make it rook 111(e a press release. Type it double-spaced and include the name and addres1 of your organization(in a letter6ead), and the date when Include the release can be published (ie., "ForImmediate Release"). the name and !lumber of a person to call for moreinformation, and a head- line (titleof article).

Newspapers use fewer than 10% of the releasesthey receive. But, nearlY half of-the articles in many papers result from pressrelease leads. Local" newspapers and communky newspapersoften copy press reLeases verbatim into their issues. Allit costs is a stamp!

Being Heard/18 2 I.

2. Communication Resotoces

Books and

These sources allow you to gain Materials confidence in communicating, and to obtain practical how-to-proceed advice. Some titles were included because they are visually stimulating and offer imagircative ideas on every page. With these books, you have the experts close at hand. And, Introduction you don't have to pay for their services.

Locallibrarkes are public servlce institutions, paid for by your takes. Communication skills can be acquired So eake advantage of them. A guiding th.rough a variety of means. All that is influence on library policies is Voiced required is a willingness to learn,4 by the American Library Association, *Working with media professionals, either stating that community activities should by reading or participating in classes, be a primary concern of a public library can help enhance your organization's media collection. Your library staff is very successes. Rather than duplicating the receptive to your suggestions for book purchases, particularly if you stress your , advice and experience already available, we decided to povide an annotated listing organizational involvement. Let the of the most useful how-to-use-the-media .librarians assist you in finding media bdoks and classes. -1 books. Apd, when you look up books on this list, browse around on the shelf to see what other materials are there on the same The books, materials and media facili- subject. ties we chose to present are first divided into broad.subject areas and then arranged alphabetically by title. Our review staff Consider starting a small coMmunications of three tried to include both the communi- library for your organization in order to cations classics as well as the most recent enable members to develop media skills. materials on a subject. We also canvassed A few useful volumes can help reduce con- bookstores to be sure to include the most fusion in dealing with printers, or spark immediately available literature. Books the' creation of effective presentations, . that were considered extremely useful for or assist in making the best selection of organizations using medla are listed with media equipment. a star N.

a Being Heard/19. I. The books listed'in the first section darkroom, arid film and radio studio with overlap sp many areas of communication an organizational headquarters. The that they could not be-classified under= purpose of a media Genter.is to be a commu7 any one medium. They have floated to nity resource for yroducing professionals .the top of our 1.ist'because they Sre communication materials at affordable the best all-around introductions to, costs. 4This book also contains useful media planning and use. The topics of' information on press releases, guidelines

public relations and legal advice are also for newsletters, posters, interviewing,' ,

included here. By being comprehensive, -editing, street theater, and broadcasting. . general books by definition lack the A well-written, comprehensive manual for depth of speci'alized books, so'we urge community organizations. The second you not to stop with these basics. edition is more complete and iv recommended over the first. A few gobrd general media books, like - Yediability: A Guide for Nonprofits and How to be Heard, are now out of print and Keep it Legal, by Curtis CaseWit. consequently are not listed. They may Sacramento, CA: Creative Book Company, still be available in libraries,.and you 1976. Papert;ack, $L3.10. would benefit by looking at these other general perspectives if you are able to' Especially useful for public speaking and locate them. pub] ishing ventures. It gives advice on avoiding dbngers gi slander and invasion Purchasing a few books in the areas of of privacy, and c8kers privileges, fair use media that you already use willLncrease of material, public domain, and other your efficiency in that area. Possibly, protections. Handy reference book' to own.

some resources on design and layoft, The Creative Book Company has many other . printing, public speaking and photography helpful books ayailable--see address would be helpful. Then, consider examining on page 21. materials in a medium that you would like to expand into someday, such as self- Lesly's Public Relations Handbook, edited .publishing 'or Public Access Television. by Philip Lesly. 2nd edition, New Who knows? Someone may leave you a large Jersey: Prentice-Hall Inc., 1978. $29.95. donation, or you could apply for a grant tu purchase the equipment that would enable A very comprehensive guide to all aspects you to transmit your message further.and of public relations. Especially useful, for better. The potential of communications larger non-profit groups with full time is exciting. Happy reading! P.R. staff who want to gain a better understanding of the field and get some good ideas on how to work more effectively. . It also has a very complete bibliography ranging from journalism, public.speaking, and advertising to public opinion, propa- '§anda, television, and r.adio.

Media Kit 163, by The League pf Women General Voters. $1.00. This is an excellent resource that will give you a good feel for how to get the word out. For.only $1.00 yod-receive these nmun..1:ty MLdia Handbook, by Lynn Zelmer. concise, to-the-point pamphlets: "Projecting 2nd edition. Metuchen, NJ: Scarecrow Your Image" (on slide shows), "Breaking PrIess,1979. Hardcover, $15.00. Into Broadcasting," "Speaking Out," "GettIng into Print," and "Reaching the Public." An excellent communications book for a Goodystuff with helpful advice; besides reasonable price. It offers practical, what else can you buy for a buck? Order advice on setting up a local "media center," frOm: LWV, 1730 M St., N.W. Washington, which is a facility that combines a library, DC 200'36.

'Being Heard/20 * Nonprofit Orpulization Handbook: The Rainbook was designdd to be used by

A guide to fund raising, grants, . individuals and community organizations. lobbying, membership building, In the communications section, a broad publicity and public relations, approach is taken to explain communications by Patricia and Daniel Gaby. as an information exchange; followed by a Englewood Cliffs, NJ: Prentice- discussion of the various media. Practical Hall, 1979t Looseleaf; $55. tips and resources such a's articles, clearinghouses, and reading lists are A very useful and up-to,date compendium interspersed throughout. Topics covered of organizational know-how. Besides range from self-publishing and broadcasting, the subjects mentioned in the title, to brainstorming and computer data bases. the book also provides guidelines for An excellent source of informatibn. setting up newsletters, magazines, annual reports, meetings and.con- ventions, as well as giving advice Rbsource Manual for a Living Revolution, on'training volunteers and locating by Virginia Coover, et. al. Philadelphia,: additional information. There are New Society Press, 1978. $5.00 333 pages of readable and practical material in this handbook. This hihdbook contains sections on mass communications, media campaigns, presS"' releases, press conferences, street theater, and leafleting. Besides the direct media references, the manual provides advice for ProfessiOnals Guide to Public Relations any group that may be involved with politi- Services, by Richard Weiner. 2nd edition. cal or potentially controversial issues. New York: Richard Weiner, Inc., 1975. The authors have worked closely with the Friends Peace Committee, and exemplify the This book is a list of P.R. services and Quakers' nonviolent approach to ideological reference books that brims with suggestions Includes several sections,on on ways to-promote a message. Most methods rasistence. planning a campaign and retaining group here requi.re money and tend to emphasize unity. a national ralher than a local strategy. However, tbe book so complete that it is difficult to generalize. There is. everything from sky writing,to hints for submitting newspaper editorials. This is probably a book that the national organi-' zations usep-and itimay help you to be Familiar with it too.

Public Relations Basics for Community Organizations, by Sol H. Marshall. Sacramento, CAL Creative Book Company, 1975. Paperback, $8,40.

Over 100 suggestions.for agency programs are included in this guide. It gives many Writing and Publishin.g ideas for promoting a group's literature or book through actiVities and special .events. It can be ordered through the mail Writing is a cheap form of communicating at: P.O. Box 214998, Sacramento, CA that is available to anyone. Itis a very' 95821. basic toolin communication and is fairly easy to, do. The best way to learn to write wellis through practice. Thisis a list

,4Rai0ook: Resources for Appropriate , of books that can be helpful-in improving Technology, edited by Lane deMoll. technique and providing inspiration. Portland, OR: Rain Magazine, 1$77. Information on self-publishing follows in Paperback, $7.95. a separate list.

' Being Heard/21

2 ' This basic The Christensen Mebhod, by Bonniejean a and lists key personnel. purpose is enhanced by numerous listsof Christensen. New York: Harper and Row, literary agents, book illustrators, review 6 1979. services, employment agencies,/, titerary An,effective stylebook which guides a awards, magazines, bookclus, associations, There iS also an Inte'rnatibnal person in developing writing s1011s. vsnd more,. based on the toncept that pracice makes -)LP/P, whith provides'the same information for publishing overseas. IndisPensible for perfect. This text has exercises which teach effective writing through examples someone involved in a self-publishing' of the styles and structures of accom- venture. Also very useful for identifying plished authors like John Steinbeck and sources for articles. E.B. White. A good source for those r sincerely interes,ted in improving their The Writers Handbook, by A.S. Buradk. writing. Boston: The Wfiter, Inc., annual. Paper- back, $12.99%

'Elements of Style, by E.B. White and William Advice is takeo from the monthly magazine, Strunk. \New York, NY: Macmillan Publishing The Writer, and condensed. More than 2,000 Co., Inc. 1972. Paperback, $1.65. companies that accept'manuscripts are listed tn the 100-plus chapters, and useful A classic book-that teaches one to write information is pre'Sented on everythingfrom im a simple and clear style. Written in a writing techniques to publicity campaigns. brief form unlike any other, this book is refreshing and extremely helpful.

Improving Your Wri,tten Communications, Dearborn: Society of Manufacturing Engineers. Self-Publishing

A five-hour, self-instruction course'available for $10.00 from: SME, 20,501.F6rd Road, P.O. Box 930, Dearborn, MI 48128. Flow to be Your Own Publisher and GetYour Book Into Print, by Paul Thompson. ip Sacramento, CA: Creative Book Co.,197g. Into Print, a Practical Guide tO Paperback, $4.40. Illustrating, and Publishing', by Mary Hill and Wendell Cochran. Lbs Altos, A concise and,inexpensive book thatcontains CAlwilliam Kaufman Inc., 1977..Paper- valuable information. Excellent for those

. back, $6.95. interested in self-publishing.

Covers writing, editing, managing,-preparing' copy with photos,,charts, and illustrations How to Produce a Small Newspaper,edited for, printer, and offers a wealth of infor- Boston: Harvard . by Harvard Post. mation on self-publlshing and marketing. 'Common Press, 1978. Paperback,$5.95, Important last steps in identifying a book to be printed, sdeh.as copyright notices Paces through th process of technically and International Standard Book number, are producing a local newspaper. The concepts clearly defined. Includes some information covered, with the exceptionof-headlines on audip-visual techniques. Each section and paste-ups, may be applied to'newsletters has a list of other sources'available to and publication projects. expand your expertise. Very good, although brief. How to Self-Publish Your Own Book and Make it a Best Seller!, by Ted Nicholas. Literary Market Place: The Business Wilmington, DE: Enterprize Publishing Directory of American Book Publishing, Co., 1975.

New York:,Bowker, 1940- . Annual. , Contains in-depth guidancon choosing a Identifies publishing companies in the U.S. subject, working with a p inter, and Being Heard/22 2,, deciding upon a format. Has a strong emphasis on marketing with many helpful suggestions and insighta. Contains Graphics inexpensive advertising campaign ideas, market surveys, and thoughts on forming a Graphics and design are the foundation business to raise capital Ft also of visual communications. They are a part of everything from newsletters and posters stresses direct mail distribution and . gives addresses of book reviewers and media to videotape and film. Because of their personnel. importance, at least one good book on graphicsis essential to anyommunication-

concerned library. . How to Start Your 00n Magazine, by W.P. Williams and Joseph Van Zandt. Chicago: Contemporary B046 Inc., 1978, Paperback, Design and Print Your Own Posters, by $4.95. Biegeleisen. New York: Watson-Guptil Publications, 1976. A free-lance"writing,team that started their own magazine presents pragmatic advice in Need posters in a hurry? The simple hand-. this publication. Includes information on printing technique described here will help planning, productions, holding costs down, you produce effective ones. This guide marketling, and good explanations of design. would be helpful to both beginners and those more advanced. It discusses design, printing, and lettering, but not in much Inter-Action Adirisory Service Handbook 6, depth. by John Rety. London: Inter-aCtion Imprint, 1975. 50 pence: Graphic Arts Encyclopedia, by George A. A'thirty-page, massively-illbstr4,ted Stevena'on. New York: McGraw-Hill Book checklist of considerations for creating Company, 1979. Hardcover, $19.50. a local newspaper. Includes many case studies of local newpapers in London, and Very complete and professional, but it gives a British emphasis on printers and only discusses printing techniques. politics. Has also published: Print, How

' You Can po It Yourself. To order, write: Inter-action Imprint, 14 Talacre Rd., NWS, Layout, The Design of the Printed Page, by Lonyon, England. Albert Hurlburt. New York: Watson- Guptil Publications, 1977. $17.95.

Publicizing Your Self-Pub.(ished Book, by A very slick book that illustrates the Herman Blackey. Sacramento, CA: various styles in graphics from Art Deco Creative Book Co., 1976. Paperback, to Bauhaus. For example,it shows the influence of eastern 'thought on Frank Lloyd Wright and 20th century graphics. Not the A very helpful gtade to the various most practical book, but it offers fasci- strategies of publicizing sand marketing a nating visuals. book. Various techniques ranging from press releavs and press kits to posters and advertising are discussed. This book Photo Typesetting: A Design Manual, by also describes many examples of low-cost James Craig. Edited by Margit Malstrom. approaches to,each format. New York: Watson-Guptil Publications, 1978. Hardcover, $22,50.

The Self-Publishing Manual, How to Write, At $22.50, this isn't a book that you rush Print, and Sell Your Own Book, by Dan out to buy, but itis something useful to Poyntv_. Santa Barbara, CA: Parachuting- borrow frequently if you are using printers

Publisihing, 1979. - sand doing layouts yourself. Provides a 'very clear presentation of the different Highly recommended to anyone considering typasetting methods and associated publishing their written material. terminology. Later sections explain,

Being Heard/23 phototypesetting equipment '(computer- personalized lettering for posters,news- produced type). Familiarity with books letters, and pamphlets. like this will give you a better understanding bf the whats, hows, and whys ofi type-' setting and printer language.' Studdo Tips for Artists.and Graphic Designers, by Bill Gray. New York: Van Nostrand, Reinhold Co., 1976. =.Pocket Pal, A Graphic Arts Production Paperback, $5.95. Handbook, by International Paper Co. $2.25. This book and its companion volume, Studio Tips (issued in 1978), are f11 of Small, concise, and to the point. Discusses design and layout suggestions. Asec ion most aspects of graphics from typesetting tdevoted to rubber cement may %eemelmentary .and platemaking to printing and binding. until you read it; then it (seems truly Qui,te technical and very complete. Highly inspired. Gray brings you 'into his studio recommended. Order from:IP, P.O. Box and then examines each artistiCinstrument 10046. 100, Church Street Station, NYC and material and,explains the.i.r uses,adding creative and money-saving ideas. Both books are hand-lettered and profusely Posters: Designing, Making, Reproducing, illustrated. by George F. Horn. Worcester, MA: David Publishing Company.

An elementary book on the art of poster desjgn and reproduction. Good for begin-. ners 9nd those with timerestrictions. PhotographYe 14w

Preparing Art and Camera Copy for Printing, sby,Henry. Latimer. New York: McGraw- Photography is an excellent, inex- + 'Hill BOK,Co., 1977. $23.50. pensive, and effective Means of com- A guide for advertising peofessionals(eg., municating to the public- Itis easy to the pos-ter section deals with large road- 4e.arn and fun to do. Photographs may be side billboards). It explores the fine used in exhibjts, slide shows, news- points of keylining copy,- choosing Styles letters, and.billboards. There are of art work, selecting material% andother many photography books on the market. information which could be adapted for use The following books listed are some of by community groups. the best available at a reasonable price. Most of them teach the technical aspects of photography while some have Production for the Graphic Designer, by been included for ideas and inspiration. JaMes Craig. New York: Watson.4-Guptil Magazines such as Popular Photography Publications. HardEover, $19.95.' and Modern Photography, available at newsstands, can also be helpful, A general graphics reference book which is easily understood by the beginner.. Print- ing (type and.photography), paper, and Basic Photography, by M.J. Langford. 'binding are some of the things diAscussed- Garden City, NY: Amphoto, 1978. Paperback, $16.95.

