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Philip K. Dick — Do Androids Dream of Electric Sheep? — Ridley Scott — Blade Runner — Videos

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Do Androids Dream of Electric Sheep?

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Do Androids Dream of Electric Sheep?
DoAndroidsDream.png

Cover of first hardback edition
Author Philip K. Dick
Country United States
Language English
Genre Science fictionphilosophical fiction
Publisher Doubleday
Publication date
1968
Media type Print (hardback & paperback)
Pages 210
61,237 words[1]
OCLC 34818133
Followed by Blade Runner 2: The Edge of Human

Do Androids Dream of Electric Sheep? (retitled Blade Runner: Do Androids Dream of Electric Sheep? in some later printings) is a science fiction novel by American writer Philip K. Dick, first published in 1968. The novel is set in a post-apocalyptic San Francisco, where Earth’s life has been greatly damaged by nuclear global war. Most animal species are endangered or extinct from extreme radiation poisoning, so that owning an animal is now a sign of status and empathy, an attitude encouraged towards animals. The book served as the primary basis for the 1982 film Blade Runner, and many elements and themes from it were used in its 2017 sequel Blade Runner 2049.

The main plot follows Rick Deckard, a bounty hunter who is tasked with “retiring” (i.e. killing) six escaped Nexus-6 model androids, while a secondary plot follows John Isidore, a man of sub-par IQ who aids the fugitive androids. In connection with Deckard’s mission, the novel explores the issue of what it is to be human and whether empathy is a purely human ability.

Synopsis

Background

In post-apocalyptic 1992 (2021 in later editions),[2] after “World War Terminus”, the Earth’s radioactively polluted atmosphere leads the United Nations to encourage mass emigrations to off-world colonies to preserve humanity’s genetic integrity. This comes with the incentive of free personal androids: robot servants identical to humans. On Earth, owning real live animals has become a fashionable status symbol, because of mass extinctions and the accompanying cultural push for greater empathy, which has coincidentally motivated a new technology-based religion called Mercerism. Mercerism uses “empathy boxes” to link users simultaneously to a virtual reality of collective suffering, centered on a martyr-like character, Wilbur Mercer, who eternally climbs up a hill while being hit with crashing stones. In terms of the owning of live animals, poor people can only afford realistic-looking electric imitations of animals. Rick Deckard, for example, owns a robotic black-faced sheep. The story also contains passing mention of “Penfield mood organs”, similar to mind-altering drugs in other Dick stories, and used as a technology for inducing any desired mood among people in its vicinity.

Plot summary

Bounty hunter Rick Deckard signs on to a new police mission in order to earn enough money to buy a live animal to replace his lone electric sheep, seeking greater existential fulfillment for himself and his depressed wife, Iran. The mission involves hunting down (“retiring”) six Nexus-6 androids that violently went rogue after their creation by the Rosen Association and fled Mars for Earth. Deckard visits the Rosen headquarters in Seattle to confirm the validity of a question-and-answer empathy test: the typical method for identifying any androids posing as humans. Deckard is greeted by Rachael Rosen, who quickly fails his test. Rachael herself attempts to bribe Deckard into silence, but he verifies that she is indeed a Nexus-6 model used by Rosen to attempt to discredit the test.

Deckard soon meets a Soviet police contact who turns out to be one of the Nexus-6 renegades in disguise. Deckard retires the android, then flies off to retire his next target: an opera singer android. However, he is suddenly arrested and detained at a police department he has never heard of by a police officer whom he is surprised never to have met. At this strange station, Deckard’s worldview is shaken when an official named Garland accuses Deckard himself of being an android. After a series of mysterious revelations at the station, Deckard ponders the ethical and philosophical questions his line of work raises regarding android intelligence, empathy, and what it means to be human. Phil Resch, the station’s resident bounty hunter, retrieves testing equipment to determine if his coworkers—including Deckard and Resch himself—are androids or humans. Garland subsequently reveals that the entire station is a sham, staffed entirely by androids, including Garland himself. Resch shoots Garland in the head, allowing him and Deckard to escape; together, they find the opera singer, whom Resch brutally retires in cold blood. Although Resch and Deckard are now collaborators, each still worries that he (or the other) might be an android. Deckard administers the empathy test to himself and to Resch, which confirms that Resch is a human being—simply a particularly ruthless one—and that Deckard is also human, but with a sense of empathy for the androids.

Only three of the Nexus-6 android fugitives remain, and one, Pris Stratton, moves into an apartment building whose only other inhabitant is John R. Isidore, a radioactively damaged, intellectually below-average human classified as a “special.” The lonely Isidore attempts to befriend her. Roy and Irmgard Baty, the final two rogue androids, visit the building, and together they all plan how to survive. Meanwhile, Deckard buys Iran an authentic Nubian goat with his reward money. After quitting, Deckard is pulled back in after being notified of a new lead and experiencing a vision of the prophet-like Mercer confusingly telling him to proceed, despite the immorality of the mission. Deckard calls on Rachael Rosen again, since her own knowledge as an android will aid his investigation. Rachael reveals that she and Pris are the same exact model, meaning that he will have to shoot down an android that looks just like her. Rachael coaxes Deckard into sex, after which they confess their love for one another. However, she reveals she has slept with many bounty hunters, having been programmed to do so in order to dissuade them from their missions. He threatens to kill her, but instead he abruptly leaves.

Isidore develops friendships with the three android fugitives, and they all watch a television program giving definitive evidence that Mercerism is a hoax. Roy Baty tells Isidore that the show was produced by androids to discredit Mercerism and blur the distinction with humans. Suddenly Deckard enters the building, with strange, supernatural premonitions of Mercer appearing to both him and Isidore. Since they attack him first, Deckard is legally justified as he shoots down all three androids without previously testing them. Isidore is devastated, and Deckard is soon rewarded for a record number of Nexus-6 kills in a single day. When Deckard returns home, he finds Iran grieving because Rachael Rosen recently showed up and killed their goat.

Deckard goes to an uninhabited, obliterated region of Oregon to reflect. He climbs a hill when he is hit by falling rocks and realizes this is an experience eerily similar to Mercer’s martyrdom. Rushing back to his car, he stumbles abruptly upon a toad, an animal previously thought to be extinct, and one of the animals sacred to Mercer. With newfound joy, Deckard brings the toad home, where Iran quickly discovers it is just a robot. While Deckard is unhappy, he decides that he at least prefers to know the truth, making the remark that “the electrical things have their lives too, paltry as those lives are”.

Adaptations

Film

In 1982, Hampton Fancher and David Peoples wrote a loose cinematic adaptation that became the film Blade Runner, featuring several of the novel’s characters. It was directed by Ridley Scott. Following the international success of the film,[3] the title Blade Runner was adopted for some later editions of the novel, although the term itself was not used in the original.

Radio

As part of their Dangerous Visions dystopia series in 2014, BBC Radio 4 broadcast a two-part adaptation of the novel. It was produced and directed by Sasha Yevtushenko from an adaption by Jonathan Holloway. It stars James Purefoy as Rick Deckard and Jessica Raine as Rachael Rosen.[4] The episodes were originally broadcast on Sunday 15 June and 22 June 2014.

Audiobook

The novel has been released in audiobook form at least twice. A version was released in 1994 that featured Matthew Modine and Calista Flockhart.

A new audiobook version was released in 2007 by Random House Audio to coincide with the release of Blade Runner: The Final Cut. This version, read by Scott Brick, is unabridged and runs approximately 9.5 hours over eight CDs. This version is a tie-in, using the Blade Runner: The Final Cut film poster and Blade Runner title.[5]

Theater

A stage adaptation of the book, written by Edward Einhorn, ran from November 18 to December 10, 2010 at the 3LD Art & Technology Center in New York[6] and made its West Coast Premiere on September 13, playing until October 10, 2013 at the Sacred Fools Theater Company in Los Angeles.[7]

Comic books

BOOM! Studios published a 24-issue comic book limited series based on Do Androids Dream of Electric Sheep? containing the full text of the novel illustrated by artist Tony Parker.[8] The comic garnered a nomination for “Best New Series” from the 2010 Eisner Awards.[9]In May 2010 BOOM! Studios began serializing an eight issue prequel subtitled Dust To Dust and written by Chris Roberson and drawn by Robert Adler.[10] The story took place in the days immediately after World War Terminus.[11]

Sequels

Three novels intended to serve as sequels to both Do Androids Dream of Electric Sheep? and Blade Runner have been published:

These official and authorized sequels were written by Dick’s friend K. W. Jeter.[12] They continue the story of Rick Deckard and attempt to reconcile many of the differences between the novel and the 1982 film.

Critical reception

Critical reception of Do Androids Dream of Electric Sheep? has been overshadowed by the popularity of its 1982 film adaptation, Blade Runner. Of those critics who focus on the novel, several nest it predominantly in the history of Philip K. Dick‘s body of work. In particular, Dick’s 1972 speech “The Human and the Android” is cited in this connection. Jill Galvan[13] calls attention to the correspondence between Dick’s portrayal of the narrative’s dystopian, polluted, man-made setting and the description Dick gives in his speech of the increasingly artificial and potentially sentient or “quasi-alive” environment of his present. Summarizing the essential point of Dick’s speech, Galvan argues,”[o]nly by recognizing how [technology] has encroached upon our understanding of ‘life’ can we come to full terms with the technologies we have produced” (414). As a “bildungsroman of the cybernetic age,” Galvan maintains, Do Androids Dream of Electric Sheep? follows one person’s gradual acceptance of the new reality. Christopher Palmer[14] emphasizes Dick’s speech to bring to attention the increasingly dangerous risk of humans becoming “mechanical”.[15] “Androids threaten reduction of what makes life valuable, yet promise expansion or redefinition of it, and so do aliens and gods”.[15] Gregg Rickman[16] cites another, earlier and lesser known Dick novel that also deals with androids, We Can Build You, asserting that Do Androids Dream of Electric Sheep? can be read as a sequel.

In a departure from the tendency among most critics to examine the novel in relation to Dick’s other texts, Klaus Benesch[17] examined Do Androids Dream of Electric Sheep? primarily in connection with Lacan’s essay on the mirror stage. There, Lacan claims that the formation and reassurance of the self depends on the construction of an Other through imagery, beginning with a double as seen in the mirror. The androids, Benesch argues, perform a doubling function similar to the mirror image of the self, but they do this on a social, not individual, scale. Therefore, human anxiety about androids expresses uncertainty about human identity and society. Benesch draws on Kathleen Woodward’s[18] emphasis on the body to illustrate the shape of human anxiety about an android Other. Woodward asserts that the debate over distinctions between human and machine usually fails to acknowledge the presence of the body. “If machines are invariably contrived as technological prostheses that are designed to amplify the physical faculties of the body, they are also built, according to this logic, to outdo, to surpass the human in the sphere of physicality altogether”.[19]

Awards and honors

See also

References

  1. Jump up^ “Text Stats”Amazon.com. Retrieved 28 November 2016.
  2. Jump up^ Note: This change counteracts a problem common to near-future stories, where the passage of time overtakes the period in which the story is set; for a list of other works that have fallen prey to this phenomenon, see the List of stories set in a future now past.
  3. Jump up^ Sammon, Paul M (1996). Future Noir: the Making of Blade Runner. London: Orion Media. pp. 318–329. ISBN 0-06-105314-7.
  4. Jump up^ “BBC Radio 4 – Dangerous Visions, Do Androids Dream of Electric Sheep?, Episode 2”bbc.co.ukBBC Radio 4. 28 Jun 2014. Retrieved 11 May 2015.
  5. Jump up^ Blade Runner (Movie-Tie-In Edition) by Philip K. Dick – Unabridged Compact Disc Random House, November 27, 2007, ISBN 978-0-7393-4275-6 (0-7393-4275-4).
  6. Jump up^ “Do Androids Dream of Electric Sheep?”. Untitled Theater Company #61. Retrieved 1 January 2014.
  7. Jump up^ “Do Androids Dream of Electric Sheep?”Sacred Fools Theater Company. Retrieved 1 January 2014.
  8. Jump up^ Philip K. Dick Press Release – BOOM! ANNOUNCES DO ANDROIDS DREAM OF ELECTRIC SHEEP? ArchivedSeptember 20, 2012, at the Wayback Machine.
  9. Jump up^ Heller, Jason (April 9, 2010). “Eisner Award nominees announced”. The A.V. Club. Retrieved July 24, 2013.
  10. Jump up^ Langshaw, Mark. “BOOM! expands on ‘Blade Runner’ universe”. Digital Spy.
  11. Jump up^ “BOOM! Studios publishes ‘Electric Sheep’ prequel”. Tyrell-corporation.pp.se. Retrieved July 24, 2013.
  12. Jump up^ Jeter, K. W. “Summary Bibliography: K. W. Jeter”.
  13. Jump up^ Galvan, Jill (1997). “Entering the Postman Collective: Philip K. Dick’s Do Androids Dream of Electric Sheep?”. Science Fiction Studies24 (3): 413–429.
  14. Jump up^ Palmer, Christopher (2003). Philip K. Dick: Exhilaration and Terror of the Postmodern. Liverpool: University of Liverpool Press. p. 259.
  15. Jump up to:a b Palmer, Christopher (2003). Philip K. Dick: Exhilaration and Terror of the Postmodern. Liverpool: University of Liverpool Press. p. 225.
  16. Jump up^ Rickman, Gregg (1995). “What Is This Sickness?”: “Schizophrenia” and We Can Build You. Westport, Connecticut: Greenwood Press. pp. 143–157.
  17. Jump up^ Benesch, Klaus (1999). “Technology, Art, and the Cybernetic Body: The Cyborg as Cultural Other in Fritz Lang’s “Metropolis” and Philip K. Dick’s “Do Androids Dream of Electric Sheep?“. Amerikastudien/American Studies44 (3 Body/Art): 379–392.
  18. Jump up^ Woodward, Kathleen (1997). “Prosthetic Emotions”. In Hoffman, Gerhard. Emotions in the Postmodern. Heidelberg: Alfred Hornung. pp. 75–107.
  19. Jump up^ Woodward, Kathleen (1997). “Prosthetic Emotions”. In Hoffman, Gerhard. Emotions in the Postmodern. Heidelberg: Alfred Hornung. p. 391.
  20. Jump up^ “1968 Award Winners & Nominees”Worlds Without End. Retrieved 2009-09-27.

Further reading

Criticism
  • Benesch, Klaus (1999). “Technology, Art, and the Cybernetic Body: The Cyborg As Cultural Other in Fritz Lang’s Metropolis and Philip K. Dick’s Do Androids Dream of Electric Sheep“. Amerikastudien/American Studies44 (3): 379–392. JSTOR 41157479.
  • Butler, Andrew M. (1991). “Reality versus Transience: An Examination of Philip K. Dick’s Do Androids Dream of Electric Sheep? and Ridley Scott’s Blade Runner“. In Merrifield, Jeff. Philip K. Dick: A Celebration (Programme Book). Epping Forest College, Loughton: Connections.
  • Gallo, Domenico (2002). “Avvampando gli angeli caddero: Blade Runner, Philip K. Dick e il cyberpunk”. In Bertetti; Scolari. Lo sguardo degli angeli: Intorno e oltre Blade Runner (in Italian). Torino: Testo & Immagine. pp. 206–218. ISBN 88-8382-075-4.
  • Galvan, Jill (1997). “Entering the Posthuman Collective in Philip K. Dick’s Do Androids Dream of Electric Sheep?“. Science-Fiction Studies24 (3): 413–429. JSTOR 4240644.
  • McCarthy, Patrick A. (1999–2000). “Do Androids Dream of Magic Flutes?”. Paradoxa5 (13–14): 344–352.
  • Niv, Tal (2014). “The Return of a Terrifying and Wonderful Creation On Our Future and Our Present”Haaretz. (Hebrew) Critical analysis of the 2014 edition of Do Androids Dream of Electric Sheep?

External links

 

Philip K. Dick

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Philip K. Dick
PhilipDick.jpg
Born Philip Kindred Dick
December 16, 1928
ChicagoIllinois, United States
Died March 2, 1982 (aged 53)
Santa Ana, California, United States
Pen name
  • Richard Phillipps
  • Jack Dowland
Occupation Novelist, short story writer, essayist
Nationality US
Period 1952–1982
Genre Science fictionparanoid fictionphilosophical fiction
Literary movement Postmodernism
Notable works
Children 3

Signature

Philip Kindred Dick (December 16, 1928 – March 2, 1982) was an American writer known for his work in science fiction. His work explored philosophical, social, and political themes, with stories dominated by monopolisticcorporations, alternative universesauthoritarian governments, and altered states of consciousness. His writing also reflected his interest in metaphysics and theology, and often drew upon his life experiences in addressing the nature of realityidentitydrug abuseschizophrenia, and transcendental experiences.

Born in Illinois, he eventually moved to California and began publishing science fiction stories in the 1950s. His stories initially found little commercial success.[1] His 1962 alternative history novel The Man in the High Castleearned Dick early acclaim, including a Hugo Award for Best Novel.[2] He followed with science fiction novels such as Do Androids Dream of Electric Sheep? (1968) and Ubik (1969). His 1974 novel Flow My Tears, the Policeman Said won the John W. Campbell Memorial Award for best novel.[3] Following a series of religious experiences in February 1974, Dick’s work engaged more explicitly with issues of theology, philosophy, and the nature of reality, as in such novels as A Scanner Darkly (1977) and VALIS (1981).[4] A collection of his non-fiction writing on these themes was published posthumously as The Exegesis of Philip K. Dick (2011). He died in 1982, at age 53, due to complications from a stroke.

Dick’s writing produced 44 published novels and approximately 121 short stories, most of which appeared in science fiction magazines during his lifetime.[5]

A variety of popular films based on Dick’s works have been produced, including Blade Runner (1982), Total Recall (adapted twice: in 1990 and in 2012), Minority Report (2002), A Scanner Darkly (2006), The Adjustment Bureau (2011), and Blade Runner 2049 (2017).

In 2005, Time named Ubik one of the hundred greatest English-language novels published since 1923.[6] In 2007, Dick became the first science fiction writer to be included in The Library of America series.[7][8][9][10]

Early life

Philip Kindred Dick and his twin sister, Jane Charlotte Dick, were born six weeks prematurely on December 16, 1928, in Chicago, Illinois, to Dorothy (née Kindred; 1900–1978) and Joseph Edgar Dick (1899–1985), who worked for the United States Department of Agriculture.[11][12] His paternal grandparents were Irish.[13] The death of Jane six weeks later, on January 26, 1929, profoundly affected Philip’s life, leading to the recurrent motif of the “phantom twin” in his books.[11]

His family later moved to the San Francisco Bay Area. When Philip was five, his father was transferred to Reno, Nevada; when Dorothy refused to move, she and Joseph divorced. Both parents fought for custody of Philip, which was awarded to the mother. Dorothy, determined to raise Philip alone, took a job in Washington, D.C., and moved there with her son. Philip was enrolled at John Eaton Elementary School (1936–1938), completing the second through fourth grades. His lowest grade was a “C” in Written Composition, although a teacher remarked that he “shows interest and ability in story telling”. He was educated in Quaker schools.[14] In June 1938, Dorothy and Philip returned to California, and it was around this time that he became interested in science fiction.[15] Dick stated that he read his first science fiction magazine, Stirring Science Stories in 1940 at the age of 12.[15]

Dick attended Berkeley High School in Berkeley, California. He and fellow science fiction author Ursula K. Le Guin were members of the same graduating class (1947) but did not know each other at the time. After graduation, he briefly attended the University of California, Berkeley, (September 1949 to November 11, 1949) with an honorable dismissal granted January 1, 1950. Dick did not declare a major and took classes in history, psychology, philosophy, and zoology. Through his studies in philosophy, he believed that existence is based on internal human perception, which does not necessarily correspond to external reality; he described himself as “an acosmic panentheist,” believing in the universe only as an extension of God.[16] After reading the works of Plato and pondering the possibilities of metaphysical realms, Dick came to the conclusion that, in a certain sense, the world is not entirely real and there is no way to confirm whether it is truly there. This question from his early studies persisted as a theme in many of his novels. Dick dropped out because of ongoing anxiety problems, according to his third wife Anne’s memoir. She also says he disliked the mandatory ROTC training. At Berkeley, Dick befriended poet Robert Duncan and poet and linguist Jack Spicer, who gave Dick ideas for a Martian language. Dick claimed to have hosted a classical music program on KSMO Radio in 1947.[17] From 1948 to 1952, Dick worked at Art Music Company, a record store on Telegraph Avenue.

