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I've Been Working on the Railroad
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"I've Been Working on the Railroad"
"I've Been Working on the Railroad", published as Levee Song in the Princeton University compilation Carmina Princetonia, 1898 Play (help·info)
Song
Published
1894
Songwriter(s)
Anonymous
"I've Been Working on the Railroad" is an American folk song. The first published version appeared as "Levee Song" in Carmina Princetonia, a book of Princeton University songs published in 1894.[1] The earliest known recording is by the Sandhills Sixteen, released by Victor Records in 1927.[2]
Contents
1 Lyrics
2 Other extant verses and stanzas
3 Translations
4 "The Eyes of Texas"
5 In popular culture
6 Notes
7 External links
Lyrics[edit]
The verses that generally constitute the modern version of the song are:[3]
I've been working on the railroad
All the live-long day.
I've been working on the railroad
Just to pass the time away.
Can't you hear the whistle blowing,
Rise up so early in the morn;
Can't you hear the captain shouting,
"Dinah, blow your horn!"
Dinah, won't you blow,
Dinah, won't you blow,
Dinah, won't you blow your horn?
Dinah, won't you blow,
Dinah, won't you blow,
Dinah, won't you blow your horn?
Someone's in the kitchen with Dinah
Someone's in the kitchen I know
Someone's in the kitchen with Dinah
Strummin' on the old banjo!
Singin' fee, fie, fiddly-i-o
Fee, fie, fiddly-i-o-o-o-o
Fee, fie, fiddly-i-o
Strummin' on the old banjo.
The 1894 version includes a verse very much like the modern song, though in negro minstrel dialect, but with an intro that is no longer sung:[4][5]
(SOLO) I once did know a girl named Grace--
(QUARTET) I'm wukkin' on de levee;
(SOLO) She done brung me to dis sad disgrace
(QUARTET) O' wukkin' on de levee.
I been wukkin' on de railroad
All de livelong day,
I been wukkin' on de railroad
Ter pass de time away.
Doan' yuh hyah de whistle blowin'?
Ris up, so uhly in de mawn;
Doan' yuh hyah de cap'n shouin',
"Dinah, blow yo' hawn?"
Sing a song o' the city;
Roll dat cotton bale;
Niggah aint half so happy
As when he's out o' jail
Norfolk foh its oystahshells,
Boston foh its beans,
Chahleston foh its rice an' cawn,
But foh niggahs New Awleens.
The "Someone's in the kitchen with Dinah" section, with its noticeably different melody, is actually an older song that has been absorbed by "I've Been Working on the Railroad". It was published as "Old Joe, or Somebody in the House with Dinah" in London in the 1830s or '40s, with music credited to J.H. Cave.[6] "Dinah" was a generic name for an enslaved African woman.[7] The melody for this section of the song may have been adapted from "Goodnight, Ladies", written (as "Farewell Ladies") in 1847 by E.P. Christy.[8]
According to the liner notes to Pete Seeger's Children's Concert at Town Hall (1963), the "Dinah won't you blow" section is a more modern addition, contributed to the song by "some college students".[9]
A high school glee club songbook circa 1947 used this introduction:
(Lead): I used to have a dog named "Bill"
(Chorus): A wukkin' on de lebee
(Lead): He run away but I'm here still
(Chorus): A wukkin' on de lebee
(Remainder was modern version)
Other extant verses and stanzas[edit]
One extant verse that has been recorded in prominent sources follows the "Singin' fee, fie, fiddly-i-o" verse:
Someone's makin' love to Dinah
Someone's making love I know.
Someone's making love to Dinah
'Cause I can't hear the old banjo![10]
In another version of "I've Been Working on the Railroad" that is printed in "The Family Car Songbook", researched and edited by Tam Mossman, the song continues as follows:
I've been working on the trestle,
Driving spikes that grip.
I've been working on the trestle,
To be sure the ties won't slip.
Can't you hear the engine coming?
Run to the stanchion of the bridge!
Can't you see the big black smokestack
Coming down the ridge?
Chorus
I've been living in the boxcars.
I'm a hobo now.
I've been living in the boxcars,
Which the yard bulls won't allow.
Brother, can you spare a quarter?
Buy me something good to eat?
Brother, can you spare a nickel,
Till I'm on my feet?
Chorus
I'll be owner of this railroad
One of these here days.
I'll be owner of this railroad,
And I swear, your pay I'll raise.
