International Musician

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JANUARY 2016

OFFICIAL JOURNAL OF THE AMERICAN FEDERATION OF MUSICIANS OF THE UNITED STATES AND CANADA

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40 YEARS OF DISTINCTIVE MUSIC

January 2016

PRESIDENT’S MESSAGE

2

OFFICIAL REPORTS

4

NEWS & NOTES

6

LEGISLATIVE UPDATE

8

ORCHESTRA NEWS

12

WORKING MUSICIAN

14

TO YOUR HEALTH

15

COOL TOOLS

16

RESOURCES 19 UPBEAT 22 TAKE NOTE

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FEATURE STORY RUSH

The Canadian rock trio—Geddy Lee and Alex Lifeson of Local 149 (Toronto, ON) and Neil Peart of Local 298 (Niagara Region, ON)—closed out 40 years of dynamic shows in 2015.

INTERNATIONAL MUSICIAN

Official Journal of the American Federation of Musicians of the United States and Canada Vol. 114, No. 1 | January 2016 © 2016 American Federation of Musicians of the United States and Canada Publisher: SAM FOLIO (im@afm.org) Managing Editor: ANTOINETTE FOLLETT (afollett@afm.org) Advertising Director: KAREN GODGART (kgodgart@afm.org) Graphic Designer: CHUCK SCHIELE Digital Production: JON DUFORT

Staff Editor: CHERIE YURCO Cover Story: CHERIE YURCO Cover Photo: ANDREW MACNAUGHTAN Contributing Writer: MEREDITH LAING Translation/Traduction: MONIQUE LAGACÉ

The International Musician (ISSN No. 0020-8051) is published monthly at 1501 Broadway, New York, NY 10036 by the American Federation of Musicians. Member Circulation phone: (212)ˇ869-1330 ext. 1232. Non-member Subscriptions: $43.90/year US and Canada/$59.90 Foreign /$109. Visit: www.internationalmusician.org. (877) 928-6600 ext.116.

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All material becomes property of the AFM.

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The International Musician stands as the trusted source of news and vital information for professional musicians.

Published monthly, International Musician is distributed to more than 80,000 AFM members, providing industry and legislative news, professional member profiles, product reviews, gear, and recording and live sound technologies.

Call Advertising Sales Manager Karen Godgart at 877-928-6600 ext. 101 or: kgodgart@afm.org Visit: InternationalMusician.org

2 January 2016

THE PRESIDENT’S MESSAGE Chief Operating Officer Mancini Retires

by Ray Hair, AFM International President

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.

Photo: Wayne Burak

Invest in Your Union’s Future While Expanding Freedom of Speech for American Musicians

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.

TASKFORCE FOR EMPLOYMENT OF MUSICIANS, PROMOTIONAL ORGANIZATION Contributions to TEMPO, PCC, the AFM’s separate segregated political fund are used to help Members of Congress who support AFM issues remain in public office. Contributions to TEMPO are NOT tax deductible. Your decision to give is strictly voluntary and is NOT a requirement of membership in the union.

For more information, please contact:

AFM Legislative Political Director Alfonso Pollard at: 202-274-4756 or email: apollard@afm.org

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 back-

story 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.”

International Musician 3

New Agreement with Sesame Workshop

Scholarships Available to Union Families

AFM President Speaks About US Digital Sound Recording Rights at International Conference in Tokyo

In December, AFM President Ray Hair announced a new agreement with Sesame Workshop. Earlier in 2015, Sesame Workshop announced a partnership with HBO bringing first-run episodes of Sesame Street exclusively to HBO for the next five years. After nine months of appearing only on HBO, shows will then air on PBS.

For more than 20 years, the Union Plus Scholarship program has provided annual college scholarship awards to union family members. It has awarded funding to more than 2,500 union members, spouses, and dependent children, totaling more than $3.7 million.

In mid-December AFM President Ray Hair traveled to Tokyo to speak at the International Federation of Musicians FIM-MUJ Conference on Fair Internet for Performers.

Sponsored by the Musicians Union of Japan, the conference focus was on musicians’ digital performance rights and music streaming.

Among the topics of discussion were: how international norms and business models impact performer revenue; the performers right of “making available”; the Fair Internet campaign; online streaming technology

This new HBO deal caused some trepidation as negotiations began. For years, musicians had navigated relations with the nonprofit Sesame Workshop rather than a huge multinational media conglomerate.

“We remained steadfast throughout negotiations. The nine-member Sesame Street band will see increases in wages, healthcare contributions, and pension contributions,” says Hair.

The bargaining team included Hair, Electronic Media Services Division Director Pat Varriale, IEB member and Local 802 (New York City) President Tino Gagliardi. “I would like to thank Pat and Tino for their valuable assistance in closing these very difficult negotiations with Sesame Workshop,” states Hair.

Union families looking for help financing education should check out Union Plus Scholarships. Awards are granted to students attending two-year colleges, fouryear colleges, graduate schools, as well as recognized technical or trade schools.

There’s still time to submit a 2016 Union Plus Scholarship application. The deadline is January 31, 2016 at 12 p.m. ET. The application requires a letter of reference and two brief essays. Visit: https:// www.unionplus.org/college-educationfinancing/union-plus-scholarship to begin your application. Applicants can save entries and return as many times as necessary until the deadline.

and its legal aspects; and sustainable online business models from the viewpoint of respective stakeholders.

“As the only musicians’ union in the world with agreements with the labels covering exclusive rights streaming and with our own collective, the AFM SAG-AFTRA Fund, which distributes domestic and foreign compulsory license royalties from streaming to session musicians, AFM’s participation in the conference is important,” says Hair.

FEEDBACK:

All Feedback letters regarding articles printed in the IM must be typed, signed (with name, local, and phone number), and should be no more than 200 words in length. Feedback can be emailed to im@afm.org. The editor reserves the right to determine whether material submitted shall be published and the right to edit as needed for clarity, length, libelous statements, and personal attacks. The opinions presented in Feedback are those of individual AFM member writers and in no way do they represent the opinions of the AFM, IEB, or IM editorial staff.

“…very rich and powerful sound…”

Alexander Mishnaevski,

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Principal Viola, Detroit Symphony Orchestra

617-698-3034 luisandclark.com

4 January 2016

OFFICIAL REPORTS What Does the Friedrichs Case Really Mean for Working Americans?

by Sam Folio, AFM International Secretary-Treasurer 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 educa-

tional 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.

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

by Alan Willaert, AFM Vice President from Canada

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 (continued on page 5)

International Musician 5

«Si j’exige un contrat, je vais perdre mon engagement. » Vraiment? par Alan Willaert, vice-président du Canada, FAM « 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 ré-

munérés 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.

Willaert: Will You Lose the Gig?

(Continued from page 4) 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.

6 January 2016

NEWS & NOTES ESSA Designates Music Part of Well-Rounded Education More school-aged children nationwide will have access to music and the arts, thanks to Congress’s inclusion of both as part of a well-rounded education in the reauthorization of the Elementary and Secondary Education Act (ESEA). The Senate passed the Every Student Succeeds Act (ESSA) December 9 with a vote of 85 to 12. The president signed the bill into law December 10.

In addition to explicitly listing music in the components of a well-rounded education, the bill also protects students’ music and arts class time and provides new opportunities for music and arts education through formula funding grants. The National Association of Music

Merchants (NAMM), hundreds of NAMM members, and music industry leaders have spent years meeting with Congressional leaders on the importance of every child having access to music in schools. By passage of this act, Congress has shown that it too believes in music as part of a well-rounded education that should be available to all students.

The ESSA replaces the 2002 No Child Left Behind Act. The new bill’s inclusion of music and arts in the definition of a “well-rounded education” marks an unprecedented step forward for music education, as it connects to a variety of significant other provisions in ESSA.

Flint Symphony Broadcast Wins Award Bill Harris, producer of a Flint Symphony Orchestra (FSO) broadcast, won an Aurora Award in the category Entertainment/Documentary—Music/Life concert for his FSO recording of “A Patriotic Salute”—Music in the Parks. Produced as a local broadcast, the performance was also streamed on the Flint Institute of Music’s website under Integrated Media Agreement (IMA) guidelines.

The judge commented on the broadcast’s good coverage, sound quality, and outstanding production considering the challenges of

shooting live under changing weather and lighting conditions.

Joe Boettger, president Local 542 (Fling, MI) says, “It is always a pleasure to work with Bill; his creativity is unmatched, but the best thing is, right from conception of a new project, he comes to us at Local 542 and we work together to make the union agreements a road to success, an avenue of opportunity.

I am proud to be able to work with such talent, Bill and his production team and the musicians of the Flint Symphony, as well as the management at Flint Institute of Music.”

Don Was Honored with Les Paul Award The NAMM Foundation has announced that record producer, music industry executive, and Local 47 (Los Angeles, CA) member Don Was will receive the 2016 Les Paul Award at the 31st annual NAMM Technical Excellence & Creativity Awards and TEC Awards Hall of Fame January 23 at the 2016 NAMM Show. The Les Paul Award recognizes those who embody the creative spirit and legacy of Paul, one of the most revered musical geniuses who ever lived.

The NAMM TEC Awards will be hosted by comedian Sinbad.

Was is one of music’s most significant artists, producers, and executives. He co-founded former Detroit-based band Was (Not Was) with childhood friend David Was (Weiss) before going on to produce decades of commercially successful and critically-acclaimed recordings for top artists. He has earned multiple Grammy Awards for his production work over the past three decades, including for Local 47 member Bonnie Raitt’s Nick Of Time (’89). Was earned Producer of the Year for work with artists ranging from The Rolling Stones to Local 433 (Austin, TX) member Willie Nelson and Roy Orbison (’94), as well as Best Musical Album for Children for Ziggy Marley’s Family Time (’09).

Was joins a prestigious group of previous Les Paul honorees including Local 5 (Detroit, MI) member Stevie Wonder, Sting, Pete Townshend and more, who have “set the highest standards of excellence in the creative application of audio and music technology,” according to the Les Paul Foundation.

American Airlines Employees Approve Five-Year Deal The 14,500 US-based passenger service employees of the new American Airlines have approved a five-year contract that includes immediate and significant pay raises. Represented by the Communications Workers of America and the International Brotherhood of Teamsters (CWA-IBT), the vote was 6,993 in favor to 2,522 against.

Kerry Philipovitch, American Airlines senior vice president customer experience commented that passenger service employees have played a critical role in the integration of the airline. “This agreement is a huge step in making us truly one combined team, and we thank the CWA-IBT for their professionalism in advocating for their members,” she says.

Launch of Institute for Women Conductors

Nelson Receives CWA Award from AFM President Hair In December, Willie Nelson, a member of Austin Local 433 (Austin, TX), received the Communications Workers of America Gerry Horgan Award from AFM President Ray Hair. Nelson received the award for his stance against union busters at the Farm Aid Concerts and his defense of working people everywhere.

In November, Nelson became the first country musician to receive the Library of Congress Gershwin Prize for Popular Song. The prestigious award recognizes a living performers and/or composers whose contributions to popular music exemplify the standard of excellence associated with George and Ira Gershwin. Previous recipients have included Paul Simon, Local 5 (Detroit, MI) member Stevie Wonder, and Local 802 (New York City) member Carole King.

