THE HIGH PRICE OF A GOOD STORY

By now, even the most apathetic media consumer among you knows that journalism is in a transitional period. Traditional media is not faring so well – newspaper circulation is at record lows, magazines have folded, network TV is constantly trying to find new ways to keep you tuned it as you gain more and more cable options. The most valuable capital to trade today is information, and the juicier the better. But with the intense competition among news and information outlets, how can anybody be sure to get the juice fastest and first? Well, to paraphrase an old adage – money talks and ethics walks.

It’s called “checkbook journalism,” and it seems to be more and more prevalent, even with old-line networks. As a journalist and a guy who teaches media ethics, I’ve been keeping a close eye on this for a few years now, but last week my eye almost got poked out (figuratively), when I heard that David Goldman and his son Sean were flown back to the states from Brazil on a jet chartered by NBC. If you are not familiar with the Goldman story, click here.

It is no coincidence that David Goldman (below left, pictured on the NBC plane with his son) sat down for a heart-to-heart with the Today Show’s Meredith Vierra just days after his return from Brazil. NBC paved the way with the free plane trip, and whatever other financial arrangements may have been made.
NBC denies it. The network claims its actions have been misinterpreted. The network spin goes like this: Goldman was booked for the Today Show interview before arrangements were made to fly father and son back to the U.S. It so happens NBC already had a jet chartered to bring it employees home for Christmas. A spokesperson for the network told Associated Press that the Goldmans were “invited on [the plane] as guests,” and the gesture had nothing to do with “booking strategy.”

Here’s my professional response to that: Uh-huh. Right.

Just days later, after man-child terrorist Umar Farouk Abdulmutallab tried to blow up Detroit-bound flight 253, the American public was introduced to Jasper Schuringa, the Dutch airline passenger who reportedly threw himself on Abdulmutallab and averted the disaster. Schuringa appeared on CNN (right) to detail his ordeal. CNN reportedly paid a handsome sum to obtain cell phone photos of the scuffle, and denies that the payment had anything to do with booking Schuringa for his appearance on the network. Uh-huh. Right.

Why does it matter, you might ask? So what if a news organization pays for information? After all, the National Enquirer has been doing it for decades and has never tried to hide it. And do not write the Enquirer off so fast, as many are prone to do. The Enquirer is the publication that broke the whole John Edwards baby-daddy scandal. More recently, the Tiger Woods adultery story first appeared in the Enquirer days before any other news organization picked up the story. Still, is there something inherently sleazy about paying for interviews or information?

In a word – yes. Like anything else, when you grease somebody’s palm for whatever product, service or information they can offer, you have leverage on how they offer it. What you media consumers need is truth. That’s the real business of journalism. But when the source of that truth is paid for information, some media organizations may be prone to persuade the source to tell the story in a way that will garner the greatest readership, viewership of online hits. Then the truth is no longer the truth. It becomes a product that can be shaped, twisted or distorted to suit the media organization’s purpose.

News organizations will tell you they don’t pay for stories or interviews. They will tell you that they do indeed sometimes pay “licensing fees” for the use of photos or videos. Anyone who works in the media industries knows those fees actually buy the story. And the public is now savvy enough to know there is some worth to what they have to offer. After the CNN interview Schuringa made it clear that he would not appear on any other broadcast without being paid. And, as you may have noticed, Schuringa has all but disappeared from view. That is because it came out that CNN had paid a “licensing fee” for the use of the cell phone photo. Then Schuringa became too sticky to reasonably touch, so other media organizations took a pass on using him.

The bottom line: Here is who loses the most when the highly questionable practice of checkbook journalism is employed – YOU. The real truth about the events that happen in your world is harder and harder to decipher, and once seemingly reputable journalists or media organizations start paying for information, that information is instantly sullied, and the truth you need exceeds your grasp.

