Capitalism – Page 16 – artdiamondblog.com

Bailouts Damage “System Based on the Premise that Risk Can Bring Failure, as Well as Rewards”

Source of the cartoon: online version of the WSJ quoted and cited below.

(p. A8) William O. Perkins III says he turned a $1.25 million profit trading Goldman Sachs Group Inc. stock last week.

You would think that would count as a pretty good paycheck for the Houston energy trader. Instead, the experience left him so angry about the demise of capitalism that he says he has decided to spend his profits on advertisements attacking President George W. Bush’s planned $700 billion Wall Street bailout.
. . .
So he says he bought Goldman Sachs at $129 a share. The stock fell, so he bought more at $100 a share. It fell again, and he bought at $90. The next day it rallied and he sold out at an average price of $130 a share, for a net gain of about $1.25 million over three days of trading, he said.
Trouble was, the stock didn’t rally because of the fundamental strength of the company, Mr. Perkins said. It rallied because the federal government announced that it would rescue Wall Street from its own subprime follies, he said.
“The stock did OK because the government came in and said, ‘No one can fail,'” he said. “It’s capitalism on the way up and communism on the way down.”
His success left him furious, and he decided that someone had to speak out about the damage such a plan would cause to a system based on the premise that risk can bring failure, as well as rewards.

For the full story, see:

MICHAEL M. PHILLIPS. “Trader Makes a Quick $1.25 Million on Rescue, Then Slams It.” The Wall Street Journal (Weds., SEPTEMBER 24, 2008): A10.
(Note: ellipsis added.)

A Toast to Schumpeter on His Birthday (February 8, 1883)

Source: scan (and crop) of the cover of the May 23, 1983 issue of Forbes .

In the May 23, 1983 issue of Forbes there appeared a now-famous essay by the late and great management guru Peter Drucker in which he pointed out that 1983 was the centennial of the birth of both John Maynard Keynes and Joseph A. Schumpeter. He noted that in the decades since the great economists’ passing, the academic and policy worlds worshiped at the feet of Keynes, and all but ignored Schumpeter (hence the many candles in front of the Keynes portrait on the cover, and the single, small candle in front of the Schumpeter portrait).

But Drucker argued that the world had gotten it wrong. Schumpeter was more important because he had understood a crucial truth: the process of creative destruction is indeed the essential fact about capitalism.

The reference for the original Drucker essay is:
Drucker, Peter F. “Modern Prophets: Schumpeter or Keynes?” Forbes, May 23, 1983, 124-28.

The reference to the reprint of the Drucker essay is:
Drucker, Peter F. “Modern Prophets: Schumpeter or Keynes?” In The Frontiers of Management New York: Penguin Putnam, Inc., 1999, 104-15.

A typo-laden version of the essay has been posted on the web at:
http://www.peterdrucker.at/en/texts/proph_01.html

(Note: I thank Aaron Brown for alerting me to the neat cover that appears at the top of this entry).

“The Whole Point of Camp is to Dethrone the Serious”

