Monday, November 22, 2010

Is Brendan Kiley A Wrong-Headed Asshole?

Over at Just Wrought, NewsWrights Producer and playwright Paul Mullin summarizes the a.WAKE.ning event we did last week. We had a short performance from The New New News and a really excellent panel discussion featuring many working journalists.

The most lively exchange of the night, as Paul writes, was between Art Thiel and Brendan Kiley (emphasis mine):

Several good friends gave me their feedback in the days after and nearly all of them specifically mentioned the earnest and well-argued exchange between Art Thiel and Brendan Kiley regarding the definition of a journalist. Is it, as Art argued, an expert in a certain field or, per Brendan, an aggressive novice? One friend clearly felt Brendan played the wrong-headed asshole in the debate; the other friend, however, remarked on how freaked out he was by what he viewed as Art’s vehement defensiveness.
As fashionable as it is to shit on Brendan Kiley, I actually want to jump in and defend him from this anonymous source.

Kiley's point wasn't exactly that the ideal journalist is an aggressive novice. His point was that the defining characteristic of a great journalist is courage, contra Thiel's contention that the defining characteristic is expertise. But, in fairness, Kiley didn't do a terrific job of articulating that idea.

It seemed to me that both Kiley and Thiel were describing a journalistic ideal through the frame of their own self-perception. Art Thiel is clearly an expert. Kiley is, by his own admission last Monday, not a trained journalist, and when engaging in long-form pieces like his recent series about tainted cocaine, not an expert either.

I actually agree with both men. My ideal journalist is a person who is both expert and courageous: people like Charlie Savage and Jane Mayer. These are the heroes that bring dark deeds to the light.

So, no, Brendan Kiley wasn't wrong. He just wasn't completely right.



Thursday, November 11, 2010

From The Actors #2

We asked our actors from The New New News Staged Reading to give their thoughts on the art and process. Here's a few words from Betty Campbell. - ed.

First of all want to say thanks to NewsWrights for doing what you are doing. I am a big fan and you are dealing with ideas that really reverberate with me as vitally important: Information is power; money controls flow of information; the impact of modern technology on the creation and dissemination of information; TMI is just noise. I think it's scary.

And for you, in a process that is collaborative, to create a piece of theatre that is entertaining, that is really about important ideas, without being polemical is sure a challenge. But you're definitely on the way. What we read on the 24th (and the good comments you got from cast and audience that day) has so much great stuff in it and I don't have the kind of smarts that could really advise you how to make it better....I could see enough there to make more than one play (maybe a separate one that is about the relevance of journalism/ professor/ tenure).

Georgiana* had a good statement..."Tis a gift to be simple". I so look froward to the next iteration of The New New News.


*Georgiana was Betty's character in the staged reading; she's an elderly Seattleite whose political blog becomes suddenly and surprisingly popular.

Thursday, November 4, 2010

Why I'm Excited for a.WAKE.ning

It's pretty simple -- because you'll (probably) never see these local media luminaries on a single stage ever again.

NewsWrights Producer Tom Paulson, NPR global health blogger and 20-year veteran of the Seattle P-I, will moderate a panel discussion on new media. The panel is scheduled to include Pulitzer Prize-winning P-I political cartoonist Dave Horsey, Monica Guzman of Intersect.com, Publicola's Josh Feit, local sportswriting legend Art Thiel, The Stranger theatre critic Brendan Kiley, and Chris Grygiel, coordinator of political coverage for the P-I blogs.

Toss in a free drink, snacks, live theatre, interactive media art and original commissioned visual work, and you have an epic value for your $20 ticket.

Why do we need the money? Because we're paying real wages to real actors and going on a three-location tour. It's a great event for a great company and I hope you'll join us.