sister of all ethnic groups and social groups and socio-economic groups the boy is close behind the counter court. the average 50 year-old boy has the right skills of a 13 year-old girl reading a year-and-a-half behind and boys like school all lot less anr it disengage. there may have been a time there was the economy to get a high-school degree to work carr did to the middle-class and some there are educators that said the passports is the high school diploma but not anymore and girls seem to get it to the boy is less and less they feel that problem and cannot see

government groups is still talk about the short changed girl with the research where the girls were shortchanged in the 1990's. they have not redacted or adjusted to the time so we have a white house council of women and girls so they don't fall behind and now is the voice by almost every significant metric far behind the girls. sort seems renewed a council of boys as well. >> host: with the amended article you right women earn 62 percent of associates degrees, a 57% a bachelor degrees, 60 percent of masters, a 52% of doctorates, a college admission officers were baffled and concerned and

panic to with of male applicants. if it will live falls 40% or below the female students will leaf. students act or schools near the tip being point they become like retirement villages of women competing for a handful of surviving and. >> guest: there are campuses admissions officers are looking at 65% the middle and is used to get worse each year a and they are panicked as one administrator at the college of william and mary said we have to do something about men. we are the college of william and mary. not marry and mary as one educational statistician said if current trends continue the last male will price reform college and

there is a grain of truth in it is a mystery why it is that way and they will say no that is only among the poor kids were manifested in the working-class that we see the girls outperforming the boys in justiciar they get far more if we as placement classis but they're also more ambitious of higher percentage go to gloss school and graduate school. again i celebrate what has happened with girls. it is inspiring and some of it may be of the initiatives of the shortchange girls movement. not everything was wrong but i just wish they did

discover there's gender difference in education instead of becoming a girl partisan movement that they want to improve the educational aspects of all children. and that would have meant more help with rolls of math and science because they were not doing as well and we have managed to close the gap but then helping boys with writing, reading, and engaged just in general. we have predicted research that shows that the blame the teachers but they have a bias against unruly students which is understandable. so i know if it is something we want to blame or punish them. we want to make the cost of a happy place andrew for

their personalities and assertiveness but i feel we have not done a good enough job. >> host: is there a shortage of male teachers and does this have the effect? >> guest: there are very few elementary there are more id high-school but one school system said it is if they are run by women for girls. is an overstatement of lot of boys feel that way. one of the saddest comments in people last boys why did you drop out? one voice said i didn't think anybody wanted me there that is heartbreaking. it was not clear to him but there's so much more going on.

it is more girlfriend lee -- a friendly and less to the boys. >> take you for coming out tonight.

>> i was a child during the vietnam war.i wa really. living in turkey while my dad was reporting for armed forces radio. he remembers the war more r vividly but for ourener generation is the war is preserved for all its history and words and images coming up from the most impressive journalist on the planet. those of the planet. over that period of cbs of war the ap 1/6 pulitzer prizes for the stories to break the news photography. some of the greatest names of correspondents. just a few the coverage has more than 25,000 images and at the 50th anniversary the first ever collection is

put together of the conflict of the ship of. this book is a collection of 300 of the images and we are thrilled to have some of the correspondence geordie to us as well as photographers here have covered water dave more. we have peter arnett. [applause] and with the ap 30 years to julie jacobson and. [applause] and avid photographer covering pretty much everything. embedded buildable times with forces and santiago lyon irresponsible for the

global reporting and a photo editors world wide to produce it. a huge nick ut boarded vietnam's. [applause] joint ap in saigon at the age of 14 after his brother was killed covering some of war. he is known for its the iconic photo brad the naked badly burned from the misdirected air raid and had won a pulitzer prize. and impressive panel of journalists that are collected in and some small parts in of this book please give a warm welcome of the to the photographers of the associated press. [applause]

>> we will run through some pictures that we will open it up

[silence] [silence]

[silence] [silence] [silence]

[silence] [silence]

[silence] [applause] one -- clearly an extraordinary selection of images from the focus of the war of the knowledge we are gathered to talk about this evening.

