Showing posts with label offices. Show all posts
Showing posts with label offices. Show all posts

Monday, July 18, 2016

The Land of "The Happy People"


https://en.wikipedia.org/wiki/Evangeline


Like my infamous composure and great passions, my happiness is deep and profound. You would think that's a blessing, until you meet the opposite of contentment in the form of a depressed psychotic who hates you for, uh, being "pretty". Yeah, that's it! All of my life, my ability to "right" myself like a boat that was in danger of capsizing has been noticed, studied from a distance, and just as often, despised. Having a healthy brain is a very difficult thing to describe to someone afflicted with many serious ailments, so as a result, I simply took on more work than humanly possible to make up for the difference in abilities present in myself that are so lacking in the people around me. 

During the first work week I had at yet another job with a workflow that was rife with incompetence, I was met with derision, nasty quips, and prolonged looks of anger thrown in my general direction, because unlike fictional movies and t.v. shows, the heroine of every drama is the often the least liked person in the room. "How are you doing all this?!", an incredulous publisher asked me in front of some douchebag production manager who was drowning in his own anger that'd been set to a slow simmer for many years. I hoisted up a company coffee cup in salute "With this," and then I deconstructed the next problem that was mine to solve for them through art, design, and production.

Genius is fun from afar, but not when you're always the only person in the room with all the answers, with real solutions that don't offer shelter to the mad and hopelessly addicted, because it exposes them overmuch in their shoddy thinking. Most people I worked for absolutely hated their jobs, but they felt that they needed money for healthcare and housing, which, in this century, is being reclassified as "Disability". Really, they didn't need money for much. These were not the kinds of people who can actually enjoy traveling, or really good music, or excellent gourmet food, because they simply do not have the type of brains to appreciate such things in life, which makes the concept of "upward mobility" a bit of a joke for them, unfortunately.

It was like the exact opposite of the old saying, except it was beer tastes on a champagne budget, and this was publishing, a supposedly "highbrow" endeavor for the wealthy WASPy trust fund set, made of those less inclined to strike Wall Street gold. And then I showed up. It was the same as anywhere else, for me. Sigh...yeah, I know. I don't fit in here. Right? Right! But, then, why are you so happy? You mean besides the brilliant and beautiful thing? Uh, not much, I guess! What to say? You work for me, even though it's not  "supposed" to be that way because of (pick one): age, sex, status, looks, etc. There was always a reason for my oppression at the hands of the less gifted.

In a fascinating twist, the most literary people on the planet never figured out "why", when it had been published to such great acclaim so long ago, so perhaps it's time for a reprint. I'm happy because it is a part of who I am, blessed to be alive on G-ds Green Earth, and the receiver of His Greatest Gifts. That's why. How's Monday working out for you, office grunts of the world? I'll bet it's just as bad as all the other weeks you've ever had, and I'm not there to blame, which is too bad. The right to pursue happiness is every American's right in this world we live in. Avail yourself of it. Live well, like we do. Bonjour, Acadies!

