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: Glenn Robb

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

Questions and Answers

 

Dear Members:

For this report, I am going to steal shamelessly from the correspondence of others — namely, our Local’s Vice President, Gary Morton, and the AFM’s Vice-President from Canada, Alan Willaert. Gary sent an email to Alan with the following questions:

With the CFMs responsibility for musicians in Canada, are we also responsible for the song writer/guitar player who writes a tune and wants to become the next Star”?

And in the same mode, what about the piano player who works at an establishment 6 nights a week and never files contracts and is not a member of the CFM?

Here is Alan’s response (please take it to heart!):

With regard to songwriters, things start to get complex, since the songwriter should familiarize himself with the different collective management organizations (CMOs) which operate within the sphere of Copyright. They should register their songs with SOCAN, to ensure they receive royalties from the public dissemination of their works. They should think about other organizations such as the Canadian Musical Reproduction Rights Agency (CMRRA), who collect fees on their behalf when their songs are re-recorded by someone else. They should know about Neighbouring Rights, the CMO that looks after that in Canada (Re:sound), and the three performer sub-collectives (ARTISTI, RACS and MROC). All of these represent revenue streams, and they dont get ANY of it unless they are proactive enough to fill out the paperwork/online forms.

Now, there are other revenue streams for that songwriter/guitar player, such as fees for someone who wants a synchronization licence, or a master license. He can set those fees where he wants, depending on the popularity of the song and what the market will bear. Be wary of placementagency such as Taxi, as they often want to re-register the songs as their own, thereby having an exclusive license, and only give the songwriter a small percentage. (Read their contract).

And finally, there is the AFM. We protect the PRODUCT, not the song. So when an AFM members recording is used/placed in another medium, such as movies, television or commercials, we collect the appropriate fees and pension for the member, in perpetuity, and then to his estate after he passes. But none of this happens when they dont record using our agreements and contracts. And by the way, AFM Bylaws (Article 15) require them to not record off-contract. And if he doesnt he loses SO much money. Think of songs like Born to Be Wild by Steppenwolf the most-used song in history. It has literally got them millions in additional revenue. Think of the old Chevy commercial, using Bob Seeger’s Like A Rock – those played in various forms for years and years, and he was paid double session fees every 13 weeks.

As for the 2nd example, a house gig is great and can provide years of security as long as you dont get fired and have no contract. But that player is also missing out on a huge opportunity pension.

In my rep days, I ran across a husband and wife duo in a very similar position. He was indeed a member, but had let his membership lapse after locking onto this sweet gig. The owner was his father-in-law, and he paid each of them $200/night for 6 nights, and he had been doing it for 12 years, since he was 25 years old.

In fact, he had been a member of the board in L815 at one point. Anyway, we got to talking and naturally I asked about contracts and pension. He hadnt thought about it. So, using the formula back then, I did the math for him, had he added only an additional 10% pension.

Weekly pension would be $120. In 1 year, thats $6240. In 12 years, thats $74,880 in contributions. Using the formula at the time, he would receive (at retirement age) $2,832.90/month.

Thats if he did no other covered work, ever. If his wife were a member of the plan, you could double that amount again for what they would collect as a family.

Thats just the pension aspect. What if this piano bar suddenly decided to stream performances? Since he has no contract with the alligator clause, he can neither prevent nor profit from any recording or streaming. Interestingly, the new El Mocambo in Toronto has a huge audiovisual setup as part of the renovations directly connected to Bell Media. I predict we will start seeing waves of ‘stolen’ concerts and streams in the not-to-distant future.

I’ve rambled a bit, but hopefully you can see what these folks are missing, in part.

Be well.

Alan Willaert

Vice-President from Canada

American Federation of Musicians

of the United States and Canada

 

 

Francine

Rapport de la président

Questions et réponses

 

Chers membres,

Pour rédiger le présent rapport, je vais piger sans scrupules dans la correspondance des autres, notamment celles du vice-président de notre Section locale, Gary Morton, et du vice-président du Canada à l’AFM, Alan Willaert. Gary a transmis un courriel à Alan dans lequel il a posé les questions suivantes :

Dans le contexte de la responsabilité de la FCM envers les musiciens du Canada, sommes-nous aussi responsables du compositeur / guitariste qui compose une chanson et qui veux devenir la prochaine « vedette »?

Dans le même ordre d’idées, qu’en est-il du pianiste qui travaille dans un établissement six soirs par semaine et n’enregistre jamais de contrats en plus de ne pas être membre de la FCM?

