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

 

 

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

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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

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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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Dispatches from the Graveyard Shift: What It’s Like to Work at a 24-Hour New Orleans Bar | Tales of the Cocktail

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drinking culture

Jennifer Kay regales us with her stories from her 7 years working the graveyard bartending shift, a stone’s throw from Bourbon Street.

I think one of the great things about New Orleans is that we don’t care what anyone does for a living. No one is impressed with anyone because of our occupations. In New Orleans, all walks of life party together. You don’t get that in other cities. In New Orleans, we don’t really care if a celebrity walks in because you know what, you have a job just like me, it’s just that your job is different.

Source: Dispatches from the Graveyard Shift: What It’s Like to Work at a 24-Hour New Orleans Bar | Tales of the Cocktail

Hunger Makes Me a Modern Girl-Review

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book review, Carrie Brownstein, DIY, informal economy, makerculture

 

A slim memoir from Portlandia’s Carrie Brownstein, but be warned: it is definitely not about that work. Instead, this is about her early family life in the Northwest and her young woman life in one of the best unknown bands of the 1990s/2000s, Sleater-Kinney. Of course, they are still around and releasing good music, but their unknown status is probably past, largely because of Brownstein’s new TV fame and because the teens that found them then are now critics and paid writers and can reciprocate with open love and respect and everyone else can pretend to have followed them for years. For those who do follow them, this book will be familiar in its existentialist language, even as the actual events are presented plainly, dramatically and only rarely as funny.  All of that seems perfect for a book about this painfully present band that was always more about intense performances with alternately obscure or in-your-face lyrics and was much less- if it all- about any rock posturing or god(dess) complex. Brownstein certainly understands and communicates that just being in a band was a lifesaver, but that she used it respectfully to find her adult voice to say something rather than just using it to seem cool is also clear.

Brownstein writes about herself in a rush, seemingly annoyed by her own youth and spends more time and positive energy on the others who make up that time, like her father, her bandmates Corin and Janet and even legendary bands around her such as Bikini Kill or known names like Eddie Vedder (was oddly glad to hear that he is a good guy). That makes sense because the best descriptions in the book are of seeing bands and in describing the scene (maybe the first era that this term was used without irony) in the staplegun marketing of rock and politics back then. Those chapters definitely brought that time back clearly and does so without false nostalgia. Those pieces reminded me of the best writing of Ellen Willis, which to me is saying something.

Brownstein can dazzle with phrases and apt opinions such as “Within the world of the band there was a me and a not me” and “Anything that isn’t traditional for women apparently requires that we remind people what an anomaly it is, even when it becomes less and less of an anomaly” but also can run circles around herself and an opinion so long that it makes you put the book down for a bit. I can relate to that as a writer and I suspect that she is both afraid of revealing too much and unable to resist showing the many sides of any situation that she notices. Both can be disconcerting for autobiographical writing, but lucky for us, she does her best to curb those impulses and her undeniable charisma comes through at almost all times. I hope for many more books by Brownstein, and much more of Sleater-Kinney and yes, many more seasons of Portlandia.

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View all of my Goodreads reviews

Sidewalk poet Erin & Jackson Square Reader Angela

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gig

The six-hour working day

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job, labor organizing, Sweden

At Toyota service centres in Gothenburg, working hours have been shorter for more than a decade. Employees moved to a six-hour day 13 years ago and have never looked back. Customers were unhappy with long waiting times, while staff were stressed and making mistakes, according to Martin Banck, the managing director, whose idea it was to cut the time worked by his mechanics. From a 7am to 4pm working day the service centre switched to two six-hour shifts with full pay, one starting at 6am and the other at noon, with fewer and shorter breaks. There are 36 mechanics on the scheme.

“Staff feel better, there is low turnover and it is easier to recruit new people,” Banck says. “They have a shorter travel time to work, there is more efficient use of the machines and lower capital costs – everyone is happy.” Profits have risen by 25%, he adds.

The Svartedalens experiment is inspiring others around Sweden: at Gothenburg’s Sahlgrenska University hospital, orthopaedic surgery has moved to a six-hour day, as have doctors and nurses in two hospital departments in Umeå to the north. And the trend is not confined to the public sector: small businesses claim that a shorter day can increase productivity while reducing staff turnover.

http://www.theguardian.com/world/2015/sep/17/efficiency-up-turnover-down-sweden-experiments-with-six-hour-working-day

Michael Karem Artist, French Quarter 09/20/05

Tags

job, New Orleans, street vending

There is a place called Jackson Square which there’s no place like it in the whole of the United States, except in Europe. Actually there is a place where like, as an artist, you don’t have to be in a gallery. You can get a license from the City, and you can sell all the places you want to. It’s first come, first served, in this square, called Jackson Square. The city of New Orleans is a tourist city, so most artists, that’s how they make their living. I’ve been doing this for four years. I don’t have to work for anybody. I pay my food and I pay my bed.
In New Orleans, the culture is very vibrant. I’m talking in terms of an artist, as an artist, you know. It’s a very inspirational city from an artist’s position. The people, you know, it’s like you pull different kind of people from all over this country, people from New York, Chicago, Caribbean, African, you put them in one place, and you get the kind of feelings you get in New Orleans. I think, I guess I can describe it in one word. I like the culture. It’s a very vibrant culture.

Originally I was born in Lagos, Nigeria, West Africa. I went to high school in Nigeria, and I went to college in Paris, France. Since I left France, I came to this country; I lived in New York for some time. I lived in Boston, and Boston is the best city that I like. From Boston — I lived in Boston for five years — from Boston I moved to Denver. While I was in Denver, I was in my art part time and I was working part-time. Actually, the reason I came to New Orleans, like most of the people that buy art from me, focus always on jazz. Most of the people that buy art from me, have been to New Orleans, they always say you should go to New Orleans, good for your art, go to New Orleans. So four years ago, I went to New Orleans to visit, and I was like, “Wow, this is where I need to be.” I wandered about New Orleans. When I first moved here, at first it reminds me of Paris, it reminds me of Paris. It’s just very European.

Source: Alive in Truth: The New Orleans Disaster Oral History & Memory Project