Speedball Textbook, Ir9 Cfarles Stoner and Provides in-depth details for all It is designed Henry Frankenfeld. iladelphiat PA: aspects of photography. Landau, 1973. Paperb ck, $2.15. for self instruction. Starts, with basics for the beginner, and goes to

the more advanced theories such as - Gives informaticen and examples On freehand those of light, physics, laws of optics, lettering with a pen. This is a unique and Oemical reactions involved in pro- technique for creating informal and ducing photographic images.

Being Heard/24 / 4 The Best of PhotOjournalism, by the camera use, lighting, and darkroom and National Press Photographers Asso- printing techniques. Well-written and ciation. Columbia: University of comprehensive. nissouri School of Journalism. Paperback, $10.00. The Photography Catalog, edited by Techniques aren't discussed but this'is Norman Snyder. New York: Harper and a great source for ideas, inspiration, Row Publishers, 1976. Paperback* and examples of effective photographs. $8.00.

Encompasses a wealth of information at The Camerg, by the editors of Time- a reasonable price. ,Covers every aspect Life. New York: Time-Life Books, of photography'and advice is given on 1971. Haddo\ter. where to go for more information. 'A fun book to read, and excellant for Excellent book on the technical aspects frequent referral. of picture taking. Discusses only camera uses--doet not cover darkroom.

methods. Gives in-depth explanations . The Print, by editors of Time-Life. in a lively style appropriate for New York: Time-Life Books, 1972. novices and experts alike. Pardcover.

Gives excellent detailed descriptions 1979 Photographers Mar*et, edited by of darkroom techniques. Provides good Melissa Milar and,William Brohaugh. assistance for both beginners and those Cincinnati, OH: A Writer's Digest with some experience. There are ovir Book, Annual. twenty titles in the Time-Life series on photography and each of them are , . An exceptional book geared, towards the beautifully illustrated and helpful. individual looking to sell his work, Some other titles that might be useful and break into the freelance world of would include Documentary Photography, commercial photography.It contains The Studio, and Caring for Photograpps. valuable information on copyrights The Camera listed before is also one of model releascs,'club listing's, technioal 'their be96t. services, workshops, and many Helpful photographic tips not available any-

where else. - .. t. Photographic Communication, edited by R. Smith Schuneman. New York: Hast- ings House,1975. Paperback, $9.95. r 4. . Ah exciting book on the practice of communicating through phqtojournal- ism. It's a series of arti.cles by many prominent photographers a,ndis ideal for those interested in communicating / throUgh photos.

* Photography, by Barbara and John , Upton. Adopted from the Life Library of Photography. Boston: Educational Associates, Little, Brown, and'Com- pany, 1976. Paperback, $15T. . An all-arourid source book that discusses

being Heard/25

,1-

Pe: profit and other groups workingin the public interest. Audio-Visual .Whatever format you choose,,andhow- The unique experience created by ever you' choose t6 doithave"fUil the cOmbination of pictures, motion, and productn§. sound can effectively inform people about your organization and its services, or educate them about important current issues. The formats of General slides, speeches, videotape and film are all useful in having yourMessage be heard. A-V Egyipment Directoryby National Audio-Visual, Association. Fairfax, VA Before you rush out to produce a slide show or film, check to see if one Lists most orthe audio-visual equipment doesn't already exist that meets your available with basic specifications. No needs. Many organizationsincluding evaluation of quality is included. Order educational, governmental, and non- from NA-VA, 3150 Spring St., Fairfax, profit--have films, videotapes and VA 22030. slide shows which can be bought or rentedon practically every subject imaginable. A little research first ;4Publications Index, by Eastman Kodak can save a lot of time, energy, and Company. Annual. money later. This index lists over 250 ofKoda'k's Once has been determined that a "how-to" publications:It includes all new audio-visual presentationisrequired of the books, pamphlets, technicalbul- to fit your specific needs, take some letins, and other materials available time to define a short, clear purpose from Kodak in the areas of filmmaking, of your project. Consider which format television, and audio-visual productions. will be the, best choice, given your If you want to learn how to produce pro- constraints of money, equrpment; and fessional slide presentations or dis-. expertise. cover the N.6rioLis methodsof visual marketing, then Kodak has the'resources Slide presentations are fun and that can help. At the back ofthis eSsy to produce, and are the least index, there are order blanks whichgive expensive of the three formats. you the opportunity toorder ten publi- Practically any person or group can cations at no charge.,Kodak is the learn to produce effective slide world's largest visual communication shows that can be shown wherever there company, so take advantageof their is a white wall. The resources we've knowledge and resources. Write to: included here can provide the guide- Eastman Kodak Co., 343 State St., Dept., lines you need. 412 L, Rochester, NY 14650.

Videotape programs and Super 8 fiAms Catalog of Educat4onal Material,by have, higher equipment and production Eastman Kodak Co. 1975 ED2-1. Free. cos,ts, but remain within the reach of many organizations, as explained later. ThiS lists the materials including An independent producer could be paMphlets, slide shows and curriculum hired, or a staff person could develop guides available for teachers. It's the ne6essary skills through books, if you're developing edu- workshops, and contact with other very useful cational curriculums in the graphic Sometimes -people in the field. free copY or equipment can be borrowed or a producer arts. Write Kodak for your order from the Publications Index. The found who wiLl provide his or: her address is listed above. services at a sliding rate for non-

Being Heard/26 , A Reference Guide to Audio-visual alker's Handbook, by the Great Lakes ,Thrormation., by James Limbacher. Energy Allinnce. Midland, A1:' GLEA, New York: .Bowker, 1972. 1979.

This handbook lists film libraries, A manual of steps to use in planning books on film history, and other media and presenting a speech. Discusses sources. understanding your audience, defining your topic, and working with the mechanics of speaking-A very useable book. It was created to accompany a slide-xape presentat,ion on nuclear power and alternative_pnergy. Copies are avaiLable from the Alliance for a nominal tee. Write: Great Lakes Energy Talking Alliance, P.O. BOX 1108, Midland, MI 48640.

Speaking face-to-face, to individuals or small groups, continues to be the single most effective way of communi- OTHER SOURCES cating. Do you want to inform, encpur- age,.motivate, or persuade? Then A Master Guisle to Public Speaking, by personal contacths the way 010 get your Robert Montgomery. New York: voice heard. After al-1, each of us is Harper and'Row Publishers,'1979. an expert in talking. Just remember that giving talks to friends is not Roles Speakers Play, by James Humes. "public speaking." Bvt, with a little Harper and Row Publishers, preparation and practice.you can get New York: your point across to ydur audience. 1976. We've listed the better references on effective talking that we have come Speech and Social Action, By Cieverger and Ellingsworth. Orange, NJ: across, but you'll have to be the judge of which fits your parlicular needs and Prentice-Hall, 1967. concerns.

The Craft of Interviewing, by_John Brady. New,York: Vintage, 1977. Slide Shows A well,written guide with helpful tips and anecdotes on how to create publish- able inteeqiews. How to Produce Effective Slide Tape Learning to Speak Effectively, by Talks, by,Milton Riback. Sacra- Joseph Cox. Gran& Rapids: Baker mento: Creative Book Co., 1976. Book HOuse, 1974. Paperback, $4.40.

A local publication that sells'-for 95c. A low-cost book that can help you pro- For a copy, write to: Baker Book House, duce a high quality presentation. 1019 Wealthy St., S.E., Grand Rapids,' mi 49506. Planning aneT Producing- Slide Programs, by Eastman Kodak Company. S-30; Public Speaking...FOr Coaches and Other 1975. $4.00., Animals, by Warren.Trumbull. Sacramento: Creative Book Co., 1976. A'comprehensive publication that takes Paperback, $4.40. the first-time producer through all the technical stages of planning, preparing Gives a Jot of good ideas on right and artwOrk,,copying slides, adding sound, wrong strategies in public speaking. arid other important aspects Of putting It's cheap too. together'an effective program.

- Being Heard/27 3 ' C-

Slides with a Purpose for Business and Education, by Eastman Kodak Company. V1-15, 1977. Free.

Primarily concentr?tes on demonstrating how to take slides that tell a story. It doesn't go into as much detail on other aspects or'producing slide shows as other fesources listed. It is free if you can obtain a Publication Index.

Speechmaking...more than words alone, by Eastman Kodak Company. S-25, 1979. S4.00.

We're into the era of visual communi-' cations and this booklet describes how any group can get a greater return from

. their time and money ili=ivestment by using slides to accompany speeches.

Videdtape 'But public accessis only one application of videotape. Programs Videotape recording is simply a produced by you can be played back on systtm for recording a television any ordinary televisions in homes, image for playback through a television in. workplaces, or in the classroom to set. It's just like tape recording, educate smatl groups of people. except that it involves pictures as Videotape is an excellent way to well as sound. introduce a subject and pave the way,for a Rerson from your speakers bureau. Over 70% of the adulp in the United States rely on television as their' priwy.source of information. The Videotape equipment is light-weight problem with television is that so few and portable, allowing pecir5le to shoot people control the content of the scenes anywhere. programs that are currently aired. The promise of videotape is that anyone can The cost of equipment* is dropping as use the videotape technology to produce technology improves, but it remains programs. These programs can then be relatively expensive. Nevertheless, shown on a closed-circuit system, or be it can often be rentIN- or borrowed at a. ;aired over a public access cable reasonable cost. In some parts of the television channel. country, video access centers exist that provide equipment and technical .,,, Public access television facilities expertise to community groups and to provide more than the equipment to aspiring local producers. transmit your video program to homes that subscribe to a cable television The potential exists for people service. Many also make available free throughout our communities to take training sessions on using video advantage of videotape technology equipment. Opce you can demonstrate your and its power t6 communicate, competency on the camaras and editing machines, you may schedule time in the The resources we have listed studio to work on your own projects-- describe in detail the grONth ot possibly to create your own television videotape and how to produce yOur own series! programs.

Being Heard/28 The Consumer's Guide to Video Tape The Video Guide, by Charles Bensinger. Recording, by Boris Zmijewsky. Santa Barbara: Video-Info Publi- New York: Stein and Day, 1979. cations, 1977. $11.95. S5.95. A very complete book on all aspects of Introduces the video equipment avail- video. It has sections on buying, and able on the market and compares options. then how to use all the nice equipment , It covers troubleshootjng, editing, and you have just invested a small fortune' lighting as well. included is a huge in. Also, it has good coverage of glossary and a discussion on video videocameras, tapes, projectors, 4.V. disks. Very useful. monkors, portapaks and all the other good stuff you need to be your The Complete Home Video Recorder 800k,, own producer. _Hollywood, here we by Len Buckwalter. New York: come. Bantam Books, 1978. $2.95.

Even though the,emphasis is on home video equipment to record TV programs, this book is useful because it compares available equipment, and gives some shooting tips on how to handle cameras. Two thirds of the book is a catalog of pre-recorded video tapesilklable on the market. The book is p, but you be the judge of whether it,fits your needs. Video Visions, A Medium Discovers Itself,' by Jonathon Price. New York: Plume Books, 1977. Paper- How to Use Video Tape Recorders, by back, $3.95. Harry Kybett. New York: Howard "" W. Sams & Co., 1974. $6.95. This little book describes the ex- A novice's guide to video equitent, plosion of,video. After a brief historical section,it moves into examples components, 'selection and use, and of the use of videotape camaeas and applications. Devotes more space

, recoV-ders in business, education, than other books to explaining how medicine, and other specializations. video--the mechanics and concepts-- works. The book concludes with videovisions of the future, telling us how videotape and its electronic offspring will, Independent Video, by Ken Marsh. in the years ahead, play a-larger, New York: Straight Arrow Books, more persuasive roPe in our Lives. 1974.

A video encyclOedia that may tell you The Videotape Tape-Book: A Basic .5 more than you want to know--but there Guide to Portable TV Production, are times when nothing else can explain by Michael Murraii. New York: the technology.' Toplinger Publishing Co., 1975. The Spaghetti City Video Manual.: A $9.75. Guide to Use, Repair, and -Maintenance, by Video Ereex. A sensitive, sensible guide that New York: Praeger. Publishers, 1974. manages to instruct; encourage and $5.00. probe at the same time. A complete handbook covering every aspect of the One.of the earlier, more popular guides video phenomenon, from the differences to video applLcations. Still very between film and video to how to reach useful because it includes sections an audience. Each chapter has con- on repair and maintenance of iideo crete examples orvideo applications, equipment. Lots of,nice illustrations. technical data, and production tips.

Being Heard/29 OTHER SOURCES

-/ Guerrilla Televisiopv:My-Hichael Shamberg, and4.,gaTndance Corporation. Nev! 11,inehart and

, 1nston, 1971.

Tube of Plenty: The Evolution Of American Television, by Erik Barnouw. Oxford, 1973.

Video in'Community Development, by John Hopkins. 2nd ed.,,rev. London: Ovum Ltd., 1972,

Video Power: Grass Roots Television, By Chuch Anderson. New York: Film is a powerful medium. It allows 2. Praeger, 1975. people to experience images through sight and sound. -Films are available on every possible topic from "Building a Solar Hot Water Heater" to "Trans- portation in Southeastern Michigan." ,They can be rented from local public libraries, university media centers, ancl, independent mail-order services.

Films produce&by others can be, used to. bring membersOp and the public to activities helping to reinforce your poiht. They can also be used to raise money through regular presentation of high quality weekend movies, which provide a lower cost alternathve to commerical theaters.

)3ut, films made by your,organization can be geared exactly to your purpose PERI-OD I CA LS and needs, and when Iliey are completed, Film Library Quarterly. (Film Library can take yoUr message to conferences, Information Council, Box 348, classrooms and other places where people Radio City Station, New York City, gather. rThere are two basic formats 10019.) within the reach of most community groupsSuper8and 16mm. The motion Many FilinnZkers-Newsletter. (Suncraft. picture industry uses 35mm. .4nternational, Inc., 41 Union established indtpendent producers use 16mm 4 Square West, New York City, because of its higher quajity, but the expense in equipment, film, processing 10003.) Monthly. and editing are significantly higher than Super 8, putting it out of reach of many Radical Software. (Gordon and Breach, One Park Ave., New York City, people. Nevtrtheless, Super8is-a quality med,ium that is finding more and 100)6.) First periodical-on the video movement. more applications,o educate and train, and is by fpr themosi practical value for the cost. Because of this greater Videography. (United Business Publi- cations, 750 Third Ave., New York accessiblity, the resources we've listed pertain mostly, to Super 8 filmmaking. City., 10017.) Monthly.

(Being Reard/30 3t, Filmmaking tor Beginners, by John Horvath. Performing Media . New York: Cornerstone Library, 1974. .

Guerilla Street Theater, edited by A pretty good introduction, bqt not as Henry Lesnick. New York: Avon complete as Independent Filmmaking. Books, 1973. Nevertheless, it's a good bargain for the price. The best comprehensive book on guerilla theatre available (and there aren't Gui.debook to Film, by Ronald Gottesman many). It discusses the philosophy. and Harry Geduld. New York: Holt, of guerilla theatre, then suppljes Rinehart and Winston, Inc., 1972. an excellent sampling of street scripts from guerilla theatre groups across tke This resource includes a select list of: The issues dealt with in books on film arranged by topic; theses country. many of the skits are somewhat dated and dissertations about film; museums, (Vietnam, for examp)e) but th y can archives, and film schools; and equip- be modified and updated in'most es. ment, supplies, film organizations and festivals. Improvisation for the Theatre, by Viola Spolin. Evanston, IL: Independent Filmmaking, by Lenny Lipton. Northwestern University Press, 1963. Revi,sed. New York: Simon and SChuster, 1972, $8.95. Contains more than 200 theatre improvisation games to help theatre groups A complete guide for the beginning film- release their inner creativity. These maker because it c6ers all formats: 8mm games are widely applicable for group Super 8, and 16mm. It thoroughly des- meetings, workshops, and other cribes all aspects of cameras, shootipg; settings. Excellent resource for any splicing, editing, and sound. Highli theatre group. recommended to anyone serious about

. producing films. The San Francisco Mime T'ioupe: The First Ten Years, by. R.G. Davis. The Super 8 Book,.by Lenny Lipton. New Palo Alto, CA: RaMparts Press, 1975. York: Straight Arrow Books, 1975. $6.95. :A behind-the-scenes look at one of the A broad approach to the least expensive, nation's premiere street theatre groups; technically sophisticated system of film- includes many of thefr original scripts. making. Covers all the necessary equip- This book provides excellent insight ment, techniques, and methods you need into how a street group operates. to do it yourself. An excellent beginning text. Also, there are excellent pamphlets available froM Edward Myers Hayes, ^ AFSC, 821 Euclid Ave., Syracuse, NY ' 13210. ALSO "A Complete Klutz's Guide to Simple Prop and Costume Making," 18 pp, 25. Getting into Film, by Mel London. New- York: Ballentlne Books, 1977. "A Cookbook of Theater Exercises," 4 19 pp, 25. . Simpl Super 8: A Basic Guide to Movie- making, by Sherman and Schonhaut. "The New, Improved, Retter-Than-Ever Boston: Little, Brown and Co., 1977 Guerillagheater Manual," 40 pp, 50. 1977. $10.95.