Voici la réponse d’Alan (je vous prie de le prendre à cœur!) :

En ce qui concerne les compositeurs, les choses commencent à se corser puisque ces derniers devraient se familiariser avec les divers organismes de gestion collective (OGC) dans le domaine du droit d’auteur. Ils devraient inscrire leurs chansons auprès de SOCAN afin de veiller à recevoir les redevances liées à la diffusion de leurs œuvres. Ils devraient aussi songer à d’autres organismes tels que l’Agence canadienne des droits de reproduction musicaux (CMRRA), laquelle perçoit des droits en leur nom lorsque leurs œuvres sont réenregistrées par quelqu’un d’autre. Ils devraient connaître la société Neighbouring Rights, l’OGC qui se charge des droits voisins au Canada (Ré:sonne), et les trois sous-collectives d’artistes-interprètes (ARTISTI, RACS et MROC). Ces dernières représentent des sources de revenu, et les compositeurs ne jouiront d’AUCUNE à moins d’être proactifs et de remplir la paperasse et les formulaires en ligne.

Il existe cependant d’autres sources de revenu pour ce compositeur / guitariste, tels que des droits pour quelqu’un voulant un permis de synchronisation ou une licence Master. Il peut établir ces droits où il le veut, selon la popularité de la chanson et ce que pourra supporter le marché. Méfiez-vous des agences de « placement » telles que Taxi, puisqu’elles veulent souvent réenregistrer les chansons en leur propre nom, ce qui leur donne une licence exclusive, laissant un petit pourcentage au compositeur. (Lisez le contrat.)

Enfin, il y a l’AFM. Nous protégeons le PRODUIT, non la chanson. Ainsi, lorsqu’un enregistrement d’un membre de l’AFM est utilisé ou placé ailleurs, par exemple dans les films, à la télévision ou dans des publicités, nous recueillons les droits appropriés et les prestations de retraite au nom du membre, en perpétuité, puis, ensuite à sa succession après sa mort. Cependant – rien de tout cela n’arrive si les enregistrements sont effectués sans l’utilisation de nos ententes et contrats. D’ailleurs, selon les règlements administratifs de l’AFM (article 15), les enregistrements ne doivent pas se faire sans contrat. Et s’ils ne respectent pas le règlement, ils perdent TELLEMENT d’argent. Pensez aux chansons comme Born to Be Wild, de Steppenwolf – la chanson la plus utilisée de l’histoire. Elle leur a procuré des millions de recettes supplémentaires. Pensez à l’ancienne annonce publicitaire de Chevrolet, où la chanson Like a Rock, de Bob Seeger était utilisée – ces chansons ont été diffusées sous diverses formes pendant plusieurs années, et il a récolté des droits à double horaire à chaque 13 semaines.

Pour ce qui est du deuxième exemple, un emploi dans un établissement est très bien et peut fournir des années de sécurité – en autant que vous n’êtes pas congédié sans avoir de contrat. De plus, cet artiste exécutant rate aussi une occasion en or – un régime de retraite.

Dans mes années comme représentante, j’ai rencontré un duo mari et femme vivant une situation fort semblable. En effet, il était membre, mais il avait laissé l’abonnement expiré après avoir profité de cette belle occasion. Le propriétaire était son beau-père, qui leur payait chacun 200 $ par soir pendant six soirs, une rémunération dont il avait joui pendant12 ans, depuis ses 25 ans.

De fait, il avait été membre de la Section locale 815 à un moment donné. De toute façon, nous avons bavardé quelque peu, et naturellement, j’ai posé des questions au sujet des contrats et de la retraite. En utilisant la formule à l’époque, j’ai fait le calcul pour lui, y ajoutant seulement une contribution de retraite de 10 %.

La contribution de retraite hebdomadaire serait de 120 $. En un an, cela représente 6 240 $. En 12 ans, les contributions totalisent 74 880 $. En utilisant la formule à l’époque, il recevrait (à l’âge de la retraite) 2 832,90 $ par mois.

Et cela s’il n’effectuait aucun autre travail couvert, jamais. Si son épouse était membre du régime, le montant familial serait doublé.

Cela ne vise que l’aspect de retraite. Qu’en serait-il si ce piano bar décidait de diffuser les prestations? Puisqu’il n’a pas de contrat avec une clause « alligator », il ne peut ni prévenir, ni profiter de tout enregistrement ou de toute diffusion quelconque. Curieusement, le nouveau club El Mocambo, à Toronto, comprend une composante audiovisuelle impressionnante dans le plan de rénovation – directement connecté à Bell Media. J’anticipe que nous serons témoins d’une vague de « vols » de concerts et de diffusions dans un avenir relativement proche.

J’ai divagué un peu, mais j’ose espérer que vous reconnaissez ce que ces gens manquent, en partie

Portez-vous bien.

 

Alan Willaert

Vice-président du Canada

American Federation of Musicians

of the United States and Canada

 

Francine

Secretary Treasurer’s Message

Robin Moir

Freelance Musicians

Most of our Local 180 members are freelancers; in other words, they are not regularly employed by a symphony, theatre production or media production company. Our Local, like many within the AFM/CFM, was founded by freelance musicians who, as stated on the AFM website, “ have been a part of the gig economy since before it was called the gig economy”.

We all know that it is very difficult making the journey alone in today’s gig economy as temporary, contract and freelance workers. As past freelancers have proven to us, when we join together as AFM/CFM musicians we can have a voice, build power and earn a decent living. Many of us standing together are more powerful than any of us standing alone.

