Rob Wallace – författare

In People Get Ready, musicians, scholars, and journalists write about jazz since 1965, the year that Curtis Mayfield composed the famous civil rights anthem that gives this collection its title. The contributors emphasize how the political consciousness that infused jazz in the 1960s and early 1970s has informed jazz in the years since then. They bring nuance to historical accounts of the avant-garde, the New Thing, Free Jazz, "non-idiomatic" improvisation, fusion, and other forms of jazz that have flourished since the 1960s, and they reveal the contemporary relevance of those musical practices. Many of the participants in the jazz scenes discussed are still active performers. A photographic essay captures some of them in candid moments before performances. Other pieces revise standard accounts of well-known jazz figures, such as Duke Ellington, and lesser-known musicians, including Jeanne Lee; delve into how money, class, space, and economics affect the performance of experimental music; and take up the question of how digital technology influences improvisation. People Get Ready offers a vision for the future of jazz based on an appreciation of the complexity of its past and the abundance of innovation in the present. Contributors. Tamar Barzel, John Brackett, Douglas Ewart, Ajay Heble, Vijay Iyer, Thomas King, Tracy McMullen, Paul D. Miller/DJ Spooky, Nicole Mitchell, Roscoe Mitchell, Famoudou Don Moye, Aldon Lynn Nielsen, Eric Porter, Marc Ribot, Matana Roberts, Jaribu Shahid, Julie Dawn Smith, Wadada Leo Smith, Alan Stanbridge, John Szwed, Greg Tate, Scott Thomson, Rob Wallace, Ellen Waterman, Corey Wilkes

In People Get Ready, musicians, scholars, and journalists write about jazz since 1965, the year that Curtis Mayfield composed the famous civil rights anthem that gives this collection its title. The contributors emphasize how the political consciousness that infused jazz in the 1960s and early 1970s has informed jazz in the years since then. They bring nuance to historical accounts of the avant-garde, the New Thing, Free Jazz, "non-idiomatic" improvisation, fusion, and other forms of jazz that have flourished since the 1960s, and they reveal the contemporary relevance of those musical practices. Many of the participants in the jazz scenes discussed are still active performers. A photographic essay captures some of them in candid moments before performances. Other pieces revise standard accounts of well-known jazz figures, such as Duke Ellington, and lesser-known musicians, including Jeanne Lee; delve into how money, class, space, and economics affect the performance of experimental music; and take up the question of how digital technology influences improvisation. People Get Ready offers a vision for the future of jazz based on an appreciation of the complexity of its past and the abundance of innovation in the present. Contributors. Tamar Barzel, John Brackett, Douglas Ewart, Ajay Heble, Vijay Iyer, Thomas King, Tracy McMullen, Paul D. Miller/DJ Spooky, Nicole Mitchell, Roscoe Mitchell, Famoudou Don Moye, Aldon Lynn Nielsen, Eric Porter, Marc Ribot, Matana Roberts, Jaribu Shahid, Julie Dawn Smith, Wadada Leo Smith, Alan Stanbridge, John Szwed, Greg Tate, Scott Thomson, Rob Wallace, Ellen Waterman, Corey Wilkes

In People Get Ready, musicians, scholars, and journalists write about jazz since 1965, the year that Curtis Mayfield composed the famous civil rights anthem that gives this collection its title. The contributors emphasize how the political consciousness that infused jazz in the 1960s and early 1970s has informed jazz in the years since then. They bring nuance to historical accounts of the avant-garde, the New Thing, Free Jazz, "non-idiomatic" improvisation, fusion, and other forms of jazz that have flourished since the 1960s, and they reveal the contemporary relevance of those musical practices. Many of the participants in the jazz scenes discussed are still active performers. A photographic essay captures some of them in candid moments before performances. Other pieces revise standard accounts of well-known jazz figures, such as Duke Ellington, and lesser-known musicians, including Jeanne Lee; delve into how money, class, space, and economics affect the performance of experimental music; and take up the question of how digital technology influences improvisation. People Get Ready offers a vision for the future of jazz based on an appreciation of the complexity of its past and the abundance of innovation in the present.Contributors. Tamar Barzel, John Brackett, Douglas Ewart, Ajay Heble, Vijay Iyer, Thomas King, Tracy McMullen, Paul D. Miller/DJ Spooky, Nicole Mitchell, Roscoe Mitchell, Famoudou Don Moye, Aldon Lynn Nielsen, Eric Porter, Marc Ribot, Matana Roberts, Jaribu Shahid, Julie Dawn Smith, Wadada Leo Smith, Alan Stanbridge, John Szwed, Greg Tate, Scott Thomson, Rob Wallace, Ellen Waterman, Corey Wilkes

