Category Archives: Uncategorized

Will Trade Associations Exacerbate Growing Economic Inequality in the United States?

An essay prepared for a special section of the Journal of Management Inquiry gave me an opportunity to reflect on potential social changes in the US resulting from major political changes over the past three decades.   I believe a long-term decline in class consensus within the American business elite (Mizruchi, 2013) has raised the relative power of trade associations, compared to the powerful peak business associations of a bygone era, paving the way for more narrow self-interested actions and diminishing the influence of other kinds of interest associations. The worldview of the incoming president and his cabinet officials will facilitate this development, I believe.

Escher "Drawing Hands"

M.C. Escher “Drawing Hands”

Historically, business managers and owners could attempt to exert influence at four different levels in the system. First, they could get involved as individual executives, contributing money, lobbying officials and agencies, and so forth. Second, representatives of their organizations could do the same, especially through board interlocks with other firms in different industries, through which could diffuse general business practices as well as practices aimed at producing public goods  (Davis & Greve, 1997; Galaskiewicz, 1985). Third, firms could participate in specific industries’ trade associations that favored policies and practices they favored (Ozer & Lee, 2009). Fourth, and perhaps most important, a handful of peak associations sat above the previous three levels, cutting across firms and industries, and claiming to speak for the business community as a whole. For example, the now-defunct CED (Committee for Economic Development) advertised itself as offering “reasoned solutions from business in the nation’s interests.”

Mark Mizruchi argued that after World War II, American business leaders, working individually and through peak associations, were voices of moderation and pragmatism as the American economy expanded and the US became a global power. Foregoing narrow self-interest, business leaders accepted the legitimacy of organized labor and some federal oversight of the economy. By pursuing a policy of what the CED referred to as “enlightened self-interest,” they made it possible for the federal government to pass significant legislation that took account of national collective interests, such as the construction of the interstate highway system and improvements in the Social Security system, as well as the expansion of Medicaid. However, all this changed in the 1970s, as businesses were buffeted by global competition, rising inflation, and strong public pressure to do something about the environment, public health, working conditions, and so forth. That pressure led to the creation of many new federal agencies in the 1970s, such as the Environmental Protection Agency. What Mizruchi characterizes as a relatively harmonious working environment prior to the 1970s — involving government, business, and labor — changed into a much more confrontational system. The financialization of American corporations in the 1980s intensified pressures on executives and diminished their enthusiasm for pursuing collective solutions (Davis, 2009; Mizruchi, 2013). The corporate scandals of the early 2000s and the Sarbanes-Oxley Act of 2002 further disrupted the formerly cozy relationships between members of the corporate elite (Chu and Davis, 2016).

Changes in patterns of mergers and acquisitions, initial public offerings, and the growing importance of private equity firms have led to the slow disappearance of corporations from the American economy over the past two decades (Davis, 2016). Previously, publicly held corporations might have felt some obligation to temper their self-serving actions with more public-regarding actions, to the extent that shareholders and activists could hold them accountable (King). However, privately held corporations have no such watchdogs and thus can act with much more autonomy and disregard for collective and societal interests.

Because of these changes, the business elite has fragmented over the past three decades and lost its ability to act cohesively (Walker & Rea, 2014). Unlike in earlier eras, when presidents and political leaders could call upon business leaders in peak associations to help them push for policies that might involve some sacrifices on their part, elites pulled back into policies reflecting more narrow self-interest. Mizruchi argues that many of the problems plaguing US politics – – extreme partisan polarization and inability to enact needed legislation, such as improvements in national highway infrastructure – – stem from the damages done to social and political consensus by developments since the 1970s. Consequences can even be seen at the state level, where efforts by public interest associations to expand Medicaid, under the Affordable Care Act, ran into strong opposition by conservative nonprofit advocacy organizations that mobilized public opinion against expansion (Hertel-Fernandez, Skocpol, & Lynch, 2016). Traditional general business interest associations like the Chamber of Commerce, as well as associations of hospitals and doctors, were unable to overcome special interest lobbying against expansion.

