President’s Message

As fall sets in, it brings the season of heavy negotiations. Currently, we are in the process of bargaining a new theater contract, also known as Pamphlet B. In order to stand up to the producers and secure better economic terms and protections against employment erosion, we need to remain united across the board. This includes fighting against reduced orchestrations, the use of electronic devices, nonunion tours, and loss of payments when content is made for streaming.

As Pamphlet B negotiations begin, I am committed to developing a comprehensive action plan involving the Federation, our locals, local musicians, and touring musicians to confront and resolve the “wedge” issues that were embedded in Pamphlet B during the early 1990s and that continue to cause workplace tensions today. Foremost among those issues is a system of regulating the number of local musicians employed to augment a given production that is based on the length of a local engagement.

I recently met with the Fair Share for Musicians steering committee in Los Angeles, along with AFM International Vice President Dave Pomeroy and Secretary-Treasurer Ken Shirk. AFM negotiations with the Alliance of Motion Picture and Television Producers (AMPTP) are on the horizon. I am encouraged by our members who have come together to help lead the fight for better pay and working conditions, residual payments when content is made for streaming, and more diversity and inclusion.

As major film and television studios have shifted their content to their own streaming platforms, the AMPTP must come to the table and offer a fair deal for the creative professionals who work for them. Musicians have traditionally received a small portion of secondary-market revenue from the films and television shows they work on, along with actors, writers, and directors. But, in producing content for streaming, the major studios are excluding musicians from their fair share, effectively reducing musicians’ overall pay.

The existing AMPTP agreement covers sidelining, scoring, and music preparation services for theatrical motion pictures and films made for television, whether distributed traditionally or digitally. We will continue to address these concerns. In recent years, the rise of streaming as a preferred model of digital distribution and consumption has radically transformed the media marketplace. Worldwide, audiences have accelerated toward both advertiser-supported and subscription-based consumption models that benefit digital service providers, producers, and other stakeholders. The studios have refused to bargain progressive terms for musicians in streaming media to augment the existing residual provisions in traditional media.

The AFM is closely monitoring the growing conversation around artificial intelligence (AI). As representatives of creative musicians whose work is most affected by changes, we are actively participating in conferences, panel discussions, and testimonies to better understand the impact of generative AI on musicians. Recently, AFM Electronic Media Services Division Director John Painting represented musicians at a roundtable discussion hosted by the Federal Trade Commission (see article on page 9), and Local 47 (Los Angeles, CA) Vice President Marc Sazer participated in “The Rules for AI” panel discussion, hosted by Digital Music News on October 25.

We are committed to fighting for the rights and well-being of our members and improving industry wages, working conditions, and residual payments when content is made for streaming. We are continuously strengthening our alliances with the leadership of WGA, SAG-AFTRA, Teamsters, and IATSE. It is essential to remember that there are few obstacles that can withstand the power of our music or the collective force of tens of thousands of musicians calling for fair and just employment conditions.

Black Orchestral Network (BON) Summit

Black Orchestral Network (BON) hosted the first BON Summit, October 21, in New York City. BON started with a mission to increase connections to one another, harness creativity, and develop initiatives that benefit Black musicians. The summit’s theme reflected community and solutions. Throughout the day, sessions provided opportunities for panelists and attendees to participate in the conversation.

AFM Director of Symphonic Services, Assistant to the President, and Special Counsel Rochelle Skolnick participated on a well-attended panel about contracting for diversity and fostering inclusion in CBAs, along with Local 802 (New York City) Financial Vice President Karen Fisher and Violist, Arts Administrator, and Educator Jennifer Arnold of Local 99 (Portland, OR).

As we prepared to go to press with this issue we learned the shocking news that the board of directors of the Kitchener-Waterloo Symphony (KWS) had decided to suspend operations and that the orchestra would not begin its 2023-2024 season as planned. This decision was announced to musicians and the press almost simultaneously. It was mere days before the musicians were due to report for their first services of the season. Days later, the institution filed for bankruptcy protection.

