Listen to “Brian Eno Day,” a 12-Hour Radio Show Spent With Eno & His Music (Recorded in 1988)

brian-eno-recording-studio

In ear­ly 1988, visu­al artist, rock pro­duc­er, and “non-musi­cian” musi­cian Bri­an Eno came to San Fran­cis­co. He’d made the trip to put togeth­er “Lat­est Flames,” a “sound and light instal­la­tion” using his own music and “tele­vi­sion as a radi­ant light source” to “cre­ate a con­tem­pla­tive envi­ron­ment.”  He cre­at­ed this con­tem­pla­tive envi­ron­ment at the Explorato­ri­um, a one-of‑a kind muse­um of “sci­ence, art, and human per­cep­tion” I remem­ber fond­ly from my own child­hood in the Bay Area (though alas, I did­n’t start going until just after “Lat­est Flames” closed). Dur­ing that vis­it, he spoke on Berke­ley’s KPFA-FM about his great admi­ra­tion for the very exis­tence of the Explorato­ri­um, which he thinks could nev­er have hap­pened in his native Eng­land, “too fussy” a coun­try to accept such an exper­i­men­tal insti­tu­tion. He also empha­sizes how much grat­i­tude he thinks Amer­i­cans should show for their pub­lic radio sta­tions like KPFA, which, in con­trast to the admit­ted­ly “great radio”-producing broad­cast­ers of the U.K., work more loose­ly, with greater cre­ative free­dom not sched­uled on “five-year plans.” It sure­ly did­n’t damp­en Eno’s appre­ci­a­tion for KPFA that he appeared dur­ing the sta­tion’s “Bri­an Eno Day,” a twelve-hour marathon of mate­r­i­al relat­ed to his work: music, music analy­sis, inter­views new and old, and even lis­ten­er calls.

This hap­pened dur­ing KPFA’s reg­u­lar pledge dri­ve, and as every Amer­i­can pub­lic radio lis­ten­er knows, pledge dri­ves hold out the promise of desir­able thank-you gifts to donat­ing callers. In this case, these entice­ments includ­ed items signed right there in the stu­dio, between turns at the micro­phone answer­ing ques­tions and chat­ting with com­pos­er-host Charles Amirkhan­ian, by Eno him­self. The auto­graphed Oblique Strate­gies decks run out first, and even after that peo­ple still call in with ques­tions about their ori­gin, their best use, and their future avail­abil­i­ty. They also (and Amirkhan­ian, and ambi­ent music expert Stephen Hill) have much else to ask besides, fill­ing the hours — those not occu­pied by pledge pitch­es, records Eno pro­duced, or the full length of his own Thurs­day After­noon album — with talk of the mean­ing of his inscrutable lyrics, the record­ing stu­dio as musi­cal instru­ment, the mak­ing of “Lat­est Flames,” his impa­tience with com­put­ers and syn­the­siz­ers, his rec­om­mend­ed Eng­lish art schools, and how ambi­ent music dif­fers from new age “muzak.” A fan could ask for no rich­er a lis­ten­ing expe­ri­ence, even 26 years after it first aired — and few more enter­tain­ing lis­ten­ing expe­ri­ences than, toward the end of this long Bri­an Eno day, the man of the hour’s (or rather, of the twelve hours’) deci­sion to delib­er­ate­ly answer each and every remain­ing lis­ten­er ques­tion with a lie. You can stream all of KPFA’s 1988 Bri­an Eno Day above. It’s also bro­ken into nine the­mat­ic seg­ments at the Inter­net Archive.

