Q&A: AP Travel Editor Beth Harpaz

Beth Harpaz oversees The Associated Press’ global coverage of travel, keeping it practical, on-trend and authoritative. Here, she previews a number of new columns debuting this month and explains why AP offers the best “travel perks”:

AP Travel Editor Beth Harpaz (AP Photo).

AP Travel Editor Beth Harpaz (AP Photo).

AP serves diverse group of news organizations scattered across the map. What do their editors look for when it comes to travel coverage?
There’s so much content online these days, but AP Travel is different from what’s out there. No. 1, we don’t take free trips, so you can trust what we write. No. 2, we can provide a comprehensive guide to a destination in 800 words, so you don’t have to slog through a million websites. No. 3, our stories all have input from local staffers that have local expertise. And No. 4, we’re always on top of the news, writing about the latest attractions, events and exhibits, not just the evergreen content in out-of-date guidebooks.

What new columns do you have planned and how do they reflect current travel trends?
We’re launching four new columns this month:

  • NEIGHBORHOODS will look at an interesting place to spend a few hours. The column was inspired by a British visitor in NYC who told me, “I don’t want to be a tourist. I just want to hang out in a real neighborhood.”
  • SERENITY NOW will look at beautiful, peaceful places, whether it’s a trail or beach in the great outdoors, or a garden, church or scenic view in a quiet corner of a city.
  • BLEISURE BITS refers to “business-leisure” _ ideas for time-crunched business travelers to sneak away from meetings for a quick outing: an interesting attraction, a morning run in a local park or unique shopping expedition.
  • ESSENTIALS will offer a comprehensive guide to a destination in 800 words with four sections: Classic Attractions, What’s New, Tips and Hanging Out.

So what’s the best “bleisure” trip you’ve ever taken?
I went to a conference in Tampa, Florida, that ended on a Friday night. So I booked my return for Saturday afternoon and spent the morning at Anna Maria Island, a beautiful local beach.

AP Travel Editor Beth Harpaz visits with monkeys on a trip to the Columbia Amazon. (Photo courtesy Beth Harpaz).

AP Travel Editor Beth Harpaz visits with monkeys on a trip to the Columbian Amazon. (Photo courtesy Beth Harpaz).

How does AP leverage its footprint in every state and around the world for travel coverage?
Many AP travel stories are written by people who live in the places they’re writing about, so they are truly experts. And when we run stories by reporters who merely visited a place on vacation, I consult with the local bureau to make sure we’re getting things right. I also get a lot of press releases claiming new trends, and I count on local bureaus or beat reporters, like our airlines team, to tell me whether something is hooey or worth pursuing.

What tops your list of places to visit this year?
I’m on a geeky quest to visit all 50 states. Last year I knocked off Kansas, Missouri and Oklahoma, loving everything from the Cowboy Museum to the Tallgrass Prairie. This year I’m headed to Indiana to the Kurt Vonnegut Museum and Wisconsin for the cheese tour. I cannot WAIT! Only four states left after that – Idaho, Montana, Mississippi and North Dakota.

What’s the best perk of your job?
AP is like a big family. When I’m traveling, I can reach out to our bureau wherever I’m going and ask, “Hey, where should I eat? What should I do? What’s a cool neighborhood?” It’s like having a cousin in every city!

Harpaz came to the AP after stints at the Staten Island Advance and The Record of Bergen County, N.J. She covered everything from Hillary Clinton to 9/11 before becoming AP Travel editor in 2004. She’s a lifelong New Yorker and volunteers as a Big Apple Greeter, taking tourists to interesting neighborhoods in Brooklyn. She’s also the author of three books. Join the 75,000 others who follow her on Twitter @AP_Travel

Persistence and source work pay on big political story

In a note to staff, Managing Editor for U.S. News Brian Carovillano explains how a reporter who cultivated sources on the statehouse beat kept AP ahead on a story that resonated beyond state borders:

In early January, Oregon Gov. John Kitzhaber was sworn in for an unprecedented fourth term. Last week, he announced his resignation — a swift and spectacular fall that was adroitly chronicled by Salem, Oregon, correspondent Jonathan J. Cooper.

In this Jan. 12, 2015 file photo, Oregon Gov. John Kitzhaber escorts his fiancee, Cylvia Hayes, onto the House floor before he is sworn in for an unprecedented fourth term as Governor in Salem, Ore. Kitzhaber announced his resignation Friday, Feb. 13, 2015, amid allegations Hayes used her relationship with him to enrich herself. (AP Photo/Don Ryan, file)

In this Jan. 12, 2015 file photo, Oregon Gov. John Kitzhaber escorts his fiancee, Cylvia Hayes, onto the House floor before he is sworn in for an unprecedented fourth term as Governor in Salem, Ore. Kitzhaber announced his resignation Friday, Feb. 13, 2015, amid allegations Hayes used her relationship with him to enrich herself. (AP Photo/Don Ryan, file)

Allegations that Kitzhaber’s fiancee had used their relationship to win contracts for her consulting business had swirled around the governor for months. On Monday, the state attorney general announced a criminal investigation. On Tuesday, Kitzhaber asked Oregon’s secretary of state, Kate Brown, to return from a conference in Washington, D.C. That fueled rumors he might step down because, under the state’s constitution, she would succeed him. But after meeting with Brown, Kitzhaber said he had no intention of quitting. Brown then released a statement suggesting Kitzhaber was unstable.

