Now is the right time to become an American Federation of Musicians member. From ragtime to rap, from the early phonograph to today's digital recordings, the AFM has been there for its members. And now there are more benefits available to AFM members than ever before, including a multi-million dollar pension fund, excellent contract protection, instrument and travelers insurance, work referral programs and access to licensed booking agents to keep you working.
As an AFM member, you are part of a membership of more than 80,000 musicians. Experience has proven that collective activity on behalf of individuals with similar interests is the most effective way to achieve a goal. The AFM can negotiate agreements and administer contracts, procure valuable benefits and achieve legislative goals. A single musician has no such power.
The AFM has a proud history of managing change rather than being victimized by it. We find strength in adversity, and when the going gets tough, we get creative - all on your behalf.
Like the industry, the AFM is also changing and evolving, and its policies and programs will move in new directions dictated by its members. As a member, you will determine these directions through your interest and involvement. Your membership card will be your key to participation in governing your union, keeping it responsive to your needs and enabling it to serve you better. To become a member now, visit www.afm.org/join.
Labor Day should be a celebration of the achievements of American workers that also recognizes the strength of working families who join together to fight for living fair wages. Visit the website: http://labor-day-2015.hq.afl-cio.serenity-v1.aflcio.org/#!/events to find an event near you.
CarePartners workers, members of The Ontario Public Service Employers Union (OPSEU/NUPGE) in Canada, have been on strike for four months trying to negotiate a new pay structure and improved sick time and health and safety provisions. Previously, home care was provided by salaried employees who worked for nonprofit organizations. Then, the 100% taxpayer-funded Community Care Access Centres (CCAC) put home care out to competitive bidding from for-profit companies. The cheapest bid won, and the winners drove down their costs by suppressing wages and benefits. Regional CCAC nurses are now paid per visit, not per hour, and many of them are no longer earning even minimum wage. They also have no sick days or compensation for overtime. Meanwhile, the owners of CarePartners set themselves up with high salaries and fancy offices.
The result, according to OPSEU President Warren Thomas, is “patients are receiving poorer care and healthcare professionals are seeing good jobs destroyed. In a statement released last week, Thomas called on the provincial government to take action. “Using taxpayer dollars to prolong legal work stoppages is not only a waste of money but belies any claim that this Liberal government is progressive towards the needs of our most fragile citizens and our skilled healthcare workers, the vast majority of whom are women,” he says.
The annual Canadian Conference, which took place in Windsor, Ontario, August 7-9, was special this year as it was a Unity Conference, held in conjunction with the Organization of Canadian Symphony Musicians (OCSM). The two conferences normally have significantly different agendas. While the attendees to each come from different backgrounds and have completely different roles, they are all connected by one common denominator— membership in the AFM.
Meeting new people and building relationships is so very important in music, yet much of that personal contact has given way to social media contact. While the Internet is tremendously valuable, it cannot take the place of one-on-one conversations. This was an opportunity to get back to basics, learn each other’s role in the industry, take advantage of the networking possibilities, and learn from diverse thinking in problem-solving exercises.
There were presentations from Local 145 (Vancouver, BC) and Local 406 (Montreal, PQ) to help the delegates better understand the current lack of film scoring in Vancouver and the unique circumstances involved in bargaining in the province of Quebec. Both spawned considerable after-hours dialogue, resulting in at least one resolution to form a committee to address the changing film scoring scene and review the existing scoring agreements. While a primary concern of the Vancouver local, Quebec also has a huge vested interest in the possibility of attracting scoring from Europe and other French-speaking areas. In addition, there are other francophone communities in Canada that are a market for this content.
