The Newsies Strike Of 1889: A Comparative Analysis

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The Newsies Strike Of 1889: A Comparative Analysis

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Newsboys' Strike of 1899 - The Kids Who Beat Pulitzer and Hearst

Username Please enter your Username. Password Please enter your Password. Forgot password? Don't have an account? Sign in via your Institution. You could not be signed in, please check and try again. Sign in with your library card Please enter your library card number. Search within In This Article. Go to page:. Aberson, Helen , Ackerley, J. Adams, James Eli , Adams, Maude , β€”87 , Adams, W. Davenport , Addams, Jane , See also cross-writing , reader , readership , reading. Adventures of Huckleberry Finn Twain , , The Adventures of Tom Sawyer Twain , 27 , β€”95 , β€” African American s , , n 23 , , See also Harlem Renaissance as primitive , Taylor on , Twain on , The Agony in the Kindergarten Steig , Aladdin and the Wonderful Lamp Mackinstry , Alberghene, Janice M.

Alcott, Louisa May , , , n 9. Alda, Alan , Aldrich, C. Anderson , Aldrich, Mary , Aldrich, Robert , Alger, Horatio , β€”16 , Alice to the Lighthouse Dusinberre , See also comics. The Amateur Emigrant Stevenson, R. The Amber Spyglass Pullman , , American Born Chinese Yang , 14 , 26 , , , , f β€” f , β€”8 , f , f , β€”42 , β€”46 , f β€” f. See also Monkey King story audience for , American Character , American Indians , 27 , n 9 burials of , Puritan fears about , Scheckel on , Twain on , β€” American individualism. See individualism. Anderson, Benedict , , Anderson, Celia , , The Animal Family Jarrell , Animal Life in the Alpine World von Tschudi , Anne of Green Gables Montgomery , 28 , , β€”42 , β€”45 adoption promotion by , Anstey, F. Apollonian, Dionysian and , 82β€” Apseloff, Marilyn , , Ardizzone, Edward , 44β€”45 , Arendt, Hannah, on Jarrell , Are You There, God?

Arno, Peter , Arnold, Thomas , , n 8 , n Asian American literature , , Asian Americans , , n 5. Atwood, Margaret , , Auden, W. Chicano , Austen, Jane , 95β€”96 , n 4. Avi pen name , Ayres, Bill , Babies are Human Beings Aldrich, M. Bakhtin, Mikhail , on carnivalesque setting , β€” Ball, John Clement , Ballet Shoes Streatfeild , n 8. Balmoral Castle , Bambi Disney , Barks, Carl , Barmby, J. Barnaby Johnson, C. Barnardo, Thomas , β€” Barnardo children , β€”33 , , β€”39 , Barnardo homes , , β€”38 , Barrie, J. Bartholomew and the Oobleck Seuss , controversy of , β€” Baruch, Dorothy , β€”14 case study by , Batey, Mavis , The Bat-Poet , 13 , 23 , 53β€”55 , 57 , 59 , 62β€”66 Nodelman on , 60β€” Thomas, Joseph on , 56 , 58 , Baxter, Charles , Baym, Nina , Beerbohm, Max , β€” Beginner Books , Bell, Ian, on Kidnapped , Bennett, John , Berlant, Lauren , , n Bettelheim, Bruno , , n 9.

Bible incarnations of , Kidnapped as , Bird, Anne-Marie , β€” Birkin, Andrew , β€” The Birth of Tragedy Nietzsche , Bishop, Elizabeth, on Jarrell , Blackbeard, Bill , See also African American s and African American children cultural position of , Black Misery Hughes, L. Black Panthers , Black Student Alliance , Blake, William, illustrated work of , Blanchard, E. Bleak House Dickens , β€” Blume, Judy , 28 , 45 , β€”67 awards of , β€” Blyton, Enid , 97 , 99β€” , n 8. Boas, George , , n 5. Bobby Make-Believe King , Bontemps, Arna , β€” Book-of-the-Month Club , Books, Children, and Men Hazard , 7. Boone, Troy , Boop, Betty , Booth, Wayne , Borges, Jorge Luis , Bosmajian, Hamida , , β€” Boucicault, Nina , Bourdieu, Pierre , , See school story.

