Tag Archives: advice

A Look at Both Sides of the Audition Process

September 25, 2015 IM

by Nathan Kahn, Negotiator, AFM Symphonic Services Division

All orchestral audition candidates are looking for the same thing in the audition circuit: a fair chance to compete for a symphonic position, and to be treated as a professional in the process. On the other side of the process, audition committee members and orchestra management encounter their own set of challenges. An understanding of the issues each side faces will promote a more fair and enjoyable audition process for everyone.

Challenges for Candidates:

Expenses—Whereas job candidates in other professions are often reimbursed for their interview travel expenses, that is certainly not the case with symphonic auditions. I have yet to hear of any symphonic orchestra who pays the expenses of preliminary round candidates. However, many orchestras do pay the travel expenses for finalists called back to audition in final rounds.

Orchestras may even require audition candidates to send a deposit check. As long as the candidate shows up on audition day, the check will be returned or destroyed.

Audition scheduling—Suppose you open your copy of International Musician and find that there are five forthcoming and very desirable orchestra violin vacancy auditions, and all of them are scheduled for the exact same day. This happens more often than you might think. To minimize this problem, the AFM Symphonic Services Division maintains an audition scheduling website for AFM orchestra personnel managers. This service is free of charge and benefits both the candidates and the orchestras. If your AFM orchestra’s personnel manager has not yet availed themselves of this service, please have him/her contact me at nkahn@afm.org.

Just getting in the front door—Getting admitted to an audition can be almost as challenging as the audition itself. While there is no AFM bylaw that requires any orchestra to grant a live audition to union members, the AFM can sometimes assist candidates who are seeking acceptance to an audition by convincing personnel managers and audition committees to hear “just one more.” Appearing at an audition without having been invited, although some candidates still insist on doing this, will get you nowhere and is strongly discouraged.

Audition conditions and requirements— Audition candidates have the right to warm-up and audition in an environment that is sufficiently comfortable and that is free of any considerable distractions. Candidates should not be expected to put their instruments in any type of weather-related danger, or to spend excessive amounts of money on difficult-to-acquire music.

The Audition Committee View:

The process of filling a vacant seat varies widely among orchestras, but these are some factors that management takes into consideration:

Whether to hold an audition—The audition committee must first decide whether or not to hold an audition. In lieu of a live audition, some orchestras may decide to appoint a certain musician who, for example, may have performed successfully with the orchestra in the past. They can do this through a previously negotiated “appointment” procedure within the orchestra’s collective bargaining agreement, or by some other mutual agreement between the audition/orchestra committees in conjunction with their local union and the management.

I often get complaints from audition candidates demanding that the AFM should “force” the orchestra to have a competitive audition for a position. There is no requirement that any orchestra hold a live audition for any vacancy, unless otherwise specified in the orchestra’s collective bargaining agreement. Even then, the audition/orchestra committees in conjunction with their local union and the management could agree to waive that requirement.

In some instances, a group or an individual will try to force the local orchestra to hold a competitive live audition when the prevailing sentiment was to appoint a certain person. This only results in the orchestra going through a farce of an audition where no one is hired and the original appointment proceeds regardless, wasting the time, energy, talent, and money of audition candidates.

How to screen the candidates—If the audition committee does decide to hold an audition, they must also decide how large a field of candidates to seek. Some orchestras want to hear every candidate who applies, while others may specify in their advertisement that they will only hear “a limited group of highly qualified candidates.” In such circumstances, it is much less likely that the AFM can assist in getting someone admitted to the audition if the audition committee has refused to grant them a live audition.

Some orchestra vacancy advertisements include the following language: “The Audition Committee reserves the right to immediately dismiss from the audition any candidates who do not exhibit the highest professional performance level at these auditions.” These orchestras want to hear as many candidates as possible, but their time is limited. A candidate will often complain that he/she was cut off one minute or less into the audition. I refer the candidate back to that statement in the advertisement; it means what it says.

Scheduling auditions times for candidates—One method for audition scheduling is to assign a window of time to an entire group of candidates, and then have the candidates draw lots to determine the order in which they audition. While this tends to alleviate the problem of time flexibility for the audition committee, it has the opposite effect on the candidates. Some candidates may have to perform their audition with little or no warm-up time, while others may be forced to wait around for hours.

The other method is to assign specific audition times for each candidate. There are, at least, two problems with this approach. First, audition committees complain that such a tight schedule prevents them from hearing as much as they would like in order to be able to make an informed decision. Second, is the problem of no-shows: musicians who have been assigned an audition time, and for whatever reason, fail to appear. When multiple no-shows occur, personnel managers must either round up other candidates to fill in the empty time slots or require the audition committee to wait for extended periods of time for the next group of candidates to appear.

Recurring auditions for the same position— Sometimes an audition is inconclusive. Perhaps the voting procedure in the audition process failed to produce enough votes to select a winning candidate, or perhaps no candidate was deemed qualified for the orchestra. In these cases, the orchestra reserves the right to continue to hold auditions until a successful candidate is engaged.

