‘Yours neatly, sweetly, completely’: Revisiting the Times’ motto contest

How about this as the motto for the New York Times? “Clean, crisp, bright, snappy; read it daily and be happy.”

Or this? “Bright as a star and there you are.”

Or? “Pure in Purpose, Diligent in Service.”

Or? “You do not want what the New-York Times does not print.”

They were among thousands of entries submitted in a “motto contest” organized by the Times and its new owner, Adolph Ochs, in autumn 1896.

The contest ostensibly was to encourage readers to propose “a phrase more expressive of the Times’ policy” than “All the News That’s Fit to Print,” which Ochs had begun using as a marketing and advertising slogan in early October 1896.

On February 10, 1897–113 years ago today–“All the News That’s Fit to Print” appeared in the upper left corner, the “left ear,” of the Times’ front page, a place the motto has occupied ever since.

The 1896 motto contest was in reality a way to call attention to the Times in New York’s crowded newspaper market—one dominated by the yellow journalism of William Randolph Hearst and Joseph Pulitzer. Ochs had acquired the beleaguered Times in August 1896 and faced such rough going that Pulitzer’s New York World declared several months later:

“The shadow of death is settling slowly but surely down upon” the Times.

The motto contest, cheesy though it may seem today, stirred a fair amount of attention–and reader interaction–in 1896. The Times promised to pay $100 to the person who proposed in ten words or fewer a slogan deemed better than “All the News That’s Fit to Print,” which had first appeared in early October 1896, spelled out in a row of red lights on an advertising sign above New York’s Madison Square.

Among the entries sent to the Times were clunky such suggestions as: “All the News Worth Telling,” “All the News That Decent People Want,” and “The Fit News That’s Clean and True.”

Other were:

“Full of meat, clean and neat.”

“Instructive to all, offensive to none.”

“The people’s voice, good the choice.”

“Aseptic journalism up to date.”

“Yours neatly, sweetly, and completely.”

As I wrote in my 2006 book, a year study titled The Year That Defined American Journalism: 1897 and the Clash of Paradigms: “Before the contest ended, the Times altered the stakes by making clear it would not abandon ‘All the News That’s Fit to Print.’

“The Times justified this change of heart by saying no phrase entered in the contest was more apt and expressive than ‘All the News That’s Fit to Print.’ The $100 prize would be awarded, to the person adjudged to have submitted the best entry. But the motto would not be changed.”

Indeed, “All the News That’s Fit to Print” lives on as the most famous slogan in American journalism, the “leitmotif not merely for the Times, but also … for most other general-interest papers in the country,” a columnist for the Wall Street Journal once wrote.

The Times characterized its motto contest not as a grubby publicity stunt but as an opportunity for high-minded rumination about New York City newspapers. The contest, it said, had “set the people of this city to thinking upon the subject of newspaper decency in a more attentive and specific way than has been their custom.”

In any event, a committee of Times staffers winnowed the entries to 150 semi-finalists, which were submitted to Richard Watson Gilder, editor of The Century magazine. Gilder selected four finalists, which were:

• Always decent; never dull.
• The news of the day; not the rubbish.
• A decent newspaper for decent people.
• All the world’s news, but not a school for scandal.

As I wrote in The Year That Defined American Journalism, Gilder noted “that terms of the contest had changed from the original intent of selecting a slogan that ‘more aptly express the distinguishing characteristics of the New-York Times’ to the more theoretical task of determining which entry ‘would come nearest to it in aptness.’”

That entry, Gilder determined, was submitted by D.M. Redfield of New Haven, Connecticut. Redfield’s suggestion:

“All the world’s news, but not a school for scandal.”

Catchy.

WJC

The seven most famous words in American journalism

I’ve written that 1897 was a decisive year in American journalism.

The evocative sneer “yellow journalism” first appeared in print in 1897.

What became the best-known, most-reprinted editorial in American journalism, the New York Sun’s “Is There A Santa Claus?,” was published in 1897.

William Randolph Hearst’s New York Journal developed its bold and interventionist model of “journalism of action” in 1897.

And the seven most famous words in American journalism, “All the News That’s Fit to Print,” took a permanent place on the front page of the New York Times in 1897.

The motto appeared without comment, notice, or fanfare in the upper-left corner, the left “ear,” of the Times front page 113 years ago tomorrow — February 10, 1897.

The smug and tidy slogan has occupied the spot ever since. As  I noted in my 2006 book, The Year That Defined American Journalism: 1897 and the Clash of Paradigms, the motto represents “an enduring statement of guiding principle of what has long been recognized as the best newspaper in America.”

I also noted that the Times’ motto has been endlessly parodied and analyzed. Even admirers of the newspaper have acknowledged it’s a bit “overweening” and “elliptical.”

The motto has evoked lofty claims over the years. The Times in 1901, at the fiftieth anniversary of its founding, referred to “All the News That’s Fit to Print” as its “covenant.”

An historian of the Times, Elmer Davis, said the motto had served as “a war cry.”

In 2001, a columnist for the Wall Street Journal described the motto as the “leitmotif not merely for the Times, but also, by a process of osmosis and emulation, for most other general-interest papers in the country, as well as for much of the broadcast media.”