. "Make-Up Made Easy," 7 pp, 2. Super 8 Movie Making Simplified, by Myron Matzkin. Garden Cityn "A Political Ppppetry Manual," 71 pp, New York: Amphoto, 1975. $10.95 75. (Includes sample scripts.)

Being Heard/31 Communication: A Guide to-Information Sources, by George Gitter. Gale Theory and Research Information Guid,e Library Series.. - Detroit: Gale Research Company, 1980.

7 Communications theory is found in Tpis volume updates Bium's earlier many dense,jargon-filled books that work and is a current listing of proCess to know why we communrcate the articles and books dealing with way we do. We have not listed those communication theory. The reference book's here. Instead, the resources section directs yOu to sources of we have selected and Listed have station rates, media personalities, practical applicatron to real-world and newspapers in the U.S. communication problems. Understanding our media culture allows us to 0.e Dimens4ons In Radio. Washington, DC: each medium to our advantage and can National Association of Broad- lead to creative and innovative casters. Annual. strategies for reaching the defined An inexpensive booklet that lists AM audience. and FM stations and advertising America's Mass Media Merchants, by policies across the country. William Read. Baltimore: The Johm Hopkins University Press, 1976. Directory of Newspapers and Periodicals, by Ayer and Sons. Philadelphia: This Sookis divided into discussi.ons Ayer and Sons. 13697present. Annual. on hislory, politics, and formats of . visual and print media. It offers insights into UP1, Newsweek, and A resource that lists just about all Hollywood. Also included is a dis- the daily and weekly newspapers in cussion on issues and.problems of North America: Included with eath American media. Thisis an eye opener, is a brief history of circulation, Overall, Read offers a broad orientation political leanings, and advertising to media for the uninitiated. contacts. It also breaks down publications by geographical location.

Basic Books in theWass Media, by 4- , Eleanor Blum. Urbana: University of Illinois Press, 1972.

The subtitle reads "an annotated, selected bookli,st covering general commumications, book publishing, broadcasting, film, magazines, news- Mass Media and the Environment; Water 'papers, advertising, indexes, and Resources, Land Use and Atomic 'scholarly and professional periodicals." Energy, in California, by David Rubin and David Sachs. New York: c/ Co-Evolution, by the Whole Earth Praeger Publishers, 1873. Catalog. SausNito: Point Pub- lishers, Quarterly, This case study investigates the role of mass media in determining people's Every issue has a communication$ perception of the environmental prob- section that is worth glancing at for lems of land, air, and water. The the latest news.in media. Of parti-- purpose is to develop an information cular interest is the Winter 77-78 base and framework that can assist issue (16) which had A special broad- usin under'standing and improving media Despite the: cAst section that challenges the coverage of issues. theories of Marshall McLuhan and makes California focus, this book has signi- forecasts on the fut6re directions of ficant application for community groups media. A good alternative perspectIve. working with the media.

Being.lie'ard/32

30 1 Media Culture,4_by James Monaco. New Newspaper Circulation Analysis, an York: Delta,Publishing Co.,1978. annual listing of local newspapers $4.95. arranged by city zone, and by city and coanty. Spot Radio Rates and Data, This collection of.essays analyzes the and Spot Television Wes and Data, politics, power and effect of media are monthly listings of the 5000 AM and in our lives. Very provocative. FM stations (or television stations) and contain delails on key personnel, The'Medium is the Message, by Marshall facilities, and time rates. McLuhan. New York: Bantam Books, 1967. Paperback, $2.50. Understanding Media: The Extensions of Man, by Marshall McLuhan. New Change...is the message! Through a York: McGraw-Hi11, 1973. Paper-' -careful blend of quotations and graphics back, $1.95. our media wo0d is probed and analyzed. The graphics alone are well worth the The definitive book which analyzes radio, $230 price ipag. print, and television by tracing their historical roots and assessing their Michigan Rate Book and Newspaper impact upon people. The phrase, Directory. Lansing: Michigan "the medium is the message" was coined Press Aspociation. Annval. $15.00. from this book. Mo communications or media librar'y should be without it, Lists,9T('of Member newspapers and gives advertising rates. The Assoc- iation also has R.R. literature,available. Fori further information, or to order, Contact the Michigan/Press Association, 827 N. Washington Ave., Lansing, KI 48906. (517) 372-2424.

The Responsive Chord, by Tony Sch6artz. New Yjork: Anchor Press/Doubleday, 1973% ALSO

S,chwartz is a talented and innovative Communication and'Persuasion: Psycho- communicator, who pioneered the studies logical Studies of Opinion Change,. on how people Ospond to audio Stimuli.' by CarlI. Hovland, et. al. New This eSsy to read book presentshi,s Haven: Yale University Press, 1953. ideas and research 611 how and Why we react to advertising and other forms An Introduction to the Mass Media, by of commuhication. Through concrete FrOd Fedler. New Yo,rk: Harcourt, examples, the book describes how to Brace, Javanovich, !sic., 1978. strike responsive chords in our' T audiences. "Persuasion and Communication Theory," by Peter Sandman. The NRAG Papers. StanNard Rate and Data Sei-vice, in Vol.1, No. 4. Published by the Skokie, IL. Northern Rockies Action Group1976.

This organization publishes many sources Persuasion: Yow Opinions and Attitudes of valuable infbrmation on,the major are Changed,'by Marvin Karlins and radio, television, and print media from Herbert I. Abe4on. 2nd edition. around the country. These services New York:` Sprihger Publishing Co., include: Network Rates and Data, a 1970. monthly listing of national radio and TV networks. Includes a breakdown' Persuasive Communication, by Erwin P. of local stations, advertising rates, Bettinghaus. 2nd edition. New and a listing of technical information York: Holt, Rinehart and Winston, and equipment used by /he station. Inc.,1973.

Being Heai'd/33 ,

iiledia Centers 11 and Other Resources

Where are the media centers in .nummatinummuato Michigan? There isan obvious need for centers where people can receive information, training, and access to equipment. These centers would go a ' long way in helping organizations to be heard. 's

The Rainbook has a complete (up Media Centers a

, until1976) listing of media center's in the U.S. that offer access to facilities, classes, and workshoP$. A Michigan Media: The Vnivg.rsity of great many of them seem to be concen- Michigan Media Resource Center. tratki, in the west, with a few in the midwest, and none in the state Of 416 Fouth St. Michigan. Ann Arbor, MI 48104 (313) 764-5360 Universities and community cqlleges 4 often have equipment and production for studios, but their use is restricted Over 6,000 films are available University to students and faculty members. Don't three-day rental from the Writa ,despair--there are still -courses of of Michigan film collection. action open to people in nonprofit for their catalog. organizations and cOmmunity groups. By enrolling in many of the classesik Here are a few films related to that are, offered, access can begained communications available from Kichigan to equipment which can be used to Media. Film numbers and Tental fees' produce specific projects. follow the titles.

In addition, there are manY community - Communication and the/Commu ity(1127) mirlded professionals in all fields - $7.40. Of-communications, from sound recording and film voduction, to newsletter Consumer Power: Advef.ising (698) editing and poster design, who are $11.60. often willing to provide services at working in a sliding rate for groups The Electronic Rainhow', An Introduction tbe public interest. to Television (31705)$17.55. .

Handy Dandy Do-It Yourself Filmaking (2867) $6.10., For these various reasons, the resources in this section are not com- Shaping "ews for the Consumer(74'08) prehensive. What has been compiled is $9.55. a partial listing of film libraries, and'other good-to-know information. TV Ads: Our Mini Myths (7565) $9.55. Hopefully, this is a first step towards encouraging networking among.groups, and providing.a catalyst for some local media access centers to spring up.

Being Heard/34 iti

?, Wayne State University, Media Groups andAssociations Instructional Materials Catalog 5448 Cass Ave. Detroit, MI 48202

AommunityMedia Michigan State University c/o MUSE Catalog of Educational Films' P.O.Boi: 5964 Washington, DC (517) 353-6711 On-campus scheduling 20008 (517) 353-1073 Offcampus scheduling A part of the Musicians United for Safe Energy group that coordinates Western Michigan University communication efforts of local groups interested in alternative energy4. Educational Films campaigns to work effectively with 4 Kalamazoo, MI 4900 news releases, the law, promotion, (616) 383'41620 mass media, PSAs, newsletters, writing, graphics, and persuasion. - Note: Films must be picked up in Community Media offers assistance person. in planning and execu.ting media campaigns.

Public Libraries Detroit Producers Association c/o Jack Wertz New Detroit 4.ny librariet have c?llections of Griswold Building films which can.be borrowed like books Detroit, MI 4822t on your library card: A ]isting for this group already appears in the "Courses and Workshops" Fart of Chapter 2.

Netrb Sensory Media, Inc.

2832 F. Grand Blvd., Swite 212 Detroit, MI 48211 -(313) 872-0360

ThiS- nonprofit gkup of media production people are committed to the documen- tation of visual and performing arts in MiChigan. Offers an archive of films and media products, the finished products as weli as the scraps, for historical and educational use. Indepenclerit Film Services NETWORK Qany'regional and national organi- 1535 Dana Bpg. zations have films which can be A University of Michigan rented or purchased. Film centers Ann Arbor, MI 48109 and libraries can provide you with the latest catalogs. We brought you this guide.

BeingHeard/35 Public Media Project the services you need. Be sure your 6roup is listed with fIP as well. 32 Woodside Pleasant Ridge, MI 48069 (313) 398-0118 Encyclopedia of Associations, edited A'group of audic-visual professionalw who offer their serVices to nonprofit Denise Akey. Detroit: community organizations wishing Gale Research Co., Annual. assistance in preparrng quality presentations. They are in the This is a source book of detailed ...., process of compiling a registry of- informatiof on over 14,000 national "Michi9an Independent Film/Video associations. Each eritry includes Artists and Technicians." the latest address; self-stated purpose, publIcations, history, committees, and meeting schedules. Many groLips listed in this book may THE INFORMATION PLACE (TIP) be able to offer you assittance through their newsletters, directories, and , Detroit Public Library Main other services. A few groups that 5201 Woodward might prompt you to look into his Detroit, MI 48202 volume are: The Associatipn of (313) 833-4000 Independent Vrdeo and FilmMakers; . American Institute,of Graphic Arts; A phone-in service for all types of the Amer,ican Film Institute; the information. The staff tries to help Associations 'for Education Communi- you on the spot, or will refer you to cation and'Tec 11nology; and the local organizations that can provide Association of American Publishers.

Media Event

WHAT: An event staged specifically to capture the attention of the media nd gain coverage for your group and its message.

HOW: Develop ideas for media events that accomplish yotir intended purpose. Sick of your city's bureauo,ratic red tape? When dramatrze that message by staging a media event by tying red tapearound the Cit Hall! It doesn't have to be that dramatic. Eyen a simple press conference is a media event. Make sure to contact the lolal media to invite them to the event and call back on the same day to remin4.them.

Be prepared with a press release on your issue and ( any other material that can provide background and other practical information which could lead to a feature story. .A."1 A media event is a very effective medium if planned with care to make it newsworthy. Often a photo of the event will appear in local newspapers. If really done well, these photos might make it onto the wire services and get national esposure.

Being Heard/36 Courses and Workshops

that may be available for your organi- . zation to use.

Workshops are ephemeral events, and have proved to be difficult for us .to Introduction trace. Many college and continuing education programs offer these periodically, especially in such topical areas as public speaking and public relations. All of us involved with creating this Where possible, we've included workshops, manual have had some formal training in but it is a good idea to watch local communications skills. Classes not only ne4spapers, bulletin boards, and schoo offer you practical-training ih a commun- brochures for updates on workshop and ications field, but also introduce you seminar activities. to the community of media people in your area through lectures, readings,and Don't forget to contact your local establishing contacts with students and 'public schools to see if they sponsor lecturers. continuing education programs or,offer - community services for technical equip- 'Our list is not complete, but itis ment use. Other local agencies such as a good starting source for identifying the "Y" may also,sponsor communications agencies and institutions that have services.and programs. offered communicaticn skills classes in the past. It helps to be aware of these The geographic areas presented are- institutionsin your area. Have your Ann Arbor, Detroit, Flint, and Lansing. organization placed on the school's The Detroit boundaries were the most mailing list so that you can easily keep difficult to establish, so we remained posted of useful upcoming classes. free-ranging here.

Courses are available in a wide array We hope to meet you in.some of these .of formats, from informal, no-cost photo- classes soon. graphic lectures sponrred by camera shops, to semester-long classes at a college. In compiling this list, we made a few discoveries and would like to share these observations with you.

In genera), we've been impressed with the variety, number, and low cost of courses offered,.by community colleges. Most community Colleges have been built recently and their technical resources such as broadcasting equipment, studios, and darkrooms are well-equipped and modern. The class descriptions tend to be more practital than ideological. Finally, community colleges often have several campuses that bring their services closer4to the community.

Some schop* listed have darkrooms, video studios, silk screening supplies or other media center-type facilities

Being Heard/37 TV Production; Film Theory; and Media Ann Arbor lniernships. Public Access Television 107 N. Fifth Ave. Ann Arbor Public School System - Washtenaw Ann Arbor, MI 49104 2555 S. State Rd. County (313) 769-7422 c Ann Arbor, MI 48104 Supr. Harry Howard Sponsored by the city of Ann Arbor and (313) 994-2200 housed in the new firestation, this television studio isirivolved in produc- Ann Arbor mY" ing community programs to:be aired over 350 S. Fifth Ave. a cable television station. Volunteers Ann Arbor, MI 48104 and student interns are welcome to learn (313) 663-0536 to crew the TV equipment. Phone for details. Has a .year-round community activity program. 7 Courses offered include Silk Screening; University df Michigan Graphics; Dance; and Theater Skills. Ann Arbor, MI 48109 Art Worlds Institute of Creative Arts (313) 764-1817 213 S. Main St. Ann Arbor, MI 48104 Several departments offer classes in media (313) 994-8400 skills. The Journalism Department merged with Speech and Theater to form a Communi- An art and dance studio that has offered cations Department. Appropriate classes Art; Graphics; and Dance classes. would also be found in the English Depart- ment, the School of Education (Learning Catholic Social Services of Washtenaw Co. Skills and Strategies), the School of , 117 N. Division Natural Resources (Environmental Communi- Ann Arbor, MI 48104 cations), and the Program in Film/Video (313) 662-4534 Studies. Courses have included Fillm/Video Techniques; Continuity Writing; Major Has sponsored Communicatios. Skills Directors; Art of the Film; and more. Itiorkshops. U-M Extension Service Concordia College 412glaynard St. 4090 Geddes Rd. Ann Arbor, MI 481,04 Ann Arbor, MI 48105 (3)3) 763-4321 (313) 665-3691

4/lif) Offers credit and non-credit classes, The Communications Department has offered: workshops, and home correspondence Photojournalism; Advanced,Public Speaking; courses. Maintains regional centers in Art of the Film; Mass Communication and Flint, Grand Rapids, and Saginaw, as well Contemporary Culture. as Ann Arbor and Detroit. Cooperates in publishing course brochure with Wayne Eastern Michigan University State University. See listing in Detroit Xi6ilanti, MI 48197 under "College of Lifelong Learning." (313) 487-1849 Washtenaw Community College Communications classes are found in the 4800 E. Huron Dr. Speech and Dramatic Arts Department, the Ann Arbor; MI 48106 Educational Media Department, and the (313) 973-3300 English Language and Literature Depart- ment. Facilities include 16mm film and Offers basic media training through the TV video equipment. Has offered classes Division of Communication Arts in writing, in Introduction to Broadcasting; Film and and speaking. Special certificate programs Production; Cinematography; Screenwriting; are available in such fields as Commercial

Being Heard/38 V Alq, Photographic Technician, and Photo- Cranbrook School of Art graphic Assistant (1 year). Frequently Adult Education schedules seminars and workshops. Oper- Lone Pine Rd. ates Learning Resource Cenier, a book and Bloomfield Hills, MI 48013 media collection with a special emphasis (313) 645-3000 on films'and tapes. Provides A/V equipment. Specializes in art and design courses' Courses have included Technical Communi- and has also offered classes in public cations; Copywriting; Broadcasting; relations, photography, and graphics. Station Management; Introduction to Super 8 Movie 'Camera; Film Visuals TechniqueS", Detroit Camera Shop Lettering and Layout; Graphic Reproduc- Washington Blvd. at Michigan Ave. tion; Camera Selection and Use; Magazine Detroit, MI 48226 Publication; Word Processing Principles; (313) 961-0142 Applied Journalism; and more. Presents free Saturday morning lecture series on photography techniques during. the fall and winter. Topics have included: Presenting Effective Slide Shows; Darkroom Special Effects; and Detroit Ansel Adams' Zone System Explained. Callfor schedure.

