KEN AULETTA

Googled is candid, authoritative and based on extensive research, including in-house at Google HQ where Ken Auletta had unprecedented access. He conducted over 150 interviews at Google with the company´s founders and executives and also interviewed those in media who are struggling to keep their heads above water. Crucially, Googled is not just a history or reportage: it´s forward-looking.

Googled is candid, authoritative and based on extensive research, including in-house at Google HQ where Ken Auletta had unprecedented access. He conducted over 150 interviews at Google with the companys founders and executives and also interviewed those in the media who are struggling to keep their heads above water. Crucially, Googled is not just a history or reportage: its forward-looking. Auletta reveals how the media industry is being disrupted and redefined and shows how and why the worlds of new and old media often communicate as if residents of different planets. Googled is already being hailed as the definitive work on Google and is a crucial roadmap to how media business may be done in the future.

The Internet Revolution, like all great industrial changes, has made the worlds elephantine media companies tremble that their competitors-whether small and nimble mice or fellow elephants-will get to new terrain first and seize its commanding heights. In a climate in which fear and insecurity are considered healthy emotions, corporate violence becomes commonplace. In the blink of an eye-or the time it has taken slogans such as "The Internet changes everything" to go from hyperbole to banality-"creative destruction" has wracked the global economy on an epic scale. No one has been more powerful or felt more fear or reacted more violently than Bill Gates and Microsoft. Afraid that any number of competitors might outflank them-whether Netscape or Sony or AOL Time Warner or Sun or AT&T or Linux-based companies that champion the open-source movement or some college student hacking in his dorm room-Microsoft has waged holy war on all foes, leveraging its imposing strengths.In World War 3.0, Ken Auletta chronicles this fierce conflict from the vantage of its most important theater of operations: the devastating second front opened up against Bill Gatess empire by the United States government. The books narrative spine is United States v. Microsoft, the governments massive civil suit against Microsoft for allegedly stifling competition and innovation on a broad scale. With his superb writerly gifts and extraordinary access to all the principal parties, Ken Auletta crafts this landmark confrontation into a tight, character- and incident-filled courtroom drama featuring the best legal minds of our time, including David Boies and Judge Richard Posner. And with the wisdom gleaned from covering the converging media, software, and communications industries for The New Yorker for the better part of a decade, Auletta uses this pivotal battle to shape a magisterial reckoning with the larger war and the agendas, personalities, and prospects of its many combatants.

One of Americas leading reporters collects his most important, entertaining, and enlightening articles, explaining how and why he wrote them. Hard Feelings represents more than five years of Ken Aulettas work for The Village Voice, New York magazine, the Daily News,Esquire, and The New Yorker. During that period he won a loyal following and established a reputation as the rare journalist who covers both politicians and the government. He covered the news and made the news with his famous and controversial New Yorker profile of Mayor Ed Koch and his startling expose of lawyer Roy Cohn in Esquire. These pieces also display his versatilityhard, investigative reporting as well as precise, thoughtful essayswith subjects ranging from the ambitions of Ted Kennedy to the tribulations of Jimmy Carter, the maneuvers of a local politician to the struggles of an embattled high school principal. One of Aulettas chief concerns is the press itself: how the former publisher of the New York Post managed the news; how media expert David Garth manipulates it; how Tom Brokaw became a victim of it; and how passion for scandal and easy cynicism threaten it. The postscripts he has written for this volume address many of the central issues of journalism. A case in point is Aulettas own use of controversial taps revealing Mayor Ed Kochs private feelings about relations between blacks and Jews; another is his examination of the questionable coverage of Nelson Rockefellers death. Does a public figure have a right to privacy? Is there such a thing as too much press access? To whom does the reporter owe allegiance? What are the ethics of journalism? In his stories and his second thoughts on them, Ken Auletta offers a provocative analysis of how a reporter works, views his profession, and evaluates his achievements with intelligence and feelinghard feelings.

A struggle is taking place--not just among corporate titans, but among entire industries. At stake is control of the worlds fastest-growing industry: communications. The contestants are Hollywood studios, television networks, and cable, telephone, computer, publishing, and consumer-electronics companies. All are vying to collect a toll on the information superhighway. And as they jockey for control, they tread on volatile ground, as one fixation after another (cable, interactive TV) is dumped in favor of the next (satellite, the Internet). There is no better account of this turmoil than the one provided here by Ken Auletta, bestselling author of Three Blind Mice ("the best book ever written on network television"*) and Greed and Glory on Wall Street, who for five years has brilliantly tracked the communications industry for The New Yorker. Aulettas access to the principal players is unparalleled (six days with Rupert Murdoch, summit meetings with John Malone), and his grasp of the issues--from boardroom politics to regulatory and technological pressures--is unmatched by any other journalist. In this riveting collection of his best pieces Auletta takes the reader on a behind-the-scenes tour of such companies as Disney, Viacom, Microsoft, Time Warner, and Telecommunications, Inc., and keenly chronicles the vanities and visions of the new Highwaymen--Rupert Murdoch, Ted Turner, Michael Eisner, Sumner Redstone, Bill Gates, and more. Just as Three Blind Mice was heralded as "the new bible of the broadcasting business," The Highwaymen will be received as an indispensable guide to the future of this explosive new world.* Frank Stanton, former president of CBS

