Werd I/O

I’ve been wondering about adding more organization to my site. As of right now, the homepage is a mix of long-form posts, short thoughts, and links I consider interesting, presented as a stream. It’s a genuine representation of what I’m reading and thinking about, and each post’s permalink page looks fine to me, but it doesn’t quite hold together as a whole. If you look at my homepage with fresh eyes, my stream is a hodgepodge. There’s no through line.

One way to get around this might be to split my homepage into columns: one big column for latest long-form pieces, and a smaller column for links. Andy Baio’s site does this pretty well, for example.

On the other hand, sites like The Verge present notes, links, and articles in one stream. I find it a little confusing to read, but there’s at least precedent for my approach. Of course, my site is more or less monochrome, while they clearly have a visual design team on-staff. One thing I really like is that (as befits a tech publication rather than a single-author blog) they don’t just display the latest long-form post on the homepage; you’ve got to click through. This is similar to the WordPress setup we use at my day job at The 19th.

I think I’m just sick of my design and need to try something else out. What do you think? Drop me a line if there’s a blog design you particularly like, or if you’d like to see me organize my stuff in a particular way.

American TV is saturated with copaganda: media intended to sway public perception in favor of the police. Even in a world where it’s become clear that the police disproportionately kill people of color and otherwise enforce adverse power dynamics for oppressed communities, we see show after show after show where the police are unambiguously the good guys. Often those maverick cops get their good guy jobs done by flaunting the rules - because, after all, what possible good could those rules possibly do?

As Aaron Rahsaan Thomas, the co-creator of S.W.A.T., put it:

Traditionally, the domain of TV police procedurals has been as morality plays, where clear lines are drawn. The past 60 years have seen shows like Dragnet, The Untouchables, and Adam 12 establish a formula where, within an hour of story, good lawmen, also known as square-jawed white cops, defeat bad guys, often known as poor people of color. This stark clarity, indulging the idea of the hero cop, often provides a sense of satisfaction for some viewers in an otherwise complicated world.

It’s worth considering which viewers. His whole piece is an important read, particularly on white voice even in the face of diverse casting.

I’d love to see more shows - any shows, actually - about law enforcement that move beyond this narrative and are willing to discuss the complicated power differentials that underpin oppression. There’s so much to talk about here, so much great drama that speaks to peoples’ lived experiences, yet I wonder if it would even be possible to put it on the air.

Copaganda is part of the culture. Some of it was certainly produced with the explicit intention of swaying the public towards law enforcement. But it’s a trope now: these are established categories of drama that perpetuate themselves because we’ve come to expect them. Just as the CIA funded Iowa Writer’s Workshop and shaped modern American literature as a result, police PR has shaped television.

As that last linked piece puts it:

Maybe it's just a reminder that we need to be wary of the sandboxes we’re building our castles in, of the institutions that define our creative thought so wholly that we often forget (or never bother to ask) how and why they were established in the first place.

British TV does a slightly better job, perhaps partially because Britain tends to hold a bit less reverence for its institutions (at least if you squint a bit and don’t ask too many questions about the enduring legacy of its empire). I enjoyed both seasons of Slow Horses, a British drama about dysfunctional MI5 agents who find themselves working against establishment corruption that is at least as formidable as any outside force. Back in the nineties, the BBC show Between the Lines dealt directly with police corruption. They’re both great TV, but while the protagonists in both cases are from a semi-ostracized branch of the powers that be, they’re still formally a part of that established order. I would love to see drama fully drawn from the perspective of people who wind up on the wrong side of it.

The Wire might come the closest, at least in intention. Its star, Wendell Pierce, speaking to Yahoo Entertainment last year:

Sure, you're recognizing the individuals that were lost in a system that perpetuated this sort of misconduct, and maybe you had empathy for some of the individuals in that system. But in no way did we celebrate the moral ambiguity, the moral inconsistencies and the failures of the police — quite the opposite. We showed the dysfunction of the police and hopefully awakened people to why it needs to be changed.

But the real answer is going to lead from more diversity at the highest levels of television. You’re not going to get an authentic story about communities who have been oppressed unless you greenlight shows written by people from those communities, again and again and again. There’s a lot of work to do.

Aaron Rahsaan Thomas again:

I often hear platitudes about hiring more diversity at the lowest levels and tolerating new points of view from “cooler” white writers, but rarely hear how any writer of color can manage a career to get to a point where their voice drives a show and impacts the worldwide narrative on these stories.

Please, let’s get on it. I want to watch some TV.

I had an idea for an online science fiction literary journal.

First: it’s on the web and free to access on beautiful, standards-based, responsive, blazing-fast web pages. Nobody ever needs to pay to read its content. It’s all out there, paywall-free, and anyone can link to it and share it. That means that authors can share links to their work without worrying that someone can’t see it, which in particular will allow emerging authors to find audiences frictionlessly. The website publishes roughly one story per week.

Second: you can subscribe via email, RSS, and ActivityPub. However you get your content is a-ok. Every new story is shared on social media, there’s a Flipboard publication, and so on - if you want the content to come to you, it will. Every piece is illustrated by a real, human illustrator, in part so that they show up beautifully on every platform.

Third: the journal is patronage-supported. Anyone can put money in and will be acknowledged on the supporters page, in the order of the amount of money you’ve paid in your contribution history. Above a threshold, these acknowledgments have a full referrer link to a contributor’s website. Every payment is always acknowledged.

Fourth: everyone is paid fairly. Authors and illustrators both get a one-off fair, flat rate payment, as well as a portion of the patronage contributions. Payouts are proportional to views in the month of the payout, and are above and beyond the original fair payout - so they’re kind of a bonus rather than forcing their full earnings for their work to be based on attention. But if a particular short story continues to be popular for a year or two, the author sees compensation for that.

