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Editor's Choice

Jobless recovery

At The Week Brad DeLong has an essay about the current jobless recovery, which appears to be a repeat of the denouement of the previous few downturns. Why jobless recoveries all of a sudden? DeLong argues that it has to do with a change in how employers regard labor as more fungible now.

Manufacturing firms used to think that their most important asset was skilled workers. Hence they hung onto them, "hoarding labor" in recessions. And they especially did not want to let go of their prime productive asset when the recovery began. Skilled workers were the franchise. Now, by contrast, it looks as though firms think that their workers are much more disposable—that it's their brands or their machines or their procedures and organizations that are key assets. They still want to keep their workers happy in general, they just don't care as much about these particular workers.

A few thoughts on this:

1. This would seem to fly in the face of the various paeans to the "skill-biased technological change" that is presumed to responsible for growing income inequality. That thesis presumes that changes in technology have made an individual's skills more valuable and capable of being leveraged more efficiently. What if technological change in the aggregate disempowers labor by deskilling it (as Marx generally assumed)? As a result, it's easier to find and train workers capable of filling positions, and easier to offer them only part-time work. If workers are wise, they will start hoarding information about the procedures in their office and try to make themselves indispensable, even though this is sure to gum up productivity. Perhaps this is the form modern labor actions will take -- employee resistance to codifying their function, to standardizing procedures, to training others, to cooperating with the process of making themselves replaceable.

2. No wonder people have suddenly begun worrying so much about their "personal brand" -- brand equity has become more important to a firm, conceptually, than loyalty to employees. Employees, to make themselves less expendable, may also need to work to integrate themselves with a company's brand, to merge the personal with corporate brand if possible, make them inseparable. The personal brand becomes far more important, too, in a labor market full of otherwise interchangeable parts. And with globalization and companies emphasizing their own flexibility rather than a paternalistic approach to workers -- no more company men, or lifelong job security -- we all can expect to be returned to the labor market repeatedly. So we will begin to need something more than a resume, something more comprehensive, like a personal brand. Depressing.

3. (added on 23 July) If this weren't already the case before, we now have more incentive to work on polishing our personal brand than improving our skills.

Music

The Best Indie Rock of 2017

Photo courtesy of Matador Records

The indie rock genre is wide and unwieldy, but the musicians selected here share an awareness of one's place on the cultural-historical timeline.

Indie rock may be one of the most fluid and intangible terms currently imposed upon musicians. It holds no real indication of what the music will sound like and many of the artists aren't even independent. But more than a sonic indicator, indie rock represents a spirit. It's a spirit found where folk songsters and punk rockers come together to dialogue about what they're fed up with in mainstream culture. In so doing they uplift each other and celebrate each other's unique qualities.

With that in mind, our list of 2017's best indie rock albums ranges from melancholy to upbeat, defiant to uplifting, serious to seriously goofy. As always, it's hard to pick the best ten albums that represent the year, especially in such a broad category. Artists like King Gizzard & the Lizard Wizard had a heck of a year, putting out four albums. Although they might fit nicer in progressive rock than here. Artists like Father John Misty don't quite fit the indie rock mold in our estimation. Foxygen, Mackenzie Keefe, Broken Social Scene, Sorority Noise, Sheer Mag... this list of excellent bands that had worthy cuts this year goes on. But ultimately, here are the ten we deemed most worthy of recognition in 2017.

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From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

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TV

'Curb Your Enthusiasm' S9 Couldn't Find Its Rhythm

Larry David and J.B. Smoove in Curb Your Enthusiasm S9 (HBO)

Curb Your Enthusiasm's well-established characters are reacting to their former selves, rather than inhabiting or reinventing themselves. Thus, it loses the rhythms and inflections that once made the show so consistently, diabolically funny.

In an era of reboots and revivals, we've invented a new form of entertainment: speculation. It sometimes seems as if we enjoy begging for television shows to return more than watching them when they're on the air. And why wouldn't we? We can't be disappointed by our own imaginations. Only the realities of art and commerce get in the way.

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6

Wars of attrition are a matter of stamina, of who has the most tools with which to keep fighting. A surprising common tool in this collection? Humor.

The name of the game is "normal or abnormal". Here's how you play: When some exceedingly shocking political news pops up on your radar, turn to the person next to you, read them the headline and ask, "is this normal or abnormal?" If you want to up the stakes, drink a shot every time the answer is abnormal. If that's too many shots, alter the rules so that you drink only when things are normal—which is basically never, these days. Hilarious, right?

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