#Industry All Global Union

[townpostin]

Steel Industry Conference Highlights Sector Challenges

Base metal sector event in Kolkata addresses production and safety issues Summary: • Two-day conference on base metal sector held in Kolkata • Industry representatives discuss production trends and policies • Safety and labor concerns in focus at the event JAMSHEDPUR – A recent conference in Kolkata brought together industry leaders to address crucial issues facing India’s base metal sector. The…

[fatehbaz]

was thinking about this

To be in "public", you must be a consumer. Or a laborer.

About control of peoples' movement in space/place. Since the beginning.

"Vagrancy" of 1830s-onward Britain, people criminalized for being outside without being a laborer.

Breaking laws resulted in being sentenced to coerced debtor/convict labor. Coinciding with the 1830-ish climax of the Industrial Revolution and the land enclosure acts, the "Workhouse Act" aka "Poor Law Amendment Act of 1834" forced poor people to work for a minimum number of hours every day. The major expansion of the "Vagrancy Act" of 1838 made "joblessness" a crime and enhanced its punishment. (Coincidentally, the law's date of royal assent was 27 July 1838, just 5 days before the British government was scheduled to allow fuller emancipation of its technical legal abolition of slavery in the British Caribbean on 1 August 1838.)

---

"Vagrancy" of 1860s-onward United States, people criminalized for being outside while Black.

Widespread emancipation after slavery abolition in 1865 rapidly followed by the outlawing of loitering which de facto outlawed existing as Black in public. Inability to afford fines results in being sentenced to forced labor by working on chain gangs or prisons farms, some built atop plantations.

---

"Vagrancy" of 1870s-onward across empires, people criminalized for being outside while being "foreign" and also being poor generally.

Especially from 1880-ish to 1918-ish, this was an age of widespread mass movement of peoples due to mass poverty and famine induced by global colonial extraction and "market expansion", as agricultural "revolutions" of monoculture/cash crop extraction resulted in ecological degradation. This coincides with and is facilitated by new railroads and telegraphs, leading to imperial implementation or expansion of identity documents, strict work contracts, passports, immigration surveillance, and border checkpoints.

All of this in just a few short years: In 1877, British administrators in India develop what would become the Henry Classification System of taking and keeping fingerprints for use in binding colonial Indians to legal contracts. That same year during the 1877 Great Railroad Strike, and in response to white anxiety about Black residents coming to the city during Great Migration, Chicago's policing institutions exponentially expand surveillance and pioneer "intelligence card" registers for tracking labor union organizing and Black movement, as Chicago's experiments become adopted by US military and expanded nationwide, later used by US forces monitoring dissent in colonial Philippines and Cuba. Japan based its 1880 Penal Code anti-vagrancy statutes on French models, and introduced "koseki" register to track poor/vagrant domestic citizens as Tokyo's Governor Matsuda segregates classes, and the nation introduces "modern police forces". In 1882, the United States passes the Chinese Exclusion Act. In 1884, the Ottoman government enacts major "Passport Nizamnamesi" legislation requiring passports. In 1885, during the "Tacoma riot" or "expulsion", a mob of hundreds of white residents rounded up all of the city's Chinese residents, marched them to the train station, kicked them out of the city, and burned down the Chinese neighborhood, introducing what is called "the Tacoma method".

Punished for being Chinese in San Francisco. Punished for being Korean in Japan. Punished for crossing Ottoman borders without correct paperwork. Arrested for whatever, then sent to do convict labor. A poor person in the Punjab, starving during a catastrophic famine, might be coerced into a work contract by British authorities. They will have to travel, shipped off to build a railroad in British Kenya. But now they have to work. Now they are bound. They will be punished for being Punjabi and trying to walk away from Britain's tea plantations in Assam or Britain's rubber plantations in Malaya.

---

"Vagrancy" amidst all of this, people also criminalized for being outside while "unsightly" and merely even superficially appearing to be poor. San Francisco introduced the notorious "ugly law" in 1867, making it illegal for "any person, who is diseased, maimed, mutilated or deformed in any way, so as to be an unsightly or disgusting object, to expose himself or herself to public view". Today, if you walk into a building looking a little "weird" (poor, Black, ill, disabled, etc.) or carrying a small backpack, you are given seething spiteful glares and asked to leave.

"Vagrancy" everywhere in the United States, a combination of all of the above. De facto criminalized for simply going for a stroll without downloading the coffee shop's exclusive menu app. "Vagrancy", since at least early nineteenth century Europe. About the control of movement through and access to space/place. Concretizing and weaponizing caste, corralling people, anchoring them in place (de facto confinement), extracting their wealth/labor.

You are permitted to exist only as a paying customer or an employee.

[reasonsforhope]

The World's Forests Are Doing Much Better Than We Think

You might be surprised to discover... that many of the world’s woodlands are in a surprisingly good condition. The destruction of tropical forests gets so much (justified) attention that we’re at risk of missing how much progress we’re making in cooler climates.

