Tag Archives: officer column

Secretary-Treasurer

International Musician Looking Forward to Changes and Growth

As I sit to write my monthly column, I generally wait for inspiration. Last month I said goodbye to my Assistant Secretary and COO Lew Mancini—it’s hard to replace 40 years of wisdom.

I recall in the ’80s the International Musician was done in-house. I was involved as an IEB member and I served on the editorial board of the paper. In 2005, when I was elected to the position of Secretary-Treasurer I assumed the position of IM publisher and took a much more active role in the magazine.

When the IM started it was old-fashioned newsprint black and white, resembling a Pennysaver paper you find in front of the local grocery store. As you have seen, the paper is now slick, color, and online—a true award-winner and model for our affiliate locals.
None of this could have been accomplished without Managing Editor Antoinette Follett, who has been putting this publication together for almost 16 years.

The inspiration for this column came a few minutes ago when I received word that Antoinette was leaving to take a position with a local nonprofit in her hometown. However, as she transitions, she will be making sure the minutes at the convention and all other print publications that she does so well are still spot on perfect. We wish her all the best as she made my job much easier with her poised, calm way of approaching problems and managing people. Our publication was never late, always professional, and something that AFM members cherish and look forward to each month. Antoinette, we will miss you and we wish you the best!

I would like to finish my column by introducing our new managing editor, Cherie Yurco. Cherie has been editing and writing for the IM, alongside Antoinette, for 12 years. She has helped me on several projects at the IM and we get along famously. (It is important for editors and publishers to have harmony.)

We also welcomed Advertising Sales Director Karen Godgart in September 2015. I look forward with great anticipation to even greater things ahead for the International Musician as we start the new year on the solid foundation Antoinette has left for us.

 

West Virginia AFM Joint Organizing Program Meeting

Sam-WV-AFM

(L to R) AFM Secretary Treasurer Sam Folio, Local 136 (Charleston, WV) Secretary Tom Kirk, Local 580 (Clarksburg, WV) President Gary Hamrick, and Local 580 member Ryan Cain met at a Fairs and Festivals event in Charleston, West Virginia, to discuss the AFM joint organizing program.

Executive Board Members

2015 Office of Government Relations Review and Look Ahead for 2016

As noted in the December International Musician, 2015 was an incredibly active year for the AFM Office of Government Relations (OGR). The year began with the finalization of a benchmark musical instrument carry-on regulation and ended with another historic accomplishment, the inclusion of music as a “core subject” in federal education legislation.

New Musical Instrument Carry-on Rules

After years of negotiating and lobbying, the AFM, in partnership with the airline carry-on coalition, marked the implementation of a final rule from the Department of Transportation regarding musical instruments as carry-on and checked baggage. The new rule was the result of legislative language included in Section 403 of the FAA Modernization and Reform Act of 2012. As of March 6, 2015, musicians are allowed to bring certain musical instruments in-cabin on US carriers. The rule clearly outlines carry-on and checked baggage procedures.

The AFM developed two manuals to help members navigate the process: A Guide to Traveling with Musical Instruments can be found on AFM.org by logging into “myAFM,” then clicking the “Document Library” tab, and opening the “Legislative Office” folder. This desktop copy was designed to help AFM members understand domestic carry-on requirements and regulations for traveling internationally with instruments that contain CITES related materials. In addition, a pocket-sized handbook, developed in cooperation with the Carry-on Coalition, can be downloaded at: AFM.org/departments/legislative-office/
instruments-as-carry-on.

Performance Rights

On April 13, 2015, Representatives Jerrold Nadler (D-NY) and Marsha Blackburn (R-TN) introduced H.R. 1733 the Fair Play Fair Pay Act of 2015. The bill primarily provides a performance right (royalty) to artist-creators whose music is performed on AM-FM or “terrestrial” radio. The bill also provides federal copyright protections for sound recordings made before February 15, 1972.

Nadler explains: “The current system is antiquated and broken. It pits technologies against each other, and allows certain services to get away with paying little or nothing to artists. For decades, AM/FM radio has used whatever music it wants without paying a cent to the musicians, vocalists, and labels that created it. Satellite radio has paid below market royalties for the music it uses, growing into a multi-billion dollar business on the back of an illogical ‘grandfathered’ royalty standard that is now almost two decades old.” We continue to work with the musicFIRST Coalition seeking co-sponsors for the bill.

CITES International Treaty

Working with our coalition partners, the AFM lobbied for protections for musicians traveling internationally with musical instruments containing CITES related materials, namely African elephant ivory and tortoise shell. Our direct talks with the US Department of the Interior and with the US Fish and Wildlife Service (USFWS) saw significant progress in the treatment of musicians traveling abroad.

The USFWS introduced a new Musical Instrument Passport specific to the needs of professional musicians. It allows musicians to travel multiple times in and out of the US with their affected instruments. Additional information regarding travel requirements can be found in The AFM Guide to Traveling with Your Musical Instrument (available as noted in paragraph 3).

Trans-Pacific Partnership Treaty

The AFM, along with other labor organizations, was actively involved in debating the outcome of the Trans-Pacific Partnership (TPP). As members of the Department of Labor, Labor Advisory Committee (LAC), AFM President Ray Hair and I served as cleared advisors who met with the Secretary of Labor, the US Trade Representative, and White House staff. Our primary concern was protection of US intellectual property and copyright law, in addition to strong labor protections for workers in the 11 TPP partner countries. Though organized labor publicly objected to the treaty, the AFM did help secure copyright and IP provisions that do no harm to US copyright protections.

