Tag Archives: union

Supreme Court

An Empty Seat on the Supreme Court: What It Means for Unions

With the sudden death of Justice Antonin Scalia, I’m reminded of a time when I had the great pleasure of meeting and spending time with the late Justice many years ago. It was 1976, during the country’s bicentennial. I was involved with organizing an Italian Heritage Festival and we invited him to Clarksburg, West Virginia, to be honored as Italian American of the Year.

He was extremely engaging and wanted to know more about the people and the history of the area. Of course, I was happy to fill him in about different aspects of the region and its long history of coal mining. And in fact, Italian Americans were the largest ethnic group, first and second generation, to arrive when companies were recruiting men to work the deep mines of West Virginia. It’s a region so steeped in Italian culture that many small towns in the state are almost like towns and villages in Italy. It was also home to some the earliest and fiercest battles of US labor unions.

One of the rulings currently on the docket of the highest Court is Friedrichs v. California Teachers Association (CTA). (I discussed this case in-depth in my January 2016 IM column.) 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 dues, via agency fees, for the services the union is required by law, under collective bargaining agreements (CBAs), to provide all workers.

If the Court rules with the plaintiffs, some employees will be able to avoid paying their share of fees—fees that support negotiations for all workers. It would make unionization harder for everyone. In the end, nonpaying employees would receive all the benefits of a union negotiating on their behalf, without helping to cover the cost of the work involved. A Supreme Court ruling that goes against the unions could affect public safety standards across the US. First responders—the police force, fire fighters, and EMS technicians—will not be able to negotiate for life-saving equipment or for shorter response times. Many would be out of the union entirely. And at the heart of this case—our teachers—would lose their ability to negotiate for smaller class sizes and improved educational standards. It would devastate the union movement.

Now, with a vacancy on the bench, the Court’s ruling is a tie and the law reverts back to a past decision, in the lower circuit court, where the decision was originally in the union’s favor. Justice Scalia would undoubtedly have voted against the unions.

Justice Scalia’s death came suddenly and at a particularly tumultuous time politically. While contentious presidential candidates run amok, a mulish Congress digs its heels in even further, now vowing to block anyone President Obama nominates to fill the vacancy on the Supreme Court. If they thwart a nomination, it would hurt the Republican’s own cause. Even some of their front runners urge them to allow nomination.

Whether or not the president makes a nomination and that nomination is considered by Congress should not even be a question. The Constitution does not say “may” appoint a successor, it says the president “shall” appoint. The president would be derelict in his duty if he did not make the appointment. And Congress would be more derelict in its duty if it tried any chicanery to try to avoid it. They have a right to confirm or not, but the appointee needs to go to the committee.

The AFM Recognizes Signatory Grammy Winners

Taylor_Swift_-_1989There were many AFM members among those honored with nominations and awards at the 58th Annual Grammy Awards. Following is a list of Grammy winners who are AFM members and whose work was recorded on labels signatory to AFM agreements. The AFM celebrates all artists whose works are supported by AFM musicians, under AFM agreements.

Record of the Year:
“Uptown Funk,” Bruno Mars, member of Local 47 (Los Angels, CA).

Album of the Year:
1989, Taylor Swift, member of Local 257 (Nashville, TN).

Best New Artist:
Meghan Trainor of Local 257.

Best Pop Duo/Group Performance:
“Uptown Funk,” Bruno Mars.

Best Pop Vocal Album:
1989, Taylor Swift.

Best Country Solo Performance:
“Traveller,” Chris Stapleton of Local 257.

Best Country Album:
Traveller, Chris Stapleton.

Best Latin Jazz Album:
Made In Brazil, Eliane Elias of Local 802 (New York City).

Best Blues Album:
Born to Play Guitar, Buddy Guy of Local 10-208 (Chicago, IL).

Best Arrangement, Instrument and Vocals:
“Sue (Or in a Season of Crime),”
Maria Schneider of Local 802.

Best Musical Theater Album:
Hamilton, performed by musicians from Local 802.

Best Album Notes:
Love Has Many Faces: A Quartet, A Ballet,
Waiting to Be Danced
, Joni Mitchell of Local 47.

Best Historical Album:
The Basement Tapes Complete: The Bootleg Series Vol. 11,
Bob Dylan of Local 47 and The Band.

Producer of the Year, Non-Classical:
Jeff Bhasker, of Local 47.

Best Orchestral Performance:
Shostakovich: Under Stalin’s Shadow – Symphony No. 10,
Boston Symphony Orchestra, members of Local 9-535.

