It will be easier to replace fully remote jobs with AI, a leading WFH expert says | 9 Ways to Say No to Busywork and Unrealistic Deadlines | The View from Inside Beatlemania

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You Might Like � � � You Might Like � � � � � � � � � Don't like ads? Go ad-free with TradeBriefs Premium It will be easier to replace fully remote jobs with AI, a leading WFH expert says - Business Insider    That's according to Stanford University economist and leading work-from-home expert, Nicholas Bloom. In a virtual panel organized by software company, Scoop, Bloom said "fully remote, relatively low-level things like call centers, data entry, payroll" jobs were at the highest risk of being replaced by AI. "If I were fully remote, you could replicate me with AI," he said during the panel, which was reported by Fortune. "You could get close to my image. You could do my voice. You could probably get much of the discussion from ChatGPT." "If I have to go in and teach people, the robots [that could do the same] are enormously clunky – like, 2,000 pounds," he said. "There's no way any robots will look like a human, even within the next 10 years," he added. Continued here 9 Ways to Say No to Busywork and Unrealistic Deadlines - Harvard Business Review    The difference between living a life of peace and productivity versus a life of stress and resentment could lie in one simple skill: Learning how to say no. Saying no makes the difference between a packed schedule and an open one, but it might also make you a little uncomfortable at first. Here’s how you can say no in three different areas: time commitments, tasks, and time frames. Do the math to see how much time a commitment would cost you. Do you have the time for that right now? If not, respond by thanking them for the invite and respectfully declining. Feel free to delegate the task to someone with more time or better expertise. Try stepping back from volunteering for a bit. Make sure to ask for reasonable time frames that gives you back your evenings and weekends. Communicate with confidence instead of being overly apologetic. By saying no, you are saying yes to giving time to what matters most. Continued here The View from Inside Beatlemania - The New Yorker    On November 4, 1963, the Beatles played at the Prince of Wales Theatre, in London, exuberant, exhausted, and defiant. “For our last number, I’d like to ask your help,” John Lennon cried out to the crowd. “Would the people in the cheaper seats clap your hands? And the rest of you, if you’d just rattle your jewelry.” Two weeks later, the band made their first appearance on American television, on NBC’s “Huntley-Brinkley Report.” “The hottest musical group in Great Britain today is the Beatles,” the reporter Edwin Newman said. “That’s not a collection of insects but a quartet of young men with pudding-bowl haircuts.” And, four days after that, “CBS Morning News with Mike Wallace” broadcast a four-minute report from “Beatleland,” by the London correspondent Alexander Kendrick. “The Beatles are said by sociologists to have a deeper meaning,” Kendrick reported. “Some say they are the authentic voice of the proletariat.” Everyone searched for that deeper meaning. The Beatles found it hard to take the search seriously. Kendrick’s report had been set to air again that night, on “CBS Evening News with Walter Cronkite.” The rerun was cancelled. The sixties started in 1964, observers like to say, and 1964 started that afternoon, November 22, 1963, when Cronkite broke into “As the World Turns.” “In Dallas, Texas, three shots were fired at President Kennedy’s motorcade,” Cronkite said, his voice grave and urgent. You couldn’t see Cronkite; the news had just come in on the wire service, and onscreen was a slide that read, “CBS NEWS BULLETIN.” Minutes later, with the cameras finally on, Cronkite appeared in shirtsleeves, spruce but shaken. “If you can zoom in with that camera, we can get a closer look at this picture,” he told a cameraman, holding up a photograph of the motorcade taken moments before the shooting. At 2:38 P.M., Cronkite looked up at the clock, and announced that the President had died. “We were backstage somewhere on a little tour in England when we heard the news,” McCartney told me last year. We were in his office in New York; McCartney, eighty, wore jeans and a pullover, slouching in his chair like a teen-ager. More pensive than wistful, he remembered that day, how it was surreal, unreal, but, then, everything about that year was surreal. Two days after Kennedy was killed, Jack Ruby shot Lee Harvey Oswald on live television. In 1964, you could hold your camera up to the world. But what madness—what beauty, joy, and fury—would you capture? Continued here

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