Quotulatiousness

June 7, 2021

Dude, where’s my (flying) car?

Filed under: Books, Economics, Government, History, Technology — Tags: , , , , , — Nicholas @ 05:00

The latest of the reader-contributed book reviews at Scott Alexander’s Astral Codex Ten looks at Where is my Flying Car? by J. Storrs Hall:

What went wrong in the 1970s? Since then, growth and productivity have slowed, average wages are stagnant, visible progress in the world of “atoms” has practically stopped — the Great Stagnation. About the only thing that has gone well are computers. How is it that we went from the typewriter to the smartphone, but we’re still using practically the same cars and airplanes?

Where is my Flying Car? by J. Storrs Hall, is an attempt to answer that question. His answer is: the Great Stagnation was caused by energy usage flatlining, which was caused by our failure to switch to nuclear energy, which was caused by excessive regulation, which was caused by “green fundamentalism”.

Three hundred years ago, we burned wood for energy. Then there was coal and the steam engine, which gave us the Industrial Revolution. Then there was oil and gas, giving us cars and airplanes. Then there should have been nuclear fission and nanotech, letting you fit a lifetime’s worth of energy in your pocket. Instead, we still drive much the same cars and airplanes, and climate change threatens to boil the Earth.

I initially thought the title was a metaphor — the “flying car” as a standin for all the missing technological progress in the world of “atoms” — but in fact much of the book is devoted to the particular question of flying cars. So look at the issue from the lens of transportation:

    Hans Rosling was a world health economist and an indefatigable campaigner for a deeper understanding of the world’s state of development. He is famous for his TED talks and the Gapminder web site. He classifies the wealthiness of the world’s population into four levels:

    1. Barefoot. Unable even to afford shoes, they must walk everywhere they go. Income $1 per day. One billion people are at Level 1.

    2. Bicycle (and shoes). The $4 per day they make doesn’t sound like much to you and me but it is a huge step up from Level 1. There are three billion people at level 2.

    3. The two billion people at Level 3 make $16 a day; a motorbike is within their reach.

    4. At $64 per day, the one billion people at Level 4 own a car.

    The miracle of the Industrial Revolution is now easily stated: In 1800, 85% of the world’s population was at Level 1. Today, only 9% is. Over the past half century, the bulk of humanity moved up out of Level 1 to erase the rich-poor gap and make the world wealth distribution roughly bell-shaped. The average American moved from Level 2 in 1800, to level 3 in 1900, to Level 4 in 2000. We can state the Great Stagnation story nearly as simply: There is no level 5.

Level 5, in transportation, is a flying car. Flying cars are to airplanes as cars are to trains. Airplanes are fast, but getting to the airport, waiting for your flight, and getting to your final destination is a big hassle. Imagine if you had to bike to a train station to get anywhere (not such a leap of imagination for me in New York City! But it wouldn’t work in the suburbs). What if you had one vehicle that could drive on the road and fly in the sky at hundreds of miles an hour?

Before reading this book, I thought flying cars were just technologically infeasible, because flying takes too much energy. But Hall says we can and have built them ever since the 1930s. They got interrupted by the Great Depression (people were too poor to buy private airplanes), then WWII (airplanes were directed towards the war effort, not the market), then regulation mostly killed the private aviation industry. But technical feasibility was never the problem.

Hall spends a huge fraction of the book on pretty detailed technical discussion of flying cars. For example: the key technical issue is takeoff and landing, and there is a tough tradeoff between convenient takeoff/landing and airspeed (and cost, and ease of operation). It’s interesting reading. But let’s return to the larger issue of nuclear power.

May 31, 2021

The History of HSTs in the West

Ruairidh MacVeigh
Published 29 May 2021

Hello again! 😀

With the recent withdrawal of the last HST operations into London, I wanted to make a series of videos chronicling the history of these mighty trains in terms of their years of each region they were assigned to, the Great Western, East Coast, Midland, West Coast and Cross Country Routes.

With that in mind, we start with the first of the BR Regions to employ the venerable HST, but also the first to withdraw them from long distance services, the Great Western, a line that, since its inception under the auspices of Brunel, has played host to many different types of trains, but none have had greater impact that the superb HSTs.

All video content and images in this production have been provided with permission wherever possible. While I endeavour to ensure that all accreditations properly name the original creator, some of my sources do not list them as they are usually provided by other, unrelated YouTubers. Therefore, if I have mistakenly put the accreditation of “Unknown”, and you are aware of the original creator, please send me a personal message at my Gmail (this is more effective than comments as I am often unable to read all of them): rorymacveigh@gmail.com

The views and opinions expressed in this video are my personal appraisal and are not the views and opinions of any of these individuals or bodies who have kindly supplied me with footage and images.

