Officers Columns

Here are the latest posts from our officers

Ray Hair – AFM International President

The Data-Driven Defense for Our Creative Future

Sound Recording Labor Agreement (SRLA) negotiations began in Los Angeles on January 13-15. I am pleased to report that we had a very strong and focused beginning. These negotiations are being conducted with a level of preparation that reflects the high stakes of the modern recording industry.

It’s no secret that our number one priority is to prevent the unauthorized use of our tracks for machine learning and artificial intelligence (AI). This is not a distant threat; it is a current reality. Alongside securing sustainable, accessible health care for those in the sound recording field, AI protection is the primary engine driving our proposals. We are documenting exactly how our creative output is being harvested. We are not just negotiating for the next few years; we are building the legal and economic guardrails that will protect the human element of music for decades to come.

SLRA negotiations will resume again in March. Our strategy will remain data-driven and fueled by a comprehensive effort to gather every shred of evidence on how our members’ work is being used in the digital age. We aren’t just arguing from a place of sentiment, but we are arguing from a place of fact. We are analyzing the flow of content and the economic realities of the recording studio to ensure our demands are backed by undeniable proof of the value musicians bring to the table.

I am incredibly proud of the “all hands on deck” team we’ve assembled for this fight. This group is a powerhouse of expertise, including our dedicated in-house legal team and general counsel, our directors of the Electronic Media Services Division and Government Affairs, and specialist advisors with deep technical knowledge. Most importantly, this team is balanced by the presence of local officers and rank-and-file representation. Bringing the voices of the musicians—the people who work in studios and on stage—to the table ensures that the reality of the work remains the heart of our demands.

The Power of the Contract: Our Shield in the AI Age

There is a direct and unbreakable link between our success at the bargaining table and the discipline we show as a collective in the field. I want to speak directly to our independent artists and those working with indie labels. Often, I hear the call to “organize the indies.” However, the landscape of independent music is unique. Because many indie labels operate as distributors or facilitators rather than traditional employers, the power—and the responsibility—often rests with the individual artist to protect their own future.

The AFM has specialized agreements designed to accommodate this type of work. These aren’t “old world” contracts; they are modern tools meant to provide a safety net in an increasingly precarious industry. I want to be clear: filing an AFM contract is not a bureaucratic hurdle. It is your strongest shield.

However, the truth is, we cannot protect what we cannot track. Filing an AFM contract is the only way to ensure:

•Intellectual Property Protection: Without a formal contract on file, it becomes nearly impossible for the Federation to track your material across digital platforms. We need that paper trail to prove ownership and to prevent your work from being fed into machine learning models without your consent or compensation.

•Health Care and Pension Eligibility: These benefits are the bedrock of a long-term career. They are not granted by the goodwill of the industry; they are earned through the filing of contracts that document your work and trigger the contributions you are owed.

I urge every member to view the simple act of filing your contracts as an act of solidarity. When you file, you are strengthening the data pool we use to fight the major labels. You are proving the volume and value of our collective work. To win big in the SRLA negotiations, we must show the industry that we are an organized, disciplined body that recognizes the value of its own work and knows how to protect it.

When we return to the bargaining table in March, our unity—and our shared commitment to union contracts—remain our greatest assets. Together, we are ensuring that music remains human.

Welcoming New Leadership

I want to acknowledge the arrival of new leadership and energy following general elections across the Federation. It is an inspiring time for our union, as many locals have seen a transition in leadership that reflects the changing needs of our membership. At Local 802 (New York City), we welcome President Dan Point and Recording Vice President Sarah Haines, who join continuing Financial Vice President Karen Fisher. Across the country at Local 47 (Los Angeles, CA), we welcome President Mark Sazer and Vice President John Acosta, along with returning Secretary-Treasurer Gail Kruvand.

The voices of these two major markets are significant and essential components of our Federation. Their leadership, combined with the energy of new and returning officers in locals of all sizes across the country, creates a powerful, unified front. While we highlight the major hubs, we do so with the understanding that every local—from Nashville to Toronto to Chicago—is a vital part of the Federation’s backbone.

I also want to extend my deep gratitude to outgoing Local 47 President Stephanie O’Keefe for her years of dedicated service to the local and her vital work as a trustee to the AFM and Employers Pension Fund (AFM-EPF). Her commitment to the pension fund and the well-being of our members has left a lasting mark.

