Officers Columns

Here are the latest posts from our officers

Ray Hair – AFM International President

No Intermission for Union Work

For many, August is synonymous with winding down, stepping away from the daily grind, and taking a well-deserved summer vacation. Many symphonic workplaces enjoy a brief summer hiatus. But for union leadership and player conference delegates and members, summer tells a very different story. While the rest of the world slows its pace, our player conferences jump into high gear.

Your AFM leadership attends all of these conferences, so my summer is defined by full schedules, packed agendas, and a lot of travel.

At the conferences, AFM leadership, musicians, and conference officers address the unique working conditions, challenges, and contractual needs of specific segments of our membership. The year’s season began in Dallas, Texas, in late July with the Theatre Musicians Association (TMA) Conference followed by the Regional Orchestra Players Association (ROPA) Conference.

During August, the Organization of Canadian Symphony and Opera Musicians (OCSM) meets in Winnipeg, Manitoba, with a focus on the distinct legal, cultural, and economic landscapes facing Canadian symphonic performers. Finally, the International Conference of Symphony and Opera Musicians (ICSOM) gathers in Honolulu, Hawaii, August 19-22.

While racking up travel miles across these destinations might sound like a getaway on paper, make no mistake—these are not vacations. These conferences represent intense, focused work. By bringing members together from different locals, our player conferences strengthen the backbone of the AFM. They bridge geographical gaps, foster deep solidarity, and allow us to share vital information on contract standards, working conditions, and organizing strategies. The collective voice and vision emerging from these meetings guide the priorities and direction of our entire Federation.

Because these summer meetings require absolute commitment, they sometimes demand difficult trade-offs. Due to a scheduling conflict with the TMA conference, I was regrettably unable to attend the upcoming meeting of the Labor Advisory Committee for Trade Negotiations and Trade Policy for the Office of the US Trade Representative. First appointed to the Committee in 2023, I represent entertainment workers alongside the Department of Professional Employees and Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA). While representing our musicians on national policy panels is essential, navigating these overlapping commitments requires striking the right balance for each situation as it arises.

The power of our player conferences reflects a broader synergy: our union is strongest when we’re connected and we work together. To that end, I have also focused efforts on strengthening our alliances with other unions, both nationally and internationally. In today’s interconnected world, the music industry completely transcends borders.

It is not just about showing solidarity—there is also much we can learn from shared experiences and seeing how other labor organizations are growing and changing to meet modern challenges. Musicians tour globally, collaborate internationally, and can instantly reach fans around the world. Because of this, the AFM must also grow, adapt, and innovate with the times if we are to remain strong and relevant.

In addition to our conference travel, August brings us back to the bargaining table to continue negotiations for the Sound Recording Labor Agreement (SRLA) in New York on August 4-6. Protecting our recording musicians, securing critical healthcare coverage, and establishing strong artificial intelligence protections in an evolving industry are essential to our future. Look for a much deeper dive into those negotiations and the work of the Electronic Media Services Division (EMSD) in the September issue of International Musician.

I encourage you to read the feature articles from our Symphonic Services Division (SSD) and symphonic player conference reports in this issue, starting on page 10. This issue’s cover story puts a spotlight on the musicians of the Dayton Philharmonic Orchestra (Local 101-473), who are pushing back against severe proposed cuts to pay, personnel, and programming. See how the DPO Players Committee is building a courageous campaign alongside the AFM, local labor allies, and dedicated patrons.

Looking ahead, now is also the time to start planning your local Labor Day events, parades, and celebrations as we prepare to honor the power and history of our labor movement together. I look forward to browsing social media and seeing our locals represented at events.

To all who are traveling to represent your locals and conferences this month, I wish you safe travels. I look forward to connecting with many of you on the road and hope you all find well-deserved time to relax with family and friends this summer.

Jay Blumenthal – AFM International Secretary-Treasurer

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Good-bye to Past Colleagues and Welcome to New Ones

The 103rd Convention has spoken and set the Federation stage for the next three years. I’m looking forward to working with the 2026 iteration of the International Executive Board.

