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Sharon Hampson and Bram Morrison

Canada’s Sharon Hampson and Bram Morrison Bid Adieu to Touring

Sharon Hampson and Bram Morrison
Children’s performers Local 149 (Toronto, ON) musicians Sharon Hampson and Bram Morrison began performing together as the trio Sharon, Lois & Bram (with the late Lois Lilienstein) in 1978. Having brought entertainment to several generations of young people, they are winding down their touring career but will continue to release new recordings.

Local 149 (Toronto, ON) members and children’s music duo Sharon Hampson and Bram Morrison will take to the road one last time before officially retiring from touring in 2019. As a trio, Sharon, Lois & Bram (with the late musician Lois Lilienstein) was celebrated family entertainment across North America since 1978. They produced numerous recordings, songbooks, six national TV specials, and the long-running The Elephant Show and Skinnamarink children’s television shows.

The pair will not bow out completely. They are working on new recordings and a Skinnamarink book is scheduled for release next fall. A sold-out September 2018 benefit concert brought them back to Toronto’s Young People’s Theatre, where they performed their first show 40 years ago.

“We ended up doing seven shows there,” says Hampson, adding, “It was a grand way for us to kind of kick off this last go-around. To perform there with the Toronto Symphony Orchestra was beyond thrilling.”

Having joined the union in 1951, Hampson is a lifetime member. She says, “They protected us. We worked really hard, but our union looked after us to make sure that we weren’t taken advantage of, that we were paid appropriately. I also come from a union family, so I grew up singing ‘There once was a union maid.’ So, unions are in my bones and I believe in the value of them.” Morrison, also a lifetime member, adds, “It’s been an absolute necessity.”

The duo has been releasing some of her late husband Joe Hampson’s songs. He was a member of the Canadian band the Travellers and penned 1960s songs, including the anti-war song, “Talk About Peace.” Sharon and Bram also recorded a new version of their hugely popular theme song, “Skinnamarink.” “It really expands the message of the song to one of diversity for all kinds of people in all kinds of places.” Hampson adds. 

Sharon, Lois & Bram were once ranked by TV Guide among the top performers for children (second only to Fred Rogers of Mister Rogers’ Neighborhood). Album sales, which have surpassed three million copies worldwide, have earned gold and platinum records and three Juno Awards. Concerts at Toronto’s historic Massey Hall led to engagements at Broadway’s Palace Theater, Lincoln Center, Carnegie Hall, and in 1994, the White House. For their achievements in music, they were inducted into The Order of Canada in 2002. 

The trio first met while working for the Toronto-based Music for Children program in public libraries through Mariposa, an extension of the Mariposa Music Festival. While Hampson and Morrison had known each other from the 1960s when they performed at folk festivals, Lilienstein was a classically trained pianist from Chicago. The three quickly bonded, and in 1978, they recorded “One Elephant, Deux Éléphants,” the now iconic song that earned them their first of many gold records.

The album of the same name, says Hampson, was their inaugural release. “Elephants are strong and gentle. They’re very family oriented and it’s a bilingual country, so it seemed perfect.”

“[Lilienstein] was an American songbook jazz baby and she brought that influence—the show tunes from Broadway, the jazzy approach. We incorporated both folk and jazz. It set us apart from other people doing similar things. We had a broader mixture,” adds Morrison.

Hampson says, “Lois was an extremely creative person. She had a million ideas and there was no self-consciousness about her. She had a pure love for children and loved doing music for them. It was fun collaborating with her.” Lilienstein, one of few Americans to be awarded the Order of Canada, retired from the group in 1999, and since then it’s been known as Sharon and Bram.

The nostalgia component is strong. Nowadays, Sharon and Bram’s audience consists of parents who grew up on their music and TV shows. “In great part, they are the audience and they bring very young children. I’m happy to know that the music is still in their hearts and they want their children to have it,” she says.

Interestingly, Morrison notes that while much of children’s free time is screen-based, when kids attend their concerts and do not have access to devices, they’re exactly like kids three generations ago. “One thing that works to our advantage—when you’re three years old and hear “She’ll Be Coming ’Round the Mountain,” it’s a new song. There are certain standards that keep getting sung again and again.”

