Potrzebie
Tuesday, July 10, 2012
Philip K. Dick's Washington, D.C.
Jeff Sypeck (Becoming Charlemagne) wanders around Philip K. Dick's Washington neighborhood, mentions the peculiar PKD synchronicity I experienced there and provides pictures of PKD's D.C. haunts. In 2008, I wrote about that mystical 1970 event here.
“In Washington, summer is a horror beyond the telling of it,” wrote Philip K. Dick in his 1968 “Self Portrait,” echoing the more effable sentiments of sweat-soaked D.C. residents this week. Dick is so associated with California—he spent nearly his entire life there—that few science-fiction readers, and almost no Washingtonians, remember that in the late 1930s, the budding author and his mother lived in the Cleveland Park neighborhood, or that Dick’s three years here echo in his work.
To continue reading Jeff Sypeck, go here.
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Photo © Jeff Sypeck
Jeff Sypeck (Becoming Charlemagne) wanders around Philip K. Dick's Washington neighborhood, mentions the peculiar PKD synchronicity I experienced there and provides pictures of PKD's D.C. haunts. In 2008, I wrote about that mystical 1970 event here.
Quid plura?
by Jeff Sypeck
“In Washington, summer is a horror beyond the telling of it,” wrote Philip K. Dick in his 1968 “Self Portrait,” echoing the more effable sentiments of sweat-soaked D.C. residents this week. Dick is so associated with California—he spent nearly his entire life there—that few science-fiction readers, and almost no Washingtonians, remember that in the late 1930s, the budding author and his mother lived in the Cleveland Park neighborhood, or that Dick’s three years here echo in his work.
Dick’s novel Puttering About in a Small Land, written in 1957 but published posthumously in 1985, views several D.C. landmarks through the gauzy lens of personal mythology. Despite his prolificity and unabashed weirdness, Dick craved mainstream success, and he grounds an early sequence in Puttering About, a realistic tale of infidelity and doomed postwar dreams, in actual Washington places: Rock Creek Park, Massachusetts Avenue, and the Tidal Basin, which a character imbues with her own anxieties:
In keeping with Dick’s real life, the action in Puttering About soon switches to California, but Washington remains a place of origin and a repository for obsessive memory. In the 1966 novel Now Wait for Last Year, Dick returns to Cleveland Park—naturally, by way of Mars.To her the Tidal Basin and the trees had a mysterious quality; they kept the countryside here in the center of the city, as if it could not be completely suppressed. Actually she was afraid of the Tidal Basin; it was part of the lines and pools of water that had cut into the ground by the coast, the canals and rivers and streams; Rock Creek itself, and of course the Potomac. When she came near the Potomac she believed she had been removed completely away from the present; she did not accept the fact that the Potomac existed in the modern world.
To continue reading Jeff Sypeck, go here.
Labels: android, d.c., philip k. dick, pkd, Sypeck
¶ 4:07 PM 0 comments
Monday, May 07, 2012
Sunday, May 08, 2011
Labels: keep calm and carry on, pkd
¶ 1:41 PM 2 comments
Wednesday, January 12, 2011
Bring Me the Head of Philip K. Dick
The first robot head of Philip K. Dick vanished mysteriously. Better is this new one, built by Hanson Robotics and Dutch public broadcasters VPRO.
The text at the beginning is from a 1981 interview: "My books are forgeries. Nobody wrote them. I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation.
That is followed by this passage from Ubik:
¶ 5:49 PM 0 comments
The first robot head of Philip K. Dick vanished mysteriously. Better is this new one, built by Hanson Robotics and Dutch public broadcasters VPRO.
The text at the beginning is from a 1981 interview: "My books are forgeries. Nobody wrote them. I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation.
That is followed by this passage from Ubik:
Friday, November 27, 2009
Model railroads #1: David Lynch presents Interview Project
For "Mr. Siebert" (running time: 5:06), click here: InterviewProject.com "Mr. Siebert" is episode 50 in Interview Project, directed by Austin Lynch and Jason S. They interviewed 121 people during a 70-day road trip covering 20,000 miles. Their film notes:
For "Mr. Siebert" (running time: 5:06), click here: InterviewProject.com "Mr. Siebert" is episode 50 in Interview Project, directed by Austin Lynch and Jason S. They interviewed 121 people during a 70-day road trip covering 20,000 miles. Their film notes:
While driving through Camp Hill, Pennsylvania, we came across a young woman who told us about Mr. Siebert and his trolley cars. We found his house and rang the bell. Mr. Siebert answered the door and led us into his basement to show us the Venango Traction Company - his trolley layout in quarter-inch scale. Mr. Siebert is a retired environmental engineer who spent most of his life working with the water department. His wife passed away 14 years ago and he has been living alone ever since. Aside from daily walks, his trolley line is what keeps him busy and he works on it almost every night.
Discussion of this episode. Much like Wash-35 in Philip K. Dick's Now Wait for Last Year, Mr. Siebert has reconstructed his childhood in a physical form.
Labels: austin lynch, busse, david lynch, interview project, jason s., mr. siebert, pkd
¶ 11:45 AM 0 comments
Friday, October 30, 2009
Bob Dylan Comics
November 16 is the publication date of the English language edition of Bob Dylan Revisited featuring visual interpretations of Dylan's lyrics by more than a dozen top international illustrators. Below are some preview pages. The clip is from a Canadian television series, Quest (February 1, 1964). François Avril's site (with the "Girl of the North Country" roughs) is here.
