Employment and unemployment can both increase because labour force grows with population | Queensland Economy Watch
I’ve noticed there is a bit of confusion around regarding how the Queensland Government can claim employment has grown while at the same time unemployment has increased and the unemployment rate has risen to 6.9 per cent. Employment and unemployment can both increase over a particular period because the pool of people in the labour market – those employed or actively looking for work (i.e. unemployed) – is not static, but growing, as the population increases. New jobs need to be created not just for those currently unemployed but for future workforce entrants such as school leavers and parents re-entering the workforce. When employment grows at a slower rate than the labour force, unemployment is increasing faster than employment, and the unemployment rate will increase. This is what has happened in Queensland since the last election (see chart below, which was inspired by today’s article in the Brisbane Times Employment grows but jobs are part-time).
I’ve been reluctant to make too much out of the loss of full-time jobs because of the high degree of imprecision in the labour force data and because I think there is still value in part-time employment, even though a full-time job would obviously be preferable for many people.
This entry was posted in Labour market and tagged abs, employment, jobs, labourforce, qld, queensland. Bookmark the permalink.	
Tonight marks the debut not only of a new queer theatrical production, but of a new queer playwright and director, Robert Roth. The play is called “When there were Angels”, Robert’s semi-autobiographical account of fleeing his emotionally abusive and homophobic family to find self-acceptance, adventure, and love–and it comes to us at a time when the need for new queer arts has been so deeply underscored.
“Watching dress rehearsal last night gave me chills,” Robert tells us, “realizing how suddenly relevant the play is now”.
“Being queer, and being in a relationship with someone of the same sex, was still mostly illegal back then”, Robert explains about the show, set in the early 90s. “The gay community was still suffering from the decimation of the AIDS epidemic, largely brought about by 12 years of a Republican government. You could lose your job, or your housing, or be denied any number of services for being queer, and that was perfectly legal. The man I was in love with risked his safety and livelihood just by being with me. Being queer was a subversive act.”
“I can’t help but be reminded of that today with all of the pain, sorrow, and anger that I and my friends and loved ones are all feeling right now,” Robert says about premiering his new labor of love in this politically-charged moment of increasing divisiveness and hate. “But I also can’t think of a better way to say “fuck you” to the people who would have us be silent, who would have us disappear, then to have an amazing group of queer folks, most of whom are people of color, put on a play about gay love in a building with a neon sign that proudly has the word gay on it.”
“It’s been an amazing challenge”, Mr. Roth says about debuting as both playwright and director. “I’ve been writing for a long time, and I’ve produced quite a few events, but there are definitely a lot of nuances to directing a play that you’ll only encounter once you try it,” he explains. “I’m working with a great cast. They share a broad range of talents and quirks that have made this experience really special.”
“When there were Angels” follows the adventures of Jack, a character based upon Robert himself, as he leaves his conservative Christian family behind and hitchhikes to early 90s San Francisco, where he finds himself at a famous old hostel full of eccentric and transformative characters–including his first bonafide boyfriend. “I’m generally a pretty open person,” Robert explains, “and my friends have heard me talk about this part of my life. It makes me feel pretty vulnerable, though, to have some of the most important and impactful events of my early adulthood played out onstage in front of me.”
“The main character, Jack, isn’t really me, of course. He shares some similar qualities with the person I was 20 years ago, and he experiences some of the things I went through back then. If anything, he’s who I was back then written through the lens of what I know now. But Jack, the character, is his own person, too. In some ways, he’s very different from me,” Robert says.
“When I asked Collin (Fitzgerald) to read for the play, it was originally for the role of Derek. Once he read for me, though, I knew right away that he was perfect for Jack. Although he’s a newcomer to the stage, he has a natural gift for acting and an incredible versatility for displaying emotion. That’s important, because you see a lot of Jack in this play. I really enjoy working with him, and have every confidence that he was the right choice for this role.”
“This was a period in my life where a lot of the people I met and became friends with turned out to be exactly the right people for me to meet at the time. In that sense, they could be described as sort of guardian angels, you know? Not that they were all looking out for me. The lessons they taught me, though, were beneficial and important and have stayed with me to this day.”
“I think those experiences are common for all of us at different points in our lives, too, even if we don’t recognize them until after the fact.”
“He obviously wasn’t straight,” says Robert of his real life experience the story is based on, “at least not completely. Our relationship gave me a valuable opportunity to learn more about the spectrum of sexuality that people sit on; bisexuality, pansexuality, and such. What it came down to was that he very much wanted to love, and to be loved. The mechanics of it weren’t that important.”
“My relationship with substance use has been pretty rocky throughout my life,” Robert confesses. “It’s important for me to be real about that. But it’s also important to be real about how that impact wasn’t all negative either. Positive or negative, though, drugs like LSD were a big part of my life back then, and they were certainly a big part of this story, which is why you see things like an acid trip depicted onstage. Honestly, that was a really fun scene to put together.”
“I wrote the story with an audience in mind, of course, and hope that everyone who comes to see it will be able to relate to the experiences they’ve witnessed in their own way,” Robert says. “The themes I wrote about are fairly universal; love, loss, and discovering who you are through challenge and adversity.”
I have a Swiss cheese plant that has a couple of leaves that are turning brown on the edges. What could be causing this? It is in a pot in a well lit room away from heat and droughts.
