Quotulatiousness

February 10, 2021

“Did you know that seventy years ago, our grandparents were having an underpolarization crisis?”

Filed under: Books, History, Politics, USA — Tags: , , , , , , — Nicholas @ 05:00

Scott Alexander reviews Why We’re Polarized by Ezra Klein, beginning with the underpolarization crisis of the mid-20th century:

In 1950, the American Political Science Association “released a call to arms … pleading for a more polarized political system”. The report argued that “the parties contain too much diversity of opinion and work together too easily, leaving voters confused about who to vote for and why”. Everyone agreed with each other so much, and compromised so readily, that supporting one party over the other seemed almost pointless.

In 1976, three years after Roe v. Wade, Democrats and Republicans were about equally likely to support abortion restrictions. That same year, a poll found that “only 54% of the electorate believed that the Republican Party was more conservative than the Democratic Party”; 30% thought there was no difference. As late as 2004, about equal numbers (within 5 pp) of Democrats and Republicans agreed with statements like “government is almost always wasteful and inefficient” and “immigrants are a burden on our country”. Between the late 60s and early 90s, Democratic presidents deregulated the airlines and passed welfare reform; Republican presidents pushed immigration amnesties and founded the EPA.

What happened between then and now? Klein has two answers: a historical answer, and a structural answer.

The historical answer is: the Dixiecrats switched from Democrat to Republican.

When the North won the Civil War, it had grand plans to remake the South into a paradise of racial equality and universal love. After Lincoln’s death, his successor Andrew Johnson decided this sounded hard and gave up. Within a few decades, the South was back to being a racist, paramilitary-violence-prone one-party dictatorship. That one party called itself “Democrat”, but had few similiarites to the Democrats in the North. The Southern Democrats (“Dixiecrats”) and northern Democrats disagreed on lots of issues, but the South hated the Republicans so much after their experience with Lincoln that they caucused with the northern Democrats anyway. This turned into a stable coalition, with northern Democrats agreeing to support the South against civil rights for blacks, and the Dixiecrats supporting the northern Democrats whenever they needed something.

But since the Democratic party contained both northern Democrats (relatively liberal) and Dixiecrats (relatively conservative), it didn’t want to take a coherent party-wide stance on liberalism vs. conservatism. And by the median voter theorem, that meant the Republicans also didn’t want to take a coherent stance on liberalism vs. conservatism. So both parties ended out centrist and identical.

In 1964, the Civil Rights Act threatened the Dixiecrats’ key issue. It wasn’t quite as simple as “Democrats were for it, Republicans were against it” – in fact, 80% of Republicans and 60% of Democrats supported it. But that year’s presidential election pitted heavily pro-CRA Democrat Lyndon Johnson against anti-CRA Republican Barry Goldwater, beginning Southerners’ defection to the Republican Party.

Klein says this successfully got all the conservatives on one side of the aisle and all the liberals on the other, allowing polarization to begin. Essentially, he believes polarization is a natural process, which the odd coalitions of the early 20th century temporarily prevented. Once the coalitions were broken, it could begin to do its work. He spends the rest of the book talking about why exactly polarization is so natural, what aspects of modernization have made it worse, and what sort of feedback loops make it keep going

February 9, 2021

QotD: Nothing sounds like the Beatles

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

Why does nothing in today’s rock music sound like the Beatles?

It’s a pertinent question because the Beatles were so acclaimed as musical innovators in their time and still so hugely popular. And yet, nobody sounds like them. Since not long after the chords of the “Let It Be” died away in 1969, every attempt to revive the Beatlesy sound of bright vocal-centered ensemble pop has lacked any staying power among rock fans. It gets tried every once in a while by a succession of bands running from Badfinger to the Smithereens, and goes nowhere. Why is this?

Another, related question is: Why does so very little in today’s rock music sound like Chuck Berry?

Inventor of rock and roll, they still call him. And yet outside of occasional tributes and moments of self-conscious museumizing, nobody writes rock music that sounds anything like “Johnny B. Goode” anymore. Modern tropes and timbre are vastly different. Only the rock beat – only the drum part – survives pretty much intact.

