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In Berkeley Talks episode 138, Harry Edwards, a renowned sports activist and UC Berkeley professor emeritus of sociology, discusses the intersections of race and sport, athletes' struggle for definitional authority and the power of sport to change society.
"You can change society by changing people's perceptions and understandings of the games they play," said Edwards in March at a campus event sponsored by the Institute for the Study of Societal Issues and Cal Athletics. "I'm saying whether it's race relations in America, whether it's relations between the United States and the Soviet Union and China, whether it's what's going on in South Africa with apartheid, you can leverage sport to change people's perceptions and understandings of those relationships. Change society by changing people's perceptions and understandings of the games they play."
Listen to the episode and read a transcript on Berkeley News.
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(Photo courtesy of Harry Edwards)
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In the late ’90s, third-wave ska broke across the American alternative music scene like a tsunami. In sweaty clubs across the nation, kids danced themselves dehydrated to the peppy rhythms and punchy horns of bands like The Mighty Mighty Bosstones and Reel Big Fish. As ska caught fire, a swing revival brought even more sharp-dressed, brass-packing bands to national attention. Kenneth Partridge's Hell of a Hat: The Rise of '90s Ska and Swing (Pennsylvania State UP, 2021) dives deep into this unique musical moment.
Prior to invading the Billboard charts and MTV, ska thrived from Orange County, California, to NYC, where Moon Ska Records had eager rude girls and boys snapping up every release. On the swing tip, retro pioneers like Royal Crown Revue had fans doing the jump, jive, and wail long before The Brian Setzer Orchestra resurrected the Louis Prima joint. Drawing on interviews with heavyweights like the Bosstones, Sublime, Less Than Jake, and Cherry Poppin' Daddies—as well as underground heroes like Mustard Plug, The Slackers, Hepcat, and The New Morty Show—Kenneth Partridge argues that the relative economic prosperity and general optimism of the late ’90s created the perfect environment for fast, danceable music that—with some notable exceptions—tended to avoid political commentary.
An homage to a time when plaids and skankin’ were king and doing the jitterbug in your best suit was so money, Hell of a Hat is an inside look at ’90s ska, swing, and the loud noises of an era when America was dreaming and didn’t even know it.
Looking for the bands Partridge didn't get to highlight in the book? You can find his writing about them on his Substack.
Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music.
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Today’s episode is with contemporary artist Kenturah Davis. Exploring language, looms, and listening beyond the limen, Kenturah's work reminds us that identity requires an intimacy with the unknown and oftentimes hidden portraits of ourselves.
We explore topics that range from the diminishing value of a Masters of Fine Arts degree to urban planning and design to Toni Morrison’s essay “The Site of Memory”, this conversation is one that holds our hearts in an audible essay on the shadows of life and living.
What to read.
The Site of Memory by Toni Morrison
Playlist inspired by this conversation.
Atladena- Kelela
Apocalypse-Thundercat
Who to follow.
Kenturah Davis
This conversation was recorded on 12/14/21.
Host Dario Calmese
Producer Carmen D. Harris
Visual Art Direction and Designs:
River Wildmen, AfroVisualism
Director of Digital Content: vickygcreative.com
Original Music composed by Dario Calmese
Taking cues from Walter Benjamin’s fragmentary writings on literary-historical method, Late Colonial Sublime: Neo-Epics and the End of Romanticism (Northwestern UP, 2018) re-constellates the dialectic of Enlightenment across a wide imperial geography, with special focus on the fashioning of neo-epics in Hindi and Urdu literary cultures in British India. Working through the limits of both Marxism and postcolonial critique, this book forges an innovative approach to the question of late romanticism and grounds categories such as the sublime within the dynamic of commodification. While G. S. Sahota takes canonical European critics such as Theodor Adorno and Max Horkheimer to the outskirts of empire, he reads Indian writers such as Muhammad Iqbal and Jayashankar Prasad in light of the expansion of instrumental rationality and the neotraditional critiques of the West it spurred at the onset of decolonization.
By bringing together distinct literary canons—both metropolitan and colonial, hegemonic and subaltern, Western and Eastern, all of which took shape upon the common realities of imperial capitalism—Late Colonial Sublime takes an original dialectical approach. It experiments with fragments, parallaxes, and constellational form to explore the aporias of modernity as well as the possible futures they may signal in our midst. A bold intervention into contemporary debates that synthesizes a wealth of sources, this book will interest readers and scholars in world literature, critical theory, postcolonial criticism, and South Asian studies.