While many topics were discussed, one of the most urgent was work at festival and trade show events where, while live music is often centric, musicians are largely unpaid, yet recorded and broadcast on cable or Internet. Another was the status of freelance players who are not covered by collective agreements. While they represent the largest sector of the membership, they are also the most vulnerable to exploitation, unpaid gigs, and unauthorized recording, and therefore deserving of far more AFM attention and specific services. That said, our freelance musicians and self-contained bands are the most difficult to organize, since the concept of Collective Bargaining Agreements (CBAs) or collective actions are foreign to them. For the most part, they find their own shows, market to their specific fan base, produce and distribute their own recordings, and seldom give a thought to utilizing AFM contracts for any of it.
An area of particular concern to the OCSM delegates was the erosion of CBC remotes. In previous years, each orchestra looked forward to at least a half-dozen broadcasts, which would both significantly increase the revenue on the gig, and generate interest in classical music among listeners. With the government’s slashing of funding and subsequent budget cuts, the CBC is left airing existing commercial recordings. The OCSM Media Committee, along with representatives from the CFM, is looking at creative options.
One of the highlights of the conference was the address by AFM President Ray Hair. An information-packed PowerPoint show began with the formation of the AFM, its roots, opponents, and raison d’être. While touching on the evolution of the Federation, it outlined the current agreements in place with employers—both US and Canada—and progress that has been achieved in the area of performance rights, regulations, and negotiations with other countries, ensuring proper compensation for commercial uses of North American music. Hair continued, describing attempts at union-busting (unfortunately, much from within), as well as the solidarity necessary to overcome, adapt, and prevail. He further used the AFM’s controversy with the Musicians’ Rights Organization of Canada (MROC), in its initial stages, as an example of the benefits to members that could be accomplished with dialogue and patience.
Any Conference loaded with that much information, controversy, and constructive communication must be deemed a success, and the contributing factor, in no small part, was the careful planning and flawless execution by the officers and members of Local 566 (Windsor, ON). Special thanks to Secretary Lynne Wilson-Bradoc and President Chris Borshuk for their hard work, attention to detail, and of course, the presentation of some of the finest musicians in the Essex-Kent area.
It was also pleasing to note many musicians attending as visitors from the local, as well as local officers. Special thanks to Local 802 (New York City) President Tino Gagliardi and Local 5 (Detroit, MI) President George Troia for attending and acting as resources for delegates. Members are always welcome and encouraged to attend these events to gain greater insight and see solidarity in action.
by Bruce Ridge, ICSOM Chairman and Member of Local 500 (Raliegh, NC)
Of the many important and indispensable services that the International Conference of Symphony and Opera Musicians (ICSOM) provides for its members and the members of the AFM at large, our vital communication network is perhaps the most crucial. Electronic mailing lists and social media give us the ability to communicate instantly with each other, spreading news of opportunities and difficulties, and sharing solutions for issues both old and new that arise for our musicians and their orchestras. Of all the tools that ICSOM makes available, none are more topical and historically significant than our quarterly newsletter, Senza Sordino.
In 1962, ICSOM’s founders knew that, in order for our orchestras to survive and thrive, they must unite, and that a newsletter that could be read throughout the union and the field would be of great importance. For the first time, the issues affecting orchestra musicians could be reported and analyzed by those who knew the issues best—the orchestra musicians themselves. Senza Sordino (Italian for “without mute”) would be the perfect name for this publication.
The first issue was published in January 1963. That issue reported on numerous revolutionary developments for orchestra musicians, including four orchestra summits that had been held in the past year. There were negotiation updates from Los Angeles and Chicago, and a report about how Philadelphia Orchestra musicians were rising up against an unwarranted musician discharge.
One line that jumps off the page in that first issue is from the Cincinnati Symphony, where musicians reported “Last month we were granted the right to ratify our contract.” It is a reminder that so many of the rights that musicians take for granted today were once fought for diligently, and that those benefits and rights are only there to enjoy because of the sacrifices of previous generations.
The complete archive of Senza Sordino is available on the ICSOM website (www.icsom.org). It makes for fascinating reading for anyone who has ever played in a symphony orchestra, or who may one day want to become a member of an orchestra. This archive constitutes a crucial history of symphonies over the past half-century, detailing how orchestras performed, thrived, suffered, and emerged stronger both in our communities and our union.