On Thursday, Cooper got a scoop when he reported Kitzhaber had in fact decided to leave the state’s top job, but then changed his mind. Cooper’s sources were three people in the governor’s inner circle. Cooper, through his previous beat reporting on the disastrous rollout of Oregon’s health insurance website, had developed deep and reliable sources at the Capitol who trusted him to get his facts straight. As Kitzhaber faced growing pressure to step down, people within the administration turned to Cooper to let him know the governor had convened his aides on Sunday, Feb. 8, to say he planned to step down, but then he changed his mind.

On Friday, Cooper, again citing sources, reported that Kitzhaber had reversed course again and would indeed resign. About a half-hour later the governor announced he would leave. But Cooper’s long day and week wasn’t over. On Friday night, working yet another source, Cooper obtained a copy of a federal subpoena that confirmed federal agents were probing the influence peddling-scandal.

Oregon Secretary of State Kate Brown is sworn in as Oregon Governor by Oregon Chief Justice Thomas A. Balmer in Salem, Ore., Wednesday, Feb. 18, 2015.  John Kitzhaber, elected to an unprecedented fourth term last year, announced last week that he would step down amid allegations his fiancee used her relationship with him to enrich herself.  (AP Photo/Don Ryan)

Oregon Secretary of State Kate Brown is sworn in as Oregon Governor by Oregon Chief Justice Thomas A. Balmer in Salem, Ore., Wednesday, Feb. 18, 2015. John Kitzhaber, elected to an unprecedented fourth term last year, announced last week that he would step down amid allegations his fiancee used her relationship with him to enrich herself. (AP Photo/Don Ryan)

Statehouse reporting is a cornerstone of our strategy for U.S. News and is one of the key things that sets AP apart from the competition. But just being in every statehouse isn’t enough. Cooper’s work shows how an enterprising and well-sourced reporter can help set the news agenda on even the most competitive and spectacular stories. His Friday story about the resignation and federal investigation was the lead story on Yahoo News and MSN, and The New York Times cited AP when it referred to the subpoenas. The biggest TV stations in the Northwest led their noon newscasts citing AP’s NewsAlert that Kitzhaber would announce his resignation.

For his persistence and source work on a huge political story that captured the nation’s attention, Cooper will receive this week’s $300 Best of the States prize.

From Hollywood to Hong Kong: AP covers the world of entertainment

Global Entertainment and Lifestyles Editor Nekesa Mumbi Moody oversees text and visual journalists based in New York, London, Hong Kong, Nashville and Los Angeles. Her staff covers movies, music, television, video games, fashion, food, travel and events including the Emmys, Grammys and Fashion Week. Ahead of the 87th Academy Awards on Sunday, Feb. 22, the well-wired reporter and editor pulls back the curtain on AP’s entertainment operation and explains how her team plans to cover entertainment’s biggest night:

Entertainment producer Nicole Evatt (left) and Global Entertainment and Lifestlyes Editor Nekesa Moody cover the 2014 Academy Awards in Los Angeles (AP Photo).

Entertainment producer Nicole Evatt (left) and Global Entertainment and Lifestlyes Editor Nekesa Moody cover the 2014 Academy Awards in Los Angeles (AP Photo).

What’s the biggest challenge of covering an event like the Oscars?
The biggest challenge is to cover it broadly while also trying to eke out unique and exclusive content for our members. We do that through great interviews, interesting stories ahead of the event and getting different storylines from a red carpet that is overflowing with media.

For example, film writer Jake Coyle wrote a critical analysis about the dearth of racial diversity among nominees once again, while Sandy Cohen looked at the gains being made by black female directors in the wake of “Selma” director Ava DuVernay’s success. These are just a couple of the stories that have been highlights of our Oscar prep. Coyle also took a smart look at how the timing of a film’s release affects nominations and film writer Lindsey Bahr examined how playing someone with an affliction seems to give an actor a leg up in the race. We don’t just rely on our entertainment team: AP writers around the world have contributed to key enterprise leading up to the big day.

How does AP approach entertainment coverage differently than other media outlets?
We’ve been covering entertainment for decades, but our approach has certainly evolved. Today, we have entertainment staff around the globe and are even quicker with our coverage and approach from a multiformat angle, including our video team. We have an additional boost from Invision, our celebrity commercial photo agency. Because of our worldwide reach, the AP has a unique ability to cover events like no other, and because of its varied membership, we report on a wide and diverse swath of entertainment. But what continues to make us stand out is our high standard of journalism.

How does AP manage to land major scoops on such highly competitive beats?
Our journalism speaks for itself, and we’ve developed great sources who, in turn, have come to us as a trusted and reliable place to break news, such as Whitney Houston’s death, Angelina Jolie and Brad Pitt’s nuptials, and more recently, word that Harper Lee was finally releasing a second book. We have excellent journalists who carefully cultivate their beats to land such scoops, and the reputation of AP helps in securing them because the industry knows that we are trusted and have worldwide reach that is second to none.

