Robert Pollin – Back to Full Employment

Back to Full Employment

Robert PollinBack to Full Employment (MIT Press 2012)


Robert Pollin’s Back to Full Employment is a short book meant for general audiences (not just professional economists) advocating an economic policy shift in the United States towards one promoting “full employment”.  He goes into some detail about what he means by “full employment”, referring to an abundance of “decent jobs”.  The idea of decent jobs in turn relies on Lawrence Glickman‘s definition of paying “a wage level that offers workers the ability to support families, to maintain self-respect, and to have both the means and the leisure to participate in the civic life of the nation.”  The basic thrust of Pollin’s argument is that neoliberal austerity policies must be abandoned.  Instead, policies that benefit society at large should be pursued.  As one reference point, he trumpets the success of pro-labor policies in Sweden since WWII, without really acknowledging how the Swedish labor coalition has largely fallen apart in recent decades and shifted toward the sort of austerity policies Pollin criticizes (though it staged a small comeback since the publication of Pollin’s book).  Pollin glosses over explaining what neoliberal economic policies are really aboutfavoritism for financial interests over labor.  But it remains clear that he favors employment policies that benefit the majority of the population, especially people unable to find any work or work that supports a dignified existence.  This is sort of a counterpoint to Tyler Cowen‘s The Great Stagnation (2011), which advocated a kind of doubling-down on austerity measures.

After setting out why he believes full employment is possible, he lays out some discrete policy objectives to promote full employment.  This is where the book falls a bit short.  For instance, he argues that dollars spent on teaching and a green energy economy will provide more jobs per dollar than those currently spent on oil & gas or the military.  However, jobs retrofitting existing infrastructure for “green energy” seem temporary — what happens when existing buildings are all retrofitted?  Moreover, “A Green New Deal conceived as tampering around the edges of industrial capitalism— employing the un- and under-employed to manufacture solar panels and batteries for electric vehicles, would add to carbon emissions and other environmental harms at a point in history when the collective ‘we’ can’t afford it.”  The other problem is that the data is very, very limited.  Only a handful of job sectors are discussed.  What will the rest of the populace do?  He also opposes trade protectionism (“trade nationalism”).  While admitting that data on this is “mixed”, he alludes to looking only at the last 35 years.  Because the neoliberal project has been around 40 years, he doesn’t seem to be looking at a relevant or long enough period.  One would really need to compare the protectionist era.  Michael Hudson did so in America’s Protectionist Takeoff 1815-1914 (2010), and Hudson has argued that protectionism has historically been a critical policy for all successful industrialized economies.  Pollin may lack data for his conclusion, but he does make an interesting (albeit conclusory) moral argument that success in the United States shouldn’t come at the expense of the well-being of people in other countries — a rejection of beggar-thy-neighbor policies and national chauvinism.

Pollin says that there should be requirements to prevent banks from “hoarding” reserves, and a financial transactions tax should be implemented.  In many ways, Pollin is pushing Keynesian measures.  But, there are many people suggesting that such policy measures would have the opposite effects on employment than Pollin suggests.  In other words, he seems to be making unwise policy recommendations, even if you agree with his goal of providing “full employment”.  The first problem is the bank “hoarding” argument.  In essence, he is saying that banks are holding too much reserves and should be more highly leveraged!  People like Ole Bjerg, Nobert Häring & Niall Douglas, Michael Hudson, Martin Wolf and the UK Positive Money initiative have instead suggested implementing a 100% reserve requirement on banks.  This is an old proposal.  The Nobel prize-winning chemist Frederick Soddy proposed it long ago, and the conservative economist Irving Fisher later picked it up (many economists credit the idea to Fisher, even though Soddy — not an economist — clearly articulated the proposal first).  Pollin takes the standard Keynesian view that a lack of aggregate demand is the problem the economy faces today.  But what he overlooks is the problem that Bjerg states most clearly: a dominant ideology that sees “being in the market” as the only legitimate socioeconomic policy, which naturally leads to excessive speculation.  Any change in “aggregate demand” that leaves in place the ideology behind neoliberal austerity policies is bound to revert to the same problems at some point.  A more effective half-measure would be to create public banking options alongside private ones, as advocated by people like Ellen Brown and already present in the state of North Dakota.  Of course, speaking of full measures, it has been said before that “To talk about ‘regulating economic life’ and yet evade the question of the nationalisation of the banks means either betraying the most profound ignorance or deceiving the ‘common people’ by florid words and grandiloquent promises with the deliberate intention of not fulfilling these promises.” Left untouched, too, are proposals supported by people like Ralph Nader to repeal the Taft-Hartley Act and reinstate the Wagner Act.  These sorts of things would throw real power behind labor, as a countervailing force to parasitic financial interests. Or instead of supporting the Dodd-Frank Act, and debating the effects of its loopholes and limitations as Pollin does here, which have since been subject to further repeals, why not fully restore the Glass-Steagall Act as Elizabeth Warren proposes?

