Eminent Americans

My guest on this episode of the podcast is William Deresiewicz, author of a number of books, most notably Excellent Sheep: The Miseducation of the American Elite and the Way to a Meaningful Life, and the Substack newsletter Derisivist.Bill and I end up spending a fair amount of time discussing an as-yet-untitled essay of his that’s forthcoming in Salmagundi, and at what I'd say are the two poles of it. On the one hand, it’s a lament for the decline of the left, which he argues has made itself the enemy of cultural vitality. On the other hand, it’s an initial sketch of what he calls the "not left," which is some kind of loose constellation of people (including Bill and me) who still take their policy bearings from the left but who feel profoundly alienated from its current cultural and institutional manifestations. He writes:"It comes to this: the left has made itself the enemy of the life force—of vitality, of eros. It fears it and it wants to shackle it. It feels, with a deep, instinctive revulsion, that it is incompatible with goodness, with morality. So it subordinates it to morality, or rewrites it in its terms. … The not-left, like the left in the 60s and 70s, is the locus of openness, playfulness, productive contention, experiment, excess, risk, shock, camp, mirth, mischief, irony, and curiosity. As opposed to solemnity, self-censorship, defensiveness, literalism, and prudery. The left is 'no'; the not-left is 'yes.' The left is 'post-,' the prefix of imaginative depletion. The not-left is 'neo-,' the sign of new beginnings."I thought of waiting to send this out until his essay was available, but I decided not to. Our conversation stands on its own, and it also spends a lot of time on other topics, including Bill's childhood in a modern Orthodox Jewish home, his early efforts to be a good boy and pursue a career in the sciences, his transition to English literature, and then his eventual break from academia. And much more.It's a great conversation. Bill and I have been consuming a lot of the same stuff over the past few years, and the result is a shared frame of reference that allows us to bounce and spark off each other in a pretty ideal way. You can feel us arriving at new ideas, and nuancing old ones, in the moment, which is what the interview-style podcast achieves at its best.Essays and podcast episodes we mention during the conversation, in addition to Bill's forthcoming essay, are:Last Boys at the Beginning of History: Thymos comes to the capitalby Mana AfsariWhy I Left Academia (Since You're Wondering): I didn’t have a choice. Thousands of people are driven out of the profession each year.by William DeresiewiczWhat Was the Post-Left?Geoff Shullenberger and I autopsy a movement, and moment, in timeNuance: A Love Story: My affair with the intellectual dark webBy Meghan DaumThese Hollow Halls: Whither the Academy, journalism, Substack, and the rest of it.I talk to Julianne Werlin and Sam Kahn about the state of the Academy and other things.Gatecrashers: A podcast about the hidden history of Jews and the Ivy LeagueBy Mark Oppenheimer.Show notes:00:00 Introduction and Welcome00:45 Early Life and Education01:15 Graduate School Challenges01:59 Career Beginnings and Dance Criticism02:26 Teaching at Yale04:04 Leaving Academia04:59 Transition to Writing06:46 Staying Relevant in Culture09:04 Podcasting and Media Consumption22:13 Critique of Elite Education32:24 The Pressure of High Achievement33:44 Navigating Anxiety in a Competitive World34:33 Personal Reflections and Self-Selection36:29 The Fascination with Emptiness39:36 The Elite and Their Inner Lives50:59 Jewish Intellectualism and Cultural Influence56:43 The Role of Physical and Virtual Intellectual Communities01:00:24 Exploring Jewish Identity and Continuity01:07:39 Concluding Thoughts and Future Plans This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

For my recent New York Times Magazine article on my experience of doing couples therapy with noted therapist Terry Real, I interviewed Terry’s old friend and former collaborator Carol Gilligan. This is an edited version of that conversation, which is in part about Terry but also more broadly about issues of gender roles and relationships, patriarchy and politics.Gilligan, now in her 80s, is probably best known for her landmark 1982 book In a Different Voice: Psychological Theory and Women's Development, which proposed a new model of early psychological development that distinguished between how boys and girls develop.She’s since written a host of other books, including The Birth of Pleasure: A New Map of Love; Meeting at the Crossroads: Women's Psychology and Girls' Development; Women, Girls and Psychotherapy: Reframing Resistance; and most recently Why does patriarchy persist? and Darkness now visible: patriarchy's resurgence and feminist resistance.I wrote about Gilligan and Real in a recent post on this Substack, describing how they met and ended up collaborating:“I think there’s a deep love of men in Terry,” says the feminist psychologist Carol Gilligan, who first met Real in the late 1990s, after she positively reviewed his book on male depression, I Don’t Want to Talk About It, in The New York Times. Gilligan had just returned to the US from England to accept a chair in gender studies at Harvard, and Real was teaching and practicing nearby at a family therapy institute in Cambridge. She was invited to visit the institute, and while there she observed Real, through a one way mirror, working with a married couple. She was struck by the intensity of his therapeutic presence, and by the way that his confrontation of men was able to simultaneously draw in both halves of the couple.