Unfortunately, the treaty falls short in the area of worker protections. Signing onto the final LAC Report on the Impacts of the TPP (ustr.gov/sites/default/files/Labor-Advisory-Committee-for-Trade-Negotiations-and-Trade-Policy.pdf) the AFM supports the labor movement’s concerns over its promotion of trade rules that enhance the already formidable economic and political power of global corporations. The TPP does not put working families front and center when it comes to job promotion and security, does not encourage freedom of worker association in countries like Vietnam, and could, over time, increase the US Trade deficit  similar to the way other trade agreements have. (AFM Canada also rejects TPP as outlined by AFM Vice President from Canada Alan Willaert’s November 2015 IM column.)

ACA 40% “Cadillac Tax”

The AFM has been working with the AFL-CIO Legislative Committee Healthcare Taskforce, as well as the Department for Professional Employees, to eliminate the 40% Patient Protection and Affordable Care Act (ACA) tax on premium healthcare plans, similar to many union-negotiated plans. Starting in 2018, the tax imposes on insurers an annual 40% excise tax on plans with annual premiums exceeding $10,200 (individual) or $27,500 (family).

At this writing, congressional negotiators have proposed a two-year deferment of the implementation of the tax. Because of the exorbitant, unsustainability of the tax, the AFM has joined with other AFL-CIO affiliates working to stop its implementation. This does not mean that the union does not support other provisions of the ACA, as there are many measures in the bill that benefit our members.

O and P Visas

The OGR has been working closely with AFM Canada and the AFM visa processing office in New York in an effort to expedite O-1 and P-2 visas for artists traveling to the US. Much of the delay in the processing of visas has occurred in the Vermont Service Center. We have worked with the Visa Processing Coalition here in the US promoting the Arts Require Timely Service (ARTS) Act, while working with congressional offices to push for resolutions, in addition to  legislative proposals. Processing times have run as long as 90 days. This is unacceptable.

Musicians have lost work due to delayed processing times and have lost both regular processing and premium processing fees. We are working directly with several members of the House and Senate to push both for legislation and regulatory assistance. We are hopeful that a resolution will come soon as the livelihood of our members takes priority.

Every Student Succeeds Act

On December 10, 2015, President Obama signed the Every Student Succeeds Act (ESSA) into law. It establishes music and the arts as “core subjects” in American education. The bill replaces the No Child Left Behind Act. (For more details on ESSA see page 6.)

AFM President’s Work in Washington, DC

This past year AFM President Ray Hair has made legislative and regulatory issues in Washington, DC, a priority. He traveled to the nation’s capital on three separate occasions to promote the concerns of AFM membership. Early in the year, he testified at the Copyright Royalty Board promoting performance rights parity. Later, he traveled to the capitol to engage in dialogue with National Endowment for the Arts (NEA) Chair Dr. Jane Chu and Dr. John Hasse, curator of American music at the Smithsonian National Museum of American History. Important visits to Congressional Arts leaders included Congressional Arts Caucus Chair Louise Slaughter and House Agriculture Committee Ranking Member and AFM Local 30-73 (Minneapolis-Twin Cities, MN) Member Collin Peterson.

Hair also approved AFM participation in the House Creative Rights Caucus “Beyond the Red Carpet” Movie and TV Magic Showcase on Capitol Hill. The caucus is co-chaired by Representatives Judy Chu (D-CA) and Doug Collins (R- GA). The AFM manned a booth at the event, which attracted more than 500 members of Congress, staffers, and outside guests.

Many other issues, including pension legislation, NLRA Tribal Sovereignty, the WAGE Act, and more, were addressed during the year. Members of Congress and federal department heads and staff continue to support AFM issues and efforts.

Looking Forward in 2016

Work will continue finding cosponsors for the HR 1733, the Fair Play Fair Pay Act. In 2016, the AFM will continue organization efforts, such as previous calls from AFM President Hair for musicians to write to their members of Congress.

The AFM will continue to support the National Endowment for the Arts (NEA) and remain vigilant for any attempt to weaken funding or dismantle the program.

Expediting O and P visas will remain at the top of the agenda as the OGR works with AFM Canada and our Traveling and Touring office to move federal legislation or enact common sense regulatory proposals to help resolve delays. The AFM will work alongside various coalitions, as well as encourage members of Congress to move the process forward.

Because 2016 is a national election year, the AFM OGR will provide information on political party platforms, as well as details about presidential candidates and their positions on arts and entertainment issues. Organized efforts to help members understand where federal elected leaders stand on issues of importance to our livelihood will allow members to make qualified choices at the ballot box. Member activism will go a long way to help support our lobbying efforts in Washington, DC, throughout the year and will serve to build support for legislative issues outlined during 2016 Arts Advocacy Day activities.

Beginning in February 2016, TEMPO Signature Program members will engage in monthly conference calls to discuss the legislative and political priorities of the union. Outcomes and recommendations from those calls will be shared with AFM members through the International Musician.

Finally, the AFM OGR will develop a new Voter Guide that outlines individual congressional votes on legislation important to our members. This booklet will be available in early spring, informing members on how their legislators have voted.

We encourage you to participate in our legislative efforts and thank you for your support of the work this office does. For more information contact me at apollard@afm.org.

Vice President from Canada

«Si j’exige un contrat, je vais perdre mon engagement. » Vraiment?

« Sans contrat », « non Guilde » ou  « au noir  » sont autant de synonymes du travail que les membres choisissent – ou se laissent convaincre – de faire sans remplir et soumettre la documentation se rapportant à l’une ou l’autre des ententes de l’AFM ou aux tarifs de leur section locale.

