days. we broke records. we were all blown away. we broke records on my show, which is 100% funded by listeners. we rates $4,000 on my show. usually, the average is $2,000. it just proves that people really want community, independent radio, and the and the media. it is sort of a positive note and a lot of what we're seeing. >> i just wanted to add to that. that is a unique funding model that happens in public radio we have listeners supported content. that is something we were talking about funding earlier, talking about rich people donating, where if you had this micro finance model -- that is part of why president obama was elected as well.

his campaign finance open it up to everyone to be able to donate. i think journalism, and going forward, can learn a lot from that model. >> and we got many $5 donations from people who are not working right now. >> my name is luke. i worked as a generalist for seven years. currently -- journalist for seven years. currently, i worke with photographs. it is really all about the business model. patch believe they can make money based on advertising. other local newspapers believe advertising is not enough to support journalism. i am interested in your thoughts on that, brian. and pat, i know that you are looking for 20, 30 times returns. >> what is that?

>> i put in $1 million and i get $10 million out. >> we do not know what that is an public radio. [laughter] >> ok, thank you. i would like to ask our guests to keep the questions short and sweet. we have a lot of questions. >> patch is built on ad revenue, but not in the -- it is not just banner ads. it is about serving the community. there is a business community as well. small business owners who knew to be served, the sorts of at products that benefit them. all of these are good, from non profit, to different models. you mean that variety. i got an e-mail from taxable. i appreciate that.

>> you have a question for pat as well? >> i think the business model in the media always changes. the big one that everyone has seen in their lifetime is, when i was a kid, tv was free. across america, it was funded by advertisers. today, the vast majority of americans pay a fee to get television. if the contact mix is right, hard journalism, entertainment, people will pay. all along the spectrum from the complete the paid to be completely ad-funded, you see it all today. one of the crisis we have now is the old model of classified advertising, paying for hard news journalism on paper has broken the, and is being replaced. that business model change had been a constant for 150 years. there are millions of models

that work, and will be, and capital can chase them, as you get a 10x return, as you described. >> we want to get to everyone's questions. >> my name is alex. i have heard two major themes about new media. one, that it has a radical democratic potential, low barrier to entry, but i have also heard repeated again and again, in order for your model to be successful, in order for your web site to be successful, you have to hitch your wagon to a large, well-funded, established media corporation. i wonder, in light of that, how new, really, is new media? as the dust settles, is new media not just become the old media as it has been? how far have we come from a

daily billing 60 years ago criticizing, saying the press is free only for those who own one. >> is a great question. i am going to go back to that first question, the quality of digital journalism. we are more than 15 years into internet news. still, you hear people say it is coming along. someday it will be good. quality journalism existed on the internet from day one. it was there. the internet journalists were winning awards from day one. there is a lot of noise surrounding it, which makes it seem worse, say, than "the chronicle." quality journalism is there. the new part of the media is not a new types of stories being told, but how they are being told, short for nurses long

form, and how they are distributed on your one newspaper or magazine or one website, versus to run the mobile universe, or threat the internet universe, portals. do you want to give 30% of revenue to apple in order to distribute it? lots of publishers are making that decision. it is the distribution from free tv to pay tv and the change from the free online destination media to mobile everywhere media and the creation of brands there. along with the business model, that is what we are working on. >> the want to go to the next question. we have to get to everybody. >> my name is peter bergen. i am an investigative reporter. i do not write content, i do not right product. i do news reporting. i do not write material to put ads around. there are some assumptions

coming from this gathering that i find troubling. many years ago, upton sinclair wrote a classical study of journalism. he said that the advertising model does not work. clearly, it does work, but the main thing that is missing from what everyone has been talking about so far is the consumer. when i read long form of journalism, which i write, i print it out. when i mounted an investigation of the region's last year of california, i collected about $7,000 from individuals and parlayed it into six print journeys, seven weeklies. got a lot of national coverage. it made some difference in people's lives, but i did not take a dime from any corporation.

