Published on 17 Apr 2017
World War 1 was a war of artillery, 75% of casualties are attributed to artillery fire. And since the late 19th century the development of field canons, howitzers and mortars had made rapid progress. We are taking a look at the standard artillery pieces of the German, French and British Army at the outbreak of the war in this first part of a new series.
April 18, 2017
Western Front Artillery At The Outbreak of World War 1 I THE GREAT WAR Special
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In WW1, the United States “was not fighting for survival. It was fighting for an ideal.”
Reason‘s Glenn Garvin reviews two new documentaries, including one called American Experience: The Great War (no relation to the YouTube channel I regularly reblog).
World War I, as American Experience: The Great War paraphrases a conclusion already reached by the cast of Friends many years ago, is probably the biggest event in U.S. history of which Americans know next to nothing. In some ways, that will still be true even if they watch The Great War, which views the events strictly through the lens of how Americans were affected. The welter of royal bloodlines and backdoor treaties that turned a seemingly isolated event — the assassination of an Austrian nobleman by a Serbian teenager — into a worldwide conflagration involving Russia, France, England, Italy, Germany, the Austro-Hungarian Empire, the Ottoman Empire, Bulgaria, Japan, and the United States is barely explored [*]. Nor are many of the war’s geopolitical shockwaves. Even the implosion of Russia’s czarist government, which would eventually result in a Cold War that for nearly five decades threatened to turn apocalyptically hot, only gets a minute or two.
What The Great War does do, in truly spectacular fashion, is limn the voracious expansion of the American government midwifed by World War I. When Woodrow Wilson’s uncertain attempts at neutrality floundered and he called for a declaration of war in 1917 because “the world must be made safe for democracy,” it made the United States unique among the combatants, notes a historian in The Great War: “It was not fighting for survival. It was fighting for an ideal.”
But as The Great War documents in horrifying detail, that ideal was the creation of a Leviathan state with unprecedented power: to draft young men and send them to a foreign war. To set price controls on food and impose dietary restrictions. To arrest and even deport political dissidents. To create a powerful government propaganda organ aimed not at enemy nations but the American people. (It expanded from one employee to about 100,000 in a couple of months.) To send goon squads known as Liberty Loan Committees roaming neighborhoods offering deals on war bonds that couldn’t be refused.
Wilson’s actions did not go without dissent (signs at a protest march in New York City: MR. PRESIDENT, WHY NOT MAKE AMERICA SAFE FOR DEMOCRACY?) and dissent did not go without punishment. Wilson demanded, and got, a new Espionage Act that made it a crime to collect, record and disseminate information “harmful to the war effort,” and he wielded it like an axe against the anti-war movement. By the fall of 1917, the federal government opened prison camps in Utah, Georgia, and North Carolina to house all the “security threats” Wilson’s Justice Department had detected.
Wilson’s security mania spread out into the population, too, where it unleashed what The Great War calls the “wholesale destruction of German culture in the United States. There were moves to ban German music, plays, and even the spoken language. Some of the xenophobic spasms, like beer-stein-smashing contests, were loony enough to be funny; others, like the slaughter of German dog breeds in Ohio, were almost too ugly for words. Though Wilson’s supporters managed to utter some. When an Illinois coal miner of German heritage was lynched by coworkers who thought he might be a spy, the Washington Post labeled it a nothing more than a slightly over-exuberant sign of “a healthful and wholesome awakening in the interior part of the country.”
* Should you want to know more about the non-American aspects of how World War 1 began, you could read my Origins of WW1 series of posts, starting here (there are 12 posts in the series, and even so, I could be accused of omitting a lot of detail).
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Examples of the “Paranoid Thriller” genre
In the latest Libertarian Enterprise, J. Neil Schulman discusses a type of book that he characterizes as the Paranoid Thriller:
It’s probably no surprise to anyone who’s read my books, but I’m a long-time fan of what might best be called the Paranoid Thriller.
“Paranoid Thriller” isn’t a book publishing category. You won’t find such a classification in the Library of Congress, or in the shelving system of Barnes and Noble. Amazon.com has the most cross-referenced indexing system of any bookseller I can think of and even it doesn’t seem to have that as a sub-category of fiction.
Technically — because these stories are often set in the “near future” or “the day after tomorrow” or sometimes in an alternate history — the Paranoid Thriller is a sub-genre of science fiction. But usually, beyond the element of political speculation, there are none of the usual tropes of science fiction — extraterrestrials, space, time, or dimensional travel, artificial intelligence, biological engineering, new inventions, scientists as action heroes, virtual realities, and so forth.