Detroit Institute of Technology 2727 Second Ave.

Detroit - Wayne County Public'Schools Detroit, MI 48201 . 5057 Woodward (313) 962-0830 Detroit, MI 48202 - (313) 494-1000 Has special evening courses, and brush- up seminars in the summer to prepare students with reading and writing skills before taking more advanced classes. Detroit College of Business Has also offered Journalism; Business 4801 Oakman Blvd. Writing; Public Relations; Speech Funda- Dearborn, MI 48126 mentals; and Introduction to Radio and (313) 528-6983 TV.

Has branches in Ferndale, Kalamazoo, Detroit Producers Association Flint, and Lansing. Classes have c/o Jack Wertz included FundamentaLs of Speech; New Detroit Public Relations; AdvancedSpeech; 1010 Commonwealth Bldg. Presentation Techniques. Detroit, MI 48226 (313) 496-2000 Center for Creative Studies College of Art and Design An association of media professionals 245 E. Kirby united to exchange technical information Detroit, MI 48202 and to promote media-use. Activities (313) 872-3118 include an annual spring (usually in May) Communications Seminar, open to OfferOtertificates and degrees. Has the public. evening and weekend classes as well as day classes. Geared toward art, print- Henry Ford Community College making, and advertising design, and has 5101 Evergreen Rd. 8 and 16mm camera equipment. Has also Dearbor, ,MI 48128 offered instruction in Speech; Audio- (313) 7 -2750 Visual Media; Animation; Sound Recording; and Introduction to Cinematography; Maintains three campuses in Dearborn. plus numerous courses in Art; Graphics; In addrtion to offering evening programs, and Photography. HFCC has special summer sessions that

Being Heard/39 40

r". AP do not require formal application. Spon- Farmington, Union Lake, Oak Parkrand sors intern programs to promote practical Royal Oak. Maintains a Learning Resource experience. Of special interest are the Center with an emphasis on electronic English and Speech Department course media materials. The Communicati-on Arts offerings. Has 8mm and video equipment. Department Offers an array of classes and has 8mm, 16mm, and video cameras. Courses have includell: Black and White ,Course offerings,have included numerous Photography; Color Photography; Film photography classes; Lettering; Graphic Making; Print Making; Technical Communi- Design; Audiovisual Material Production; cation Skills; Journalism; Editing; Use of A/V Equipment; Advertising;and Introduction to Mass Communication; others. Fundamentals of Speaking; Graphics; and Reproduction Processes. Oakland University Rochester, MI 48063 Highland Park Community College (313) 377-3120 12541 Second Ave. Highland Park, MI 48203 addition Eb the communication classes (313) 956-0562 ' offered in the English, Cormnunication and Art Departments, instruction is also Makes available evening and Saturday available through the Division of Continu- classes in such areas as public speaking, ing Education. Evening, weekend,and news writing, and filmmaking. home correspondence cla,sses have been taught in the past. The Continuum Center Lawrence Institute of Technology offers adult counseling services and 21000 W. 10 Mile Rd. training programs to individuals and orga- Southfield, MI 48075 nizations. (313) 356-0200 Southeast Michigan Information Referral LIT's reputation for fine architecture, Alliance (SEMIRA) engineering, and busines1 departments TIP Clearinghouse also extends into the graphic design Detroit Public Library Evening classes are available. program. 5201 Woodward Detrbit, MI 48202 Macomb COunty Community College ,(313) 833-4000 14500 12 Mile Rd. Warren, MI 48903 A coalition of organizations and agencies (313) 779-7000 s. that maintain referral files. Members include local Red Cross chapters and the Has a Division of Continutng Education Downriver Seniors. Publishes a monthly Offers and four off-campus locations. newsletter. Has sponsored workshops on certificates in Graphics, and Radio/TV. public relations and working with other groups. New Detroit, 'Inc. 1010 Commonwealth Bldg. 719 Griswold Detroit, MI 48226 University of Detroit (313) 496-2000 40001 McNichols Jack Wertz, Director of Communications Detroit, MI 48221 (313) 927-1000 An advisory agency that has offered communications workshops in the past. Has a CommunicationS Studies Department and is especially strong'in the speech Offers evening and Oakland Community College and theater skills. Continuing 2480 Opdyke Rd. summer sessions through the have included Bloomfield Hills, MI 48013 Education program. Course Media and (313) 647-6200 Writing for,Broadcast Media Society; Video'Workshops; and MassCommu- Branch campuses ar'e in Auburn Heights, nications. ,

Being_Heard/40

eit i University of Mjchigan - Dearborn 4901 Evergreen Rd. 'Dearborn, MI 48128 (313) 271-2300

Has a Department of Extension Seevices .Flint which offers evening rIcl weekend classes. The Fairlane Conference Center on campus often used for workshops and seminars.

Wayne State University Flint-Genesee County Public Schools Cass at Antoinette 923 E.Kearsley. Detroit, MI 48202 Flint, MI 48502 (313) 762-1228 (313) 577-3711

Courses in the English, Speech, Journal- Baker Junior College of Business ism, and Communications Departments'offer . 1110 Elden Baker Dr. Flint', MI 48507 a wide' range of skills training. Has 8mm, 16mm, and video equipment. Several (313) 744.'11040 courses are taught by top Detroit-area media professionals. Offers 18-month associate degree programs in photography, graphic design, display art, and creative arts to name a few. Also presents classes in Public Speaking, and Office Equipment Operation.

Cavalcade of,Knowledge U-M Extension Service Flint Regional Center 1102 Mott Memorial Bldg. 1321 E. Court St. Flint, MI 48503 (313) 762-3200

Classes are taught at numerous locations IA the community. Courses cost about thirty dollars each. Has offered Public Speaking for Yusiness; Graphic Arts and Design; Calligraphy; and Serigraphy (silk WSU College of Lifelong Learning screening). University Courses in Adult Education 60 Farnsworth Detroit College of Business Administra- Detroit, MI 48202 tion -5 Flint (313) 832-7400 See Detroit listing. Cooperates with the University of Michigan Extension Service. Offers courses in the (Charles Stewart) Mott Community College Detroit Metropolitan area including 4401 E.Court St. Southfield, Grosse Pointe, Hamtramck, Flint, MI 48503 Oak Park, Birmingham and West Bloomfield, (313) 235-7541 as well as Detroit, in a total of 5 pos- Asible locations. Some classes are aired There are 13 off-campus locations, and

. on public television. Courses in the past some course fees are as low as ten dollars. have included: Public Relations.Workshops; Classes have included Art Design; Radio Birth of a Brochure; Writing; Public Broadca%ting; Speech CommUnications; TV;, Speaking; Advertising; Pho,tography; Pre- Introduction to Film; Communication and paring Layout for Print Me'dla; Modern Interpersonal Skills: A Group Approach; Tools and Techniques for the Layout and others. Contact the Division of Artist. Community Services.

Being Heard/41

4 Mass Communication; Public Speaking; Editimg and Layout; Newsletter Writing and Production.

Lansing Michigan State University Admissions, 250 Administration Bldg. East Lansing, MI 48224 Lansinq Community College 517) 355-1855 4l9IN. Capitol Ave. LanSing, M1 48933 Particular departments of interest (51/7) 373-7400 include Advertising, Communication, Journalism, Art, and Telecommunication. The Repartment of Instructional Media The Continuing Education Program operlites a television studio, photography (517) 355-0138 offers classes on a cener, 16mm film lab, and radio station. state-wide scale at many locations. Schipipl also bestows certificate in Courses at State have included adVertising layout and design. Has flanappment of Media Programs; Graphic Division of Adult and Continuing _Design; Photography; Film Art; Effects Education. Courses have included of Mass Communication; Organizational Communication Art; Layout; 4reen Communication; Message Design; and Printing; Lithography; Speech Anxiety; Magazine Editing and Publishing. Newsletters

WHAT: Newsletters are "house organs," "membership mailings," or "PR sheets," and can varyin format from 81" by 11" mimeos to tabloids the size of a daill paper. They are designed to cover a specialized field of interest and reach a specific audience with information that reinforces their views.,

HOW: Decide on the newsletter format and content. The more standardized, itis, the easier itis to meet deadlines.

*Decide on the subject matter such as: feature articles, notes(one paragraph summaries), progress reportsolicy revieA, book reviews, editorials, letters to the editor, profiles (of individuals ororganizations), and a calendar of events. Decide on a tone for the articles. Develop a consistent graphic 5tyle so that each issue looks attractive and is easily compiled.

*Prepare a budget to cover initial expenses and printing costs for a year. ,Spend sOme time researching your options. It is better to start small and grow. Build a mailing list and ,keep it up to date. Work out a system that will make each mailing as easy as possible. Look into nonprofit majling rates.

'Remember that newsletters are not a mass'medium. They are .issue-specific. You may need to check to be surd that they are being read. et Newsletters provide an opportunity for people in your organization to develop and refine communication skills. They can build credibility, . Being Hear:r1/42 40

';$. 3. Mass Media Directory

guidance you will need to conduct your media campaigns. However, even if you reside outside one of these cities, this directory will prove useful. For Introduction one, your group should regularly be in contact with Detroit's media,since their influence extends throughout south-

Ever want to calla newspaper or a eastern Michigan; secondly, the direc- , radio station, but didn't know who to tory gives you a framework for4gathering call or what to say? Ever wish you had information on theNedia in your town a.comprehensive list to the mass media or city. in your area? Then this chapter is for you. When contacting one of these mass media organizations by telephone or The Mass Media Directory of Being letter, use the name of the appropriate Heard provides you with a dist of the person we've listed. Using the name major mass media organizations--newspa- Vlps cut through a lot of red tape. pers, radio stations, TV stations--in Make sure to identify yoursel(f, your southeastern Michigan. Each entry organization, your reasons for calling, includes the exact names of the key and what you want from them. Be honest, contact people in that organization, sincere, and courteous. so you know exactly who to call or write to advance your medja campaigns. As you use this directory, you will In addition, the directory gives you discover that our information may have up-to-date information on the format changed. We've left plenty of space for requireaents these organizations request you to make whatever correctiOns you need forpress releases, public service to make. If you regularly work with announcements, and public service pro- media organizations which aren't listed gramming. In many cases, our entries here, call them and ask for the informa- provide tips and suggestions for deal- tion you need; Keeping all_of this ing with these media groups; these tips together in one place will prove invalu- come to you directly from our conversa- able to you and your group. tions with public relations directors and program managers. At the end of this chapter is a .... comprehensive ltsting of radio stations, We cannot pretend that tis directory TV stations, and newspapers in Detroit, is complete, for you will noi find every Ann Arbor, and Flint, that can be photo- newspaper or radio station or TV station copied onto mailing labels. Along with in southeastern Michigan listed her*,. each entry is a space to add the name- The directory covers those selec ed mass of the appropriate contact person. media organizations in Detroit (/ ;Flint, and Ann Arbor. Thus, if you live inside , NETWORK hopes that you and your one of these'urban oenters, this direc- group get a lot of use out of this mass tory can provide you with the initial media directory.

Being Heard/43

43 News apers

THE ANN ARBOR OBSERVER

206 S. Main Ann .Atbor Ann Arbor, Mi 48108

(313) 769-3175 THE ANN ARBOR NEWS FORMAT: Magazine, 55-65% ads, subject 340 E.Huron matter is anything about Ann Arbor, Mi 48108 Ann Arbor. AUDIENCE: Circulation: 33,000 inAnn Info:(313) 994-6989 Arbor area. News: (313) 994-6833

OWNER': - Don and Mary Hunt_ II II II II FORMAT: Comunity newspaper , EDITOR: CALENDAR: f I I f / I 11 II 11 AUDIENCE: Ann'Arbor area including NEWS.EDITOR: University PRESS * OWNER: Booth Newspapers RELEASE: Send to Don and Mary Hunt. EDITOR: , Herbert Spendlove CITY EDITOR: Bob Romaker CALENDAR: Send in by Mid-month preced- CALENDAR: Constance Schiller ing- last Friday of month. OUTDOOR EDITOR: Doug Fulton INTERVIEWS: Contact Don or Mary'Hunt. ,SCItNCE EDITOR: Max Gates

RELIGION EDITOR: Melinda Green GOOD DEAL . GARDEN EDITOR: Eleanor Gerstenberger SECTION: Lists local bargains.

PRESS ADS: / 4 sizes, 1/16 page: $56. Service ads rates also. RELEASES: - Send 10 days in advance. Address to News Editor. Classified section. COMMUNITY "IN AND CALENDAR: Published on Sundays. AROUND Send a couple days jn advance. TOWN": Public Service Announcements. Address to NeA,Editor or Contact Don or Mary Hunt. Constance Schiller (check . for new name.) Announces TIPS: Must be of interest.to large regular meetings. number in Ann Arbor area.

CALENDAR: Published almost every day. Send a day or more in advance. Address to News Editor.

TIPS: Subject should be of general interest to wide audience. Include name and te'lephone number on releases.

14V THE MICHIGAN DAILY PRESS RELEASE: Send in a week in advance. 20 Maynard Ann Arbor, Mi 48109 "BULLETIN BOARD": Send two days in advance, at ews: (313) 764-0552 least. For Sat., Sun., Mon., Info: (313) 764-0560 send in by Thursday: CLUB FORMAT: 6 days a week, Tues-Sun. CALENDAR: Send in advance. University-driented Send to News Editor. AUDIENCE: 50% student, rest professors Includes meetings, social and city people. events. OWNER: University of Michigan EVENTS EDITOR: (Changes frequently) CALENDAR: Send in advance. NEWS EDITOR: I I I I ,Send to News Edjtor. CALENDAR: Includes plays, movies, music, theater. PRESS RELEASE: Send a week in advance. INTERVIEWS: 'Contact NewsEjorin Send to News Editor. advance. "HAPPENINGS": Call or write in, prefer 2-3.days in advance. TIPS: Have a local angle, some-. Send to "Happenings". thing happeningin Ypsilanti. It will be printed on the

' day of the event.

NEWS: Give a call to the News Editor. ADS: Detroit r-

INTERVIEWS: 'Call the Ne4s Editor.