As a new generation of musicians and leaders joins our orchestras, a reading of any single issue of this newsletter from any year would provide a rich education. Taking the archive in its entirety, it is overwhelming to think of what is represented on these pages and what might have become of our orchestras and our union if not for the work of ICSOM.
Just as the first issue reported on crucial topics, so does the latest. The May 2015 issue includes information on how to utilize new social media platforms, how musicians are serving their communities by organizing benefit concerts, the importance of music education, and how Baltimore Symphony musicians rose up as a beacon of hope for their city at a time of need.
And just as the first issue reported on how the Cincinnati Symphony musicians had gained the right to ratify their contract, the July 2015 issue of Senza Sordino reports on the conclusion of an outstanding negotiation with considerable gains for that orchestra, gains that would have been inconceivable without the actions first reported in 1963.
Now we have other options for our network of communication, and we utilize them daily—Facebook, Twitter, and e-mail. But Senza Sordino remains a stalwart friend of orchestra musicians everywhere. We send each issue to every local office in the AFM, as well as to every member of ICSOM. Each new issue is added to the archive on ICSOM’s website, viewable at http://www.icsom.org/senza/index. We hope that every issue is read with great interest, and we further hope that you will take a moment to read a past issue from the archive. We have no doubt you’ll be amazed at the wealth of information to be found.
Each year the International Labor Communications Association (ILCA) recognizes the best and most inspiring work in labor communications and journalism. Among the winners were several AFM local submissions.
AFM Local 47 (Los Angeles) took a first place award for General Excellence—Print and Internet / Electronic Newsletter / Local unions for The Local 47 Beat 2014. Plus, Local 47’s website (afm47.org) was recognized in the Internet Awards / Best Design Internet / Local unions category.
The local also received a second place Writing Award—Print and Internet / Saul Miller Awards /Political Action / Local Unions for the story “Hollywood Seeks Sharper Teeth for Film and TV Tax Credit Program.” The article covered new legislation to beef up California’s existing tax incentive program to help stem runaway production and bring more scoring work to the state.
The article quoted musicians such as rank-and-file violinist Rafael Rishik who gave the Labor Caucus at the California Democratic State Convention in downtown Los Angeles a firsthand account of the problem. “For generations, some of the greatest musicians in the world have been drawn to California because of the motion picture and television industry,” he said. “Over the past few years, runaway film productions have been a big hit to our economy. This is especially hard for musicians because companies that take film tax credits increasingly score their films overseas, and we lose out on that work.”
Coverage of this important issue also included quotes from union officials. “Musicians represented by locals across the country are working together to change our industry” said AFM Organizing Director Paul Frank. “AFM members are uniting in order to win higher standards and grow the strength of our union.”
You can read the complete piece at: www.afm47.org/press/hollywood-seeks-sharper-teeth-for-film-and-tv-tax-credit-program/.
New York City AFM Local 802’s Allegro Magazine was awarded a second place in the General Excellence—Print and Internet / Print / Local Union Publications / 1,001-10,000.
And finally, our union’s publication, International Musician, received second place recognition under the category Writing Awards—Print and Internet / Best Profile / National / International Unions, for the story “New Orleans’ Musical Chameleon and Passionate Union Advocate” about Local 174-496 (New Orleans, LA) President Deacon John Moore.
The profile recognized a longstanding, selfless union advocate. “I choose to be president because I want to serve the music community. I think I can be a role model for younger musicians. I want to make a better workplace for all our musicians,” said Moore.
To read the complete story visit the website: internationalmusician.org/deacon-john-moore/.
Kristian Bush has been a successful professional union musician since the 1990s, but it’s only recently that the Local 257 (Nashville, TN) member launched his first solo album, Southern Gravity. After spending his most recent 10 years as the silent but creative voice behind the duo Sugarland, the singer, songwriter, and multi-instrumentalist says some people are surprised to hear him sing.
