The Goldsmiths Press Podcast https://newbooksnetwork.com en New Books Network Interviews with authors of books published by Goldsmiths Press https://megaphone.imgix.net/podcasts/41b24e6a-21b2-11f1-9068-2faea02f8b06/image/e9fc4f09dfa4bd8dc1868ff9ff7144b5.png?ixlib=rails-4.3.1&max-w=3000&max-h=3000&fit=crop&auto=format,compress The Goldsmiths Press Podcast https://newbooksnetwork.com episodic Marshall Poe Interviews with authors of books published by Goldsmiths Press Interviews with authors of books published by Goldsmiths Press

]]> New Books Network marshallpoe@newbooksnetwork.com George Musgrave, "The England No One Cares About: Lyrics from Suburbia" (Goldsmiths Press, 2023) An exploration of the much-derided English suburbs through rap music. There are many different Englands. From the much-romanticized rolling countryside, to the cosmopolitanism of the inner cities (embraced by some as progressive, multicultural enlightenment and derided by others as the playground of a self-righteous metropolitan elite), or the disparagingly named "left behind" communities which, post-Brexit, have so interested political parties and pundits, demographers and statisticians. But there is also an England no one cares about. The England of semi-detached houses and clean driveways for multiple cars devotedly washed on Sundays, of "twitching curtains" and Laura Ashley sofas; of cul-de-sacs to nowhere and exaggerated accents; of late night drives to petrol stations on A roads, fake IDs tested in Harvesters, and faded tracksuits and over-gelled hair in Toby Carverys; of questionable hash from a "mate of a mate" and two-litre bottles of White Lightning from Budgens consumed in a kids playground. Much derided. Unglamorous, ordinary; cultural vacuity and small "c" conservatism. A hodgepodge. An--apparently--middling, middle-of-the-road middle-England of middle-class middle-mindedness. Part poetry anthology, part academic study into placemaking, and part autoethnography, The England No One Cares About (Goldsmith Press, 2024) innovatively brings together academic discussions of the ethnographic potential of lyrics, scholastic representations of suburbia, and thematic analysis to explore how rap music can illuminate the experiences of young men growing up in suburbia. This takes place by exploring the author's own annotated lyrics from his career as a musician known as Context where he was referred to by the BBC as "Middle England's Poet Laureate." George Musgrave studies the psychological experiences and working conditions of creative careers. He collaboratively undertook a major research project entitled Can Music Make You Sick? and cowrote a bestselling book on the subject. He has worked on ethical decision-making by music managers and wellbeing in the gig economy, and his research has been featured on BBC News, Pitchfork, Mixmag, GQ, The Financial Times, BBC Introducing, The Grammys, and Billboard among others. He is also a musician, signed with EMI/Sony/ATV. George on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America: Music, Satire, & the Battle Against the Christian Right (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley on Twitter. Sat, 10 Aug 2024 08:00:00 -0000 full 249 Marshall Poe An interview with George Musgrave An exploration of the much-derided English suburbs through rap music. There are many different Englands. From the much-romanticized rolling countryside, to the cosmopolitanism of the inner cities (embraced by some as progressive, multicultural enlightenment and derided by others as the playground of a self-righteous metropolitan elite), or the disparagingly named "left behind" communities which, post-Brexit, have so interested political parties and pundits, demographers and statisticians. But there is also an England no one cares about. The England of semi-detached houses and clean driveways for multiple cars devotedly washed on Sundays, of "twitching curtains" and Laura Ashley sofas; of cul-de-sacs to nowhere and exaggerated accents; of late night drives to petrol stations on A roads, fake IDs tested in Harvesters, and faded tracksuits and over-gelled hair in Toby Carverys; of questionable hash from a "mate of a mate" and two-litre bottles of White Lightning from Budgens consumed in a kids playground. Much derided. Unglamorous, ordinary; cultural vacuity and small "c" conservatism. A hodgepodge. An--apparently--middling, middle-of-the-road middle-England of middle-class middle-mindedness. Part poetry anthology, part academic study into placemaking, and part autoethnography, The England No One Cares About (Goldsmith Press, 2024) innovatively brings together academic discussions of the ethnographic potential of lyrics, scholastic representations of suburbia, and thematic analysis to explore how rap music can illuminate the experiences of young men growing up in suburbia. This takes place by exploring the author's own annotated lyrics from his career as a musician known as Context where he was referred to by the BBC as "Middle England's Poet Laureate." George Musgrave studies the psychological experiences and working conditions of creative careers. He collaboratively undertook a major research project entitled Can Music Make You Sick? and cowrote a bestselling book on the subject. He has worked on ethical decision-making by music managers and wellbeing in the gig economy, and his research has been featured on BBC News, Pitchfork, Mixmag, GQ, The Financial Times, BBC Introducing, The Grammys, and Billboard among others. He is also a musician, signed with EMI/Sony/ATV. George on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America: Music, Satire, & the Battle Against the Christian Right (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025). Bradley on Twitter. An exploration of the much-derided English suburbs through rap music.

