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Crowdfunding Is Hot
FEBRUARY 2017 Volume 33 Issue 02 DIGEST Mad Marketing Maven HOW MADMAN MUNTZ BUILT 3 EMPIRES Army Salutes Soldier’s Invention SAVING TIME AND MONEY Big Help for Tiny Babies BUSINESS MODEL: GIVING BACK IT DOESN’T TAKE AN EINSTEIN TO KNOW ... CROWDFUNDING IS HOT $5.95 FULTON, MO FULTON, PERMIT 38 PERMIT US POSTAGE PAID POSTAGE US PRSRT STANDARD PRSRT EDITOR’S NOTE Inventors DIGEST EDITOR-IN-CHIEF REID CREAGER ART DIRECTOR CARRIE BOYD New Website Adds CONTRIBUTORS STAFF SGT. ROBERT R. ADAMS To the Conversation STEVE BRACHMANN DON DEBELAK For many of us, there’s nothing like the traditional magazine experience—hold- JACK LANDER ing the original, glossy physical product in your hands; turning the paper pages; JEREMY LOSAW tearing out portions and/or pages to display or save; and having a flexible, por- GENE QUINN table keepsake that’s never susceptible to electronic or battery failure. JOHN G. RAU A publication that provides both this and a strong internet presence is the best EDIE TOLCHIN of both worlds. With that in mind, Inventors Digest recently updated its website GRAPHIC DESIGNER (inventorsdigest.com). We wanted to make our online content more attractive and JORGE ZEGARRA streamlined, with the goal of inviting even more readers. There’s also more content than ever before; we’re loading more current articles from each issue and going INVENTORS DIGEST LLC back through the archives to pull older ones. This is part of a larger mission: to make PUBLISHER the website a central hub for the Inventors LOUIS FOREMAN Digest community and encourage readers to become active participants in national VICE PRESIDENT, INTERACTIVE AND WEB conversations involving invented-related MATT SPANGARD subjects. -
Muntz, Earl 1932
Earl “Madman” Muntz Biography Earl “Madman” Muntz - Class of 1932 (did not actually graduate), - b. January 3, 1914 d. June 21, 1987 Earl “Madman” Muntz! The very name conjures up memories, for many, of one of the wildest and craziest entrepreneurs of the 20th century. First of the loud, nuts, in-your-face used car salesmen, in the 1940s his billboards blanketed Southern California screaming, “I wanna give ‘em away, but Mrs. Muntz won’t let me - SHE’S CRAZY!” and “I buy ‘em retail, sell ‘em wholesale - IT'S MORE FUN THAT WAY!” These billboards, plus a steady bombardment of radio ads, helped Muntz sell $76 million worth of automobiles in 1947, when a million dollars was real money. And his logo -- a caricature of Muntz wearing a black Napoleon hat and red BVDs -- seemed to be everywhere. He produced and sold Muntz TVs, cheap but functional sets that competed successfully in the marketplace with RCA, Philco and other electronic giants of the time. And his TV business made him a second multimillion dollar fortune. He produced the first American sports car -- the Muntz Jet. A beautiful, well-crafted, speedy car that was a precursor of Chevrolet's Corvette, the Muntz Jet was an aesthetic and mechanical success, but Muntz’s first financial disappointment. The Jets sold for $5,500 but they cost $6,500 to produce, and this at a time (the early 1950s) when a new Cadillac could be had for $3,200. Earl Muntz’s third fortune came in the 1960s when he invented the four-track car stereo, becoming the first major player in the soon-to-be-huge car stereo market. -
NSN October 2018 B.Pub
Volume 18 Issue 10 October 1, 2018 My Pride and Joy Steve Allen’s Beautiful Barn Find This month we are reprinting a story from the September 2018 issue of the Road Race Lincoln Registry magazine, VIVA CARRERA, courtesy of Mike Denny, publisher. It is an interesting saga about one person’s passion for a very particular automobile, a 1953 Lincoln Capri. Here is the story as presented by the owner of this fine Lincoln — Steve Allen. Anyone with a passion for history and antique automobiles, inevitably finds them- selves daydreaming of their idea of the perfect barn find. The reality is that it rarely Welcome to the plays out as you envision. However, there are those exceptions that come along when you least expect it. Take my 1953 Lincoln Capri Convertible, for example. Northstar News, the My wife (Marie) and I had been discussing the long list of possibilities for what was monthly publication of to be the second car in our small collection. The problem was that we had such a wide the Northstar Region range of likes, we found it difficult to zero in on any one choice. of the Lincoln and One evening we were watching an old Lucille Ball, Desi Arnaz movie called the Continental Owners “Long Long Trailer.” It was a comedy of a newly married couple; who pulled an over- sized trailer across the country and it nearly broke up their marriage. The car that was Club. We value your used in the film was an early 1950s convertible. “That’s it!” Marie said, “That’s the kind opinions and appreciate of car I’d like own. -
