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D-day media roundup

By Christopher B. Daly

On this historic occasion, here’s an array of historic media images from D-Day and the following couple of momentous days as the Allies fought their way off the beaches and began the horrible “hedgerow campaign.”

–Robert Capa’s iconic photos for LIFE magazine can be seen at this memorial page maintained by Magnum (the photo agency Capa helped to found.) These are the highest quality I have found yet.

D-Day invasion photo by Robert Capa

D-Day invasion photo by Robert Capa

–Recently discovered are these rare color moving images made by Hollywood film director George Stevens while he was volunteering to aid the war effort. (Thanks to The Telegraph (U.K.), via HNN.) Stevens directed “Shane” and “The Diary of Anne Frank,” among many others, including “Gunga Din” with Cary Grant and “Woman of the Year” with Hepburn and Tracy.

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–Here is an image of the NYTimes special “extra edition” on June 6, 1944, with a “time stamp” of 6 a.m..

NYT D-Day Extra

 

Here is the front page from the following day:

D-Day plus 1

D-Day plus 1

–Here is the Times‘ own version of the June 6 paper.

–Here is a gallery on Google’s new “Cultural Institute,” where I compiled more images from the U.S. National Archives. (This is my first use of this feature. What do you think?) This gallery includes some great images of Higgins boats, which carried the day on June 6, when many of the heavier tank-landing craft (LSTs) got bogged down. Amazing fact: most of the Higgins boats were made of plywood, not steel.

–One more, from the Library of Congress, Prints & Photographs Division:

Americans in Times Square learn the news about D-Day

Americans in Times Square learn the news about D-Day

 

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Inside the meme factory: The Clintons figured this out long ago

By Christopher B. Daly

When Hilary Clinton complained back in 1995 of a “vast right-wing conspiracy” trying to bring down her husband, she was not wrong. In fact, she and her husband’s political advisers were onto something: the interlocking network of conservative institutions set up since WWII to American politics to the right. As the Clintons realized, the right-wing think tanks and the right-wing media were mutually supportive in their campaign to concoct conservative political themes and inject them into the mainstream media. (Whether this system qualifies as a “consipracy” is a fine point, but Hilary was right to be paranoid: people were out to get her.)

A new batch of disclosures from the Clinton presidential library lay out the Clintons’ grasp of this phenomenon, circa 1995. They rightly identified Richard Mellon Scaife as a major source of funding for both conservative think tanks and media.

Scroll down past the heading sheets for a fascinating glimpse inside this usually hidden world.

Screen Shot 2014-04-23 at 9.01.39 AM

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NY Times tiptoes closer to the F-word. Oh, my!

By Christopher B. Daly 

The New York Times has a very uncharacteristic Op-Ed column today by lexicographer Jesse Sheidlower arguing that the Times should get in step with the rest of society and start printing a word we all know that begins with “f” and ends with “uck” (and it’s not firetruck!).

O tempora, o mores!

When Adolph Ochs bought the New York Times in 1896, he had high aims. The patriarch of the family that still owns the newspaper — and still sets its editorial direction — wanted above all else to appeal to an

A young Adolph Ochs is noted in the trade press.

A young Adolph Ochs is noted in the trade press.

elite audience. His business model was predicated on the idea that he could survive in the crowded New York City market with a smaller audience than the vast audience of workers, tradesmen, and immigrants that Pulitzer and Hearst were catering to, provided that the Times’s readers were wealthier, which would make them more attractive to advertisers. So, he set out to distinguish his paper from the popular “yellow press” papers of Hearst and Pulitzer, which dripped gore and sex. They were read by chambermaids and stevedores, and Ochs wanted no part of them. He was aiming for the upper classes, and he presumed that they preferred a more-decorous approach.

So, in addition to his famous motto “All the News That’s Fit to Print,” he also spelled out his credo in a statement to his readers. He promised that the Times would not “soil the breakfast cloth” — meaning that families could bring his paper to the breakfast table (which would have a table cloth, because Times readers could afford them) and not have to worry that it would besmirch the conversation or corrupt the children. In fact, Ochs declared his intention that the Times would deliver the news “in language that is parliamentary in good society.”

Thus, it would appear that proper language is part of the paper’s DNA, and the Times has certainly been culturally conservative in the sense that it has been reluctant to depart from the late-Victorian standards of propriety and vulgarity laid down by the current publisher’s great-grandfather.

Of course, it is a fair question to ask how many families gather around the breakfast table sharing the print edition of the Times and how many families are succeeding in preventing their children from learning the f-word.

Pretty fucking few, I’d bet.

 

 

 

 

 

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What if traffic metrics had been used throughout journalism’s history?

