Category: Business

  • New York:

    Small business in New York who are suffering from financial crisis and want to start a new business need not worry anymore.

    New York City is ready to provide them grants to overcome the financial crisis and loans on easy terms for new businesses. Representatives held an awareness camp in Coney Island, Brooklyn, and provided information to the community before Friday sermons at the Makki Mosque.

    Business Outreach Specialist Mahedi Hasan informed that the city government will also provide licenses and legal support for businesses along with grants and loans.

    In this one-day awareness campaign, Muslim Liaison Officer Atiya Shahnaz from the Mayor’s Office of New York City also received support.

    The city government says that small business owners and new small traders can also get more information about this by contacting their website nyc.gov/sbs and their given number 888-727-4692.

    The post NYC ready to provide financial and legal assistance to small businessmen. first appeared on VOSA.

    This post was originally published on VOSA.

  • Like the players, brands have in the end shied away from confrontation with the hosts during the World Cup

    More than £100m will be spent by brands hoping to cash-in on World Cup fever, but when it comes to taking host Qatar to task over its human rights record protest marketing has taken a back seat to sales targets.

    In the run-up to kick off of the football tournament in Qatar criticism of the gulf state was akin to shooting at an open goal.

    Continue reading…

    This post was originally published on Human rights | The Guardian.

  • The court was gripped by high drama in Troy Stolz’s case against ClubsNSW today as the Australian Government Solicitor contacted parties over pokies lobby claims the whistleblower breached confidence in contacting Senator Andrew Wilkie’s office.  Callum Foote and Michael West report.

    This post was originally published on Michael West.

  • European vegan nutritional shake brand Huel recently raised $24 million in a Series B funding round, bringing the eight-year-old startup’s value up to $560 million. English actor Idris Elba—best known for his roles in The Wire, Luther, and Mandela: Long Walk to Freedom—and his wife Sabrina invested in the company alongside British comedian and TV presenter Jonathan Ross and activewear brand TALA’s CEO Grace Beverley.

    “I’ve been a ‘Hueligan’ (a Huel fan) for several years now, starting my journey while preparing for my role in Thor, so to come on board with Huel was an easy decision,” Elba said in a statement. “I believe in their mission to deliver nutritionally complete food, sustainably. We have some exciting projects coming up and I look forward to spreading the message and raising awareness around healthy, low carbon food.”

    VegNews.Huel

    Huel

    Huel—a portmanteau of “human” and “fuel”—was founded by Julian Hearn and James Collier to provide a solution to the environmental consequences of standard food production and food waste by making a nutritionally complete, convenient, affordable food solution with minimal impact on the environment and animals.

    Its first product, a low-carbon-footprint protein powder, launched in the United Kingdom in 2017 and the brand has since expanded into ready-to-drink, snack bar, and hot lunch options.

    “We are trying to change the way the world thinks about food and Huel offers a solution to help people make easy changes to their food choices,”  Huel CEO James McMaster said in a statement. 

    Low-carbon vegan shakes

    In 2019, Huel launched its nutritional bars in the United States following a $20-million venture capital round. And today, much of the company’s loyal fans—whom they call “Hueligans”—are in the US, representing Huel’s second-biggest market, followed by Germany and Japan.

    Its strong growth—40 percent year over year—is attributed to the new product launches and the company’s expansion from solely direct-to-consumer to retail stores. The new funding will be used in continued international expansion with a focus on the US, along with new product innovation, and continued expansion online and in retail stores.

    VegNews.Huel2

    Huel

    As part of the Elbas’s investment, one of the new projects will include Huel working with them on their climate change initiative to help people eat at 1.5°C, the global warming limit the Paris Agreement is trying to reach. Huel meals fit within a diet aligned with supporting that reduction, and Huel believes that raising awareness of our diets is one of the simplest and most effective actions people can take to tackle climate change.

    “We’re excited to have the opportunity to work with Idris and Sabrina to raise awareness of the role of food in climate change and to encourage individuals and the industry in general to move towards a food system based on sustainable nutrition,” McMaster said.

    Huel will work with the Elbas to inspire and motivate people about the benefits of changing diets to support the health of the environment, which is a vital component of food sustainability.

    Plant-based diet helps fight climate change

    Many experts would agree that the diet that best aligns with the goals of the international treaty on climate change is one that excludes animal products. According to the United Nations Intergovernmental Panel on Climate Change (IPCC) report published last year, human activity—including the ways we grow or raise our food—is “unequivocally” responsible for climate change and humanity has only a few years left to keep the planet from warming 1.5°C past post-industrial levels.

    And while fossil fuels are often seen as having the most negative impact on the climate crisis, animal agriculture—which contributes to one-fourth of total greenhouse gas emissions—is mostly ignored. Approximately 30 percent of the world’s ice-less land mass is used for animal agriculture and 33 percent of all cropland is used to grow food for those animals. 

    VegNews.DairyFactoryFarm

    One of the most comprehensive studies pointing to the environmental impact of animal agriculture was published in 2018 by Oxford University researchers, who spent five years compiling data from nearly 40,000 farms in 119 countries and examining the environmental impact of producing 40 foods—which amount to 90 percent of all food eaten on earth. 

    The researchers found that the global meat and dairy industries are responsible for 60 percent of greenhouse gas emissions and that if individuals removed animal products from their diets, they would reduce their carbon footprint by 73 percent. The researchers also found that if meat and dairy production were to cease, global farmland use would be reduced by 75 percent. 

    “A vegan diet is probably the single biggest way to reduce your impact on planet Earth, not just greenhouse gasses, but global acidification, eutrophication, land use, and water use,” study lead author Joseph Poore said in a statement.

    Another report published earlier this month by the Institute for Agriculture and Trade Policy and the Changing Markets Foundation found that the methane emissions of five of the largest meat corporations and 10 of the largest dairy corporations is equal to more than 80 percent of the European Union’s entire methane footprint. 

    The report also estimated that the combined methane emissions of these 15 companies—which include JBS, Tyson, and the Dairy Farmers of America—exceed the methane footprint of entire countries including Russia, Canada, Australia, and Germany.

    “To tackle these emissions in a substantive manner, the number of animals in mass industrial systems of production must be dramatically reduced,” the report says. “This is the most effective measure to reduce emissions from animals themselves and emissions from their manure.”

    This post was originally published on VegNews.com.

  • This is the fifth consecutive rate hike after a 40 basis points increase in May and 50 basis points hike each in June, August and September

    This post was originally published on The Asian Age | Home.

  • European consumers will soon be able to indulge in real honey without exploiting a single bee. That’s because MeliBio, the California-based startup that unveiled the world’s first real honey made without the use of bees, recently announced a partnership with Narayan Foods, Europe’s largest organic and sustainable plant-based food producer. 

    Through the partnership, MeliBio will become available across 75,000 European stores under Narayan Foods’ Better Foodie brand. 