November 28-December 6 saw the launch of the Dallas Opera’s first week-long Institute for Women Conductors. Working to address a long-standing career issue in the opera world, Dallas Opera launched the unique, new residential program designed to provide training and career support for distinctively talented women conductors. Dallas Opera CEO Keith Cerny noticed for years a lack of women conductors or managers and launched the institute to deepen the pool.

The initial offering led to 103 applicants from 26 countries who submitted résumés and videos for consideration. From that pool, Cerny, Dallas Opera Music Director Emmanuel Villaume, and Dallas Opera Principal Guest Conductor Nicole Paiement chose six fellows and four observers from around the world, all of whom are professional musicians. Among them were Stephanie Rhodes, a member of Local 161-710 (Washington, DC) and Jessica Gethin from Australia.

“I was so thrilled to see The Dallas Opera offer such an innovative initiative for female conductors to further develop their opera skills on the podium,” says Gethin. “As a young, female, Australian conductor based in Perth, the opportunity to be a part of the inaugural Institute for Women Conductors is invaluable at this stage of my conducting career.”

AFL-CIO Boosts Detroit Housing The AFL-CIO Housing Investment Trust (HIT) has announced a plan to partner with civic and community organizations to invest up to $30 million of pension money in the Detroit Neighborhood Home Repair Program. The trust will help acquire, finance, and repair up to 300 single-family homes in the Detroit Land Bank Authority inventory, utilizing union labor and creating union apprentice programs over the next three to five years. In the past 30 years, the HIT has invested nearly $8.5 billion to finance more than 100,000 units of housing nationwide.

Perlman was also awarded the Presidential Medal of Freedom last November. He says that he plans to direct the $1 million prize money to initiatives he is passionate about.

Coal Boss Found Guilty Former Massey Energy CEO Don Blankenship was convicted of conspiracy to violate mine safety laws in the 2010 Upper Big Branch mining disaster that killed 29 miners. United Mine Workers of America President Cecil Roberts says the conviction provides a measure of justice and sends a message to every coal operator in America that they skirt safety laws at their own personal risk.

Chamber Music, Anyone?

On March 5-6 musicians around the world will gather to take part in the 2016 Worldwide Chamber Music Play-In, a tradition begun in the 1960s by the nonprofit Association of Amateur Chamber Music Players (ACMP).

Small groups of chamber music enthusiasts— professional and amateur, beginner and experienced players of all ages—will gather almost anywhere for a simultaneous expression of the joy of music.

It’s easy to join in this year’s Play-In. Visit the ACMP Worldwide Play-In Weekend Facebook page to find an event near you or visit the ACMP website www.acmp.net/wpiw to put together your own event.

In June, at the request of the union, the Los Angeles County Federation of Labor had authorized strike sanction against three music employers—Cinema Scoring, Collective Media Guild, and Peter Rotter Music Services—based on their actual and/or potential engagement of musicians in nonunion recording sessions. The strike sanction calls for all AFL-CIO-affiliated labor unions to stand in solidarity with AFM Local 47 and not cross the picket line, if and when these employers call a nonunion engagement.

This is the first time the musicians union has taken this unique approach of invoking the collective power of the labor community.

The union discovered evidence of the dark scoring session conducted in November.

News of the dark date also prompted swift reaction from the union’s labor and community allies. Los Angeles County Federation of Labor Executive Secretary-Treasurer Rusty Hicks and local state assembly members Adrin Nazarian, Mike Gatto, and Ian Calderon sent letters to Warner Bros. executives Members of AFM Local 47 (Los Angeles, CA) and other supporting unions such as UNITE HERE!, demonstrated and leafleted in front of Warner Bros. in December, after discovering evidence of a November “dark” scoring session.

condemning the studio’s facilitation of nonunion activity on their lot and offering safe haven for employers to exploit musicians.

“By allowing substandard working conditions on your scoring stages, it undermines the future careers of the next generation of professional musicians,” Nazarian wrote.

“Further, it negatively impacts entire communities by devaluating the livelihoods of musicians who contribute to the economic and educational well-being of our neighborhood.”

“Warner Bros. should not be in the business of creating a safe haven for employers who exploit musicians,” says AFM Local 47 President John Acosta. “The support our fellow union sisters and brothers showed out there with us is a testament to the power of solidarity. We all need to stand together against the unfair treatment of workers, wherever it takes place.”

Manage Your Member Profile

MY PRIVACY

Genesis Prize Chair and Co-Founder Stan Polovets describes why Perlman is an ideal Genesis Prize Laureate: “A 16-time Grammy award winner, he has been an incredible source of inspiration for individuals with special needs by overcoming tremendous challenges after having been severely disabled by polio at age four. And he has given back to society by dedicating virtually all of his free time and significant resources to teaching young talented musicians and to serving as an advocate for individuals with disabilities.”

On December 15 more than 50 AFM Local 47 (Los Angeles, CA) members, workers from several other unions, and other supporters demonstrated against “the exploitation of musicians” outside of Warner Bros. The group distributed leaflets objecting to the studio’s facilitation of nonunion activity on its property by permitting a nonunion “dark” date by Cinema Scoring, an employer with whom AFM Local 47 has a labor dispute.

The Federation is proud to announce the latest enhancements to the AFM.org website.

MY INFO

Violinist and Local 802 (New York City) member Itzhak Perlman has been selected as the 2016 Genesis Prize Laureate. The annual $1 million award is given to individuals who have achieved extraordinary professional success, have made a significant contribution to humanity, and inspire others through their engagement and dedication to the Jewish community and the State of Israel. Previous awardees include Michael Bloomberg, as well as Michael Douglas.

Musicians Demonstrate Against Exploitation at Warner Bros.

AFM members can update their addresses, phone numbers, privacy settings, e-mail addresses, and website addresses all in one place.

MY AFM

Perlman Awarded Genesis Prize

MY MUSIC

International Musician 7

There are additional tools for local officers, such as access to the control panel to handle members, groups, registration, content, update dues structure, and more.

Members can self-manage their AFM information with these custom pages: ◗ My AFM—choose personal shortcuts to documents and searches ◗ My Info—manage your personal profile ◗ My Privacy—control information you make public ◗ My Music—list instruments you play, who you play with, and who represents you

For more information, please contact AFM Information Systems at support@afm.org.

8 January 2016

LEGISLATIVE-POLITICAL UPDATE

2016 L NATIONA R E T N I AFM

IT S R E V I D

Y

AWARDS

CHARLES MCDANIEL YOUTH AWARD 16 to 35 Years of Age CHARLES WALTON DIVERSITY ADVOCATE AWARD Awards to Be Given at the AFM 2016 Convention Deadline for the First Stage: January 8, 2016 Deadline for Second Stage Finalists: March 15, 2016 Awards are Based on a Variety of Criteria for Each Award

For Complete Award Information go to Announcements on AFM.org Homepage or Contact Your Local Officer AFM DIVERSITY COMMITTEE MISSION STATEMENT:

To reflect the diversity of our musical community and further the mission of the AFM, the Diversity Committee with the assistance of the IEB, seeks to better represent our members, increase membership and raise the level of participation by all through affirmative means.

This will be accomplished by educational outreach, recruitment, officer training and increased leadership opportunities at all levels. The American Federation of Musicians of the United States and Canada is committed to creating an inclusive environment where diversity will be valued and celebrated; and where members, leadership, rank-and-file and staff will be inspired to contribute to the growth of the Federation. We envision our organization as one where the leadership reflects and affirms the diversity of our membership.

2015 Office of Government Relations Review and Look Ahead for 2016

by Alfonso Pollard, AFM Legislative-Political Director and Diversity Director 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 (RTN) 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 anti-

quated 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-TradeNegotiations-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

International Musician 9 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.

2016 Convention General Information:

Per Diem & Hotel Allowance, Rules for Resolutions, Candidate Statements, Certificate of Recognition, and Memorial Service The 100th Convention of the American Federation of Musicians will be held in Las Vegas, Nevada, beginning Monday, June 20, and concluding Thursday, June 23.

The Westgate Hotel & Casino (3000 Paradise Road; Las Vegas) will serve as both the official headquarters and the site of the convention’s business sessions. The hours of delegate registration will be Sunday, June 19, from 3:00 p.m. to 6:00 p.m., and Monday, June 20, from 8:00 a.m. to 11:00 a.m.

Please note local delegate entitlement will be based upon the number of members reported by the local as of December 31 immediately preceding the Convention. [see: Article 17; Section 4 (a),(b),(c),(d)]

Convention Per Diem and Hotel Allowance

The per diem allowance and the hotel allowance for one delegate from each local, from each players’ conference, for each diversity delegate from locals merged in accordance with the AFM’s civil rights policy, and for committee members required to attend prior to the first convention session are paid from the Federation’s funds. The per diem allowance shall be $50 for each full or fraction of a day during which the Convention is in official session and the delegate attends, and for one day of travel to the convention city. The period for which hotel accommodations are paid consists of each day the Convention is in official session and the delegate attends, plus one day for delegates designated above.

There will be general hotel reservation information available to local officers and delegates prior to the June 2016 AFM Convention. Please be reminded, delegates shall be responsible for: (1) providing necessary credit card information to the Westgate Hotel at the time of your reservation; (2) payment of your hotel bill at the conclusion of your stay.

Following the Convention, those delegates whose accommodations are to be paid by the AFM will be required to submit a copy of their hotel bill to the AFM for appropriate reimbursement.

How to Introduce Resolutions

shall be cast in the following form for presentation to the convention: (1.) Language and punctuation to be deleted from an existing provision shall be set forth in full and enclosed by square brackets and the deleted material shall be struck through, as [—]. This requirement shall not apply to a proposal to repeal an entire section, which may be done simply by specific reference. A resolution prepared on a typewriter on which square brackets are not available may use double parentheses as a substitute for the square brackets.

(2.) New words added to an existing provision shall be underlined.

(3.) The deletions shall precede the new matter; e.g., “...in the sum of [$50] $100.”

(4.) Entire new sections need not have all words underlined but shall be preceded by the designation NEW SECTION. in upper case followed by a period and the designation underlined, including the period.

Notice to Candidates Seeking International Office

In accordance with Article 19, Section 2 of the AFM Bylaws: “Candidates seeking election to any international office may forward to the AFM Secretary-Treasurer, postmarked or electronically transmitted not later than April 1 of the convention year, a statement certifying their intention of seeking election for the particular office and a campaign statement that shall not exceed 100 words. All electronically transmitted resumes must also be submitted by mail, postmarked no later than the next business day.

The AFM Secretary-Treasurer shall publish the names and campaign statements received from candidates in the International Musician, prior to the convention.”

Recognition to AFM Delegates

The AFM will award a Certificate of Recognition to those delegates who have served as convention delegates for a minimum of 25 years, when the delegate’s local requests such recognition.

Delegates, locals, or conferences wishing to introduce resolutions for consideration during the Convention must forward same in writing to the office of the AFM Secretary-Treasurer, postmarked or electronically transmitted no later than March 1. All electronically transmitted resolutions must also be submitted by mail, postmarked no later than the next business day. Resolutions must bear the signatures of all sponsoring delegates, or the signatures of authorized officers of sponsoring locals or conferences.