It sounds like either a not enough light problem or root rot. Move it to a location with more light and check for root rot. This article will help you with that: https://www.gardeningknowhow.com/plant-problems/disease/treating-root-rot-gardening-tips-for-housplants.htm
Thomas Gage was born in Firle, Sussex, England, in 1719 or early 1720, to Thomas Gage, 1st Viscount Gage, and his first wife, Benedicta Hall. At eight he entered the Westminster public school, where he studied until 1736. In 1741, he purchased a commission as lieutenant in Colonel Cholmondely's Regiment of Foot. He obtained the rank of captain-lieutenant in May 1742, and became captain in January 1743. Gage served as an aide-de-camp to the Earl of Albemarle; he was present at the Battle of Fontenoy in 1745 and participated in the Battle of Culloden in 1746. He served in Ireland with the 44th Regiment of Foot, and was promoted lieutenant-colonel on March 2, 1751. In the fall of 1754, his regiment was ordered to America under Major General Edward Braddock as part of an effort to counter the French in the Ohio Valley.
Gage and his regiment departed England in early January 1755 and had landed in Virginia by March. He commanded Braddock's advance guard in the march toward the forks of the Ohio River, and led the guard during the defeat at Monongahela on July 9. After the battle, Gage applied for the colonelcy of the 44th, which he did not receive. His regiment spent the winter in Albany, and, after months of inactivity, they set out for Oswego on August 12, 1756, on an expedition to inspect troops, examine forts, and build storehouses along the way. Upon receiving word that Oswego had been attacked, Gage's forces demolished the forts between Albany and Oswego, before retreating down the Mohawk and spending the winter in Albany. During the campaign of 1757, Gage traveled with Loudoun's expedition to attack the French fortress of Louisbourg, but this did not materialize. In December, Gage proposed to Loudoun that a regiment of light infantry specially trained for woodland combat be organized under Gage's command. Loudoun agreed, and formed the 80th Regiment of Light-Armed Foot. Gage set up recruiting headquarters in late December at Brunswick, New Jersey. He reported back to Albany in February 1758 and prepared for the coming campaign. On July 8, 1758, Gage led the light infantry screen in James Abercromby's failed attack on Ticonderoga, known as the Battle of Carillon. In November, he met with Jeffery Amherst in New York, and there received the news that he had been appointed brigadier general. He continued on to Brunswick and married New Jersey native Margaret Kemble (c.1734--1824) on December 8. They returned to Albany in mid-January 1759, where he took command of Albany and the surrounding forts. Following the siege of Niagara in July, Amherst ordered Gage to take command on Lake Ontario, capture La Galette, and hold that position. Gage refused to take La Galette, focusing instead on strengthening Niagara and Oswego. He was again placed in charge of Albany and its surroundings for the winter of 1759. In 1760, during the final continental campaign, Gage commanded the rearguard in Amherst's army and, in September, Amherst appointed him military governor of Montréal and its surrounding regions, a post he held until October 1763.
In 1761, Gage was promoted to major-general, and in 1762, he received the colonelcy of the 22nd Regiment. When Amherst was granted leave to return to England, Gage was ordered to New York where, on November 17, 1763, he was offered, and accepted, a temporary appointment as commander-in-chief for North America. He was formally commissioned by the King on November 16, 1764. He held the position for twelve years and maintained his headquarters in New York until moving his headquarters to Boston in 1774. In handling Pontiac's Rebellion, Gage approved of Amherst's plan of asking the colonies exposed to Indian attacks to raise 3,500 troops. He also ordered John Bradstreet and Henry Bouquet to move against the Delawares and Shawnees, while William Johnson made peace with Pontiac himself. Political troubles and civil unrest, catalyzed by such legislation as the Sugar and Stamp Acts, necessitated an increase of troops in New York, Philadelphia, and Boston. In the summer of 1768, he ordered the abandonment of many forts along the western, northern, and southern perimeter of the British colonies and indicated in June that only a few posts, including Detroit and Ticonderoga, were necessary to maintain the interior. By March 1769, he wanted troops concentrated on the eastern seaboard. On March 5, 1770, tensions boiled over in Boston, when a group of troops fired into a mob of civilians and killed five citizens. Though this conflict, now known as the Boston Massacre, fostered further mistrust between the citizens and the British troops, the event was followed by a period of relative peace (1771-1772). By 1773, however, the Americans resumed revolutionary activities, unhappy with restrictive Parliamentary acts.
Gage sailed to England upon leave of absence in June 1773. During his time in England, he advised King George III that stronger measures would tame the Americans, and in September met with Lord North and Lord Dartmouth to discuss the problem of addressing French settlement in the American West. He and his wife spent time in Bath and made London their home, until his return to America. The cabinet announced his appointment as governor of Massachusetts on April 2, 1774, replacing Thomas Hutchinson. Gage returned to America, arriving in Boston Harbor on May 13. As the situation became more tenuous, he transferred more troops to Boston. On January 27, 1775, the Earl of Dartmouth sent a secret dispatch to Gage ordering him "to arrest and imprison the principal actors & abettors in the Provincial Congress," the leaders of rebellion. He did not receive this letter until mid-April. Early in the morning of April 19, Gage sent a column to Concord, where the Massachusetts Provisional Congress had met and the rebels held known stores of munitions. The following day, British troops skirmished with militia at Lexington and Concord, before being rescued by a larger brigade sent out by Gage early that morning. On June 12, Gage declared martial law and called a council of war. He decided, along with the recently arrived William Howe, Henry Clinton, and John Burgoyne, to attack the rebels. The British won the Battle of Bunker Hill on June 17, but with a heavy loss of almost forty percent of their troops. Gage received orders on September 26 to return as soon as possible to London, and left Boston on October 10, the same day that Howe became the new commander-in-chief.
On April 13, 1781, Gage accepted a position on Amherst's staff to prepare for the defense of Kent, in case of a possible French invasion. He was made a full general on November 20, 1782. Thomas Gage died in his home in Portland Place, London, on April 2, 1787.