Payola turns everything the other way around.
BY KATRINA C. GUEVARRA
(with Aki Menor, Franco Attento, Eiroll Manalo, John Basco and Yna de Leon -- divisions of labor sent through email.)
“Has corruption become a value?”
This was a question raised by Guillermo Luz of the Makati Business Club in the book launch of Chay Florentiono-Hofilena’s “News for Sale” back in 1999. It was published in the Philippine Journalism Review by Evelyn Katigbak on the same year.
Funny that was published way back in 1999--but the same question still applies today. In Philippine media, it is through the form of payola given to various radio stations, whether AM or FM and even to print and TV stations as well. “Payola has been around eversince I could remember,” said Gerry Cornejo, a veteran broadcaster and TV host. “It comes in different forms either in cash or in kind. The more well-known or well listened to a broadcaster is, the higher the pay. Some are even given retainers”, he adds. A retainer is periodically given amount or gift to a media practitioner that doesn’t require them to always say good things about a particular subject, but when something bad about them comes up, you are required to defend them. That’s how payola works in AM radio according to Cornejo. “Sometimes, you’ll wonder how they are able to live such a luxurious lifestyle when they are earning the same measly amount as you do.”
Ever wonder why there are songs that get more airtime on the FM radio? Well, chances are, there is something going on under the table of our famous Disc Jockeys on the airwaves. Karen Derya, a DJ of YES FM relates how payola works in the world of FM radio “for example, songs that should have and deserve to be played, are replaced with these songs peddled by record companies that offer bribes.” This goes not only for airtime but for even a mention of a band or artist’s name in their programs as well.
No station is spared from these tempting offers of these companies and individuals –everyone gets a piece of the pie no matter how upscale your station is. “It’s grease money. It’s in our culture.” , said Joseph Javier or more popularly known as Mojo of Magic 89.9 after telling us the story of how he was offered a bribe of 10,000 pesos to mention a brand name on his radio show.
“It is awkward”, that’s how Joseph Javier – Mojo on air— feels when he is offered bribes. Though he is adamant in saying he never once accepted any. He also says he is rarely approached now, since he has established a reputation of not accepting any bribe. How he does it? Since there is no written rule against payola, he relies on the ethics he has learned in school to guide him in dealing with such situations. As Cornejo would like to emphasize, “you just have to rely on your morals and values to guide you through it – it’s a choice between right and wrong.”
According to Derya, grave sanction awaits DJs who are caught accepting payola. It maybe a particular DJ’s last as those who are proven guilty of this maybe fired. On the issue of whether music countdowns of radio stations are rigged in favor of particular artists or songs, Mojo admits that it happens, though not in his own station.
Now, how about those from the other side of the fence? Independent musician and Peryodiko’s vocalist, Vin Dancel, who claims to be a “virgin” when it comes to payola matters, tells us how it is to make your music be heard in this industry, minus the influence of big record companies. “With Twisted Halo before, we went to various FM radio stations in Manila like Nu, Jam and 103.5 to give our record on CDs to the station manager. The same goes when we ask provincial FM stations to play our songs.” The biggest struggle they encountered is logistics. “It’s hard to get into tri-media (TV, print and radio). Not all the radio stations want to play our songs,’ he relates. When it comes to CD distribution, they also encounter problems. “Since there are only limited outlets and some distribution outlets charges a higher cut, we are only able to distribute a limited number of of our CDs.”
Dancel is aware of the payola issue though he still hasn’t seen it with his own eyes. He is deeply saddened assuming this has already become a norm. “Under our intellectual property law, the artists should get royalties whenever their songs get played in public –restos, bars, radio stations, etc. –if there is payola, then the opposite is happening. Artists pa kailangan magabayad.”
National Union of Journalists of the Philippines President, Jose Torres, reveals to us that the people who offer payola can range from politicians, record companies and even media practitioners themselves –mostly those who have formed friendships with their colleagues are the ones who have the guts to offer payola. He further reaffirms Cornejo’s prior statements by indicating how much the popular radio and print stations get. For those who are popular, “they really get a large amount, some are even offered government positions”said Torres. For those who are in tabloid, they get 5,000 monthly and those in broadsheets, they get 10,000 monthly as their retainers. “Some even get cars” Cornejo said.
On the much broader issue of conflict of interest concerning endorsements by media personalities, Mojo feels that for people who are entertainers, there is no problem in endorsing a product, and mentioning them in their programs, but when news people – newscasters, in particular – endorse or appear in commercials for certain products he says, “There might be a problem there.”
He would like to reiterate “Greed and vanity are the worst sins.”
-------------------------------------------------------------------------------
SIDEBAR:
Payola – From Rock N’ Roll to Present
Payola is the method of giving gifts, commonly in the form of cash, in exchange of airtime, similar to bribing. It came from the contraction of the words “pay” and “Victrola” (an LP record player). Payola first entered the English language via the record business.
Payola originated along with the quiz show scandals of 1959. ASCAP (American Society of Composers, Authors, and Publishers), the world’s largest publishing house, pushed the investigators of the quiz show scandals to start investigate the radio industry. Upon hearing that radio will be investigated, some disc jockeys were fired and forced others to relinquish their interests they had in other fields such as publishing and record companies. WAIT disc jockey Phil Lind was first to make headlines on which a small indie label representative admitted to paying $22,000 of airplay. ASCAP concluded that the popularity of Rock ‘n Roll over “real” music could only mean one thing: Payola. However, the practice of payola was not illegal back then and is a vital tool for it to compete on equal footing.
Payola was not made illegal until 1960, when disc jockey Alan Freed was indicted of it.
Alan Freed was the first disc jockey to be indicted involving payola. He went under the name “Moondog” and was famous because of promoting African-American Rhythm and Blues to the United States and Europe. His career ended when he was accused of accepting payola from record companies to play their records. Payola was made illegal in 1960 and Freed was charged guilty to two charges of commercial bribery. He lost his own show on the radio station WINS and was fired at the same time.
Those with charges of payola are given a fine of $10,000 and one year in prison.
Another personality who was charged of payola was Dick Clark, an American television and radio personality, businessman and a game show host. He was accused and was testified on Congress during 1960, but was not charged of illegal activities. However, he was required by ABC (American Broadcasting Corporation) to divest his publishing and recording interests.
In spite of the laws of banning payola, it really didn’t go away from the music industry. In fact, payola still exists today, although not many companies do it today compared from back in the late 1950s. Mostly, now, it is used as a device for breaking new acts.
Sources: www.wikipedia.org
www.history-of-rock.com
www.oldies.about.com
Thursday, June 19, 2008
Where art holds no boundaries
Where art holds no boundaries
BY KATRINA C. GUEVARRA
Left: Maria Nellie Bautista with her works at her 2004 exhibit
Right: Maria Nellie Bautista and the writer at PAG’s exhibit at the Ayala Museum
“I have no limitation in my art. I like to do everything”.
Maria Nellie Bautista is known for her skill in porcelain painting. Her works takes on ordinary subjects but sheds it a different kind of light through her vibrant use of colors, her attention to detail and her mastery of technique.
She has a penchant for doing ceramic/porcelain paintings despite its difficulty. “It’s hard to paint in ceramic. Why I do it? Because it is challenging, I find satisfaction in doing it and it makes me happy.”
In porcelain painting, she sketches and designs her own composition on paper before she draws and paints it on porcelain plate or platter. “It takes a long process to paint from light to dark colors and to fire in a kiln at high temperature for several times.”
Seeing her works is like being transported in her own little world. Her paintings reflect that of her own perspective, how she view the little things that we often take for granted like flowers, fruits and such. Drawing inspiration from nature, her paintings, though some depict those that are in Canada gives me a feel as if I am really in the particular scene. It’s like being stuck in a story book, it gives you a picture but there is still room for your imagination to work.
Hers was a story of a typical deprived artist. “I was already passionate about painting ever since I was a kid. When my cousin took up Fine Arts in the University of Santo Tomas, I was so jealous.” Coming from a poor family, she wasn’t able to pursue her dreams of becoming an artist early on. “My mother wanted me to take up a course that would be easy to finish.” So she put her dream of being an artist behind her and took up Bachelor of Arts and Foreign Service at Lyceum of the Philippines. She landed a few secretarial jobs here and there after graduation. It was her sheer determination to have a better life and support her parents that brought her to Toronto, Canada.
Bautista was already 50 years old, when she rediscovered her love for painting. “I felt that there was something lacking,” she said. She started taking art courses one after another in famous artist studios in Toronto. She also took workshops here in the Philippines at the Ayala Museum, where she had been classmates with the elite. She compares her passion for painting to eating. To her it is really something unquenchable, “When I’m not painting and I’m busy doing other things, I crave. Even in my sleep!” Bautista said.
She joined the Philippine Artists Group of Canada around four years ago. “I discovered PAG through a postcard. I originally just wanted to join them in their group painting sessions outside,” Bautista said. She submitted one of her porcelain paintings for proof that she is an artist. Then suddenly, Bautista received a call from one of the officials of PAG that they loved her work – so much, that they have already displayed it in their website. Her painting, “Peony”, in watercolor was her first big break.
As of writing, she has had six exhibits both in Canada and the Philippines. Three of those were with PAG June 2004, September-October 2005 and at Art Space last 2006. She also had one with her international artist friend Gion Gounet in Manila last 2006.
Her artworks, like her life, carry the same optimism that Bautista has. As she mentioned in her art statement, “Like in any other paintings I do, still life, landscapes, figures and portraits, and either in Chinese brush painting or in printmaking, there is always a story behind that I am trying to communicate to the world. It shows the past, present and future feeling, movement, reality, dream, Zen and the balance of yin and yang. I am an optimist, so that each of my artworks tells that after struggle in life and you are still at the edge, just focus on what you are doing well, and believe that "In every cloud, there is a silver lining”
BY KATRINA C. GUEVARRA
Left: Maria Nellie Bautista with her works at her 2004 exhibit
Right: Maria Nellie Bautista and the writer at PAG’s exhibit at the Ayala Museum
“I have no limitation in my art. I like to do everything”.
Maria Nellie Bautista is known for her skill in porcelain painting. Her works takes on ordinary subjects but sheds it a different kind of light through her vibrant use of colors, her attention to detail and her mastery of technique.
She has a penchant for doing ceramic/porcelain paintings despite its difficulty. “It’s hard to paint in ceramic. Why I do it? Because it is challenging, I find satisfaction in doing it and it makes me happy.”
In porcelain painting, she sketches and designs her own composition on paper before she draws and paints it on porcelain plate or platter. “It takes a long process to paint from light to dark colors and to fire in a kiln at high temperature for several times.”