Pollin also argues for a financial transaction tax.  While superficially appealing, this doesn’t seem to solve all the underlying problems.  For instance, real estate speculation could potentially survive such a tax without impact.  A more robust solution is the one Michael Hudson advocates in The Bubble and Beyond (2012).  Hudson states that capital gains taxes must be at least as high as income taxes on labor.  This would seem to exactly fit Pollin’s goal of promoting “full employment” because it would take away tax incentives that promote absentee ownership over labor.  Pollin claims credentials undoing damage from Jeffrey Sachs‘ austerity policies in Bolivia.  Hudson has those credentials too, from work in Latvia.  Hudson’s views on tax reform seem more wide-reaching though.  Of course, it would be possible (and perhaps desirable) to enact both proposals.

Lastly, Pollin argues that decreases in healthcare and military spending will not undo the benefits of a “full employment” program.  The military prong is the one that should raise eyebrows the most.  Pollin perhaps underestimates how dollar hegemony as the world’s reserve currency is a policy enforced down the barrel of a gun, with a long history of the United States invading or sponsoring coups in countries whose governments fight that paradigm.  Rob Urie, Michael Hudson, William Blum, and others have explored this.  When Pollin argues that the United States can provide “full employment” while at the same time reducing military expenditures, his argument seems suspect.  Hudson’s famous Super Imperialism book explores in much greater depth how U.S. financial dominance was always a veneer over a threat of military action.  And Ernest Mandel has offered a detailed explanation of how imperialism is a kind of release valve for the natural tendency of purely domestic profits to decline.  While it does seem that the United States should reduce its military belligerence, it does not seem that the nation can do so and provide “full employment” in the long term without eliminating its trade deficit, counter to Pollin’s suggestion.  It is a question of changing a bunch of variables simultaneously that all prop up the shaky foundations of dollar hegemony, and, admittedly, isn’t an easy thing to assess definitively.  Though Mandel’s application of Marxist economics shows how abandoning imperialism will undoubtedly result in a decline in profits, because that is how capitalism works.

In the final analysis, Pollin’s ideas are meant to reform capitalism, putting a happier face on it.  He sticks with a growth model, without much consideration for critiques of the growth imperative raised by ecological economics and anti-capitalist leftist commentators.  Much of the problems he identifies could be eliminated by nationalization.  This is most apparent in the healthcare area.  He doesn’t advocate abandoning capitalism, even though many of his suggestions point in that direction.  His ultimate policy object, promoting “full employment”, seems like an important one.  Yet it’s hard to see how his program of trying to make political compromises leaves sufficient policies on the table.  Pollin’s specific policy prescriptions seem to have too many limitations and loopholes to be effective.  Some might even be counterproductive to the goal of full employment.  He confines himself to mostly tinkering at the edges to mitigate harsh symptoms without addressing the root causes.  Real questions of the adequacy of his suggestions remain, considering that versions of these suggestions were tried during the New Deal era and were ineptly handled or were simply too limited to be effective.  And that’s just assuming that there really would be political will to implement Pollin’s recommendations!  He is not willing to acknowledge the limits and limited applicability of Keynesian economic theory—he is really just someone with Keynesian economic policy prescriptions in his pocket in search of “problems” to justify dispensing those prescriptions.  But he’s at least raising many of the right questions.  It is undoubtedly necessary that a critical mass of people start asking the sorts of questions Pollin has broached with Back to Full Employment.  However, it seems absolutely necessary to ask deeper questions too, and demand much more.

Don Caballero – What Burns Never Returns

What Burns Never Returns

Don CaballeroWhat Burns Never Returns Touch and Go Records tg185cd (1998)


Understanding and liking this album will take a certain recognition.  Reviewer audiojunkie said this album “was the first time [he] had ever heard the drums played as the lead instrument.”  This is a useful description of how the album revolves around solos by drummer Damon Che.  There really aren’t guitar (or bass) solos, and there are no vocals.  This also means that there isn’t a lot of melody to latch on to, just shifting and complex rhythms.  Probably the closest comparison would be to a more rock oriented version of Steve Coleman‘s M-Base music, which made melody secondary to rhythm.  Don Caballero’s biggest achievement is focusing on drums and rhythm so much without grounding the music in African-derived rhythms.  This one won’t be for everyone, but heartier souls should give it a chance to grow on them.

