Baseball and Hardball

I saw my first Mets game of the season, a terrific 9 to 2 bludgeoning of the Reds. “Value” tickets for last night’s game were just $5 for the nosebleed seats in the upper decks. For $5, one can’t really complain. Actually, I rather prefer it way up there. All the games that I saw as a kid were in the upper decks, so that’s how I learned to follow the ball in play. Those box seats behind home plate are just a little overwhelming.

The Mets have a pretty good team this year. They actually win as often as they lose. All I ask is for a little excitement and suspense.

The next two nights are also “value” days, and tickets will be the same price. Tickets will obviously be much more expensive when the Yankees visit this weekend. “Value” days return on May 31 when the Mets face the Diamondbacks. I recommend organizing group outings for a nice day at the ballpark.

This is a rushed post because I am heading out the door to do some more leafletting at the Staten Island ferry. It’s on the Manhattan side this time, as it is all Tuesdays in May, from 4:00pm until 6:00pm. And, once again, leafletting on Thursdays is on the Staten Island side from 4:00pm until 6:00pm.

Finally, on Wednesday, the Writers Guild will be stepping up their public campaign against CBS, outside of Carnegie Hall, where the network is unveiling its new shows for the Fall, from 2:30 until 4:30.

From my friend Marija Kowalski:


Dear Union Brothers and Sisters,

We are in a tough contract battle with CBS/ Viacom for 430 employees at CBS News. The affected employees are news and promotion writers, editors, graphic artists, desk and production assistants, and researchers. The company is trying to take many jobs out of the union. This would impact many members who’ve been in the union for decades. The company also wants substantial paycuts (up to 21%), to have automatic elimination of our contract in the case of any mergers, and allow managers to do unlimited amounts of work historically covered by our contract, to practically eliminate seniority protection from layoff, and many other outrageous attacks on our union.

As you know, Viacom is one of the five largest media conglomerates in the nation. We are counting on the support of our fellow union brothers and sisters to help us defend our contract against this giant corporation.

We have two events coming up– one tomorrow, and one next week. We realize it is a lot to ask. We would be very appreciative if even one person from your union came to the action tomorrow (an email about that event was sent out last week) and a larger group of people would come to the rally outside the Shareholder meeting. I would also love to hear from you to get an idea of the turnout. I would also appreciate if you would distribute this email to your lists.

Thank you very much!!


Taking On Viacom: WGAE at Viacom Stockholders Meeting Thursday, May 26 / 1:30 p.m.

Join the WGAE on Thursday, May 26th as we tell Viacom that we will not sit quietly as CBS demands pay cuts from writers in order to line the pockets of its top three executives with over 150 million dollars.

All owners of Viacom A and Viacom B stock are entitled to attend and participate in their Annual Stockholders meeting. The Writers Guild of America, East will be there too, inside and outside, demanding that CBS withdraw its regressive demands for pay cuts and the removal of union jobs, and instead start working with us to negotiate a fair contract.

Marriott Marquis
Broadway @ 45th Street
New York City

We are delighted to announce the New York City Labor Chorus will be performing at this rally.
We hope you will join us!


Working Harder for Les: WGAE Rally Out Front at the Upfront
Wednesday, May 18 / 2:30 – 4:30 p.m.

WGAE Rally Outside Carnegie Hall!

This year, CBS shocked the industry by giving unprecedented compensation packages to its top three executives.

Meanwhile, CBS is demanding WGAE news and promo writers, graphic artists, desk and production assistants and researchers take paycuts of up to 21% and lose union jobs.

Les Moonves must be stopped. It’s time we receive recognition for our award-winning work.

For more information, contact Marija Kowalski at mkowalski@wgaeast.org

Carnegie Hall
57th Street & 7th Avenue
New York City

Marija Kowalski
Organizing Coordinator
Writers Guild of America, East
212-767-7808

Terrific Coverage from Staten Island’s Paper of Record

Union members distribute fliers protesting plans for 2 local Wal-Marts

By ROB HART
STATEN ISLAND ADVANCE
Friday, May 13, 2005

A Queens resident who helped derail Wal-Mart’s attempt to build a store in his borough joined union members and volunteers yesterday in protesting the big-boxer’s plans to build on Staten Island.