It’s odd, when you think about it. The sound that electrified the late Fifties and Sixties is still revered, but it’s gone. The basic rock beat remains, but everything above it has been flooded out, replaced by something harder and darker.

We all sort of know, even as casual listeners, that rock has evolved a lot. There’s even a tendency for the term “rock and roll” to nowadays be specifically confined to the older sound, with “rock” standing alone to refer to the more modern stuff.

[…]

The sea-change happened between 1969 and 1971. The moving figures were: Jimi Hendrix. British Invasion bands like the Rolling Stones and Led Zeppelin and the Who. American West Coast bluesmen like Mike Bloomfield and Al Cooper. The San Franciso acid-rock scene. And many lesser imitators.

What they did was raze old-school rock-and-roll to the ground, replacing it with a bastard child of LSD and Chicago-style hard electric blues. That angry, haunting, minor-key idiom is what buried the Beatles and put a stamp on rock music so final that today the sound of any modern arena rocker – like, say, Guns’n’Roses – is recognizably the same thing musicians began to record around 1970.

(Which it should be pointed out, is a very long run for a mass-market pop genre. It’s as though in 1970 our radios had still been full of pop in forms dating from 1925 …)

Eric S. Raymond, “The blues ate rock and roll!”, Armed and Dangerous, 2017-12-28.

December 21, 2020

QotD: The evolving style of John Coltrane

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

No jazz musician incarnates the legend of late style more than the saxophonist John Coltrane. His early style is undistinguished; he was a bluesy sideman whose grasp of the instrument falls short of the reach of his ear. His middle style, stertorous and ambitious, began in his mid-1950s stint with Miles Davis’s quintet. Coltrane in this period is still less melodious than Hank Mobley and less witty than Sonny Rollins, but his chops are catching up with his ear. Only Johnny Griffin has fleeter fingers and only Rollins can beat him for persistence. Coltrane thinks aloud and never stops thinking; he is the perfect foil for Davis, who is also ironic and intellectual, also latent with eroticism and violence, but who never shows his working, only the finished idea. Coltrane’s sound waves are square and heavy, metallic and dark like lead. He is both implacable and lazy, like a bull elephant: You never know where the charge will take him, only that — as he himself admitted to Davis — once he gets going, he doesn’t know how to stop.

Coltrane’s late style emerged in his 1960s quartets. Now leading and writing for his own group, and newly clean of drink and drugs, he was finally able to pursue his vision and the possibilities of the music to the limits of form and expression — and ultimately beyond both. The further he went, the more ambitious and less accessible the music became, until it was incomprehensible to almost all of his audience and even to some of his closest collaborators. In the logic of modernism, further means better. But “faster” and “louder” aren’t necessarily better, so why should “further” be the supreme critical value? To judge Coltrane’s late-style art is, in an important sense, to judge modernism itself, and especially American modernism.

Dominic Green, “John Coltrane and the End of Jazz”, The Weekly Standard, 2018-08-26.

December 9, 2020

The late steam-era boxcar and (a brief) flourish of colour

Filed under: Business, History, Railways, USA — Tags: , — Nicholas @ 03:00

In his Trains blog, George Hamlin discusses the changing colours of the ordinary railway boxcar in the brief era between post-war prosperity and the economic disasters of the 1960s and 70s:

Pre-war Duluth, South Shore & Atlantic boxcar number 18052 at the Mid-Continent Railway Museum.
Photo by Sean Lamb via Wikimedia Commons.

The advent of streamlining in the 1930s started to blow historic convention with regard to car colors away on the passenger side of railroading, but had little impact on freight operations prior to World War II. Following that conflict, however, some of the industry began to consider livening up the equipment that produced much of the revenue (and most of the profits) from which they derived their economic existence.

Some railroads also adopted more colorful boxcar paint schemes to promote special aspects of their freight service: the B&O had special schemes for both their “Sentinel” and “Timesaver” services; another example was the Missouri Pacific’s blue and gray (the road’s modern-day passenger colors) for their Eagle Merchandise Service. The Bangor & Aroostook had boxcars with red, white and blue horizontal stripes advertising products emanating from their home state, Maine.