Bradbury, Charles , Bram, Christopher , Bratton, Jacqueline , Brenda pseud. Brink, Carol Ryrie , Britain, nineteenth century children in , β€” British Invasion , British North America Act , British public schools , n 1 homosocial environment of , Reed on , β€” Sedgwick on , Brode, Douglas , 84 , Brodhead, Richard , Brooks, Cleanth , 65 , 67 n 5.

Brown, Margaret Wise , , Brown, Matthew P. Brown, Sterling , Brown, William Wells , Browne, Anthony , Brownmiller, Susan , Burke, Martin J. Burnett, Frances Hodgson , Burt, Stephen , 58β€”59 , 62 , 68 n Burton, Virginia Lee , Busch, Wilhelm , β€” Buster Brown Outcault , Butler, Judith, on sexuality , The Butter Battle Book Seuss , Byatt, A. Caddie Woodlawn Brink , , , heroine of , MacLeod on , β€”2. Caldecott, Randolph , Caldecott Medal , 8 , Calder, Jenni , Calico Bush Field , , , heroine of , , n Calvin and Hobbes Watterson , Calvinism , Jacobitism and , Calvino, Italo , Campe, Joachim Heinrich , β€” Canada , β€”31 , β€”34 , , , and national identity , β€”33 , Carlyle, Thomas , on hero worship , n 3.

Carnegie Medal , 8. Carroll, Lewis , 23 , 35β€”37 , 39β€”44 , 48β€”49 , Cohen on , 45β€” Carson, Norma Bright , β€” The Cat in the Hat for President Coover , β€” The Cat in the Hat Seuss , 26 , 74 , , , , , f, β€”4. Catriona Stevenson, R. Cavett, Dick , Cech, John , Chao, Patricia , Charlieshope Library , , f , , Chase, Pauline, letters to , Chavez, Leo , β€”92 , Chen, Debby , Chesterton, G. Chicano literature , , , n 4. Child, Lydia Maria , , β€” See permissive model, of childhood. See also street children , child development , childhood adults v. African American , β€”34 , β€”42 , , Seuss on , , , β€”6. Schulz on , See also reader. African-American , , β€”40 , , , , Dixon on , , Hulbert on , Mead on , , African American , β€” , , , β€” Asian American , β€”3.

Chicano , See Mexican American. See also genre. Hunt on , n 1. Mexican American , , , n. See also sexuality. See also theater. Twain and , Chinese Exclusion Act , Chrisman, Arthur Bowie , Christian Socialism , Chubb, Percival , Cichetti, Dante , Spanish in , β€” The City Masereel , Civil Rights Act , Taylor, M. Clarence and Corinne Johnson, A. Clark, Beverly Lyon , 13 , 27 , Clark, Kenneth , Clark, Mamie , Clarke, Henry Savile , Clemens, Samuel Langhorne. See Twain, Mark. Clever Bill Nicholson , Clotel Brown, W. Cohen, Donald , Cohen, Morton N. Collins, Bernard , β€” Colvin, Sidney , Comedy Stott , Comenius , 10β€” See comics. See also graphic novel. American , β€” See also strip kid historical development of , Complete Peanuts Seth , β€” Condition of the Working Class in England Engels , β€” Riesman on , β€” Conroy, Pat , The Conundrum of Class Burke , Coover, Robert , β€” Cott, Jonathan , β€” Cox, James M.