Seeing her works is like being transported in her own little world. Her paintings reflect that of her own perspective, how she view the little things that we often take for granted like flowers, fruits and such. Drawing inspiration from nature, her paintings, though some depict those that are in Canada gives me a feel as if I am really in the particular scene. It’s like being stuck in a story book, it gives you a picture but there is still room for your imagination to work.
Hers was a story of a typical deprived artist. “I was already passionate about painting ever since I was a kid. When my cousin took up Fine Arts in the University of Santo Tomas, I was so jealous.” Coming from a poor family, she wasn’t able to pursue her dreams of becoming an artist early on. “My mother wanted me to take up a course that would be easy to finish.” So she put her dream of being an artist behind her and took up Bachelor of Arts and Foreign Service at Lyceum of the Philippines. She landed a few secretarial jobs here and there after graduation. It was her sheer determination to have a better life and support her parents that brought her to Toronto, Canada.
Bautista was already 50 years old, when she rediscovered her love for painting. “I felt that there was something lacking,” she said. She started taking art courses one after another in famous artist studios in Toronto. She also took workshops here in the Philippines at the Ayala Museum, where she had been classmates with the elite. She compares her passion for painting to eating. To her it is really something unquenchable, “When I’m not painting and I’m busy doing other things, I crave. Even in my sleep!” Bautista said.
She joined the Philippine Artists Group of Canada around four years ago. “I discovered PAG through a postcard. I originally just wanted to join them in their group painting sessions outside,” Bautista said. She submitted one of her porcelain paintings for proof that she is an artist. Then suddenly, Bautista received a call from one of the officials of PAG that they loved her work – so much, that they have already displayed it in their website. Her painting, “Peony”, in watercolor was her first big break.
As of writing, she has had six exhibits both in Canada and the Philippines. Three of those were with PAG June 2004, September-October 2005 and at Art Space last 2006. She also had one with her international artist friend Gion Gounet in Manila last 2006.
Her artworks, like her life, carry the same optimism that Bautista has. As she mentioned in her art statement, “Like in any other paintings I do, still life, landscapes, figures and portraits, and either in Chinese brush painting or in printmaking, there is always a story behind that I am trying to communicate to the world. It shows the past, present and future feeling, movement, reality, dream, Zen and the balance of yin and yang. I am an optimist, so that each of my artworks tells that after struggle in life and you are still at the edge, just focus on what you are doing well, and believe that "In every cloud, there is a silver lining”
Monday, May 12, 2008
When boys aren't men yet
When boys aren't men yet
By Katrina C. Guevarra
“How can a man be expected to make a woman happy, when he insists on treating her like a perfectly normal human being.” – Oscar Wilde
You’ve been preparing for this for hours, excruciatingly doing (and re-doing) your make up, styling your hair until finally it stays in the style you want it to be and of course, getting into the clothes you’ve prepared days before for the date. Just when you thought everything’s perfect, he doesn’t show up. Either that, or he shows up two hours late smelling like alcohol and gives the lame excuse of “Sorry, biglang nagkayayaan ang barkada eh.” Sounds familiar? Well, that’s one of the worst scenarios I have encountered in the relationships I’ve had in my 19 years of existence. Maybe because I am not used to being exchanged for booze – just for computer games.
Which brings us to another thing I don’t understand about guys, I know many girlfriends (and ex-girlfriends) out there will agree with me when I say that guys can be a slave to computer games and basketball games sometimes. I’ve seen countless girls, some even friends of mine, who would curse the game for taking up a huge chunk in their boyfriend’s lives. There are those with a different approach to this matter though. Like someone I know who tolerates her boyfriend’s obsession with online games by giving him a monthly supply of e-games card. Though there are guys like these who have girlfriends, there are those who don’t have one and choose to socialize in online fantasy worlds.
There are also other guys who likes bragging about their sexcapades with other girls, to the new one they have just met. As with any other girls, I believe that nothing screams “No sex life” more than someone bragging “how many girlfriends he has had, how many of those girlfriends he has devirginized or how big his penis size is.” Trust me, unless you are a hot matinee idol, no one wants to know. There are some guys who remain single because of this.
Other guys remain single because of another thing, being commitment-phobic. They treat would treat a certain girl as their girlfriends, exchange I-love-you’s, but don’t want to commit in a relationship. His reason for doing so could range from “I don’t want the title of boyfriend and girlfriend, it is just too overrated” to ones like “I’m just not ready to commit yet. I’m just enjoying the moment right now.” Those are reasons that could send a girl into a lot of lost sleep. If a girl’s moodswings drive a guy crazy, a guy’s phobia to commitment certainly is one the factors that drives us girls crazy. Why would you run away from love just when it is getting serious.
I guess that’s what differentiates a man from a woman. A woman tries so hard to find a serious relationship, while men run away from it.
By Katrina C. Guevarra
“How can a man be expected to make a woman happy, when he insists on treating her like a perfectly normal human being.” – Oscar Wilde
You’ve been preparing for this for hours, excruciatingly doing (and re-doing) your make up, styling your hair until finally it stays in the style you want it to be and of course, getting into the clothes you’ve prepared days before for the date. Just when you thought everything’s perfect, he doesn’t show up. Either that, or he shows up two hours late smelling like alcohol and gives the lame excuse of “Sorry, biglang nagkayayaan ang barkada eh.” Sounds familiar? Well, that’s one of the worst scenarios I have encountered in the relationships I’ve had in my 19 years of existence. Maybe because I am not used to being exchanged for booze – just for computer games.
Which brings us to another thing I don’t understand about guys, I know many girlfriends (and ex-girlfriends) out there will agree with me when I say that guys can be a slave to computer games and basketball games sometimes. I’ve seen countless girls, some even friends of mine, who would curse the game for taking up a huge chunk in their boyfriend’s lives. There are those with a different approach to this matter though. Like someone I know who tolerates her boyfriend’s obsession with online games by giving him a monthly supply of e-games card. Though there are guys like these who have girlfriends, there are those who don’t have one and choose to socialize in online fantasy worlds.
There are also other guys who likes bragging about their sexcapades with other girls, to the new one they have just met. As with any other girls, I believe that nothing screams “No sex life” more than someone bragging “how many girlfriends he has had, how many of those girlfriends he has devirginized or how big his penis size is.” Trust me, unless you are a hot matinee idol, no one wants to know. There are some guys who remain single because of this.
Other guys remain single because of another thing, being commitment-phobic. They treat would treat a certain girl as their girlfriends, exchange I-love-you’s, but don’t want to commit in a relationship. His reason for doing so could range from “I don’t want the title of boyfriend and girlfriend, it is just too overrated” to ones like “I’m just not ready to commit yet. I’m just enjoying the moment right now.” Those are reasons that could send a girl into a lot of lost sleep. If a girl’s moodswings drive a guy crazy, a guy’s phobia to commitment certainly is one the factors that drives us girls crazy. Why would you run away from love just when it is getting serious.
I guess that’s what differentiates a man from a woman. A woman tries so hard to find a serious relationship, while men run away from it.
Original review of Agamemnon's daughter
Feature Writing
A man’s greatest downfall
By: Katrina C. Guevarra
“We don't let them have ideas. Why would we let them have guns?”
--Joseph Stalin
Up until 1992, Stalin Communism was the way of life in Albania. There were rules and customs for everything. Everyone was to abide to every order of the state, every custom, every tradition– even if it meant being inhumane. It was a period where there was no room for one’s own opinion, own emotions and own preferences. Everyone was expected to make sacrifices when the circumstance asks for it, when the tradition asks for it –and above all because Stalin said so.
Agamemnon’s daughter is one of the more popular novels of the very first Man Booker International Prize winner, Ismail Kadare. The book contained three spellbinding collections of novellas. Its title story, Agamemnon’s daughter is a story of an unnamed journalist, who was taken away the love of his life at the height of his career. His lady love, Suzana, was told by her own father to break off the relationship with the journalist because he is engaged to someone else and rumors about their relationship might ruin the journalist’s career.
However, Suzana could have chosen a better timing than she did because she broke off her relationship with the journalist right before the biggest day of his career – his very first invitation to be with the high ranks of the Albania government at the grandstand for a very significant and high-brow event in Albania, the May 1st assembly.
The journalist compares Suzana’s sacrifice with that of Agamemnon’s daughter, Iphigenia, sacrifice during the Trojan war. As he go through checkpoints after checkpoints and walk closer to the grandstand, his memory wandered on the things he gave up to be able to have that privilege – the people he stepped on, the humanity that was lost. Then he started to doubt Suzana. After relating his present situation with the events of the Trojan war, he then came to a conclusion that Iphigenia was Agamemnon’s greatest downfall. And that he wouldn’t let Suzana be his Iphigenia. In the books, the Trojan war has ended. In the narrator’s mind, it has only just begun.
Also included in the novel are two other mini-novellas, “The Blinding Order” which tells of an old tradition of blinding people who they suspect to have an evil eye in any way (even just through the lightness or darkness of their irises and how many evil things they have witnessed). Another is “The Great Wall”, an exchange of philosophic views between a guardian of the Great Wall and one who was called to repair it.
Kadare’s work exposes readers to various social, political, philosophical issues inside a communist state. It also exposes the different desires men have, especially when it comes to power and love. To be able to get his work published, he had to smuggle manuscripts of his works from Albania to France in order to have his manuscripts published. He went through an ordeal of only bringing two to three pages of his work everytime and disguising it as a foreign material so he would not be accused of Exfiltration which is forbidden in Albanian Law.
A man’s greatest downfall
By: Katrina C. Guevarra
“We don't let them have ideas. Why would we let them have guns?”
--Joseph Stalin
Up until 1992, Stalin Communism was the way of life in Albania. There were rules and customs for everything. Everyone was to abide to every order of the state, every custom, every tradition– even if it meant being inhumane. It was a period where there was no room for one’s own opinion, own emotions and own preferences. Everyone was expected to make sacrifices when the circumstance asks for it, when the tradition asks for it –and above all because Stalin said so.
Agamemnon’s daughter is one of the more popular novels of the very first Man Booker International Prize winner, Ismail Kadare. The book contained three spellbinding collections of novellas. Its title story, Agamemnon’s daughter is a story of an unnamed journalist, who was taken away the love of his life at the height of his career. His lady love, Suzana, was told by her own father to break off the relationship with the journalist because he is engaged to someone else and rumors about their relationship might ruin the journalist’s career.
However, Suzana could have chosen a better timing than she did because she broke off her relationship with the journalist right before the biggest day of his career – his very first invitation to be with the high ranks of the Albania government at the grandstand for a very significant and high-brow event in Albania, the May 1st assembly.
