WEBVTT - The Career Path Is (And Has Always Been) a Lie

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<v Speaker 1>Welcome to game Plan, a show about our lives at work.

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<v Speaker 1>I'm Rebecca Greenfield, a reporter for Bloomberg, where I cover

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<v Speaker 1>workplace culture, and I'm Francesco Leady, editor of the game

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<v Speaker 1>Plan section at Bloomberg dot com. Today we're talking career paths. Later,

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<v Speaker 1>we'll talk to Mary Norris, also known as the Comma Queen.

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<v Speaker 1>Mary's a copy editor at The New Yorker with a

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<v Speaker 1>cult following. She'll tell us about her unlikely path to

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<v Speaker 1>The New Yorker and the places her job has taken

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<v Speaker 1>her since. But first, let's talk about the state of

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<v Speaker 1>the career path today. So this idea of getting a

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<v Speaker 1>job straight out of college and staying with the same

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<v Speaker 1>company until you get a gold watch and cash and

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<v Speaker 1>that pension. Nobody does that anymore, No, not real. So over,

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<v Speaker 1>I don't know anybody doing that. I don't even know

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<v Speaker 1>what a gold watch looks like. What's a watch? I

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<v Speaker 1>just use my phone to tell the time. So, yeah, millennials,

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<v Speaker 1>young people, they're not doing this at all. That's the

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<v Speaker 1>received wisdom, that's what we read ad nauseam, is that

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<v Speaker 1>millennials are not catching up to previous generations in terms

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<v Speaker 1>of how fast they're getting their careers on track. But

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<v Speaker 1>we're gonna kind of interrogate that a little bit, I think,

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<v Speaker 1>because I feel like that's rooted in some misconceptions. Yeah,

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<v Speaker 1>so it's really easy to just think of the Lena

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<v Speaker 1>Dunham character on Girls, who is entitled and does what

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<v Speaker 1>they want and doesn't want to follow this notion of

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<v Speaker 1>kind of getting on track. But I think in reality,

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<v Speaker 1>for a lot of young people, it's not something that's

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<v Speaker 1>as much in their control as we would like to think. Right,

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<v Speaker 1>It's not necessarily a trait of millennials personalities that's making

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<v Speaker 1>them make the choices that they make. There are a

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<v Speaker 1>lot of external factors, like the difficulty in buying a

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<v Speaker 1>home being settled with student debt. Yes, student debt is

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<v Speaker 1>I think one of the biggest issues young people face

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<v Speaker 1>just unprecedented, did not exist before, and I think that

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<v Speaker 1>changes the way you think about your career. It's definitely

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<v Speaker 1>only a reason people live at home. I've interviewed people

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<v Speaker 1>just out of school who have decent jobs and are

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<v Speaker 1>just saving the rent money because that rent money can

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<v Speaker 1>go straight back to their student debt payment. And the

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<v Speaker 1>idea that millennials have no company loyalty and don't sort

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<v Speaker 1>of lock themselves into a career early and then work

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<v Speaker 1>their way up in a company. Is a little more

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<v Speaker 1>complicated than it seems at first to write like this

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<v Speaker 1>isn't strictly a millennial thing. No, young people hop around.

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<v Speaker 1>They've always hopped around. I found a pretty interesting number

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<v Speaker 1>from a Times article about ten years ago that said

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<v Speaker 1>boomers had ten and a half jobs between baby boomers

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<v Speaker 1>between the ages eighteen and forty. Young people are just

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<v Speaker 1>figuring out what they want to do, right, So we're

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<v Speaker 1>also jumping around from a job is the best way

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<v Speaker 1>to make more money. Annual raises especially now just don't

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<v Speaker 1>cut it. You have to get a promotion or move up, right,

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<v Speaker 1>So like finding a new job is the best way

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<v Speaker 1>to cement salary increases, and so it's actually can be

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<v Speaker 1>a smart career choice. And what you're saying is that

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<v Speaker 1>people have always operated this way when they're young. They've

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<v Speaker 1>moved from job to job. It's not some sudden shift

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<v Speaker 1>in the way young people think about the value of work.

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<v Speaker 1>The other thing that has changed is the sort of

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<v Speaker 1>implied social contract between businesses and their employees. So there

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<v Speaker 1>was a really interesting story on NPRS marketplace about the

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<v Speaker 1>rise of the idea of shareholder value and the economist

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<v Speaker 1>Milton Friedman's ideas that companies should think more about profits

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<v Speaker 1>than either doing good in the world or doing right

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<v Speaker 1>by the people that work for them, And what it

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<v Speaker 1>led to was a huge soaring stock market in the

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<v Speaker 1>eighties in the seventies and eighties, as companies trim their

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<v Speaker 1>expenses and restructured and became a little bit more ruthless

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<v Speaker 1>about providing value sharehold there's and meeting analysts estimates every quarter.

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<v Speaker 1>But it also led to things like the demise of

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<v Speaker 1>pension plans and the sort of withering away of employee benefits,

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<v Speaker 1>and the kind of general sense that that you had

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<v Speaker 1>job security if you went to a company and did

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<v Speaker 1>a good job and worked your way up through the ranks.