We are 80,000 members strong.

When a freelance musician joins an AFM Local, they immediately gain …

1. Access to our pension fund. Performing under AFM agreements or tariffs requires employers to contribute a small portion of your gig pay to the Pension Fund on your behalf. The Fund has allowed countless freelance musicians to retire with more security.” Many Locals also offer death, liability, and/or health insurance.

2. Access to form-fillable gig contracts. These easy-to-use contracts were developed to protect musicians’ live gigs as well as their streaming/recording products.

3. The security of knowing the full weight of the membership has their back if an employer tries to take advantage of them. When members file signed copies of contracts with the Local, the Local can help enforce the contract if anything goes wrong. Our time-tested contracts hold up in court.

4. The right to know who the predatory employers are in the area via Local and international unfair listings. Union musicians swear an oath not to work for employers on these lists. An employer who messes with one of us messes with all of us.

5. A voice in the establishment of minimum scale and working conditions for their scene. If the member also works in an orchestra, theatre pit, or other unionized ensemble, they also have voice in contract negotiations with that employer. They also get a vote on whether to ratify proposed contracts.

6. Access to a suite of discounted web hosting and website templates with dedicated support.

7. Access to instrument and equipment insurance.

8. Access to a subscription to International Musician, and access to years of back issues.

9. A connection to unions in other fields of work, labor advocacy groups, government authorities, and access to political candidates.

10. A voice in membership meetings and a vote in internal elections and legislative matters.

11. Pride in belonging to an organization that fights for the fair treatment of all people.

Membership Dues and Work Dues

The Executive Board discusses membership dues and establishes the rate. That decision is put before the membership at a General Meeting to be voted upon. These rates are different for every Local, and are generally based on the size of the Local, the size of the city, the number of members and the amount of business in the Local. You may find the Local 180 2023 membership dues rates HERE.

The members of each Local establish their own work dues rates via democratic process, so it varies from Local to Local. At Local 180 we establish a Price List committee in the first quarter of each year to study previous tariffs, the cost of living and many other factors. The committee consists of a cross-section of our members. The final Price List proposal is put before the membership at a General Meeting to be voted upon. Members can find the Local 180 2023 Price List HERE.

Members contribute dues so that the Association can take on Local issues together. In turn, a portion of Local dues income is shared with the international organization so they can take on the biggest of disputes.

There are three streams via which members fund their Local and the AFM: (1) a one-time initiation fee, (2) periodic dues, which is the same for all members in a particular classification (i.e., life member, regular member, student or youth member), and (3) work dues.

Not all Locals collect work dues, but in Locals where they’ve elected to do so, members contribute a small percentage of minimum scale for each job they work (regardless of how much more than scale they were actually paid). Therefore, work dues vary depending on how much the member works. Most Locals use a mixture of periodic dues and work dues to ensure members’ support of their Local is distributed as equitably as possible.

Not all Locals mandate pension contributions – Local 180 does.

There is a minimum contribution of 10% mandated on all clauses in the Price List. This ensures that when our musicians reach the pensionable age they will collect a pension, based upon all of their contracted work during their career. The pension contributions are based on scale wages and contributed over and above the scale wages by the engager/employer on the contract.

There is a program within the AFM, called the Freelance Co-Funding Program, of which Wages Argott is the director.

The intent of the program is to:

• provide Locals with funding that will enable them to provide increased benefits and services to their Freelance/non-CBA members that might not otherwise be possible because of financial constraints.

• provide a heightened and more consistent level of basic membership benefits/services between Locals.

• enable the continuation of existing Local benefits/services that are being considered for elimination because of an unexpected temporary decrease in revenue.

• enable increased membership retention and recruitment.

• encourage and support the appropriate, efficient and innovative operation of Locals.

• encourage the active involvement of Officers and rank-and-file members in the development and implementation of Local based benefits/services.

• encourage and enable Locals to participate in campaigns to organize freelance musicians, in collaboration with the AFM’s Organizing & Education Department.

There is a budgeted amount within the AFM devoted to assisting Locals in developing and maintaining programs and services beneficial to freelance and club-date musicians not employed under CBAs.

Sites that musicians should visit are:

AFM GoPro Hosting, for low cost website hosting- AFM GoPro Hosting: Affordable Web Hosting for Musicians

AFM Entertainment, an online booking portal- AFM Entertainment: Live music for your wedding, party or corporate event.

Venulogy for musicians reviewing venues –Venuology : Musicians review venues

GoPro Tunes, an online marketplace for AFM-member recordings- GoPro Tunes: An online music store from the American Federation of Musicians

If you have an idea that you think might be of interest to Local 180, please contact me to discuss!

Robin

Rapport de la secrétaire trésorière

 Musiciens indépendants

La plupart des membres de la Section locale 180 sont indépendants; en d’autres mots, ils ne sont pas des employés réguliers d’une symphonie, d’une production théâtrale ou d’une production de médias. Notre Section locale, comme plusieurs autres au sein de l’AFM/FCM, a été fondée par des musiciens indépendants, tel qu’il est précisé sur le site Web de l’AFM, « qui ont fait partie de l’économie reposant sur le travail précaire avant même qu’elle ait été étiquetée comme telle ».

