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by Tony D’Amico, President of the Theatre Musicians Association and Member of Locals 9-535 (Boston, MA) and 198-457 (Providence, RI)

The 23rd annual Theatre Musicians Association conference was held this past August at the new AFM Local 47 office in Burbank, California. It was a day and a half of interesting and informative addresses, presentations, and discussions. Our host, Local 47 (Los Angeles, CA) President John Acosta, couldn’t have been more welcoming and generous. Their new home is nothing short of beautiful.

The conference was loosely structured around the theme of the current and future state of the musical theatre business. I’d like to share some of the highlights of the presentations and remarks given during the conference.

In my president’s remarks, I encouraged all TMA members to get involved in the organization by bringing in new members or starting new chapters. I also addressed the issue of national touring acts such as Evanescence or Il Volo, who come into our cities and hire local musicians for below-scale wages. While not theatre work per se, the musicians hired for these shows are often the same players that are hired to play traveling Broadway shows that come into local theatres.

TMA Vice president Heather Boehm, of Locals 10-208 (Chicago, IL) and 802 (New York City), gave an impassioned address about gender equality in the musical theatre pits. We still have a long way to go before this equality is achieved.

AFM President Ray Hair updated us on the Sound Recording Labor Agreement (SRLA) negotiation, the work being done to collect unallocated pension contributions, and the 2019 jingle agreement negotiations, which will most likely focus on licensing. Hair spoke a bit about the efforts to relocate the AFM office, and how, in the end, it makes sense to remain at 1501 Broadway, but make a move to the ninth floor. Later, Hair returned to the podium to give a history of the Pamphlet B agreement.

AFM Secretary-Treasurer Jay Blumenthal reported the AFM has a $2 million surplus and 187 locals, with nine mergers taking place in the past year. He gave details about the 2019 AFM Convention to be held in June.

AFM Local 802 (New York City) President Tino Gagliardi gave a report on the state of the Broadway theatres, noting there are currently 28 musicals on Broadway, employing about 418 musicians. Next season, there are 31 musicals slated to come in, which is the most in recent history.

AFM Touring/Theatre/Booking Division Director George Fiddler gave a report outlining the money Broadway and touring musicals generated this past season, as well as the number of theatergoers these shows attracted. He gave a list of the AFM contracted shows on tour during the 2017-2018 season, and how many travelers and local musicians each show employed. Fiddler also discussed how the overages on SET agreements affected the traveling musician’s paycheck, and how that compared with musicians on full Pamphlet B shows. Finally, he gave a preview of shows we can expect to be on the road in the 2018-2019 season.

AFM Director of Organizing & Education Michael Manley gave a presentation on organizing, including a screening of the film 1,000 People in the Street, a documentary about the 1997 5th Avenue Theatre musicians strike in Seattle.

TMA SoCal President Paul Castillo led a panel discussion entitled “Organizing, Unity, and the Future of Musical Theatre Employment.”
AFM President Hair and Local 802 President Gagliardi led an AFM-EPF report that also included participation by fund actuaries and lawyers.

All national TMA officers were re-elected by acclamation: myself as president, Vice President Heather Boehm, and Secretary-Treasurer Mark Pinto of Locals 9-535 (Boston, MA) and 126 (Lynn, MA). We began discussions about the location of next year’s TMA Conference.

It is always a pleasure to attend these conferences and meet with theatre musicians from all over the United States and Canada. Our organization has done some truly great work over the past 20-plus years, but there is so much more that must be done.

Negotiations for a Pamphlet B successor agreement are right around the corner, and TMA will be at the table for these talks. Whether you only occasionally play musical theatre productions or the pit is your full-time job, I think you will find TMA membership worthwhile. Please go to afm-tma.org to learn more about our organization, or write to me: president.tma@afm-tma.org.

Organizing

CFM Supports and Participates in Folk Music Ontario Conference

November 7, 2018 IM

CFM staff Rosalyn Dennett (centre) with Local 1000 Members Ken Whiteley (left) and Rob McLaren at the Musicians United to Protect Bristol Bay showcase.

Consultant Robert Baird of Baird Artist Management and CFM Director of Administration Susan Whitfield spoke to a full room of delegates at the “Touring in the US” presentation.

Pour la version française cliquez ici.

