Truly an excellent episode, Ben is an author and journalist. Here is the audio and transcript, covering most of all the opioid epidemic and rap music, but not only.
Here is one excerpt:
COWEN: But if so much fentanyl comes from China, and you can just send it through the mail, why doesn’t it spread automatically wherever it’s going to go? Is it some kind of recommender network? It wouldn’t seem that it’s a supply constraint. It’s more like someone told you about a restaurant they ate at last night.
WESTHOFF: It’s because the Mexican cartels are still really strongly in the trade. Even though it’s all made in China, much of it is trafficked through the cartels, who buy the precursors, the fentanyl ingredients, from China, make it the rest of the way. Then they send it through the border into the US.
You can get fentanyl in the mail from China, and many people do. It comes right to your door through the US Postal Service. But it takes a certain level of sophistication with the drug dealers to pull that off.
COWEN: It’s such a big life decision, and it’s shaped by this very small cost of getting a package from New Hampshire to Florida. What should we infer about human nature as a result of that? What’s your model of the human beings doing this stuff if those geographic differences really make the difference for whether or not you do this and destroy your life?
WESTHOFF: Well, everything is local, right? Not just politics. You’re influenced by the people around you and the relative costs. In St. Louis, it’s so incredibly cheap, like $5 to get some heroin, some fentanyl. I don’t know how it works in, say, New Hampshire, but I know in places like West Virginia, it’s still a primarily pill market. People don’t use powdered heroin, for example. For whatever reason, they prefer Oxycontin. So that has affected the market, too.
COWEN: Did New Zealand do the right thing, legalizing so many synthetic drugs in 2013?
WESTHOFF: I absolutely think they did. It was an unprecedented thing. Now drugs like marijuana, cocaine, heroin, all the drugs you’ve heard of, are internationally banned. But what New Zealand did was it legalized these forms of synthetic marijuana. So synthetic marijuana has a really bad reputation. It goes by names like K2 and Spice, and it’s big in homeless populations. It’s causing huge problems in places like DC.
But if you make synthetic marijuana right, as this character in my book named Matt Bowden was doing in New Zealand, you can actually make it so it’s less toxic, so it’s somewhat safe. That’s what he did. They legalized these safer forms of it, and the overdose rate plummeted. Very shortly thereafter, however, they banned them again, and now deaths from synthetic marijuana in New Zealand have gone way up.
COWEN: And what about Portugal and Slovenia — their experiments in decriminalization? How have those gone?
WESTHOFF: By all accounts, they’ve been massive successes. Portugal had this huge problem with heroin, talking like one out of every 100 members of the population was touched by it, or something like that. And now those rates have gone way down.
In Slovenia, they have no fentanyl problem. They barely have an opioid problem. Their rates of AIDS and other diseases passed through needles have gone way down.
And on rap music:
COWEN: This question is maybe a little difficult to explain, but wherein lies the musical talent of hip-hop? If we look at Mozart, there’s melody, there’s harmony. If you listen to Stravinsky’s Rite of Spring, it’s something very specifically rhythmic, and the textures, and the organization of the blocks of sound. The poetry aside, what is it musically that accounts for the talent in rap music?
WESTHOFF: First of all, riding a beat, rapping, if you will, is extremely hard, and anyone who’s ever tried to do it will tell you. You have to have the right cadence. You have to have the right breath control, and it’s a talent. There’s also — this might sound trivial, but picking the right music to rap over.
So hip-hop, of course, is a genre that’s made up of other genres. In the beginning, it was disco records that people used. And then jazz, and then on and on. Rock records have been rapped over, even. But what song are you going to pick to use? And if someone has a good ear for a sound that goes with their style, that’s something you can’t teach.
And yes on overrated vs. underrated, you get Taylor Swift, Clint Eastwood, and Seinfeld, among others. I highly recommend all of Ben’s books, but most of all his latest one Fentanyl, Inc.: How Rogue Chemists Are Creating the Deadliest Wave of the Opioid Epidemic.
I will be doing a Conversation with Ted, no associated public event. He is a musician and most of all a music historian, above all for jazz and blues, with numerous excellent books on those topics.
