Tag Archives: AFM

Pension Fund Avoids Critical and Declining Status Due to Higher Investment Returns and Increased Employer Contributions

July 5, 2017 IM

Note: AFM-EP Fund updates appearing in this column are not applicable to the AFM’s Canadian Pension Fund, known since August, 2010 as Musicians Pension Fund of Canada.

At its May 2017 Board of Trustees’ meeting, AFM-EP Fund actuaries advised that better than expected investment returns and increased employer contributions—most notably, $20 million in new contributions over the next three years from the Sound Recording and Motion Picture industries negotiated by the Federation—enabled the plan to avoid “critical and declining” status for at least another fiscal year.

Although the odds are that the Fund may become critical and declining at some point in the future, even as early as the next fiscal year (beginning April 1, 2018), that status will depend on investment returns, employer contributions, and other results during this fiscal year.

Busting the Myths

With the speed of today’s Internet, inaccurate information can be disseminated quickly. Here are a few myths I’ve seen, along with the facts.

Myth #1: The Fund is not critical and declining so we’re “safe.”

Though plan status has been certified critical each year since 2010, avoiding critical and declining status this year doesn’t mean the plan is healthy. High investment returns coupled with innovative increases in Federation-negotiated employer contributions kept the Fund out of critical and declining status this fiscal year. As recently as the plan year concluding March 31, 2016, employer contributions covered only 42% of benefit payments.

Increases in the percentage of employer contributions are essential to the health of the Fund. This cannot be accomplished if members opt to work off-contract without pension contributions for signatory employers, rather than insisting that Federation and locally-negotiated agreements with pension benefits be honored.

Myth #2: The Keep Our Pension Promises Act (KOPPA) proposed by Senator Bernie Sanders is good for participants.

Fund trustees would strongly support legislative changes that would help the Plan secure participants’ pensions without relying on benefit cuts. Unfortunately, KOPPA as currently drafted and sponsored by Senators Bernie Sanders (I-VT), Al Franken (D-MN), and Tammy Baldwin (D-WI) provides the Fund with no relief whatsoever.

Why not? Because a key provision in the bill disqualifies the plan from coverage. Relief provided by KOPPA pertains only to plans with a certain percentage of their funding problem attributable to employers who withdrew from the fund without paying their withdrawal liability. One example of this was the 2011 Philadelphia Orchestra bankruptcy. However, because the plan does not meet the bill’s required threshold percentage, KOPPA, if enacted, would fail to provide any relief.

KOPPA would also eliminate the plan’s ability to avoid insolvency (running out of money) by reducing benefits. While no one wants to see benefit reductions happen, that option is important as a last resort. Benefit reductions could allow the plan to continue paying higher benefits than if it became insolvent. As written, Congressional adoption of KOPPA, though highly unlikely in the current Congressional climate, would shorten the life of the plan.

Local 802 (New York City) President and Fund Trustee Tino Gagliardi and I met with senior staffers for Senators Sanders, Franken, and Baldwin in Washington, DC, June 6 to discuss what changes to their proposed KOPPA legislation would be needed to permit the plan to benefit from it. Unfortunately, none of those staffers believed that KOPPA would ever move through required congressional committee hearings where amendments could be made, let alone be adopted.

Myth #3: The plan lost 40% in investment returns when other plans lost 25%.

The Plan lost 29% in investment returns for the 12 months (fiscal year) ending March 31, 2009, not 40% as some have alleged. This misunderstanding was tracked back to the trustees’ December 2016 letter to participants that said plan assets declined by 40% over 18 months. Some have read this to mean the plan’s investment return was negative 40% over that period—but that was not the case.

Myth #4: The Fund office received huge staff pay increases in 2009.

This misunderstanding was tracked back to the change in IRS reporting requirements for the compensation numbers shown on IRS Form 5500 Schedule C. The rules changed in 2009 to expand the definition of compensation to include, not just salary, but all payments made on behalf of staff—including, for example, health insurance and other benefit costs, travel reimbursements, and other expenses incurred while performing their jobs.

Fund Office staff cost increases have averaged only 2.16% a year from fiscal year 2009 to 2016. This modest increase, only slightly more than CPI, includes an increase in staff health care premiums over a period when premiums rose on average more than 25%.

What’s Next?

