Construction Advertisement Quotes

Child psychologists have demonstrated that our minds are actually constructed by these thousands of tiny interactions during the first few years of life. We aren't just what we're taught. It's what we experience during those early years - a smile here, a jarring sound there - that creates the pathways and connections of the brain. We put our kids to fifteen years of quick-cut advertising, passive television watching, and sadistic video games, and we expect to see emerge a new generation of calm, compassionate, and engaged human beings?

...you are excused from doing the work of constructing the fantasy. The ads do it for you. The ads, therefore, don’t flatter your adult agency, or even ignore it—they supplant it.

Abelman’s Dry Goods Kansas City, Missouri U.S.A. Mr. I. Abelman, Mongoloid, Esq.: We have received via post your absurd comments about our trousers, the comments revealing, as they did, your total lack of contact with reality. Were you more aware, you would know or realize by now that the offending trousers were dispatched to you with our full knowledge that they were inadequate so far as length was concerned. “Why? Why?” You are, in your incomprehensible babble, unable to assimilate stimulating concepts of commerce into your retarded and blighted worldview. The trousers were sent to you (1) as a means of testing your initiative (A clever, wide-awake business concern should be able to make three-quarter-length trousers a byword of masculine fashion. Your advertising and merchandising programs are obviously faulty.) and (2) as a means of testing your ability to meet the standards requisite in a distributor of our quality product. (Our loyal and dependable outlets can vend any trouser bearing the Levy label no matter how abominable their design and construction. You are apparently a faithless people.) We do not wish to be bothered in the future by such tedious complaints. Please confine your correspondence to orders only. We are a busy and dynamic organization whose mission needless effrontery and harassment can only hinder. If you molest us again, sir, you may feel the sting of the lash across your pitiful shoulders. Yours in anger, Gus Levy, Pres.

Truth is a sport, and winner takes it all. The upcoming truth is under construction.

This was what the Culture offered, this was its signal, its advertisement, its legacy: chaos from order, destruction from construction, death from life.

A watch manufacturer in New York tried out two series of watch advertisements; one argued the superior construction, workmanship, durability, and guarantee offered with the watch; the other was headed, "A Watch to be Proud of," and dwelt upon the pleasure and pride of ownership. The latter series sold twice as many as the former. A salesman for a locomotive works informed the writer that in selling railroad engines emotional appeal was stronger than an argument based on mechanical excellence.

After all, the media have been and are the major dispenser of the ideals and norms surrounding motherhood: Millions of us have gone to the media for nuts-and-bolts child-rearing advice. Many of us, in fact, preferred media advice to the advice our mothers gave us. We didn't want to be like our mothers and many of us didn't want to raise our kids the way they raised us (although it turns out they did a pretty good job in the end). Thus beginning in the mid-1970s, working mothers became the most important thing you can become in the United States: a market. And they became a market just as niche marketing was exploding--the rise of cable channels, magazines like Working Mother, Family Life, Child, and Twins, all supported by advertisements geared specifically to the new, modern mother. Increased emphasis on child safety, from car seats to bicycle helmets, increased concerns about Johnny not being able to read, the recognition that mothers bought cars, watched the news, and maybe didn't want to tune into one TV show after the next about male detectives with a cockatoo or some other dumbass mascot saving hapless women--all contributed to new shows, ad campaigns, magazines, and TV news stories geared to mothers, especially affluent, upscale ones. Because of this sheer increase in output and target marketing, mothers were bombarded as never before by media constructions of the good mother. The good mother bought all this stuff to stimulate, protect, educate, and indulge her kids. She had to assemble it, install it, use it with her child, and protect her child from some of its features.

These men, and the boys following in their footsteps, were socialized in childhood to exhibit the ideal masculine traits, including stoicism, aggressiveness, extreme self-confidence, and an unending competitiveness. Those who do not conform are punished by their fathers in the form of physical and emotional abuse, and then further socialized by the boys in their school and community who have been enduring their own abuse at home. If that isn’t enough, our culture then reflects those expectations in its television shows, movies, music, and especially in advertising, where products like construction-site-quality trucks, power tools, beer, gendered deodorant, and even yogurt promise to bestow masculinity for the right price. The masculinity that’s being sold, that’s being installed via systemic abuse, is fragile because, again, it is unattainable. Humans are not intended to suppress their emotions indefinitely, to always be confident and unflinching. Traditional masculinity, as we know it, is an unnatural state, and, as a consequence, men are constantly at war with themselves and the world around them.

Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.

Attitudes towards menstrual blood in contemporary Western culture still circle around the subject with a mixture of denial and horror, advertisements for sanitary products typically use blue liquid in an attempt to sanitize the reality of blood, weary old jokes circulate about not trusting anything that bleeds for seven days and does not die. Menstrual blood is constructed either as something that requires a hygienic makeover or as something unnatural and obscene, a further indication of the horrors of sexual difference and the threatening ‘secrets’ of the female body.

Men like my father, and men like him who attend Trump rallies, join misogynistic subcultures, populate some of the most hateful groups in the world, and are prisoners of toxic masculinity, an artificial construct whose expectancies are unattainable, thus making them exceedingly fragile and injurious to others, not to mention themselves. The illusion convinces them from an early age that men deserve to be privileged and entitled, that women and men who don’t conform to traditional standards are second-class persons, are weak and thus detestable. This creates a tyrannical patriarchal system that tilts the world further in favor of men, and, as a side effect, accounts for a great deal of crimes, including harassment, physical and emotional abuse, rape, and even murder. These men, and the boys following in their footsteps, were socialized in childhood to exhibit the ideal masculine traits, including stoicism, aggressiveness, extreme self-confidence, and an unending competitiveness. Those who do not conform are punished by their fathers in the form of physical and emotional abuse, and then further socialized by the boys in their school and community who have been enduring their own abuse at home. If that isn’t enough, our culture then reflects those expectations in its television shows, movies, music, and especially in advertising, where products like construction-site-quality trucks, power tools, beer, gendered deodorant, and even yogurt promise to bestow masculinity for the right price. The masculinity that’s being sold, that’s being installed via systemic abuse, is fragile because, again, it is unattainable. Humans are not intended to suppress their emotions indefinitely, to always be confident and unflinching. Traditional masculinity, as we know it, is an unnatural state, and, as a consequence, men are constantly at war with themselves and the world around them.

The self-consciousness that mocks all attempts at spontaneous action or enjoyment derives in the last analysis from the waning belief in the reality of the external world, which has lost its immediacy in a society pervaded by "symbolically mediated information." The more man objectifies himself in his work, the more reality takes on the appearance of illusion. As the workings of the modern economy and the modern social order become increasingly inaccessible to everyday intelligence, art and philosophy abdicate the task of explaining them to the allegedly objective sciences of society, which themselves have retreated from the effort to master reality into the classification of trivia. Reality thus presents itself, to laymen and "scientists" alike, as an impenetrable network of social relations-as "role playing," the "presentation of self in everyday life." To the performing self, the only reality is the identity he can construct out of materials furnished by advertising and mass culture, themes of popular film and fiction, and fragments torn from a vast range of cultural traditions, all of them equally contemporaneous to the contemporary mind.* In order to polish and perfect the part he has devised for himself, the new Narcissus gazes at his own reflection, not so much in admiration as in unremitting search of flaws, signs of fatigue, decay. Life becomes a work of art, while "the first art work in an artist," in Norman Mailer's pronouncement, "is the shaping of his own personality.