As of August 1, Karen Suarez Flint, secretary-treasurer of Local 10-208 (Chicago, IL), will be joining as the Federation’s next international vice president, replacing Dave Pomeroy, president of Local 257 (Nashville, TN). Pomeroy held the position since 2023, following his service as an Executive Committee member for the preceding 13 years.

Vice President Suarez Flint follows a succession of women in leadership roles at the international level: Tammy Kirk, from Local 94 (Tulsa, OK) in 1999, was the first woman ever elected to the IEB. Florence Nelson, former treasurer of Local 802 (New York City) and AFM Symphonic Services director, was elected AFM secretary-treasurer in 2001, becoming the first woman elected to a full-time leadership position in the AFM. Tina Morrison, from Local 105 (Spokane, WA), was elected to the IEB in 2010 and served for 16 years. Local 149 (Toronto, ON) Executive Director Dusty Kelly was first elected to the IEB in 2023 and was re-elected at this past convention.

In addition to President Tino Gagliardi, Vice President from Canada Allistair Elliott, Executive Committee member Kelly and myself, Vice President Suarez Flint will be joined by the new incoming board members Marta Bradley, currently secretary-treasurer of Local 40-543 (Baltimore, MD) and past secretary-treasurer of Local 161-710 (Washington, DC); Kale Cumings, president of Local 6 (San Francisco, CA); Leonard DiCosimo, president of Local 4 (Cleveland, OH); and Edmund Velasco, president of Local 7 (Orange County/Long Beach, CA). Most of these talented individuals I have known for a number of years, and together with those who I have known for a shorter time, I look forward to an energetic and collaborative three years ahead.

Fresh faces are always good for an organization, but I would be remiss for failing to acknowledge those officers who will not be returning to the IEB table. Outgoing International Vice President Pomeroy was an unrestrainable bundle of energy on the IEB, available for any assignment for which his talents were requested, and was the most energetically consistent in reminding each board member of our roots—those of gigging musicians.

Morrison, as the executive secretary of the Spokane Regional Labor Council (in addition to her service as an officer of Local 105), brought a unique perspective to IEB deliberations, drawing on her extensive work with the other trade unions and the AFL-CIO. IEB member Ed Malaga, from Washington, DC, lent a philosophical passion to every debate on the board, elevating him—in my view, anyway—to the level of “the conscience of the IEB.”

John Acosta, who chose not to run for re-election, drew on his experience as an officer of Local 47 (Los Angeles, CA) to ensure that every action of the IEB was firmly based on the facts of a matter and not on the political winds. Finally, Luc Fortin, former president of Local 406 (Montreal, PQ), contributed a valuable and unique perspective to the IEB as the first voice on the IEB from the AFM’s sole French-speaking local in Quebec, with Quebec’s labor laws and industry, which are unique and distinct from the rest of the US and Canada. I will miss all their voices and contributions.

The incoming IEB will have some serious choices to make. The previous board had devoted the better part of two years considering the future of our union, devising a roadmap to execute an organizing plan to move the AFM and its locals squarely into the 21st century and more effectively cover the vast gig-worker sector of the industry, and had requested funding from the convention to put that plan into full effect.

The convention delegates approved a portion of the requested funding, to be metered out over a three-year period, while attaching some additional expense obligations that were over and above those proposed by the IEB. In the first year, the revised new funding is projected to produce approximately $230,000. The delegates, however, also mandated new expenditure initiatives that will potentially reach a total of approximately $375,000 in the first year.

That deficit calculation will necessarily require the new IEB to consider how best to utilize the unobligated finite reserve funds if the plan for building power and growth is to go forward.

Alan Willaert – AFM Vice President from Canada

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Foreign Symphony Workers Face Uncertainty

With the 103rd AFM Convention in the rearview mirror, I want to thank those delegates who reached out to express how much they enjoyed having the convention in Canada and gave positive comments about experiencing Canada’s capital city, Ottawa, as a host. Also, thanks to all the Federation staff and officers, as well as Local 180 (Ottawa, ON), who were involved in the details and planning to make the convention in Ottawa a reality.

