In this, he is typical. When the Pew Economic Mobility Project conducted a survey in 2009—hardly a high point in the history of American capitalism—39 percent of respondents said they believed it was “common” for people born into poverty to become rich, and 71 percent said that personal attributes like hard work and drive, not the circumstances of a person’s birth, are the key determinants of success. Yet Pew’s own research has demonstrated that it is exceedingly rare for Americans to go from rags to riches, and that more modest movement from the bottom of the economic ladder isn’t common either. In fact, economic mobility is greater in Canada, Denmark, and France than it is in the United States.
The researchers selected nearly 5000 words, and then used Amazon’s online crowdsourcing tool Mechanical Turk to ask more than 800 individuals to rank the humor value of 211 randomly chosen words from the list, on a scale from 1 (humorless) to 5 (humorous). Likely not surprising to anyone with younger siblings, the funniest word ended up being “booty,” with an average ranking of . In descending order, the remaining top 12 words—which all received a score of or higher—were “tit,” “booby,” “hooter,” “nitwit,” “twit,” “waddle,” “tinkle,” “bebop,” “egghead,” “ass,” and “twerp.”
When Franklin established himself in Philadelphia, shortly before 1730, the town boasted two "wretched little" news sheets, Andrew Bradford 's The American Weekly Mercury , and Samuel Keimer 's Universal Instructor in all Arts and Sciences, and Pennsylvania Gazette . This instruction in all arts and sciences consisted of weekly extracts from Chambers's Universal Dictionary . Franklin quickly did away with all this when he took over the Instructor and made it The Pennsylvania Gazette . The Gazette soon became Franklin's characteristic organ, which he freely used for satire, for the play of his wit, even for sheer excess of mischief or of fun. From the first he had a way of adapting his models to his own uses. The series of essays called "The Busy-Body", which he wrote for Bradford's American Mercury in 1729, followed the general Addisonian form, already modified to suit homelier conditions. The thrifty Patience, in her busy little shop, complaining of the useless visitors who waste her valuable time, is related to the ladies who address Mr. Spectator. The Busy-Body himself is a true Censor Morum, as Isaac Bickerstaff had been in the Tatler . And a number of the fictitious characters, Ridentius, Eugenius, Cato, and Cretico, represent traditional 18th-century classicism. Even this Franklin could use for contemporary satire, since Cretico, the "sowre Philosopher", is evidently a portrait of Franklin's rival, Samuel Keimer .