#i work 40-50 hour work weeks in a factory where my shifts are 10 hours.

[askyourpalbendy]

Are à live?

"Anon what are you doing in my house?"

[brajeshupadhyay]

After sheltering at home for nearly two months, tens of thousands of autoworkers have started streaming back into car and truck plants across the South and Midwest, a critical step toward bringing the nation’s largest manufacturing industry back to life. In April, automakers, which were closing plants at various times, produced just 4,840 cars, pickup trucks and sport utility vehicles in North America, according to Automotive News, down from 1.4 million a year earlier. Sales of new vehicles in April fell by about 50 percent, according to Cox Automotive, a market researcher. “The auto industry is America’s economic engine,” Ford Motor’s chief operating officer, Jim Farley, said during a recent conference call on the company’s reopening plans. “Restarting the entire auto ecosystem is how we restart the economy.” Ford, General Motors, and Fiat Chrysler plan to restart production on Monday, after Toyota, Honda and Tesla began reopening plants last week. Hyundai restarted a plant in Alabama on May 4. But production will not bounce back quickly. The revival will unfold over a week or more as dozens of auto plants and hundreds of factories owned by parts suppliers gear up and start making and shipping products. The speed with which companies can move will depend in part on how quickly national, state and local governments loosen stay-at-home orders in the United States, Canada and Mexico, because the industry’s supply chains are closely intertwined across North America. Some automakers have already run into complications. Tesla, for example, and its chief executive, Elon Musk, were so eager to resume production last week at the company’s factory in Fremont, Calif., that they defied local officials and sued the county. Mercedes-Benz restarted an S.U.V. plant in Alabama on April 27, but stopped production on Friday after running short of parts. Volkswagen was scheduled to start making cars at a plant in Chattanooga, Tenn., on Sunday — two weeks after it had originally hoped to bring workers back, because many of its suppliers needed more time to get up and running. The automakers announced in mid-March that they would shut down their plants as the coronavirus spread and cases started surging in the Northeast, Louisiana and the Detroit area, where the three biggest U.S. automakers are based. The risk of infection is considered high for assembly-line workers because they often spend long hours working alongside one another. While many of the automakers’ white-collar employees have been able to work from home, the shutdowns idled nearly 400,000 automotive production workers in April, according to the Bureau of Labor Statistics. The industry accounts for about 4 percent of the nation’s economy. There is little precedent for such an across-the-board shutdown, said Erik Gordon, a business professor at the University of Michigan. Of course, strikes have forced individual car companies to shut down periodically; one last fall idled G.M. plants for 40 days. But Mr. Gordon, who has long tracked the industry, couldn’t think of a time when the three big companies, their suppliers and many dealers had to shut down at the same time. During World War II, the industry stopped making cars, but its plants were retooled to make armaments and kept millions of people employed, Mr. Gordon noted. “There’s really nothing we can compare this to because it’s the entire industry, and its supply chain, that has closed down completely,” he said. Now, the industry faces another daunting task that it has never faced: restarting production during a pandemic. Automakers have made numerous changes to reduce the risk of infection, including slowing down the rate at which they churn out cars. Most manufacturers plan to shorten shifts, with more down time in between for cleaning. Employees will also be required to stagger their arrival and departure to reduce contact with others during shift changes. Ford, G.M. and Fiat Chrysler will ask workers to fill out questionnaires and have their temperatures taken before reporting for work. The goal is to identify anybody who may have symptoms or has been in contact with somebody who is or has been ill. Workers will be required to wear masks, gloves and eye protection while on the job. Fiat Chrysler has installed thermal-imaging cameras in some hallways and entryways to check workers for fevers. On its assembly lines, the company has set up transparent curtains to prevent transmission between people who work next to each other. At some stations where two workers install under-the-hood components at the same time, the company has developed screens that can be placed on engines. Ford has placed portable sinks and hand-sanitizer dispensers throughout its plants and installed no-touch faucets and soap dispensers in restrooms. Under guidelines worked out with the United Automobile Workers union, employees will have to get tested for the virus if they show symptoms. G.M., Ford and Fiat Chrysler, however, are not planning to test workers daily or weekly even though the U.A.W. has pushed for it. On Saturday, Ford said it had secured contracts with health care providers in southeastern Michigan; Louisville, Ky.; Kansas City, Mo.; and Chicago to test symptomatic employees and provide results within 24 hours. “We continue to advocate for as much testing as possible at the current time and eventually full testing when available,” the union’s president, Rory Gamble, said in a statement. In Louisville, the home of two Ford plants that make trucks and large S.U.V.s, many workers are looking forward to getting steady paychecks again but also a little worried, said Todd Dunn, president of U.A.W. Local 862. “Everybody is burning cash,” he said. “And the company needs to produce, or we won’t have a company to go back to.” Still, the risk of sickness and the complexities of a new safety policies are weighing on workers. “A lot of members have parents or in-laws at home,” Mr. Dunn said. “So you wonder, ‘Should I take off my clothes in the garage and take a shower?’ A lot of members have issues with child care.” It will probably take many months before the industry is producing as many cars as it was before plants shut down. The delicate restart of production will probably unfold slowly over at least a week or more as dozens of auto plants and hundreds of others owned by parts suppliers resume manufacturing and shipping operations dependent on the loosening of stay-at-home orders in the United States, Canada and Mexico. G.M., which had been running two or three shifts in its North American plants, will start most plants on a single shift per day, something automakers try to avoid. The company said it was not yet sure if it would be able to restart its three plants in Mexico on Monday. Toyota’s North American plants restarted last week, operating on one or two shifts a day. Honda reopened its plants but isn’t seeking to increase production quickly, to give crews time to become accustomed to new safety procedures and working conditions. For now, there is no great urgency for automakers to ramp up manufacturing, because auto sales are not expected to recover fully anytime soon. AutoNation, the country’s largest dealership chain, reported last week that sales of new and used cars at the end of April were down about 20 percent from a year earlier, after falling 50 percent in the first 10 days of the month. Some people were buying cars because they were avoiding public transit and shared transportation services, the company’s chief executive, Mike Jackson, said. “I think this will be a very difficult restart and they need to get on with it,” Mr. Jackson said about the automakers. “But I can see where if plants don’t restart, in a month or two there’s going to be some inventory issues.” The post Autoworkers Are Returning as Carmakers Gradually Crank Up Factories appeared first on Sansaar Times.

http://sansaartimes.blogspot.com/2020/05/autoworkers-are-returning-as-carmakers.html

[markowendiary-blog]

🆕 Boy band? We're a dad band now! They’ve got 10 children between them, so what ARE Take That's parenting secrets? | Daily Mail/ Event Magazine

«Just a few months shy of their 30th anniversary, the remaining three members of Take That are gathered in a south London photo studio. Bar the row of drivers parked outside in Mercedes cars and the silent but notable presence of a single security guy, the vibe is casual, low-key, with that prickle of electricity that always hovers around a band that’s sold 45 million records.

I have known Gary Barlow, Mark Owen and Howard Donald since they were pop wannabes, travelling round the UK in the back of a van, existing on McDonald’s and takeaways. Back then – along with original members Robbie Williams and Jason Orange – they were five northern kids full of bravado, hair gel and ambition. Now they are men, all over 40, and all three fathers – two (Barlow and Donald) with teenagers of their own. All three are sporting facial hair, and flashes of grey are visible – as is that easy northern wit that kept them – even at the height of their pin-up fame in the mid-Nineties – so relatable. The fast food is a distant memory – a table in the corner is scattered with fresh fruit, herbal teas, vegetable juices, nuts, a half-eaten bar of chocolate and raw carrots. Times and diets have changed.

‘Jason was always into his health,’ says Owen. ‘We used to call it rabbit food. Now we’re all into it. But me and Howard still go for the Cadbury’s Dairy Milk.’

Barlow, slim and ramrod straight in his cream polo-neck jumper, crosses the room immediately to make his greetings and to find out what I think of their new album. It’s a selection of their greatest hits that have been – in the case of songs like Pray and Never Forget – completely rearranged with new and old vocals mixed together and different productions all devised by the band. The record also includes voice recordings from all five of the band, snatches of interviews they gave at the start of their career.

‘All bands hate greatest hits albums, and we wanted to do something different,’ says Barlow. ‘We wanted to reflect who we were at the start of this journey and who we are now.’ Owen nods. ‘All our albums are like our babies, something we’ve created together,’ he says. ‘We want people to love it.’

They are crammed together on a squishy black leather sofa that’s seen better days. Oldham-born Owen has been showing me pictures on his phone of a very nasty recent surfing accident he had, where his bloodied leg was cut to pieces. Barlow takes a look and raises an eyebrow. ‘Remember we’ve got a tour to do,’ he says in his laconic flat Frodsham accent. ‘There’s only three of us left, we can’t afford to lose any more.’

They are promoting a tour and an album but what we’re really here to talk about today is fatherhood and the fact that they are no longer a boy band but grown men with families – though they each have a very different style of parenting.

There is the action dad, who takes his children on adrenaline-fuelled holidays, the indulgent dad, who spoils his children rotten, and the dead-on-his-feet dad, who is currently struggling with the demands of a new born child. We’re going to meet them all.

First up is Donald, who’s the oldest band member at 50, but the one with the youngest child. Donald has four children: Grace, 19, his eldest daughter by his ex, Victoria Piddington, at university in Bournemouth; Lola, 13, who grew up in Germany, is from a long-term relationship with businesswoman Marie-Christine Musswessels; and his two baby sons, two-year-old Bowie and one-year-old Dougie from his marriage to illustrator Katie Halil. The knackered dad apologises for being tired.

‘I’ve had three-and-a-half hours’ sleep,’ he says. ‘The baby was up in the night. My wife said she’d get up with him because I had a photo-shoot but when he kicked off she was dead to the world, so I was running up and down taking him to the loo and looking after him.’ He pauses. ‘This is it for me. I’m too old to be a dad any more. I can’t have any more. It’s just too bloody hard.’

Barlow rolls his eyes and Owen laughs. Like the brown paper bags from Whole Foods that have replaced the Big Mac cartons, the conversation in the inner circle has changed over time. It used to be girls, chart positions and the latest tech. Now it’s marriage, fatherhood and babies.

‘It’s what we talk about in the dressing room,’ says Barlow. ‘That’s our lives. We’ve changed. We’re not boys, we’re men. We’re all dads. It completely alters everything, from the way you tour to the songs you write to the conversations you have – how long on the iPads, worrying about social media, the usual preoccupations. At the moment it’s a lot about Howard and his baby duties. He moans and Mark and I just laugh because we’re both past that stage. He does love to go on about it.’

Unlike their hard-working parents, each member of the band is a multimillionaire, something they all admit feels ‘strange’ when they compare their children’s lives to their own. The exhausted dad Donald is also the strictest. ‘I want my kids to do Saturday jobs, learn the value of money. My eldest daughter got into this habit of ordering Uber taxis non-stop from my account, which I had to pull her up on. I don’t care what kind of school they go to – state or private – as long as it’s a good school and they work. But I don’t like to spoil them. I went to school with plastic shoes my mum used to polish with Mr Sheen. That stays with you. My kids are lucky – I never want them to lose appreciation for what they have. And my kids are great. My daughter’s a teenager now, she sends me little clips of her and her mates in clubs dancing to Relight My Fire. They all look really happy even if they also look a little bit drunk, but it just makes me laugh.’

Donald’s parental conversation runs the gamut of worrying about Lola being too carried away with the YouTube generation and buying her trainers in return for good schoolwork, to his eldest Grace keeping up with her studies at university. He is very much a hands-on dad, changing nappies one day and dealing with university issues the next. ‘I’m the complicated one,’ he says. ‘I didn’t mean for it to be like this but that’s the way it turned out. That was down to me.’

In many ways he is a more typical rock-star dad. ‘I have a lot of guilt about the way things turned out for me. When we’d be on tour, we’d come back to the dressing room and I knew the other guys were going off back to their families. At the time I had just Grace and Lola and I would be desperate to see them. The fact that I had to fly to Germany to see Lola would cause a lot of band rows because I’d be away. But I didn’t care. I had to see her.

‘I grew up without a dad because he [Keith Donald] left home when I was a kid. He left four kids and my mum [Kathleen] in a two-up two-down. I don’t hold any anger towards him any more. In fact, I actually want to sit down and talk to him about it. But I didn’t want any of my kids not to have a dad present in their lives. If it’s a choice between band or family, family comes first.’

Donald talks about looking after his baby sons when his wife suffered twice from post-pregnancy induced reactive hypoglycemia (a condition that causes sickness, weakness and insomnia) that kicked in after giving birth.

‘My wife wasn’t in a good way so it was down to me,’ he says. ‘There is nothing I don’t do: changing nappies, feeding, winding, walking... My wife is in a good place now and to be honest I don’t feel guilty about going on tour. My kids will come out now and then, but I’m actually thinking of it as a nice break.’

In contrast to Donald is Owen, the action dad – the hippy of the band with a less traditional lifestyle. The 46-year-old has always been the most alternative one, with his cool clothes and penchant for meditation and yoga, which has rubbed off on his bandmates.

He reads books on parenting, moved his three children Elwood, 12, Willow, ten, and six-year-old Fox out of London to live in the Hampshire/Sussex border countryside, and has spent two months of the summer travelling with his family. He has learnt to surf and Elwood has become an expert skateboarder.

‘It’s been good for us as a family,’ he says. ‘I feel we are in a position now where we’re getting it right as musicians and as parents. And that feels good.

‘When the children were little, it was easier to bring them on tour, but now they have school, friends, routines and they don’t want to be hanging out in dressing rooms all day. So it changes.’

You might imagine their own children look up to them, these guys who came from the working-class north and became one of Britain’s biggest boy bands, winning eight Brit awards and earning millions from hits such as Back For Good, Shine and A Million Love Songs. But their musical accomplishments don’t give them any credibility with their offspring, as Owen admits.

‘Honestly, it doesn’t really impress them. All of our kids love coming to the shows but they are not in awe of us. My dad [Keith] was a grafter. He worked early shifts as a decorator and would be home at 3.30 and he cooked our tea, and my mum [Mary] went out to work [in a bakery] till 11.30.

‘My dad was also in a local band, so every week he’d put on his good trousers, pick up his guitar case and walk out of the door, and I don’t think either me or my brother or sister would even turn round from the telly. Sometimes when I’m getting ready for a show, I get dressed, pick up my guitar and shout “Bye”, and my kids are all watching telly and I have flashbacks to my dad. I’m turning into him in those moments.’

They are, in fact, a long way from any of their parents. Barlow’s late father, Colin, who worked in a fertiliser factory, remains Barlow’s hero, but the band’s principal songwriter reveals that he is the indulgent dad: ‘I’m happy to give my kids everything. They go to private schools, I love to spoil them. I want them to be polite. There’s no comparison to the way I grew up, but that just couldn’t happen. The only comparison I want is to give them the security and sense of family my parents gave me.’

Barlow, 47, has three children: Dan, 18, Emily, 16, and Daisy, nine, with his wife, Dawn. There was also his daughter, Poppy, who was stillborn in 2012 – a subject he broached for the first time in his recent autobiography, A Better Me. In the book, he spoke about stepping up to look after his wife and taking over the cooking for the family – something he still does, as does Owen.

‘I love to cook for my kids,’ Owen says. ‘I will spend hours making something really healthy and amazing like a beautiful curry and they’ll come home, take a mouthful and say: “Do we have anything else?”’

On stage they have the adulation of millions, at home it can be a different story, as Barlow reveals: ‘The most difficult thing about this business is that you are away a lot. Life at home goes on. You come back and sometimes you are like the lodger in the house. You go from singing a song to thousands to standing in a kitchen saying: “Come on, close your mouth when you’re eating.” And your wife is standing there waiting for you to ask for a cup of tea so she can say, “You’re not on tour now”. So there’s that adjustment, which can be very hard if you come home mid-tour.

‘Growing up changes you, fatherhood changes you,’ Barlow continues. ‘When Rob [Williams] introduced me to Ayda, who was then his fiancée, the first thing I did was call the other guys and say: “We’re OK. Rob’s going to be OK. I’ve met the girl he’s going to marry and she’s a keeper. Three kids later, Rob’s a different man. He’s a great dad. He loves his family – he loves nothing more than just sitting around his house with his kids. And that’s important. Our music has always been emotional, and the older you get, the deeper the emotion, and the more everything means.’

A few days later I receive a phone call from Owen, who’s clearly been thinking deeply on the subject of families. ‘I’m sorry to bother you,’ he begins in his classic self-deprecating manner. ‘But I was really thinking about those moments where what you do and how you are as a parent meet in the middle.

When I put my daughter Fox to bed at night she has always asked me to sing a lullaby. Apart from Twinkle Twinkle Little Star, I don’t know many kids’ songs, so I’ve always sung her Take That songs like Pray, Shine and Giants – because obviously I know all the words. At the moment she asks for the song about the lights going out, which is Everlasting, so that’s what I sing. It’s something the two of us have together and I realise that not only is it special to her, but it has actually changed how I feel about those songs when I go out and sing them on stage. It makes it even better. She has made it even better.

‘So if you want to know what it’s like being a musician when you become a dad, the answer is it can be hard, you can miss your kids. But then there are these moments when you get to share what you do with your children and that makes it all mean a whole lot more. That’s when it all becomes pretty magical.’

