For years the press has been telling us that industries that hire mostly men must be bad for women, Steve Sailer notes:
Instead, however, we see that careers where women are most abundant and most ambitious, such as television and movies, are where they are most exploited.
Why? It’s simple supply and demand.
Conversely, just as women got the vote way back in 1870 in the frontier states of Wyoming and Utah because cowboys wanted to encourage schoolmarms to migrate, women tend to be treated rather well by lonely male employees in industries where they are rare.
For example, secretaries at midcentury Lockheed Aircraft, such as my mother and her friends, tended to do quite well for themselves in acquiring husbands. After my mother was widowed when her Marine first husband was killed in combat on Iwo Jima in early 1945, she found my engineer father. They were married from 1946 until her death in 1998.
My father wasn’t a genius engineer. His career was spent figuring out how to keep the more brilliant designers’ envelope-pushing airplanes, such as the F-104, from crashing. And he was socially awkward. But he was a good man.
My mother’s best friend married another engineer, Henry Combs. They were married from 1948 until her death in 2013. Ben Rich called Henry a “genius” in his superb memoir Skunk Works about Lockheed’s legendary R&D wing that Rich led. Combs became the technical director of the Skunk Works and, according to Rich, was the chief designer of the 2,000-mph SR-71, the most awesome airplane ever built.
The founder of the Skunk Works, Kelly Johnson, America’s most famous aeronautical engineer, married a girl in the Lockheed accounting department in 1937. When she was dying in 1969, she explained to Kelly that he was too busy to take care of himself, so she had arranged for him to marry his secretary, which he did. When his second wife was dying, she in turn found a third wife for him.
But that was Kelly Johnson in the bad old days in a conservative industry. In contrast, in progressive media industries in feminist 2017, alpha males like Weinstein and Rose treat women more like Ismail the Bloodthirsty did.
The female sex has shown that their emotional responses have not yet evolved to deal well with modern visual media. Women tend to be too impressed by the men on screen and too hell-bent to get themselves on screen.
In one of Philip Roth’s lesser novels, The Dying Animal, the narrator is a 62-year-old college professor who seduces one of his undergraduate students every semester and then discards her for a new one the following semester. How does the old dog do it? He moonlights on the local PBS channel as an arts expert for a few minutes per week. This might not seem like much fame, but for a 19-year-old coed, Roth’s narrator explains, “They are helplessly drawn to celebrity, however inconsiderable mine may be.”