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Posts Tagged ‘creative class’

Actually, no, I don’t work “for exposure” (or lunch)

In art, beauty, behavior, blogging, books, business, culture, design, journalism, life, Media, Money, music, photography, Technology, US, work on October 27, 2013 at 5:57 pm

By Caitlin Kelly

If there is a current cri de coeur of the creative crowd, this is it.

Much as we might fervently wish for it, there’s no separate gas pump with a 35% discount just for painters or a 25% off aisle at the grocery store reserved for musicians or a 50% off sticker affixed to our phone, electricity or insurance bills.

English: Grocery store in Callicoon, NY, USA

English: Grocery store in Callicoon, NY, USA (Photo credit: Wikipedia) Free food for artists! NOT.

Our costs are the same as everyone else’s.

So this piece in The New York Times, although hardly a new thought, hit a nerve:

NOT long ago, I received, in a single week, three (3) invitations to write an original piece for publication or give a prepared speech in exchange for no ($0.00) money. As with stinkbugs, it’s not any one instance of this request but their sheer number and relentlessness that make them so tiresome. It also makes composing a polite response a heroic exercise in restraint.

People who would consider it a bizarre breach of conduct to expect anyone to give them a haircut or a can of soda at no cost will ask you, with a straight face and a clear conscience, whether you wouldn’t be willing to write an essay or draw an illustration for them for nothing.

They often start by telling you how much they admire your work, although not enough, evidently, to pay one cent for it. “Unfortunately we don’t have the budget to offer compensation to our contributors…” is how the pertinent line usually starts. But just as often, they simply omit any mention of payment.

I like to see how many comments Times pieces elicit; as I write this, so far, 493 people have weighed in. That might be a record.

This hit a chord with me, again, when yesterday a local attorney — who drives a lovely Mercedes — asked me to have lunch with her daughter so her daughter could ask my career advice.

Shell Petrol Pump

Shell Petrol Pump (Photo credit: dvanzuijlekom) Free gas for writers! Just kidding!

I met the attorney because I interviewed her, (a paid gig, of course). We have no social or other relationship, but it’s a very normal expectation I want to share my 30 years’ expertise and insight without payment because….?

I don’t want lunch.

I want to be paid.

I grew up in a family of freelancers. No one had a paycheck, pension or paid vacations. Our earnings relied on our talent, skills and ability to negotiate a payment that made sense to us. It did, providing us with nice clothes, decent used cars, international travel, a home with a mortgage, i.e. a middle-class to upper-middle-class life.

This fantasy that creative people are eager to slurp ramen into our 60s or beyond is just weird.

Like that Times op-ed writer, Tim Kreider, I’ve also turned down many “offers” to go and speak unpaid — from the Retail Council of Canada (!), with no offer to pay my travel costs from New York to Toronto — to a local alumni group of a prestigious university who recently “invited” me to spend four hours of my time on that event, so I could sell copies of my latest book – at a discount.

None of which earns me a dime.

People wouldn’t ask their physician, dentist, accountant or attorney to come hang out, without compensation, for the afternoon.

Don’t ask me either!

How often are you asked to work without pay?

The creative class is struggling, too. Do you care?

In art, beauty, behavior, books, business, culture, design, film, journalism, life, Media, movies, music, news, photography, television, US, work on April 30, 2012 at 1:17 pm
De artist

De artist (Photo credit: Wikipedia)

It’s not just lawyers who are hurting  — 7,500 of them surplus in 2009 in New York alone.

Or older men.

Or those who used to work in manufacturing.

The “creative class” is as well.

Those working in photography, architecture and graphic design have seen a 20 to 30 percent drop in employment, according to the U.S. Department of Labor. Since August 2002, those working in the music field have seen their work opportunities plummet by a staggering 45.3%.

“The story has really not been told,” Scott Timberg, an arts and culture writer in Los Angeles said to host Kurt Andersen on the weekly public radio show Studio 360, which examines all forms of culture. “They don’t always have a tattoo or beret.  They’re like Canadians, among us secretly, silently and invisibly.”

“A life in the arts…means giving up riches, making a trade-off to do something they’re passionate about,” Timberg said. “It’s become forbidding for a much wider group of people…I see some of the best getting knocked out.”

Timberg also wrote about this recently on Salon:

Neil Young and Bruce Springsteen write anthems about the travails of the working man; we line up for the revival of “Death of a Salesman.” John Mellencamp and Willie Nelson hold festivals and fundraisers when farmers suffer. Taxpayers bail out the auto industry and Wall Street and the banks. There’s a sense that manufacturing, or the agrarian economy, is what this country is really about. But culture was, for a while, what America did best: We produce and export creativity around the world. So why aren’t we lamenting the plight of its practitioners? Bureau of Labor Statistics confirm that creative industries have been some of the hardest hit during the Bush years and the Great Recession. But  when someone employed in the world of culture loses a job, he or she feels easier to sneer at than a steel worker or auto worker.

As both a Canadianan, living in New York since 1989, and a member of the creative class, I’ve absolutely felt the sting of this terrible recession. My last staff job, as a reporter for the New York Daily News, the nation’s sixth-largest paper, ended in 2006.

My income the next year fell by 75 percent. Fun! It’s now barely back to 50 percent of that figure. In 2008, 24,000 journalists lost their jobs.

It’s an interesting dilemma because being a creative professional — like those who choose law, medicine, dentistry — demands years of attention to one discipline. You start out with talent. You may invest tens of thousands of dollars in higher education, workshops, coaches and ongoing training. It’s crazily competitive and the criteria of success often utterly quixotic and subjective. A lawyer wins or loses a case. A dentist fills a cavity.

But a creative person, in any field, can languish in poverty/obscurity for years, if not decades, if their work or style isn’t fashionable or they just doesn’t know enough of the right people. To really make it financially, you often need to layer the daily hustle of a used car salesman onto the independence of spirit of the artist.

Many of us just can’t squeeze both personalities into one brain.

Yet we all hope to enjoy the basics of middle-class life: a home, a family, a vehicle, a vacation once in a while.

It’s a dirty secret but those of us who work creatively, whether we paint, sculpt, take photos, design buildings or play in a quartet also want the things that cube-dwellers do. Our groceries cost the same, our gas just as overpriced.

But, unlike many corporate cube-dwellers, we may have to purchase our health insurance in the open (i.e. costly) market; in 2003 (when I went onto my husband’s plan through his staff job) I was paying $700 a month. It’s now normal to pay $1,000+…adding an overhead of $12,000 pre-tax dollars just to avoid a medical bankruptcy.

Especially in the United States where corporate billionaires are lionized, creative folk — typically self-employed and working out of public and the media’s view — are seen as slackers, stoners, half-assed. (Author John Grisham earned $18 million last year — hardly typical.)

Very few creative professionals in any genre or medium will ever earn that in their lifetime — no matter their objective excellence, awards or peer respect.

Yet other nations actually pay their artists to help them quality work; the Canada Council hands out $20,000 grants every year to fortunate writers who have produced two books deemed worthy.

Are you a member of the creative class?

How’s it going for you these days?

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