The journalist compares Suzana’s sacrifice with that of Agamemnon’s daughter, Iphigenia, sacrifice during the Trojan war. As he go through checkpoints after checkpoints and walk closer to the grandstand, his memory wandered on the things he gave up to be able to have that privilege – the people he stepped on, the humanity that was lost. Then he started to doubt Suzana. After relating his present situation with the events of the Trojan war, he then came to a conclusion that Iphigenia was Agamemnon’s greatest downfall. And that he wouldn’t let Suzana be his Iphigenia. In the books, the Trojan war has ended. In the narrator’s mind, it has only just begun.
Also included in the novel are two other mini-novellas, “The Blinding Order” which tells of an old tradition of blinding people who they suspect to have an evil eye in any way (even just through the lightness or darkness of their irises and how many evil things they have witnessed). Another is “The Great Wall”, an exchange of philosophic views between a guardian of the Great Wall and one who was called to repair it.
Kadare’s work exposes readers to various social, political, philosophical issues inside a communist state. It also exposes the different desires men have, especially when it comes to power and love. To be able to get his work published, he had to smuggle manuscripts of his works from Albania to France in order to have his manuscripts published. He went through an ordeal of only bringing two to three pages of his work everytime and disguising it as a foreign material so he would not be accused of Exfiltration which is forbidden in Albanian Law.
When Safe Sex isn't enough: Cervical cancer article
When safe sex isn’t enough
By Katrina C. Guevarra
Something is terribly wrong.
“I’ve been doing it well-protected ever since I was young, I couldn’t possibly get it,” you reason out to yourself during a painstaking wait for the doctor’s result. But no amount of rationalizing can get you through the moment you find out that the Big C has stricken you. Cervical cancer strikes any woman.
But what causes cervical cancer? According to the C-Network, a Cancer Research and Support Network in the Philippines it is caused by the Human Papilloma Virus. It is classified into three different cell types. One there is the Squamous cells, which are think and flat normally found at the surface of the cervix. When this cell spreads to the whole cervix and to the bones, it is called the metastatic cervical cancer.
Dr.Shiela Jane Labrador Illescas, an OB- Gyne and owner of the In My Womb, 4D Ultra Sound Center, recommends most of her patients who is unsure of how many women their respective partners have contact with to get the HPV Vaccine. The HPV Vaccine is the one way women can be safe from getting the HPV which may lead to cervical cancer.
So how do you know if you have cervical cancer? Symptoms manifest in the following ways : abnormal bleeding which may occur after sexual intercourse , douching or pelvic exam. A woman may also want to check if she is bleeding longer and heavier than usual or have increased vaginal discharge, C-Network suggests.
Since these symptoms do not cause pain, it is only detected through a Pap smear and Pelvic Exam. Better go to your trusted OB-gyne upon seeing these changes occur in your body. As C-network emphasizes, “Only a doctor can tell for sure”.
People at risk of cervical cancer are as follows, those who have low immune system because of kidney transplants, therapy for other form of cancers or HIV. Those who have history of genital warts and herpes simplex virus infection are also at risk. Then there are those who are cigarette smokers, have multiple partners and multiple pregnancies. Lastly, those who have had their first intercourse at an early age are at great risk of Cervical cancer.
Cervical cancer targets any woman. There are many great risks worth taking, but I’m not sure this is one of them. An HPV Vaccine is well-worth the money before you start any “party”. After all, one cannot rely on contraceptives alone anymore.
By Katrina C. Guevarra
Something is terribly wrong.
“I’ve been doing it well-protected ever since I was young, I couldn’t possibly get it,” you reason out to yourself during a painstaking wait for the doctor’s result. But no amount of rationalizing can get you through the moment you find out that the Big C has stricken you. Cervical cancer strikes any woman.
But what causes cervical cancer? According to the C-Network, a Cancer Research and Support Network in the Philippines it is caused by the Human Papilloma Virus. It is classified into three different cell types. One there is the Squamous cells, which are think and flat normally found at the surface of the cervix. When this cell spreads to the whole cervix and to the bones, it is called the metastatic cervical cancer.
Dr.Shiela Jane Labrador Illescas, an OB- Gyne and owner of the In My Womb, 4D Ultra Sound Center, recommends most of her patients who is unsure of how many women their respective partners have contact with to get the HPV Vaccine. The HPV Vaccine is the one way women can be safe from getting the HPV which may lead to cervical cancer.
So how do you know if you have cervical cancer? Symptoms manifest in the following ways : abnormal bleeding which may occur after sexual intercourse , douching or pelvic exam. A woman may also want to check if she is bleeding longer and heavier than usual or have increased vaginal discharge, C-Network suggests.
Since these symptoms do not cause pain, it is only detected through a Pap smear and Pelvic Exam. Better go to your trusted OB-gyne upon seeing these changes occur in your body. As C-network emphasizes, “Only a doctor can tell for sure”.
People at risk of cervical cancer are as follows, those who have low immune system because of kidney transplants, therapy for other form of cancers or HIV. Those who have history of genital warts and herpes simplex virus infection are also at risk. Then there are those who are cigarette smokers, have multiple partners and multiple pregnancies. Lastly, those who have had their first intercourse at an early age are at great risk of Cervical cancer.
Cervical cancer targets any woman. There are many great risks worth taking, but I’m not sure this is one of them. An HPV Vaccine is well-worth the money before you start any “party”. After all, one cannot rely on contraceptives alone anymore.
Monday, April 21, 2008
What Is A Feature?
When you read a newspaper, a lot of what’s on the front pages is usually breaking news, information that needs to be told right away, or it will be dated and lose its relevance. Not so a feature.
If done right, a feature can be evergreen; that is, it can have an indefinite shelf life that will enable it to be used when it is needed, and is not reliant on when it is sent out. Items on such topics as food, travel,pets, home improvement and health, for example, lend themselves wellto this kind of treatment.
The more you write a feature so it can be used any time of the year, the greater your chances of being picked up by broadcast,print and online media.
Features are often about how we live, love, and learn. While the news of the day is of vital importance, many people seek a respite from grim headlines and need useful information relevant to their home and family. That’s where a feature comes in.
While a feature may look like a press release when it is transmitted, the two have some important distinctions.
A traditional press release is better for breaking news, which people need to know right away.
Unlike a press release, a feature is intended for verbatim use, as if a journalist could have written the item. That means it needs to emphasize information over outright promotion. To accommodate verbatim use, it is crucial for features to be concise, no more than about 400 words. Beyond that length, you reach a point of diminishing returns with most media, and features will be either cut for space or not used at all. There are exceptions, now and then, but you shouldn’t count on being one of them.
Do it right and you have more chances than ever to get noticed by the media, which have limited resources for staff, freelancers and syndicates for features. If you can provide quality material for free, that will go a long way toward getting into print or on the air.
Even if your feature doesn’t get used word for word, journalists may look to you as a source for their own articles if they view you as providing credible information in your feature.
There is no one right way to go about this. However, the following paragraph-by-paragraph breakdown of a feature’s most crucial ingredients can serve as a useful template. The more comfortable you are writing a feature, the easier it will be to tailor it to your own preferences.
Source: http://www.cyperus.com/features/guide_intro.shtml
If done right, a feature can be evergreen; that is, it can have an indefinite shelf life that will enable it to be used when it is needed, and is not reliant on when it is sent out. Items on such topics as food, travel,pets, home improvement and health, for example, lend themselves wellto this kind of treatment.
The more you write a feature so it can be used any time of the year, the greater your chances of being picked up by broadcast,print and online media.
Features are often about how we live, love, and learn. While the news of the day is of vital importance, many people seek a respite from grim headlines and need useful information relevant to their home and family. That’s where a feature comes in.
While a feature may look like a press release when it is transmitted, the two have some important distinctions.
A traditional press release is better for breaking news, which people need to know right away.
Unlike a press release, a feature is intended for verbatim use, as if a journalist could have written the item. That means it needs to emphasize information over outright promotion. To accommodate verbatim use, it is crucial for features to be concise, no more than about 400 words. Beyond that length, you reach a point of diminishing returns with most media, and features will be either cut for space or not used at all. There are exceptions, now and then, but you shouldn’t count on being one of them.
Do it right and you have more chances than ever to get noticed by the media, which have limited resources for staff, freelancers and syndicates for features. If you can provide quality material for free, that will go a long way toward getting into print or on the air.
Even if your feature doesn’t get used word for word, journalists may look to you as a source for their own articles if they view you as providing credible information in your feature.
There is no one right way to go about this. However, the following paragraph-by-paragraph breakdown of a feature’s most crucial ingredients can serve as a useful template. The more comfortable you are writing a feature, the easier it will be to tailor it to your own preferences.
Source: http://www.cyperus.com/features/guide_intro.shtml
Pinoy Superheroes for real
Sunday, March 23, 2008
Pinoy superheroes for real
By Katrina C. Guevarra, Contributor
In an age when cynicism, absurdity and hypocrisy make the very notion heroism seem a bit daft and loony—a Quixotic notion to be found only in comic books where people where tights and a cape. But even today, the unlikeliest people can embody true heroism in real life.
Take for example comedian/video documentarian Tado Jimenez and Buwi Meneses, guitarist of the irreverent rock group Parokya ni Edgar. “Everyone can be dakila,” they proclaim. Being dakila or noble is a measure of one’s heroism.
Over a few drinks at Treehouse in Quezon City, a group of concerned musicians, poets and actors started sharing their views on certain political issues. “It started at a time much like today. Two years ago the situation was much like today,” recalls Jimenez. Their idea was to be able to participate and express their opinions on what is happening to our country. That eventually led Jimenez, Meneses, along with poet Lourd de Veyra and actor Ronnie Lazaro to found Dakila.
Dakila is an artist group formed by individuals with different advocacies with one aim—to instill modern day heroism in everyday people. “A hero doesn’t have to get himself shot in Luneta. Being a hero means not littering and crossing the street at the proper pedestrian lane. Even in the little things we do, we can become heroic,” explains Jimenez.
In our society today, the words “activism” and “protest” are often equated with rallying on the street and shouting slogans. However, Dakila’s idea of activism and protest is quite the opposite of that.
“The common concept of protest is a rally. With us, as much as possible, we can demonstrate your involvement or participation without affecting other aspects of your life,” said Jimenez.
This is clearly evident through the different programs they had to show activism. Their very first showcase of activism had them holding broomsticks and dustpans instead of placards.
“When we started Dakila, we declared that the Philippines was dirty. Linisin ang Pilipinas [Clean the Philippines] was the campaign of Dakila. So we cleaned up the relief map in Luneta. We did it in three days. We made it beautiful again.”
Every third Sunday of the month, they also have this activity called “Sunday Silence,” wherein they observe silence and just express themselves through instruments and what-nots.
Meneses narrates how they used their influence as artists to be catalysts for change in this country, “Like Tado said, artists are a bit influential because you do something visual. Music is also very influential with the youth.”