That’s a mistake. The slow recovery of temperate and polar forests won’t be enough to offset global warming, without radical reductions in carbon emissions. Even so, it’s evidence that we’re capable of reversing the damage from the oldest form of human-induced climate change — and can do the same again.

Take England. Forest coverage now is greater than at any time since the Black Death nearly 700 years ago, with some 1.33 million hectares of the country covered in woodlands. The UK as a whole has nearly three times as much forest as it did at the start of the 20th century.

That’s not by a long way the most impressive performance. China’s forests have increased by about 607,000 square kilometers since 1992, a region the size of Ukraine. The European Union has added an area equivalent to Cambodia to its woodlands, while the US and India have together planted forests that would cover Bangladesh in an unbroken canopy of leaves.

Logging in the tropics means that the world as a whole is still losing trees. Brazil alone removed enough woodland since 1992 to counteract all the growth in China, the EU and US put together. Even so, the planet’s forests as a whole may no longer be contributing to the warming of the planet. On net, they probably sucked about 200 million metric tons of carbon dioxide from the atmosphere each year between 2011 and 2020, according to a 2021 study. The CO2 taken up by trees narrowly exceeded the amount released by deforestation. That’s a drop in the ocean next to the 53.8 billion tons of greenhouse gases emitted in 2022 — but it’s a sign that not every climate indicator is pointing toward doom...

More than a quarter of Japan is covered with planted forests that in many cases are so old they’re barely recognized as such. Forest cover reached its lowest extent during World War II, when trees were felled by the million to provide fuel for a resource-poor nation’s war machine. Akita prefecture in the north of Honshu island was so denuded in the early 19th century that it needed to import firewood. These days, its lush woodlands are a major draw for tourists.

It’s a similar picture in Scandinavia and Central Europe, where the spread of forests onto unproductive agricultural land, combined with the decline of wood-based industries and better management of remaining stands, has resulted in extensive regrowth since the mid-20th century. Forests cover about 15% of Denmark, compared to 2% to 3% at the start of the 19th century.

Even tropical deforestation has slowed drastically since the 1990s, possibly because the rise of plantation timber is cutting the need to clear primary forests. Still, political incentives to turn a blind eye to logging, combined with historically high prices for products grown and mined on cleared tropical woodlands such as soybeans, palm oil and nickel, mean that recent gains are fragile.

There’s no cause for complacency in any of this. The carbon benefits from forests aren’t sufficient to offset more than a sliver of our greenhouse pollution. The idea that they’ll be sufficient to cancel out gross emissions and get the world to net zero by the middle of this century depends on extraordinarily optimistic assumptions on both sides of the equation.

Still, we should celebrate our success in slowing a pattern of human deforestation that’s been going on for nearly 100,000 years. Nothing about the damage we do to our planet is inevitable. With effort, it may even be reversible.

-via Bloomburg, January 28, 2024

[sabertoothwalrus]

so I’ve been gaining a lot of insight into the animation industry recently, especially in regards to pitching & the creation of new shows. There’s a few ways to go about it.

First, there’s pitching to a studio. When you pitch, it has to be SHORT and CONCISE. You may write a lovingly detailed pitch bible that perfectly breaks down episodes and characterizations, and it might barely even get read. First impressions, first impressions, first impressions!

Most peoples’ first projects don’t get picked up. I’ve heard a few stories from directors that said they tried pitching a story they’d had for years, which got rejected, to then spend a week or even several hours in their car coming up with a new idea, only for that to get greenlit.

But that’s not the end of it. Just because a show gets greenlit, doesn’t mean it will ever get finished. There’s lots of things that can happen. Sometimes, unexpected major world events (like… a global pandemic) can cause projects to get chopped. Sometimes, a CEO change or studio merge means a single person can decide a project “no longer fits with the company’s brand.” Sometimes, the one producer that was rooting for your project gets laid off, and no one else cares enough, so it gets shelved. Sometimes, a streaming service decides to create an animation department, and then they decide they don’t want it anymore. Sometimes, the studio will be simultaneously be developing another project that was too similar to yours and they just didn’t think to tell you until they decide yours is the one with less potential.

On top of that, almost everyone in the industry is saying that “studios just don’t pick up original content anymore.” Studios want something they can franchise, something that will bring in money. New content is risky. Established fanbases are safer.

However! Studios can still be a very good thing. They can be unionized. They can provide better benefits and resources. They can have connections and infrastructure and a larger volume of workers. At a studio, you can divide the labor and produce more in less time. Longer episodes, longer seasons, more consistency in quality.

But this comes with all of the disadvantages of having more in the kitchen.

The alternative is indie animation.

With indie animation, you have total freedom. Full artistic control. It doesn’t even matter if your idea sucks ass, because there’s no one to tell you you can’t make it. You could make it anyway, and you can make it whatever you wanted.

