The American Dream Deferred: Q&A with Author and Economics Professor Gary “Hoov” Hoover

Gary “Hoov” Hoover is a professor of economics, affiliate professor of law, and executive director of the Murphy Institute at Tulane University. His new book Ladder or Lottery: Economic Promises and the Reality of Who Gets Ahead examines economic mobility in the United States and what happens when those who do everything right — work hard, get educated, and play by the rules — still can’t win. We checked in with Hoov to learn what his research reveals about the gap between economic promise and reality, plus his takes on the housing crisis, AI disruption, and how to repair the broken rungs on the ladder to upward mobility.

Q: What surprising insight led you to write this book?
A: Inspiration for the book didn’t actually start in the United States. Fifteen or 20 years ago, I was doing work on international terrorism with colleagues, and we noticed that domestic and transnational terrorism were mostly happening in middle-income countries. In recruitment, the people most likely to engage were often college-educated individuals who felt disaffected with the social contract.

They had been promised that if they did the right things — got educated, followed the rules — certain opportunities would be available. When that greater prosperity never followed, they felt the contract had been violated. Looking closely at that dynamic is what first motivated the book.

Q: Has the US social contract been broken?
A: The social contract is the promise: I promise you, citizen, that if you get an education, become an entrepreneur, or join the military, then you'll climb — you’ll be better off.

You can think about that in many contexts where society tells you to do certain things and move up the economic ladder. But if you follow the rules and still find yourself where you started, the natural question is: what happened?

At scale in the US, you can’t seriously claim that tens of millions of people stuck at the bottom are all lazy or defective. When that many people follow the rules and still don’t move up, the system is operating like a lottery while pretending to be a meritocracy.

Q: Was there a time when the American economy functioned more like a ladder, or has it always had these issues? 
A: The problem with the ladder is that the rungs have to be evenly placed and secure. We've always had the rungs there, but they haven't always been even or stable. I’d say the American system has always been a ladder; it’s just been a rickety one. We don’t need to knock it down — we need to tighten it up. That rung is loose, that one’s slanted, that one’s greasy. Fix the obvious flaws. 

If the next rung requires a college education that costs $250,000, yes, the rung exists — but a lot of people simply can't reach it. 

Housing is a glaring example. There was a promise that if you had a solid job, you could afford a home. If the average income is around $50,000 or $60,000 and homes are supposed to cost about three times income, the average house should be around $180,000. That’s not the reality. You can't be spending 50-60% of your monthly income on a house, but that's what you're telling me to do. The rung is there — but not at a range people can actually reach.

Q: Your work at the Murphy Institute considers economics alongside politics, ethics, and other disciplines. Why is this interdisciplinary approach so important, particularly in this book? 
A: If you're going to be a serious scientist, you have to talk about how we got here. Things don’t happen in a vacuum — the policies shaping today were set in motion a long time ago. So, part of the work required becoming a historian. 

I also had to think like a social psychologist to understand what causes people to become deeply discouraged. You can make promises about almost anything, but if you make a promise, you have to keep it. When people pour their heart and soul into doing what society told them would work, and it doesn’t, they become disaffected.

There’s also a moral question. Statistics tell us most people born into poverty will die in poverty. So, is it a moral failing if I tell you your outcome was your fault when, statistically, it was already likely? At that point, I’ve basically gaslit you. 

I also go into business. In business, for example, if a product’s failure rate climbs, you redesign the product — even when it’s ‘user error.’ With the economy, we flip that logic: we declare the system perfect and blame the people who fall through the cracks. We wouldn’t accept that anywhere else.

Q: What challenges do you see emerging in the near future? 
A: Housing is going to be a huge problem. That one-to-three ratio — homes costing about three times income — is becoming one to five, one to seven, even one to 10 in many places, and that’s only going to grow as we keep telling people their house is their most valuable asset. 

The other challenge arriving faster than I predicted is AI. When I wrote the book, I thought we were five or 10 years out. AI is on us right now, and it’s going to cause massive disruption. People were told, “Go get this college education.” They weren’t told that a bot might come along and replace the job anyway — and we still don’t know what jobs will truly be AI-proof.

Q: What needs to change? 
A: First, we have to acknowledge the problem. Unless you do the diagnosis, you can’t talk about the cure. Right now, too many people believe the issue is with the user, not the system. Mathematically, that can’t be the full story. 

If there are roughly 60 million people on the lower end of the income scale, you can’t seriously claim they were all lazy or disengaged. That’s impossibly high. It means many of them tried and didn’t get anywhere. 

When I do the same thing as someone else and it works for them but not for me, that’s a lottery. At least with a lottery, I know the odds are low. But when you tell me with certainty, “Buy this ticket, and you’ll win — and if you don’t, it’s your fault,” that’s the disconnect I want readers to see. 