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<v Speaker 1>So it's almost like companies started this, like they were

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<v Speaker 1>the ones that changed the deal. And it feels a

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<v Speaker 1>little unfair to blame millennials or young people for not

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<v Speaker 1>keeping up their end of the bargain by being loyal

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<v Speaker 1>to companies. Yeah, I mean, I really think that I

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<v Speaker 1>don't get the idea of being loyal to your company

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<v Speaker 1>at all. I think that people should work hard, and

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<v Speaker 1>should do the jobs that they're hired for, and should

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<v Speaker 1>try not to screw people over. But we're almost brainwashed

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<v Speaker 1>into this idea that you're doing something wrong if you

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<v Speaker 1>act in your own interests by taking another job that

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<v Speaker 1>pays better and gives you better opportunities. Whereas, like who said,

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<v Speaker 1>your company can't fire you any time they want from

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<v Speaker 1>most anything. Yeah, companies have shifted to this buzzy word

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<v Speaker 1>of the culture, so like you have these relationships with

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<v Speaker 1>your coworkers and you feel a sense of belonging, like

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<v Speaker 1>that's a reason to stick around, which is a pretty

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<v Speaker 1>lousy replacement for financial security when you're old, right, And coincidentally,

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<v Speaker 1>it's a lot cheaper for companies to instill a sense

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<v Speaker 1>of corporate culture than it is to invest in your

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<v Speaker 1>retirement income. Right. And we've seen the rise of empty

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<v Speaker 1>ish perks as a way to keep and attract employees,

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<v Speaker 1>which I guess they work in a sense, but obviously

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<v Speaker 1>not that well because people are jumping around. We've been

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<v Speaker 1>talking about sort of the difference between finding a career

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<v Speaker 1>path and settling into it early and then just kind

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<v Speaker 1>of doggedly working your way up the ladder. And sort

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<v Speaker 1>of floating around aimlessly like a typical millennial, and just

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<v Speaker 1>making decisions based on your whims or what what sparks

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<v Speaker 1>your soul. And it might be a good time to

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<v Speaker 1>talk about our guests career path. So our guest has

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<v Speaker 1>had the following jobs. She was a key girl at

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<v Speaker 1>a public pool. She was a cashier at a costume shop.

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<v Speaker 1>She drove a milk chuck for a dairy farm. She

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<v Speaker 1>was a cheese factory worker, dishwasher, and worked the register

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<v Speaker 1>to a department store. So she had a lot of

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<v Speaker 1>jobs before now being a copy editor. What a classic

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<v Speaker 1>aimless millennial. Actually. Mary Norris has been with The New

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<v Speaker 1>Yorker since. She's not only a copy editor, but she's

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<v Speaker 1>something of a grammar celebrity. She wrote a best seller

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<v Speaker 1>Between You and Me, Confessions of a Comic Queen, and

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<v Speaker 1>hosts the popular web series also called Commic Queen, where

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<v Speaker 1>each week she dives into our favorite grammar questions. We're

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<v Speaker 1>going to start out by addressing the all important question

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<v Speaker 1>of the serial comma. The serial comma, also known as

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<v Speaker 1>the Oxford comma, is the common before and in a

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<v Speaker 1>series of three or more, there's a famous one. We

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<v Speaker 1>invited the stripper jf K and Stalin. If it were

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<v Speaker 1>we invited the strippers Comma, JFK, Comma and Stalin, then

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<v Speaker 1>you wouldn't mistake JFK and Stalin for strippers. So if

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<v Speaker 1>you don't want to use the serial Comma, save it

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<v Speaker 1>for some time when it really means something, when it

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<v Speaker 1>really makes a difference. Okay, Mary, thanks so much for

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<v Speaker 1>coming on our show today. Pleasure to be here. So,

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<v Speaker 1>before you got to the New Yorker, where you've been

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<v Speaker 1>for some time, we talked about some of your early jobs.

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<v Speaker 1>Why don't you tell us about some of those in

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<v Speaker 1>your experience before settling in Well, my very first job

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<v Speaker 1>ever was checking feet. Had a public pool in Cleveland.

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<v Speaker 1>We've had this tradition in Cleveland. I think a lot

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<v Speaker 1>of great lake cities did have it where you had

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<v Speaker 1>to use this bench and um put one foot at

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<v Speaker 1>a time upon this foot shaped platform and use your

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<v Speaker 1>fingers to spread out your toes and what you were doing.

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<v Speaker 1>What I was doing was making sure no one got

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<v Speaker 1>into the pool who had athletes foot. We were trying

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<v Speaker 1>to stem the spread of athletes foot in the city

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<v Speaker 1>of Cleveland. This doesn't sound like a job that you

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<v Speaker 1>were led to by your passion for stemming athletes foot

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<v Speaker 1>your passion feet. I did not have a foot fetish,

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<v Speaker 1>and it was not what you'd call a career move right.

