W. Joseph Campbell

Archive for the ‘Anniversaries’ Category

No, ‘Politico’ — Viewer-listener disagreement is a myth of JFK-Nixon debate

In Anniversaries, Debate myth, Debunking, Error, Media myths, Television on September 26, 2017 at 1:31 pm

Fifty-seven years ago tonight, John F. Kennedy and Richard M. Nixon met in the first-ever televised debate between major party presidential candidates.

Not everyone thought he looked awful: Nixon debating, 1960
(AP photo)

Soon enough, a hardy media myth grew up around the 1960 debate: It’s a robust trope that says radio listeners thought Nixon won while television viewers favored Kennedy.

Politico is the latest media outlet to give expression to the myth (or at least to its juiciest half).

An essay posted today declares that “most people who heard the debate on the radio, which focused on domestic issues, thought Nixon had won. But Nixon’s sickly image counted for more; most viewers focused on what they saw and not on what they heard.”

What’s remarkable about this hoary media myth is that it persists despite its thorough dismantling 30 years ago by David Vancil and Sue D. Pendell.

They noted in a journal article that evidence for viewer-listener disagreement is thin, flawed, and anecdotal. Moreover, no public opinion surveys conducted in the immediate aftermath of the debate were aimed specifically at gauging reactions radio audiences.

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For the media, Harvey was no Katrina redux; here’s why

In Anniversaries, Hurricane Katrina, Media myths, Newspapers, Photographs on September 2, 2017 at 10:58 am

Twelve years ago today, newspaper headlines across the United States told of chaos and anarchy that supposedly was sweeping New Orleans in the aftermath of Hurricane Katrina’s devastating landfall.

Katrina churns, 2005

“Anger, Anarchy, Desperation,” declared the front page of the San Francisco Chronicle of  September 2, 2005.

“Crisis to Chaos,” said the Scottsdale Tribune in Arizona. “Toward Anarchy,” cried the Waterbury Republican in Connecticut. “Descent into Chaos,” asserted the San Diego Union-Tribune.

“Snipers fired on cops and rescue workers” in New Orleans, reported the New York Daily News. “Gangs of looters took anything that wasn’t nailed down.”

In New Orleans, the Times-Picayune newspaper (see image nearby) declared on its front page of September 2, 2005, that “chaos and lawlessness rule the streets.”

The horror and mayhem that news organizations so widely reported 12 years ago proved highly exaggerated, but it had the effect of tainting a city and its residents at a time of their great vulnerability.

As I noted in my media-mythbusting book, Getting It Wrong, the reporting of Katrina’s aftermath was no high, heroic moment in American journalism, despite some attempts to characterize it as such.

“In the days following Katrina’s landfall,” I wrote, “news reports described apocalyptic horror that the hurricane supposedly had unleashed. They reported snipers firing at medical personnel. … They told of bodies being stacked there like cordwood. They reported that roving gangs were preying on tourists and terrorizing the occupants of the Superdome [where hundreds of storm evacuees took shelter], raping and killing. They said that children were victims of sexual assault, that one seven-year-old was raped and her throat was slit. They reported that sharks were plying the flooded streets of New Orleans.

“None of those reports was verified or substantiated.” Little of it was true.

D-minus was a grade none too severe for the post-Katrina coverage.

“Americans depend on timely and accurate reporting, especially during times of crisis,” a bipartisan select committee of the House of Representatives later said in a 600-page report about the hurricane’s aftermath, adding that “accurate reporting was among Katrina’s many victims.

“If anyone rioted,” the report declared, “it was the media. Many stories of rape, murder, and general lawlessness were at best unsubstantiated, at worst simply false.”

It is useful now to recall the erroneous and exaggerated coverage of Katrina’s aftermath because the destructive sweep of Hurricane Harvey in southeast Texas at the end of last month gave rise to little such egregious misreporting and produced few if any examples of the media having “rioted” in their storm coverage.

For news organizations, Harvey was no Katrina.

Here are some reasons why:

• Reasonably competent public officials. In Texas, state and local officials — including the mayor of Houston — were more credible, knowledgeable, and restrained than were senior public officials in New Orleans. Ray Nagin, the then-mayor of New Orleans, and Eddie Compass, the then-police commissioner, were sources for some of the most gruesome yet erroneous reports of lawlessness in Katrina’s immediate aftermath.

At one point, Nagin asserted that “hundreds of armed gang members” were terrorizing evacuees inside the Superdome. The mayor said conditions there had deteriorated to “an almost animalistic state” and evacuees had been “in that frickin’ Superdome for five days, watching dead bodies, watching hooligans killing people, raping people.”

Compass spoke of other horrors. “We had little babies in there, little babies getting raped,” the police commissioner said of the Superdome where, he claimed, police officers had been shot and wounded.

Their accounts of violence in New Orleans were widely reported — but were almost completely without foundation. (Months later, Compass said he passed along rumors of violence because he “didn’t want people to think we were trying to cover anything up. So I repeated things without being substantiated, and it caused a lot of problems.”)

By contrast, Houston’s mayor, Sylvester Turner, projected an image of even-tempered authority. He spoke often to the news media, typically in measured and sedate tones. He didn’t preen for the cameras, and certainly didn’t mischaracterize his city as having been seized by violence and lawlessness. The only significant controversy to swirl around Turner was whether he should have ordered a mandatory evacuation as Harvey approached from the Gulf of Mexico.

No narrative-shifting surprises. Katrina’s aftermath marked by a surprising and decisive turn after the storm had passed: Not long after it appeared the city had been spared the hurricane’s worst effects, levees protecting the city began to fail, sending floodwaters across much of New Orleans. That development abruptly shifted news coverage of Katrina from having escaped a close call to something more grim and devastating. New Orleans was mostly under water and rumors of social disintegration, many of which made their way into news reports, soon were circulating.

Harvey was forecast to drop upwards of 50 inches of rain on parts of southeastern Texas, predictions that proved largely accurate. Journalists, at least in broad terms, knew what to expect; the absence of a narrative-altering surprise allowed them to keep story lines trained on storm victims, rescues and evacuations, without having to chase bleak rumors of mayhem and violence.