TIPS: Should be of interest to University community. THE DETROIT FREE PRESS

Notes: 321 W. Lafayette Detroit, Mi. J48231

(313) 222-6400

FORMAT:

AUDIENCE: a THE YPSILANTI PRESS EDITOR: JOE STROUT 20 E. Michigan NATIONAL NEWS: .GARY BLONSTON Ypsilanti, Mi 48197 PHOTGGRAGHIC: TONY SPINA

ATTENTION "CITY DESK" : (313) 482-2000 ATTENTION "ASSIGNMENT EDITOR"-:

FORMAT: Ypsilanti community news- "DETROIT paper MAGAZINE": Polk Laffoon-editor 9bIENCE: Ypsilanti area "THE WAY

OWNER: Harte-Hanks Communications, Inc. WE LIVE" : Frank Denton-editor EDITOR: Joe'Matasich NEWS EDITOR: Don Dibbey "BUSINESS &

CALENDAR: Don Dibbey FINANCIAL" : Lou Hildman-editor

Being Heard/45 Continued THE DETROIT FREE PRESS Flint "ENTERTAINMENT": Dave Zurawick-editor

"SPORTS": Tom Hennesey-editor THE FLINT JOURNAL

NEWS ITEMS: 1 week.minimun notice. 200 E. First Street A follow-up call to confirm. Flint, Mi. 48502 Call on day of news event. (313) 767-0660 PSA: Look for appropriate section with name of FORMAT: Daily editor. AUDI'ENCE: Circidation of 110,000 Notes: EDITOR: Ray Stevens 41 NEWS EDITOR: Al Wilhelm FOOD EDITOR: Laura Wascha -RELIGION: Alice Lethbridge Gordon Capper THE DETROIT NEWS METRO EDITOR: COLUMNIST: Alan MacLeese. '615 W. Lafayette SPORTS EDITOR: David Ponier Detroit, Mi. 48231 SUBURBAN NEWS: Den Moore RETAIL ADVERTISING John Thornquist (313) 222-2000 . MANAGER: MARKETING MANAGER: John Stipe FORMAT: DAILY CLASSIFIED ADVER- I TISING MANAGER: Edward Mitchell AUDIENCE: MASS AUDIENCE 14-75 NEWS ITEMS: Deadline is 9:00 am. EDITOR: Bill Giles Contact News Editor. MANAGING ED.: Lynal Linder PHOTOGRAPHY: Joe Weidlman FEATURES: Deadline is 8:00 am ATTENTION "CITY DESK" a day in advance. ATTENTION "ASSIGNMENT EDITOR" Contact appropriate ATTENTION "LETTERS TO THE EDITOR". editor.

"SUNDAY PHOTOS: Deadline is 10:00'am MAGAZINE: Jim Besely-editor a day in adiance.

"FEATURES": CliffRidRey-editor Notes: "FINANCE & BU5INESS": Ken Ross-editor

"ENTERTAINMENT":-David' Good-editor

; "SPORTS" 'Herbert Bolt-editor.

"ENVIRONMENT & OUTDOORS": JameS O. Crowe-editor

NEWS.OTEMS:, 1 week minimum notice with follow-u* PSA: tO 3 weeks advance notice. Address to appropriate editor of section you wish to be in Include:contact names, phone.

Being Heard/46

04,-; Radio Stations

/- WCBM-88,3 FM

530 Student Activities Bldg.. Arm Arbor University of Michigan Ann Arbor, Mi 48109

(313) 763-3501 WAAM-1600 AM FORMAT: Free-form, noncommercial 4230 Packard Ann Arbor, Mi 48104 AUDIENCE: 'Students,local Ann Arborites 4 (313) 971-1600 GENERAL MANAGER: (313) 971-0500 STATION MANAGER: PROGRAM OIRECTOR.: FORMAT: Adult Contemporary Music PUBLIC AFFAIPS: NEWS: AUDIENCE: 24-54 years PSA: EDITORIAL DIRECTOR: GENERAL MANAGE,R:. Jim Steele STATION MANAGER: -PSA: PROGRAM DIRECTOR: Doug Hamilton BetWeen 30-80 secs. PUBLIC, AFFAIRS: Doug Hamilton Written or taped. Send in a week or more-4 in NEWS: Don Lessnau advarice unl.ess important. PSA: Doug Hamilton Contact Public Affairs EDITORIAL DIRECTOR: 'Jim Steele/D. Hamilton Director. PSA: 10-20 secs. "EVENTS Written for AM 16 Reminders INFORMA- Send 2,weeks ahed . TION": Aired 5 times/day Include name and phone Deals with music, movies, Contact PublAc Affairs Dir.. special ements. 6 given a daV, 2 an hour "WOMEN'S Send to "Events Information" Non-profit only. AFFAIRS" 6-7 pm Mondays. &intact in advance. WIGHT- Contact Maridn Halberg. WATCH: 7-11 pm Deals with women's issues. Callin anytime. Interviews-and call-in. "MINORITY'S AFFAIRS": 6-7 pm Thursdays. Cobtact Nate Carter

"TENANT'S SHOW": 6:30-7 pm.

"CITY LIMITS": 6-6:30 Fridays. Newsmagazine of local news.

ENVIRON- MENTAL ISSUES": 6:30-7 pm Fridays.

TIPS: Qpen VD having local groups visit during free-form shows: Being Heard/47 Contact in advance. WEMU-89 .1 FM W IQB-103 FM

Eastern Michigan University 3001 Brassow Road King Hall 'Saline, Mi 48-176 Ypsilanti, Mi 48197 1,313) 662-2881 (313) 487-2229 FORMAT: Contemporary Rock

FORMAT: . News, sport's, jazz AUDIENCE: 18-34 years AUDIENCE: 18anFi up, mostly Ann Arbor, Ypsilanti GENERAL MANAGER: Ernie-Winn eENERAL MANAGER: .Dick Jacques STATION MANAGER: Ernie/Winn Randy Z STATION MANAGER: Dick Jacques PROGRAM DIRECTOR: Tavi Fulkerson PROGRAM DIRECTOR: Art,Timko PUBLIC AFFAIRS: Bob Murray PUBLIC AFFAIRS: Bill AuMphries NEWS: Chris Sorenson NEWS: 'Sam Etiler PSA: PSA: 'Bill Humphries. EDITORIAL DIRECTOR:' EDITORIAL DIRECTOR: Clark Smith PSA: Send 1-2 weeks in advance. Send to PSA Director. PSA: 10-30 secs. 2 weeks in advance. Wrilten or recorded. "EXPRESSIONS: 9-10:00 am, Sunday. Contact Public Affairs Contact in advance. Director. Contact Tavi Fulkerson. - "MORNING at 663-9863. EDITION": 6-9 am. Deals with Ann Arbor topics. Contact 1-2 weeks. ahead. Contact Tim Adler. Deals with current _topics, _Notes: pews, sports, features. "RADIO MAGAZINE":12-1 pm, Mon.to Fri. Repeated in the evenings. Contact 1-2 weeks ahead. Contact Sam Eiler. WNRS-1290'AM Deals with general interest 4 '14%kk . topics. 3001 Brassow ROM Saline, Mi 0176 "INSIGHT": 11:30 am and 7:30 pm Thur. (13). 662-2881 Contact.1-2 weeks ahead. Contact Sam Eiler. FORMAT: Mod6rn CountrY* Local in-depth news. AUDIENCE: 25-49 yeart.

TIPS: Double space material. ,GENERAL MANAGER': Ernie Winn Make clear what is being STATION MANAGER: Ernie Winn presented right away. .PROGRAM DIRECTOR: Mark ThoMas Keep it simple, who, what, PUBLiC AFFAIRS: Tavi Fulkerson when, where. NEWS: Bob Murray PSAv Chris Sorenson Notes: EDITORIAL DIRECTOR:,

PSA: 10-15 secs. Send 1-2 weeks in advanct. Contact PSA Director.

: Being Heard/48

4 Notes: VWX-650 AM ,

, 530 Student Activities Bldg. University of Michigan, *, Ann Arbor, Mi 0109

(313) 763-3501

FORMAT: Top 40, commercial

AUDIENCE: Students in dorms primarily GENERAL MANAGER: STATION MANAGER: PROGRAM DIRECTOR: wpAG-1050 Am/107.1 FM PUBLIC AFFAIRS: ' NEWS: Hutzel BuNding PSA: Ann Arbor,\Mi48108 EDITORIAL DIRECTOR:

(313) 66215517 PSA: Written. Any length. 'FORMAT: AM-MOR, news and sports Send in a week or more in FM-Contemporary rock. advance unless important. AUDIENtE: Contact Public Affairs - Director. GENERAL MANAGER: Edward Baughn STATION MANAGER: Jim Bau9hn PROGRAM DIRECTOR: '-Dearl. Erskine PUBLIC AFFAIRS: Donna Fischer NEWS: Ted Heusel WSDS-11480AM PSAf , Donna.Fischer 580 W. Clark Road EOITORIA DIRECTOR: Ted Meuse) Ypsilanti, Mi 48197 CALENDAR: D. Fischer/T. Heusel . . (313 484-I48o PSA: 20-30 sec;. written or taped. % ' Send a week in advance. FORMAT: Modern Country Contact Public.Affairs Dir.

Must,be non-profit.. AUDIENCE: 2549 years ,

COMMUNITY GENERAL SALES COMMENT: 10:10-10:45 am, 11:10-Noon. MANAGER: Michael Callanan -Contact 1-2 weeks' in advance OPERATIONS about interviews.' MANAGER: Dan Wells Call in op givefopinions. PUBLIC AFFAIRS: Dan Wells Contact Ted Heusel.' NEWS: Dan Wells "SPOT-

' LIGHT": 10:45-11:00 am. PSA: Send 2 weeks in advance Contact as early as possible. by mail. Contact Jackie Wright. Announcements made .fter Deals with women, community. every news program every TIPS: Use distinctive letterhead. 30 min. on rotating basis. Odress persopally. 10-15 secs. long for each. 'bea1. with local topics. Send to Community Spotlight. Give time, date, place, Notes: name of sponsoring group and event.

.4 Being Heard/49 WYF 1520AM nom-91 7-Fri 17N Huron 5th FLoor anti, Mi 48197 L.S. and A. Bldg. Ypsi University of Michigan 482-4000 Ann Arbor, Mi.48109 (313)

FORAT: Contemporary Christian 764-9210 (313) Music 18-49 years FORMAT: Non-profit, classical, AUIENCE: Jazz, News GENERALMANAGER: Duane Cuthbertson AUDIENCE: Adult STATIONMANAGER: Lou Velker DIRECTOR: Rich Luker GENERAL MANAGER: Hazen Schumacher PRPGRAM John Boshoven STATION MANAGER: Neal Bedford P BLICAFFAIRS: Rich Luker PROGRAM DIRECTOR; Stephen Selly N WS: John Bosho'Ve71- PUBLIC AFFAIRS: Fred Hindley P A: EpITORIAL DIRECTORt NEWS: Fred Hindtey PSA: f Fred Hindley 30 secs., written or recorded. EDITORIAL DIRECTOR: Send 2 weeks to month ahead. Send to Public Affairs Director. PSA: Written, they will rewrite. Send in more than a couple "FRIDAY 12-12:30 noon, Fridays. days in advance. FORUM": Contact 2 weeks in advance. Contact Fred Hindley. Contact Public Affairs. INTERVIEWS: Contact a couple weeks in Deals with public service area, advance. local and some 'national Contact Fred Hindley or subjects, not too controversial. Ed Burrows (on cultural sub- They get lots of mail, so pay jects). TIPS: closer attention to tapes be- Should be newsWorthy, cause they don't have to do "tItl\HOUR": Contact in advance. themselves. Contact Ed Burrows. Deals with culture and .11.11 the art. Press ConferenCr'

WHAT: A pre-scheduledIathering of media representatives, invited by you where your group presents a prepared \ announcement and answers'questions from the reporters.

HOW: Reserve a site for your press conference, decide upon an accessabletime for the niedja people (working hours), and prepare yOur.press announcement to read and'distribute. Make sure'your announcement is newsworthy or,yOu will loose credibility with the reporters and your good intentionswill,have back- fired.

Be prepared for the question-answer period withfact-sneets-talm, informed spokesteam. You will have the undivided attention of the media audience. i people, and your message will ha;eá chance to be carried to a wide

. tieing Heard/50 Detroit

CKLW-800 AM/94 FM 1640. Ouellette indsor, Ontario, Canada N9A 6m6

(313) 963-1567

FORMAT: WABX-99.5 FM

AUDIENCE: 99.5 FM Business Line AM 20760 Coolidge Hwy. OWNER:, Oak Park, Mi 48237 GENERAL MANAGER: Chuck Camrolus PROGRAM DIRECTOR: Pat Holiday 4-k (313) 398-1100 NEWS: Keith Radford EXEC. PRODUCER: Bob Lusk FORMAT: Rock PUBLIC AFFAIRS: Fran Deneau AUDIENCE: FM eft PROGRAM MANAGER: Ron Burgoyne., PUBLIC AFFAIRS: Ron Foster- GENERAL MANAGER: Allen Wilson STATION MAIIWER: Allen Wilson' PROGRAM MANAGER: Carie Cuerolop PSA: t1 week adva ce, no tapes. PUBLIC AFFAIRS: Tony Pollack 10 sec. live announcement NEWS: J. Fort usually played 3X day. PSA: Tony Pollack ScrLpt form,PSA format.

AM-"FEATURE REPORT NEWS": Jackie Bynon-producer. PSA: 10-15 secs. written. 2-3 min. segments. Include when, where, time, date, sponsor of event. FM-"WINDSOR THIS Contact Public Affairs Dir. EVENING": M-Th 10:00 pm Must be non-profit or public Bob Bowers-producer interest. thterviews, country 'music. NEWS: Min.1 week notice.

TIPS: Follow-up call suggested. "RADIO FREE PSA script could have DETROIT":6-7 am Sat.,- 8-9 am Sun. rotating information ,Send 2_weeks- in advance. style. , ContactPublic Affarrs Dir, Topics can include: Current Notes: matters, business, economy, for a local interest spot.

TIPS: Messages must be current, big newssuch as economy, toxic wastes, education, also minority issues*which don't usually get aired.

Being Heard/51

5 WDET-10119 FM WJLB-1400 FM

,5035 Woodward Ave. City National Bank Bldg. 15th Floor, Room 5057 Suite 2050

, Detroit, Mi 48202 Detroit, Mi 48226

(313) 07-4147 (313) 965-2000

FORRAT: PublicRadio Detroit FORhAT: Conte orary black,not disco

VT+ AUDIENCE: ,-----411Nages/minorityesp. AUDIENCE: 25 to.64 yars.

GENERAL MANAGER:John Buckstaff PROGRAM DIR.: Ann Wietzel GENERAL MANAGER:°. NEWS: Jim Lowler STATION MANAGER: PSA: Diane Jones PROGRAM MANAGER: J. Michael McKay PUBLIC AFFAIRS: Diane Jones PUBLIC AFFAIRS: RSA 's: Cathy Welch PSA: Written only. Nkenge Zola 2 weeks mln. advance. NEWS: Al Allen

NEWS:

PSA: 15 or 30 secs. written or' "EVENTS All airdd 3-4X a day. on tape. CALENDAR": Mon,-community Send in apivance of activity. Tues.-theatre . Attention PSA person. Wed.-concert info. Thurs.-arts Fri.- jazz happenings "INTERFACE": 10-10:30 pm. Played 3 Tuesdays per monttl. Pre-recorded Tues. night. "SEMINAR IN 7 pm Mon. Contact a couple of months BLACK". Malika Nsenga-producer in advance. Contact C. Welch, N. Zola, "WOMEN IN 1 pm Thursday. Greg Bowman. MUSIC": Judy Dolin:-producer. Variety of topics.

"ALL TOGETHP 7 pm Tues. NOW": Womens Radio Collective "DATELINE DETROIT": 5 min. spots of 3

'INDIAN TO 7 pm Wed. ' segments aired throughout INDIAN": Bill Memberto-producer' Saturday, Variety of.topics. "EL GRITO DE One theme for each Sat. MI RAZA": 3 pm Saturday. n \ TIPS: Topic must be of interast to "GAYLY 7:3d%Thursday: gerieral audience. SPEAKING": Gay Radio Collective. Must have impactsor be 1. Me. unusual. "HORIZONS": 7 pm Friday. Special topics. Notes: 4.>

"MORPHOGENESIS": 3-6 pm Mon.-Fri. With Judy Adams Public Calendar

Being Heard/52 WJR-76 AM "COMMUNITY CALENDAR":2 times per day. Division of Capital Cities Communicat'ion PSAs of upcoming events 21st Floor Fisher Bldg. Detroit, Mi 48202 "STRAIGHT

1ALK" : Michael Harris-producer. (313) 875-4440 "FOR YOUR FORMAT: Middle of the road HEALTH" : Clifiard Russeli-producer.

AUDIENCE: "SUNDOWN": Wssetta Hines-producer. GENERAL MANAGER: 4 times/day, Mon.-Sat. STATION MANAGER: Jim Long 2 times/day, Sun. PROGRAM MANAGER: Dan Griffin PUBLIC AFFAIRS: CHURCH NEWS: Dave White CALENDAR: Sunday events. PSA: Darlene Ashmore

PSA: 10-15 secs. written. Send two weeks in advance. Notes: Contact Public Affairs Dir. (include time, place, date 1.

