books tagged “media”

Jean Kilbourne first gained prominence in the 1970s as the maker of Killing Us Softly, a documentary that detailed how the images of women in advertising were destructive for women in real life. In the years since, her thesis hasn't changed much, but the evidence supporting it has accumulated at an overwhelming rate. One of the first points that Kilbourne makes clear in Deadly Persuasion is that advertising does influence people, which is why newspapers and magazines engage in cutthroat competition to convince corporations to place ads in their publications, on the principle that their readership consists of the most valuable demographic. What appear in those ads, though, are images that equate emotional well-being with material acquisition; encourage women--beginning in their teenage years--to work at preserving the one "right" look; and associate rebellion and independence with the consumption of alcohol and tobacco.

Kilbourne is militant on these issues, and some readers may find her positions a bit too extreme, as when she lambastes ads that employ surre alism for imitating a drugged state of altered consciousness or when she declares that most sexual imagery in advertising is "pornographic," elaborating in such a way as to denigrate the very idea of casual sex. And, despite several attempts at grim sarcasm, Deadly Persuasion is ultimately rather humorless. Kilbourne's heart, though, is definitely in the right place, and her demonstration of the extent to which we allow corporations to shape our desires is truly eye-opening. --Ron Hogan [via]

Given the profound influence that the writings and teachings of Marshall McLuhan have had in the Information Age, it is surprising how few people have read anything more than context-free excerpts printed in indecipherable day-glo fonts over a background guaranteed to induce vertigo. But once you actually get around to reading McLuhan's ideas about the Global Village, the history of print, and the rise of digital media, you realize that behind the hype he did indeed make many substantive and influential contributions.

Surprisingly, most of McLuhan's seminal books are still out of print (as of 1996). Luckily, this collection of articles and excerpts from his most important books is a comprehensive and accessible overview of the musings of the "Patron Saint of the Digerati". It includes substantial passages from my favorite McLuhan book The Gutenberg Galaxy (a brilliantly provocative academic treatise about the history and consequences of writing and printing), as well as many articles and interviews you wouldn't find in any of his previously published books anyway.

The main weaknesses of this volume are that it does not include excerpts from the hyper-kinetic and image-packed "The Medium is the Massage" -- his main contribution to pop culture of the late '60s -- and that the sources of each passage are noted only in an appendix. It would have been nice if sources were noted at the beginning or end of each linear text, and I hope this is addressed in future editions. Other than these minor editorial quibbles, this book is highly recommended. [via]

In his fourth book, Everything Bad Is Good for You, iconoclastic science writer Steven Johnson (who used himself as a test subject for the latest neurological technology in his last book, Mind Wide Open) takes on one of the most widely held preconceptions of the postmodern world--the belief that video games, television shows, and other forms of popular entertainment are detrimental to Americans' cognitive and moral development. Everything Good builds a case to the contrary that is engaging, thorough, and ultimately convincing.

The heart of Johnson's argument is something called the Sleeper Curve--a universe of popular entertainment that trends, intellectually speaking, ever upward, so that today's pop-culture consumer has to do more "cognitive work"--making snap decisions and coming up with long-term strategies in role-playing video games, for example, or mastering new virtual environments on the Internet-- than ever before. Johnson makes a compelling case that even today's least nutritional TV junk foodthe Joe Millionaires and Survivors so commonly derided as evidence of America's cultural decline--is more complex and stimulating, in terms of plot complexity and the amount of external information viewers need to understand them, than the Love Boats and I Love Lucys that preceded it. When it comes to television, even (perhaps especially) crappy television, Johnson argues, "the content is less interesting than the cognitive work the show elicits from your mind."
Johnson's work has been controversial, as befits a writer willing to challenge wisdom so conventional it has ossified into accepted truth. But even the most skeptical readers should be captivated by the intriguing questions Johnson raises, whether or not they choose to accept his answers. --Erica C. Barnett [via]

Her comments turned Charlie Rose red in the face. Bill Clinton called her 'hostile, combative, and even disrespectful.' Newt Gingrich said to her, 'You're the kind of reporter I warned my mother about.' Meet Amy Goodman, award-winning journalist and host of the daily hour-long talk show that is a beacon for passionate, critical, and hard-hitting news. On subjects ranging from the deceptions of the George H. W. Bush administration to the corruption of media monopolies and corporate influence over the government, Amy Goodman attacks and exposes the lies and hypocrisy that put democracy at risk. Goodman has traveled the world reporting and speaking out in defense of human rights and offers no apologies for her advocacy. At lectures, rallies, and other public appearances, thousands turn out to hear her speak the truth. Now, in her first book, she offers her no-holds-barred perspective on world events. [via]

