December 29, 2004 - 12:22 PM
Go toll go!
Latest tsunamis death toll headlines:
- Turkish Press: 71,000 dead
- Associated Press: 76,700 dead
- CNN: 80,000 dead
- Agence France-Presse: Wave toll could reach 100,000
We have a winner! Agence France-Presse, everybody! They used the biggest number yet in a headline. I'ma read AFP from now on!
As of right now a Google News search for stories with "toll" in the headline returns 7,310 hits.
What is a headline? A headline is, generally, a short sentence fragment written by an editor designed to summarize the story below it and interest readers enough to make them read at least the first paragraph of that story. What is it then that we, the readers, are really interested in, according to all those headlines and all those editors? Toll. Count. Numbers. And, of course, death. The death toll. The tsunami toll. The canteen attack toll. Toll rises. Toll climbs. Toll overshadows visit.
Toll overshadows visit? Let's examine that one. An attack on a military base killing 24 people is, it goes without saying, a very serious and sad thing. We have that on the one hand. On the other hand we have the first visit to Baghdad by a foreign head of state since the transferal of power to the new interim Iraqi government, as well as that head of state pledging his (major) nation's continued support in the Iraq war at a time when Bush's approval rating is woefully low and a clear majority of Americans think the war isn't worth fighting.
So what do we have here? We have 24 soliders killed in one attack on a military base while fighting a war. Sad? Without doubt. Newsworthy? Of course. But astonishing enough to "overshadow" Blair's show of solidarity in Baghdad, which has potential ramifications on a global scale, certainly far greater potential to affect the political and social reality in America than the canteen attack? I think that claim is dubious at best, if not downright moronic.
Let's shift the perspective a little. How's this for a headline? "Visit overshadows attack toll." That one works much better for me, to be honest. But the emphasis is now placed on the positive news of the day, and shifted away from the negative. The headline might be construed now as "pro-war" rather than "anti-war," if we really want to put such simplistic labels on an enormously complicated issue.
The question is this: why did the editor write the headline that way? Does it reflect his personal beliefs? Possibly, even probably, given the undeniable truth (no matter how much liberals hate to hear it) that there is a liberal bias in the media, if only because the vast majority of media outlets are based in cities, and cities are overwhelmingly liberal. But that's a whole other topic. The editor, presumably, thought his readers would be more likely to read the story if he phrased the headline as he did. We want to read about death. We don't want to read about geo-politics.
But that doesn't explain the use of the word "overshadows." That word, by definition, ranks the two things it is comparing in order of importance. It is, by definition, a statement of opinion. But whose opinion? His? Or his readers'?
The point I'm trying to make here is not just that a seemingly innocuous headline can contain far greater meaning than appears on the surface, but that the same headline – every headline – speaks volumes about how the media perceives us, the readers. Headlines are not just thrown together at the last minute (not usually, anyway): enormous thought is usually put into their construction, because the rules are complicated. They are, perhaps, the singlemost telling element from which to extract information about how they see us.
This metadata contained within headlines is there for everyone to see, if they look for it. Headlines, by their nature, are far more honest about how a newspaper sees its readers than the reporters and editors will ever be (at least as long as they work there). So what do the tsunami headlines tell us? What is the metadata within them?
It is, sadly, all too clear: we, the readers, are obsessed with death, particularly large-scale death, the kind most often labeled "tragedies," even though on a personal level any death is a tragedy. The metadata also implies that our interest in a story is proportional to the number of deaths involved, that 100,000 dead is somehow more compelling than 100 dead, or even one. But most of all it implies that we care a great deal about numbers. The catastrophe in Asia (at least, the metadata of the headlines for stories about the catastrophe in Asia) is not about individuals but about the particular subset of individuals who died, and the exact magnitude of that subset. It is about math, not humanity.
Is it true what these headlines are saying? Are we really that concerned with numbers and death? If we are then the tsunamis provide what approaches the perfect story: big, continuously updated numbers about how many people died. It is why we will never see the headline "18.6m Sri Lankans alive, well despite giant waves."
When we bemoan the lack of "good news" we must realize that in this respect the media is, overwhelmingly, a mirror to society, reflecting us back on ourselves. It is us with the death fixation and the compulsive urge to quantify, not the media. They simply give us what we want. What we want is death, preferably the deaths of many people, ideally somewhere far away, so that we can crane our necks and stare, express superficial grief without the substance of actually rolling up our sleeves to help or enduring real, personal emotions, and think "there but for the grace of God go I."
Physician, heal thyself.
The same thing happens with light. Light, too, can behave like a wave. This was proved in the 19th century by a guy called Thomas Young, who set up an experiment roughly along the lines of the crappy illustration to the right. He arranged a light source (in his case, sunlight) so that it shone through a screen with two slits in it, and from there onto a wall. Common sense would suggest that on the wall would appear two stripes of light, since it's shining through two slits. What actually appeared, however, was not two but a series of stripes, with the middle stripe being the brighest and the others diminishing in brightness as the distance from the center increased.


