L’AFM offre à ses membres, pour tous les types d’engagement, des contrats et des formulaires de rapport qui ont fait leurs preuves sur le plan juridique et qui leur permettent de protéger leur travail et leurs créations contre toute utilisation abusive ou toute utilisation nouvelle non autorisée. Dans le cas d’engagements live ou en tournée, ces documents vous garantissent de bonnes conditions de travail et le versement de votre cachet ainsi que des contributions à votre caisse de retraite qui s’y rapportent.

Malheureusement, de nombreux membres ont cessé d’utiliser ces formulaires sous divers prétextes. Dans certains cas, les promoteurs, les maisons de disques indépendantes, la télévision par câble ou les salles de spectacle offrent un contrat substitut rédigé par leurs propres avocats. Généralement, ces documents sont plus favorables aux contractants qu’aux musiciens ou ils contiennent des clauses qui entrent en conflit avec les  contrats ou les règlements internes de l’AFM. Dans tous les cas, il leur manque l’annexe 1 (Schedule 1), laquelle offre à nos membres la protection de base contre l’utilisation abusive. En ce qui concerne la télévision et les maisons de disques, leurs contrats contournent les ententes négociées par l’AFM au nom de ses membres, qui constituent pourtant la norme dans l’industrie. En bout de ligne, ce n’est rien de moins qu’une expropriation des droits des musiciens. Ce seul fait devrait suffire à vous convaincre de déposer un contrat pour chacun de vos engagements.

En ce qui concerne les engagements live, beaucoup de musiciens cèdent lorsqu’un propriétaire de salle affirme « je ne signe pas de contrats, je trouverai quelqu’un qui n’en exige pas ». Or, ce même propriétaire n’hésite pas une seconde à signer des contrats pour la livraison de bière et autres alcools, pour ses travaux d’électricité ou de plomberie, pour l’enlèvement de la neige dans son stationnement et l’entretien ou la mise à niveau des lieux qu’il exploite. Les seules personnes qu’il réussit à convaincre de se passer de contrat, ce sont les musiciens. Le fait qu’il ou elle ne veuille pas signer de contrat avec vous ne devrait-il pas vous mettre la puce à l’oreille? Est-ce que ces gens ne devraient pas vouloir s’assurer que vous allez bel et bien vous présenter pour leur engagement? Peut-être qu’au lieu de parler de contrat on devrait appeler cela une garantie de prestation.
Les conséquences du travail sans contrat sont multiples. Par exemple, la non-admissibilité au programme ETAP- Road Gig, qui permet un dédommagement en cas de défaut de paiement et offre l’assurance d’une représentation par l’AFM devant les tribunaux.  Si vous faites l’objet d’une vérification de l’Agence du revenu du Canada, les copies de vos contrats vous seront d’un précieux secours pour justifier vos revenus tirés de la musique.

Si vous faites des jingles, le travail au noir risque de vous coûter particulièrement cher. En effet, la plupart des annonceurs achètent les publicités par cycles de 13 semaines et, au Canada, la réutilisation d’une publicité appelle un cachet supplémentaire de 50 % du tarif inscrit au contrat d’origine. Ainsi, l’absence de contrat peut facilement signifier la perte de centaines, voire de milliers de dollars, surtout si la publicité « migre » vers un autre média. Et, bien sûr, vous perdez les contributions à un des meilleurs régimes de pension au monde.

Tout enregistrement auquel vous participez, qu’il s’agisse d’enregistrements sonores, de travail pour la SRC, de musique de film ou autre, vous donne droit à un cachet supplémentaire dès l’instant où ce contenu musical est utilisé à une fin autre que celle prévue à l’origine. Autrement dit, vous recevez une nouvelle fois les cachets relatifs aux séances d’enregistrement− ou une partie de ceux-ci s’il s’agit de l’utilisation d’un extrait (clip) – pour le nouveau produit dans lequel votre contenu est synchronisé.  Sans contrat,  l’AFM ne pourra pas retrouver la trace de votre enregistrement, et donc nous ne pourrons pas suivre ce qui arrive à son contenu, ni facturer ces nouvelles utilisations. Et, bien sûr, vous pouvez oublier les contributions à votre fonds de pension.

Les enregistrements sonores sont uniques dans la mesure où la Caisse de retraite rend compte au Special Payments Fund de toutes les sessions effectuées par des membres de l’AFM au cours d’une année donnée. Il en résulte un fonds commun dont le contenu est  distribué à tous les membres qui ont effectué une session d’enregistrement au cours des cinq années précédentes. Plus vous avez fait de sessions, plus la portion du fonds qui vous revient sera importante.

De l’argent est aussi versé au Music Performance Trust Fund (MPTF), qui finance chaque année des centaines d’engagements rémunérés dont l’accès est gratuit pour le public.

Le travail effectué en vertu des ententes relatives au cinéma commercial et au téléfilm oblige les distributeurs à verser des sommes au Film Musicians’ Secondary Market Fund (FMSMF) lorsqu’un film atteint un certain niveau de distribution. Encore une fois, il s’agit d’une source de revenus supplémentaires dont l’importance est fonction du nombre de sessions auxquelles on a participé. Mais s’il n’y a pas de contrat, il n’y aura pas de revenu de distribution ni de contributions à la caisse de retraite.

Bien que le fait de ne pas exiger de contrat puisse paraître comme un « choix » pour les musiciens, c’est tout le contraire. En réalité, vous omettez d’obliger celui qui retient vos  services à respecter les conditions de l’annexe 1 (pour les engagements live), vous omettez de l’obliger à vous payer au tarif en vigueur dans votre section locale et vous omettez de l’obliger à verser des contributions en votre nom à votre caisse de retraite.