Best Engineered Album, Classical:
Ask Your Mama, San Francisco Ballet Orchestra, members of Local 6.

Producer of the Year, Classical:
Ask Your Mama, San Francisco Ballet Orchestra, members of Local 6.

Best Classical Compendium:
Paulus: Three Places of Enlightenment Veil of Tears and Grand Concerto,
Nashville Symphony, members of Local 257.

United Teachers Los Angeles Voted to Increase Dues

The United Teachers Los Angeles (UTLA) voted by more than 4 to 1 to increase their dues by about one-third, $1,000 a year.

“As billionaires are trying to cripple unions, our vote sends a national signal that educators are willing to invest more in our unions and in the fight for educational justice,” UTLA President Alex Caputo-Pearl told the Los Angeles Times. UTLA maintained it needed the funds to counter anti-union lawsuits and a plan to transfer half the city’s public-school students into charter schools over the next eight years. In addition, the union will be able to retain the organizing director, researcher, community outreach specialist, and field organizers.

With these resources, the union was able to win a favorable contract settlement, including a 10% raise, says Caputo-Pearl. UTLA is about to enter negotiations with the LA Unified School District over class sizes and school staffing levels for nurses and counselors. Most of the union’s 32,000 members are teachers, but UTLA also represents school nurses, counselors, and psychologists. The turnout, just over 50%, was high for a UTLA vote and may reflect the increasing number of ballots cast online. For the first time, the vote gives the union authority to pass on costs to members when affiliated unions, like the National Education Association, raise fees and charge UTLA.

Teamsters Vote to Strike

Teamster mechanics have overwhelmingly rejected United Airlines’ final offer. More than 93% of the 9,000 mechanics in the bargaining unit who voted, were against the company’s “substandard” proposition.

Jim Hoffa, Teamsters General President, says, “At a time when United Airlines is incredibly profitable, it is clear that mechanics deserve a better offer from the company. United is profitable because of the dedication, passion and professionalism of their workers and the carrier needs to reflect those characteristics in their negotiating position.”

Fast Food Workers Plan Strike for November 10

Fastfood workers, represented by Fight for $15, are planning the largest ever, nationwide strike for tomorrow—exactly 12 months before next year’s election. Protests will be staged at restaurants in 270 cities, and then later those workers will gather with other low-wage workers and their supporters at local city halls where they prod voters to select local, state, and national candidates who support the $15 pay floor. All of the top Democratic presidential candidates have said they back a $12 to $15 minimum wage and have made the growing divide between rich and poor a centerpiece of their campaigns. Most Republican candidates oppose raising the current federal minimum of $7.25 an hour. The group Fight for $15 plans to mobilize many of the 64 million Americans who earn less than $15 an hour with neighborhood drives to register and vote.

To find out how you can get involved go to: Fightfor15.org.

event grant

MPTF Staff Is Ready to Serve Applicants for an Event Grant

event grant

(L to R) MPTF Staff: Trustee Dan Beck, Grant Management Director Vidrey Blackburn, Grant Management Manager Samantha Ramos, and Finance Director Al Elvin.

The Music Performance Trust Fund (MPTF) provides grants to co-sponsor free live music events for the public, while ensuring that professional musicians are compensated fairly. However, the process of applying for an event grant may seem daunting to organizations producing community-based events, as well as to the musicians who perform for them. MPTF staff is ready and available to help make the process easier.

The day-to-day fielding and processing of applications and assisting applicants is in the capable hands of Grant Management Director Vidrey Blackburn and Grant Management Manager Samantha Ramos. Blackburn is celebrating 30 years with the MPTF. She holds a deep commitment to the goals of supporting high quality events, while making the grant application process as user-friendly as possible.

Reflecting on her experiences, Blackburn says she often puts herself in the place of grant petitioners.  “It is not always easy for them. It’s important to help them through the process because we have changed our operations model many times over the years,” she says.

Ramos has been with the MPTF for 17 years. She shares in the grant application review process, and was instrumental in the MPTF’s transition to a new online grant application management system. “We are here to help everyone through the application process,” says Ramos. “We have worked hard to make the new system as user-friendly as possible, and we continue to collaborate with the software company to find more ways of improving it.”

One of the responsibilities of the MPTF is to spread grants as equitably as possible across North America, while making sure the co-sponsored events are of the highest quality in each community.  This, along with the economic pressures affecting the music industry, has made the grant fielding job of the MPTF all the more difficult.