Principal controversies that arose about post-Harvey coverage focused on questions of media ethics — whether it was appropriate for a reporter to send Twitter messages about what he considered looting, and when a reporter should pull back from an on-camera interview of a clearly distraught storm victim.

Dubious memes were quickly debunked. An image of a shark plying floodwaters in Texas received a brief and apparently credulous mention on the Fox News Channel, but the photograph soon was exposed as fake. For a time, the Washington Post’s “Intersect” blog kept a running list of storm-related hoaxes and exaggerations that appeared on social media. Such compilations helped keep a lid on the over-the-top stuff.

Social media platforms — most of which hadn’t been developed in 2005 — seemed to have performed fairly well, overall. Notably, Facebook and Twitter became in Harvey’s aftermath lifelines for storm victims and their families.

Stirring images. Some of the most memorable photographs of Harvey were not of agony and grim misery (like the Times-Picayune front page of September 2, 2005) but were heartening — such as the one of a Houston police SWAT officer striding in knee-deep flood water, carrying woman who was cradling her 13-month-old son. The image was taken by an Associated Press photographer and became “a symbol of the storm and rescue efforts,” as a Houston television station described it.

AP photo/David J. Phillip

The AP photographer, David J. Phillip, captured another memorable image of the storm — a panorama of a flooded Houston boulevard where a swarm of human forms confronted the waters in a tableau of evident grit, resilience, and aquatic rescue. The photo at once testified to turmoil the hurricane had created and to an absence of turmoil in response.

The post-landfall coverage of Harvey may not have been magnificent, but in all it didn’t merit a D-minus.

I’d give it a B, at least.

WJC

More from Media Myth Alert:

 

Memorable late October: A new edition of ‘Getting It Wrong’ and more

In Anniversaries, Debunking, Error, Media myths, Media myths and radio, Photographs, Quotes, Television on October 30, 2016 at 5:59 pm

screen-shot-2016-09-23-at-3-53-56-pmLate October makes for memorable times in media-mythbusting.

The anniversary of the mythical panic broadcast — Orson Welles’ clever radio adaptation of The War of the Worlds that supposedly touched off nationwide panic and mass hysteria in 1938 — falls this evening.

Today also marks the seventh anniversary of the launch of Media Myth Alert.

And late October this year brought the publication of an expanded second edition of Getting It Wrong, my award-winning mythbusting book, published by University of California Press.

The second edition includes a new preface, and three new chapters that discuss:

  • The myth of the first televised presidential debate in 1960 between John F. Kennedy and Richard M. Nixon — notably that television viewers and radio listeners reached dramatically different conclusions about who won the encounter. In Getting It Wrong, I characterize the notion of viewer-listener disagreement as “a robust trope” that’s often cited as “conclusive evidence of the power of television images and the triumph of image over substance.” I also present reasons why the debate of September 26, 1960, was at best a small factor in the outcome of the election, which Kennedy narrowly won.screen-shot-2016-10-30-at-5-01-49-pm
  • The myths of the “Napalm Girl” photograph, taken in Vietnam in June 1972, which shows a cluster of children burned or terrorized by an errant napalm attack. I note the photograph has given rise to a variety of media myths — notably that American warplanes dropped the napalm. The attack was carried out by the South Vietnamese Air Force. Related myths are that the photograph was so powerful that it turned U.S. public opinion against the war, that it hastened an end to the war, and that it was published on newspaper front pages across the country. (Many leading U.S. daily newspapers did publish the photograph; many abstained.)
  • The spread of bogus quotations via social media and the Internet.  Among the examples discussed in the new edition is this phony quotation, attributed to Thomas Jefferson: “Some of my finest hours have been spent on my back veranda, smoking hemp and observing as far as my eye can see.” The utterance, I point out, is found in none of Jefferson’s writings. And there is no evidence the third U.S. president smoked hemp or other substances, including tobacco. Even so, the obviously preposterous quote — like many others attributed to important men and women of the past — “is too alluring and oddly amusing to drift away as so much historical rubbish,” I write.

The second edition of Getting It Wrong also explores the tenacity of prominent media myths, calling attention to the roles of celebrities and luminaries — authors, entertainers, and social critics, as well as politicians and talk show hosts — in amplifying dubious or apocryphal tales about the news media and their power.

The upshot of the celebrity effect, I write, is scarcely trivial: The prominence of luminaries helps ensure that the myths will reach wide audiences, making the myths all the more difficult to uproot. The importance of the celebrity effect in the diffusion of media myths has become better recognized, and better documented, in the years since publication in 2010 of the first edition of Getting It Wrong, I point out.

Myth-telling luminaries include Vice President Joe Biden, radio talk show host Rush Limbaugh, former President Jimmy Carter, humorist Garrison Keillor, and author and TV commentator Juan Williams.

I further note that for journalists, media myths “are very seductive: They place the news media at the epicenter of vital and decisive moments of the past, they tell of journalistic bravado and triumph, and they offer memorable if simplistic narratives that are central to journalism’s amour propre.

“They also encourage an assumption that, the disruption and retrenchment in their field notwithstanding, journalists can be moved to such heights again.”

WJC

More from Media Myth Alert:

 

Gushing about ‘All the President’s Men,’ the movie — and ignoring the myths it propelled

In Anniversaries, Cinematic treatments, Debunking, Media myths, Reviews, Washington Post, Watergate myth on April 18, 2016 at 6:32 am

ATPM movie posterWhen it was released 40 years ago this month, the cinematic version of the Watergate book  All the President’s Men was the topic of soaring reviews.

Vincent Canby wrote in the New York Times that “the real excitement of ‘All The President’s Men’ is in watching two comparatively inexperienced reporters stumble onto the story of their lives and develop it triumphantly, against all odds.” He was referring to Washington Post reporters Bob Woodward and Carl Bernstein who were played in the movie by Robert Redford and Dustin Hoffman, respectively.

