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For Caregivers from the Philippines, the Israeli Dream Is Fragile

Rose Fostanes won X-Factor Israel in 2014; two years later, she had to leave the country when her visa expired. (AP Photo/Ariel Schalit)

In colloquial Hebrew, the word filipinit — a woman from the Philippines — is no longer a simple demonym; Filipinas have dominated the eldercare sector in Israel for so long that it has become a generic term for “caregiver.” In the New York Times Magazine, Ruth Margalit explores the stories of precariously employed women and the complicated bonds of co-dependence and isolation that form between them and the elderly for whom they provide care. Along the way, she revisits a recent episode that highlighted the fragile status of Filipinas in Israel: Rose Fostanes won the local version of The X Factor in 2014, only to be forced out of the country two years later, as soon as her visa expired.

In 2013, the Filipino community in Israel came under an unexpected spotlight when Rose Fostanes, a 46-year-old Filipino caregiver, auditioned for the Israeli version of the singing competition “The X Factor.” A short video clip aired before Fostanes’s performance, mentioning that she lived in South Tel Aviv with three other caregivers: “I love my job because I like to take care of old people,” Fostanes said. The clip drew knowing chuckles from the audience. Short and plump, in a green shirt and jeans, Fostanes represented the unlikely, diamond-in-the-rough heroine audiences love to embrace. Her rendition of Shirley Bassey’s “This Is My Life” became a national sensation; more than half of all Israeli households tuned in to watch her win the season’s finale. But the praise she received was tinged with condescension: She was shown offering to make a sandwich for the supermodel Bar Refaeli, the show’s host, and the judges kept saying how “proud” they were of her.

After the show ended, Fostanes was supposed to land a lucrative record contract, and she quit her job as caregiver. But her first single failed to sell, and her management company later dropped her. Last year, after a protracted legal battle over her visa status, she returned to the Philippines, where she now makes a living performing in small bars and clubs across Manila. “She got tired of chasing her dream,” a friend of hers, Winston Santos, told me.

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Introducing the ‘Davos for Happiness,’ Powered by Coconut Water

The first-ever World Happiness Summit (hashtag #WOHASU) recently convened in Miami, attracting 1,200 attendees committed to the TEDification of a basic, if elusive, human emotion. At Outside, Peter Andrey Smith provides a firsthand account of the event, where MIT researchers rubbed shoulders with consciousness lecturers and life coaches.

The program freely combined the statistical rigor of economists and psychologists with the business acumen of brand ambassadors and at least one Chief Happiness Officer, alongside those practicing a “sacred science” with a New Age or magical bent. Late on Saturday morning, a loud whoop went up from the Keynote Area, the darkened room where attendees sat in folding chairs and reclined on plush cushions under white teepee-like structures, massaging each other’s necks and stretching. The speakers on the nearby stage led a panel discussion on the “Practice of Happiness.” They talked about “the millions of people on your platform.” Of “building a movement.” Of “getting into your tribes and broadcasting happiness.”

Meanwhile, in the WOHASU Bazaar, a group sat, eyes closed, with brain-sensing Muse headbands wrapped around their temples. The device contained a compact electroencephalography (EEG) system and was designed to be a “personal meditation assistant.” Two men from Spain touted a virtual-reality platform called Psious, which offered exposure therapy by way of VR goggles and software. Nearby, Gary Cook sat behind a table and sold books. “This is not my type of event, let’s just put it that way,” he told me. “Feel like I need some Zen tea—two booths down.” The day’s bestsellers, Gary said, included Before Happiness, The Happiness Adventure, The How of Happiness, and Even Happier.

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How ‘Austin Powers’ Became the First Cult Hit of the DVD Era

'Austin Powers: International Man of Mystery' poster, courtesy of New Line Cinema.

No movie channels pre-Millennium, “the end of history is kinda fun!” exuberance better than 1997’s Austin Powers: International Man of Mystery. The film, which turned 20 this week, feels incredibly out of step with our dystopian present, yet the cheap gags and sophomoric puns still work. (Did you remember Carrie Fisher played the Evils’ family therapist? I didn’t).

At the Hollywood Reporter, Ryan Parker presents the cast and crew’s memories of making this unlikely cult movie — including the realization they had a DVD-fueled sleeper hit on their hands.