MEET LIZ CHENEY: MEDIA HO

During the Bush years – come on you remember those long, loooonnnng Bush years – chances are you heard the name Mary Cheney a few times. The irony of the ultra-conservative Vice-President of the United States fathering a gay daughter was so delicious. Less visible was her older sister, Elizabeth. That’s odd, since “Liz” held high-ranking positions in the state department throughout the Bush years. That is, except for a break in 2004 when she interrupted her duties to work on her father’s re-election campaign. It was Liz’s job to gather the female vote, and by all accounts she did a stellar job. Still, if you ask the average American voter about Dick Cheney’s daughter, you’re likely to hear about Mary. Liz perfected the art of anonymity.

So, it begs the question: Why is Liz Cheney suddenly all over the airwaves, Internet news and information sites, and print publications? Her non-stop interviews running parallel with her father’s inexplicable media mongering is slightly suspect. Sometimes they even appear together and their clothing seems oddly color coordinated. It's slightly creepy. If I had the opportunity to ask Ms. Liz one question, I would just ask “Liz, what is it you want?” Really. What does Liz Cheney want from all of this media exposure? I mean there are already enough talking heads and pundits critiquing and countering every word the President says. The anti-Obama machine is oiled and running, and Liz has not come forward with anything new or revelatory. Even with her impressive credentials and substantial background in matters of State, Mr. & Mrs. America know very little of her and are not likely to offer her their full attention. So…what is Liz Cheney's motive with all of this sudden, chatty media exposure?

Liz is clearly (painfully?) her father’s daughter, as evidenced by some of the positions she espouses on the issues. On waterboarding, Liz says it is not torture; that current administration officials should assess whether the techniques used were effective in gathering intelligence information. The problem with this argument, which she is parroting from umpteen conservative pundits and columnists, is that it negates any other methods of gathering information. Liz, et al, never consider a less neanderthal approach. Also like some of her counterparts, Liz interrupts a lot and has little tolerance for viewpoints other than hers…and dad’s. Watch:

What Liz Cheney was not counting on when she embarked on her current media blitz was the intense scrutiny under which she would operate. It has become a favorite pastime/obsession with some media types to monitor every point she makes. Jason Linkins, who you may have read about here the other day in “Are You The Future of Journalism,” poked so many holes in Liz’s recent verbal spar with NBC’s Andrea Mitchell, that it seems the empress has no clothes. Watch the exchange, and then click here to read Linkins’ rebuttal:

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If Liz Cheney wants to enter the national conversation, for whatever reasons or with whatever agenda she has, I say, 'Come on down,' Liz. But we citizens have a few ground rules and I’m more than a little surprised that you didn’t know about them. I just think I better lay them out for you:

1. When you commit to an interview during which you’re going to talk about what has or hasn’t been said publicly by officials, make sure you know what has or hasn’t been said by public officials. Otherwise, we citizens have a name for that: “Rewriting History.”
2. An interview is a con – ver – sa – tion. Both people get to speak, and in the best of times both people get to complete sentences before the other person speaks.
3. Experienced journalists like those with whom you have spoken lately, do their homework. We are in the information business. It is what we do. If we convey inaccurate information, it compromises our credibility. So, you may want to think twice before you condescend to the questioner. Chances are, we’re not saying something we haven’t checked, double-checked and re-checked before we say it. Can you say the same about yourself? Liz? Come on now….can you?

Liz Cheney appears to be a very self-assured woman. She expresses herself earnestly and assertively. She just seems to have forsaken the key element to undertaking a media tour that relies on knowledge of the issues – preparation. And she seems to have forgotten that the manner in which you earnestly assert yourself has a lot to do with how it is received by the masses. Say it with a sincere commitment to the truth and we’re probably listening, Liz. But say it with nothing more or less than disdain for those who don’t share your worldview, and we’re tuning out.

Cheney, Part II is getting on our collective nerves. And once that happens, we can’t really remember what the hell she said.

MEDIA MAYHEM!

