Officers

President, Francine Schutzman;
Vice President, Gary Morton;
Secretary-Treasurer, Robin Moir

Executive Board

Lance Elbeck
Mike Mullin
David Renaud
Sean Rice

Delegates to AFM Convention

Francine Schutzman
Robin Moir

President Emeritus

Glenn Robb

 

Office Staff

Administrative Officers:

Dan Blackwell

Marlene Morton

MPTF Coordinator: Mike Mullin

Website: Dave Poulin

DISCLAIMER

Your officers and editorial staff conscientiously screen all advertising submitted to the eNewsHarp. However, we cannot assume responsibility for product quality or advertising content, nor can your officers be held accountable for misrepresentations between side persons and leader/contractors.

Local 180 publishes the eNewsHarp on-line four times a year. In an election year, we also publish an election issue for members.

President’s Message

Francine Schutzman

 

Spotify alert!

 

This month I am borrowing the wisdom of my fellow Local 180 board members. I would like to thank Dave Renaud for bringing the new Spotify policy to our attention. Dave wrote:

“I am curious how many of us are aware of this development: Spotify royalties have always been extremely low for artists without millions of streams, but SPOTIFY has decided this year that any single track that does not yield in excess of one thousand streams in the last 12 months will pay out zero royalties.  This will include most independent jazz artists tracks. This decision represents about 70% of ALL music currently on this streaming service that they now unilaterally claim the right to stream for free until, if and when it breaks that threshold. This new modification includes all music already submitted and listed, trashing and ignoring all past practice with existing “clients.”

“My albums with Brian Brown, 22 tracks, only averaged these last 8 years about $20 per year in streaming. I tell myself that over 10 years it is a couple hundred dollars of passive income, and that is simply the reality……..

—I tell myself that over time it may improve somewhat as the online music industry evolves….  well, it continues to devolve.

—I am not fretting over some inconsequential $20 per year, but against the principle, the trend, and the disrespect it represents.

“Now, I expect to hear responses of how these streaming services have never been good; how they devalue music. I agree…  yet I just found out about this development. It is a new level of disrespect. This action withholds royalties from all small artists, totaling  millions of dollars, passing all those funds to the biggest few artists.

“So is this news to you? Perhaps it is too bad, so sad. I can not help wondering if simply deciding one day to disrespect past practice and to pay zero to 70% of the  existing library, that they have been paying for for years, is even legal.  At the very least it is disheartening to musicians trying to build a small base.

“It would appear that the downward spiral continues.”

Robin Moir replied:

“I was aware. This is really the best example of just how desperate and eager creators are to have their music exposed publicly.

“I don’t subscribe to any streaming service…..I listen to terrestrial radio, which has stations that pay royalties.

“Until creators learn to value their work, and NOT use a platform that pimps their music out, this spiral will continue until the day that Spotify doesn’t pay any royalties…. to anyone…..and  that day will come.”

And Mike Mullin advises us:

“Currently the best bang for buck streaming service is Tidal. They pay the highest return per stream and they offer much higher audio fidelity. Band Camp offers an online service to sell your music at whatever price you set and only charges a 15% fee when something is sold. But it is not a streaming service.”

On that hopefully-helpful note, I would like to wish you all a happy, restful holiday season and a new year that is as full as possible of whatever you would like!

 

Francine

Rapport de la président

Alerte Spotify !

 

Ce mois-ci, j’emprunte la sagesse de mes collègues membres du conseil d’administration de la section locale 180. Je tiens à remercier Dave Renaud d’avoir attiré notre attention sur la nouvelle politique de Spotify. 

 

Dave Renaud a écrit :

“Je suis curieux de savoir combien d’entre nous sont au courant de cette évolution : les redevances Spotify ont toujours été extrêmement faibles pour les artistes sans millions de streams, mais SPOTIFY a décidé cette année que tout morceau unique qui ne génère pas plus de mille streams au cours des 12 derniers mois ne paiera aucune redevance. Cela inclura la plupart des morceaux d’artistes de jazz indépendants. Cette décision représente environ 70 % de TOUTE la musique actuellement sur ce service de streaming dont ils revendiquent désormais unilatéralement le droit de diffuser gratuitement jusqu’à ce que, si et quand, ce seuil soit franchi. Cette nouvelle modification inclut toute la musique déjà soumise et répertoriée, supprimant et ignorant toutes les pratiques passées avec les “clients” existants.