“I hadn’t seen a therapist who had the ability Terry had to talk with men,” she says, “and to name what was going on. I think men could hear it, and I would watch the woman, and her eyes would open wide: ’Oh my god, somebody’s saying it.’”Soon Gilligan and Real began seeing couples together. At the time, Gilligan was also working with psychologist Judy Chu on a project observing four-year-old boys in pre-school. What she and Chu ended up charting was a kind of inverse of the psychological stunting process that Gilligan had identified in her earlier, groundbreaking work on the development of girls. Where girls, beginning in adolescence, would often suppress their “masculine” assertiveness and voice, boys, at age four or so, would begin to suppress their “feminine” capacities to perceive and respond to the internal states of themselves and others. Under pressure from their peers and parents, they’d begin to go emotionally dumb. Gilligan wondered if many of the romantic conflicts faced by adult couples were rooted in these parallel failures of development, and whether one could heal adult relationships by bringing these earlier selves into relation to each other in therapy.“Where was the emotionally honest 11-year-old girl who said what she saw and felt?” she says. “And where was that emotionally intelligent four-year-old boy from my studies with boys who would say things like, ’Mommy, why do you smile when you’re sad?’ I thought: if you could get these two people in the room, they could work out the problems in the relationship.”We talk about her work with Terry, her work with fathers of young boys, early psychological development, her take on Terry’s approach to working with me, and much more. It’s a relatively brief, but I think quite rich, conversation. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

My guest on today’s episode is podcast and radio producer Avery Trufelman. For about seven years, Avery was a producer for design and architecture podcast 99% Invisible, from which she eventually spun off her own podcast, Articles of Interest, which she describes as a podcast “about what we wear.” I asked Avery on the show to talk about season 3 of the show, the entirety of which was dedicated to one topic, the story of preppy clothes and style in America. I was totally mesmerized by the seven episode season, which she titled “American Ivy.” It incorporates so many of the topics I’m interested in. Class, status, clothes, fashion, politics, Jews. It’s all in there in the story of prep, which runs through, among other focal points of cultural influence, elite universities, Jewish garment makers, Black civil rights activists and jazz musicians, Japanese obsessives, and every level of the extended Ralph Lauren preppy universe.There's also a very personal angle we get into. Avery and I both went to prep schools. We both had complicated relationships with preppy style. She rebelled against it, pushing the dress code with Haight-Ashbury influenced vintage finds. I wanted to conform but never quite cracked the code. I knew the rules existed, but they were unwritten and opaque, the kind of thing you absorbed from family, from summer camps, from generations of insider knowledge. The right khakis, the right boat shoes, the right rollneck sweaters—not just the brand, but how they were worn, how they signaled status.It's a rich conversation. Hope you enjoy. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

On this episode of the show I’m talking to Mark Oppenheimer, my older brother and the recently anointed editor of Arc, the magazine formerly known as Religion and Politics.Our text is recent article of his, “Why Is a Publisher of Antisemitic and Homophobic Authors Winning a National Book Award? Paul Coates, father of Ta-Nehisi Coates, is getting a lifetime achievement award from people who don’t want to talk about what he’s actually done.”We talk about the article, which goes into a lot of depth about the authors and texts published by Coates’s indie press, Black Classic Press, and then also about the broader context. Why did the National Book Foundation seek to recognize Coates in the first place? Why did they not know (and we're taking it as a given that they didn't know) that he had a record of publishing homophobic, anti-Semitic, and racist writers? Why have they remained mostly silent on the topic, since better information has come out, and why has the part of the media