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Showing results for 'frank james' in content posted by richardmurray.
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MY THOUGHTS AND THE ARTICLE
well i read the article, the argument by tyree is dysfunctional, the book was written in 2001, tyree admits the strategem would had been successful in 2010, so... saying it isn't how the industry operates in 2024 is dysfunctional. This is about a moment in the usa, this is not meant to be how the usa was before or after, but this was a real scenario. I wonder why everett had nothing to say. And the argument from some blacks against "urban lit" is no different than italians against italian mob movies . having people look like you represented in a way you don't like doesn't define you, but doesn't make it unreal. Some black people were and are step and fetchit's this doesn't mean I am or any other black person is one of them. Cord Jefferson's question shows he is either ignorant of black history or in denial about black experiences in the usa. For anyone who reads up to this point, let me say something that it seems isn't common knowledge in the usa. Most black people in the usa have always been unhappy or miserable, always. Yes from the colonial times to now a minority in the black populace in the usa has been happy. But, an overwhelming majoirty 95% to 75% of black people in the usa have been terrorized by whites in the usa or by the system of government in the usa designed or ruled by whites. I don't see how anyone black, non black or other can not accept that simple truth. Yes, obama exist, yes, michelle obama exist, yes oprah and the william sisters and lebron james exists. Ok most black people in the usa are miserable, are in pain, are unhappy, have dealt with trauma and they come from a centuries line of black people who felt worse. Said negativities are not the only things we have to offer to culture and have never been the only things. We made negro spirituals that uplift people today before the usa was founded. we made lues music that is utilized in so many asian animated works to characterize strong thoughtful characters. we made jazz that is considered world music and one of the utmost signs of improvisation. Cord Jefferson suggested black people's stories of pain or suffering or anguish or anger are too large in quantity, are too present. what? We made brer rabbit, which was referred to in positive fantasy star trek to save a bunch of defenseless humanoids from corruptions in and out of the fantasy united nations institution called the federation , with earth itself as its usa .saundra and others in the article's great flaw is speaking of the now. They can't get out of the now in assessing the film. Many black people in the usa like to say , black folk need to forget the past, but does that mean we are to lie about it, or judge all only in the modern?
ARTICLE
Some urban lit authors see fiction in the Oscar-nominated ‘American Fiction’
BY HILLEL ITALIE
Updated 10:41 AM EST, March 5, 2024
NEW YORK (AP) — Omar Tyree, author of such urban lit narratives as “Flyy Girl” and “The Last Street Novel,” recently went to see the Oscar-nominated movie “American Fiction.”
“I loved the emotions of the family,” Tyree said of the comic drama starring best actor nominee Jeffrey Wright as the struggling author-academic Thelonious “Monk” Ellison, Leslie Uggams as his ailing mother and supporting actor nominee Sterling K. Brown as his troubled and unpredictable brother. “I love seeing how Monk tries to bring the family unit together and just seeing Black people trying to work things out.”
But when asked about the film’s featured storyline — Monk finds unexpected success when he publishes a crude novel under the assumed identity of ex-con Stagg R. Leigh — Tyree laughed and gave a nod to “creative license.”
“The whole idea that he’s going to sell a lot of books by keeping it raw, in real life it doesn’t work like that,” he said. “That kind of book would have been stronger in the early 2000s.”
“American Fiction,” nominated for a best picture Academy Award and in four other categories, was adapted from Percival Everett’s “Erasure,” a 2001 novel that came out when a genre alternately called “urban lit,” “urban fiction,” “street lit” or “hip-hop fiction” was peaking, especially among young Black readers. Novels like Sister Souljah’s “The Coldest Winter Ever,” Shannon Holmes’ “B-More Careful” and Teri Woods’ “True to the Game” were selling hundreds of thousands of copies while major publishers, who had initially ignored the genre, were offering large advances in search of the next hit.
The urban lit genre dates back at least to 1967, and the release of the memoir “Pimp,” written by Robert Maupin, who was in jail when he began writing under the name Iceberg Slim and built a large word-of-mouth following. He inspired another street lit pioneer, Donald Goines, author of the Kenyatta urban crime series and other works from the 1970s that influenced such hip-hop stars as Tupac Shakur, who would famously declare, “Machiavelli was my tutor, Donald Goines my father figure.”
Urban lit is still around, but no new releases approach the heights of 20 years ago. According to Circana, which tracks around 85% of the print retail market, the genre sold around 380,000 copies in 2023, far less than the total sales for “The Coldest Winter Ever.” Many leading urban lit authors these days are either independently published — among them Black Lavish and Mz. Lady P — or released through Kensington Publishing Corp., which still has cut back over the past decade.
“At one point, the majority of the books on our list that were written by Black authors would have been categorized as urban or street lit,” says Vida Engstrand, Kensington’s director of communications. Because of changes in the “retail landscape and reader interest,” Kensington now offers a much broader selection, with “very few front list titles that fall squarely in the category of urban lit,” she says.
Everett, an award-winning author whose novels include “The Trees” and the upcoming “James,” was unavailable for comment, his publisher said.
Monk is inspired to write his pseudonymous book after looking through a bestseller titled “We’s Lives In Da Ghetto” and reading such sentences as “Momma says I be the ’sponsible one and tell me that I gots to hold thing togever while she at work clean dem white people’s house.” After failing to catch on as a literary author, he is offered a six-figure book deal and seven-figure movie deal for his profanely titled novel.
Stagg R. Leigh is praised by critics and even wins a prestigious literary prize. But few were calling Teri Woods or Shannon Holmes likely Pulitzer winners. The publishing community debated whether urban lit should be condemned for reinforcing stereotypes about Black life — stereotypes parodied by Everett in his novel — or welcomed for its blunt portraits of crime and poverty and for attracting new audiences.
“I’ve heard a lot of people within the Black community who have that viewpoint, that urban lit doesn’t reflect all of us,” says author Porscha Sterling. “And while it’s important to show the Black community in multiple ways, I do think it’s important to have a well-rounded view that includes everyone.”
“In my opinion, it was wrong to characterize these books as different from other Black literature,” says Malaika Adero, an author, agent and executive editor for AUWA, a Macmillan imprint led by Questlove. “We’ve had all kinds of classic books that dealt with the underground economy and the ghetto and weren’t classified as hip-hop lit.”
Monk’s novel has some parallels to a bestseller from the 1990s, Sapphire’s “Push,” an acclaimed and controversial novel about a pregnant teen from Harlem that begins in broken English, but becomes more traditional as the girl learns to read and write. At the time, Sapphire (a pen name for Ramona Lofton) was a little-known poet who received a large advance and attracted the interest of Hollywood. The book became the Oscar-winning movie “Precious.”
“American Fiction” director Cord Jefferson, nominated for best adapted screenplay, has said that reading “Erasure” reminded him of conversations he had with friends over the years.
“Why are we always writing about misery and trauma and violence and pain inflicted on Blacks? Why is this what people expect from us? Why is this the only thing we have to offer to culture?” Jefferson often wondered, he told The Associated Press last fall.
One urban lit author, Saundra, said she found “American Fiction” funny, but “a tad bit overdramatized,” adding she doubted a novel like the one Monk wrote would be so welcomed now. Sterling, whose novels include the series “Gangland” and “Bad Boys Do It Better,” said she identified with Monk’s frustration at not being understood and recognized, but also said the satire in “American Fiction” left her feeling “misunderstood”
“I don’t know any people who write like that in the urban lit genre,” she said.
Author K’Wan Foye, known as K’Wan, says he related well to the movie, even if it was “poking fun” at urban lit. He remembers being encouraged 20 years ago to write “something really ghetto,” what became his popular “Hood Rat” series, and showing up for a meeting at St. Martin’s Press wearing a Biggie Smalls-style suit.
“They thought it was some kind of persona, the way Stagg R. Leigh is in the movie,” K’Wan said. “And I was like, ‘No, this is who I am.’”
If “Erasure” had been published now, the protagonist would likely have chosen a different kind of book to parody the commercial market, authors and publishers say. Tyree thinks he would have been writing nonfiction, maybe working on a celebrity confessional like Jada Pinkett Smith’s “Worthy.” Shawanda Williams, who oversees the Black Odyssey imprint of Kensington, cites the 2022 bestseller “The Other Black Girl,” the surreal tale of a Black editorial assistant at a publishing house.
