The Rich in America: Power, Control, Wealth and the Elite Upper Class in the United States

The Rich in America: Power, Control, Wealth and the Elite Upper Class in the United States

The American upper class describes the sociological concept pertaining to the "top layer" of society in the United States. About the book: https://www.amazon.com/gp/product/0078026717/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0078026717&linkCode=as2&tag=tra0c7-20&linkId=2eb8359867676703c845d545981030e7 This social class is most commonly described as consisting of those with great wealth and power and may also be referred to as the Capitalist Class or simply as The Rich. Persons of this class commonly have immense influence in the nation's political and economic institutions as well as public opinion. Many politicians, heirs to fortunes, top business executives, CEOs, successful venture capitalists and celebrities are considered members of this class. Some prominent and high-rung professionals may also be included if they attain great influence and wealth. The main distinguishing feature of this class, which is estimated to constitute roughly 1% of the population, is the source of income. While the vast majority of persons and households derive their income from salaries, those in the upper class derive their income from investments and capital gains. Estimates for the size of this group commonly vary from 1% to 2%, while some surveys have indicated that as many as 6% of Americans identify as "upper class." Sociologist Leonard Beeghley sees wealth as the only significant distinguishing feature of this class and, therefore, refers to this group simply as "the rich." " "The members of the tiny capitalist class at the top of the hierarchy have an influence on economy and society far beyond their numbers. They make investment decisions that open or close employment opportunities for millions of others. They contribute money to political parties, and they often own media enterprises that allow them influence over the thinking of other classes... The capitalist class strives to perpetuate itself: Assets, lifestyles, values and social networks... are all passed from one generation to the next." -Dennis Gilbert, The American Class Structure, 1998 " Sociologists such as W. Lloyd Warner, William Thompson and Joseph Hickey recognize prestige differences between members of the upper class. Established families, prominent professionals and politicians may be deemed to have more prestige than some entertainment celebrities who in turn may have more prestige than the members of local elites. Yet, contemporary sociologists argue that all members of the upper class share such great wealth, influence and assets as their main source of income as to be recognized as members of the same social class. As great financial fortune is the main distinguishing feature of this class, sociologist Leonard Beeghley at the University of Florida identifies all "rich" households, those with incomes in the top 1% or so, as upper class. Functional theorists in sociology and economics assert that the existence of social classes is necessary in order to distribute persons so that only the most qualified are able to acquire positions of power, and so that all persons fulfill their occupational duties to the greatest extent of their ability. Notably, this view does not address wealth, which plays an important role in allocating status and power. In order to make sure that important and complex tasks are handled by qualified and motivated personnel, society offers incentives such as income and prestige. The more scarce qualified applicants are and the more essential the given task is, the larger the incentive will be. Income and prestige which are often used to tell a person's social class, are merely the incentives given to that person for meeting all qualifications to complete an important task that is of high standing in society due to its functional value. "It should be stressed... that a position does not bring power and prestige because it draws a high income. Rather, it draws a high income because it is functionally important and the available personnel is for one reason or another scarce. It is therefore superficial and erroneous to regard high income as the cause of a man's power and prestige, just as it is erroneous to think that a man's fever is the cause of his disease... The economic source of power and prestige is not income primarily, but the ownership of capital goods (including patents, good will, and professional reputation). Such ownership should be distinguished from the possession of consumers' goods, which is an index rather than a cause of social standing." -Kingsley Davis and Wilbert E. Moore, Principles of Stratification. http://en.wikipedia.org/wiki/American_upper_class

Suspense: The 13th Sound / Always Room at the Top / Three Faces at Midnight

Suspense: The 13th Sound / Always Room at the Top / Three Faces at Midnight

The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, "Backseat Driver," which originally aired February 3, 1949. The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with "Death on My Hands": A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him. With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur's "The Man Who Went Back to Save Lincoln" or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas. http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29