In the Acadian land, on the shores of the Basin of Minas,
Distant, secluded, still, the little village of Grand-Pré
Lay in the fruitful valley.  Vast meadows stretched to the
eastward,
Giving the village its name, and pasture to flocks without
number.
Dikes, that the hands of the farmers had raised with labor
incessant,
Shut out the turbulent tides; but at stated seasons the
flood-gates
Opened, and welcomed the sea to wander at will o'er the meadows.
West and south there were fields of flax, and orchards and
cornfields
Spreading afar and unfenced o'er the plain; and away to the
northward
Blomidon rose, and the forests old, and aloft on the mountains
Sea-fogs pitched their tents, and mists from the mighty Atlantic
Looked on the happy valley, but ne'er from their station
Descended.
There, in the midst of its farms, reposed the Acadian village.
Strongly built were the houses, with frames of oak and of
hemlock,
Such as the peasants of Normandy built in the reign of the
Henries.
Thatched were the roofs, with dormer-windows; and gables
projecting
Over the basement below protected and shaded the doorway.
There in the tranquil evenings of summer, when brightly the
sunset
Lighted the village street, and gilded the vanes on the chimneys,
Matrons and maidens sat in snow-white caps and in kirtles
Scarlet and blue and green, with distaffs spinning the golden
Flax for the gossiping looms, whose noisy shuttles within doors
Mingled their sound with the whir of the wheels and the songs of
the maidens.
Solemnly down the street came the parish priest, and the children
Paused in their play to kiss the hand he extended to bless them.
Reverend walked he among them; and up rose matrons and maidens,
Hailing his slow approach with words of affectionate welcome.
Then came the laborers home from the field, and serenely the sun
sank
Down to his rest, and twilight prevailed.  Anon from the belfry
Softly the Angelus sounded, and over the roofs of the village
Columns of pale blue smoke, like clouds of incense ascending,
Rose from a hundred hearths, the homes of peace and contentment.
Thus dwelt together in love these simple Acadian farmers,--
Dwelt in the love of God and of man.  Alike were they free from
Fear, that reigns with the tyrant, and envy, the vice of
republics.
Neither locks had they to their doors, nor bars to their windows;
But their dwellings were open as day and the hearts of their
owners;
There the richest was poor, and the poorest lived in abundance.
Somewhat apart from the village, and nearer the Basin of Minas,
Benedict Bellefontaine, the wealthiest farmer of Grand-Pré,
Dwelt on his goodly acres; and with him, directing his household,
Gentle Evangeline lived, his child, and the pride of the village.
Stalworth and stately in form was the man of seventy winters;
Hearty and hale was he, an oak that is covered with snow-flakes;
White as the snow were his locks, and his cheeks as brown as the
oak-leaves.
Fair was she to behold, that maiden of seventeen summers.
Black were her eyes as the berry that grows on the thorn by the
wayside,
Black, yet how softly they gleamed beneath the brown shade of her
tresses!
Sweet was her breath as the breath of kine that feed in the
meadows.
When in the harvest heat she bore to the reapers at noontide
Flagons of home-brewed ale, ah! fair in sooth was the maiden.
Fairer was she when, on Sunday morn, while the bell from its
turret
Sprinkled with holy sounds the air, as the priest with his hyssop
Sprinkles the congregation, and scatters blessings upon them,
Down the long street she passed, with her chaplet of beads and
her missal,
Wearing her Norman cap and her kirtle of blue, and the ear-rings,
Brought in the olden time from France, and since, as an heirloom,
Handed down from mother to child, through long generations.
But a celestial brightness--a more ethereal beauty--
Shone on her face and encircled her form, when, after confession,
Homeward serenely she walked with God's benediction upon her.
When she had passed, it seemed like the ceasing of exquisite
music.


Thursday, June 9, 2016

The Teflon Septum


Disco TGI Bar by John Vance.jpg

Charles liked to brag to us, in between his flagrant bouts of work avoidance, that he was a complete burnout because of the 70s and the disco scene in New York City back then. Of course, it didn't hurt his existential angst that he was also a complete asshole to the entire company, but that didn't seem to deflate his overwrought sense of self at all. I'd never met someone so arrogant with so little skill before, because I never saw him actually design anything. Nothing. Not one book cover. It was fascinating to me. Not that it stopped him from taking credit for other people's designs made under his "direction", which was such a fucking joke compared to our grueling schedules and after-hours work that we began a more honest and realistic process of each designer claiming credit for his or her own work. 

He never talked to me about books, computers, design, technology, or publishing, except if it was to order me to help him through another horrible crise, in staged scenes with tons of sighing and nasty looks made from his inert position behind his desk. Oh, and he liked my handsome new boyfriend Dave, so he thought up a way to take pictures of him by using a potential book cover design about Jewish people with us as the romantic couple in some test shots, but after just one cursory glance, the design was immediately killed because Dave and I are so obviously goyim, even in profile, just like his dip-shit test Polaroid of us taken in the office one afternoon. Before his budget was completely cut-off, though, he made me take the train to some far-out Brooklyn photographer's fancy brick studio in the middle of a work day for yet another test shoot. I was just happy to get the fuck out of the office for a little while.

He was also one of the most grossly incompetent people in power I'd ever worked with, which naturally led us to question his position of authority at the company. How? How the fuck had this even happened? The "higher-ups" at the house gave us a string of excuses, like he had a lot of work experience, and that he'd been bounced from every single work department we have in publishing, which didn't make us feel any better about him, especially because we were all working class kids busting ass in a too-expensive city not designed for us. It was like the city had become a gay stage set for rich white out-of-towners, which we clung to as more favorable than the nightmarish 70s and crack-fueled 80s. Of course, Charles had loved that time period the best!


