Tag Archives: music business

Music Career Day
Recent News

Mohawk College Music Career Day

Music Career Day

(L to R) Local 293 Executive Board Member Ryan McKenna, CFM Electronic Media Supervisor Daniel Calabrese, and Local 293 President Larry Feudo man the CFM Booth at Mohawk College’s Music Career Day.

On May 1, members of the AFM participated in the first annual Music Career Day at Mohawk College in Hamilton, Ontario. Attended by more than 600 high school and college students, the event presented more than a dozen panels. Three live bands, two of them comprising entirely Local 293 (Hamilton, ON) members, provided entertainment. For more information on the event, including panelist bios please visit https://www.mohawkcollege.ca/music-career-day-hamilton. 

Hamilton Musicians’ Guild, Local 293, President Larry Feudo, Secretary-Treasurer Brent Malseed, and AFM International Representative Allistair Elliott served as panelists on a workshop entitled “Introduction to the Hamilton Musicians’ Guild,” moderated by Local 293 2nd Vice President Janna Malseed. Some of the topics covered were: the history of Local 293, benefits and services to members, contracts for live performances/recordings, intellectual property rights, US work permits for Canadian musicians, the MPTF, and the Lester Petrillo Fund. The theme was the importance of being part of a collective for a stronger voice in issues that affect all musicians at the local, national, and international levels.

Music Career Day

The Women in Music panel was popular with students. (L to R) are: drummer Amy Di Nino of Local 226 (Kitchener), keyboardist/vocalist Lily Sazz of Local 293 (Hamilton, ON), singer/songwriter Lori Yates, disc jockey Rachael Henderson (aka DJ Donna Lovejoy), and manager/producer Robert Missen.

A CFM booth at the Music Career Day Vendor Marketplace, was manned by CFM Electronic Media Supervisor Daniel Calabrese with the assistance of Local 293 First Vice President Reg Denis and Executive Board Members Ron Palangio and Ryan McKenna. They handed out AFM/CFM informational pamphlets and answered many questions about the benefits of AFM membership. Mohawk College Music Student Raul Gutierrez-Ruiz, who is interning at the Local 293 office, helped the team and took photographs.

Among the more than a dozen workshops and panel discussion topics were career pathways, women in music, film scoring, royalties and licensing, and funding sources. The workshops were dialogue starters with something of interest to everyone. Among the panelists were Local 293 members Lily Sazz, Andre Bisson, and Janna Malseed; Amy Di Nino of Local 226 (Kitchener, ON); Pat Collins of Local 149 (Toronto, ON), and Dusty Micale of Local 802 (New York City).

Music Career Day

(L to R) At a workshop, Local 293 Secretary Brent Malseed and President Larry Feudo, AFM International Representative Allistair Elliott, and Local 293 Vice President Janna Malseed (moderator) introduced students at Mohawk Colleges’s Music Career Day to the union.

“Music Career Day was an excellent opportunity for our officers to interact with the students and network with the other panelists to make them aware of what we do as a union.  As a result of this event, three new members joined Local 293 the day after,” says Brent Malseed.

The event, designed to offer networking opportunities and unique workshops/panel discussions for aspiring musicians and industry professionals was created with support from Mohawk College, Hamilton Music Community, and the City of Hamilton.

The Hamilton Music Advisory Team (HMAT) has close ties to Local 293 through Janna Malseed’s position as vice chair of the HMAT committee. Made up of local music industry representatives with eclectic musical backgrounds, HMAT assists with the city’s music strategy and is focused on “cultivating music creation and talent and growing audiences and appreciation of music.” For more information on the HMAT visit https://www.hamilton.ca/hamilton-music-film-office/music-in-hamilton/hamilton-music-advisory-team.

At the closing ceremony, Local 293 President Feudo and Secretary-Treasurer Malseed presented second-year Mohawk College music student James Degeer with a cheque representing the local’s donation to the Richard Newell (King Biscuit Boy) Scholarship, given annually to outstanding music students at Mohawk.

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To see video highlights from Mohawk College Career Day visit:
www.hamiltonmusicians.org/news-events

At Mohawk College’s Music Career Day closing ceremony, student James Degeer was presented with a cheque representing Local 293’s contribution to the Richard Newell Scholarship. (L to R) are: Mohawk College Associate Dean of Media & Entertainment Kurt Muller, Local 293 officers Brent Malseed and Larry Feudo, and Degeer.