Gioia was raised in a Sicilian-Mexican household in Hawthorne, California, a working class neighborhood in the South-Central area of Los Angeles. Gioia was valedictorian and a National Merit Scholar at Hawthorne High School, and attended Stanford University. There he received a degree in English (graduating with honors and distinction), served as editor of Stanford’s literary magazine, Sequoia, and wrote regularly for the Stanford Daily. He was a member of Stanford’s College Bowl team, which was featured on television, and defeated Yale in the national finals. Gioia also worked extensively as a jazz pianist during this period, and designed and taught a class on jazz at Stanford while still an undergraduate.
After graduation, Gioia received a degree in Philosophy, Politics and Economics at Oxford University, where he graduated with first class honors. He then received an MBA from Stanford University.
Gioia has enjoyed successes in the worlds of music, writing and business. In the business world, Gioia has consulted to Fortune 500
companies while working for McKinsey and the Boston Consulting Group. He helped Sola International complete an LBO and IPO on the New York Stock Exchange in the 1990s. He has undertaken business projects in 25 countries on five continents, and has managed large businesses (up to $200 million in revenues). While working amidst the venture capital community on Sand Hill Road in Silicon Valley, Gioia stood out from the crowd as the “guy with the piano in his office.”
His knowledge of varied musical genres is virtually without parallel. So what should I ask Ted?
2. Qawwali performers: Nusrat Fateh Ali Khan, the Sabri Brothers, and try this French collection of Qawwali music.
3. Author/novel: Daniyal Mueenuddin, In Other Rooms, Other Wonders. I am not sure why this book isn’t better known. It is better than even the average of the better half of the Booker Prize winners. Why doesn’t he write more?
4. Dish: Haleem: “Haleem is made of wheat, barley, meat (usually minced beef or mutton (goat meat or Lamb and mutton) or chicken), lentils and spices, sometimes rice is also used. This dish is slow cooked for seven to eight hours, which results in a paste-like consistency, blending the flavors of spices, meat, barley and wheat.”
6. Economic reformer: Manmohan Singh.
7. Economist: Atif Mian, born in Nigeria to a Pakistani family.
8. Textiles: Wedding carpets from Sindh?
I don’t follow cricket, sorry!
Samantha Power has a new and excellent book out, The Education of an Idealist: A Memoir, which I very much enjoyed. And so a Conversation with Tyler was in order, here is the audio and transcript, here is one bit:
COWEN: For a final closing segment, I just have some super simple questions about foreign policy again. Over the course of the last summer, Iran apparently seized two British tankers. There’ve been other incidents in the Strait of Hormuz in some way connected with Iran. From a game-theoretic point of view, why would they do this? Why does this make sense?
POWER: Well, the one thing that they would know that would give them some point of leverage is the extreme war fatigue within the United States, and really within the Western world. So, by upping the stakes, arguably — I mean, who knows why the hell they’re doing what they’re doing?
But by upping the stakes, they arguably could be sending a signal like, “You want to get in this game? It’s not as if we’re an island and you can just break the deal, penalize us gratuitously, penalize the people who are still trying to maintain the terms of the deal, and that there won’t be collateral consequences outside the nuclear space.”
Because the nuclear consequences, as they begin to enrich and violate the terms of the deal — having legitimately argued that we had violated the terms of the deal — the effects of those are not day-to-day effects in the news world. It’s a bit abstract for the public and even for policymakers. It’s an incremental abrogation.
But acts like this show that they have leverage, that they are active militarily in parts of the world where we have a vested interest in maintaining freedom of navigation. So I think they’re showing that they can hit in domains outside the nuclear domain. I think that is probably what they’re doing.
Here is another segment:
COWEN: In which ways do you feel your thought is in some manner still Irish in orientation in a way that would distinguish you from, say, American-born individuals?
POWER: It’s hard to know because I can’t run the counterfactual, so I don’t know what’s just because my mother is a physician and very empathetic toward her patients, and do I learn from that? Or am I moved by having come from a small country, at that time a poor country, that was sending —
COWEN: With a history of oppression, right?
POWER: With a history of oppression, with a history of the dignity of its people being trampled. Is that why I care so much about individual dignity? Again, I can’t run the history a different way.
COWEN: Very simple — are baseball games too long? Why not make it 7 innings?
POWER: Why not make it 12?
COWEN: It’s boring, right?
POWER: For you and, as it turns out, for others.
