This review began on 1 October 2010 and the reviewer, Tom Winsor, was asked to ensure that police pay and conditions and the structures around them are the best they could be given the challenges currently facing the police service. Budget cuts will see forces being required to achieve more with less, but also need to be fair to officers and staff. The review is to report in two parts, covering short-term and long-term improvements. This is Part one and covers: the deployment of officers and staff (including shift allowances, overtime and assisting other police forces); post and performance related pay (including special priority payments, competence related threshold payments for constables and bonuses at all ranks) and how officers leave the police service. Mr Winsor says his recommendations will produce savings of £485m over three years. The recommendations if implemented will concentrate the highest pay on the front line and more demanding roles in the police service. He says police earn 10 to 15% more than other emergency workers and the armed forces and in some areas they are paid up to 60% more than average local earnings. It also recommends making savings of £60m a year in overtime and he also suggests suspending chief officer and superintendent bonuses. The independent review calls for an end to the £1,212 competence-related threshold payment, the Special Priority Payment of up to £5,000 and says no officers should move up the pay scale for two years. The government is planning to cut its funding for the police by 20% by 2014-15. The 43 forces in England and Wales currently employ about 244,000 people, comprising 143,000 police officers and 101,000 civilians.
A father (Tom) hears his son Richard say, “School is OK except I don’t like learning numbers or arithmetic.” After dinner, Tom sits with Richard and tells him a story of a kingdom long ago where the use of numbers is forbidden by King Kcaj and of the chaos that ensues because of it. As Tom’s story unfolds, he hopes to instill in Richard a sense of the importance of learning numbers, counting, and arithmetic along with other life lessons.
Some of the most beloved characters in film and television inhabit two-dimensional worlds that spring from the fertile imaginations of talented animators. The movements, characterizations, and settings in the best animated films are as vivid as any live action film, and sometimes seem more alive than life itself. In this case, Hollywood’s marketing slogans are fitting; animated stories are frequently magical, leaving memories of happy endings in young and old alike. However, the fantasy lands animators create bear little resemblance to the conditions under which these artists work. Anonymous animators routinely toiled in dark, cramped working environments for long hours and low pay, especially at the emergence of the art form early in the twentieth century. In Drawing the Line, veteran animator Tom Sito chronicles the efforts of generations of working men and women artists who have struggled to create a stable standard of living that is as secure as the worlds their characters inhabit. The former president of America’s largest animation union, Sito offers a unique insider’s account of animators’ struggles with legendary studio kingpins such as Jack Warner and Walt Disney, and their more recent battles with Michael Eisner and other Hollywood players. Based on numerous archival documents, personal interviews, and his own experiences, Sito’s history of animation unions is both carefully analytical and deeply personal. Drawing the Line stands as a vital corrective to this field of Hollywood history and is an important look at the animation industry’s past, present, and future. Like most elements of the modern commercial media system, animation is rapidly being changed by the forces of globalization and technological innovation. Yet even as pixels replace pencils and bytes replace paints, the working relationship between employer and employee essentially remains the same. In Drawing the Line, Sito challenges the next wave of animators to heed the lessons of their predecessors by organizing and acting collectively to fight against the enormous pressures of the marketplace for their class interests—and for the betterment of their art form.
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