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<v Speaker 1>I was fifteen and a half and I just wanted

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<v Speaker 1>some spending money, you know, a teenager wants that. So

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<v Speaker 1>that was my very first job. And I always wanted

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<v Speaker 1>to have a little financial independence, and so I took

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<v Speaker 1>what jobs I could get as a teenager. I worked

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<v Speaker 1>in a discount store in Cleveland, marking clothing. My first

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<v Speaker 1>job when I got out of college was in a

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<v Speaker 1>costume company in Cleveland. Then I got a job driving

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<v Speaker 1>a milk truck and that was the best job I've

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<v Speaker 1>ever had. What was so great about it? Well, I

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<v Speaker 1>liked cows and any job that had to do with

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<v Speaker 1>cows even remotely. But I did believe in in milk

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<v Speaker 1>and cut What did you like about cows, Um, They're

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<v Speaker 1>so placid and contented and productive. You know, they gave milk.

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<v Speaker 1>You have written about all of these different jobs that

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<v Speaker 1>you've taken that seem largely unconnected, but it sort of

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<v Speaker 1>seems like you've made a lot of decisions that were

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<v Speaker 1>driven by um wanting financial independence or just needing a

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<v Speaker 1>job and then been able to kind of find the

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<v Speaker 1>meaning in the job once you got there. Was that?

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<v Speaker 1>Is that accurate? Well, I knew that I was looking

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<v Speaker 1>for experience too. Yes, I wanted to be a writer

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<v Speaker 1>from the very beginning. Um after those couple of jobs

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<v Speaker 1>in Cleveland, I went back to graduate school at the

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<v Speaker 1>University of Vermont. There again I was following the cows,

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<v Speaker 1>and I got an m a. In English literature there

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<v Speaker 1>English and American literature, and I learned to milk University cows.

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<v Speaker 1>And my first job after that was in a mazzarella plant,

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<v Speaker 1>she's fa actory where we packaged mozzarella. And I remember

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<v Speaker 1>I had wanted to write fiction as a graduate student.

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<v Speaker 1>I thought I could do a master's thesis that was

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<v Speaker 1>a collection of stories. But they wouldn't let me do that,

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<v Speaker 1>and they even said I didn't have enough experience to

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<v Speaker 1>be writing fiction. And then the funny thing was that

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<v Speaker 1>one of the professors I had had after I got

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<v Speaker 1>the job and the cheese factory, said well, now you'll

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<v Speaker 1>have some experience. So the themes so far running through

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<v Speaker 1>your career cows, dairy and writing. Yes, yes, that's about right.

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<v Speaker 1>But then you moved to New York, a place that

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<v Speaker 1>has a notable lack of cows. Why don't you tell

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<v Speaker 1>us about that decision and where that took your career.

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<v Speaker 1>At the time, I had a sibling living in New

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<v Speaker 1>York who had become friends with a woman who was

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<v Speaker 1>in his um portraiture class, and it turned out that

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<v Speaker 1>she her name was Jeanne flush Shman. It turned out

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<v Speaker 1>she was married to Peter Fleishman, who was the chairman

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<v Speaker 1>of the board of the New Yorker, who was the

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<v Speaker 1>son of Raoul Fleishman, one of the original founders. And

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<v Speaker 1>I got to know them, and I started to think, well,

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<v Speaker 1>maybe I could live in New York. Indeed, my sibling

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<v Speaker 1>did suggest she was going to Paris. She had a

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<v Speaker 1>wonderful career herself as a musician or big job was

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<v Speaker 1>that she played the harp and a bear costume. I

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<v Speaker 1>guess costumes were a family thing, and mammals costume of mammals.

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<v Speaker 1>She had this nice gig playing the harp in a

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<v Speaker 1>bare suit outside of one of the gates of Central Park,

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<v Speaker 1>and she she told me, well, you could probably get

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<v Speaker 1>some kind of job in publishing. So I came to

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<v Speaker 1>New York Peter Fleshman was a wonderful friend to me.

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<v Speaker 1>He was on the business side, of course, and in

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<v Speaker 1>those days, business and editorial did not mix. So he

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<v Speaker 1>actually could not get me a job at The New Yorker.

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<v Speaker 1>But he could call the executive editor and say I

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<v Speaker 1>was going to call and would like to talk to him.

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<v Speaker 1>So Peter arranged that. Yeah, that seems like a pretty

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<v Speaker 1>big thing, a connection. People talk about that now, how

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<v Speaker 1>important that is to getting jobs. So I guess things

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<v Speaker 1>haven't changed that much. But so then you eventually do

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<v Speaker 1>get a job at the New Yorker. Obviously, Yes, there

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<v Speaker 1>was no opening that first time I talked to this editor,

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<v Speaker 1>but I called back. I'd been washing dishes in Patterson,

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<v Speaker 1>I'd done statistical typing as a temp, and I'd been

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<v Speaker 1>a temporary cashier at a discount store e J Corvettes.

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<v Speaker 1>You probably don't remember. That was a long time ago,

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<v Speaker 1>and I was going to try to get a hack

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<v Speaker 1>license and drive a cab. I still add my chauffeur's

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<v Speaker 1>license from having driven the milk truck, so I thought

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<v Speaker 1>that would be a natural But in fact I did

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<v Speaker 1>not know my way around in New York, and it

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<v Speaker 1>would have been a total disaster if I had tried

0:12:50.240 --> 0:12:52.800
<v Speaker 1>to drive a cab. So Peter said, why don't you

0:12:52.840 --> 0:12:54.800
<v Speaker 1>call them back and see if there are any openings.