Cox, Richard , DuBois Levander , Craft, Ellen , Craft, William , See also literacy improvement in , See also reading McGillis on , Crockett, Lucy Herndon , Crosby, Percy , , The Dream Keeper as , Harry Potter series and , Knoepflmacher on , 61 , Myers on , 61 , Peter Pan as , β€” Cruse, Howard , Cuban Missile Crisis , Cullen, Countee , , , Culloden, Battle of , The Cult of Childhood Boas , , n 5. Cultures of Letters Brodhead , Cummins, June , 13 , Cunningham, Hugh , β€” Dahl, Roald , Dalgliesh, Alice , β€” Danish, Barbara , Danny the Champion of the World Dahl , Darrow, Whitney, Jr. Darton, F. Harvey , on Peter Pan , Darton, Harvey , 7. Davidson, Donald , 67 n 5. Davin, Anna , Davis, Desmond , Davis, Grania , Davis, Whitney , Days with Frog and Toad Lobel , 72 , 85 f.

Decent and Indecent Spock , Declaration of Independence , β€”3. Deenie Blume , Defoe, Daniel , , β€”37 , , , Dennis the Menace Ketcham , Devereux, Cecily , Dick and Jane books , 74 , 75 , 88 n 2 responses to , Dickens, Charles , β€” Seuss , , Dimock, Wai Chee , Dionysian, Apollonian and , 82β€” Dirks, Rudolph , β€” The Disappearance of Childhood Postman , Disney, Walter Elias , 25 , β€” See also Walt Disney Productions as disingenuous , β€” Disney stories, plots of , β€” Distinction Bourdieu , Dixon, Madeleine, on child-rearing , , Dodge, Mary Mapes , n 9.

Dodgson, Charles Lutwidge. See Carroll, Lewis. Dong, Lan , 12 , Donnelly, Jennifer , Douglas, Aaron , Douglass, Frederick , Dow, Bonnie , Downright Dencey Snedeker , , β€”3 friction in , The Dragon and the Doctor Danish , Drain, Susan , Drawing the Dream of the Wolves Davis, W. The Dream Keeper Hughes, L. Dreams of Authority Thomas, R. Duane, Anna Mae , Du Bois, W. Dunbar, Paul Laurence , Durivage, Robert , Dusinberre, Juliet , , Dusk of Dawn Du Bois , Dylan, Bob , β€” Eagleton, Terry, on New Criticism , Eco, Umberto , Eddy, Jacalyn , British , , Progressive , , n 2.

Education: Intellectual, Moral, and Physical Spencer , Eisenstein, Sergei , Eisner, Will , n 3 , n Elliott, Michele , 46β€” Ellis, Havelock , β€” Elster, Charles , Emile Rousseau , Emma Austen , 95β€” Engels, Friedrich , β€” English Victorian child, conceptualization of , Epstein, Lawrence J. Eric, or Little by Little Farrar , , β€”67 dangerous crush in , β€” Ets, Marie , Evans, Ernestine , Exactly Like Me Phillips , Fables Lobel , Fame and Fortune Alger , Family Circus Keane , Farrar, Frederic , , β€” Fauset, Arthur Huff , Britain had passed its first effective Factory Act, setting maximum hours for almost half of its very young textile workers, in In the early s organized labor in the U.

Meanwhile, the Knights of Labor, which had begun as a secret fraternal society and evolved a labor union, began to gain strength. It appears that many nonunionized workers, especially the unskilled, came to see in the Knights a chance to obtain a better deal from their employers, perhaps even to obtain the eight-hour day. The Knights mushroomed and its new membership demanded that their local leaders support them in attaining the eight-hour day. Powderly reasoned that low incomes forced workmen to accept long hours. Nelson points to divisions among workers, which probably had much to do with the failure in of the drive for the eight-hour day.

Lack of will and organization among workers was undoubtedly important, but its collapse was aided by violence that marred strikes and political rallies in Chicago and Milwaukee. The public backlash and fear of revolution damned the eight-hour organizers along with the radicals and dampened the drive toward eight hours β€” although it is estimated that the strikes of May shortened the workweek for about , industrial workers, especially in New York City and Cincinnati. It held shorter hours as a high priority. In the aftermath of , the American Federation of Labor adopted a new strategy of selecting each year one industry in which it would attempt to win the eight-hour day, after laying solid plans, organizing, and building up a strike fund war chest by taxing nonstriking unions.