Because the Fund remained in critical status this year, benefit reductions to already earned benefits, which might be necessary if the Fund becomes critical and declining, will not be considered this year. Next year, the Fund will go through the same process—as it has every year in the past—to determine the plan’s status. Critical and declining status could be in the Fund’s future at some point and appropriate preparations will be made. Until then, the Fund will continue to monitor its progress, review its investments, collect employer contributions, and manage expenses.

The Federation, in each of its negotiations, will push hard for increases in employer contributions to increase the plan’s overall funding percentages and improve assets available for distribution.

I am committed to keeping you updated with the most current information about the Fund’s status. In addition, please visit the Fund website, www.afm-epf.org, register and log on for easy access to FAQ’s and updated information as it becomes available.

Officer Columns

Conference Gathers Eastern Locals for Informative Exchanges

June 30, 2017 IM

by Mary Plaine, Eastern Conference Secretary-Treasurer and Secretary-Treasurer of Local 40-543 (Baltimore, MD)

AFM staff and delegates of the Eastern Conference met in King of Prussia, Pennsylvania, April 22-23.

A historic meeting of Federation and local officers and delegates took place at the Valley Forge Casino Resort in King of Prussia, Pennsylvania, Saturday, April 22, when the Eastern Conference of Locals, comprised of locals from New England, New Jersey, New York, and the former Penn-Del-Mar-DC Conference, was called to order by Eastern Conference President Candace Lammers of Local 400 (Hartford-New Haven, CT). After a lot of work on the part of many people, it was gratifying to see 50 people sitting around the U-shaped table ready to attack a full agenda.

Following the opening business of the conference, the attendees heard presentations from AFM Secretary-Treasurer Jay Blumenthal, who spoke about the financial state of the Federation, and Department of Labor Investigator Nicolle Spallino, who spoke about locals and their need for financial safeguards, internal controls, and record-keeping.

AFM President Ray Hair brought the group up to date on several issues, including negotiations for Pamphlet B, the Sound Recording Labor Agreement (SLRA), and TV agreements. He spoke about changes in media consumption and the Federation’s new revenue streams to help underwrite the Special Payments Fund and the Music Performance Trust Fund (MPTF). Then, Hair was joined by employer and employee representatives for a discussion of the AFM-Employers’ Pension Fund.

AFM Legislative and Political Director Alfonso Pollard reviewed the many issues he has been wrestling in our nation’s capital: copyright and intellectual property legislation, instrument carry-on rules for domestic and international travel, national “right to work” legislation, and immigration.

Labor Attorney Harvey Mars closed Saturday’s business with the address, “The Impact of the Trump Administration Upon Labor in the Arts and What We Can Do About It.” Mars stressed three actions Federation musicians should take to keep themselves strong: fight for the NEA and other federally funded arts and cultural programs; fight for the right to be treated as employees and not independent contractors so that we can receive our full rights under Section 7 of the National Labor Relations Act; and fight to protect the right to organize and to protect union security—fight against right to work legislation. (See page 6 for a longer synopsis.)

On Sunday morning, the first speaker was MPTF Trustee Dan Beck, who updated the conference on the activities of his organization. Following Beck, two Federation employees, Symphonic Services Division (SSD) Director/Special Counsel Rochelle Skolnick and Touring/Theatre/Booking Division Director Michael Manley, gave presentations.

Skolnick described the personnel and operations of the SSD. She spoke about the SSD Resource Center in the For Members/Document Library section of the AFM website. She explained that serving as one of the AFM’s three in-house legal counsels allows for more efficiency as the AFM aggressively enforces its media agreements. She then reviewed recent legal actions.

Skolnick also spoke about the Federation’s new three-part approach to local officer training: webinars; two days of education held prior to the regional local conferences; and three-day intensive retreats to foster mentorships and peer-to-peer help. Well-trained local officers are more important than ever in strengthening the Federation and providing support to our members.

Manley’s presentation was “Freelance for Hire, Gig Organizing Strategies for Local Officers.” He addressed work not covered by collective bargaining agreements, such as single engagements of musicians hired to back up touring artists (Idina Menzel, for example) or productions such as The Legend of Zelda. Manley encouraged local officers to become familiar with contractors, venues, and peer unions in their jurisdictions, and to know what events are taking place in the venues.

