Finally Got the News uncovers the hidden legacy of the radical left of the 1970s, a decade when vibrant social movements challenged racism, imperialism, patriarchy, and capitalism itself. It uses original printed materials--from pamphlets to posters, flyers to record albums--to tell this politically rich and little-known story. The dawn of the 1970s saw an explosion of interest in revolutionary ideas and activism. Young people radicalized by the antiwar movement became anti-imperialists, veterans of the Civil Rights and Black Power movements increasingly identified with communism and Pan-Africanism, radical groups sent members into factories to organize the working class, and women were building for autonomy and liberation. Across movements with different roots, an incredible overlap and intermingling of activists, ideologies, and hybrid organizations emerged. These diverse movements used printed materials as organizing tools in every political activity, creating a remarkable array of publishing styles, techniques, and formats. Through the lens of printed materials we can see the real nuts and bolts of political organizing in an era when thousands of young revolutionaries were attempting to put their beliefs into practices in workplaces and neighborhoods across the US. Finally Got the News uses this agitational material to shine a light on the full breadth of organizations and collectives that were a part of the '70s radical renaissance. The book features original materials from Amiri Baraka's Congress of African People, radical broadsides distributed in factories, queer socialist pamphlets, and agitational newspapers from Puerto Rican revolutionary groups like the Young Lords Party. These materials were made to be ephemeral and disposable, making collecting and preserving the paper legacy of '70s radical activism especially difficult. But many materials have survived and offer an irreplaceable insight into this period. Finally Got the News highlights many essential issues that are still resoundingly contemporary: from community responses to police brutality, to battles for better wages and working conditions, to opposition to US imperialism in the Middle East. Radical movements of the '70s attempted to confront concerns that are still central to today's campaigns for social justice. The full-color book that accompanies the exhibition will collect almost 100 images of materials included in the show, original essays by 14 contributors, and a round table discussion amongst a broad collection of producers of propaganda in the 1970s. The majority of this exhibition is from the archive of Brad Duncan, amassed over twenty years of collecting and activism. Additional items are from the collection of Interference Archive.

This new South End Press edition makes available the full text of this out-of-print classic--along with a new foreword by Manning Marable, interviews with participants in DRUM, and reflections on political developments over the past threee decades by Georgakas and Surkin.

An integrated look at the political films of the 1960s and ’70s and how the New Left transformed cinema A timely reassessment of political film culture in the 1960s and ’70s, Enduring Images examines international cinematic movements of the New Left in light of sweeping cultural and economic changes of that era. Looking at new forms of cinematic resistance—including detailed readings of particular films, collectives, and movements—Morgan Adamson makes a case for cinema’s centrality to the global New Left. Enduring Images details how student, labor, anti-imperialist, Black Power, and second-wave feminist movements broke with auteur cinema and sought to forge local and international solidarities by producing political essay films, generating new ways of being and thinking in common. Adamson produces a comparative and theoretical account of New Left cinema that engages with discussions of work, debt, information, and resistance. Enduring Images argues that the cinemas of the New Left are sites to examine, through the lens of struggle, the reshaping of global capitalism during the pivotal moment in which they were made, while at the same time exploring how these movements endure in contemporary culture and politics. Including in-depth discussions of Third Cinema in Argentina, feminist cinema in Italy, Newsreel movements in the United States, and cybernetics in early video, Enduring Images is an essential examination of the political films of the 1960s and ’70s.

I was a California girl. My children were unofficially forbidden to move more than 1 1⁄2 hours from their mother . How did I end up in Arkansas? I blame Eric Estrada! After purchasing our new home in Arkansas it was a full year before we could actually move. We endured the comment “Your moving where!” and the looks that went with it, by our California friends for that entire year. So this started out as e-mails to friends and family to let them know all the strange and amusing differences in our new world. Many of them wanted to know if I was saving them to make into a book. One year at Christmas my son Donald said he only wanted one thing for the following Christmas, a copy of the book. So here is this book of laughter, and a few tears, that I hope you will enjoy.

"A powerful, revealing story of hope, love, justice, and the power of reading by a man who spent thirty years on death row for a crime he didn't commit"--

That market forces drive the news is not news. Whether a story appears in print, on television, or on the Internet depends on who is interested, its value to advertisers, the costs of assembling the details, and competitors' products. But in All the News That's Fit to Sell, economist James Hamilton shows just how this happens. Furthermore, many complaints about journalism--media bias, soft news, and pundits as celebrities--arise from the impact of this economic logic on news judgments. This is the first book to develop an economic theory of news, analyze evidence across a wide range of media markets on how incentives affect news content, and offer policy conclusions. Media bias, for instance, was long a staple of the news. Hamilton's analysis of newspapers from 1870 to 1900 reveals how nonpartisan reporting became the norm. A hundred years later, some partisan elements reemerged as, for example, evening news broadcasts tried to retain young female viewers with stories aimed at their (Democratic) political interests. Examination of story selection on the network evening news programs from 1969 to 1998 shows how cable competition, deregulation, and ownership changes encouraged a shift from hard news about politics toward more soft news about entertainers. Hamilton concludes by calling for lower costs of access to government information, a greater role for nonprofits in funding journalism, the development of norms that stress hard news reporting, and the defining of digital and Internet property rights to encourage the flow of news. Ultimately, this book shows that by more fully understanding the economics behind the news, we will be better positioned to ensure that the news serves the public good.

The author, a computer science professor diagnosed with terminal cancer, explores his life, the lessons that he has learned, how he has worked to achieve his childhood dreams, and the effect of his diagnosis on him and his family.