Check it, reader! We designed a salad! Again!
We did this once last summer and now we’re doing it again.

Then, as now, drew inspiration from Lauren Willhite of Color Collective + Design Sponge, who creates palettes as resources for designers, pulling from photographs of various fashion designers and artists. We’re doing the same sort of thing….with our lunch.

This salad’s honestly pretty par for course as far as ingredients go—fresh spinach, vine-ripened tomatoes, Fakin’ Bacon, and cucumbers from our Carroll Gardens green market—but the colors struck us as photo-worthy. And color-palette-worthy.

And just WAIT ’til we start our CSA next week….

Orchids as seen at the Brooklyn Botanical Gardens.

With the world set to come to an end tomorrow, what better time to look back and reminisce.

Confession: I used to be in a severely emo band. What do I mean by severely emo? I mean the whole nine yards, my friend—screamy singing, bleeding from playing your guitar too awesomely hard (read: incorrectly), lyrics that almost exclusively revolved around being romantically upset, songs named after Japanese bears…all of it.

Needless to say, I was pretty heavily invested in the whole genre in its mid-nineties heyday (post-DC-hardcore, pre-mall-emo).

So I was understandably psyched when it was announced earlier this week that one of my favorite mid-nineties emo bands, Christie Front Drive, was playing a reunion show at The Bell House in Brooklyn, a modest walk from my very front door. Now, I never thought I was the reunion type (as Maritime frontman, Davey van Bohlen, said of his former band, Cap’n Jazz in our earlier interview, “it sometimes makes sense to leave the past in the past”), but, after missing last year’s seemingly only ever possible Cap’n Jazz reunion show due to catastrophic weather, I now understand that it’s wiser to go see a potentially washed-up band from your youth than it is to possibly miss out on a once-in-a-lifetime awesome musical experience. So, long story short, I got my tickets.

But all these reunions—Cap’n Jazz in 2010, now Christie Front Drive, and soon new material from mid-west emo-sweethearts, Braid—all in this very specific, 16+-year-old genre, it got me thinking: What the hell is going on?

It also seems cause enough to post five of my favorite songs from this era. No, my old band’s not in there. What do you think I am? But enjoy…for, like, 24 more hours….

Braid • Urbana’s Too Dark
Braid is one of the many influential emo bands to spring forth from the rock-motional fertile grounds of the Chicago area and, happily, they’re set to release some brand new material soon. Plus they Tweet and shit. Crazy, right?

Cap’n Jazz • Little League
Another Chicago band that bore many, many bands to come, some awesome, some….very arty. Plus Davey van Bohlen et al started it when they were, what, five? And yes, I missed they’re only reunion. Ever. I’m sure it was terrible, right?

Christie Front Drive • Field
Whether this song has actual lyrics or not, I love it. Fingers crossed, guys.

Up Up Down Down Left Right Left Right B A Start • Song Competition
Sadly, I don’t think these fellas are around anymore, but our old band happened to play a show ages ago with them, and I’ve been in love with their math-rock-y sound ever since. And yes, that was their actual name. NERDS!!!

The Promise Ring • Watertown Plank
Totally my favorite Promise Ring song ever, and I think the first one I ever heard.

Alright, now everyone grab your backpack straps and fingerpoint to the sky, in all its fiery, final, Armageddon-ridden glory.

Most emo end times ever.

(above – photo by me of the most emo mailbox ever, used for many a show flyer in the day)

A few years back, we partnered with a lovely letterpress down in Carlisle, PA, Thomas-Printers, to create custom-designed wedding invite templates. The idea is to provide high-quality letterpress printing, immersed in the tradition of hand-crafted elegance, at a price point that’s open to a wide audience. So, Thomas-Printers partners with designers—like us—to create brand new wedding invitation designs that can then be ordered and customizes in color and content by the customer.

Originally, we submitted two design—the dramatically titled Cinematic and The Sparrow—and then, this past week, debuted two new hot-off-the-presses…literally…designs at the massive National Stationary Show. We stopped by the show at the Javits Center Monday to meet up with Kseniya Thomas from Thomas-Printers and be totally overwhelmed by all things paper (including a new line of greeting cards from Taylor Swift? Weird.)