[Director Jay] Roach It opened internationally on the weekend Princess Diana died, and there was no one in the world in the mood for Americans mocking English people. There was some reference to Prince Charles that did end up getting cut for the U.K. release.

[Actor Seth] Green The movie came out and did fine. I think the total take after eight weeks was something like $50 million.

Roach But then DVDs kicked in — they were a new market channel, and Warner Bros. was a pioneer. Mike and I did the commentary and worked on bonus features. They asked us to do a sequel, and I figured the video numbers must have done really well. They hide the video numbers, so you never know. To this day, it’s in the red. I don’t think that movie is listed as in profit, which is hilarious to me.

[Writer and actor Mike] Myers I knew we had something when I was driving on Halloween in Los Angeles and I couldn’t get past Santa Monica Boulevard because of a parade, so I sat on the hood of the car and I saw like 15 Austin Powers go by and one of the Austin Powers spotted me and came over. I had a picture with all these Austin Powers, which was unbelievably cool.

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The “Facebook of Money” That Wasn’t

Photo via Tilt/Glassdoor

To paraphrase Tolstoy, every struggling startup struggles in its own way. Except they all seem to feature extravagant soirées, hazy business plans, and round after round of beer pong on a SoMa roof deck. At Fast Company, Ainsley Harris charts the decline and fall of Tilt, a social-payments platform billed as the “Facebook of Money.” Joining other examples in the emerging genre of schadenfreude-laced startup postmortems, it offers an almost-wistful glimpse at Silicon Valley culture at the precise moment when easy funding became a thing of the past.

Over time, Beshara’s leadership alienated some of Tilt’s more experienced hires, who chose to move on rather than challenge their rookie boss. Meanwhile, Tilt continued to attract young talent barely old enough to join the company’s happy hours.

“There was too much focus on culture and creating this nirvana of a company. This is not a fraternity, this is a business,” says a former manager. Beshara seemed determined to keep the party going until the bitter end. Last September, for example, with a cash crunch imminent, he pressed forward with Tilt’s final Lake Tahoe retreat. Only a small group of employees had any idea that a sale was already in the works.

Looking back now, Beshara acknowledges the imbalance. “I feel very strongly that you want to end up on the side of human connection, human relationships,” he says. “But I think you can index too far on that and really miss the importance of really high standards.”

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Before Becoming an Art Critic, Jerry Saltz Wanted to Draw 10,000 Dante-Inspired Altarpieces

(AP Photo/Evan Agostini)

In a revealing memoir piece at New York Magazine, Jerry Saltz — the magazine’s art critic — retraces his early years as an artist in 1970s Chicago (spolier alert: it didn’t work out). It’s a gripping read not just for artists and art lovers, but for anyone who’s ever grappled with the tricky interplay of productivity, mediocrity, and coming to terms with one’s own limitations. Despite his failure to build a career as an artist, I loved how absurdly (admirably?) ambitious his plans were for his magnum opus: composing 100 illustrated altarpieces for each of Dante’s Divine Comedy cantos, for a total of 10,000:

I began my “Inferno” project just before dawn on the Thursday before Easter 1975, because Maundy Thursday is when Dante’s story begins in the poem — lost in “the dark wood of error,” having strayed from the “true way.” I planned to finish on Easter, the same day Dante finished his own journey, in 1300. I would finish in 2000, by which time I would have made 100 opening-and-closing altarpieces for each of the 100 cantos of The Divine Comedy. The 10,000 finished altarpieces were supposed to represent an idea of the infinite and a way to set myself free. Why Dante? Especially as I barely read at all and didn’t believe in God? I think because The Divine Comedy, which is a gigantic organized allegorical system where every evil deed is punished in accord with the law of equal retribution and divine love, supplied me with the formulated structure I craved. The highly established internal architectonics, the almost primitive definitiveness, what Beckett called the “neatness of identification,” were psychological shelter and weapons of revenge for me. A way to right my own world, to grasp an order like that in the Bible: “all things by measure and number and weight.” Most of all, it was a vision of justice — the good being rewarded and the bad getting their punishments.