Locals should submit the names of eligible delegates to the AFM Secretary-Treasurer no later than April 1, stating the number of conventions attended. Please advise if the recipient(s) is to be mailed the certificate or if it is to be presented at the convention.

In order to expedite their preparation, resolutions submitted must be typed and double-spaced. The local number of the proponent(s) should be indicated under the signature (hand signed and printed). In accordance with Article 18, Section 4(b) of the AFM Bylaws, any resolution or measure to amend the provisions of the AFM Bylaws

The Federation recognizes former delegates who have died since the last AFM Convention during the Memorial Service. Names of deceased delegates should be mailed to the AFM Secretary-Treasurer’s office no later than June 1. Please indicate that the individual’s name should be included in the Memorial Service.

Names of delegates honored for the first time will be printed in the International Musician.

Memorial Service

10 January 2016

t e Gthat g i G AFM

Entertainment The First Federation-operated International Booking Agency is now accepting AFM members from all genres.

1 Register your press-kit.

2 Reach your audience.

3 Make it a union gig.

afmentertainment.org Net wages will be at or above the local union’s wage scales, and Locals will receive both work dues (if applicable) and contracts. AFM Entertainment will handle all communications with a potential purchaser.

AFM Entertainment reserves the right to accept, reject or edit any submitted materials.

Former AFM Director Dick Gabriel (1940-2015), A True Friend to Recording Musicians Former AFM Director of Electronic Media Services Division (EMSD) and Assistant to the President Dick Gabriel passed away at the end of November.

Gabriel had retired from the AFM in 2014 after more than 35 years of service. He first worked for Local 47 (Los Angeles, CA) and then the Federation, in a variety of capacities.

An accomplished professional musician, Gabriel brought his skills to the AFM’s West Coast Office in 1980. From the then two-person operation, he built that office into the powerhouse it is today, including developing the New Use Department, which bills more than $4 million annually. Gabriel was especially proud of this achievement because it greatly benefited musicians whose previously recorded materials were used for different purposes.

In late 1985, Gabriel took over as head of the AFM’s Recording Department when Bob Crothers retired.

Gabriel participated in numerous EMSD contract negotiations and projects over the years. He had a knack for spotting talent and he encouraged people fortunate enough to work with him to grow and take on the complex and daunting responsibilities of the EMSD. He was a skilled negotiator, able to analyze a project and determine what could be done to make it work, without undermining the standards we achieved over the years.

“Dick was unassuming and patient with everyone, with a knack for finding the way to fit a square peg into a round hole. I’m not sure I ever truly appreciated the depth of his knowledge and history of the AFM until I became vice president and started working with him on a regular basis. We lost one of the good guys,” says AFM International Vice President Bruce Fife.

Alongside six AFM presidents, Gabriel built a stellar reputation in his interaction with colleagues, local officers, staff, player conference representatives, industry representatives, labor attorneys, and most of all, musicians. His unique skill as a problem solver created employment and payment opportunities for our members.

Gabriel was known for his encyclopedic knowledge of AFM contracts, electronic media history, and people.

Perhaps his greatest strength was his lifelong commitment to keeping his door open to all working musicians and making their lives better.

Aside from his work in the office, Gabriel participated at trade shows and music conferences, where he patiently counseled young musicians on the virtues of AFM

Dick Gabriel (above) at the podium of the 2013 99th AFM Convention in Las Vegas, Nevada.

membership and protecting their recorded products.

He always felt it important to reach out to musicians to explain the importance of tending to the business side of their craft. After spending the entire day at a booth and on panels, where his voice would become noticeably hoarse, he still found the energy to go out to the places where the young musicians were performing to support their efforts.

Ironically, when Gabriel first hit the trade show circuit the AFM was not well-received; in fact, we were shunned. But, before long, he turned that around and we were not only in demand at the booth, but on panels and at other conferences as well.

Gabriel was a mentor to many. He had a passion for representing and helping musicians, especially recording musicians. The AFM, the EMSD, and musicians across the country owe a great deal to Gabriel for his great work, dedication, and the sharing of his wealth of knowledge. Recording musicians lost a true friend in Dick Gabriel. He was passionate in the way he looked out for their interests.

“I have known Dick Gabriel for more than 35 years, witnessing first-hand his sincere dedication and tireless efforts to better the lives of recording musicians. He was a treasured friend and devoted family man,” states Pat Varriale, EMSD director/assistant to the president.

“Dick Gabriel was one of the first Federation staffers that I met following my election as President Local 72 (Fort Worth, TX),” recalls AFM President Ray Hair. “He was always there from the very beginning to help me understand the Federation’s complex media agreements.

Dick provided a world of knowledge. Every musician who has ever recorded under an AFM agreement owes Dick Gabriel a debt of gratitude.”

International Musician 11

Retiring COO Mancini Reflects on His Years at the AFM

by Barbara T. Owens, AFM International Representative, Midwest & Northeast and AFM Symphonic Services Division Negotiator Lew Mancini has worked for the AFM for 40 years. In its 120year history, the AFM has had 12 presidents. Mancini has been on staff during eight of those administrations. His retirement in December 2015, marks the end of his long tenure for the AFM and the services he provided to the offices of both the president and secretary-treasurer.

LM: We went from recording the events with pencil and paper to audio cassettes. I have memories of a box full of audio cassettes, side A and side B. How would we even listen to them now?

Thankfully, CDs replaced those cassettes a few conventions ago.

We have become much more tech savvy now; witness 2013 when live streaming from the convention floor was implemented.

Barbara T. Owens: How did you get your start as a musician?

BTO: For many local officers, you are the voice of the AFM, providing guidance, information, and institutional memory.

Many local officers share your long history with the AFM.

Lew Mancini: Influenced by the love my parents had for the accordion, I started taking lessons when I was eight years old. This was not exactly my instrument of choice back in those days (I wanted to play drums), but ultimately it served me well, performing casual, society-type gigs while in college. I joined Local 248 (Paterson, NJ) in 1967, influenced by the union consciousness of my father who had lengthy membership in the Teamsters Union.

BTO: Did you major in music in college?

LM: Although I did take courses in music and music theory, I was actually a natural science enthusiast, with particular interest in the field of meteorology. I also focused on a course of study in social sciences.

BTO: How did you begin your career with the AFM, and how has your job evolved over your 40-year career?

LM: I worked during the summer months of 1969 and 1970 doing generalist/clerical work within the Federation’s New York headquarters. The AFM President at that time was Herman Kenin.

Although still uncertain of my career direction, I began full-time employment in 1971 under the administration of President Hal Davis. My initial duties involved supervisory activities within the AFM’s Booking Agent Department. Elevated to the title of assistant to the president in 1978, and under then-President Victor W. Fuentealba, the Booking Agent Department was expanded to include immigration and touring theatrical. I was recruited

by Walt Disney World in 1989 to assume a management role within its creative entertainment division. At the conclusion of that five-year term with Disney, I was recruited back to the Federation by AFM Secretary-Treasurer Steve Sprague to fill the role of assistant secretary. In 2010, I was honored to be elevated to the position of chief operating officer, an expanded role that included liaison to all Federation departments and the day-to-day operations within the Federation’s headquarters.

LM: My tenure notwithstanding, I am amazed at the longevity of some of the local officers. Their dedication to the membership and their love of music—and for many with minimal compensation— cannot be understated. It has been an incredible experience chatting with them, learning from them, and cultivating friendships.

BTO: Another integral part, which contributes to the efficient functioning of the AFM, is the staff. How has the staff evolved over your years in the New York office?

LM: The current staff is smaller than years past, but their level of work remains high. The number of staff members with lengthy terms of employment is impressive. I believe the formula for success is teamwork and I am proud to have been a part of the AFM staff team.

BTO: As the AFM looks towards its 100th Convention, what are your thoughts?

LM: The decision to step down after decades of service did not come easy. I am proud of my accomplishments along the way, for being driven to meet the challenges I faced, and always striving to make a difference. I could not have carried out my duties without support from both staff and officers.

BTO: One of the most important roles you have had is the coordination of the AFM Convention since the 1980s.

How has the AFM Convention changed over the years?

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LM: In the 1980s, I, along with staff members Pat Varriale and Dennis Dorry, assisted Convention Coordinator Bob Crothers. In looking back at conventions during that time, they seemed a bit simpler, less demanding, and less detailed.

Over the years, we have witnessed an increase in meetings during the convention by the various committees and player and regional conferences. We have greatly expanded catering and other ceremonial and entertainment elements as well.

BTO: I’ve looked at the old volumes of convention proceedings. It’s hard to imagine a time when everything was recorded manually!

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Lew Mancini (left), pictured here with AFM Secretary-Treasurer Sam Folio, started working for the AFM in 1969 while still in college, and is now a 40-year veteran in the Federation’s New York City office.

INTERNATIONALMUSICIAN.ORG

12 January 2016

ORCHESTRA NEWS We know what musicians need.

Hartford Symphony Orchestra Board Threatens Closure

and their peers at other major orchestras had widened over the past few years and this contract narrows that difference.

The Hartford Symphony Orchestra (HSO) board has threatened that the symphony could shut down at the end of January unless its musicians make significant concessions. Musicians and management have spent the past year in negotiations for a new contract.

The orchestra also recently announced a surplus of $72,000 for fiscal year 2014—especially impressive considering it had increased its budget by more than $2 million. Higher attendance at Severance Hall, Blossom Music Festival, and the orchestra’s annual residency in Miami brought earned revenue to a record $21 million. At $11.1 million, annual gifts surpassed the record set last year, and The Cleveland Orchestra brought in $32 million in other donations.

Its endowment grew by nearly $10 million.

In November, there was a step forward in the labor dispute. In response to an unfair labor practice complaint filed by Local 400 (Hartford, CT) on behalf of Hartford Symphony Orchestra musicians, the National Labor Relations Board (NLRB) sided with the musicians and called upon management to issue contracts for the current season.

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Yet, the two sides are still at odds over a long-term agreement. HSO management has sought to cut wages by 30% and reduce the number of guaranteed services per season. In response, musicians are asking that management share in the sacrifice, a request that has been steadfastly refused.

Backed by the analysis of industry expert Tom Morris, the musicians maintain that their contract is not responsible for the organization’s financial difficulties. They have revealed that the orchestra’s management structure, under which one person serves as CEO of both HSO and the Bushnell Center for the Performing Arts, causes a conflict of interest.

The musicians have also emphasized HSO’s shortcomings in fundraising, particularly that the board and staff failed to launch a $10 million endowment campaign that was promised in 2007.

“The inherent conflicts of interest in the current shared CEO arrangement and the underperforming stewardship is becoming increasingly clear,” says Michael Pollard, a member of the negotiating committee and a member of Local 400. “Continuing this relationship could prove fatal to the HSO.”

Cleveland Contract Provides Raises In mid-December, musicians of The Cleveland Orchestra ratified a new contract. The deal is retroactive to August 31 and is effective through 2017-2018 season. Musicians had been working under a play-andtalk arrangement since August, when their previous contract expired.

The agreement provides increases in wages, and improves musicians’ working conditions while on tour. Musicians allowed for changes to recording and broadcast provisions, will contribute more toward their health insurance, and will donate 12 services over the duration of the contract. The pay gap between members of The Cleveland Orchestra

The Cleveland Orchestra attributes its successes to efforts toward deepening the relationship between the institution and its community.