Career

Early writing

Dick’s novelette “The Defenders” was the cover story for the January 1953 issue of Galaxy Science Fiction, illustrated by Ed Emshwiller

Dick’s short story “The World She Wanted” took the cover of the May 1953 issue of Science Fiction Quarterly

Dick’s novel The Cosmic Puppetsoriginally appeared in the December 1956 issue of Satellite Science Fictionas “A Glass of Darkness”

Dick sold his first story in 1951, and from then on wrote full-time. During 1952 his first speculative fiction publications appeared in July and September numbers of Planet Stories, edited by Jack O’Sullivan, and in If and The Magazine of Fantasy and Science Fiction that year.[18] His debut novel was Solar Lottery, published in 1955 as half of Ace Double #D-103 alongside The Big Jump by Leigh Brackett.[18] The 1950s were a difficult and impoverished time for Dick, who once lamented, “We couldn’t even pay the late fees on a library book.” He published almost exclusively within the science fiction genre, but dreamed of a career in mainstream fiction.[19] During the 1950s he produced a series of non-genre, relatively conventional novels. In 1960 he wrote that he was willing to “take twenty to thirty years to succeed as a literary writer”. The dream of mainstream success formally died in January 1963 when the Scott Meredith Literary Agency returned all of his unsold mainstream novels. Only one of these works, Confessions of a Crap Artist, was published during Dick’s lifetime.

In 1963, Dick won the Hugo Award for The Man in the High Castle.[2] Although he was hailed as a genius in the science fiction world, the mainstream literary world was unappreciative, and he could publish books only through low-paying science fiction publishers such as Ace. Even in his later years, he continued to have financial troubles. In the introduction to the 1980 short story collection The Golden Man, Dick wrote:

Several years ago, when I was ill, Heinlein offered his help, anything he could do, and we had never met; he would phone me to cheer me up and see how I was doing. He wanted to buy me an electric typewriter, God bless him—one of the few true gentlemen in this world. I don’t agree with any ideas he puts forth in his writing, but that is neither here nor there. One time when I owed the IRS a lot of money and couldn’t raise it, Heinlein loaned the money to me. I think a great deal of him and his wife; I dedicated a book to them in appreciation. Robert Heinlein is a fine-looking man, very impressive and very military in stance; you can tell he has a military background, even to the haircut. He knows I’m a flipped-out freak and still he helped me and my wife when we were in trouble. That is the best in humanity, there; that is who and what I love.

Flight to Canada and suicide attempt

In 1971, Dick’s marriage to Nancy Hackett broke down, and she moved out of their house in Santa Venetia, California. Having struggled with amphetamine abuse for much of the past decade (stemming in part from his need to maintain a prolific writing regimen due to the financial exigencies of the science fiction field), he allowed other drug users to move into the house. Following the release of 21 novels between 1960 and 1970, these developments were exacerbated by unprecedented periods of writer’s block, with Dick ultimately failing to publish new fiction until 1974.[20]

One day in November, Dick returned to his home to discover that it had been burglarized, with his safe blown open and personal papers missing. The police were unable to determine the culprit, and even suspected Dick of having done it himself.[21] Shortly afterwards, he was invited to be guest of honor at the Vancouver Science Fiction Convention in February 1972. Within a day of arriving at the conference and giving his speech The Android and the Human, he informed people that he had fallen in love with a woman named Janis whom he had met there and announced that he would be remaining in Vancouver.[21] An attendee of the conference, Michael Walsh, movie critic for local newspaper The Province, invited Dick to stay in his home, but asked him to leave two weeks later due to his erratic behavior. This was followed by Janis ending her and Dick’s relationship and moving away. On March 23, 1972, Dick attempted suicide by taking an overdose of the sedative potassium bromide.[21] Subsequently, after deciding to seek help, Dick became a participant in X-Kalay (a Canadian Synanon-type recovery program), and was well enough by April to return to California.[21]

Upon relocating to Orange County, California at the behest of California State University, Fullerton professor Willis McNelly (who initiated a correspondence with Dick during his X-Kalay stint), he donated manuscripts, papers and other materials to the University’s Special Collections Library, where they are archived in the Philip K. Dick Science Fiction Collection in the Pollak Library. During this period, Dick befriended a circle of Fullerton State students that encompassed several aspiring science fiction writers, including K. W. JeterJames Blaylock and Tim Powers.

Dick returned to the events of these months while writing his 1977 novel A Scanner Darkly,[22] which contains fictionalized depictions of the burglary of his home, his time using amphetamines and living with addicts, and his experiences of X-Kalay (portrayed in the novel as “New-Path”). A factual account of Dick’s recovery program participation was portrayed in his posthumously released book The Dark Haired Girl, a collection of letters and journals from the period.

Paranormal experiences

On February 20, 1974, while recovering from the effects of sodium pentothal administered for the extraction of an impacted wisdom tooth, Dick received a home delivery of Darvon from a young woman. When he opened the door, he was struck by the beauty of the dark-haired girl and was especially drawn to her golden necklace. He asked her about its curious fish-shaped design. “This is a sign used by the early Christians,” she said, and then left. Dick called the symbol the “vesicle pisces”. This name seems to have been based on his conflation of two related symbols, the Christian ichthys symbol (two intersecting arcs delineating a fish in profile) which the woman was wearing, and the vesica piscis.[23]

Dick recounted that as the sun glinted off the gold pendant, the reflection caused the generation of a “pink beam” of light that mesmerized him. He came to believe the beam imparted wisdom and clairvoyance, and also believed it to be intelligent. On one occasion, Dick was startled by a separate recurrence of the pink beam. It imparted the information to him that his infant son was ill. The Dicks rushed the child to the hospital, where his suspicion was confirmed by professional diagnosis.[24][verification needed]

After the woman’s departure, Dick began experiencing strange hallucinations. Although initially attributing them to side effects from medication, he considered this explanation implausible after weeks of continued hallucinations. “I experienced an invasion of my mind by a transcendentally rational mind, as if I had been insane all my life and suddenly I had become sane,” Dick told Charles Platt.[25]

Throughout February and March 1974, Dick experienced a series of hallucinations, which he referred to as “2-3-74”,[19] shorthand for February–March 1974. Aside from the “pink beam”, Dick described the initial hallucinations as geometric patterns, and, occasionally, brief pictures of Jesus and ancient Rome. As the hallucinations increased in length and frequency, Dick claimed he began to live two parallel lives, one as himself, “Philip K. Dick”, and one as “Thomas”, a Christian persecuted by Romans in the first century AD. He referred to the “transcendentally rational mind” as “Zebra”, “God” and “VALIS“. Dick wrote about the experiences, first in the semi-autobiographical novel Radio Free Albemuth and then in VALISThe Divine Invasion and the unfinished The Owl in Daylight (the VALIS trilogy).

In 1974, Dick wrote a letter to the FBI, accusing various people, including University of California, San Diego professor Frederic Jameson, of being foreign agents of Warsaw Pact powers.[26] He also wrote that Stanisław Lem was probably a false name used by a composite committee operating on orders of the Communist party to gain control over public opinion.[27]

At one point Dick felt that he had been taken over by the spirit of the prophet Elijah. He believed that an episode in his novel Flow My Tears, the Policeman Said was a detailed retelling of a biblical story from the Book of Acts, which he had never read.[28] Dick documented and discussed his experiences and faith in a private journal he called his “exegesis”, portions of which were later published as The Exegesis of Philip K. Dick. The last novel Dick wrote was The Transmigration of Timothy Archer; it was published shortly after his death in 1982.

Personal life

Dick was married five times:

  • Jeanette Marlin (May to November 1948)
  • Kleo Apostolides (June 14, 1950 to 1959)
  • Anne Williams Rubinstein (April 1, 1959 to October 1965)
  • Nancy Hackett (July 6, 1966 to 1972)
  • Leslie (Tessa) Busby (April 18, 1973 to 1977)

Dick had three children, Laura Archer (February 25, 1960), Isolde Freya (now Isa Dick Hackett) (March 15, 1967), and Christopher Kenneth (July 25, 1973).

In 1955, he and his second wife, Kleo Apostolides, received a visit from the FBI, which they believed to be the result of Kleo’s socialist views and left-wing activities. The couple briefly befriended one of the FBI agents.[29]

He was physically abusive with his third wife; after one argument in 1963, he attempted to push her off a cliff in a car, then later claimed she was trying to kill him, and convinced a psychiatrist to commit her involuntarily. After filing for divorce in 1964, he moved to Oakland to live with a fan, Grania Davis. Shortly after, he attempted suicide by driving off the road while she was a passenger.[30]

Dick tried to stay out of the political scene because of high societal turmoil from the Vietnam War; however, he did show some anti-Vietnam War and anti-governmental sentiments. In 1968, he joined the “Writers and Editors War Tax Protest“,[16][31] an anti-war pledge to pay no U.S. federal income tax, which resulted in the confiscation of his car by the IRS.

Death

On February 17, 1982, after completing an interview, Dick contacted his therapist, complaining of failing eyesight, and was advised to go to a hospital immediately, but did not. The following day, he was found unconscious on the floor of his Santa Ana, California home, having suffered a stroke. On February 25, 1982, Dick suffered another stroke in the hospital, which led to brain death. Five days later, on March 2, 1982, he was disconnected from life support and died. After his death, Dick’s father, Joseph, took his son’s ashes to Riverside Cemetery in Fort Morgan, Colorado, (section K, block 1, lot 56), where they were buried next to his twin sister Jane, who died in infancy. Her tombstone had been inscribed with both of their names at the time of her death, 53 years earlier.[32][33][34]

Style and works

Themes

Dick’s third major theme is his fascination with war and his fear and hatred of it. One hardly sees critical mention of it, yet it is as integral to his body of work as oxygen is to water.[35]

—Steven Owen Godersky

Dick’s stories typically focus on the fragile nature of what is real and the construction of personal identity. His stories often become surreal fantasies, as the main characters slowly discover that their everyday world is actually an illusion assembled by powerful external entities, such as the suspended animation in Ubik,[36] vast political conspiracies or the vicissitudes of an unreliable narrator. “All of his work starts with the basic assumption that there cannot be one, single, objective reality”, writes science fiction author Charles Platt. “Everything is a matter of perception. The ground is liable to shift under your feet. A protagonist may find himself living out another person’s dream, or he may enter a drug-induced state that actually makes better sense than the real world, or he may cross into a different universe completely.”[25]

Alternate universes and simulacra are common plot devices, with fictional worlds inhabited by common, working people, rather than galactic elites. “There are no heroes in Dick’s books”, Ursula K. Le Guin wrote, “but there are heroics. One is reminded of Dickens: what counts is the honesty, constancy, kindness and patience of ordinary people.”[36] Dick made no secret that much of his thinking and work was heavily influenced by the writings of Carl Jung.[32][37] The Jungian constructs and models that most concerned Dick seem to be the archetypes of the collective unconscious, group projection/hallucination, synchronicities, and personality theory.[32] Many of Dick’s protagonists overtly analyze reality and their perceptions in Jungian terms (see Lies Inc.). Dick’s self-named Exegesis also contained many notes on Jung in relation to theology and mysticism.[citation needed]

Dick identified one major theme of his work as the question, “What constitutes the authentic human being?”[38] In works such as Do Androids Dream of Electric Sheep?, beings can appear totally human in every respect while lacking soul or compassion, while completely alien beings such as Glimmung in Galactic Pot-Healer may be more humane and complex than their human peers.

Mental illness was a constant interest of Dick’s, and themes of mental illness permeate his work. The character Jack Bohlen in the 1964 novel Martian Time-Slip is an “ex-schizophrenic”. The novel Clans of the Alphane Moon centers on an entire society made up of descendants of lunatic asylum inmates. In 1965 he wrote the essay titled “Schizophrenia and the Book of Changes”.[39]

Drug use (including religiousrecreational, and abuse) was also a theme in many of Dick’s works, such as A Scanner Darkly and The Three Stigmata of Palmer Eldritch. Dick himself was a drug user for much of his life. According to a 1975 interview in Rolling Stone,[40]Dick wrote all of his books published before 1970 while on amphetamines. “A Scanner Darkly (1977) was the first complete novel I had written without speed”, said Dick in the interview. He also experimented briefly with psychedelics, but wrote The Three Stigmata of Palmer Eldritch, which Rolling Stone dubs “the classic LSD novel of all time”, before he had ever tried them. Despite his heavy amphetamine use, however, Dick later said that doctors told him the amphetamines never actually affected him, that his liver had processed them before they reached his brain.[40]

Summing up all these themes in Understanding Philip K. Dick, Eric Carl Link discussed eight themes or ‘ideas and motifs’:[41] Epistemology and the Nature of Reality, Know Thyself, The Android and the Human, Entropy and Pot Healing, The Theodicy Problem, Warfare and Power Politics, The Evolved Human, and ‘Technology, Media, Drugs and Madness’.[42]

Pen names

Dick had two professional stories published under the pen names Richard Phillipps and Jack Dowland. “Some Kinds of Life” was published in October 1953 in Fantastic Universe under byline Richard Phillipps, apparently because the magazine had a policy against publishing multiple stories by the same author in the same issue; “Planet for Transients” was published in the same issue under his own name.[43]

The short story “Orpheus with Clay Feet” was published under the pen name Jack Dowland. The protagonist desires to be the muse for fictional author Jack Dowland, considered the greatest science fiction author of the 20th century. In the story, Dowland publishes a short story titled “Orpheus with Clay Feet” under the pen name Philip K. Dick.

The surname Dowland refers to Renaissance composer John Dowland, who is featured in several works. The title Flow My Tears, the Policeman Said directly refers to Dowland’s best-known composition, “Flow My Tears”. In the novel The Divine Invasion, the character Linda Fox, created specifically with Linda Ronstadt in mind, is an intergalactically famous singer whose entire body of work consists of recordings of John Dowland compositions.

Selected works

The Man in the High Castle (1962) is set in an alternate history in which the United States is ruled by the victorious Axis powers. It is the only Dick novel to win a Hugo Award. Most recently this has been adapted into a television series provided by Amazon and available through Amazon Prime video.

The Three Stigmata of Palmer Eldritch (1965) utilizes an array of science fiction concepts and features several layers of reality and unreality. It is also one of Dick’s first works to explore religious themes. The novel takes place in the 21st century, when, under UN authority, mankind has colonized the Solar System‘s every habitable planet and moon. Life is physically daunting and psychologically monotonous for most colonists, so the UN must draft people to go to the colonies. Most entertain themselves using “Perky Pat” dolls and accessories manufactured by Earth-based “P.P. Layouts”. The company also secretly creates “Can-D”, an illegal but widely available hallucinogenic drug allowing the user to “translate” into Perky Pat (if the drug user is a woman) or Pat’s boyfriend, Walt (if the drug user is a man). This recreational use of Can-D allows colonists to experience a few minutes of an idealized life on Earth by participating in a collective hallucination.

Do Androids Dream of Electric Sheep? (1968) is the story of a bounty hunter policing the local android population. It occurs on a dying, poisoned Earth de-populated of almost all animals and all “successful” humans; the only remaining inhabitants of the planet are people with no prospects off-world. The 1968 novel is the literary source of the film Blade Runner (1982).[44] It is both a conflation and an intensification of the pivotally Dickian question: What is real, what is fake? What crucial factor defines humanity as distinctly “alive”, versus those merely alive only in their outward appearance?

Ubik (1969) employs extensive psychic telepathy and a suspended state after death in creating a state of eroding reality. A group of psychics is sent to investigate a rival organisation, but several of them are apparently killed by a saboteur’s bomb. Much of the following novel flicks between different equally plausible realities; the “real” reality, a state of half-life and psychically manipulated realities. In 2005, Time magazine listed it among the “All-TIME 100 Greatest Novels” published since 1923.[6]

Flow My Tears, the Policeman Said (1974) concerns Jason Taverner, a television star living in a dystopian near-future police state. After being attacked by an angry ex-girlfriend, Taverner awakens in a dingy Los Angeles hotel room. He still has his money in his wallet, but his identification cards are missing. This is no minor inconvenience, as security checkpoints (manned by “pols” and “nats”, the police and National Guard) are set up throughout the city to stop and arrest anyone without valid ID. Jason at first thinks that he was robbed, but soon discovers that his entire identity has been erased. There is no record of him in any official database, and even his closest associates do not recognize or remember him. For the first time in many years, Jason has no fame or reputation to rely on. He has only his innate charm and social graces to help him as he tries to find out what happened to his past while avoiding the attention of the pols. The novel was Dick’s first published novel after years of silence, during which time his critical reputation had grown, and this novel was awarded the John W. Campbell Memorial Award for Best Science Fiction Novel.[3] It is the only Philip K. Dick novel nominated for both a Hugo and a Nebula Award.

In an essay written two years before his death, Dick described how he learned from his Episcopal priest that an important scene in Flow My Tears, the Policeman Said – involving its other main character, the eponymous Police General Felix Buckman, was very similar to a scene in Acts of the Apostles,[28] a book of the New Testament. Film director Richard Linklater discusses this novel in his film Waking Life, which begins with a scene reminiscent of another Dick novel, Time Out of Joint.

A Scanner Darkly (1977) is a bleak mixture of science fiction and police procedural novels; in its story, an undercover narcotics police detective begins to lose touch with reality after falling victim to the same permanently mind-altering drug, Substance D, he was enlisted to help fight. Substance D is instantly addictive, beginning with a pleasant euphoria which is quickly replaced with increasing confusion, hallucinations and eventually total psychosis. In this novel, as with all Dick novels, there is an underlying thread of paranoia and dissociation with multiple realities perceived simultaneously. It was adapted to film by Richard Linklater.

The Philip K. Dick Reader[45] is an introduction to the variety of Dick’s short fiction.

VALIS (1980) is perhaps Dick’s most postmodern and autobiographical novel, examining his own unexplained experiences. It may also be his most academically studied work, and was adapted as an opera by Tod Machover.[46] Later works like the VALIS trilogy were heavily autobiographical, many with “two-three-seventy-four” (2-3-74) references and influences. The word VALIS is the acronym for Vast Active Living Intelligence System. Later, Dick theorized that VALIS was both a “reality generator” and a means of extraterrestrial communication. A fourth VALIS manuscript, Radio Free Albemuth, although composed in 1976, was posthumously published in 1985. This work is described by the publisher (Arbor House) as “an introduction and key to his magnificent VALIS trilogy”.

Regardless of the feeling that he was somehow experiencing a divine communication, Dick was never fully able to rationalize the events. For the rest of his life, he struggled to comprehend what was occurring, questioning his own sanity and perception of reality. He transcribed what thoughts he could into an eight-thousand-page, one-million-word journal dubbed the Exegesis. From 1974 until his death in 1982, Dick spent many nights writing in this journal. A recurring theme in Exegesis is Dick’s hypothesis that history had been stopped in the first century AD, and that “the Empire never ended”. He saw Rome as the pinnacle of materialism and despotism, which, after forcing the Gnostics underground, had kept the population of Earth enslaved to worldly possessions. Dick believed that VALIS had communicated with him, and anonymous others, to induce the impeachment of U.S. President Richard Nixon, whom Dick believed to be the current Emperor of Rome incarnate.