Take That celebrate 30 years by releasing ‘Odyssey’ – their greatest hits re-imagined – on November 23, takethat.com »

[acehotel]

Just/Talk: Justin Strauss with Jerry Schatzberg

Since the beginning of his illustrious career in the 50s, Bronx-born Jerry Schatzberg’s singular vision has shaped, shifted and pushed the cultural needle in fashion, music and film the world over. His seminal works are so powerful that they’re indistinguishable from the subject itself — it’s hard to envision Bob Dylan’s Blonde on Blonde without immediately calling to mind Schatzberg’s portrait of him. He's photographed the greats, directed Al Pacino’s starring debut and was a trailblazer for boundary-pushing art. For this edition of Just/Talk, legendary DJ and Ace friend Justin Strauss talks to Jerry about dressing The Rolling Stones in drag, his foray into photography and why Dylan’s iconic LP photo is blurry. 

Justin Strauss: I'm really thrilled to meet you. I've interviewed a lot of people. When this opportunity came up, it was really something special for me. Your images are burned into my psyche. I've been buying records since I was seven years old. When I grew up, my dad was into records. The cover you shot for Bob Dylan’s Blonde on Blonde LP is one of the most iconic record covers ever.

Jerry Schatzberg: I hope so. We just had an issue over a cover on a Bob Dylan book I'm doing  now, and I think the book cover is beautiful. The German publisher decided they didn't like it. They didn't think they could sell it. I don't know why. I realized after listening to what they were talking about, they just wanted to do their thing. I could just see the board meeting in the morning on how can we get our touch on this and all that. I didn't like anything they submitted.

If somebody shows me something better than what I've got, why not? I'll say it was my idea. But they came through with really terrible stuff. I told the publisher. I said, “No, you'll have to go with the cover we've got.” It's being translated into four different languages. They wanted a little something different in each one so they could tell the difference between the languages, which was just an excuse they gave me.

Finally, I said no to them. Then they said, “Well, let us just submit something.” I said okay. They submitted something, and it again was terrible. “We'll find something else.” They submitted it. It was also terrible. I wasn't being difficult. If somebody does something better than what I've got, I want to do it. It's still going to be my book.

Finally, I got my lawyer involved. They said to him, “We're not going to do the book.”  I said, “Okay. I don't care.” That's a good position to be in because, first of all, books  don't make a lot of money. Fortunately, I have the final say. My lawyer called back and said,  “They're not going to take it.” I said okay. That afternoon, the publisher called back and said, “Okay, we'll take it, but we're not going to take as many books as we were going to.” I said, “I don't care. Fine.” If they sell a bundle of them, they'll order another bundle. Who cares?

And the one of the reasons I like the  cover idea is because I'm a visual person. If you put Blonde on Blonde in a window of record covers, it'll always stand out. I think this in a bookstore on a shelf or in a window will also stand out.  

Justin: You grew up here in New York?

Jerry: In the Bronx, until I was about 13 or 14. Then we moved to Queens. When I got married the first time, we moved out to Long Island.

Justin: And where did you develop a love of photography?

Jerry: That was all just hating what I was doing and I just had to find something different. I was working for the family fur business, but I hated it. There was a big retail camera store not far from where we worked, Willougby's, I don't know if it's still there. I used to go there for lunch hour, and I'd end up walking around for a couple of hours. I didn't even know I was there for a couple of hours, but my father would let me know when I went back to work because he didn't like that his brothers were working back in the factory and I'd take two hours...

Justin: What was your first camera?

Jerry: I had a camera when I was about eight or nine, or six. It was a plastic little camera. I don’t even know what it was.

When I was getting out of the Navy, I had seen something I liked. It was a 35 millimeter camera, an Argus C3. I didn't take many pictures with it, but one day I saw an ad in the Times for a photographic assistant. I had no idea what that was. But I called the number, and the person there was really an employment agent. I told him my story, and he laughed.  He said, “Come on in  and I'll see what I can do.”  

He sent me out, and the first place I went to was Lillian Bassman Studio, and it was like falling down the rabbit hole. I didn't see anything like this in the Bronx or school or anywhere. The interview went very well except they couldn’t offer me much money.  I couldn't take the job.

My uncle worked for a company where, if you rented their diapers each week, they'd give you a free picture of your baby.  I told him I’d like to do that, I’ll take baby pictures. My uncle said, “No, there's no money in that.” I said, “Well, how much money?” And what he told me was more than I was offered at the first interview. So he set it up for me and I borrowed money from my mother to buy a camera. When I went out for my first appointment, the baby was sleeping and they wouldn’t let me in. When I went to the second appointment the baby was sick and they wouldn’t let me in.  So my uncle was right. There's no money in that.

So I decided I would try to sell the photographs and that was a mistake. My Uncle was very good at it. He'd come back with $40, $50 orders from people who can't afford $10. I didn't like that very much. After a year of suffering through that, I call the employment agency back and he remembered me, and he laughed again. He sent me to two places.

Justin: As a photographic assistant?

Jerry: Yes. The first place was too fancy for me, it was really a catalogue house. They made a lot of money, but they didn’t do anything creative. The second place was up on top of a building. There were other guys waiting when I arrived and I was fourth in line. The stylist didn't know when the photographer was going to arrive, and told the first three guys to go out and get some coffee. After five minutes the photographer arrived, and I was the first in line. I had my interview, and he told me he would probably hire me. I didn’t quite believe him, and I went back to selling pictures on Long Island. I called home that night and my wife told me Bill Helburn had called. That was the photographer who said he would hire me. I figured I probably lost the job. I called him first thing in the morning and I got the job. I probably asked for the least amount of money. I worked for him for two and a half years. When I told him I was leaving, he offered me a piece of the business.

I had made a few friends in the industry. One of them was Bob Cato, who was an art director for Charm Magazine. He promised me work at the magazine, and just after I quit working for Bill Helburn, Bob Cato lost his job at the magazine. Now I had a big studio, a small rental, no work, but lots of experience photographing all the young woman who came to New York wanting to be models. We exchanged photographs for experience.         

Justin: When did your work start to appear in Vogue?

Jerry: Through the small advertising agency of my friend, I started to get a few little assignments, around 1954 and, of course, Vogue was the first decent thing that I got.

I said to the secretary as I was leaving, “If I don't hear from him in two or three months, can I call back?” She said, “In two or three weeks, call back.” By the time I got back to the studio, he'd already called to give me an assignment. That was a beginning. It was small assignments, small pictures in the magazine. It was a start.

Justin: Were you into fashion photography?

Jerry: My father was the salesman in the family fur business and, in the showroom, they'd have one magazine, which was Town & Country. I do remember Milton Greene’s name. I guess he was doing most of the photographs for Town & Country at the time. I remember his name, and I didn't pay much attention to the photographs until I was in it.

Justin: And you were always into music?

Jerry: Yeah, even as a kid. I remember I always liked the big bands. I'd be in the car driving with my mother and I'd hear a band, tell her who it was, and she’s be so impressed. I was thirteen years old and I already knew the name of the band.

Justin: And in the 60s, with the Beatles, and the Stones, and Dylan. Were you into all that as well?

Jerry: In the beginning, I was more into rhythm and blues, and that was when I went to college. I went for a year to the University of Miami. It was just starting, and I found two other guys from Jamaica in my neighborhood and we had rented one room on Miami Beach — the three of us lived in that one room. I remember asking one of the bellmen where could we go to listen to music. He said, “Real music?” I said “Yeah.”

He took us out to this place. I guess it was a church, but a small building with spaces between the clapboards. You could see right through them and Count Basie was playing there. The place just shook, but he played for his people, and it was great.

Justin: At some point you merged your love of music and your love of photography and started shooting musicians as well?

Jerry: Oh yeah. Once I was working for magazines, I started to get assignments to do actors and other personalities.

Justin: This was the golden age of fashion photographers, people like Avedon, Penn, William Klein… Did you know them?

Jerry: I didn't know Penn. Actually, Penn bought a camera from me. I knew Avedon. I knew Bill Klein, because we both worked for Vogue. Norman Parkinson, Helmut Newton. When I first started working, I worked mostly in England, and I hadn't gone to Paris. I was friendly with David Bailey, Terrance Donovan and Duffy. They were my buddies. We were working all the time, and playing all the time. We just had a lot of fun.

Bailey told me when Beatles came here and we were all going crazy, he says “Hey, you haven't heard anything. You got to hear The Rolling Stones.” The next time I went over, we went to brunch at a friend's and Mick Jagger came in. At first I didn't know who he was, but he came into the brunch. Dirty sweater, very long dirty fingernails. I was talking to him and then I realized who he was. I hadn't heard the music yet. I said, “Where can I hear you play?” He said, “We're playing this afternoon.”

I said, “Oh, can we all go?” He said, “Yeah.” He called up the theater and put away some seats for us and we went in a caravan of about four or five cars. At the time, Mick’s girlfriend was Chrissie Shrimpton and she was driving his car.  I remember that we all went up there, and when we got to the theater, I saw all these people, these kids outside screaming and running after the cars as we turned into the driveway.

We went to the  backstage entrance and we couldn't get through the people. Mick got out of his car and started running for the backstage and they're pulling on his sweater, hair, all that. We got in. We fought the crowd and went inside. We watched about four or five groups perform. Red outfits, blue outfits, and I figure The Stones were putting on the chartreuse outfits or something. They came out, and they had his ripped sweater and I started to understand who The Stones were and where they were coming from.

Justin: Then, at one point, you shot the picture sleeve for single “Have You Seen Your Mother, Baby, Standing In The Shadows.” What that your concept to dress them in drag for the sleeve?

Jerry: No, Andrew Oldham, their manager called me up, and said, “The Stones have a new single coming out, would you like to photograph them in drag dressed as their mothers?” I said, “Yeah, but I'd just as soon do them as Americans and shoot in New York.” They're wearing American military uniforms. Right around the corner from my studio was a building that looked just like the building I grew up in the Bronx, so I wanted to photograph them in front of that with a star in the window. We did that, and probably some of the most interesting ones are the back behind the scene there, getting dressed for the shoot.

Justin: To dress them in drag was a revolutionary idea at that time.

Jerry: I wasn’t thinking anything like that. But in the new Dylan book I’m doing, Jonathan Lethem (who did the text) also said “You started something,” referring to that sleeve, and mentioned David Bowie.

After that sleeve came out, Frank Zappa called me and wanted to do a combination of the Mothers of Invention in drag and the Beatles’ Sgt. Pepper for the cover of their album We’re Only In It For The Money. We used fruit and vegetables instead of flowers.

Justin: Amazing. And you owned nightclubs?

Jerry: Yes, one was called Ondine. The other one was Salvation. We had a different crowd at Ondine. Ondine started as very café society. The person that started it was a Frenchman named Oliver Coquelin.

I had just come back from London the week that we were opening, and he showed me the records they were going to play and I said, “Oh come on.” Charles Aznavour, that's alright once in a while. So I took him to Colony Records and we bought about $100 worth of records and he said, “Oh, my patrons are not going to like that.” I said, “Do you want a successful club, or do you want just have your patrons?” We opened. We were very successful, and then Sybil Burton opened the club Arthur and that took a big chunk out of our business.

My partner, the person I found to manage the club, was friendly with the groupies, the kids that would come in there and give us atmosphere. They were telling us about the bands from California and I figured the way we should go was for the young people.

We brought in the Doors before their album. We brought in Buffalo Springfield before their album. We brought in Jimmy James and the Blue Flames, who a year later became Jimi Hendrix. Linda Keith, who was Keith Richard’s girlfriend at the time, told us about this guitarist she had seen down at Cafe Wha, a club in the Village.

But things were up and down at Odine. The stockholders reneged on the deal they had with me and wouldn’t pay me. I said, “Okay, I'm leaving,” because the same guy that offered us funding was starting another club, which was Salvation. I said to Bradley, my partner, “Let's go down and let's go with the other club.” We did, and Jimmy James (Hendrix) had just come back from London — he opened the club for us just one night, the first night. After that, we just had a disc jockey.

Justin: But no one knew who he was at that point?

Jerry: No, nobody knew who he was, but the club had a good reputation. We had everybody come to that club.

Justin: And was Andy Warhol and his crew hanging out at your club?

Jerry: They'd come, but they'd rather hang out at the Factory, although Albert Grossman, Bob Dylan’s manager called me and asked me if I would photograph Edie Sedgwick. He thought there was something there. I said, “Well, what?” He said, “I don't know, but there's something there.” I said yeah, I would. I was walking the street and there's Andy with Barbara Reuben who was an underground filmmaker.

“Hey, Andy. How you doing?” “Oh, good. How you doing?” “Oh, I'm photographing Edie…” and I sensed  something because he didn't like anybody stepping into his territory. I didn't think I was stepping into his territory...I'm just photographing Edie. I'm not making her my super star or anything. I told him Albert asked me to and he goes, “Oh yeah, fine. Bye.” I get back to the studio and Barbara calls me and says, “Andy wants to know if you'll do five minutes of Edie for his film of her?”

I said, “yeah I’d like to” because I'd been playing around with a film camera. Hang up. She called back five minutes later. “Andy wants to know if he can do five minutes too? He's doing five minutes.” I thought for a minute. “Yeah, sure.” Hang up. She calls, “Can I come down?” I said yeah, everybody can come down. Everybody showed up. The Velvet Underground showed up. All of his gang showed up for the shooting, and I made them stay in the studio. We were in the dressing room. We did it. I have my footage but I’ve never seen Andy’s footage because, while we were shooting, Bobby Neuwirth said to Andy, “Andy there’s no film in the camera,” and Andy said, “oh it doesn’t matter.”

Justin: Did you ever photograph Velvet Underground as a band ?

Jerry: No. I photographed Nico when she was a model. I've got some good photographs of Edie. She's probably one of the most asked for photographs that I have. People just know of Edie, so Andy did a good job.

Justin: Tell me how the Dylan Blonde on Blonde album cover shoot came about.

Jerry: Albert Grossman, Bob’s manager, called me for that. I'd already been photographing Dylan.

Justin: Where was that picture taken?

Jerry: In the meatpacking district. The building doesn't exist anymore. We've tried to find it. People have asked, and then there was actually a search made for it, but they can't find the building. Some guy seems to have found the location because he plugged it into other things that might have been there.

Justin: It was one of the first rock double LPs and the way you used the one photo to cover both of the LP sleeves...

Jerry: Robbie Robertson, in his book, claims that it was his idea to do the double spread. That may be, because it wasn't my idea. I thought it was Dylan's idea, but in his book Robbie talks about it and how he suggested doing it that way.

Justin: When you shot that picture, it's a little blurry, and a little different. Did you know that was the cover, and did you know that it would have the effect it did?

Jerry: No. If they had asked me to send in my choice, I would never have sent that. It was the beginning of February. Dylan had on this little jacket. I didn't want to put on a big coat or anything, so I just had a little jacket. It was cold, and we were shivering. I grabbed about four images where it's blurred like that, moving.

Justin: So it's blurred because you were cold and moving the camera.

Jerry: Yes. Dylan, when he saw the photographs from that day, he picked that picture, which I was delighted about.

Justin: It's a great choice. It was really a breakthrough album, musically and visually. For me as a kid buying records, and for a long time after, record covers were almost — if not as — important as the music. It was what you saw first because we didn't have the ability to hear things before we bought them like we do now. You'd see a record in the record store. “Wow. This looks cool. I'll buy it.”

Did you ever think that in 2018 you'd be talking about this record cover still, that people are still blown away by it?

Jerry: No, no. I'm delighted. I think of these German publishers bullshitting me on the telephone. It's Bob Dylan. Put Bob on the cover and people will buy it. What are you talking about, that you want to change this, you want to change the type, and think people won't understand it.

Justin: So you're doing record covers with the biggest artists of the day, you're doing fashion photography shoots for Vogue. You're living a dream life right in the 60s, early 70s. And you’re a big part of it.

Jerry: Nora Ephron did a piece. It had something to do with “where's it happening.” I was always where it was happening. Her articles were good. She did five photographers. I think she did Hiro, Avedon, Halsman, me and somebody. I think it was at the Post, when it was a liberal.

Justin: Did you know or feel like that time and the work you were doing would have such an impact on modern culture?

Jerry: No, those things you know after. We were just living our lives and doing our thing.

Justin: When or what motivated you to want to go from what you were doing to making movies?

Jerry: When I went to do the collection for Vogue, I wanted to take my favorite model, Anne St Marie, with me to do the collection. Vogue said “No, we've got to find a new girl. She's been around.” I got so angry with that because she was still a great talent, a great beauty. I thought that was so unfair to her. That happened to many models. In those days, they started in their twenties, early twenties.

Justin: You got upset with Vogue for not letting you use the model you wanted to use for your shoot?

Jerry: No, I was pissed off at that story. I wanted to tell that story and I couldn't figure out how. I thought maybe I'd just do a series of photographs and show how beautiful this person is and all that. “No, we don't want to work with her. We've had too much of that.” It's that kind of power trip I didn't like; I always had it in my mind. Then there were a couple of producers from LA that got in touch with me, and they were doing a TV special, The World's Most Beautiful Women. Would I be interested in being an advisor on this?

I said, “yeah, of course.” They came in. They were two interesting guys. Not too interesting, but they were always fighting with one another. I remember that. They had this thing, and I said, “Who's directing it?” They said, “We don't have a director yet.” I said, “You know, I've been shooting film.” And they said “Let us see it.” I showed it to them. They liked it. They showed it to ABC. They liked it. So I was the director now. We went over, and it wasn't just cosmetic beauty. It was women that had more substance, like Antonia Fraser and Queen Sirikit of Thailand and Claudia Cardinale.  

