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Lapdogs is the first book to demonstrate that, for the entire George W. Bush presidency, the news media have utterly failed in their duty as watchdog for the public. In blistering prose, Eric Boehlert reveals how, time after time, the press chose a soft approach to covering the government, and as a result reported and analyzed crucial events incompletely and even inaccurately. From WMDs to Valerie Plame to the NSA's domestic spying, mainstream fixtures such as The New York Times, CBS, CNN, and Time magazine too often ignored the administration's missteps and misleading words, and did not call out the public officials who betrayed the country's trust. Throughout both presidential campaigns and the entire Iraq war to date, the media acted as a virtual mouthpiece for the White House, giving watered-down coverage of major policy decisions, wartime abuses of power, and egregious mistakes -- and sometimes these events never made it into the news at all. Finally, in Lapdogs, the press is being held accountable by one of its own. Boehlert homes in on the reasons the press did not do its job: a personal affinity for Bush that journalists rarely displayed toward his predecessor, Bill Clinton; a Republican White House that threatened to deny access to members of the media who asked challenging questions or voiced criticism; and a press that feared being tainted by accusations of liberal bias. Moreover, journalists -- who may have wanted to report accurately on the important stories -- often found themselves at cross-purposes with media executives, many of whom were increasingly driven by economic concerns. Cowed by all of these factors, the media abandoned their traditional role of stirring up meaningful public debate. Boehlert asserts that the Bush White House never subscribed to the view -- commonly held by previous administrations -- that a relationship with the press is an important part of the democratic process. Instead, it saw the press as just another special interest group that needed to be either appeased or held at bay -- or, in some cases, squashed. The administration actively undermined the basic tenets of accurate and fair journalism, and reporters and editors accepted their reduced roles without a whimper. To an unprecedented degree, journalists too often stopped asking uncomfortable questions of people in power. In essence, the entire purpose and pursuit of journalism was sacrificed. Riveting in its sharp denouncement, supported by dozens of glaring and troubling examples of journalistic malpractice, Lapdogs thoroughly dissects the press's misconduct during Bush's presidency and gives voice to the growing public dismay with the mainstream media.
Lapdogs of the Bourgeoisie investigates the latent issue of class underlying the field of contemporary visual art. On the one hand, it raises the question of whether a given socioeconomic background still helps define your artistic career--and to which point the said career might reflect or consolidate the hierarchies in question. On the other hand, the project asks whether the traditional analytical tools at our disposal are helpful in such an examination of the art world today. Class inevitably raises awkward questions regarding the very participants, their backgrounds, patrons, and ideological partialities. This is perhaps the reason why the role of class structure has been so easily overlooked in the production and presentation of contemporary art, especially so in an era where artists are coaxed into anthropological framings of their practice. What was it that made gender, sexuality, ethnicity, and nationality eclipse the class issue with such ease? Lapdogs of the Bourgeoisie presents a collaborative project with a number of practitioners that scrutinize their own positions, bias, and gaze within the hierarchy of cultural production. It seeks to identify the levels of affect class has in the field--from artists, through to curators, institutions, and even audiences--and also looks at the hidden anxieties involved, particularly in relation to the actual decision-makers in mainstream art. Contributors Charlotte Bydler, Neil Cummings, Annika Eriksson, Chris Evans, Liam Gillick, Nav Haq, San Keller, Hassan Khan, Erden Kosova, Dr. Suhail Malik, Marion von Osten, Natascha Sadr Haghighian, Dr. Malcolm Quinn, Tirdad Zolghadr
Countries increasingly rely on independent fiscal councils to constrain policymakers’ discretion and curb the bias towards excessive deficits and pro-cyclical policies. Since fiscal councils are often recent and heterogeneous across countries, assessing their impact is challenging. Using the latest (2016) vintage of the IMF Fiscal Council Dataset, we focus on two tasks expected to strengthen fiscal performance: the preparation or assessment of forecasts, and the monitoring of compliance with fiscal rules. Tentative econometric evidence suggests that the presence of a fiscal council is associated with more accurate and less optimistic fiscal forecasts, as well as greater compliance with fiscal rules.