60Th-Anniversary-Boo
HORATIO ALGER ASSOCIATION of DISTINGUISHED AMERICANS, INC. A SIXTY-YEAR HISTORY Ad Astra Per Aspera – To the Stars Through Difficulties 1947 – 2007 Craig R. Barrett James A. Patterson Louise Herrington Ornelas James R. Moffett Leslie T. Welsh* Thomas J. Brokaw Delford M. Smith Darrell Royal John C. Portman, Jr. Benjy F. Brooks* Jenny Craig Linda G. Alvarado Henry B. Tippie John V. Roach Robert C. Byrd Sid Craig Wesley E. Cantrell Herbert F. Boeckmann, II Kenny Rogers Gerald R. Ford, Jr. Craig Hall John H. Dasburg Jerry E. Dempsey Art Buchwald Paul Harvey Clarence Otis, Jr. Archie W. Dunham Joe L. Dudley, Sr. S. Truett Cathy Thomas W. Landry* Richard M. Rosenberg Bill Greehey Ruth Fertel* Robert H. Dedman* Ruth B. Love David M. Rubenstein Chuck Hagel Quincy Jones Julius W. Erving J. Paul Lyet* Howard Schultz James V. Kimsey Dee J. Kelly Daniel K. Inouye John H. McConnell Roger T. Staubach Marvin A. Pomerantz John Pappajohn Jean Nidetch Fred W. O’Green* Christ Thomas Sullivan Franklin D. Raines Don Shula Carl R. Pohlad Willie Stargell* Kenneth Eugene Behring Stephen C. Schott Monroe E. Trout D.B. Reinhart* Henry Viscardi, Jr.* Doris K. Christopher Philip Anschutz Dennis R. Washington Robert H. Schuller William P. Clements, Jr. Peter M. Dawkins Carol Bartz Joe L. Allbritton Romeo J. Ventres John B. Connally, Esq.* J. R. “Rick” Hendrick, III Arthur A. Ciocca Walter Anderson Carol Burnett Nicholas D’Agostino* Richard O. Jacobson Thomas C. Cundy Dwayne O. Andreas Trammell Crow Helen M. Gray* Harold F. “Gerry” Lenfest William J. Dor Dorothy L. Brown Robert J. -
1952 Muntz Jet (Her Nickname Is “BUTTERCUP”)
1952 Muntz Jet (Her nickname is “BUTTERCUP”) M-130 This Muntz Jet is the 30th of 198 cars built car equipped with an ice chest and by The Muntz Car Company during the liquor cabinet in the rear arm seats. The period 1951 thru 1954. It is sometimes interior dashboard received an aircraft credited as the first high-performance like, Stewart-Warner instrumentation; personal luxury car built in America with as well as, what is considered Detroit’s the capability of doing 0 to 60 in 8.6 first modern console/bucket seat layout. seconds. Earl Muntz became the largest The Muntz was available in colors such Used Car Dealer in the world during as Boy Blue, Elephant Pink, Chartreuse, WWII, often paying servicemen $50 to Purple and Buttercup Yellow. Famous drive a car from the Midwest to California owners of the Muntz Jet include many where he reaped bigger margins. In Hollywood Celebrities such as: Clara 1949, he became a multi unit Kaiser Bow, Vic Damone, Grace Kelly and Dealer and was credited with selling Mickey Rooney. This M-130 Muntz Jet 22,000 out of 147,000 cars built that year. was initially purchased by the Pillsbury In 1950, he decided to build his own car, Family and later discovered in Michigan the Muntz Jet and purchased the Frank about 50 years ago. In 1952, a Muntz Kurtis Company and expanded this Jet sold for $5,500 while a 1952 Cadillac two seat creation into a four passenger Convertible sold for $3,800. Earl Muntz was a combination • Became a household name after WWII of PT Barnum’s hucksterism, when Bob Hope, Groucho Marx, Red a pinch of Thomas Edison’s Skelton, Jack Benny and others poked curiosity and President Trump’s early fun at his wacky sales pitches…thus the entrepreneurial adventures. -
PATSY CLINE Glossary October 2017, Jewel Theatre Company Shaun Carroll, Director © Susan Myer Silton, Dramaturge