You started your career covering state news in the Albany, New York, bureau. How did that experience prepare you for covering entertainment?
I also covered college and high school sports and just general spot news. What it taught me was to keep a laser focus on the news of the story and not get caught up in the spin. I also was able to take the basics of covering news and apply it to celebrity reporting. At the end of the day, people want to read an entertaining story, but they want to be informed and learn something that they didn’t know before. That’s my goal when it comes to entertainment reporting.

Who has been the most interesting person you’ve ever interviewed?
Prince. I’ve interviewed him three times, most recently last fall at Paisley Park. Each time I could not record it, and he didn’t want me to take notes for part of it the last time. I spent hours with him but wished for more because he was so smart and had so much knowledge. I could do dozens of stories on him and wish I could!

The AP’s live coverage of the red carpet and Governors Ball after-party will be hosted by entertainment correspondent XiXi Yang. It will begin at 5:30 p.m. ET on Sunday, Feb. 22.

Learn more about AP entertainment coverage, which is also available via AP Mobile, the award-winning mobile app. Download the app on iTunes or Google Play.

Follow Moody (@nekesamumbi) and her team (@APEntertainment) on Twitter.

When news breaks, ‘everyone is a reporter’ at AP

In a memo to AP staff, Managing Editor for U.S. News Brian Carovillano explains how quick-thinking and collaboration across states and formats led to definitive coverage of a tragic story that captured national attention:

Minutes after a rush-hour commuter train slammed into an SUV on the tracks north of New York City, killing six, two AP staffers more than 1,000 miles apart went immediately to work.

In the New York suburbs, breaking news staffer Kiley Armstrong was at home reading her Facebook feed when a message appeared about the collision on the busy Metro North line. Without hesitating, she grabbed her coat, her notebook and her camera, and headed out the door.

It wasn’t until she reached the snowy crash site two miles away that she called the New York City desk to say she was there, and began dictating the first details of smoke pouring from the train and rescuers trying to get survivors to safety.

Armstrong was the first AP staffer on the scene, and the only one of our text reporters to get anywhere near the site. Her reporting and photography (two of her photos made the wire) helped AP get out front on a story everyone in the nation’s biggest media market was covering.

Firefighters work at the scene of an accident in Valhalla, N.Y., Tuesday, Feb. 3, 2015. A packed commuter train slammed into a sport utility vehicle on the tracks and the front of the train and the vehicle burst into flames, authorities said. (AP Photo/Kiley Armstrong)

Firefighters work at the scene of an accident in Valhalla, N.Y., Tuesday, Feb. 3, 2015. A packed commuter train slammed into a sport utility vehicle on the tracks and the front of the train and the vehicle burst into flames, authorities said. (AP Photo/Kiley Armstrong)

Meanwhile, in Baton Rouge, Louisiana, U.S. investigative team reporter Michael Kunzelman was at home reading his iPad when an alert moved about the New York crash. He immediately began scouring documents he received months before as part of a Freedom of Information request _ on railroad crossings that had received federal money for safety improvements.

He found this listing next to the New York crossing: “Commerce Street Crossing of Metro North Railroad for a crossing upgrade.” There was an amount of money allocated, $126,000 and a status code: “Active.” He quickly contacted his New York-based investigative team colleague, David Caruso, and together they started tracking down the details.

Armstrong, Kunzelman and Caruso demonstrated the essence of what it means to work for the AP in a breaking news situation: No matter your job title or your schedule, EVERYONE is a reporter, and speed is of the essence.

Armstrong’s dash to the scene captured the color and details that populated our breaking updates through the night. She would eventually be joined by at least four more AP staffers across formats, and two more making calls in the bureau.

Kunzelman and Caruso, meanwhile, found that the railroad crossing had undergone a number of upgrades in recent years to reduce the risk of accidents, including the installation of brighter LED lights and new traffic signal control equipment.

But the “active” item from the documents, a 2009 plan to install a third set of flashing lights 100 to 200 feet up the road to give motorists a few seconds’ extra warning, was never carried out. The $126,000 budgeted for the lights and other work was never spent. New York transportation officials were unable to explain why, though they cautioned it was too soon to say whether it would have made any difference in preventing the collision.

The APNewsBreak moved on Friday shortly before public officials held a news conference at the crossing where the crash occurred.

“I just saw that report, the AP report, that they said there should have been more work done, in 2009,” said Democratic U.S. Sen. Charles Schumer of New York. “That’s something that we have to find out the answer to right away. Why wasn’t the work done? Would it have made a difference? Could it have made this preventable? It’s a looming question.”

For fast work and hustle that made AP stand out on one of the biggest national stories of the week, Armstrong, Kunzelman and Caruso share this week’s $300 Best of the States Prize.

Behind the scenes: Down below

One of the perks of being a reporter is that your beat can take you to some places that most people will never have the chance to experience. For AP reporter Dylan Lovan, one such place was deep inside a coal mine.

