Citations Needed

“Writers Strike Fallout: $2B Economic Impact May Be Just the Beginning,” the Hollywood Reporter states. “Looming UAW strike could cost US economy more than $5B in just 10 days,” Fox Business announces. “In a Strong Economy, Why Are So Many Workers on Strike?” the New York Times wonders.

We’re regularly exposed to news media’s updates on some vague notion of “the economy.” Though it’s never really defined, “the economy,” we are told, is something that will suffer if a work stoppage happens, even though striking workers might stand a chance to reap some real economic benefits. It’s also something that somehow does just fine, even thrives, despite rising homelessness, poverty, food insecurity, and general stress and anxiety among the public about their ability to afford basic needs.

Against all of this, pundits wonder why people in the US have doubts about the strength of the economy, when, by their standards, it’s doing so well. But when “the economy” is at odds with the interests of the working public, what does that tell us about media’s understanding and use of the term? Whose interests are truly reflected in mainline media’s definitions, or lack thereof, of the economy?

On this episode, we examine media’s use of the term and concept of “the economy,” looking at how and why metrics reflecting the interests of capital– like the GDP, the Dow, or IMF reports–are positioned as more important and accurate indicators of economic strength than metrics reflecting the needs of the average person. And how “the economy” is presented as a fragile precious thing that striking workers, protestors, and those seeking to interrupt the normal flow of life want to avoid damaging, at all costs.

Our guest is writer Kim Kelly.

“New Starbucks CEO plans to pull barista shifts in stores every month,” CNN announces. “Uber’s CEO moonlighted as a driver and it changed the way he operates the company,” Fortune insists. “Your DoorDash driver? He’s the company’s co-founder,” the Associated Press smirks.

Month after month or week after week, we seem to hear the same stories about bold corporate executives who’ve decided to roll up their sleeves—metaphorically or otherwise—and join their lowest-level employees as a delivery driver, barista, or retail worker. Their stated goal: to “stay connected” to and “better understand” the company, its customers, and its workers.

While these attempts to foster and express empathy may appear noble on the surface, they’re anything but. In reality, the CEO-as-worker stunt is an entirely self-serving project, creating a pretext for worker surveillance and a distraction from labor abuses like poverty wages and union-busting, all the while seeking to convince the public that corporate executives are honest, hardworking folks, Just Like You.

Today, we will be dissecting the past and present of Undercover Boss-style corporate maneuvers, looking at the ways in which the C-suiter-in-the-trenches routine advances the squishy concept of “empathy” in order to obscure and undermine the material needs and demands of labor.

Our guest is Ligia Guallpa, Executive Director of the Worker's Justice Project, a community-based, workers’ rights organization in New York City.

Our cultural context for understanding what we see on the news and hear in our politics, is often informed by the films and TV shows we’ve grown up watching. Pop culture is powerful and persuasive, and — for a century now — racist, Orientalist and cartoonish portrayals of Arabs and Muslims have littered our screens, big and small. This is the second episode in our three-part Citations Needed series on anti-Muslim racism in Hollywood. On Part I, we discussed big budget action and adventure films like Delta Force, American Sniper and True Lies, where Muslims get blown away at every turn.

But not every movie and TV show is quite so overt in its vilification of the designated enemy. Since the release of these movies, the state curated narrative in film has diversified, broadening to include savvier Oscar-bait productions in which anti-Muslim racism is dressed up in elaborate plot structures and supposedly nuance "debates".

Films like Argo, Syriana, and Zero Dark Thirty are lauded for their ostensible complexity, subtlety, and nuance, such as their willingness to suggest that government agencies like the CIA are bloated and bureaucratic. Instead of scenes with a tough action hero bodyslamming or mowing down teeming hordes of Muslim terrorists, these films are part of a smarter genre of jingoistic action film — the prestige thriller — featuring flawed protagonists, some meta comedy, and women CIA agents excelling in a historically male-dominated field of coups and torture.

But ultimately, they project the same tired nationalism and ideology reinforcement just in a sleeker, more modern form. On this episode, we’ll examine how anti-Muslim and anti-Arab propaganda is disseminated through the contemporary prestige thriller genre.

We're joined by historian, artist and author Maytha Alhassen.

“Free markets drive innovation!” It’s a narrative imparted to us ad nauseam. The ultimate catalyst of creation and progress — we’re told by policymakers, business executives, think tanks, and the media outlets that bolster them — in which great strides in healthcare, electronics, media, and other areas are the domain of private enterprise motivated by competition and profit, and unencumbered by state intervention.

As the prospect of socialism — or at least the word “socialism” — regains currency in the West, these claims have resurged. Capitalism’s supporters insist that a profit-first system is the reason the world is always improving, lifting people out of poverty while equipping them with iPhones, WiFi, and central air conditioning. Socialism, they contend, hinders innovation because public ownership of the means of production removes the competition and profit that ostensibly incentivize creativity.

But why are we expected to believe that concentrating ownership of the means of production in the hands of a few is the key to progress and prosperity for all? How is it that the most important metrics of “innovation” are consumer goods available to some, rather than socialized, need-based programs available to all? And above all, who does this narrative that “innovation” is driven by Anglo-American style Randian capitalism really serve?

On this episode, we delve into these questions, looking at how the United States — the world’s foremost champion of capitalism — packages propaganda about its alleged innovation; the reasons capitalism not only fails to drive innovation, but also actively destroys it; and the U.S.’s brutal actions to thwart socialist efforts toward a more equitably and sustainable version of “innovation” at home and aboard.

Our guest is Current Affairs associate editor Vanessa A. Bee.

A bizarrely vague, cliquish letter demanding everyone be open-minded has no interest in explaining what, precisely, it wants.