TikTok Archives - LiisBeth https://liisbeth.com/tag/tiktok/ ¤ Field Notes for Feminist Entrepreneurs Wed, 02 Jun 2021 21:15:04 +0000 en-US hourly 1 https://wordpress.org/?v=6.6.1 A Recipe for Justice https://liisbeth.com/a-recipe-for-justice/ https://liisbeth.com/a-recipe-for-justice/#respond Wed, 28 Apr 2021 23:30:13 +0000 https://liisbeth.com/?p=16106 How one organization radically stirred up conventional business practices to heal communities — and flourish in difficult times.

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Paul Taylor, Executive Director of FoodShare at WE.Gordon Neighbourhood House Director Paul Taylor in one of their gardens, Salad maker ?? speaking with passersby, Exterior shot of the the building.
Paul Taylor, Executive Director of FoodShare at WE.Gordon Neighbourhood House. Photo by Dan Toulgoet

Last month, I set out to find examples of advanced feminist enterprises that were doing truly radical work, showing us what a socially just, post-capitalist enterprise and economy might look like.

FoodShare, a large and innovative Toronto-based food justice charity, emerged as a provocative example.

FoodShare was founded in the 1980s in response to an alarming increase in hunger and food insecurity due to the recession, with Indigenous and Black households experiencing the highest rates of food insecurity. It was meant to be a temporary organization dealing with a short-term issue, but as the number of food bank dependent and food insecure people in Toronto grew, so did FoodShare. Today, it is the largest food security charity in North America, entering another rapid growth period due to the pandemic.

FoodShare has more than a dozen income-generating and grant-supported programs including community garden facilitation, kitchen incubator, school lunch programs and a good food box delivered to subscriber doors. The organization employs 120 people of whom 54.8 per cent are women, 1.6 per cent transgender and 2.3 per cent gender nonconforming.  While most Canadian organizations are just beginning to embrace the government supported  50-30 challenge (which calls for corporations to increase representation of women to 50 per cent and BIPOC representation to 30 per cent on boards), FoodShare’s board of directors is already 62 per cent female and 85 per cent BIPOC.

Debbie Fields founded and led FoodShare for more than 25 years. Paul Taylor, took over as Executive Director (ED) in 2017.

Here’s what he has to say about FoodShare’s latest progressive initiatives. 

LiisBeth: Do you identify as a feminist?

Paul: Of course! I was raised by a bad-ass Black woman and come from a long line of bad-ass community minded, Black women. I was taught to listen and learn from women, and in particular Black women in leadership. I saw, through my mother’s eyes and experiences, how the patriarchy drives the kind of capitalism and neo-liberalism that’s wreaking havoc across the country. The pandemic has further exposed how much we still undervalue women in society. I think it’s horrific that we are just now starting implement a national childcare policy. If this was something that men depended on, we would have had a national childcare program decades ago.

LiisBeth: What do you think is the most radical change you have initiated since you joined the organization in 2017?

Paul: I would have to say our focus on implementing a standard-of-living wages, equal wages and wage-range compression policy.

Over the last few years, we have increased the lowest paid colleague salaries by 25 per cent. And we are not stopping there: we’ve got another increase that we’re working on that will be pretty significant and really important.

We’ve also tied the compensation for the lowest wage worker to the highest wage worker. For example, the Foodshare Executive director can make no more than three times what our lowest paid worker makes. From now on, we’re all going to be moving forward together — if we’re moving at all.

Given that CEOs and Executive Directors in the nonprofit sector often make many — sometimes 100 times — what the lowest paid employee makes, I think that is pretty radical.

We are also really committed to really thinking about how we challenge low wages for any kind of work, not just within our organization, but within the entire sector and within the food system. One of the directors on our board is a food delivery carrier.  He has been helping us think about the range of opportunities that exist to support low wage workers in the food system.

LiisBeth: Was the increase and wage compression policy a tough sell internally?

Paul: No, it wasn’t because it’s all about how we do board recruitment and who is on our board.

Traditionally boards look for directors who have certain professional designations like finance, legal, HR, or look for those with a C-suite title as a proxy for credibility, capability and intelligence. When we recruit on these terms, all we are doing is recreating the barriers that exist in society, for example, access to education.