This led to them using their music as a medium to reach out to the public. Luckily for them, one of their fellow artists came just in time for this project they were planning. “Noel Cabangon had this song that that he wanted to donate to Dakila. The message was spot on. We were able to say what we wanted to say with the song,” says Meneses.
More than 46 artists collaborated on the song “Kaya Mong Maging Dakila.” “We used artists who want to be socially involved through music,” said Meneses. “If you listen to its lyrics and the flow of the song, it gently implores you to become dakila,” he added. “Basically it’s a call for the core values of being heroic,” said Leni Velasco, logistics officer of Dakila.
The collective, though relatively new, has grown rapidly over two years. “It’s not exclusive to artists. There are students, young professionals. From a mere 67, we’ve grown to around 500 plus. We have members even in Cebu,” said Velasco.
As proof to their unwavering advocacy to get the youth and the public involved in social activism, it launched Peacetahan 2008 together with an NGO group Sulong CARHRIHL. It’s a song and music video, infomercial and poster-design contest. “Through this kind of activities we try to involve young people into advocacies,” Velasco said.
Among these young people who joined the contest is a 20-year old gangster-composer from the outskirts of Tondo, Billy Cruz. His music video entry of his own song composition tells of youth, who since their childhood, have already been drawn into drugs, who instead of books, have sacks of garbage on their hands.
Contrary to his gangster image—pierced ears, colored hair, ghetto outfit, his reason why he made the music video is quite noble. Cruz said, “I wanted to show the youth the truth. It is their right to get an education and not having to earn a living. It is their right to eat three times a day. But they have to salvage trash just to eat. This is to show people how the system really works.”
There are heroes among us, even within ourselves. We just have to open our eyes.
For details on the Dakila Collective, visit www.dakila.org.ph.
http://www.manilatimes.net/national/2008/mar/23/yehey/weekend/20080323week2.html
Pinoy superheroes for real
By Katrina C. Guevarra, Contributor
In an age when cynicism, absurdity and hypocrisy make the very notion heroism seem a bit daft and loony—a Quixotic notion to be found only in comic books where people where tights and a cape. But even today, the unlikeliest people can embody true heroism in real life.
Take for example comedian/video documentarian Tado Jimenez and Buwi Meneses, guitarist of the irreverent rock group Parokya ni Edgar. “Everyone can be dakila,” they proclaim. Being dakila or noble is a measure of one’s heroism.
Over a few drinks at Treehouse in Quezon City, a group of concerned musicians, poets and actors started sharing their views on certain political issues. “It started at a time much like today. Two years ago the situation was much like today,” recalls Jimenez. Their idea was to be able to participate and express their opinions on what is happening to our country. That eventually led Jimenez, Meneses, along with poet Lourd de Veyra and actor Ronnie Lazaro to found Dakila.
Dakila is an artist group formed by individuals with different advocacies with one aim—to instill modern day heroism in everyday people. “A hero doesn’t have to get himself shot in Luneta. Being a hero means not littering and crossing the street at the proper pedestrian lane. Even in the little things we do, we can become heroic,” explains Jimenez.
In our society today, the words “activism” and “protest” are often equated with rallying on the street and shouting slogans. However, Dakila’s idea of activism and protest is quite the opposite of that.
“The common concept of protest is a rally. With us, as much as possible, we can demonstrate your involvement or participation without affecting other aspects of your life,” said Jimenez.
This is clearly evident through the different programs they had to show activism. Their very first showcase of activism had them holding broomsticks and dustpans instead of placards.
“When we started Dakila, we declared that the Philippines was dirty. Linisin ang Pilipinas [Clean the Philippines] was the campaign of Dakila. So we cleaned up the relief map in Luneta. We did it in three days. We made it beautiful again.”
Every third Sunday of the month, they also have this activity called “Sunday Silence,” wherein they observe silence and just express themselves through instruments and what-nots.
Meneses narrates how they used their influence as artists to be catalysts for change in this country, “Like Tado said, artists are a bit influential because you do something visual. Music is also very influential with the youth.”
This led to them using their music as a medium to reach out to the public. Luckily for them, one of their fellow artists came just in time for this project they were planning. “Noel Cabangon had this song that that he wanted to donate to Dakila. The message was spot on. We were able to say what we wanted to say with the song,” says Meneses.
More than 46 artists collaborated on the song “Kaya Mong Maging Dakila.” “We used artists who want to be socially involved through music,” said Meneses. “If you listen to its lyrics and the flow of the song, it gently implores you to become dakila,” he added. “Basically it’s a call for the core values of being heroic,” said Leni Velasco, logistics officer of Dakila.
The collective, though relatively new, has grown rapidly over two years. “It’s not exclusive to artists. There are students, young professionals. From a mere 67, we’ve grown to around 500 plus. We have members even in Cebu,” said Velasco.
As proof to their unwavering advocacy to get the youth and the public involved in social activism, it launched Peacetahan 2008 together with an NGO group Sulong CARHRIHL. It’s a song and music video, infomercial and poster-design contest. “Through this kind of activities we try to involve young people into advocacies,” Velasco said.
Among these young people who joined the contest is a 20-year old gangster-composer from the outskirts of Tondo, Billy Cruz. His music video entry of his own song composition tells of youth, who since their childhood, have already been drawn into drugs, who instead of books, have sacks of garbage on their hands.
Contrary to his gangster image—pierced ears, colored hair, ghetto outfit, his reason why he made the music video is quite noble. Cruz said, “I wanted to show the youth the truth. It is their right to get an education and not having to earn a living. It is their right to eat three times a day. But they have to salvage trash just to eat. This is to show people how the system really works.”
There are heroes among us, even within ourselves. We just have to open our eyes.
For details on the Dakila Collective, visit www.dakila.org.ph.
http://www.manilatimes.net/national/2008/mar/23/yehey/weekend/20080323week2.html
Rocking their way into education
Sunday, March 30, 2008
THE FILIPINO CHAMPION
Rocking their way into education
Learning is the new rock n’ roll
By Katrina Guevarra
TRADITIONAL education is tantamount to drone and boredom to most people. They would rather be somewhere else than the dreaded classroom. Rock concerts and radio talk shows are where they want to be and what they want to hear.
Rock Ed Philippines, a volunteer group working to provide venues and events for alternative education, is out to prove that rock music, musicians and radio stations are the new classrooms for today’s youth. The group has a radio show airing every Sunday evening over NU 107 FM where musicians, poets, artists, entrepreneurs and writers serve as teachers as well as fellow students.
Hosted by Rock Ed’s founder Theresa Badoy and poet Lourd de Veyra of jazz band Radioactive Sago Project, the program does not dictate to students what to think or say. Instead, listeners join hosts and guests in their quest for the facts necessary to make informed decisions on the issues of the day.
“It came out of my frustration to play an active role in the resolution of various problems plaguing our country. Then, I noticed that my nieces and nephews have all the songs of the local bands memorized. That was when I realized that young people listen more to musicians than to teachers, politicians and priests all combined,” Badoy recalls. The Hello Garci scandal had angered Badoy then.
However, she explains that she did not particularly like the idea of attending rallies and admits that she is unsure of what protest movements to trust. After deep contemplation, Badoy saw a glimmer of hope in music and musicians.
“People always seem to trust music and the artists behind them because basically their works are expressions of truth,” she intones. Being a music fan herself, she had first hand experiences on how the compositions of some artists had led her to political awakenings. She then ponders that maybe, like her, music can lead other people to enlightenment too.
De Veyra shares his experience on performing and interacting with the youth during the “Malinis Please” pre-election concert: “I learned that both the artist and the audience are both inquirers along the way. When I interacted with the crowd, I was surprised that they had a different sentiment on certain matters, something distinct than what I presumed,” he points out, adding, “They do not have a gnarling sort of cynicism and irony that you keep inside. Actually, they were optimistic. That’s why you do not have the right to be snarling.”
Rock Ed is resolute in providing alternative education through music, poetry, sports, photography, fashion, graphic design, literature, new approaches to science, film, cultural studies, theatre, dance, and a lot more creative alternatives to the traditional classroom set up.
They bring this kind of learning not only to students but also to out-of-school youths, communities living alongside railroad tracks and prisoners. Rock Ed, using “rock culture” as a vehicle not only aims to promote education and social awareness among the youth but fight poverty as well.
Rock Ed has a ten-year timetable for a series of alternative education projects. “Without a deadline there is no urgency for people to join,” Badoy explains the rationale of declaring a specific time frame for the movement.
When asked to name Rock Ed’s accomplishments so far, Badoy admits, “I’m not quite sure of the progress. At the onset of Rock Ed, I already knew that we will not have bar graphs of success that says, ‘16,000 teenagers are now more patriotic.’ I guess I can’t have those numbers and I probably never will.”
However, she named the program’s expanding area of coverage as something she is truly proud of. “Rock Ed can now be heard in schools and far-flung provinces. We accomplished this without soliciting money, without major sponsors and without influential people backing us up. All these - no seed money, no capital,” Badoy announces proudly.
Rock Ed rocks. It’s the Filipino artist in action initiating positive change through creativity and sheer guts.
THE FILIPINO CHAMPION
Rocking their way into education
Learning is the new rock n’ roll
By Katrina Guevarra
TRADITIONAL education is tantamount to drone and boredom to most people. They would rather be somewhere else than the dreaded classroom. Rock concerts and radio talk shows are where they want to be and what they want to hear.
Rock Ed Philippines, a volunteer group working to provide venues and events for alternative education, is out to prove that rock music, musicians and radio stations are the new classrooms for today’s youth. The group has a radio show airing every Sunday evening over NU 107 FM where musicians, poets, artists, entrepreneurs and writers serve as teachers as well as fellow students.
Hosted by Rock Ed’s founder Theresa Badoy and poet Lourd de Veyra of jazz band Radioactive Sago Project, the program does not dictate to students what to think or say. Instead, listeners join hosts and guests in their quest for the facts necessary to make informed decisions on the issues of the day.
“It came out of my frustration to play an active role in the resolution of various problems plaguing our country. Then, I noticed that my nieces and nephews have all the songs of the local bands memorized. That was when I realized that young people listen more to musicians than to teachers, politicians and priests all combined,” Badoy recalls. The Hello Garci scandal had angered Badoy then.
However, she explains that she did not particularly like the idea of attending rallies and admits that she is unsure of what protest movements to trust. After deep contemplation, Badoy saw a glimmer of hope in music and musicians.
“People always seem to trust music and the artists behind them because basically their works are expressions of truth,” she intones. Being a music fan herself, she had first hand experiences on how the compositions of some artists had led her to political awakenings. She then ponders that maybe, like her, music can lead other people to enlightenment too.
