Anonymous in Their Own Names recounts the lives of three women who, while working as their husbands' uncredited professional partners, had a profound and enduring impact on the media in the first half of the twentieth century. With her husband, Edward L. Bernays, Doris E. Fleischman helped found and form the field of public relations. Ruth Hale helped her husband, Heywood Broun, become one of the most popular and influential newspaper columnists of the 1920s and 1930s. In 1925 Jane Grant and her husband, Harold Ross, started the New Yorker magazine.


Yet these women's achievements have been invisible to countless authors who have written about their husbands. This invisibility is especially ironic given that all three were feminists who kept their birth names when they married as a sign of their equality with their husbands, then battled the government and societal norms to retain their names. Hale and Grant so believed in this cause that in 1921 they founded the Lucy Stone League to help other women keep their names, and Grant and Fleischman revived the league in 1950. This was the same year Grant and her second husband, William Harris, founded White Flower Farm, pioneering at that time and today one of the country's most celebrated commercial nurseries.


Despite strikingly different personalities, the three women were friends and lived in overlapping, immensely stimulating New York City circles. Susan Henry explores their pivotal roles in their husbands' extraordinary success and much more, including their problematic marriages and their strategies for overcoming barriers that thwarted many of their contemporaries.

In this book, Gwyneth Mellinger explores the complex history of the decades-long ASNE diversity initiative, which culminated in the failed Goal 2000 effort to match newsroom demographics with those of the U.S. population. Drawing upon exhaustive reviews of ASNE archival materials, Mellinger examines the democratic paradox through the lens of the ASNE, an elite organization that arguably did more than any other during the twentieth century to institutionalize professional standards in journalism and expand the concepts of government accountability and the free press. The ASNE would emerge in the 1970s as the leader in the newsroom integration movement, but its effort would be frustrated by structures of exclusion the organization had embedded into its own professional standards. Explaining why a project so promising failed so profoundly, Chasing Newsroom Diversity expands our understanding of the intransigence of institutional racism, gender discrimination, and homophobia within democracy.

Cheche, a radical, socialist student magazine at the University of Dares Salaam, first came out in 1969. Featuring incisive analyses of key societal issues by prominent progressives, it gained national and international recognition in a short while. Because it was independent of authority, and spoke without fear or favor, it was banned after just a year of existence. The former editors and associates of Cheche revive that salutory episode of student activism in this book with fast-flowing, humor spiced stories, and astute socio-economic analyses. Issues covered include social and technical aspects of low-budget magazine production, travails of student life and activism, contents and philosophy of higher education, socialism in Tanzania, African liberation, gender politics and global affairs. They also reflect on the relevance of past student activism to the modern era. If your interests cover higher education in Africa, political and development studies, journalism, African affairs, socialism and capitalism, or if you just seek elucidation of student activism in a nation then at the center of the African struggle for liberation, this book presents the topic in a lively but unorthodox and ethically engaging manner.

Stories with no substance. Talking heads without a clue. Teamcoverage that still misses the big picture. Overheated hype. Cute chatter. Film at eleven. Is it any wonder more and more of us count less and less on the news?It used to be that a news story told you who, what, where, when, how, and why,Art Athens writes. Now the story might tell you who, or it might tell you when, but there's a good chance that when it's over (which won't take long), you'll be the one saying What?Here's a legendary journalist's back to the basics guide to the craft of broadcast news. Combining insights from his own award-winning career with in-depth conversations with leading newspeople, Art Athens offers a primer on the best practices in reporting, writing, and delivering the news.And he lets some of the best in the business talk frankly and passionately about what it takes to do the job right: Dan Rather, Charles Osgood, Mike Wallace, Brian Williams, Andy Rooney, Charles Kuralt, Linda Ellerbee, and Don Hewitt.What kind of skills-and spirit-does it take to be a successful, serious broadcast journalist? How are the good stories conceived and written? And in today's cynical age of news as entertainment, what should reporters and editors do to restore confidence in the media? In this funny, sharp, honest book, anyone who cares about the news will find answers on every page.

