INSIDE THE WORLD OF A JAZZ MASTER
AFL-CIO CONVENTION HIGHLIGHTS FILM MUSICIANS SECONDARY MARKET FUND UPDATE HOLIDAY HOLIDA Y GIFT GUIDE
December 2017
n o s n n w a a D m l s i e l s l s E e : u o r t K o h s P a m o h T : o t o h P
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FEATURE STORY JOHN JOHN SCOFI SCOFIEL ELD D A member o Local 802 (New York City), Sco’s busy career has him touring about hal the year, both in the US and overseas.
PRESIDENT’S MESSAGE
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OFFICIAL REPORTS
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LEGISLATIVE UPDATE
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NEWS & NOTES
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ORCHESTRA NEWS
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HOLIDAY GIFT GUIDE
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RESOURCES
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TO YOUR HEALTH
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UPBEAT
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TAKE NOTE
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CLASSIFIEDS
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EN FRANÇAIS
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INTERNATIONAL INTERNATIONAL MUSICIAN Official Journal of the American Federation of Musicians of the United States and Canada Vol. 115, No. 12 | December 2017 © 2017 American Federation of Musicians of the United States and Canada Publisher: JAY Publisher: JAY BLUMENTHAL (
[email protected]) BLUMENTHAL (
[email protected])
Cover Story: CHERIE YURCO
Managing Editor: CHERIE YURCO (
[email protected]) YURCO (
[email protected])
Cover Photo: NICK SUTTLE
Advertising Director: KAREN GODGART (
[email protected])
Contributing Writers: MEREDITH Writers: MEREDITH LAING, THERESA LITZ,
Graphic Designer: CHUCK Designer: CHUCK SCHIELE
DANIEL YARNALL
Digital Production Editor: JON Editor: JON DUFORT
Translation Translation/Tra /Traduction duction:: SYLVIA KIINGI, KELENY INC. and MONIQUE LAGACÉ
The International International Musician Musician (ISSN No. 0020-8051) 0020-8051) is published published monthly monthly at 1501 Broadway, Broadway, New York, York, NY 10036 10036 by the American Federation of Musicians. Member Circulation phone: (212) ˇ869-1330 ext. 1-286. Non-member Non-member Subscriptions: $43.90/year US and Canada/$59.90 Foreign /$109. Visit: www.internationalmusician.org. (877) 928-6600 ext.116. Periodicals Class postage paid at New York, NY 10036 and additional mailing offices. POSTMASTER: Send address corrections to: International Musician; 1501 Broadway, Ste 600; New York, NY 10036. CANADIAN POST CORP. Pub. Agr. #40064709. Materials intended for publication should be directed to the International Musician; 120 Walton St., Ste. 300; Syracuse, NY 13202; fax: (315)422-3837 or email:
[email protected]. The International Musician assumes no responsibility for loss or damage to unsolicited articles, photographs or art. All material becomes property of the AFM.
www.internationalmusician.org Advertising Rates: Visit www.internationalmusician.org
1220 M
OFFICERS OF THE FEDERATION
EXECUTIVE BOARD
RAYMOND RAYMOND M. HAIR, JR., President 1501 Broadway, Ste. 600; New York, NY 10036 presoffi
[email protected]
121 S. Broad St., Ste. 320; Philadelphia, PA 19107
[email protected]
BRUCE FIFE, International Vice President
322 West 48th St.; New York, NY 10036
[email protected]
JOSEPH PARENTE
TINO GAGLIARDI 325 NE 20th Ave.; Portland, OR 97232 bfi
[email protected]
ALAN WILLAERT, Vice President from Canada Toronto, ON M3C 3E5 150 Ferrand Dr., Ste. 202; Toronto,
[email protected]
JAY BLUMENTHAL , Secretary-Treasurer 1501 Broadway, Ste. 600; New York, NY 10036
[email protected] [email protected]
DAVE POMEROY 11 Music Circle N.; Nashville, TN 37203
[email protected]
TINA MORRISON 1912 N. Division St., Lower Level; Spokane, WA 99207
[email protected]
JOHN ACOSTA ACOSTA 3220 Winona Ave.; Burbank, CA 91504
[email protected] [email protected]
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December 2017
Invest in Your Union’s Future While Expanding Freedom of Speech for American Musicians
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 ofce. 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 202-274-4756
[email protected]
THE PRESIDENT’S MESSAGE Media Talks Driven by Streaming Growth, Part 2 by Ray Hair, AFM International President k a r u B e n y a W : o t o h P
This is the second of two articles on the continued rise of streaming and its effect on Federation media industry negotiations.
Last month, we discussed the Federation’s January 2017 deal with the sound recording industry, where major record labels agreed to earmark a percentage o domestic and oreign streaming revenue toward the American Federation o Musicians & Employers’ Pension Fund (AFM-EPF), Music Perormance rust Fund (MPF), and the Sound Recording Special Payments Fund (SPF). We also discussed the skyrocketing growth o streaming revenue rom recorded music, which now accounts or 62% o total record industry income. Having successully negotiated a portion o record company streaming revenue or AFMEPF, MPF, and SPF, we now examine our deals in live television and motion picture-V film with a view toward how the streaming o digital content has disrupted traditional consumption models in those industries, and urther, how entertainment guilds responded to the ast and urious changes in the television, motion picture, and V-film landscape. en years ago, the Writers Guild o America (WGA) engaged in a 100-day strike in order to obtain a share o revenue generated by movies and V shows when distributed over the Internet—streamed on smart Vs, computers, or on mobile devices. In doing so, the writers orced the media industry to address how the creative community would be paid in the digital uture. Earlier this year, WGA came within hours o another strike, pushing the Alliance o Motion Picture and elevision Producers (AMPP) to grapple with complicated issues like the rise o on-demand binge-watching, reductions in seasonal episodes, and serious competition rom Netflix and Amazon. In television, the term “peak V” reers to the rapid increase in original scripted shows on broadcast, cable, and digital platorms. Tere is more work than ever or creators—actors, writers, directors, and also musical staff—but overall income is alling due to diminishing residuals. Te broadcast networks no longer program reruns o most shows, because viewers have more options to time-shif and catch shows later, via on-demand platorms.
Newer generations o viewers have been attracted to original, on-demand hit series rom Amazon and Netflix that run without commercials. Older seasons o hit shows originally shown on broadcast networks are now binge-watched by viewers on their own schedules, ad-ree, weaning them away rom live V.
content is made originally or Internet distribution in the first place. On this point, despite the uncertain economic nature o new media production, all o the entertainment guilds have ought hard to obtain air compensation rom producers in the production o original series made or online, on-demand consumption.
For the WGA, broadcast network residual ees House of Cards, Mozart in the Jungle, ranssank more than 20% rom 2010 through 2016, parent , and Master of None are a ew examples but residuals rom V reruns made available o dozens o popular episodic series available on digital platorms were up by 896% over the rom subscription video on-demand (SVOD) same period—a vivid illustraservices, all scored tion o the rapid consumer under acceptable contrend toward digital. ditions, under appropriate AFM contracts. One effort by local V chan-
Newer generations of
nels and broadcast networks hen there is the to compete with on-demand viewers have been attracted question o residual streaming o legacy hit conpayment patterns, to original, on-demand hit tent has been the use o which all into two series from Amazon and digital subchannels, known categories. he irst as diginet. he CBS oldis how musicians Netflix that run without ies library rom the 1950s get paid when trathrough the 1980s, which ditional V shows commercials. includes such popular shows and ilms, or exas Happy Days and Star rek, cerpts rom shows and 100 other iconic series, and films (clips), are is now packaged together made available on and available over the air rom CBS outlets advertiser-supported ree streaming sites, on digital subchannels, and also available on such as broadcast network or affiliated sites, cable and satellite. Youube, or any other ree advertiser-based Te entertainment guilds have aggressively video on-demand servi ces (AVOD). he bargained new media compensation patterns second category is how musicians get paid through the door that was courageously when the consumer pays a ee to view content, opened by WGA 10 years ago. Te patterns either rom an SVOD service like Amazon or have evolved through subsequent rounds o Netflix or as an electronic sell-through (ES) collective bargaining with the corporately or rental rom a multi-channel video proaligned broadcast networks and film stu- gramming distributor (MVPD) like Direct dios, whose interests converge because they V or a cable V service. produce much o the scripted programming or Amazon and Netflix. Consequently, the push toward coverage o original on-demand programming, and or residual payments when broadcast V programming is distributed digitally, has been exceedingly slow and difficult. Progressive negotiations or AFM coverage o television shows and ilms distributed digitally are concentrated in three main areas. First, there is the question o whether the
he Federation’s negotiating team will meet with representatives o the broadcast networks in Los Angeles, December 11-15, to continue our discussions toward airness in the production o live television and the digital distribution o programs. I will update you on the process o those discussions next month. In the meantime, please accept my best wishes or a happy and healthy holiday season and a productive New Year.
International Musician
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
[email protected]. 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.
CORRECTIONS:
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Attention: Digital copies of the Steward
October 2017, Cover Story
Update newsletter, published by the Union Communication Service, can now
Te October 2017 International Musician cover story about Nurit Bar-Jose o Local 161-710 (Washington, DC) (page 16) stated that, when she was selected as concertmaster or the National Symphony Orchestra (NSO) at age 26, she was the youngest concertmaster ever appointed to a major symphony orchestra. It should have said she was the youngest at the time to have ever been appointed to a major US symphony orchestra. Local 149 (oronto, ON) member Steven Staryk was only 24 when he was appointed concertmaster o the Royal Philharmonic Orchestra by Sir Tomas Beecham in 1956.
FEEDBACK LETTER:
November 2017, Big Apple Circus
I appreciated AFM Vice President rom Canada Alan Willaert’s article in the November International Musician and it needs to be shared publicly. I encourage members to copy it and put it on the cork boards, orward links, and carry a copy to share with employers.
In the November 2017 International Musician, the caption o the photograph o the Big Apple Circus Band on page 14 ailed to mention several band members who were not present or the photo. Band members not listed were: Kristy Norter, Bob Suttmann, Bruce Eidem, Jason Rigby, and Rob Tomas, all members o Local 802 (New York City).
be accessed through AFM.org. After logging in, go to the Document Library tab and select the “Officers” folder.
I was part o the viral movement to shut down a non-paying and abusive group in oronto. I am a flutist and e ditor in oronto and believe in our power o voice to fight the per vasive “playing or love” idea. Jaye Marsh Member o Local 149 (oronto, ON)
“Terrific!…wonderful sound, speaks so easily.”
e u g a r p S n i v e K © o t o h P
Steve Ansell, Principal Viola,Boston Symphony Orchestra, member of the Muir String Quartet
“Amazing. The tone is surprisingly excellent. To equal the sound in a wooden instrument, one would need to add two zeros to the price of the Luis and Clark.” Edo de Waart, Chief Conductor of the Netherlands Opera, Chief Conductor of the Netherlands Radio Philharmonic Orchestra and Artistic Director of the Sydney Symphony Orchestra, former Music Director of the Rotterdam Philharmonic, San Francisco Symphony and the Minnesota Orchestra
“Your viola is fun to play and it is as easy to produce a big sound as it is to play soft. Every time I take this instrument out of it’s case, I instantly get excited and can not wait to start playing!” Niklas Schwarz, Principal violist of the Essener Philharmoniker
and violist of the Mannheimer Streichquartett, Niklas Schwarz
617-698-3034
luisandclark.com
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December 2017
OFFICIAL REPORTS AFL-CIO Convention Passes Timely Resolutions by Jay Blumenthal, AFM International Secretary-Treasurer
Once every our years, elected delegates to the AFLCIO Convention gather to elect the AFL-CIO Oicers and Executive Council. Our AFM delegation consisted o AFM President Ray Hair, Local 65-699 (Houston, X) President Lovie SmithWright, and mysel. Unortunately, due to a death in her amily, Lovie was unable to attend.
the floor. Delegates speak or or against the resolution and voting takes place immediately at the conclusion o the discussion.
and AFL-CIO Executive Vice President eere Gebre. All three officers were nominated and ran unopposed.
