Zany adventures of a lively girl reporter in Hollywood as she pursues blockbuster stories about the most famous celebrities in the world, for the mightiest tabloid in the world The National Enquirer. It is the first book ever written by an Enquirer veteran, answering in hilarious and fascinating detail the two most-asked questions: Is any of that stuff true?and how do they get that stuff? Author also goes behind the closed doors of the Enquirer's "Keep out!" newsroom to explore what really happens in there. Locations around the world, and with stars from Sinatra to Richard Burton and on down. Very entertaining revelation of what reporters do and go through to get that stuff right from the very famous horse's mouth.

In nearly twenty years at the top of the News of the World, Neville Thurlbeck - chief reporter, news editor and scoop-hunter extraordinaire - served up some of the most famous, memorable and astonishing headlines in the paper's existence. They lit up the world of tabloid journalism and featured names such as David Beckham, Fred and Rose West, Jeffrey Archer and Robin Cook, among many others. Along the way, Thurlbeck was drawn into encounters with Cabinet ministers, rent boys, sports stars, serial killers, drug lords and, on one occasion, a devil-worshipping police officer. He worked with MI5 and the National Criminal Intelligence Service, foiled a murder and gave Gordon Brown a tongue-lashing to remember, all in the name of journalism. Now, in Tabloid Secrets, he reveals for the first time the truth about how he broke the stories that thrilled, excited and shocked the nation, and secured the paper up to fifteen million readers every week. The result is a fascinating, scandalous, swashbuckling insight into some of the biggest and most sensational scoops by Fleet Street's most notorious reporter.

This no-holds-barred account of a husband-and-wife team of tabloid reporters will entertain with its high jinx and shock with its excesses. Lysa Moskowitz-Mateu and David LaFontaine spent one year traveling all over the continent as they chased down headline stories for the Star, the National Enquirer, and the Globe. By their own account, tabloid reporters are the "vermin media," and their outrageous quests for good interviews know no bounds.

A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.

“Hollywood's Hottest Couple Exchange Mystery Rings!” “The Truth Behind Screen Beauty's Pregnancy Rumors!” “Song Diva Sneaks Past Airport Security and Lands Behind Bars!” “TV's Favorite Childhood Star Faces Drinking and Drug Charges!” “Teen Beauty Downplays Anorexia Rumors with Hot Dog!” “Hollywood's Favorite Funnyman Has Secret Love Child!” “Couple Goes Head to Head in Custody Battle!” Who writes these stories? Marlise Kast used to. In fact, she was so good at it, at such a young age, she was considered a “tabloid prodigy.” Marlise, the daughter of a minister, grew up in a loving, conservative, slightly sheltered family, and aspired to a career as a respected journalist or television news anchor. She was perhaps the least likely person to become a star reporter for Globe. But, right out of college, with a journalism degree and few job prospects, she became a tabloid writer, playing the high-stakes game of cat-and-mouse with some of Hollywood's hottest celebrities. There was almost nothing Marlise wouldn't do to get the story behind the celebrity facade. Dumpster diving and hiding in the bushes were child's play compared to ploys like posing as a drunk to crash one star's wedding or bluffing her way through the L.A. Police Department to confirm the DUI of another celeb's daughter. Using a combination of charm and brains, Marlise convinced co-workers, waiters, bouncers and bartenders to confess the juicy secrets of Hollywood stars. On the red carpet and VIP guest lists, she assumed countless identities, including those of a florist, a tennis player, a mourner, and a bridesmaid.Along the way, though, Marlise continually wondered: was she abandoning her principles in exchange for a shot at celebrity reporting? Torn between her journalistic duties and her moral responsibilities, Marlise tried to ignore the battle with her conscience, telling herself this wasn't a permanent job, just a stepping stone to a more respectable career. Right? This riveting and entertaining memoir is full of her outrageous-but-true tabloid experiences. Marlise's narrative details the behind-the-scenes deals, manipulations, and deceptions used to break the big stories. In an industry where turnover is high, and loyalty low, Marlise survived multiple bosses, a rotating roster of photographers, professional shenanigans, terrifying situations, and comical predicaments, as well as legal threats from some of the celebrities and “personalities” she wrote about. She eventually wrote over 200 articles for the tabloids. Her biggest story, though, is the one she's never told before; how-after a dangerous high-speed chase, a corporate betrayal of her trust, and the doubts that continued to plague her-Marlise came face-to-face with a story her conscience would not allow her to tell. After so many years of lying about who she really was, Marlise had to discover her own truth. As this riveting memoir reveals, her redemption is more honest and personal than any celebrity news she's ever reported.

Almost everybody reads newspapers and has opinions about them. But who are the people behind the press? For the first time, Britain's leading journalists go on the record to reveal how they work, what motivates them and how they made it.

DIVLong before the invention of printing, let alone the availability of a daily newspaper, people desired to be informed. In the pre-industrial era news was gathered and shared through conversation and gossip, civic ceremony, celebration, sermons, and proclamations. The age of print brought pamphlets, edicts, ballads, journals, and the first news-sheets, expanding the news community from local to worldwide. This groundbreaking book tracks the history of news in ten countries over the course of four centuries. It evaluates the unexpected variety of ways in which information was transmitted in the premodern world as well as the impact of expanding news media on contemporary events and the lives of an ever-more-informed public. Andrew Pettegree investigates who controlled the news and who reported it; the use of news as a tool of political protest and religious reform; issues of privacy and titillation; the persistent need for news to be current and journalists trustworthy; and people’s changed sense of themselves as they experienced newly opened windows on the world. By the close of the eighteenth century, Pettegree concludes, transmission of news had become so efficient and widespread that European citizens—now aware of wars, revolutions, crime, disasters, scandals, and other events—were poised to emerge as actors in the great events unfolding around them./div