Showing posts with label Arlene Goldbard. Show all posts
Showing posts with label Arlene Goldbard. Show all posts

12 July 2011

Arlene Goldbard : Fruit of the Poisonous Tree

Fruit of the poisonous tree. Image from China Law and Policy.

Cui bono? (Who benefits?):
The fall of the empire
The obscene excesses of executive pay practices are not aberrations, but the inevitable products of a complex system.
By Arlene Goldbard / The Rag Blog / July 12, 2011

Recently I read a piece on executive pay in the business section of The New York Times. Ever since, I have been wondering how to write about it.

Here are some of the images I did not want to include: bad apples spoiling a whole barrel; pirates (and other types of marauding bandits); weeds spoiling the garden. Why not? Because the obscene excesses of executive pay practices are not aberrations, but the inevitable products of a complex system.

To redeploy a phrase beloved of judges on TV crime shows (where it refers to something quite different, evidence obtained illegally), they are "the fruit of the poisonous tree."

Most of the images still circling my mind are from the Ancient History 101 version of the fall of Rome: Rome fell, the history teacher told us, because those in power pursued personal wealth and privilege at the expense of collective well-being. Such explanations were illustrated with lurid depictions of toga-clad degenerates cramming whole roast birds and huge bunches of grapes into their gaping mouths.

Nowadays they are garbed in gray flannel and power ties, but the facts are equally shocking.

While ordinary working people (and the unemployed) were being exhorted to "share the pain" by accepting pay cuts, job losses, and limits on unemployment benefits, executives' slice of the roast goose got bigger:

Let’s begin with the view from 30,000 feet. Total executive pay increased by 13.9 percent in 2010 among the 483 companies where data was available for the analysis. The total pay for those companies’ 2,591 named executives, before taxes, was $14.3 billion.

That’s some pile of pay, right? But Mr. Ciesielski of the Times puts it into perspective by noting that the total is almost equal to the gross domestic product of Tajikistan, which has a population of more than 7 million.

It's not even the sheer dollars so much as the fact that the standard rationales for such expenditures no longer provide even as much cover as the flimsiest toga for the self-regarding indifference that drives so much of the corporate sector.

The executive pay study shows clearly that top-level salaries and bonuses swelled even at the expense of shareholders, of research and development, and of market capitalization. Consider a few facts:

The report calculated that at 179 companies in the study, the average value of stockholders’ stakes fell between 2008 and 2010 while the top executives at those companies received raises.

Moving on to R.& D. costs, the report examined the 62 technology companies in its sampling that reported such an expense, excluding certain costs associated with acquisitions.

Mr. Ciesielski found that the median level of executive pay was equal to 5.3 percent of these companies’ R.& D. expenditures.

Eleven companies analyzed in the report gave top executives a combined pay package amounting to 1 percent or more of the companies’ average market value over the course of the year. The Janus Capital Group, the mutual fund concern, topped the list, with pay totaling almost $41 million for five executives. This accounted for 1.95 percent of the company’s average market value over 2010.

“To earn their keep,” the report said, “managers would have to create stock market value in the full amount of their pay.” The executives at Janus failed to increase value in 2010, when the stock closed out the year roughly where it had begun it. This year, the company’s shares are down almost 30 percent.

It's hard to skip over the fat-cat bad-apple imagery and give such information its full import, because -- in a culture that generally ignores class while focusing on individuals -- we tend to think in terms of specific cases rather than a whole system.

But it's really a mistake to allow the facts of executive pay to pull us toward a personalized moral critique of the executives who stockpile wealth at the expense of shareholders, or R&D, or general economic well-being. Focusing on this as individual aberrations misses the most important questions:

The facts of executive pay put the lie to loudly persistent protestations by corporate spokespersons that they're only following capitalism's prime directive, to maximize shareholder profit. They are prioritizing the accumulation of personal wealth over shareholder income, which hurts business, shareholders, and the economy in general. Why is everyone else allowing this?