Relat­ed Con­tent:

The Genius of Bri­an Eno On Dis­play in 80 Minute Q&A: Talks Art, iPad Apps, ABBA, & More

Bri­an Eno Once Com­posed Music for Win­dows 95; Now He Lets You Cre­ate Music with an iPad App

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

Watch Bri­an Eno’s “Video Paint­ings,” Where 1980s TV Tech­nol­o­gy Meets Visu­al Art

Jump Start Your Cre­ative Process with Bri­an Eno’s “Oblique Strate­gies”

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear Led Zeppelin’s First Recorded Concert Ever (1968)

It’s Decem­ber, 1968. You’re a teenaged kid in Spokane, Wash­ing­ton, keen to see Vanil­la Fudge—or “The Vanil­la Fudge,” as the pro­mot­er calls them—at Gonza­ga University’s Kennedy Pavil­ion, and… what’s this? The open­ing act is “Len Zef­flin?” Who the hell is that?

Maybe you’re hip, like Bob Gal­lagher, who knew Jim­my Page from the Yard­birds and looked for­ward to catch­ing his new band. Maybe not. Maybe, like Ker­ry Whit­sitt, you’re hop­ing “the first band wouldn’t stay on stage too long.” You know how it is… open­ing bands….

But then Page, Plant, Bon­ham, and Jones take the stage, and like Jeff “Tor” Nadeau, you look around to find the house “uni­ver­sal­ly mind-blown” by “the most stun­ning and awe­some sound ever.” And like Ker­ry, you don’t “want them to leave the stage—ever!”

spokane68-ad

These then-teenage fans’ rem­i­nisces of this his­toric show, only the fifth of Led Zeppelin’s first U.S. tour, come cour­tesy of the Zep­pelin web­site’s descrip­tion of the mis­tak­en­ly billed “Len Zefflin”’s ear­li­est record­ed con­cert, which you can hear in its entire­ty above, thanks to an enter­pris­ing young stu­dent who brought his tape recorder.

The band’s first album—Led Zep­pelin—wouldn’t hit stores for anoth­er three weeks. The kids haven’t heard any­thing like this before: Bonham’s explo­sive fills, Plant’s high-pitched har­mo­niz­ing to “Page’s pipe-wrench riffs.” By the time Zep­pelin left the stage, Bob Gal­lagher and his bud­dies were “flab­ber­gast­ed.” And “when Vanil­la Fudge came on, they were so sleepy. It was like, after that, psy­che­delia was dead and heavy met­al was born, all in a three-hour show.” Poor Vanil­la Fudge.

The raw, two-track tape record­ing of that frigid win­ter show has cir­cu­lat­ed for thir­ty years in var­i­ous boot­leg forms, but it’s new to Youtube, new to me, and maybe new to you too. Lis­ten to it and see if you can’t con­jure some of those lucky audi­ence-mem­bers’ awe in that moment of dis­cov­ery, when heavy met­al was born from the blues. The full track­list of the show is below. For the full expe­ri­ence, see the Youtube page to read a tran­scrip­tion of Robert Plan­t’s between-song stage pat­ter.

01 — Train Kept A Rollin’ [0:00]
02 — I Can’t Quit You [2:32]
03 — As Long As I Have You (incl Fresh Garbage / Shake / Hush) [9:15]
04 — Dazed And Con­fused [17:52]
05 — White Sum­mer [27:43]
06 — How Many More Times (incl The Hunter) [34:31]
07 — Pat’s Delight [50:07]

Relat­ed Con­tent:

Led Zep­pelin Plays One of Its Ear­li­est Con­certs (Dan­ish TV, 1969)

Whole Lot­ta Led Zep­pelin: Live at the Roy­al Albert Hall and The Song Remains the Same–the Full Shows

Decon­struct­ing Led Zeppelin’s Clas­sic Song ‘Ram­ble On’ Track by Track: Gui­tars, Bass, Drums & Vocals

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

Animated Life Lesson from Auschwitz: Make Sure All of Your Words Could Be Your Very Last

In 2008 com­pos­er Ben­jamin Zan­der gave a TED Talk called “The Trans­for­ma­tive Pow­er of Clas­si­cal Music”. Despite the title, the talk end­ed with some thoughts on the pow­er of words. Year lat­er, those poignant remarks have been ani­mat­ed by See­saw Stu­dios. Just a lit­tle some­thing to con­tem­plate as you start your day.