Today, with the loss of elite cohesion resulting in fewer class-wide constraints on businesses pursuing narrow self-interest and lobbying against policies purported to be in the public interest, strong trade associations are much better positioned to pursue their own interests. In the past, they might have been constrained by networks of ties between firms and their membership in strong peak associations. However, in the changed political and economic environment of narrow partisan self-interest, they now have much more room to fight for industry-level benefits against more comprehensive cross-industry solutions, as in issues such as environmental protection. Moreover, in this new environment, big firms are not as constrained by class-wide norms as in the past, and they can use their dominance within trade associations to push for their own interests (Barnett, 2009). Whereas in the past special interest associations — such as the American Legislative Exchange Council or Americans For Prosperity — might have been restrained by needing to justify their actions to more moderate peak associations, that is no longer the case (Jackman, 2013).

The United States is entering uncertain political times, with political parties polarized, and collective action in the public interest extremely difficult to achieve. To the extent that the decline of elite class cohesion and moderate business peak associations weakens the forces of conciliation and compromise, strong trade associations may actually step into the void and make matters worse by pursuing policies favoring their own industries. Of course, as Walker and Rea (2014) remind us, we should not conflate business unity with business power, and each case must be assessed on its own merit. Nonetheless, the possibility worries me – a lot.




Message to graduate students: The way you practice is the way you will play

In sports, coaches tell their players that they should treat practices the same way they would treat actually playing in games. They say this because sloughing off in practice, rather than following best practices, can carry over into the game. When a game situation arises, when decisions must be made quickly, people tend to fall back on old habits. If those old habits were reinforced by sloppy practicing, then the player will be sloppy during the game. So, even while practicing, people need to behave as if they were in the real thing. I see a parallel between this advice from coaches and the advice I give to first-year graduate students, with respect to how they should begin developing good habits. Rather than just recommending that they follow the leadership of their mentors and try to imitate their practices, I tried to identify specific habits that students could start practicing, using a technique called “deliberate practicing.”


Never take a play off

Never take a play off. From Steve Gilliland (@SteveGSpeaks)

I came up with a reasonably short list. I first list the professional habit that you are trying to cultivate and then list what you can do in graduate school to “practice” how you will eventually “play.”

  1. Professionals take every opportunity to learn more about their field: go to all open seminars and workshops offered by the department.

  2. Professionals can articulate a point of view and back it up with evidence derived from their expertise, a skill you will need when teaching, as well as when you’re trying to make yourself heard at conference sessions: speak up in class – – don’t just speak when called upon, but rather volunteer to speak; pay attention to what others are saying so that you learn to maintain continuity in the conversation.

  3. Professionals take initiatives to organize their environments to their advantage: start discussion groups outside of what is required by your instructors.

  4. Professionals establish relationships with others who have complementary skills and not just with those with whom they share overlapping interests: befriend not only the junior faculty but also some senior faculty with research interests different from yours. Ask them if they will help coach you.

  5. Professionals don’t just “attend” conferences, they participate in them: at professional meetings, spending your time in coffee shops, sightseeing, and going to clubs will do nothing for your professional development – – go to sessions!

  6. Professionals don’t “take a play off”: if you are a teaching assistant, be a good teaching assistant – – someday you will be responsible for organizing your own course and you would like to have TAs who work as hard as you do

Begin establishing good habits from the moment you enter graduate school. You can do this taking advantage of the many opportunities offered to you to begin acting “as if” you had already earned your PhD. Practice those habits that will stand you in good stead throughout your career: participate, connect, and never take a play off (unless maybe it involves fly fishing).

Journal submissions: Playing up (or down) to the competition

Every fall I look forward to the opening of the college sports season: football, soccer, field hockey, volleyball, and so forth. In particular, I enjoy the discussions in the sports press about the choices athletic directors and coaches have made in setting up their schedule of games. Unlike the professional sports leagues, where scheduling is taken care of by the league office and considerations of equity and robust competition are explicitly taken into account, college schedules are under no such strictures.