The United Brotherhood of Carpenters and Joiners was selected first and May 1, was set as a day of national strikes. It is estimated that nearly , workers gained the eight-hour day as a result of these strikes in Instead, the length of the workweek continued to erode during this period, sometimes as the result of a successful local strike, more often as the result of broader economic forces. By , 26 percent of states had maximum hours laws covering women, children and, in some, adult men generally only those in hazardous industries.

The percentage of states with maximum hours laws climbed to 58 percent in , 76 percent in , and 84 percent in Steinberg calculates that the percent of employees covered climbed from 4 percent nationally in , to 7 percent in , and 12 percent in and In addition, these laws became more restrictive with the average legal standard falling from a maximum of According to her calculations, in about 16 percent of the workers covered by these laws were adult men, 49 percent were adult women and the rest were minors.

The banner years for maximum hours legislation were right around Oregon case In the Court upheld a maximum eight-hour day for workmen in the hazardous industries of mining and smelting in Utah in Holden vs. In Lochner vs. The defendant showed that mortality rates in baking were only slightly above average, and lower than those for many unregulated occupations, arguing that this was special interest legislation, designed to favor unionized bakers. Several state courts, on the other hand, supported laws regulating the hours of men in only marginally hazardous work. By , in Bunting vs. Oregon, the Supreme Court seemingly overturned the logic of the Lochner decision, supporting a state law that required overtime payment for all men working long hours.

The general presumption during this period was that the courts would allow regulation of labor concerning women and children, who were thought to be incapable of bargaining on an equal footing with employers and in special need of protection. Men were allowed freedom of contract unless it could be proven that regulating their hours served a higher good for the population at large. A new cadre of social scientists began to offer evidence that long hours produced health-threatening, productivity-reducing fatigue.

In addition, data relating to hours and output among British and American war workers during World War I helped convince some that long hours could be counterproductive. Businessmen, however, frequently attacked the shorter hours movement as merely a ploy to raise wages, since workers were generally willing to work overtime at higher wage rates. The law set eight hours as the basic workday and required higher overtime pay for longer hours. Labor markets became very tight during World War I as the demand for workers soared and the unemployment rate plunged. These forces put workers in a strong bargaining position, which they used to obtain shorter work schedules. The move to shorter hours was also pushed by the federal government, which gave unprecedented support to unionization.

At the end of the war everyone wondered if organized labor would maintain its newfound power and the crucial test case was the steel industry. Blast furnace workers generally put in hour workweeks. These abnormally long hours were the subject of much denunciation and a major issue in a strike that began in September The move came after much arm-twisting by President Harding but its timing may be explained by immigration restrictions and the loss of immigrant workers who were willing to accept such long hours Shiells, During the s agitation for shorter workdays largely disappeared, now that the workweek had fallen to about 50 hours.

However, pressure arose to grant half-holidays on Saturday or Saturday off β€” especially in industries whose workers were predominantly Jewish. By at least large establishments had adopted the five-day week, while only 32 had it by Even the reformist American Labor Legislation Review greeted the call for a five-day workweek with lukewarm interest. Hunnicutt argues that during the s businessmen and economists began to see shorter hours as a threat to future economic growth. It replaced the goal of leisure time with a list of things to buy and business began to persuade workers that more work brought more tangible rewards. Many workers began to oppose further decreases in the length of the workweek. Hunnicutt concludes that a new work ethic arose as Americans threw off the psychology of scarcity for one of abundance.

Then the Great Depression hit the American economy. By about half of American employers had shortened hours. Amid these developments, the AFL called for a federally-mandated thirty-hour workweek. The bill was sponsored in the House by William Connery. Roosevelt originally supported the Black-Connery proposals, but soon backed off, uneasy with a provision forbidding importation of goods produced by workers whose weeks were longer than thirty hours, and convinced by arguments of business that trying to legislate fewer hours might have disastrous results.