I'll invite you to my mansion,
Feed you on goose and terrapin.
I'll invite you to the racetrack
When my ship comes in.
Chorus[11]
Translations[edit]
Japanese
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2014) (Learn how and when to remove this template message)
An adaptation of this song is a very familiar nursery rhyme in Japan, with the same melody and roughly the same subject matter, but with a different title and different lyrics. It is known as "Senro wa tsuzuku yo doko made mo (線路は続くよどこまでも)", meaning "The railroad continues forever".
NHK introduced this version of the song in 1967 in a TV program called Minna no Uta ("Everyone's Songs").
This tune is used at the stations on the Hanshin Electric Railway Lines (except Umeda Station and Ōsaka Namba Station) to announce arriving trains and is similarly used at Okayama Station on the San'yō Line (for Kamigōri and Himeji) and the Akō Line (for Banshū-Akō) of West Japan Railway Company.
In a 2014 soundtrack album of Ressha Sentai ToQger, the singer Shōgō Kamata recorded a variation of the song with Animetal USA rearranging the song.[12]
Armenian
A translation to Western Armenian was printed and recorded in My First Armenian Songbook in 2017. The translation is protected by copyright by Karenn Presti.
"The Eyes of Texas"[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2014) (Learn how and when to remove this template message)
"The Eyes of Texas" is the spirit song of the University of Texas at Austin and the University of Texas at El Paso. It is set to the tune of "I've Been Working on the Railroad" with alternate lyrics written in 1904. Students, faculty, staff, and alumni of the University sing the song at Longhorn sports games and other events.
In popular culture[edit]
Bing Crosby included the song in a medley on his album 101 Gang Songs (1961).
The song has been used in many Looney Tunes shorts:
At the start of the Pepé Le Pew short Touché and Go, a street painter sings "I've Been Working on the Railroad" in French with English words mixed in, and Pepé is later heard singing it in English with altered lyrics.
Elmer Fudd sings it in The Unruly Hare and The Wacky Wabbit.
In Falling Hare, the gremlin repeatedly strikes the nose of a bomb to the song's tune.
Notes[edit]
Jump up ^ James J. Fuld, The Book of World-Famous Music, 4th ed. (Dover, 1996), p. 309; cited at Mudcat Café's site Mudcat Cafe.
Jump up ^ Waltz, Robert B.; Engle, David G. (2012). "I've Been Working on the Railroad". Folklore The Traditional Ballad Index: An Annotated Bibliography of the Folk Songs of the English-Speaking World. California State University, Fresno. Retrieved 2013-02-30. Check date values in: |access-date= (help); External link in |work= (help)
Jump up ^ "Folksongs for Everyone", Remick Music Corp. 1962
Jump up ^ Carmina Princetonia: The Princeton Song Book, 21st ed. (G Shirmer, 1927), pp. 70–71; cited at Mudcat Cafe.
Jump up ^ Carmina Princetonia: The University Song Book, Eighth Edition (Martin R. Dennis & Co., 1894), pp. 24–25.
Jump up ^ Fuld, p. 513–514; cited at Mudcat Cafe.
Jump up ^ Footnote 3 to "Women's Rights Convention", The New York Herald, October 26, 1850; U.S. Women's History Workshop.
Jump up ^ Fuld, pp. 255–256; cited at Mudcat Cafe.
Jump up ^ Liner notes, Pete Seeger's Children's Concert at Town Hall, Columbia Records, 1963; reissued 1990.
Jump up ^ Silber, Irwin; Silber, Fred (1973). Folksinger's wordbook. Oak Publications. p. 103. ISBN 9780825601408. OCLC 248127864.
Jump up ^ Mossman, Tam. 1983. The Family Car Song Book. Philadelphia: Running Press
Jump up ^ http://columbia.jp/prod-info/COCX-38560/
External links[edit]
Wikisource has original text related to this article:
I've Been Working on the Railroad
Levee Song in Carmina Princetonia: The Princeton Song Book (1898)
Discussion of "Someone in the Kitchen with Diana" [sic] at Mudcat Cafe
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text:
Yellow journalism
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Category: Journalism
v
t
e
Yellow journalism, or the yellow press, is a US term for a type of journalism that presents little or no legitimate well-researched news and instead uses eye-catching headlines to sell more newspapers.[1] Techniques may include exaggerations of news events, scandal-mongering or sensationalism. By extension, the term yellow journalism is used today as a pejorative to decry any journalism that treats news in an unprofessional or unethical fashion.[2]
The term is chiefly used in the US. In the UK, a roughly equivalent term is tabloid journalism, meaning journalism characteristic of tabloid newspapers, even if found elsewhere.