How - and why - did one of the worlds greatest cities come to be teetering on the edge of bankruptcy? Ken Auletta, writer for THE NEW YORKER and columnist for THE DAILY NEWS, shows how the decline of New York City was partly inevitable --- the result of shifting migration patterns and rapidl technological innovations --- and partly caused by anarchic political and economic factions, each angling for its own advantage. His lucid examination also pinpoints the core of New York Citys problems --- the failure of liberal democratic government --- and explores what this will mean for the future of all American cities."A tremendously impressive combination of reporting and analysis that illuminates not only New Yorks situation, but also the most basic trends in the politics and economy of the nation as a whole" - James Fallows, Washington Editor, THE ATLANTIC MONTHLY"Absolute must reading for anyone concerned with New York and the urban future."- George Sternlieb, Director, Centor for Urban Policy Researcch, Rutgers University

A vivid biography of Harvey Weinsteinhow he rose to become a dominant figure in the film world, how he used that position to feed his monstrous sexual appetites, and how it all came crashing down, from the author who has covered the Hollywood and media power game for The New Yorker for three decadesTwenty years ago, Ken Auletta wrote an iconic New Yorker profile of the Hollywood mogul Harvey Weinstein, who was then at the height of his powers. The profile made waves for exposing how volatile, even violent, Weinstein was to his employees and collaborators. But there was a much darker story that was just out of reach: rumors had long swirled that Weinstein was a sexual predator. Auletta confronted Weinstein, who denied the claims. Since no one was willing to go on the record, Auletta and the magazine concluded they couldnt close the case. Years later, he was able to share his reporting notes and knowledge with Ronan Farrow; he cheered as Farrow, and Jodi Kantor and Megan Twohey, finally revealed the truth. Still, the story continued to nag him. The trail of assaults and cover-ups had been exposed, but the larger questions remained: What was at the root of Weinsteins monstrousness? How, and why, was it never checked? Why the silence? How does a man run the day-to-day operations of a company with hundreds of employees and revenues in the hundreds of millions of dollars, and at the same time live a shadow life of sexual predation without ever being caught? How much is this a story about Harvey Weinstein, and how much is this a story about Hollywood and power? In pursuit of the answers, Auletta digs into Weinsteins life, searching for the mysteries beneath a film career unparalleled for its extraordinary talent and creative success, which combined with a personal brutality and viciousness to leave a trail of ruined lives in its wake. Hollywood Ending is more than a prosecutors litany; it is an unflinching examination of Weinsteins life and career, embedding his crimes in the context of the movie business, in his failures and the successes that led to enormous power. Film stars, Miramax employees and board members, old friends and family, and even the person who knew him bestHarveys brother, Boball talked to Auletta at length. Weinstein himself also responded to Aulettas questions from prison. The result is not simply the portrait of a predator but of the power that allowed Weinstein to operate with such impunity for so many years, the spiderweb in which his victims found themselves trapped.

What happened to network television in the 1980s? How did CBS, NBC, and ABC lose a third of their audience and more than half of their annual profits?Ken Auletta, author of Greed and Glory on Wall Street, tells the gripping story of the decline of the networks in this epically scaled work of journalism. He chronicles the takeovers and executive coups that turned ABC and NBC into assets of two mega-corporations and CBS into the fiefdom of one man, Larry Tisch, whose obsession with the bottom line could be both bracing and appalling.Auletta takes us inside the CBS newsroom on the night that Dan Rather went off-camera for six deadly minutes; into the screening rooms where NBC programming wunderkind Brandon Tartikoff watched two of his brightest prospects for new series thud disastrously to earth; and into the boardrooms where the three networks were trying to decide whether television is a public trust or a cash cow.Rich in anecdote and gossip, scalpel-sharp in its perceptions, Three Blind Mice chronicles a revolution in American business and popular culture, one that is changing the world on both sides of the television screen.