In a 1968 essay titled “Self Portrait”, collected in the 1995 book The Shifting Realities of Philip K. Dick, Dick reflects on his work and lists which books he feels “might escape World War Three”: Eye in the SkyThe Man in the High CastleMartian Time-SlipDr. Bloodmoney, or How We Got Along After the BombThe Zap GunThe Penultimate TruthThe SimulacraThe Three Stigmata of Palmer Eldritch (which he refers to as “the most vital of them all”), Do Androids Dream of Electric Sheep?, and Ubik.[47] In a 1976 interview, Dick cited A Scanner Darkly as his best work, feeling that he “had finally written a true masterpiece, after 25 years of writing”.[48]

Adaptations

Films

Several of Dick’s stories have been made into films. Dick himself wrote a screenplay for an intended film adaptation of Ubik in 1974, but the film was never made. Many film adaptations have not used Dick’s original titles. When asked why this was, Dick’s ex-wife Tessa said, “Actually, the books rarely carry Phil’s original titles, as the editors usually wrote new titles after reading his manuscripts. Phil often commented that he couldn’t write good titles. If he could, he would have been an advertising writer instead of a novelist.”[49] Films based on Dick’s writing had accumulated a total revenue of over US $1 billion by 2009.[50]

Future films based on Dick’s writing include an animated adaptation of The King of the Elves from Walt Disney Animation Studios, which was set to be released in the spring of 2016 but is currently still in preproduction; and a film adaptation of Ubik which, according to Dick’s daughter, Isa Dick Hackett, is in advanced negotiation.[53] Ubik was set to be made into a film by Michel Gondry.[54] In 2014, however, Gondry told French outlet Telerama (via Jeux Actu), that he was no longer working on the project.

The Terminator series prominently features the theme of humanoid assassination machines first portrayed in Second VarietyThe Halcyon Company, known for developing the Terminator franchise, acquired right of first refusal to film adaptations of the works of Philip K. Dick in 2007. In May 2009, they announced plans for an adaptation of Flow My Tears, the Policeman Said.[55]

Television

It was reported in 2010 that Ridley Scott would produce an adaptation of The Man in the High Castle for the BBC, in the form of a mini-series.[56] A pilot episode was released on Amazon Prime in January 2015 and Season 1 was fully released in ten episodes of about 60 minutes each on November 20, 2015.[57] Premiering in January 2015, the pilot was Amazon’s “most-watched since the original series development program began.” The next month Amazon ordered episodes to fill out a ten-episode season, which was released in November, to positive reviews. A second season of ten episodes premiered in December 2016, with a third season announced a few weeks later to be released in 2018.

In late 2015, Fox aired Minority Report, a television series sequel adaptation to the 2002 film of the same name based on Dick’s 1956 short story “The Minority Report“. The show was cancelled after one 10 episode season.

In May 2016, it was announced that a 10-part anthology series was in the works. Titled Philip K. Dick’s Electric Dreams, the series will be distributed by Sony Pictures Television and premiered on Channel 4 in the United Kingdom and Amazon Video in the United States.[58] It was written by executive producers Ronald D. Moore and Michael Dinner, with executive input from Dick’s daughter Isa Dick Hackett, and stars Bryan Cranston, also an executive producer.[59]

Stage and radio

Four of Dick’s works have been adapted for the stage.

One was the opera VALIS, composed and with libretto by Tod Machover, which premiered at the Pompidou Center in Paris on December 1, 1987, with a French libretto. It was subsequently revised and readapted into English, and was recorded and released on CD (Bridge Records BCD9007) in 1988.

Another was Flow My Tears, the Policeman Said, adapted by Linda Hartinian and produced by the New York-based avant-garde company Mabou Mines. It premiered in Boston at the Boston Shakespeare Theatre (June 18–30, 1985) and was subsequently staged in New York and Chicago. Productions of Flow My Tears, the Policeman Said were also staged by the Evidence Room [60] in Los Angeles in 1999[61] and by the Fifth Column Theatre Company at the Oval House Theatre in London in the same year.[62]

A play based on Radio Free Albemuth also had a brief run in the 1980s.

In November 2010, a production of Do Androids Dream of Electric Sheep?, adapted by Edward Einhorn, premiered at the 3LD Art and Technology Center in Manhattan.[63]

A radio drama adaptation of Dick’s short story “Mr. Spaceship” was aired by the Finnish Broadcasting Company (Yleisradio) in 1996 under the name Menolippu Paratiisiin. Radio dramatizations of Dick’s short stories Colony and The Defenders[64] were aired by NBC in 1956 as part of the series X Minus One.

In January 2006, a The Three Stigmata of Palmer Eldritch (English for Trzy stygmaty Palmera Eldritcha) theatre adaptation premiered in Stary Teatr in Cracov, with an extensive use of lights and laser choreography.[65][66]

In June 2014 the BBC broadcast a two part adaptation of ‘Do Androids Dream Of Electric Sheep?’ on Radio 4, starring James Purefoy as Rick Deckard.[67]

Comics

Marvel Comics adapted Dick’s short story “The Electric Ant” as a limited series which was released in 2009. The comic was produced by writer David Mack (Daredevil) and artist Pascal Alixe (Ultimate X-Men), with covers provided by artist Paul Pope.[68] “The Electric Ant” had earlier been loosely adapted by Frank Miller and Geof Darrow in their 3-issue mini-series Hard Boiled published by Dark Horse Comics in 1990-1992.[69]

In 2009, BOOM! Studios started publishing a 24-issue miniseries comic book adaptation of Do Androids Dream of Electric Sheep?[70] Blade Runner, the 1982 film adapted from Do Androids Dream of Electric Sheep?, had previously been adapted to comics as A Marvel Comics Super Special: Blade Runner.

In 2011, Dynamite Entertainment published a 4-issue miniseries “Total Recall,” a sequel to the 1990 film Total Recall, inspired by Philip K. Dick’s short story “We Can Remember It for You Wholesale“.[71] In 1990, DC Comics published the official adaptation of the original film as a DC Movie Special: Total Recall.[72]

Alternative formats

In response to a 1975 request from the National Library for the Blind for permission to make use of The Man in the High Castle, Dick responded, “I also grant you a general permission to transcribe any of my former, present or future work, so indeed you can add my name to your ‘general permission’ list.”[73] Some of his books and stories are available in braille and other specialized formats through the NLS.[74]

As of December 2012, thirteen of Philip K. Dick’s early works in the public domain in the United States are available in ebook form from Project Gutenberg. As of April 4, 2012, Wikisource has one of Philip K. Dick’s early works in the public domain in the United States available in ebook form which is not from Project Gutenberg.

Influence and legacy

Lawrence Sutin‘s 1989 biography of Dick, Divine Invasions: A Life of Philip K. Dick, is considered the standard biographical treatment of Dick’s life.[39]

In 1993, French writer Emmanuel Carrère published Je suis vivant et vous êtes morts which was first translated and published in English in 2004 as I Am Alive and You Are Dead: A Journey Into the Mind of Philip K. Dick, which the author describes in his preface in this way:

The book you hold in your hands is a very peculiar book. I have tried to depict the life of Philip K. Dick from the inside, in other words, with the same freedom and empathy – indeed with the same truth – with which he depicted his own characters.[32]

Critics of the book have complained about the lack of fact checking, sourcing, notes and index, “the usual evidence of deep research that gives a biography the solid stamp of authority.”[75][76][77] It can be considered a non-fiction novel about his life.

Dick has influenced many writers, including Jonathan Lethem[78] and Ursula K. Le Guin.[79] The prominent literary critic Fredric Jameson proclaimed Dick the “Shakespeare of Science Fiction”, and praised his work as “one of the most powerful expressions of the society of spectacle and pseudo-event”.[80] The author Roberto Bolaño also praised Dick, describing him as “Thoreau plus the death of the American dream”.[81] Dick has also influenced filmmakers, his work being compared to films such as the Wachowskis‘ The Matrix,[82] David Cronenberg‘s Videodrome,[83] eXistenZ,[82] and Spider,[83] Spike Jonze‘s Being John Malkovich,[83] Adaptation,[83] Michel Gondry‘s Eternal Sunshine of the Spotless Mind,[84][85] Alex Proyas‘s Dark City,[82] Peter Weir‘s The Truman Show,[82] Andrew Niccol‘s Gattaca,[83]In Time,[86] Terry Gilliam‘s 12 Monkeys,[83] Alejandro Amenábar‘s Open Your Eyes,[87] David Fincher‘s Fight Club,[83] Cameron Crowe‘s Vanilla Sky,[82] Darren Aronofsky‘s Pi,[88] Richard Kelly‘s Donnie Darko[89] and Southland Tales,[90] Rian Johnson‘s Looper,[91] Duncan Jones‘ Source Code, and Christopher Nolan‘s Memento[92] and Inception.[93]

The Philip K. Dick Society was an organization dedicated to promoting the literary works of Dick and was led by Dick’s longtime friend and music journalist Paul Williams. Williams also served as Dick’s literary executor for several years after Dick’s death and wrote one of the first biographies of Dick, entitled Only Apparently Real: The World of Philip K. Dick.

The Philip K. Dick estate owns and operates the production company Electric Shepherd Productions,[94] which has produced the films Adjustment Bureau (2011) and the upcoming Walt Disney Company film King of the Elves, the TV series The Man in the High Castle[95]and also a Marvel Comics 5-issue adaptation of Electric Ant.[96]

Dick was recreated by his fans in the form of a simulacrum or remote-controlled android designed in his likeness.[97][98][99] Such simulacra had been themes of many of Dick’s works. The Philip K. Dick simulacrum was included on a discussion panel in a San Diego Comic Con presentation about the film adaptation of the novel, A Scanner Darkly. In February 2006, an America West Airlines employee misplaced the android’s head, and it has not yet been found.[100] In January 2011, it was announced that Hanson Robotics had built a replacement.[101]

Film

In fiction

  • Michael Bishop‘s The Secret Ascension (1987; currently published as Philip K. Dick Is Dead, Alas), which is set in an alternative universe where his non-genre work is published but his science fiction is banned by a totalitarian United States in thrall to a demonically possessed Richard Nixon.
  • The Faction Paradox novel Of the City of the Saved… (2004) by Philip Purser-Hallard
  • The short story “The Transmigration of Philip K” (1984) by Michael Swanwick (to be found in the 1991 collection Gravity’s Angels)
  • In Ursula K. Le Guin‘s 1971 novel The Lathe of Heaven, whose characters alter reality through their dreams. Two made-for-TV films based on the novel have been made: The Lathe of Heaven (1980) and Lathe of Heaven (2002)
  • In Thomas M. Disch‘s The Word of God (2008)[113]
  • The comics magazine Weirdo published “The Religious Experience of Philip K. Dick” by artist R. Crumb in 1986. Though this is not an adaptation of a specific book or story by Dick, it incorporates elements of Dick’s experience which he related in short stories, novels, essays, and the Exegesis. The story parodies the form of a Chick tract, a type of evangelical comic, many of which relate the story of an epiphany leading to a conversion to fundamentalist Christianity.
  • In the Batman Beyond episode “Sentries of the Last Cosmos”, the character Eldon Michaels claims a typewriter on his desk to have belonged to Philip K. Dick.
  • In the 1976 alternate history novel The Alteration by Kingsley Amis, one of the novels-within-a-novel depicted is The Man in the High Castle (mirroring The Grasshopper Lies Heavy in the real-life novel), still written by Philip K. Dick.[114] Instead of the novel being set in 1962 in an alternate universe where the Axis Powers won the Second World War and named for Hawthorne Abendsen, the author of its novel-within-a-novel, it depicts an alternate universe where the Protestant Reformation occurred (events including the continuation of Henry VIII’s Schismatic policies by his son, Henry IX, and the creation of an independent North America in 1848), with one character speculating that the titular character was a wizard.
  • In the Japanese science fiction anime Psycho-Pass, Dick’s works are referred to as recommended reading material to help reflect on the current state of affairs of those characters world.
  • The 2016 video game Californium was developed as a tribute to Philip K. Dick and his writings to coincide with an Arte‘s documentary series.[115]
  • The short film trilogy Code 7 written and directed by Nacho Vigalondo starts with the line “Philip K. Dick presents”. The story also contains some other references to Philip K. Dick’s body of work.[116]

Music

  • “Flow My Tears” is the name of an instrumental by bassist Stuart Hamm, inspired by Dick’s novel of the same name. The track is found on his album Radio Free Albemuth, also named after a Dick novel.[117]
  • “Flow My Tears, The Policeman Said” and other seminal Ph. K. Dick novels inspired the electronic music concept album “The Dowland Shores of Philip K. Dick’s Universe[118] by Levente
  • “Flow My Tears the Spider Said” is the final song on They Were Wrong, So We Drowned, the second album by experimental Los Angeles punk-rock outfit Liars.
  • “Listen to the Sirens”, the first song on Tubeway Army‘s 1978 debut album has as its first line “flow my tears, the new police song”.
  • American rapper and producer El-P is a noted fan of Dick and other science fiction, as many of Dick’s themes, such as paranoia and questions about the nature of reality, feature in El-P’s work.[119] A song on the 2002 album Fantastic Damage is titled “T.O.J.” and the chorus makes reference to the Dick work Time Out of Joint.
  • English singer Hugh Cornwell included an instrumental called “Philip K. Ridiculous” on his 2008 album “Hooverdam”.[120]
  • The World/Inferno Friendship Society‘s 2011 album The Anarchy and the Ecstasy includes a song entitled “Canonize Philip K. Dick, OK”.
  • Bloc Party‘s 2012 album Four contains several references to Dick’s work, including a song entitled “V.A.L.I.S.”.
  • German singer Pohlmann included a song called “Roy Batty (In Tribute to Philip K. Dick)” on his 2013 album Nix ohne Grund.
  • Sister, a Sonic Youth album, “was in part inspired by the life and works of science fiction writer Philip K. Dick”.[121]
  • “What You See” is a song by Faded Paper Figures that pays homage to the literary work of Dick.
  • The first song on Japancakes‘ debut album If I Could See Dallas is titled ‘Now Wait For Last Year’.
  • Janelle Monáe‘s song “Make the Bus” in her album The ArchAndroid has the lyrics “You’ve got ‘Do Androids Dream of Electric Sheep?’ under your pillow” at the end of the first stanza.
  • Blind Guardian‘s song “Time What is Time” from the 1992 album “Somewhere Far Beyond” is loosely based on the book “Do Androids Dream of Electric Sheep?”.[122]

Radio

  • In June 2014, BBC Radio 4 broadcast The Two Georges by Stephen Keyworth, inspired by the FBI’s investigation of Phil and his wife Kleo in 1955, and the subsequent friendship that developed between Phil and FBI Agent Scruggs.[123]

Theater

  • The short play Kindred Blood in Kensington Gore (1992) by Brian W. Aldiss
  • A 2005 play, 800 Words: the Transmigration of Philip K. Dick by Victoria Stewart, which re-imagines Dick’s final days.[124]

Contemporary philosophy

Postmodernists such as Jean BaudrillardFredric JamesonLaurence Rickels and Slavoj Žižek have commented on Dick’s writing’s foreshadowing of postmodernity.[125] Jean Baudrillard offers this interpretation:

It is hyperreal. It is a universe of simulation, which is something altogether different. And this is so not because Dick speaks specifically of simulacra. SF has always done so, but it has always played upon the double, on artificial replication or imaginary duplication, whereas here the double has disappeared. There is no more double; one is always already in the other world, an other world which is not another, without mirrors or projection or utopias as means for reflection. The simulation is impassable, unsurpassable, checkmated, without exteriority. We can no longer move “through the mirror” to the other side, as we could during the golden age of transcendence.[126]

For his anti-government skepticism, Philip K. Dick was afforded minor mention in Mythmakers and Lawbreakers, a collection of interviews about fiction by anarchist authors. Noting his early authorship of The Last of the Masters, an anarchist-themed novelette, author Margaret Killjoy expressed that while Dick never fully sided with anarchism, his opposition to government centralization and organized religion has influenced anarchist interpretations of gnosticism.[127]

Awards and honors

The Science Fiction Hall of Fame inducted Dick in 2005.[128]

During his lifetime he received numerous annual literary awards and nominations for particular works.[129]

Philip K. Dick Award

The Philip K. Dick Award is a science fiction award that annually recognizes the previous year’s best SF paperback original published in the U.S.[135] It is conferred at Norwescon, sponsored by the Philadelphia Science Fiction Society, and since 2005 supported by the Philip K. Dick Trust. Winning works are identified on their covers as Best Original SF Paperback. It is currently administered by David G. Hartwell and Gordon Van Gelder.[135]

The award was inaugurated in 1983, the year after Dick’s death. It was founded by Thomas Disch with assistance from David G. Hartwell, Paul S. Williams, and Charles N. Brown. Past administrators include Algis J. Budrys and David Alexander Smith.[citation needed]

See also

References

  1. Jump up^ Liukkonen, Petri. “Philip K. Dick”Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on April 25, 2007.
  2. Jump up to:abc “1963 Award Winners & Nominees”Worlds Without End. Retrieved June 26, 2009.
  3. Jump up to:abcd “1975 Award Winners & Nominees”Worlds Without End. Retrieved June 26, 2009.
  4. Jump up^ Behrens, Richard; Allen B. Ruch (March 21, 2003). “Philip K. Dick”The Scriptorium. The Modern Word. Archived from the original on April 12, 2008. Retrieved April 14, 2008.
  5. Jump up^ Kimbell, Keith. “Ranked: Movies Based on Philip K. Dick Stories”. Metacritic. Retrieved November 20, 2013.
  6. Jump up to:ab Grossman, Lev (October 16, 2005). “Ubik – ALL-TIME 100 Novels”Time. Retrieved April 14, 2008.
  7. Jump up^ Stoffman, Judy “A milestone in literary heritage”Toronto Star(February 10, 2007) Archived October 6, 2012, at the Wayback Machine.
  8. Jump up^ Library of America Philip K. Dick: Four Novels of the 1960s
  9. Jump up^ Library of America H.P. Lovecraft: Tales
  10. Jump up^ Associated Press “Library of America to issue volume of Philip K. Dick”USA Today (November 28, 2006)
  11. Jump up to:ab Kucukalic, Lejla (2008). Philip K. Dick: canonical writer of the digital age. Taylor and Francis. p. 27. ISBN0-415-96242-0.
  12. Jump up^ Sutin, Lawrence (2003). “Philip K. Dick”Author – Official Biography. Philip K. Dick Trust. Archived from the original on April 10, 2008. Retrieved April 14, 2008.
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  14. Jump up^ Vitale, Joe. “Interview with Philip K. Dick”Philip K. Dick – Official Site. Archived from the original on April 8, 2012. Retrieved May 6, 2012.
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  58. Jump up^ Cynthia Littleton. “Amazon Grabs U.S. Rights to Bryan Cranston’s ‘Philip K. Dick’s Electric Dreams’ Anthology Series”Variety.
  59. Jump up^ Lodderhose, Diana (May 10, 2016). “Bryan Cranston to Star in Philip K. Dick Series From ‘Outlander’s’ Ron Moore”variety.com. Retrieved May 11, 2016.
  60. Jump up^ “evidEnce room – past productions”. Archived from the original on February 7, 2012.
  61. Jump up^ Foley, Kathleen (April 22, 1999). Flow My Tears’ Has Hallucinatory Style”Los Angeles Times. Retrieved May 28,2012.
  62. Jump up^ “Archived NTK email newsletter from 11 June 1999”. Ntk.net. Retrieved November 12, 2013.
  63. Jump up^ Zinoman, Jason (December 3, 2010). “A Test for Humanity in a Post-Apocalyptic World”The New York Times.
  64. Jump up^ “The Defenders”Project Gutenberg.
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  67. Jump up^ “Episode 1, Do Androids Dream of Electric Sheep?, Dangerous Visions – BBC Radio 4”BBC.
  68. Jump up^ “MARVEL BRINGS PHILIP K DICK’S ELECTRIC ANT TO LIFE IN NEW SERIES”. philipkdick.com. July 24, 2008. Archived from the original on August 12, 2012.
  69. Jump up^ SDCC 08: PHILIP K. DICK COMES TO MARVELhttp://www.ign.com
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  71. Jump up^ TOTAL RECALL #1 (OF 4) www.dynamite.com
  72. Jump up^ Total Recall #1 www.comicvine.com
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  74. Jump up^ “Home Page of the National Library Service for the Blind and Physically Handicapped (NLS)”. Loc.gov. October 28, 2013. Retrieved November 12, 2013.
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  76. Jump up^ Taylor, Charles (June 20, 2004). “Just Imagine Philip K. Dick”The New York Times. Retrieved April 15, 2008.
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Further reading

Primary bibliography
  • Precious Artifacts : A Philip K. Dick Bibliography, United States of America and United Kingdom Editions, 1955 – 2012. Compiled by Henri Wintz and David Hyde. (Wide Books 2012). http://www.wide-books.com
  • Precious Artifacts 2: A Philip K. Dick Bibliography, The Short Stories, United States, United Kingdom and Oceania, 1952 – 2014. Compiled by Henri Wintz and David Hyde (Wide Books 2014). http://www.wide-books.com
Secondary bibliography

External links

https://en.wikipedia.org/wiki/Philip_K._Dick

 

Ridley Scott

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Sir
Ridley Scott
NASA Journey to Mars and “The Martian" (201508180030HQ).jpg

Scott in 2015
Born 30 November 1937 (age 80)
South ShieldsCounty DurhamEngland
Residence LondonEnglandUnited Kingdom
Paris, France
Los Angeles, CaliforniaUnited States
Alma mater West Hartlepool College of Art
Royal College of Art
Occupation
  • Film director
  • film producer
Years active 1965–present
Spouse(s)
Felicity Heywood
(m. 1964; div. 1975)
Sandy Watson
(m. 1979; div. 1989)
Giannina Facio
(m. 2015)
Children Jake Scott
Luke Scott
Jordan Scott
Family Tony Scott (brother; deceased)

Sir Ridley Scott (born 30 November 1937) is an English film director and producer. Following his commercial breakthrough with the science-fiction horror film Alien (1979), further works include the neo-noir dystopian science fiction film Blade Runner, historical drama Gladiator (which won the Academy Award for Best Picture), and science fiction film The Martian.