Chicago Lyric Fights Proposed Cuts Musicians of the Chicago Lyric Opera Orchestra have ratified a three-year agreement, retroactive to July 2015 that runs through July 2018. The musicians faced challenging negotiations, with management demanding 10% cost savings from the outset. Management proposed that those savings come from cuts to weekly pay, an expanded workweek, pay cuts for substitute and extra musicians, a reduction to employer contributions toward health care, and changes to work rules.

Faced with such steep demands, orchestra members voted to authorize a strike. The musicians were just minutes away from going on strike when management improved its offer to the point where the negotiating committee could recommend the new proposal for ratification. The contract includes modest salary increases in the second and third years; makes improvements to work rules, while affording management some additional flexibility; and provides for other benefits such as improved maternity leave and a new paternity leave benefit, roll-over of unused personal days, and reimbursement for custom earplugs.

Throughout the negotiation process, musicians cultivated community support through a strong online presence, including a website and blog, e-newsletter, and social media.

App Could Block Cell Phone Usage For the last several years, artists have had to accept constant video recording and photo taking by fans during concerts. A new startup, Yondr, has created a device that will automatically lock these cell phones and tablets once the concertgoers enter the “no-phone zone” of a show. The app is already being used in a number of San Francisco venues.

International Musician 13

14 January 2016

WORKING MUSICIAN Eight Social Media Channels Important for Musicians

by Bob Popyk, member Local 78 (Syracuse, NY) 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.

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.

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.

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.

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

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-per-

son 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.

International Musician 15

TO YOUR HEALTH How to Keep Your New Year’s Resolutions It’s January and the spirit of the New Year is still fresh. Everyone is excited and motivated to make positive, healthy changes in their lives, from getting fit to quitting smoking or eating healthier. One study of New Year’s resolvers published in the Journal of Clinical Psychology showed that, after six months, only 46% of the subjects had keep their resolutions. Wouldn’t you like to be among them?

Here are some tips to improve your odds: 1) Set goals. Don’t just say you’ll eat better or lose weight. Those goals are too vague. Set specific, attainable, and realistic goals like losing 10 pounds by March 31 or being able to run five kilometers by April. Don’t forget to also set subsequent goals like maintaining your weight loss or losing another five pounds by a certain date.

2) Use visualization. Take time to think about and imagine yourself reaching your goals.

What will you look like when you’ve lost 10 pounds? How much healthier will you be when you’ve stopped smoking? Think about the emotions you will feel—the excitement of finishing a marathon or fitting into a size you haven’t worn in five years. If it helps, write down your thoughts on an index card and pull it out when you have moments of weakness.

3) Make a commitment. You have to be proactive and make it happen. If you hope you are able to find the time to exercise, you probably won’t. Take out your calendar at the beginning of each month and schedule your workout dates as uncancelable appointments. Throw away the cigarettes or junk food that you are trying to eliminate from your life. Buy a treadmill, join a gym, or sign up for a fitness class.

4) Get a resolution buddy. Team up with one or more other people who have similar goals. Take walks or runs together, or set appointments to meet at the gym. If it’s not possible to schedule workouts together, make a pact to report your weekly progress

to each other. You can use a similar strategy for eating healthy. Report your meals to each other, confessing any over-indulgences. You can even share weight loss/gains if you are comfortable with that idea.

5) Keep a journal. Keep track of the actions you take (or don’t take) toward achieving your goals. This may be especially important if you are trying to lose weight. For example, you may not realize the toll “little” snacks, or five days a week of inactivity, can have on your goals. It will also help you catch yourself, if you start to go back to old habits.

6) Talk it up with social media. Post your resolution and then report your progress on Facebook. This way your friends can encourage you when you take time out of your busy day to exercise, or have gone one week without a cigarette.

7) Set a reward. All work and no play make resolutions boring. Be kind to yourself and set rewards along the way for when you’ve reached certain milestones. However, make sure whatever reward you set is consistent with your overall resolution. For example, if your goal is weight loss, don’t use food as a reward. A complementary reward would be buying a new wardrobe when you’ve gone down one clothing size.

8) Learn from your setbacks. When setbacks happen, don’t be discouraged. Focus on your goals and the fact that what you are trying to do is good for you. It’s not a punishment.

Remember, each time you overcome a setback you are stronger and more able to reach your goals.

9) Reflect on your success and don’t take it for granted. The longer you’ve stuck to your resolutions—three months, six months, one year—the more likely this change will become a permanent part of your life. Take time to think about what worked for you and what tricks will help you stay on track in the future.

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Keep your address current Be sure update your local with your new mailing address so that the International Musician mailing list will be updated.

IM can be read online The International Musician is online in the member’s section at afm.org.

16 January 2016

COOL TOOLS NEAR ZERO LATENCY

Universal Audio’s Apollo Twin USB high-resolution desktop interface provides onboard real-time UAD-2 processing for Windows-based recording. The 2X6 interface features high quality 24/192 kHz audio conversion in an ergonomic design that features front panel headphone and instrument connections. With Apollo Twin USB, users can track through a range of colorful preamp emulations from Neve, API, Marshall, and more, with amazing accuracy. Its mic preamps and front panel DIs sound and behave like sought-after tube and solid state preamps, guitar amps, and stompboxes. www.uaudio.com

CRUSHING POWER

Crush 35RT is the largest and most feature-laden model in the Orange Amplification Crush range. The twin channel, high gain preamp coupled to a beefier 35-watt output stage and 10-inch Voice of the World speaker yields amazing results, delivering punch, presence, and volume. In addition to onboard reverb and an integrated chromatic tuner, the Crush 35RT also features Aux In for backing tracks and a CabSim-loaded headphone output. It comes with a fully buffered, ultra transparent effects loop to get the most from your pedal setup. Crush 35RT was the winner of Total Guitar’s Amplifier of the Year Award. www.orangeamps.com

CLIP-ON QUALITY

IK Multimedia’s iRig Acoustic is the first mobile microphone/interface specifically designed for acoustic guitars and ukuleles. iRig Acoustic uses an innovative clip-on microphone compatible with iPhone, iPad, iPod touch, Mac, and Android, which rivals professional studio mics at an affordable price. iRig Acoustic installs and uninstalls in seconds and features monitoring and line-output capabilities for recording and performing live. For truly superior sound, iRig Acoustic can be paired with an AmpliTude Acoustic companion amp with multiple amplifiers, stompboxes, and other advanced features. www.ikmultimedia.com

BENCH ENVY?

The Premium Instrument Work Mat from Music Nomad Equipment Care is perfect for use with many musical instrument maintenance tasks. The 36inch by 17-inch mat is made of a biodegradable, finish-safe TPE material that contains no rubber, PVC, lead, latex, dioxins, or chloride. It’s designed with a texture that keeps small items from moving about. It can be used with Music Nomad’s Cradle Cube (sold separately)—a five-angled soft gel covered block designed to stabilize the neck of string instruments during maintenance. www.musicnomad.com

International Musician 17

UPGRADED PRODUCTION

The latest update, version 8.5, to Steinberg Media Technologies’ Cubase Pro and Cubase Artist music production system is now available. The software features new creative tools and workflow enhancements that take online collaboration with Cubase to the next level. Users can take advantage of cloud-based music production with VST Transit, Steinberg’s Retrologue 2 virtual analog synthesizer, as well as refinements to the MixConsole. The Cubase Pro 8.5 state-of-the-art music production system retails for $699, while Cubase Artist 8.5 retails for $399. www.steinberg.net

TOTAL CUSTOMIZATION

SMALL SIZE, GREAT SOUND

EVH 5150III is a “lunchbox” sized guitar amp head that’s easily portable, yet provides massive tone and crunch. It features five JJ ECC83S (12AX7) and two JJ EL84 tubes and two flexible channels—EVH Blue Crunch and Red Full Burn. Familiar low/mid/high/presence tone controls, global resonance knob, a quarter-inch power switch, plus a foot switch make it easy to dial-in everything from subtle overdrive tones to roaring Variac-less “brown” sound. www.evhgear.com

TONE DOCDERR

Empirical Labs DocDerr is a 500 series multi-purpose tone enhancement module that houses six different sections of digitally controlled analog processing in a compact, easy-to-use format. The first compressor offers Distressor-inspired compression and an extremely musical tape emulation circuit. Add to that a low-noise preamp capable of line or instrument level signals; four sections of EQ (a two-position high pass filter with three parametric bands); and a mix knob that allows blending of the uncompressed EQ signal with the compressed and saturated signal. DocDerr provides an unprecedented combination of power and musicality. Like all ELI 500 series modules, DocDerr is available in vertical and horizontal versions. www.empiricallabs.com

Dean Zelinsky’s Dellatera is designed to appeal to country, blues, and classic rock players alike. It comes with rock hard Canadian maple neck, compound radius fingerboard, locking tuners, Hi-Tail single-coil bridge pickup, broad-tone neck single-coil, master volume and tone control three-way switch, graphite nut, string retainer, and the patented Z-Glide reduced friction neck that allows fingers to glide easily. Dellatera Custom features contoured alder body with flame maple top. Guitarists can choose 10 different finishes, various pickguard and pickup options, hardware packages, and rosewood or maple fingerboard. www.deanzelinsky.com

REACH WORKING MUSICIANS The International Musician stands as the trusted source of news and vital information for professional musicians.

Published monthly, International Musician is distributed to more than 80,000 AFM members, providing industry and legislative news, professional member profiles, product reviews, gear, and recording and live sound technologies.

Call Advertising Sales Manager Karen Godgart at 877-928-6600 ext. 101 or: kgodgart@afm.org Visit: InternationalMusician.org

18 January 2016

New Year’s Resolutions for Artists Working in Foreign Lands

by Robert Baird, President Baird Artists Management (BAM!) As we greet the New Year, we take the time to reflect on the past and resolve to do things better in the coming year. So, with my best wishes for success in 2016, here are some New Year’s resolutions for musicians working in foreign lands: 1) I will use an AFM contract for all of my bookings whenever possible. If I am utilizing another contract from a buyer, I will attach (and get signed) a Schedule 1 from the AFM form T2C – Travelling Engagement Contract.

2) I will protect myself from any adverse contractual consequences by reading over the contract carefully; by ensuring that the payment currency, mode of payment, and time of payment do not penalize me in any way; and by making provisions in the contract for cancellation due to circumstances not covered by a “force majeure” clause, such as personal or family illness, etc.

3) I will be aware of and take into consideration

the withholding requirements for travelling musicians (30% in the US; 15% in Canada).

I will deal with the required paperwork well in advance of the booking. This means arranging for a Central Withholding Agreement (CWA) in the US or an R-105 waiver in Canada.

4) I will deal with any impediments to carrying and selling merchandise (CDs, T-shirts, etc.) by making sure the merchandise is correctly labelled (country of manufacture; for promotional purposes only, etc.) and utilizing a customs broker, if necessary.

5) I will be aware of the latest rules regarding endangered species as part of musical instruments. I will look into the need for an Instrument Passport and make sure I use a border crossing point that can deal with this issue.

6) I will keep a complete inventory of the equipment I travel with and will get a customs stamp on my inventory list at the border before I leave my country. This will make re-entry much easier. I will look into the feasibility of using an ATA Carnet.