Contents
[hide]
1 Definitions
2 Origins: Pulitzer vs. Hearst
2.1 Etymology and early usage
2.2 Hearst in San Francisco, Pulitzer in New York
2.3 Competition in New York
3 Spanish–American War
3.1 After the war
4 See also
5 Notes
6 Further reading
7 External links
Definitions
Joseph Campbell describes yellow press newspapers as having daily multi-column front-page headlines covering a variety of topics, such as sports and scandal, using bold layouts (with large illustrations and perhaps color), heavy reliance on unnamed sources, and unabashed self-promotion. The term was extensively used to describe certain major New York City newspapers around 1900 as they battled for circulation.[3]
Frank Luther Mott identifies yellow journalism based on five characteristics:[4]
scare headlines in huge print, often of minor news
lavish use of pictures, or imaginary drawings
use of faked interviews, misleading headlines, pseudoscience, and a parade of false learning from so-called experts
emphasis on full-color Sunday supplements, usually with comic strips
dramatic sympathy with the "underdog" against the system.
Origins: Pulitzer vs. Hearst
Etymology and early usage
The term was coined in the mid-1890s to characterize the sensational journalism that used some yellow ink in the circulation war between Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal. The battle peaked from 1895 to about 1898, and historical usage often refers specifically to this period. Both papers were accused by critics of sensationalizing the news in order to drive up circulation, although the newspapers did serious reporting as well. An English magazine in 1898 noted, "All American journalism is not 'yellow', though all strictly 'up-to-date' yellow journalism is American!"[5]
The term was coined by Erwin Wardman, the editor of the New York Press. Wardman was the first to publish the term but there is evidence that expressions such as "yellow journalism" and "school of yellow kid journalism" were already used by newsmen of that time. Wardman never defined the term exactly. Possibly it was a mutation from earlier slander where Wardman twisted "new journalism" into "nude journalism".[6] Wardman had also used the expression "yellow kid journalism"[6] referring to the then-popular comic strip which was published by both Pulitzer and Hearst during a circulation war.[7] In 1898 the paper simply elaborated: "We called them Yellow because they are Yellow."[6]
Hearst in San Francisco, Pulitzer in New York
"Evil spirits", such as "Paid Puffery" and "Suggestiveness", spew from "the modern daily press" in this Puck cartoon of November 21, 1888
Joseph Pulitzer purchased the New York World in 1883 after making the St. Louis Post-Dispatch the dominant daily in that city. Pulitzer strove to make the New York World an entertaining read, and filled his paper with pictures, games and contests that drew in new readers. Crime stories filled many of the pages, with headlines like "Was He a Suicide?" and "Screaming for Mercy."[8] In addition, Pulitzer only charged readers two cents per issue but gave readers eight and sometimes 12 pages of information (the only other two cent paper in the city never exceeded four pages).[9]
While there were many sensational stories in the New York World, they were by no means the only pieces, or even the dominant ones. Pulitzer believed that newspapers were public institutions with a duty to improve society, and he put the World in the service of social reform.
Just two years after Pulitzer took it over, the World became the highest circulation newspaper in New York, aided in part by its strong ties to the Democratic Party.[10] Older publishers, envious of Pulitzer's success, began criticizing the World, harping on its crime stories and stunts while ignoring its more serious reporting — trends which influenced the popular perception of yellow journalism. Charles Dana, editor of the New York Sun, attacked The World and said Pulitzer was "deficient in judgment and in staying power."[11]
Pulitzer's approach made an impression on William Randolph Hearst, a mining heir who acquired the San Francisco Examiner from his father in 1887. Hearst read the World while studying at Harvard University and resolved to make the Examiner as bright as Pulitzer's paper.[12]
Under his leadership, the Examiner devoted 24 percent of its space to crime, presenting the stories as morality plays, and sprinkled adultery and "nudity" (by 19th century standards) on the front page.[13] A month after Hearst took over the paper, the Examiner ran this headline about a hotel fire: HUNGRY, FRANTIC FLAMES. They Leap Madly Upon the Splendid Pleasure Palace by the Bay of Monterey, Encircling Del Monte in Their Ravenous Embrace From Pinnacle to Foundation. Leaping Higher, Higher, Higher, With Desperate Desire. Running Madly Riotous Through Cornice, Archway and Facade. Rushing in Upon the Trembling Guests with Savage Fury. Appalled and Panic-Striken the Breathless Fugitives Gaze Upon the Scene of Terror. The Magnificent Hotel and Its Rich Adornments Now a Smoldering heap of Ashes. The Examiner Sends a Special Train to Monterey to Gather Full Details of the Terrible Disaster. Arrival of the Unfortunate Victims on the Morning's Train — A History of Hotel del Monte — The Plans for Rebuilding the Celebrated Hostelry — Particulars and Supposed Origin of the Fire."[14]
Hearst could be hyperbolic in his crime coverage; one of his early pieces, regarding a "band of murderers," attacked the police for forcing Examiner reporters to do their work for them. But while indulging in these stunts, the Examiner also increased its space for international news, and sent reporters out to uncover municipal corruption and inefficiency.