De Veyra shares his experience on performing and interacting with the youth during the “Malinis Please” pre-election concert: “I learned that both the artist and the audience are both inquirers along the way. When I interacted with the crowd, I was surprised that they had a different sentiment on certain matters, something distinct than what I presumed,” he points out, adding, “They do not have a gnarling sort of cynicism and irony that you keep inside. Actually, they were optimistic. That’s why you do not have the right to be snarling.”
Rock Ed is resolute in providing alternative education through music, poetry, sports, photography, fashion, graphic design, literature, new approaches to science, film, cultural studies, theatre, dance, and a lot more creative alternatives to the traditional classroom set up.
They bring this kind of learning not only to students but also to out-of-school youths, communities living alongside railroad tracks and prisoners. Rock Ed, using “rock culture” as a vehicle not only aims to promote education and social awareness among the youth but fight poverty as well.
Rock Ed has a ten-year timetable for a series of alternative education projects. “Without a deadline there is no urgency for people to join,” Badoy explains the rationale of declaring a specific time frame for the movement.
When asked to name Rock Ed’s accomplishments so far, Badoy admits, “I’m not quite sure of the progress. At the onset of Rock Ed, I already knew that we will not have bar graphs of success that says, ‘16,000 teenagers are now more patriotic.’ I guess I can’t have those numbers and I probably never will.”
However, she named the program’s expanding area of coverage as something she is truly proud of. “Rock Ed can now be heard in schools and far-flung provinces. We accomplished this without soliciting money, without major sponsors and without influential people backing us up. All these - no seed money, no capital,” Badoy announces proudly.
Rock Ed rocks. It’s the Filipino artist in action initiating positive change through creativity and sheer guts.
Monday, March 3, 2008
OVERHAULED: What makes me read an article?
Bold, striking and fearless headlines -- that's the first thing that catches my attention and more often than not, is the very thing that makes me read an article.
Skimming down to the bottom, I look for intelligent, entertaining and informative content. I believe that no matter how serious an article is, there is always room for it to be more interesting -- even if it's straight news. However, I prefer a mixture of the three aforementioned chracteristics.
What matters to me the most is the structure and style of the article. I like it best when the writer is able to capture the essence of the whole story, in the simplest possible terms without undermining the intelligence of the readers.
Lastly, I'm a big fan of the overly-eloquent writing style. Note that I didn't say "overly-eloquent writers". I don't really keep track of the names of the writers. (I always say my favorite print journalist is Conrado de Quiros for the reason that he is the only one among the writers who write this way, whose name stuck in my mind). Truth is, I have no favorite writer -- only a favorite writing style. In my opinion, those who write using this style are courageous people who are not afraid of critcism. I'm a sucker for articles written in this style. Give me one, and I'm sure to read it.
Overall,what makes me read the article is a combination of what it is about, how it is written and how I think it's supposed to be.
Skimming down to the bottom, I look for intelligent, entertaining and informative content. I believe that no matter how serious an article is, there is always room for it to be more interesting -- even if it's straight news. However, I prefer a mixture of the three aforementioned chracteristics.
What matters to me the most is the structure and style of the article. I like it best when the writer is able to capture the essence of the whole story, in the simplest possible terms without undermining the intelligence of the readers.
Lastly, I'm a big fan of the overly-eloquent writing style. Note that I didn't say "overly-eloquent writers". I don't really keep track of the names of the writers. (I always say my favorite print journalist is Conrado de Quiros for the reason that he is the only one among the writers who write this way, whose name stuck in my mind). Truth is, I have no favorite writer -- only a favorite writing style. In my opinion, those who write using this style are courageous people who are not afraid of critcism. I'm a sucker for articles written in this style. Give me one, and I'm sure to read it.
Overall,what makes me read the article is a combination of what it is about, how it is written and how I think it's supposed to be.
ORIGINAL VERSION: What makes me read an article?
What drives you? says in a TV ad. One might ask what connection it has in reading an article, for me, a lot of things.
The very same force that drives me is the force tha makes me read an article. One, is passion. If an article tackles a certain topic I am passion about, I'd read it regardless of how long or short it is. Another is interest, if a person can make the subject interesting, even if it's foreign to me, I'll read the article.
Let's take in context, the various columns in the lifestyle section of the Inquirer and Young Star(Philippine Star), there are certain topics there that I am very much into, like the beauty and fashion section. On the other hand, there are also topics there that are foreign to me and I don't know much about, like feature on underground bands, that are presented in such an interesting way that makes me read the whole article.
This leads me to another "driving force" that makes me read an article and that is -- education. If an article is informative and I figure right from the start that it is, then I'll read it.
All in all, I believe that a perfect balance of all of these makes me not only read an article but recognize it as good and exemplary.
The very same force that drives me is the force tha makes me read an article. One, is passion. If an article tackles a certain topic I am passion about, I'd read it regardless of how long or short it is. Another is interest, if a person can make the subject interesting, even if it's foreign to me, I'll read the article.
Let's take in context, the various columns in the lifestyle section of the Inquirer and Young Star(Philippine Star), there are certain topics there that I am very much into, like the beauty and fashion section. On the other hand, there are also topics there that are foreign to me and I don't know much about, like feature on underground bands, that are presented in such an interesting way that makes me read the whole article.
This leads me to another "driving force" that makes me read an article and that is -- education. If an article is informative and I figure right from the start that it is, then I'll read it.
All in all, I believe that a perfect balance of all of these makes me not only read an article but recognize it as good and exemplary.
REVISED: The Manila Times School of Journalism article
Setting a New Standard in teaching Journalism
By Katrina C. Guevarra
A school run by a newspaper. Think it’s too far-fetched? Well, think again.
Being relatively new in the education industry, The Manila Times School of Journalism (now The Manila Times College) has been creating a name for itself as a school that not only provides theories essential for learning, but also gives intensive training for its students with its training programs in Print, Broadcast and English Proficiency.
“Our whole philosophy is about marrying theory with experience. That is also why we set up a TV and radio studio. We are big on giving students practical experience.”, said Dante Francis Ang II, president of the Manila Times Publishing Corp. and The Manila Times College.
Ang II, tells us why they decided to come up with their own school for aspiring journalists, “We were frustrated with the quality of applicants to our newspaper, fresh grads from journalism schools who either didn’t possess the right skills or were competent but were already tainted by the system.” His father, Dante A. Ang, thought of establishing a school that will train students to be competent and skilled journalists. Thus, The Manila Times School of Journalism was born.
What sets the college apart from other universities is the students can work directly with the professional journalists in the Manila Times newsroom itself. “The fact that we have a daily newspaper makes the school unique, at least in the country and in Southeast Asia.”, said Ang.
Now on its fifth year, the school changed its name from The Manila Times school of Journalism to The Manila Times College --adapting the term “college’ as it offers new degree programs, AB English and AB History, starting school year 2008 -2009.
Being a student of the School of Journalism, I could truly say that the school is faithful to their mission of providing excellent training through practical experience. This is where the cliché of “experience is the best teacher” proves true. For I believe that in my stay in the school I learned more from what I saw, heard and felt outside the classroom walls (especially during coverage and interviews) than when I was inside it.
By Katrina C. Guevarra
A school run by a newspaper. Think it’s too far-fetched? Well, think again.
Being relatively new in the education industry, The Manila Times School of Journalism (now The Manila Times College) has been creating a name for itself as a school that not only provides theories essential for learning, but also gives intensive training for its students with its training programs in Print, Broadcast and English Proficiency.
“Our whole philosophy is about marrying theory with experience. That is also why we set up a TV and radio studio. We are big on giving students practical experience.”, said Dante Francis Ang II, president of the Manila Times Publishing Corp. and The Manila Times College.
Ang II, tells us why they decided to come up with their own school for aspiring journalists, “We were frustrated with the quality of applicants to our newspaper, fresh grads from journalism schools who either didn’t possess the right skills or were competent but were already tainted by the system.” His father, Dante A. Ang, thought of establishing a school that will train students to be competent and skilled journalists. Thus, The Manila Times School of Journalism was born.
What sets the college apart from other universities is the students can work directly with the professional journalists in the Manila Times newsroom itself. “The fact that we have a daily newspaper makes the school unique, at least in the country and in Southeast Asia.”, said Ang.
Now on its fifth year, the school changed its name from The Manila Times school of Journalism to The Manila Times College --adapting the term “college’ as it offers new degree programs, AB English and AB History, starting school year 2008 -2009.
Being a student of the School of Journalism, I could truly say that the school is faithful to their mission of providing excellent training through practical experience. This is where the cliché of “experience is the best teacher” proves true. For I believe that in my stay in the school I learned more from what I saw, heard and felt outside the classroom walls (especially during coverage and interviews) than when I was inside it.
Battle Company is Out There; Q& A
Does the writer hold your attention through a long article? If she does, how did she do it? If not, why?
In my case, the writer wasn't able to hold my attention through the long article. It was just too long for me. I was bored by the way he described the details of the story. I think the descriptions were too lengthy and there were information that I think were unnecessary.
Quote the most vivid and vigorous sentences in this feature.
A sudden wail pierced the night sky. It was Slasher, an AC-130 gunship, firing bullets the size of Coke bottles. Flaming shapes ricocheted all around the village. Kearney was in overdrive. The soldiers back at the KOP were radioing in that the drone was tracking 10 men near the tree line.
Flaming rockets flashed through the sky. Thunder rumbled and echoed through the valley. Then there was a pause. Slasher asked Caroon whether the insurgents were still talking. Kearney shouted over to Yarnell in his ditch, “You picking anything up?” Nothing. More spitting rockets.
I was fixating on Rougle’s black hat, lying by the bloodied rock patch where Dunn was sitting, when Sergeant Stichter, Dunn’s senior, appeared, out of breath and shaking, back from tending to Vandenberge. He needed water. The F-15 known as Dude was en route, the Apaches were chasing men and Kearney — who had bolted down the mountain, throwing grenades in caves — was barking orders. Kearney was badly shaken. He adored Rougle, and he’d broken down when he saw his big old buddy Rice bleeding at the landing zone. Rice comforted him and then lumbered to the helicopter, just asking to talk to his wife before they put him under.
Write this feature as straight news, 100 words maximum.
War affects soldiers’ mental health
Korengal Valley, Afghanistan – There were reported incidents of post-war soldiers suffering from Post-Traumatic Stress Disorder (PTSD).
Dean Kerney, colonel of the troop set out to with one goal in mind—to subdue the valley. “It’s like being in charge of a soap opera,” he said “I feel like Dr. Phil with guns.”
Soldiers in the valley reported that they were terrified by the weird behavior of their predecessors last May. To prevent this from happening to new soldiers, certain measures has been implemented – like a change in Kearney’s management of the troop, sending in a psychologist and prescription of medication.