Use or non-use of screens—In the 1970s, the Saint Louis Symphony and the Boston Symphony started using screens to protect the identity of the candidates, and many other orchestras followed suit. Now, it seems that more orchestras are reversing course and removing screens in the audition process, since some audition committees and music directors have expressed that they feel the need to see, as well as hear, the candidates. Neither the AFM, nor the Code of Ethical Audition Practices, takes any position on the use of screens. That determination is made on the local level; often through the collective bargaining process.

Fixed auditions—Proving that an audition outcome was predetermined is extremely difficult, and investigations are often inconclusive or show that the orchestra’s collective bargaining agreement, in fact, allows for what may appear to be a “fixed” result. For example, some collective bargaining agreements automatically advance musicians who have successfully subbed with the orchestra, who have reached a certain level of professional experience on their résumés, or who may have been in the finals of a previous audition in this or some other orchestra.

When it can be demonstrated that a predetermined audition did occur, the local union, combined with the AFM, works to get candidates reimbursed for at least their travel expenses.

Playing Fair
As competition for some orchestral positions increases, so should vigilance on the part of local unions and their audition committees to uphold the highest standards of ethics and integrity in the conduct of auditions. At the same time, candidates should be aware of the difficulties in taking auditions and should understand that not every orchestra is willing and able to grant a live audition to all who may apply, even with the AFM’s assistance to candidates who may request it.

Musicians who have symphony audition complaints should contact the AFM Symphony Audition Complaint Hotline at 330-322-2265. All complaints are handled anonymously unless the nature of the complaint requires identity.

Health

Don’t Sweat It: Your Guide to Managing Stress

September 23, 2015 IM

Professional musicians all deal with varying levels of stress. National and international tours, performance anxiety, a hectic schedule, and separation from friends and family for long periods of time are just some of the unique challenges musicians face.

When traveling from venue to venue, the body must constantly adapt to new settings, which can disrupt sleep patterns, aggravating the body’s stress response. The more stress a musician feels, the more harm that could occur to his or her playing, since inappropriate muscle tension can hinder performance.

Stress is something everyone experiences and is the normal physical response to events or changes in the environment that make people feel threatened, upset, or off-balance. The body’s stress response, in small doses, can actually be helpful in an important performance or recording session, since it helps you stay focused, energetic, and alert. But chronic stress can cause serious damage to one’s health, mood, productivity, and quality of life, if it isn’t managed properly. Since a musician’s bread and butter is the ability to play an instrument, keeping the body in good shape and maintaining overall health is essential. Long-term exposure to stress can raise blood pressure, suppress the immune system, increase the risk of heart attack and stroke, and can leave musicians more susceptible to anxiety and depression.

Dr. Stephen Sideroff, clinical director at Moonview Treatment and Optimal Performance Center in Santa Monica, California, and assistant clinical professor in the psychiatry department at UCLA, works with musicians, athletes, and other members of the entertainment industry on overcoming and coping with stress and pressures related to career burnouts. “One of the issues musicians deal with is the performance anxiety of getting up in front of audiences and having to perform perfectly,” says Sideroff. “In other areas of life we don’t have to be that perfect; 90% is pretty good. With a musician and a performance, the mistakes are even more magnified and there is a lot of pressure to be perfect.”

How to Deal with Stress

If you are starting to feel some of the mental, physical, and emotional side effects of stress, there are things you can do on your own to cope better. Sideroff suggests training yourself to relax using exercises like deep breathing, meditation, or yoga. Physical exercise is another way to relieve stress. If you don’t have access to a gym or dislike the traditional ways of working out, something as simple as a walk around the block can help ease the stress response. “If muscle tension builds from that ‘fight or flight’ response to stress, the heart rate goes up,” says

Sideroff. “Physical exercise provides the opportunity to release that built-up energy and tension in the body.” Sideroff also recommends learning to practice self-appreciation to curb performance related anxiety and stress. “If you have success and have done well, own that success and appreciate the abilities and skills you have in order to build confidence,” he says. “The more you do that, the less those situations are perceived as dangerous or uncertain.”

Making a point to take vacations and regular breaks during practice is another way a musician can recuperate from job stress. While gigs at night are unavoidable, Sideroff suggests avoiding unnecessary job-related tasks late at night. Most things can wait until the morning when you are more alert and rested.

Building and maintaining a strong network of friends and family is one of the greatest protectors against stress. If you have people in your life that you can turn to with problems and depend on for support, pressures from work don’t seem as bad. If you are in a situation where you travel and tour frequently, make sure you always have phone and e-mail access to keep in touch with your family and friends.

There are plenty of other resources to help musicians cope with stress and related health concerns. Contact your primary care physician or visit artsmed.org to find a doctor or treatment facility that specializes in performing artists and musicians.