    “As a food innovation platform, Narayan Foods is constantly on the lookout for novel sustainable products that would revolutionize the market,” Mario Brumat, founder and CEO of Narayan Foods, says in a statement. “Just by tasting MeliBio’s incredible plant-based honey, we knew we had discovered an innovation that would leave a distinct mark in the industry. We’re thrilled to bring the world’s first plant-based honey to every European household and establish it as the new favorite sweetener.”

    VegNews.MeliBioVeganHoneyMeliBio

    European consumers can expect to find MeliBio’s vegan honey in stores next year, with rollout expected to begin as early as the first quarter. 

    This news comes just as the startup adds an additional $2.2 million in investments from new and existing investors. Among new investors is The Greenbaum Foundation led by Jim Greenbaum, executive producer of hit vegan documentaries The Game Changers and Seaspiracy

    MeliBio makes real honey without bees

    Founded in 2020, MeliBio utilizes patented technology and microbial fermentation to create real honey from plants and natural ingredients, therefore taking bees out of the equation. 

    The end product, Honey Without Bees, doesn’t just have the same look and taste as honey, it also boasts the same health benefits and is an easy one-for-one swap in culinary applications.

    By taking bees out of commercial honey production, MeliBio is paving the way toward a kinder, plant-based food system that doesn’t rely on animal exploitation. 

    VegNews.MeliBioVeganHoneyMeliBio

    In traditional commercial honey production, bees are exploited for their ability to pollinate and ultimately suffer a host of health complications. 

    In nature, bees create honey by collecting nectar from flowering plants. After flying from plant to plant to collect nectar, bees fly back to their hives where they regurgitate the sugary substance, reduce its water content, and thus create honey. This honey is ultimately a source of nutrition for bees and is the insects’ primary source of carbohydrates.

    In commercial honey production, however, bees are deprived of the honey they work so hard to create. Instead of collecting nectar from a variety of flowering plants, bees are transported to areas where they are only able to consume mono-nutrients from a single crop. They’re exposed to pesticides, no longer hibernate, and instead of relying on honey for nutrients, they are fed sugar water—a nutrient-less substance. 

    Aside from exposure to pesticides, bees also suffer from wing disease due to selective breeding. 

    VegNews.MeliBioBaiaSFBAIA

    MeliBio co-founder and CEO Darko Mandich—who previously worked in the Serbian bee industry—is familiar with the consequences of commercial honey production and is now working to change the industry altogether. 

    “I am not proud of things I did to the bees in my former roles, but I am happy that as an industry insider I know how to change this outdated industry,” Mandich previously told VegNews.

    MeliBio’s upcoming European launch is only the latest step in the CEO’s mission to transform the industry. 

    “It is with great excitement that I bring our innovative MeliBio plant-based honey to Europe. We are proud to partner with Narayan Foods, one of Europe’s most respected sustainable foods producers, to bring our delicious and sustainable products to Europeans everywhere,” Mandich says in a statement.”

    Honey without bees will change the world 

    Despite launching just two years ago, MeliBio is already making significant strides and collecting awards along the way. 

    Just last year, Honey Without Bees earned a special mention in TIME’s prestigious list of 100 Best Inventions of 2021. And this year, the bee-free honey was named to the SIAL Innovation Selection 2022, a prestigious food innovation award in Europe. 

    VegNews.Bees.BradWeaver.UnsplashBrad Weaver/Unsplash

    Beyond awards, MeliBio is helping wild bee populations thrive by ultimately reducing human reliance on honeybees. 

    Honeybees, which have been domesticated for commercial honey production, are incredibly adaptive and are able to collect nectar from a multitude of blooming plants. Wild bees, however, are known to collect pollen from very narrow sets of plants. When honeybees and wild bees compete for pollen, the latter suffer, and as a result, so do the plants and vegetation that rely on these wild populations. 

    With an abundance of healthy, varied species of bees, ecosystems are able to thrive. By reducing human reliance on honeybees, MeliBio is paving the way toward healthier, more abundant bee populations and thriving ecosystems.

    This post was originally published on VegNews.com.

  • Rights groups say amended criminal code underscores shift towards fundamentalism

    Indonesia’s parliament has overhauled the country’s criminal code to outlaw sex outside marriage and curtail free speech, in a dramatic setback to freedoms in the world’s third-largest democracy.

    Passed with support from all political parties, the draconian legislation has shocked not only rights activists but also the country’s booming tourism sector, which relies on a stream of visitors to its tropical islands.

    Continue reading…

    This post was originally published on Human rights | The Guardian.

  • Troy Stolz, ClubsNSW
    Money-laundering whistleblower Troy Stolz is in court this week against pokies lobby group ClubsNSW. Whistleblowers David McBride and Jeff Morris were there to support him.

    This post was originally published on Michael West.

  • Vegan food has been evolving at a rapid pace and each new innovation seems to be better than the last. First came “bleeding” burgers, followed by realistic plant-based chicken. And now, seafood alternatives are coming into focus with startups proving that there’s more than one way to make realistic vegan fish. 

    There’s already vegan tuna and salmon made from protein-rich legumes, while others are made from soy or a root vegetable called konjac to mimic the taste, texture, and nutrition of fish. Most recently, several startups have begun harnessing the biological kingdom of mushrooms to innovate plant-based seafood even further.

    VegNews.AquaCulturedFoods

    Aqua Cultured Foods

    Mycelium, the root systems of mushrooms, naturally grows in a structure similar to the muscle tissue of seafood and is soft in flavor. This unique structure has proven its ability to be used in diverse applications and has already been used to make mushroom leather and mushroom meat

    Soon, consumers will get a taste of the power of mycelium as a seafood alternative. 

    Creating fish-free shrimp and scallops

    Chicago-based startup Aqua Cultured Foods is developing calamari, shrimp, scallops, and filets of tuna and whitefish with proprietary mycelium fermentation processes that do not use any animal inputs, genetic altering, or modification. The startup says that using mycelium allows it to retain naturally occurring fiber, protein, and other micronutrients. 

    Aqua recently raised $5.5 million in seed funding to bring its ultra-realistic seafood alternatives to market. It will use the investment to equip its new facility, scale up production, add key talent, and expand its roster of restaurant and foodservice outlets for product introductions this year.  

    VegNews.VeganSeaBassSashimi.AquaCulturedFoodsAqua Cultured Foods

    “We appreciate having mission-aligned partners that offer strong strategic value for the next phase of our growth, which will involve building up the business and brand,” Anne Palermo, CEO of Aqua, said in a statement. 

    “Being good stewards of investor capital is important to us, so along with hitting milestones earlier than expected, we are benefiting from government programs, academic resources, and other advantages to get to market quickly.”  