The Long Island newspaper Newsday gushed even more, declaring:

“’All the President’s Men’ is a terrific movie – the best film about newspaper reporters ever made, one of the most enjoyable action pictures you’ll see this year and a classic example of how to make an important social and political statement within the framework of an unpretentious detective story whose revelations speak for themselves.”

And so it went for a movie that won four Academy Awards but lost the best-picture Oscar to Rocky.

The gushing for All the President’s Men resumed this month as a variety of media outlets took the occasion of the 40th anniversary to celebrate the film anew.

Michael Gaynor of Washingtonian magazine put together a lengthy oral history about All the President’s Men, which he hailed as the “most defining movie of Washington.” Meanwhile, Newsday posted its 1976 review online.

In a lengthy retrospective for the Los Angeles Review of Books,the associate producer of All the President’s Men, Jon Boorstin, called the movie “a miracle.” He further described it as an “impossible conjunction of talent and opportunity, collaboration and ego, trust, power, and luck. And then more luck.”

And the Washington Post — inclined as it is to bouts of self-absorption — published at its online site a fawning essay that gushed at the granular level, telling us about Woodward and Bernstein’s favorite scenes in All the President’s Men.

What went unmentioned in the anniversary’s nostalgic glow was the movie’s significant contributions to the mythology of Watergate, notably the notion that Woodward and Bernstein‘s reporting — the movie’s centerpiece — brought down the corrupt presidency of Richard M. Nixon in 1974.

The movie portrayed Woodward and Bernstein as central and essential to unraveling the Watergate scandal.

They weren’t.

That they were is a mythical, media-centric trope that emerged long ago as the dominant narrative of Watergate, the principal way of understanding the scandal.

I call it the heroic-journalist myth, a simplistic version that sweeps away the complexities of Watergate, leaving an easy-to-grasp explanation for Nixon’s downfall in August 1974.

The cinematic version of All the President’s Men, as I noted in my 2010 book, Getting It Wrong, promoted this version — what I called an “unmistakable assertion of the power and centrality of the press in Nixon’s fall.

All the President’s Men allows no other interpretation: It was the work Woodward and Bernstein that set in motion far-reaching effects that brought about the first-ever resignation of a U.S. president. And it is a message that has endured,” I wrote.

I further noted in Getting It Wrong that rolling up a scandal of Watergate’s dimensions in fact “required the collective if not always the coordinated forces of special prosecutors, federal judges, both houses of Congress, the Supreme Court, as well as the Justice Department and the FBI.

“Even then,” I wrote, “Nixon likely would have served out his term if not for the audiotape recordings he secretly made of most conversations in the Oval Office of the White House. Only when compelled by the Supreme Court did Nixon surrender those recordings, which captured him plotting the cover-up” of the burglary in June 1972 that was Watergate’s seminal crime.

The movie contributed to Watergate’s mythology in another way: It brought into the vernacular what has become the scandal’s most memorable line — “follow the money.

It’s often said that “follow the money” was sage counsel offered by the stealthy, high-level “Deep Throat” source, with whom Woodward periodically met as the scandal unfolded.

The guidance to “follow the money” supposedly was crucial to Woodward and Bernstein in unraveling the labyrinthine scandal that was Watergate.

Except that it really wasn’t.

The line was written into All the President’s Men for dramatic effect  and spoken by the actor Hal Holbrook who played a marvelously conflicted, raspy, chain-smoking “Deep Throat.”

“Deep Throat” the source never told Woodward to “follow the money.”

WJC

More from Media Myth Alert:

NYTimes invokes Watergate myth in writeup about journalists and movies

In Anniversaries, Cinematic treatments, Debunking, Error, Media myths, New York Times, Newspapers, Scandal, Washington Post, Watergate myth on January 3, 2016 at 2:03 pm

There’s no doubt Hollywood is an important reason why Watergate’s dominant narrative has it that Bob Woodward, Carl Bernstein, and the Washington Post toppled Richard Nixon’s corrupt presidency.

Not the Post's doing

Not the Post’s doing

It is a heroic narrative that found mention today’s New York Times, in an article discussing two movies about journalists that could be contenders this year for Academy Awards.

One of them is Truth, a perversely titled film that celebrates former CBS News anchor Dan Rather and producer Marla Mapes who in 2004 used bogus documents to claim President George W. Bush dodged wartime service in Vietnam. No way does that movie deserve Oscar consideration. The other contender-film is titled Spotlight.

But what most interests Media Myth Alert is the Times article’s blithe and mistaken reference to “the investigation by Bob Woodward and Carl Bernstein that led to Richard M. Nixon’s resignation.”

Woodward and Bernstein’s Watergate reporting for the Post had no such effect, however much the cinematic version of their book, All the President’s Men, encouraged that notion. As I noted in my 2010 book, Getting It Wrong, the movie promotes an “unmistakable assertion of the power and centrality of the press in Nixon’s fall.

All the President’s Men allows no other interpretation: It was the work Woodward and Bernstein that set in motion far-reaching effects that brought about the first-ever resignation of a U.S. president. And it is a message that has endured.”

Indeed, this year marks the 40th anniversary of the movie’s release and the notion that Woodward and Bernstein toppled Nixon remains the principal way Watergate is understood, a version that disregards and diminishes the far more accurate interpretation of what led to Nixon’s fall in August 1974.

To roll up a scandal of Watergate’s dimensions, I wrote in Getting It Wrong, “required the collective if not always the coordinated forces of special prosecutors, federal judges, both houses of Congress, the Supreme Court, as well as the Justice Department and the FBI.

“Even then, Nixon likely would have served out his term if not for the audiotape recordings he secretly made of most conversations in the Oval Office of the White House. Only when compelled by the Supreme Court did Nixon surrender those recordings, which captured him plotting the cover-up” of the burglary in June 1972 that was Watergate’s seminal crime.

Principals at the Post have, over the years, rejected the simplistic notion that the newspaper’s reporting led Nixon to resign.

Katharine Graham, the Post’s publisher during Watergate, said in 1997, for example:

“Sometimes people accuse us of bringing down a president, which of course we didn’t do. The processes that caused [Nixon’s] resignation were constitutional.”