The thing is, making animation is hard. In my production class last semester, the average maximum animation one person could make in that timeframe was 30-60 seconds, and that’s not even counting background design, sound design, or cleanup/color. To make a 5 minute animated short, you should probably have at least 5 people.

And it is CRUCIAL you have a production manager. Ideally someone who’s not already doing art for the project. Most projects without a production manager will fall apart pretty quickly. Once the adrenaline and impulse-fueled motivation wears off, you need someone to hold you accountable and enforce deadlines and proper time management.

Speaking of time, that’s also hard to get. The more people you have, the more likely schedules won’t line up. Most people will have school, or other jobs.

And it costs MONEY!!!!!! You either have everyone work for free and volunteer their time & energy, or you establish a business as a proper indie studio, with people who may or may not have experience on how to handle paying someone else’s salary. And the money has to come from somewhere, so you have to rely on crowdfunding like patreon or kickstarter. (This, by the way, is why I could never fault an indie animation for releasing merch with their pilot.)

And like, maybe you wanna do a series, and all your friends agree to volunteer their labor and time to make the first episode, but it was unanimously not sustainable. Deciding not to produce a second episode until you can raise enough money is not being suddenly greedy, it’s attempting to compensate people rather than expecting them to be continuously taken advantage of.

You have to consider your output as well. There are some outliers like Worthikids, who afaik does all his animation himself, and afaik can work on it full-time thanks to his patreon subscribers. And he still has only produced a total of 30 minutes of animation (for Big Top Burger specifically) in the past 4 years. This is an IMPRESSIVE feat and this is with using a lot of 3D as part of his pipeline!!

Indie animation also has the complication of being more accessible for fandoms. When you’re posting your Official Canon Content on youtube, it doesn’t look a lot different than the fandom-created video essay in the sidebar next to it. What’s canon vs what’s fanon becomes less distinguishable. The boundaries are blurrier. When the creator is just some guy you follow on twitter, it’s easier to prod them for info regarding ships and theories and word-of-god confirmation. They don’t have a PR team or entire international tv networks to appeal to. And this is when creators get frustrated that their fans snowball and turn their creation into something they don’t recognize (and no longer enjoy) anymore.

So it’s tricky.

Thankfully, the threshold to learn animation is fairly low nowadays!! There are TONS of resources online to learn it on your own without forking over a couple hundred thousand to a private art college. There are conventions and discord servers and events where you can network, if you know where to look.

I know it can seem discouraging in the face of capitalism, but I think that’s all the more reason why it’s so important to BE DETERMINED about animation!! We’re already starting to see the beginning of an indie animation boom, and I think it’s a testament to humanity’s desire to tell stories and create art. Even if there’s no financial gain, we do whatever it takes to tell our stories anyway.

[probablyasocialecologist]

Palestinian trade unions issue an urgent global call to action, calling on workers everywhere to halt the sale and funding of arms to Israel — and related military research. As Israel escalates its military campaign, Palestinian trade unions call on our counterparts internationally and all people of conscience to end all forms of complicity with Israel’s crimes - most urgently halting the arms trade with Israel, as well as all funding and military research. The time for action is now - Palestinian lives hang in the balance.  This urgent, genocidal situation can only be prevented by a mass increase of global solidarity with the people of Palestine and that can restrain the Israeli war machine. We need you to take immediate action - wherever you are in the world - to prevent the arming of the Israeli state and the companies involved in the infrastructure of the blockade. We take inspiration from previous mobilisations by trade unions in Italy, South Africa and the United States, and similar international mobilisations against the Italian invasion of Ethiopia in the 1930s, the fascist dictatorship in Chile in the 1970s and elsewhere where global solidarity limited the extent of colonial brutality.  We are calling on trade unions in relevant industries: 1. To refuse to build weapons destined for Israel. 2. To refuse to transport weapons to Israel. 3. To pass motions in their trade union to this effect. 4. To take action against complicit companies involved in implementing Israel’s brutal and illegal siege, especially if they have contracts with your institution.  5. Pressure governments to stop all military trade with Israel, and in the case of the US, funding to it. We make this call as we see attempts to ban and silence all forms of solidarity with the Palestinian people. We ask you to speak out and take action in the face of injustice as trade unions have done historically. We make this call in the belief that the struggle for Palestinian justice and liberation is not only a regionally and globally determined struggle. It is a lever for the liberation of all dispossessed and exploited people of the world.