    Aqua’s primary value is its low cost of scaling and its path to price parity, thanks to proprietary fermentation methods that use relatively affordable inputs and equipment. The startup recently acquired a food-grade facility that was already built out nearly to its requirements, which it estimates will save more than $1 million in construction costs.  

    VegNews.AquaCulturedFoods-bAqua Cultured Foods

    Aqua also produces ground vegan seafood fillings for applications such as dumplings, ravioli, and sushi rolls. One of the startup’s options is a bulk shrimp alternative that can be seasoned, packaged, and co-branded by retailers or distributors.

    Aqua Cultured believes this sector presents another lucrative and highly accessible market opportunity because frozen dumplings are a staple in countries such as China, South Korea, and Japan.

    Vegan seafood aims to save the oceans

    While Aqua is well on its way to bringing its products to market, other startups around the world are also harnessing the power of mycelium for vegan seafood. The first startup in Europe to make vegan seafood from mycelium is Germany’s Esencia Foods. Founded by scientist and chef Bruno Scocozza and business strategist Hendrik Kaye, Esencia has the goal of promoting a global transition to sustainable ocean stewardship with mycelium alternatives. 

    According to the United Nations, 80 percent of the world’s fish stocks are overfished, and with a projected increase in demand for seafood, some scientists are predicting that the oceans will be depleted by 2048.

    VegNews.EsenciaFoodsEsencia Foods

    In an effort to avoid the dramatic consequences of the ocean’s future, Esencia is developing a technology platform using mycelium that is capable of replicating seafood’s unique texture and mouthfeel to offer alternatives that better mimic conventional seafood, starting with scallops and salmon

    By leveraging a solid-state fermentation process, Esencia grows mycelium in a way that is similar to tempeh but using fungi that provides the soft texture for products such as scallops and the complex texture of fish like sea bass. 

    The startup also recognizes its challenges, such as recreating the fatty texture of smoked salmon. To get it right, Esencia plans to partner with a plant-based fat company. The startup hopes to launch its first products in restaurants and foodservice by the end of this year before expanding into retail.

    “As a scientist-chef hybrid, I want to go beyond creating an ‘alternative product,’ but to build products that consumers crave because they are culinary highlights,” Scocozza said in a statement. “We want to write a chapter in the history of food.”

    “Mycelium solid state fermentation is the perfect technology to build textures and tastes consumers love, while producing at price parity—to make a real impact,” he said. 

    Vegan seafood for fine dining

    Similarly, another mycelium seafood project is underway in Copenhagen, where scientists are working with chefs at Copenhagen’s two Michelin-starred restaurant Alchemist to create a new seafood by growing fungi on seaweed. Funded by The Good Food Institute, the project’s goal is to demonstrate an innovative method of making sustainable foods through fermentation.

    Headed by Dr. Leonie Jahn from the Technical University of Denmark and Diego Prado, the project will see the chefs experiment with fungi to eventually create whole-cut seafood. If successful, the product may be sold at the restaurant and could go on to be widely available for purchase.

    “Our main goal with the project is to attempt to create a unique and delicious product that is good enough to be served at a fine-dining restaurant using natural ingredients, with seaweed providing flavors of the sea and the mycelium adding to an attractive texture,” Prado, who is also head of research at Alchemist, said in a statement.

    VegNews.AquaCulturedFoods2Aqua Cultured Foods

    The team is looking into how the texture of the filamentous fungi can be used to create a range of sustainable foods. The aim is to identify how different conditions can be used to alter the fungi’s texture, creating products ranging from scaffolds—which give structure to meat cultivated from animal cells—to animal-free foods that look and taste like meat.

    “I will be fascinated to see the outcome of Dr. Jahn’s research,” Seren Kell, science and technology manager at the Good Food Institute Europe, said in a statement. “Seafood is an area where we urgently need to see innovation, and there are huge opportunities for companies and governments to invest in further research to develop plant-based and cultivated seafood that can help meet growing demand in a sustainable way.”

    This post was originally published on VegNews.com.

  • Josh Frydenberg’s “world-first” Media Code is a world-first joke lapped up by a sycophantic media enjoying secret cash payments from Google and Facebook. Michael West reports on the hype and a shameless Treasury review.

    This post was originally published on Michael West.

  • I would love to know how you describe yourself, where you’re from, what you do, how you define your work.

    I’m from Brooklyn, born and raised, and I grew up on the south side of Park Slope. Both my parents were artists, hippies that knew how to save some money. I was fortunate enough to go through art school basically my whole life. I was immersed in the arts from a young age and I tried everything. I did singing, dancing, all that stuff. I played sax for a while, but I really fell in love with skateboarding, right when skate videos were becoming a cinematic experience. That was the fusion of my artistic upbringing, paired with my love for skateboarding and my fascination with video and music and rhythm, and all of the way those things work together.

    I went to LaGuardia High School, and I was an actor there, so I had this whole company of actors at my disposal, and we were all acting, and working together. When I got into film, I basically started making films with those actors, which was incredibly exciting, and we were just way beyond our years at the time and I don’t mean in terms of our skill, but in terms of our ambition and gusto. Man, we were telling big, heavy, very dramatic stories, and we were just 16, 17 year old artists.

    I went to SUNY Purchase for a second, but I left after a semester. School is great for a lot of people, but I felt like I was relearning a lot of things, and I was really curious to get my hands dirty. I wanted to be on the front lines of what was coming. The rise of the digital camera, DSLRs, Pocket Cinema, and all that stuff. I was like, “I want to be right there, ready to go, and learn all of this.”
    I started Crooked Letter when I was 19 with a business partner. We do so many different kinds of work, big and small, but the main priority for me is—no matter what story we’re telling—finding the soul of the narrative and the subject.

    We do a lot of documentary work, so talent is the most important aspect of a project. If the person in front of the camera is not feeling their truest self, then we’ve failed.

    Was there a specific artwork–be it a movie, or a skater, or an album—that you encountered, and felt really infatuated with? What was the gap like between being inspired, and making your own work, finding your artistic voice?

    There was a video that came out Yeah Right!, and it was a really popular one that Spike Jonze was involved in. When I saw that, that blew my head apart. I was completely blown away by what they were capable of doing.

    It was the culture of skateboarding, because it was just the raw material of a skate video. It was truly storytelling, with an emphasis on music, and the power of music, and rhythm, and how that keeps stories going.

    And then I went to the Sundance Film Festival with my best friend Jeremy [Allen White] when we were 15 or 16. I remember being there, and going to the screenings, and seeing this powerful art, and being with my friend, and then getting into parties, and schmoozing. I remember coming back from Sundance and just being like, “That’s what I want to do for the rest of my life. Some semblance of that.”

    It seems like collaboration and community are really central parts of your work, both the themes you explore in your work, as well as the ways that you go about executing different projects. I’m wondering how that takes shape in your day-to-day life? Are there a group of people that you are always collaborating with, or does it kind of switch up depending on the project?