I’m sure even this list shows how outdated I am when it comes to what’s being published as science-fiction these days, which within the publishing genre has abandoned all those cardinal literary virtues of clarity, kindness to the reader, and just good storytelling in favor of all those fractal fetishes that previously made much of “mainstream” fiction garbage unworthy of reading: dysfunctional characters, an overwhelming sense of helplessness and despair, and of course hatred of anything ever accomplished to better the entire human race by old dead European-extraction white men.
[…]
The Paranoid Thriller is step-brother to the Dystopian novel, such as Yvgeny Zamyatin’s We, Ayn Rand’s Anthem, Aldous Huxley’s Brave New World, and George Orwell’s Nineteen-eighty-four, and brother to the espionage novel — everything from Ian Fleming’s James Bond novels to John Le Carre and Tom Clancy’s spy novels; and at least kissing cousin to alternate history thrillers like Brad Linaweaver’s 1988 Prometheus Award-winning novel, Moon of Ice, about a Cold War not between the United States and the Soviet Union but between a non-interventionist libertarian United States and a victorious Nazi Germany.
Some examples of the Paranoid Thriller:
In books, let’s start with Sinclair Lewis’s 1935 novel It Can’t Happen Here, the story of an American president who rises to power by enforcing a Mussolini-type fascism in America, published three years after the movie Gabriel Over the White House enthusiastically endorsed such a presidency, well into the presidency of Franklin Delano Roosevelt who did it for real, and a year after Adolf Hitler became the Führer of Germany.
Three years before Jack Finney’s novel The Body Snatchers was serialized in Colliers, Robert A. Heinlein’s 1951 Doubleday hardcover novel, The Puppet Masters crossed genre between futuristic science-fiction and the Paranoid Thriller — in effect creating an entire new genre of Paranoid Science-Fiction Horror — in which unlike H.G. Wells’ invaders from Mars in The War of the Worlds who had the decency to exterminate you, the alien invaders instead jumped onto your back and controlled your brain making you their zombie.
But then again, Heinlein had already created the Ultimate Paranoid Thrillers in his 1941 short story “They” and 1942 novella “The Unpleasant Profession of Jonathan Hoag” — over a-half-century before The Wachowski Brothers’ 1999 movie The Matrix — in which the entire world is a vast conspiracy to convince one man of its reality.
Jumping two decades forward I’ll use as my next example Ayn Rand’s 1957 epic Atlas Shrugged, in which the Soviet- refugee author warned how the United States — by following the path of a kindler, gentler socialism — could end up as the fetid garbage dump that had devolved from her once European-bound Mother Russia.
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Ned Kelly – II: Under Suspicion – Extra History
Published on 25 Mar 2017
Ned’s second venture as a bushranger brought him to the attention of the local police. He did time in prison, then tried to clean up his act, but became frustrated by the suspicion that continued to dog him.
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QotD: Rent control
To someone ignorant of economic reasoning, rent control seems like a great policy. It appears instantly to provide “affordable housing” to poor tenants, while the only apparent downside is a reduction in the income flowing to the fat-cat landlords, people who literally own buildings in major cities and who thus aren’t going to miss that money much. Who could object to such a policy?
First, we should define our terms. When a city government imposes rent control, it means the city makes it illegal for landlords to charge tenants rent above a ceiling price. Sometimes that price can vary, but only on specified factors. For the law to have any teeth — and for the politicians who passed it to curry favor with the public — the maximum rent-controlled price will be significantly lower than the free-market price.
The most obvious problem is that rent control immediately leads to a shortage of apartments, meaning that there are potential tenants who would love to move into a new place at the going (rent-controlled) rate, but they can’t find any vacancies. At a lower rental price, more tenants will try to rent apartment units, and at a higher rental price, landlords will try to rent out more apartment units. These two claims are specific instances of the law of demand and law of supply, respectively.
[…]
In the long run, a permanent policy of rent control restricts the construction of new apartment buildings, because potential investors realize that their revenues on such projects will be artificially capped. Building a movie theater or shopping center is more attractive on the margin.
There are further, more insidious problems with rent control. With a long line of potential tenants eager to move in at the official ceiling price, landlords do not have much incentive to maintain the building. They don’t need to put on new coats of paint, change the light bulbs in the hallways, keep the elevator in working order, or get out of bed at 5:00 a.m. when a tenant complains that the water heater is busted. If there is a rash of robberies in and around the building, the owner won’t feel a financial motivation to install lights, cameras, buzz-in gates, a guard, or other (costly) measures to protect his customers. Furthermore, if a tenant falls behind on the rent, there is less incentive for the landlord to cut her some slack, because he knows he can replace her right away after eviction. In other words, all of the behavior we associate with the term “slumlord” is due to the government’s policy of rent control; it is not the “free market in action.”
Robert P. Murphy, “The Case Against Rent Control: Bad housing policy harms lower-income people most”, The Freeman, 2014-11-12
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