Symptoms and Signals that Stress Is Taking a Toll Look out for these chronic stress warning signs:

Cognitive

• Memory problems
• Difficulty concentrating
• Poor judgment
• Negative thoughts
• Constant worrying
• Anxiety

Emotional

• Moodiness
• Short temper
• Agitation
• Feeling overwhelmed
• Sense of loneliness and isolation
• Depression

Physical

• Aches and pains
• Diarrhea or constipation
• Nausea or dizziness
• Rapid heartbeat and chest pain
• Loss of sex drive
• Frequent colds

Behavioral

• Changes in eating patterns
• Sleeping too much or too little
• Isolating oneself from others
• Neglecting responsibilities
• Nervous habits (nail-biting)
• Using drugs/alcohol to relax

Some of the information in this article came from the HelpGuide.org.

Getting Your Promo Kit Together

September 22, 2015 IM

by Mike King, author and instructor for Berkleemusic.com

The music industry tends to be a jaded group to start with, and nothing raises the ire of these folks more than a poorly planned and executed promo kit. A poor promo kit is sure to keep your demo or finished CD unopened and not listened to, and the rest of your kit is sure to be sent to the circular bin “with a bullet,” as they say. The good news is, the elements that make up an effective press kit are straightforward, and the essentials will not change much from band to band.

You should create a press kit with several folks in mind—club bookers, radio DJs, and the media—and while the details may change very slightly, there is one thing that you have to keep in mind:

When putting together your promo kit, the first rule of thumb is to put yourself in the shoes of the people that receive these things on a daily basis. The music writers at major US and Canadian local papers, like The Boston Globe and the Chicago Tribune, receive dozens of promo kits per day, and the same thing goes for the popular clubs in your area.

These people have seen it all, and while you may have the urge to create a leather-bound CD wallet, monogrammed with your band’s name, that really stands out from the crowd, I urge you to reconsider and instead let your music, bio, and press clippings do the talking for you.

Common Promo Kit Problems

I worked at an independent record label for a while, and saw more than my share of press kits. And I’m telling you straight up that spending a day in the water of the river Styx in Dante’s Fifth Circle of Hell may be only slightly less preferable than going through amateurish, unsolicited promo kits. Bad promo kits may make you mad, but really bad promo kits make you sad, too. Before we get to the ingredients of a killer promo kit, I want there to be no confusion on what makes up a bad one. For everyone’s sake, please avoid the following:

Too much information—Unless you are in the superstar category, there is no reason to have a dozen pages describing the conditions under which you recorded the record, your political leanings, what the songs are about, etc. The biographical information in your press kit should be informational and concise.

Poor grammar—Misspelling the recipient’s name on your package or cover letter is a big problem. And while it may be cool to avoid punctuation and capitalization in your e-mails and My Space page, it is definitely not cool when you are writing to someone asking them to play your record or book you a gig. You may be an artist, but this is one place where you are going to have to exhibit some professionalism.

An overreaching package—Again, unless you are on a major label or have the dough to send program directors promo items (even then, it doesn’t really matter unless the promo items you’re sending are American Express checks), there is no need to create some grand package to really “wow” the recipient. The truth is, if the music isn’t any good, it really doesn’t matter that you enclosed cookies with your package (true story).

Not enough information—You covered all your bases, your demo is hot, you addressed it to the right person, you’ve got some momentum, and the writer/booker is interested in finding out more. But wait, who are you? Always be sure to put your contact info all over the package. Writers and bookers may not be the most organized bunch and things can easily get separated. Clearly mark your name on the CD, on the cover letter, on your bio—and if you can, make up some cards and drop a few in the package.

Poor research/no prior contact—It’s fundamental that you send your kit to the right person. Never address your promo kit: “To whom it may concern,” or “ A&R.” This is a sure-fire way to get your kit into the trash since many folks don’t take unsolicited kits. Find out who the right person is through a phone call. Also, be aware of what kind of music the organization you’re sending your kit to is into. If you are sending your package to a hard rock label, it’s pretty unlikely they would put out a collection of classical accordion covers. (Unless they rocked, of course!)

Bad tone—Another big turn off is a demanding promo kit. Remember, the goal of the kit is to present your band and your music in the best possible light, and the language you use is important. Be nice. I recall, in particular, one promo kit that came in from what looked like twin sisters who sang folk music. Not only was the cover letter off-putting in tone, but they demanded we send the kit back after we reviewed it! Bad form.

What Makes a Good Promo Kit?

Like many things in life, simple really is better. An effective press kit contains five or six key things: cover letter, bio, your demo or finished product, photo, press clippings, and sometimes a tour schedule.

1) Cover letter—Your cover letter should be addressed to the proper recipient, and attached to the outside of your kit with a paper clip. Tone, content, spelling, and grammar should all be checked. You want this letter to be warm and relatively formal, quick, and to the point. Explain what you are looking for from the recipient as concisely as possible.

2) Biography—In my opinion, the bio is not a place to get cute or overly creative. Present the facts: the history of the band, interesting individual background and/ or accomplishments of the members, the band’s highlights so far, and perhaps some key press quotes.