0:12:55.080 --> 0:12:57.319
<v Speaker 1>And there were. There was an opening in the typing

0:12:57.440 --> 0:12:59.640
<v Speaker 1>pool and one and what it's called the editor I

0:12:59.720 --> 0:13:02.680
<v Speaker 1>live Prairie. I failed the test for the typing pool.

0:13:02.760 --> 0:13:05.160
<v Speaker 1>There was an electric typewriter, and you know, I'd only

0:13:05.160 --> 0:13:07.120
<v Speaker 1>had a manual up to that point, and that was

0:13:07.160 --> 0:13:09.439
<v Speaker 1>my excuse anyway, that the typewriter just kind of took

0:13:09.480 --> 0:13:12.040
<v Speaker 1>off without me. But in the editorial library was a

0:13:12.080 --> 0:13:17.440
<v Speaker 1>little more primitive that manual typewriters, and we typed summaries

0:13:17.800 --> 0:13:22.800
<v Speaker 1>of stories, even poems and nonfiction pieces. Type this summaries

0:13:22.880 --> 0:13:28.120
<v Speaker 1>on index cards and indexed every piece, you know, by author,

0:13:28.280 --> 0:13:31.280
<v Speaker 1>by subject. Every person who was mentioned in the piece

0:13:31.320 --> 0:13:34.679
<v Speaker 1>would go into the file because those people might want

0:13:34.720 --> 0:13:37.000
<v Speaker 1>to know where what piece they were in someday and

0:13:37.040 --> 0:13:40.000
<v Speaker 1>they'd call up and ask. The cartoons were all indexed.

0:13:40.080 --> 0:13:43.559
<v Speaker 1>You know, cartoon about a bird. Somebody might remember that

0:13:43.600 --> 0:13:46.120
<v Speaker 1>they had seen a cartoon about a bird that laid

0:13:46.120 --> 0:13:48.240
<v Speaker 1>a square egg, and they wanted a copy of that

0:13:48.320 --> 0:13:51.360
<v Speaker 1>issue so they could call. And we had the an

0:13:51.400 --> 0:13:55.400
<v Speaker 1>index where we could find that under birds. So you

0:13:55.559 --> 0:13:59.760
<v Speaker 1>eventually ended up you finished the training. Yes, um, I

0:14:00.000 --> 0:14:02.840
<v Speaker 1>did that for a little while, and then I learned

0:14:03.040 --> 0:14:06.559
<v Speaker 1>another job called collating. And we had this proof reader,

0:14:06.640 --> 0:14:10.360
<v Speaker 1>a grammarian who was legendary named Eleanor Gould, and she

0:14:10.440 --> 0:14:13.320
<v Speaker 1>read everything in Galley, not the fiction, but everything else.

0:14:13.720 --> 0:14:16.440
<v Speaker 1>You had to move her changes on to a clean proof,

0:14:17.080 --> 0:14:20.720
<v Speaker 1>and there were loads of them, and I came to understand,

0:14:20.760 --> 0:14:23.760
<v Speaker 1>or at least I came to study what she would do.

0:14:24.480 --> 0:14:27.280
<v Speaker 1>And I began to internalize all that stuff, and I

0:14:27.360 --> 0:14:30.720
<v Speaker 1>learned in biasmosis. So when there was an opening that

0:14:30.840 --> 0:14:34.040
<v Speaker 1>on the copy desk, that's when I finally got to

0:14:34.080 --> 0:14:37.560
<v Speaker 1>work on copy myself. When manuscripts would come through and

0:14:37.920 --> 0:14:41.120
<v Speaker 1>you know, and get to reach on Updyke and John

0:14:41.200 --> 0:14:45.960
<v Speaker 1>McPhee and Pauline Kale and wonderful stuff Harold Brodkey, I remember,

0:14:46.360 --> 0:14:48.640
<v Speaker 1>and I would get to see what the editors did.

0:14:49.520 --> 0:14:53.680
<v Speaker 1>And after many many years of that, I moved on

0:14:53.760 --> 0:14:57.320
<v Speaker 1>to become query proof reader myself, the sort of thing

0:14:57.320 --> 0:15:00.760
<v Speaker 1>that Eleanor Gould did. And did you have a moment

0:15:00.760 --> 0:15:03.440
<v Speaker 1>where you knew you'd found your thing, where you were

0:15:03.520 --> 0:15:06.480
<v Speaker 1>in your element and you sort of expected you'd stay

0:15:06.480 --> 0:15:09.360
<v Speaker 1>there for a long time, or did you never really

0:15:09.360 --> 0:15:12.000
<v Speaker 1>think that way about your career? Well, as soon as

0:15:12.040 --> 0:15:13.960
<v Speaker 1>I got any job, as soon as I got the

0:15:13.960 --> 0:15:16.360
<v Speaker 1>foot in the door at the New Yorker, I felt

0:15:16.360 --> 0:15:19.360
<v Speaker 1>like this, well, this is probably it. I'm certainly not

0:15:19.400 --> 0:15:22.120
<v Speaker 1>going to find a magazine that's better than this to

0:15:22.200 --> 0:15:26.400
<v Speaker 1>work at. And I wanted to be a writer. But

0:15:27.440 --> 0:15:29.440
<v Speaker 1>ever since I was a kid, I've known you know,

0:15:29.480 --> 0:15:31.640
<v Speaker 1>I came from a working class family, and I knew

0:15:31.680 --> 0:15:34.920
<v Speaker 1>that that I needed to paycheck and I had no

0:15:35.560 --> 0:15:39.320
<v Speaker 1>rich father to ask for money except once in a while.

