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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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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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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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Oldest American, Cigar Smoker, Whisky Drinker and World War II Veteran, Richard Overton, Robbed of Savings and Identity in Austin, Texas — Keep On Living and You Will Get There Too — Videos

Posted on June 30, 2018. Filed under: American History, Blogroll, Communications, Culture, Diet, Disease, Documentary, Education, Elections, Employment, Faith, Family, Federal Government, Food, Freedom, government spending, Heroes, history, Homes, Law, liberty, Links, Literacy, media, People, Philosophy, Photos, Politics, Press, Programming, Psychology, Radio, Rants, Raves, Raymond Thomas Pronk, Rifles, State, Strategy, Success, The Pronk Pops Show, Video, War, Wealth, Weapons, Welfare, Wisdom, Work, Writing | Tags: , , , , , , , , , , , , |

 

 

Oldest American, Cigar Smoker, Whisky Drinker and World War II Veteran, Richard Overton, Robbed of Savings and Identity in Austin, Texas — Videos

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The oldest living World War II veteran, Richard Overton, is 112-years old. He is shown here celebrating his 111th birthday in Texas in 2017. Relatives say someone has stolen his identity and emptied his bank account. (Image source: YouTube screenshot)

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Erik von Kuehnelt-Leddihn — Leftism: From de Sade and Marx to Hitler and Marcuse — Liberty and Equality: The Challenge of Our Times — Videos

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Kuehnelt-Leddihn and American Conservatism

Let us begin with what is most excellent and lasting in the work of the late Erik von Kuehnelt-Leddihn—his profound understanding of, and unyielding opposition to, the Left.  According to the Austrian-born polymath, the Left has its roots planted firmly in democracy.  In its modern form, that object of near worship owed its birth to the French Revolution, but once loosed upon the world it soon transformed itself into socialism—international and national.  Contrary to received opinion, that is, Kuehnelt-Leddihn regarded communism, fascism, and nazism as rivals rather than enemies, brothers under the skin; like their progenitor, democracy, they were all ideologies of the Left.  That is why the Hitler-Stalin Pact should have occasioned no surprise.

The Left, then, comprises a number of ideologies, all of them, in Kuehnelt-Leddihn’s view, toxic.  But although he insisted that the French Revolution was a primal act of rebellion not only against monarchical order, but against God, he failed to draw the logical conclusion—that ideologies are substitute (or secular) religions.  Man, Edmund Burke wrote, “is a religious animal,” and he warned that if Christianity be suppressed or rejected “some uncouth, pernicious, and degrading superstition might take place of it.”

In contemporary America, the reigning superstition goes by the name of Political Correctness (PC).  This ideology possesses neither the intellectual sophistication nor the internal order one finds in at least some varieties of Marxism.  It is a coalition of mini-ideologies that often appear to be contradictory:  feminism, “gay rights,” “civil rights” (preferential treatment of Black Americans), unrestricted abortion, open immigration for those from south of the border, and environmentalism.  It shows sympathy for Islam and a relentless hostility to Christianity.  It combines secularism (sometimes extending to atheism) with egalitarianism.

Kuehnelt-Leddihn died in 1999 and therefore did not live to witness the full flowering, if that is the word, of the PC ideology.  We know, however, that he would have fought against it.  He was, he insisted, a “man of the Right,” “conservative” being too foggy a label.  In fact, he styled himself a “liberal” in the tradition of Tocqueville, Montalembert, and Lord Acton.  Born in 1909 in what was then the Dual Monarchy of Austria-Hungary, he maintained a lifelong preference for monarchical, Catholic, and multi-ethnic societies.  (He himself spoke eight languages fluently and had a reading knowledge of 11 others.)  Never could he forgive Woodrow Wilson for the pivotal role the American president played in the Great War victors’ decision to break up the Habsburg Monarchy.

What political form a postwar European Right should take he did not, for some time, specify in detail, though he always insisted that it should base itself on an ideology that could mount a challenge to leftist ideologies.  That “ideology” was a misleading choice of words becomes obvious when one considers his definition of it:  “It is a coherent set of ideas about God, Man and the world without inner contradictions and well-rooted in eternal principles.”  This is a Weltanschauung, not an ideology.

Whether or not political parties should base themselves upon a Weltanschauungdepends largely upon circumstances.  One thing is certain however: Rightist governments are never of the masses.  They are elitist and authoritarian, but notideological (in the sense of a secular religion) or tyrannical.  “All free nations,” Kuehnelt-Leddihn wrote, “are by definition ‘authoritarian’ in their political as well as in their social and even in their family life.  We obey out of love, out of respect (for the greater knowledge and wisdom of those to whom we owe obedience), or because we realize that obedience is in the interest of the Common Good, which…includes our own interest.”

Kuehnelt-Leddihn’s mind was European through and through, and as a result he criticized what he called the Anglo-American mind because of its belief that “a genuine conservative contemplates nature, favors age-old traditions, time-honored institutions, the wisdom of his forbearers, and so on.”  The trouble with Burke was that he stood for common sense, which “creates no dynamism whatsoever,” and that he eschewed political ideologies.  Did he not, in his classic Reflections on the Revolution in France,write that he reprobated “no form of government merely upon abstract principles?”

No one would deny that, their common hostility to the French Revolution notwithstanding, there is an immediately recognizable difference between the Anglo-Irish Burke and, say, the French-Savoyard Joseph de Maistre.  American conservatism, however, is not Burkean, Russell Kirk being a somewhat isolated figure.  Nevertheless, Kuehnelt-Leddihn believed that America was in dire need of an ideology if it were to have any chance of winning the struggle for men’s minds.  In a 1990 letter to me (in Hungarian, one of the languages he mastered), he wrote that “among my writings the Portland Declaration is very important.”  That declaration constituted his proposal for an American “ideology.”

The Portland Declaration (1981) grew out of a conference held in Portland, Oregon, and sponsored by the Western Humanities Institute.  Kuehnelt-Leddihn “compiled” the 26 principles it proclaimed, and they breathe his spirit.  The final paragraph of his brief introduction to the published text of the proposal is worthy of note.  “We must have before us a guiding vision of what our state and society could be like, to prevent us from becoming victims of false gods.  The answer to false gods is not godlessness but the Living God.  Hence our ideology must be based on the Living God, but it should appeal also to men of good will who, while not believers, derive their concepts of a well-ordered life, whether they realize it or not, ultimately from the same sources we do.”