Going dark and putting musicians out of work was a particularly surprising course of action for an organization that had inked a modestly progressive new collective agreement with Local 226 (Kitchener, ON) just weeks earlier. Now, it appears the musicians may never work under that agreement and the future of symphonic music in Kitchener-Waterloo has been rendered uncertain.

KWS leadership says it would have needed at least an additional $2 million to proceed with the season. But prior to its eleventh-hour announcement, there was no indication from the KWS board and management that the season was in jeopardy and no attempt to launch the kind of aggressive “save our symphony” fundraising campaign that might have averted this crisis. How is it possible that an organization can be negotiating a progressive agreement one minute and suddenly be in such dire straits the next, without the musicians or the community having any inkling until the shutdown? The answer is a deeply troubling lack of transparency.

The lack of transparency that fostered the situation in Kitchener-Waterloo is hardly unique to that orchestra and exists even when institutions are flush with cash. The musicians of the New York City Ballet (NYCB) are currently engaged in their own struggle for a fair contract but dealing with an employer that has steadfastly refused to share financial information with the musicians’ bargaining team and Local 802 (New York City).

Meanwhile, the company is resisting the musicians’ requests for post-COVID salary restoration and increases to keep pace with record inflation and is attempting to saddle musicians with a much bigger bill for health care. Celebrating the opening of its 75th anniversary season, the company has touted its robust organizational health. The New York Times recently reported that NYCB’s budget for the fiscal year that ended in June was about $91 million, compared with $88 million before the pandemic. Contributions and grants have risen from $26 million in 2019 to about $30 million last year. And audiences last season were back at prepandemic levels.

As of this writing, the musicians of the Chicago Symphony and Local 10-208 (Chicago, IL) have reached an agreement on a new collective bargaining agreement (CBA) with their management. It appears that the management of the San Francisco Symphony narrowly averted a strike by finally hammering out an acceptable deal with the musicians and Local 6 (San Francisco, CA).

The musicians of the Philadelphia Orchestra and Local 77 (Philadelphia, PA) are still waiting for management to come to a favorable resolution to their ongoing contract talks. In the meantime, the musicians have offered a formidable show of solidarity, literally wearing their need for a fair contract on their (t-shirt) sleeves and sharing their plight with patrons through leafleting and social media campaigns. Likewise, NYCB musicians have donned “fair contract” t-shirts in the pit and hosted a demonstration on Lincoln Center Plaza, ahead of opening night.

Musicians everywhere are standing up and standing together to attain the wages and working conditions they need to have stable lives, good health, and long, satisfying careers. They are doing so in the symphonic sector. They will be doing so in theater pits across the country as we soon begin bargaining a new theater contract (Pamphlet B). And, they will do so in recording studios and sound stages as we bargain a contract with the Alliance of Motion Picture and Television Producers (AMPTP) this fall—look for the Fair Share for Musicians campaign to be heating up very soon. Musicians know the value of our work and we know the importance of working in concert as we fight to get our employers to recognize and reward our value appropriately.

While the leadership of the Kitchener-Waterloo Symphony may have thrown up their hands and beat a hasty retreat to bankruptcy court, the musicians of the KWS have refused to back down. They are working right now to save their orchestra and to ensure the continued presence of symphonic music and symphonic musicians in their community. While the leadership of the KWS may have failed to properly steward the institution, the musicians at its heart are refusing to allow it to wither.

The KWS musicians quickly launched a GoFundMe campaign, which as of this writing, has raised nearly $350,000 from nearly 250 people. While the story of the KWS is still unfolding, the success of this campaign in such a short time demonstrates how effective musicians can be in rallying support for our art and our lives, even when our institutional leadership has thrown in the towel.

To Donate to the Musicians of KWS GoFundMe Campaign search: support-your-kwsymphony-musicians and follow the Musicians of the KW Symphony @PAKwsymphony on Facebook and Instagram for the latest updates.

