Author: Marshall Poe

In 1975, design engineer Dave Nutting completed work on a new arcade machine. A version of Taito's Western Gun, a recent Japanese arcade machine, Nutting's Gun Fight depicted a classic showdown between gunfighters. Rich in Western folklore, the game seemed perfect for the American market; players easily adapted to the new technology, becoming pistol-wielding pixel cowboys. One of the first successful early arcade titles, Gun Fight helped introduce an entire nation to video-gaming and sold more than 8,000 units.

In Gamer Nation: Video Games and American Culture (Johns Hopkins UP, 2019), John Wills examines how video games co-opt national landscapes, livelihoods, and legends. Arguing that video games toy with Americans' mass cultural and historical understanding, Wills show how games reprogram the American experience as a simulated reality. Blockbuster games such as Civilization, Call of Duty, and Red Dead Redemption repackage the past, refashioning history into novel and immersive digital states of America. Controversial titles such as Custer's Revenge and 08.46 recode past tragedies. Meanwhile, online worlds such as Second Life cater to a desire to inhabit alternate versions of America, while Paperboy and The Sims transform the mundane tasks of everyday suburbia into fun and addictive challenges.

Working with a range of popular and influential games, from Pong, Civilization, and The Oregon Trail to Grand Theft Auto, Silent Hill, and Fortnite, Wills critically explores these gamic depictions of America. Touching on organized crime, nuclear fallout, environmental degradation, and the War on Terror, Wills uncovers a world where players casually massacre Native Americans and Cold War soldiers alike, a world where neo-colonialism, naive patriotism, disassociated violence, and racial conflict abound, and a world where the boundaries of fantasy and reality are increasingly blurred. Ultimately, Gamer Nation reveals not only how video games are a key aspect of contemporary American culture, but also how games affect how people relate to America itself.

Rudolf Inderst is a professor of Game Design at the IU International University of Applied Science.

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In 1802, President Thomas Jefferson distilled a leading idea in the early American republic and wrote of a wall of separation between church and state. That metaphor has come down from Jefferson to 21st-century Americans through a long history of jurisprudence, political contestation, and cultural influence. Separating Church and State: A History (Cornell UP, 2022) traces the development of the concept of separation of church and state and the Supreme Court's application of it in the law.

Steven K. Green finds that conservative criticisms of a separation of church and state overlook the strong historical and jurisprudential pedigree of the idea. Yet, arguing with liberal advocates of the doctrine, he notes that the idea remains fundamentally vague and thus open to loose interpretation in the courts. As such, the history of a wall of separation is more a variable index of American attitudes toward the forces of religion and state.

Indeed, Green argues that the Supreme Court's use of the wall metaphor has never been essential to its rulings. The contemporary battle over the idea of a wall of separation has thus been a distraction from the real jurisprudential issues animating the contemporary courts.

Lane Davis is an Instructor of Religion at Huntingdon College.

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To many Americans in the nineteenth and twentieth centuries, the West was simultaneously the greatest symbol of American opportunity, the greatest story of its history, and the imagined blank slate on which the country's future would be written. From the Spanish-American War in 1898 to the Great Depression's end, from the Mississippi to the Pacific, policymakers at various levels and large-scale corporate investors, along with those living in the West and its borderlands, struggled over who would define modernity, who would participate in the modern American West, and who would be excluded.

In Making a Modern U.S. West: The Contested Terrain of a Region and Its Borders, 1898-1940 (U Nebraska Press, 2022)Sarah Deutsch surveys the history of the U.S. West from 1898 to 1940. Centering what is often relegated to the margins in histories of the region--the flows of people, capital, and ideas across borders--Deutsch attends to the region's role in constructing U.S. racial formations and argues that the West as a region was as important as the South in constructing the United States as a "white man's country." While this racial formation was linked to claims of modernity and progress by powerful players, Deutsch shows that visions of what constituted modernity were deeply contested by others. This expansive volume presents the most thorough examination to date of the American West from the late 1890s to the eve of World War II.

Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota.

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We are living in an era of unprecedented access to popular culture: contemporary digital infrastructure provides anyone with an internet connection access to a dizzying array of cultural objects past and present, which mingle and connect in fascinating, bizarre and sometimes troubling ways. 

In Black Ephemera: The Crisis and Challenge of the Musical Archive (NYU Press, 2022), Mark Anthony Neal considers the opportunities and challenges that this vast archive represents for Black American culture, with a particular focus on music and sound. He suggests that despite the profusion of what he terms ‘Black big data’ and the supposed democratisation of access this entails, the contemporary moment is characterised by a profound amnesia and an absence of attention to the dense web of connections that bind the analogue past with the digital present. Black Ephemera seeks to at once draw out and ‘mystify’ these links, by attending to recordings, historical moments and archival projects which have often been neglected in other studies of Black music. Neal’s explorations have a wide historical scope and operate simultaneously in microscopic and conjunctural registers. The book includes analyses of legendary Memphis record label Stax, the place of Aretha Franklin and Mavin Gaye’s overlooked early recordings in/as the Great American Songbook, the use of musical citation to try and combat the erasure of Black women’s experience from the historical archive, and the significance of archival ephemera to Black mourning practices from Pattie LaBelle to Kendrick Lamar.

