Quotulatiousness

February 2, 2021

When the self-defined elites achieved class consciousness

At Rotten Chestnuts Severian adds to his ongoing series of posts identifying areas where Marx was right:

“Jay Gould’s Private Bowling Alley.” Financier and stock speculator Jay Gould is depicted on Wall Street, using bowling balls titled “trickery,” “false reports,” “private press” and “general unscrupulousness” to knock down bowling pins labeled as “operator,” “broker,” “banker,” “inexperienced investor,” etc. A slate shows Gould’s controlling holdings in various corporations, including Western Union, Missouri Pacific Railroad, and the Wabash Railroad.
From the cover of Puck magazine Vol. XI, No 264 via Wikimedia Commons.

… I liken Karl Marx to one of those bird-masked medieval Plague doctors — he sees the pathology clearly, indeed far faster and better than anyone else, but his proposed “cure” is far likelier to kill you than the actual disease. Worse, what makes Marx’s cure especially lethal is what ends up making his diagnosis essentially right: It’s a self-fulfilling prophecy.

The proletariat is achieving class consciousness, all right — look no further than the GameStop “short squeeze” for proof. But the only reason the proles are achieving class consciousness is because the “capitalists” forced them to, just like Marx said they would. The Elite and the Bureaucracy (usually, but not always, a distinction without a difference) finally achieved class consciousness through the combination of NAFTA and the Louvre Accords. Starting around 1990, then, the Elite self-consciously embraced their role as rootless, stateless, jet-setting parasites (with the wannabe-Elites in the Media, academia, and the bureaucracies signing up for tours of duty as fart-catchers, both to bask in reflected glory and in hopes of being promoted).
In short, our “Capitalists” — really, “financial-ists” or “spreadsheet gangsters,” since they don’t actually make anything, they just bust out existing firms via debt manipulation — behave exactly as Marx described factory owners behaving all the way back in the First Industrial Revolution.

In my naivete, I used to think Marx’s ranting was hyperbole. I cited the example of Andrew Carnegie — a real bastard in his youth, who went on to be one of the world’s great philanthropists. That’s human behavior, I said, as opposed to the bloodthirsty caricature of Marx’s fantasies … but I was wrong, comrades. Carnegie happily would’ve sold his fellow Americans down the river, just as Bezos, Gates, and the rest of the pirates-in-neckties are happily selling us down the river now. Only two things prevented it back then: one structural, one cultural.

The structural one is simply technology, and therefore uninteresting. Britain’s “free traders” — you know, the Jardine-Matheson types who started the Opium Wars for fun and profit — would’ve happily outsourced Britain’s entire industrial base to China if they hadn’t been hampered by wind speed. By the time this was technically feasible — which is about 1860, if you’re keeping score — simple inertia had taken over. They didn’t retool until they had to, at which point instant communications and modern ships … well, you know the rest. Like I said, it’s vital, but boring.

The cultural one is much more interesting. You might be tempted to say, as I did, that Jardine and Matheson were always on the lookout for #1, of course, but were sincere British patriots for all that, just as Carnegie for all his faults was an authentic American. I doubt it, comrades. I sincerely doubt it. What kept these guys in check wasn’t patriotism, or even culture. Rather, it was fear.

The History of Hollywood

Filed under: Business, History, Media, USA — Tags: , , , , , , , — Nicholas @ 04:00

The Cynical Historian
Published 3 Sep 2020

This episode is about the history of Hollywood, and it’s quite a long one. This is part 9 in a long running series about California history.