On September 27-29, representatives from the Canadian Federation of Musicians (CFM) took part in the Folk Music Ontario Conference (FMO). CFM involvement has varied over the years, but this year they were proud to present the Folk Music Ontario Awards Showcase, which featured many of its award-winning members, including The O’Pears (Meg Contini, Jill Harris, and Lydia Persaud, members of Hamilton Local 293) and Tragedy Ann (Liv Cazzola of nongeographic Local 1000 and Lenka Lichtenberg of Toronto Local 149).

“When I am asked what my definition of a ‘showcase’ is, the Folk Music Ontario Conference is often the example I give,” says CFM Licensing and Outreach Coordinator Rosalyn Dennett. “The organizers do a great job of creating an opportunity for artists to perform for international and Canadian buyers, network with the industry and fellow artists, and receive top-of-the-line professional development training, all without exploiting their performances in a public setting for ticket and bar sales.”

CFM Director of Administration Susan Whitfield and Consultant Robert Baird from Baird Artist Management gave a “Touring in the US” presentation to a full room of delegates. They outlined visa options and touring tips for Canadian musicians performing in the US.

Dennett moderated a panel titled “Networking and Touring from a Remote Location,” which focused on how artists based in remote or rural locations can access the same opportunities as those based in large cities.

For the second year in a row, the CFM partnered with MusicOntario, the provincial music industry association for Ontario, to host the CFM Artists Hospitality Room. Together they supplied refreshments, healthy snacks, and AFM “swag bags” for the showcasing artists in a green room where performers could safely store their instruments and warm up.

Legislative Update

Creators Win Big as Music Modernization Act Is Signed Into Law

November 5, 2018 Alfonso Pollard

The AFM and all music creators marked a big win last month as President Trump signed the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA) into law after it was passed and reconciled by US House and Senate. As noted in the International Musician last month, the US Senate made amendments to and passed the MMA by voice vote under “unanimous consent.” On September 25, after Senate consideration, the bill was returned to the House of Representatives to resolve differences. The House agreed to the Senate Amendment in the Nature of a Substitute without objection. Most importantly, throughout the entire legislative process, out of 435 members of the House of Representatives and 100 members of the US Senate, not a single no vote was cast.

The bill was renamed the Orrin G. Hatch-Bob Goodlatte Music Modernization Act in honor of the US Senate and House of Representatives Judiciary Committee members who ushered the bill through Congress to completion under a procedural passage process known as “Suspension of the Rules,” with unanimous voice votes coming from both chambers. Hatch (R-UT) is himself a recognized composer. For House Judiciary Chair Goodlatte (R-VA) this was one of his final crowning copyright reform-legislative achievements prior to retirement from Congress and as chair.

This success is a result of a three-year advocacy effort, drafting, lobbying, and shepherding the bill through the legislative process with the help of Congressman Jerrold Nadler (D-NY) and other members of Congress; the MusicFIRST Coalition, which includes the AFM; major artists; and rank-and-file musicians. Together we convinced Congress that the music community could indeed surmount significant yet effective copyright-legislative reform plateaus by working together. As a result of this highly unusual legislative victory, the bill was signed into law by President Trump October 11, becoming Public Law No: 115-264. The AFM owes particular thanks to its IEB members: International Vice President and Local 99 (Portland, OR) President Bruce Fife, Local 257 (Nashville, TN) President Dave Pomeroy, and Local 802 (New York City) President Tino Gagliardi for their focused work on critical members of Congress and on the needs of AFM members.

The MMA contains three titles: “The Musical Works Modernization Act” establishes a new collective management organization (CMO) to manage streaming royalties for musical recordings. “The CLASSICS (Compensating Legacy Artists for their Songs, Service, and Important Contributions to Society Protection and Access) Act” creates a performance right for pre-1972 artists whose music is performed on digital and satellite radio platforms. “The AMP (Allocation for Music Producers) Act” increases royalty payments to producers and sound recording engineers receiving direct payments from SoundExchange when recordings are used on satellite radio and online radio services. A congressional overview by Congressman Ted Lieu (D-CA) indicates that the bill reforms music licensing in four areas:

1) Section 115 Reform ends the bulk Notice of Intention process.

