Article
Culture
Film & TV
Politics
6 min read

Fear of the news means it needs to change

Here's how to rethink reporting.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A news cameraman holding a camera, stands back to back to a police officer.
Waldemar on Unsplash.

Several non-journalist friends have told me over the past few years that they have started to disconnect themselves from the news - in some cases entirely - so wearied have they become by the incessant gloom of our reporting.  

Meanwhile, new research from the Reuters Institute has found that people have been “turning away from the news” consistently across 17 countries tracked over the past decade - from the US to the UK, Japan to Brazil. 

And one of the primary reasons, the researchers discovered, is the “fatigue and overload” of negative news. 

Another factor was the declining trust in the media, which has again been something I have heard consistently from friends in recent years, with many telling me they are constantly reassessing who they turn to for news. 

Perhaps that is only healthy, but both trends suggest to me that there may be a problem with the way news currently is, and the effect it is having on us. 

One of the most regular examples of the “bad news” we journalists tell is the reporting of terror attacks, but whenever I hear news of an attack - whether here or elsewhere - I think not only of the immediate victims and their loved ones, but also those who may soon become victims by association. 

Perhaps the most obvious recent example here in the UK was the case of the Southport stabbings, a shocking incident that led to understandable - albeit misguided - outrage. 

As soon as it emerged that a “foreigner” - or at least someone who sounded like they might be a foreigner - was responsible, many jumped to the conclusion not only that he was an Islamist but also probably an asylum-seeker, and an illegal one at that. 

It later transpired, of course, that the 17-year-old who carried out the terrible attack had been born and raised in Wales - to “Christian” parents, no less. So not an asylum-seeker, after all, nor even a foreigner; and even though it later became clear that he had downloaded disturbing content including from Al-Qaeda, his inspiration seemed to come from a wide range of sources. 

Here was another example, our prime minister told us, that showed “terrorism had changed” and was no longer the work only of Islamists or the far-right but of “loners” and “misfits” of all backgrounds, common only in their sadism and “desperat[ion] for notoriety”. 

And yet, in the Southport case and no doubt many others, by the time the killer’s background and likely motive finally became clear, the horse had already bolted.  

In that particular case, the reaction was especially extreme, with mosques and refugee hotels attacked as part of widespread rioting. But even when there are no riots after such an attack, there can surely be little doubt that the minds of the wider British public will have been impacted in some way by the news. 

For some, perhaps the primary response will be increased fear - in general but also perhaps especially of those different from themselves. For others, on top of fear, might they also feel increased hatred, or at least mistrust? 

And such feelings will surely only increase with every new reported attack, especially when the perpetrator appears to be someone new to these shores, and even more so, it would seem, if it is an asylum-seeker. 

To ignore the reality that many attacks have been carried out by asylum-seekers in recent years is to ignore reality. But for those of us desperate not only to prevent the further polarisation of our society but also to protect the many legitimate refugees who wouldn’t dream of committing such attacks, what can be done? 

Perhaps it’s only because I’m a journalist, but in my opinion one major thing I think could help arrest the current trend would be for us to rethink the way in which we do news in general.  

Not in order to mislead the public or pull the wool over their eyes - if bad things keep happening, they must be reported, as must the identities of the perpetrators, as well as any trends in this regard - but by way of providing the necessary balance and context.  

For example, by looking into what percentage of attacks - here or elsewhere - have been committed by Islamists, foreigners, or asylum-seekers; or considering what percentage of the total population of such groups the attackers represent, and how this compares to statistics regarding other groups. 

The question we journalists - and those who read our words - need most to ask is whether we are doing a good job of informing the public about the world they live in. 

Might it also be helpful to undertake a general reconsideration of what constitutes news? Does, for example, bad news always have to reign supreme in the minds of those who curate our news cycle?  

A decade ago, I had it in mind to create a new app or perhaps even news service dedicated to rebalancing the news, such that bad news stories wouldn’t outnumber the good. Many others have had similar ideas in recent years, and several platforms have been launched, dedicated to the promotion of “good news” stories. And yet one could argue that such platforms risk being as unrepresentative of reality as those that tell only bad-news tales. Can’t a compromise be found? 