La même chose s›applique aux contrats d’enregistrement. Pour les jingles, vous omettez d’obliger ceux qui retiennent vos  services à vous payer pour les réutilisations et les nouvelles utilisations de votre travail, et à verser les contributions qui s’imposent à votre caisse de retraite. Pour les enregistrements sonores, vous omettez d’obliger celui qui retient vos  services à payer ce qu’il doit au Special Payments Fund (SPF) et pour les nouvelles utilisations et la retraite. Et pour la musique de film, vous omettez d’obliger le producteur ou le distributeur à vous payer les vrais tarifs pour vos sessions de travail, à faire des versements au FMSMF, pour la santé et le bien-être et pour la pension. Et la liste s’allonge.

Le musicien qui se contente d’accepter ce qu’on veut bien lui offrir pour son travail peut penser qu’il n’y a pas là de quoi fouetter un chat. En autant que personne ne le sache, n’est-ce pas? Mais pensez à ceci : les fonds dont il est question plus haut – les SPF, MPTF,

FMSMF et la Caisse de retraite des musiciens du Canada – sont tous relativement en bonne santé pour le moment  grâce aux générations précédentes de musiciens qui ont déposé des contrats et obligé leurs employeurs à verser les contributions qui s’imposaient. Si les musiciens permettent massivement à leurs employeurs de manquer à leurs obligations, il suffira d’une génération ou deux pour entraîner une réduction des contributions et peut-être même la disparition de tous ces avantages pour les musiciens.

L’AFM œuvre depuis 1896 à améliorer les vies des musiciens dans tous les aspects du métier, surtout en ce qui concerne les cachets, les avantages et les paiements supplémentaires pour les enregistrements. Cela m’attriste beaucoup de constater qu’aujourd’hui les musiciens apprécient si peu leur syndicat. Ils mettent en péril 120 ans de travail parce qu’ils refusent de défendre leur droit de se produire dans le cadre des ententes de leur syndicat et d’obtenir un contrat signé en bonne et due forme.

Vice President from Canada

If You Ask for a Contract, Will You Lose the Gig?

Off-contract, aka nonunion, aka “dark” are all synonyms for when members choose, or are talked into, not submitting the properly-executed forms associated with AFM agreements or local tariffs.
The AFM provides legally-tested contracts and report forms for use by members for all types of musical engagements to protect the work they do and the products they create from capricious misuse and unauthorized additional uses. In a live engagement/touring scenario, they are your protection against default, cancellation, and double bookings and your guarantee of the agreed upon fee, proper working conditions, and pension contributions, as applicable.

Sadly, many members have strayed away from taking advantage of these forms, citing a variety of excuses. In some cases, promoters, independent labels, cable TV, or venues offer a substitute contract created by their lawyers. More often than not, these contain language that is beneficial to the engagers, not the musician; or there may be elements that are in conflict with our contracts or the AFM Bylaws. In all cases, they lack Schedule 1, which contains the primary protection for our members against misuse. In the case of TV or recording, their contracts circumvent industry-standard agreements negotiated on behalf of the AFM for its members. Ultimately, this amounts to an expropriation of members’ rights. That alone should be enough to convince you to file accordingly and on every gig.

In the case of live gigs, many musicians cave when a venue owner says, “I don’t sign contracts. I’ll find someone who will work without one.” Meanwhile, that same person gladly signs contracts for beer and alcohol delivery, for any required electrical and plumbing work, parking lot snow removal, and building repairs or upgrades. The only people who he convinced to go without a contract are the musicians. Shouldn’t it set off all kinds of alarm bells in your mind knowing he/she doesn’t want a contract? Shouldn’t they also want one to ensure you will show up for the gig? Maybe we shouldn’t call it a contract, but a “guarantee of performance.”

There are several ramifications to not securing a signed contract. First of all, there is no eligibility for the “Road Gig” programme. That means no cash in the event of a default and no AFM representation in court. In the event you are ever audited by the Canada Revenue Agency (CRA), copies of the contracts for all your gigs go a long way toward validating income derived from music.

If you are working in the jingle industry, working off-contract can be exceptionally expensive. Since most advertisers buy commercials in 13-week cycles, and in Canada reuse of a commercial means an additional payment of 50% of the original contract fee, the absence of a contract can mean the loss of hundreds, perhaps thousands, of dollars, especially if the commercial “moves over” to another medium. And, of course, you miss out on contributions to one of the best pension plans in the world.

For any recording you do, from sound recordings to CBC to film work and so on, any additional use of that musical content outside the product it was recorded for generates a new use payment. In other words, you are paid the session fees, or an excerpt (clip use) fee, for the new medium/product into which the content is being synchronized. No contract means the AFM has no record of the recording, which means we cannot track what happens to the content, and we are unable to bill for new uses. And of course, there are no pension contributions.

Sound recordings are unique in that the pension fund reports to the Special Payments Fund (SPF) all sessions done by AFM members in a given year. This results in a pool of money that is paid out to all the members who have done a session within the previous five years. The more sessions you performed on, the larger your share of the pool.

Money is also paid into the Music Performance Trust Fund, which results in hundreds of paid gigs that are free to the public each year.
Work done under the Motion Picture and TV Film Agreements create obligations for the distributer to pay into the Film Musicians’ Secondary Market Fund (FMSMF) whenever a covered film reaches certain levels of distribution. This can also be lucrative, depending on the number of sessions involved and the monetary success of the film. Off-contract means none of this happens, and again no pension contributions.