Bangor and Aroostook boxcar 6375 in “State of Maine” paint scheme.
Image originally from Panoramio, but no user information provided.

Another example was the large fleet of New York Central’s “Pacemaker” boxcars, adorned in a combination of bright red and gray. Early on, the NYC even ran solid trains of this equipment in an expedited service which was designed to re-capture LCL (less than carload lot) traffic from the increasingly competitive motor trucking industry. (Interestingly, the NYC also had a color they called “Pacemaker Green” that was used for the pre-World War II all-coach New York-Chicago service, as well as on the road’s initial orders of non-stainless steel streamlined coaches.)

In the late 1950s, the Central introduced a more radical change, and began painting its boxcars in a Jade Green color (“Century Green”, according to the railroad) that was quite a dramatic change from boxcar red. The Great Northern also adopted a similar shade. CB&Q boxcars still had the same basic hue, but now they came in a brighter version dubbed “Chinese Red”.

By the 1960s, a number of roads had livened up their freight car liveries; the modestly-sized Reading utilized bright green and beige/yellow for both freight cars and locomotives. Late in its career as an independent railroad, the Great Northern adopted the striking bright “Big Sky Blue” for both passenger and freight cars. At its formation in 1976, Conrail adopted “traditional red oxide” as its choice for freight cars, however, sticking with tradition (and reversing the NYC’s earlier efforts).

Great Northern boxcar 138660 in the “Big Sky Blue” paint scheme, delivered September 1967.
Photo by David Pride http://www.davidpride.com/USA/Minnesota/Osceola_11_007.htm

August 6, 2020

Post WWII United Kingdom – Cold War Documentary

Filed under: Britain, Economics, History, Military, WW2 — Tags: , , , , , , — Nicholas @ 02:00

The Cold War
Published 11 Apr 2020

Our historical documentary series on the history of the Cold War continues with a video on the post-World War II situation in the United Kingdom

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#ColdWar #UK #WorldWar

July 9, 2020

Victorian Banana Candy or why does banana candy typically not taste like bananas?

Filed under: Food, History — Tags: , — Nicholas @ 02:00

Lofty Pursuits
Published 8 Aug 2017

Buy these candies at http://www.pd.net

Watch banana candies being formed by hand using Victorian techniques and discover why banana candy typically does not taste like what you think a banana should taste like. Also explore the weirdness of the banana plant and the correct way to peel a banana.

More information about the Secret Life of the City Banana:
https://www.nytimes.com/2017/08/04/ny…

Banana with seeds photo By Warut Roonguthai – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index…

July 1, 2020

British Railways: Goodbye To Steam aka Railway Modernisation (1958) | British Pathé

Filed under: Britain, Economics, History, Railways, Technology — Tags: , , , , — Nicholas @ 06:00

British Pathé
Published 13 Apr 2014

This archive footage from 1958 depicts British Railways’ journey to modernisation and the transition away from steam-powered trains.

For Archive Licensing Enquiries Visit: https://goo.gl/W4hZBv

#BritishPathé #History #Railway #Trains #BritishRailways

(FILM ID:1549.07)
Full title reads: “Goodbye To Steam”

Intertitle reads: “British Railways meet the challenge of the age of abundant power”

