Monthly Archives: February 2016

Health

Top 10 Healthy Food Tips for Touring

by Karen Wang Diggs, nutritionist and author of Happy Foods: Over 100 Mood-Boosting Recipes

You want to perform your best on stage. But you’ve got jet lag, spent a fitful night in a hotel room with paper-thin walls, and have heartburn from pizza you gobbled down before rushing to the theater. While it’s hard to maintain equilibrium and eat healthy on the road, there are things you can do to buffer stress, boost energy, and keep your immune system strong, in order to perform at your best.

HappyFoods300dpi1) Get a lemon water jump-start. Upon waking, have an 8 oz. glass of room temperature water with two or three tablespoons of fresh lemon juice. This hydrates you first thing in the morning, detoxifies your liver, and alkalinizes your body.

2) Protein-based breakfast is best. Avoid bagels, donuts, and other starch-laden/sugar-drenched baked monstrosities for breakfast. The double whammy of carbohydrates and sugar will spike-up your blood sugar, and cause low energy, and possibly, mood swings. Not to mention, pastries are calorie-dense, but nutritionally empty. Instead, enjoy eggs, sausages, oatmeal with yogurt and nuts, or a protein-based smoothie.

3) Ditch the diet sodas. You may think that switching to sugar-free soda and snacks is better, but artificial sweeteners actually confuse our brain and body by tricking you into thinking that you are consuming real sugar when it’s fake. This leads to metabolic confusion and overconsumption. Even though we know that sugar is bad, it does provide fuel in the form of glucose and fructose. So, when you drink a diet soda your taste buds sense sweetness and send a signal to your brain that energy is on its way. However, since artificial sweeteners are devoid of nutrients and filled with toxic chemicals, your entire physiology gets whacked out. Your cells are expect fuel, but there’s nothing coming, so you overeat to compensate for the fraud. Instead, enjoy sparkling mineral water with lemon slices, kombucha (in moderation), or coconut water.

4) Banish candy bars. Most of them are made from high-fructose corn syrup and other unnatural ingredients that are toxic to the liver and cause binging and weight gain. Instead, enjoy dried dates with unsweetened peanut butter, tahini, or cashew butter. Or make and pack your own healthy sweet treats. (Go to www.InternationalMusician.org/Top-10-Healthy-Touring-Tips for a recipe for Coconut & Date Kisses.)

5) Cut out conventional chips. These are made with vegetable oils such as canola, or corn that are high in omega-6 fatty acids. High omega-6 intake leads to inflammation, which can cause joint pain and heart disease. They also contain artificial flavors that cause binging and zap your energy. Instead, enjoy raw nuts and seeds.

6) Curb coffee after 3:00 PM. While a jolt of caffeine can give you a boost, caffeine in the afternoon can upset your sleep, remaining in your system for six to eight hours. Coffee is  acidic and drains needed minerals from the body. Instead, enjoy black or green teas if you need an afternoon lift. Teas also contain a unique amino acid, L-theanine, which boosts concentration while keeping the mind relaxed with alpha brain waves.

7) Take Vitamin C. This helps to keep your immune system strong, and buffers physical stress. Choose a brand that does not contain GMO ingredients and is made from natural sources such as citrus or rose hips.

8) Probiotics please. Good gut health is the key to digestion, and also prevents constipation.

Probiotics also balance our gut terrain and keep harmful bacteria at bay. Choose a brand that does not need to be refrigerated and contains multiple strains of cultures, including: L. acidophilus, B. lungum, and B. bifidum.

9) Less EMR (electromagnetic radiation). According to some studies, radiation from cell phones, laptops, other wireless devices can cause subtle damage to our cells over time. It can also interrupt the production of melatonin. Place your cell phone and laptop far away from your bed at night.

10) Detox after touring. The angst of traveling and performing can create a lot of toxins in your cells. Over time, this can lead to physical illness and negative moods. Choosing the right detox can be confusing. It should be gentle and support your body with all the nutrients that it needs. The book Happy Foods contains safe, effective detox advice.