In 2005, Michael Getler, then the Post’s ombudsman, or in-house critic, wrote:

“Ultimately, it was not The Post, but the FBI, a Congress acting in bipartisan fashion and the courts that brought down the Nixon administration. They saw Watergate and the attempt to cover it up as a vast abuse of power and attempted corruption of U.S. institutions.”

Not even Woodward has embraced the heroic-journalist myth. He once told an interviewer for American Journalism Review:

To say the press brought down Nixon, that’s horse shit.”

And in an interview with the PBS “Frontline” program, Woodward said “the mythologizing of our role in Watergate has gone to the point of absurdity, where journalists write … that I, single-handedly, brought down Richard Nixon. Totally absurd.”

Today’s article wasn’t the first time the Times has turned to the mythical claim about the Post’s Watergate reporting.

In a cover article in 2014, the Times Sunday magazine mentioned Woodward and Bernstein, saying they “actually managed to take down a mendacious American president, and in doing so they came to symbolize the hope and heroism of a new generation.”

And in 2008,in an article about Woodward’s finally introducing his high-level Watergate source to Bernstein, the Times referred to the “two young Washington Post reporters [who] cracked the Watergate scandal and brought down President Richard M. Nixon.”

WJC

More from Media Myth Alert:

Taking stock: Top mythbusting posts of 2015

In Anniversaries, Cronkite Moment, Debunking, Error, Furnish the war, Media myths, New York Times, Scandal, Spanish-American War, Television, Washington Post, Watergate myth, Yellow Journalism on December 29, 2015 at 11:27 am

Media Myth Alert called attention in 2015 to the appearance of prominent media-driven myths, including cases in which celebrities took up and repeated dubious tall tales about journalists and their work.

Here is a rundown of the blog’s five top posts of the year, followed by a roster of other notable mythbusting writeups of 2015.

Celebrities pushing media myths: Garrison Keillor and Hearst’s “furnish the war” vow (posted April 29): I noted in 2015 that the mythical tale about William Randolph Hearst’s vowing to “furnish the war” with Spain in the late 19th century has become zombie-like: Despite thorough and repeated debunking, it never dies.

Keillor_WritersAlmanacThe hoary old myth received a boost in April when, on the 152d anniversary of Hearst’s birth, the humorist and radio personality, Garrison Keillor, blithely invoked the unsubstantiated anecdote, which reinforces the superficial and misleading notion of Hearst as war-mongering newspaper publisher.

“In 1898,” Keillor told listeners of his “Writer’s Almanac” podcast that airs on NPR, “Hearst sent the artist Frederic Remington to Cuba to cover the war. And Remington wrote home, ‘There is no war. Request to be recalled.’

“And he was told, ‘You furnish the pictures, I’ll furnish the war.’ And the Hearst newspapers did their best to promulgate what came to be called the Spanish-American War.”

The tale is one of the best-known in American journalism, and it is almost certainly apocryphal, for reasons described in my 2010 media-mythbusting book, Getting It Wrong.

Keillor

Keillor

Notably, the anecdote lives on despite the absence of supporting documentation: The telegraphed messages that Remington and Hearst supposedly exchanged have never turned up. And the Spanish authorities who controlled incoming and outbound telegraphic traffic in Cuba surely would have intercepted and called attention to Hearst’s incendiary message, had it been sent.

Moreover, the sole original source of the “furnish the war” anecdote, James Creelman, a portly, cigar-chomping journalist prone to hyperbole and exaggeration, never said how or where he learned about the purported Remingt0n-Hearst exchange.

And almost no one remembers that Hearst denied having sent such a message.

By the way, the transcript of Keillor’s remarks about Hearst and Remington remains posted at the “Writer’s Almanac” Web site. Uncorrected.

Mark Felt, Watergate’s “Deep Throat”: Why is he biopic worthy? (posted November 27): W. Mark Felt, a disgraced former senior FBI official best-known as a secret source in the Watergate scandal, is to receive hero’s treatment in a biopic to be called Felt.

Felt: Biopic worthy?

Felt: Biopic worthy?

Peter Landesman, who is to produce and direct the film, was quoted last week as saying Felt will be akin to “a Shakespearean melodrama, a massively powerful story. It’s like a domestic spy thriller but there’s a very powerful, almost Shakespearean thing happening inside his home, but it will incorporate all those elements.”

But why is Mark Felt, who died in 2008, biopic worthy?

He was no noble or heroic figure.

Besides being a secret, high-level source for Bob Woodward of the Washington Post, Felt in the early 1970s was the FBI’s acting associate director. In that role, he authorized several burglaries as part of the agency’s investigations into the radical Weather Underground.

FBI agents who conducted the illegal break-ins went through “desks, closets, clothing and private papers for clues to the whereabouts of the Weathermen,” according to an account in the New York Times. “With a camera that could be concealed in an attaché case, the agents photographed diaries, love letters, address books and other documents” belonging to relatives of Weather radicals.

In 1980, Felt was convicted of felony charges related to those warrantless break-ins, which were known in the FBI as “black bag jobs.” He was fined $5,000 but not sentenced to prison for the crimes.

The following year, Felt received an unconditional pardon from President Ronald Reagan.

In its obituary about the former FBI official, the Los Angeles Times recalled that tears welled in Felt’s eyes as he acknowledged at trial having approved secret break-ins by FBI agents between May 1972 and May 1973 — “roughly the same time he was talking to Woodward about Watergate.”

Felt and co-defendant Edward S. Miller argued that the warrantless entries were justified for reasons of national security.

WSJ columnist Peggy Noonan trips over the “Cronkite Moment” myth (posted August 30): In late summer, the Wall Street Journal’s prominent weekend columnist, Peggy Noonan, attempted to explain the phenomenon of Donald Trump and his soaring presidential candidacy.

In doing so, Noonan tripped over the mythical “Cronkite Moment” of 1968.