For abolitionists, who advocated the immediate emancipation of all slaves, and free-soilers, who simply opposed the spread of slavery into the western territories, the existence of such a group proved the destructive effect of slavery on social morals and human industry and the inordinate economic power of the planter elite. It also served as an implicit warning of the disastrous consequences of the spread of slavery into nonslaveholding regions and its debilitating effect on the work ethic of otherwise stalwart white farmers. For slave-holders, particularly those at the apex of southern society, the idleness of rural working-class whites justified the “peculiar institution” and made clear the need for a planter-led economic and social hierarchy. Planter D. R. Hundley wrote, for example, that “poor whites” were “the laziest two-legged animals that walk erect on the face of the earth . . . [and exhibited] a natural stupidity or dullness of intellect that almost surpasses belief.” To abolitionists and proslavery ideologues alike, therefore, southern poor whites utterly lacked industry, intelligence, social propriety, and honor, the essential ingredients for political and social equality and thus should not be trusted with political decision-making.7 Northern and southern middle- to upper-class commentators perceived this class of people as so utterly degraded that they challenged their assertion of “whiteness,” the one claim southern working-class whites had to political equality, “normative” status, and social superiority to free and enslaved blacks. Like Byrd and the author of “The Carolina Sand-Hillers,” journalists and travel writers repeatedly compared “poor whites” unfavorably to other supposedly inferior people of color, be they enslaved blacks, Indians, or even Mexican peasants. Through a variety of arguments, including genetic inferiority, excessive interbreeding with “nonwhites,” and environmental factors, such as the destructive influences of the southern climate, rampant disease, and a woefully inadequate diet, these writers asserted that “poor whites” were neither truly “white” nor clearly “nonwhite” but instead, a separate “‘Cracker’ race” in all ways so debased that they had no capacity for social advancement. This attitude is clear in an 1866 article from the Boston Daily Advertiser that proclaimed that this social class had reached depths of “[s]uch filthy poverty, such foul ignorance, such idiotic imbecility” that they could never be truly civilized. “[T]ime and effort will lead the negro up to intelligent manhood,” the author concluded, “but I almost doubt if it will be possible to ever lift this ‘white trash’ into respectability.”8 Contempt for working-class whites was almost as strong among African Americans as among middle-class and elite whites. Enslaved African Americans invented derogatory terms containing explicit versions of “whiteness” such as “(poor) white trash” and “poor buckra” (a derivative form of the West African word for “white man”). Although relations between slaves and non-elite southern whites were complex, many slaves deeply resented the role of poor whites as overseers and patrol riders and adopted their owners’ view that elite southern planters were socially and morally superior. Many also believed that blacks, enslaved and free, formed a middle layer of social respectability between the planter aristocracy at the top of the social system and the “poor whites” at the bottom. The construction of a “poor white” and “white trash” social and cultural category thus allowed black slaves to carve out a space of social superiority, as well as permitted the white planter elite to justify enormous economic and social inequality among whites in a supposedly democratic society.9

Happiness in a tablet. This is our world. Prozac. Paxil. Xanax. Billions are spent to advertise such drugs. And billions more are spent purchasing them. You don’t even need a specific trauma; just “general depression” or “anxiety,” as if sadness were as treatable as the common cold. I knew depression was real, and in many cases required medical attention. I also knew we overused the word. Much of what we called “depression” was really dissatisfaction, a result of setting a bar impossibly high or expecting treasures that we weren’t willing to work for. I knew people whose unbearable source of misery was their weight, their baldness, their lack of advancement in a workplace, or their inability to find the perfect mate, even if they themselves did not behave like one. To these people, unhappiness was a condition, an intolerable state of affairs. If pills could help, pills were taken. But pills were not going to change the fundamental problem in the construction. Wanting what you can’t have. Looking for self-worth in the mirror. Layering work on top of work and still wondering why you weren’t satisfied—before working some more. I knew. I had done all that. There was a stretch where I could not have worked more hours in the day without eliminating sleep altogether. I piled on accomplishments. I made money. I earned accolades. And the longer I went at it, the emptier I began to feel, like pumping air faster and faster into a torn tire.

Indeed, probably the most effective way to break the free market's spell would be to transform its most debilitating cultural products into a globalized twelve-step program. See, for instance, how New Economy laissez-faire ideologues like Virginia Postrel or Chris Anderson fare in the hypercapitalist but viciously authoritarian island paradise of Singapore. Or put Thomas Friedman to work in a Marianas textile factory for a couple of months and let him see how flat the market-mastered world looks to him then. Take the utopian theorists of "seasteading" libertarianism at their word, and let them fashion their stateless free-market utopia out of all reach of all international sea treaty enforcement. Put Steve Forbes to work as a union organizer in the shadows of the breathtaking architectural homage to investor-class excess known as the Abu Dhabi skyline - where the local construction industry is awash in sweated day labor. Indeed, I can see a whole Survivor-style reality television franchise in the offing: Capitalist Detox Island. True, it might be hard to sell to advertisers - unless, that is, you compel TARP recipients to purchase ad time. Now that's a manipulation of market forces I can get behind.

High in calcium," reads the text of a hot-drink advertisement, "low in fat, free from artificial additives." The complex balancing act that preserves science as both destroyer and protector is revealed. Science tells us that we want calcium and we do not want fat. Equally, however, science has made things called "artificial additives" which we also do not want. So science is simultaneously rejected and embraced. And these few words tell us even more. For the drink is, of course, utterly artificial —it has to be to ensure that it has much calcium and little fat. Yet we wish to reject the word "artificial" because it implies a barrier between ourselves and nature of which we do not wish to be reminded. Science first constructs the barrier and then warns against its baleful consequences.