Angle shot, railway engine going past camera. GV Outside one of the large London Railway stations showing railway lines and train coming out of station. CU Man in signal box, pan to show him pulling levers. CU Signal going up. GV Train coming towards camera. GV Steam train. GV Aerial shots steam train. CU Man filming from plane. CU man in plane fitting equipment and then giving thumb’s up sign. GV Aerial shot, railway lines. CU Man filming from plane. Steam train going along line. SV Draughtsmen in office. CU Men looking through magnifier at a plan. CU Magnified picture of plan, zoom to show Railway chiefs seated round table with plan, among them is Sir Philip Warter. SV Elevated, railway chiefs looking at plan. CU One of the railway executives. SV Man with model of section of railway line which he places on the table and the railway executives study it. CU Sign reading “Kent Coast Electrification Widening to Provide Four Tracks”, pan to show railway line with only two tracks. GV Kent Coast line with men on bridge. SV Bridge with surveyor. CU Surveyor looking through theodolite. GV Tracking shot of men working. GV Men working at side of railway line with clouds of smoke coming from wood. CU New diesel engine. CU Sir Brian Robertson talking to train driver. CU People watching. CU Sir Brian Robertson blowing whistle. CU Int. diesel engine with driver operating controls. SV Diesel train moving out of station. CU Driver of diesel train. CU. Sir Brian Robertson sitting in carriage. LV Through window of diesel cab as train enters tunnel. SV Three engines on lines. CU Front of one of the engines with plate reading “Cornish Riviera Express”. CU Driver. SV Cornish Riviera Express in station. SV Woman taking in washing because smoke is billowing up from railway lines beside her garden. GV Cornish Riviera Express coming towards camera.

CU Front of steam train “The Bristolian”. SV along top of engine as blows off steam. CU Hand pulling chain. CU valve. GV Platform. CU shovelling coal. GV As train goes along. CU Driver of train. CU Driver. CU Fireman. CU Fire with coal being shovelled. SV Looking over coal tender. SV From driver’s cab of train going under bridge and out the other side. CU Driver. GV From driver’s cab of railway lines with another steam train. SV Int. class for instruction of diesel engine drivers. CU Lecturer talks about metal object. CU Men looking at machinery. SV Royal Scot in station. CU Driver of Royal Scot. GV Activities on platform in which Royal Scot is standing. GV Royal Scot leaving station. GV Building with sign, “English Electric Co. Ltd. Preston”. GV Int. of workshop showing men working on armatures. GV Ext. of building with “Vulcan Locomotives” painted on wall. GV Int. of workshop showing men working on railway engines. CU Man working inside railway engine. GV Workshop. SV Diesel train in station. CU Driver of diesel. GV railway lines in front of train as it moves along. SV Int. dining car in diesel train with attendant pouring coffee. GV Looking through cab window of railway lines in front of train as it goes under bridge and straight past station. CU Glass panel in door with “York Signal Box, Strictly Private”, door opens. SV Man sitting at control panel of box, he reaches over to controls. CU Man’s hands working controls. CU Plan on wall showing different lines and points. CU Hand pushing buttons. CU Signals. CU Point on lines. GV Steam train along lines. CU Train in museum. CU Compartment of old train. SV Ancient train “Locomotion 1828”. SV Diesel Locomotive. CU “Deltic” written on side. GV Deltic. GV Train in station. Various shots in Deltic carriage. SV Coal trucks. SV Railway worker attaching pipe to train. GV Calder Hall Nuclear / Atomic Power station. GV Electrical pylons and cables. GV Diesel train “Sir Brian Robertson” in platform with crowds. GV Crowds. SV “Sir Brian Robertson” unveiled by Mr Grand, General Manager of the Western Region of British Railways. SV Crowd. SV Sir Brian Robertson by train. CU Sign “Sir Brian Robertson”. GV The “Sir Brian Robertson” leaving Paddington Station. SV Steam train letting out smoke. CU Signals. GV Steam train. CU Train over the points. GV steam train leaving clouds of smoke.

BRITISH PATHÉ’S STORY
Before television, people came to movie theatres to watch the news. British Pathé was at the forefront of cinematic journalism, blending information with entertainment.

June 29, 2020

The End of the Line

Filed under: Cancon, History, Railways, Technology — Tags: , , , — Nicholas @ 06:00

NFB
Published 2 Sep 2015

This documentary short offers a nostalgic look at the steam locomotive as it passes from reality to history. In its heyday, the big smoke-belching steam engine seemed immortal. Now, powerful and efficient diesels are pushing the old coal-burning locomotives to the sidelines, and the lonely echo of their whistles may soon be a thing of the past.

Directed by Terence Macartney-Filgate – 1959.