Calling All Cars: Banker Bandit / The Honor Complex / Desertion Leads to Murder

Calling All Cars: Banker Bandit / The Honor Complex / Desertion Leads to Murder

The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role. The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station. Due to Dragnet's popularity, LAPD Chief Parker "became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation". In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay. Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel. The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous "cold case", and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) "represent the choices ahead for the LAPD": assisting Hollywood limelight, aggressive policing with relaxed ethics, and a "straight arrow" approach. http://en.wikipedia.org/wiki/LAPD

Wealth and Power in America: Social Class, Income Distribution, Finance and the American Dream

Wealth and Power in America: Social Class, Income Distribution, Finance and the American Dream

Wealth in the United States is commonly measured in terms of net worth, which is the sum of all assets, including home equity, minus all liabilities. More on the topic: https://www.amazon.com/gp/search?ie=UTF8&tag=tra0c7-20&linkCode=ur2&linkId=ff2efe1946d5c4d43e435783f57e86dc&camp=1789&creative=9325&index=books&keywords=wealth%20america For example, a household in possession of an $800,000 house, $5,000 in mutual funds, $30,000 in cars, $20,000 worth of stock in their own company, and a $45,000 IRA would have assets totaling $900,000. Assuming that this household would have a $250,000 mortgage, $40,000 in car loans, and $10,000 in credit card debt, its debts would total $300,000. Subtracting the debts from the worth of this household's assets (900,000 - $300,000 = $600,000), this household would have a net worth of $600,000. Net worth can vary with fluctuations in value of the underlying assets. The wealth—more specifically, the median net worth—of households in the United States is varied with relation to race, education, geographic location and gender. As one would expect, households with greater income feature the highest net worths, though high income cannot be taken as an always accurate indicator of net worth. Overall the number of wealthier households is on the rise, with baby boomers hitting the highs of their careers. In addition, wealth is unevenly distributed, with the wealthiest 25% of US households owning 87% of the wealth in the United States, which was $54.2 trillion in 2009. When observing the changes in the wealth among American households, one can note an increase in wealthier individuals and a decrease in the number of poor households, while net worth increased most substantially in semi-wealthy and wealthy households. Overall the percentage of households with a negative net worth (more debt than assets) declined from 9.5% in 1989 to 4.1% in 2001. The percentage of net worths ranging from $500,000 to one million doubled while the percentage of millionaires tripled. From 1995 to 2004, there was tremendous growth among household wealth, as it nearly doubled from $21.9 trillion to $43.6 trillion, but the wealthiest quartile of the economic distribution made up 89% of this growth. During this time frame, wealth became increasingly unequal, and the wealthiest 25% became even wealthier. According to US Census Bureau statistics this "Upward shift" is most likely the result of a booming housing market which caused homeowners to experience tremendous increases in home equity. Life-cycles have also attributed to the rising wealth among Americans. With more and more baby-boomers reaching the climax of their careers and the middle aged population making up a larger segment of the population now than ever before, more and more households have achieved comfortable levels of wealth. Zhu Xiao Di (2004) notes that household wealth usually peaks around families headed by people in their 50s, and as a result, the baby boomer generation reached this age range at the time of the analysis. http://en.wikipedia.org/wiki/Wealth_in_the_United_States