Neil Diamond – 12 Songs

12 Songs

Neil Diamond12 Songs American Recordings 8-2876-77508-2 (2005)


People seem to have this bizarre faith in producer Rick Rubin, like he can waltz in and “save” the career of any aging star fading into obscurity with declining sales.  Not so.  Take 12 Songs for instance.  Unlike the American Recordings series with Johnny Cash or on Electric by The Cult, Rubin is all wrong for Neil Diamond.  Cash’s biggest asset was that voice, which in spite of its age could still captivate with its gravelly power.  Cash also could command with that voice, and stripped down settings put that voice on a pedestal — like Paul Robeson‘s recordings accompanied by only Lawrence Brown on piano.  Diamond, however, was always at his best with a very smooth and nuanced bombast.  Well, all that is gone here.  Nothing left to see or hear, just a fish out of water.  Rubin would have been much better served looking back to his breakthrough work with The Cult, where he — again — stripped down the production but at the same time preserved some (OK, amped up) of the ridiculously fun machismo.  Rubin may have dumped what was weighing Neil Diamond down in adult contemporary purgatory, but he also threw out most of what makes Diamond likeable in the first place — that swagger!  Final conclusion: a swing and a miss.

Bob Dylan’s Greenwich Village: Sounds From the Scene in 1961

Bob Dylan's Greenwich Village: Sounds From the Scene in 1961

Various ArtistsBob Dylan’s Greenwich Village: Sounds From the Scene in 1961 Chrome Dreams CDCD5074 (2011)


Although it’s become fashionable for certain contrarian Millennials to bash Bob Dylan as “talentless” or make some other snarky comment about him, attempting to position themselves as distinctly beyond whatever he represented, almost anyone with a pulse knows him as one of the major icons of 20th Century pop music.  So, this collection is an attempt to portray the sounds already circulating in his slice of New York City in 1961 when he first arrived fresh-faced from Minnesota and tried to make it as a musician.  There is a lot of music packed into these two discs.  But some themes draw themselves out.  From this evidence, the urban folk revival seemed a lot like an attempt to find authenticity.  It was a break from the big, orchestrated pop and jazz that dominated commercial music of the 1950s.  It had a do-it-yourself quality.  These were much the same impulses that spawned punk rock in the following decade.  Though, in hindsight, many of the white musicians in the movement were, quite frankly, too uptight and inhibited to make really great lasting recordings–punk proved more lasting more often.  Compare some of the afro-american blues represented here, like that from Lonnie Johnson, John Lee Hooker, Lightnin’ Hopkins, and Sonny Terry & Brownie McGhee, there is a stark contrast in authenticity.  So the “new” folkies often failed, but in their failure they took a step in the right direction.  Dylan landed in the middle of all this, and there’s no doubt the ways he took influence.  Indeed, this collection makes a few choice selections of songs that Dylan liberally borrowed from to make his own songs like “Don’t Think Twice, It’s Alright” (“Who’s Gonna Buy You Ribbons (When I’m Gone)”), “Ballad of Hollis Brown” (“Pretty Polly”), and “Restless Farewell” (“The Parting Glass”).  Dylan soared above his influences, at least most of them.  Greenwich Village in the early ’60s was an incubator, but it also had a local, provincial and slightly closeted nature that was as much a limitation as the key to new breakthroughs.  Anyone wanting to understand the roots of Bob Dylan and, maybe more importantly, to understand the cultural catapult that sent him onward an upward to write things like “The Times They are A-Changin’, “Mr. Tambourine Man,” “Tombstone Blues,” “Sad-Eyed Lady of the Lowlands” and all the others will find a treasure trove here.

Johnny Cash – Bitter Tears: Ballads of the American Indian

Bitter Tears: Ballads of the Americna Indian

Johnny CashBitter Tears: Ballads of the American Indian Columbia CS 9048 (1964)


Behind a lot of Johnny Cash’s work lies a firm belief in egalitarianism, the idea that every person has inherent worth and should be treated fairly and equally.  To the extent that he recorded a lot of “patriotic” music it might be said that it was partly because he viewed egalitarianism as part of a core national identity.  There is no better example of Cash’s commitment to egalitarianism and social justice than Bitter Tears: Ballads of the American Indian.

