Posts Tagged ‘television’
“He who controls the money supply of a nation controls the nation”*…
In all economies, neither the amount of deposits nor the money supply hinge on national or household savings. When households and companies save, they do not alter the money supply. Banks also create deposits/money out of thin air when they buy securities from non-banks. As banks in China buy more than 80 per cent of government bonds, fiscal stimulus also leads to substantial money creation. In short, when banks engage in too much credit origination — as they have done in China — they generate a money bubble.
Over the past 10 years, Chinese banks have been on a credit and money creation binge. They have created Rmb144tn ($21tn) of new money since 2009, more than twice the amount of money supply created in the US, the eurozone and Japan combined over the same period. In total, China’s money supply stands at Rmb192tn, equivalent to $28tn. It equals the size of broad money supply in the US and the eurozone put together, yet China’s nominal GDP is only two-thirds that of the US. In a market-based economy constraints are in place, such as the scrutiny of bank shareholders and regulators, which prevent this sort of excess. In a socialist system, such constraints do not exist. Apparently, the Chinese banking system still operates in the latter.
[Emphasis added]
[image above: source]
* James A, Garfield
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As we practice parsimony, we might recall that it was on this date in 1972 that the longest running game show on American television, The Price is Right, hosted by Bob Barker, premiered on CBS. Originally called The New Price Is Right to distinguish it from the earlier/original version (1956–65) hosted by Bill Cullen, it proved so popular in its own right that, in June 1973, the producers decided to drop the word “New” from its title. In 2007, Drew Carey took over from barker as host. Now in its 47th season, The Price Is Right has aired over 8,000 episodes since its debut and is one of the longest-running network series of any sort in United States television history.
“Let It Bleed”*…
Science sometimes goes down an incorrect path. Though the path is wrong, a detailed superstructure of learning gets built on top of the incorrect premise. Such was the case with the medical practice of bloodletting in the early 1800s, where detailed procedures were developed regarding which veins to open for a given set of symptoms. One leader in this practice was America’s Dr. Benjamin Rush:
Early in the [1800s], … physicians put their faith in bloodletting, to draw out the evil humors which were believed to cause disease. With bloodletting, it took years of learning to know precisely which veins, by what rituals, were to be opened for what symptoms. A superstructure of technical complication was erected in such deadpan detail that the literature still sounds almost plausible.
However, because people, even when they are thoroughly enmeshed in descriptions of reality which are at variance with reality, are still seldom devoid of the powers of observation and independent thought, the science of bloodletting, over most of its long sway, appears usually to have been tempered with a certain amount of common sense. Or it was tempered until it reached its highest peaks of technique in, of all places, the young United States. Bloodletting went wild here. It had an enormously influential proponent in Dr. Benjamin Rush, still revered as the greatest statesman-physician of our revolutionary and federal periods, and a genius of medical administration. Dr. Rush Got Things Done. Among the things he got done, some of them good and useful, were to develop, practice, teach and spread the custom of bloodletting in cases where prudence or mercy had heretofore restrained its use. He and his students drained the blood of very young children, of consumptives, of the greatly aged, of almost anyone unfortunate enough to be sick in his realms of influence.
His extreme practices aroused the alarm and horror of European bloodletting physicians. And yet as late as 1851, a committee appointed by the State Legislature of New York solemnly defended the thoroughgoing use of bloodletting. It scathingly ridiculed and censured a physician, William Turner, who had the temerity to write a pamphlet criticizing Dr. Rush’s doctrines and calling ‘the practice of taking blood in diseases contrary to common sense, to general experience, to enlightened reason and to the manifest laws of the divine Providence.’ Sick people needed fortifying, not draining, said Dr. Turner, and he was squelched…
As in the pseudoscience of bloodletting, just so in the pseudoscience of city rebuilding and planning, years of learning and a plethora of subtle and complicated dogma have arisen on a foundation of nonsense…
Via DelanceyPlace.com, an excerpt from Jane Jacobs’ classic The Death and Life of Great American Cities: “Bloodletting.”
* The Rolling Stones
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As we drip, we might recall that it was on this date in 1949 that the first science fiction series debuted on American television, the DuMont Network’s Captain Video and His Video Rangers. Written by such luminaries as Isaac Asimov, Arthur C. Clarke, James Blish, and Jack Vance, it was– even in its time, when early television productions often were thrown-together affairs– considered crude, owing much to the fact that the daily show was done live on a meager budget. Indeed, the actors were paid so little they actually made more money from appearing in character at supermarket openings, county fairs, and the like than they did from their salaries.
Still, it ran for a total of 1,537 episodes, and quickly spawned competitive sci-fi offerings like Tom Corbet, Space Cadet and Space Patrol.
