This consultation invites stakeholders to propose changes to the VAT rules so that they better support circular business models.
The European Commission has launched a consultation on the alignment of VAT rules with the principles of the circular and low emission economy. This initiative, part of the upcoming Circular Economy Act, aims to support the transition towards a more sustainable and competitive European economy.
The Circular VAT consultation seeks stakeholder input on how VAT rules can be adapted to better support circular business models. The focus will be on three key areas: the treatment of second-hand goods, the destruction of viable goods, and the VAT deduction rules for passenger cars used for business purposes.
The consultation is part of a broader evaluation and impact assessment process, which will run in parallel and is expected to conclude in early 2027. The findings from this process will inform a legislative proposal aimed at amending the VAT Directive to better align with the objectives of the circular and low emission economy.
The consultation is open for eight weeks and will be accessible via the Commission's 'Have your Say' portal. Stakeholders, including business federations, SMEs, trade associations, national tax authorities, academics, and the general public, are encouraged to participate and share their views.
This initiative is a crucial step towards creating a more coherent VAT framework that supports the circular economy and contributes to the EU's environmental sustainability objectives.
Businesses, tax experts & sustainability advocates – share your views by 4 November 2026.
Over the 2026 Labor Day weekend, I had the honor of speaking at the Reuther-Pollack Labor History Symposium in Wheeling, West Virginia, organized by the Wheeling Academy of Law & Science (WALS) Foundation. The symposium takes place in Wheeling every year and adopts a different theme each year; this year, the theme was “The Art of Labor.” I got to represent TRNN and speak alongside a truly incredible lineup of artists and working-class warriors, including: Tabitha Arnold, the great textile artist and tapestry maker; Erik Ruin, printmaker and shadow puppeteer; and Shaun Slifer, a multidisciplinary artist and the Creative Director for the West Virginia Mine Wars Museum.
The text below is a transcript of the talk I gave at this year’s Symposium, which has been lightly edited for clarity and readability. You can also listen to the audio recording of my speech on The Real News Network podcast feed.
https://www.spreaker.com/show/2952221/episodes/feedThank you. It is genuinely an honor to be here on these hallowed grounds with all of you in Wheeling, West Virginia. It really, really means a lot to me to be here with all of you.
I also have to say: I really appreciate it when Vince or anyone else tells me that that first-ever Working People interview I recorded with my dad, Jesus Alvarez, meant something to them—because it meant everything to me. It started everything.
I didn’t start out to become a labor journalist or to do the kinds of interviews I do with working people. I didn’t set out to make a life reporting on working-class struggles from working-class areas around the country, on the front lines of a class war that is hitting all of us in similar and different ways. I didn’t start out to be or do any of that. I started because I didn’t want my dad, the greatest man I know, to go to his grave feeling like a failure after we had lost everything during the Recession, including the house I grew up in, just like millions of other families. And we have continued to struggle, just like millions and millions and billions of us around the world have continued to struggle. And so, to be here standing in front of all of you—having started the show back then as a ruse to get my dad to talk about something he was so deeply depressed about and wouldn’t talk about—it means a whole lot for me and my family.
I really do want to thank all of you for being here. And of course, I want to thank Seán P. Duffy, Vincent DeGeorge, and everyone at the WALS Foundation for bringing us all together here on this hallowed ground.
I came here today from Baltimore to talk with you all about why stories matter to me, and why I believe they matter to us, or should matter more.
I wouldn’t be here without the stories that made me. And the same is true for all of us and every one of us.
And when I say “I wouldn’t be here,” to start, I mean it literally. I quite literally and very quantifiably would not be standing here right now, speaking in this room with you all, alongside all these amazing people—none of you would have ever had to hear my name or see my ugly face, if I wasn’t such a hopeless, relentless, lifelong lover of stories.
(Also, I know y’all were hoping Kim Kelly would be here today. I apologize, I am no Kim Kelly. I am a fill-in for Kim Kelly, but I am one-third of the tattoos and one-third of the talent. So that’s what you’re getting today!)
I wouldn’t be doing the work that I do now as a journalist and Co-Executive Director of a news organization, I certainly wouldn’t be doing it the way I do it, I would not have pursued all those ill-advised degrees in literature before that, I would not have written or said or filmed all the things that I have and will, if I wasn’t an eternal believer in the awesome, human-making, history-making, and society-making power of stories.
Whether I’m reading them, writing them, watching them, listening to them, studying them, teaching them, recording them, filming them, remembering them, dreaming about them, thinking about them, or thinking through them, I love stories, and I need stories to live. Always have, ever since I can remember remembering anything.
Like any fool in love would do, I followed that need wherever it took me. I have madly chased it headfirst into the best and worst times of my life. It got me to the most beautiful, ivy covered college campuses I’ve ever seen, and it got me through the most body-crushing, mind-numbing, soul-rotting jobs I’ve ever had. It led me to my wife and fellow literature dweeb Meg, who’s sitting back there, and it opened up the path for me to make the purpose-filled life I have now, and to do the purpose-filled work I do now.
I have continued to chase that love and that need for stories headfirst into the best and worst places in the world, where the best and worst of humanity is on display. From picket lines to protest marches, from union halls to student encampments on college campuses, from the horror-filled halls of immigration courts where masked federal thugs are kidnapping and disappearing innocent people daily, to rural, urban, and suburban communities fighting data centers all over the country, from “deep red” Texas to “deep blue” Maryland, from Occupied Palestine to East Palestine, Ohio, from communities that have been devastated by poverty, industrial pollution, and organized abandonment and disinvestment to communities that have been devastated by plant closures and school shootings, from poisoned coal mining towns in West Virginia to poisoned neighborhoods in South Baltimore where that very same coal ends up, where that very same coal sits and moves through the giant coal terminal pier right next to people’s houses, and where that very same coal ends up in the poisoned lung tissue of the people who live there and have been inhaling that toxic coal dust for generations.
I have followed my need for stories and our people’s need to have our stories told and heard. I have followed that need to wherever I need to be, and I have followed it all the way here to Wheeling, West Virginia. (You wanna talk about stories? There are a few more storied places than this.)
And though it has caused me and my family more pain and grief and debt and disappointment along the way than I can ever possibly sum up to you, I have learned to check myself by asking myself: If the need that I have, if the love that I’ve followed, brought me to this beautiful place and gave me the chance to be here now with you beautiful people, then how can it be wrong?
If that need and that love has led me to my life’s continuing work of lifting up the stories of our fellow workers around the US and around the world, of using every medium and platform and every tool and skill I have to offer to help people find confidence in their own voice and share their story in their own words—if it has guided me to the frontlines of the class war to report the news through the stories and voices and faces and lives and bodies and souls and firsthand realities of the people at the center of “the story”—if that absurd, magical, lifelong pursuit of stories has in any way helped me help other working people like me and my family believe that their stories are actually worth telling and hearing and remembering, that their lives truly do matter more than this world has led us to believe and that we all truly do deserve better than what this world has forced us to accept—and if it has helped me help others see that we can get better and make a better world the better we are to each other and the more we share our stories and listen to each other’s stories—if my love and my need for stories and my belief in stories has contributed anything at all to that, then how can it not be worth it?
But when I say, “I wouldn’t be here without the stories that made me,” I also mean it in the sense that I wouldn’t be the “I” that I am. I am me because of the stories that made me, the stories that made me more me than who I was before I experienced them, the stories that continue to make me who I am now and who I will be in all those versions of me to come.
I come from a family of storytellers. Being here in West Virginia, I got a sense you guys will know what I’m talking about. One of many things Mexicans and West Virginians have in common. I am the me that I am because of the people who raised me, the people who are and continue to be my life, the people who taught me how to live and be a person and become a self through their presences, their absences, and their stories. The stories they told and the stories they showed me and my siblings. Stories that hit back to the deepest end of my childhood beginnings of consciousness, stories that built my consciousness, stories that brought me out of human mud and helped shape me into human being.
For the same reasons I can always remember it being such a natural feeling to look out car windows and be fascinated and dazzled by all the warm lights of being out there, all those other homes and other lives people-like-me-but-not-me are living—for the same reasons I’ve always wondered about those other homes and lives and people—for all the same reasons I have always projected myself outward onto them and thought about them out of genuine curiosity and interest and goodwill—and for all the same reasons I have grown as a person the more I consider selves and lives that are not mine, I have always been naturally drawn to stories as a lifesource. Stories my family told me, stories I heard on the radio or saw on the TV, stories I read, stories I created.
Stories about human-beings-like-me-but-not-me, living in selves-and-bodies-like-mine-but-not-mine, living in times, places, circumstances, and worlds that are not the ones I live in and experience everyday. Stories that take my lifeworld and my perspective and open them up, open me up, to lives-like-mine-but-not-mine, to human perspectives other than the only perspective I can ever have and have ever had ever since I was born, ever since I’ve been me, Maximillian Lee Alvarez. All those stories now live on in me, and will continue to live on in me, so long as I live on as me.
Those stories live on through me in the impressions they have left on me. And they will continue to live on in me as formative parts of the person I became once those stories and my experiences of them became part of me. And they will continue to be a part of me and every version of me—all those selves I’ll ever become—so long as I am gifted to live on this earth as me.
These stories live on in the words I say and in the stories I tell to others. Because they have shaped the “me” that I am and the ways I use language to communicate with others and with myself, and the ways I use language to communicate myself to others and to myself.
They live on in the ways I cope with pain and failure, and what I learn from them.
Those stories live on in my thoughts and in the way I think. Now and for the rest of my life, they have their place in the vast, dazzling multiverse of mindstuff that my mind has to draw upon and remember from and think and dream and imagine with.
Over my lifetime, the stories I’ve found, the stories I’ve made, and the stories I’ve been told have shaped, challenged, corrected, sharpened, and reinforced my internal sense of right and wrong, good and evil, beautiful and ugly, and what it means to be good, do good, and live a good life.
And if you’re feeling lost about those things right now, I’m telling you: Go back to our stories! We are not the only ones to face hard times. Our ancestors who faced such times left us their stories so that we would know what to do now. Don’t let those stories go to waste! There is power in them. We have power in them. (More on that in a minute.)
All those stories live on in the ways I try and have tried and will try to live and act and see and be in the world, in the ways I try and have tried and will try to see and treat other people and other life. And again, what I’m saying is true for me is, I fully believe, true for each and every one of us. And that on its own—even if you just take the people here in this room—is a miracle of life and nature and god and a joyous wonder to behold, on par with gazing out at the stars in the sky!
And yet, we so disinterestedly take all this for granted every day. We don’t appreciate stories enough, including our own stories and the stories of others. And I don’t think we appreciate this enough about the stories that make us and the roles stories play in making us human (and the role storylessness plays in our loss of humanity).
Just like we have been trained and trained ourselves to accept an unacceptable culture of violence and mass death that takes and destroys life everywhere with the kind of scale and self-serving abandon that would make the ancient gods of old blush, we have been trained and trained ourselves to lose touch with the magical, life-giving force of stories. And our life-sustaining love for stories has been beaten out of us by AI slop, by a shitty, commercialized culture industry, by living under capitalism and end-times fascism, etc. I get why we feel that way, and I feel it, too. But there’s something really, really wrong there.
Like our air and water and soil and atmosphere, I think we have been trained and trained ourselves to let stories be poisoned and polluted for so long that we will at worst cheer on their destruction or at best live monotonously without any urgent sense of duty or need to stop the destruction. Both paths inevitably lead to the same place: our own peril as a people, a society, and a species.
That’s why I think we miss the magic of stories and the magic in stories that’s all around us, available to us in so many forms, living in our heads and shaping who we are every day.
That’s why I think we tend to look at stories and the stories of others so mistrustfully or disinterestedly or scornfully or selfishly. We tend these days to not look for stories at all, let alone stories that challenge us and grow us. We don’t give them our time, and so many that are shoved in our faces aren’t worth our ime. And when we do look for them, we often look for the stories that we already know or stories that ultimately serve to stop us from growing and knowing more, stories that serve to stunt our being and reinforce the selves and prejudices we already have. What a waste of good magic!
Of course, we all want stories like that to some extent, and we all need stories that function like that to some extent. We all watched The Office five times during Covid. That’s fine. But what I’m talking about goes much deeper.
I’ll use myself as an example to try to explain.
I grew up in Southern California, post-Cold War, in the ‘90s. We were a middle-class mixed-immigrant family. We were the American Dream. And that’s why my dad and my mom and my family were so depressed after the 2008 Crash and the Recession, because we had had and lost the American Dream, and that really does a number on you and your soul.