Our convention, and many of our guest speakers, referenced how important international solidarity is, particularly at this moment in history. The theme of “Two Countries, One Union” was exemplified by the unified discussion and support for the challenges that musicians face crossing borders. Given that this edition of the International Musician is dedicated to highlighting the Symphonic Services Division, it is timely to share some changes that are affecting members of Canadian locals working in symphony orchestras across the country.

Collective bargaining agreements (CBAs) covering members working in symphony orchestras are local agreements. Back in the spring, an issue was brought to my attention that affects some of our members. The audition process for hiring musicians in symphony orchestras in Canada varies from CBA to CBA. However, once hired, if a musician is coming from another country, there is a path from temporary foreign worker to permanent resident.

In the context of current politics, the government of Canada has recently reviewed that process, and has paused the program. This leaves some symphony musicians, who have won an audition, moved to a Canadian city, taken a job with a Canadian orchestra, gained tenure, and contributed all there is to contribute into their community, stuck in a government black hole.

The reality is, while they relocated to Canada under an understood set of circumstances, the goalposts have moved. While the government analyses the big picture immigration situation, we have members working and contributing who are now facing challenges they did not expect because of a number of changes. For example, their partner did not receive a spousal work permit, the timeline and rules to become a permanent resident has stalled, and they no longer know how long, or if they can, stay in Canada and become a resident. These members are now stuck in a political gap, without answers they need to make career decisions.

I understand there is another part of this conversation about future hiring, but this is about protecting our current members, their jobs, and the fundamental issue of union solidarity. While we wait to find out how Canadian-United States-Mexico Agreement (CUSMA) discussions progress concerning crossing the border to work in the US, I met with Immigration, Refugee and Citizenship Canada (IRCC) to investigate the situation. While the program from temporary foreign worker to permanent residency was paused for evaluation, that evaluation is complete, and a report is expected to be released soon. From the IRCC meeting, I learned that while Canada is committed to modernizing the express entry program and is still committed to attracting top talent and a Build Canada Strategy, they recognise there is a gap in the system. They are looking for a pinpoint strategy. As we approach the 50th conference of the Organization of Canadian Symphonic Musicians (OCSM) Conference in Winnipeg later this month, I will share any further updates on the subject.

It’s critical that, as union members, we support one another in solidarity that spans borders, musical genres, and other labor organizations. Let’s all recognize and acknowledge the importance of standing together in solidarity, between provincial differences, across Canada and the US, within our Canadian Labour Congress, the AFL-CIO, the International Federation of Musicians (FIM), our regional conferences, our player conferences, and with other unions. Union strong, together!

Les musiciens symphoniques étrangers devant l’incertitude

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

Le 103e Congrès de l’AFM est derrière nous, et j’aimerais remercier les délégués qui m’ont communiqué à quel point ils ont aimé participer à un congrès en sol canadien et qui n’avaient que des bons mots à dire sur Ottawa, notre ville hôte. Je tiens également à remercier le personnel et les dirigeants de la Fédération, ainsi que la section locale 180 (Ottawa, Ont.), qui ont participé à la planification et contribué à faire du congrès d’Ottawa une réalité.

Le congrès et beaucoup des conférenciers invités ont fait ressortir l’importance de la solidarité entre nations, surtout en ce moment. Les discussions consensuelles et le soutien exprimé aux musiciens qui se heur-tent à des difficultés à la frontière ont bien illustré le thème du congrès, « Deux pays, un syndicat ». Comme le présent numéro d’International Musician est consacré à la Division des services symphoniques, il est à propos d’aborder certains changements touchant les membres des sections locales canadiennes qui œuvrent dans des orchestres symphoniques partout au pays.

Les conventions collectives qui couvrent les musiciens symphoniques ont une portée locale. Au printemps dernier, une situation qui touche certains de nos membres m’a été signalée. Le processus d’audition qui mène à la sélection des musiciens varie d’une convention collective à l’autre; toutefois, si un musicien dont la candidature est retenue provient d’un autre pays, il doit suivre la voie d’accès qui lui permet de passer du statut de travailleur temporaire à celui de résident permanent.