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references:
Bernard F. Dick, Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood (Lexington: The University Press of Kentucky, 2001). https://amzn.to/3f2Yb0S​

Hollywood’s America: United States History Through its Films, eds. Mintz, Steven and Randy Roberts (St. James, N.York: Brandywine Press, 1993). https://amzn.to/2tZIoJT

Richard Slotkin, Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America (New York: Atheneum Books, 1992). https://amzn.to/2KX0jI2

Kevin Starr, Inventing the Dream: California through the Progressive Era, (Oxford, U.K.: Oxford University Press, 1985). https://amzn.to/2VPTbVX​

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Wiki: By 1912, major motion-picture companies had set up production near or in Los Angeles. In the early 1900s, most motion picture patents were held by Thomas Edison’s Motion Picture Patents Company in New Jersey, and filmmakers were often sued to stop their productions. To escape this, filmmakers began moving out west to Los Angeles, where attempts to enforce Edison’s patents were easier to evade. Also, the weather was ideal and there was quick access to various settings. Los Angeles became the capital of the film industry in the United States. The mountains, plains and low land prices made Hollywood a good place to establish film studios.

Director D. W. Griffith was the first to make a motion picture in Hollywood. His 17-minute short film In Old California (1910) was filmed for the Biograph Company. Although Hollywood banned movie theaters — of which it had none — before annexation that year, Los Angeles had no such restriction. The first film by a Hollywood studio, Nestor Motion Picture Company, was shot on October 26, 1911. The H. J. Whitley home was used as its set, and the unnamed movie was filmed in the middle of their groves at the corner of Whitley Avenue and Hollywood Boulevard.

The first studio in Hollywood, the Nestor Company, was established by the New Jersey–based Centaur Company in a roadhouse at 6121 Sunset Boulevard (the corner of Gower), in October 1911. Four major film companies – Paramount, Warner Bros., RKO, and Columbia – had studios in Hollywood, as did several minor companies and rental studios. In the 1920s, Hollywood was the fifth-largest industry in the nation. By the 1930s, Hollywood studios became fully vertically integrated, as production, distribution and exhibition was controlled by these companies, enabling Hollywood to produce 600 films per year.

Hollywood became known as Tinseltown and the “dream factory” because of the glittering image of the movie industry. Hollywood has since become a major center for film study in the United States.
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Hashtags: #history​ #Hollywood​ #California

Well, it is a very, very cunning plan …

Filed under: Government, History, Media, Politics, USA — Tags: , , , , , , — Nicholas @ 03:00

In the latest Libertarian Enterprise, Sarah Hoyt explains why the progressives’ cunningest of cunning plans may not be cunning enough:

The left has a plan so cunning that if it were a person, it would be teaching cunningology at Oxford. And the ones who get the reference will also know that their plan is about to go pear shaped in all sorts of interesting ways, and at the end of it there might very well be a turnip or two involved, but not as the only item available in the shelves of the grocery store.

Look, someone pointed out in the comments the left are trying to follow the “plan” for other communist revolutions round the world.

He’s right. They’re trying to follow it to the letter. Partly because it’s worked before, and partly, because to be fair, they’re a cult, and cults don’t know the reason for the ritual, they just follow it.

… but it’s already going wrong. And it’s only going to get worse.

You see, part of the problem is that the cult of communism and the procedures for “the revolution” were set in the early twentieth century. And it’s designed for the early twentieth century. To the extent they worked in places like Venezuela, it is because the underlying structures of the society were still very much “early twentieth century.”

The US? Well, not so much. In fact we never were much like the early twentieth century in Europe, which is why they’ve had a hell of a time getting a foothold here.

The communist revolution is designed to work in a country that is mostly urban, with a vast urban underclass that can’t rise above for reasons both internal and external despite working unreasonable hours. It’s designed for a country with a firm aristocracy of the hereditary sort (even if that aristocracy is often from trade), it is designed for a country with a conscript army where the plum assignments go to the “good families” as a matter of course, it is designed to work — most of all and very importantly — in a country where they ABSOLUTELY control all the means of mass communication and do so without the vast majority of the people being aware of it.