August is player conference season, and it was quite a month. In July, I had the opportunity to meet with the Regional Orchestra Players Association (ROPA) in Atlanta as AFM president-elect. My first official appearance as president came in Montreal, Canada, when I visited with the Organization of Canadian Symphony Musicians (Organisation des Musiciens d’Orchestre Symphonique du Canada). That was followed by the Theatre Musicians Association (TMA) Conference and finally the International Conference of Symphony and Opera Musicians (ICSOM) Conference, which were both held in Milwaukee, Wisconsin.

It was a pleasure to meet everyone and to welcome new faces to the player conferences. These conferences are integral to the AFM’s ability to communicate with the various groups that they represent. More importantly, they give all of us the opportunity to talk with the musicians that work in the various sectors. These conferences serve the AFM as a direct conduit of necessary observations, collective bargaining reports, and other issues pertinent to the work of musicians.

Most notably for me is information about our audiences. We are all eager to emerge from the pandemic and there are positive signs that we are on that trajectory; however, we are not there yet. Our audiences are coming back at a slower pace than we hoped. This, along with reports of arduous negotiations, organizations with difficult financial positions, and some managements that are too willing to use the pandemic as a way to lower the wages of musicians, represent the ongoing challenges we face as we slowly put COVID-19 behind us.

The Pamphlet B and Short Engagement Touring Theatrical Musicals agreement expired at the end of August. I am busy working with Touring/Theatre/Booking Division Director George Fiddler to prepare for these important negotiations. We will begin with a caucus of union officers, TMA, and rank-and-file representatives the first week of September.

As I write this, the Writers Guild of America (WGA) and Screen Actors Guild and American Federation of Television and Radio Artists (SAG-AFTRA) are still on strike. We are working hard to support both guilds because we can only prevail if we work together. The AFM is next in bargaining with the Alliance of Motion Picture and Television Producers (AMPTP) in the fall. We are in full swing in preparation for these negotiations. I am confident our Fair Share for Musicians campaign will serve as the vehicle to get our message out and unite all of us in the fight for a fair and equitable contract.

As I begin my term, I am again reminded of the connection we have as musicians. No matter what industry or sector we perform in, we are all musicians, and we need to stick together. A key goal of my presidency will be to foster a broader understanding among all AFM members of the underlying kinship that binds us together as musicians, artists, and professionals.

Like all of you, I became a musician, first and foremost, because of my love for music and I then gravitated to the idea of making it my profession. During my career, I have encountered thousands of musicians in virtually every area of our profession. I’ve been struck both by the wide variations in the skills, knowledge, and experience required in each musical genre and the underlying connection among all musicians.

We are sometimes focused on the aspects of our own careers that distinguish and separate us. While it is undeniable that successful musical artists in one musical field might not be able to function effectively in other areas, I believe that as different as the music we perform may be, there is an underlying characteristic that unifies us as artists and professionals. This is what makes us strong as a union.

Our representative structure is the most important reason for having one union for all musicians. This is accomplished through the union’s negotiation and administration of an array of collective bargaining agreements that are specifically tailored to the needs and standards of the musicians (and work) those CBAs cover.

This amalgam of specific agreements for such different artistic and industrial models would not be possible, let alone effective, if it were not for the committee system. Those who serve on committees or player conferences are the lifeblood of our union. This system blends the combination of the power and scope of a large union of all professional musicians with the participation in collective bargaining by specific members and their appointed or elected representatives. Committees provide the experience, knowledge, and priorities of those working in each orchestra, field, and industry. The result is a synthesis of unity and autonomy for all musicians.

In our busy and diverse professional lives, it is easy to lose sight of our common bonds and interests as musicians. I take office in the hope that we can build ever-growing awareness among all AFM members of the basic needs, interests, and commonality that can unite all musicians who strive to live and work as artists and professionals.

