New Books in Economic and Business History

From beer labels to literary classics like A River Runs Through It, trout fishing is a beloved feature of the iconography of the American West. But as Jen Brown demonstrates in Trout Culture: How Fly Fishing Forever Changed the Rocky Mountain West (U Washington Press, 2017), the popular conception of Rocky Mountain trout fishing as a quintessential experience of communion with nature belies the sport's long history of environmental manipulation, engineering, and, ultimately, transformation.A fly-fishing enthusiast herself, Brown places the rise of recreational trout fishing in a local and global context. Globally, she shows how the European sport of fly-fishing came to be a defining, tourist-attracting feature of the expanding 19th-century American West. Locally, she traces the way that the burgeoning fly-fishing tourist industry shaped the environmental, economic, and social development of the Western United States: introducing and stocking favored fish species, eradicating the less favored native "trash fish," changing the courses of waterways, and leading to conflicts with Native Americans' fishing and territorial rights. Through this analysis, Brown demonstrates that the majestic trout streams often considered a timeless feature of the American West are in fact the product of countless human interventions adding up to a profound manipulation of the Rocky Mountain environment.Troy A. Hallsell is the 341st Missile Wing historian at Malmstrom AFB, MT. The ideas expressed in this podcast do not represent the 341st Missile Wing, United States Air Force, or Department of Defense. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mexico City's public markets were integral to the country's economic development, bolstering the expansion of capitalism from the mid-nineteenth to mid-twentieth centuries. These publicly owned and operated markets supplied households with everyday necessities and generated revenue for local authorities. At the same time, they were embedded in a wider network of economic and social relations that gave the vendors who sold in them an influence far beyond the running of their stalls. As they fed the capital's population and fought to protect their own livelihoods, vendors' daily interactions with customers, suppliers and local government shaped the city's public sphere and expanded the scope of popular politics. Vendors' Capitalism: A Political Economy of Public Markets in Mexico City (Stanford University Press, 2021) argues for the centrality of Mexico City's public markets to the political economy of the city from the restoration of the Republic in 1867 to the heyday of the so-called "Mexican miracle" and the PRI in the 1960s. As the sites of vendors' dealings with workers, suppliers, government officials, and politicians, the multiple conflicts that beset them repeatedly tested the institutional capacity of the state. Through a close reading of the archives and an analysis of vendors' intersecting economic and political lives, Ingrid Bleynat considers the dynamics, as well as the limits, of capitalist development in Mexico. Ethan Besser Fredrick is a graduate student in Modern Latin American history seeking his PhD at the University of Minnesota. His work focuses on the Transatlantic Catholic movements in Mexico and Spain during the early 20th century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tokyo Boogie-Woogie: Japan's Pop Era and its Discontents (Harvard University Press, 2017) by Hiromu Nagahara is the first English-language history of the origins and impact of the Japanese pop music industry. The book connects the rise of mass entertainment, epitomized by ryūkōka (“popular songs”), with Japan’s transformation into a middle-class society in the years after World War II.With the arrival of major international recording companies like Columbia and Victor in the 1920s, Japan’s pop music scene soon grew into a full-fledged culture industry that reached out to an avid consumer base through radio, cinema, and other media. The stream of songs that poured forth over the next four decades represented something new in the nation’s cultural landscape. Emerging during some of the most volatile decades in Japan’s history, popular songs struck a deep chord in Japanese society, gaining a devoted following but also galvanizing a vociferous band of opponents. A range of critics—intellectuals, journalists, government officials, self-appointed arbiters of taste—engaged in contentious debates on the merits of pop music. Many regarded it as a scandal, evidence of an increasingly debased and Americanized culture. For others, popular songs represented liberation from the oppressive political climate of the war years.Tokyo Boogie-Woogie is a tale of competing cultural dynamics coming to a head just as Japan’s traditionally hierarchical society was shifting toward middle-class democracy. The pop soundscape of these years became the audible symbol of changing times.Hiromu Nagahara is an associate professor of history at the Massachusetts Institute of Technology (MIT).Shatrunjay Mall is a PhD candidate at the Department of History at the University of Wisconsin-Madison. He works on transnational Asian history, and his dissertation explores intellectual, political, and cultural intersections and affinities that emerged between Indian anti-colonialism and imperial Japan in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the early 1920s, Americans owned 80 percent of the world’s automobiles and consumed 75 