 

Coconut & Date Kisses

Cocoballs-for-online-recipe

 

 

 

 

 

 

 

 

 

YIELD: approx. 24 pieces

  • 15 medjool dates, pitted
  • 1/3 cup raw cashews, soaked for 5 hours
  • 2/3 cup raw walnuts, soaked for 5 hours
  • 2 tablespoons unsweetened cocoa powder
  • ¼ teaspoon ground cinnamon
  • ¼ teaspoon freshly ground nutmeg
  • ¼ teaspoon sea salt
  • ½ teaspoon cayenne (optional)
  • 2 tablespoons filtered water
  • 2 cups unsweetened shredded coconut flakes, for coating
  • Drain the soaked nuts and put in a food processor along with the other ingredients except the coconut flakes.
  1. Blend until ingredients are well mixed and form a ball.
  2. Add extra water one tablespoon at a time as needed to facilitate blending. The mixture should feel soft.
  3. Pinch off a well-rounded tablespoon of the mixture and roll it between your palms into a ball. Keeping your palms moist with water will prevent sticking and help make smooth, rounded spheres.
  4. Spread the coconut flakes on a large dish and roll the date balls in them to coat.

Once they are well coated, they magically transform into Coconut & Date Kisses! Yummy.

(Recipe from Happy Foods)

References:

  1. http://www.ncbi.nlm.nih.gov/pubmed/18296328

2. http://www.lifeextension.com/magazine/2007/8/report_cellphone_radiation/Page-01

 

—After graduating from California Culinary Academy, Happy Foods author Karen Wang Diggs flew to Hong Kong where she worked as a chef for the Mandarin Oriental Hotel and helped open two eateries. After certification as a nutrition consultant, Diggs began merging her culinary skills with her knowledge of holistic nutrition, helping people achieve optimal health through detoxification and nutrition. She lives in San Francisco, California.

Recent News

Beethoven Composition Discovered in Greenwich

Brendan Ryan had no idea that when he visited a Greenwich home as an appraiser that he would make the discovery of a lifetime. The musician, who was long obsessed with Beethoven, recognized the German writing on the manuscript.

He called his musical mentor Carmelo Comberiati, a professor at Manhattanville College who had studied Beethoven manuscripts in Vienna. Comberiati determined that the work, written in 1810, came from a sketchbook the composer used for brainstorming. After Beethoven’s death it was broken up and sold in portions to admirers. The yellowed sheet music protected under glass sold for $100,000 at auction.

Recent News

New Agreement for Canadian Actors

In December, US and Canadian producers reached an agreement with ACTRA, Canada’s performers union, to renew their Independent Production Agreement (IPA) for the next three years.

Under the new agreement, overwhelmingly ratified by ACTRA members, Canadian actors will receive an annual 2% wage hike every year. They will also receive increased background work opportunities and increased pay for acting in new media productions. The IPA does not cover work in British Columbia where US producers shoot under a separate labor agreement negotiated with the ACTRA affiliate, UBCP/ACTRA.

Vice President from Canada

International Conference Examines Performers’ Rights and Online Revenue

In mid-December 2015, the AFM once again participated in an International Conference on Online Music, hosted by the Musicians’ Union of Japan (MUJ) in conjunction with the International Federation of Musicians (FIM). The location was the United Nations University in Tokyo. The AFM was represented by President Ray Hair, International Executive Board member Tino Gagliardi, Secretary-Treasurer Sam Folio, and myself.

Topic one involved the main challenges to online music in Japan, a country which still has 87% of its music consumed in physical product (CDs, vinyl). Siichi Kondo, former Commissioner for Cultural Affairs, and Toyo University Associate Professor Kazuhiro Ando, made the keynote address. Topic two spoke to international norms, national legislations and business models, and the impact on performers’ revenue. Kazuo Shiina represented Japan and British Musicians’ Union (BMU) Assistant General Secretary Horace Trubridge represented Europe. For North America, AFM President Hair gave a very detailed PowerPoint presentation, which proved to be the main attraction of the event.

