In this nuanced look at white working-class life and politics in twentieth-century America, Kenneth Durr takes readers into the neighborhoods, workplaces, and community institutions of blue-collar Baltimore in the decades after World War II. Challenging notions that the "white backlash" of the 1960s and 1970s was driven by increasing race resentment, Durr details the rise of a working-class populism shaped by mistrust of the means and ends of postwar liberalism in the face of urban decline. Exploring the effects of desegregation, deindustrialization, recession, and the rise of urban crime, Durr shows how legitimate economic, social, and political grievances convinced white working-class Baltimoreans that they were threatened more by the actions of liberal policymakers than by the incursions of urban blacks. While acknowledging the parochialism and racial exclusivity of white working-class life, Durr adopts an empathetic view of workers and their institutions. Behind the Backlash melds ethnic, labor, and political history to paint a rich portrait of urban life--and the sweeping social and economic changes that reshaped America's cities and politics in the late twentieth century.

No matter how ambitious they may be, most novice journalists don't get their start at the New York Times. They get their first jobs at smaller local community newspapers that require a different style of reporting than the detached, impersonal approach expected of major international publications. As the primary textbook and sourcebook for the teaching and practice of local journalism and newspaper publishing in the United States, Community Journalism addresses the issues a small-town newspaper writer or publisher is likely to face. Jock Lauterer covers topics ranging from why community journalism is important and distinctive; to hints for reporting and writing with a "community spin"; to design, production, photojournalism, and staff management. This third edition introduces new chapters on adjusting to changing demographics in the community and "best practices" for community papers. Updated with fresh examples throughout and considering the newest technologies in editing and photography, this edition of Community Journalism provides the very latest of what every person working at a small newspaper needs to know.

"A Hard Boiled Detective story hiding inside a classic mystery with a sprinkling of L.A. quirk sprinkled in for good measure" - J.M. Moore

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

In THE BLUE GIRL MURDERS, a series of gruesome murders of beautiful young blondes rocks Baltimore during the summer of 1966 when the city already is in turmoil from a police scandal and from enormous racial tension resulting from desegregation efforts by the Congress of Racial Equality and ""White Power"" rallies by the National States Rights Party. UPI Baltimore bureau manager Nick Prescott goes from covering these stories to trying to help homicide detective Maury Antonelli solve the murders when one of his closest friends becomes a suspect. Prescott uncovers a trail of murder, infidelity and insanity that exposes the killer and puts his own life in mortal danger. The cultural, political and social changes, great music and historic events of 1966 provide the backdrop and themes of this historical mystery. The author was a reporter for United Press International in Baltimore in 1966 and covered many of the events described in the novel.