0:15:40.240 --> 0:15:43.960
<v Speaker 1>And you are a writer. You've written a book confession. Yes, yes,

0:15:44.280 --> 0:15:46.280
<v Speaker 1>and that's this is wonderful bit, you know, even once

0:15:46.360 --> 0:15:48.600
<v Speaker 1>you had a book, even once you've had a book

0:15:48.680 --> 0:15:51.640
<v Speaker 1>on the best seller list, and Between You and Me

0:15:51.800 --> 0:15:54.080
<v Speaker 1>was the best seller list for five weeks, not that

0:15:54.120 --> 0:15:57.280
<v Speaker 1>I was counting. You still need a day job. It

0:15:57.400 --> 0:16:01.480
<v Speaker 1>surprised me, But in a way you fulfill that prophecy

0:16:01.520 --> 0:16:04.600
<v Speaker 1>of your teacher, where you all of your experience led

0:16:04.680 --> 0:16:07.360
<v Speaker 1>to the material for you to write the book which

0:16:07.400 --> 0:16:09.720
<v Speaker 1>is called Between You and Me Confessions of a Commic Queen. Right,

0:16:09.760 --> 0:16:12.320
<v Speaker 1>I should say the whole title. I did not expect

0:16:12.440 --> 0:16:15.000
<v Speaker 1>to get a book out of my day job, and

0:16:15.040 --> 0:16:18.440
<v Speaker 1>you have a lot to say about commas. Surprisingly I do. Yeah,

0:16:18.520 --> 0:16:22.200
<v Speaker 1>I was kind of surprised myself. So in addition to

0:16:22.280 --> 0:16:26.080
<v Speaker 1>having published a book, now you also have this web series,

0:16:26.240 --> 0:16:29.840
<v Speaker 1>comic Queen, which has a cult following, including fans like

0:16:29.880 --> 0:16:33.920
<v Speaker 1>me and Fancesca. Was that unexpected? And how do you

0:16:33.960 --> 0:16:37.280
<v Speaker 1>feel about your new role. Well, that's something that I

0:16:37.320 --> 0:16:39.920
<v Speaker 1>agreed to do in order to help publicize the book.

0:16:40.320 --> 0:16:43.000
<v Speaker 1>I was not really eager to make videos. It was

0:16:43.040 --> 0:16:47.120
<v Speaker 1>not my idea, but the New Yorker and content asked

0:16:47.120 --> 0:16:50.080
<v Speaker 1>in general, wanted to have more of an online presence.

0:16:50.160 --> 0:16:53.360
<v Speaker 1>Doing videos was the hip thing to do, and I

0:16:53.760 --> 0:16:56.520
<v Speaker 1>agreed to do it. And that again surprised me that

0:16:56.600 --> 0:16:59.080
<v Speaker 1>people were really interested in that stuff. You know, we

0:16:59.200 --> 0:17:04.119
<v Speaker 1>think copy editors very quiet, retiring lives. You know, to

0:17:04.240 --> 0:17:08.360
<v Speaker 1>be a celebrity copy editors to be an oxymoron if

0:17:08.400 --> 0:17:12.240
<v Speaker 1>there ever was one. So that has changed things around

0:17:12.280 --> 0:17:14.960
<v Speaker 1>the office a bit. Some of the writers have gotten

0:17:14.960 --> 0:17:17.280
<v Speaker 1>a little wary of me because they're afraid I'm going

0:17:17.320 --> 0:17:23.200
<v Speaker 1>to use one of their sentences is well, well, thank

0:17:23.200 --> 0:17:25.240
<v Speaker 1>you so much. For coming and talking to us today.

0:17:25.359 --> 0:17:27.600
<v Speaker 1>Was really great having you. It was fun talking Thank

0:17:27.600 --> 0:17:34.520
<v Speaker 1>you for having me. So what do we learn about

0:17:34.680 --> 0:17:38.520
<v Speaker 1>career paths from talking to Mary, who was successful but

0:17:38.640 --> 0:17:41.760
<v Speaker 1>in a way that she never imagined. Well, first of all,

0:17:41.800 --> 0:17:43.920
<v Speaker 1>I learned that Mary is a delight. Oh yeah, she's

0:17:43.960 --> 0:17:47.159
<v Speaker 1>so so great. I loved her. So here's somebody with

0:17:47.200 --> 0:17:51.000
<v Speaker 1>this really specific career path like nobody else. She didn't

0:17:51.160 --> 0:17:54.000
<v Speaker 1>follow in anyone's footsteps. No one else has that exactly