[tieflingkisser]

All unionized Dragon Age: Dreadwolf QA workers have been laid off

All of Keywords Studios’ unionized QA workers were laid off from the studio in late September after Dragon Age: Dreadwolf developer BioWare declined to continue its contract in August. The QA workers, who were contracted to assist with playtesting and quality assurance at BioWare Edmonton, won their union vote in June 2022. All 16 eligible voters said “yes” to joining United Food and Commercial Workers Canada Union, Local No. 401. It was a historic vote, making the group the first games industry union in Canada. Keywords Studios workers were in bargaining with the company when they were laid off following the news of 50 job cuts at BioWare itself. A UFCW representative told Polygon that 13 people were laid off — everyone supporting BioWare. Liz Corless, Keywords Studios’ global head of marketing, confirmed that 13 Edmonton-based QA workers were laid off.

[beguines]

Today, strawberries have replaced much of the citrus and olive trees in the strip, and despite the relatively small area of farmland used for this sector, it enjoys high economic and social value. In all of the ways that citrus cultivation has been targeted, strawberries seem designed to survive Israel's eco-colonial practices. Strawberries are able to survive on partially saline water, they have faster production cycles, are easier to cultivate and replant after destruction and uprooting, are more mobile after moments of displacement, require less space and distance between each planted crop, and enable farmers in Gaza's northern peripheries and along the buffer zones to remain visible to the observing Israeli occupation forces. As a crop with limited historical roots in the country, it adapts well and is highly versatile. The use of compost for the cultivation of strawberries enables significant increase in fruit productivity, saving Gazan farmers the use of precious water supplies and decreasing its need for the use of fertilizers.

Despite this, the conditions of Gaza's ongoing colonial isolation and erasure make it increasingly impossible for farmers to sustain their livelihoods off of the land, even with strawberry production. In today's Gaza, as the agricultural export industry is fully reliant on the Israeli permit system, strawberries are slowly being replaced with other low-growing, fast-yielding, cost-effective and high-demand fruits and vegetables. Indeed, as a colleague at the Union of Agricultural Work Committees, the largest agricultural development institution in Palestine, told me during my time in Gaza, the most recent crop to slowly begin its replacement of strawberries in this line of forced colonial transition is pineapple—with the first pineapple farm planted in Khan Younes in 2017.

Examining the conditions that make strawberry production more practical and fuel the transition from citrus production requires examining the ongoing Israeli colonization of natural resources that supplant and suppress traditional modes of relating to nature. Witnesses of Israeli neo-colonial violence, the disappearing orchards in Gaza mark its new disconnected reality. The transition from the orange to the strawberry—and perhaps later to pineapple—is more than a shift in markets and produce. They affect the history and identity of Palestinians in Gaza. The links between cultivation and national or communal identity are well-known and documented in other contexts, including their intersection with colonial nation-branding. But in the context of aggressive climate change the instabilities, tensions, and erasures that come with transitions in vegetation are growing increasingly stark. For example, in the case of the Swiss canton of Valais, global heating has resulted in the growth of cacti, Opuntia, that are proliferating on the mountainsides of the canton, encroaching on natural reserves and causing a biodiversity threat. Used to "seeing their mountainsides covered with snow in winter and edelweiss flowers in summer" warmer and drier temperatures have given way to what is named in media coverage as an "invasive species colonizing the slopes." Launching an uprooting campaign in 2022, the press release stressed that "this invasive and non-native plant is not welcome in the perimeter of prairies and dry pastures of national importance." Evidently the discourse mobilized is dominated by aggressive language of aliens and invasion, which contributes to the use of violent and war-like metaphors to push for pre-emptive and combative control. In the Gazan case, the transition, as well as local responses to it, are less pronounced and weeded through long-term colonial policies imposed by the occupation. That said, the transition to strawberry cultivation nevertheless carries a similar ecological, cultural, and socio-political impact. In place of the orange, the strawberry is surfacing as the symbol of Gaza, redrawing the boundaries of the identity of its besieged inhabitants. Whereas in the past the orange was a continuous link between Gaza and the rest of historic Palestine, with deep generational roots and a symbol of steadfast and continuous presence, the abrupt transition from oranges to strawberries distances Gaza from the constructed identity and vegetal knowledge production of Palestinian farmers elsewhere. Put differently, this symbolic and political transition at the level of fruit production can be seen as another mechanism through which Israeli neo-colonial violence reifies Gaza as an enclave: divided and partitioned from the rest of Palestine.

Shourideh C. Molavi, Environmental Warfare in Gaza: Colonial Violence and New Landscapes of Resistance

[iww-gnv]

Image description copied from alt text: A square graphic with a red background that shows a raised fist bearing the IWW logo and text that reads, "Did you know? The IWW was founded in Chicago, Illinois in June 1905." The union website, iww.org, is also listed. End image description.

Did you know?

The Industrial Workers of the World, or the IWW, was founded in Chicago, Illinois in June of 1905. Its members are often nicknamed "Wobblies," and the union itself is frequently called "the One Big Union."

Why "One Big Union?" Because the IWW was founded to serve every worker. At the time the IWW was founded, only a short list of specialized trades had unions. Major industries such as textiles, docks, agriculture, and mining were all without representation, and many of the IWW's first battles were to organize those very workers!

