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10-17-2009, 07:53 PM
By ADAM GELLER, AP National Writer Adam Geller, Ap National Writer – Sat Oct 17, 1:37 pm ET
ELKHART, Ind. – By 10:30 a.m., the lot at Disabled American Veterans Post 19 is nearly full, and a table spread with potato salad and Port-a-Pit chicken beckons.
The only thing missing is a banner, mutters one of the workers inside the rental hall to another: "Welcome to Our Last Supper."
This is a gathering to mark the end of a 40-month fight over who owns the craftsmanship that gives life to a factory floor. These men and women logged decades pressing, soldering and buffing — making trombones and trumpets of such sinuous precision they are called the Stradivarius of brass.
In the end, though, there is no music.
"Lord God, you know what the plan is for our lives," Bertha Carpenter prays as fellow workers bow their heads. "And let us be ever grateful."
This is the story of a decision — of 234 workers, one company and countless consequences.
Back when times were good, many Americans made decisions that seemed like sure things. Millions of families gambled their homes, betting prices could only go up. Others bet their retirement security, banking on the stock market.
But workers at the Vincent Bach factory bet on what seemed like much more modest expectations. When they walked out on strike, they had no get-rich-quick illusions. At best, the thinking went, if they stuck together they'd keep hold of their prized rung on the economic ladder.
They bet their jobs on it.
Today that bet is being called. But like Rip Van Winkle, who fell asleep for 20 years and came back to a place he barely recognized, the men and women of Bach return to a vastly different landscape than the one they left behind.
And from here, there is no going back.
___
There's a good chance you've heard of Elkhart. Over the last year, the city of 52,000 along the St. Joseph River gained notoriety even the most desperate chamber official would never have dreamed up: It became a poster child for the recession.
Millions across the country lost jobs, but Elkhart was slammed by the nation's largest jump in unemployment. By this spring, one in five workers were out of a paycheck. Many of the factories that made it the capital of recreational vehicle manufacturing shut down. Twice during his campaign and twice since, Barack Obama came to Elkhart County to spotlight the nation's economic despair.
But this story begins in a very different Elkhart, one that can be hard to remember.
Back in 2006, that Elkhart was singled out by a Federal Reserve economist as one of the Midwest's "jewels in the rust." Unemployment hovered just above 4 percent. The RV plants were hiring and the money was good.
Times were so good, Stacy Curtis recalls, that you couldn't walk into a restaurant on a Friday night and not expect to wait half an hour for a table. The Elkhart Truth printed columns of want ads.
But on the floor of the Bach factory there was little, if any, talk of going elsewhere for a paycheck.
Bach, a squat cinderblock building set back from Industrial Parkway's elbow-shaped bend, looked like just another factory. But two things made it a special place to work — the interlocking relationships of the people inside and the nearly timeless craft they practiced.
The place was like a big family, workers say, and it's no exaggeration.
Stacy Curtis followed her dad in to Bach, where she met husband, Steve, one of the buffers blanketed in red dust her father supervised. Brad Milliken hired in as a janitor and night watchman at 17 when his dad put the good word in, then did the same for younger brother, John, after he got a promotion.
Job openings at Bach were guarded like secrets, not least because of the pay. In a town where 45 percent of all jobs were in factories, Bach paid near the top. By 2006, the average worker made $21 an hour.
But the family sensibility went beyond the paychecks.
On Fridays, workers circled around covered-dish lunches on the shop floor. On birthdays, they serenaded each other on whatever instrument was within reach. They took up collections for retiring workers, who were presented with bud vases made from a trombone mouthpiece.
Bach was equally bound by pride. Others factories could build cars or computers to spec. But how many of those workers could call themselves craftsmen?
In the music world, Vincent Bach is synonymous with cornets, trombones and, especially, trumpets. Bach made horns for all wallets, but the showpieces were its Stradivarius trumpets: gleaming, curvaceous beauties commanding $2,500 or more from orchestral professionals.
"Once you got done with an instrument," Jeff Hoogenboom says, "it was like a jewel."
That pride reached back to the 1920s when the original Bach, an Austrian immigrant, set up shop in New York. He was so certain of his trumpets' superiority he named them for the world's most legendary instrument.
"The Stradivarius Model C trumpet is the finest C trumpet ever produced," Bach's first catalog boasted in 1926. It "has a bright brilliant tone which strikes through the fortissimo playing orchestra like lightning through the dark sky."
Bach sold his company in 1961. The new owner moved it to Elkhart, the center of the trumpet and tuba trade long before it became the RV capital. By the 1970s, Elkhart factories supplied 40 percent of the world's band instruments.
At the new plant, work went on much as it always had — sheets of brass pressed one at a time, bells shaped on mandrills inherited from Bach himself.
But the company and the world around it began to change.
In 1993, two investment bankers who'd previously worked for junk bond king Michael Milken acquired Bach's parent firm in a leveraged buyout. Two years later, they bought famed piano maker Steinway & Sons and merged the businesses under the Steinway name, creating the nation's largest musical instrument manufacturer.
The new owners pushed to speed production. They eliminated the plant's saxophone line, cutting the union work force from 450 to 234. The company was making money, earning $13.8 million in 2005. But executives were wary of Chinese producers, whose $200 trumpets targeted the large student market.
The message was clear in "town meetings" president John Stoner called on one of the plant's loading docks: Change was not a choice. Stoner infuriated some workers, worker Dave Barany says, telling them: "We have the equipment. We own your skills."
The company would not comment for this story, but its demands were clear. On the final day of their contract in March 2006, every worker returned home to find a letter from Stoner.
