David Laibman

David Laibman

David Laibman is Professor of Economics at Brooklyn College and the Graduate Center, City University of New York. He received a Ph.D. in Economics in 1973 at the Graduate Faculty of the New School for Social Research in New York.[1] His dissertation, The Invariance Condition for Value-Price Transformation in a Linear, Non-Decomposable Two-Sector Model, dealt with problems in Marxist value theory.[2] Laibman teaches economic theory, political economy, and mathematical economics, at the undergraduate, masters, and doctoral levels at CUNY.[1]

He is the Editor of Science & Society, a quarterly Marxist journal now in its seventy third year of publication.[3]

Laibman is the author of three books: Value, Technical Change and Crisis: Explorations in Marxist Economic Theory (1992), Capitalist Macrodynamics: A Systematic Introduction (1997), and Deep History: A Study in Social Evolution and Human Potential (2007).[1]

He is also a fingerstyle guitarist, especially its application to the ragtime music of the early twentieth century. With Eric Schoenberg, Laibman recorded The New Ragtime Guitar for Folkways Records in 1970. His solo album, Classical Ragtime Guitar, was released by Rounder Records in 1980.[4] Laibman has worked with a variety of artists in the early folk world, using his advanced finger picking technique. One notable album is "Way Out West" by Scottish Folksinger Alex Campbell, in 1963. Of note is the track "Orange Blossom Special" which showcases the talent that Laibman was developing.

He has just issued a DVD, Guitar Artistry of David Laibman Stefan Grossman Guitar Workshop, 2007.

David Laibman was a student at Antioch College in Yellow Springs, Ohio, in the early 1960s. At Antioch, at that time, it seemed everyone and his dog had a guitar and the place was awash in wannabe folksingers and guitar-pickers. The most common venue was "The Stoop" -- the entrance to the student union, where people hung out, some discussing politics, some playing and singing, some just watching the scene go by or listening to the music—the good, the bad, the incredibly awful. David Laibman was among the musicians who would play there, and without intending to offend anyone, he was just leagues ahead of everyone else. Magnificent musician, even then, in his late-teens, early 20s.

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