Bob Dylan Revisited contents:
"Blowin' in the Wind" interpreted by Thierry Muraty
"A Hard Rain's A-Gonna Fall" interpreted by Lorenzo Mattotti
"I Want You" interpreted by Nicolas Nemiri
"Girl of the North Country" interpreted by François Avril
"Lay, Lady, Lay" interpreted by Jean-Claude Götting
"Positively 4th Street" interpreted by Christopher
"Tombstone Blues" interpreted by Bézian
"Desolation Row" interpreted by Dave McKean
"Like a Rolling Stone" interpreted by Alfred (drawings), Raphaëlle Le Rio, Maël Le Maé (scenario) and Henri Meunier (color)
"Hurricane" interpreted by Gradimir Smudja
"Blind Willie McTell" interpreted by Benjamin Flao
"Knockin' on Heaven's Door" interpreted by Jean-Philippe Bramanti
"Not Dark Yet" interpreted by Zep
I'm a-wonderin' if she remembers me at all.
Many times I've often prayed
In the darkness of my night,
In the brightness of my day.
So if you're travelin' in the north country fair,
Where the winds hit heavy on the borderline,
Remember me to one who lives there.
She once was a true love of mine.
The Black Crowes in Moscow (1991)
Unfortunately, the creative highs seen above must conclude with a sad footnote on the downward spiral of Dylan music critic/biographer, PKD authority, Crawdaddy creator and past pal Paul Williams, who soared in print with illuminations like lightning over water. I remember the day he pointed out to me the "time differential" pun he viewed as the key sentence in The Crying of Lot 49: "She knew that the sailor had seen worlds no other man had seen if only because there was that high magic to low puns, because DT's must give access to dt's of spectra beyond the known sun, music made purely of Antarctic loneliness and fright."
November 16 is the publication date of the English language edition of Bob Dylan Revisited featuring visual interpretations of Dylan's lyrics by more than a dozen top international illustrators. Below are some preview pages. The clip is from a Canadian television series, Quest (February 1, 1964). François Avril's site (with the "Girl of the North Country" roughs) is here.
Bob Dylan Revisited contents:
"Blowin' in the Wind" interpreted by Thierry Muraty
"A Hard Rain's A-Gonna Fall" interpreted by Lorenzo Mattotti
"I Want You" interpreted by Nicolas Nemiri
"Girl of the North Country" interpreted by François Avril
"Lay, Lady, Lay" interpreted by Jean-Claude Götting
"Positively 4th Street" interpreted by Christopher
"Tombstone Blues" interpreted by Bézian
"Desolation Row" interpreted by Dave McKean
"Like a Rolling Stone" interpreted by Alfred (drawings), Raphaëlle Le Rio, Maël Le Maé (scenario) and Henri Meunier (color)
"Hurricane" interpreted by Gradimir Smudja
"Blind Willie McTell" interpreted by Benjamin Flao
"Knockin' on Heaven's Door" interpreted by Jean-Philippe Bramanti
"Not Dark Yet" interpreted by Zep
"Blowin' in the Wind"
"A Hard Rain's A-Gonna Fall"
"I Want You"
"Girl of the North Country"
I'm a-wonderin' if she remembers me at all.
Many times I've often prayed
In the darkness of my night,
In the brightness of my day.
So if you're travelin' in the north country fair,
Where the winds hit heavy on the borderline,
Remember me to one who lives there.
She once was a true love of mine.
"Lay, Lady, Lay"
"Desolation Row"
"Like a Rolling Stone"
"Hurricane"
"Blind Willie McTell"
"Knockin' on Heaven's Door"
"Not Dark Yet"
Also see "Rainy Day Women #12 & 35" by Flemish cartoonist Kim Duchateau:
The Black Crowes in Moscow (1991)
Unfortunately, the creative highs seen above must conclude with a sad footnote on the downward spiral of Dylan music critic/biographer, PKD authority, Crawdaddy creator and past pal Paul Williams, who soared in print with illuminations like lightning over water. I remember the day he pointed out to me the "time differential" pun he viewed as the key sentence in The Crying of Lot 49: "She knew that the sailor had seen worlds no other man had seen if only because there was that high magic to low puns, because DT's must give access to dt's of spectra beyond the known sun, music made purely of Antarctic loneliness and fright."
Labels: avril, bob dylan, crawdaddy, duchateau, mattotti, mckean, paul williams, pkd, zep
¶ 12:16 PM 1 comments
Wednesday, October 28, 2009
The BigDog Whisperer
Who let the bots out? Boston Dynamics
Who let the bots out? Boston Dynamics
Labels: bigdog, boston dynamics, littledog, petman, pkd, uncanny valley
¶ 9:48 AM 2 comments
Tuesday, August 25, 2009
Lovely Bones
What if we are all robots, only we don't know it?
Visit Eccerobot (Embodied Cognition in a Compliantly Engineered Robot), home of Cronos, the anthropomimetic robot. Also see the Cronos Project.
What if we are all robots, only we don't know it?
Visit Eccerobot (Embodied Cognition in a Compliantly Engineered Robot), home of Cronos, the anthropomimetic robot. Also see the Cronos Project.
Labels: ai, anatomy, android, bones, cronos, ecce, new scientist, pkd, robot
¶ 9:42 AM 0 comments
Wednesday, August 06, 2008
Charles Van Doren and the Rip in the Fabric of Reality
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Charles Van Doren finally surfaced at last with his side of the quiz show scandals in an engaging essay, “All the Answers” (The New Yorker, July 28). That long-awaited memoir prompts me to dust off the 23-year-old article you see below.
