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A Look at Old School Journalism

When I wrote for my college newspaper, the Ball State Daily News, one of the things I liked to do was to put some paper in the manual typewriter, hammer out a few sentences, rip it out of the typewriter, and yell “COPY!!” which would always crack my editor up.

This was back in about 1988, when we thought that kind of news writing — furiously banging out news copy on clackety old typewriters — was old-fashioned, and that nobody did it anymore. After all, we were nearly at the 21st century, using dummy terminals to put all of our news into a mainframe that would process the story into a single column, where it could be printed, cut, waxed, and pasted up on the layout page.

The fact that I just used terms that most younger readers don’t know — paste up, wax, typewriter — probably renders the whole COPY!! joke unfunny.

I recently spoke to some journalism classes at Ball State about how to blog for newspapers. I tried referencing a few of my student journalism experiences, and even told an OJ Simpson story, and was met with blank stares. I didn’t realize until later that many of these students were born the year before I got married. They were two when the OJ Simpson trial was going on.

Still, I always appreciate the history of journalism, and I like knowing things about it, like the fact that copy boys were the boys who ran around the newsroom, grabbing papers out of writers’ hands. Writers who had just ripped their story out of the typewriter and shouted “COPY!!”

I was interested to find this video in a post, “How to be an Old School Journalist,” on Alltop.com. While the segment at 5:06 may be a little… upsetting, keep in mind that the video is around 70 years old.

Although I’m not sure exactly how old the movie is, you get some clues just by looking at the hats and suits, the cars, and even the phones. It’s an interesting look at what they thought of journalists — and women — back in those days.

It’s even more interesting when you realize how far we have come as a news gathering society.

  • According to Google’s Eric Schmidt, we produce as much data in 2 days as we produced from the dawn of history up to 2003.
  • More women blog than men. In fact, the Blogher Network boasts 2,500 women bloggers as part of their network alone.
  • A story written for a blog can be produced in minutes, not hours. Publication of a post is immediate. No typesetting, printing, or delivery. Hit Publish, and it’s out there. A news story can be written in minutes, but then it has to be pasted up (electronically, of course), and then printed, and delivered. The shortest amount of time it can take is 4 – 6 hours from the completion of the story.
  • To own a major newspaper takes millions of dollars and requires specialized knowledge to run specialized machines that only serve one purpose: to put ink on paper. To run a major blog takes a $1,000 laptop and a wifi connection. And when you’re done, you can watch a movie on it.

In Linchpin (affiliate link), Seth Godin talks about how the factory, the means of production, can be owned for $3,000 for a laptop (Seriously? $3,000? Seth, call me. I’ve got a deal on a few Dells for you, 2,000 bucks each.)

Bil Browning, owner of the Bilerico Project (the largest LGBT news blog on the web) runs his blog with four directors/editors, and 90 contributors (I even contributed an article last year). But he doesn’t have an office, doesn’t have printing presses, doesn’t have any overhead, other than his servers, and the salaries for him and his four directors. When I compare the low cost — $1,000 for a laptop — and ease of which he is able to reach hundreds of thousands of readers each month versus the time and effort we put into reaching people via newspaper today versus the time and effort we put into reaching people via newspaper 70 years ago, it’s a wonder we ever got it done at all. It’s also easy to see how Bil is able to reach his readership much more easily and cheaply than most big city newspapers.

Watch the video, see how our grandparents and great-grandparents got their news and information, and see if you’re not amazed.

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Stop Saying “Drink the Kool-Aid.” It’s Offensive.

The funny thing about language is that we accept the language of violence, and are shocked by the language of love, sex, and passion.

Last night, I watched Stephen Fry (@StephenFry) on the Late Late Show with Craig Ferguson (@CraigyFerg), in an audience-free show where the two chatted for almost an hour about some intelligent stuff. That’s when Fry said something that — to me, the wordsmith — just floored me.

If an alien was looking down on us, and inspecting our language, they would see that the worst thing we do on this planet is we torture, we kill, we abuse, we harm people. We’re cruel. And those are the things at which we should be ashamed. Amongst the best things we do is we breed children, we raise them, we make love to each other, we adore each other, we’re affectionate and fond of each other. Those are the good things we do.

They would say that how odd that the language for the awful things we use casually. ‘Oh the traffic was agony, it was hell, it was cruel, it was torture waiting in line.’ We use words like ‘torture.’ That’s the worst word.

And yet, if we use the F-word, which is the word for generating our species, for showing physical affection one to another, then we’re taken off air and accused of being wicked and irresponsible and a bad influence to children.

