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Parental leave in Denmark: What are the new rules and when do they take effect?

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Parental leave rules in Denmark are to change in 2022 with parliament set to vote through changes that bring the country into line with EU directives.

After the EU in 2019 passed a directive which required member states to ensure a minimum of nine weeks’ “earmarked” parental leave for each parent by 2022, discussions between the government and labour market representatives have resulted in agreement over new rules.

The deal will come into effect in August 2022. It is supported by the majority of parties on the left and right of parliament, meaning it is all but assured of being passed into law.

“Earmarked” (øremærket in Danish) parental leave because the two parents cannot transfer the leave from one to another, allowing one parent to take all or nearly all of the statutory parental leave.

This is possible under the outgoing Danish system, where 32 weeks of parental leave (forældreorlov) can be distributed between parents as much or either sees fit and can be taken concurrently or consecutively.

Because the reform tags more of the statutory parental leave to each parent, fathers and other partners are effectively entitled to nine weeks’ more leave than under current rules.

Under the new rules, each parent is granted 24 weeks each of leave following the birth of a child, with a total of 11 weeks “earmarked” for each parent.

The mother has a right to four weeks’ pregnancy leave prior to giving birth and both parents can take two weeks’ parental leave immediately after the birth.

That leaves a remaining earmarked 9 weeks, which can be taken at any time withing the first year after birth but are tagged to each parent, as are the initial 2 post-birth weeks. If one parent does not use all of their 11 weeks, those weeks lapse.

The final 13 weeks of each parent’s leave can be transferred between parents. As such, these weeks can be split 13-13, 26-0 or anything in between. They can be taken at any time until the child’s ninth birthday.

Self-employed people, students and jobseekers are not encompassed by the rule requiring parental leave to be earmarked, and can transfer up to 22 weeks (the normal 13 weeks plus the 9 weeks which are “earmarked” for employed people) to the other parent.

The new rules also introduce equality between single fathers and single mothers with regard to the number of weeks of parental leave after the birth. In each case, the single parent receives 46 weeks of leave.

From January 1st 2024, single parents will also be allowed to transfer parental leave to a close family member.

LGBT+ families are permitted to divide their leave between up to four parents, also from January 1st 2024. In this case, the non-earmarked leave can be shared between legal guardians and social parents.

Social parents can include the spouse or cohabitant of a legal guardian; a known donor with a parental relationship to the child; and the spouse or cohabitant of a known donor with a parental relationship to the child.

Source: Beskæftigelsesministeriet

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Writer Salman Rushdie attacked while giving a speech in New York | USA

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Indian-born writer Salman Rushdie was attacked on Friday while giving a lecture in Chautauqua County, a town of about 140,000 inhabitants in western New York state. The first images of the event that have been shared on social networks show Rushdie on the floor, being attended by attendees and emergency services.

New York state police announced in a press release that the writer suffered an apparent stab wound to the neck, and was transported by helicopter to an area hospital. His condition is not yet known. An Associated Press reporter witnessed a man storm the stage at the Chautauqua Institution and begin punching or stabbing Rushdie as he was being introduced. The 75-year-old author was pushed or fell to the floor, and the man was restrained. The assailant has been arrested.

Rushdie’s book The Satanic Verses has been banned in Iran since 1988, as many Muslims consider it blasphemous. A year later, on February 14, 1989, Iran’s late leader, Ayatollah Ruhollah Khomeini, issued a fatwa calling for Rushdie’s death. The theocratic Iranian regime also offered a reward of more than $3 million for anyone who killed the writer, who holds dual British and US citizenship.

Author Salman Rushdie in 2010.
Author Salman Rushdie in 2010.David Levenson (Getty Images)

Iran’s government had long since distanced itself from Khomeini’s decree, but anti-Rushdie sentiment has persisted. In 2012, a semi-official Iranian religious foundation raised the reward for Rushdie’s death from $2.8 million to $3.3 million.

Rushdie, an English-language writer and perennial contender for the Nobel Prize in Literature, downplayed that threat then and said there was “no evidence” that people were interested in the reward. That year, Rushdie published a memoir, Joseph Anton, about the fatwa.

The 75-year-old author achieved international fame with the novel Midnight’s Children, which was published in 1980 and won him the Booker Prize, the UK’s most prestigious literary prize, the following year. The book sparked controversy in India for allegedly derogatory remarks towards the then prime minister of the country, Indira Gandhi.

With an overflowing imagination, his style has been compared to the magical realism of Gabriel García Márquez and Carlos Fuentes, among others. He himself has recognized on numerous occasions his important links with Latin American literature. His latest book Quixote (2020) adapts Cervantes’ classic to the situation that the United States under the Donald Trump administration.