3) Your demo or finished product—This is the most important part of your kit. No matter how good the rest of your kit reads and looks, if the music is not good or presented incorrectly, you’re sunk. If you’ve got a finished CD together, include a copy in your package. If not, you should prepare a three- or foursong demo.

Song order is very important. You should absolutely lead off with the song that you feel kicks the most ass. And that song needs to kick ass immediately. No one has time to listen to a two-minute intro before the song gets moving. For example, if you are a rock band, you want “Black Dog” as an opener, not “Stairway to Heaven.” And as I mentioned above, it is incredibly important to have your contact info all over your kit, especially the CD.

4) Photo(s)—This is the visual representation of your band. Again, be a bit careful about how artsy it is. The photo should try to capture what one might expect from listening to the music.

5) Press clippings—If you’ve had some past success with the press, your promo kit should include a “Paste-Up” of this media coverage. Format is important here. Any editorial your band gets should be cut out from whatever else surrounds it in the paper. Cut out the masthead of the publication, affix it on a piece of paper with the article below, and be sure to format it all so it looks nice on an 8.5 x 11-inch piece of paper.

6) Tour schedule is optional—If you have an amazing tour schedule, it may make sense to include an itinerary of upcoming shows as well. If the recipient of your kit is not all that familiar with your band and they see you’re playing places like the 9:30 Club in Washington, D.C., or Yoshi’s in San Francisco, they’ll know you are the real deal.

Package all these items up in a straightforward folder and you’re all set. Again, no need for oversized glossy kits. Keep it simple, baby. It’s easier for you, and I guarantee that, even if they don’t say it, the folks that receive your kit will thank you as well.

Mike King is the associate director of marketing at Berkleemusic. Prior to working at Berklee, he was the marketing/product manager at Rykodisc, where he oversaw all marketing efforts for label artists including Mickey Hart, Jeb Loy Nichols, Morphine, Jess Klein, Voices On The Verge, Bill Hicks, The Slip, Pork Tornado (Phish), Kelly Joe Phelps, and Frank Zappa’s estate. King is also the course author/ instructor of several online marketing courses at www.berkleemusic.com, as well as the author of the book Music Marketing: Press, Promotion, Distribution, and Retail (Berklee Press, 2009).

Traveling Musician

Central Withholding Agreements in the US

September 18, 2015 Robert Baird

If you are a nonresident alien (non US citizen) entertainer performing in the US, you are subject to 30% tax withholding from gross income. There are situations in which the withholding requirement does not apply (certain corporations, nonprofit organizations, and certain treaty provisions), but generally most artists should take advantage of central withholding agreements (CWA) with the US Internal Revenue Service (IRS) to reduce this withholding amount.

A CWA is an agreement entered into by the entertainer, a designated withholding agent, and an authorized representative of the IRS. The agreement can cover one event or a tour and the withholding percentage required will be based on an income/expense budget provided by the artist, indicating net profit/loss. In order to access a CWA, your previous US income tax returns must be filed and US taxes paid (or you have arrangements to pay). You also must file a US tax return for the year in which the CWA is granted.

A designated withholding agent must be a completely independent third party (often, it is a venue, agent, manager, accountant, attorney, etc.). The agent is required to withhold and forward to the IRS withholding tax according to the terms of the CWA and provide a final accounting of the artist’s income and expenses.

The advantages of a CWA is that it allows for one withholding agent (rather than several, as on a tour) and the withholding percentage is based on the estimated ultimate tax liability, rather than the blanket 30% withholding required by law. Only individuals may apply for a CWA and for groups of artists in a band or other ensemble, each artist must apply separately.

Filing a CWA application should include:

Application form 13930
Itinerary of events to be covered by the CWA
Income/expense budget with contracts, deal memos, projected merchandise sales, etc.
Power of Attorney or Appointment of Representative form

The regulations for applying are extremely strict in regard to the application date. If the application is received less than 45 days prior to the first event on the CWA application, it will be rejected. The optimum time to apply for a CWA is 90 days before the first event. If you cannot meet these deadlines and the 30% is withheld, you can always apply for a refund (if one is applicable) by filing a US tax return for the year in which you had monies withheld.

When a CWA has been fully executed and signed by the entertainer, the designated withholding agent, and the representative of the IRS, the designated withholding agent assumes responsibility for withholding and reporting tax on the entire tour or event, relieving all other withholding agents from withholding, and eliminating the chances of over-withholding.

Sometimes a foreign entertainer will try to rely on the submission of W-9 or W-8BEN forms or assume that they can rely on a tax treaty provision that allows a certain level of tax-free income. Strictly speaking, the W-9 or W-8BEN form does not negate the withholding because the income is treated as flowing directly to the artist (unless an arm’s-length corporation is involved). Any treaty provisions cannot be considered since the amount of income earned will not be determined until the year’s end. There are, however, certain countries (Armenia, Azerbaijan, Belarus, Georgia, Hungary, Kazakhstan, Kyrgyzstan, Moldova, Poland, Russia, Tajikistan, Turkmenistan, and Uzbekistan) with a treaty-based provision that exempts all US earned income from taxation.