Saundra, whose novels include “Hustler’s Queen” and “It Ain’t About the Revenge,” says the urban lit market has faded enough that she’s trying a different kind of book. In 2025, Kensington will publish “The Treacherous Wife,” which she calls “domestic suspense.”
“Times are changing,” she says, “and I think readers are looking for suspense, something everyone can relate to.”
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Man cleared in a 1996 Brooklyn killing said for decades he knew who did it. Prosecutors now agree
By Associated Press New York State
PUBLISHED 9:36 PM ET Jan. 18, 2024
NEW YORK (AP) — A man who served 14 years in prison for a deadly 1990s shooting was exonerated Thursday after prosecutors said they now believe the killer was an acquaintance he has implicated for decades.
“I lost 14 years of my life for a crime that I didn’t commit,” Steven Ruffin told a Brooklyn judge after sighing with emotion.
Although Ruffin was paroled in 2010 and has since built a career in sanitation in Georgia, he said that getting his manslaughter conviction dismissed and his name cleared “will help me move on.”
“If you know you're innocent, don’t give up on your case — keep on fighting, because justice will prevail,” Ruffin, 45, said outside court. “That’s all I’ve wanted for 30 years: somebody to listen and really hear what I’m saying and look into the things I was telling them."
Prosecutors said they were exploring whether to charge the man they now believe shot 16-year-old James Deligny on a Brooklyn street during a February 1996 confrontation over some stolen earrings. Brooklyn District Attorney Eric Gonzalez said after court that charges, if any, wouldn't come immediately.
“You have to be able to convict someone beyond a reasonable doubt, and we have to make sure that that evidence is sufficient to do so,” said Gonzalez, who wasn't DA when Ruffin was tried. “You have a lot of factors working against us procedurally, but also factually — unfortunately, this is 30 years ago.”
Ruffin's conviction is the latest of more than three dozen that Brooklyn prosecutors have disavowed after reinvestigations over the last decade.
Over a dozen, including Ruffin's, were connected to retired Detective Louis Scarcella. He was lauded in the 1980s and ‘90s for his case-closing prowess, but defendants have accused him of coercing confessions, engineering dubious witness identifications and other troubling tactics. He has denied any wrongdoing.
Prosecutors said in their report on the Ruffin case that they “did not discover any misconduct by Scarcella" in the matter. A message seeking comment was sent to his attorney.
Prosecutors said the police investigation — and their office's own at the time — “were wholly inadequate” and tunnel-visioned, failing to look into the person they now believe was the gunman.
The mistaken-identity shooting happened as Ruffin and others were looking for a robber who had just snatched earrings from Ruffin’s sister. In fact, Deligny wasn't the robber, authorities say.
Tipsters led police to Ruffin, then a 17-year-old high school student, and the victim's sister identified him in a lineup that a court later deemed flawed. Scarcella wasn't involved in the lineup, but he and another detective questioned Ruffin.
The teen told them, twice, that he saw but wasn't involved in Deligny's shooting, according to police records quoted in prosecutors' report.
Then Scarcella brought the teen's estranged father — a police officer himself — to the precinct. The father later testified that he told his son to “tell the truth,” but Ruffin said his father leaned on him to confess.
And he did confess, saying he fired because he thought Deligny was about to pull something out of his jacket. Ruffin told the detectives they could retrieve the gun from his sister's boyfriend, and they did, prosecutors' report said.
Ruffin quickly recanted to his father, who didn't tell the detectives his son had taken back his confession, according to prosecutors' report. The teen went on to testify at his trial that he didn't shoot Deligny but saw and knew the killer — his sister's boyfriend, the one who'd given police the gun, broken up into parts and stuffed into potatoes.
Jurors at Ruffin's trial heard from the boyfriend, but only about his relationships with the defendant, his sister and others in the case. When the jury was out of the room, the boyfriend invoked his Fifth Amendment right against self-incrimination and declined to answer other questions, including where he'd been on the night of the shooting.
Prosecutors didn't release the boyfriend's name Thursday, and the names of lawyers who have represented him weren't immediately available. He told prosecutors during their recent reinvestigation that he had nothing to do with the shooting and didn't give detectives the gun. He also said he never confessed to anyone, though prosecutors say Ruffin's stepfather, sister and late mother all have said he made admissions to them.
Asked Thursday about the boyfriend, Ruffin's lawyers noted that the prospect of any prosecution now is uncertain.
“We only wish that in 1996, Detective Scarcella and others had performed the investigation they should have and been able to get this right the first time," attorney Garrett Ordower said, noting that Deligny's family may now never have the finality of a conviction in his death.
As for Ruffin, he's focused on his future, including promotion opportunities at his job in Atlanta. His now-voided conviction, he said, “never defined me.”
“This never really spoke of the person I was or the man I was going to become,” he said. “So this, to me, is a great closure of a chapter my life, but my life is still going up.”
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33:00 I think artist are free to do with their work what they want
40:38 and dw griffith said correctly , I paraphrase, that the best response to a film is a film itself. I dislike the story in birth of a nation, but the best answer is another story, another film Oscar Michaeuz made , Within our gates, which I love and yes the modern remake of birth of a nation was a similar smart reply. And thank you Eddie for admitting how birth of a nation + song of the south were both the highest grossest films of their day.
great question James 27:18 to 45:32
48:57 great point, eddie does make it often but private investigators are not law enforcers or bound to the law in thier actions
57:58 thank you for informing on the film, celluloid underground 2023 , yes i know iran during the shah was heavily influenced by europe and european creations, the usa
1:19:46 a sequel of "strange bargain" in "murder she wrote", with the characters back. I wonder who was behind that production.
1:28:22 rest in peace john bailey,suggest watch his film china moon
trailer https://www.youtube.com/watch?v=8uZLsMYNW3w
and check out mishima with bailey and paul schrader
https://en.wikipedia.org/wiki/Mishima:_A_Life_in_Four_Chapters
trailer https://www.youtube.com/watch?v=LzaXtBr5210
1:31:00 as long as you are remembered well by someone , you don't escape time, but you live beyond your breaths
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I don't know if Frank James was the shooter in the subway, but if he was, he offers an interesting query challenge.
NYC's black community always had black people in it, who love to suggest a usage of violence is incorrect. The reason why is complicated, it isn't merely about right or wrong. But, one of the juxtaposes between white controlled media of nyc /the black church in the black community of NYC/black employed class in NYC is the idea of gun violence in the Black community as something of youth. The narrative is, the youth must get the violence out of them. But, Frank James is sixty something years old. Frank James was an elder teen in the 1970s. So Frank James is not a Black person who is without a decades long look at the Black community in NYC, in NYS, in the USA and with that a high potential for a very honest while negative appraisal of many things in this area.
Many will suggest mental imbalance, as in NYC that is suggested for anyone who is violent. From white media to many or most black homes in NYC, mental dysfunction or imbalance is always the reason behind any violence as if, being violent can not be from a mentally sane person, which of course is a lie.
A FORUM POST
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@Stefan It all boils down to a simple question.
Is the Black Individual free to do as they want in the USA today? For many black people, I don't think most but I can be rong, in the usa the answer is yes. I say this with offline conversations in mind side other Black folk in the usa. Sequentially, if you are Black in the usa and you feel the Black Individual is free to be in the usa, then you may view the power of the White collective is between nonexistent/mute/irrelevant.
White power is not an individual force. It is collective, and thus the only way Black people can defend themselves from it is with Black power. but Black power requires a Black communalism/collectivism that by default is against how many Black people in the USA interpret being an individual in the USA.
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Dude, please stop using that word sequentially. Because you're employing it incorrectly.
And cut down on your word count. Stop insulting your readers as if they are completely clueless about the world.
You honestly sound as if you are speaking to fourth graders or folks who were magically transported here from a hidden jungle or a cave.
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My R&A - response and articles
I start with the title. One of the problems with the USA is the lie that the UA is a united place with a united peoples. In his own article he successfully proves how tribal the usa is.
But, the word isn't abandoned. The federal government of the USA in different times gambled and all the gambles failed to return what was needed to secure tomorrow.
