Vice President from Canada

Never have I ever read so many political commentaries, opinions, and predictions than in the last month. The chaos created by the smoke show in Washington, DC, has stirred even the most apolitical segment of the population to raise eyebrows and engage with opinions. Some people have become addicted to watching the next headline news story and debate the strategy and counter strategy of politicians and governments. For others, the chaos has caused so much stress and anxiety that they avoid watching the news or reading social media.

When there is a bully in the schoolyard, the way to defeat them is to stand together. The bully will try to turn friends against each other. Their tactics usually open the small differences we have in our lives because we feel the need to react. Our passion, patriotism, and intrinsic sense of “we must do something” causes us to feel compelled to scratch that itch. To outsmart the bully, they must be called out from a united voice that complements our friends and speaks in favor of them.

Last week, I was invited to spend a day in Washington, DC, as part of a Canadian Labour Congress (CLC) delegation. Several unions were represented, and we discussed the impact and implications of potential tariffs. Later in the day, we were invited to meet with Canadian Premiers at AFL-CIO headquarters, right across the street from the White House.

We heard Premier David Eby (BC) and Premier Wab Kinew (MB) articulate a strong argument as to why tariffs between the US and Canada make no sense. It was clear from what they shared that there is just as much confusion in the US as there is in Canada. Any tariffs will cost jobs on both sides of the border. The knee jerk reaction we must guard against, which this very chaos creates, is for us to look for our own “tariffs” that we should impose on ourselves. In other words, this chaos agenda can cause us to negotiate among ourselves.

This conversation needs to be about people and jobs, not tariffs. The conversation with unions, the AFL-CIO, and CLC focused on the labour movement sending a clear and consistent message. We must not let this chaos create division and disharmony in our union, and not let the schoolyard bully dismantle our international solidarity. We must remain focused on our motto: unity, harmony, and artistry.

We must be prepared. Avoid the distraction, find distraction, and create distrACTION. Remember, in Canada, we are on the verge of a very important Federal election likely coming in the spring. We must make sure to get involved and vote. Let’s not let only a third of eligible voters decide who our next leader will be. Build traction and take action.

Susciter l’union et l’action malgré la distraction

par Allistair Elliott, vice-président de l’AFM pour le Canada

Je n’ai jamais lu autant de commentaires politiques, d’opinions et de prédictions qu’au cours du dernier mois. Le chaos créé par le « show de boucane » à Washington D.C. fait sourciller et réagir même la partie la plus apolitique de la population. Certains sont devenus accros aux manchettes et débattent sans arrêt des stratégies et contre-stratégies des politiciens et des gouvernements, d’autres ressentent tant de stress et d’anxiété qu’ils évitent de regarder les informations ou de suivre les réseaux sociaux.

Lorsqu’il y a un tyran dans la cour d’école, la meilleure solution consiste à rester unis. Il cherchera à diviser pour régner. Les tactiques de ce genre de personnage exploitent habituellement les petits différends dans nos vies, parce que cela nous fait facilement bondir. Notre passion, notre patriotisme et notre sentiment de « devoir y faire quelque chose » nous poussent à gratter la plaie, en quelque sorte. Pour déjouer le tyran, il faut le dénoncer d’une seule voix, soutenir nos amis et parler en leur faveur.

La semaine dernière, j’ai été invité à passer une journée à Washington D.C. comme membre d’une délégation du Congrès du travail du Canada (CTC). Plusieurs syndicats étaient représentés, et nous avons discuté de l’impact et des conséquences d’éventuels tarifs. Plus tard dans la journée, nous avons été invités de l’autre côté de la rue au siège social de l’AFL-CIO, en face de la Maison-Blanche, à rencontrer les premiers ministres canadiens.

Nous avons entendu les premiers ministres David Eby (C.-B.) et Wab Kinew (Man.) faire valoir des arguments solides contre les tarifs entre les États-Unis et le Canada. Il était clair, selon ce qu’ils nous ont dit, qu’il y avait autant de confusion aux États-Unis qu’au Canada à cet égard. Tout tarif, quel qu’il soit, entraînera des pertes d’emplois des deux côtés de la frontière. La réaction instinctive à laquelle nous devons résister, et que provoque le chaos ambiant, serait de nous imposer nous-mêmes des tarifs. En d’autres termes, le chaos pourrait nous pousser à négocier entre nous.