percent of the world’s rubber. But only one percent of the world’s rubber grew under the U.S. flag, creating a bottleneck that hampered the nation’s explosive economic expansion. To solve its conundrum, the Firestone Tire and Rubber Company turned to a tiny West African nation, Liberia, founded in 1847 as a free Black republic.Empire of Rubber: Firestone's Scramble for Land and Power in Liberia (New Press, 2021) tells a sweeping story of capitalism, racial exploitation, and environmental devastation, as Firestone transformed Liberia into America’s rubber empire.Historian and filmmaker Gregg Mitman scoured remote archives to unearth a history of promises unfulfilled for the vast numbers of Liberians who toiled on rubber plantations built on taken land. Mitman reveals a history of racial segregation and medical experimentation that reflected Jim Crow America—on African soil. As Firestone reaped fortunes, wealth and power concentrated in the hands of a few elites, fostering widespread inequalities that fed unrest, rebellions and, eventually, civil war.A riveting narrative of ecology and disease, of commerce and science, and of racial politics and political maneuvering, Empire of Rubber uncovers the hidden story of a corporate empire whose tentacles reach into the present.Gregg Mitman is the Vilas Research and William Coleman Professor of History, Medical History, and Environmental Studies at the University of Wisconsin–Madison. An award-winning author and filmmaker, his recent films and books include The Land Beneath Our Feet and Breathing Space: How Allergies Shape Our Lives and Landscapes. He lives near Madison, Wisconsin. Website.Brian Hamilton is Chair of the Department of History and Social Science at Deerfield Academy. Twitter. Website Learn more about your ad choices. Visit megaphone.fm/adchoices

Joan Marie Johnson examines an understudied dimension of women's history in the United States: how a group of affluent white women from the late nineteenth through the mid-twentieth centuries advanced the status of all women through acts of philanthropy. This cadre of activists included Phoebe Hearst, the mother of William Randolph Hearst; Grace Dodge, granddaughter of Wall Street "Merchant Prince" William Earle Dodge; and Ava Belmont, who married into the Vanderbilt family fortune. Motivated by their own experiences with sexism, and focusing on women's need for economic independence, these benefactors sought to expand women's access to higher education, promote suffrage, and champion reproductive rights, as well as to provide assistance to working-class women. In a time when women still wielded limited political power, philanthropy was perhaps the most potent tool they had. But even as these wealthy women exercised considerable influence, their activism had significant limits. As Johnson argues, restrictions tied to their giving engendered resentment and jeopardized efforts to establish coalitions across racial and class lines.As the struggle for full economic and political power and self-determination for women continues today, this history reveals how generous women helped shape the movement. And Johnson shows us that tensions over wealth and power that persist in the modern movement have deep historical roots.Jane Scimeca, Professor of History at Brookdale Community College Learn more about your ad choices. Visit megaphone.fm/adchoices

Presenting eclectic, irreverent marathons of experimental music in crumbling venues on the Lower East Side, Bang on a Can sold out concerts for a genre that had been long considered box office poison. Founded in 1987 by three composers who met while students at Yale--David Lang, Michael Gordon, and Julia Wolfe--Bang on a Can has become a multifaceted organization with a major record deal and a virtuosic in-house ensemble that changed the landscape of avant-garde music in the United States. Will Robin's book, Industry: Bang on a Can and New Music in the Marketplace (Oxford University Press, 2021), tells the story of Bang on a Can's first fifteen years. He contextualizes Ban on a Can's development in a time when traditional funding sources for classical music were disappearing and major institutions were often unwilling to take a chance on contemporary music. In the wake of the unexpected popularity of Steve Reich and Philip Glass, classical presenters looked to contemporary music for relevance and record labels scrambled to reap its potential profits, all while government funding was imperiled by the evangelical right. As the title indicates, at heart, Industry is about the classical music industry at a time when it faced enormous challenges and how Bang on a Can maneuvered through this minefield.Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whether valorized as the heartland or derided as flyover country, the Midwest became instantly notorious when COVID-19 infections skyrocketed among workers in meatpacking plants—and Americans feared for their meat supply. But the Midwest is not simply the place where animals are fed corn and then butchered. Native midwesterner Kristy Nabhan-Warren spent years interviewing Iowans who work in the meatpacking industry, both native-born residents and recent migrants from Latin America, Africa, and Asia. In Meatpacking America, she digs deep below the stereotype and reveals the grit and grace of a heartland that is a major global hub of migration and food production—and also, it turns out, of religion.Across the flatlands, Protestants, Catholics, and Muslims share space every day as