The Federal government of the usa gambled: it could build up financial rivals [ england/germany/spain/italy/france/korea/japan/china/india/israel ] to create intergovernmental organizations centered on the usa while maintain a financial dominance as when world war two ended, it could make laws adding races into the usa while merging races to each other and the races will embrace each other positively based on a love of the state, it could grant the fiscal operators [shareholders/owners/bankers] full leeway and their fiscal desire will create untold wealth for all.
All the gambles failed to reach why they were made.
The rivals were given a black check plus resources to reboot absent the challenge of starting from the bottom while not having a need to pay for military expenditures but the usa economy wasn't able to stay on top across the board.
All races in the usa [women/blacks/muslims/lesbians] have a financially prosperous one percent, but most communities have only grown their fiscal poor who live tribally from other fiscal poor people, and with ever growing resentment.
The business sector protected itself and positioned itself to be secure regardless of its failure or quality, ala all the industries in the usa that have collapsed in the usa at an ever increasing ratio, but didn't lift up all peoples in the usa.
But the key is, all three gambles could had worked. What was the errors.
The usa funneled welfare checks and money on a simple condition to rivals in foreign countries who guaranteed to be yesmen for intergovernmental organizations totally allegiant to the usa but didn't use their unearned advantage to make the international organizations have more quality. The rivals loved the international organizations to make profit and have controls over weaker governments or former dominions but to actually improve other countries, a kind of pay it forward, europe/japan/china/india/israel didn't do, even though they were given an advantage by the usa in the way they don't give others.
Yes, blacks/native americans/lesbians/women/muslims/asians and all other groups in the usa that didn't have opportunity or potency have members in each group who financially have prospered because the federal laws forced financially wealthy white/male/christian/hetero/european people to share to those not them, but those who were granted opportunity haven't improved their communities and have simply joined financially wealthy white men creating three tiers of tribalism between the many have nots plus between the have nots side the have's plus between the many haves. While the usa keeps adding more peoples into the fiscally poor populace, growing violent sentiments.
Giving the financial community in the usa carte blanche saved it from its own mismanagement which is a betrayal of free market capitalism, but the financially community in the usa no matter how many times it is saved keeps being mismanaged and now relies on the military power of the usa side the intergovernmental organizations mandatory for the bureaucracy to work absent more violence to maintain a cycle of mismanagement from us business and bailouts from the federal government.
The article is correct, the FDR era ended with Reagan, the Reagan era is ending. Biden is trying to guide it somewhere but I see biden more as a jimmy carter, the last fdr president than ronald reagan, the president who started a new era. The problem with Biden in a general way is his centrism. Centrism at its heart is status quo, maintaining the bureaucracy, but the problem is the bureaucracy isn't fitting the populace it governs and requires radical change to do so
Why America Abandoned the Greatest Economy in History
Was the country’s turn toward free-market fundamentalism driven by race, class, or something else? Yes.
By Rogé Karma
Illustration by The Atlantic. Sources: Barry James Gilmour / Getty; Kean Collection / Getty; Library of Congress / Getty.
NOVEMBER 25, 2023, 6:30 AM ET
If there is one statistic that best captures the transformation of the American economy over the past half century, it may be this: Of Americans born in 1940, 92 percent went on to earn more than their parents; among those born in 1980, just 50 percent did. Over the course of a few decades, the chances of achieving the American dream went from a near-guarantee to a coin flip.
What happened?
One answer is that American voters abandoned the system that worked for their grandparents. From the 1940s through the ’70s, sometimes called the New Deal era, U.S. law and policy were engineered to ensure strong unions, high taxes on the rich, huge public investments, and an expanding social safety net. Inequality shrank as the economy boomed. But by the end of that period, the economy was faltering, and voters turned against the postwar consensus. Ronald Reagan took office promising to restore growth by paring back government, slashing taxes on the rich and corporations, and gutting business regulations and antitrust enforcement. The idea, famously, was that a rising tide would lift all boats. Instead, inequality soared while living standards stagnated and life expectancy fell behind that of peer countries. No other advanced economy pivoted quite as sharply to free-market economics as the United States, and none experienced as sharp a reversal in income, mobility, and public-health trends as America did. Today, a child born in Norway or the United Kingdom has a far better chance of outearning their parents than one born in the U.S.
This story has been extensively documented. But a nagging puzzle remains. Why did America abandon the New Deal so decisively? And why did so many voters and politicians embrace the free-market consensus that replaced it?
Since 2016, policy makers, scholars, and journalists have been scrambling to answer those questions as they seek to make sense of the rise of Donald Trump—who declared, in 2015, “The American dream is dead”—and the seething discontent in American life. Three main theories have emerged, each with its own account of how we got here and what it might take to change course. One theory holds that the story is fundamentally about the white backlash to civil-rights legislation. Another pins more blame on the Democratic Party’s cultural elitism. And the third focuses on the role of global crises beyond any political party’s control. Each theory is incomplete on its own. Taken together, they go a long way toward making sense of the political and economic uncertainty we’re living through.
"The american landscape was once graced with resplendent public swimming pools, some big enough to hold thousands of swimmers at a time,” writes Heather McGee, the former president of the think tank Demos, in her 2021 book, The Sum of Us. In many places, however, the pools were also whites-only. Then came desegregation. Rather than open up the pools to their Black neighbors, white communities decided to simply close them for everyone. For McGhee, that is a microcosm of the changes to America’s political economy over the past half century: White Americans were willing to make their own lives materially worse rather than share public goods with Black Americans.
From the 1930s until the late ’60s, Democrats dominated national politics. They used their power to pass sweeping progressive legislation that transformed the American economy. But their coalition, which included southern Dixiecrats as well as northern liberals, fractured after President Lyndon B. Johnson signed the Civil Rights Act of 1964 and the Voting Rights Act of 1965. Richard Nixon’s “southern strategy” exploited that rift and changed the electoral map. Since then, no Democratic presidential candidate has won a majority of the white vote.
Crucially, the civil-rights revolution also changed white Americans’ economic attitudes. In 1956, 65 percent of white people said they believed the government ought to guarantee a job to anyone who wanted one and to provide a minimum standard of living. By 1964, that number had sunk to 35 percent. Ronald Reagan eventually channeled that backlash into a free-market message by casting high taxes and generous social programs as funneling money from hardworking (white) Americans to undeserving (Black) “welfare queens.” In this telling, which has become popular on the left, Democrats are the tragic heroes. The mid-century economy was built on racial suppression and torn apart by racial progress. Economic inequality was the price liberals paid to do what was right on race.
The New York Times writer David Leonhardt is less inclined to let liberals off the hook. His new book, Ours Was the Shining Future, contends that the fracturing of the New Deal coalition was about more than race. Through the ’50s, the left was rooted in a broad working-class movement focused on material interests. But at the turn of the ’60s, a New Left emerged that was dominated by well-off college students. These activists were less concerned with economic demands than issues like nuclear disarmament, women’s rights, and the war in Vietnam. Their methods were not those of institutional politics but civil disobedience and protest. The rise of the New Left, Leonhardt argues, accelerated the exodus of white working-class voters from the Democratic coalition.
Robert F. Kennedy emerges as an unlikely hero in this telling. Although Kennedy was a committed supporter of civil rights, he recognized that Democrats were alienating their working-class base. As a primary candidate in 1968, he emphasized the need to restore “law and order” and took shots at the New Left, opposing draft exemptions for college students. As a result of these and other centrist stances, Kennedy was criticized by the liberal press—even as he won key primary victories on the strength of his support from both white and Black working-class voters.
But Kennedy was assassinated in June that year, and the political path he represented died with him. That November, Nixon, a Republican, narrowly won the White House. In the process, he reached the same conclusion that Kennedy had: The Democrats had lost touch with the working class, leaving millions of voters up for grabs. In the 1972 election, Nixon portrayed his opponent, George McGovern, as the candidate of the “three A’s”—acid, abortion, and amnesty (the latter referring to draft dodgers). He went after Democrats for being soft on crime and unpatriotic. On Election Day, he won the largest landslide since Franklin D. Roosevelt in 1936. For Leonhardt, that was the moment when the New Deal coalition shattered. From then on, as the Democratic Party continued to reflect the views of college graduates and professionals, it would lose more and more working-class voters.
