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Why aren't musicians striking?

The reason for a labor strike is that the union members perceive that them declining to work will hurt the employers so much, and scabs will be such poor substitutes (or too scared to scab) that the employers willl come to terms.

The day for this passed for musicians sometime in the 1940s. That's the last time any AFM action had any effect - the famous recording bans - and in the end even that didn't really lead to any meaningful change. There are too many musicians and too few jobs.

As far as I know the only remaining places where the AFM has any relevance at all is in the big-name symphony and opera orchestras and the Broadway pits. And while it's not that easy to replace key symphony musicians, there are an awful lot of skilled players who can do pit work and there are an awful lot of orchestral players who can cover the 14th second violin part.

Now this last bit, I don't know, I'm just guessing by analogy with other fields, but I wouldn't be at all surprised if a number of symphony orchestras were to have a two tier system where the section principals and a few other key players (tympanist for example) are "tenured" and unionized, but the people who fill out the bottoms of the string sections, and the occasional players (harp) might well be non-union players hired as "adjunct" and paid per engagement. That's the way universities are going - yeah, they've still got tenured professors but more and more of the actual teaching is done by non-tenured adjunct instructors who are essentially paid by the hour have no tenure and a lower level of benefits. Maybe Boston and NY Phil and the very very toppermost don't do this, but I'll bet a lot of smaller regional orchestras aren't as strictly union as they were 40 years ago.
 
Musicians' unions used to be a thing. Apparently even my little region used to have one, many decades ago.
I like the idea of standardized rates and I could surely use a well-managed pension.
But it's not all gravy. You might get folks telling you which venues & players you can & can't work with. And unsavory outside entities might get involved. (I heard tell of an organized crime presence at a union meeting in my old home town.)
I've always preferred the more hands-off approach, let everyone decide for themselves whether a particular gig is worth doing. That might be coming back to bite me now. I recently declined a Saturday night gig in the hectic tourist trap area with a $50 guarantee. But younger bands are lining up to play a bar on that block for tips only.
 
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Or this...
Country-Bear-Jamboree-1180w-600h.jpeg
 
My band had to join AFM to record for Capitol records back in the 90s. Part of the deal, house rules, all musicians had to be AFM to be on the label. So we went to the office of our local to sign up and it was one unforgettably hilarious experience. The president of the local, Byron, wore shades the whole time. He sat behind his desk chain smoking, trying to impress us with stories about storming weddings that had hired non-union bands, beating up a non-union DJ at a pipe fitters convention, shutting down jam sessions. Enter his secretary, who also wore shades, had a super tight perm, was about 5’8” and couldn’t have weighed more than 85lbs. She had a chronic deep wet smokers cough. She distributed warm Faygo red pop in 4oz Dixie cups to us from a tray, hacked up a lung and walked out shutting the door behind her. Byron paused looking at the door for a moment and said “she’s one fine piece of a**”, then turned to us and said “did I tell you boys that I walked with Hoffa”? “I walked with f-ing Hoffa, there’s the picture right there”. Pointing at an aerial picture of about a thousand tiny little people at a strike. I guess he was in there somewhere, and so was Jimmy Hoffa. Joining the union was useless for us. No benefit whatsoever, except for that story.

To answer your question, musicians do go on strike, but they play in symphonies not dive bars.
 
My union story: Playing a 6 nighter in a Holiday Inn in Denver with rooms included in the mid 70's. Second night before we played two dudes knocked on my and the BL's room door. Honest to God they both looked like Luca in the Godfather. Heavy coats, real obviously packing, they say "We're from the union, you got paperwork for your gig downstairs and paid up cards?" BL had the gig contract and both him and I had valid cards. Nobody else in the band was union and we were all they checked.
I've never forgotten the encounter because of the obvious scare factor that those dudes had going on.

Edit for remembering a less exciting union encounter: My paid up card was from Indianapolis local #3. Still in the 70's, while visiting my folks in Binghamton, NY, I went to a local jam session. The dude running the jam wouldn't let me up unless I produced a valid union card. So I whip out my card and get to jam.

And that is about the extent of my benefits of having a paid up union card in the 70's. Save my azz from a beat down in Denver and get to jam in Binghamton.
 
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Because it isn't likely to do anything. You strike when lack on content hurts the other side. Even not including those would cross any line, there is plenty of content out there.

The clubs would just fill the dates with karaoke and trivia, and it would be business as usual.
That's more or less what I got from the article.

Not quite clear on the supposed benefits of paying for the privilege of being told when I can't do what I want... because someone else is pissed off.

I can get that for free.
Fair point.

Also, I wasn't aware that there actually were musicians' unions. I'd never heard of the AFM, for example. And I really enjoyed y'all's stories. So thanks for sharing!
 
The musicians union here in Bakersfield was VERY active back in the old days.
I'm old enough to remember union reps coming in to club gigs and asking to see union cards. But from the mid seventies on...it kinda petered out.
The old union hall became a VFW.
They did have a cool music library.
It dosent exist now. :bored:
 
A musician’s strike raises a very simple question: What if you called a strike and nobody cared?

For a strike to be effective it first needs to cause a sufficient enough disruption in “business as usual” for the general public to be seriously inconvenienced.

A musician’s strike isn’t going to do that.

Second, the people striking usually need to possess a skill that isn’t readily replaceable by hiring someone else. Or control the production of a product that doesn’t have an acceptable substitute.

Musicians aren't in that category of worker.

Third, a successful strike needs some degree of public support. That results in public pressure bring brought to bear on management and also often gets government involved.

Musicians aren’t going to get much in the way of public support. People who don’t feel they should have to pay anything for music (and there’s now a whole generation that thinks that way) aren’t going to push for musician’s compensation.

Lastly, a successful strike needs to be resolved relatively quickly. If the public is inconvenienced for too long by a strike, public support will vanish. Because the public will inevitably realize they’re bring held hostage and used as a bargaining chip by the striking union.

FWIW I personally think the only thing the current actor’s and writer’s union strikes are going to end up accomplishing is to either: (a) cripple or kill their golden goose which is the major motion picture industry; or (b) cripple or kill their own union membership’s livelihoods; or (c) both.
 
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