Robert Baird, Traveling Musician

Canadian Letter of Invitation and Border Considerations

My company is hosting an event in Whistler, B.C., and will be employing an American band as entertainment for the event. I understand that they will need a Letter of Invitation, but does the band need to show a contract for performance at customs? Do you see any other issues with them crossing?

Any border crossing is fraught with several “issues.” In order to facilitate the border crossing of an American band into Canada, the following issues should be considered:

  • Obviously, a passport or other acceptable form of travel document will be required at the border.
  • A Letter of Invitation from the employer in Canada is required because the band members will be considered as business visitors. The letter must include information about the person(s) being invited including full names, dates of birth (if known), purpose of the trip, and length of time in Canada. The Letter of Invitation should be on organizational letterhead and include a brief description of the event, as well as the employer, and be signed by a responsible person in the organization. If group members are not arriving together, everyone in the group should have a copy of the Letter of Invitation.
  • In addition to the Letter of Invitation, an American group coming into Canada should have with them a copy of their performance contract.
  • At the border, the group members will normally be asked the purpose of their trip, how long they will be in Canada, where they will be staying, what they do for a living, and if they have anything to declare. They may have to confirm that they will be returning to the US (showing a return flight reservation, for example).
  • If the group is bringing in equipment into the country, then they should, at the very least, have an itemized inventory of the gear. Also, get the list stamped at US Customs before entering Canada, so that when the group returns to the US, there will be no problems bringing the equipment back into the country.
  • If the group is bringing in CDs or other promotional items, they need to be declared at the border and properly labeled with country of manufacture. Having a copy of the manufacturing invoice is recommended. Customs duties may apply, based on the manufacturing price, not on the sale price. If the items are for promotional purposes they should be labeled: “For Promotion ONLY; Not for Sale.”
  • If anyone in the group has a criminal record (felony or misdemeanor), including past driving under the influence (DUI) violations, this may impede entry. If it has been less than five years since a charge or conviction, persons will be deemed “criminally inadmissible” to Canada and a Temporary Resident Permit (TRP) is required, instead of a work permit. If five years have passed, the person may apply for “Individual Rehabilitation.” However, individuals from visa-exempt countries (e.g., the US) who have a single misdemeanor offense for which they were not sentenced to imprisonment, may be issued a TRP at the Canadian port of entry at the discretion of the Canadian Border Services Agency (CBSA). For more details about entering Canada with a criminal record visit: www.cfmusicians.org/services/work-permits.
  • A final consideration is the fact that there is a regulatory 15% withholding on fees to foreign artists in Canada. To avoid this withholding, artists can apply for an R-105 waiver at least 45 days before the performance date.

We welcome foreign artists in Canada and hope their border crossings are made easier by dealing with these considerations.

I welcome your questions and concerns. Please write to me at: robert@bairdartists.com.

5 Tips to Getting Your Price and More
Music Business, Resources, Traveling Musician

5 Tips to Getting Your Price and More

You are a union musician, an AFM member. You don’t play for the door. You don’t “pay to play.” You’re a professional. You want to get scale and above. The problem that many musicians come up against is non-union indie musicians and groups who want to play for exposure, play for tips, or play so they can sell CDs and merch. How do you react when someone beats you into the ground over price? Here are some things you might want to consider when that club, theater, private party, or corporate event says: “You charge how much?” or “Can you do it for less?”

1) What is your “added value”? What sets you apart?

Try to differentiate your act from the others. Do you stand out in a particular niche? Do you have state-of-the-art equipment? Maybe you have a high tech sound system and light system. Or is there something else you can provide? Does your set list include numbers that really sync with the venue? Does your client know how much value you bring, beyond your performance? Make sure they’re aware.

2) Do you have a significant following?

Do you stay in touch with hundreds or thousands of fans, through Facebook, Twitter, and other social media? Do you post your gigs to an online calendar or send out an email blast to let fans know where you will be next? If you are booking a club date, let whoever is booking you know that you will help get the word out so you’ll have a good crowd. Make sure to emphasize what you can do for your client.

3) Do you have credible testimonials about similar gigs that you have played?