Additional conference business included the adoption of new and revised bylaws and the election of officers. The current Eastern Conference Board is: President Matthew Cascioli, secretary of Local 45 (Allentown, PA); 1st Vice President Tom Olcott, financial vice president of Local 802 (New York City); 2nd Vice President Pat Hollenbeck, president of Local 9-535 (Boston, MA); 3rd Vice President Tony Scally, president of Local 16-248 (Newark/Paterson, NJ); 4th Vice President Michael Angelucci, president of Local 341 (Norristown, PA); and Secretary-Treasurer Mary Plaine, secretary-treasurer of Local 40-543 (Baltimore, MD).

Many thanks to all the people who helped bring the Eastern Conference to life, with a special thank you to Angelucci, who was the conference’s lifeline to the hotel.

Next year’s Eastern Conference is planned for April 14-15 and will again take place at the Valley Forge Casino Resort.

AFM’s Symphonic Services Division Highlights

June 30, 2017 IM

by Rochelle Skolnick, AFM Symphonic Services Division Director

Welcome to the 2017 special Symphonic Services Division edition of the International Musician! The members of the International Musician Editorial Board spent our first meeting early this year discussing our visions and aspirations for the magazine. As Secretary-Treasurer Jay Blumenthal wrote in the April issue, the IM is the official journal of the AFM but it is also so much more. It is, in my view, a place in which we have the opportunity to tell the story of who we are—as musicians, as unionists, and as members of our communities. The narratives we tell about ourselves not only document our past accomplishments but also have tremendous potential to inspire and to shape the future.

Joseph Conyers’ story (page 20) is one such inspirational narrative. Conyers leads by example, investing his considerable energy in bringing the art form he loves to children in underserved communities, empowering and inspiring them to realize their full potential. While most of these young people will go on to careers in other fields, some may find their future enriching the fabric of our professional orchestras. Conyers’ outreach efforts are consistent with a broader movement to diversify the American orchestra, both on and off stage.

As ICSOM Chair Meredith Snow writes in this issue, she and I recently attended the annual conference of the League of American Orchestras, which took place in Detroit and had as its theme “Transformation in American Orchestras.” It kicked off with a diversity forum in which dozens of industry stakeholders participated. Relations between the League and the AFM have often been strained but I believe we have consensus with regard to the value of diversity and inclusion within our field.

The IM is also a wonderful tool for the dissemination of information to our members, orchestra committees, and local officers. This issue is chock full of guidance pertaining to every aspect of representing musicians in our symphonic workplaces. Our Canadian SSD staff has collaborated to produce a detailed primer on organizing toward a first collective bargaining agreement within Canada and under Canadian provincial labour law. Laurence Hofmann walks us through the use of the wagechart.afm.org database to develop comparative data-based arguments in support of contract negotiations.

Our local unions depend upon the volunteer service of rank-and-file musicians on orchestra committees to assist in CBA negotiations and enforcement. In this issue, Chris Durham offers his invaluable perspective on best practices for service on orchestra committees. Jane Owen reminds us that the work of those committees doesn’t end when a new CBA is inked. Dawn Hannay (profiled on page 26) speaks to the importance of committee service as a means of carrying forward the legacy of those who fought to make conditions in our symphony orchestras what they are today.

Todd Jelen describes practical steps local unions can take now to insulate themselves against the adverse effects of pending anti-union “right to work” legislation. And Debbie Newmark introduces us to the intricacies of obtaining fair compensation for streaming of our recorded product and the AFM’s efforts in that regard. We are also fortunate to hear in this issue from the leaders of all three symphonic player conferences. Their contributions to the wellbeing of our musicians and our industry cannot be overstated.

Symphonic musicians are conditioned to read the IM starting from the back—the audition ads—and I don’t expect that will change any time soon. But with each issue of the IM we strive to offer content that entices you to delve into the heart of the magazine and linger over stories that inspire, entertain, and inform. I thank all the contributors who have made that a reality with this month’s issue.

Member Profiles

Dawn Hannay: Shining Light on the Union

June 30, 2017 IM

Dawn Hannay of Local 802 (New York City) looks back on her career and activism as a violist with the New York Philharmonic.

Dawn Hannay of Local 802 (New York City) practically grew up on the stage of the New York Philharmonic. Having joined at 23, in 1979, the violist was one of a handful of women performing with the orchestra at the time. Now comprising more than half women, the oldest ensemble in the country is steeped in history and tradition. Hannay, who retired from her position last October, says she learned quickly, “I was always a bit of a rabble rouser so it wasn’t long before I was elected chair of the musicians’ committee.”