McGhee’s and Leonhardt’s accounts might appear to be in tension, echoing the “race versus class” debate that followed Trump’s victory in 2016. In fact, they’re complementary. As the economist Thomas Piketty has shown, since the’60s, left-leaning parties in most Western countries, not just the U.S., have become dominated by college-educated voters and lost working-class support. But nowhere in Europe was the backlash quite as immediate and intense as it was in the U.S. A major difference, of course, is the country’s unique racial history.
The 1972 election might have fractured the Democratic coalition, but that still doesn’t explain the rise of free-market conservatism. The new Republican majority did not arrive with a radical economic agenda. Nixon combined social conservatism with a version of New Deal economics. His administration increased funding for Social Security and food stamps, raised the capital-gains tax, and created the Environmental Protection Agency. Meanwhile, laissez-faire economics remained unpopular. Polls from the ’70s found that most Republicans believed that taxes and benefits should remain at present levels, and anti-tax ballot initiatives failed in several states by wide margins. Even Reagan largely avoided talking about tax cuts during his failed 1976 presidential campaign. The story of America’s economic pivot still has a missing piece.
According to the economic historian Gary Gerstle’s 2022 book, The Rise and Fall of the Neoliberal Order, that piece is the severe economic crisis of the mid-’70s. The 1973 Arab oil embargo sent inflation spiraling out of control. Not long afterward, the economy plunged into recession. Median family income was significantly lower in 1979 than it had been at the beginning of the decade, adjusting for inflation. “These changing economic circumstances, coming on the heels of the divisions over race and Vietnam, broke apart the New Deal order,” Gerstle writes. (Leonhardt also discusses the economic shocks of the ’70s, but they play a less central role in his analysis.)
Free-market ideas had been circulating among a small cadre of academics and business leaders for decades—most notably the University of Chicago economist Milton Friedman. The ’70s crisis provided a perfect opening to translate them into public policy, and Reagan was the perfect messenger. “Government is not the solution to our problem,” he declared in his 1981 inaugural address. “Government is the problem.”
Part of Reagan’s genius was that the message meant different things to different constituencies. For southern whites, government was forcing school desegregation. For the religious right, government was licensing abortion and preventing prayer in schools. And for working-class voters who bought Reagan’s pitch, a bloated federal government was behind their plummeting economic fortunes. At the same time, Reagan’s message tapped into genuine shortcomings with the economic status quo. The Johnson administration’s heavy spending had helped ignite inflation, and Nixon’s attempt at price controls had failed to quell it. The generous contracts won by auto unions made it hard for American manufacturers to compete with nonunionized Japanese ones. After a decade of pain, most Americans now favored cutting taxes. The public was ready for something different.
They got it. The top marginal income-tax rate was 70 percent when Reagan took office and 28 percent when he left. Union membership shriveled. Deregulation led to an explosion of the financial sector, and Reagan’s Supreme Court appointments set the stage for decades of consequential pro-business rulings. None of this, Gerstle argues, was preordained. The political tumult of the ’60s helped crack the Democrats’ electoral coalition, but it took the unusual confluence of a major economic crisis and a talented political communicator to create a new consensus. By the ’90s, Democrats had accommodated themselves to the core tenets of the Reagan revolution. President Bill Clinton further deregulated the financial sector, pushed through the North American Free Trade Agreement, and signed a bill designed to “end welfare as we know it.” Echoing Reagan, in his 1996 State of the Union address, Clinton conceded: “The era of big government is over.”
Today, we seem to be living through another inflection point in American politics—one that in some ways resembles the ’60s and ’70s. Then and now, previously durable coalitions collapsed, new issues surged to the fore, and policies once considered radical became mainstream. Political leaders in both parties no longer feel the same need to bow at the altar of free markets and small government. But, also like the ’70s, the current moment is defined by a sense of unresolved contestation. Although many old ideas have lost their hold, they have yet to be replaced by a new economic consensus. The old order is crumbling, but a new one has yet to be born.
The Biden administration and its allies are trying to change that. Since taking office, President Joe Biden has pursued an ambitious policy agenda designed to transform the U.S. economy and taken overt shots at Reagan’s legacy. “Milton Friedman isn’t running the show anymore,” Biden quipped in 2020. Yet an economic paradigm is only as strong as the political coalition that backs it. Unlike Nixon, Biden has not figured out how to cleave apart his opponents’ coalition. And unlike Reagan, he hasn’t hit upon the kind of grand political narrative needed to forge a new one. Current polling suggests that he may struggle to win reelection.
Meanwhile, the Republican Party struggles to muster any coherent economic agenda. A handful of Republican senators, including J. D. Vance, Marco Rubio, and Josh Hawley, have embraced economic populism to some degree, but they remain a minority within their party.
The path out of our chaotic present to a new political-economic consensus is hard to imagine. But that has always been true of moments of transition. In the early ’70s, no one could have predicted that a combination of social upheaval, economic crisis, and political talent was about to usher in a brand-new economic era. Perhaps the same is true today. The Reagan revolution is never coming back. Neither is the New Deal order that came before it. Whatever comes next will be something new.
URL
https://www.theatlantic.com/ideas/archive/2023/11/new-deal-us-economy-american-dream/676051/THE HARD TRUTH ABOUT IMMIGRATION
If the United States wants to reduce inequality, it’s going to need to take an honest look at a contentious issue.
By David Leonhardt
OCTOBER 23, 2023
his bill that we will sign today is not a revolutionary bill,” President Lyndon B. Johnson said as he put his signature on the Immigration and Nationality Act of 1965, at the base of the Statue of Liberty. “It does not affect the lives of millions.” All that the bill would do, he explained, was repair the flawed criteria for deciding who could enter the country. “This bill says simply that from this day forth those wishing to immigrate to America shall be admitted on the basis of their skills and their close relationship to those already here.”
Edward Kennedy, the 33-year-old senator who had shepherded the bill through the Senate, went even further in promising that its effects would be modest. Some opponents argued that the bill would lead to a large increase in immigration, but those claims were false, Kennedy said. They were “highly emotional, irrational, and with little foundation in fact,” he announced in a Senate hearing, and “out of line with the obligations of responsible citizenship.” Emanuel Celler, the bill’s champion in the House, made the same promises. “Do we appreciably increase our population, as it were, by the passage of this bill?” Celler said. “The answer is emphatically no.”
Johnson, Kennedy, Celler and the new law’s other advocates turned out to be entirely wrong about this. The 1965 bill sparked a decades-long immigration wave. As a percentage of the United States population, this modern wave has been similar in size to the immigration wave of the late 1800s and early 1900s. In terms of the sheer number of people moving to a single country, the modern American immigration wave may be the largest in history. The year Johnson signed the immigration bill, 297,000 immigrants legally entered the United States. Two years later, the number reached 362,000. It continued rising in subsequent decades, and by 1989 exceeded 1 million.
....
URL
https://www.theatlantic.com/ideas/archive/2023/10/us-immigration-policy-1965-act/675724/Milton Friedman Was Wrong
The famed economist’s “shareholder theory” provides corporations with too much room to violate consumers’ rights and trust.
By Eric Posner
On Monday, the Business Roundtable, a group that represents CEOs of big corporations, declared that it had changed its mind about the “purpose of a corporation.” That purpose is no longer to maximize profits for shareholders, but to benefit other “stakeholders” as well, including employees, customers, and citizens.
While the statement is a welcome repudiation of a highly influential but spurious theory of corporate responsibility, this new philosophy will not likely change the way corporations behave. The only way to force corporations to act in the public interest is to subject them to legal regulation.
The shareholder theory is usually credited to Milton Friedman, the University of Chicago economist and Nobel laureate. In a famous 1970 New York Times article, Friedman argued that because the CEO is an “employee” of the shareholders, he or she must act in their interest, which is to give them the highest return possible. Friedman pointed out that if a CEO acts otherwise—let’s say, donates corporate funds to an environmental cause or to an anti-poverty program—the CEO must get those funds from customers (through higher prices), workers (through lower wages), or shareholders (through lower returns). But then the CEO is just imposing a “tax” on other people, and using the funds for a social cause that he or she has no particular expertise in. It would be better to let customers, workers, or investors use that money to make their own charitable contributions if they wish to.