"FOCUS SHOW":

12:15 on Mon.-Fri. Contact Hal Youngttlood. wc-94,7m/56 AM

1 Radio Plaza ,WJZZ-105,9 FM Detroit, Mi 48220.

(313) 398-7600 2994 E. Grand Blvd. Detroit, Mi 48202 N.. FORMAT: Easy Listening rock

(313) 871-0590 AUDIElfE:

OWNER: GENERAL MANAGER: Chuck Borchard GENERAL MANAGER: Robert Bass PROGRAM DIRECTOR: (AM) Richard Haas PROGRAM DIRECTOR: Robert Bass PROGRAM DIRECTOR: (FM)Ken Scott PUBLIC AFFAIRS: Robert Bass NEWS: John Belmont NEWS: Michael Harris PRODUCTION MANAGER: Tom Ingram - PUBLIC AFFAIRS: Roberta Jasina FORMAT: Jazz and community/ . minority affairs. PSA: 2 weeks in advance. AUDIENCE: 14 to elderly, multi- Include basic info (brief). ethnic. Taped PSA is acceptable. PRESS RELEASE: 2 weeks advance notice. NEWS:

PSA: 2 weeks advance. "COMMUNITY 10-60 sec. spots, tapes. REPORT" : Barbara Kusak-producer.

Being Heard/53 "SPECTRUM": 6:00 pm ArtsCalendar,with 101c-100.FM' some interviews. Contact in advance. 15001 Michigan Dearborn, Mi 48126 Contact Pub.l.jc Affairs Director.

(313) 846-8500 Material should relate to cultural or arts foCus. FORMAT: Adult Contemporary,FM. Contemporary Pop,AM.

AUDIENCE:, , 18-34 years. Noes:

GENERAL MANAGER: STATION MANAGER: PROGRAM DIRECTOR: Jim Harper PUBLIC-AFFAIRS: Melissa Carter 'NEWS: PSA: Melissa Carter EDITORIAL DIRECTOR: WRIF-101 FM 20777 W. 10 Mile Road PSA: 10 secs., written, not Southfield, Mi 48075 recorded. Send inon card, letter or (313)444-101101t4t. 512 press release. uN- FORMAT: Rock, Pop SIGHT": Contact in advance. AUDIENCE: 38-24 years Contact Denise Carmona. OTHER: Other call-in programs have GENERAL MANAGER: John Hare been arranged occasionally. 'STATION MANAGER: PROGRAM DIRECTOR: Tom Bender PUBLIC AFFAIRS: Debra Wilson NEWS: I4nn Wodeson WURS-105,FM PSA: Debra Wilson EDITORIAL DIRECTOR: 500 Temple Ave. Detroit, Mi 48201 PSA: 10 secs. written, not recorded. Send in "live" copy(ready, for (513) 833-6105 air) or letter to be rewritAn. Send in advance. 41 FORMAT: Classical Contact Public Affairs Director. "SUNDAY AUDIENCE: Di1verse MORNING": 8-10 am, Sunday.

ContaCeli-2 months . GENERAL MANAGER: Lee C. Hason in advance. . STATION MANAGER: Lee C. Hason Contact Debra Wilson. PROGRAM DIRECTOR: Jim,Keeler Current interest topics. PUBLIC AFFAIRS: Mariam Ciesla "SPARE NEWS: CHANGE": 10:30 pm to 2:00 am. PSA: MariaM Ciesla Two hours for guest; lasthour EDITORIAL DIRECTOR: for call-in.

PSA: Typewritten: they rewrite. Notes: Send in advance. Contact Public Affairs Director. Deals with cultural events, art exhibits.

Being Heard/54 ww,i-95 Am/97 FM WXYZ-1270 AM

662 Lafayette 20777 W. 10 Mile Road Detroit, Mi 48226 Southfield, Mi 48075

(313) 222-2000 Mailing Address:

FORMAT: P.O. Box 789 Southfield, Mi 48073 AUD ENCE: (313) 444-1ii1 10kNER: GENERAL MANAGER: Lee Litsinger FORMAT: 'News-Talk Radio AM -OPERATIONS MANAGER: James Brooker AUDIENCE: AM-PROGRAM DIRECTOR: " AM-PUBLIC AFFAIRS: James Brooker GENERAL MANAGER: Charles D. Fritz FM-OPERATIONS PROGRAM DIRECTOR: Fred Walter MANAGER: Ken Rogulski NEWS: Fred Walters FM-PROGRAM DIR: ASSIGNMENT NEWS: Robert Lambert FM-PUBLIC AFFAIRS: " EXEC. PRODUCfR: Terry Pickard NEWS AM&FM: Don Patrick PUBLIC AFFAIRS: Barbara Williams

°DETROIT PSA'. 3 weeks advance notice. CLOSE-UP": Steve StIll-producen 30 and 60 sec., accept tapes. John Delle Monache-producer.

"FORUM" Rob,Mark-producer. NEWS: 1 week min. notice. Accepts phone calls. PSA: Weeks advance. Writ.ten or tape (20-50 sec.). "MORNING "NEWS-PRESS NEWSTALK": 5:30-9 am, Mon.-Sun.

RELEASE" : Minimum, notice of 2 days. Mike Miller-producer. "DAVE LOCKHARD":10-1 am, Sat. WWWW-106 FM "DR. SONYA 2930 E. Jefferson TRIEDMAN":1-4 pm, Mon.-Fri Detroit, Mi 48207 Linda Kata-producer,

(313) 259-4323 TIPS: Has specia)-interest call-in programs all ' FORMAT: Country Western day.

AUDIENCE: 18-30 years.

GENERAL MANAGER: Phil 1..amka STATION MANAGER: PROGRAM DIRECTOR: Dean Hallam PUBLIC AFFA RS: Debby Beller NEWS: Debby Beller PSA: Lauri Converse EDITORIAL DIRECTOR:.

PSA: , Written, one an hour read by disc jockey. Send in advance. Contact Debby Beller. Include who, what, when, where-.

Being Heard/55 azz-92,7FM

P.O. Box 9300 Flint Flint, Mi A8501

(313) 72-o13o WF.LT-114,20AM FORMAT: Contemporary 1221 S. Grand Traverse Flint, Mi 48502 AUDIENCE: Black Community

-(313) 239-8631 (General) (313) 239-5733 (Public Affairs) ,PRESIDENT: Vernon Meritt PROGRAM DIRECTOR: Don Wiggins FORMAT: Big Bands aEWS DIRECTOR: Phyllis Sykes SALES MANAGER: Bob O'Banrion AUDIENCE: MUSIC DIRECTOR: Jason Sinclair

SENIOR PRES.: Neal J. Mason PSA: Typed or written. GENERAL MGR.: Norm McCarthy 2 weeks-in advance. PROGRAM DIRECTOR: Contact Program Director. PUBCIC SERVICE: Send in material as early NEWS: as possible. PSA:

PSA: Send 2 weeks in advance. WFBE-95 FM

Notes: 605 Crapo Flint, Mi 48503

(313) 762-1149

FORMAT: Public AffaIrs/Music

AUDIENCE: Adult-General

Susan Kilmer, GENERAL MANAGER:

STATION MANAGER: Susan Kilmer , PROGRAM DIRECTOR': John Szucs CLI6TURAL AFFAIRS: Judith Costello NEWS: John Szucs PSA: John Szucs

PSA: Contact 2 weeks in advance. Contact John Szucs. "COMMUN- ITY Nar CALEN- DAR": Contact 2 weeks in advance. contact John Szucs. Events around Flint.

TIPS: Don't have PSA spot times but'work material into programs.

Being Heard/56 A

11. Phoenix Bldg. (S ginaw and 4th St.) Flint, mi 48502

(313) 238-7300

FORMAT: 'Adult Hiddle.of the' Road

AUDIENCE: 25-49 years old

PRESIDENT: Elmer Knopf CO-MANAGER: Marvin Levey PROGRAM DIRECTOR: Paul Lambino NEWS DIRECTOR: Les Root PUBLIC SERVICE: Art Ratzloff

PSA: Typed or written. 10, 30 or 60.secs. 2 weeks in advance. Contact Program Director.

Notes:

Being Heard/57 WTAC-600 AM WIRX-333 AM

P.O. Box 600 3076 Bristol G-6171 S. Center Rd. Burton, 01 48501 Flint, Mi 48439 (313) 7437110

(313) 694-4146 . FORMAT: Adult Contemporary FORMAT: Top 30 AUDIENCE: 25-44 years AUDIENCE: 1235 years PRES./STATION MANAGER: Jim Melzer V.P./ OPERATING Bob Meadows% STATION MANAGER: Robert VanDerWiel MANAGER: Art Bussure PROGRAM DIRECTOR: Fred Brian PSA: NEWS DIRECTOR: Robert VanDerWiel NEWS DIRECTOR/ Arthur Reid PUBLIC SERVICE: Becky Self EDITOR: SALES MANAGER: Lorraine 15-20 secs. typed scripts. Taped between 6 pm-6 am. PSA: Contact 2 weeks in advance. Contact 1 week in advance. Contact Becky Self.,

"FLINT" FEED- BACK": Contact 2 weeks in advance. Contact Dave Barber. Shows wide range of public affairs discussions. TIPS: Give lots of lead ame. Contact station personally. Update your media lists. Public, Service Announceinents

WHAT: A public service announcement is also known as a PSA and is a radio or television "advertisement" that doesn't sell anythingor promote a profit-making enterprize--otherwise the station can charge you for the airtime. -PSAs runfor 10, 20, 30, or 60 seeonds.

1(see our Mass Media Directory HOW,: Scripts for PSAs are sent to the stations The scripts should be neatly typed in Chapter 3 for-the individualdetails). PSAs and everything is spelled out, includingabbreviations and numbers. offensive. should be brief and natural-sounding. Avoid anything that might be

nonprofit If you 'need teohnical help, manyloca) stationsespecial ly,the ones--will glaaly provide it. - PSAs are aired for free and can be veryeffective if you make them snappy, hear and see on the attention-grabbers. People usually remember what they time the PSAs are aired broadcast media. The stations, however, decide the and your message may be tucked intothe night-owl slots.

Being Heard/58

6c± Television/ Stations

WDIV-TV 4

622 W. Lafaye'tte Detroit Detroit, Mi 48231

(313) 222-0444 \

CBET-TV 9 FORMAT:

825 River-sjde Drive AUDIENCE: *indsor, Ontario Canada, GENERAL MANAGER: Bill Ford/janet Lynagh PROGRAM DIRECTOR: Frank Alan (Mail to:) NEWS: Jim Snyder P.O. Box 1609 PUBLIC AFFAIRS: Martha O'Fiara Windsor, Ontario Canada N9A 1K7 PSA: 10, 20 or 30 secs. Written better than taped. (519) 971-7200 Send in 2-3 weeks in advance.

. Contact Public Affairs Director. FORMAT: Include numbers of contact people with evening and day numbers. AUDIENCE: NEWS: Contact week in advarice best; Call on day of event as follow-up. GENERAL MANAGER: Harry Hackney "FOR YOUR PROGRAM DIRECTOR! Elie Savoie INFOR- EXEC. PRODUCER AND NEWS: Peter Allies MATION": Contact Bob Bennett, producer ASSIGNMENT EDITOR: Bill Baker at 222-0500. PUBLIC RELATIONS: Neil Addison SPORTS: Don Dailey amatact Lee H411, producer at DOCUMENTARY PRODUCTION: Bill Wrye 222=0597).1 "JUNE -- PSA: 30 or 60 secs. BROWNS 16 mm film or 2" videotape. DETROIT": Contacf June Brown, producer 2 weeks in advance. at 222-2300. Accept slides with script or "PROFILES":Contact Gill Maddox, producer audiotape. "IN at 393-0911, SIGHT": Contact Matt Keelan, producer. 2:00 pm, Mon.-Fri. Show has light interviews.

6 WGPR-CHANNEL 62 GEKERAL MANAW: Bob McBride STATION MANAGER: Don Hamlin 3146 E. Jefferson, PROGRAM MANAGER: David Bieber Detroit, Mi 48207' NEWS: . Mike Van Ende PSA: Tom Fox (313) 259-8862 COMMUNITY AFFAIRS: Tom Fox EDITORIAL DIRECTOR: Ann Simons FORMAT: PSA: 10, 30 or 60 secs. AUDIENCE: Contact at least 2 weeks in advance. . GENERAL MANAGER: Dr. William Banks TV 2 will help adapt or create PROGRAM DIRECTOR: George White visuals, aid in 'scripting and NEWS: 'Joe Spencer(Exec. Producer) producing. They will send you Karen Hudson(Producer) a brochure with details on STATION MANAGER: Temicia Greagory request. PUBLIC AFFAIRS: Lucia Harvin NEWS: Call as far in advance as possible to request coverage of PSA: Contact 2 weeks in advance on meetings, news conferences, script or ihfo type PSA. groundbreakings, etc. Contact 4 weeks in advance on Contact the News Director. taped or visual(slide) PSA. GUEST VIEWPOINTS: 60 secs. or 120 words.rw NEWS: Contact 1 week in advance. Give follow-up call on date Scripts needed in advance. of event. Contact the Editorial Director'. "SOMETHING Program of in-person comments SPECIAL": Contact Jim Engram, producer. and opinions by Individuals or organizations as reply to "TEAM TV 2 Viewpoint or a new sub- ° PROFILES": Tues. 7:30 pm and Thurs. 9:30 pm. ject. Pre-recorded at TV 2 studios. Contact Dr. Mary Wilks, producer. TV 2 VIEWPOINTS: 'Contact Editorial Director "BIG CITY to give suggestions on NEWS": Every day, 6-6:30 pm. possible topics for TV 2 Viewpoints.

"MORNING ' REPORT": Contact Susan Fowler, proglucer. TV 2 FEEDBACK: Contact:(Editorial Director) TV 2 Feedback, "GOSPEL Box 2000, TIME": Sun. 7:30 and 12:00 pm. -Contact Robert Grant, producer. Southfield, Mich. 48037 Letters are read over the air several times a week. OTHER \ PROGRAMS: Contact Program Manager.. WBK-CHANNEL A wide variety of Public Affairs Programs permitting Storer Broadcasting Co. more extended discussion 2 Storer Place and debate and using dif- P.O. Box 2000 ferent media such as film. Southfield, Mi 48037 TIPS: In general, message must be

..., non-profit, and of interest (313) 557-9000. to a significant Share of audience. It must not FORMAT: appeal for funds.

Being Heard/60 6

r WKBEI-CHANNEL 50

Notes: Box 359 Southfield, MI 48037

(313) 444-85oo

FORMAT:

AUDIENCE:

GENERAL MANAGER: STATION MANAGER: PROGRAM DIRECTOR: Gary Johnson NEWS: Amyre Makupson PSA: EDITORIAL DIRECTOR: COMMUNITY AFFAIRS: Amyre Makupson

PSA: 10 sec. copy accepted for WIVS-CHANNEL 56 "What's Happening?" Send 21 weeks'in advance. 7441 Second B)vd. Send to News and Public ,Detroit, Mi 48202 Affairs Manager. "DETROIT (313) 873-7200 TODAY": 10 am, half hour interview show. FORMAT: Contact one month in advance. AUDIENCE: Contact Sylvia Glover. Show deals with community GENERAL MANAGER: topics including social STATION MANAGER: service topics. PROGRAM DIRECTOR: Jercae Trainor "FOR MY COMMUNITY RELATIONS: Sharon Thomas PEOPLE": NEWS: 11:30 am, half hour on Sundays. tontact in advance. PSA: Sh'aron. Thomas Contact David Rambeau. EDITORIAL DIRECTOR: Show is for the- black community. TIPS: Use cover letter with personal PSA: 15 to 20 secs. 2 weeks in idvance. 'approach, not form letter. . ,Write to specific person. Include cover letter explaining functions of organization and aims of PSA. Slides are a goodidea, 35 mm standard, shot horizontally, with good border allowance. Contact Community Relations Director. "FEEDBASK": Daily. Contact in advance. Show featurgs local and national personalities with studio audience. TIPS: Don't:ask for money.

