Why Retirees Are Choosing To Go Back To Work | How TikTok Has Exposed Celebrities And Politicians’ Closest Personal Contacts | The Work You Do, the Person You Are

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Why Retirees Are Choosing To Go Back To Work - Forbes

There are social and mental health benefits in returning to the labor market. Some retirees miss the ... [+] social interactions and sense of purpose they get from working.

Retirees are continually re-entering the workforce in the United States. According to a recent study by global investment management firm T. Rowe Price, around 20% of Americans have “unretired,” working full or part-time jobs, with some respondents expressing their desire to rejoin the labor market. With inflationary costs and U.S. households having to dip into their savings, returning to work provides additional income to lessen people’s fears of outliving their finances.

In general, Americans are working slightly longer than in the past. The average retirement age has ticked up to about 61, while the average retirement age among nonretirees is now 66, up from 60 in 1995, according to Gallup research. Economic uncertainty during the pandemic accelerated this retirement-reversal trend, with 1.5 million retirees re-entering the labor force by March 2022.

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How TikTok Has Exposed Celebrities And Politicians’ Closest Personal Contacts - Forbes

They're just a handful of the high-profile celebrities and public figures whose closest contacts could be searched and scrutinized by nearly any TikTok or ByteDance employee around the world this year with few restrictions, according to people familiar with one of the company's social graph tools and a trove of internal images, videos, audio and communications related to it that were obtained by Forbes.

Every major social media platform maintains granular information showing who its users are connected to and howâwhether they're closed, private accounts with a small network or open, public handles with tens of millions of followers. The companies also have tools that help them analyze that data. In that way, TikTok is no different than its rivals.

But people who've worked thereâand at competitors like Metaâbelieve the social mapping tools used by TikTok and its Chinese parent ByteDance may allow more extensive monitoring of users than those at other companies. What sets TikTok apart, they say, is the apparent lack of controls that exist on such intimate data; the ease with which it can be mined by workers who don't need access to it; and the inferences staff can make about individual users and their social circles from that data. And despite the company publicly arguing otherwise, sources and experts say that TikTok's Chinese ownershipâand the ability to access such sensitive data in Chinaâmagnify concerns over how the tool might be abused.

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The Work You Do, the Person You Are - The New Yorker

All I had to do for the two dollars was clean Her house for a few hours after school. It was a beautiful house, too, with a plastic-covered sofa and chairs, wall-to-wall blue-and-white carpeting, a white enamel stove, a washing machine and a dryer—things that were common in Her neighborhood, absent in mine. In the middle of the war, She had butter, sugar, steaks, and seam-up-the-back stockings.

I knew how to scrub floors on my knees and how to wash clothes in our zinc tub, but I had never seen a Hoover vacuum cleaner or an iron that wasn’t heated by fire.

Part of my pride in working for Her was earning money I could squander: on movies, candy, paddleballs, jacks, ice-cream cones. But a larger part of my pride was based on the fact that I gave half my wages to my mother, which meant that some of my earnings were used for real things—an insurance-policy payment or what was owed to the milkman or the iceman. The pleasure of being necessary to my parents was profound. I was not like the children in folktales: burdensome mouths to feed, nuisances to be corrected, problems so severe that they were abandoned to the forest. I had a status that doing routine chores in my house did not provide—and it earned me a slow smile, an approving nod from an adult. Confirmations that I was adultlike, not childlike.

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The Visual Power of Black Rest - The New Yorker

“When the psychohistory of a people is marked by ongoing loss, when entire histories are denied, hidden, erased, documentation can become an obsession,” bell hooks writes in her book “Art on My Mind: Visual Politics,” from 1995. She describes photography, in particular, as an accessible medium through which Black Americans, who had been shut out of white art institutions for most of the twentieth century, could picture themselves as they wished to be seen, and create “private, black-owned and -operated gallery space[s]” within their own homes.

I thought of hooks’s work when viewing “Rest Is Power,” an exhibition at N.Y.U. that gathers more than thirty artists from across the Black diaspora, most of them photographers (standard-bearers like Gordon Parks and Carrie Mae Weems, and younger practitioners like Tyler Mitchell and Daveed Baptiste) to craft a more public, but no less intimate or restorative, counternarrative about Black life. The exhibition, on view at 20 Cooper Square through October 22nd, features Black people in various states of repose (as well as unpopulated interiors and landscapes), from New York to Pujehun, Sierra Leone. The show is part of a broader initiative called the Black Rest Project, through which partner organizations including the Maroon Arts Group, in Columbus, Ohio, and Commissioner, in Miami, will explore the complexities of rest for Black people, and challenge the binary assumption that one can either slow down or make a living, can either struggle or sleep (a myth encoded in the activist mandate to “stay woke”).

The curators Joan Morgan, Deborah Willis, and Kira Joy Williams (Willis and Williams are also photographers) conceived of the exhibition this spring, Morgan says, to address the collective exhaustion they perceived, “which was odd, after a three-year period when we were supposed to be sitting still.” An awareness that stillness was denied to Black and brown frontline workers heightened the guilt and anxiety about resting for those who could afford to do so. Yet “Rest Is Power” suggests an affective continuity between Black labor within and beyond the academy. The exhibit’s catalogue essay traces the marriage of work and worth back to slavery, when “the Black body’s value in the ‘new’ world was originally assigned, not by the lens of mutual humanity, but solely by its capacity for physical, emotional and sexual labor.”

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