Excerpts of my remarks at the Radio Features Think Tank in Leipzig

What do we take with us of our old culture when we have to go to a new country? What becomes moreimportant, what is forgotten, what is diluted or strengthened, what is new in the old or old in the new?

Filmmaker Ulrike Ottinger speaks of the past and thre present and, indeed, public  media makers in the US find ourselves at a crossroads that is affecting the political,  economic, and artistic landscape relative to the role of the maker. With very few  exceptions, the traditional approach to long form, sound rich documentary-making is  at a low point, with little funding and few opportunities of significance in the United  States to reach a meaningful audience. This situation has not come by accident, but is  the culmination of a 24-year trajectory that began with the first comprehensive  national report on the public radio audience. “Audience (19)88” and the well-funded, widely supported evolution of public radio’s research-driven, news journalism franchise has led the industry to great success in terms of building a significant constituency of core listeners (11% of the American public) and a diverse revenue model drawing from government, foundation, corporations, and average citizens. This evolution as resulted, too, in the virtual elimination of experimental work, and minimized opportunity for producers working in any area outside of news reportage.

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