Next up for discussion was the illegal exploitation of performers’ right of making available, and the consequences of recent court decisions in Sweden and Finland. Presenters were SMF (Sweden) President Jan Granvik, SML (Finland) President Ahti Vanttinen, and EJI (Hungary) Director Pal Tomori. More discussion and presentations followed on the current Fair Internet campaign, technical and legal aspects of online streaming, fair and sustainable business models, and the adoption of statements and conclusions.

The public declaration was:
Performers reaffirm the urgent need for a fair share from online revenues. On November 21, 2014, the participants of the Budapest conference on online music adopted a declaration, calling for a wide coalition of performers in order to achieve fair, proportional, and balanced remuneration for the online use of performances. The representatives from the performers’ organizations, meeting in Tokyo on December 16-17, 2015, reaffirm their support to the Budapest declaration. They also believe that the solution proposed by the Fair Internet campaign is an appropriate response to the concerns expressed. This proposal would guarantee a right for performers worldwide to receive fair remuneration from online music platforms. Recent court cases bring into question whether these platforms have sufficient rights to make the performers’ music available. This emphasises the urgent need for a sound and reliable legal environment that the Fair Internet proposal would create. As value generated by online music platforms increases daily, performers must not be excluded from receiving their fair share.

Certainly, there will be more dialogue on this topic at the upcoming FIM Congress, scheduled for June 6-9, in ReykjavÍk, Iceland.

Closer to home, the CFM will be serving Rogers Communications with a letter of intent to bargain, pursuant to the Federal Status of the Artist legislation. In the past few years, Rogers has expanded its operations to include, not only community cable, but standard terrestrial television, acquiring CHCH in Hamilton, CITY in Toronto, and A Channel in Calgary, among others. Notorious for believing that musicians should not receive remuneration for their performances, only “exposure,” the CFM feels the time is right to bargain an agreement that would see musicians paid fair wages and benefits. More to come.

 

La Conférence internationale examine les droits et les recettes en ligne des interprètes

par Alan Willaert, vice-président du Canada, FAM

À la mi-décembre 2015, l’AFM a de nouveau participé à une Conférence internationale sur la musique en ligne.  Les deux hôtes de cet événement étaient l’Union des Musiciens du Japon (MUJ) et la Fédération internationale des musiciens FIM). Le lieu choisi était l’Université des Nations-Unies à Tokyo.  L’AFM était représentée par son président, M. Ray Hair, par un membre de son conseil exécutif international, M. Tino Gagliardi, par son secrétaire-trésorier Sam Folio, et par moi-même, Allan Willaert, le vice-président de l’AFM venu du Canada, qui est l’auteur de cet article.

Le premier point concernait les principaux défis auxquels la musique en ligne est confrontée au Japon : un pays qui consomme 87 % de sa musique sous forme de produits physiques (CD ou disques vinyles). Les discours-programmes ont été prononcés par M. Siichi Kondo, ancien Commissaire aux affaires culturelles et par M. Kazuhiro Ando, professeur associé à l’Université de Tokyo. Le deuxième point concernait les normes internationales, les législations nationales, les modèles d’entreprise et l’impact de ces facteurs sur les recettes des interprètes. Le Japon était représenté par M. Kazuo Shiina, et l’Europe par M. Horace Trubridge, Secrétaire général adjoint de l’Union des musiciens britanniques (BMU). Quant à l’Amérique du Nord, le président de l’AFM, M. Hair, a fait une présentation très complète qui s’est avérée le clou de l’événement.

Le sujet de discussion suivant portait sur l’exploitation illégale du droit de mise à disposition des interprètes et sur les conséquences des récentes décisions de justice rendues en Suède et en Finlande. Les intervenants étaient alors M. Jan Granvik, président de la SMF (Suède), M. Ahti Vanttinen, président de la SML (Finlande) et le Dr Pal Tomori, directeur de l’EJI (Hongrie). Les discussions et présentations qui ont suivi portaient sur l’actuelle campagne « Internet honnête », sur les aspects techniques et juridiques du streaming en ligne, sur les modèles d’affaires équitables et durables et sur l’adoption de déclarations et de conclusions.