A CWA is a something every foreign artist coming to perform in the US should consider.

—I welcome your questions and concerns.
Please write to me at: robert@bairdartists.com. While I cannot answer every question I receive in this column, I will feature as many as I can and I promise to answer every e-mail I receive.

How to Get Started with Teaching Private Lessons

September 16, 2015 IM

Musicians with years of experience, and even those new to professional music, often find it rewarding to spread their experience and knowledge. Offering private lessons can help make connections in the community and foster personal musical development, and by introducing new people to the joys of performance, you can make a difference in your students’ lives. So as summer comes to an end and school starts up again, think about ramping up efforts in education and really making an impact through private instruction.

Back to Basics

You must first decide what age group to teach. The age of your students will not only determine what and how you will be teaching, but it will also determine your weekly teaching hours. High school and grade school aged students, along with working professionals, require afternoon, evening, or weekend hours and college students or retirees may have more flexible schedules. Try to think about your daily routines and how you will balance teaching with your rehearsal and performance schedule. You must also set aside time for setting up a curriculum and a system for evaluating student progress.

It’s important to research which books and teaching materials will be effective for your students. Resources are available through national organizations including the Music Teachers National Association (MTNA) at www.mtna.org and National Association for Music Education (MENC) at www.nafme http://www.nafme.org/.org, as well as their local chapters. For a mix of new-and-innovative and tried-and-true, the best teachers combine methods from their own musical beginnings with more recent innovative techniques.

Prospective students or their parents will ask you about education, previous teaching experience, references, and the types of music that you teach. Tailor the information you have in your working bio to answer questions students may have about your background. It’s important to highlight diversity and variety in your skills, and experience in many different musical settings–band, orchestra, solo recitals, and work in various genres.

Keep enough free time in your schedule to allow flexibility when it comes to setting up lessons, especially when balancing private teaching with commitments to another job. Students and their parents keep busy school-year schedules as well.
Another important consideration is how much to charge for lessons. Factors in determining fees include income levels in your area, length and level of the lessons, and whether you’re teaching children, adults, or both.

Online and on Paper

There are a lot of online resources you can use to set up a successful teaching studio. The AFM’s GoProLessons.com is a directory of professional musicians offering lessons. Students looking for a teacher can search for a professional teaching musician in their area. As an AFM member you can post a profile with your bio and photo. A personal website or a profile on a social networking site like MySpace can include recording samples, along with a bio, photos, and other information.

The websites for MTNA and MENC offer listings to members according to instrument and location. MTNA also offers opportunities for professional development, including a national certification process. Once established, you should consider taking this step; it carries with it the possibility of awards and national recognition for your teaching work.

Designing a flyer to be placed at local music stores–even if it’s just a sheet with little tear-off strips at the bottom with your name, phone number, and e-mail address–is also a good starting point. Some music stores also house teaching studios; inquire if there’s an opening or a need for an additional teacher for your instrument.

Onward and Upward

To expand your teaching from a handful of students to your own studio, involvement and interaction in your community are crucial, and networking will be a valuable asset. Connections with classroom music teachers will help in seeking out budding talent. Friends and colleagues who teach in local schools can point out concerts and recitals to attend, and may recommend you to students and their parents, including those who wish to continue their study when school is not in session.

Always keep promotional materials updated and on hand; every trip to a school, rehearsal or performance site is another chance for further exposure. As music in public schools is gradually and tragically being phased out, private music instructors can fill the void in arts education.

Health, Traveling Musician

Perform at Your Best: Eating Well on the Road

September 15, 2015 IM

by Karen Stauffer, nutritionist
We all know what’s wrong with eating too much restaurant food on the run. Too much fat, sugar, and salt combined with hurried eating can lead to weight gain, fatigue, sluggishness, and even worsening pre-existing health conditions. Often there’s also a lack of fiber in a road diet, and usually fresh greens are in short supply.

When we’re young, these shortcomings don’t affect us as much. However, the body becomes less resilient the more it has to endure a poor diet, especially when it’s combined with the stress of travel and work. The easiest step to better nutrition, even if on a “road diet,” is to take an enzyme digestive aid. This helps break down food so the body can absorb it more readily, so you will get more nutritional value from food and less indigestion and gas. Taking an enzyme supplement is particularly important for people older than 40 or those taking acid-reducing medication, which might cause you to produce less stomach acid for digestion.

Chewable enzymes are not unpleasant. One brand is Zand’s Quick Digest. It tastes good and helps the body digest all food components: fats, starches, and proteins.

