Quoting Economic Policy

field_image
Milton Friedman
Question

I'm writing a government test on economics. I need a quote from a famous American basically stating that command economies are flawed. I have a quote from Maxwell Anderson, "When a government takes over a people's economic life it becomes absolute, and when it has become absolute, it destroys the hearts, the minds, the liberties, and the meaning of the people it governs"; but I have no date. I've tried to find quotes from Truman, Churchill, Kennan, Reagan, but all these speeches are too political and military in nature. Can you help me find a purely economic quote?

Answer

Our resident historian suggests the following quotations. Here is a quote from Milton Friedman, from a column he wrote in Newsweek, dated July 14, 1975, on p. 71, entitled National Economic Planning:

The central planners want planning by them for us. They want the government—by which they really mean themselves—to decide "social priorities" (i.e. tell us what is good for us); "rationalize production" (i.e. tell us where and how we should work); assure "equitable distribution" (i.e. take from some of us to give to others of us). Of course, all this can be voluntary—if we are willing to turn our lives over to them. Otherwise, "antisocial behavior" must be restrained—who can gainsay that? The iron fist must be there—just in case.

Such planning, from the top down, is inefficient because it makes it impossible to use the detailed knowledge shared among millions of individuals. It undermines freedom because it requires people to obey orders rather than pursue their own interests.

Here is a longer quote from Herbert Hoover, "Individualism Speech," October 22, 1928. Landmark Document in American History. Box 91, Public Statements, Herbert Hoover Library, West Branch,1A. :

When the Federal Government undertakes a business, the state governments are at once deprived of control and taxation of that business; when the state government undertakes a business it at once deprived the municipalities of taxation and control of that business. Business requires centralization; self government requires decentralization. Our government to succeed in business must become in effect a despotism. There is thus at once an insidious destruction of self government.

Moreover there is a limit to human capacity in administration. Particularly is there a limit to the capacity of legislative bodies to supervise governmental activities. Every time the Federal Government goes into business 530 Senators and Congressmen become the Board of Directors of that business. Every time a state government goes into business 100 or 200 state senators and assemblymen become directors of that business. Even if they were supermen, no bodies of such numbers can competently direct that type of human activities which requires instant decision and action. No such body can deal adequately with all sections of the country. And yet if we would preserve government by the people we must preserve the authority of our legislators over the activities of our Government. We have trouble enough with log rolling in legislative bodies today. It originates naturally from desires of citizens to advance their particular section or to secure some necessary service. It would be multiplied a thousand-fold were the Federal and state governments in these businesses.

The effect upon our economic progress would be even worse. Business progressiveness is dependent on competition. New methods and new ideas are the outgrowth of the spirit of adventure of individual initiative and of individual enterprise. Without adventure there is no progress. No government administration can rightly speculate and take risks with taxpayers' money. But even more important than this—leadership in business must be through the sheer rise of ability and character. That rise can take place only in the free atmosphere of competition. Competition is closed by bureaucracy. Certainly political choice is a feeble basis for choice of leaders to conduct a business.

Federal Resources for Educational Excellence: History & Social Studies

Image
Portrait, George Washington
Annotation

This megasite brings together resources for teaching U.S. and world history from the far corners of the web. Most of these websites boast large collections of primary sources from the Library of Congress, the Smithsonian, the National Archives and Records Administration, and prominent universities. There are more than 600 websites listed for U.S. history alone, divided by time period and topic: Business & Work, Ethnic Groups, Famous People, Government, Movements, States & Regions, Wars, and Other Social Studies. While most of these websites are either primary source archives (for example, History of the American West, 1860-1920) or virtual exhibits, many offer lesson plans and ready-made student activities, such as EDSITEment, created by the National Endowment for the Humanities.

A good place to begin is the (Subject Map), which lists resources by sub-topic, including African Americans (67 resources), Women's History (37 resources), and Natural Disasters (16 resources). Each resource is accompanied by a brief annotation that facilitates quick browsing.

Yo, Ho, Ho and a . . . Bushel of Oysters?

Quiz Webform ID
22411
date_published
Teaser

Shellfish pirates stole from the rich to feed themselves—and make a little money on the side.

quiz_instructions

With Talk Like a Pirate Day on September 19th, students may be rolling their "Arrs." Popular media focuses on pirates pillaging at sea, but pirates didn't limit themselves to the open ocean. Consider these questions on oyster pirates, who made their living thieving shellfish in America's bays.