Carolina soccer player

photo credit: IMG_9551 via photopin (license)

In scheduling games, college athletic directors face two stark choices. They can make their teams look good by padding their records with early games against lesser opponents, thus ensuring at least a winning record for the early part of the season. Or, they can put their teams through a trial-by-fire by scheduling tough opponents. Why wouldn’t athletic directors choose the easier path, giving teams an early-season break and setting them up with a winning record?

As sports commentators are quick to point out, the danger of taking the easy road early on is that playing against lesser competition lulls teams into a false sense of confidence. Running up the score against weaker teams covers up mistakes and gaps in preparation, such as athletes’ lack of endurance. Players who look like All-Americans against East Overshoe Tech become sloppy, take plays off, and are overwhelmed when they come up against teams in their own league. No matter how much the coaches tell them that the early-season games against weaker opponents are no gauge of their true strength, players may start believing their own press clippings.

The other danger of scheduling easy games early in the season comes back to haunt teams at the end of the season, in those sports where teams are invited to championship competition based on the strength of their schedule. Committees deciding on which teams to include in the playoffs, such as in women’s soccer or men’s basketball, can easily spot the flaws in a winning record based on playing weak competition. Florida State’s overwhelming early season win against the Texas State Bobcats will be heavily discounted!

Athletic directors with their eyes on the future are advised to schedule at least a few tough opponents early in the hope that difficult competition will pay off and prepare the team for its league schedule against stronger opponents. Such planning may also ease a team’s path into the postseason.

I’m reminded of this scheduling dilemma every time graduate students and junior faculty come to me, seeking advice on where to send their papers. As I see it, academics just beginning their careers face the same conundrum: do they aim for the top journals in the field or do they try for the easier route, in journals with weaker review boards and softer selection criteria? Why not try to pad your resume by aiming for the Journal of Lost Causes, which you know accepts almost half the papers it receives?

My answer to the authors seeking advice is the same that savvy athletic directors offer to desperate coaches: if you began by playing down to the weakest level of competition you can find, you set in motion a process that becomes hard to reverse, after a few iterations. Getting into a top journal is hard work, requiring sophisticated literature reviews, excellent research designs, and state-of-the-art analysis, regardless of the kind of data collected. If the paper is a theoretical/conceptual contribution, rigorous analytical thinking will be required, as well as lots of revisions before the paper is submitted.

I tell students that even if a paper is ultimately rejected at a top journal, the experience gained in the process is priceless. Most top academic journals use what they call a “developmental” review process, a much kinder and gentler process than authors faced three or four decades ago. (I hasten to add that I discourage “frivolous” submissions which just clog up the review process – – a senior colleague can quickly tell a junior scholar whether a paper is worth submitting to a top journal.) As a colleague reminded me, you must be prepared to invest anywhere from 2 to 6 months, on average, with every submission. That’s another reason to “start early.

Recruitment and promotion committees are seldom fooled by resumes padded with acceptances at weaker journals. So, I would turn to the weaker journals only after I had tried the top journals.

Although the odds of acceptance are low, gaining experience with the practices necessary to compete at the highest levels pays off in the long run.

Imagination, interrupted: creative writing requires a lot of control

How often has this happened to you? You sit down to work on a piece of writing for which the deadline is fast approaching. You feel energized and optimistic. Shortly after you begin, the notification alert on your smart phone goes off. Or, a colleague pokes her head in your open door and asks if you have a moment. Or, you look back at the previous sentence you’ve written and decide that it could be worded better. And so on. Taken in isolation, such small interruptions seem harmless. However, each of them disturbs your thought process. After you’ve dealt with the interruption, your brain can take 3 to 5 minutes, or more, to get back on track. There is a better way: follow the suggestions below and take control of your environment and of the writing process. You will free your mind to focus deeply on putting into words the ideas buzzing around in your imagination since your last writing episode.