COWEN: For me. So many games are over 3 hours. Shouldn’t the game be 2 hours, 17 minutes?
We also cover her first impressions of America, being a wartime correspondent, China and Iraq, Star Wars vs. Star Trek, van Morrison vs. Bob Dylan, robot empires vs. robot umpires, her favorite novel, how personal one should get in a memoir and why, and German defense spending, among other topics.
No, I don’t mean Proust, Cervantes, or the Bible. I mean Dave Marsh’s The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made.
To be sure, it is not the greatest book qua book, or even in the top tier (though it is very good and Marsh is very smart and knowledgeable).
It is possible it has become the greatest book of all time because of YouTube. Scroll through the pithy, one-page or sometimes even one-paragraph reviews of the various songs, and play them on YouTube while you are reading.
I had not known of Marvin Gaye’s “One More Heartache,” or Aretha Franklin’s “Think.” Nor had I known the live version of Bob Dylan’s “Just Like Tom Thumb’s Blues” from 1966 (though is it really “Slurred and obtuse as Little Richard reading Ezra Pound”?). I heard again many favorites as well.
Let’s be honest, amusia aside, do not humans love music more than books? By no means does everyone read, but virtually everyone listens to music, and with some degree of passion. It therefore follows that “book + music” is better than book, right? Whatever virtues the book may have are still contained in “book + music,” or more generally “book + YouTube.”
Have we now entered an age where all or most of the very best books are part of “books + YouTube”?
Of course I’m not trying to sell you on music or for that matter on Dave Marsh. What about reading Abraham Pais, Niels Bohr’s Times: In Physics, Philosophy, and Polity, accompanied by these videos? Might the possibility of YouTube combination make that the 37th best book of all time, displacing Braudel or Flaubert?
Should not at least 2/3 of your reading be books accompanied by YouTube? And if not, why not?
Inquiring minds wish to know. Perhaps there is a book accompanied by YouTube that gives the answer?
Is a quality book better or worse if there is no useful way to combine it with YouTube?
Here is the audio and video, here is part of the CWT summary:
Now a dean at Sonoma State University, Robbins joined Tyler to discuss 19th-century life and literature and more, including why the 1840s were a turning point in US history, Harriet Beecher Stowe’s Calvinism, whether 12 Years a Slave and Django Unchained are appropriate portraits of slavery, the best argument for reparations, how prepaid postage changed America, the second best Herman Melville book, why Ayn Rand and Margaret Mitchell are ignored by English departments, growing up the daughter of a tech entrepreneur, and why teachers should be like quarterbacks.
Here is one excerpt:
COWEN: You’ve written a good deal on the history of the postal service. How did the growth of the postal service change romance in America?
ROBBINS: Well, everybody could write a letter. [laughs] In 1844 — this was the other exciting thing that happened in the 1840s. Rowland Hill in England changed the postal service by inventing the idea of prepaid postage. Anybody could buy a stamp, and then you’d put the stamp on the letter and send the letter.
Prior to that, you had to go to the post office. You had to engage with the clerk. After the 1840s and after prepaid postage, you could just get your stamps, and anybody could send a letter. In fact, Frederick Douglass loved the idea of prepaid post for the ability for the enslaved to write and send letters. After that, people wrote letters to each other, letters home, letters to their lovers, letters to —
COWEN: When should you send a sealed letter? Because it’s also drawing attention to itself, right?
ROBBINS: Well, envelopes — it’s interesting that envelopes, sealed envelopes, came about 50 years after the post office became popular, so you didn’t really have self-sealing envelopes until the end of the 19th century.
COWEN: That was technology? Or people didn’t see the need for it?
ROBBINS: Technology, the idea of folding the envelope and then having it be gummed and self-sealing. There were a number of patents, but they kept breaking down. But technology finally resolved it at the end of the 19th century.
Prior to that, you would write in code. Also, paper was expensive, so you often wrote across the page horizontally and then turned it to the side and crossed the page, writing in the other direction. If somebody was really going to snoop on your letters, they had to work for it.
COWEN: On net, what were the social effects of the postal service?
ROBBINS: Well, communication. The post office and the need for the post office is in our Constitution.
COWEN: It was egalitarian? It was winner take all? It liberated women? It helped slaves? Or what?