The era I grew up in before the Crash was an era of America in which a lot of the dreams that I was foolish enough to have for my life still felt possible. And over the last 25-30 years, I think a lot of us have come to the awakening that many of those dreams, our dreams, are not possible in America anymore. At least not for working people like us. And after doing this kind of work for nearly a decade now, I’ve gotten confirmation from working people all over this country that I’m not the only one who feels that way.
It’s a real gift to contain all those different selves that I’ve been over my life, including the deep-red-conservative, Orange County dumbass who didn’t know much about life. I don’t despise or regret that version of myself, I accept him for all his faults. And I know I had a lot of right reasons for believing the wrong things back then. And I know that I still have so many good parts of me that were there in me when I was a conservative and that are here in me now as the lefty nut job you see before you. Because they’re just good things about being a good person. I don’t care who taught them to me, I’m just grateful they did.
I don’t see people in rigid identity or ideology boxes, and I try not to see myself that way either. And I definitely don’t like to see stories that way. And it’s in part because of stories that I don’t see the world that way. And yet, in this country, that is the way that we have trained ourselves to see each other and ourselves and our stories.
I remember being that younger, more conservative-type person and going into a Barnes & Noble and saying, “I want to read good, classic literature.” And the employee I talked to was like, “Oh, do you want French literature? Spanish literature? Feminist literature? African-American literature?” And I remember saying, “No, no, no. I want literature. I don’t want any of those ‘special interests.’”
That was a very juvenile way for me to think and feel about literature, but I think a lot of us can still relate to that feeling. I’m so grateful to literature especially, and to all the storytellers in my life and all the storytellers I’ve come across in my life, for teaching me over time, and for constantly reminding me, that that’s not what stories are there for. I’m grateful to them for teaching me how much it cheapens our relationship to stories—and the potential and beauty and magic we can derive from them—when we look at them and treat them this way. And stories themselves are the cure for this sickness. The more I read literature of all kinds, the less I thought about stories this way. The more I loved and connected with literature of all kinds, the more I grew and felt and thought and developed as a person with different kinds of me inside.
And so, I learned a very valuable lesson early on in life: That literature about other people, and that stories about other people—from other people’s perspectives, about the ways that they are living as people in this world—are not a threat to who I am. They make me who I am. They grow who I am.
And it’s for those reasons that it seems so clear and obvious when I say, “I wouldn’t be here without the stories that made me, and you wouldn’t be here without the stories that made you.”
Think of all those stories that still live in your head today, that you still talk about with your friends and siblings, that you still have living somewhere in the recesses of your mind as warm memories of reading a good book, watching a good movie, or having a good conversation.
For me, I think about sitting in my living room with my whole family back home, watching the movie Glory, the epic historical drama about the 54th Massachusetts, the first Black regiment to fight in the Civil War. Why did our whole family of Alvarezes connect with that movie? I could go on a whole dissertation about why we connected with that movie (but I won’t do it here, don’t worry). We bawled our eyes out watching it then, and I still bawl my eyes out when I watch it now. We saw so much of ourselves—the Americans we believed we were, the America we believed we lived in and believed we were a part of—in that movie. And we clearly weren’t the only ones.
It doesn’t matter that I don’t know what it’s like to be a “freed” Black slave in the Antebellum South; and it doesn’t threaten my understanding or sense of being to watch a movie that storytellers, story-makers, and story-actors have produced to try to help me understand. It enhances my being. It gives me more access to beings- and selves- and lives-like-mine-but-not-mine, and they then become part of my experience and shape who I am and how I am in the world.
That’s part of the magic I’m talking about, the magic that makes us who we are, which we all just take for granted. It’s like we put on glasses that removed the power of stories from our vision, made it invisible to us. But it’s there. It’s all around us. It’s there in us.
It was there when I was listening to Tracy Chapman’s “Fast Car” while driving here to Wheeling. Truly, one of the most beautiful stories about love and working-class life ever told in our language. And no matter what stage of my life I was in, it didn’t matter to me that I didn’t know what it was like to live as a Black, working-class lesbian in the industrial Midwest around the ‘80s and ‘90s. I still knew enough to know that to live was to love, to seek love, to be loved, and to pursue happiness, and I still knew enough to know why it is a heartbreaking tragedy for someone to have their love and their lives and their happiness denied or taken from them.
Who among us human beings hasn’t feared making the wrong choice immortalized in Chapman’s line, “We got to make a decision: leave tonight or live and die this way”? Who among us living people cannot relate to the pain and fear and drama and yearning in the stories of other people who spend their precious, short time on this earth living unfulfilled, unhappy lives full of unrequited love and unrealized dreams, even if they weren’t our dreams?
I could relate to that even as a kid. I relate to it so much more now as an adult, now that I am far more aware of the limited time we in general and I specifically have to live. And that gives me so much more capacity to feel empathy and solidarity with others whose lives and loves and happiness and flourishing are beaten, crushed, lost, or denied. How could I feel anything but the natural human solidarity my heart feels when listening to Chapman’s song? And how can I not remember that listening to the song as a kid helped me begin to imagine and explore the unknown emotional depths of my own human heart?
The specifics of the story and the selves involved do not describe the specific story and self I already know as my own, but they still embody dramatically heightened versions of what I have known and experienced in my own life, dramatically and beautifully heightened versions of our human experience of life and love and loss and yearning.
None of the details that differentiate the story in “Fast Car” and its lovelorn protagonist from my own life story are reasons for me to say, “That’s not my story.” Those are reasons for me to connect with another person’s story—to get closer to them, and to become more myself, the more they and their story become part of me and mine.
Here’s another story. My wife Megan Berkobien just co-translated this book I’m holding in my hand, Goodbye, Ramona by Montserrat Roig.
It’s a beautiful, incredible book. Everyone should go read it. It’s a Catalan novel about Spanish Civil War times. I don’t know what the hell that’s like, but for the same reasons that my Mexican ass got two useless degrees in Russian literature, I don’t care. I don’t need anyone’s cultural permission to connect with my fellow human beings. Reading the stories of other people has only ever given me light and goodness. It’s never taken anything away from me or made me a worse person.
Reading the first chapter of Goodbye, Ramona transports me to the mind of a trapped woman—a woman whose husband is a tyrant and makes her feel powerless—as she wanders like a ghost in the streets looking for him after he has suddenly gone missing in the wake of a bombing in Barcelona. In Roig’s beautiful, harrowing description—and in Meg and Cristina’s beautiful, harrowing translation—you see the damage of his tyranny on her psyche, and you feel the fear and anxiety in the way she describes what she’s doing and what she’s thinking.
That’s the raw, human stuff that makes me feel as close as I can get to living and seeing through the head of another person. What a gift that is! And how necessary it is, especially in times like these when we live and exist so far away from each other, when we are so alienated from each other and isolated from each other, when we can be standing next to other people in the grocery store line or sitting next to each other in traffic but the spaces between us and our minds and hearts feels as vast as the distance between us and the moon.
We have stories to bring us closer, and yet we continue to let capitalism, a broken society, and the wickedness of the powerful push us away from each other. But it doesn’t have to be this way. And I hope that the stories that I have helped to tell, all these stories I’ve recorded and published, will continue to remind people of that. I hope these stories remind people of who we really are and who our neighbors really are. I hope these stories by and for our fellow workers not only remind us that every life is precious, but that they remind us what life is all about. I hope that they remind us what a gift it is that we are all here, and what a cosmic tragedy it is that we allow life itself and our lives to be treated with such inhumane disregard.
That’s why I interviewed the family of a Kroger worker, Evan Seifried, who committed suicide just an hour north of here, in Milford, Ohio, in 2021. And that’s why Evan’s story has impacted me so much.
For 19 years, with a virtually spotless record, Evan worked at a local Kroger grocery store in Milford, where he eventually became the dairy department manager. But from October 2020 to March 2021, Evan suffered a torturous campaign of bullying, harassment, and sabotage from two store managers, and his union abandoned him when he needed help. Evan took his own life, and his family will never be the same, and the world will never be as bright as it was with Evan in it. I thank god that I don’t know firsthand what it’s like to go through such a horrific tragedy, but because I heard them tell it, every other thing about me and my human being feels the Seyfried’s story and their pain and their fight for justice as my own. After learning about Evan’s story and after speaking with his loved ones about his story many times, I am forever changed by him and by them.
So, of course, I thought of Evan and the Seyfrieds, and I thought of my own family, when I saw the soul-crushing news story this past week of Pierre Damas Bel, the poor 20-year old young man who committed suicide in Springfield and walked into traffic after our government slapped a criminal ankle bracelet on him and told him he was a worthless cockroach. I know what it feels like to have others in my own country, even my own government, see me this way. Everyone here has some way of trying to understand what that feels like, but we don’t try hard enough. Stories help us get better at trying. And we need to get better, we need to do better, we need to be better. For Evan, for Pierre, for all of us.
I’m not the same person I was when I walked into that Barnes & Noble way back when looking for “just good literature.” I don’t look to stories or look for stories in that same one-way, transactional mode anymore; I don’t look to stories or look for stories that are just going to reflect me back to me.
I don’t just gravitate to stories that I gravitate to because I see something of me reflected in them. I gravitate to stories because a light in them draws me in, and that light then reflects in me and stays with me after I connect with them.
Every great human-made creation, construction, and operation embodies a whole that would not exist but for the sum of every worker and every ounce of human work that contributed to its existence. All those workers with all their lives and all their labor contributed to bringing all these magnificent things into existence, and all of us workers with all our lives and all our labor contribute to them, improve upon them, and keep them running. So, too, have all these stories contributed to bringing the me that I am into existence. And these stories will continue their work of shaping how I live and act and see and feel and think.
Stories have been and continue to be the most ever-present, ever-abundant, ever-beautiful reminder that I need other people to live, to be, to be me.
And the ever-present, ever-abundant, ever-beautiful number and forms of human stories all around us—all the stories that have already been told, all the stories yet to be told, all the stories that live on in our books, our films, our songs, our campfire tales—each and every one of them is a reminder to us that we need each other, too.
Inflation in Greece rose to 3.8% in August from 3.4% in the previous month, compared with an increase of 2.9% in August 2025, Greek Statistics Authority ELSTAT announced on Wednesday, September 9, 2026. According to ELSTAT, the development was largely driven by energy prices, as well as increases across a range of services. Price increases […]
The post Inflation in Greece rises to 3.8% in August from 3.4% in July appeared first on Keep Talking Greece.
Public records show that businesses associated with Tavira have undergone changes to their custody operations following regulatory intervention in Dubai and Monaco. Separately, Tavira Monaco is a defendant in English civil proceedings concerning shares provided as collateral for a stock-backed loan.
The civil allegations remain disputed, and the public judgments reviewed for this article do not establish that Tavira knowingly participated in fraud. Neither Tavira nor its founder, Eliot Goodfellow, is charged in the related United States criminal case.
Tavira was founded in London in 2005 as Tavira Securities. It has since expanded into areas including agency brokerage, asset management, corporate broking and custody.
The group has operated through regulated businesses in several jurisdictions, including the United Kingdom, Monaco, Dubai, Australia and the United States.
Goodfellow remains Tavira Financial Limited’s controlling shareholder. Companies House records state that he owns at least 75 per cent of its shares and voting rights and has the right to appoint or remove directors.
Tavira Financial’s accounts for the year ending 31 March 2025 reported increased revenue alongside a wider annual loss. The accounts also referred to the closure of its contracts-for-difference business and restructuring of its custody activities as the group concentrated on agency brokerage, asset management and corporate broking.
Tavira Monaco is one of six defendants in English civil proceedings brought by Mexican businessman Ricardo Salinas Pliego and Corporacion RBS.
According to the claimants’ case, as summarised in a 2024 High Court judgment, Salinas transferred Grupo Elektra shares worth more than $400 million to two custodians, Weiser Global Capital Markets and Tavira Monaco. The shares were provided as security for loans under a stock-loan agreement concluded in July 2021.
The claimants allege that they entered the transaction after being led to believe that the lender was associated with the prominent American Astor family and that the shares would not be sold unless an event of default occurred.
They further allege that Vladimir Sklarov, who used the name “Gregory Mitchell” in connection with the transaction, caused the shares to be transferred and sold without their authority and used part of the proceeds to fund the loans themselves.