There are many different Englands. From the much-romanticized rolling countryside, to the cosmopolitanism of the inner cities (embraced by some as progressive, multicultural enlightenment and derided by others as the playground of a self-righteous metropolitan elite), or the disparagingly named "left behind" communities which, post-Brexit, have so interested political parties and pundits, demographers and statisticians.

But there is also an England no one cares about. The England of semi-detached houses and clean driveways for multiple cars devotedly washed on Sundays, of "twitching curtains" and Laura Ashley sofas; of cul-de-sacs to nowhere and exaggerated accents; of late night drives to petrol stations on A roads, fake IDs tested in Harvesters, and faded tracksuits and over-gelled hair in Toby Carverys; of questionable hash from a "mate of a mate" and two-litre bottles of White Lightning from Budgens consumed in a kids playground. Much derided. Unglamorous, ordinary; cultural vacuity and small "c" conservatism. A hodgepodge. An--apparently--middling, middle-of-the-road middle-England of middle-class middle-mindedness.

Part poetry anthology, part academic study into placemaking, and part autoethnography, The England No One Cares About (Goldsmith Press, 2024) innovatively brings together academic discussions of the ethnographic potential of lyrics, scholastic representations of suburbia, and thematic analysis to explore how rap music can illuminate the experiences of young men growing up in suburbia. This takes place by exploring the author's own annotated lyrics from his career as a musician known as Context where he was referred to by the BBC as "Middle England's Poet Laureate."

George Musgrave studies the psychological experiences and working conditions of creative careers. He collaboratively undertook a major research project entitled Can Music Make You Sick? and cowrote a bestselling book on the subject. He has worked on ethical decision-making by music managers and wellbeing in the gig economy, and his research has been featured on BBC News, Pitchfork, Mixmag, GQ, The Financial Times, BBC Introducing, The Grammys, and Billboard among others. He is also a musician, signed with EMI/Sony/ATV.

George on Twitter.

Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. His forthcoming books are Frank Zappa's America: Music, Satire, & the Battle Against the Christian Right (LSU Press, Spring 2025) and U2: Until the End of the World (Palazzo Editions, Fall 2025).

Bradley on Twitter.

]]> 5292 no Paul Rekret, "Take This Hammer: Work, Song, Crisis" (Goldsmiths Press, 2024) The emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too.  In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure—the evening, the weekend, the dancehall— Take This Hammer: Work, Song, Crisis (Goldsmiths Press, 2024) shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music. Connecting contemporary changes in work and the economy to tendencies in popular music, Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself. Paul Rekret is Lecturer in Media Industries in the School of Media and Communications at the University of Westminster, UK.  Wed, 10 Jul 2024 08:00:00 -0000 full 245 Marshall Poe An interview with Paul Rekret The emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too.  In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure—the evening, the weekend, the dancehall— Take This Hammer: Work, Song, Crisis (Goldsmiths Press, 2024) shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music. Connecting contemporary changes in work and the economy to tendencies in popular music, Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself. Paul Rekret is Lecturer in Media Industries in the School of Media and Communications at the University of Westminster, UK.  The emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too. 