7) I will ensure that my passport is up-to-date.

In addition, I will carry other relevant documentation that will ease my border crossing (visa, contract copy, letter of invitation, return flight ticket, hotel accommodation confirmation, etc.).

8) I will ensure I have obtained the proper visa to enter the country I am visiting—work visa or permit to work in the country (O-1B, P-1, P-2, P-3) or visa for other purposes (business visa: B-1, study visa, etc.).

9) I will complete the required tax filings—T-1, T-2, and T4A-NRSUM Summary in Canada or 1040NR, 1042 in the US—and be current with the tax authorities.

10) I will be aware of industry trends and changes to regulations, restrictions, and cautions that affect my ability to travel.

Being a working musician in a foreign land requires a breadth of knowledge and awareness well beyond the main focus of any artist. If working in a foreign land is in your career plans, make sure you know what needs to be done and take care of things well in advance. Safe and happy travels!

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

While I cannot answer every question in this column, I promise to answer every email I receive.

Résolutions du Nouvel An pour les artistes travaillant à l’étranger Robert Baird, président, Baird Artists Management (BAM!) Au début de la nouvelle année, nous faisons pour un musicien en tournée (30 % aux généralement une réflexion sur l’année qui États-Unis; 15 % au Canada). Je m’occuperai se termine et prenons des résolutions pour de toutes les démarches administratives améliorer la suite des choses. Voici, avec mes nécessaires bien avant mon départ. Cela meilleurs vœux de succès en 2016, quelques comprend la conclusion d’une entente de résolutions du Nouvel An à l’intention des retenue [Central Withholding Agreement musiciens qui travaillent à l’étranger.

(CWA)] aux États-Unis ou l’obtention d’une dispense de retenue R105 au Canada.

1) J’utiliserai un contrat AFM pour tous mes engagements dans toute la mesure du possible. Si j’utilise plutôt un contrat fourni par un embaucheur, j’y joindrai (et ferai signer) une annexe 1 (Schedule 1) du formulaire T2C de l’AFM pour les engagements de tournée.

2) Je me protégerai contre les conséquences contractuelles préjudiciables en lisant le contrat soigneusement; en veillant à ce que la devise, le mode et la date du paiement ne me pénalisent d’aucune manière; en incluant dans le contrat des dispositions qui me protègent contre l’annulation en raison de circonstances qui ne sont pas couvertes par la clause « force majeure » comme la maladie personnelle ou celle d’un membre de la famille, etc.

3) Je prendrai connaissance et tiendrai compte des exigences en matière de retenue fiscale

4) Je m’occuperai de tout ce qui pourrait m’empêcher de vendre des marchandises (CDs, T-shirts, etc.) en m’assurant qu’elles sont bien étiquetées (pays de fabrication; à des fins de promotion seulement, etc.) et en faisant appel à un courtier en douanes si nécessaire.

5) Je prendrai connaissance des règles les plus récentes en ce qui concerne les instruments de musique dont certains matériaux proviennent d’espèces menacées. Je m’informerai quant à l’utilité d’obtenir un « passeport » d’instrument et je veillerai à choisir un point d’entrée dans le pays visité où on sera en mesure de traiter la question.

6) Je garderai un inventaire complet du matériel que j’emporte avec moi sur la route et je ferai tamponner ma liste à la frontière avant de quitter mon pays. Cela facilitera grande-

ment mon retour. J’examinerai également la possibilité d’utiliser un carnet ATA. 7) Je m’assurerai que mon passeport est à jour.

De plus, j’emporterai d’autres documents pouvant faciliter mon passage à la frontière (copie de contrat, lettre d’invitation, billet pour mon vol de retour, confirmation de réservation d’hôtel, etc.).

8) Je veillerai à obtenir le bon visa pour entrer dans le pays que je compte visiter — visa de travail ou permis de travailler dans le pays (O-1B, P-1, P-2, P-3) ou visa à d’autres fins (visa commercial B-1, visa d’études, etc.).

9) Je produirai les rapports de taxes nécessaires — T-1, T-2, et T4A-NRSUM au Canada ou 1040NR, 1042 aux États-Unis — et je me tiendrai à jour avec le fisc.

10) Je m’informerai des tendances de l’industrie et des changements dans la réglementation qui pourraient affecter ma capacité à voyager.

Travailler à l’étranger comme musicien requiert un bagage de connaissances et d’information qui dépasse largement le champ d’activité principal d’un artiste. Si votre plan de carrière inclut le travail à l’étranger, assurez-vous de savoir ce qu’il faut faire et faites-le bien à l’avance. Bon voyage!

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.

International Musician 19

RESOURCES GERED MANKOWITZ: 50 YEARS OF ROCK AND ROLL PHOTOGRAPHY Photographer Gered Mankowitz is responsible for some of rock music’s most memorable photographs. 50 Years of Rock and Roll Photography includes some of the most striking photos from the 1960s through the 2000s, featuring everyone from The Rolling Stones, Elton John, and Jimi Hendrix to Led Zeppelin, Eurythmics, and Oasis. Mankowitz also provides insight into his many experiences in the music industry. The book contains hundreds of photos and forwards by Annie Lennox, Keith Richards, Bill Wyman, and an introduction from Peter York.

Gered Mankowitz: 50 Years of Rock and Roll Photography, by Gered Mankowitz and Brian Southall, Sterling Publishing (www.sterlingpublishing.com).

ABBA: THE TREASURES This book gives fans an intimate and unparalleled look at one of the most successful pop groups of all time, ABBA. Overflowing with original photographs, some never before published, this band-approved book offers readers a backstage look at the band through interviews, anecdotes, and insights from ABBA expert Carl Magnus Palm. Co-author Ingmarie Halling was responsible for the dressing room, costumes, and makeup on all of ABBA’s major tours, and she is curator of the Stockholm-based ABBA museum. ABBA: The Treasures also features removable memorabilia—tour itineraries, a backstage pass, a set list, and a poster.

ABBA: The Treasures, by Ingmarie Halling and Carl Magnus Palm, Sterling Publishing (www.sterlingpublishing.com).

DO NOT SELL AT ANY PRICE: THE WILD, OBSESSIVE HUNT FOR THE WORLD’S RAREST 78 RPM RECORDS Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World’s Rarest 78 rpm Records, by music critic Amanda Petrusich, explores the world of 78 rpm records and the obsessive community that celebrates them. She recounts the format’s history, from its heyday to its near extinction, and collectors and archivists who are working frantically to preserve these fragile, 10-inch shellac discs before they are lost forever.

Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World’s Rarest 78 rpm Records, by Amanda Petrusich, Scribner, a division of Simon & Schuster (www.simonandschuster.com).

THE MUSICIAN’S JOURNEY: CRAFTING YOUR CAREER VISION AND PLAN This book describes a blueprint for success as a professional musician and provides tools to develop your unique vision of success and bring that vision to reality. The Musician’s Journey shows you how to develop an entrepreneurial mindset using practical strategies for career development. A companion website provides worksheets, checklists, and questionnaires to help guide you along the way.

The Musician’s Journey: Crafting Your Career Vision and Plan, by Jill Timmons, Oxford University Press (www.oup.com).

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20 January 2016

Canadian Trio Looks Back on 40 Years of Epic Songs

Photo: Randy Johnson

As Rush rounded out its three-month, 34-city R40 tour last year it felt like, and was, the end of an era.

Band members Alex Lifeson, Geddy Lee, and Neil Peart weren’t shy about admitting that this was most likely the last large-scale tour for the Canadian trio, if not their last tour altogether. The whole show was designed with that in mind.

International Musician 21

R

ush was founded in the summer of 1968 in a suburb of Toronto. The R40 tour celebrated 40 years of the three friends performing together. Peart had replaced the original drummer in 1974, just before their first US tour.

As planned, the band revisited all past eras of Rush in its retrospective, from Clockwork Angels (2012) to the guitar-driven ’90s sound, heavily synthesized songs from the ’80s, the progressive rock era, ending with just three men jamming out on their instruments.

All three musicians have been union members throughout their careers. Forty-seven-year Local 298 (Niagara Region, ON) member Peart, joined the AFM in 1968.

Lifeson and Lee joined Local 149 (Toronto, ON) in May 1970.

Through all its years of evolution, Rush remained an enigma, consistently creating a sound that the three musicians agreed was right for the times. Defined by the imaginative spirit of Peart’s lyric writing, arrangements from Lee and Lifeson, and the talent of three expert instrumentalists, the trio has inspired a passionate following.

“That was a big day for us; we considered ourselves professional musicians,” recalls Lee of the day he joined with Lifeson. “We were part of something bigger than us. I’m a believer in unions and helping our fellow musicians.”

Throughout the years, most of the band’s tours focused on new material, with a few older fan favorites sprinkled in. But, the idea for R40 was to present every era of Rush’s discography in reverse chronological order, giving “equal weight” to each period of the band’s history. They wanted to include the most popular tunes—both the biggest hits and the obscure ones that diehard fans have long-requested. Lead singer Lee, known for his vocal range, especially early in his career, initially had doubts he could still sing some of the older tunes.

“I thought that was the case with most of the songs that we picked for the tour, but somehow or another I was able to regain that range for this tour,” he says. “I was deathly afraid of doing songs like ‘Lakeside Park’ and ‘Anthem’ [both from 1975], but I was able to shape shift into a younger version of myself and make that happen. I don’t think I’m afraid of anything else anymore!”

You Can Go Back

Then, the challenge for the band became recalling the emotional energy that the songs brought forward sometimes 30-plus years ago. “That was a long time ago. The songs feel a bit naïve and dated, and there is something that sort of makes you stop before you do it … Can I really sing that and mean it?” he says. “But, on this tour, there was such an exuberant spirit on stage and in the audience that it became a celebration of the past and I think that helped me get my head in the right frame of mind.”

In the end, Rush pulled-off energized versions of older tunes that feature the mature band’s expertise and skill. On the R40 Live CD and DVD, recorded and filmed at two sold-out shows in the band’s hometown of Toronto, you’ll find songs that the group hadn’t performed live in many years, and in a few cases—“Leaving It” and “Jacob’s Ladder”—had never performed live.

“Generally, we’ve always agreed on what kind of music we want to write and what kind of music we want to perform; any differences really come down to how we want to go about recording and what priorities certain instruments should take,” says Lee, admitting they didn’t always agree, for example, on the role of the keyboards.

The Writing Process

As the lead singer, Lee says he works most closely with Peart to “flesh out which lyrics work best and which lyrics I can write the most successful melodies for, and how that’s going to meld into the bits and pieces of music that Alex and I come up with.”

“Because so much of the final song is dependent on how the vocal melody is written and woven into the song, it sort of makes sense that the major part of the construction of the song and the arrangement falls into my lap,” explains Lee. “Of course, I balance everything and discuss everything with Alex and Neil.

I sort of act as a sound board or editor to Neil in terms of what lyrics he’s written that I can use.”

However, Lee says Rush songs don’t always begin with Peart’s lyrics. “Sometimes we write a completed song, we play it for Neil, and he will see if he can write something for that.

Other times it kind of goes hand in hand: I’ll have the lyrics in front of me for a few different songs that have yet to be written, and as Alex and I are putting a song together, we gravitate towards the mood of a particular lyric that seems to suit the song. Neil will then sort of go back and rearrange what he’s written to suit the music.”