If you're a member of the working class, you have a place with the IWW!

Learn More:

IWW - Our History

IWW History Project - University of Washington

The Industrial Workers of the World - PBS

Wobblies of the World: A Global History of the IWW, Edited by Peter Cole, David Struthers, and Kenyon Zimmer

[mostlysignssomeportents]

The unexpected upside of global monopoly capitalism

I'm touring my new, nationally bestselling novel The Bezzle! Catch me TODAY (Apr 10) at UCLA, then Chicago (Apr 17), Torino (Apr 21) Marin County (Apr 27), Winnipeg (May 2), Calgary (May 3), Vancouver (May 4), and beyond!

Here's a silver lining to global monopoly capitalism: it means we're all fighting the same enemy, who is using the same tactics everywhere. The same coordination tools that allow corporations to extend their tendrils to every corner of the Earth allows regulators and labor organizers to coordinate their resistance.

That's a lesson Mercedes is learning. In 2023, Germany's Supply Chain Act went into effect, which bans large corporations with a German presence from using child labor, violating health and safety standards, and (critically) interfering with union organizers:

https://www.bafa.de/EN/Supply_Chain_Act/Overview/overview_node.html

Across the ocean, in the USA, Mercedes has a preference for building its cars in the American South, the so-called "right to work" states where US labor law is routinely flouted and unions are thin on the ground. As The American Prospect's Harold Meyerson writes, the only non-union Mercedes factories in the world are in the US:

https://prospect.org/labor/2024-04-08-american-workers-german-law-uaw-unions/

But American workers – especially southern workers – are on an organizing tear, unionizing their workplaces at a rate not seen in generations. Their unprecedented success is down to their commitment, solidarity and shrewd tactics – all buoyed by a refreshingly pro-worker NLRB, who have workers' backs in ways also not seen since the Carter administration:

https://pluralistic.net/2023/09/14/prop-22-never-again/#norms-code-laws-markets

Workers at Mercedes' factory in Vance, Alabama are trying to join the UAW, and Mercedes is playing dirty, using the tried-and-true union-busting tactics that have held workplace democracy at bay for decades. The UAW has lodged a complaint with the NLRB, naturally:

https://www.commondreams.org/news/alabama-mercedes-benz

But the UAW has also filed a complaint with BAFA, the German regulator in charge of the Supply Chain Act, seeking penalties against Mercedes-Benz Group AG:

https://uaw.org/uaw-files-charges-in-germany-against-mercedes-benz-companys-anti-union-campaign-against-u-s-autoworkers-violates-new-german-law-on-global-supply-chain-practices/

That's a huge deal, because the German Supply Chain Act goes hard. If Mercedes is convicted of union-busting in Alabama, its German parent-company faces a fine of 2% of its global total revenue, and will no longer be eligible to sell products to the German government. Chomp.

Now, the German Supply Chain Act is new, and this is the first petition filed by a non-German union with BAFA, so it's not a slam dunk. But supermajorities of Mercedes workers at the Alabama factory have signed UAW cards, and the election is going to happen in May or June. And the UAW – under new leadership, thanks to a revolution that overthrew the corrupt old guard – has its sights set on all the auto-makers in the American south.

As Meyerson writes, the south is America's onshore offshore, a regulatory haven where corporations pay minimal or no tax and are free to abuse their workers, pollute, and corrupt local governments with a free hand (no wonder American industry is flocking to these states). Meyerson: "The economic impact of unionizing the South, in other words, could almost be placed in the same category as reshoring work that had gone to China."

The German Supply Chain Act was passed with the help of Germany's powerful labor unions, in an act of solidarity with workers employed by German companies all over the world. This is that unexpected benefit to globalism: the fact that Mercedes has extrusions into both the American and German political spheres means that both American and German workers can collaborate to bring it to heel.

The same is true for antitrust regulators. The multinational corporations that are in regulators' crosshairs in the US, the EU, the UK, Australia, Japan, South Korea and beyond use the same playbook in every country. That's doubly true of Big Tech companies, who literally run the same code – embodying the same illegal practices – on servers in every country.

