Category: 3-BookTalkDaily

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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In When Art Isn’t Real: The World's Most Controversial Objects under Investigation (Leuven University Press, 2022), Dr. Andrew Shortland and Dr. Patrick Degryse examine how an initially valueless object becomes worth hundreds of millions. And vice versa.

The art world is a multi-billion-dollar industry which captures world headlines on a regular basis, for both good and bad reasons. This book deals with one of the most-discussed areas of controversy: high-profile objects that have experts arguing about their veracity. Some may have been looted, others may be fakes, some may be heavily restored or misattributed. Often, in these cases, analytical science is called on to settle a dispute.

The authors of this book have decades of experience in this field, working on a range of objects dating from prehistory to the twentieth century. They present seven of the most famous cases from the Getty Kouros to the Turin Shroud – some of which are still contested, and examine how a few words from a connoisseur or scientist can make a virtually valueless object worth hundreds of millions. And vice versa.

“We want to give readers some feel for the people involved. A feel for those period or material experts who give their opinion on an object’s validity from its looks, feel, even smell. A feel for the analysts, who employ their sicnetific equipment to the object and give their opinion from the numbers and pictures that are derived from them. A feel for the experts working with, in parallel with, and occasionally against each other.”

This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

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Our species has amassed unprecedented knowledge of nature, which we have tried to use to seize control of life and bend the planet to our will. In A Natural History of the Future: What the Laws of Biology Tell Us about the Destiny of the Human Species (Basic Book, 2021), biologist Rob Dunn argues that such efforts are futile. We may see ourselves as life's overlords, but we are instead at its mercy. In the evolution of antibiotic resistance, the power of natural selection to create biodiversity, and even the surprising life of the London Underground, Dunn finds laws of life that no human activity can annul. When we create artificial islands of crops, dump toxic waste, or build communities, we provide new materials for old laws to shape. Life's future flourishing is not in question. Ours is.

As ambitious as Edward Wilson's Sociobiology and as timely as Elizabeth Kolbert's The Sixth Extinction, A Natural History of the Future sets a new standard for understanding the diversity and destiny of life itself.

Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland.

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It was the Golden Age of Radio and powerful men were making millions in advertising dollars reaching thousands of listeners every day. When television arrived, few radio moguls were interested in the upstart industry and its tiny production budgets, and expensive television sets were out of reach for most families. But four women--each an independent visionary-- saw an opportunity and carved their own paths, and in so doing invented the way we watch tv today.

Irna Phillips turned real-life tragedy into daytime serials featuring female dominated casts. Gertrude Berg turned her radio show into a Jewish family comedy that spawned a play, a musical, an advice column, a line of house dresses, and other products. Hazel Scott, already a renowned musician, was the first African American to host a national evening variety program. Betty White became a daytime talk show fan favorite and one of the first women to produce, write, and star in her own show.

Together, their stories chronicle a forgotten chapter in the history of television and popular culture.

But as the medium became more popular--and lucrative--in the wake of World War II, the House Un-American Activities Committee arose to threaten entertainers, blacklisting many as communist sympathizers. As politics, sexism, racism, anti-Semitism, and money collided, the women who invented television found themselves fighting from the margins, as men took control. But these women were true survivors who never gave up--and thus their legacies remain with us in our television-dominated era. It's time we reclaimed their forgotten histories and the work they did to pioneer the medium that now rules our lives.

Jennifer Keishin Armstrong's When Women Invented Television: The Untold Story of the Female Powerhouses Who Pioneered the Way We Watch Today (Harper, 2021) is an amazing and heartbreaking history, illustrated with photos, tells it all for the first time.

Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland.

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