Te election o officers resulted in the re-elec- Te AFL-CIO Executive Council, consisting tion o AFL-CIO President Richard L. rum- o the three top officers (listed above) and 55 ka, AFL-CIO Secretary-reasurer Liz Shuler, vice presidents, ran on an unopposed slate. Frank’s Creation, all members of Local 2-197, entertain AFL-CIO Convention delegates. (L to R) are Willie Murry (sax), Rob Endicott (trumpet), Michael Holmes (vocals), Steve Waldman (guitar), Frank Dunbar (bass), and Emily Givens (piano); in back are Douglas Jones (guitar) and Michael Howell (drums).
AFM members rom Local 2-197 (St. Louis, MO) entertained the delegates as they filed into the hall to take their seats beore AFLCIO President Richard rumka banged his gavel bringing the convention to order. Members o the St. Louis local also played or various receptions throughout the convention. Te use o technology played a prominent role allowing or a paperless convention. An app created or download to mobile devices allowed delegates and attendees to view the agenda, workshops, resolutions, constitutional amendments, governance documents, as well as a personal conerence schedule on their cell phones. As an alternative to using their phones, each delegate received a ully loaded tablet at registration to provide access l a h t n e m u l B y a J : o t o h P
1) Workers’ Bill o Rights—all working people have the right to: • A good job with air wages • Quality health care: regardless o income, job, or pre-existing conditions • A sae job: ree rom harassment and violence • Paid time off and flexible, predictable scheduling • Freedom rom discrimination in: hiring, firing, and promotions • Retire with dignity • Freedom to join together with our co-workers or better wages and working conditions, whether in a union or not
to these documents on a larger screen. Video streaming o convention proceedings was also available online. During the our-day Convention, 42 resolutions were adopted by the body. Unlike our AFM Convention, where resolutions are vetted in committee with delegates afforded an opportunity to speak or or against, resolutions at the AFL-CIO Convention are ully vetted by the Executive Council beore moving to
AFL-CIO Executive Vice President Tefere Gebre (left) and SecretaryTreasurer Liz Shuler on the AFL-CIO Convention dais as the AFM logo is projected behind them.
Some of the more important resolutions passed:
• Education: public K-12, higher education, and career training
AFM President Ray Hair at the AFL-CIO Convention.
O I C L F A f o y s e t r u o C : s o t o h P
• A voice in democracy: to reely exercise our democratic voice through voting and civic participation 2) Solidarity and democracy—reaffirming the labor movement’s mission in the ace o the threat o hate 3) Voting rights—building an inclusive pro-voter democracy to move a winning agenda or working people 4) Inclusion and equity—ensuring equity and inclusion internally and externally 5) Full employment and a $15 minimum wage
6) In support o public education 7) Condemning rising ascism, fight or working class unity 8) Climate change, energy, and union jobs: • In support o incentives and unding or research programs to bring new energy technologies to market • In support o key energy and environmental policies with a ocus on ensuring high labor standards, the creation o union jobs, and environmental sustainability • Urging the US to remain in the Paris Agreement and work to ensure that all nations make progress on emissions reductions • Belie that the US Congress should enact comprehensive energy and climate legislation that creates good jobs and addresses the threat o climate change 9) Celebrating the Department or Proessional Employees (DPE): 40 years o growing proessional union membership. • In 1972, when AFL-CIO President George Meany was approached about orming a trade department or proessional employees, proessional and technical employees were 25% o the workorce and 18% o the labor movement. oday, proessional and technical employees represent 38% o the workorce and 42% o union members. Te AFM is one o 12 affiliated entertainment unions. Altogether there are 23 affiliated unions within the DPE, representing more than 4 million proessional and technical employees.
For a full list of all the resolutions adopted at the 2017 AFL-CIO Convention go to www.aflcio2017.org/adopted-resolutions .
International Musician
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CFM Negotiates with the Media Giants by Alan Willaert, AFM Vice President from Canada
he General Production Agreement negotiated between the CFM and the Canadian Broadcasting Corporation has been ratified with an overwhelming majority. As a response to requests by the members, modifications were made to once again identiy underscore and theme music that would require reuse payments outside o the one-year window. Fees increased by nearly 5% and the revenue sharing aspect o Distributor’s Gross now includes licensing as well as sales. And o equal importance, ratification indicates that we now have an up-to-date template to use as we prepare to negotiate a similar deal with Rogers Communications, Bell Media, and Corus Entertainment. During conversations with all three to determine dates to begin bargaining, it became apparent that there is an appetite among the three media giants to bargain simultaneously. o that end, the tentative timeline is sometime in February 2018.
Commercial Announcements Agreement In the mix as well is the Commercial Announcements Agreement, as the Association o Canadian Advertisers (ACA) and the Institute o Communications Agencies (ICA) have
returned to the table ater a yearlong hiatus. Signiicant very serious concerns or organized labour in Canada. As amendments are being considered with this contract since reported previously, the CFM has been appointed to a NAFA online advertising, once considered a small part o the indus- committee to provide input on certain aspects o the cultural try, has become a significant part o sector. We have also made presenproductions. While ee increases tations during public consultations and housekeeping are also on the on the PP, as the subject matter Ratification indicates that we now table, major revisions are being has similar concerns or musicians, contemplated because o massive specifically regarding temporary have an up-to-date template to use shif in how jingles are now created. entry into Canada and copyright. Fortunately, there is a desire on both We continue to push or what as we prepare to negotiate a similar sides to make the agreement more is air, although it would appear deal with Rogers Communications, relative and user-riendly. at this juncture, that both those agreements are in peril. Bell Media, and Corus Entertainment. Consultations with independent producers have inally led to an upcoming meeting with the Canadian Media Producers Association (CMPA). While still in the early stages, it’s my hope that the result will be a Canadian agreement or independent production. I will report more on this in the near uture.
NAFTA & TPP Update
As you may have surmised, we have a busy schedule coming up, both in finishing 2017 work and with projects that will take us well into next year. Major, firsttime negotiations are on deck, and with lots o hard work and a little luck, there will be a significant increase in contracted media work.
I would like to wish all our members, officers, and staff a Recent meetings o the Canadian Labour Conerence con- very Merry Christmas, as well as a sae, healthy, happy, and irmed that the North American Free rade Agreement prosperous New Year. (NAFA) and the rans-Pacific Partnership (PP) remain
Négociations entre la FCM et les géants des médias par Alan Willaert, vice-président de l’AFM pour le Canada
L’Entente générale de production entre Radio-Canada et la FCM a été ratifiée avec une écrasante majorité. À la de mande des membres, des modiications ont été apportées pour identifier une ois de plus les trames sonores et les indicatis musicaux pour lesquels des paiements devraient être versés en cas de réutilisation après la période d’un an. Les cachets ont augmenté de près de 5 %, et le partage des recettes brutes du distributeur inclut désormais les licences ainsi que les ventes.
petite partie des activités du secteur, constitue désormais une syndical au Canada. La FCM a été invitée à siéger à un comité part considérable des productions. Outre les hausses de ca- de l’ALENA pour se prononcer sur certains aspect s du secteur chets et les modifications d’ordre administrati, d’importants culturel. Nous avons également donné des présentations lors changements sont à l’étude en raison de consultations publiques sur le du virage à 180 degrés dans la açon de PP pour aire valoir les préoccucréer les jingles. Heureusement, les deux pations des musiciens, en particulier La ratification nous indique que parties ont la volonté de rendre l’entente au sujet des séjours temporaires au plus relative et conviviale. Canada et du droit d’auteur. Nous nous disposons désormais d’un Des consultations menées auprès de modèle à jour que nous pourrons continuons de promouvoir l’équité, mais la situation actuelle laisse croire producteurs indépendants ont inaleutiliser dans le cadre de nos que ces deux accords sont en péril. ment donné lieu à la tenue prochaine
La ratification nous indique que nous disposons désormais d’un modèle à jour que nous pourrons utiliser dans le cadre de nos négociations à venir avec Rogers Communications, Bell Media et Corus Entertainment. Lors de conversations d’une rencontre avec la Canadian Media négociations à venir avec Rogers Comme vous l’avez sans doute comen vue de déterminer les dates de début de négociations, il Producers Association. Bien que les népris, notre horaire sera très chargé Communications, Bell Media est apparu clairement que les trois géants souhaitent négoci er gociations n’en soient qu’à leurs débuts, d’ici la fin de 2017 et pendant une et Corus Entertainment. simultanément. Le début des négociations a donc été fixé j’ai l’espoir que nous parviendrons à une bonne partie de 2018. D’imporprovisoirement à évrier 2018. entente canadienne sur la production tantes négociations qui constituent indépendante. J’aborderai cette question une première sont sur la table. Avec Entente sur les messages publicitaires plus en détail dans un avenir rapproché. beaucoup de travail et un peu de Il y a également du nouveau du côté de l’Entente sur les chance, nous assisterons à une hausse importante du nombre messages publicitaires, puisque l’Association canadienne des ALENA et PTP de contrats de travail dans le monde des médias. J’aimerais annonceurs et l’Institut de la publicité canadienne sont de Comme l’ont confirmé des rencontres du Congrès du tra- souhaiter à tous nos membres, nos directeurs et nos employés retour à la table de négociations après une absence d’un an. vail du Canada tenues récemment, l’avenir de l’Accord de un très joyeux Noël ainsi que de la santé, du bonheur et de la Des modifications importantes à ce contrat sont envisagées, libre-échange nord-américain (ALENA) et du Partenariat prospérité pour la nouvelle année. car la publicité en ligne, qui ne représentait auparavant qu’une transpacifique (PP) préoccupe grandement le mouvement
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December 2017
LEGISLATIVE-POLITICAL UPDATE Federal Government Tax Reform: What It Means for You by Alfonso Pollard, AFM Legislative-Political Director and Diversity Director
Te Republican-led Congress and administration have now embarked on a debate over another eature piece o legislation promised during the 2016 campaign: tax reorm. At this writing, the Republican-led House o Representatives has introduced its ar reaching reorm proposal, which it claims ocuses on a tax savings or middle-class Americans. Along with White House regulatory reorms, the House says the bill will provide tax savings and incentives or American businesses, especially those with overseas or offshore operations. Working alongside the majority party in Congress, the White House is expecting delivery o a complete tax package to the President’s desk beore Christmas. Te steady grind o the legislative machine in both the US House and Senate since the end o the August recess may drive this package through (loopholes and all), especially i the House and Senate can make a final deal with disgruntled Republicans and some nationally recognized outside groups like the Mortgage Bankers Association, national real estate organizations, and others who are on the ence. Tough the philosophy o the majority party is to move this process through beore too many stakeholders weigh in, there are those who believe that the package as written, containing a limit on interest deductions or new home purchases o $500,000 or more and an expansion o the standard deduction (as outlined in a November 3 New York imes article), is a losing proposition, too difficult to sell to their constituents. In the same New York imes article, others, including Congress’s Joint Committee on axation and the independent ax Foundation, find that America’s highest earners would receive at least twice the tax cut that middle-class workers would get, as a percentage o their income. Democrats, along with other outside groups who sit in opposition to the package, say that the plan is not well thought-out and is moving too quickly. It will harm, not help, middle-class Americans because it will raise taxes. Meanwhile, it will eliminate some much sought-afer and expected annual tax staples such as state and local tax write-offs
(businesses will continue to be able to deduct state and local taxes incurred in the conduct o a trade or business) and House reductions in the mortgage interest cap. Also, it will use unds rom the elimination o important programs, such as the CHIP and state Medicaid Expansion, which were put in place to help middle-class Americans. Opponents say this, along with other loopholes, is all to help pay or a tax reorm package designed to help wealthy taxpayers.