0:17:54.080 --> 0:17:56.520
<v Speaker 1>the same sequence. It's like, I really want to be

0:17:56.520 --> 0:18:00.040
<v Speaker 1>a dairy farmer or maybe a copy editor and and

0:18:00.040 --> 0:18:03.040
<v Speaker 1>and a scholar of James Thurber in between. Yeah. I

0:18:03.080 --> 0:18:06.119
<v Speaker 1>think there are kind of two lessons from that. One

0:18:06.400 --> 0:18:11.560
<v Speaker 1>is to understand that everything you're doing could give you

0:18:11.680 --> 0:18:14.000
<v Speaker 1>some sort of skill for something later that you don't

0:18:14.040 --> 0:18:17.840
<v Speaker 1>know you'll even need it for. Like I mean, her

0:18:18.080 --> 0:18:20.320
<v Speaker 1>big example was saying that she had a lot to

0:18:20.320 --> 0:18:22.679
<v Speaker 1>say about Commas, like decades worth of stuff to say

0:18:22.720 --> 0:18:25.280
<v Speaker 1>about Commas, that so many people cared about that now

0:18:25.400 --> 0:18:28.920
<v Speaker 1>she is a Commas celebrity, right, And she's a published writer,

0:18:29.000 --> 0:18:33.080
<v Speaker 1>which ironically in a way, is the thing she always

0:18:33.080 --> 0:18:35.240
<v Speaker 1>wanted to be. Like she was trying to get published

0:18:35.240 --> 0:18:38.239
<v Speaker 1>and trying to find the subject matter that was that

0:18:38.320 --> 0:18:42.280
<v Speaker 1>was perfect for her all throughout her career, and in

0:18:42.320 --> 0:18:44.399
<v Speaker 1>the end it ended up being her day job. So

0:18:44.440 --> 0:18:48.680
<v Speaker 1>the day job wasn't this irrelevant side act in her life.

0:18:48.680 --> 0:18:51.720
<v Speaker 1>It was the thing that got her to her final goal. Yeah.

0:18:51.760 --> 0:18:54.639
<v Speaker 1>I do wonder if at the time, at times she

0:18:54.720 --> 0:18:57.560
<v Speaker 1>was more frustrated than she is now. It's easy to

0:18:57.600 --> 0:19:00.480
<v Speaker 1>look back and say, like, oh, all the all those

0:19:00.520 --> 0:19:03.119
<v Speaker 1>copy editing times paid off. But it's nice to be

0:19:03.160 --> 0:19:06.479
<v Speaker 1>able to see that perspective from somebody and to know that,

0:19:06.520 --> 0:19:10.200
<v Speaker 1>like your own frustrations with not achieving the things you're

0:19:10.200 --> 0:19:13.119
<v Speaker 1>trying to achieve in the moment might look very different

0:19:13.160 --> 0:19:15.560
<v Speaker 1>when you're looking back on it all. And I mean,

0:19:15.680 --> 0:19:20.520
<v Speaker 1>I've certainly I had a total change in careers. I

0:19:20.520 --> 0:19:23.000
<v Speaker 1>became a journalist only after spending about five or six

0:19:23.080 --> 0:19:27.520
<v Speaker 1>years after college pursuing being a researcher, and that feels

0:19:27.560 --> 0:19:30.880
<v Speaker 1>like a very different career path, and going to journalism

0:19:30.920 --> 0:19:33.560
<v Speaker 1>school and then starting as a journalist felt a lot

0:19:33.640 --> 0:19:36.680
<v Speaker 1>like starting over and kind of resetting. And it certainly

0:19:36.800 --> 0:19:39.720
<v Speaker 1>was that from a salary perspective, and it was that

0:19:39.760 --> 0:19:41.960
<v Speaker 1>from the perspective of being like a few years older

0:19:41.960 --> 0:19:45.480
<v Speaker 1>than everybody that I worked with. But I realized now

0:19:45.520 --> 0:19:49.320
<v Speaker 1>how much about kind of studying anthropology and being a

0:19:49.359 --> 0:19:54.120
<v Speaker 1>researcher is completely relevant to journalism and thinking about research

0:19:54.160 --> 0:19:57.600
<v Speaker 1>and how to interpret it, knowing how to interview people

0:19:57.680 --> 0:20:00.040
<v Speaker 1>and basically write about what they say, which is what

0:20:00.160 --> 0:20:03.040
<v Speaker 1>both researchers and journalists do. You know, I wasn't ever

0:20:03.119 --> 0:20:05.639
<v Speaker 1>acquiring those skills and the interests of becoming a journalist,

0:20:05.720 --> 0:20:08.320
<v Speaker 1>but I certainly use skills. I even use skills that

0:20:08.359 --> 0:20:10.520
<v Speaker 1>I used what I was an acting student. Yeah, you do,

0:20:12.359 --> 0:20:16.680
<v Speaker 1>I act really interested in some conversations. And on that note,

0:20:16.920 --> 0:20:23.000
<v Speaker 1>let's take it to half baked takes, halfy fake takes,

0:20:23.160 --> 0:20:27.879
<v Speaker 1>halfy takes, half big takes is where we have opinions

0:20:27.920 --> 0:20:32.160
<v Speaker 1>about things that important. Opinions aren't quite fully formed enough

0:20:32.160 --> 0:20:35.360
<v Speaker 1>for anything besides us talking about it right here, right now.