...
URL
https://www.theatlantic.com/ideas/archive/2019/08/milton-friedman-shareholder-wrong/596545/ -
Title: In Appreciation of James Webb
Artist: GDBee < https://gdbee.store/ >
Prior Post
https://aalbc.com/tc/profile/6477-richardmurray/?status=2013&type=status
GDBee Post
https://aalbc.com/tc/search/?q="gdbee"&quick=1&type=core_statuses_status&updated_after=any&sortby=newest
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The Scientific Case for Two Spaces After a Period
A new study proves that half of people are correct. The other is also correct.By James Hamblin
photo by Tina Fineberg / AP
MAY 11, 2018
This is a time of much division. Families and communities are splintered by polarizing narratives. Outrage surrounds geopolitical discourse—so much so that anxiety often becomes a sort of white noise, making it increasingly difficult to trigger intense, acute anger. The effect can be desensitizing, like driving 60 miles per hour and losing hold of the reality that a minor error could result in instant death.
One thing that apparently still has the power to infuriate people, though, is how many spaces should be used after a period at the end of an English sentence.
The war is alive again of late because a study that came out this month from Skidmore College. The study is, somehow, the first to look specifically at this question. It is titled: “Are Two Spaces Better Than One? The Effect of Spacing Following Periods and Commas During Reading.”
It appears in the current issue of the journal Attention, Perception, and Psychophysics. As best I can tell, psychophysics is a word; the Rochester Institute of Technology defines it as the “study of the relationship between stimuli (specified in physical terms) and the sensations and perceptions evoked by these stimuli.” The researchers are also real. Rebecca Johnson, an associate professor in Skidmore’s department of psychology, led the team. Her expertise is in the cognitive processes underlying reading. As Johnson told me, “Our data suggest that all readers benefit from having two spaces after periods.”
“Increased spacing has been shown to help facilitate processing in a number of other reading studies,” Johnson explained to me by email, using two spaces after each period. “Removing the spaces between words altogether drastically hurts our ability to read fluently, and increasing the amount of space between words helps us process the text.”
In the Skidmore study, among people who write with two spaces after periods—“two-spacers”—there was an increase in reading speed of 3 percent when reading text with two spaces following periods, as compared to one. This is, Johnson points out, an average of nine additional words per minute above their performance “under the one-space conditions.”
This is a small difference, though if a change like this saved even a tiny amount of time, or prevented a tiny amount of miscommunication, the net benefit across billions of people could be enormous. Entire economies could be made or broken, wars won or lost.
Or so it would seem. The conclusions she drew from that data pushed people into their corners on social media, where they dealt with it in variously intense ways.
Justin Wolfers, a professor of economics and public policy at the University of Michigan, tweeted in reference to the study: “Science can blow your mind sometimes, and this time it has come down on the side of two spaces after a period.”
Nicholas Christakis, a professor at Yale University, wrote: “Hurray! Science vindicates my longstanding practice, learned at age 12, of using TWO SPACES after periods in text. NOT ONE SPACE. Text is easier to read that way. Of course, on Twitter, I use one space, given 280 characters.”
There’s a lot going on in that tweet, but you get the idea.
Others were less ecstatic. Robert VerBruggen, the deputy managing editor at National Review, shared the study with the comment: “New facts forced me to change my mind about drug legalization but I just don’t think I can do this.”
My colleague Ian Bogost tweeted simply, “This is terrorism.”
Full disclosure: I also shared a screenshot of the study’s conclusion that “the eye-movement record suggested that initial processing of the text was facilitated when periods were followed by two spaces.” I said about this only, “Oh no.”
I find two spaces after a period unsettling, like seeing a person who never blinks or still has their phone’s keyboard sound effects on. I plan to teach my kids never to reply to messages from people who put two spaces after a period. I want this study’s conclusion to be untrue—to uncover some error in the methodology, or some scandal that discredits the researchers or the university or the entire field of psychophysics.
So let’s look for that. Because this really does matter: In a time of greater and greater screen time, and more and more consumption of media, how do we optimize the information-delivery process?
In much the same way that we’re taught to write in straight lines from left to right, most of us have been taught that one way of spacing is simply right, and the other is wrong. Less often are we taught to question the standard—whether it makes sense, or whether it should change. But what is the value of education if not to teach children to question the status quo, and to act in deliberate ways that they can justify with sound, rational arguments?
Such an argument is extremely difficult to make when it comes to sentence spacing, because the evidence is not there for either case. The fact that the scientifically optimal number of spaces hasn’t been well studied was odd to Johnson, given the strength of people’s feelings on the subject. The new American Psychological Association style guidelines came out recently, and they had changed from one space to two spaces following periods because they claimed it “increased the readability of the text.” This galled Johnson: “Here we had a manual written to teach us how to write scientifically that was making claims that were not backed with empirical evidence!”
She was intrigued and designed the new study “to add some scientific data to the conversation.”
Her rationale for two spaces gets complex—verging into the domain of rather high-level psychophysical theory (email me). As the researchers explain it, it’s all about mechanics of the eye, and what causes us to trip up or pause, even for a split second. In the current study, when text was presented with two spaces after periods, some readers’ eyes were more likely to jump over the “punctuation region” and spend less unnecessary time fixated on it. The extra space seemed to make it easier for readers to “extract the lines and curves from the text.” The space also comes into the periphery of one’s vision before it arrives, and that helps to signal that the sentence is wrapping up.
The Skidmore study was small and less than definitive—essentially dipping a toe into a long-unquestioned practice. There were only 60 subjects, and they were all college students—meaning they were probably more interested in “hooking up” and “Snapchat” than actually reading. (Ed.: This is too much editorializing, apologies.)
Most importantly, the effects appeared early in processing, and spacing did not affect overall comprehension. And that’s what reading is all about, no? The fact that our eyes may move a little faster is less important than whether the concepts make it into our brains.
“It’s not like people COULDN’T understand the text when only one space was used after the periods,” Johnson said. “The [human] reading system is pretty flexible, and we can comprehend written material regardless of whether it is narrowly or widely spaced.”
Angela Chen at The Verge also gave a pointed critique of the methodology:
The two-space convention is left over from the days of typewriters. Typewriters allot the same amount of space for every character, so a narrow character like i gets as much as a wider character like w. (This is called a mono-spaced font.) With a typewriter, it makes sense to add an extra space to make it clear that the sentence has ended. Today’s word-processing software makes fonts proportional, though, which is why we only need one space. Also, it looks better. The Chicago Manual of Style and the Modern Language Association Style Manual also take this stance.
“I’ve gotten a lot of flak for using a mono-spaced font (Courier New) in the study,” said Johnson. Her defense is that most eye-tracking studies use monospaced fonts, and that many word-processing systems still, in practice, act like typewriters (in that they don’t add additional space between sentences even when using proportional fonts; to increase the amount of space between sentences relative to the amount of space between any two words within the sentence, two physical spaces are still needed following the period). “Although I agree that future research should look at these effects using other types of fonts, research in this area suggests that font differences in general are small or nonexistent.”
Even in the studies where researchers have removed interword spaces altogether, reading comprehension is still very high. For example, Thai and Chinese are typically written without spaces between words, even though studies have found that when space is added between words, reading speed increases. The standard comes down to aesthetics, tradition, conservation of paper and space—basically, the fact that reading is an act of much more than information delivery.
I’ve written before about the effect of color gradients on reading, and how it goes against the findings of science that our words should be in a single color, usually black and usually on a near-white background, and usually presented in lines of a certain length. This is all a matter of tradition and style, not optimal information transfer. This standard does not work well for everyone. It’s why I thought, for a long time, that I didn’t like books. I wasn’t good at the mechanics of reading. When I found text-to-speech programs and actual audiobooks, it was like finally seeing the turtle in one of those Magic Eye posters that everyone else at the party saw hours ago.
All of this is to say that if we really wanted to do evidence-based delivery of text for maximum comprehension, it wouldn’t be like debating one space or two. It would look totally different: words spewing into your face by some sort of torrent that syncs with feedback about your perception, and slows or pauses when you are distracted, and speeds up when you are bored.
