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Alan Rusbridger is Editor in Chief of the Guardian and a keen amateur musician. After reading English at Cambridge he started on a local newspaper and tried his hand at a range of journalistic jobs - including reporter, columnist, critic, foreign correspondent, magazine editor, features editor and, from 1995, editor. During his time editing the Guardian the paper has won numerous awards and has grown to be one of the three largest online newspapers in the world. He led the paper's coverage of the secret WikiLeaks cables and the Guardian's campaign to get at the truth about phone hacking, which led to numerous resignations, the closure of the News of the World and the Leveson Inquiry into the culture, practice and ethics of the British press. As a boy, he was a cathedral chorister, a reasonable orchestral clarinetist and a very mediocre pianist. He failed to be a world-class conductor, abandoned the organ and put his clarinets in the attic. In his mid 40s he restarted piano lessons and tried to make up for more than 30 years of missing technique. Since then, he has moved from 'very mediocre' to 'mediocre'.
In 2010, Alan Rusbridger, the editor of the Guardian, set himself an almost impossible task: to learn, in the space of a year, Chopin's Ballade No. 1 - a piece that inspires dread in many professional pianists. His timing could have been better. The next twelve months were to witness the Arab Spring, the Japanese tsunami, the English riots, and the Guardian's breaking of both WikiLeaks and the News of the World hacking scandal. In the midst of this he carved out twenty minutes' practice a day - even if that meant practising in a Libyan hotel in the middle of a revolution as well as gaining insights and advice from an array of legendary pianists, theorists, historians and neuroscientists, and even occasionally from secretaries of state. But was he able to play the piece in time?
We are living in a modern world where falsehood regularly seems to overwhelm truth. The ability of billions of people to publish has created a vast amount of unreliable and false news which now competes with and sometimes drowns more established forms of journalism. So where can we look for reliable, verifiable sources of news and information? What does all this mean for democracy? And what will the future hold? Reflecting on his twenty years as editor of the Guardian at a time of unprecedented digital disruption; and his experience of breaking some of the most significant news stories of our time, Alan Rusbridger answers these questions and offers a stirring defence of why quality journalism matters now more than ever.
How do we know any more what is true and what isn't? We are living through the greatest communication revolution since Gutenberg in which falsehood regularly seems to overwhelm truth. In Breaking News Alan Rusbridger offers an urgent and agenda-setting examination of the past, present and future of the press, and the forces menacing its freedom. The news media have been disrupted by huge and fast-moving changes. The growth of social media and with it the ability of billions of people to publish has created a vast amount of unreliable and false news which now competes with, and sometimes drowns, more established forms of journalism. The President of the United States regularly lies to the public and brands his critics 'fake'. Politicians openly rubbish the views of 'so-called experts'. Where can we look for reliable, verifiable sources of news and information? What does all this mean for democracy? And what will the future hold? Reflecting on his twenty years as editor of the Guardian; and his experience of breaking some of the most significant news stories of our time, including the Edward Snowden revelations, phone-hacking, WikiLeaks and the Keep it in the Ground campaign, Rusbridger answers these questions and offers a stirring defence of why quality journalism matters now more than ever.
Fur Journalisten ist er ein Star: Alan Rusbridger, seit 20 Jahren Chefredakteur des britischen Guardian, hat seine Zeitung zum fuhrenden kritischen englischsprachigen Blatt gemacht, auf beiden Seiten des Atlantik. Und er hat wie kein zweiter in der Branche die revolutionaren Herausforderungen des Internet angenommen. Im vergangenen Jahr erhielt Rusbridger zusammen mit dem Enthuller der amerikanischen Geheimdienstpraktiken Edward Snowden den alternativen Nobelpreis fur seine unerschrockene Aufklarungsarbeit im offentlichen Interesse. Doch es gibt noch eine ganz andere Seite des hochdekorierten Journalisten: der Klavierspieler Rusbridger, der sich seinem Instrument mit hnlicher Hingabe verschrieben hat, wie dem Kampf gegen staatliche Willkr. Als er whrend eines Workshops in Frankreich einen Hobby-Pianisten Chopins Ballade Nr. 1 spielen hrt, packt ihn der Ehrgeiz. Ein Jahr lang bt er jeden Tag 20 Minuten lang das Furcht einflende Stck, das zu den schwierigsten des Repertoires gehrt. In seinem Buch nimmt Rusbridger uns mit an die Grenzen dessen, was ein Freizeit-Musiker an Fingerfertigkeit, Konzentration, Beherrschung und Musikalitt erreichen kann. Wir erfahren, was Pianisten wie Murray Perahia, Richard Goode, Emanuel Ax, Daniel Barenboim, Stephen Hough and Alfred Brendel ihm raten, wie Musikhistoriker und -theoretiker ihn anspornen und Neurowissenschaftler ihm auf ganz andere Weise erklren, was Klavierspielen eigentlich ist. Gleichzeitig sind wir dabei, wie Rusbridger in Tripolis whrend des Brgerkrieges in Libyen Reporter aus Geiselhaft befreit, wie er eine komplizierte Partnerschaft mit dem eigenwilligen WikiLeaks-Grnder Julian Assange, der New York Times und dem deutschen Spiegel managt und wie er den Telefon-Abhrskandal des britischen Magazins News of the World an die ffentlichkeit bringt.
Slap bang in the middle of the hottest day of the year, the zoo's drains have blocked up and there's nowhere for the animals' poo to go! Mr Pickles the zoo keeper (who is looking distinctly green) must decide what to do with it all . . . Before the naughty chimps beat him to it!
The loveable animals and their keepers at Melton Mowbray Zoo are back! Everyone has recovered from the disastrous weekend when the heating broke and Mr Pickles, the zoo director, asked all the keepers to take their animal home for the weekend. In fact, so much so, that a feeling of nonchalence pervades - the animals have been teamed with the same keepers for years and quite frankly it's become rather boring. So. in a bid to liven things up, the keepers decide to swap animals for the day and, as you can imagine this makes for some lively antics! Told in Alan's inimitable dead-pan voice this is another very charming and extremely funny story brought to life by Ben Cort's hugely imaginative illustrations.
Slap bang in the middle of the coldest Friday of the coldest week of the year, the central heating breaks down at Melton Mowbray Zoo. The system needs a new flange but flanges can't be obtained on Fridays in Melton Mowbray, so Mr Pickles the head keeper asks all the other keepers to take the animal they are in charge of home for the weekend. The results range from disastrous to successful: when the penguin (who 'always hankered after the good life') decides to eat his tea in Mr Pumbles' bed, and the lion succeeds in scaring off Mr Leaf's mother-in-law to such an extent that she doesn't come back to lunch for three years...