Words have power. They have impact. If I call you a rotten f—er (see, I can’t even use the word, because I might offend someone), that has real power. It’s a verbal slap to the face, soon to be followed by a real one.

But if you’re giving me hard time and I say, “you’re killing me,” we laugh at that, like it’s somehow funny that your minor inconveniences are going to result in my eventual death.

We can’t talk about the creation of life, or the affirmation of life, without howls of outrage, but it’s all right, even funny, to talk about the harm and destruction of it.

Don’t get me wrong, I love dark comedy and morbid humor. There’s something liberating to be able to laugh at the things that scare us. But there’s a line I don’t like to cross, and I’ve been thinking for a few months about where that line is.

It’s somewhere around the phrase, “drink the Kool-Aid.” We use that phrase in business without a thought. It means undying loyalty. If you “drink the company Kool-Aid,” you’re a company man through and through. You’ve bought into management’s vision, and you’ll follow it to The Bitter End. We throw this phrase around without a thought.

It comes from one of the largest mass suicides in all history — some people call it mass murder — where more than 900 people died in Jonestown, Guyana. It was the day Jim Jones persuaded (or forced) all 909 members of his cult to commit suicide by drinking cyanide-laced grape-flavored Flavor Aid (not Kool-Aid).

I was 11 years old when Jonestown happened. I remember the footage and photos of the bodies. I remember grownups talking about it. In some ways, it’s all the more shameful for us Hoosiers, because Jim Jones got his start right here in Indianapolis. (Click the link above if you’ve never heard the story.)

So I don’t say “drink the Kool-Aid” at all. It’s a horrible phrase about a horrible event created by a horrible man. And to toss it around like a punchline, a throwaway phrase to use in a motivational speech, is repugnant.

And this one phrase illustrates Fry’s point so well: we casually throw around the language of violence like it’s no big deal. We say “drink the Kool-Aid” in board rooms and coffee shops because we think it means “I was persuaded” or “I would follow that person.” All the while not realizing what it actually means.

But we get embarrassed and throw a royal fit when a woman’s nipple is shown on national TV for a fraction of a second. We’re upset by a brief glimpse of a small segment of a woman’s body, yet we think nothing of talking about torture — the “worst word,” Fry called it — and suicide bombings and war and beheadings on the evening news while our kids are in the room. That’s somehow okay, but we fine TV stations millions of dollars because Janet Jackson got a little extra publicity.

(Now, I understand your initial reaction might be to talk about the rampant over-sexuality of our culture, and how our kids shouldn’t be exposed to that sort of thing. And I won’t disagree with you a single bit. Frankly, I don’t want my kids seeing Janet Jackson’s nipple during the Super Bowl either. But that’s not my point. So, if that’s your response, then you’ve completely missed the boat. Go back to the beginning and start over.)

My point is that language is powerful. One of the most powerful weapons we have. It cannot be used casually. We shouldn’t toss words and phrases, like “drink the Kool-Aid,” around without thinking about the meaning behind them.

In social media circles, we talk about the creation and exchanging of ideas. Yet language is the biggest, most important idea — ideal? — of all. To treat it so thoughtlessly harms it. It reduces our values and ideals to afterthoughts and punchlines.

Bottom line: stop saying “drink the Kool-Aid.” Because it makes light of one of the biggest murder sprees in the last century, and you’re trivializing what it means.

Here’s the segment of Fry and Ferguson’s conversation. The quote above comes at around the 8:00 mark, but it’s worth watching the entire thing.

Photo credit: By Fielding McGehee and Rebecca Moore [CC BY-SA 3.0 , via Wikimedia Commons

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What Tom Waits Can Teach You About Powerful Writing

Tom Waits isn’t just a musician, he’s a lifestyle choice. The growly-voiced singer-songwriter has created some of the most powerful, haunting music I’ve ever poured into my ears. Waits does it with simple, sad music, but more importantly, with a mastery of poetic language that would make Lord Byron pull his hair out with envy.

Especially the metaphor. Waits’ music is filled with metaphors, which gives it the emotional impact and depth you just don’t get with the Single Ladies and Poker Faces of the world. (Most of today’s music has all the emotional complexity of a high school prom, but Waits is an in-depth, all-night discussion about the meaning of life.)

A couple months ago, I wrote about why metaphors make for more powerful writing than similes. I said:

I don’t like similes. They’re weak. They’re the pencil-necked milksop of literary devices. They say things are similar, but not quite that item. Life is like a box of chocolates, but not really.

