Here is a story
published in 1996 relating to online journalism ethics. This is
over ten years old and it amazingly addresses many of the most
basic principles in journalism being questioned today.
The following is an excerpt from the article:
"Following those deeper and broader definitions of our
principles can certainly improve journalism as we know it today. And
it's obvious that in the unlimited newshole of new media, we can
practice those values like never before.
So it's tempting to say we'll just transfer the values into cyberspace, and get on with it.
But it may be early to say that: online media can take us
and our readers to places journalism hasn't been before. And in those
places, our values may be obstacles or antiques."
What a prediction!
We sat down with Michael Hartman of Barlow Hartman Public Relations to get his take on the current state of Broadway publicity.
(theSITUATION): Has the change in the speed of information changed the way publications cover the theatre world?
(MICHAEL HARTMAN): The speed of information has
changed the way publications cover the theatre world as well as every
other area of interest. When Tom Cruise and Katie Holmes
were married, People.com broke the story, not People Magazine.
It’s the same with theatre coverage. Up until about seven years
ago there once was a very special thing in the press agent/journalist
relationship called an exclusive. The ability to give a big story
exclusively has been diminished by the immediate exchange of
information on the Internet.
(tS): Are reviews more or less important for a production
that they were ten years ago? My gut says they are more
important… but, at the same time, there is a wider selection of reviews
that have a bigger impact rather than just one (i.e., NY Times, etc.).
(MH): Reviews for Broadway shows will always be
important as long as tickets are $100, or higher. For the avid
theatergoer who has an advanced interest in the industry the Internet
provides a place to see non-critical, positive coverage to balance
reviews if they’re negative. A review remains important for the
ticket buyer who only goes to a Broadway show occasionally and doesn’t
seek out theatre coverage on a regular basis, in print publications or
the Internet. It may the most impacting print coverage they
see. Chat rooms and blogs are a reality and here to stay.
This makes it possible for anyone with a computer to post a review of a
show even after the first preview, when the critics won’t see the show
for at least three weeks later in most cases. On specific theatre
websites there are so many reader reviews with many disparate opinions
that the voice of the professional theatre critic is distinguished from
this mostly amateur, critical free-for-all. However, all pieces
of a publicity campaign support only one thing – word of mouth.
(tS): Has the change in the distribution of content changed
the way you work? One placement in the AP puts you on thousands
of websites. Also, video footage is not just a one time hit… it’s
archived online, syndicated to additional websites, etc.
(MH): The good news about the rapid and wide
distribution of content is that it’s immediate. The bad news
about the rapid and wide distribution of content is that it’s
immediate. If the news is positive, you’re ecstatic about the reach and
how it proliferates and compounds. If the news is negative, you’d
like to go home now. There is a definite interest in all
campaigns I work on to create content, whether it’s editorial, video
parody, interactive voting, games, sneak peak of production footage,
downloadable songs from upcoming cast recordings, that ideally will be
passed around and will grow virally, most importantly to those who
don’t seek out theatre coverage on their own.
(tS): On a recent panel, you mentioned a story about an
online public relations issue you had to deal with. Please fill
our readers on this.
(MH): The Internet will and has already called into
question the conventions of theatre journalism. I worked on a
show out of town recently where the theatre critic from a major daily
newspaper hosted a blog on its website soliciting reviews of theatre
goers who’d seen the show in early previews, a full three weeks before
the press was to review. On the same show in New York, an
internet gossip journalist came to a benefit of a high-profile new
musical during previews and posted a review the next day. This
has created a new idea in journalism: the Blog Defense.
“That isn’t a review, that’s a blog.” I fear that we’ll be
seeing a lot more of the Blog Defense. Even before the domination of
the Internet, critics in many markets outside New York have resisted
waiting the full preview period and review a show, especially if it’s
highly anticipted. In journalism it’s about getting the story
right but more importantly it’s about getting it first. The
immediacy of breaking news on the Internet seizes the drive and
instinct of a print journalist to get the story first and makes them
insane.
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