In my case, the writer wasn't able to hold my attention through the long article. It was just too long for me. I was bored by the way he described the details of the story. I think the descriptions were too lengthy and there were information that I think were unnecessary.
Quote the most vivid and vigorous sentences in this feature.
A sudden wail pierced the night sky. It was Slasher, an AC-130 gunship, firing bullets the size of Coke bottles. Flaming shapes ricocheted all around the village. Kearney was in overdrive. The soldiers back at the KOP were radioing in that the drone was tracking 10 men near the tree line.
Flaming rockets flashed through the sky. Thunder rumbled and echoed through the valley. Then there was a pause. Slasher asked Caroon whether the insurgents were still talking. Kearney shouted over to Yarnell in his ditch, “You picking anything up?” Nothing. More spitting rockets.
I was fixating on Rougle’s black hat, lying by the bloodied rock patch where Dunn was sitting, when Sergeant Stichter, Dunn’s senior, appeared, out of breath and shaking, back from tending to Vandenberge. He needed water. The F-15 known as Dude was en route, the Apaches were chasing men and Kearney — who had bolted down the mountain, throwing grenades in caves — was barking orders. Kearney was badly shaken. He adored Rougle, and he’d broken down when he saw his big old buddy Rice bleeding at the landing zone. Rice comforted him and then lumbered to the helicopter, just asking to talk to his wife before they put him under.
Write this feature as straight news, 100 words maximum.
War affects soldiers’ mental health
Korengal Valley, Afghanistan – There were reported incidents of post-war soldiers suffering from Post-Traumatic Stress Disorder (PTSD).
Dean Kerney, colonel of the troop set out to with one goal in mind—to subdue the valley. “It’s like being in charge of a soap opera,” he said “I feel like Dr. Phil with guns.”
Soldiers in the valley reported that they were terrified by the weird behavior of their predecessors last May. To prevent this from happening to new soldiers, certain measures has been implemented – like a change in Kearney’s management of the troop, sending in a psychologist and prescription of medication.
The tragedy of Britney Spears - Q&A
How does this article differ from the usual celebrity and gossip features? Does this article elevate itself from the typical celebrity and gossip feature?
This article differ from the usual celebrity and gossip feature because unlike usual celebrity and gossip features, it tries to glamorize everything. Another is that it gives all sides of the story, and also talks about the unglamorous side of showbusiness. The writer wrote it in such a way, that you'll be able to feel the pain of Britney and what really goes on behind the cameras and spotlights. Yes, this article elevates itself from the typical celebrity and gossip feature.
How does the writer hold the reader's interest about a subject matter that is over exposed?
The writer held the reader's interest by revealing what really happened during the more popular events that the tabloids and other forms of media revealed to us. It also didn't just focus on Britney, it also talked about Britney's past boyfriends and her family. The writer also managed to get insights from the paparazzi's and different people connected to Britney's life and career aside from writing from his own point of view.
How does the writer appeal to readers who are not admirers or sympathizers of this celebrity?
The writer appealed to the readers who are not admirers or sympathizers of Britney by not being too focused on "Britney Spears" alone and referring to her as "popstar". For me, it gives the audience room for their own mind to think that this could happen to any popstar or celebrity and not just Britney Spears. Another thing is the writer compared Britney to George Foreman, the heaviest weightlifter ever. Last but not the least, the writer mentioned references to different bands/music idols when writing the scenes or episodes of Britney's life. (Blackout, Nelly Furtado [referring to her stylist], Justin Timberlake, Howie Day, System of a down, Jessica Simpson, Dixie Chicks and Janet Jackson)
What voice does the writer use and does it work for the magazine's target audience?
He uses the active voice from a first-person point-of-view. Taking into perspective the different kinds of music/music artists involved or related to what he writes. It works for the magazine's target audience as I think music buffs will really appreciate him taking the time to do that. After all. it is a music-oriented magazine--not tabloid or gossip.
This article differ from the usual celebrity and gossip feature because unlike usual celebrity and gossip features, it tries to glamorize everything. Another is that it gives all sides of the story, and also talks about the unglamorous side of showbusiness. The writer wrote it in such a way, that you'll be able to feel the pain of Britney and what really goes on behind the cameras and spotlights. Yes, this article elevates itself from the typical celebrity and gossip feature.
How does the writer hold the reader's interest about a subject matter that is over exposed?
The writer held the reader's interest by revealing what really happened during the more popular events that the tabloids and other forms of media revealed to us. It also didn't just focus on Britney, it also talked about Britney's past boyfriends and her family. The writer also managed to get insights from the paparazzi's and different people connected to Britney's life and career aside from writing from his own point of view.
How does the writer appeal to readers who are not admirers or sympathizers of this celebrity?
The writer appealed to the readers who are not admirers or sympathizers of Britney by not being too focused on "Britney Spears" alone and referring to her as "popstar". For me, it gives the audience room for their own mind to think that this could happen to any popstar or celebrity and not just Britney Spears. Another thing is the writer compared Britney to George Foreman, the heaviest weightlifter ever. Last but not the least, the writer mentioned references to different bands/music idols when writing the scenes or episodes of Britney's life. (Blackout, Nelly Furtado [referring to her stylist], Justin Timberlake, Howie Day, System of a down, Jessica Simpson, Dixie Chicks and Janet Jackson)
What voice does the writer use and does it work for the magazine's target audience?
He uses the active voice from a first-person point-of-view. Taking into perspective the different kinds of music/music artists involved or related to what he writes. It works for the magazine's target audience as I think music buffs will really appreciate him taking the time to do that. After all. it is a music-oriented magazine--not tabloid or gossip.
Raising the dead Q&A
What captivates you about the story? How does he paint a picture for the reader? Cite the passages that are most compelling for you.
What captivates me about the story is that though it is very long, it kept me interested through his vivid description of each scene. Also, the fact that he is talking about applying technology to real-life -- in a NOT SO conventional way captivates me. Aside from making it as vivid as possible, the author painted a picture on how it really smell, sound and feel in the crime scene. The article itself is a feast for the senses.
These are the passages that are most compelling for me.
" Brittle, artsy kids - like Matthews was in the '80s - don't usually win popularity contests. But Matthews had a gentle, infectious charisma, and he oozed empathy. "I always felt sorry for people who were made fun of. There were the kids that stunk, there were the kids that wore ragged clothes," he says. "It just wasn't right for anybody to be treated like that, just because of where they were born, who their parents were. Circumstance."
"She resented the time Matthews spent in front of his monitor instead of with her. They fought - Lori attacked him with words and fists, threw things. They wrestled to hours-long stalemates. He once cut her near the eye with his ring. After another fight, she moved out for nearly four months. Matthews couldn't put the case away. "I felt as guilty as if I were the one responsible," he says. "I was tortured by it."
"A few feet into the reeds, a golden retriever's bloated corpse lies on its side, flies picking at its liquefying eyes and genitals. To the right, among trash bags and soda cups, sits a pile of brown and white deer fur, loosely attached to leathery skin. And everywhere there are mandibles and animal hips, femurs and skulls, hair clumps and bone chips. A roadkill graveyard."
"Making the matches is mind-numbingly tedious: Families post all over the Web, searching for missing loved ones. Local coroners and cops, nudged by the Doe Network, upload pictures and vital statistics of their Does. Groups like the National Center for Missing and Exploited Children do the same. Networkers comb through it all like they were playing the kids' card game Concentration, digitized by Patricia Cornwell. Comparing death dates on coroner sites with last-seen-on dates on missing persons sites. Checking for scars, tattoos, anything that distinguishes the person from a crowd. Googling until the coffee runs out."
"There's nothing I can do about these people in my cemetery," Matthews says. But the Tent Girl, "this is one I can do something about." He doesn't seem to notice that he's still talking about her in the present tense.
Who is the target audience for this publication? How does the story relate to them? Does the story appeal to other demographic groups as well, and if so, why?
The techies are the target audience for this publication. The story relate to them because it featured technology ( e.g. google and the internet) and its application to real life situations. It appeals to other demographic groups as well, for it also featured solving a crime mystery, which most demographic groups will be interested in as well.
What "rules" did the writer break?
He didn't follow the 'Less is more" rule in describing the scenes and situations vividly. He also didn't end the same way he began. In the beginning of the article, the author gave us a picture that is like those crime scenes found in "mystery" or "police reports". In the end, the author gave us an insightful and more personal view of what happened as he provided us with details of him walking and talking with the brother of "tent girl" .
How does the writer end the story? Why is it effective?
The writer ended the story through a personal perspective, divulging his conversation with tent girl's brother and how it is visiting the grave of the tent girl (e.g. what it looks like, etc.). Though it broke the rule of ending the same way you began the story, it was very effective because somehow it sends goosebumps through your spine and make the whole picture that the writer painted, linger on your mind.
What captivates me about the story is that though it is very long, it kept me interested through his vivid description of each scene. Also, the fact that he is talking about applying technology to real-life -- in a NOT SO conventional way captivates me. Aside from making it as vivid as possible, the author painted a picture on how it really smell, sound and feel in the crime scene. The article itself is a feast for the senses.
These are the passages that are most compelling for me.
" Brittle, artsy kids - like Matthews was in the '80s - don't usually win popularity contests. But Matthews had a gentle, infectious charisma, and he oozed empathy. "I always felt sorry for people who were made fun of. There were the kids that stunk, there were the kids that wore ragged clothes," he says. "It just wasn't right for anybody to be treated like that, just because of where they were born, who their parents were. Circumstance."
"She resented the time Matthews spent in front of his monitor instead of with her. They fought - Lori attacked him with words and fists, threw things. They wrestled to hours-long stalemates. He once cut her near the eye with his ring. After another fight, she moved out for nearly four months. Matthews couldn't put the case away. "I felt as guilty as if I were the one responsible," he says. "I was tortured by it."
"A few feet into the reeds, a golden retriever's bloated corpse lies on its side, flies picking at its liquefying eyes and genitals. To the right, among trash bags and soda cups, sits a pile of brown and white deer fur, loosely attached to leathery skin. And everywhere there are mandibles and animal hips, femurs and skulls, hair clumps and bone chips. A roadkill graveyard."
"Making the matches is mind-numbingly tedious: Families post all over the Web, searching for missing loved ones. Local coroners and cops, nudged by the Doe Network, upload pictures and vital statistics of their Does. Groups like the National Center for Missing and Exploited Children do the same. Networkers comb through it all like they were playing the kids' card game Concentration, digitized by Patricia Cornwell. Comparing death dates on coroner sites with last-seen-on dates on missing persons sites. Checking for scars, tattoos, anything that distinguishes the person from a crowd. Googling until the coffee runs out."
"There's nothing I can do about these people in my cemetery," Matthews says. But the Tent Girl, "this is one I can do something about." He doesn't seem to notice that he's still talking about her in the present tense.