I did Antonia, and then we were waiting for Queen Sirikit to come into London, and she kept canceling. Finally, I told them I had an arrangement. I've got a job. I've got to get back to do that job, and I'll come back again. I left, and maybe two days after I left, she came to London and I couldn't come back. So they decided they would shoot her. They did, and the two guys are still fighting all the time. They each confiscated one segment, the one that I shot, and the other one. They wouldn't give it to each other. The network just canceled them out. But it gave me the experience, and I felt that maybe this is the way to tell my story.

I started to develop that story. It took me four years to get it on, but I started to develop it. I came back here. I talked to some friends of mine who knew a French writer. I got in touch with him. He was coming over to do something in California. I paid him to write a screenplay for me. He did. I liked it, but I didn't like him. He was just a pain in the ass. I didn't want to put up with that, so I just figured I'd take the loss and, by that time, I had already told my story to Faye Dunaway, and she fell in love with the character. So she became part of the project, and it was much easier at that point.

Justin: She had already starred in Bonnie & Clyde, which was a huge film.

Jerry: Yeah, I met her when she was doing her first film. Esquire sent me down to Florida to shoot her and then she did another film for Sam Spiegel, and then she did Bonnie & Clyde. When they came back to New York, Marianne Downy — her press agent — said, “Why don't you call Schatzberg and see if he'll do more photographs with you?” She did. I said, “Yeah, I'd love to,” and she had actually just got an apartment here on Central Park West. Went there, and looked like a hurricane had hit the place. But we became friends, and then once we were having lunch or dinner, she said, “What else are you doing?” I said, “I'm working on this film.”

I told her about the story and she fell in love with it and the character. Then she met the woman that the story is based on, so it just kept building. Through her agency, we got a deal with Warner Brothers. I found a writer, and he did a terrible screenplay. The first screenplay was pretty good, the Frenchman, but I just couldn't deal with him.

Then I was in an elevator in Los Angeles at the Beverly Wilshire, and somebody in the back said, “You Jerry Schatzberg?” It was a producer I had met at a party and he remembered me. He said, “What are you doing here?” I said, “I'm looking for a writer.” “Like what?” I told him a little bit about my story. He said “I just worked with a writer you should meet. I think she's great. But the director doesn't like her screenplay.”

I said, “Can I read it?” He sent me the screenplay and I fell in love with it. I called her up and I asked if she'd come and meet me and Faye Dunaway at the Beverly Wilshire, and she said, “Yeah.”  I thought she'd kiss our rings or something. Shine my shoes. She was very nice, said “Yes, thank you” and she left. 

I was going to do the film with film producer Ismail Merchant. I told him the story, and he was in India. He invited Faye and I to India. We went to India.

Justin: You and Faye Dunaway were romantically involved at this time?

Jerry: At the time, yeah. We went to India. Then we went around the rest of the world and back. I kept calling Ismail and telling him, “We've got to make a deal with this writer. I really want to use this writer.” He says, “Well, I've got to finish this film with James Ivory.” “Yeah, but you're telling me that all the time, and it'll go on and on and on, and I won't have a writer. I really want this writer.” I finally called him, and I said, “Ismail, we're going to have to end it because I'm moving on.” We made a deal with Paramount. No, first I went out to California. I rented a house there and I called Carole Eastman — who was the writer — and I asked her to come. I want to talk to her. She said, “Oh yeah, yeah.”  

But every time I talked to her I said, “Don't worry. I haven't forgotten about you, Carole. I haven't forgotten about you.” She came up to the house. She says, “I can't stay very long because I've got a friend of mine in the car and she's got a bad toothache, and I've got to take her to the dentist.” I figure “Oh, she's making her escape.” I said, “Well, I've got a tape I'd like you to listen to.” “How long is that? Two and half hours? Oh no, I can't.”

I said, “How much can you listen to?” “Well, let's play the first ten minutes. Let me see what it is, and then we'll see.” In the car was Helena Kallianiotes, she played the hitchhiker in Five Easy Pieces. I said, “Well, do you want to invite your friend in?” She said, “No, no. She doesn't want to. She's shy.” I put the tape on. She sits there for two and half hours listening to the tape. She decided she wanted to do that film, so we made a deal. We became good friends. I'd go out to dinner with her and spend six hours with her just talking about it and all that. It was just great.

Justin: So what happens to this film?

Jerry: Then we got the script. I love the script. I brought it to the executive producer Bob Evans at Paramount to read. He didn't like it. He hated it. I said, “Oh, that's too bad.” He thought he was going to get Antonioni’s Blow Up, and my film was not Blow Up. Blow Up might have made more money, but my film was not that. My film's a really good film. I was just delighted with it.  

Freddy Fields was my agent then. He said, “I've got maybe one more shot. I don't know where we go now, but I've got one more shot we'll try. I'm going to give it to Paul Newman and his company, see what they think.” Paul and Joanne Woodward read it and they loved it. Joanne had a roommate that had the same experience and she fell for it. My original thinking before I had met Faye, was thinking of either Joanne or Anne Bancroft as the aging model, and then just get a younger actress to do the other part. But after meeting Faye I thought she could do the part from beginning to end.  

So we started off, and it worked beautifully. I remember the first time I wanted to bring Paul the script, let him read the script and talk about the script. We got there and before we even started working, Joanne came running out of the house. Sharon Tate and Jay Sebring had been murdered. They were very friendly with Jay, and I was very friendly with Sharon. We couldn't work and I just left. We were up in Connecticut and I called Roman Polanski who was in London. I went out to California for the funeral. It was a really sad time.  

Justin: After all this, how does your first film Puzzle of A Downfall Child about an aging fashion model, whose life is now falling apart, finally get made?

Jerry: Well, in 1970 I took the film to Oregon, where Paul was shooting something. I know we showed it to Paul, his crew, and Henry Fonda. He loved the film. People loved the film. Then it was invited to the San Francisco Film Festival, and a Frenchman had seen it there. First of all, I didn't know the Frenchman, but he told me later that when he saw the schedule, he said, “Oh, a film by a bullshit fashion photographer. I'm not even interested.” He turned out to be an important person in the film world. I didn't know him. He called me and said, “I've called Universal because I want to represent the film in Paris and I just want you to know and we're moving ahead.” I said, “Wow. Goodness, that's fantastic.”

I brought the film to Universal’s executive's home to show his friends at his private screening room. They were all eating and drinking and half of them were drunk. I’m there and I hear people saying “I didn’t get that. What was that?” After the screening, the executive says, “I want to talk to you.” He takes me into a toilet and keeps me there for 20–25 minutes trying to convince me that I should have somebody do voiceover at the beginning to tell you what the film is about. I said, “I think if you just sit and watch it, you'll find out what the film is about.” He went on and on and he said “I won't change it unless you agree to it.” I said, “Okay, I don't agree to any changes.” Then he changed it.

I spoke to Pierre and told him what had happened at the executive’s house. He said, “I’ll speak to them.” He called Universal and said “I won't take the film unless it's the original Schatzberg film.” They said, “Oh come on, Pierre. We know what we can sell and what we can't sell.” He said, “I don't care.” Pierre said, “We won’t take it.” They had other prospects, so they said “we'll leave the European version as the original, and we'll do what we want in America.” They did, and I hated it. Every time it would come on, I'd just cringe. But then when years later when they went to restore the film, they restored my version because that was the first version submitted to them. The people in the labs didn't know which one, so they restored my version.

Justin: Your next film The Panic in Needle Park certainly made a big splash.

Jerry: Yeah. Well, that was sent to me right at the end of my finishing Puzzle, and the film lab scratched the last six minutes of my negative. Screw came loose and just scratched the negative all the way to the end. I had a safety, but you can see the difference when the film changed. Now digital has made it so you can do that stuff, but I was very upset. I got the script for Panic at that same time. I didn't like the script. I don't know if I liked it or not, but I didn't like it in my mind. I was really too concerned about Puzzle and the lab's mess.

Justin: Who approached you to direct the film?

Jerry: My agent. They had the script that Joan Didion and John Dunne had written. They were looking for a director, and she saw my film and loved it. I went to my business manager and he said, “There's a good script around.” I said, “What's that?” He said, “It's called Panic in Needle Park.” I said, “Funny, I think I just turned that down.”

He asked why and I didn't tell him about the scratching. I said, “Drugs. I don't know. Too many friends have died.” We're having conversation and he's trying to talk me into it and he says, “You know Al is interested in it.” I had seen Al with him on stage four or five years before that, and I remember saying to him if I ever made a film, that's a guy I'd like to work with.

Justin: Al Pacino, we are talking about. This was his first movie role?

Jerry: This was his first. He had a small role in Me, Natalie or something like that, but this is his first major role. My agent was trying to get him as a client, so we went backstage afterwards and the difference between seeing him on stage and seeing him backstage, you could see how great an actor he was. On stage, he just blew me away, and then he was this pussycat backstage. I went back, read it again that night. Called up the producers again and told them how foolish I was, and they agreed.

Dominick Dunn was the producer, and he was at a party and he was talking to the publisher Helen Gurley Brown about this film. She says, “Well, that sounds terrific. Why don't you talk to Richard?” Richard Brown was her husband, a producer with Richard Zanuck. So my agent talked to him about the film, there at the party, and then he went and gave him the script. Then they said, “Well, what about the directing. I don't know his work.” So they looked at Puzzle, maybe the beginning and the end, and they said okay. Now I was the  director of his film.

Everything was going fine. We started to do some pre-production. They decided they didn't want Pacino. He was too old. He was thirty-one looking twelve. I said to Nick, “Nick, the reason I'm doing this film is because Pacino is involved.” “I know,” he said, but let's go through the charade of casting and at the end tell them it's got to be Pacino.”

I trusted him, we went through the process of casting, and the last actor that came to see me was Robert DeNiro. He was pretty good.

Justin: That's a tough choice.

Jerry: But then the more I thought about it, for me Al is the character. Even though DeNiro is a great actor and he did a great job auditioning with it, Al is the part. So I left it at that. One day I'm looking in a store window on Third Avenue, and I hear a voice behind me saying, “Man, I really want to do that part.” I turn around and it's DeNiro. It's like a deer in the headlights, and you don't know what to say, so I told him the truth. He looked at me, and he turned and walked away. Through the years, we see each other, “Hi.” That's all. Just like that.

There was a tribute to Morgan Freeman at Lincoln Center. I was speaking and he was speaking. We nodded at  each other.  hey wanted us to come back on stage after Morgan spoke, and so I come out. I was standing there. I forget who I was talking to, but DeNiro walks by me. He stops. He comes back. “Hi Jerry.” It took forty years for him to say “Hi, Jerry” to me. That was it. He would have been great in it.

Justin: Well, I think you made the right choice.

Jerry: Yeah, Al was pretty good.

Justin: People still talk about New York in those days, how New York is not the same. What's your take on it?

Jerry: It's not the same. But you have to adjust. I'm not the same.

Justin: The world is not the same. It's not a change for a better or a change for worse. It's just things always change.

Jerry: Well, for some people it's a change for better. Some people it's a change for worse. There are probably some things I don't like about it. There were less restaurants, and I enjoyed going to the few that were special. Now there are more restaurants, and I enjoy going to the ones that have good food.

Justin: How do you feel about the internet, and how it's taken over everyone's life?

Jerry: Oh, that's changed everything. That changed the whole film world. I haven't done a film in ten years. I've been working on one, but I stopped working because I figure my legacy is going to be in my photographs.

Justin: Yes, do you keep up with what's going on with current photographers?

Jerry: So many that I don't know them. Now that you can take a picture and take it again, and again, and again. I see some wonderful things. People have wonderful eyes. They don't experiment as much, and the ones that do experiment do too much experimenting, doing things that have no soul. They add graphics to them, but they don't have any individual souls. It's tough to find people that can take a portrait like Penn, or get the excitement that Avedon gets in a picture.

Justin: Was there anyone that you wanted to shoot that you never got to shoot?

Jerry: I would have liked to have shot Miles Davis. I would have like to have shot James Dean. But I shot so many.

Justin: You've had quite an amazing life. How old are you now?

Jerry: Ninety-one.

Justin: Any regrets?

Jerry: Of course there's always regrets, but regrets are not anybody else's business but mine. But I've had a good life. I'm not complaining. I've lived a good long life.

Justin: I look forward to your next movie, I hope you finish it.

Jerry: I really like the way it's going. Now that I've finished with the book, we're going to concentrate more on that because I think I've gotten some interesting ideas on it.

Justin: I could talk to you from now til tomorrow.

Jerry: No, you can't.

Justin: I can’t. But I would like to.

Jerry: Let’s call this part one then.

[learningfrommiley]

Digital manufacturing: The revolution will be virtualized

By Brian Hartmann, William P. King, and Subu Narayanan

Digital manufacturing: The revolution will be virtualized

The digital revolution is now breaching the walls of manufacturing as it continues to disrupt media, finance, consumer products, healthcare, and other sectors. Indeed, the explosion in data and new computing capabilities—along with advances in other areas such as artificial intelligence, automation and robotics, additive technology, and human-machine interaction—are unleashing innovations that will change the nature of manufacturing itself. Industry and academic leaders agree that digital-manufacturing technologies will transform every link in the manufacturing value chain, from research and development, supply chain, and factory operations to marketing, sales, and service. Digital connectivity among designers, managers, workers, consumers, and physical industrial assets will unlock enormous value and change the manufacturing landscape forever.

Yet while manufacturing generates more data than any other sector of the economy, few companies are harnessing it. One oil-and-gas company, for example, discards 99 percent of its data before decision makers have a chance to use it. We believe that companies that can close this gap by tapping the data they generate (and what’s publicly available) will uncover valuable insights to drive profits and growth. Consider traditional car manufacturers and Uber, which are both—at the highest level—in the business of moving people around. Car makers meet that need on the floors of factories and showrooms, using a century of manufacturing experience. Uber meets people’s transportation needs not with steel, glass, rubber, and salespeople but with data, matching individual riders and vehicles via smart phones. Barely five years into its existence, it is valued at about $50 billion. Uber’s data, algorithms, and enormous growth prospects have already made it more valuable than all of the physical assets, intellectual property, and brand names of some of the world’s biggest car manufacturers.

It comes as no surprise, then, that manufacturers are waking up to the opportunities and threats of digitization. In the United States, the National Network for Manufacturing Innovation is organizing six major research institutes to speed new manufacturing technologies to market. While all of these institutes have a digital component, one is focused specifically on digital manufacturing.1 Similar efforts are underway across the globe, including Germany’s Industry 4.0 effort and China’s Made in China 2025. One global convening organization, the Industrial Internet Consortium, was founded just 18 months ago and already has 175 members.

How leading manufacturers are responding to digital

The ways people and organizations use information has shifted dramatically. Data storage is cheap and flexible, and advanced manufacturing analytics and artificial intelligence are giving us new abilities to draw insights from large amounts of data. Advances in virtual and augmented reality, next-level interfaces, advanced robotics, and additive manufacturing are all opening the gates to digital disruption. And in the next decade, digital manufacturing technologies will allow companies to connect physical assets by a “digital thread”—unleashing a seamless flow of data across the value chain that will link every phase of the product life cycle, from design, sourcing, testing, and production to distribution, point of sale, and use.

While this digital transformation of the $10-trillion-plus global manufacturing sector will play out over a decade or more, pioneers are moving to drive bottom-line and top-line impact in the near term. When we examine manufacturing value drivers and map them to digital levers, we find several opportunities for companies to create value by improving operational effectiveness and product innovation, as well as by unlocking new sources of revenue. Some examples include the following:

·        Many large manufacturers are starting to use data analytics to optimize factory operations, boosting equipment utilization and product quality while reducing energy consumption. With new supply-network management tools, factory managers have a clearer view of raw materials and manufactured parts flowing through a manufacturing network, which can help them schedule factory operations and product deliveries to cut costs and improve efficiency. Smart, connected products are sending customer experience data to product managers to help them anticipate demand and maintenance needs and design better products. Players in a wide range of industries are deploying digital technologies in different ways to drive value.

·        A major metal plant, for example, has used digital tools to make step-change improvements in throughput. Real-time performance visualization in operator pulpits combined with daily problem solving led to a 50 percent increase in production rate in one of its lines. By mining data, engineers are gaining new insights into the failure characteristics of major equipment modes and making continuous improvements in reliability. The company expects to use condition monitoring and predictive maintenance, in conjunction with process controls and automated material tracking made possible with big data analysis, to drive a 30 percent increase in production without a substantial increase in operational costs.

·        Pharmaceutical manufacturers are using their deeper understanding of end-to-end processes to develop continuous manufacturing suites with footprints less than half the size of conventional factories. Some have even developed portable factories that can be built in 40-foot trailers. They are also using the digital thread to improve quality control: continuously monitoring conditions within mixing vessels, tablet presses, lyophilizers, and other critical equipment. A few companies are now relying on infrared technology to detect counterfeit medicines and contaminants without the conventional destructive tests—at production-line speeds. As the industry brings these advances to the market, leaders will transform the Three Sigma industry performance to peer industry performance of Six Sigma or greater.

