President’s Message

If we have learned anything over the past few years it is the importance of building solidarity and alliances both nationally and internationally. In today’s interconnected world, the music industry transcends borders. Musicians tour globally, collaborate internationally, and can easily reach fans around the world.

We look to organizations like the International Federation of Musicians (FIM) to build global solidarity. FIM, founded in 1948, has 70 members spread throughout 60 countries. By forming alliances with international union counterparts, musicians can create a stronger voice to address issues that impact their livelihood.

The AFM has long been involved with this voice for musicians worldwide. I personally have been an AFM delegate to FIM going back to 2011. It is always an honor to represent the AFM on the world stage.

A significant majority of music that is consumed globally is the product of American musicians and it is important that we make sure our voices are heard and that we are compensated fairly for our work. I will be attending the FIM Congress in Bucharest in May and will report back when I return. In October, FIM will also be hosting the International Orchestra Conference in Malmö, Sweden. I am proud to report that AFM Symphonic Services Division (SSD) will take a principal role in the conference, led by SSD Director Rochelle Skolnick.

As part of a global economy, it is important to advocate for strong international policies and protections for musicians on topics such as the use of artificial intelligence, fair compensation for streaming, regulations related to travel, workplace protections that effect all musicians, and international royalty collection and copyright protections. As a nongovernmental organization, the AFM holds influence for the potential of creating fairer compensation, improved working conditions, and a more equitable landscape for musicians around the world.

To that end, once again, the AFM will be participating in a United Nations World Intellectual Property Organization (WIPO) Conference on the Global Digital Content Market in Geneva, Switzerland. The conference will take place in April, and I will be joined by Jennifer Garner, AFM in-house counsel. Garner has been working with the AFM for more than a decade on issues of royalty collection and intellectual property rights. Because of the amount of music our members create and distribute, it is important that we are well represented.

Also on the international front, there will be a Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) webinar on “Travel Rules for Protected Species and Musical Instruments” on May 7 at 3 p.m. (EST). Crossing international borders with musical instruments that contain protected species, such as ivory, rosewood, tortoise shell, and other endangered material requires special permits and advanced planning.

Held in collaboration with the League of American Orchestras, the free one-hour session is open to AFM members. It will provide updates on requirements for musicians traveling abroad with their instruments from US Fish and Wildlife Service (USFWS) experts. USFWS is the agency that implements CITES in the United States. The event will not only review the basics but also provide important insights into ways you can support conservation by being informed of rules specific to musicians and their instruments. Watch for a registration link at a later date.

I am pleased to announce we’ve reached a tentative agreement with the Alliance of Motion Picture and Television Producers Association on the most recent Basic Theatrical Motion Picture and Basic Television Motion Picture contracts. After the initial 10 days of negotiations in January, we returned to the bargaining table February 21 and 22 determined to secure our core demands. And in the early hours of February 23, we did it! We have secured historic breakthroughs in streaming residuals, established critical guardrails against the misuse of AI, gained meaningful wage increases, and secured other important gains. The agreement, unanimously recommended by the bargaining committee, represents a significant victory for musicians working in film and television.

I want to congratulate the negotiating team, the steering committee and all the bargaining unit members who supported our campaign and commend them on their undiminished commitment to fighting for a contract that fairly compensates us for our invaluable contributions to film and TV. The AFM Fair Share for Musicians committee’s dedication and resolve ensured that the needs of AFM members were heard and addressed. It was this resolve, solidarity, and commitment that enabled our union to get the respect, compensation, and protection we all deserve. This was a data driven negotiation, but our bargaining positions were strengthened by our team members’ real life experiences and the intimate knowledge of the work that we do.

I also want to thank our staff and legal counsel for their tireless work and assiduity that enabled us to accomplish our goals. Everyone’s hard work is a testament to the commitment to making the lives of all musicians better and raising the standards for our agreements.

We were not alone in these negotiations and were proud to have the full backing of fellow unions: SAG-AFTRA, IATSE, Teamsters, and the Writers Guild of America. It was yet another powerful reminder that, when we have solidarity in the labor movement, we can achieve great things.

Earlier in January, we reached a tentative agreement with representatives of the Broadway League and Disney Theatrical Productions for new Pamphlet B and Short Engagement Touring (SET) contracts. We are now finalizing the documents and will send them out to the bargaining unit in the coming weeks. Our members who work under these touring contracts will see many improvements, including salary, health care, and pension contributions.