To cut down on unhealthy foods buy a small cooler, about the size that holds six cans of soda. Often these come with shoulder straps and are so convenient, they can become part of your carry-on luggage. Also, buy a refreezable cold pack or fill a zipper bag with ice. Fill the cooler with an apple, an orange, cheese portions, hard-boiled eggs, cherry tomatoes, pea pods, red and green peppers, and carrots. All these healthy foods travel well.

Another way to get a healthy snack on the road is with a small day-pack. Raw nuts, crackers, energy bars, and dried fruit can go in here. Also, toss in a few small aseptic (no refrigeration needed) packs of soy milk, a perfect quick breakfast. Don’t forget a bottle of water. If traveling by car, keep a stock of bottled water in your trunk.

Restaurants are convenient, but that’s where poor eating often happens. Make the most of choice, and substitute healthy items whenever possible. The other week I heard a waitress offer broccoli instead of French fries. That’s a good choice: steamed veggies, with a squeeze of lemon! Also, request “no salt,” “heart healthy,” or “low carb” options, and ask for whole grain breads.

Many of us enjoy fast food now and again, but avoid relying on it on the road. If there is no choice but fast food, avoid soda and milkshakes (substitute low fat milk or juice instead), cheese (fast food “cheese” is not cheese at all), and French fries (ask for a baked potato). Remember, many fast food restaurants offer healthy alternatives now, such as salads, applesauce, and fruit cups.

If traveling through time zones has upset your daily routine, a fiber supplement can keep you regular. Discuss with a professional nutritionist which is the right supplement for your needs: soluble, insoluble, chewable, or a blend.

Health food stores offer other nutritious ideas for traveling musicians. Vitamin supplements are one. Another is to pick up a “green drink” powder. A packet can be mixed with water or juice to make an instant nutritional beverage. Another great, easy-to-pack beverage is Emergen-C. Mixed with water it provides vitamins C and B, minerals, and alpha lipoic acid in a tasty fizzy drink.

If you’re having trouble with insomnia, avoid using alcohol to relax. Instead, try Koppla, a soothing, pleasantly sweet drink mix, which contains lemon balm and other herbs. There are other drink mixes containing magnesium, which acts as a muscle relaxant. One problem with alcohol, especially overindulgence, is that it can cause your blood sugar to drop, waking you up in the middle of the night. Eating too late at night can do the same.

Early morning flights or less-than-regular sleep schedules may mean you have to wake yourself up quickly. Many people turn to coffee, but green tea is a better option. Lower in caffeine than coffee, it’s also rich in antioxidants and contains an amino acid (called theanine) whose calming effects may help balance the caffeine.

Adapt these suggestions to your own needs and limitations. Some people travel well, and they have fewer needs than others. For instance, despite my careful planning, my husband drove to Atlanta and back eating bread, peanut butter, jelly, bottled water, and chocolate soy milk. (At least he took his vitamins!) A weeks worth of PB&J sandwiches would have had me headed for a burger joint, but he thrived on them.

I don’t mean for you to pass on any good regional cuisine that appeals to you. After all, delicious barbecue, jambalaya, or homemade pie can make a trip memorable. But be smart, and don’t live on fatty, salty, sugary, fiber deficient foods, either at home or while traveling. If you eat right, you’ll play better, feel better, be more alert and relaxed, and, hopefully, live longer!

–Professional nutritionist Karen Stauffer is owner of River of Life Natural Foods in Lahaska, Pennsylvania. Nutritional counseling is available by calling her at 1-800-651-3820. Read more articles on her specialty–nutrition for musicians–at www.professorpooch.com/Karen.htm.

Health, Resources

Stretches That Every Musician Should Do Before Playing

September 14, 2015 IM

by Janet Horvath, author of Playing (Less) Hurt: An Injury Prevention Guide for Musicians available at musicdispatch.com

Editor’s Note: In this article Janet Horvath suggests some stretches she devised to help musicians alleviate body stress. Always check with a physician before trying stretches, especially if you have an injury. Always stop any movement that causes pain.

When I was a young student I was criticized for moving too much when I played. “Don’t beat your foot! Don’t wiggle! It’s too distracting,” said my teachers. Unfortunately, these mantras were more important than just limiting comfort and self-expression. Although playing music is expressive and creative, we sought to quell the tendency to move and flow with the music. We were admonished to never “stick out.” As a result, we often sit like statues.

Studies today indicate that humans are born to move. Being static, still, and motionless is detrimental to our health. Static effort, or holding a position, is also much more strenuous on the body. Muscles tighten, blood flow is constricted, oxygen is not replenished, and waste products are not flushed out. Static positions make us tire sooner, and then we hurt. On the other hand, we can engage in a dynamic movement for a long time because blood is replenished with fresh oxygen.

There are unobtrusive ways to reduce tension build up and give our bodies mini breaks. I have devised a series of moves I call Onstage Tricks™ to alleviate tension even while performing. The essential guiding factor is to do the opposite motion of the positions we are required to hold while we play.