While not requiring a signed contract may appear to be a “choice” to musicians, it is anything but. All you have done is failed to obligate the purchaser to the terms of Schedule 1 (on a live engagement contract), failed to obligate them to pay the prevailing scale, and failed to obligate them to make pension contributions on your behalf.

The same can be said for all the recording contracts. For jingles you are failing to obligate the purchaser to reuse, new use payments, and pension. For sound recordings you are failing to obligate the purchaser to payment into the Special Payments Fund, new use, and pension. And for films you are failing to obligate the producer/distributor to proper session fees, payments into the FMSMF, health and welfare payments, and pension. The list goes on.

To the musician who is content to take whatever is offered for the gig, this may seem like no big deal. As long as nobody finds out, right? Well, consider this. The Funds that are mentioned above—the SPF, MPTF, FMSMF, and Musicians’ Pension Fund of Canada—are all currently in relatively good shape because of previous generations of musicians who filed contracts and obligated the employers to make the required contributions. After a generation or two of members letting the employer’s off the hook in droves, the inevitable result will be reduced contributions and perhaps even the disappearance of those benefits to musicians.

The AFM has been around since 1896, fighting for improvements to the lives of musicians in every aspect of the business, especially when it comes to fees, benefits, and residual payments for recorded work. It saddens me greatly to know that musicians today have so little appreciation for their union and stand to jeopardize 120 years of work because they refuse to stand up for their right to perform under their union’s agreements, and obtain a signed contract.

Secretary-Treasurer

What Does the Friedrichs Case Really Mean for Working Americans?

As we welcome the new year, I wanted to make you aware of one case on the US Supreme Court docket that could impact workers across the US in 2016.

Friedrichs v. California Teachers Association (CTA) goes to the heart of public sector workers’ ability to unionize and lobby for standards that protect every American. The case focuses on a lawsuit that seeks to destroy public-sector unions by attacking their funding model. Rebecca Friedrichs and nine other nonunion teachers in California are challenging the law that requires them to pay their fair share, via agency fees, of the cost of services that the union is required by law to provide to all workers covered by a collective bargaining agreement (CBA).

Behind the scenes, the Center for Individual Rights, a law firm that has received millions of dollars in funding from conservative foundations, is bankrolling the case. Right-wing operatives, intent on destroying unions and the rights they have won for teachers and other workers, are using this litigation to drive a national policy change to benefit corporate CEOs and wealthy special interests.

The Friedrichs plaintiffs would make unionization harder for everyone by allowing some employees to shirk their fair share of the fees that support negotiations. If they get their way, they will receive the benefits of a union negotiating on their behalf without helping to cover the costs of that work.

The truth is that public service worker unions benefit everyone in the workplace. It is only through the power of negotiating together that we are able to make sure working people earn wages and benefits that support their families, and are able to make improvements to more effectively do their jobs. Through strength in numbers—coming together and speaking with one voice—we all benefit.

The benefits of unions speaking together, especially in the public sector, extend far beyond the workplace. A Supreme Court ruling that goes against the unions could affect public safety standards across the US. First responders—police, firefighters, EMS, and others—won’t be able to negotiate for life-saving equipment and shorter response times. Nurses won’t be able to push for better nurse-to-patient ratios, and likewise, social workers won’t be able to lobby for smaller caseloads. And at the heart of this case, teachers will lose the ability to negotiate for smaller class sizes and improved educational standards. The case could eliminate protections for whistle-blowers who work in food safety or speak out against toxic chemicals polluting our air and water.

I’m personally hoping that when the Supreme Court justices hear this case they keep in mind the protections that have been built through years of organizing, as well as the heroism of our public sector workers.

The loss of millions of dollars in per capita to member unions and the AFL-CIO will affect our union as well. Thinking out of the box as I do from time to time, I can see, if the worst happens, conservatives will try to privatize schools, municipal and state workers, police, fire, hospital services, as well as our symphonies that are state supported. If all were privatized, it would seem that it would present perfect organizing targets. Just saying.

President's Message

Chief Operating Officer Mancini Retires

Lew Mancini, whose tenure with the Federation began in 1971 as a supervisor in the Booking Agent Department, and who eventually became our highest-ranking employee as chief operating officer (COO), retired from service effective December 31, 2015.

Lew served eight Federation presidents in a variety of ways for more than four decades, and was probably best known to local officers and members as office administrator at our New York Headquarters. As coordinator of the AFM’s triennial International Convention, he was well-loved and respected by thousands of delegates and attendees who participated in scores of conventions during his decades of service.

Universally respected by international officers, field staff, department heads, and staff posted at all Federation offices—New York, Toronto, Los Angeles, and Washington, DC—for his institutional knowledge, his pride in his work, and his endearing sense of humor, to say that he will be missed is an understatement.
Lew was named AFM’s COO by the International Executive Board in 2010, a position that combined those of executive assistant to the president and assistant secretary into a single office. The move was part of a sweeping administrative revision by a new AFM administration that sought to promote efficiency and reverse years of deficit spending.

In his newly appointed COO role, Lew handled the day-to-day office administration at headquarters; field staff coordination; correspondence with local officers on behalf of the president and secretary-treasurer; national and international bylaw and policy interpretation; cases, claims, charges, and appeals; preparation of IEB meeting dockets and materials; meeting minutes; local compliance matters; local mergers; and Lester Petrillo Fund application review.