it would be good to put this into context with the ap history. if not associated with the associated processing -- and so should press founded 8046 a cooperative of news organizations through the mexican or to share the cost and logistics of coverage of the conflict. the ap since 1846 as cover just about every conflict known to man so we have a very intimate and longstanding relationship to warfare into armies and conflict around the world. the cooperative is owned by 1500 u.s. newspapers they pooled resources together through the fees they pay us for access to the content and sharing of their content to provide a news agency that is unparalleled of

coble reached of just about every country you could make of extreme photographs of text via video a adagio a and interactive as. -- interactive. but to the coverage of vietnam was extraordinary because of the commitment the ap made to cover that story. and the dedication of of the journalists that were assigned to vietnam in the stage years upon years quite different from the way the stories are covered today when journalists are assigned anywhere between six weeks and two months. those during the vietnam war would stay for many years and as a result gained an intimate knowledge of what was going on in the country country, who the players were, how to access the

things coupled with an extraordinary dynamics that it existed which facilitated access to a journalist and a way that has probably never been seen in warfare it and quite possibly will not be seen again to say journalists could show up at military bases and essentially in the pilot of the helicopter they wanted to travel they were willing willing, they could jump on and go to where the action was and photograph jump on another to come back to a dropoff the film and go back the next day if they felt up to it. that level of access is very different from today. possibly because the flow of information is so much faster in an end so much more voluminous and that the

protagonists now seeks to control that information in a much more direct and demanding way where with of vietnam era it was quite different. so i thought i would start with a brief conversation with my fellow panelists before opening to questions. the questions here we were warned would be good a and robust than frequent and animated and thoughtful and precise so that is what we are counting on you to do when we start talking. [laughter] but i thought i would kick it off by asking if they have a particular photograph in the book, perhaps one of the ones we saw projected that they would like to talk to either because schaerbeek

equipment -- it meant something personally but i would start off with peter arnett. >> thank you. it is my pleasure to be here in your community. my daughter lives in berkeley. so i visited this area and i will be back in this bookstore next week. having said that, i spent a lot of time and in vietnam and went there at age 26 and i stayed in nine years living there got married there and had two children and kept going back until the fall of both saigon in stayed until the communists took over. you might say that sounds crazy but in the year i started in the 1950's, it was not uncommon for american correspondents to

be in bureaus the way for home three years. tokyo, afghanistan, and travel by ships in the 1950's of this is the vietnam era to think of as a former period of time. of the pictures that were taken in vietnam was simple film processed in a darkroom and sent by radio photo an to sometimes he would send one little picture a and you just don't have the facilities available like they are today. but with u.s. tradition of

war coverage of the military and u.s. government had a lot of influence of what appeared on television or magazines or radios as the experience began from president eisenhower ian kennedy in particular in johnson made it their job to lobby intensely with american newspaper editors and television directors to shape the image coming out of vietnam. because of the nature of america's commitment it was not a declared war still not declared. a limited the engagement beginning with advisers and american troops and smaller groups finally becoming an army of over half a million.

but this was never a conflict that the u.s. government felt it could impose the censorship that was from world war i and world war ii era of the korea. with that censorship and journalists would be obligated to run material passed military censors also publishers that hall would be expected to take a patriotic look what was going on with the overseas commitment when i got to vietnam 1962 i was joined by a group of young american journalist. unique at that time, all graduates from ivy league universities. probably the first to enter

the craft of news reporting in they took a much more pragmatic approach set cover the civil rights movement of the american south. said others were in africa but they all have military training. so as vietnam's conflict began you had journalists to new a lot about the zero world, of what about the military and had taken a health the view of the role of a journalist that were challenging the government or to authority as a traditional role. and then to see what is going on. in that environment the

pictures and the new started to come out of vietnam. we discovered the vietnamese come in many advisers raged a leader with the soldiers were very candid about what they felt. therefore we thought we were getting a a clear picture of what was emerging as the conflict grew in size. what it differed markedly from what the kennedy administration was opening -- hoping from vietnam's president kennedy's for example, follow the editor of "new york times" asking bringing back to the united states because the reporting was dangerous to national security.

president johnson approached h-p executives to have me removed from the war area. there was an influence on publishers of the particular of one television orders of the networks. but in this environment the photographic product emerged from vietnam. it was controversy from the beginning we saw a picture earlier of the buddhist monks committing suicide by fire. from 1963. to help shape president kennedy's view that it was not doing the adequate job that the ambassador henry cabot lodge said he had gone

to the oval office to get the last instructions before being appointed ambassador. and there was a picture of the burning month on the front page tear and kennedy says it just have to go change things. interestingly enough for "the new york times" did got published a photograph meaning that editors in the united states with the nature of the images in a controversy gives me the question but it does not favorite the rights because i don't think any of those pictures are in a way that i