If you enjoyed this video, why not leave a like, and consider subscribing for more great content coming soon.

Thanks again, everyone, and enjoy! 😀

References:
– 125Group (and their respective sources)
– Wikipedia (and its respective references)

May 20, 2021

Men Will Be Boys (1970)

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

British Pathé
Published 13 Apr 2014

Men will be boys. Various locations.

M/S men round lake with boats. C/U man in lake with waders with model boat. C/U another man with model boat. Man lighting boiler. C/U engine working. M/S as model of paddle boat moves through water. M/S paddle boat on water. In foreground a swan. C/U another model boat going through water. M/S pan scale model of Hitler’s yacht. M/S men playing with model cars on race track. C/U cars going round race track. C/U men’s hands on controls. C/U men looking at cars go past. L/S of cars going round race track.

L/S men playing war games with model soldiers. on large table. C/U as man moves soldiers out of line laying them on ground. M/S man moves horses forward. C/U hand placing cannon into position. C/U hand places horse troops in position. M/S lines of soldier. Hand places another in position. M/S of troops being moved.

M/S Mr Victor Martin and wife go through gate by railway crossing dressed up in their uniforms, carrying lamps etc. M/S as they make their way to their signal boxes. C/U railway notice ‘By Midland Railway’. Pa off notice to show Mr Martin approaching his signal box. M/S Martin going into signal box. M/S Mrs Martin going into signal box. C/U Mrs Martin going into signal box. C/U interior. Mr Martin hanging up his jacket inside signal box. He then sits at the controls. C/U signal controls working. C/U of Mr Martin operating signals. Camera zooms back and we see train going past him along track. C/U model train over track. C/U Mrs Martin working in her signal box.

M/S Mrs Martin working signal controls. C/U Mrs Martin. M/S showing trains going over track. C/U trains moving. Camera zooms out to show tracks . C/U trains moving. C/U looking along tunnel showing trains moving. C/U exterior. Signals working. Then camera pans to show where the trains run on an enclosed section out in the open. C/U goods train and passenger train moving. M/S Interior. Trains going over track and Mr Martin at controls.
FILM ID:2241.18

A VIDEO FROM BRITISH PATHÉ. EXPLORE OUR ONLINE CHANNEL, BRITISH PATHÉ TV. IT’S FULL OF GREAT DOCUMENTARIES, FASCINATING INTERVIEWS, AND CLASSIC MOVIES. http://www.britishpathe.tv/

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British Pathé also represents the Reuters historical collection, which includes more than 136,000 items from the news agencies Gaumont Graphic (1910-1932), Empire News Bulletin (1926-1930), British Paramount (1931-1957), and Gaumont British (1934-1959), as well as Visnews content from 1957 to the end of 1984. All footage can be viewed on the British Pathé website. https://www.britishpathe.com/

May 17, 2021

An older BBC dramatization on the slave trade that seems to have gone down the memory hole

Filed under: Africa, Britain, History, Media, USA — Tags: , , , , , — Nicholas @ 03:00

At Samizdata, Niall Kilmartin wondered why the BBC hadn’t gotten around to showing a 1970s historical series through the year-and-more of the pandemic lockdowns. He doesn’t mention the name of the series, and an unusually unhelpful BBC site search didn’t turn up a name but IMDB suggests it was 1975 and the series was called The Fight Against Slavery:

Fifty years ago, the BBC screened a dramatised documentary series about the fight to abolish the slave trade. Even a year of the virus limiting new series, at a time of great BBC eagerness to talk about racism, has not made them screen it again.

– I see one reason why they have not: the series displayed sleazy white slave traders and abusive white slave owners prominently, but it also showed white people eager to end the slave trade and (much worse) black people eager to continue it. It included the king of Dahomey’s threat: “if you do not allow me to sell you my slaves, their fate will be a great deal worse” (a very brief scene of the Dahomey murder spectacle lent meaning to his remark). After abolition was voted, it showed a white slave trader assuring the Dahomans, as a drug dealer might his suppliers, “It is one thing for parliament to pass a law …”, hinting at the Royal Navy’s long and hard campaign to enforce it.

– Only recently did I spot another reason why they would not want to show it again – the scene in which a corrupt old white slave trader warns his young colleague that “it’s more than your life’s worth” to doubt the ability of their slave-selling hosts to count very accurately the quantity of trade goods being handed over in exchange, and to assess their quality knowledgeably. The traders well knew that Africans counted two plus two as four, just as they did. Any trader who imagined that black ability to add diverged enough from white to enable an attempt to short-change them had learned otherwise long before the 1780s.