“When I started Sugarland it was pretty clear that my voice was not going to fit on country radio. At the time, the singers signed had rich baritone voices, but now my voice feels like a good fit for current commercial country music. So this first record, my third first record, weirdly enough, is right on time,” says Bush.
Long before Sugarland, Bush had already achieved commercial singing success in the folk rock duo Billy Pilgrim with
Andrew Hyra more than 20 years ago. That’s when he first joined Local 148-462 (Atlanta, GA). “I’m a very proud union member,” he says. “It always feels like there’s another person in the conversation every time I get paid, which I am grateful for because this business is complicated and has changed dramatically since I signed up
in 1994.”
Bush later transferred to Local 257 with Sugarland. “The Nashville union is very thorough on their approach to protecting musicians,” he says, “really making sure everybody gets the most they can get paid out of every session.”
Bush founded Sugarland in 2002 with his friend Kristen Hall. Jennifer Nettles, also a member of Local 257, was the fifth singer to audition for lead vocalist and co-songwriter with the group. “She blew it out of the water,” says Bush.
“The second song we wrote together was ‘Baby Girl,’” he says, recalling their quick success after Nettles joined. As Sugarland’s debut single, the song eventually went to number two on the Billboard Hot Country Singles & Tracks charts, and stayed on the chart for a record-setting 46 weeks. Sugarland became a duo when Hall dropped out after the first album.
Between 2004 and 2012 Sugarland released eight successful albums and racked up dozens of music industry honors, including the 2005 American Music Awards Favorite Breakthrough New Artist, the 2006 ACM award for Top New Duo or Vocal Group, two Academy of Country Music (ACM) awards for Top Vocal Duo and one for Single of the Year, five Country Music Association (CMA) Vocal Duo of the Year awards, four Country Music Television (CMT) Duo Video of the Year awards, and two Grammy awards.
Check out the gear Bush prefers using.
Sugarland’s success was suddenly and tragically tempered by pain on August 13, 2011. The stage collapsed above them as they waited underneath to begin a show at the Indiana State Fair. Seven people were killed and 100 others were injured, among them stagehands, security personnel, and fans. Though he and Nettles were uninjured, Bush says the event changed him forever in ways that he hasn’t even totally understood.
“Music should be a safe place, no matter what. I certainly look up now every time I walk on stage,” he says. Some of the stage crew led a charge for better stage safety following the tragedy, which has resulted in new regulations for safer outdoor stage rigging techniques.
In 2012, Nettles decided she wanted to take a break from Sugarland to start a family and make a solo album. When the pair put Sugarland on hold, Bush says an independent career wasn’t something he’d even considered. However, fueled by a particularly emotional time in his life, he suddenly found himself flooded by songs.
Not only was he dealing with the aftermath of the stage collapse, but also the breakup of his 12-year marriage. He didn’t speak publicly about either until earlier this year. Instead, he poured his emotions into songs. “There was a lot of sadness and mourning, but every once in a while an incredibly bright song would pop out. They are like hot air balloons; you just kind of want to hold onto them and see if they lift you up,” he says.
But, with his sudden productivity, came self-doubt. “I usually write about a song a month—12 to 15 a year; suddenly, kind of as soon as we parked the bus off the last tour, I was writing one almost every other day,” he says. “I was a little worried that the songs weren’t any good because they were coming too fast. It was unsettling and it started to make me question what I should do for a living. What if, at this level of success, people aren’t telling me the truth?”
To counter his doubts Bush sought collaborators. “I thought the only way I could figure out an honest answer was to write with the best people I could find. I went all over the world,” he explains. “I went to see Will Jennings in LA, and I said, ‘Teach me how to write for film’; I went to Stockholm and Jøgen Olsen and said, ‘Teach me how to write a pop song’; and I went to Nashville, to Paul Overstreet and Bob DiPiero [of Local 257], and said, ‘Teach me how to write the best country music’; and I went to London to Sacha Scarbeck and James Blunt.” These influences and co-writers can be heard on Southern Gravity.
