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]

>> welcome to "culturewire." on this episode, the director of cultural affairs takes us on a field trip to the mission

district to check out odc's new 36,000 square foot campus, the largest in the region. >> for san franciscans, odc has a very significant significance. stands for a venerable performing arts organization celebrating its 40th anniversary of bringing fans and theaters to the bay area. standing with me today on "culturewire" is the theater director of odc. thank you for joining us. i mention that this is the 40th anniversary. >> it is indeed. >> i'm standing with you in a fabulous theater that was completed six months ago in time for this anniversary. tell me about how it has been

going for the last six months. >> absolutely. in terms of the anniversary, the dance company, which is our founding body, is celebrating its 40th anniversary, and it is the 30th anniversary, so it is historic for both sides, and the completion of the theater represents in some ways the completion of our entire campus that began in 2005. it has come to its fruition with the completion of the theater. the theater opening was remarkable. one of the things we wanted to do was to make sure that our community really truly -- our san francisco bay area community understood that this theater was for them. we invited 31 bay area companies to do a day-long performance marathon, so we really launched with a feeling of this is for everyone in this community. it was a tremendous thing to bring everyone together around

the opening of this building. >> you are part of our creative troika, including the founder, brenda wey and k.t. nelson. talk about what it is like to keep this campus going. >> it is a wonderful thing to be working with someone who is certainly your co-worker and also largely your mentor. i inherited the theater at a funny time in its life. it needed to make some decisions as an institution about what it wanted to be. whether it wanted to be exclusively a rental facility, it is needed to be a rehearsal space with a really high ceilings -- whatever it was, having that level of leadership that my founding director is also my boss really made that possible. i really felt like i had great stewardship and we were able to make really innovative decisions for how the theater could grow over the decade.

>> living with -- living with someone who is both your immediate boss and also a working artist is also a huge asset. that is one of the things that keeps the creativity flowing through odc. it is a campus about the creative process at all times. >> the theater was part of a second phase of capital fund raising and community support. the previous one had renovated the space where the rehearsal studios are and the school is, sell what does that sort of say about the importance of the odc in the community? >> i think it's spoke to the two very different tracks of our organization. part of what we do is education and outreach. part of what we do is performance on the part of our company, odc dance, and a third part of what we do is this presenting an incubation stage. when we came to people to talk about the theater as a second

investment after having built the dance commons, the distinct purpose of the theater really came through. what we were going to do with our venue was invest deeply in creativity, deeply in our regional artists, and we were going to do something that most mid-size san francisco venues have struggled to do. >> talk to me a little about the group other than odc that have used this space. >> one of the great pleasures in our opening season was to go back and invite two of our former resident artists to launch this space. arab laung was to invite two of the best known -- our launch was to invite two of the best known companies in the city to share in the event, and it was really exceptional. these are companies that i have worked with and the organization has worked with releases they

were either newborn or just a few years old, and to go back to that roster and invite two of our really major home town honeys to open a theater and be able to treat them as the professionals they have become with this opportunity, with this menu, and with the resources that were available was really a full circle experience for both of us. >> now that the theater has been fully renovated, where is it going? >> i believe that san francisco is in some ways to the nation what odc is to san francisco, which is to say that i believe the west coast is the hotbed for innovation. i think it is where major cultural innovations happen, where huge ideas are born and often raised up. it may not often be the marketplace that other major metropolitan areas are, but i do think is the center of where creativity sits. i think that what odc can do by

becoming this level of institution is raise the platform of san francisco. i name -- in many ways, it is sort of a death process, but putting an artist in contact with recording artists, with other major areas, with exchange companies around the country and the world will become a central part of what we do. >> it is clear that now there is a campus that has been built out and filled in, that odc is playing this fabulous supportive and incubated role, both for san francisco, the bay area, and the country. thank you so much for being part of "culturewire." >> my pleasure. >> and for contributing so much to the performing arts of our city. >> for more information, visit odc

>> i am glad to see some many of you people survived the apocalypse. he is doing a great job here. i see you've. who else is here that i can recommend. could deceive from the redevelopment agency. los is here? could this deal, it is good to see you. we have a great celebration today because i get to a 0.12 commissioners, -- get to appoint 12 commissioners, about half of them are repeats.

i just wanted to signify that we got the opportunity to welcome new and existing commissioners, but to let the public know even more about what we're doing. they wanted to put together something that was in the works. making sure that we have an online ability to let the public and tell all of the positions, who is serving on them, when the terms are up. decentralized online database that represents all of the commission's and all of the appointments that we have, the terms that are about to expire at the terms continuing are now

on line for the public. all your lives are going to be much more public. we have just a diversity of the apartments and commissions to fill today. our deputy administrator is here. think you for being here. the mayor's office of housing, thank you. as henry here, too? we cover a let me. let me go through the names as we start out. thank you for being one of our new commissioners and coming aboard.

your expertise has been in the private sector, making sure that the ordinary citizen has an understanding of our changes that we want to make. how to thank you for your ability to communicate even better put goals of our department and the environment. thank you for joining the family. we have in the veterans affairs commissions, thank you for joining back up again. and chris, you and i have talked at some length. i will personally be working with the veterans commissioned this year because of what to understand even better not only the work that the commission does the what goals we have to welcome back our troops and our people who, i think they found dignity in the work for the country.

can define dignity as they come back here? a lot to thank the member for working with us as well. you and alexander are two of three women already on the commission. i know your expertise works making sure that there is a look at the health of our survivors and people coming back making sure that these people are critical to our approach. allowed to make sure that we also have dignified jobs for everyone that wants and can work. what to make sure that we are hooked up with our community colleges when we do that. thank you for agreeing to serve. our goal and a concourse authority. the key for serving again and helping us.

certainly with nancy conner, thank you very much for agreeing to work with us. we're going to be working together as well because i am so interested in making sure that the music concourse is activated for the benefit of everyone in the city and to make sure that we have good approaches, to fill that area more as we are in between the two fantastic and wonderful institutions. thank you for serving on and helping me make sure that the golden gate concords gets filled and it's done right. to the housing authority, we are challenged by some money different things that affect our economy. and with housing bei