Dark Ages America: The Final Phase of Empire (Decline of the by Morris Berman

By Morris Berman

In Dark a long time America, the pundit Morris Berman argues that the kingdom has entered a perilous section in its historic improvement from which there's no go back.

As the corporate-consumerist juggernaut that now defines the kingdom rolls on, the very components that after propelled the USA to greatness—extreme individualism, territorial and financial enlargement, and the pursuit of fabric wealth—are, mockingly, the nails in our collective coffin.

Within a couple of a long time, Berman argues, the USA might be marginalized at the global degree, its hegemony changed through China or the eu Union. With the U.S. only one terrorist assault clear of a police country, Berman's booklet is a debatable and illuminating examine our present society and its ills.

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Extra info for Dark Ages America: The Final Phase of Empire (Decline of the American Empire, Book 2)

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The distribution of film reels for the Panoram was exclusive to the Soundies Distributing Corporation of America, which released nearly two thousand Soundies during the company’s seven years of operation. Yet even early press lauding the Panoram as the next sure thing expressed some reservations about the quality of the product. ”8 Indeed, novelty and topicality were the primary operatives of the Soundie, with vaudeville-style acts, burlesque numbers such as Sally Rand’s “The Bubble Dance,” a flurry of numbers related to World War II, and comedy titles such as “Who Threw the Turtle in Mrs.

Some of these shorts are indistinguishable from Soundies in terms of their props, costuming, and lyric-based scenarios. Many telescriptions, however, filmed and recorded sound simultaneously in simple studio settings, resulting in significant shifts in tone and address. “Home,” a Snader Telescription by Nat “King” Cole feels markedly more intimate than some of his more elaborate Soundies; the tracks appear to be recorded directly, and the bare set and close camera work resemble a live televised performance.

Scopitones was far smaller than that of the French; artists included Debbie Reynolds, Nancy Sinatra, Neil Sedaka, Lou Rawls, Della Reese, January Jones, and the Hondells. The industry response to Scopitones, as to Soundies, often contained thinly veiled skepticism. 32 In an explicit attempt not to challenge the domain of the music-only jukebox, Scopitone avoided appeals to the burgeoning youth market. As Billboard assessed Harman-ee’s strategy: Programming is based on the theory that the machines will be placed in adult locations and that grown-ups want to hear familiar artists singing familiar songs.

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