Despite corporate profits being at an all-time high, few corporations are rehiring or replacing laid-off workers, preferring to export jobs to less expensive markets overseas, or simply to work with fewer employees to keep the profit figures high. How many workers could have been paid a living wage for, say, half of the $14.3 billion that was paid to a mere 2,591 executives?

The people who work, share, care, without exploiting others outnumber the fat cats by a magnitude. It's not Corporation Nation yet; we still have a constitution, and the right to regulate commerce, even if we've put Emperor Nero's crew in charge of our collective commonwealth. Why aren't we taking the facts seriously and demanding accountability from the piratical system that allows and encourages this?

To find out more about people who are spreading information and taking action, here are a few links:
  • An information-rich site by the Program on Inequality and the Common Good at the Institute for Policy Studies, which also has a good page of links to other groups.
  • Take a look at the Patriotic Millionaires for Fiscal Strength, if only just to clarify that this is not about individuals, but a system, and that people in all income-brackets support positive social change.
  • Watch the video from Van Jones's recent launch of The American Dream Movement's "Rebuild The Dream" campaign, a promising effort to build a united front for liberty, equality, and justice --- more or less along the lines of the tea party movement, but with very different values.
The antidote to our trance of indifference is a passion for truth.

In ancient Rome, Cicero popularized a question he attributed to Lucius Cassius, whom he said the Roman people used to regard as a very honest and wise judge: "...He was in the habit of asking, time and again, 'cui bono?' -- 'To whose benefit?'" A simple question we mostly seem to have forgotten: if we can't move ourselves to ask it now, when?

I really wanted to link to a video of Tommy's Castro's "No One Left to Lie to But Myself," but I couldn't find one, so here's a bit of the lyrics:
The truth hurts but I know I can't deny it
Can't sell nothin' when there's no one left to buy it
I made this bed and I guess I got to lie in it tonight
But deep down inside I know it's just as well
Cause now there's no one left to lie to even if it tried to
Got no one left to lie to but myself
No there’s one left to lie to but myself
On the off chance the universe is pushing me toward an optimistic ending, I'll go instead with his version -- click to it here -- of "My Time After Awhile": "It's your time now, baby/But it's gonna be my time after awhile." May it be so.

When the Empire falls, who benefits?

[Arlene Goldbard, a writer, speaker, social activist, and advocate on behalf of community-rooted art, is chair of the board of The Shalom Center. Her website is ArleneGoldbarb.com.]

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29 May 2011

Arlene Goldbard : Remembering Gil Scott-Heron, 1949-2011

Gil Scott-Heron. Image from Electronic Village.

The revolution will not be televised:
Remembering Gil Scott-Heron


By Arlene Goldbard / The Rag Blog / May 29, 2011

Gil Scott-Heron (1949-2011) died on Friday, and that is a sad, sad sentence to write. If you are familiar with his music, then you know what I’m talking about; and if you’re not, you can begin to remedy that by following the links in this essay. (Listen to the beautiful “Rivers of My Fathers” from 1974′s Winter in America to start your journey.”)
Looking for a way
Out of this confusion
I’m looking for a sign
Carry me home
Let me lay down by a stream
And let me be miles from everything
Rivers of my Fathers
Can you carry me home
Carry me home
I’m listening right now, as I write, to the half-dozen of his songs that stick the hardest to my memory, and there is a certain irony in the word that comes to me when I hear them: Scott-Heron’s music is elegiac.

A mournful spirit permeates his work, whether a particular piece of music is bitingly funny, angry, cautionary, yearning, or -- as so much of his music was -- cinematic in its expressive storytelling and narrative sweep. What was Scott-Heron mourning all his life? So many answers rise to their feet, waving their hands to be noticed: racism, injustice, the glut of wasted lives in a society that has forgotten what is really of value...

But really, I think it was the chasm that divides what is from what could be, because Gil Scott-Heron was one of those artists who could see both so clearly, heart breaking the whole time, and make something beautiful out of the heartbreak.

