WFHB

Abby Lee*

Our opening song is surely well-known--this is "Ta-ra-ra Boom-de-ay" performed here by Elsa Lanchester, which Chebutykin, the doctor in Chekhov's Three Sisters, periodically, perhaps pointedly, hums. Believe it or not, the lyrics from this 1891 minstrel farce variety show called Tuxedo do apply here. It may also be of interest that Henry Sayers, credited with the composition, claims not to have written it but to have heard it sung in a St. Louis brothel. [Wikipedia]

Greer Gerni

Three Sisters is being performed by the Indiana University Theatre Department at the Wells-Metz Theatre on campus beginning this Friday, October 13th and continuing through the 21st. We're joined in the WFHB studios by Abby Lee who plays Masha Prozorov, the middle of the three sisters in the play, and by Greer Gerni who is the production dramaturg, the person who provides historically and culturally specific detail about the play and its context so that the director, cast, and crew can make fully-informed decisions regarding the way the play might be performed.

For our closing music we’ll hear "Korobushka," a popular Russian folk song that the IU Theatre Department is featuring in its production.

First Edition cover

We start with the obvious question for dramaturg Greer Gerni, Who was Anton Chekhov?

*Photo of Abby Lee as Masha courtesy of IU Department of Theatre, Drama, and Contemporary Dance

CREDITS

Producer & Host: Doug Storm

Executive Producer: Wes Martin

For our Fall Fund Drive show we offer some program highlights from the last several months to show, not tell, how deserving we are of your financial support. And we open the show with The Who's "Eminence Front"...it’s a favorite of mine. We used this in the show with Thomas Frank, "It Takes a Democrat."

The sun shines

And people forget

The spray flies as the speedboat glides

And people forget

Forget they're hiding

The girls smile

And people forget

Also tonight...

We’re joined by Marissa Moorman in the studio to help us understand the way radio has shaped cultures and histories other than our own.

GUEST

Marissa Moorman is an associate professor in the History Department and Media School at Indiana University. Her research focuses on the intersection between politics and culture in colonial and independent Angola. She’s interested in the ways that cultural practice is productive of politics and not just derivative of it.

She is currently working on a book project entitled Powerful Frequencies: Radio, State Power, and the Cold War in Angola, 1933-2002 which looks at the relationship between the technology of radio and the shifting politics of southern Africa as anti-colonial movements established independent states in the context of a region newly charged by Cold War politics. This book attends to state dynamics of consolidation through techno-political processes and the human interferences that jam those grand plans.

HIGHLIGHT CLIPS

"It Takes a Democrat" (Guest, Thomas Frank)

"We, the Shackled" (Guest, Nancy MacLean)

"The Bluff of the Century" (Guest, Joan Brady)

MUSIC

"Eminence Front" The Who

"High Cotton" Alabama

"Talking Un-American Blues" Betty Sanders

"Play it Cool, Stay in School" Brenda Holloway

"(What's So Funny 'Bout) Peace, Love, and Understanding

SPECIAL THANKS to Jennifer Brooks for fund drive assistance.

CREDITS

Producer & Host: Doug Storm

Assistant Producer: Rob Schoon

Studio Engineer: Bryce Martin

Executive Producer: Wes Martin

Human hands unwittingly unleashed the AIDS epidemic and can now overcome it, if we learn the lessons of the past. This week on Interchange guest host Joan Hawkins welcomes James Kelly of IU's Media School discuss the evolution of AIDS, from its origins in the equatorial forests of Cameroon to its outbreak in the 1980s to the efforts currently being made in Africa—with the participation of some IU students-- to contain it.

GUEST

James Kelly, Associate Professor of Journalism and Director of Undergraduate Studies in The Media School. His teaching areas include photojournalism, graphic communication and publication design, the mass media’s role in society, and the reporting of HIV/AIDS and healthcare. He is a Herbert Frederic Lieber Distinguished Teaching Professor. Last summer he took twelve Media School students to Kampala, Uganda where they reported on HIV/AIDS in Africa for the Daily Monitor newspaper.

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AMPATH - AMPATH is Moi University, Moi Teaching and Referral Hospital and a consortium of North American academic health centers led by Indiana University working in partnership with the Government of Kenya.

