COVID-19 Relief Fund

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COVID-19, gig, job, unemployment

As a result of the anticipated local economic impact of COVID-19, the New Orleans Business Alliance (NOLABA) is standing up a relief fund to meet the needs of gig economy workers who have been directly impacted via loss of income.

NOLABA is committing $100,000 to initiate the fund, with a goal of increasing the fund assets to a minimum of $500,000. We have issued a charge across the community to encourage business leaders, philanthropy, and concerned New Orleanians to contribute to increase the potential reach and impact of this relief effort.

As of 2017, gig economy workers represent more than 8% of the workforce in Orleans Parish, including rideshare drivers, musicians, arena workers, and festival production staff. As contract employees of often large corporations, gig economy workers tend to lack access to minimum wage, paid sick leave, overtime pay, and standard employee benefits, making them particularly susceptible to changes within the economy.

In New Orleans, many of our gig-workers depend on the cultural calendar for reliable income. With the cancellations and postponements of many large local events on the horizon, this community stands to lose out on millions of dollars of potential income, directly impacting their livelihoods and family well-being. This relief fund is being set up to ensure that these critical members of our community continue to be active participants in our economy, with an economic outlook they can depend on.

We recognize that this fund will only be part of the solution for most families. NOLABA will be aggressively advocating for resources alongside Mayor LaToya Cantrell and the New Orleans City Council, as the need becomes more evident and the federal government’s response is solidified.

 

Strategy

Temporary Relief Fund Goal	$500,000+
Award Size	$500 – $1,000; dependent on a determination of need
Eligibility for Multiple Awards	Yes. Applicants can re-apply after 45 days if they remain eligible.
Approval Criteria	Proof of residency in Orleans Parish Proof that ≥ 60% of income is generated via “gig-work” Demonstrated loss of income as a result of the COVID-19 pandemic At or below 100% Annual Median Income (AMI) Guidelines (Reference)
Document Requirements	Driver’s License, bill, or bank statement proving residency Independent Contractor Agreement(s) or other proof of gig-related employment 2018 or 2019 Tax Return demonstrating income threshold Bank statements reflecting a minimum of 90 days of income activity, prior to March 9, 2020 Bank statements reflecting compromised income for a minimum of 7 days, post March 9, 2020
Ineligible Recipients	Workers with full-time employment outside of the gig-economy Workers domiciled outside of Orleans Parish
Grant Disbursement Mechanism	Funds will be disbursed via check to approved recipients.
Funding Source for Relief Fund	$100,000 to be committed by NOLABA, with room for $400,000+ of follow-on contributions. Individual contributions will be processed via Commit Change, which takes a 3% fee for each transaction. Corporate gifts will be collected via check or ACH payment.

Apply

COVID-19 Relief Grant Application

“When you say “I am_____…” meditations by poet Bill Lavender

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Bill Lavender, Xavier Review

To say that it is complicated to talk about work in America is an understatement. Work is an outsized religion, with equal numbers zealots and agnostics shouting about its ability to build character -or to ruin it.

That complication has been in my own life many times, when I took a particular (down?) turn in my work life so that I could honor a gig or a hustle that I had in mind, and watched employers, friends, and family furrow their brow when I told them what I had done.  But because I live in New Orleans, announcements of giving up a full-time job to pursue something less defined are usually met with understanding and even admiration. In way of appreciation, I began this particular blog to pay respect to the New Orleans ease around different work types and the often-necessary hustle.

One such person who personifies the glorious tangle of it all, refusing to comb the strands out in order to make it easier for others is my pal Bill Lavender who is (from my view) the multiple choice of poet, publisher, explainer, musician, builder, tinkerer, fisher, mediator, backyard griller, agreeable drinking/dining companion, kitchen helper, father,  cat-tender, back-up dog walker, interested grandfather, designer/part-owner of my favorite backyard pool and screened porch, full-time partner to writer/professor Nancy Dixon. Nancy is, by the way, another who fully understands and has lived the job, gig, and hustle life.  I’d even say that because she lived it for so long, with such honesty, she interprets life with far more intuition than either Bill or I or most people can. I know without a doubt that most of her circle deeply respect her ability to suss out any situation and that skill is clearly derived from a life lived rather than a workplace taught. I’d like to write more about her some day but she is a much bigger presence in my life and harder for me to observe without a little awe and a great deal of gratitude.