Back then, for an “inexperienced young woman,” there was a learning curve. Hannay explains that in those days music schools did little to prepare string players to master the overwhelming orchestral repertoire. “You had to be a great sight reader and fast learner,” she says, remembering the first time she played Ravel’s Daphnis and Chloe suite in Studio 8H at NBC with the mics on, no rehearsal. “It’s like jumping on a speeding train. You have to be tough, especially as a young and very naive woman in what in those days seemed like a good ole boys club, complete with poker games, chain smoking, and even occasional fisticuffs!”

Hannay inherited the torch from those older and more experienced musicians who had fought so successfully to improve the lives of orchestral musicians. She says, “I took on the challenge, and spent decades doing my utmost to improve the working life of my colleagues, negotiating contracts and helping to resolve disputes.”

“The union is crucial in maintaining fair wages and working conditions for all musicians. Younger musicians who prefer to remain independent need to learn the history of their business, and how essential the union is in ensuring that musicians could earn a living from their craft. It is easy to take for granted the 52-week season, health benefits, and pension that we enjoy today,” she says.

What distinguishes prestigious orchestras like the New York Philharmonic from the Vienna Philharmonic? She says it’s “the communication between older players and the next generation. There are many traditions of phrasing and tempi, of fingerings and articulations, of tone quality and bowings, and even jokes that are handed down, such as applauding in rehearsal at the false ending in Tchaikovsky’s Symphony No. 5.”

Hannay explains that a wise conductor lets an orchestra play, shaping his or her own interpretation, but allowing the unique character of the orchestra to shine through. She says, “There may be fewer than a dozen musicians left in the orchestra who played West Side Story under Leonard Bernstein, but they still play the score like nobody’s business. That’s tradition.”

Not long ago, playing in an orchestra was among the most precarious of livings. Hannay explains, “It’s almost unheard of nowadays in any profession for people to stay in a single job for 30, 40, or even 50 or more years. It’s the norm here. We owe this extraordinary stability to a whole generation of musicians who fought to make it so. Their work created the continuity that enables the unique musical traditions to be carried forward from generation to generation. Through the efforts of the past generation there are contracts and fair wages.”

Orchestra standards were set by flutist Julius Baker, clarinetist Stanley Drucker, trumpeter Phil Smith, and concertmaster Glenn Dicterow, of Local 802. Bassist Orin O’Brien of Local 802 shattered the glass ceiling and became the first woman in the orchestra. Legendary players Buster Bailey, Bert Bial, Ralph Mendelssohn, Newton Mansfield, and John Ware created and added to the history and traditions that make today’s daily performances possible.

Hannay performs chamber music, appearing often with the New York Philharmonic Ensembles. She spends the summers in Jackson Hole, Wyoming, playing with the Grand Teton Music Festival, where she is a founding member of the string quartet Wind River 4. In 2001, she was a featured soloist and guest principal viola with the London Chamber Players on a tour of South Africa.

The FIM IOC “Oslo Call”: Orchestras Must Work Together

June 30, 2017 IM

by Naomi Bensdorf Frisch, ROPA Delegate to FIM IOC and Member of Local 10-208 (Chicago, IL) and Local 166 (Madison, WI)

AFM President Ray Hair gives opening remarks at the 4th FIM IOC in Montreal, Canada.

The fourth International Federation of Musicians (FIM) International Orchestra Conference (IOC) was held May 11-14 in Montreal, Quebec. Musicians and managers from six continents gathered at the Delta Hotel for three days of intense discussions about the challenges faced and successes achieved by orchestras around the world. The AFM brought a strong group of delegates to the conference: President Ray Hair; Vice President from Canada Alan Willaert; Secretary-Treasurer Jay Blumenthal; International Executive Board member and Local 802 (New York City) President Tino Gagliardi; Symphonic Services Director Rochelle Skolnick; Symphonic Electronic Media Director Deborah Newmark; ICSOM Chair Meredith Snow; OCSM President Robert Fraser; and I served as the ROPA representative.