·        Leading consumer-packaged-goods companies are using digital tools to improve distribution and build bonds with consumers. Global fashion retailer Zara is already renowned for developing and shipping new products within two weeks. It is now using digital tools to respond even faster to consumer preferences and reduce supply-chain costs, attaching reusable radio-frequency identification (RFID) tags to every item of clothing in more than 700 of its 2,000-plus stores. Ten staff members can now update a store’s inventory in a couple of hours—work that used to take 40 employees more than five hours—by waving small handheld computers at racks of clothing. The retailer expects to complete the shift to wireless inventory in 2016. We believe the falling costs of RFID hardware and associated software are likely to aid this transition.

·        The aerospace-and-defense industry is using digital tools to integrate an enormously complex supply network. A modern jet turbine engine has hundreds of individual parts, for example, some of which the engine manufacturer makes in-house and others it sources from a network of dozens of vendors. The complexity of sourcing can multiply quickly, since making one design modification can impact the manufacturing of many other components. Cloud computing–based tools allow suppliers to collaborate faster and more efficiently: an engine maker can share three-dimensional models of component design within its network, and each supplier in turn can share information about price, delivery, and quality. This type of information sharing and transparency reduces the labor required to manage design changes, reduces risk for the engine maker and suppliers, and speeds changes across the supply network. Boeing developed its two most recent airframes, for the 777 and 787, using all-virtual design, reducing time to market by more than 50 percent.

Questions about digital the C-suite should ask

The digital revolution is only beginning to take shape. But we do know that leaders in digital manufacturing, including some smaller players, are already gaining significant competitive advantage by harnessing the capabilities of workers, designers, managers, and suppliers, speeding the pace of innovation, lowering the costs of production and maintenance, and increasing the impact of marketing. We believe that every player should be asking five questions:

1.      How will digital disrupt my industry in the next five to ten years, and what new ecosystems will emerge?

2.      Where is the value for my company, and how can we maximize it?

3.      How close is the revolution to our factory doors, and where should I make investments in infrastructure, cybersecurity, and partnerships?

4.      What new capabilities, skills, and mind-sets will we need in our organization? How will we identify, recruit, and retain the right new talent?

5.      What should we pilot now to start capturing this value?

No company has harnessed every possible digital advance, but many have begun to make real progress. One thing seems certain: in marketplaces where profit margins are thin and consumers demand ever more sophisticated products and better service, the digital thread will lead some companies to great success while slow-moving competitors fall further behind.

[asomeone-user]

In early March, as the coronavirus pandemic forced America to contemplate a nationwide shutdown, Dan St. Louis started to get nervous. St. Louis runs a facility in Conover, North Carolina, called the Manufacturing Solutions Center, which prototypes and tests new fabrics and other materials; most of its funding comes from contracts with what remains of the American textile industry. With stay-at-home orders on the horizon, “our business just dried up immediately,” he says.

A week later, St. Louis’s cell phone began to ring incessantly: hospitals, nursing homes, and funeral homes from as far away as New York. Everyone wanted to know if he could find them masks and gowns, or tell them who could, or at least help them figure out whether the personal protective equipment (PPE) they could get was any good. “And that was just half my calls,” he says. The others were from makers of furniture, pants, and shirts, and dozens of other businesses with industrial facilities they wanted to put to use to help shore up the supply of whatever was needed. St. Louis breaks into rapid-fire gibberish trying to mimic the callers’ urgency, and then, chuckling, can’t seem to find the right words. 

“I’m telling you … It was … You couldn’t.”

St. Louis has worked at the Manufacturing Solutions Center since it was founded, in 1990, as a division of Catawba Valley Community College. He keeps a list eight pages long of every kind of test the facility has ever run to evaluate specialty fabrics: filters used in motorcycle cooling systems and clothing that dispenses pain medication, hard casts for bone fractures and nontoxic treatment for raw silk, hybrid sock-tights featured on Oprah. But they’d never worked on PPE before March: “There wasn’t anybody calling us saying, ‘Hey, will you test this stuff?’” That’s because most PPE was made overseas.

North Carolina’s Manufacturing Solutions Center prototypes and tests new fabrics and other materials, working with renewed urgency because of the pandemic.

CHRIS EDWARDS

St. Louis’s sudden education began just as governments across the world started treating the looming shortage of masks and face shields as a matter of national security. Germany banned PPE exports on March 4. Malaysia, India, and dozens of others soon took similar measures. Diplomacy eased some of this early jockeying over the existing supply—Taiwan pledged to donate 10 million masks overseas, President Donald Trump grudgingly allowed 3M to sell N95s to Canada, the EU convinced Germany to share its PPE with the rest of the bloc and then prohibited exports outside it—but by the end of April, the World Trade Organization was reporting that more than 80 countries around the world had taken steps to limit exports of PPE during the pandemic.

It was a scenario St. Louis had often thought about before: the US, abruptly forced to go it alone, discovering how little the country makes of the stuff it consumes. Usually, he imagined a war with China: “You can’t call and say ‘Our guys are cold—we need stuff.’” But the pandemic made clear that the pinch could come in a variety of forms. 

In 1990, he recalled, the US textile industry produced 60% of the “cut & sew” apparel made worldwide—that is, clothing with stitches on the seams, as opposed to knitted wool sweaters or rain gear whose pieces are welded together with heat. Today that figure is 3%. When federal and state agencies began to publish numbers about how much PPE they’d need to outlast the accelerating outbreak, St. Louis was flabbergasted. “We need a billion gowns! Good God,” he says. “We need a billion? A billion? I can’t even fathom that.” 

The sudden need for a range of lifesaving fabrics threw the handful of facilities like St. Louis’s into overdrive. In the middle of March, they began ferrying samples, performance specs, and recommended adjustments back and forth to fabric mills trying to convert their operations overnight to making essential goods. At the end of three months, St. Louis says, the Manufacturing Solutions Center had helped 28 companies begin churning out fabric suitable for hospital gowns. 

Masks and respirators are a different question. Existing worldwide supplies of the melt-blown polypropylene used in the most coveted PPE item in hospitals—the N95 respirators capable of filtering out the virus—are spoken for through at least the first few months of 2021. In March, a senior official at the US Department of Health and Human Services estimated that American health-care workers alone would go through 3.5 billion N95 masks fighting the coronavirus.

Surgical masks are not as protective as N95s, but they do shield the wearer from droplets and fluids better than the now ubiquitous cloth masks—3% to 25% better, depending on the study. To sustain any meaningful reopening of the economy, surgical masks will likely have to be made by the tens or even hundreds of billions. Outfits like the Manufacturing Solutions Center are also uniquely qualified to develop a new generation of higher-performance cloth masks, or ones that use small filter inserts to stretch scarce materials further. One model created at the facility is a knit mask woven through with copper, which is being used in medical facilities and by the US military. Thanks to its tight fit, it “doesn’t fog my glasses,” as one of St. Louis’s colleagues says, but they have no way to evaluate it more definitively than that. 

CHRIS EDWARDS

CHRIS EDWARDS

In July, St. Louis was still scrambling to raise $500,000 to buy machinery that would allow him to test the fabric used in masks. Meanwhile, he refers inquiries about mask testing to a company in Nevada—the lone private laboratory in the US certified by the CDC to perform such tests.

Meanwhile, 40 miles south of Conover, in the town of Belmont, the Textile Technology Center at Gaston College specializes in what the industry refers to as “yarn.” Give Dan Rhodes a small sample of a novel polymer, and he’ll figure out how to extrude it into a filament, and how to fine-tune the process to see whether the material can be made to work in high-speed manufacturing. Rhodes and his colleagues are working with a manufacturer of coronavirus test kits to make the fiber wicks that siphon saliva samples into a blend of testing reagents. Another client is an Ohio-based manufacturer of cotton swabs that is replacing the cotton with a synthetic equivalent in order to make nasal testing swabs uncontaminated by the plant fiber’s DNA. 

Vital work. And yet in each case, few American businesses could step up to fill a similar niche. Rhodes told me that most surviving textile companies have long since disbanded the proprietary sampling labs they used to house on site. Many of the senior staff at both centers learned their trade at companies that were picked apart and reconstituted overseas after hostile takeovers by investors like Wilbur Ross, the current secretary of commerce, who made part of his fortune outsourcing textile jobs to Asia in the early 2000s. 

That means much of the brain trust for the American textile industry—the Manufacturing Solutions Center’s website advertises “300 years of textile experience”—got its training in private-sector jobs that no longer exist in the United States. Rhodes, who is 72, plans to retire at the end of August and jokes that “half the people here collect a Social Security check.” St. Louis retired in July; every plant where he ever worked closed long ago.  

Rhodes recalls watching from afar as the town of Fort Payne, Alabama, lost its status as “sock capital of the world.” “All it takes is one financier”—he stretches the word across four venomous syllables—“on Wall Street to call somebody in China and say, ‘Send me a million dozen of those black socks with the gold thread in the toe.’ He doesn’t know how to make any socks, but he can destroy all that expertise.”

Why did the sock makers leave Fort Payne? To Jon Clark, who spent 30 years crisscrossing the country from his home in Houston to buy scrap equipment from shuttered factories, the answer is obvious: there’s money to be made shifting operations from what he calls “the 30-, 40-, 50-dollar-an-hour zone in the US” to the “three-, four-, five-dollar zone” overseas. The problem, in Clark’s view, is that the incentives driving the economy no longer distinguish between profitability and greed. “It used to be that plants closed because they weren’t profitable,” he says. “Now they close because they’re not profitable enough.” 

Clark, who is 72, began his career in 1965 as an engineer in a Texas fertilizer plant where chemically induced asthma was a daily hazard. He remembers watching birds expire in midair as they flew from one side of the plant to the other. Environmental laws transformed huge swaths of American manufacturing, but they also gave US corporations a strong incentive to relocate factories to places where they could pollute at will.  

Over the same period, seismic improvements in shipping and technology made it possible for corporations to rely on networks of suppliers that stretch across the planet. Modern supply chains are fluid and elaborate, ever shifting to account for minute changes in the price of screws, thread, or copper wire. As a result, manufacturers have continued to bring cheaper goods to American consumers even as the components required to make them come from farther and farther away. 

“Can you imagine a plant that does nothing but break a million eggs a month? That’s 500 tons of broken shells a year!”

Jon Clark, publisher of Plant Closing News

Clark began buying and selling equipment full time in the 1980s, just as these transformations were accelerating the exodus of heavy manufacturing from the US to cheaper labor markets all over the world—China, Mexico, Vietnam. In 2003, he began publishing a biweekly newsletter called Plant Closing News (PCN) as a service for the scrap industry, a way to help auctioneers and equipment brokers chase leads on bargain wire stranders and double-arm mixers across the country. Over the years, his encyclopedic knowledge of the decline—or, more charitably, the evolution—of American industry has crystallized into a kind of lament about the shifting character of the US economy. 

Each PCN listing includes the type of facility and its expected closing date, an address, a phone number, and the name of a contact person for anyone looking to move, buy, or scrap the equipment inside, along with a sentence or two on the number of displaced workers and the reasons behind a plant’s shuttering. Compiling the entries is simple, if grueling, work that usually involves extracting the necessary particulars over the phone from employees likely to be losing their jobs. By the time Clark sent out the last issue in December 2019, after a detached retina left him temporarily blind in one eye, he had chronicled the demise of 16,000 factories, plants, and mills in 17 years.

When Clark and I first spoke, he began reading his newsletter aloud to me over the phone in a rich Texas baritone, interspersed with his own idiosyncratic commentary. “Can you imagine a plant that does nothing but break a million eggs a month?” he asked. “That’s 500 tons of broken shells a year!” 

Jon Clark with his wife, Donna

COURTESY PHOTO

Clark rattled off all the factory closures he’d compiled for a stretch of July 2019: an aircraft-lock assembly plant, a scrap-metal shredding facility, a conveyor manufacturer, three plastic-bottle plants, a foundry, a glass plant, a South Carolina plant that manufactured textile machinery, a pharmaceutical plant in Wyoming (“The only one,” he interjected), a Florida plant that bent tubes into automotive parts, a paint-manufacturing plant in Missouri, a corrugated-cardboard-box plant in New York, and on and on and on. “Those are the ones that I know of,” Clark added, when he finally reached the end of the list.

The decision to close a plant often heralds a chaotic time on the ground, as a dwindling team on site shoulders the responsibility of continuing to run a facility slated for closure. There’s still inventory to track, maintenance to be done, and product to be pushed out, along with all the paperwork that goes into settling the books before closing a place down. Often, the workers themselves are the last ones to be told.

For the first five years of PCN, Clark’s daughter Kristen, then at home with her oldest child, was his main “caller.” She took the leads he gleaned from trade publications and industry chatter, contacted the plants, and coaxed the remaining staff into providing the information needed for Rolodex-like entries designed to help contractors gin up business in demolition, secondhand equipment, and environmental remediation. “We got hung up on a lot,” Kristen remembers. But there were also moments of pathos. “We got an opportunity to cry with them, and pray with them, and a lot of them got very angry,” Jon says. 

PCN’s run overlapped with a historic decline in manufacturing employment in the United States. From 2000 to 2016, the US shed nearly 5 million manufacturing jobs, or more than a quarter of the total, and one out of every five manufacturing establishments in the country shut its doors. Clark charted this decline in his newsletter, watching as globalization tugged at one thread after another in the tapestry of American industry. In the early 2000s, a wave of sock manufacturers closed, followed by food-processing plants, plastics plants, automotive plants, and lightbulb factories.

CHRIS EDWARDS

In 2013, Walmart rolled out a “Made in the USA” campaign, vowing to shore up domestic manufacturing by spending $50 billion over 10 years on US-made goods. But the company was forced to scale back its ambitions after the watchdog group Truth in Advertising found hundreds of products at Walmart stores falsely labeled as made in the USA. As Clark put it, “We still have 330 million people in this country, most of whom wear socks, but Walmart couldn’t find anybody who made socks in America.” 

Five years ago, Donald Trump campaigned on the argument that manufacturers who offshored American jobs were forsaking patriotism for profit. Fused with racist grievance and conspiracy theory, that message helped propel him to the Republican nomination and then the presidency. In the 2016 election, Trump’s attacks on corporations that “moved [our] jobs to Mexico” were a core element of his pitch to the very same voters—white, male Midwesterners with a high school education—who formed a prominent cohort in America’s shrinking manufacturing workforce.

At the time, the prevailing wisdom among economists held that Trump was wrong. Certainly, previous declines in American manufacturing, such as the waves of textile and steel layoffs in the 1980s, could be linked more or less directly to gains in developing countries. Hundreds of new garment factories opened in China, Bangladesh, and Indonesia. Brazil and South Korea aggressively expanded steel production. But while the decline in the 2000s appeared to have a similar explanation—now China’s and South Korea’s economies were expanding by leaps and bounds, and American stores were filling with Korean TVs and Chinese toys and electronics—many economists and commentators looked at the data on manufacturing’s share of GDP and concluded that imports couldn’t be the major culprit behind so many lost jobs. 

A typical example: Michael Hicks, an economist at Ball State University, coauthored a widely cited report arguing that “import substitution”—Americans’ choices to buy cheaper foreign-made products instead of more expensive goods made domestically—accounted for only about 750,000 lost jobs, or roughly one-seventh of the total. What took away the rest? Layoffs of redundant workers once protected by unions; robots and automation; and reliance on more efficient maintenance and service contractors in place of part of the former labor force, he argued. After all, even as the number of manufacturing jobs shrank dramatically, the dollar value of US manufactured goods continued to grow. “I call it productivity,” Hicks told me.

For years, Susan Houseman, a labor economist at the Upjohn Institute for Employment in Kalamazoo, Michigan, watched a parade of pundits explain away those 4 million lost jobs in similar terms. Houseman didn’t buy it. Beginning in 2007, she published a series of papers arguing that the basic tools the federal government uses to generate manufacturing, import, and export statistics were misleading and frequently misinterpreted. 

The Wilde Yarn Mill in Manayunk, Pennsylvania, closed in 2012. When it opened in the 1880s there were over 800 textile operations in the area. It had been the oldest continually operating yarn mill in the country.

MATTHEW CHRISTOPHER

If a television manufacturer that sells $1,000 TVs relocates production overseas, and Americans start buying $500 imported TVs instead, the amount of economic activity “displaced” by offshoring shows up as $500, not $1,000. But the American town that hosted the old factory lost $1,000 worth of work. Even if the TV is still made in the US, but complex components start being sourced abroad, productivity statistics don’t account for labor done by foreign suppliers. If a TV assembled in Ohio takes nine hours of Vietnamese labor and one hour of Toledo labor, as opposed to all 10 hours coming from Toledo, federal statistics will show that American manufacturers are suddenly able to produce 10 times as many TVs with the same amount of labor. “Productivity” jumps. It appears as though technology improved, when what really happened is that jobs were shipped abroad.

Furthermore, Houseman adds, for several decades, the speed and power of the chips and semiconductors churned out by one small slice of American manufacturers advanced so rapidly that increases in “output” from that sector alone accounted for the vast majority of productivity gains among US manufacturers. Leave computers out of it, and all of a sudden US manufacturing appeared to be in very bad shape. 

“Research that has looked at the automation story, the robot story—there’s really no evidence that that could have precipitated such a large decline in manufacturing employment,” Houseman says. “Trump resonated to some people because what he was saying seemed true to them, and to a very large degree, he was right.” 

After the pandemic hit, one ingredient in China’s remarkable recovery was its ability to turn the rudder of its enormous industrial engine to the needs of the moment. By one estimate, Chinese production of N95s and other surgical masks grew 30-fold in less than three months, reaching nearly half a billion a day. By contrast, 3M, the largest domestic US manufacturer of N95s, has received enough government funding to nearly triple its output and currently produces just over 1.5 million a day.