Hunnicutt argues that an implicit deal was struck in the NIRA. Business, with the threat of thirty hours hanging over its head, fell raggedly into line. Despite a plan by NRA Administrator Hugh Johnson to make blanket provisions for a thirty-five hour workweek in all industry codes, by late August , the momentum toward the thirty-hour week had dissipated. About half of employees covered by NRA codes had their hours set at forty per week and nearly 40 percent had workweeks longer than forty hours. Hunnicutt argues that the entire New Deal can be seen as an attempt to keep shorter-hours advocates at bay.

After the Supreme Court struck down the NRA, Roosevelt responded to continued demands for thirty hours with the Works Progress Administration, the Wagner Act, Social Security, and, finally, the Fair Labor Standards Acts, which set a federal minimum wage and decreed that overtime beyond forty hours per week would be paid at one-and-a-half times the base rate in covered industries. As the Great Depression ended, average weekly work hours slowly climbed from their low reached in With the postwar return of weekly work hours to the forty-hour level the shorter hours movement effectively ended.

Offsetting isolated examples of hours reductions after World War II, there were noteworthy cases of backsliding. Over the course of the next decade, however, the tide turned. By most departments had opted to switch to 8-hour shifts, so that only about one-quarter of the work force, mostly women, retained a six-hour shift. Finally, in , the last department voted to adopt an 8-hour workday. Workers, especially male workers, began to favor additional money more than the extra two hours per day of free time. In interviews they explained that they needed the extra money to buy a wide range of consumer items and to keep up with the neighbors. In addition, the rise of quasi-fixed employment costs such as health insurance induced management to push workers toward a longer workday.

Some Americans complain about a lack of free time but the vast majority seem content with an average workweek of roughly forty hours β€” channeling almost all of their growing wages into higher incomes rather than increased leisure time. The length of the workweek, like other labor market outcomes, is determined by the interaction of the supply and demand for labor. Employers are torn by conflicting pressures. Holding everything else constant, they would like employees to work long hours because this means that they can utilize their equipment more fully and offset any fixed costs from hiring each worker such as the cost of health insurance β€” common today, but not a consideration a century ago.

On the other hand, longer hours can bring reduced productivity due to worker fatigue and can bring worker demands for higher hourly wages to compensate for putting in long hours. If they set the workweek too high, workers may quit and few workers will be willing to work for them at a competitive wage rate. Thus, workers implicitly choose among a variety of jobs β€” some offering shorter hours and lower earnings, others offering longer hours and higher earnings. The long-term decline in the length of the workweek, in this view, has primarily been due to increased economic productivity, which has yielded higher wages for workers.

In a recent survey, a sizeable majority of economic historians agreed with this view. Other broad forces probably played only a secondary role. For example, roughly two-thirds of economic historians surveyed rejected the proposition that the efforts of labor unions were the primary cause of the drop in work hours before the Great Depression. The swift reduction of the workweek in the period around World War I has been extensively analyzed by Whaples b. His findings support the consensus that economic growth was the key to reduced work hours. Whaples links factors such as wages, labor legislation, union power, ethnicity, city size, leisure opportunities, age structure, wealth and homeownership, health, education, alternative employment opportunities, industrial concentration, seasonality of employment, and technological considerations to changes in the average workweek in cities and industries.

He finds that the rapid economic expansion of the World War I period, which pushed up real wages by more than 18 percent between and , explains about half of the drop in the length of the workweek. The reduction of immigration during the war was important, as it deprived employers of a group of workers who were willing to put in long hours, explaining about one-fifth of the hours decline. The rapid electrification of manufacturing seems also to have played an important role in reducing the workweek.

