Saturday, November 17, 2012

The antimonopolist origins of Monopoly differ from Hasbro's official story

The antimonopolist origins of Monopoly differ from Hasbro's official story:
According to Hasbro, Monopoly was invented by Charles Darrow in 1933 and sold to Parker Brothers soon after. But that's not quite the whole story.

The game's true origins, however, go unmentioned in the official literature. Three decades before Darrow's patent, in 1903, a Maryland actress named Lizzie Magie created a proto-Monopoly as a tool for teaching the philosophy of Henry George, a nineteenth-century writer who had popularized the notion that no single person could claim to "own" land. In his book Progress and Poverty (1879), George called private land ownership an "erroneous and destructive principle" and argued that land should be held in common, with members of society acting collectively as "the general landlord."

Magie called her invention The Landlord's Game, and when it was released in 1906 it looked remarkably similar to what we know today as Monopoly.

But it was Monopoly with a significant twist:

The game's most expensive properties to buy, and those most remunerative to own, were New York City's Broadway, Fifth Avenue, and Wall Street. In place of Monopoly's "Go!" was a box marked "Labor Upon Mother Earth Produces Wages." The Landlord Game's chief entertainment was the same as in Monopoly: competitors were to be saddled with debt and ultimately reduced to financial ruin, and only one person, the supermonopolist, would stand tall in the end. The players could, however, vote to do something not officially allowed in Monopoly: cooperate. Under this alternative rule set, they would pay land rent not to a property's title holder but into a common pot-the rent effectively socialized so that, as Magie later wrote, "Prosperity is achieved."

With a lengthy section on the philosophy underpinning the original version of the game, this is more interesting than an article about a board game has the right to be.
Tags: Charless Darrow   games   Lizzie Magie   Monopoly

AIN’T NONE OF THE KIDS WANTED TO GO TO THE PUMPKIN PATCH...

AIN’T NONE OF THE KIDS WANTED TO GO TO THE PUMPKIN PATCH...:

AIN’T NONE OF THE KIDS WANTED TO GO TO THE PUMPKIN PATCH LAST MONTH, AND NOW THEY’RE SAYING THEY AIN’T GONNA GO TO THE MALL WITH ME THIS WEEKEND. THEY’RE “TOO OLD” TO HANG OUT WITH THEIR MOMMA. CAN YOU BELIEVE THAT? NOT A ONE OF THEM WILL WEAR THE COOL DRAGONFLY SWEATERS I BOUGHT ‘EM AT T.J. MAXX NEITHER, NO MATTER HOW MANY TIMES I ASK ‘EM ON FACEBOOK. DESIGNER FASHIONS AT AFFORDABLE PRICES. WHAT MORE COULD YOU WANT IN THIS WORLD? TAMMY ACTUALLY BLOCKED ME. DAMN NEAR BROKE MY HEART IN TWO.
IT’S LIKE I DON’T EVEN KNOW MY BABIES NO MORE.

Film: Great Job, Internet!: The evolution of Paul Thomas Anderson in five Steadicam shots

Film: Great Job, Internet!: The evolution of Paul Thomas Anderson in five Steadicam shots:







Kevin B. Lee, normally found at Indiewire’s Press Play, has a terrific video essay on Paul Thomas Anderson’s changing use of Steadicam over at the BFI’s website. Using five Steadicam shots from Anderson’s first five movies, Lee shows how his approach to filmmaking has changed, becoming less dependent on the influence of others—as in Boogie Nights’ amazing, Scorsese-indebted opening—and more likely to employ subtle shifts and small gestures to achieve the director’s desired effects. It’s an impressive piece both for the detail put into it, using maps that show the movement of Anderson’s camera through space that match up with the shots, and for the thought behind it. Sometimes film criticism is about digging into the nuts and bolts of shot construction and talking about how meaning comes from what a director chooses to show and how he or she chooses ...

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Tuesday, November 13, 2012

Monday, November 12, 2012

Music: Newswire: Jeff Mangum announces 2013 tour dates

Music: Newswire: Jeff Mangum announces 2013 tour dates:







Saturn must be in a once-in-a-lifetime alignment with Mars or something, because Jeff Mangum—the Santa Claus-Jesus-Bigfoot hybrid of acoustic indie rock—has made himself manifest and announced that he will, in fact, be going on tour. The frontman of Neutral Milk Hotel will begin his trek on Jan. 9 in Buffalo, New York, making his way around the country via performances at a number of noticeably smaller venues.
While Mangum has been notorious for his reclusiveness (the press release for the tour emphatically clarifies that he "does not do interviews and photos are prohibited at the shows"), he has been performing fairly consistently ever since resurfacing in summer 2011. And although a post on the Neutral Milk Hotel website reportedly called the tour the performer's "last U.S. acoustic tour," the site has presumably been revised since, because the "last" part has now been removed. So, there may ...

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