The theme of the album is the treatment of native Americans (“American indians” would have been considered the most respectful term at the time).  Songs cover topics like treaties (specifically, the Treaty of Canandaigua) between the government of European settlers and native nations in the context of recent breaches by President Kennedy (“As Long as the Grass Shall Grow”), the creation of a written language of the Cherokee by Sequoyah (“Talking Leaves”), the military service and tragic death of Ira Hayes (“The Ballad of Ira Hayes”), and a humorous jab at the crushing defeat of an invading U.S. government military force led by George Armstrong Custer by allied Native tribes at the Battle of Little Big Horn in 1876 (“Custer”).  It was highly unusual for celebrities to highlight native American issues in 1964, though the Freedom Movement or Civil Rights Movement focusing mostly on African-Americans was still underway.

Cash worked closely with Peter La Farge on the album, who wrote five of the eight songs but does not appear on the recordings.  La Farge was a fixture of the Greenwich Village folk scene in the early 1960s.  He was a performer of very limited means, but Cash liked him personally.

The musical tone of the album is similar to Cash’s other early 60s albums, with rather minimal instrumentation in a folk-like setting.  He tends toward a very respectful approach to the music, making the topics seem dignified and important.  But the subject matter puts this more in a class with protest albums like Dylan‘s The Times They Are A-Changin from the same year than anything coming out of Nashville at the time.

Bitter Tears is somewhat divisive among fans.  For some, it represents the epitome of Cash’s integrity, a testament to his image as something of a crusader for noble causes.  To others, this is a contrived, heavy-handed political statement lacking in purely musical merits.  For me, it’s some of Cash’s most admirable work, maybe a little uneven, but with a passion and significance matched with the simple folk stylings that were effective and endearing.

Fire in My Bones: Raw + Rare + Otherworldly African-American Gospel

Fire in My Bones: Raw + Rare + Otherworldly African-American Gospel (1944-2007)

Various ArtistsFire in My Bones: Raw + Rare + Otherworldly African-American Gospel (1944-2007) Tompkins Square TSQ 2271 (2009)


A collection of obscure gospel tracks spanning many decades.  The material goes all over the place, but largely focuses on sort of an alternate history of modern gospel that emphasizes the do-it-yourself ethic that allowed the music to flourish even without much commercial viability.  The music is generally “raw” as the subtitle suggests.  The vocals, while often coming from talented vocalists, can veer off or miss notes as if these were all one-take affairs.  None of that really matters though.  This music isn’t about polish and shine as much as soul and feeling.  It’s also a showcase for a wide range of personalities and styles.  Street performer Flora Molton (with “Heard It Through the True Vine”) sounds like she could have subbed on guitar in Captain Beefheart’s Magic Band circa The Spotlight Kid.  It’s interesting too how gospel acts pretty freely borrowed from each other.  So Gospel Writers‘ “Same Man” is basically a re-write of The Staple Singers‘ “I’m Coming Home,” and Brother Willie Blue‘s “I’m Pressing On” borrows heavily from the melody of The Five Blind Boys of Alabama‘s “He’ll Be There.”  This is a great set for anyone with an interest in gospel music.  It may not be an ideal place to start for those entirely unfamiliar with the genre.  Though the more open-minded of independent rock and soul fans probably won’t take much convincing to warm to this infectious, lively music.  Pretty much everything here is at least good, though the third disc doesn’t quite match the first two.

Johnny Cash – Water From the Wells of Home

Water Fromt he Wells of Home

Johnny CashWater From the Wells of Home Mercury 834 778 (1988)


Cash made some real stinker albums through the 1980s.  Often this was the result of lunging from one producer to the next, trying to pair him up with whatever style seemed like the most commercially viable fad that year.  Water From the Wells of Home was a little different in that Cash actually spent an extended period of time working on the album, instead of his usual practice of pulling together songs, relying on the producer to find a “sound” for the album, and then showing up and doing the actual recording in a brisk fashion.  The album also employs what would be a growing trend for aging stars: enlist guest performers to try to draw in new audiences.  For all that effort, the album is still pretty mediocre.  Cash is clearly putting in more work to his singing than he had in a while, and most of the guests give this a real go.  The production style is clear and crisp, without a lot of obvious gimmickry, so it has aged a little better than some other 80s efforts.  But the backing band provides only the most hackneyed, nondescript support, to the point that this often feels like a karaoke session.  Then there is the title track, a duet with Cash’s son John, which is really dreadful.  So this album isn’t particularly successful, though it showed the potential still locked in Cash’s rich baritone voice, now a little older and coarser.  In many ways, this was the album that set the stage for Cash’s American Recordings comeback in a few years, by keying in to his voice in a more direct and unencumbered way, letting the man sing what he likes without being beholden to some trendy country subgenre that didn’t quite fit.  What remained, though, was to strip away the unnecessary guest spots, and get rid of the horrible backing band.  Rick Rubin would realize this shortly, and make it happen soon enough.