"Social Networks of Disease" - ‘Tinderbox,’ by Craig Timberg and Daniel Halperin (New York Times)

MAIN IMAGE

The HIV/AIDS epidemic remains a significant threat to Ugandans even after twenty years of success at first reversing the prevalence rate from one of the highest in the world to one of the more modest rates in Sub-Saharan Africa. Nineteen million of the world’s 33 million people with HIV today live in Africa. Billboards like this in Kyenjojo, Uganda, are sponsored by the US Agency for International Development as part of an ongoing public awareness campaign, and can be seen in almost every Ugandan village and town. Since 2010, 70 IU journalism students have spent part of their summers in East Africa with Professor Jim Kelly reporting on the epidemic and the people who are working to end AIDS.

MUSIC

All of the music comes from English film director Derek Jarman's 1993 film, Blue. Derek Jarman died on February 19th, 1994, 5 months after his film Blue was released. The film has been called a kind of epitaph and tombstone by film critic, Jonathan Rosenbaum. It was made when he was dying of AIDS and losing his eyesight, has only a single, continuous image consisting of the color blue, but the sound track is unusually dense, making use of four separate speaking voices, a multifaceted score, and numerous sound effects. Much of the narration consists of Jarman raging about his worsening physical condition and other facets of his daily life. Voices heard in the film are those of Jarman, John Quentin, Nigel Terry, and Tilda Swinton.

CREDITS

Guest Host: Joan Hawkins

Producer: Doug Storm

Assistant Producer: Rob Schoon

Studio Engineer: Jennifer Brooks

Executive Producer: Wes Martin

We’re joined by James Naremore to discuss the cinema of Charles Burnett, who’s been called the nation’s least-known great filmmaker and the country’s most important African-American director. His major works, such as Killer of Sheep, To Sleep with Anger, The Glass Shield, and Nat Turner: A Troublesome Property explore history's effect on the structure of family. In films about working-class African-Americans that denounce cultural stereotypes and clichés, virtually the whole of Burnett’s career has been devoted to the proposition that Black Lives Matter. Naremore's new book is Charles Burnett: A Cinema of Symbolic Knowledge (University of California Press).

Naremore says of Burnett: "No career is more deserving of an Oscar. Killer of Sheep (1977), which concerns a black father in Watts who works in a slaughterhouse, has been listed as one of the 100 hundred essential pictures by the National Society of Film Critics and was among the first films to be designated a “National Treasure” by the Library of Congress. To Sleep with Anger (1990), is a masterful blending of humor and gothic moods within a black family. The Glass Shield (1994) is a powerful account of police corruption and murder, based on actual events. Nightjohn (1996), is a moving account of Southern slavery told from the point of view of a young black girl, and belongs in company with the finest TV films ever made; and the half-documentary, half-fictional Nat Turner: A Troublesome Property (2003) is in my view the best treatment of the subject in either film or print."

One of the features of my community is that it does not have a center, does not have an elder statesman, and more important, does not have roots; in essence it is just a wall with graffiti on it. Life is going to work, coming home, making sure every entrance is firmly locked to keep the thugs out, thinking on how to move up in the world or being a member of a street gang standing at neighborhood corners, thinking about nothing and going nowhere. In both cases what is missing is not only the spiritual but mother wit. Even though there is a church on every other corner, it only holds services once a week and it is not a dominant part of the life of the community. It is like a ship that has lost its rudder. It seems that those of us who observe tradition and have a sense of continuity can at least see the horizon. External forces more than internal forces have made the black community what it is today. There has always been the attempt to destroy our consciousness of who we were, to deny the past, and to destroy the family structure; and, since for us each day has not a yesterday or a tomorrow, to make the use of experience a lost art. Charles Burnett, "Inner City Blues" (1989)

Segment One - Killer of Sheep

Segment Two - To Sleep with Anger

Segment Three - The Glass Shield

Segment Four - Nat Turner: A Troublesome Property

GUEST

James Naremore is Emeritus Chancellors’ Professor of Communication and Culture and English at Indiana University and author of The Magic World of Orson Welles, Acting in the Cinema, More than Night: Film Noir in Its Contexts, On Kubrick, and An Invention without a Future: Essays on Cinema.