Concerns for Members A look at the tax reorm package reveals some issues—changes or the average American and or musicians and others in the media and entertainment fields. he House Ways and Means Committee, the committee that oversees the drating and implementation o tax legislation, has outlined what the new tax law does. You can read the ax Cuts and Jobs Act at https:// waysandmeans.house.gov/taxreorm/. Te committee states that the bill: • Lowers individual tax rates or low- and middle-income Americans • Eliminates special-interest deductions • Establishes a new Family Credit, which includes expanding the Child ax Credit • Reduces the tax rate on the hard-earned business income o Main Street job creators • Signiicantly increases the standard deduction • akes action to support American amilies • Preserves the Child and Dependent Care ax Credit • Lowers the corporate tax rate to 20% Opposition orces say that the bill alls short o all these goals and leaves the average American subsidizing proposals that only benefit the rich. Yeh Shen o Local 6 (San Francisco, CA) states, “Under GOP’s tax plan, all o the necessary costs associated with maintaining a reelance career and proessional activities are not tax deductible, i players continue to be paid as W-2 wage [earners].”
Winners v. Losers But, who are the winners and losers? An article rom he Hill (http://thehill. com/business-a-lobbying/business-alobbying/358542-winners-and-losers-in-thegop-tax-bill) describes who stands to gain and who stands to lose. Here’s a summary: Winners—Corporations will see their tax
rate go down rom 35% to 20%. Companies would be allowed to deduct the ull costs o buying new equipment or five years. And businesses that had been keeping proits overseas to avoid the 35% tax rate would be able to bring the money back, or repatriate to the US, and pay only a 12% tax or cash assets. Major business groups like the US Chamber o Commerce and the National Association o Manuacturers back provisions to lower rates or businesses, in order to move to a “territorial” tax system that exempts dividends rom companies’ oreign subsidiaries and to enhance expensing o capital investments. Super wealthy individuals will keep the top tax rate in place, but they have a lot to gain rom the bill. First off, the income tax bracket thresholds increase, which will accrue savings at the top. Second, the bill would double the limit on the estate tax and then phase it out altogether. Currently, the estate tax only applies to estates o $5.5 million or more, and twice that or couples. Te bill would immediately double that, giving tax shelter to anyone with an estate between $5.5 million and $11 million (or, again, double those amounts or couples). Afer a ew years, the tax would be eliminated altogether, meaning that the very wealthiest in the country could receive their inheritances tax-ree. Tird, the plan would lower the taxation rates o “passthrough” corporations, or S-corps, to 25%, allowing certain business owners to claim part o their income at the lower rate. Fourth, it would eliminate the alternative minimum tax, which was intended to create a floor on tax exemptions. Losers—Blue states, the budget deicit,
universities, homeowners, and nonproit organizations.
House v. Senate Bills As or House and Senate bill comparisons, Sarah Babbage rom Blumberg outlines direct differences in the bills. You can read her anal-
ysis at: https://about.bgov.com/blog/bgovonpoint-comparing-house-senate-tax-bills/. For musicians, the tax plan in its earliest orm hit on two issues that would have directly impacted artists and their supporting institutions. Te first was a provision in the code that provided the time and manner rules or electing capital asset treatment or certain sel-created musical works. he original temporary regulatory proposal was published in the Federal Register February 8, 2008. No comments appeared in response o the proposed rulemaking and no request or a public hearing was received. he reasury then decided to adopt the proposed regulation with some minor changes. However, on No vember 6, 2017, the provision was removed rom the Ways and Means Manager’s Report. Te Manager’s Report would have allowed a taxpayer to treat the sale or exchange o a musical composition or a copyright o their personal musical work as a capital gain or loss. Secondly, the House bill eliminates certain language reerring to business entertainment write-offs. Tis could mean ewer business proessionals using theater, restaurant, and other perormance venues as write-off activities or their clients. Section 3307 entitled “Entertainment, etc. Expenses,” denies a business deduction or entertainment, amusement, recreation, and other ringe benefits in the media and entertainment industry to embrace or entice business partners. Te provision goes on to say: “No deduction otherwise allowable under this chapter shall be allowed or amounts paid or incurred or any o the ollowing items … this may impact any entertainment, amusement, or recreation activity; membership dues; amenities not directly related to the taxpayers trade or business; or on-premise athletic acilities, not related to a trade or business.” Te Senate bill, introduced November 14, is currently under debate. We must consider that, at this writing, the House bill is still under consideration and the Senate bill, though just introduced, has additional changes. No new policy is set in stone until the chamber has a final vote on it. However, we expect those votes very soon. Te AFM will continue to work with its affiliates and outside partners to help mitigate the negative effects o this legislation.
International Musician
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December 2017
When It Comes to Freelancing, Know Your Worth by Michael Manley, Director Organizing and Education Division
Everyone loves to get the call, text, email, or Facebook message oering them work—especially when gigs are scarce and times are lean. Employers know you love to make music, and the best employers value and airly reward this. Te worst, however, will exploit your passion or their own gain. Beore you decide to take the job, ask yoursel two questions: “What should this job pay?” and “What am I worth?” Ten, ollow the money. In building a reelance career, sometimes the job you say “no” to can be just as crucial as the one that you say “yes” to. O course, a union contract is the best guarantee that the job is paying appropriate wages and contains appropriate benefits. While it would be ideal i every musician only worked union jobs, currently that is not the reality. But it is not hard to spot those jobs that should be union and that is where musicians need to ask the right questions and say “no” when appropri-
ate. Here are a ew key points to look or and some actors to consider beore taking a job.
What’s the gig? Separating for-profit from public service
pay? Consult your AFM local’s website or scales, or give the local a call, i the scales are not published online. Union local scales may vary according to the type o engagement, type o music, and size o the venue. Remember: local scales are minimums, not maximums—they should easily fit into the budgets o truly proessional or-profit events and concert producers.
We all know how it works: you get an offer, which includes the type o ensemble, genre, and repertoire, venue, and most importantly, what the pay and benefits are. Beore deciding to accept or reject an offer, determine the context o the employment. Perorming at What is the size of the venue, and a local church during the holiday season? what are the ticket prices? With no tickets sold or meaningul profit I the venue is more than 1,000 seats and being realized, this gig is really one o public tickets are being sold at top prices, a union service. You may or may not decide to take the contract should be a given and the absence work based on the pay offered, the people you o one is a huge red flag. I there is no union are perorming with, the repertoire, and the protection and the wages being offered or the mission or cause being served by the concert. job are lower than union scale, why? But what i tickets are sold and the perormance is in a large capacity venue? Tis is where you have to proceed with caution.
What is the job paying, and what should it pay? How do you ind out what a job should
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Who is the artist/act? I you are being asked to play or a band, artist, or act that is a “household name,” you should never work without a union contract. Te act/artist can afford union rates. I the job is being offered as nonunion and at substandard wages, it means the money the artist is paying or back-up musicians is not trickling down to you. Where is it going?
Who are you working for? Follow the money Who called you or the job? Is it a trusted high-proile union contractor who has booked similar jobs in the past? I not, why? A common trend now: peers who act as contractors or a job, with these musicians being offered a bump in pay to make job offers to their colleagues. Tey act as proxy employers—but they are not really employers. Will you receive a 1099 or the work, or will you receive a W-2? Or worse, is someone going to try and pay you with PayPal or Venmo? And who is your peer working or? Tis is the hallmark o a sketchy gig—one where you have no protections or recourse i there are problems. And why is a section violin player being asked to contract your work anyway? Consider what would happen i you were underpaid or never got paid. Who would you go afer or the money? Remember, i you do not have the protections o a union agreement, then you do not have any protections at all.
What about the extras? Are you being asked to drive more than an hour to do the job? I so, mileage should be paid or proessional chartered transportation should be provided. I there is a soundcheck in the late afernoon and an evening concert, you should be provided a hot meal or appropriate meal per diem between calls. Te absence o both o these is a red flag. In a major venue, it is likely that union stagehands, carpenters, and electricians are working or air union wages and benefits. I the crew member plugging in the amp is receiving a union wage, why not you?
No one is impressed by underpaid work It’s great to play in a large venue with “stars.” We all love to post backstage photos with artists when we get to share the stage with them. But the people who matter to your career—the top-tier players and contractors—will know when a job is undermining the basic standards and conditions that they have worked hard to achieve and maintain in their own careers. Tey are not impressed when you work or substandard wages. And working or substandard wages does not lead to working or appropriate wages, nor does it lead to working with the influential first-call musicians with whom you hope to share the stage as your career develops.
The bottom line We all love to make music, and saying “no” can be hard. Emerging proessionals sometimes take nonunion work because it is all they eel they can get. But a truly nonprofit, nonunion church or community theater gig is a ar cry rom playing with a well-known artist in a huge arena. Tere is some work that absolutely should be “union”—make sure you know what it is. I you are being offered substandard wages and conditions, with no union protections, don’t be araid to say “no,” warn your colleagues, and alert your union local. You and your career will be better or it in the long run. What can you do about sketchy gigs? Organize them! Call the AFM Organizing and Education Di- vision at (917)229-0267 or email Director Michael Manley at
[email protected] .
International Musician
AFM EMPLOYMENT OPPORTUNITY AFM National Lead Organizer American Federation of Musicians of the United States & Canada (AFM), AFL-CIO Location: New York City, with the ability to travel within the US and Canada. Purpose: In collaboration with the Director o Organizing and Education, the Lead
Organizer will research, plan, and implement internal and external organizing campaigns in various sectors o proessional music at the national and local level. Te Lead Organizer will assist with the planning and execution o all union organizing education initiatives. Primary responsibilities:
• Design and direct external organizing efforts, with an emphasis on grass-roots, community-based, leverage campaigns • Plan and lead internal organizing campaigns, including contract campaigns, rank-and-file leadership development, member education, strike support, etc. • Identiy and develop leaders, organizing committees, volunteer member teams, and rank-and-file activists • Work with national and local leadership and staff in conjunction with all research and communications, as well as political and legal aspects o campaigns • Cultivate relationships with community, labor, and political leaders, as well as organizations Primary qualifications:
• Bachelor’s degree, and at least 3-5 years o experience in leading union organizing campaigns, and/or community organizing campaigns, including the design and development o campaign work plans • Knowledge o basic principles and practices o union organizing and a thorough knowledge o labor laws • Experience with strategic campaign planning and execution • Knowledge o labor education program planning and development; ability to conduct training sessions • Ability to travel • Ability to work independently while coordinating efforts with national and local staff and leaders • Experience with, and knowledge o, collective bargaining and organizational management • Excellent interpersonal skills and the ability to work collaboratively with people rom diverse backgrounds and cultures • Excellent verbal and written skills • Ability to work under pressure and prioritize tasks • Commitment to workers’ rights and social justice • Familiarity with the music and/or the entertainment industr y is a plus, but not required • Basic computer skills and a knowledge o Microsof Word, Excel, PowerPoint, etc. Te AFM is an Equal Opportunity Employer. All qualified applicants will receive consideration or employment without regard to race, color, religion, sex, sexual orientation, gender identity, or national origin. Salary is commensurate with experience. Competitive benefits package. Send cover letter and resume no later than January 15, 2018 to: Cynthia Pellegrino, Director o Human Resources: cpellegrino@am.org or ax: 212-214-0807 The AFM represents more than 80,000 musicians in 200 locals in the United States, Canada, and Puerto Rico and forms part of the heart and soul of the labor movement. The AFM has national offices in New York City, Los Angeles, Washington, D.C., and Toronto.