During the past five years as your president, there was never a hitch in the immense flow of work that Lew oversaw on our behalf. He was a trusted colleague. His positive attitude, dedication, and devotion to the cause were always over the top.

But the Federation is more than just a group of offices, more than merely the name of a grand, 120-year-old union, or a seal, a bylaw book, or a website. The Federation is also a family of dedicated people who come to work each day and depend on each other for support when making difficult decisions affecting the lives of thousands of talented professional musicians. That’s why the backstory in Lew’s life and his decision to retire—too early in the view of many—deserves mention in this column.

If you knew Lew Mancini, you know how hard he worked and how much he cared about every aspect of our union, and you also know his grasp of the Federation’s business with the various industry employers and agents on the one hand, and with our locals and members on the other. You could see the results. Lew wasn’t just a talented member of Local 248 (Patterson, NJ) who fell out of the old Corvette in front of Federation headquarters 44 years ago. He was a man who cared about his family. And in more ways than one, the Federation was his family.

During his high school days, as fate would have it, Lew took a strong liking to Laura Crothers, the daughter of Bob and Maxine Crothers. Now, Bob Crothers, you see, just happened to be executive assistant to then AFM President Hal Davis. Bob, who retired in 1986, had also served as head of the AFM’s (then-named) Recording Department, going all the way back to President Petrillo. Laura and Lew have been happily married for 43 years, and for a number of those recent years, Laura served as Lew’s assistant at our headquarters office.

I knew Bob Crothers and Lew Mancini from my days as a full-time professional musician, filing and collecting claims through the AFM against employers, booking agents, and record companies. It became clear to me as a young local officer that Lew’s skill and determination in serving AFM members was more than just a job. It was a deep-rooted family tradition with tutoring up-close and personal from historical pioneers like Crothers, who knew the drill and how to get the job done. Lew and Laura were a pair. They were well-suited to serve, and to serve together. We all benefited.
Having left an inspirational legacy of service to our union that will continue to make a difference for many years to come, Laura and Lew have embarked on a new journey.

In the meantime, we have filled Lew’s shoes with the outstanding talents of Assistant to the President Ken Shirk, who will stand-in temporarily to administer COO matters and also serve as our convention coordinator, together with Electronic Media Services Division Director Pat Varriale.

We wish Lew and Laura Mancini the very best in retirement. On behalf of our international officers, staff, and entire membership, I extend our most heartfelt thanks for all that they have done in service to this great union throughout their entire lives. You will be forever missed, and never forgotten.

To Lew and Laura, in Lew’s own words, “Be well.”

Officer Columns

Eight Social Media Channels Important for Musicians

Recently I did a search on the most important social media sites for networking. Networking has taken on an entirely new meaning in the digital age. Where we used to have handshakes, word-of-mouth referrals, and stamped letters, today’s relationships are often begun and developed on LinkedIn, Google+, and Facebook. That means, as musicians, we have to know and use a variety of Internet platforms to stay relevant, not to mention taking advantage of emerging opportunities. Here are eight important sites you need to be aware of (if you are not already) as a professional musician:

1)    Facebook. Considered to be synonymous with “social media” by some, Facebook is the one site where you’re likely to find friends, colleagues, and relatives all floating around. Although Facebook is mainly centered around sharing photos, links, and quick personal thoughts, musicians can use it to promote their “events” and your fans can show their support by Following your group, Liking your posts, and signing up to attend your events.

2)    Twitter. Perhaps the simplest of all social media platforms, messages are limited to 140 characters or less. That’s more than enough to post a link, share an image, or even trade thoughts with your fan base.

3)    LinkedIn. This is the only mainstream social media site geared toward business. The music business is no exception. LinkedIn is to cyberspace what networking groups once were to local business communities. If it matters to your career, you can probably do it on LinkedIn.

4)    Google+. Social media’s big up-and-comer has really arrived over the past few years. By combining the best of Facebook and Twitter into one site—and backing it with the power of the world’s largest search engine, Google+ has given users a social site that has a little something for everyone. You can add new content, highlight topics with hashtags, and even separate contacts into circles. A G+ profile only takes a few minutes to get set up.

5)    Snapchat. This app gives you the ability to take a picture, add art and text if you’d like, and send it to recipients for a set amount of time (after which the photo will be removed from the company’s servers). This is a good way to stay in touch with your fan base.

6)    Tumblr. This platform is unique in that it essentially hosts microblogs for its users. Musicians can fill their blogs with multimedia (images, short video clips, etc.). The fast-paced nature of Tumblr makes it ideal for memes, GIFs, and other forms of viral content.

7)    YouTube. As a video sharing service, YouTube has become so popular that its catalog of billions of videos has become known as “the world’s second-largest search engine” in some circles. The site has everything from first-person music demos to promotional clips. Users have the ability to share, rate, and comment on what they see.

8)    Instagram. If you’re looking for a quick, convenient connection between the camera feature on your smart phone and all your social profiles, then Instagram is the answer. Not only will it allow you to share photos and short (15-second) videos via Twitter, Facebook, and Instagram, you can also choose from a variety of photo filters and invite friends to comment on your photos or ideas.

Also, don’t forget to get your group listed on AFM Entertainment. The header on this site makes it clear: “When you pay money for live music, deal with the pros. Your event is special—don’t settle for less than the best. We’re professional, we’re affordable, and we’ll make your event more memorable. Book us, we’ll prove it!” As an AFM member and professional musician, make AFMEntertainment.org part of your networking and marketing strategy.