0:20:35.560 --> 0:20:39.320
<v Speaker 1>So Francesca, tell me your half big take. Okay, this

0:20:39.359 --> 0:20:42.600
<v Speaker 1>week's half big take is about one of the most

0:20:42.640 --> 0:20:47.320
<v Speaker 1>insidious and misused phrases in the English language, possibly, and

0:20:47.359 --> 0:20:52.480
<v Speaker 1>that's no worries. You're using no worries wrong, probably, or

0:20:52.560 --> 0:20:55.000
<v Speaker 1>you know someone who has Yeah, I think it's not

0:20:55.200 --> 0:20:59.480
<v Speaker 1>only an annoying phrase, but ever since you pointed this

0:20:59.520 --> 0:21:02.040
<v Speaker 1>out to me, people are also using it around. It's

0:21:02.080 --> 0:21:04.520
<v Speaker 1>both it's annoying even when you use it right. So

0:21:04.560 --> 0:21:06.800
<v Speaker 1>no worries is like I think it's like an Australian

0:21:06.960 --> 0:21:12.959
<v Speaker 1>originated uh idiom that's just like whenever, don't worry about it,

0:21:13.040 --> 0:21:17.080
<v Speaker 1>no problem, no big thing, and it's it seems really

0:21:17.160 --> 0:21:20.040
<v Speaker 1>useful in conversation. But one of the most passive aggressive

0:21:20.080 --> 0:21:24.080
<v Speaker 1>things that people can do is use it. Basically, you're

0:21:24.119 --> 0:21:27.359
<v Speaker 1>like forgiving somebody when you say no worries. So there's

0:21:27.359 --> 0:21:28.960
<v Speaker 1>a lot of ways you can use it. That turned

0:21:28.960 --> 0:21:32.360
<v Speaker 1>out to be really kind of uncool and rude. So

0:21:32.880 --> 0:21:37.360
<v Speaker 1>I sat across from somebody at a desk who had

0:21:37.480 --> 0:21:40.840
<v Speaker 1>restless leg syndrome, and I assume, I don't know if

0:21:40.880 --> 0:21:43.800
<v Speaker 1>he was officially diagnosed, but that's I'm going to go

0:21:43.800 --> 0:21:46.720
<v Speaker 1>ahead and diagnose it with that. He was very fidgety

0:21:46.800 --> 0:21:49.040
<v Speaker 1>and he would just thrash his legs around under the

0:21:49.040 --> 0:21:53.080
<v Speaker 1>desk and they would kick mine and I was bruised

0:21:53.080 --> 0:21:55.199
<v Speaker 1>in the shins by the end of the day. And

0:21:55.280 --> 0:21:58.679
<v Speaker 1>so after putting up with it silently or kind of

0:21:58.720 --> 0:22:02.159
<v Speaker 1>grumpily by sighing loudly for a month or two. I

0:22:02.200 --> 0:22:03.959
<v Speaker 1>finally went up to him and I was like, I

0:22:03.960 --> 0:22:06.280
<v Speaker 1>don't know if you know this, but you're kicking me

0:22:06.400 --> 0:22:08.359
<v Speaker 1>under the desk when you move your feet around, and

0:22:08.400 --> 0:22:10.840
<v Speaker 1>it's it's just if you could just watch it. And

0:22:10.920 --> 0:22:16.240
<v Speaker 1>he goes, oh, no worries, and I was like, yeah, what, No,

0:22:16.400 --> 0:22:21.480
<v Speaker 1>I'm not worried. You should be worried, Like you can't worried.

0:22:22.280 --> 0:22:24.800
<v Speaker 1>The correct thing to say is I'm so sorry I

0:22:24.840 --> 0:22:28.159
<v Speaker 1>didn't realize I'll stop doing wow. Yeah, And and people

0:22:28.240 --> 0:22:30.360
<v Speaker 1>use it like that's really a lot. They really, they

0:22:30.400 --> 0:22:32.199
<v Speaker 1>really do. It's become a tick. So if you ever

0:22:32.280 --> 0:22:35.359
<v Speaker 1>want to be really passive aggressive and somebody tries to

0:22:35.400 --> 0:22:38.439
<v Speaker 1>call you out for something that you don't think you

0:22:38.440 --> 0:22:40.639
<v Speaker 1>should be called out for, just respond to them with

0:22:40.680 --> 0:22:43.520
<v Speaker 1>no worries and it will enrage them to the point

0:22:43.560 --> 0:22:46.119
<v Speaker 1>of having to say something about it on a podcast.

0:22:46.760 --> 0:22:50.240
<v Speaker 1>What's your half? By take? My half big take is

0:22:50.359 --> 0:22:53.800
<v Speaker 1>that I love my sad dusk salad. I think there's

0:22:53.960 --> 0:22:57.720
<v Speaker 1>this whole movement against the sad dusk salad. I think

0:22:57.720 --> 0:23:00.160
<v Speaker 1>there are some books written about sad dusk sealing. There

0:23:00.200 --> 0:23:02.600
<v Speaker 1>was a tumbler or a blog. I think tumbler A

0:23:02.640 --> 0:23:05.879
<v Speaker 1>book deal happened. So a sad dust salad is what

0:23:06.000 --> 0:23:08.800
<v Speaker 1>it sounds like. It's it's the epitome of cubical life.