Among other things, the Portland Declaration took its stand on diversity (the Left had not yet hijacked the word) rather than uniformity, the spiritual equality (but distinct social roles) of men and women, opposition to the centralization of power, minimal government of the highest quality, an independent supreme court, the teaching of religion in schools, and patriotism rather than nationalism.

Whether or not these principles, taken together, constitute an ideology may be doubted.  And so may Kuehnelt-Leddihn’s belief that the Portland Declaration is a “utopia,” a possible definition of which, he argued, was a state/society “that can reasonably be established by sober reflection and honest effort.”  This was another choice of words that muddied the waters of understanding.  “Utopia” (“no place”) is rightly understood to be some idea of a perfect society, but one that the less starry-eyed know to be unrealizable, and probably undesirable.  To be sure, Karl Mannheim, in his influential Ideologie und Utopie (1929), maintained that utopias, even if unrealizable, are necessary because they give direction to historical change.  Kuehnelt-Leddihn knew Mannheim’s book well and was undoubtedly influenced by it.  He once maintained that “a cure for cancer” was a “utopian” directive, even though it is neither unrealizable in principle nor a re-imagination of an entire society.

As Kuehnelt-Leddihn recognized, his notion of an ideology—if not as a “utopia”—would be welcomed by America’s neoconservatives.  In the excerpt from Leftism Revisited here presented, he pointed out that Irving Kristol, the “godfather” of neoconservatism, had once stated “that the Right needed an ideology if it hoped to win the battle against the Left.”  In that spirit, neoconservatives have insisted that America is a “propositional,” or “creedal,” nation.  That, they claim, is what makes the country “exceptional”—that, and the assumption “that the United   States is somehow exempt from the past and present fate, as well as from many of the necessities, of other nations.  Ours is a special creation, endowed with special immunities” (Richard M. Weaver).

Very well, but what is the proposition or creed?  The answer seems to be that which is proclaimed by the Declaration of Independence:  “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life,Liberty, and the pursuit of Happiness.”  To Kuehnelt-Leddihn these “truths” were anything but “self evident.”  He did not believe that all men were equal—not even, as he once told me, before God.  “We are all granted sufficient grace,” he said, “but remember, Christ Himself had a favorite disciple.”  Nor would he have accepted the notion of God-given rights, as opposed to responsibilities.  As for the “pursuit of Happiness,” only an American could imagine this to be an “unalienable right.”

The so-called paleoconservatives reject the notion of an ideological nation.  For the best of them, America is, or once was, bound together not by a “proposition,” but by “the bonds of history and memory, tradition and custom, language and literature, birth and faith, blood and soil” (Patrick J. Buchanan).  On the other hand, they share Kuehnelt-Leddihn’s aversion to reckless foreign interventions—unlike neoconservatives, they oppose crusades for “global democracy.”  We know that the Austrian admired George F. Kennan, the political “realist” who warned against an interventionist foreign policy and identified himself as a “European conservative,” one who was to the right of the paleoconservatives.   For his part, Kennan regarded Kuehnelt-Leddihn as “a kindred spirit in political philosophy.”

While most paleoconservatives are “realists” in their approach to foreign policy, they are not all traditionalists with respect to domestic affairs; some, especially the young, sympathize with libertarianism—a sympathy that Kuehnelt-Leddihn sometimes seemed to share, witness his insistence that he was a rightist and an anarchist.  The French anarchist Pierre-Joseph Proudhon’s “numerous books are,” he wrote in Leftism Revisited, “full of notions and ideas that any true lover of liberty or any true conservative could underwrite, concepts that are part and parcel of the ‘arsenal’ of rightist thought.”

It is true that Proudhon detested democracy, but the doctrine of anarchism must ignore man’s fallen nature and assume that we are capable of living together without an authority outside of ourselves.  To be sure, libertarianism is not quite anarchism, but neither is it the disciplined liberty defended by Tocqueville.  John Stuart Mill’s libertarianism, as set forth in On Liberty, would, as James Fitzjames Stephen pointed out, undermine the world’s great moral traditions, all of which expect far more of men than that they not harm another.

Perhaps, after all, Kuehnelt-Leddihn’s writings could have its most salutary influence on contemporary cultural, rather than political, thought.  As the Italian Marxist Antonio Gramsci argued persuasively, the real war between Left and Right is waged at the level of culture.  Those who establish “cultural hegemony” will ultimately control political life because they are able to form public opinion.  That is precisely what PC propagandists have succeeded in doing, thanks to their takeover of the media, universities, popular culture, and many churches.  It is in the realm of culture, too, that Weltanschauung matters most.  Not all rightists are Christians or believing Jews, but if they do not look to the Judeo-Christian moral tradition for guidance, one wonders where they will find it.  That tradition and the culture it informed have been dealt what appear to be mortal blows in recent years.  If the culture war has indeed been lost, America will never again be the land some still remember.

https://www.crisismagazine.com/2012/kuehnelt-leddihn-and-american-conservatism

 

Erik von Kuehnelt-Leddihn

WORKS PUBLISHED INThe Journal of Libertarian Studies

Erik von Kuehnelt-Leddihn (1909-1999) was an Austrian nobleman and socio-political theorist who described himself as and enemy of all forms of totalitarianism and as an “extreme conservative arch-liberal” or “liberal of the extreme right.” Described as “A Walking Book of Knowledge”, Kuehnelt-Leddihn had an encyclopedic knowledge of the humanities and was a polyglot, able to speak eight languages and read seventeen others.

ALL WORKS

Monarchy and War

War and Foreign PolicyWorld HistoryPolitical Theory

05/10/2018THE JOURNAL OF LIBERTARIAN STUDIES
It is important to understand the relationship between monarchy and war, and between monarchy and warfare.

FORMATS

PDF 

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The Cultural Background of Ludwig von Mises — New Formats Available

Austrian Economics OverviewHistory of the Austrian School of Economics

Erik von Kuehnelt-Leddihn’s timeless essay “The Cultural Background of Ludwig von Mises” is now easier to read.