“Mes albums avec Brian Brown, 22 titres, n’ont rapporté en moyenne que 20 $ par an, en streaming, ces 8 dernières années. Je me dis que sur 10 ans, ce ne sont que quelques centaines de dollars de revenus passifs, et c’est tout simplement la réalité…

  • Je me dis qu’avec le temps, cela pourrait s’améliorer quelque peu, à mesure que l’industrie de la musique en ligne évolue… Eh bien, elle continue de régresser.
  • Je ne m’inquiète pas pour quelques 20 $ par an sans importance, mais contre le principe, la tendance et le manque de respect que cela représente.

“Maintenant, je m’attends à entendre des réponses sur le fait que ces services de streaming n’ont jamais été bons; comment ils dévalorisent la musique. Je suis d’accord… mais je viens d’apprendre cette évolution. C’est un nouveau niveau de manque de respect. Cette action retient les redevances de tous les petits artistes, totalisant des millions de dollars, et transmet tous ces fonds aux quelques plus grands artistes.

“Alors, c’est une nouvelle pour vous ? C’est peut-être dommage, si triste. Je ne peux m’empêcher de me demander si le simple fait de décider un jour de ne pas respecter les pratiques passées et de payer de zéro à 70 % de la bibliothèque existante, pour laquelle ils paient depuis des années, est même légal. C’est au moins décourageant pour les musiciens qui essaient de se constituer une petite base.

“Il semblerait que la spirale descendante continue.”

 

Robin Moir a répondu :

“J’étais au courant. C’est vraiment le meilleur exemple de l’impatience et de l’impatience des créateurs à voir leur musique exposée au public.

“Je ne m’abonne à aucun service de streaming… J’écoute la radio terrestre, qui a des stations qui paient des redevances.

“Tant que les créateurs n’apprendront pas à valoriser leur travail et à NE PAS utiliser une plateforme qui font la promotion de leur musique, cette spirale continuera jusqu’au jour où Spotify ne paiera plus de redevances… à personne… et ce jour viendra.”

 

Et Mike Mullin nous conseille :

“Actuellement, le service de streaming qui offre le meilleur rapport qualité-prix est Tidal. Ils offrent le meilleur rendement par diffusion et une fidélité audio bien supérieure. Band Camp propose un service en ligne pour vendre votre musique au prix que vous fixez et ne facture que 15 % de frais lorsque quelque chose est vendu. Mais ce n’est pas un service de streaming.”

Sur cette note, je l’espère, utile, je voudrais vous souhaiter à tous de joyeuses fêtes de fin d’année et une nouvelle année aussi remplie que possible de tout ce que vous souhaitez !

 

Francine

Secretary Treasurer’s Message

Robin Moir

Dear Members,

2024 was an incredibly busy year in the office, as we continue to process many contracts from traveling musicians needing P2s as well as completing contracts for more musicians back to work. We continue to welcome new members to the Local and to that end, we will be hosting a Zoom on January 29th, to help Local officers and members understand how to teach our newest members what we are all about. We will be joined by Dave Shelton, Director of Education/International Rep for the AFM. I hope that many of you will tune in as well. We will keep the membership updated.

The MPTF engagements are going very well. The Local continues to receive many compliments on the variety of music that we present, the various venues that we visit and the high quality of our live-streamed productions. I want to take this opportunity to thank all members of the MPTF team: Mike Mullin, coordinator; Dan Blackwell, office administrator; Lucie Lavalleé, graphic artist; and both Dave Poulin and Mike Mullin for their studio magic! From what we understand our viewership is remarkably high, and that is thanks not only to the team, but also thanks to the musicians, who work diligently to get the news out to their friends, family, and fans.

At the time of this writing, I am joining the CFM team as we negotiate the upcoming CBC agreement. As you most likely know, the CBC is one the most important employers of Canadian musicians, and the value that we place on our agreement with them is vital to all Canadian musicians. The team consists of acting VP from Canada, Allistair Elliott; Executive Director of the CFM, Liana White; Sue Whitfield, Director of Administration, CFM; John Painting, Director of Electronic Media Services Division, AFM; Dusty Kelly, Local 149 Toronto; Guy Bernard, Local 406 Montreal; Doug Kuss, Local 547 Calgary; Julia Jordan, Local 571 Halifax; and Robin Moir, Local 180 Ottawa-Gatineau.

The negotiations will extend to the end of November, and we will have to wait and see if we are able to settle.