Scott’s work has an atmospheric, highly concentrated visual style.[1][2] Though his films range widely in setting and period, they frequently showcase memorable imagery of urban environments, whether 2nd century Rome (Gladiator), 12th century Jerusalem (Kingdom of Heaven), Medieval England (Robin Hood), contemporary Mogadishu (Black Hawk Down), the future cityscapes of Blade Runner, or the distant planets in AlienPrometheusThe Martian and Alien: Covenant. His films are also known for their strong female characters.[3]

Scott has been nominated for three Academy Awards for Directing (for Thelma & LouiseGladiator and Black Hawk Down).[1] In 1995, both Ridley and his brother Tony received a BAFTA for Outstanding British Contribution To Cinema.[4] In 2003, Scott was knighted for his “services to the British film industry”.[5] In a 2004 BBC poll Scott was named the tenth most influential person in British culture.[6] In 2015 he received an honorary doctorate from the Royal College of Art in London. In 2018 Scott received the BAFTA Fellowship for lifetime achievement.[7]

Early life and career

“My mum brought three boys up: my dad was in the army and so he was frequently away. During the war (World War II) and post-war, we tended to travel following him around so my mum was the boss. She laid down the law and the law was God. We just said ‘Yup, okay’ – we didn’t argue. I think that’s where the respect has come from, because she was tough.”

— A supporter of heroines in his work, Scott credits his mother Elizabeth as his first female role model.[8]

Scott was born in South Shields, County Durham, North East England,[9] to Elizabeth (Williams) and Colonel Francis Percy Scott.[10][11] Born shortly before the Second World War, he was brought up in an army family. His father – an officer in the Royal Engineers – was absent for most of his early life. His elder brother, Frank, joined the British Merchant Navy when he was still young, and the pair had little contact.[12] During this time the family moved around, living in (among other areas) Cumberland in North West England, Wales and Germany. He had a younger brother, Tony, who also became a film director. After World War II, the Scott family moved back to their native North East, eventually settling on Greens Beck Road in Hartburn, County Durham, whose industrial landscape would later inspire similar scenes in Blade Runner.[13] His interest in science fiction began by reading the works of H. G. Wells as a child.[14]He studied at Grangefield Grammar School and West Hartlepool College of Art from 1954 to 1958, obtaining a diploma in design.[15]

“I use everything I learned every day at art school. It’s all about white sheets of paper, pens and drawing.”

— Scott speaking on the influence the Royal College of Art has had in designing the visuals for his films.[16]

Scott went on to study at the Royal College of Art in London, contributing to college magazine ARKand helping to establish the college film department. For his final show, he made a black and white short film, Boy and Bicycle, starring both his younger brother and his father (the film was later released on the “Extras” section of The Duellists DVD). In February 1963 Scott was named in title credits as “Designer” for the BBC television programme Tonight, about the severe winter of 1963. After graduation in 1963, he secured a job as a trainee set designer with the BBC, leading to work on the popular television police series Z-Cars and science fiction series Out of the Unknown. He was originally assigned to design the second Doctor Who serial, The Daleks, which would have entailed realising the serial’s eponymous alien creatures. However, shortly before Scott was due to start work, a schedule conflict meant he was replaced by Raymond Cusick.[17] In 1965, he began directing episodes of television series for the BBC, only one of which, an episode of Adam Adamant Lives!, is available commercially.[18]

Gold Hill, Shaftesbury in the English county of Dorset where Scott filmed the 1973 Hovis television commercial

In 1968, Ridley and Tony Scott founded Ridley Scott Associates (RSA), a film and commercial production company.[19] Working alongside Alan ParkerHugh Hudson and cinematographer Hugh Johnson, Ridley Scott made many commercials at RSA during the 1970s, including a notable 1973 Hovis advertisement, “Bike Round” (underscored by the slow movement of Dvořák’s “New World” symphony rearranged for brass), set in the north of England but filmed in Gold Hill, Shaftesbury, Dorset.[20][21] A nostalgia themed television advertisement that captured the public imagination, it was voted the UK’s all-time favourite commercial in a 2006 poll.[22][23] In the 1970s the Chanel No. 5brand needed revitalisation having run the risk of being labelled as mass market and passé.[24] Directed by Scott in the 1970s and 1980s, Chanel television commercials were inventive mini-films with production values of surreal fantasy and seduction, which “played on the same visual imagery, with the same silhouette of the bottle.”[24]

Five members of the Scott family are directors, and all have worked for RSA.[25] His brother Tony was a successful film director whose career spanned more than two decades; his sons Jake and Luke are both acclaimed directors of commercials, as is his daughter, Jordan Scott. Jake and Jordan both work from Los Angeles; Luke is based in London. In 1995, Shepperton Studios was purchased by a consortium headed by Ridley and Tony Scott, which extensively renovated the studios while also expanding and improving its grounds.[26]

Early films

The Duellists

The Duellists (1977) marked Ridley Scott’s first feature film as director. Shot in Europe, it was nominated for the main prize at the Cannes Film Festival, and won an award for Best Debut Film. The Duellists had limited commercial impact internationally. Set during the Napoleonic Wars, it follows two French Hussar officers, D’Hubert and Feraud (Keith Carradine and Harvey Keitel) whose quarrel over an initially minor incident turns into a bitter extended feud spanning fifteen years, interwoven with the larger conflict that provides its backdrop. The film has been acclaimed for providing a historically authentic portrayal of Napoleonic uniforms and military conduct.[27][28] The 2013 release of the film on Blu-ray coincided with the publication of an essay on the film in a collection of scholarly essays on Scott.[29]

Alien

Scott had originally planned next to adapt a version of Tristan and Iseult, but after seeing Star Wars, he became convinced of the potential of large scale, effects-driven films. He accepted the job of directing Alien, the 1979 horror/science-fiction film that would win him international success. Scott made the decision to switch Ellen Ripley from the standard male action hero to a heroine.[30] Ripley (played by Sigourney Weaver), who appeared in the first four Alien films, would become a cinematic icon.[30] The final scene of John Hurt‘s character has been named by a number of publications as one of the most memorable in cinematic history.[31] Filmed at Shepperton Studios in England, Alien was the sixth highest-grossing film of 1979, earning over $104 million worldwide.[32] Scott was involved in the 2003 restoration and re-release of the original film. In promotional interviews at the time, Scott indicated he had been in discussions to make a fifth film in the Alien franchise. However, in a 2006 interview, Scott remarked that he had been unhappy about Alien: The Director’s Cut, feeling that the original was “pretty flawless” and that the additions were merely a marketing tool.[33] Scott later returned to Alien-related projects when he directed Prometheus and Alien: Covenant three decades after the original film’s release.[34]

Blade Runner

“Outside Star Wars, no sci-fi universe has been etched into cinematic consciousness more thoroughly than Blade Runner. Ridley Scott’s definitive 1982 neo-noir offered an immersive dystopia of rain-soaked windows and shadowy buildings adorned with animated neon billboards, where flying cars hum through the endless night.”

— Eric Kohn, IndieWire, 2017.[35]

After a year working on the film adaptation of Dune, and following the sudden death of his brother Frank, Scott signed to direct the film version of Philip K. Dick‘s novel Do Androids Dream of Electric Sheep? Re-titled Blade Runner and starring Harrison Ford, the film was a commercial disappointment in cinemas in 1982, but is now regarded as a classic.[36][37] In 1991, Scott’s notes were used by Warner Brothers to create a rushed director’s cut which removed the main character’s voiceover and made a number of other small changes, including to the ending. Later Scott personally supervised a digital restoration of Blade Runner and approved what was called The Final Cut. This version was released in Los Angeles, New York City and Toronto cinemas on 5 October 2007, and as an elaborate DVD release in December 2007.[38]

Today, Blade Runner is ranked by many critics as one of the most important and influential science fiction films ever made,[39] partly thanks to its much imitated portraits of a future cityscape.[40] It is often discussed along with William Gibson‘s novel Neuromancer as initiating the cyberpunk genre. Scott has described Blade Runner as his “most complete and personal film”.[41]

“1984” Apple Macintosh commercial

In 1984, Scott directed a big-budget ($900,000) television commercial, “1984“, to launch Apple‘s Macintosh computer.[42] Scott filmed the advertisement in England for about $370,000;[43] which was given a showcase airing in the US on 22 January 1984, during Super Bowl XVIII, alongside screenings in cinemas.[44] Some consider this advertisement a “watershed event” in advertising[45] and a “masterpiece”.[46] Advertising Age placed it top of its list of the 50 greatest commercials.[47]

Set in a dystopian future modelled after George Orwell‘s Nineteen Eighty-Four, Scott’s advertisement used its heroine (portrayed by English athlete Anya Major) to represent the coming of the Macintosh (indicated by her white tank top adorned with a picture of the Apple Macintosh computer) as a means of saving humanity from “conformity” (Big Brother), an allusion to IBM, at that time the dominant force in computing.[48]

Legend

In 1985, Scott directed Legend, a fantasy film produced by Arnon Milchan. Scott decided to create a “once upon a time” tale set in a world of princesses, unicorns and goblins, filming almost entirely inside the studio. Scott cast Tom Cruise as the film’s hero, Jack, Mia Saraas Princess Lili and Tim Curry as the Satan-horned Lord of Darkness.[49] Scott had a forest set built on the 007 Stage at Pinewood Studios in Buckinghamshire, with trees 60 feet high and trunks 30 feet in diameter.[50] In the final stages of filming, the forest set was destroyed by fire; Jerry Goldsmith‘s original score was used for European release, but replaced in North America with a score by Tangerine Dream. Rob Bottin provided the film’s Academy Award-nominated make-up effects, most notably Curry’s red-coloured Satan figure. Though a major commercial failure on release, the film has gone on to become a cult classic. The 2002 Director’s Cut restored Goldsmith’s original score.[51]

Subsequent films

1987–1992

Scott made Someone to Watch Over Me, a romantic thriller starring Tom Berenger and Mimi Rogers in 1987, and Black Rain (1989), a police drama starring Michael Douglas and Andy García, shot partially in Japan. Both achieved mild success at the box office. Black Rain was the first of Scott’s six collaborations with the composer Hans Zimmer.[52][53]

The road film Thelma & Louise (1991) starring Geena Davis as Thelma, Susan Sarandon as Louise, in addition to the breakthrough role for Brad Pitt as J.D, proved to be one of Scott’s biggest critical successes, helping revive the director’s reputation and receiving his first nomination for the Academy Award for Best Director.[54][55] His next project, independently-funded historical epic 1492: Conquest of Paradise, was a box office failure. The film recounts the expeditions to the Americas by Christopher Columbus (French star Gérard Depardieu). Scott did not release another film for four years.

1993–1999

In 1995, Ridley and his brother Tony formed a production company, Scott Free Productions, in Los Angeles. All Ridley’s subsequent feature films, starting with White Squall and G.I. Jane, have been produced under the Scott Free banner. In 1995 the two brothers purchased a controlling interest in the British film studio Shepperton Studios. In 2001, Shepperton merged with Pinewood Studios to become The Pinewood Studios Group, which is headquartered in Buckinghamshire, England.[56]

2000–2005

Scott’s historical drama Gladiator (2000) proved to be one of his biggest critical and commercial successes. It won five Academy Awards, including Best Picture, Best Actor for the film’s star Russell Crowe, and saw Scott nominated for the Academy Award for Best Director.[1] Scott worked with British visual effects company The Mill for the film’s computer-generated imagery, and the film was dedicated to Oliver Reed who died during filming – The Mill created a digital body double for Reed’s remaining scenes.[57][58] Some have credited Gladiator with reviving the nearly defunct “sword and sandal” historical genre. The film was named the fifth best action film of all time in the ABC special Best in Film: The Greatest Movies of Our Time.[59]

Scott directed Hannibal (2001) starring Anthony Hopkins as Hannibal Lecter. The film was commercially successful despite receiving mixed reviews. Scott’s next film, Black Hawk Down (2001), featuring Tom Hardy in his film debut, was based on a group of stranded US soldiers fighting for their lives in Somalia; Scott was nominated for an Oscar for Best Director.[1] In 2003, Scott directed a smaller scale project, Matchstick Men, adapted from the novel by Eric Garcia and starring Nicolas CageSam Rockwell and Alison Lohman. It received mostly positive reviews, but performed moderately at the box office.

In 2005, he made the modestly successful Kingdom of Heaven, a film about the Crusades. The film starred Orlando Bloom, and marked Scott’s first collaboration with the composer Harry Gregson-Williams.[60] The Moroccan government sent the Moroccan cavalry as extras for some battle scenes.[61] Unhappy with the theatrical version of Kingdom of Heaven (which he blamed on paying too much attention to the opinions of preview audiences in addition to relenting when Fox wanted 45 minutes shaved off), Scott supervised a director’s cut of the film, the true version of what he wanted, which was released on DVD in 2006.[62] The director’s cut of Kingdom of Heaven has been met with critical acclaim, with Empire magazine calling the film an “epic”, adding: “The added 45 minutes in the director’s cut are like pieces missing from a beautiful but incomplete puzzle.”[63] “This is the one that should have gone out” reflected Scott.[63] Asked if he was against previewing in general in 2006, Scott stated: “It depends who’s in the driving seat. If you’ve got a lunatic doing my job, then you need to preview. But a good director should be experienced enough to judge what he thinks is the correct version to go out into the cinema.”[64]

Recent and upcoming films

2006–2011

Scott teamed up again with Gladiator star Russell Crowe, for A Good Year, based on the best-selling book by Peter Mayle about an investment banker who finds a new life in Provence. The film was released on 10 November 2006. A few days later Rupert Murdoch, chairman of studio 20th Century Fox (who backed the film) dismissed A Good Year as “a flop” at a shareholders’ meeting.[65]

Scott’s next film was American Gangster, based on the story of real-life drug kingpin Frank Lucas. Scott took over the project in early 2006, and had screenwriter Steven Zaillian rewrite his script to focus on the dynamic between Frank Lucas and Richie RobertsDenzel Washington signed on to the project as Lucas, with Russell Crowe co-starring. The film premiered in November 2007 to positive reviews and box office success, and Scott was nominated for a Golden Globe for Best Director.[1]

In late 2008, Scott’s espionage thriller Body of Lies, starring Leonardo DiCaprio and Russell Crowe, opened to lukewarm ticket-sales and mixed reviews. Scott directed a revisionist adaptation of Robin Hood, which starred Russell Crowe as Robin Hood and Cate Blanchettas Maid Marian. It was released in May 2010 to mixed reviews, but a respectable box-office.

Scott speaking with Prometheusstars Charlize Theron and Michael Fassbender at Wondercon 2012 in Anaheim, California on 17 March 2012

On 31 July 2009, news surfaced of a two-part prequel to Alien with Scott attached to direct.[34][66] The project, ultimately reduced to a single film called Prometheus, which Scott described as sharing “strands of Alien’s DNA” while not being a direct prequel, was released in June 2012. The film starred Charlize Theron and Michael Fassbender, with Noomi Rapace playing the leading role of the scientist named Elizabeth Shaw. The film received mostly positive reviews and grossed $403 million at the box office.[67][68]

In August 2009, Scott planned to direct an adaptation of Aldous Huxley‘s Brave New World set in a dystopian London with Leonardo DiCaprio.[69] In 2009, the TV Series The Good Wife premiered with Ridley and his brother Tonycredited as executive producers. On 6 July 2010, YouTube announced the launch of Life in a Day, an experimental documentary executive produced by Scott. Released at the Sundance Film Festival on 27 January 2011, it incorporates footage shot on 24 July 2010 submitted by YouTube users from around the world.[70] As part of the buildup to the 2012 London Olympics, Scott produced Britain in a Day, a documentary film consisting of footage shot by the British public on 12 November 2011.[71]

2012–present

In 2012, Scott produced the commercial for Lady Gaga‘s fragrance, “Fame.” It was touted as the first ever black Eau de Parfum, in the informal credits attached to the trailer for this advertisement. On 24 June 2013, Scott’s series Crimes of the Century debuted on CNN.[72] In November 2012 it was announced that Scott would produce the documentary, Springsteen & I directed by Baillie Walsh and inspired by Life in a Day, which Scott also produced. The film featured fan footage from throughout the world on what musician Bruce Springsteen meant to them and how he impacted their lives.[73] The film was released for one day only in 50 countries and on over 2000 film screens on 22 July 2013.[73]

Scott directed The Counselor (2013), with a screenplay by author Cormac McCarthy.[74][75] On 25 October 2013, Indiewire reported that “Before McCarthy sold his first spec script for Scott’s (Counselor) film, the director was heavily involved in developing an adaptation of the author’s 1985 novel Blood Meridian with screenwriter Bill Monahan (The Departed). But as Scott said in a Time Out interview, ‘[Studios] didn’t want to make it. The book is so uncompromising, which is what’s great about it.’ Described as an ‘anti-western’…”[76] Scott directed the biblically-inspired epic film Exodus: Gods and Kings, released in December 2014 which received mixed-to-negative reviews from critics while earning $268 million on a $140 million budget. Filmed at Pinewood Studios in Buckinghamshire, the film starred Christian Bale in the lead role.[77]

Scott participates in a question and answer session about NASA’s journey to Mars and his film The Martian, 18 August 2015

In May 2014, Scott began negotiations to direct The Martian, starring Matt Damon as Mark Watney.[78] Like many of Scott’s previous works, The Martian features a heroine in the form of Jessica Chastain‘s character who is the mission commander.[79] The film was originally scheduled for release on 25 November 2015, but Fox later switched its release date with that of Victor Frankenstein, and thus The Martian was released on 2 October 2015.[80][81] The Martian was a critical and commercial success, grossed over $630 million worldwide, becoming Scott’s highest-grossing film to date.[82][83][84]