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The Mises and Hayek Critiques of Modern Political State

BiographiesPolitical Theory

02/02/2005AUDIO/VIDEO
Presented as part of the Austrian Workshop seminar series. Recorded on 17 November 1997.

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The Cultural Background of Ludwig von Mises

BiographiesWar and Foreign PolicyWorld HistoryHistory of the Austrian School of Economics

04/05/1997ESSAYS IN POLITICAL ECONOMY
Writing about the cultural background of Ludwig von Mises, an eminent former compatriot of mine, poses some difficulties: how to present you with a world radically different from yours, a world far away, which in many ways no longer exists.

FORMATS

Leftism: From de Sade and Marx to Hitler and Marcuse

World HistoryPolitical Theory

07/15/1974BOOKS
A comprehensive study of the major trends in leftist thought from the era of the French Revolution.
FORMATS

Liberty or Equality: The Challenge of Our Time

World HistoryPolitical Theory

03/02/1952BOOKS
In this treatise, Erik von Kuehnelt-Leddihn argues that “democratic equality” is not based upon liberty — as is commonly believed — but the total state.

FORMATS

PDF 

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The Menace of the Herd, or Procrustes at Large

Legal SystemWorld HistoryPolitical Theory

06/15/1943BOOKS
A relentless attack on the idea of mass government based on the egalitarian ethic, and its tendency toward the total state of Stalin and Hitler.

https://mises.org/profile/erik-von-kuehnelt-leddihn

Erik von Kuehnelt-Leddihn

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Erik von Kuehnelt-Leddihn
Erik von Kuehnelt-Leddihn.jpg

Photo portrait of Erik von Kuehnelt-Leddihn
Born July 31, 1909
Tobelbad (now Haselsdorf-Tobelbad), Austria-Hungary
Died May 26, 1999 (aged 89)
Lans, Austria

Erik Maria Ritter von Kuehnelt-Leddihn (born July 31, 1909 in TobelbadStyriaAustria-Hungary; died May 26, 1999, in LansTyrol) was an Austrian political scientist and journalist. Describing himself as an “extreme conservative arch-liberal” or “liberal of the extreme right”, Kuehnelt-Leddihn often argued that majority rule in democracies is a threat to individual liberties, and declared himself a monarchist and an enemy of all forms of totalitarianism, although he also supported what he defined as “non-democratic republics,” such as Switzerland and the United States.[1][not in citation given]

Described as “A Walking Book of Knowledge”, Kuehnelt-Leddihn had an encyclopedic knowledge of the humanities and was a polyglot, able to speak eight languages and read seventeen others.[2] His early books The Menace of the Herd and Liberty or Equality were influential within the American conservative movement. An associate of William F. Buckley Jr., his best-known writings appeared in National Review, where he was a columnist for 35 years.

Life

At 16, he became the Vienna correspondent of The Spectator. From then on, he wrote for the rest of his life. He studied civil and canon law at the University of Vienna at 18. Then, he went to the University of Budapest, from which he received an M.A. in economicsand his doctorate in political science. Moving back to Vienna, he took up studies in theology. In 1935, Kuehnelt-Leddihn travelled to England to become a schoolmaster at Beaumont College, a Jesuit public school. Subsequently, he moved to the United States, where he taught at Georgetown University (1937–1938), Saint Peter’s College, New Jersey (head of the History and Sociology Department, 1938–1943), Fordham University (Japanese, 1942–1943), and Chestnut Hill College, Philadelphia (1943–1947).

In a 1939 letter to the editor of The New York Times, Kuehnelt-Leddihn critiqued the design of every American coin then in circulation except for the Washington quarter, which he allowed was “so far the most satisfactory coin” and judged the Mercury dime to be “the most deplorable.”[3]

After publishing books like Jesuiten, Spießer und Bolschewiken in 1933 (published in German by Pustet, Salzburg) and The Menace of the Herd in 1943, in which he criticised the National Socialists as well as the Socialists directly OE indirectly, as he could not return to the Austria that had been incorporated into the Third Reich.

After the Second World War, he resettled in Lans, where he lived until his death.[4] He was an avid traveler: he had visited the Soviet Union in 1930–1931, and he eventually visited each of the United States.

Kuehnelt-Leddihn wrote for a variety of publications, including ChroniclesThought, the Rothbard-Rockwell ReportCatholic World, and the Norwegian business magazine Farmand. He also worked with the Acton Institute, which declared him after his death “a great friend and supporter.”[5] He was an adjunct scholar of the Ludwig von Mises Institute.[6] For much of his life, Kuehnelt was also a painter; he illustrated some of his own books.

According to his friend William F. Buckley, Dr. Kuehnelt-Leddihn was “the world’s most fascinating man.”[7]

Work

His socio-political writings dealt with the origins and the philosophical and cultural currents that formed Nazism. He endeavored to explain the intricacies of monarchist concepts and the systems of Europe, cultural movements such as Hussitism and Protestantism, and the disastrous effects of an American policy derived from antimonarchical feelings and ignorance of European culture and history.

Kuehnelt-Leddihn directed some of his most significant critiques towards Wilsonian foreign policy activism. Traces of Wilsonianism could be detected in the foreign policies of Franklin Roosevelt; specifically, the assumption that democracy is the ideal political system in any context. Kuehnelt-Leddihn believed that Americans misunderstood much of Central European culture such as the Austro-Hungarian Empire,[8] which Kuehnelt-Leddihn claimed as one of the contributing factors to the rise of Nazism. He also highlighted characteristics of the German society and culture (especially the influences of both Protestant and Catholic mentalities) and attempted to explain the sociological undercurrents of Nazism. Thus, he concludes that sound Catholicism, sound Protestantism, or even, probably, sound popular sovereignty (German-Austrian unification in 1919) all three would have prevented National Socialism although Kuehnelt-Leddihn rather dislikes the latter two.