An intimate and profound reckoning with the changes buffeting the $2 trillion global advertising and marketing business from the perspective of its most powerful players, by the bestselling author of Googled Advertising and marketing touches on every corner of our lives, and is the invisible fuel powering almost all media. Complain about it though we might, without it the world would be a darker place. And of all the industries wracked by change in the digital age, few have been turned on its head as dramatically as this one has. We are a long way from the days of Don Draper; as Mad Men is turned into Math Men (and womenthough too few), as an instinctual art is transformed into a science, the old lions and their kingdoms are feeling real fear, however bravely they might roar. Frenemies is Ken Aulettas reckoning with an industry under existential assault. He enters the rooms of the ad worlds most important players, some of them business partners, some adversaries, many "frenemies," a term whose ubiquitous use in this industry reveals the level of anxiety, as former allies become competitors, and accusations of kickbacks and corruption swirl. We meet the old guard, including Sir Martin Sorrell, the legendary head of WPP, the worlds largest ad agency holding company; while others play nice with Facebook and Google, he rants, some say Lear-like, out on the heath. There is Irwin Gotlieb, maestro of the media agency GroupM, the most powerful media agency, but like all media agencies it is staring into the headlights as ad buying is more and more done by machine in the age of Oracle and IBM. We see the world from the vantage of its new powers, like Carolyn Everson, Facebooks head of Sales, and other brash and scrappy creatives who are driving change, as millennials and others who disdain ads as an interruption employ technology to zap them. We also peer into the future, looking at what is replacing traditional advertising. And throughout we follow the industrys peerless matchmaker, Michael Kassan, whose company, MediaLink, connects all these players together, serving as the industrys foremost power broker, a position which feasts on times of fear and change. Frenemies is essential reading, not simply because of what it says about this world, but because of the potential consequences: the survival of media as we know it depends on the money generated by advertising and marketingrevenue that is in peril in the face of technological changes and the fraying trust between the industrys key players.

An intimate and profound reckoning with the changes buffeting the $2 trillion global advertising and marketing business from the perspective of its most powerful players, by the bestselling author of GoogledAdvertising and marketing touches on every corner of our lives, and is the invisible fuel powering almost all media. Complain about it though we might, without it the world would be a darker place. And of all the industries wracked by change in the digital age, few have been turned on its head as dramatically as this one has. We are a long way from the days of Don Draper; as Mad Men is turned into Math Men (and women--though too few), as an instinctual art is transformed into a science, the old lions and their kingdoms are feeling real fear, however bravely they might roar. Frenemies is Ken Aulettas reckoning with an industry under existential assault. He enters the rooms of the ad worlds most important players, some of them business partners, some adversaries, many "frenemies," a term whose ubiquitous use in this industry reveals the level of anxiety, as former allies become competitors, and accusations of kickbacks and corruption swirl. We meet the old guard, including Sir Martin Sorrell, the legendary former head of WPP, the worlds largest ad agency holding company; while others play nice with Facebook and Google, he rants, some say Lear-like, out on the heath. There is Irwin Gotlieb, maestro of the media agency GroupM, the most powerful media agency, but like all media agencies it is staring into the headlights as ad buying is more and more done by machine in the age of Oracle and IBM. We see the world from the vantage of its new powers, like Carolyn Everson, Facebooks head of Sales, and other brash and scrappy creatives who are driving change, as millennials and others who disdain ads as an interruption employ technology to zap them. We also peer into the future, looking at what is replacing traditional advertising. And throughout we follow the industrys peerless matchmaker, Michael Kassan, whose company, MediaLink, connects all these players together, serving as the industrys foremost power broker, a position which feasts on times of fear and change. Frenemies is essential reading, not simply because of what it says about this world, but because of the potential consequences: the survival of media as we know it depends on the money generated by advertising and marketing--revenue that is in peril in the face of technological changes and the fraying trust between the industrys key players.

It is said that journalism is a vital public service as well as a business, but more and more it is also said that big media consolidation; noisy, instant opinions on cable and the Internet; and political bias are making a mockery of such high-minded ideals. In Backstory, Ken Auletta explores why one of Americas most important industries is also among its most troubled. He travels from the proud New York Times, the last outpost of old-school family ownership, whose own personnel problems make headline news, into the depths of New York Citys brutal tabloid wars and out across the country to journalisms new wave, chains like the Chicago Tribunes, where synergy is ever more a mantra. He probes the moral ambiguity of media personalitiesjournalists who become celebrities themselves, padding their incomes by schmoozing with Imus and rounding the lucrative corporate lecture circuit. He reckons with the legacy of journalisms past and the different prospects for its future, from fallen stars of new media such as Inside.com to the rising star of cable news, Roger Ailess Fox News. The product of more than ten years covering the news media for The New Yorker, Backstory is Journalism 101 by the courses master teacher.

[The editors] cast their net wide, picking up some excellent stories from nontraditional sources that even avid readers of the business press may have missed.USA Today, on the 2001 editionSeries editor Andrew Leckey and guest editor Ken Auletta have scoured the print media, consulted with the editors of major business and general interest publications, and surveyed journalism school deans to find the best business stories from the last twelve months. Among those selected: Michael Lewis on teenage stock trader Jonathan Lebed, from The New York Times Magazine; James B. Stewart on the irrepressible Michael Milken, from The New Yorker; and many others from the pages of The Wall Street Journal, Rolling Stone, Fortune, Rocky Mountain News, and Wired.The second annual edition continues the excellence and comprehensive range of this fascinating anthology series.