One of the great pleasures of writing a blog like this one is the wealth of material I have to write about. Media is changing and advancing at breakneck speed, while entertainment entities have become so competitive that the real winners are generally us, the audience. Here are a few upcoming media events and products that you need to know about. I’ll keep you posted on more such items as they arise…stay tuned, as they say:

NETWORK TELEVISION: Farrah Fawcett’s intense two-year struggle with anal cancer has been reported in as much detail as Fawcett and her loved ones were willing to reveal. Now, NBC-TV is set to air Fawcett’s own video chronicle of her uphill battle to live. On Friday, May 15, NBC will air “Farrah’s Story.” In a statement released to the media, Fawcett said, “I have never understood why people are interested in anything I do. Until now.” At week’s end, People Magazine reported that Fawcett has ceased all treatment for her disease, which has reportedly spread to her liver and beyond. After undergoing alternative treatments in Germany it appeared she was winning her battle, but a recurrence has reportedly rendered her bedridden. Consult local TV listings for the two-hour program. (Click Here to read an interview Fawcett did with the L.A. Times in August. The interview was published for the first time on Monday, May 11).

HBO, the arbiter of cutting edge programming has given the green light to “Treme,” a drama series about the New Orleans neighborhood of the same name, rich in Creole and musical heritage, located across from the French Quarter. “Treme” (pronounced TRA-MAY) is tentatively set to debut in Fall, 2010, featuring real people from the area, and to keep things authentic, the producers hired Times-Picayune writer Lolis Eric Elie and local author Tom Piazza as part of the writing staff. I happen to live in Treme, and Elie lives right around the block. He is of the area – I’m a recent addition. I was pleased to hear of the inclusion of Elie and Piazza because so often dramas about New Orleans simply don’t get it. Elie, I know, gets it. The show reportedly takes a look at post-Katrina New Orleans through the eyes of local musicians. Tune in – we New Orleanians are nothing if not dramatic.

BROADWAY is abuzz with glowing accolades for Dolly Parton and the stage version of the 1980’s film, “9 to 5.” If you want two good reasons to get yourself to NYC for a weekend, this is one of them, and the other is, of course, Jane Fonda in Moises Kaufman’s “33 Variations.” Parton brings that infectious joy to everything she does, and from what everyone says, her latest effort is no exception. What fun to see "The West Wing’s" starched Allison Janey take on the Jane Fonda role of Violet. Apparently everybody thinks so, because Janey was just nominated for a Tony. So was Parton, for best original score. “9 to 5” is playing at Nederlander’s Marquis Theatre on Broadway. Here’s a sneak peak:


MUSIC: What is it about Gospel that just reels us in, no matter what our ethnicity, socio-economic status or particular musical preferences? Well, let’s not over think it. Let’s just revel in the newly released collection of Gospel tunes called “Oh Happy Day: An All Star Celebration.” The CD is so rich in energy, rhythm and sheer joy that you’d have to be in a coma to resist it. Why didn’t anybody realize before now how obvious it would be to make Michael McDonald a gospel singer? And why did it take so long to put Mavis Staples, The Clark Sisters, Aaron Neville, Patti Griffin, Johnny Lang and the Soul Children of Chicago all in one musical collection. Listen, between you and me, Queen Latifah and the Jubilation Choir’s rendition of “Oh Happy Day” could make even a guy with the last name of Greenberg see Jesus. Okay? Pump up the volume and listen for yourself:

WHY IS TV SO DAMNED WHITE?

Why was it such big news last week that NBC Entertainment and Universal Media Studios had hired Karen Horne, as “Director of Entertainment Diversity Initiatives?” The key word here is “diversity.” One would think conglomerates like NBC Universal would have personnel focused on diversity in all departments, and that such positions would have been established maybe 15 years ago. Or 20. It is unsettling to see a large media conglomerate pat itself on its corporate back for recognizing the need to diversify its personnel at this late date.