Contrary to the prevailing view that the Nazi Party was a radical right-wing movement with only superficial and minimal leftist elements, Kuehnelt-Leddihn asserted that Nazism (National Socialism) was a strongly leftist, democratic movement ultimately rooted in the French Revolution that unleashed forces of egalitarianismconformitymaterialism and centralization.[9] He argued that Nazismfascismradical-liberalism, and communismwere essentially democratic movements, based upon inciting the masses to revolution and intent upon destroying the old forms of society. Furthermore, Kuehnelt-Leddihn claimed that all democracy is basically totalitarianand that all democracies eventually degenerate into dictatorships. He said that it was not the case for “republics” (the word, for Kuehnelt-Leddihn, has the meaning of what Aristotle calls πολιτεία), such as Switzerland, or the United States as it was originally intended in its constitution. However, he considered the United States to have been to a certain extent subject to a silent democratic revolution in the late 1820s.

In Liberty or Equality, his magnum opus, Kuehnelt-Leddihn contrasted monarchy with democracy and presented his arguments for the superiority of monarchy: diversity is upheld better in monarchical countries than in democracies. Monarchism is not based on party rule and “fits organically into the ecclesiastic and familistic pattern of Christian society.” After insisting that the demand for liberty is about how to govern and by no means by whom to govern a given country, he draws arguments for his view that monarchical government is genuinely more liberal in this sense, but democracy naturally advocates for equality, even by enforcement, and thus becomes anti-liberal.[10] As modern life becomes increasingly complicated across many different sociopolitical levels, Kuehnelt-Leddihn submits that the Scita (the political, economic, technological, scientific, military, geographical, psychological knowledge of the masses and of their representatives) and the Scienda (the knowledge in these matters that is necessary to reach logical-rational-moral conclusions) are separated by an incessantly and cruelly widening gap and that democratic governments are totally inadequate for such undertakings.

In February 1969, Kuehnelt-Leddihn wrote an article arguing against seeking a peace deal to end the Vietnam War.[11] Instead, he argued that the two options proposed, a reunification scheme and the creation of a coalition Vietnamese government, were unacceptable concessions to the Marxist North Vietnam.[11] Kuehnelt-Leddihn urged the US to continue the war.[11] until the Marxists were defeated.

Kuehnelt-Leddihn also denounced the US Bishops’ 1982 pastoral The Challenge of Peace[12] “The Bishops’ letter breathes idealism… moral imperialism, the attempt to inject theology into politics, ought to be avoided except in extreme cases, of which abolition and slavery are examples.”[12]

Writings

Novels[edit]

  • The Gates of Hell: An Historical Novel of the Present Day. London: Sheed & Ward, 1933.
  • Night Over the East. London: Sheed & Ward, 1936.
  • Moscow 1979. London: Sheed & Ward, 1940 (with Christiane von Kuehnelt-Leddihn).
  • Black Banners. Aldington, Kent: Forty-Five Press & Hand and Flower Press, 1952.

Socio-political works

  • The Menace of the Herd. Milwaukee: The Bruce Publishing Co., 1943 (under the pseudonym of “Francis S. Campell” to protect relatives in wartime Austria).
  • Liberty or Equality. Front Royal, Virginia: Christendom Press, 1952; 1993.
  • The Timeless Christian. Chicago: Franciscan Herald Press, 1969.
  • Leftism, From de Sade and Marx to Hitler and Marcuse. New Rochelle, New York: Arlington House Publishers, 1974.[13]
  • The Intelligent American’s Guide to Europe. New Rochelle, N.Y.: Arlington House Publishers, 1979.
  • Leftism Revisited, From de Sade and Marx to Hitler and Pol Pot. Washington, D.C.: Regnery Gateway, 1990.[14]

Collaborations

  • “Erik von Kuehnelt-Leddihn.” In: F.J. Sheed (Ed.), Born Catholics. New York: Sheed & Ward, 1954, pp. 220–238.
  • “Pollyanna Catholicism.” In: Dan Herr & Clem Lane (Ed.), Realities. Milwaukee: The Bruce Publishing Company, 1958, pp. 1–12.
  • “The Age of the Guillotine.” In: Stephen Tonsor (Ed.), Reflections on the French Revolution: A Hillsdale Symposium. Washington, D.C.: Regnery Gateway, 1990.

Articles

Notes and references

  1. Jump up^ Campbell, William F. “Erik Ritter von Kuehnelt-Leddihn: A Remembrance,”First Principles, September 2008.
  2. Jump up^ William F. Buckley, Jr. (1985-12-31). “A Walking Book of Knowledge”. National Review. p. 104.
  3. Jump up^ Erik v. Kuehnelt-Leddihn, Letter to the Editor, “Our Coins Criticized: Visitor Finds Artistic Faults in All Except the Quarter”, The New York Times, Nov. 26, 1939, p. 75.
  4. Jump up^ Rutler, George W. “Erik Von Kuehnelt-Leddihn,”Crisis Magazine, November 19, 2007.
  5. Jump up^ “Erik Ritter von Kuehnelt-Leddihn (1909–1999)”Acton Institute. Archived from the original on 2009-06-26. Retrieved 2009-04-16.
  6. Jump up^ Rockwell, Lew. “Remembering Erik von Kuehnelt-Leddihn“. LewRockwell.com Blog, July 31, 2008.
  7. Jump up^ “Erik Ritter von Kuehnelt-Leddih (1909–1999),”Archived2013-07-02 at the Wayback MachineReligion & Liberty9 (5), 1999, p. 3.
  8. Jump up^ Baltzersen, Jorn K. “The Last Knight of the Habsburg Empire,”Lew Rockwell, July 31, 2009.
  9. Jump up^ Congdon, Lee. “Kuehnelt-Leddihn and American Conservatism,”Crisis Magazine, March 26, 2012.
  10. Jump up^ Lukacs, John. “Erik von Kuehnelt-Leddihn: A Memoir,”The Intercollegiate Review35 (1), Fall 1999.
  11. Jump up to:abc Erik Von Kuehnelt-Leddihn “No Quick Peace In Vietnam”, National Review, February 11, 1969.
  12. Jump up to:ab Camilla J. Kari, Public Witness: The Pastoral Letters of the American Catholic Bishops: Liturgical Press, 2004. ISBN0814658334 (p. 86).
  13. Jump up^ Brownfeld, Allan C. “Leftism, by Erik von Kuehnelt-Leddihn,”The Freeman, July 1974.
  14. Jump up^ Chamberlain, John. “Leftism Revisited,”The Freeman41(7), July 1991.