Happy Hippo

Happy Hippo at Rose Bowl Parade 2014

Control the Writing Environment

Blocking out interruptions begins with asserting control over the context within which you’re writing. Three long-term considerations are particularly important. First, make sure you get enough sleep and begin the writing process well rested. Studies show that a high proportion of the population is not getting enough restful sleep, resulting in inefficient and error-prone work behaviors.

Second, establish a regular time and place for your writing activities. Make sure that you set aside this time for writing only, perhaps by blocking it off as a “busy” period on your calendar and smart phone. Pick a time when it is unlikely that you will have any scheduled meetings and be fiercely protective of that slot. Some writers tell me that they like to work in coffee shops and that the constant buzz of activities doesn’t bother them. I know that some think the “white noise” of such spaces is soothing, but the problem is that somebody you know will see you and want to engage you in conversation. Turning down an invitation to talk with them can be awkward, and the very act of telling them that “I am working” constitutes one of the interruptions that you’re trying to avoid. (I suppose you could always wear some kind of disguise, if you can’t break yourself of the habit of working in a coffee shop!)

Third, turn off all notifications on your PC, laptop, and smart phone. Don’t let your smart machines ping you when somebody posts on Facebook or sends you an email. Although you may have the willpower to resist the fatal attraction of social media’s siren song, marshaling such willpower constitutes another interruption to the train of thought that you may have been working on. Prevent such struggles by simply turning off all alerts.

Three short-term considerations are also important. First, whether you are working in the office or at home, keep the door to the room closed. Take a “do not disturb” card from your last hotel stay and put it on the door. Train people to recognize that when your door is closed, you are working. Drive that point home that by being very approachable only when the door is open. Call to people when they are walking by to indicate that you have switched to another mode. Eventually, you’ll train most of your colleagues and friends to recognize the difference.

Second, rather than just turning off alerts and notifications from your phone, be courageous and turn the phone off. The odds of your receiving a call so important that is worth interrupting your train of thought are vanishingly small for most of us. Reward yourself for an hour or so of productive work by turning on your phone for three minutes and checking for messages. Then, turn it off again!

Third, take planned breaks to designated places. Some authorities recommend working in two-hour sessions, whereas others recommend getting up and walking around at least once every hour. Whatever rhythm you choose, stick to it. Binge writing without taking breaks is ultimately counterproductive, as working until you actually feel tired enough to need a break means that you’ve probably been working inefficiently for quite some time. Set a timer and obey it. (I like old-school hourglass timers, but electronic ones will do.)

Control the Writing Process

If you’ve taken control of the writing environment, you’ve gone about half way toward your goal of blocking interruptions. I use three strategies to control the writing process itself. First, differentiate clearly between “free writing” and “production writing.” Use free writing when you are trying to generate ideas, search for connections between ideas, and explore thoughts wherever your imagination may take you. The major discipline required in free writing is the will to keep writing, even when you’re not sure about the quality of what you’re capturing. Interruptions are deadly to this process because you may never get back to that creative thought you were about to set down on paper when the phone rang. Use production writing, my contrast, when you’ve done enough free writing and research to have discovered the narrative that’s going to unify your paper.

Second, when you’re in production mode, but not free writing mode, work from an outline. My outlines tend to be very structured, sometimes with four or five hierarchical levels, and with headings that signal to me the substance of what is needed in the coming section. The joy of an outline is that even when interruptions occur, you really can’t lose your place. Although I don’t achieve it in every project, my goal is to outline the paper right down to the level of having a few key topic sentences in every subsection. If you have your story or central narrative in mind when you begin the outline, you will find that a few topic sentences in each section serve as reminders of what you’re trying to achieve.