MUSIC

"Tears of Ole Miss" by John Handy

"Precious Memories" by Sister Rosetta Tharpe

"Black Man Sings the Blues" performed by Lance Eaton and Ernie Banks

"Give Me Freedom" by Stephen James Taylor

Closing Credits Song (To Sleep with Anger) - Ramón Flores, Trumpet

CREDITS

Producer & Host: Doug Storm

Assistant Producer: Rob Schoon

Studio Engineer: Bryce Martin

Executive Producer: Wes Martin

The "father of the modern welfare state" is said to be Lester Frank Ward, an American sociologist who published his major work in the midst of what is called the Gilded Age, 1870-1900 (which incidentally also dovetails with the end of Reconstruction and the inception of Jim Crow Laws). He believed "A sociology which intelligently and scientifically directed the social and economic development of society should institute a universal and comprehensive system of education, regulate competition, connect the people together on the basis of equal opportunities and cooperation, and promote the happiness and the freedom of everyone." Sounds nice. But neither Ward nor the Gilded Age is our focus--though now 100 years later it appears we’ve returned to it. We’re going to look at the work of Chicago School neoliberals Milton Friedman and Gary Becker.

Now, Friedman is generally well known and recognized as influential in economic policy in the US. and has been rightfully sullied by his association with the murderous Chilean dictator Augusto Pinochet...But what about Gary Becker?

Gary Becker was an American professor of economics and sociology at the University of Chicago who has been described as “the most important social scientist in the past 50 years” by The New York Times and he, like Friedman before him, was awarded the Nobel Prize in Economics (1992) and received the United States Presidential Medal of Freedom in 2007 under George W. Bush.

Neoliberals like Becker and Friedman oppose any form of state welfare for individuals and instead insist that the family as they describe it must serve as the primary support mechanism in a democratic and market society.

SEGMENT ONE

What’s so wrong with welfare? Melinda Cooper offers us a brief history of welfare and also of the Elizabethan Poor Laws.

SEGMENT TWO

Neoliberalism and the New Social Conservatism: in what follows we try to distinguish between these two political designations, but your host seems pretty thick-headed about it.

SEGMENT THREE

Cooper insists that the breadth and depth of our neoliberal worldview was born of a backlash to extra-parliamentary strength of the radical left in the 1970s, particularly the fear that sexual liberation was destroying the bonds (or shackles) of Family Values. Let’s first welcome, on the Right, Ronald Reagan and on the American Left, Bill Clinton...is there a difference that makes a difference?

AUDIO CLIP: the opening of a radio address by Ronald Reagan on June 16, 1984, followed by a snippet out of Bill Clinton’s 1995 State of the Union Address.

SEGMENT FOUR

Cooper offers a specific example of how neoliberals shape policy and actually twist welfare-oriented ideas (an economics of public spending to support public well-being AND fiscal health) toward the private sector and debt-chains for families and individuals--in this case human capital theory and student loans. And we’ll close with a nod toward Nancy MacLean’s Democracy in Chains and how James Buchanan’s Virginia School neoliberalism always seems to serve its moralism with a soupçon of economic narrative.

GUEST

Melinda Cooper is a University of Sydney sociologist and political scientist whose most recent book is Family Values: Between Neoliberalism and the New Social Conservatism (Zone Books), Life as Surplus: Biotechnology and Capitalism in the Neoliberal Era.

RELATED

Five Minutes with Melinda Cooper (Part 1)

All in the Family Debt by Melinda Cooper

Our topic today is Shulamith Firestone’s radical feminist book The Dialectic of Sex: The Case for Feminist Revolution, published in 1970.

But first a brief note on the death of Kate Millett, last Wednesday, September 6th. Listeners of Interchange will know we discussed Millett’s own radical feminist book, Sexual Politics, back in May with Maggie Doherty. Doherty wrote an obituary essay on Millett in the New Republic (The Courageous Radicalism of Kate Millett) and points out what a monumental year 1970 was for the feminist manifesto--a year which saw into print both Millett’s and Firestone’s books, Germaine Greer’s The Female Eunuch, Toni Cade’s anthology The Black Woman, and Robin Morgan’s anthology Sisterhood is Powerful (the last of which is out of print--someone out there fix that please). Doherty details the focus of these works:

Firestone described a world of women liberated from “the tyranny of reproduction.” In her feminist utopia, joy, and sexual pleasure were not eliminated but rather “rediffused,” breaking the constraints placed on them by patriarchy. Millett, too, believed that patriarchy could be destroyed; humanity depended upon it. “If we did not have these rigid sexual roles,” she once said, “we would all have so much more room for spontaneous behavior—for doing things that we feel like doing, for following our own instincts, for being imaginative, for being creative. The great thing about it all is that we could not only change this, but in the process, really improve everything else as well.” Patriarchy, she believed, would eventually become just one regrettable era in human history.