Sitting properly is the first step. Make sure that you are sitting in the optimum position for your height and instrument. Your chair should be high enough so that your knees are lower than your hips. If you are diminutive, sit forward so your feet don’t dangle. Your weight should be forward with a slight lumbar curve in your spine and feet flat on the ground. Keep your shoulders down and facing forward. Avoid turning or twisting your torso, leaning left or right.

Starting with those targeting the top of the body, try some of the following moves during practice or performance, or whenever you have a few bars of rest. These exercises are effective even if you only have time to do them once. However, if you are able to do them more than once, it’s all the better.

The following are stretches that every musician should do before playing

For the neck:

Keep your head erect and tuck in your chin gently. This is a very small movement.
Tuck your chin as above. Keeping your shoulders relaxed and down, slowly turn your head to the right and look over your right shoulder; return to looking forward. Repeat, turning your head left, looking over your left shoulder.
Again, start with a chin tuck. With shoulders relaxed and down, slowly tilt your head so the right ear is over the right shoulder. Return to neutral. Repeat on the left side.

For shoulders and pectorals:

Do one big shoulder shrug bringing the shoulders toward the ears, while taking a deep breath. Relax, release your shoulders, and breathe out.
Do one big shoulder circle. Bring your shoulders forward, then up toward your ears, then back opening your chest, and relax bringing your shoulders to normal. Repeat, reversing the direction of the circle.
While keeping your shoulders down, squeeze your shoulder blades together.
Clasp your hands behind your back, and while keeping your elbows straight, but not locked, pull your shoulders gently backwards.

For the arms:

Let your arms uncurl often and hang by your sides. (If you must hold your instrument, do one arm at a time.) While keeping your elbows fairly straight, but not locked, turn your palms outward, with your thumbs pointing away from your body. Moving slowly, reach gently backward.
Place your hand palm down on the chair behind you. While keeping your elbow fairly straight, but not locked, lean gently onto your hand, stretching the inner arm. Repeat with the other arm.

For the back, spine, and pelvis:

Take a deep breath in and then empty your lungs. Now, contract your abdomen. Imagine pulling your belly button inward. Release.
Roll your pelvis forward and back, putting your back into a “C” curve. Momentarily press your lumbar spine backward and then return to neutral. This is a very small movement. Rock from one gluteus to the other, side to side.
Squeeze your buttocks and release. This can be done while standing or seated.

For the hips:

Keep your feet on the floor and turn one knee inward as you sit, rotating the hip joint. Repeat with the other leg.
Adjust the position of your feet often.

For healthy overall circulation:

Keep your heels on the floor and lift your toes. Then, keep your toes on the floor and lift your heels. Do circles with your ankles.
If you are able to, alternate playing seated and standing. While standing, avoid locking your knees; keep them slightly bent with feet apart. Avoid overarching your back and crouching or slumping forward. Keep your head and torso erect and face forward with shoulders down.

Awareness is the key to injury prevention. These and many more “moves” for musicians are displayed in my book. Make up some of your own as well, with the goal of maintaining fluidity and ease, while avoiding tightness and tension. You’ll feel better and you’ll play better too.

Executive Board Members, Officer Columns, Organizing

How to Encourage Union Membership

September 8, 2015 IM

by Tina Morrison, AFM International Executive Board Member and President of Local 105 (Spokane, WA)

There are some myths and false claims for why people are afraid to join the union. Here’s how to deal with those people and how to encourage union membership.

The conversation begins:

“Oh, so you’re a musician, too! Do you belong to the union? What union? Don’t you know about the American Federation of Musicians? I’m a member of Local XXX because I want to make music to the best of my ability, and to do so, I need appropriate compensation. While music making is an individual endeavor, everything work-related is part of a much bigger picture. My ability to work is impacted by outside influences beyond my control and that is where union membership is important. I’m individually responsible for my music making, but only with the leverage of a larger group of people with similar interests can I have influence on decisions that affect my ability to work making music. Join the union and become informed. All of the roads to being a working musician in the US or Canada lead back to the influence of the American Federation of Musicians.”

The union doesn’t do anything for me.

“Okay, so you joined the union and nothing changed. Did you join the union, or did you simply send in your application and dues and get into the database? The union isn’t a cable subscription service. It’s more like a gumball machine where you drop in the coin but actually have to reach into the spout, pick out the gumball, and then chew it to get the full flavor of what you paid for.

“The union is interactive with a key word being ‘active.’ Have you attended a new member orientation? Have you met with your local officers? Have you been to a union meeting? If you have, did you speak up? If you raised an issue was it in the context of ‘the union needs to fix _____?’ And then your perception is that nothing happened? Did you follow up with your local to find out whether your issue has been examined? Have you offered to assist with finding a solution? Many of the work issues we face as musicians don’t have simple solutions but by interacting with other member musicians we can find answers that will either help us resolve the issue or provide us with information that takes us in an entirely different direction making the original issue less unimportant.”

All I want to do is show up to my job, make music, and get paid.