Nous sommes tous conscients que dans cette économie reposant sur le travail précaire, il est très difficile de continuer seul le voyage en tant que travailleur temporaire, indépendant et contractuel. Comme nous l’ont prouvé les anciens musiciens indépendants, lorsqu’ils se regroupent au sein de l’AFM/FCM, ils ont une voix, ils créent du pouvoir et gagnent décemment leur vie. Plusieurs réunis en solidarité sont plus puissants que celui qui se retrouve seul.

Nous sommes 80 000 membres.

Lorsqu’un musicien indépendant adhère à une section locale de l’AFM, il profite immédiatement…

1. De l’accès à notre caisse de retraite. Les contrats de l’AFM permettent aux musiciens d’affecter à la caisse de retraite une petite portion de leur rémunération de travail, ce qui a permis à un nombre incalculable de musiciens indépendants de vivre en sécurité à la retraite. Plusieurs sections locales offrent l’assurance décès, responsabilité et/ou l’assurance santé.

2. De l’accès à des formulaires à remplir relatifs aux contrats de travail. Ces contrats, à utilisation facile, ont été élaborés pour protéger les prestations musicales en direct ainsi que leurs produits de diffusion et d’enregistrement en continue.

3. D’une certitude que tout le poids de son adhésion tient bien si un employeur tente de profiter de lui. Lorsque les membres enregistrent des copies signées de contrats auprès de la Section locale, la Section locale peut faire appliquer le contrat s’il survient un problème. Nos contrats éprouvés tiennent devant le tribunal.

4. Du droit de savoir qui sont les employeurs prédateurs de la région par l’entremise des listes de concurrence déloyale de la Section locale et des listes à l’échelle internationale. Les musiciens syndiqués prêtent serment de ne pas travailler pour des employeurs inscrits sur ces listes. Un employeur qui se livre à des magouilles auprès de l’un de nous se livre à des magouilles auprès de nous tous.

5. D’une voix dans l’établissement d’une échelle minimale et des conditions de travail dans son milieu. Si un membre travaille aussi dans un orchestre, une fosse de théâtre ou un autre ensemble non syndiqué, il a aussi une voix dans la négociation de contrats avec cet employeur. Il a également le droit de vote relatif à la ratification ou non des contrats proposés.

6. De l’accès à une suite d’hébergement Web et de modèles de site escomptés avec un soutien spécifique.

7. De l’accès à une assurance relative aux instruments et à l’équipement.

8. De l’accès à un abonnement au International Musician, et l’accès aux numéros des années précédentes.

9. D’un lien vers les syndicats dans d’autres domaines de travail, les groupes de défense des droits, les autorités gouvernementales et d’un accès aux candidats politiques.

10. D’une voix aux réunions des membres et d’un vote aux élections internes et sur des questions juridiques.

11. D’une fierté de faire partie d’un organisme qui lutte pour le traitement équitable de toutes les personnes.

 

Cotisation des membres et cotisations syndicales

Le Conseil d’administration discute des cotisations des membres et établit le tarif. Cette décision est présentée aux membres aux fins de vote lors d’une assemblée générale. Ces tarifs varient d’une section locale à une autre et sont généralement fondés sur la taille de la section locale, la taille de la ville, le nombre de membres et le volume d’affaires de la Section locale. Vous pouvez accéder ICI aux tarifs de 2023 relatifs à la cotisation des membres de la Section locale 180.

Les membres de chaque section locale établissent, par l’entremise d’un processus démocratique, leurs propres cotisations syndicales, lesquelles varient d’une section locale à une autre. À la Section locale 180, nous créons un comité de la liste de prix dans le premier trimestre de chaque année afin d’examiner les tarifs antérieurs, le coût de la vie et plusieurs autres facteurs. Le comité est formé d’un échantillon de nos membres. La liste de prix finale proposée est présentée aux membres aux fins de vote lors d’une assemblée générale. Les membres peuvent accéder ICI à la liste de prix de 2023 de la Section locale 180.

Les membres contribuent aux cotisations afin de permettre à l’Association de relever le défi de régler les enjeux de la Section locale. Réciproquement, une portion des cotisations de la Section locale est partagée avec l’organisation internationale afin qu’elle puisse relever le défi de régler les disputes les plus importantes.

Les membres financent leur Section locale et l’AFM selon trois volets : (1) un droit d’initiation unique, (2) des cotisations périodiques, lesquelles sont identiques pour tous les membres d’une classe particulière (c.-à-d., membre à vie, membre régulier, étudiant ou jeune membre) et (3) des cotisations syndicales.