I can’t help wondering if the latest efforts among the major television networks to increase their numbers of Latin, Asian, Hispanic, Black and other minority staffers has something to do with a 2008 year-end report from the NAACP. Since 2002, the organization has had a Hollywood bureau, which operates as something of a watchdog on the media companies. The report, titled "Out of Focus, Out of Sync -- Take 4 - A Report on the Television Industry," roundly criticizes the networks for their lack of progress in multi-culturalizing their staffs. You can read the 46-page report for yourself, simply by clicking on the link in the preceding sentence, but here are some highlights:

• One of three Americans is now a minority. Hispanics: 44.3 million people; Black: 40.2 million; Asian: 14.9 million; Native-Americans 4.5 million.
• From 2002 to 2007, the number of blacks in regular and recurring roles on NBC decreased nearly 50 percent. Unlike the other major networks, NBC did not provide the NAACP with data on minorities employed at the management or executive levels, or about efforts to diversify its corporate and executive ranks. It also failed to provide information about minority hires at the director level or above. In 2006, of 71 teams who made pitches on the network for comedy pilots, only four included a minority member.
• Compared to NBC, ABC and FOX, the CBS network employs the lowest number of minorities in writing and producing positions.
• On ABC, 74% of regular, recurring and guest roles on scripted and unscripted series feature white actors or contestants. This percentage has not increased or decreased since 2003.
• The only minority lead in a new show on a major network for the 2008-2009 TV season is “Cleveland Brown,” (left) a black animated character voiced by a white person.

You begin to get the picture, right? In a speech to the Television Academy of Arts & Sciences in 2004, Barack Obama said, "TV ought to reflect the reality of America's diversity and should do so with pride and dignity, not with stereotypes." If television's dismissal of minorities is really institutional racism, why are Americans letting them get away with it? Does one “Ugly Betty” (right) make up for virtually no representation of the 44.3 million Hispanics in this country? At a moment in our culture when the gay population is more powerful and politically controversial than ever, why are gay people invisible on network TV? Has there even been one true black TV mega-star since Cosby?

It would behoove NBC Universal and all of the other networks, traditional and cable, to routinely hire individuals (plural) to promote diversity on television, behind the camera and in the executive offices. The industry should look more like the country. It does not. And when they do hire such individuals to ensure diversity in all ranks, they do not need to issue press releases to brag about it. Do they issue press releases to brag about their new head of accounting, human resources or consumer relations? They do not, because those are considered staples in the organization. Why are diversity specialists not considered necessary and routine hires? It is not 1980. We are not novices in the hiring, promoting and inclusion of blacks, Hispanics and others.

And what of those individuals the public sees? Is it impossible for “The Hills” to feature minority actors, as well as well-scrubbed white kids? Have you ever noticed that on the rare occasion a prime time drama features a love affair between two minorities, it is usually a minor sub plot, not a main plot, and it is always between supporting actors, not leads? And then there is daytime: aside from our holy St. Oprah of Chicago, there really is not one major minority player in daytime television. When Victoria Rowell, formerly “Dru” on “The Young and Restless,” left the show a couple of years ago, she expressed disappointment in the production for limiting the number of minorities. There are a few blacks in the show, but no other minorities. Most daytime dramas have almost no minority characters.

Do you want to know why this even matters? Ask yourself this: What does television really do? Does it reflect our culture, or does it actually shape it? Either way, the lack of minorities on TV is a losing proposition. If TV reflects our culture, then shame on us, because what it is showing us is that the society is focusing heavily on one segment of the population, and essentially ignoring the rest. But if TV shapes the culture, we’re really in trouble. Has it shaped a culture that is exclusive, rather than inclusive? Just a gentle reminder: One of every three Americans is a minority.

The NAACP may just be making some waves at the networks. CBS now has its “Diversity Institute,” which endeavors to find and employ talented minority individuals as writers, director, actors and more. FOX, which far outshines all of its competitors in the NAACP report, has had a department of Diversity Development since 2001. ABC launched the Disney-ABC Diversity Creative Development Program to increase diversity in their writing pool. Baby steps, but steps just the same.

And NBC? Well, “NBC is extremely pleased to welcome Karen Horne…” yada, yada, yada.

Stay tuned.