Still, this has been a good exercise in challenging beliefs, at least for me. What is important is that this question not be what breaks us—that Americans remember that we are united by the ideals of democracy, freedom, liberty, and justice that we still hold dear, and which demand our allegiance above any person or party or spacing issue.
James Hamblin, M.D., is a former staff writer at The Atlantic. He is also a lecturer at Yale School of Public Health, a co-host of Social Distance, and the author of Clean: The New Science of Skin.
URL
https://www.theatlantic.com/science/archive/2018/05/two-spaces-after-a-period/559304/
MY RESPONSEAs a writer I used and use grammatical techniques that are uncommon; I received and receive negative commentary in response to said use. But, what is the most potent issue? The most potent issue isn't who is right or wrong. The most potent issue is fear of no norm/standard. I find many people in various arenas are standardphiles or standard fanatics.
I give the following examples: a sports team succeeds in lifting a trophy using a strategy deemed outdated, a writer composes a story that buyers embrace that doesn't utilize common expectations for characters, a person lives comfortably while not acting to the life script all others have around them.
The problem isn't right or wrong, it is the fear of not being able to say who is right or wrong. This fear is huge. When a person whose forebears were enslaved in the usa to whites, says kill whites/kill the usa. The normal /standard response by most blacks or whites in the usa living at the time of this writing is something negative, around the terms: shame on you, you know better, judge individually, we are all family. But what if.... they are allowed? Notice I didn't say right or wrong. What if the condemnation is wrong ? It isn't an issue of opinions but applied opinion. Applied opinion breeds consensus , creates the standards or norms.
All know this. But how big is africa? who is american? who are immigrants to the usa? who are white? Absent applied opinion, the peer pressure is gone, and people are freer to do as they want, even against a majority as individuals.
To writing, it doesn't spell the end of literature, but spells the end of critiques. Judgement requires laws which are attempts as an enforced standard or norm, which themselves are built on applied opinions.
The reaction in the article from others is the purest example. They fear someone not caring what they say, and being surrounded by others who don't care too.
Thus, the individualism, at least in the usa, becomes true, not the mirror of white european descended, pan religious, empowerment that it is.
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The Following Is An Article On Popular Fiction ... from the past...my thoughts are at the end
‘PENNY AWFULS’By James GreenwoodSt. Paul's Magazine XII 1873.
It would be an excellent and profitable arrangement if the London School Board were empowered not only to insist that all boys and girls of tender years shall be instructed in the art of reading, but also to root up and for ever banish from the paths of its pupils those dangerous weeds of literature that crop up in such rank luxuriance on every side to tempt them. Until this is done, it must always be heavy and uphill work with those whose laudable aim it is to promote education and popular enlightenment. To teach a girl or boy how to read is not a very difficult task; the trouble is to guide them to a wholesome and profitable exercise of the acquirement. This, doubtless, would be hard enough, were our population of juveniles left to follow the dictates of their docile or rebellious natures; but this they are not suffered to do. At the very outset, as soon indeed as they have mastered words of two and three syllables, and by skipping the hard words are able somehow to stumble through a page in reading fashion, the enemy is at hand to enlist them in his service. And never was poor recruit so dazzled and bewildered by the wily sergeant whose business it is to angle for and hook men to serve as soldiers as is the foolish lad who is beset by the host of candidates of the Penny Awful tribe for his patronage. There is Dick Turpin bestriding his fleet steed, and with a brace of magnificently mounted pistols stuck in his belt, beckoning him to an expedition of midnight marauding on the Queen’s highway; there is gentlemanly Claude Duval, with his gold-laced coat and elegantly curled periwig, who raises his three-cornered hat politely to the highly-flattered schoolboy and begs the pleasure of his company through six months or so - at the ridiculously small cost of a penny a week, that, he, the gallant captain, may initiate our young friend in the ways of bloodshed and villainy; there is sleek-cropped, bullet-headed Jack Sheppard, who steps boldly forth with his crowbar, offering to instruct the amazed youth in the ways of crime as illustrated by his own brilliant career, and to supply him with a few useful hints as to the best way of escaping from Newgate. Besides these worthies there are the Robbers of the Heath, and the Knights of the Road, and the Skeleton Crew, and Wildfire Dick and Hell-fire Jack, and Dare-devil Tom, and Blueskin, and Cut-throat Ned, and twenty other choice spirits of an equally respectable type, one and all appealing to him, and wheedling and coaxing him to make himself acquainted with their delectable lives and adventures at the insignificant expense of one penny weekly.
It is not difficult to trace back the evil in question to its origin. At least a quarter of a century ago it occurred to some enterprising individual to reprint and issue in “penny weekly numbers” the matter contained in the “Newgate Calendar,” and the publication was financially a great success. This excited the cupidity of other speculators, in whose eyes money loses none of its value though ever so begrimed with nastiness, and they set their wits to work to produce printed weekly “pen’orths” that should be as savoury to the morbid tastes of the young and the ignorant as was the renowned Old Bailey Chronicle itself. The task was by no means a difficult one when once was found the spirit to set about it. The Newgate Calendar was after all but a dry and legal record of the trials of rogues and murderers, for this or that particular offence, with at most, in addition, a brief sketch of the convicted one’s previous career, and a few observations on his most remarkable exploits. After all, there was really no romance in the thing ; and what persons of limited education and intellect love in a book is romance. Here then was a grand field ! What could be easier than to take the common-place Newgate raw material, and re-dip it in the most vivid scarlet, and weave into it the rainbow hues of fiction? What was there that “came out” at the trials of Jack Sheppard and Claude Duval and Mr. Richard Turpin and which the calendar readers so greedily devoured, compared with what might be made to “come out” concerning these same heroes when the professional romance-monger, with the victim’s skull for an inkstand, gore for ink, and the assassin's dagger for a pen, sat down to write their histories? The great thing was to show what the Newgate Calendar had failed to show. It was all very well to demonstrate that at times there existed honour among thieves; the thing to do was to make it clear that stealing was an honourable business, and that all thieves were persons to be respected on account at least of the risks they ran and the perils they so daringly faced in the pursuit of their ordinary calling. Again, in recording the achievements of robbers of a superior grade, the Calendar gave but the merest glimpse of the glories of a highway villain’s existence, whereas, as was well known to the romancist of the Penny Awful school, the life of a person like Mr. Turpin or any other Knight of the Road is just one endless round of daring, dashing adventure, and of rollicking and roystering, or tender, blissful enjoyments of the fruits thereof. Likewise, according to the same authority, it was a well-known fact, and one that could not be too generally known, that rogues and robbers are the only “brave” that deserve the “fair,” and that no sweethearts are so true to each other, and enjoy such unalloyed felicity, as gentlemen of the stamp of Captain Firebrand (who wears lace truffles and affects a horror for the low operation of cutting a throat, but regards it as quite the gentlemanly and “professional” thing to send a bullet whizzing into a human skull ) and buxom, fascinating Molly Cutpurse.
But after all, if the unscrupulous hatchers of Penny Awfuls (this term is no invention of mine, but one conferred on the class of literature in question by the owners thereof ) had been content to stick to Newgate heroes and Knights of the Road, perhaps no very great harm would have been done. At all events, the nuisance must soon have died out. Popular interest in the British Highwayman has for many years been on the wane. There are no longer any mail coaches to rob, and the descendants of the rare old heroes of Bagshot and Hounslow have brought the profession into disgust and contempt by taking to the cowardly game of garroting. Every boy may read of the pitiful behaviour of these modern Knights of the Road when they are triced up, bare-backed, in the press-room at Newgate, and a stout prison warden makes a cat-o’-nine-tails whistle across their shoulders. How they squeal and wriggle and supplicate! “Oh! sir, kind sir! O-o-o-oh-h, pray spare me; I’ll never do it again!” There is not the least spark of dash or bravado about this kind of thing, and the cleverest penman of the Penny Awful tribe would fail to excite feelings of emulation in the minds of his most devoted readers.