ROBBINS: All those things.
COWEN: All those things.
ROBBINS: But yeah, de Tocqueville mentioned this in his great book in the 1830s that anybody — some farmer in Michigan — could be as informed as somebody in New York City.
COWEN: Margaret Mitchell or Ayn Rand?
ROBBINS: Well, it’s interesting that two of the best-selling novelists of the 20th-century women are both equally ignored by English departments in universities. Margaret Mitchell and Gone with the Wind is paid attention to a little bit just because, as I said, it’s something that literature and film worked against, but not Ayn Rand at all.
COWEN: What’s a paradigmatic example of a movie made better by a good soundtrack?
ROBBINS: The Pink Panther — Henry Mancini’s score. The movie is ridiculous, but Henry Mancini’s score — you’re going to be humming it now the rest of the day.
COWEN: What is the Straussian reading of Babar the Elephant?
ROBBINS: When’s the last time you read it?
COWEN: Not long ago.
I will be doing a Conversation with him, no associated public event, here is from his home page:
Ben Westhoff is an award-winning investigative journalist who writes about culture, drugs, and poverty. His books are taught around the country and have been translated into languages all over the world.
His new book Fentanyl, Inc.: How Rogue Chemists Are Creating the Deadliest Wave of the Opioid Epidemic releases September 3, 2019 in the U.S. (Grove Atlantic) and October 10, 2019 in the UK, Austrailia, and New Zealand (Scribe). Here’s more information.
His previous book Original Gangstas: Tupac Shakur, Dr. Dre, Eazy-E, Ice Cube, and the Birth of West Coast Rap has received raves from Rolling Stone and People, a starred review in Kirkus, a five-star Amazon rating, and made numerous year-end best lists. More info can be found here.
…his 2011 book on southern hip-hop, Dirty South: OutKast, Lil Wayne, Soulja Boy, and the Southern Rappers Who Reinvented Hip-Hop was a Library Journal best seller.
Here is my review of his excellent forthcoming Fentanyl, Inc. He also has a well-acclaimed book on New York City bars and dives. All of his work is fascinating.
So what should I ask him?
1. Favorite playwright: Carlo Goldoni, eighteenth century, best if you can see one rather than try to read it.
2. Play, set in: William Shakespeare, Merchant of Venice. Read it carefully and repeatedly, it is far subtler on issues of racism and prejudice than you might have been expecting.
3. Opera, set in: Verdi’s Otello (James Levine recording). Even as a dramatic work I (perhaps oddly) prefer this to Shakespeare’s play.
4. Memoir, set in: Casanova, though I suggest you read an abridged edition. I strongly recommend reading Marco Polo as well, though I am not sure that counts as a “memoir.”
5. Short story, set in: Thomas Mann, “Death in Venice.” But a close runner-up is Henry James, “The Aspern Papers.”
Are you getting the picture? Venice has inspired numerous major writers and artists. However I don’t love John Ruskin on Venice.
6. Painting: Ah! Where to start? I’ll opt for Giorgione’s The Tempest, or any number of late Titian works. And there are so many runners-up, starting with Veronese, Tintoretto, the Bellinis, and later Tiepolo. Even a painter as good as Sebastiano del Piombo is pretty far down the list here. Canaletto bores me, though the technique is impressive.
8. Composer: I can’t quite bring myself to count Monteverdi as Venetian, so that leaves me with Luigi Nono and also Gabrieli and Albioni and Vivaldi, none of whom I enjoy listening to.
10. Photographer of: Derek Parfit, here are some images.
11. Movie, set in: I can recall the fun Casino Royale James Bond scene, but surely there is a better selection attached to a better movie. What might that be?
11. Maxim about: Pope Gregory XIII: “I am pope everywhere except in Venice.”
All in all, not bad for a city that nowadays has no more than 60,000 residents and was never especially large.
I’ll be there in a few days time.
Richard Brody’s New Yorker review is titled: “Quentin Tarantino’s Obscenely Regressive Vision of the Sixties in “Once Upon a Time . . . in Hollywood”“.
I didn’t love the film, and with each work of his I see, the more I like the others (and him?) less. My main takeaway was to be reminded of an enormous and unprecedented historical shift. In the 1960s, in part because of the birth control pill, the sexual opportunities of high status heterosexual men, or even medium status men, increased enormously, in terms of both quantity and quality. And indeed the men in this movie take advantage of that, to various extremes (wife murder, the Manson cult) and it is not entirely clear how much Tarantino disapproves.