By Christopher B. Daly 

That’s a question that came to mind today while reading David Carr’s latest. In his column, Carr identifies a trend (at least, a trend by journalism standards) of news organizations paying their contributors based on how much traffic their individual “stories” garner. If an item is really popular and brings a lot of eyeballs to the site, the “writer” of the piece earns more money. Conversely, if you write pieces that hardly anyone look at, you get paid less — or nothing.

It all sounds simple and fair and transparent and populist. (This approach puts the “piece” in piecework with a vengeance.)

Only it’s not. The problem with this approach is that it doesn’t take into account that journalism has other values besides popularity. Yes, we want readers/viewers, and we want as many as we can get. But we also want to serve our society by occasionally embarking on stories that are so expensive to investigate that they will never pay back any return on the investment of resources put into them. Or, we sometimes work on stories that matter intensely to a small group of people. And, from time to time, we run stories that turn just about everyone off but still make the world a slightly better place.

Let’s consider how a “metrics model” would have served journalism (and the world) over the last couple of centuries.

–The first story about sexual abuse by Catholic priests was hardly a candidate for “most-read” and yet it began a tidal wave of reporting that ultimately rocked the Vatican.

–The first Watergate story (the one with Al Lewis’ byline, on June 18, 1972) had only a tiny fraction of wapo-front_18june1972the readership that the “last” Watergate story 26 months later (the one with the headline “Nixon Resigns” on Aug. 9, 1974)

–Then there was Sy Hersh’s original story about Lt. William Calley and the massacre at My Lai.

One takeaway from those historical cases: some stories need time to build.

–Or what about the columnist Westbrook Pegler? Incredibly popular, but a crackpot who was wrong about everything. His metrics would have crushed the likes of Walter Lippmann (in terms of actual readers, not just people who said they read Lippmann.)

–The first-day stories about the Gettysburg Address barely mentioned Lincoln’s little speech, because (by the lights of the day) it was considered dull and inconsequential compared to the stem-winder of a speech given by the day’s main speaker, Edward Everett. (Who?)

–For a few weeks in 1835, the New York Sun had a wildly popular (and exclusive) story about life on the moon. The paper really racked up eyeballs — until the story was revealed as a hoax. Oh, well. It sure sold papers.

–Or, how about the summer and early fall of 2001? The media were in full cry to “prove” that

Egregious illustration of Chandra Levy.

Egregious illustration of Chandra Levy.

the disappearance of a missing Washington intern, Chandra Levy, was somehow connected to married congressman Gary Condit. (Who remembers them now?) You could look it up: this was a huge story for months in 2001, right up until 9/11. Anyone want to go back there?

Just as some stories need time to develop, some writers need time to develop.

What was Samuel Clemens’ first story, for the Territorial Enterprise in Virginia City, Nevada? If he had not been given time to develop as a writer, he would have ended up as the funniest steamboat pilot on the Mississippi, but there’d be no Innocents Abroad (his first big success), not to mention no Huckleberry Finn. What about the first news stories ever written by Ernest Hemingway? Is there a new Martha Gellhorn or Joan Didion chasing clicks today at Gawker?

If we only work on stories that are popular, we might soon become so popular that we won’t matter any more.

The original moonbats.  New York Sun, 1835

The original moonbats.
New York Sun, 1835

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Gabriel Garcia Marquez: What he learned from journalism

By Christopher B. Daly 

Happy birthday to Gabriel Jose de la Concordia Garcia Marquez!images

The Nobel Prize-winning Colombian novelist turns 87 today.

Here’s a quotation that puts his career in perspective:

“I’ve always been convinced that my true profession is that of journalist.”

“I learned a lot from James Joyce and Erskine Caldwell and of course from Hemingway … [but the] tricks you need to transform something which appears fantastic, unbelievable, into something plausible, credible, those I learned from journalism. The key is to tell it straight. It is done by reporters and by country folk.”

He worked for a newspaper in Bogotá for many years, writing at least three stories a week, as well as movie reviews and several editorial notes each week. Then, when everyone had gone home for the day, he would stay in the newsroom and write his fiction.

“I liked the noise of the Linotype machines, which sounded like rain. If they stopped, and I was left in silence, I wouldn’t be able to work.”

Who hears the rainy clatter of a Linotype machine any more?

 September 1942. "Linotype operators in composing room of the New York Times newspaper." These machines cast lines of type (Linotype) from molten lead prior to their assembly by compositors into the printing plates that go on the presses. Photo by Marjory Collins for the Office of War Information.

September 1942. “Linotype operators in composing room of the New York Times newspaper.” These machines cast lines of type (Linotype) from molten lead prior to their assembly by compositors into the printing plates that go on the presses. Photo by Marjory Collins for the Office of War Information.