In 1985 I began writing a letter to Paul Williams' Philip K. Dick Society Newsletter, but as I typed on the IBM Selectric, the letter expanded and began to seem more like an article. With that in mind, I gave it a title and submitted it as an article. I sent the only copy to Paul, who never published it. However, instead of returning the only copy to me, he sent it to the reader whose comment about the 1968 movie Project X ("sure sounds like Time Out of Joint") had prompted my article (dated May 5, 1985). Years passed, and I thought of it as a lost article. Then miraculously, it appeared on the Internet during the 1990s, and I grabbed it. Here it is (with some alterations)…
Several films have “fake construct” plots similar to Philip K. Dick’s Time Out of Joint, and some may have been directly inspired by Dick’s novel.
In William Castle’s Project X (1968) agent Hagen Arnold (Christopher George), in the year 2118, has a message that Sino-Asia will wipe out the West in 14 days, but details of the weaponry are not available when Arnold returns to the USA with his memory erased. A scientific team, under the direction of Dr. Crowther (Henry Jones), in hopes of getting the weapon information, constructs a fake 1960s environment and makes Arnold believe he is living in that period. To keep Arnold in the construct area, he is given the false knowledge that he is a bank robber, hiding out with other gang members at an isolated farmhouse. In reality, the other members of the gang are Crowther and his team.
Karen Summers (Greta Baldwin) unexpectedly turns up in the construct area, creating rips in the fake reality fabric, and another agent, Gregory Gallea (Monte Markham), also returns from Sino-Asia. Crowther turns his attentions to Gallea as a possible solution to the mystery weapon, but Gallea is destroyed by a mass of subconscious "brain energy." Although the Sinoese plan never works, it is revealed that the secret weapon is Hagen Arnold himself. He is a carrier of plague germs.
The Psychotronic Encyclopedia of Film entry failed to point out that Project X is of interest to animation buffs because the animated Hanna-Barbera sequence was designed by comics illustrator Alex Toth who worked on much of the Hanna-Barbera output between 1964 and 1968 (Johnny Quest, Space Ghost, Herculoids). The screenplay for Project X was by Edmund Morris, who earlier did the screenplay adaptation of Nelson Algren's A Walk On The Wild Side (1962).
Charles Van Doren, Jack Barry and Herb Stempel on Twenty-One. Assistants on the show were the identical twins Arlene and Ardell Terry. Page from Humbug by Will Elder and Harvey Kurtzman.
Charles Van Doren finally surfaced at last with his side of the quiz show scandals in an engaging essay, “All the Answers” (The New Yorker, July 28). That long-awaited memoir prompts me to dust off the 23-year-old article you see below.
In 1985 I began writing a letter to Paul Williams' Philip K. Dick Society Newsletter, but as I typed on the IBM Selectric, the letter expanded and began to seem more like an article. With that in mind, I gave it a title and submitted it as an article. I sent the only copy to Paul, who never published it. However, instead of returning the only copy to me, he sent it to the reader whose comment about the 1968 movie Project X ("sure sounds like Time Out of Joint") had prompted my article (dated May 5, 1985). Years passed, and I thought of it as a lost article. Then miraculously, it appeared on the Internet during the 1990s, and I grabbed it. Here it is (with some alterations)…
Several films have “fake construct” plots similar to Philip K. Dick’s Time Out of Joint, and some may have been directly inspired by Dick’s novel.In William Castle’s Project X (1968) agent Hagen Arnold (Christopher George), in the year 2118, has a message that Sino-Asia will wipe out the West in 14 days, but details of the weaponry are not available when Arnold returns to the USA with his memory erased. A scientific team, under the direction of Dr. Crowther (Henry Jones), in hopes of getting the weapon information, constructs a fake 1960s environment and makes Arnold believe he is living in that period. To keep Arnold in the construct area, he is given the false knowledge that he is a bank robber, hiding out with other gang members at an isolated farmhouse. In reality, the other members of the gang are Crowther and his team.
Karen Summers (Greta Baldwin) unexpectedly turns up in the construct area, creating rips in the fake reality fabric, and another agent, Gregory Gallea (Monte Markham), also returns from Sino-Asia. Crowther turns his attentions to Gallea as a possible solution to the mystery weapon, but Gallea is destroyed by a mass of subconscious "brain energy." Although the Sinoese plan never works, it is revealed that the secret weapon is Hagen Arnold himself. He is a carrier of plague germs.The Psychotronic Encyclopedia of Film entry failed to point out that Project X is of interest to animation buffs because the animated Hanna-Barbera sequence was designed by comics illustrator Alex Toth who worked on much of the Hanna-Barbera output between 1964 and 1968 (Johnny Quest, Space Ghost, Herculoids). The screenplay for Project X was by Edmund Morris, who earlier did the screenplay adaptation of Nelson Algren's A Walk On The Wild Side (1962).
Project X was adapted from two novels by British sf/thriller/fantasy/horror writer Leslie P. Davies - Psychogeist (1966) and The Artificial Man (1965), with the latter providing the main Dickian-like plotline of the film, the secret agent in a fake construct environment.
The Groundstar Conspiracy (1972), also with an amnesiac agent, was adapted from Davies' The Alien (1968), and his first novel, The Paper Dolls (1964), became a 1968 made-for-tv movie with the same title. The Science Fiction Encyclopedia notes that The Artificial Man and Davies' Man Out Of Nowhere (aka Who Is Lewis Pinder?) are "both possible delusional-frame tales."
When Stuart Lowery, in chapter three of Time Out of Joint, arrives at Ragle's house to discuss Ragle's contest entries ("I know it's just an oversight on your part..."). the scene is remarkably similar to the manner in which quiz show contestants were prompted in advance. Some contestants were visited in their homes by producers and asked questions, but they were not always told that these same questions would later be asked when the show went on the air. On other cases, such as Xavier Cugat's appearances as an art expert on The $64,000 Question, questions would be drawn from a background file on the contestant and written to fit what was known about the contestant's scope of knowledge. Other contestants knew they were participating in fraud, and while one or two later revealed they came close to exposing the fraud on the air during live shows, no one ever did.
