I believe this is a function of the vector that the documentary photographer must have, to show one person's existence to another."—Sebastião SalgadoIllustrated with a compelling image from each photographer, Witness in Our Time traces the recent history of social documentary photography in the words of twenty-two of the genre's best photographers, editors, and curators, showing that the profession remains vital, innovative, and committed to social change. Featuring interviews with Hansel Mieth, Walter Rosenblum, Michelle Vignes, Wayne Miller, Peter Magubane, Matt Herron, Jill Freedman, Mary Ellen Mark, Earl Dotter, Eugene Richards, Susan Meiselas, Sebastião Salgado, Graciela Iturbide, Antonin Kratochvil, Donna Ferrato, Joseph Rodriguez, Dayanita Singh, Fazal Sheikh, Gifford Hampshire, Peter Howe, Colin Jacobson, and Ann Wilkes Tucker.Introduction: Seeing and believing / Kerry Tremain --Hansel Mieth: the depression and the early days of Life --Walter Rosenblum: Lewis Hine, Paul Strand, and the Photo League --Michelle Vignes: Magnum Photo Agency : the early years --Wayne Miller: World War II and the family of man --Peter Magubane: a black photographer in Apartheid South Africa --Matt Herron: the Civil Rights movement and the Southern documentary project --Jill Freedman: Resurrection City --Mary Ellen Mark: streetwise photographer --Earl Dotter: the United Mine Workers --Eugene Richards: Americans we --Susan Meiselas: Central America and human rights --Sebastião Salgado: workers --Graciela Iturbide: the indigenous of Mexico --Antonin Kratochvil: the fall of the Iron Curtain --Donna Ferrato: living with the enemy : domestic violence --Joseph Rodriguez: in the barrio --Dayanita Singh: a truer India --Fazal Sheikh: portrait of a refugee --Gifford Hampshire: the Environmental Protection Agency's Project DOCUMERICA --Peter Howe: Life magazine and Outtakes --Colin Jacobson: Independent magazine and Reportage --Anne Wilkes Tucker: the museum context --Fred Ritchin: the fish are last to know about the water: the emerging digital revolution --Rondal Partridge: Dorothea Lange in the field --Don McCullin: Vietnam : the Battle of Hue, 1968 --Bill Owens: Suburbia and a passion for seeing his world --Larry Fink: Social graces --David Goldblatt: once an enemy : Apartheid and the New South Africa --Maya Goded: Tierra Negra --Afterword: Witness in our time / Ken Light

    The guitarist and de facto leader of the Grateful Dead was a gregarious talker, keenly engaged with the new world exploding around him. In 1972, Garcia was visited by Charles Reich, a Yale law professor, and Jann Wenner, the founder of Rolling Stone. Garcia was just thirty-one years old but already viewed--to his lasting dismay--as a social avatar for the new sensibility sweeping the land, an anarchist streak with a populist undercurrent that had roots in Ken Kesey's pranksters, the writers of the Beat Generation, and the libertine tradition of the American transcendentalists. In this interview, Garcia reveals how he is a combination of these and other influences, a high-school dropout and autodidact blessed with a gift for eloquent turns of phrase and a refreshing directness. He speaks of the saga of the Grateful Dead and his hoodlum youth growing up in San Francisco's Mission district. He delves into fascinating discourses on the music that shaped his own playing and writing, and freely discusses his use of drugs and explains why he felt it was important to stay high. Like the Grateful Dead's best music, Garcia: A Signpost to New Space is familiar, friendly, and inviting.

    It was also the first to introduce a full democracy. Between those events, and in the century that followed the franchise, the movements and the conflicts of human history have been played out more intensively and more rapidly in New Zealand than anywhere else on Earth. This title tells that story in all its colour and drama. The narrative that emerges is an inclusive one about men and women, Maori and Pakeha. It shows that British motives in colonizing New Zealand were essentially humane; and that Maori, far from being passive victims of a "fatal impact", coped heroically with colonization and survived by selectively accepting and adapting what Western technology and culture had to offer. The latter part of the book reveals how an insulated and dependent British colony transformed itself into an independent nation, open to and competing with technological and cultural influences sweeping the globe.