Peggy Noonan

Noonan

That “moment” was when CBS News anchorman Walter Cronkite declared on the air that the U.S. military effort in Vietnam was “mired in stalemate.” Cronkite’s assessment supposedly came as an epiphany to President Lyndon B. Johnson, who, in visceral reaction, said something to the effect of:

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

But as I discussed in  Getting It Wrong, Johnson did not see Cronkite’s program when it aired on February 27, 1968; the president then was attending a black-tie birthday party in Texas for Governor John Connally.

I also noted in Getting It Wrong that by 1968, “stalemate” was hardly a novel or shocking way to characterize the Vietnam War: “Stalemate” had circulated in the news media months before Cronkite spoke the word on the air.

In her column, Noonan referred to shifting contours in American politics that have boosted Trump’s bid for the Republican presidential nomination. She also wrote:

“Old style: If I’ve lost Walter Cronkite, I’ve lost middle America. New style: How touching that an American president once thought if you lost a newsman you’d lost a country.”

Noonan’s reference to the “Cronkite Moment” may have been indirect and a bit confusing, given the topic of her column. But there was no doubt she was treating as authentic one of American journalism’s most tenacious myths.

Another prominent columnist, Maureen Dowd of the New York Times, also referred to the “Cronkite Moment” in 2015.

Dowd did so in February, in a commentary that ruminated about the bizarre falsehoods told by Brian Williams, the disgraced former anchor of NBC Nightly News, about an assignment to Iraq in 2003: Williams claimed to have been aboard a U.S. Army helicopter when it was struck by a rocket-propelled grenade.

Dowd, after noting that network evening news shows are shells of their much-watched former selves, turned implicitly to the “Cronkite Moment,” writing that CBS anchorman had “risked his career to go on TV and tell the truth about the fact that we were losing the Vietnam War.”

Except Cronkite didn’t say “we were losing.” He said the war was stalemated and that negotiations might eventually prove to be the way out. But saying so posed no risk to Cronkite’s career. By then, it was commonplace, and safe, to say the war had reached a stalemate.

No, Politico: Ben Bradlee’s WaPo didn’t bring down Nixon (posted May 27): In an account about the file the FBI kept on Ben Bradlee, the Washington Post’s executive editor during Watergate, Politico invoked the hardy media myth that the Post’s reporting on the scandal “brought down a president.”

Politico logoOf course, it had no such effect, as Bradlee himself had said, on the 25th anniversary of the seminal crime of Watergate–the burglary in June 1972 at the headquarters of the Democratic National Committee.

On Meet the Press in June 1997, Bradlee said “it must be remembered that Nixon got Nixon. The Post didn’t get Nixon.”

Bradlee, who died in 2014, was referring to the White House audio tapes which Nixon secretly made and which revealed the president’s guilty role in conspiring to obstruct the FBI’s investigation into the breakin at the DNC headquarters.

As I noted in Getting It Wrong the notion that the Post and its lead Watergate reporters, Bob Woodward and Carl Bernstein, “brought down” Nixon’s presidency represents a fundamental misreading of history that diminishes “the far more decisive forces that unraveled the scandal and forced Nixon from office.”

Those forces included special prosecutors and federal judges, FBI agents, bipartisan congressional panels, and the U.S. Supreme Court, which unanimously ruled that Nixon must turn over to prosecutors the tapes that captured his guilty participation in the attempted coverup.

Against this tableau, the contributions of the Post and Woodward and Bernstein to the outcome of Watergate were minimal. Modest at best. They were hardly decisive, Politico’s claim notwithstanding.

Jorge Ramos, media-myth-teller (posted September 5): The international reach of media-driven myths was best defined in 2015 when Jorge Ramos, the self-important anchorman for Univision, went on an ABC News program and claimed that the Washington Post’s reporting of Watergate forced Nixon’s resignation.

He stated:

“I think that, as a reporter, many times, you have to take a stand. … And the best examples of journalism that I have—Edward R. Murrow against McCarthy; Cronkite during the Vietnam War, or the Washington Post reporters forcing the resignation of Richard Nixon—that’s when reporters challenge those who are in power.”

Ramos, who has been called the “Walter Cronkite of Latino America,” invoked a similar claim a few days later in a commentary posted at the online site of AM, a newspaper in Mexico.

What prompted these claims was Ramos’ conduct a news conference convened by Donald Trump. Ramos insisted on posing a question before being called on, a showboating moment that led to his being escorted from the room.

In any event, Ramos was wrong about the Post, its reporters, and Watergate.

Not even the newspaper’s principal figures during the Watergate period embraced the notion that the Post forced Nixon to quit in August 1974.

Notable among them was the publisher during Watergate, Katharine Graham. She said 1997:

“Sometimes people accuse us of bringing down a president, which of course we didn’t do. The processes that caused [Nixon’s] resignation were constitutional.”

WJC

Other memorable posts of 2015:

10 years on: News media shy from revisiting flawed Katrina coverage

In Anniversaries, Error, Hurricane Katrina, Media myths, Newspapers, Television on August 25, 2015 at 1:23 pm
NOAA_Katrina

Katrina, 10 years ago

I call it the “myth of superlative reporting,” the notion that in the aftermath of Hurricane Katrina’s onslaught 10 years ago, journalists bravely held powerful officials accountable for their inept responses to a storm blamed for the deaths of 1,800 people.

Dan Rather, the former CBS News anchorman, gave voice to the “myth of superlative reporting,” describing Katrina coverage as “one of the quintessential great moments in television news,” ranking “right there with the Nixon/Kennedy debates, the Kennedy assassination, Watergate coverage, you name it.”

A quintessential great moment is was not.

The reporting of Katrina, as I wrote in my 2010 media-mythbusting book, Getting It Wrong, “was in important respects flawed and exaggerated. On crucial details, journalists erred badly, and got it wrong” in describing horrors the storm supposedly unleashed across New Orleans after making landfall east of the city on August 29, 2005.

Journalists reported snipers firing at medical personnel, I noted. They reported shots were fired at helicopters, halting evacuations from the Convention Center in New Orleans. They told of bodies being stacked like cordwood inside the Convention Center.

News reports also spoke of roving gangs that terrorized occupants of the Louisiana Superdome, where many people had taken shelter. The reports said children were victims of sexual assault, that one seven-year-old was raped and her throat was slit. They reported that sharks were plying the flooded streets of New Orleans.