    I truly feel like I’ve built such a family of friends, such a chosen family. And it’s vast. A lot of friends, in a lot of different areas, and I carry those friends with me. My favorite thing—it’s almost a kink—is putting all those people together, and seeing the connections that are made. I just love the anthropology of people being together.

    As that pertains to the creative process, I’ve been working with the same group for years now, and there are puzzle pieces that I switch out every once in a while, depending on what the project requires, and who’s telling the story, and what story we’re telling. I direct a lot of the work I produce, but sometimes it’s not my story to tell. So, it does shape shift a little bit.

    But the core of my creative foundation for Crooked Letter, is more or less the same folks every day. And I guess just a thing that’s really been on my mind, and is in some capacity, going to be a part of our mission statement for the next however many years. As soon as I passed 30, I was surveying the landscape of freelance artists, and just how freelance anxiety is such an isolating feeling, and yet I’m surrounded by people experiencing it.

    There’s something that we as freelance artists need, and I’m trying to seek to explore that, and offer a space where those kinds of solidarity communications are just happening more frequently, because I really think that’s something that needs to be looked at, and fixed in our industry—the time that is put into things, and is not compensated for: decks, pitches, holding dates, and then rug pulls from all of that.

    We are independent artists, and we do rely on people hiring us for things, but at the same time, they rely on us to create things. And I think feeling disposable is so common. And I’m really trying to—whether it be through my work, or how I conduct our productions—I really want to change that, and I want to make the industry a better place for us all.

    It is hard, especially, in this hyper digital age where people are just naturally isolated from each other, working from different corners of the world, different neighborhoods, etc. It’s naïve and silly to think about community, and how to work with other people, if you’re not thinking about the conditions that we’re working under, and how they impact us, so it’s awesome that you bring that up. On a similar note, how do you navigate the difficulties of making money? How do you trudge through that?

    Oh man. It’s a never ending cycle of balancing fear and reward. Money is a hell of a thing. We rely on it to make good work, big work. We all deserve a quality of life, whatever your standards for that may be, and it’s hard. It’s really hard to find that balance. I grew up in a middle class family, so it was fine. But there is no daddy money coming through the door. So, I think this notion of being self made, I take a lot of pride in, but at the same time, it’s a double edged sword.

    That is such a huge issue that gets really complicated for me, just mentally, and emotionally. But, I’ve taken my business infrastructure very seriously. I have not skimped on finding a great lawyer, an amazing bookkeeper and an accountant. All those nitty gritty, annoying things that I knew I didn’t want to do, that I’d rather pay somebody to do, and form a relationship with somebody very good at doing those things.

    It’s the greatest investment I’ve ever made, because I’ve fostered relationships with these people that really do take the edge off of the unpleasant parts of running a business and they help me immensely, and I’m just so grateful for those people. They really have been guiding lights. Finding that support is crucial. I mean, my god, there are pros, and cons to running a business, but I’m really grateful I have this business, because it’s not just me.

    What are some rituals that help you recover from self doubt, and low periods?

    I do a lot of yoga. I’m kind of a yoga freak. I love physical work—biking, skateboarding, yoga, working out, any of that stuff. As of late, dancing is a therapy for me.

    I said to somebody recently, I’m actively trying to replace anxiety with inspiration. So, if I’m feeling that revved up, concerned, manic nature, I’ll just go consume something, whether it’s a beautiful dinner, or a film, or some show. Trying to immediately replace that moment of stewing with something new. That’s been really helpful, so I’m going to keep rolling with that stuff.

    You’re involved in a lot of different mediums, and projects, but do you have a favorite kind of project to work on? Or maybe a favorite project you’ve worked on recently?

    Yeah, so I just directed my first feature documentary.

    It was a labor of love. It was just me and Alice, the co-director. We did everything on it and we made it through the pandemic. So, that was incredibly therapeutic for us, to make something about it kind of, but also through it. And I’m really proud of that, and we’re waiting to hear back from film festivals right now, and just to be able to share that with more people will be very special for me.

    And the process of making that was amazing. We collected footage for almost two years, and then we didn’t know when we were going to start it. It was so daunting to start it. We didn’t have funding, or anything like that. It was just us. And then omicron kicked in, and everybody was staying home, and we did that whole shit again. So Alice and I were like, “All right, let’s make our movie.” I saw nobody but Alice, and my girlfriend for like a month and a half, and we just hunkered down and made this thing from scratch.

    That was an amazing process. I remember the day we wrapped, and we were about to premiere it the next night, and I was like, “Wow, we just made a feature. We can just make another one.” Making a feature is such a thing, and then you start to take stock and you’re like, “Well, I did it, so let me do it again, if I want.”

    I’ve always said, I think if I could make a living, just meeting people, and connecting with people, that would be a fulfilling life for me. Going back to the Sundance Film Festival moment, I just like being in a room, and finding connections, and finding avenues into people’s hearts, and vice versa. Just seeing how we can build together as a group, as a community. So, that’s where I’m at right now. I think I’m finding a lot of creativity in just the process, which has been beautiful, and I’m going to keep rolling with that. Ideally, we would be making a couple films a year, so, we’ll see how that goes. I think we’re kind of on target right now.

    That’s really lovely. I hope the documentary gets picked up by some festivals.

    Thank you. We just need one. Honestly, even with skateboarding, I remember just being like, “I just want a part in a skate video, and I want a magazine ad.” And I got both, and the second I did, I was like, “All right, I can say farewell to this sort of professional ambition right now.” That’s kind of how I feel with the film. I just want one festival to take it, have a beautiful night, give it some life, and then maybe share it publicly, and say goodbye. Because once you make a piece of art, and share it with the world, it’s not yours anymore. I try to respect the symbiotic nature of releasing work.

    Gabriel Gomez Recommends:

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    In Love: A Memoir of Love and Loss by Amy Bloom

    Promises by Floating Points, Pharaoh Sanders, and The London Symphony
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    therapy

  • Qantas Profit soaring
    Qantas profit estimates just jumped again this week when Alan Joyce threatened to axe regional routes, ramping up pressure on politicians to stop the looming industrial relations reforms.

    This post was originally published on Michael West.

  • How did you get started with perfumery?

    When I was young I would spray this jasmine perfume on my pillow in order to sleep and kind of tune everything else out. Perfume was very comforting, a way to escape and also a way to ground myself, so I began collecting it and had amassed a collection by the time I was a teenager. However, I didn’t know about the career of a perfumer until I was older. I wound up apprenticing with a master perfumer, Olivier Gillotin, at an international fragrance house for a couple of years. It was there that I learned all of the raw materials and really began my journey into perfumery. But I think learning perfumery is a lifelong process; there are always new raw materials coming onto the market, synthetics and naturals, and you really have to stay on top of the game because what’s trending olfactively tends to be the newer molecules. So, like nearly everything, it really is a lifelong learning process.