Quiz Answer

1. Oyster pirates were at the height of their trade during what years?
a. The 1700s, the Golden Age of piracy
b. The 1800s, prior to the Civil War
c. Approximately 1930 to 1940
d. Approximately 1870 to 1920

Oysters became a high-demand source of protein and nutrition following the Civil War. With the rise of industry and of shipping by rail, canneries and corporate oyster farming operations sprang up on both coasts, eager to supply the working class, and anyone else who wanted the tasty shellfish, with oysters shipped live or canned. In San Francisco, a center of oyster piracy, the boom years of the oyster industry corresponded, unsurprisingly, with those of the oyster industry—both took off in 1870, as the state began allowing major oyster farming operations to purchase the rights to underwater bay "land" (traditionally common property), and petered off in the 1920s, as silt and pollution disrupted the bay's ecosystem.

2. Which famous author spent time as an oyster pirate?
a. Jack London
b. Mark Twain
c. Ernest Hemingway
d. Upton Sinclair

At 15, Jack London bought a boat, the Razzle Dazzle, and joined the oyster pirates of San Francisco Bay to escape work as a child laborer. London wrote about his experiences in his semi-fictional autobiography, John Barleycorn, and used them in his early work, The Cruise of the Dazzler, and in his Tales of the Fish Patrol. The latter tells the story of oyster pirates from law enforcement's perspective—after sailing as an oyster pirate, London switched sides himself, to hunt his former compatriots.

3. What was popular working-class opinion on the oyster pirates?
a. Oyster pirates should be hunted down and captured, as they gave a bad name to common fishermen
b. Oyster pirates meant very little to the working class in bay areas; a few people admired or condemned them, but most people ignored them
c. Oyster pirates were heroes, fighting back against corporate ownership of underwater property
d. Oyster pirates pulled attention from more important issues, such as urban crime rates and public health

The working class romanticized oyster pirates as Robin-Hood-like heroes, fighting back against the new big businesses' private control of what had once been common land. Traditionally, underwater "real estate" was commonly owned—anyone with a boat or oyster tongs could fish or dredge without fear of trespassing. Following the Civil War, states began leasing maritime "land" out to private owners; and the public protested, by engaging in oyster piracy, supporting oyster pirates, scavenging in tidal flats and along the boundaries of maritime property, and, occasionally, engaging in armed uprisings.

4. On April 3, 1883, the comic opera Driven from the Seas; or the Pirate Dredger's Doom played to an appreciative audience at the Norfolk Academy of Music in Virginia. What Chesapeake Bay event did the opera satirize?
a. A successful raid against Chesapeake oyster pirates by Virginia governor William Evelyn Cameron, in 1882
b. The sinking of two dredgers' ships in February 1883, when the dredgers ran against rocks while being chased by overzealous patrol boats
c. The misadventures of a group of drunk oyster pirates arrested for causing a public disturbance in Norfolk in March 1883
d. An unsuccessful raid against Chesapeake oyster pirates by Virginia governor William Evelyn Cameron, in February 1883

The opera satirized Governor William Evelyn Cameron's second raid against oyster pirates in the Chesapeake Bay, on February 27, 1883. Cameron had conducted a very successful raid the previous February, capturing seven boats and 46 dredgers, later pardoning most of them to appease public opinion—which saw the pirates as remorseful, hard-working family men. His second raid, in 1883, went poorly. Almost all of the ships he and his crews chased escaped into Maryland waters, including the Dancing Molly, a sloop manned only by its captain's wife and two daughters (the men had been ashore when the governor started pursuit). The public hailed the pirates as heroes and ridiculed the governor in the popular media—the Lynchberg Advance, for instance, ran a poem comically saluting the failed raid.

For more information

oyster_pirates_ctlm.jpg Oyster piracy highlights the class tensions that sprang up during post-Civil War industrialization. Big business and private ownership began to drive the economy, shaping the lives of the working class and changing long-established institutions and daily patterns. Young people such as Jack London turned to oyster piracy as an escape from the new factory work—and the working class chaffed against the loss of traditional maritime common lands to business owners.

For more on oyster piracy, consider Jack London's fiction on the subject. Full-text versions of The Cruise of the Dazzler, John Barleycorn, and Tales of the Fish Patrol are available at Project Gutenberg, which provides the full text of hundreds of out-of-copyright works.