This book takes a pictorial look at the nation from above, with dazzling full-color photographs of each region of the United States of America. These territories continue to reach out to settlers and travelers, challenging those who would try to conquer its mountains, rivers, and canyons as well as those who try get to know its patchwork quilt of people and regional cultural variations. The reader takes a thrilling journey over mountains, deserts, mighty rivers, swaths of farmland, and the great cities and landmark skyscrapers, all shown from an aerial vantage point. The design of the pages is carefully planned to bring out the panoramic qualities of the exceptionally beautiful photographs. The reduced album format of the book has been chosen to emphasize the wide-angle approach of the pictures. [via]

From "the most important thinker on intellectual property in the Internet era" ("The New Yorker"), a landmark manifesto about the genuine closing of the American mind.
Lawrence Lessig could be called a cultural environmentalist. One of America's most original and influential public intellectuals, his focus is the social dimension of creativity: how creative work builds on the past and how society encourages or inhibits that building with laws and technologies. In his two previous books, Code and The Future of Ideas, Lessig concentrated on the destruction of much of the original promise of the Internet. Now, in Free Culture, he widens his focus to consider the diminishment of the larger public domain of ideas. In this powerful wake-up call he shows how short-sighted interests blind to the long-term damage they're inflicting are poisoning the ecosystem that fosters innovation.
All creative works-books, movies, records, software, and so on-are a compromise between what can be imagined and what is possible-technologically and legally. For more than two hundred years, laws in America have sought a balance between rewarding creativity and allowing the borrowing from which new creativity springs. The original term of copyright set by the Constitution in 1787 was seventeen years. Now it is closer to two hundred. Thomas Jefferson considered protecting the public against overly long monopolies on creative works an essential government role. What did he know that we've forgotten?
Lawrence Lessig shows us that while new technologies always lead to new laws, never before have the big cultural monopolists used the fear created by new technologies, specifically the Internet, to shrink the public domain of ideas, even as the same corporations use the same technologies to control more and more what we can and can't do with culture. As more and more culture becomes digitized, more and more becomes controllable, even as laws are being toughened at the behest of the big media groups. What's at stake is our freedom-freedom to create, freedom to build, and ultimately, freedom to imagine. [via]

Working as a correspondent for 20/20 and Good Morning America, John Stossel confronted dozens of scam artists: from hacks who worked out of their basements to some of America's most powerful executives and leading politicians. His efforts shut down countless crooks -- both famous and obscure. Then he realized what the real problem was.

In Give Me a Break, Stossel takes on the regulators, lawyers, and politicians who thrive on our hysteria about risk and deceive the public in the name of safety. Drawing on his vast professional experience (as well as some personal ones), Stossel presents an engaging, witty, and thought-provoking argument about the beneficial powers of the free market and free speech.

Ballooning government?
Millionaire welfare queens?
Tort lawyers run amok?
A $330,000 outhouse, paid for with your tax dollars?
John Stossel says, "Give me a break."

When he hit the airwaves thirty years ago, Stossel helped create a whole new category of news, dedicated to protecting and informing consumers. As a crusading reporter, he chased snake-oil peddlers, rip-off artists, and corporate thieves, winning the applause of his peers.

But along the way, he noticed that there was something far more troublesome going on: While the networks screamed about the dangers of exploding BIC lighters and coffeepots, worse risks were ignored. And while reporters were teaming up with lawyers and legislators to stick it to big business, they seldom reported the ways the free market made life better.

In Give Me a Break, Stossel explains how ambitious bureaucrats, intellectually lazy reporters, and greedy lawyers make your life worse even as they claim to protect your interests. Taking on such sacred cows as the FDA, the War on Drugs, and scaremongering environmental activists -- and backing up his trademark irreverence with careful reasoning and research -- he shows how the problems that government tries and fails to fix can be solved better by the extraordinary power of the free market.

He traces his journey from cub reporter to 20/20 co-anchor, revealing his battles to get his ideas to the public, his struggle to overcome stuttering, and his eventual realization that, for years, much of his reporting missed the point.