G.S. Sahota is associate professor of Literature at UC Santa Cruz, where he holds the Aurora chair in Sikh and Punjab Studies. His first book, Late Colonial Sublime: Neo-Epics and the End of Romanticism (Northwestern University Press, 2018), was awarded the Modern Language Initiative Grant of the Mellon Foundation. He is currently undertaking research toward two separate books (Transposed Minds: Indo-German Cultural Exchange and a Critique of Identity, and The Name of Reason: Sikhism, Secularism, and a Future Philosophy), pursuing a photography project on the gurdwaras of California, composing fragmentary thought-images, and learning Italian.
Saronik Bosu (@SaronikB on Twitter) is a doctoral candidate in English at New York University. He is writing his dissertation on literary rhetoric and economic thought. He co-hosts the podcast High Theory and is a co-founder of the Postcolonial Anthropocene Research Network.
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Language is fundamental to how people experience the world, but how can we know what languages people spoke in the distant past? By 1200 BC, the linguistic outlines of the world were becoming a bit clearer, thanks to an explosion in written texts. Follow along as we go on a historical linguistic tour of the globe around 1200 BC, from the first Bantu-speakers of western Africa to the Indo-Iranians of the steppe to the Austronesians of southeast Asia.
Patrick's book is now available! Get The Verge: Reformation, Renaissance, and Forty Years that Shook the World in hardcopy, ebook, or audiobook (read by Patrick) here: https://bit.ly/PWverge
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Today we speak to Rebecca Cypess, Associate Professor at Rutgers University, about her new book: Musical Salons in the Enlightenment (University of Chicago, 2022). Interest in music sociability during the eighteenth century, including domestic and semi-domestic music-making, has been steadily growing. As scholars have noted, musical salons were crucial in providing a space where women could perform in public, which was otherwise impossible, for the most part. In this book, music scholar and performer Rebecca Cypess focuses on the figure of the salonnière, the female host at the center of most musical salons in Europe and America in the second half of the eighteenth century. Through case studies include the salons of Anne-Louise Brillon in Paris, Marianna Martines in Vienna, Sara Levy in Berlin, Elizabeth Graeme in Philadelphia, and the painter Angelika Kauffman in Rome, Cypess addresses several far-reaching issues in Enlightenment musical culture. Among them are questions having to do with collaboration and improvisation vs. authorship, sensual vs. intellectual experiences, the role of women in 'governing' the salons and collecting musical scores and instruments, and how these collections can function as texts that illuminate the lived experiences of eighteenth-century music. In this richly written book, Cypess draws on letters, diaries, and other written documents, as well as iconography, to make connections with non-musical practices, including games, and to recreate the salon as an immersive musical and creative environment.
Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender.
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“We’ve collapsed the idea of community with 'connectivity'. But being 'connected' doesn’t mean you have any sense of community. To have a community, you need something very visceral, you need to be in close proximity with people, to communicate on a day-to-day basis, to understand the flaws of people. It’s not about curated existences.”
In this episode, we welcome Brad Evans, a political philosopher, critical theorist, and writer, who specializes in the problem of violence. His work is particularly concerned with addressing the multiple forms violence takes in the world, while developing a more poetic critique that highlights the importance of the arts and the imaginary.
The author of nineteen books and edited volumes, along with over a hundred academic and media articles, he currently holds a Chair in Political Violence & Aesthetics at the University of Bath, United Kingdom.
(The musical offering in this episode is Debt by Luna Bec.)
Green Dreamer is an in(ter)dependent, community-powered podcast. If our work has inspired you, please consider reciprocating a gift of support to help sustain the show: GreenDreamer.com/support
According to the definition offered by Tate on the occasion of the exhibition Surrealism Without Borders, Surrealism “aims to revolutionise human experience. It balances a rational vision of life with one that asserts the power of the unconscious and dreams.” Surrealism, therefore, produces images and artefacts that are rooted outside the real and that evade rational description.
For many artists, however, the practice of Surrealist art took on an explicitly political and therefore practical dimensions. In Surrealist Sabotage and the War on Work (Manchester UP, 2021), art historian Abigail Susik argues that many Surrealists tried to transform the work of art into a form of unmanageable anti-work.
Abigail Susik speaks with Pierre d’Alancaisez about what the politics of work meant to the early French Surrealists, the ambiguous labour practices of artists like Simone Breton, and the imagery of typewriters and sewing machines that permeates the work of artists such as Oscar Domínguez. She brings these questions into the present by engaging with the work of the Chicago Surrealists of the 1960s and 70s.
Abigail Susik is Associate Professor of Art History at Willamette University and co-editor of Surrealism and film after 1945.
Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional.
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