The personal blog of Victoria Linchong, a repository of peculiar perspectives and rather unpopular ideas derived from the molotov cocktail of being Asian-American (whatever that is), female, and a starving theater/film artist from the mean streets of New York, back when there really were mean streets
Friday, November 25, 2011
Maximum Wage - Bridge the Divide
I was obsessed with the concept for several weeks, wrote an article (which for some reason I can’t find now) and brought the idea up to a dozen people, all of whom basically reacted with horror. Friends whom I considered progressive accused me of being un-American. I was unable to come up with a rejoinder until another friend said that the idea isn’t un-American, it’s un-capitalistic. Which was so true, I wondered how it happened that America became synonymous with Capitalism. What ever happened to freedom and individualism and the catalytic ideals of the founding fathers that ignited revolution in France and Haiti? Nope, now America equals institutionalized greed.
When I began researching the idea of maximum wage, it amazed me to discover that there is a historical precedence for the idea. In fact, there was, in effect, such a thing as maximum wage in America from 1942 until 1964.
In 1942, Franklin Delano Roosevelt proposed 100% taxation on income above $25,000 (equivalent to about $300,000 now). Congress did not approve of this, but they did pass an act later that year for an 88% tax to be levied at income above $200,000 ($2.78 million in today’s dollars). The next year, the highest tax bracket rose to 94% of all income over $200,000. The rich continued to be taxed over 90% of maximum wage until 1964. So basically, during this time, wealthy people paid $9 out of $10 on anything they made over the top income level, which rose from $200,000 to $400,000. It’s pretty remarkable that the years that teabaggers themselves cite as those of America’s greatest prosperity coincided with what they would perceive as oppressive taxation.
A salary cap of $500,000 to executives was floated around during the early years of Obama's administration, as was a tax hike for the super-wealthy to 40% (see below cartoon from 2009), but this was shouted down and disappeared.
But there’s another way of imagining a maximum wage that doesn’t have to do with taxation, one that I think is infinitely more practicable – and that’s to correlate maximum wage with minimum wage.
If you take a look at the CEO salaries disclosed at www.paywatch.org, a website created by the AFL-CIO, you’ll find that at McDonald’s, the CEO makes $9,732,618, which is 645 times the lowest salaried worker who makes a paltry $15,080. Or okay, if you want to pick a company where the lowest paid worker is making more than minimum wage, at Texas Instruments the CEO makes $12,213,420, which is 315 times his lowest paid worker at $38,730. Right there, it's apparent the source of the vastly skewed ratio between rich and poor.
And it wasn’t always like this. According to sociologist G. William Dumhoff in his highly annotated article Wealth, Income and Power, “The ratio of CEO pay to factory worker pay rose from 42:1 in 1960 to as high as 531:1 in 2000, at the height of the stock market bubble, when CEOs were cashing in big stock options…By way of comparison, the same ratio is about 25:1 in Europe.” CEOs now make approximately 325 times what the average workers make.
Linking maximum with minimum wage is in practice now at Whole Foods, where the highest salary is capped at 19 times the lowest salary. In other words, if John Mackey wants to raise his salary, he would also have to raise the salary of all his baggers and checkers. Last year, the Greater London Assembly, the government arm that supports the Mayor, voted “to commit themselves to reducing the difference in pay between the lowest and highest paid staff to no more than 20 times, with a long term goal of no more than 10 times.”
Doug Smith makes a compelling argument for a 25-to-1 ratio in his article The Maximum Wage, while labor journalist Sam Pizzigati argues for a 10-to-1 ratio, stating in his 2004 book Greed and Good, that “before inequality began exploding in the 1980s … [a] ten times ratio defined income distribution patterns in nearly every major American workplace.”
Tying minimum to maximum wage at each corporation would definitely mitigate the extreme gap between the haves and have-nots in America but CEOs would probably attempt to compensate themselves through other derivatives. Currently, there is a ghoulish scheme afoot where banks have their employees name them insurance beneficiaries and CEOs collect (millions sometimes) from employee deaths. An underlying change really has to occur in America, a change in the American Dream from profit as an end, to profit as a means to an end. We all have a share in society and a responsibility to it as well. It’s ridiculous that anyone should be making 400 times someone else. It’s ridiculous that some people make $58 a day while others make $20,000 a day and adamantly believe they should be able to hang onto every red cent.