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Haute Cuisine Has a Low Wage Problem

Image by djjewelz (CC BY-ND 2.0)

Every April, the “World’s 50 Best Restaurants” list makes a little wave in the culinary world with its endorsements and snubs, comebacks and falls from grace. At Eater, Corey Mintz takes a hard look behind the clean, minimalist lines of these restaurants’ dining rooms to expose a rarely discussed reality: The proliferation of underpaid and unpaid apprentices. Along the way, he places this labor practice in its historical context, as the high-end kitchen has become the place where the Renaissance guild meets 21st-century-privilege.

Having had the same conversation with a hundred chefs, I’ve heard all of the justifications for the unpaid staff. I’ve even had chefs suggest that, for the education they’re getting, stagiaires should be paying the restaurant. This isn’t a new idea. In the Middle Ages, children as young as seven were sent to work as apprentices, sometimes paying to learn under a master craftsman of the highly controlled craft guilds, such as printmaking or goldsmithing.

But if we have to go to “once upon a time” to date the history of your employee practices, then your labor standards are literally medieval. The Industrial Revolution — which began in the late 18th century and stretched through the mid-19th century — created a demand for both skilled and unskilled workers that radically changed the labor market. The development of unions, the rise of professional education, and the idea that children should not be indentured slaves evolved the nature of apprenticeship. While informal internships persisted — copy boys, messenger boys, bobbin boys — they weren’t part of the post-secondary educational process until the late 1960s. Within a decade, universities systematized and incentivized internships through course credits, shifting the skill-building and networking opportunity into the mandatory experience it is today.

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The (Film) Revolution Will Be Streamed

Image by Travis Wise (CC BY 2.0)

Amazon and Netflix are transforming the way independent movies are made and distributed — with far-reaching effects on an entire culture centered around film festivals, back-room negotiations, and subtle prestige battles. At The Ringer, Sean Fennessey takes a panoramic look at the changed landscape of independent filmmaking, where traditional distribution deals become increasingly obsolete.

Dillard has had to wait for more than 15 months for the public to see his movie. After brokering a deal with Blumhouse and WWE Films, Dillard entered a period when he was forced to resume his life and earn a living while tuning up his movie for its wide release. Few had seen Sleight and so momentum was difficult to come by. Artistic purgatory doesn’t pay.

“Here’s the not-so-glamorous side of independent film: All of my student loans defaulted, all my credit cards went into collections, I went back to Bad Robot to help my friends who are chefs there, to help them in the kitchen,” says Dillard. “So I was doing whatever I could, but I still had to keep so much time open for Sleight, and that process sucks —  like, it really sucks. And that’s nobody’s fault. It’s the nature of a low-budget [movie], where you can’t just pay somebody 85 grand [to fix all your problems].”

There was no such interregnum for Macon Blair.

“It seems to me like a cool way of doing things,” Blair says of his movie’s quick arrival on Netflix. “If the temperature is already up on a particular title to not let it cool off and then have to re-remind people about it nine months or 12 months later, just sort of strike while the iron is hot.”

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The Swan (Mascot) that Would Not Be Tamed

Photo by Swanseajack4life (CC BY-SA 3.0)

At Howler Magazine, Jeff Maysh tells the story of Cyril the Swan, the misbehaving mascot of Welsh football club Swansea City. It’s a story about the fading, post-industrial city that embraced the swan’s antics as a symbol of local identity. But it’s also the story of club groundskeeper Eddie Donne, the man inside the costume, and the making (and unmaking) of ultra-local heroes. In a particularly surreal scene, Maysh recounts a disciplinary hearing between league officials and the mascot — who appeared in full swan regalia.

Neil McClure hired Britain’s most famous sports attorney, Maurice Watkins, to defend Cyril. In 1995, Watkins had represented Manchester United star Eric Cantona after he kung fu kicked a spectator. He wanted Cyril kept away from the hearing because, Watkins told me via e-mail, he was “unpredictable to say the least.” This, he said, almost caused Lewis to “have apoplexy as the interest in the case had already generated huge sales of Cyril memorabilia, and [Lewis] had just commissioned the purchase of thousands of Cyril statuettes.” Donne avoided the TV crews and fans out front by sneaking in a back door and carrying Cyril in a bag. When Donne poked Cyril’s head out of a window, the mob went wild and began chanting, “Save our swan!”