An opening reception honored Air Canada with the FIM Airline of Choice Award for accommodating musicians traveling with their instruments. The next morning opened with a lively speech by AFM President Hair who called for orchestra musicians to receive a share of ad revenue generated from orchestras’ pages and posts on online streaming services. Next, Allison Beck, former Federal Mediation & Conciliation Service director, delivered an inspirational keynote speech. She urged the delegates from all over the world to stay strong in this difficult political climate and keep working together to promote our missions. Recalling how Ford was able to pull out of the recession through good labor relations with the United Auto Workers, Beck reminded us that a good labor-management relationship is a “port in your storm,” and when musicians and managers are able to work together “anything is possible.”

Over the course of the three-day conference, eight topics were presented in panel discussion format: 1) The Public Value of Orchestras; 2) Business Models of Orchestras; 3) Orchestras Integrating Digital Tools and New Approaches; 4) Responsibility and Accountability: Role of Musicians on Orchestra Boards; 5) Bullying and Harassment; 6) Practical Aspects of Outreach and Education; 7) Recorded Broadcasts and Rights of Musicians; and 8) The Role of Trade Unions in Safeguarding the Future of the Orchestra. Each panel comprised four speakers (each from a different country) and a moderator. Panelists generally discussed what was working or not working in their home countries regarding each of the topics, allowing an opportunity for the delegates to learn from global experiences.

At the FIM IOC AFM Secretary-Treasurer Jay Blumenthal (far right) moderated a panel on The Public Value of Orchestras. Panel members (L to R) were: Katherine Carleton (Canada), Hans Reinhard Biere (Germany), Benedictus Acolatse (Ghana), and Déborah Cheyne (Brazil).

Some panels had widely different views, for instance, the panel on digital tools. One musician spoke about using digital conferencing to provide outreach and education services, another musician spoke about embracing smart phones in the concert hall, and an archivist from the New York Philharmonic shared her experience creating a digital catalogue of the orchestra’s music. I spoke on the panel about the role of musicians on orchestra boards. In the beginning, the four of us seemed to have very different approaches. By the end of the conversation, however, we all agreed that, though communication between the board and musicians is very important, musicians should not hold seats on orchestra boards. Overall, the panel discussions allowed for the presentation of many different perspectives, which, when supplemented by questions and comments from the delegates, painted a picture of how orchestras are surviving in today’s world.

FIM IOC attendees listen to a panel on Bullying and Harassment in the Workplace. On stage (L to R) are: Michael D. Wright (Canada), Simon Webb (United Kingdom), Kaisa Rönkkö (Finland), Thomas Bjelkerud (Sweden), and moderator Rochelle Skolnick, AFM Symphonic Services Division director. During the conference, translation was provided in English, Spanish, and French.

The “Oslo Call,” established at the third FIM IOC in 2015, calls on musicians and managers around the world to become active in their communities and lobby politicians to help the arts to thrive. In Montreal, the fourth FIM IOC took the Oslo Call one step further, urging solidarity among musicians around the world and advocating for transparent, trusting relationships between orchestra managers and musicians. Delegates left the conference with an understanding that they are not alone; that they have colleagues to lean on in times of need. But further, it is apparent that, though we all have our roles to play, orchestras thrive when the union, musicians, managers, and board (or the government, in the case of our subsidized colleagues in Europe) have a healthy working relationship.

We need to work together to make ourselves relevant and valuable in our communities; to run our organizations responsibly and with good stewardship; to stop bullying, harassment, and exploitation of musicians around the world; and to ensure our own bright futures. Thanks to ROPA and to the AFM for allowing me to be a part of such a special event.

Executive Board Members, Officer Columns

Traveling Engagements—Who Plays and Who Gets Paid?

June 30, 2017 IM

by Joseph Parente, AFM International Executive Board Member and President of Local 77 (Philadelphia, PA)

Over the next several months, outdoor venues will be presenting various types of entertainment in many locals throughout the Federation. These engagements provide added employment to many musicians. However, there seems to be an issue as to which musicians are to be employed for this work and what is the correct scale for these traveling engagements.

A symphony orchestra traveling to another jurisdiction to perform a symphonic concert is normally covered by their collective bargaining agreement (CBA), and is not at issue here. However, in cases where symphony orchestras are hired to travel to other jurisdictions to back a name act or to perform the soundtrack for a motion picture or video game, there have been problems.

AFM Bylaws cover both types of engagements. Article 14 Section 3(a) states:

A symphony orchestra may travel freely for the purpose of giving concerts of a symphonic type … That seems to be clear. Article 14 goes on to say: In the cases where a symphony orchestra travels as a back-up unit to an artist or in a commercial venture that is not self-produced … or the orchestra is not the main attraction … the wage scale of the home Local or the Local having jurisdiction over the engagement, whichever is higher, shall be payable to the musicians …

Again, this means playing for an act, motion picture, or video soundtrack.