He'd sweep through the office with his air of superiority, stopping by our desks only to share more of his greatness with us, like his rank of Buddhist priest (get the fuck out!), or his splitting headache that required pills from the nurse's office, or his clogged sinuses that were the result of poor drainage because of his, ahem, compromised nasal passages. Okay...whatever. It didn't take with me as even a casual recreational drug reference, because during my supposedly "hippie" days at O-Town that were greatly exaggerated by my much more productively "high" group of friends (I worked too much, went to classes, and got tired in the evenings or nursed bad hangovers from too much drink in secret), I actually got a real education.

So, Charles, had to gear up for another wittily dropped bon mot that seemed cool and casual, le tres chic. The next time he had a diva fit of "the vapors" in the office during actual work hours, waving around a gauzy, thin, brightly-colored hankie while dancing around to George Michael (hint, HINT), he dramatically paused by my studio desk to declare the same poor nasal passages with the clear sign of a finger held against the side of his nose. OH! You were..in the mob? That's what it used to mean here in the city. Tsk! Nooo, Marie. Sigh...I was so dreadfully dull and uncool to talk to. "I have a 'Teflon' septum!" Okay, wait a minute, are you telling me that you have an artificial bridge in your nose? The conversation only became more baffling to me with his continued explanations that he thought were so subtle.

Finally, he gave it up to me in a normal voice that was his alone, and not the affected soprano he usually trilled around us airily. "No! I had a deviated septum that I 'burned through' completely that had to be replaced." Jesus! I didn't realize allergies could be that bad! That actually happens...huh. No! Marie! His shoulder sagged as the hot pompous air deflated right the fuck out of him, only to be squared again while he quipped at me that "children" today were soooo ignorant. "I did a lot of 'coke" during the seventies!" Oh! Aha! I had inadvertently caused one of the biggest douchebags ever to work in publishing to declare loudly, out in the open, that he was a washed-up addict, right in front of a bunch of rabid designers who hated him with the passion of a thousand burning suns. My day was finally done.

Of course, the bitch that replaced him was even more insufferable, but at least we had our jobs and cover designs back. And one less "former" manager of "The Village People", but only during their really early days on the club scene, like wayyyy before their peak Studio 54 days, so if you look him up, you won't find him in the liner notes credited as their manager because he worked for free back then, just for the love of music. Sigh...he was so naive back then. Uh huh, of course not. Why would there be an actual documented work history for him to have that we could verify and see? We had all the ammo against him that we needed for his ousting, and that was before the hot pants-wearing gay boy messenger service became a regular thing for him. Thanks, Charles! You finally did me a real "solid". 


for Orlando, Florida - June 2016

Monday, September 14, 2015

Paragraph President


Deleatur (black).png
A deleatur symbol, from Martin Vogel's freeware TrueType font, MarVoSym.ttf, available at http://www.marvosym.com

People have strange ideas about the arts, sometimes based solely on the flawed premise that Hollywood cares about getting it "right" over making movie sales. Witness on any given day the striking differences between the book version and the movie, or the actual way historical people look like over, say, the "sexy" movie-version of Stephen Hawking. Yeah, that vast. The same goes for me in my artistic life with art, design, publishing, and just about anything else, which are dependent on one solitary truth: I work at it until I get it right. The idea of hard work is something that's usually glossed over in a movies' musical montage, spanning over the soul-crushing hours of repetitive monotonous labor, but the truth is, once I learn the basics, I move through the rather pedestrian qualities behind my work onto the more difficult and infinitely harder intellectual questions that are at the center of each business, person, place, or thing that I meet with.

Take, for instance, my graduation from the world's best art school into the "real world" of work: I expected it to be a bumpy ride between student life and my apprenticeship, and so it was. I'd never used a fax machine with any sort of regularity before, or worked in an office environment, nor measured out a mechanical for its' adherence to printer's specs (which changes with country of origin and measurement systems), nor did I have any idea about how to price out a book for manufacturing purposes (with equations for paper weight, spine width, trim sizes, and their individual bulk), but soon I did know all that and more. I moved quickly through production to the art department, because as a RISD grad, I could breach the gap that existed between different departments with relative ease, unlike the rather rote qualities that mark the average "designer": typically a skilled craftsman who is highly dependent on the work of others, along with a strict sense of hierarchy that is guided by the Maestro sitting at the top of the pile, someone who supposedly also worked their way up the same corporate ladder very slowly.


But, I was different than the other people around me....very different. 
If designers couldn't guess the font used in a previous edition (which was supposed to be their "expertise"), they came to see me in the production department working as an assistant, so that I could give them my best guess, and I have never taken a type class in my life. One "designer" told me she went through art school and couldn't draw. Yep. She went to (and was accepted, and then, this is even weirder, graduated from) a noted New York art school knowing that she would never draw a single decent picture on any day of her professional life to come. Can you imagine that? I couldn't then, and I still can't now.