Bach was losing money on its student instruments. An Asian manufacturer was offering to take over for a fraction of the cost.
Continued...
ELKHART, Ind. – By 10:30 a.m., the lot at Disabled American Veterans Post 19 is nearly full, and a table spread with potato salad and Port-a-Pit chicken beckons.
The only thing missing is a banner, mutters one of the workers inside the rental hall to another: "Welcome to Our Last Supper."
This is a gathering to mark the end of a 40-month fight over who owns the craftsmanship that gives life to a factory floor. These men and women logged decades pressing, soldering and buffing — making trombones and trumpets of such sinuous precision they are called the Stradivarius of brass.
In the end, though, there is no music.
"Lord God, you know what the plan is for our lives," Bertha Carpenter prays as fellow workers bow their heads. "And let us be ever grateful."
This is the story of a decision — of 234 workers, one company and countless consequences.
Back when times were good, many Americans made decisions that seemed like sure things. Millions of families gambled their homes, betting prices could only go up. Others bet their retirement security, banking on the stock market.
But workers at the Vincent Bach factory bet on what seemed like much more modest expectations. When they walked out on strike, they had no get-rich-quick illusions. At best, the thinking went, if they stuck together they'd keep hold of their prized rung on the economic ladder.
They bet their jobs on it.
Today that bet is being called. But like Rip Van Winkle, who fell asleep for 20 years and came back to a place he barely recognized, the men and women of Bach return to a vastly different landscape than the one they left behind.
And from here, there is no going back.
___
There's a good chance you've heard of Elkhart. Over the last year, the city of 52,000 along the St. Joseph River gained notoriety even the most desperate chamber official would never have dreamed up: It became a poster child for the recession.
Millions across the country lost jobs, but Elkhart was slammed by the nation's largest jump in unemployment. By this spring, one in five workers were out of a paycheck. Many of the factories that made it the capital of recreational vehicle manufacturing shut down. Twice during his campaign and twice since, Barack Obama came to Elkhart County to spotlight the nation's economic despair.
But this story begins in a very different Elkhart, one that can be hard to remember.
Back in 2006, that Elkhart was singled out by a Federal Reserve economist as one of the Midwest's "jewels in the rust." Unemployment hovered just above 4 percent. The RV plants were hiring and the money was good.
Times were so good, Stacy Curtis recalls, that you couldn't walk into a restaurant on a Friday night and not expect to wait half an hour for a table. The Elkhart Truth printed columns of want ads.
But on the floor of the Bach factory there was little, if any, talk of going elsewhere for a paycheck.
Bach, a squat cinderblock building set back from Industrial Parkway's elbow-shaped bend, looked like just another factory. But two things made it a special place to work — the interlocking relationships of the people inside and the nearly timeless craft they practiced.
The place was like a big family, workers say, and it's no exaggeration.
Stacy Curtis followed her dad in to Bach, where she met husband, Steve, one of the buffers blanketed in red dust her father supervised. Brad Milliken hired in as a janitor and night watchman at 17 when his dad put the good word in, then did the same for younger brother, John, after he got a promotion.
Job openings at Bach were guarded like secrets, not least because of the pay. In a town where 45 percent of all jobs were in factories, Bach paid near the top. By 2006, the average worker made $21 an hour.
But the family sensibility went beyond the paychecks.
On Fridays, workers circled around covered-dish lunches on the shop floor. On birthdays, they serenaded each other on whatever instrument was within reach. They took up collections for retiring workers, who were presented with bud vases made from a trombone mouthpiece.
Bach was equally bound by pride. Others factories could build cars or computers to spec. But how many of those workers could call themselves craftsmen?
In the music world, Vincent Bach is synonymous with cornets, trombones and, especially, trumpets. Bach made horns for all wallets, but the showpieces were its Stradivarius trumpets: gleaming, curvaceous beauties commanding $2,500 or more from orchestral professionals.
"Once you got done with an instrument," Jeff Hoogenboom says, "it was like a jewel."
That pride reached back to the 1920s when the original Bach, an Austrian immigrant, set up shop in New York. He was so certain of his trumpets' superiority he named them for the world's most legendary instrument.
"The Stradivarius Model C trumpet is the finest C trumpet ever produced," Bach's first catalog boasted in 1926. It "has a bright brilliant tone which strikes through the fortissimo playing orchestra like lightning through the dark sky."
Bach sold his company in 1961. The new owner moved it to Elkhart, the center of the trumpet and tuba trade long before it became the RV capital. By the 1970s, Elkhart factories supplied 40 percent of the world's band instruments.
At the new plant, work went on much as it always had — sheets of brass pressed one at a time, bells shaped on mandrills inherited from Bach himself.
But the company and the world around it began to change.
In 1993, two investment bankers who'd previously worked for junk bond king Michael Milken acquired Bach's parent firm in a leveraged buyout. Two years later, they bought famed piano maker Steinway & Sons and merged the businesses under the Steinway name, creating the nation's largest musical instrument manufacturer.
The new owners pushed to speed production. They eliminated the plant's saxophone line, cutting the union work force from 450 to 234. The company was making money, earning $13.8 million in 2005. But executives were wary of Chinese producers, whose $200 trumpets targeted the large student market.
The message was clear in "town meetings" president John Stoner called on one of the plant's loading docks: Change was not a choice. Stoner infuriated some workers, worker Dave Barany says, telling them: "We have the equipment. We own your skills."
The company would not comment for this story, but its demands were clear. On the final day of their contract in March 2006, every worker returned home to find a letter from Stoner.
Bach was losing money on its student instruments. An Asian manufacturer was offering to take over for a fraction of the cost.
Continued...