The Vietnam War: Reasons for Failure - Why the U.S. Lost

The Vietnam War: Reasons for Failure - Why the U.S. Lost

In the post-war era, Americans struggled to absorb the lessons of the military intervention. About the book: https://www.amazon.com/gp/product/0871137992/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0871137992&linkCode=as2&tag=tra0c7-20&linkId=d1bb53399f448906b40e7c954de052ac As General Maxwell Taylor, one of the principal architects of the war, noted, "First, we didn't know ourselves. We thought that we were going into another Korean War, but this was a different country. Secondly, we didn't know our South Vietnamese allies... And we knew less about North Vietnam. Who was Ho Chi Minh? Nobody really knew. So, until we know the enemy and know our allies and know ourselves, we'd better keep out of this kind of dirty business. It's very dangerous." Some have suggested that "the responsibility for the ultimate failure of this policy [America's withdrawal from Vietnam] lies not with the men who fought, but with those in Congress..." Alternatively, the official history of the United States Army noted that "tactics have often seemed to exist apart from larger issues, strategies, and objectives. Yet in Vietnam the Army experienced tactical success and strategic failure... The...Vietnam War...legacy may be the lesson that unique historical, political, cultural, and social factors always impinge on the military...Success rests not only on military progress but on correctly analyzing the nature of the particular conflict, understanding the enemy's strategy, and assessing the strengths and weaknesses of allies. A new humility and a new sophistication may form the best parts of a complex heritage left to the Army by the long, bitter war in Vietnam." U.S. Secretary of State Henry Kissinger wrote in a secret memo to President Gerald Ford that "in terms of military tactics, we cannot help draw the conclusion that our armed forces are not suited to this kind of war. Even the Special Forces who had been designed for it could not prevail." Even Secretary of Defense Robert McNamara concluded that "the achievement of a military victory by U.S. forces in Vietnam was indeed a dangerous illusion." Doubts surfaced as to the effectiveness of large-scale, sustained bombing. As Army Chief of Staff Harold Keith Johnson noted, "if anything came out of Vietnam, it was that air power couldn't do the job." Even General William Westmoreland admitted that the bombing had been ineffective. As he remarked, "I still doubt that the North Vietnamese would have relented." The inability to bomb Hanoi to the bargaining table also illustrated another U.S. miscalculation. The North's leadership was composed of hardened communists who had been fighting for independence for thirty years. They had defeated the French, and their tenacity as both nationalists and communists was formidable. Ho Chi Minh is quoted as saying, "You can kill ten of my men for every one I kill of yours...But even at these odds you will lose and I will win." The Vietnam War called into question the U.S. Army doctrine. Marine Corps General Victor H. Krulak heavily criticised Westmoreland's attrition strategy, calling it "wasteful of American lives... with small likelihood of a successful outcome." In addition, doubts surfaced about the ability of the military to train foreign forces. Between 1965 and 1975, the United States spent $111 billion on the war ($686 billion in FY2008 dollars). This resulted in a large federal budget deficit. More than 3 million Americans served in the Vietnam War, some 1.5 million of whom actually saw combat in Vietnam. James E. Westheider wrote that "At the height of American involvement in 1968, for example, there were 543,000 American military personnel in Vietnam, but only 80,000 were considered combat troops." Conscription in the United States had been controlled by the President since World War II, but ended in 1973." By war's end, 58,220 American soldiers had been killed, more than 150,000 had been wounded, and at least 21,000 had been permanently disabled. According to Dale Kueter, "Sixty-one percent of those killed were age 21 or younger. Of those killed in combat, 86.3 percent were white, 12.5 percent were black and the remainder from other races." The youngest American KIA in the war was PFC Dan Bullock, who had falsified his birth certificate and enlisted in the US Marines at age 14 and who was killed in combat at age 15. Approximately 830,000 Vietnam veterans suffered symptoms of posttraumatic stress disorder. An estimated 125,000 Americans fled to Canada to avoid the Vietnam draft, and approximately 50,000 American servicemen deserted. In 1977, United States President Jimmy Carter granted a full, complete and unconditional pardon to all Vietnam-era draft dodgers. The Vietnam War POW/MIA issue, concerning the fate of U.S. service personnel listed as missing in action, persisted for many years after the war's conclusion. http://en.wikipedia.org/wiki/Vietnam_War

Exposing the Secrets of the CIA: Agents, Experiments, Service, Missions, Operations, Weapons, Army

Exposing the Secrets of the CIA: Agents, Experiments, Service, Missions, Operations, Weapons, Army