See also:
J.K. Malone. "Maximum Wage Law Passes Congress" New York Times, July 4, 2009.
Especially those alarmist comments.
"History of Marginal Tax Rates: Will Higher Taxes End the Rat Race?" Greenewable.
Comes with link to site showing tax tables from 1913 to 2011.
Paul Rosenberg. "Reagan's Mean-Spirited Legacy of Economic Disaster." Open Left, February 1, 2011.
Carola Frydman and Raven E. Saks. "Executive Compensation: A New View from a Long-Term Perspective, 1936-2005." July 6, 2007. Intense study of executive pay, using data from the Security and Exchange Commission (SEC). Page 9: Consistent with previous studies, we find that executive pay increased moderately during the mid-1970s and rose at a faster rate in the subsequent two decades, reaching an average growth rate of more than 10 percent per year from 1995 to 1999. This acceleration represents a marked departure from the trend in compensation in the past.” They further noted, “The remarkable stability in the level of executive compensation from the end of World War II to the mid-1970s is surprising in light of the robust economic activity and considerable growth of firms during most of this period.”
And an argument from the other side:
"Diving Into the Rich Pool." The Economist, September 24, 2011.
Argues that taxing the rich will not help the economy, but does not mention taxation history pre-1980.
Tuesday, September 6, 2011
Dispossessed - Part 2 on being evicted
Tuesday, February 1, 2011
Last Hurrah on 11th Street
It was a sunny spring day in 1991 that I saw the sign in the health food store Prana. Someone was looking for a roommate on 11th Street between Avenues B and C for $300 a month. I had just been on that block to see another apartment and had spent a good ten minutes huddled in the meager protection of a burnt-out crack building, while a teenage kid shot off a gun doing wheelies on a pint-sized bike. Drug dealers I was used to, but guns, uh… So far, though, every other place I’d seen was either totally depressing or way over our means, so I took down the sign, found a payphone and called for an appointment.
I had been in court for two hours and I was supposed to be at work in an hour. One of the two babies behind me had suffered a meltdown and had to be taken to the hall. The other one sucked on his thumb and looked dazed. Wassim had fallen into a catatonic state between awake and asleep. The landlord’s lawyer sat two rows ahead of us and I noticed that his gray hair went in a clockwise whorl around his bald spot. The guy he was sitting next to had a bald spot too, which reflected the overhead light. I suddenly realized that this guy was the landlord. And in another split second, I knew that he was there, twiddling his thumbs for two hours, since he was worried about the case.
The apartment was for me and my boyfriend at the time, later the father of my son. We meandered down 11th Street past two gardens. One was full of matted teddy bears on broken chairs, the other was locked and overgrown. No guns, all was well. Another garden was at the end of the block, an enormous one, where a Puerto Rican family grew corn and chickens. We buzzed and were met by Tom McGowan, a small guy with huge eyebrows, who was planning on escaping New York for the greener pastures of San Francisco at the end of the year. Somehow, he took a liking to us, even though on one of my first visits, I blew up the stove and singed his eyebrows. The next week, Tom strapped on his roller blades and we followed him to Avenue A, where we met Felix the landlord and signed a two-year lease for the apartment. It was $570 a month.
The judge finally called us and we went up to the bench, doing an awkward little dance as we got to the gate. The landlord finally opened it to let me by. Ladies first. Judge Schneider shuffled papers as the landlord’s lawyer presented their case.
“Your honor,” the landlord’s lawyer said, “The tenant has been evicted once before and was unable to keep the terms of the stipulation. Now, for her second eviction, we have removed all her possessions so she owes not only the arrears, but also the marshal’s fees, the moving fees and the storage fees.”
“How much is that?” the judge wanted to know.
The lawyer seemed not to be prepared for this question and gave her a few sums that added up to about $5,000.
Then she turned to me and asked, “What do you have to say?”
“I was prepared to pay $2,000 but I can find the money,” I said, surprised. I really had expected to pay $500.
“I think it’s a bit drastic for them to remove all my things so quickly,” I added.
