Alex Sayf Cummings

Beginning in the 1950s, a group of academics, businesspeople, and politicians set out on an ambitious project to remake North Carolina’s low-wage economy. They pitched the universities of Raleigh, Durham, and Chapel Hill as the kernel of a tech hub, Research Triangle Park, which would lure a new class of highly educated workers. In the process, they created a blueprint for what would become known as the knowledge economy: a future built on intellectual labor and the production of intellectual property. In Brain Magnet, Alex Sayf Cummings reveals the significance of Research Triangle Park to the emergence of the high-tech economy in a postindustrial United States. She analyzes the use of ideas of culture and creativity to fuel economic development, how workers experienced life in the Triangle, and the role of the federal government in bringing the modern technology industry into being. As Raleigh, Durham, and Chapel Hill were transformed by high-tech development, the old South gave way to a distinctly new one, which welded the intellectual power of universities to a vision of the suburban good life. Cummings pinpoints how the story of the Research Triangle sheds new light on the origins of today’s urban landscape, in which innovation, as exemplified by the tech industry, is lauded as the engine of economic growth against a backdrop of gentrification and inequality. Placing the knowledge economy in a broader cultural and intellectual context, Brain Magnet offers vital insight into how tech-driven development occurs and the people and places left in its wake.

Research Triangle Park and the Idea of the Idea Economy

Brain Magnet

Carribean Fragoza

Ryan Reft

Romeo Guzmán

East of East: The Making of Greater El Monte, is an edited collection of thirty-one essays that trace the experience of a California community over three centuries, from eighteenth-century Spanish colonization to twenty-first century globalization. Employing traditional historical scholarship, oral history, creative nonfiction and original art, the book provides a radical new history of El Monte and South El Monte, showing how interdisciplinary and community-engaged scholarship can break new ground in public history. East of East tells stories that have been excluded from dominant historical narratives—stories that long survived only in the popular memory of residents, as well as narratives that have been almost completely buried and all but forgotten. Its cast of characters includes white vigilantes, Mexican anarchists, Japanese farmers, labor organizers, civil rights pioneers, and punk rockers, as well as the ordinary and unnamed youth who generated a vibrant local culture at dances and dive bars.

The Making of Greater El Monte

East of East

It was a time when music fans copied and traded recordings without permission. An outraged music industry pushed Congress to pass anti-piracy legislation. Yes, that time is now; it was also the era of Napster in the 1990s, of cassette tapes in the 1970s, of reel-to-reel tapes in the 1950s, even the phonograph epoch of the 1930s. Piracy, it turns out, is as old as recorded music itself. In Democracy of Sound, Alex Sayf Cummings uncovers the little-known history of music piracy and its sweeping effects on the definition of copyright in the United States. When copyright emerged, only visual material such as books and maps were thought to deserve protection; even musical compositions were not included until 1831. Once a performance could be captured on a wax cylinder or vinyl disc, profound questions arose over the meaning of intellectual property. Is only a written composition defined as a piece of art? If a singer performs a different interpretation of a song, is it a new and distinct work? Such questions have only grown more pressing with the rise of sampling and other forms of musical pastiche. Indeed, music has become the prime battleground between piracy and copyright. It is compact, making it easy to copy. And it is highly social, shared or traded through social networks--often networks that arise around music itself. But such networks also pose a counter-argument: as channels for copying and sharing sounds, they were instrumental in nourishing hip-hop and other new forms of music central to American culture today. Piracy is not always a bad thing. An insightful and often entertaining look at the history of music piracy, Democracy of Sound offers invaluable background to one of the hot-button issues involving creativity and the law.

Alex Sayf Cummings

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