This title explores the concept and practice of improvisation in literary modernism and the interconnections between American literature and music. Improvisation, despite its almost ubiquitous presence in many art forms, is notoriously misunderstood and mysterious. Although earlier strands of American philosophy and art emphasized what might be called improvisational practices, it was during the modernist period that improvisational practice and theory began to make a significant impact on art and culture, specifically via the African American musical forms of jazz and blues. This musical development held important consequences for the larger artistic, cultural, and political life of America as a whole - and, eventually, the world. The historical convergence of jazz and philosophical currents like pragmatism in American culture provides the framework for Wallace's discussion of improvisation in literary modernism. Focusing on poets ranging from Gertrude Stein to Langston Hughes, Wallace's work provides a fresh perspective on the complex circuits of modernist culture."Improvisation and The Making of American Literary Modernism" will be of interest to scholars of poetry, music, American and modernist studies, and race and ethnic studies.

Improvisation, despite its almost ubiquitous presence in many art forms, is notoriously misunderstood and mysterious. Although earlier strands of American philosophy and art emphasized what might be called improvisational practices, it was during the modernist period that improvisational practice and theory began to make a significant impact on art and culture, specifically via the African American musical forms of jazz and blues. This musical development held important consequences for the larger artistic, cultural, and political life of America as a whole-and, eventually, the world. The historical convergence of jazz and philosophical currents like pragmatism in American culture provides the framework for Wallace''s discussion of improvisation in literary modernism. Focusing on poets ranging from Gertrude Stein to Langston Hughes, Wallace''s work provides a fresh perspective on the complex circuits of modernist culture. Improvisation and The Making of American Literary Modernism will be of interest to scholars of poetry, music, American and modernist studies, and race and ethnic studies.

Improvisation, despite its almost ubiquitous presence in many art forms, is notoriously misunderstood and mysterious. Although earlier strands of American philosophy and art emphasized what might be called improvisational practices, it was during the modernist period that improvisational practice and theory began to make a significant impact on art and culture, specifically via the African American musical forms of jazz and blues. This musical development held important consequences for the larger artistic, cultural, and political life of America as a whole and, eventually, the world. The historical convergence of jazz and philosophical currents like pragmatism in American culture provides the framework for Wallace's discussion of improvisation in literary modernism. Focusing on poets ranging from Gertrude Stein to Langston Hughes, Wallace's work provides a fresh perspective on the complex circuits of modernist culture. Improvisation and The Making of American Literary Modernism will be of interest to scholars of poetry, music, American and modernist studies, and race and ethnic studies.

Thanks to breakthroughs in production and food science, agribusiness has been able to devise new ways to grow more food and get it more places more quickly. There is no shortage of news items on hundreds of thousands of hybrid poultry - each animal genetically identical to the next - packed together in megabarns, grown out in a matter of months, then slaughtered, processed and shipped to the other side of the globe. Less well known are the deadly pathogens mutating in, and emerging out of, these specialized agro-environments. In fact, many of the most dangerous new diseases in humans can be traced back to such food systems, among them Campylobacter, Nipah virus, Q fever, hepatitis E, and a variety of novel influenza variants.Agribusiness has known for decades that packing thousands of birds or livestock together results in a monoculture that selects for such disease. But market economics doesn't punish the companies for growing Big Flu - it punishes animals, the environment, consumers, and contract farmers. Alongside growing profits, diseases are permitted to emerge, evolve, and spread with little check."That is," writes evolutionary biologist Rob Wallace, "it pays to produce a pathogen that could kill a billion people."In Big Farms Make Big Flu, a collection of dispatches by turns harrowing and thought-provoking, Wallace tracks the ways influenza and other pathogens emerge from an agriculture controlled by multinational corporations. Wallace details, with a precise and radical wit, the latest in the science of agricultural epidemiology, while at the same time juxtaposing ghastly phenomena such as attempts at producing featherless chickens, microbial time travel, and neoliberal Ebola. Wallace also offers sensible alternatives to lethal agribusiness. Some, such as farming cooperatives, integrated pathogen management, and mixed crop-livestock systems, are already in practice off the agribusiness grid.While many books cover facets of food or outbreaks, Wallace's collection appears the first to explore infectious disease, agriculture, economics and the nature of science together. Big Farms Make Big Flu integrates the political economies of disease and science to derive a new understanding of the evolution of infections.Highly capitalized agriculture may be farming pathogens as much as chickens or corn.