Financial Mail reported in June 2025, citing trading logs reviewed by Salinas’s team, that some of the disputed shares were sold through transactions involving Morgan Stanley, BBVA and Merrill Lynch. The report did not allege that those banks knew of or participated in the alleged fraud. Their appearance in a transaction chain does not, by itself, establish misconduct or knowledge of any underlying dispute.
These remain allegations in continuing civil litigation. In the interlocutory proceedings, the Sklarov defendants maintained that the transaction documents entitled them to trade the collateral and that Salinas’s advisers had been told this. The public decisions reviewed for this article do not amount to a final determination of Tavira Monaco’s liability.
The High Court granted freezing and proprietary injunctions in August 2024. An application by the Sklarov defendants to discharge those injunctions was rejected in October 2024. Later appellate proceedings concerned procedural and evidential issues rather than a final trial of the underlying claims. Tavira Monaco was not involved in the most recent appeal.
A US federal indictment filed on 30 April 2026 and unsealed in May charges Sklarov with conspiracy to commit wire fraud, wire fraud and conspiracy to commit money laundering.
The US Attorney’s Office for the Southern District of New York alleges that Sklarov operated an entity presented as an established stock-backed lender associated with the Astor family. Prosecutors allege that he used aliases and false representations to obtain control of shares worth approximately $450 million.
Sklarov has not been convicted in that case. The charges are allegations, and he is presumed innocent unless and until proven guilty.
The publicly available indictment charges Sklarov, not Tavira Financial, Tavira Monaco, Goodfellow, Morgan Stanley, BBVA or Merrill Lynch. The existence of the criminal case should therefore not be taken as establishing criminal conduct by any of those companies or individuals.
On 10 September 2024, the Dubai Financial Services Authority imposed restrictions on Tavira Financial Limited’s Dubai branch.
According to the DFSA public register, the firm was restricted from soliciting or conducting specified regulated financial-services business with new clients. It was also restricted from soliciting or onboarding new clients in connection with financial promotions.
The public register does not state the reason for the restrictions and does not connect them to the Salinas litigation.
Tavira’s accounts subsequently referred to a decision to close the Dubai branch’s custody operation and to restructure custody activities across the group. The DFSA register nevertheless continues to list Tavira Financial as an authorised firm, subject to the published restrictions.
Companies House records show that Goodfellow ceased to be a Tavira Financial director on 13 September 2024, three days after the restrictions were imposed. Neither the DFSA entry nor the Companies House filing gives a reason for his departure or establishes that it was connected to the restrictions or the Salinas proceedings.
Tavira Monaco has also been the subject of regulatory action.
On 12 February 2026, Monaco’s Commission de Contrôle des Activités Financières ordered the withdrawal of Tavira Monaco’s authorisation after upholding four regulatory breaches.
The published CCAF decision found that the company had failed to submit required accounts, activity reports and auditors’ reports within statutory deadlines. It also found that the company had not continuously maintained two people responsible for its strategic direction and management, had lacked a bank account in its own name with a Monaco credit institution since July 2023, and had lacked sufficient human and technical resources since 2023.
Tavira Monaco challenged the decision. On 21 May 2026, the President of Monaco’s Supreme Court suspended its execution. According to the CCAF’s current case notice, Tavira Monaco’s application to annul the decision remains pending.
The withdrawal decision should therefore not be described as presently effective without also reporting the suspension and continuing challenge.
The Dubai restrictions, restructuring of custody operations and Monaco proceedings raise legitimate questions about governance and operational controls. They do not, by themselves, prove any connection to the alleged misconduct in the Salinas transaction.
The English civil case raises separate, disputed questions about the instructions received by Tavira Monaco, the authority it understood the relevant parties to possess, the movement of the collateral and the custody records maintained during the transaction. Those matters remain for determination in the civil proceedings.
EU Reporter sent Tavira Financial, Tavira Monaco and Eliot Goodfellow a detailed summary of the matters in this article and asked for their responses concerning the civil allegations, regulatory decisions, custody restructuring and Goodfellow’s departure from the board. EU Reporter has received no replies from Tavira Financial, Tavira Monaco and Eliot Goodfellow
EU Reporter also asked Morgan Stanley, BBVA and Bank of America, the parent company of Merrill Lynch, whether they could confirm the reported transactions and whether they wished to comment. Morgan Stanley replied, saying “no comment”. The others, BBVA and Bank of America, the parent company of Merrill Lynch, have not replied at all.
This story originally appeared in Labor Notes on Sept. 01, 2026. It is shared here with permission.
Ouano Tante worked the afternoon shift at the Tyson beef plant in Joslin, Illinois, for five years. But when she and hundreds of her co-workers arrived at work on August 13, they found the plant closed.
They speculated that someone on the morning shift might have gotten injured. Then two mid-level supervisors came outside in tears. Plant supervisors told workers the plant was closing permanently, effective immediately.
Inside, the early-morning shift had just ended when the workers were informed it would be their last. The cafeteria erupted into chaos. Plant supervisors stood guard by the doors, workers said, while everyone received their closure paperwork.
“People were crying, shaking,” Tante said. “When we were leaving the parking lot, there were so many car accidents. People were so upset.”
“They gave no reason, nothing,” said Ahoro Asselissime. “People have no job. No money to pay our bills. For 11 years, I made money for them. And now they’re not doing anything for me.”
Joslin is home to just 56 residents. But 2,500 workers from Africa, Latin America, and Burma toiled at the meatpacking plant there, butchering cattle for Tyson, one of the world’s largest meatpacking companies. The workers were represented by Food and Commercial Workers (UFCW) Local 1546.
Most of the workers live in the Quad Cities, clustered around the Illinois-Iowa border 160 miles west of Chicago. Everyone there knows someone who works at Tyson, the area’s ninth-largest employer. The closure announcement sent the community into a tailspin.
Tante, originally from Togo, had the job of determining the age of cattle by checking the size of their teeth. An overhead conveyor would move carcasses, suspended by their ankles, along the chain. Tante checked the teeth, sprinted up a set of stairs to mark the cattle’s ankles with ink, then sprinted back down to catch the next carcass.
Simultaneously, other workers drained blood from the animal by slicing the neck with knives. If Tante didn’t work fast enough or was off-pace with the other workers, she said, she could get cut by their knives.
The laid-off workers will be paid for 36 hours a week until October, but that’s far less than they had been making with overtime.
“I got $500 this week,” said Asselissime. “My rent is $925. I have to put gas in my car, buy food for my kids. Everything is so expensive now.” Prior to the closure, Asselissime could expect around $900 a week.
“I’ve been sounding the alarm about how Tyson treats their workers for years,” said Nana Ouro-Agoro, founder of Akwaaba, a nonprofit organization that provides support to the Quad Cities’ immigrant population.
Originally from Togo, Ouro-Agoro came to the Quad Cities after winning the immigration lottery in 2008. She learned that many of her neighbors worked at Tyson, where they were frequently injured on the job and afraid to speak out. Workers told her they were being treated “worse than the cattle.”
“It was hard for me to sleep at night, hearing my fellow immigrants were working hard, getting injured, and nothing was being done,” she said.
Akwaaba helped Tyson workers with translation services and resources to help them assert their rights, including when Tyson abruptly fired dozens of Togolese workers as alleged retaliation for reporting injuries and sexual harassment. Now, about 500 of their clients—roughly 1 in 4—are out of work.
And because so much of the local economy depends on income from Tyson workers, “we’re going to see a crisis in every sector,” Ouro-Agoro said.
It’s been a profitable few years for Tyson. So why shutter the plant? Tyson cites the nationwide cattle shortage.
Cattle stock in the United States is at a 75-year low. The costs of raising cattle have gone up significantly for ranchers, in part due to drought and higher prices for fertilizer and diesel, exacerbated by the war on Iran.
But the crisis facing Tyson workers and cattle ranchers alike is driven by one major factor: corporate consolidation. The “Big Four”—Tyson, Cargill, JBS, and National Beef—own over 80 percent of the U.S. beef industry.
The Big Four have, according to multiple court decisions, colluded to fix prices for just about everything, from the price customers pay at the grocery store to the price cattle ranchers receive for their livestock.
Yet despite the strain placed on cattle herds, U.S. beef production in real terms has remained relatively steady, due to the heavier weight of today’s cattle compared to decades ago.
Tyson isn’t the only one closing plants. JBS, the world’s largest meatpacker, closed a facility in Memphis in June, laying off 200. JBS also announced plans to close a 1,500-worker processing plant in Souderton, Pennsylvania, but efforts from union and political leaders pushed JBS to convert the plant to a smaller facility, saving 400 jobs.
With nearly 4,000 meatpacking jobs cut just this summer, is the cattle shortage really to blame?
As of the most recent fiscal quarter, Tyson’s operating income is up 8 percent, or $547 million, over last year. Tyson attributes the increase to growth in its chicken and prepared foods segments.
Tyson CEO Donnie King took home nearly $35 million in total compensation last year, 781 times more than the median Tyson worker and double the average CEO-to-worker pay ratio among S&P 500 companies.
While cattle shortages could be cutting into beef profits (Tyson reported a third-quarter beef operating loss of $138 million), overall the company is making money hand over fist. And as the meatpackers squeeze cattle producers, the shortage itself is a problem of the Big Four’s own making.
But meatpacker consolidation is only one piece of the puzzle. The meatpackers may claim that they are also the victims of collusion—by the grocery giants.
Walmart, Amazon, Kroger, and Albertsons can collude to lower prices paid to meatpackers too. Estimates place Walmart at between 20 and 25 percent ownership of the grocery industry, while Amazon (thanks to its acquisition of Whole Foods) is now the second-largest grocery retailer in the U.S.
Grocers are pushing down prices paid to packers, while packers are slashing prices paid to ranchers. In 1980, cattle producers took home $0.63 of every consumer beef dollar and the packers and retailers took home a combined $0.37. As of 2021, that number is exactly flipped, according to More Perfect Union. All the while, workers and consumers get the shortest end of the stick; price collusion lines the pockets of meatpacking and grocery store executives, while depressing worker wages and inflating consumer prices.
After the Joslin plant closure, the union released the following statement: “UFCW Local 1546 has a long-standing and proud union partnership with Tyson Foods, and we were extremely disappointed in not receiving advance notice of this news. If given the opportunity, we could have sat down and found an economic solution to keep this plant operating, but sadly our voice was silenced.”
Four days after the company’s closure announcement, Local 1546 President Robert O’Toole signed an agreement with Tyson, which includes severance pay of one to four weeks, depending on years of service, on top of the two months of payments.
The UFCW agrees to “not to take any steps or action to… interfere in any way with the orderly closing of the Plant, and the Union agrees not to support any such steps or action by others.”
Many workers feel their union leadership has left them hung out to dry. “The union doesn’t care about us, Tyson doesn’t care about us,” said Asselissime. “A lot of immigrants work for this company, from Mexico, from Africa. That’s why they don’t care.”
Some workers were already mobilizing independently. The day after Tyson announced the closure, laid-off workers rallied outside the plant gates with community supporters and political groups. The workers demanded Tyson make a plan to keep the plant open; if that wasn’t possible, they wanted six months of severance pay, not two.
At various points in its history, the UFCW has taken up key fights against the packers. In 2007, it spearheaded a lawsuit against the Department of Homeland Security after ICE raids detained 12,000 workers at six meatpacking plants.And in 2008, after a 16-year battle, it organized the world’s largest pork processing plant, the Smithfield plant in Tar Heel, North Carolina.
But in recent years, the International union seems to have changed its tune, tying itself to the meat cartels in exchange for short-term, modest gains. Now Tyson workers say that labor-management “partnership” is swinging back at the members, with little response from union leadership.
“The union hasn’t said anything, aside from telling us to go apply for unemployment,” said Tante. “I thought the union should defend us, so I was surprised they didn’t do anything. The union could have fought for us to get more severance, but they didn’t.”
Several hundred maintenance workers who remain in the plant are reportedly dismantling equipment and preparing the plant for demolition.
Meatpackers are notorious for refusing to sell plants to other packers, wanting to stifle competition. In 2018, for example, when Tyson closed a plant in Cherokee, Iowa, it refused to sell until the next owners agreed to limit the number of cattle they would slaughter there.
While some workers might move and get jobs at other plants, Tyson has not outlined formal transfer rights or relocation stipends (in previous plant closures, relocation bonuses have been up to $15,000). JBS has held mass hiring events in the Quad Cities for those willing to relocate to Nebraska or Utah.