Dans le contexte politique actuel, le gouvernement du Canada a revu le parcours menant à la résidence permanente et mis le programme sur pause. Ainsi, certains musiciens qui ont remporté une audition, déménagé au Canada, accepté un emploi au sein d’un orchestre symphonique, décroché un poste permanent et apporté leur contribution à la société sont aujourd’hui pris dans un cul-de-sac gouvernemental.

De fait, pour les musiciens qui sont venus s’établir au Canada parce qu’un emploi les y attendait, les critères ont changé. Alors que le gouvernement analyse la situation de l’immigration au pays, des membres qui travaillent et contribuent à la société se heurtent à des difficultés qu’ils n’avaient pas prévues en raison d’un certain nombre de changements. Par exemple, leur partenaire n’a pas pu obtenir de permis de travail pour membre de la famille, les délais et les règles d’obtention de la résidence permanente ont été modifiés, et ils ne savent pas pendant combien de temps ils pourront rester au Canada et s’ils obtiendront la résidence permanente. Ces membres sont victimes du contexte politique, incapables d’obtenir les réponses qui leur permettraient de prendre des décisions professionnelles éclairées.

Je comprends également les enjeux liés à l’embauche future, mais il est question ici de la protection des droits de nos membres actuels et de leurs emplois, et de l’enjeu fondamental de la solidarité syndicale. Alors que nous attendons les résultats des discussions entourant les déplacements professionnels aux États-Unis dans le cadre de la renégociation de l’Accord Canada–États-Unis–Mexique (ACEUM), j’ai rencontré des représentants d’Immigration, Réfugiés et Citoyenneté Canada (IRCC) pour tenter d’en savoir plus. La voie d’accès de la résidence temporaire à la résidence permanente a été mise sur pause aux fins d’évaluation, mais cette évaluation est terminée et un rapport sera publié sous peu. La rencontre avec IRCC m’a permis d’apprendre que le gouvernement cherche à moderniser le système Entrée express. Il demeure également déterminé à attirer des travailleurs qualifiés et à réaliser la stratégie Bâtir le Canada. Il reconnaît les lacunes du système et souhaite mettre de l’avant une stratégie ciblée pour y remédier. À l’approche de la 50e Conférence de l’Organisation des musiciens d’orchestre symphonique du Canada (OMOSC), qui se tiendra à Winnipeg ce mois-ci, je vous ferai part des développements dans ce dossier.

En qualité de syndiqués, nous devons absolument nous serrer les coudes et faire preuve de solidarité au-delà des frontières, des genres musicaux et des secteurs d’activité. Nous devons tous reconnaître et exprimer l’importance de demeurer solidaires malgré les différences provinciales ou le pays d’origine, avec le Congrès du travail du Canada, l’AFL-CIO, l’International Federation of Musicians, nos conférences régionales, nos conférences de musiciens et les autres syndicats. L’union fait la force!

The Union Is ‘Us’: Thinking Beyond Transactional Logic

Your union dues represent much more than a simple “transaction.” Many elected local union leaders hear this question from time to time: “What services do I get in exchange for what I send you each year?” This wording, with the use of “you” or “them,” unfortunately also suggests that the union is perceived as a separate entity, a mere annual subscription to a service, with no other connection.

Even though the AFM offers excellent services, our union’s role goes far beyond that. Being a member of an AFM local means taking part in advancing a common cause: improving musicians’ socioeconomic conditions, defending their rights, and promoting the profession of musician. The AFM and its locals truly embody the collective “we.”

Major unions like the AFM have played, and continue to play, a crucial role in improving living conditions for society. Over time, thanks to the solidarity of their members, unions have achieved major advances such as the right for all to unionize and bargain collectively, occupational health and safety standards, better wages, and a social safety net.

There are still major battles to be fought at the start of the 21st century: digital multinationals use our work without compensating us fairly (streaming platforms) and often without our permission (generative artificial intelligence). Working conditions for freelance musicians have deteriorated over time. Employers offer ridiculous pay in exchange for “visibility” or “opportunities.”