2) The “Willing Buyer/Willing Seller Standard” under Section 115 now requires the court to consider free market conditions when determining rates.

3) The “Wheel Approach” allows ASCAP and BMI, along with music licensees, to go before any judge in the Southern District of New York on a rotating basis for purpose of rate setting disputes.

4) Section 114 (i) Repeal now allows PRO’s and songwriters the ability to present evidence about other facets of the music ecosystem to judges for their consideration, allowing songwriters to obtain fairer rates for the public performance of their musical works.

These major changes to music licensing and copyright law bring legislation in line with the way the modern music business operates.

A well-deserved October 10 victory celebration of this momentous Congressional win was attended by a broad range of advocates, partners, artists, and songwriters at the Winery in Washington, DC. The event was sponsored by the lobbying collective that included the AFM, SoundExchange, the Recording Association of America, the Recording Academy, A2IM, and 30 other music industry advocates.

For all artist creators, congratulations! The bill is now recognized as the “law of the land.”

Orchestra News

Symphoria Ratifies First Agreement

November 1, 2018 IM

In June, the musicians of Symphoria in Syracuse, New York, ratified their first one-year agreement. The agreement—basic, but comprehensive—is intended to serve as a template for future agreements. Much of the language was taken from previous Syracuse Symphony Orchestra contracts, as well as procedures and agreements used during the founding of Symphoria. The orchestra’s musicians are represented by Local 78 (Syracuse, NY).

The contact establishes an annual salary of $12,600, and an orchestra complement of 48 core musicians with five additional contract musicians. Season length is 35 weeks for the regular season and an additional two weeks in the summer. Existing health care and dental care policies will remain intact, and the contract establishes two sick leave services per season.

Orchestra News

Lyric Opera of Chicago Resolves Orchestra Strike

November 1, 2018 IM

Days after a musicians strike began, musicians and management of the Lyric Opera of Chicago reached a contract agreement October 14. The new collective bargaining agreement extends through the 2020-2021 season. It includes a reduction in the number of main opera season weeks from 24 to 22, as well as a reduction in the number of musicians. The orchestra complement will be reduced by four musicians from 74 to 70; however, the reduction will be delayed until the 2019-2020 season.

Under the new agreement, musicians will see a 5.6% increase in weekly salary over the three-year contract term. In addition, the 2019-2020 season includes a guarantee of five additional weeks for The Ring Cycle, outside of the 22-week main opera season. The spring musical is guaranteed to employ 37 Lyric Orchestra members, with weekly salary for musicals increasing by 6.7% over the three-year contract term. There are new guarantees regarding the hiring of Lyric Orchestra musicians for Joffrey Ballet productions beginning in 2020.

Health care benefits will remain intact; family leave was equalized at eight paid weeks for maternity and paternity leave.

The previous musicians’ contract expired June 30. When management failed to offer a fair deal, Lyric musicians—members of Local 10-208 (Chicago, IL)—went on strike October 9, leading to the cancellation of two rehearsals and three performances. One of the rehearsals was restored and two of the performances have been rescheduled. The negotiating team bargained a long road back from management’s initial proposal of a 43% wage cut. Management’s previous offers had also proposed eliminating five orchestra positions, requiring higher health care payments, and eliminating all of Lyric’s popular radio broadcasts.

“The Chicago Lyric Opera Orchestra is dedicated to providing Chicago and the world with the highest quality grand opera and is eager to work to find a positive way forward. The outpouring of public sentiment on behalf of the orchestra has inspired the musicians to persist in this ideal,” says Orchestra Committee Chair William Cernota.

Orchestra News

North Carolina Symphony Collaborates with Cherokee Tribe

November 1, 2018 IM

This October saw the culmination of a multi-year partnership between North Carolina Symphony (NCS), based in Raleigh, and the Eastern Band of Cherokee Indians with the world premiere of a work by composer William Brittelle. Cherokee choral students joined the symphony for the performance.

The partnership, which began in 2016, has provided every Cherokee student, preschool through high school, with music education opportunities as NCS musicians have made frequent trips to the western corner of North Carolina. Concurrently, the symphony commissioned Brittelle—who was raised in western North Carolina—to write a work that would reflect Cherokee culture.