And even though the process has been expertly honed through 40 years of combining their creative energies and intuitions, much of songwriting Lee admits still boils down to trial and error. “Once human beings start playing it, it takes on a life of its own,” he says.

Throughout their career it was never about staying a course, but about topping their previous work. “We just try to do something as good or different. It’s all about a body of

work. And so there has to be something about it that feels fresh; we have to feel like we’re breaking new ground,” he says.

Known for their long tunes, record companies intiailly pressured Rush to create songs that were more along the lines of a neat, three-minute format. “There is no record executive in the world that doesn’t want to put some pressure on you to write some sort of hit single for them. That’s understandable; that’s their business. In our early days there was much more pressure to conform and be more traditional, and as we became successful doing our own weird thing, they sort of left us alone,” says Lee.

know if there’d be more Rush.

Lee recalls the band’s decision to come back in 2001. “Of course that whole decision was fraught with worry of every kind; we didn’t know whether the magic we had before working together would return, or whether Neil would have enough heart and soul to be a functioning member of the band after what he had been through,” says Lee. It took them 14 months to write and record Vapor Trails, and following its release they began their first tour in six years.

“We’ve always had battles with labels over the length of our songs,” he continues. “They’ve always wanted to edit our songs into shorter versions. I have no objection with the record company requesting a shorter version of the song for the radio, as long as, on the flip side of that, the full version exists. That’s our caveat.”

Lee says the record company relationship has changed when it comes to new bands.

“The means of exposure are so different from in the early ’70s. There is less patience and willingness to invest in young talent. That was an advantage we had—record companies were looking for bands and willing to sign you to multi-year deals to allow you to turn into something. Now they want you to be happening already,” he says.

Just the Three of Them

Unlike other bands that grew in terms of size along with their popularity, Rush has always remained three guys—close friends to this day—who are dedicated to being the best band they can be. They meticulously orchestrate MIDI controllers in live performances to make their stage show match the sound of recordings.

Lee explains why the band made and stuck with the decision to be just the three of them, “We didn’t want to mess with the delicate balance of our interpersonal chemistry. It’s very difficult to be a rock band; we find that three is a really good number for longevity—there are no factions in three.”

“The other reason was that we felt our fan base would rather see us wrestle with technology, than have another person appearing on stage with us,” he says. “They see us as a three-piece band and we didn’t want to mess with that vision.”

The result has been a tight and supportive trio that has helped each other in good times and bad, like during its five-year hiatus following the death of Peart’s daughter and wife. When Peart told his bandmates to consider him retired after Test for Echo in 1996, they didn’t

Challenges of Touring

Though the band put on shows this summer that were every bit as energized and precise as any time in their careers, this is most likely the finale for their touring days. Both Peart and Lifeson have health issues that make the lifestyle difficult, if not painful. Though he is able to play through the pain with the energy and accuracy of his younger years, Lifeson’s arthritis has made touring more grueling than before.

Peart, known for being a very physical drummer, suffers from tendinitis. He also relishes his family life and spending time parenting his six-year-old daughter. In a recent article he wrote for Drumhead magazine, Peart says, “The reality is that my style of drumming is largely an athletic undertaking, and it does not pain me to realize that, like all athletes, there comes a time to … take yourself out of the game. I would much rather set it aside than face the predicament described in our song ‘Losing It.’” Still, the band hasn’t officially retired for good.

They remain open to the possibility of recording new music or having an occasional show.

It’s clear that an eager and loyal audience will be waiting and ready in case that happens.

UPBEAT Belief in Trumpet For Freddie Jones trumpet is everything. It has been a huge part of his life ever since he picked the instrument up at around age 12. Raised in Memphis, Tennessee, his mom had a beauty salon on the corner near Stax Records. The young musician was immersed in the local music scene. Brothers Willy Mitchell (trumpet) and James Mitchell (saxophone) who founded the Memphis Horns; Mickey Gregory who played with Isaac Hayes; and Ben Cauley—were among his heroes.

“They were neighborhood guys; it was very inspirational. You had all that music coming out of Memphis and we were playing it in high school and junior high,” he says. “I was probably in the 6th grade when the Bar-Kays came out with Soul Finger.”

Jones began playing trumpet professionally as a teenager, first joining AFM Local 71 (Memphis, TN). “I’ve been in four different unions,” says the now Local 72-147 (Dallas-Ft. Worth, TX) member. “I think it’s important to have a consortium of people you can talk to.”

While still in high school, he was hired as part of an opening act for Bobby Womack, and was thrilled when he was invited by Ben Cauley himself to sit in with the main act. He says that experience was amazing. “Just to be in those places ... but instead of hanging out I got to play.”

After graduating from high school, Jones began college at Memphis State, then attended Central State University in Ohio, though he admits he was out on the road gigging much of the time. He traveled through the Dallas/Fort Worth area several times with different bands and eventually transferred to the University of North Texas where he earned a degree in jazz studies.

Following college, Jones stayed in the area and slowly built a career. Aside from his many gigs in the Dallas/Fort Worth Metroplex, he has performed throughout the Southwest, and even overseas. His band, the Freddie Jones Jazz Group, has been together for almost 10 years. Jones has put out five CDs, including his most recent album, Your Last Move (2012), which he describes at a funky mixture of sounds that started out as a smooth jazz record.

Jones may be most well-known in the Dal-

las area as the trumpet player for the Dallas Cowboys, performing the National Anthem on solo trumpet before every home game since 2013. That gig, which has him routinely playing for 80,000 people at AT&T Stadium, was not something he ever thought he’d be doing.

Not a huge football fan, Jones says it was kind of ironic that he was asked to audition. He knew a couple former players. Emmitt Smith, Drew Pearson, and others would come see Jones play around Dallas. Coincidentally, the blue Martin Committee trumpet that he’s been playing since the 1980s is almost a perfect match for Cowboy blue.

Photo: Vladimir Kolopic

22 January 2016

Of all of Jones’ work, the one accomplishment he seems most proud of is the found- Freddie Jones of Local 72-147 (Dallas-Ft. Worth, TX) founded ing of the nonprofit Trum- the charity Trumpets4Kids, which provides children with pets4Kids. The organization quality trumpets and helps them succeed through music. uses music as a tool to help children learn and shape their lives. “Music trumpet, as well as teach, help, and perform fosters the development of attention and for other kids. listening skills; it assists in emotional devel- One Trumpets4Kids event that has grown opment; and music involvement is known over the years is Trumpet Wars. This activity to enhance self-esteem and confidence,” was inspired by Jones’ days as a teenager in explains the Trumpets4Kids.com website. Memphis when he’d meet up with other “The goal of the organization is to empower youth to create together and independently in order to have a future,” Jones says. “We donate trumpets to students who have a need. We give them a trumpet they can be proud of, and let that push them towards their goals.” The trumpets given out are all good quality instruments—sometimes former instruments of professional players.

He says the trumpet community has been “amazingly” supportive of the program.

musicians on street corners to challenge each other. The next Trumpet War will be held at Texas Wesleyan University, Fort Worth, on March 7 and will include competitions between trumpet trios, quartets, and quintets from all over the area.

But Trumpets4Kids is about more than just donating instruments; it’s a whole program with built-in lessons in responsibility and playing opportunities. The students selected in about 9th grade are interviewed by Jones himself. Before handing over the trumpets, the kids are asked to sign a contract agreeing to practice one hour per day, maintain the

Trumpets4Kids’ mission is to help children succeed, no matter what career they choose to follow. But Jones has some special advice for young people launching a career in music. You have to be very diligent and focused on music, and get an education. And finally, he concludes, “I believe we all need somebody to help us at some point.”

“You can’t play trumpet by yourself all the time,” says Jones. Participants in the program also attend Interlochen music programs, and play in the Fort Worth Youth Orchestra, as well as the Dallas Youth Orchestra.

International Musician 23

Multi-Card Member Rebates Effective January 1, 2016, members who belonged to three or more Locals throughout 2015 can petition the AFM Secretary-Treasurer for a “rebate equal to the per capita dues received by the Federation” for that member’s membership in each AFM Local in excess of two. (Members pay their Federation per capita dues as a portion of their Local annual dues.

The Local forwards the member’s per capita dues to the Federation. Only the Federation’s portion of the annual dues will be rebated).

her “home Local” and the subsequent Local of longest tenure shall be designated as the two base Locals. The Secretary-Treasurer’s Office will then rebate the appropriate per capita dues for membership in the third Local and any other Local(s) beyond three to which a member belonged for the entire 2015 calendar year. The amount rebated will be determined by the amount of per capita dues the member paid for AFM membership in a third Local and any other Locals beyond three.

According to Article 9, Section 16 of the AFM Bylaws, the rebate is only available to members who held simultaneous memberships in three or more Locals for the full calendar year.

No rebates are available to members who held membership in fewer than three Locals. The rebate will only be given for membership in the third Local (and each additional Local above three, if any). Members will not be given rebates for dual membership.

To petition for a Multi-Card Member Rebate, members should fill out the form below and return it to the AFM Secretary-Treasurer’s Office together with copies of all their paid-up 2015 membership cards, receipts of cancelled checks for annual dues from all Locals, OR a letter from each Local stating that the petitioner was a member in good standing of the Local for all of 2015.

Under the rebate program, membership in a base of two Locals must be established in order for a member to qualify for a rebate. The AFM Secretary-Treasurer’s Office has determined that a musician’s membership in his or

No rebates will be issued until the AFM Secretary-Treasurer’s Office verifies that petitioning members held continuous membership in three or more Locals for the full prior year of 2015. No rebates will be issued until after March 1, 2016.

PETITION FOR 2015 MULTI-CARD REBATE

Every Gig Will Be a Union Gig!

Regular Members - $66.00; Life Members - $50.00; Inactive Life Members - $44.00 Article 5, Section 47(a) & 47(b) of AFM Bylaws Under the terms of Article 9, Section 16 of AFM Bylaws, I am hereby requesting a rebate of 2015 per capita dues paid to the Federation.

Name:_______________________________________________________________________ (First) (Last) Social Security or Social Insurance Number:______________________________________ I belonged to the following Locals for the entire 2015 calendar year: Local:______________________________ (Number)

Local:__________________________________ (Number)

Local:______________________________ (Number)

Local:__________________________________ (Number)

Local:______________________________ (Number)

Local:__________________________________ (Number)

Please include with this petition copies of all paid-up 2015 membership cards, receipts of canceled checks for annual dues from all Locals, or a letter from each Local stating that you were a member in good standing of the Local for all of 2015. Allow six to eight weeks to process your rebate.

RETURN TO: American Federation of Musicians; Secretary-Treasurer’s Office; Multi-Card Rebate Program; 1501 Broadway, Suite 600; New York, NY 10036 ATTENTION: Diane DePiro

AFM Entertainment

The First Federation-operated International Booking Agency.

AFM Entertainment is now accepting registration from AFM members who are solo artists or leaders of self-contained bands and ensembles, in every genre of music.

As an online booking and referral service, your success depends on a strong presentation—every act on the website needs to look and sound great. By this, we simply mean that you need: • professional bio for your group • at least one good YouTube video • your song list or repertoire

• quality audio • professional photos

Net wages will be at or above the local union’s wage scales, and Locals will receive both work dues (if applicable) and contracts. AFM Entertainment will handle all communications with a potential purchaser.