The Smithsonian's online exhibit On the Water includes a section on the Chesapeake oyster industry, with a mention of oyster pirates.

The Oyster War: A Poem

The oyster war!
The oyster war!
The biggest sight you ever saw;
The Armada sailing up the Bay,
The oyster pirates for to slay.

With cannon, brandy, cards aboard,
They steam from out of Hampton Road,
The Govnor wearing all the while
A Face lit up with many a "smile."

But when the pirates hove in view
Quick to his post each sailor flew!
The squadron, with "Dutch courage" bold,
Sweeps like the wolf upon the fold.

They to the Rappahannock turn
To fight like Bruce at Bannockburn,
And give the oyster-dredgers fits,
Like Bonaparte at Austerlitz.

Sources
Image
Oyster, 1921
Oyster, 1921
Oyster, 1921
Oyster, 1921
Oyster, 1921
Oyster, 1921
thumbnail
"Gathering and dressing oysters under difficulties," 1879
Preview Mode
On

How to Read a Slave Narrative

Description

From the National Humanities Center:

Slave narratives comprise one of the most influential traditions in American literature, shaping the form and themes of some of the most celebrated and controversial writing, in both autobiography and fiction, in the history of the United States. In recent years, as their importance has been recognized, slave narratives have appeared on more and more high school literature curricula. How did they evolve? What are their major themes? How do narratives written by men differ from those written by women? How do they portray slavery and freedom? How have they influenced later writing, and what can they say to students in the 21st century?

Registration Deadline
Sponsoring Organization
National Humanities Center
Phone number
9195490661
Start Date
Cost
$35
Course Credit
"The National Humanities Center programs are eligible for recertification credit. Each seminar will include ninety minutes of instruction plus approximately two hours of preparation. Because the seminars are conducted online, they may qualify for technology credit in districts that award it. The Center will supply documentation of participation."
Duration
One and a half hours

The Last Good War: Teaching World War II through Art, Music, and Literature

Description

From Alabama Humanities:

World War II is ideally suited to today's classroom. All of the novels selected for the course have been included on high school reading lists for years. Film versions of most of the novels are readily available to the high school teacher. Excerpts from several of these films will be shown during class. Teachers will learn about a number of World War II artists, such as Tom Lea and Kerr Eby, whose artwork can also be used to illustrate the war. Finally, teachers will learn how to use the best audiovisual aids in the classroom: actual veterans of World War II who can be found all over the United States.

Contact name
Thomas E. Bryant
Contact email
Sponsoring Organization
Alabama Humanities
Phone number
2055583997
Target Audience
4-12
Start Date
Course Credit
"24 contact hours "
Duration
Three days
End Date

When Whales Lit the World

Quiz Webform ID
22414
date_published
Teaser

Up to the 20th century, whalers provided oil for the industrial revolution.

quiz_instructions

Up to the 20th century, men shipped out whaling—risking their lives and spending up to five years at sea per voyage. Why? Because whalers lit the world, providing oil for lamps and for the machines of the industrial revolution—at no small cost to the whale population. Test your whaling knowledge.

Quiz Answer

1. Many idioms and words we use today arose from maritime jargon. Which of the following is not true?

b. "Blackstrap" was a sailor's nickname for tar.

"Blackstrap," today used for thick molasses, was a nickname not for tar, but for a cheap wine typically served in the Mediterranean. Sailors stationed in the area were said to be "black-strapped."

As for the other terms, cooks were permitted to keep a portion of the "slush," or fat scum from boiling meat, in the ship's stores. They then sold the fat to tallow merchants, providing the cooks with a handy "slush fund." Plates were generally square in the British Navy, for easier storage—leading to our adoption of the phrase, "a square meal." Finally, the word, "junk" originated as a word for rope worn to the point that it was useless for anything beyond making fenders or friction-reducing sail cushioning (baggywrinkle). Eventually, according to the American Heritage Dictionary of the English Language, it also was used to refer to the meat, often of poor quality, fed to sailors, and then to anything discarded or broken.

2. There are many whales in the sea, and each had its own peculiarities noted by whalers. Which of the following is not true?

a. American whalers sought out the blue whale, as its immense size provided the most blubber, and therefore, profit.

Blue whales were unmanageable with American whaling technology. (Groups with more advanced tools, such as the Scandinavians, did hunt them.)