“An investment in knowledge almost always pays the best interest”*…
The Agnes Scott GE College Bowl team: Katherine Bell, Karen Gearreald, Malinda Snow, and Betty Butler
America’s anti-intellectualism can be traced through the decline in popularity of the American quiz show. Most viewers think of Jeopardy! as the peak of quizzing aspirations. But Jeopardy!, while challenging, is still geared toward the viewer, feeding the audience accessible clues and manageable categories.
Take a look at Britain’s University Challenge in comparison. The program, whose format is based on the midcentury GE College Bowl, is aggressively uncharismatic. The quiz itself is notoriously difficult, tasking contestants with identifying obscure Indian cities, deep-dive classical compositions, and even failed American vice presidential hopefuls. University Challenge is still wildly popular, anchoring a Sunday evening slot on BBC. While the college quiz bowl continues to exist in the U.S., American television stopped broadcasting the event in 1970.
It’s been said over the years that trivia skews male. The assumption is not that women are less intelligent; the assumption is that for various reasons—structural discrimination, biology, increased pressure—women aren’t as able to compete. But GE College Bowl knocked that assumption on its ass. Women’s colleges won time and again on the decadelong program, handily beating elite institutions.
Barnard College beat Notre Dame and the University of Southern California in 1959 before going on a five-game winning streak in the 1967–68 season. Bryn Mawr had its own four-game tear in ’67. Wellesley won four consecutive games in ’70. And Mount Holyoke won twice in ’66 before losing to Princeton.
And then, of course, there’s the Agnes Scott game, now legendary among quiz fans for its high stakes, for the wide gap in expectations for the two teams, and for a killer last-second comeback…
The story of the match-up between Agnes Scott and Princeton on the GE College Bowl in 1966: “The Greatest Upset in Quiz Show History.”
* Benjamin Franklin
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As we celebrate cerebral celerity, we might send healing birthday greetings to Susan LaFlesche Picotte; she was born on this date in 1865. A doctor and reformer in the late 19th century, she is widely acknowledged as the first Native American to earn a medical degree. Beyond her medical practice, she campaigned for public health and for the formal, legal allotment of land to members of the Omaha tribe.
“The mind is not a vessel to be filled but a fire to be kindled”*…
In the late 1700s, a young man named Freidrich Froebel was on track to become an architect when a friend convinced him to pursue a path toward education instead. And in changing course, Froebel arguably ended up having more influence on the world of architecture and design than any single architect — all because Friedrich Froebel created kindergarten. If you’ve ever looked at a piece of abstract art or Modernist architecture and thought “my kindergartener could have made that,” well, that may be more true than you realize…
The word Kindergarten cleverly encompassed two different ideas: kids would play in and learn from nature, but they would also themselves be nurtured and nourished “like plants in a garden.” There were literal gardens and outdoor activities, but the real key to it all was a set of deceptively simple-looking toys that became known as Froebelgaben (in English: Froebel’s Gifts)…
Learn about those educational “toys” and their extraordinary legacy, at “Froebel’s Gifts.”
* Plutarch
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As we appreciate play, we might recall that it was on this date in 1987 that The Simpsons made their debut on television in “Good Night,” the first of 48 shorts that aired on The Tracey Ullman Show, before the characters were given their own eponymously-titled show– now the longest-running scripted series in U.S. television history.
A frame from the final sequence of “Good Night”
“Commercials are about products… in the same sense that the story of Jonah is about the anatomy of whales”*…
In a civilization organized primarily around the funneling of capital to corporations, commercials offer a space of transcendent communion with the objects of our dependence and desire. They take place in a realm understood to be ideational without quite being imaginary—existing not in any one person’s mind, but ambiently, on a level of reality we rarely think to question, encoded in the daily order of things as neatly as the peanut butter aisle of a suburban grocery store. (This bare proximity to capitalism’s exposed nerves, combined with a habitual callousness to human dignity, is I believe why, in the recent words of A.S. Hamrah, “TV commercials are the worst thing to see on hallucinogenic drugs.”) These commercials embody and transmit all kinds of cultural norms, declaiming on the career-destroying horror of “even one flake” of dandruff, the correct way to manage a labor force, how women should interpret cough syrup viscosity, and so on.
Commercials also encode and preserve basic aesthetic and narrative conventions. Musically, they’re a trove of low-rent original product psalms, in styles ranging from quietly sophisticated poultry rock to funky rugged simplicity jams that sound like a person in a boardroom frantically describing the inner life of a coalminer. They introduce stock characters from discomfiting gym teacher to comic book nerd. They offer an education in America’s throbbing corporate epiculture, whose dark world they echo in a thousand ways—through who gets represented and who not, portrayals of nations and cultures, depictions of idealized daily life, enshrinement of a particular commercial landscape, style parodies, intimations of eternity, messages of warning, messages of beneficence, and more—all calligraphed into air and sent streaming through the walls of our homes by giant corporate antennas…
From Ian Dreiblatt, “Toward a Theory of the American TV Commercial of, Oh, Say, About 1990.”