Listen to him describe the obstacles facing a reporter who wants permission to see mining operations up close and the strict safety requirements, including the need to carry a 10-minute oxygen canister on his hip while down below:

AP reporter Dylan Lovan, left, interviews U.S. Assistant Secretary of Labor Joseph Main, center, in southern Indiana’s Gibson North coal mine. (AP Photo/Timothy D. Easley)

AP reporter Dylan Lovan, left, interviews U.S. Assistant Secretary of Labor Joseph Main, center, in southern Indiana’s Gibson North coal mine. (AP Photo/Timothy D. Easley)

Once Lovan emerged from the depths of the earth, he wrote a report on five key things to know about underground coal mining.

Lovan is a print/video reporter who covers religion, the coal industry and the environment in Kentucky. Follow him on Twitter.

Automated earnings stories multiply

The Associated Press, working with Automated Insights and Zacks Investment Research, is now automatically generating more than 3,000 stories about U.S. corporate earnings each quarter, a tenfold increase over what AP reporters and editors created previously. Here, Assistant Business Editor Philana Patterson, who has been overseeing the rollout of this process in the newsroom, gives an update on AP’s automation efforts that began last summer.

Assistant Business Editor Philana Patterson (AP Photo).

Assistant Business Editor Philana Patterson (AP Photo).

What changes has AP made to the automation process?
Since automation began in July, AP has added a number of enhancements to the stories. Descriptions of businesses have been added and the stories now include forward-looking guidance provided by the companies. We are running smoothly, and always looking for opportunities, along with Zacks and AI, to improve what we are producing with automation.

What has the reaction been?
There has been a great deal of interest about how automation works from both members and readers, and overall the reaction has been incredibly positive. AP members are getting more stories about companies in their markets than ever before. We want this process to be as transparent as possible so we have added an explanation of how earnings automation works. It can be found on Automated Insights’ landing page: http://www.automatedinsights.com/ap/.

That link, and one from Zacks, is provided in the tagline of each story. We’ve also encouraged our members and subscribers to make these links available to readers when using the stories, especially online.

Internally, the reaction has been positive from staff, largely because automation has freed up valuable reporting time and reduced the amount of data-processing type work they had been doing.

How does AP ensure quality control?
Quality control was critical from the outset. We worked with Zacks and AI to make sure that every step of the process would produce stories without errors. When we launched last summer, a fair number of errors were discovered in the testing process. We then worked with Zacks and AI on solutions to ensure they wouldn’t happen again. Today, mistakes are rare. Pretty much the only time we will now have an error is if a number is entered incorrectly into the system at the beginning. Once you set up automation, and go through a rigorous testing process, you reduce the prospect of errors. In fact, we have far fewer errors than we did when we were writing earnings reports manually.

Has automation allowed staff to focus more on reporting?
Absolutely. Like all media, we are working with limited resources and it’s critical that we maximize the time reporters have to do journalism and break news. We estimate the automation of earnings reports has freed up about 20 percent of the time that we had spread throughout the staff in producing earnings reports each quarter. It is enabling us to reconfigure our business breaking news operations to be more in sync with social media and user-generated content, and focus more reporters on higher-end enterprise stories that break news that no one else has. Our goals are to break more business news than our competitors, aim higher on investigative and explanatory journalism and focus more of our work on the general consumer. We’ve got some big projects in the works. Automation is helping us free up resources to do all of these things.

What’s next?
This quarter, we are testing the automation of earnings from Canadian and European companies. We expect to add further enhancements and more companies in future quarters. My colleagues in the sports department are also exploring small-audience sports for automation in order to free staff to report news that fans and consumers do not get on the field or a broadcast. We expect to be talking about automation through the year, including at this year’s SXSW Interactive in Austin, Texas.

Super Bowl through the years: Off the field with AP photographers

The Associated Press has covered every Super Bowl since the first in 1967. Here’s a look at AP photographers, editors and technicians at work covering football’s biggest contest through the years.


As recently as the early 1990s, photographers were still “souping” film in makeshift darkrooms at the stadium. Transmitting a single color photo over phone lines from the big game took about a half-hour per photo. But the introduction of digital cameras and transmitters in the mid-1990s changed that, saving time and eventually improving technical quality.

Boston-based photographer Elise Amendola on the field during the NFL Super Bowl XX football game Jan. 26, 1986 in New Orleans. (AP Photo/Amy Sancetta)

Boston-based photographer Elise Amendola on the field during the NFL Super Bowl XX football game Jan. 26, 1986 in New Orleans. (AP Photo/Amy Sancetta)

From front, photographers Spencer Jones, Rob Kozloff, Claudia Counts and Brian Horton work from a trailer for the NFL Super Bowl XXV football game in Tampa, January 1991. (AP Corporate Archives photo)

From front, photo editors Spencer Jones, Rob Kozloff, Claudia Counts and Brian Horton work from a trailer for the NFL Super Bowl XXV football game in Tampa, January 1991. (AP Corporate Archives photo)

Photographers Mark Humphrey, foreground, of Nashville and Cliff Schiappa of Kansas City work at Leafax negative transmitters, sending photos from a trailer for the NFL Super Bowl XXV football game in Tampa, January 1991. (AP Corporate Archives photo)

Photographers Mark Humphrey, foreground, of Nashville and Cliff Schiappa of Kansas City work at Leafax negative transmitters, sending photos from a trailer for the NFL Super Bowl XXV football game in Tampa, January 1991. (AP Corporate Archives photo)

