Updated for 2013! It's time for reporters to get street smart. And not just about reporting. There's more to the television news business than gathering facts and getting your face on camera. You need to navigate the minefield present in every newsroom in America. Broadcast Journalism Street Smarts is a survival guide that offers tips to make your stories stand out, job hunting strategies and critical advice to help you navigate the unique office politics of broadcasting. And you'll get the News Director's playbook and learn about those "Jedi Mind Tricks" played on unsuspecting employees. Learning how News Directors think, what they're looking for in a great resume tape, how to negotiate a contract, the ins and outs of out clauses, and mastering the intangibles of the business can be of great help in moving you up the ladder. In addition, you'll get some "street smart" tips on finding openings that aren't advertised and how to spot the red flags in a news operation before you take a job. It's real world advice from a network broadcast journalist who's been on both sides of the fence as a reporter and a manager.

It's time for reporters to get street smart. And not just about reporting. There's more to the television news business than gathering facts and getting your face on camera. You need to navigate the minefield present in every newsroom in America. Broadcast Journalism Street Smarts is a survival guide that offers tips to make your stories stand out, job hunting strategies and critical advice to help you navigate the unique office politics of broadcasting. And you'll get the News Director's playbook and learn about those "Jedi Mind Tricks" played on unsuspecting employees. Learning how News Directors think, what they're looking for in a great resume tape, how to negotiate a contract, the ins and outs of out clauses, and mastering the intangibles of the business can be of great help in moving you up the ladder. In addition, you'll get some "street smart" tips on finding openings that aren't advertised and how to spot the red flags in a news operation before you take a job. It's real world advice from a network broadcast journalist who's been on both sides of the fence as a reporter and a manager.

New York has appeared in more movies than Michael Caine, and the resulting overfamiliarity to moviegoers poses a problem for critics and filmmakers alike. Audiences often mistake the New York image of skyscrapers and bright lights for the real thing, when in fact the City is a network of clearly defined villages, each with a unique personality. Standard film depictions of New Yorkers as a rush-hour mass of undifferentiated humanity obscure the connections formed between people and places in the City's diverse neighborhoods. Street Smart examines the cultural influences of New York's neighborhoods on the work of four quintessentially New York filmmakers: Sidney Lumet, Woody Allen, Martin Scorsese, and Spike Lee. The City's heterogeneous economic and ethnic districts, where people live, work, shop, worship, and go to school, often bear little relation to the image of New York City created by the movies. To these directors, their home city is as tangible as the smell of fried onions in the stairwell of an apartment building, and it is this New York, not the bustling, glittery illusion portrayed in earlier films, that shapes their sensibilities and receives expression in their films. Richard A. Blake shows how the Jewish enclaves on Manhattan's Lower East Side profoundly influence Sidney Lumet's most noted characters as they struggle to form and maintain their identities under challenging circumstances. Both Woody Allen's light comedies and his more serious cinematic fare reflect the director's origins in the Flatbush neighborhood in Brooklyn and the displacement he felt after relocating to Manhattan. Martin Scorsese's upbringing on Elizabeth Street in Manhattan's Little Italy resonates in his gritty portraits of urban modernity. Blake also looks at the films of Spike Lee, whose adolescence in Fort Greene, a socioeconomically diverse Brooklyn neighborhood, exposed him to widely ranging views that add depth to his complicated treatises on power, culture, and race. Lumet, Allen, Scorsese, and Lee's individual identities were shaped by their neighborhoods, and in turn, their life experiences have shaped their artistic vision. In Street Smart, Richard A. Blake examines the critical influence of "place" on the films of four of America's most accomplished contemporary filmmakers.

Complete with a news glossary, job searching tips and helpful web sites, this has everything you need to know about working in the television news business. It covers many newsroom positions, from assignment editors to producers, reporters and anchors.

The essence of being street smart is the ability to take advantage of lucky breaks. And everyone—at least once in their lifetime—gets a lucky break. What they do with that lucky break varies tremendously from individual to individual. Street smart people don't just sit around waiting for something to happen and fall into their laps—they create their lucky breaks. It's certainly not taught in school and formal education! Why is it so important to take advantage of these lucky breaks? Because... · Working hard isn't enough. · Networking isn't enough. · Diligence isn't enough. · Brilliant strategizing isn't enough. · Old school ties aren't enough. · Internal politicking isn't enough. · Working around the clock isn't enough. · Professional competence isn't enough. You need something more. You need to be street smart. And successful people will tell you how—right here in this book—and will explain some of the techniques they employed that brought them to the head of the class.

