Black Hawk Downer
The New York Times's Martin Arnold calls the success of Bernard Goldberg's Bias: A CBS Insider Exposes How the Media Distort the News "perhaps the most astonishing publishing event in the last 12 months." I concur. A number-one best-seller is indeed an impressive accomplishment for a clumsily written screed whose author never even bothers to prove his thesis, much less attempts to convince anyone who does not already know the conservative secret handshake.
Never mind that in their more genuine moments, conservatives from William Kristol to Pat Buchanan admit that the claim of liberal media bias is bogus, cooked up for political advantage. Conservative book buyers, fortunately for Goldberg, are rather late in getting the news. "Just turn on your TV set and it's there," the author, a twenty-eight-year veteran at CBS News, declares. In doing so, he echoes the line of many a know-nothing conservative before him. "There are certain facts of life so long obvious they would seem beyond dispute. One of these--that there is a liberal tilt in the media...," sayeth the editors of the Wall Street Journal. "The fact is everybody knows that Dan Rather is an egomaniacal liberal. Everybody knows that the major news networks lean to the left," chimes in Jonah Goldberg of National Review Online. Never mind, dear reader, that young Jonah was recently signed up by CNN, where he joins liberal Robert Novak and liberal Tucker Carlson as a regular commentator on what Tom DeLay calls the "Communist News Network." He can expect to compete with liberal lunatic Alan Keyes on MSNBC, who replaces liberal criminal Oliver North and liberal miniskirt model Laura Ingraham, and joins liberal carnival barker Chris Matthews, in being given his own show on that liberal network. Thank goodness for the fairandbalanced folks at Fox.
Taking time out from the 200-300 talk-radio programs that regularly feature authors of the conservative publishing house Regnery, which published his book, Goldberg appeared on Jeff Greenfield's Communist CNN program, where he told his host, "I could give you right now, Jeff, about 100 examples of liberal bias in the media that are current." Yet over the course of 230 pages, he manages to string together little more than one idiotic accusation after another. Goldberg reports, "Everyone to the right of Lenin is a 'right-winger' as far as media elites are concerned." He explains that the news bias comes from the same "dark region that produces envy and the unquenchable liberal need to wage class warfare." He insists, "If CBS News were a prison instead of a journalistic enterprise, three-quarters of the producers and 100 per cent of the vice-presidents would be Dan's bitches." Just about the only piece of actual news Goldberg produces is unproven and, I'm guessing, imaginary. According to the author, CBS News president Andrew Heyward once told him: "Look, Bernie, of course there's a liberal bias in the news. All the networks tilt left.... If you repeat any of this, I'll deny it."
Taking the conservative ideology of wealthy white male victimization to new heights, Goldberg pretends he has broken his pledge of omertà and suffered the horrifying consequences. He wrote an Op-Ed in the Wall Street Journal attacking his colleagues. "So what happened?" he writes. "Well, as Tony Soprano might put it to his old pal Big Pussy Bompensiero in the Bada Bing! Lounge: Bernie G. opened his mouth to the wrong people--and he got whacked."
It's heartbreaking until you discover that while Goldberg admits that Heyward had every right to fire him for violating the terms of his contract, instead the boss whom "Bernie G." is either betraying or libeling in these pages found him a nice cushy job at 60 Minutes II and allowed him to serve out his time to qualify for a higher pension. Call me a liberal, but I believe the term "whack" carries a slightly different connotation among Mafia dons.
As for Dan's "bitches," this is likely a fantasy as well. The anchorman, according to Goldberg, "practically kissed Fidel Castro in front of the whole evening news staff when the dictator showed up at CBS News studios." Did I mention that Goldberg (though he'll probably deny it) "practically" beat my dog, raped my cat and exposed himself to a potted plant in front of the entire Nation staff? He "practically" did all this, by the way, before "practically" admitting that his book was cooked up in a few spare minutes to milk money from ignorant people willing to pay to see their prejudices confirmed. Go ahead, Bernie, "whack" me; baby needs a new pair of shoes.
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Speaking of liberals, George Will offered up yet another example recently of why the word "journalist" is considered so vicious an epithet among social scientists. Will has long been obsessed with education spending, which he finds wasteful and counterproductive. This leads him to twist arguments and statistics so shamelessly that one of his columns actually served as the subject of an article in the Journal of Statistics Education demonstrating how not to analyze SAT data.
Will's most recent foray into the topic is an almost perfect rewrite of a column he wrote a year ago. Writing on the Bear Left website (www.bear-left.com), Tim Francis-Wright notes that the College Board website contains at least three pages of warnings to journalists seeking to use state-level data, which Will ignores. He not only abuses the figures to denigrate the effects of investing in education, he constructs his entire argument on precisely two data points: test scores as reported by North Dakota and the District of Columbia. The divorced pundit distorts the implications of this tiny, intellectually immaterial comparison to support his own biased belief in strong nuclear families as the key determinant of educational success. Surprise, surprise.
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And speaking of the liberals at Enron, I could not follow this story were it not for the energetic reporting of the folks at Media Whores Online (www.mediawhoresonline.com) and the thoughtful analysis at Josh Marshall's Talking Points Memo website (www.j-marshall.com/talk). Check 'em out.