Stossel concludes the book with a provocative blueprint for change: a simple plan in the spirit of the Founding Fathers to ensure that America remains a place "where free minds -- and free markets -- make good things happen."

Movable type, as much if not more than any meaningful arrangement of that type, transformed Renaissance consciousness--just as electronic circuitry is transforming us now. That is the basic premise of Marshall McLuhan's The Gutenberg Galaxy. New technologies create new human environments, and "technological environments are not merely passive containers & but are active processes that reshape people and other technologies alike." McLuhan's second book, The Gutenberg Galaxy was published in 1962, won the Canadian Governor General's Medal that same year, and pushed McLuhan toward international prominence. Like most of McLuhans's other work--Understanding Media or The Global Village, for example--The Gutenberg Galaxy is a rich, dense text that draws freely, almost frantically, from works of philosophy, economics, political theory, history, and especially literature. There are liberal doses of Shakespeare--text and commentary--sprinkled throughout, as well as trenchant appropriations from Rabelais, Cervantes, Leibnitz, Blake, Joyce, and many others. Attempting to match his medium to his metaphors, McLuhan structures his book using what he calls "a mosaic or field approach" and ends up producing more than 100 short sections separated by pithy glosses in large bold type, such as "Schizophrenia may be a necessary consequence of literacy," or " Nobody ever made a grammatical error in a non-literate society." Today's reader might find the "mosaic of perpetually interacting forms" into which the author organizes his data and quotations distinctly Web-like. Indeed, one could say of McLuhan and his complex rhetorical circuitry what McLuhan himself says about Shakespeare: "His insights appear so richly in his lines that it is very difficult to select among them." --Russell Prather [via]

Having previously dissected the factual inaccuracies of a single bellicose talk show host in Rush Limbaugh Is a Big Fat Idiot, Al Franken takes his fight to a larger foe: President George W. Bush, the Bush Administration, Ann Coulter, Bill OReilly, and scores of other conservatives whom, he says, are playing loose with the facts. It's a lot of ground to cover, as evidenced by the 43 chapters in Lies and the Lying Liars Who Tell Them, but the results are often entertaining and insightful. Franken occupies a unique place in the modern political dialogue as perhaps the media's only comedy writer and performer who is also a Harvard fellow as well as a liberal political commentator. This unique and vaguely lonely position lends a charming quixotic quality to adventures such as a tense encounter with the Fox News staff at the National Press Club, a challenge to fisticuffs with National Review Editor Rich Lowry, and an oddly sweet admissions visit to ultra-conservative Bob Jones University (with a young research assistant posing as his son when Franken's real-life son refuses to participate in the charade). Less useful are comic book dramatizations of "Supply Side Jesus" and a fictitious Vietnam War story featuring the numerous righties who, Franken intimates, improperly avoided service. And Franken's criticisms of conservative talk show hosts Sean Hannity, OReilly, and columnist Coulter, while admirable in their attention to detail, fail to shed much new light on people who have built careers on broad arguments and relentless self-aggrandizement. But Franken is at his best, and most compellingly readable, when he backs off the wackiness and the personal grudges and writes about more personal matters such as the political circus surrounding the memorial service of the late Senator Paul Wellstone. But even on these more serious topics, Franken's wit is still present and, in fact, grows sharper. In a time when much political discourse is composed of rage and shouting, it's refreshing that Al Franken is able to shout in a witty manner. --John Moe [via]

An absolutely brilliant analysis of the ways in which individuals and organizations of the media are influenced to shape the social agendas of knowledge and, therefore, belief. Contrary to the popular conception of members of the press as hard-bitten realists doggedly pursuing unpopular truths, Herman and Chomsky prove conclusively that the free-market economics model of media leads inevitably to normative and narrow reporting. Whether or not you've seen the eye-opening movie, buy this book, and you will be a far more knowledgeable person and much less prone to having your beliefs manipulated as easily as the press. [via]

An absolutely brilliant analysis of the ways in which individuals and organizations of the media are influenced to shape the social agendas of knowledge and, therefore, belief. Contrary to the popular conception of members of the press as hard-bitten realists doggedly pursuing unpopular truths, Herman and Chomsky prove conclusively that the free-market economics model of media leads inevitably to normative and narrow reporting. Whether or not you've seen the eye-opening movie, buy this book, and you will be a far more knowledgeable person and much less prone to having your beliefs manipulated as easily as the press. [via]