    How did you get your apprenticeship?

    I started off as a temp receptionist at Givaudan, and I was doing my master’s in anthropology at the time. And then right when my master’s program ended, there just happened to be an opening to work in the lab as an apprentice to Olivier, and we had sort of developed this rapport throughout my time working at the front desk, and he knew that I was interested in perfumery and he really encouraged me to apply. And so I applied and I got it and the whole thing was very kind of kismet.

    What excites you about a new project?

    I would say if it’s something I’ve never done before, or even if it’s something that I initially feel some type of resistance to, I’m more excited because I’ve noticed that the projects I tend to feel the most resistance to wind up being the projects that ultimately push me the most and I’ve been the most proud of in the end. It’s kind of like smells, often the ones I’m most resistant to or turned off by at first wind up being my favorites.

    What do you consider when you create a new fragrance?

    It really depends. If it’s for a client, I’ll ask them many questions initially over the course of two hours. We’ll schedule a time and I’ll ask them everything from their favorite colors, textures, their scent memories from childhood, their favorite foods, flavors, sometimes even their favorite movies. Just really kind of obscure things because there’s a lot that’s lost in translation when people talk about smell. So, you can get a client, for example, who says they want something really green, but at the same time hates the smell of grass or something. So you have to ask all of these questions because they’re not necessarily going to think of the exceptions themselves, and I need to know all these exceptions when I’m creating something for them.

    It’s very thorough. If I’m just creating something for myself, then I can do whatever I want, but also if I’m doing something for my own personal collection, it’s good for me to have outside input around my work because sometimes I become anosmic to my own scents. And I think it’s actually a little bit similar to writing. Like sometimes when you’re writing something and you’re just working on it constantly—let’s say you’re sitting at your computer—it can be really helpful to close your computer, take a break for an hour, go to a coffee shop, open it on your phone, and start editing it or working on it on there. There’s just something about the different perspectives.

    So, having a different perspective. Clearing your head, clearing your nose. Talking to people you trust. That’s why I like to have other people smell my work, not necessarily for their personal opinions, but for their perspectives, and also why I need to take extended breaks and go smell my perfume in the park, or in the bath, instead of my lab.

    Where do you get your inspiration for fragrances that you’re making for yourself?

    Everywhere. That’s actually part of my issue right now as far as making a more cohesive brand, is that my inspiration is pretty sporadic, as all inspiration is, but it’s hard for me to make a streamlined collection, which is why I have two collections and collaborations and random projects like that. I had this idea for a perfume last month, but I was like, it would be so random just on my site. At the same time, maybe who cares?

    What was the idea, if you don’t mind sharing?

    I want to make a perfume just called, “Maggie The Cat is Alive, She’s Alive!” which is a line from Cat on a Hot Tin Roof. And the way Elizabeth Taylor says it, she’s screaming, “Maggie, the cat is alive! She’s alive!” It’s so amazing. She’s so upset and there’s this vibrato in her voice. And I just thought, “Oh my God, I need to make a perfume called ‘Maggie The Cat is Alive, She’s Alive.’” Maybe it would be in all caps. I can’t stop saying it, even now, I’m obsessed with saying it. Really animalic, sweltering… I just imagine Elizabeth Taylor sweating or something. But I’m not sure how that would fit into any of my collections. Maybe I’ll do it.

    What are some of your favorite notes?

    I love natural musks, like cumin and ambrette seed. I would say lately I’ve been falling in love with eucalyptus absolute, which is very different than eucalyptus oil. The absolute version is really rich and almost has this gourmand feeling. It’s sweet and super dark. And then I would say as far as synthetics, I really love coumarin, which is basically synthetic tonka. There’s nothing like it. And if I could use it in everything, I would, and I always try and use it. It’s just really beautiful, and also gives a certain diffusion to scents and prolongs longevity. So in a technical way, it helps a lot with the projection of the scent, but it also brings something olfactively that I think is really beautiful.

    What challenges arise when you’re blending?

    Working in the lab that I’m currently working in is a challenge because it’s so small. For now, I’m making do, but I think in the next couple of years, it will be really nice to move into a much larger and more well-equipped lab.

    How do you explore things? What does your curiosity look like?

    I’m incredibly impatient by nature, and at the same time I’ve always had a really strong sense of curiosity, but it’s kind of an interesting combination because I’ll get intensely curious about something and then become impatient with it. And with perfumery, it was almost as if I knew from the start that it was too important to lose steam with.

    So, I think my sense of curiosity with my work and with perfume is much more patient than my sense of curiosity around other aspects of my life. For example, I just don’t have the patience to cook. I will say, I’ve been in psychoanalysis for 13 years and that has required a great deal of patience. In a way, that experience of having to be patient—with perfumery and psychoanalysis—both journeys have been parallel in certain ways—has impacted my curiosity in other aspects of my life. My sense of curiosity, it’s recovering from being a little defensive. Because curiosity requires a sense of not knowing. I’m trying to be more at ease in that place of not knowing.

    What effect do you hope to have on your clients, both clients that you make a perfume for and also clients who just buy something that you’ve already made?

    I don’t really think about that, maybe I should. But at the end of the day, I really just want to bring people small moments of joy and maybe some solace. It’s rough out there. To know that you made something that someone looks forward to interacting with every morning is actually a pretty profound feeling. And if I can do that, and also pay my bills and have some nice clothes or whatever, that’s enough for me.

    How do collaborators figure into your work? What’s helpful and/or unhelpful about working with others?

    I would say it’s helpful for me to be given an idea for a fragrance. Most of my friends are artists or creatives, so the idea of collaborating with them can be very seductive. But also collaborating with friends can be dangerous, like becoming roommates with your best friend.

    How did you figure out how to make a living through perfumery and to treat your art like a business?

    I’m definitely still figuring it out. I think having multiple streams of revenue is important. I do freelance work for brands and individuals as well as sell my own perfume collection. It’s hard though. I’ll let you know once I nail it.

    How do you know when a project is finished?

    I think it’s similar to writing a poem, in a way. It’s almost like, when there’s nothing left to remove from the formula, it’s done. Or honestly just when I get tired of working on it, that’s real.

    How did you manage to carve a path for yourself outside of the established system?

    I’m still carving it, and every day is a challenge. The fact that I don’t have access to the resources that the commercial fragrance world has is difficult at times, but I also think the challenges it presents ultimately make me better at my craft and give me a richer understanding of the entire process of creating a fragrance. Because I don’t just create the formula, I navigate production, design, stability testing, client interactions, and more. There’s also a certain level of shamelessness, especially when it comes to promoting my work or myself on social media, that still after years of doing it makes me feel physically ill. I’ve sort of normalized the nausea for myself that comes with logging on.

    So I’m guessing that social media is a big part of how you get the word out about your fragrances, right?