While Blackburn and Ramos handle the applications and field questions about MPTF grants, Finance Director Al Elvin handles the day-to-day management of royalty receipts, operational costs, and investments—all the financial reporting. MPTF Trustee Dan Beck oversees the grants and operational issues, while he explores possible avenues to sustain the fund and maximize its value and impact at the community level, and as an industry institution.

Blackburn recalls learning patience and care, and how to build trusted relationships, from former MPTF General Manager Nick Cutrone. “I sat by his desk and I enjoyed listening to how he spoke to the musicians and the locals,” she says. Blackburn encourages applicants to seek the grant team’s help. “If you don’t understand, call us at (212)391-3950. We will help. If we can walk you through it, it’s a win for everyone,” she says.

Be Careful What You Sign—They Don’t Care About You; They Want Your Song

Over the last few years, I have noticed an increase in the number of panels that feature music supervisors at music festivals, informational sessions, and music/film events. These are the folks responsible for selecting the music that is synchronized to video, television, motion pictures, commercial announcements, video games, and so forth. Many have experience as musicians, producers, agents, managers, or with business or law. But the primary prerequisite is a familiarity with a wide array of music styles, genres, and artists/bands. They may work for a specific company or freelance, picking music to portray mood, feeling, and emotion to match/enhance video content.

The idea of presenting a panel about music supervision and placement of songs is, on the surface, useful. However, the information presented is usually skewed to benefit the panelists and their company, not the musicians and songwriters in the audience eager to have their songs heard. At least, that has been my experience at such events.

These “experts” generally give attendees advice like: don’t submit more than three or four songs, properly prepare and label the submissions, and have instrumental versions ready. While this information is helpful, other stuff is not. For instance, it’s often stated that you should not expect payment the first time, or first few times, until you are known; or, to expect a low remuneration, perhaps $50 or less. There is little or no mention of the fact that synchronization is contained within the Right of Reproduction under the Copyright Act, and that the only way to escape payment is if the songwriter waives these rights. Now, go back and read the title of this article again.

There is also no mention of the rights AFM members have under contract law—that of new use payments required under the Sound Recording Labour Agreement. When you record for a signatory label, or for a label that has signed a Letter of Adherence and filed a B-4 report form, all the musicians on the recording are entitled to be paid the prevailing rates for a session as specified by the agreement that covers the type of medium the track is being licensed into. (These payments are in addition to negotiated synch fees.) While this is an obligation of the label (to pay those fees upon licensing the track), often they pass the responsibility onto the licensee in the master licence agreement.

Many times members are handed a document, either during the recording session or during licensing negotiations, asking them to “waive” certain rights, among them being the secondary payments for new use called for under our agreements. Don’t sign these papers! In fact, members have no authority to sign such a document when it circumvents the terms of one of our scale agreements, and therefore, such a wavier is not enforceable. Don’t sign them.

Members may also be enticed to enlist the services of a placement company, such as Sonic Bids or Taxi. Without being specific about any of them, I have seen placement contracts that require the artist to assign all rights, exclusively, to these services. In return, you may receive a percentage of anything they make, if the song is used. The cautionary word here is “exclusive.” This means you no longer are entitled to payments from performing rights organizations such as the Society of Composers, Authors, and Music Publishers of Canada (SOCAN) and Musicians’ Rights Organization Canada (MROC), or agencies such as the Canadian Musical Reproduction Rights Agency (CMRRA), as you no longer have title to those rights. You would only receive a percentage of those rights—whatever is specified in your agreement with the company. Don’t sign a placement contract. Go back and read the headline of this article again.

I have also seen contracts where the requirement is to sign over all the songs and rights, and the company is up front about saying they will rename the tracks and obtain a copyright under their name. Don’t sign the contract.

A better choice is to sign a nonexclusive agreement, where they agree to try and get action on your repertoire, but you still retain the right to make direct deals and collect statutory royalties.

Also, in some of these contracts may lurk language similar to “We do not pay/collect fees required under union contracts.” This is a red flag to not sign, or to negotiate that clause out. These are your rights. It’s your money that they are treating so capriciously. These are rights that, over the years, may accrue thousands upon thousands of dollars. They may also present you with a paperwork that designates the songs you give them as “work made for hire.” Don’t sign it!

Never be intimidated by the panache or cachet of the title “music supervisor.” In the end, they are an employer, attempting to get your music as cheaply as possible for their client. If you are presented with contracts or licensing agreements to sign, please take the time to understand what they contain. I highly recommend the services of an entertainment lawyer before signing anything.