Visit AFMEntertainment.org for more information.

AFM Entertainment reserves the right to accept, reject or edit any submitted materials.

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24 January 2016

TAKE NOTE CHANGES LOCAL 3, INDIANAPOLIS, IN—New President Robin Peller LOCAL 33, TUCSON, AZ—New President Ellen Chamberlain LOCAL 50, NON-GEOGRAPHIC—The charter of Local 50 has lapsed and is hereby terminated.

Officers and members have been notified of this action.

LOCAL 105, SPOKANE, WA—New President Adam Wallstein LOCAL 149, TORONTO, ON—Executive Director Michael Murray; Email: mmurray@tma149.ca LOCAL 596, UNIONTOWN, PA—All correspondences should be address to President Jack E. Beachly, Jr.; 104 Southwood Dr.; Union PA, 15401 Members and officers can access the List of Locals book online at afm.org/member/library/ in the Miscellaneous folder. Information changes, such as new local officers, addresses, phone/ fax numbers, etc, are updated monthly. Officers should send information changes/updates to ofcrchg@afm.org. Change of officers and addresses will continue to be listed here each month.

TAPS LOCAL 6, SAN FRANCISCO, CA—Hugo Rinaldi* LOCAL 11-637, LOUISVILLE, KY—Kent Leslie LOCAL 30-73, MINNEAPOLIS-ST. PAUL, MN— Lois V. Herman*,Richard W. Sandmann* LOCAL 47, LOS ANGELES, CA—Douglas B. Craig*, Wilton Lewis Felder*, Richard “Dick” Gabriel*, John “Johnny” R. Mann*, Douglas G. Reeves* LOCAL 60-471, PITTSBURGH, PA—Alyce J. Adamiak*, Daniel Antonucci*, Nuncy C. Diianni*, Donald H. Evans, Jr., David F. Stock* LOCAL 62, ROCHESTER, NY—Gerald “Jerry” Nowak LOCAL 77, PHILADELPHIA, PA—Thomas Giacabetti LOCAL 78, SYRACUSE, NY—Philip R. Mac-Arthur* LOCAL 92, BUFFALO, NY—Carl Damoff*, Michael Hake

LOCAL 104, SALT LAKE CITY, UT—Douglas B. Craig* LOCAL 145, VANCOUVER, BC—Herbert F. Receveur LOCAL 149, TORONTO, ON—Gordon Evans*, Boris Grmek, Ray Reilly* LOCAL 174-496, NEW ORLEANS, LA— Frankie Ford*, Joseph “Smokey” Johnson, Jr.*, Joe Torregano, Allen Toussaint LOCAL 257, NASHVILLE, TN—Roy Neill Acuff, Kenneth Krause, Theodore Clifford Harris LOCAL 400, HARTFORD, CT—Donald Cunningham*, Barbara Landon* LOCAL 802, NEW YORK, NY—Gladys (Havana) Carbo, Richard S Horowitz*, Donald C Isenman*, Joseph Silverstein, Jack E Six*, Nathan Stutch* * Indicates Life Member

Taps listing must be submitted by the local (separate from roster updates). Send a request with pertinent information to: taps@afm.org. Please note, the IM does not print member obituaries, eulogies, or tributes.

Skip the paper issue while staying up to date at

AFM.org.

The International Musician is available on the first of each month in the member’s section at afm.org. Your local reports all address changes to the Federation, which ensures uninterrupted delivery of the IM. The sooner you tell your local you’re moving, the faster your address is changed. Members who are suspended for nonpayment of dues in any local they belong to aren’t entitled to receive the IM, even if they’re in good standing in another local.

Receiving the IM is a membership benefit and, as with all union benefits, it isn’t extended to musicians who don’t pay their dues.

For AFM Information Systems support, email: support@afm.org

Unfair List PolicyList& will Procedures remain on the list only as long as a pri-

To make the AFM’s International Unfair List an even more effective way to support musicians during primary labor disputes, the International Executive Board revised the policy and procedures for placing and maintaining employers on the International Unfair List. As a result, the AFM’s International Unfair List will be published in its entirety in the International Musician on a monthly basis, so that members may be aware of all employers maintained on the International Unfair List.

PLACEMENTS

Under the terms of the new policy, a primary labor dispute must exist between the union and the employer at the time of placement on the International Unfair List. Such disputes may include, but are not limited to: 1) Lawful strikes in support of the union’s bargaining demands and/or demands for union recognition; 2) Employer-initiated lockouts of musicians represented by the AFM or any of its locals; 3) Union protests against employer unfair labor practices.

An employer that is openly anti-union but is not the subject of concerted activity by the union will not be placed on the International Unfair List.

An employer placed on the International Unfair

mary labor dispute exists, and the local provides written evidence of ongoing concerted activity against the employer.

The Federation will publish the names of employers that are removed from the International Unfair List at the time of removal.

MEMBERS’ RESPONSIBILITIES

Members are reminded that, in accordance with Article 8, Section 3 of the AFM Bylaws, “Members shall not render musical services for organizations, establishments, or people who have been placed on the International Unfair List. Further, Members shall not render musical services with people who have been placed on the International Unfair List nor with people who have been employed by, are principals of, or are otherwise associated with organizations or establishments that have been placed on the International Unfair list. Any member who violates this Section shall be subject to penalties in accordance with Article 11, Section 13 [of the AFM Bylaws].”

In addition, according to Article 13, Section 4 of the AFM Bylaws, “Before accepting any Traveling Engagement, members shall be responsible to ascertain that the organization, establishment, or person for whom they propose to render musical services has not been placed on the International Unfair List.”

International Unfair List

CALIFORNIA: Cypress Pops Orchestra: P.O. Box 434; Cypress, CA 90630 — Placed at the request of Local 7 (Orange County, CA) Jason Michael Paul Productions; P.O. Box 77046; San Francisco, CA 94107 — Placed by the Federation HAWAII: Honolulu Symphony Society; 875 Waimanu St. # 614; Honolulu, HI 96813 — Placed at the request of Local 677 (Honolulu, HI) MASSACHUSETTS: Video Game Orchestra; P.O. Box 230247; Boston, MA 02123 — Placed by the Federation NEVADA: Wayne Newton dba Erin Miel, Inc.; 6730 S. Pecos Rd.; Las Vegas, NV 89102 — Placed at the request of Local 369 (Las Vegas, NV) NEW YORK: Massimo Gallatta Productions; 159 West 118th St. Ste.2-D; New York, NY 10026 and 106 West 117th St. Ste. 5-F, New York, NY 10026 — Placed by the Federation TENNESSEE: Tommy Sims, dba Positive Movement Inc.; c/o Michael Tash, Cue Management; 23 Allen Ave.; Cincinnati, OH 45216 — Placed at the request of Local 257 (Nashville, TN) TEXAS: Dallas Bach Society; P.O. Box 140201; Dallas, TX 75214 — Placed at the request of Local 72-147 (Dallas-Fort Worth, TX) Richardson Symphony; 2100 North Collins Blvd., Ste. 310; Richardson, TX 75080 — Placed at the request of Local 72-147 (Dallas-Fort Worth, TX) The Dallas Pops Orchestra; P.O. Box 1811; Allen, TX 75013 — Placed at the request of Local 72-147 (Dallas-Fort Worth, TX)

☛ In order to support the other AFL-CIO entertainment unions please also check the American

Federation of Television and Radio Artists (AFTRA), Actor’s Equity Association, American Guild of Musical Artists (AGMA), and American Guild of Variety Artists (AGVA) “Do Not Work” notices through the link www.aftra.com/DNW.htm before accepting work.

International Musician 25

Revised Notice to Musicians Employed Under US Collective Bargaining Agreements Sections 8(a)(3) and 8(b)(2) of the National Labor Relations Act permit unions in non-right-to-work states to enter into collective bargaining agreements with employers that require employees, as a condition of employment, either to join the union (and thereby enjoy the full rights and benefits of membership) or to pay fees to the union (and thereby satisfy a financial obligation to the union without enjoying the full rights and benefits of membership). That requirement serves the legitimate purpose of ensuring that each employee who benefits from union representation pays a fair share of the cost of that representation. The goal of such “union security provisions” is to eliminate “free riders” who benefit from the union contract without contributing to the union’s cost of negotiating, administering, and enforcing that contract.

Where a collective bargaining agreement requires an employee to either join the union or to pay fees to the union, the fees charged to nonmembers are generally identical to the amount of union dues and initiation fees charged to union members. In a 1988 court case, Communications Workers of America v. Beck, the United States Supreme Court held that a nonmember has the right to object to paying any portion of the fee that will be expended on activities unrelated to collective bargaining, contract administration, or grievance adjustment.

All nonmember fee payers are required to pay the portion of the fee that will support expenditures germane to the collective bargaining process, including, but not limited to negotiations, contract administration, grievance adjustment, meetings with employer and union representatives, legislative matters affecting the working conditions of employees in various industries in which musicians function, and internal union administration and litigation related to the above activities. Nonmember fee payers who object to doing so have the right not to pay the portion of the fee that will be expended on other, “nonchargeable” activities, including expenditures made for political purposes, for general community services, or for members-only benefits.

In order to reduce the fee they pay to the union, objectors must follow the procedure described here.

The so-called Beck rights described above apply only to nonmembers—individuals who have resigned from the union or who have never joined. Under federal labor law, every person has the right to join and support a labor union, to refuse to join a labor union, and to resign from union membership at any time. However, only union members have the following valuable rights, among others: the right to attend local union meetings and speak out at such meetings on any and all issues affecting the local, the AFM, and its members; the right to participate in the formulation of union policy; the right to influence the nature of the local’s activities and the direction of its future; the right to nominate and vote for candidates for local office and to run for office; the right to participate in the negotiation process for new or successor collective bargaining agreements; the right to participate in contract ratification votes and strike votes; the right to nominate and vote for delegates to the AFM Convention; and the right to participate in a wide variety of benefit plans offered to union members, including the Union Privilege benefits programs, the AFM Symphony-Opera Orchestra Strike Fund, the AFM Theater Defense Fund, and the ROPA Emergency Relief Fund.

Objection Procedure

1) Any nonmember who pays fees to the union pursuant to a union security provision in a collective bargaining agreement has the right to object to any portion of the fee that will be expended on activities unrelated to collective bargaining, contract administration, or grievance adjustment. Fees (like union dues) paid by musicians to AFM locals consist of various parts. All member and nonmember fee payers contribute a per capita amount to the local, which the local, in turn, pays to the AFM. They also pay an annual fee that is retained by the local. In addition, musicians may pay a percentage of their earnings (work dues). The exact percentage, and whether it is ultimately payable to the local or to the Federation, depends on the collective bargaining agreement, and the type of work involved. Based on an analysis of the Federation’s 2014 expenditures,

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in excess of 84.05% of the Federation’s expenditures were for chargeable activities such as collective bargaining, contract administration, or grievance handling. The percentage of local expenditures that are chargeable typically is higher (and the percentage of local expenditures that are nonchargeable typically is lower).