A sequel to PrometheusAlien: Covenant, started filming in 2016, premiered in London on 4 May 2017, and received general release on 19 May 2017.[85] The film received generally positive reviews from critics, with many praising Michael Fassbender‘s dual performance and calling the film a return to form for both director Ridley Scott and the franchise.[86][87]

In August 2011, information leaked about production of a sequel to Blade Runner by Alcon Entertainment, with Alcon partners Broderick Johnson and Andrew Kosove.[88] Scott informed the Variety publication in November 2014 that he was no longer the director for the film and would only fulfill a producer’s role. Scott also revealed that filming would begin sometime within 2015, and that Harrison Ford has signed on to reprise his role from the original film but his character should only appear in “the third act” of the sequel.[89] On 26 February 2015, the sequel was officially confirmed, with Denis Villeneuve hired to direct the film, and Scott being an executive producer.[90] The sequel, Blade Runner 2049, was released on 6 October 2017.[91]

From May to August 2017, Scott filmed All the Money in the World, a drama about the kidnapping of John Paul Getty III, starring Mark Wahlberg and Michelle Williams.[92][93] Kevin Spacey originally portrayed Getty Sr. However, after multiple sexual assault allegations against the actor, Scott made the decision to replace him with Christopher Plummer, saying “You can’t condone that kind of behaviour in any shape or form. We cannot let one person’s action affect the good work of all these other people. It’s that simple.”[94] Scott began re-shooting Spacey’s scenes with Plummer on 20 November, which included filming at Elveden Hall in west Suffolk, England.[94] With a release date of 25 December 2017, the film studio had its doubts that Scott would manage it, saying: “They were like, ‘You’ll never do it. God be with you.'”[94][95]

Future projects

In January 2016, Scott was in early negotiations to direct the screen version of the 1968 British TV series The Prisoner.[96] In May 2016, it was announced that Scott and Drew Goddard (who had worked together on The Martian) would be reteaming to adapt the book Wraiths of the Broken Land by S. Craig Zahler. It is described as a piece of fiction that combines elements of “horror, noir, and Asian ultra-violence.”[97] In April 2017, 20th Century Fox lined up Scott to direct a film about the Battle of Britain from WWII, where the Royal Air Force defended the country from German Luftwaffe attacks, which is described as a “passion project” for the director.[98] Scott has said that a sequel to Alien: Covenant would film 14 months from May 2017. It will be the final film in his prequel series to his original film, Alien.[99] As of September 2018 there has been no update on the film development. On 4 January 2018, it was reported that Scott is in talks to direct a Disney film adaptation of The Merlin Saga, which is based on a 12-book series written by T. A. Barron, with a screenplay from Philippa Boyens.[100] On 15 March it was reported that Scott is in talks to adapt Greg Rucka’s graphic novel Queen & Country for 20th Century Fox.[101]

Television projects

Ridley Scott and his brother Tony produced CBS series Numb3rs (2005–10), a crime drama about a genius mathematician who helps the FBI solve crimes; and The Good Wife (2009–2016), a legal drama about an attorney balancing her job with her husband, a former state attorney trying to rebuild his political career after a major scandal. The two Scotts also produced a 2010 film adaptation of 1980s television show The A-Team, directed by Joe Carnahan.[102][103]

Ridley Scott was an executive producer of the first season of Amazon’s The Man in the High Castle (2015–16).[104] Through Scott Free Productions, he is an executive producer on the dark comic science-fiction series BrainDead which debuted on CBS in 2016.[105][106][107]

On 20 November 2017, Amazon struck a deal with AMC Studios for a worldwide release of The Terror, Scott’s series adaptation of Dan Simmons’ novel, a speculative retelling of British explorer Sir John Franklin‘s lost expedition of HMS Erebus and HMS Terror to the Arctic in 1845–1848 to force the Northwest Passage, with elements of horror and supernatural fiction), with the series set for release in 2018.[108][109]

Personal life

Scott with his partner Giannina Facio at the world premiere of The Martian held at the Toronto International Film Festival on 11 September 2015

Ridley Scott was married to Felicity Heywood from 1964 to 1975. The couple had two sons, Jake and Luke, both of whom work as directors on Scott’s production company, Ridley Scott Associates. Scott later married advertising executive Sandy Watson in 1979, with whom he had a daughter, Jordan Scott, and divorced in 1989.[110] His current partner is actress Giannina Facio,[111] whom he has cast in all his films since White Squall except American Gangster and The Martian.[112] He divides his time between homes in London, France, and Los Angeles.[77]

His eldest brother Frank died, aged 45, of skin cancer in 1980.[113] His younger brother Tony, who was also his business partner in their company Scott Free, died on 19 August 2012 at the age of 68 after jumping from the Vincent Thomas Bridge which spans Los Angeles Harbor, after an originally disputed long struggle with cancer.[114] Before Tony’s death, he and Ridley collaborated on a miniseries based on Robin Cook‘s novel, Coma for A&E. The two-part miniseries premiered on A&E on 3 September 2012, to mixed reviews.[115] In 2013, Ridley stated that he is an atheist.[116]

Ridley has dedicated several of his films in memory of his family: Blade Runner to his brother Frank, Black Hawk Down to his mother, and The Counselor and Exodus: Gods and Kings to his brother Tony.[117] Ridley also paid tribute to his late brother Tony at the 2016 Golden Globes, after his film, The Martian, won Best Motion Picture – Musical or Comedy.[118]

When asked by the BBC in a September 2014 interview if he believes in God, Scott replied:

I’m not sure. I think there’s all kinds of questions raised… that’s such an exotic question. If we looked at the whole thing practically speaking, the big bang occurred and then we go through this evolution of millions, billions of years where, by coincidence, all the right biological accidents came out the right way. To an extent, that doesn’t make sense unless there was a controlling decider or mediator in all of that. So who was that? Or what was that? Are we one big grand experiment in the basic overall blink of the universe, or the galaxy? In which case, who is behind it? Maybe we’re an experiment which can last a billion years, but which is a blink in their terms and they can then say: ‘Right that didn’t work, let’s blow them up!’[119]

Approach and style

Appearing in the lead role in Scott’s Gladiator and Robin HoodRussell Crowe commented, “I like being on Ridley’s set because actors can perform […] and the focus is on the performers.”[120] Paul M. Sammon, in his book Future Noir: The Making of Blade Runner, commented in an interview with Brmovie.com that Scott’s relationship with his actors has improved considerably over the years.[121] More recently during the filming of Scott’s 2012 film, PrometheusCharlize Theron praised the director’s willingness to listen to suggestions from the cast for improvements in the way their characters are portrayed on screen. Theron worked alongside the writers and Scott to give more depth to her character during filming.[122]

Scott’s work is identified for its striking visuals, with heroines also a common theme.[1][3][8][123] His visual style, incorporating a detailed approach to production design and innovative, atmospheric lighting, has been influential on a subsequent generation of filmmakers.[1][2]Scott commonly uses slow pacing until the action sequences. Examples include Alien and Blade Runner; the LA Times critic Sheila Benson, for example, would call the latter “Blade Crawler” “because it’s so damn slow”. Another technique he employs is use of sound or music to build tension, as heard in Alien, with hissing steam, beeping computers and the noise of the machinery in the space ship. Scott claims to have an eidetic memory, which he says aids him in visualising and storyboarding the scenes in his films.[124]

Scott has developed a method for filming intricate shots as swiftly as possible: “I like working, always, with a minimum of three cameras. […] So those 50 set-ups [a day] might only be 25 set-ups except I’m covering in the set-up. So you’re finished. I mean, if you take a little bit more time to prep on three cameras, or if it’s a big stunt, eleven cameras, and – whilst it may take 45 minutes to set up – then when you’re ready you say ‘Action!’, and you do three takes, two takes and is everybody happy? You say, ‘Yeah, that’s it.’ So you move on.”[120]

Artificial intelligence is a unifying theme throughout Scott’s career as a director, particularly in Blade RunnerAlien, and Prometheus.[125] The recent book The Culture and Philosophy of Ridley Scott identifies Alan Turing and John Searle, a professor at the University of California, as presenting relevant models of testing artificial intelligence known as the Turing test and the Chinese Room Thought Experiment, respectively, in the chapter titled “What’s Wrong with Building Replicants,” which has been a recurring theme for many of Scott’s films.[126] The chapter titled “Artificial Intelligence in Blade RunnerAlien, and Prometheus,” concludes by citing the writings of John Stuart Mill in the context of Scott’s Nexus-6 Replicants in Blade Runner (Rutger Hauer), the android Ash (Ian Holm) in Alien, and the android David 8 (Michael Fassbender) in Prometheus, where Mill is applied to assert that measures and tests of intelligence must also assess actions and moral behaviour in androids to effectively address the themes which Scott explores in these films.[127]

DVD format and Director’s Cut

Scott is known for his enthusiasm for the DVD format, providing audio commentaries and interviews for all his films where possible. In the July 2006 issue of Total Film magazine, he stated: “After all the work we go through, to have it run in the cinema and then disappear forever is a great pity. To give the film added life is really cool for both those who missed it and those who really loved it.”[64]

Running alongside his enthusiasm for DVD, Scott is known for his use of the director’s cut.[63] The positive reaction to the Blade Runner Director’s Cut encouraged Scott to re-cut several movies that were a disappointment at the time of their release (including Legend and Kingdom of Heaven), which have been met with great acclaim.[63] Today the practice of alternative cuts is more commonplace, though often as a way to make a film stand out in the DVD marketplace by adding new material.

Filmography and box office performance

Date Movie Studio United States gross[82] Worldwide gross[82] Theatres[82] Opening weekend[82] Opening theatres Budget
1977 The Duellists Par. $900,000
1979 Alien Fox $80,931,801 $104,931,801 757 $3,527,881 91 $11,000,000
1982 Blade Runner WB $32,768,670 $33,139,618 1,325 $6,150,002 1,295 $28,000,000
1985 Legend Uni. $15,502,112 $23,506,237 1,187 $4,261,154 1,187 $24,500,000
1987 Someone to Watch Over Me Col. $10,278,549 $10,278,549 894 $2,908,796 892 $17,000,000
1989 Black Rain Par. $46,212,055 $134,212,055 1,760 $9,677,102 1,610 $30,000,000
1991 Thelma & Louise MGM $45,360,915 1,180 $6,101,297 1,179 $16,500,000
1992 1492: Conquest of Paradise Par. $7,191,399 $59,000,000 1,008 $3,002,680 1,008 $47,000,000
1996 White Squall BV $10,292,300 $10,292,300 1,524 $3,908,514 1,524 $38,000,000
1997 G.I. Jane BV $48,169,156 $97,169,156 2,043 $11,094,241 1,945 $50,000,000
2000 Gladiator DW $187,705,427 $457,640,427 3,188 $34,819,017 2,938 $103,000,000
2001 Hannibal MGM $165,092,268 $351,692,268 3,292 $58,003,121 3,230 $87,000,000
2001 Black Hawk Down Col. $108,638,745 $172,989,651 3,143 $179,823 4 $92,000,000
2003 Matchstick Men WB $36,906,460 $65,565,672 2,711 $13,087,307 2,711 $65,000,000
2005 Kingdom of Heaven Fox $47,398,413 $211,652,051 3,219 $19,635,996 3,216 $130,000,000
2006 A Good Year Fox $7,459,300 $42,056,466 2,067 $3,721,526 2,066 $35,000,000
2007 American Gangster Uni. $130,164,645 $265,697,825 3,110 $43,565,115 3,054 $100,000,000
2008 Body of Lies WB $39,394,666 $115,321,950 2,714 $12,884,416 2,710 $70,000,000
2010 Robin Hood Uni. $105,269,730 $321,669,730 3,505 $36,063,385 3,503 $200,000,000
2012 Prometheus Fox $126,477,084 $403,354,469 3,442 $51,050,101 3,396 $130,000,000
2013 The Counselor Fox $16,973,715 $70,237,649 3,044 $7,842,930 3,044 $25,000,000
2014 Exodus: Gods and Kings Fox $65,014,513 $268,031,828 3,503 $24,115,934 3,503 $140,000,000
2015 The Martian Fox $228,433,663 $630,161,890 3,854 $54,308,575 3,831 $108,000,000
2017 Alien: Covenant Fox $74,262,031 $240,745,764 3,772 $36,160,621 3,761 $97,000,000
2017 All the Money in the World TriS $25,113,707 $55,624,282 2,123 $5,584,684 2,074 $50,000,000

Recurring collaborators

Accolades

Sir Ridley Scott, Honorary Doctor, at the Royal College of Art, July 2015

Scott was appointed Knight Bachelor in the 2003 New Year Honours for services to the British film industry.[128] He received his accolade from Queen Elizabeth II at a investiture ceremony at Buckingham Palace on 8 July 2003.[5]Scott admitted feeling “stunned and truly humbled” after the ceremony, saying, “As a boy growing up in South Shields, I could never have imagined that I would receive such a special recognition. I am truly humbled to receive this treasured award and believe it also further recognises the excellence of the British film industry.”[129]

He has been nominated for three Academy Awards for DirectingThelma & LouiseGladiator and Black Hawk Down—as well as a Golden Globe, BAFTA and 2 Primetime Emmy Awards. In 1995, Ridley and his brother Tonyreceived the BAFTA for Outstanding British Contribution To Cinema.[4] In 2018 he received the highest accolade from BAFTA, the BAFTA Fellowship, for lifetime achievement.[7]

Scott was inducted into the Science Fiction Hall of Fame in 2007.[130] In 2017 the German newspaper FAZ compared Scott’s influence on the science fiction film genre to Sir Alfred Hitchcock‘s on thrillers and John Ford‘s on Westerns.[131] In 2011, he received a star on the Hollywood Walk of Fame.[132]

In 2012, Scott was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album cover – to celebrate the British cultural figures of his life that he most admires to mark his 80th birthday.[133] On 3 July 2015, he was awarded an honorary doctorate by the Royal College of Art in a ceremony at the Royal Albert Hall in London at which he described how he still keeps on his office wall his school report placing him 31st out of 31 in his class, and how his teacher encouraged him to pursue what became his passion at art school.[134][135]

Association Year Category Nominated work Result
Academy Awards 1992 Best Director Thelma & Louise Nominated
2001 Gladiator Nominated
2002 Black Hawk Down Nominated
2016 Best Picture The Martian Nominated
American Film Institute 2002 Director of the Year Black Hawk Down Nominated
Movie of the Year Nominated
BAFTA 1992 Best Director Thelma & Louise Nominated
2001 Gladiator Nominated
2016 The Martian Nominated
1992 Best Film Thelma & Louise Nominated
2008 American Gangster Nominated
1995 Outstanding British Contribution To Cinema Won
2018 BAFTA Fellowship Won
Cannes 1977 Best Debut Film Award The Duellists Won
Palme d’Or Nominated
Directors Guild of America 1992 Best Director – Motion Picture Thelma & Louise Nominated
2001 Gladiator Nominated
2002 Black Hawk Down Nominated
2016 The Martian Nominated
2017 Lifetime Achievement Award Won
Emmy Awards 2000 Outstanding Made for Television Movie RKO 281 Nominated
2002 The Gathering Storm Won
2008 Outstanding Miniseries The Andromeda Strain Nominated
2009 Outstanding Made for Television Movie Into the Storm Nominated
2010 Outstanding Drama Series The Good Wife Nominated
2011 Nominated
Outstanding Miniseries or Movie The Pillars of the Earth Nominated
Outstanding Nonfiction Special Gettysburg Won
2014 Outstanding Television Movie Killing Kennedy Nominated
2015 Killing Jesus Nominated
Golden Globe Awards 2001 Best Director – Motion Picture Gladiator Nominated
2008 American Gangster Nominated
2016 The Martian Nominated
2018 All the Money in the World Nominated
2016 Best Motion Picture – Musical or Comedy The Martian Won
National Board of Review 2015 Best Director The Martian Won
Saturn Awards 1980 Best Director Alien Won
Best Science Fiction film Won
1983 Best Director Blade Runner Nominated
2001 Gladiator Nominated
2004 The George Pal Memorial Award Won
2016 Best Director The Martian Won
Satellite Awards 2001 Best Director Gladiator Nominated
2016 The Martian Nominated
Visual Effects Society 2016 Lifetime Achievement Award Won

References

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  65. Jump up^ “A Good Year is a ‘flop’, Murdoch admits”The Guardian. UK. 16 November 2006. Retrieved 24 February 2007.
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  70. Jump up^ “Life in a Day”. The Official YouTube Blog. 6 July 2010. Retrieved 7 July 2010.
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  73. Jump up to:a b “Springsteen & I: fans tell their stories of The Boss”. The Telegraph. 28 December 2015.
  74. Jump up^ Fleming, Mike. “Ridley Scott in Talks For Cormac McCarthy’s ‘The Counselor. Deadline.
  75. Jump up^ “First Looks at Michael Fassbender and Brad Pitt Filming ‘The Counselor. INeedMyFix.com. 1 August 2012. Archived from the original on 3 August 2012. Retrieved 2 August 2012.
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  79. Jump up^ “Ridley Scott on ‘The Martian,’ His Groundbreaking ‘1984’ Apple Commercial, and ‘Prometheus 2. Daily Beast. 18 December 2016.
  80. Jump up^ Anderton, Ethan (1 August 2014). “Fox Shifts Release Dates for ‘The Martian,’ ‘Miss Peregrine’ & More”. firstshowing.net. Retrieved 2 August 2014.
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  86. Jump up^ Chang, Justin (2017-05-17). “Ridley Scott’s ‘Alien: Covenant’ is a sleek, suspenseful return to form”Los Angeles TimesISSN 0458-3035. Retrieved 2017-05-19.
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  88. Jump up^ “Ridley Scott To Direct New ‘Blade Runner’ Installment For Alcon Entertainment”. Deadline New York. 19 August 2011. Archived from the original on 18 April 2014. Retrieved 19 August 2011.
  89. Jump up^ Kastrenakes, Jacob (25 November 2014). “Ridley Scott won’t direct ‘Blade Runner’ sequel”The VergeVox Media, Inc. Retrieved 26 November 2014.
  90. Jump up^ Blade Runner’ sequel concept art: See a first look”EW.com. 15 June 2016. Retrieved 4 October 2017.
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  92. Jump up^ Fleming Jr, Mike (13 March 2017). “Ridley Scott To Next Helm Getty Kidnap Drama; Natalie Portman Courted”Deadline. Retrieved 13 March 2017.
  93. Jump up^ Fleming Jr, Mike (31 March 2017). “Michelle Williams, Kevin Spacey, Mark Wahlberg Circling Ridley Scott’s Getty Kidnap Film”Deadline. Retrieved 31 March 2017.
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  95. Jump up^ “All the Money in the World (2017)”Box Office Mojo. Retrieved July 15, 2017.
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  97. Jump up^ “Ridley Scott Reteaming with Drew Goddard for Western ‘Wraiths of the Broken Land’ “. Collider. Retrieved 10 May 2016
  98. Jump up^ “Ridley Scott to direct Battle of Britain ‘passion project’ movie”. The Guardian. 5 April 2017.
  99. Jump up^ Hicks, Corporal. “Alien: Covenant 2 to Start Shooting in 14 Months?”.
  100. Jump up^ Galuppo, Mia (4 January 2018). “Ridley Scott in Talks to Direct a ‘Merlin’ Movie for Disney”The Hollywood Reporter. Retrieved 5 January 2018.
  101. Jump up^ “Ridley Scott in Talks to Direct ‘Queen & Country’ for Fox”Hollywood Reporter. 15 March 2018. Retrieved 15 March 2018.
  102. Jump up^ “Ridley Scott to remake The A-Team”BBC News Online. 28 January 2009. Retrieved 13 January 2015.
  103. Jump up^ Fleming, Michael (27 January 2009). “Fox assembles ‘A-Team. Variety. Retrieved 13 January 2015.
  104. Jump up^ “Watch The Man in the High Castle Season 1 Episode – Amazon Video”http://www.amazon.com. Retrieved 25 March 2016.
  105. Jump up^ “BrainDead”Backstage. Retrieved 18 August 2016.
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  107. Jump up^ Lloyd, Robert (13 June 2016). The Good Wife’s’ creators are back with the imperfect but fun ‘Braindead’ mixing D.C politics … and bugs from space”. Los Angeles Times. Retrieved 18 August 2016.
  108. Jump up^ Andreeva, Nellie (March 2, 2016). “AMC Orders ‘The Terror’ Anthology Drama Series From Scott Free”Deadline. Retrieved September 13, 2016.
  109. Jump up^ Andreeva, Nellie (February 13, 2013). “AMC Developing ‘Terror’ Drama Produced By Scott Free, TV 360 & Alexandra Milchan”Deadline. Retrieved September 13, 2016.
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  111. Jump up^ Mottram, James (3 September 2010). “Ridley Scott: ‘I’m doing pretty good, if you think about itThe Independent. Retrieved 25 July 2018.
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  113. Jump up^ Harper, Tom; Jury, Louise (20 August 2012). “Hollywood pays tribute to Top Gun director Tony Scott following suicide leap”London Evening Standard. Retrieved 5 September 2012.
  114. Jump up^ “Ridley Scott breaks silence on brother Tony Scott’s death”. 28 November 2014. Retrieved September 3, 2017.
  115. Jump up^ “Coma – Reviews, Ratings, Credits and More”Metacritic. 31 August 2012. Retrieved 5 September 2012.
  116. Jump up^ Sternbergh, Adam (25 October 2013). “Ridley Scott: ‘Most Novelists Are Desperate to Do What I DoThe New York Times. Retrieved 26 October 2013.
  117. Jump up^ “Tony Scott’s Spirit Possesses Ridley Scott’s The Counselor”. Roger Ebert. 4 January 2015.
  118. Jump up^ “Golden Globes 2016 ceremony – in pictures”. The Guardian. 30 January 2016.
  119. Jump up^ Carnevale, Rob (September 24, 2014). “Calling the Shots No.41: Ridley Scott”BBC. Retrieved July 22, 2017.
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  121. Jump up^ Caldwell, David. “Paul M. Sammon interview”. BRmovie.com. Retrieved 6 March 2010.
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  128. Jump up^ “No. 56797”The London Gazette (Supplement). 31 December 2002. p. 1.
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  130. Jump up^ “Science Fiction Hall of Fame to Induct Ed Emshwiller, Gene Roddenberry, Ridley Scott and Gene Wolfe”. Retrieved 26 April2015.[dead link]. Press release March/April/May 2007. Experience Music Project and Science Fiction Museum and Hall of Fame (empsfm.org). Archived 14 October 2007. Retrieved 19 March 2013
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  132. Jump up^ Hollywood stars for Simon Fuller and Sir Ridley Scott BBC News. Retrieved 20 June 2010.
  133. Jump up^ “New faces on Sgt Pepper album cover for artist Peter Blake’s 80th birthday”. The Guardian. 5 October 2016.
  134. Jump up^ “RCA Convocation 2015”. RCA [view from 13:55 and 31:45]. Retrieved 13 July 2015.
  135. Jump up^ “Honorary Doctors”. RCA. Archived from the original on 15 March 2015. Retrieved 13 July 2015.