Can you provide success stories that can support what you charge, so you seem like a bargain for what you offer? Do you have testimonials in print and on your website you can instantly provide? Don’t hide your light under a bushel. It’s not bragging if it’s a fact.

4) Have you played other bigger venues with great success?

Does your client know your background? Tell them about any performances you’ve done on television or radio. Likewise, tell them about recordings you’ve made, other concerts, festivals, theaters, and major venues you’ve played. Make sure your website and press kit highlight how you stand out and that you are definitely worth what you charge. You are your own best PR specialist. Capitalize on that.

5) Is your talent and expertise known to prospective clients?

You’re a professional. Again, let people know. With you, playing music is a living not a hobby. People wouldn’t go to a discount heart surgeon or a cut-rate doctor. You wouldn’t want a part-time dentist who is also a trash hauler. Stand up for yourself in a way that shows you are worth your price.

Another tip: when someone tries to get you to play for less, let them talk. Find out their real objections. And here’s the kicker:  When you quote someone a price and they say, “Is that the best you can do?” There is only one answer: “Yes.” After you say, “yes,” just wait. Don’t immediately starting hacking your price just to get the gig. Many times your client will just say “okay.” You can always negotiate later.

You know your value. You’re not just starting out. You have experience. You have talent. You’re a union musician. You’re worth what you charge.

Traveling Musician

Playing It Safe: The Importance of Documents

Q: My performing group had a gig in the United States and we thought we were prepared. We knew our work permit was in order; none of us had criminal records; we weren’t carrying any merchandise; we arrived at the border early; we all had passports; and our car insurance was current. But we still had trouble getting across the border. Apparently our visa approval had gotten lost in the system and the border officials could find no record of it. We had no paperwork with us and had to wait at the border until a colleague brought a copy of our I-797. We’ll always carry our paperwork from now on.

It’s always a good idea to carry your paperwork with you, especially when it comes to border crossings. You need an approved work visa to perform in the US. Although the US Citizenship and Immigration Service (USCIS) uses Petition Information Management Service (PIMS) to inform a port of entry or pre-flight inspection facility of all approved visas, there can be errors and omissions. It’s always up to the border official to allow entry. Having your paperwork with you is imperative.

If you are applying for a visa at a consulate and your approved visa is not in the PIMS system, there will be a delay until it is. Having your approved I-797 with you can expedite the process. You might also consider having your complete visa application package with you, since it contains a complete itinerary and copies of contracts, as well as passport copies and beneficiary information.

Although the temporary work permit is perhaps the most important piece of paper to carry with you, there are other essential documents that will help facilitate border crossings. Obviously, your passport (or equivalent identification) is a must.

If you are bringing instruments or equipment with you, you should have an original purchase receipt for each item crossing the border, or at the very least, an inventory listing with particulars such as a description, serial numbers, purchase date, etc. Border officials need to know where and when you acquired an item or they may consider that you acquired it when travelling. It would then be subject to border crossing purchase restrictions and possibly duty and taxes.

If you are travelling with an instrument that contains any of the protected species listed in the Convention on International Trade in Endangered Species (CITES), such as ivory, sea turtle shell, Brazilian rosewood, monitor lizard, or whale bone, you will need a CITES permit to get the instrument across the border. Without such a permit, you may have your instrument confiscated.

If you are travelling by air, have a copy of your particular airline’s musical instrument policy: www.airlines.org/blog/instrument-rated-air-travel-for-musicians/. Also bring a copy of the Federal Department of Transportation musical instrument rule: www.transportation.gov/sites/dot.gov/files/docs/Musical%20instruments_FR_final%20rule.pdf.

Other important documents to have with you are proof of vehicle ownership, proof of accommodation, receipt for a return ticket (if travelling by air), conference registration or letter of invitation, and written permission from the guardians or parents, if travelling with a child under 18.

Border officials need to be assured you are entering the country temporarily, that you will be returning to your own country, and that you are not engaged in any activities which might violate the law.

Play it safe by carrying essential documents with you that will ease your border crossings.