(p. W1) The 2000 film “Billy Elliot” was a surprise hit. It’s an absorbing drama about personal transformation and the power of art to ennoble the human spirit. “Billy Elliot: The Musical” — the noise is supplied by Sir Elton John — is a depressing spectacle about partisan politics and the ephemeral power of schlock.
. . .
The musical, a campy, anticapitalist confection, is just one of the latest prepackaged exercises in “transgression.” Maybe it’s “Corpus Christi,” Terrence McNally’s play about a gay Jesus Christ. Maybe it’s “The Goat,” Edward Albee’s play celebrating bestiality, or a production (p. W4) of “The Flying Dutchman” in which the heroine sports posters of Che Guevara and Martin Luther King on her bedroom wall. The point about these unpleasant offerings is not how outrageous but how common they are.
. . .
In the film, there was one extended reference to Margaret Thatcher. Mrs. Wilkinson’s middle-class drink-sodden husband (tellingly made “redundant” — that is, laid off) praises the prime minister for showing down the miners. He is hardly a sympathetic figure, but he had a point: If it costs more money to get the coal out of the ground then you make from selling it, why keep the pit open?
If there were truth in advertising, the musical would have been called “Billy Elliot, The Musical, Featuring Margaret Thatcher as the Incarnation of Evil.” She is roundly abused by several characters in the opening scenes, is the object of casual calumny throughout the show, and features in a Christmas children’s song — replete with gigantic scary Thatcher masks and puppets — whose refrain is “Merry Christmas, Maggie Thatcher. We all celebrate today because it’s one day closer to your death.” Nice stuff, eh?
In one sense, “Billy Elliot: The Musical” represents a growth enterprise. Everywhere you turn these days, you are met not only with celebrations of the vulgar but also entertainments that pretend to be brave, challenging “interrogations” of established taste which in fact are simply reflections of established taste. The little sermons about Thatcher and capitalism and bigotry are presented as if they were fresh thoughts designed to disturb the dogmatic slumbers of the audience. In fact, they simply reinforce the left-liberal clichés audiences everywhere internalized decades ago. It’s an odd phenomenon. In theaters and museums across the Western world you find audiences applauding sentiments that, were they translated into the real world, would spell their demise.
Perhaps it’s an instance of what Lenin was talking about when he said that the bourgeoisie was so rotten that it would sell the rope with which it was to be hanged. The matinee I attended was packed to the last emergency exit with a cheery crowd of nice, middle-class folks who cheered and clapped and whistled and bravoed.
. . .
The impressive thing about “Billy Elliot” the film is its dramatic enactment of serious questions. “Billy Elliot: The Musical” spoofs and sentimentalizes those questions, replacing them with a series of political sermons and distracting gymnastic exhibitions. In 1964, Susan Sontag famously said that the “ultimate Camp statement” was “It’s good because it’s awful.” Sontag wrote as an enthusiast for Camp. I have no doubt that she would have emerged happy from “Billy Elliot: The Musical.” “The whole point of Camp,” she wrote, “is to dethrone the serious.”

For the full commentary, see:
ROGER KIMBALL. “Culture; A Clumsy Mix of Art and Politics; Broadway turns subtle themes into simplistic fare in shows like ‘Billy Elliot’.” Wall Street Journal (Sat., DECEMBER 13, 2008): W1 & W4.
(Note: ellipses added.)

Capitalism’s Defenseless Fortress

Photograph by Art Diamond.

(p. 143) . . . capitalism creates a critical frame of mind which, after having destroyed the moral authority of so many other institutions, in the end turns against its own; the bourgeois finds to his amazement that the rationalist attitude does not stop at the credentials of kings and popes but goes on to attack private property and the whole scheme of bourgeois values.

The bourgeois fortress thus becomes politically defenseless. Defenseless fortresses invite aggression especially if there is rich booty in them. Aggressors will work themselves up into a state of rationalizing hostility—aggressors always do.

Source:
Schumpeter, Joseph A. Capitalism, Socialism and Democracy. 3rd ed. New York: Harper and Row, 1950.

Photograph by Art Diamond.

“Money Buys Freedom”

Source of book image: http://ecx.images-amazon.com/images/I/51rILrqBegL._SS500_.jpg

(p. A17) . . . other farm alumni make no pretense to continuing the revolution but instead engage in the boomer habit of replacing youthful extremism with a middle-aged version: “We used to think money was the least important thing. Now I can see that it’s the most important,” says one former commune member, sounding like a budding Randian. “Money buys freedom.”

Few of the farm friends are terribly likable or sympathetic — with the notable exception of Tim, an “alienated citizen” of the farm while he lived there. Tim found the commune’s group dynamics stifling. He wanted time to himself and was promised that he could build his own room and work space in the barn, but the objections of others to his solitary plans thwarted him at nearly every turn.
Of the farm’s whole New Age mission, Tim remarks: “The error was, I think, imagining that there was somewhere new to go, someone new to be. It became increasingly clear that a closed system of myth did not jibe with the world as it really was.” Looking later at the outside world, Tim saw “a system formed less from malice than from a kind of natural order, less from inordinate greed than from longings much like our own for privacy, comfort, individual freedom, and one’s familiar or chosen way of life.” Unfortunately, “Farm Friends” spends too little time with Tim.

For the full commentary, see:

PAUL BESTON. “Bookshelf; A Look Back at the New Age.” Wall Street Journal (Tues., July 22, 2008): A17.
(Note: ellipsis added.)