Willy Shih, a professor of management practice at Harvard Business School, says part of this chasm stems from the loss of the “industrial commons”—the combination of expertise, infrastructure, and networks of mutually dependent businesses that help foster efficiency and innovation. Over time, Shih argues, outsourcing has cannibalized not only the assembly line jobs we associate with the factory floor, but the whole chain of intellectual effort that makes those jobs possible. 

This arrangement has given American corporations unparalleled freedom to swap contractors, minimize tax burdens, and make things using inventory someone else pays to insure and maintain. But all that flexibility, meant to guard against financial risks to shareholders, turns out to be flexibility of the wrong kind for 2020. Any manufacturer that built in wiggle room to better weather a pandemic would have had “Wall Street analysts all over their case,” Shih says, saying: “Look at how inefficiently you’re using your capital.”

Clark, the founder of Plant Closing News, blames this pathological pursuit of efficiency in large part on Jack Welch, the iconic late CEO of General Electric. When I visited Clark in Houston in February, he summarized Welch’s gospel as follows: If you have 10 employees, no matter how well they’re doing as a group, rank them 1 to 10, and get rid of number 10. (The company abandoned this “rank and yank” policy a few years after Welch stepped down in 2001.) “And if you have 60 manufacturing plants, and the smallest one is in North Carolina, and they’re pretty good but they’re always near the bottom of that list … when I call, the plant manager starts crying: ‘I been here for 40 years. This is my family.’ Why? Because you have 59 other plants that can make this stuff and ‘we don’t need you’?” Clark winced. 

He turned his attention to the stack of copies of PCN on the table and scanned through an issue from June 2019. A vehicle seating manufacturer was laying off 28 employees near Kalamazoo and shifting production to Mexico and Kentucky; a plastic-molding plant in Illinois was shutting down and consolidating its operations in Mexico and China; a medical-device manufacturer in Southern California was moving its plant to Malaysia. “This is not uncommon—this is every one of these,” Clark said. “If you’re making money and your people are doing a decent job, why would you move it somewhere cheaper so you can hire foreigners and put your own people on welfare? That’s never made any sense to me.”

One hallmark of our era in capitalism is the rise of companies that are both everywhere and nowhere at once. Today, multinational corporations—registered in Delaware, paying taxes in Ireland, sourcing materials on five continents—drive the majority of worldwide trade. “Why wouldn’t you have the business community up in arms about [offshoring] undermining their competitiveness in the United States?” Susan Houseman asked me. “Because it may not be undermining their competitiveness.” 

But it may be undermining the US national interest. Because the American manufacturing sector is more consolidated and narrower in scope than it once was, it’s also less diverse, less resilient, and less able to respond to a crisis.

Bancroft Mills, a fabric mill in Wilmington, Delaware, had been vacant since the early 2000s and was largely destroyed by a fire in the autumn of 2016.

MATTHEW CHRISTOPHER

According to Behnam Pourdeyhimi, the director of the Nonwovens Institute at North Carolina State University, the current wait for a machine that can produce the melt-blown polypropylene used in N95 respirators is about 14 months. The technology for the machines was developed in the United States, but these days, Pourdeyhimi says, aside from a small manufacturer in Florida and a sprinkling of others in Europe and China, German companies enjoy a near monopoly, simply because their machines are so good. The machines used to “convert” melt-blown into wearable PPE are somewhat easier to come by, he says, but 90% of them—both for N95s and for pleated surgical masks—are made in China. 

However, recovering the ability to make machines that make PPE is not impossible, Pourdeyhimi says. He estimates the necessary investment to be in the tens of millions of dollars. It should be doable in months. 

During World War II, President Franklin D. Roosevelt’s War Production Board famously redirected huge swaths of the American economy to make things the military needed. Factories contributing to the war effort jumped to the front of the line for scarce raw materials. “The entire capacity of the laundry industry will be devoted to war,” the board’s chairman announced in 1942: brass and steel would be conserved by putting an end to washing-machine production. Nylon was reserved for parachutes. Typewriter factories were converted to produce rifle barrels, while those that couldn’t went on making typewriters exclusively for the government. Technology was put to work where it was most needed.

All through the spring of 2020, there were stories of vegetables being plowed under and manure ponds filled with fresh milk because the US lacked the proper packaging and processing infrastructure to convert cafeteria and wholesale food into products that could be sold in grocery stores—or even, perhaps, given away.

Even if individual firms are flexible today in ways they weren’t in the past—a consequence of the transformations Shih describes—the system as a whole cannot effectively pivot as it did during the last crisis of this scale. Though Trump did not create the decades-long decline in American manufacturing, that the president is—to say the least—no FDR is a not insignificant factor in America’s anemic response. Whatever credit Trump deserves for articulating the role of trade in weakening American manufacturing, he has managed to squander a generational opportunity to throw the weight of the federal government behind securing its vitality.

In recent months, the Trump administration has waved away the need for legislation aimed at “re-shoring,” arguing that a presidential charm offensive will be enough to awaken CEOs’ sense of patriotism. Clark doesn’t see it that way. “It’s all about where these companies make the most money,” he says. “‘If you want us to manufacture in the US, you’re gonna pay for it.’”

This year is the second time Clark has decided to retire. The first time, he lasted six months. He still bids on equipment every month or two. Why? “For my own entertainment. Because I’m crazy …” He pauses. “Because a peanut plant closed in Georgia and they have two 30,000-gallon propane tanks and I’ve got a buyer that wants them. So why not?” 

[opticien2-0]

Coronavirus round-up: how shoppers are changing the way they buy, in updates from Emarsys, Melody, Forter, IRI, Bloomreach and a new Edinburgh farmers’ market

We’re reporting on the effect of the Covid-19 coronavirus pandemic on the way UK shoppers buy – and on how retailers are responding to that changing behaviour. This update comes when, as of 9am on April 26, 152,840 people have tested positive for coronavirus and 20,732 people have died of it in hospital. Over the previous day, 4,463 people tested positive and 413 people died.

  John Lewis making plans for store reopening as early as next month

John Lewis says it’s making plans to reopen its stores – and could be ready to open the first in mid-May. We also report as the retailer reopens its Lancashire textiles factory in order to sew scrubs for the NHS. Read the full story here.

  New customers make up almost half of retailers’ ecommerce sales in March

New customers accounted for nearly half of retailers’ online sales in March, figures suggest.

  Data from Covid-19 Commerce Insight, run jointly by customer engagement specialist Emarsys and analytics provider GoodData, suggests that retailers saw 43% of ecommerce transactions coming from customers who were new to them, and 23% from active repeat customers. Smaller numbers were from second-time buyers (5%), defecting customers (14%) and inactive customers (8%).

  Alex Timlin, senior vice president of verticals at Emarsys, said: “Our own customers — especially supermarkets — have told us over the past month that they’re dealing with not just more customers but more types of customers than they know how to deal with. “It’s now more important than ever to be able to quickly distinguish new customers from loyal ones, so you can target them with campaigns in the right way and do so quickly. Artificial intelligence is a huge asset to marketers here because it can analyse your entire customer base quickly to determine who’s new and who’s loyal. Then you can set up separate automated digital campaigns for each type of customer.”

  UK shopping behaviour changing – 60% say for good: study

Most UK shoppers have changed the way they buy as a result of the Covid-19 pandemic, a new study suggests.

  Ecommerce agency Melody questioned more than 2,000 UK shoppers – and 92% said they were shopping differently as a result of the coronavirus outbreak. Thirteen per cent of respondents said they were doing more online shopping during working hours than they did before. A quarter (25%) said they were buying goods online they previously bought in shops – and 19% are turning to Amazon to do that shopping.

  Six in 10 (60%) say they’ll continue to buy the way they are now, with 12% saying they are likely to carry on buying items they previously bought on the high street online. However,15% believe they will do less shopping. A third of all UK shoppers (33%) say they now do less shopping of any type, rising to 40% of women. Female shoppers are also now more likely to shop online instead of in stores – and much more likely than men (29% vs. 18%) to no longer shop on high streets at all.

  Men, found the study, visit ecommerce sites more often than women to browse because of the lockdown (13% of men, 8% of women) – and 17% of men say they now do more online shopping during working hours, compared to only 9% of women.

  Mark Burgess, business director at Melody, said: “Clearly we’re living through unprecedented times and it’s hard to separate anticipated consumer intent from actual behaviour, but the lockdown has significantly impacted the UK’s retail landscape and our shopping habits.

  “According to our research, the shift to online retail looks here to stay. More people are trialling e-commerce channels at more numerous points on their shopper journey and as ecommerce absorbs the role played by the physical environment.

  “It’s no surprise that companies that have never previously considered offering an e-commerce solution, or indeed needed to, are now trying to adapt their business model – or at the very least, enhance their current content and media solutions across etail.”

  How chargebacks have evolved

Credit card chargebacks are now more likely to be from service failures than from fraud, Forter analysis suggests. The data finds that while service chargebacks use to be 60% lower than fraud chargebacks, service chargebacks are now 50% higher than those for fraud. Most chargebacks between early February and mid-March came as flights were cancelled, but after that there was an additional rise related to the food and drink industry as well as from grocery and delivery services.

  The analysis is from the Forter Global Merchant Network, which includes more than 100 customers around the world, turning over more than $150bn in commerce transactions a year. It shows that the rise in service chargebacks comes as up to 75% of customers are now new customers – as as their expectations do not meet the reality of the service they are receiving.

  Retailers who are benefitting form an upturn in business – according to Forter data – include those selling home and garden products (+369% transaction volumes), including mattresses and bedding (+575%), groceries and grocery delivery (+243%), alcohol (+327%), beauty products (+216%), clothing and accessories (+106%) and marketplaces (+92%). Sales of virtual coins (+61%) and computers (+49%) are both up. Those suffering include those selling jewellery (-25%) and travel, with transaction volumes down for those selling hotel rooms (-87%), flights (-95%), ride sharing (-89%) and suitcases (-84%).

  Online shopping grows around Europe

People locked down at home in Italy, France and Spain are doing more of their shopping online, according to data from the IRI Consumer Spending Tracker, for the week to April 12.

  Most online shopping now via mobile

Shoppers are doing most of their online shopping via their mobile phones and devices during the coronavirus pandemic, data from Bloomreach suggests. Bloomreach figures for the period between April 12 and 18 saw 61% of online purchases take place on mobile devices, while 39% were on desktop.

  Search traffic, total traffic and conversions came consistently from mobile devices, peaking at night. Desktop traffic was highest during lunch hours – at 24% of conversions, while 19% of conversions at that time came via mobile. At night, 18% of conversions were via mobile, while 13% were on desktop.

  New click and collect farmers’ market launches in Edinburgh

Edinburgh food producer Sonia Nicolas-Garcia has launched Edinburgh’s first click and collect farmer’s market to support local producers during the coronavirus crisis.

  Customers can buy goods from a wide range of local food and drink producers all in one place and then collect purchases from a local restaurant being used as a collection point once a week.

  The virtual farmer’s market for Edinburgh West has launched with the help of The Great British Food Hub, a platform that Gillian Mackay, a pig farmer from Strathblane, founded two years ago.

  Mackay said: “Food Hubs are a fantastic way for producers to sell direct to local communities, food miles are low and there is no wastage as all items are pre-ordered. They have become something of a lifeline to many small, local food and drink producers who saw their commercial customers close their doors overnight, hugely impacting on their ability to continue trading. We’re seeing a 500% increase in sales across our Food Hubs. If anything good were to come out of Covid-19 maybe it will be more of an awareness of food security and the benefits of supporting businesses producing food and drink right here on our doorstep rather than relying on supermarkets who have been letting us all down in recent weeks.”

  Nicolas-Garcia said: “I’ve been selling my produce as a food producer since The Great British Food Hub launched and have been desperate to set up my own hub. It’s so easy, customers can order online each week until midnight on Monday from our super-secure market then come along to our venue, The Black Hoof restaurant on Dalry Road on Wednesdays where we will be operating a contactless collection at the door ensuring that all social distancing measures are met. As a producer it’s great, I know exactly what to cook or bake each week for the Food Hub customers so there’s never any wastage and I get a much better return than selling through conventional farmer’s markets. ”

  So far 10 producers including Alba Seafood, Woodmill Game, Ardunan Farm, Heather Hills Farm, The Wee Honey Bee, Isle of Skye Sea Salt and Bon Accord Soft Drinks have signed up and you can order from them now! More producers are joining daily.

  New customers can simply register, verify their email address via the website or on the app then login to shop.

  Image: Fotolia

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[diarrheaworldstarhiphop]

Lmao I have to ask if you've heard JonTron's interview with Destiny on YouTube holy shit this guy

omg

ive had a number of asks like this on top of a posting backlog i want to get to.. i mean

fUCK

OK so i went to check it out and:

this horsehit is 2 hours long…

i was gluing manga to a wall and cutting out lil jebs and gabs to hide on it while i listened to it because fuck (below is the cut out sheet i made lol)

so i had my email open to write notes for later and this is what i wrote, no fixes or anything:

destiny is wrong -> 14 mins -14:30

both dumb at 16 mins for the commies and nazis statement. destiny is compared to commies for noooo reason?? I dont think destiny is backed up by communists???? as a bizarre kneejerk TU QUO QUe when jon tron is thrown a guilt by association argument from destiny because of the neo nazi followers of his. destiny says nazism is a race ideology while communism is an economic thing, i cant wrap my miand  around thisis. he has no idea what hes talking about. jon tron dumb cant adequently adders it either

none of them are using gaslighting right

jon tron loves saying tribalism

at 18:40 desitiny is ignorant as fuck with regards to riots. because he hasnt heard about it, therefore it doesnt exist, which is is about one of the most frustrating fucking things about this shitty clusterfuck of a debate besides jon tron asserting random made up facts and imploring destiny to look it up. Jon tron laughs and references the boiling frog analogy fittingly. Jon tron continues to bring in international examples while dentiny tries to reel it back to the USA and the USA alone. This is annoying on two fronts:

1. Jontron is merely refering to situations rather than go in depth, such as compare tibet to “displacing white perople” when what ttibet is experiencing is hardly comparable to american white flight since the chinese are engaging in conquest/imperialism/ethnic cleansing and the west just simply isnt replacing their own population enough on their own for their corporate overlords tastes, so immigration fills the economic growth hole for better or for worse in their super simplified concept of economy (see: economies stop growing when ethnic civil strife brings it to ruin). but destiny doesnt have a clue what happens outside of his boiases. ;et alone the country, to even call him out, howeever when destiny has the proper misinformation, he will assert things like how japan is dying off or worse off for its homogenity without backing up his argument as well. which is a sign of liberals generally being ignorant to world issues unless their favoured media makes it a big deal ie with japan needing immigration. It’s clear both jon tron and destiny are parroting shit in hilariously broken, scatter shot fasihion

destiny thinks america is the most diverse country in the world, which is fucking wrong. Both of these asshoelss are throwing out garbage statements that are flat wrong that benefit their respective close minded, unresearched biases. Niether of them know any better so they cant even properly dismantle eachother’s argument. Clearly jon tron, nor destiny showed up to the debate with notes or preparation, which is a given considering they are both hot headed gamer shithead youtuber Know-It-Alls becuase they heard something in passing before and just throw out the garbled memory of that soething in debate.

jon tron thinks white people are more libertarian?? for some reason? destiny throws out a garbled statement akin to that MY THING WAS MADE IN THIS COUNTRY WHICH HAD PARTS IN THAT COUNTRY DESIGNED BY THAT COUNTRY YADDA YADDA DIVERSITY IS AMAZING when all these components werent built by americans but by different nation states engaging with others/.

at 37 minutes jontron says rich blacks commit more crime than whites, with no source but smugly tells destiny to look it up, confounding the shit out of destiny and the chatroom becuase hes put the burden of researching a fact that doesnt exist on his opponent.

destiny has

at 42, destiny is called a virtue signaller by jon tron, who is running through a list of things he learned a week ago on a mr metokur video to call destiny, which is every bit as cringe and awful to watch as the australian mp who called another sitting member of government out for man splaining

https://www.youtube.com/watch?v=ZOXh5repOWI

desinty throws back a solid rebuttal that jontron side steps going “what im saying is…” and totally fuckign forgets what destiny even said 10 seconds later because jon tron is running through his recently learned, stupid diluted “”facts”” rather than listen and speak to any argument of destiny’s, especially in cases like this when destiny lands a solid question

at 45, destiny gussies globalization with how its great and necessary it is and how cutting off bringing in workers to make stuff in the usa (spoilers: jobs leave the USA, not come in) and trade would lower american standard of living since iiphones will be worth $3000 which is the most liberal, whitest fucking statement of argument because, while yes, iphones would get more expensive, but at least they arent being made in slave labour assembly plants where workers commit mass suicide in protest to their working conditions and that the west isnt pilfering the future leaders and skilled workers from these societies that need them most.