So instead we flipped the norm on its head. Instead, we say, we’re going to prioritize recruiting board members that get the philosophical underpinnings of the organization, who have a commitment to equity, food justice, have lived experience with these issues to wisely design and implement new approaches, and who are willing to roll up their sleeves and dedicate resources to challenging those inequities.

If directors lack experience or education in certain areas, say in interpreting financial statements, board governance or investments, then we say, how can we provide support? We invest dollars in building our board’s capacity instead of expecting folks to have gone through all of the hoops that society presents to qualify, hoops that we all can’t reach.

LiisBeth: When you changed your ideas about who qualifies as a board director, did that change the make up of your board?

Paul: Completely. Today, our board is headed by an Indigenous activist, Crystal Sinclair. Our board is now predominantly made up of BIWOC folks. It’s unlike any board for an organization our size that I’ve ever seen. It’s composition really affects the key decisions that we make and how we show up in these decisions. For example, when we’re having a conversation about things like defunding the police, we’re not talking as (white) allies, we’re saying stop killing our communities because we are part of those communities. It changes how we show up on these issues, where we locate ourselves in these issues, and how we advocate.

LiisBeth: What do you think prevents other organizations from doing what you’ve done?

Paul: A willingness to reframe what it means to do the work that we do and how we do it. I think if we don’t acknowledge that patriarchy, colonialism, white supremacy, anti-Black racism are actually deeply rooted organizing principles and profoundly embedded in the way we work, well, then we will never come up with the strategies, the policies and the ideas for dismantling those systems within our own enterprises.

People need to be thinking outside of the box.

They need to be committing organizational resources to tackling these things. Tackling these things is not a black post or a black square on Instagram. Working to liberate your organization from these harm perpetuating systems requires resources, time, and a leadership team willing to be vulnerable.

LiisBeth: What advice would you give to small enterprises who are looking to dismantle patriarchy, colonialism, white supremacy and capitalism in their own operating practices?

Paul: If you want to prioritize that work, which I encourage everybody to do, and if you don’t have that capacity within, then reach out and secure a consultant that is focused in that area and has the lived experience to draw upon. And compensate them accordingly.

The second thing I would say (and this may be brutal for folks to hear) is that businesses that leverage inequality to exist are not sustainable. People have only been able to make them sustainable on the backs of low-wage workers, on the backs of precarious work arrangements. That’s the hard truth. The conversation we need to have.

I think we have to say no to building enterprises on the backs of under-paid, under-cared-for workers. If we’re not paying living wages, we are unsustainable.

Food Insecurity By Household Identity in Canada

The prevalence of household food insecurity differs markedly by Indigenous status and racial/cultural group. The highest rates of food insecurity are found among households where the respondent identified as Indigenous or Black.1 (Data Source: Statistics Canada, Canadian Community Health Survey (CCHS), 2017-18). Higher rates of food insecurity in non-married households in Canada are largely attributable to women's socio-economic disadvantage

LiisBeth: Is FoodShare a postcapitalist business enterprise?

Paul: Good question. You know, we recognize, capitalism is why charities exist. It’s a system that ensures that society’s resources are disproportionately distributed, and we need to be calling attention to the way that capitalism and neo-liberalism have created the conditions that cause some people in this country to constantly worry about where their next meal is going to come from while others are dreaming up new schemes to avoid paying taxes.

The existence of billionaires to us is as much a policy failure as the fact that close to a five and a half million people are food insecure in Canada.

So, unless we’re talking about how we collectively dismantle capitalism, and acknowledge and compensate for the harm that it’s caused to communities, we are just feeding a system that’s been designed to keep us so busy we don’t have time to examine the root cause of so much of the inequities that we are now all forced to navigate.

I think all nonprofit and for-profit leaders need to be holding our government to account to make sure that equity is centred in legislation and public policy

FoodShare Staff and Volunteers Group Photo
FoodShare Staff and Volunteers Group -Photo by Sandro Pehar

LiisBeth: Who is informing, inspiring your work right now?

Paul: I am inspired by folks connected to the ongoing Idle No More movement, folks at 1492 Land Back Lane, Climate Justice Toronto. For me, these are the groups that recognize that the voices of Indigenous peoples across Turtle Island and even across the world need to be heard. I would say I am inspired by the movement around abolition that has been led again primarily by Black women is one that dares us to dream of a world that isn’t preoccupied with punishment.  Other movements that I’ve gravitated towards for inspiration, for hope, are those that are centered on justice. They’re intersectional, and they prioritize those who have had the most stolen from them as a result of settler, colonialism, capitalism, and the proliferation of neo-liberalism.

