Thirty years ago American political life was all relentless, painful, and confounding: the Tet Offensive brought new intensity to the Vietnam War; President Lyndon Johnson would not seek re-election; Martin Luther King, Jr. and Robert Kennedy were assassinated; student protests rocked France; a Soviet invasion ended "socialism with a human face" in Czechoslovakia; the Mexican government massacred scores of peaceful demonstrators; and Richard M. Nixon was elected president. Any one of the events of 1968 bears claim to historical significance. Together they set off shock waves that divided Americans into new and contending categories: hawks and doves, old and young, feminists and chauvinists, straights and hippies, blacks and whites, militants and moderates. As citizens alive to their own time and as reporters responsible for making sense of it, journalists did not stand aside from the conflicts of 1968. In their lives and in their work, they grappled with momentous issues--war, politics, race, and protest.

The events of 1989 were the material of great reporting. They also revealed the power of journalism. Long before people in Central and Eastern Europe liberated themselves, they discovered democratic freedom, putting to print their own ideas and chronicling events of the day. Indeed, long before they had democracies in law, they had imagined them on paper.In the Solidarity network that produced books and leaflets and news bulletins, in the essays of Vaclav Havel, in the samizdat publishing house in Budapest that used a portable printing machine, Eastern Europeans demonstrated the organic link between journalism and self-government. They showed how journalism nurtures the imagination, dialogue, and honesty that are basic to democratic life.If history had ended in 1989, there would be cause for easy optimism. The changes that swept Central and Eastern Europe passed with relatively little bloodshed. But agonies of the former Yugoslavia, convulsions of the former Soviet Union, and enduring battles with censors and would-be censors bedevil emerging democracies. Not only does much remain for journalists to cover in Central and Eastern Europe, in some places there the fate of journalism is still an open question. For all these reasons, Reporting the Fall of European Communism explores, not only the events of 1989, but new stories that have emerged in Central and Eastern Europe over the past decade. This volume will be of interest to media professionals, academics and others with an interest in the power of journalism.

The events of 1989 were the raw material of great reporting. They revealed the power of journalism. Long before people in Central and Eastern Europe liberated themselves, they discovered democratic freedom, putting to print their own ideas and chronicling events of the day. Indeed, long before they had democracies in law, they had imagined them on paper.

In the Solidarity network that produced books and leaflets and news bulletins, in the essays of Vaclav Havel, in the samizdat publishing house in Budapest that used a portable printing machine, Eastern Europeans demonstrated the organic link between journalism and self-government. They showed how journalism nurtures the imagination, dialogue, and honesty that are basic to democratic life.

If history had ended in 1989, there would be cause for easy optimism. The changes that swept Central and Eastern Europe passed with relatively little bloodshed. But agonies of the former Yugoslavia, convulsions of the former Soviet Union, and enduring battles with censors and would-be censors bedevil emerging democracies. Not only does much remain for journalists to cover in Central and Eastern Europe, in some places there the fate of journalism is still an open question. For all these reasons, Reporting the Fall of European Communism explores, not only the events of 1989, but new stories that have emerged in Central and Eastern Europe over the past decade. This volume will be of interest to media professionals, academics and others with an interest in the power of journalism.

Thirty years ago American political life was all relentless, painful, and confounding: the Tet Offensive brought new intensity to the Vietnam War; President Lyndon Johnson would not seek re-election; Martin Luther King, Jr. and Robert Kennedy were assassinated; student protests rocked France; a Soviet invasion ended "socialism with a human face" in Czechoslovakia; the Mexican government massacred scores of peaceful demonstrators; and Richard M. Nixon was elected president. Any one of the events of 1968 bears claim to historical significance. Together they set off shock waves that divided Americans into new and contending categories: hawks and doves, old and young, feminists and chauvinists, straights and hippies, blacks and whites, militants and moderates. As citizens alive to their own time and as reporters responsible for making sense of it, journalists did not stand aside from the conflicts of 1968. In their lives and in their work, they grappled with momentous issues--war, politics, race, and protest.