In one well remembered story, Examiner reporter Winifred Black was admitted into a San Francisco hospital and discovered that indigent women were treated with "gross cruelty." The entire hospital staff was fired the morning the piece appeared.[15]
Competition in New York
"Yellow journalism" cartoon about Spanish–American War of 1898 (Independence Seaport Museum). The newspaper publishers Joseph Pulitzer and William Randolph Hearst are both attired as the Yellow Kid comics character of the time, and are competitively claiming ownership of the war.
With the success of the Examiner established by the early 1890s, Hearst began looking for a New York newspaper to purchase, and acquired the New York Journal in 1895, a penny paper which Pulitzer's brother Albert had sold to a Cincinnati publisher the year before.
Metropolitan newspapers started going after department store advertising in the 1890s, and discovered the larger the circulation base, the better. This drove Hearst; following Pulitzer's earlier strategy, he kept the Journal's price at one cent (compared to The World's two cent price) while providing as much information as rival newspapers.[9] The approach worked, and as the Journal's circulation jumped to 150,000, Pulitzer cut his price to a penny, hoping to drive his young competitor (who was subsidized by his family's fortune) into bankruptcy.
In a counterattack, Hearst raided the staff of the World in 1896. While most sources say that Hearst simply offered more money, Pulitzer — who had grown increasingly abusive to his employees — had become an extremely difficult man to work for, and many World employees were willing to jump for the sake of getting away from him.[16]
Although the competition between the World and the Journal was fierce, the papers were temperamentally alike. Both were Democratic, both were sympathetic to labor and immigrants (a sharp contrast to publishers like the New York Tribune's Whitelaw Reid, who blamed their poverty on moral defects[11]), and both invested enormous resources in their Sunday publications, which functioned like weekly magazines, going beyond the normal scope of daily journalism.[17]
Their Sunday entertainment features included the first color comic strip pages, and some theorize that the term yellow journalism originated there, while as noted above, the New York Press left the term it invented undefined. Hogan's Alley, a comic strip revolving around a bald child in a yellow nightshirt (nicknamed The Yellow Kid), became exceptionally popular when cartoonist Richard F. Outcault began drawing it in the World in early 1896. When Hearst predictably hired Outcault away, Pulitzer asked artist George Luks to continue the strip with his characters, giving the city two Yellow Kids.[18] The use of "yellow journalism" as a synonym for over-the-top sensationalism in the U.S. apparently started with more serious newspapers commenting on the excesses of "the Yellow Kid papers."
In 1890, Samuel Warren and Louis Brandeis published "The Right to Privacy",[19] considered the most influential of all law review articles, as a critical response to sensational forms of journalism, which they saw as an unprecedented threat to individual privacy. The article is widely considered to have led to the recognition of new common law privacy rights of action.