LiisBeth: Thank you so much Paul, for this interview and more importantly, for your incredible work as a badass feminist enterprise leader.

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LiisBeth TikTok Playlist: 04.21 https://liisbeth.com/liisbeth-tiktok-playlist-04-21/ https://liisbeth.com/liisbeth-tiktok-playlist-04-21/#respond Wed, 28 Apr 2021 23:29:18 +0000 https://liisbeth.com/?p=16055 A collection of ten of our favourite trending TikTok songs.

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Image of tiktoc logo, two women and van gogh background
Photo Credit: Unsplash

There are a lot of ways to experience music, but TikTok is one of the weirdest – especially when it comes to trends. If you are anything like me, you have gone months giggling over a snippet of a trending song before listening to the whole thing – if you ever get around to listening to it at all. It is an absolute trip when you finally hear the entirety of a song that you both know intimately well and not at all.

So this is LiisBeth giving you that experience ten times over. We hope you enjoy listening to the full version of ten of our favorite trending TikTok songs.

Yucky Blucky Fruitcake  — Iamdoechii

What better way to kick off our TikTok playlist than with the iconic introductory track Yucky Blucky Fruitcake gifted to us by Iamdoechii? On TikTok this song is often used to show off transformations – whether it’s weight loss, a post-high school glow up, or the journey from positive pregnancy test to newborn baby. Perhaps more than any other song on this list, Yucky Blucky Fruitcake is a reminder that TikTok trends barely scratch the surface of a full song. Iamdoechii skillfully weaves several genres and musical styles together and lyrically presents a detailed description of her personality and history, proving her complexity as a musical artist and person in one fell swoop. Yucky Blucky Fruitcake has a quirky sense of humor, fun pop culture references, and will reward your undivided attention.

Track Star  — Mooski 

Track Star has three main trends associated with it: the dance, people running (often at track meets), and a game of hide and go seek where you set your phone to count down and try to hide before it takes a photo. In the full track, Mooski’s syrupy vocals lament his partner’s tendency to run away from problems instead of communicating. The whole song is great, but the minimalist bridge is especially good. Perfectly mixed, percussive, and smooth, Track Star is a solid start to Mooski’s music career.

MONTERO (Call Me By Your Name)  — Lil Nas X


Okay, so chances are good that you heard Montero all the way through before it started circulating on TikTok. Currently on its third consecutive week at the top of the Billboard Global Charts, Montero is the deliciously gay follow-up to Old Town Road that we could never have dreamed was on the horizon back in 2019. Peppy, flirtatious, and oh-so-thirsty, Montero doesn’t have a definitive trend associated with it yet – unless you count queer thirst traps as a trend. Which, come to think of it, why not? We’re here for it.

Day ’N’ Nite  — Kid Cudi 


“Now look at this” is by far the most popular Day ‘N’ Nite trend, although the song is also a popular backing track for the trend where you type a message in two colors and turn off the lights halfway through the video – this renders half of the text invisible, which usually inverts the original message. Kid Cudi, who wrote the song at a tough time in his life, briefly made headlines for his complicated reaction to people using this song comedically. Personally, I think that’s all the more reason to listen to the full track. It’s a good one for late-night drives, so throw that baby on repeat and enjoy Cudi’s company one of these nights.

Praying  — Kesha 


The trend behind Praying utilizes Kesha’s jaw-dropping high note (an F6 for those of you keeping track) near the end of this inspirational ballad. Often coupled with the MegaMouth filter, this trend is a hilarious way to indicate an overdramatic response to a situation. Even Kesha took a stab at the trend, reliving the awkward red-carpet moment in which Jerry Seinfeld refused to give her a hug. The memeability of the song does not detract from its power. Written after her long battle to free herself from her abusive producer Dr. Luke, this is an anthem full of anger, forgiveness, and self-love. Get ready to be inspired to fight another day.

deja vu  — Olivia Rodrigo 


deja vu is the most common backing track to videos playing with the inversion filter. The current trend is split in two: some users toggle the video back and forth to highlight the symmetry of their own facial features while others use it to highlight the physical similarities of siblings or other family members. deja vu is a 10/10 pop song: dirty, beachy guitars; lyrical, breathy vocals; a surprisingly prominent drumline; and a relatable break-up complaint. How dare your ex do the same old things with their new person and pretend those things are unique or special?

