By Amy Goodman, Bill Moyers
"Amy Goodman has taken investigative journalism to new heights of fascinating, informative, and probing analysis."—Noam Chomsky
"You can study extra of the reality approximately Washington and the area from one week of Amy Goodman's Democracy Now! than from a month of Sunday morning speak indicates. Make 12 months of Sunday speak indicates. That's simply because Amy, as you'll find on each web page of this booklet, is familiar with the severe query for newshounds is how shut they're to the reality, no longer how shut they're to power."—From the Preface by means of invoice Moyers
Amy Goodman, award-winning host of the day-by-day the world over broadcast radio and tv application Democracy Now!, breaks throughout the company media's lies, sound bites, and silence during this wide-ranging new selection of articles. instead of the standard suspects—the "experts" who, in Goodman's phrases, "know so little approximately a lot, clarify the realm to us, and get it so wrong"—this available, energetic assortment permits the voices the company media exclude and forget about to be heard loud and transparent. From group organizers in New Orleans, to the brave American squaddies who've acknowledged "No" to Washington's wars, to the sufferers of torture and police violence, we're given the extreme chance to listen to usual humans status up and talking out. Written with the entire fierce intelligence and keenness for fact that hundreds of thousands have come to count on from Amy Goodman's reportage, Breaking the Sound Barrier proves the facility that autonomous journalism can play within the fight for a greater global, one within which usual voters are the genuine specialists in their personal lives and communities.
Amy Goodman is an award-winning investigative journalist and syndicated columnist, writer and the host/executive manufacturer of Democracy Now! airing on approximately 800 stations all over the world. Goodman is the 1st journalist to obtain the appropriate Livelihood Award, widely recognized because the 'Alternative Nobel Prize' for "developing an leading edge version of actually self sustaining grassroots political journalism that brings to hundreds of thousands of individuals the choice voices which are usually excluded via the mainstream media.". Goodman is the co-author together with her brother, journalist David Goodman, of 3 long island occasions
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Anyone who has picked up a paper has learn journalese—words and words which are basically present in newspapers. with out them, how may intrepid reporters have the ability to describe an international during which late-night revelers cross on booze-fueled rampages, or the place stars lash out in foul-mouthed tirades? while Rob Hutton begun amassing examples of journalese on-line, he provoked a "Twitter storm," and was once "left reeling" through the "bumper crop" of examples that "flooded in. " He discovered that words which all started as shorthand to assist readers became a dialect that's usually meaningless or vacuous to non-journalese audio system. In a brave try out either to wean reporters off their journalese behavior, and supply elucidation for the remainder of us, this ebook catalogs the highs and lows of this unusual language, celebrating the simplest examples ("test-tube baby," "mad cow disease"), and condemning the worst ("rant," "snub," "sirs"). it is going to be a "must-read" "page-turner" that could "cause a stir" or maybe "spark" "tough new rules" in newsrooms.
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Additional info for Breaking the Sound Barrier
8 It is not clear if Chaplin ever received the daguerreotype. 9 If the daguerreotype was meant to spread news amongst activists, it became news through the press. Since The Liberator did not reproduce the daguerreotype as an engraving, the image reached the public through its written description. Words, alone, conveyed the power of this visual object in the media. By highlighting the activists’ efforts to visually communicate with Chaplin, The Liberator stressed the capacity of photography to serve as proximate witness—and, thus, stand in for Chaplin’s inability to see the convention ﬁrsthand.
They would recognize and sometimes import the strategies of illustrators. When the war was going well, they would understand the hunger for information and the need for promising news for a northern readership. In bad times, they would learn how to ease anxieties and, in some cases when the moment demanded it, skirt the censor’s hand. But at least in these early days of war photography in its regard of death on such a massive scale, the camera had more solemn purposes. Notes 1 See the whole remarkable essay, Oliver Wendell Holmes, “My Hunt after the Captain,” Atlantic Monthly (December 1862): 738–64.
The short essays assembled here therefore challenge the priority of the isolated image and “photo essay,” either as a topical window onto a 13 14 BIG PICTURES distant or local present or, subsequently, as historical evidence, in favor of a consideration of the larger structures of meaning through which these images operated. This section argues that much of what matters most in these pictures cannot be seen on their surface. 3 Often (as in Hariman’s and Lucaites’ hands), these modes of iconicity will generate genuine insight.