Now, go back to title of this article: “They don’t care about you; they want your song.”

A Union Win for Olney Theatre Musicians

by Ed Malaga, President, Local 161-710 (Washington, DC)

(L to R) Local 161-710 President Ed Malaga with Musicians for a Stronger Olney Theater committee members Patrick Plunk, Craig Taylor, and George Hummel.

(L to R) Local 161-710 President Ed Malaga with Musicians for a Stronger Olney Theater committee members Patrick Plunk, Craig Taylor, and George Hummel.

After a six-month campaign, musicians at Olney Theatre in Maryland overwhelmingly voted to unionize in a National Labor Relations Board (NLRB) election. Musicians are now working with AFM Local 161-710 (Washington, DC), preparing for their first collective bargaining agreement. The victory is an important first step in Local 161-710’s organizing plan.

The story is a common one. Musical theater productions have been a key factor in Olney Theatre’s recent growth. Yet musicians’ wages had not increased in years and unsafe working conditions were a growing concern. Musicians chose to take action. A dedicated group of musicians formed an organizing committee—Musicians for a Stronger Olney Theatre Committee—to lead the effort.

Working with the local’s leadership and the AFM’s Organizing & Education Division (O&E), the musicians developed a campaign plan and mobilized their co-workers to win a decisive victory. By sticking together, musicians at the Olney Theatre will now enjoy the same rights as union actors, directors, choreographers, and scenic artists who work at the theater.

The successful organizing effort at the Olney Theatre required a comprehensive strategy and approach.  Here are some key points that were critical to our success:

1) Understanding our base of support. Communication between the local’s leadership and its members was crucial. Members have the inside story regarding the relationship between the employer and the employees. Accessing this information and understanding the commitment of these members was critical. Building on these lines of communication during the organizing campaign and the resulting dialogue with Olney Theatre musicians cannot be overstated. One-on-one conversations are key to winning campaigns.

2) Knowing the importance of a relationship with our Central Labor Council. Our connections with Metro DC AFL-CIO were an invaluable resource in assessing the support of elected officials who had close ties with labor. We scheduled meetings with these officials to outline our case for union representation. Their support played an important role and we look forward to a continued relationship.

3) National Labor Relations Board (NLRB) election rule changes. New rules significantly expediting NLRB election timelines went into effect in April. The election process used to take months with numerous delays instigated by employers to undermine campaigns. Now elections can happen in a matter of weeks. We filed our petition for an election June 17 and the final vote count was July 28.

Musical theaters employ many AFM musicians and this area of work is growing. The contributions of these musicians to the success of musical theater productions should not be undervalued. Musicians should know that there are options available to them for winning union recognition and gaining a collective bargaining agreement. Organizing is hard work, but well worth it. Local leadership should work closely with rank-and-file musicians who want to organize and take advantage of the expertise available from the AFM O&E Division, which provided valuable training and assistance throughout our campaign.

Musicians standing together have power!

AFM Solidifies Federal Arts Relationships

On August 25, AFM International President Ray Hair traveled to Washington, DC, to strengthen our ties with federal arts leaders. This full day of activity ended with solid gains in our relationships with two of our nation’s most historic and highly valued arts agencies.

National Endowment for the Arts

National Endowment for the Arts (NEA) Chair Dr. Jane Chu graciously hosted a meeting with AFM President Ray Hair and myself

to discuss how the AFM and the NEA can work together moving the endowment’s agenda. Chu, who is an accomplished pianist, studied music growing up. She eventually received a bachelor’s degree in piano performance and music education from Ouachita Baptist University, as well as master’s degrees in music and piano pedagogy from Southern Methodist University. Chu also holds a master’s degree in business administration from Rockhurst University and a

L to R) NEA Chair Jane Chu, AFM President Ray Hair, AFM Legislative Director Alfonso Pollard, and NEA Music & Opera Director Ann Meier Baker at NEA headquarters in Washington, DC.

L to R) NEA Chair Jane Chu, AFM President Ray Hair, AFM Legislative Director Alfonso Pollard, and NEA Music & Opera Director Ann Meier Baker at NEA headquarters in Washington, DC.

PhD in philanthropic studies from Indiana University.