    I rely on it very heavily. It’s where I think 90% of my sales come from. And I don’t even have that large of a following, but yeah, I know if I post there will be sales. I would delete it in a heartbeat if I didn’t need it. But it’s terrifying to think what would happen to my income if Instagram was suddenly gone.

    But now your perfumes are available at Lucky Scent?

    Yes. And Scentbar, which is their storefront, and my website.

    Do they do some promotion work for you, too?

    They do a little bit, yeah. And they’re really great to work with.

    You mentioned writing poetry. I know that’s another practice of yours. Does your work with perfumery ever spill over into your writing or vice versa?

    Yeah, it does. I actually think somehow now more than ever. I’m writing something at the moment and I’m also working on a fragrance, almost just psychologically for myself. And I don’t know if I’ll do anything with the fragrance, but it helps to mark the feeling that I’m working around and immediately transports me to a certain headspace. Basically, I went on this date that was four days long…it was pretty amazing. Afterwards, I felt inspired to write for the first time after having severe writer’s block for over a year. And so, I just started writing nonstop and began working on this perfume as well. Sometimes all you need is a really good date to start writing again. Who knew? Truly, now I know how to break writer’s block…

    I know that olfactory senses can trigger memories or take you back to a place. Does smelling the same scent help you get back into the creative flow of your project?

    Definitely, it’s somatic. It helps me connect to what I’m writing about, like music. An instant brain to heart cord.

    Marissa Zappas Recommends:

    Holly Hunter’s voice

    Psychoanalysis

    Tamaryn Brown

    Getting lost in Cimetiere du Pere Lachaise

    Francis Picabia’s poetry

  • New Acland coal mine
    Joel Fitzgibbon was Labor’s man in the coal-mining electorate of Hunter. He’s the ‘‘ideal appointment’’ to a company with interests in coal.

    This post was originally published on Michael West.

  • Report finds stock indexes provided by MSCI include companies using forced labour or constructing surveillance state in Xinjiang

    Many of the world’s largest asset managers and state pension funds are passively investing in companies that have allegedly engaged in the repression of Uyghur Muslims in China, according to a new report.

    The report, by UK-based group Hong Kong Watch and the Helena Kennedy Centre for International Justice at Sheffield Hallam University, found that three major stock indexes provided by MSCI include at least 13 companies that have allegedly used forced labour or been involved in the construction of the surveillance state in China’s Xinjiang region.

    Continue reading…

    This post was originally published on Human rights | The Guardian.

  • Jordan Shanks-Markovina (Image: Grant Stuart)
    The 33-year-old YouTuber says he is being targeted, with a long list of suspects. Callum Foote reports on what appears to be a terrorist attack – a rare act of political violence if so, more more likely in St Petersburg than Sydney.

    This post was originally published on Michael West.

  • CII asks the government to lower income tax rates to help revive consumption demand

    This post was originally published on The Asian Age | Home.

  • AMP, asbestos
    Construction workers at Sydney landmark, the AMP building have been exposed to asbestos. But those responsible aren’t talking. Exclusive MWM report by Callum Foote.

    This post was originally published on Michael West.

  • Lakeba Group
    “He promised the world but delivered an atlas”. Investors in Giuseppe Porcelli’s Lakeba revolt.

    This post was originally published on Michael West.

  • Have you ever wanted to scream into a void about all the annoying things your meat-eating uncle says to you during Thanksgiving? Is a locker room motivational speech the best way you can think of getting hyped up before facing your family during the holidays? You’re in luck because vegan company Oatly is here to help you navigate traditional Thanksgiving like a pro. 

    This Thanksgiving, The Oatly Emotional Support Hotline for Plant-based Eaters will offer unique resources for vegans looking for support during the challenging holiday. What happens when you call in? Well, you’ve got options. 

    VegNews.VeganThanksgivingHotline1.Oatly

    Oatly

    First, you can listen to the main menu in different formats, including in English or Swedish, accompanied by smooth jazz or elevator music, or read by a fifth grader from Kansas who won a Thanksgiving essay contest.  

    Pressing one will get you to personal affirmations to help emotionally navigate a traditional meat- and dairy-heavy Thanksgiving dinner. Pressing two will get you to useful stats and talking points to defend your reasons for going vegan from a climate perspective. 

    Want to scream into a void about your frustrations about explaining your plant-based diet to people? Oatly gives you 30 seconds to do just that by pressing three. 

    Pressing four will get you to a locker room-style motivational speech inspired by—but not completely plagiarized from—the 1993 sports film Rudy. Other tools on the hotline include tips about weaving the benefits of plant-based eating into conversation and deflection tactics (such as asking if there is smoke coming from the oven) when the conversation gets too daunting.  

    “We know that every Thanksgiving, millions of plant-based eaters endure a heavily meat- and dairy-based holiday meal with family and friends who don’t necessarily understand or accept their dietary choices,” an Oatly spokesperson tells VegNews. 

    “Oatly of course feels for our likeminded plant-based friends and wants to arm them with all the help they could need to not only get through these holiday meals but even positively influence dinner conversations, so that’s why we’ve decided to introduce The Oatly Emotional Support Hotline for Plant-based Eaters,” the spokesperson says. 

    VegNews.VeganThanksgivingHotline.Oatly

    Oatly

    The hotline can be accessed starting today and until November 24 by calling 1-866-OAT-LINE. 

    Oatly’s vegan hotline is here to help 

    In addition to all of the aforementioned resources, Oatly’s hotline will be operated by plant-based experts on Thanksgiving Day (November 24) from 3pm to 10pm EST. These operators will be on hand to answer questions and help plant-based eaters get through last-minute preparations before sitting down for Thanksgiving dinner.   

    “It’s a way for Oatly to take a virtual seat at your holiday dinners, but do it in our very own way, always bringing a dose of lightheartedness—like dialing a number to let out a cathartic scream,” the spokesperson says. “And, of course, to serve as a reminder that it’s a great time to school your family and friends about all the delicious, climate-friendly, and dietary benefits of plant-based food.”

    VegNews.VeganThanksgivingHotline3.Oatly

    Oatly

    For Thanksgiving, Oatly also partnered with James Beard-nominated chef Amanda Cohen, owner of New York City vegetarian mainstay Dirt Candy. Cohen recreated classic Thanksgiving dishes using Oatly’s products instead of dairy, including Pumpkin Pie Oat Bars, Creamy Roasted Mushroom Gravy, and Roasted Carrots with Oatgurt Dressing. 

    Marketing vegan food can be funny

    Oatly is known for its creative and humorous approach to ad campaigns. During the Super Bowl in 2021, Oatly CEO Toni Petersson appeared in a 30-second spot singing “it’s like milk, but made for humans” in a field of oats. The commercial gained traction, in large part for being so strange—which Oatly ran with by releasing a T-shirt emblazoned with “I totally hated that Oatly commercial” and image of its CEO.