Whatever your normative view of this change, keep it in mind the next time you encounter the “Puritan excesses” of today’s PC movement. Very rapid historical shifts in norms do in fact bring various forms of reaction and sometimes overreaction, and pushing back against the overreaction is not always the wisest thing to do.
If you want to see southern California on the big screen, you might enjoy Echo in the Canyon more, while its bookend cinematic partner David Crosby: Remember My Name will fill in the Joni Mitchell blank and also show you how deeply unpopular and unlikeable people talk and think about themselves.
Poughkeepsie Journal: “Woodstock 50 festival has been canceled. Set for Aug. 16-18, Woodstock 50 was to memorialize the iconic event many consider to be the top achievement of the 60s counterculture. But there was a failure to secure permits or a venue.”
That is from John Fund on Twitter.
I will be doing a Conversations with Tyler with her, no associated public event. Here is part of her Wikipedia page:
Robbins is a noted expert in the field of nineteenth-century African American literature and recently co-edited with Henry Louis Gates, Jr. an anthology of African American women’s writing. Robbins’ work focuses primarily on nineteenth and early twentieth century black print culture; she is affiliated with the Black Press Research Collective and serves as an advisor to the Black Periodical Literature Project at the W.E.B. Du Bois Institute at Harvard University.
…Previously, Robbins edited several other books with Henry Louis Gates, Jr., including The Annotated Uncle Tom’s Cabin (2006) and In Search of Hannah Crafts: Essays on The Bondwoman’s Narrative (2003). She also co-edited The Works of William Wells Brown (2006) with Paula Garrett and an edition of Frances E.W. Harper’s 1892 novel Iola Leroy.
In addition to now being Dean at Sonoma State University, she also has written on film music, the history of post offices, the gold rush, higher education, African-American sonnets, and numerous other topics. So what should I ask her?
A recent paper in Rural Sociology, an academic journal, examined how men talk about themselves in mainstream country music. Its author, Braden Leap of Mississippi State University, analysed the lyrics of the top songs on the weekly Billboard country-music charts from the 1980s until the 2010s and found that the near-routine depiction of men as breadwinners and stand-up guys has changed.
Over the past decade, more songs objectify women and are about hooking up. Mr Leap’s examination of lyrics also found that masculinity and whiteness had become more closely linked. References to blue eyes and blond hair, for example, were almost completely absent in the 1980s. In the 2000s, they featured in 15% of the chart-topping songs…
Jada Watson, of the University of Ottawa, recently found that in 2000 a third of country songs on country radio were sung by women. In 2018 the share was only 11%. Even the top female stars get fewer spins. Carrie Underwood had 3m plays between 2000 and 2018; Kenny Chesney received twice as many. A report from the Annenberg Inclusion Initiative found that 16% of all artists were female across 500 of the top country songs from 2014 to 2018.
Here is more from The Economist.
Du Bois was born in 1868, the year that Die Meistersinger von Nürnberg had its debut: he died in 1963, when “Surfin’ U.S.A.” was on the charts. His longevity gives us, I think, a sense that he is more modern than he really was. It can be startling to realize, for example, that when Khruschev gave him the Lenin Prize in 1959, Du Bois was being honored in the name of a man two years his junior.
That is from Kwame Anthony Appiah, Lines of Descent: W.E.B. Du Bois and the Emergence of Identity.
Ahead of the second summit in Hanoi, North Korean dictator Kim Jong Un requested as part of the agreement between the countries moving forward that the U.S. send “famous basketball players” to normalize relations between the two countries, according to two U.S. officials.
The request was made in writing, officials said, as part of the cultural exchange between the two countries, and at one point the North Koreans insisted that it be included in the joint statement on denuclearization. The North Koreans also made a request for the exchange of orchestras between the two countries.
And even though [David] Crosby underwent a liver transplant in 1994, all four are active today. Does this mean we’ll see them together onstage again? [Graham] Nash stated in an interview not long ago that the band was offered $100 million to go on tour. But that’s not going to happen, he said, for one simple reason: “We don’t like each other.”