Noam Chomskys backpocket classic on wartime propaganda and opinion control begins by asserting two models of democracyone in which the public actively participates, and one in which the public is manipulated and controlled. According to Chomsky, "propaganda is to democracy as the bludgeon is to a totalitarian state," and the mass media is the primary vehicle for delivering propaganda in the United States. From an examination of how Woodrow Wilsons Creel Commission "succeeded, within six months, in turning a pacifist population into a hysterical, war-mongering population," to Bush Sr.'s war on Iraq, Chomsky examines how the mass media and public relations industries have been used as propaganda to generate public support for going to war. Chomsky further touches on how the modern public relations industry has been influenced by Walter Lippmanns theory of "spectator democracy," in which the public is seen as a "bewildered herd" that needs to be directed, not empowered; and how the public relations industry in the United States focuses on "controlling the public mind," and not on informing it. Media Control is an invaluable primer on the secret workings of disinformation in democratic societies. [via]

Have you ever noticed that the word "media" refers both to the tool for disseminating information in human societies as well as the substrate upon which geneticists grow bacteria and viruses? Rushkoff has written one of the more provocative and insightful analyses of the paths of conceptual infection in human media, and about the techniques and goals of those who spread media viruses. This fun, hip, yet insightful book is well worth buying. [via]

The medium used to be the message. But in the "collide-oscopic" barrage of image and text that resulted from Marshall McLuhan's 1967 collaboration with graphic designer Quentin Fiore, the medium becomes the massage. The basic premise of this playful popularization of McLuhan's theories of the electronic revolution will be familiar to readers of his other works: "Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments." But more than McLuhan's other work, The Medium Is the Massage also reflects the tumultuous decade in which it was produced, the 60s. It was a time when existentialism, the theatrr of the absurd, "happenings," and Eastern religions were all the rage in academic circles. Massage adds to that mix traces of utopianism ("We have now become aware of the possibility of arranging the entire human environment as a work of art"; a hint of radicalism (of electronic circuitry McLuhan says: "Its message is Total Change, ending psychic, social, economic, and political parochialism. The old civic, state, and national groupings have become unworkable."); and a bracing pinch of paranoia ("Electrical information devices for universal, tyrannical womb-to-tomb surveillance" have brought us "to a point where remedial control, born out of knowledge of media and their total effects on all of us, must be exerted."). True to its observation that "information pours upon us, instantaneously and continuously," McLuhan and Fiore shower us with photographs, cartoons, newspaper headlines, backwards and upside-down writing, and other graphical innovations. The book is also packed with quotations from a motley collection of savants (in addition to McLuhan himself, of course): Alfred North Whitehead, James Joyce, Lao Tsu, John Dewey, John Cage, and Bob Dylan. The book's design and content aptly, and palpably, demonstrate the insights that have caused many highly stimulated readers to pronounce McLuhan a visionary, a veritable "oracle of the electronic age." --Russell Prather [via]

The medium used to be the message. But in the "collide-oscopic" barrage of image and text that resulted from Marshall McLuhan's 1967 collaboration with graphic designer Quentin Fiore, the medium becomes the massage. The basic premise of this playful popularization of McLuhan's theories of the electronic revolution will be familiar to readers of his other works: "Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments." But more than McLuhan's other work, The Medium Is the Massage also reflects the tumultuous decade in which it was produced, the 60s. It was a time when existentialism, the theatrr of the absurd, "happenings," and Eastern religions were all the rage in academic circles. Massage adds to that mix traces of utopianism ("We have now become aware of the possibility of arranging the entire human environment as a work of art"; a hint of radicalism (of electronic circuitry McLuhan says: "Its message is Total Change, ending psychic, social, economic, and political parochialism. The old civic, state, and national groupings have become unworkable."); and a bracing pinch of paranoia ("Electrical information devices for universal, tyrannical womb-to-tomb surveillance" have brought us "to a point where remedial control, born out of knowledge of media and their total effects on all of us, must be exerted."). True to its observation that "information pours upon us, instantaneously and continuously," McLuhan and Fiore shower us with photographs, cartoons, newspaper headlines, backwards and upside-down writing, and other graphical innovations. The book is also packed with quotations from a motley collection of savants (in addition to McLuhan himself, of course): Alfred North Whitehead, James Joyce, Lao Tsu, John Dewey, John Cage, and Bob Dylan. The book's design and content aptly, and palpably, demonstrate the insights that have caused many highly stimulated readers to pronounce McLuhan a visionary, a veritable "oracle of the electronic age." --Russell Prather [via]