It was the hard work and input of our negotiating team and our staff that provided the strength and representation needed to achieve our goals in these negotiations.

Once language is finalized on both agreements, they will be sent to the respective bargaining unit members for ratification. We are proud to have achieved groundbreaking success in these negotiations and look forward to the ratification of these agreements by the members who work under these contracts.

But in the meantime, let’s celebrate these victories! These successful negotiations are a testament to our talent and dedication to solidarity. Together, we’ve reinforced the value of our contribution and artistry to the entertainment industry.

I’m hopeful that many of our members have followed the ongoing AFM Fair Share for Musicans campaign on social media and the AFMfairshareformusicians.org website over the last few weeks.

In advance of our scheduled negotiations with the Alliance of Motion Picture and Television Producers (AMPTP), AFM members organized a kick-off rally and press conference on January 22 at AMPTP headquarters in Sherman Oaks, California. (See news article.)

We were encouraged by a strong show of union solidarity: musicians alongside members of the Los Angeles County Federation of Labor, SAG-AFTRA, Writers Guild of America West, Teamsters, International Alliance of Theatrical Stage Employees (IATSE), and more.

Last year’s WGA and SAG-AFTRA strikes, and groundbreaking contracts that followed, launched a new era of solidarity and recognition for the artists who drive the film and television industry. Their victories and support help leverage our own fight for a fair musician contract with AMPTP.

The stark reality is that musicians have been left behind, their talent undervalued in this industry. Meanwhile, the economics of the industry have undergone a seismic shift with the rise of streaming. Residuals are no longer a reliable source of income and the wages of musicians have not kept pace with the cost of living, especially in the hubs of our industry.

In addition to residuals from streaming, we need protection from artificial intelligence. We must put safeguards in place so that our music is not treated as a commodity to be replicated. Musicians deserve the respect and dignity of safe working conditions, health care contributions, and living wages. We will continue to insist the AMPTP meets these demands.

From musicians who weave magic into films and television to writers crafting screenplays, technicians lighting the sets, and Teamsters who drive the trucks, each talent contributes to film and television productions. Their individual efforts are amplified when they stand together, forming a united front that benefits the entire ecosystem. This united front transcends individual guilds, allowing actors, writers, musicians, and crew to realize their shared interests for better wages, safer work environments, and fairer residuals.

Several IATSE crew and Teamsters motion picture division contracts are set to expire in 2024, and we will stand with them. The advantage of this type of solidarity goes beyond negotiations. Together, we are a powerful force for good—communicating with members, getting our message out to the public, and tackling wider industry challenges like fairness, equity, and inclusion. Standing together, we can advocate for reforms and regulations that benefit all of our workplaces.

I hope you will take the time to demonstrate your support as well to help build our leverage for our own fair contract. The more voices who join in, the louder and clearer our message will resonate. Visit the AFMFairShairforMusicians.org website and follow @afmfairshareformusicians on social media for updates on negotiations.

As I write this column, orchestras and musical ensembles across the country are wrapping up their holiday concerts and preparing to spend some time with friends and loved ones. I begin 2024 with a spirit of renewed focus for an ever-improving workplace for our members, whether that is in a recording studio, on stage, in a theater pit, or for independent musicians. Negotiating fair contracts for working musicians and ensuring employers follow these contracts is a never-ending process at the Federation. Our talented professional musicians who put their hearts and souls into their work, deserve to enjoy a comfortable quality of life. 

During January, we’ll continue the intense work of preparing for this year’s negotiations. We recently welcomed Gabe Kristal who will serve as AFM director of organizing. He comes with leadership experience in building contract campaigns and will help the AFM grow union density among musicians.  

Preparations for negotiations with the Alliance of Motion Picture and Television Producers (AMPTP) for our agreements that cover scoring, musical preparation services, sidelining, and recording for theatrical motion pictures and films made for television and streaming are well underway. We will also continue negotiations for successor Pamphlet B and Short Engagement Touring (SET) theatrical touring agreements with the Broadway League and Disney Theatrical Productions.  

While these agreements cover very different types of work for AFM musicians, they do have some commonalities. A key component in both negotiations will be ensuring protections against employment erosion due to musician replacement technologies. Theater musicians have long battled reduced orchestrations because of the use of technology, and now our entire community of musicians face the continued technological advancement of generative artificial intelligence (AI) and AI assisted technologies. This poses an additional threat to our art, the quality of performance, and our ability to get compensated when our material is exploited in electronic media. 