Increased unionization explains about one-seventh of the reduction, and federal and state legislation and policies that mandated reduced workweeks also had a noticeable role. Song of the News. News Flow. The Art of the Interview. Before poet and journalist Archibald MacLeish commented on the intersection of poetry and journalism in a lecture at the University of Minnesota 50 years this fall, journalism and poetry had seemed antagonistic or alien to each other for centuries. Knight explores the relationship between poetry and journalism in this thoughtful essay. Reporter: Copyreader's Version. Copyreader: Reporter's Version.

PRDepiction: Public Relations in Books, Film, TV and radio is a collaborative blog devoted to the collection and publication of information about depictions of public relations on film, television and radio, and in books. Miller, Journal of Public Relations Research 11 1 , Miller is an associate professor of advertising and public relations in the College of Journalism and Mass Communication at the University of Georgia.

Ames, who is on the faculty of the department of communications at California State University at Fullerton, offers a qualitative analysis of public relations in popular Hollywood films from to She looks at three questions: first, how is the PR practitioner portrayed in recent films? Second, what kind of public relations activities and models of public relations are depicted? Third, how do other scholars' results in prior studies apply to the portrayal of public relations in current films?

Results show that for major films from Mars Attacks! The article outline includes an introduction and literature review, the status and credibility of public relations, depictions of PR in print and broadcast news, depictions of PR practitioners in film, research, metodology, PR in the movies sample, and then an analysis of Wag the Dog , The Kid , America's Sweethearts , People I Know , Phone Booth , Miss Congeniality 2: Armed and Fabulous , Jersey Girl , For Your Consideration , Sex and the City , Hancock , results, discussion and references.

This qualitative study examined how public relations is portrayed in prime time television programming in the United States. An investigation of the portrayal of public relations practitioners was performed using content analysis of the 22 episodes in the debut season of The West Wing. The practitioners were coded based on demonstrated traits and work performed or discussed. Significant differences were found between male and female practitioners being included or disciplined, appearing as major characters, dealing with government officials and the media, discussing speech writing, and appearing silly.

Trammell, University of Georgia and Lisa K. Researchers investigated the impact of entertainment portrayals of the public relations profession. Findings indicate that while all groups believe the portrayal of the profession in the stimulus was inaccurate, participants allowed the entertainment program to cloud their perception of public relations. Respondents experienced third-person effects but the phenomenon dissipated as one's connection to the profession decreased. This study conducted a survey with students in an introductory public relations course to examine the effects of television viewing of entertainment programs with public relations characters on the perceptions about public relations functions. A factor analysis classified students;' perceptions into five categories: two-way communications, political communication, spokesperson , writing, and informal media relations.

This qualitative study uses queer theory and scholarship about the image of journalist in popular culture and the image of the public relations practitioner in American films to study the changes in the presentation of the gay PR practitioner in films from the era of the Production Code to through the present. The paper traces negative and limiting media depictions of public relations PR to their origins in the s in order to determine whether modern media characterizations of "public relations" are new or a legacy of the past. PRDepiction -- images of the public relations practitioner in books, film, TV and radio. They responded enthusiastically with suggestions that went back into the s and forward to the present including films on current release and a soap opera set in a real PR consultancy in Manchester, UK.

It was added to in and several times in with other references. A wonderful web site for anyone interested in the image of the public relations practitioner in popular culture. With some reference to early screen depictions, it focuses primarily on film and television from the past two decades, analysing women in a variety of public relations roles in the s and s. The study looks at nine leading television series and movies from the United States and United Kingdom to examine how women in public relations are portrayed, and also colates the data from previous studies to defvelop a profile of how depictions have changed since the s. Primarily, it seeks to locate these depictions of women on screen within the spectrum of feminist and post feminist theory, both specific to public relations and from a wider perspective.

It then draws on a range of thinking from popular memory, cultivation analysis and the public sphere to explain how these depictions become embedded within popualr mis understandings of the profession. Yellow Journalism: Fake News in the 19th century. Rockwell invested a lot of time researching the locations for his illustrations, and in this case, he investigated the inner workings at the Monroe County Appeal in Paris, Missouri. Rockwell had an intense interest in being as accurate with details as possible.