I would like to thank the membership for their kindness and well wishes as we continue making music and keeping it alive and well. Dan and I enjoy meeting and talking to you and just keeping up with everything everyone is doing.

At this time, I know we all look back to evaluate the year and decide whether or not it has lived up to our aspirations! In the midst of this evaluation, I received the following letter from the musical director at CHEO. It was heartfelt and I know that we all appreciated his words very much.

As officers we are cognizant of the fact that we represent you and I want to thank you for your support and take this time to wish you a Merry Christmas, Seasons Greetings, and a Happy New Year!

Robin

 

To Whom it May Concern,

My name is Landon Coleman, and I am the music therapist at theChildren’s Hospital of Eastern Ontario. I am also responsible forfacilitating the series of concerts that have been sponsored by theMPTF here at the hospital. With deep gratitude I would like tooutline the impact these performances have had on our institution andits patients.

We are a 170-bed pediatric hospital in the national capital, Ottawa,Ontario, serving local patients as well as rural patients, somecoming from as far away as Nunavut. The families and patients who come to us are generally in crisis and under constant stress due topain, uncomfortable procedures, and other pressures caused by livingin a large institution. Bringing music into this context has been like bringing water into a desert.

Since July we have had eight musical acts provide evening concerts on our inpatient units. Typically, each act performs one short set in an inpatient playroom accessible to most of the hospital followed by another short set on the oncology unit, where patients are not as mobile. Each concert has reached between twelve and fifty audience members including patients, parents, and staff. A few memorable moments included:

  • A children’s performer taking time to play for a patient who was not able to come and enjoy the “real” concert in the playroom. The patient is an 8-year-old oncology patient who is both immunocompromised due to her treatment as well as under isolation protocols due to a respiratory disease, because of this she was not able to leave her unit or her room. The musician stood outside the set of open doors and played a familiar song. The young patient sang along with great gusto. Her parent came out afterward and tearfully thanked the musician, saying that his daughter had had low morale and this was just the boost their family needed.
     
  • A New Orleans-style Dixieland group did a parade around three different inpatient units with children getting out of bed, clapping, and waving as they slowly marched through the halls playing the most joyful music. The tuba, clarinet, and banjo filled the whole building and had staff dancing and smiling as they prepared for their night-time shift.
  • One adolescent patient, who has been with us for several months recovering from an accident and struggling with grief and anxiety, spent an hour listening to a Celtic harp and flute duo and said afterward “that was so relaxing- it was so nice”

 

Patients, families, and staff have all looked forward to and benefitted from these high-quality concerts. The musicians themselves have expressed satisfaction with the obvious impact they are having. The concerts have contributed a boost to morale and have given our patients a bit of hope and beauty through their difficult journeys. During each and every concert, we got to see people smiling, laughing, and tapping their feet- transcending their situations through the gift of music.

Our team would love to continue hosting these concerts once our viralseason has lifted in the spring, and we look forward to more close collaboration.

 

Sincerely,

Landon Coleman, MTA

Music Therapist

CHEO

Rapport de la secrétaire trésorière

Chers membres,

 

2024 a été une année incroyablement chargée au bureau, alors que nous continuons à traiter de nombreux contrats de musiciens en tournée ayant besoin de P2, ainsi qu’à conclure des contrats pour que davantage de musiciens retournent au travail. Nous continuons d’accueillir de nouveaux membres au sein de la section locale. À cette fin, nous organiserons une réunion Zoom le 29 janvier, pour aider les dirigeants, et les membres de la section locale, à comprendre comment enseigner à nos nouveaux membres ce que nous sommes. Nous serons rejoints par Dave Shelton, directeur de l’éducation/représentant international de l’AFM. J’espère que beaucoup d’entre vous se connecteront également. Nous tiendrons les membres informés.

Les engagements du MPTF se déroulent très bien. La section locale continue de recevoir de nombreux compliments sur la variété de la musique que nous présentons, les différents lieux que nous visitons et la haute qualité de nos productions diffusées en direct. Je tiens à profiter de cette occasion pour remercier tous les membres de l’équipe du MPTF : Mike Mullin, coordonnateur; Dan Blackwell, administrateur de bureau; Lucie Lavallée, graphiste; ainsi que Dave Poulin et Mike Mullin pour leur magie en studio ! D’après ce que nous comprenons, notre cote d’écoute est remarquablement élevée, et c’est grâce non seulement à l’équipe, mais aussi aux musiciens qui travaillent avec diligence pour annoncer les concerts à leurs amis, à leur famille et à leurs fans.