The ability of musicians to earn a living wage in the film industry is in jeopardy with the transition to digital consumption. Studios have agreed to pay residuals for actors, writers, directors, and others when films and television shows are made for streaming, but management insists on excluding musicians by denying them standard wage scales for new media projects and refusing to pay them new media residuals. Our purpose in all AFM agreement negotiations is to improve opportunities; provide living wages, safe working conditions, health and pension benefits; as well as protect your work from unauthorized use and ensure you are compensated when it is replayed, re-used, or digitally distributed.  

The Pamphlet B and SET agreement negotiations began in November. Negotiations will resume later this month with the valuable assistance of AFM Touring/Theater/Booking Division Director George Fiddler, staff members Michael Epperhart and Laurence Hofmann, as well as representative rank and file members and officers of locals from the major touring markets. 

The Pamphlet B agreement establishes wages and conditions of employment for musicians working on the road in touring theatrical musical productions, where the shows are booked for a given number of weeks. The SET contract is structured to cover tours where most engagements run for less than a week. In addition to providing fair wages for all services, benefits, and protections from unauthorized recording, Federation touring agreements ensure a fair per diem and lodging is provided. 

Contract negotiations with AMPTP for theatrical and television film work will begin January 22. The Federation’s focus in these media negotiations is improving industry wages, working conditions, residual payments for made-for-streaming content, and AI protections. The negotiations, which were initially expected to begin sooner, were delayed due to AMPTP’s prolonged negotiations with WGA and SAG-AFTRA. As a result, our current contract was extended by six months from its expiration date of November 13, 2023. 

We are encouraged by the results of the WGA and SAG-AFTRA contracts with AMPTP, where streaming residuals and protections against AI were key issues. This moment is unique in the entertainment industry and labor history. While musical performances are central to the success of streaming shows, musicians are currently largely excluded from streaming project residuals.  

We held a hybrid (in-person and Zoom) Road to Negotiations Meeting at Local 47 (Los Angeles, CA), on December 6. It brought together musicians from around the country who work under the AFM’s Basic Theatrical Motion Picture and Basic Television Motion Picture agreements. I thank everyone who came together to discuss our vision and strategize for the upcoming negotiations. 

In particular, musicians just entering the industry are struggling to make a living on scoring stages. Musicians working on made-for-streaming projects earn about 75% less than on traditional platforms. Just like singers and actors, these musicians create performances that are captured in real time but are not compensated for the use of their work in streaming media. They deserve a fair share of the profits of companies like Disney, Paramount, Universal, and Warner Bros. 

The AFM Fair Share for Musicians campaign was created by the musicians who record for motion pictures and television shows in preparation for negotiations of the AFM Basic Theatrical Motion Picture and Basic Television Motion Picture agreements. We are building strength and leverage to ensure a successful outcome.  

I also want to extend to each of you my very best wishes in every way for a happy, healthy, and productive new year! 

Just four months into my AFM presidency, I can say that it has been quite a year. At the beginning of the year, I was honored to be designated a “Labor Power Player” by the news sites amNY and PoliticsNY, perhaps this was foreshadowing as to how busy I was about to become.

As Local 802 (New York City) president, I began 2023 focused on local contract negotiations, including for the musicians of the Distinguished Concerts International New York (DCINY) orchestra, who finally won their first union agreement this October after four long years of negotiations. Separately, the jazz music faculty of the New School began their negotiations for a successor agreement at the start of the year. At the conclusion of those negotiations, they saw substantial wage increases and other enhancements to their contract. Local 802 also achieved a club date scale increase of almost 14% over the last three-year contract, along with other improved travel and scale benefits.

In the spring, we also battled David Byrne’s show Here Lies Love, which was set to open at Broadway Theatre on June 20, without a single live musician. The show was to rely entirely on a recorded soundtrack, undermining the 157-year history of live music on Broadway. We saw Here Lies Love as a direct attack on Broadway audiences, professional musicians of New York City, and the long tradition of live music on Broadway. I called Byrne to task. After a long career as a successful artist, he let his AFM Local 802 membership lapse and was now putting working musicians—his colleagues—out of jobs.