The UK's Competition and Markets Authority has led the pack on convening summits where antitrust enforcers from all over the world gather to compare notes and collaborate on enforcement strategies:

https://www.eventbrite.co.uk/e/cma-data-technology-and-analytics-conference-2022-registration-308678625077

And the CMA's Digital Markets Unit – which boasts the the largest tech staff of any competition regulator in the world – produces detailed market studies that turn out to be roadmaps for other territories' enforces to follow – like this mobile market study:

https://assets.publishing.service.gov.uk/media/63f61bc0d3bf7f62e8c34a02/Mobile_Ecosystems_Final_Report_amended_2.pdf

Which was extensively referenced in the EU during the planning of the Digital Markets Act, and in the US Congress for similar legislation:

https://www.congress.gov/bill/117th-congress/senate-bill/2710

It also helped enforcers in Japan:

https://asia.nikkei.com/Business/Technology/Japan-to-crack-down-on-Apple-and-Google-app-store-monopolies

And South Korea:

https://www.reuters.com/technology/skorea-considers-505-mln-fine-against-google-apple-over-app-market-practices-2023-10-06/

Just as Mercedes workers in Germany and the USA share a common enemy, allowing for coordinated action that takes advantage of vulnerable flanks wherever they are found, anti-monopoly enforcers are sharing notes, evidence, and tactics to strike at multinationals that are bigger than most countries – but not when those countries combine.

This is an unexpected upside to global monopolies: when we all share a common enemy, we've got endless opportunities for coordinated offenses and devastating pincer maneuvers.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/04/10/an-injury-to-one/#is-an-injury-to-all

[fangirleaconmigo]

As a tv super fan, I support the writers’ strike.

As creative industry becomes more and more automated and corporatized, the 1% at the top, the executives, CEOs, and venture capitalists, are getting (even!) more obscenely wealthy. And as they do, does it trickle down? Ha. No. They starve the creatives. They can be making billions and they will try to get art and writing for free.

They call it content, create an algorithm, and behave as though the least valuable part is the person drawing or writing or painting.

Massive global corporations are destroying art as a profession for the tiniest bit of extra profit.

The viewers know the faces of the performers, so singers and actors have a bit more leverage, but they’re still getting smaller and smaller slices of the pie.

The writers guild is fighting so that television and script writing can remain a valid professional career that can pay rent, instead of a soul crushing, gig economy, pennies for words, pipe dream. (You know, the way predatory capitalism and extreme greed destroyed journalism as a profession)

Look at Disney. When they acquired Star Wars they decided they didn’t need to pay the writers of the novels any of their meager royalties. They decided that buying a contract meant profiting from books and devaluing, ignoring, and cheating the people who created the books. (Look up #disneymustpay and Alan Dean Foster)

That’s the culture. Starve the creatives, little by little, until you can replace them with an AI, whose work has been edited by an under or unpaid temp with no healthcare.

That makes my skin crawl. That’s why I support creatives. I support workers. I support unions. And I think we all should.

[townpostin]

Global Base Metal Conference Draws Jamshedpur Union Leaders

Kolkata hosts two-day event addressing industry challenges and trends Key Points: • Golmuri Tinplate Workers Union leaders attend Base Metal Sector conference • Event focuses on global industry issues, policies, and labor concerns • International representatives gather to discuss sector’s future JAMSHEDPUR – Two local union leaders have departed for a crucial international conference addressing…

[fuckyeahmarxismleninism]

We need you to take immediate action — wherever you are in the world — to prevent the arming of the Israeli state and the companies involved in the infrastructure of the blockade. We take inspiration from previous mobilizations by trade unions in Italy, South Africa and the United States and similar international mobilizations against the Italian invasion of Ethiopia in the 1930s, the fascist dictatorship in Chile in the 1970s and elsewhere where global solidarity limited the extent of colonial brutality.

We are calling on trade unions in relevant industries:

To refuse to build weapons destined for Israel.

To refuse to transport weapons to Israel.

To pass motions in their trade union to this effect.

To take action against complicit companies involved in implementing Israel’s brutal and illegal siege, especially if they have contracts with your institution.

Pressure governments to stop all military trade with Israel and, in the case of the U.S., stop funding it.

[wildwren]

hey y'all, since it's spotify wrapped season, can i beg a moment of your time? no, im not about to get on a soapbox about spotify. spotify sucks but that's not what i want to talk about.

did you know that most recording artists in the united states don't have the legal right to organize a union? some musicians are unionized as part of SAG-AFTRA or the American Federation of Musicians (for instrumental musicians), but lyricists and composers are classified as "independent contractors." This decision was handed down by the national labor relations board in 1984 and has not been overturned.

this means that musicians cannot organize or negotiate for better deals from, for instance, spotify, without the threat of being sued due to antitrust laws. musicians who are not represented by a major label or who are not part of a large musical organization such as an orchestra have very little bargaining power. source

fixing this situation will take a lot of work -- there's not a single easy solution. but in an era where we're seeing union growth and historic labor wins, i think now is the time to dream big. musicians need to organize ourselves on the ground to create collective power. we also need wider political interest and momentum around the necessity of musicians' rights.

this isn't time for you to say "yea im never gonna pay full price for music, sorry" or "musicians just have to accept that the market's saturated and devalued." this is time for us to try to envision a music industry where artists can be compensated for their creative labor and music can still remain accessible and easy to discover. changing the labor situation in the united states is just one piece of changing a global music industry, but it could have a big impact on the future.

if you're in the united states, there are two active efforts that you can ask your representatives to support -- one congressional bill introduced by Deborah Ross, and a resolution introduced by Rashida Tlaib.