I did, however, quickly pick and choose which work qualities I liked, and what tasks I would farm out to that rather scary dull Asian girl from design, the one who always seems chronically tired and depressed. These were necessary assessments that I began right away in my career, so as to avoid boring tasks that were better suited to lower minds, like taking wild guesses with fonts. Gifted people suffer from other people's boredom rather quickly, and the effects can be markedly excruciatingly for us. I could never be a book designer in the last century. They ruled up boards, made sheets of black type on white photo paper, and then pasted them into lines, day after day after day after day. Always the same thing, over and over and over again.

If we didn't have desktop publishing now, I wouldn't be a book designer at all. I'd have been a children's book artist, or a greeting card painter, or a nature photographer. But I soon learned the key components of graphic design, text, and books during my apprenticeship by combining them into the rather unknown and new art-form that has become the rock star genre it is today, and the leading creative intellectual at any house: that of Lead Book Cover Designer. It was precisely because I could draw, and photograph, and then set the type, while mastering manufacturing materials, with an understanding of computer programming (for your innately disordered brain), that allowed me to rise above it so easily, carefully avoiding those currents that trap minor artists and craftsman into eddies they can't get out of, without spending a lot of money on other people for help.

I'm glad I don't have a compulsive disorder, or a lack of will, or any other sense of entitlement about myself, because if I did, do you know what I'd be today? I'd be the "President of a Paragraph", like the bitchy admin who uses the stockroom supplies to yank yer chain on any given Monday: a rather small unpleasant little pissant who hates their life, but does absolutely nothing to get out of it. That's why I made coffee before anyone else was in the office because I got there first, then I changed the water tank on the cooler by myself, put new toner in the color copier and ordered more cartridges, opened up the design department by turning on all the equipment, put on some tunes, and began working the keyboard through your lunch break and after you left at 5 p.m., to sit here today at a public library to absolutely no applause whatsoever, and I wouldn't have it any other way. Like any high-minded human, I wanted more from life. I still do. Don't you?

Friday, July 31, 2015

"We want the airwaves, baby!"

http://i.ytimg.com/vi/p5PQnngPX00/hqdefault.jpg
A bunch of loud-mouth, no-talent "nobodies" from Queens, N.Y.
 
Part of any genuine rebel movement is acquiring attention, sometimes by any means necessary, although the intention is to always have a firmly authoritative foothold on your audience's consciousness, which falls outside of a teenager's general parvenu. It's the main reason that my first outsider culture, punk, had to grow up. Heat, energy, and movement is fast fun, but after awhile, noise just makes your head hurt. Musicians with long legs in the game learned to play their instruments properly, and after my wild excesses of high school and college, I was sick of the stupid drunk parties. Raping frat boys and vomiting girls are not people one aspires to be around as an adult.

And so I moved on from my infamous New York State party school because I had enough, and I was bored with easy classes. It was a mature decision, and it cost me a lot to make it: studio credits well-earned but not accepted in the Ivy League, friends not confident enough to make it on their own without my constant steadying support, plus a boyfriend or two. I considered it (and still do) and great bargain to become educated, because the kids who couldn't follow along with me would be hangers-on, anyway. They'd hate my new life, studies, and interests. 

It opened up parts of my personality they didn't know (or like). My person changed, grew, and adapted, while my old friends peaked, stopped growing, and then just stopped, sometimes living. It made them extremely nervous around me, and they sought to sabotage my new life violently; a new life that was shifting in front of their eyes. 

One friend accused me of having a totally new signature as proof of my extreme changes, though in reality, it was brought on by being constantly busy as an apprentice in publishing (which she then mocked by prank-calling me at work to say that my new house was for nobodies, a sure sign of threatened youth) and my easy adaption to adulthood. My hand continues to develop into a busy-person's scrawl, not unlike the handwriting of a doctor who writes all day long.

Another friend wanted to sabotage my new group of friends by sleeping with a guy who used to date this girl I set him up with at school, then flirting with my boyfriend while he hung about my aunt's place, looking for a life in the city. In any case, I evolved past all of them, which was their great fear: not being able to ride on my coattails any more for the free fun ride.