The Penny Awful trade, however, has not been brought to a standstill on this account. Cleverer men than those who paraded Dick Turpin and Claude Duval as model heroes have of late years come into the garbage market. Quick-witted, neat-handed fellows, who have studied the matter and made themselves acquainted with it at all points. It has been discovered by these sharp ones that the business has been unnecessarily restricted ; that even supposing that there are still a goodly number of simpletons who take delight in the romance that hangs on those magic words, “Your money or your life,” there are still a much larger number who take no interest at all in gallows heroes, but who might easily be tempted to take to another kind of bait, provided it were judiciously adjusted on the hook. As for instance, there were doubtless to be found in London and the large manufacturing towns of England, hundreds of boys out of whom constant drudgery and bad living had ground all that spirit of dare-devilism so essential to the enjoyment of the exploits of the heroes of the Turpin type, but who still possessed an appetite for vices of a sort that were milder and more easy of digestion. It was a task of no great difficulty when once the happy idea was conceived. All that was necessary was to show that the faculty for successfully defying law and order and the ordinations of virtue might be cultivated by boys as well as men, and that as rogues and rascals the same brilliant rewards attended the former as the latter. The result may be seen in the shop window of every cheap newsvendor in London - The Boy Thieves of London, The Life of a Fast Boy, The Boy Bandits, The Wild Boys of London, The Boy Detective, Charley Wag, The Lively Adventures of a Young Rascal, and I can’t say how many more. This much is true of each and everyone, however - that it is not nor does it pretend to be anything else than a vicious hotch-potch of the vilest slang, a mockery of all that is decent and virtuous, an incentive to all that is mean, base, and immoral, and a certain guide to a prison or a reformatory if sedulously followed. If these precious weekly pen’orths do not openly advocate crime and robbery, they at least go so far as to make it appear that although to obtain the means requisite to set up as a Fast Boy, or a Young Rascal, it is found necessary to make free with a master’s goods, or to force his till or run off with his cash-box, still the immense amount of frolic and awful jollity to be obtained at music halls, at dancing rooms, - where “young rascals” of the opposite sex may be met, - at theatres, and low gambling and drinking dens, if one has “only got the money,” fully compensates for any penalty a boy of the “fast” school may be called on to pay in the event of his petty larcenies being discovered. “What’s the good o’ being honest ?” is the moral sentiment that the Penny Awful author puts into the mouth of his hero, Joe the Ferret, in his delectable story “The Boy Thieves of the Slums.” “What’s the good of being honest ?” says Joe, who is presiding at a banquet consisting of the “richest meats,” and hot brandy and water; “where’s the pull? It is all canting and humbug. The honest cove is the one who slaves from morning till night for half a bellyfull of grub, and a ragged jacket and a pair of trotter cases (shoes), that don’t keep his toes out of the mud, and all that he may be called a good boy and have a “clear conscience” ’ (loud laughter and cries of “Hear, hear,” by the Weasel’s “pals”). “I ain’t got no conscience, and I don’t want one. If I felt one a-growing in me I’d pisen the blessed thing” (more laughter). “Ours is the game, my lads. Light come, light go. Plenty of tin, plenty of pleasure, plenty of sweethearts and that kind of fun, and all got by making a dip in a pocket, or sneaking a till. I’ll tell you what it is, my hearties,” continued the Weasel, raising his glass in his hand (on a finger of which there sparkled a valuable ring, part of the produce of the night’s work), “I’ll tell you what it is, it’s quite as well that them curs and milksops, the ‘honest boys’ of London, do not know what a jolly, easy, devil-may-care life we lead compared with theirs, or we should have so many of ‘em takin’ to our line that it would be bad for the trade.”
It is not invariably, however, that the Penny Awful author indulges in such a barefaced enunciation of his principles. The old-fashioned method was to clap the representatives of all manner of vices before the reader, and boldly swear by them as jolly roystering blades whose manner of enjoying life was after all the best, despite the grim end. The modern way is to paint the picture not coarsely, but with skill and anatomical minuteness; to continue it page after page, and point out and linger over the most flagrant indecencies and immoral teachings of the pretty story, and then, in the brief interval of putting that picture aside and producing another, to “patter” ( if I may be excused using an expression so shockingly vulgar ) a few sentences concerning the unprofitableness of vice, and of honesty being the best policy. And having cut this irksome, though for obvious reasons necessary, part of the business as short as possible, the “author” again plunges the pen of nastiness into his inkpot, and proceeds with renewed vigour to execute the real work in hand.
Writing on this subject it is impossible for me to forget a vivid instance of the pernicious influence of literature of the Penny Awful kind as revealed by the victim himself. It was at a meeting of a society the laudable aim of which is the rescue of juvenile criminals from the paths of vice, and there were present a considerable number of the lads themselves. In the course of the evening, as a test I suppose of the amount of confidence reposed by the lads in their well-wishers and teachers, it was suggested that any one among them who had courage enough might rise in his place and give a brief account of his first theft, and what tempted him to it. It was some time before their was any response, although from the many wistful faces changing rapidly from red to white, and the general uneasiness manifested by the youths appealed to, and who were seated on forms in the middle of the hall, it was evident that many were of a great good mind to accept the invitation. At last a lad of thirteen or so, whose good-conduct stripes told of how bravely he was raising himself out of the slough in which the Society had discovered him, rose, and burning red to his very ears, and speaking rapidly and with much stumbling and stammering - evidences one and all, in my opinion, of his speaking the truth - delivered himself as follows :-
“It’s a goodish many years ago now, more’n six I dessay, and I used to go to the ragged-school down by Hatton-garden. It was Tyburn Dick that did it, leastways the story what they call Tyburn Dick. Well, my brother Bill was a bit older than me, and he used to have to stay at home and mind my young brother and sister, while father was out jobbing about at the docks and them places. We didn’t have no mother. Well, father he used to leave us as much grub as he could, and Bill used to have the sharin’ of it out. Bill couldn’t read a bit, but he knowed boys that could, and he used to hear ‘em reading about Knights of the Road, and Claude Duval, and Skeleton Crews, till I suppose his head got regler stuffed with it. He never had no money to buy a pen’orth when it came out, so he used to lay wait for me, carrying my young sister over his shoulder, when I came out of school at dinner time, and gammon me over to come along with him to a shop at the corner of Rosamond Street in Clerkenwell, where there used to be a whole lot of the penny numbers in the window. They was all of a row, Wildfire Jack, the Boy Highwayman, Dick Turpin, and ever so many others - just the first page, don’t you know, and the picture. Well, I liked it too, and I used to go along o’ Bill and read to him all the reading on the front pages, and look at the pictures until - ‘specially on Mondays when there was altogether a new lot - Bill would get so worked up with the aggravatin’ little bits, which always left off where you wanted to turn over and see what was on the next leaf, that he was very nigh off his head about it. He used to bribe me with his grub to go with him to Rosamond Street. He used to go there regler every mornin’ carryin’ my young sister, and if he found only one that was fresh, he’d be at the school coaxin’ and wigglin’ (qy. inveigling or wheedling), and sometimes bringin’ me half his bread and butter, or the lump of cold pudden what was his share of the dinner. He got the little bits of the tales and the pictures so jumbled up together that it used to prey on him awful. I was bad enough but Bill was forty times worse. He used to lay awake of nights talkin’ and wonderin’ and wonderin’ what was over leaf, and then he’d drop off and talk about it in his sleep. Well, one day he come to the school, and says he, “Charley, there’s somethin’ real stunnin’ at the corner shop this mornin’. It’s Tyburn Dick, and they’ve got him in a cart under the gallows, and there’s Jack Ketch smoking his pipe, and a whole lot of the mob a rushing to rescue him wot’s going to be hung, and the soldiers are there beatin’ of ‘em back, and I’m blowed,’ says Bill, ‘if I can tell how it will end. I should like to know,’ says he. ‘Perhaps it tells you in the little bit of print at bottom ; come along, Charley.’ Well, I wanted to know too, so we went, and there was the picture just as Bill said, but the print underneath didn’t throw no light on it - it was only just on the point of throwin’ a light on it, and of course we couldn’t turn over. I never saw Bill in such a way. He wasn’t a swearin’ boy, take him altogether, but this time he did let out, he was so savage at not being able to turn over. He was like a mad cove, and without any reason punched me about till I run away from him and went to school again. Well, although I didn’t expect it when I come out at half-past four, there was Bill again. His face looked so queer that I thought I was going to get some more punching, but it wasn’t that. He come up speakin’ quite kind, though there seemed something the matter with his voice, it was so shaky. ‘Come on, Charley,’ he said, ‘come on home quick. I’ve got it,’ and opening his jacket, he showed it me - the penny number where the picture of the gallows was, tucked in atwixt the buttonings of his shirt. ‘But how did you come by the penny?’ I asked him. ‘Come on home and read about Jack Ketch and that, and then I’ll tell you all about it,’ Bill replied. So we went home ; and I read out the penny number to him all through, and then he up and told me that he had nicked (stolen) a hammer off a second-hand tool stall in Leather Lane, and sold it for a penny at a rag-shop. That’s how the ice was broke. It seemed a mere nothing to nail a paltry pen’orth or so after reading of the wholesale robbery of jewels, and diamond necklaces, and that, that Tyburn Dick did every night of his life a’most. It was getting that whole pen’orth about him that showed us what a tremenjus chap he was. Next week it was my turn to get a penny to buy the number - we felt that we couldn’t do without it nohow ; and finding the chance, I stole one of the metal inkstands at the school. That was the commencement of it ; and so it went on and growed bigger; but it’s out and true, that for a good many weeks we only stole to buy the number just out of Tyburn Dick.”