Cette conversation doit être axée sur les personnes et les emplois, pas sur les tarifs. Les échanges avec les syndicats, l’AFL-CIO et le CTC, ont porté sur l’importance pour le mouvement ouvrier de transmettre un message clair et toujours identique. Nous ne devons pas permettre à ce chaos de créer la division et la mésentente au sein de notre syndicat, au tyran dans la cour d’école de démanteler notre solidarité internationale. Nous devons rester concentrés sur notre devise : unité, harmonie et talent.

Nous devons nous préparer. Éviter la distraction, chercher l’union et créer la distrACTION. N’oubliez pas que, au Canada, nous approchons d’une élection fédérale très importante qui aura probablement lieu au printemps. Nous devons à tout prix participer et voter. Ne laissons pas seulement un tiers des électeurs admissibles décider qui sera notre prochain dirigeant. Suscitez l’union et l’action.

The trade relationship between the US and Canada is the largest in the world. According to statistics on Wikipedia, the goods and services traded between our two countries totalled $923 billion in 2023. US exports were $441 billion, while imports were $482 billion, for a US $41 billion trade deficit with Canada.

Canada historically held a trade deficit with the US every year since 1985 in net trade of goods, excluding services. The trade across the Ambassador Bridge, between Windsor, Ontario, and Detroit, Michigan, alone is equal to all trade between the US and Japan.

Energy trade is the largest component of this cross-border commerce. Canada has the third largest oil reserves (after Saudi Arabia and Venezuela). The US has historically been Canada’s only foreign market for natural gas, oil, and hydro. Agriculture (specifically dairy products) has been a source of tension in recent years, as is the importation of less costly prescription drugs from Canada to the US. Due to the Canadian government’s price controls, the cost of prescription drugs can be a fraction of the price paid by consumers in the US, where the market is unregulated. Over the years, other commodities, such as lumber, have been the subject of trade disputes in this chess game.

What does this have to do with our industry? Well, buried way down in the list of trade issues are media and culture. While generally low on both governments’ priority lists, these are of high interest to our industry.

For Canadian musicians, travel to the US for work requires a visa for all types of musical engagements. Expanding their careers into this larger market is a goal for many Canadian musicians. They currently face many challenges even after taking all the right steps to obtain a visa.

Since June 2024, the process to apply requires more and more lead time due to longer processing times and administrative changes at US Citizenship and Immigration Services (USCIS). The delays seem to occur randomly in about 50% of the applications with no way to predict which ones will be delayed.

The cost also continues to increase because growing backlogs and delays require the Premium Processing fee to be paid more frequently. AFM lobby efforts, both solo and with a committee of other US industry representatives and immigration attorneys, worked hard to prevent costs from increasing astronomically. (From $460-$510 for a P-2 visa, versus USCIS proposed $1,615, when new fee rules were implemented in April 2024.) Although costs are burdensome for all our members working in the US, this is a huge issue among independent, touring freelance musicians in Canada. And when they do not receive their visas in a timely manner, they can see entire tours crumble.

With the new administration in power in Washington, DC, and the threat of higher tariffs looming, governments on both sides of the border are posturing, puffing out their chests with statements that threaten this, that, and the other.

We are two countries, but we are one union. AFM staff continues to work together on both sides of the border to represent all members. Our P-2 visa staff work tirelessly to process visa applications, while pivoting to face processing hurdles USCIS throws in the way. We understand that this is a stressful time for members awaiting information on their visa status. Rest assured that our staff continue to work in a timely and efficient manner on their behalf.

AFM Director of Government Affairs Ben Kessler and Executive Director AFM Canadian Office Liana White are the key point persons for the P-2 visa process, in respect to both lobbying and administrative work.

At the AFM, we are collectively holding our breath on how trade will be affected between the US and Canada as the plans of the new US administration unfold. We will continue to work together as the American Federation of Musicians of the United States and Canada to facilitate our Canadian musicians traveling to the US to work.

Throughout history, as governments change and politics interfere with this critical piece of our world, we adjust, pivot, and endeavor to work together to do our best to make the lives of professional musicians better.