We cover a lot of music in this episode, and there’s even more in the book! A good place to start might be with two mixes made in response to Black Ephemera, which you can listen to here and here.

Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds.

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Most humans are significantly richer than their ancestors. Humanity gained nearly all of its wealth in the last two centuries. How did this come to pass? 

In How the World Became Rich: The Historical Origins of Economic Growth (Polity, 2022), Mark Koyama and Jared Rubin dive into the many theories of why modern economic growth happened when and where it did. They discuss recently-advanced theories rooted in geography, politics, culture, demography, and colonialism. Pieces of each of these theories help explain key events on the path to modern riches. Why did the Industrial Revolution begin in 18th-century Britain? Why did some European countries, the USA, Canada, and Japan catch up in the 19th century? Why did it take until the late 20th and 21st centuries for other countries? Why have some still not caught up? Koyama and Rubin show that the past can provide a guide for how countries can escape poverty. There are certain prerequisites that all successful economies seem to have. But there is also no panacea. A society’s past and its institutions and culture play a key role in shaping how it may—or may not—develop.

Javier Mejia is an economist teaching at Stanford University, whose work focuses on the intersection between social networks and economic history. His interests extend to topics on entrepreneurship and political economy with a geographical specialty in Latin America and the Middle East. He received a Ph.D. in Economics from Los Andes University. He has been a Postdoctoral Associate and Lecturer at New York University--Abu Dhabi and a Visiting Scholar at the University of Bordeaux. He is a regular contributor to different news outlets. Currently, he is Forbes Magazine op-ed columnist.

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The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists, but according to Mary Beth Willard, it’s hard to find good reasons to do so. In Why It's OK to Enjoy the Work of Immoral Artists (Routledge, 2021), she contends that because most boycotts of artists won’t succeed, there’s no ethical reason to do so most of the time. She then argues that canceling artists is ethically risky because it encourages moral grandstanding.

In this interview, Allison Leigh talks to Mary Beth Willard about the differences between enjoyment and engagement when it comes to immoral artists, as well as whether we should enjoy artworks that have immoral outlooks and behaviors embedded in them. Their conversation ranges from the problems associated with collective versus individual actions, the positive effects that giving up the work of immoral artists may have for shifting cultural norms, and the distinction between public and private enjoyment.

Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries.

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Cannabis "legalization" hasn't lived up to the hype. Across North America, investors are reeling, tax collections are below projections, and people are pointing fingers. On the business side, companies have shut down, farms have failed, workers have lost their jobs, and consumers face high prices. Why has legal weed failed to deliver on many of its promises? Can Legal Weed Win?: The Blunt Realities of Cannabis Economics (U California Press, 2022) takes on the euphoric claims with straight dope and a full dose of economic reality.

This book delivers the unadulterated facts about the new legal segment of one of the world's oldest industries. In witty, accessible prose, economists Robin Goldstein and Daniel Sumner take readers on a whirlwind tour of the economic past, present, and future of legal and illegal weed. Drawing upon reams of data and their own experience working with California cannabis regulators since 2016, Goldstein and Sumner explain why many cannabis businesses and some aspects of legalization fail to measure up, while others occasionally get it right. Their stories stretch from before America's first medical weed dispensaries opened in 1996 through the short-term boom in legal consumption that happened during COVID-19 lockdowns. Can Legal Weed Win? is packed with unexpected insights about how cannabis markets can thrive, how regulators get the laws right or wrong, and what might happen to legal and illegal markets going forward.

Robin Goldstein is an economist and author of The Wine Trials, a controversial exposé of wine snobbery that has become the world’s best-selling guide to cheap wine. Daniel Sumner is Frank H Buck, Jr. Distinguished Professor of Agriculture and Resource Economics at the University of California, Davis. Together they take readers on a tour of the economics of legal and illegal weed, showing where cannabis regulation has gone wrong and how it could do better.

John Emrich has worked for decades years in corporate finance, business valuation and fund management. He has a podcast about the investment space called Kick the Dogma.

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This striking contribution to Black literary studies examines the practices of Black writers in the mid-twentieth century to revise our understanding of the institutionalization of literary studies in America. 

In Outside Literary Studies: Black Criticism and the University (U Chicago Press, 2022), Andy Hines uncovers a vibrant history of interpretive resistance to university-based New Criticism by Black writers of the American left. These include well-known figures such as Langston Hughes and Lorraine Hansberry as well as still underappreciated writers like Melvin B. Tolson and Doxey Wilkerson. In their critical practice, these and other Black writers levied their critique from “outside” venues: behind the closed doors of the Senate Permanent Subcommittee on Investigations, in the classroom at a communist labor school under FBI surveillance, and in a host of journals. From these vantages, Black writers not only called out the racist assumptions of the New Criticism, but also defined Black literary and interpretive practices to support communist and other radical world-making efforts in the mid-twentieth century. Hines’s book thus offers a number of urgent contributions to literary studies: it spotlights a canon of Black literary texts that belong to an important era of anti-racist struggle, and it fills in the pre-history of the rise of Black studies and of ongoing Black dissent against the neoliberal university.

Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com.

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