The super-rich no longer need a middle class

They now inhabit a privatized economy and have left us at the mercy of the market

Topics: AlterNet, U.S. Economy, Finance, infrastructure, Inequality,

The super-rich no longer need a middle classDavid Koch (Credit: Reuters/Brendan Mcdermid)

America is falling apart — and this nation’s super-rich are to blame.

There was once a time in America when the super-rich needed you, and me, and working-class Americans to be successful.

They needed us for their roads, for their businesses, for their communications, for their transportation, as their customers, and for their overall success.

The super-rich rode on the same trains as us, and flew in the same planes as us. They went to our hospitals and learned at our schools.

Their success directly depended on us, and on the well-being of the nation, and they knew it.

But times have changed, and the super-rich of the 21st century no longer think that you and I are needed for their continued success.

And in some ways, they have given up on America, period.

As Paul Buchheit brilliantly points out over at AlterNet, “As they accumulate more and more wealth, the very rich have less need for society. At the same time, they’ve convinced themselves that they made it on their own, and that contributing to societal needs is unfair to them. There is ample evidence that this small group of takers is giving up on the country that made it possible for them to build huge fortune.”

Buchheit goes on to say that, “The rich have always needed the middle class to work in their factories and buy their products. With globalization this is no longer true… They don’t need our infrastructure for their yachts and helicopters and submarines. They pay for private schools for their kids, private security for their homes. They have private emergency rooms to avoid the health care hassle. All they need is an assortment of servants, who might be guest workers coming to America on H2B visas, willing to work for less than a middle-class American can afford”

Unfortunately, these millionaires and billionaires who have given up on America and on the working class are in control of the political process in this country.

They have brainwashed Republicans into thinking that the success of working-class Americans no longer matters for the future of this nation.

As a result, Republicans are no longer investing in things that have traditionally made America – and the working-class – successful.

Take America’s infrastructure for example – or lack thereof.



According to the American Society of Civil Engineers annual report card on America’s infrastructure, America’s infrastructure is a mess.

Our roads are falling apart, our transportations systems are in turmoil, and our energy and electrical systems are stuck back in the 1900′s.

new graph released by investment research firm BCA shows why.

Non-defense related infrastructure spending was around $325 billion per year when George W. Bush stepped foot inside of the White House.

Today, it’s around $235 billion per year, a $90 billion drop in funding from when Bush took office.

Republicans, brainwashed by America’s super-rich, have repeatedly refused to fund comprehensive infrastructure spending bills, all in the name of austerity.

But cutting funding to the nation’s infrastructure isn’t the right way to address American’s debt or spending problems. And it certainly isn’t the right way to rebuild this nation.

As Cardiff Garcia over at The Financial Times points out, “It’s also likely that much of the investment that has been forgone in the name of fiscal consolidation will have to be made eventually anyways – only it will be made when rates are higher, exacerbating the long-term fiscal outlook rather than improving it. And as Think Progress points out, “continued underfunding in this arena over the coming years will cost businesses a trillion dollars in lost sales and cost the economy 3.5 million jobs.”

The Society of Civil Engineers says that it will take a staggering $3.6 trillion investment by 2020 – or $450 billion per year – to bring the American infrastructure into the 21st century, and to avoid risking a complete infrastructure collapse.

But the super-rich don’t care about how much funding is needed to save this country, as long as they have their private schools, private hospitals, private airports and private places.

The super-rich in this country are bleeding working-class Americans dry, while destroying the infrastructure of the nation that has done so much for their success.

No matter what Jamie Dimon, Charles Koch, or Shelly Adelson will tell you, America’s wealthy elite did not make their fortunes on their own.

Without a strong economy and infrastructure, America’s millionaires and billionaires would not be where they are today. It’s that simple.

So what can we do right now to rebuild America’s infrastructure and give a boost to the American economy?

First, it’s time to bring an end to globalization.

We need to be protecting American jobs, instead of letting the super-rich ship them overseas and build factories in China and third-world countries.

But more importantly, we need to roll-back the Reagan tax cuts, and make sure that America’s wealthy elite are paying their fair share to support our economy and infrastructure.