I write about Bill here because I returned today to a piece about his life as a poet that he had written a few years back. I have read this piece maybe a dozen times already, often finding  one or two paragraphs that I wanted to reread, or longer passages so I could accurately quote them to friends. This is one such passage that charmed me:

For me, poetry (as a vocation, an identity, a life’s work, an obsession) did not grow out of English class, but out of passing notes at the back of it, handing around scraps of paper that one would get one in trouble if the teacher saw.

Throughout the piece, he puzzles over the role of language, truth, other people, emotion, and the world to his poetry.  He shares the struggle in keeping poetry in his life, which took him into prominence in academia, but where his success or his person or his politics or his diffidence or none of those at all but just general university stupidity (we all have our theories), resulted in a well-publicized firing, shocking many. I remember having dinner with he and Nancy in the days directly after, and how flummoxed he was by it and what it meant and what he should do as protest.

In the end as he says,

“Then they fired me and I was, after a brief flurry of petitions and irate letter-writing, relieved.

Now I’m back in construction, this time as an employee, though a well-paid one. I run my little press from my house, with help from my wife, New Orleans scholar and writer Nancy Dixon…and/or an occasional volunteer or intern. And though there is always this problem or that, and though I work too hard and there is never enough time for this thing or that (including writing), it’s pretty ok.

There is much more to find in this piece than how his vocation fits into his definition as a worker. The passage with granddaughter Roxy and the cracker is so beautifully illuminating about the poet’s mind that I am humbled by it. Additionally, the clarity he sees around the role of Occupy is one that I share and yet had not been able to explain to others before reading this and so it remains the anchor for me in this piece. I know I will use those few words of analysis for a long time.

But in terms of what AJG&H (this blog) is meant to do, I think Bill offers one fine idea in it:

When you say I am_____, the number of words that you can use to fill in that blank , either adjectives or nouns, is not infinite. You select from a multiple choice list given to you by the culture, by the long bloody, political history of the world. 

That is the truth. We are defined by the list of words that we are labeled with, some we gladly choose to be known for, others that are forced on us. Infinite it is not. The list I gave you about Bill at the beginning of this piece are how I know him: through his poetry, by what he has built around town, and through social time with he and Nancy, sometimes in the company of their family.  If he saw my list, I am sure he would be surprised or bemused by some. Or maybe not.

“In the Thick(et) of Poetry: Meditations on 50 Years in the Language Game,” Xavier Review 37-1

 

 

teach-in and discussion re: busking laws

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buskers, MACCNO

Street Performers, come learn about your rights! The Music and Culture Coalition of New Orleans is hosting a FREE teach-in and discussion re: busking laws in New Orleans.

The meeting will provide a discussion and Q&A session for the rights and responsibilities of street performers and law enforcement, which will include participation from a civil rights attorney. This open dialogue looks to establish a safe space for performers to 1) ask questions, 2) express concerns, and/or 3) discuss incidents without enforcement agencies present.

Wednesday, April 24, 2019 at 2 PM – 3:30 PM Buffa’s Bar & Restaurant 1001 Esplanade Ave, New Orleans, Louisiana 70116

OUT TO LUNCH : Intellectual Property Podcast

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Cheryl Gerber, intellectual property

This podcast features Photojournalist Cheryl Gerber, my neighbor and pal who is a award-winning freelance journalist and documentary photographer.  She  is a staff photographer for Gambit and a regular contributor to the New York Times, the Associated Press, and New Orleans Magazine.

Her book Life in the Big Easy is a standout; find my review here.

On the podcast, Cheryl talks about her diligence in keeping track of her work, using a law firm in New York.

The work has changed a lot since she said she “used to drive to Gambit’s offices holding wet photos out of the window!” Yet, the digital format is “made for her” she says.

Out To Lunch

 

 

In Memoriam: Scotty Cathcart Hill (1947-2018)

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buskers, gig, hustle, New Orleans, Scotty Cathcart Hill

In Memoriam: Scotty Cathcart Hill (1947-2018)

A lot of people don’t realize that Scotty was an individual that made it possible for everybody to play on the streets,” says trumpeter Gregg Stafford, who began performing with Hill around 1975. “His band was the first band out on the streets of New Orleans,” Stafford continues, as he remembers what a struggle it was for Hill to stand up against complaints from shop owners and harassment by the police to keep his group playing outdoors in the French Quarter. “Many a time we had to go to court, we were issued a summons, arrested and went to jail.”