0:23:08.880 --> 0:23:12.240
<v Speaker 1>It's just staring glumly at your screen while you shove

0:23:12.280 --> 0:23:16.400
<v Speaker 1>a healthy, green, gross meal into your mouth while you

0:23:17.119 --> 0:23:19.760
<v Speaker 1>pretend to do work or scroll through the internet. I

0:23:19.880 --> 0:23:23.600
<v Speaker 1>understand the symbolism and why it seems horrible. But I

0:23:23.760 --> 0:23:26.760
<v Speaker 1>make a really good salad at home. It's really easy

0:23:26.800 --> 0:23:28.680
<v Speaker 1>to do. You just buy like two or three kind

0:23:28.680 --> 0:23:35.080
<v Speaker 1>of fun ingredients like am okay beats or hearts of palm.

0:23:35.240 --> 0:23:38.000
<v Speaker 1>It's so easy. I buy tofu. Do you make it

0:23:38.000 --> 0:23:40.640
<v Speaker 1>in the morning. I make it in the morning, put

0:23:40.680 --> 0:23:44.720
<v Speaker 1>it in a tupperware and it's delightful and lovely and healthy.

0:23:44.880 --> 0:23:47.760
<v Speaker 1>And you know what, I really like it, and stop

0:23:47.800 --> 0:23:50.800
<v Speaker 1>shaming me. So you look forward to the moment in

0:23:50.800 --> 0:23:53.480
<v Speaker 1>your day where you get your sad disk salad. But

0:23:53.600 --> 0:23:57.200
<v Speaker 1>this is my question. The salad sounds great, thank you,

0:23:57.240 --> 0:23:59.520
<v Speaker 1>but wouldn't it be better if it were not in

0:23:59.520 --> 0:24:01.800
<v Speaker 1>a temper were but on a nice ceramic plate, and

0:24:01.880 --> 0:24:06.040
<v Speaker 1>not at your desk, but at a picnic table. Or

0:24:06.160 --> 0:24:13.399
<v Speaker 1>an outdoor fresco dining environment. Exactly, everyone's eating that. Somebody

0:24:13.560 --> 0:24:17.639
<v Speaker 1>leaves and sits somewhere nice and eats. So but we

0:24:17.680 --> 0:24:21.680
<v Speaker 1>don't call it sad dusk burrito because like we're it's

0:24:22.520 --> 0:24:27.360
<v Speaker 1>like brito for the salad. Yeah, it's a happy desk salad.

0:24:27.800 --> 0:24:30.520
<v Speaker 1>So I think that that. So the implication of the

0:24:30.720 --> 0:24:33.120
<v Speaker 1>of the sad desk salad is that you're not only

0:24:33.160 --> 0:24:35.240
<v Speaker 1>a workaholic who can't leave their desk and who has

0:24:35.320 --> 0:24:38.240
<v Speaker 1>no more joy in their life, but you've also eliminated

0:24:38.280 --> 0:24:41.200
<v Speaker 1>the the fun, calorie filled foods that you might be

0:24:41.280 --> 0:24:44.159
<v Speaker 1>eating from that time. So basically you're miserable and you

0:24:44.240 --> 0:24:47.600
<v Speaker 1>resent that and frankly think it's slightly sexist. It's true.

0:24:47.640 --> 0:24:53.800
<v Speaker 1>It's are always criticized for being salad eaters, like it's

0:24:53.840 --> 0:24:56.720
<v Speaker 1>the one time I know I'm going to eat greens today,

0:24:56.880 --> 0:24:58.639
<v Speaker 1>and as a woman, I can say I hate salad.

0:24:58.800 --> 0:25:02.800
<v Speaker 1>So just sucking at stereotype right there. So let me

0:25:02.840 --> 0:25:06.480
<v Speaker 1>eat my salad and stop saying no worries unless you're

0:25:06.480 --> 0:25:10.359
<v Speaker 1>actually apologizing for something. And this has been half big takes,

0:25:12.880 --> 0:25:16.879
<v Speaker 1>half baked takes. Thanks for listening to game Plan for

0:25:17.040 --> 0:25:20.320
<v Speaker 1>more You can find me on Twitter at rs Greenfield.

0:25:20.400 --> 0:25:23.960
<v Speaker 1>Our guest Mary Norris is at Mary Norris t n Y.

0:25:24.400 --> 0:25:53.560
<v Speaker 1>And I'm at Francesco today. See you next week. I

0:25:53.600 --> 0:25:55.160
<v Speaker 1>want to do it. I have a half big take

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<v Speaker 1>about bananas. Bananas are so genetically engineered. Why do we

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<v Speaker 1>still have to deal with this garbage booger thing that

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<v Speaker 1>you can't get rid of, and it never it always

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<v Speaker 1>ends up like somewhere on your desk. It's really gross.