Right now, the burden for rebuilding America is on the backs of working-class Americans, and that’s just wrong.

It’s ridiculous that working-class Americans struggling to survive day-to-day are paying more in taxes than billionaire banksters and oil tycoons.

A lot has changed in America over the past 100 years or so but one thing remains the same: The success of the super-rich still depends on the success of you and me.

The super-rich still need us for their roads, for their businesses, for their communications, and for their transportation.

Our infrastructure may be crumbling, but there’s still time to get America back on the road to success.

We’re all in this together.

More Related Stories

Featured Slide Shows

  • Share on Twitter
  • Share on Facebook
  • 1 of 11
  • Close
  • Fullscreen
  • Thumbnails

    Ten spectacular graphic novels from 2014

    Beautiful Darkness by Fabien Vehlmann & Kerascoët
    Kerascoët's lovely, delicate pen-and-watercolor art -- all intricate botanicals, big eyes and flowing hair -- gives this fairy story a deceptively pretty finish. You find out quickly, however, that these are the heartless and heedless fairies of folk legend, not the sentimental sprites beloved by the Victorians and Disney fans. A host of tiny hominid creatures must learn to survive in the forest after fleeing their former home -- a little girl who lies dead in the woods. The main character, Aurora, tries to organize the group into a community, but most of her cohort is too capricious, lazy and selfish to participate for long. There's no real moral to this story, which is refreshing in itself, beyond the perpetual lessons that life is hard and you have to be careful whom you trust. Never has ugly truth been given a prettier face.

    Ten spectacular graphic novels from 2014

    Climate Changed: A Personal Journey Through the Science by Philippe Squarzoni
    Squarzoni is a French cartoonist who makes nonfiction graphic novels about contemporary issues and politics. While finishing up a book about France under Jacques Chirac, he realized that when it came to environmental policy, he didn't know what he was talking about. "Climate Changed" is the result of his efforts to understand what has been happening to the planet, a striking combination of memoir and data that ruminates on a notoriously elusive, difficult and even imponderable subject. Panels of talking heads dispensing information (or Squarzoni discussing the issues with his partner) are juxtaposed with detailed and meticulous yet lyrical scenes from the author's childhood, the countryside where he takes a holiday and a visit to New York. He uses his own unreachable past as a way to grasp the imminent transformation of the Earth. The result is both enlightening and unexpectedly moving.

    Ten spectacular graphic novels from 2014

    Here by Richard McGuire
    A six-page version of this innovative work by a regular contributor to the New Yorker first appeared in RAW magazine 25 years ago. Each two-page spread depicts a single place, sometimes occupied by a corner of a room, over the course of 4 billion years. The oldest image is a blur of pink and purple gases; others depict hazmat-suited explorers from 300 years in the future. Inset images show the changing decor and inhabitants of the house throughout its existence: family photos, quarrels, kids in Halloween costumes, a woman reading a book, a cat walking across the floor. The cumulative effect is serene and ravishing, an intimation of the immensity of time and the wonder embodied in the humblest things.

    Ten spectacular graphic novels from 2014

    Kill My Mother by Jules Feiffer
    The legendary Pulitzer Prize-winning cartoonist delivers his debut graphic novel at 85, a deliriously over-the-top blend of classic movie noir and melodrama that roams from chiaroscuro Bay City to Hollywood to a USO gig in the Pacific theater of World War II. There's a burnt-out drunk of a private eye, but the story is soon commandeered by a multigenerational collection of ferocious women, including a mysterious chanteuse who never speaks, a radio comedy writer who makes a childhood friend the butt of a hit series and a ruthless dame intent on making her whiny coward of a husband into a star. There are disguises, musical numbers and plenty of gunfights, but the drawing is the main attraction. Nobody convey's bodies in motion more thrillingly than Feiffer, whether they're dancing, running or duking it out. The kid has promise.