Bush says that, even when he knew he had the songs, he was still reluctant to take focus away from Sugarland. “Then, I figured out that my voice, Jennifer’s voice, and the band can be on the radio at the same time; it was not going to affect my band for me to have a solo record,” he continues. “I now have two careers. Sugarland is still together; we have a couple records left with our label and it’s going to be super exciting when we get to do it.”
The final hurdle was figuring out, from all the songs he’d written and recorded, just what he wanted to sound like. “Thinking about what I sound like can be unsettling at first,” he says. “I wrote 300 songs for this record and recorded them all. The process of that almost felt like discovering my voice.”
Bush co-produced the album with executive producer Byron Gallimore and Tom Tapley, whom he also worked with on Sugarland’s studio albums. “I love producing albums,” says Bush, “but it’s weird to produce your own vocals. You have to emotionally detach yourself. So the hardest part is the speed. I would do full takes, cut them together, and then take it home and listen to it for two or three days.”
In the end, they created an album far removed from the emotional turmoil where it began. Instead, Southern Gravity is hopeful, even joyful. “These songs are like Post-it notes that you might put around your house as inspirational reminders,” says Bush. “I listen to them for that reason sometimes—to remind myself that no matter how hard it gets, you can make things out of the pieces that are smashed.”
Once the songs were complete, it was time to begin his first solo tour. Bush admits that, even as a veteran musician, it felt strange to take the stage as a solo act. “I was so nervous my first show. It was strangely at the [huge] O2 Arena in London and I was opening for Little Big Town and Tim McGraw. I walked out on stage and my heart was practically beating out of my chest. I broke into the first song, and suddenly it was like, ‘Wait a minute, I totally know how to do this!’” he recalls.
Bush recently had the opportunity to look back on his career through a new documentary to air this month called Walk Tall (also the name of one of the tunes on his album). “It’s about Southern Gravity, but it’s also a journey, and what it’s like to make music after terrible things happen,” he says of the film. “As Americans, as people, the idea of never giving up is really important. When you have a passion, a belief, a joy, whatever life throws at you, the only choice you really have is how you deal with it. I’ve started to realize that there’s a resiliency in loving what you do and you go back to it as a way to ground yourself.”
Two tips for upcoming singer songwriters from Kristian Bush:
1) “Don’t give up; don’t judge yourself until about 100 songs because it’s going to suck for a while. They are going to be emotionally very much like your babies; write them as exercises.”
2) “There is so much technology out there to give you rhythms to write against. Whether it’s an app on your phone, a piece of software, or a drum machine, write against a beat. I love the way lyrics bounce against a rhythm.”
by Todd Jelen, Negotiator, Organizer & Educator, AFM Symphonic Services Division
It has been my privilege to visit orchestras around the country to discuss so-called “right to work” legislation. This simple slogan does not explain the resulting destruction to the middle class and working people in states where “right to work” laws are enacted. When a state passes a “right to work” law, there is an immediate decrease in the average wage. This translates to about $6,000 less per year than the wages in free bargaining states. “Right to work” states also consistently report lower household incomes, less employer sponsored health insurance coverage, and weaker unemployment benefits, than states without “right to work” laws.
In addition to taking money out of our pockets, “right to work” laws undermine democracy in our workplaces. When we decide to form or join a union, we vote. To choose our representatives, we vote. For all of the union’s business, we vote. “Right to work” laws seek to weaken our collective will by purposely providing loopholes in the membership requirements that workers have negotiated with their employers—agreements that the Supreme Court has upheld in free bargaining states. Proponents of “right to work” legislation often cite contractual freedom as a reason to pass these laws, but this is ironic considering that they are actually stifling workers’ freedom to make agreements with their employers.