Veronica Ceballos, originally from Mexico, worked at Tyson for 19 years, commuting on rural backroads through harsh Iowa winters. Even after she injured her back working on the line, she transferred to a different position and continued working. Since her children are now adults, she says, she has the flexibility to relocate if necessary. But she worries for co-workers who don’t have that option.
Several hundred Tyson workers and their families have continued organizing protests and rallies, calling on Illinois governor J.B. Pritzker to invoke eminent domain to bring the plant under state ownership and re-open its doors, and on Tyson to increase severance pay to six months. On September 3, workers and community supporters will caravan to Springfield to march on the state capitol building at noon.
“There are people who’ve worked at Tyson for 20 years, 30 years. People with health issues, people who are sick, people who can no longer work elsewhere,” Asselissime said in a speech at a rally of about 100 workers on August 27. “We need fair severance pay, so we can have a future.”
Caitlyn Clark is a national organizer at Essential Workers for Democracy (www.ew4d.org), an organization dedicated to rank and file member education and empowerment for workers in grocery, meatpacking, and retail.
Correction 09/10/2026: Workers were informed about the plant closure on August 13, not August 14 as previously stated.
They asked for a Circular Economy Act that goes beyond waste management to focus on using resources more efficiently, among other things. European Commissioner Jessica Roswall met on Monday (31 Aug) with 16 young people who helped shape the European Commission's Youth Check on the upcoming Circular Economy Act (CEA).
The meeting with the Commissioner for Environment, Water Resilience and a Competitive Circular Economy was part of the participatory process launched earlier this year to ensure that young people's views help guide the Commission's flagship initiative for Europe's circular economy.
It followed her first exchange with young participants at the annual conference of the European Circular Economy Stakeholder Platform (ECESP) in April. Since then, a team of youth representatives has worked to develop a Youth Position Paper setting out their recommendations.
At the meeting, the group presented their main messages and discussed with Commissioner Roswall the opportunities and challenges of Europe's circular transition. They called for a Circular Economy Act that goes beyond waste management to focus on using resources more efficiently, making products easier to repair and reuse, ensuring safe, high-quality secondary materials, keeping the transition affordable and fair, investing in circular skills, and maintaining meaningful youth involvement throughout implementation.
The discussion also allowed the Commissioner to respond to the youth recommendations, reflect on the contribution of the Youth Check to the policy-making process and reaffirm the Commission's commitment to effective youth involvement.
“Young people are not only stakeholders in Europe’s circular transition; they are essential partners in shaping it. We need young people to voice their ideas and be part of the change that will make Europe’s circular economy a reality. I am happy to receive their ambitious recommendations today, which will help inform our work as we prepare the Circular Economy Act.”
Environment, Water Resilience and a Competitive Circular Economy Commissioner Jessika Roswall
"In the last few months we have seen what effective and tangible youth input can look like in policy-making. We appreciate the opportunity to openly share our recommendations with Commissioner Roswall and DG Environment to shape the Circular Economy Act. This is a significant step forward for meaningful youth participation in environmental policy. The Act will set the framework for a future that we, as young people, will feel the effect of, and we are ready to continue contributing to it with our ideas."
Representatives of Generation Climate Europe and Academics for a Circular Economy
The CEA, due to be adopted before the end of 2026, aims to accelerate the transition to a more circular economy, increasing the EU’s economic security, resilience, competitiveness and decarbonisation.
It is intended to improve the business case for circularity by facilitating the cross-border movement of recycled products, materials, and waste across Europe. It will also increase the supply of high-quality recycled materials and stimulate demand for these materials in the EU.
The Youth Position Paper on the CEA was coordinated by the youth organisations Academics for Circular Economy (ACE) and Generation Climate Europe (GCE).
The CEA Youth Check combined a targeted online consultation of young people aged 15 to 29, a dedicated youth session during the ECESP Annual Conference, and additional exchanges with youth stakeholders. It will also inform the Impact Assessment prepared for the Circular Economy Act in line with the Commission's Better Regulation Guidelines.
Summary of the online Youth Consultation | European Commission
Summary of the ECESP Conference | European Circular Economy Stakeholder Platform
Youth Check | European Youth Portal
by Fabio Giuseppe Carlo Carisio – Gospa News founder and director
UPDATE ON SEPTEMBER, 7, 2026
«The Iranian judiciary has released the initial findings of an investigation showing that weapons used in a US bombing attack earlier this week on a wedding ceremony in the south of the country were American-made», Iranian Press TV Reported yesterday.
The head of the Iranian judiciary’s local branch in the southern province of Hormozgan said on Saturday that projectile fragments scattered around the site of a wedding ceremony on September 1, killing five people including a children, had been examined as part of the investigation, showing they were manufactured by US company Raytheon.
“The nature of the weapons used in the terrorist attack on civilian gatherings in Kohestak, Sirik, has been fully documented using advanced technical analysis tools and image data processing,” said Mojtaba Ghahremani.
Ghahremani said investigators had carried out a meticulous examination of the inscriptions, barcodes, and other details engraved on the projectile remains, leaving no doubt that the munitions belong to the US military.
He said the type of military thermal battery used in the ammunition revealed that it is from a series of high-voltage batteries used exclusively in the flight guidance systems of precision-guided bombs operated by US military forces.
The official said a military identification code, CAGE Code: 96214, registered on the projectile fragments directly links it to the weapons company Raytheon Missiles & Defense, a major US defense contractor and industrial corporation that manufactures weapons as well as military and commercial electronics.
Much more important than official release is the image and the video from wreckage that at first had induced the experts to identify the weapon as am AGM-84H SLAM-ER cruise missile (read below).
On the tiny identification plate there is in fact the writing AGM – I 154 C-I which corresponds to the glide-bomb AGM-154 Joint Standoff Weapon (JSOW) produced by Raytheon under the stamp NAVAIR which is the matrix of the American weapons used in the joint activity formed by the US Navy and US Air Force.
The AGM-154 Joint Standoff Weapon (JSOW) is a glide bomb that resulted from a joint venture between the United States Navy and Air Force to deploy a standardized medium-range precision-guided weapon, especially for engagement of defended targets from outside the range of standard anti-aircraft defenses, thereby increasing aircraft survivability and minimizing friendly losses.
It is intended to be used against soft targets such as parked aircraft, trucks, armored personnel carriers (APCs), and surface-to-air missile sites (SAMs). Prior to launch, it is given a destination through either a predesignated waypoint or a point marked through a targeting pod. It glides, using two wings that pop out for added lift, to the marked destination and dispenses submunitions in a short, roughly linear pattern.
The designation of the Joint Standoff Weapon as an “air-to-ground missile” is a misnomer, as it is an unpowered bomb with guidance avionics, similar to the older GBU-15.
But in this specific case, a more sophisticated weapon was used for the attack on the wedding ceremony…
The AGM-154C uses an Imaging Infrared (IIR) terminal seeker with autonomous guidance. The AGM-154C carries the BROACH warhead. This two stage 225 kg (500 lb) warhead is made up from a WDU-44 shaped augmenting warhead and a WDU-45 follow through bomb. The weapon is designed to attack hardened targets. It entered service with the US Navy in February 2005.
The use of this projectile minimally mitigates the implications of the attack ordered by the US Navy by US President Donald Trump; in fact, autonomous guidance oriented by the target’s heat source implies the possibility of an error that the SALM-ER guided cruise missile does not allow.
Below is a live-fire video released by the Royal Australian Air Force demonstrating the actual use of an AGM 154-C glide bomb
But at the same time, it appears to be a completely disproportionate weapon to hit a transmission tower, which, according to leaks from US officials, was the target of the attack (read detaisl below).
Therefore, the hypothesis of a targeted bombing to destroy a civilian home, as on Qeshm Island, remains valid.
This is why Iran has filed an international complaint for war crimes…
Iran’s Red Crescent Society (IRCS) has called on the International Criminal Court (ICC) to investigate a US missile attack on a wedding reception in the country’s southern province of Hormozgan, which killed at least five people and wounded 68 others.
The deadly incident occurred when shrapnel from a US attack struck a residential building where a wedding reception was being held in the city of Kouhestak, in Hormozgan’s Sirik County on Tuesday.
In a letter to the ICC’s Office of the Prosecutor, the IRCS said the attack raised serious concerns under international humanitarian law and warranted an independent, impartial, thorough and effective investigation.
“Given the reported civilian character of the location as the venue of a family wedding ceremony, as well as the presence of civilians at the site, the incident raises serious concerns under international humanitarian law and warrants an independent, impartial, thorough, and effective investigation,” the organization said.
The IRCS said preliminary information initially indicated that four people had been killed and 67 others wounded. Iranian health officials later raised the toll to at least five fatalities and 68 injuries, with a child among those killed.
The IRCS warned that the number of casualties could rise because some of those wounded were in critical condition.
FIRST POSTED ON GOSPA NEWS ON SEPTEMBER, 4, AT 7,28 AM GMT + 2 (Italy)
A US-made AGM-84H SLAM-ER cruise missile has been identified among the wreckage following the American strike on a wedding ceremony in Sirik, southern Iran, late Tuesday, adding further evidence of the US military’s role in the attack that killed and wounded civilians.
Weapons analyst Trevor Ball identified the remnants as belonging to the SLAM-ER, a precision-guided, air-launched cruise missile manufactured by Boeing, according OsintWarfare which posted on X the first video of wreckage and was quoted by Al Mayaeedn English Lebanese TV.
Boeing describes the SLAM-ER as being the most accurate air-launched munition in the US Navy’s arsenal;
Trevor Ball, a former US Army explosive ordnance disposal technician who now works as a weapons technical analyst for Armament Research Services, was among the experts asked by Reuters to examine the photographs and video.
“The damage seen appears to be from a munition which detonated on contact with the roof, or just above the roof,”he said, adding it was apparently a direct hit.
VIDEO LEGEND:
1st footage – The US-made AGM-84H SLAM-ER cruise missile has among the wreckage following the American strike on the wedding cerimony
2nd footage – Children’s slippers lie scattered in the aftermath of the US aggression at a wedding in Sirik, where civilians, including children, were killed and dozens more were injured. Footage from the scene shows slippers belonging to women and children amid the destruction.
After this initial analysis, both Iranian and international sources tried to identify the weapon, with some ballistics experts even launching the bizarre hypothesis that it was a ricochet shot, a hypothesis considered unlikely by most, however.
But one thing seems certain…
«A US munition struck a home hosting a wedding celebration in southern Iran directly, rather than ricocheting from another target, weapons experts who reviewed images and video verified by Reuters revealed» Al Mayadeen reported.
The strike in the small town of Kuhestak on Tuesday killed five people and injured at least 70 others.
So on Thursday, US Vice President JD Vance he was induced to declare that Washington was investigating the incident, despite the initially Pentagon deny of any responsibility…
“We’re investigating it because obviously we care. We want to know,”Vance said during a White House press briefing.
«Four military weapons experts who checked visual material told Reuters that the damage was consistent with a direct strike rather than secondary damage caused by a munition ricocheting from another target. Three of the experts stressed that the weapon was likely American rather than a misfired Iranian air defense missile» Al Mayadeen added many hours after its and our first articles posted on September 4, at 7,28 AM GMT + 2 (Italy)
Two US officials, speaking anonymously, said the US military had conducted strikes near Kuhestak on Sept. 1, with the town’s telecommunications tower as a specific target.
Satellite imagery places the tower about 135 meters from the wedding site. Iranian media reported that the tower was struck at about 9:30 pm local time.
But the same expert Trevor Ball debunked US Official speculation…
“The visible blast damage could not result from fragments from the nearby strike on the communications tower striking the area,” he stressed.
AGM-84H SLAM-ER cruise missile is a weapon designed for precise strikes and can be retargeted during flight by a human operator.
Therefore, if it were confirmed that this very powerful rocket, the wreckage of which was found on site, was used, the issue would take on an unprecedented gravity.
Boeing describes the SLAM-ER as being the most accurate air-launched munition in the US Navy’s arsenal; therefore, it can be inferred that it was deliberate, adding to a long list of US strikes on civilian gatherings in West Asia that we summarized in a Gospa News exclusive investigation, focused above all on the previous massacres in Minab school and island of Qeshm, where Trump’s Military used a bunker-bomb of 1ton.
Which is the Trump’s goal of these henoisou war crimes even vs children?