admire the emotions that a deeper and sad but the photographs that were taken by the great ap photographer from 1964. he spent lots of time with the south vietnamese troops in the delta in the southern part of vietnam's into the deep and jungles to go with american divisors and his pitchers said the enormous brutality committed against ordinary vietnamese farmers and villages. these operations were dictated by the government as being necessary to bring

out the vietcong that seem to be plotting against the government. in fact, is apple old villages were laid waste to m1 pitcher in particular that is in the book that shows a former holding the body of a child in napalm stripped from the body in the holding the child up to a the soldiers and he was pleading. i don't know what he was saying that the soldiers moved on. vote so there were other photographs after the of the terrible tragedy inflicted that remains important because it illustrates the

punishment the local people were taking and seconds the indifference of allies against a population that the communist good talk about the people's war their role of the civilians in the iraqi government so those pictures that caught the pulitzer prize remain in my memory but would force to arrive back in the bureau when he brought out the prince was visiting which was very rare.

he said these are staggering and shocking. but in his heart of hearts with a reporter in world war ii he had some and decision. he had the authority to say let's hold the is. do we really have to put them on the wire? but he did say we will use the pictures but i want you to write a story pointing out the vietcong. so i did it there is no way to balance that power. the day went on to get of pulitzer prize. >> thank you. you have been around the block a few times.

when you look at the pitchers in this book are there any that jumps out or anything you care to new share about the work in the book? >> there are a couple of pictures that jumped out the color photo and pick up the wounded and when i was in iraq war is hidden afghanistan spent time on those helicopters because they look at the photograph despite said different environments and nothing has changed. i remember looking down there were guys on the ground looking up at the us

like we were dropping from the sky. it brought back a lot of memories. that was shot 1968 but it does not matter 50 years later a and it is still the same scenario and expressions on our faces. randy motions. the other photo that got me was civilians in net ditch with water and it struck me because of covering the war i was embedded with u.s. troops. i was curious how the war could affect those civilians who were not necessarily or were noncombatants.

it made me realize that pitcher i had made i had no access to the population because of cultural differences. a lot of women and children were behind walls and you never would see them very motions, expressions, and i remember being frustrated about that. we have more access in iraq so those jumps out to me. i always wish i had a chance to get behind the walls to bring home more breathing together that these things are happening.

you look at these images a and thinks that could be anybody. and american. >> one of the pictures in this book is arguably one of the most iconic to come out of the vietnam war is a photograph of the young grow running down the highway covered it and napalm screaming as a result of the pain. you're all familiar with the picture. nick ut text pitcher i thought it would be interesting to find out what happened that day and what have been after words. >> 1972 i your story of the.com on highway one knows about 25 miles west of

saigon. i took a lot of pictures of refugees. but then i was done about two hours before i came back to highway one began then i a saw the soldiers i was standing away about 100 yards than there was the napalm explosion in.

and then i see black smoke can people were running a and i said oh my god. people were in the village. then when i took the pitcher with the boy sec half thought she was a kid with her arms. then i saw her body berndt so badly. -- burned so badly. but then she was at the children's hospital in she was screaming in my car all the way.

i kept telling her we will have help soon. nobody wanted to help her because of the soldiers but. [inaudible] [laughter] but i am not a doctor but before i go back to the ap office. said there is too many people of the doctors or lawyers. then i come to the office in saigon and they took my picture.

>> i will pick up for a minute on the bureau of wind nick ut came in with these pictures. the dark room attendant to attention to the nakedness of the young women that said that ap will never use this it is a naked child. no way. there was the debate was it if it should be sent to new york considering the moral aspects? so the guy in charge of the total production said no. the york will see this. it is up to them in the end we will write a story and we will save that and others for the series a and i believe there was a debate in new york but it was sent out and white republished.