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10
December 2017
Understanding Your Film Musician Secondary Markets Fund by Kim Roberts Hedgpeth, Executive Director Film Musicians Secondary Markets Fund
In 2017, the Film Musicians Secondary Markets Fund (FMSMF) celebrated 45 years o serving the film and television music community. Created in 1972 by the motion picture and television producers and the AFM, the FMSMF’s primary purpose was to act as the agent o the producers to collect and distribute residual payments to film musicians. oday, we continue this mission, while also serving as a resource or motion picture proessionals in addressing various challenges to the industry. For some musicians and filmmakers, the FMSMF remains a bit o a mystery. Because FMSMF distributes a significant source o income to working musicians, all musicians working in film, television, new media, as well as sound recordings should be amiliar with how it works. FMSMF provides a unique service to the film and V music community. For producers, it shoulders the responsibility o calculating and issuing individual musicians’ residual payments and paying required taxes and withholdings. For musicians, FMSMF sends a detailed listing with a breakdown or each title that accompanies the musician’s annual payment. Tis provides a “one-stop shop” to make residual tracking, personal record keeping, and annual tax accounting easier and more efficient or the working musician. FMSMF is a 501(c)(6) nonprofit organization operating under the supervision o an oversight committee appointed by the Alliance o Motion Picture & elevision Producers (AMPP), and AFM liaisons appointed by the AFM International President who consult with the oversight committee. FMSMF does not engage in collective bargaining on behal o either producers or the AFM.
How FMSMF Works FMSMF collects residuals (contributions) i a ilm, V program, or new media project has moved rom its primary market into a secondary market, and that secondary market use generates revenue, as described in Chart 1. Residuals collected by the FMSMF represent a small percentage (below 1% net o deductions outlined in the AFM agreement) o distributors’ gross receipts rom secondary market distribution o film, V, or new media programs. Producers
CHART / TABLEAU 1
and/or distributors send residuals directly to the und on a quarterly basis. Residuals collected during the FMSMF’s fiscal year (April 1-March 31) are distributed to musicians the ollowing July 1. Administrative costs or operating the und (legal and auditing ees, insurance, salaries, computers, rent, etc.), taxes, and other required withholdings, plus a small reserve or “omissions,” are deducted rom the amounts collected. Each individual title’s contribution is allocated proportionally against the total contributions received or all titles during the year. (A title reers to an individual film or a season o a V series). Each musician’s share within each title is determined by applying the percentage that his original wages represented o the total wages paid to all musicians or the score, against the residual payment collected or that title during the year.
Recent Activity In the 2017 fiscal year, the FMSMF collected more than $98.4 million in secondary market residuals. Participants received 15,676 payments in the July regular distribution and another 1,415 payments as part o the September omissions distribution. A list o films, V programs, and new media programs that have paid into the und over the years is lo cated at www.msm.org. It can take several years afer the first release or broadcast beore a film, V program, or new media program moves into a secondary market and revenues are generated. Resulting residuals or an individual title can vary rom modest to significant, depending on its success. Overall, secondary market residuals have grown in recent years. Residuals rom new media exhibition o film and television programs have become a more significant share o the totals, as illustrated in Chart 2.
A second, smaller “omissions distribution” is made each September to musicians who the und discovers were erroneously omitted rom a project’s list o musicians, CHART / TABLEAU 2 or whose original wages were underreported to the und. FMSMF conducts its own research, reviews, and audits, either directly by the Fund ComplianceDepartment or by outside auditors engaged by the und to ensure that signatory producers and distributors make the required residual payments. In addition, the und’s Participant Services staff works to find FMSMF also administers a smaller sub-und that collects musicians who may have unclaimed residuals waiting at supplemental market residuals or secondary use o live and the und. Many o these “lost” musicians are musicians who videotape programs such as the nightly talk shows, variety perormed on AFM-covered sound recordings that were used shows, and other programs produced under the AFM’s Live in AFM-covered films and programs, but do not have a valid elevision Videotape and Basic Cable elevision agreements. current address registered with the und. Whether you actively work in film and television scoring, on a new media project, or in sound recordings, the FMSMF and Who Participates? Participating musicians include, not just instrumentalists who the residuals it collects can be relevant to you. Now, the und played on the score (on or off screen), but also conductors, has new relevance to all working musicians. As a result o orchestrators, copyists, arrangers, contractors, and other the AFM’s negotiations or its 2015 Film and elevision Basic AFM-covered positions. Further, agreements, a portion o the residuals collected by FMSMF musicians who worked on a will be sent to the AFM-EPF to help support the unding o union-covered sound recording musicians’ pensions. used in an AFM signatory film, We invite you to learn more about the FMSMF by visiting V program, or new media our website (www.msm.org) where we keep musicians and project may be entitled to share producers inormed about FMSMF activities and offer online in that title’s secondary market services or musicians and beneficiaries to securely access residuals. I a participant is accounts, update inormation, sign up or easy direct deposit deceased, his/her designated and paperless options, and locate unclaimed residuals. beneiciary is entitled to receive the participant’s share o Remember, i you’re a participant, please make sure your residuals. he FMSMF sta address, email, contact inormation, and beneficiary designaresearches, identifies, and con- tions are current and remain up-to-date with the und. And, tacts beneficiaries to effectuate please visit us on Facebook. the musician’s intent or them to On behal o the FMSMF staff, we look orward to our continbenefit rom their legacy. ued service to the proessional musicians o the US and Canada and extend our best wishes or a happy and healthy 2018!
International Musician
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Le fonctionnement de votre Caisse des marchés secondaires des musiciens de film par Kim Roberts Hedgpeth, directeur exécutif, Film Musicians Secondary Markets Fund
En 2017, la Caisse des marchés secondaires Comment fonctionne la CMSMF des musiciens de film (en anglais, Film Mu- La CMSMF perçoit les droits de suite (contrisicians Secondary Markets Fund ) a célébré 45 butions) lorsqu’un ilm, une émission de ans au service de la communauté musicale télévision ou un projet de nouveaux médias de la télévision et du cinéma. À sa création, passe de son marché primaire à un marché en 1972, par les producteurs de télévision secondaire et que ce marché secondaire paret de film et par la FAM, l’objecti premier vient à générer des revenus, comme l’indique de la CMSMF était d’agir à titre d’agent des le ableau 1. producteurs afin de recueillir et distribuer les Les droits de suite perçus par la CMSMF paiements résiduels pour le compte des musi- représentent un petit pourcentage (moins ciens de film. De nos jours, nous continuons de 1 %, net des déductions indiquées dans à remplir cette mission, tout en servant de la convention de la FAM) des recettes brutes ressource pour les proessionnels du cinéma que les distributeurs reçoivent pour la diset de la télévision afin de aire ace aux diffé- tribution de films, d’émissions de télévision rents enjeux touchant l’industrie. et de contenu de nouveaux médias sur un Pour certains musiciens et artisans du milieu marché secondaire. Les producteurs et les du film, la CMSMF demeure quelque peu un distributeurs remettent les droits de suite mystère. La CMSMF distribue des sommes directement à la Caisse chaque trimestre. Les qui représentent une source importante de droits de suite que la CMSMF perçoit durant er revenus pour les proessionnels de l’industrie. son année financière (1 avril – 31 mars) er Par conséquent, tous les musiciens travaillant sont ensuite distribués aux musiciens le 1 dans les domaines du cinéma, de la télévision, juillet suivant. Les rais administratis pour des nouveaux médias ainsi que des enregis- le onctionnement du onds (rais juridiques, trements sonores devraient se amiliariser rais de vérification, assurances, salaires, rais avec son onctionnement et en connaître les inormatiques, loyer, etc.), les impôts et les autres prélèvements obligatoires, ainsi qu’une rouages. petite réserve pour les « omissions », sont déLa CMSMF ore un service unique à la duits des montants recueillis. La contribution communauté des musiciens du cinéma et de pour chaque titre est attribuée proportionla télévision. Pour le compte des producteurs, nellement au total des contributions reçues la Caisse a la responsabilité de calculer et re- pour tous les titres pendant une année. (Un mettre aux musiciens les paiements résiduels titre ait réérence à un film ou à une saison ainsi que de payer les impôts et déductions d’une série télévisée.) La part d’un musicien exigibles. Aux musiciens, la CMSMF envoie relativement à un titre est déterminée selon le avec leur paiement annuel une liste détaillée pourcentage de son cachet initial par rapport comprenant une ventilation pour chaque au total des cachets versés aux musiciens pour titre. Ce « guichet unique » permet de acili- une partition musicale, pourcentage qui est ter et d’améliorer le suivi des droits de suite ensuite appliqué au paiement résiduel pour résiduels, la gestion des dossiers individuels et ce titre pendant l’année. le calcul des déductions fiscales pour chaque Une deuxième distribution, de moindre musicien. importance, pour les « omissions » a lieu La CMSMF est une organisation sans but au mois de septembre pour les musiciens lucrati (conormément à la disposition qui, comme le découvre la Caisse, ont été législative 501(c)(6) des États-Unis) sous la omis par erreur de la liste des musiciens direction d’un comité de supervision nommé pour un projet particulier ou dont le cachet par l’Alliance o Motion Picture & elevision a été sous-déclaré à la Caisse. La CMSMF Producers (AMPP) ainsi que d’agents de effectue ses propres recherches, enquêtes et liaison de la FAM nommés par son président vérifications, que ce soit directement par son international travaillant en consultation avec service de la conormité ou par l’entremise de le comité de supervision. La CMSMF ne vérificateurs externes engagés par la Caisse, participe pas à la négociation de convention afin de s’assurer que les producteurs et districollective, que ce soit pour le compte des buteurs signataires à l’entente versent au onds producteurs ou de la FAM. les paiements résiduels requis. Le personnel
des Services aux participants s’efforce en outre tion de films ou d’émissions sur les nouveaux de retrouver tous les musiciens qui ont droit à médias représentent une part de plus en plus des paiements résiduels, mais qu’ils n’ont pas importante du total des recettes. encore réclamés. Ces musiciens « disparus » La CMSMF gère également un onds soussont souvent des musiciens ayant participé jacent, de moindre importance, servant à à un enregistrement sonore qui a été utilisé percevoir des droits de suite de marchés comdans un film ou une émission couvert par la plémentaires pour les utilisations secondaires FAM, mais qui n’ont pas laissé d’adresse de de programmes en direct ou enregistrés, correspondance valide auprès de la Caisse. par exemple pour une utilisation dans des talk-shows de fin de soirée, des émissions de Qui sont les participants Les musiciens participants ne sont pas que variétés et autres émissions produites dans les instrumentistes ayant joué la partition le cadre d’ententes de la FAM sur la câbl odismusicale (à l’écran ou hors champ), mais tribution de base et la télévision en direct ou aussi les ches d’orchestre, les orchestrateurs, sur vidéocassette. les copistes, les arrangeurs et toute autre Que vous travailliez activement en musique personne occupant un poste couvert par la dans le milieu du cinéma, de la télévision ou FAM. De plus, les musiciens ayant travaillé des nouveaux médias ou dans le domaine sur un enregistrement sonore utilisé dans un des enregistrements sonores, les activités de film, une émission de télévision ou un projet la CMSMF et les droits de suite qu’elle perçoit de nouveau média d’une partie signataire peuvent vous concerner directement. C’est à l’entente de la FAM peuvent avoir droit à maintenant vrai plus que jamais pour tous les une part des droits de suite de ce titre pour musiciens. À la suite des négociations menées les marchés secondaires. Si un participant est par la FAM en 2015 pour les conventions de décédé, son bénéficiaire désigné a droit de base sur les films et la télévision, une partie recevoir la part des droits de suite due à ce des droits de suite perçus par la CMSMF musicien. Le personnel de la CMSMF tentera est dorénavant versée à la caisse de retraite de retrouver, d’identifier et de contacter les des musiciens (AFM-EPF) afin d’aider à son bénéficiaires désignés afin de son conormer financement. aux intentions d’un musicien décédé. Si vous voulez en savoir plus à propos de Activités récentes la CMSMF, nous vous invitons à consulter Durant l’exercice financier 2017, la CMSMF notre site Web à l’adresse www.CMSMF.org. a perçu plus de 98,4 millions de dollars en Nous y offrons de l’inormation à l’intention droits de suite liés aux marchés secondaires. des musiciens et producteurs concernant les La Caisse a effectué 15 676 paiements lors de activités de la CMSMF, ainsi que des services la distribution principale en juillet et 1415 en ligne pour les musiciens et bénéficiaires autres paiements lors de la distribution pour afin d’accéder à leur compte en toute sécurité, omissions en septembre. Il est possible de obtenir de l’inormation à jour, s’inscrire au consulter une liste des films, émissions de système de dépôt direct ou à d’autres options télévision et projets de nouveaux médias électroniques, et retracer des droits de suite ayant contribué au onds au cours des ans à non réclamés. l’adresse www.CMSMF.org. Si vous êtes un participant, il est important Il peut s’écouler plusieurs années suivant le de vous assurer que votre adresse de corlancement ou la diffusion d’un film, d’une respondance, votre adresse de courriel, vos émission de télévision ou d’un projet de autres coordonnées et votre désignation de nouveaux médias avant qu’ils ne passent bénéficiaire sont valides et à jour dans les à un marché secondaire et produisent de livres de la Caisse. N’oubliez pas aussi de nous nouvelles recettes. Les droits de suite qui en rendre visite sur Facebook. résultent pour un titre en particulier varieront en onction de son succès sur le marché out le personnel de la CMSMF est heureux secondaire. De açon générale, on peut dire de pouvoir continuer à servir les musiciens que ce type de recettes a augmenté dans les proessionnels du Canada et des États-Unis dernières années. Comme on peut le voir au et vous souhaite ses meilleurs vœux pour ableau 2, les droits de suite liés à la présenta- l’année 2018!