This curious coalition of Muslims and Marxists had picked Watts, Allen wrote, because blacks were actually rather well off there: “[I]f Watts could be exploded they could do it anywhere else in America.” So they had flooded the area with propaganda, most notably a “publicity campaign rivaling the Advertising Council’s promotion of Smokey the Bear” aimed at “the construction of the myth of police brutality.” With

The world is administered by rich but it is constructed by poor.

In critical linguistic research, ‘discourse’ often denotes text and image in real-use contexts. The nature of discourse is multi-faceted: discourse itself constructs ideas and related meanings, and discourse is also the medium through which ideas and related meanings are realised and represented in a range of settings. In turn, this understanding of discourse encompasses text production and text reception. The plural discourses is often employed in order to describe a particular ideological strand in one or a series of texts

But it isn’t the fun of DIY invention, urban exploration, physical danger, and civil disorder that the Z-Boys enjoyed in 1976. It is fun within serious limits, and for all of its thrills it is (by contrast) scripted. And rather obedient. The fact that there are public skateparks and high-performance skateboards signals progress: America has embraced this sport, as it did bicycles in the nineteenth century. Towns want to make skating safe and acceptable. The economy has more opportunity to grow. America is better off for all of this. Yet such government and commercial intervention in a sport that was born of radical liberty means that the fun itself has changed; it has become mediated. For the skaters who take pride in their flashy store-bought equipment have already missed the Z-Boys’ joke: Skating is a guerrilla activity. It’s the fun of beating, not supporting, the system. P. T. Barnum said it himself: all of business is humbug. How else could business turn a profit, if it didn’t trick you with advertising? If it didn’t hook you with its product? This particular brand of humbug was perfected in the late 1960s, when merchandise was developed and marketed and sold to make Americans feel like rebels. Now, as then, customers always pay for this privilege, and purveyors keep it safe (and generally clean) to curb their liability. They can’t afford customers taking real risks. Plus it’s bad for business to encourage real rebellion. And yet, marketers know Americans love fun—they have known this for centuries. And they know that Americans, especially kids, crave autonomy and participation, so they simulate the DIY experience at franchises like the Build-A-Bear “workshops,” where kids construct teddy bears from limited options, or “DIY” restaurants, where customers pay to grill their own steaks, fry their own pancakes, make their own Bloody Marys. These pay-to-play stores and restaurants are, in a sense, more active, more “fun,” than their traditional competition: that’s their big selling point. But in both cases (as Barnum knew) the joke is still on you: the personalized bear is a standardized mishmash, the personalized food is often inedible. As Las Vegas knows, the house always wins. In the history of radical American fun, pleasure comes from resistance, risk, and participation—the same virtues celebrated in the “Port Huron Statement” and the Digger Papers, in the flapper’s slang and the Pinkster Ode. In the history of commercial amusement, most pleasures for sale are by necessity passive. They curtail creativity and they limit participation (as they do, say, in a laser-tag arena) to a narrow range of calculated surprises, often amplified by dazzling technology. To this extent, TV and computer screens, from the tiny to the colossal, have become the scourge of American fun. The ubiquity of TV screens in public spaces (even in taxicabs and elevators) shows that such viewing isn’t amusement at all but rather an aggressive, ubiquitous distraction. Although a punky insurgency of heedless satire has stung the airwaves in recent decades—from equal-opportunity offenders like The Simpsons and South Park to Comedy Central’s rabble-rousing pundits, Jon Stewart and Stephen Colbert—the prevailing “fun” of commercial amusement puts minimal demands on citizens, besides their time and money. TV’s inherent ease seems to be its appeal, but it also sends a sobering, Jumbotron-sized message about the health of the public sphere.