August is player conference season, and it was quite a month. In July, I had the opportunity to meet with the Regional Orchestra Players Association (ROPA) in Atlanta as AFM president-elect. My first official appearance as president came in Montreal, Canada, when I visited with the Organization of Canadian Symphony Musicians (Organisation des Musiciens d’Orchestre Symphonique du Canada). That was followed by the Theatre Musicians Association (TMA) Conference and finally the International Conference of Symphony and Opera Musicians (ICSOM) Conference, which were both held in Milwaukee, Wisconsin.

It was a pleasure to meet everyone and to welcome new faces to the player conferences. These conferences are integral to the AFM’s ability to communicate with the various groups that they represent. More importantly, they give all of us the opportunity to talk with the musicians that work in the various sectors. These conferences serve the AFM as a direct conduit of necessary observations, collective bargaining reports, and other issues pertinent to the work of musicians.

Most notably for me is information about our audiences. We are all eager to emerge from the pandemic and there are positive signs that we are on that trajectory; however, we are not there yet. Our audiences are coming back at a slower pace than we hoped. This, along with reports of arduous negotiations, organizations with difficult financial positions, and some managements that are too willing to use the pandemic as a way to lower the wages of musicians, represent the ongoing challenges we face as we slowly put COVID-19 behind us.

The Pamphlet B and Short Engagement Touring Theatrical Musicals agreement expired at the end of August. I am busy working with Touring/Theatre/Booking Division Director George Fiddler to prepare for these important negotiations. We will begin with a caucus of union officers, TMA, and rank-and-file representatives the first week of September.

As I write this, the Writers Guild of America (WGA) and Screen Actors Guild and American Federation of Television and Radio Artists (SAG-AFTRA) are still on strike. We are working hard to support both guilds because we can only prevail if we work together. The AFM is next in bargaining with the Alliance of Motion Picture and Television Producers (AMPTP) in the fall. We are in full swing in preparation for these negotiations. I am confident our Fair Share for Musicians campaign will serve as the vehicle to get our message out and unite all of us in the fight for a fair and equitable contract.

As I begin my term, I am again reminded of the connection we have as musicians. No matter what industry or sector we perform in, we are all musicians, and we need to stick together. A key goal of my presidency will be to foster a broader understanding among all AFM members of the underlying kinship that binds us together as musicians, artists, and professionals.

Like all of you, I became a musician, first and foremost, because of my love for music and I then gravitated to the idea of making it my profession. During my career, I have encountered thousands of musicians in virtually every area of our profession. I’ve been struck both by the wide variations in the skills, knowledge, and experience required in each musical genre and the underlying connection among all musicians.

We are sometimes focused on the aspects of our own careers that distinguish and separate us. While it is undeniable that successful musical artists in one musical field might not be able to function effectively in other areas, I believe that as different as the music we perform may be, there is an underlying characteristic that unifies us as artists and professionals. This is what makes us strong as a union.

Our representative structure is the most important reason for having one union for all musicians. This is accomplished through the union’s negotiation and administration of an array of collective bargaining agreements that are specifically tailored to the needs and standards of the musicians (and work) those CBAs cover.

This amalgam of specific agreements for such different artistic and industrial models would not be possible, let alone effective, if it were not for the committee system. Those who serve on committees or player conferences are the lifeblood of our union. This system blends the combination of the power and scope of a large union of all professional musicians with the participation in collective bargaining by specific members and their appointed or elected representatives. Committees provide the experience, knowledge, and priorities of those working in each orchestra, field, and industry. The result is a synthesis of unity and autonomy for all musicians.

In our busy and diverse professional lives, it is easy to lose sight of our common bonds and interests as musicians. I take office in the hope that we can build ever-growing awareness among all AFM members of the basic needs, interests, and commonality that can unite all musicians who strive to live and work as artists and professionals.

As I write this, I am transitioning from president of Local 802 (New York City) to my new role as international president of the AFM. As I do so, I close one chapter of my journey as a union leader and open another, in which I foresee unique challenges and opportunities ahead for this great union.

