Rca Quotes

I am a confused Musician who got sidetracked into this goddamn Word business for so long that I never got back to music - except maybe when I find myself oddly alone in a quiet room with only a typewriter to strum on and a yen to write a song. Who knows why? Maybe I just feel like singing - so I type. These quick electric keys are my Instrument, my harp, my RCA glass-tube microphone, and my fine soprano saxophone all at once. That is my music, for good or ill, and on some nights it will make me feel like a god. Veni, Vidi, Vici... That is when the fun starts...

They are going to grow like corn in August, my dear. If no one blows up the world in the next ten years or so, they are going to be right up there on the big board along with Kodak and Sony and RCA.

Robert Lehman—who often told his partners, “I bet on people”—made Lehman the driving financial force behind RCA and the birth of television, TWA, Pan Am, Hertz, several Hollywood studios, and various department store and oil and rubber giants. Lehman Brothers was at the epicenter of those business forces that have shaped not just the American economy but the American culture as well. By 1967 the House of Lehman was responsible for $3.5 billion in underwriting. In volume, Lehman was among the top four investment banks.

Esse protecionismo não visa proteger os artistas. Na verdade, esse é um protecionismo que visa proteger certas formas de negócio. As corporações ameaçadas pelo potencial da Internet em mudar a forma como tanto a cultura comercial quanto a não-comercial é feita e compartilhada se uniram para induzir os legisladores a usarem a lei para as protegerem. É o caso da RCA contra Armstrong; é o sonho dos Causbys.

Esse protecionismo não visa proteger os artistas. Na verdade, esse é um protecionismo que visa proteger certas formas de negócio. As corporações ameaçadas pelo potencial da Internet em mudar a forma como tanto a cultura comercial quanto a não-comercial é feita e compartilhada se uniram para induzir os legisladores a usarem a lei para as protegerem. É o caso da RCA contra Armstrong; é o sonho dos Causbys. A Internet liberou uma incrível possibilidade para muitos de participarem do processo de construírem e cultivarem uma cultura que tenha um alcance maior que as fronteiras locais. Esse poder mudou o mercado ao permitir a criação e cultivação de cultura em qualquer lugar, e essa mudança ameaça as indústrias de conteúdo estabelecidas. A Internet representa para as indústrias que criavam e distribuíam conteúdo no século 20 o que o rádio FM representava para o rádio AM, ou o que o caminhão representava para a indústria das ferrovias no final do século 19: o começo do fim, ou ao menos uma transformação substancial.

The most important training involved the latest American breakthrough in communications technology: a handheld, portable, two-way radio transceiver that made ground-to-air communications possible for the first time. A predecessor of the mobile telephone, the equipment had been designed at the RCA electronics laboratories in New York before being refined and developed for the OSS by De Witt R. Goddard and Lieutenant Commander Stephen H. Simpson. The device would eventually become known as a “walkie-talkie,” but at the time of its invention this pioneering gizmo went by a more cumbersome and quaint title: the “Joan-Eleanor system.” “Joan” was the name for the handheld transmitter carried by the agent in the field, six inches long and weighing three pounds, with a collapsible antenna; “Eleanor” referred to the larger airborne transceiver carried on an aircraft flying overhead at a prearranged time. Goddard’s wife was named Eleanor, and Joan, a major in the Women’s Army Corps, was Simpson’s girlfriend. The Joan-Eleanor (J-E) system operated at frequencies above 250 MHz, far higher than the Germans could monitor. This prototype VHF (very high frequency) radio enabled the users to communicate for up to twenty minutes in plain speech, cutting out the need for Morse code, encryption, and the sort of complex radio training Ursula had undergone. The words of the spy on the ground were picked up and taped on a wire recorder by an operator housed in a special oxygen-fed compartment in the fuselage of an adapted high-speed de Havilland Mosquito bomber flying at over twenty-five thousand feet, outside the range of German anti-aircraft artillery. An intelligence officer aboard the circling aircraft could communicate directly with the agent below. As a system of communication from behind enemy lines, the J-E was unprecedented, undetectable by the enemy, easy to use, and so secret that it would not be declassified until 1976.

Dissatisfied with the Christmas cards at Kremer’s Drugstore, Fibber and Molly look over a selection brought to their home by one of Wallace Wimple’s acquaintances. Writer: Phil Leslie Sponsors: Prudential, RCA Victor; promo for NBC programs Comments: This episode brings back the “those were the days” feeling when only drugstores were open on Sundays and greeting cards cost a dime each.

The answer reached the President at five minutes past four that afternoon, Tuesday, August 14. Japan had surrendered. At 6:10 the Swiss chargé d'affaires in Washington arrived at the State Department to present Secretary [of State James] Byrnes with the Japanese text, which Byrnes carried at once to the White House. "(The document would have arrived ten minutes sooner but for the fact that a sixteen-year-old messenger, Thomas E. Jones, who picked it up at the RCA offices on Connecticut Avenue to deliver to the Swiss legation, had been stopped by the police for making a U-turn on Connecticut.)

The taxi stand was only an open shelter, so I was freezing as I looked toward midtown. I could see the RCA building with its bright red logo at Rockefeller Center, and farther south, the Empire State Building with its illuminated set-backs. At the tip of Manhattan, the twin towers of the World Trade Center -- which were over 1,100 feet tall themselves -- flanked the mile-high Space Trylon. It was clear as well as cold, and as I looked toward Frank Lloyd Wright's masterpiece, it seemed to be poijnting to the stars. This, of course, was the idea, since it embodied the joint American-Soviet space exploration program that settled the Moon in 1955, and, twenty years later, Mars.