In the end, the public outrage was too much. He agreed to the show employing 12 members of Local 802, nine orchestra musicians plus three actor-musicians playing music onstage. Because seats had been removed to accommodate a dance floor, the venue capacity was small enough to warrant consideration of the smaller orchestra.

In May, I officially announced my intention to run for AFM international president, calling on my more than 40 years of experience in organizing and strong commitment to education. This year’s AFM Convention felt special as all the delegates were at last together in person. I visited with colleagues I had not seen in four long years and met others for the first time. I was truly humbled and honored when delegates from across the country selected me to lead the American Federation of Musicians for the next three years.

Upon return from the convention, things ramped up quickly as the player conferences were just around the corner. As your president-elect, I traveled to Atlanta, Georgia, in late July for the Regional Orchestra Players Association (ROPA) conference. Then, two weeks after I officially took office on August 1, I was off to Montreal, Quebec, for the Organization of Canadian Symphony Musicians (OCSM) conference. Toward the end of August, I traveled to Milwaukee, Wisconsin, for the Theatre Musicians Association (TMA) and International Conference of Symphony and Opera Musicians (ICSOM) conferences.

As this issue goes to press, I am involved in negotiations for a new Pamphlet B theater contract. We are determined to stand up to producers to secure better economic terms and protections against employment erosion due to reduced orchestrations and technology. We are working together with locals, local musicians, and touring musicians to develop a comprehensive plan that also resolves existing workplace tensions between touring and local musicians.

I’ve been busy building coalitions with many of our partner unions, including AFL-CIO Department of Professional Employees (DPE), International Alliance of Theatrical Stage Employees (IATSE), Actors’ Equity Association, Teamsters, and especially the Writers Guild of America (WGA) and Screen Actors Guild and the American Federation of Television and Radio Artists (SAG-AFTRA). We supported them during their strikes and negotiations with the Alliance of Motion Picture and Television Producers (AMPTP), as our own impending negotiations with AMPTP for the Basic Theatrical Motion Picture and Basic Television Motion Picture agreements have been top of mind.

My work with the AFM Fair Share for Musicians campaign had already begun as president of Local 802. Many Local 802 members continue to take an active role in the campaign, as do other musicians and locals all across the Federation. The campaign was created by musicians who record for motion pictures and television shows in preparation for our AMPTP negotiations. Throughout the summer and fall, I have been meeting with the AFM Fair Share for Musicians steering committee in Los Angeles.

The AMPTP has unfairly exploited musicians’ labor and shut musicians out of millions of dollars of streaming profits for over a decade. It’s past time for a fair contract for current and future generations of musicians. Those negotiations begin January 22 in Los Angeles.

As we move into 2024, I wish all members and their families a happy and successful new year.

In Memoriam

Tragically, I lost a dear friend this past year. Local 802 Financial Vice President Tom Olcott left us suddenly in September due to complications from a chronic illness. Not only was Tom my dear friend and colleague, he was also my brother-in-arms. I first met Tom in the bowels of the Radio City Music Hall cranking out sometimes as many as six “Christmas Spectacular” shows in a day. Besides working at the hall, Tom could be found performing at Lincoln Center, and we both could be found in many Broadway pits together.

Tom was a staunch union advocate and was active on the Radio City Orchestra Committee, Broadway Theatre Committee, and a longtime elected member of the Local 802 Trial Board. In 2009, Tom was elected to the Local 802 Executive Board. Shortly after that, he was elected financial vice president, where his talents for negotiation, practical reasoning, and financial oversight really showed through. He served our union with unwavering dedication and acumen. As a delegate to the AFM Convention, he was a vocal contributor on the convention floor and served on the Law Committee. All musicians of the AFM have benefited from Tom’s contribution. I will miss you, brother.

In November, we mourned the loss of Cass Acosta, a former AFM International Representative who received a Lifetime Service Award at the AFM’s 101st Convention in 2019 and retired from the AFM the same year. He previously served as president and secretary of Local 116 (Shreveport, LA), as well as secretary-treasurer of the AFM’s Southern Conference of Locals.

When I was elected to the AFM International Executive Board in 2010, I came to appreciate Cass’ work and unwavering ability to build strong relationships with locals and their leaders in the Southern Territory. His wisdom, experience, and knowledge have benefited our union greatly, and his witty remarks and matter-of-fact reasoning will be dearly missed. Cass’ legacy of service to the Federation, its locals, and our members will be remembered for years to come. Cass, we love you and you will never be forgotten.