A question likely to occur to the reader of these pages is - what sort of persons are these who are so ignoble and utterly lost to all feelings of shame that they can consent to make money by a means that is more detestable than that resorted to by the common gutter-raker or the common pickpocket? How do such individuals comport themselves in society? Are they men well dressed and decently behaved, and have they any pretensions to respectability ? The bookselling and publishing trade is a worthy trade : do the members of it generally recognise these base corruptors of the morals of little boys and girls? or do they shun them and give them a wide berth when they are compelled to tread the same pavement with them? My dear reader, I assure you that whether they are shunned or recognised by those who know them is not of the least moment to the blackguardly crew who pull the strings that keep the delusive puppets going. Well dressed they are - they can well afford to be so, for they make a deal of money, and in many cases keep fine houses and servants and send their children to boarding-school. They dine well in the city, and bluster, and swagger, and swear, and wear diamonds on their unsullied hands, and chains of gold adorn their manly bosoms. As for any idea of moral responsibility as regards those whose young souls and bodies they grind to make their bread, they have no more than had Simon Legree on his Red River slave plantation. They are labouring under no delusion as to the quality of the stuff they circulate. In their own choice language, it is “rot,” “rubbish,” “hog-wash,” but “what odds so long as it sells?” They would laugh in your face were you so rash as to attempt to argue the matter with them. They would tell you that they “go in” for this kind of thing, not out of any respect or even liking they have for it, but simply because it is a good “dodge” for making money, and their only regret is that the law forbids them “spicing” their poison pages and serving them as hot and strong as they would like to. I speak from my own knowledge of these men, and am glad to make their real character known, in order to show how little injustice would be done if their nefarious trade were put a stop to with the utmost rigour of any law that might be brought to bear against them.
Again, it may be asked, who are the “authors,” the talented gentlemen who find it a labour of love to discourse week after week to a juvenile audience of the doings of lewd women and “fast” men, and of the delights of debauchery, and the exercise of low cunning, and the victimising of the innocent and unsuspecting? Ay, who are they? Few things would afford me greater satisfaction than to gather together a hundred thousand or so of those who waste their time and money in the purchase and perusal of Penny Awfuls, and exhibit to them the sort of man it is to whose hands is entrusted the preparation of the precious hashes. Before such an exhibition could take place however, for decency’s sake, I should be compelled to induce him to wash his face and shave his neglected muzzle; likewise I should probably have to find him a coat to wear, and very possibly a pair of shoes. His master, the Penny Awful proprietor, does not treat him at all liberally. To be sure he is not worty of a great amount of consideration, being, as a rule, a dissipated, gin-soddened, poor wretch, who has been brought to his present degraded state by his own misdoings. As for talent, he has none at all; never had; nothing more than a mere accidental literary twist in his wrist - just as one frequently sees a dog that is nothing but a cur, except for some unaccountable gift it has for catching rats, or doing tricks of conjuring. He works to order, does this obliging writer. Either he has lodgings in some dirty court close at hand, or he is stowed away in a dim, upstairs back room of the Penny Awful office, and there the proprietor visits him, and they have a pot of ale and pipes together - the one in his splendid attire, and the other in his tattered old coat and dirty shirt - and talk over the “next” number of Selina the Seduced ; and very often there is heard violent language in that dim little den, the proprietor insisting on their being “more flavour” in the next batch of copy than the last, and the meek author beseeching a little respect for Lord Campbell and his Act. But the noble owner of Selina generally has his way. “Do as you like about it,” says he; “only bear this in mind. I know what goes down best with ‘em and what’s most relished, and if I don’t find that you warm up a bit in the next number, I’ll knock off half-a-crown, and make the tip for the week seventeen-and-six instead of a pound.”
James Greenwood.URL
http://john-adcock.blogspot.com/2009/03/penny-awfuls.html
Referral
https://www.deviantart.com/leothefox/journal/Penny-Awfuls-986255371MY THOUGHTS
The first problem is Greenwood focuses on the Penny Dreadful works as the corruptors to an englightened path of reading but dysfunctionally, doesn't start with the fiscal capitalistic agents whose influence in the art world is the true source. The artists who create works is not the one who advertises who publishes who peddles.
Yes, the word noble means knowing. The ignoble, the peasant in the past did not know. In parallel, children by default yet to mature, as well as adults unguided , in modernity or to the future are the same. But Greenwood misses the point, the reason why the ignoble reach for the rare potentials of the criminal or illegal actor is because the ignoble also tend to be the fiscal poor. And the fiscal poor from the time before the first ruler of the Nile in the far past to the empire of Mars one day know that the system designed by the fiscal rich doesn't offer a positive probability to succeed outside criminality or illegality. Greenwood's argument is one that has been reformatted whether known or not many times in modernity. I phrase it in one language: "Why they committing those crimes for?"
Most crimes or illegalities in humanity were, are, and will be to make money. Sequentially, what is more appealing to the majority who were and are the fiscal poor that a criminal or illegal getting away with it. Greenwood's true enemy first seemed to be fiscal capitalist, but now it is fiscal capitalism.As a writer I always try to explain to nonartists or artists that two assessments exist to all art. The creative side the financial. The creative is disconnected to the financial. All artists reach this reality eventually. There is work I have created for myself. There is work I have created to be sold or advertised. The difference is real. And in any artistic industry: fashion/music/writing/sculpture over time the craftspeople get better at it, teach others from their experience. Greenwood now is complaining that artists in a field improve and seek out new ways to express.
He then uses to support his position , his interpretation of a supposed account of a criminal youth. It reeks of something contrived between a mental manipulator in a prison using getting out as a carrot and an audience filled with people like greenwood to give approval.
It's funny, the british empire was made by any means necessary wherever british ships saied and yet, greenwood chagrins individuals absent an army or a government and only trying to improve themselves for having an any means mentality. And he even used Simon LEgre the symbol of the Statian Empire to correctly say the financiers to the media he detest care not how they make money.
In Conclusion, his enemy is not the writers of penny dreadful's or the readers whom he attacks first. His enemy isn't even the producers , the fiscal capitalist he unstraightly pardons.as men of money in a huamnity based on money. His enemy is fiscal capitalism which by its nature looks to find markets, places to sell. And each market as it gets older becomes cruder or simpler , reduced to a simple financial structure which exists as long as it can. Greenwood's problem is his arguments lead to a question he can not accept or emit. Fiscal Capitlaism generates activity to make profit that is unconcerned to any other factor /heritage/culture. Which he knows, we all know. But, how can you expect the masses not to love seeing fiscal capitalism at its purest, the financiers not to operate in its definition, anycommunity that accepts fiscal capitalism to place secondarily everything else that is not making money?
IN AMENDMENT
People like Greenwood never seem willing to admit their problem. They want the community they live in to be based on some conduct code ,but are unwilling to call for it. While they know they live in a fiscal capitalistic community which by default breeds a primary profiteering culture.
Greenwood wants no criminal or illegal activity plus the dismissal of penny dreadfuls by individuals. That is what his words suggest. The only way that can happen in the fiscal capitalistic england of his time is for fiscally poor people to embrace their poverty with a smile and become devout to the rules set by various christian denominations.