One of the first things you learn as a journalist, other than that sex sells, is that greater numbers of deaths, and especially those of children, always constitutes headline material. And one needs only to flick through today’s major news outlets to see that this practice remains almost universally upheld. But does it have to be so?  

And why is it that some conflicts and injustices will make our headlines, while others won’t?  

Take, for example, the Sudanese civil war or the recent beheading of 70 Christians in the Democratic Republic of the Congo. Why is it that these horrors don’t make our headlines, while tragedies in Ukraine or Gaza do? Who makes the call, and for what reasons?  

Another long-established principle in journalism is to consider first and foremost who your audience is. So, for example, when writing for a British audience, to consider what might be of most interest to Brits. Are Ukraine and Gaza, for example, simply more relevant to British interests - in both senses of the word - than what is happening in the Global South? And even were that to be true, just because such principles of journalism are long-established, must they remain unchallenged? 

At its core, journalism is about informing, so in my opinion the question we journalists - and those who read our words - need most to ask is whether we are doing a good job of informing the public about the world they live in.  

And in my view, while a lot of good journalism is of course being done, the question of whether the public are receiving a representative picture of their environment is less clear.  

Whether or not the best approach to redress the balance is to dedicate whole news services to telling good-news stories, there’s surely little doubt that such stories are chronically underreported.  

And if our duty is not only to inform but also, by virtue of that, not to mislead, mightn’t it be argued that in failing to sufficiently well inform society about the real state of our world, we are in fact misleading them? 

No-one wants to end up in a Soviet-style “paradise” in which murders are simply denied in order to maintain the status quo, but nor, surely, do we want to live in a world in which people become unnecessarily fearful and hateful towards others, in part because of the news we feed them. 

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Review
Culture
Music
6 min read

The biblical undercurrent that the Bob Dylan biopics missed

In the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A colorful mural depicts the eyes of Bob Dylan staring to the side.
Dylan mural, Minneapolis.
Nikoloz Gachechiladze on Unsplash.

The Bob Dylan biopic A Complete Unknown begins with his arrival in New York and concludes with his performance at the Newport Folk Festival in 1965. He begins the film as a complete unknown, as he arrives with no backstory to share or, where he does, one that he has invented. He ends it as a complete unknown, because he consistently refuses all the boxes or labels in which others want to imprison him. 

This aspect of Dylan’s life and career has also characterised many of the earlier biopics, such as 2007’s I’m Not There which features six different versions of Dylan as poet, born-again Christian, outlaw, actor, folk singer, and electrified troubadour. Suze Rotolo, his girlfriend throughout much of the time covered by A Complete Unknown, described the way in which he absorbed influences at this time like a sponge:  

“He had an incredible ability to see and sponge – there was a genius in that. The ability to create out of everything that’s flying around. To synthesize it. To put it in words and music.” 

Focusing on this aspect of Dylan’s life and practice can, however, lead to a minimising of his upbringing and also to a misleading sense of brilliant but entirely disconnected phases – essentially a series of rejections – as having characterised his career. There are some important elements of Dylan’s life and ideas that are overlooked, underplayed or simply lost as a result. Many of these involve the particular expression of spirituality that has informed his work from the beginning. 

As Rabbi James Rosenberg has explained: “Robert Allen Zimmerman was born in Duluth, Minnesota, on May 24, 1941. He spent the majority of his childhood, including his high school years, in Hibbing, about 60 miles northwest of Duluth. His father and mother, Abram and Beatie, whose parents were immigrants from Eastern Europe, sent both him and his younger brother David to the local synagogue for their Jewish education leading to Bar Mitzvah at age 13.”  

As a result, Dylan’s songs have from the beginning of his career been suffused with the phrases and imagery of the Bible; interestingly, not just the Hebrew Bible, but the Christian Bible too. Whether it’s the references to Judas in “Masters of War” and “With God on Our Side” or quoting Jesus in ‘the first one now will later be last’ (“The Times They Are A-Changin’”) or the Old Testament stories that feature at the end of “When the Ship Comes In”, wherever you look within Dylan’s lyrics the influence of the Bible is apparent. 