Being Heard/61 6 "CHANNEL 7 WXYZTV 7 SPECIAL 7:30 pm, Tuesdays. 20777 W. Ten Mile-Road REPORT": Southfield, Mi 48075 Contact Harvey Ovishinski. TI?S: Guests for a show should have background and issue (Mail to:) information in writing P.O. Box 789 Southfield, Mi 48037 before the taping. Call to confirm that you're (313) 444-1111 coming.

FORMAT: AUDIENCE: Flint V.P./GENERAL MANAGER: Gene Findlater (Ms.) PROGRAM DIRECTOR: Larry Alt NEWS DIRECTOR: Bob White SPECIAL DOCUMENTARY: Harvey Ovishinski WIEM-TV CHANNEL 5 (NBC) PUBLIC AFFAIRS: 106rlene Jones EXECUTIVE PRODUCER: Bob Woodroof G-3426 biller Road Flint, Mi 48507 PSA: 10, 20 or 30 secs. 2 to 3 weeks in advance with . (313) 732-2050 follow-up call. Contact Darlene Jones. They do not accept pre-taped pSAs. GENERAL MANAGER1 M.T. Holmes They will accept slides or will STATION MANAGER: develop themselves. PROGRAM DIRECTOR: Chuck Alvey "KELLY RUBLIC AFFAIRS. . Tom Eynon Miles Resnick AND NEWS: COMPANY": 9-10:30 am, Mon.-Fri. PSA: Tom Eynon Contact Nancy Lenzen, producer. EDITORIAL DIRECTOR: Audience participation, variety. "WOMAN FORMAT: TO WOMAN": 1:30 pm Saturdays. AUDIENCE: Contact Synka Curtus, producer.

Women's affairs, interviews. . PSA: 10,20,30 secs.. "SPOTLIGHT Contact 1 week in advance. 3 minutes at noon, dailx. ON THE "NOON EDITION" 1 week in advance. NEWS": 1:06 pm, Sunday. Contact Contact Mike Zero, producer. Contact Public AffaiTs Dir. Loeal news interviews. '(lnterview-CommuniM "HANEY": 2:00 pm, Saturday. Affairs) Contact Harvey Ovishinski, "OPEN CAMERA" 7:00 am' 1:00 pm, Sundays producer. Contact 1 week in advance. Contact Public Affairs Dir. "SATURDAY EVENING": 7:00-8:00 pm, Saturdays. (Interview-Community Contact Synka Curtus.or Affairs. Production in Randy Barone. Saginaw.-Pre-taped.)

Being ifeerd/62 Li z

"OPEN etb. VOL . DOOR": Alternates with 2302 Lapeer Ra. "IMPRESSIONS" every Flint, MI 48503 other week. Public Affairs. Contact Program Dir- (313)233-3130 ..' ector.

.7.ORMATz Contact 2 weeks in__ advance. "NOON 'AUBIE14CE.: 1 CZ, A ' NEWS".: COntact-Program. PAL4bpiT:' Thomas,:lleTtman pi,rector. Contact 3-4 weeks ,Pk9GRAl4, DIAECTOA: Sara.Jo Gal lock PSA/PUBLYO-AFFAiRS:: .ElleAltaewelker, Jn advance. NEWS-01RECIBR: -John_WehraueT "NEWSMAlSER": Contact Program MERTISJN.C741AWAGERI John Sthick. Director. koDUcTio0NA6tR: E. Sam Teadue .Comtect.1-4-weeks t. in adv,ance.

BEAT": Broad-rande'of urban issues. Eontact.Program Dir-' '"lt1PBE'S- SIONS": Alternates with'., , .ectOr. Contact 2-3 months in ' "OPEN DOORit''everY, advance. other week. ,

..4 S -4 ViclOotape - ,fr '..:V.OAT:-.Ni.deotape'isS a p!ortable.,;(fairly.simple,and low-cost wayof using :'the,powereLi1 medivri3O-11eley"ork, to help yoti:oT youT organization communicate. Vi.deoi'ape Cari be usect,to infrm, educate, document; train, manitor, and invenro4-=the,uses are almost 1.imitless.., ' 8'uy'yourksystem': 'Aquiring your'own'videolape system requires a falrly substantial investment. A-basic system (camera, videotape recorder, monitor) starts\at about $.3000. Once you have the system, your costs are limited to. the taoe'itselfabout $15 for an hour of recording: playing time--and the tapes,aTe reusable like audio tape. S. Share a system: Since 1113Nideorape equipment isn't 'cheep and you probably won't;cle it for everything you do, you might torsider Shating a .' .system with one,or more organizations. 1.4 r . .Rent a system or Ary a public access cable, television statiOn: Ofte&the video,studio faCilities are available'to the public. Some public access stations have regular training sessions when they teach' basic video skills and studio technrques. It's a 9reat way to learn what videotape is all about, And it's-freel

, Of

Being Heard/63 . 818.66.11.11W6

Teaser Campaigng I

A fun-way to publicize your projects is by using*)' a teaser campaign. Teasers are ,best explained with an examp)e. A group of,us once planned an environmental festival. One month before th'e event,148-bought a column- inch of space (one column, one indh long)in local newspaper% and filled it whth our event's logo. We did this three times -a week for two weeks..Thus, regular subscribers to the newspaper repeatedly discovered this curious drawing. What did it mean?

Then after two weeks, we advertised the event with quarter7page ads.- They provided all the details and included the festival's logo. Pebple immediately recognized the logo and wanted to read the ad to find out why they had seen it so often.

Another example: 'The University of-Michigan student theatre groupadVertised its "tbdtpell" production by use of a teaser. -A month or more beforethe, performance the large message boards on the central campus proclaimed,"It's coming: SLEDGLOP That's bllit said. A week'ater, "SLEDGLO" was crossed out, and "DLOGLE$P"'was kiritten below it. rinally, another week later, that was also crossed out, and "no, it'sGODSPELLI" was added, along with all the necessary ticket information.

People are innately curious. Capitalize on thlts Gy using ieaser campaigns, to tease your audience along. Have fun experimenting with new ways of accomplishing this. r.-0 0

'Being Heard/64

. , . . VeMedia...Maging List WHAT: Mailing lists ar,e useful for keeping in contact with group members, coalition groups, media sources, civic organizations, and a myriad of other F.---useful and helpful people. HOW: Keeping file cards with names, addresses and phone numbers forgroup members is a fine system until you need to hand address a newsletteror special announcement, to,each member. Then,,anything slightly automated is better. Con- sider wing the addresses on a grid pattern given below and you can photo- copy the information onto self-adhesive label sheets (sold in office supply stores) or onto plain papep (to cut and glue onto envelopes).

If Our mailings are large, 'consider investigating-iirge-scale mailing services -listed in the phone book. They use specialized dupliipting equipment--such as Cheshire cards--to quickly create mailing lists.

-..,

i( Ann Arbor

The Ann Arbor News The Ann Arbor Observer The Michigan Daily 340 E. Huron 206 S. Main St. 420 Maynard Ann Arbor, Mt 48108 Ann Arbof, MI 48108 Ann Arbor, MI.48109

The Ypsilanti Press 416m. 4CBN-FM 20 E.a.,Micfligan ?ackard 530 Student Activities Ypsilaliti, MI 48197 Ann Arbor, MI 48104 Building Ann Arbor, MI 48109

WEMU-FM W1QB WNRS-1290 AM Eastern Michigan 3001 Brassow Rd. 3001 Brassow Rd. Uniye.rsity Saline, MI 48176 Saline, MI 48176 King Hall Ypsilanti, MI 48197

WPAG WJXX WSDS Hutzel Building 530 Student Activities 580 W. Clark Ann Arbor, M1 48108 Building Ypsilanti, MI 48197 Ann Arbor, MI 48109

WUOM-FM WYFC Public Access Fifth Floor 17 N. Huron Ann Arbor Cablevision L.S. and A. Bldg. Ypsilanti, MI 48197 107 N. Fifth Ave'. University of Michigan 1 Ann Arbor, MI 48108 Ann Arbor, MI 48109

Being Heard/65

A ' ;

Detroit

The Detroit News The Detroit Free Press CKLW-AM + FM 615 W. Lafayette 321 W. Lafayette I640 Ouellette Detroit, MI 48231 Detroit, MI 48231 Windsor, Ontarib Canada N9A 6M6'

.W.ABX-FM WDET-FM WJLB-FM 20760 Coolidge Hwy. 5035 Woodward Ave. 'City National B".anicBldg,.- Oak Park, MJ 48217 Detroit, MI 48202 Suite 2050 - Detroit, MI 48226

WJR-AM WMJC-FM + AM WNIC

21st Floor 1 Radio Plaza 15001 Michigan Fisher_Apilding Detroit, MI 48220 Dearborn, MI 48126 Detroit MI 48202

WRIF-101 FM WtQRS WJZZ-FM 500 Temple Avec 2944.E. Grand Blvd. 20777 W. 10 Mile Rd. Detroit, Mi 48201 Detroi1, MI 48202 Southfield, MI 48075 ,

WWJ AM + FM. WWWW WXYZ-AM 662 Lafayette 2930 E. Jefferson 20777 W. 10 Mile Rd. Detroit, MI 48226 Detroit, MI 48207. Southfield, MI 48075

CiET-Tki 9 WDIV-TV 4 WGPR-TV 62 825 River-side'Dr. 622 W. Lafayette 3146 E. Jefferson *Windsor, Ontario, Detroit, MI 48231 Detrort, MI 48207 Cadada ES ;

S. WBK-TV 2 WKBD-TV 50 WTVS-TV 56 ,Slorer Broadcasting Co. Box 359 7441 Second Blvd. Storer Place Southfield, MI 48037 Detroit, MI 48202 40- P.O. .13ox 2000 Southfield, MI 48037

wa-Ty 7 CBET-TV 9

. '20777w. 10,MileRd. 825 River-side 6r. 'Southfield; MI 48075 Windspr, Ontario Canada

BeinqReard/66 Flint

The Flint Journal WFDF WDZZ 200 E. First St. 100 Phoenix Bldg. P.O. pox 831, Flint, MI 48502 Flint, HI 48502 Flint,' Mt 48501

WFET .WJRT WTAC 1223 S. Grand Traverse 2302 Lapeer Road , P.O. Box 600 , Flint, MI 48502 Flint, MI 48503 Flint, MI 48439

filkk

WFBE WTRX WNE4-Tki5 605 Crapo '3076 Bristol G-3426 Miller Rd. Flint, MI 48503 Burton, MI 48501, Flint, MI 48507 4.

WJRT-TV 2302 Lapeer Rd. Flint, MI 48503

Speeches and Slide Shows

WHAT: A gathering of people for the spectfic reason of hearing and/or seeing your firewtation about the topic'of your choice.

HOW: Plan to get your audiences' attention, state-your topic, present your ideas, give your conclusion, and then suggest-some specific ac,pion your audience can take fällowing your presentation. If you're giving a speech, remember you are going to be heard, not read. Repeat and reinforce what you want people to remember. Tell them what you're going to say, say it, And then say ivgain. If you're giving a slide show, let your slides do a lot of reinforcing for" you. Use only your.best

pictures! .

Many clubs and community organizations invite speakers to their'meetings. .You could even get paid for your talk!You have to find out where4these groups are and make the first contact. A good presentation will create positive word-of-mouth recommen- dations and expand your potential audience. Be advised that a poorly-executed.presentation can have 'a negative effect on your group's credibility. However, a wen- planned and practiced speech or slid show is a great asset. t

Being Heard/67 "w *wow.

s Performing Media

(street theatre; gueftbilla theatre)

VHAT: Short theatrial skits performed ,in public settings,e4peciallysde- sks 'andparks. Skits focus .0>ttenticin on sociai a'n'd envi-ronmentalOssues or mp-coming,-events. , i.HOW: Define the message you want ,,to project. Brainstorm a listof skit ideas based on that message. Choose an idea, develop it using group improvisation. Keep the ski.t short and simple. Tailor your message to fit the (Costumes) people you want to reach. Pick sites to perform, and get to know the areas well. Make props.easy to set up and take down. Rehearse until you are all Using costumed characters to , WHAT: comfortable and satisfied. Pick a promote events. nice day, and perform. Do. not block sidewalks.'Afterwards, hand out HOW: Create qne or several costumed leaflets, talk to people, and c4vacters that help promote your evaluate your effectiveness for the .1 event. Have them cinculate in public next performance. places, handing out fliers, brochures, buttons, balloons,and/or lther, . ADVANTAGES: Theatre is very creative promotional materials. They can .alo and a challenging method of,communi- verbally approach.people in these cating. It's a perional medium-- settings to discuss their cause, event, actors communicate directly with the and issue. audience. Theatre is'very effective in making people think about issues, ADVANTAGES:. The use of costumes and it educates and informs in a fun Like definitely grabs attention. way. When done well, it's magic. street theatre,it is very personal' it allows'you to approach people and DISADVANTAGES: Developing street and talk to them in.a nonthreatening theatre is a time-consuming process, Costumes and characters are way. and it does not reach as; large an adaptable to a wide variety of AA audiende as PSAs and posters might. settings and audiences.

DISADVANTAGES: Costume-making-can be time-consuming and cost may be prohibitive. Requices a certain amount of guts.

Being Heard768 4. Working With Other Groups

energies, and what role the coalition will play in this. If you are a large; regional organization and would like to localizeyour efforts or increase your following ina Introduction particulaT area, you could form a coalition with established*local groups workin§ on Now that you have all the information the ,same basic issues. If you are a smaller, ' you heed to use'the media more effectively, localized group needing access to outside you should know that there is an addition- resources or expertise, or if you heed.p al way'to help get your message out and increase your credibility, you would want accomplish youT group's goals--by working to form a toalition with larger, more with other groupsin the form of a established groups. coalition, association or alliance. Don't restrict yourself when brain- Why work with other groups? storming possible partners for your Coa4itions, whether formal or informal,will coalition. Consider businesses and enable your group to share resources ranging .corporations as we)1 as government agencies from orfice or audio-visual equipment to or groups that might, on,the surface, seem financiaj or moral support. Other groups to be working toward goals very different may have expertise in an area your group from yours. Remember that individuals may lacks, and working with them can increase also be able to contribute something to your credibility, broaden your,constituen- your coalition, tpoi cy, and expand your group's membership. Coalitions do allthis, while allowing you Once you have identified the other , to accomplish your goals more quickly and possible members of your coalition,you should easily by combining forces. gather all of the information you possibly o.an aboiit them: What is the style of their app'roach to the community?What kind of image do they project? Are they effective at what they are'doing? Are there other How to Start things they can offer your groUp? And don't forget that coalitiqpis work two ways-- Your Coalition what can your grouplTrfer them?

Starting a coalition is probably not Onte you have weighed the pros and cons as difficult as you think, and the many of each possible coalition partner, you can benefits it can.offer youT organization contact other group(s) with your coalition re well worth a try. Pr4osal. Talk to a few different groups, approaching the entire process as you would when hiring a new PR person or acquiringa You should begin as you.'would when new business partner. You may even want to beginning any type of media campaign,--by . draw.up an official agreement4 one that Will clearly4defiKing your group's goals, tile clearly define each group's rights and scale upon which you want to focus your. responsibilities.