Article 13 covers traveling engagements defined as … an engagement in which any member performs outside the jurisdiction of that member’s home Local. This applies to symphony orchestras as well as freelance orchestras traveling to other jurisdictions.

Article 13 Section 10 states:

Except for services that are covered by a CBA with the home Local or the AFM that provides for wages and other conditions of employment … the minimum wage to be charged and received by any member … for services rendered on a Traveling Engagement shall be no less than either the Local wage scale where the services are rendered or the Local wage scale where the musical unit has its base of operation, whichever is higher.

So there is no misunderstanding, other than an orchestra traveling to give a concert, the orchestra’s CBA is irrelevant. Terms of employment are governed by the local’s (either home local or destination local) wage scale book. Obviously, a promoter or presenter would love to pay only traveling expenses (per diem, lodging, etc.), while the cost of the orchestra is being paid by the orchestra’s management who is burning services under their weekly scale.

Incidentally, this situation doesn’t merely occur during the summer. There are just many more engagements in the summer because of outdoor venues. Similar engagements take place during the year with regional “mini-tours” such as Il Volo, Salute to Vienna, Mannheim Steamroller, and Trans-Siberian Orchestra. These are usually freelance engagements, but the same rules apply. Contractors, locals, orchestra committees, and musicians need to communicate with each other before these jobs take place so there is a level playing field for all musicians involved. Once the job takes place, it’s extremely difficult, if not impossible, to make things right. Local musicians should not and cannot be cheated out of work that is theirs in order to accommodate others who circumvent the AFM Bylaws.

Member Profiles

Donn Trenner: Pianist, Musical Director, Arranger, and Author

June 9, 2017 IM

by Ginny Bales, Member of Local 400 (Hartford-New Haven, CT)

The remarkable career of Local 802 (New York City) and 47 (Los Angeles, CA) member Donn Trenner is highlighted in the book Leave It to Me: My Life in Music.

It would be remarkable enough to have played with jazz legends like Dizzy Gillespie, Charlie Parker, Stan Getz, Chet Baker, Anita O’Day, and many others; to have entertained the troops with Bob Hope or led the band for the original Tonight Show; to have served long stints as musical director for Ann-Margret, Nancy Wilson, and Shirley MacLaine; and to have declined doing the same for Frank Sinatra. But can you imagine what it was like to tour with big bands led by Les Brown, Charlie Barnet, or Buddy Morrow?

Donn Trenner, a member of Locals 802 (New York City) and 47 (Los Angeles, CA), has done all of these things in his dream career characterized by consistent hard work, unstinting devotion to quality musicianship, and careful attention to making gigs run smoothly on all levels.

The AFM is important to Trenner. “I am a very devoted union member, starting in New Haven when I was 15 years old. I believe the benefits of being a member outweigh anything else,” he says.

Trenner’s life and career began in Connecticut, and we are fortunate that he has returned to this area where he continues to lead the Hartford Jazz Orchestra. Everyone who has ever known or worked with Trenner appreciates his depth of musical experience, gentlemanly charm, and sense of humor.

The book Leave It to Me: My Life in Music (BearManor Media, 2015) by Trenner and Tim Atherton, jazz educator at Dartmouth College in New Hampshire and Westfield State University in Massachusetts, tells the tale. It’s filled with gig stories and anecdotes often involving well-known musicians and entertainers.

Those interested in understanding how to write arrangements that work well will find Trenner’s insights invaluable. One section of the book is devoted to his philosophy of orchestration, and the entire book is peppered with observations on arranging, dynamics, instrumental balance, stagecraft, and how to bring the best performance out of other musicians.

At age 90, Trenner continues to be a role model. He connects us to iconic music “scenes” from classic jazz and big bands through international touring, TV, and Las Vegas-style shows. He continues to create beautiful music and also entertain through writing and speaking engagements.

A quote on Trenner’s piano reads: “Don’t just play notes—tell a story.” His key to happiness? “Keep music in your life. Music and laughter are the most important beneficial ingredients in a person’s life.”

