Wednesday, June 7, 2017

Wednesday, June 7 bonus day 3 New Yorker article on chicken production





Bonus: 100 points- no make-ups.

Please read the following article and respond in a quick write of 150 words to the following. Weave in specific evidence.

Now that you understand Factory-Produced Chicken and the conditions under which the people work, how might you change this situation?

Have you eaten at Taco Bell, Popeyes or Kentucky Fried Chicken?

EXPLOITATION AND ABUSE AT THE CHICKEN PLANT
Case Farms built its business by recruiting immigrant workers from Guatemala, who endure conditions few Americans would put up with.
By Michael Grabell

Poultry processing begins in the chicken houses of contracted farmers. At night, when the chickens are sleeping, crews of chicken catchers round them up, grabbing four in each hand and caging them as the birds peck and scratch and defecate. Workers told me that they are paid around $2.25 for every thousand chickens. Two crews of nine catchers can bring in about seventy-five thousand chickens a night.

At the plant, the birds are dumped into a chute that leads to the “live hang” area, a room bathed in black light, which keeps the birds calm. Every two seconds, employees grab a chicken and hang it upside down by its feet. “This piece here is called a breast rub,” Chester Hawk, the plant’s burly maintenance manager, told me, pointing to a plastic pad. “It’s rubbing their breast, and it’s giving them a calming sensation. You can see the bird coming toward the stunner. He’s very calm.” The birds are stunned by an electric pulse before entering the “kill room,” where a razor slits their throats as they pass. The room looks like the set of a horror movie: blood splatters everywhere and pools on the floor. One worker, known as the “backup killer,” stands in the middle, poking chickens with his knife and slicing their necks if they’re still alive.

The headless chickens are sent to the “defeathering room,” a sweltering space with a barnlike smell. Here the dead birds are scalded with hot water before mechanical fingers pluck their feathers. In 2014, an animal-welfare group said that Case Farms had the “worst chicken plants for animal cruelty” after it found that two of the company’s plants had more federal humane-handling violations than any other chicken plant in the country. Inspectors reported that dozens of birds were scalded alive or frozen to their cages.

Next, the chickens enter the “evisceration department,” where they begin to look less like animals and more like meat. One overhead line has nothing but chicken feet. The floors are slick with water and blood, and a fast-moving wastewater canal, which workers call “the river,” runs through the plant. Mechanical claws extract the birds’ insides, and a line of hooks carry away the “gut pack”—the livers, gizzards, and hearts, with the intestines dangling like limp spaghetti.

On the refrigerated side of the plant, there’s a long table called the “deboning line.” After being chilled, then sawed in half by a mechanical blade, the chickens, minus legs and thighs, end up here. At this point, the workers take over. Two workers grab the chickens and place them on steel cones, as if they were winter hats with earflaps. The chickens then move to stations where dozens of cutters, wearing aprons and hairnets and armed with knives, stand shoulder to shoulder, each performing a rapid series of cuts—slicing wings, removing breasts, and pulling out the pink meat for chicken tenders.

Case Farms managers said that the lines in Canton run about thirty-five birds a minute, but workers at other Case Farms plants told me that their lines run as fast as forty-five birds a minute. In 2015, meat, poultry, and fish cutters, repeating similar motions more than fifteen thousand times a day, experienced carpal-tunnel syndrome at nearly twenty times the rate of workers in other industries. The combination of speed, sharp blades, and close quarters is dangerous: since 2010, more than seven hundred and fifty processing workers have suffered amputations. Case Farms says it allows bathroom breaks at reasonable intervals, but workers in North Carolina told me that they must wait so long that some of them wear diapers. One woman told me that the company disciplined her for leaving the line to use the bathroom, even though she was seven months pregnant.