that tends to cover literary controversies opted out of covering this one. In addition to his work for Arc, Mark is the author of five books, including Squirrel Hill: The Tree of Life Synagogue Shooting & the Soul of a Neighborhood, and Knocking on Heaven's Door: American Religion in the Age of Counterculture. He’s finishing up a biography of Judy Blume, which should come out in the next year or two. Show NotesHere's the summary and time stamps that the Descript bot gave me, which seem roughly accurate if not always super helpful.00:00 Introduction and Milestones01:28 Upcoming Episodes and Guests03:06 Interview with Mark Oppenheimer05:25 Paul Coates and Black Classic Press08:28 Controversies and Criticisms23:16 Media Response and Broader Implications38:12 The Role of Myths in Society38:47 Debate on Afrocentric Myths39:43 Flexibility of Religious Myths41:50 Healthy vs. Poisonous Myths43:06 Paul Coates and Black Classic Press48:50 The National Book Foundation Controversy58:31 The Role of the Free Press01:09:52 Concluding Thoughts on Intellectual DiscoursePrevious Episodes of the Coates Chronicles This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

Geoff Schullenberger, managing editor of Compact magazine and host of the Blame Theory podcast, dives into the intriguing concept of the 'post-left.' He discusses the rising critique of the traditional left and the shift in support demographics for leftist movements. Schullenberger reflects on his transition from academia to commentary, unpacking class dynamics and identity politics. The conversation also critiques the polarized media landscape and individuals aligning with figures like Elon Musk, highlighting the complexities of modern political discourse.

My guest on the show today is Rod Dreher, conservative Christian writer and author of many books, most recently Living in Wonder: Finding Mystery and Meaning in a Secular Age, which came out in October from Zondervan press.This is the audio complement to a written interview I did with Dreher that’s just out in Arc, the magazine formerly known as Religion and Politics. It was recently re-branded and re-imagined under the auspices of its new editor in chief, my brother Mark Oppenheimer. I’ll link to the interview in the show notes. You should read it, and check out the magazine, which is publishing a lot of really interesting stuff.To give you some context for this conversation, which launches right into a recent experience that Dreher had of having a kind of low key exorcism, his new book is mostly about the experiences that he and others have had of what I would call the supernatural, but he would call the divine or the demonic.So hauntings, possessions, exorcisms, divine epiphanies, psychedelic experiences of alternate realities, even alien abductions and visitations. For Rod, this is all evidence of the fact that world is far stranger and more wondrous than materialists like me can perceive.I don’t agree with him on most or all of this, or on most of his conservative politics, but I spend almost no time in this conversation arguing with him on either front. That’s because I’m not that interested in arguing with him. I’m interested in understanding him and his perspective, which is one that I’ve long found compelling even as I’ve also found it alarmist and wrong-headed.I keep reading Rod, book after book, year after year, precisely because he sees the world so differently than me, and because I never doubt his desire to live thoughtfully and authentically in the world, and I never doubt that he’s in touch with interesting cultural vibrations, even if they may not be the ones he thinks they are.A few final notes before I launch into the conversation, which starts rather abruptly because I forgot to hit record when we first started talking.One is I have some exciting episodes coming up, which you should be on the lookout for. One is with the aforementioned Mark Oppenheimer. We’re going to talk about his recent piece in Arc on Paul Coates, Ta Nehisi Coates’s father, who was recently given a lifetime achievement award by the National Book Foundation for his work as founder and editor of Black Classic Press. Mark writes about the uncomfortable reality of how many of the books and authors who Coates has championed have bizarre and often quite nasty views about race, sexuality, and Jews.I also have an upcoming episode with Geoff Schullenberger, managing editor of Compact Magazine, about the post-left. I’m still not quite sure what the post-left is, even after the conversation, but I really enjoyed talking to Geoff about it.So stay tuned for those episodes, and whatever comes next. I have an invitation out to Lorne Michaels, creator and master of Saturday Night Live, but I haven’t heard anything back yet, so we’ll see. My hopes are not high.What else? Oh, yeah, Rod is currently living in Hungary. This comes up in our conversation.Finally, I start with Rod’s recent exorcism, in the conversation, in part because it’s an example of what the book is about, though it happened after the book was written, but also because his discussion of what needed to be exorcised goes directly to his personal history of family trauma and dysfunction. In our written interview, and in this conversation, he talks openly and with great vulnerability about his painful relationship with his late father and about how, in his view, the pain opened up traumatic cracks in his psyche that dark spirits were able to sneak in through.Enjoy the show. Read the interview. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