Looking Ahead: The 103rd AFM Convention

Finally, as we look toward the future of our Federation, the 103rd AFM Convention is on the horizon—June 20-23, in the beautiful capital city of Ottawa, Ontario. This marks our first convention in Canada in over 50 years, and it will be a pivotal moment to deliberate on the challenges of the AI era and to solidify our shared vision.

I encourage all officers and delegates to keep an eye out for formal notices and detailed information. For those planning to attend, now is the time to ensure your passports are up to date for travel to Canada. You can find the latest convention news at www.afm.org/103rd-afm-convention.

Jay Blumenthal – AFM International Secretary-Treasurer

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Indies Redux

It should be no surprise to anyone when I say that, outside the realm of traditional collective bargaining, the 20th century structure of our Federation does not match the 21st century ever-changing business of music and the needs of the musicians who must evolve with it. Technology, product distribution and consumption, AI, copyright, legal niceties or lack thereof, and a society that has been stood on its head have all conspired in a manner to place great economic pressure on musicians just to survive as such, not to mention the stresses placed upon the creative processes that are so much a major part of who we are. That’s why I find nothing more gratifying than to see a whole cadre of musicians that have identified a common need and who organize to demand satisfaction.

In my column last month, I made note of a few of the organizations that have formed just for that purpose—UMAW, Music Workers Alliance, and the Indie Musicians Caucus of the AFM. I wrote about the obstacles that US labor law places in the way of musicians who need to organize outside of the traditional collective bargaining realm, and the potential legal sink holes that may confront any group of independents building for collective action outside the legal shield of a union. My purpose in that column was solely to bring into the light of day a quick exposition of unfairness of US labor law for American musicians and to state unequivocally that, notwithstanding legalities, what these groups seek is what we all want.

It was with a certain amount of bemusement, therefore, to receive a letter for “Feedback” from a passionate member who managed to glean meanings from my writing that were neither intended nor implied.

The main thrust of the member’s letter was focused on the AFM’s current bargaining with the record labels and the overarching imperative to lock down the “three C’s,” i.e., consent, credit, and compensation for musicians as that relates to the use of artificial intelligence in sound recording production, along with finding a way to realize meaningful health care benefits from the industry for musicians who don’t otherwise qualify for employee benefits. A quick read of AFM President Gagliardi’s column in this issue ought to provide some reassurance to the member of the bargaining team’s commitment to these goals.

What particularly caught my attention, though, was the member’s questioning of this union’s commitment to the needs and demands of indie and freelance musicians, both within the recording arena and beyond. Evading a core mission was certainly not the point of my writing, and—at least from my viewpoint—it would require the equivalent of an accomplished yoga practitioner to wrangle interpretation from what I wrote last month.

I acknowledge, however, that perception belongs to the reader, not the writer, and I therefore wish to state the following in as unambiguous a manner as possible.

The AFM International Executive Board has allocated an unprecedented near 10% of the 2026 budget in new expenditures toward building member strength, with the intention going forward to amplify that even more. The Organizing Department is expanding as I write this, specifically with the aim of directly partnering with local unions, both locally and regionally, to strengthen existing conditions and build solid local musician communities to manifest their goals. Strength and solidarity at the local level translates to strength at the international level.

The board has affirmatively determined that this union must devote its resources to organizing to build power to enable members to attain fairness in the labor market and justice in the political realm by building membership in touring, freelance, recording, and local gig markets and developing power to achieve strong contracts—whatever that means and whatever it takes—in the US and Canada—with or without helpful labor laws.

Alan Willaert – AFM Vice President from Canada

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Solidarity in Action Through Our Mission and Values

As musicians, learning our craft is an individual pursuit of continual practise and study. As lifelong students, nothing can replace the daily routine of flexibility studies, building endurance, learning repertoire, passing exams, and getting to a place of being hired for a job doing what we love. However, our routine must include continuous practice to stay at the top of our craft.

Part of the learning experience that is often taken for granted is our reliance on others. It’s the most basic form of solidarity. Early education models teach empathy, sharing, and teamwork—helping children to recognize shared humanity, support others in need, and understand diverse perspectives through actions like comforting peers, sharing toys, and community efforts that foster compassion and collective responsibility.