Shaun Richman, along with members of Local 342 of the United Food and Commercial Workers Union, handed out small orange fliers to late-afternoon commuters at the St. George Ferry Terminal

“[Wal-Mart comes] in and all the small shops close down,” contended Richman. “They’re welfare cheats and they produce jobs that don’t pay
enough.”

The retail behemoth is eyeing industrial tracts in Mariners Harbor and Richmond Valley. Either would be the first Wal-Mart in New York
City.

Besides the alleged detriment to small businesses, the fliers accused Wal-Mart of poor labor practices in regard to health care, discrimination against women and the disabled, and tax evasion.

“I don’t think it’s a good thing for Staten Island,” said Michael Santorella of Port Richmond, who was clutching a flier while waiting for the next boat. “They don’t seem to do the right thing, and I don’t think I would shop there.”

Martha Rohman of West Brighton agreed: “This company has a history of discriminating against its workers, especially women. I would be much happier if they never built it, and I’m glad there are people out here talking about how bad an idea it is.”

Ravenswood

I was very excited to receive in the mail this week all of the books and syllabi for my first courses at the U-Mass Labor Studies program. I’m taking Labor Law, with Harris Freeman, and Labor Research, with Tom Juravich. I decided to start lightly with “Ravenswood: The Steelworkers’ Victory and the Revival of American Labor,” which Juravich co-wrote with Kate Bronfenbrenner, and which is included in the syllabus for the Labor Research course mostly, I assume, to add color to the discussion.

Ravenswood was an early 90’s lock-out at an aluminum processing plant of which I had never previously heard. Juravich and Bronfenbrenner argue that this little-remembered labor struggle presaged the revitalization of the labor movement experienced later in the decade, and represented the first time that American unions successfully combined a labor action with a corporate campaign, boycotts and international solidarity; a recipe for what they differentiate from mere corporate campaigns as a “strategic campaign.”

Located in West Virginia, the Ravenswood plant had been a part of the Kaiser Aluminum corporation until leveraged buy-outs, asset spin-offs, restructuring and other corporate shell games in the 1980’s produced an independent Ravenswood Aluminum Corporation, seemingly owned by a former plant manager with a chip on his shoulder and a clear agenda of union-busting. The new owners combined jobs, forced overtime and cut back on safety regulation, resulting in several deaths inside the plant. When the contract came up for renewal, management proposed austerity cuts and stalled the negotiations, while spending millions on new security and scab recruitment. When the contract expired, management rejected the union’s offer to continue working under the terms of the old contract pending a new agreement, and instead locked out 1700 union workers.

The workers at USWA Local 5668 held strong, but it was several months before the Steelworkers’ international union got directly involved in the campaign, which ultimately lasted two years. International Vice President George Becker personally took over the campaign and directed his legal staff salvage the local’s paper-thin and sure-to-be-rejected unfair labor practice charges with the NLRB.

Juravich and Bronfenbrenner narrate the book as an interesting chronological story that anyone could enjoy, but any union staffer reading the early chapters is keeping mental score of all of management’s ULPs – including surveillance and retaliation for union activity, refusal to bargain over health and safety (a mandatory subject of bargaining), general surface bargaining, unilateral implementation of a final offer and an illegal lock-out – knowing that management’s goof-ups mean that the workers have a right to get their jobs back with massive back-pay!

USWA’s intervention in 5668’s ULP case is presented as a bit of great luck, when, in fact, the question should be asked, “Where the heck were they earlier?” Fifteen years later, any union that’s serious about winning has a sophisticated program of cataloguing grievances and management activities in order to identify multiple violations of federal labor law that will protect and enhance the union’s own activities.