One contestant, Arthur Cohn who appeared on The $64,000 Challenge (3/23/58), did write a letter exposing the show, mimeographed it and mailed it to 25 of his friends. But most were like Ragle Gumm; "This was the secret compact between himself and the contest people... No one else, to his knowledge, had this privilege. It was for the one simple purpose of keeping him in the contest... it was his secret and the contest people's secret. And neither of them had any motive to air it publicly."
Sponsored by Revlon, The $64,000 Question began 6/8/55. Revlon's sales soared. At the Subcommittee hearings investigating quiz shows, Revlon vice-president of advertising George Abrams gave a sworn statement: "The primary purpose of the meeting was to keep the ratings high, or raise them, and so, consistent with this purpose, a great deal of time was devoted to discussing the destiny of a contestant... " And Ragle, unaware of how he is being manipulated, "had become valuable from the standpoint of publicity. Why the public would want the same person to win over and over again he did not know. Obviously, if he won he won over the other contenders. But that was the manner of the public mind. They recognized his name. As it was explained to him, the theory went that the public liked to see a name they could identify. They resisted change."
In chapter two, when Bill Black and Ragle examine the Gazette with its "line of photos of men and women" who were contest winners, the description matches the visual layouts of quiz show winners seen in 1956-57 magazines and newspapers. Although PKD never mentions the quiz shows in Time Out of Joint, one passage in chapter two almost heads in that direction: "Costs ran higher - he had figured one day - than the famous Old Gold contest of the mid-thirties or the perennial 'I use Oxydol soap because in 25 words or less' contests. But evidently it built circulation, in these times when the average man read comic books and watched..." Watched what? Well, back then, everyone was watching the quiz shows. So, after the ellipsis, PKD veered in another direction: "I'm getting like Bill Black, Ragle thought. Knocking TV. It's a national pastime in itself." He took a detour to avoid getting too close to his springboard source, the television quiz shows.
The Groundstar Conspiracy (1972), also with an amnesiac agent, was adapted from Davies' The Alien (1968), and his first novel, The Paper Dolls (1964), became a 1968 made-for-tv movie with the same title. The Science Fiction Encyclopedia notes that The Artificial Man and Davies' Man Out Of Nowhere (aka Who Is Lewis Pinder?) are "both possible delusional-frame tales."
©WMG
Project X gets favorable coverage in John Stanley's Creature Feature Movie Guide and the British Film Institute's Monthly Film Bulletin, but Robin Cross in The Big Book of B Movies (St. Martin's, 1981) comments that Hagen Arnold's "need to lie low allows Castle the maximum use of the cheapest possible location, although it puts some strain on the creaking plot. The scientist guardians, moving around uneasily in their 1960s clothes, have received only the sketchiest of briefings: the female member has no idea what you do with a potato. Nevertheless, our hero, who just happens to be an expert on the history of the 1960s, remains too befuddled to penetrate the transparent deception." An excellent still from Project X, apparently from the hallucinatory sequence, can be seen in The Big Book Of B Movies.
George Seaton's 36 Hours (1964), in which James Garner comes out of a coma in a fake Allied hospital set up by the Nazis, is based on Roald Dahl's "Beware of the Dog," plus a story by Carl K. Hittleman and Luis H. Vance. Another related story, possibly one PKD could have read, is "4th Degree," illustrated by Jack Kamen and written by Otto Binder for EC's Weird Science-Fantasy (January- February 1955) and obviously influenced heavily by George Orwell: Val Draper, in the repressive world of 2039, finds forbidden "books... among the ruins" and then travels back to 1954 to spread a warning about the dictatorship of the future, holding a press conference in his 1954 hospital room. However, it's a fake; everyone around him is involved in the deception. Draper is convicted of treason and shot.
Based on internal evidence, the fakery on the 1950s rigged television quiz shows was Philip K. Dick’s springboard to plot Time Out of Joint, and references to such are buried throughout the novel. In chapter two, when Vic calls Ragle Gumm "the Charles Van Doren of the newspaper contests," Ragle responds, "I consider that a compliment."
Dick wrote Time Out of Joint in the winter of 1957-58, sent it to Lippincott (April 1958), where it was purchased July 1958 and published in the spring of 1959. Like Ragle, the quiz show contestants who won week after week were celebrities, and the most famous was Van Doren, who appeared on NBC's Twenty-One beginning November 1956, replacing contestant Herb Stempel. The show was promoted that week by NBC with spots asking, "Will Herb Stempel crack the $100,000 mark?" Ragle's contest asked, "Where will the Little Green Man be next?"
Van Doren appeared on the front cover of the February 11, 1957 issue of Time, and he remained on Twenty-One until March. Although the quiz show scandals did not take off until charges by Stempel were published August 28, 1958, there were hints throughout 1957, beginning with a January Variety story about Dale Logue's suit against The Big Surprise and her claim that it was not "a true test of skill."
After Time asked, "Are the quiz shows rigged?" (4/22/57), Look (8/20/57) asked, "Are the TV Quiz Shows Fixed?" and then answered, "It may be more accurate to say that they are controlled or partially controlled." The New York Times (12/57) stated, "Despite diligent research, nobody has yet turned up evidence that the fix is in on any of the big money quizzes."
