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News 14.10.22 : Today’s Articles of Interest from Around the Internets

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News 14.10.22 : Today’s Articles of Interest from Around the Internets
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News 14.10.22 : Today’s Articles of Interest from Around the Internets
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News 14.10.22 : Today’s Articles of Interest from Around the Internets
@courtneynye

The relationship between rank-and-file office workers and their bosses has never been equal. But remote work is creating a new kind of imbalance between certain people in leadership and their employees, and it’s stirring up resentment at work. Many managers — from middle management to the C-suite, depending on the workplace — are continuing to work remotely, but at the same time are calling their employees back to the office. Employees are getting angry and fighting back in the few ways they can: not showing up to the office or looking for work someplace else.

Some 80 percent of executive jobs are currently available remotely, according to executive search firm Cowen Partners, which helps companies fill management positions from director through the C-suite — ones that are often not visible through regular job postings. That’s up from about 25 percent pre-pandemic (the share of Americans overall who worked remotely at least some of the time was in the single digits then and is at about 45 percent now, according to Work From Home Research). Many of these executives cite being fully capable of working from home on technology like Zoom, Slack, and Teams, and say doing so enables them to work odd hours and communicate with colleagues in different time zones while maintaining work-life balance.

Read the rest of this article at: Vox

News 14.10.22 : Today’s Articles of Interest from Around the Internets

News 14.10.22 : Today’s Articles of Interest from Around the Internets

Facebook co-founder Mark Zuckerberg sees the metaverse as a wondrous new stage of tech’s advancement, filled with opportunities to work, play and communicate in completely new ways than we do today. You could be watching an IMAX movie on the moon, or you could be holding a work conference in a Pirates of the Caribbean-inspired tavern. Or maybe you could be rocking out on stage with your favorite band.

But while you look forward to how the tech industry’s vision of how the metaverse plays out, Zuckerberg is preparing for what appears to be the fight of his life. And it’ll be against Apple.

During his Meta Connect conference keynote Tuesday, Zuckerberg laid out his vision for the future, including games like Iron Man VR, a suite of business productivity apps from Microsoft and a new $1,500 headset called Quest Pro, whose headline feature includes sensors that can read your real-life facial expressions. But at several notable times in the 82-minute presentation, he also attacked Apple without saying its name.

In veiled jabs, Zuckerberg attacked Apple over everything from its secretive nature to its business model, profiting primarily off hardware rather than ads. He also attacked Apple’s “closed” ecosystem approach to app development, funneling all iPhone, iPad and Apple Watch apps through its App Store. While that approach, where apps are checked for security issues and judged against the company’s editorial standards, has helped create massive companies like Uber and TikTok, it’s also drawn scrutiny over antitrust concerns.

“In every generation of computing, there’s been an open ecosystem and a closed ecosystem,” Zuckerberg said, referencing the tech industry’s past platform battles between PCs and Mac computers, and Google’s Android software against Apple’s iOS. The tight control Apple exerts creates lock-in, Zuckerberg said, which helps Apple’s profits. The metaverse, he said, should not be like this. (Apple didn’t immediately respond to a request for comment about Zuckerberg’s jabs.)

While Zuckerberg’s attacks on Apple aren’t new — he’s openly criticized the company dating back to the first iPad — it marks what may be the beginning volleys of tech’s next big battle.

Read the rest of this article at: Cnet

Since leaving the insurance business for photography in 1970, Jack Lueders-Booth has used light, handheld cameras to capture spontaneous moments among his subjects, whether they are motorcycle racers or women in prison, Tijuana garbage pickers or the denizens of his local corner store. But when he recorded life along a dilapidated elevated-train line in Boston before its 1987 demise, he preferred a prewar Deardorff “view camera”—think rosewood body, accordion-style bellows, and tripod—so big and heavy, he needed shoulder pads while lugging it around.

The Washington Street Elevated began life in 1901 as a modern marvel, a neck-craning beauty with stations designed by the architect Alexander Wadsworth Longfellow Jr., a nephew of the poet. By the 1980s, the El—then the southern half of the MBTA’s Orange Line—was a screeching symbol of urban neglect, looming over the neighborhoods in its serpentine path.

“I was a middle-aged white guy working in primarily communities of color, and so I did not want to be surreptitious,” Lueders-Booth told me.

Read the rest of this article at: The Atlantic

News 14.10.22 : Today’s Articles of Interest from Around the Internets

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News 14.10.22 : Today’s Articles of Interest from Around the Internets

In 1953, Alfred Kinsey published his highly anticipated new report “Sexual Behavior in the Human Female.” The first edition of Playboy magazine hit newsstands. And three new movies made their premiere, one right after the other, all starring Playboy’s very first cover girl: Marilyn Monroe.