Regional Photo Editor Melissa Einberg at the NFL Super Bowl XXXV in Tampa, Jan. 28, 2001. (AP Photo/Mark Duncan)

Regional Photo Editor Melissa Einberg at the NFL Super Bowl XXXV football game in Tampa, Jan. 28, 2001. (AP Photo/Mark Duncan)

Photo editor Brian Horton at the NFL Super Bowl XXXV in Tampa, Jan. 28, 2001. (AP Photo/Mark Duncan)

Photo editor Brian Horton at the NFL Super Bowl XXXV football game in Tampa, Jan. 28, 2001. (AP Photo/Mark Duncan)

Photographer Doug Mills, center, at the NFL Super Bowl XXXVI in New Orleans, Feb. 3, 2002. (AP Photo/Mark Duncan)

Photographer Doug Mills, center, at the NFL Super Bowl XXXVI football game in New Orleans, Feb. 3, 2002. (AP Photo/Mark Duncan)

Photo News Editor Stephanie Mullen, left, and photographer Ric Feld walk to the Superdome in New Orleans for NFL Super Bowl XXXVI, Feb. 3, 2002. (AP Photo/Mark Duncan)

Photo News Editor Stephanie Mullen, left, and photographer Ric Feld walk to the Superdome in New Orleans for NFL Super Bowl XXXVI football game, Feb. 3, 2002. (AP Photo/Mark Duncan)

Boston-based photographer Elise Amendola prepares to make pictures of the trophy presentation to the Tampa Bay Bucs in NFL Super Bowl XXXVII football game Jan. 26, 2003 in San Diego, California. Amendola is wearing a backpack with a small laptop for transmitting  images to the AP photo trailer. (AP Photo/Amy Sancetta)

Boston-based photographer Elise Amendola prepares to make pictures of the trophy presentation to the Tampa Bay Bucs in NFL Super Bowl XXXVII football game Jan. 26, 2003 in San Diego, California. Amendola is wearing a backpack with a small laptop for transmitting images to the AP photo trailer. (AP Photo/Amy Sancetta)

National Enterprise photographer Amy Sancetta uses a mini-disk recorder to collect audio from Tampa Bay head coach Jon Gruden's press conference before the NFL Super Bowl XXXVII football game Jan. 23 ,2003 in San Diego, California.

National Enterprise photographer Amy Sancetta uses a mini-disk recorder to collect audio from Tampa Bay head coach Jon Gruden’s press conference before the NFL Super Bowl XXXVII football game Jan. 23, 2003 in San Diego, California. (AP Photo)

2003SuperBowl_Elaine Thompson 600

Seattle-based photographer Elaine Thompson on the field following the NFL Super Bowl XXXVII football game Jan. 23, 2003 in San Diego, California. (AP Photo/Amy Sancetta)

Sometimes the Super Bowl presents AP staff, who are brought together from around the U.S. to cover the game, the opportunity for a reunion. Certain traditions, like the deep frying of a turkey by the late photographer Dave Martin, provide staff a moment of respite and a chance to reconvene.

Photographer and South Regional Editor Dave Martin, center, deep fries a turkey outside the AP photo trailer at the Super Bowl in Detroit, Sunday, Feb. 5, 2006. Standing to the left of Martin is Global Photo Operations Manager Tim Donnelly. It had become a tradition for Martin to deep fry turkeys at major events for the enjoyment of AP staff and other journalists. Martin died after collapsing on the Georgia Dome field while covering the Chick-fil-A Bowl in Atlanta, Jan. 1, 2014. (AP Photo/Cliff Schiappa)

South Regional Photo Editor Dave Martin, right, deep fries a turkey outside the AP photo trailer at the Super Bowl in Detroit, Sunday, Feb. 5, 2006. Standing to the left of Martin is Global Photo Operations Manager Tim Donnelly. It had become a tradition for Martin to deep fry turkeys at major events for the enjoyment of AP staff and other journalists. Martin died after collapsing on the Georgia Dome field while covering the Chick-fil-A Bowl in Atlanta, Jan. 1, 2014. (AP Photo/Cliff Schiappa)

Indianapolis-based photographer Mike Conroy on the field at the start of the NFL Super Bowl XL Feb. 5, 2006 in Detroit, Michigan. (AP Photo/Amy Sancetta)

Indianapolis-based photographer Mike Conroy on the field at the start of the NFL Super Bowl XL Feb. 5, 2006 in Detroit, Michigan. (AP Photo/Amy Sancetta)

Global Photo Operations Manager Tim Donnelly, right, checks St. Louis-based photographer Jeff Roberson's transmitting device on the field following the NFL Super Bowl XLI Feb. 4, 2007 in Miami, Florida. (AP Photo/Amy Sancetta)

Global Photo Operations Manager Tim Donnelly, right, checks St. Louis-based photographer Jeff Roberson’s transmitting device on the field following the NFL Super Bowl XLI Feb. 4, 2007 in Miami, Florida. (AP Photo/Amy Sancetta)

During 2013’s Super Bowl XLVII in New Orleans, the Baltimore Ravens were leading the San Francisco 49ers 28-6 when most of the lights in the 73,000-seat Superdome went out in the third quarter. While fans and players waited for the stadium to regain power, AP reporters and editors relied on AP generators and jet packs with Wi-Fi hotspots to continue covering the night’s events.