Au moment d’écrire ces lignes, je me joins à l’équipe de la CFM alors que nous négocions la prochaine entente avec la CBC. Comme vous le savez probablement, la CBC est l’un des plus importants employeurs de musiciens canadiens, et la valeur que nous accordons à notre entente avec eux est vitale pour tous les musiciens canadiens. L’équipe de l’AFM se compose du vice-président par intérim du Canada, Allistair Elliott; de la directrice générale de la CFM, Liana White; de ​​Sue Whitfield, directrice de l’administration, CFM; de John Painting, directeur de la division des services de médias électroniques, AFM; de Dusty Kelly, section locale 149 de Toronto; de Guy Bernard, section locale 406 de Montréal; de Doug Kuss, section locale 547 de Calgary; de Julia Jordan, section locale 571 d’Halifax; et de Robin Moir, section locale 180 d’Ottawa-Gatineau.

Les négociations se prolongeront jusqu’à la fin novembre et nous devrons attendre de voir si nous parviendrons à nous entendre.

Je tiens à remercier les membres pour leur gentillesse et leurs bons vœux alors que nous continuons à faire de la musique et à la maintenir en vie. Dan et moi aimons vous rencontrer, vous parler et nous tenir au courant de vos concerts et de vos projets.

À l’heure actuelle, je sais que nous regardons tous en arrière pour évaluer l’année et décider si elle a été à la hauteur de nos aspirations ou non ! Au milieu de cette évaluation, j’ai reçu la lettre suivante du musicothérapeute de CHEO, l’Hôpital pour enfants de l’est de l’Ontario. Elle était sincère et je sais que nous avons tous beaucoup apprécié ses paroles.

En tant que dirigeants, nous sommes conscients du fait que nous vous représentons et je tiens à vous remercier pour votre soutien et à profiter de ce moment pour vous souhaiter un joyeux Noël, de joyeuses fêtes et une bonne année !

Robin

 

À qui de droit,

Je m’appelle Landon Coleman et je suis musicothérapeute au Children’s Hospital of Eastern Ontario. Je suis également responsable de l’animation de la série de concerts parrainés par le MPTF ici à l’hôpital. Avec une profonde gratitude, j’aimerais décrire l’impact que ces performances ont eu sur notre institution et ses patients.

Nous sommes un hôpital pédiatrique de 170 lits, situé dans la capitale nationale, Ottawa, en Ontario, au service des patients locaux ainsi que des patients ruraux, certains venant d’aussi loin que le Nunavut. Les familles et les patients qui viennent nous voir sont généralement en crise et soumis à un stress constant en raison de la douleur, de procédures inconfortables et d’autres pressions causées par la vie dans une grande institution. Intégrer la musique dans ce contexte a été comme apporter de l’eau dans un désert.

Depuis juillet, huit groupes musicaux ont donné des concerts en soirée dans nos unités d’hospitalisation. En général, chaque groupe joue un petit numéro dans une salle de jeux pour patients hospitalisés accessible à la plupart des membres de l’hôpital, suivi d’un autre petit numéro dans l’unité d’oncologie, où les patients ne sont pas aussi mobiles. Chaque concert a atteint entre douze et cinquante membres du public, y compris les patients, les parents et le personnel. Quelques moments mémorables :

 

  • Un artiste pour enfants prenant le temps de jouer pour une patiente qui n’a pas pu venir profiter du « vrai » concert dans la salle de jeux. La patiente est une patiente de 8 ans en oncologie qui est à la fois immunodéprimée en raison de son traitement et soumise à des protocoles d’isolement en raison d’une maladie respiratoire. Elle n’a donc pas pu quitter son unité ou sa chambre. Le musicien se tenait à l’extérieur de l’ensemble des portes ouvertes et a joué une chanson familière. La jeune patiente a chanté avec beaucoup d’enthousiasme. Son parent est sorti après et a remercié le musicien en larmes, en disant que sa fille avait eu le moral bas et que c’était exactement le coup de pouce dont leur famille avait besoin. 
  • Un groupe de musique Dixieland de style Nouvelle-Orléans a défilé dans trois unités d’hospitalisation différentes. Les enfants sortaient du lit, applaudissaient et saluaient, pendant qu’ils marchaient lentement dans les couloirs en jouant la musique la plus joyeuse. Le tuba, la clarinette et le banjo ont rempli tout le bâtiment et ont fait danser et sourire le personnel alors qu’il se préparait pour son quart de nuit.
  • Un patient adolescent, qui est avec nous depuis plusieurs mois, après un accident, et qui lutte contre le chagrin et l’anxiété, a passé une heure à écouter un duo de harpe et de flûte celtiques. Il a dit après coup « C’était tellement relaxant, c’était tellement agréable ».