Hill’s French Market Jazz Band’s spot was on the corner of Royal and St. Peter streets and, according to Stafford, most of the musicians who worked regular gigs on Bourbon Street in the early 1980s would join the group on their days off. “We were making more money in two hours on the street than they’d make in six hours in a club. We were the only band on the street.”

Save Buskers Bunkhouse by Pearl Heart – GoFundMe

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buskers

 Buskers Bunkhouse in New Orleans, formerly known as Kamp Katrina, is being reincarnated as a nonprofit in Bywater…The house needs repairs. Ms Pearl’s concern is that she may not be able to meet with the demands for these repairs in time as she is on a fixed income. Fines can reach up to 500 dollars a day for each offense.

Source: Save Buskers Bunkhouse by Pearl Heart – GoFundMe

15 photos of New Orleans street performers

Tags

French Quarter, gig, informal economy, outsider culture

This slideshow of FQ buskers includes a few of the most known and constant performers over the last 35 years. For many of these photos, the scene is so recognizable to me that it is possible that my teenaged self was just off the side, sitting on the ground, taking it all in. To this day, the interaction with and observation of public street performers and hustlers remains a valued part of my daily life.

 

Juggling, dancing, playing music or freezing in time, performers have been a part of the French Quarter landscape for decades.

15 photos of New Orleans street performers | NOLA.com

The Ballad of Big Freedia: How the New Orleans Bounce Icon Was Betrayed By Her City’s Housing Crisis

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Big Freedia, Fensterstock

Alison Fensterstock has written an insightful and impressive analysis of one hard-working performer’s legal tangle and how giggers interactions with authority often end up badly for the creative community. How many people were sorry they accepted aid after Katrina or BP later on when they found themselves mired in red tape over it? In this case, as Fensterstock points out, the ebb and flow of funds when a performer begins to hit their moment can be confusing and disorienting and can result in a trip to the courthouse. Why would the authorities feel the need to do any more than fine Freedia for a lack of good accounting? Why require further punishment? One might think that those in authority want to find ways to punish him and others like him who won’t just go put on the white shirt and black pants and bus that table.

 

Cashauna Hill, the executive director of the Greater New Orleans Fair Housing Center, cautioned that she couldn’t speak directly to the rapper’s case. But “especially for a cash-based economy, the requirement to predict income is incredibly difficult,” she said. “Performers don’t have that kind of set, consistent clear structure.”

 The Ballad of Big Freedia: How the New Orleans Bounce Icon Was Betrayed By Her City’s Housing Crisis | Pitchfork

 

Update: Big Freedia gets probation

Will This New Labor Classification Save Gig Workers’ Careers? – Forbes

Tags

gig, informal economy, job, labor organizing, unemployment

With the debate over worker classification in the Gig Economy raging, many employers who hire freelancers and contractors live in fear .

 

“That was the biggest issue: If you create something like this, are companies going to take advantage and coerce people to do it?” says Zaino. “We think they are not going to be able to coerce people above a certain income level. They are not providing a routine service that is a commodity.”

It is also possible there could be considerable political opposition to such a proposal–even if freelancers like it.

With labor market trends pointing to a future in which more people do independent work, governments in the U.S. and other nations are moving toward aggressively reclassifying workers now doing contract work as employees, notes Zaino. “They don’t want to lose that payroll tax,” he says.

Source: Will This New Labor Classification Save Gig Workers’ Careers? – Forbes

Issue One: Invisible Labour | mice cms

Tags

capitalism, labor organizing, outsider culture

Thanks to “sophistiratchet #blackademic beast from/in/of New Orleans” Terri Coleman for highlighting this publication on her Facebookistan page. Cultural appropriation is so constant in colonial economies that artists are forced to enthusiastically participate in maintaining its dominance.  The artists in this issue intelligently and sensitively address how labor as a commodity when it comes to creating and sharing art assists that frame of events.

How can we account for all of the invisible labour that’s required for us to do our so-called radical work? Informed by intersectional and materialist feminisms, Issue 01 foregrounds forms of labour that go unrecognized in the white spaces of contemporary and media art worlds. This issue is concerned with the before, the after, the behind-the-scenes, and the off-camera. How much not-art is required to make the art? What’s the cost and who puts their life on the line? Without reducing all forms of life to labour, the works featured in this issue allow us to think value differently, to acknowledge all that we do to keep ourselves and our communities vivacious and resilient.

Source: Issue One: Invisible Labour | mice cms

 

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