As individual musicians, the spirit of solidarity gets challenged when competition for jobs enters our world. And so, often the most difficult part of being a musician is not the level of musical expertise, but the different personalities we must work and get along with.

This last year, I have witnessed so much solidarity among our freelance communities, our regional conferences, and at the AFM International Executive Board (IEB), when it comes to the challenges for Canadian members navigating the process of working in the US. It began at last year’s Western Conference, when the conference penned a letter of support and solidarity to the Canadian Conference. The solidarity continued throughout the year with clear recognition and support from the IEB on the challenges of Canadians dealing with the USCIS during the visa process.

However, moving beyond recognition and support, there has been a concentrated effort going on over the last several months, building an action plan on both sides of the border. With clear support from AFM International President Tino Gagliardi and the IEB, Government Affairs Director Ben Kessler has worked hard behind the scenes to discover all options to find better alternatives than the current P-2 visa process.

The solidarity that began from rank-and-file members on both sides of the border has filtered up to a voice via Gagliardi through the US Labor Advisory Committee. We’ve garnered support from unions on both sides of the border, through the AFL-CIO and Canadian Labour Congress (CLC). While there is still much work to be done, the level of support and solidarity for the effort to implement effective change for Canadian musicians crossing the border to work in the US is unprecedented. For the AFM of the United States and Canada, having the support of other large binational unions is another level of solidarity.

While the advocacy continues in sync at government levels in both the US and Canada, we should recognize the solidarity from rank and file, our regional conferences, and at the IEB.

Government administrative process changes often take longer than we would like, however, we will not stop pursuing change when it will benefit our membership. But it’s important to recognize the solidarity that we build along the way. When the time comes to mobilize, that solidarity will become our political power. This is our AFM mission and values in action.

La solidarité en action à la lumière de notre mission et nos valeurs

par Allistair Elliott, vice-président de l’AFM pour le Canada

Comme musiciens, l’apprentissage de notre métier consiste à répéter et à étudier de manière soutenue. En tant qu’apprenants à vie, rien ne peut remplacer la routine quotidienne qui consiste à travailler notre souplesse, à développer notre endurance, à apprendre notre répertoire, à passer des examens et à atteindre un niveau qui nous permet de travailler à faire ce que nous aimons. Cependant, notre routine doit inclure une pratique continue afin de rester au sommet de notre art.

Une partie de l’apprentissage qui est souvent tenue pour acquise, c’est notre dépendance vis-à-vis des autres. C’est la forme la plus fondamentale de solidarité. Les modèles d’édu-
cation à l’école primaire enseignent l’empathie, le partage et le travail d’équipe. Cela aide les enfants à reconnaître leur humanité commune, à soutenir ceux qui sont dans le besoin et à comprendre des perspectives diverses à travers des gestes tels que réconforter leurs camarades, partager leurs jouets et participer à des efforts communautaires qui favorisent la compassion et la responsabilité collective.

En tant que musiciens individuels, notre esprit de solidarité est mis à l’épreuve lorsque nous entrons dans le monde de la concurrence pour trouver un emploi.

Ainsi, souvent, le plus difficile dans le métier n’est pas tant le degré de compétence musicale à atteindre que les différentes personnalités avec lesquelles nous devons travailler et nous entendre. Au cours de l’année écoulée, j’ai été témoin d’une grande solidarité au sein de nos communautés de musiciens pigistes, de nos associations régionales et du Conseil exécutif international (IEB) de l’AFM face aux défis que doivent relever les membres canadiens qui travaillent aux États-Unis.

Tout a commencé lors de la Conférence de l’Ouest de l’année dernière, lorsque celle-ci a rédigé une lettre de soutien et de solidarité à l’intention de la Conférence canadienne. Cette solidarité s’est poursuivie tout au long de l’année, avec la reconnaissance et le soutien sans équivoque de l’IEB face aux défis rencontrés par les Canadiens dans leurs démarches auprès des USCIS pour l’obtention de permis de travail.

Mais au-delà de la reconnaissance et du soutien, il y a eu des efforts concertés au cours des derniers mois pour élaborer un plan d’action des deux côtés de la frontière. Avec le soutien clair du président international de l’AFM, Tino Gagliardi, et de l’IEB, Ben Kessler, le directeur des Affaires gouvernementales, a travaillé d’arrache-pied en coulisses pour explorer toutes les options et trouver de meilleures solutions que le processus actuel pour les permis P-2.

