W. Joseph Campbell

Archive for the ‘Furnish the war’ Category

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‘Furnish the war,’ en espagnol

In 1897, Debunking, Furnish the war, Spanish-American War on December 30, 2009 at 11:54 am

Hearst, under the pen of Homer Davenport, 1896

William Randolph Hearst’s purported vow to “furnish the war” with Spain is such a delicious and tenacious media-driven myth that it’s hardly surprising it has crossed over to other languages.

Spanish among them.

Just the other day, the online publication elmercuriodigital.es posted a commentary that invoked the Hearst quote. It read in part:

“El dibujante, Frederic Remington, telegrafió a su jefe pidiéndole autorización para regresar, pues no había ninguna guerra, y por lo tanto no había nada para cubrir. ‘Todo en calma. No habrá guerra’, dijo Remington. La respuesta del empresario periodístico fue célebre: ‘Le ruego que se quede. Proporcione ilustraciones, yo proporcionaré la guerra’.”

The passage recounts the essential portion of the anecdote, that the artist Frederic Remington, on assignment to Cuba for Hearst’s New York Journal, supposedly found “everything … quiet” and, in a cable to Hearst, asked permission to return.

In reply, as the myth has it, Hearst told Remington: “Please remain. You furnish the pictures, and I’ll furnish the war.”

As I write in my forthcoming book, Getting It Wrong:

“Hearst’s famous vow to ‘furnish the war’ has achieved unique status as an adaptable, hardy, all-purpose anecdote, useful in illustrating any number of media sins and shortcomings. It has been invoked to illustrate the media’s willingness to compromise impartiality, promote political agendas, and indulge in sensationalism. It has been used, more broadly, to suggest the media’s capacity to inject malign influence into international affairs.”

It lives on, I further write, “despite a nearly complete absence of supporting documentation.

“It lives on even though telegrams supposedly exchanged by Remington and Hearst have never turned up. It lives on even though Hearst denied ever sending such a message.”

And it lives on despite an irreconcilable internal inconsistency. Hearst had assigned Remington and the correspondent Richard Harding Davis to Cuba at the end of 1896. After several delays, they arrived in January 1897 — 15 months before the start of the Spanish-American War.

Anyone reading U.S. newspapers in early 1897 would have been well aware that Cuba was the theater of a nasty war, a rebellion against Spain’s armed forces which, by the time Remington and Davis arrived, had reached island-wide proportion.

So it would have been incongruous and inconceivable for Hearst to have vowed to “furnish the war” when war was the very reason he sent Remington and Davis to Cuba in the first place.

WJC

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“Please remain. You furnish the pictures, and I’ll furnish the war.”[i]

[i] See Creelman, On the Great Highway, 177–178.

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Catching up: Will on Capa

In Furnish the war, Media myths, Photographs on November 22, 2009 at 4:50 pm

I caught up today on several back issues of the Washington Post, including last Sunday’s edition, which carried an insightful column by George Will.

Will himself was catching up on intriguing research that challenges the authenticity of Robert Capa’s famous photograph of the moment a bullet strikes and kills a loyalist militiaman in 1936, during the Spanish Civil War.

Capa's iconic 'instant of death' photo (Robert Capa/Copyright 2001 by Cornell Capa)

Will notes that a Spanish historian “has established that the photo could not have been taken when and where it reportedly was — Sept. 5, 1936, near Cerro Muriano.

“The photo was taken about 35 miles from there. The precise place has been determined by identifying the mountain range in the photo’s background,” Will writes, adding that the historian “says that there was no fighting near there at that time, and concludes that Capa staged the photo.”

The historian is Francisco Moreno and his research into Capa’s iconic image received a fair amount of attention over the summer. According to the Associated Press, Moreno determined that the shape of hills in Capa’s photo matched a hillside just east of the town of Espejo.

This is not necessarily a media-driven myth — stories about and by the news media that are widely believed and often retold but which, on close examination, prove to be apocryphal or wildly exaggerated; they often promote a misleading interpretation of the power and influence of the news media. Few media-driven myths rest on outright fraud, which may have been the case here.

Still, the apparent debunking is a delicious one, given the status and standing that Capa’s photograph has gained over decades. It is considered among the most dramatic wartime photos ever made.

As Will correctly notes, its “greatness evaporates if its veracity is fictitious.”

Capa was a skilled war photographer who was killed in Vietnam in 1954. He supposedly maintained:

“If your pictures aren’t good enough, you’re not close enough.”

Now that’s a great quote: pithy, telling, instructive. Like other memorable quotes in journalism (such as “you furnish the pictures, I’ll furnish the war“)  it  seems almost too good, too neat and tidy, to be true.

I’ve done a bit of research into the derivation of Capa’s quote. And I have never been able to determine when and where he uttered that line.

WJC

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‘Furnish the war’ lives on, and on

In Furnish the war, Media myths on November 9, 2009 at 10:22 am

The  media-driven myth of William Randolph Hearst’s purported vow to “furnish the war” with Spain is as delicious as it is tenacious.

The myth is cited in the “E-bits” column in the November 2009 issue of The Digital Journalist. The columnist writes: “The godfather of yellow journalism, Hearst purportedly said to an illustrator he sent to cover a revolution that wasn’t happening in 1898, ‘You furnish the pictures, I’ll furnish the war.'”

It’s a story almost too good not to be true, almost too delicious to be false.

But it’s almost certainly apocryphal. As I write in the forthcoming Getting It Wrong,  the story lives on despite a nearly complete absence of supporting documentation. It lives on even though the telegram that supposedly contained Hearst’s vow has never turned up. It lives on even though Hearst denied ever sending such a message.

It lives on despite an irreconcilable internal inconsistency: It would have been absurd for Hearst to vow to “furnish the war” because war—specifically, the Cuban rebellion against Spain’s colonial rule—was the very reason Hearst sent the illustrator, Frederic Remington, to Cuba in the first place. Remington was in Cuba in early 1897, at a time when anyone reading U.S. newspapers would have been well aware that Cuba was a theater of a nasty war. By then, Spain had sent nearly 200,000 soldiers in a failed attempt to put down the rebellion, which in 1898 gave rise to the Spanish-American War.

Hearst’s famous vow has achieved unique status as an all-purpose anecdote, useful in illustrating any number of media sins and shortcomings. It has been invoked to illustrate the media’s willingness to compromise impartiality, promote political agendas, and indulge in sensationalism. It has been used, more broadly, to suggest the media’s capacity to inject malign influence into international affairs.

And it’s as tenacious as any media-driven myth.

WJC