Every concert is a singalong for the audience, children and parents alike. “Every kid receives it [the music] in his or her own way,” Hampson says. “Some kids are up there doing it and others are quiet and absorbing it and it’ll come out sometime later.” She encourages parents to “let it come to them.”

Over the years, the group has supported many programs in Canada and the US, such as school breakfasts for learning, promoting inoculations for children, and internationally as Goodwill Ambassadors for UNICEF in North and South America, for which they received the Danny Kaye Humanitarian Award. Morrison supports Amistad Canada, a Mexico-based charity for whom he’s performed fundraisers in San Miguel. Reminiscing on his folk days, he says, “I’m happy to raise money and do concerts with just my guitar and an audience.”

MPTF

Accelerating the MPTF Mission for 2019

Dan Beck

by Dan Beck, Trustee Music Performance Trust Fund

The new year presents an opportunity for AFM locals and the Music Performance Trust Fund (MPTF) to begin to regrow our programs across North America and increase our impact on communities. We are in a position to expand our support to performing musicians who influence the cultural fiber that is so vital in every community.

The Trust Fund has survived two decades of slow and painful decreases to our annual grant budgets. Many locals that once actively participated in creating MPTF events now have new leadership that has never experienced our resources. While many locals have continued to enjoy our allocations, many are now relearning about opportunities that are readily available. 

MPTF
Musicians bring music and music experiences to students through the Music Performance Trust Fund’s Educational Initiative program.

The MPTF is adjusting to the new avenue of revenue growth made possible through streaming royalties. We can now collaborate with AFM membership to create new, dynamic events. These events are a source of supplemental income for musicians. They also stimulate the impact of the AFM, its members, as well as the MPTF, upon the social fiber of the arts in cities and towns across the US and Canada. 

MPTF

We have begun to get aggressive in our efforts to put more funding on the streets. Along with continuing to fund current educational programs at 50%, we have offered 100% funding for new, creative, need-based school programs. With this special allocation, we hope to emphasize and prioritize locals who have not been recent MPTF recipients. Although we originally budgeted this additional fund to the tune of $100,000 for the 2018-2019 fiscal year, we are happy to report we have now extended it to $150,000. 

We have also raised our participation level to 50% across the board for all other events, including parks, festivals, and other free public events. We believe this level of commitment will provide greater leverage to stimulate proactive involvement from local community sponsors. 

Some locals wish to maintain our 30% commitments where local sponsors are already assured. This will help those locals stretch their MPTF allocations most effectively. Additionally, the MPTF has recently offered increased support for new Jazz Appreciation Month events for this coming April. This is on a first come, first serve basis.

The key to our growth is not simply opening up the faucet. We want to expand the use of our funds to create the best quality new programs possible. If our funds seed more participation from other organizations for higher profile events, then everyone wins.

MPTF

We encourage you to send in photos that demonstrate the impact of MPTF events. When people are informed and see high quality events, new impetus and participation can happen. We have new momentum. Leverage our help to engage your community.   

Interested in seeking MPTF help with your community-based project?

The easiest way to apply for a grant is to seek the assistance of an officer or representative from the AFM local in your geographic area. They are often experienced in the Music Performance Trust Fund application process and can also be helpful in planning and organizing your event. 

For more information about the Music Performance Trust Fund visit our website: musicpf.org.

Looking Back on 2018 and Ready for an Exciting 2019

As 2018 comes to a close and we begin a new year, it’s an appropriate time to reflect on the past year and plan for what will be coming in 2019. All in all, 2018 was not as financially robust as 2017, but I am predicting the year will end with a comfortable surplus for the AFM. Of course, actual numbers will not be known until our auditors complete their work in April.

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media rights

Live Concert Venues and Media Rights: Are Musicians Sold Short?

When we consider fair wages and working conditions for musicians working roadshows, the Federation’s Pamphlet B and Short Engagement Tour Agreements (SET) are the gold standard. Pamphlet B establishes fair conditions for musicians on the road in touring theatrical musicals, where the shows are booked for a given number of weeks. The SET contract was structured to cover tours where most engagements are one-nighters or run for less than a week.