The Dialectic of Sex is widely considered the most influential book of Second Wave Feminism. In it Firestone argues that the biological sexual dichotomy is the root cause of male domination, economic class exploitation, racism, imperialism and ecological irresponsibility. Firestone insists that the cultural and technological preconditions now exist that make the elimination of sexual inequality possible and perhaps necessary for human survival.

Sexual inequality is "an oppression that goes back beyond recorded history to the animal kingdom itself": in this sense, it has been universal and inevitable, but the cultural and technological preconditions now exist that make its elimination possible and perhaps necessary for human survival.

The Dialectic of Sex remains remarkably relevant today—a testament to Firestone’s startlingly prescient vision. The author died in 2012, but her ideas live on through this extraordinary book.

GUEST

Kathi Weeks teaches in the Women’s Studies Program at Duke University. She studies feminist theory, political theory, the critical study of work, and utopian thought. Her books are The Problem with Work: Feminism, Marxism, Antiwork Politics and Postwork Imaginaries (Duke University Press, 2011) and Constituting Feminist Subjects (Cornell University, 1998).

RELATED

Redstockings Manifesto

The Feminist Manifesto: Reading Shulamith Firestone’s The Dialectic of Sex by Nona Willis Aronowitz

Eulogy for a Sex Radical: Shulamith Firestone's Forgotten Feminism by Emily Chertoff

In Praise of Being Daring (And Wrong) by Sady Doyle

Death of a Revolutionary by Susan Faludi

Tricky Dick started out that way...

Today’s show is about knowing and believing. And our key players are Alger Hiss, Richard Nixon, and Whittaker Chambers. Behind the scenes lurks the military industrial complex as fronted by the Dulles brothers, in particular John Foster, and corporate collaboration with Hitler’s Third Reich. But there is also in this story the justified fear of being hounded and jailed for the crime of being homosexual (yes, it was illegal) and for supporting civil rights for black Americans.

My guest via Skype from London is Joan Brady, a noted author of suspense fiction, who has recently published the book, Alger Hiss: Framed--A New Look at the Case That Made Nixon Famous. Brady met Hiss and was a casual acquaintance from 1960 on. Her book hinges on the two hours of “off-the-record” testimony given by Chambers to HUAC and orchestrated by Nixon on August 7, 1948.

The conviction of Alger Hiss for perjury in 1950, continues to define the terms of what it means to American. But the definition seems always professed in the negative--anti-communist most insistently through the 20th century, and now anti-Islam. To be American is to be strongly NOT something else.

The "Trial of the Century" was a rather public beginning to a continuing age of the politics of fear and paranoia. And it was the beginning of the political career of Richard Milhous Nixon--a Red-baiting genius who played every hand to win regardless of the circumstance. And as an accomplished poker player he was The King of the Bluff. Nixon went all-in on Hiss with one card, the phantasmagoric and ever-changing quote unquote witness testimony of Whittaker Chambers.

Eliot Weinberger wrote of Chambers ("A Spook in the House of Poetry")

After brief service as the editor of The New Masses, Chambers left literature in 1932 to join a society even more obscure and elite than those of poetry, Party, and unspoken sexuality: the Fourth Section of Soviet Military Intelligence. He was never again a poet; as a spy he seems to have done little of importance.

In 1948 he enters history and legend, almost a figure of the contemporary existential fiction: the distasteful martyr, the outcast messenger bearing - depending on the auditor - false or bad news. His darkly motivated tales of pumpkins and rugs have never been explained. Only their effect is known: they destroyed the government career of one ambitious young man, Alger Hiss, and launched another, Richard Nixon.