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How Issey Miyake’s clothing became the uniform of the creative class | Culture

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Steve Jobs, at an Apple event in San Francisco, in January 2010. The founder of the technology company used to wear turtleneck sweaters designed by Issey Miyake in public.
Steve Jobs, at an Apple event in San Francisco, in January 2010. The founder of the technology company used to wear turtleneck sweaters designed by Issey Miyake in public.Justin Sullivan (Getty Images)

There are designers who have clients, and designers who have devotees. Japanese designer Issey Miyake, who died on August 9 at the age of 84, was the latter. Moreover, his clientele is easy to locate. “Why are his clothes preferred by so many prominent figures in the arts?” art critic Herbert Muschamp wondered in his 1998 review of Miyake’s exhibition at the Fondation Cartier in Paris. He had every reason to ask.

For over two decades now, the soundtrack of openings, vernissages, roundtables and other events in the art world has consisted as much of clinking champagne glasses as the airy and technical rustling of Miyake’s pleated garments for women (since 1993, when he launched his Pleats Please line) and men (from 2013, when he created his Homme Plissé brand, adapting his bestselling clothes for men to wear). Gallerists, curators, architects, photographers, writers, journalists: few can resist the charms of pieces by the designer who best understood that the future of fashion went through the future of its fabrics. It’s fashion without logos, but instantly recognizable, just like Martin Margiela’s, another art circuit classic.

One doesn’t have to go to the red carpet to find Miyake’s garments, just observe everyday cosmopolitan cultural life. Over the decades, architect Zaha Hadid; designers Jonathan Anderson and Samuel Ross; fashion critics Tim Blanks, Suzy Menkes and Angelo Flaccavento; gallery owner Barry Friedman; artists Joana Vasconcelos and Graciela Iturbide, politician Carmen Alborch; and music icons Grace Jones and Joni Mitchell have all been seen wearing Miyake. Steve Jobs was also loyal to Miyake since he commissioned a turtleneck sweater and the

Japanese designer responded with a hundred similar sweaters. In the years that followed, the Apple founder wore nothing else, according to his biographer, Walter Isaacson.

The idea of a uniform is a tantalizing hypothesis for explaining how quickly Miyake’s brand—which remains an independent company to this day—spread among certain groups. But there is an explanation—perfectly compatible with the previous one—that appeals to an earthlier reason: practicality. That was American architect and interior designer Rafael de Cárdenas’s assertion to Town & Country last April, after telling the magazine that he had discovered Miyake during his years as a designer at Calvin Klein. He said that the first time he wore Miyake, “my partner asked me if I was wearing my mom’s clothes. She’s big into the elegant sack thing. But it’s a good way to look smart when you’re actually wearing sweatpants.”

Fashion journalist Tim Blanks, dressed in Miyake during the symposium organized by Business of Fashion in November 2019.
Fashion journalist Tim Blanks, dressed in Miyake during the symposium organized by Business of Fashion in November 2019.Samir Hussein (Samir Hussein/Getty Images for T)

Comfort may well be one of the reasons for Miyake’s success. In the late 1980s, he began experimenting with a new way of pleating fabrics. That impulse to innovate wasn’t new. Since the beginning of his career, Miyake had been exploring the dialogue between technology and the old artisanal techniques of knitting and weaving. But he was more ambitious: instead of pleating the fabric prior to making the garment, he rolled and twisted the finished clothes, putting them into a machine that left the pleats indelibly marked by applying heat to the polyester. The pleating was irregular—it differed from garment to garment—as well as indestructible. As users say, the clothing can be put in the washing machine or haphazardly in a suitcase without fear of ruining the pleating. The result is pants, shirts, sweaters, jackets and dresses that weigh very little and use the shoulders as a hanger—the same logic that Cristóbal Balenciaga developed for

separating clothes from the body by following the example of Japanese clothing—to project their volume outward.

At the same time, the silhouette the clothing generates is wide and light like the paper lamps of Isamu Noguchi, one of Miyake’s favorite designers. In an era dominated by sleek, elongated silhouettes, that horizontality could be unflattering, as art curator Antwaun Sargent emphasized in the same Town & Country article. He recalled that he’d associated Miyake with female collectors of a certain age. Then, he decided to buy a pair of pants after seeing Solange Knowles wear them; he has been loyal to the brand ever since. So has historian Roger Cook, who was interviewed for a feature on Miyake customers in The Financial Times when he was in his eighties. “The publicity for Plissé is primarily aimed at the youth or sport end of the market, but I feel it can be successfully and stylishly worn by seniors like myself,” he explained of his favorite baggy pants. “The enormous amount of bodily gratification I obtain from my Miyake wonderfully compensates for the depredations of old age.”

