Precarious Labor in COVID Times: The Case of Musicians

  • David M. Arditi University of Texas Arlington
Keywords: COVID-19, COVID, Pandemic, Musicians, Labor, Workers, Small Venues, Music Venues, Live Nation, Jobs, Precarity, Value

Abstract

The coronavirus pandemic changed the way we think about work, the economy, and our everyday lives as governments shutdown all but the most essential public spaces. Workers who earn a living through precarious employment have faced unique barriers to securing wages. The impact of the pandemic shutdown was especially devastating on musicians' lives and many supporting workers in the entertainment industry. The structural insecurity of gig work became amplified as venues were forced to stop performances for a year or more. In this paper, I argue the current phase of capitalism that depends on precarious labor and unending consumption destroys workers' means to meet their basic and social needs. While this affected workers through the economy, I explore the impact the COVID music closures had on musicians in particular. How did the closure of the live music industry amplify the precariousness of musicians' working situations? First, I develop a trace the current mode of capitalism. Second, I discuss musicians as precarious workers by exploring the way record contracts establish inequity in the recording industry. Finally, I argue the COVID crisis for musicians was largely an effect of their precarious employment situation.

Author Biography

David M. Arditi, University of Texas Arlington

Associate Professor of Sociology

Director - Center for Theory

References

Agger, Ben. 1988. Fast Capitalism. Urbana, IL: University of Illinois Press.

Agger, Ben. 2004. Speeding Up Fast Capitalism: Cultures, Jobs, Families, Schools, Bodies. Boulder, Colo: Routledge.

Aglietta, Michel. 2001. A Theory of Capitalist Regulation: The US Experience. New Edition edition. New York, NY: Verso.

Antonio, Robert J. 1981. “Immanent Critique as the Core of Critical Theory: Its Origins and Developments in Hegel, Marx and Contemporary Thought.†The British Journal of Sociology 32(3):330–45.

Arditi, David. 2014. “Digital Downsizing: The Effects of Digital Music Production on Labor.†Journal of Popular Music Studies 26(4):503–20.

Arditi, David. 2018. “Digital Subscriptions: The Unending Consumption of Music in the Digital Era.†Popular Music and Society 41(3):302–18. doi: 10.1080/03007766.2016.1264101.

Arditi, David. 2020. Getting Signed: Record Contracts, Musicians, and Power in Society. New York, N.Y: Palgrave Macmillan.

Arditi, David. 2021. Streaming Culture: Subscription Platforms and the Unending Consumption of Culture. New Milford, CT: Emerald Publishing Limited.

Attali, Jacques. 1985. Noise: The Political Economy of Music. Minneapolis: University of Minnesota Press.

Braverman, Harry. 1994. “The Making of the U.S. Working Class.†Monthly Review 14–35. doi: 10.14452/MR-046-06-1994-10_2.

Braverman, Harry. 1998. Labor and Monopoly Capital: The Degradation of Work in the Twentieth Century. New York: Monthly Review Press.

Brooks, Dave. 2020. “The Year That Broke the Business.†Billboard, December 19, 98–103.

Brooks, Dave. 2021. “From the Desk of Dayna Frank.†Billboard, January 16, 30–32.

Cashman, David, and Philip Hayward. 2020. Cruisicology: The Music Culture of Cruise Ships. Lanham, MD: Lexington Books.

Cirisano, Tatiana. 2021. “The Next Stage.†Billboard, January 30, 21–22.

Dean, Jodi. 2013. Blog Theory: Feedback and Capture in the Circuits of Drive. 1 edition. Polity.

Durkheim, Emile. 2008. The Elementary Forms of Religious Life. 1 edition. edited by M. S. Cladis. Oxford: Oxford University Press.

Edgers, Geoff. 2021. “For Performers Trying to Get Back Onstage, It’s Been a Struggle to Balance Covid Safety and the Show.†Washington Post, October 9.

Frenneaux, Richard, and Andy Bennett. 2021. “A New Paradigm of Engagement for the Socially Distanced Artist.†Rock Music Studies 8(1):65–75. doi: 10.1080/19401159.2020.1852770.

Fuchs, Christian. 2013. Social Media: A Critical Introduction. Thousand Oaks, CA: SAGE Publications Ltd.

Gottfried, Heidi. 1995. “Developing Neo-Fordism: A Comparative Perspective.†Critical Sociology 21(3):39–70. doi: 10.1177/089692059502100302.

Hanrahan, Nancy Weiss. 2018. “Hearing the Contradictions: Aesthetic Experience, Music and Digitization.†Cultural Sociology 12(3):289–302. doi: 10.1177/1749975518776517.

Hanrahan, Nancy Weiss. 2019. “Digitized Music and the Aesthetic Experience of Difference.†Pp. 165–79 in The Dialectic of Digital Culture, edited by D. Arditi and J. Miller. Lanham, MD: Lexington Books.

Harvey, David. 2005. A Brief History of Neoliberalism. Oxford ; New York: Oxford University Press.