La déclaration publique est la suivante :
« Les interprètes réaffirment l’urgente nécessité d’une répartition équitable des recettes de la musique en ligne ». Le 21 novembre 2014, les membres de la Conférence de Budapest sur la musique en ligne ont adopté une déclaration qui demandait la formation d’une vaste coalition d’interprètes en vue d’obtenir une rémunération équitable, mesurée et pondérée pour l’exploitation en ligne de leurs spectacles. Les représentants des organisations d’interprètes, réunis à Tokyo les 16 et 17 décembre 2015, ont réaffirmé leur soutien à la déclaration de Budapest. Ils croient aussi que la solution proposée par la Campagne Internet honnête répond comme il faut aux soucis exprimés.  Cette proposition garantirait aux interprètes du monde entier le droit à une rémunération équitable de la part des plateformes de musique en ligne. Plusieurs affaires récemment portées devant les tribunaux soulèvent la question de savoir si ces plateformes sont assez bien armées pour décider la mise à disposition de la musique des interprètes. Cette démarche fait ressortir le besoin urgent d’un environnement juridique qu’on créerait en adoptant la proposition d’une Campagne Internet honnête. La valeur produite par les plateformes de musique en ligne augmente tous les jours. C’est pourquoi les interprètes méritent aussi leur part équitable de la rémunération prévue.

Il est certain que ce dialogue se poursuivra lors du prochain Congrès de la FIM prévu du 6 au 9 juin, à ReykjavÍk, en Islande.

Plus près de nous, la FCM fera parvenir à Rogers Communications une lettre d’intention de négocier, conformément à la Loi fédérale sur le statut de l’artiste. Depuis quelques années Rogers élargit ses opérations pour couvrir non seulement les chaînes communautaires, mais aussi la télévision terrestre standard. À cette fin, Rogers a acheté CHCH à Hamilton, CITY à Toronto et A Channel à Calgary, ainsi que d’autres chaînes. Réputée considérer que les musiciens ne devraient pas être payés pour leurs spectacles proprement dits, mais seulement pour leur « exposition », la FCM croit le temps venu pour négocier un accord qui prescrirait des salaires et des avantages sociaux équitables pour les musiciens. À suivre.

Recent News

Renewed Call for Boycott of Malaysian Orchestra Auditions

While the Malaysian Philharmonic Orchestra (MPO) continues to advertise internationally for its auditions, musicians are cautioned to steer clear of this symphony known for its egregious contract violations. The boycott began in 2012 when nine key musicians—among them the concertmaster, co-concertmaster, tutti first violin, tutti first viola, principal timpani, and principal trombone—were suddenly terminated. While no reason was given, it is suspected that it was an intimidation tactic before presenting the remaining musicians with a new contract that they were asked to sign and return within a few days.

Aside from trying to hire replacement musicians under far-inferior contracts (working for 25% less in some cases and two-year posts with “no expectation of renewal”), the symphony has since committed more assaults on worker rights. In order to take unpaid leave (for performances, auditions, etc.), not only do musicians lose salary, but they are required to pay expenses (air travel, accommodations, and salary) for the sub. At the start of the 2014/2015 season, members returned to a contract that redefines “legitimate” children for the purpose of benefits. Children from common-law marriages are no longer provided visas, health insurance, school subsidies, etc. This included two 16-year principal wind players who have a child together. They went as far as to tell the mother that she is no longer recognized by MPO as the child’s legal guardian.

Orchestra News

Lyric Opera of Chicago to Be Featured on Great Performances

The Lyric Opera of Chicago and its orchestra’s recent world premiere production of the opera Bel Canto by Jimmy López will be broadcast on the PBS series Great Performances next season. The opera was on stage during December 2015 and January 2016, and performances in early January were recorded. Orchestra musicians will be covered and compensated for the recorded under the AFM’s Integrated Media Agreement (IMA).