– The southern Confederacy thought the same. Until its death throes, it forbade enlisting a southern black as a Confederate soldier because, as one Confederate senator put it, “If blacks can make good soldiers then our whole theory of slavery is wrong.” (Perhaps also because even southern white Democrats realised that southern black desire to fight against blacks being freed was likely to be a very minority taste.) But there was one exception. Every regiment had its regimental band, which played to set the pace at the start and end of marches, used trumpets to signal commands in battle – and fought when other duties did not supervene. From its start to its end, Confederate law said any black could enlist as bandsman, with the same pay and perquisites as a white – a very rare example of formal legal equality. (Playing music requires the ability to count time. For the woke, “dismantling the legacy of the Confederacy” apparently includes dismantling its realisation – shared by the Victorian composer Dvorak – that blacks often excelled in music so much as to overcome prejudice against black ability. Today, it’s “racist” to value instrumental skill.)

“Politically correct” has meant “actually wrong” ever since the first commissar explained to the first party comrade that it was neither socialist nor prudent to notice a factual error in the party line. “Structurally racist” is PC’s modern companion. No longer are the woke content merely to imply (“mathematics is racist”, “punctuality is racist”, “politeness is racist”) that blacks can’t count, can’t tell the time and can only behave crudely. They’re starting to say it in words of fewer syllables.

If I’d scrolled down to the comments, I’d have discovered that Natalie Solent had also dug up the name of the series:

Natalie Solent (Essex)
May 10, 2021 at 4:30 pm
Outstanding post, Niall. Was the BBC series you mentioned “The Fight Against Slavery“, written and narrated by Evan Jones? I have not seen it – given that I was ten or eleven in 1975 my parents probably thought I was too young too see it.

However someone called “InternetPilgrim” has put up three videos of the series on YouTube. There is a link to Part I here, Part II here and Part III here, so I will try to remedy that lack soon.

April 14, 2021

Tank Chat #103 | Laird Centaur | The Tank Museum

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

The Tank Museum
Published 15 May 2020

David Fletcher looks at this curiosity from the 1970’s, a Land Rover with tracks. Currently housed in The Tank Museum’s Vehicle Conservation Centre.

Support the work of The Tank Museum on Patreon: ► https://www.patreon.com/tankmuseum
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#tankmuseum #tanks

March 25, 2021

Hunter S. Thompson’s Fear and Loathing in Las Vegas

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

I first read Thompson’s Fear and Loathing in the late 1970s and being as callow and inexperienced as most teenagers, I took it for a mostly factual exploit (along with many older readers who didn’t have my excuse for gullibility). I passed the book on to one of my friends who became mildly obsessed with “Raoul Duke” and the adventures recounted in the book. I’ve long since lost touch with him, but I’m sure he’d be horribly disappointed to discover that Thompson probably imagined 90% of it:

    We were somewhere around Barstow on the edge of the desert when the drugs began to take hold. I remember saying something like “I feel a bit lightheaded; maybe you should drive …” And suddenly there was a terrible roar all around us and the sky was full of what looked like huge bats, all swooping and screeching and diving around the car, which was going about a hundred miles an hour with the top down to Las Vegas.

From the outset, Fear and Loathing in Las Vegas is an outrageous and darkly amusing tale of two crazed men turned loose in the world’s capital of decadence. Raoul Duke and Doctor Gonzo, clearly based upon Thompson and Acosta, are carrying a veritable pharmacopoeia in the trunk of their rented car, and throughout the novel they abuse a litany of substances as they stumble through casinos, bars, and hotels terrorising staff and patrons alike. Though Duke and Gonzo are, like the real Thompson and Acosta, tasked with covering the Mint 400, their assignment is quickly lost in the carnage. Near the end of the book, Duke admits he “didn’t even know who’d won the race.”

If you are unfamiliar with Thompson’s work, you may wonder why it matters that their efforts to complete a minor assignment ended in failure. Authors like Ernest Hemingway had mined their journalistic experience for material to incorporate into their fiction, so it is hardly unusual that Thompson would find inspiration for a novel whilst covering the Mint 400. But his approach with this book went beyond mere inspiration. Throughout Fear and Loathing, reality and imagination are blurred to the extent that no one really has much idea of what really happened on their trip.

[…]

In this letter, he made the startling confession that Fear and Loathing had not merely exaggerated the debauchery that took place in Vegas, but that there had in fact been no drugs at all. Could this really be true? Was the most notorious drug book of its era really inspired by a drug-free journey?