Our meeting was also attended by National Endowment for the Arts Music & Opera Director Ann Meier, who is an accomplished vocalist, with a long list of outstanding vocal and administrative credits. After some discussion between Hair and Chu about their undergraduate and graduate studies in the North Texas area, the conversation shifted to NEA programs and how these programs support a broad range of community arts and professional organizations that help support the careers of AFM musicians. Chu also gave a quick overview of her newest initiative “Creativity Connects,” which will examine how the arts are central to the nation’s “creativity ecosystem” and investigate how support systems for the arts have changed. The project also will explore how the arts connect with other industries.

In addition, the NEA celebrates its 50th Anniversary this year and Chu extended a personal invitation to Hair to encourage AFM members to participate in the agency’s “Tell Us Your Story” project. The goal is to gather stories about how the arts have influenced your life. The link to the project is http://arts.gov/tell-us-your-story. Hair strongly encourages all AFM members to visit the site and leave powerful stories about themselves and their artistic lives. We feel that AFM members have some of the most compelling stories in the industry. Take a moment to reveal yourselves.

Smithsonian Museum

(L to R) Curator of American Music John Edward Hasse with AFM President Ray Hair and AFM Legislative Director Alfonso Pollard at the Smithsonian National Museum of American History.

(L to R) Curator of American Music John Edward Hasse with AFM President Ray Hair and AFM Legislative Director Alfonso Pollard at the Smithsonian National Museum of American History.

Later in the day, Hair followed up on a special invitation from Dr. John Edward Hasse, curator of American music at the Smithsonian Institution’s National Museum of American History. For decades, Hasse has interacted with the AFM and with AFM musicians, especially in the Washington, DC, area. His unique invitation included a behind-the-scenes tour of the museum with an eye toward partnering with the AFM to possibly acquire historic union documentation that outlines professional work by some of America’s greatest artists and prominent AFM members.

Aside from sharing background about some of the museum’s most precious musical artifacts, we visited locations within the museum that are being developed as new performance sites. However, one of the most important aspects of the visit included a discussion about how the Smithsonian can partner with the AFM to acquire relevant performance artifacts of the most renowned AFM members, past and present.

This is an exciting project and Hair has promised to work with Hasse on possibilities. AFM members with ideas must first contact Hair or myself. Of course, these artifacts will involve only materials of the highest value and quality and there is no guarantee of acceptance of every idea. However, your thoughts are always welcome. Feel free to reach out to our office.

ICSOM Delegates Gather in Philadelphia

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

ICSOM Chair Bruce Ridge of Local 500 (Raleigh, NC), flanked by outgoing ICSOM Board officers Matt Comerford (left) of Local 10-208 (Chicago, IL) and Brian Rood of Local 34-627 (Kansas City, MO).

ICSOM Chair Bruce Ridge of Local 500 (Raleigh, NC), flanked by outgoing ICSOM Board officers Matt Comerford (left) of Local 10-208 (Chicago, IL) and Brian Rood of Local 34-627 (Kansas City, MO).

This year’s International Conference of Symphony and Opera Musicians (ICSOM) Conference, held August 26-29 at the Sonesta Philadelphia Hotel, celebrated advocacy and diversity, and provided labor law education and important negotiating and contract administration ideas and information. Local 77 (Philadelphia, PA) pulled out all the stops to partner with The Philadelphia Orchestra musicians. Delegates and guests toured the Kimmel Center and attended a lovely mixer on a patio overlooking the center and the Academy of Music. They were also treated to a double-deck bus tour of some Philadelphia landmarks and historical sites, including the Liberty Bell and the Art Institute, where they were given a chance to run up its 72 steps and pose by the statue of Rocky Balboa.

The ICSOM Governing Board, with the assistance of Philadelphia Orchestra cellist Gloria dePasquale, scheduled a volunteer service the afternoon before the conference officially began. ICSOM delegates, officers, and members partnered with Philadelphia Orchestra musicians to provide music, greeters, and servers at Broad Street Ministry, which is right across the street from the Kimmel Center. Housed in a beautiful old sanctuary, with artwork hanging from the rafters, this organization supplies hundreds of Philadelphia’s homeless with meals, clothing, and other necessities. Musicians from Atlanta, Chicago Lyric, Dallas, Fort Worth, Hawaii, Kansas City, the Kennedy Center, Los Angeles, Minnesota, Nashville, New Jersey, Philadelphia, Pittsburgh, and Utah orchestras performed and served during the dinner hour.

