Thank you!
Your support is sustaining the future of local news in our communities.

Handouts: A different perspective

So far, the total relief money allocated by the federal government in respect of the COVID-19 pandemic crisis is $2,000,000,000,000. That’s a 2 with 12 zeroes. And there’s more to come.

There are 328,200,000 people in the USA. Ages 0-14 years = 61,110,000; ages 15-64 years = 214,478,000; over 65 = 52,610,000 — all approximately until the new Census is tabulated.

If everyone under the age of 14 was given $250 a month for five months, and everyone aged 15 to 64 was given $1,500 a month for the next five months and everyone over 65 was given $1,000 a month for the next five months, the total payout by the government would be $76,387,500,000 + $1,608,585,000,000 + $265,050,000,000 for a grand total, spread over five months, of $1,950,022,500,000 or less than the $2,000,000,000,000 already allocated.

Now, imagine you’re a working family of four. Your bank and everyone you have to deal with (car payments, utilities, etc.) would know that over the five-month period you would have a federal guaranteed income — non-repayable, not a loan — of $17,500, or $3,500 a month. Of course, if your kids were over the age of 14, then the monthly total would be $6,000 and it would be $30,000 over five months.

A retired couple — still getting Social Security — would also have $2,000 a month or $10,000 over that five-month period.

Why is this more fair? Because work in America and taxes in America are all about people, not companies, not Wall Street. If General Motors has to shutter its plant while the pandemic rages, what does it matter except for the workers who may never return? By shoring up the workers, you can be assured they will be able and capable to return to work. Guaranteeing short-term employee wages at a time when GM and other consumer good manufacturers won’t be selling any cars or goods achieves nothing for the families and only enriches the factory owners and business.

Business without employees or customers always fail. It is that simple. In times of crisis, when work is impossible (and that’s a key ingredient here), the only future asset a company has is the employees. If the employees are able to weather the storm, then the factory and manufacturing, and diners and hair salons will be able to re-open when the storm passes. If you fund the business instead of the workers, you may allow that hair salon to pay a landlord, but you never guarantee the worker will be able or want to return. If you fund the manufacturing plant you may guarantee that loans to banks and bond holders get paid, but when you want to re-open the plant you may not find either a healthy or able workforce.

Now, many will say that’s what unemployment pay is for… let’s start with a simple fact. The estimate is that 30% of the people who have tried to file for unemployment let alone Pandemic Unemployment Assistance (PUA) can’t even get online or anyone on the phone. Lines in offices are days, yes days, long. Unemployment, sudden massive unemployment filing was never contemplated or funded. It’s a mess. And unemployment is limited in time, way shorter than five months state by state.

If the reason for any bailout or relief is to weather this pandemic and be able to resume normal life, it makes far more sense to fund the people whose life it is, not the businesses that need their labor.

 

Peter Riva, a former resident of Amenia Union, now lives in New Mexico. 

The views expressed here are not necessarily those of The Millerton News and The News does not support or oppose candidates for public office.

Latest News

‘So Little to Do,’ so much to discover at James Barron Art

Curator Deborah Goodman Davis reads the Emily Dickinson poem “The Grass So Little Has to Do.” Spencer Finch’s “Following Three Bees (Zinnias)” buzzes in the background.

Photo by Natalia Zukerman

“The Grass Has So Little to Do,” on view at James Barron Art in Kent, takes its title from Emily Dickinson’s poem “The Grass So Little Has to Do,” written in 1862:

“The Grass so little has to do—
A Sphere of simple Green—
With only Butterflies to brood
And Bees to entertain—”

Keep ReadingShow less

Marina Kotchoubey is not a woodworker

Marina Kotchoubey is not a woodworker

Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.

Photo by D.H. Callahan

After 40-something years navigating the world of custom fine furniture, Ian Ingersoll was getting ready to retire. Starting off with a little dovetail stool that he sold at a shop in West Cornwall in the 1970s, he’d grown his skill and his business into something he — and the whole town — could be proud of. Shutting down that business was not an option.

Ingersoll built Ian Ingersoll Cabinetmakers, which produced mainly classical Shaker furniture, on passion: the passion he had to make a living through creative challenges and the passion of his employees, who all seem deeply in love with their craft.

Keep ReadingShow less
A legacy of giving at Norfolk Chamber Music Festival

One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.

The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Two unique exhibitions at Geary Gallery

Henry Klimowicz with his sculpture, “Partial Pillar 1”

Photo by D.H. Callahan

On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.

On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.

Keep ReadingShow less

Writer’s retreat in the woods

Writer’s retreat in the woods

Participants in a 2024 Great Mountain Forest Woodland Academy workshop at Yale Camp.

Photo by Mike Zarfos

Great Mountain Forest (GMF) will host its first Nature Writing Retreat at the historic Yale Camp in Falls Village from Aug. 7-9, 2026. Writers of all levels are invited to draw inspiration from one of New England’s most notable forest landscapes. GMF envisions the retreat becoming an annual event celebrating writing, conservation and the relationship between people and forests.

This immersive three-day retreat reflects on the legacy of Hal Borland, the American writer and New York Times nature columnist whose work was deeply connected to this landscape. The retreat explores how wilderness shapes language, strengthens close observation and fosters environmental consciousness.

Keep ReadingShow less
From Cornwall to Rome, Adam Van Doren at Berkshire Botanical Garden

Artist Adam Van Doren and curator Donna Hassler talk to a group of visitors at the Berkshire Botanical Garden. A Stephen Proctor vessel sits to their left.

Photo by Natalia Zukerman

This summer, the Berkshire Botanical Garden in Stockbridge has hosted “Grounded in Nature: Paintings by Adam Van Doren,” an exhibition exploring the intimate relationship between architecture and the natural world.

On view for only a few more weeks in the Leonhardt Galleries, the exhibition features more than 35 watercolor and oil paintings by the New York-based artist, architect, author and Yale professor, curated by art historian Donna Hassler, director emerita of Chesterwood. The works span three distinct places that have shaped Van Doren’s artistic practice: New York City, Cornwall, Connecticut, and his travels throughout Europe.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.