H.R. 5576 - Protect Working Musicians Act of 2023 - sponsored by Artist Rights Alliance

H.Con.Res. 102 - Resolution for a new Streaming Royalty - sponsored by United Musicians and Allied Workers

i know there is so much to organize around right now. but if you're in the united states and have predominantly used spotify this year, or posted about spotify wrapped, please take a moment to send a message to your representatives about these bills. all you need to do is fill in your info, the letters are already written for you.

and please share this widely. thank you!!

[felassan]

Article: 'All unionized Dragon Age: Dreadwolf QA workers have been laid off'

The Keywords Studios workers were laid off in late September

Text:

"All of Keywords Studios’ unionized QA workers were laid off from the studio in late September after Dragon Age: Dreadwolf developer BioWare declined to continue its contract in August. The QA workers, who were contracted to assist with playtesting and quality assurance at BioWare Edmonton, won their union vote in June 2022. All 16 eligible voters said “yes” to joining United Food and Commercial Workers Canada Union, Local No. 401. It was a historic vote, making the group the first games industry union in Canada. Keywords Studios workers were in bargaining with the company when they were laid off following the news of 50 job cuts at BioWare itself. A UFCW representative told Polygon that 13 people were laid off — everyone supporting BioWare. Liz Corless, Keywords Studios’ global head of marketing, confirmed that 13 Edmonton-based QA workers were laid off. “We can confirm that regrettably the 13 Edmonton-based staff have now left the business following the end of a fixed term client contract,” Corless wrote in an email. The group of workers were laid off on Sept. 27. Russwurm added that Keywords Studios has “taken the position there is no more work available.” (Keywords Studios has several QA job postings listed on its website, in Canada and across the world. Many, but not all of these listings, are related to language localization and require specialties that the laid-off workers may not have.) Russwurm said the union filed an employment standards complaint against Keywords Studios this week. He added that Keywords Studios offered “minimal severance,” which the union is disputing. Severance has not yet been paid out, he said. (Several BioWare employees laid off at that time are currently suing the company for “adequate severance.” These are two separate issues with two separate companies, however, despite being linked to Dragon Age: Dreadwolf.) Though the unionized QA workers did not yet have a contract with Keywords Studios, they can attempt to negotiate better severance pay. Keywords Studios is headquartered in Ireland but has more than 20 worldwide offices. The studio was founded in 1998, and does not publish or develop its own games — instead, it provides art, QA, audio, and other development support for other studios, like BioWare."

[source]

(emphasis mine as there are two issues with two companies)

[ankle-beez]

To Our Guild Leadership and Staff: We are proud rank-and-file union and trade association members from every corner of our industry — working on screen, stage, set, and in the field — united in solidarity with the global call for a permanent ceasefire in Gaza and a just, lasting peace. As artists and storytellers, we cannot stand idly by as our industry refuses to tell the story of Palestinian humanity. Following SAG-AFTRA’s statement in sympathy with Israel regarding October 7, many SAG-AFTRA and sister guild members have watched in horror as the Israeli government wages a war of collective punishment on the civilian population of Gaza — killing over 40,000 Palestinians, injuring over 90,000 more, forcibly displacing 2 million people, and openly targeting members of the press and their families. As the IDF continues its assault on “safe zones,” schools, and hospitals, and as civilians in Gaza die from starvation, dehydration, and lack of medical supplies and fuel, major human rights groups have labeled these acts as war crimes, human rights atrocities, and even genocide. The UN has described Gaza as a “graveyard for children” — and estimate that by mid-July “half of the population — more than a million people — could face death and starvation.” As of now, there is no end in sight — only escalation, death, and destruction.

Despite these clear violations of human rights and Israel’s decades-long occupation of Palestinian land and lives, our union leadership has remained silent. Thus, they have made conditional which atrocities we choose to condemn and which innocent lives we choose to acknowledge and mourn. Moreover, SAG-AFTRA and nearly all our sister guilds have remained silent in the face of flagrant and unprecedented attacks on freedom of the press, including the deliberate targeting and murder of Palestinian journalists and their families by the IDF. The Committee to Protect Journalists has declared the war on Gaza “the deadliest period for journalists covering conflict since CPJ began tracking in 1992.” Some of those journalists were members of news organizations whose domestic affiliates are represented under SAG-AFTRA contracts. While SAG-AFTRA issued a public statement at the outset of the Ukraine war demanding that “journalists of all nations working in the war zone are kept safe,” its words now ring hollow if they only apply to some journalists of certain identities.