As Brittelle spent time learning about the history and culture from tribal leaders and working with the choral students, he found that he wanted the message shared in the new work to be theirs alone. In fall 2017, student leaders at Cherokee Central Schools created a forum for classmates to discuss their thoughts and feelings around Cherokee identity: what it means for them to be Cherokee, how they feel they are viewed by those outside of the culture, and their hopes for the future. Out of that discussion came poetic statements that provided the text of Brittelle’s work, Si Otsedoha (We’re Still Here).

The work was premiered in Raleigh and over the course of a week toured to four other North Carolina cities: Wilmington, Boone, Cullowhee, and Cherokee. Musicians of North Carolina Symphony are members of Local 500 (Raleigh, NC).

Orchestra News

Metropolitan Opera Orchestra Ratifies New Agreement

November 1, 2018 IM

The Metropolitan Opera reached a labor agreement with its orchestra musicians in August, allowing the company’s season to start on schedule at the end of September. The 2018-2019 season opened September 24 with a new production of Saint-Saëns’s Samson et Dalila.

The two major musical unions at the Metropolitan Opera, AFM Local 802 (New York City) and the American Guild of Musical Artists (AGMA) announced the approval of a new contract with the institution.
The unions represent several categories of artists at the Met, including the regular and associate musicians of the MET Orchestra and music staff and assistant conductors, represented by Local 802, and the AGMA-represented chorus, soloists, stage managers, stage directors, staff performers, dancers, and choreographers.

“The Metropolitan Opera’s product is the talent of its skilled musicians and musical artists, who consistently deliver excellence with every performance, both on stage and in the pit,” says Local 802 President Tino Gagliardi. “This summer, the committees negotiated a favorable economic package that will allow the Met to maintain its high standard of musical excellence, balancing compromises made to ensure the institution’s long-term viability with protections for hard-working musicians. The musicians of the MET Orchestra can now turn their attention to bringing the joy of grand opera to New Yorkers and visitors from around the world.”

Member Profiles

Vinyl Stripes Revive an Era when Turntables Rocked

October 24, 2018 IM

vinyl strips — The Vinyl Stripes of Local 72-147 (Dallas-Ft. Worth, TX), Greg New (bass), Mark Baker (drums), and Steve Curry (guitar), has a retro 1950s-1960s vibe.

Guitarist and lead singer Steve Curry of Local 72-147 (Dallas-Fort Worth, TX) has been influenced by everybody from Stevie Ray Vaughan to Jimi Hendrix—blues, ’50s rock ‘n’ roll, and Django Reinhardt and gypsy jazz. This confluence of genres has steered his career, in particular, the classic rock trio he formed a few years ago with veteran Texas musicians and union members Mark Baker (drums) and Greg New (bass). Their band, The Vinyl Stripes, pays homage to a time when turntables, not streaming services, ruled the airwaves.

“I like the sound from the ’50s when people were just discovering the guitar sound that they call slap-back rockabilly—in Memphis, when Elvis, Johnny Cash, Carl Perkins, and Jerry Lee Lewis were popular, during the Sun Records era.”

The trio’s individual careers are a hybrid of styles. New started out in a punk band and after changing instruments, he cofounded a bluegrass/folk group, which eventually led to indie rock. Baker says his days as a rock drummer leaned loud and fast, adding “With the Vinyl Stripes, we try to pay homage to the tones and techniques of the music of the ’50s and ’60s, and then imagine the progression of those styles with our originals.” Retro style drumming “is a combination of using the correct instruments to achieve the tones and an understanding of where the music came from to properly convey the feeling of the music.”

The band chooses songs for their upbeat tempo: classic ’50s with fun-based lyrics—songs like “Be-Bop-a-Lula” and “Whole Lotta Shakin’ Goin’ On.” Every now and again a cover of Curry’s favorite band will emerge, like The Beatles’ “I’ve Just Seen a Face.” Thanks to his prolific songwriting talent, there is no shortage of originals: a newly recorded dance tune “Jellyroll” and one of their most popular videos, “Lucy,” is a salute to TV legend Lucille Ball.

Curry’s song “Can’t Go Home” has the feel of a 1955 Elvis record, with the guitar-playing attributes of Scotty Moore. Recently, he says, “I wrote about 16 original songs—some of which have rockabilly influence, some with more modern vocal harmony drawn from contemporary bands. I try to keep it grounded in early rockabilly sound, using similar chord progressions. Then, we also write music in the instrumental surf sound style of Dick Dale and The Beach Boys.”