I want to personally thank the delegates of the 102nd AFM Convention for putting their faith and trust in me to carry the torch of leadership for all the musicians and locals of the United States and Canada. I am also looking forward to working with newly elected International Secretary-Treasurer Ken Shirk, International Vice President Dave Pomeroy, returning Vice President from Canada Alan Willaert, and of course, the elected members of the AFM Executive Committee Tina Morrison, John Acosta, Ed Malaga, Luc Fortin, and Dusty Kelly.

I also want to acknowledge retiring officers President Ray Hair, International Secretary-Treasurer Jay Blumenthal, and International Vice President Bruce Fife. I had the personal pleasure of working with the Hair administration for nearly a decade, and the work of that administration has laid the foundation for the continued growth and success of our union. Thank you, Ray, Jay, and Bruce!

The AFM is entering a new era with a new administration. The International Executive Board (IEB) has the unique ability to address the issues we encounter by virtue of the diverse and varied experiences each member of the IEB brings to their service. It is incumbent on this administration to ensure that our organization as a whole is well represented and that we lift up the musicians who work in every segment of our industry, and that their voices inform all the work we do.

There is no place in union leadership for personal agendas. This administration will be driven by the core belief that it is our role as union leaders to put aside personal agendas and consider what is best for our union and all of its members. To do that effectively, we must be informed and knowledgeable about the issues and listen actively to our members to better understand where our differences lie and why such differences exist. Lively, informed debate will result in sound decision-making and effective action.

The entertainment industry is faced with myriad challenges for which we need to be prepared. As a union, being prepared means being organized. We must develop organizing models and tailor them to the specific discipline we are organizing. We cannot organize film musicians the same way we organize symphonic musicians; we cannot organize pit musicians like we organize jazz, freelance, or club musicians. Each of these disciplines is essential to our union and by finding effective ways to reach these musicians, we will grow and strengthen our union.

In addition to organizing new groups of musicians, we must also continue the work of building strong internal organizing within existing bargaining units. Underpinning effective organizing is a corps of dedicated and educated local leaders. To that end, we must commit to expanding our existing programs to offer local leaders the knowledge and resources they need to grow and strengthen our locals and, by extension, our Federation. It was gratifying to see that our convention delegates also saw the significance of education and organizing and communicated that these programs should be a top priority for the new administration. I look forward to working to make their vision a reality.

Looking ahead to aggressive campaigns against bad employers—whether a rogue producer, presenter, or the AMPTP—the AFM will fight to protect the job of every musician. It is not a new fight for us to protect against the theft of our intellectual property when our product is exploited without compensation or the continued replacement of the human factor in our art by technology and artificial intelligence. But that fight today, with the advent of ever more sophisticated AI technologies, has reached a point of no return. If we lose that fight today, we lose jobs and livelihoods that will not be reclaimed in our lifetime. Many of our employers do not appropriately value our product. The first step in changing that is for us as musicians to understand the value of our product and to stand together and insist on being paid fairly for the initial and subsequent use of the content we create.

We are on the eve of preparing to negotiate with the Broadway League for the Pamphlet B Theatrical Touring Trade Agreement. There are major issues facing us on the road. The use of technology, fair treatment and pay for our traveling musicians, and meaningful health care for the musicians on the road are just a few issues to be addressed in these talks.

Motion Picture negotiations start in the fall. The WGA and SAG-AFTRA are currently in conflict and on strike against the AMPTP. We are next at the bargaining table, and our issues are the same. Let’s make ourselves visible in support of our colleagues and bring our instruments to rallies and events in support of their struggle. Remind the public that we are the musicians who create the music for motion picture and theatrical television. Ask them to consider how the emotional force of any film or TV show scene—the passion, joy, suspense, grief, or any other emotion—would be diminished without the pulse of the musical score beating beneath the action.

There is not a single component of the entertainment industry the AFM doesn’t have a stake in. We are everywhere. If we draw on our solidarity, we can use our presence throughout the entertainment industry to accomplish our goals of fair treatment, compensation, and respect for the value of our work on behalf of all the musicians who make up our great union. We are the American Federation of Musicians of the United States and Canada. We can do great things if we do them together.