External links

https://en.wikipedia.org/wiki/Ridley_Scott

How Blade Runner Changed The Way I Think About Writing

In my most recent video essay on blade runner I said Deckard, the protagonist of the first film and prominent character in the second is not a replicant despite the fact Ridley Scott (the director of the first film) has said on many occasions that his character is in fact a replicant. In this cheeky little post I want to defend my statement and I want to voice an invaluable lesson Ridley Scott has unknowingly taught me about storytelling.

But first, in order for me to make my point I want to tell you a story, it is a story that may or may not be true but then again why are you trusting me, I’m a writer, I lie for a living. So here’s how the story goes. One day, a 14 year old english student was set an assignment by her teacher to create an essay on a novel. The teacher for weeks lectured the class on what the novel is about, the intricacies of what it’s themes are, its use of symbolism and a number of meanings intended by the creator by the means of a particularly boring powerpoint presentation.

However there was a rather happy coincidence, her father just so happened to be the writer who created the book in the first place so she did what any resourceful student would do an asked him about the book. What did he mean when he used that piece of symbolism? What are the core morals and themes of the story? The father happily answered all of her questions and spent a whole hour telling her about his intentions and thoughts that went through his head when he wrote it and all the while the girl jotted down every nugget of information on her notepad.

So the following week the essay was due and using her notes straight from the source she explained the symbolism and themes with a great big smile on her face and without even checking over the paper twice she handed it in to the teacher gleaming with confidence.

The next day the teacher came to her desk and handed back her paper, the result, a C+. She didn’t know how to feel, shocked might of been the most accurate word. She stomped up to her teacher after class asking why she got such a mediocre grade on a paper she was dead certain she should of gotten at least a B.

The teacher turned to her. “I’m sorry, it was certainly a well thought out essay but you totally ignored everything I said. The core theme is clearly about the fragility of life however you have put that it is about the relationship between a father and his daughter not to mention the vast majority of what you said went totally against what I taught you. You clearly weren’t paying much attention in my class.”

The girl got one of the lowest grades in the class because the interpretation she provided, despite the fact it was from the original writer was totally different to what the teacher had said it was.

A number of months ago I told a family friend that story and I said

“Isn’t that just absurd, how could that teacher be any more in the wrong?”

To which he replied

“Not really, what makes her interpretation any more valid than the writer’s?”

Now whether that story I told you was entirely true or just pure fiction is ultimately irrelevant. Now was the teacher in the wrong? Absolutely, all art is a very malleable medium and often the best pieces are ones where five people consume it and all come out with their own interpretation. The fact the English teacher thought her interpretation was correct and all others where incorrect was just flat out ignorant however it does raise a fascinating question. Why is the writer’s intended meanings any more or less valid than the meanings of a person who reads said work?

This all comes back to blade runner because when Ridley Scott said Deckard is a replicant it taught me a valuable lesson; that the best policy a writer can adhere to is to never state what one means when one writes a certain line because when like Scott one states exactly what something means then it spoils the fun of the viewer/reader trying to come to their own opinions as to what a certain shot or scene or even the entire story meant.

Part of the reason a truly great film like blade runner is great is because it invites the viewer to come to their own conclusions as to what it means and when Scott said what he did it, to a small degree it hindered my enjoyment of the film because there is a reason a magician never reveals his secrets because part of the fun is trying to realise how he did it and the moment he explains how, the show suddenly becomes less engaging for the viewer.

So that is the lesson Ridley Scott unknowingly taught me. That if a fan comes up to you and says…

“I love how the protagonist’s struggle to never kill anyone was an allegory for our societies struggle with capital punishment”

And even when their interpretation in ‘wrong’ and nowhere near what you intended you should never correct them because not only does it make you look more clever than you actually are but it also spoils the fun of consuming one’s art as the individual coming to their own conclusions is in part, what great art is all about.

(Drops mic)

Also a big thanks to Squarespace for sponsoring my blade runner video and giving me this site for free. If you want to get your own site for no initial fee and then 10% off your first purchase please use this link: http://www.squarespace.com/closerlook  

If you use that link you will be directly supporting me 🙂

https://www.sharpeverse.com/blog/2018/1/22/how-blade-runner-changed-the-way-i-think-about-writing

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Sharyl Attkisson — The Smear: How Shady Political Operatives and Fake News CONTROL What You See, What You Think, and HOW YOU VOTE — Videos

Posted on September 24, 2018. Filed under: American History, Blogroll, Books, Business, Central Intelligence Agency (CIA), College, Communications, Computers, Computers, Congress, conservatives, Constitution, Corruption, Crime, Crisis, Documentary, Education, Employment, External Hard Drives, External Hard Drives, Family, Federal Bureau of Investigation (FBI), Fraud, Freedom, Friends, government, government spending, history, IRS, Journalism, Language, Law, liberty, Life, Literacy, media, Media Streamers, Mobile Phones, Money, National Security Agency (NSA_, Newspapers, Non-Fiction, People, Philosophy, Photos, Police, Politics, Radio, Radio, Rants, Raves, Raymond Thomas Pronk, Security, Sociology, Speech, Strategy, Success, Systems, Tablet, Talk Radio, Taxation, Taxes, Technology, Television, Television, Terrorism, Video, Wealth, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , |

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Sharyl Attkisson – The Smear

Ingraham: The judgment and injustice of Kavanaugh

Attkisson: Media no longer follows rules because of Trump

Trump administration’s fight against fake news

Sharyl Attkisson – Trump DOJ & State Withholding Fast & Furious Documents

Lars Larson Show with Sharyl Attkisson

Sharyl Attkisson speaks out about Obama-era surveillance

Sharyl Attkisson: why she left CBS

PLC2015 Sharyl Attkission Q and A

How Real Is Fake News? | Sharyl Attkisson | TEDx University of Nevada

Sharyl Attkisson: “Journalism is suffering from a crisis of its own making”

Sharyl Attkisson Keynote: The Rightful Owners of Public Information

“Investigative Journalism and the Obama Administration” – Sharyl Attkisson

Atkisson: I’ve never seen journalists so uncurious about spying

Astroturf and manipulation of media messages | Sharyl Attkisson | TEDxUniversityofNevada

Sharyl Attkisson: ‘Government Hacked Me” | msnbc

Sharyl Attkisson Talks “Stonewalled”

Richard Nixon Foundation
Published on Mar 11, 2015
March 10, 2015: Author of Stonewalled: My Fight for Truth Against the Forces of Obstruction, Intimidation and Harassment in Obama’s Washington The Emmy-award winner spoke of how she was the target of hacking and surveillance while reporting in Washington DC and offered an incisive critique of the media and the shrinking role of investigative journalism in today’s world. Sharyl Attkisson has been a journalist for more than 20 years. During that time she has exposed scandals and covered controversies under both Republican and Democratic administrations.

Q&A: Sharyl Attkisson

Full Measure with Sharyl Attkisson is television’s most original Sunday news program. The program specializes in fearless reporting on untouchable subjects to bring you stories you won’t see anywhere else. The host is investigative journalist Sharyl Attkisson, five-time Emmy Award winner and recipient of the Edward R. Murrow award for investigative reporting. Attkisson is backed by a team of award winning journalists.

FULL MEASURE: September 23, 2018 – Uneven Admissions

FULL MEASURE: September 23, 2018 – Flood Funding

FULL MEASURE: September 16, 2018 – Anti-Sanctuary

FULL MEASURE: September 10, 2017 – Apocalypse When

FULL MEASURE: September 9, 2018 – Raven 23

FULL MEASURE: SEPTEMBER 2, 2018

Full Measure: Season 3, Episode 38

FULL MEASURE: April 15, 2018 – DNA Database

FULL MEASURE: April 1, 2018 – Snowflake Syndrome Part 2

FULL MEASURE: February 18, 2018 – Washington’s Press

FULL MEASURE: February 18, 2018 – Russia Probe

FULL MEASURE: January 21, 2018 – Cram Culture

FULL MEASURE: January 21, 2018 – Trump and Media

Full Measure Continuing Coverage: Swamp Creatures

FULL MEASURE: November 12, 2017 – The Big Miss Revisited

FULL MEASURE: October 29, 2017 – High-Speed Spending

Sharyl Attkisson
American author
Sharyl Attkisson is an American author and host of the weekly Sunday public affairs program Full Measure with Sharyl Attkisson, which airs on television stations operated by the Sinclair Broadcast Group. She was formerly an investigative correspondent in the Washington bureau for CBS News. Wikipedia
BornJanuary 26, 1961 (age 57 years), Sarasota, FL

 

Sharyl Attkisson

From Wikipedia, the free encyclopedia

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Sharyl Attkisson
AttkissonB52.jpg

Attkisson on a USAF B-52 in 1999
Born Sharyl Lynn Thompson
26 January 1961 (age 57)
SarasotaFloridaU.S.
Residence Leesburg, Virginia
Education
Occupation Writer, journalist, television correspondent
Spouse(s) James Howard Attkisson (m. 1984)
Children daughter (born ~1995)
Website sharylattkisson.com
fullmeasure.news
Notes

Sharyl Attkisson (born January 26, 1961[4]) is an American author and host of the weekly Sunday public affairs program Full Measure with Sharyl Attkisson, which airs on television stations operated by the Sinclair Broadcast Group.[5] She was formerly an investigative correspondent in the Washington bureau for CBS News. She had also substituted as anchor for the CBS Evening News. She resigned from CBS News on March 10, 2014, after 21 years with the network. Her book Stonewalled reached number 3 on The New York Times e-book non-fiction best seller list in November 2014[6] and number 5 on The New York Times combined print and e-book non-fiction best-seller list the same week.[7]

 

Early life

Attkisson was born in 1961 in SarasotaFlorida.[8] Her step-father is an orthopedic surgeon, and her brother is an emergency room physician. Attkisson graduated from the University of Florida with a degree in broadcast journalism in 1982.[9]

Career

Attkisson began her broadcast journalism career in 1982 as a reporter at WUFT-TV, the PBS station in Gainesville, Florida. She later worked as an anchor and reporter at WTVX-TV Fort Pierce/West Palm Beach, Florida from 1982–1985, WBNS-TV, the CBS affiliate in Columbus, Ohio from 1985–86, and WTVT Tampa, Florida (1986–1990).[10]

1990s

From 1990–1993, Attkisson was an anchor for CNN, and also served as a key anchor for CBS space exploration coverage in 1993.[11] Attkisson left CNN in 1993,[12] moving to CBS, where she anchored the television news broadcast CBS News Up to the Minute and became an investigative correspondent based in Washington, D.C.[10]

She served on the University of Florida‘s Journalism College Advisory Board (1993–1997) and was its chair in 1996.[10] The University gave her an Outstanding Achievement Award in 1997. From 1997 to 2003, Attkisson simultaneously hosted CBS News Up to the Minuteand the PBS health-news magazine HealthWeek.[13]

2000s

Attkisson received an Investigative Reporters and Editors (I.R.E.) Finalist award for Dangerous Drugs in 2000.[14] In 2001, Attkisson received an Investigative Emmy Award nomination for Firestone Tire Fiasco from the National Academy of Television Arts and Sciences.[15]

In 2002, she co-authored a college textbook, Writing Right for Broadcast and Internet News; later that same year she won an Emmy Award for her Investigative Journalism about the American Red Cross.[10] The award was presented in New York City on September 10, 2002.[16] Attkisson was part of the CBS News team that received RTNDA-Edward R. Murrow Awards in 2005 for Overall Excellence.[14]

In 2006, Attkisson served as Capitol Hill correspondent for CBS,[17] as one of a small number of female anchors covering the 2006 midterms.[18] Attkisson was part of the CBS News team that received RTNDA-Edward R. Murrow Awards in 2008 for Overall Excellence.[14]

In 2008, Attkisson reported that a claim by Hillary Clinton to have dodged sniper fire in Bosnia was unfounded: Clinton’s trip to Bosnia was risky, Attkisson said, but no real bullets were dodged. Attkisson was on the trip with Clinton.[19] The day after Attkisson’s report on the CBS Evening News, Clinton admitted there was no sniper fire and said she “misspoke.” [20][21] In 2009, Attkisson won an Investigative Emmy Award for Business and Financial Reporting for her exclusive reports on the Troubled Asset Relief Program (TARP) and the bank bailout.[14] The award was presented on December 7 at Fordham University‘s Lincoln Center Campus in New York City.[22]

2010s

Attkisson returned to the University of Florida as a keynote speaker at the College of Journalism and Communications in 2010.[9] That same year, she received an Emmy Award nomination for her investigations into members of Congress, and she also received a 2010 Emmy Award nomination for her investigation into waste of tax dollars.[23] In July 2011, Attkisson was nominated for an Emmy Award for her Follow the Money investigations into Congressional travel to the Copenhagen climate summit, and problems with aid to Haiti earthquake victims.[14][24]

In 2011, Paul Offit criticized Attkisson’s reporting on vaccines as “damning by association” and lacking sufficient evidence in his book Deadly Choices .[25] In the medical literature, Attkisson has been accused of using problematic rhetorical tactics to “imply that because there is no conclusive answer to certain problems, vaccines remain a plausible culprit.”[26]

In 2012, CBS News accepted an Investigative Reporting Award given to Attkisson’s reporting on ATF’s Fast and Furious gunwalker controversy. The award was from Accuracy in Media, a non-profit news media watchdog group, and was presented at a Conservative Political Action Conference.[27]

In June 2012, Attkisson’s investigative reporting for the Gunwalker story also won the CBS Evening News the Radio and Television News Directors Association’s National Edward R. Murrow Award for Excellence in Video Investigative Reporting. The award was presented October 8, 2012 in New York City.[28] In July 2012, Attkisson’s Gunwalker: Fast and Furious reporting received an Emmy Award.[29]

On March 10, 2014, Attkisson resigned from CBS News in what she stated was an “amicable” parting.[30][31] Politico reported that according to sources within CBS there had been tensions leading to “months of hard-fought negotiations” – that Attkisson had been frustrated over what she perceived to be the network’s liberal bias and lack of dedication to investigative reporting, as well as issues she had with the network’s corporate partners, while some colleagues within the network saw her reporting as agenda-driven and doubted her impartiality.[31]

Later that year, her book Stonewalled: One Reporter’s Fight for Truth Against the Forces of Obstruction, Intimidation, and Harassment in Obama’s Washington (Harpers) was published.[7] In this work, she accused CBS of protecting the Obama administration by not giving enough coverage to such stories as the 2012 Benghazi attack and slow initial enrollments under Obamacare.[32] The book was a New York Times Best Seller.[7]

The Smear: How Shady Political Operatives and Fake News Control What You See, What You Think, and How You Vote was published by HarperCollins in summer 2017.[33]

Report of Attkisson’s computer being hacked

In May 2013, while still employed at CBS, Attkisson alleged that her personal and work computers had been “compromised” for more than two years.[34] CBS News stated that it had investigated her work computer and found evidence of multiple unauthorized accesses by a third party in late 2012.[35] The U.S. Department of Justice denied any involvement.[36] In her 2014 book, she reported that a forensic examination revealed that her personal computer was hacked with keystroke logging spyware, enabling an intruder to read all her e-mail messages and gain access to the passwords for her financial accounts.[37]

In late January 2015, Attkisson appeared before the Senate Judiciary Committee[38] during a confirmation hearing for Loretta Lynch, President Obama’s nominee to replace outgoing Attorney General Eric Holder. As part of her appearance in front of that committee, a report by the Office of Inspector General (OIG) was released[39] stating that “their investigation was not able to substantiate… allegations that Attkisson’s computers were subject to remote intrusions by the FBI, other government personnel, or otherwise” and the deletion seen in Attkisson’s video “appeared to be caused by the backspace key being stuck, rather than a remote intrusion”.[40][41][42] “CBS News told the OIG that they did not conduct any analysis on her personal computer.”[43]

In February 2015, The Washington Examiner clarified that the OIG did not examine the CBS News computer that Attkison claimed was compromised, but only inspected Attkisson’s personal devices.[44]

In March 2015, Attkisson and her family filed a suit against Holder, Patrick R. Donahoe and unnamed agents of the US Department of Justice, the US Postal Service and the United States in the Superior Court of the District of Columbia claiming to have been subject to illegal surveillance activities.[45][46] Her claim was dismissed in 2017, with the court finding “that the complaint fails to allege sufficient facts [which] make a plausible claim that either defendant personally engaged in the alleged surveillance”.[47]

Personal life

Attkisson has reached fourth-degree black belt in taekwondo.[8] She is married and has a daughter.[48]