Deputy Director of Photography Denis Paquin, front left, and colleagues edit during the Super Bowl blackout, Sunday, Feb. 3, 2013, at the Superdome in New Orleans. (AP Photo/ Julie Jacobson)

Deputy Director of Photography Denis Paquin, front left, and colleagues edit during the Super Bowl blackout, Sunday, Feb. 3, 2013, at the Superdome in New Orleans. (AP Photo/ Julie Jacobson)

Washington Assistant Chief of Bureau David Ake edits during the Super Bowl blackout, Sunday, Feb. 3, 2013, at the Superdome in New Orleans. (AP Photo/Julie Jacobson)

Washington Assistant Chief of Bureau David Ake edits during the Super Bowl blackout, Sunday, Feb. 3, 2013, at the Superdome in New Orleans. (AP Photo/Julie Jacobson)

Photographers Matt Slocum, left, and Mark Humphrey, right, in red, covering Denver Broncos Peyton Manning during media day for the NFL Super Bowl XLVIII football game Tuesday, Jan. 28, 2014, in Newark, N.J. (AP Photo/Charlie Riedel)

Photographers Matt Slocum, left, and Mark Humphrey, right, in red, cover Denver Broncos Peyton Manning during media day for the NFL Super Bowl XLVIII football game, Tuesday, Jan. 28, 2014, in Newark, N.J. (AP Photo/Charlie Riedel)

Technology specialist Jorge Nunez, far left, watches as Global Photo Operations Manager Tim Donnelly and Houston-based photographer David Phillip, right, install a robotic camera on the catwalk in preparation for Super Bowl XLIX, Saturday, Jan. 24, 2015. (Photo by Denis Paquin)

Technology specialist Jorge Nunez, far left, watches as Global Photo Operations Manager Tim Donnelly and Houston-based photographer David Phillip, right, install a robotic camera on the catwalk in preparation for the NFL Super Bowl XLIX football game, Saturday, Jan. 24, 2015. (AP Photo/Denis Paquin)

Photographers David Phillip, left, and Morry Gash work on a robotic camera in preparation for for Super Bowl XLIX, Saturday, Jan. 24, 2015. (Photo by Denis Paquin)

Photographers David Phillip, left, and Morry Gash work on a robotic camera in preparation for the NFL Super Bowl XLIX football game, Saturday, Jan. 24, 2015. (AP Photo/Denis Paquin)

Photographer Charlie Riedel shown during  Super Bowl XLIX Media Day at the U.S. Airways Arena in Phoenix, Ariz., Tuesday, Jan. 27, 2015. (AP Photo/Carolyn Kazdan)

Photographer Charlie Riedel takes photos of New England Patriots quarterback Tom Brady (not pictured) using a camera attached to a monopod during the NFL Super Bowl XLIX Media Day at the U.S. Airways Arena in Phoenix, Ariz., Tuesday, Jan. 27, 2015. (AP Photo/Carolyn Kazdan)

Photographer Charlie Riedel takes photos from the stands during the NFL Super Bowl XLIX Media Day at the U.S Airways Arena in Phoenix, Ariz., Tuesday, Jan. 27, 2015. (AP Photo/Carolyn Kazdan)

Photographer Charlie Riedel takes photos from the stands during the NFL Super Bowl XLIX Media Day at the U.S Airways Arena in Phoenix, Ariz., Tuesday, Jan. 27, 2015. (AP Photo/Carolyn Kazdan)

In recognition of the game’s rich history, AP is hosting a photo exhibit of its Super Bowl game coverage. “Super Moments, Superstars, Super Game—An Associated Press Exhibit” is on display at Gallery Glendale, 9830 W. Westgate Blvd., in Glendale, Arizona, until Feb. 1.

What’s the deal with Davos?

DAVOS, Switzerland — It’s hard to think of any other event quite like the World Economic Forum’s annual meeting here in the Swiss Alps. The U.N. General Assembly draws more world leaders. The Oscars attract more celebrities. But nothing brings together quite this combination of corporate executives, academics, philanthropists and media.

Participants walk in the main entrance hall of the Congress Center the day before the opening of the annual meeting of the World Economic Forum in Davos, Switzerland, Tuesday, Jan. 20, 2015. The world's financial and political elite will head this week to the Swiss Alps for 2015's gathering of the World Economic Forum at the Swiss ski resort of Davos. (AP Photo/Michel Euler)

Participants walk in the main entrance hall of the Congress Center the day before the opening of the annual meeting of the World Economic Forum in Davos, Switzerland, Tuesday, Jan. 20, 2015. (AP Photo/Michel Euler)

It began in 1971 as a two-week meeting designed to improve European management. Some 450 executives attended. It has grown to something both grander and broader, with 2,500 attendees and a sweeping motto: “Committed to improving the state of the world.” No small task.

To a considerable extent they all come because they all come. Some critics dismiss the meetings as a talk shop or a gathering of elites who fly pretty high above the world most people live in, the one they are committed to improving.