And for those at the very top: sure, you may have gotten rich off my despair — but you’d be even richer off my success. It’s odd thinking to assume the best way to get ahead is to keep others down. People talk about the pie like the only way to get a bigger slice is to shrink someone else’s. But we can make a bigger pie. When more people fully participate in the economy, the pie grows — and everyone has the potential to be better off.

Q: How do we change it? 
A: We follow the blueprint of how the system was designed. For instance, if we say that entrepreneurship is a path to upward mobility and access to credit is needed to be an entrepreneur, then that access has to be equal. That's how it was designed but not how it's been implemented. If we say that education is the path forward, then the zip code where one lives can't determine the quality of education received. The same for housing and any other avenue. Simply look at the difference between the blueprint and the execution and adjust. We seem to know what the final product should look like but are baffled that we didn't produce it when we never followed the blueprint. What did we think would happen?

Catch Professor Hoover at the New Orleans Book Festival for two speaking events on Friday, March 13. View the full Bookfest lineup.

Gary “Hoov” Hoover is a professor of economics, affiliate professor of law, and executive director of the Murphy Institute at Tulane University.

Gary Hoover, Tulane University

Award-Winning Faculty Research Questions Who Gets Heard, and Who Gets In

Two School of Liberal Arts professors have earned major honors for research that explores the deeply uneven dynamics between those who create spaces and those who use them. While a political hearing for a Vancouver pipeline and the use of India’s modernized movie theaters and multiplexes may seem unrelated, both scholars show how the systems behind these sites were carefully engineered with power and control in mind.

Lee Veeraraghavan, an ethnomusicologist and instructor in the Newcomb Department of Music, studies music and sound at the intersection of politics, history, and colonial governance. While conducting dissertation research in Western Canada, she tracked oil and gas pipelines proposed to cross Indigenous lands without consent — even though Canadian law requires “adequate consultation” with Indigenous nations.

While ethnomusicologists are often associated with the study of music, the field more broadly examines how sound organizes in social and political life. From that perspective, Veeraraghavan examined how sound itself was managed during the pipeline approval process. She found that officials could appear to solicit public input while quietly limiting meaningful participation. In one case, activists protested outside a Vancouver hotel while the official hearings took place in a sealed conference room in an entirely different hotel. “Public hearings over the pipeline are taking place — only the public is not allowed inside,” she writes. Instead, “the proceedings are being livestreamed to a hotel two kilometers away.”

Veeraraghavan published these findings in her 2024 American Anthropologist article, “What Is ‘Heard’ at a Pipeline Hearing? The Gerrymandering of Aurality in British Columbia, Canada.” The article was recognized as one of the most impactful contributions to ethnomusicology that year and has since been awarded the Society for Ethnomusicology’s Jaap Kunst Prize, honoring “the most significant article written by members of the Society for Ethnomusicology during the first ten years of their scholarly career.” Veeraraghavan also credits Newcomb Department of Music colleagues Ana María Ochoa Gautier and Matt Sakakeeny, whose scholarship and editorial guidance helped shape the project.

The concept of being “heard,” Veeraraghavan explains, is central to political legitimacy. In a functioning democracy, leaders must demonstrate that they have listened to the public. But by tracing how sound is filtered and managed in the pipeline process, she shows how the appearance of listening can function as a tool of colonial governance.

“I wrote this article in part to get at an experience familiar to most people,” says Veeraraghavan, “where you're explaining your perspective to someone with whom you have a disagreement, and they say, ‘oh, I hear you, I respect you, I'm listening to you,’ — but their subsequent actions show that they have, in fact, entirely dismissed you. Well, there are legal maneuvers by which the Canadian government and oil and gas industry do precisely that.”

Lee Veeraraghavan, Tulane University

Lee Veeraraghavan, ethnomusicologist and instructor in the Newcomb Department of Music.

Across the globe, Tupur Chatterjee, assistant professor of Communication and Asian Studies, has been asking parallel questions about how power operates in built environments.

Chatterjee lived in New Delhi during a transformative period for moviegoing in the city, as the mall multiplex — a shiny icon of globalization — began to replace the crumbling single-screen theaters of her youth. Her first book, Projecting Desire: Media Architectures and Moviegoing in Urban India, asks readers to rethink Indian film history through the architectures, infrastructures, and urban transformations that made modern moviegoing possible.

The book has now won the 2026 Society for Cinema and Media Studies (SCMS) First Book Award, an outstanding honor recognizing Projecting Desire as the year’s best debut book in the field.

Through her field work, including archival research and extensive interviews, Chatterjee sought to understand both how spaces are designed and how people actually experience them. At a time when the city still felt “deeply unsafe” for women, these new theaters promised security for a growing female audience. Chatterjee became interested in what it actually meant for women to move through and inhabit these spaces — and whether the promise of safety matched lived experience. That question sits at the heart of Projecting Desire.