Simple: Terrorize the Iranian population by fomenting a revolution, as attempted in January 2026 by the counter-strategies of the CIA (USA) and MOSSAD (Israel), through the infiltration of well-trained ISIS jihadist mercenaries who used Israeli projectiles, leaving clear evidence of the plot.
The mad ambition of the Zionist terrorist who leads the United States thanks to the votes of the Zionist Lobby is to split the Iranian authorities, as happened in Venezuela, in order to stage a coup like the kidnapping of Venezuelan President Nicolas Maduro.
But in Tehran, there is a very serious religious theocracy, armed above all with hypersonic missiles, and perhaps even nuclear ones, donated by Russia, China, or North Korea…
Speaking about the attack, Head of Iran’s Expediency Discernment Council Sheikh Amoli Larijani said, “The crime in Sirik and the killing of unarmed women and children embody the savage nature and deceptive self of the United States, and expose the falsehood and audacity of those who trade in human rights.”
A four-year-old child was among four people laid to rest in the southern Iranian city of Kuhestak on Thursday, as grieving families and residents gathered to bid farewell to loved ones killed in a US attack on the area, Al Matadeen Lebanese TV reported.
The funeral ceremonies in Kuhestak, in Sirik County of Hormozgan Province, began at 4 pm from a street at the city’s entrance, with mourners walking together toward the city’s Martyrs’ Cemetery, where the victims were laid to rest.
The authorities identified the four victims as four-year-old Amirali Karimi, 16-year-old Mohammad Mollahi, 43-year-old Kolthoum Mollahi Nezhadnia, and 50-year-old Zarkhatoun Taheri.
According to the announced figures, the US aggression left 68 people injured, several of whom remain under medical treatment. Al Mayadeen’s correspondent reported that the death toll from the US aggression targeting the wedding ceremony in Sirik had risen to five.
Iran has called on the UN Security Council to condemn an unprovoked and deadly US attack on a residential home hosting a wedding ceremony in southern Islamic Republic that led to the martyrdom of five civilians, including a four-year-old child, and injured more than 70 others.
Gholamhossein Darzi, the Islamic Republic’s ambassador and chargé d’affaires to the United Nations, made the appeal in a letter addressed to UN Secretary-General Antonio Guterres and the president of the Security Council on Wednesday following a new wave of such American strikes targeting southern Iranian cities, which together claimed the lives of at least 18 people and wounded 108 others.
The chief commander of the Islamic Revolution Guards Corps (IRGC) has said that the blood of those killed in a US attack on a wedding ceremony in Kouhestak, Hormozgan Province, “will never go unanswered” and that it will ultimately “catch up with those who ordered and carried out this heinous crime.”, Iranian Press TV wrote.
State media reports debris recovered from a home attacked in southern Iran during a wedding celebration was “most likely” from a US-made, AGM-154 Joint Standoff Weapon – a guided-glide munition, also Al Jazeera reported before the exatly identification as pieces of a US-made AGM-84H SLAM-ER cruise missile
Broadcaster IRIB said images released by US Central Command of attacks in southern Iran showed a F/A-18 Super Hornet loaded with a similar munition.
The targeted house was 200 metres (650 feet) from a communications tower, and the strike could not have been an error given the munition’s accuracy, reports said.
The Sirik strike came amid a renewed wave of US aggression against Iran, with American forces targeting sites across the country’s southern provinces.
Iranian authorities reported attacks on Bandar Abbas, Jask, Minab, Chabahar, Konarak, Lengeh, Qeshm Island, and other areas, including communications and service infrastructure.
The escalation prompted Iran to launch retaliatory missile and drone strikes against US military positions across the region, including bases in Jordan, Bahrain, Kuwait, the UAE, and Erbil, in which several US troops lost their lifes in the name of Trump’s Zionist.
The heinous Trump’s Military strikes on civilians in Iran caused a genocide of more than 7 thousand people.
by Fabio Giuseppe Carlo Carisio – Gospa News founder and director
RELATED POSTS
Understanding the EU sustainable blue economy's structure, performance and challenges in comparison with international competitors is the objection behind a new study, which needs participants for a survey.
The study is on competitiveness of EU sustainable blue economy sector: focus on ocean observation technologies, and is conducted by Cogea srl on behalf of the European Commission. under Framework Contract CINEA/2021/OP/0011 (Lot 2). .
Input will help ensure that future EU policies, funding programmes and support measures reflect industry realities and priorities of the European ocean observation sector.
Participants of this survey (which takes 10-20 minutes) will receive a summary of aggregated findings of the study and will be considered for featured case studies highlighting relevant companies in the European ocean observation sector, if you consent.
Companies and organizations developing, supplying or working with ocean observation technologies are invited to participate by 15 September.
The 20th-century days of vinyl records, tape decks, CDs, Tower Records, and MTV have given way to our 21st-century age of MP3s and music streaming, Spotify, Amazon, YouTube, TikTok, and Ticketmaster. While certain people and certain companies in the music industry are making more money than ever, working musicians are finding it increasingly impossible to pay the bills and make a living from their art. In this episode of Working People, we speak with all four members of veteran Chicago rock band The Empty Pockets about the work that goes into being a professional musician, and the realities of working and trying to make a living in the music industry today.
Additional links/info:
Featured Music:
Credits:
The following is a rushed transcript and may contain errors. It will be updated.
Maximillian Alvarez:
Alright. Welcome everyone to Working People, a podcast about the lives, jobs, dreams, and struggles of the working class today. My name is Maximillian Alvarez.
Jules Taylor:
And I’m Jules Taylor.
Maximillian Alvarez:
So you guys all know Jules as the producer of this podcast, but let me tell you something about brother Jules here. Jules is a renaissance man. He is a podcaster himself, as many of you know. He’s a writer, a music producer, a poet, and a brilliant musician in his own right. And he does all the music for working people as well. And that’s why I really, really wanted us to host this episode together because today we’re actually going to be talking about the work that goes into being a professional musician and the realities of working and trying to make a living in the music industry today. And that industry looks a lot different than the music industry that we grew up with. Those 20th century days of vinyl records and tape decks and CDs and tower records and MTV, man, those have gone away and given way to this 21st century age of MP3s and music streaming, Spotify, Amazon, YouTube, TikTok, Ticketmaster, et cetera, et cetera.
You guys know what I’m talking about. And I love music just about every single kind, and I always have. And I need music to live. And life itself would be so much less, I don’t know, magical to me if I lived in a world without music. And my playlists and my mix tapes are, and have always been, I think of Frankenstein’s mix of just the cheesiest pop, the hardest hip hop and gangster rap, the most classic Motown, the rock and roll, indie, ’80s, ’90s, early aughts, Broadway soundtracks, movie soundtracks. Just like me, my playlists contain multitudes, baby, but I can’t read music for shit and I can’t play an instrument to save my life. So my understanding can really only go so far here, but I’ve always been and continue to be in just total awe of musical people. And Jules, you are a very musical person.
You live this, you breathe this. And we’re going to dig into this more with our guests today, but by way of, I guess, introducing the conversation, if you had two minutes, how would you sum up your entry into the world of music and the good, bad, and ugly parts of your life as a working musician today?
Jules Taylor:
So hey Max, glad to see you, buddy. Man, thank you so much for the invite to co-host this conversation I’m really excited to be a part of. And I guess the short and simple of why I decided to make Go Music is that I consider myself to be, to a certain extent, largely unemployable. And I sort of just dreaded the thought of having to maintain a consistent nine to five, but I knew music was something that I could wake up early if I needed to, but something I would wake up for anytime I could be a part of it. And so in some ways it’s the only thing that I can do, but in other ways it’s also led me to everything else that I do, whether that’s studio work or live sound and eventually things like photography and shooting music videos and podcasting, flying drones and everything that it all kind of just comes back to the central urge of wanting to figure out how to make a living out of taking a guitar on stage and just playing original and covers and seeing how to make a go of that.
Somewhere in there I decided to challenge myself, see if I could actually make a living out of it. And that’s ended up why I produced podcasts too. So many gigs come out of needing other gigs to support the music.
It’s something that benefits you to help support it in some ways. I mean, it’s like a dream, hope and a prayer, but somehow you’re like, “Hey, but I ended up with seven career paths.” So anyway, but that’s how I got into this stuff, man.
Maximillian Alvarez:
Well, let’s talk about this more, right? Because I know I have so many questions and I’m sure our listeners have so many questions. What is it actually like and what does it actually take to make a living as a working musician today? What does the music industry as it exists today take from musicians and take from the rest of us? And what are we getting in return? Is that bargain worth it anymore? And how do the working and living conditions of music makers and all these moneymaking schemes of the music industry, how do all those shape the actual music that we make and consume and listen to and dance to and think to and live to? How do they shape the ways that we relate to music itself? So this is what we’re going to be talking about today, and I am just beyond excited and really, really grateful to be talking with all four members of Veteran Chicago Rock Band, The Empty Pockets.
So they’re here with us now to dig into all this. And thank you all so much for joining us on the show today. And Jules, thank you so much for co-hosting this man. So let’s go around the table and have y’all introduce yourselves and your band to our listeners.
Josh Solomon:
Max, Jules, thank you so much for having us. That was so many insightful things you guys said already. I’m Josh. I’m the guitar player of the Empty Pockets and I started this band with Nate 20 years ago. Our singer and keyboard player, Erica, is my wife, and I have made a full-time living humbly, a humble full-time living in music and the arts for well over 20 years.
Adam Balasco:
Hi, I’m Adam. I play drums with the Empty Pockets, but also as a working band, I do a lot. We all do a lot of stuff that has nothing to do with music. So I do customer service and shipping and we do warehousing. We load our own gear. We do a lot of work outside of just our instruments somewhat, unfortunately. I think we’ll get into that at some point probably, but yes, drums.
Erika Brett:
Yes, we are all Renaissance people, as you said early in this broadcast. I’m Erika. I play keyboards, so Oregon, roads, piano. And yeah, I’ve been a full-time musician for almost 20 years, maybe longer than 20 years. And my big role with the band is graphic design, merchandise development, and social media promotions and marketing. We all have a lot of hats.
Nate Bellon:
Hey, I’m Nate. I play the bass. This is one of my hats. We have a lot of roles and one of my roles is physical maintenance. And so Josh and I actually built the studio room that we’re in, and we have built this room out over 15 years or 16 years quite physically. We literally have done all of the work or very close to all of the work. And it’s just one of the things that you end up doing to become and maintain your status as a professional musician.
Erika Brett:
You’re also the vehicle guy.
Nate Bellon:
Well, that’s true. Yeah. It’s
Josh Solomon:
A physical thing. Yeah,
Nate Bellon:
Physical
Josh Solomon:
Stuff. Nate’s very mechanical.
Maximillian Alvarez:
I mean, let’s not sell him short. We call that the getaway guy.
Erika Brett:
Nate’s perfect for that.
Jules Taylor:
Well, Josh, Erica, Nate and Adam, Matt, it’s so cool to be talking with y’all. And I think it’s funny how immediately in this conversation, there’s a sort of vibe of anything we have to do to keep doing what we’re doing. I mean, that’s kind of the credo around that I think of from time to time. But I guess I have a very broad question and in that broadness, I’d like to invite you to get as specific as you’d like, but said very plainly, how are y’all making this work today in today’s touring climate? So rarely do we get to speak to a band that has been together as long as y’all have. And so in this shared experience of performing, how are y’all contending with this changing landscape? Where have you had to pivot? Not just in rising gas prices and inflation and the evermore difficult task of convincing folks to put pants on and leave the house, but also in the merch game.
I mean, selling your music and physical media at shows has morphed into this sort of t-shirt and trinket hustle at times. So basically the odds of an independent band being successful in air quotes, however we define that, if I’m going to use the word successful in terms of carving out a meter existence, those odds are ever more stacked against us. And so what are you doing differently today compared to say maybe 2005 and where are y’all finding the most success?
Josh Solomon:
It’s Josh here and I’m 41, so 2005, 2006, I’m 20, 21 years old, totally delusional with no perspective on. How do I totally put it? Every time we go to a town, a fan says to me, “Oh, you got to come play in this place.” We’re in a 200 seat venue. Every time a fan is like, “You got to come play this little place in my town.” I look it up. That place he’s talking about every time is 2000 seats. People have zero concept. We’re like a 200 seat theater band. People have zero concept of the amount of things between us and the eras tour. And I think from my perspective, and I’d love to hear what you guys have to say too, to answer even just a part of that question is we’ve doubled down on physical media so hard and we talk to and collect, and this is working increasingly better, I think as a portion of the population feels more and more left out by the commoditization of music.