None of those reports, as it turned out, was verified or substantiated.

“If anyone rioted,” said a bipartisan congressional report about Katrina, “it was the media.

“Many stories of rape, murder, and general lawlessness were at best unsubstantiated, at worst simply false.”

Erroneous and over-the-top reporting, I wrote in Getting It Wrong, “had the cumulative the effect of painting for America and the rest of the world a scene of surreal violence and terror, something straight out of Mad Max or Lord of the Flies.”

Which was rather how Maureen Dowd characterized Katrina’s aftermath in her New York Times column, published September 3, 2005, under the headline, “United States Of Shame”:Screen Shot 2015-08-23 at 3.39.57 PM

“America,” she wrote, “is once more plunged into a snake pit of anarchy, death, looting, raping, marauding thugs, suffering innocents, a shattered infrastructure, a gutted police force, insufficient troop levels and criminally negligent government planning. But this time it’s happening in America.”

Far more measured and perceptive was her Times colleague, Jim Dwyer, whom Brian Thevenot quoted this way, in a searching critique of the coverage of Katrina:

“I just thought that some of the reports were so garish, so untraceable and always seemed to stop short of having actual witnesses to the atrocities … like a galloping mythical nightmare had taken control.”

The erroneous and exaggerated reporting had the important effect delaying the delivery of aid to New Orleans — and of defaming the residents of a battered city, depicting them as having shed all restraint in the face of a disaster.

Little of the flawed coverage has been revisited or recalled in the run-up to the 10th anniversary of Katrina’s landfall. As they did in fifth anniversary retrospectives, journalists have mostly shied from addressing the errors in their coverage and have avoided considering how that coverage offers broader insights about reporting on disasters and other dramatic events.

The 10th anniversary reports have instead offered conflicting assessments about how New Orleans has made a comeback, or really hasn’t, or how impressions of the city’s recovery can sharply differ.

Heavily advertised television specials shown on ABC and Fox News skirted the wrong-headed reporting of 10 years ago, if they alluded to it at all.

ABC’s retrospective was broadcast Sunday night and was so sappy and boosterish as to be almost unwatchable.

Fox, which aired its look-back on Friday, was notably rough on Ray Nagin, the incompetent, bloviating mayor of New Orleans 10 years ago. Nagin since has gone to federal prison on corruption convictions unrelated to Katrina.

It’s worth recalling how in the storm’s aftermath, Nagin went on Oprah Winfrey’s program to claim that “hundreds of armed gang members” were terrorizing Katrina evacuees inside the Louisiana Superdome.

Nagin said conditions at the Superdome had deteriorated to “an almost animalistic state” and evacuees had been “in that frickin’ Superdome for five days, watching dead bodies, watching hooligans killing people, raping people.”

Almost all of those claims were untrue: The mayor was winging it on national television, and smearing his city in the process. The Fox program alluded to some of Nagin’s exaggerations.

An exception to the media’s sidestepping was a segment Saturday on NPR’s On the Media show. The segment noted the flawed reporting, but didn’t much explore why or how it occurred.

In her introduction, co-host Brooke Gladstone said of journalists covering the storm’s aftermath:

“They didn’t always speak fact. While covering Katrina’s horrific aftermath, the media often perpetuated myths about what was going on in the streets and the gathering places for the displaced, like the Superdome in New Orleans.”

The broad effect, of the exaggerated reporting, she said, was to paint “an apocalyptic picture that never matched reality.”

Her observations were a sequeway to an extended conversation with James A. Cobb Jr., the lawyer who won acquittals in 2007 of Sal and Mabel Mangano, owners of a nursing home in suburban New Orleans where 35 old people drowned in floodwaters released by the collapsed levees.

The Manganos both were charged with 35 counts of negligent homicide and 24 counts of cruelty.

Before the storm hit, the Manganos had decided it was safer to hunker down and not evacuate their frail and bedridden charges — and they were pilloried by the media when word of the deaths of their elderly charges began to circulate.

WJC

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About that Hearst quote on public’s fondness for entertainment

In Anniversaries, Debunking, Error, Furnish the war, Media myths, Newspapers, Quotes, Spanish-American War, Yellow Journalism on August 20, 2015 at 6:45 am

“It is the Journal’s policy to engage brains as well as to get the news, for the public is even more fond of entertainment than it is of information.”

Hearst before the war

Hearst in caricature, 1896

So declared New York Journal in a lengthy editorial (see below) published November 8, 1896, at the first anniversary of William Randolph Hearst’s taking over the once-moribund daily.

During that period, the editorial claimed, the Journal made enormous circulation gains — from 77,230 to 417,821, daily, and from 54,308 to 351,751, Sunday.

“What has been done in one year,” the Journal declared, “is a promise of what will be done in the next.”

The first-anniversary editorial and its self-congratulatory tone have long been forgotten. But its claim that the public is “more fond of entertainment than it is of information” has lived on as evidence of Hearst’s supposed inclination to treat his newspapers as platforms of frivolity and exaggeration.

Such characterizations are to be found in more than a few books that address or refer to Hearstian journalism.

For example, Gerald Baldasty presented the fragment “the public is even more fond of entertainment than it is of information” as a stand-alone sentence in E.W. Scripps and the Business of Newspapers. So, too, did Louis Pizzitola in Hearst Over Hollywood. Donald A. Ritchie included the excerpt in American Journalists: Getting the Story, as did both George Sullivan in Journalists at Risk: Reporting America’s Wars and Samantha Barbas in her biography about Hearst gossip columnist Louella Parsons.

Screen Shot 2015-08-19 at 11.18.20 AM

The first-anniversary editorial

Michael Schudson included the full quotation in Discovering the News, and cited as his source W.A. Swanberg, who excerpted  a few passages from the Journal’s first-anniversary editorial in Citizen Hearst, a notably dreadful biography.

The first-anniversary editorial, which carried the headline “One Year’s Progress,” was unsigned; so it may not have been Hearst’s writing at all (but in that case, he surely would have approved its content before publication).