Before we can answer that, it is important to note the chronology of events on which the book was based. Whilst the book portrays the two men tearing apart hotels and casinos over a period of several days, there were in fact two distinct trips. First, they went to cover the Mint 400 on Mach 21st–23rd, then they returned for the National District Attorneys’ Conference on Narcotics and Dangerous Drugs on April 25th–29th. Thompson simply rolled the two events together into a single narrative. The evidence suggests that, during the first trip, Thompson and Acosta drank heavily and perhaps smoked a little pot, but certainly did no serious drug-taking. The famed pharmacopeia in the trunk of their convertible was fictitious:

    The trunk of the car looked like a mobile police narcotics lab. We had two bags of grass, seventy-five pellets of mescaline, five sheets of high-powered blotter acid, a salt shaker half full of cocaine, and a whole galaxy of multi-colored uppers, downers, screamers, laughers … and also a quart of tequila, a quart of rum, a case of Budweiser, a pint of raw ether and two dozen amyls.

As tempting as it is to believe that this existed, it was a product of Thompson’s prodigious imagination. He was, however, keen to keep his readers in the dark, hence his letter to Silberman and the inclusion of his photo on the back cover. Since childhood, he had been obsessed with appearing as an outlaw, yet real outlaws never explicitly said that’s what they were. They merely hinted at it.

Of course, Thompson’s “drug-diet” did consist of various illegal substances, which made his descriptions of their effects rather convincing, but not only did he remain mostly drug-free in Vegas, he also wrote the novel with little more than beer and tobacco in his system. Back home in Colorado, he polished his story carefully through many drafts. The result was a far more intelligent and coherent work than almost anything else he published.

It was only during the second of the two trips that they began to consume drugs, but even then their indulgence was mild when compared with Duke and Gonzo’s extravagant excesses. They had marijuana, a few pills, and possibly some mescaline, but nothing else. His descriptions of LSD came from experiments several years earlier, the parts about adrenochrome were entirely fabricated, and — surprisingly — Thompson had not yet tried cocaine by 1971.

February 10, 2021

Victor Davis Hanson on Animal Farm, America’s nightmare 2021 version

Filed under: Books, Liberty, Politics, USA — Tags: , , , , , , — Nicholas @ 03:00

Victor Davis Hanson outlines the original George Orwell novel and then contrasts today’s situation with what progressives demanded back in the 1960s and 70s:

Yes, the downtrodden pigs, the exploited horses, and the victimized sheep finally did expel Farmer Jones from America’s Animal Farm.

But in his place, as Orwell predicted, revolutionary pigs began walking on two feet and absorbed all the levers of American cultural influence and power: the media, the bureaucracies, Wall Street, Silicon Valley, publishing, the academy, K-12 education, professional sports, and entertainment. And to them all, the revolutionaries added their past coarseness and 1960s-era by-any-means-necessary absolutism.

We are now finally witnessing the logical fruition of their radical utopia: Censorship, electronic surveillance, internal spying, monopolies, cartels, conspiracy theories, weaponization of the intelligence agencies, pouring billions of dollars into campaigns, changing voting laws by fiat, a woke revolutionary military, book banning, bleeding the First Amendment, canceling careers, blacklisting, separate-but-equal racial segregation and separatism.

Conspiracies? Now they brag of them in Time. Read their hubristic confessionals in “The Secret History of the Shadow Campaign That Saved the 2020 Election.” Once upon a Time, radicals used to talk of a “secret history” in terms of the Pentagon Papers, or a “shadow campaign” in detailing Hollywood blacklisting. They are exactly what they once despised, with one key qualifier: Sixties crudity and venom are central to their metamorphosis.

Our left-wing American revolutionary cycle from the barricades to the boardroom was pretty quick — in the manner that the ideology of the Battleship Potemkin soon led to Stalin’s show trials, or Mao’s “long march” logically resulted in the Cultural Revolution. The credo, again, is that the noble ends of forced “equity” require any means necessary to achieve them.

The Left censors books in our schools, whether To Kill a Mockingbird or Tom Sawyer. It is the Left who organizes efforts to shout down campus speakers or even allows them to be roughed up.

The Left demands not free-speech areas anymore, but no-speech “safe spaces” and “theme houses” — euphemisms for racially segregated, “separate-but-equal” zones. “Microaggressions” are tantamount to thought crimes. The mere way we look, smile, or blink can indict us as counterrevolutionaries. Stalin’s Trotskyization of all incorrect names, statues, and commemoratives is the Left’s ideal, as they seek to relabel Old America in one fell swoop. No one is spared from the new racists, not Honest Abe, not Tom Jefferson, not you, not me.