When you put music on a streaming platform and it’s the same every single song ever made on every streaming platform, which is different than movies and TV, that becomes a water tap and it’s just a price race to the bottom. So we basically, while we put our music on those services from our perspective, that’s like a token.
Erika Brett:
Yeah. We used to kind of be waiting for our prints to come, as some people say.
Josh Solomon:
Attracting an
Erika Brett:
A&R ride. Yeah. We had a song that some radio people were like, “This could be a hit.” And then you’re waiting for that to be the case. Now that wasn’t the case for us, but we were able to, over the course of the last 20 years, but really over the last kind of how you described 10 years, diversify our income streams. We went from playing whatever gig we could get to becoming a backing band for artists with large followings and then opening for those artists to gain awareness and gain more fans and also prioritizing an e-commerce strategy, which is what Josh was talking about, our physical products. And so we’ve moved away from streaming. Streaming is great and we also listen to music there, but for our business, we are directing people to physical products and shows.
Josh Solomon:
Jules, you had mentioned one of the reasons we all get into this is because I just don’t want to go to a nine to five every day. I want to do something different every day. So a couple of years ago, this studio needed repainted. And one of the ways you stay a full-time musician is you don’t hire a painter. You buy some paint and you paint the studio. So I found myself and Adam and Nate here. And Adam, do you remember what you said as we were painting it?
Adam Balasco:
Yeah. I always say I like any job, manual labor, whatever the hardest thing you’re imagining is weefing today, right now. I like that for one day, three days. I’m outside, I’m up on a roof, it’s cool.
A week. Turning anything into a career is so daunting. But yeah, that is how we save money and kind of stay afloat is like we painted that. You were talking about building this studio and then I was like, oh yeah. And then it’s white now because we painted. We painted it and stuff like that is how we’ve kind of taken. And we’re not waiting for that lottery ticket. We would love our song to go crazy on the radio or streaming or whatever. We’re not waiting for that lottery ticket. We’re acquiring fans one at a time and we’re doing all the work or we like to think we’re doing all the work ourselves and we’re desperate in a sense. And
Josh Solomon:
We’re doing it all. Jewels had the same attitude as us in terms of, I don’t want to be a painter for a living. I don’t want to look down the barrel of that. I’m impressed with somebody who can do that. I know some amazing house painters, but I’m not above painting. I’m not above doing some electric.
Erika Brett:
Well, and the thing with owning an arts business of any kind too is that you are going to inevitably become a Renaissance person. You’re going to have to learn about lighting so that you can make videos that resonate. You’re going to have to learn about editing. You’re going to have to learn all of these things about vehicle repair.
Josh Solomon:
The myth goes that when the Rolling Stones got to Chess Records here in Chicago, Muddy Waters was painting the wall. That’s the myth that when the Rolling Stones got to chess in the early ’60s that Muddy Waters was painting. So it’s not new at all.
Maximillian Alvarez:
It’s interesting to me too, because so much of what you guys are saying, even as a self-professed non-musical person or non-musician, so much of what you’re talking about resonates with my own experience as a creative and a creator in media spaces and just that need to kind of adapt to an ecosystem that’s always changing. And there’s always opportunity in that as well as a whole host of new threats and stressors to deal with. It’s wild, man. We’re talking on a podcast I made because I was like, people aren’t reading my articles anymore. And that kind of process has sort of led me to get into audio reporting and now video reporting and any and all of the above I love to do, but there also comes a price with being able to make a living doing what you love. And I wanted to kind of talk about that too, because I can’t speak from your guys’ and Jules’ vantage point.
That is your art. That is still different from the reporting that I do. The two very much intersect. I bring a lot of my artistic heart and spirit into the work that I do, but I know just by being privileged enough to get paid to do that for a living, that it really changes my relationship to the thing I’m doing, to the ways I feel about doing it. And the love when it becomes a job takes on all of that baggage from all the unloving parts of life. So how does that affect you guys as musicians and the music that you make?
Josh Solomon:
Man, what a great question. There’s so many pieces of that. One that comes right to mind to me, and I want Nate to speak on this and Adam as well, is they both had children and we’re on the road and our dreams are kind of coming true. We’re at the London Palladium, it’s sold out, but a month into a tour doing something you love too, there’s an element of, do I love this the same amount today? And I don’t know, Nate, what do you think about, you had to leave your son at home for the first time pretty recently.
Nate Bellon:
Yeah. So my kid had just been born and then we went on tour in the UK for a month and we were in Amsterdam and all over the UK. We took the Chunnel twice. So there was a bunch of stuff where I was like, this is cool. I should be ever present in this moment. And also it’s hard because I wasn’t seeing my newborn kid and my wife and you try and balance that emotionally and then you get to play shows. So I get that sweet juice that I need in order to make it through the next couple of days.
Josh Solomon:
Jules definitely knows this feeling too. When you’re on tour, there’s the same amount of time in every day when you’re at home, except the part that you’re leading towards is like an hour and a half and the rest of the day is leading towards that moment or coming away from that moment. And it is an exhilarating but strange experience.
Jules Taylor:
Yeah. And then you get to figure out that an hour is just a completely useless denomination of time. It’s just not enough to dig into anything. It’s not enough to really relax if you need to, but you have an hour before this one critical thing happens before you have another hour or something. But yeah, I totally understand that, man. Being away from home, it’s difficult to, especially with the sort of constraints that a lean and mean tour might have on its subjects, being away from home, being somewhat restricted in that sense, and being torn between these beautiful things you’re experiencing on tour while also having the regret of having to leave. I got a buddy of mine who plays guitar with Playboy Cardy. The guy is on tour with that guy playing arenas. And even he the other day texted me, he’s like, “My wife’s due in 12 weeks and I leave for tour in 13 weeks or something crazy like that.” But I wonder also, you guys also seem like you’re very chummy, right?
You’ve been together a long time, but I would say that touring and these moments also kind of create friction amongst band members and inevitably you end up with some comical story at some point. Do you guys have a singular story you could pick out of some sort of tense moment that resulted in something hilarious?
Maximillian Alvarez:
And remember, this is a worker and labor focused show. So we’re really talking about, give us a worker’s eye view into the labor of having to go on tour with each other and deal with everything you’re dealing with.
Adam Balasco:
Well, I don’t know. No funny stories immediately come to mind. I’m sure they exist, but being in a band is like doing a group project with your immediate family, which is horrible at times and also amazing. And it’s hard to communicate the band dynamic because it’s like I deeply love these people and we live in a van and sometimes an Airbnb or a hotel. So it’s like –
Josh Solomon:
There’s an interesting balance there too, and I think a lot of small businesses have this balance, like where to put your office, how nice of a neighborhood to put it in, that type of thing. For us, it’s like how much to spend on a hotel, how much to spend because there’s a balance between sustainability, vibe, morale. Man, we’ve cheaped out a couple times and checked into a hotel and you’re only there for 12 hours and it’s just crushing your spirit.
Erika Brett:
Bloody hand prints. Oh my God. Oh my God, you guys.
Maximillian Alvarez:
Jesus, what motels are you guys staying at?
Nate Bellon:
Was that the Bay Bries Inn?
Maximillian Alvarez:
Yeah, I was going to say the Bates Motel, man.
Josh Solomon:
Yeah.
Erika Brett:
We’ve got some horror stories for
Josh Solomon:
Sure. And in terms of from a worker perspective, there’s nothing reasonable or OSHA friendly about how a band operates at our level at all, right? It’s like in the band at 7:00 AM, maybe stop for a lunch. We have a tour manager who does most of our driving. Then before that, it must have been really unsafe.
Adam Balasco:
Definitely.
Josh Solomon:
It
Adam Balasco:
Was just us.
Josh Solomon:
It was just us. And you go to an interview, you load in. The days are 14 and 15 hours. I always call on tour a processing deficit. You can’t even go through what you did today before you get tomorrow. And we’ve learned a lot about how to plan better, about how to demand more. I like to say a gig is legitimate when they offer you a meal. Sometimes you go to a gig and you’re there from 4:00 PM to 1:0 AM and you’re like, “Is there anything to eat around here?” And they’re not like, “Not within two miles.” Who
Erika Brett:
Wants to help with that? Why?
Jules Taylor:
Yeah. Yeah. Or the green room plate of mac and cheese. Yeah. Yeah. It’s a testament every time I talk to musicians, you can tell who’s really giving it a go because they have all of the ingredients for the recipe. They have all the social media, all the marketing. They actually have the website, the domain, the EPK, the video, the bio written by a third party that you probably paid someone for. All of these different things, this elaborate recipe that just equates out to a starting point, right? Yeah. It’s
Josh Solomon:
So depressing. It’s a starting point.
Jules Taylor:
It’s all a starting point. Yeah. Tell me. You
Josh Solomon:
Were using it as a metaphor, but just to exemplify, we’re the empty pockets. We take that seriously. We write about labor issues. Our next album is called Dear Billionaires. And to that effect, especially when we open for someone on a tour, back them up, there’s an elaborate rider in that deli tray and chips, whatever, all this food, fruit. We have permanent coolers. We never leave a venue without as much food and ingredients. We have banned salt and pepper. We literally stop at a picnic table on the side of the road and unpack our coolers, and that’s mostly lunch. And we’ve really embraced that. And
Erika Brett:
We really have to be thrifty in every part of what we do. Not only have the margins gotten worse, like you were saying everywhere, in hotels, gas, food, all the things that make our engine run, but I was watching the Today Show this morning. It happened to be on, and they’re giving financial advice. And without a steady paycheck, none of those things work for us. We can’t go to a financial planner in the same way somebody with a 401k or just even a regular paycheck can. We really have to take saving money and spending it carefully very seriously.
Jules Taylor:
Yeah. It’s just a testament in so many ways whenever I talk to any musician who’s making this go and making it work is that you don’t really need the bosses because the workers can do anything under any conditions with any circumstances that come up on the road with unsure pay and just questionable sleeping conditions. It’s like where there is determination and this deep written desire to create music and to do this as a main vocation, as a focus, as a primary way of living your life. It’s just a testament to the incredible sort of willpower that comes from artists who will do anything to continue being able to create art. And so I’m not worried about a dictatorship of the proletariat at all because have you seen some of the musicians we talk to people?
Maximillian Alvarez:
Well, that’s what I wanted to ask about actually, is because music, as far as any of us, and I say us as musical and non-musical people, but living in America, having the culture industry that we have, music was as much a potential career path as being a famous actor or a famous athlete. I mean, there is a sort of level of super stardom that was selectively occupied by people like us, it seemed, growing up. And it was possible to play music that was so good that reached so many people that you could make not just a living, but a superstar’s living. And you could have all the security you could ever need and the fight from your humble beginnings and insecurities would all be worth it if you made it to that star echelon. I mean, same thing goes for the way I thought about being a professional basketball player with my brothers for many years growing up, or even people now who are in the media and see the media as the only path for success in journalism or in the media is the superstar path where you’re getting paid so much and you have such a far reach that you’re Joe Rogan and you can kind of have that echelon that none of us are ever going to ever reach.
But I say that all to say, obviously there’s always going to be a lot of folks who still look at these industries and vocations and arts and sports this way, but I think the veil’s been lifted for a lot of us and we’re like, “That ain’t happening. I ain’t making it and no one else is making it in today’s economy in that kind of direction.” And there is a lot to be mourned about that, but I think there’s also something that’s very liberating when we are not pursuing our passions out of a place of desperation or out of desires for lavish, luxurious, ridiculous wealth. And that struck me in something that I’d heard y’all, Josh and everyone with the empty pockets is not something that you’ve been aiming for, but you want to make a good middle class living. And so I wanted to kind of meditate on that.
Once we sort of recalibrate our visions, our imaginations and our hopes for what we want to do with this, what does that give you back that a career trying to make it in a Spotify age as a superstar would take from you otherwise?
Josh Solomon:
Yeah, totally agree, man. I like to think of it also, it’s like becoming an astronaut to say, “Oh, I’m going to go have John Mayer’s career or I’m going to go have Taylor Swift’s career.” It’s absurd. More than ever, and I think it’s good, the niche-ification of taste has made it so there are even fewer superstars than there used to be. There are very, very few superstars. Like I said, when I was in my 20s, I had these delusions and I let those go and I discovered about myself. And I think you guys would agree that more than the massive success, because for the most part there are exceptions, that comes with chains, with you were successful in this lane and now you have to deliver this thing. Brilliant people like that guy Larry, the cable guy, his persona, you’re stuck there. You have to deliver your thing.