2) The objection must be in written form, signed by the objector, and sent to the local union(s) where the objector would have paid his or her dues had he or she been a member. The local(s) will forward a copy to the International Secretary-Treasurer Sam Folio; American Federation of Musicians; 1501 Broadway, Suite 600; New York, NY 10036. The objection must contain the objector’s name and address, and must identify the collective bargaining agreement(s) under which the objector works and the local(s) to which the objector pays fees.

3) The objection must be postmarked between February 1 and February 28, or within 30 days of the objector’s becoming a nonmember of the union, or the objector first being required to pay fees to the union.

4) Each local union will determine the amount of the reduced fee and the amount, if any, of prepaid fees to be refunded to the objector, except that the Federation will determine the reduction and refund applicable to any prepayment of Federation per capita.

The reduction will be accompanied by an explanation of how the reduction amount was determined. Any objector who disagrees with the reduction amount can file an appeal. The appeal procedure will be provided to objectors together with the reduction check. The appeal must be in writing and state the basis for the challenge. Appeals will be decided by an impartial arbitrator appointed by the American Arbitration Association through its Rules for Impartial Determination of Union Fees.

5) The local and/or the Federation, as appropriate, will provide further information to an objector regarding the reduction of any work dues.

—Further information regarding the objection procedure can be obtained by writing to: International Secretary-Treasurer Sam Folio; American Federation of Musicians; 1501 Broadway, Suite 600; New York, NY 10036. This notice is not applicable to musicians who are not required to pay union fees as a term or condition of employment under a collective bargaining agreement.

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26 January 2016

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For complete advertising specifications, visit:

www.internationalmusician.org EMAIL: classifieds@afm.org PHONE: 315-422-0900 ext. 101 or FAX: 315-422-3837 MAIL: 120 Walton St. Ste. 300; Syracuse, NY 13202

LINE AD LISTINGS: (Available to AFM members only)

AT LIBERTY, LOST/STOLEN: $15 for 30 words, including address. 31 to 60 words, $10 additional. TO LOCATE, HELP WANTED: $25 for 30 words. 31 to 60 words, $20 additional. FOR SALE, WANTED TO BUY, SERVICES: 30 words, $30 including address. 31 to 60 words, $25 additional. EDUCATION/TRAINING, 30 words, $30 including address.

31 to 60 words, $25 additional.

ENTER ad information online at www.international musican.org or print your ad on letter size paper and mail/fax to the address above. Payment must accompany all ads. E-mail or fax with credit card payment information or mail with check or M.O. Please identify your local affiliation and if using a stage name, given name under which you are a member of the AFM. No ads by phone.

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HELP WANTED NORTH AMERICA’S #1 CRUISE LINE & INTERNATIONAL HOTEL BOOKING AGENCY—requires musicians, piano/vocalist, duos and bands. Whitefoot Entertainments Ltd., P.O. Box 71057, 3552 West 41st Ave., Vancouver, B.C. Canada V6N 4J9. Tel (604) 266-7145. email: jwhitefo@direct. ca Website: www.whitefoot.com.

AFM MEMBERS SEEKING EMPLOYMENT The American Federation of Musicians does not have agreements with FOREIGN ORCHESTRAS and Cruise Lines advertising vacancies in the International Musician. Therefore, members are advised that the employment in these or any other orchestras outside the jurisdiction of the Federation should only be accepted after proper research.

AFM SYMPHONY AUDITION COMPLAINT HOTLINE (719) 520-3288

International Musician 27

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28 January 2016

CLASSIFIED AUDITION ADVERTISING POLICY All audition ads from US or Canadian symphony orchestras to be printed in the International Musician must be covered by an AFM collective bargaining agreement.

Auditions are advertised monthly in the International Musician. As a service to members, they are also posted on the AFM.org website.

Orchestra management must submit the ad information and contract size to the International Musician office by the 5th of the month prior to the month to be published (i.e., June 5 for the July issue). The IM will e-mail back a formatted proof of how the ad will appear when published.

All symphonic audition ads must be approved by the AFM local that has jurisdiction over the orchestra. It is the responsibility of the orchestra to then forward the formatted ad to their AFM local president/secretarytreasurer for approval. If there are any issues/problems with the position advertised or the language in the ad, it’s up to the local officers and the orchestra management to resolve the conflict before the ad will be published in the International Musician.

The IM must receive confirmation/ approval from the AFM local that the ad is approved prior to its publication.

(Military, training/educational, and foreign orchestras are exempt from this approval policy.)

Any audition deposit, meant to ensure a candidate’s appearance at an audition, must be fully refundable upon the candidates’ appearance or timely cancellation. The AFM.org website has an Audition Date Scheduler feature to help orchestra management avoid scheduling conflicts with other orchestras. Please contact Nathan Kahn at nathankahn@aol.com to gain access.

The International Musician will do its best to accommodate ads submitted after a given deadline as long as there is space available.

If you have any questions regarding deadlines or availability of space, contact classifieds@afm.org.

All advertisements are subject to acceptance by the publisher. The publisher will not accept advertisements that are illegal, discriminatory, defamatory, or an infringement on a third party’s rights. The International Musician has the right to refuse or edit any ad copy deemed inappropriate or offensive.

For more information and a schedule of IM deadlines and publication dates, visit: www.internationalmusician.org/deadlines.html.

AUDITIONS

AUDITIONS

AFM MEMBERS SEEKING EMPLOYMENT The American Federation of Musicians does not have agreements with FOREIGN ORCHESTRAS and Cruise Lines advertising vacancies in the International Musician. Therefore, members are advised that the employment in these or any other orchestras outside the jurisdiction of the Federation should only be accepted after proper research.

International Musician 29

AUDITIONS

AUDITIONS

PLACE YOUR AD HERE

Enter ad information on-

line at www.international musican.org or fax to: 315-422-3837

STAY CONNECTED:

AFM SYMPHONY AUDITION COMPLAINT HOTLINE (719) 520-3288

AFM & International Musician

30 January 2016

HELP WANTED

Keep The IM CoMIng

The International Musician is available on the first of each month in the member’s section at afm.org.

Your local reports all address changes to the Federation, which insures uninterrupted delivery of the IM. The sooner you tell your local you’re moving, the faster your address is changed, especially now that many locals report address changes via the Internet.

For AFM Information Systems support, email: support@afm.org Members who are suspended for non-payment of dues in any local they belong to aren’t entitled to receive the IM, even if they’re in good standing in another local. Receiving the IM is a membership benefit and, as with all union benefits, it isn’t The American Federation extended to musicians who pay their does dues. not have ofdon’t Musicians

AFM MEMBERS SEEKING EMPLOYMENT

agreements with FOREIGN ORCHESTRAS and Cruise Lines advertising vacancies in the International Musician. Therefore, members are advised that the employment in these or any other orchestras outside the jurisdiction of the Federation should only be accepted after proper research.

AUDITIONS

International Musician 31

AUDITIONS

AUDITIONS

FOR SALE AUDITIONS

BASSOON: HECKEL #93xx with complete restoration including extraordinary wood finish and new silver. Modernization, and final setup. $42,000 Evans Bassoon Studio (914) 478-0946 BASSOON: HECKEL #66xx mint to high ‘E’. Rebuilt, modernized w/full set (x6) of saliva tubes, and final setup. $35K. Nicholas Evans (914) 478-0946 www.evansbassoon.com BASSOONS: PUCHNER Mod 22 9xxx, mint with overhaul and setup. $16,000. MOOSMANN Mod M24 #11xxx, mint with complete servicing and new upgraded setup. $8000 Evans Bassoon Studio (914) 478-0946 DEGAN 4 OCTIVE MARIMBA made about 1920. Sounds great. No dimples in bars. $2500. E-mail afm71@ att.net for complete info.

FRENCH BASS c.1922, Mirecourt Sloped shoulders Excellent condition Appraised at $28K MUST SELL Asking $16.5K obo 917-608-4242 GABRIEL JACQUET—Circa 18981899 Bass Violin - $22,000. Emile Ouchard - French Bass Bow - $5,000.

Bass and Bow remains in excellent condition. 647-282-6115 PRO WORKING 4 HORN CHARTS

by Anthony Terpstra are now available at www.Seventet.com SELMER SUPER #17952 alto sax1933 refurbished, like new, owned by Toots Mendello-$4,000 or best offer, Email lincolnlouie@hotmail.com

AFM SYMPHONY AUDITION

COMPLAINT HOTLINE (719) 520-3288

TORONTO CONCERT ORCHESTRA SYMPHONIC LIBRARY for Sale. Extensive collection list plus appraisal available from wojciech.okulicz@ gmail.com All offers considered.

32 January 2016

EDUCATION / TRAINING

AUDITIONS

CONDUCTING WORKSHOPS, online lessons and Saito method textbook - Empower your gestures with precision and artistry - Wayne Toews admin@ conductorschool.com 306.373.6408 http://www.conductorschool.com

PLACE YOUR AD HERE Enter ad information online at www.international musican.org or fax to: 315-422-3837

AFM MEMBERS SEEKING EMPLOYMENT STAY CONNECTED:

AFM & International Musician

The American Federation of Musicians does not have agreements with FOREIGN ORCHESTRAS and Cruise Lines advertising vacancies in the International Musician. Therefore, members are advised that the employment in these or any other orchestras outside the jurisdiction of the Federation should only be accepted after proper research.

AFM SYMPHONY AUDITION

COMPLAINT HOTLINE (719) 520-3288

EDUCATION / TRAINING

Guitar gods like Slash, Michael Schenker and Mick Ronson have used the cocked wah sound to create monster riffs that have earned a permanent place in the rock lexicon. That required finding the sweet spot in their wah pedal’s sweep.

The Cock Fight lets you achieve that cool cocked wah sound without the wah pedal. Tune in the tone you want. Add the built-in distortion for more grind and growl, or switch to the Talking Wah mode for a stuck voice-box sound. If you plug in an expression pedal, you can sweep the Cock Fight for jaw dropping wah and talking pedal effects, with or without distortion!

Completing the powerful trilogy forged by the B9 and C9 Organ Machines, the new KEY9 pedal emulates the world’s most coveted electric pianos and more. With 9 presets, you can transform your axe and lay down a cool “Riders on the Storm” style groove or some hot funk ala “What’d I Say!” Each preset lets you control the fundamental parameters that help define that instrument’s sound. Many include adjustable modulation like tremolo, phaser and chorus. Take it from Mike Matthews who says: “You’ll dig the way the Key9 turns you into a Rhodes Scholar!”

The smallest member of the polyphonic POG clan designed with the super space conscious in mind. Same legendary tracking and sound. Dial in an amazing 12-string guitar or turn your guitar into a convincing bass.

Generates organ-like harmonic structures. Separate controls for dry, sub octave and octave up, plus silent footswitching provide the perfect formula for this compact jewel.

Are noisy effects, single coil pickups and 60 cycle hum messing with your sound?

The Silencer is a sophisticated noise gate that can tame ‘em.

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Combining a compact footprint, comprehensive feature spec and an intuitive user interface, the 22500 delivers powerful looping capabilities in an affordable, easy to use package.

It records high quality, noncompressed audio direct to a removable SDHC card (4 to 32GB) and each card holds up to 100 individual loops. Includes an 8GB card for up to 12 hours of total recording time. An optional Bank Up/Down Foot Controller is available.