Ce ne sont pas toutes les sections locales qui perçoivent des cotisations syndicales, mais dans les sections locales ayant opté de le faire, les membres contribuent un petit pourcentage de l’échelle minimale pour chaque emploi effectué (peu importe combien plus de rémunération ils ont eu par rapport à l’échelle minimale). En conséquence, les cotisations syndicales varient en fonction du volume de travail d’un membre. La plupart des sections locales utilisent une combinaison des cotisations périodiques et des cotisations syndicales afin de veiller à ce que le soutien des membres envers leur section locale soit répartie aussi équitablement que possible.

Ce ne sont pas toutes les sections locales qui exigent des contributions – la Section locale 180 l’exige.

Tous les articles de la liste de prix exigent une contribution minimale de 10 %. Cela veille à ce que nos musiciens ayant atteint l’âge de la retraite puissent toucher une pension en fonction de tout le travail contractuel effectué au cours de leur carrière. Les contributions de retraite sont fondées sur une échelle mobile des salaires et sont cotisées au-delà de l’échelle mobile des salaires de l’employeur sur le contrat.

L’AFM offre un programme, notamment le Freelance Co-Funding Program, et Wages Argott en est le directeur.

Le programme vise à :

fournir une aide financière aux sections locales, laquelle serait peut-être impossible en raison de contraintes financières, afin qu’elles puissent offrir plus d’avantages et de services à leurs membres indépendants / non-membres d’une convention collective;

fournir aux membres un niveau de services et d’avantages de base plus élevé et constant parmi les sections locales;

favoriser le prolongement des services et avantages existants des sections locales dont l’élimination est à l’étude en raison d’une baisse des recettes temporaire imprévue;

favoriser la rétention et le recrutement accrus des membres;

encourager et soutenir l’exploitation appropriée, efficace et novatrice des sections locales;

encourager la participation active des représentants et des membres de base dans l’élaboration et la mise en œuvre des avantages et des services qu’offre une section locale;

encourager et favoriser la participation des sections locales aux campagnes visant à organiser les musiciens indépendants, en collaboration avec le service d’organisation et d’éducation de l’AFM.

L’AFM prévoit un montant au budget pour aider les sections locales à élaborer et à maintenir des programmes et des services avantageux pour les musiciens indépendants et les musiciens s’exécutant dans des clubs privés qui ne sont pas embauchés en fonction d’une convention collective.

Les sites que les musiciens devraient visiter sont :

AFM GoPro Hosting, pour l’hébergement de site à faible prix AFM GoPro Hosting: Affordable Web Hosting for Musicians

AFM Entertainment, un portail de réservation en ligne – AFM Entertainment: Live music for your wedding, party or corporate event.

Venuology pour les musiciens examinant des lieux –Venuology: Musicians review venues

GoPro Tunes, un marché en ligne pour les enregistrements des membres de l’AFM – GoPro Tunes: An online music store from the American Federation of Musicians

Si vous avez une idée qui risque d’intéresser la Section locale 180, n’hésitez pas à me contacter pour en jaser!

Robin

Bryan Cheng

The Musicians’ Association is proud of all of our members, but there is a special feeling when one of our own is recognized on the world stage. We’re talking about Bryan Cheng.

This is what Bryan’s website has to say about him:

Following recent prize-winning successes at some of the world’s most prestigious international competitions, including Queen Elizabeth, Concours de Genève, and Paulo, Canadian-born, Berlin-based Bryan Cheng has established himself as one of the most compelling young artists on the classical music scene. He made his sold-out Carnegie Hall recital debut at the age of 14, his Elbphilharmonie debut aged 20 with the Deutsche Kammerphilharmonie Bremen (Joshua Weilerstein), and in 2022 was the first cellist to be awarded the coveted Prix Yves Paternot in recognition of the Verbier Festival Academy’s most promising and accomplished musician.”

Bryan, who grew up in Ottawa, got a very early start on the cello at the age of three and a half, studying the Suzuki method with the late Pawel Szymczyk-Marjanovic. Some of their lessons took place in the basement of Bryan’s family home in the west end of Ottawa, and Bryan remembers thinking, as he saw Pawel come down the stairs with his cello, that he wanted to take his own cello to work some day. His wish certainly came true!

Bryan’s next teacher was Anne Contant in Gatineau. And then, at the ripe old age of eight, he had a trial lesson with the late cellist and conductor Yuli Turovsky in Montreal. Turovsky had never had such a young student, but he agreed to give it a try. Bryan wound up studying with him for eight years and was in fact one of Turovsky’s last students.

Then came a period of lessons that were mostly on Skype with Hans Jørgen Jenson of Northwestern University. Bryan was at the Lisgar Collegiate Institute by this time and could travel to Chicago for in-person lessons only every couple of months. When he did go there, he also played in studio classes at Northwestern University.

Photo: Andrej Grilc
Photo: Andrej Grilc

Bryan’s next step was to move to Berlin by himself at the age of eighteen — a move that forced him to grow up quickly. When we asked if he knew any German before he made the move, Bryan explained that one has to have a certain level of proficiency in the language in order to be accepted at a German university, so he had studied for a year at the Goethe Institut in Ottawa. By the end of the first year in Germany, there has to be a higher level of proficiency. Bryan feels quite comfortable in German by now, an ease that he says was helped by growing up speaking Mandarin and French in addition to English.