destiny, true to his ignorance, thinks cheap shit is awesome because its made elsewhere, unaware that it’s only so cheap because people die and get crippled in hot, unregulated slave labour factorys making his shitty overpriced electronics

desinty is right though that the american identity goes beyond just being white, because american culture is informed by its various ethnic gorups and peoples, for example it’s black community that does a disproportionately great job of establishing culure, music, activism and art for america as a whole

jon tron again doubles back, shifts the subject to other shit and starts talking about balkanization upon facing a solid argument

at 48 i start to lose my fucking mind because they are talking at eachother and jontron accuses destiny of deflecting when it is jon tron doing all the deflecting. jon trons smug laughter is grating

jon tron has to rely on telephone game “MUH EUROPE” over and over because he cant acknowledge that america is exceptional in how it assimilates and functionas as a melting pot in a way that europe fucking cant, which is creating the situations jon tron fumbless at with greasy game controller fingers to conflate with the USA in the first place.

desinty then claims that germany’s economy is doing great because of taking in refugees, here again he is talking out of his rose tinted ass because not only is it too early to tell if they are mkaing germany money or not, but that the reality is that they are likely a net drain on the germany given other countries and historic precedent

at 50 mins destiny thinks anti-abortion is a white christian thing, further enshrinign his white, middle class, youtuber ignorance. i guess catholic latinx or muslims are pro-choice

at 1 hour desinty says “its ok to keep a country frfom progressing as much as it can in order to maintain a rcaial identity"destiny clarifies it as “stifling growth” which is exactly what jon tron was asserting, to which he goes yeah dude, japan etc and this fucking knob destiny asks jon tron why he came to america instead of japan then, thinking his strawman homerun is about to take off - until jon tron says he was born in amerca.. destiny goes “oh… well…  y-your parents/// ijjuhhhUHH FUCK IM NOT TALKING ABOUT JAPAN IM TALKING ABOUT TEH UNITED STATES!!! which is about the best backfire ive seen all debate long considering the smug setup for it destiny had. furhtemore, what the fuck does “progressing” entail?? Neve raxplained

which is funny because when it isnt a country desinty can use as an argument against jon tron, destiny shrieks IM TALKING ABOUT AMERICA to disguise his ignorance unless it befits him (japan)

soon after though, destiny catches jontron on his shit about slowing immigration down so they can “enter the gene pool”

jontron couldve articulated around this but jontron is a moron, so, he just stutters and gets walked all over

i want to stab jon tron. laughing nervously is anot a good cubstitute for a credible argument

destiny stinks, though he fucking is destroying jon tron because jon tron is regurgitating even more  regurgitated shit arguments gleaned from someone else than destiny, who at points is arguing from his own values.

i have stopped paying attention rea

“that is what im talkibg about” -jon tron, who cant articulate what the fuck hes trying to verbal diarrhea for himself

“my oral ulterior motive is to maximize economic growth, and to maximize the slice of the pie for everybody in the united states” -destiny

destiny’s disposition is clearly and decisively about maximizing economic growth, but it rests upon ignorant hopefulness that these immigrants will arrive and abandon their cultures and become “american"this simultaneously exposes destinys humanitarianism as self serving (so long as it leads to economic growht:) ) which is partly why the immigration model in countries like sweden have completely collapsed (jontron touches on sweden but clearly has no fucking clue besides MUH RIIOTS) beause they took on an ABSURD amount of migrants and immigrants thinking it will pay for itself and transform sweden into a post-ethnic nascent economic power like a jr. america, except what the swedes have done is import a shit ton of people to be a “humanitarian superpower” and threw the lot of them into commie block ghettos and stopped caring about them, assuming they would naturally become swedes, permitting the transformation of these immigrant slums and neighbourhoods into economic and cultural parallel societies that frequently are violent toward swedish authorities and outsiders visiting their area, hence the term "no go zones” where police are instantly attacked and services like ambulances require escort.

“how do you grow an economy if the populatio n is dying off” says destiny, unaware that people can reproduce and will do so the moment people die off enough for real estate prices to collapse from housing supply outpacing demand and wages to skyrocket and make living costs manageable to have enough children to make replacement rate. You know. Naturally rise and fall and rise again. as humanity has done naturally for fucking ever and has fared PRETTY WELL without having to drive the environment and civil stability into the shitter for the ponzi scheme INFINITE GROWTH meme. Destiny argues this yet has no fucking clue what he’s arguing for. fuck destiny, fuck this argument, fuck “economic growth” that means demand from immigration and globalization that makes 600 square foot apartments cost $750,000 and ramshackle crackhouses cost $2million in vancouver. wow, im really feeling the economic growth, fucker.

jon tron brings up the disproportionate violence of black youths, but when asked to explain that, jon tron backs out and laughs about how destiny asking jontron to clarify that point is just like those shows on CNN where people are trying to “TRAP YAH”

Yah, jon tron, it’s called backing up your argument

jon tron jesterly mentions crime rates being consistent across africa when destiny addresses the court systems in america, as if jon tron’s hints toward his earnest views on race were subtle enough

destiny asks jon tron to name 5 african countries

why??

who cares

i am finding myself wishing i were arguing in place of eachotehr, because i see where they are both coming from but are too busy screwin g up their delivery to actually win a point over eachother

they are literally just talking at eachother and calling it a debate

Jon tron accuses destiny of bringing up irish and italians when its convenient

…as if jon tron doesnt bring up MUH YUROP and other whatevers when it’s convenient.

i hate this

they both suck t this. Jon tron has dug a hole through the earth and is now reaching escape velocity with his shovel and is soon to break earths orbit

jon tron brings up turks and iranians being able to assimilate into a culture than a romanian and hungarian would. If jon tron were knowledgeable to pursue this point, he couldve described how Kurds (an iranian people) and turks often fight and engage in conflict with each other in say, Germany to the dismay of germans who expected these groups to assimilate, forget their animosities from their homeland and become good forklift simulator playing germans.

i ahve wasted my hour

i like how i stopped keeping track of time on the video and just started ranting, rambling at the halfway point

I loved it for moments like this tho:

lmao

i feel jon tron is going through a PHILOSOPHICAL AND INFORMATIONAL BLOSSOMING which i guess is taking the red pill for some people. So he is on the same tier as a 16 year old who just discovered holohoax and bell curve graphs for the first time on a 4chan thread loaded with A. Wyatt Man drawings.

He will eventually (hopefully) research for himself these positions if only because he’s constantly being stomped and fighting people over these regurgitated opinions. Which means he is going to try and read up on them to better argue them. Which means he is going to have a hangover of sorts when he realizes what he’s done lol

[biofunmy]

Who Made Your Clothes? – The New York Times

Rumsinah, 44

Role: Zipper operator at PT. Fajarindo Faliman Zipper, which focuses largely on in-house brands

Where: Tangerang, Indonesia

“Most of my co-workers and I are all old-timers,” said Ms. Rumsinah, who has been working at the same factory for 26 years. “It’s a good factory, so no one really quits. There’s seldom any job openings — only if someone retires.”

She is paid about 3.4 million rupiah, or $241, per month, which she said is tight as a single parent. Her son recently finished high school. “He can’t work at my factory because there’s no openings,” she said. “He wants to be a teacher, but we don’t have enough money to send him to go to university.”

Though her job is tiring, “all jobs are tiring,” she said. “At least weekends are off, and the hours are not too bad.”

Waheed, 38

Role: Sewing bedsheets and curtains at a textile mill

Where: Pakistan

Waheed, who is being identified only by his first name, has been in the textile industry for 20 years and works seven days a week to support his wife and two young sons. They share a house with his parents, his sisters and his brothers.

“Most factories place a lot of restrictions on garment workers. Once they come in for their shift around 8 in the morning, there’s no knowing when supervisors will let them out. It may be 8 p.m. or 10 p.m. by the time they are allowed to leave for the day.

Workers at my factory don’t have it as bad. That’s why I’ve been here for the past 10 years. It’s a nice place to work. But some of the resources that workers really need aren’t provided, such as first-aid kits or pension cards.

It’s pretty common to get your fingers injured — sometimes needles break and get stuck in your bone if your hand gets in the way of the machine. Then you have to go to the hospital and get X-rays yourself.

It’s difficult to manage on the salary I earn. My expenses amount to about 2,000 rupees a day, including the cost of my children’s clothes, their education, my family’s groceries and other bills. But I barely make 1,000 rupees a day.”

Seak Hong, 36

Role: Sews outdoor apparel and bags at Horizon Outdoor

Where: Khum Longvek, Kampong Chhnang, Cambodia

Six days a week, Ms. Hong wakes up at 4:35 a.m. to catch the truck to work from her village. Her workday begins at 7 and usually lasts nine hours, with a lunch break. During the peak season, which lasts two to three months, she works until 8:30 p.m.

Ms. Hong has been in the garment business for 22 years. She earns the equivalent of about $230 a month and supports her father, her sister, her brother (who is on disability) and her 12-year-old son.

She hopes he will not end up in a factory, too, but the price of a quality education — about $20 per month — is beyond her means. While she is at work, her sister manages the household, taking care of their oxen and rice farming their land for extra food.

“I feel tired, but I have no choice,” Ms. Hong said. “I have to work.”

Yurani Tascon, 34

Role: Tracks daily production numbers at Supertex, which works with major active wear brands

Where: Yumbo, Colombia

“They spoil us a lot here,” Ms. Tascon said. “It’s a job with good stability.” Her workplace blasts music — usually salsa or something traditional — from speakers throughout the day while employees make coats, bathing suits and sportswear.

At 11 a.m., employees get “pausas activas”: active breaks with music.

Sarjimin, 39

Role: Makes shoes for a comfort footwear brand at PT. Dwi Naga Sakti Abadi

Where: Tangerang, Indonesia

Mr. Sarjimin has worked at the same factory for about 12 years. The job is relatively stable, and his workplace is spacious, bright and safe.

He earns the equivalent of $250 a month, and his wife also works at a factory. The family is able to send their children, a 13-year-old and a 9-year-old, to good schools. They recently purchased a computer for their older son, who is passionate about technology.

Mr. Sarjimin farms catfish to supplement his family’s grocery money. He started six months ago, filling a big empty drum with starter fish as an experiment. Now he has two drums with 300 fish each, and he sells them to friends, family and neighbors.

One day, he would like to raise catfish full time. “There’s a motivational speaker I heard once, ‘You have to dare to dream, how to get there is a question for a different time,’” he said. “I like remembering those words.”

Saida, 38

Role: Sewing machine operator at Pinehurst Manufacturing, which works with major active wear brands

Where: San Pedro Sula, Honduras

The factory where Saida has worked for the last 12 years is one of the few in the area. She earns about 8,200 lempira each month, roughly $331. “It doesn’t cover everything,” she said. “Vivimos sobregirados.” (“We live overdrawn.”)

Saida lives with her mother and her 19-year-old daughter, who goes to school. “I am the one who provides everything at home. The house, the water, the electricity,” she said. “You have to stop buying certain things to be able to cover the necessities.”

Her unit currently has one primary client, a major sportswear brand. This is a source of anxiety for her and her co-workers because they fear mass layoffs if the client leaves the company. “It’s really difficult having one client,” she said.

Bui Chi Thang, 35

Role: Stitching denim together for sustainability-focused brands at Saitex International

Where: Bien Hoa, Vietnam

Mr. Bui has been at his factory for seven years. “It matches my skill,” he said, “and the salary is enough for my family.” He earns approximately 90 million dong annually, roughly $3,880, which he uses to support his mother, wife and son.

During the average nine-hour workday, “I can finish 1,000 to 1,200 pieces a day, depending on the difficulty,” he said.

Santiago, 48

Role: Sews clasps and zippers onto dresses, blouses and pants at a factory

Where: Los Angeles

“I’m from Guatemala. I’ve been doing garment work for 16 years. I started because it was the only thing I knew how to do after leaving my home country,” Santiago said. “I came here because there were not as many opportunities back home, and with six children, there are a lot of expenses.”

In the last five years, he has worked in five to eight factories. They are often windowless and dirty, with little ventilation, he said.

When he first moved to Los Angeles, Santiago was working 11-hour shifts, seven days a week. Now he works about 50 hours a week, taking home up to $350. The majority of his co-workers — around 30 other people — are Spanish speakers from Guatemala, El Salvador and Mexico.

“I’m just making ends meet,” he said. “I’m always trying to figure out how to save money, how to buy food, how to not eat out too much.” Still, he said it is better than what he was earning in Guatemala.

Maria Valdinete da Silva, 46

Role: Self-employed seamstress

Where: Caruaru, Brazil

The last factory Ms. da Silva worked at produced men’s street wear. She spent eight years there, stitching side seams together in an assembly line with an hourly quota.

“Some companies, like the one I worked for, no longer have employees inside the factory and the seamstresses work from home,” she said. “They establish small groups, tiny factories, and they are paid per item, so they basically have the same production without any costs.”

In order to make minimum wage, outsourced employees “have to work from day to night,” she said.

Ms. da Silva now makes women’s clothing independently, producing fewer pieces and selling them locally. She makes “maybe half” of minimum wage, but she said it’s worth it to work at her own pace. “I love what I do,” she said. “I no longer see myself in that situation of sitting in front of a machine doing the same thing every day.”

She is planning on taking fashion design courses soon. “Seamstresses are the key element in the fashion chain, we are the ones who put the clothes together,” she said. “You basically have to kill yourself in front of a sewing machine in order to provide for your family.”

Antonio Ripani, 72

Role: Leather quality control at Tod’s Group

Where: Casette d’Ete, Italy

Mr. Ripani, who began working with leather at 14, has been employed by Tod’s for more than 40 years, where he assesses “practically all the hides that arrive” for quality.

“Alone it’s hard to do everything, so I have a group of ragazzi [guys] under me and I have taught them everything I’ve been able to understand after all these years,” he said.

Mr. Ripani doesn’t earn much, he said, but he sets his own schedule, often working eight to 12 hours a day. He has assistants and has received awards for his highly specialized work.

“It’s not so much the salary, it’s that I am here because we’re all one family,” he said. “When I started, I had long hair. Now, I am bald.”

Rukhsana, 48

Role: Security at Sitara Textile Industries

Where: Faisalabad, Pakistan

Rukhsana began working in the garment industry shortly after her husband died seven years ago. She works seven days a week.

“The hardest thing about working in a textile mill is that management kind of cuts you off from the world for the duration of your shift. If anyone calls you from home — with good news or bad news — you can’t take the call and management doesn’t tell you until the day is over.

Two years ago, my nephew died in an accident when I was working. My brother tried calling me, but management didn’t tell me about it until my family had already held his funeral. I was so upset, I quit my job.

Now that I’m in security, I know when someone comes to the mill and tries to contact a worker. But I’m still not allowed to tell the worker their relative has been trying to reach them.

It’s not just difficult, it’s impossible to survive on the salary the textile mills pay. Are we supposed to choose between buying food and roti or paying for clothes and medicine? And there’s always rent to pay in addition to that.”

(Employees store their phones in a locker before beginning their shift, a company spokesman said in a phone interview, and they aren’t allowed to leave the organization “without any written acknowledgment from the manager.”

He said that family can reach employees on their cellphones or by calling the factory directly, and that he was not aware of any incidents in which family was prevented or delayed from contacting an employee during an emergency. )

Vu Hoang Quan, 21

Role: Sews dress shirts for mass retailers at TAL Apparel

Where: Binh Xuyen, Vinh Phuc, Vietnam

Mr. Vu has spent the last four years working on a production line with about 30 other employees, each overseeing parts of the sewing process. On average, he earns about 10 to 12 million dong (about $432 to $518) monthly. He sends most of it back to his family.

“My favorite time is at 3 p.m., when we have an exercise session,” he said. “We stay at our work spot. We pause our work process, line up and follow the exercise instructions of team leaders.”

He recently participated in a talent show hosted by the company, where he performed modern dance. “I don’t have plans to leave this job anytime soon,” he said. “I’m quite satisfied with it.”

Catherine Gamet, 48

Role: Leather goods artisan at Louis Vuitton

Where: Saint-Pourçain-sur-Sioule, France

Ms. Gamet began working with leather when she was 16 years old and has been employed by Vuitton for 23 years. “To be able to build bags and all, and to be able to sew behind the machine, to do hand-sewn products, it is my passion,” she said. “That’s how I got into it.”

About 800 employees work in Saint-Pourçain, spread out across four sites. Ms. Gamet said the workshops are well organized, bright and modern. “The time flies by,” she said.

S, 33

Role: Tailor making pants and socks for fast fashion and active wear brands at Shahi Exports

Where: India

S.’s shift begins at 9 a.m. She feels a lot of pressure from supervisors to reach quotas of about 90 to 120 pieces per hour and said many workers are afraid to take breaks or use the restroom because it will waste time.

Employees who can’t keep up are often pulled aside at the end of each hour, she said, and supervisors will yell at them and bang on tables. Many workers spend most of their 30-minute lunch breaks scrambling to finish more pieces to get back on track.

“We don’t even have the freedom to drink water,” S. said, adding that management doesn’t allow employees to bring in water bottles.

Instead, water is handed out by the factory. In the spring of 2018, the supplied water was making workers sick, and when employees gave management a letter with a variety of basic requests, including clean water, they were beaten in response. Their clothes were torn, and many of their valuables, including phones and jewelry, were taken.

The employees took their complaint to the labor department. The issues were resolved three months after the incident, after the factory faced public pressure from a report by an American watchdog group, social media and brands that worked with the factory.

Some conditions have improved: Employees get mineral water now. But the pay is still bad, S. said, and the main work space doesn’t have windows, air-conditioning or heaters.

“We want to ask for more salary, but people are scared after what happened last year to ask again,” she said.

(In an email, a spokesman from Shahi Exports acknowledged the 2018 incident and forwarded a statement outlining the preventive measures the company has since enacted.