Who is the target audience for this publication? How does the story relate to them? Does the story appeal to other demographic groups as well, and if so, why?
The techies are the target audience for this publication. The story relate to them because it featured technology ( e.g. google and the internet) and its application to real life situations. It appeals to other demographic groups as well, for it also featured solving a crime mystery, which most demographic groups will be interested in as well.
What "rules" did the writer break?
He didn't follow the 'Less is more" rule in describing the scenes and situations vividly. He also didn't end the same way he began. In the beginning of the article, the author gave us a picture that is like those crime scenes found in "mystery" or "police reports". In the end, the author gave us an insightful and more personal view of what happened as he provided us with details of him walking and talking with the brother of "tent girl" .
How does the writer end the story? Why is it effective?
The writer ended the story through a personal perspective, divulging his conversation with tent girl's brother and how it is visiting the grave of the tent girl (e.g. what it looks like, etc.). Though it broke the rule of ending the same way you began the story, it was very effective because somehow it sends goosebumps through your spine and make the whole picture that the writer painted, linger on your mind.
Monday, February 25, 2008
Assignment # 2: The Manila Times School of Journalism
Katrina C. Guevarra February 26, 2008
Journ 111 – Feature Writing Professor Rome Jorge
Setting a New Standard in teaching Journalism
A school ran by professional journalists. Think it’s too far-fetched? Well, think again.
Being relatively new in the education industry, The Manila Times School of Journalism (now The Manila Times College) has been creating a name for itself as a school that not only provides theories essential for learning, but also gives intensive training for its students with its training programs in Print, Broadcast and English Proficiency.
“Our whole philosophy is about marrying theory with experience. That is also why we set up a TV and radio studio. We are big on giving students practical experience.”, said Dante Francis Ang, president of the Manila Times Publishing Corp. and The Manila Times College.
Ang tells us why they decided to come up with their own school for aspiring journalists, “We were frustrated with the quality of applicants to our newspaper, fresh grads from journalism schools who either didn’t possess the right skills or were competent but were already tainted by the system.” His father, Mr.Dante A. Ang, thought of establishing a school that will train students to be competent and skilled journalists. Thus, The Manila Times School of Journalism was born.
What sets the college apart from other universities is the students can work directly with the professional journalists in the Manila Times newsroom itself. “The fact that we have a daily newspaper makes the school unique, at least in the country and in Southeast Asia.”, said Ang.
Now on its 5th year, the school changed its name from The Manila Times school of Journalism to The Manila Times College --adapting the term “college’ as it offers new degree programs, AB English and AB History, starting school year 2008 -2009.
Being a student of the School of Journalism myself, I could truly say that the school was faithful to their mission of providing excellent training through practical experience. This is where the cliché of “Experience is the best teacher” proves true. For I believe that in my stay in the school I learned more from what I saw, heard and felt outside the classroom walls (especially during coverage and interviews) than when I was inside it.
Journ 111 – Feature Writing Professor Rome Jorge
Setting a New Standard in teaching Journalism
A school ran by professional journalists. Think it’s too far-fetched? Well, think again.
Being relatively new in the education industry, The Manila Times School of Journalism (now The Manila Times College) has been creating a name for itself as a school that not only provides theories essential for learning, but also gives intensive training for its students with its training programs in Print, Broadcast and English Proficiency.
“Our whole philosophy is about marrying theory with experience. That is also why we set up a TV and radio studio. We are big on giving students practical experience.”, said Dante Francis Ang, president of the Manila Times Publishing Corp. and The Manila Times College.
Ang tells us why they decided to come up with their own school for aspiring journalists, “We were frustrated with the quality of applicants to our newspaper, fresh grads from journalism schools who either didn’t possess the right skills or were competent but were already tainted by the system.” His father, Mr.Dante A. Ang, thought of establishing a school that will train students to be competent and skilled journalists. Thus, The Manila Times School of Journalism was born.
What sets the college apart from other universities is the students can work directly with the professional journalists in the Manila Times newsroom itself. “The fact that we have a daily newspaper makes the school unique, at least in the country and in Southeast Asia.”, said Ang.
Now on its 5th year, the school changed its name from The Manila Times school of Journalism to The Manila Times College --adapting the term “college’ as it offers new degree programs, AB English and AB History, starting school year 2008 -2009.
Being a student of the School of Journalism myself, I could truly say that the school was faithful to their mission of providing excellent training through practical experience. This is where the cliché of “Experience is the best teacher” proves true. For I believe that in my stay in the school I learned more from what I saw, heard and felt outside the classroom walls (especially during coverage and interviews) than when I was inside it.
Sunday, February 17, 2008
Exemplary feature article # 2
Freedom to Offend
Stephen J. A. Ward
In On Liberty, John Stuart Mill railed against the tyranny of majorities to silence contentious voices. Mill praised free speech in part because our fundamental beliefs crystallize into inert lumps of “dead dogma” when they are not challenged. A liberal society needs a large domain of free speech like the body needs a large supply of oxygen.
The violence that followed the publication of the cartoons of Mohammed in the Danish daily, Jyllands-Posten, was shocking. It prompted journalists to consider what a free and responsible press means in pluralistic democracies. The dispute showed that the popular phrase “a free and responsible press” may have become one of Mill’s dogmas, providing cover for troubling tensions just below the surface.
The arguments
Arguments for and against publishing and republishing the images came in two strengths – a “weak” and a “strong” version. The “weak” argument said publishers had a constitutional right to publish the images, if they so wished. The strong version was that editors “ought” to publish the images to stand up for free expression and to inform the public.
The argument for not publishing the images also had a weak and a strong version. The weak version took a middle way -- publishers had a legal right to publish but they could use their discretion because it was not “necessary” to publish the images to properly cover the story. Publication of the images would be “merely provocative.” Why unnecessarily offend Muslims, especially at a time of tension? Some editors added that publishing the images would have violated their standards against publishing offensive or graphic images. The stronger version argued that to publish the images was simply an abuse of press freedom, causing harm and little good. Publishers had an ethical duty not to publish the images.
Among the journalists who argued strongly for publication was Erza Levant, publisher of The Western Standard in Calgary, who told CBC radio that his paper has the constitutional right to re-publish the cartoons because, “it’s the central fact in the largest news story of the month and we are a news magazine, I guess our readers want to know the news.” In The Globe and Mail, Margaret Wente said on March 18th that democratic values of free speech and equality had to be defended against what she called the “multicultural myth” – the idea that “difference” makes Canada a better place. However, Ian Jack in London, editor of the literary magazine Granta, called the re-publication of cartoons an unacceptable abuse of free expression. A middle way was represented by major newspapers such as The Globe and Mail and The Washington Post. “It was a choice similar to not running images of dead bodies and offensive language,” said Leonard Downie, Jr., executive editor of The Washington Post. “We described them (cartoons).” Ed Greenspon, editor-in-chief of The Globe and Mail, wrote that the Jyllands-Posten had the right to publish the cartoons and Muslims had the right to protest, peacefully. But re-publishing would be both a “gratuitous and unnecessarily provocation, especially given what we knew about how offended Muslims . . . felt about the cartoons.” The Globe’s policy is to publish offensive material only when “absolutely necessary to the understanding of the story.”
“Offending” responsibly?
My own view favours publication, but it falls somewhere between these arguments. Legally I defend the right of editors to publish these cartoons, for whatever reasons. A liberal democratic society needs a relatively wide area reserved for controversial and, yes, offensive speech so long as it is not hate speech. Toleration of offensive speech is a difficult but fundamental feature of an open society.
I also believe that it is ethically permissible to publish and re-publish the cartoons if published in a contextualized manner. I think you can “offend,” responsibly. I do not say that editors have a “duty” to publish the images. Too much depends on context to make such a sweeping claim. But I do think that in certain contexts, there are serious reasons to support responsibly publishing the images.
A publication would be “merely provocative” if it simply published the cartoons under a headline that read: “Take that, you Muslims!” or otherwise showed contempt. But one could publish responsibly in an informed and non-contemptuous manner. How? By explaining the reasons why some Muslims oppose the depiction and the history of that belief; by examining the social and political causes of the protests; by avoiding simplified images of Islam; by speaking with moderate Muslims; by exploring how democracies might deal fairly with such issues.
What reasons would support thoughtful re-publishing? No doubt the images would still offend. But journalists would have discharged their duty to provide a diverse forum on a major issue, without allowing fear of offending or intimidation to limit the discussion. But is it “necessary” to see the images? It is difficult to respond to this objection because what is “necessary” to a story is quite subjective. To play devil’s advocate, I suggest that people need to see these cartoons in the press for themselves, rather than have them described, or by having to turn to Google. Today, I still talk with non-Muslim people who oppose the publications or talk about them with conviction, although they have not seen the cartoons. When they do see the cartoons, they have a greater understanding about the reasonableness of various positions.
Another reason to responsibly publish the images is that a publication might feel that members of the mainstream media should stand behind the principle of free expression, against clear threats of intimidation. Flemming Rose, culture editor of the Jyllands-Posten, said he published the cartoons not to mock Muslims but to test the limits of free expression. He said that recent incidents of self-censorship in Europe have caused “widening fears and feelings of intimidation in dealing with issues related to Islam.” Now isn’t this a crucial social issue? Is this being “merely provocative”? Therefore, it is not enough to say that something is offensive. The usual rule is that publications avoid offensive material if it serves no greater purpose than to shock or titillate. But that is just the issue in the cartoon debate. One can’t assume that publishing the cartoons serves only to provoke. Furthermore, not publishing the cartoons creates the danger of a slippery slope that leads from the cartoon case to the next story that offends deeply held beliefs. I do not see how the middle-way editors can publish other culturally controversial images or stories in the future, if the only test is whether the story is offensive to devout persons.
Freedom to offend
Finally, I am concerned that this whole torturous debate indicates that some people are too ready to think that the potential of causing “offence” is a knock-down reason not to publish something. We are in danger of losing a balance between freedom and responsibility. There are responsibilities to speak out, as well as to remain silent. A love of building bridges between cultures does not entail the silencing of those who may not want to build a bridge, or do not want to speak in measured tones. Of course we should educate citizens to tolerate and respect each other. But we should also teach that in a plural society, expect to be offended.
The right to offend trumps the right not to be offended. In light of the cartoon case, journalists need to ask not only, “What are the limits of a free press?” but also “What are the limits of social responsibility?”
http://www.journalismethics.ca/ethics_in_news/ward_freedom_to_offend.htm
Stephen J. A. Ward
In On Liberty, John Stuart Mill railed against the tyranny of majorities to silence contentious voices. Mill praised free speech in part because our fundamental beliefs crystallize into inert lumps of “dead dogma” when they are not challenged. A liberal society needs a large domain of free speech like the body needs a large supply of oxygen.