One of the worst let-downs (though not totally unexpected) was my best friend from high school and SUNY, who decried me as a "sell-out" for my beginning salary of $17,500 a year at St. Martins' Press; a place I could only afford to work and compete with trust fund English Lit majors by using my aunt's place as a crash-pad. She tried to position it as someone who was looking out for my best interest as a children's book artist, though in reality, she wanted an object to show her students in class, to boost her rep as a new teacher.

The RISD girl was even worse. After giving her a place to stay that was huge and practically rent-free, she also chafed about my new learnin' and a-changin' and a-growin', by ripping out some ad from The New Yorker about a therapist specializing in "creative" people who stopped producing, because she couldn't torpedo the new production and design skills I was learning in the city if she didn't have layouts and drawings to look at.

It didn't stop at work or at home, either. Once I reached the coveted Art Department as a Manager who could do business and book design, the claws came out of the bitchy SVA show-pony crowd, which told me (yet again) how threatening I was to them and their system. 

A well-known Creative Director (then, an Art Director on the rise) has never stopped gunning after me. He bragged about setting balls in motion to harness, control, then humiliate, demean, and fire me at work by trying to position me with a lower skill set than the other one trick ponies at the stable. He told me dismissively in front of a group of designers that my name really meant "Secretary", after reading some pop culture book on name meanings (and repeating it often), because I was behind the slick city crowd in desktop publishing skills, but way ahead in life, and art. It was unnerving.

But all the madness I went through was purposeful and driven, though not always clearly defined enough for my competitors. How do I know it worked? You're reading it right now, because I AM THE MEDIA, and I have made it all the way to the top. Put that in your pipe and smoke it, suckas. Shout that from the mountaintops, baby.

http://static1.squarespace.com/static/5055d21c24acbaa64592f3ce/50faef53e4b03d728a6e25b1/50faef53e4b03d728a6e25e0/1358622555777/
"Generation X" by Doug Copeland for St. Martin's Press (© 1990's): produced by Twisne Fan, Marie Doucette, and Curt Alliaume in several consecutive, co-running, differently-colored versions. 


"We Want The Airwaves" 

Nine to five, and five to nine
Ain't gonna take it, it's our time
We want the world, and we want it now
We're gonna take it anyhow

We want the airwaves
We want the airwaves
We want the airwaves, baby
If rock is gonna stay alive

Oh yeah
well alright
Let's rock
tonight
All night

Oh yeah
well alright
Let's rock
tonight
All night

Where's your guts and will to survive
And don't you wanna keep rock 'n' roll music alive
Mr. Programmer, I got my hammer
And I'm gonna smash my, smash my brain!

We want the airwaves
We want the airwaves
We want the airwaves, baby
If rock is gonna stay alive

Oh yeah
well alright
Let's rock
tonight
All night

Oh yeah
well alright
Let's rock
tonight
All night

We want the airwaves airwaves
We want the airwaves airwaves
We want the airwaves airwaves
We want the airwaves airwaves
We want the airwaves, baby 



Saturday, August 31, 2013

Birth, School, Work, Death




The concept of "work" has become so distorted from the relentless marketing push that drives modern commerce (which requires the constant ringing of cash machines to stay afloat as an economy), that many individuals maintain someone cannot be "normal" if they don't suffer through another meaningless day at an office, working at a dully repetitive job in a big company run by faceless people with money. That's what they call "life". Think about that for a moment; about how you spend most of your time. I have a vocation: a rich, passionate fulfilling one that is sometimes driven by the necessity for money, but take away the "job", and I'm still an artist and designer who writes, and I always will be, regardless of a whether or not a company pays me for my expertise. In fact, I will continue to develop my skills throughout my life, until the end of my time here on earth. It's a stance and a reality that puts jobs exactly where they belong: not the whole story of who we are. I couldn't fit my entire life into a 9-5 cubicle. Could you?

http://25.media.tumblr.com/tumblr_lany1mze4V1qbl9u7o1_500.gif

Instead of being driven in a panicked fashion from one place of employment to another, stop to think about what you would do, and who you would be without a corporation to define you. Is there anything of real value left? If not, why is that? Trust me, when you ponder those questions closely, you'd be surprised how much more respect drives your choices and decisions, in business and in life. Being able to rely on one's instincts (no matter how stressful or difficult life sometimes is) comes from a sense of self-worth that is the real American Dream, not the pre-packaged version sold to you by someone looking to profit from your hands, your mind, and your hard-fought for (and difficultly won) successes. I make work every day, whether or not someone pays me, because that's who I am, and that's what I do, which kind of obliterates old-fashioned concepts like vacations and desk jobs. Think about it, the next time you face an important life decision. Enjoy your time off, laborer.



