BEGIN:VCALENDAR VERSION:2.0 PRODID:-//InvisionCommunity Events 4.7.23//EN METHOD:PUBLISH CALSCALE:GREGORIAN REFRESH-INTERVAL:PT15M X-PUBLISHED-TTL:PT15M X-WR-CALNAME:RMCommunityCalendar NAME:RMCommunityCalendar BEGIN:VTIMEZONE TZID:Europe/London TZURL:http://tzurl.org/zoneinfo/Europe/London X-LIC-LOCATION:Europe/London BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20250330T020000Z RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20251026T020000Z RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT SUMMARY:The Corporation for Public Broadcasting DTSTAMP:20250719T184543Z SEQUENCE:0 UID:410-7-c3fe8195a3dde498d013e477e2142422@aalbc.com ORGANIZER;CN="richardmurray":troy@aalbc.com DESCRIPTION:\n The following two articles convey the issue for the Corpo ration for Public Broadcasting.\n\n\n\n  \n\n\n\n On the red side\, party of abraham lincoln today\, you have the old idea that the market always p rovides. So the idea is\, taxpayer dollars are not needed cause the market will provide\, and if it didn't it will when applicable. This is what I c all the black panther argument. yes\, Disney made Black Panther\, but Disn ey also knows that the modern circa 2020 black populace globally has billi ons of dollars\, thus the financial revenue capable to provide from black film goers warrants a 99% black film in casting/writing/direction et ceter a. And Coogler to his credit in Black Panther 2 and Sinners has brought In digenous creatives along for the ride.  The red side like the idea that w hether the market doesn't support or does support an entertainment\, it is an even thing. \n\n\n\n  \n\n\n\n On the blue side\, party of andrew ja ckson today\, you have the old idea that the usa has an imbalanced marketp lace based on centuries of blockading by white male christian heterosexual immigrants to the indigenous/black/female/muslim/asian/lgbtq/or other. An d that has created a modern audience that has been engineered to desire or accept certain qualities of entertainment that can not be undone through the marketplace. Sequentially\, avenues are needed that allow entertainmen t that doesn't fit the norm from 1492 or even 1176 or even the 1960s to be viewed or accessed and since the USA majority in the past caused the imba lanced marketplace\, their descendants plus the descendants of those kille d/terorrized/enslaved by the historic majority should all be willing to pa y. \n\n\n\n  \n\n\n\n I have always said that black people with money in the usa historically but definitely in modernity have never navigated the ir two simultaneous goals well. They want to make money aside any and all other fiscally wealthy people in this white designed system in the usa Whi le supporting plus improving the black community in the usa. They tend to do decently in the former and terribly in the latter. But the usa has a fi nancial debt to the indigenous to the descended of enslaved that is pricel ess\, can never be paid\, so at least it can put a down payment. \n\n\n\n  \n\n\n\n ARTICLE ELEPHANT\n\n\n\n Marjorie Taylor Greene often errs\, b ut not about defunding public broadcasting | Opinion\n\n The uncomfortable reality is that NPR and PBS have long since outlived their utility. Now t he federal government is simply paying for content whether taxpayers suppo rt it or not.\n\n Cameron SmithColumnist\n\n april 3rd 2025 5pm ct\n\n\n\n When U.S. Rep. Marjorie Taylor Greene\, R-Georgia\, makes a pronouncement \, I brace for impact the same way I’d prepare for a car or train wreck. \n\n\n\n Her bombastic style might be popular with MAGA voters\, but it’ s frequently a distraction from Republican governing priorities. Occasiona lly\, even the loudest voices land on a truth worth considering.\n\n\n\n T his time\, she’s right − the Corporation for Public Broadcasting (CPB) should be eliminated.\n\n\n\n For years\, conservatives have argued that taxpayer dollars should not be used to fund media CPB outlets like Nationa l Public Radio (NPR) and the Public Broadcasting Service (PBS) because of their politically biased programming and leadership.\n\n To date\, Congres s has largely avoided those arguments as yet another round of culture war bickering.\n\n NPR's past statements show clear partisanship\n\n In recent testimony before Congress\, NPR’s CEO Katherine Maher admitted concern when confronted with the allegation that 100% of her editorial board − 8 7 members − are registered Democrats. Notably\, she did not dispute the allegation.\n\n\n\n Regrettably\, Maher’s prior public comments have bec ome a political lightning rod.\n\n\n\n In 2016\, she lamented Hillary Clin ton’s use of the terms “boy and girl” as erasing language for non-bi nary people. In 2020\, Maher referred to President Donald Trump as a “de ranged racist sociopath.” In a 2022 TED Talk\, she infamously stated\, “our reverence for the truth might be a distraction that’s getting in the way of finding common ground and getting things done.”