From cynical portrayals like The Front Page to the nuanced complexity of All the President’s Men, and The Insider, movies about journalists and journalism have been a go-to film genre since the medium's early days. Often depicted as disrespectful, hard-drinking, scandal-mongering misfits, journalists also receive Hollywood's frequent respect as an essential part of American life. Matthew C. Ehrlich tells the story of how Hollywood has treated American journalism. Ehrlich argues that films have relentlessly played off the image of the journalist as someone who sees through lies and hypocrisy, sticks up for the little guy, and serves democracy. He also delves into the genre's always-evolving myths and dualisms to analyze the tensions—hero and oppressor, objectivity and subjectivity, truth and falsehood—that allow journalism films to examine conflicts in society at large.

Everybody’s got a theory . . . or do they? Thomas McLaughlin argues that critical theory—raising serious, sustained questions about cultural practice and ideology—is practiced not only by an academic elite but also by savvy viewers of sitcoms and TV news, by Elvis fans and Trekkies, by labor organizers and school teachers, by the average person in the street. Like academic theorists, who are trained in a tradition of philosophical and political skepticism that challenges all orthodoxies, the vernacular theorists McLaughlin identifies display a lively and healthy alertness to contradiction and propaganda. They are not passive victims of ideology but active questioners of the belief systems that have power over their lives. Their theoretical work arises from the circumstances they confront on the job, in the family, in popular culture. And their questioning of established institutions, McLaughlin contends, is essential and healthy, for it energizes other theorists who clarify the purpose and strategies of institutions and justify the existence of cultural practices. Street Smarts and Critical Theory leads us through eye-opening explorations of social activism in the Southern Christian anti-pornography movement, fan critiques in the ‘zine scene, New Age narratives of healing and transformation, the methodical manipulations of the advertising profession, and vernacular theory in the whole-language movement. Emphasizing that theory is itself a pervasive cultural practice, McLaughlin calls on academic institutions to recognize and develop the theoretical strategies that students bring into the classroom. “This book demystifies the idea of theory, taking it out of the hands of a priestly caste and showing it as the democratic endowment of the people.”—Daniel T. O’Hara, Temple University, author of Radical Parody: American Culture and Critical Agency after Foucault and Lionel Trilling: The Work of Liberation. “McLaughlin takes seriously the critical and theoretical activity of everyday people and does so in a way that will empower these very populations to take seriously their own activities as theorists. . . . A manifesto that is sure to be heard by the younger generation of thinkers in American cultural studies.”—Henry Jenkins, MIT, author of Textual Poachers: Television Fans and Participatory Culture

A practical handbook for managers of small, growing businesses that can help increase your chances for success by sharpening your management and strategy skills.

Wall Street legend and bestselling author Jim Rogers offers investing insights and economic, political, and social analysis, drawing on lessons and observations from his lifetime in the markets. Jim Rogers, whose entertaining accounts of his travels around the world--studying the markets from Russia to Singapore from the ground up--has enthralled readers, investors and Wall Street aficionados for decades. In his engaging memoir Street Smarts, Rogers offers pithy commentary from a lifetime of adventure, from his early years growing up a naïve kid in Demopolis, Alabama, to his fledgling career on Wall Street, to his cofounding of the wildly successful Quantum Fund. In Street Smarts, Rogers takes us through the highlights of his life in the financial markets, from his school days at Yale and Oxford--where despite the fact that he didn’t have enough money to afford the appropriate pair of shoes, he coxed the crew and helped to win the Oxford-Cambridge Boat Race as well as the Thames Cup, the first of his three Guiness World Records--to his first heady taste of Wall Street in the mid-1960s, and his years helping to run the most successful hedge fund on Wall Street. In the course of his new book, Rogers offers often surprising observations on how the world works–-and what trends he sees in the future. The age of Wall Street, Rogers claims, when the finance industry drove 25% of America’s growth, is over. Tomorrow’s economy will be driven by those who make things--food, energy, goods and consumables. He explains why Asia will be the dominant economic force in the twenty-first century, and discusses why America and the European Union are in decline, and what we need to do to right our economy and society.