J.R.R. Tolkien Snubs a German Publisher Asking for Proof of His “Aryan Descent” (1938)

J R R Tolkien

As you’d expect from a man who had to cre­ate, in painstak­ing detail, all the races that pop­u­late Mid­dle-Earth, J.R.R. Tolkien had lit­tle time for sim­ple racism. He had espe­cial­ly lit­tle time for the high­est-pro­file sim­ple racism of his day, the wave of anti-Jew­ish sen­ti­ment on which Adolf Hitler and the Nazi par­ty rode straight into the Sec­ond World War. His first nov­el The Hob­bit, pre­de­ces­sor to the Lord of the Rings tril­o­gy, first appeared in 1937, a time when the sit­u­a­tion in Europe had turned omi­nous indeed, and would get far ugli­er still. It did­n’t take long after the book’s ini­tial suc­cess for Berlin pub­lish­er Rüt­ten & Loen­ing to express their inter­est in putting out a Ger­man edi­tion, but first — in obser­vance, no doubt, of the Third Reich’s dic­tates — they asked for proof of Tolkien’s “Aryan descent.” The author draft­ed two replies, the less civ­il of which reads as fol­lows:

25 July 1938
20 North­moor Road, Oxford 

Dear Sirs,

Thank you for your let­ter. I regret that I am not clear as to what you intend by arisch. I am not of Aryan extrac­tion: that is Indo-Iran­ian; as far as I am aware none of my ances­tors spoke Hin­dus­tani, Per­sian, Gyp­sy, or any relat­ed dialects. But if I am to under­stand that you are enquir­ing whether I am of Jew­ish ori­gin, I can only reply that I regret that I appear to have no ances­tors of that gift­ed peo­ple. My great-great-grand­fa­ther came to Eng­land in the eigh­teenth cen­tu­ry from Ger­many: the main part of my descent is there­fore pure­ly Eng­lish, and I am an Eng­lish sub­ject — which should be suf­fi­cient. I have been accus­tomed, nonethe­less, to regard my Ger­man name with pride, and con­tin­ued to do so through­out the peri­od of the late regret­table war, in which I served in the Eng­lish army. I can­not, how­ev­er, for­bear to com­ment that if imper­ti­nent and irrel­e­vant inquiries of this sort are to become the rule in mat­ters of lit­er­a­ture, then the time is not far dis­tant when a Ger­man name will no longer be a source of pride.

Your enquiry is doubt­less made in order to com­ply with the laws of your own coun­try, but that this should be held to apply to the sub­jects of anoth­er state would be improp­er, even if it had (as it has not) any bear­ing what­so­ev­er on the mer­its of my work or its sus­tain­abil­i­ty for pub­li­ca­tion, of which you appear to have sat­is­fied your­selves with­out ref­er­ence to my Abstam­mung.

I trust you will find this reply sat­is­fac­to­ry, and 

remain yours faith­ful­ly,

J. R. R. Tolkien

I have in this war a burn­ing pri­vate grudge  against that rud­dy lit­tle igno­ra­mus Adolf Hitler,” Tolkien wrote to his son Michael three years lat­er, by which time the war had reached a new height. “Ruin­ing, per­vert­ing, mis­ap­ply­ing, and mak­ing for ever accursed, that noble north­ern spir­it, a supreme con­tri­bu­tion to Europe, which I have ever loved, and tried to present in its true light.

He had already faced Ger­man forces in com­bat dur­ing his ser­vice in World War I, and had almost became one of World War II’s code­break­ers after the British For­eign Office’s cryp­to­graph­ic depart­ment brought the pos­si­bil­i­ty to him in ear­ly 1939. He did not, in the event, par­tic­i­pate direct­ly in the con­flict, but he did leave behind an uncom­mon­ly elo­quent paper trail doc­u­ment­ing his stance of unam­bigu­ous antipa­thy for the Nazis and their ide­ol­o­gy.