References

  1. Jump up^ GROVE, LLOYD (November 4, 2014). “Sharyl Attkisson: ‘I Don’t Care What People Think’ About My Reporting”Daily Beast. Retrieved 2017-11-19.[permanent dead link]
  2. Jump up^ Peterson, Nolan (March 13, 2014). “Return to her roots”.Siesta Key Observer. Retrieved 2017-11-20.
  3. Jump up^ Florida, Marriages, 1970 – 1999, Certificate 010953, Volume 5540
  4. Jump up^ Gill, Kay (2007). Who, a Directory of Prominent PeopleOmnigraphicsISBN 9780780808096. Retrieved December 4,2012.
  5. Jump up^ Erik Wemple (April 22, 2015). “Sinclair Broadcast Group to launch Sunday show hosted by Sharyl Attkisson”The Washington PostNash Holdings LLC. Retrieved November 22,2015.
  6. Jump up^ “NYT Best Seller List”The New York Times. Retrieved August 8, 2016.
  7. Jump up to:a b c “Best Sellers: Combined Print & E-Book Nonfiction”The New York Times. November 23, 2014. Retrieved November 4,2015.
  8. Jump up to:a b “Sharyl Attkisson, Investigative Correspondent”. CBS. Archived from the original on November 21, 2013. Retrieved June 29, 2011.
  9. Jump up to:a b “21st Century Newsroom”University of Florida. Retrieved June 29, 2011.
  10. Jump up to:a b c d “Sharyl Attkisson full biography”. CBS Interactive. Archived from the original on August 16, 2013. Retrieved November 28, 2012.
  11. Jump up^ Hogan, Alfred. “Televising the Space Age: A descriptive chronology of CBS News special coverage of space exploration from 1957 to 2003” (PDF). University of Maryland. p. 260. Retrieved June 29, 2011.
  12. Jump up^ “TV Notes”Pittsburgh Post-Gazette. May 28, 1993. p. 42. Retrieved June 29, 2011.
  13. Jump up^ “Sharyl Attkisson–About This Person”The New York Times. The New York Times Company. Retrieved June 29, 2011.
  14. Jump up to:a b c d e “Sharyl Attkisson profile”CBS News. Archived from the original on November 19, 2013. Retrieved August 30, 2012.
  15. Jump up^ “The 22nd Annual News and Documentary Emmy Award Nominees Announced by the National Academy of Television Arts and Sciences” (PDF). National Academy of Television Arts and Sciences. July 19, 2001. Archived from the original (PDF) on December 29, 2014. Retrieved December 29, 2014Correspondent Sharyl Attkisson
  16. Jump up^ “23rd Annual; News & Documentary Emmy Awards – With Prominent 9/11 Coverage”Emmy online.org. Archived from the original on November 23, 2010. Retrieved August 30, 2012.
  17. Jump up^ “Sharyl Attkisson Is Named Cbs News Capitol Hill Correspondent”. CBS Corporation. Retrieved June 25, 2014.
  18. Jump up^ Stanley, Alessandra (November 8, 2006). “Election Coverage Still a Men’s Club”The New York Times. The New York Times Company. Retrieved June 29, 2011.
  19. Jump up^ “Video shows tarmac welcome, no snipers”Tampa Bay Times. March 25, 2008. Retrieved November 1, 2014.
  20. Jump up^ “Clinton says she “misspoke’ about dodging sniper fire”The New York Times. Retrieved November 7, 2016.
  21. Jump up^ “Clinton say she “misspoke” about sniper fire”CNN. Retrieved November 7, 2016.
  22. Jump up^ “7th Annual Business & Financial Emmy Awards – Nominations”Emmy Oonline. Archived from the original on April 26, 2013. Retrieved August 30, 2012.
  23. Jump up^ “Full List of Nominations for the 2010 News and Documentary Emmy Awards: Television Industry news, TV ratings, analysis, celebrity event photos”TVWeek. Retrieved June 25, 2014.
  24. Jump up^ Attkisson 2011 Emmy nomination Archived September 19, 2011, at the Wayback Machine., emmyonline.tv; accessed October 28, 2014.
  25. Jump up^ Offit, Paul (2011). Deadly Choices: How the Anti-Vaccine Movement Threatens Us AllISBN 0465023568.
  26. Jump up^ Kata, Anna (28 May 2012). “Anti-vaccine activists, Web 2.0, and the postmodern paradigm – An overview of tactics and tropes used online by the anti-vaccination movement”Vaccine30(25): 3778–3779. doi:10.1016/j.vaccine.2011.11.112.
  27. Jump up^ “Loesch, Attkisson to receive AIM awards”Politico. February 7, 2012. Retrieved February 10, 2012.
  28. Jump up^ “2012 National Edward R. Murrow Award Winners”. Radio Television Digital News Association. Archived from the originalon October 15, 2012. Retrieved June 13, 2012.
  29. Jump up^ “33rd Annual News & Documentary Emmy Awards nominations” (PDF). Emmy Online. Retrieved August 30, 2012.
  30. Jump up^ Macneal, Caitlin (March 10, 2014). “CBS Investigative Reporter Sharyl Attkisson Resigns From Network”Talking Points Memo. Retrieved March 11, 2014.
  31. Jump up to:a b Byers, Dylan (March 10, 2014). “Sharyl Attkisson resigns from CBS News”Politico. Retrieved March 11, 2014.
  32. Jump up^ Smith, Kyle (October 25, 2014), “Ex-CBS reporter’s book reveals how liberal media protects Obama”New York Post, retrieved November 3, 2014
  33. Jump up^ “New book: Sharyl Attkisson reveals the ghastly world of political smears, fake news”The Washington Times. July 4, 2017. Retrieved August 5, 2017.
  34. Jump up^ Mirkinson, Jack (May 21, 2013). “CBS’ Sharyl Attkisson: My Computers Were Compromised, ‘Could Be Some Relationship’ To DOJ Scandals”The Huffington Post. Retrieved November 1,2014.
  35. Jump up^ “CBS News Confirms Sharyl Attkisson’s Computer Breached”The Huffington Post. June 14, 2013. Retrieved November 1, 2014.
  36. Jump up^ “Sharyl Attkisson’s Computer Not Compromised, DOJ Says”The Huffington Post. May 22, 2013. Retrieved November 1, 2014.
  37. Jump up^ Smith, Kyle; Golding, Bruce (October 27, 2014), “Ex-CBS reporter: Government agency bugged my computer”New York Post, retrieved October 28, 2014
  38. Jump up^ “Why is Sharyl Attkisson testifying at Loretta Lynch’s confirmation hearing?”The Washington Post.
  39. Jump up^ “DOJ OIG Report – Sharyl Attkisson”Scribd.
  40. Jump up^ Hattem, Julian. “Watchdog: Attkisson wasn’t hacked, had ‘delete’ key stuck”The Hill. Retrieved 2016-04-05.
  41. Jump up^ Groch-Begley, Hannah; Strupp, Joe (October 31, 2014). “Computer Security Experts: Attkisson Video Of Purported “Hacking” Likely Just A Stuck Backspace Key”Media Matters for America. Retrieved January 5, 2015.
  42. Jump up^ Fisher, Max (October 31, 2014). “The video of Sharyl Attkisson getting “hacked” actually just shows a stuck delete key”Vox. Retrieved November 2, 2014.
  43. Jump up^ “Media Matters report on Attkisson claims”Media Matters for America. January 29, 2015.
  44. Jump up^ T. Becket Adams (February 3, 2015). “Sharyl Attkisson: What was left out of reports on hacking”The Washington Examiner. Retrieved 22 November 2015The IG did not rule out computer intrusions. It did not substantiate but neither did it rule out.
  45. Jump up^ “Attkisson sues government over computer intrusions”The Washington Post. May 1, 2015. Retrieved March 6, 2015.
  46. Jump up^ “Editorial Opinion re Attkisson” (PDF). The Washington Post. January 5, 2015. Retrieved March 6, 2015.
  47. Jump up^ Judge Tosses Reporter’s Claim of Obama-Era Wiretaps
  48. Jump up^ “Attkisson biography”Television newsc enter. Retrieved March 11, 2014.

External links

https://en.wikipedia.org/wiki/Sharyl_Attkisson

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Lawrence B. Lindsey — Conspiracies of The Ruling Class: How To Break Their Grip Forever — Videos

Posted on August 11, 2018. Filed under: American History, Blogroll, Books, Business, Communications, Computers, Congress, Constitution, Crisis, Documentary, Economics, Elections, Faith, Family, Federal Government Budget, Fiscal Policy, Food, Freedom, Friends, government, government spending, history, History of Economic Thought, Investments, IRS, liberty, Life, Macroeconomics, media, Mobile Phones, Monetary Policy, Money, Newspapers, Non-Fiction, People, Philosophy, Photos, Political Correctness, Presidential Candidates, Radio, Radio, Rants, Raves, Resources, Speech, State, Strategy, Talk Radio, Tax Policy, Taxation, Taxes, Technology, Television, Television, Terrorism, The Pronk Pops Show, Video, War, Wealth, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , , , , , |

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The U.S. Is Run by a Financial Oligarchy: The Ruling Elite, Money & the Illusion of Progress (1993)

 

Lawrence B. Lindsey

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Lawrence B. Lindsey
Governor Lawrence B Lindsey 140501.jpg
4th Director of the National Economic Council
In office
January 20, 2001 – December 12, 2002
President George W. Bush
Preceded by Gene Sperling
Succeeded by Steve Friedman
Personal details
Born July 18, 1954 (age 64)
PeekskillNew YorkU.S.
Political party Republican
Spouse(s) Susan Lindsey (Divorced 2013)
Children 3
Residence Clifton, Virginia
Education Bowdoin College (BA)
Harvard University (MAPhD)

Lawrence B. “Larry” Lindsey (born July 18, 1954) is an American economist. He was director of the National Economic Council (2001–2002), and the assistant to the president on economic policy for the U.S. President George W. Bush. He played a leading role in formulating President Bush’s $1.35 trillion tax cut plan, convincing candidate Bush that he needed an “insurance policy” against an economic turndown. He left the White House in December 2002 and was replaced by Stephen Friedman after a dispute over the projected cost of the Iraq War. Lindsey estimated the cost of the Iraq War could reach $200 billion, while Defense Secretary Donald Rumsfeld estimated that it would cost less than $50 billion.[1]

 

Biography and achievements

Lindsey was born on July 18, 1954 in Peekskill, New York. He graduated from Lakeland Senior High School in Shrub Oak, New York in 1972. An alumnus of Alpha Rho Upsilon fraternity at Bowdoin College, he received his A.B. magna cum laude and Phi Beta Kappa from Bowdoin and his A.M. and Ph.D. in economics from Harvard University.

He is the author of The Growth Experiment: How the New Tax Policy is Transforming the U.S. Economy (Basic Books, New York, 1990, ISBN 978-0465050703), Economic Puppetmasters: Lessons from the Halls of Power (AEI Press, Washington, D.C., 1999, ISBN 978-0844740812), What A President Should Know …but most learn too late: An Insiders View On How To Succeed In The Oval Office (Rowman & Littlefield Publishers, Inc., Maryland, 2008, ISBN 978-0742562226), and Conspiracies of the Ruling Class: How to Break Their Grip Forever (Simon & Schuster, 2016, ISBN 978-1501144233). Also he has contributed numerous articles to professional publications. His honors and awards include the Distinguished Public Service Award of the Boston Bar Association, 1994; an honorary degree from Bowdoin College, 1993; selection as a Citicorp/Wriston Fellow for Economic Research, 1988; and the Outstanding Doctoral Dissertation Award from the National Tax Association, 1985.

During the Reagan Administration, he served three years on the staff of the Council of Economic Advisers as Senior Staff Economist for Tax Policy. He then served as Special Assistant to the President for Policy Development during the first Bush administration

Lindsey served as a Member of the Board of Governors of the Federal Reserve System for five years from November 1991 to February 1997. Additionally, Lindsey was Chairman of the Board of the Neighborhood Reinvestment Corporation, a national public/private community redevelopment organization, from 1993 until his departure from the Federal Reserve.

From 1997 to January 2001, Lindsey was a Resident Scholar and holder of the Arthur F. Burns Chair in Economics at the American Enterprise Institute in Washington, D.C. He was also Managing Director of Economic Strategies, an economic advisory service based in New York City. During 1999 and throughout 2000 he served as then-Governor George W. Bush’s chief economic advisor for his presidential campaign. He is a former associate professor of Economics at Harvard University.

Lindsey is Chief Executive Officer of the Lindsey Group,[2] which he runs with a former colleague from the National Economic Council and writes for The Wall Street JournalWeekly Standardand other publications. He was a visiting scholar at the American Enterprise Institute.

Controversies

Lindsey is famous for spotting the emergence of the late 1990s U.S. stock market bubble back in 1996 while a Governor of the Federal Reserve. According to the meeting transcripts for September of that year, Lindsey challenged the expectation that corporate earnings would grow 11½ percent a year continually. He said, “Readers of this transcript five years from now can check this fearless prediction: profits will fall short of this expectation.” According to the Bureau of Economic Analysis, corporate profits as a share of national income eroded from 1997 until 2001. Stock prices eventually collapsed, starting their decline in March 2000, though the S&P500 remained above its 1996 level, casting doubt on the assertion that there was a stock market bubble in 1996.

In contrast to Chairman Greenspan, Lindsey argued that the Federal Reserve had an obligation to prevent the stock market bubble from growing out of control. He argued that “the long term costs of a bubble to the economy and society are potentially great…. As in the United States in the late 1920s and Japan in the late 1980s, the case for a central bank ultimately to burst that bubble becomes overwhelming. I think it is far better that we do so while the bubble still resembles surface froth and before the bubble carries the economy to stratospheric heights.” During the 2000 Presidential campaign, Governor Bush was criticized for picking an economic advisor who had sold all of his stock in 1998.[citation needed]

According to the Washington Post,[3] Lindsey was on an advisory board to Enron along with Paul Krugman before joining the White House. Lindsey and his colleagues warned Enron that the economic environment was riskier than they perceived.

Cost of the Iraq War

On September 15, 2002, in an interview with the Wall Street Journal, Lindsey estimated the high limit on the cost of the Bush administration’s plan in 2002 of invasion and regime change in Iraq to be 1–2% of GNP, or about $100–$200 billion.[4][5] Mitch DanielsDirector of the Office of Management and Budget, discounted this estimate as “very, very high” and Defense Secretary Donald Rumsfeld stated that the costs would be under $50 billion.[1] Rumsfeld called Lindsey’s estimate “baloney”.[6]

As of 2007 the cost of the invasion and occupation of Iraq exceeded $400 billion, and the Congressional Budget Office in August 2007 estimated that appropriations would eventually reach $1 trillion or more.[7]

In October 2007, the Congressional Budget Office estimated that by 2017, the total costs of the wars in Iraq and Afghanistan could reach $2.4 trillion. In response, Democratic RepresentativeAllen Boyd criticized the administration for firing Lindsey, saying “They found him a job outside the administration.”[8]

Presidential Campaign Leadership

Lindsey has been a senior advisor to several Republican campaigns. He led the economic team for then Governor George W. Bush’s successful presidential campaign in 2000, earning the trust of the future President who said at the time “I am very fond of Larry Lindsey and I value his advice”. [9] During the 2008 Presidential election, Lindsey served as Fred Thompson’s Senior Economic Advisor. [10] In 2012, Lindsey predicted on election day that Republican Mitt Romney would defeat President Obama. [11] In April 2016, Lindsey supported Ted Cruz over his only remaining opponent, current President Trump, explaining that Cruz was the best candidate because he had an economic program deserving of the “top grade”. [12]

References

  1. Jump up to:ab Wolk, Martin (2006-05-17). “Cost of Iraq war could surpass $1 trillion”. MSNBC. Retrieved 2008-03-10Back in 2002, the White House was quick to distance itself from Lindsey’s view. Mitch Daniels, director of the White House budget office, quickly called the estimate “very, very high.” Lindsey himself was dismissed in a shake-up of the White House economic team later that year, and in January 2003, Defense Secretary Donald Rumsfeld said the budget office had come up with “a number that’s something under $50 billion.” He and other officials expressed optimism that Iraq itself would help shoulder the cost once the world market was reopened to its rich supply of oil.
  2. Jump up^ http://www.thelindseygroup.com/bios/
  3. Jump up^ Once a Friend and Ally, Now a Distant MemoryWashington Post
  4. Jump up^ Davis, Bob (September 16, 2002). “Bush Economic Aide Says the Cost Of Iraq War May Top $100 Billion”The Wall Street Journal. Reprinted in Congressional Record, vol. 148, issue 117, 107th Congress, pp. S8643-S8644.[dead link]
  5. Jump up^ Engel, Matthew (September 17, 2002). “Cost of war put at $200bn, but that’s nothing, says US adviser”The Guardian. Retrieved July 23, 2011.
  6. Jump up^ Bryne, John (2008-03-18). “Price of Iraq war now outpaces Vietnam”. The Raw Story. Archived from the original on 2008-03-21. Retrieved 2008-03-18.
  7. Jump up^ Bender, Bryan (2007-08-01). “Analysis says war could cost $1 trillion”The Boston Globe. Retrieved 2008-03-10.
  8. Jump up^ “Congress told of war costs up to $2.4 trillion by 2017”The Register-Guard. October 25, 2007. Retrieved 2007-10-25.[dead link]
  9. Jump up^ Gosselin, Peter “Bush’s Economic Advisor Lindsey Is Man of Contradictions”LA Times, 02 January 2000.
  10. Jump up^ “Larry Lindsey Named as Fred Thompson’s Senior Economic Advisor”, 17 September 2007.
  11. Jump up^ “Larry Lindsey Changes Election Prediction”,CNBC, 6 November 2012.
  12. Jump up^ “Grading the candidates: Larry Lindsey”,CNBC, 18 April 2016.

External links

https://en.wikipedia.org/wiki/Lawrence_B._Lindsey

Lawrence B. Lindsey

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  • Tax policy
  • Monetary policy
  • Fiscal policy
  • International economic development
Lawrence B. Lindsey has held leading positions in government, academia, and business. He has been assistant to the president and director of the National Economic Council at the White House. He also served as a governor of the Federal Reserve System, special assistant to the president for domestic economic policy, and senior staff economist for tax policy at the President’s Council of Economic Advisers. Mr. Lindsey taught economics at Harvard University and is currently president and CEO of the Lindsey Group. He is the author of Economic Puppet Masters (AEI Press, 1999) and The Growth Experiment (Basic Books, 1990).

Experience

  • President and CEO, Lindsey Group, 2003-present
  • Assistant to the President for Economic Policy and Director of the National Economic Council, White House, 2001-2002
  • Chief Economic Adviser, George W. Bush Campaign, 1999-2000
  • Arthur F. Burns Scholar in Economics, AEI, 1997-2001
  • Managing Director, Economic Strategies, 1997-2001
  • Chairman, Board of the Neighborhood Reinvestment Corporation, 1993-97
  • Governor, Federal Reserve System, 1991-97
  • Special Assistant to the President for Domestic Economic Policy, White House, 1989-91
  • Associate Professor, Harvard University, 1984-89
  • Citicorp/Wriston Fellow for Economic Research, 1988
  • Senior Staff Economist for Tax Policy, President’s Council of Economic Advisers, 1981-84

Education

Ph.D., M.A., economics, Harvard University
A.B., Bowdoin College

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  • ANGELO M. CODEVILLA

July 16, 2010, 10:09 am

After the Republic

September 27, 2016

In today’s America, a network of executive, judicial, bureaucratic, and social kinship channels bypasses the sovereignty of citizens. Our imperial regime, already in force, works on a simple principle: the president and the cronies who populate these channels may do whatever they like so long as the bureaucracy obeys and one third plus one of the Senate protects him from impeachment. If you are on the right side of that network, you can make up the rules as you go along, ignore or violate any number of laws, obfuscate or commit perjury about what you are doing (in the unlikely case they put you under oath), and be certain of your peers’ support. These cronies’ shared social and intellectual identity stems from the uniform education they have received in the universities. Because disdain for ordinary Americans is this ruling class’s chief feature, its members can be equally certain that all will join in celebrating each, and in demonizing their respective opponents.

