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As I reported this morning, the Post’s ombudsman Deborah Howell told me in a phone conversation that she was not sure whether the Post had official, written guidelines regarding journalist speaking engagements. However, it appears there are relevant written guidelines posted online, made available by the American Society of Newspaper Editors. Assuming that’s still a current document, it is difficult to see how Broder and Woodward’s extracurricular engagements square with the Post‘s own rules. Some representative quotes:
This newspaper is pledged to avoid conflict of interest or the appearance of conflict of interest, wherever and whenever possible. We have adopted stringent policies on these issues, conscious that they may be more restrictive than is customary in the world of private business…
To avoid real or apparent conflicts of interest in the coverage of business and the financial markets, all members of the Business and Financial staff are required to disclose their financial holdings and investments to the assistant managing editor in charge of the section. The potential for conflict, however, is not limited to members of the Business and Financial staff. All reporters and editors, wherever they may work, are required to disclose to their department head any financial interests that might be in conflict or give the appearance of a conflict in their reporting or editing duties…
We freelance for no one and accept no speaking engagements without permission from department heads…It is important that no freelance assignments and no honoraria be accepted that might in any way be interpreted as disguised gratuities.
More from Ken Silverstein:
Commentary — November 17, 2015, 6:41 pm
The Clintons’ so-called charitable enterprise has served as a vehicle to launder money and to enrich family friends.
The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.
Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:
Kentucky is the saddest state.
An Italian economist was questioned on suspicion of terrorism after a fellow passenger on an American Airlines flight witnessed him writing differential equations on a pad of paper.
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“Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'”