1 ALWAYS … PATSY CLINE Glossary October 2017, Jewel Theatre Company Shaun Carroll, Director © Susan Myer Silton, Dramaturge Note: this glossary not only provides word definitions, but includes additional information relevant to the play and its characters Key: DJ (disc jockey), LA (Los Angeles), NYC (New York City), UK (United Kingdom), US (United States), WWI (World War I) ACT I Cast, p. 5 All page numbers refer to the numbers imprinted on the script in the lower right of the page Patsy Cline: Patsy Cline was born Virginia Patterson Hensley on September 8, 1932, in the Winchester (Virginia) Memorial Hospital. She died in a plane crash March 6, 1963 in the hill country near Camden, Tennessee, at the age of 30, just as her career was at its highest peak. Country performers Hawkshaw Hawkins and Cowboy Copas died with her, as did her manager, Randy Hughes. Hughes was piloting all of them in his Piper Comanche home from a benefit concert in Kansas City, Kansas for Jack Wesley Call, aka “Cactus Jack”, one of Country’s well-known Midwestern DJs, who had died in a car crash a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, and the Clinch Mountain. According to Margaret Jones in her biography, Patsy: The Life and Times of Patsy Cline, “Country people are famous for coming to the aid of those in need”. Sam and Hilda’s home in Gore, where they lived before Patsy’s birth 2 When Patsy was born, her parents had been married for six days. -
THE JERRY GRAY STORY – 1955-1960 [Updated Jun 15, 2018 – Version JG.008E]
THE JERRY GRAY STORY – 1955-1960 [Updated Jun 15, 2018 – Version JG.008e] Circa 1955: Jerry Gray and his Band of Today, with Linda Lee. AFRS/AFRTS Series EN-315. Jerry Gray appeared on at least six programs of this Series. He was interviewed on at least three of these programs, likely at the Hollywood Palladium. Bud Widom was a disc jockey/interviewer on this Series. It is unknown whether the versions of the Jerry Gray recordings used were the original Decca commercial releases or other versions. Buds Bandwagon was a 30-minute record program produced and hosted by Bud Widom. There were approximately 655 programs distributed by AFRS/AFRTS. The Billboard, Jun 4, 1955, Page 18: 3 AFRS Live Segs Axed for Economy HOLLYWOOD, May 28. – A move to eliminate all Armed Forces Radio Service productions that emanate live this week resulted in the termination of contracts of three civilian AFRS employees, disc jockey Bud Widom, sports announcer Fred Hessler, and Dave Young, announcer-narrator. Move reportedly came as a result of a recent government order to “effect a drastic budget cut,” with possible future plans of eliminating commercial AFRS shows. Widom, best known of the trio, conducted a successful disk jockey show for AFRS for the past four years, “Bud’s Bandwagon.” _______________ The Billboard, Jul 23, 1955, Page 3: Bernstein, Widom Set Up B&W Outfit HOLLYWOOD, July 16. – B&W Productions was formed here this week by packager Bud Widom and producer Richard Bernstein. First show, “Bud’s Bandwagon,” a five-day, 15-minute Hollywood interview and news strip, is now being packaged. -
Packer & Oswald
The Communication Review, 13:309–339, 2010 Copyright © Taylor & Francis Group, LLC ISSN: 1071-4421 print/1547-7487 online DOI: 10.1080/10714421.2010.525478 From Windscreen to Widescreen: Screening Technologies and Mobile Communication JEREMY PACKER Department of Communication, North Carolina State University, Raleigh, North Carolina, USA KATHLEEN F. OSWALD Doctoral Candidate, Communication, Rhetoric & Digital Media Program, North Carolina State University, Raleigh, North Carolina, USA This article suggests that studies of mobile media need to be more attentive to the history of screening technologies. The develop- ment of screening technologies is examined by identifying six characteristics—storage and access, interactivity, mobility, control, informationalization, and convergence/translation—through the context of automobility. A brief history of the informationalization of driving, mobile entertainment in the car, and networked auto- mobiles is used to exemplify how screening technologies work. The article concludes by arguing that the development of screening tech- nologies is central to understanding the processes through which conduct is increasingly organized, monitored, and governed. Supplementary materials are available for this article. Go to the publisher’s online edition of The Communication Review for the following free supplemental resources: Historic illustrations of how media were made mobile. The study of mobile communication has been overwhelmingly beholden to the cellular telephone and has too often ignored the long history of tech- nologies that bring together means of communication with those of mobility. One exemplary case of the technological translation of these two arenas is the automobile (J. Hay & J. Packer, 2004). As Mike Featherstone (2004) suggested, the “automobile is one everyday object where human beings Address correspondence to Jeremy Packer, Department of Communication, Rhetoric, and Digital Media, North Carolina State University, 106 Winston Hall, Raleigh, NC 27695, USA. -