The last time they could have pulled that off in the US was in the mid seventies. And my guess, honestly, is that they tried. I don’t know for sure, since the news of the time were all reported by biased sources, and besides I’m too lazy and too busy […] to spend my day chasing down hints. I bet they did try, though. I bet they gave it a sporting try. And I bet part of the issue back then — as now, btw — is that they were pinning their hopes on a race war, having both not realized how much of a minority people of African descent are in the US (last estimate is what? 14%? Sizeable, sure, but not a large minority and certainly not a majority. Also, and seriously, a lot of that minority is middle class and whatever they voice from the mouth-out as uninterested as the rest of us in having the apple cart overturned. Apples are tasty. Genocide not so much.) Mostly because that sh*t was so successful in Africa, and again the left doesn’t think. It ritualistically applies “what worked” without being able to account for changed conditions.

Anyway, that was the last time they could have MAYBE credibly have followed their little red map to revolution and have it work. And even then Americans were just too darn contrarian. Why everyone and their parents were telling us that Republicans were so dangerous, that they were going to start the nuclear war, that — And we went and voted Reagan in. (Well, not me. I only worked towards it. I didn’t vote. I wasn’t a citizen and I’m not a democrat.)

In fact, America could have engraved on its door lintel “authorities can go f*ck themselves.” The left keeps forgetting that. And sometimes justifiably. Take their Covid-psy-ops. It worked. And it was all run on the “experts” and how important it was.

Uh uh. So, they think their control is back! They’re golden again, baby!

.38 ACP Webley-Fosbery Automatic Revolver

Filed under: Britain, History, Weapons — Tags: , , , — Nicholas @ 02:00

Forgotten Weapons
Published 11 Nov 2020

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The rarest variation of the Webley-Fosbery automatic revolver is the .38 ACP model. Only 341 of these were made by Webley, in an attempt to compete with the new semiautomatic pistols appearing on the market — most notably the Colt Model 1900 and Model 1902. The Colt was chambered for .38 ACP, a remarkable cartridge for its time — high velocity and semi-rimmed. Webley figured that an 8-shot Fosbery-type revolver would offer the same capacity and ballistics as the new Colt, but in a revolver format familiar to the British market. The design could load cartridges individually, but also offered use of an 8-shot moon clip. Unfortunately for Webley, British legislation in 1903 hampered civilian handgun ownership and the military was not interested at all because the bore was too small. Of the 341 originally made, some were finally converted to .455 caliber after years of sitting unsold in Webley’s warehouse.

This model makes a notable appearance in Dashiell Hammett’s novel The Maltese Falcon, which quite specifically identifies it as an 8-shot, .38 caliber Webley-Fosbery. In the movie version, Humphrey Bogart mistakenly says it is an 8-shot .45, however…

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QotD: Why “artistes” defended Roman Polanski before #MeToo

Filed under: Law, Media, Quotations — Tags: , , , , — Nicholas @ 01:00

In 1977, Roman Polanski drugged, raped, and sodomized a 13-year-old girl. When he believed a sort-of-plea-bargain was about to come unstuck, he took it on the lam. He lived the high life in this self-imposed exile for thirty years, until busted in Switzerland recently. Now various of the usual suspects on the right wing’s enemies list are campaigning to block his extradition.

There’s a good deal of perplexity being expressed about this, and some predictable chuntering from right-wingers about lefties being moral degenerates. But this flap isn’t really about politics at all — it’s much simpler than that. It’s about people who think of themselves as “artistes” reserving themselves a get-out-of-jail card when they feel like behaving like repellent scum of the earth, too.

[…]

If you want to make that argument, Roman Polanski makes a great stake in the ground — not in spite of the heinousness of his crime, but because of it. If even a child-raper can invoke the all-purpose artiste excuse for scumminess, than the merely ordinary transgressions of artistes become trivia to be airily dismissed. And if the Polanski case becomes a “teachable moment” whereby people can be talked into feeling like boors or philistines for even thinking that artistes should be held to civilized standards of behavior, so much the better!

None of this is more than tenuously connected to leftism, and I have to say the the right-wing efforts to gin up indignation on that score sound quite contrived and stupid to me. This dispute isn’t about politics, it’s about privilege — not just whether Roman Polanski is above the law, but about whether his defenders can claim to be too.

Eric S. Raymond, “Why artists defend Roman Polanski”, Armed and Dangerous, 2009-09-29.

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