—I welcome your questions and concerns. Please send an email to: robert@bairdartists.com.

dan beck
Music Performance Trust Fund

MPTF’s 2016-2017 Year Off to a Fast Start

dan beckby Dan Beck, Trustee, Music Performance Trust Fund

The Recording Industry’s Music Performance Trust Fund (MPTF) began its 2016-17 fiscal year May 1. The usually busy summer months of live music events, free to the public, are a tradition extending back 68 years since the MPTF was founded in 1948. The Trust Fund’s work is to enrich communities with music culture and entertainment, while providing valuable supplemental income to professional musicians across North America.

This year, we are committed to maintain our primary grant budget at the $500,000 level. Revenues have declined unabated for the past two decades, since they are based almost entirely on the sale of physical product (CDs and vinyl). However, it is our desire to support as many ongoing events as possible, due to their importance to local communities throughout the US and Canada.

The MPTF continues to focus on co-funding programs at hospitals, schools, senior centers, parks, and public locations, where free musical events educate, influence, and impact quality of life. Through nearly seven decades, the organization has provided tens of millions of dollars to enhance inspired community programs featuring the best musical talent.

The upgraded grant management system now in place continues to provide cost savings, quality control, and improved capabilities. The MPTF staff has worked with program developers to simplify the process, including reducing the need for repetitive input. Our grant managers will be attending the AFM’s 100th Convention to demonstrate the system and answer questions on how best to use it. We invite you to visit us at our booth in Las Vegas in June!

Despite the declining revenue, the MPTF implemented a new senior center initiative this past year called MusicianFest. Thanks to a grant from The Film Funds, we were able to initiate more than 600 free senior center performances in the US and Canada. The National Council on Aging’s National Institute of Senior Centers oversees the request applications from senior centers across the country. The MPTF then solicits AFM locals for their ability to fulfill those requests and provides the funding to pay the musicians. This year a budget of $100,000 has been established, above the regular Trust Fund grant budget allocation, to make this program work.

While the grant levels are a challenge and a draw on the MPTF’s reserves, we have continued to reduce overhead costs every year. Those efforts, and their impact, can only last for a limited time before more radical efforts will be required to maintain the Trust Fund’s involvement in supporting live music and the musicians who perform it.

While our grants support a wide range of citizenry, they are most felt by professional musicians. The value of the MPTF to musicians themselves will ultimately determine the future of our efforts.   

Avoiding Border Woes
Robert Baird, Traveling Musician

Avoiding Border Woes

Q: I have often travelled with my community band into the US to play concerts and thought this was a good thing. Imagine my surprise when the band was stopped at the border last month and denied entry into the US because we did not have a P-1 visa. We’ve never been asked for one before—is this something new?

Border woes such as the one described above are all too common and could easily be avoided. The short answer is that, of course, this is nothing new: the temporary work visa requirement for foreign artists entering the US to perform, whether for pay or free, has long been on the books. The enforcement of the regulation was stepped up several years ago, and a temporary work visa is almost always required. However, entry into the US is still solely at the determination of the US Customs and Border Protection Officer at each border crossing, and it is not entirely surprising that this band was allowed in several times over the years and then suddenly challenged with the visa requirement. It all depends on who you get at the border.

So, how does one avoid border woes? Simply put: do your homework well in advance.

1) Get the right temporary work visa. For performing groups I highly recommend the P-2 visa available through the AFM. The musicians’ union has capable, experienced staff members who will assist with the process, and the reciprocal exchange program under which the P-2 visa is administered, provides a streamlined procedure for Federation members.

2) Make sure that all documents are in order: Passports should extend beyond performance dates (some passports may be required to be valid for six months beyond that date).

3) Make sure that all group members qualify for entry. Seventy-five percent of your band members must have been with the group for at least one year.

4) Deal with any issues of criminality for anyone in the group. Any conviction, however minor, can cause problems at the border. There are ways of dealing with this issue well in advance (Look into Waivers of Ineligibility and Criminal Rehabilitation documentation).

5) Deal with the problem of getting merchandise across the border in advance. Send merchandise in via courier or mail, if you can. If you are carrying merchandise make sure it is properly manufactured, or properly labelled (for example, promotional copies). Have the invoice of manufacture with you. For a large quantity of merchandise, you may want to use a customs broker.

6) Look into customs regulations about carrying instruments containing endangered species across the border. There’s no point in trying to cross a border to perform when there’s a danger that your instrument might be confiscated because it contains something from an endangered species. Check out the Musical Instrument Passport program http://www.fws.gov/international/permits/by-activity/musical-instruments.html.