What’s more important is that the editorial was no endorsement of news-as-entertainment, no embrace of the primacy of superficial and trivial content. To describe it as such is to misrepresent and err: Hearst, or whoever wrote the editorial, was not extolling frivolity in his newspapers.

Far from it.

The editorial staked a claim to seriousness of purpose. It did not diminish the importance of news and newsgathering but rather embraced those aims, as these excerpts make clear (my additional commentary is italicized):

  • “The Journal has made it its business to reach out for news wherever it is to be had, considering neither precedent, difficulty, nor cost.” Indeed, a little-recognized hallmark of Hearst’s journalism of the mid- and late-1890s was his willingness to devote substantial sums to cover far-flung news events.
  • “When the ordinary news channels are blocked or inadequate, the Journal dispatches it own correspondents to the points, however distant, where the news is to be obtained, and even presses monarchs and statesmen into its service. And these dignitaries are often gracefully obliging.” The “dignitaries” sometimes would reply with a few sentences to the Journal’s cabled requests for comment about political or military developments abroad.
  • “The Cuban War [the rebellion that began in 1895 and gave rise to the Spanish-American War of 1898] … engaged the lively interest of the people of the United States. So the Journal sent correspondents to the island, among them Mr. Murat Halstead [then a 66-year-old eminence grise among American journalists] and General Bradley Johnson [formerly a Confederate field officer]. This paper was the first to get a reporter through the lines to the [Cuban] insurgents and give their side a hearing.” In December 1896, the Journal recruited the writer Richard Harding Davis and the artist Frederic Remington  to go to Cuba and meet up with the insurgents. The intended rendezvous never happened, but the assignment did give rise to the apocryphal tale of Hearst’s vowing to Remington that he would “furnish the war” with Spain.

The editorial’s most-quoted passage — that “the public is even more fond of entertainment than it is of information” — was preceded by a prideful recitation of the Journal’s enterprise during the previous 12 months. That portion of the editorial read:

“At the Czar’s coronation [in May 1896] the Journal was specially represented in Moscow by Mr. Richard Harding Davis. Mr. Julian Ralph [who reported from abroad for many years] is our resident correspondent in London. Edgar Saltus, Stephen Crane, Julian Hawthorne, Edward W. Townsend and other authors of fame act as reporters or contributors when the need arises. No other journal in the United States includes in its staff a tenth of the number of writers of reputation and talent. It is the Journal’s policy to engage brains as well as to get the news, for the public is even more fond of entertainment than it is of information. In short, during the past year we have been publishing a first-rate, all-round newspaper that has given a history of the world’s most important events each day ….”

So the context for the popular passage about the public’s fondness for entertainment is in fact an unambiguous statement about the importance of reporting the news with skill and talent.

Although it is impossible to know for sure, the editorial writer may have invoked “entertainment” not in the word’s light-hearted sense but to suggest the pleasure readers derived from the works of some of the leading authors of the late 19th century. Such an interpretation certainly offers itself, given the editorial’s context and content.

But why is any of this of importance now?

After all, the quotation isn’t as well-known, or invoked as often, as “furnish the war.” But it still resonates and still circulates — as suggested by the sneering essay published a month ago by Salon.

The essay was, as I noted then, “a strained and unpersuasive effort to liken the excesses of billionaire Donald Trump to those of the long-dead media tycoon William Randolph Hearst.” It closed with a slightly altered version of the passage from the Journal’s editorial:

“Said William Randolph Hearst: ‘The public is even more fond of entertainment than information.’ Boy, was he right.”

So the quotation has currency, serving as inaccurate shorthand for the superficial character of Hearst’s journalism. But the Journal of the mid- and late-1890s wasn’t that.

It was flamboyant and indulged heartily in self-promotion. It inspired “yellow journalism,” a sneer coined in 1897 by an embittered rival editor in New York City.

But Hearst’s journalism also was aggressive, searching, and fairly well-funded. As Hearst’s most even-handed biographer, David Nasaw, wrote in his 2000 work, The Chief:

““Day after day, Hearst and his staff improved on their product. Their headlines were more provocative than anyone else’s, their drawings more lifelike … the writing throughout the paper [was] outstanding, if, at times, a bit long-winded.”

Nasaw was referring to the Journal of 1895-96.

In months that followed, the newspaper became even more assertive and exceptional as it staked out and pursued an activist model of participatory journalism. The “journalism of action,” the Journal called it.

As I wrote in my 2006 book, The Year That Defined American Journalism: 1897 and the Clash of Paradigmsthe “journalism of action” emphasized agency and engagement and sought to expand the norms of newsgathering.

The Journal argued that newspapers had an obligation “to inject themselves, conspicuously and vigorously, in righting the wrongs of public life, and in filling the void of government inaction and incompetence,” as I wrote in The Year That Defined American Journalism.

The “journalism of action” did not valorize a light-hearted approach to the news. Rather, the Journal said, the “journalism of action” represented “the final state in the evolution of the modern newspaper.”

WJC

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‘SF Examiner’ marks 150th anniversary with dose of media myth

In Anniversaries, Debunking, Error, Media myths, Newspapers, Spanish-American War, Yellow Journalism on June 11, 2015 at 3:35 pm

The San Francisco Examiner marked its 150th anniversary today with a dash of media myth about its most famous owner, William Randolph Hearst, and the Spanish-American War of 1898.

Media baron Hearst

Hearst: Started with the Examiner

The newspaper, which has survived near-death encounters in its turbulent past, asserted the following in an online overview of its history:

“Led by William Randolph Hearst and Joseph Pulitzer, newspapers were largely responsible for creating the Spanish-American War through the birth of yellow journalism.”

But how that worked, how the newspapers created or fomented that war, was left unsaid, as was the nature of the contribution of “yellow journalism.”

For that matter, “yellow journalism” was left undefined.

But the short answer is that newspapers — and yellow journalism — were not “responsible,” largely or otherwise, for the war in which the United States crushed Spanish military forces in Cuba, Puerto Rico, and the Philippines, an outcome that signaled America’s emergence as a global power.