May 27, 2020

American passenger trains before Amtrak

Filed under: Business, Government, History, Railways, USA — Tags: , , , , — Nicholas @ 03:00

George Hamlin reflects on the state of the US passenger rail system before the formation of Amtrak in 1971:

… non-commuter U.S. passenger trains can be said to have been under siege essentially for my entire lifetime, beginning not long after the end of World War II. Many railroads spent large sums to re-equip with streamlined lightweight equipment after the war, only to see what was originally couched as an investment turn into essentially a drain on their companies’ treasuries.

And the “rewards” for this? Passengers decamped to the rapidly-expanding airlines, and their personal automobiles. The decisive blow came in 1956, with the passage of the Federal Aid Highway Act, which led to the Interstate Highway System.

Quoting from Joe Welsh’s Pennsy Streamliners, The Blue Ribbon Fleet (page 138), “Referring to the challenge, [PRR President] Symes wrote ‘There is such a thing as planning an orderly retreat in the face of superior forces.’ Clearly, the bugle had been sounded.”

In 1958, an Interstate Commerce Commission Hearing Examiner predicted that there would be no intercity passenger trains by 1970; he only missed by four months, effectively (and didn’t count on the Southern Railway, Rio Grande and Rock Island shying away from the government’s largesse). In 1959, TRAINS magazine devoted an entire issue to what was now clearly a crisis; the cover bore the legend “Who Shot the Passenger Train?”, complete with simulated bullet hole.

The 1960s in the U.S. could well be described as the “train-off” decade from a transportation history perspective; get, and read, Fred Frailey’s Twilight of the Great Trains, for a blow-by-blow analysis. The 1970s quickly produced the Penn Central bankruptcy, which proved to be the catalyst for government intervention; less than a year later, Amtrak was on the scene.

And since, it has frequently found itself in a “Perils of Pauline” existence, ranging from lack of funding to buy equipment, in many cases, to several bouts of route eliminations, to micro-management by politicians that don’t seem to be willing to provide consistent operational funding so that the company can make reasonable plans.

PRR E8A 5803 with Train 72, The Red Bird, passing the Hartsdale, Indiana tower and crossing the NYC and EJ&E on November 26, 1965.
Photo from the Roger Puta collection via Wikimedia Commons.

May 1, 2020

Federal Express runaway train incident 67 years later

Filed under: History, Railways, USA — Tags: , , , — Nicholas @ 02:00

Thunderbolt 1000 Siren Productions
Published 17 Jan 2020

2 days late and I lost several hours of sleep but holy hell it’s worth it now that it’s done! Enjoy this pretty interesting story on a runaway GG1 just days before Eisenhower’s inaguration
Please don’t shoot me for the Trump pics 😐
Next to come up is Glendale and *passes out*

Please donate!
https://www.gofundme.com/thunderbolt-…

I’m just a struggling college student! Your generous donations will enable me to continue my education and ensure future posts and educational films. Thank you!!!

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March 8, 2020

Britain’s Post-WWII Naval Decline

Filed under: Britain, History, Military — Tags: , , , , , , — Nicholas @ 03:00

Sal Viscuso
Published 1 Dec 2013

Max Hastings describes the declining British post-WWII role in global affairs.

February 29, 2020

Dardick Model 1500: The Very Unusual Magazine-fed Revolver

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

Forgotten Weapons
Published 12 Nov 2019

This is Lot 1953 in the upcoming RIA December Premier auction.

The Dardick 1500 was a magazine-fed revolver designed by David Dardick in the 1950s. His patent was granted in 1958, and somewhere between 40 and 100 of the guns were made in 1959, before the company went out of business in 1960. The concept was based around a triangular cartridge (a “tround”) and a 3-chambered, open-sided cylinder. This wasn’t really of direct benefit to a handgun, but instead was ideal for a high rate of fire machine gun, where the system did not need to pull rounds forward or backward to chamber and eject them. In lieu of military machine gun contract, Dardick applied the idea to a sidearm.