The medium used to be the message. But in the "collide-oscopic" barrage of image and text that resulted from Marshall McLuhan's 1967 collaboration with graphic designer Quentin Fiore, the medium becomes the massage. The basic premise of this playful popularization of McLuhan's theories of the electronic revolution will be familiar to readers of his other works: "Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments." But more than McLuhan's other work, The Medium Is the Massage also reflects the tumultuous decade in which it was produced, the 60s. It was a time when existentialism, the theatrr of the absurd, "happenings," and Eastern religions were all the rage in academic circles. Massage adds to that mix traces of utopianism ("We have now become aware of the possibility of arranging the entire human environment as a work of art"; a hint of radicalism (of electronic circuitry McLuhan says: "Its message is Total Change, ending psychic, social, economic, and political parochialism. The old civic, state, and national groupings have become unworkable."); and a bracing pinch of paranoia ("Electrical information devices for universal, tyrannical womb-to-tomb surveillance" have brought us "to a point where remedial control, born out of knowledge of media and their total effects on all of us, must be exerted."). True to its observation that "information pours upon us, instantaneously and continuously," McLuhan and Fiore shower us with photographs, cartoons, newspaper headlines, backwards and upside-down writing, and other graphical innovations. The book is also packed with quotations from a motley collection of savants (in addition to McLuhan himself, of course): Alfred North Whitehead, James Joyce, Lao Tsu, John Dewey, John Cage, and Bob Dylan. The book's design and content aptly, and palpably, demonstrate the insights that have caused many highly stimulated readers to pronounce McLuhan a visionary, a veritable "oracle of the electronic age." --Russell Prather [via]

Sometimes it seems like every standup comedian worth his or her salt just has to do the book thing, and you might feel that yet another warmed-over stage routine is the last thing you need taking up valuable bookshelf space. Jon Stewart's book will come as an extremely pleasant surprise. He eschews the standard standup patter and instead gives us 18 short comic essays in a variety of styles that recall the prose work of Woody Allen, only with a few more references to genitals. Stewart proves himself a remarkably nimble humorist with a sharp eye for parody, whether he's writing "A Very Hanson Christmas" or "Adolf Hitler: The Larry King Interview."

HITLER: ...Larry, look, I was a bad guy. No question. I hate that Hitler. The yelling, the finger pointing, I don't know ... I was a very angry guy.

KING: And this ... new Hitler?

HITLER: I get up at seven, have half a melon, do the jumble in the morning paper and then let the day take me where it will.... Me!! The inventor of the Blitzkrieg... When you stop having to control everything it's very freeing.

Stewart is not afraid to flirt with bad taste, in fact, some of the pieces in this collection do for "flirting with bad taste" what Bill Clinton did for "not having sexual relations." But it's wonderful to see an edgy comedian taking on the traditionally cozy genre of the humorous essay, creating work that combines the wit of Robert Benchley with the energy and attitude of the best modern standup. Naked Pictures of Famous People proves that Jon Stewart is as comfortable, and accomplished, in front of a word processor as he is in front of an audience. --Simon Leake [via]

With a new Afterword to the 2002 edition,  No Logo employs journalistic savvy and personal testament to detail the insidious practices and far-reaching effects of corporate marketing-and the powerful potential of a growing activist sect that will surely alter the course of the 21st century. First published before the World Trade Organization protests in Seattle, this is an infuriating, inspiring, and altogether pioneering work of cultural criticism that investigates money, marketing, and the anti-corporate movement. As global corporations compete for the hearts and wallets of consumers who not only buy their products but willingly advertise them from head to toe-witness today's schoolbooks, superstores, sporting arenas, and brand-name synergy-a new generation has begun to battle consumerism with its own best weapons. In this provocative, well-written study, a front-line report on that battle, we learn how the Nike swoosh has changed from an athletic status-symbol to a metaphor for sweatshop labor, how teenaged McDonald's workers are risking their jobs to join the Teamsters, and how "culture jammers" utilize spray paint, computer-hacking acumen, and anti-propagandist wordplay to undercut the slogans and meanings of billboard ads (as in "Joe Chemo" for "Joe Camel"). No Logo will challenge and enlighten students of sociology, economics, popular culture, international affairs, and marketing. "This book is not another account of the power of the select group of corporate Goliaths that have gathered to form our de facto global government. Rather, it is an attempt to analyze and document the forces opposing corporate rule, and to lay out the particular set of cultural and economic conditions that made the emergence of that opposition inevitable."-Naomi Klein, from her Introduction [via]