First noirish Niagara, then frothy How to Marry a Millionaire, and finally Gentlemen Prefer Blondes, the movie that would become one of Marilyn’s most iconic. They were the first movies in which Marilyn starred rather than merely appearing as a featured player, marking her ascent into a new level of fame. In a cultural moment obsessed with sex and how women have it, Marilyn Monroe was the woman of the moment. She was seen as the embodiment of sex itself, all curvy pale flesh and bright blonde hair, radiating an easy, joyous sensuality.

She was also seen as tragic, unstable, even dangerous. Marilyn was rumored to be difficult on set. She was rumored to have lovers. She was rumored to have had abortions, maybe miscarriages. She was rumored to have a crazy mother. She was rumored to be depressed. She was rumored to be a narcissist. She was rumored to be a bitch. This darkness, too, was part of the Marilyn image, and intimately tied to the idea of Marilyn as sex symbol. Sex, after all, is thought to be dangerous.

Born Norma Jeane Mortenson in 1926, Marilyn Monroe began her career as a model. She was discovered at age 18, working in a munitions factory while her husband was deployed with the Merchant Marines and soon ditched both to model full time. She did pinups, art photos, ads, and men’s magazines, and in 1946, she signed a contract with 20th Century Fox. When Niagara hit theaters in 1953, it was the payoff of nearly a decade of work.

In the 69 years since, our culture has not grown any less fascinated with sex or with Marilyn herself. She burst into fame as a sex symbol and so she remains, standing both for sex’s pleasures and for all its dark inverses. For a symbol from the mid-20th century, she remains bizarrely, intensely potent.

Read the rest of this article at: Vox

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News 14.10.22 : Today’s Articles of Interest from Around the Internets

Alicia Siemens shoves her arm back into the sagging sack of flannel and graphic T-shirts to pull a periwinkle something out of the stack. She holds it up against her chest to reveal a floral-print peasant dress circa 1970s. “There’s some staining,” she says, touching a yellowing lace collar, “But we should be able to do something with it.”

Siemens tosses the dress into a nearby shopping cart with about a dozen other items that she and co-worker Amanda Sanchez have set aside—a threadbare tee that reads “It’s Not Who You Are, It’s What You…WEAR,” a wrinkled cashmere cardigan, ’90s cargo pants. Behind her, dozens of six-foot-tall stacks of used clothing, wrapped tightly in tattered blankets and bound with wire, await release.

As a vintage buyer for Reformation, it’s Seimens’ job to scour public and private rag houses like this one for one-of-a-kind pieces. She visits several of the unmarked warehouses on the outskirts of Los Angeles each week, spending four to five hours wading through bales of miscellaneous clothing, sometimes sorted, sometimes not, usually dirty.

Most of the warehouses have no air conditioning or heating. Today, in the blazing mid-August heat, the stacks have been moved outside under a tarp. A manager checks in to see how she’s doing, while another warehouse employee uses a forklift to stack the bales. Every package is unlabeled—they don’t tell Siemens where they get their supply, and she doesn’t ask.

Between these private buying appointments, Siemens will make trips to thrift stores, shop friends’ vintage stores, or call up contacts with niche specialties—her denim guy, her sunglasses guy (Sanchez’s umber-tinted glasses are some of his: “Gucci, bay-bee!”).

Reformation resells almost everything its vintage buyers find. Some of it gets sold as “one-of-a-kind,” the brand’s word for true vintage, either online or at one of its dedicated vintage stores in Los Angeles, New York, or London. It also sells “upcycled styles”—items cut from existing garments that the vintage team alters into new pieces. Next is “remade,” where rolls of deadstock fabric are used to produce popular Reformation designs or vintage-inspired silhouettes. Occasionally, the team stumbles onto some bulk basics—a couple hundred tank tops or vintage sweatshirts—which it sells as a “deadstock batch.” Every single one of these items is hand-sourced by Reformation’s vintage buyers. They are a team of three.

Siemens pulls again from the pile—this time a threadbare graphic tee. “See, this is old.” She runs her fingers along the hem, pointing out its single stitch. The front features an armadillo on two legs, casually smoking a cigarette, and reads: “From Deep in the Heart of Texas.” “Just like me,” she says, and just like that, it’s in the cart.

Siemens and Sanchez move quickly, often without looking at the garments. They go by touch and feel, recognizing cashmere or cotton twill from muscle memory.

“Alicia is the textile queen,” says Sanchez.

“I can do denim without thinking,” Siemens says, “Tees slow you down, though. You have to stop and read them.”

It’s 10 a.m., and they’re already halfway through with their first bale. The goal is to get through at least three more to meet their monthly goals (while she won’t give hard numbers, Siemens tells me the Vintage team has “sales goals just like the rest of Ref—we’re just as business-oriented”), then get out before the temps hit the mid-90s.

Read the rest of this article at: Elle

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