How can we bring about change if we don’t get involved collectively in some way? Membership dues are only the starting point of this commitment. It is increasingly necessary to work together to shift perceptions and move from a transactional mindset (“I pay, so I want a service”) to a mindset of solidarity (“I am part of a collective that acts for our cause”). This shift in mindset can, and must, happen.

As a member, have you wondered how to make a difference? You can contribute to advancing our causes through small but meaningful actions that will strengthen the collective and foster a sense of belonging. Don’t hesitate to discuss this with the elected representatives of your local; they are there to listen to you, and just like you, they want to improve things for our wonderful profession as musicians.

It’s a very good idea to attend meetings and meet with elected officials, but it’s also inspiring to meet other members and exchange ideas about our profession and working conditions, and to strengthen our sense of solidarity and belonging to our union. The more you support your union and participate in union life, the better it can do to advance our causes.

Le syndicat, c’est « nous » : au delà de la logique transactionnelle

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

Vos cotisations syndicales représentent bien plus qu’une simple « transaction ». De nombreux dirigeants locaux élus de notre syndicat entendent cette question de temps à autre : « Quels services est-ce que j’obtiens en échange de ce que je vous verse chaque année? » Ce choix de mots, avec le « vous », ou le « eux », laisse malheureusement entendre que le syndicat est perçu comme une entité distincte, à laquelle on paie un simple abonnement annuel pour un « service », sans autre lien.

Pourtant, bien que l’AFM offre d’excellents services, le rôle de notre syndicat va bien au delà. Être membre d’une section locale de l’AFM, c’est participer à la promotion d’une cause commune : améliorer les conditions socio-économiques des musiciens, défendre leurs droits et promouvoir la profession de musicien. L’AFM et ses sections locales incarnent véritablement le « nous » collectif.

Les grands syndicats comme l’AFM ont joué, et continuent de jouer, un rôle crucial dans l’amélioration des conditions de vie de la société dans son ensemble. Au fil du temps, grâce à la solidarité de leurs membres, ils ont obtenu des avancées majeures telles que le droit pour tous de se syndiquer et de négocier collectivement, des normes de santé et de sécurité au travail, de meilleurs salaires et un filet de sécurité sociale.

Il reste encore des combats majeurs à mener en ce début de XXIe siècle : les multinationales du numérique exploitent notre travail sans nous rémunérer équitablement (plateformes de diffusion continue) et souvent sans notre permission (IA générative). Les conditions de travail des musiciens pigistes se sont détériorées au fil du temps, et les employeurs proposent des rémunérations dérisoires en échange de « visibilité » ou d’« opportunités ».

Comment pouvons-nous faire bouger les choses si nous ne nous mobilisons pas collectivement d’une manière ou d’une autre ? La cotisation n’est que le point de départ de cet engagement. Il est de plus en plus nécessaire de travailler ensemble pour faire évoluer les mentalités et passer d’une logique transactionnelle (« Je paie, donc j’attends un service ») à une logique de solidarité (« Je fais partie d’un collectif qui agit pour notre cause »). Ce changement de mentalité peut, et doit se produire.

Comme membre, vous êtes-vous déjà demandé comment faire une différence? Vous pouvez contribuer à faire avancer nos causes par des actions modestes, mais significatives, qui renforceront le collectif et favoriseront un sentiment d’appartenance. N’hésitez pas à en discuter avec les représentants élus de votre section locale; ils sont là pour vous écouter, et tout comme vous, ils veulent améliorer les conditions de notre merveilleuse profession de musiciens.

Assister aux réunions et rencontrer les élus c’est une très bonne idée, mais c’est également inspirant de rencontrer d’autres membres et d’échanger des idées sur notre profession et nos conditions de travail, et de renforcer le sentiment de solidarité et d’appartenance à notre syndicat. Plus vous soutiendrez votre syndicat et participerez à la vie syndicale, mieux il pourra faire progresser nos causes.

Protecting the Mission of the Kennedy Center

For the uninitiated visiting our nation’s capital for the first time, the experience can truly be one of sensory overload. The combination of the sheer physical beauty of the city and the immediacy of its historical significance can be overwhelming.