    Her old encounters with overdrawn bank accounts and oversized ambitions in the big city have given way to a new set of challenges. The first essay, "Matricide," opens without flinching:People who weren't there like to say that my mother died at home surrounded by loving family. This is technically true, though it was just my brother and me and he was looking at Facebook and I was reading a profile of Hillary Clinton in the December 2009 issue of Vogue.Elsewhere, she carefully weighs the decision to have children—"I simply felt no calling to be a parent. As a role, as my role, it felt inauthentic and inorganic"—and finds a more fulfilling path as a court-appointed advocate for foster children. In other essays, she skewers the marriage-industrial complex and recounts a harrowing near-death experience following a sudden illness. Throughout, Daum pushes back against the false sentimentality and shrink-wrapped platitudes that surround so much of contemporary American experience and considers the unspeakable thoughts many of us harbor—that we might not love our parents enough, that "life's pleasures" sometimes feel more like chores, that life's ultimate lesson may be that we often learn nothing. But Daum also operates in a comic register. With perfect precision, she reveals the absurdities of the New Age search for the "Best Possible Experience," champions the merits of cream-of mushroom-soup casserole, and gleefully recounts a quintessential "only-in-L.A." story of playing charades at a famous person's home. Combining the piercing insight of Joan Didion with humor reminiscent of Nora Ephron's, Daum dissects our culture's most dangerous illusions, blind spots, and sentimentalities while retaining her own joy and compassion. Through it all, she dramatizes the search for an authentic self in a world where achieving an identity is never simple and never complete.

    She worked in discount advertising and wore elastic pants. She did, however, have a long-term girlfriend whose announcement one summer day that she was leaving left the author with nothing. A bewildered Razer takes the advice of her beauty therapist and soon embarks on one hundred dates inside a calendar year. This book is that account. Will she get over the ex? Will she find true love, or even someone to boff her? All will be revealed, in a naked, funny and frankly embarrassing record of a life lived in apps and desperation.

    Or read this book and find out how you have all the tools you need, but must make the one change to become the writer you have always wanted to be.

    The airlines were international superstars; even among those long-gone carriers, their still-remembered names can conjure deep feelings of nostalgia, romance, and adventure: Braniff, Continental, BOAC, Swissair, TWA, Pan Am.This was the fifties and sixties. The world was on the move, and it was the new jet planes that were getting people there. But competition for the travel dollar was fierce, and Madison Avenue decided the face (and heart) of every airline would be the flight attendant, the stewardess. So it was that the “stew” became synonymous with the airline’s brand. She—and at that time they were exclusively female—was the airline.The stewardess became the fantasy every woman: glamorous professional, high-end server, customer service expert, nurse, therapist, and in no small measure: sex symbol.And to that end, these women were carefully selected for their looks and brains, then rigorously trained for weeks, and finally dressed as high-flying, high-heeled models in uniforms often created by top fashion designers. Heddy Frosell da Ponte was one of those chosen women. She was the ideal candidate to be employed by Pan Am in the 1960s: a pretty female with a terrific figure, under thirty-two years old, unmarried, and a speaker of multiple languages.The Glamour Years of Flying as a Stewardess is Heddy’s fascinating, often times hilarious collection of exploits as she traveled the world as a stewardess during the golden age of international air travel.This remarkable book is also a rare look back at the people, places, cultures, and lifestyles gone forever, but now brought back to vivid life by a stewardess-turned-author who knows how to tell a fast-moving tale. So buckle up; this will be one flight you’ll never forget. About the Author Heddy Frosell da Ponte was a flight attendant for forty five years. Now retired, she lives in Georgia. She is the author of The Glamour Years of Flying as a Stewardess.

    The result is this book, in which Kahn reports on a small college team’s successes and hopes, a young New England ball club, a failing major league franchise, and a group of heroes on the national stage.

    It feeds a whole industry of commentators, pundits and politicians who take great delight in whipping us all into a frenzy, speaking for the ‘ordinary people’. But, when ugly prejudices are being fed by professionals grown fat on the fear and fury of their consumers, it is time to stop and ask whether the faceless group of immigrants really exists – or whether it just appeals to our basest fears.In this lively polemic, James O’Brien brings some common sense back into the discussion. Some people want to be frightened. They thrive on anger and division and upset. But many people don’t, and it is they who are most let down – most insulted – by the immigration debate. We don’t need to buy into this myth. There is no such thing as ‘immigrants’. There is no ‘they’. There is only ‘we’.