The new opera is based on Ann Patchett’s best-selling novel by the same title, inspired by the 1996 hostage situation in Peru. It was commissioned by Lyric Opera of Chicago and developed with the guidance of Lyric Creative Consultant Renée Fleming.

“This will be the first time since 1991 that a Lyric production of an opera has been televised,” says trumpet player Matt Comerford, a member of Local 10-208 (Chicago, Il) and vice chair of Lyric’s orchestra committee. “Having a national audience for this world premiere is very significant and exciting for our company and all of our musicians. For the Chicago Lyric Opera Orchestra, it is the second time in five years the group has appeared on Great Performances, the first being at Symphony Hall for a concert with Sir Gilbert Levine and the Chicago Symphony Chorus in honor of Pope John Paul II April 23, 2012 followed by rebroadcasts.”

Robert Baird, Traveling Musician

The Complete Story on Canadian Work Permits

Q: I am going to Canada to play a bar gig and I was told that I would need to get a work permit. There are four members in my band and I’ve heard that the fee for a work permit is pretty high. Can you help me?

For many years getting a work permit to bring your band to Canada for a bar, pub, or restaurant gig was a reality. You also needed a work permit if you were an exotic/erotic dancer performing in a bar or club; an actor, singer, crew, etc. in Canadian theatrical productions, shows, or circuses; any individual involved in making films, TV, Internet and/or radio broadcasts; a performer in a Canadian-based production or show; or any individual in an employee-employer relationship with an organization or business contracting for their services in Canada.

The fee was $150 for a single musician and $450 for a group of artists. In addition, Canada asked for a Labour Market Opinion (LMO) in some cases, and then the foreign artists would be hired through the Temporary Foreign Workers Program (TFWP).

In 2013, changes to the TFWP resulted in a levy of $275 for each foreign artist or crew member for a LMO and this fee had to be paid by the employer and not passed on to the artist. This all created a serious impediment to some foreign artists hoping to perform in Canada. The situation was not clear to many and there was confusion as to which fees would be applied to whom.

Reaction to this change was swift: the Canadian Arts Presenting Association (CAPACOA) wrote to the Canadian government outlining the impact on the Canadian music industry and an online petition was created.

This information was considered, and in 2014, changes to the TFWP were enacted and, in certain cases, performing artists were exempted from the requirements for work permits and what had then become the Labour Market Impact Assessment (LMIA). These included performing artists/crew entering Canada for time-limited engagements (14 days or less only); musicians in a band performing several tour dates in Canada; guest conductors and artists performing with Canadian productions or groups for a few performances; actors in foreign touring theatrical productions; professional wrestlers and circus performers in foreign touring productions; musicians and buskers coming to Canada to perform in festivals; support crew and other workers who are integral to a live production; and disc jockeys coming to Canada to work at private events, festivals, concerts, and fairs.

An LMIA and a work permit are still required for foreign performing artists on the production of film, television, or radio broadcast; not performing in a time-limited engagement, e.g., musicians performing in a theatre pit or symphony orchestra who are not performing a special feature position; or in an “employment relationship” with the organization or business in Canada that is contracting for their services (e.g. a permanent piano bar employee).

As usual, being an AFM member has certain advantages: the Cultural Exchange Program (P2 visa) administered by the CFM and AFM allows AFM members who are US citizens to enter Canada with a work permit, but no LMIA, in order to perform in Canada for work up to three months, when performing for more than one engager, or up to six months, if performing for one engager. This requires a Cultural Exchange Letter available from CFM. Contact Susan Whitfield (swhitfield@afm.org) for requirements.

For more information on work permits and the LMIA: http://www.esdc.gc.ca/eng/jobs/foreign_workers/higher_skilled/film/index.shtml

(NOTE: The work permit fee for an individual is CAN$155 and for a group of three or more CAN$465, if entering at the same time and place.)

—I welcome your questions and concerns. Please send an email to: robert@bairdartists.com.