 

Les patients, les familles et le personnel ont tous attendu avec impatience et bénéficié de ces concerts de haute qualité. Les musiciens eux-mêmes ont exprimé leur satisfaction quant à l’impact évident qu’ils ont. Les concerts ont contribué à remonter le moral et ont donné à nos patients un peu d’espoir et de beauté à travers leurs parcours difficiles. À chaque concert, nous avons pu voir des gens sourire, rire et taper du pied, transcendant leurs situations grâce au don de la musique.

 

Notre équipe serait ravie de continuer à organiser ces concerts une fois que notre saison virale aura pris fin au printemps, et nous nous réjouissons d’une collaboration plus étroite.

 

Cordialement,

Landon Coleman, MTA

Musicothérapeute

CHEO

We encourage all of our members to join PAL (palottawa.org)

Please see their website and the March eNewsHarp for details about the organization and the planned residence for members of the arts community. It is not too soon to sign up for affordable housing for retirees, even if you are not sure that you’ll need it. And if you are not close to retirement, your membership will help the organization to focus on the needs of our community.

Changes to Price List for 2025

Starting January 1, 2025, there will be some updates to Local 180’s price list, which our members approved in June. In addition to new rates adjusted for inflation, these are the other key changes:

 

Click Here to view the 2025 Price List

Holiday pay: some clauses (1A, 1B, 3A and 4E) now pay double for work on a holiday

Contractors are to:

– confirm contracts with the Local 180 office before starting any job

– assume personal liability for errors and omissions

– always work with the latest online price list, as it can be updated anytime by the Executive Board where no membership vote is required

Temporary membership fee: there are changes to this fee for some clauses

Cartage fees: there are new suggested fees for moving large or heavy instruments

Please familiarize yourself with changes to the clauses that you usually work with. Contractors should review these changes and contact the Local 180 office if they have any questions before finalizing contracts.

This month we’re shining the spotlight on a percussionist who was born and (almost) bred in Ottawa.

Jonathan Wade’s family started out in Ottawa but his father’s work brought them to Mississauga ON and then Burnaby BC for a few years. This is where he started drum lessons, at age 12. When they moved back to Ottawa, Jon attended Canterbury High School. It offered both a band and an orchestra program. He thought it would be fun to play trombone in the band and timpani in the orchestra. He figured out more or less how to get around the timpani by himself but in the middle of Grade 10 or 11, his mother called NACO timpanist Ian Bernard to see about Jon taking lessons from someone who really knew what he was doing.

Ian was too busy to accept him at the time so he sent the young player to one of his own students, Greg Hodgson. Greg soon moved to Winnipeg so Jon started lessons with Lisa Simmermon. Jon gives Lisa a lot of credit for getting him into the music scene as a student — for example, the Ottawa Youth Orchestra under James Coles and the University of Ottawa percussion ensemble. By the time Jon was in grade 12, Lisa arranged for him to study with Ian Bernard.

Jon’s first professional gig was with the Ottawa Symphony in 1979. He auditioned for Brian Law in 1983 and became the orchestra’s principal timpanist, a post he held until 2022.

In the meantime, Jonathan started his Bachelor’s of Music studies in 1980 with Ian Bernard at Ottawa U. After two years Ian hired Jon to play cymbals with the NAC Orchestra in Mozart’s “ The Abduction from the Seraglio”, one of the operas in the NAC’s summer festival. Founding conductor Mario Bernardi was on the podium. That was the beginning of an amazing 43 years playing with NACO, working under all of the orchestra’s music directors to date!

Jon has enjoyed many highlights with NACO, but one of his fondest memories is playing Ravel’s Bolero under Marvin Hamlisch at one of the Pops concert runs. Hamlisch felt that the person playing the all-important snare drum part in the piece should be the featured musician, so Jon stood in front of the orchestra for the three nights of performances. He said that Hamlisch did a little interview, asking him what was difficult about the snare drum part. Jon’s response? “I’d rather not say just before I have to play it!”.