In addition to running Thomas-Printers, Kseniya also co-founded the Ladies of Letterpress, a national trade organization created to “promote the art and craft of letterpress printing and to encourage the voice and vision of women printers.” So yeah, she’s cool. As are the other ladies of letterpress who exhibited with her. We were very excited to have two of our designs appear alongside such exceptional work and wish everyone safe travels as the show wraps up.

You can see our new design below (Hannah + Jack and Isabelle + Jeffrey) and they’ll be available for order at Thomas-Printers soon. In the meantime, be sure to check out the other extremely talented LoLp exhibitors when you get a chance—Kansas’ Wildhorse Press; Austin’s Studio Slomo; Philly’s CleanwashPainted Tongue and Dandy Lion, both from the bay area; Brooklyn’s Heartfish (holla!); Pasadena’s Anemone; Canada’s Ink Petals and Lulabelle; and Omaha’s lovely Paper Lovely.


Today’s Find—The 25th Anniversary Gala of Farm Sanctuary, one of the finest non-profits in existence.

We’ve worked with Farm Sanctuary since they hired us in 2006 to redesign their original logo and re-brand the group from top to bottom. And we’re lucky enough to still be working with them today.

For anyone who doesn’t already know, Farm Sanctuary started out in 1986 (thus the math) as very much a grassroots volunteer organization, supported almost entirely by the selling of veggie dogs out of a VW van. Today, Farm Sanctuary is the country’s leading farm animal protection organization, with hundreds of thousands of supporters…most of whom don’t expect a veggie dog in return for their support. They run two huge farm animal sanctuaries—one in upstate New York, one in California; both of which you can visit—and work to end the suffering of farm animals by way of activism, education, active rescues, policy reform, some lovely merch, and anything else they can think of. So, yeah, they’re the good guys, and we’re very proud to work with them.

It prides us even further to be attending their New York gala this Saturday (they’ll be throwing an LA celebration in September). So, though we know most of our friends and clients don’t have stacks of cash lying around their houses/offices/massive yachts, we have to strongly urge anyone and everyone to join us this weekend in supporting a worthy, worthy cause. And hob-nobbing with snazzy celebs while donning decorative duds, eating flashy foods, and drinking decorative drinks. It’s win-win, really.

So, get your glitz on for the animals! Reservation information and—for those of you who can’t attend—support info here. Though we’d love to see you!

May finds our Pin-Up Pandas once again not doing so well.

Heavy drinking and philandering ways. No wonder they’re going extinct.

We totally love these die-cut, letterpress business cards our friends at Thomas-Printers did for wedding gown designer, Annette Roxie, aka – Chaviano Couture.

They pretty, right?

Plus, I feel like, in a pinch, they’d make decent substitutes for throwing stars.

Just sayin.

Reader, you need to understand something about us: We’re planners. Understand, I’m not bragging, kind of the opposite, really. For instance, if there is a decision to be made, regardless of the weight or lack thereof of the consequences of that decision, we will TALK it out. Like, forever. To the extent that we sometimes feel like we never actually DO anything, we just talk about doing things.

By way of example, we’ve got this gigantic green wall in our studio that we’ve been meaning to hang art on since we moved in. We talked out all kinds of options—stenciled birds flying up the wall, a cut out avian mobile of some sort, in-house climbing wall—and eventually settled on a poster project. Each of us would design anything we wanted whenever we wanted and we’d frame them and put ’em up on said giant wall. We decided that a while back….

Alas, one day Katie started printing up our first set—three designs themed in the realms of royalty and all things corvid. Check it out!

 

Trouble’s a-brewin’ with April’s Pin-Up Pandas.

I predict a Jerry-Springer-style knife-fight in May.

