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Working toward a career goal in entertainment comes with a lot of baggage. Movies depict a certain sequence of events, ads promise a kind of instant gratification, and our elders say they were able to work their way up the ladder, buy a house, pay for college for the kids and retire. Never mind that movies aren’t real, that ads are intended to manipulate (at worst) and influence (at best) our spending habits, and that the jobs our elders had no longer exist.
Maybe there was a golden era of the American workplace in which upward growth was essentially frictionless. My grandfather started at IBM in the 1960s as a computer engineer and worked for 30 years, during which time he bought a house, supported a family of four, put two children through four-year college programs, saved for retirement, and had access to legitimate health benefits. It wasn’t easy, but his job did make it all possible.
The people I know whose careers fell on a similar timeline to his have similar experiences. But the years before this “golden era” were similar to how things are now: people with socio-economic advantages are able to move upward at a fairly rapid pace, and everyone without socio-economic advantages is able to exercise upward mobility only after figuring out how to catch up. The college student with a job that pays her rent does not have access to the same opportunities as her classmate whose rent is paid by his parents so he can attend an unpaid internship for a semester.
I mention this because we now live in a free labor economy. Companies and individuals in power positions have a bad habit of bullying workers for free labor, even when it’s technically illegal. Perhaps this fear mechanism was born out of the crash of 2008 (when many of the people in power positions were still in college), or perhaps we are becoming exponentially shameless in our power hunger, with each passing year putting greater distance between the richest and poorest among us, and more attention given to the loudest people with the greatest number of followers. It is money and popularity, not skills and experience, that are winning in the job market right now.
Prioritize fair pay in your business. Even if you are relying on the generosity of a friend at the moment, make it a priority to pay them what their work is worth as soon as you are able to.
Name your price and back it up. I hope you never have to experience someone in the music business bullying you, but it can happen to anyone. Someone will tell you that they can get someone else to do it for free. Often this is just a negotiation tactic. You’re worth more than nothing, so make a case for you over this imaginary free laborer. (One exception to this rule is when you are being generous to a friend!)
When money is tight, consider an exchange of skills instead. Are you an audio engineer who wants production experience? The more that you develop your skills the more bartering power you will have when you want to acquire new ones.
Communicate. This is very important. Your communication style will be different from other peoples’, and will likely evolve over time. You want to be as clear as possible. With experience, you’ll be able to read situations quicker and avoid problems before they become too big to solve.
Decide what your values as a business owner (and/or colleague) are, and resolve to never be lazy about upholding them. If someone you work with is not meeting those standards, don’t be afraid to talk about it and challenge them to do better. (The flip side of this is, obviously, that you must live by these standards as well!)
It is my hope that through the shifting tides of our current economy, we develop new and effective ways to uphold fair business practices. I’m always curious to hear from others about their experiences doing this (positive and negative), so please feel free to email your stories to me at elanabellecarroll@gmail.com
Another great article by SoundGirls: Sound Effects: A Crash Course in Foley
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The mission of SoundGirls.org is to inspire and empower the next generation of women in audio. Our mission is to create a supportive community for women in audio and music production, providing the tools, knowledge, and support to further their careers. SoundGirls.Org was formed in 2013 by veteran live sound engineers Karrie Keyes and Michelle Sabolchick Pettinato and operates under the Fiscal Sponsorship of The California Women’s Music Festival, a 501(c)3 non-profit organization. In 2012, Karrie and Michelle participated in the “Women of Professional Concert Sound” panel at the AES Conference in San Francisco. The panel was hosted by the Women’s Audio Mission (WAM) and moderated by WAM founder Terri Winston. Terri brought together five women working in live and broadcast audio. The groundbreaking panel (which also included Jeri Palumbo, Claudia Engelhart and Deanne Franklin), provided young women and men a glimpse into life on the road, tips and advice, and a Q & A with the panelists. More importantly though, was how incredibly powerful the experience was for the panelists. We had all been in the business for 20 years or more, yet most of us had never met before that day and within minutes we bonded like long-lost sisters. We were struck by how similar our experiences, work ethics, and passions were and wondered why our paths had never crossed and how our careers would have been different had we been there to support each other through the years. Each of us are strong on our own, but together we were even stronger and a powerful force. We were empowered. Each of us had been asked hundreds of times in our careers: Are there other women doing sound? How did you get into sound? How would a young woman go about getting into sound? Through creating SoundGirls.Org, we hope to establish a place for women working in professional audio to come for support and advice, to share our success and failures, our joys and frustrations, and for empowerment and inspiration.
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