What I want more than anything else, which we have a lot of, is freedom. We make enough money to get by, but we can do whatever we want. Our biggest constraint artistically is ourselves. That’s what keeps me going.
Nate Bellon:
Jules, you had mentioned it previously, the changing landscape of the music industry. And I think one of the things, because we started as a band in 2006, so the music industry was literally falling apart or had already fallen apart and some of the gatekeepers or higher ups hadn’t admitted it to themselves. The nature of the landscape was changing. And so we found that certain people that we would hire in positions, that’s their mindset. Let’s get you to superstardom level. And I feel like going through that cycle a couple of two, three times, we were able to not only learn, but then solidify both in our minds and then out wow later, here’s what we consider success.
Josh Solomon:
It’s such a good point.
Nate Bellon:
If we can just do that, we’re a success.
Josh Solomon:
And philosophically, when Eric and I met before we got married, one of our first dates, we went on and on to each other about scale. And Adam feels passionately about this as well. There are certain things in the world that need scale, right? We shouldn’t do small businesses to get to the moon. I get that. We need a certain amount of scale to make computer chips, but that doesn’t mean every burger joint and coffee shop and bookstore needs to be scaled. And there’s an element, okay, we have economies of scale on one side, but there’s an element of massive inefficiency. And what we found, and we keep finding in entertainment in general, is that the basic strategy to make someone a superstar is brutal Millions on raw awareness. Blanket,
Erika Brett:
Blanket marketing.
Josh Solomon:
That’s why people get annoyed about hit songs because they’re hearing a song over and over again that’s not even meant for them. Nobody wrote Espresso for me. There was, but why did I hear it a hundred times? I wasn’t interested. I gave zero indication of the choices I made in my life.
Erika Brett:
Sabrina, it’s for me. It’s for me.
Josh Solomon:
And we have the ability with technology to target so accurately now. So the major labels, including big movies, Marvel movies and stuff, they’re all still doing this super inefficient. And we’ve decided the opposite. We want to build our small business and keep building it, getting razor focused. We get new fans every day and we’re trying to maximize their fandom of us and their value to us, but without worrying about getting to 10 million people a year.
Erika Brett:
What I think you guys will appreciate is that we are a band and yes, we’re making music, but we took e-commerce strategies that are not based on music, that were based on books or smaller items. And we kind of did our own authentic application of that for our career. And that has allowed us to expand our audience and find our audience through advertising, targeted ads and word of mouth.
Josh Solomon:
Touring is about 40% of our revenue. It’s something like that. A lot of our revenue is physical music and a lot of that is shipped from here. I’m talking about vinyl, talking about CDs. Not as many for us. It’s a different type of band, not as many t-shirts for us. So I’d love to do more shirts. And that’s all about just using classic commerce, e-commerce and marketing logic to build a fan base in the same way that a book company or a razor company would build their fan base.
Jules Taylor:
I love that y’all brought up Sabrina Carpenter because she was not on my radar. And then this last album dropped and her marketing was all over the place. And I just slowly got initiated into the house tour track and the one where talks about maybe it’s slow or whatever, but now I know her lyrics. I know her visual signature. And it’s funny. Come on,
Maximillian Alvarez:
Man. Manchild is a bop. The
Jules Taylor:
Whole album is great.
Maximillian Alvarez:
Manchild is such a bop. It’s such a bop. Men today need to hear it. It is an anthem for the ages. That and Olivia Dean’s Man I Need are two of the most essential songs that every fucking man who is alive today needs to hear. And I don’t think it’s an accident that our zeitgeist is producing such desperate, beautiful please from women for men to fucking be better. And I think it’s through music where a lot of men learn that kind of thing. And I think that’s a good thing. I don’t mean to stand on a soapbox here, but I didn’t realize I was going to defend Sabrina Carpenter so virulently, but you guys stirred me up, baby.
Josh Solomon:
And this newer album is fantastic and there are all these, you’re right, that thread is all around music. Taylor Swift, Olivia Rodrigo has that same vibe. Maybe men will listen. I don’t know.
Maximillian Alvarez:
They will. And I think there’s honestly, and I’m just speaking personally here and then we’ll kind of bring things around the final turn here because I can’t keep you guys for too long, although I could talk to you for hours. I think I had reached a state of exhaustion recently and it felt like almost a decade long period of cultural exhaustion. And I don’t think I’m alone. I think a lot of us felt that and we receded into it, especially with COVID. We watched the same series that we already had seen, movies we already knew, songs we already had on our playlist. I know for myself as a lifelong lover of art and culture and new things, I really retreated. And I think part of it, not all of it, was fueled by the sort of feeling that it’s like nothing’s good anymore or the quality of everything is sucking just a little bit more each time and I’m not participating in it damn. I’m going to hang on to the things I know are good and just listen to those for the rest of my life. So that’s the kind of petulant place that I was in as a modern music listener. And again, I feel like I’ve talked to a lot of people who felt that same way. And I think that actually the Spotify algorithms and stuff sort of reinforce that sense of just playing the hits or trapping us in these silos, these cultural silos, instead of getting to explore and experience and find bands like yours that we would like but have no idea exist.
And I know that people are looking for that, they’re hungry for that. And I am so goddamn grateful when I hear it coming out of my speakers. And I guess to just tie a bow on the point, I’ve been hearing that of late with some songs that have given me some hope in pop culture of late. And I think a lot of it goes back to Olivia Dean, Rodrigo, Sabrina Carpenter and the somber. I think there’s a lot of necessary cultural discussion that is happening in and through those songs that needs to be had and isn’t happening in enough places. So I thank music for that. And I wanted to sort of bring us back around to that sort of beautiful, necessary part of what music is for all of us and what we look to music for. And I wanted to ask y’all, all of you, Jules, you’re included in this.
I’m roping you into our final round, but let’s start with what is your least favorite part about being a working musician and what is your favorite part that makes that and everything else worth it?
Adam Balasco:
I’ll start and say my least favorite part of being a working musician is that it made music work. And this was alluded to earlier, but I leave here a lot of times and I put a baseball game on or sports talk radio on or something like that because this saps a little bit of my musical energy. And so anyone who has a nine to five job and you get a pizza and some beer on a Friday night, you play music with your friends, know that I am so jealous of that. And the magic in that is a little bit lost, I will say. We’re
Josh Solomon:
Almost chasing that vibe.
Adam Balasco:
Yes. And paradoxically, and I love paradoxes, again, the strength, the weakness, the pro, the con. I always say we are band. We’re arts kids. We all committed to being artists. We’re artists. And the irony is we ran headfirst into running our own small business. And I was playing around with spreadsheets and exporting CSVs this morning as Ari was doing her design work as Nate is patching a hole in the- The
Erika Brett:
Asphalt.
Adam Balasco:
In the asphalt in the parking lot. And Josh literally has his hands on all of that stuff. And to me, it’s both. I like that. I like doing the spreadsheets, but also we do this, we do the drums and stuff so, so much less. It’s like a fraction of what we do is play music. Mostly we’re running a small business.
Josh Solomon:
What a great answer. I think my least favorite part or one of my least favorite parts is feeling like I’m getting in the way or looking down on or condescending in any way to the hobby musician. So it’s a similar thing to you and while not getting invited into the hobby musician world anymore, both the combinations. So it’s really similar to what you’re saying. You know what I mean? And when I do get invited to the dudes who didn’t great musicians who now do other stuff, maybe it’s just in my head, but I feel a little bit like I’m intruding. I don’t love to do. Erica is such a great singer and she doesn’t love to do karaoke and everybody goes crazy, but it feels like, am I intruding on this space? The paradox.
Nate Bellon:
Yeah. The least favorite part for me I think is early mornings, late nights while you’re chugging it out on tour. And sometimes those can become never ending based on the schedule. I don’t deal well with life without my, I don’t know, 10 hours of beauty sleep. You don’t get this good looking without a lot of sleep is what I’m saying. And so everybody out in audio land, I’m gorgeous.
Adam Balasco:
Very attractive mate’s very good.
Nate Bellon:
I’ve been compared to the Greek gods of old. And so the early mornings, late nights, it just kills you after a while. Every one of us, if we’re out for long enough, you get sick. And then you’re spreading sickness around the van because you’re all just sitting in a dumb van for hours. I don’t like that part, but it all pays off because while you’re on the road, you get the purest of the sweet juice, which is you’re playing music live and you all enter this flow state together and you’re creating art that may never exist again in this moment. Worth all of that early morning, late night stuff.
Adam Balasco:
And let me just cut off Erica really quick because we’ll get to Erica. Nate went there. So let me just say in case my wife listens to this, I miss my wife and children when I’m on a road. It’s the real answer. Sorry, Erica, go ahead.
Erika Brett:
Good job band. Good job. Mine is similar to dates whereas he was talking about late night, early mornings. What we do, the travel and the carrying of equipment and gear and bags that we do is hard on the body. And we went in age order in this wrap up and I’m the oldest. And as we get older, taking care of your body has become much bigger of a priority. And it turns out it serves the music part a lot. A lot, a lot, a lot. You need to be in good health. You need to be in good shape. That’s
Josh Solomon:
Such a labor issue across the board.
Erika Brett:
You
Josh Solomon:
Have to take care of your body to keep being whatever profession it is you are.
Erika Brett:
And I had to do a lot of doctoring personally. I have a lot of chronic health stuff, so it’s been a lot to navigate. You come home from tour and you’re rushing appointments in and you’re trying to do things that you can apply on the road. So it is really difficult. But that being said, it’s led me on a path to be stronger physically, mentally. And the best part is being on stage, connecting to my best friends up there, the new friends in the audience, and feeling this cosmic moment that we share and no one can take away from us no matter what happens. It’s a radical act of joy and in a time where there’s fascism coming our direction in many ways, what we can do is create and give and be with one another and love one another.
Maximillian Alvarez:
Well said.
Jules Taylor:
Excellent. Yeah.
Maximillian Alvarez:
Beautifully, beautifully put.
Jules Taylor:
Man, well, to follow all that up, man, I guess my least favorite thing about being a professional musician is that everyone sees the work as play and then. So one instance of this is that I think of myself somewhat like a carpenter in the sense that I have a truck and I have all of my tools in it. And I drive around and it’s a beat up vehicle that takes me from contract to contract where I unload my stuff and I plug in and I do what I do. Right. But if I get pulled over, I’m not a worker all of a sudden. I’m a long-haired guy that probably has some weed in the car and I ain’t out doing shit. I’m out playing is what I’m doing, not working. And the whole small business thing behind stuff, man, it gets rolled real fast being the envy of every married guy being like, “Oh, you have so much freedom and you just go play music.” And it’s like, “No, man, I have bills, dude.
This is work.” But not only that, it’s like, “You must have so much fun doing this.” I was like, “Oh, you think I have fun trying to write heartfelt poetry?” I take this work more seriously than anything else in my life to where this pen and paper has ruined me. Putting pen to paper to put down some sort of heartfelt poetry that can also be abide by attaching melody to where I can go out and project that into the world for that singular cosmic moment that I live for, that is work. And people somehow think I’m enjoying the process at times. So yeah, it’s a weird paradox, man, because it’s like you’ll always be a disappointment to your parents who wanted you to become a doctor, but somehow you have to hold the knowledge of a doctor and train yourself physically to get to this apex of performance and you’re 40 now.
And you do this and somehow there’s still people that look at you and they’re like, “I don’t really understand what this guy does.”
Josh Solomon:
So spot on, Jules.
Erika Brett:
Someone said that to me in a mall once. You’re still doing that?
Jules Taylor:
Yeah. But it goes like, “Oh, you’re still doing the photography thing?” “What do you mean I’m still doing the photography thing? “That’s a vocation. It’s a career path. It’s a form of art. Yeah, I don’t know, man. But when you do have a choice in this world of pouring over Excel sheets or breathing in toxic chemicals, it’s like I’d rather the Excel sheets be my Excel sheets. I’d rather all this stuff be for me and that’s where I’ll work 80 hours for myself so I don’t have to work 40 for somebody else. Yes.
Adam Balasco:
Give me some toxic chemicals with those excels.
Josh Solomon:
I want to do it for myself.
Erika Brett:
You could talk about the baseball card gum that he ate that was like 10 years old.
Josh Solomon:
Great point, Jules.