Then, on 8/16/58 there was the mysterious cancellation of Dotto by CBS, followed by Stempel's 8/28/58 charges (which suddenly brought Van Doren under suspicion), a denial on Twenty-One (9/8/58) by the show's host and co-producer Jack Barry, a grand jury investigation of the quiz shows (beginning 9/17/58), a press conference (9/27/58) by contestant Richard Snodgrass who stated he had been supplied with answers on Twenty-One, a statement (10/10/58) by Van Doren that he "had not been given questions or answers," and the cancellation (10/17/58) of Twenty-One. On 1/20/59 Jack Barry and his co-producer Dan Enright refused to testify before the grand jury. These were the events prior to the publication of Time Out of Joint. There were other behind-the-scenes events, but the sequence above is what surfaced in the media.
Then, on 8/16/58 there was the mysterious cancellation of Dotto by CBS, followed by Stempel's 8/28/58 charges (which suddenly brought Van Doren under suspicion), a denial on Twenty-One (9/8/58) by the show's host and co-producer Jack Barry, a grand jury investigation of the quiz shows (beginning 9/17/58), a press conference (9/27/58) by contestant Richard Snodgrass who stated he had been supplied with answers on Twenty-One, a statement (10/10/58) by Van Doren that he "had not been given questions or answers," and the cancellation (10/17/58) of Twenty-One. On 1/20/59 Jack Barry and his co-producer Dan Enright refused to testify before the grand jury. These were the events prior to the publication of Time Out of Joint. There were other behind-the-scenes events, but the sequence above is what surfaced in the media.
Surely PKD must have been fascinated with this manipulated reality. In Reflections In A Bloodshot Eye (1975) Robert Metz quotes an unnamed "quiz-show entrepreneur... who never went into the business of producing big-money shows": "Anybody who knew anything about this business had to understand that you couldn't maintain that kind of hyperbolic drama with real people without fixing the shows... It became unbelievable that a person who had no money at all would risk, say, $8000. To build the suspense, you had to screw around with reality... The money for the producers came from success, the successful attempts to fake reality: building tension artificially, taking advantage of the public's willingness to believe it's all real, suggesting that a penniless old shoemaker would risk all that money."
When Stuart Lowery, in chapter three of Time Out of Joint, arrives at Ragle's house to discuss Ragle's contest entries ("I know it's just an oversight on your part..."). the scene is remarkably similar to the manner in which quiz show contestants were prompted in advance. Some contestants were visited in their homes by producers and asked questions, but they were not always told that these same questions would later be asked when the show went on the air. On other cases, such as Xavier Cugat's appearances as an art expert on The $64,000 Question, questions would be drawn from a background file on the contestant and written to fit what was known about the contestant's scope of knowledge. Other contestants knew they were participating in fraud, and while one or two later revealed they came close to exposing the fraud on the air during live shows, no one ever did.One contestant, Arthur Cohn who appeared on The $64,000 Challenge (3/23/58), did write a letter exposing the show, mimeographed it and mailed it to 25 of his friends. But most were like Ragle Gumm; "This was the secret compact between himself and the contest people... No one else, to his knowledge, had this privilege. It was for the one simple purpose of keeping him in the contest... it was his secret and the contest people's secret. And neither of them had any motive to air it publicly."
Sponsored by Revlon, The $64,000 Question began 6/8/55. Revlon's sales soared. At the Subcommittee hearings investigating quiz shows, Revlon vice-president of advertising George Abrams gave a sworn statement: "The primary purpose of the meeting was to keep the ratings high, or raise them, and so, consistent with this purpose, a great deal of time was devoted to discussing the destiny of a contestant... " And Ragle, unaware of how he is being manipulated, "had become valuable from the standpoint of publicity. Why the public would want the same person to win over and over again he did not know. Obviously, if he won he won over the other contenders. But that was the manner of the public mind. They recognized his name. As it was explained to him, the theory went that the public liked to see a name they could identify. They resisted change."
Like Van Doren, a photo of Ragle is on the front cover of Time. When Ragle looks for patterns and contradictions (chapter five) in the magazines found in the ruins, he breaks the information into categories: "He had set up 12 categories: politics, economics, movies, art, crime, fashions, science, etc." Contestants on The $64,000 Question chose a category from 12 categories posted on a checkerboard design. Curiously, this was one of the few obvious "reality leaks" on the show revealing something fishy: A viewer, carefully studying the checkerboard weekly during the brief moments it was seen, could soon deduce that the categories were changed depending on the knowledge areas of new contestants; in effect, this made the "choosing" of a category so transparent it became a meaningless act.
In chapter two, when Bill Black and Ragle examine the Gazette with its "line of photos of men and women" who were contest winners, the description matches the visual layouts of quiz show winners seen in 1956-57 magazines and newspapers. Although PKD never mentions the quiz shows in Time Out of Joint, one passage in chapter two almost heads in that direction: "Costs ran higher - he had figured one day - than the famous Old Gold contest of the mid-thirties or the perennial 'I use Oxydol soap because in 25 words or less' contests. But evidently it built circulation, in these times when the average man read comic books and watched..." Watched what? Well, back then, everyone was watching the quiz shows. So, after the ellipsis, PKD veered in another direction: "I'm getting like Bill Black, Ragle thought. Knocking TV. It's a national pastime in itself." He took a detour to avoid getting too close to his springboard source, the television quiz shows.
The category board of The $64,000 Question can be seen in the album cover for Columbia's $64,000 Jazz LP, but even this is a fake. A close inspection of the record jacket reveals the word "jazz" was not on the category board but was pasted into a blank square by the production artist of the album cover. The album featured Pete Rugolo's "The Shrike." Click heading at top to hear the beginning of this Rugolo track (but it will not start automatically). The tune was composed by José Ferrer who won a Tony for The Shrike on Broadway and then directed and starred in the 1955 film adaptation.