As I discussed in my 2001 book Yellow Journalism: Puncturing the Myths, Defining the Legacies, the New York newspapers of Hearst and Pulitzer — the leading exemplars of the yellow press — exerted very modest agenda-setting influence in the run-up to the war.SFExaminer loho_Twitter

I noted:

“There is little evidence that the press beyond New York City, especially in small-town and rural America, was influenced by the content of the yellow journals, including their demands for war after the destruction of the Maine,” an American warship that blew up while on a friendly visit to Havana in mid-February 1898.

The destruction of the Maine — in a harbor under Spanish control — was a trigger for the war.

But if newspapers had been responsible for the war, then researchers should be able to find unambiguous references to such influence in the personal papers and the reminiscences of policymakers of the time.

“But neither the diary entries of cabinet officers [in the administration of President William McKinley] nor the contemporaneous private exchanges among American diplomats indicate that the yellow newspapers exerted any influence at all,” I wrote Yellow Journalism.

So what, then, were the proximate causes of war in 1898?

Fundamentally, the war was the consequence of a three-sided diplomatic impasse: Cuban insurgents, who in 1895 had launched a rebellion against Spanish colonial rule, would accept nothing short of independence from Madrid. Spain, for domestic and economic reasons, was adamant not to grant Cuban independence — and sent as many as 200,000 troops to the island in an attempt to put down the rebellion. And the United States had become deeply frustrated with Spain’s inability to bring an end to a conflict on an island 90 miles from U.S. shores.

Not only did Spain send thousands of troops to Cuba, it sought to deprive the rebels of the aid and support of non-combattants by herding  women, children, and old men into reconcentration centers. The Cuban non-combattants suffered grievously; tens of thousands of them died from starvation and illness in the reconcentration centers.

By 1898, a humanitarian disaster had taken hold in Cuba.

The diplomatic standoff, and the effects of Spain’s reconcentration policy, were the real reasons for the war.

Not Hearst. Not Pulitzer. Not “yellow journalism.”

As for “yellow journalism”: The term was coined in 1897 and it came to represent a flamboyant genre defined by these features:

  • the frequent use of multicolumn headlines that sometimes stretched across the front page.
  • a variety of topics reported on the front page, including news of politics, war, international diplomacy, sports, and society.
  • the generous and imaginative use of illustrations, including photographs and other graphic representations such as locator maps.
  • bold and experimental layouts, including those in which one report and illustration would dominate the front page. Such layouts sometimes were enhanced by the use of color.
  • a tendency to rely on anonymous sources, particularly in dispatches of leading reporters.
  • a penchant for self-promotion, to call frequent attention to the newspaper’s accomplishments. This tendency was notably evident in crusades against monopolies and municipal corruption.

It was, as I noted in Yellow Journalism, a genre that scarcely could be “called predictable, boring, or uninspired — complaints of the sort that are frequently raised about U.S. newspapers of the early twenty-first century.”

WJC

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Hearst, Garrison Keillor, and ‘furnish the war’: Celebrities and media myths

In 1897, Anniversaries, Debunking, Error, Furnish the war, Media myths, Media myths and radio, Quotes, Spanish-American War on April 29, 2015 at 8:44 am

Wasn’t I just blogging about celebrities pushing media myths?

Today brought another entry to that dubious lineup.

Keillor_WritersAlmanac

On his “Writer’s Almanac” podcast that airs on NPR, Garrison Keillor blithely retold the hoary media myth of William Randolph Hearst’s vow to “furnish the war” with Spain.

The occasion for Keillor’s myth-indulgence was the 152d anniversary of Hearst’s birth in San Francisco.

“In 1898,” Keillor smugly told listeners, “Hearst sent the artist Frederic Remington to Cuba to cover the war. And Remington wrote home, ‘There is no war. Request to be recalled.’

“And he was told, ‘You furnish the pictures, I’ll furnish the war.’ And the Hearst newspapers did their best to promulgate what came to be called the Spanish-American War.”

The tale is one of the best-known in American journalism. And it is almost certainly apocryphal, for reasons discussed in my 2010 media-mythbusting book, Getting It Wrong.

Let’s revisit some of the many reasons.

For starters, Hearst denied sending such a message (a denial usually overlooked or ignored) and Remington apparently never discussed it.

Hearst

Hearst: Denial ignored

What’s more, as I point out in Getting It Wrong, the anecdote lives on despite the absence of supporting documentation: The telegrams that Remington and Hearst supposedly exchanged have never turned up.

Not only that, but the Spanish authorities who controlled incoming and outbound telegraphic traffic in Cuba surely would have intercepted and called attention to such an incendiary message, had it been sent.

The sole original source for the “furnish the war” anecdote was On the Great Highway, a slim volume of reminiscences published in 1901. The author was James Creelman, a portly, cigar-chomping journalist prone to hyperbole and exaggeration.

Creelman did not explain in On the Great Highway how or where he learned about the purported Remingt0n-Hearst exchange.

Nor did he say exactly when the presumed Remington-Hearst exchange took place, writing only that it was “some time before the destruction of the battleship Maine in the harbor of Havana” in mid-February 1898. The only time Remington was in Cuba before the explosion that destroyed the Maine was in January 1897, on assignment for Hearst’s flamboyant New York Journal to draw sketches of the Cuban rebellion against Spain’s colonial rule.

The rebellion was the antecedent to the Spanish-American War of 1898.

The timing of Remington’s trip to Cuba in early 1897 further undercuts the “furnish the war” anecdote: It presents an irreconcilable internal inconsistency, as it would have been absurd for Hearst to have vowed to “furnish the war” because war — specifically, the Cuban rebellion  — was the very reason he sent Remington to Cuba in the first place.

As Keillor’s podcast suggests, the “furnish the war” anecdote is a delicious tale, easy to retell, and easy to believe. Like nearly all media myths, it resides on the cusp of plausibility; it corresponds well to the superficial and misleading image of Hearst as war-monger, as the unscrupulous newspaper publisher who fomented the Spanish-American War.

And that, too, is a tenacious media-driven myth.

WJC

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