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December 2017
NEWS & NOTES New Silkroad Leadership Announced
FIA Issues Declaration on Sexual Harassment
wenty years afer ounding the arts organization Silkroad, Yo-Yo Ma o Local 802 (New York City) is passing the baton to three collaborators—Jeffrey Beecher o Local 149 (oronto, ON), Nicholas Cords o Local 802, and Shane Shanahan o Local 802, whom he credits with teaching him much about collaboration, music, and riendship. “ogether with Executive Director Eduardo A. Braniff, these inaugural co-artistic directors will shape the next chapter o Silkroad, bringing the passion and curiosity that we have developed to new communities and inspiring radical cultural collaboration that is essential to creating a better world,” says Ma.
In October, the International Federation o Actors (FIA) Executive Committee approved a declaration on sexual harassment, discrimination, and retaliation in the entertainment and media industries. Te declaration, authored and sponsored by SAG-AFRA, recognizes the rights o all perormers to a sae and harassment-ree working environment and urges the industry to work in good aith with unions and perormer organizations to develop a longterm strategy to achieve discrimination and harassment ree workplaces.
Te new directors have pledged a commitment to diversity and inclusion across their board, staff, and ensemble, as well as among collaborators and in audiences. Tey announced a series o US-based residencies or the next year and promised to unveil an “ambitious array” o new commissions.
“Te scandal involving Harvey Weinstein revealed problems that were all to amiliar to women—and men—in our industry. We know that sexism in our industry is real. We know that there are sexual harassers who use their power to intimidate. And we know that this needs to change. And as union leaders we are taking a stand—we seek nothing less than a major cultural shif,” says FIA President Ferne Downey.
Yamaha Share the Gift Campaign Helps Rebuild School Music Programs Music programs or students in exas and Florida schools have been deeply affected by hurricanes Harvey and Irma. Schools have sustained damage or had to close indefinitely, leaving districts scrambling or resources. Te Houston Independent School District alone lost $1 million in instruments across 13 campuses. Yamaha Corporation o America, in conjunction with the Mr. Holland’s Opus Foundation, is helping to rebuild these music programs. Now through December 31, i you to post a photo or video explaining how music education has changed your lie with the #YamahaSharetheGif hashtag on witter or Instagram, or submit a video through Youube via the Share the Gif website (www.yamaha.com/us/ sharethegif/), the company will donate a brand new instrument to Music Rising, the disaster relie und o the Mr. Holland’s Opus Foundation.
Study Shows Musicians Have Superior Memory Skills A study led by University o Padua psychologist Francesca alamini shows that musicians tend to have stronger short-term and working memory (the ability to retain inormation as you process it) than nonmusicians. Published in the online journal PLoS One, the research also ound a slight advantage in terms o long-term memory. Scientists looked at 29 studies (between 1987 and 2016) o young adults perorming long-term, short-term, and working memory tasks. Te musicians perormed best on working memory tasks involving tonal stimuli, but also had an advantage regarding verbal stimuli. On short-term memory tasks, the musicians showed superior skills, whether they were asked to recall musical tones, verbal instructions, or visual images. Researchers offer a ew hypotheses including the possibility that people with better memories choose to become musicians. But, they believe it is more likely that their memories were improved because o the multi-sensorial nature o music training.
International Musician
ORCHESTRA NEWS Orpheus Chamber Orchestra Ratifies New Agreement In November, the Orpheus Chamber Orchestra announced that it has ratified a new CBA with its musicians, effective through 2020. Te contract includes a wage increase o 2.5% per year or New York City rates, as well as restructured rates in other markets. Te contract introduces a new chamber music scale, reflecting the orchestra’s increased presence throughout the tri-state area, and a community engagement scale, reflecting a commitment to broaden its reach in the local New York City community. Te new agreement provides more flexibility in touring rules, allowing Orpheus to adjust to complex travel schedules. A new Artistic Oversight Committee will continually evaluate the orchestra’s structure and artistic quality. Finally, the contract allows Orpheus to augment its roster by hiring musicians into a new “associate membership” tier. Te orchestra was recently awarded an increased grant o $175,000 rom Te Howard Gilman Foundation to support its 2017-2018 New York City perormance activity. Orpheus Chamber Ensemble, whose musicians are members o Local 802 (New York City), is unique in its structure and governance, perorming without a conductor and rotating musical leadership roles or each work.
Cleveland Receives $15 Million Gift Richard and Emily Smucker have pledged $15 million to Te Cleveland Orchestra in celebration o its 100th season. Te gif will und artistic and education programs, with an emphasis on young people. In addition, a significant portion o the gif will support the orchestra’s endowment. Te Smuckers have designated $3 million o their pledge as a challenge grant.
St. Louis Ends FY with Surplus St. Louis Symphony Orchestra (SLSO) completed its 2017 iscal year with an operating surplus o $18,000—its first surplus this century. SLSO’s total annual budget was $30.3 million. Te surplus was the culmination o a stellar 2016-2017 season, in which it increased ticket revenue 1%, with 23 sold-out concerts. SLSO embarked on a tour o Spain in Februar y and perormed at Carnegie Hall in March. Altogether, the orchestra gave 219 concerts, including 88 that were presented ree o charge. A quarter-million people experienced a perormance by the symphony over the course o the season. In January, a ive-year musicians’ contract was reached seven months ahead o schedule. SLSO musicians are members o Local 2-197 (St. Louis, MO).
Detroit Symphony Gift Ties with Largest in Its History Detroit Symphony Orchestra (DSO) has received a $15 million gif rom the William Davidson Foundation. O that pledge, $5 million comes in the orm o a challenge grant to grow the orchestra’s endowment. Tree other oundations—Andrew W. Mellon Foundation, Fred A. and Barbara M. Erb Foundation, and Dresner Foundation—have already pledged $3.5 million toward the challenge. DSO’s endowment has increased significantly over the past five years. I ully matched, the challenge grant will bring it to $56.3 million. he Davidson Foundation has a long history o supporting DSO, and has sponsored DSO’s neighborhood concert series or seven years. Te gif ties with one rom the Fisher amily as the largest single donation in DSO history. Te atrium at Fisher Music Center will be named the William Davidson Atrium. Musicians o the Detroit Symphony Orchestra are members o Local 5 (Detroit, MI).
“Te work these musicians do inspires audiences and young people throughout our community, across the nation, and around the world,” says Richard K. Smucker, who serves as president o he Cleveland Orchestra’s board o directors. “From my own lie experience, I know that music has the power to change lives.” Te musicians are members o Local 4 (Cleveland, OH).
Albany Symphony Honors Donor
Richard Smucker retired rom his position as chie executive officer o the J. M. Smucker Company in 2016. He was elected board president o Te Cleveland Orchestra March 2017; he has served
Medicus was a close riend to Albany Symphony Music Director David Alan Miller. “We will miss him terribly, but his spirit will be with us every time we make music together,” says Miller. Albany Symphony musicians are members o Local 14 (Albany, NY).
on the board o trustees since 1989.
On November 18, Albany Symphony held a special ceremony to dedicate its top artistic post to long-time patron Dr. Heinrich Medicus. When Medicus passed away in February, leaving a $7 million bequest, plus a portion o his estate’s residuary, it represented the largest financial gif in the symphony’s history.
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14 December 2017
A JAZZ GUITARIST
t age 66 this month and 40 years in, John Scofield is at the prime o his career. A major guitarist in the jazz scene since the 1970s, “Sco” is one o the most prolific jazz geniuses, in a perpetual cycle o recording and touring. In 2016, he received his first Grammy award or the album Past Present , and two more ollowed in 2017 or Country for Old Men. He’s been nominated a total o nine times and almost constantly has several projects in the works. “I haven’t had a lot o dead air time,” he says. When the jazz virtuoso began learning to play the guitar as an 11-yearold, he didn’t think about what genre he wanted to learn. Like many suburban kids o the ’60s, he was first drawn to rock and blues. “B.B. King was the first blues guitarist I tried to emulate,” he says, “as well as the most popular guys at the time—Eric Clapton, Jimi Hendrix, and Jeff Beck.” Ten, at age 15, his Fairfield, Connecticut, guitar teacher introduced him to jazz. “I loved all the greats,” he recalls. “I wore out my Wes Montgomery and Pat Martino records; then I discovered Jim Hall. I was a real jazz an—not just the guitar players—Charlie Parker, Telonious Monk, John Coltrane, Miles Davis—I just ate it up.”
School Days When Scofield entered Berklee College o Music and began playing jazz with others, his education and love or improvisation took off. Up to that point, he’d never met any o his influences. “Here I am at Berklee and they announce that vibraphonist Gary Burton is coming to teach. Gary’s band, at the time, was one o the absolute top jazz groups on the scene,” says Scofield.