Regarding personal names: Ritter is a title, translated approximately as Sir (denoting a Knight), not a first or middle name. There is no equivalent female form.

See also

Further reading

  • Nash, George H. (2006). The Conservative Intellectual Movement in America since 1945. ISI Books ISBN 9781933859125
  • Frohnen, Bruce; Jeremy Beer & Jeffrey O. Nelson (2006). American Conservatism: An Encyclopedia. ISI Books ISBN 9781932236439

External links

https://en.wikipedia.org/wiki/Erik_von_Kuehnelt-Leddihn

Classical liberalism

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Classical liberalism is a political ideology and a branch of liberalism which advocates civil liberties under the rule of law with an emphasis on economic freedom. Closely related to economic liberalism, it developed in the early 19th century, building on ideas from the previous century as a response to urbanization and to the Industrial Revolution in Europe and the United States.[1][2][3] Notable individuals whose ideas contributed to classical liberalism include John Locke,[4] Jean-Baptiste SayThomas Robert Malthus and David Ricardo. It drew on the classical economic ideas espoused by Adam Smith in Book One of The Wealth of Nations and on a belief in natural law,[5] utilitarianism[6] and progress.[7] The term “classical liberalism” was applied in retrospect to distinguish earlier 19th-century liberalism from the newer social liberalism.[8]

Evolution of core beliefs

Core beliefs of classical liberals included new ideas—which departed from both the older conservative idea of society as a family and from the later sociological concept of society as complex set of social networks. Classical liberals believe that individuals are “egoistic, coldly calculating, essentially inert and atomistic”[9] and that society is no more than the sum of its individual members.[10]

Classical liberals agreed with Thomas Hobbes that government had been created by individuals to protect themselves from each other and that the purpose of government should be to minimize conflict between individuals that would otherwise arise in a state of nature. These beliefs were complemented by a belief that laborers could be best motivated by financial incentive. This belief led to the passage of the Poor Law Amendment Act 1834, which limited the provision of social assistance, based on the idea that markets are the mechanism that most efficiently leads to wealth. Adopting Thomas Robert Malthus‘s population theory, they saw poor urban conditions as inevitable, they believed population growth would outstrip food production and they regarded that consequence desirable because starvation would help limit population growth. They opposed any income or wealth redistribution, which they believed would be dissipated by the lowest orders.[11]

Drawing on ideas of Adam Smith, classical liberals believed that it is in the common interest that all individuals be able to secure their own economic self-interest. They were critical of what would come to be the idea of the welfare state as interfering in a free market.[12]Despite Smith’s resolute recognition of the importance and value of labor and of laborers, they selectively criticized labour’s group rights being pursued at the expense of individual rights[13] while accepting corporations’ rights, which led to inequality of bargaining power.[14][15][16]

Classical liberals argued that individuals should be free to obtain work from the highest-paying employers while the profit motive would ensure that products that people desired were produced at prices they would pay. In a free market, both labor and capital would receive the greatest possible reward while production would be organized efficiently to meet consumer demand.[17]

Classical liberals argued for what they called a minimal state, limited to the following functions:

  • A government to protect individual rights and to provide services that cannot be provided in a free market.
  • A common national defense to provide protection against foreign invaders.[18]
  • Laws to provide protection for citizens from wrongs committed against them by other citizens, which included protection of private property, enforcement of contracts and common law.
  • Building and maintaining public institutions.
  • Public works that included a stable currency, standard weights and measures and building and upkeep of roads, canals, harbors, railways, communications and postal services.[18]

They asserted that rights are of a negative nature, which require other individuals (and governments) to refrain from interfering with the free market, opposing social liberals who assert that individuals have positive rights, such as the right to vote, the right to an education, the right to health care and the right to a living wage. For society to guarantee positive rights, it requires taxation over and above the minimum needed to enforce negative rights.[19][20]

Core beliefs of classical liberals did not necessarily include democracy or government by a majority vote by citizens because “there is nothing in the bare idea of majority rule to show that majorities will always respect the rights of property or maintain rule of law”.[21]For example, James Madison argued for a constitutional republic with protections for individual liberty over a pure democracy, reasoning that in a pure democracy a “common passion or interest will, in almost every case, be felt by a majority of the whole…and there is nothing to check the inducements to sacrifice the weaker party”.[22]

In the late 19th century, classical liberalism developed into neo-classical liberalism, which argued for government to be as small as possible to allow the exercise of individual freedom. In its most extreme form, neo-classical liberalism advocated Social Darwinism.[23]Right-libertarianism is a modern form of neo-classical liberalism.[23]

Friedrich Hayek’s typology of beliefs

Friedrich Hayek identified two different traditions within classical liberalism: the “British tradition” and the “French tradition”. Hayek saw the British philosophers Bernard MandevilleDavid HumeAdam SmithAdam FergusonJosiah Tucker and William Paley as representative of a tradition that articulated beliefs in empiricism, the common law and in traditions and institutions which had spontaneously evolved but were imperfectly understood. The French tradition included Jean-Jacques RousseauMarquis de Condorcet, the Encyclopedists and the Physiocrats. This tradition believed in rationalism and sometimes showed hostility to tradition and religion. Hayek conceded that the national labels did not exactly correspond to those belonging to each tradition: Hayek saw the Frenchmen MontesquieuBenjamin Constant and Alexis de Tocqueville as belonging to the “British tradition” and the British Thomas HobbesJoseph PriestleyRichard Price and Thomas Paine as belonging to the “French tradition”.[24][25] Hayek also rejected the label laissez-faireas originating from the French tradition and alien to the beliefs of Hume and Smith.