An entry from the diary of Anne Halkett on January 2, 1671, a writer and member of the Scottish gentry, entitled “Resolutions,” referenced this pledge: “I will not offend anymore.” This would indicate that the practice of making New Year’s resolutions dates back at least a few hundred years.

We have all experienced beginning a new year with the greatest intentions, and then by the middle of January, we have reverted to old habits. Rather than taking on personal resolutions, I suggest we look at our habits as AFM members and locals so that, as we enter another year, we are setting ourselves up for success.

The history of the AFM was built by those who put the we before the me. Our AFM mission and values speak to the principles of working together so that we can live and work in dignity, be compensated fairly, have a meaningful voice in decisions that affect us, have opportunity to develop our talents and skills, use our collective voice and power in a democratic and progressive union, and oppose the forces of exploitation through our union solidarity (Article 2, Section 1, AFM Bylaws).

Democratic participation in our union would suggest showing up and getting involved so that each voice can be heard and valued and we can create movement and change. So, my call to action at the start of a new year is for you to get more involved at your local.

Membership orientation meetings are scheduled so new members can learn how their lives as professional musicians will improve. Membership has many benefits, and joining is just the first step. Through new member orientations and general meetings, you gain knowledge. They are vehicles for learning more about union benefits and how, as well as why, members should file contracts on every job to be protected and vested in our pension plans, both in the US and Canada.

At general meetings, you can learn about extended discount programs, grant programs, local municipal lobbying efforts, and what the Federation is doing on a national scale. These meetings are an entry point to further involvement. Many years ago, as a new member, a general meeting served as my connection point to network with established members. There, I began to learn more about our history, how locals relate to the Federation, and how the American Federation of Musicians of the United States and Canada operates.

For local officers, general meetings are a vehicle to communicate with members and for all to engage with one another and build solidarity. Finances, officer elections, and the general business of the local are reported to members through general meetings.

As a member, make your New Year’s resolution to become more involved in your local. It’s how we grow together, help one another, learn from one another, and support one another. Becoming involved in your local, beyond paying dues and reading a newsletter, is how you educate yourself to both the why and the how of membership.

Taking care of your paperwork the right way will improve your life as a professional musician. Filling out the right contract on a recording (even the one you do as a demo) can act as an insurance policy on potential future income. That’s just one of the reasons for becoming more connected with your local. By becoming more involved, you will learn the true value of membership. You can add to that value by asking questions, participating in advocacy efforts, and working together to make our lives as musicians better.

So, as you begin this new year and pay your membership dues, commit to attending your local’s general meetings. Your input is valued and your participation is welcomed. Learn something new, meet like-minded musicians, and help others feel valued.

If you are a local officer, connect with your AFM international representative and discover new resources at https://members.afm.org/member/library/. Make 2025 the year we all take better care of the business part of being a musician.

As we come to the end of another calendar year, I look back on the whirlwind of the last seven months since I took office. Negotiations continue on several fronts, both in New York City with Live TV negotiations, and in Toronto with the Canadian Media Producers Association (CMPA), TV Ontario (TVO) (now complete), and the General Production Agreement (CBC), which is just beginning as I write this article. Plus, National Film Board (NFB), Canadian Country Music Association (CCMA), Association of Canadian Advertisers/Institute of Canadian Agencies (ACA/ICA) (jingles), East Coast Music Association (ECMA), and Canadian Academy of Recording Arts and Sciences (CARAS) negotiations are on the horizon in 2025.

These negotiations wouldn’t happen without a caucus of experienced officers and staff who put in endless hours to help strategize the best possible outcome for members working under these agreements. As we bargain to improve working conditions and compensation for these musicians, I want to recognize and thank all who have taken the time to assist in negotiations this year.