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Sphinx Program to Empower Arts Leadership

Empowered by a $1.5 million grant from The John S. and James L. Knight Foundation, the Detroit-based Sphinx Organization is launching a new initiative, Sphinx LEAD (Leaders in Excellence, Arts & Diversity), to inspire and cultivate minority arts leaders.

In Sphinx LEAD’s first two-year term, beginning January 2019, it will serve 10 Black and Latinx arts leaders who are looking to advance their personal and professional growth in order to impact their communities and the arts field as a whole. Each Sphinx LEAD participant will design a growth plan, receive ongoing personalized coaching and mentorship, and attend leadership retreats hosted by major cultural organizations.

St. Paul Chamber Orchestra Reports Balanced Budget

St. Paul Chamber Orchestra reported ending its 2017-2018 year in the black, with a surplus of $153,000. Attracting younger audiences has been a big focus for the orchestra in the past few years, offering school and college students free tickets since 2016. About 10% more young people attended concerts this year than the year before. Unique households attending concerts also hit a record high in the fiscal year ending 2018.

About 61.4% of SPCO’s income came from donations, with individual contributions reaching an all-time high. SPCO musicians are members of Local 30-73 (St. Paul-Minneapolis, MN).

San Francisco Symphony Sees Raises in New Contract

In mid-November, musicians of the San Francisco Symphony approved a new four-year CBA ahead of schedule. The contract maintains the symphony’s position as one of the top paid orchestras in the US. Weekly base salary, previously $3,200, increases to $3,263 under the new agreement. Base salary will increase again to $3,570 in the final six months of the contract.

Among other changes, musicians will share in contributing to health insurance premiums beginning in the second year of the contract, retirement benefits will increase, and the symphony will transition from a housing loan program to a housing shared equity program. Management has characterized the contract as an investment in the future of the symphony.

The San Francisco Symphony musicians are “pleased to ratify a new collective bargaining agreement that reaffirms our place among the top orchestras of the world,” says David Gaudry of Local 6 (San Francisco, CA), chair of the Musicians’ Negotiating Committee.

Baltimore Symphony

Baltimore Symphony Musicians Fight for Their Orchestra

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

Baltimore Symphony
Baltimore Symphony Musicians, members of Local 40-543, play a pre-concert pop-up in the Strathmore Hall lobby to raise awareness. This photo was taken after management took away their music stands, explaining that they were not authorized to use them because it was not a BSO-sanctioned event.

Although Baltimore Symphony Orchestra (BSO) management made noises about early negotiations during the 2017-2018 season, they chose instead to invite the musicians, members of Local 40-543 (Baltimore, MD), to participate in a strategic planning process. When the content of the plan suddenly took a sharp turn, the musicians objected strongly to the report’s new focus on financial stability and the lack of any substantive discussions of the orchestra complement, currently experiencing more than 20 vacancies. The report has now apparently been secretly adopted by the BSO’s board of trustees, behind the backs of the musicians.

Baltimore Symphony

Management had requested a bargaining date in late June but then canceled it with a 24-hour notice. An informal exploratory meeting between the two sides in July yielded no positive results. The August vacation, along with a tour to Great Britain, prevented any real negotiations until September 6—three days before the contract was due to expire. At this session, management proposed an extension until January 15. The musicians offered a slightly different four-month extension, with restoration of the complement to the agreed upon 83 full-time positions. Musicians then also offered to discuss a long-term progressive deal. Management said no. 

BSO musicians began their new season without a formal extension in place. The musicians continued to show up for work and distributed leaflets prior to their concerts, alerting patrons to the fact that the orchestra was working without a contract and asking supporters to follow the musicians on their social media sites.

When BSO musicians sat down at the bargaining table October 30 for only their second negotiating meeting (the first since their contract expired September 9), they were walked through a complete rewriting of their collective bargaining agreement by management’s lawyer. When the union asked to see a “red-line” copy of the proposal, they were handed a 77-page document on which every single page had a change.