Thanks to breakthroughs in production and food science, agribusiness has been able to devise new ways to grow more food and get it more places more quickly. There is no shortage of news items on hundreds of thousands of hybrid poultry - each animal genetically identical to the next - packed together in megabarns, grown out in a matter of months, then slaughtered, processed and shipped to the other side of the globe. Less well known are the deadly pathogens mutating in, and emerging out of, these specialized agro-environments. In fact, many of the most dangerous new diseases in humans can be traced back to such food systems, among them Campylobacter, Nipah virus, Q fever, hepatitis E, and a variety of novel influenza variants.Agribusiness has known for decades that packing thousands of birds or livestock together results in a monoculture that selects for such disease. But market economics doesn't punish the companies for growing Big Flu - it punishes animals, the environment, consumers, and contract farmers. Alongside growing profits, diseases are permitted to emerge, evolve, and spread with little check."That is," writes evolutionary biologist Rob Wallace, "it pays to produce a pathogen that could kill a billion people."In Big Farms Make Big Flu, a collection of dispatches by turns harrowing and thought-provoking, Wallace tracks the ways influenza and other pathogens emerge from an agriculture controlled by multinational corporations. Wallace details, with a precise and radical wit, the latest in the science of agricultural epidemiology, while at the same time juxtaposing ghastly phenomena such as attempts at producing featherless chickens, microbial time travel, and neoliberal Ebola. Wallace also offers sensible alternatives to lethal agribusiness. Some, such as farming cooperatives, integrated pathogen management, and mixed crop-livestock systems, are already in practice off the agribusiness grid.While many books cover facets of food or outbreaks, Wallace's collection appears the first to explore infectious disease, agriculture, economics and the nature of science together. Big Farms Make Big Flu integrates the political economies of disease and science to derive a new understanding of the evolution of infections.Highly capitalized agriculture may be farming pathogens as much as chickens or corn.

The COVID-19 pandemic shocked the world. It shouldn’t have. Since this century’s turn, epidemiologists have warned of new infectious diseases. Indeed, H1N1, H7N9, SARS, MERS, Ebola Makona, Zika, and a variety of lesser viruses have emerged almost annually. But what of the epidemiologists themselves? Some bravely descended into the caves where bat species hosted coronaviruses, including the strains that evolved into the COVID-19 virus. Yet, despite their own warnings, many of the researchers appear unable to understand the true nature of the disease—as if they are dead to what they’ve seen.Dead Epidemiologists is an eclectic collection of commentaries, articles, and interviews revealing the hidden-in-plain-sight truth behind the pandemic: Global capital drove the deforestation and development that exposed us to new pathogens. Rob Wallace and his colleagues—ecologists, geographers, activists, and, yes, epidemiologists—unpack the material and conceptual origins of COVID-19. From deepest Yunnan to the boardrooms of New York City, this book offers a compelling diagnosis of the roots of COVID-19, and a stark prognosis of what—without further intervention—may come.

The COVID-19 pandemic shocked the world. It shouldn’t have. Since this century’s turn, epidemiologists have warned of new infectious diseases. Indeed, H1N1, H7N9, SARS, MERS, Ebola Makona, Zika, and a variety of lesser viruses have emerged almost annually. But what of the epidemiologists themselves? Some bravely descended into the caves where bat species hosted coronaviruses, including the strains that evolved into the COVID-19 virus. Yet, despite their own warnings, many of the researchers appear unable to understand the true nature of the disease—as if they are dead to what they’ve seen.Dead Epidemiologists is an eclectic collection of commentaries, articles, and interviews revealing the hidden-in-plain-sight truth behind the pandemic: Global capital drove the deforestation and development that exposed us to new pathogens. Rob Wallace and his colleagues—ecologists, geographers, activists, and, yes, epidemiologists—unpack the material and conceptual origins of COVID-19. From deepest Yunnan to the boardrooms of New York City, this book offers a compelling diagnosis of the roots of COVID-19, and a stark prognosis of what—without further intervention—may come.