Guido De Ruggiero also identified differences between “Montesquieu and Rousseau, the English and the democratic types of liberalism”[26] and argued that there was a “profound contrast between the two Liberal systems”.[27] He claimed that the spirit of “authentic English Liberalism” had “built up its work piece by piece without ever destroying what had once been built, but basing upon it every new departure”. This liberalism had “insensibly adapted ancient institutions to modern needs” and “instinctively recoiled from all abstract proclamations of principles and rights”.[27] Ruggiero claimed that this liberalism was challenged by what he called the “new Liberalism of France” that was characterised by egalitarianism and a “rationalistic consciousness”.[28]

In 1848, Francis Lieber distinguished between what he called “Anglican and Gallican Liberty”. Lieber asserted that “independence in the highest degree, compatible with safety and broad national guarantees of liberty, is the great aim of Anglican liberty, and self-reliance is the chief source from which it draws its strength”.[29] On the other hand, Gallican liberty “is sought in government…the French look for the highest degree of political civilization in organizational, that is, in the highest degree of interference by public power”.[30]

History

Great Britain

Classical liberalism in Britain developed from Whiggery and radicalism, was also heavily influenced by French physiocracy and represented a new political ideology. Whiggery had become a dominant ideology following the Glorious Revolution of 1688 and was associated with the defence of the British Parliament, upholding the rule of law and defending landed property. The origins of rights were seen as being in an ancient constitution, which had existed from time immemorial. These rights, which some Whigs considered to include freedom of the press and freedom of speech, were justified by custom rather than by natural rights. They believed that the power of the executive had to be constrained. While they supported limited suffrage, they saw voting as a privilege rather than as a right. However, there was no consistency in Whig ideology and diverse writers including John LockeDavid HumeAdam Smith and Edmund Burke were all influential among Whigs, although none of them was universally accepted.[31]

From the 1790s to the 1820s, British radicals concentrated on parliamentary and electoral reform, emphasising natural rights and popular sovereignty. Richard Price and Joseph Priestley adapted the language of Locke to the ideology of radicalism.[31] The radicals saw parliamentary reform as a first step toward dealing with their many grievances, including the treatment of Protestant Dissenters, the slave trade, high prices and high taxes.[32]

There was greater unity to classical liberalism ideology than there had been with Whiggery. Classical liberals were committed to individualism, liberty and equal rights. They believed that required a free economy with minimal government interference. Writers such as John Bright and Richard Cobden opposed both aristocratic privilege and property, which they saw as an impediment to the development of a class of yeoman farmers. Some elements of Whiggery opposed this new thinking and were uncomfortable with the commercial nature of classical liberalism. These elements became associated with conservatism.[33]

A meeting of the Anti-Corn Law League in Exeter Hall in 1846

Classical liberalism was the dominant political theory in Britain from the early 19th century until the First World War. Its notable victories were the Catholic Emancipation Act of 1829, the Reform Act of 1832 and the repeal of the Corn Laws in 1846. The Anti-Corn Law League brought together a coalition of liberal and radical groups in support of free trade under the leadership of Richard Cobden and John Bright, who opposed militarism and public expenditure. Their policies of low public expenditure and low taxation were adopted by William Ewart Gladstone when he became Chancellor of the Exchequer and later Prime Minister. Classical liberalism was often associated with religious dissent and nonconformism.[34]

Although classical liberals aspired to a minimum of state activity, they accepted the principle of government intervention in the economy from the early 19th century with passage of the Factory Acts. From around 1840 to 1860, laissez-faire advocates of the Manchester School and writers in The Economist were confident that their early victories would lead to a period of expanding economic and personal liberty and world peace, but would face reversals as government intervention and activity continued to expand from the 1850s. Jeremy Bentham and James Mill, although advocates of laissez-faire, non-intervention in foreign affairs and individual liberty, believed that social institutions could be rationally redesigned through the principles of utilitarianism. The Conservative Prime Minister Benjamin Disraeli rejected classical liberalism altogether and advocated Tory democracy. By the 1870s, Herbert Spencer and other classical liberals concluded that historical development was turning against them.[35] By the First World War, the Liberal Party had largely abandoned classical liberal principles.[36]

The changing economic and social conditions of the 19th century led to a division between neo-classical and social (or welfare) liberals, who while agreeing on the importance of individual liberty differed on the role of the state. Neo-classical liberals, who called themselves “true liberals”, saw Locke’s Second Treatise as the best guide and emphasised “limited government” while social liberals supported government regulation and the welfare state. Herbert Spencer in Britain and William Graham Sumner were the leading neo-classical liberal theorists of the 19th century.[37] Neo-classical liberalism has continued into the contemporary era, with writers such as John Rawls.[38] The evolution from classical to social/welfare liberalism is for example reflected in Britain in the evolution of the thought of John Maynard Keynes.[39]

United States

In the United States, liberalism took a strong root because it had little opposition to its ideals, whereas in Europe liberalism was opposed by many reactionary or feudal interests such as the nobility, the aristocracy, the landed gentry, the established church and the aristocratic army officers.[40]

Thomas Jefferson adopted many of the ideals of liberalism, but in the Declaration of Independence changed Locke’s “life, liberty and property” to the more socially liberal “Life, Liberty and the pursuit of Happiness“.[4] As the United States grew, industry became a larger and larger part of American life; and during the term of its first populist PresidentAndrew Jackson, economic questions came to the forefront. The economic ideas of the Jacksonian era were almost universally the ideas of classical liberalism.[41] Freedom was maximised when the government took a “hands off” attitude toward the economy.[42]

Historian Kathleen G. Donohue argues:

[A]t the center of classical liberal theory [in Europe] was the idea of laissez-faire. To the vast majority of American classical liberals, however, laissez-faire did not mean no government intervention at all. On the contrary, they were more than willing to see government provide tariffs, railroad subsidies, and internal improvements, all of which benefited producers. What they condemned was intervention in behalf of consumers.[43]

Leading magazine The Nation espoused liberalism every week starting in 1865 under the influential editor Edwin Lawrence. Godkin (1831–1902).[44]

The ideas of classical liberalism remained essentially unchallenged until a series of depressions, thought to be impossible according to the tenets of classical economics, led to economic hardship from which the voters demanded relief. In the words of William Jennings Bryan, “You shall not crucify the American farmer on a cross of gold“. Classical liberalism remained the orthodox belief among American businessmen until the Great Depression.[45]

The Great Depression of the 1930s saw a sea change in liberalism, with priority shifting from the producers to consumers. Franklin D. Roosevelt‘s New Deal represented the dominance of modern liberalism in politics for decades. In the words of Arthur Schlesinger Jr.:[46]

When the growing complexity of industrial conditions required increasing government intervention in order to assure more equal opportunities, the liberal tradition, faithful to the goal rather than to the dogma, altered its view of the state. […] There emerged the conception of a social welfare state, in which the national government had the express obligation to maintain high levels of employment in the economy, to supervise standards of life and labour, to regulate the methods of business competition, and to establish comprehensive patterns of social security.