Bryan went to Berlin specifically to study. He recently earned his Master’s degree at the Universität der Künste Berlin in the studio of Jens Peter Maintz. Always eager to learn more, he is now enrolled in a course at the Professional Studies Program in the Kronberg Academy, near Frankfurt. Bryan goes there every couple of months for two-or-three-day sessions with world-famous musicians. This schedule allows him to continue with his own concertizing. Bryan performs extensively across the globe as a soloist, as a member of CelloFellos, and as half of the Cheng² Duo with his pianist sister, Silvie.

Bryan has been playing for the past twenty years with Silvie, who is based in New York. They often learn new repertoire at the family home in Ottawa when they’re together for holidays. He said that after playing for so many years together, they don’t have to talk much about their musical ideas. They simply play.

You can read about Bryan’s accomplishments and his upcoming concerts on his website (bryancheng.com), but — even better — you have a chance to hear him in person when he is the soloist with the National Arts Centre Orchestra on April 19th and 20th. He’ll be playing the Saint-Saëns Concerto No. 1, with Yan-Pascal Tortelier as conductor. This is your chance to see Bryan taking his cello to work!

 

Do you and your group want to do an MPTF Livestream?

MPTF FUNDING DETAILS

The Music Performance Trust fund (MPTF) is hosting Livestreams until April 30th, 2023!

 

LOCAL 180 HAS TWO VENUES FOR THESE LIVESTREAMS

  • Performance will be 45 to 60 minutes and streamed on the MPTF Facebook page
  • Proposals must be submitted at least 15 days prior to the event
  • Performance cannot be pre-recorded or archived in any way
  • Performances must be live – no backing tracks

If you have a band or you’re a one-person band and you would like to be considered, please fill out the MPTF worksheet HERE!

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.

LIVE MUSIC WORKERS FUND

After a month of catching up on the unprecedented number of applications we received in the first days and weeks of the launch of the Live Music Workers Fundwe are reopening the application on September first!

Since the official application launch on July 6, we have received over 4000 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. What we have seen reading these applications and talking to our applicants is that things are not back to normal, and the pandemic 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.

Détails de l’application étape par étape

ZOOM to the LOCAL 180 GENERAL MEETING

Monday, MARCH 6th @ 12:30 p.m. from your place 

PLEASE SIGN IN AT BEFOREHAND SO WE’RE READY TO BEGIN ON TIME

If you know ahead of time that you’re attending, please notify dan@ma180.org so he can send out the past meeting’s  minutes for your review.

Supply your own lunch.

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 possibly be easing up, 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.

 . . . . . from our homes to yours:

MARCH GENERAL MEETING VIA ZOOM!!

MARCH GENERAL MEETING VIA ZOOM!!

Monday, MARCH 6th, 12:30 PM

PLEASE SIGN IN BEFOREHAND SO WE’LL BE READY TO BEGIN ON TIME

If you know ahead of time that you’re attending,
please notify dan@ma180.org so he can send out the past meeting’s  minutes for your review.

How

1. Download the Zoom app if you don’t already have it.
2. Send Robin or Dan an email to confirm your attendance.
3. Wait breathlessly to receive an email with the meeting ID number and password.
4. When the meeting time arrives, simply click on the link in the email.
Special instructions: Bring your own pizza.

WE HOPE TO SEE YOU (VIRTUALLY) THERE.

robinmoir@ma180.org
dan@ma180.org

What are these people doing in the NAC parking garage?

These hard-working folks are members of the Bass Trombone audition committee for the NAC Orchestra.  There was just enough time on the evening of January 17th to hear sixteen candidates play the second round of auditions, but then everyone had to leave the NAC because of testing for Ottawa’s Light Rapid Transit system.  The committee still needed to have a discussion and to vote on which candidates would advance; hence the meeting in the parking garage.  Hey, whatever works…

Helping out on the strike line

OBITUARIES

James (Jim) Glover

James (Jim) Glover (age 86) passed away peacefully at the Perley Health Centre on Monday, January 16, 2023.

With his passing, Ottawa lost a pillar of the music industry. Jim had a great passion for music. Prior to moving to Ottawa, he was actively involved as both the leader and orchestra musician for many civilian and military bands throughout Canada and in Europe. A skilled trumpet player, Jim was often hired to play the “Last Post” at Remembrance Day ceremonies throughout Canada.

Jim’s passion for music continued while he resided in Ottawa. From 1978 to 1992, he served with the Canadian Armed Forces Reserves (Regimental Band of the Governor General Foots Guards). Following his release from the Reserves, Jim continued as an associate member of the band. He was a life member of the Musicians’ Association of Ottawa/Gatineau (Local 180 American Federation of Musicians); past Music Director of the Ottawa Community Concert Band; a member of the Centralaires Concert Band and the Valley Concert Band in Arnprior, Ontario; Manager of the Grey Jazz Band from the Good Companions Centre and music director/leader for many other dance bands and musical groups in the Ottawa/Gatineau area.