We live in an era where image is nearly everything, where the proliferation of brand-name culture has created, to take one hyperbolic example from Naomi Klein's No Logo, "walking, talking, life-sized Tommy [Hilfiger] dolls, mummified in fully branded Tommy worlds." Brand identities are even flourishing online, she notes--and for some retailers, perhaps best of all online: "Liberated from the real-world burdens of stores and product manufacturing, these brands are free to soar, less as the disseminators of goods or services than as collective hallucinations."

In No Logo, Klein patiently demonstrates, step by step, how brands have become ubiquitous, not just in media and on the street but increasingly in the schools as well. (The controversy over advertiser-sponsored Channel One may be old hat, but many readers will be surprised to learn about ads in school lavatories and exclusive concessions in school cafeterias.) The global companies claim to support diversity, but their version of "corporate multiculturalism" is merely intended to create more buying options for consumers. When Klein talks about how easy it is for retailers like Wal-Mart and Blockbuster to "censor" the contents of videotapes and albums, she also considers the role corporate conglomeration plays in the process. How much would one expect Paramount Pictures, for example, to protest against Blockbuster's policies, given that they're both divisions of Viacom?

Klein also looks at the workers who keep these companies running, most of whom never share in any of the great rewards. The president of Borders, when asked whether the bookstore chain could pay its clerks a "living wage," wrote that "while the concept is romantically appealing, it ignores the practicalities and realities of our business environment." Those clerks should probably just be grateful they're not stuck in an Asian sweatshop, making pennies an hour to produce Nike sneakers or other must-have fashion items. Klein also discusses at some length the tactic of hiring "permatemps" who can do most of the work and receive few, if any, benefits like health care, paid vacations, or stock options. While many workers are glad to be part of the "Free Agent Nation," observers note that, particularly in the high-tech industry, such policies make it increasingly difficult to organize workers and advocate for change.

But resistance is growing, and the backlash against the brands has set in. Street-level education programs have taught kids in the inner cities, for example, not only about Nike's abusive labor practices but about the astronomical markup in their prices. Boycotts have commenced: as one urban teen put it, "Nike, we made you. We can break you." But there's more to the revolution, as Klein optimistically recounts: "Ethical shareholders, culture jammers, street reclaimers, McUnion organizers, human-rights hacktivists, school-logo fighters and Internet corporate watchdogs are at the early stages of demanding a citizen-centered alternative to the international rule of the brands ... as global, and as capable of coordinated action, as the multinational corporations it seeks to subvert." No Logo is a comprehensive account of what the global economy has wrought and the actions taking place to thwart it. --Ron Hogan [via]

In lieu of an unrevealing Famous-People-I-Have-Known autobiography, the owner of the Washington Post has chosen to be remarkably candid about the insecurities prompted by remote parents and a difficult marriage to the charismatic, manic-depressive Phil Graham, who ran the newspaper her father acquired. Katharine's account of her years as subservient daughter and wife is so painful that by the time she finally asserts herself at the Post following Phil's suicide in 1963 (more than halfway through the book), readers will want to cheer. After that, Watergate is practically an anticlimax. [via]

He has been called the most trusted man in America. His 60-year-long journalistic career has spanned the Great Depression, several wars, and the extraordinary changes that have engulfed our nation over the last two-thirds of the 20th century. When Walter Cronkite advised his television audience in 1968 that the war in Vietnam could not be won, President Lyndon B. Johnson said: "If I've lost Cronkite, I've lost middle America."

Now, at the age of eighty, Cronkite has written his life story--the personal and professional odyssey of the original "anchorman" for whom that very word was coined. As a witness to the crucial events of this century--first for the Houston Press, then for the United Press wire service, and finally for CBS in the fledgling medium of television--Cronkite set a standard for integrity, objectivity, enthusiasm, compassion, and insight that is difficult to surpass. He is an overflowing vessel of history, and a direct link with the people and places that have defined our nation and established its unique role in the world.