\n\n\n\n Ma her’s political views are quite liberal and particularly well establishe d in spite of her apparent amnesia about the same during her congressional testimony.\n\n It doesn’t matter.\n\n\n\n American CEOs with political hot takes are a dime a dozen. The main difference between Maher and her ex ecutive peers is that most CEOs run companies which aren’t funded by the American taxpayer. When the person leading a publicly funded media entity openly speaks like a political activist\, the premise that NPR offers an unbiased\, fair approach to programming doesn’t hold water.\n\n\n\n Shoc kingly\, that doesn’t really matter either.\n\n Broadcast landscape has changed as consumer habits have\n\n The CPB shouldn’t exist at all. The First Amendment enshrines a free press to hold government power accountabl e. A government-funded media apparatus\, no matter how unbiased it claims to be\, cannot credibly serve that end because political masters hold the financial reins. Government must be able to communicate to the public\, bu t CPB is inherently state programming masquerading as a typical media outl et.\n\n Defenders of NPR and PBS will argue that CPB provides essential pr ogramming that wouldn’t otherwise survive in a purely commercial media l andscape. That might have been the case in the era of three television net works and a handful of AM radio stations\, but the world has changed. The explosion of digital media has shattered any legitimate claim that we need government-funded television or radio to ensure diverse perspectives and high-quality journalism.\n\n Americans today have more media choices than ever before. Streaming services\, podcasts\, YouTube channels\, and indepe ndent news sites provide content precisely tailored to every conceivable i nterest and ideology. If a viewpoint or niche deserves an audience\, it ca n and will find one without taxpayer dollars propping it up.\n\n\n\n Testi fying with Maher\, Alaska Public Media’s Ed Ulman claimed public media m ay be the only option for rural emergency broadcasts. \"We provide potenti ally life-saving warnings and alerts that are crucial for Alaskans who fac e threats ranging from extreme weather to earthquakes\, landslides and eve n volcanoes\,\" he said.\n\n\n\n While such communications are indeed esse ntial\, we have countless ways of providing them which don’t justify the existence of a federal media bureaucracy. Elon Musk’s Starlink comes im mediately to mind as a radically more efficient solution for emergency com munications than CPB’s $500 million annual cost.\n\n\n\n NPR and PBS can survive without the government's dime\n\n Others will contend that NPR an d PBS produce valuable content beyond public communications\, such as educ ational programming and cultural shows. The reality is that PBS doesn’t own most of its iconic programs. It secures the rights to run them through acquisition deals. If these programs are truly valuable\, the content-hun gry modern media marketplace would certainly air them.\n\n\n\n Take \"Sesa me Street\,\" once the flagship defense of public broadcasting\, for examp le.\n\n\n\n In 2016\, HBO secured rights to first-runs of the popular chil dren’s program with episodes running on PBS several months later. At the end of 2024\, Warner Bros. Discovery\, the parent company of HBO\, opted not to renew the Sesame Street deal. One of the most memorable shows of my childhood is presently homeless. If PBS’s most venerated show can’t f ind market traction\, what does that say about how much Americans value CP B content?\n\n\n\n The uncomfortable reality is that NPR and PBS have long since outlived their utility. Now the federal government is simply paying for content whether taxpayers support it or not.\n\n\n\n Pulling the plug on CPB funding wouldn’t “silence” NPR or PBS. They could continue t o operate with private donations\, subscription models\, or sponsorships − just like every other media outlet struggling today.\n\n\n\n In a fre e society\, the press should hold the government accountable\, not be an e xtension of it. That’s the principle that matters here. And it’s why\, despite the messenger\, Greene’s argument to eliminate the CPB merits s trong consideration.\n\n\n\n USA TODAY Network Tennessee Columnist Cameron Smith is a Memphis-born\, Brentwood-raised recovering political attorney raising four boys in Nolensville\, Tenn.\, with his particularly patient w ife\, Justine. Direct outrage or agreement to smith.david.cameron@gmail.co m or @DCameronSmith on Twitter. Agree or disagree? Send a letter to the ed itor to letters@tennessean.com.