To attract readers, journalists have long trafficked in the causes of trauma--crime, violence, warfare--as well as psychological profiling of deviance and aberrational personalities. Novelists, in turn, have explored these same subjects in developing their characters and by borrowing from their own traumatic life stories to shape the themes and psychological terrain of their fiction. In this book, Doug Underwood offers a conceptual and historical framework for comprehending the impact of trauma and violence in the careers and the writings of important journalist-literary figures in the United States and British Isles from the early 1700s to today._x000B__x000B_Grounded in the latest research in the fields of trauma studies, literary biography, and the history of journalism, this study draws upon the lively and sometimes breathtaking accounts of popular writers such as Charles Dickens, Ernest Hemingway, Dorothy Parker, Graham Greene, and Truman Capote, exploring the role that trauma has played in shaping their literary works. Underwood notes that the influence of traumatic experience upon journalistic literature is being reshaped by a number of factors, including news media trends, the advance of the Internet, the changing nature of the journalism profession, the proliferation of psychoactive drugs, and journalists' greater self-awareness of the impact of trauma in their work._x000B__x000B_The most extensive scholarly examination of the role that trauma has played in the shaping of our journalistic and literary heritage, Chronicling Trauma: Journalists and Writers on Violence and Loss discusses more than a hundred writers whose works have won them fame, even at the price of their health, their families, and their lives.

In 1966, a year after the Voting Rights Act began liberating millions of southern blacks, New Yorkers challenged a political system that weakened their voting power. Andrew W. Cooper (1927-2002), a beer company employee, sued state officials in a case called Cooper vs. Power. In 1968, the courts agreed that black citizens were denied the right to elect an authentic representative of their community. The 12th Congressional District was redrawn. Shirley Chisholm, a member of Cooper's political club, ran for the new seat and made history as the first black woman elected to Congress.

Cooper's leadership also gave Brooklyn--particularly predominantly black central Brooklyn--an identity. It is no accident that in the twenty-first century the borough crackles with energy. Cooper fought tirelessly for the community's vitality when it was virtually abandoned by the civic and business establishments in the mid-to-late twentieth century. In addition, scores of journalists trained by Cooper are keeping his spirit alive.

Today many believe that American journalism is in crisis, with traditional sources of news under siege from a failing business model, a resurgence of partisanship, and a growing expectation that all information ought to be free. In Covering America, Christopher B. Daly places the current crisis within a much broader historical context, showing how it is only the latest in a series of transitions that have required journalists to devise new ways of plying their trade. Drawing on original research and synthesizing the latest scholarship, Daly traces the evolution of journalism in America from the early 1700s to the “digital revolution” of today. Analyzing the news business as a business, he identifies five major periods of journalism history, each marked by a different response to the recurrent conflicts that arise when a vital cultural institution is housed in a major private industry. Throughout his narrative history Daly captures the ethos of journalism with engaging anecdotes, biographical portraits of key figures, and illuminating accounts of the coverage of major news events as well as the mundane realities of day-to-day reporting.

The grainy black-and-white television ad shows a young girl in a flower-filled meadow, holding a daisy and plucking its petals, which she counts one by one. As the camera slowly zooms in on her eye, a man’s solemn countdown replaces hers. At zero the little girl’s eye is engulfed by an atomic mushroom cloud. As the inferno roils in the background, President Lyndon B. Johnson’s voice intones, “These are the stakes—to make a world in which all of God’s children can live, or to go into the dark. We must either love each other, or we must die.” In this thought-provoking and highly readable book, Robert Mann provides a concise, engaging study of the “Daisy Girl” ad, widely acknowledged as the most important and memorable political ad in American history. Commissioned by Johnson’s campaign and aired only once during Johnson’s 1964 presidential contest against Barry Goldwater, it remains an iconic piece of electoral propaganda, intertwining cold war fears of nuclear annihilation with the increasingly savvy world of media and advertising. Mann presents a nuanced view of how Johnson’s campaign successfully cast Barry Goldwater as a radical too dangerous to control the nation’s nuclear arsenal, a depiction that sparked immediate controversy across the United States. Repeatedly analyzed in countless books and articles, the spot purportedly destroyed Goldwater’s presidential campaign. Although that degree of impact on the Goldwater campaign is debatable, what is certain is that the ad ushered in a new era of political advertising using emotional appeals as a routine aspect of campaign strategy.