Doug Kuss, although retired from Local 547 (Calgary, AB), has been an asset as he has continued at the bargaining table throughout several years of CMPA negotiations. Thanks also to Local 149 (Toronto, ON) Executive Director Dusty Kelly and CFM Office Executive Director Liana White for their participation at both CMPA and TVO negotiations. The trio of Kuss, Kelly, and White are also at the table with me for CBC negotiations, where we are joined by Local 180 (Ottawa, ON) Secretary-Treasurer Robin Moir; Local 406 (Montréal, PQ) Director General Guy Bernard; AFM Electronic Media Services Division Director John Painting; CFM Director of Administration Susan Whitfield; as well as representatives from Locals 145 (Vancouver, BC), 571 (Halifax, NS), and 149. Rest assured, together we will work to get the best possible agreement to improve the terms for all musicians.

Unfortunately, the P-2 visa process and administration nightmare from processing offices at US Citizenship and Immigration Services has been a huge challenge for Canadian musicians travelling to the US for work. Rightly so, Canadian members have expressed frustration, anger, and every emotion in between for several months. Everyone should know that the Federation, on both sides of the border, has been involved in lobbying efforts and numerous meetings on the border crossing issues.

AFM Director of Government Affairs Ben Kessler and Liana White (who has many years of experience with the P-2 visa process) have been in communication to prepare next steps when the new US government takes office in January. This situation will continue to be of the highest priority until resolved. These issues, while they seem simple on the surface, are always part of a larger picture and can be extremely delicate to navigate. We will share all pertinent information as it becomes available. 

Last month, I had the opportunity to attend the International Federation of Musicians (FIM) International Orchestra Conference in Malmö, Sweden. Listening to experiences from union representatives of FIM member countries provided both insight and understanding of what the challenges are for orchestras around the world.

Finally, I want to acknowledge our staff at the CFM office in Toronto. They are the humans who keep the wheels turning and are the unsung heroes. Liana White and Susan Whitfield have been the foundational support of the CFM office for many years, and their dedication to their work and our members is exemplary. Recording and Licensing Manager Carl Schilde and Electronic Media Assistant Kirk Chau keep our Electronic Media department running. Membership Services Manager Cathy Lee celebrated 10 years this year. She facilitates all things member services. Artist Immigration Administrators Ari Vangeest and Sean Henderson process all the P-2 visa paperwork and Corine Auguste provides fluent bilingual administrative support. Last, but not least, our field staff of International Representative for Canada Bernard Leblanc and Symphonic Services Negotiator Richard Sandals provide support to our 24 locals across Canada.

I would like to wish all our members, officers, and staff a happy, healthy, and safe holiday season and much success for 2025.

Résumé d’une année intense de négociations

par Allistair Elliott, vice-président de l’AFM pour le Canada

Tandis qu’ une autre année civile tire à sa fin, je revois le tourbillon des sept derniers mois depuis mon arrivée en poste. Les négociations continuent sur plusieurs fronts, à la fois dans la ville de New York avec Live TV, et à Toronto avec l’Association canadienne de production de films et de télévision (ACPFT) et TV Ontario (TVO) (maintenant terminées); celles de l’Entente de production générale (SRC) commencent tout juste au moment d’écrire ces lignes. De plus, sont prévues en 2025 celles pour l’Office national du film, l’Association canadienne de la musique country, l’Association canadienne des annonceurs/l’Institut des agences canadiennes (jingles), l’Association de la musique de la Côte est et l’Académie canadienne des arts et des sciences de l’enregistrement.

Ces négociations ne pourraient avoir lieu sans une équipe d’administrateurs et de personnel chevronnés. Ils ont investi un nombre incalculable d’heures en vue d’obtenir les meilleurs résultats possibles pour les membres qui travaillent aux termes de ces ententes. Alors que nous négocions pour améliorer les conditions de travail et la rémunération de ces musiciens, j’aimerais remercier tous ceux qui ont pris le temps d’apporter leur concours à nos efforts cette année.

Doug Kuss a été un atout; en effet, bien qu’il a pris sa retraite de la section locale 547 (Calgary, Alb.), il est resté à la table de négociation de l’ ACPFT pendant plusieurs années. Merci aussi au directeur général de la section 149 (Toronto, Ont.), Dusty Kelly, et à la directrice générale du bureau de la FCM, Liana White, pour leur participation aux négociations à la fois de l’ ACPFT et de TVO. Le trio Kuss, Kelly et White est également à la table avec moi pour les négociations de la SRC, où nous ont rejoint le secrétaire trésorier de la section 180 (Ottawa, Ont.), Robin Moir; le directeur général de la section 406 (Montréal, Que.), Guy Bernard; le directeur de la Division du service des médias électroniques de l’AFM, John Painting; la directrice de l’administration de la FCM, Susan Whitfield, de même que les représentants des sections 145 (Vancouver,C.-B.), 571 (Halifax, N.-É.) et 149. Soyez assurés qu’ensemble, nous travaillons pour obtenir la meilleure entente qui soit en vue d’améliorer les conditions pour tous les musiciens.