Third, don’t copyedit while you write. Every book or article about production writing makes the same point: draft, then copyedit, but don’t try to do both at the same time. Copy editing is a pernicious form of interruption, as you may feel that you are still “working” because words are appearing on your screen. However, interrupting your train of thought to copyedit risks disrupting the coherence of your narrative and is one more intrusive act from which your brain will need to recover to get back on track. I treat copy editing time as a reward to myself, and generally schedule it as a less stressful part of the writing process whenever I finish a major section.


Interruptions aren’t accidents! They can only happen if you allow them by not controlling your writing environment and writing process. By preventing interruptions from disrupting your writing, you increase the chances that the words in your document will reflect the flight of your freed imagination, rather than the struggle to complete a coherent thought.

Why start early on your projects?

A few days ago, I was sitting in my car at a stoplight, waiting for the light to change, when a thought suddenly popped into my head. In a flash, I recognized the relevance of a paper I’d read several decades ago for a current project on which I was working. I had been thinking about ways to justify the narrative I was trying to set up, and I’d been frustrated by my inability to find recent literature that could be cited to justify its importance.


Purple installation @ Museum of Contemporary Art, Chicago, August, 2015

Why did that idea suddenly occur to me? The paper wasn’t due for several months and I felt no obvious pressure to make rapid progress on it. Nevertheless, some weeks ago I had decided to begin working on the paper. Following my normal routine, I’d begun jotting down interpretive notes on the papers and articles that I read, sticking them in a purple manila folder which I carried in my briefcase. As the folder grew thicker, I found myself thinking about the project occasionally, when I took breaks from other projects or was just relaxing.

I believe I know where the idea came from. Material I’ve been reading over the past several years on how the brain works tells us that most of our thinking takes place below the level of conscious awareness. We are thinking all the time, intentionally or otherwise, including when we are sleeping. In fact, I would say, especially while we are sleeping. It is difficult to shut this activity off, as is shown by yoga exercises during which we are advised to “clear our mind of all conscious thought.” Initially, most of us can’t do it. Apparently random thoughts buzz about like bees in our brain, and no amount of mental swatting can drive them away.

Luckily for us, what could be a very distracting feature of our seemingly uncontrollable brain can be put to good use by authors. I’m referring to the practice of putting all this mental firepower to work on a problem facing us by beginning to think about our projects well before they are due. In a sense, starting to think about how a project will be framed, how it will be solved, how it will be explained, and so forth, gives the brain its marching orders. By intentionally telling our brain that this is a problem that needs to be worked on, we take advantage of a resource that otherwise would be wasted: the brain’s search for meaning and patterns in the information it’s storing.

The brain never shuts completely down, even while we are sleeping. Some sleep research suggests that while we are slumbering, our brain is trying to sort out what’s happened to us recently, tidying up a bit and perhaps trying out tentative solutions. I like the idea of being able to claim to my friends that I can work even while I’m sleeping!

By starting on a project early, I increase the chances that subsequent experiences, including not only reading but also conversations, will inform my thinking. Although it’s good to take notes, I trust my brain to recognize potentially relevant material and throw it into the mix.

In addition to the cognitive benefits of engaging my brain early, two other benefits follow from getting an early start. First, the earlier I start, the more likely it is that I’ll be able to seek help from friends and colleagues, such as with reading a first draft. Discussions with them may direct me to a literature that I wasn’t aware of and scholars elsewhere whose work is germane. Second, the earlier I start, the more chances I have to revise my work. With a 3 to 6 month head start, for example, I have a chance to do several revisions on the first draft so that when I submit the final version, it will be a much more polished version of the ideas that sparked the initial project.

My message is simple: when you take on a writing assignment, such as a conference paper, a book proposal, or potential Journal article, don’t procrastinate. Deliberately set aside time early on to think about the project and perhaps free-write about it, and give your brain a chance to do its work.