Joy Page and José Ferrer in The Shrike (1955). Joy Page died three months ago on April 18. Her son is the documentary filmmaker Gregory Orr.
Labels: binder, cbs, kamen, nbc, philip k. dick, pkd, quiz, time, van doren, willis howard
¶ 2:56 PM 2 comments
Saturday, July 12, 2008
Alternate Realities: Disch on Dick, Deities and Digital Immortality
Despite death, Disch rolls on. Here is his last interview (June 25, 2008) on The Bat Segundo Show. Here's The New York Times obituary:
Here are the final posts he made on his Live Journal blog. For the full text of a Thomas Disch story, start reading here and continue via the link:
Understanding Human Behavior
By Thomas M. Disch (30 July 2001)
He would wake up each morning with a consciousness clear as the Boulder sky, a sense of being on the same wave length exactly as the sunlight. Innocence, bland dreams, a healthy appetite -- these were glories that issued directly from his having been erased. Of course, there were some corresponding disadvantages. His job, monitoring the terminals of a drive-in convenience center, could get pretty dull, especially on days when no one drove in for an hour or so at a stretch, and even at the busiest times it didn't provide much opportunity for human contact. He envied the waitresses in restaurants and the drivers of buses their chance to say hello to real live customers.
Away from work it was different; he didn't feel the same hunger for socializing. That, in fact, was the major disadvantage of having no past life, no established preferences, no identity in the usual sense of a history to attach his name to -- he just didn't want anything very much.
Not that he was bored or depressed or anything like that. The world was all new to him, and full of surprises: the strangeness of anchovies; the beauty of old songs in their blurry Muzak versions at the Stop-and-Shop; the feel of a new shirt or a March day. These sensations were not wholly unfamiliar, nor was his mind a tabula rasa. His use of the language and his motor skills were all intact; also what the psychologists at Delphi Institute called generic recognition. But none of the occasions of newness reminded him of any earlier experience, some first time or best time or worst time that he'd survived. His only set of memories of a personal and non-generic character were those he'd brought from the halfway house in Delphi, Indiana. But such fine memories they were -- so fragile, so distinct, so privileged. If only (he often wished) he could have lived out his life in the sanctuary of Delphi, among men and women like himself, all newly summoned to another life and responsive to the wonders and beauties around them. But no, for reasons he could not understand, the world insisted on being organized otherwise. An erasee was allowed six months at the Institute, and then he was dispatched to wherever he or the computer decided, where he would have to live like everyone else, either alone or in a family (though the Institute advised everyone to be wary at first of establishing primary ties), in a small room or a cramped house or a dormitory ship in some tropical lagoon. Unless you were fairly rich or very lucky, your clothes, furniture, and suchlike appurtenances were liable to be rough, shabby, makeshift. The food most people ate was an incitement to infantile gluttony, a slop of sugars, starches, and chemically enhanced flavors. It would have been difficult to live among such people and to seem to share their values, except so few of them ever questioned the reasonableness of their arrangements. Those who did, if they had the money, would probably opt, eventually, to have their identities erased, since it was clear, just looking around, that erasees seemed to strike the right intuitive balance between being aware and keeping calm.
He lived now in a condo on the northwest edge of the city, a room and a half with unlimited off-peak power access. The rent was modest (so was his salary), but his equity in the condo was large enough to suggest that his pre-erasure income had been up there in the top percentiles.
He wondered, as all erasees do, why he'd decided to wipe out his past.
¶ 8:39 AM 0 comments
Despite death, Disch rolls on. Here is his last interview (June 25, 2008) on The Bat Segundo Show. Here's The New York Times obituary:Thomas M. Disch, an author, poet and critic who twisted the inherently twisted genre of science fiction in new, disturbing directions, including writing his last book in the voice of God, died on Friday in his Manhattan apartment. He was 68. His friend Alice K. Turner said Mr. Disch shot himself. She and other friends told how his apartment had been devastated by a fire; then his partner of more than 30 years died; then his home in Barryville, N.Y., was flooded; and finally, he faced eviction after he returned to the apartment. He also suffered from diabetes and sciatica. “He was simply ground down by the sequence of catastrophes,” his friend Norman Rush, the novelist, said Monday.
Photo: Ann Monn
Understanding Human Behavior
By Thomas M. Disch (30 July 2001)
He would wake up each morning with a consciousness clear as the Boulder sky, a sense of being on the same wave length exactly as the sunlight. Innocence, bland dreams, a healthy appetite -- these were glories that issued directly from his having been erased. Of course, there were some corresponding disadvantages. His job, monitoring the terminals of a drive-in convenience center, could get pretty dull, especially on days when no one drove in for an hour or so at a stretch, and even at the busiest times it didn't provide much opportunity for human contact. He envied the waitresses in restaurants and the drivers of buses their chance to say hello to real live customers.
Away from work it was different; he didn't feel the same hunger for socializing. That, in fact, was the major disadvantage of having no past life, no established preferences, no identity in the usual sense of a history to attach his name to -- he just didn't want anything very much.