Moon (And It Went Like)  — Kid Francescoli 


This track is the current fave to play behind slide shows of vacations, adventures, and gorgeous photo shoots. Often starting off with a lip sync to the titular line, there is no denying that this track perfectly accompanies any set of memories. The full song doesn’t deviate far from what you’ve already heard: it is mostly instrumental and is sentimental and peppy. At six and a half minutes long, this song is ideal to chill out to while you’re making the memories that you’ll eventually upload to TikTok.

bury a friend  — Billie Eilish 


With a song as rich as bury a friend, it’s not surprising that there are a few trends to choose from. My personal favorite is the spooky, Eilish-inspired back bend, but people also use the Neon Twin effect to creepily stare themselves down or use the song to showcase a makeup transformation. The full song is well-worth a listen, with a surprisingly saccharine introduction, innovative percussive choices, and the quintessentially creepy Eilish sound. Screeching, chittering sound effects, whispery vocals – the whole nine yards.

Levitating  — Dua Lipa 


Levitating is also mostly used to comedic effect. The call and response of “You want me!” / “I want you baby!” makes for the perfect vehicle for TikTokers to simp over their favorite characters, poke fun at bad relationship choices, or make jokes about wanting things that they shouldn’t want. Outside of the jokes, though, Levitating is a great pop song. Fun, bouncey, and a verified mood-booster, this a song you can’t help but sing along to. With any luck we’ll all be playing this one beach side this summer.

Hope  — Twista and Faith Evans 


Hope is another comedy trend. The video begins with the TikToker showcasing their hopes for the day and then – just as Faith Evans hits the words “I’m hopeful” – the video freezes and a list of everything that the TikToker did to procrastinate pops up on the screen. This is an older song, but if you have not heard the whole thing, you should. Faith Evans’ sweeping, gospel vocals and Twista’s highly personal rap come together to make an emotionally charged song that will inspire you to do better and be better.

Let us know if you think these songs hold up as full tracks or if we should have left them in the world of 60 seconds or less! We hope you dig the playlist as much as we did.

Want to listen to the songs on Spotify? Click here.

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Innovate This https://liisbeth.com/innovate-this/ https://liisbeth.com/innovate-this/#respond Thu, 25 Mar 2021 10:40:05 +0000 https://liisbeth.com/?p=14545 An entrepreneur built the company she wanted to work for.

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Deb Day (left) enjoying a rare social visit with colleagues James Woods and Julie Reis—and office dog Bubba—during the COVID-19 pandemic in November 2020 (Photo provided).

Since the pandemic hit, Deb Day’s been holding a daily virtual meeting with her team that’s been like no other marketing and digital content studio has conducted. They open with a wellness check-in and bookend with a gratitude practice. There’s no talk of clients, projects, or deadlines. Instead, they talk about priorities and everyone shares one thing they’re grateful for. It could be anything: supportive partners, the roof over their head, coffee, a good TV series to pass lockdown leisure hours.

“The team’s not worked in the office since March 13, so it was a priority for me that we adapt our connection with each other,” says Day, who founded the Toronto-based strategic marketing enterprise, Innovate By Day, in 2010. “Virtual meetings can be very  transactional — ’just get ’er done.’ It’s a bit soul destroying, so we’ve put systems in place to connect with each other more and differently.”

Indeed, Day stirs up a lot of “business as usual” approaches, which has helped the company innovate to meet the challenges of the pandemic — surviving without having to lay off a single person.

When she launched, she even resisted the term “strategic marketing” for what her company does as it’s associated more with capitalism and consumerism than the feminist and social-justice values at the heart of her studio.

Innovate By Day primarily works within the cultural industry — film, television, art, music, publishing, nonprofits and broadcasters — building online communities and creating audiovisual content such as TikTok videos, Instagram lives, company sizzle reels. Day’s thoughtful about who she works with, teaming up with clients who align with her company’s values. “We would never do something that was pornographic or overtly racist or provocative for the sake of being provocative. I have to be able to align with them at some level, as does the team.”

To accompany the CBC documentary Girls’ Night Out, based on the Ann Dowsett Johnston’s book Drink, the company created the #RethinkTheDrink campaign, a cross Canada peer-to-peer talkback tour and impact campaign at colleges and university campuses featuring custom content and marketing materials. It also created a legacy toolkit to keep the conversation going to combat binge-drinking culture after the in-person tour wrapped.

