Salvador Duran

I could not help to notice that in the two-year journalism master's program the students are a bit younger than those of us in Specialized Journalism.  Don't take offense at my observation, but it is a fact, and the truth cannot be denied.  So on Monday, the day we had that nice orientation dinner at USC's Davidson Conference Center, I decided to sit at a table occupied mainly by the younger generation of up and coming journalists because I wanted to get a sense of their expectations once they go out in the jungle to fulfill their dreams as skilled and capable reporters.

After yet another inescapable brief introduction of those students at the table, the conversation quickly turned to the topic of their interest.  It was the concept of multi media and its unavoidable integration into the establishment.  I must say that I was impressed by some of their mastery of absolutely everything there is to know about Myspace, Facebook, streaming videos, blogging, googling, twittering, etc.  

I won't name the students since I did not asked them for permission to publish who they are, and since it was not my intention to write about it originally. Plus, I do not remember some of their names (hopefully that is not a sign of anything.)  It does not matter, however, because many of them were sitting at your tables, and more then likely you would have noticed if you crossed any words with them that they all are coming into the program somewhat predisposed and knowledgeable to a greater degree about new multi media and technology, than those of us that may be "mid career" reporters, so accustomed to the old ways, that we are here to play catch up, in order to re-shape our own future, whatever it may be and wherever it may lead us.

Nonetheless, during our conversation I also realized that this is "the" new army of storytellers, who may be here to replace those that have chosen not to break away from old paradigms, and that these soldiers armed with pens and computers are certainly here to write a new chapter in the history of our profession,--which time will tell-- is a definitive section, but not necessarily the end of the saga.  It is, however, a life-sucking, bleeding chapter as our industry goes through tremendous changes, a revolution style metamorphosis that began with the emergence of the Internet.    

It also helped me recognized that by no means the new crop of journalists has been produced in a vacuum, quite the contrary.  Although multi media is providing some autonomy, young reporters are not fully independent from the not so distance past because they really also need a point of reference to mature.  And this is where we, the older generation, come in.  For those of us with experience, in addition to continue doing what we already know how to do in live newsrooms, we can also serve as a learning tool that can ultimately help the next generation create the parameters of the emerging ways to tell everyday stories.  Let's call it journalists integration: adapting to a new model . So if we open up our minds and embrace the present and the near future, learning the "new methods" of operation with bravery and courage, we should complement each other instead.  If so, there should be no dichotomy to worry about. 

 Salvador Duran

Our first video assignment proved to be a real challenge.  I had almost taken for granted that shooting images for a journalistic purpose is not a job, but a form of art.  So when I set out to go on campus looking for a character that would be unique and compelling, I never thought that as a cameraman, it had to be a different part of my brain that needed stimulation.  Different in the sense that as a television reporter the main focus is on gathering information while covering a story, and just as important, but secondary, the image that goes with it, because, as it goes, getting the video is the undertaking of the photographer, not an enterprise for the journalist.

While the relationship between a reporter and a cameraman has to be intricate in nature in order for their work to make sense, there are also differences in the skills that the pair has to polish, each on their own, to really make the "marriage" between the two a success. 

Never was this concept so clear to me until the day that I had to go out with my flip camera to find my story.   Originally I had opted for the easy way out.  I went home, picked an immobile subject (a statue in my garden), turned on my flip and followed the instructions we had learned in class that day from the BBC model to shoot in sequence.  Subsequently, I uploaded it on my new account I had created on youtube.com and posted it online.   I called it "Statue in the Garden."  It was a piece of cake. 

After my Professor Andrew Lih pointed out that he was looking for the human element in my story, I realized that even though the video of the statute was acceptable, in the real world, the vast majority of subjects that we encounter are breathing human beings.  So concentrating on a more specific idea, I set out to find one right away.  

Unique and compelling was in my mind.  Surely in this university most people fit the profile, so I wasn't too worry about finding someone.  Sure enough, as I was exiting the Annenberg building I saw a subject that was out of place, but perfect for my assignment.  So I followed him.  He was not a student or a professor.  He was a  "Paletero" or and ice cream man trying to make ends meet.  He was pushing a cart full of ice cream, as far away from USC security as possible, while trying to attract his customers' attention by ringing a bell.  My reporter's hat went on first.  After getting his consent to record him, I started to ask him what he did, and why was he here.  But as I interviewed him, I instantly realized I had to change channels by putting on a hat new to me--that of a cameraman.