Maximillian Alvarez:
Amen. Sadly, if you listen to a lot of the interviews we do on this show now, you’ll realize that we’re all getting blasted with toxic chemicals, whether we ask for it or not, but we’re all going to be part of the fight to stop it. And we all got to be part of the, I think, solution to our own critiques of the culture industry and the music industry especially. And I would say the same is true for media and journalism. You are right to not like a lot of the things that are unlikable, but if you want the things you like to continue to exist and flourish and give you what you get out of them, you got to support them. I mean, that’s true whether you’re talking about this podcast, The Real News Network, Jewels’ musical work, The Empty Pockets is musical work, independent creators everywhere.
If we don’t have your guys’ support, there is a very real chance that we’ll go away or stop being able to do what we do, even though we love what we do and we love doing it for you and for anyone who will ever hear it, see it, learn from it, get something from it. We’re in it to win it, baby, but we need you guys to be part of it. We do it for you, but we can’t do it without you. And so ending on that note, I wanted to just say that for any journalists and media makers and people who are interested in making a career out of that, since it’s the one part of this discussion I can speak on, the advice I tend to give people is that don’t commit yourself to doing this for a living, commit yourself to doing it to fight for life and follow where that leads you.
And in fact, it may be right and good and better for you to have multiple sources of income so that you don’t have to make the object of your devotion and your skill serve all these other ends, which means you’re not going to be able to do it the way that you want to. The work is going to suffer, you are going to suffer, but there are still some pathways available to come join me at the table of the suffering and do this work professionally. But they are so few and far between and the ecosystem is changing so much. So I can’t in good conscience advise anyone or coach anyone on that. I can just tell you that I am what I did to get where I am, what I think we all need to do to do the work that needs to be done, but the future is never assured and we don’t know what the landscape is going to look like in the coming years.
So that would be my central advice is you got to make a living however you can. And if you’re committed to this, do it, but don’t make it all dependent on your ability to make a living from it because that may actually be more of a devil’s bargain than you’re looking for, and it may take the love of this from you. So just be very mindful of that. And now to all the musicians, the artists, the creators who have been listening to you brilliant people talk about your working lives for the past hour, I wanted to kind of give y’all the last word on that, like any sort of advice you would give to other working artists out there or other folks who want to make a living making art. And also please tell our good listeners where they can find more of you and your art.
Jules Taylor:
And the new album.
Josh Solomon:
We’re the empty pockets everywhere at theemptypockets on Instagram, theemptypockets.com. And we have a new album out on Friday, October 23rd called Dear Billionaires. It’s our musical letter to the 3,600 billionaires in the world. I would say to all musicians aspiring of any kind, I increasingly agree with you, Max, and I have met more musicians, younger people that are saying, “I’m going to commit my life to music, but not commit my financial earning to that.” And I think there’s a lot to be said there. And I think it’s worth saying from our perspective, we are a very middle class band and yet still, I can think of dozens of times where we were so lucky where I look back and I think, oh my God, that happened and that happened. And then we toured the UK three times or that one thing got us 200 gigs.
So you got to be there. You can make your own luck, but still nobody’s getting anywhere on their own. A ton of people have helped us and we’ve gotten very lucky.
Adam Balasco:
I would tell artists, anyone trying to make it have realistic expectations. And I think for a lot of people that means coming to grips with you’re going to make $20,000 or something like that. You’re going to have to live on that if you want to be an artist for a good amount of time. And the harsh reality is, well, I think it’s kind of, again, paradox is uplifting and it’s harsh. A lot of people, I would say your art is fine. There’s great art everywhere that you’ve never heard of or seen. There’s great artists everywhere. A lot of people, if you really want to make it work, if you’re committed, you need to kind of treat it like a small business or something and treat yourself as an artist like a small business. And we don’t want to do that. We hate pricing of our artwork out.
It’s hard, it’s tough. But that’s the reality is good art’s everywhere. If you really want to make it a business, make it a business. Good luck. Stuff.
Erika Brett:
Yeah. I would say to piggyback off that, that balance is really important. Commercialize what you can so that you can keep making art, but don’t lose the joy if you can’t.
Josh Solomon:
Or find the perfect balance.
Erika Brett:
Or find the perfect balance. And I also agree that artists need support and that could change the world.
Nate Bellon:
And let’s not forget, the album comes out October 23rd.
Erika Brett:
You can reorder it now.
Nate Bellon:
If you want to pre-order from us, you can go to our website, pre-order it there. I have also been telling people to go to their local record store that they like to go to and request the album, pre-order it through them. Keeps the local economy going. We love local record stores. We want to build relationships with them. And we also want you to spend your money at a local record store.
Josh Solomon:
And we can say exclusively here, we haven’t said this publicly at all, we are going to be releasing a special variant pricing. So I want to make it clear, the physical CD is exactly the same. It’s not signed, it’s not deluxe, but we’re going to sell it to billionaires. If you are a billionaire, you can get our album, which we’re selling for $20 for $285,000. So that’s going to be on our website next month, and I’m pretty sure some billionaires are going to want that. They know they’re superior, and so they know they need a superior version, which is actually the same, but costs $285,000.
Nate Bellon:
I would welcome billionaires of all stripes to go ahead and take advantage of that billionaire pricing. And we handle all the packages. So if we see any billionaires buying the regular, we’re going to see that and we’re billing you. I’m not sending that
Josh Solomon:
To you, Elon Musk.
Nate Bellon:
No way. Jamie Pritzker, come on, man. What are you doing? The right version. We have a billionaire version for a reason. And to all the musicians out there, I would say continue to practice your dream, go after it, but also diversify your skillset as much as you can because you never know, A, what skill is going to become handy at a gig, on the road, dealing with merchandise or recording people, dealing with people inside the business. Diversify your skillset as much as you can and get ready to make a lot of bean recipes for 10 or 15 years. You can live on a lot of beans. It’s going to be fine. You’re going to make it just beans.
Erika Brett:
Yeah, be a learner. Be a learner and eat your beans.
Nate Bellon:
Eat your beans.
Maximillian Alvarez:
All right, gang, that’s going to wrap things up for us today. I want to thank all of our guests from the great Chicago rock band, The Empty Pockets, Josh Solomon, Nate Bellin, Adam Belasco, and Erica Brett. You can go learn more about the Empty Pockets and you can check out more of their music. Just use the links that we provided in the show notes for this episode. And of course, I want to thank you all for listening, and I want to thank you guys for caring about this. We do this work for you, but we cannot do it without you. Working People is a proud member of the Labor Radio Podcast Network, and it’s brought to you in partnership with In These Times Magazine and The Real News Network. This show is produced by the one, the only, the great Jules Taylor. And man, Jules, thank you so much for doing this episode with me, brother.
I though that was awesome.
Jules Taylor:
Yeah. I always love talking to musicians in the sense that they have their ear to the ground for alternatives to wage slavery in this cursed system, man. And so however they can gain traction, however they can get ahead, however they can make things work, it’s not so much a picking of the brain of music theory or what music you’re listening to that happens within conversations with musicians. It’s more like, “How are you doing this? What are you doing? What’s working for you?” So it was really great to hear that from a band that 20 years, that’s a long time to be together. So definitely some cool advice in there and some really cool moments as well. I really appreciated being a part of this.
Maximillian Alvarez:
Oh yeah, man. It was great. We got to do more like this. And before we wrap this thing up, I wanted to ask where can people find more of your music?
Jules Taylor:
You can search my name on any of the streaming things or you just go to my website, which is julestaylormusic.com.
Maximillian Alvarez:
We’ll see y’all back here next time for another episode of Working People. And in the meantime, go explore all the great work that we’re doing at the Real News Network, where we do grassroots reporting that lifts up the voices and stories from the front lines of struggle. Check us out across our YouTube channel, our different podcast feeds, our website, and our social media pages, and help us do more work like this by going to therealnews.com/donate and becoming a supporter today. I promise you guys, it really does make a difference. I’m Maximillian Alvarez. Take care of yourselves. Take care of each other. Solidarity forever.
Dire economic news continues to roll in as Germany faces deepening deindustrialization and an economic downturn under Chancellor Friedrich Merz. Reports today say Volkswagen’s management board is proposing to wind down production at four major German plants and shift much of that work abroad.
Just days before, Merz warned that investors would shun an AfD-governed federal state in the future.
“I cannot imagine international investors showing up for a groundbreaking ceremony with an AfD state premier to establish new plants or set up new businesses in Saxony-Anhalt,” said Merz during an ARD summer interview on Aug. 30.
He added that if a right-wing populist party won an absolute majority in the coming election, international investors would think twice about whether to invest in Saxony-Anhalt.
However, VW’s management board has now recommended closing four German production sites. The AfD has seized on the reports.
“In four VW plants, the group board is turning off the lights. The energy transition and electric planned economy are pulling the plug on the German automotive industry. With an AfD government, the economic turnaround will return to reason,” wrote AfD co-chair Alice Weidel.
Gleich in vier VW-Werken lässt der Konzernvorstand die Lichter ausgehen. Energiewende und Elektro-Planwirtschaft ziehen der deutschen Autoindustrie den Stecker. Mit einer AfD-Regierung kommt die Wirtschaftswende zurück zur Vernunft.https://t.co/6BEVQlIf3y
— Alice Weidel (@Alice_Weidel) September 2, 2026
The plan was unanimously adopted by the VW management board and will be presented to the Supervisory Board on Sept. 3. While not an immediate shutdown, it would end production in the early 2030s in Emden, Zwickau, Hanover, and Neckarsulm, with production transferred to Poland, Slovakia, and the Czech Republic.
Germany’s anemic growth is almost entirely debt-fueled and focused on public sector and defense. Its once world-class industrial base is meanwhile rapidly eroding, with Normura reporting that investors are increasingly receptive to right-wing victories, as ZeroHedge reported.
The AfD is using Merz’s economic record to argue that investors would welcome an AfD victory in the state.
AfD candidate Ulrich Siegmund told Welt TV that “exactly the opposite” would happen and that an AfD government would instead encourage firms to launch projects in Saxony-Anhalt.
Conservative-governed states abroad would see “a competitive advantage if we finally have long-term planning security again, if we have no climate targets, no quota targets,” argued Siegmund.
“[Merz’s] current economic policy speaks for itself here. We are currently experiencing deindustrialization in this country. Businesses are closing, businesses are leaving this country. That means reality speaks a clear language here,” he said.
Weidel also attacked Merz after his warning of “significant damage.”
“No German Chancellor has advanced the economic misery and deindustrialization of our country as much as Friedrich Merz,” she said. “His arrogant threats towards the responsible voters in Saxony-Anhalt show the political elite in Berlin is trembling.”
Zerohedge further discussed Normura’s take on the issue, which may be generally supportive of the AfD’s stance.
Andrzej Szczepaniak, senior European economist and executive director at Nomura, wrote “the seeds of political change” adding that “politics in Europe is lurching towards more populism.”
Szczepaniak said: “Five years ago, financial markets would not have seemed so at ease with such a prospect. But then again, these populist right-wing political parties were previously not as fiscally prudent as they are perceived to be today. Indeed, Italy’s Giorgia Meloni is the standard-bearer for financial markets of how a populist right-wing political party can govern: fiscally prudent enough to show investors that the party can govern responsibly while focusing heavily on social issues, including immigration and culture wars, to keep grassroots supporters happy.”
“Financial markets are much more concerned about populist left-wing parties being elected due to their desire to increase spending, often paid for through higher borrowing or higher taxes, which are likely to shut the engine off of already stuttering economies.”
While VW plans for plant closures have not been finalized, they are a sign of general industrial trends across Germany.
VW CEO Oliver Blume, at works council meetings in Emden, said that labor costs at Emden are more than twice those at comparable European plants. He noted that factory costs at other group plants are “clearly cheaper.”
“That is not an accusation, it is the reality we have to be measured against,” he said.
He added that cost cutting “is not enough to stay competitive long-term in a world of such massive change.”
On Aug. 31, CFO Arno Antlitz in Hanover said, according to Reuters, that: “We build good cars but earn too little because our costs are too high.”
“Because of the large cost differences versus other European plants, we currently have no economically viable follow-on production for four German sites once current products run out in the early 2030s,” he warned.
Companies across Germany have either cut production or closed plants entirely, with VW now one of the most high-profile corporate giants eyeing taking the same action.
The post Germany: Chancellor Merz claims AfD win will threaten economy, AfD quickly points out VW plans to close 4 plants appeared first on Remix News.
Login