On another campaign, Day’s team was engaged to support the discoverability and online conversation of the powerful six part documentary series Enslaved: The Lost History of the Transatlantic Slave Trade for and its international release on specialty channel EpixHD in the US, BBC Two in the UK and CBC in Canada. Their role was to curate content, write messaging and moderate the conversation online on the selected social media channels. 

“Those projects are meaty and they’re really, really satisfying,” says Day. “Sure, we’re not making the same money as someone who’s selling iPhones and cigarettes, but we’re okay with that. Our goal is to not become bigger and massive. It’s to do meaningful work. We love empowering new businesses and new projects to really define who they are and to reach their audiences.”

Design mockup of the Bachelor Canada predictions game, created for The Bachelor Canada Season 3 (2017) (Image provided).
Design mockup of the Bachelor Canada predictions game, created for The Bachelor Canada Season 3 (2017) (Image provided).

Day has taken the same approach internally, empowering her employees with a human-centric, feminist approach to the way she runs her studio. They embrace anti-oppression and anti-racist values, supporting staff to be their best and truest selves.

Early on, Day developed an employee benefits package by asking her team what kind of coverage they wanted. As a result, the company developed a package that includes health and dental insurance and more sick days and time off than Ontario’s minimum employment standards — in an industry that often relies on freelance “gig” workers.

She also flattened the hierarchy. Employees aren’t pigeonholed into defined roles and responsibilities. Being a smaller team helps. So does encouraging people to stretch themselves in different ways based on their interests and abilities. For instance, a UX/UI designer became the lead coordinator on a project completely unrelated to their role. A social media specialist produced content outside their skill set. Says Day: “Due to the nature of our company, we have to be flexible and really lean into how we can evolve ourselves at the same time as we’re evolving what we’re offering to the clients.”

She adds that anyone who wants to work a regular nine to five schedule and stick to a job description wouldn’t want to work for her company. “We have to be far more agile and adaptive especially in these times.”

On the other hand, anyone who wants to be playful and innovative can thrive. Four years ago, the company secured their own IP to evolve their offerings for their clients, leading to the development of one of their most successful projects yet, the “Innovate Prediction Game Engine.” Teaming up with some of the biggest reality television franchises in Canada, the studio created an online game that lets people bet on who they think will get knocked off of The Bachelor Canada or who they think will win the Head of Household on Big Brother Canada.

Evolving is something the company has had to do a lot this past year. When the pandemic hit, 50 percent of the company’s business was either paused or cancelled. They battened down the hatches as COVID-19 cases went up while marketing spending went down. They applied for every funding program they qualified for. They checked in on their clients and contractors to see how they were doing. They teamed up with a business coach to ensure their cash flow was stable. They put a plan in place in case someone got sick. And it all paid off. The company retained all of the staff, including nine full-time and four part-time employees, as well as a handful of contractors.

Day says that none of it would’ve been possible if she hadn’t taken care of herself first. As an entrepreneur with a teenage daughter, a husband, and father living in a care home, she often finds herself pulled in many different directions. And as an extrovert cooped up indoors with little contact with people, she’s found working virtually challenging. What keeps her going are those daily gratitude practices and daily walks, which are non-negotiable. “It’s really important to take care of myself because I won’t be able to take care of others,” says Day.

She remembers the early days of having to convince clients that marketing was worth spending money on. It’s easier now convincing clients the value of connecting with people, not only because the pandemic makes that so difficult but also because it’s a value that is deeply rooted within the company itself.

“I’m building a company that I would’ve loved to have worked for,” says Day. “A company that feels supportive and is respectful and collaborative.”


Publishers Note: Fifth Wave Labs is Canada’s first feminist accelerator program for women in digital media. It is a year-round program offered by CFC Media Lab and its partners to support the growth and development of women entrepreneurs in the digital media sector in southern Ontario. All enterprise founders in the Fifth Wave community are selected for both their potential and commitment toward weaving intersectional feminist ideals of equity and social justice into sustainable and scalable business growth strategies. Fifth Wave Initiative is committed to 30% participation by members of underrepresented groups. The Fifth Wave is a LiisBeth Media partner and ally. Interested? Apply here.e

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