And, because the ruling class blurs the distinction between public and private business, connection to that class has become the principal way of getting rich in America. Not so long ago, the way to make it here was to start a business that satisfied customers’ needs better than before. Nowadays, more businesses die each year than are started. In this century, all net additions in employment have come from the country’s 1,500 largest corporations. Rent-seeking through influence on regulations is the path to wealth. In the professions, competitive exams were the key to entry and advancement not so long ago. Now, you have to make yourself acceptable to your superiors. More important, judicial decisions and administrative practice have divided Americans into “protected classes”—possessed of special privileges and immunities—and everybody else. Equality before the law and equality of opportunity are memories. Co-option is the path to power. Ever wonder why the quality of our leaders has been declining with each successive generation?

Moreover, since the Kennedy reform of 1965, and with greater speed since 2009, the ruling class’s immigration policy has changed the regime by introducing some 60 million people—roughly a fifth of our population—from countries and traditions different from, if not hostile, to ours. Whereas earlier immigrants earned their way to prosperity, a disproportionate percentage of post-1965 arrivals have been encouraged to become dependents of the state. Equally important, the ruling class chose to reverse America’s historic practice of assimilating immigrants, emphasizing instead what divides them from other Americans. Whereas Lincoln spoke of binding immigrants by “the electric cord” of the founders’ principles, our ruling class treats these principles as hypocrisy. All this without votes or law; just power.

Foul is Fair and Fair is Foul

In short, precisely as the classics defined regime change, people and practices that had been at society’s margins have been brought to its center, while people and ideas that had been central have been marginalized.

Fifty years ago, prayer in the schools was near universal, but no one was punished for not praying. Nowadays, countless people are arrested or fired for praying on school property. West Point’s commanding general reprimanded the football coach for his team’s thanksgiving prayer. Fifty years ago, bringing sexually explicit stuff into schools was treated as a crime, as was “procuring abortion.” Nowadays, schools contract with Planned Parenthood to teach sex, and will not tell parents when they take girls to PP facilities for abortions. Back then, many schools worked with the National Rifle Association to teach gun handling and marksmanship. Now students are arrested and expelled merely for pointing their finger and saying “bang.” In those benighted times, boys who ventured into the girls’ bathroom were expelled as perverts. Now, girls are suspended for objecting to boys coming into the girls’ room under pretense of transgenderism. The mainstreaming of pornography, the invention of abortion as the most inalienable of human rights and, most recently, the designation of opposition to homosexual marriage as a culpable psychosis—none of which is dictated by law enacted by elected officials—is enforced as if it had been. No surprise that America has experienced a drastic drop in the formation of families, with the rise of rates of out-of-wedlock births among whites equal to the rates among blacks that was recognized as disastrous a half-century ago, the near-disappearance of two-parent families among blacks, and the social dislocations attendant to all that.

Ever since the middle of the 20th century our ruling class, pursuing hazy concepts of world order without declarations of war, has sacrificed American lives first in Korea, then in Vietnam, and now throughout the Muslim world. By denigrating Americans who call for peace, or for wars unto victory over America’s enemies; by excusing or glorifying those who take our enemies’ side or who disrespect the American flag; our rulers have drawn down the American regime’s credit and eroded the people’s patriotism.

As the ruling class destroyed its own authority, it wrecked the republic’s as well. This is no longer the “land where our fathers died,” nor even the country that won World War II. It would be surprising if any society, its identity altered and its most fundamental institutions diminished, had continued to function as before. Ours sure does not, and it is difficult to imagine how it can do so ever again. We can be sure only that the revolution underway among us, like all others, will run its unpredictable course.

All we know is the choice that faces us at this stage: either America continues in the same direction, but faster and without restraint, or there’s the hazy possibility of something else.

Imperial Alternatives

The consequences of empowering today’s Democratic Party are crystal clear. The Democratic Party—regardless of its standard bearer—would use its victory to drive the transformations that it has already wrought on America to quantitative and qualitative levels that not even its members can imagine. We can be sure of that because what it has done and is doing is rooted in a logic that has animated the ruling class for a century, and because that logic has shaped the minds and hearts of millions of this class’s members, supporters, and wannabes.

That logic’s essence, expressed variously by Herbert Croly and Woodrow Wilson, FDR’s brains trust, intellectuals of both the old and the new Left, choked back and blurted out by progressive politicians, is this: America’s constitutional republic had given the American people too much latitude to be who they are, that is: religiously and socially reactionary, ignorant, even pathological, barriers to Progress. Thankfully, an enlightened minority exists with the expertise and the duty to disperse the religious obscurantism, the hypocritical talk of piety, freedom, and equality, which excuses Americans’ racism, sexism, greed, and rape of the environment. As we progressives take up our proper responsibilities, Americans will no longer live politically according to their prejudices; they will be ruled administratively according to scientific knowledge.

Progressivism’s programs have changed over time. But its disdain for how other Americans live and think has remained fundamental. More than any commitment to principles, programs, or way of life, this is its paramount feature. The media reacted to Hillary Clinton’s remark that “half of Trump’s supporters could be put into a ‘basket of deplorables’” as if these sentiments were novel and peculiar to her. In fact, these are unremarkable restatements of our ruling class’s perennial creed.

The pseudo-intellectual argument for why these “deplorables” have no right to their opinions is that giving equal consideration to people and positions that stand in the way of Progress is “false equivalence,” as President Obama has put it. But the same idea has been expressed most recently and fully by New York TimesCEO Mark Thompson, as well as Times columnists Jim Rutenberg, Timothy Egan, and William Davies. In short, devotion to truth means not reporting on Donald Trump and people like him as if they or anything they say might be of value.

If trying to persuade irredeemable socio-political inferiors is no more appropriate than arguing with animals, why not just write them off by sticking dismissive names on them? Doing so is less challenging, and makes you feel superior. Why wrestle with the statistical questions implicit in Darwin when you can just dismiss Christians as Bible-thumpers? Why bother arguing for Progressivism’s superiority when you can construct “scientific” studies like Theodor Adorno’s, proving that your opponents suffer from degrees of “fascism” and other pathologies? This is a well-trod path. Why, to take an older example, should General Omar Bradley have bothered trying to refute Douglas MacArthur’s statement that in war there is no substitute for victory when calling MacArthur and his supporters “primitives” did the trick? Why wrestle with our climate’s complexities when you can make up your own “models,” being sure that your class will treat them as truth?

What priorities will the ruling class’s notion of scientific truth dictate to the next Democratic administration? Because rejecting that true and false, right and wrong are objectively ascertainable is part of this class’s DNA, no corpus of fact or canon of reason restrains it or defines its end-point. Its definition of “science” is neither more nor less than what “scientists say” at any given time. In practice, that means “Science R-Us,” now and always, exclusively. Thus has come to pass what President Dwight Eisenhower warned against in his 1960 Farewell address: “A steadily increasing share [of science] is conducted for, by, or at the direction of, the Federal government.… [T]he free university, historically the fountainhead of free ideas and scientific discovery, has experienced a revolution…a government contract becomes virtually a substitute for intellectual curiosity.” Hence, said Ike, “The prospect of domination of the nation’s scholars by Federal employment, project allocations, and the power of money is ever present—and is gravely to be regarded.” The result has been that academics rise through government grants while the government exercises power by claiming to act on science’s behalf. If you don’t bow to the authority of the power that says what is and is not so, you are an obscurantist or worse.

Under our ruling class, “truth” has morphed from the reflection of objective reality to whatever has “normative pull”—i.e., to what furthers the ruling class’s agenda, whatever that might be at any given time. That is the meaning of the term “political correctness,” as opposed to factual correctness.

It’s the Contempt, Stupid!

Who, a generation ago, could have guessed that careers and social standing could be ruined by stating the fact that the paramount influence on the earth’s climate is the sun, that its output of energy varies and with it the climate? Who, a decade ago, could have predicted that stating that marriage is the union of a man and a woman would be treated as a culpable sociopathy, or just yesterday that refusing to let certifiably biological men into women’s bathrooms would disqualify you from mainstream society? Or that saying that the lives of white people “matter” as much as those of blacks is evidence of racism? These strictures came about quite simply because some sectors of the ruling class felt like inflicting them on the rest of America. Insulting presumed inferiors proved to be even more important to the ruling class than the inflictions’ substance.

How far will our rulers go? Because their network is mutually supporting, they will go as far as they want. Already, there is pressure from ruling class constituencies, as well as academic arguments, for morphing the concept of “hate crime” into the criminalization of “hate speech”—which means whatever these loving folks hate. Of course this is contrary to the First Amendment, and a wholesale negation of freedom. But it is no more so than the negation of freedom of association that is already eclipsing religious freedom in the name of anti-discrimination. It is difficult to imagine a Democratic president, Congress, and Supreme Court standing in the way.

Above all, these inflictions, as well as the ruling class’s acceptance of its own members’ misbehavior, came about because millions of its supporters were happy, or happy enough, to support them in the interest of maintaining their own status in a ruling coalition while discomfiting their socio-political opponents. Consider, for example, how republic-killing an event was the ruling class’s support of President Bill Clinton in the wake of his nationally televised perjury. Subsequently, as constituencies of supporters have effectively condoned officials’ abusive, self-serving, and even outright illegal behavior, they have encouraged more and more of it while inuring themselves to it. That is how republics turn into empires from the roots up.

But it is also true, as Mao Tse-Tung used to say, “a fish begins to rot at the head.” If you want to understand why any and all future Democratic Party administrations can only be empires dedicated to injuring and insulting their subjects, look first at their intellectual leaders’ rejection of the American republic’s most fundamental principles.

The Declaration of Independence says that all men “are endowed by their Creator with certain unalienable rights” among which are “life, liberty, and the pursuit of happiness.” These rights—codified in the Constitution’s Bill of Rights—are not civil rights that governments may define. The free exercise of religion, freedom of speech and assembly, keeping and bearing arms, freedom from warrantless searches, protection against double jeopardy and self-incrimination, trial by jury of one’s peers, etc., are natural rights that pertain to human beings as such. Securing them for Americans is what the United States is all about. But today’s U.S. Civil Rights Commission advocates truncating the foremost of these rights because, as it stated in a recent report, “Religious exemptions to the protections of civil rights based upon classifications such as race, color, national origin, sex, disability status, sexual orientation, and gender identity, when they are permissible, significantly infringe upon those civil rights.” The report explains why the rights enumerated in the Declaration of Independence and the Bill of Rights should not be permissible: “The phrases ‘religious liberty’ and ‘religious freedom’ will stand for nothing except hypocrisy so long as they remain code words for discrimination, intolerance, racism, sexism, homophobia, Islamophobia, Christian supremacy, or any form of intolerance.”

Hillary Clinton’s attack on Trump supporters merely matched the ruling class’s current common sense. Why should government workers and all who wield the administrative state’s unaccountable powers not follow their leaders’ judgment, backed by the prestige press, about who are to be treated as citizens and who is to be handled as deplorable refuse? Hillary Clinton underlined once again how the ruling class regards us, and about what it has in store for us.

Electing Donald Trump would result in an administration far less predictable than any Democratic one. In fact, what Trump would or would not do, could or could not do, pales into insignificance next to the certainty of what any Democrat would do. That is what might elect Trump.

The character of an eventual Trump Administration is unpredictable because speculating about Trump’s mind is futile. It is equally futile to guess how he might react to the mixture of flattery and threats sure to be leveled against him. The entire ruling class—Democrats and Republicans, the bulk of the bureaucracy, the judiciary, and the press—would do everything possible to thwart him; and the constituencies that chose him as their candidate, and that might elect him, are surely not united and are by no means clear about the demands they would press. Moreover, it is anyone’s guess whom he would appoint and how he would balance his constituencies’ pressures against those of the ruling class.

Never before has such a large percentage of Americans expressed alienation from their leaders, resentment, even fear. Some two-thirds of Americans believe that elected and appointed officials—plus the courts, the justice system, business leaders, educators—are leading the country in the wrong direction: that they are corrupt, do more harm than good, make us poorer, get us into wars and lose them. Because this majority sees no one in the political mainstream who shares their concerns, because it lacks confidence that the system can be fixed, it is eager to empower whoever might flush the system and its denizens with something like an ungentle enema.

Yet the persons who express such revolutionary sentiments are not a majority ready to support a coherent imperial program to reverse the course of America’s past half-century. Temperamentally conservative, these constituencies had been most attached to the Constitution and been counted as the bedrock of stability. They are not yet wholly convinced that there is little left to conserve. What they want, beyond an end to the ruling class’s outrages, has never been clear. This is not surprising, given that the candidates who appeal to their concerns do so with mere sound bites. Hence they chose as the presidential candidate of the nominal opposition party the man who combined the most provocative anti-establishment sounds with reassurance that it won’t take much to bring back good old America: Donald Trump. But bringing back good old America would take an awful lot. What could he do to satisfy them?

Trump’s propensity for treating pronouncements on policy as flags to be run up and down the flagpole as he measures the volume of the applause does not deprive them of all significance—especially the ones that confirm his anti-establishment bona fides. These few policy items happen to be the ones by which he gained his anti-establishment reputation in the first place: 1) opposition to illegal immigration, especially the importation of Muslims whom Americans reasonably perceive as hostile to us; 2) law and order: stop excusing rioters and coddling criminals; 3) build a wall, throw out the illegals, let in only people who are vetted and certified as supporters of our way of life (that’s the way it was when I got my immigrant visa in 1955), and keep out anybody we can’t be sure isn’t a terrorist. Trump’s tentative, partial retreat from a bit of the latter nearly caused his political standing to implode, prompting the observation that doing something similar regarding abortion would end his political career. That is noteworthy because, although Trump’s support of the pro-life cause is lukewarm at best, it is the defining commitment for much of his constituency. The point here is that, regardless of his own sentiments, Trump cannot wholly discount his constituencies’ demands for a forceful turn away from the country’s current direction.

Trump’s slogan—“make America great again”—is the broadest, most unspecific, common denominator of non-ruling-class Americans’ diverse dissatisfaction with what has happened to the country. He talks about reasserting America’s identity, at least by controlling the borders; governing in America’s own interest rather than in pursuit of objectives of which the American people have not approved; stopping the export of jobs and removing barriers to business; and banishing political correctness’s insults and injuries. But all that together does not amount to making America great again. Nor does Trump begin to explain what it was that had made this country great to millions who have known only an America much diminished.

In fact, the United States of America was great because of a whole bunch of things that now are gone. Yes, the ruling class led the way in personal corruption, cheating on tests, lowering of professional standards, abandoning churches and synagogues for the Playboy Philosophy and lifestyle, disregarding law, basing economic life on gaming the administrative state, basing politics on conflicting identities, and much more. But much of the rest of the country followed. What would it take to make America great again—or indeed to make any of the changes that Trump’s voters demand? Replacing the current ruling class would be only the beginning.

Because it is difficult to imagine a Trump presidency even thinking about something so monumental as replacing an entire ruling elite, much less leading his constituency to accomplishing it, electing Trump is unlikely to result in a forceful turn away from the country’s current direction. Continuing pretty much on the current trajectory under the same class will further fuel revolutionary sentiments in the land all by itself. Inevitable disappointment with Trump is sure to add to them.

We have stepped over the threshold of a revolution. It is difficult to imagine how we might step back, and futile to speculate where it will end. Our ruling class’s malfeasance, combined with insult, brought it about. Donald Trump did not cause it and is by no means its ultimate manifestation. Regardless of who wins in 2016, this revolution’s sentiments will grow in volume and intensity, and are sure to empower politicians likely to make Americans nostalgic for Donald Trump’s moderation.

http://www.claremont.org/crb/basicpage/after-the-republic/

Senior Executive Service (United States)

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Senior Executive Service
SES Emblem.svg

Seal of the U.S. Senior Executive Service
Flag of the United States Senior Executive Service.svg

Flag of the U.S. Senior Executive Service

The Senior Executive Service (SES) is a position classification in the civil service of the United States federal government, somewhat analogous to general officer or flag officer ranks in the U.S. Armed Forces. It was created in 1979 when the Civil Service Reform Act of 1978 went into effect under President Jimmy Carter.

Origin and attributes

According to the Office of Personnel Management, the SES was designed to be a corps of executives selected for their leadership qualifications, serving in key positions just below the top Presidential appointees as a link between them and the rest of the Federal (civil service) workforce. SES positions are considered to be above the GS-15 level of the General Schedule, and below Level III of the Executive Schedule. Career members of the SES ranks are eligible for the Presidential Rank Awards program.

Up to 10% of SES positions can be filled as political appointments rather than by career employees.[1] About half of the SES is designated “Career Reserved”, which can only be filled by career employees. The other half is designated “General”, which can be filled by either career employees or political appointments as desired by the administration. Due to the 10% limitation, most General positions are still filled by career appointees.[2]

Senior level employees of several agencies are exempt from the SES but have their own senior executive positions; these include the Federal Bureau of InvestigationCentral Intelligence AgencyDefense Intelligence AgencyNational Security AgencyTransportation Security AdministrationFederal Aviation AdministrationGovernment Accountability OfficeMembers of the Foreign Service, and government corporations.

Pay rates

(Effective on the first day of the first applicable pay period beginning on or after January 1, 2015)[3]
Minimum Maximum
Agencies with a Certified SES Performance Appraisal System $121,956 $183,300
Agencies without a Certified SES Performance Appraisal System $121,956 $168,700

Unlike the General Schedule (GS) grades, SES pay is determined at agency discretion within certain parameters, and there is no locality pay adjustment.

The minimum pay level for the SES is set at 120 percent of the basic pay for GS-15 Step 1 employees ($121,956 for 2015). The maximum pay level depends on whether or not the employing agency has a “certified” SES performance appraisal system:[4]

  • If the agency has a certified system, the maximum pay is set at Level II of the Executive Schedule ($183,300 for 2015).
  • If the agency does not have a certified system, the maximum pay is set at Level III of the Executive Schedule ($168,700 for 2015).

Total aggregate pay is limited to the salary of the Vice President of the United States ($230,700 for 2015).

Prior to 2004, the SES used a six-level system. It was replaced with the current open band system on January 1, 2014.[5]

See also

References

  1. Jump up^ Piaker, Zach (2016-03-16). “Help Wanted: 4,000 Presidential Appointees”Partnership for Public Service Center for Presidential Transition. Retrieved 2016-11-16.
  2. Jump up^ “United States Government Policy and Supporting Positions (The Plum Book)” (PDF). U.S. House of Representatives Committee on Oversight and Government Reform. 2012-12-01. p. 201. Retrieved 2016-11-16.
  3. Jump up^ Obama, Barack (2014-12-19). “ADJUSTMENTS OF CERTAIN RATES OF PAY” (PDF). EXECUTIVE ORDER 13686. The White House. Retrieved 2015-09-18.
  4. Jump up^ “Performance & Compensation – Salary”U.S. Office of Personnel Management. Retrieved 2011-09-24.
  5. Jump up^ “Senior Executive Service Pay and Performance Awards”U.S. Office of Personnel Management. 2004. Retrieved 2018-03-31.

External links

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Jordan B. Peterson — Maps of Meaning: The Architecture of Belief — Book and Lectures — Videos

Posted on June 9, 2018. Filed under: Articles, Blogroll, Books, College, Communications, Culture, Education, Environment, Essays, Faith, Family, government, history, Literacy, Literature, Love, media, Non-Fiction, People, Philosophy, Plays, Political Correctness, Politics, Rants, Raves, Raymond Thomas Pronk, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , |

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2016 Lecture 01 Maps of Meaning: Introduction and Overview

2016 Lecture 02 Maps of Meaning: Playable and non-playable games

2016 Lecture 03 Maps of Meaning: Part I: The basic story and its transformations

2016 Lecture 03 Maps of Meaning: Part II: The basic story — and its transformations

2016 Lecture 04 Maps of Meaning: Anomaly