Havens, Lyndsey. 2020. “Second Acts: Broadway’s Freelance Musicians Are Facing Their Own Set of Struggles.†Billboard, November 14, 34.

Haworth, Jon. 2021. “For Musicians and Artists, COVID-19 Pandemic Was a Turning Point.†ABC News, February 14, Online.

Hesmondhalgh, David. 2021. “Streaming’s Effects on Music Culture: Old Anxieties and New Simplifications.†Cultural Sociology 17499755211019974. doi: 10.1177/17499755211019974.

Jiménez González, Aitor. 2021. “Law, Code and Exploitation: How Corporations Regulate the Working Conditions of the Digital Proletariat.†Critical Sociology 08969205211028964. doi: 10.1177/08969205211028964.

Lee, Wonseok, and Grace Kao. 2021. “‘You Know You’re Missing Out on Something’: Collective Nostalgia and Community in Tim’s Twitter Listening Party during COVID-19.†Rock Music Studies 8(1):36–52. doi: 10.1080/19401159.2020.1852772.

Love, Courtney. 2000. “Courtney Love Does the Math.†Salon, June 14, Online.

Marshall, Lee. 2005. Bootlegging: Romanticism and Copyright in the Music Industry. 1st ed. California: SAGE Publications Ltd.

Marx, Karl. 2000. “Wage-Labour and Capital.†Pp. xi, 687 p. in Selected Writings. Vol. 2nd, edited by D. McLellan. Oxford ; New York: Oxford University Press.

McIntosh, Heather. 2021. “Charity Benefit Concerts and the One World: Together at Home Event.†Rock Music Studies 8(1):76–82. doi: 10.1080/19401159.2020.1852773.

Millman, Ethan. 2021. “Live Nation Buys Veeps, Joel and Benji Madden’s Livestreaming Company.†Rolling Stone. Retrieved June 14, 2021 (https://www.rollingstone.com/pro/news/live-nation-veeps-joel-madden-livestreaming-1116039/).

Mueller, Gavin. 2021. Breaking Things at Work: The Luddites Are Right About Why You Hate Your Job. Verso Books.

Naulin, Sidonie, and Anne Jourdain. 2020. “Introduction: The Marketization of Everyday Life.†Pp. 1–30 in The Social Meaning of Extra Money: Capitalism and the Commodification of Domestic and Leisure Activities, Dynamics of Virtual Work, edited by S. Naulin and A. Jourdain. Palgrave Macmillan.

Ravenelle, Alexandrea. 2019. Hustle and Gig: Struggling and Surviving in the Sharing Economy. First edition. Oakland, California: University of California Press.

Rendell, James. 2020. “Staying in, Rocking out: Online Live Music Portal Shows during the Coronavirus Pandemic.†Convergence 1354856520976451. doi: 10.1177/1354856520976451.

Ross, Andrew. 2008. “The New Geography of Work: Power to the Precarious?†Theory, Culture & Society 25(7–8):31–49.

Schor, Juliet B. 2020. After the Gig: How the Sharing Economy Got Hijacked and How to Win It Back. First edition. Oakland, California: University of California Press.

Seman, Michael, and Richard Florida. 2020. Lost Art: Measuring COVID-19’s Devastating Impact on America’s Creative Economy. Metropolitan Policy Program at Brookings.

Slichter, Jacob. 2004. So You Wanna Be a Rock & Roll Star: How I Machine-Gunned a Roomful of Record Executives and Other True Tales from a Drummer’s Life. New York: Broadway Books.

Smith, Paul. 1997. Millennial Dreams: Contemporary Culture and Capital in the North. London ; New York: Verso.

Srnicek, Nick. 2017. Platform Capitalism. Cambridge, England ; Malden, Massachusetts : Polity.

Staff. 2021. “Here Are All the Livestreams & Virtual Concerts to Watch During Coronavirus Crisis.†Billboard, January 26.

Tsioulakis, Ioannis, and Ali Fitzgibbon. 2020. Performing Artists in the Age of COVID-19. Queen’s Policy Engagement. Belfast, Ireland, UK: Queen’s University Belfast.

Watkins, S. Craig. 2019. Don’t Knock the Hustle: Young Creatives, Tech Ingenuity, and the Making of a New Innovation Economy. Beacon Press.

Woodcock, Jamie, and Mark Graham. 2020. The Gig Economy: A Critical Introduction. 1st edition. Cambridge ; Medford, MA: Polity.

Zhang, Qian, and Keith Negus. 2021. “Stages, Platforms, Streams: The Economies and Industries of Live Music after Digitalization.†Popular Music and Society 0(0):1–19. doi: 10.1080/03007766.2021.1921909.

Zinn, Howard, Robin D. G. Kelley, and Dana Frank. 2002. Three Strikes: Miners, Musicians, Salesgirls, and the Fighting Spirit of Labor’s Last Century. Boston: Beacon Press.

Published
2021-12-01