[image above: source]
* Neil Postman
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As we take it all in, we might celebrate National Tooth Fairy Day.
In the mid-1920s fairies were used for all sorts of health education from bath fairies to fresh air fairies as a way to get kids to remember to eat their vegetables, wash behind their ears and get a good night’s rest. Unlike toothpaste today, that advertises fruity flavors and sparkles to get kids excited to brush their teeth, in 1925 it was probably quite a bit more difficult considering the pastes were mostly peroxide and baking soda. One advertisement was for a Fairy Wand Tooth Whitener. This product promised to brush away cigarette and coffee stains. The ad was aimed at both children and adults, we hope!
Then in 1927, Esther Watkins Arnold printed an eight-page playlet for children called The Tooth Fairy. It was the same year Sir Arthur Conan Doyle “proved” his claim that fairies and gnomes are real and “verified” with pictures of two little girls surrounded by fairies. The world was ripe with imagination and primed to have a tooth fairy about to come collect the lost teeth of little boys and girls and leave a coin or two behind.
Arnold’s play began to be performed in schools the following year, and the tooth fairy has been slipping into homes ever since. She (or he) started leaving nickels and dimes under the pillows of sleeping children. Over the years there have been variations on the theme. In 1942, in an article written by columnist Bob Balfe in the Palm Beach Post, his children received War Stamps to put in their books when they lost a tooth…
“I am big! It’s the pictures that got small.”*…
Romaine Fielding got famous making a bunch of films in nothing flat—something like 100 films in just four years, from 1912 to 1915. Some of the films were probably awful. Others were showered with critical praise. Film was a fledgling medium still trying to find its voice, still battling to evolve from novelty to art. But Romaine rose above the melodramatic din of the silent film era. He was, by some accounts, America’s first movie star and, by even more accounts, among the medium’s first true visionaries…
Romaine had already lived a lot of life when he began making films in 1912. There were only a dozen film companies in Hollywood. The magazine that would launch our nation’s rabidity for celebrity culture, Photoplay, had just published its first issue. Romaine was 43 and on his fourth name by then: baby William Grant Blandin became Royal A. Blandin became Romanzo A. Blandin who made the leap finally to Romaine Fielding at the dawn of the 20th century.
There are lots of reasons for adopting pseudonyms and these include shame or aspiration or fear of legal recourse or extralegal recourse or confusion about identity or certainty about identity or general restlessness and for some it is all of this plus the usual feeling of fraudulence and an overdeveloped flair for the dramatic. In 1867 Romaine was born out of wedlock in an Iowa that wouldn’t stand for it and so his first name change was the projection of others’ shame. For the rest of his life he layered on identities, ever grander, though never entirely disingenuous…
After the success of The Toll of Fear (one of the first great psychological thrillers, made in 1913) Romaine made the cover of Motion Picture Magazine. He was voted America’s Most Popular Player by the magazine’s readers, snagging over 1.3 million of the 7 million votes cast by film buffs.
This award was a remarkable accomplishment in the pre-Oscars era. He beat out Mary Pickford, an early cinema powerhouse and eventual cofounder of the famed United Artists studio. He beat out Bronco Billy, who had starred in The Great Train Robbery (1903), arguably the first ever Western film…
The genuinely remarkable tale of an American original: “The Lost Apocalypse of Romaine Fielding.”
* “Norma Desmond” (Gloria Swanson) in Billy Wilder’s Sunset Boulevard
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As we see stars, we might spare a thought for Herbert Eugene Ives; he died on this date in 1953. A scientist and engineer who headed the development of facsimile and television systems at AT&T in the first half of the twentieth century, he is best known for the 1938 Ives–Stilwell experiment, which provided direct confirmation of special relativity’s time dilation (though Ives himself did not accept special relativity, and argued instead for an alternative interpretation of the experimental results).
But relevantly to this post, Ives also led AT&T’s development of video and television. His 1927 transmission– of images of then-Commerce Secretary Herbert Hoover, from Washington, DC to New York– was the first successful long distance demonstration of television. Two years later, he achieved the first successful long-distance transmission of color images.
“Tell me what you eat, and I will tell you what you are”*…
Food regularly plays a role in religious life, in forms that range from communion wine to Kahlua cheesecake…
A sampling of 34 cloistered comestibles: “A Guide of Heavenly Cuisine.”
* Anthelme Brillat-Savarin
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As we devour with devotion, we might recall that it was on this date in 1993 that the first “Got Milk?” ad premiered. Created by the advertising agency Goodby Silverstein & Partners for the California Milk Processor Board, it was later licensed for use by milk processors and dairy farmers nationwide. The campaign launched with the now-famous “Aaron Burr” television commercial, directed by Michael Bay.