Jon has especially enjoyed getting to perform some larger works such as Stravinsky’s Rite of Spring, Strauss’s Alpine Symphony and Shostakovich’s Tenth Symphony now that NACO has expanded to include 61 full-time musicians.

Jon’s musical experience hasn’t been all classical. During his undergrad years, he played with Victor Nesrallah’s IOU band and was the drummer for Traffic Jam, with Brady Bidner and Ken Kanwisher. He remembers in particular a great outdoor show at Camp Fortune where they opened for the Powder Blues Band.

As for the chamber music scene, there have been so many interesting performances with great musicians over the years. He speaks of the Canadian National Brass Project, created by James Sommerville, recently retired principal Horn player with the Boston Symphony. In 2015, James retained his ties to his Canadian roots by creating and conducting this group which consists of principal brass players from across Canada. They meet in the summer for recording and touring projects, among which are appearances at festivals in Parry Sound and Lanaudière, as well as Ottawa’s own Chamberfest. Jon is honoured to have been the CNBP’s timpanist since the group’s beginnings.

Jonathan has taught students of all levels and ages over the course of his career, from the Youth Orchestra to summer camps to University students in the Master’s program at Ottawa U. Jon has also been very active in NACO’s Music in the Schools program, with his friend and colleague Ken Simpson in the Bangers and Smash percussion duo, and with the Ragtime Brass sextet as the drummer. Both groups have played hundreds of concerts all over the Ottawa Valley. Ragtime Brass was formed by Chris Lane in 1980. The group’s original members were Chris Lane, Tom Moyer, Angus Armstrong, Nat Battersby, Nick Atkinson. Fun memories.

If you‘ve ever gone to a performance of The Nutcracker at the NAC, you will have heard Jon playing the ratchet as the nutcracker is wound up in the first act. This year will be the last time he will have done that, as he plans to retire at the end of the year. His last season will be particularly exciting since it includes a 17-day tour to South Korea and Japan in May. He finds it pretty special since his wife, violinist Martine Dubé, will be going on this tour as well. When asked what his post-retirement plans are, Jon mentioned improving his golf game, spending more time cycling, hiking, and playing tennis with his wife Martine. He plans on giving back to the community in which he has enjoyed a fine career. He doesn’t know yet what form this will take — whether it will be in the realm of music or something else — but what an admirable plan!

On December 1st, the NAC Orchestra presented its annual FanFair.

This event, which is a fundraiser for the Food Bank and the Snowsuit Fund, has been put on by the orchestra members since 1989. In addition to NACO’s free concert of holiday music, preceded by pieces played by some young members of Orkidstra, there is a bake sale of goodies prepared by the musicians and by retirees and friends of the orchestra. The musicians also go out into the lobby after each December performance to collect monetary donations for the two charities, so if you’re at the NAC this month, look for the elves in red hats to share the warmth of the holiday season!

LIVE MUSIC WORKERS FUND

After receiving an unprecedented number of applications of the Live Music Workers Fund, we reopened the application.

Since the official application launch we have received thousands of submissions, making it very clear that our industry is in great need of this help. We are so proud and appreciative of the work you and your organizations have all done and continue to do to ensure that everyone in the Canadian Live Music Industry has access to this funding. While the  pandemic may appear to be over, it continues to negatively impact the livelihoods of people in our community. 

Attached (below) is the step-by-step guide to the application in English and French, which includes the link to the application.

Step-By-Step Application Details

Détails de l’application étape par étape

Attend hybrid LOCAL 180 GENERAL MEETING

Monday, December 16th @ 12:00 p.m.

If you know ahead of time that you’re attending in-person, please notify dan@ma180.org so we know how much pizza to order.

Relief Fund Alive and Well

The Relief Fund was established by Local 180 to help those musicians most greatly affected by the pandemic. Thanks to the generous donations made by our own members, with a special shout-out to the musicians of the NAC Orchestra, we plan to maintain the Relief Fund and to add to it. The pandemic may appear to be over, but its effects will linger for a long time, and one never knows what is around the corner. So here are a couple of things to keep in mind:

If you need assistance, or if you are aware of a fellow member who needs it, send a message to Robin. We do not ask those who need funds to justify the need or tell us what they will be used for. We assume that if you ask for help, you genuinely need it.

If you are in a position to do so, please contribute to the fund. You might need to tap into it some day yourself.

