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 7, 2017IM -
When New York-based writer and activist Rebecca Lentjes published her January article “Top 10 Living Women Composers,” she expected to hear from disgruntled women who felt they deserved to be on the list. But, she explains in a blog, every single negative comment was from a man. “These men like to claim that they aren’t sexist—that sexism, in fact, does not exist, but that women are inherently ‘inferior’ composers,” says Lentjes. “The idea that sexism isn’t real is perpetuated by men who don’t want women to have the things they have; the idea that women are incapable of writing music is sexism.”
A music critic since graduating from college in 2012, Lentjes grew weary of attending concerts featuring exclusively white men. “About a year ago I made the decision only to review concerts with at least one woman (or trans or nonbinary) composer on the program. To pave the way for a female language, female voices, and female space, we must continue straining to hear each other through the noise of misogyny—and, more importantly, amplifying what we hear,” she says.