A few weeks ago I was talking with my mom on the phone and outsourcing came up. Somehow. And in the usual way that most Americans think of it—”Why are all these paying jobs going to people outside of our country’s borders when our economy’s hurting and we have so many people out of work.” My mom went as far as to propose a boycott of certain companies until they bring outsourced jobs home. When I asked what would happen when everyone’s bills shot up because said companies would be paying higher wages for said jobs, the conversation sort of petered out. But it’s a commonly enough posited question and quandary. What’s not commonly talked about though is how all this outsourcing of work and, it turns out, culture is affecting the people it’s all being outsourced to. Such is the subject of a new book, Dead Ringers, written by Shehzad Nadeem, Assistant Professor of Sociology at the City University of New York. We got a chance to talk with Nadeem about his book, globalization and its effect around the world, Indian Doppelgängers, and why people should read books with charts. I know. We’re WAY out of our depth.

And, in full disclosure, Shehzad is a friend of ours and probably one of the smartest, nicest people we know. Not that that should cloud you’re judgement on anything. You should just know that he rules. And, if you’re more the New York Magazine type, less the New Yorker type and aren’t likely to finish this interview, you should know that Shehzad’s holding a book release party that’s open to the public tomorrow night at powerHouse Arena in DUMBO from 7-9PM. I bet there will totally be chart-shaped cakes. RSVP on powerHouse’s site. And know that there likely will not be chart-shaped cakes. And that powerHouse Arena is not an actual arena….. ON TO THE INTERVIEW!
Kindness of Ravens: Okay, so, the thing that surprised me—in a good way—when I first picked up your book was that it did seem to focus on the effect this has on the culture of Indians rather than, say, a ‘They’re taking all our jobs’ kind of mentality, which is where most people’s mind go when we start talking about outsourcing. But it’s such a strange, strange phenomenon—to be affected so significantly and actively by something seemingly so trivial to most of us. What brought you to write about this? Why’d you get interested in the subject in the first place?

Shehzad Nadeem: I was interested in corporate deception. Multinational companies wanted to send white collar work abroad on a mass scale to save on labor costs, but they knew that people would be anxious and angry about it. So they found a way to shift the work in a relatively invisible manner, a way of occluding the geographic signature, “Made in India.” We’re all now familiar now with the Indian call center industry, which frequently requires employees to don Western identities in providing customer service. Workers also undergo training in Western accents and popular culture and are discouraged from disclosing their location on the phone. (If pressed, many are simply told to lie.)

To employers and executives, these are white lies. To Indian workers they’re tainted gray. To Western workers they’re soot black. They’re lies that justify, complicate, and deceive. The paradox is that outsourcing is also a material truth, a series of concrete, mimetic practices. A forged truth. In a word, a masquerade. What is it like, I ask, to act like Americans and Europeans and live as if you’re in time zones a world apart?

Which relates to the title. The term “dead ringer” refers to one who strongly resembles another. In its original meaning, a ringer is a fast horse that’s furtively entered into a competition in place of a slow or injured one. Here workers in the global south are substituted for their more expensive counterparts in developed countries. To all outward appearances, the names and neutered accents, the workplace cultures and structures, the identities and lifestyles resemble those of their country of origin. Upon closer inspection, however, you see how they diverge from the mold. I found this sameness and difference fascinating.

KoR: My brain just grew. No, that all makes sense, and I think, on that level, it’s something that most of us are aware of, generally. But I think most of us view this as a recent development. How long have we actually been outsourcing these sorts of jobs? Where’d the idea originally come from?

SN: In the 1990s, General Electric established a joint venture in the country and subcontracted software development and maintenance and back-office work to Indian suppliers, such as Wipro and Tata. And British Airways sent call center work. Other multinationals, such as Microsoft, Cisco, Xerox, and Honeywell, soon followed suit. A managing director at one multinational put the rationale plainly: “The country offered us cheap labor and skilled people.”

KoR: I’ll refrain from any comment on the name of that one company. So, I have to ask—What do you think of that NBC show, “Outsourced”? I’ve only seen it once, but it seemed really odd to me to make a comedy out of that kind of situation.

SN: The first time I watched the sitcom, I cringed. I cringed, in particular, because of an off-color, phallic joke: American manager to Indian employee named Manmeet: “You mean to tell me your name is Man-meat?!” But I cringed more generally because this off-putting show reminded me of the many cringe-worthy aspects of the outsourcing industry—the graveyard shifts, the long and busy work hours, the heavy-handed management, the cultural and temporal confusion. And in this, may lay the show’s brilliance—it’s as uncomfortable to watch as the industry is to observe.