    Earlier this year, the vegan company worked with master puppet maker Andy Gent—who was behind the puppets in Wes Anderson’s Isle of Dogs—to create an ad campaign that furthered its mission to make oat milk the new normal. The campaign series revolved around five short episodes of fictitious “The New Norm & Al Show” which featured puppets “Norm” and “Al,” who cleverly discussed shifting from old habits (drinking dairy milk) to new ones like consuming dairy-free milk

    VegNews.SoyFreeVegan.OatlyOatly

    While Oatly has its wits about it, the company recently reported that its third-quarter earnings missed the mark and is currently planning to reorganize the company, including by reducing its workforce, to cut costs by 25 percent. 

    “Third quarter financial results were below our expectations, largely driven by COVID-19 restrictions in Asia, production challenges in the Americas and continued foreign exchange headwinds,” Petersson said in a statement. “However, we continue to see strong velocities, year-over-year sales volume growth, and minimal price elasticity globally, which we believe demonstrates the power and resilience of the brand.”

    This post was originally published on VegNews.com.

  • You’ve talked about how when you first got interested in ceramics, you completed a one year Post-Bac program at Louisiana State University. But you were also seeking out mentors and creating your own independent research. Could you talk a little bit about how you began that journey?

    I don’t really frame it as research. I frame it as being curious and wanting to learn more about what it is that I do. I mean, this is my profession. So, I don’t know, it seemed like second nature to look deeper. I don’t see it as anything more sophisticated or complicated than wanting to look a little bit deeper into this thing that I’m in love with, and that is the way that I make a living.

    When I found that I was attracted to working with red clay, I started Google searching the word “terra cotta” because I wanted to know more about the material and the associations of it. And then that led me to a lot of ancient pottery from the Bronze Age and West African pottery. My family’s from Nigeria, and a lot of the traditional ceramics are made with red clay. It was a Pandora’s box. One thing led to the next.

    I know you’ve mentioned bridging history and a modern design sensibility in your work.

    Yeah, definitely. I’m taking a lot of cues from historical ceramics, but then modifying what I’m finding to suit our day-to-day needs. I’m using these traditional forms, but changing them in such a way that suits our modern lifestyle.

    osa-1.jpg

    I’d love to talk about the connections between the work that you did before you went into pottery full time. Do you see connections between the work that you did within the music world, your writing, and your activism—and the pottery that you’re making today?

    Yes and no. I’m the same person, so I still care about the social impact that arts can have and always connecting my craft to social issues. So that’s something that’s never stopped for me. I still do that.

    When you’re in a punk band, you set up your own shows. I set up a ton of shows for my band and other people’s bands. And that takes cold calling a space that may or may not be a traditional music venue and thinking outside the box and putting together that “who, what, where and why” to create an event. When I found ceramics, I had the same mentality of creating my own events. I used to put together pop-up events at plant nurseries and little boutiques in New Orleans—and places where ceramics may or may not have been sold, but I could relate what I was making to what they were selling, and we made a good collaboration. So just that mindset of not waiting for opportunities to come to me, but creating my own opportunities, definitely came from punk.

    The biggest difference is the appeal. So there’s a universality with ceramics that punk doesn’t have. Punk is about being—I don’t want to use the word “exclusive”—but it’s so subcultural. It’s not meant to appeal to the masses. In fact, it’s in reaction to the mainstream. And there’s something about ceramics that is very universal.

    As a person who takes a lot of these DIY approaches—finding spaces, finding collaborations—has it gotten easier over the years, or do you always change your approach to those collaborative practices?

    It’s become a second nature way to operate in the world. But also, pottery has been way more of a solitary practice than being in punk. Punk is all about the scene, and bands are a group of people, not just one person. Right now, as I’m talking to you, I’m alone in my studio. And when I was creating those events, it was just for me. It wasn’t for a bunch of different bands, it wasn’t for me and my band mates—it was just for me. And then for people to come to shop, or to look at my work.

    So I would say that punk was probably more collaborative, and that was a good and bad thing. Collaborating is a wonderful opportunity to combine energies with people and there’s wonderful chemistry that can happen. You can create art that is greater than the sum of the parts.

    But the downside is that a lot of those collaborations were temporary. It was hard to get people, including myself, to commit on a long enough timeline. As I got older, I was craving consistency. And that’s why I think I turned to ceramics as an expressive medium because I could work on it by myself.

    And so, here I am almost 10 years in, and I’ve been able to work consistently for a decade. In the beginning, when I started my business, I was sometimes working seven days a week and making pots seven days a week. And that was never a reality with punk bands where you have to schedule practice with two, three, four other people and maybe you can practice once a week. As someone who had an inkling that, “Hey, maybe I could be better at something if I gave it my all,” I burned out on collaborating and wanted to go solo. Because I knew that I could be more consistent by myself than with a group.

    osa-2.jpg

    Do you have any advice for artists who are starting out, who really want to open up a little bit more in terms of collaborating but that are nervous or maybe feeling vulnerable about sharing their work?

    I mean, there’s really nothing to say beyond: Just do it. I mean, most of our fears are an illusion anyway. What’s the worst thing that could happen? If you reach out to someone and they, say, don’t respond, you could just move on to the next person—and just assume that wasn’t the right person for you to collaborate with or connect to. But chances are, people are going to be pretty open. I mean, there’s just no other advice than just get out of your own way and stop overthinking and just do it. There’s so much to gain.

    Every time I’ve spoken to another ceramicist, every time I’ve gone out of my way to meet someone and have a conversation, I’ve learned something.

    For instance, I just moved to Florida two years ago. There’s a great network of ceramicists here. I started following an Orlando ceramicist named Richard Munster. He lives in Orlando, which is two hours away. When me and my husband were in Orlando, we decided to stop by his house and say hi. He had proven to be really friendly on the internet and was really open to meeting. He has a wood fire kiln in his backyard and showed us all this stuff. And I was talking to him about the wild clay that I forage every now and then, and how I wanted to work with it more. He’s a high school teacher and has a lot more formal education than I do. So he just mentioned a certain ingredient that I could add to my clay to make it more workable.

    I went home and I figured it would be a little bit more complicated than that, and maybe I would need more than just that one ingredient. But that turned out to be the whole move. I could just add that ingredient to my wild clay and it made it so much more workable.

    I wasn’t meeting him to pick his brain about anything. It’s just like, these natural conversations happen. I learned something that happened to be beneficial to my studio practice. And I have a hundred stories like that. There’s everything to gain from connecting with other people. And hopefully, you’re doing the same thing, as an artist. You’re willing to share your experiences and your knowledge because it will come back to you.

    I’d love to talk about some of the recent videos and photos that you shared of your pottery, shot by Shoog McDaniel. What a great idea for a collaboration — to have someone else’s lens and present these ceramic pieces underwater, creating a sense of movement. Could you tell me a little bit about that collaboration?

    Shoog and I are part of the same general scene of friends. We hadn’t hung out very much, but we’d met each other before. We have a lot of the same friends. They usually shoot bodies. They shoot a lot of fat bodies in water and queer and trans bodies, and they use water as this liberatory space where you can feel free of the weight of your body and you can experience lightness. I wasn’t quite sure if they were going to be interested in shooting pottery, to be honest. They don’t really do that. So I went with some pots, but I was like, “Maybe we’ll do this, maybe we won’t.”

    I just went to hang out. It wasn’t like a business networking thing. It was like, we come from the same friend group, we come from the same ideological background of punk and DIY and the queer scene. I just went, being open to taking pictures or not. So what I was saying earlier about the chemistry of collaboration? That’s what you’re seeing.

    osa-3.jpg

    Yeah, definitely. And I’m thinking, too, about Kaabo Clay Collective. When did you know, “Okay, I’m at a point in my own creative career and journey, where I have the mental space and the capacity to also work on this collective.” Was there a specific moment?

    It came out of the response of the ceramics community to George Floyd’s death. It just felt like a thing of necessity. Also, I invented Kaabo for myself, and I think that’s how you have to go about things. You can try to frame it like community work or activism. But I’m a Black ceramicist in a town where there are no other Black ceramicists that I know of—and so, I needed that connection. And really, it started as just a chat group. So it didn’t take a lot of effort or money. It was free. And it was literally just saying, “Hey, I’m a Black ceramicist, I want to be connected with more Black ceramicists and I want to bring everybody together.”

    So there wasn’t the idea of, “I’m going to create an organization from the ground up.” It was more just about taking the first step, doing what I felt like I needed to do for myself and if I need it, other people obviously need it. It didn’t feel like work, it just felt like something that was going to benefit us all.

    Looking at it now, do you think, “Oh, this has grown in a way that I didn’t expect it to?” or do you feel like it’s progressing how it’s meant to?

    I think that as soon as you put an idea out there, it’s bound to get more complicated. I mean, it just seems like that’s how things progress. I think it’s because I’m older. I mean, I’m 44, so this is not the first thing I’ve ever started. So I knew that what you do is you plant the seed—and then you just watch it grow. Honestly, I think it could grow faster if I wanted it to. I just don’t know if I want it to yet and no one else has stepped up to really push it. So it’s going at a pretty relaxed pace, which is fine with me, because we’re all busy.

    I felt pretty confident that it would develop on its own. And I also figured that if it didn’t develop, then that just meant that it wasn’t useful and that people didn’t need it. And then what would be the point of it? I don’t really run it. I mean, I do to some degree, but it requires participation. It’s a collective. I’m not the head of it, really. If people aren’t participating, I’m going to take that as a sign—mostly it’s a sign that people are just busy. But if it dissolved, it would be because it’s an obsolete idea…But I really do see that a lot of people think it’s important and do pitch in to volunteer and make things happen. And that’s been really amazing to see.

    And, how do you unwind, slow down, considering how busy you are from day to day?

    Oh, I relax a whole lot. I’m actually not that busy. I mean, I work really hard, but I have a really great balance. And I mean, I run my own business. So if I’m running myself ragged, or if I can’t find time to relax, it’s my own fault. And I think that running a business can be a site of liberation.

    It’s ironic because it’s business, which is capitalism. But I think as a business owner, you can redefine and control the circumstances of your work life. So that’s what I do. I’m really adamant about taking weekends off. In the beginning, it was harder to do that—I had to hustle a lot harder. I think it’s just overcoming that inertia. You’re just trying to get started. You’re trying to get the ball rolling. And I think that every business owner feels that way in the beginning. It’s just hectic. But I think after a while I was like, “Well, I can organize my life, things are rolling. There’s interest in my work. I need to adjust my pricing.”

    Because what I see a lot of people doing is undercharging, and then you’re just always treading water. So you’re not charging enough for your work and it’s making you just too busy. And you’re constantly busy and constantly struggling…Yes, we’re all oppressed by the system, but there’s also decisions we can make. I just feel like as a business owner, I prioritize resting and I prioritize leisure and I take time off and I take breaks. And I don’t know—that’s part of my business ethic, I guess.

    Some non-pottery links:

    Shotgun Seamstress (anthology of zines by Osa Atoe)

    Firebrand (music made by Osa Atoe)

    Tropical Depression (music mixed by Osa Atoe)

    “The Forgotten Women of Punk” (article about Osa Atoe)

    This post was originally published on The Creative Independent.

  • Human rights council makes more than 300 recommendations, with many coming from less well-off countries

    The UK must tackle rising poverty, the UN human rights council has said in a report that includes demands from less well-off countries for the British government to act.

    Amid worsening financial prospects for millions, the member states of the UN body also demanded action on housing to prevent homelessness, better food security for young children, and equal rights for people with disabilities.

    Continue reading…

    This post was originally published on Human rights | The Guardian.

  • Afghan war crimes
    Why is billionaire Kerry Stokes funding the media defamation action of Victoria Cross recipient Ben Roberts-Smith against Nine Newspapers?

    This post was originally published on Michael West.

  • The bot army
    Bot armies, fake tweets and hashtags are the new front in propaganda wars. A groundbreaking study, exposing a massive anti-Russia social media disinformation campaign, has been effectively ignored by the Western establishment media, writes Peter Cronau.

    This post was originally published on Michael West.

  • Regional businesswoman and Order of Australia recipient Julia Spicer has been named Queensland’s new Chief Entrepreneur, replacing incumbent chief Gerard Wayne in the voluntary role. Ms Spicer, who is the fifth Chief Entrepreneur to be appointed since the government role was launched 2016, will take over from Mr Wayne when he finishes his 18-month stint…

    The post Fifth Queensland Chief Entrepreneur appointed appeared first on InnovationAus.com.

    This post was originally published on InnovationAus.com.

  • Richard Goyder, Qantas Chairman
    As excuses for poor performance pile up, Qantas is planning to play on our patriotism and better judgment in its push to thwart competitors.

    This post was originally published on Michael West.

  • Musk and a team of advisers have been weighing a range of scenarios for job cuts and other policy changes

    This post was originally published on The Asian Age | Home.

  • Rum Rebellion. Source: Wikipedia
    The Crime Commission report found rampant money-laundering in pubs and clubs, yet days later NSW Premier Dominic Perrottet has caved in on his pokies reform. Is this NSW reprising the Rum Rebellion? Michael West reports.

    This post was originally published on Michael West.

  • Citing people with knowledge of the situation, the report said that some managers were being asked to “draw up lists of employees to cut

    This post was originally published on The Asian Age | Home.

  • Musk’s comments came a day after he completed the USD 44 billion acquisition of the social media giant

    This post was originally published on The Asian Age | Home.