For “teach-ins,” we now have indoctrination sessions. But the handlers are no longer long-haired 1960’s dreamy, sloppy, and incoherent mentors. They are disciplined, no-nonsense brain-washers.

The Left’s Russia is our new old bogeyman. Putin is the new “We will bury you” Khrushchev.

February 3, 2021

QotD: The “Parkerization” of wine

Filed under: Business, Economics, Quotations, Wine — Tags: , , , , — Nicholas @ 01:00

… mega-star wine critic Robert Parker Jr., a man who has more influence on the taste and price of wine than anyone else has, or ever had had. Now in his seventies, Parker is retired. But back in 1975, the former lawyer, taking his lead from former presidential candidate, Ralph Nader — a consumer rights advocate — began to publish The Wine Advocate, a kind of consumer guide to fancy wine.

The world of wine had never seen anything like it. Parker was on a mission to demythologise all the snobby and obscure terminology under which fine wine was clouded and developed a simple 100 point scale on which wines could be judged.

As his influence grew, a Parker wine score in the 90s would pretty much guarantee considerable financial success to a vineyard. Inevitably, so the argument goes, those who made wine started to adjust the taste of their product so that it would suit the arbiter’s palate.

Parker generally likes big, dark, gutsy, jammy, tannic wines that can, his critics say, be engineered to taste that way in post-production, often by use of imported yeasts or through the use of young oak barrels. It’s more about clever chemistry than the particular charisma of the local terroir. Parker’s taste favours the muscular Californian Cabernet wines and the great Château wines of Bordeaux, yet has little appreciation for the lighter, less tannic, more subtle Pinot Noirs from Burgundy or Gamays from the Loire Valley. “Bad critics look at Pinot through Cabernet-tinted spectacles and so criticise it for being something it never set out to be,” writes Clive Coates, in a not so subtle dig at Parker, in his encyclopaedic The Wines of Burgundy.

Those who bewail Parker’s phenomenal influence speak of “parkerisation” as the wine equivalent of globalisation. The New York Times wine critic Alice Feiring writes that this is how “Rioja loses its Spanish accent”: parkerisation leads to an increasingly homogenised style of wine in which the diversity of grapes and wine tastes come to be submerged under the over powerful influence of Parker’s very particular palate. Those, like her, who prefer subtlety in their wine speak dismissively of Parker’s love for “jam bombs”.

Those who defend Parker, argue that his 100 point scale works as a kind of bullshit detector. It’s cutting through all the fancy talk and obscure (often) French classifications, to focus on the taste and the taste alone.

Giles Fraser, “Is wine starting to taste the same?”, UnHerd, 2020-10-14.

January 20, 2021

QotD: Helping the homeless

Filed under: Government, Health, History, Liberty, Quotations, USA — Tags: , , , , — Nicholas @ 01:00

I understand that the general media explanation of homelessness is to blame it on the cold heart of whoever was the last Republican President in office, but it is hard for me to correlate national policy with trends in homelessness. I am maybe 70% convinced that the closing of mental health facilities in the 70’s and 80’s across most cities and states was the main cause, a hypothesis born out by the high rates of mental illness recorded in most homeless populations. This is why I think so much government spending for the homeless is wasted — it all focuses on creating homes, I guess just because of our word choice of “homeless”. If we called them the mentally ill, or perhaps “helpless” rather than “homeless” we might investigate other approaches.

I see a number of sources nowadays trying to pin these closures entirely on tight-fisted Republican governors, and I am sure this is partly true. But this misses an important element — that civil libertarians had real issues with both the conduct of these institutions (e.g. One Flew Over The Cuckoo’s Nest) and the fairness of the forced-institutionalization process. Also tied up in all this were Cold War stories of Soviet Russia using institutionalization in mental hospitals as a way to dispose of dissidents. After all, it is a short step from the totalitarian view of ideology (ie that everyone must believe, not just comply) to declaring that any deviation from the official orthodoxy constitutes mental illness.

Warren Meyer, “Why I Go Back and Forth On Issues of Forced Psychiatric Institutionalization”, Coyote Blog, 2018-09-20.