In a separate email, a spokesman said that berating employees in any way “constitutes misconduct,” and instances brought to management’s attention would “initiate action” against the perpetrator.

“While we do strive to drive efficiencies, there is no scope to berate any employee on account of non-performance or deficient performance,” he said. The spokesman added that there “is adequate ventilation” within the work space and that the entire factory is “in compliance with the law.”)

S. is a single parent and picks up extra work in the evenings, along with taking out loans, to support herself and her daughter. “There are thousands of people” in her city in the same situation, she said. “My story is just one of them.”

Phool Bano, 38

Role: Tailor at Friends Factory

Where: Noida, India

Ms. Bano has been a tailor for about 22 years and works at a progressive factory that makes small batches of garments for high-end independent brands. The building has little luxuries like air purifiers.

“It feels nice working here,” Ms. Bano said. “It’s clean. There are some plants and trees also, you know, the kind that are meant for decoration.”

Helena Lúcia Santos da Conceição da Silva, 54

Role: Seamstress at Fantasia D!kas Roupas

Where: Nova Friburgo, Brazil

“I’ve always thought of myself as a seamstress. I even made my daughter’s sweet-16 dress. It looks like overlapping petals. It’s my greatest pride.

I start work at 7 a.m. We make everything: pants, shorts, tops. I work eight hours a day Mondays to Fridays with a one-hour lunch break. It’s a small company: me and five other seamstresses. We don’t have a quota. Here they value quality over quantity. I don’t even know how many pieces I work on in a given day. We don’t keep track.

Ms. da Silva does not make enough money from her day job, so she picks up extra work from private clients to complete on evenings and weekends, sometimes working until 10 p.m.

I prefer working for this manufacturer because I’m on the payroll, I’m entitled to vacations. It’s more secure. But my dream is to have my own atelier at home.”

Knvul Sheikh contributed reporting.

Sahred From Source link Fashion and Style

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[ellymackay]

Does PEMF Reduce Pain And Help You Sleep And Does Exercise Help With Jet Lag?

The blog article Does PEMF Reduce Pain And Help You Sleep And Does Exercise Help With Jet Lag? is courtesy of https://www.ellymackay.com/

Something pretty exciting happened to me this week, I was named the Best Sleep Doctor in California by Reader’s Digest. If you are like me and grew up reading Reader’s Digest, that’s pretty cool. Thanks for indulging me for a second.

What a week it has been!

I started out flying to NYC on Monday to be on Rachel Ray for her Monday show (she tapes 2 shows a day, so I will get everyone the airdate when it comes up.

Rachael and I talked about sleep issues in your 30’s, lack of a consistent sleep schedule and use of electronic devices at night- Rachel wore my Blue-Light Blocking Glasses (check out which other celebs are wearing them and if you use discount code sleepdr5 – case sensitive, you can enjoy them for 50% off).  We discussed that in your 40’s the challenges are awakening in the middle of the night (we highlighted the benefits of guava leaf tea and your 50’s, Menopause and what foods are phytoestrogens. It was a GREAT segment.

Next, I took the train down to Baltimore where I gave a lecture for the YPO, the Young Presidents Organization – Baltimore Chapter at a Rye Distillery. The tour of the factory was very interesting and the Rye was delicious!

After speaking, I ran over to Headline News to talk about sleepy parents (see it here). I made it back to LA but while doing some research on the plane I found two articles I think you may find interesting:

The first article talked about using exercise as a treatment for jetlag.

My old friend Dr. Shawn Youngstedt at ASU was the lead researcher and his work is always excellent. Dr. Youngstedt has always researched the effects of exercise on sleep and this was a really interesting study.

According to Medical News Today, he took 51 “aerobically fit” participants aged 59–75 years and 48 study participants aged 18–30 years. He measured the participants’ circadian rhythms and how exercise affected them for a period of 5.5 days. Specifically, the 99 volunteers all did one hour of moderate treadmill exercise for 3 consecutive days at one of eight different times during the day or night.”

By measuring Melatonin in different amounts and times of the day he was able to determine:

“Exercising at 7 a.m. or between 1 p.m. and 4 p.m. shifted the circadian rhythm to an earlier time while engaging in exercise between 7 p.m. and 10 p.m. pushed the body clock back. Age or sex did not affect these results. On the other hand, exercising between 1 a.m. and 4 a.m. or at 10 a.m. did not affect their melatonin levels.”

The one caveat is that the volunteers were quite fit, so these results may only apply to those who are in shape.

The second article looked at using pulsed electromagnetic frequency (PEMF) as a solution for both pain and insomnia. The article was about a researcher at a medical device company who was trying to create a solution for pain that did not involve pharmaceuticals.

The basic theory is that if you push extremely mild electrical signals into your nervous system, then there is basically no room for pain signals to get to the brain, and therefore the person does not “feel” the pain. Looking into the pain literature this theory may hold up. The interesting part was that while they were developing and testing this device, people also reported sleeping better!

The company is SomniResonance and they produce the SR1 PEMF device aimed specifically at treating sleep disorders.

The device is placed onto your chest over your brachial plexus, just below the middle of your collarbone. Turn it on at bedtime and it will send electric pulses to your nervous system for 22 minutes and then shut off automatically. SR1 emits an electromagnetic frequency designed to shift the brain into sleep mode, says Fraser Lawrie, inventor of the SR1 and CEO of SomniResonance parent company, Delta Sleeper. The device has been cleared by the FDA.

Another company is Oska Wellness, who created a cervicothoracic vagus electromagnetic stimulation (cVES) device from AMO Lab in South Korea (launched in 2016) is a pre-bedtime routine. AMO+ is worn as a necklace for 30 minutes, two hours before bed, and uses low-frequency electromagnetic field signals to balance your autonomic nervous system — the thing that makes it possible to breathe or allows your heart to beat unconsciously.

To be clear, there is no published peer-reviewed research I can find backing these claims, so I am a bit skeptical to say the least, but to be clear I have seen “frequency technology” be effective. So, it’s still hard to say. One thought might be that if someone has insomnia due to pain, and a TENS like unit relieves that pain, and then the person sleeps better, you have a new sleep protocol. I would argue that you actually have a pain protocol and that pain was the major influencer of sleep.

If you have difficulty sleeping giving one of those devices a try may be worth it; if you do and it works well for you, let me know, this is an area I’m going to keep an eye on over the next year.

Here are a couple of other articles you may find interesting where I was interviewed:

10 Serious Conditions Related To Poor Sleep – Reader’s Digest

Keto Diet Improves Sleep – Healthline

4 Magnesium Mistakes You Don’t Know You Are Making – Bustle

The post Does PEMF Reduce Pain And Help You Sleep And Does Exercise Help With Jet Lag? appeared first on Your Guide to Better Sleep.

from Your Guide to Better Sleep https://thesleepdoctor.com/2019/03/03/does-pemf-reduce-pain-and-help-with-sleep-does-exercise-help-with-jet-lag/

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[therealestatesparkblog]

How Adopting 7 Kids at Once Led Me to Launch My Real Estate Investing Career

The truth is that I did not get involved in real estate in a meaningful way until later in my life. I have been a chiropractic physician for 29 years, but Im really an entrepreneur at heart. I have started or purchased six multi-discipline medical clinics in my career and have been involved in a number of other businesses. None, however, have matched the combination of relative safety and potential returns afforded by real estate. Still, for some reason, I could never pull the trigger and launch my real estate investing career. Unfortunately I sat on the sidelines for a number of years. I hoped to get started but never did. Like many of you, I read Robert Kiyosakis Rich Dad Poor Dadand a few other real estate books, but it wasnt enough. Looking back now, I can point to several life events that lit a fire under me and finally got me off the bench and into the game. Over the past few years, I have flipped a couple houses, owned a small apartment complex, developed a large commercial retail strip center, syndicated a 125-door multifamily townhome complex, and am just finishing the co-syndication of a large self-storage deal. I am in my 50s and wish I had started earlier. No matter your age, though, if you are procrastinating like I did, hopefully you can use one or more of the following five steps to get started. 5 Steps to Launch Your Real Estate Career1. Find your passion. Twenty years ago, my wife and I became interested in adoption. We had two biological kids at the time and wanted to adopt a third child. While working with an organization that facilitated the adoption of Eastern European orphans, we heard about a sibling group of seven Russian children that the Russian government was going to split up and send to three different countries. My wife decided she would make it her personal mission to find a family that could keep these siblings from being separated. The idea of someone taking that many kids into their home blew us away, and we made a list of all of our friends and acquaintances that we thought might be able to afford such a monumental task. The Russian government announced they would be separating the children in a few months. As the date approached with no takers in sight, we began to ask ourselves if there was any way we could adopt them ourselves. Its a very long story, but fast forward to August of 1988. We were told at the U.S. Embassy that we had completed the single largest adoption in U.S./Russian history (at a single time). It was a big culture shock to bring seven Russian speaking kids into our home for sure. But the real shock was just around the corner when the financial reality of our decision began to hit home. Nine sets of clothing, nine bikes, nine soccer teams, nine college educations, nine weddingsyou get the picture. The financial pressure began to build. I rapidly set out on a course to produce more income. I started or purchased six different medical clinics. I developed anathletic club, which eventually grew to 1,500 members. I purchased a sports performance enhancement franchise. And we even started a coffee shop/deli. Some produced more cash flow than others, but the one problem all those businesses had in common was that they took immense amounts of my personal time. I was fairly successful at creating additional income, but I was killing myself. My family life was suffering. I quickly realized working 70-80 hours a week would not work. There are few things that I am more passionate about than my family, so I threw myself into a massive search for ways to create passive income. It was this search that eventually led me to real estate. You can do the same thing. Figure out what you are passionate about. Focus on the end results. Getfired up and use that passion to fuel your real estate dreams.

Related: If I Started My Real Estate Business Again Today, THIS is What Id Change 2. Harness fear. As humans, nothing makes us react quite like fear. Fear comes in all shapes and sizes. There are literally hundreds of types of fears and phobiasfear of pain, of disease, of injury, of tight spaces, of rejection, and of failure, to name a few. People will do just about anything to avoid their fears. If they are forced to face fear, they go into fight or flight mode or they are paralyzed by fear and do nothing at all. Fortunately, a random encounter with a couple of patients changed my investing mindset forever. It was March 6, 2009, and the stock market was in the final throes of its great crash. I walked into a treatment room, and there sat a patient with tears streaming down his face. It was odd because this was a big burly guy who had just retired from a local factory and was a pretty tough character. I soon found out he was not crying because of his back or neck pain but because he had just lost almost all of his retirement savings in the stock market. Apparently, this gentleman had taken his retirement payments as a lump sum and had recently dumped it all in the market. As he sat on my exam table, he explained how in a few short days, he had lost more than 70 percent of his retirement savings, and those savings had taken him 40 years to amass! I am not usually at a loss for words, but nothing in my medical training could have prepared me for that moment. A couple of days later, I was seeing another patient. Mrs. Smith (not her real name) was a 50-something retired school teacher and seemed to be in a better mood than normal. I noticed her cheerfulness and asked her why she seemed so happy. She went on to explain how she and her husband had taken all of their retirement funds out of the stock market about a year previously and had used the funds to buy rental property. Their rentals were leased, and frankly, they were really enjoying retirement. Fortunate to have gotten out of the market when they did, this new landlord was not affected by the downturn in the markets at all. I had really never trusted the stock market. I mean, with the almost-daily headlines of one major bank after another caught cheating their clients or gaming the system somehow, this ladys message really hit home with me. Even so, I had always been too afraid of missing out on that once-in-a-lifetime Amazon or Microsoft stock pick to shift my investing away from the stock market. Right then and there, it finally hit home. When it came to real estate, I was afraid to make a mistake that would cost me money. Since I was not sure when or where to start, I just sat doing nothing for years. I had analysis paralysis, but I realized I was much more scared of ending up like my first patient, crying in a doctors office somewhere having lost the majority of my retirement. I finally made a commitment that real estate would be my investment vehicle of choice. 3. Find your motivation. A few years back, an MRI revealed I had a torn rotator cuff, torn labrum, and arthritis in my shoulder. Decades of occupational abuse and years of chasing baseball scholarships had taken their toll. My orthopedic physician announced I could either give up my chiropractic career immediately, or in about four years, I would need a shoulder replacement. Suddenly, I was heading toward for an untimely retirement. I was shocked. I had dedicated the last 29 years of my life to helping people heal. My entire identity was tied up in being a healthcare provider. At the same time, Obamacare was rapidly eroding away my practice of two-plus decades. I had no idea what I would do, but knew I needed a plan and needed one quick. After much angst and a considerable amount of prayer, I decided it was time to jump in with both feet. I still have a medical practice, but am working full-time on a plan to exit healthcare as soon as possible. Even though I didnt recognize it at the time, life circumstances helped me find my motivation. Each individual has their own unique mix of life experiences and desires that fuel their drive for success. For some, its the thought of a penniless retirement. For others, it is the commitment to never let their children grow up in poverty (like they did). Some people say that success is a lake home or traveling the world. Others have an altruistic motivation to give back to those less fortunate. There are 1,001 books on ramping up personal motivation. For me, however, it boils down to a very simple concept: Focusing on my goals 10 times more than I focus on the roadblocks. Every time I run up against what seems like an insurmountable roadblock, I pull out my list of goals and focus on what I want to accomplish. Time spent focusing on what matters most turbocharges my motivation levels. The roadblocks seem to work themselves out. Whats your motivation? Related: How to Jumpstart Your Investing Career as a Multifamily Deal Finder 4. Hire a mentor. Every athlete from t-ball to the big leagues has a coach. They need someone they can learn from who is more experienced. Someone who knows the ins and outs of the game. Its no different in real estate. If you are serious about learning the craft, you need to find someone to teach you the ropes. When I finally got serious, I hired a mentor. I knew if I spent my hard-earned money on a program, I would take it seriously. There are lots of mentors and training programs on BiggerPockets. For me, I knew the more expensive the program, the more commitment I was likely to have. I am not talking about a weekend seminar with a few handouts. I chose a company called 37th Parallel Properties. Their program is a comprehensive year-long mentorship. It includes visits to real assets across the country (much like getting an MBA in multifamily investing). Dont get me wrongnot everyone needs to pay for a mentor, but dont attempt to go it alone. Learn from someone elses mistakes. Its one of the many reasons I am such a big fan of BiggerPockets. You can learn so much just by hanging out in the community and reading the advice of experienced investors. Whether you hope to invest in single family homes, self-storage units, large multifamily communities, or mobile home parks, there is always someone with expertise willing to share.

5.Leverage the experience of others. Maybe you dont need to change careers like me. Maybe you just want to use commercial real estate to turbocharge your portfolio. Maybe you just want to be a passive investor and have very little interest in toilets, tenants, and trash. If you are an accredited or sophisticated investor, syndicated deals may be the best approach for you. Some companies offer syndicated real estate investments. They specialize in sourcing lucrative real estate assets and packaging them up for passive investors. They typically underwrite the project, perform all due diligence, line up debt, and complete the purchase. The companies then operate and oversee these assets so that their investors can realize great profits minus the headaches. Choosing a company that you feel comfortable with is the key to any syndicated investment. While it is a much quicker way to jump into the fray, be careful! Take your time and choose the specific deal and syndicator carefully. Ask lots of questions and always check references. So, what is holding you back? Whats it going to take to get you off the sidelines? Dont procrastinate like I did! Hey, if an old chiropractor can do it

What motivation led to your first investment? What did your journey there look like? Take a moment to share what it took to make your first real estate investment! https://www.biggerpockets.com/renewsblog/seven-child-adoption-launch-real-estate-career

[brajeshupadhyay]

Autoworkers Are Returning as Carmakers Gradually Crank Up Factories

After sheltering at home for nearly two months, tens of thousands of autoworkers have started streaming back into car and truck plants across the South and Midwest, a critical step toward bringing the nation’s largest manufacturing industry back to life.

In April, automakers, which were closing plants at various times, produced just 4,840 cars, pickup trucks and sport utility vehicles in North America, according to Automotive News, down from 1.4 million a year earlier. Sales of new vehicles in April fell by about 50 percent, according to Cox Automotive, a market researcher.

“The auto industry is America’s economic engine,” Ford Motor’s chief operating officer, Jim Farley, said during a recent conference call on the company’s reopening plans. “Restarting the entire auto ecosystem is how we restart the economy.”

Ford, General Motors, and Fiat Chrysler plan to restart production on Monday, after Toyota, Honda and Tesla began reopening plants last week. Hyundai restarted a plant in Alabama on May 4.

But production will not bounce back quickly. The revival will unfold over a week or more as dozens of auto plants and hundreds of factories owned by parts suppliers gear up and start making and shipping products. The speed with which companies can move will depend in part on how quickly national, state and local governments loosen stay-at-home orders in the United States, Canada and Mexico, because the industry’s supply chains are closely intertwined across North America.

Some automakers have already run into complications.

Tesla, for example, and its chief executive, Elon Musk, were so eager to resume production last week at the company’s factory in Fremont, Calif., that they defied local officials and sued the county.

Mercedes-Benz restarted an S.U.V. plant in Alabama on April 27, but stopped production on Friday after running short of parts. Volkswagen was scheduled to start making cars at a plant in Chattanooga, Tenn., on Sunday — two weeks after it had originally hoped to bring workers back, because many of its suppliers needed more time to get up and running.

