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What will self-driving trucks mean for truck drivers?
By Bernd Debusmann Jr
image captionYou can t be a trucker unless you enjoy it, says Craig Hoodless Last week, I put 73 hours in. You re not getting home through the week, Craig Hoodless says of his job behind the wheel of a truck. After a full day s driving you re mentally knackered but physically fine. Being a long-distance driver has to be a job you love. You can t do this job if you don t like it.
Mr Hoodless, based in Cumbria in north-west England, is one of the more than 300,000 people employed driving heavy goods vehicles (HGVs) in the UK, and one of millions who do so around the globe.
Say “labor” and “Akron” and the likely response will be “rubber.” That’s as it should be, but in “Labor in Akron, 1825-1945” the historian John Tully reaches back far earlier, even as far back as the founding of the city.
The laborers who dug the Ohio & Erie Canal, mostly Irish immigrants seeking opportunity after a famine and cholera epidemic, were paid a pittance and vulnerable to rattlesnakes and diseases like malaria. There were a few unorganized strikes, but conditions did not improve.
Other early labor activities included the forming of a carpenters’ union in 1837 and a factory workers’ strike in 1845. Akron was important in women’s rights, with early suffrage efforts and the momentous 1851 “Ain’t I A Woman” speech by Sojourner Truth.
Pulitzer-winning journalist Frankel (
High Noon) delivers a vivid chronicle about the classic 1969 movie
Midnight Cowboy, the only X-rated movie to win the Academy Award for Best Picture. Frankel covers the film’s main contributors: James Leo Hurlihy, whose 1965 novel was the basis for the movie; director John Schlesinger, who took a chance on a novel “so bleak, troubling and sexually raw no ordinary film studio would go near it”; formerly blacklisted screenwriter Waldo Salt; actors Jon Voight and Dustin Hoffman (whom Frankel interviewed); and casting director Marion Dougherty, who convinced Schlesinger to take a chance on then-unknown Voight. Frankel offers behind-the-scenes anecdotes, notably about the challenges of filming in New York City during a garbage strike, and in Texas, where the film crew needed protection from a den of rattlesnakes. Frankel also renders the social upheaval of the era the Stonewall riots, antiwar protests, racial unrest and the window between the
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