Trump Just Scrapped My Anti-Kremlin Streaming Platform, Votvot

The Trump administration’s decision to take a hammer to the funding for Radio Free Europe/Radio Liberty might be legally dubious, but politically pretty safe: Its programming wasn’t intended to reach American audiences, so who would miss it, really?

In September 2022, I came to Prague, in an unusual role of a volunteer media expert, to observe the operations of the Russian-language TV channel and online news portal, Current Time — one of the many brands under the Radio Free Europe/Radio Liberty umbrella. An American from Latvia whose native language is Russian, I had spent much of the previous decade trying to build bridges between the U.S. and Russian TV industries, a dream wiped out overnight with the full-scale invasion of Ukraine earlier that year. Current Time had become an indispensable source of news for an audience misled by their own state media. Six months in, war coverage had pushed out almost all other reporting and fatigue was setting in. I wanted to be useful. If my knowledge of the Russian media could somehow help Radio Free Europe/Radio Liberty, I was happy to share it.

Not to mention the fact that, as a lifelong fan of the band R.E.M., I’d never pass up a chance to visit the organization that helped inspire their debut single, “Radio Free Europe.”

The organization’s headquarters was an imposing gray cube, just east of the city center. The general aura reminded me of a U.S. Embassy. It might be an editorially independent nongovernment entity, but its cultural and literal footprint was always that of an American values bulwark.

I soon found I had landed in the middle of a philosophical debate. Would showing anything other than atrocities constitute catering to Russia? At the time of my arrival, the Radio Free Europe/Radio Liberty staff was considering starting a second channel that would run hard-hitting documentaries about Russian history and cruelties. I wondered who would be the audience for such depressing programming. A better tactic, I thought, would be to try to appeal to the persuadables, an audience many of whom had tuned out watching the news but retained a sense of right and wrong; an audience that Alexei Navalny, Russia’s opposition leader, had sacrificed his freedom — and, soon, his life — trying to reach.

The walls of the headquarters were lined not only with photos of the likes of Henry Kissinger and Hillary Clinton, but also Duke Ellington and Tom Jones. Indeed, the older generation of Soviet citizens retained warm memories of the “enemy voices” (as Radio Liberty, Voice of America, and the BBC’s Russian Service were known) not because they delivered news from the West, but because they’d play jazz and rock ’n’ roll. Pop culture was the draw.