“They did it so you would have a harder time getting back in,” she said, “It was within their rights. And you were evicted before, so I think they have a point.”
“I have the full arrears,” I began, “2008 and 2009 were really tough years for the arts, but I finally have a full-time job so I can pay my rent on time.”
“Well, the case has been dragging on for this long. I don’t think you can really afford the place. You couldn’t even bring me half the arrears when you came to see me last.”
“I did bring half the arrears,” I protested, “I brought $5,000!”
“Well, $5,000 is not quite half of $10,118.”
I was astonished that she would quibble in this way, “I’ve been in the apartment for over 18 years. I have a son, and without the apartment, I don’t know how we can find an affordable place where we can live together.”
“Oh, you’ll find a place,” she said and added, “I think it’s time for you to move on.”
I looked at Wassim, but he seemed as astonished as I was. The landlord’s lawyer began to defend his case, but then realized that there was no need. “The tenant is in a bad cycle of not paying until she is…” he said and trailed off. There was nothing for me to say. I watched the judge write on the stipulation and with every stroke of her pen, my home vanished for good.
Roosters used to crow in the morning when I wearily got into bed at 5AM after working in a bar all night. I peeled off three layers of linoleum myself and pushed around a humongous sanding machine to return the apartment to its wood floors. One summer, I found a kiddie pool and put it on the tar roof, delighting in watching wet kids climb in and out the window like some 1930s documentary come to life. I hung onto the apartment after the building was sold and the old tenants left one by one - the pot dealer next door, Sad Dad across the hall, the Irish guy in Apt 5, I used to know them all. My beautiful white cat Isis Crisis lived her entire life in the apartment and died on my bed. My kid was born and grew up in the apartment, turning from a fat baby who wouldn't let me out of his sight to a surly teen who refused to do chores. I was a teenager myself when I first walked through the door. I never thought my home would be taken away from me, turned into luxury housing for some trust fund kids looking for the East Village that is no longer here. Now I’m no longer here either; now I too am part of the East Village that’s gone.
Monday, March 22, 2010
CALIGULA MAXIMUS - A Review
I was put in mind of ye olde nudity at the opening night of CALIGULA MAXIMUS, currently playing until April 10th at La Mama. A line of people snaked out the Annex and as I got through the door, I realized part of the hold-up was Andre DeShields in an eye-popping orange zoot suit, a throng of admirers gazing at him adoringly, everyone else doing the New York thing of looking up around left right, anywhere but directly at The Wiz in the flesh. I did the New York thing too, said my magic words, got tickets, and made my way upstairs, where I was greeted by a stiltwalker and a bodybuilder with a facial tattoo that looked sort of a like a giant bruise. Going in, I suddenly felt transported to the theater I experienced as a teen in the 1980s. A topless hula hoop dancer yammered to audiences, as a girl with a huge blonde 'fro and lots of eye makeup wandered around in a tiny red tutu, and a big African-American guy cajoled the audience to buy peanuts and candy. It was totally carny, wild, Dionysian.
Halloween at Theater for the New City used to be like that. I remember the first Halloween I went to, back when TNC was on 2nd Avenue, I stumble into the Stanley just as a short play DYSLEXIA was starting on the teeniest stage I have ever seen. I am not kidding it was literally like 6 feet by 6 feet. As the ratty red curtain opened, Rome Neal and an actress from the Living Theater named Amber rolled out kathunk kathunk totally naked, flopping around in a vaguely sexual way, looking like elephant seals on that tiny stage. And then as they tumbled off, George Bartenieff tumbled on, playing their baby, who of course was naked. And then more naked people peered out, each teaching the (naked) baby something. And the (naked) baby gets dyslexia. And everybody (naked) squeezed together on this six by six stage and sang a slightly dissonant song about dyslexia ala Kurt Weill. It was amazing. And the nudity bit? Well, after about ten seconds, you stopped noticing entirely. But I do remember thinking, "Vicky, you certainly aren't in Queens anymore."
After about ten minutes of CALIGULA, I thought, "Vicky you certainly aren't in the 1980s anymore." What stands out to me about the whole gestalt of the 1980s is the political urgency that was intrinsic to the time - it was the last hurrah of 1960s people power - with the struggle for nuclear disarmament, housing rights, Tompkins Square Park, Tienanmen Square, Haiti, the end of Apartheid, the fall of the Berlin Wall.