I will certainly never forget my first visit to the John F. Kennedy Center for the Performing Arts after moving to the area. It was dark on that fall evening as we drove from Virginia across the Theodore Roosevelt Bridge and the city came into view. The illuminated Kennedy Center appeared across the Potomac River on the left with the view of the Lincoln Memorial to the right side of the river. The Washington Monument was in the background.

The impact of that moment was only magnified by the anticipation of what I would be experiencing inside the building—home to the National Symphony Orchestra, the Kennedy Center Opera House Orchestra, and until very recently, the Washington National Opera. The Kennedy Center has been a destination for arts organizations around the world since its opening in 1971 and has played a vital role as a cultural leader and nonpartisan arts institution. It has excelled in its mission to “present classical and contemporary music, opera, drama, dance, and other performing arts from the United States and other countries.”

I imagine that this impression has been shared countless times over the course of the Kennedy Center’s illustrious history as a living memorial to the performing arts in honor of a slain president. It is therefore even more troubling to witness the events that have recently transpired and their impact on this institution and all those who work there in fulfillment of its directive. Partisan politics now place the Kennedy Center’s mission, authorized by an act of Congress, in jeopardy for the first time in its existence.

Since the unprecedented takeover of the center, the reaction from both artists and audiences has had a devastating impact. Many artists have chosen to withdraw from their commitments at the center in protest of its management. This has effectively resulted in an exercise in self-censorship, as opposed to the intended goal.

Our national cultural center represents one of the world’s premier platforms for artistic expression. In a time of such historical importance like we are currently experiencing, why would artists choose silence over the opportunity to engage with their audiences and share their message directly?

President Kennedy said, “If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our nation falls short of its highest potential.”

Of no less significance is the impact to all of those working under union contracts at the Kennedy Center. Not only have boycotts proven extremely disruptive to their livelihoods, but the boycotts are increasingly becoming an existential threat. Audiences have also chosen to vote with their feet.

The result has been not to punish the center’s leadership, which remains in place, but rather to jeopardize the lives of the very people who have dedicated their careers to bringing these arts to life in fulfillment of the Kennedy Center’s mission. By way of analogy, this could be compared to a sports team whose home stadium naming rights were bought by an unscrupulous corporation. Would the team’s fan base withdraw their support of their team as a form of protest by not attending games?

That brings us to the current situation and the announcement, with six months’ notice, that the Kennedy Center will be closing for a period of two years for “renovations.” Several lawsuits have been filed in objection and are being monitored closely.

However, the potential success of this litigation won’t do anything to change the dynamic which currently exists. Only artists and audiences can do that. As President Kennedy’s words on the marble facade of the center remind us, “I am certain that after the dust of centuries has passed over our cities, we, too, will be remembered not for victories or defeats in battle or in politics, but for our contribution to the human spirit.”

I look forward to a time when we will once again gather to celebrate the arts at this amazing venue, when artists and audiences will once again feel welcome at our national cultural center to experience the transformative power of the performing arts, and when this living memorial is restored to its designated purpose.

Nothing Is Inevitable

Tension between musicians and technology has been going on since the beginning of time. Which came first, the modulating voice or the stick against a rock? Could the stick against the rock have been considered technology? What about instruments created through the centuries that emulate the sound of a voice but with different ranges, timbres, or increased technical capacity? Music making flexes, changes, and adapts to the tools available. It seems we’re living at a time in which everything is advancing at a faster and faster pace.

Keep in mind, we don’t make music for ourselves; it’s to resonate with others. There’s nothing like being in a group, band, or orchestra and really melding with the other musicians. The groove is there. Everyone is in tune with each other and playing together or off one another. The commingling of ideas, matching phrases, and conversing in sound is a truly unique form of communication that resonates with the music makers and the audience.

Different styles are created as the world becomes smaller and musicians are exposed to different instruments and rhythms. Musicians are inspired by each other, and it doesn’t matter who you are, what you look like, or where you came from. You don’t have to be able to speak to each other. Someone starts a tune and others join in and music is made.