Yet, for all that, interesting things are often said here and occasionally news is broken here. One year, AP Chief Switzerland Correspondent John Heilprin scooped the world on a new security policy in which the United States said that protecting corporate supply chains was now as important as the longtime job of guarding shipping lanes. How did he get the scoop? The then-Homeland Security Secretary Janet Napolitano was sent to Davos with half a dozen copies of the new directive signed personally by President Barack Obama. They were intended for other world leaders. But it’s hard to actually catch up with a world leader here, even though there are usually about 40 at least passing through. So John seized the moment and cajoled one of those documents out of an aide.

Some news organizations send small armies to cover Davos. One, for example, takes over the town’s library for its operations. AP takes a different approach. A small but hearty band of journalists covers all formats. It’s a great place to snag newsmakers for video or text. Pan Pylas, an AP business reporter here from London, recalls standing feet from actor Matt Damon one moment and then being quick marched by his editors (well, me actually) to a private briefing with the president of Iran.

“It’s unusual to get so many newsmakers and thought leaders all together in a very small place, when they are unusually accessible and a little bit more relaxed than usual,” Heilprin said. “For a reporter, the first challenge is to recognize them all. The second is to quickly think of a good question when one passes by.”

British Prime Minister David Cameron and  rock star Bono speak during the panel discussion  "The Post-2015 Goals: Inspiring a New Generation to Act", the fifth annual Associated Press debate, at the World Economic Forum in Davos, Switzerland, Friday, Jan. 24, 2014.  (AP Photo/Michel Euler)

British Prime Minister David Cameron and rock star Bono speak during the panel discussion “The Post-2015 Goals: Inspiring a New Generation to Act,” the fifth annual Associated Press debate, at the World Economic Forum in Davos, Switzerland, Friday, Jan. 24, 2014. (AP Photo/Michel Euler)

The highlight of our Davos week is the annual AP Davos debate, the brainchild of Director of Global Video News Sandy MacIntyre and Senior Field Producer Masha McPherson. Working with the Davos organizers, we turn one of the panel discussions into a broadcast and send it to our 700 broadcast clients and hundreds of digital news outlets.

We’ve had some memorable moments. Like the time Prime Minister David Cameron asked Bono to help craft a message for the fight on global poverty. Or when the Italian finance minister got angry because we asked about a bank scandal in Siena instead of the high-minded global financial questions he was looking for. Our Italian customers were very happy.

But that’s Davos. If you remember why you’re here, as a journalist, you can always find a story.

Why AP didn’t run the Charlie Hebdo cartoons

In this Sept.19, 2012 file photo,  Stephane Charbonnier also known as Charb ,  the editor of the satirical weekly Charlie Hebdo, displays the front page of the newspaper as he poses for photographers in Paris. AP moved this image on the wire this week. (AP Photo/Michel Euler, File)

In this Sept.19, 2012 file photo, Stephane Charbonnier, the editor of the satirical weekly Charlie Hebdo, displays a front page of the newspaper as he poses for photographers in Paris. AP moved this image on the wire this week. (AP Photo/Michel Euler, File)

The attack on Charlie Hebdo in Paris raised many questions about how news agencies handle controversial images. We answered some of them Wednesday in response to calls from reporters and bloggers. Below is a summary of the questions and our replies.

Did AP run the Charlie Hebdo cartoons mocking Islam?
AP tries hard not to be a conveyor belt for images and actions aimed at mocking or provoking people on the basis of religion, race or sexual orientation. We did not run the “Danish cartoons” mocking Muhammad in 2005, or the Charlie Hebdo cartoons of the same type. While we run many photos that are politically or socially provocative, there are areas verging on hate speech and actions where we feel it is right to be cautious.

This policy is consistent with our approach to sound bites and text reporting, where we avoid racist, religious and sexual slurs.

But don’t such images and speech sometimes make news?
They do, and we may need to describe hate speech and images when they lead to attacks or arrests. But we limit ourselves to brief descriptions, often without the images or slurs themselves. Routinely publicizing hate speech and images can lead to a “can-you-top-this” situation where provocateurs produce increasingly offensive material for news media to lap up and redistribute, accusing them of censorship when they fail to bite. We don’t want to fan such flames.

We also believe we should not rotely transmit propaganda images designed to sow fear and terror. These could include images that display hostages in demeaning situations, prisoners being abused or the bloodied bodies of vanquished enemies. Sometimes such images, or crops of them, may be essential to convey an event.

On occasion we’ve run a few seconds of video of a hostage. We also ran the well-known photos of prisoners at Abu Ghraib. But any such material requires discussion by our editors and a judgment that it is truly newsworthy. We never transmit such material simply because “it’s out there” and others are carrying them.

What about images mocking Christianity or Judaism?
We try to be even-handed. We have declined to run cartoons demeaning Jews and the Holocaust, although we have referred to them in stories when the reaction to them has made news. In the urgency of a 24-hour newsroom, some images get through despite our best efforts; we removed from our service some photos we put out showing a crowd in Afghanistan burning a cross to disparage Christianity.

These are AP news policies for the pictures we distribute in our news reports. In addition, the company has a separate commercial photo business called AP Images that, among other things, has an archive of 22 million photos, including AP pictures that predate our current editorial standards and pictures from many other photo partners. Sometimes photos that don’t meet our current editorial standards are found among those millions of pictures.

