Sometimes You Have to Lead a Union

In observance of National Women’s month here in March 2022, I’ld like to share this story.

Elaine Parker’s grandmother, Lottie Stepansky, served as a rehearsal pianist for Isabella Stewart Gardner, the philanthropist behind the nominal Isabella Stewart Gardner Museum of Fine Arts in Boston, Massachusetts. Gardner liked to sing opera, apparently, and Lottie Stepansky did well enough in her employ to purchase a baby grand piano from the Steinert showroom in Boston in the mid-1920s.
Gardner is described in a quote posted on the Museum’s website:

 Mrs. Jack Gardner is one of the seven wonders of Boston. There is nobody like her in any city in this country. She is a millionaire Bohemienne. She is the leader of the smart set, but she often leads where none dare follow… She imitates nobody; everything she does is novel and original.

— A BOSTON REPORTER

In 1915, though, Lottie Stepansky was a labor activist in the tobacco stripper union. She likely had to seek other work when the major cigar manufacturers left Boston—and hand-rolled cigar production—for machine-rolled cigars in non-union locales.

Local Labor Notes: Lottie Stepansky as Cigar Stripper Union candidateLocal Labor Notes: Lottie Stepansky as Cigar Stripper Union candidate 11 Jun 1915, Fri The Boston Globe (Boston, Massachusetts) Newspapers.com

As reported in Local Labor Notes in the Friday, 11 June 2015, edition of The Boston Globe (emphasis added):
“The nomination of candidates for the semiannual election of officers of the Cigar Factory Strippers Union took place In Paine Memorial Hall last night. There will be only one contest, that for the seven places on the executive board, to which 13 aspire. The nominees are Mary Blewett for president: Annie Rosen and Gertrude Levy, vice presidents; Anna Bowen, financial secretary; Agnes Gallagher, recording secretary; Mary Blewett, Esther Jacobs and Gertrude Levy, trustees; Martha Forrest, Elizabeth Hyslop and Esther Jacobs, auditors; Dora Kenneler, Annie Titus, Marf Jones, Mary Batchelder, Eva Doyle, Esther Jacobs, Evelyn Forrest, Annie Monks, Mary Hurley, Annie Kline, Sadie Dourant, Goldie Brittan and Lottie Stepansky, executive board; Elizabeth Hyslop, Agnes Gallagher, Anna T. Bowen, Mary Jones, Esther Jacobs, Gertrude Levy, Sadie Courant, Mary Blewett and Rita Williams, delegates to the C. L. U.”
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excerpted from Wikipedia
On July 7, 1919, roughly 2,100 of Boston’s 2,400 cigar makers walked off the job in protest of their employer’s failure to meet their demand of a 13 7/11% raise. Three of Boston’s largest cigar manufacturers chose to leave the city rather than meet the union’s demands and a number of union members formed a cigar-making co-operative. By August 30, 1919, all of the remaining manufacturers had reached agreements with the union.
During the early years of World War I, Boston’s cigar factories hired many refugees from Belgium. In addition to being expert cigar makers, many of them were socialists. After this, the manufacturers clashed with the local union, who threatened to strike if the manufacturers hired more employees, implemented the use of machinery, weighed tobacco, ended the practice of cigar makers using their mouths to shape cigars, or dismissed an employee without the consent of a union committee.
On August 13, 1919, Waitt & Bond announced that they would move from Boston to Newark, New Jersey as a result of the walkout. Prior to the strike, Waitt & Bond had employed 1,200 cigar makers and had a weekly payroll of $30,000. Upon moving to Newark, Waitt & Bond operated on a non-union machine production basis. Other cigars makers followed suit. C. C. A. also moved to Newark while Breslin & Campbell moved to New York City. Both switched to machine production.
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What does it mean to be a tobacco stripper? How pervasive and long-lasting in pay inequality?

In a January 1907 article titled “Employment of Women in Industries: Cigar-Making: Its History and Present Tendencies” by Edith Abbott, writing from Washington, DC, on pages 1-37 of the Journal of Political Economy, some interesting observations–supported by evidence–are laid out.

The increased employment of women in cigar-making seems to indicate its tendency to develop into a “women’s industry” and furnishes an interesting example of the industrial displacement of men by women. The history of the industry makes it of peculiar interest, because originally the women were displaced by the men, and in these later years they have only come into their own again.

The manufacture of cigars in this country is an industry of nearly a century’s growth, but it has not continuously through-out its history employed a large proportion of women. This is, at first, not easy to understand, for it has always been a trade for which women are seemingly better qualified than men. No part of the making of cigars is heavy work, and skill depends upon manual dexterity–upon delicacy and sensitiveness of touch. A brief description of the three important processes in a cigar factory-“stripping,” “making,” and “packing”–will serve to make this quite clear.

The preliminary process, of “stripping,” which includes “booking,” is the preparation of the leaf for the hands of the cigar-maker. The large mid-rib is stripped out, and, if the tobacco is of the quality for making wrappers, the leaves are also “booked”–smoothed tightly across the knee and rolled into a compact pad ready for the cigar-maker’s table. Even in the stripping-room there are different grades of work, all unskilled and all practically monopolized by women and girls.

The stripping of the “filler” leaf for the inner “bunch” of the cigar is usually piece-work, but the stripping of the wrapper and binder is likely to be time-work, to avoid such haste as might tear the more expensive leaf. If a woman “books” her own wrappers, she gets higher pay than one who merely “strips ;” and one who only “books” gets more than either, for this is much harder work and keeps the whole body in motion. The scale of wages in a large union factory in Boston furnishes a measure of the supposed differences in these occupations: binder-stripper, $6 a week; wrapper-stripper who “books,” $7 a week; filler-stripper, $6 to $Io a week. The lack of skill in any of this work is indicated by the fact that in places where the union requires a three years’ apprenticeship for cigar-making two weeks is the rule for stripping, and competent forewomen say that “a bright girl can learn in a day.” In England the situation in this occupation is rather different. “The work is well adapted for female hands, and in provincial factories they are largely employed in this department. In London, on the contrary, there seem to be not more than thirty women engaged as strippers.” (Booth, Life and Labor of the People, Vol. IV, p. 224.)

Division of labor has been slow in making its way into cigar factories. The best cigar is, still made by a single workman, and the whole process demands a high degree of skill. Slightly inferior cigars, however, can be made with “molds” by less skilled workmen.

Wage disparity between women and men is a long-standing issue, as shown in these pages from Abbott’s article.

It is not fair, ordinarily, to compare women’s wages with men’s, because
men and women in factories so seldom do the same work. In cigar-making and cigar-packing, however, there have been exceptions to this general rule