 

HYBRID GENERAL MEETING

Monday, December 16th, 12:00 PM

Please let Dan know (dan@ma180.org) if you will be attending so that we know how much pizza to order.

OBITUARIES

Peter Turner and Kyle Jordan

Normand Glaude, Tom Denison, Jozée Devoua and JP Alain

Josée Nadeau Devoua

It is with great sadness that the family of Josée Nadeau Devoua announce that her wonderful jazz vocals went silent with her passing on Monday, December 2nd at the age of 53.

Josée’s music, her talent, courage, sense of humour and intelligence have left an indelible mark on everyone who crossed paths with her during her life.

She will be lovingly remembered by her mother Madeleine Labrosse, her father Gaëtan Nadeau, sister Chantal (David), her niece Chloé (Jérémie), many aunts, uncles, cousins, friends and her faithful dog Suki.

Josée chose this time to leave us after many years of suffering. But before making her final exit, she found the strength to share the story of her difficult journey for an upcoming television documentary.

She hopes her story will relieve the isolation of others who suffer from debilitating chronic illness, and prompt further discussion of the issues surrounding medically assisted dying. For her loved ones, this final gift to society relieves at least some of the pain of her departure.

Josée left us on her own terms, with dignity.

According to her wishes there will be no funeral or gathering.

Josée will be laid to rest at the Jardins du Souvenir in Gatineau.

 

MEMBERSHIP MATTERS

Employer Payroll Service:

When the services of an Employer Payroll Service are required, that fee will be calculated at 25% of each contract total.

This amendment reflects what is happening on a national level.

Suspended

 

Als, Sarah

Ash, Michelle

Aubrey, Hilary

Bacon, Anthony John

Balshe, Ramzi

Batiancila, Naomi

Beggs, Alexander

Berndt, Stephen

Boivin-Laframboise, Audray

Brownlee, Emily

Cochrane, Nicholas

Corbett, Hannah

Dahn, Renèe

Davis, Evan

Dimillo, Benjamin

Dixon, Kevin

Duford, Martin

Ferguson, Leonard

Figueroa, Brandon

Gapey, Olena

Garcia, Jose

Hellenbrand, Sonia

Hopkins, Kelsea

Johnson, Jack

Kelly, Jackson

Laurin, William

Lefebvre, Joel

Martyn, Jennifer Dr.

McNeill, Scott

Menzies, Clifton

Merrill, Jacob

Morao, Sofia

Mun, Aram

Parmelee, Andrew

Paulson, Magnus Chadwick

Poll, Scott

Rekrut-Pressey, Emily

Renaud, Maxime

Shoji, Honoka

Sirvin, Jordan

Song, Ji Wen Tyler

Waldron III, Gene

Young, Marcus Alexander

Our mailing address is:

The Musicians’ Association of Ottawa-Gatineau
Local 180
280 Metcalfe Street, Suite 301
Ottawa, ON K2P 1R7

New Members

Arenas Velandia, Jessica – Oboe, English Horn

Resigned

 

PLEASE REMEMBER TO PAY YOUR 2025 DUES BEFORE THE END OF JANUARY.

 

Scroll down to see your applicable rate.

2AFM ID Numbers

Dear Members,

For the purposes of filing contracts, the Musicians’ Pension Fund of Canada has done a great deal of work to protect the privacy of members in terms of SIN numbers. Canadian Locals are now permitted to use an AFM ID number in lieu of a SIN number on all contracts.

When sending funds from the Local 180 office, we will require you to know your AFM ID number.

Beginning in January this year, the office has included your AFM ID number on your membership dues receipt, which you received in the mail.

You may also go to cfmusicians.org and register there to obtain your AFM ID number and update any information. The good thing about registering on the site is that when you update your personal information, it is also received in the office so that we are current. 

Upcoming Local 180 General Meetings in 2024

December 16, 2024 – 12:30 PM

LOCAL OFFICE HOURS

Monday to Friday 10:00 AM – 4:00 PM

Attention Members!!!

Due to popular demand members may now pay membership dues using E-Mail Transfer using the email address

dues@ma180.org

Once we process the transfer, we will send you an electronic receipt.

____________

If you are planning to file contracts electronically in 2025, please use
our new e-mail address: 

contracts@ma180.org

Thank you!

_____________

YOU’VE GOT MAIL & MONEY TO DEPOSIT!!!

Do we have your current email address?