In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure—the evening, the weekend, the dancehall— Take This Hammer: Work, Song, Crisis (Goldsmiths Press, 2024) shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music. Connecting contemporary changes in work and the economy to tendencies in popular music, Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself.

Paul Rekret is Lecturer in Media Industries in the School of Media and Communications at the University of Westminster, UK. 

]]> 5943 no Teklife, Ghettoville, Eski: The Sonic Ecologies of Black Music in the Early 21st Century Joy White, author of Terraformed, speaks with Dhanveer Singh Brar about his forthcoming book Teklife, Ghettoville, Eski, Teklife, Ghettoville, Eski argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban—ecologies that can never be reduced simply to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which due to the music's class character makes it possible to reorganize life within the contemporary city. Closely analysing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar pays attention to the way each of these critically acclaimed musical projects experiments with aesthetic form through an experimentation of the social. Through explicitly theoretical means, Brar foregrounds the sonic specificity of 12" records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life. Pushing the critical debates concerning the phonic materiality of Blackness, undercommons, and aesthetic sociality in new directions, Brar rethinks these concepts through concrete examples of contemporary Black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have--through their experiments in Blackness--generated genuine alternatives to the functioning of the city under financialized racial capitalism. Produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Thu, 01 Jun 2023 08:00:00 -0000 full 95 Marshall Poe An interview with Dhanveer Singh Brar Joy White, author of Terraformed, speaks with Dhanveer Singh Brar about his forthcoming book Teklife, Ghettoville, Eski, Teklife, Ghettoville, Eski argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban—ecologies that can never be reduced simply to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which due to the music's class character makes it possible to reorganize life within the contemporary city. Closely analysing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar pays attention to the way each of these critically acclaimed musical projects experiments with aesthetic form through an experimentation of the social. Through explicitly theoretical means, Brar foregrounds the sonic specificity of 12" records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life. Pushing the critical debates concerning the phonic materiality of Blackness, undercommons, and aesthetic sociality in new directions, Brar rethinks these concepts through concrete examples of contemporary Black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have--through their experiments in Blackness--generated genuine alternatives to the functioning of the city under financialized racial capitalism. Produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Joy White, author of Terraformed, speaks with Dhanveer Singh Brar about his forthcoming book Teklife, Ghettoville, Eski,

Teklife, Ghettoville, Eski argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban—ecologies that can never be reduced simply to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which due to the music's class character makes it possible to reorganize life within the contemporary city.

Closely analysing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar pays attention to the way each of these critically acclaimed musical projects experiments with aesthetic form through an experimentation of the social. Through explicitly theoretical means, Brar foregrounds the sonic specificity of 12" records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life.

Pushing the critical debates concerning the phonic materiality of Blackness, undercommons, and aesthetic sociality in new directions, Brar rethinks these concepts through concrete examples of contemporary Black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have--through their experiments in Blackness--generated genuine alternatives to the functioning of the city under financialized racial capitalism.

Produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux

]]> 2547 no Black Film, British Cinema II Clive Nwonka and Anamik Saha discuss their forthcoming book Black Film, British Cinema II (publishing in March with Goldsmiths Press), a book which brings together scholars, thinkers and practitioners to consider the politics of blackness in contemporary British cinema and visual practice. Black Film British Cinema II considers the politics of blackness in contemporary British cinema and visual practice. This second iteration of Black Film British Cinema, marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation. But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of black British film facilitating new modes of representation, authorship and exhibition? Explored in the context of film aesthetics, curatorship, exhibition and arts practice, and the politics of diversity policy, Black Film British Cinema II provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, Black Film British Cinema II is a comprehensive, sustained, wide ranging collection that offers new framework for understanding contemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Thu, 25 May 2023 08:00:00 -0000 full 88 Marshall Poe An interview with Clive Nwonka and Anamik Saha Clive Nwonka and Anamik Saha discuss their forthcoming book Black Film, British Cinema II (publishing in March with Goldsmiths Press), a book which brings together scholars, thinkers and practitioners to consider the politics of blackness in contemporary British cinema and visual practice. Black Film British Cinema II considers the politics of blackness in contemporary British cinema and visual practice. This second iteration of Black Film British Cinema, marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation. But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of black British film facilitating new modes of representation, authorship and exhibition? Explored in the context of film aesthetics, curatorship, exhibition and arts practice, and the politics of diversity policy, Black Film British Cinema II provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, Black Film British Cinema II is a comprehensive, sustained, wide ranging collection that offers new framework for understanding contemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Clive Nwonka and Anamik Saha discuss their forthcoming book Black Film, British Cinema II (publishing in March with Goldsmiths Press), a book which brings together scholars, thinkers and practitioners to consider the politics of blackness in contemporary British cinema and visual practice.

Black Film British Cinema II considers the politics of blackness in contemporary British cinema and visual practice. This second iteration of Black Film British Cinema, marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation. But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of black British film facilitating new modes of representation, authorship and exhibition? Explored in the context of film aesthetics, curatorship, exhibition and arts practice, and the politics of diversity policy, Black Film British Cinema II provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, Black Film British Cinema II is a comprehensive, sustained, wide ranging collection that offers new framework for understanding contemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race.

Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux

]]> 2466 no America & Democracy Ep. 3: Carol A. Stabile on the Red Scare In this series of interviews from The MIT Press Podcast, we'll be drawing on the research of various authors to reflect on some of the issues shaping the American political landscape of today. In this episode Carol A. Stabile discusses her book The Broadcast 41 (published in April of last year by Goldsmiths Press.) In her book, Carol traces the history of forty-one women who were forced out of American television and radio in the 1950s as part of a censorship program often referred to as the Red Scare. She explains their broad and nuanced political beliefs and how an FBI-backed program of state censorship invoked the paranoia of another American revolution to try and destroy their careers. We discuss how the cause of anti-communism, g-man masculinity and censorship destroyed a potential television landscape that reflected the reality of post-war America in favor of a white, straight, patriarchal world of white picket fences and eager beavers. We also discuss what the history of these women might tell us about current debates on free-speech and ‘cancel-culture’. Carol is Professor of Women's, Gender, and Sexuality Studies and Associate Dean for Strategic Initiatives for the College of Arts and Sciences at the University of Oregon. She’s also the author of Feminism and the Technological Fix, White Victims, Black Villains: Gender, Race, and Crime News in US Culture, among other books. You can find more resources related to the book, including FBI files released since the book's publication, at https://broadcast41.com/ Sun, 14 May 2023 08:00:00 -0000 full 77 Marshall Poe An interview with Carol A. Stabile In this series of interviews from The MIT Press Podcast, we'll be drawing on the research of various authors to reflect on some of the issues shaping the American political landscape of today. In this episode Carol A. Stabile discusses her book The Broadcast 41 (published in April of last year by Goldsmiths Press.) In her book, Carol traces the history of forty-one women who were forced out of American television and radio in the 1950s as part of a censorship program often referred to as the Red Scare. She explains their broad and nuanced political beliefs and how an FBI-backed program of state censorship invoked the paranoia of another American revolution to try and destroy their careers. We discuss how the cause of anti-communism, g-man masculinity and censorship destroyed a potential television landscape that reflected the reality of post-war America in favor of a white, straight, patriarchal world of white picket fences and eager beavers. We also discuss what the history of these women might tell us about current debates on free-speech and ‘cancel-culture’. Carol is Professor of Women's, Gender, and Sexuality Studies and Associate Dean for Strategic Initiatives for the College of Arts and Sciences at the University of Oregon. She’s also the author of Feminism and the Technological Fix, White Victims, Black Villains: Gender, Race, and Crime News in US Culture, among other books. You can find more resources related to the book, including FBI files released since the book's publication, at https://broadcast41.com/ In this series of interviews from The MIT Press Podcast, we'll be drawing on the research of various authors to reflect on some of the issues shaping the American political landscape of today.