7) Deal with the problem of transporting instruments, especially if you are flying: Make sure you know the regulations adopted by different airlines for transporting instruments.

8) Work out a strategy for dealing with the border crossing. Rehearse straightforward answers to the typical questions you might be asked by a US Customs and Border Protection official. Coach everyone to be honest and forthright. Answer questions succinctly and do not volunteer additional information.

With a little more knowledge about the regulations for performing in another country and a lot more common sense, border crossing woes can be avoided.

—I welcome your questions and concerns. Please send an email to: robert@bairdartists.com.

mobile djs
Music Business

How Do You Compete with the Local Mobile DJs?

A while back I addressed the subject of competing with mobile DJs. They are not going away. We all know that they’re out there. They multiply like wire coat hangers in a closet. Nothing is worse than losing a wedding gig to a mobile DJ. You take music lessons, spend thousands of dollars, and practice for years to become a professional musician, and then someone right out of high school downloads music on a laptop computer, gets some sound equipment, and starts stealing jobs right out from underneath you.

It’s not just weddings, either. It’s corporate events, private parties, school dances, and on and on. Doing a Google search, you’ll find more DJs than you do bands and orchestras. They’re becoming more prevalent than pizza shops. They’re replacing live music with one person playing streaming recorded tunes, on discount store speaker systems, for less money.

At least that’s how it seems. The only trouble is that sometimes perception is not reality. I suggest that you go to a wedding where one of the better mobile DJs is working. You could be in for a jolt. You might find that this one-person streaming music show is charging more than a four-piece group would. And he or she probably has enough equipment to fill a good-size truck. Also, it might not be just one person. It could be a technician and an entertainer-host.

So, before you decide that those DJs are stealing all the good gigs, find out how you can compete. To do that, you need to find out what you’re competing with. There are DJs and karaoke jocks (KJs) who sing along with the soundtracks, entertain, and get the audience involved. Many DJs and KJs provide constant entertainment, cater to the audience, and have sophisticated lighting equipment. They bring along fog machines and confetti guns, and they charge big bucks.

If you’re going to compete in the “big bucks” category, what can you bring to the party? What can you do that’s really exciting, different, and creative? The DJ thing isn’t as easy as you may think. Many DJs bring as much equipment as a band carting around two Hammond B-3s, a couple of drum sets, three big guitar amps, a complete PA system, not to mention lighting. It’s a lot of stuff. And they play nonstop. They get the audience pumped.

What about you? When you take a break, is anything going on? You could easily record your group as you play each set, then have it play through your sound system on the break. What about lights?

It’s not enough just to play well any more. You have to look spectacular. And, how up-to-date are you? If you don’t know what’s hot right now, you’d better learn quickly. Pick up one of the mobile DJ magazines on the newsstands. See what tunes they consider hot right now. Find out how they involve the audience and how they get their work. See what niches they go after. Find out where one of the better-known DJs is working and go see his or her schtick.

What about your promotional materials? Do you have a demo video that knocks people out? Do you have a drop-dead website with a demo video that makes people want to book you? Do you have a particular niche where you can excel as a band, an orchestra, or a single? Also, don’t think business cards have gone away. Have something unique with your contact number that you can hand out.

Most people would rather hear a live musician than a recording. That’s something in your favor right away. Promote yourself and your band in ways that DJs can’t. “Live music is best” is not just a slogan. It’s true. Many people think DJs are cheaper than a band. They’re not—at least not all of them. And even if they are cheaper, your talent and everything else you can bring to the party can run rings around the music streamers. Just make sure you can compete on the entertainment side, as well as the talent aspect. Then, your bookings might increase dramatically.

Temporary Work Permit for the United States
Music Business, Robert Baird, Traveling Musician

Tips to Getting a Temporary Work Permit for the United States

Q: I am coming to the United States for a tour and I am making plans now to get my visa for the tour. Is there anything I need to know about getting a visa?

The first thing a foreign artist, or nonresident alien (NRA), needs to know is that the visa required for any performing artist is actually a non-immigrant temporary work permit. This temporary work permit visa is a requirement for any kind of performing in the US—paid or nonpaid.

