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Mu230713
The researchers are conducting a project to document the history of the Musicians' Union in the UK. They are using archival research, interviews, and secondary sources to analyze the MU's role in influencing the music industry and policies affecting musicians. Some initial themes they have identified include viewing musicians as workers, the MU's external relations, copyright issues, responses to new technologies, and changes in relevant laws. The researchers aim to publish their findings in books, articles, and other formats to provide a comprehensive history of the MU.
Mu230713
- 1. + RESEARCHING The musicians’UNION: SOME initial observations Researching the Musicians’ Union: Some Initial Observations Martin Cloonan and John Williamson MU Conference, Manchester 23rd July 2013
- 2. Introduction • Background tothe project • Approach and Methods • Some themes • Outcomes http:// www.muhistory.com
- 3. Project and Background •‘full account of history of MU. . .’ • ‘ways in which the MU has influenced British music and musicians’ • ‘an account of the changes in the career of the professional musician in Britain’ • ‘role of the MU in influencing policies of institutions & industries’ http:// www.muhistory.com
- 4. Project and Background •‘interviews with key current and former MU members, activists, staff. . ‘ • Dissemination of findings via collaboration with academic and non-academic institutions http:// www.muhistory.com
- 5. Origins • Previous workon the music industries and history of live music in the UK • Domination of recording industry and post-1955 music industries • Importance of pre-1955 agreements that MU was party to & • Importance of live music for working musicians http:// www.muhistory.com
- 6. Origins • MU’s roleunderstated or derided in pop music / jazz studies • Awareness of MU archive - first access 2010; subsequent article on jazz “ban” written with Matt Brennan. • Successful application to AHRC; John appointed to work full- time on project http:// www.muhistory.com
- 7. Methods and Approach/ Starting Points • Website: http://www.muhistory.com • Outside of Union’s archive little material about MU hsitory • Official Histories: ES Teale (1929); Mike Jempson (1993) • Labour and Music Histories: specific eras or aspects of MU’s work; musicians’ unions in US and Australia written about in more depth http:// www.muhistory.com
- 8. Methods and Approach/ Starting Points • Frith: “out of touch with the particular needs of rock musicians” (1978: 162) • Street: “inspired by a desire to protect members, the MU’s policy appears as merely reactionary” (1986: 147) • Media: assorted attacks on Union most famously in Melody Maker, Sunday Times and various broadsheets circa 2001 http:// www.muhistory.com
- 9. Methods and Approach/ Starting Points • Sweeting: “a left wing, doctrinaire organisation as secretive and tight-lipped as the KGB” (The Guardian) • Mendick: “the glorious, unreconstructed ways of the Musicians’ Union, where you have a scenario that would make Arthur Scargill weap with nostalgia” (The Independent) • Out of touch? Bureaucratic? Protectionist? Extremist? Reactionary? http:// www.muhistory.com
- 10. Methods and Approach/ Other Archives • BBC Written Archives @ Caversham • TUC Archive @ London Metropolitan University • Orchestral Employers’ Association @ University of York • Henry Farmer Collection @ University of Glasgow • FIM and AFM archives http:// www.muhistory.com
- 11. Methods and Approach/ Interviews • Over a dozen interviews so far – former elected and salaried officials; branch / regional organisers; EC members; musicians, DJs, record company personnel; more to follow . . http:// www.muhistory.com
- 12. Methods and Approach/ Steering Group Matt Brennan (University of Edinburgh), Chris Burgess (People’s History Museum), Keith Gildart (University of Wolverhampton), Penny King (freelance arts consultant), Tony Lucas (MU activist), Robert Noakes (Neon Productions/ MU Exec Committee), Karl McGee (University of Stirling), Mark Pemberton (Association of British Orchestras), John Smith (Musicians’ Union), Matt Stahl (University of Western Ontario) http:// www.muhistory.com
- 13. Themes • Musicians asworkers • External relations • Copyright • Technology • Gender, race, politics, genre, etc. etc. http:// www.muhistory.com
- 14. Themes: Musicians asworkers • Musicians widely portrayed as artists, creators, entrepreneurs, celebrities, stars. • What is a musician? For the union this was a practical consideration. • “Anyone following the profession of music” • Those allowed to join; those forced to join & those who choose to join http:// www.muhistory.com
- 15. Themes: Musicians asworkers • Diversity of musical occupations - lives shaped by instruments they play but also genres, spaces & ensembles they work in • Implications for organisation: regionally; by occupation and by genre • Working conditions have implications for their organisation within a Union • Musicians as particular types of worker http:// www.muhistory.com
- 16. Themes: Labour Markets •Initial threat to employment from amateurs, police and military bands, foreign musicians • Amateurs – undercutting; reminder of need for payment • Military / Police – historic threat / used at public events • Foreign musicians – lengthy resistance in all genres, came to a head in jazz • All reactions = protecting employment of its own members http:// www.muhistory.com
- 17. Themes: New Technology •The Talkies: mass unemployment, opposition, powerlessness • (radio) broadcasting: cautious support for radio – “has not reduced employment . .but increased it” (1925) – agreements with BBC • Gramophone / Recording Industry: combination of control and regulation; deals with PPL and BBC • Union saw opportunities as well as threats http:// www.muhistory.com
- 18. Themes: Changes inthe Law • Legislation that impacts on (e.g. trade union legislation) and is instigated by the Union (e.g. copyright) • Monopolies and Mergers Commission (1988), Broadcasting Act (1990) had direct impact – govt. opposition to ‘restrictive practices’ • Lobbying on performers’ rights throughout post-War period • Alignment of interests, at different times with different employers http:// www.muhistory.com
- 19. Conclusions • Archive hasallowed us unique insight and to consider new approaches to union & music industries’ history • Musicians as workers helps explain the union’s position on a number of historical issues • MU is worthy of detailed study – unique set of circumstances, history and industrial relations http:// www.muhistory.com
- 20. Outcomes • So far. . Website, conference papers, articles • Journal and magazine articles • Book / Books • Radio / TV programmes • Conference, exhibition and gig – Glasgow 2016 http:// www.muhistory.com
- 21. Contacts Thanks! Martin Cloonan: Martin.Cloonan@glasgow.ac.uk JohnWilliamson: John.C.Williamson@glasgow.ac.uk http:// www.muhistory.com