Musicians Recognized for Community Service

May 19, 2017 IM

Three AFM musicians received 2017 Ford Musician Awards for Excellence in Community Service in May. Violinist Diane McElfish Helle of Local 56 (Grand Rapids, MI) leads the Grand Rapid Symphony’s Music for Health initiative, which sends symphony musicians into hospitals to assist with patient rehabilitation and support. Since 2002, she has also worked with the String Discovery Ensemble, a violin quartet offering hands-on musical experience to 4th graders. In her 37th year with Grand Rapids Symphony, McElfish Helle also created Grand Rapid’s Upbeat pre-concert lecture series.

In addition to being a violist with The Phoenix Symphony since 1995, Mark Dix of Local 586 (Phoenix, AZ) has been active in educational and health and wellness programs including Mind Over Music (science based string orchestra programs), B-Sharp Music Wellness, and A WONDER Project Alzheimer’s Initiative.

Kansas City Symphony principal flute since 2007, Michael Gordon of Local 34-627 (Kansas City, MO) has worked hard to promote the value of music in his community through Community Connections. He collaborated with Arts in Prison to produce a series of chamber music concerts for inmates at Lansing Correctional Facility. He’s also a board member of the Northeast Community Center, which operates Harmony Project KC, a tuition-free music education program for underprivileged children.

A panel of peer professionals selected the musicians through a competitive nomination process. The awards include a $2,500 grant for each musician and a $2,500 grant to each musician’s home orchestra to support professional development focused on community service and engagement for musicians.

Officer Columns, Vice President

Officer Training—A New Day

May 8, 2017 IM

by Bruce Fife, International Vice President and President of Local 99 (Portland, OR)

At the 100th Convention in June of 2016, a resolution was put forward by the Canadian Conference, requiring that the AFM implement an officer training program, with a “… focus on membership retention and recruitment, as well as general office procedures, as a means of combating declining Federation membership.”

This was an affirmation of what many officers and staff had been discussing for some time. AFM President Ray Hair appointed me to chair the committee tasked with creating this program. Joining me in this endeavor are Vice President from Canada Alan Willaert, AFM IEB Member Tina Morrison, with staff participation from Assistant to the President Ken Shirk, Symphonic Services Division Director Rochelle Skolnick, and International Representative Barbara Owens.

The last AFM-sponsored training was convened in the late 1990s, early 2000s. I attended one of the four-day retreats that took place at the George Meany Center in Silver Spring, Maryland. I recall leaving inspired, educated, and exhausted, with new friends, colleagues, and mentors, and most importantly, with a better understanding of the AFM and unions in general. I returned to Portland, ready to take what I had learned and put it into action at Local 99 (Portland, OR). In retrospect, I believe much of
Local 99’s growth, strength, and ingenuity came as a result of that focused training.

Our committee now wants to take the best practices and teachings from the previous instruction sessions, and build on them, with the goal of providing an even better educational experience and set of tools to ensure success in our work and the growth of our locals. In building this program, we have taken a three-prong approach that we believe will provide the highest level of training in the most cost-effective manner.

Phase 1

Phase 1 will be online webinars. These will be a series of one-hour, interactive, open invitation programs that deal with the wide range of issues officers face when running a local. Topics will include:

• The nuts and bolts of building a better union

• AFM local compliance

• Filing AFM reports

• Government reporting

• Bylaws

• Structure of the AFM

• Member services

• Communicating with members

• New member orientation

These webinars will all be posted on the
AFM.org website after the “live” presentation and will continue to be a resource, available 24/7 to all officers. International Representative (IR) Barbara Owens is working with the other IR’s, staff, and officers to build and present these webinars.

Phase 2

Phase 2 will be two-day, intensive training immediately prior to each of the five regional conferences. (The first was scheduled before the Eastern Conference in April 2017.) At these retreats, issues that need face-to-face interactive training will be presented by a number of AFM staff and officers. Topics will include:

• AFM electronic media agreements

• Intellectual property

• Building allies, networking, and using social media

• Grievance and arbitration

• Duty of fair representation

• Internal organizing, orientation,
committee roles, and bargaining prep

• Understanding and navigating “right
to work” laws

Intensive is the right word, as officers will come out of these two-day sessions with a host of answers, along with a slew of new questions, informing and leading to the next level of engagement. They will also glean a new awareness about solving problems and dealing with the issues officers face on a daily basis.