During his time researching the newsroom, President Roosevelt passed. The gentleman in the foreground is shown reading the front page of the newspaper with the headline "Death Comes to President". Norman Rockwell Visits a Country Editor Art Critic by Norman Rockwell, April 16, The art critic studying a locket in the painting is Jerry Rockwell, the oldest son of the artist. The whimsical lady in the painting is his mother, Mary Rockwell added flaming red hair for fun.

Should the student notice the painting looking back at him or look over his shoulder to see the Dutch gents glaring at him, I suspect he would run screaming from the museum and take up another subject to study. Tear sheet currently on view and from the permanent collection of Norman Rockwell Museum. The Journalists The Dadaists favoured technique was collage, whereby the artists cut up existing images and reproductions from printed media only to recombine and assemble the chopped-up elements.

This technique was particularly suited to the young art movement, since it enabled the artists to dissect β€” quite literally β€” and reveal the negative state of affairs within society. It is possible to make out six men before a background of various colours, which seems to be composed of diverse elements. The men are also assembled from different parts: their heads do not fit onto their bodies because they are too big. The faces are also alienated β€” to varying degrees. Portrait of a Female Journalist. Satirical Image of Heywood Broun. In the fall of Bacon dashed off her satirical image of the journalist Heywood Broun for an American Printmakers exhibition.

Looks like a stage elephant made of two men. Mild, journalistic anxiety stamped on face. Must-get-the-article-in look. Dale Messick's Brenda Starr explains why she went into journalism to a skeptical woman. The red-haired Brenda Starr emerged in as an eager female reporter for the Flash, with its first "team" of colleagues to include Tom Taylor crack cameraman in love with Brenda , Pesky Miller copy boy , Daphe Dimples boss's niece and Muggs Walters boss and editor of the Flash, later changed to Mr. Brenda Starr had spunk and wanted to escape social tea journalism for the quest of exciting stories in out of the ordinary places. Journalist in Art and Cartoons on the Web. Reporter's Ensemble, The Year Nora Paul, director, Institute for New Media Studies, University of Minnesota, has a newspaper art collection of postcards and memorabilia, an extraordinary collection.

Art Explores truth through piece that will wear away at Mia. July 19, It is one of the most famous images of the French Revolution. David was the leading French painter, as well as a Montagnard and a member of the revolutionary Committee of General Security. The painting shows the radical journalist lying dead in his bath on 13 July , after his murder by Charlotte Corday. Painted in the months after Marat's murder, it has been described by T. Clark as the first modernist painting, for "the way it took the stuff of politics as its material, and did not transmute it".

November 11, by Constantin Alajalov: Reporters in the press box at a horse show watching with disdain as an elegant couple types their story. November 1, by William Cotton: Reporters surrounding a politician as he votes on election day. October 27, by Leonard Dove: Reporters interviewing a football player in the locker room. October Clark Kent is the journalist as superhero. Moreover, he is the first and most famous of superheroes. IJPC publication. Autumn, The male journalists were young, rugged and handsome, unencumbered by family, social, or community obligations. They were more likely to use their fists or a gun than a pen or camera. Women were easily divisible into "hard" and "soft" character types: Women journalists were "hard," equal in mettle to the males in the profession.

The remainder of the sex was "soft," either in or making trouble. Women always played a part in getting the story; often they were the reward for male journalists afterward. The events of September 11, dramatically altered the daily routines, expectations, and social contexts that professional journalists normally follow in their production of news. Journalists found that maintaining a critical distance from various sides in a conflict was difficult in the wake of the terrorist attacks on American soil.

As a result, the Patriot Act was passed and military action authorized with little or no critical discussion in the press. Many of the themes, arguments, and actions performed in Front Line , which is set in a world with super humans, demonstrate the complexities faced by journalists during times of extreme stress such as enduring a domestic event of mass destruction. Superheroes in comic books circa to embody the archetype of the warrior, who struggles to make a difference in the world and always fights for what really matters. Superhero warriors assert their gifts: courage, discipline, strength, and skill to defend the helpless, right wrongs, and save the day.