Since Wire Rope Had Not Been Tried, Entrepreneur Roebling Had to Self-Finance His Innovation

(p. 178) It was a bridge across the Niagara that would change life for the nail and wire makers. In 1831 a German engineer had emigrated from Mühlhausen in Saxony to America, where he founded the city (p. 179) of Saxonburg, Pennsylvania (having refused to settle in the American South because of his views on slavery). He then worked as a farmer, as a surveyor on the Pennsylvania Canal and finally as a railway engineer. His name was John Roebling, and he had a strange obsession with wire ropes. Since nobody in America had ever tried to make that kind of rope, the idea was not easy to promote. After failing to interest the firm of Washburn & Company, in Worcester, Massachusetts (we will return to this firm in our story), in 1848 Roebling moved to Trenton, New Jersey, and set up on his own.

After practicing his technique on a number of small bridges in Pennsylvania and Delaware, Roebling finally got a contract for the 3,640 wires into a compact, uniformly tensioned wire cable. Then, using a kite to get the cable to the other side of the river, he went on to finish the first-ever wire suspension bridge, 821 feet in length and strong enough to take the full weight of a train. The bridge opened to rail traffic on March 16, 1855.

Because of his success at Niagara, Roebling’s cable-spinning technique soon became standard on all suspension bridges. He put his name in the history books with his next job: the Brooklyn Bridge.

Source:
Burke, James. The Pinball Effect: How Renaissance Water Gardens Made the Carburetor Possible – and Other Journeys. Boston: Back Bay Books, 1997.
(Note: ellipsis added.)

“Commerce in Goods Brought with it Commerce in Entertainment, Music, Ideas, Gods and Cults”

“This terra-cotta vessel, from the Hittite site in Turkey, looks strikingly modern.” Source of photo and caption: online version of the WSJ article quoted and cited below.

(p. D7) The show whisks us along on complementary interlocking narratives that take the visitor down a spaghetti junction of cultural confluences. We learn that in the 1950s a prominent Turkish archaeologist excavated a site known locally as Kultepe. It yielded a vast hoard of cuneiform tablets that record in detail the town’s trade in copper and numerous aspects of its domestic life, including letters home — many of which are on display. As a result, we know that Assyrian merchants in the copper trade moved en masse to Central Anatolia and founded the town, and many like it, to feed the burgeoning trade in what Ms. Aruz calls “the luxury goods of the time.” She adds that “potentates competed to possess artifacts like these — the more distant and exotic their origins, the more desirable because their possession denoted power and prestige.”

Visitors should, in particular, feast their eyes on the smoothly burnished terra-cotta spouted vessels from Kultepe and Hittite sites in Turkey. Outlandishly geometric and eerily modern, futuristic even, they alone are worth the price of admission.
In following the visual motif of bull-leaping acrobats from Crete to Anatolia to Egypt on everything from Minoan vases to cylinder seals and carved boxes, the show makes the point that commerce in goods brought with it commerce in entertainment, music, ideas, gods and cults. Suddenly images of Sphinxes and Gryphons pop up all over the 15th-century B.C. geosphere, as do toys and board games and educational institutions.

For the full story, see:
SARAH E. NEEDLEMAN. “Doing the Math to Find the Good Jobs; Mathematicians Land Top Spot in New Ranking of Best and Worst Occupations in the U.S.” The Wall Street Journal (Tues., Jan. 6, 2008): D2.

For the case for the complementarity between capitalism and culture, see:
Cowen, Tyler. Creative Destruction: How Globalization Is Changing the World’s Cultures. Princeton, NJ: Princeton University Press, 2002.

“The cuneiform inscription . . . is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash.” Source of the cuneiform and the caption: http://www.libertyfund.org/aboutlogo.htm
(Note: ellipsis added.)

Deaths in ‘Natural’ Disasters Caused by Absence of Economic Growth

We are often made to feel guilty for the suffering of other countries in “natural” disasters. But the deaths are more due to the lack of infrastructure, sound buildings and the like, which in turn are due to the countries’ lack of economic growth, which in turn is due to their rejection of the process of capitalist creative destruction.

(p. 90) The simple truth is that money matters more than anything else in most disasters. Which is another way of saying that where and how we live matters more than Mother Nature. Developed nations experience just as many natural disasters as undeveloped nations. The difference is in the death toll. Of all the people who dies from natural disasters on the planet from 1985 to 1999, 65 percent came from nations with incomes below $760 per capita, according to the Intergovernmental Panel on Climate Change. The 1994 Northridge earthquake in California, for example, was similar in magnitude and depth to the 2005 earthquake in Pakistan. But the Northridge earthquake killed only sixty-three people. The Pakistan earthquake killed about a hundred thousand.