\n\n\n\n URL\n\n https://www.tennessean.com /story/opinion/columnists/2025/04/03/public-broadcasting-funding-marjorie- taylor-greene/82764143007/\n\n\n\n  \n\n\n\n  \n\n\n\n I sent a letter t o the Tennesseean in reply\n\n letters@tennessean.com\n\n\n\n Richard Murr ay\, \n\n PO Box ~\n\n\n\n  \n\n\n\n 07/19/2025\n\n\n\n Dear Editor\n\n I reply to the quality of (\"Marjorie Taylor Greene often errs\, but not a bout defunding public broadcasting\" \, April 3rd 2025)\n\n\n\n I have nev er seen anyone who suggest programs of similar or better quality than that of PBS make a list to said programs. If I want to see a documentary as go od as \"The Civil War\" or \"The Vietnam War\" by Ken Burns outside CPB/PB S where do I go? If I want to see a documentary about a financially impove rished \, populationwise impotent population like \"Alaska's Vanishing Nat ive Village\" by Frontline outside of CPB/PBS where do I go? \n\n The bes t way to prove that the private media market has the same quality programs isn't to say they exist\, but to list them. And if you can't list them\, then one can only assume they don't exist in the private media market.\n\n \n\n I am black and I have heard my entire life from whites who live in Ne w York City\, that the marketplace is the answer to everything. It always has the solutions or will have the solutions. Now even though Nat King Col e couldn't get sponsors with more viewers than any other show in the usa i n the past... in modernity \, streaming services or cable networks that ar e advertised as black owned exist. So\,  Cameron Smith's argument is \, w hy can't a Black owned cable network or streaming service host a show like Finding your roots by henry louis gates jr. and if it fails there\, if fa ils. For Indigenous or Black people the centuries of being blockaded by wh ites to fiscal activities/market activities in the USA were market manipul ators. In the USA\, the problem with modernity is the past didn't arrive t oday in a ship of opportunity. One group\, white christian heterosexual me n through the power of the gun\, obtained all the opportunities so no indu stry in the usa today has the centuries of business ownership or labor par ticipation it should had by Indigenous/Blacks/Women/Asians so it is malfor med in modernity. The CPB/PBS/NPR allow for what was lacking for centuries to have a small outlet in modernity and I argue since whites killed the n ative american\, enslaved the black american\, the taxpayers on whole who are mostly white shouldn't be opposed to paying for an imbalance their for ebears made that gives them more opportunities than others today.\n\n\n\n  \n\n\n\n IN AMENDMENT\n\n\n\n I said let me find a list of black owned m edia networks\, or supposedly black owned. \n\n\n\n  \n\n\n\n LIST OF SU PPOSEDLY BLACK OWNED STREAMING SERVICES\n\n https://www.kweli.tv/livetv\n\ n https://allblk.tv/ (no live stream)\n\n https://vimeo.com/user50164403 ( Afrokids on vimeo)\n\n https://www.youtube.com/channel/UC0TLvo891eEEM6HGC5 ON7ug (youtube from Afrokids)\n\n https://www.brownsugar.com/?ref=blog.obw s.com\n\n https://www.oprah.com/app/live-tv.html\n\n https://www.youtube.c om/c/SLAYTV/featured (youtube channel for lgbtq+)\n\n https://www.afroland tv.com/\n\n https://urbanflixtv.com/pages/new_catalog\n\n https://urbn-tv. com/?ref=blog.obws.com\n\n\n\n  \n\n\n\n LIST OF SUPPOSEDLY BLACK OWNED C ABE NETWORKS\n\n https://watchimpact.com/\n\n https://tvone.tv/\n\n https: //aspire.tv/\n\n https://www.bouncetv.com/\n\n https://theafricachannel.co m/\n\n https://www.ssn.tv/\n\n https://www.revolt.tv/\n\n https://www.yout ube.com/@mycleotv\n\n\n\n  \n\n\n\n IN AMENDMENT 2\n\n\n\n Looking at the m briefly\, most of the content is: \n\n\n\n \n gossip shows(sport gossi p or entertainment gossip or music gossip)\n \n \n situational comedies ( which I nearly despise\, it is very rare that I like a situational comedy) \n \n \n soap opera or telenovela(another I can't stand)\n \n \n religio us (christian pastors)\n \n \n black genre films (comedy or the urban gun )\n \n\n\n\n I have got to find a space to become a better commercial writ er to black people\n\n\n\n  \n\n\n\n  \n\n\n\n ARTICLE DONKEY\n\n\n\n Op inion - Here's why Republicans hate public broadcasting so much\n\n Patric ia Aufderheide\, Common Dreams\n\n July 18\, 2025 12:00PM ET\n\n Our publi c radio and TV stations are in grave peril\, and with them the unique serv ices they perform for our communities.\n\n By the end of day Friday July 1 8\, we’ll know if Congress has clawed back the money it already gave to public broadcasting\, through the Corporation for Public Broadcasting\, or CPB. (The House will decide\; this is your moment to call your representa tives to ask them to support their public radio and TV stations\, and to j oin — for free — Protectmypublicmedia.org.) Even if that money stays p rotected\, though\, public radio and TV will continue to be attacked.