Right whales were given their name based on their by-products and the comparative ease of the kill. Sperm whales were similarly prized; however, they often dove deeply when injured. Secured to the line of a harpoon, attendant whalers had to sever the line fast, or follow the whale to the bottom. John Smith was interested in whaling in early America. However, he failed to locate any whale species considered valuable at the time.

3. Among seafaring tales, few are as well known as Herman Melville's Moby Dick. Which of the following is not true?

c. The name of Ahab's vessel, the Pequod, is taken from a type of indigenous vessel used in Rokovoko, the island from which the character Queequeg came.

The Pequod is likely named after the Pequot, a Native American group native to what is now Connecticut. Rokovoko (or Kokovoko in some versions) is a fictional island created by Melville.

Moby Dick is thought to be based on a real white sperm whale, known as Mocha Dick. As for the chapel in New Bedford, the pulpit was added after the release of the 1956 film Moby Dick, starring Gregory Peck. The pulpit was redesigned to meet the expectations of tourists, disappointed by the lack of the prominent film feature. Finally, the Coffin and Starbuck families intermarried in the 17th century, creating a long line of Quaker whalers. Both Coffin and Starbuck remained Nantucket surnames.

4. Different groups of people were considered bad luck on ships, and treated with suspicion when on board. Which of the following groups was not considered a risk?

b. One-eyed men

There was no stigma attached to sailors or passengers with one eye—although this was not true of the cross-eyed or "swivel-eyed."

Finns were believed to whistle the winds, have the second sight, or be in league with the Devil. In contrast, preachers, as men of God, could cause harm to vessels carrying them, as the sea was considered godless. Bringing a godly individual aboard was taunting the sea. Similar superstitions, although less common, applied to the Bible. Last, but not least, women were generally considered ill luck on board. However, a naked woman would bring favor to the voyage by shaming the sea into submission. This sparked the tradition of naked female figureheads. Women were also believed to be the best navigators.

5. One final question, a "grab bag" of whaling fact and fiction. Which of the following is not true?

a. A sea shanty is a type of dance, akin to a jig, in which the watch would take turns performing.

Sea shanties were, in fact, work songs, used to time tasks that required group coordination, such as furling sails. They featured call and response singing and were highly rhythmic.

Whaling expeditions chose to freeze their vessels into the ice knowing that they would be among the first whalers in prime hunting locations come the thaw. One of the better known captains involved in the practice, George Comer, also used the winter to conduct ethnographic studies of the local Inuit. Lewis Temple, an African American man, did invent the toggle head harpoon, which released a hook on the harpoon head when it entered the whale. This prevented the harpoon from easily sliding out of the wound, and revolutionized the whaling industry. Scrimshaw was a recognized whalers' art. Common forms included pie crimpers, walking sticks, and corset busks, frequently given to sweethearts as gifts.

For more information

Want to know more about the history of whaling in America? The best place to start would be the museum of "the city that lit America," New Bedford, MA. The New Bedford Whaling Museum offers a multitude of sources to introduce you to the fascinating world of the country's now defunct whaling industry, from the biology of whales to the life of the whalers. Six online exhibits cover everything from whaling ports to U.S. whalers and the opening of Japan. Also be sure to read over the curriculum guide which looks at the uses of whale products, signing up for a whaling voyage, conditions at sea, sailors' free time, whaling tasks, and information on whaling and conservation today. The packet includes primary sources, making it easy for educators to introduce whaling as a vital part of U.S. history—without ignoring its environmental implications. Finally, the Collections Search (accessible from the main page) is a fantastic resource for artifacts and prints to illustrate handouts, PowerPoint presentations, or other materials.

Should the opportunity ever arise, be sure to visit in person! In addition to the museum, the area offers the sailors' chapel mentioned in Moby Dick, a National Park Service visitor's center, and a modern working waterfront.

Sources
thumbnail
Whaling quiz - thumbnail
Preview Mode
On

Jump at the Sun: Zora Neale Hurston and Her Eatonville Roots

Description

From the Florida Humanities Council website:

"Daily life in Eatonville was recounted in Hurston's first fieldwork as an anthropologist. Her best known folklore collection, Mules and Men (1935), included black music, games, oral lore, and religious practices reflective of her early life growing up in Eatonville. Hurston's ethnographic study of her racial heritage influenced several Harlem Renaissance writers, and later such contemporary authors as Alice Walker and Toni Morrison.