For more such fas­ci­nat­ing per­spec­tives vouch­safed to his­to­ry through the mail, do have a look at Let­ters of Note: An Eclec­tic Col­lec­tion of Cor­re­spon­dence Deserv­ing of a Wider Audi­ence, the brand new book from the site of the same name. Tolkien’s let­ter above comes from it, as do many of the illu­mi­nat­ing mis­sives we’ve fea­tured here before — and, with­out a doubt, those we’ll con­tin­ue to fea­ture in the future.

Want to down­load a Tolkien audio book for free? Start a 30-day free tri­al with Audible.com and you can down­load one of his major works in unabridged for­mat. You can keep the book regard­less of whether you con­tin­ue with their great pro­gram or not. There are no strings attached.

Relat­ed Con­tent:

“The Tolkien Pro­fes­sor” Presents Three Free Cours­es on The Lord of the Rings

Dis­cov­er J.R.R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

C.S. Lewis’ Pre­scient 1937 Review of The Hob­bit by J.R.R. Tolkien: It “May Well Prove a Clas­sic”

Dis­cov­er J.R.R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Meet Carol Kaye, the Unsung Bassist Behind Your Favorite 60s Hits

Car­ol Kaye: you may not rec­og­nize her name but chances are you’re famil­iar with her work.

Now 81, the lady has laid down some deeply icon­ic bass tracks in a career span­ning 55 years and some­thing in the neigh­bor­hood of 10,000 record­ing ses­sions.

Joe Cock­er’s “Feel­in’ Alright”?

The Beach Boys hits “Help Me, Rhon­da,” “Sloop John B,” and “Cal­i­for­nia Girls.” 

The theme song to The Brady Bunch?

Nan­cy Sina­tra’s “These Boots Are Made for Walkin’ ”?!?

Holy cow, talk about some­thing to tell the grand­kids.

Her inter­view for a nev­er com­plet­ed doc­u­men­tary above left me with none of the melan­choly I felt on behalf of the under-rec­og­nized back up singers pop­u­lat­ing the recent film Twen­ty Feet from Star­dom. This may be due to some rock and roll gen­der inequal­i­ty. The girls far out­num­ber the boys in the ranks of back­ing vocals, where looks play an unde­ni­able part, at least when the band’s out on the road. Kaye’s con­tri­bu­tions occurred in the record­ing stu­dio. She appears plen­ty con­tent to have num­bered among an elite team of hard work­ing, clean liv­ing Los Ange­les ses­sion musi­cians.

Unsur­pris­ing­ly, she was one of a very few women in the field, though girls, take note: her web­site has 115 play­ing tips for fledg­ling bass play­ers. Boys are free to take note too…

Now that you’ve “dis­cov­ered” this leg­end, may we sug­gest set­ting an hour aside to get to know her bet­ter in the longer inter­view below? Also make sure you see our relat­ed post: 7 Female Bass Play­ers Who Helped Shape Mod­ern Music: Kim Gor­don, Tina Wey­mouth, Kim Deal & More

Relat­ed Con­tent:

7 Female Bass Play­ers Who Helped Shape Mod­ern Music: Kim Gor­don, Tina Wey­mouth, Kim Deal & More

The Neu­ro­science of Bass: New Study Explains Why Bass Instru­ments Are Fun­da­men­tal to Music

The Sto­ry of the Bass: New Video Gives Us 500 Years of Music His­to­ry in 8 Min­utes

Paul McCart­ney Offers a Short Tuto­r­i­al on How to Play the Bass Gui­tar

Ayun Hal­l­i­day is the author of sev­en books, and cre­ator of the award win­ning East Vil­lage Inky zine. Fol­low her @AyunHalliday

Hear John Lennon Sing Home Demo Versions of “She Said, She Said,” “Strawberry Fields Forever,” and “Don’t Let Me Down”

John Lennon was an invet­er­ate archivist of sound and image, doc­u­ment­ing his life in what­ev­er medi­um he had avail­able to him and leav­ing behind acres of tape for friends and fans to dis­cov­er. Lennon’s tapes com­prise hun­dreds of hours of song sketch­es, full demos, con­ver­sa­tions, jokes, and, as Yoko Ono puts it in her intro to The Lost Lennon Tapes, some “pret­ty per­son­al stuff.” The Lost Lennon Tapes was a radio series that aired between 1988 and 1992, pre­sent­ing over two hun­dred hours of archival Lennon audio in 219 episodes. Host­ed by Lennon’s friend Elliot Mintz, the series gave lis­ten­ers an inti­mate look into John’s cre­ative process through demos like that above, a 1966 series of sketch­es that would become Revolver’s “She Said, She Said.”