Journalists also sometimes play that role of protecting the public from evil. This article explores the juxtaposition of reality and fiction essential to the comic book plots that idealize newspapers by presenting journalists as heroes. Indeed, these fantasy protagonists and living reporters share the mission to serve the public, expose wrongdoing, and minimize harm. Super Reporters! What do Superman and Spider-Man have in common besides their color schemes? Well, each have civilian identities-and each works for the foremost newspaper in their respective universes.

Journalism has been tied to superheroes and comics more than any other profession besides "mad scientist". So who in comics joined the ranks of the press, and why? The first Superman comics were published during the New Deal. The problems faced by the New Deal financial speculation, corruption, poverty, unemployment, social security can be found in the comics. Siegel and Schuster, like many comics authors, were American Jews, a social group that typically supported Roosevelt and his politics. In the years leading to the war the United States slowlky moved from isolationism to interventionism.

Superman comics testify to this evoluation and indeed anticipate it. We then consider Lois Lane in the role of reporter and its narrative function, hinting at the evolution of the character. Picture No. New CD just released. John Kander Music. Shows the manipulation of the media by an attorney in dynamic musical form. Tabloid Columnist Mary Sunshine. I can't believe what you've been through!

A convent girl! A runaway marriage! Oh, it's too, too terrible. Now tell us, Roxie…. Billy and Mary: "Comprehensible. It's So Defensible. The sequence ends with a series of Chicago newspapers rolling off the presses with the headlines: "They Both Reached for the Gun. Concerns Tabloid Editor of the National Enquirer. Letter to the editor disguised as an R-and-B song: "Messin' with my reputation, ain't even got no education. God is the reason my soul is free, and I don't need you looking at me.

Hunsecker John Lithgow. Entire musical involves newspaper and gossip columnists. Hunsecker is based on Gossip Columnist Walter Winchell in this musical adaptation of the movie. Reporter Henny Penny sings "The Sky is Falling" performed by Patti Welch : ""I've got the biggest story ever heard, they will hang on every word, I'm going to be a famous bird. Yes, I've got the biggest scoop I've ever had. The story's bound to be my launching pad. The sky is falling, you'd better watch your head, the sky is falling, the headline will be read, and everybody will know before it falls, that I'm the best reporter of them all.

I'm sure the Pulitzer is mine, I will sign the dotted line on a book deal so divine. Yes Hollywood will demand the movie's rights and I'll be on the stage on Oscar Night. The sky is falling, You'd better watch your head, the sky is falling, the headline will be read. And everybody will know before it falls, that I'm the best reporter of them all. The sky is falling, you'd better watch your head, the sky is falling, the headline will be read.

Woodward and Bernstein won't even get a call, cause I'm the top reporter, the number one reporter, yes, I'm the best reporter of them all. We love dirty laundry. Kick 'em when they're down. Kick 'em all around. Extra here. Buy a paper. You can read all about it. All the latest gossip on the beat. Buy it for two cents a sheet. Extra, extra, here you can read all about it. Plumb full of scandals, swindles and fights. It drives me up the wall and through the roof Lois and Clark in a telephone booth. I think I'm going out of my brain I got it so bad for little miss Lois Lane.

Come on downtown and stay with me tonight, I got a pocket full of kryptonite. He's Leaping buildings in a single bound I'm reading Shakespeare at my place downtown. Come on downtown and make love to me, I'm Jimmy Olsen not a titan, you see. He's faster than a bullet, stronger than a train. He's faster than a bullet, stronger than a train…". Ford Theatre, Circulation goes through the roof and she convinces her editor to hire an out-of-work ballplayer to stand in for John Doe. With his words and his down-home charm, John Doe quickly becomes a national sensation. Lots of luck finding somebody better than I. Simply smashing.

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