Miyake’s connection with the creative class has even found its way into marketing textbooks. In an article about “expertise marketing,” French professor—and Republican member of France’s National Assembly—Patrick Hetzel imagined Miyake’s prototypical client: her name is Josyane. She is a communications executive who works in the Parisian golden triangle and lives in the Marais; she views luxury fashion designers with skepticism and favors brands with sophisticated tastes, such as Miyake. “Josyane is proud of her ten years of loyalty to the firm, which makes her part of a small tribe of people whose originality has served to create new styles,” Hetzel writes

Fashion critic Angelo Flaccavento, wearing an Issey Miyake Homme Plissé coat and pants during Paris Fashion Week in September 2018.
Fashion critic Angelo Flaccavento, wearing an Issey Miyake Homme Plissé coat and pants during Paris Fashion Week in September 2018.Matthew Sperzel (Getty Images)

Although the example may be a cliché—after all, that’s what sociological textbook categorizations do—the Frenchman’s observation underscores another argument in Miyake’s favor: the artistic and conceptual pedigree he gained from decades of collaborating with the world of culture. Miyake is the designer of pleated clothing and the name behind two of the world’s most famous fragrances (L’Eau d’Issey and L’Eau d’Issey Pour Homme, which set the trend of aquatic fragrances in the 1990s). But he’s also a creator who has worked with William Forsythe, Yayoi Kusama and Cai Guo-Qiang; his collections have been featured in memorable photographs by Lord Snowdon, Irving Penn and Nick Knight; and since 1997, when he decided to step back from commercial designs to focus on experimental projects, his work has been featured in exhibits at the world’s most prestigious art centers. In some cases, both worlds have coexisted, as in the A-POC (A Piece of Clothing) project. The last commercial brand with which he was actively involved, the collection consisted of tubular fabrics that, thanks to computer technology, allowed each user to cut out their desired garment without worrying about fraying it.

Ultimately, Miyake’s work can be as intellectual or direct as one wants. Some of his biggest fans would say the latter. As fashion critic Tim Blanks told The Financial Times, “Don’t think about it [Miyake’s Homme Plissé]. Just put it on. Then we’ll talk.

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Mike Tyson vs. Disney’s Hulu: ‘Heads will roll’ | Culture

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Former boxer Mike Tyson has stepped into the ring again, but this time he is fighting a very different opponent: Disney’s streaming platform Hulu. The youngest champion in the history of boxing heavyweights has lashed out Hulu for not paying him for the TV show Mike, a scripted limited series that will be released on August 25. “Hulu stole my story. They’re Goliath and I’m David. Heads will roll for this,” wrote Tyson in a message on his Twitter account, which has 5.9 million followers.

“Hulu is the streaming version of the slave master. They stole my story and didn’t pay me,” he added on Instagram. Tyson, who new leads a medical marijuana company in California, said he was also offended by the fact Hulu made no effort to consult him about how to portray key moments in his life, such as his famous bite of Evander Holyfield in a fight in Las Vegas in 1997. “I don’t support their story about my life. It’s not 1822. It’s 2022. They stole my story and didn’t pay me. To Hulu executives I’m just a n****r they can sell on the auction block.”

Tyson added that Hulu also offered money to his friend Dana White, the current president of the Ultimate Fighting Championship (UFC), in exchange for information about the boxer’s life. “He turned it down because he honors friendship and treating people with dignity. I’ll never forget what he did for me, just like I’ll never forget what Hulu stole from me.”

The dispute with Hulu comes after Tyson revealed on the podcast The Pivot that he had spent around $500 million dollars on women. “I spent my last million dollars on my rehab because there was nothing left of the $500 million I made as a boxer,” he said. “It was all about women. It took 15 to 16 years, it seemed like a lot of money, but it’s all gone.”

In the same interview, he said he would not leave his six children any inheritance money. “What I leave them is the lesson to work hard and pray a lot. Money would not help them, it would harm them because it would not teach them to stand up for themselves, to overcome adversity and to work hard,” he said.

Madonna: ‘No one’s going to tell my story, but me’

US singer Madonna has written a screenplay about her life with Diablo Cody (the Oscar-winning screenwriter for Juno) and Erin Cressida Wilson (the writer of Secretary). The pop star may even direct the movie to ensure that it is not directed by “misogynistic men,” she told Variety magazine. “No one’s going to tell my story, but me.”



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