Take a look at (this) example: “Men’s words are bullets.” That’s a powerful phrase. It doesn’t say they’re like bullets, that they remind people of bullets, or “words can hurt people sort of like bullets can hurt people.” That’s just smarmy, wishy-washy pap.

“Men’s words are bullets,” on the other hand, makes you feel the the emotional damage that can be done by words, feeling the piercing, crashing power of a bullet fired from a large gun.

I’ve been listening to Waits’ Nighthawks at the Diner album a lot lately. It’s my favorite Waits album, and carries my favorite Waits song, Putnam County.

Any writer who wants to learn about the power and grip of language should give this a listen, and pay careful attention to Waits’ use of language. A quick check showed only one simile in the entire piece, and the rest were metaphors.

If you want to master writing and create language that grabs you by the scruff of the neck and shakes you to pay attention, study these lyrics, listen to the song, and see if you can introduce this style into your own writing.

Putnam County, Tom Waits

I guess things were always kinda quiet around Putnam County
Kinda shy and sleepy as it clung to the skirts of the 2-lane
That was stretched out just like an asphalt dance floor
Where all the old-timers in bib jeans and store bought boots
Were hunkerin’ down in the dirt
To lie about their lives and the places that they’d been

And they’d suck on Coca Colas, yeah, and be spittin’ Day’s Work
Until the moon was a stray dog on the ridge and
And the taverns would be swollen until the naked eye of 2 a.m.
And the Stratocasters slung over the Burgermeister beer guts

And swizzle stick legs jackknifed over naugahyde stools
And the witch hazel spread out over the linoleum floors
And pedal pushers stretched out over a midriff bulge
And the coiffed brunette curls over Maybelline eyes
Wearing Prince Matchabelli*, or something
Estee Lauder, smells so sweet

And I elbowed up at the counter with mixed feelings over mixed drinks
As Bubba and the Roadmasters moaned in pool hall concentration
And knit their brows to cover the entire Hank Williams songbook
Whether you like it or not

And the old National register was singin’ to the tune of $57.57
And then it’s last call, one more game of eightball
Berniece’d be puttin’ the chairs on the tables
And someone come in and say, ‘Hey man, anyone got any jumper cables?’
‘Is that a 6 or a 12 volt, man? I don’t know…’

Yeah, and all the studs in town would toss ’em down
And claim to fame as they stomped their feet
Yeah, boastin’ about bein’ able to get more ass than a toilet seat

And the GMCs) and the Straight-8 Fords were coughin’ and wheezin’
And they percolated) as they tossed the gravel underneath the fenders
To weave home a wet slick anaconda of a 2-lane

With tire irons and crowbars a-rattlin’
With a tool box and a pony saddle
You’re grindin’ gears and you’re shiftin’ into first
Yeah, and that goddam Tranny’s just gettin’ worse, man

With the melody of see-ya-laters and screwdrivers on carburetors
Talkin’ shop about money to loan
And Palominos and strawberry roans

See ya tomorrow, hello to the Missus!
With money to borrow and goodnight kisses
As the radio spit out Charlie Rich, man,
and he sure can sing that son of a bitch

And you weave home, yeah, weavin’ home
Leavin’ the little joint winkin’ in the dark warm narcotic American night
Beneath a pin cushion sky
And it’s home to toast and honey, gotta start up the Ford, man

Yeah, and your lunch money’s right over there on the drainin’ board
And the toilet’s runnin’! Christ, shake the handle!
And the telephone’s ringin’, it’s Mrs. Randall
And where the hell are my goddamn sandals?
What you mean, the dog chewed up my left foot?

With the porcelain poodles and the glass swans
Staring down from the knickknack shelf
And the parent permission slips for the kids’ field trips
Yeah, and a pair of Muckalucks) scraping across the shag carpet

And the impending squint of first light
And it lurked behind a weepin’ marquee in downtown Putnam
Yeah, and it’d be pullin’ up any minute now
Just like a bastard amber Velveta yellow cab on a rainy corner
And be blowin’ its horn in every window in town

(Here’s a YouTube video of a different version of Putnam Conty than the one you’ll hear on Nighthawks at the Diner, but the lyrics are the same. Listen to it and read the lyrics again. You’ll get a sense of what Waits can do with language, and the power it can have to move people.

* Update: I have to thank Allison (see the comments below) for the correction on Prince Matchabelli. I originally had Prince Machiavelli in the lyrics, which I got from the original lyrics source, but apparently Matchabelli is an old dimestore makeup. I had always heard the name, but never paid much attention to it. And in the song, I always thought Waits was purposely butchering “Machiavelli,” (not to be confused with the Machiavelli (mock-ee-uh-velli) who wrote “The Prince”).