Matt Miller

Over the course of the twentieth century, African Americans in New Orleans helped define the genres of jazz, rhythm and blues, soul, and funk. In recent decades, younger generations of New Orleanians have created a rich and dynamic local rap scene, which has revolved around a dance-oriented style called “bounce.” Hip-hop has been the latest conduit for a “New Orleans sound” that lies at the heart of many of the city’s best-known contributions to earlier popular music genres. Bounce, while globally connected and constantly evolving, reflects an enduring cultural continuity that reaches back and builds on the city’s rich musical and cultural traditions. In this book, the popular music scholar and filmmaker Matt Miller explores the ways in which participants in New Orleans’s hip-hop scene have collectively established, contested, and revised a distinctive style of rap that exists at the intersection of deeply rooted vernacular music traditions and the modern, globalised economy of commercial popular music. Like other forms of grassroots expressive culture in the city, New Orleans rap is a site of intense aesthetic and economic competition that reflects the creativity and resilience of the city’s poor and working-class African Americans.

Collage of Myself presents a groundbreaking account of the creative story behind America's most celebrated collection of poems. In the first book-length study of Walt Whitman's journals and manuscripts, Matt Miller demonstrates that until approximately 1854 (only a single year before the first publication of Leaves of Grass), Whitman—who once speculated that Leaves would be a novel or a play—was unaware that his ambitions would assume the form of poetry at all. Collage of Myself details Whitman's discovery of a remarkable new creative process that allowed him to transform a diverse array of texts into poems such as "Song of Myself" and "The Sleepers." Whitman embraced an art of fragments that encouraged him to "cut and paste" his lines into ever-evolving forms based on what he called "spinal ideas." This approach to language, Miller argues, represents the first major use in the Western arts of the technique later known as collage, an observation with significant ramifications for our reception of subsequent artists and writers. Long before the modernists, Whitman integrated found text and ready-made language into a revolutionary formulation of artistic production that anticipates much of what is exciting about modern and postmodern art. Using the Walt Whitman Archive's collection of digital images to study what were previously scattered and inaccessible manuscript pages, Miller provides a breakthrough in our understanding of this great American literary icon.

"Offers the most plausible way to renovate our political and policy thinking to meet the challenges of the twenty-first century."--Joe Klein, TimeA leading political and business thinker identifies the greatest threat to our economic future: the things we think we know-but don't. America is at a crossroads. The global economic downturn that began in 2008 has laid bare the structural weakness of our economy, putting the country through its most severe test since the Great Depression. Yet our political and business leaders have failed to prepare us because they are in the grip of a set of "dead ideas" about how a modern economy should work. Even the proponents of "change" in the Obama administration remain tentative in pushing the boundaries of the conventional wisdom. But as Matt Miller shows in this provocative and influential analysis, the American economy will turn the corner only if we move beyond these outdated ways of thinking and recognize the ascendance of a new set of "destined ideas" that will reinvigorate our economy, our politics, and our day-to-day lives. And in a new preface, Miller shows how today's financial crisis has finally stripped these dead ideas of their power, offering hope for a durable recovery.