Spanish–American War
Male Spanish officials strip search an American woman tourist in Cuba looking for messages from rebels; front page "yellow journalism" from Hearst (Artist: Frederic Remington)
Pulitzer's treatment in the World emphasizes a horrible explosion
Hearst's treatment was more effective and focused on the enemy who set the bomb—and offered a huge reward to readers
Main article: Propaganda of the Spanish–American War
Pulitzer and Hearst are often adduced as the cause of the United States' entry into the Spanish–American War due to sensationalist stories or exaggerations of the terrible conditions in Cuba.[20] However, the vast majority of Americans did not live in New York City, and the decision-makers who did live there probably relied more on staid newspapers like the Times, The Sun, or the Post. James Creelman wrote an anecdote in his memoir that artist Frederic Remington telegrammed Hearst to tell him all was quiet in Cuba and "There will be no war." Creelman claimed Hearst responded "Please remain. You furnish the pictures and I'll furnish the war." Hearst denied the veracity of the story, and no one has found any evidence of the telegrams existing.[21][22] Historian Emily Erickson states:
Serious historians have dismissed the telegram story as unlikely....The hubris contained in this supposed telegram, however, does reflect the spirit of unabashed self-promotion that was a hallmark of the yellow press and of Hearst in particular.[23]
Hearst became a war hawk after a rebellion broke out in Cuba in 1895. Stories of Cuban virtue and Spanish brutality soon dominated his front page. While the accounts were of dubious accuracy, the newspaper readers of the 19th century did not expect, or necessarily want, his stories to be pure nonfiction. Historian Michael Robertson has said that "Newspaper reporters and readers of the 1890s were much less concerned with distinguishing among fact-based reporting, opinion and literature."[24]
Pulitzer, though lacking Hearst's resources, kept the story on his front page. The yellow press covered the revolution extensively and often inaccurately, but conditions on Cuba were horrific enough. The island was in a terrible economic depression, and Spanish general Valeriano Weyler, sent to crush the rebellion, herded Cuban peasants into concentration camps, leading hundreds of Cubans to their deaths. Having clamored for a fight for two years, Hearst took credit for the conflict when it came: A week after the United States declared war on Spain, he ran "How do you like the Journal's war?" on his front page.[25] In fact, President William McKinley never read the Journal, nor newspapers like the Tribune and the New York Evening Post. Moreover, journalism historians have noted that yellow journalism was largely confined to New York City, and that newspapers in the rest of the country did not follow their lead. The Journal and the World were not among the top ten sources of news in regional papers, and the stories simply did not make a splash outside New York City.[26] Rather, war came because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba.[27] These factors weighed more on the president's mind than the melodramas in the New York Journal.[28]
When the invasion began, Hearst sailed directly to Cuba as a war correspondent, providing sober and accurate accounts of the fighting.[29] Creelman later praised the work of the reporters for exposing the horrors of Spanish misrule, arguing, "no true history of the war ... can be written without an acknowledgment that whatever of justice and freedom and progress was accomplished by the Spanish-American war was due to the enterprise and tenacity of yellow journalists, many of whom lie in unremembered graves."[26]
After the war
Hearst was a leading Democrat who promoted William Jennings Bryan for president in 1896 and 1900. He later ran for mayor and governor and even sought the presidential nomination, but lost much of his personal prestige when outrage exploded in 1901 after columnist Ambrose Bierce and editor Arthur Brisbane published separate columns months apart that suggested the assassination of William McKinley. When McKinley was shot on September 6, 1901, critics accused Hearst's Yellow Journalism of driving Leon Czolgosz to the deed. Hearst did not know of Bierce's column, and claimed to have pulled Brisbane's after it ran in a first edition, but the incident would haunt him for the rest of his life, and all but destroyed his presidential ambitions.[30]
Pulitzer, haunted by his "yellow sins,"[31] returned the World to its crusading roots as the new century dawned. By the time of his death in 1911, the World was a widely respected publication, and would remain a leading progressive paper until its demise in 1931. Its name lived on in the Scripps-Howard New York World-Telegram, and then later the New York World-Telegram and Sun in 1950, and finally was last used by the New York World-Journal-Tribune from September 1966 to May 1967. At that point, only one broadsheet newspaper was left in New York City.
See also
Clickbait
James Creelman, a reporter during the height of yellow journalism
Tabloid journalism
The Yellow Journal
Fake news
Notes
Jump up ^ "sensationalism". The Free Dictionary. Retrieved 21 February 2017.
Jump up ^ Shirley Biagi, Media Impact: An Introduction to Mass Media (2011) p 56
Jump up ^ Campbell, W. Joseph (2001). Yellow Journalism: Puncturing the myths, defining the legacies. Greenwood Publishing Group. pp. 156–160. ISBN 0-275-96686-0.
Jump up ^ Mott, Frank Luther (1941). American Journalism. p. 539. ISBN 9780415228947.