Being Heard/ 69

70 Some things to remember about coalitions before you get started or if problems Examples of Coalitions, develop later on: Associations, Affiances 1. Be sure to agree .on a method for approving outgoing media before it .Ccaliions can take 'a variety of forms-- Each group could - hits the streets. each one is unique to the particular issue delegate a person to approve,all material or set of issues around which it was orga- published under coalition headings. nized. The following exiamples can serve to It's not a good iea to issue some- illustrate the range of,sizes and styles thing,wel.thout_ infot-ming your partner coalitions can take.,The first distinctiov first. pl), make is between a teMporary coalition and a-permanent coali4On. Be aware of the special problems that can a'rise because.of organizational pride, personal egos, and the need for Temporary Coalitions equal praise (or blame) for joint Temporary coalitions are usually farmed Try to avoid the hard feelings efforts. with a limited time span in mind. A tem- that can come from misunderstaridings porar'Y coilition of .individuals or organi- by constantly reminding yourself of the zations might be formed to sponsor one other group's goals without compro- event or a series of events,-to lobbyfor This is sometimes mising your own. or against a particular piece oflegis- hard-lo do. . lation, or to serve as a catalyst to bring about needed changes in a community. 3. Keep in mind that if you decide'to par:ticipate in a coalition or alliancelk In the winter of 1980, a -Coalition of your group will have to share its time, organizations in and around Flint, Michigan; equipment and energy with others. including the Flint Department of Community Make sure-you are willing to offer Development, the Cooperative Extension this support before You get your new Service, Consumers Power, thecCenter For coalition -going. Urban Ecology, The UrbamLeaguei and several others; sponsored an event called the"6Old 4. And remember--a coalition can change Air Affair". The event was a day-long work- your group's method of doing things shop on energy conServation with community (this can be very positive), so try to 'resource people conducting practical demon- plan with the long range intereSts of strations in areas,such as caulkingp; weath- your group and its future image in mind. erization, furnke maintenance, and home management. By combiningthe resources of' If things begin to go sour, and your group the individual organizations involved, the coalition was able to offer a comprehensive feels that its goals are gettirig lost in all and useful event for Flint area residents the sharing of interests,-don't hesitate to interested in conserving energy and'saving withdraw from the coalition, change its structure, or add other groups that have money at the same time., something to contribute. Coalitions are sup- posed to help you achieve your goals. When -Permanthit Coaitition6 this is no longer happening, it's time to try Permanent coalitions are formed to achieve something else.-But if you base you coali- long-range goals ,and to promote.causes or tion onclear communication Ichannels between issues that are ongoing. Permanentcoalitions' partners and constantly keep in mind the financial concerns of those you are working with, you vary greatly in their scope, their should see your goals being accomplished. ' -resources, and the geographical,a,rea they serve. Large national coalition and small For more information on forming a coali- local coalitions alike work towards common tion see: "Making an Issue of It: The goals throu9h unified courses of action. Campaign Handbook".Available through The League of Women Voters, 1730 M St., N.W., The Citizen/Labor Ehergy Coalition is Washington, DC 20036. Publication #613, a national organization comprised of'over 150 af.filiates, including trade union, cost $.75. ,

Being Heard/70 senior, consumer, environmental, neigh- On a more local scale still, the borhood, and minority organizations. Citizens Association fort Area Planning While the overall goals of each separate (CAAP) has been working effectively on organization are quite varied, they have planning issues of local significance united to organize a grass-roots citizens in the Ann Arbor area since.its inception force which can challenge the power of in the late 1960's. Originally organized the large oil companies and utilities. around transportation issues, the grass- The considerable resources of an organi- roots organization now works on a variety zation like the Citizen/Labor Energy of local issues, often giving testimony Coalition, with member organizations in before the city council on proposed nearly every state, can be extremely ordinances, city programs, and annual effective in influencing decisions that city budget expenditures. With extremely are Made at the national and local level limited financial resources and comprised regarding the ever-escalating costs of entirely of volunteers, CAAP has devel- energy in the United States. oped a high degree of dredibility for its ability to move quickly on local issues On a slightly smaller scale but with an and to,produce position papers insuring eqUally powerful voice, New Detroit is an that the citizens' viewpoint is being urban coalition which has Played a key role represented in the local governMental in--Stimulating the kinds of change that decision=paking process. hAve led to Detroit'l rebirth-as a city in recent years. With financial support You or your organization may already from large corporations, organizations, be affiliated or work closely with a and foundations-in the Detroit area, New coaAtion, association, or alliance of Detroit is able to support a variety of " groups tHat shares your concerns and is urban programS in education, publia safety 'acting to achieve common goats in a and justice, employment and economic unified manner. If not, you may want to action, community self-determination, consider joining one--or if one doesn't communicationa, and the arts. Because exist to fill your needs', start one! of 'its location in one of'the major manufacturing and financial centers,of.the A good way.to find out what types of U.S., New DetrO# epjoys the luxury of organizations exist in your area is to being well funde'd-andIstaffed--bA its ch'eck with your local library. ,They programs aregeared towards the pe6Ple of prohably have a complete file of names, betroit in.an effort to pu11 together all addresses, and phone numbers of ether segments of the city, from individuals to groups just waiting to form a coalition, ,industries, and to act as an advocate of alliance, or association with your group. necessary social change in the city. ..,,...... - ....., 3...... _..____...... ,....._.....,...... --4_-- Logos

WHAT: A logo'is simply a visual representation of your group or your group's message. It pro--

vides a visual cue to-your audience that helps 1 them identify your organization and/or your everit.

HOW: Logos can add spice to almost any visual medium ou utilize--letterheads, stationery, posterrs, fliers, pamPhlets, bumper stickers, buttons, ballons, banners, and decals, to name a few. .

Being Heard/71

7'I Late Additions...

The followingsourcesttreadded just before we went to press. They are not listed in the Index.

The Community Newsletter Handbook, by the Neighborhood Organization and Development Unit of the Neighborhood Service Organization. Detroit: NSO, 1980. 26 pages; $2.50.

This handbook was produced in Deltrail and uses local case studies to guide you through the step's of planning and producing a newsletter. The "Layout Pr*ess" section is excellent. Order from: NSO, 10140 W. McNichols, Detroit, MI 48221, or call(313) 341-3859.

The Grassroots Fdndraising Book by Joan Flanagan. Washington, DC: The Youth Project, 1977. 244 pages, $5.25.

Don't let the money angle of this book put you off. The strategies for raisi'ng funds is very Omilar to packaging messages. In addition, the bibliography lists 121 sources of information on organizational concerns.

Publicity Handbook: A guide for publicity chairmen. 1976. 25c.

Write Co: Consumer Services, The Sperry Hutchinson Co., 2900 W. Siminary Dr'.,Ft. Worth, TX 76133.

If You Want ArrtIme, by Na,tional Associaypn of Broadcascers. 1978. Single copy fr4. 18 pages. ;VAN e A Write: NAB; 1771 N St., Washington, DC 20036.

How to Do Leaflets, Newslettersr.and Newspapers,-by Nancy Bringham. 44 pages. $1.95.

Available frOm: New England Free Press, 60 Uhion Square, Somerville, MA02143.

Grantsmanship Center News at 1031 S. Grand Ave.,LOs Angles, CA 90015 has published several guides for nonprofit organizations. The Guide to Public Relations for Non-profit Organizations and Public Agencies cos-ts $1.25. A copy of the "Basic Grantsmanship 4 Library" is available for 95.

Being Heard/72 An alphabetical listing of the subjects, titles,and ihstitutions. d:1171ex

A-V Equipment Directory 26 Consumer Power: Advertising 34 advertlsements 6, 50, 64 Consumer's Guide to Video Tape 29 America's Mass Media Merchants 32 continuing education 37-42 Ann Arbor 38-39, 43-46, 47-50, 65 Continuum Center 40 Ann Arbor News, The 44 Cookbook of Theater Exercises 31 Ann Arbor Observer, The 44 costumes 9, 68 Ann Arbor_Public School System 38 Craft of Interviewing, The 27 Ann Arbor "Y" 38 Cranbrook School of Art 39 Art Workis Institute of Creative Arts 38 credibility 4-7, 12, 71 artwork 23-24 darkrooms 20, 25, 37 associations 69-71 Design and Print Your Own Posters 23 audience 11, 16, 32-33 Detroit 39-41, 45-46, 51-55, 59-62, 66 audio-visual 8, 26-31, 67 Detroit Camera Shop 39 Baker Junior College ot BUsiness 41 Detroit College of Business 39 Basic Books in the Mass Media 32 Detroit Free Press, The 45-46 Basic PKotography 24 Detroit Institute of Technology39 Best of Photojournalism, The 25 DetroitNews, The 46 , books o/k communiCation 19-33 Detroit Producers Association 35, 39 brainstorming 2, 69 Detroit-Wayne County Public Schools 39 brochures 8, 10 Dimensions in Radio 32 ,CBET .(channel 9) 59 Directory of Newspapers and Periodicals CKLW 51 32 cable televiion 63 Documentary Photographs 25 Camera, The 25 Easter Seals 9 tcase studies 13-17, 70-71 Eastern Michigan University 38 Caring for Photographs 25 Eastman Kodak Company 26-28 Catalog of Educational Material 26 effective communication 11,-12 Catholic Spcial Servicet of WasOtenaw 38' Electronic Rainbow 34 Cavalcade'of Knowledge 41 ElementS of Style 22 Center for Creative Studies 39 Encyclopedia of Associations 36 Christensen Method, The 22 exhibits 7, 24 Citizen Association for Area Planning 71 films 30-31, 34-36 Citizen/Labor Energy Coalition 70 Film Library Quarterly 30 classifjed ads6 Filmmakers Newsletter 30 coalitions 2, 60-71 filmmaking 30-31 Co-Evolution 32 Filmmaking for Beginners 31 Cold Air Affair 70 fliers 8,10, 16' Communication and the Community 34 Flint 41-42, 46, 56-58, 62-63, 67 Commuhication: A Guide to Information Flint-Genesee County Public Schools 41 Sources 32 Flint Journal, The 46 Cormunication and Persuasion 33 Getting In/o Film 31 communication resources 19-42 Graphic Arts Encyclopedia 23 Ctomunications Seminar 39 graphics 23-24 community calendars 5 Guerrilla Street Theater 31 Community Media 35 Guerrilla Television 30 Community Media HandboOk 20 guerrilla theatre 9, 31, 68 Complete Home Video Recorder Book 29 Guidebook-to Film 31 gomplete Klutz's Guide to Simple Pi-op handouts 10 and Costume Making 31 Handy Dandy Do-lt Yourself Filmaking 34 computer data bases 21 Henry Ford Community'College 40 Concordia College 38 Highland Park COmmunity College 40 conferences 7 How to Be Heard 20

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How to Produce Effective Slide Tape Michig .D ate Book and Newspaper Talks 27 Directory 33 How to Produce a Small Newspaper 22 Michigan State University 35, 42 How to Self-Publish Your Own Book 22 Modern Photography 24 How to Start Your Own Magazine 23 More Studio Tips 24 How to Use Video Tape Recorders 29 motivating people 3,15 Improving Your Written Communications 22 Mott Community College 41 improvisation 68 Musicians United for Safe Energy Improvisation for the Theetre 31 (MUSE) 35 independent film services 35 NETWORK 1, 35 . Independent Filmmaking 31 Network Rates and Data 33 Independent Video 29 New Detroit 40, 71 index 2 New, Improved, Better-Than-Ever Information Place, The 36 Guerilla Zheate'r Manua1,31 Inter-Action Advisory Service Handbook newsletters ), 9, 42 23 Newspaper Circulation Analysis 33

International Literary Market Place 22 , --newspapers 6, 32-22, 43-46 interviews 5, 27 Newsweek 16, 32 Into Print 22 newsworthiness 6,14, 15, 16 Introduction to the Mass Media, An 33 Nonprofit Organization's Handbook 21 Keep it Legal 20 Oaklaii.1 Ccmminity College 40 Lansing 42 PIRGIM see Public Interest Research. Lansing Community College 42 Group in Michigan Lawrence Institute of Technology 40 PR see public relations Layout, The Desigm-of the Printed PSA see public service announcements Page 23 pamphlets 8, 10 . layouts 23-24 performing media 9, 31, 68 Learning Resource Center 39 periodicals see magazines Learning to Speak Effectively 27 permanent coalitions 70-71 Lesly's PubIN Relations Handbook 20 Persuasion and Communication Theory 33 letterheads 12, 71 Persuasion: How Opinions and libraries 19 Attitudes are Ch-anged 33 libraries, film 27 Persuasive ComMunication 33 Literary Market Place 22 petitions 3,7, 12 logos 64, 71 Photo Typesetting: A Design Manual 23 Macomb County Community College 40 Photographers Market (annual) 25 - magazines 6, 9, 32-33 Photographic Communication 24 , maOing lists 42 photography 24-28 make-up,J0 Photography (by Upton) 25 Make-Up Made Easy 31 Photography Catalog, The 25 Making an Issue of It 70 photojournalism 25 market surveys 23 Planning and Producing Slide Programs 27 mass media.directory 43-63 planning your media campaign 3-17 mass media types 5-1G, 15 Pocket Pal 24 Mass-Media and the Environment 32 Political Puppetry Manual 31 Master Guide to Public Speaking 27 Popular Photography 24 media centers 20, 34-36, 37 poster5 1, 2, 8, 16,23, 24 Media Culture 33 Posters: Designing, Making, media event 1,6, 16, 36 Reproducing 24- Media Kit 20 Preparing Art and Camera Copy for media mailing list 65-67 Printin9 24 Mediability: A Guide for NonprOfits 20 press conferences 1,6, 7, 36, 58 Medium isthe Message, The 33 press packet 14, 16 membership maiJings 42 press releases 6, 7,13, 18, 36 Metro Sensory 'Media,Inc. 35 Print, The 25 Michigan Daily, The 45 Print, How You Can Do it Yourself 23

Michigan Media 34 .. -pFinters 22-24

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:,,/ Production for the Graphic Designer 24, Studio Tips for Artists and Graphic Professidnal's Guide to PR SerVices 21 Designers 24 (-N public access television 20, 28, 63 success, determiding 15-17 Public Access Television (Ann Arbor) 38 Super 8 Book, The 31 Public Interest Research Group in super 8 cameras 26, 30-31 Michigan 1,13-17 Super 8 Movie Making Simplified-31 public libraries 35 Super 8 Production Handbook 31 Public Media Project 36 T-Shirt& 8 public relations 1, 3, 20 TIP see Information Place, The . Public Relations Basics for Community Talker's Handbook 27 Organizations 21 talking 27 public service announcements 1, 5, 14, teaser campaigns 64 As

16, 50, 63, 68, 71 . television 5, 28-30 public'speaking 27-28 Television Ads: Our Mini Myths 34 Rubilc,Speaking...for Coaches and 1television stations 1, 59-63- Other Animals 27 'temporary coalitions 70 - Publications Index (Kodak) 26 theat4 68 Publiciz1n5 Your Self-Published Book 23 theory and research, communication 32-33 publishing 21-23 Time-Life Books 25 Radical Software 30 tip boxes 2 radio 5, 32 Tube of Plenty 30 radio stations 16, 47-58 Understanding Media 33 Rainbook 21, 34 University of Detroit 40 rallies 6, 15,16, 19 University of Michigan 38, 41 ripple effect 9 Video in Community Development 30 Reference. Guide to Audio-Vjsual Video Guide, The 29 Information, A 27 Video Power: Grass,koots Television 30 research, communication 32-33 Video Visions 29 Resource Manual for a LNing Revolution Videography 30 21 Videotape Tape Book, The 29 Responsive Chord, The 33 videotapes 8, 28-30, 63 Roles Speakers Play 27 visual communications 8,,23 San Francisco Mime Troupe, The 31 "AAM 47 self-publishing 20, 22-23 WABX 51 =D C653 Self-Publishing Manual 23 WAMM 56 WNEM 63 silk screening 37 WCBN 47 WNIC 54 Simply Super 8 31 WNRS 48 sit-ins 7 WDET 5? WPAG 49 ski.ts 68 WDIV 59 WQRS 54 slide shows 27-28, 67 WDZZ 56 WRIF 54 Sli,de with a Purpose for Business WEMM 48 WSDS 49 and Educa,kion 28 WFBE 56 WTAC 58 Southeast Michigan Information WFDF 57 WTRX 58 Referral Alliance (SEMIRA) 40 WGPR 60 WTVS 61 Spaghetti City Video Manual, The 29 W1QB 48 WUOM 50 Speech and Social Action 27- WJBK 60 WW 55 speeches 7, 8, 27728, 67 WJLB 52 WleAM 55 Speechmaking...More than Words Alone 28 WJR 53 WXYZ 55, 62 Speedball Textbook 24- WYFC 50 spokesperson 5 Washtenaw Community College 38 Spot Radio Rates and Data 33 Wayne State University 35, 41 'Spot Television Rates and Data 33 Western Michigan University 35 Standard Rate and Data Service 33 working with other groups 69-71 StatIonery,71 workshops 7, 17, 37 steering committees 17 Wrilers Handbook, The 22 street theatre 1, 9-10, 31, 68 writing 21-23 Studio, The 25 Ypsilanti Press, The 45

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