Alan Wolfe summarizes the viewpoint that there is a continuous liberal understanding that includes both Adam Smith and John Maynard Keynes:[47]

The idea that liberalism comes in two forms assumes that the most fundamental question facing mankind is how much government intervenes into the economy… When instead we discuss human purpose and the meaning of life, Adam Smith and John Maynard Keynes are on the same side. Both of them possessed an expansive sense of what we are put on this earth to accomplish. […] For Smith, mercantilism was the enemy of human liberty. For Keynes, monopolies were. It makes perfect sense for an eighteenth-century thinker to conclude that humanity would flourish under the market. For a twentieth century thinker committed to the same ideal, government was an essential tool to the same end.

The view that modern liberalism is a continuation of classical liberalism is not universally shared.[48] James KurthRobert E. LernerJohn MicklethwaitAdrian Wooldridge and several other political scholars have argued that classical liberalism still exists today, but in the form of American conservatism.[49] According to Deepak Lal, only in the United States does classical liberalism—through American conservatives—continue to be a significant political force.[50]

Intellectual sources

John Locke[edit]

Central to classical liberal ideology was their interpretation of John Locke‘s Second Treatise of Government and A Letter Concerning Toleration, which had been written as a defence of the Glorious Revolution of 1688. Although these writings were considered too radical at the time for Britain’s new rulers, they later came to be cited by Whigs, radicals and supporters of the American Revolution.[51] However, much of later liberal thought was absent in Locke’s writings or scarcely mentioned and his writings have been subject to various interpretations. For example, there is little mention of constitutionalism, the separation of powers and limited government.[52]

James L. Richardson identified five central themes in Locke’s writing: individualism, consent, the concepts of the rule of law and government as trustee, the significance of property and religious toleration. Although Locke did not develop a theory of natural rights, he envisioned individuals in the state of nature as being free and equal. The individual, rather than the community or institutions, was the point of reference. Locke believed that individuals had given consent to government and therefore authority derived from the people rather than from above. This belief would influence later revolutionary movements.[53]

As a trustee, government was expected to serve the interests of the people, not the rulers; and rulers were expected to follow the laws enacted by legislatures. Locke also held that the main purpose of men uniting into commonwealths and governments was for the preservation of their property. Despite the ambiguity of Locke’s definition of property, which limited property to “as much land as a man tills, plants, improves, cultivates, and can use the product of”, this principle held great appeal to individuals possessed of great wealth.[54]

Locke held that the individual had the right to follow his own religious beliefs and that the state should not impose a religion against Dissenters, but there were limitations. No tolerance should be shown for atheists, who were seen as amoral, or to Catholics, who were seen as owing allegiance to the Pope over their own national government.[55]

Adam Smith

Adam Smith‘s The Wealth of Nations, published in 1776, was to provide most of the ideas of economics, at least until the publication of John Stuart Mill‘s Principles of Political Economy in 1848.[56] Smith addressed the motivation for economic activity, the causes of prices and the distribution of wealth and the policies the state should follow to maximise wealth.[57]

Smith wrote that as long as supply, demand, prices and competition were left free of government regulation, the pursuit of material self-interest, rather than altruism, would maximise the wealth of a society[58] through profit-driven production of goods and services. An “invisible hand” directed individuals and firms to work toward the public good as an unintended consequence of efforts to maximise their own gain. This provided a moral justification for the accumulation of wealth, which had previously been viewed by some as sinful.[57]

He assumed that workers could be paid wages as low as was necessary for their survival, which was later transformed by David Ricardo and Thomas Robert Malthus into the “iron law of wages“.[59] His main emphasis was on the benefit of free internal and international trade, which he thought could increase wealth through specialisation in production.[60] He also opposed restrictive trade preferences, state grants of monopolies and employers’ organisations and trade unions.[61] Government should be limited to defence, public works and the administration of justice, financed by taxes based on income.[62]

Smith’s economics was carried into practice in the nineteenth century with the lowering of tariffs in the 1820s, the repeal of the Poor Relief Act that had restricted the mobility of labour in 1834 and the end of the rule of the East India Company over India in 1858.[63]

Classical economics

In addition to Smith’s legacy, Say’s lawThomas Robert Malthus‘ theories of population and David Ricardo‘s iron law of wages became central doctrines of classical economics. The pessimistic nature of these theories provided a basis for criticism of capitalism by its opponents and helped perpetuate the tradition of calling economics the “dismal science“.[64]

Jean-Baptiste Say was a French economist who introduced Smith’s economic theories into France and whose commentaries on Smith were read in both France and Britain.[63] Say challenged Smith’s labour theory of value, believing that prices were determined by utility and also emphasised the critical role of the entrepreneur in the economy. However, neither of those observations became accepted by British economists at the time. His most important contribution to economic thinking was Say’s law, which was interpreted by classical economists that there could be no overproduction in a market and that there would always be a balance between supply and demand.[65] This general belief influenced government policies until the 1930s. Following this law, since the economic cycle was seen as self-correcting, government did not intervene during periods of economic hardship because it was seen as futile.[66]

Malthus wrote two books, An Essay on the Principle of Population (published in 1798) and Principles of Political Economy (published in 1820). The second book which was a rebuttal of Say’s law had little influence on contemporary economists.[67] However, his first book became a major influence on classical liberalism. In that book, Malthus claimed that population growth would outstrip food production because population grew geometrically while food production grew arithmetically. As people were provided with food, they would reproduce until their growth outstripped the food supply. Nature would then provide a check to growth in the forms of vice and misery. No gains in income could prevent this and any welfare for the poor would be self-defeating. The poor were in fact responsible for their own problems which could have been avoided through self-restraint.[68]

Ricardo, who was an admirer of Smith, covered many of the same topics, but while Smith drew conclusions from broadly empirical observations he used deduction, drawing conclusions by reasoning from basic assumptions [69] While Ricardo accepted Smith’s labour theory of value, he acknowledged that utility could influence the price of some rare items. Rents on agricultural land were seen as the production that was surplus to the subsistence required by the tenants. Wages were seen as the amount required for workers’ subsistence and to maintain current population levels.[70] According to his iron law of wages, wages could never rise beyond subsistence levels. Ricardo explained profits as a return on capital, which itself was the product of labour, but a conclusion many drew from his theory was that profit was a surplus appropriated by capitalists to which they were not entitled.[71]