In this episode Carol A. Stabile discusses her book The Broadcast 41 (published in April of last year by Goldsmiths Press.)

In her book, Carol traces the history of forty-one women who were forced out of American television and radio in the 1950s as part of a censorship program often referred to as the Red Scare. She explains their broad and nuanced political beliefs and how an FBI-backed program of state censorship invoked the paranoia of another American revolution to try and destroy their careers.

We discuss how the cause of anti-communism, g-man masculinity and censorship destroyed a potential television landscape that reflected the reality of post-war America in favor of a white, straight, patriarchal world of white picket fences and eager beavers. We also discuss what the history of these women might tell us about current debates on free-speech and ‘cancel-culture’.

Carol is Professor of Women's, Gender, and Sexuality Studies and Associate Dean for Strategic Initiatives for the College of Arts and Sciences at the University of Oregon. She’s also the author of Feminism and the Technological Fix, White Victims, Black Villains: Gender, Race, and Crime News in US Culture, among other books.

You can find more resources related to the book, including FBI files released since the book's publication, at https://broadcast41.com/

]]> 2551 no Les Back, “Academic Diary: Or Why Higher Education Still Matters” (Goldsmiths Press, 2016) Why does higher education still matter? In Academic Diary: Or Why Higher Education Still Matters, Les Back, a professor of Sociology at Goldsmiths’ College, University of London, offers a series of reflections framed by the time of the academic year. The first book from Goldsmiths Press, Academic Diary consists of short entries that think through the problems of university management, defend the idea of scholarship, and consider what ideas of being ‘honored’ as an academic might mean. Other chapters extol the virtues of the library and take a witty and wry look at the academy. Thus, the book, with its insights into academic life as well as broader analysis of the social forces shaping the university, offers a picture of the contemporary university, illuminating the pleasures and pains of working within this modern institution. Ultimately, Academic Diary offers a defense of the idea of the university and will be relevant and readable to anyone working or interested in the sector. Dave OBrien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. Thu, 23 Jun 2016 18:05:00 -0000 full Marshall Poe Why does higher education still matter? In Academic Diary: Or Why Higher Education Still Matters, Les Back, a professor of Sociology at Goldsmiths’ College, University of London, offers a series of reflections framed by the time of the academic year. Why does higher education still matter? In Academic Diary: Or Why Higher Education Still Matters, Les Back, a professor of Sociology at Goldsmiths’ College, University of London, offers a series of reflections framed by the time of the academic year. The first book from Goldsmiths Press, Academic Diary consists of short entries that think through the problems of university management, defend the idea of scholarship, and consider what ideas of being ‘honored’ as an academic might mean. Other chapters extol the virtues of the library and take a witty and wry look at the academy. Thus, the book, with its insights into academic life as well as broader analysis of the social forces shaping the university, offers a picture of the contemporary university, illuminating the pleasures and pains of working within this modern institution. Ultimately, Academic Diary offers a defense of the idea of the university and will be relevant and readable to anyone working or interested in the sector. Dave OBrien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. Why does higher education still matter? In Academic Diary: Or Why Higher Education Still Matters, Les Back, a professor of Sociology at Goldsmiths’ College, University of London, offers a series of reflections framed by the time of the academic year. The first book from Goldsmiths Press, Academic Diary consists of short entries that think through the problems of university management, defend the idea of scholarship, and consider what ideas of being ‘honored’ as an academic might mean. Other chapters extol the virtues of the library and take a witty and wry look at the academy. Thus, the book, with its insights into academic life as well as broader analysis of the social forces shaping the university, offers a picture of the contemporary university, illuminating the pleasures and pains of working within this modern institution. Ultimately, Academic Diary offers a defense of the idea of the university and will be relevant and readable to anyone working or interested in the sector.

Dave OBrien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien.

]]> 2453 no