 

Tout ce que vous devez savoir sur les permis de travail canadiens

Robert Baird, président, Baird Artists Management (BAM!)

Q : Je dois me rendre au Canada pour un engagement dans un bar, et on m’a dit que je devais obtenir un permis de travail. Mon groupe est composé de quatre musiciens, et je crois savoir que le coût des permis est assez élevé. Pouvez-vous m’aider?

Pendant de nombreuses années, un groupe qui voulait entrer au Canada pour jouer dans un bar, un pub ou un restaurant devait obtenir un permis de travail. Devaient également respecter cette obligation les danseurs exotiques ou érotiques se produisant dans un bar ou un club; les acteurs, chanteurs, membres du personnel de soutien etc. travaillant pour une production théâtrale, un spectacle ou un cirque canadien; toute personne travaillant dans le domaine de la production de films ou d’émissions pour la télévision, la radio ou Internet; les artistes se produisant dans un spectacle ou une production canadienne; toute personne qui est dans une relation employé-employeur avec un organisme ou une entreprise qui retient ses services au Canada.

Les droits à payer étaient alors de 250 $ pour un musicien seul et de 450 $ pour un groupe. De plus, dans certains cas, le Canada demandait un avis concernant l’impact sur le marché du travail, et les artistes étrangers étaient ensuite engagés par l’entremise du Programme des travailleurs étrangers temporaires (PTET).

En 2013, à la suite de modifications au PTET, le Canada a imposé un frais de 275 $ par artiste ou membre d’une équipe de soutien pour l’obtention d’un avis concernant l’impact sur le marché du travail, et ce frais devait être assumé par l’employeur et non refilé à l’artiste. Tout cela a créé de sérieux problèmes pour certains artistes étrangers qui espéraient se produire au Canada. La situation était embrouillée pour de nombreuses personnes et il régnait beaucoup de confusion quant à savoir quels frais s›appliquaient à quelles situations.

La réaction aux nouvelles règles n’a pas tardé : l’Association canadienne des organismes artistiques a écrit au gouvernement canadien pour lui signaler les effets négatifs de ces règles sur l’industrie de la musique au Canada; une pétition en ligne a également été lancée.

Cette information a été prise en compte et, à la suite de nouvelles modifications au PTET en 2014, dans certains cas, les artistes du spectacle ont été exemptés de l’obtention d’un permis de travail et de ce qui était devenu une étude d’impact sur le marché du travail (EIMT). C’est le cas notamment pour les artistes et le personnel de soutien qui entrent au Canada en vue de jouer dans une production à durée limitée (14 jours ou moins seulement); les musiciens qui font partie d’un groupe musical en tournée offrant plusieurs concerts au Canada; les chefs d’orchestre invités et les artistes qui se produisent dans le cadre de productions canadiennes ou avec des groupes pour quelques prestations seulement; les acteurs qui jouent dans des productions théâtrales itinérantes étrangères; les lutteurs professionnels et les personnes travaillant dans les cirques dans le cadre de productions itinérantes étrangères; les musiciens et les artistes de rue venant au Canada pour se produire dans le cadre de festivals; le personnel de soutien et les autres travailleurs participant à une production en direct, et les disc-jockeys venant au Canada pour travailler dans le cadre d’activités privées, de festivals, de concerts et de foires.

Un permis de travail et un EIMT sont toujours requis pour les artistes du spectacle étrangers qui travaillent dans le domaine de la production de films ou d’émissions télévisées ou radiophoniques; qui ne travaillent pas dans le cadre d’un contrat à durée limitée, par exemple les musiciens jouant dans la fosse d’une production théâtrale ou dans un orchestre symphonique où ils n’occupent pas un poste d’exception; qui ont une relation professionnelle avec un organisme ou une entreprise qui retient leurs services en leur offrant un contrat (p. ex. un employé permanent de piano-bar).