if photoshop to to some degree but widely published. >> then the next day lee says look at the daughter. i said cheese in the hospital. >> the other part of the story is nick ut continued to be interested in that young child and it helped her and the family during the course of the three years left of the war. in 75 it closed but she later moved to cuba for extra treatment and he kept

in touch than they are close friends today yet to go to conferences together management is a wonderful story how you go just for not just taking the picture but to do something positive with the victims they are photographed in. is not that unusual that you may think. >> she is married with two children. >> i thought it would be good if we wanted to open to questions of what you have heard your the coverage did general of vietnam? >> i am interested in photography and i used to be at the ice cp a and i heard some great photographers talk about world war ii but my question is is there a

different approach as they war photographer the and a traditional photographer other than the traditional dangers is that the approach or does it depend who edits? >> good question. other they and the physical dangers, you are limited how are you can cover things because you are not free to move around like you would be with a normal assignment but your approach to people is pretty much the same to treat everybody with respect, compassion, putting yourself and other people's shoes and trying to find a balance to make sure your

fare and your interpretation is fair and balanced. we talk about not having access to the afghan population because 50 percent, to be creates the imbalance with there is nothing i can do. but i think in general and other them looking out for yourself for people are around you for the most part you approach your assignments night as assignments but as the way to meet people. whether war or at home. the rules change.

sometimes i tell friends and colleagues that at least for me it is less about the competition is more about getting the story out. especially if you are embedded for those news organizations coming your priorities are looking out for each other to make sure everybody is safe so in that respect it changes a little bit and you also look out for the people that you are with whether soldiers or civilians at that point. civic i might add to adapt in the covering with the conflict obviously the stakes are quite high that

your life is in great danger and the scenes are very german today. people are dying during the worst moments of their lives and it is your job to photograph them to tell the story but also preserves their dignity if possible. the combination of all those things, the photography has a strong creative elements cover journalism has a creative element but also a journalistic element. a lot of what you do to cover the stories is to concentrate on telling the story as effectively as possible. there is so much invested and to waste that opportunity by merely making aesthetically pleasing pictures would possibly

defeat the purpose. there is a strong tendency to focus on the guts of this story to new communicate that and it is very mission driven in the common factor for those who go to cover wars are extraordinarily focused and driven they believe their work has value. it is debatable the power of photography people will debate it can influence others will say it is utile and a waste of time but i do think this is a value that in the sense without it we don't know what is going on and off to make the notion

of imputed me that much more powerful and by bearing witness where nobody else wants to be, we stripped the excuse of impunity away from people who do these terrible things whether politicians are general's or whatever it is. to you have anything to add? >> yes. with the coverage of conflict as an important factor, a vietnam was a unique set u.s. government did not get around to imposing controls over the media. as stated in 1967 he was asked you are complaining about the of media constantly why did you impose censorship? the answer is that it is too

important a decision to make. but it influences so much else does the policy we don't feel it is big enough to do it. but they were not willing to impose censorship because johnson thought it was limited anti-had hid some other domestic policy ideas. having said that the military much prefers a controlled environment that goes back to the american civil war and there was talk of the battlefield with the most heartrending pictures you would never see. grant having censorship prevailed with the

propaganda chief to see the german media people not to take a photograph of any dead german soldier. the american end government decreed there be no photographs of dead americans published until 1943 when roosevelt lifted the order because he was concerned about said this is a growing about the property of the images they kept seeing how the war was going. so the memory was clear during vietnam. today there is the system is controlling the when exercised in its entirety photographers would not be allowed to take pictures of

wounded or dead americans. but generally you were not allowed anywhere near the bodies of troops and the important part of war coverage is to foot the pitcher into context and with the system of the ability to control commentary to ordinary soldiers to control the ideas is almost complete. i was indicted several times and they would not let me talk to the intelligence and it was difficult to get the information to make the understanding clearer. with the second to go for the perceived to have gone

along with george w. bush invasion plans including "the new york times" about us nature of the coverage more than what the public deserved. >> i just want to add that my level of commitment is raised because there is so much more at stake sometimes people stay longer with your of emotional investment. i will not bring you over for christmas dinner but you

get to know them more as human beings and every time i left i felt guilty. the way they express the approval to have me there because sphere if people get to see how would is -- how it is i thought that voice was taken away. i knew others would come along but i did not know how long it would be. i don't know how else to answer your question. >> thanks for what you are doing. and for what nick ut has done for that little girl.

a and peters said these stories are not that uncommon. of being in this situation that you are in in that are horrific, i would imagine they'll look to you as a friendly face, a hopeful face, as someone they can connect to outside of the madness. was is that like for you all and have you had a lot of challenges with that? and how you draw a line? how is it if you have the children or the mother's you mention in new did not have that much access but peter arnett and nick ut you seem you were really in it. how was it for them?