KoR: Thank god. I had a vague fear you would be like, “It’s totally an intelligent and hilarious comment on the globalization of commerce and societal consequences,” or something. But have you given any thought to pirating some sort of ‘Now the Hit NBC Series, Outsourced’ sticker and slapping it on your book for extra sales? It might work, man…

SN: A very brilliant idea.

KoR: That one’s on the house. So, at one point you write that Indians employed in this sort of work are “caught in a cycle of hope and disappointment.” Can you explain that a little bit?

SN: On my first research trip to New Delhi I took a taxi down National Highway 8 to Gurgaon, an alleged former backwater and present-day outsourcing hub and “mall capital.” When crossing the flyover that connects the two cities, my gaze drifted from the craggy fields below to the billboards above, one of which featured an outsized call center worker’s comely visage, fair and framed by raven-black hair, flashing a winning smile. Welcomed by a quaint sign that read, “Thank you for visit,” we passed through a toll and armed checkpoint and entered a relatively barren stretch of road. Then, almost without warning, the new metropolis started from the dusty plain like a strutting peacock. Its plumage was fine but its calls were loud and course. The taxi driver’s teenage son stared with mouth agog at the iridescent whirl of office towers, apartment blocks, hotels, and fine restaurants. He said slowly and with wonder, “Call center-walleh idhar rahte hai.” (“The call center ones live here”). It was not Dubai, but Gurgaon had that “city of tomorrow” feel: cement trucks, proletarians, scaffolding, and cranes offset by smartly dressed professionals shopping for Western brands at malls named Ambience, Amusement, Galaxy, Marriage, Scottish, and Specialty; the hot gleam of dynamic steal and glass facades in the afternoon sun balanced by the haze and roar of traffic and construction. These were marvelous and moving sights.

But the embrace was not entirely rapturous. The high-rises were impressive, the signage luminous, and the private clubs cozy, but there were also power outages and water shortages and slum neighborhoods. (The real estate bubble has since burst, halting mall construction and depopulating office parks and luxury housing complexes, one of which famously featured a golf course and “cigar lounge.”) Misgivings about the industry that had underwritten Gurgaon’s rapid rise were muted but multiple. Talk of poor labor conditions, dead-ends, graveyard shifts, accent neutralization, and identity shifting gave some a postcolonial pause. The same news media that had so loudly sung the industry’s praises began expressing concern. “Stressed Techies Losing Sex Drive,” read one headline. “Stressed Youth Turning to Acupressure,” warned another. We came to know that call center work “turn brains into soup” and people with “high ambitions either leave call centres for something better or get fired.” Still, outsourcing was creating jobs. And thus the animating paradox of workers’ condition: They’re reaping the benefits of the corporate search for cut-rate labor but also bearing the burdens.

KoR: How did you go about doing the legwork for this? Was it largely source material research or was there a lot of personal interviewing?

SN: The book’s based on ethnographic observation and over a hundred interviews with workers, managers, executives, trade unionists and industry reps. Naturally, companies had nothing to gain by talking to a slight, notebook-clutching researcher and so it was very difficult to get access to workplaces. But once I was able to get in—and it did take some doing—people gave of their time freely, and for that I’m infinitely grateful. All told, it took about five years to research, write, rewrite, edit, and copyedit the book. That includes the fieldwork in India – primarily in Bombay, Chennai, and Delhi—as well as New York and L.A. It was tiring but I’m happy with the end product.

KoR: How did most people react then to you wanting to talk with them about this kind of subject matter? I could see there being a defensiveness or a reluctance to realistically look at what was going on, were I them.

SN: They’re very guarded. And this sensitivity pervades workplaces. For example, when I went to one company in northern Bombay six sheepish young people were seated quietly on cramped leather couches in the lobby busily filling out job applications. Insecure security guards at the front desk checked bags for hammers, screwdrivers, cameras, recorders, and computer hardware—anything that could be used to smash, record, or steal. Passage into individual offices was restricted as the company has confidentiality agreements with its clients, such that visitors should not be allowed to espy a client’s name on letterhead or computer screen. It’s as if their work is somehow illicit; that, if found out, the game would be up.