The contributors to 1968: Year of Media Decision establish not only what journalism meant in 1968, but also gauge the distance and direction that news reporting has traveled since then. There are contrasting essays by David Halberstam, a former war correspondent, and Winant Sidle, a retired major general; former reporter and author Jules Witcover, Jack Newfield on Robert Kennedy's final hour, Curtis Gans on the "Dump Lyndon Johnson" campaign, Dan T. Carter on George C. Wallace, Tom Wicker on Richard Nixon, and Robert Shogan on the new political order. In "Race" Pamela Newkirk discusses the origins and impact of the Kerner report. Robert Lipsyte explores the 1968 Olympics. Robert Friedman details the Columbia University strike, Claude-Jean Bertrand examines the French protests, and there are essays by Mary Holland on Northern Ireland, Madeline K. Albright on the press of the Prague Spring, Suzanne Levine on "the bra that was never burned," and Raymundo Riva Palacio on the Mexican media.

With the perspective of thirty years we can see that the events of 1968, which once seemed to erupt out of nowhere, were the consequences of powerful trends. At the same time gauging the distance between then and now can help make it clear which aftershocks of 1968 are with us and which collectively, have disappeared. This volume tells us important things about not only where journalism has been but where it is going.

First published in 1996, All the Nations Under Heaven has earned praise and a wide readership for its unparalleled chronicle of the role of immigrants and migrants in shaping the history and culture of New York City. This updated edition of a classic text brings the story of the immigrant experience in New York City up to the present with vital new material on the city's revival as a global metropolis with deeply rooted racial and economic inequalities. All the Nations Under Heaven explores New York City's history through the stories of people who moved there from countless places of origin and indelibly marked its hybrid popular culture, its contentious ethnic politics, and its relentlessly dynamic economy. From Dutch settlement to the extraordinary diversity of today's immigrants, the book chronicles successive waves of Irish, German, Jewish, and Italian immigrants and African American and Puerto Rican migrants, showing how immigration changes immigrants and immigrants change the city. In a compelling narrative synthesis, All the Nations Under Heaven considers the ongoing tensions between inclusion and exclusion, the pursuit of justice and the reality of inequality, and the evolving significance of race and ethnicity. In an era when immigration, inequality, and globalization are bitterly debated, this revised edition is a timely portrait of New York City through the lenses of migration and immigration.

First published in 1996, All the Nations Under Heaven has earned praise and a wide readership for its unparalleled chronicle of the role of immigrants and migrants in shaping the history and culture of New York City. This updated edition of a classic text brings the story of the immigrant experience in New York City up to the present with vital new material on the city's revival as a global metropolis with deeply rooted racial and economic inequalities. All the Nations Under Heaven explores New York City's history through the stories of people who moved there from countless places of origin and indelibly marked its hybrid popular culture, its contentious ethnic politics, and its relentlessly dynamic economy. From Dutch settlement to the extraordinary diversity of today's immigrants, the book chronicles successive waves of Irish, German, Jewish, and Italian immigrants and African American and Puerto Rican migrants, showing how immigration changes immigrants and immigrants change the city. In a compelling narrative synthesis, All the Nations Under Heaven considers the ongoing tensions between inclusion and exclusion, the pursuit of justice and the reality of inequality, and the evolving significance of race and ethnicity. In an era when immigration, inequality, and globalization are bitterly debated, this revised edition is a timely portrait of New York City through the lenses of migration and immigration.

This book reviews the state of the art for determining the "real" structure of matter. Nature does not stack atoms up in crystals in a perfect manner. Various types of "mistakes" find their way into the arrangements of atoms in real crystals. These mistakes or defects determine the physical properties of a material and understanding them is critical to predicting a new materials properties. This book reviews the principal characterisation technique permitting us to measure the defect solid state: X-ray diffraction.

This book presents 100 of the greatest paintings, pastels, drawings, and prints by a group of artists derogatorily dubbed the Ashcan School by the critics. George Bellows, William Glackens, Robert Henri, George Luks, Everett Shinn, and John Sloan ignored the romantic and lofty themes of many of their contemporaries and chose instead to depict the dramatic changes and conflicting social mores among the common people in turn-of-the-century New York City. The Ashcan artists documented the city and its people in an almost journalistic fashion, exploring the same subjects occupying the press: immigration, the lower-middle class, and gender issues. They portrayed life at the street level, gravitating to bars, street corners, boxing clubs, beaches, parks, restaurants, movie theaters, and neighborhood meeting places. In retrospect, it is difficult to imagine the American tradition in painting without these wonderful and moving works.