January 17, 2021

QotD: Hunter S. Thompson

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

HST killed himself. He never would have “turned his life around” — that’s a hard thing to try when the room’s been spinning for 40 years. Depression? Wouldn’t be surprising. A bad verdict from the doc? Wouldn’t be surprising. A great writer in his prime, but the DVD of his career would have the last two decades on the disc reserved for outtakes and bloopers. It was all bile and spittle at the end, and it was hard to read the work without smelling the dank sweat of someone consumed by confusion, anger, sudden drunken certainties and the horrible fear that when he sat down to write, he could only muster a pale parody of someone else’s satirical version of his infamous middle period. I feel sorry for him, but I’ve felt sorry for him for years. File under Capote, Truman — meaning, whatever you thought of the latter-day persona, don’t forget that there was a reason he had a reputation. Read Hell’s Angels. That was a man who could hit the keys right.

James Lileks, The Bleat, 2005-02-21

December 6, 2020

QotD: Mid-70s TV

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

What was especially unfortunate (rather insidious really) about this moment was that the broadcast model of television distribution created a situation of artificial scarcity. It was not a proper competitive environment like we enjoy today. It truly was monopolistic, even if the snake did have three heads. Only a few huge corporations could afford the infrastructure for these national networks. Airspace was limited. Thus to make room for the new, the old had to be cast aside. As I happen to love all those new shows CBS introduced, I am glad they were brought into being. But how much better it would have been if the older shows could have been retained at the same time, because I also love those. TV variety, heir to vaudeville, was effectively killed dead by this historical moment, and that’s to be regretted.

[…]

But during the second half of the decade things changed. I have a good sense of when all the good shows started going wrong, but have had a harder time on figuring out why they did. As near as I can tell in most cases, the stars of the shows became too big for their britches. They won awards, they were on the covers of all the magazines, they got huge salary increases, and then they started getting creative control over their shows. I’m still somewhat at a loss as to why the actors’ mass madness took the same form all across the board, this humorless didacticism, the need to be “dramatic.” But it could be simply that there is a very funny elephant in the room. Because when I find myself asking the question, “Is it possible that actors are egotistical? Self-indulgent? Consumed with self-importance? Megalomaniacs?” Well, there’s your answer. Those qualifiers practically form part of the textbook definition of the word “actor”. They want to be taken seriously. And so, across the board, most of the stars of these shows started either transforming their characters into Christ-like saviors, or turning their programs into pulpits.

Also perhaps to a certain extent these new situation comedies attracted a different kind of star. The new breed were not the Buddy Ebsen/Lucille Ball/Jackie Gleason/Red Skelton type vaudeville clowns. Most of the new stars were college educated, had gone to drama school, been in improv and other theatre and sketch troupes, and appeared in lots of legit theatre. They didn’t just know who Shaw and Ibsen were, they had performed in such serious drama. They scorned old school comedy as “corny”; they were much more concerned with what they called “truth”. I remember reading interviews with Alan Alda in which he complained about episodes from the first season of M*A*S*H that had more farcical plots (e.g. “Tuttle” or the one where Frank Burns gets gold fever.) Fans happen to love these episodes; Alda however tends to favor dramatic episodes from the later years, but we’ll return to that.

Trav S.D., “The Insufferables, or Sanctimony in the Seventies: How Hollywood Helped Make Liberalism Unpopular”, Travalanche, 2018-03-12.

October 31, 2020

Modern Halloween costumes show us how wealthy we have become

Filed under: Cancon, Economics, History, Media, USA — Tags: , , , , , , — Nicholas @ 03:00

Richard Lorenc looks back at the “costumes” for Halloween from the 1970s and 1980s to help illustrate how much our general economic picture has improved since those dark days:

While my husband and I were recently struggling to figure out our costumes for this Halloween (and we still don’t have any idea), he pulled up some old commercials on YouTube. The off-the-shelf options that trick or treaters had were, in a word, pitiful.

Basically, costume makers thought it was ok to make a front-only plastic mask (in any color, really) of a character and top it off with a plastic smock featuring an illustration of said character with either its name or the name of the show or movie it comes from. There was no attempt to dress in the character’s actual attire. If you wanted that, you’d either have to know a professional costumer or cobble together something from your closet.

Take a look for yourself at just how costume-poor we used to be:

Obviously, every costume is an opportunity to generate interest in a brand or franchise, and slapping on a logo is an easy way to get a name out there, but these costumes truly heralded a dark time for Halloween. Some may even argue that it demonstrated crass consumerism at its worst, with cynical companies taking the easiest route to grabbing a couple of bucks from desperate parents.

The truth of the tragedy of terrible old Halloween costumes has to do with a simple idea: specialization.

[…]

The next time you compare our screen-accurate store-bought costumes of Darth Vader and Mr. Incredible to those of yesteryear, remember that we enjoy them today not because previous generations didn’t care for accurate costuming, but because growing trade across the globe has generated so much wealth for each of us that we can now demand things we may have only imagined previously.

