Scott Adams, creator of the comic strip Dilbert, emerged a few years back as one of the cleverest cartoonists in the long history of that art. His eponymous protagonist, by now familiar to everyone, is a software engineer with vaguely defined duties at a large technology firm. Dilbert's closest companion is Dogbert, a philosophical pooch with the self-professed aim of world conquest.
Doctoral dissertations seldom make good books. Even the most trivial assertion in a thesis must be footnoted; and the author, much to the reader's discomfort, must demonstrate his control of his subject in excruciating detail.
The federal government has rocked the art market by conducting its broadest ever investigation of New York auction houses and dealers. Some two dozen reputable New York art dealers, including Christie's and Sotheby's, have received subpoenas for all types of bidding records.
The 5th Street Theater in Seattle, Washington, is one of a dwindling number of houses of its kind. It receives no government money whatsoever. Its revenues come from a permanent endowment and ticket sales to its popular, if small-scale shows. Its charter prevents it from raising money from other private sources. It keeps a low profile in the arts community, but its staff is as loyal and dedicated as its steady stream of patrons.
The physical impossibility of Santa got me thinking about the economics of the old boy's operations. After all, he is not paid for the goods he delivers, and it would be improper for him to send a bill the next morning. Nobody asked him to leave the stuff, or contracted with him to do so. But that means he gets no feedback from the consumer, much less a clear indication of profit or loss.
It wasn't the free market, consumerism, or capitalism that killed the movies. It was antitrust regulation, as enforced by the Federal Trade Commission. This government intervention in the 1940s radically altered the structure of the film industry for the worse. The direct and immediate result was a decline in acting, scripts, scores, content, and the cultural contribution of films.
There it is, on the cover of Newsweek, in thick, blood-red letters: "Corporate Killers." What follows is mug-like photo after photo, some of them grainy, of rich white men, all menacing and "greedy." They are the CEOs of America's top corporations. The story's thesis is simple: they are destroying the country.
Gus Stelzer, a retired General Motors senior executive, is on a rampage against free trade. It makes sense from his point of view. Like most big business, GM does not welcome competition from abroad, however much it's spurred product improvements over the years. It turns to the government to tax imports that consumers desire more.
Jews have been a conspicuous presence in black neighborhoods for more than a century, providing food, home furnishings, medical care, living accommodations, and financial services. Most of the Jews involved in these enterprises were first- or second-generation immigrants from Europe. In recent times, as Jews have veered toward more decorous occupations, these functions have been increasingly assumed by newer immigrants, often Korean or Arab.
Pigskin lovers and haters abound, but the ranks of football haters are swelling as more and more taxpayers are joining the chorus: "I hate football." In an attempt to lure football teams, local politicians are giving away the store on new stadiums, training facilities, rent subsidies, and sweetheart revenue deals. Even under the best circumstances, local taxpayers lose hundreds of millions of dollars.
