It’s Labor Day week 2018, and “The American Worker” doesn’t fit any single poster shot. Is it the Uber driver – working flex time in the ‘gig’ economy, for a magic dispatcher of taxis around the world? Is it the brainiac Google engineers insisting to their CEO that “we need to know what we’re building?” In a gilded, globalized, unequal economy of work today, the old industrial unions are almost gone. But suddenly non-union professionals feeling dealt out of pay and power are shouting, we’re workers, too, and forming unions: graduate students at great universities, magazine writers at the ritzy New Yorker. Prisoners, too, and sex workers, coming out of the shadows to claim rights, and respect, as workers, with skills, thank you. Plus hospital nurses and public school teachers coast to coast.
The midterm measure of the American mood in Trump-time may well turn out to be not – or not just – the off-year House and Senate election scorecard, but the work-place turbulence all over the map this year. Workers who never organized before – in grad schools, in media, in sex work, in prisons – are talking solidarity. And notice the word “strike” is back in circulation, inspired maybe by the furious telemarketers in the seriously funny fantasy film, Sorry to Bother You. In the movie they shout “Phones down!” In real Boston, this week, housekeepers in three Marriott-owned hotels downtown could soon be shouting “Mops down!” in their fight for a new contract.
We’re in the work-place, not the political arena, this hour, though of course they’re connected as soon as workers say it’s all about the power of the corporate class, a fight about places at the table and restoring an idea of people-power democracy.
This building is in Denver, on Broadway and just south of I-25. The boxiness is fine, the color scheme chaps my hide though. Loud and inharmonious. Reminds me of the old orange roof on Howard Johnson’s. Least that had the justification of letting people know there’s some place to eat.
WBUR is on it ->
In cities like Seattle, Boston, Denver and Charlotte, new “luxury” condos and apartment buildings are going up to meet demand for new housing. But many of these buildings look like simple, plain boxes.
Those ‘Luxury’ Condos Look A Little Drab
Last month, in its second round of layoffs in as many years, comedy hub Funny or Die reportedly eliminated its entire editorial team following a trend of comedy websites scaling back, shutting down, or restructuring their business model away from original online content.
Hours after CEO Mike Farah delivered the news via an internal memo, Matt Klinman took to Twitter, writing, “Mark Zuckerberg just walked into Funny or Die and laid off all my friends.” It was a strong sentiment for the longtime comedy creator, who started out at UCB and The Onion before launching Pitch, the Funny or Die-incubated joke-writing app, in 2017.
But Klinman explained in a thread: “There is simply no money in making comedy online anymore. Facebook has completely destroyed independent digital comedy and we need to fucking talk about it.”
Article on Splitsider. (long)
Are we in another bubble? I remember 2008. I see a lot of places for rent and for sale that I don’t see a lot of people being able to afford. Maybe I’m not getting it.
Here’s how it looks in Somerville, Massachusetts.
For a century and more, Somerville was a working-class neighborhood bordering Cambridge. The city is still populated with a dense mix of blue-collar workers and recent immigrants, all living in together in red-brick and clapboard three-decker housing. It also provided many affordable, off-campus rooms and apartments to Tufts, Harvard, and MIT students as well as artists, writers, and radicals. Today, it’s dealing with the aftershocks of a boom in biotech and the knowledge economy that’s now rippling out from post-rent-control Cambridge. That bloom of wealth and demand is pushing premium jobs and rocketing rents into neighboring Somerville, a place where suddenly everybody wants to live and a lot of proud residents can no longer afford.
via Open Source with Christopher Lydon