>> i will let nick ut answer that but the ap in vietnam we hired vietnamese photographers so there was nick ut. they were vietnamese. how they were accepted within the vietnamese communities. because of their determination and eagerness they were accepted but american troops also. but how did you feel with being with the military? >> be it tom opened they were welcomed to the media. they just think they want to you take a picture.

but i took a lot of pictures and i never had trouble with the soldiers. they were happy. >> julie's comment today really resonated with me. you go with the units and if they like you and you enjoy being around them. it was said at the time that the press sam the military were fighting each other to say we will never have them back but then with one great distrust of the media the white house level was not happy to see the pictures that nick ut was taking or the analysis of what i was writing professor off fly

where they and happy? not because they were inaccurate. in fact, achieve said you can do anything you like as long as it is the truth. if you take one mistake that one time they did but they did say we want the truth. but the truth hurts did kennedy and johnson and nixon administration. but they were prevailing upon editors if publishers and news editors to disregard material. at the level of the soldier soldier, said the thousands of stories that i wrote for vietnam's and i was out three weeks every month with the troops with the marines for days on end, rarely there was an incident where you were even criticized by the of unit commanders of

the soldiers. they felt your presence was injured goal for the reporting the receiving end stories of soldiers of great sensitivity and those of died in the field and invariably to this day i go to reunions of military units. last night we were at just loraine memorial hotel with great accommodations and there were a lot of marines there a and they are supportive of our reporting and the books. from my experience soldiers like to have a civilian

types around them that connects them with the real world. do you have anything more to add? >> all your coverage is great. but you operate on one side that you have some control of the news coverage but then you had the communist side like in the it on that was pretty repressive of any information coming out of their area and the like cambodia where the river port was bombed by mistake and that had a lot of coverage but you have the

khamir rouge that were totally brutal but somehow they snuck into power. they were there but i don't think the media had ever given the american people and they immediately emptied the city i think that was the first idea that most americans had that these people were psycho killers. isn't there a problem when you cover the one side with the photographs that are representative of the truce but on the other hand, the others side controls the media so there brutalities are covered up and tell it is taken over.

>> you are absolutely right that is the difference between the democratic form of government versus what the u.s. is engaged against. remember as far as the american public was concerned we call them terrorists for the first three years there is not a vietnamese soldier they were a terrorist that attacked the government outpost we killed 30 terrorist here. now we know it was organized , legitimate political force fighting for national forces but though whole sense of the cold war era that communists were bad we did not have to have pictures of them committing atrocities we were told it happened.

that was the sense why was america in vietnam? to cent -- save the country is to stop the advance of communism yourself said -- fat se a share and then even choose san diego so it was not up to us to talk about your other side. our government was doing that. also the pitchers to reporting that we did reflected the view within the military so it is not as though the reason i know it's true is we were working with the associated press

but in those days it was 2300 reid had radio stations and television subscribers every pitcher we took every story we wrote appeared in american newspapers and if we mentioned a local name or address simply that newspaper would headline it. the parents and mothers and they bid clips the story then arrive and two weeks later. they knew exactly what we were writing and when we go back data new but we we're doing and who we were talking to. it was very rare pre-were denied entry to the net over the course of the war. maybe half a dozen times for

reasons of misinterpretations but from the soldier is point of view we were telling their real story, difficulties, struggl es, the policies that were not making headway for the death of those 60,000 americans and what they deserved. >> if i understand the question talk about trying to get as many sides of the story generally as many as possible, then i think nowadays and historically news organizations try to do that. for example, of guinness to an indirect there were very robust networks of videographers and reporters covering aspects of the story that were impossible

for western journalists because it was simply to do dangerous. so that comprehensive coverage strives to give a balance of what is going on but what happens often in is for whatever reason it becomes impossible because it is simply to do dangerous. and i think for the coverage set we saw with the khamir rouge taking over in cambodia was minimal to nonexistent because it was impossible for the americans to operate that there was no independent journalism but look at syria today. an extraordinarily difficult story to cover because of the logistic san and infighting of the rebel groups but over the course of last year was possible to send in teams of journalist

to cover that story very well with backup damages to expand over the last year it has become impossible to. because the rebel groups of started to adopt the foreign journalist and now they're as many as 18 that have been kidnapped some stories have been made public and some have not but it has changed whole equation in the essentially made it off limits for more independent journalism to tell what is going on. as a result the only information coming out is the agenda driven the information provided by activist groups are on the ground. it is a job of the journalist to interpret and

validate and verify and use that but it is of far cry to see that with your own eyes. that chefs the way we see this story when the situation becomes too hazardous. as brave as journalists are and as committed as they are there comes a point where it is suicidal. . .