Now is the right time to become an American Federation of Musicians member. From ragtime to rap, from the early phonograph to today's digital recordings, the AFM has been there for its members. And now there are more benefits available to AFM members than ever before, including a multi-million dollar pension fund, excellent contract protection, instrument and travelers insurance, work referral programs and access to licensed booking agents to keep you working.
As an AFM member, you are part of a membership of more than 80,000 musicians. Experience has proven that collective activity on behalf of individuals with similar interests is the most effective way to achieve a goal. The AFM can negotiate agreements and administer contracts, procure valuable benefits and achieve legislative goals. A single musician has no such power.
The AFM has a proud history of managing change rather than being victimized by it. We find strength in adversity, and when the going gets tough, we get creative - all on your behalf.
Like the industry, the AFM is also changing and evolving, and its policies and programs will move in new directions dictated by its members. As a member, you will determine these directions through your interest and involvement. Your membership card will be your key to participation in governing your union, keeping it responsive to your needs and enabling it to serve you better. To become a member now, visit www.afm.org/join.
July 10, 2015IM -
by Kim Wysocki, Administrative Assistant AFM Electronic Media Services Division
Information is power. I am the Electronic Media Services Division (EMSD) person who monitors the development of the CD jacket program and the filing of AFM B-4 report forms. I am happy to report that we are receiving more CD jackets from signatory companies in a timely fashion. When I first began ordering and processing CDs from the numerous record labels, I did it mostly in-between “other things.” Since then, it has grown with a life of its own.
EMSD works closely with major record companies, covered record labels, and independent labels who are signed to the Sound Recording Labor Agreement (SRLA) and its counterpart the SRLA Single Project Short Form (SRLA-SPSF). We began to request a “label copy” for each CD released by the label to provide us with as much information as possible about each recording.
The label copy often provides invaluable information: names of all participating musicians, their instrumentation, as well as the names of the studios where the recordings took place. This information is not always included on the album jacket and is not readily available elsewhere if the release is strictly digital. We’ve been successful in using an aggressive approach: formulating lists of releases from various sources (trade magazines, websites, etc.), submitting them to the record companies, and then following up when necessary.
Our research begins when we receive the CD jackets. Once our research is complete, we distribute copies of the CD jackets to the AFM local(s) in whose jurisdiction the recording took place. The local(s) then ensure that they have all the B-4 forms; that these forms are properly filed (including hours worked, doubles, overdubs, etc.); and also that there is a signatory in place. This is extremely important for wage and pension purposes. (We coordinate our efforts, share, and utilize information with the Pension Fund.) It also ensures that musicians are properly credited to receive checks from the Sound Recording Special Payments Fund for the next five years, as well as for new use (motion pictures, commercial announcements, etc.).
As a rule, locals should forward copies of B-4 forms to our office for any type of recording (sound recordings, limited pressings, commercial announcements, motion pictures, TV film, videotape/live television, etc.). They are kept for research purposes. I maintain a log of the B-4 forms I receive from locals and make sure that we send any and all copies of forms to my colleagues in the New Use Department, so they can prepare and submit new use billings on behalf of the musicians. For the B-4 report forms of symphonic recordings, I forward copies to the Symphonic Services Division.
If you have questions relating to the B form reporting program, please contact me at: (917) 229-0272 or by e-mail: email@example.com.