Not that he was bored or depressed or anything like that. The world was all new to him, and full of surprises: the strangeness of anchovies; the beauty of old songs in their blurry Muzak versions at the Stop-and-Shop; the feel of a new shirt or a March day. These sensations were not wholly unfamiliar, nor was his mind a tabula rasa. His use of the language and his motor skills were all intact; also what the psychologists at Delphi Institute called generic recognition. But none of the occasions of newness reminded him of any earlier experience, some first time or best time or worst time that he'd survived. His only set of memories of a personal and non-generic character were those he'd brought from the halfway house in Delphi, Indiana. But such fine memories they were -- so fragile, so distinct, so privileged. If only (he often wished) he could have lived out his life in the sanctuary of Delphi, among men and women like himself, all newly summoned to another life and responsive to the wonders and beauties around them. But no, for reasons he could not understand, the world insisted on being organized otherwise. An erasee was allowed six months at the Institute, and then he was dispatched to wherever he or the computer decided, where he would have to live like everyone else, either alone or in a family (though the Institute advised everyone to be wary at first of establishing primary ties), in a small room or a cramped house or a dormitory ship in some tropical lagoon. Unless you were fairly rich or very lucky, your clothes, furniture, and suchlike appurtenances were liable to be rough, shabby, makeshift. The food most people ate was an incitement to infantile gluttony, a slop of sugars, starches, and chemically enhanced flavors. It would have been difficult to live among such people and to seem to share their values, except so few of them ever questioned the reasonableness of their arrangements. Those who did, if they had the money, would probably opt, eventually, to have their identities erased, since it was clear, just looking around, that erasees seemed to strike the right intuitive balance between being aware and keeping calm.
He lived now in a condo on the northwest edge of the city, a room and a half with unlimited off-peak power access. The rent was modest (so was his salary), but his equity in the condo was large enough to suggest that his pre-erasure income had been up there in the top percentiles.
He wondered, as all erasees do, why he'd decided to wipe out his past.
Continue reading here...
Sunday, April 06, 2008
Do Androids Dream of Philip K. Dick?
As we rode down Connecticut Avenue, my eyes went to the paragraph on page 30 where "their ship coasted along Connecticut Avenue." We turned from Connecticut Avenue onto Macomb Street, and I noted the spelling discrepancy in this sentence:
The cab stopped. I looked up. There was the tiny lawn. There was the black wrought-iron fence. We were parked in front of 3039 Macomb. I held in my hands nothing more than ink on paper, an author's fantasy, but through the taxi windows I could see the sun shining through the trees and the "five-story brick apartment building where Virgil had lived as a boy." Past the fence, just as described on page 31, I could see the children playing at the doorway. In Dick's novel, these children are "robants in the shape of small boys," so I watched them closely as we walked past them, entering the doorway of 3039 Macomb for the first time, knowing I had walked through a Synchronicity Portal into PKD's version of reality.
In Dick's The Man In The High Castle, Mr. Tagomi, referring to the I Ching, says, "We ask it questions as if it were alive. It is alive. As is the Christian Bible; many books are actually alive. Not in metaphoric fashion. Spirit animates it. Do you see?" I see. Had I read Now Wait For Last Year the previous year, or even a month earlier or later, the address in the book would have slipped by unnoticed. It could have sat inanimate on my bookshelf for decades, and what was buried on pages 30 and 31 would have remained unseen. Skim milk masquerades as cream.
It occurred to me later that the address might have been used in the novel because Virgil's past was, perhaps, Phil Dick's past, so I wrote to him, asking why he had chosen to fictionalize this real location. He responded, "I used that building and address because I had lived there in the Thirties as a kid. So you visited it... my god, that is eerie. Really freaks me. The ghost of a little boy who is now a middle-aged SF author must still be playing there."
I first told this story in 1982 in The Comics Journal, and two years later, Paul Williams reprinted it in the PKDS Newsletter (April 1984). Paul prefaced it with a facsimile reproduction of hand-printed sentences written by PKD at the age of seven or eight. Phil was seven years old when he and his mother moved to 3039 Macomb in 1935, and they stayed there until 1938. The paragraph confirmed the address, previously unknown to PKD readers:
A few footnotes: I made the screenshot of 3039 Macomb by stepping into the "mirror world" of EveryScape. "Mirror world" actually sounds like something PKD might have concocted 50 years ago, but now it actually exists. EveryScape just got $7 million in venture capital funding to compete with Google Street View. Oddly, using EveryScape to go around Washington seems very much like the Wash-35 of Now Wait for Last Year. How did PKD know the future so well?
In the novel excerpt above, PKD mentioned the Uptown Theater and the Peoples Drug Store (which has no apostrophe). Only months after PKD and his mother moved into the Macomb neighborhood, Warner Bros. opened the Uptown Theater in DC on October 29, 1936, just around the corner from Macomb at 3426 Connecticut Avenue NW. It's still there today, the last movie palace in Washington still playing first-run films. The Peoples Drug Store was right across the street from the theater. (The one in the above photo was three miles away at 7th Street NW and Massacusetts Avenue.)
Control click above for 1977 PKD interview on Mike Hodel's Hour 25.
I met Philip K. Dick in 1969, and some months later, chance events interleaved so that I seemingly became a character in PKD's fiction. Or was it the reverse? Is the power and magic of a Dick novel so talismanic that it led me directly down causality corridors into his own past?
During a visit to Washington, D.C. in the summer of 1970, I had been reading the 1968 MacFadden-Bartell paperback edition of Now Wait For Last Year, Dick's tale of reconstructed pasts and time-travel via the JJ-180 drug. With me was Paula, and at my suggestion, she was also reading the book. She carried it with her as we traveled from museums to malls to restaurants, sometimes a planned route, sometimes drifting.
"What shall we do later today?" I asked.
"Well, I'm going to see my friend Margaret," said Paula, inviting me to join her. So later in the afternoon, we climbed into a cab. Unfamiliar with D.C. streets then, I had no notion of where we were headed -- only that I was to visit someone I'd never met at a house I'd never seen on a street where I'd never been. The taxi door closed, and I learned our destination for the first time when she said to the driver, "3039 Macomb Street."