The Model 1500 held 15 rounds, inside a blind magazine in the grip. It was chambered for a .38 caliber cartridge basically the same as .38 Special ballistically. A compact Model 1100 was also made in a small numbers, with a shorter grip and correspondingly reduced magazine capacity (11 trounds). A carbine barrel/stock adapter was also made. The guns were a complete commercial failure, with low production and lots of functional problems. Today, of course, they are highly collectible because of that scarcity and their sheer mechanical weirdness.

http://www.patreon.com/ForgottenWeapons

Cool Forgotten Weapons merch! http://shop.bbtv.com/collections/forg…

Contact:
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Tucson, AZ 85704

I’ve always had an interest in the Dardick, from their appearance in some of L. Neil Smith’s science fiction novels. I linked to an earlier article of his, and commented:

As Neil pointed out in one of his books, the Dardick was the answer to a bad crime writer’s prayers: it was literally an automatic revolver. (For those following along at home, an “automatic” has a magazine holding the bullets which are fed into the chamber to be fired by the action of the weapon: fire a bullet, the action cycles, clearing the expended cartridge and pushing a new one into place, cocking the weapon to fire again. A “revolver” holds bullets in the cylinder, rotating the cylinder when the gun is fired to put a new bullet in line with the barrel to be fired. The Dardick is the only example I know of that combines both in one gun.)

October 2, 2019

QotD: Senator Joe McCarthy

Filed under: Books, History, Media, Politics, Quotations, USA — Tags: , , , , — Nicholas @ 01:00

I’ve been reading M Stanton Evans’s excellent and scholarly Blacklisted by History: The Untold Story of Senator Joe McCarthy and His Fight Against America’s Enemies (published some 12 years ago) and marveling at the sheer extent of a shameless campaign of vilification, lies and sabotage to which McCarthy was subjected both during his brief public career as America’s number one “Red hunter” and ever afterwards, to the obvious extent that his name has become synonymous with a sinister and unprincipled persecution akin to witch trails. Ann Coulter has called Evans’s 600-plus pages tome, “the greatest book since the Bible”, and while I probably wouldn’t go to such an extent of praise, this book must surely rank as one of the best revisionist histories of recent times.

Pretty early on in the reading, it has occurred to me that the collusion between Democrat politicians, government departments and agencies, and liberal press to cover up the official sins of commission and omission, derail McCarthy’s investigations thereof, blacken his name, and destroy him personally and politically runs according to a very familiar script. It’s essentially what the progressive political and cultural elites have done to any number of conservative politicians and activists seen as a threat to their power and reputation. Donald Trump is merely the latest in a long and distinguished line.

To paraphrase Shakespeare’s Marc Antony, I came here not to praise Donald but to see how the left is trying to bury him. Until reading Evans’s book, I have not quite realised how similar and similarly underhand, vicious and persistent the campaign against Joe McCarthy had been. The “Swamp” is real; it was real in the 1940s and 1950s, and it is just as real now and just as committed to destroying any outside threats to its continuing position and influence. This is not a conspiracy theory; this is simply how power structures work to protect and perpetuate themselves. The viciousness is a function not just of the unshakable self-belief in one’s intellectual and moral rightness and superiority but also of a certain form of snobbery directed by the members of the “in-crowd” – what once used to be known as the Liberal or the East Coast Establishment and now more broadly, among many other names and designations, as the “coastal elites” – against outsiders who don’t share their sophisticated social, educational or professional background. The Swamp managed in the end to defeat McCarthy and turn him in the historical and popular memory into one of the great villains of American history; the book is still open on Trump’s ultimate fate and legacy. None of this is to suggest that McCarthy or Trump are flawless human beings and faultless political figures; quite the contrary. But the campaigns of destruction they are subjected to ultimately have little to do with their specific failings and mistakes. It’s a total war.

Arthur Chrenkoff, “Before there was Trump, there was Joe McCarthy”, Daily Chrenk, 2019-09-30.