ok? so let's talk about how we go back to the model where people who need investigation, news -- because my duty is not to reflect corporations. let us not be proud that we are moving forward because we do not have journalist unions anymore. that's going back to selling the news that people need, and get rid of the middle man, which is turning out to be a lot of publishers. >> first, thank you for bringing that up. a great question. it gives me the opportunity to talk about two things i am passionate about, perspective and poor people. neither one of those things are efficient -- artificial when it becomes to becoming an millionaire. there is a website that i really liked called poormagazine. that has existed for the past 10

years, focusing on the homeless communities in the bay area. everything that they get is donations and they get few donations. they focus on the things that are ignored by the media outlets, and they are doing it specifically for the people on the streets. those are the kinds of people, the people that they are focusing on. but to be honest, they do not pay bills, they do not have money for advertising. the perspective that comes from those communities are often not what foundation's one. foundations usually go from labor of the month to flavor of the month. we are backed by foundations, so hopefully i am not biting myself in the ass. if you are foundation-funded, you have to focus on what the foundation wants. if you are advertising-focused, you have to focus on what the advertiser wants. so where is the space for this marginalized community?

i did a story two years ago that focused on west oakland, dealing with asthma rates. nobody in west oakland had the money to pay for it, but everybody read it. i know because i walked around and handed out paper copies of it. how do we focus on those organizations, the people who cannot do it themselves? i am sorry to answer your question with a question, but it is something i am passionate about. >> hello, i am just graduating high school this year. i plan to pursue a career in journalism. like others, i get a constant reminder that it is a struggling field. personally, i am not too concerned with money. i am just passionate about journalism. like many others, i want to know what it is looking like for people like me, who are planning to pursue a career in

journalism, what steps do i need to be taking? >> four years from now, i believe she will be out of journalism school, what will landscaped look like? >> it will look great because you are cheap labor. [laughter] and there is plenty of room for you to work their way up. if you really focus on digital skills that make you stand out from everyone else, you are going to make it. fundamentally, you need to write well. if you can do that, you will be successful in this industry. i honestly believe that there is plenty of room for people who want to pursue careers in journalism right now. >> what skills should they be learning, at this point, if they are just going into k school --

j scjool? -- school? >> certainly, the ability to write. being able to speak to the reader, you should certainly learn and probably already know how to do so, video. basically, how to use all of the social media channels available. but i would not really focus so much on those tools because they are getting easier and easier by the day. i am sure four years from now, -- you probably get that in school anyway, but you want to focus on the basics of understand your role as a reporter in a community. and jobs are becoming available. there is more hiring going on. that will continue, going forward. >> one question would be, who is

a journalist? that fundamental question. does she have to go to journalism school for four years to be considered? how can she distinguish herself from a citizen journalist or a blogger? need there be a distinction? that goes into a whole nother question of who is a journalist. nobody wants to tackle that question. >> you should also visit new terms and talk to journalists about what they do. >> i will try to be quick. i think there is a spectrum of journalism and there are professionals. citizen journalists along the spectrum, but they are all valuable. i was going to say, one of the things you should learn how to do is promote yourself and promote your brand. you can get on tomorrow, you can build clips like no other time

in history. you can do that on facebook, your web site. learning how to use your network to promote the thing that you care about, what to write about, is a huge scale that the internet will allow you to do. >> my name is claudia. i worked for pat. my question is for everyone on the panel. -- i work for patch. noting the lack of hispanics on the panel, how do newsrooms address in-language content and sourcing? try to get people in the community, the poor and marginalized, to interact with digital journalism? >> and journalists need to know more than one language, it is that simple.

you need to be able to interact with members of your community that you normally would not be able to if you were restricted by language. that is what i tell my students. i always tell them to minor in spanish, not just because it will make them better reporters, but it will get them jobs in a wider variety of markets. so i do believe that is incredibly important. if you do not speak the language, you find somebody who does. you have them help you. if you were to cover communities, for example, who speak mandarin or cantonese, and you do not speak a word, that is not necessarily a limitation. action--- definitely be part of a journalist's training and anyone who is of having will have a better shot at telling stories. -- multilingual will have a better shot at telling stories. >> we are out of time. i want to thank all of our

panelists. thank you all. and thank you all for coming. [applause]

>> being a pedestrian in san francisco is not easy for anybody. >> [inaudible] people push tables and chairs outside the sidewalk. >> i have to be careful not to walk the sidewalk. it is very hard.

>> sometimes people get half way across the intersection. >> you have to be alert because there is always something coming up that you need to know about. >> i learned to listen to the traffic patterns. sometimes i notice the other pedestrians, they are crossing, on occasion, i have decided i'm going to cross, too. i get to the middle of the intersection, and i find out that the light has changed. >> we need to be able to work and go from one place to the other and have public transportation. the world needs to be open.