Jim’s special wish is to have you remember the good and fun times you shared with him. He had warm thoughts and appreciation for many friends and colleagues. In closing, Jim wanted to leave you with these mottos and thoughts: “Per Ardua ad Astra” (the official motto of the RCAF, meaning “through adversity to the stars”) and “Civitas et Precepts Curanostra” (the official motto of the Governor General Foot Guards, meaning “Our country and ruler are our concern.”)

Jim will be missed by his many friends and family members.

Donald (Don) Renshaw

Members of the National Arts Centre Orchestra in Ottawa have reported the death from cancer of Donald Renshaw, principal trombone for 36 years.

Montreal born, Don studied at Juilliard and, after a period freelancing in New York, became a fixture in Canadian musical life. He was a founding member of NAC Brass.

Here is the notice that was shared among the NAC orchestra:

“It is with a very heavy heart that (we) share the news that Don Renshaw, beloved Principal Trombone of the NAC Orchestra, passed away this evening (December 21) at the Queensway Carleton Hospital after a 6-month long battle with cancer.

Don was a member of the orchestra for 36 years and his positivity and infectious smile will be sorely missed by his colleagues on stage as well as his friends on the Administration. A proud ambassador for the NAC Orchestra and a tireless advocate for music education, Don’s legacy will live on through all those who knew him and share his passion for and belief in the healing power of music.

Our deepest condolences go out to Don’s wife Linda, his sons Adam and Aaron, and all his extended family at this very difficult time.”

Don served for several years on the Executive Board of the Musicians’ Association of Ottawa-Gatineau. Even as he was nearing the end of his life, he was thinking of ways that he could best serve his fellow musicians. He was truly an inspiration to us all.

MEMBERSHIP MATTERS

We have been advised that all AFM Locals need to have specific language in their bylaws to allow for electronic meetings to be held. Therefore, the Executive Board of Local 180 puts forward the following amendments to our bylaws to be approved at the March General Meeting (please note that new language is bolded and underlined):

 

Article 2, Section 1 — President

It shall be the duty of the President to preside at all meetings of the Association and Executive Board; to enforce a due observation of the Constitution and Bylaws, convene special meetings of the Association as the Bylaws hereinafter provide; appoint all special committees unless otherwise ordered; give the casting vote in all cases of a tie; decide all points of order, which decision shall be final, unless two-thirds of the vote cast on an appeal from the decision shall dissent therefrom. The President shall be an ex-officio member of all committees except the Election Committee, and such committees may meet via electronic means, or via a hybrid of electronic means and in-person attendance, only if expressly authorized to do so by the Executive Board and in conformity with AFM policy.

(No change to the remainder of section 1)

Article 2, Section 4 — Executive Board

The Executive Board shall consist of the President, the Vice-President, Secretary-Treasurer, and four elected members. It shall be the duty of each of the Board members to attend all meetings of the executive board, perform the duties assigned thereto and perform such other related tasks as may be assigned by the President or the Executive Board. They shall receive such remuneration as the Local shall from time to time determine and shall be exempt from all dues and assessments, with the exception of work dues, during their terms of office.

The Executive Board shall meet regularly and on special call of the President. It shall have authority to set its exact hour and place of its meetings, except for those on special call of the President. The presence of a majority of the officers is required to constitute a quorum. The Executive Board may, by prior unanimous consent, hold one or more of its meetings via electronic technology (e.g., telephone, videoconference) or via a hybrid of electronic means and in-person attendance. Unanimous consent for electronic or hybrid meetings may be obtained via email or other means. No decisions of the Executive Board may be made by secret ballot.

(No change to the remainder of Section 4)

Article 12 — Meetings

(New section 7):

Electronic membership meetings:

A. Regular and Special Meetings of the membership may be conducted via electronic means (e.g., telephone, videoconference), or via a hybrid of electronic means and in-person attendance, at the direction of the Executive Board or President, provided that every member is so advised in the meeting notice, and that reasonable provisions have been made to accommodate those members who may have difficulty with the technology utilized (e.g., accommodations such as clear instructions, resource-sharing with other members, community access points).

B. Secret ballot voting is not permitted in an electronic or hybrid meeting. Where secret ballot voting is required on a matter pending before an electronic or hybrid meeting (e.g., election of officers, raising or lowering dues, by demand of the body, or on other matters required by AFM or Local Bylaws), the question shall be referred to a secret ballot vote of the full membership. When not in conflict with public law or AFM Bylaws, however, the members present in an electronic or hybrid meeting may, by unanimous consent, waive the Locals secret ballot requirement and vote by roll call and/or a showing of hands.

C. The Executive Board shall set up special rules, subject to adoption by the membership, to govern how the meeting will be run (how to be recognized, how to make motions, how to moderate discussion, and how voting will be conducted.)