Vice President from Canada

Accord de retenue à la source aux États-Unis

Si vous êtes un artiste étranger non résident (en d’autres mots, si vous n’êtes pas citoyen américain) et que vous vous produisez aux États-Unis, vous êtes assujetti à une retenue de 30 % de votre revenu brut aux fins d’impôt. Cette exigence ne s’applique pas à tous (des entreprises et organismes sans but lucratif répondant à des critères précis y échappent, et certaines conventions fiscales prévoient des exonérations), mais la plupart des artistes ont intérêt à conclure une entente de retenue à la source appelée « central withholding agreement » (CWA), avec l’Internal Revenue Service (IRS) afin de réduire le montant de la retenue.

Une CWA est une entente conclue entre un artiste, un agent responsable de la retenue et un représentant autorisé de l’IRS. L’entente peut couvrir un seul événement ou une tournée, et le pourcentage à retenir est fixé en fonction d’une estimation des revenus et des dépenses fournie par l’artiste en tenant compte de son profit net ou de sa perte nette. Pour être en mesure de conclure ce type d’entente, vous devez avoir produit vos déclarations de revenus antérieures et payé le solde dû (ou pris des arrangements en ce sens) aux États-Unis. Vous devrez également produire une déclaration de revenus pour l’année visée par la CWA.

L’agent responsable de la retenue doit être un tiers complètement indépendant (il s’agit souvent d’un site, d’un agent, d’un gérant, d’un comptable ou d’un avocat). Il doit effectuer la retenue et la transmettre à l’IRS conformément aux modalités de l’entente et produire un relevé des revenus des dépenses de l’artiste à la fin de l’année.

La CWA permet de traiter avec un seul agent responsable de la retenue (au lieu de plusieurs si vous effectuez une tournée), et le pourcentage type de 30 % prévu par la loi est remplacé par un pourcentage déterminé en fonction de la dette fiscale estimée. Seuls les particuliers sont admissibles aux CWA. Dans le cas d’un groupe, chaque artiste doit présenter une demande en son nom.

La demande de CWA doit comprendre les éléments suivants :

  • Le formulaire de demande 13930 (http://www.irs.gov/pub/irs-pdf/f13930.pdf)
  • L’itinéraire des événements couverts par l’entente
  • Une estimation des revenus et des dépenses qui inclut les contrats, les lettres d’accord, les ventes projetées de marchandises, etc.
  • Une procuration ou un formulaire de désignation d’un représentant

Les règles régissant le processus de demande sont très strictes en ce qui a trait à la date de soumission. Toute demande reçue moins de 45 jours avant le premier événement couvert par la CWA sera rejetée. L’idéal est de soumettre la demande 90 jours avant la tenue du premier événement. Si vous ne pouvez respecter cette échéance et êtes assujetti à la retenue de 30 %, vous pouvez demander un remboursement, s’il y a lieu, en produisant une déclaration de revenus pour l’année visée.

Une fois la CWA pleinement exécutée et signée par l’artiste, l’agent responsable de la retenue et le représentant de l’IRS, l’agent responsable de la retenue a la responsabilité d’effectuer les retenues et de déclarer les revenus pour l’ensemble de la tournée ou de l’événement, libérant tous les autres agents de leurs obligations et éliminant les risques de retenue excédentaire.

Certains artistes étrangers espèrent simplement qu’un formulaire W-9 ou W-8BEN suffira ou qu’ils sont couverts par une disposition d’une convention fiscale qui permet de toucher un certain revenu libre d’impôt. À strictement parler, le formulaire W-9 ou W-8BEN n’empêche pas la retenue, car le revenu est considéré comme versé directement à l’artiste (à moins qu’une entité intermédiaire sans lien de dépendance ne participe au processus). Et aucune convention fiscale ne peut s’appliquer parce que le revenu gagné ne sera pas déterminé avant la fin de l’année. Toutefois, il existe dans certains pays (l’Arménie, l’Azerbaïdjan, le Biélorussie, la Géorgie, la Hongrie, le Kazakhstan, le Kirghizstan, la Moldavie, la Pologne, la Russie, le Tadjikistan, le Turkménistan et l’Ouzbékistan) une disposition conventionnelle qui exonère d’impôt tout revenu gagné en sol américain.

Tout artiste étranger qui se produit aux États-Unis devrait envisager de conclure une CWA.

Je vous invite à me faire part de vos questions et de vos préoccupations en m’écrivant à robert@bairdartists.com. Bien que je ne puisse pas répondre à toutes vos questions dans ma chronique, j’en traiterai le plus grand nombre possible et je promets de répondre à tous vos courriels.

 

Officer Columns

Where There’s a Way, There’s a Will

Winter is a time for rest. Soon comes the rebirth of spring. By summer, all the flowers are in bloom. We should take a cue from Mother Nature to do our very best to improve how we nurture our bodies and our minds. It is always a good idea to release the events of the day. Preparing for and awaking to a fresh outlook and a positive perspective can be a major transformation for the new day. Never forget some of the changes we face are nothing more than just the cycles of life. Our lives should be in a constant state of rejuvenation.

Rituals keep memories alive. And the existence of such great human beings as Saint Francis, Einstein, or a Leonardo da Vinci indicates that human potential can reach amazing heights. With that said, and in keeping with the many rituals we have in our everyday lives, I hope you had abundance to eat on Thanksgiving and saved some room in your tummies for Christmas or Chanukah.

There are many holidays we celebrate in December. We move from one important family, community, or religious event to another.

Whether we celebrate Bodhi Day, Chanukah, Kwanzaa, or Christmas, we do so at a very special time in our world history. Keep your family, ethnic, religious, and national rituals alive for future generations to hang onto and build upon for their futures and memories.