 

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The history of journalism lives on in Worcester, Mass.

By Christopher B. Daly

Here’s a recent article in Worcester magazine introducing readers to the incomparable American Antiquarian Society. It sounds like a museum of antiques, but it is actually the most extensive collection of American newspapers, pamphlets, lithographs, sheet music, and ephemera from the 17th century through the late 19th century.

From the article:

A few of the Society’s most valued materials include a first-edition copy of Lewis and Clark’s journals, printed in the early 1800s; the first printed Bible in British North America, released in 1663; the only known copy of the famous English book “Pamela,” which was the first book printed

COVER_philosophic-cockin the United States, published and sold by Benjamin Franklin; and the only known original copy of the political cartoon “The Philosophic Cock,” which was an early slam of Thomas Jefferson’s relationship with Sally Hemings, depicting Jefferson as a rooster and Hemings as one of his hens. At the end of last year, one of the few remaining copies of the first book ever written and printed in British North America, in 1640, the Bay Psalm Book, sold at auction for $14.2 million – the American Antiquarian Society just so happens to also have an original copy of the book.

 

 

The AAS attracts scholars from around the world, including Ken Burns and Jill Lepore, and it is  open to the public.

Here’s a note on the AAS’s history from Wikipedia.

AAS was founded by Isaiah Thomas on October 24, 1812 by an act of the Massachusetts General Court. It is the third oldest historical society and the first to be national in scope.[4]Isaiah Thomas started the collection with approximately 8,000 books from his personal library. The first library building was erected in 1820 in downtown Worcester, Massachusetts. This building was later abandoned and a new building was constructed. It was completed in 1910 and stands on the corner of Park Avenue and Salisbury Street. There have been several additions to this building to accommodate the growing collection, the most recent of which was completed in 2003.

There’s also a story as to why Isaiah Thomas was in Worcester. He was the editor of a Boston newspaper on the patriot side in the American Revolution called The Massachusetts Spy. On April 16, 1775, when the rebels were coming under increasing scrutiny by the British forces occupying Massachusetts, Thomas began to fear that

Isaiah Thomas, rebel printer, by Ethan Alan Greenwood.  Courtesy, AAS

Isaiah Thomas, rebel printer, by Ethan Alan Greenwood.
Courtesy, AAS

the redcoats would soon descend on his Boston print shop and put him out of business. So, under cover of darkness, he loaded his presses onto wagons and piled on as many back copies of his own paper as possible, along with any other newspapers or other printed material that would fit. He moved the whole operation to Worcester, safely remote from the coastal bases of the British forces, and prospered there. He later wrote the landmark book, History of Printing in America.

 

So, a hat-tip to Isaiah Thomas.

 

 

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Jacob Riis showed “How the Other Half Lives”

By Christopher B. Daly 

A hat-tip to journalist and educator Ted Gup for a terrific story about his discovery of a classic work of journalism history — the copy of How the Other Half Lives that was owned and annotated by the author himself, Jacob Riis. As I described him in my book, Covering America, Riis (pronounced rees) was a Danish immigrant to New York City who was shocked and outraged by the conditions he found in the city’s many tenements in the late 19th century. Picking up his notebook and a camera (equipped with a then-new technology — the portable flash), he explored the warrens of tiny, windowless rooms where New York’s newest and most miserable found cheap housing. In buildings lacking heat, ventilation and plumbing, the masses huddled while the wealthy were building ever grander pleasure domes uptown on Fifth Avenue and the rest of the Upper East Side. His work also provided a template for the journalists of the classic “muckraking” movement in the first decade of the 20th Century. 

An important thing to know about Riis’ expose, published in 1890, is that it had an impact. His photos and writing contributed to a political demand for improvements in New York City housing codes, which resulted in concrete improvements in the tenements. The city adopted new building codes that required more light, less crowding and, eventually, heat and plumbing.

In his piece in today’s Times, Gup — an investigative journalist himself who now chairs the Journalism Dept at crosstown Emerson College — describes how he stumbled upon a first edition of How the Other Half Lives that contains Riis’ own handwritten comments and marginalia. He also rightly commends Riis as a “multimedia” journalist for his combining of text and photos (and his use of a flash to light up those dark inner rooms of the tenements).

As many have observed (including the city’s new mayor, Bill DeBlasio), Riis is as relevant as ever, now that New York City is living through another Gilded Age in which wealth is as unevenly distributed as it was in the days of Rockefeller, Morgan, and Hearst.

"The Italian Rag-picker," by Jacob Riis, from his book, How the Other Half Lives.  Photo from Museum of the City of New York.

“The Italian Rag-picker,” by Jacob Riis, from his book, How the Other Half Lives.
Photo from Museum of the City of New York.

 

 

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