I only realized as I got ready to schedule this post that it was an article I’d blogged a couple of years back, but the point of the story is still relevant even in our pandemic-wracked economy of 2020.

October 26, 2020

Kathy Shaidle tells the story of Hamilton’s 1970s cult children’s TV show

Filed under: Cancon, Humour, Media — Tags: , , , , — Nicholas @ 03:00

I still have fond memories of CHCH TV’s Hilarious House of Frightenstein and Kathy Shaidle clearly does too:

The Hilarious House of Frightenstein was produced in 1971 by our one and only TV station, CHCH. This hour-long, 130-episode kids’ show combined the mid-century sensibility of Famous Monsters of Filmland with the then-hip look and sound of psychedelia: kaleidoscopic “special effects” plus Top 40 hits spun by “The Wolfman,” an affectionate rip-off of legendary DJ Wolfman Jack.

The show’s “plot” concerned a banished count’s attempts to revive his comatose monster, Brucie, but that was just a flimsy excuse to mount a fast-paced series of corny sketches, semi-serious “educational” segments, and — years before The Simpsons and Pixar — “over the kids’ heads” jokes aimed at adults who might find themselves awake at dawn, or earlier.

The part that always puzzled me as a kid was that a local southern Ontario low-budget TV show for kids had international movie star Vincent Price in it. Kathy explains how it happened:

Older and “uncool” (despite receiving the imprimatur of another rising Hollywood director, Roger Corman), Price was out of fashion.

At the same time, CHCH had a limited budget, but wanted and needed some star power for their single camera kid’s show.

Who better to host this “monster mash” than Vincent Price, still one of the all-time great horror-movie icons?

Frightenstein‘s producer tracked down Price, who agreed to work for $3000 a day, one quarter of his usual per-diem appearance rate.

He loved children, he explained simply. And the gig sounded like fun.

CHCH checked their tiny budget. They could only afford Price for four days, tops.

Four days it would have to be.

Everyone signed on the dotted line.

I’ve heard the story of what happened next from different sources, and it never ceases to warm my heart:

Price arrived at the modest TV studio, got into makeup and costume and was handed reams of doggerel poems about some crazy characters he’d never heard of before.

He’d read each piece once, put his head down, then look up at the camera’s red light and utter his lines perfectly in one take.

Next!

New makeup, new costume, same perfect delivery, hour after hour.

Finally, it was time for a break. The weary yet exhilarated crew turned off the cameras and lights.

Then they looked around and realized that Vincent Price had disappeared.

Oh well, they said to each other, what do you expect? He’s a big star and all. Plus he’s, like, 60 years old, so he probably went for a nap…

The studio door opened a few minutes later.

It was Vincent Price and a cab driver, hauling “two-fours” of beer from the nearby Brewer’s Retail.

He handed cold stubbies out to the cast and crew and regaled them with tales of old Hollywood, his days working with Karloff and Peter Lorre and Gene Tierney and Cecil B. DeMille and all the other greats he’d known.

August 31, 2020

Michelle Remembers, the seminal Satanic Panic book

Filed under: Books, Cancon, History, Media, USA — Tags: , , , , , — Nicholas @ 03:00

Jen Gerson discusses the first modern Satanic Panic and the book about the “recovered” childhood memories of a British Columbia woman in the 1970s:

QAnon may sound like something that could only have birthed in the darker corners of the internet. But QAnon predates president Donald Trump and even the internet itself; It’s just the latest iteration of a moral panic that swept the highest levels of Western society only a generation ago. One of the most polarizing and divisive social movements in modern history; it destroyed families, turned communities against one another, and sent numerous innocent men and women to prison.

And it all started in Victoria, BC.

It was known as the Satanic Panic; a conspiracy theory that convinced millions of well meaning and rational people that a secret cabal of Satanists had infiltrated the highest echelons of society in order to sexually molest children. The Satanists were accused of sacrificing animals and using women as “breeders” to create an endless supply of dead babies for use in their gory, bloody-fuelled rituals and orgies.

It destroyed lives and ripped apart families. Reports of ritualistic child abuse were reported across the English speaking-world. Almost all of them were eventually found to have been partially, or wholly fabricated, but not before dozens of innocent people were falsely accused, and sentenced to years and even decades in prison.

Born of a genuine historical injustice — society’s neglect of childhood sexual abuse — this was a panic that saw some of the world’s smartest minds taken in by accusations, that, at their root, were as preposterous as any raised during medieval European witch hunts. It was legitimized by a professional class, captivated law enforcement and proved itself a lucrative grift for fraudsters and attention seekers. Worse, as the conspiracy grew under its own weight and influence, the hysteria inspired real and horrific crimes — usually by disturbed teenagers who claimed they were sacrificing humans to Satan.