Pitching Papers as if You Worked in Nashville

For the past decade or so, I have made presentations to groups of graduate students and junior faculty on how to write more effectively. I’m always on the lookout for new ideas that I can inject into my presentation. Thus, I was delighted to come across an essay by C. Neil Stewart Jr, on “Songwriting and Science,” in the July 24, 2015 issue of Science magazine. Frustrated by his low hit rate from grant submissions, Stewart turned to songwriting as a way of soothing his frustrations. He discovered that getting his songs accepted by professionals in Nashville was even more difficult than winning grants from the NIH. Whereas reviewers of his scientific proposals almost always gave him feedback on what he could do to improve, that almost never happened with his songwriting. In his Science essay, therefore, he took it upon himself to offer young scientists some lessons he had learned from his experiences. His recommendations echoed many that I have made and so in this post I offer his five suggestions, interpreted through my own experiences.

Why is this relevant?


First, “you have to sell your story in three minutes.” Social psychologists tell us that people make up their minds about others after the first few minutes of meeting them, and studies of venture capitalists have shown that the first minute or two of an oral pitch often determines whether a nascent entrepreneur sinks or swims. Every scientific field is awash in many more publications than can be taken in by individuals who face intensive competing demands on for their attention. Authors need to attract the attention of readers immediately and provide a compelling argument for why we should turn to their second page. For me, this means creating a first paragraph that highlights a pressing problem that arises from previous research and for which I can offer a promising solution. The first paragraph is so important that I recommend not going any further in the paper until you are satisfied that your entire story is anticipated by that paragraph.

Second, “you need a memorable hook.” In the music business, the “hook” is that part of the tune that, once heard, you can’t get out of your head. When I was growing up, in the late 1950s, hooks were easy to remember because tunes with rock ‘n roll chord structures were simple enough to be sung by others, even amateurs. In scientific papers, the hook is the simplified message that you want readers to take away from the paper, and thus it has to be framed and memorable ways. One way to do that is to clearly indicate what scientific theory or principle is at risk, as a result of your work, or to point out a contradiction or tension between two or more lines of work that previously have not been brought together. Drawing attention to a contradiction for which you will offer a resolution is a good way of setting up a hook.

Third, “keep it fresh.” I read lots of papers that have straightforward linear narratives, with the underlying skeletal outline often apparent in the simple declarative sentences used by the author. In contrast, Stewart suggests surprising readers with unexpected twists and turns, challenging their expectations by showing them novel results. When I make oral presentations, I like to begin by giving quizzes to which everyone thinks they know the answer and then showing them that their preconceptions were wrong and not evidence-based. Better still, if the paper’s introduction contains a puzzle or problem for which the existing literature has no obvious solution, readers will be on the edge of their chair, waiting for you to provide one. One classical way of introducing tension is to systematically go through all the obvious solutions and show how each is inadequate, leading up to the favorite that you propose.

Fourth, “don’t go solo.” Stewart notes that most songs are written by teams, rather than solo. For some time, most papers in the natural sciences have been co-authored, and now that’s increasingly true in the social sciences. Moreover, co-authored papers get disproportionate numbers of citations, compared to solo authored papers. Very few individuals have the full range of expertise and competencies required to conduct high-quality research, analyze the data, and write it up for publication. Teamwork is essential, especially for junior authors who are working on creating a portfolio of papers, rather than the cottage industry batch mode of production.

Fifth, “inspiration isn’t everything.” Stewart notes that hit songs are usually the product of extensive rewriting, rather than overnight wonders. The same is true of academic papers – – my co-authors and I typically go through dozens of drafts of a paper before we feel ready to show it to the world, and then it goes through many more revisions as we receive feedback from friendly critics.

Following these five suggestions won’t guarantee either hit song or a published article, but they certainly increase the odds.

For more great advice on writing an introduction to your paper that will entice readers, see Pat Thomson’s blogpost at the LSE Social Impact blog.

Welcome to My Website!

I’ve divided the site into 5 sections, but this whole enterprise is a work in progress. The banner photographs at the top of each page were chosen to give visitors a glimpse into the diverse facets of my personal & professional life. Please give me feedback on what you like & what I should change. Thanks!