On December 13, 2023, Israeli forces attacked The Freedom Theatre in the Jenin refugee camp and kidnapped several of its members — fellow actors and directors, who have called for solidarity from theatre workers worldwide. Palestinian trade unions have called for international labor solidarity, reminding us that “the struggle for Palestinian justice and liberation is a lever for the liberation of all dispossessed and exploited people of the world.” Worldwide labor has heeded that call, including major Australian, British, Belgian, Indian, and American unions. On Nov 15, our British peer union, Equity UK, called for an immediate and lasting ceasefire, stating: “We send our solidarity to Palestinian artists suffering in the horrendous conditions created by Israeli bombing, occupation, and apartheid.” Since then, UAW International has called for a ceasefire and announced the formation of a Divestment and Just Transition working group; The Animation Guild (IATSE Local 839) became the first Hollywood union to call for a ceasefire in Gaza; five of the 10 largest American labor unions and federations have officially called for a ceasefire including the NEA (National Education Association), SEIU (Service Employees International Union), and the AFL-CIO; and unions collectively representing a majority of organized workers in the US formed The National Labor Network for Ceasefire. In July, 7 major unions representing over 6 million workers published a letter to President Biden demanding an arms embargo on Israel.

The global call for a ceasefire — from organized labor, artists and fellow SAG-AFTRA members, human rights groups, world leaders, and the majority of the American public — grows louder every day. And yet, our government continues to sponsor the Israeli forces’ assault on Palestinian civilians, and our industry union leadership still refuses to speak out. We reject this silence. Our calling as artists, news reporters, and storytellers is to bring truth to the world. To fight the erasure of life and culture. To unite for justice in the name of the most vulnerable among us. It’s exactly what we did during our historic strike in 2023.

We are the labor that built and sustains this business. When our leaders can’t stand up publicly for peace and justice, then we must do what we always do: organize, fight for change, and win. Our guild leadership must join the largest and most diverse peace movement in a generation — the integrity of our legacy demands nothing less. When confronted with genocide, oppression, and injustice, let us ring the bell for humanity and liberation. An injury to one is an injury to all. We, the undersigned members of SAG-AFTRA, IATSE, WGA, Teamsters, DGA, AEA, AFM, Hollywood Basic Crafts, CSA, PGA, and more, demand our leadership issue a public statement calling for a permanent ceasefire, release of all hostages — both Palestinian and Israeli, and immediate funding and delivery of desperately needed humanitarian aid; to speak out against the targeting and killing of innocent Palestinian civilians, health workers, and our journalist colleagues; to condemn our industry’s McCarthyist repression of members who acknowledge Palestinian suffering; and to eliminate any doubt of our solidarity with workers, artists, and oppressed people worldwide.

[thebibliosphere]

wrt the AI thing, the doom is in what is just good enough to no longer pay people for it. Machine translation isn't good! The sentences are nice and often grammatically correct, but the information hasn't been accurately transferred a lot of the time (genre doesn't matter, but DeepL is pretty good for news articles, less good for other stuff). AI text is sentences that are made of words likely to go together it doesn't understand any of it. Especially if you want to write something a bit experimental, if you want to use specific words to evoke specific things etc etc... true art will not die, no matter how much some people try.

I mean, yeah, but that’s also just a progression of what’s already been happening for years. Publishing houses and companies have been outsourcing to the cheapest bidder for decades now due to lack of labor regulation and the death of unions. That’s what the major Harper Collins strike was about. Even while publishing houses are making record profits, they’re not paying their editors a living wage.

When I worked for a medium sized mainstream publisher back in the late 2000’s to 2010s, they used to remind us daily that if we didn’t hit our editing quota there were people on Freelancer and Fiver who would do it for a lot cheaper— and I was already earning below minimum hourly wage, that you could “make up” by taking on extra work.

(The salaried editors were the only ones with guaranteed income, the rest of us were told we were just lucky to be there.)

And multiple times a month they’d eliminate someone to ‘cut costs’ and the work would land on your desk and you’d be told to get it done because they knew we had no other options. It was this or unemployment at the start of what would be the second global recession of my life.

Eventually we did all get laid off and they opted for the cheaper, subpar labor. And while it sucked to be unemployed at that time, the relief I felt was real. I was no longer self-medicating with caffeine and alcohol to cope with the work environment. I was no longer churning out 100-200k a week in edits and rewrites to keep a job that treated me like shit. I missed it, because I loved working with my authors and editing and writing was something I loved. But I did not miss the rat race they had us locked into for the sake of profit over quality.

The fact that Harper Collins staff, one of the biggest publishers in the world who contribute to the monopoly that creates that environment, were also not making enough to live, tells me things have only gotten worse inside the industry. Unless, of course, you’re near the top of the corporate ladder. In which case you probably can’t understand why all the peasants are so unhappy.

The machines will not fully replace us—at least probably not in my lifetime. But that doesn’t mean what’s already happening isn’t bad.

AI is just the next wrung on this sordid descent into exploitation and elimination. We need better labor laws. We need better protections. We need fucking respect.