This is a case study of how badly off the rails we can go when we allow our best intentions and passions to overwhelm us.

The story begins in 1980, with the publication of a book called Michelle Remembers. It detailed the fantastic claims of Michelle Proby, who recounted several months of gory and sadistic ritualistic abuse at the hands of a cabal of Satanists when she was a child in 1950s Victoria. The memories, she alleged, were repressed for decades, until she sought help from psychiatrist Lawrence Pazder. Under a state of hypnosis, Proby began to uncover a horrifying tale of murder, torture, abduction, and molestation. She claimed to have been taken from her willing family and groomed to take part in a ritual to call the devil — one in which she witnessed the murder of children, was forced to eat human remains, covered in dead baby parts, and locked in a cage with snakes.

An explosive bestseller. Michelle Remembers would become the folkloric template for countless other claims of Satanic Ritual Abuse ostensibly uncovered during therapy during the 80s and 90s.

August 21, 2020

Virtuesplaining Blazing Saddles

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

Paul du Quenoy says that Mel Brooks is cancelled after all:

It seems like only yesterday that HBO Max, the financially troubled American cable television network’s new film streaming service, signalled its virtue by removing Gone With The Wind from viewing so that the classic film could be properly “contextualised” as what presenter and University of Chicago film professor Jacqueline Stewart calls “a prime text for examining expressions of white supremacy in popular culture”. She believes this is useful for the “re-education” of audiences who might otherwise stray into thoughtcrime.

Mel Brooks’s smash hit 1974 comedy Blazing Saddles, which seems to have been added to HBO Max since the Gone With The Wind dust up and is known for its liberal use of the feared and loathed “n-word”, arrived with a similarly patronising disclaimer already installed. In a three-minute introduction that apparently cannot be skipped over, Stewart is there again, this time to inform viewers that “racist language and attitudes pervade the film”, while instructing them that “those attitudes are espoused by characters who are portrayed here as explicitly small-minded, ignorant bigots … The real, and much more enlightened, perspective is provided by the main characters played by Cleavon Little and Gene Wilder”.

Thanks, Aunt Jacqueline. If you have not seen Blazing Saddles – and if you are under the age of forty there is an excellent chance some prudish authority figure sanitised it out of your cosseted millennial existence – it stands as one of the greatest, and the certainly the funniest, anti-racist films of all time. Based on a story by Andrew Bergman, Brooks conceived it as a scathing send-up of racism and the hypocrisy that still enabled it after the great civil rights victories of the 1960s. Brooks’s idiom was a parody of the classic Western, by then an exhausted genre that had, among other flaws, become inanely predictable and was much criticised for leaving out minorities. A landmark of American film, Blazing Saddles was selected in 2006 for inclusion in the US National Film Registry, which recognises “culturally, historically, or aesthetically significant films” worthy of preservation.

Drenched in hilarity – and by my count using the “n-word” 17 times in its 93-minute run – the plot involves a conspiracy by an avaricious U.S. state attorney general who wants to drive white settlers off land he needs to complete a profitable railroad project. After having outlaws wreak mayhem on the townspeople, he recommends that the governor appoint a black sheriff to restore law and order, cynically assuming that their racism will cause them to reject the new lawman and give up. Despite a rough initial reception, the sheriff outwits attempts to get rid of him and, with the help of a washed up but sympathetic alcoholic gunslinger, leads the townspeople to victory, winning their love and respect before moving on to other brave deeds.

While HBO no longer wants to risk having its paying customers think for themselves (and what stale corporate outfit uneasily transitioning to a crowded new market wouldn’t?), it could rightly be said that anyone dumb enough to miss the film’s message might be a recent product of Anglo-American higher education. I do not mean this at all facetiously. Decaying and run by a self-important clerisy whose demands to be taken seriously only become shriller as it declines in reach and vitality – and from which any participant can be dismissed for even the slightest speech or behavioural infraction – academia naturally discourages humour. Jokes, which can almost always cause some kind of offence, are simply too risky to be told or laughed at, even in private. Finding the wrong thing funny can invite career-hobbling accusations that one has demeaned a student or colleague and thereby made them feel unacceptably “uncomfortable” or even physically “unsafe”. Perceived flippancy bruises sanctified “professional seriousness” in a way tantamount to sacrilege. The only tolerated exceptions are a kind of solemn irony that offers comfort in coping with academia’s increasing irrelevance and a resigned gallows humor about its ever more limited prospects.

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