My guest on the show today is novelist and TV writer Ben H. Winters. I first encountered Ben as the author of the wonder and wonderfully sad Last Policeman trilogy of science fiction novels, which are about a small town cop who keeps investigating and solving crimes even as a planet-destroying asteroid continues on its deadly trajectory toward Earth. I hadn’t thought of him in about a decade, since I finished the books, when I came across his name again in a surprising place, as one of the co-creators of the CBS show Tracker, the first season of which I’d just binged. I don’t usually go deep into the cast and crew of shows like Tracker, which is a fun but fairly generic CBS action series, but I’d been surprised to see that the show had been the single most popular scripted drama of the year. I was curious whether there was something in the zeitgeist it was capturing that I simply hadn’t perceived.So I started researching the creators, and there Ben was. The more I read about him, the more fascinated I became. In addition to The Last Policeman novels, he’s also the author of Sense and Sensibility and Sea Monsters, which was the second in the “Quirk Classics” series, after Pride and Prejudice and Zombies. He also wrote the third volume in that series, Android Karenina. Other science fiction and thriller titles include Underground Airlines, Golden State, The Quiet Boy, and this year’s Big Time. As a TV writer, in addition to Tracker, he’s also worked on Legion, the trippy Marvel series, and Manhunt, about the search for John Wilkes Booth after he assassinated Lincoln.Ben and I end up talking a lot about how to make a career as a writer, the unpredictabilities of the entertainment industry, and the ways in which Tracker blends conservative and liberal sensibilities. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

On this episode of the podcast, I talk to Sam Kahn and Julianne Werlin about how institutions and experts produce culture and authority; how two institutions in particular, the academy and journalism, are rapidly eroding in authority, resources, and maybe influence; and how Sam, Julianne, and I are reckoning, personally and professionally, with these big shifts.Among the issues we address: Why is Sam so bullish on Substack, and why is he is planning to launch a new publication on it soon? What is it like for Julianne to teach in an English department that has lost so many majors that it can’t even fill a lecture hall anymore for any of their classes, including even the big Shakespeare surveys? Can Substack do as good a job as establishment publications in producing high quality book criticism? Can it have a role to play in the academic infrastructure? What’s it like to spend ten years on a scholarly book and then have to wait another three to get a review of it?Sam is an editor at Persuasion magazine and the author of the Substack Castalia . Julianne is an associate professor of English at Duke University and author of Writing at the Origin of Capitalism: Literary Circulation and Social Change in Early Modern England (Oxford University Press). Her substack is Life and Letters.The genesis of this conversation is a piece that Julianne wrote for the Chronicle of Higher Education, “The Dysfunction of Criticism at the Present Time,” and then a few related pieces, including:* Sam’s piece for Compact, “We Are in a Writing Renaissance”* becca rothfeld’s Substack post, “why i am skeptical that substack can or should replace legacy media”* Sam’s somewhat angry response to Becca’s piece, “Against Becca Rothfeld”* Becca’s very civil response to Sam’s response to Becca, “a brief addendum: in response to my critic(s)”As of this episode of the podcast, I have a new/old collaborator, audio whiz Robert Scaramuccia. Robert produced the pilot episode of the pod, on Ezra Klein. He’s now back for the indefinite future, so if the quality of the show suddenly seems higher, that’s why. I also have some new intro and outro music on the podcast. It’s from “Upon This Tidal Wave of Young Blood,” by Clap Your Hands Say Yeah . Thanks to friend of the pod, and former guest, Alec Ounsworth for permission to use that. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