CALIGULA begins with the promise of great revelations - fleshly and otherwise - and then exhausts the audience with an hour and a half of titillation and no climax. The Roman Emperor (Ryan Knowles) first appears to the whacka-whacka of 1970s soul on a giant golden cock that spews confetti, rhetorically asking why his acts of perversity are continually invoked in literature, theater and film. Director Alfred Preisser and writer Randy Weiner never get beneath the surface to really answer this question, basically averring that people like Caligula because people like sick shit. So we witness Caligula rip out his unborn baby from his sister's womb (played by the lovely aerialist Anya Sapozhnikova). We watch Caligula egg on four women to beat up various barbarian men and cut off their balls. We watch Caligula wrestle with Jesus. By this time, the hyped-up energy was getting tiresome and I was looking for some kind of aha moment, some denouement, some transformation, a climax please, all the frolicking was wearing me out. But Jesus made some sappy Biblical remarks and got kicked off the stage like the barbarians (with balls intact, however). And then Caligula decides there should be a Church of Caligula. The congregation gets the audience to join in a Gospel song and everyone (including Andre DeShields) ends up killing Caligula.
Preisser certainly has a way with choreography and the best thing in CALIGULA is the energetic dancing. It did seem odd to me that, though ostensibly set in Rome, with a very Caucasian Caligula, all the music and dance in this production is African-American. Don't get me wrong, I love soul, gospel and funk, and I'm aware that Preisser is fresh from a 10-year stint as Artistic Director of the Classical Theater of Harlem, but the ethnic specificity and the all-out fun of the music seems rather misplaced for this particular piece.
And then after all that dancing, all that nudity, and all that excess violence, the whole play nosedives into Caligula pondering why people didn't love him. Various performers in the ensemble respond with eye-rollingly limp insights like, "Because you had slaves!" or, "You can't force everyone to love you. That just makes people hate you."
Like the song says, is this all there is my friend? I am reminded of the 2004 blackout when I took to the streets with my friend Matthew, expecting a carnival like the one that hit New York during the blackout of the 1970s. Everyone was outside, bonfires were lit in trash cans in Tompkins Square, teenagers cavorting around. But when policemen came around with the command to put out the fires, the kids all in unison whined, "Not now! Not now!" Matt and I laughed at how juvenile they sounded, "Not now, Dad, we're having such a good time!" Whereas the retort twenty years ago was, "Pigs outta the park! Who's streets? OUR streets!"
Like those kids in 2004, CALIGULA fails to grapple with the deeper political implications that are right there in front of them. Making much of the spectacle of Rome, the play never dives into the real question of Caligula's perversity, which is really the perversity of absolute power. Yes, the mob rules in the end but the political insight that might come from this is completely lost with Caligula instead bemoaning that no one loved him. Failing to go any deeper than this, CALIGULA is only mildly titillating, revealing nothing more than a few bare breasts.
Monday, July 20, 2009
Candles for James
James Purdy's birthday was July 17th. He was never one to make a fuss and there was never any kind of dinner or party to celebrate (or bemoan) the passage of another year. I would call him or at least send him a postcard from wherever I happened to be in July.
"Vicky!" he'd say when I called in a tone that was both surprised and pleased.
We never spoke for very long - James always got a little impatient with the telephone after a few minutes - but before he hung up he always said, "I love you!"
"Love you too, James!" I would reply.
Now that he's gone, there's no postcard to write or phone call to make. But it didn't seem right to not be in touch somehow. So a dozen of us who cared for James and worked with him gathered in front of his Brooklyn Heights dream palace at dusk this past Friday. We lit candles and it seemed natural to stand in a circle facing his front door. Some of us read passages from THE HOUSE OF THE SOLITARY MAGGOT and EUSTACE CHISHOLM AND THE WORKS and fragments of writing that had been personally bestowed. John recited The Running Sun, which seemed strangely appropriate:
We who are under the ground
Indians and voyagers and wilderness men
Still breathe the bloom of plants in the air
And dream of the running sun.
Then we took one last look at the corner window where James used to live and one by one blew out our candles.