La solidarité qui a d’abord vu le jour parmi les membres de la base des deux côtés de la frontière s’est traduite par une prise de position de M. Gagliardi au sein du comité consultatif américain sur le travail. Ainsi, nous avons obtenu le soutien de syndicats des deux côtés de la frontière, par l’intermédiaire de l’AFL-CIO et du Congrès du travail du Canada (CTC). Bien qu’il reste encore beaucoup à faire, nous bénéficions actuellement d’un degré de soutien et de solidarité sans précédent en faveur d’un changement efficace pour les musiciens canadiens qui traversent la frontière en vue de travailler aux États-Unis. Pour l’AFM des États-Unis et du Canada, avoir le soutien d’autres grands syndicats binationaux porte la solidarité à un autre niveau.

Alors que notre plaidoyer se poursuit de manière coordonnée auprès des gouvernements de nos deux pays, nous devons reconnaître la solidarité des membres de la base, de nos associations régionales et de l’IEB.

Les modifications dans les processus administratifs gouvernementaux prennent souvent plus de temps que ce que nous aimerions, mais nous ne renoncerons jamais à poursuivre le changement s’il peut profiter à nos membres. Soulignons tout de même la solidarité que nous construisons en cours de route. Lorsque le moment sera venu de se mobiliser, elle deviendra notre pouvoir politique. Voilà la mission et les valeurs de l’AFM en action.

Ball of Confusion (That’s What the World Is Today)

I was going to title my column “Everything’s Going to Hell in a Handbasket,” then I came across The Temptations’ song “Ball of Confusion (That’s What the World Is Today),” recorded in 1970 against the backdrop of racism, social injustice, and civil unrest in America. It’s an apt title for today.

To say that we live in volatile times could be considered an understatement but here we are. Above the 49th parallel, aka “the 51st state,” as some individuals would have us believe, we look on alarmed at the disruptive forces at play south of the border. ICE and National Guard deployment, citizenry being stripped of their fundamental rights, arbitrary detentions, forced deportations, blatantly ignoring indigenous peoples’ rights, curbing academic freedoms, mocking disabled persons, gutting arts funding, gutting the National Labor Relations Board (NRLB), relentless efforts to repeal the Affordable Healthcare Act, attacks on journalistic freedoms—the list goes on and on.

We are told what we see and what we hear with our own eyes and ears did not actually happen. Our collective sense of security and trepidation is further heightened by the ongoing threats of the Trump administration to annex Canada and other sovereign countries. Adding to this, globally, is war and political instability: Ukraine, the Middle East, Africa. It’s a good time for the arms dealers. But, I digress.

Thank goodness we have the arts is all I can say! In all times, and even more so now, art, music, theatre, film, poetry, and story bring us solace and inner peace. They help soothe our anxieties, give meaning to our feelings, and shine a mirror on injustice, pain, and suffering. They uplift us with hope and love, joy and human connection—the arts let us know that “everything’s gonna be alright.”

Musicians through their music have always reflected the times. Music has served as a catharsis—a powerful tool for social commentary and unity throughout the ages. And every genre—symphonic, opera, jazz, rap, folk, and more—has reflected the human condition. On both sides of the border, AFM members inspire, entertain, and transport audiences away from fear, hatred, and loathing. Music enriches our souls. It is fundamental to our collective well-being, which makes it even worse when creativity is hijacked by defunding the very institutions that the arts rely on.

During times of upheaval, great organizations and their people rise to meet the challenges that have beset them. Our union and members are no exception. Together, we have persisted through world wars, pandemics, the introduction of sound and recording, disruptive technologies and distribution systems, labour strife, financial meltdowns, and more. How? By adhering to and supporting our mission to unite professional musicians across the United States and Canada, enabling them to live and work with dignity, receive fair compensation for their labor, and have a meaningful voice in decisions that affect them.