Remember when I said I was a bit scattered? It wasn’t just when it came to jobs. I had a slew of strange ex-boyfriends, too. There was George, who liked to wear my underwear . . . everyday. Not just to prance around in—he wore them under his Levi’s at work. As a construction worker. That didn’t go over well with his co-workers once they found out. He works at Jamba Juice now. I don’t think anyone cares about what kind of underwear he wears at Jamba Juice. Then there was Curtis. He had an irrational fear of El Caminos. Yes, the car. He just hated them so much that he became really fearful of seeing one. He’d say, “I don’t understand, is it a car or a truck?” The confusion would bring him to tears. When we were walking on the street together, I had to lead him like a blind person because he didn’t want to open his eyes and spot an El Camino. If he did, it would completely ruin his day. He would cry out, “There’s another one. Why, God?” And then he would have to blink seven times and say four Hail Marys facing in a southerly direction. I don’t know what happened to Curtis. He’s probably in his house playing video games and collecting disability. After Curtis came Randall, who will never be forgotten. He was an expert sign spinner. You know those people who stand on the corner spinning signs? Randall had made a career of it. He was proud and protective of his title as best spinner in LA. I met him when he was spinning signs for Jesus Christ Bail Bonds on Fifth Street. He was skillfully flipping a giant arrow that said, “Let God Free You!” and his enthusiasm struck me. I smiled at him from the turn lane. He set the sign down, waved me over, and asked for my phone number. We started dating immediately. He called himself an Arrow Advertising executive when people would ask what he did for a living. He could spin, kick, and toss that sign like it weighed nothing. But when he’d put his bright-red Beats by Dre headphones on, he could break, krump, jerk, turf, float, pop, lock, crip-walk, and b-boy around that six-foot arrow like nobody’s business. He was the best around and I really liked him, but he dumped me for Alicia, who worked at Liberty Tax in the same strip mall. She would stand on the opposite corner, wearing a Statue of Liberty outfit, and dance to the National Anthem. They were destined for each other. After Randall was Paul. Ugh, Paul. That, I will admit, was completely my fault.

The New Century Global Center in Chengdu was enormous. The sign above the main doors proclaimed it as the biggest mall in the world, and it was easy to reach the conclusion that that was still selling it short. The building was a hundred metres tall, with a concrete pediment that had been shaped to resemble flowing waves. Video screens fixed to the structure ran colourful advertisements for the stores inside the complex on a steady loop. The place was more like a small town than a mall, with hundreds of shops and restaurants. There was an artificial indoor beach, an ice-skating rink and a sculpture garden on the roof. The story was that the government had authorised the billions involved in its construction as a way to demonstrate to the rest of the world the strength of the Chinese economy. They wanted it to be visible from space

Tokyo." Mr. Fuchigami's voice inflates with pride. "Formerly Edo, almost destroyed by the 1923 Great Kantō earthquake, then again in 1944 by nighttime firebombing raids. Tens of thousands were killed." The chamberlain grows silent. "Kishikaisei." "What does that mean?" There's a skip in my chest. We've entered the city now. The high-rises are no longer cut out shapes against the skyline, but looming gray giants. Every possible surface is covered in signs---neon and plastic or painted banners---they all scream for attention. It's noisy, too. There is a cacophony of pop tunes, car horns, advertising jingles, and trains coasting over rails. Nothing is understated. "Roughly translated, 'wake from death and return to life.' Against hopeless circumstances, Tokyo has risen. It is home to more than thirty-five million people." He pauses. "And, in addition, the oldest monarchy in the world." The awe returns tenfold. I clutch the windowsill and press my nose to the glass. There are verdant parks, tidy residential buildings, upmarket shops, galleries, and restaurants. For each sleek, new modern construction, there is one low-slung wooden building with a blue tiled roof and glowing lanterns. It's all so dense. Houses lean against one another like drunk uncles. Mr. Fuchigami narrates Tokyo's history. A city built and rebuilt, born and reborn. I imagine cutting into it like a slice of cake, dissecting the layers. I can almost see it. Ash from the Edo fires with remnants of samurai armor, calligraphy pens, and chipped tea porcelain. Bones from when the shogunate fell. Dust from the Great Earthquake and more debris from the World War II air raids. Still, the city thrives. It is alive and sprawling with neon-colored veins. Children in plaid skirts and little red ties dash between business personnel in staid suits. Two women in crimson kimonos and matching parasols duck into a teahouse.

And so they ride through the city, father and child, seeing, each, a different place. Jane, with the liberation of childhood, without rationality or expectations, sees an anarchic landscape in which anything is possible and many things are provocative. She wrestles with language, scans advertisements, shop-signs, logos on vans and trucks. She pays professional attention to other children, in the way that animals are most sensitive to their own species. She searches out the things that tether her to a known world — a bus with a familiar destination, a hoarding that proclaims her favourite brand of chocolate, Volkswagen cars that are like her father’s. Hers is a heliocentric universe, and she is the sun. She is fettered by a child’s careless egotism, but freed from adult preconceptions. She does not know what to expect, and can therefore assess what she sees in its own terms. She does not interpret, and therefore can construct her own system of references. The Arabic script on the windows of the Bank of Kuwait becomes little dancing figures. The caryatids outside the church in Euston Road are ladies wearing bath towels with books on their heads. For her, the city is alternately mysterious and familiar, baffling and instructive. She tests her own capacities against the view from the window of the bus; she rhymes and puns, she counts, she classifies. She plays games with words and sounds, she flexes her imagination, she takes the place as she sees it and twists it to her own ends.