Wednesday morning, the conference began with stirring addresses by ICSOM Chair Bruce Ridge (North Carolina Symphony/Local 500) and ICSOM President Brian Rood (Kansas City Symphony/Local 34-627). Keynote speaker Dr. Jane Chu, the 11th and current chair of the National Endowment for the Arts, shared her history as the child of Chinese immigrant parents. Chu, who was born in Oklahoma, spoke about how music shaped her life and enabled her to honor different perspectives and ideas.

icsom conference

ICSOM volunteer musicians and Philadelphia Orchestra members performed and served at Broad Street Ministry, which serves Philadelphia’s homeless population.

Metropolitan Opera Orchestra trombonist Weston Sprott of Local 802 (New York City) spoke briefly about the importance of music education. He is featured in a new film, Some Kind of Spark. It documents the impact of Juilliard’s Music Advancement Program (MAP), which offers lessons to talented, inner-city kids. Media veteran Randy Whatley of Cypress Media Group returned for his third ICSOM Conference to discuss lessons learned during the past few years of lockouts and potential job actions.

Joe Conyers (The Philadelphia Orchestra assistant principal bass/Local 77) spoke about the formation of Project 440, an organization that trains young musicians to serve their communities through classical music. Allison Beck, director of the Federal Mediation and Conciliation Service (FMCS), spoke about changes at FMCS and negotiation and relation-building assistance. She served as mediator and FMCS advisor during both the Metropolitan Opera Orchestra negotiations and the Atlanta Symphony Orchestra’s lockout in 2014.

ICSOM Counsel Susan Martin led her third informative session of Delegate Duel, as four orchestra groups, along with AFM staff and local officers, competed to show off their understanding of labor law. AFM President Ray Hair’s presentation followed an explanation of the newly ratified Integrated Media Agreement (IMA).

Delegates learned about a documentary film and survey that update a 1987 ICSOM performance anxiety survey. They heard updates on the AFM & Employers’ Pension Fund. Leaders of the Regional Orchestra Players Association (ROPA), Organization of Canadian Symphony Musicians (OCSM), Theater Musicians Association (TMA), and Recording Musicians Association (RMA) spoke to delegates. Delegates were given the opportunity to submit questions for a moderated session with AFM Symphonic Services Division staff.

icsom conference

(Above) ICSOM Governing Board (L to R): Senza Sordino Editor Peter de Boor (Local 161-710/Kennedy Center Opera Orchestra); Member-at-large (MAL) Matt Comerford (Local 10-208/Chicago Lyric Opera Orchestra); Chair Bruce Ridge (Local 500/North Carolina Symphony); National Endowment for the Arts Chair Jane Chu; President Brian Rood (Local 34-627/Kansas City Symphony); Treasurer Michael Moore (Local 148-462/Atlanta Symphony Orchestra);
MAL Meredith Snow (Local 47/Los Angeles Philharmonic); MAL Jennifer Mondie (Local 161-710/National Symphony Orchestra); Secretary Laura Ross (Local 257/Nashville Symphony);
and MAL Paul Gunther, (Local 30-73/Minnesota Orchestra).

On the final day, attorneys Mel Schwarzwald and Joe Porcaro discussed bargaining presentations, information requests, and confidentiality agreements. Town meeting discussions included increased interest in finding solutions to protect musicians’ hearing from the excessive decibel levels that orchestras are dealing with as they perform more amplified pops and special concerts.

Delegates also dealt with bylaw changes and passed resolutions to honor outgoing ICSOM President Brian Rood, who stepped down at the end of the conference after serving 12 years as president, as well as Member-at-large and former ICSOM Electronic Media Chair Matt Comerford (Chicago Lyric Opera Orchestra/Local 10-208). They also acknowledged the contributions of former ICSOM webmaster Charles Noble (Oregon Symphony/Local 99), retiring governing board members Mary Plaine (Member-at-large, Baltimore Symphony Orchestra/Local 40-543), and Nancy Griffin (ICSOM Secretary, Seattle Symphony/Local 76-493). Delegates recognized conductors Robert Spano and Donald Runnicles, members of 148-462 (Atlanta, GA), for their support of musicians during last year’s Atlanta Symphony Orchestra lockout. Additional resolutions acknowledged OCSM’s 40th and TMA’s 20th anniversaries, and offered support for Hartford Symphony Orchestra musicians. Finally, resolutions thanked ICSOM Braumeister Robert Grossman (Philadelphia Orchestra/Local 77) for creating five different beers for the conference, and every member delegate signed on to urge Colorado Symphony musicians to remain in the AFM.

The 2016 ICSOM Conference will be held in Washington, DC.