Our AFM leadership and staff are working hard to build a stronger AFM. In both countries, our national collective agreements are addressing generative artificial intelligence, focusing on consent, credit, and compensation. The AFM has significantly expanded education offerings to local officers and staff. We now have an Organizing department that is assisting organizers with winning campaigns. We’ve enhanced freelance, symphonic, and theatre services and resources to better serve you. Our Government Affairs Office is actively promoting important policies that matter to musicians. On the global stage, the AFM is respected and building stronger alliances with our sister entertainment unions.

Resilience was an oft used term during the pandemic, guiding us as we pivoted and adapted to COVID-19. I would now add we all need fortitude to go the distance.

In this ball of confusion, there is no room for complacency, we must collectively double down our efforts on both sides of the border. Thankfully, we have our union at our back. When we fight together, we win!

Forging Power in the Freelance Music Community

After years of performing in nightclubs, bars, restaurants, and recording sessions that paid more in promises than in actual checks, I’ve come to see the freelance music world differently. What once looked like a smattering of gigs and side hustles now feels like something bigger, an incredible labor force that holds up an entire industry.

Back in the ’90s, when I was recording on indie labels and chasing every paying gig I could find, I never thought of myself as a “worker.” None of my colleagues did either. We saw ourselves as artists just trying to make it, grateful for every opportunity, even when the pay was unstable or nonexistent. We didn’t even think about rights, and we definitely didn’t think we had leverage. Chaos was par for the course.

Today, as a longtime union officer, I have come to see things with new eyes. Not only are freelance musicians workers, but we are a mighty labor force, ready and willing to organize. You all know it, we create value for festivals, bars, restaurants, venues, streaming platforms, and record labels, yet we’re often treated like we’re replaceable. In many ways, we can be our own worst enemies! When Joe Blow Bar owner offers us $30 and a sandwich for a gig and we turn it down, there is always another musician ready to take $20 and no sandwich! We need to stop undercutting ourselves and agree that there must be a minimum wage for us, and it ain’t no freakin’ sandwich. If we want to build a real, modern labor movement in music, it has to start right where so many of us got our start: in the bars, the clubs, and the DIY scenes.

The first step is simple: we need to meet freelancers where they are. Don’t wait for them to come to a union hall. Club bands, singer-songwriters, jazz players, DJs, and indie producers live in WhatsApp groups, Discord threads, open mics, rehearsal spaces, and studio chats. Our organizers need to come from that same world, people who speak the language, and who know the hustle. And we have to offer real help upfront: contract templates that actually protect us, quick dispute resolution, gig protection, clear advice on rates and royalties, and guidance on health and safety. When the union shows up usefully, it starts to feel relevant.

After years of underpayment and disrespect, a lot of freelancers assume that no one’s coming to help. Changing that mindset means showing that we are the ones we’ve been waiting for. When people see others like themselves organizing, setting standards, and winning, it changes everything.

Local unions can hold listening sessions, form freelancer councils, and partner with community venues to set fair minimums. Even small wins—guaranteed meal breaks, cancellation fees, transparent payment schedules—send a powerful message: you don’t have to take whatever comes your way.

We also need to move with the times. Musicians today build careers on TikTok, Bandcamp, Patreon, and Twitch, and in home studios. We must fight for digital rights, fair streaming compensation, and protection against AI misuse, but also help musicians collect the royalties already owed to them. The same DIY energy that shaped the indie scene in the ’90s is alive and thriving and we should be right there with it, not chasing from behind.

Lastly, this can’t just be about contracts. It’s a cultural project. Musicians are storytellers by nature. If you think about it, organizing is another form of storytelling: it’s how we reclaim our dignity, our community, and our ownership of what we create. When musicians see organizing as part of their creative life, it stops feeling foreign and starts feeling personal.

I believe our future lives in the same places where so many of us began: the late-night gigs, the cramped studios, the noisy bars, and the backrooms where songs are born. If we organize there, from the ground up, we can build a movement strong enough to lift every musician from the orchestra pit to the corner stage.

Canada’s Uniqueness within the Federation: Unity in Diversity

Canada plays a vital role in enhancing the diversity of the AFM. While Canadians and Americans share a supportive and harmonious relationship within the Federation, recognizing the distinct characteristics of each country helps foster greater mutual understanding.

First, a few figures: Canadians represent 21% of AFM’s membership. There are 24 Canadian locals, with the largest being Local 406 (Montreal, PQ) with 3,113 members, Local 149 (Toronto, ON) with 2,504 members, and Local 145 (Vancouver, BC) with 1,462 members.