His tenor is suited to the sounds of Buddy Holly and Roy Orbison, two Texans who have influenced his music. “I am probably more influenced by rock and roll and some of the crooners that came before rock,” says Curry. “The music coming out of Texas is pretty eclectic, though. Country music is big obviously, but there are a lot of rock bands, R&B, swing. I hear it all and it inspires me.”

Like all things vintage, there is a reclaiming value to the band’s music. Their garb is retro western plaid and bowling shirts, the stage is decked out in vintage guitars and an upright bass from the ’70s, which New spins occasionally to great effect. Fun is the band’s aim, Curry says, especially in response to today’s polarized environment. To his surprise, a mixed-generation audience fills the venues they play. At one show, he says, “It was like being at a sock hop.”

Born in Texas, just outside of Dallas, Curry moved to Los Angeles in the 1990s, where he played alternately in studio as a session guitarist and as a rock singer. He’s composed music for and played for TV and film. He’s toured and recorded with The Jacksons, Boney James of Local 47, Rapper D.O.C, and ’50s icon Fabian.

In 1996, Curry joined the union. He says, “One of the most important things about it is that, if there’s something in a contract that’s disputed, the union has always helped me. If it ever has to go to court, they are there to deal with it. That makes it invaluable. If I’m in another city, if I have a question regarding a contract, or if I’m looking for players, I contact the local.”

Back in Texas, in 2004, Curry’s interest veered from mainstream pop and rock to very early jazz and jazz guitar styles. He bought a Gypsy jazz style (Selmer) guitar and eventually founded the swing band, the Texas Gypsies. The niche band, with a roaring ’20s vibe, started out as a four-member acoustic gypsy jazz and western swing band—“Django Reinhardt meets Bob Wills.” It’s evolved and nowadays can include as many as 12 musicians, with Romani violin, horns, and retro-style drumming.

Both bands are going strong, says Curry. The Texas Gypsies have played more than 2,000 shows in the last decade, across the US, in Mexico, and even Dubai. The Vinyl Stripes closed out the summer with several concerts in Texas and throughout the region, in Oklahoma, Louisiana, and New Mexico.

Authenticity is all important to Curry. In fact, while we were talking, the doorbell rang with a delivery. It was a 1955 Gretsch guitar to be added to his collection of prized vintage instruments.

International Conference of Symphony and Opera Musicians, Player Conferences

Breakout Groups Bring ICSOM Conference Delegates Together

October 22, 2018 IM

by Laura Ross, ICSOM Secretary and Member of Nashville Symphony and Local 257 (Nashville, TN)

The 56th annual Conference of the International Conference of Symphony and Opera Musicians (ICSOM) was hosted by the musicians of the Cincinnati Symphony Orchestra and Local 1. The conference included the typical reports, presentations, and discussions. However, this year the schedule provided more opportunity for smaller breakout groups and closed sessions. This allowed the delegates to choose the topics and issues for discussion.

Pre-conference events included a volunteer activity at the David and Rebecca Barron Center for Men. Musicians from the Alabama Symphony Orchestra, Atlanta Symphony Orchestra, Buffalo Philharmonic Orchestra, Chicago Lyric Opera Orchestra, Cincinnati Symphony Orchestra, Fort Worth Symphony Orchestra, Grand Rapids Symphony, Kennedy Center Opera House Orchestra, Louisville Orchestra, and Nashville Symphony, along with two attorneys, entertained an appreciative audience on Tuesday afternoon. That evening delegates, local officers, AFM staff, and orchestra members attended a negotiating orchestras workshop.

Wednesday, following the New Delegate Breakfast, the conference began with the usual welcome remarks from our hosts. Welcoming the conference were four groups of stakeholders in the Cincinnati Symphony Orchestra—Board Chair Francie Hiltz, President & CEO Jonathan Martin, Orchestra Committee Chair and ICSOM Delegate Ted Nelson, and Local 1 President and Conference Coordinator Paul Frankenfeld—who stood together in a demonstration of their strong working relationship.