Thus, on Wednesday we removed from AP Images some Charlie Hebdo cartoons that had come from a non-AP source. We also became aware that a 25-year-old image of the controversial “Piss Christ” photo was among the photos there, and removed it. Of course, every removal is a judgment call, and we took some flak over the decision on “Piss Christ.”

We learned long ago that some of our news decisions will be controversial. While there’s certainly a slippery slope that leads to avoiding any image that could cause offense, there’s an equally slippery one that leads to suspending our editorial judgment and allowing our news service to be hijacked by whatever offensive image is circulating on a given day. Our best approach is to try to be as thoughtful and even-handed as we can, knowing we’ll sometimes be criticized for a decision not everyone likes.

But what about the censorship issue? Who is the AP to decide what images the world will see?
This question was more valid a couple of decades ago, when a very small number of international news agencies “owned the wires” that distributed photos around the world. If the agencies chose not to run a photo, few were likely ever to see it. Even at that time, we felt a responsibility to use our judgment and distribute only those photos we were comfortable with.

But now the censorship argument has largely evaporated. The most hotly disputed images of recent years can usually be found easily via search engines and social networks by anyone who wants to see them. In the Internet era, we are free to edit our news service in line with our own professional consciences and the valid needs of our readers and subscribers without people being able to claim we’re making some decision for the entire world. We have an editorial policy, and that’s what you get from AP.

AP’s long history of reporting from Cuba

As the United States and Cuba move to restore diplomatic relations for the first time in more than 50 years, a look at The Associated Press’ long and unparalleled history on the island reflects the tensions that have marked the relationship between the two countries.

Valerie Komor, director of the AP Corporate Archives, prepared this account of the AP in Havana:

A 1961 edition of The AP World, the AP company magazine, reported on staffer Harold Milks' delayed exit from Cuba after Fidel Castro took power.

A 1961 edition of The AP World, the company magazine, reported on staffer Harold Milks’ delayed exit from Cuba after Fidel Castro took power.

The Associated Press stationed a correspondent in Havana as early as 1870, when the Spanish authorities exerted complete censorship over all news dispatches. A seething General Agent J. W. Simonton, writing in The New York Times on March 16, 1870, declared “the business of the Company seriously embarrassed thereby.”

Francisco José Hilgert, who may have operated in secret for some years for his own safety, reported on the explosion of the battleship USS Maine on Feb. 15, 1898. During the ensuing Spanish-American War, a staff of about 20 used chartered boats to cover naval actions and carry copy to cable points in Haiti, Jamaica, Key West and the Danish West Indies. In 1916, AP announced a direct New York-Havana leased wire to serve its Havana newspaper members, which included El Mundo and Diario de la Marina.

Larry Allen and William Ryan were on duty on Jan. 2, 1959, when Fidel Castro’s rebels overthrew dictator Fulgencio Batista in a “blood-wet battle of tanks and guns,” as Allen described the scene. After Castro took power, reporting became increasingly difficult. As chief of Caribbean Services, Harold K. Milks, a veteran war correspondent and former Moscow bureau chief, ran the bureau from May 1959 until the spring of 1961. When the botched United States invasion of Cuba at the Bay of Pigs began on April 17, 1961, Milks sought refuge in the Swiss Embassy until he and 100 others were flown to Miami a month later.

Shortly thereafter, Daniel Harker, a stringer out of Colombia, resumed reporting from Havana with instructions to “keep the AP doors open” and not antagonize the government. Ike Flores replaced Harker in mid-1965 and began doing interviews with Castro and his generals. Not surprisingly, Flores gradually became persona non grata and asked to be reassigned.

In 1967, John Fenton Wheeler took over. For a time, he seemed to be enjoying greater privileges. But after Castro directly attacked Wheeler in a speech, saying he had been reading “AP lies” since he had come to power, the end was just a matter of time. It came on Sept. 8, 1969, with a 3 a.m. phone call from the Foreign Ministry — and Wheeler found himself on a plane out of the country. “Don’t worry,” AP General Manager Wes Gallagher told him. “We’ve been kicked out of better places.”

During the height of the Cold War, AP’s Miami bureau made coverage of Cuba one of its priorities.

From 1961 to 1986, AP employed exiled Cuban newsmen to monitor, translate and write up the Radio Havana broadcasts.  In the summer 1965 issue of AP World, AP’s in-house magazine, the operation was described this way: “When Castro makes one of his four-hour speeches, the monitors take turns making notes. At the same time, the speech is taped as a backstop. Ted Ediger takes the reams of copy and cuts and molds it into shape for the wire. The radios are in the same room with WirePhoto. The bleep-bleep of the Wirephoto, the hysterical rantings of Castro and the rattle of typewriters blend into an unearthly racket.”

After 1969, it would be 30 years before AP could reopen an office in Havana, first because of Castro’s strictures and secondly because the U.S. government barred American news organizations from operating there. Years of effort by AP CEO Louis D. Boccardi paid off when the Cuban Foreign Ministry granted AP permission to re-establish a permanent presence in Cuba. Anita Snow reopened the bureau and was followed by Paul Haven (2009-13), Peter Orsi (interim) and Michael Weissenstein in 2014.