America has a long history of protest and rebellion. In People’s Movements, People’s Press, Bob Ostertag recounts the history of the alternative print media that has arisen out of five social movements—abolition, woman suffrage, environmental, gay liberation, and Vietnam antiwar. By telling the story of the newspapers and magazines of these movements, Ostertag shows the power of the written word to mobilize activists behind a political cause. “This is a piece of our history that everyone concerned about the past and future of our democracy needs to know.” —Eric Foner, author of The Story of American Freedom “This is a wonderful book and a delightful read that deserves the attention of all who care about journalism and social justice.” —Robert W. McChesney, author of The Problem of the Media Bob Ostertag has written widely on political subjects, particularly those concerning Latin America. He is an associate professor of technocultural studies at the University of California, Davis, and lives in San Francisco.
Engaging all communication media this one-volume encyclopedia includes around 250 essays on the varied experiences of social movement media internationally in the 20th and 21st centuries.
The collection is introduced with an essay by Barbie Zelizer and organized into three sections: how tabloidization affects the journalistic landscape; how technology changes what we think we know about journalism; and how ‘truthiness’ tweaks our understanding of the journalistic tradition. Short section introductions contextualise the essays and highlight the issues that they raise, creating a coherent study of journalism today.
Over the course of American political history, political elites and organizations have often updated their political communications strategies in order to achieve longstanding political communication goals in more efficient or effective ways. But why do successful innovations occur when they do, and what motivates political actors to make choices about how to innovate their communication tactics? Covering over 300 years of political communication innovations, Ben Epstein shows how this process of change happens and why. To do this, Epstein, following an interdisciplinary approach, proposes a new model called "the political communication cycle" that accounts for the technological, behavioral, and political factors that lead to revolutionary political communication changes over time. These changes (at least the successful ones) have been far from gradual, as long periods of relatively stable political communication activities have been disrupted by brief periods of dramatic and permanent transformation. These transformations are driven by political actors and organizations, and tend to follow predictable patterns. Epstein moves beyond the technological determinism that characterizes communication history scholarship and the medium-specific focus of much political communication work. The book identifies the political communication revolutions that have, in the United States, led to four, relatively stable political communication orders over history: the elite, mass, broadcast, and (the current) information orders. It identifies and tests three phases of each revolutionary cycle, ultimately sketching possible paths for the future. The Only Constant is Change offers readers and scholars a model and vocabulary to compare political communication changes across time and between different types of political organizations. This provides greater understanding of where we are currently in the recurring political communication cycle, and where we might be headed.
In 1995, in the first contested election in the history ofthe AFL-CIO, John Sweeney won the presidency of the nation’s largest laborfederation, promising renewal and resurgence. Today, less than 7 percent ofAmerican private-sector workers belong to a union, the lowest percentage sincethe beginning of the twentieth century, and public employee collectivebargaining has been dealt devastating blows in Wisconsin and elsewhere. Whathappened? Jane McAlevey is famous—and notorious—in the American labormovement as the hard-charging organizer who racked up a string of victories ata time when union leaders said winning wasn’t possible. Then she was bouncedfrom the movement, a victim of the high-level internecine warfare that has tornapart organized labor. In this engrossing and funny narrative—that reflects thepersonality of its charismatic, wisecracking author—McAlevey tells the story ofa number of dramatic organizing and contract victories, and the unconventionalstrategies that helped achieve them. Raising Expectations (And Raising Hell)argues that labor can be revived, but only if the movement acknowledges itsmistakes and fully commits to deep organizing, participatory education, militancy,and an approach to workers and their communities that more resembles the campaignsof the 1930s—in short, social movement unionism that involves raising workers’expectations (while raising hell).
Most people outside of the art world view art as something that is foreign to their experiences and everyday lives. A People’s Art History of the United States places art history squarely in the rough–and–tumble of politics, social struggles, and the fight for justice from the colonial era through the present day. Author and radical artist Nicolas Lampert combines historical sweep with detailed examinations of individual artists and works in a politically charged narrative that spans the conquest of the Americas, the American Revolution, slavery and abolition, western expansion, the suffragette movement and feminism, civil rights movements, environmental movements, LGBT movements, antiglobalization movements, contemporary antiwar movements, and beyond. A People’s Art History of the United States introduces us to key works of American radical art alongside dramatic retellings of the histories that inspired them. Stylishly illustrated with over two hundred images, this book is nothing less than an alternative education for anyone interested in the powerful role that art plays in our society.
Luminous essays on the nexus of music, politics, and technology