BRINGS COUNTRY, ROCK AND MORE INTO HIS WORLD
Ten, something unbelievable happened. Because Scofield’s roommate, drummer ed Seibs, had a set o vibes in their apartment, Burton would come over afer classes almost every day to jam with Scofield and his roommates while he waited or the afernoon traffic to subside. On teacher Alan Dawson’s recommendation, Scofield landed a gig with Gerry Mulligan. “He wanted to augment his quartet with guitar and vibes. He hired me sight unseen or the week,” says Scofield, who ended up staying with the group or a while and making his first recording—Chet Baker and Gerry Mulligan Carnegie Hall Concert (1974). “I borrowed a car and drove to Carnegie Hall with my guitar and amp. I was so nervous that my hands were shaking. o meet and get to play with Chet Baker, bass player Ron Carter [o Local 802], Bob James [o Local 802] on piano, and Harvey Mason [o Local 47] on drums. It was quite a thrill!” he recalls. Later, Scofield was a member o the Billy Cobham-George Duke Band or two years. In 1977, he recorded with Charles Mingus and joined the Gary Burton quartet. From 1982 to 1985 he toured internationally and recorded with Miles Davis. Along with the enduring influence o Davis, these experiences helped to orm Sco’s own style. From the early 1980s, Scofield has led his own groups, recording more than 40 albums that blend traditional jazz with unk, bebop, usion, and R&B. Over the years, these groups gathered a wi de range o major players. Among his notable collaborators are: Charlie Haden; Eddie Harris; Mavis Staples; Local 802 members Jack DeJohnette, Joe Lovano, Steve Swallow, Brian Blade, Scott Colley, John Medeski, and Louis Cato; Local 174-496 (New Orleans, LA) members George Porter and Dr. John; Local 47 members Larry Goldings and Ricky Fataar; and Local 6 member Adam Deitch. Scofield’s albums explore eclectic interests, rom the acoustic album Quiet (1996), anthemic jazz unk A Go Go (1998), and traditional jazz sound o Works for Me (2001) to usion albums Überjam (2002), Up All Night (2003), and Überjam Deux (2013). Tat’s What I Say (2005) pays tribute to Ray Charles, while Piety Street (2009) is his take on
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spirituals and gospel tunes, and A Moment’s Peace (2011) ocuses on ballads.
On the Road oday, Scofield enjoys playing live as much as ever. He is on the road or about hal the year. “Te best part about touring is playing the gigs and the worst part about touring is getting there,” he quips. Frequently perorming overseas, Scofield explains that opportunities are more plentiul in Europe than in the US. Te passion or everything American that developed afer World War II spawned a lasting audience or jazz. “Tere is this great educated public,” he says. Also, strong government unding or arts programs in Europe allows even smaller cities to bring in international artists.
“Jazz has never paid much money. Unortunately, I see gig opportunities in New York City or young guys just starting out may pay around $50. But those same gigs paid $50 in 1975, when I first came to New York City,” he says.
n n a m l e s s e u r K s a
Although Scofield is known or his m o collaborations with top jazz players, h T : o he also enjoys playing with up and t o h coming artists. “Te truth is, I learn P rom other musicians all the time, and at this point, some o them are 30 years younger than me,” says Scofield, who has been an adjunct jazz guitar aculty member at New York University (NYU) or the past 10 years, working mostly with graduate and doctoral students. “Tese students can really play and I have a great time,” he says, describing his teaching style. “It’s really loose; I just play with the students and talk about what I do.”
e l t t u S k c i N : o t o h P
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Studio Time O late, Scofield’s work continues to demonstrate the idea that he can swing anything. His most recent release, Hudson (2017), is an allstar group o Hudson Valley jazz musicians’ take on classic rock tunes. Scofield, bassist Larry Grenadier, drummer Jack DeJohnette, and keyboardist John Medeski o Local 802 were brought together or the first time by the organizers o the Woodstock Jazz Festival. “We all just showed up and jammed. It really worked out well, so we decided to make a record and tour,” says Scofield.
Looking back at his early career, he says the way the industry unctions is very different today. “I remember when publishing royalties were much higher—when record companies actually had some money,” he says. “It’s harder “It’s a very exciting group or me to play with, to start a career these days. When I was a kid, very improvisation based, so or some o every Holiday Inn had a cover band.” the stuff we play, there’s no orethought,” he “You can go to Youube, and or ree, watch adds. “We recorded songs associated with the and listen to the entire history o music at the Woodstock Festival—Dylan, Joni Mitchell, press o a button,” he says. “Tat’s changed Hendrix.” everything as ar as making a living, and not Scofield’s previous album, the Grammy-winnecessarily or the better.” ning Country for Old Men (2016), is similar, Scofield recalls the days when the union guy but with classic country tunes turned jazz. It would show up at gigs to check your card. “I eatures Scofield with Bill Stewart (drums), wish everybody was contracted all the time Larry Goldings (keyboard), and Steve Swaland protected by the union and I wish all the low (bass), perorming songs that include hits gigs went through the pension und, but it’s rom Hank Williams, Merle Haggard, George Jones, and Local 257 (Nashville, N) member just not like that,” he says. Dolly Parton. For example, Williams’ “I’m So “I’m pro worker all the way,” he adds. “I have Lonesome I Could Cry,” was transormed into only high regard or the process o organizing a ast bebop tune, which won a Grammy or workers in America in order to get the beneBest Improvised Jazz Solo. fits we deserve. And we need to fight or that.” As he wraps up his 2017 tours, Scofield has While he advises young musicians to get out already begun work on the next album. Scoin the field and play as much as possible, he field will ollow the two albums o cover tunes admits there’s sometimes a thin line between with a yet to be named album o originals. It getting experience and getting exploited. will be recorded by the John Scofield Quartet.
16 December 2017
Holiday Gift Guide Special Advertising Section
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PMC’s result6 compact nearfield monitors guarantee ideal results or audio proessionals in all areas o music—recording, mixing, mastering, broadcast, and post production. Tese monitors provide the perect introduction to PMC’s renowned sound quality and sophisticated AL technology. With result6 there are no overly complex DSP-based user options or room profiles; instead, these monitors achieve their characteristically neutral, dependable reerence sound solely on the strength o engineering. You can plug them in and immediately trust what you hear to create the best results in the shortest time. result6 are available rom PMC USA and the PMC Factor y Boutique at RSPE. For more inormation email
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LOTUS LIGHT PRO Lotus Light PRO series incorporates a lithium polymer battery and the highest quality LED technology to provide the most powerul music light. It floods our pages o music with light, without any hot spots, and or a longer time than ever beore. Lotus Light is lightweight and compact enough to take wherever you go. It clips to any music stand and the jaws are padded to clip to a piano music rest without ear o damage. A stiff but flexible arm allows you to position the light where it won’t distract others or interere with page turns. Visit our website to learn more about the light and other accessories to make it the most useul light you can own.
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Holiday Gift Guide Special Advertising Section
LEARN TO PLAY UKULELE STARTER KIT Kala Ukulele Starter Kit has everything you need to start playing today! It comes with a Kala soprano mahogany ukulele, logo tote bag, ree online lessons, and a ree tuning app with lessons. Our high-quality ukulele and lessons make learning the uke ast, simple, and un! Pricing is just $59.99 MAP/$84.99 retail. Look or the Kala Learn Ukulele Starter Kit on Amazon. kalabrand.com
CHOPSAVER Happy Holidays rom ChopSaver! Invented by Local 3 (Indianapolis, IN) member Dan Gosling, ChopSaver Lip Care is the perect git or all your musician riends. While brass and woodwind players love it, no one likes chapped lips in the winter, no matter what they play! So let ChopSaver’s all-natural ingredients soothe and protect your lips all year long. Visit www.chopsaver. com to find a store near you— and watch out or flying sousaphones while you’re there! chopsaver.com
SHOULDEAIR Durable, ergonomic, light-weight, and adjustable. Afer years o development, Balu Musik is excited to present the ShouldeAir, a new and revolutionary shoulder rest or Violins and Violas. Te ShouldeAir is made o the highest grade carbon fiber (used also by NASA, Boeing, and NASCAR) making it lightweight (just under 60 grams!) and built to last. Te sleek, elegant design provides exceptional comort. he ad justable height and legs provide a perect fit. (Patent Pending #62/546,294) balumusik.com
CHROMATC PEDAL TUNER Stunningly accurate. Or, more accurately, stunning. With its striking, ull-color vertical display and quick, accurate response, the new D’Addario Chromatic Pedal uner helps you make sure not to miss the mark—even in demanding onstage conditions. Its slim profile leaves room on your pedalboard or all your effects, so it’s there when you need it, but out o the way when you don’t. daddario.com/pedaltuner
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December 2017
Holiday Gift Guide Special Advertising Section
GIG GLOVES Protect your most valuable asset: your hands. Gig gloves are the ultimate gloves or gigging musicians and production pros who spend a lot o time loading in and out, setting up, and tearing down. Tey protect the back o the hand and palms with breathability or extended use, access to the first three fingers via old-over fingertips (or fine motor tasks), and touchscreen capability directly through the abric. Original Gig Gloves provide visibility o the hands in low light, Gig Gloves Onyx are completely black or those who need to be invisible to an audience, and Termo-Gig Gloves add a layer o internal fleece or cold weather. Gig Gloves come in six sizes (XS to XXL). gig-gear.com
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DPA’s d:vice MMA-A Digital Audio Interace is a high-quality, dual-channel microphone preamplifier and A/D converter that captures crystal-clear audio via your avorite recording or broadcasting apps. It’s preprogramable, easy to use, and inconspicuous. While third-party apps can be used with d:vice, an exclusive downloadable DPA app allows you to store gain settings and low-cut filters or personalized use in dedicated presets. Te d:vice MMA-A comes with one Micro USB-B to iOS (Lightning) and one Micro USB-B to PC/Mac (USB-A).
Tis holiday season, there will be plenty o great deals out there. Avid has you covered, whether you’re a relative newbie or a seasoned pro. Get our best deal o the season on Pro ools and Pro ools HD, amazing deals on plug-ins, and more. Here’s a small sampling: special upgrade pricing or Pro ools users, 75% off sound library, 50% off audio plug-ins. And, keep an eye out or flash sales on Black Friday and Cyber Monday. Get these deals while they’re still around! avid.com/special-offers
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CLOUDLIFTER Zi Cloud Microphones’ Cloudliter Zi instrument DI and mic activator is designed or guitar, bass, keyboard players, and singers. It maximizes your instrument or mic’s signal and lets you contour your tone. he variable impedance “Z” knob and high-pass ilter combine to create massive tone shaping, while the three-position gain switch adds gain (up to 25db or microphones or 12dB or instruments) or a clean signal. cloudmicrophones.com
HALO SPORT Halo Sport, the first product rom Halo Neuroscience, is a wearable neurostimulator that accelerates the development o muscle memory, when paired with training. See them in action at: www.youtube.com/ watch?v=VUvgUSX9hU. haloneuro.com
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RESOURCES LESTER LANIN: AN INTIMATE VIEW OF AMERICA’S FAVORITE SOCIETY DANCE BAND AND ITS LEADER One o the most in-demand bandleaders o all time, Lester Lanin began his career in the 1920s and his popularity grew worldwide. He was hired to play or socialites, celebrities, dignitaries, and monarchs, rom multiple White House inaugural balls to parties or Frank Zappa and Billy Joel. Tis memoir by Lanin’s longtime pianist, Al Warner o Local 802 (New York City), gives his intimate view working or the indomitable maestro or 17 years. Lester Lanin: An Intimate View of America’s Favorite Society Dance Band And Its Leader, by Al Warner, Spring Promise Productions, www.springpromiseproductions.com.
FROM THE RISER: A DRUMMER’S PERSPECTIVE II A sequel to the popular A Drummer’s Perspective, David Phillips captures images showing the energy, excitement, and emotions o drummers playing live. Photos show drummers playing a wide variety o genres in venues t hat range rom small clubs to Wembley Stadium. Among the wide range o drummers eatured are Local 4 7 (Los Angeles, CA) members Kenny Aronoff, Gregg Bissonette, Peter Erskine, and Sheila E.; Local 802 (New York City) members Billy Cobham and Jack DeJohnette; and Lars Ulrich o Local 424 (Richmond, CA). From the Riser: A Drummer’s Perspective II, by David Phillips, A & R Marketing Limited, www.armarketing.co.uk.
AUDIO MADE EASY, OR HOW TO BE A SOUND ENGINEER WITHOUT REALLY TRYING, 5TH EDITION A concise and comprehensive guide to audio and recording equipment and techniques, Audio Made Easy contains everything you need and nothing you don’t. Author Ira White, shares more than 35 years o recording studio experience, providing real-world solutions and tips that show results. He delves into ofen-misunderstood details o digital mixers, EQ, speaker specifics, and recording techniques using easy-to-understand language. Te book also contains access to online demonstration audio tracks. Audio Made Easy, or How to Be a Sound Engineer Without Really Trying, 5th Edition, by Ira White, Hal Leonard, www.halleonard.com.