This is a collection of nine original essays selected and edited with a twofold aim: to establish the parameters of coquetry as it was defined and represented in the long eighteenth century, and to reconsider this traditional figure in light of recent work in cultural and gender studies. The essays provide analyses of lesser-known works, examine the depiction of the coquette in popular culture, explore the importance of coquetry as a contemporary term applicable to men as well as women, and amplify current theorization of the coquette. By bringing together the diverse contexts and genres in which the figure of the coquette is articulated--drama, art, fiction, life-writing--Refiguring the Coquette offers alternative perspectives on this central figure in eighteenth-century culture. Shelley King is an Associate Professor in the Department of English Language and Literature at Queen's University. Yael Schlick is Associate Adjunct Professor at Queen's University.
This widely used and popular text provides a broad-ranging analysis of the relationship between the media and politics. Revised and updated throughout, this second edition includes coverage of the mediatization of politics; of E-politics and governance; of the impact of 'reality TV'; and of issues raised by the reporting of war in Iraq.
Praise for Building Better Boards "Building Better Boards bridges the gap between talk and action. A must-read for board members, CEOs, governance experts - really for anyone who cares about the future of the corporation." Anne M. Mulcahy, chairman and CEO, Xerox Corporation "Building Better Boards covers all the key issues facing boards in the post-Sarbanes-Oxley era. It provides practical advice based on the authors' wide-ranging experience with major companies that have built successful boards." Marty Lipton, Wachtell, Lipton, Rosen Roger W. Raber, president and CEO, National Association of Corporate Directors "This book provides a comprehensive review and effective guide to making any board an effective team, and thus an asset, for their company." Richard H. Koppes of Counsel, Jones Day, and former general counsel, CalPERS "A balanced, insightful, thoughtful, and, above all, useful look at what can be done to create excellent boards." Edward E. Lawler III, director, Center for Effective Organizations, Marshall School of Business, University of Southern California "Improving board effectiveness is easier said than done. Building Better Boards lays out the how-tos in a clear and compelling way that is of practical value for directors and CEOs alike." Kenneth W. Freeman, former chairman and CEO, Quest Diagnostics Inc.
Los Angeles. In no other city do sex, celebrity, money, and crime exert such an irresistible magnetic field. And no writer has mapped that field with greater savagery and savvy than James Ellroy. With this fever-hot collection of reportage and short fiction, he returns to his native habitat and portrays it as a smog-shrouded netherworld where"every third person is a peeper, prowler, pederast, or pimp." From the scandal sheets of the 1950s to this morning's police blotter, Ellroy reopens true crimes and restores human dimensions to their victims. Sublimely, he resurrects the rag Hush-Hush magazine. And in a baroquely plotted novella of slaughter and corruption he enlists the forgotten luminaries of a lost Hollywood. Shocking, mesmerizing, and written in prose as wounding as an ice pick, Crime Wave is Ellroy at his best.
The quintessential depiction of 1980s New York and the downtown scene from the artist, actor, musician, and composer John Lurie “A picaresque roller coaster of a story, with staggering amounts of sex and drugs and the perpetual quest to retain some kind of artistic integrity.”—The New York Times In the tornado that was downtown New York in the 1980s, John Lurie stood at the vortex. After founding the band The Lounge Lizards with his brother, Evan, in 1979, Lurie quickly became a centrifugal figure in the world of outsider artists, cutting-edge filmmakers, and cultural rebels. Now Lurie vibrantly brings to life the whole wash of 1980s New York as he developed his artistic soul over the course of the decade and came into orbit with all the prominent artists of that time and place, including Andy Warhol, Debbie Harry, Boris Policeband, and, especially, Jean-Michel Basquiat, the enigmatic prodigy who spent a year sleeping on the floor of Lurie’s East Third Street apartment. It may feel like Disney World now, but in The History of Bones, the East Village, through Lurie’s clear-eyed reminiscence, comes to teeming, gritty life. The book is full of grime and frank humor—Lurie holds nothing back in this journey to one of the most significant moments in our cultural history, one whose reverberations are still strongly felt today. History may repeat itself, but the way downtown New York happened in the 1980s will never happen again. Luckily, through this beautiful memoir, we all have a front-row seat.
James Reaney is one of Canada's favourite poets and playwrights; at the intersection of his dramatic and poetic talents is Scripts, a collection of musical writings. There are nine complete works here, including the chamber opera Night-blooming Cereus, the poetry/music collage (and Governor General's Award winner) Twelve Letters to a Small Town, the Canada Dot, Canada Dashtrilogy and operas Shivaree, Taptoo!and Serinette. Many of these pieces have been published individually, but none are in print, and they have never been amassed.