Jump up ^ Cited in Oxford English Dictionary "Yellow" sense #3
^ Jump up to: a b c Campbell, W. Joseph (2001). Yellow Journalism: Puncturing the myths, defining the legacies. Westport, CT: Praeger. pp. 32–33. ISBN 0-275-98113-4.
Jump up ^ Wood 2004
Jump up ^ Swanberg 1967, pp. 74–75
^ Jump up to: a b Nasaw 2000, p. 100
Jump up ^ Swanberg 1967, p. 91
^ Jump up to: a b Swanberg 1967, p. 79
Jump up ^ Nasaw 2000, pp. 54–63
Jump up ^ Nasaw 2000, pp. 75–77
Jump up ^ Nasaw 2000, p. 75
Jump up ^ Nasaw 2000, pp. 69–77
Jump up ^ Nasaw 2000, p. 105
Jump up ^ Nasaw 2000, p. 107
Jump up ^ Nasaw 2000, p. 108
Jump up ^ Lawrence University
Jump up ^ Stephen L. Vaughn, Encyclopedia of American journalism (2008) p. 608
Jump up ^ W. Joseph Campbell, Yellow Journalism: Puncturing the Myths, Defining the Legacies (2003) p. 72
Jump up ^ W. Joseph Campbell (December 2001). "You Furnish the Legend, I'll Furnish the Quote". American Journalism Review.
Jump up ^ Emily EricksonWill, "Spanish-American War and the Press," in Stephen L. Vaughn, ed. (2007). Encyclopedia of American Journalism. Routledge. pp. 494–95. CS1 maint: Extra text: authors list (link)
Jump up ^ Nasaw 2000, quoted on p. 79
Jump up ^ Nasaw 2000, p. 132
^ Jump up to: a b Smythe 2003, p. 191
Jump up ^ Thomas M. Kane, Theoretical roots of US foreign policy (2006) p 64
Jump up ^ Nasaw 2000, p. 133
Jump up ^ Nasaw 2000, p. 138
Jump up ^ Nasaw 2000, pp. 156–158
Jump up ^ Emory & Emory 1984, p. 295
Further reading
Wikiquote has quotations related to: Yellow journalism
Wikimedia Commons has media related to Yellow journalism.
Auxier, George W. (March 1940), "Middle Western Newspapers and the Spanish American War, 1895–1898", Mississippi Valley Historical Review, 26 (4), p. 523, JSTOR 1896320, doi:10.2307/1896320
Campbell, W. Joseph (2005), The Spanish-American War: American Wars and the Media in Primary Documents, Greenwood Press
Campbell, W. Joseph (2001), Yellow Journalism: Puncturing the Myths, Defining the Legacies, Praeger
Emory, Edwin; Emory, Michael (1984), The Press and America (4th ed.), Prentice Hall
Kaplan, Richard L. "Yellow Journalism" in Wolfgang Donsbach, ed. The international encyclopedia of communication (2008) online
Milton, Joyce (1989), The Yellow Kids: Foreign correspondents in the heyday of yellow journalism, Harper & Row
Nasaw, David (2000), The Chief: The Life of William Randolph Hearst, Houghton Mifflin
Procter, Ben (1998), William Randolph Hearst: The Early Years, 1863–1910, Oxford University Press
Rosenberg, Morton; Ruff, Thomas P. (1976), Indiana and the Coming of the Spanish-American War, Ball State Monograph, No. 26, Publications in History, No. 4, Muncie, IN (Asserts that Indiana papers were "more moderate, more cautious, less imperialistic and less jingoistic than their eastern counterparts.")
Smythe, Ted Curtis (2003),The Gilded Age Press, 1865–1900 Online pp 173–202
Swanberg, W.A (1967), Pulitzer, Charles Scribner's Sons
Sylvester, Harold J. (February 1969), "The Kansas Press and the Coming of the Spanish-American War", The Historian, 31 (Sylvester finds no Yellow journalism influence on the newspapers in Kansas.)
Welter, Mark M. (Winter 1970), "The 1895–1898 Cuban Crisis in Minnesota Newspapers: Testing the 'Yellow Journalism' Theory", Journalism Quarterly, 47, pp. 719–724
Winchester, Mark D. (1995), "Hully Gee, It's a WAR! The Yellow Kid and the Coining of Yellow Journalism", Inks: Cartoon and Comic Art Studies, 2.3, pp. 22–37
Wood, Mary (February 2, 2004), "Selling the Kid: The Role of Yellow Journalism", The Yellow Kid on the Paper Stage: Acting out Class Tensions and Racial Divisions in the New Urban Environment, American Studies at the University of Virginia
Campbell, W. Joseph (Summer 2000), "Not likely sent: The Remington-Hearst 'telegrams'", Journalism and Mass Communication Quarterly, retrieved 2008-09-06
External links
Look up yellow journalism in Wiktionary, the free dictionary.