But Walter Cronkite is also the man who loved to drive race cars "for the same reason that others do exhibitionist, dangerous stunts. It sets us apart from the average man; puts us, in our own minds, on a level just a little above the chap who doesn't race." He is also the man whose "softheartedness knows no rational bounds" and who always had "great problems at the theater, tearing up at the slightest offense against animals and people, notably the very old or the very young." He is the man who could barely refrain from spitting on the defendants at the Nuremberg Trials, and who could barely announce President Kennedy's assassination over the air for the sobs in his throat. [via]

Robert McChesney makes no bones about it: he is a democrat with a small "d," and in this book, Rich Media, Poor Democracy: Communication Politics in Dubious Times, that spells leftist. As a media scholar (McChesney is a communications professor at the University of Illinois, Urbana-Champaign), he is primarily concerned with "the contradiction," as he puts it, "between a for-profit, highly concentrated, advertising-saturated, corporate media system and the communication requirements of a democratic society." As a citizen, he favors resolving this contradiction through measures that would make your average CEO's skin crawl: massive government subsidies for nonprofit journalism, vigorous antitrust litigation aimed at media conglomerates, and robust regulation of corporate broadcasters.

If your politics lie anywhere to the right of Ralph Nader's, in other words, don't come to this book looking for validation. But for a stimulating, nuanced, and rigorously researched presentation of the case for overhauling the current media regime, look no further. McChesney displays a sure grasp of today's fast-evolving, high-tech mediascape, and his arguments about how to shape its future evolution (especially his critique of the now-prevalent idea that corporations deserve First Amendment rights) unfold with an often-startling common sense. Whether or not you agree with his prescriptions in the end, McChesney's sweepingly expansive notions of democracy--and of the importance of media within it--demand to be reckoned with. --Julian Dibbell [via]

216 page paperback written in comic book form about the world's most misunderstood artform. [via]

As all good card-carrying comic-book fans know, their sheer passion will never overcome narrow-minded critics and their baying cries of derision. There is far more to this perpetually underrated medium than a mix of art and prose. With this indispensable, spellbinding tome, writer/artist Scott McCloud rises to the challenge of dissecting what remains the most enigmatic of art forms. After all, says McCloud, "No other art form gives so much to its audience while asking so much from them as well". Over the course of 215 impeccably formed pages, McCloud joyously exposes and deconstructs a hidden world of icons in a most literate and valid manner. His charming guidance finds a place where Time and Space is effortlessly malleable and the reader is both a willing accomplice and necessary vessel for comics' singular magic. Cunningly presented in comic form, McCloud (or his comic equivalent) conducts a journey that spans thousands of years, taking in art from Prehistoric Man to the Egyptians to Van Gogh to Jack Kirby. Never has psychological and cultural analysis been so understandably clear, beautifully aided by clever visuals and his truly infectious love for the medium. By the end of this funny, charming, rare and exciting book, you'll not doubt the notion that a comic book "...is a vacuum into which our identity and awareness are pulled ... an empty shell that we inhabit which enables us to travel to another realm". A fine exchange for a little faith and a world of imagination. --Danny Graydon [via]

Though he was once proclaimed "the oracle of the electronic age," perhaps the world was not quite ready for Marshall McLuhan when he came to prominence in the 1960s. With the advent of digital technology, the Internet, and the global economy, however, there can be little doubt that he is relevant now. Understanding Media is one of McLuhan's most popular books, offering some of his more pungent and provocative insights on our need to adapt from a relatively slow, fragmented mechanical age to a high-speed, highly integrated electronic one. McLuhan's formidable intelligence and imagination make it both enlightening and fun to read. Northrop Frye, McLuhan's colleague at the University of Toronto, once identified "the use of paradox and the pretence of naïveté" as the two primary tactics of teaching. From his own bag of tricks McLuhan adds obscurity ("Our world has become compressional by dramatic reversal"); hyperbole ("We have extended our central nervous system itself in a global embrace, abolishing both space and time"); tautology ("TV is environmental and imperceptible, like all environments"); and the occasional dash of absurdist whimsy ("As extension of man the chair is a specialist ablation of the posterior, a sort of ablative absolute of backside, whereas the couch extends the integral being"). McLuhan also has a flare for the catchy phrase, and in Understanding Media the reader will find his famous dictum "the medium is the message" as well as the distinction between "hot" and "cool" media discussed at length.