Scott-Heron’s intellect and insight shone like beacons, beginning with his first recordings. His life story suggests that his promise was seen early on: a teacher at DeWitt Clinton High School in the Bronx used Scott-Heron’s writing to help obtain a full scholarship to The Ethical Culture Fieldston School, a politically and educationally progressive institution founded in 1878 -- where Scott-Heron was nevertheless one of five African American students out of 100 in his class.

Tons of high achievers in the arts and academia attended Fieldston, from photographer Diane Arbus to Sixties activist Staughton Lynd to poet Muriel Rukeyser, composer Stephen Sondheim, and Hollywood mogul Jeffrey Katzenberg. He was a prodigy: by his early twenties, Scott-Heron had already published several books and made several albums.



His breakthrough recording was “The Revolution Will Not Be Televised” in 1970 (he was 19 when he wrote it), less a song and more of what would later be called a rap, a satiric spoken-word monologue excoriating the media culture that had already taken hold of so much public space in this country:
You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and skip,
Skip out for beer during commercials,
Because the revolution will not be televised.
Scott-Heron’s 1974 album Winter in America, co-created like much of his earlier work with Brian Jackson, sees this nation’s demise inscribed in its origins, as the title song describes:
From the Indians who welcomed the pilgrims
And to the buffalo who once ruled the plains
Like the vultures circling beneath the dark clouds
Looking for the rain
Looking for the rain

Just like the cities staggered on the coastline
Living in a nation that just can’t stand much more
Like the forest buried beneath the highway
Never had a chance to grow
Never had a chance to grow
In “The Bottle,” from the same album, carried along on an equally lyrical and lovely tune, the artist speaks directly of the plague of addiction that shaped much of his life and the lives of so many others.

The 1977 recording included “We Almost Lost Detroit,” Bridges about an early nuclear power accident, and was revived as part of the 1979 No Nukes Concert album.

Through the Reagan years and beyond, Scott-Heron kept recording (often other writers’ songs), but the bulk of albums released during the 90s were anthologies and collections of prior recordings. He spiraled into addiction, was jailed twice in his fifties for cocaine possession, and according to profiles in The New Yorker and other publications, he was still smoking crack, half out of his mind with drug-induced paranoia, in recent months. Photographs from the last decade show a skeletal figure, and we know from published accounts that he’d lost his teeth, his composure, and his health to addiction.

“Don’t Give Up,” from the 1994 album Spirits, gives a hint of his story in his own words:
I never really thought of myself as a complex man,
Or as someone who was really that hard to understand.
But it would hardly take a genius to realize
That I’ve always been a lot too arrogant and a little too fuckin’ wise
That was a combination that made folks feel duty bound,
To do whatever they could to try and shoot me down.
This is where the temptation rises to say something facile about the cruelty of the world and the toll it takes on those whose hearts and eyes are open and who hold their heads high.

It’s not that it wouldn’t be true, but it wouldn’t be the only truth, or even the one most worth repeating. The confounding thing about human beings is that -- given talent, heart, eyes to see both the beauty and suffering of the world, even those given circumstances that may differ very little, each from the other -- some people prosper and some succumb.

Along with the many mysteries of human resilience that station each of us in an appointed place on the spectrum of joy and pain, endurance and embrace, we have this: the artists whose great gifts for beauty and meaning add immeasurably to the texture of life, to our ability to feel it, and whose gifts cannot save them from self-destruction.

So I will just offer thanks for Gil Scott-Heron’s life and work, for his unparalleled ability to braid lovely and sinuous music with knife-sharp lyrics, for his legacy, and for the perseverance that kept him creating, against the odds, for 62 years.

Here is Scott-Heron’s truly harrowing version of Robert Johnson’s song (written in the mid-1930s), “Me and The Devil,” from the album he released last year, I’m Still Here.



[Arlene Goldbard, a writer, speaker, and social activist, is chair of the board of The Shalom Center. Her website is ArleneGoldbarb.com.]

Thanks to Rabbi Arthur Waskow / The Rag Blog

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