Follow that thought with another which notes the prevalence of apocalyptic images (storms, hurricanes etc) and events (‘The hour when the ship comes in’, the moment when “The Times They Are A-Changin’” or the night when the “Chimes of Freedom” ring, for example). Then think from where images of apocalyptic events primarily derive in the Western imagination and you’ll be circling back to the Bible, and the Books of Daniel and Revelation in particular. That is of course what Dylan himself did following his born-again experiences in the late ‘70s and early ‘80s, but the Bible was always the original seedbed for his images and ideas. 

Then, look deeply into one of the most apocalyptic of his early songs – “A Hard Rain’s A-Gonna Fall” – and you’ll see a manifesto to which he has held throughout his career and which illuminates his work in every decade and every change of direction within his lengthy career. The central character in “A Hard Rain’s A-Gonna Fall” commits to walking through an apocalyptic world in order to tell and think and speak and breathe and reflect what he sees in order that all souls might see it too. In a much later manifesto song – “Ain’t Talkin’” – he puts it like this:    

Ain’t talkin’, just walkin’ 

Through this weary world of woe … 

Heart burnin’, still yearnin’ 

In the last outback, at the world’s end 

Throughout Dylan’s career, he writes songs about people travelling through life in the face of apocalyptic storms seeking some form of relief or salvation or entry to heaven. So, what we have in the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey, undertaken in the eye of the Apocalypse, to stand with the damned at the heart of the darkness that is twentieth century (and then twenty-first century) culture. 

It's actually all there right at the beginning in the song that he wrote for and sang to his hero Woody Guthrie:  

I’m out here a thousand miles from my home 

Walkin’ a road other men have gone down 

I’m seein’ your world of people and things 

Your paupers and peasants and princes and kings 

  

Hey, hey, Woody Guthrie, I wrote you a song 

’Bout a funny ol’ world that’s a-comin’ along 

Seems sick an’ it’s hungry, it’s tired an’ it’s torn 

It looks like it’s a-dyin’ an’ it’s hardly been born

(“Song to Woody”) 

Dylan’s songs, from that point onwards, have documented where his pilgrim journey in the eye of the apocalypse has taken him; often with imagery of storms lighting his way. He has travelled the paths of political protest, urban surrealism, country contentment, gospel conversion and world-weary blues. On his journey he: saw seven breezes blowing around the cabin door where victims despair (“Ballad of Hollis Brown”); lightning flashing for those who are confused, accused and misused (“Chimes of Freedom”); surveyed “Desolation Road”; talked truth with a thief as the wind began to howl (“All Along the Watchtower”); sheltered with an un-named woman from the apocalyptic storm (“Shelter from the Storm”); felt the idiot wind blowing through the buttons on his coat, recognised himself as an idiot and felt sorry (“Idiot Wind”); found a pathway to the stars and couldn't believe he'd survived (“Where Are You Tonight? Journey Through Deep Heat”); rode the slow train up around the bend (“Slow Train”); was driven out of town into the driving rain because of belief (“I Believe in You”); heard the ancient footsteps join him on his path (“Every Grain of Sand”); felt the Caribbean Winds, fanning desire, bringing him nearer to the fire (“Caribbean Wind”); betrayed his commitment, felt the breath of the storm and went searching for his first love (“Tight Connection to My Heart”); then, at the final moment, it's not quite dark yet but he’s walking through the middle of nowhere trying to get to heaven before the door is closed (“Tryin' To Get To Heaven”): 

The air is getting hotter, there's a rumbling in the skies 

I've been wading through the high muddy water 

With the heat rising in my eyes. 

Everyday your memory grows dimmer. 

It don't haunt me, like it did before. 

I been walking through the middle of nowhere 

Tryin' to get to heaven before they close the door.

(“Tryin' To Get To Heaven”) 

Whatever the crises we face, whether personal or political, there’s a Dylan song that says there’s light at the end of the tunnel if you keep walking toward it and, whatever the song, there’s a depth of insight and compassion for those who are struggling along the way. 

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