The only thing that gives you, me, and anyone else in this great country the right to go amok is the Constitution. And if there’s a question about that, thank God there are lawyers at the Asian Law Caucus to make sure that we get every last right coming to us.
ALC makes sure our silence isn’t confused for a tacit acceptance of any injustice that may come our way. Groups like ALC on the West Coast and the Asian American Legal Defense Fund on the East Coast fight for us and earn our support. And at this year’s ALC fundraising dinner in San Francisco this Thursday night (http://www.brownpapertickets.com/event/62245), the group is adding a new weapon to its arsenal–the Fred T. Korematsu Institute for Civil Rights and Education.
Its principle goal is to make sure no one forgets who Fred Korematsu is.
Please tell me you know who Fred Korematsu is.
Continue reading Do you know Fred? The new Fred T. Korematsu Institute, the Asian Law Caucus dinner, and the art of going amok softly
I’ve always thought the first 100 days was an odd milestone. Like covering anniversaries of big events. It’s a good hook for a slow news day. Unfortunately, the Obama’s first 100 days seems less important than the possible incubation period since the president’s trip to Mexico. Continue reading On Obama’s First 100 days, Swine flu and Arlen Spector
One thing more thing on the Russell Crowe movie: It does have plenty of minorities sprinkled in the newsroom, except of course in the lead roles. There’s the black city editor who hounds Cal. There’s a few black writers seen at their desks. And an Asian guy who could be an editor or the legal guy.
And they’re all working in a place that looks like a fire hazard.
I didn’t hear my kids say, “Gee, Dad, I want to work there.”
It must have seemed to them like a white collar coal mine.
Still, the lack of diversity in journalism may actually be a good thing now. Maybe minority journalists are lucky that we’re not the lead rats on the sinking ship.
I suppose that depends if journalism is LIFO (last in, first out) or FIFO (first in, first out).
In survival mode, the state of journalism makes it impossible to sustain any kind of racial equity. And retention rates for talented minorities were low even before the decline of the industry. If anything, media companies will need better affirmative action programs to make sure journalism and the media business doesn’t stay all-white for another 100 years.
As both a former TV and newspaper reporter, I did note how in the journalism movie, convention has turned the glamorous TV reporter into the dramatic chorus. Formerly, a director would simply flash a newspaper headline, filling the movie screen in bold type to emphasize a plot point.
So old school. But soon even an anchor or a breathless reporter summing up the plot will seem outdated.
In the future, we’ll all just get twittered.
Russell Crowe in his new movie “State of Play” is as pitch perfect as it gets in his depiction of the good old-fashioned journalist.
It was both nostalgic and sentimental for this old reporter. Like an old cowboy looking at a Western.
As Cal McAffrey, ink-stained wretch, Crowe uses the back seat of his aging Saab as a combination trash-can/file cabinet. He drives while listening to loud Irish music, so he has a touch of the ethnic journalist in him. He likes his car so much, his apartment décor resembles his car. Outward appearances be damned, McCaffrey considers fashion an affront to the truth, which of course, is all he cares about, no matter how painful it is.
The movie centers around a basic dilemma for journalists: Who’s a friend? Who’s a source? Who can you sleep with?
And the truth is found the old fashioned way. No guns.(Only the bad guys have those). No superhuman powers. McAffrey Crowe just asks questions; of editors, sources, colleagues, himself. In the end, what’s left are just the facts. No opinion. No blogs. Continue reading State of play: My analog weekend with Russell Crowe, Asparagus and the Tubes