Chart – Real and Fake News (2016)/Vanessa Otero (basis) (Mark Frauenfelder)
Chart – Real and Fake News (2014) (2016)/Pew Research Center
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text:
List of PlayStation games incompatible with PlayStation 2
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The examples and perspective in this article may not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page. (April 2017) (Learn how and when to remove this template message)
The PlayStation 2 was designed to be backward compatible with PlayStation games. However, not all PlayStation games work on the PlayStation 2. In addition, later models of the PlayStation 2 console could not play all of the games that were released for prior version of the PlayStation 2. This article provides a list of some of the PlayStation and PlayStation 2 games that are not compatible with all models of the PlayStation 2.
Contents
[hide]
1 All models
2 SCPH-3000X
3 SCPH-75001
3.1 PlayStation games
3.2 PlayStation 2 games
4 References
All models[edit]
These PlayStation games have compatibility issues with all models of PlayStation 2:[1]
Arcade Party Pak
Arcade's Greatest Hits/Atari 2
Fighter Maker
Final Fantasy Anthology (Occasional graphic glitches on save/load screen in Final Fantasy V, no issues in Final Fantasy VI; this glitch was fixed in the green label Greatest Hits version released in 2004)
Monkey Hero
Tomba! (You must allow the intro sequence to play for the game to start up properly.)
X2 (Glitches in menus)
Mortal Kombat Trilogy (The game will only freeze on a PlayStation 2 if the "BUY IN SCREEN" option is set to "OFF", and if the continue timer runs out. The game also only supports original PlayStation controllers.)
Namco Museum Encore (While not incompatible, two of the games included lag when played on a PlayStation 2 console.)
SCPH-3000X[edit]
This model has problems running these games:[citation needed]
Destruction Derby (Game does not recognize memory card.)
Destruction Derby 2 (Game does not recognize memory card.)
Destruction Derby Raw (Game does not recognize memory card. Occasional audio stutters and system hang ups.)
Krazy Ivan (Game does not recognize memory card.)
The Legend of Dragoon
Final Fantasy Tactics
Metal Gear Solid: Special Missions (Game does not recognize the original Metal Gear Solid game discs)
SCPH-75001[edit]
The following games are incompatible with the SCPH-75001, "slim", model PlayStation 2:[2]
PlayStation games[edit]
102 Dalmatians: Puppies to the Rescue
Akuji the Heartless
Barbie Race and Ride
Broken Helix
Gundam Battle Assault
The Hive
Hooters Road Trip
In Cold Blood
Jampack Vol. 2
Land Before Time: Great Valley Racing Adventure
Looney Tunes: Sheep Raider (Major graphical glitches)
NFL Xtreme
NHL 2000
NHL 2001
NHL Blades of Steel 2000
NHL Rock the Rink
Nuclear Strike
One
PO'ed
Powerboat Racing (VR Sports)
Poy Poy 2
Rascal
Rayman 2: The Great Escape (Minor sound glitches)
Rushdown
Sentient
Speed Punks
Super Puzzle Fighter II Turbo
Soviet Strike
Tomorrow Never Dies
Ultimate Fighting Championship
Worms
PlayStation 2 games[edit]
ATV Offroad Fury 3 (Compatible with bugs)
Beyond Good & Evil (sound glitches)
Big Mutha Truckers
Big Mutha Truckers 2
ESPN NBA 2K5
Everquest Online Adventures: Frontiers
Formula One 2001 (video game)
Fight Night Round 2
Final Fantasy XI (Requires the PlayStation 2 Hard Disk Drive)
Tom Clancy's Ghost Recon: Jungle Storm
Jak X: Combat Racing (Compatible with bugs)
Major League Baseball 2K5
Street Racing Syndicate
Tiger Woods PGA Tour 2005
Ty the Tasmanian Tiger 3: Night of the Quinkan
References[edit]
Jump up ^ "PlayStation 2 Backward Compatibility Alert".
Jump up ^ "PlayStation 2 (MODEL SCPH-75001) Software Compatibility Alert".
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