That said, many executives often thought I was an MBA student and that, ideologically, I was like-minded. And so when people opened, they said some surprising things. The COO of one company confided only half-jokingly that he thinks India needs a short spell of dictatorship so it can quickly improve its infrastructure (roads, power supplies, etc.) and better compete with countries governed by authoritarian regimes like China. Democratic niceties just delay things. An IT leviathan, so to speak.

KoR: “Short spell of Dictatorship”? God. I feel like this kind of writing seems so important, obviously, bringing to light something that’s overlooked here in the west and may be willfully ignored by those who confront every day, I’m guessing, but it also strikes me as terribly sad. It’s just the too-familiar idea of the wealthy coming to a less wealthy place and offering jobs we don’t want, getting away with paying what many of us would consider deplorable or at least unfair wages, but still paying more than many of the workers there can be paid elsewhere. None of it seems at all right or easy to…fix, for lack of a better word, but what do we do? Is it just a matter of prying out facts, like this books is doing, so everyone talks about this and knows exactly what’s going on?

SN: There’s a public importance to writing, to uncovering and examining things in a sustained and careful fashion. In my case, I was looking at working lives, and how the livelihoods of people in the global north and south are inextricably connected. People often defend the outsourcing industry by saying that it pays well and that the work environments are much better than in many other Indian industries. As one executive put it, “The standards are pretty low here. It’s not hard to improve on them.” And in one sense, he’s absolutely right and the industry has provided employment for many young Indians. It’s thus important not to overdramatize their plight. At times, they’re very happy. Especially so when they indulge in consumption binges at shopping malls or arrange romantic trysts at suburban night clubs or cafés.

But I don’t think that this is necessarily the right standard to apply. Rather I think you also need to look at the labor conditions under which outsourced work is performed in India and see how they compare with those in the US and UK, where the work originated. Not surprisingly, they’re worse. So employees are paid relatively well but the conditions of work can be strict—hours, by turns stress-filled and Chekhovian, monitored tightly. And as a result, offices are branded “electronic sweatshops” and workers, “cyber coolies.”

KoR: All this aside, in a sense, what do you like about India? We’ve heard wonderful things, but neither of us has ever been immersed in a non-Western culture, so it all seems so intimidating to us.

SN: Gertrude Stein once said that the trouble with Oakland is that “there isn’t any there there.” In India, there’s almost too much there. On one hand, there’s the resplendent poverty and suffering of India, its sad materiality. On the other, the cultural riches it possesses are mind-boggling. Its cities and towns are so varied and its people so charming. During my field research, not a single day went by in which I didn’t laugh heartily, even when I was sick.

KoR: Alright, I’m going to test your Inner PR Guru—Tell me why I, a relatively average reading American who—while I haven’t and won’t read any of the Twilight books—reads one non-fiction book for every, say, 15 works of fiction, tell me why I should read your book. I mean, there are charts in it, man. Charts!

SN: Well, I think the distinction between fiction and nonfiction is overdrawn. Fiction writers draw on facts and they find ways to creatively dramatize them, while nonfiction writers have to develop an imaginative sympathy with their subject. Take Kafka for example. He worked as an insurance clerk by day and wrote by night. His job was at times dreadfully boring, but he used it as an entry-point into the absurd. As he wrote, “The office is not a stupid institution; it belongs more to the realm of the fantastical than the stupid.” Hence the Byzantine bureaucracies in his work, the meaningless meanderings of his characters. Without the nonfiction of his daily life, there would be no fictional metamorphosis.

KoR: Way to give a super-smart answer to my mundane question, Nadeem. Professored again!
As mentioned above, Dead Ringer‘s Book Release Party is being held tomorrow night in DUMBO, details and RSVP information here. And if you can’t make that, you can pick up his book via the Princeton site, or, if you’re more the Amazon type, there too. Or, better still, walk over to your local bookstore and ask them to order a copy if they don’t have it on their shelves. The clerk will think you’re super-smart.
Photo of the author by Erum Nadeem.