“You, and everybody else. No musician I have ever met became a musician so they could join the union and become involved in union activities. We get out into the workforce and start realizing there are issues beyond our individual control. Then it comes down to choices: we can either get out of the business or we can find resources that help us address our issues and find workable solutions. Generations of musicians have turned to union membership as the best resource for finding those solutions. Those of us who have found the union, and benefited by union membership, have an interest in helping other musicians join us as well. Greater union membership equates to more resources and more control over our work.”

For more talking points when having a conversation about the union check out the AFM Bylaws, Article 2—Mission.

Music Business

Marketing 101: A Good Old-Fashion Phone Call

August 28, 2015 IM

In the modern day many people will more readily send an email than physically call a person. Emails, social media, and other communication is great way to get in touch with people, but sometimes the most successful way is a good old-fashion phone call. A well-developed telephone technique is crucial to the success of the client contact process. Potential clients can sense when you don’t feel confident, even when that conversation is over the phone.

If you lack confidence or if you are shy, you should consider getting advice on how to put forward a strong verbal presentation over the telephone. Many books have been written on the subject, and they are not just for telephone salespeople. Anyone who uses the telephone to drum up business must work on their technique.

Speaking slowly and clearly and learning a “script,” especially when you are cold-calling clients, are some of the techniques worth knowing. Another is how to follow up on cold calls. Yet another is how to leave a message on voice mail that will be memorable, which is a technique a little like a 30-second elevator pitch without the business card.

Some musicians don’t think it’s respectable to call a client themselves. They believe that clients have less respect for musicians who represent themselves than for musicians who are represented by an agent. Therefore, some musicians prefer to have an agent who will call clients on their behalf.

However, you should consider that TV commercials where the owner of the car dealership or mattress emporium represents him or herself are rated higher and more effective than commercials that don’t have an owner present. This was part of the secret behind the rise of the Wendy’s restaurant chain, under the charismatic leadership of Dave Thomas, who often appeared in national TV ads.

Following this logic, clients may well be more convinced of your skills as a musician and bandleader if they talk to you in person, rather than through an agent. Plus, one of the benefits of representing yourself is that you at least know how you are being presented.

Telephone calls are still one of the least expensive and most effective ways of self-promotion. If your phone technique is good, and you present yourself and your band in a memorable way, clients will recall you when you phone again.

For example, Hal Galper of Local 802 (New York City) remembers the time he sat on a panel at the International Association of Jazz Educators’ convention in Atlanta, Georgia. His name was mentioned often on the panel, and many of his clients were present. At one point the moderator asked, “Is there anyone here who has not received a phone call from Hal Galper?” Everyone laughed, and amazingly only one person said, “I haven’t.” Galper arranged to chat with this person after the panel was over. “It pays to have a good phone rap,” he reminds other working musicians.

Music Business, Resources

The Role of Orchestra Committees

August 25, 2015 IM

by Christopher Durham, Chief Field Negotiator, AFM Symphonic Services Division

Employees who work under the terms of a collective bargaining agreement (CBA) are represented by a labor union that was authorized by the first employees who worked under the original agreement. When the union was established, the membership elected officers to handle the negotiation, enforcement, and administration of the agreement. Other union responsibilities and procedures are prescribed by either law or internal bylaw. The musicians who perform in orchestras elect orchestra committees and ancillary committees to assist the union in the negotiation, enforcement, and administration of the agreement.

This structure, while common in our union, is somewhat unique to the labor movement. Over time, symphonic bargaining units have assumed, through their various committees, a prominent role in the day-to-day governance of the agreements. A consequence of this expanded role should not be to disregard, ignore, or place the union in a subordinate role. The union, as the certified bargaining agent, has the legal responsibility to oversee the performance of the agreement as well as the liability for the action of its agents. It’s important to have an effective working relationship between a rank-and-file committee and the union in order to provide strength through communication and unity. The union is the pivot for members who may not work in the bargaining unit. It has important relationships in the greater community that, when properly networked, can make the difference by providing outside influence during times of hard bargaining.

Orchestra committees who seek the authority to administer the agreement must also acknowledge the responsibility and liability for decisions made under their watch. There is no hiding, denying, or abstaining from the same duty of fair representation that is expected from the union. Symphony orchestra committees are not your fathers’ civic or fraternal organizations, where you serve your time or complete your project and all is well. Representing the business interests of your colleagues and their families is a huge responsibility.

In all matters relating to the agreement, the committee must measure when and what to report to the membership. It is responsible for handling day-to-day business, including variances, and processing and investigating grievances in a timely and thorough manner. Committees must also bring experience to the bargaining table. They are responsible, by their recommendation, for directing the unit to accept or reject tentative agreements or final offers. Committee members don’t have the luxury to pick and choose the grievances that they want to handle nor to limit themselves to decisions that won’t cause confrontation. Conversely, the rank and file is well-advised to listen to the debate respectfully and to not attack a committee they have elected when it is serving in their best interest.