WORK/LIFE is a new PointCast publication about jobs, tools, ambition, boredom, management, money, lunch, clothes, commutes, exits, and the emotional weather of getting something done. Its line is: what work does to a life, and what a life does back. Monday is the opening scene, not the publication boundary.
Issue 001 begins with a public eighteen-track Spotify playlist called WORK/LIFE 001 — ANOTHER MANIC MONDAY. The Bangles open with the familiar joke. Brian Eno creates a brief room before Fleetwood Mac and Dolly Parton put the clock back on the wall. Paul Simon, John Lennon, Talking Heads, Michael Jackson, and Bill Withers loosen the relationship between a job and a person. Tears for Fears, New Order, a live Talking Heads recording, Jungle, and The Jam hold the fluorescent middle. Valerie June, The Clash, Belle and Sebastian, and Mitski close without pretending a working day resolves neatly.
The exact Spotify order is preserved in four editorial movements: Clock in, laughing; Who are you at work?; The fluorescent middle; and Exit interview. The human page publishes the recording, artist, album, duration, individual Spotify link, and one sequencing note for each track. Spotify supplies the official player. PointCast does not proxy or restream audio.
The WORK/LIFE front door establishes six desks beyond the opener: The Shift for routines and commutes; Office Weather for culture, management, and power; Tool Drawer for software and objects; Lunch for breaks and the small return of the self; Payroll for value, benefits, ownership, and precarity; and Exit Interview for quitting, reinvention, retirement, and refusal.
The original cover uses a cream timecard, cobalt clock, orange punch mark, chartreuse field, and black schedule lines bending out of office formation. The issue also includes a four-state, local-only working-day selector. It stores nothing and makes no network request.
This is independent PointCast editorial curation. No artist, label, publisher, estate, or Spotify endorsement is claimed. Recording and provider metadata remain with their respective rights holders and Spotify.