Tensions seem to be everywhere, from advancing technology to a ridiculous and horrifying push toward isolationism. The macro is enforcing borders and building walls and the micro is creating a “new norm” for everyone to stay in their homes and stare at a screen. The movement from an interactive society to a hive of drones has been in the works for quite some time. The antiseptic, sterile, dystopian future is not inevitable, if we don’t allow it.

On the artistic side, we can make music that taps emotions and makes memories. Music brings people together to listen, dance, incite joy, feel sadness and love, and inspire action. We can fill auditoriums, theaters, and arenas with people smiling at each other with the excitement of a shared lived experience.

We have another side, which is our union. Together we can push back against the tech bros to ensure that music creators are compensated fairly. We can stand up for humanity by ensuring our legislative bodies are regulating media companies and corporations so that our intellectual properties are protected and creators are valued. We can enlist our communities to help make the concert experience available to all, not just the privileged. We need to call in our music making friends and family to join us in these efforts. Power is built one voice at a time, the root, the third, the fifth, and onward until the cacophony is overwhelming.

And on that note … hang in there and happy spring!

You Are Not Alone!

Since the last AFM Convention in 2023, the leadership team of the AFM has been working diligently to bring our union up to a new level of solidarity, efficiency, and accessibility. Times have changed, and so have we. Our organizing and engagement efforts are increasing exponentially, and despite the difficult political climate, we have been able to make some progress with legislation in Washington, DC, working with both sides of the aisle.

We have been working to recruit new members and increase our footprint in as many ways as possible. The more our members are engaged and willing to unite and stand up for themselves, the brighter their future will be. We have more power than we allow ourselves to realize sometimes, and we should never take that for granted.

As the music industry evolves, there are always new challenges, many of which come from technology-based initiatives. As an AFM member, you can protect yourself by documenting your work under one of our many contracts. This creates an intellectual property trail that greatly increases your ability to get what you deserve from all of the potential revenue streams out there. We are all in this together, and the bottom line is that you are not alone. We stand ready to help protect you and your work. It’s the right thing to do.

In our two recent negotiations with the film and TV industries, we got significant protections against the misuse of artificial intelligence (AI). AI is obviously a hot topic, and one that the AFM is very tuned into. We are in the beginning of Sound Recording Labor Agreement (SRLA) negotiations with the major record labels, and once again, the consequences of AI and generative AI for musicians are at the top of our list. Fake artists, fake music from real artists, and fake songwriting demos are popping up everywhere. Personally speaking, I believe that over time, the proliferation of AI generated music is going to make authenticity that much more valuable as listeners get bored with so-called “perfection.”

Here at Local 257 (Nashville, TN), we’re fortunate to be part of a community of creators and employers who have a tradition of respecting each other. Of course, there are a few unfortunate exceptions, but we been very active in engaging the publishers, labels, independent artists, and freelance musicians in our community to understand the value of an AFM contract.

The fact is, recording under an AFM contract benefits the employer in a number of ways, including creating a work for hire scenario that eliminates the need for a separate work for hire document from the employer. In addition, the AFM contract ensures that if a song is used for film, television, commercials or any other new use, whether now or decades from now, the third party employer, not the artist or label, pays the musicians. Without an AFM contract, what musicians make that day is all they will ever make for the future use of their work.

Despite all the challenges, technology has presented musicians with the undeniable power of artistic creativity, whether in live performance or in the studio. It remains a huge part of our modern day culture. Music brings people together in ways that cross multiple cultural boundaries and defy expectations. Two people who can not have a civil conversation about politics or religion can find common ground standing next to each other in a music venue, listening to a performer they both enjoy.

The music business doesn’t have to be a win-lose situation. It can be a win-win if everyone treats others as they would want to be treated. In these complicated times, that simple fact rings true now more than ever. One powerful song can make a big difference in people’s lives, and if you were a part of that recording, you deserve a fair share for what you contributed. When we work together with honesty and solidarity, and continue to stand up for each other and for our union, it makes a huge difference.

Our collective energy is a power not to be taken lightly—in an increasingly divided world, music is one of those few gifts that can help break down barriers in a positive way. You are not alone—we have the power when we work together for the greater good of all of us.