BOWIE: THE ILLUSTRATED STORY Widely regarded as one o the most influential musicians and perormers o the past five decades, David Bowie released 27 studio albums rom 1967 until January 2016, two days beore he died. Tis retrospective ollows his career rom the olkie baroque rock o his debut to his soul phase, massive pop success in the 1980s, to electronica in the 1990s. Te book eatures stunning photography—on stage and back stage images, gig posters, concert stubs, and more. Bowie: The Illustrated Story, by Pat Gilbert, Voyageur Press, www.quartoknows.com.
DOUBLE oday, double bass drum playing or double pedal playing has made its way into every style o music, says drummer, teacher, and Local 406 (Montreal, PQ) member Christi an Morissette. His book, Double brings together all the basic techniques proessional drummers need to master the double pedal. Designed or all players, beginning to advanced, the book covers subdivisions, rudiments, continuous and noncontinuous oot patterns, transitions, drum fills, odd time signatures, and more. ext is provided in French and English throughout the book. Double, by Christian Morissette, www.chrismorissette.com.
LED ZEPPELIN: ALL THE ALBUMS, ALL THE SONGS Author Martin Popoff examines the music o Led Zeppelin as a complex amalgam o blues, rock, olk, and country. He details each o the group’s 81 studio tracks—how and why they were created and the historical context, as well as the recording process. Sidebars detail personnel and instrumentation or each album. Te book contains many rare perormance and offstage photographs, al ong with memorabilia. Led Zeppelin: All the Albums, All the Songs, by Martin Popoff, Voyageur Press, www.quartoknows.com.
THE SECRET LANGUAGE OF THE HEART: HOW TO USE MUSIC, SOUND, AND VIBRATION AS TOOLS Backed by the latest research, composer Barry Goldstein shares how every one o us can harness the power o music to dissolve creative blocks, reverse negative mindsets and attitudes, alleviate ailments, and improve overall health. Te book offers practical tips and instructions that can be tailored to individual needs. The Secret Language of the Heart: How to Use Music, Sound, and Vibration as Tools for Healing and Personal Transformation, by Barry Goldstein, Hicrophant Publishing, www.hierophantpublishing.com.
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TO YOUR HEALTH A Drug-Free Way to a Pain-Free Back by Marc Brodsky, MD, and Craig Holiday Haynes
Chronic lower back pain may be the result o trauma or repetitive overuse injuries o the spine, intervertebral discs, ligaments, joint capsules, and muscles. Posture and psychological stress may also contribute. In a musician, lower back pain can be debilitating, interering or worsening with activities related to playing an instrument.
Pain Relief Through Acupressure Points Acupressure points take advantage o the body’s natural muscle relaxant and stress reliever. Since acupressure points and trigger points in the muscles overlap, you may get relie rom your pain by utilizing exercises that press acupressure points in your back and legs. ry the exercises below or relie o lower back pain.
EXERCISE 1:
While narcotic (opioid) pain medications can make lie more comortable, they come with inherent risks: accidental overdose, risk o dependence and addiction, side effects (sedation, dizziness, nausea, constipation, respiratory depression, etc.), and the need or increasingly stronger doses. In October 2017, the US President directed the Department o Health and Human Services to declare the opioid crisis a public health emergency. It is important to explore alternative treatments beore turning to prescription drugs.
Case Study One 52-year-old jazz drummer developed lower back pain afer a motorcycle accident. He described shooting pains in his legs that interered with his ability to play drums and to go on tour. An MRI revealed a herniated disc in his lower back. Afer disc surgery, the pain that traveled to his legs improved, but he continued to have pain across his lower back. Te drummer got relie rom his pain with trigger point injections, along with acupuncture, chiropractic, and massage treatments. He treated pain flare-ups with a sel-care program that included acupressure and swimming exercises.
Integrative Medicine Approach Drug-ree treatments to activate natural healing and restore resiliency may relieve pain and suffering and optimize quality o lie. Sel-care nonpharmaceutical t reatments and techniques without side effects or risk o addiction are particularly important or perormers. Myoascial trigger points are irritated spots in the ascia surrounding skeletal muscle. Tese small patches o clenched muscle fibres are sensitive and cause aching and stiffness. Tey ofen are a major actor in common problems like lower back pain and neck pain. Most minor trigger points are sel-treatable.
Place two tennis balls in a stocking and press them against a wall with your back using the weight of the body. Press for the duration of about 15 seconds, one to three times per day.
EXERCISE 2:
10 TIPS TO REDUCE BACK PAIN 1) Maintain a healthy weight. 2) Regularly take part in exercises
A hands-on physical exam may locate trigger points in the muscles that, when pressed, cause pain in the lower back. For those experiencing lower back pain, pressure points are most commonly found in two muscles, the quadratus lumborum (left) and gluteus maximus (right).
Press your finger into a point at the bottom part of the calf muscle. Press each of the acupressure points for the duration of three relaxing breaths (about 15 seconds), one to three times each day. If lower back pain persists, see a medical professional.
Marc Brodsky, MD, is a 2017 member of the Performing Arts Medicine Association (PAMA). Craig Holiday Haynes is a jazz drummer. Images courtesy of Katrina Franzen, Junghwa Choe, and Mi-Yeon Song.
that strengthen your back and core muscles. 3) Lif your equipment properly— always bending your knees and squatting to pick up heavy items. 4) Know your limits and don’t be shy about asking or help. 5) Use good posture throughout the day. 6) Stretch your muscles. 7) Don’t carry a briecase or heavy purse long distances as it changes your balance. Instead, use a backpack. 8) Make sure your mattress is firm enough to support your back. Sof mattresses can push it out o alignment. 9) Get plenty o sleep. 10) Quit smoking. As always, if back pain continues, see a specialist.
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UPBEAT A Life Driven by Harmony, On Stage and Off especially in elementary schools,” he says. “[Black musicians] have always been under-credited with the musical contributions we have made to this country. Almost every orm o American music has some roots in blues, which was born out o slavery,” says Davis.
When Daryl Davis o Local 161-710 (Washington, DC) was 15, he did what some people say you should never to do: he met his hero afer sneaking backstage at a Chuck Berry concert. Davis was always enamored with the blues and early rock ‘n’ roll icons, especially Berry. A child to two parents in the Foreign Service, he experienced the cultural lag o listening to international radio. “While my peers were growing up with Frankie Avalon and the Beach Boys, I was hearing Elvis Presley [and] Chuck Berry. I was kind o an anomaly when I would come back,” says Davis.
Te history o blues and its roots in slavery are not overlooked when Davis talks about his decades-long mission to promote racial harmony, which has brought him ace to ace with white supremacists. It all began ollowing a gig at an all-white country bar. A man came up to Davis and said that this was the first time he’d ever heard a black man play like Jerr y Lee Lewis.
A sel-taught guitarist and pianist, Davis copied the piano playing rom Berry’s songs on the radio. He studied music in the library or hours, and sat in with local bands at gigs.When considering a career path in his junior year, Davis looked to Berry. What Davis really admired was how Berry touched people and brought them joy and happiness. “I decided th at’s what I want to do,” says Davis. Afer his senior year, he enrolled in Howard University to study music.
“He invited me to his table to have a drink,” Davis says, who explained to the man that the roots o Lewis’s music were black musicians. “Te man said it was the first time he ever sat down and had a drink with a black man. I was naïve, so I kept asking why. He told me, ‘I’m a member o the Ku Klux Klan,’ and when I started laughing, he produced his membership card.” Tis encounter sparked Davis to seek the answer to a question that had been on his mind since childhood: How could you hate me, without even knowing me? Davis figured the best way to answer that was to get ace-to-ace with Klansmen and ask. He has spent around 30 years studying the Klan, attending rallies, and setting up surprise meetings with Klan leaders who were unaware o his skin color.
Tough his dream o someday playing with Berry seemed improbable, Davis began writing him letters. “I told him I was learning to play piano like Johnnie Johnson and Pinetop Perkins; I told him everything about me,” says Davis. Berry never wrote back until Davis’s 18th birthday when he got a message rom Berry and a poster o the rock icon. Shortly afer graduating rom Howard, Davis joined the AFM and convinced a promoter to let him play piano and hire the backing band or a Baltimore Chuck Berry concert in 1981. At age 22, Davis achieved his dream.
Pianist, author, and lecturer Daryl Davis of Local 161-710 (Washington, DC) has built his life around the promotion of racial and musical harmony.
“I went to his dressing room [beore the show] and asked, ‘Is there anything in particular you want me to do on the piano’ and he said, ‘Well, you wrote in your letters you’ve been playing like Johnnie Johnson and Pinetop Perkins. Do that,’” recalls Davis.
union that will fight or me and provide me things that I need to urther my career.”
From that day, Berry became a mentor and riend. Eventually, Davis acted as bandleader or Berry’s East Coast shows. “I learned a great deal, not only about music, but about lie,” says Davis. “He was a shrewd businessman and I avoide d some o the pitalls that a lot o musicians all into. He spent a lot o time with me and that’s certainly shaped who I am today.”
Davis also acts as artistic director or multiple groups across the country. When he’s not working, he mentors young musicians in the Artist in Residency (AIR) program at the Strathmore Institute in Bethesda, Maryland. Te program teaches them about the business, including sel-promotion, contracts, and booking agents.
Tanks in part to that wisdom, Davis built an impressive career as a respected boogie-woogie and blues pianist. He has played with the biggest names in rock ‘n’ roll and blues, including B.B. King, Bo Didley, Jerry Lee Lewis, and Percy Sledge. He was heralded by mentors Johnnie Johnson and Pinetop Perkins or his ability to master a style o music popularized a generation beore he was born.
Davis says it’s a way to give back. “[My mentors] could have easily said, ‘Don’t bother me; go learn somewhere else.’ But they sat down and showed me stuff,” he says, “and that inspires me to do the same thing or young musicians who are in the place I was some 55 years ago.”
Another key to his success was his union membership. “It’s benefitted me by being around other proessional musicians— networking, getting legal advice, and contract advice. I’ve met a lot o wonderul people, serious musicians that I can call and rely upon,” he says. “It’s also a comort knowing that there is a
o Davis, it means a great deal to the pass down the legacy o the music as well. Last year, he was asked to wr ite and produce a play about the history o the blues to be shown to all fifh graders rom Montgomery County School District in Maryland. “It’s important to learn the history o American music, and the blues is definitely underrated and under-taught,
Not every interaction was as amiable as sharing a drink. He calls to mind an incident at a courthouse where a group o Klansmen and women assaulted him beore law enorcement intervened. Eventually he published the book Klan-Destine Relationships about his experiences. However, Davis was welcomed by many Klansmen, in part through his music. He even played piano at a Klan uneral or Frank Ancona, ormer Imperial Wizard o the raditionalist Knights o the Ku Klux Klan, whom he considered a riend. Davis says that 200 Klansmen have given up their robes afer talking to him. Tough Davis is an in-demand lecturer on race relations, he has also aced backlash rom those who believe his methods are “politically incorrect.” “People will criticize me and call me a sellout. It’s not that I support [racist] ideology. I support people’s right to speak their mind. I’m willing to sit down and listen to them and talk,” Davis says. He believes dialogue is essential to improving modern race relations; there is no other choice. “I you and I agree racism is bad, then we don’t accomplish anything by talking to each other. We have to go out and find those that disagree with us,” he says. For Davis, all his efforts on stage and off come down to the pursuit o harmony. “It is my job as a band leader to bring harmony among the voices on my stage,” he says. “When I step off the bandstand, I maintain that concept. I want to bring harmony among the people in the society that I want to live in.”