Allan James Francovich (March 23, 1941 – April 24, 1997) was an American maker of investigative films, including documentaries on CIA covert operations and the Lockerbie disaster. More: https://www.amazon.com/gp/search?ie=UTF8&tag=tra0c7-20&linkCode=ur2&linkId=93461610f1b320f43d0bf4ee479a9cdc&camp=1789&creative=9325&index=dvd&keywords=allan%20francovich Francovich suffered a fatal heart attack in a Customs area at George Bush Intercontinental Airport in Houston, Texas, on April 17, 1997 whilst entering the United States from England; he was 56. His father, Aldo Francovich, worked as a mining engineer for Cerro de Pasco mining company in Peru; as a child he lived in high altitude mining towns and witnessed the extreme poverty of the miners. He attended an elite preparatory school in Lima then came to the U.S. to attend Notre Dame University, where he completed a B.A. He lived in Paris for several years, studying free-lance at the Sorbonne before coming to Berkeley. There he finished an M.A. in Dramatic Arts at UC, Berkeley; he also studied film briefly at Stanford and received a grant to study film from the American Film Institute in 1970. He and translator and writer Kathleen Weaver were married in 1970; the two separated amicably and were divorced in 1986. She collaborated on his films during the time of their marriage. His films and papers are archived by the Pacific Film Archive, in Berkeley, California. https://en.wikipedia.org/wiki/Allan_Francovich Victor L. Marchetti, Jr. (born December 23, 1929) is a former special assistant to the Deputy Director of the Central Intelligence Agency and a prominent paleoconservative critic of the United States Intelligence Community and the Israel lobby in the United States. While serving as an active-duty American soldier, Marchetti was recruited into the intelligence agencies in 1952 during the Cold War to engage in espionage against East Germany. Marchetti joined the Central Intelligence Agency in 1955, working as a specialist on the USSR. He was a leading CIA expert on Third World aid, with a focus on USSR military supplies to Cuba after the end of the Kennedy administration. In 1966 Marchetti was promoted to the office of special assistant to the Chief of Planning, Programming, and Budgeting, and a special assistant to CIA Director Richard Helms. Within three years Marchetti became disillusioned with the policies and practices of the CIA, and resigned in 1969, writing an exposé of the CIA in a book published in 1971 entitled The Rope Dancer. Later Marchetti published books critical of the CIA with author John D. Marks. The books included, The CIA and the Cult of Intelligence (1973). Before this book was published, the CIA demanded that Marchetti remove 399 passages, but Marchetti stood firm and only 168 passages were censored. It is the first book the federal government of the United States ever went to court to censor before its publication. The publisher (Alfred A. Knopf) chose to publish the book with blanks for censored passages and with boldface type for passages that were challenged but later uncensored. The publication of this book was one of the events that led to the establishment of the Church Committee by Frank Church. In 1976 Marchetti published Foreign and Military Intelligence and in 1978 he published an article about the JFK assassination in the far-right newspaper of the Liberty Lobby, The Spotlight. Marchetti, a proponent of the organized crime and the CIA conspiracy theory, claimed that the House Select Committee on Assassinations revealed a CIA memo from 1966 that named E. Howard Hunt, Frank Sturgis and Gerry Patrick Hemming in the JFK assassination. Marchetti also claimed that Marita Lorenz offered sworn testimony to confirm this. In 1981, sued the Liberty Lobby and Marchetti for defamation and won $650,000 in damages. Liberty Lobby appealed the case with lawyer, Mark Lane. Marchetti, Liberty Lobby and Lane won the appeal in 1995. Lane wrote a book, Plausible Denial, to describe the unfolding of that historic trial. http://en.wikipedia.org/wiki/Victor_Marchetti

Calling All Cars: Crime v. Time / One Good Turn Deserves Another / Hang Me Please

Calling All Cars: Crime v. Time / One Good Turn Deserves Another / Hang Me Please

The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California. The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption. The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role. The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station. Due to Dragnet's popularity, LAPD Chief Parker "became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation". In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay. Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel. The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous "cold case", and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) "represent the choices ahead for the LAPD": assisting Hollywood limelight, aggressive policing with relaxed ethics, and a "straight arrow" approach. http://en.wikipedia.org/wiki/LAPD

Section, Week 7

Section, Week 7

Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast

Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast

One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant. Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end. In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's "The Dunwich Horror", but by the late 1950s, such material was regularly featured. http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29

Review: Quiz 1

Review: Quiz 1

Top Videa -  loading... Změnit krajinu
Načíst dalších 10 videí
 
 
Sorry, You can't play this video
00:00/00:00
  •  
  •  
  •  
  •  
  •  
  •  
  •  
CLOSE
CLOSE
CLOSE