>> people on disability has the task of addressing all the disability. when we are talk about the sidewalks, ramps, we have very specific issues. for people blind and low vision, we have the issue of knowing where they are and when the cross. it can be hit or miss. >> at hulk and grove, that sound the the automatic -- it helps people cross the street safely. >> now we have a successful pedestrian signal. >> i push the button, i get an

audible message letting me know that i need to wait. when it is safe to cross, not only am i going to get an audible indicator, this button is going to vibrate. so it tells me it is safe. there is the driller sound and this trigger is vibrating. i am not relying on anything but the actual light change, the light cycle built into it. >> it brings san francisco from

one of the major cities in the u.s. to what is going to be the lead city in the country. >> city working on all sorts of things. we are trying to be new and innovative and go beyond the ada says and make life more successful for people. >> disability rights movement, the city has the overall legal obligation to manage and maintain the accessibility and right of way. with regards to the curb ramps, bounded by a groove border, 12-inch wide border. for people with low vision to

get the same information. the shape of the domes, flush transition between the bolt bottom of the ramp and gutter. >> we have a beveled transition on the change in level, tape on the surfaces, temporary asphalt to fill in level changes, flush transition to temporary wood platform and ramp down into the street under the scaffoldinging. detectable ramps. they are all detectable. nothing down below or protruding that people are going to get snagged up on. smooth clean that nobody is

going get caught up on. >> our no. 1 issue is what we see here, the uplifting and shreufting to concrete due too street tree roots. here is another problem we have with street trees. if i have i was a person blind, this would be an uncomfortable way to find out. >> we don't want to create hazards. >> sometimes vendors put sidewalk cafes where people push the chairs too far out. >> sometimes it can be impassable. so much foot traffic that there is no room for a wheelchair or

walker to go by. >> san francisco is a lively street life, it can be an issue with people with visual disabilities as well. they have these diverting barriers on other side of this tables and chairs area. if people can find thraeur way around it without getting tangled up, it is still fully accessible. >> we don't want anything special. we want people to basically adhere to the regulations and laws as they are on the books now. people can also, just be cognizant if they have stuff on the street, they thaoed to have

48 inches so we can pass, think outside your own spectrum of yourself that there are other people you need to share the sidewalk with. we will all get along better. >> although san francisco is a hilly place for a whraoel chair user, we seem to be better at most. that doesn't mean we can't continue to improve upon ourselves. >> the public has a clear are -- of travel. we can't be every to make sure that is the place. we have to rely on the place. call 311. give them your name. that goes into a data base. >> it is difficult, still, um

to make the case that the disabled community isn't being represented. in some ways we are not. we have a long way to go. >> the city of san francisco is using the most innovative technology available. these devices allow people to remain out in their communities, doing things like shopping. it is great to be able to walk as a pedestrian in this city and cross streets safely. >> welcome to "culture wire."

i'm here with james lee, and exhibiting artist, and we will have a chat today about the body of work you are presenting. after you left the military, what prompted you to go back to a place where the u.s. is engaged in military action? >> it is interesting. the population of afghanistan is around 29 million, and there's probably no more than 80,000 u.s. soldiers serving in afghanistan right now, but if you look at the stories that come out, you think the numbers are completely reversed. all the stories are about americans, and you see almost no images of stories about the afghan people themselves, so if you look at the dominant representational paradigm uc today, it is all about foreign soldiers. my idea was to try incurred

counted to that a popularized narrative and focus on images and stories that really reflect that lived experience of conflict through the eyes of the afghan people. >> you are exhibiting with three other photographers. it is true all three of them have really focused in the areas where a lot of u.s. and allied forces are seeing action, are actually involved in combat, so your story is different than theirs. what does it mean to show your body of work along side of the stories that probably are more familiar? what kind of juxtaposition does that create for you as an artist? >> i think the strength of bringing the two different stories together is i think there is a real danger in focusing only on surface similarities between conflicts. when people look at a body of work and say that they see in this conflict photography, and it reminds them of somalia or

iraq, i think that is dangerous because i think there are very unique elements to each conflict, and if you do not focus on the distinctions, you start to create a broader, watered-down topic, which is armed conflict, so i think it is important that when we focus on conflict, we make sure we do not just generalize, but we allow specific places and voices and people to be heard and we do not make these generalized assumptions about what conflict is like. >> the other photographers in the show, what is local, and the others are from new york and new delhi. what do you like about some of their work? >> in a big fan of the fact that he approaches photography from a non-traditional point of view. he also cunner has a mixed view of cameras themselves. he calls them toys. he calls them toys. >> he uses these cameras th