![]() “Announcing the Post-Dispatch black & white competition for St. “Anniversary dinner given by Joseph Pulitzer, Mato the men and women of the Post-Dispatch and friends, 1885-1945” (3). Prichard, chairman, Advertising Censorship Board to the United States Department of Agriculture Club of St. Louis Post-Dispatch / as explained by L.E. Presented to Gamble upon his retirement from the P-D. Louis post-dispatch (1943) BK-110/MA uu:74 in RB stacks What are we fighting for? A symposium conducted by the St. The Story of the Post-Dispatch (1949) BK-26/MA uu:44 in RB stacks. The Story of the Post-Dispatch (1940) BK-6/MA uu:79 in RB stacks. Louis Post-Dispatch, BK-21-2/MA uu:39 in RB stacks. The collection is still growing and the number of boxes as well as their contents may change.Įditorial cartoons 1913-1965 from the editorial page of the St. Boxes 10-13 are arranged chronologically.Ĭopyright held by the St. The collection is organized into three subseries, the bulk of which consists of publications that represent the history of and changes within the Post-Dispatch as well as the greater world of (newspaper) publishing trends and standards. Some fragile items.Īlthough the date of many of the pieces is unknown, the dated material covers the years 1878-2014 with the bulk of the material ranging from the 1910s-2000s. Some items placed within mylar or buffered tissue paper. Jean Gosebrink, 1990s Verna Smith (volunteer), 1990s Sarah Cain, December 2014Īll items placed in acid-free folders within archival boxes. The collection was assembled over time in Special Collections. Individual items donated by Post-Dispatch staff and Frank Absher of the St. Louis Media History Foundation/Frank AbsherĬollection created in Special Collections in the 1990s Louis Post-Dispatch, P-D staff, and the St. The audio engineer is Aaron Doerr.Collected by the St. The show is hosted by Sarah Fenske and produced by Emily Woodbury, Kayla Drake, Danny Wicentowski and Alex Heuer. Louis and the people who live, work and create in our region. Louis on the Air” brings you the stories of St. And we’ve got other things we’ve got to worry about as well.” We can be focused on what we can control here. “At the end of the day, that happened before I came here. “The list of things to worry about - you know, we are trying to figure out a business model that can sustain us in the future, we're trying to figure out how to build a digital audience, keep the print audience, deliver the paper on time. Asked if he was worried about the company’s plans, Achkar said they were not at the top of his mind. Lee fended off the first overture, but Alden continues to fight. Alden is known for buying newspapers only to cut them to the bone. Not long before Bailon announced his departure, hedge fund Alden Global Capital made an unsolicited bid for the Post-Dispatch’s owner, Iowa-based Lee Enterprises. Bailon had spent just shy of 10 years as the Post-Dispatch’s top editor. ![]() Then a family-owned daily, the paper was recently acquired by Gannett.Īchkar replaces Gilbert Bailon, who returned to the Dallas area to serve as executive editor of KERA, the public radio and TV behemoth serving Dallas and Fort Worth. After a decade in the Gateway City, he left to run the South Bend Tribune. There likely will be changes.”īorn in Lebanon and raised in Cleveland, Achkar started his newspaper career at the Cleveland Plain Dealer before moving to St. The topics we cover, how we cover them, do we have the right beats, are we placed in the right areas in town for news coverage? We're evaluating that. But, he warned: “Arts is only a small piece of news coverage. Maybe that's actually a way to grow the audience: Present information in a better way, rather than just doing these reviews that clearly were not reaching a large number of people.”Īchkar acknowledged the danger in relying too heavily on web analytics. “What if we did more profiles of interesting artists in town? What if we did more coverage in advance of shows and performances? What if we looked for more trends, stories and features in the arts community? Maybe that coverage actually appeals to people who would not ordinarily care about the arts or follow the arts. “So then you say, well, do we just keep doing that? Or do we want to rethink the arts coverage?” Achkar said. “We can look to see any story at any given time, any podcast, any video, how many people are reading it, how many people are watching it.”Īnd for arts reviews, the numbers just weren’t there. “Here's the beauty of the digital age: We get real-time metrics,” he explained on Wednesday’s St. Louis Public Radio’s headquarters in Grand Center. ![]() Louis Public Radio Alan Achkar, the newly named executive editor of the St.
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