This October 30 “shock and awe” proposal included reducing the musicians’ 52-week contract to 40 (including four paid vacation weeks) with the remaining 12 weeks paid at a rate equivalent to the State of Maryland’s unemployment benefit. At minimum, this represents a 17% cut in wages. The proposal also includes the elimination of the summer season, guaranteed relief services, management’s contribution into a 401a retirement account, and all language pertaining to touring.

Management also proposed adjusting run-out language to give it greater scheduling flexibility, reducing personal leave services, and doubling the number of nine-service weeks, along with changes to medical insurance, sick leave, and maternity pay. And although management is telling the public that the changes will not affect their concert experience, classical subscription programs would be reduced from 24 to 18.

Subsequent to the October 30 proposal, the musicians accepted the September 6 extension.

Baltimore Symphony
Brian Prechtl and Melissa Hooper of Local 40-543 distribute flyers and buttons in the lobby of the Joseph Meyerhoff Symphony Hall prior to opening subscription concerts in September.

The musicians have found tremendous support in a group of donors who have written a strongly worded open letter to the board. The Baltimore Sun has published letters in support of management’s position written by the BSO board chair (“We Need to Secure the Orchestra’s Future”) and the grand-daughter of the man after whom the BSO concert hall is named (“Time Has Come for Baltimore to Make Hard Choices”). It has also published letters in support of the musicians’ position, by BSO Players’ Committee Co-Chairs Greg Mulligan and Brian Prechtl (“BSO Management Undervalues Musicians”) and another by ICSOM Chair Meredith Snow and President Paul Austin (“BSO Fundraising: a Challenge but Feasible”).

BSO management claims it has lost $16 million in 10 years. The musicians counter that, while the orchestra’s budget grew by 46%, the musicians’ share of those costs rose less than 7%. The union believes that management has done a good job of raising endowment funds, while starving the institution of operating revenue.

BSO management’s proposal would put the burden of saving money squarely on the backs of the musicians, literally. Musicians would pay, not only with reduced wages and benefits, but with more work crammed into fewer weeks, with less access to time off. Not only do the musicians fear losing their world-class status and losing existing players and potential new players to ensembles with stronger contracts, they will have to contend with having fewer full-time players on stage due to increased injuries.

The next scheduled bargaining date is January 7. The extension is due to expire January 15.

NY Phil/Shanghai Symphony Extend Partnership

The New York Philharmonic and Shanghai Symphony Orchestra will extend their partnership—known as the Shanghai Orchestra Academy and Partnership—for four years, through the summer of 2022. The New York Philharmonic will tour to China annually and the orchestra’s musicians, members of Local 802 (New York City) will teach at the Shanghai Orchestra Academy (SOA) four times per season. In addition, SOA students may be selected by audition to travel to New York City to participate in the New York Philharmonic’s Zarin Mehta Fellowship Program, a weeklong immersion into the lives of orchestra musicians.

The Shanghai Orchestra Academy and Partnership, established in 2014, is a two-year post-graduate program designed to address the need for advanced orchestral training in China. Highlights have included New York Philharmonic performances at Shanghai’s MISA festival; master classes, private lessons and chamber music coaching with New York Philharmonic musicians; side-by-side rehearsals and performances; Very Young Composers workshops and performances; Young People’s Concerts; and a free outdoor concert by the New York Philharmonic Principal Brass Quintet.

hurricane relief

Hurricane Relief Extended to Hurricanes Florence and Michael

The AFM International Executive Board (IEB) has extended hurricane relief assistance to both Hurricanes Florence and Michael. If you were a member in good standing at the time of a loss as a result of a hurricane and continue to be a member in good standing, reside in a county FEMA has designated a major disaster area eligible for individual assistance, and incurred an uninsured loss as described in the Hurricane Relief Fund application, you may be eligible for assistance from the fund. Applications are available for download through the AFM website (AFM.org) under the Hurricane Relief “get help” link. After filling out an application, please follow the directions by submitting the application and all supporting documents to your local. If your local supports your application, they will forward the application and documents to the AFM for a determination. Any assistance will be made at the sole discretion of the AFM.

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