Wednesday, January 4, 2012

The Irrelevance of Offices

Over the course of my career, I've had a range of employment experiences: part time, temp, freelance, and permanent staff, with different pros and cons. As I see what is being called in various media outlets a "recession" lengthen into more than a speculative stock market game, I know that change is happening, and fast. In my book, it's about time. More time is wasted on a job site than any other environment. Think about a typical 9-5 day in an office.

There's checking emails, talking with co-workers, bullshitting with friends, water cooler talk, calls to and from home, chores and errands done online or during lunch break, shopping online or on break, trips to the kitchen and back to prepare food or get coffee, which necessitates more small talk with co-workers, then lunch, maybe a computer game or two, web surfing, day dreaming about vacations, arguing with HR about vacation time, checking social media sites, meetings that may or may not draw productive conclusions, the obligatory awkward office birthday party with cake, other mandatory "social" activities, which force us into more interactions, hobnobbing with bosses, client meetings, and in my case, towards the way end of the day, I may actually have time to make some art or design, or at the very least, generate a layout.

The bulk of my day is devoted almost solely to non-creative tasks, which is exactly what I was hired NOT to do. By the time I'm hired on staff, I've met at least two times (typically it's 3-4 meetings) with creative management, who have carefully screened my portfolio online, work which has taken years to generate, that I then bring in person for an interview presentation, in addition to the typical interviews other workers have with administrative staff like Human Resources, who are unqualified to accurately assess art and design talent. Let's not forget the myriad of distractions we must endure: office banter, rumors, gossip, bitching, griping, backbiting, politicizing, ass-kissing, backstabbing, sabotage, plotting and scheming, the dating games, music from the cube over, conversations overheard that are too intimate for such an impersonal setting, food smells (and body smells) that are not your own, it goes on and on. And it's inhuman.

Sharing ones' personal space with a myriad of total strangers selected by people other than yourself seems to guarantee social madness. We are humans, and as a species, we tend to separate into groups that are like-minded, or align ourselves with genetically linked people like family, someone who shares something with us other than a paycheck by a faceless company. It's simply not enough of a bond for such a complex animal like Homosapien. No wonder there's a dog-eat-dog mentality! It's not geared towards human living. Put a random bunch of people in a series of sterile boxes with artificial daylight, and then observe them freaking out on one another. A reader would think it's the plot of a sci-fi story, or the basis of a psychological experiment.


So, what's the alternative? It's called "Living", and it's most conducive to humans! Kidding aside, any environment can be used for labor in the 21st Century, as the bulk of our work moves into the digital sphere. Artists and designers have been on this forefront for decades and we relish it, as long as we can solicit enough work to pay the bills. We interact with most professionals in our work flow via email and phone anyway. Of course, nothing replaces "face time" and the information that brings, but really, a meeting space should be just that, and nothing more. Who needs an institutional feel for communication? Many artists use the local café for meetings, cyber-meetings with Skype are becoming standard as we go global economically, making the status quo way of doing business extinct anyhow. And for those big clients who require a more traditional setting, many studio buildings shared by small businesses and workers have a space set aside with the obligatory meeting table, just for such purposes. You can even sport a suit-and-tie corporate look to recreate businesses past, like an episode of Mad Men, which completes the retro feel.

I love conducting business, so I see this move as a huge leap forward, one that's advantageous to many, many people. It's certainly more beneficial for women, because working from the home is aligned with the way we actually live and behave. We "work" 9-5 at an office, on company time, following their rules, at their convenience, then go home to start our 2nd unpaid job: making life run smoothly for everyone else. The flexibility of a work/home situation allows us to be truly productive, on our terms, by removing the stress of being dropped into a foreign environment that is (most often than not) a glass-ceiling, top-heavy with men in management who profit from the status quo. 

In publishing, which is the core of my business, flex-time is a reality. Editors and designers are issued company-standard laptops that connect them via servers to other workers, maintained by what are typically IT workers in India, who are wayyyy off-site. It greatly reduces the amount of overhead paid out by a company, by minimizing or eliminating enormous real estate costs, which are particularly astronomical in New York and other urban areas, plus other costs associated with a large group of people gathered in any area: coffee, water, food, paper, office equipment and supplies, maintenance, bathroom and health services, etc. Employers also limit themselves to the available pool of talent, from being tied geographically to a space. As we move forward, let's embrace and encourage "The New Frontier".