Welsh FA chairman Alun Evans and two officials were sitting behind a long table in a barren conference room when they called for the defendant.

“They wanted to see what my vision was like,” Donne says. Cyril kicked the doors open and staggered inside. “I was falling over on purpose,” he says. “There was a plate of biscuits, so I pecked them, knocked the plate over.” As the biscuits went flying, the FA officials looked on in disbelief.
When Lewis explained that Cyril was a mute swan, the chairman instructed him to act as a translator.

“Ask Cyril, Mike, can he see a football at his feet when he is wearing his costume?” said Evans.

The swan shook his head: no.

“Ask Cyril, Mike, did he intentionally kick the ball in the direction of a Millwall player?”

Again, the answer was no.

“Mr. Watkins,” the chairman barked, turning to the lawyer, “were you aware that Cyril patted an official on the head shortly after Swansea had scored their third goal … after encroachment on the field of play?”

“Yes, Mr. Chairman,” Watkins said. “Cyril thought that he had seen a coin thrown at the linesman and went over to console him.”

Brilliant, Maurice, brilliant, Lewis recalls thinking.

Cyril was dismissed from the room. As he was leaving, Donne saw referee Steve Dunn sitting in a chair in the corridor.

“I dipped my beak in his coffee,” he says.

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The Current Hot Chicken Craze Is Also about Race and Gentrification

Photo by Sean Russell (CC BY-SA 2.0)

Food trends always say something about the cultural moment in which they burst onto our collective consciousness, and Nashville’s beloved hot chicken is no exception. At The Ringer, Danny Chau recounts three days enjoying the addictive pain of cayenne-coated fried chicken, while also exploring a history of racial tension and the changing vibe of the neighborhoods that gave America its Bourdain-approved, spicy food of the moment.

Hot chicken has become one of the biggest national food trends of the last few years, but I didn’t come to Nashville to Columbus a dish that has existed for nearly a century. I did come to see, from the source, why America’s fascination with hot chicken is exploding at this particular moment. As recently as 10 years ago, hot chicken wasn’t a universally acknowledged dish, even in its birthplace. For the majority of its existence, it was largely contained within the predominantly black East Nashville neighborhoods that created it, kept out of view under the shroud of lawful segregation.

Prince’s old location was close to the Ryman Auditorium, where the Grand Ole Opry performed for more than three decades. Its late-night hours were perfect for performers, and early adopters like Country Music Hall of Famer George Morgan helped build a devout following. But in the segregation era, to get their fix, they had to walk through a side door. Prince’s was operated like a white establishment in reverse: blacks order in front, whites out back.

Even after desegregation, hot chicken remained hidden in plain sight for much of Nashville, due to what Purcell described as “comfort” on both sides of the racial divide.

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The Outdoorsy Type’s Dilemma

Image by Sam Beebe (CC BY 2.0)

At The Guardian, Marisa Meltzer looks at the self-congratulatory corporate philosophies of outerwear giants Patagonia and The North Face. Beyond the often-amusing details (like the time employees at Patagonia’s California headquarters tried to save a butterfly chrysalis they’d spotted on the sidewalk), she unpacks the complex dynamic that allows these companies to tout their ethical sourcing and care for the environment while selling luxury goods to affluent weekend warriors.

Selling professional-grade gear to people with no intention of using it professionally isn’t exactly a new trick in marketing, as the makers of SUVs, digital cameras and headphones can tell you. Most people who buy the Nike trainers advertised by Mo Farah don’t use them to run long distances.

But North Face and Patagonia are both wrestling with a more consequential paradox, one that is central to contemporary consumerism: we want to feel morally good about the things we buy. And both companies have been phenomenally successful because they have crafted an image that is about more than just being ethical and environmentally friendly, but about nature, adventure, exploration — ideas more grandiose than simply selling you a jacket, taking your money and trying not to harm the earth too much along the way. But the paradox is that by presenting themselves this way, they are selling a lot more jackets. In other words, both companies are selling stuff in part by looking like they’re not trying too hard to sell stuff, which helps them sell more stuff — and fills the world with more and more stuff.

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