After setting forth a few general principles, Understanding Media conjures a fly's-eye view of late-20th-century culture, with short sections on writing, speech, comics, telephones, television, money, movies, weapons, and much more. And while the discussion is rippling with uncanny, sometimes visionary, insight, its author remains an earnest humanist at heart. "The aspiration of our time for wholeness, empathy and depth of awareness," McLuhan says, "is a natural adjunct of electronic technology.& There is a deep faith to be found in this new attitude." --Russell Prather [via]

When Marshall McLuhan first coined the phrases "global village" and "the medium is the message" in 1964, no-one could have predicted today's information-dependent planet. No-one, that is, except for a handful of science fiction writers and Marshall McLuhan. Understanding Media was written twenty years before the PC revolution and thirty years before the rise of the Internet. Yet McLuhan's insights into our engagement with a variety of media led to a complete rethinking of our entire society. He believed that the message of electronic media foretold the end of humanity as it was known. In 1964, this looked like the paranoid babblings of a madman. In our twenty-first century digital world, the madman looks quite sane. Understanding Media: the most important book ever written on communication. Ignore its message at your peril. [via]

The incredulity begins with the title What Liberal Media?, journalist Eric Alterman's refutation of widely flung charges of left-wing bias, and never lets up. The book is unlikely to make many friends among conservative media talking heads. Alterman picks apart charges made by Ann Coulter, Rush Limbaugh, George Will, Sean Hannity, and others (even the subtitle refers to a popular book by former CBS producer Bernard Goldberg that argues a lefty slant in news coverage). But the perspectives of less-incendiary figures, including David Broder and Howard Kurtz, are also dissected in Alterman's quest to prove that not only do the media lack a liberal slant but that quite the opposite is true. Much of Alterman's argument comes down to this: the conservatives in the newspapers, television, talk radio, and the Republican party are lying about liberal bias and repeating the same lies long enough that they've taken on a patina of truth. Further, the perception of such a bias has cowed many media outlets into presenting more conservative opinions to counterbalance a bias, which does not, in fact, exist, says Alterman. In methodically shooting down conservative charges, Alterman employs extensive endnotes, all of which are referenced with superscript numbers throughout the body of the book. Those little numbers seem to say, "Look, I've done my homework." What Liberal Media? is a book very much of 2003 and will likely lose some relevance as political powers and media arrangements evolve. But it's likely to be a tonic for anyone who has suspected that in a media environment overflowing with conservatives, the charges of bias are hard to swallow. For liberals hoping someone will take off the gloves and mix it up with the verbal brawlers of the right, Eric Alterman is a champion. --John Moe [via]

An insightful, witty, and well-written analysis of the effects of mass-media on women in late 20th-century American culture. Douglas cuts through the fluff that spews from the tube with a finely-honed sense of the absurd that can forever change (or minimally, inform) how you perceive the changing portrayals of women by the media. The only book I know of that has been given highest recommendations by Gloria Steinem, The McLaughlin Group, and Amazon.com. [via]

You Are Being Lied To is a massive collection of articles that ruthlessly destroy the distortions, myths, and outright lies that are fed to us by the government, the media, corporations, history books, organized religion, science and medicine, and society in general. No one is spared, and all sacred cows are candidates for the grinder.

Do you believe any of the following?

• Alcoholics Anonymous is effective.
• Hackers pose a grave threat to the nation.
• There's a hidden code in the Bible.
• The Big Bang is an airtight fact.
• Thousands of species have gone extinct because of deforestation.
• Licking certain toads will get you high.
• Most terrorists are Middle Eastern.

Wake up! You're being lied to.

This book acts as a battering ram against the distortions, myths, and outright lies that have been shoved down our throats by the government, the media, corporations, organized religion, the scientific establishment, and others who want to keep the truth from us. An unprecedented group of researchers--investigative reporters, political dissidents, academics, media watchdogs, scientist-philosophers, social critics, and rogue scholars--paints a picture of a world where crucial stories are ignored or actively suppressed and the official version of events has more holes in it than Swiss cheese. A world where real dangers are downplayed and nonexistent dangers are trumpeted. In short, a world where you are being lied to.

Among the revelations inside:

• Pulitzer Prize-winning reporter Sydney Schanberg on John McCain's efforts to conceal information on POW/MIAs
• Howard Bloom on liars in the media
• Riane Eisler on the realities of human nature
• James Ridgeway on tainted blood and more
• Jim Marrs on missing evidence in important cases
• Greenpeace cofounder Peter Moore on environmental myths
• Michael Parenti on atrocities in Kosovo
• Douglas Rushkoff on the information arms race
• Gary Webb on the gutless corporate media
• Howard Zinn on Columbus