Linguistic Duality: Canada distinguishes itself by officially recognizing both English and French at the federal level under the Charter of Rights and Freedoms and the Official Languages Act. Quebec’s only official language is French, while New Brunswick is officially bilingual. About 22% of Canadians speak French as their first language, concentrated in Quebec (82%) and New Brunswick (30%). In contrast, the US Constitution does not designate official languages.

Music Industry Landscape: Canada’s music industry is heavily influenced by independent labels, especially in Quebec, where French-language content is prevalent. The ADISQ (Québec Association for the Recording, Concert and Video Industries) association represents many independent record companies and has agreements with Local 406. For film and television, the Association Québécoise de la Production Médiatique (AQPM) handles French-language productions, while the Canadian Media Producers Association (CMPA) focuses on English-language content.

Federal and Provincial Cultural Responsibilities: Cultural matters in Canada are shared between federal and provincial governments. The Canadian Radio and Television Council (CRTC) oversees communications, and the Canadian Heritage ministry supports the arts, languages, multiculturalism, and sport. Federal support for the cultural sector comes through agencies such as the Canada Council for the Arts, Telefilm Canada, Foundation Assisting Canadian Talent on Recordings (FACTOR), and Musicaction. Major national institutions include CBC/Radio-Canada, Library and Archives Canada, the National Film Board (NFB), and the National Arts Centre.

Provinces also play a significant role through agencies like the Ontario Arts Council, Music BC, and the Alberta Foundation for the Arts, each providing public funding for the arts. Quebec stands out for its cultural independence and dedicated institutions, prioritizing French-language content and funding through Société de développement des entreprises culturelles (SODEC) and Conseil des arts et des lettres du Québec (CALQ). Quebec’s Ministry of Culture and Communications spearheads efforts to safeguard the French language, and the province operates a network of music conservatories.

Laws Protecting Artists: Canada has unique laws governing the professional relationships between artists (as self-employed workers) and producers, ensuring recognition of associations, and establishing collective bargaining as a requirement. Quebec’s 1989 law recognizes AFM Local 406 as the sole representative in Quebec for professional musicians and permits binding arbitration in disputes. At the federal level, the Status of the Artist Act of 1992 applies to federally regulated corporations like CBC/Radio-Canada and the NFB.

Canada’s Distinctive Status in the AFM: The Federation’s Bylaws acknowledge Canada’s unique position. For all activities within Canada, the AFM is known as the “Canadian Federation of Musicians/Fédération canadienne des musiciens.” Canada is represented on the AFM International Executive Board (IEB) by a Canadian vice president elected by Canadian delegates. In 2023, for the first time, two Canadians were elected as IEB officers by all delegates, reflecting growing international unity. The Bylaws further accommodate Canada’s linguistic realities by providing translations and adjusting for legislative differences, particularly in labor and trade union law.

Canadian and American musicians are united within the Federation—one family, diverse but committed to living and working with dignity, as stated in Article 2 of the AFM Bylaws.

La spécificité du Canada au sein de la Fédération : l’unité dans la diversité

par Luc Fortin, membre du conseil de direction international (IEB) de l’AFM et de la section locale 406 (Montréal, Québec)

Le Canada enrichit la diversité de l’AFM tout en maintenant une relation harmonieuse et solidaire avec ses homologues américains. Il est important de souligner les caractéristiques propres à chaque pays pour favoriser une compréhension mutuelle optimale.

D’abord quelques chiffres : les Canadiens représentent 21 pour cent des membres de l’AFM, et sont répartis parmi 24 sections locales dont les principales sont Montréal (3113 membres), Toronto (2504 membres) et Vancouver (1462 membres).

La dualité linguistique canadienne : À la différence des États-Unis, qui n’a pas de langue officielle reconnue par sa constitution, le Canada reconnaît deux langues officielles au plan fédéral : le français et l’anglais en vertu de la Charte canadienne des droits et libertés et la Loi sur les langues officielles. Le Québec désigne le français comme seule langue officielle, tandis que le Nouveau-Brunswick est la seule province officiellement bilingue. Environ 22 % des Canadiens parlent principalement le français, essentiellement au Québec (82 %) et au Nouveau-Brunswick (30 %).