The violence that followed the publication of the cartoons of Mohammed in the Danish daily, Jyllands-Posten, was shocking. It prompted journalists to consider what a free and responsible press means in pluralistic democracies. The dispute showed that the popular phrase “a free and responsible press” may have become one of Mill’s dogmas, providing cover for troubling tensions just below the surface.
The arguments
Arguments for and against publishing and republishing the images came in two strengths – a “weak” and a “strong” version. The “weak” argument said publishers had a constitutional right to publish the images, if they so wished. The strong version was that editors “ought” to publish the images to stand up for free expression and to inform the public.
The argument for not publishing the images also had a weak and a strong version. The weak version took a middle way -- publishers had a legal right to publish but they could use their discretion because it was not “necessary” to publish the images to properly cover the story. Publication of the images would be “merely provocative.” Why unnecessarily offend Muslims, especially at a time of tension? Some editors added that publishing the images would have violated their standards against publishing offensive or graphic images. The stronger version argued that to publish the images was simply an abuse of press freedom, causing harm and little good. Publishers had an ethical duty not to publish the images.
Among the journalists who argued strongly for publication was Erza Levant, publisher of The Western Standard in Calgary, who told CBC radio that his paper has the constitutional right to re-publish the cartoons because, “it’s the central fact in the largest news story of the month and we are a news magazine, I guess our readers want to know the news.” In The Globe and Mail, Margaret Wente said on March 18th that democratic values of free speech and equality had to be defended against what she called the “multicultural myth” – the idea that “difference” makes Canada a better place. However, Ian Jack in London, editor of the literary magazine Granta, called the re-publication of cartoons an unacceptable abuse of free expression. A middle way was represented by major newspapers such as The Globe and Mail and The Washington Post. “It was a choice similar to not running images of dead bodies and offensive language,” said Leonard Downie, Jr., executive editor of The Washington Post. “We described them (cartoons).” Ed Greenspon, editor-in-chief of The Globe and Mail, wrote that the Jyllands-Posten had the right to publish the cartoons and Muslims had the right to protest, peacefully. But re-publishing would be both a “gratuitous and unnecessarily provocation, especially given what we knew about how offended Muslims . . . felt about the cartoons.” The Globe’s policy is to publish offensive material only when “absolutely necessary to the understanding of the story.”
“Offending” responsibly?
My own view favours publication, but it falls somewhere between these arguments. Legally I defend the right of editors to publish these cartoons, for whatever reasons. A liberal democratic society needs a relatively wide area reserved for controversial and, yes, offensive speech so long as it is not hate speech. Toleration of offensive speech is a difficult but fundamental feature of an open society.
I also believe that it is ethically permissible to publish and re-publish the cartoons if published in a contextualized manner. I think you can “offend,” responsibly. I do not say that editors have a “duty” to publish the images. Too much depends on context to make such a sweeping claim. But I do think that in certain contexts, there are serious reasons to support responsibly publishing the images.
A publication would be “merely provocative” if it simply published the cartoons under a headline that read: “Take that, you Muslims!” or otherwise showed contempt. But one could publish responsibly in an informed and non-contemptuous manner. How? By explaining the reasons why some Muslims oppose the depiction and the history of that belief; by examining the social and political causes of the protests; by avoiding simplified images of Islam; by speaking with moderate Muslims; by exploring how democracies might deal fairly with such issues.
What reasons would support thoughtful re-publishing? No doubt the images would still offend. But journalists would have discharged their duty to provide a diverse forum on a major issue, without allowing fear of offending or intimidation to limit the discussion. But is it “necessary” to see the images? It is difficult to respond to this objection because what is “necessary” to a story is quite subjective. To play devil’s advocate, I suggest that people need to see these cartoons in the press for themselves, rather than have them described, or by having to turn to Google. Today, I still talk with non-Muslim people who oppose the publications or talk about them with conviction, although they have not seen the cartoons. When they do see the cartoons, they have a greater understanding about the reasonableness of various positions.
Another reason to responsibly publish the images is that a publication might feel that members of the mainstream media should stand behind the principle of free expression, against clear threats of intimidation. Flemming Rose, culture editor of the Jyllands-Posten, said he published the cartoons not to mock Muslims but to test the limits of free expression. He said that recent incidents of self-censorship in Europe have caused “widening fears and feelings of intimidation in dealing with issues related to Islam.” Now isn’t this a crucial social issue? Is this being “merely provocative”? Therefore, it is not enough to say that something is offensive. The usual rule is that publications avoid offensive material if it serves no greater purpose than to shock or titillate. But that is just the issue in the cartoon debate. One can’t assume that publishing the cartoons serves only to provoke. Furthermore, not publishing the cartoons creates the danger of a slippery slope that leads from the cartoon case to the next story that offends deeply held beliefs. I do not see how the middle-way editors can publish other culturally controversial images or stories in the future, if the only test is whether the story is offensive to devout persons.
Freedom to offend
Finally, I am concerned that this whole torturous debate indicates that some people are too ready to think that the potential of causing “offence” is a knock-down reason not to publish something. We are in danger of losing a balance between freedom and responsibility. There are responsibilities to speak out, as well as to remain silent. A love of building bridges between cultures does not entail the silencing of those who may not want to build a bridge, or do not want to speak in measured tones. Of course we should educate citizens to tolerate and respect each other. But we should also teach that in a plural society, expect to be offended.
The right to offend trumps the right not to be offended. In light of the cartoon case, journalists need to ask not only, “What are the limits of a free press?” but also “What are the limits of social responsibility?”
http://www.journalismethics.ca/ethics_in_news/ward_freedom_to_offend.htm
Exemplary Feature Writing Sample 1
The fruits, and sorrows, of faith
Jul 12th 2007
From The Economist print edition
Belief clearly affects people's state of mind, but don't ask how
WHATEVER else they profess, most world religions say happiness is not as simple as it seems; earthly pleasures can easily prove to be a chimera, and true felicity is said to lie in overcoming selfish impulses, or in devoted service to others and to God. Where religions often disagree is on the result of this spiritual effort. Some speak of self-annihilation, others of union with God, others of a very personal sort of reward.
The Koran puts it simply. “Happiness in this life, and in the hereafter” is promised to “those who believe and lead a righteous life”—there is no other way. In the Christian tradition, there is much talk of joy and sorrow being intertwined: you can't have one without the other. Christian monastics cultivate a state known as charmolypi, joy-sorrow: tears for the woes of the world, and gratitude for God's mercy.
But on a more earthly level, sociologists agree that the practice of a faith and broad happiness with life do seem to be related, though nobody has much idea why. “We don't know whether people go to church because they are happy, or whether they are happy because they go to church,” says Andrew Clark, an economist who helped conduct a survey of 30,000 Europeans in 21 countries.
But if religion is a significant factor in making people satisfied, it should presumably show up somewhere in a global investigation of well-being, like the Gallup survey mentioned elsewhere on these pages. Dalia Mogahed, who oversees Gallup's research on Muslim opinion, has made some stark observations about that poll. There are, she notes, many Muslim countries where men and women alike are fed up with life. But of the ten places with the highest correlation between being female and (relatively) satisfied, nine are mainly Muslim: Afghanistan, Iran, Egypt, Turkey, the United Arab Emirates, Bangladesh, Palestine, Jordan and Morocco. Ms Mogahed says this reflects the travails of being a Muslim man as much as any blessings of being female. In traditional lands, where men expect to be breadwinners, many suffer the trauma of being jobless or doing hard, ill-paid work. Another factor, she thinks, is that one big source of female and child poverty in the West—single motherhood—hardly exists in Muslim societies.
Some may find such conclusions too complacent about the fate of Muslim women. Margot Badran, an American scholar of feminism in Islamic countries, says that in most of them there is a palpable sense of grievance among women. “But that doesn't imply that they are miserable, or consumed by victimhood—it just tells us we need a more nuanced picture of life than any simple spectrum of happiness can capture.”
http://www.economist.com/world/international/displaystory.cfm?story_id=9481510
Jul 12th 2007
From The Economist print edition
Belief clearly affects people's state of mind, but don't ask how
WHATEVER else they profess, most world religions say happiness is not as simple as it seems; earthly pleasures can easily prove to be a chimera, and true felicity is said to lie in overcoming selfish impulses, or in devoted service to others and to God. Where religions often disagree is on the result of this spiritual effort. Some speak of self-annihilation, others of union with God, others of a very personal sort of reward.
The Koran puts it simply. “Happiness in this life, and in the hereafter” is promised to “those who believe and lead a righteous life”—there is no other way. In the Christian tradition, there is much talk of joy and sorrow being intertwined: you can't have one without the other. Christian monastics cultivate a state known as charmolypi, joy-sorrow: tears for the woes of the world, and gratitude for God's mercy.
But on a more earthly level, sociologists agree that the practice of a faith and broad happiness with life do seem to be related, though nobody has much idea why. “We don't know whether people go to church because they are happy, or whether they are happy because they go to church,” says Andrew Clark, an economist who helped conduct a survey of 30,000 Europeans in 21 countries.
But if religion is a significant factor in making people satisfied, it should presumably show up somewhere in a global investigation of well-being, like the Gallup survey mentioned elsewhere on these pages. Dalia Mogahed, who oversees Gallup's research on Muslim opinion, has made some stark observations about that poll. There are, she notes, many Muslim countries where men and women alike are fed up with life. But of the ten places with the highest correlation between being female and (relatively) satisfied, nine are mainly Muslim: Afghanistan, Iran, Egypt, Turkey, the United Arab Emirates, Bangladesh, Palestine, Jordan and Morocco. Ms Mogahed says this reflects the travails of being a Muslim man as much as any blessings of being female. In traditional lands, where men expect to be breadwinners, many suffer the trauma of being jobless or doing hard, ill-paid work. Another factor, she thinks, is that one big source of female and child poverty in the West—single motherhood—hardly exists in Muslim societies.
Some may find such conclusions too complacent about the fate of Muslim women. Margot Badran, an American scholar of feminism in Islamic countries, says that in most of them there is a palpable sense of grievance among women. “But that doesn't imply that they are miserable, or consumed by victimhood—it just tells us we need a more nuanced picture of life than any simple spectrum of happiness can capture.”
http://www.economist.com/world/international/displaystory.cfm?story_id=9481510
Tuesday, February 12, 2008
Where the ink dries up
This is a test post.
Welcome to "Where the ink dries up", a blog created for the sole purpose of a requirement for feature writing class under Professor Rome Jorge.
Welcome to "Where the ink dries up", a blog created for the sole purpose of a requirement for feature writing class under Professor Rome Jorge.
Subscribe to:
Posts (Atom)