Phase 3

Phase 3 will be a “by invitation,” semi-annual, three-day retreat in Madison, Wisconsin, at the University of Wisconsin School for Workers. This will be labor and leadership “big picture” training. While the specifics of the program are still in development with the university (first program slated for July 2017), topics may include:

• Labor/AFM history

• Leadership and diversity training

• Duty of fair representation

• Strategic planning/problem-solving

Our goal is to have participants emerge with a clear understanding that, as local representatives, they are leaders in the union business, as distinct from leaders in the music business. They will gain appreciation for member-driven collective action.

One of the most important takeaways of my training in 2002, and what we hope to instill in this new group of officers, is the building of relationships and a camaraderie that can be developed with and among each other that extends beyond the class itself, leading to a more cohesive Federation.

As I look around the Federation, many of the colleagues that I spent time with at the Meany Center in 2002 are current leaders within the AFM, and people that I can still reach out to for information and support when challenges emerge. That ability, trust, and mutuality came as a direct result of the training I received and is a key part of the outcome that we want to impart to this new generation of leadership.

If you are a local officer and have questions about these training options, feel free to reach out to your International Representatives. If you are a member, we hope you understand the value and importance of this work and will support and encourage your local officers to participate in upcoming training. Lastly, if you are a member wanting to explore a union post, contact me and let’s talk.

Officer Columns, Secretary-Treasurer

It’s Spring—Finally!

May 3, 2017 Jay Blumenthal

While many are welcoming the arrival of spring with cherry blossoms, light green foliage as tree leaves make their annual debut, and erupting flower beds, AFM local officers have been hard at work preparing and uploading their DOL Labor-Management reports and wrapping up their 2016 audits. Indeed, spring is a very busy time of year for AFM Secretary-Treasurers. As we wrap up our paperwork for last year, we are all provided with an opportunity to reflect back on 2016.

This year’s annual AFM audit will confirm the Federation had a surplus in 2016; however, the surplus was smaller than those reported in recent years. The primary reason for this can be attributed to higher legal costs. Negotiating successor agreements, and holding employers accountable, has been a hallmark of this administration. In the recording industry, some film companies and record labels have not been meeting their contractual obligations in full. This has resulted in litigation initiated by the AFM. In several instances, rather than going through protracted and expensive litigation, settlements have been reached putting payments into the pockets of musicians now rather than rolling the dice for a potential win (or loss) years down the road. Unfortunately, in a few cases, settlements could not be reached so some litigation continues.

Litigation can be very expensive, so our legal bills for 2016 shot up dramatically. Realizing large legal bills are not financially sustainable, AFM President Ray Hair and I discussed how we might better contain legal costs without sacrificing our responsibility to maintain and enforce our national contracts. Consequently, we made two new hires to serve as attorneys, joining our In-House Legal Counsel Jennifer Garner. These new attorneys are embedded in various AFM departments. In-House Counsel for the AFM West Coast Office Russell Naymark and Special Counsel and SSD Director Rochelle Skolnick will help litigate cases thereby reducing our dependence on outside counsel. While there will be times when we need outside expertise, the hope is that these additions to our staff will aid in bringing down our legal costs.

Labor-Management Report

The AFM’s 2016 Labor Management report (LM-2) was uploaded successfully and timely to the Department of Labor (DOL) site. AFM locals and conferences with a January to December fiscal year should have completed and submitted their 2016 LM report to the DOL as the deadline was March 31. There is no grace period! Beginning with the January 2017 fiscal year, all LM reports must be signed and filed electronically. (See my September 2016 International Musician Secretary-Treasurer column, page 4.)

AFM Annual Report

The AFM 2016 Annual Report is currently being prepared. It is comprehensive and contains reports from the AFM president, general counsel, vice president from Canada, secretary-treasurer, auditor (BDO) with financial statements, Federation division directors, the editor of the International Musician, and the AFM International Executive Board minutes. When ready, electronic copies of the annual report will be e-mailed to all AFM locals and will be available on the member’s side of the AFM.org website. Printed copies will be made available to locals upon request.

List of Locals

The 2017 List of Locals booklet has been printed and mailed to each local. If your local has not received your copies, please let Assistant Secretary Jon Ferrone jferrone@afm.org know so we can follow up. The 2017 List of Locals is also available electronically on the Member’s section of the AFM.org website. After logging in, go to Document Library / Miscellaneous Folder / 2017 List of Locals.

Now go enjoy springtime!