There is a value to the much-criticized crawl that zipped along at the bottom of CNN's window during the attack on Afghanistan, beneath clips of dirty traitors and soldier-heroes and starving refugees. As the world's other news ticked blithely by, trivialized by the pictures above it, the ephemeral, superficial crawl reminded us of the worth of words that do not move, and of stories told in columns of type, not in video clips or on film. I don't want to get too sentimental, but isn't the printed page reliable; isn't it familiar; isn't it decent? It feels immutable in a way that other things do not these days. As Walter Isaacson (who is now running CNN) said when he was still at Time: "If the world were based on computers and they told you about magazines, you'd think: 'Wow: what a great technology!'"
Magazines and newspapers (and online versions of these) still often manage to tackle complex stories and say things that have meaning, unlike so much of the media. And meaning, which is so unusual now that content is dead (a friend actually told me that several years ago), meaning generates a ripple of excitement. I found it fun, for example, when Lewis Lapham called the Attorney General "Mullah John Ashcroft" in print, in Harper's, of course. You won't find "Mullah" John Ashcroft doing the crawl on CNN beneath the story about President Bush and his FPS (Failed Pretzel Swallowing). Now that Talk, which had every kind of support behind it, has gone under (in the wake of other recent casualties like Brill's Content, Lingua Franca, Mademoiselle, ON magazine), we can be reasonably sure that the print media is in for further high-temperature shrinking as the economy tightens. This column will check in regularly on the health of content and highlight what's meaningful in print, in general interest and niche publications, and in the little, spirited, idiosyncratic guys one rarely gets to.
What 'The Arab' Thinks
Since the fall of the towers, I've listened to and read so much drivel about "Arab casbah culture" and the "Arabs' nomadic mentality" and about what Arabs think and what really drives "The Arab," that it was good to find Al Jadid, a quarterly published in Los Angeles devoted to Arab culture and arts. The way I found it was unfortunate, however--painful. Suffice it to say that my recent novel (which is about Jerusalem) received from Al Jadid its only English-language notice from an Arab point of view, and the review was not entirely kind. So I was led reluctantly to the magazine, but when I looked into its back issues, I discovered that it contains a wealth of opinion and information that no one else is publishing in English.
I knew Al Jadid was for me when one knowledgeable Arab of my acquaintance told me disdainfully that the magazine was "not influential." I love that; for me, "not influential" means you can read the thing without having to feel you must agree with it. Consider these noninfluential observations, by Elias Khoury, the Lebanese novelist, essayist and editor, on Saddam (yes, the Saddam) Hussein's first novel, Zubayba and the King (2000): For Arab military dictatorships, Khoury writes,
literature became somehow a field associated with the...dictatorship, perhaps because all writing in [such] regimes is like writing intelligence reports. We find a strange mixture between the writer and the intelligence analyst.... Creative writers first become intelligence report writers and then become authors!... The literary world suffered in a terrifying way thanks to this strange combination: Egyptian authors were imprisoned; Iraqi writers lived between exile, prison and assassination; literature in Syria knew a great decline; and in the Gulf regimes, monarchies, emirates and sheikhdoms, the censor is almost the sole author.
Magazines like Al Jadid, which are concerned with niche obsessions or particular groups, also often speak with unintentional authority to the universal, to the general human experience. One of my favorite examples of this--in the Al Jadid "Editor's Notebook" column by Elie Chalala, in the Winter 2001 issue--is called "Poet and Critic Nouri Jarah Laments Standards of Arab Literary Criticism, Rushing Poetry into Translation."
The first interesting thing you discover in this great piece is that "individuals seeking political asylum" are trying to pass themselves off as Great Poets from their home countries, in order to claim persecution. That's a good ruse. Unfortunately, this is the only eccentric thing you discover about the Arab publishing world. Otherwise, we might as well be in New York or London. Jarah states that "decisions of culture [in the Arab world] are based on exchanges of power and influence" rather than on sheer literary merit. He also points out that "the Arab critic-author relationship is one of enmity rather than amity."
Mmmmmm. Oh yes. Really.
Now I understand where my reviewer was coming from.
Woman on the Go
Working Woman was closed by new management (a bank) last September, on its twenty-fifth anniversary. The magazine went on "hiatus," as the holding company that still owns the name puts it. This leaves Woman's sororal twin, Working Mother, still out there in the market because, as one former employee says, "it's easier for advertisers to understand Working Mother's audience; the demographic is more tangible." Doctors' offices are among Working Mother's largest subscriber groups. (In case you are wondering, Ms. is still published but is not advertiser-supported.)
Working Woman was intended to target CEO-level women, who make about twice as much as, say, the readership of Good Housekeeping (which shows no signs of closing down). But the high-end women were more likely to subscribe to Business Week, Forbes or Fortune. Eventually the advertising community deserted the publication, because it could get at the actual Woman readers better elsewhere: at Family Circle, for example, or in the fashion and beauty and shopper magazines.
In an interesting note, Working Mother, which also changed hands and recruited a new staff in September, will now be put out by an editor in chief and a deputy editor neither of whom have ever had children. It's as if you had a white person editing Ebony.
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