Malheureusement, le cauchemar de l’administration et du traitement des permis P-2 par les bureaux des services américains de la citoyenneté et de l’immigration a été un énorme défi pour les musiciens canadiens qui se rendent aux États-Unis pour travailler. Depuis plusieurs mois, ces derniers expriment – avec raison – frustration, colère et toutes les émotions entre les deux. Sachez que la Fédération, des deux côtés de la frontière, a exercé des pressions et tenu de nombreuses réunions pour tenter de dénouer ce dossier.

Le directeur des affaires gouvernementales de l’AFM, Ben Kessler, et Liana White (qui a de nombreuses années d’expérience avec le processus des permis P-2), préparent les prochaines étapes en vue de l’entrée en fonction du nouveau gouvernement des États-Unis, en janvier. La situation restera une importante priorité jusqu’à sa résolution. Ce genre d’enjeux paraissent souvent simples à première vue, mais ils s’inscrivent toujours dans un cadre plus large et peuvent s’avérer très délicats à naviguer. Toute information pertinente vous sera communiquée au fur et à mesure des développements. 

Le mois dernier, j’ai assisté à la Conférence internationale des orchestres de la Fédération internationale des musiciens (FIM), à Malmö, en Suède. Entendre les représentants des syndicats des pays membres de la FIM parler de ce que vivent leurs musiciens m’a permis de mieux cerner et comprendre les défis auxquels font face les orchestres partout dans le monde.

Pour finir, je souhaite rendre hommage à notre personnel du bureau de la FCM, à Toronto. Ce sont les humains qui font tourner la machine, nos héros méconnus. Liana White et Susan Whitfield sont l’appui de base du bureau de la FCM depuis plusieurs années, et leur dévouement à leur travail et à nos membres est exemplaire. L’administrateur des enregistrements et des licences, Carl Schilde, et l’adjoint aux médias électroniques, Kirk Chau, assurent le fonctionnement de la Division des médias électroniques. La gestionnaire Cathy Lee, qui a célébré ses 10 ans au bureau cette année, assure la fluidité de tout ce qui concerne les Services aux membres. Ari Vangeest et Sean Henderson, agents pour l’immigration des artistes, traitent toute la documentation relative aux permis P2, et Corine Auguste assure un soutien administratif bilingue. Derniers, mais non les moindres, notre personnel sur le terrain, le représentant international pour le Canada, Bernard Leblanc, et le négociateur des Services symphoniques, Richard Sandals, appuient les 24 sections locales du Canada.

Je souhaite à tous, membres, administrateurs et employés, bonheur, santé et sécurité pour le temps des fêtes, et beaucoup de succès en 2025.

En Francais - Prendre ses affaires en main – enregistrement 101 : ce qu’il faut savoir

One thing that has changed exponentially over the last few years is the ability to come up with a great recording, without spending days in a studio. Great quality home recording projects are happening everywhere. With the advancement of software and a little investment we all can record. Recording is the one part of the industry that more musicians have ventured into over the last 10-15 years.

There is more collaboration between artists that don’t regularly work together, and many musicians work on multiple projects a day. It therefore becomes more important than ever to document the players, the writers, who owns what percentage of each song, and of course, who the composers are.

Most musicians are excited to have the songs recorded and then get them “out there” to apply for travel grants, marketing grants, or an invitation to play at a festival. Too often the business side of documenting the important facts is left until later. Unfortunately, if the documentation isn’t filed before anything is released, it’s too late.

Of course, I’m talking about AFM recording contracts. An AFM recording contract is the only paperwork that protects all musicians on the recording. It’s like an insurance policy for the life of the recording. There are many types of recording contracts, depending on the use and distribution of the recording.

