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tsuomela : 1950s   17

The Role of Television in Household Debt: Evidence from the 1950's
We examine whether advertising increases household debt by studying the initial expansion of television in the 1950’s. Exploiting the idiosyncratic spread of television across markets, we use microdata from the Survey of Consumer Finances to test whether households with early access to television saw steeper debt increases than households with delayed access. Results indicate that television increases the tendency to borrow for household goods and to carry debt. Television is associated with higher debt levels for durable goods, but not with total non-mortgage debt. The role of media in household debt may be greater than suggested by existing research.
economics  history  technology-effects  technology  debt  1950s  television  media 
october 2009 by tsuomela
Chicks And Chuckles
Bettie Page -> innocence -> nostalgia -> irony -> kitsch
history  culture  sex  1950s  nostalgia  irony  book  review 
december 2008 by tsuomela
The John William Pope Center for Higher Education Policy : Skewering the Great Books Movement
But the fame surrounding Great Books came from the public, not the students. The name, complete with capitalization, is familiar to many Americans because of Great Books discussion groups. These started with seminars in downtown Chicago for businessmen and their wives, but by 1947 there were 3,000 groups in the Midwest.
great-books  1950s  20c  culture  lowbrow  class  education  institutions 
december 2008 by tsuomela
A Look At a Beautiful Impasse -- Printout -- TIME
Thus emerged the chief form of American museum art in the early '60s: The Watercolor That Ate the Art World. Of course, one could hardly come right out with it and say the works of Helen Frankenthaler, Kenneth Noland and Morris Louis (quite apart from the thousands of yards of lyric acrylic on unprimed duck done by their many forgotten imitators) were basically huge watercolors. But there was little in the soak-stain methods of color-field painting that did not seek and repeat watercolor effects. The big difference lay in the size, the curtness and (sometimes) the grandeur of the image, and in the scrutiny it received from Greenberg's disciples, rocking and muttering over the last grain of pigment in the weave of these canvases, like students of the Talmud disputing a text, before issuing their communiques about the Inevitable Course of Art History to the readers of Artforum.
abstract-art  art  modernism  1940s  1950s  1960s  artist  review  louis  morris 
september 2008 by tsuomela

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