But the address did sound familiar. Had I seen it before? Read it? I asked to see the novel in her purse and began idly flipping pages, dimly recalling that Dick might have used a similar address in his description of Wash-35, a “painstakingly elaborate reconstruction” of 1935 Washington, a "babyland'' where Virgil Ackerman entertains guests in a lifesize model of his own childhood world:
I met Philip K. Dick in 1969, and some months later, chance events interleaved so that I seemingly became a character in PKD's fiction. Or was it the reverse? Is the power and magic of a Dick novel so talismanic that it led me directly down causality corridors into his own past?
During a visit to Washington, D.C. in the summer of 1970, I had been reading the 1968 MacFadden-Bartell paperback edition of Now Wait For Last Year, Dick's tale of reconstructed pasts and time-travel via the JJ-180 drug. With me was Paula, and at my suggestion, she was also reading the book. She carried it with her as we traveled from museums to malls to restaurants, sometimes a planned route, sometimes drifting.
"What shall we do later today?" I asked.
"Well, I'm going to see my friend Margaret," said Paula, inviting me to join her. So later in the afternoon, we climbed into a cab. Unfamiliar with D.C. streets then, I had no notion of where we were headed -- only that I was to visit someone I'd never met at a house I'd never seen on a street where I'd never been. The taxi door closed, and I learned our destination for the first time when she said to the driver, "3039 Macomb Street."
But the address did sound familiar. Had I seen it before? Read it? I asked to see the novel in her purse and began idly flipping pages, dimly recalling that Dick might have used a similar address in his description of Wash-35, a “painstakingly elaborate reconstruction” of 1935 Washington, a "babyland'' where Virgil Ackerman entertains guests in a lifesize model of his own childhood world:
Here was Gammage's, a shop at which Virgil had bought Tip Top comics and penny candy. Next to it Eric made out the People's Drugstore; the old man during his childhood had bought a cigarette lighter here once and chemicals for his Gilbert Number Five glassblowing and chemistry set. "What's the Uptown Theater showing this week?"
As we rode down Connecticut Avenue, my eyes went to the paragraph on page 30 where "their ship coasted along Connecticut Avenue." We turned from Connecticut Avenue onto Macomb Street, and I noted the spelling discrepancy in this sentence:
The ship taxied from Connecticut Avenue onto McComb Street and soon was parking before 3039 with its black wrought-iron fence and tiny lawn.
The cab stopped. I looked up. There was the tiny lawn. There was the black wrought-iron fence. We were parked in front of 3039 Macomb. I held in my hands nothing more than ink on paper, an author's fantasy, but through the taxi windows I could see the sun shining through the trees and the "five-story brick apartment building where Virgil had lived as a boy." Past the fence, just as described on page 31, I could see the children playing at the doorway. In Dick's novel, these children are "robants in the shape of small boys," so I watched them closely as we walked past them, entering the doorway of 3039 Macomb for the first time, knowing I had walked through a Synchronicity Portal into PKD's version of reality.
In Dick's The Man In The High Castle, Mr. Tagomi, referring to the I Ching, says, "We ask it questions as if it were alive. It is alive. As is the Christian Bible; many books are actually alive. Not in metaphoric fashion. Spirit animates it. Do you see?" I see. Had I read Now Wait For Last Year the previous year, or even a month earlier or later, the address in the book would have slipped by unnoticed. It could have sat inanimate on my bookshelf for decades, and what was buried on pages 30 and 31 would have remained unseen. Skim milk masquerades as cream.It occurred to me later that the address might have been used in the novel because Virgil's past was, perhaps, Phil Dick's past, so I wrote to him, asking why he had chosen to fictionalize this real location. He responded, "I used that building and address because I had lived there in the Thirties as a kid. So you visited it... my god, that is eerie. Really freaks me. The ghost of a little boy who is now a middle-aged SF author must still be playing there."
I first told this story in 1982 in The Comics Journal, and two years later, Paul Williams reprinted it in the PKDS Newsletter (April 1984). Paul prefaced it with a facsimile reproduction of hand-printed sentences written by PKD at the age of seven or eight. Phil was seven years old when he and his mother moved to 3039 Macomb in 1935, and they stayed there until 1938. The paragraph confirmed the address, previously unknown to PKD readers:
Once there was an ant. One day he went walking. Soon he came to a forest. It was an ant-mile long. Soon he came to a sidewalk. In the middle was a dead bumblebee. He pulled and he pulled. And he soon got it to a forest. He went on ahead leaving his bee on the ground. But he saw that it was hopeless. The grass was to thick. So he left his bee and went home. By Philip K. Dick. 3039 Macomb St. N.W. D.C. I killed the bumble bee.
A few footnotes: I made the screenshot of 3039 Macomb by stepping into the "mirror world" of EveryScape. "Mirror world" actually sounds like something PKD might have concocted 50 years ago, but now it actually exists. EveryScape just got $7 million in venture capital funding to compete with Google Street View. Oddly, using EveryScape to go around Washington seems very much like the Wash-35 of Now Wait for Last Year. How did PKD know the future so well?
In the novel excerpt above, PKD mentioned the Uptown Theater and the Peoples Drug Store (which has no apostrophe). Only months after PKD and his mother moved into the Macomb neighborhood, Warner Bros. opened the Uptown Theater in DC on October 29, 1936, just around the corner from Macomb at 3426 Connecticut Avenue NW. It's still there today, the last movie palace in Washington still playing first-run films. The Peoples Drug Store was right across the street from the theater. (The one in the above photo was three miles away at 7th Street NW and Massacusetts Avenue.)
Labels: android, bible, everyscape, i ching, macomb, memoir, paul williams, peoples drug store, philip k. dick, pkd, reality
¶ 1:45 AM 4 comments