It was also, I wrote in The Year That Defined American Journalism, “a pithy summation of the Times’ … vision for American journalism,” a model of detachment in newsgathering “that stood in apposition to the extravagance and self-promotion” of Hearst’s “journalism of action.”

Indeed, “All the News That’s Fit to Print” is a timeless rebuke to the practices of Hearst and, to an extent, of Joseph Pulitzer — aggressive and flamboyant techniques that critics scorned as “yellow journalism.”

Interestingly, “All the News That’s Fit to Print” was at first a feature of a marketing campaign by the Times which, in August 1896, had been acquired in bankruptcy court by Adolph S. Ochs, a newspaperman from Tennessee. “All The News That’s Fit to Print” appeared in advertisements in the trade journal Fourth Estate in mid-October 1896. By month’s end, the phrase had taken a modest place in a corner of the Times’ editorial page.

The seven most famous words in American journalism made their debut in early October 1896, in a row of red lights arrayed across a huge advertising sign above Manhattan’s Madison Square. The illuminated sign was on the north wall of the old Cumberland Hotel building at Broadway and 22d Street.

Ochs, who turned 39 in 1897, had a bit of a flair for self-promotion, as the illuminated sign at Madison Square suggested. Securing the space “was nothing less than a coup” for the newcomer to New York journalism, I wrote in The Year That Defined American Journalism.

“The sign’s bright, multi-colored lights could be seen for many blocks away. Nowhere in the country, or in Europe, the Times immodestly crowed, was there ’so large and perfect a display.’”

It was illuminated by four rows of lights. White lights of the top and bottom rows spelled, “New-York Times” and “Have You Seen It?” A row of blue, white, and green lights spelled out “Sunday Magazine Supplement.” The red lights, which formed the second row of illumination, announced:

“All the News That’s Fit to Print.”

WJC

in mid-October 1896 and by month’s end had taken a place in the upper-left corner of the newspaper’s editorial page.

Catching up: Great movie misquotations

Heavy snows that have shut down much of metropolitan Washington, D.C., including American University today, have allowed the opportunity to work away at a stack of back issues of newspapers.

So only belatedly have I caught up with the “movie misquotations” item published January 15 in the “On Language” column of the Sunday New York Times magazine.

The column's headline

It’s an entertaining and revealing column that notes that “many of the most frequently cited motion-picture lines turn out to be misquotations.”

One well-known line, usually attributed to the Clint Eastwood character in Dirty Harry, is: “Do you feel lucky, punk?”

What the Eastwood character said was:

“You’ve got to ask yourself one question: ‘Do I feel lucky?’ Well, do ya, punk?”

The column points out that another frequent misquotation is Robert Duvall’s napalm line in Apocalypse Now, which often is cited as:

“I love the smell of napalm in the morning. It smells like victory.”

The Duvall character’s remark was much more detailed and complex:

“I love the smell of napalm in the morning. You know, one time we had a hill bombed for 12 hours. When it was all over, I walked up. We didn’t find one of ’em, not one stinkin’ . . . body. The smell, you know that gasoline smell, the whole hill. Smelled like victory.”

The column’s author, Fred R. Shapiro editor of Yale Book of Quotations, identifies several factors for the emergence of movie misquotations, including:

• a tendency toward compression, as the Apocalypse Now example suggests.
• a impulse to improve upon the original passage “by offering a better rhythm or cadence.”
• an inclination for greater euphony. The famous Mae West line–“Why don’t you come up and see me sometime?”–really was: “Why don’t you come up sometime and see me?” In another movie, she said: “Why don’t you come up sometime?”
• an effort “to keep up with colloquial speech.” The line commonly recalled as “Badges? We don’t need no stinking badges!,” was uttered in The Treasure of the Sierra Madre as: “I don’t have to show you any stinking badges!”

Shapiro’s column is evocative of the phenomenon of “version variability,” which I note in Getting It Wrong, my forthcoming book about media-driven myths.

“Version variability” is the the imprecision that alters or distorts an anecdote in its retelling, leading to differing versions of what was said or done. It can be a marker of media-driven myths.

The so-called “Cronkite Moment” of February 27, 1968, when CBS News anchorman Walter Cronkite went on air to say the U.S. war effort in Vietnam was “mired in stalemate,” offers a striking example of “version variability.”

President Lyndon Johnson supposedly was at the White House and watched the Cronkite report that night. Upon hearing the anchorman’s dire assessment, Johnson turned to an aide or aides and said:

“If I’ve lost Cronkite, I’ve lost Middle America.”

Another version quotes Johnson as saying: “I’ve lost Cronkite, I’ve lost the country.”

Yet another version has it this way: “If I’ve lost Cronkite, I’ve lost the American people.”

And: “If I’ve lost Cronkite, I’ve lost the war.”

And: “If we lose Cronkite, we lose America.”

Version variability of  such magnitude is a strong signal of implausibility.

As I note in Getting It Wrong, Johnson wasn’t at the White House when the Cronkite program on Vietnam aired. The president was in Austin, Texas, at a party marking the 51st birthday of his longtime political ally, John Connally.

WJC