worshippers, employees, and employers. On the bloody floors of meatpacking plants, in bustling places of worship, and in modest family homes, longtime and newly arrived Iowans spoke to Nabhan-Warren about their passion for religious faith and desire to work hard for their families. Their stories expose how faith-based aspirations for mutual understanding blend uneasily with rampant economic exploitation and racial biases. Still, these new and old midwesterners say that a mutual language of faith and morals brings them together more than any of them would have ever expected.Carlos Ruiz Martinez is a PhD student in the Department of Religious Studies at the University of Iowa. He is also the Communications Assistant for the American Catholic Historical Association (ACHA). His general interest is in American religious history, especially American Catholicism.Allison Isidore is a graduate of the Religion in Culture Masters program at the University of Alabama. Her research interest is focused on the twentieth-century American Civil Rights Movement and the Catholic Church’s response to racism and the participation of Catholic clergy, nuns, and laypeople in marches, sit-ins, and kneel-ins during the 1950s and 1960s. Allison is also a Video Editor for The Religious Studies Project producing videos for the podcast and marketing team. She tweets from @AllisonIsidore1. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this ambitious book, Max Siollun provides an overview of Nigerian history from 1472 to the 1950s. As such, What Britain Did to Nigeria: A Short History of Conquest and Rule (Hurst, 2021) provides an excellent primer for those interested in learning about the gradual process of colonial conquest and the attendant resistance by local populations, as well as colonialism’s long-term impact on what would become modern-day Nigeria.Part I and II of the book explore early trade relations between the peoples of coastal Nigeria and European merchants. Particular attention is given here to George Taubman Goldie and his business ventures, most notably the Royal Niger Company. By examining the Royal Niger Company’s tactics of fraudulent (or at minimum, misleading) treaties and the violent misconduct of its employees, Siollun evidences the destructive nature of Britain’s presence even before the official start of colonization.Part III concerns colonial conquest, from 1851 to 1920. Siollun starts with an exploration of what gets referred to as Glover’s Hausas, generally considered to be the start of the modern-day Nigerian army. This provides an entry point for Siollun to examine Britain’s policy of racialized military recruitment, and to reflect on the problems this caused in post-colonial Nigeria. Siollun’s detailed description of the violence of colonial conquest, as well as the resistance by ordinary Nigerians across the country (the subject of Part IV), make plain that despite British claims of a “civilizing mission,” colonization was very much self-serving and unwanted.Part V considers “how British rule radically changed Nigeria’s cultural, educational, and religious identity,” and in doing so, depended divides between the Northern and Southern parts of the country.Max Siollun is a historian and author who specializes in Nigeria's history. Besides What Britain Did to Nigeria, he is the author of the books Oil, Politics and Violence: Nigeria's Military Coup Culture 1966-1976, Soldiers of Fortune: A History of Nigeria (1983-1993), and Nigeria's Soldiers of Fortune: The Abacha and Obasanjo Years.Sara Katz is a postdoctoral associate in the history department at Duke University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kelefa Sanneh was born in England, and lived in Ghana and Scotland before moving with his parents to the United States in the early 1980s. He was a pop music critic at the New York Times from 2000-2008, and has been a staff writer at the New Yorker since then. His first book, just released on Penguin, is called Major Labels: A History of Popular Music in Seven Genres. The book refracts the entire history of popular music over the past fifty years through the big genres that have defined and dominated it—rock, R&B, country, punk, hip-hop, dance music, and pop—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn’t transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which.Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, Someone Should Pay for Your Pain, "a knockout fiction debut." He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Leonidas Mylonakis (PhD in History from the University of California, San Diego) is the author of Piracy in the Eastern Mediterranean: Maritime Marauders in the Greek and Ottoman Aegean (Bloomsbury, 2021). This captivating book is based on rich sets of Ottoman, Greek, and other archival sources. Dr. Mylonakis shows that far from ending with the introduction of European powers to the region around the year 1830, Aegean piracy continued unabated into the twentieth century. The book considers how changes in global economic patterns, imperial power struggles, ecological phenomena, shifting maritime trade routes, revisions in international maritime law can explain the fluctuations in violence at sea. Finally, Dr. Mylonakis concludes that pirates' place in state-building processes changed only around 1900, as modern states reevaluated the role of irregular warfare.Vladislav Lilic is a doctoral candidate in Modern European History at Vanderbilt University. Learn more about your ad choices. Visit megaphone.fm/adchoices