    The world's most venerable and self-confident civilisation, home to the largest unified race of people on the planet, China manufactures the objects that fill our lives. We see a country peopled by docile and determined factory workers, domineering 'Tiger Mothers' obsessed with education and achievement, and a society that has put the accumulation of wealth above political freedom. Above all, we see a superpower on the rise, destined to overtake the West and to dominate the 21st century. But how accurate is this picture? What if, as Ben Chu argues, we are all engaged in a grand game of Chinese Whispers, in which the facts have become more and more distorted in the telling? We have been getting China and the Chinese wrong for centuries. From the Enlightenment philosophes, enraptured by what they imagined to be a kingdom of reason, to the Victorians who derided the 'flowery empire', outsiders have long projected their own dreams and nightmares onto this vast country. With China's economic resurgence today, many have fallen once more under the spell of this glittering new global hegemon, while others foretell terrible danger in China's return to the centre of the world stage. CHINESE WHISPERS tugs aside this age-old curtain of distortion in a powerful counterblast to modern assumptions about China. By examining the central myths, or 'whispers', that have come to dominate our view of China, Ben Chu forces us to question everything we thought we knew about world's most populous nation. The result is a surprising, penetrating insight into modern China.

    Having covered the war in Iraq and moved to Mexico City with two babies in nappies, he and his wife Diana thought they understood something about the subject.But when they arrived in Sydney so that Cave could establish The New York Times's Australia Bureau, life near the ocean confronted them with new ideas and questions, at odds with their American mindset that risk was a matter of individual choices. Surf-lifesaving and Nippers showed that perhaps it could be managed together, by communities. And instead of being either eliminated or romanticised, it might instead be respected and even embraced.And so Cave set out to understand how our current attitude to risk developed - and why it's not necessarily good for us.Into the Rip is partly the story of this New York family learning to live better by living with the sea and it is partly the story of how humans manage the idea of risk. Interviewing experts and everyday heroes, Cave asks critical questions like: Is safety overrated? Why do we miscalculate risk so often and how can we improve? Is it selfish to take risks or can more exposure make for stronger families, citizens and nations? And how do we factor in legitimate fears and major disasters like Cave has covered in his time here: the Black Summer fires; the Christchurch massacre; and, of course, Covid?The result is Grit meets Phosphorescence and Any Ordinary Day - a book that will change the way you and your family think about facing the world's hazards.

    Coming off the compelling success of the first Youngblood book, the unstoppable voices of our young gain greater momentum in this second volume. Gathering the best essays from the years 1997 and 1998 of the trendsetting Philippine Daily Inquirer column, this book takes the twentysomethings' struggle to dream and live to the next level.This is Youngblood 2.0.Accept no substitutes.

    Because those wobbly stones are only inches above the quotidian rush, what’s jotted there has an immediacy that is intimate and close to life. Kooser, winner of the Pulitzer Prize and a former U.S. poet laureate, has filled scores of workbooks. The Wheeling Year offers a sequence of contemplative prose observations about nature, place, and time arranged according to the calendar year. Written by one of America’s most beloved poets, this book is published in the year in which Kooser turns seventy-five, with sixty years of workbooks stretching behind him.

    Get noticed? Dance like a demon? Score with the opposite sex? Not just talk the talk but walk the talk as you walk? And achieve fame and fortune? This book won't just change your life - it will save it! The result is a book as zany and hilarious as Rhys Darby himself. Now is the time to act, people!' shouts Darby. 'Get off your ass and make sure you're on the invite list.' 'But just to start with: read this book!'

    Cold Chisel wrote a song about her. Rupert Murdoch was so impressed by her talents, he asked her to be the editor-in-chief of both the Daily and Sunday Telegraphs – and in doing so, become the first woman ever to edit a major Australian metropolitan newspaper.In her extraordinary career, spanning over fifty years, Ita Buttrose has been involved in every aspect of the media, from newspapers and magazines to television and radio and now, electronic publishing. From her creation of a new type of women's magazine in Cleo and then ITA, to her appointment as the youngest-ever editor of The Australian Women's Weekly (a distinction she still holds today), a passionate love of journalism has driven her every step of the way.Refreshingly candid about the challenges she has faced as a professional woman, not only in her career but also in her love life and as a mother, A Passionate Life describes those ground-breaking years with Ita's trademark clarity, precision and wit.In this substantially revised and expanded edition, Ita also shares her views on current affairs and the state of the media today, including an insider's perspective on the Murdoch empire. We hear about her significant recent contribution to various health awareness campaigns, particularly Alzheimer's Australia; her coverage of the 2011 royal wedding; her new incarnation as a rap star; the making of Paper Giants and her recent venture into the new territory of electronic publishingAn appealing and lively autobiography by one of Australia's most distinguished journalists. A Passionate Life will strike a chord with working women everywhere.