ICSOM Chair Meredith Snow (Los Angeles Philharmonic, Local 47) gave an address that reminded attendees “we are living in a dangerous time for our democracy and there is no room for complacency or ignorance. We must reach out, educate, and support our brothers and sisters, of all political persuasions, race, and economic standing—not just in union solidarity, but that’s a good place to start.”

President Paul Austin (Grand Rapids Symphony, Local 56) spoke about the numerous successful and progressive ICSOM settlements during the past season. Wednesday afternoon, Austin moderated presentations from six ICSOM orchestras—Grand Rapids Symphony, Detroit Symphony Orchestra, Utah Symphony, Louisville Orchestra, Cincinnati Symphony Orchestra (CSO), and Nashville Symphony—about special projects they had created within their own communities or abroad.

Following AFM President Ray Hair’s address, attendees heard an updated AFM-EPF presentation that included Q&A from presubmitted and written questions. That evening, a wonderful reception was held at the newly refurbished Music Hall. Tours included a visit to the massive library that houses 125 years of music and scores for CSO, Cincinnati Pops Orchestra, Cincinnati Opera, and May Festival. Guests were also treated to Cincinnati specialties—goetta sliders, Skyline chili (preferably on spaghetti), and Graeter’s ice cream.

Thursday and Saturday “Bookends of Bargaining” presentations from ICSOM Counsel Kevin Case of Local 10-208 (Chicago, IL) covered how to prepare for negotiations and what to do if your contract expires without an agreement. In the Saturday session, Cypress Media President Randy Whatley also participated, providing examples from previous ICSOM work stoppages.

On Thursday afternoon, delegates heard from the AFM Symphonic Services Division (SSD). SSD Director Rochelle Skolnick provided helpful information about dealing with sexual harassment in the symphonic workplace. SSD Symphonic Electronic Media Director Debbie Newmark discussed the role orchestra committees play in decision-making and approval when working with the Integrated Media Agreement (IMA). SSD Negotiator and Educator Todd Jelen’s presentation addressed building solidarity through orientation.

Parts of Thursday and Friday were also devoted to small group breakouts. A new breakout session allowed groups to compare notes on subjects within orchestras of similar budgets and those in pit orchestras. On Friday, members-at-large and their constituent orchestras met in small discussion groups during lunch provided by ICSOM. Two town hall style meetings were convened for delegates and governing board members, which covered numerous issues raised by the delegates in a closed session.

Friday also included two timely presentations. One advised orchestra musicians on how best to utilize their orchestra’s broker when dealing with 401(K)/403(B) accounts. The second offered further exploration and discussion of diversity within our orchestras.

On Saturday morning August 25, in celebration of Leonard Bernstein’s 100th birthday, attendees were treated to coffee and cupcakes before tackling the final important business of the conference—the resolutions. Delegates adopted five resolutions: recognizing National Symphony violist and former ICSOM Electronic Media Committee Chair Bill Foster of Local 161-710 (Washington, DC) on his retirement from the orchestra after 50 years; advocating for the inclusion of librarians in orchestra collective bargaining agreements; demanding workplaces free from discrimination, harassment, and bullying; standing against ICSOM musicians accepting nonunion work; and encouraging the use of screens for all individual rounds of auditions.

Incumbents Chair Meredith Snow, Treasurer Michael Moore (Atlanta Symphony Orchestra, Local 148-462), Senza Sordino Editor Peter de Boor (Kennedy Center Opera House Orchestra, Local 161-710), and Members-at-Large Dan Sweeley (Buffalo Philharmonic Orchestra, Local 92) and Greg Mulligan (Baltimore Symphony Orchestra, Local 40-543) were re-elected. Sweeley was elected AFM Convention delegate; Member-at-Large Martin Andersen (New Jersey Symphony Orchestra, Locals 16-248 and 802) was elected alternate delegate.

Next year’s conference, hosted by the Utah Symphony and Local 104 (Salt Lake City, UT), will be held August 21-24, 2019.

Officer Columns, Vice President from Canada

Canadian Federation of Musicians Bargaining Roundup

October 10, 2018 Alan Willaert

Pour la version française cliquez ici.

The summer and fall of this year have shaped up to be negotiation-heavy. While exhausting, we see this as an opportunity to secure better wages and benefits for our members who work under those agreements.

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