The key factor to grasp is to make sure, at the very least, to document and file a Joint Venture Recording Agreement. This agreement is like an entry-level record of exactly what I described above. If four musicians come together to record, they can document: who played on each track, who wrote or arranged the tune, and whether they each have an equal share of future residual income. It’s easy to come to agreement on these terms and note it on the Joint Venture Agreement.

Then, if one of the songs gets picked up and used for a jingle, television show, or even a movie, everyone on the recording will be able to get paid. Unfortunately, there are many stories where a contract wasn’t filed and the musicians were not able to get what they should have received.

I don’t understand why musicians don’t just file a contract every time. If you are not sure what to do, call your AFM local office and ask for advice. But be sure to do it before anything is released. With the loss of hard copy sales of product due to streaming, let’s ensure we get every possible source of future revenue by documenting all recording projects on an AFM recording contract. It’s like getting a free insurance policy to protect your rights and future income. Why wouldn’t you?

Prendre ses affaires en main – enregistrement 101 : ce qu’il faut savoir

par Allistair Elliott, vice-président de l’AFM pour le Canada

La possibilité de produire un excellent enregistrement sans y consacrer plusieurs jours en studio s’est développée de manière exponentielle ces dernières années, et des projets d’enregistrement maison de grande qualité se réalisent partout de nos jours. En effet, les progrès des logiciels et un petit investissement permettent à tous d’enregistrer. D’ailleurs, c’est un des domaines de notre industrie auquel beaucoup de musiciens se sont intéressés depuis 10 ou 15 ans.

Cela donne lieu à beaucoup de collaborations entre artistes qui ne travaillent pas régulièrement ensemble, et de nombreux musiciens travaillent sur une multitude de projets chaque jour. Il est donc plus important que jamais de documenter qui joue, qui écrit, qui détient quel pourcentage des droits sur chaque chanson et, bien sûr, qui sont les compositeurs.

La plupart des musiciens sont extrêmement heureux que leurs chansons soient enregistrées et très pressés de les publier en vue de faire des demandes de subventions de voyage ou de mise en marché ou alors d’obtenir une invitation à se produire dans un festival. Il s’ensuit trop souvent qu’ ils remettent le travail de documentation des faits importants à plus tard. Mais malheureusement, si la documentation n’est pas déposée avant diffusion, il est ensuite trop tard.

Évidemment, je parle d’un contrat d’enregistrement de l’AFM. C’est le seul document qui protège tous les musiciens qui participent à un enregistrement, une sorte de police d’assurance pour toute la durée de vie de l’enregistrement. Nous offrons plusieurs types de contrats selon l’utilisation et la distribution que vous comptez faire de votre enregistrement.

La clé consiste à s’assurer de remplir et de déposer une entente de coentreprise d’enregistrement (Joint Venture Recording Agreement). C’est un document de base qui permet de noter tout ce que j’ai décrit plus haut. Ainsi, si quatre musiciens se réunissent pour enregistrer, ils peuvent y inscrire : qui a joué sur chacune des pistes, qui a écrit ou arrangé la pièce et comment ils se partageront les revenus futurs issus des droits de suite. Il est facile de s’entendre sur ces points et de les inscrire sur l’entente.

Par la suite, si l’une des chansons est retenue pour un refrain publicitaire, une émission de télévision ou même un film, tous ceux et celles qui ont participé à l’enregistrement pourront être rémunérés. Malheureusement, il arrive souvent qu’un contrat ne soit pas déposé, et que les musiciens ne reçoivent pas ce qui leur revient.

Je ne comprends pas pourquoi les musiciens ne déposent pas tout simplement un contrat chaque fois. Si vous n’êtes pas certain de la procédure à suivre, contactez votre section locale de l’AFM et demandez-leur conseil. Mais faites-le avant diffusion. Avec la perte des ventes de produits physiques en faveur de la diffusion en continu, assurons-nous d’obtenir toutes les sources de revenus auxquelles nous avons droit en documentant tous nos projets d’enregistrement sur un contrat de l’AFM. C’est l’équivalent d’une police d’assurance gratuite pour protéger vos droits et vos revenus futurs. Pourquoi ne pas en profiter?