Without a union contract our workplace rights are at the whim of our employers, whereas we can personally oversee the maintenance and enforcement of our agreements, if we are unionized. Employers know this, and that is one of the reasons behind the current wave of “right to work” legislation. By dividing us into different categories, employers are attempting to weaken our will and effectiveness as organized workers. We must realize that there is nothing that says we have to opt out of union membership. We can and should refuse to be divided by these laws! If we see past the laws in our states and learn about the Federal protections offered to us, we realize that we have a larger toolbox than we thought we had. Too often, orchestras don’t embrace the tools they already have to manage their own contracts.
“Right to work” does not have to mean the destruction of our workplace rights, if we work to ensure that we are organized. You may be thinking, “this won’t work in my city or state,” but I assure you that it will. I have found models for organization that exist in places considered unfriendly to labor. As a result, these locals enjoy more activity, visibility, and greater membership density. Together we have been able to begin to change the culture and perception of the local towards greater respect and congeniality. If you would like to learn how you can organize your orchestra and make your local more relevant in the eyes of your musicians and management, please contact me. Together, we can turn the tide of “right to work” laws toward a brighter future for orchestra musicians!
by Christopher Durham, Chief Field Negotiator, AFM Symphonic Services Division
Employees who work under the terms of a collective bargaining agreement (CBA) are represented by a labor union that was authorized by the first employees who worked under the original agreement. When the union was established, the membership elected officers to handle the negotiation, enforcement, and administration of the agreement. Other union responsibilities and procedures are prescribed by either law or internal bylaw. The musicians who perform in orchestras elect orchestra committees and ancillary committees to assist the union in the negotiation, enforcement, and administration of the agreement.
This structure, while common in our union, is somewhat unique to the labor movement. Over time, symphonic bargaining units have assumed, through their various committees, a prominent role in the day-to-day governance of the agreements. A consequence of this expanded role should not be to disregard, ignore, or place the union in a subordinate role. The union, as the certified bargaining agent, has the legal responsibility to oversee the performance of the agreement as well as the liability for the action of its agents. It’s important to have an effective working relationship between a rank-and-file committee and the union in order to provide strength through communication and unity. The union is the pivot for members who may not work in the bargaining unit. It has important relationships in the greater community that, when properly networked, can make the difference by providing outside influence during times of hard bargaining.
Orchestra committees who seek the authority to administer the agreement must also acknowledge the responsibility and liability for decisions made under their watch. There is no hiding, denying, or abstaining from the same duty of fair representation that is expected from the union. Symphony orchestra committees are not your fathers’ civic or fraternal organizations, where you serve your time or complete your project and all is well. Representing the business interests of your colleagues and their families is a huge responsibility.
In all matters relating to the agreement, the committee must measure when and what to report to the membership. It is responsible for handling day-to-day business, including variances, and processing and investigating grievances in a timely and thorough manner. Committees must also bring experience to the bargaining table. They are responsible, by their recommendation, for directing the unit to accept or reject tentative agreements or final offers. Committee members don’t have the luxury to pick and choose the grievances that they want to handle nor to limit themselves to decisions that won’t cause confrontation. Conversely, the rank and file is well-advised to listen to the debate respectfully and to not attack a committee they have elected when it is serving in their best interest.
According to Fortune, workers at Google Shopping Express have joined the growing number of Silicon Valley workers eager to unionize. The 151 workers voted to join a local chapter of the Teamsters union. They say that they face poor working conditions—lack of ventilation, low wages, poor benefits, and damaged equipment. They are also currently being hired by an outside staffing agency that makes them sign contracts that limit them to two years working with the company.
The local they wish to join, Teamsters Local 853 (San Leandro, CA) already represents some workers at other high tech companies among them Facebook, Apple, and Yahoo, which have a habit of showering their engineers and executives with high salaries and other perks, while low ranking workers enjoy virtually no benefits.
The Industrial Workers of the World’s Toronto General Membership Branch will host the Working For Each Other, Working For Ourselves: A Revolutionary Worker-Organizer Summit, October 3-4. The event will gather grassroots workplace organizers from around North America. The event is open to the public, but anyone interested in attending must register by September 7. For more information and to register visit:
