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Corruption In Big Labor Has Run Amok
by Michael D. Hume, M.S.
Imagine being a professional American actor in, say, 1880. Like it is in every time and place, the pro theater game was highly competitive - there were many more actors than there were paying jobs for actors. Some were lucky enough to be well-liked and positioned in a theater company in a big city... others weren't. Some very talented performers were forced either to get other jobs, or, if dedicated to their craft, sign on with traveling troupes who toured out-of-town, often in the Wild West.
Some of the entrepreneurs who ran these troupes were ethical, fair-minded professionals. Many weren't. It was not uncommon for traveling performers to suffer "horror stories" - being left penniless and unemployable in a strange town far from home... suffering horrible medical calamities and being jettisoned from the company... even being abused by their "owners" physically, sexually, and camiseta nueva del barcelona certainly camisetas barcelona 2012 mentally, with no recourse.
Eventually, the profession, like many others, found equity (literally) for actors in the form of a labor union that still exists today - Actor's Equity. But ask a pro actor these days, and they'll tell you that the market for their craft is, in many cities, "locked away" by the union. If you want to work at an "Equity house," you have to find one that has a union opening (rare), then audition and beat-out others who may already be Equity members (very rare). If you get through those filters, you have to work a high number of hours in performing and other behind-the-scenes labor to get your Equity card. Once that happens, you can still lose your job the next time the theater changes its show offering... and the concessions Equity houses must make to the union that sanctions them often make it very difficult for them to provide much employment for very long. For that reason, many talented performers find it easier to avoid the union and move from theater to theater, working paid professional shows in non-Equity houses (once you're an Equity actor, you can't work in a non-Equity show; you lose your Equity job, congratulations, you're now a waiter). And Equity houses - especially those not subsidized by some city's "arts district" tax money - struggle much more to stay in business these days than do non-union companies. In fact: if you're knowledgeable about the theatre business, can you name one that's still going?
It's hard enough to have the guts and talent to maintain a decent career as a stage actor these days.
In 1880, we needed Actor's Equity to make the profession fair, and to protect performers from unscrupulous owners. Do we still need the union today, to protect us from easier employment? No doubt we could see a return of unfair theatrical employers, so having a union is still a good idea. But when the union "outgrows" its usefulness (and Actor's Equity is far from the most egregious example), wouldn't it be a good idea to prune it back a bit?
This is just one example. If you're in a union job, you know what the deal is: you are compelled to join the union and pay dues - you have camiseta fc barcelona 2012 no choice. The dues supposedly go to help you sustain your rights in the workplace... but you know there is not much oversight given to how your dues money is really spent. Union bosses are employed full-time by the union, in many cases (not by the company), and you are, in many cases, paying those bosses a lot more than you make. And there's still plenty of money left for the bosses (not you) to decide to contribute to the campaigns of politicians who will return favors.