I recently learned of a large performing group trying to enter the US without this visa. They had assumed that, since they were not getting paid and were donating their time and efforts to a good cause, they would be allowed into the country. US Customs and Border Protection had to refuse them entry, and rightly so, since they did not have the necessary documentation to allow them to perform in the US.

Tips to getting a temporary work visa for performing in the US:

Be sure to apply for the correct visa. An O-1B is for internationally-renowned artists and entertainers who possess extraordinary ability; an O-2 is for essential individuals who will accompany an O-1B artist or entertainer to assist in a specific event or performance; a P-1 is for internationally-recognized entertainment groups and its members; a P-1S (or P-2S or P-3S) is for technical staff accompanying a P visa group; a P-2 is for AFM members only; a P-3 is for individuals or groups, under a program that is “culturally unique.” (USCIS has its own definition of “culturally unique” and it may not agree with yours.)

Do not apply for a B-1 or B-2 visa and expect to be able to perform. These are “business” visas, and while they allow you to take care of some “musical” business, they are not work permit visas that allow you to perform.

Be sure to provide exact required evidence of your qualifications for each visa. The classifications of non-immigrant visas are listed on this USCIS website: http://www.uscis.gov/working-united-states/temporary-workers/temporary
-nonimmigrant-workers.

Be sure to fill in the required application forms correctly. The Beneficiary Form for groups requires an alphabetical listing of names with the last name in capitals, followed by the first name.

Give yourself plenty of lead time for any application. Consider possible delays in getting required materials for an application, processing delays, the time required to get an approval form couriered to you, and other hold-ups.

Be sure that everyone has a passport that is valid for six months after your last performance date in the US.

Applying for a non-immigrant work permit visa is a complicated business and requires much attention to detail. Seek professional help if you can’t find the time or energy to make the necessary learning curve.

—I welcome your questions and concerns. Please send an email to: robert@bairdartists.com.

Get Their Attention
Music Business, Traveling Musician

First, You Have to Get Their Attention

Years ago, if an indie musician wanted to try to book a club or concert venue, they probably started by calling whoever the decision maker was—the club owner, theater manager, etc.—and tried to get them to hear them play. Today it’s a little different. It’s more than a phone call or a press kit with a CD.

I wanted to find out what gets the attention of someone who books a lot of singles and music groups today. I started with Suzanne Morgan, manager of the Orange Blossom Opry in Wiersdale, Florida. She books many local and national groups and singles. Just this past week she had Ricky Skaggs of Local 257 (Nashville, TN), several local groups, a semi-known comic, and then on Sunday night the ’50s vocal group The Drifters. The previous week included The Gatlin Brothers of Local 257.

The place was packed every night. It’s a theater/concert venue and its promoted well. Wiersdale is not a major metro market. (The nearest town is Oklahawa, and I’m sure you haven’t heard of that either.) Morgan is a seasoned vocalist/performer herself. She knows what draws and what doesn’t. She says she is contacted by dozens, if not hundreds, of people who want her to be booked at the Orange Blossom Opry.

I asked her how she likes musicians to contact her. She says, “I like people who know enough to call the box office, get my e-mail address and cell phone number, and then send me an e-mail with a YouTube link so I can see and hear them.” Morgan says she responds to texts, and returns all calls left on her voice mail. The YouTube video weeds out a lot of people.

Just calling her and asking her to book you without knowing who you are, what you do, or what you sound like, doesn’t usually work. She uses a booking agency, but she books musicians on her own as well. Mogan likes talking to musicians and entertainers who already know her venue. She likes oldies, classic country groups, and tribute performers. She appreciates people who figure out what’s going to appeal to her audience. If you do a good job you will be a repeat performer, but first you have to get her attention. Mogan is a good person to know.

Next, I talked with Tom Greenwood who owns the Greenwood Winery in East Syracuse, New York. He books a lot of local musicians for his bar/bistro at the winery. He said he started with Joe Whiting of Local 78 (Syracuse, NY) and built from there. He says that AFM musicians are usually professionals he can count on.

Greenwood says he likes to develop local talent and always responds to musicians calling the winery to find out who to contact and what they’re looking for. He’s got something going on every week.