Fifth: there is an annual compendium of short stories, published as a real, hardbound book. Authors and illustrators see royalties from this, too. No further rights are sought aside from the website and the book, so authors and artists are free to bring their work elsewhere and secure further rights however they wish.

Sixth: it’s not going to be profitable. But it would be a fun labor of love that also hopefully provides both monetary and career support for artists.

Probably don’t let me actually do this right now. But it’s fun to think about.

I really like the maxim, which apparently originated in stand-up comedy, that you should always punch up:

Jokes are funny when they mock the powerful. They are not funny when they mock the powerless. […] Jokes are not funny when they have victims. Some of the tricks played by PR would be funny if they didn't have victims. But they do. They have victims. And so they're not funny.

I’d go further. Jokes that punch up are comedy. Jokes that punch down are bullying. And while it certainly holds true for comedy, I think it’s a good rule of thumb that applies to every aspect of work, life, and culture.

For example, journalism is commonly held as needing to speak truth to power. I agree with this need, and I wish more journalism took this mission more seriously. And what else is it but punching up? Journalism that punches down - that holds up people in power and denigrates the less powerful - is mere propaganda.

I think it holds true in business, too. An organization that makes a product that hurts vulnerable people in service of giving people with power more wealth and resources cannot be ethical, and ultimately is doomed to fail. Conversely, if a product is designed to democratize and empower people who have been overlooked, it may succeed; sometimes we call this kind of punching up disruption.

And, finally, in life. I don’t have a litmus test about failure and success here, because it’s life, and I don’t think it’s fair to evaluate people on those terms. But I do strongly think that traditions which maintain the status quo over distributing civil rights are not worth having; that there’s a choice between, for example, supporting the police (incumbent power) and the vulnerable (movements like Black Lives Matter); that afflicting the comfortable and comforting the afflicted is a fundamental value that doesn’t need to be left up to organizations to serve. While success and failure are not the right measure of a person, I know that I’d rather have people in my life who believe in fairness and civil rights than people who believe in maintaining tradition and the existing order of things. Community over individualism, every time.

I love “always punch up”. And I think, to be quite honest, we could all do more punching.

Edited to add: it turns out I also wrote about this a few years ago. So consider this post additive!

Stanford Graduate School of Business Professor Jeffrey Pfeffer, in an interview I’ve linked to before:

Layoffs often do not cut costs, as there are many instances of laid-off employees being hired back as contractors, with companies paying the contracting firm. Layoffs often do not increase stock prices, in part because layoffs can signal that a company is having difficulty. Layoffs do not increase productivity. Layoffs do not solve what is often the underlying problem, which is often an ineffective strategy, a loss of market share, or too little revenue. Layoffs are basically a bad decision.

Harvard Business Review:

For healthy employees without pre-existing health conditions, the odds of developing a new health condition rise by 83% in the first 15 to 18 months after a layoff, with the most common conditions being stress-related illnesses, including hypertension, heart disease, and arthritis. The psychological and financial pressure of being laid off can increase the risk of suicide by 1.3 to 3 times. Displaced workers have twice the risk of developing depression, four times the risk of substance abuse, and six times the risk of committing violent acts including partner and child abuse. The stress induced by a layoff can even impair fetal development.

Wharton:

If several decades’ worth of research now shows layoffs to be a poor way to boost profits, while other strategies may in fact work, perhaps there are ways of changing the dynamic between what’s happening on Wall Street and decisions that get made in the board room and on the shop floor. Says [Wharton School of Business Professor] Cobb: “The challenge is: how do we get back to a more socially responsible way of handling employment given the influence of financial markets on corporate decision-making?”

The University of Colorado:

As a group, the downsizers never outperform the nondownsizers. Companies that simply reduce headcounts, without making other changes, rarely achieve the long-term success they desire.

Haworth College of Business:

The authors found that layoffs have a negative impact on a firm’s reputation and that this relationship is significantly stronger for newer firms than older firms. Limited support is found for the hypothesis that larger firms’ reputations will be buffered from the adverse effects of a layoff on their reputations.

Newsweek:

A study of 141 layoff announcements between 1979 and 1997 found negative stock returns to companies announcing layoffs, with larger and permanent layoffs leading to greater negative effects. An examination of 1,445 downsizing announcements between 1990 and 1998 also reported that downsizing had a negative effect on stock-market returns, and the negative effects were larger the greater the extent of the downsizing. Yet another study comparing 300 layoff announcements in the United States and 73 in Japan found that in both countries, there were negative abnormal shareholder returns following the announcement.

Wisconsin School of Business:

In an effort to understand how layoffs influence victims’ subsequent work behaviors, a team of researchers from the University of Wisconsin-Madison’s Wisconsin Business School examined the impact of layoffs on voluntary turnover. Charles Trevor, professor of management and human resources and chair of the department, together with Ph.D. student Paul Davis, and Ph.D. student Jie Feng found that, all else equal, employees with a layoff history were more likely to voluntarily leave organizations. […] “This is consistent with the business press frequently characterizing layoffs as leading to a free agent mentality, where the workforce is made up of a significant group of employees with low levels of commitment and loyalty to the employer.”

The Atlantic:

Laurence's study looked at a sample of nearly 7,000 individuals in the U.K. to investigate the psychological effects of being laid off. The question asked was, "Generally speaking, would you say that most people can be trusted, or that you can’t be too careful in dealing with people?" The answers ranged from "most people can be trusted" to "can't be too careful" to "depends." The respondents were asked this question at age 33, and then again 17 years later, at 50. […] Laurence found that individuals who experienced a layoff were 4.5 percent less likely to trust even 17 years later. This effect was even stronger for individuals who placed a greater value on work and career, at 7 percent.