I have a poor eye for specific sociological detail but a good brain for psychology and the things that drive people to block and hurt others. —Matthew GasdaMy guest on this episode of the podcast is poet, novelist, essayist and playwright Matthew Gasda, with playwright being the most salient of those descriptors. His play Denmark just finished up a short run at the Brooklyn Center for Theatre Research, which Gasda founded and runs, and he is best known for his play Dimes Square, which helped fix the notorious New York downtown microneighborhood in the public imagination.In 2022, The New York Times published a very substantive profile of Gasda, tracking his emergence into hipster prominence during Covid:In the spring of 2021, he fell into a downtown social scene that was forming on the eastern edge of Chinatown, by the juncture of Canal and Division Streets. What he witnessed inspired his next work, “Dimes Square.”“Dimes Square became the anti-Covid hot spot, and so I went there because that’s where things were happening,” Mr. Gasda said.Named after Dimes, a restaurant on Canal Street, the micro scene was filled with skaters, artists, models, writers and telegenic 20-somethings who didn’t appear to have jobs at all. A hyperlocal print newspaper called The Drunken Canal gave voice to what was going on.Mr. Gasda, who had grown up in Bethlehem, Pa., with the dream of making it in New York, threw himself into the moment, assuming his role as the scene’s turtlenecked playwright. And as he worked as a tutor to support himself by day, and immersed himself in Dimes Square at night, he began envisioning a play.Set in a Chinatown loft, “Dimes Square” chronicles the petty backstabbing among a group of egotistic artists and media industry types. It’s filled with references to local haunts like the bar Clandestino and the Metrograph theater, and its characters include an arrogant writer who drinks Fernet — Mr. Gasda’s spirit of choice — and a washed up novelist who snorts cocaine with people half his age.Matt and I talk about a great number of things over the course of this quite long and I think quite rich conversation, which we recorded in two separate sessions. He helps me come asymptotically closer to understanding what the Dimes Square scene is or was (I’m pretty sure it’s was at this point).We talk about his very middle-class youth in Bethlehem, Pennsylvania, and the difficulties of making the transition from that world, and the world of his middle-class degrees from Syracuse and Lehigh, to the very specialized set of manners and expectations that structure life and society in New York City.We talk about the general challenges of making it in as playwright (and by extension as screenwriter or tv writer), as well as the specific challenges of making it when you’ve been classified as politically suspect, as Matt has.We end, more or less, with my expressing my hope that Matt can continue to protect and nurture his talent and his desire to connect even as, of necessity, he has to live and work in various scences in New York that can be quite toxic.   AI-generated show notes. They seem mostly accurate.00:00 Introduction to Eminent Americans00:32 Meet Matthew Gazda: Playwright Extraordinaire01:10 The Dime Square Phenomenon02:29 Exploring Denmark and Other Plays03:37 Defining Dime Square05:26 The Scene and Its Key Figures08:07 The Evolution of Dime Square21:03 The Genesis of the Play27:43 Matthew Gazda's Background39:36 Navigating Social Classes and Upbringings40:58 The Art of Performativity and Banter42:55 Algorithmic Conversations and AI's Impact44:04 Flirting and Social Dynamics46:14 Authenticity vs. Performativity in Plays48:26 Cynicism and Artistic Integrity57:13 Challenges of a Playwright's Career01:00:40 Exploring Dimes Square and Its Impact01:19:22 The HBO Deal and Dimes Square01:19:49 Canceled Party and Industry Politics01:21:24 Theater World Challenges01:25:08 Class and Credentials in the Arts01:28:52 Navigating Bitterness and Cynicism01:33:28 The Reality of Artistic Success01:44:00 Final Thoughts and Future PlansSome of the questions I prepared in advance, many but not all of which I ended up asking:In the most concrete, least abstract terms possible: What was Dimes Square and who were the major players within it? And should I be talking about it in the past tense?  Tell me about Bethlehem? You seem like a hustler from the provinces, much much more driven than the people around you. True? One of the tensions in your plays, at least in the ones I've read, is between what I guess I'd just call earnestness, or authenticity, and the alternatives to that—on the one hand a kind of ironic performativity, which is what constitutes much of Dimes Square, and then on the other hand just a zoned out deflection of emotion, which is what you get so much of in your play Zoomers. Does that sound right to you? You just wrote this piece, "Credentialist Cretins," that is just immensely cynical about the people around you. But then you seem like a fairly earnest person, interested in connecting. And you've been pretty protective of your friends in the scene, people who a lot of others would like to see as ironic performative too cool for school types. Square that circle for me. My brother always says that theater will be the last refuge of wokeness, that it will be land acknowledgements until we all sink into the sea. Is that right? How do you fit into the scene? Are you