Comme toujours, le fait d’être membre de l’AFM présente certains avantages : le programme d’échange culturel (visa P2) administré par la FCM et la FAM permet aux membres qui sont citoyens américains d’entrer au Canada avec un permis de travail, mais sans EIMT. Ils peuvent alors travailler pendant une période allant jusqu’à trois mois si c’est pour plusieurs agents contractuels ou six mois si c’est pour un seul. Pour profiter de ce programme, il faut obtenir une lettre d’échange culturel auprès de la FCM. Contactez Susan Whitfield (swhitfield@afm.org) pour en connaître les modalités.

Pour de plus amples renseignements relativement aux permis de travail et aux EIMT, visitez http://www.edsc.gc.ca/fra/emplois/travailleurs_etrangers/specialisees/films/index.shtml

(NOTE : Les droits à acquitter pour un permis de travail individuel s’élèvent à 155 $ CAN, et à 465 $ CAN pour un groupe de trois personnes ou plus si elles entrent au Canada au même endroit et en même temps.)

—Je vous invite à me faire part de vos questions et de vos préoccupations en m’écrivant à robert@bairdartists.com.

Orchestra News

Dallas Symphony Tour Postponed

Toward the end of December, just two weeks after the Fort Worth Symphony Orchestra postponed its tour of Spain, the Dallas Symphony Orchestra canceled its two-week European tour that was to take place in April. The tour was canceled due to safety concerns following recent tragic events in the US and abroad.

Appearances were planned in the Netherlands, Germany, Austria, Switzerland, England, and Scotland. The orchestra will instead perform concerts in Dallas during the same two-week tour period.

Officer Columns

Exposure, Promotion, and Protection

Dave-Pomeroyby Dave Pomeroy, AFM International Executive Board Member and President of Local 257 (Nashville, TN)

The empty promise of “exposure” is often used to convince musicians and artists to give away what they spent a lifetime creating. As I have said many times, exposure is still not accepted as payment at the grocery store! “Promotional” is another commonly used term that seems to mean whatever the person using it wants to mean. Too often, the real meaning is “we’re going to make money off this, but you won’t.”

How is your time worth less because someone else profits from it? This is a question that needs to be asked, but sometimes the fear of losing a gig makes it difficult to stand up for yourself.

So how can you make headway and survive in a world that is trying to diminish the value of what you do? That’s where the AFM comes in. You can go it alone and take your chances, or you can let us help you. That’s what this organization has been doing for more than a century.

Without the collective bargaining agreements we have negotiated with the record, film, TV, radio, jingle, and theater industries, there would be no standards of pay and working conditions. The “can I get that for free?” attitude is not the first challenge we have faced. Music has value in our culture and society that goes beyond mere dollars and cents, and the AFM continues to fight to protect your rights in ways you may not even be aware of.

Did you know that, when you are on tour and your performance is recorded, whether audio, video, or both, you are entitled to an additional payment over and above what you are being paid to play the concert? Many touring musicians do not know that this additional payment is appropriate, and don’t think to ask for it.

We also have an Internet streaming agreement that covers “live in the studio” promotional appearances that pay over and above what you are making from the artist. Record labels will pay this rate, but only if they are asked to do so. If you are proactive, we can help you get what you deserve. So, don’t be afraid to speak up and let us know what’s going on so we can advocate on your behalf.

If you played on a record that was used in another medium, such as film, TV, or a jingle, you deserve to be paid again. We recently got Geico to pay the musicians who worked on a Roy Orbison song recorded more than 50 years ago for its use in a new TV commercial. The players involved, and in some cases, their beneficiaries were very happy about this, but it only happened because it was originally recorded under an AFM contract and we were able to go to bat for those players.

Our legislative efforts in Washington, DC, do make a difference, whether it is fighting for your right to carry an instrument onto an airplane or urging the passage of the Fair Play Fair Pay Act to establish performance rights for AM/FM airplay. But, if you get involved, it takes it to a whole new level.

We will always be stronger when we are united in our purpose of promoting respect for musicians. You are not alone, and we are here to help you. Let’s work together to make a better life for musicians and a better world to live in while we’re at it!