“India has one of the world’s largest film industries, and moviegoing is a massive part of public life — so these questions aren’t niche,” Chatterjee explains. “They’re about how millions of people experience cities, and on whose terms.”

Tupur Chatterjee, Tulane University

Tupur Chatterjee, assistant professor of Communication and Asian Studies.

Like Veeraraghavan, her work revealed that power is not abstract — but something engineered into everyday environments. Chatterjee found that ideas about gender, class, safety, and behavior were quite literally built into the walls: “One architect told me that malls [multiplexes] are designed with so much glass so that women ‘will feel the need to behave better,’” Chatterjee recalls. “That kind of candid revelation — about how gendered discipline is designed into these spaces — is what the book excavates.”

“I want readers to see that cinema is not only a cultural text but also a spatial and material experience,” Chatterjee continues. “By tracing how gender, class, and desire are organized in and through the built environments of cinema, I hope the book encourages us to see media as something lived — as a way of inhabiting modernity itself.”

For more recent highlights of the School of Liberal Arts faculty, visit our Faculty Accolades page.

Tupur Chatterjee and Lee Veeraraghavan, Tulane University

Unveiling the 2026-2027 Unified Performing Arts Season

For the 2026-27 season, performing arts patrons will see a new, unified vision across the award-winning professional companies and academic departments at Tulane University’s School of Liberal Arts.  

On January 16, the New Orleans performing arts community joined Tulane University President Michael A. Fitts, School of Liberal Arts Dean Brian T. Edwards, and recently appointed School of Liberal Arts Associate Dean Leslie Scott to celebrate the announcement of the 2026-2027 Performing Arts Season and to learn how this unification will further the professional approach to established theater troupes and student experiences.  

“One of the things I really love is that we get to have these incredible performers, incredible faculty, incredible students, and performances in a world global cultural capital,” shared Edwards. Students from the Black American Music program and Summer Lyric Theatre artists set the tone for the evening with a Speak Easy-style cabaret, as projections designed by James Lanius III from the Department of Theatre & Dance transformed the columns and walls of Dixon Hall Annex with images of the past, present, and future of university performances.  

Reiterated at the event, Scott will lead the newly formed Performing Arts at Tulane, bringing together the university's theater, dance, and music programs to produce year-round performances that serve students and the performing arts community across New Orleans and the Gulf South. Programs within the unification include the New Orleans Shakespeare Festival, Summer Lyric Theatre, the Department of Theatre & Dance, the Newcomb Department of Music, and Tulane Bands.   

“The performing arts are not an addition,” said Scott. “They are central to research, innovation, cultural preservation, and they are the beating heart of a strong liberal arts education.” 

The 2026-27 Season Includes: 

Summer Professional Programs 

  • The New Orleans Shakespeare Festival at Tulane brings a bold take on the classics, beginning with King Lear, directed by Jana Mestecky, followed by Macbeth, directed by Interim Artistic Director Graham Burk. 
  • The popular Lagniappe Series will include the comedic improvisation of The Fools Ensemble, the fast-paced (un)prompted Shakespeare: Much Ado About Nothing, and a reading of a new translation of Moliere’s The School for Wives by Professor Ryder Thornton. In January, the Shakespeare for the Schools program will return, bringing Macbeth to thousands of students across the Gulf South. 
  • Summer Lyric Theatre at Tulane offers a knockout musical season with Chicago, directed by Jaune Buisson in June, La Cage aux Folles, directed by Diane Lala in July, and A Little Night Music, directed by Ricky Graham to close out the summer in August. 

Academic Programs 

  • The Department of Theatre & Dance presents Hurricane Diane, directed by Professor Jenny Mercein in October; Almost Maine, directed by Dr. John ‘Ray’ Proctor in November; and a new initiative, the Actors Upfront Series with Love and Information, directed by Professor Monica Payne in April. Our dance offerings include Above the Oaks in October and Blanched with the Newcomb Dance Company in March, both led by Professor Jeffrey Gunshold, and Daughter Debris in January, conceived and choreographed by MFA candidate Rachel Slater. 
  • The Newcomb Department of Music will host a full year of free concerts from September through April, featuring Music at Midday curated by Dr. Katakin Lukács, the Piano Concert Series led by Professor Faina Lushtak, and the Dr. Michael White Thursday Jazz Series directed by Professor Jesse McBride, along with the annual Vocal Arts Festival produced by Professor Amy Pfrimmer.  

The season will close out in collaboration with the Departments of Music and Theatre & Dance, with the spring musical Avenue Q, directed by Dr. Laura London Waringer in April.  

Visit Tulane Performing Arts for season details and ticket information. 

 

Patrons gather for the announcement of the School of Liberal Arts unified Performing Arts 2026-2027

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Invited guests listen as Associate Dean for the Performing Arts Leslie Scott greets patrons and announces the line-up for the upcoming season.

Invited guests listen to Associate Dean on the Performing Arts Leslie Scott announces the upcoming s
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