Scrambling to find workers in the late nineteen-eighties and early nineties, Case Farms sent recruiters across the country to hire Latino workers. Many of the new arrivals found the conditions intolerable. In one instance, the recruiters hired dozens of migrant farmworkers from border towns in Texas, offering them bus tickets to Ohio and housing once there. When workers arrived, they encountered a situation that a federal judge later called “wretched and loathsome.” They were packed in small houses with about twenty other people. Although it was the middle of winter, the houses had no heat, furniture, or blankets. One worker said that his house had no water, so he flushed the toilet with melted snow. They slept on the floor, where cockroaches crawled over them. At dawn, they rode to the plant in a dilapidated van whose seating consisted of wooden planks resting on cinder blocks. Exhaust fumes seeped in through holes in the floor. The Texas farmworkers quit, but by then Case Farms had found a new solution to its labor problems.


Recently, Case Farms has found a more captive workforce. One blazing morning last summer in Morganton, an old yellow school bus arrived at Case Farms and passed through the plant’s gates, pulling up to the employee entrance. Dozens of inmates from the local prison filed off, ready to work at the plant. Even their days may be numbered, however. During the tour in Canton, Popowycz and other Case Farms managers showed me something they were excited about, something that would help solve their labor problems and also reduce injuries: in a corner of the plant was a shiny new machine called an “automatic deboner.” It would soon replace seventy per cent of the workers on the line. 

Tuesday, June 6, 2017

Tuesday, June 6 bonus: Jacob Lawrence Migration seriers


Jacob Lawrence's "The Migration Series"

Migration Series

Broad in scope and dramatic in exposition, this depiction of 

African-Americans moving North to find jobs, better housing,

 and freedom from oppression was a subject he associated

 with his parents, who had themselves migrated from South 

Carolina to Virginia, and finally, to New York.

Lawrence began to research the subject at the

 135th Street Library.

 After many months of reading and taking

 notes, he made sketches or the 

series. Gwendolyn Knight, a painter who was 

to become his wife, helped him identify 

memorable scenes and assisted in gessoing the

 panels and writing the inscriptions. 

Enthralled by fourteenth- and fifteenth-

century Italian paintings he had seen at the 

Metropolitan Museum of Art, Lawrence used 

their medium—tempera—with a craftsman's

 mastery. To keep the colors consistent, he 

placed the panels side by side and painted 

each hue onto all the panels before going on

 to the next color. Perhaps it was this 

approach that resulted in a sense of 

collective unity, even though each panel can

 stand on its own.

Searing in their immediacy, the works show

 only essential imagery. Flattened, angular

 forms, strong diagonals, and contrasts of

 light and shadow contribute to the dynamism 

of the images. Although Lawrence used a 

limited palette, he arranged the colors to 

form focal points to direct the viewer's 

attention. Some pictures are self-contained; 

others are more expansive. As the narrative 

unfolds, from image to image, the vantage 

point, compositions, and details change—in a 

manner reminiscent of a film. In some panels,

 figures dominate; in others, the setting 

propels the story. The people are not 

individualized; rather, they represent 

collective characteristics. However, Lawrence

 never lost sight of the human drama. In all

 of his work, the human content is paramount.
Assignment: quickwrite

   On a separate sheet of paper, beginning with an MLA 

heading, respond to the following in a well-written paragraph.

How are the narrative images of Lawrence's "The Migration 


Series" reflective of the African American experience the early 

20th century?

Monday, June 5, 2017

Monday, June 5 catharsis exercise


If you did not complete last week's task 2 argumentative essay, the make up is Tuesday or Thursday after school OR periods 1, 2 and 4.


BONUS DAY 1: catharsis exercise  100 points

You will each receive a piece of lined paper. (more up front if you need one)
Your objective is to write.   ABOUT ANYTHING.  No one will see your writing.  ANYTHING YOUR WRITE IS FINE, but you must write the whole class and cannot talk- even once- to anyone.

FIVE MINUTES BEFORE THE END OF CLASS YOU WILL COME UP AND DESTROY YOUR WORK.
Anyone who speaks or interacts with another student looses all 100 points. Anyone who leaves the classroom for any reason looses all 100 points.