In this record­ing, Lennon, alone with a jan­g­ly gui­tar, works out the now-famil­iar chord pro­gres­sions and vocal melodies of the song in sev­er­al dif­fer­ent iterations—and with some quirky lyri­cal vari­ants (“She’s mak­ing me feel like my trousers are torn”). We get to hear the song evolve in sev­er­al stages, from its boun­cy two-chord begin­nings to its final, East­ern-inspired form. The demo also pro­vides evi­dence of the song’s con­cep­tu­al ori­gins; in the first cou­ple ver­sions, you can hear Lennon sing “he said” instead of “she.” The “he” refers to Peter Fon­da, who inspired the song by freak­ing Lennon out dur­ing an acid trip, utter­ing what became the song’s first line, “I know what it’s like to be dead.”

Just above you can hear sev­er­al dif­fer­ent 1966 home demo takes of “Straw­ber­ry Fields For­ev­er,” with John singing over a lone elec­tric gui­tar. Lennon stops and starts sev­er­al times, then, at 1:55, finds his groove and plays the whole song through. Next, we hear a run-through with added Mel­lotron, that odd ear­ly pro­to-syn­the­siz­er that lent the final George Mar­tin-pro­duced ver­sion so much of its dis­tinc­tive sound. Final­ly, at 6:15, hear one of the very first demo record­ings of the song—a beau­ti­ful solo acoustic ver­sion record­ed in Alme­ria, Spain. In the promi­nent gui­tar, we hear the strange, ser­pen­tine chord pat­tern that gives the song such a haunt­ing feel. Lennon began com­pos­ing the song in Spain while film­ing his scenes for Richard Lester’s How I Won the War.

Paul McCart­ney once called Lennon’s “Don’t Let Me Down” a “gen­uine plea” to Yoko, inter­pret­ing the song as John say­ing “I’m real­ly just let­ting my vul­ner­a­bil­i­ty be seen, so you must not let me down.” The Bea­t­les record­ed sev­er­al ver­sions of the song for the Let it Be ses­sions and released it as a B side to the “Get Back” sin­gle in 1969, though Phil Spec­tor even­tu­al­ly dropped the song from Let it Be. McCart­ney restored it to his re-release of the album, Let it Be… Naked, in which he stripped the songs of Spector’s stu­dio effects. Above, hear “Don’t Let Me Down” at its most stripped-down in a 1968 home demo. Just Lennon with his acoustic gui­tar, qui­et­ly strum­ming out his bluesy love tune, a stark con­trast to the scream­ing rock­er the song would become.

Relat­ed Con­tent:

The 10-Minute, Nev­er-Released, Exper­i­men­tal Demo of The Bea­t­les’ “Rev­o­lu­tion” (1968)

The Bea­t­les: Unplugged Col­lects Acoustic Demos of White Album Songs (1968)

John Lennon’s Raw, Soul-Bar­ing Vocals From the Bea­t­les’ ‘Don’t Let Me Down’ (1969)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

German String Quartet Performs Vivaldi & Mozart in Delightfully Comical & Acrobatic Routine

