Tag Archives: bow

Musicians “Broke, Out West”

At the time of this writing, I have just stepped off a plane from Edmonton, Alberta, having spent the last few days organizing a demonstration/rally, juggling interviews with the press and radio reporters, and meeting with a politician of the ruling provincial New Democratic Party (NDP). At the core of it all was the ongoing effort to get an agreement with the Western Canadian Music Alliance (WCMA), the entity that operates the BreakOut West music festival (BOW).

As I have reported before, the WCMA have an operating budget of roughly $600,000, with a substantial amount of that derived from various government grants and funding, along with private sponsorship. While they have no choice but to pay the “headline” acts fairly, as they have the effect of validating the festival, the lion’s share of the musicians are not paid. Previous agreements with the festival did provide for payment, but BOW has changed their “business model” in favour of belittling musicians even further.

BreakOut West music festival

More than 50 musicians and supporters picketed the BreakOut West (BOW) festival’s host hotel. BOW has refused to negotiate a contract to pay musicians.

This type of social injustice is not just a problem for musicians, but for all Canadian workers, and that premise was why we approached the Alberta Federation of Labour (AFL) for their assistance. They were eager to help, as our message was a perfect fit for “$15 And Fairness,” a nationwide campaign of the Canadian Labour Congress (CLC). The AFL folks were instrumental in producing themed signs and handouts, issuing an “Action Alert” to their affiliates and media to announce the day and time of the rally, and then bringing their staff to participate.

Special thanks must be given to the Edmonton Symphony Orchestra, who sacrificed their break time to help bolster our numbers to more than 50—plenty of folks to fill the street in front of BOW’s host hotel. In addition, in a stunning show of solidarity, we were joined by international jazz great P. J. Perry and blues artist Graham Guest of Local 390 (Edmonton, AB). With chants of “Pay the band, not the man,” our group was successful in sending a strong message.

BreakOut West music festival

(L to R) At the BOW Rally are AFM Vice President from Canada Alan Willaert, Supervisor Electronic Media Services Canada Daniel Calabrese, Director of Organizing & Education Michael Manley, and Negotiator Todd Jelen.

I would also like to thank the AFM Director of Organizing Michael Manley, along with Negotiator Todd Jelen, and Supervisor Electronic Media Services Canada Dan Calabrese, who rounded out the AFM’s onsite personnel. In addition, a special thank you to Local 390 President E. Eddy Bayens and Secretary Edith Stacey for their assistance and outreach to members, and to Local 547 Secretary-Treasurer Doug Kuss, who took the day to travel and support our event.

Following the rally, Bayens and I met with a member of parliament to impress upon him the government’s error in not being more careful about what they were providing grants for. Since the NDP are currently in power in Alberta, one would have to believe that more serious consideration will be forthcoming, as it was pointed out that musicians were paid nothing, not even minimum wage, as required by law.

The demonstration and show of solidarity is only the beginning of this story; pressure must now be brought to bear upon all sponsors of the festival, to ensure that next year’s event is either under a CFM agreement or doesn’t happen. Members, please take note that the WCMA continues to be on the International Unfair List. No contracts should be entered into with them or their affiliates for any performances, until further notice.

BreakOut West

BreakOut West—Still No Deal Do Not Work for BOW

While talks have continued with the executive director of the Western Canadian Music Awards, which presents the BreakOut West (BOW) festival, there is still no appetite on their part to enter into an agreement for the services of musicians. While the CFM has pitched a three-year deal to cover minimum basic fees, pension, and distribution of recorded performances, BOW is refusing to bargain even one year.

The festival is employing a classic “divide and conquer” maneuver. Artists who they consider headliners and therefore essential to the visibility of the festival, are paid handsomely. But the vast majority of the musicians showcasing—in excess of 250—will receive no compensation. Additionally, they are presented with a contract that states they can be recorded and BOW will be held harmless from any payment for the use of any such recordings, in perpetuity.

Since the festival continues to be listed on the AFM International Unfair List. Musicians must not provide services for BreakOut West.

Let me repeat that: Do not perform at BOW!

As unsavoury as this is for everyone, there is much more at risk than what some musicians may consider valuable “exposure.” There are many important festivals in Canada, and failing to get an agreement with one, risks similar consequences elsewhere. All employers everywhere must be held to the same standards: if you engage musicians, they must be properly compensated and treated as professionals.

As AFM President Hair has stated many times, “An injury to one is an injury to all. Together, we are stronger.”

Another important factor in this scenario is the venues. While BreakOut West is not providing compensation, neither are the clubs that are being used for the performances. They can expect a packed house, high liquor sales, and no-cost entertainment. Free music. Anyone who performs under these circumstances is merely contributing to the “pay to play” problem.

Our issues with BOW are not so different from dark recordings that went on years ago, when there were several important recording studios in Toronto. The business representative at the time, Murray Ginsberg, would often visit studios to ensure that the employer on the gig was signatory to the Sound Recording Labour Agreement.

The players would, of course, be annoyed by a visit from Murray “the Mountie” and the disruption but, in the end, extremely grateful when they were paid appropriate session fees. In addition, there was the increase in the monthly pension payout upon retirement, and also the cheque from the Special Payments Fund, which arrived each year for five years after any such sessions. Not only that, but recordings that were properly documented on B4 Report Forms were subject to new use payments, for subsequent release in other medium or when otherwise repurposed. The promise of “50 bucks cash” could turn into tens of thousands, when it was done properly.

By not obligating the employer to sign a contract for appropriate fees and pension, you are letting them off the hook, cheating yourself, and making it that much harder the next time. By giving BOW your services for free, and not having a contract in place to protect any recording that ensues, you are doing yourself a huge injustice. It also sends the message that your product has no value. The minimum you perform for becomes the maximum employers are willing to pay.

The time for solidarity is now!

Mastering the Bow

Mastering the Bow Studies for Bass, Part 2: Spiccato

Mastering the BowThe goal of this book is to help bassists develop a wide vocabulary of sounds with the bow through exploration of the expressive potential of bow strokes that combine movements, offering an infinite variety of musical gestures. Author Gaelen McCormick, a member of Local 66 (Rochester, NY) offers both explanation and a practical “to do” of examples with etudes and repertoire to support the understanding of specialized bow stroke.

Mastering the Bow Studies for Bass, Part 2: Spiccato, by Gaelen
McCormick, Carl Fischer, www.carlfischer.com.

CodaBow

CodaBow: Violin Bow

bowBow on the Go

Globalbow Technologies may have your passport to worry-free travel. With increased government regulations on instruments containing certain regulated materials—ivory, mother-of-pearl, pernambuco, and ebony—it has become worrisome to travel with certain bows made of natural materials. CodaBow, made with Kevlar and carbon fiber shaft architecture; fiber-reinforced composite or metal alloy tip plates; and XEBONY high-performance composite frogs (available in Natural and Alabaster) with carbon fiber slides, is a beautiful alternative. These high quality bows allow musicians to leave their expensive bows at home with no fear of fines or bow confiscation at the border.

www.codabow.com