I literally had to turn the table on me when I thought of the next question because now I had to figure out how to tell my character's story through the lens that was in my hand.  The images not only had to tell a story, but for a full sequence to be accomplished, the video recorded in any way possible had to have meaning, wide shots, medium shots and close-up of my subject.

As I went home to produce and upload "El Paletero: The Ice Cream Man," that day I rapidly climbed to a new level of respect for my cameramen and women I work with. Moreover, I understood that my partners in crime, while I am out there covering stories to write them, they are not just "cameramen or women," they are photojournalists with just as much responsibility and commitment to the same story we are both covering. Putting it on video is their craft, as much as it is mine to putting it in writing.  Both come together in the edit bay before it makes air, harmoniously as all marriages should be.

Salvador Duran

I don't know about you, but I am a Michael Jackson fanatic, and I'm going public with this revelation today.  How do I know about my admiration with such certainty?  Well, as a teenager I learned to "moonwalk" and to dance a couple of other inspiring and legendary steps from "Thriller" and "Beat It," none of which you will see me performing on any stage any time soon in an effort to avoid making a fool of myself in your presence.  You can go to Comedy Central for a dose of absurdity and humor.  I also bought all of his music, which I have on my three ipods, in CD's in my car, and on long play formats in my garage for those of you that are old enough to remember what they are.  I went to all of his concerts in Los Angeles back in the 80's at the height of his career. And the icing on the cake for me is the fact that I was able to obtain an autograph picture of Michael Jackson that I so proudly received from the singer himself at the doorsteps of his Encino home about twenty-five years ago.  Yes, in case you are wondering, I was one of those adolescents that would ditch school to go stand outside his home in hopes of getting a glimpse of the mega star.

Despite the fact that his life style was by our standards eccentric and controversial, I still mourn his death as if someone in my family had died.  So as you can imagine, the impact of his death was immediate, but that very same day Thursday June 25, 2009, I, Michael's #1 Salvadoran fan, had to put all those emotions of loss and sadness aside, as I was pulled out of a short vacation by my executive producer who sent me directly to UCLA's Ronald Reagan Medical Center to cover the events of what has become one of this Summer's major international stories. 

The first days of coverage were intense, but straightforward as it was relatively easy to move on from one scenario to the next, as the information for the breaking news was easy to verify.  Los Angeles Fire Department verified responding to the 911 call at Michael's rented mansion in Holmby Hills.  UCLA confirmed his death through the singer's brother at a news conference.  Los Angeles Police Department corroborated the details of an on-going investigation at the house of the King of Pop. And the coroner's office substantiated that its chief doctor discovered drugs in Michael's system, however, toxicology tests would be needed before a cause of death could be determined.  All media reported it as such accurately. 

Nonetheless, it was at this precise moment that reporting new elements in story became tougher because the detectives place a hold on the case until they concluded their investigation, which meant that all new information became confidential.

Since ratings were high and the interest by the public in the intricate details even higher, the pressure to break any news about his death was immense.  And many journalists, unfortunately, fell into the trap of a guessing game.  Indeed, the media reacted with speculative journalism, a very dangerous style of reporting because it lends itself to inaccuracies.  But no one seemed to care as long as reporters were talking about the idol of millions around the globe.  It was almost permissible.

But how was everyone able to hide behind this smokescreen?  The media has pulled it off by citing "unnamed sources," some questionable, and by bringing into the discussion the so-called "experts" to analyze the potential facts.

This practice, however, undermines a basic journalistic principle as stated by Bill Kovach and Tom Rosenstiel in our summer assignment The Elements of Journalism, which affirms, "The essence of journalism is a discipline of verification."

No wonder it feels like standing on quick sand when you're there.  So what has happened?  What has gone wrong with the coverage of the death the King of Pop.  In many news outlets, cannot call it fair and cannot call it balance, can you?  I'm going with the Los Angeles Times columnist Steve Lopez on this one, "If it isn't verified, don't use it."  I have to go, I'm listening to "Leave me alone" on youtube.com, and I'm losing my concentration.

Salvador Duran