L’industrie de la musique : Les labels indépendants occupent une grande part de la production musicale, surtout au Québec où le contenu francophone est important. Les maisons de disque indépendantes du Québec sont regroupées au sein de l’ADISQ, qui a des ententes avec la GMMQ, la section locale 406 de l’AFM. Pour le film et la télévision, l’Association québécoise de la production médiatique couvre les productions en français tandis que la Canadian Media Producers Association s’occupe du contenu anglophone.

Compétences culturelles fédérales et provinciales : Les responsabilités culturelles sont partagées entre le gouvernement fédéral et les provinces. Le fédéral, par l’entremise du CRTC et de Patrimoine Canadien, réglemente les communications et soutient la culture et les langues officielles. Il offre aussi un soutien financier à l’industrie culturelle par le truchement d’organismes comme le Conseil des arts du Canada, Téléfilm Canada ou Factor-Musicaction, et gère des institutions nationales telles que la SRC/CBC, l’Office national du film et le Centre national des Arts. Les provinces soutiennent aussi les arts, les musées, les festivals et le patrimoine régional. Le Québec se distingue par son autonomie culturelle, sa politique de protection du français et ses institutions propres comme la SODEC et le CALQ.

Les lois sur le statut de l’artiste : Au Canada, des lois protègent les artistes indépendants et encadrent leurs relations avec les producteurs, prévoyant la reconnaissance d’associations, la résolution des différends et la négociation collective. Au Québec, la loi de 1989 reconnaît la GMMQ (section 406 de l’AFM) comme seul organisme habilité à représenter les musiciens professionnels, ce qui a mené a l’époque à la fusion des trois sections locales en une entité unique. La loi prévoit aussi le recours à l’arbitrage en cas d’impasse lors d’une première négociation.

Le statut distinctif du Canada au sein de l’AFM : La spécificité canadienne est reconnue dans le Règlement intérieur de la Fédération. L’organisation porte le nom de « Canadian Federation of Musicians/Fédération canadienne des musiciens » pour ses activités au Canada. Le Canada est représenté à l’exécutif international par un vice-président canadien élu par les délégués canadiens. L’AFM traduit les règlements, ententes et certains articles en français, ce qui est apprécié des membres francophones.

En conclusion, les musiciens canadiens et américains forment une grande famille diversifiée mais unie, « afin de vivre et travailler en toute dignité » (article 2 du Règlement intérieur de l’AFM).

Performing Artists Must Be Protected from Censorship

The recent efforts to censor the voices of creative artists presents a troubling development for performing artists of all disciplines. AFM International President Tino Gagliardi’s response to ABC taking Jimmy Kimmel off the air was articulated perfectly:

“This is not complicated: Trump’s FCC identified speech it did not like and threatened ABC with extreme reprisals. This is state censorship. It’s now happening in the United States of America, not some far-off country. It’s happening right here and right now. This act by the Trump administration represents a direct attack on free speech and artistic expression. These are fundamental rights that we must protect in a free society. The American Federation of Musicians strongly condemns the decision to take Jimmy Kimmel Live! off the air. We stand in solidarity with all those who will be without work because of government overreach.”

It is because the arts have long served as a mirror for society that the current trend of censoring those who express opinions considered controversial must be countered by the collective resistance and action of all artists. In the words of President John F. Kennedy, “If art is to nourish the roots of our culture, society must set the artist free to follow his vision, wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth.”

I can’t recall a time when we have been in more urgent need of the voice of our artists than at the present. It is a time when public support for all the performing arts has become even more critical. The AFM is working with fellow trade unions to build coalitions and work collaboratively to advocate for artists and influence policy, with support for the National Endowment for the Arts as a prime example.

There have been decisions made by artists who, as a form of political statement, chose to cancel their performance commitments. The end result is that an important platform has been abandoned, and we’ve lost a critical opportunity to engage with audiences directly in this consequential time. In any case, the atmosphere in which artists are currently working will certainly impact the cultural landscape and possibly the foundations of artistic freedom.

Defending the freedom of performing artists is not an option at this point; it is essential and necessary for our society and for the values that we consider most important. When art is only allowed to reflect what is safe and approved, we have lost a mirror that shows us who we really are.