This letter has started to appear on Facebook and on other news and social channels around the place, and It is a really excellent letter and deserves to be shared far and wide. The 'work' for free culture prevalent in the creative industry really is scaling new heights. I know that it is nothing new and has been happening for centuries, but it seems that it is leeching out and is becoming norm rather than the exception.Now I wouldn't mind so much if it was certain instances, but it seems that is massive discrepancy between what people will happily pay for 'fluff' and what they will actually pay for creative services. Sure we'll spend 10's of thousands on a launch event, but nothing on the content creation. I don't want to say that it is just musicians who get subjected to this WOF syndrome, it seems ubiquitous across the creative industry.At the end of the day, it seems that it is either all or nothing. Those at the top of the tree (the labels, organisers, film executives etc) get paid fantastically well and now a majority get paid 'nada', at the very, very least there should be minimum wage implications. I have experience, the 'it will be great experience for you and great for your CV' doesn't cut it too much these days, or in the band situation....you are paying for the room hire, the bar staff, the caterers, the food, the little paper things that go on the table, the wraps that go around the chairs to make them pretty....but you think the band (whom have dedicated years...yes YEARS...to learning, perfecting and polishing their skills) to do it for nothing.....because your cousin who plays a bit said he would do it for nothing.As a band, we turn up on time (usually hours and hours before the event), we bring all our own equipment (paid for by magic perhaps?), we sit around for hours waiting, we adapt to crazy demands on schedule and repetoire, we do always with a smile, we play/perform/entertain for two whole hours (imagine two hour workouts!), we constantly monitor the situation to make sure everyone is happy (and safe), we have to deal with drunken and disorderly (and sometimes very out of order and inappropriate!) behaviour, we have to reason with revellers as to why they can't play our instruments (oh I play a bit isn't a reason I am going to let you loose on my work equipment!) and then once wait until everyone has left before we can even begin to think about going home. 12 hours days are the norm. Now don't get me wrong I am not complaining, I love it too much, I am just suggesting that some people out there think that this isn't worth anything, not worth paying for...I am just trying to give an insight! 
The text is here :-
"I am sick to death of your hollow schtick, of the inevitable line 'unfortunately there's no budget for music', as if some fixed law of the universe handed you down a sad but immutable financial verdict preventing you from budgeting to pay for music. Your company set out the budget. So you have chosen to allocate no money for music. I get begging letters like this every week – from a booming, affluent global media industry.Why is this? Let's look at who we both are.I am a professional musician, who lives from his music. It took me half a lifetime to learn the skills, years to claw my way up the structure, to the point where a stranger like you will write to me. This music is my hard-earned property. I've licensed music to some of the biggest shows, brands, games and TV production companies on earth; from Breaking Bad to The Sopranos, from Coca-Cola to Visa, HBO to Rockstar Games.Ask yourself – would you approach a creative or a director with a resume like that, and in one flippant sentence ask them to work for nothing? Of course not. Because your industry has a precedent of paying these people, of valuing their work.Or would you walk into someone's home, eat from their bowl, and walk out smiling, saying, "So sorry, I've no budget for food"? Of course you would not. Because, culturally, we classify that as theft.Yet the culturally ingrained disdain for the musician that riddles your profession leads you to fleece the music angle whenever possible. You will without question pay everyone connected to a shoot – from the caterer to the grip to the extra – even the cleaner who mopped your set and scrubbed the toilets after the shoot will get paid. The musician? Give him nothing.Now let's look at you. A quick glance at your website reveals a variety of well-known, internationally syndicated reality programmes. You are a successful, financially solvent and globally recognised company with a string of hit shows. Working on multiple series in close co-operation with Channel 4, from a west London office, with a string of awards under your belt. You have real money; to pretend otherwise is an insult.Yet you send me this shabby request – give me your property for free. Just give us what you own, we want it.The answer is a resounding and permanent NO.I will now post this on my sites, forward this to several key online music sources and blogs, encourage people to reblog this. I want to see a public discussion begin about this kind of industry abuse of musicians … this was one email too far for me. Enough. I'm sick of you.NJ White"
I am finding the 'work for free' creep is occurring further and further across the industry now. I am working with editors, DOPS, camera persons, sound recordists (in particular), post houses all being asked to do gratis work (in their best interest of course)....oh and please make sure you bring your own kit!! I am in no doubt that I am very fortunate to have paid employment in this industry (and a lot of the work isn't creatively inspiring) but the work for creep is starting to have a massive impact. Hopefully this letter will start an interesting debate.EnjoyPeaceNeil