Elsewhere, the USWA is more inventive in pressing the campaign of the workers’ lock-out. They create an “end-users” campaign that focuses on the beverage companies who utilize aluminum cans from the Ravenwood plant and, carefully skirting the ban on secondary boycotts, pick away at Ravenswood’s significant customers, one by one. They press health and safety issues at the plant with OSHA. They join environmental coalitions in highlighting the plant’s pollution.

The Steelworkers also press a corporate campaign against Marc Rich, the billionaire investor, on the lam from the U.S. for tax evasion and illegal arms sales to Iran, who, through shadow entities is the true owner of Ravenswood. With much assistance from the international federations (global umbrella groups of international unions – mostly European and North American – that are slowly becoming labor’s answer to the trans-national corporation) engage in demonstrations and lobbying that bring unfavorable press to Rich at his Swiss hideout and sink several lucrative financial deals.

Ultimately, the pressure works. Rich ousts the management team at Ravenswood. All of the locked-out workers get their jobs back. Pay and pensions increase. The plant remains open.

George Becker goes on to become President of the USWA. Richard Trumka, who directed his union’s (the Mineworkers) support becomes Secretary-Treasurer of the AFL-CIO. Many of the tactics used at Ravenswood have become ubiquitous in the labor movement. They’re not always successful, but a strategic campaign, focused on leverage and soft spots, combined with a united workforce is more often successful than not.

Of course, then again, management has gotten a lot more sophisticated in the last fifteen years and rookie mistakes as the initial Ravenswood management team made are fewer and farther between.

Gimme Free

Free shows are for the unemployed. This fact used to piss me off…when I had a job. Two years ago, I remember leaving work early and racing all the way downtown to see one of my favorite bands, Spoon, play a free show at Castle Clinton, only to be among the hundreds of fans who were beaten to the punch by the reserve army of the unemployed. I finally made up for that day by seeing Spoon play a terrific free show at the Virgin record store yesterday.

Spoon are, to my mind, the band of the decade. They are exactly the sort of band that rock geeks long for: a tight little band, a sympathetic voice, a distinctive sound, a little mystery and lyrics that you sing along to before you even know what they are. I first read about the band in Camden Joy’s review of their record company kiss-off single. It was the best bit of rock criticism this side of Lester Bangs, perfectly encapsulating all of the unfulfilled promise of rock in the 90’s and pinning all of our rock geek hopes on this little Austin band that had just been unceremoniously dumped from their corporate record label. Who could resist that? I tracked the record that Elektra thought wasn’t good enough. It was great, all jagged guitars, congested vocals and pure power pop.

A funny thing happened when the band reappeared on the indie Merge record label. Their sound changed; it matured, expanded and hollowed out. The piano replaced the guitar as the dominant instrument. Drum and bass hooks anchored the songs. Guitars only punctuated open holes in the songs, which better allowed the listener to hear Britt Daniels’ quarter-life crisis lyrics. The songs are all rising action; unresolved tension waiting for a climax that might not come for three more songs.

Spoon makes records; complete, perfect statements that are meant to be heard in unison. (Daniels sighed and mumbled about the “iPod generation” yesterday when a pretty indie princess yelled out for tracks “4 and 11.”) Each new one feels like an instant classic, with evocative titles like “Girls Can Tell” and “Kill The Moonlight,” crisp, minimalist cover art and never a band shot (which is always a cool statement, but more so when the lead singer is a conventionally handsome gent).

Spoon’s latest record, “Gimme Fiction,” was released yesterday. It feels like a minor classic. Daniels’ has expanded his lyrical touchstones from post-adolescent angst to include some mythology and has thrown more guitar noise into the mix. Unlike the last two records, this one contains two or three songs that seem distinctly like filler, but it also adds a number of songs that will become a beloved part the band’s repertoire for years. “I Turn My Camera On” is sexy disco rock. “The Two Sides of Monsieur Valentine” is fun and bouncy, and “I Summon You” is an insistent and lovely ballad. “Sister Jack,” which was an acoustic ballad when Britt Daniel played a solo warm-up show at Maxwell’s last year, is now a power pop rave-up, the album’s clear climax. It’s one of the year’s best.