Allan E. Alcorn
SMITHSONIAN INSTITUTION LEMELSON CENTER FOR THE STUDY OF INVENTION AND INNOVATION Allan E. Alcorn Transcript of an interview conducted by Christopher Weaver at Computer History Museum Mountain View, California, USA on 16 March 2018 with subsequent additions and corrections For additional information, contact the Archives Center at 202-633-3270 or [email protected] All uses of this manuscript are covered by an agreement between the Smithsonian Institution and Allan E. Alcorn dated March 16, 2018. For additional information about rights and reproductions, please contact: Archives Center National Museum of American History Smithsonian Institution MRC 601 P.O. Box 37012 Washington, D.C. 20013-7012 Phone: 202-633-3270 TDD: 202-357-1729 Email: [email protected] Web: http://americanhistory.si.edu/archives/rights-and-reproductions Preferred Citation: Allan E. Alcorn, “Interview with Allan E. Alcorn,” conducted by Christopher Weaver, March 16, 2018, Video Game Pioneers Oral History Collection, Archives Center, National Museum of American History, Smithsonian Institution, Washington, DC. Acknowledgement: The Smithsonian’s Lemelson Center for the Study of Invention and Innovation gratefully acknowledges financial support from the Entertainment Software Association for this oral history project. For additional information, contact the Archives Center at 202-633-3270 or [email protected] Abstract Allan Alcorn begins the oral history by discussing his early family life and education prior to recounting his job at AMPEX and meeting Nolan Bushnell and Ted Dabney. He follows with the establishment of Syzygy, Atari, and the development of Pong. Alcorn’s narrative describes his perspective of creative and business trajectory of Atari, including Kee Games, Project Stella, and the Atari 400/800 computers prior to leaving the company. -
Audiophile Yourself
Audiophile Yourself Sound Systems, Digital Music, Gadgets, Downloading and Streaming audio September 14th from 2-3pm live and 4-5 online at: http://bit.ly/16fCjHN Or you can watch it later at: http://bit.ly/1al6sWW With special guest teacher KC Easterwood from Mindfire Academy http://cdn4.openculture.com/wp-content/uploads/2010/04/bigstock_Audio_book_14340599-e1330386218724.jpg What is an Audiophile ? • An audiophile is a person enthusiastic about high-fidelity sound reproduction. • Audiophile values may be applied at all stages of music reproduction: the initial audio recording, the production process, and the playback, which is usually in a home setting. http://blogs.houstonpress.com/rocks/audiophile-main.jpg High End Audio • High-end audio is a class of consumer home audio equipment marketed to audio enthusiasts on the basis of high price or quality, and esoteric or novel sound reproduction technologies. • High-end audio can refer simply to the price, to the build quality of the components, or to the subjective or objective quality of sound reproduction. • The high-end audio movement started in 1962 with the launch of J. Gordon Holt's Stereophile magazine, which departed from advertising-driven commercial publications like Stereo Review and High Fidelity and instead promoted a philosophy of reviewing and comparing audio components solely on the basis of sound quality. http://www.mediander.com/connects/145372/audiophile/#!/1569276/high-end-audio What is Hi-Fi • High fidelity—or hi-fi or hifi —reproduction is a term used by home stereo listeners and home audio enthusiasts (audiophiles) to refer to high-quality reproduction of sound to distinguish it from the poorer quality sound produced by inexpensive audio equipment, or the inferior quality of sound reproduction characteristic of recordings made until the late 1940s.