endangering your career prospects either through the plays, and their use of certain language and expression of certain ideas, or through your political writing? Are you cutting yourself off from the money flows? What the hell is going on with Zoomers? I found it an interesting read, but I wasn't sure what you were doing? Am I too old? Would it have been more apparent if I saw the play in person?Excerpts from Matt’s essay “Downtown Demons,” about the development and meaning of the Dimes Square scene:The creation of scenes was aided and accelerated by temporarily cheaper rents and inflated tech wages (and crypto fortunes). Large apartments and lofts were secured, sometimes in two-year leases. A new, politically ambiguous patron class appeared at the same time that subscriber-supported writers and podcasters were challenging mainstream news and opinion. You could listen to a podcast or read a Substack, and meet the podcaster or writer the same night at a party or a bar (though these shuttered in the early evening, for those who remember, on the totally scientific theory that the virus hunts at night); shifts in perspective were happening in real time.Old political boundaries were temporarily porous and fluid and ideological lines could be crossed and retraced again. At a given party, you might meet—to name a few examples at random—a liberal New York Times columnist, a Big Five novelist with a forthcoming debut (typically less daring than her conversation), a dirtbag podcaster, a powerful editor, an out-of-work actor, a fashion model, a filmmaker, an influencer, a Thiel Fellowship winner, a grad student on a stipend, a union organizer, a Bitcoin multimillionaire; the melange was the message.In effect, the pandemic downtown moment was, from the very beginning, infected with spirit of the very-online, which, while latent for a long time, never went away; there was a tension between those who really truly wanted to leave the internet behind, and those who instinctively wanted to integrate the online into the fabric of nightlife—and the latter won out.The mimetic violence of downtown discourse—the denunciations, the trollings, the doxxings, the terroristic threats—that is manifest in the way people talk to, and more often, about one another, presages real political conflict in the future. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe

My guest on this episode of the podcast is Princeton sociologist Shamus Rahman Kahn, who is the author of a number of books, most notably for our purposes Privilege: The Making of an Adolescent Elite at St. Paul’s School.I described the book, in a previous post, thusly:Privilege is an extraordinary book. People throw that word around too easily, but I really mean it in this case. It blew my mind in a way that it hadn’t been blown in a long while. Khan is a very good writer of sentences, an insightful theorist, and perhaps above all an observer of rare acuity. He just sees a lot more, and a lot more clearly, than most people would in a similar context, even if they went in with similarly ethnographic objectives. The result is a book packed with striking insight and fascinating detail. As it happens I went to a high school that wasn’t too different from St. Paul’s. It wasn’t as fancy, didn’t cater to quite as many sons and daughters of the high elite, but it was similar enough for me to vouch for Khan’s descriptions. They ring true. He captures with nuance what such places, which are so easy to caricature, are actually like.The post that I wrote about Privilege was by far the most popular thing I’ve written for this newsletter, which is a testament to my own eloquence, to the fascination of the subject, and to the intensity and insight with which Kahn explored it. Shamus and I had a great conversation. We talked about the book; his experience as both a student and a teacher at St. Paul’s School; his training at the University of Wisconsin; his good timing in the selection of subjects; what it feels like to be of the elite; and much more.Show breakdown (according to AI - I have no idea how closely this tracks the reality, but it feels better than nothing)00:00 Introduction to the Podcast and Guest01:07 Discussing the Book 'Privilege'02:44 Exploring Elite Education and Inequality04:35 The Role of Quantitative and Qualitative Research17:21 Personal Background and Experience at St. Paul's30:21 Changes in Elite Education Over Time46:55 The Origins of Meritocracy48:40 Challenges of Meritocracy49:18 Meritocracy and Social Mobility51:40 Ethnographic Insights on Privilege52:57 Understanding Inequality56:32 The Role of Education in Inequality57:08 Class and Political Mobilization01:01:37 American Inequality and Historical Perspectives01:02:25 The Astor Family and American Finance01:09:07 The Influence of Wealth in Politics01:15:54 Navigating Elite Institutions01:17:44 The Future of Elite Coordination01:26:22 Concluding Thoughts on Elites and Power01:29:27 Closing Remarks and Outro This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit danieloppenheimer.substack.com/subscribe