International Musician
Creating a Bridge to Improvisation Krista Seddon o Local 92 (Bualo, NY) is a pianist and composer whose modern arrangement o Johannes Brahms’ “Lullaby” was selected or Buffalo’s new John R. Oishei Children’s Hospital, which opened in No vember. Te hospital launched a contest or a new rendition o the old masterpiece, which is heard each time a baby is born. Her arrangement has a distinctively jazzy eel. “My objective was to take something so pure and beautiul as the Brahms’ ‘Lullaby,’ and respecting it ully, bring it into the 21st century,” she says. “It was a challenge.”
music portrait series, Seddon takes the audiences on a journey into the lives and work o the world’s major composers, exploring the connections between classical music and jazz. Great jazz musicians—McPartland, Dave Brubeck, Bill Evans, and Duke Ellington—drew heavily on classical music, she says. “Historically, in classical and Baroque—they all improvised, especially in the Baroque era. Improvisation was required, i you were to be considered a musician o any kind.”
Ideally, Seddon says, jaz z tec hniqu es to support classical players could be taught A classically trained and incorporated into pianist with degrees university music derom he New Enpartments. “I use jazz gland Conservatory extensively,” she says. Krista Seddon’s arrangement of and the University o Johannes Brahms’“Lullaby” was “For example, taking selected as the official recording for North exas, Seddon a big classical comthe maternity floor at Buffalo’s new has had a long affiliaposition and making Oishei Children’s Hospital. She is a tion with the Buffalo member of Local 92 (Buffalo, NY). it into a lead sheet Philharmonic that with just melody and includes recordings chords. Instead o 20 and solo perormances. he Director o pages o complicated music, you can boil it Ensembles at the historic rinity Episcopal down to its essence. It’s the difference between Church o Buffalo, Seddon regularly conducts reciting and telling a story.” dual lecture perormances at schools and uni versities. In addition, she ofen collaborates Te strict theoretical confines o classical with Alan Broadbent and Robert Nowak, music restrict improvisation. She says, “I members o Local 802 (New York City), and like to decode that or people, especially or previously, she transcribed works or the late classical musicians because we have so much in our toolbox. It’s a natural progression—to jazz pianist Marian McPartland. grow out o the classical training and take it Next year, in honor o what would have been to other places.” McPartland’s 100thbirthday, Seddon plans a tribute lecture tour perorming McPartland’s Tere are other benefits to learning improsignature portraits o artists and discussing visation skills. Seddon explains, “I during their 10-year collaboration. Seddon’s work a classical perormance, a musician gets off with McPartland included transcribing the track somehow, instead o crashing and burning, with some improvisation techniques, portaits. there is space to find your way back. Jazz “I’ve always believed in totality, a universality teaches us to get real with the music.” o music. It’s a good thing or musicians to be able to improvise—and there are differ- “Classical musicians tell me, ‘I wish I could ent ways to go about it, not only through improvise. Would you teach me?’ Music o standards, but through composing. Tat is the day should be flexible, improvised over, and shared with people. It’s how I live my lie. Marian’s influence on me,” she says. I hope to teach that and bring it to a wider “Jazz is the thing that encouraged me to audience,” she says. compose,” Seddon says, “It doesn’t have to be large scale or ollow strict rules. In jazz, we’re Seddon is in process o recording a CD o composing more to improvise.” In her own mainly original compositions.
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December 2017
Trumpeter Goes the Distance for Charity Roy Wiegand’s career has crossed nearly our decades—and o late, many finish lines. For the last eight years, the Los Angeles-based trumpeter turned ultra-runner has taken on solo challenges in support o local and global charities. Wiegand o Local 47 (Los Angeles, CA) first collaborated with Liewater International, a nonprofit organization that builds wells or remote villages in East Arica and Southeast Asia. In an ultra-marathon in 2013, in which he ran 250 miles over a week, he received a hero’s welcome afer finishing at the Rose Bowl in Pasadena. Stopping at a couple o elementary schools along the way, he says, “I had a bottle o brown water rom a village in Ethiopia to show people. Tose kids sold cookies and brownies or a month beore the run to raise money or other kids in Ethiopia.” He raised $25,000 over our years. “Te disease rate had dropped 93%. Now, they can actually wash their hands.” According to Wiegand, “Between digging and maintaining the well it costs $40, which provides a lietime o clean water per person.”
off. “I’ve got lung capacity—and can run long distances without getting tired,” adding that it’s his colleagues who are all heart. Te LA music community and the union serve him well on the trail. “Many musicians donate financially or with their music, or coming out and bicycling beside me.” During the grueling 24-hour runs, whether it’s encouragement on the sidelines, supplying water, or a place to sit down, Wiegand is grateul or the support o his Local 47 riends. “It’s definitely not a oneman show. When you’re running through the dead o night, it’s good to have company.” One year, he says, there was a brass quintet to usher him over the finish line. A ew years back, the night beore the LA marathon, he had a gig that went overtime. “I dropped off my trumpet and tux at the finish, ran the marathon—and actually, did my best time—took a nap, put on my tux, and played the next gig.” Laughing he says, “It’s typical o a reelance player who’s always trying to shoehorn in work or running wherever they can.”
Live club dates are his mainstay, but in his spare time Wiegand is a private music In June, or the Michael Hoelin Foun- instructor who also coaches a high school dation—a local organization or amilies jazz band. “Sometimes, it’s hard or parents with children ighting cancer—Wiegand to wrap their heads around music or the ran the equivalent o our marathons in 24 perorming arts as a major and a potential hours (approximately 105 miles). He’s raised career. It’s a leap o aith,” he says. $40,000 or the organization. Roy’s Run or It was not much o a stretch or Wiegand Christopher, now in its fifh year, is named whose ather, Roy Wiegand, Jr., o Local 47, or the 12-year-old riend o his son who died is a trombonist who played around the couno a rare cancer. try in Stan Kenton’s and Woody Herman’s Tough Wiegand started running late in lie, in his 40s, he says being a brass player pays
orchestras. Te amily moved around a bit, with stops in New York City, Miami, New
A busy freelancer in the LA area, Local 47 (Los Angeles, CA) member Roy Wiegand’s passion for running charity ulta-marathons can sometimes have him running from race to gig.
Orleans, and Las Vegas. Wiegand showed prodigious talent at age seven and was naturally drawn to brass. He says his dad’s only seeming objection to his career choice was, “Te trumpet, not the trombone?” Wiegand moved to Los Angeles afer high school and attended Los Angeles City College. Afer a year, though, he started getting calls to go out on the road. “Being paid to play was too strong a lure,” he says. “Plus, years ago, there was a lot o work out there.” He’s a versatile session musician, who plays jazz, classic al, klezme r, b ebop, mariachi, Dixieland, even salsa. He is also principal trumpet or the Desert Symphony in Palm Springs, Caliornia.
(L to R) Local 47 (Los Angeles, CA) members Angela Wiegand and Roy Wiegand, and their daughter Sophie, pose for a photo midway through his 105-mile run to benefit the Michael Hoefflin Foundation for children’s cancer.
In 1997, a unique opportunity came up. Afer a symphony perormance, he heard that Te Who needed brass players or a revival o their 1973 rock opera, Quadrophenia. “A guitarist whose wie was a bassoonist in an orchestra I played with got the call or brass players. She happened to be near the phone and said, ‘Give them Roy’s number.’” Wiegand says. Tat call led to a year-long tour that took him around the US and throughout Europe.
Tis past September, 20 years to the day, he played again with Te Who at Te Greek Teatre in Los Angeles. “It was a reunion o sorts,” says Wiegand, who was joined on stage by his wie, Angela Wiegand, a Local 47 member and flutist or the Los Angeles Opera. One o Wiegand’s regular gigs these days is perorming with the band, Jack Mack and the Heart Attack, a longtime LA rock and soul band. In between concerts, he is planning his next charity initiative, collaborating with Shelter to Soldier, a nonprofit that adopts dogs rom local shelters and trains them to become psychiatric service dogs or combat veterans dealing with PSD and other challenges. Teir mission is: “Saving lives, two at a t ime.”
How do you connect with your community? Is there a cause that you support? ell us about it. Please write to International Musician managing editor at:
[email protected].
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TAKE NOTE CHANGES Local 30-73 (St. Paul-Minneapolis, MN)—New Secretary-Treasurer Dave Graf Local 500 (Raleigh, NC)—New President Carla Copeland-Burns; New Secretary Jessica Kunttu
Members and officers can access the List of Locals book online at http://members.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
[email protected]. Change of officers and addresses will continue to be listed here each month.
TAPS LOCAL 30-73 (St. Paul-Minneapolis, MN)—J. Seymour Locketz* LOCAL 40-543 (Baltimore, MD) —John Blount LOCAL 41 (Johnstown, PA)—S. Sam Signorino LOCAL 88 (Benld, IL)—Sandra Whitaker LOCAL 149 (Toronto, ON) —Voltr Ivonoffski*, Tanya Kimberly Moore LOCAL 161-710 (Washington, DC) — Seymour Greene*, Loren Kitt*, Vernon Summers*
LOCAL 174-496 (New Orleans, LA)— Antoine “Fats” Domino*, Wendell Eugene* LOCAL 341 (Norristown, PA )—Elaine Watts*
UNFAIR LIST POLICY & PROCEDURES o 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 List will remain on the list only as long as a primary labor
dispute exists, and the local provides written evidence of ongoing concerted activity against the employer. Te 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 lis t. “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 raveling Engage ment, 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.”
* Indicates Life Member
Taps listing must be submitted by the local (separate from roster updates). Send a request using the format above to:
[email protected]. Please note, the IM does not print member obituaries, eulogies, or tributes.
International Unfair List CANADA: The Western Canadian Music Alliance, Executive Director Robyn Stewart and Board Members: Sean McManus, Carly Klassen, Christine Rogerson Scott Johnson, Jason Smith, David Whitlock, Kim Winnicky, and Michael Dawson; 1-118 Sherbrook Street; Winnipeg, MB R3C 284—Placed at the request of the Vice President from Canada CALIFORNIA: Cypress Pops Orchestra: P.O. Box 434; Cypress, CA 90630—Placed at the request of Local 7 (Orange County, CA) MASSACHUSETTS: Video Game Orchestra; P.O. Box 230247; Boston, MA 02123—Placed by the Federation Shota Nakama; P.O. Box 230247; Boston, MA 02123—Placed by the Federation
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NEW YORK: Ted Magder; Vice Dean forAcademic Affairs, NYU Steinhardt School of Culture, Education, and Human Development; 82 Washington Square East, 4th Floor, New York, NY 10003—Placed at request of Local 802 (New York City) James Quinn; Hoboken Productions, Inc.; 57 Colonial Avenue; Warwick, NY 10990— Placed at the request of Local 369 (Las Vegas, NV) Joe McGinty; Carousel Studio, 61 Greenpoint Avenue Brooklyn, NY 11222—Placed at the request of Local 802 (New York City) PENNSYLVANIA: Karen Banos; Rittenhouse Music; 214 Richmond Street; Philadelphia, PA 19125—Placed at the request of Local 9-535 (Boston, MA)
while staying up to date at
AFM.org. For AFM Information Systems support, email:
[email protected]
TENNESSEE: Tommy Sims, dba Positive Movemen t Inc.; c/o Michae l Tash, Cue Management; 23 Allen Ave.; Cincinnati, OH 45216—Placed at the request of Local 257 (Nashville, TN) Steve Schnur; Electronic Arts, 209 Redwood Shores Parkway, RedwoodCity, CA 94065— 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 support of 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.aft ra.com/DNW.htm before acce pting work.
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December 2017
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