People need roofs, roads, and health care before quibbles like personality and risk perception count for much. And the effect is geometric. If a large nation raises its GNP from $2,000 to $14,000 per person, it can expect to save 530 lives a a year in natural disasters, according to a study by Matthew Kahn at Tufts University. And for those who survive, money is a form of liquid resilience: it can bring treatment, stability, and recovery.

Source:
Ripley, Amanda. The Unthinkable: Who Survives When Disaster Strikes – and Why. New York: Crown Publishers, 2008.

“The Authorities Were Shocked” at Private Airport Success

“Investors renovated a terminal at Domodedovo and oversaw construction of a train line to Moscow.” Source of caption and photo: online version of the WSJ article quoted and cited below.

(p. B9) MOSCOW — A heated battle for passengers between the Russian capital’s main airports offers an unlikely model of competition for the aviation industry.

In most cities, airports are monopolies. Even in cities that have more than one, including New York, Paris and Tokyo, airports are usually owned by the same operator. That means airlines can rarely make the kind of choices passengers take for granted, such as choosing an airport for its efficiency, shopping or lounges.
Not so in Moscow, where two international airports, Domodedovo and Sheremetyevo, owned by rival organizations, battle for business. The result is lower fees, better service and fast-improving facilities all around.
Domodedovo Airport, for example, recently convinced several top airlines to make it their Russian base, thanks to a major modernization that added more than 20 new restaurants, jewelry boutiques and a shop where passengers can rent DVDs to watch in booths.
Sheremetyevo Airport responded by building a fast rail link to Moscow, complete with a Starbucks at the airport station.
Moscow’s airport rivalry highlights a paradox of the global aviation industry: Airlines compete fiercely with each other for customers, but they face many monopolist suppliers, such as air-traffic control systems, fuel distributors and airports. Resulting costs and poor services get passed on to travelers.
. . .
During Russia’s privatization drive of the 1990s, local investors bought Domodedovo, which was previously Moscow’s airport serving Soviet Central Asia. The investors, grouped into an upstart charter-airline operator, East Line Group, renovated a terminal at Domodedovo and oversaw construction of a train line to Moscow.
East Line charged airlines landing and operating fees that undercut Sheremetyevo by around 30%. For passengers, Domodedovo’s rail link guaranteed a 40-minute trip to downtown Moscow. Private Russian carriers, largely frozen out of Aeroflot’s base at Sheremetyevo, expanded quickly at the spacious Domodedovo.
East Line’s big break came in 2003, when British Airways announced it would switch from Sheremetyevo to Domodedovo.
“The authorities were shocked that a major airline would leave the government airport,” recalls Daniel Burkard, BA’s former country manager for Russia.

For the full story, see:
DANIEL MICHAELS. “Moscow Points the Way With Airport Competition; While Most Nations Sport Monopolies, Rivalry Between Two Russian Gateways Ushers in Improvements for Carriers, Travelers.” The Wall Street Journal (Mon., DECEMBER 1, 2008): B9.
(Note: ellipsis added.)

Source of graph: online version of the WSJ article quoted and cited above.

When the Ship Is Sinking, Schumpeter Suggests: “Rush to the Pumps”

Wabash economics professor Ben Rogge’s best lecture focused on a question made famous by Schumpeter: “Can Capitalism Survive?” In some ways, Ben’s message was a pessimistic one.
But near the end of his lecture, Rogge included the following quote from Schumpeter’s Capitalism, Socialism and Democracy:

(p. xi) This leads to the charge of “defeatism.” I deny entirely that this term is applicable to a piece of analysis. Defeatism denotes a certain psychic state that has meaning only in relation to action. Facts in themselves and inference from them can never be defeatist or the opposite whatever that might be. The report that a given ship is sinking is not defeatist. Only the spirit in which this report is received can be defeatist: The crew can sit down and drink. But it can also rush to the pumps.

Source of quote:
Schumpeter, Joseph A. Capitalism, Socialism and Democracy. 3rd ed. New York: Harper and Row, 1950.

Reference to Rogge’s collection of essays that includes the title essay mentioned above:
Rogge, Benjamin A. Can Capitalism Survive? Indianapolis: Liberty Fund, Inc., 1979.