Photographer William Leftwich was rewarded for his nervy visit to the uppermost reaches of the RCA’s steel frame when two workers standing fifteen feet apart on a single beam began to toss a football back and forth.

Drucker saw two possible roads ahead. On the one hand, Bell Labs could become a standard industrial lab, much like the ones that supplied technology to General Electric or RCA. Or the Labs could take a “far bolder, but also far riskier course” by going into business for itself, making money from its patents and products. It could become a kind of unique and monolithic brain trust, one that did research for AT&T but also for any company or part of the government that was willing to pay for access to its people and resources. “Nothing like this has ever been done,” Drucker noted. “And no one knows whether it could succeed.” It was a tantalizing idea: Bell Labs would remain intact as a citadel for problem-solving. And it would be a citadel of capitalism, too. But perhaps this was too tantalizing. Drucker wondered if the notion was simply too experimental and too radical, and that it therefore could not actually come to pass. A conventional future, he concluded, seemed far more likely.

If a company did not own a majority of a subsidiary’s shares, it didn’t make sense to “consolidate” that subsidiary by reporting all of its assets and liabilities. Berning treated International Match’s minority stakes in other companies as investments in special purpose entities, which could be excluded from International Match’s financial statements. Why would International Match consolidate the debts of a minority investment? If it bought some shares of RCA, would it need to include RCA’s debts as well? No, Berning said. Such debts were deemed to be off the balance sheet. Durant was conflicted about the new preferred issue they were planning. Ivar’s financial statements were sloppy and incomplete. Yet investors nevertheless clamored to buy securities of International Match.

As recently as 1920, only about 5,000 families had owned in-home radio sets, and RCA’s share price was around a dollar then.10 At that time, radio wasn’t doing much better than other businesses suffering through the postwar recession. Then WBAY, a pioneering New York radio station, sold the first-ever advertising spot, a pitch for apartments in Jackson Heights – and the world changed overnight. Radio stations popped up in every major city, and radio sales soared, to $60 million in 1922. RCA’s share price flew even higher than its sales. Anyone who held RCA shares during the 1920s earned an average annual return of 60 percent. All of that gain was from share price appreciation, not any periodic payments from the company. RCA did not even pay a dividend.

How do these dots connect? Technology begets technology. Just as the trottoir roulant built on Speer’s invention, DARPA learned from the original experiment by General Motors and RCA in autonomous cars, adding telemetry and computerized controls. Separately, car manufacturers like Toyota were building electronic and “drive by wire” technologies to replace mechanical linkages. Eventually, Google could incorporate all of this work, combine advanced navigation into a new kind of operating system, and develop and test its first fleet of self-driving cars. It’s easy to connect the dots in hindsight, but with the right foresight you can identify simultaneous developments on the fringe and recognize patterns as they materialize into trends.

But Grigsby had encountered stiff competition from RCA, which claimed to hold patents on radio tubes essential to the manufacture of modern radio equipment. Grigsby thus had to pay royalties to its staunchest competitor. Grigsby “loved CBS,” Paley recalled in his memoir, “because they hated RCA,” and RCA was the parent company of NBC.

I liked particularly the RCA Victor model in heart walnut that went for $89.95. It had eight tubes, two of glass, a magic eye, an edge-lighted dial and a phono connection. Also there was a Crosley with fifteen tubes, five of them glass, an autoexpressionator, a mystic hand, and a cardiamatic unit for $174.50.

This process uniquely identifies the impact of hidden causes, rather than merely exploring the factors that are readily apparent. RCA was created by Sakichi Toyoda, founder of Toyota Industries—who Forbes Magazine ranks as the 13th most influential businessman of all time and is often compared to Thomas Edison for his industry-redefining inventions. Toyoda developed a unique system to identify the (often inconspicuous) source of a problem, then implement solutions that prevent the problem from recurring. It was originally applied in the field of engineering, but has since been widely adopted in many industries. I became acquainted with this methodology as a strategy to find corporate solutions, back in my days as a Senior Database Architect. And upon first introduction, the psychologist in me instantly recognized its potential value in dealing with the cream cheese danish in my left hand. And the rest—was history.

mientras ellos mostraban su patriotismo y cantaban loas a Santa Anna y a la iglesia, ninguno se preocupó por registrar los derechos de autor de la partitura y la letra. Como resultado de ello, Aline Petterson hizo un descubrimiento escalofriante: «Hoy en día está claro que los derechos comerciales del Himno Nacional están en poder de la compañía RCA Victor» (La Jornada, 15 de septiembre de 2004), un hecho que podría ser aún más grave. Nuestro himno, querido lector, no es nuestro.

Then, in 1942, a disastrous strike against the record companies disrupted the industry and upset the delicate balance of business. Though it hit directly at record producers, the real target was radio. James C. Petrillo, president of the American Federation of Musicians, was alarmed at the rapid proliferation of disc jockeys. He objected to the free use of recorded music on the air, charging that jocks had cost musicians their jobs at hundreds of radio stations. Petrillo wanted to impose fees at the source, the big companies like RCA and Columbia, where the records were produced. The final agreement, which was not accepted by the two biggest companies until 1944, created a union-supervised fund for indigent and aging musicians

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