I loved that there were cat symbols everywhere: feline figurines in window storefronts, cat posters, and cat ads. Even the construction signs were cats- pink-and-white Hello Kitty figures hanging off barriers, to keep pedestrians from stumbling into holes in the road.

Indeed, probably the most effective way to break the free market's spell would be to transform its most debilitating cultural products into a globalized twelve-step program. See, for instance, how New Economy laissez-faire ideologues like Virginia Postrel or Chris Anderson fare in the hypercapitalist but viciously authoritarian island paradise of Singapore. Or put Thomas Friedman to work in a Marianas textile factory for a couple of months and let him see how flat the market-mastered world looks to him then. Take the utopian theorists of "seasteading" libertarianism at their word, and let them fashion their stateless free-market utopia out of all reach of all international sea treaty enforcement. Put Steve Forbes to work as a union organizer in the shadows of the breathtaking architectural homage to investor-class excess known as the Abu Dhabi skyline - where the local construction industry is awash in sweated day labor. Indeed, I can see a whole Survivor-style reality television franchise in the offing: Capitalist Detox Island. True, it might be hard to sell to advertisers - unless, that is, you compel TARP recipients to purchase ad time. Now that's a manipulation of market forces I can get behind.

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However, since the early 1930s, new-home construction had been somewhat stalled, first due to the economic effects of the Depression and then due to the war, a period when many homebuilders were contracted to meet emergency military housing needs. The lack of immediately available housing forced families to double up and, occasionally, to take more extreme measures. In 1947, two years after the war’s end, some 500,000 families were still occupying Quonset huts or other temporary housing. In Chicago, 250 families took up residence in former trolley cars that had been converted into living quarters. In Omaha, one newspaper advertisement declared: “Big Ice Box, 7x17 feet, could be fixed up to live in.

These forced migrants were also promised freedom of religion, and were permitted to construct their own houses of worship. News of this decree spread widely along the frontier zones and in Europe as the Ottomans advertised—also in European newspapers—for immigrant families wishing to settle as farmers in the Levant.

Other acts that were precursors of the Wild West were a July 4 commemoration in Deer Trail, Colorado, in which one Emil Gardenshire was crowned "Champion Bronco Buster of the Plains," and another Fourth of July celebration in Cheyenne, Wyoming, in 1872, featuring the riding of an unruly steer. And certainly Cody's buffalo hunt with Grand Duke Alexis was a harbinger of things to come, as were his hunting trips with General Sheridan, James Gordon Bennett and their friends, as well as the Earl of Dunraven. All that was needed, then, was to put the right elements together. Cody realized that he needed to earn a lot of money to launch a big show, and he was too proud to ask his wealthy friends for funds. Then, in the spring of 1882, he met Nate Salsbury, when they both were playing in New York. Salsbury, who later became Cody's partner, claimed to have thought of the idea of the Wild West when returning from a tour of Australia with the Salsbury Troubadours in 1876. On the boat he had discussed the merits of Australian jockeys in comparison with American cow-boys and Mexican vaqueros with J. B. Gaylord, an agent for the Cooper and Bailey Circus. As a result, said Salsbury, "I began to construct a show in my mind that would embody the whole subject of horsemanship and before I went to sleep I had mapped out a show that would be constituted of elements that had never before been employed in concerted effort in the history of the show business." In the end, of course, Buffalo Bill's Wild West went well beyond horsemanship to embody features of the West that had not been part of Salsbury's plan. Several years later Salsbury "decided that such an entertainment must have a well known figure head to attract attention and thus help to quickly solve the problem of advertising a new idea. After careful consideration of the plan and scope of the show I resolved to get W.F. Cody as my central figure." When the two men finally met,

At the height of this construction frenzy, a couple of opportunistic real estate developers hang a sign near the top of the hills surrounding the valley to advertise their new housing development. It has fifty-foot-high white letters that spell out HOLLYWOODLAND. It is meant to stay there only for one year, or until all the units are sold, whichever happens first, but it never comes down. Shortened to HOLLYWOOD in 1949, it becomes a hovering symbol of the industry of dreams, and to this day watches over Tinseltown like the giant statue of Jesus over Rio de Janeiro. With