    Ten spectacular graphic novels from 2014

    The Motherless Oven by Rob Davis
    This is a weird one, but in the nervy surreal way that word-playful novels like "A Clockwork Orange" or "Ulysses" are weird. The main character, a teenage schoolboy named Scarper Lee, lives in a world where it rains knives and people make their own parents, contraptions that can be anything from a tiny figurine stashable in a pocket to biomorphic boiler-like entities that seem to have escaped from Dr. Seuss' nightmares. Their homes are crammed with gadgets they call gods and instead of TV they watch a hulu-hoop-size wheel of repeating images that changes with the day of the week. They also know their own "death day," and Scarper's is coming up fast. Maybe that's why he runs off with the new girl at school, a real troublemaker, and the obscurely dysfunctional Castro, whose mother is a cageful of talking parakeets. A solid towline of teenage angst holds this manically inventive vision together, and proves that some graphic novels can rival the text-only kind at their own game.

    Ten spectacular graphic novels from 2014

    NOBROW 9: It's Oh So Quiet
    For each issue, the anthology magazine put out by this adventurous U.K.-based publisher of independent graphic design, illustration and comics gives 45 artists a four-color palette and a theme. In the ninth issue, the theme is silence, and the results are magnificent and full of surprises. The comics, each told in images only, range from atmospheric to trippy to jokey to melancholy to epic to creepy. But the two-page illustrations are even more powerful, even if it's not always easy to see how they pertain to the overall concept of silence. Well, except perhaps for the fact that so many of them left me utterly dumbstruck with visual delight.

    Ten spectacular graphic novels from 2014

    Over Easy by Mimi Pond
    When Pond was a broke art student in the 1970s, she took a job at a neighborhood breakfast spot in Oakland, a place with good food, splendid coffee and an endlessly entertaining crew of short-order cooks, waitresses, dishwashers and regular customers. This graphic memoir, influenced by the work of Pond's friend, Alison Bechdel, captures the funky ethos of the time, when hippies, punks and disco aficionados mingled in a Bay Area at the height of its eccentricity. The staff of the Imperial Cafe were forever swapping wisecracks and hopping in and out of each other's beds, which makes them more or less like every restaurant team in history. There's an intoxicating esprit de corps to a well-run everyday joint like the Imperial Cafe, and never has the delight in being part of it been more winningly portrayed.

    Ten spectacular graphic novels from 2014

    The Shadow Hero by Gene Luen Yang and Sonny Liew
    You don't have to be a superhero fan to be utterly charmed by Yang and Liew's revival of a little-known character created in the 1940s by the cartoonist Chu Hing. This version of the Green Turtle, however, is rich in characterization, comedy and luscious period detail from the Chinatown of "San Incendio" (a ringer for San Francisco). Hank, son of a mild-mannered grocer, would like to follow in his father's footsteps, but his restless mother (the book's best character and drawn with masterful nuance by Liew) has other ideas after her thrilling encounter with a superhero. Yang's story effortlessly folds pathos into humor without stooping to either slapstick or cheap "darkness." This is that rare tribute that far surpasses the thing it celebrates.

    Ten spectacular graphic novels from 2014

    Shoplifter by Michael Cho
    Corinna Park, former English major, works, unhappily, in a Toronto advertising agency. When the dissatisfaction of the past five years begins to oppress her, she lets off steam by pilfering magazines from a local convenience store. Cho's moody character study is as much about city life as it is about Corinna. He depicts her falling asleep in front of the TV in her condo, brooding on the subway, roaming the crowded streets after a budding romance goes awry. Like a great short story, this is a simple tale of a young woman figuring out how to get her life back, but if feels as if it contains so much of contemporary existence -- its comforts, its loneliness, its self-deceptions -- suspended in wintery amber.

    Ten spectacular graphic novels from 2014

    Through the Woods by Emily Carroll
    This collection of archetypal horror, fairy and ghost stories, all about young girls, comes lushly decked in Carroll's inky black, snowy white and blood-scarlet art. A young bride hears her predecessor's bones singing from under the floorboards, two friends make the mistake of pretending to summon the spirits of the dead, a family of orphaned siblings disappears one by one into the winter nights. Carroll's color-saturated images can be jagged, ornate and gruesome, but she also knows how to chill with absence, shadows and a single staring eye. Literary readers who cherish the work of Kelly Link or the late Angela Carter's collection, "The Bloody Chamber," will adore the violent beauty on these pages.

  • Recent Slide Shows

Comments

Loading Comments...