If you fit the bill, the next thing he wants to find out about is your social media presence. How big is your following? Are you going to help get the word out that you’re performing at his venue? He doesn’t want “pay-to-play” musicians and he doesn’t want musicians who play for the door. He wants professionals who fit nicely into his bistro scene. Greenwood says you can email him a video and then leave him a voice mail. A little persistence helps. His manager also plays a part in who gets booked.

All in all, it takes a lot of things to keep your calendar full. It’s more than being a good indie musician. Today, you need to have some social media presence smarts, networking expertise, correct contact info, and be willing to put a little energy into finding work. But first, you need to get the attention of the person who might hire you. In today’s market, when your video clip is seen, your texts acknowledged, and emails read, you have a better shot of getting a positive response.

Officer Columns, Vice President from Canada

The Music Business—Machine or Eco-System?

My friend, Local 149 (Toronto, ON). Senior Business Rep Dan Broome has bad days and good days—in other words, he ranges from highly intelligent to genius. One of his theories is that music is an eco-system, which upon reflection, is accurate.

Theorizing that musicians and their product are the “roots” of the system, we can easily visualize what comprises the various branches and leaves. For instance, musicians require instruments. One branch would represent the manufacturers, the leaves are their employees, the transportation and distribution network, the music stores and sales team, related accessories, and repairs. That branch alone represents literally thousands of industry people.

Consider the recording studio branch. Aside from engineers, techs, and office staff, we have the folks that master the recording, manufacturers of recording gear, microphones, cabling, tape/memory, amps and all related products, distribution, and human resources. Again, this represents literally thousands of people that rely on musicians.

The broadcast industry is another huge branch. Hundreds of radio stations, web, and streaming sites, the DJs (both on-air and in private business), and the thousands of folks working in media depend on the musicians’ product. Advertisers and the products that depend on wide exposure are an extension of this industry.

The live music scene is a support mechanism for a myriad of offshoot businesses, from the companies that produce liquor and beer, tables, chairs, and other ancillary products to the bartenders, waitresses, cleaning staff, and taxis that rely on wobbly patrons looking for a safe lift home.

It’s easy now to extrapolate and project the billions of dollars generated annually in Canada by music and various tertiary industries that rely upon it. Why then is the average income of a musician in this country barely $15K? We need to examine what’s broken with the system.

The “fruit” growing from the branches represents the tremendous amount of money generated. The “farmers” are the recording labels, venue owners, streaming companies, festival promoters, etc. As in any interdependent society, some of the fruit should be left to feed the roots and reseed the industry, in other words, to share the profits with the source—the musicians. Failure to reinvest in any business leads inevitably to failure.

Unfortunately, the employers we deal with have a far different view of the music industry. I have often visualized an inept government, or charity, where billions of dollars are fed into one end of a giant machine, and out of a pipe at the other end drops a nickel for the public—or in this case, the musician. The employers, and their insatiable desire for ever-increasing profit margins, clearly operate similar to this machine model. Without a fair share of the profits going to the “roots,” the eco-system must inevitably die. Musicians seek other types of work to subsist, which then deteriorates their skills and the resulting product. Or, they make a career decision not to enter the industry at all, which also leads to system collapse.

Also unfortunate is the fact that more musicians will come along who are willing to work longer hours, for less money or free, further perpetuating the greedy ways of the employers. The obvious answer is collective action. When you record or perform live, always make sure you are paid what you are worth and never below scale or without a contract. That’s the only way to force employers to abandon the “machine” model and embrace their responsibility to help sustain music’s eco-system.

Liberal Government Repeals Bills

Unions throughout Canada are pleased that the federal government has tabled legislation to repeal controversial bills C-377 and C-525. These bills were designed to weaken unions by forcing redundant and unreasonable financial reporting, and by making it more difficult for Canadians in federally-regulated workplaces to join a union.

These bills were nothing more than an attempt to undermine unions’ ability to do important work like protecting jobs, promoting health and safety in the workplace, and advocating on behalf of all Canadian workers.

Bill C-377 was pushed through Parliament by the last government in June 2015, despite loud opposition from many different groups, including the NHL Players Association, Conservative and Liberal senators, constitutional experts, Canada’s privacy commissioner, the Canadian Bar Association, and the insurance and mutual fund industry. Minister Mihychuk should be commended for her leadership in repealing this legislation and restoring a balanced labour relations framework for federal workers.