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Unlike Eggman's more overt ways, Starline was much more subtle. Notably, he preferred simply launching an ambush instead of luring someone into a trap with bait that exposes his activities. Starline similarly always covered up his tracks in various ways, thereby leaving him activities undetected by his enemies.[23][33] Always waiting patiently for the right time to attack, he would only reveal himself when the time was perfect, at which point he allowed himself to be exaggeratingly theatrical.[36] He was also very thorough with everything he does. Notably, he put his projects through hundreds of different tests until he was absolutely assured of their safety and has sufficient data samples to work out from,[23][30] unlike Dr. Eggman, who would hastily begin implementing his plans without finishing the necessary procedures that would prevent the fallibility of his creations.[23] Similarly, he took great care when preparing for direct confrontations with his foes, like luring Sonic into an environment where he was at a disadvantage and scouting out a whole mountain before-hand in order to use his Warp Topaz to its fullest and kill him on his first try.[4] He also preferred working in the shadows and avoiding unnecessary clashes with his foes.[37]
During the middle decades of the twentieth century, the production of America's consumer culture was centralized in midtown Manhattan to an extent unparalleled in the history of the modern United States. Within a few square miles of skyscrapers were the headquarters of networks like NBC and CBS, the editorial offices of book publishers and mass circulation magazines such as Time and Life, numerous influential newspapers, and major advertising agencies on Madison Avenue. Every day tens of thousands of writers, editors, artists, performers, technicians, secretaries, and other white-collar workers made advertisements, produced media content, and enhanced the appearance of goods in order to boost sales. While this center of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labors. In this definitive history, The Making of the American Creative Class examines these workers and their industries throughout the twentieth century. As manufacturers and retailers competed to attract consumers' attention, their advertising expenditures financed the growth of enterprises engaged in the production of culture, which in turn provided employment for an increasing number of clerical, technical, professional, and creative workers. The book explores employees' efforts to improve their working conditions by forming unions, experimenting with alternative media and cultural endeavors supported by public, labor, or cooperative patronage, and expanding their opportunities for creative autonomy. As blacklisting and attacks on militant unions left them destroyed or weakened, workers in advertising, design, publishing, and broadcasting in the late twentieth century were constrained in their ability to respond to economic dislocations and to combat discrimination in the culture industries. At once a portrait of a city and the national culture of consumer capitalism it has produced, The Making of the American Creative Class is an innovative narrative of modern American history that addresses issues of earnings and status still experienced by today's culture workers. 153554b96e
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