\n\n\ n\n I’ve studied public broadcasting here and around the world for 40 ye ars. And I serve on the board of directors of the taxpayer-funded Independ ent Television Service\, which coproduces a lot of the documentaries you m ight see on public TV. So\, of course\, I think it’s an important part o f our media in America. But I think you probably do\, too.\n\n You might k now public broadcasting through your local TV or radio station\, both priv ate nonprofits. Or you might know it through the services many such statio ns depend on for daily\, high-quality\, award-winning programs: National P ublic Radio (NPR) and Public Broadcasting Service (PBS). Both of them are private nonprofits that make\, select\, and bundle programs for public sta tions.\n\n\n\n Either way\, you’re in good company. PBS and NPR are the most trusted media brands in the United States. Half of PBS viewers depend on PBS for news and information\, including more than half of people who identify as “extreme conservatives” or “extreme liberals.” NPR’s news is trusted by more than half of those who have heard of it. American s trust public media news and public affairs much more (by half) than they do commercial mainstream media.\n\n\n\n Public stations\, like those in O klahoma\, are the ones to issue emergency warnings in time of crisis. Kids learn about job opportunities from CPB’s American Graduate: Jobs Explai ned series — supported among others by Iowa\, Tennessee\, and Arizona pu blic broadcasters. In rural Eureka\, California\, the public station carri es program for the local indigenous communities. In south Texas\, KDET pro vides distance learning for kids whose first language is Spanish. ITVS doc umentaries have brought you inside stories from small towns like Medora\, Indiana\; Taft\, Oklahoma\; Norco\, Louisiana\; and Huslia\, Alaska.\n\n\n \n American taxpayers contribute\, overall\, about 15% of the budgets of p ublic radio and TV stations — a percentage that’s usually lower for th e bigger\, more urban stations\, and higher for smaller\, rural stations. Alleghany Mountain Radio and KTNA in Talkeetna\, Alaska for instance depen d on federal funds for about two-third of their budgets. Last year CPB’s budget was $535 million. (For comparison\, military marching bands cost t he American taxpayers more than $300 million a year.) The rest comes from us as individual donors\, from private and corporate foundations\, and fro m local and state taxes.\n\n\n\n So it’s not big funding and cutting it would make no dent in the deficit. But it’s critical funding\; it’s th e money that leverages all the rest of it\, and that provides the stabilit y to be able to do the work year after year.\n\n\n\n The people who design ed public broadcasting — and that included a lot of people\, from the la te Bill Moyers as an aide to President Lyndon Johnson\, to military expert s and educators — were worried about how government funding could become censorship. So they created CPB as a private nonprofit\, not as a governm ent agency. That is why the Trump administration cannot fire its staff or its board.\n\n\n\n CPB and local stations all have First Amendment protect ion against government interference. And that is why the Trump administrat ion cannot tell them what to program or which services\, like NPR and PBS\ , to use. The designers required Congress to give CPB its budget two years in advance\, to protect against political shenanigans. That is why Congre ss has to vote to claw that money back.\n\n\n\n What public broadcasting ’s designers created is unique in the world — most countries’ public broadcasting is just a mouthpiece for government. In the U.S.\, public br oadcasting plays a unique role in our media diets as free\, reliable\, and trusted information\, a connection to local communities\, and a daily exa mple of the essential role of shared public knowledge in democratic life.\ n\n\n\n If it goes\, we won’t get it back.\n\n\n\n So far\, public broad casting has weathered political attacks\, which didn’t begin with this a dministration but have reached a new high with it. But it has only done so by depending on its users—you and me—to come out and show their suppo rt. Right now is the time to call your representatives\, and to join Prote ctmypublicmedia.org. (Protect My Public Media makes it super-easy to conne ct with your reps.) We all have something to lose.\n\n\n\n Patricia Aufder heide is professor in the School of Communication at American University. She is a board member of the Independent Television Service.\n\n\n\n URL\n \n https://www.rawstory.com/corporation-for-public-broadcasting/\n\n DTSTART;VALUE=DATE:20250719 RRULE:FREQ=YEARLY;INTERVAL=1 END:VEVENT END:VCALENDAR