August 14, 2019

1950s Willys Jeep Promotional Film – The Jeep Family Of 4 Wheel Drive Vehicles

Filed under: Business, History, Technology, USA — Tags: , , — Nicholas @ 02:00

PeriscopeFilm II
Published on 3 Sep 2015

Willys, the “World’s Largest Manufacturer of Utility Vehicles,” presents the Jeep Family of 4-Wheel Drive Vehicles and Special Equipment, a circa 1954 black-and-white film promoting Jeeps produced for civilian use. Following the success of Jeeps during World War II, the film opens with an explanation of how the vehicles soon their way to civilian use. Some of the vehicles seen in this film are used by construction companies, farmers, firefighters, and even at airports to tow aircraft and move cargo trailers and plow snow. At mark 02:49 the film introduces other types of Jeep equipment, such as a generator that turns the vehicle “into a mobile source of electric power to operate saws, communication equipment, motion picture equipment, flood and spotlights. And indeed any electrical equipment that must be moved around over bad terrain or in bad weather.” Scenes also capture telephone company repair crews, oil field crews, plus local and state road crews and construction companies. A Jeep is shown at a cemetery at mark 04:03 moving sand, shrubs, and burial equipment around the grounds in addition to lifting memorial markers. The viewer learns about variable engine speeds beginning at mark 05:55 with an up-close look at an engine and a discussion of its power, as well as various ways that power can be tapped for various operations. As it continues the film touts the Jeep rotary cutter (mark 07:45) as high brush is cut down, a hammer mill (mark 08:15), and a trencher (mark 08:30). There are forklift attachments, front and rear winches, as a front winch is shown pulling a dead tree from the ground (mark 10:10). The sales pitch rolls on at mark 11:42 showing some Jeep steel tops including the half-cab, master, and standard top — “each one designed for a special purpose but all three designed to stand up in rough hard service year after year.” Mark 12:00 begins an explanation of the vehicle’s 4-wheel drive capabilities, meaning that the vehicle “can go anywhere to do its job” including remote camping and hunting spots, while by mark 13:48 there’s a look at a Willys sedan delivery vehicle as grocery store employees are shown loading items into the back, and the Willys pick-up trick at mark 14:52. Other models are shown hauling grain and livestock, as well as an ambulance (mark 17:00).

Jeep is a brand of American automobiles that is a division of FCA US LLC (formerly Chrysler Group, LLC), a wholly owned subsidiary of Fiat Chrysler Automobiles. The original Jeep was the prototype Bantam BRC. Willys MB Jeeps went into production in 1941 specifically for the military, arguably making them the oldest four-wheel drive mass-production vehicles now known as SUVs. The Jeep became the primary light 4-wheel-drive vehicle of the United States Army and the Allies during World War II, as well as the postwar period. The term became common worldwide in the wake of the war. The first civilian models were produced in 1945. It inspired a number of other light utility vehicles, such as the Land Rover. Many Jeep variants serving similar military and civilian roles have since been designed in other nations. Willys-Overland and Ford, under the direction of Charles E. Sorensen (Vice-President of Ford during World War II), produced about 640,000 Jeeps towards the war effort, which accounted for approximately 18% of all the wheeled military vehicles built in the U.S. during the war.

From 1945 onwards, Willys took its four-wheel drive vehicle to the public with its CJ (Civilian Jeep) versions, making these the first mass-produced 4×4 civilian vehicles. In 1948, the U.S. Federal Trade Commission agreed with American Bantam that the idea of creating the Jeep was originated and developed by American Bantam in collaboration with some U.S. Army officers. The commission forbade Willys from claiming, directly or by implication, that it had created or designed the Jeep, and allowed it only to claim that it contributed to the development of the vehicle. However, American Bantam went bankrupt by 1950, and Willys was granted the “Jeep” trademark in 1950.

This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD and 2k. For more information visit http://www.PeriscopeFilm.com

June 4, 2019

Railroad Town

Filed under: Cancon, History, Railways — Tags: , , , — Nicholas @ 04:00

NFB
Published on 7 Aug 2017

This short documentary is a delightful trip back to an era in which railroad was king.

Directed by Don Haldane

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