"Eatonville provides a fascinating vantage point for examining black life and social structures in the South after the Civil War. To paraphrase Hurston, how did these self-governed Negro towns differ from the 'black back-side of some white-folks' town?' Is it merely coincidental that this historic town brought forth one of America's most fascinating and provocative writers, a writer who provides us with a new perspective on race?

"These weeklong seminars will bring together a distinguished team of humanities scholars who will provide an interdisciplinary exploration of Hurston's life and work. They include a literary scholar who has written extensively on Hurston; a folklorist who wrote the application that placed Eatonville on the Historic Register; a Hurston biographer; the director of the American Folk Life Center at the Library of Congress, where most of Hurston's folklife collection resides; and a colleague of Hurston's in the Works Progress Administration (WPA). Participants will examine Hurston's accomplishments within the context of the historical and cultural development of the Eatonville community. They will grapple with compelling questions about how this unique black enclave fueled Hurston's appreciation of folk culture, inspired her literary works, created her racial identity, and formed her sometimes controversial views on race."

Contact name
Ann Simas Schoenacher
Contact email
Registration Deadline
Sponsoring Organization
National Endowment for the Humanities, Florida Humanities Council
Phone number
7278732009
Target Audience
K-12
Start Date
Cost
Free; $1,200 stipend
Course Credit
"At the completion of each workshop, the Florida Humanities Council will present participants with a certificate of completion certifying them for 35 in-service points. Graduate credit is not available for this workshop."
Contact Title
Director
Duration
One week
End Date

Jump at the Sun: Zora Neale Hurston and Her Eatonville Roots

Description

From the Florida Humanities Council website:

"Daily life in Eatonville was recounted in Hurston's first fieldwork as an anthropologist. Her best known folklore collection, Mules and Men (1935), included black music, games, oral lore, and religious practices reflective of her early life growing up in Eatonville. Hurston's ethnographic study of her racial heritage influenced several Harlem Renaissance writers, and later such contemporary authors as Alice Walker and Toni Morrison.

"Eatonville provides a fascinating vantage point for examining black life and social structures in the South after the Civil War. To paraphrase Hurston, how did these self-governed Negro towns differ from the 'black back-side of some white-folks' town?' Is it merely coincidental that this historic town brought forth one of America's most fascinating and provocative writers, a writer who provides us with a new perspective on race?

"These weeklong seminars will bring together a distinguished team of humanities scholars who will provide an interdisciplinary exploration of Hurston's life and work. They include a literary scholar who has written extensively on Hurston; a folklorist who wrote the application that placed Eatonville on the Historic Register; a Hurston biographer; the director of the American Folk Life Center at the Library of Congress, where most of Hurston's folklife collection resides; and a colleague of Hurston's in the Works Progress Administration (WPA). Participants will examine Hurston's accomplishments within the context of the historical and cultural development of the Eatonville community. They will grapple with compelling questions about how this unique black enclave fueled Hurston's appreciation of folk culture, inspired her literary works, created her racial identity, and formed her sometimes controversial views on race."

Contact name
Ann Simas Schoenacher
Contact email
Registration Deadline
Sponsoring Organization
National Endowment for the Humanities, Florida Humanities Council
Phone number
7278732009
Target Audience
K-12
Start Date
Cost
Free; $1,200 stipend
Course Credit
"At the completion of each workshop, the Florida Humanities Council will present participants with a certificate of completion certifying them for 35 in-service points. Graduate credit is not available for this workshop."
Contact Title
Director
Duration
One week
End Date

Making the Wright Connection: Reading Native Son, Black Boy, and Uncle Tom's Children

Description

From the University of Kansas website:

Participants in this institute will engage in a "conversation that not only looks at why Wright was so influential during his lifetime, but more importantly why he matters to us today. We will take a closer look—and get a fuller sense of—Wright's world, that America that he knew and wrote about. How we can find ways of connecting his world and ours for our students, we will ask, as we focus on Wright's three major books: Uncle Tom's Children (1938), Native Son (1940), and Black Boy (1945). This will be a rare opportunity to read, research, write and create as you participate actively in the Institute's seminars, discussion groups and workshops and build lasting relationships with other teachers and Wright specialists."

Contact email
Registration Deadline
Sponsoring Organization
National Endowment for the Humanities, University of Kansas
Phone number
7858642565
Target Audience
Secondary
Start Date
Cost
Free; $2,100 stipend
Course Credit
"Teachers can gain professional development points, receiving one point for each hour of training."
Duration
Two weeks
End Date