RELATED

Joan Brady: Alger Hiss 'was framed by Nixon'

“Venona and Alger Hiss” by John Lowenthal, from Intelligence and National Security, Vol. 15, No. 3 (Autumn 2000)

The GOP insisted Whittaker Chambers' pumpkin patch become a historical site (Salon)

MUSIC

"Talking Un-American Blues" by Betty Sanders

"Newspapermen Meet Such Interesting People" by Vern Partlow

"Poor Left Winger" by Janet Greene

"I’m No Communist" by Carson Robison

"The Ballad of Richard Nixon" by Joe Glazer

CREDITS

Producer & Host: Doug Storm

Assistant Producer: Rob Schoon

Studio Engineer: Bryce Martin

Executive Producer: Wes Martin

The idea of what it means to be human is changing. With countless catastrophic events looming, from climate instability to biotechnology and wars of autonomous machines, we center our fears and our hopes for a better future on the child to come, the survival of the next generation. But should we? Life is also outside and beyond the human and there are other and perhaps better (nonmoral) ways to organize life.

Rebekah Sheldon joins us to discuss her book, The Child to Come: Life After the Human Catastrophe.

Sheldon explores representations of this perilous future and the new figurations of the child that have arisen in response to it. Analyzing catastrophe discourse from the 1960s to the present—books by Joanna Russ, Margaret Atwood, and Cormac McCarthy; films and television series including Southland Tales, Battlestar Galactica, and Children of Men; and popular environmentalism—Sheldon finds the child standing in the place of the human species, coordinating its safe passage into the future through the promise of one more generation. Yet, she contends, the child figure emerges bound to the very forces of nonhuman vitality he was forged to contain.

TOPICS

Figurations of the child, the reproductive woman, the future, and the planet under global warming.

Against survivalism (and literary environmentalism) and "reproductive futurism" and how the "child" is made central to those political articulations in the Anthropocene.

What we mean when we talk about the human and how this is changing in the face of the unleashed energies of climate change; the death of "humanism."

Somatic Capitalism as "the way of all flesh."

GUEST

Rebekah Sheldon is an assistant professor in the English Department at Indiana University in Bloomington. Her critical work focuses on American literature and culture, with particular emphasis on speculative and science fiction and also queer theory, childhood studies, speculative philosophy, and feminist new materialism. Her first book is The Child to Come: Life After the Human Catastrophe published by the University of Minnesota Press in 2016, which considers the child figure under conditions of environmental threat.

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Poor Bees, Poor Birds, Poor Men: Rachel Carson’s Silent Spring (Interchange)

A Cyborg Manifesto by Donna Haraway (pdf)

The Evening and the Morning of the Night by Octavia Butler

The Carrier Bag Theory of Fiction by Ursula K. Le Guin

MUSIC

The Postal Service, "We Will Become Silhouettes"

The Decembrists, "The Calamity Song"

Tom Waits, "The Earth Died Screaming"

Daft Punk, "Technologic"

The Beatles, "Tomorrow Never Knows"

CREDITS

Producer & Host: Doug Storm

Assistant Producer: Rob Schoon

Studio Engineer: Bryce Martin

Executive Producer: Wes Martin

Today on Interchange we confront the insidious myth of individualism with a contrasting scientific doctrine of interconnectedness.

Much like the male brain and thoughts of sex, in the USA hardly a moment goes by without some commercial or institutional message encouraging us to “follow our dreams” and be true to ourselves. And it’s assumed we act on “our own” when we follow our dreams just because they are ours. Some call it “the bourgeois myth of self-origination”, the idea that we ourselves cause our desires.

José Martí by Herman Norman (1891)

In 1882, José Martí, Cuban Revolutionary Leader and Poet, singled out the prevalent idea that “there could be no theme better, more stimulating or conducive to depth and grandeur than the study of oneself”. That idea remains ascendant. It is a tenet of this culture that expressing who you are is the ultimate right and freedom; and we can now adapt Descartes’s Western European proof of existence -- I think therefore I am -- to, I tweet therefore I am...or more desperately, I am followed on Twitter therefore I am.

And what about the insistence upon choice as another pillar of freedom and a foundation for happiness--the more choices we have, surely the happier we’ll be, especially if there are no constraints on how or what we can choose. This is described a “negative liberty”--or freedom from interference and imposition. Look to yourself, know your heart, listen to your inner voice, and go your own way...