COVID-19 RESOURCES FOR ASSISTANCE

LOCAL 180 RELIEF FUND

With the support of the friends, family and fans of the membership of the Musicians’ Association of Ottawa-Gatineau, the Local established this fund to assist the music community impacted so deeply by the pandemic. It is a fund created by musicians for musicians. For more information email: robinmoir@ma180.org

UNISON BENEVOLENT FUND

The Unison Benevolent Fund’s mission is to help professional music-makers in times of hardship, illness or economic difficulties. Unison provides a vital lifeline for members of the Canadian music community; and due to the impacts of the COVID-19 pandemic, the need for Unison’s counselling and emergency relief services has never been greater.

Unison Benevolent Fund CLICK HERE

SOCAN RELIEF FUND

SOCAN Foundation announces the launch of the SOCAN Foundation Relief Fund for SOCAN members during the COVID-19 pandemic. “While SOCAN members are quarantining, the SOCAN Foundation offers this program to provide some financial support to music creators and publishers to get through these unprecedented times. This new fund is open to all SOCAN members who have earned more than $500 in royalties in the four most recent SOCAN distributions. www.socanfoundation.ca

ACTORS’ FUND OF CANADA

Over the years many of our members have turned to the Actors’ Fund of Canada, which has been in existence since 1958 and disburses over $500,000 annually to cover necessities for members of all the many and various trades and professions that make up the entertainment industry, including musicians. Common requests include: Rent or mortgage, Grocery costs, Medical costs, Emergency dental costs, Utility bills Dues (maximum of one year’s worth of dues; no initiation fees)

Childcare expenses https://afchelps.ca/get-help/

https://afchelps.ca/covid-19-guide/

GOVERNMENT OF CANADA’S COVID-19 ECONOMIC REPSONSE PLAN
Support for individuals

https://www.canada.ca/en/department-finance/economic-response-plan.html#individuals

Support for Independent production companies

We are creating the Short-Term Compensation Fund initiative to compensate independent production companies for the lack of insurance coverage for COVID-19–related filming interruptions and production shutdowns in the sector.The fund will make as much as $50 million available for the industry.

https://www.canada.ca/en/department-finance/economic-response-plan.html#industry

Canada Recovery Benefit (CRB)

The CRB provides $500 per week for up to 26 weeks for workers who have stopped working or had their income reduced by at least 50% due to COVID-19, and who are not eligible for Employment Insurance (EI).

https://www.canada.ca/en/revenue-agency/services/benefits/recovery-benefit.html

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.

Resignations

Bangs, Tessa Lauren

Clement, Evan

Hildesheim, Lucile

Lehmann, Daniel

Lloyd, George

Maiste, Armas (Art)

Morier, Alain J

Nodarse, Frank

Rogers, Dan

Sakamoto, Gabriel

White, Sheila

 

New Members

Aubrey, Hilary – Viola

Brownlee, Emily

Davis, Evan – Bass, Vocalist

De’Ath, Alyssa

Eveland, Chris – Guitar, Electric, Acoustic

Flores Esquivel, Alonso – Cello

Gendron, Catherine – Saxophone, Clarinet

Girouard, Brandon – Guitar, Electric

Hallman, Cole – Guitar, Electric, Bass, Keyboard, Vocalist

Joly, Simon – Drum Set, Percussion, Vocalist

Jordan, Kyle – Guitar, Electric, Acoustic

Kendall, Justin – Violin

Kontes, Zoltan

Leduc, Yan – Guitar, Electric, Acoustic

Lefebvre, Joel – Guitar, Electric, Acoustic, Vocalist

McNeill, Scott – Samples/Programing

Menzies, Clifton – Vocalist, Guitar, Electric, Acoustic

Parmelee, Andrew – Drums, Guitar, Electric, Bass, Vocalist

Pharand, Patrick – Violin

Rocheleau, Martin – Bass

Shank, Mathieu – Vocalist

Stewart, Andrew – Drums

Tang, Sabrina – Piano

Vangeli, Vasilika – Violin

 

 

 

Reinstated

 

Our new mailing address is:

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

Suspended

Canche Mass, Keren

Cote, Timothy

Greenberg, Laura-Anne

Haneman, Lucas

Laurenceson, Megan

Leafloor, Brady

Mazur, Al

Moran, Katherine

Navarri, Myriam

Nichols, Ian

Penny, Caylan

Rekrut-Pressey, Emily

Rigg, Robert

Rowsell, Matthew

Williamson, Dave

Woodland, Solomon

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 2023

March 6 – 12:30 PM – ON-Line VIA ZOOM

June 5 – 12:30 PM – In person and ON-Line VIA ZOOM

September 11 – 12:30 PM – In person and ON-Line VIA ZOOM

December 4 – 12:30 PM – In person and ON-Line VIA ZOOM

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 2022, 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.

 

Next Deadline for Membership Dues January 31, 2023

PENALTIES

TO REINSTATE FROM RESIGNING IN GOOD STANDING – $10.00

TO REINSTATE FROM SUSPENSION – $35.00

TO REINSTATE FROM EXPULSION – $45.00

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