Utilitarianism

Utilitarianism provided the political justification for implementation of economic liberalism by British governments, which was to dominate economic policy from the 1830s. Although utilitarianism prompted legislative and administrative reform and John Stuart Mill‘s later writings on the subject foreshadowed the welfare state, it was mainly used as a justification for laissez-faire.[72]

The central concept of utilitarianism, which was developed by Jeremy Bentham, was that public policy should seek to provide “the greatest happiness of the greatest number”. While this could be interpreted as a justification for state action to reduce poverty, it was used by classical liberals to justify inaction with the argument that the net benefit to all individuals would be higher.[64]

Political economy

Classical liberals saw utility as the foundation for public policies. This broke both with conservative “tradition” and Lockean “natural rights”, which were seen as irrational. Utility, which emphasises the happiness of individuals, became the central ethical value of all liberalism.[73] Although utilitarianism inspired wide-ranging reforms, it became primarily a justification for laissez-faire economics. However, classical liberals rejected Smith’s belief that the “invisible hand” would lead to general benefits and embraced Malthus’ view that population expansion would prevent any general benefit and Ricardo’s view of the inevitability of class conflict. Laissez-faire was seen as the only possible economic approach and any government intervention was seen as useless and harmful. The Poor Law Amendment Act 1834 was defended on “scientific or economic principles” while the authors of the Elizabethan Poor Law of 1601 were seen as not having had the benefit of reading Malthus.[74]

However, commitment to laissez-faire was not uniform and some economists advocated state support of public works and education. Classical liberals were also divided on free trade as Ricardo expressed doubt that the removal of grain tariffs advocated by Richard Cobden and the Anti-Corn Law League would have any general benefits. Most classical liberals also supported legislation to regulate the number of hours that children were allowed to work and usually did not oppose factory reform legislation.[74]

Despite the pragmatism of classical economists, their views were expressed in dogmatic terms by such popular writers as Jane Marcet and Harriet Martineau.[74] The strongest defender of laissez-faire was The Economist founded by James Wilson in 1843. The Economist criticised Ricardo for his lack of support for free trade and expressed hostility to welfare, believing that the lower orders were responsible for their economic circumstances. The Economist took the position that regulation of factory hours was harmful to workers and also strongly opposed state support for education, health, the provision of water and granting of patents and copyrights.[75]

The Economist also campaigned against the Corn Laws that protected landlords in the United Kingdom of Great Britain and Ireland against competition from less expensive foreign imports of cereal products. A rigid belief in laissez-faire guided the government response in 1846–1849 to the Great Famine in Ireland, during which an estimated 1.5 million people died. The minister responsible for economic and financial affairs, Charles Wood, expected that private enterprise and free trade, rather than government intervention, would alleviate the famine.[75] The Corn Laws were finally repealed in 1846 by the removal of tariffs on grain which kept the price of bread artificially high,[76] but it came too late to stop the Irish famine, partly because it was done in stages over three years.[77][78]

Free trade and world peace

Several liberals, including Smith and Cobden, argued that the free exchange of goods between nations could lead to world peace. Erik Gartzke states: “Scholars like Montesquieu, Adam Smith, Richard Cobden, Norman Angell, and Richard Rosecrance have long speculated that free markets have the potential to free states from the looming prospect of recurrent warfare”.[79] American political scientists John R. Oneal and Bruce M. Russett, well known for their work on the democratic peace theory, state:[80]

The classical liberals advocated policies to increase liberty and prosperity. They sought to empower the commercial class politically and to abolish royal charters, monopolies, and the protectionist policies of mercantilism so as to encourage entrepreneurship and increase productive efficiency. They also expected democracy and laissez-faire economics to diminish the frequency of war.

In The Wealth of Nations, Smith argued that as societies progressed from hunter gatherers to industrial societies the spoils of war would rise, but that the costs of war would rise further and thus making war difficult and costly for industrialised nations:[81]

[T]he honours, the fame, the emoluments of war, belong not to [the middle and industrial classes]; the battle-plain is the harvest field of the aristocracy, watered with the blood of the people…Whilst our trade rested upon our foreign dependencies, as was the case in the middle of the last century…force and violence, were necessary to command our customers for our manufacturers…But war, although the greatest of consumers, not only produces nothing in return, but, by abstracting labour from productive employment and interrupting the course of trade, it impedes, in a variety of indirect ways, the creation of wealth; and, should hostilities be continued for a series of years, each successive war-loan will be felt in our commercial and manufacturing districts with an augmented pressure

[B]y virtue of their mutual interest does nature unite people against violence and war, for the concept of concept of cosmopolitan right does not protect them from it. The spirit of trade cannot coexist with war, and sooner or later this spirit dominates every people. For among all those powers (or means) that belong to a nation, financial power may be the most reliable in forcing nations to pursue the noble cause of peace (though not from moral motives); and wherever in the world war threatens to break out, they will try to head it off through mediation, just as if they were permanently leagued for this purpose.

Cobden believed that military expenditures worsened the welfare of the state and benefited a small, but concentrated elite minority, summing up British imperialism, which he believed was the result of the economic restrictions of mercantilist policies. To Cobden and many classical liberals, those who advocated peace must also advocate free markets. The belief that free trade would promote peace was widely shared by English liberals of the 19th and early 20th century, leading the economist John Maynard Keynes (1883–1946), who was a classical liberal in his early life, to say that this was a doctrine on which he was “brought up” and which he held unquestioned only until the 1920s.[84] In his review of a book on Keynes, Michael S. Lawlor argues that it may be in large part due to Keynes’ contributions in economics and politics, as in the implementation of the Marshall Plan and the way economies have been managed since his work, “that we have the luxury of not facing his unpalatable choice between free trade and full employment”.[85] A related manifestation of this idea was the argument of Norman Angell (1872–1967), most famously before World War I in The Great Illusion (1909), that the interdependence of the economies of the major powers was now so great that war between them was futile and irrational; and therefore unlikely.

See also

References

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

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July 16, 2010, 10:09 am