The automakers announced in mid-March that they would shut down their plants as the coronavirus spread and cases started surging in the Northeast, Louisiana and the Detroit area, where the three biggest U.S. automakers are based. The risk of infection is considered high for assembly-line workers because they often spend long hours working alongside one another.

While many of the automakers’ white-collar employees have been able to work from home, the shutdowns idled nearly 400,000 automotive production workers in April, according to the Bureau of Labor Statistics. The industry accounts for about 4 percent of the nation’s economy.

There is little precedent for such an across-the-board shutdown, said Erik Gordon, a business professor at the University of Michigan. Of course, strikes have forced individual car companies to shut down periodically; one last fall idled G.M. plants for 40 days. But Mr. Gordon, who has long tracked the industry, couldn’t think of a time when the three big companies, their suppliers and many dealers had to shut down at the same time.

During World War II, the industry stopped making cars, but its plants were retooled to make armaments and kept millions of people employed, Mr. Gordon noted. “There’s really nothing we can compare this to because it’s the entire industry, and its supply chain, that has closed down completely,” he said.

Now, the industry faces another daunting task that it has never faced: restarting production during a pandemic.

Automakers have made numerous changes to reduce the risk of infection, including slowing down the rate at which they churn out cars. Most manufacturers plan to shorten shifts, with more down time in between for cleaning. Employees will also be required to stagger their arrival and departure to reduce contact with others during shift changes.

Ford, G.M. and Fiat Chrysler will ask workers to fill out questionnaires and have their temperatures taken before reporting for work. The goal is to identify anybody who may have symptoms or has been in contact with somebody who is or has been ill. Workers will be required to wear masks, gloves and eye protection while on the job.

Fiat Chrysler has installed thermal-imaging cameras in some hallways and entryways to check workers for fevers. On its assembly lines, the company has set up transparent curtains to prevent transmission between people who work next to each other. At some stations where two workers install under-the-hood components at the same time, the company has developed screens that can be placed on engines.

Ford has placed portable sinks and hand-sanitizer dispensers throughout its plants and installed no-touch faucets and soap dispensers in restrooms.

Under guidelines worked out with the United Automobile Workers union, employees will have to get tested for the virus if they show symptoms. G.M., Ford and Fiat Chrysler, however, are not planning to test workers daily or weekly even though the U.A.W. has pushed for it. On Saturday, Ford said it had secured contracts with health care providers in southeastern Michigan; Louisville, Ky.; Kansas City, Mo.; and Chicago to test symptomatic employees and provide results within 24 hours.

“We continue to advocate for as much testing as possible at the current time and eventually full testing when available,” the union’s president, Rory Gamble, said in a statement.

In Louisville, the home of two Ford plants that make trucks and large S.U.V.s, many workers are looking forward to getting steady paychecks again but also a little worried, said Todd Dunn, president of U.A.W. Local 862.

“Everybody is burning cash,” he said. “And the company needs to produce, or we won’t have a company to go back to.”

Still, the risk of sickness and the complexities of a new safety policies are weighing on workers.

“A lot of members have parents or in-laws at home,” Mr. Dunn said. “So you wonder, ‘Should I take off my clothes in the garage and take a shower?’ A lot of members have issues with child care.”

It will probably take many months before the industry is producing as many cars as it was before plants shut down. The delicate restart of production will probably unfold slowly over at least a week or more as dozens of auto plants and hundreds of others owned by parts suppliers resume manufacturing and shipping operations dependent on the loosening of stay-at-home orders in the United States, Canada and Mexico.

G.M., which had been running two or three shifts in its North American plants, will start most plants on a single shift per day, something automakers try to avoid. The company said it was not yet sure if it would be able to restart its three plants in Mexico on Monday.

Toyota’s North American plants restarted last week, operating on one or two shifts a day. Honda reopened its plants but isn’t seeking to increase production quickly, to give crews time to become accustomed to new safety procedures and working conditions.

For now, there is no great urgency for automakers to ramp up manufacturing, because auto sales are not expected to recover fully anytime soon.

AutoNation, the country’s largest dealership chain, reported last week that sales of new and used cars at the end of April were down about 20 percent from a year earlier, after falling 50 percent in the first 10 days of the month. Some people were buying cars because they were avoiding public transit and shared transportation services, the company’s chief executive, Mike Jackson, said.

“I think this will be a very difficult restart and they need to get on with it,” Mr. Jackson said about the automakers. “But I can see where if plants don’t restart, in a month or two there’s going to be some inventory issues.”

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[biofunmy]

Who Made Your Clothes? – The New York Times

Rumsinah, 44

Role: Zipper operator at PT. Fajarindo Faliman Zipper, which focuses largely on in-house brands

Where: Tangerang, Indonesia

“Most of my co-workers and I are all old-timers,” said Ms. Rumsinah, who has been working at the same factory for 26 years. “It’s a good factory, so no one really quits. There’s seldom any job openings — only if someone retires.”

She is paid about 3.4 million rupiah, or $241, per month, which she said is tight as a single parent. Her son recently finished high school. “He can’t work at my factory because there’s no openings,” she said. “He wants to be a teacher, but we don’t have enough money to send him to go to university.”

Though her job is tiring, “all jobs are tiring,” she said. “At least weekends are off, and the hours are not too bad.”

Waheed, 38

Role: Sewing bedsheets and curtains at a textile mill

Where: Pakistan

Waheed, who is being identified only by his first name, has been in the textile industry for 20 years and works seven days a week to support his wife and two young sons. They share a house with his parents, his sisters and his brothers.

“Most factories place a lot of restrictions on garment workers. Once they come in for their shift around 8 in the morning, there’s no knowing when supervisors will let them out. It may be 8 p.m. or 10 p.m. by the time they are allowed to leave for the day.

Workers at my factory don’t have it as bad. That’s why I’ve been here for the past 10 years. It’s a nice place to work. But some of the resources that workers really need aren’t provided, such as first-aid kits or pension cards.

It’s pretty common to get your fingers injured — sometimes needles break and get stuck in your bone if your hand gets in the way of the machine. Then you have to go to the hospital and get X-rays yourself.

It’s difficult to manage on the salary I earn. My expenses amount to about 2,000 rupees a day, including the cost of my children’s clothes, their education, my family’s groceries and other bills. But I barely make 1,000 rupees a day.”

Seak Hong, 36

Role: Sews outdoor apparel and bags at Horizon Outdoor

Where: Khum Longvek, Kampong Chhnang, Cambodia

Six days a week, Ms. Hong wakes up at 4:35 a.m. to catch the truck to work from her village. Her workday begins at 7 and usually lasts nine hours, with a lunch break. During the peak season, which lasts two to three months, she works until 8:30 p.m.

Ms. Hong has been in the garment business for 22 years. She earns the equivalent of about $230 a month and supports her father, her sister, her brother (who is on disability) and her 12-year-old son.

She hopes he will not end up in a factory, too, but the price of a quality education — about $20 per month — is beyond her means. While she is at work, her sister manages the household, taking care of their oxen and rice farming their land for extra food.

“I feel tired, but I have no choice,” Ms. Hong said. “I have to work.”

Yurani Tascon, 34

Role: Tracks daily production numbers at Supertex, which works with major active wear brands

Where: Yumbo, Colombia

“They spoil us a lot here,” Ms. Tascon said. “It’s a job with good stability.” Her workplace blasts music — usually salsa or something traditional — from speakers throughout the day while employees make coats, bathing suits and sportswear.

At 11 a.m., employees get “pausas activas”: active breaks with music.

Sarjimin, 39

Role: Makes shoes for a comfort footwear brand at PT. Dwi Naga Sakti Abadi

Where: Tangerang, Indonesia

Mr. Sarjimin has worked at the same factory for about 12 years. The job is relatively stable, and his workplace is spacious, bright and safe.

He earns the equivalent of $250 a month, and his wife also works at a factory. The family is able to send their children, a 13-year-old and a 9-year-old, to good schools. They recently purchased a computer for their older son, who is passionate about technology.

Mr. Sarjimin farms catfish to supplement his family’s grocery money. He started six months ago, filling a big empty drum with starter fish as an experiment. Now he has two drums with 300 fish each, and he sells them to friends, family and neighbors.

One day, he would like to raise catfish full time. “There’s a motivational speaker I heard once, ‘You have to dare to dream, how to get there is a question for a different time,’” he said. “I like remembering those words.”

Saida, 38

Role: Sewing machine operator at Pinehurst Manufacturing, which works with major active wear brands

Where: San Pedro Sula, Honduras

The factory where Saida has worked for the last 12 years is one of the few in the area. She earns about 8,200 lempira each month, roughly $331. “It doesn’t cover everything,” she said. “Vivimos sobregirados.” (“We live overdrawn.”)

Saida lives with her mother and her 19-year-old daughter, who goes to school. “I am the one who provides everything at home. The house, the water, the electricity,” she said. “You have to stop buying certain things to be able to cover the necessities.”

Her unit currently has one primary client, a major sportswear brand. This is a source of anxiety for her and her co-workers because they fear mass layoffs if the client leaves the company. “It’s really difficult having one client,” she said.

Bui Chi Thang, 35

Role: Stitching denim together for sustainability-focused brands at Saitex International

Where: Bien Hoa, Vietnam

Mr. Bui has been at his factory for seven years. “It matches my skill,” he said, “and the salary is enough for my family.” He earns approximately 90 million dong annually, roughly $3,880, which he uses to support his mother, wife and son.

During the average nine-hour workday, “I can finish 1,000 to 1,200 pieces a day, depending on the difficulty,” he said.

Santiago, 48

Role: Sews clasps and zippers onto dresses, blouses and pants at a factory

Where: Los Angeles

“I’m from Guatemala. I’ve been doing garment work for 16 years. I started because it was the only thing I knew how to do after leaving my home country,” Santiago said. “I came here because there were not as many opportunities back home, and with six children, there are a lot of expenses.”

In the last five years, he has worked in five to eight factories. They are often windowless and dirty, with little ventilation, he said.

When he first moved to Los Angeles, Santiago was working 11-hour shifts, seven days a week. Now he works about 50 hours a week, taking home up to $350. The majority of his co-workers — around 30 other people — are Spanish speakers from Guatemala, El Salvador and Mexico.

“I’m just making ends meet,” he said. “I’m always trying to figure out how to save money, how to buy food, how to not eat out too much.” Still, he said it is better than what he was earning in Guatemala.

Maria Valdinete da Silva, 46

Role: Self-employed seamstress

Where: Caruaru, Brazil

The last factory Ms. da Silva worked at produced men’s street wear. She spent eight years there, stitching side seams together in an assembly line with an hourly quota.

“Some companies, like the one I worked for, no longer have employees inside the factory and the seamstresses work from home,” she said. “They establish small groups, tiny factories, and they are paid per item, so they basically have the same production without any costs.”

In order to make minimum wage, outsourced employees “have to work from day to night,” she said.

Ms. da Silva now makes women’s clothing independently, producing fewer pieces and selling them locally. She makes “maybe half” of minimum wage, but she said it’s worth it to work at her own pace. “I love what I do,” she said. “I no longer see myself in that situation of sitting in front of a machine doing the same thing every day.”

She is planning on taking fashion design courses soon. “Seamstresses are the key element in the fashion chain, we are the ones who put the clothes together,” she said. “You basically have to kill yourself in front of a sewing machine in order to provide for your family.”

Antonio Ripani, 72

Role: Leather quality control at Tod’s Group

Where: Casette d’Ete, Italy

Mr. Ripani, who began working with leather at 14, has been employed by Tod’s for more than 40 years, where he assesses “practically all the hides that arrive” for quality.

“Alone it’s hard to do everything, so I have a group of ragazzi [guys] under me and I have taught them everything I’ve been able to understand after all these years,” he said.

Mr. Ripani doesn’t earn much, he said, but he sets his own schedule, often working eight to 12 hours a day. He has assistants and has received awards for his highly specialized work.

“It’s not so much the salary, it’s that I am here because we’re all one family,” he said. “When I started, I had long hair. Now, I am bald.”

Rukhsana, 48

Role: Security at Sitara Textile Industries

Where: Faisalabad, Pakistan

Rukhsana began working in the garment industry shortly after her husband died seven years ago. She works seven days a week.

“The hardest thing about working in a textile mill is that management kind of cuts you off from the world for the duration of your shift. If anyone calls you from home — with good news or bad news — you can’t take the call and management doesn’t tell you until the day is over.

Two years ago, my nephew died in an accident when I was working. My brother tried calling me, but management didn’t tell me about it until my family had already held his funeral. I was so upset, I quit my job.

Now that I’m in security, I know when someone comes to the mill and tries to contact a worker. But I’m still not allowed to tell the worker their relative has been trying to reach them.

It’s not just difficult, it’s impossible to survive on the salary the textile mills pay. Are we supposed to choose between buying food and roti or paying for clothes and medicine? And there’s always rent to pay in addition to that.”

(Employees store their phones in a locker before beginning their shift, a company spokesman said in a phone interview, and they aren’t allowed to leave the organization “without any written acknowledgment from the manager.”

He said that family can reach employees on their cellphones or by calling the factory directly, and that he was not aware of any incidents in which family was prevented or delayed from contacting an employee during an emergency. )

Vu Hoang Quan, 21

Role: Sews dress shirts for mass retailers at TAL Apparel

Where: Binh Xuyen, Vinh Phuc, Vietnam

Mr. Vu has spent the last four years working on a production line with about 30 other employees, each overseeing parts of the sewing process. On average, he earns about 10 to 12 million dong (about $432 to $518) monthly. He sends most of it back to his family.

“My favorite time is at 3 p.m., when we have an exercise session,” he said. “We stay at our work spot. We pause our work process, line up and follow the exercise instructions of team leaders.”

He recently participated in a talent show hosted by the company, where he performed modern dance. “I don’t have plans to leave this job anytime soon,” he said. “I’m quite satisfied with it.”

Catherine Gamet, 48

Role: Leather goods artisan at Louis Vuitton

Where: Saint-Pourçain-sur-Sioule, France

Ms. Gamet began working with leather when she was 16 years old and has been employed by Vuitton for 23 years. “To be able to build bags and all, and to be able to sew behind the machine, to do hand-sewn products, it is my passion,” she said. “That’s how I got into it.”

About 800 employees work in Saint-Pourçain, spread out across four sites. Ms. Gamet said the workshops are well organized, bright and modern. “The time flies by,” she said.

S, 33

Role: Tailor making pants and socks for fast fashion and active wear brands at Shahi Exports

Where: India

S.’s shift begins at 9 a.m. She feels a lot of pressure from supervisors to reach quotas of about 90 to 120 pieces per hour and said many workers are afraid to take breaks or use the restroom because it will waste time.

Employees who can’t keep up are often pulled aside at the end of each hour, she said, and supervisors will yell at them and bang on tables. Many workers spend most of their 30-minute lunch breaks scrambling to finish more pieces to get back on track.

“We don’t even have the freedom to drink water,” S. said, adding that management doesn’t allow employees to bring in water bottles.

Instead, water is handed out by the factory. In the spring of 2018, the supplied water was making workers sick, and when employees gave management a letter with a variety of basic requests, including clean water, they were beaten in response. Their clothes were torn, and many of their valuables, including phones and jewelry, were taken.

The employees took their complaint to the labor department. The issues were resolved three months after the incident, after the factory faced public pressure from a report by an American watchdog group, social media and brands that worked with the factory.

Some conditions have improved: Employees get mineral water now. But the pay is still bad, S. said, and the main work space doesn’t have windows, air-conditioning or heaters.

“We want to ask for more salary, but people are scared after what happened last year to ask again,” she said.

(In an email, a spokesman from Shahi Exports acknowledged the 2018 incident and forwarded a statement outlining the preventive measures the company has since enacted.

In a separate email, a spokesman said that berating employees in any way “constitutes misconduct,” and instances brought to management’s attention would “initiate action” against the perpetrator.

“While we do strive to drive efficiencies, there is no scope to berate any employee on account of non-performance or deficient performance,” he said. The spokesman added that there “is adequate ventilation” within the work space and that the entire factory is “in compliance with the law.”)

S. is a single parent and picks up extra work in the evenings, along with taking out loans, to support herself and her daughter. “There are thousands of people” in her city in the same situation, she said. “My story is just one of them.”

Phool Bano, 38

Role: Tailor at Friends Factory

Where: Noida, India

Ms. Bano has been a tailor for about 22 years and works at a progressive factory that makes small batches of garments for high-end independent brands. The building has little luxuries like air purifiers.

“It feels nice working here,” Ms. Bano said. “It’s clean. There are some plants and trees also, you know, the kind that are meant for decoration.”

Helena Lúcia Santos da Conceição da Silva, 54

Role: Seamstress at Fantasia D!kas Roupas

Where: Nova Friburgo, Brazil

“I’ve always thought of myself as a seamstress. I even made my daughter’s sweet-16 dress. It looks like overlapping petals. It’s my greatest pride.

I start work at 7 a.m. We make everything: pants, shorts, tops. I work eight hours a day Mondays to Fridays with a one-hour lunch break. It’s a small company: me and five other seamstresses. We don’t have a quota. Here they value quality over quantity. I don’t even know how many pieces I work on in a given day. We don’t keep track.

Ms. da Silva does not make enough money from her day job, so she picks up extra work from private clients to complete on evenings and weekends, sometimes working until 10 p.m.

I prefer working for this manufacturer because I’m on the payroll, I’m entitled to vacations. It’s more secure. But my dream is to have my own atelier at home.”

Knvul Sheikh contributed reporting.

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