The Local 180 Office sends out important advisories to members by email and we want to make sure that you’re reachable. This year the Local will also be paying most musicians using E-Transfer and Direct Deposit, so we MUST have your correct e-mail address.

Please notify the office of any changes to your contact information. Include your phone number, home address and email address.

Call (613)700-9260 to make sure that we have your correct contact information.

A REMINDER ABOUT EXPELLED MEMBERS

A person who has been expelled from our Association is no longer a member of the Association or the AFM. Members and leaders are reminded:

Do not play engagements with non-members. Persons are generally expelled for serious violations of our Constitution and Bylaws. Expulsion is not a life sentence; the individual has the right to settle these matters with the Board and regain member status. But until that step has been taken, we urge leaders and members not to give non-member rights and privileges which belong only to members.

2025 DUES

Regular Member

Yearly Before Jan 31st: $232.00

Yearly After Jan 31st: $242.00

Half Year: $132.00

Quarterly: $67.00

Life Members

Yearly Before Jan 31st: $120.00

Yearly After Jan 31st: $130.00

Half Year: $67.00

Quarterly: $34.50

 

Next Deadline for Membership Dues January 31, 2025

PENALTIES

TO REINSTATE FROM RESIGNING IN GOOD STANDING – $10.00

TO REINSTATE FROM SUSPENSION – $35.00

TO REINSTATE FROM EXPULSION – $45.00

Attention: all contractors, leaders, and musicians

For performances posted online, there is a new requirement.

The General Production Agreement (GPA) is mandatory for the protection members.

The GPA is mandatory for:

any engagement that is live streamed.

any live engagement that is posted online for public viewing.

Every clause in the price list is subject to the use of the GPA when engagements are live streamed and/or posted online.

A GPA is essential to protect the digital image of members if a third party exploits a performance that is publicly available online. See Local 180’s recently updated price list for current information.

To protect members, contractors must:

  • ask clients whether the engagement will be live-streamed, posted publicly, or be kept for archival purposes (no GPA is required for strictly archival purposes; however, Local 180 has a report form that contractors must complete)

 

  • contact the Secretary-Treasurer of Local 180 to complete a GPA when an engagement will be live-streamed or posted publicly.

 

It is the duty of the contractor and leader to ensure that members are properly protected.

If a client live streams or posts a performance publicly and GPA is in place, contractors, leaders, and musicians should contact the Secretary-Treasurer promptly to guarantee the protection of members.

The Local 180 office will work with you to make the contract process for the GPA an easy one!

 

ATTENTION MUSIC TEACHERS!!!

If you would like to have your name included in the Music Teacher’s Directory on the ma180.org website, please contact Dan Blackwell who is currently collecting the data.

Please include all teaching disciplines.

EG: Vocals, Guitar, Violin, Percussion etc. etc.

This database will be featured on the ma180.org website.

Thank you!

MUSICIANS’ MEMBERSHIP DIRECTORY ONLINE

Members have requested that we maintain a current and accurate copy of the Local Membership Directory found in the Members’ Only section of our website.

However, we do have members who wish to keep certain information found in the directory private.

If you would like to ensure that your privacy is protected, please let us know.

Please contact either Robin or Dan.

Your business is music to our ears.

You spend hours perfecting your talent and invest in equipment which allows you to express it.

HUB International is in-tune with your needs and has you covered.

PROGRAM FEATURES

HUB PROGRAM COVERAGES

  • All-risks’ coverage on your instruments and equipment

  • Worldwide coverage – no Territory Exception

  • Rental Reimbursement — up to $10,000 in coverage, if you need to rent instruments or
    equipment in the event of a loss

  • $100 deductible per occurrence on instruments and equipment, as opposed to other proposed rates are $250

  • Up to $2,500 coverage on promotion material, T-shirts, CD’s, posters, etc.

  • Loss of earnings up to $5,000 due to loss or damage to venue

  • Loss of earning up to $5,000 due to loss or damage to equipment

  • Locked vehicle – no exclusion

  • Rented, Leased or Borrowed Equipment, $10,000 limit up to 30 consecutive days

  • Optional Commercial General Liability including bodily injury, property damage, medical payments, tenants legal liability and non-owned automobile

 

RATES AND PREMIUMS

  • $2.20 rate per $100 sum insured for Instruments and Equipment ($100 deductible)

Liability rates ($500 deductible):

  • $1,000,000 limit – $66/member

  • $2,000,000 – $127/member
    Higher limits available upon request