To José Martí such liberty is false, believing that it undermines knowledge and understanding: that someone who looks inside themselves for the grounds of personal freedom risks delusion. Such a person, believing the “myth of the self-made man”, is like “an oyster in its shell, seeing only the prison that traps him and believing, in the darkness, that it is the world”.

A philosopher of interdependence and connections he knew the truth of Whitman’s great declaration that each of us contains multitudes; And he knew too the false promise of success tied to material gain, what Simon Bolivar called the misery of liberty.

José Martí, who would die in the Cuban Revolution against Spain at the age of 42, believed that knowledge and understanding is a collective construction and that ideas do not originate within us, but come to us through our cultural institutions--like the family, churches and schools, and also laws--and that what is expressed when you “express yourself” is this collective mind.

If your culture is imperial, slave-holding, and expansionist, what kind of self will you express?

GUEST

Susan Babbitt is an associate professor of philosophy at Queen’s University, Kingston, Canada, author of Humanism and Embodiment: From Cause and Effect to Secularism, and most recently of José Martí, Ernesto “Che” Guevara and Global Development Ethics. She’s also a frequent contributor to Counterpunch.

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Don’t Raise Liberalism From the Dead (If It is Dead, Which It’s Not)

Cuba’s “Battle for Ideas” Affects Us All, or Could, and Should

A mass of torches in the darkness reveal faces full of rage — white, (mostly male) faces. Public violence and intimidation unmasking raw hateful prejudice and resurgent white supremacy. Is this the deep south of the 1920’s? No, it happened in a college town last weekend: Charlottesville, Virginia.

Our show is about the Reactionary Right in the United States of America; a country growing more and more divided each day under the still unbelievable reality of a Donald Trump Presidency.

Last week we spoke with Nancy MacLean about her book Democracy in Chains about the ways the wealthiest among us are financing efforts on every level to undermine any semblance of democracy this country might still claim to have.

Today, we confront the boots on the ground with political scientist and author, Christopher Sebastian Parker, who, along with his research partner Matt Baretto, has demonstrated just how pervasive and easily called into daylight the Reactionary Right is. In Change They Can’t Believe In: The Tea Party and Reactionary Politics in Contemporary America (Princeton, 2013), Parker and Baretto study the ostensibly “libertarian” movement to reveal its motivations are not about the economy, stupid…. It’s racism. And Parker sees the same thing behind the supposed “economic anxiety” of trump’s most ardent supporters--overwhelmingly white, middle class, middle aged, heterosexual, Christian men.

From the inception of the second Klan in 1915 through to the John Birch Society in the late 1950’s (recall that Charles Koch, like his daddy Fred, was a member) and forward to its current cover organization, The Tea Party, the Reactionary Right only sees the “real America” belonging to white Christians, and the Kochs of the world have fanned this flame of hate for decades.

In our (quite upbeat) conversation (given such a grim topic — it was recorded two weeks ago) Parker shows how racial retrenchment has recurred every time people of color make a step forward, from returning black World War 1 veterans demanding the rights of citizenship to the first black man in the white house — “the Obama effect” that stirred old hatreds anew in the form of Tea Party rage.

I asked Parker via email for his thoughts on the violent demonstration in Charlottesville.commented via email:

This is just an extension of the Tea Party’s “take our country back” campaign… Trump played on this with his motto: make America Great Again. In both cases, the suggestion is that something’s wrong with America Now, and the “real America” needs to be recovered for “real” americans. Sadly, Trump’s unleashed the beast, and it wont change anytime soon.

GUEST

Christopher Sebastian Parker is Stuart A. Scheingold Professor of Social Justice and Political Science in the Department of Political Science at the University of Washington. His books are Change They Can’t Believe In: The Tea Party and Reactionary Politics in Contemporary America, with Matt Baretto (Princeton 2013); and Fighting for Democracy: Black Veterans and the Struggle Against White Supremacy in the Postwar South (Princeton 2009). He can be found on Twitter: @blackbruin.

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Democrats’ “Better Deal” is a bum deal for progressives — and won’t win elections (an interview with Parker in Salon...