There will always be variations on the theme, but as musicians we are very comfortable with variations, yes? I know how hectic this time of the year can be for all of you; just do your best to make it a time to share your happiness with everyone you come in contact with. Live a life of purpose. During this holiday season, so full of the various rituals, smells, and bells, let’s be thankful for what we have and show generosity to those less fortunate. Our existence is a reflection of our choices.

“Imagination is more powerful than knowledge.”      

—Albert Einstein

Breaking out of familiar patterns takes great energy. Many musicians still get nervous before a live performance or a recording session; but, over the years, hopefully you learned that adrenaline is essential for a good concert and a good performance. I am sure by this time, we have all heard the stories about the great Al Jolson who would regurgitate before many of his live performances, and then go on stage and blow the audience away. His famous line was: “You ain’t heard nothin’ yet.” My father had the pleasure of backing up Jolson many times during the World War ll years on USO tours. In the future, I hope to share details of some of my father’s wonderful stores of those bygone years.

Musicians have been the troubadours since the beginning of time, bringing their music to all who have ears. It’s all a matter of taste, but we have carved our way through the most awkward of musical situations. Many times we must leave our hometowns to make a living. When career opportunities are good, we must do what we must do. I like to call it, “fork moving.” Some call it “following the almighty dollar.” We not only have to feed ourselves, but care for our families as well. These are basic responsibilities. These moves build up our stories and our vocabulary of life, and help us mature as musicians and as human beings.

“Life has two rules: Number 1, never quit. Number 2, always remember rule number 1.”

—Duke Ellington

Envision going into 2016 with a goal of being happier and more prosperous with your talent and skills. Skilled instrumentalists are not always good musicians. But, when you combine talent, hard work, and experience, skill will fall into place and you will feel fabulous. The more skill and knowledge you acquire, the greater your chance of worldly and musical success.

Never forget that having good health is about as wealthy as it gets; it will make you feel prosperous and give you the energy to back it up. We must all work together for a healthier world. In 2016, try to get rid of some of the weighty stuff on your plate of life. Though not always easy, forgive and forget is possible, and can take away some of the negativity you carry.

Always remember to find fulfillment in applying all that you have been taught and learned over your many years on earth and as a musician. Just think of the repetitive practicing you did to achieve your level of skill—thousands of hours. “Where there’s a will, there’s a way.” I like to think about that old saying in reverse: “Where there’s a way, there’s a will.” It may work for you. I truly believe that out of our greatest rejection comes our greatest direction.

God bless Phil Woods for what he shared with us. I never heard Phil play a bad note in person or on his many recordings. What a skillful and talented human being. He was one of the best storytellers, not only by his words of wisdom, but also through his many melodic, harmonic, and rhythmic improvisations. His teaching and mindset helped me make up my mind to become the best version of myself. Again, “Where there’s a way, there’s a will.”

Officer Columns

A New Era for RMA Los Angeles

Steve-Dressby Steve Dress, President of the Recording Musicians Association,
Los Angeles (RMALA)

It is a great pleasure to be elected president of the Recording Musicians Association, Los Angeles (RMALA) Chapter. I am honored to serve and represent our diverse membership, which consists of instrumentalists, orchestrators, composers, copyists, contractors, songwriters, and pop stars, as well as our local officers, to name a few. With more than 700 members in an ever-changing industry, our board’s responsibilities are numerous. With the many disciplines working under our contracts, the needs and concerns of our members come from all angles.

Our board of directors reflects this multifaceted membership in order to fairly represent our members from all walks of the recording industry. As such, the board enthusiastically welcomes two new officers—Secretary Donald T. Foster and Treasurer Tom Rizzo, as well as new Board Director John Wakefield. Their distinct abilities and perspectives will be an invaluable asset to our community.

I look forward to continuing the legacy of RMA’s involvement in shaping our livelihoods. Since its inception, RMA has been committed to advocating and protecting the professional interests of its member recording musicians by being an active voice with our sister guilds and unions. By doing so, we have created sustainable sources of income and negotiated benefits for countless talented and hardworking musicians. Recently, RMA has been pivotal in implementing affordable and effective health care options, which are now more accessible by an exponential number of our colleagues locally and nationally.

Today, we continue to help our union identify and organize employment in all recording disciplines. We participate in contract negotiations by providing real-time data and hands-on experience from the workplace. We support and thank our union representation for their recent studio lawsuits. On a national level, some of our crucial concerns involve pension, wages, residual streams, and healthcare. Locally, RMA continues to advocate for musicians in the union’s search for a singular health care option here in Los Angeles. Looking forward, we should also focus our attention on outsourcing, as well as potential new forms of employment.

With this new term, it is our goal to bring even more positive changes by making decisions through a well-informed membership. RMA is the conduit by which member concerns can be relayed to our union and vice-versa. Serving the multifaceted needs and concerns of our community is our top priority. However, in order to maximize our strength and potential, we must be united in our commitment to remain well informed on the trends of our profession and industry. When there is a knowledgeable membership, the player conference has a stronger platform for our union to make the best decisions possible.

Looking to the future, RMALA will continue its commitment to our membership in propelling our industry forward for many years to come. I encourage all our members to become engaged and proactive participants in this process, whether it is by attending meetings, contract negotiations, or speaking directly with our Board, every action makes a difference. I look forward to working with all of you, as well as welcoming all new members, in our pledge for continued activism.

As your new president, I encourage transparency through open dialogue. Please feel free to reach out to me with any and all concerns and ideas.