Conflicts of Interest: What Happens When You’re Too Close?

By: Adrienne Green | ag881210@ohio.edu

In the media industry, encountering conflicts of interest is inevitable. Journalists and critics are people too right? Presumably they write and report on the subjects that they do because they have a vested interest in them—music critics love music, and food writers are passionate about food, technology writers are usually techies. Often times reporting on specialized topics implies that these beat writers/reporters are in the position to receive perks, ones that are more often than not partially essential for the journalist to do his or her job.

(Photo Credit: http://blogs.ocweekly.com)

Soft News: Do perks change what is objective and truthful?

Anyone who has been trained in a professional media environment has been taught that two of the most important aspects of journalism are truthfulness and objectivity. When conflicts of interest arise they can play on personal or professional biases that may detract from those two central values. For example in coverage of food, wine, travel, technology, and many other deviations from “hard news” stories, promotional materials, samples and trips can greatly assist a writers ability to thoroughly give their recommendation or assessment. But what happens when these necessary gifts keep on giving? Is the credibility of the journalistic work or the beast as a whole in jeopardy? Within that same example, when a travel journalist accepts a free trip to cover a resort or event, can their analysis of the destination’s services still be trusted in the same way?

(play at 1:50)
(link: http://www.artistshousemusic.org/videos/ethical+concerns+in+music+journalism)

This discussion references an age-old discussion that boils down to money. It is the generally accepted practice that paying for information or multimedia supplements is frowned upon for news stories. Those that adhere to hardcore ethical values, may believe that this practice extends to complimentary items like dinners, wine, CD’s, press junkets and trips. Others may think that people who do not cover hard news are considered entertainment or lifestyle reporters, and thus are not subject to such stringent guidelines such as SPJ or RTDNA Codes of Ethics. News writers are held to such a high standard because they are challenged to present their audience with facts that support the most honest truths that can be portrayed. Journalism professionals that cover more lifestyle or entertainment topics such as those discussed earlier, however, are often only asked to use their body of knowledge to give their recommendation or critique. Hard news values obviously require absolute objectivity, but does the subjective nature of reviews of entertainment products, art, and lifestyle topics alter the relationship that these journalists can have with ethics?

Media Conflicts: Does who you work for change what you can say?

            Many professionals have found a solution for this debate by refusing to accept any non-essential gifts or favors from the people or events they are covering. Many news organizations that have lifestyle, entertainment or culture sections have set a practice of paying the expenses their reporters incur while on the job. TheAssociation of Food Journalists encourage their members to follow all journalistic standards of their peers on other beats, including the idea that they must differentiate the roles they play as reporters from those they have as critics and follow guidelines accordingly. Here is an example of what they say about accepting perks:

“Pay in full for all meals and services. Don't accept free meals or use gift certificates donated by the restaurant or a special-interest group. Publications should strive to budget enough money for restaurant visits so the reviewer can do the job without having to resort to personal funds to help pay the bill.

If a restaurant critic is recognized, or accompanied by a person known to the kitchen, and the restaurant sends over free food, request that the cost of the items be added to the check. If such an incident occurs, it should be acknowledged in the review.”

But, what happens to those with the skills but no one to foot their bill? Does this mean that only Conde Naste Traveler and the New York Times arts section will be able to have coverage of these topics because they have the money to sponsor their reportage?