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    Bollocks!

    Our honour is at stake: Brits criticise American media news programmes & weoffer a defence

    Steven Devadanam
    Jan 8, 2011 | 10:56 am
    • Nell McAndrew, a Page 3 girl in The Daily Star

    The Brits have taken it upon themselves to criticise the American tradition of news reporting. Whereas we catalogue "without fear or favour," the UK papers are much more inclined to erupt in furour, suggests a recent piece by National Public Radio.

    According to the report, Britain's big daily rags are unabashedly coloured by what political ties they favour. For example, The Guardian has wedded itself to the Labour Party (although they leapt to the third party Liberal Democrats most recently). Conversely, the Daily Telegraph has strived to present the right-of-centre viewpoint.

    On this side of the pond, such politically polar opposites as the San Francisco Chronicle and the Wall Street Journal claim they present unbiased reporting with no political affiliation.

    "In Britain, we feel that it's better to know where people are coming from and then to make up your own mind about what you think, because the truth is nobody can be completely impartial and objective," Nick Boles, a Conservative member of Parliament from England's East Midlands tells NPR, adding, "I mean the idea [that] the New York Times doesn't have a political point of view — it's ridiculous. It does, but it twists itself into knots in an attempt to pretend that it doesn't."

    Is Boles trying to incite an all-out row between the American and British media? And why is NPR voicing the arguement?

    The piece continues, "Guardian Editor-in-Chief Alan Rusbridger argued that British papers give more room than their American counterparts to voices that challenge conventional wisdom."

    NPR quotes the bloke,

    I think it's quite a striking thing about the British press that you get this polemical battle over the basis for what news is, which I feel is to a large extent missing in the American scene. No judgments are free of ideologies, so who you choose to quote and how you structure stories are highly political judgments. I think that's the problem with trying to place too much faith in something called objectivity."

    Rusbridger suggests that British coverage of the political dialogue prior to the war in Iraq was more sceptical because the range of acceptable opinions is far broader in British newspapers.

    Guess what, Rus: We both sent troops to Iraq. Yet you still grant yourself the honour of offering superior media discourse.

    It would behove the British media to look towards our style. As it stands, Brit rags are about as two-sided as a sheet of aluminium, and the admittedly colourful political commentary on their pages is about as worthless as a stale biscuit.

    I'm not going to blagger: I savour the hypocritical aspect as I devour the New York Times and National Public Radio and their thinly-veiled liberal propaganda. I can't be blamed — I was indoctrinated in supposedly unbiased press when my mum would play "Morning Edition" as I munched hobnobs in my pyjamas.

    Innit right to admit that I've concocted a formula that matches the ratio of favourite New York Times articles mentioned per minute and shagging frequency?

    I'm proud that we're not a bunch of daft chavs willing to put whatever blagger comes to mind into print. There's already a long queue of "unbiased" writers waiting on the kerb outside any American newspaper office ready to mould to the notion of keeping their ideas to themselves. They can call the phoney American method as transparent as a bowl of yoghurt, but the Brits' shameless scepticism leads to more commentary than news.

    I'm tempted to hop my arse on an aeroplane to Gatwick and give them a piece of my mind. Alas, a grand don't come for free, so I'll resign myself to a fag and wank in the loo before fixing a spot of camomile and returning to my next unbiased draught.

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    Music feature

    Texas country star Cody Johnson's new album goes to 'Banks of Trinity'

    Associated Press
    Jul 3, 2026 | 1:00 pm
    Cody Johnson
    Photo by Cameron Powell
    Cody Johnson.

    There's a moment at every Cody Johnson show where the Texas-born-and-bred country star asks the crowd, “How many of you tonight are watching me and this band live for the very first time?” he told The Associated Press. “And every night, I would say at least 80% of the crowd raises their hands.”

    It's not the kind of reaction most veteran artists receive. “And I’m thinking, you know, 20 years is a long time to work for something. But when you see that … What’s the next 20 years look like?” he asks.

    The rancher, rodeo competitor, and onetime prison guard started his two-decade career playing honky tonks and dive bars. That led to slow and steady growth for the country traditionalist, but in the last few years, something has shifted. He landed his fifth career No. 1 song with “The Fall.” He was named Entertainer of the Year at the 2026 Academy of Country Music Awards, the show's highest honor. That was a month after he headlined Stagecoach Music Festival. For an artist with legions of fans, it looked like he was accessing new heights.

    “I feel like I’m closing a book and I’m opening another one and it’s all blank pages,” he says of this period. “Let's get to the next chapter." On June 26, that new era began with the release of his latest album, Banks of the Trinity.

    Traveling to the Banks of the Trinity
    It hasn't been an easy road. Last fall, Johnson had to cancel a bunch of tour dates after upper respiratory and sinus infections caused a burst eardrum that required surgery — an intimidating medical procedure for anyone, but especially nerve-wracking for a musician. “I was scared,” he said simply. But “in a roundabout way, it’s one of the best things that’s ever happened to me.”

    It forced him to take three months off, which allowed him to be home during the birth of his son. It also rejuvenated his approach in the studio. Before the incident, he thought the album was complete. It was not. The additional time resulted in the inclusion of a few songs that now feel inextricable from the record: “Thank Somebody Country,” “Take Me Back (Leave Me There),” “Cricket on a Hook,” and the resilient “I Have” among them.

    “What a blessing to have that kind of song fall in your lap when you’re kind of up against the ropes,” he says of the latter. “I mean, we thought we had the record done. It wasn’t done.”

    A title track with real resonance
    At the heart of Banks of the Trinity is its title track, which recalls Eagles' cover of “Seven Bridges Road” meets bluegrass and Southern gospel.

    Lyrically, it's an ode to Johnson's childhood. “I grew up on the banks of the Trinity [River.] Fishing for catfish, not so much out of pleasure or sport but for necessity to put food in the freezer. Deer season for me was not a trophy thing,” he said.

    And while that track inspires a feeling of nostalgia within the listener, he doesn't consider this album a throwback collection. He says it's about showcasing his evolving sonic diversity.

    "The rest of the album for me is a musical journey from track one to track 16,” he said. “There’s a little bit of a flavor for everybody. It does kind of hit Motown. It does kind of hit bluegrass. It does hit progressive country. It does it old country. It does a little rock here and there.”

    It's the result of a new kind of freedom, one that is at least partially due to his recent accomplishments, including taking home the top prize at the ACM Awards.

    “I just did the thing that I’ve aspired to do in my career my entire life,” he says. “A really good place is a really good way to describe where I am.”

    And now that the album is out, he's ready to take a breather.

    “I will be shirtless with no shoes on a beach at an undisclosed location,” he jokes about the days after record release. “'Cause I have already done all the prep work. I've been working on this album for two years. I’ve done all of the interviews. I’ve shook all the hands. Me and my wife and kids are gonna disappear for 10 days and I’m gonna become, I guess, every Kenny Chesney song ever.”

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