Mak­ing the rounds on the inter­net is this per­for­mance by the Ger­man string quar­tet Salut Salon. Fea­tur­ing Ange­li­ka Bach­mann (vio­lin), Iris Siegfried (vio­lin and vocals), Anne-Moni­ka von Twar­dows­ki (piano) and Son­ja Lena Schmid (cel­lo), the quar­tet knows “bet­ter than any oth­er cham­ber music ensem­ble how to seduce their audi­ence with pas­sion­ate vir­tu­os­i­ty, instru­men­tal acro­bat­ics, charm and a great sense of fun.” Above you can get your week start­ed by watch­ing them per­form a mash-up of Vival­di, Mozart, and Kurt Weill. And to keep your day going, you can always watch 2Cellos bang­ing out a ver­sion of Guns N’ Ros­es “Wel­come to the Jun­gle” and this 14-year-old girl play­ing a blis­ter­ing heavy met­al per­for­mance of Vival­di. Enjoy.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Down­load Free Music from 150+ Clas­si­cal Com­posers, Cour­tesy of Musopen.org

A Big Bach Down­load: All of Bach’s Organ Works for Free

The Open Gold­berg Vari­a­tions: J.S. Bach’s Mas­ter­piece Free to Down­load

The World Con­cert Hall: Lis­ten To The Best Live Clas­si­cal Music Con­certs for Free

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Piketty’s Capital in a Nutshell

piketty cover

It’s hard to fath­om, but some­how Thomas Piket­ty’s 696-page book Cap­i­tal in the Twen­ty-First Cen­tu­ry is No. 1 on the Ama­zon best­seller list. It’s a seri­ous eco­nom­ics book that takes a long, hard look at the dynam­ics affect­ing the dis­tri­b­u­tion of cap­i­tal, the con­cen­tra­tion of wealth, and the long-term evo­lu­tion of inequal­i­ty in advanced economies. Not exact­ly light read­ing. And yet it’s out­selling Michael Lewis’ Flash Boys: A Wall Street Revolt (a lighter, more col­or­ful study of the inequal­i­ties in the finan­cial sys­tem); Don­na Tart­t’s The Goldfinch (the new­ly-named win­ner of the Pulitzer Prize in Fic­tion); and even The Lit­tle Gold­en Book ver­sion of Dis­ney’s Frozen.

So what’s the book all about? One way to answer that ques­tion is to read the intro­duc­tion to Cap­i­tal, which you can find on the Har­vard Uni­ver­si­ty Press web­site. There Piket­ty, a pro­fes­sor at the Paris School of Eco­nom­ics, gets right into the heart of the ques­tions he’s  try­ing to answer in Cap­i­tal:

The dis­tri­b­u­tion of wealth is one of today’s most wide­ly dis­cussed and con­tro­ver­sial issues. But what do we real­ly know about its evo­lu­tion over the long term? Do the dynam­ics of pri­vate cap­i­tal accu­mu­la­tion inevitably lead to the con­cen­tra­tion of wealth in ever few­er hands, as Karl Marx believed in the nine­teenth cen­tu­ry? Or do the bal­anc­ing forces of growth, com­pe­ti­tion, and tech­no­log­i­cal progress lead in lat­er stages of devel­op­ment to reduced inequal­i­ty and greater har­mo­ny among the class­es, as Simon Kuznets thought in the twen­ti­eth cen­tu­ry? What do we real­ly know about how wealth and income have evolved since the eigh­teenth cen­tu­ry, and what lessons can we derive from that knowl­edge for the cen­tu­ry now under way?

As for the answers, those are pret­ty well explained in a digest by the Har­vard Busi­ness Review. Sum­ma­riz­ing the book’s argu­ment, HBR writes:

Cap­i­tal (which by Piketty’s def­i­n­i­tion is pret­ty much the same thing as wealth) has tend­ed over time to grow faster than the over­all econ­o­my. Income from cap­i­tal is invari­ably much less even­ly dis­trib­uted than labor income. Togeth­er these amount to a pow­er­ful force for increas­ing inequal­i­ty. Piket­ty doesn’t take things as far as Marx, who saw capital’s growth even­tu­al­ly stran­gling the econ­o­my and bring­ing on its own col­lapse, and he’s with­er­ing­ly dis­dain­ful of Marx’s data-col­lec­tion tech­niques. But his real beef is with the main­stream eco­nom­ic teach­ings that more cap­i­tal and low­er tax­es on cap­i­tal bring faster growth and high­er wages, and that eco­nom­ic dynamism will auto­mat­i­cal­ly keep inequal­i­ty at bay. Over the two-plus cen­turies for which good records exist, the only major decline in capital’s eco­nom­ic share and in eco­nom­ic inequal­i­ty was the result of World Wars I and II, which destroyed lots of cap­i­tal and brought much high­er tax­es in the U.S. and Europe. This peri­od of cap­i­tal destruc­tion was fol­lowed by a spec­tac­u­lar run of eco­nom­ic growth. Now, after decades of peace, slow­ing growth, and declin­ing tax rates, cap­i­tal and inequal­i­ty are on the rise all over the devel­oped world, and it’s not clear what if any­thing will alter that tra­jec­to­ry in the decades to come.

As for how this impacts life in the U.S., HBR sum­ma­rizes Piket­ty’s argu­ment as fol­lows:

On this side of the Atlantic, wealth and income were less con­cen­trat­ed in the 19th cen­tu­ry than in Europe. After a spike in top incomes that topped out in the late 1920s, the income dis­tri­b­u­tion flat­tened out here again, albeit in less dra­mat­ic fash­ion than in Europe. Since the 1970s, though, the U.S. has seen a sharp and unpar­al­leled increase in the per­cent­age of income going to the top 1% and espe­cial­ly 0.1%. This has not been dri­ven by the cap­i­tal and inher­i­tance dynam­ics at the heart of Piketty’s sto­ry. He attrib­ut­es it instead to the rise of what he calls “super­man­agers.” Piket­ty cites recent research that shows man­agers and finan­cial pro­fes­sion­als mak­ing up 60% of the top 0.1% of the income dis­tri­b­u­tion in the U.S., and pro­pos­es that their sky­rock­et­ing pay is main­ly the prod­uct of sharp declines in top mar­gin­al tax rates that made it worth man­agers’ while to bar­gain hard­er for rais­es. This isn’t the only expla­na­tion avail­able, and Piketty’s dis­cus­sion of U.S. inequal­i­ty doesn’t car­ry the same his­tor­i­cal author­i­ty as oth­er parts of the book. But it sure­ly is inter­est­ing that, as he and sev­er­al co-authors report in a new arti­cle in the Amer­i­can Eco­nom­ic Jour­nal: Eco­nom­ic Pol­i­cy, the rise in the top-per­centile income share in 13 coun­tries was almost per­fect­ly cor­re­lat­ed with declines in top mar­gin­al tax rates in those coun­tries. It’s also inter­est­ing that this huge rise in rel­a­tive income inequal­i­ty has brought no dis­cernible eco­nom­ic ben­e­fit. Yes, the U.S. econ­o­my has grown a bit faster than those of oth­er devel­oped economies, but that’s pure­ly because of pop­u­la­tion growth. Per-capi­ta eco­nom­ic growth has been almost iden­ti­cal in the U.S. and West­ern Europe since 1980, and because of the skew towards the top here, U.S. medi­an income has actu­al­ly lost ground rel­a­tive to oth­er nations.

But why let HBR give you insight into Piket­ty’s think­ing when Piket­ty can do it him­self. Below we have a talk he gave at the Eco­nom­ic Pol­i­cy Insti­tute ear­li­er this month. He starts speak­ing at the 5:30 mark.

And final­ly Paul Krug­man’s review in the New York Review of Books — “We’re in a New Gild­ed Age” — is worth a read.

 Relat­ed Con­tent:

Free Eco­nom­ics Cours­es Online

Read­ing Marx’s Cap­i­tal with David Har­vey (Free Online Course)

The His­to­ry of Eco­nom­ics & Eco­nom­ic The­o­ry Explained with Comics, Start­ing with Adam Smith

60-Sec­ond Adven­tures in Eco­nom­ics: An Ani­mat­ed Intro to The Invis­i­ble Hand and Oth­er Eco­nom­ic Ideas

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