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

If you’ve been reading the News Harp and the International Musician, you will be aware that we lost our AFM VP from Canada, Alan Willaert, this spring. Alan’s articles for the IM were always informative and thought-provoking. In this month of September, when we are celebrating Labour Day, I would like to devote my message to a reprint of Alan’s IM submission from May 2022. Through a brief history of the labour movement in Canada, Alan pointed out how much we owe to the efforts of those who fought for the rights that we enjoy today — and how much we still need to stick together.

 

Denial Is Just a River in Egypt

May 1, 2022

Alan Willaert  –  AFM Vice President from Canada

For those who still believe conditions in the workplace are something you’re entitled to, you may be surprised that unfair labour practices (in Canada) were only defined and prohibited in 1938! While the Industrial Revolution of the 19th century gave birth to the labour movement in Europe and North America, there were many significant events that took place before workers’ rights were finally recognized.

A brief list would include the Nine-Hour Movement in 1872, when a then-illegal strike against 12-hour workdays eventually resulted in the Trade Union Act, legalizing and protecting unions. The largest and bloodiest strike in Canadian history, the Winnipeg General Strike of 1919, would eventually lead to significant labour reform.

Between 1929 and 1939, an oppressive conservative government created work camps where the unemployed toiled for paltry wages. Workers in Vancouver went on strike and travelled to Ottawa in a journey known as the “On to Ottawa Trek.” The government ordered the Royal Canadian Mounted Police (RCMP) to stop them. After rioting and arrests of union leaders, the strike ended. However, Mackenzie King’s liberals won the next election, and abolished the camps, resulting in the birth of unemployment insurance in 1940.

In 1945, the Ford Motor Company in Windsor wanted to break some of the union’s gains since the depression. Union dues being still voluntary, Ford laid off 1,500 workers. Talks broke down over mandatory membership, and the union was forced to strike. Ford’s confrontational tactics spawned community solidarity, and 8,000 additional workers from other auto plants joined the strike.

To avoid violence with police, strikers used their personal automobiles to park in streets all around the plant, forming a blockade that would last for three days. Federal cabinet minister Paul Martin, Sr. eventually appointed a “sympathetic” arbitrator. After 99 days on strike, the union voted to approve a deal that included union security.

Subsequent to that strike, arbiter Ivan Rand (also a Supreme Court judge) brought down an award that ruled against mandatory membership but required automatic dues check-off. The notion that everyone in a workplace who benefits from the union should contribute, and that unions could write automatic dues into collective agreements, has become a staple in labour known as the Rand Formula. (Federation agreements in Canada contain this concept, with language referring to either Temporary Members or Permittees.)

The 1960 tragic death of five men in a tunnel cave-in at Hogg’s Hollow in Toronto was the catalyst for unions to fight for safety in Ontario, leading to the passing of the Ontario Safety Act, which was the foundation for the Canada Labour Code.

Paid maternity leave benefits have only been around since 1971, with limited leave and 66% of the mother’s previous salary. But in 1981, the Canadian Union of Postal Employees waged a 42-day strike, which won 17 weeks for postal workers across Canada. Since then, unions have fought for adoption leave, paternity leave, and parental leave for either parent and continue to negotiate better conditions for workers.

Many of our members, either deliberately or subconsciously, do not identify as part of the labour movement, because they have never been directly involved in collective action. Conversely, they may consider themselves independent artists with no connection to an organized workplace. Of course, nothing could be further from the truth.

The entire music sector is either directly or indirectly impacted by the dynamic between the Federation and the multitude of employers who range from venues and restaurants to theatres and concert halls to recording and broadcasting studios. As AFM President Ray Hair has stated many times, employers don’t pay you what is deserved because they like you, or because they are nice people. They pay you because they are afraid of what you will do if they don’t—and “you” means AFM members, collectively.

Unfortunately, this last rule of thumb is moot when musicians distance themselves from their union or are influenced to isolate from other musicians/members. The age-old divide and conquer is ubiquitous, where musicians are told someone else will do the job for less, setting up the never-ending competition for who will work for the least. By not adhering to the recommended minimums established in local scales and collective agreements, artists shoot themselves in the proverbial foot and unravel all the work done by the Federation through many years of bargaining.

We must not take for granted the blood and sacrifice from the last century of the labour movement. Previous generations fought for a living wage, better laws and conditions, and safety, making employers take responsibility for the health and welfare of their workers.

Instead of following that example, many artists are so complacent that they comply with whatever the employer asks, content to hold a “real” job in the daytime to pay the bills and perform for pocket change at night. What message does that send about the value of live music? Or worse, your worth as an individual?

While the demise of six-nighters has signalled the end of a very lucrative era, live music’s survival as a viable career choice will be dependent upon how organized the current crop of musicians are. Union density in the freelance world is necessary to set the bar high enough for fair wages. A fragmented scene of indie musicians plays into the disorganization that benefits venue owners.

If you know musicians who are not AFM members, try to have the tough conversation with them. We all benefit when there is solidarity, as demonstrated by 150 years of the labour movement. Being in denial about the benefits of the Federation and the value in unity leads to self-induced failure. Let’s not ignore the history lessons.

Francine

Rapport de la président

Si vous avez lu notre bulletin News Harp et le magazine International Musician, vous avez appris le décès de notre vice-président de l’AFM pour le Canada, Alan Willeart. Les articles qu’il a signés dans le magazine IM étaient toujours remplis d’informations, et matière à réflexion. En septembre nous célébrons la fête du travail. Je voudrais, en guise de message, reprendre un texte de Alan, publié dans l’IM en septembre 2022. En présentant un brève historique du mouvement des travailleurs au Canada, il met en évidence le fait que les droits, qui nous protègent maintenant, sont le résultat des efforts de nos prédécesseurs, et démontre la nécessité d’être encore unis en solidarité. 

Le déni n’est pas une option

par Alan Willaert, vice-président de la FAM pour le Canada

Ceux qui croient encore que leurs conditions de travail leur reviennent de droit seront peut-être surpris d’apprendre que ce n’est qu’en 1938 que les pratiques de travail inéquitables ont été définies et interdites au Canada! La révolution industrielle du XIXe siècle avait bien donné naissance au mouvement ouvrier en Europe et en Amérique du Nord, mais avant que les droits des travailleurs ne soient reconnus il a fallu que surviennent plusieurs événements importants.

Une liste brève de ces derniers comprendrait le Mouvement pour une journée de travail de neuf heures en 1872 : une grève – illégale à l’époque – contre les journées de travail de 12 heures a fini par engendrer la Loi sur les syndicats ouvriers, légalisant et protégeant les syndicats. La grève générale de Winnipeg, en 1919, la plus massive et la plus sanglante de l’histoire du Canada, a ultimement entraîné d’importantes réformes en matière de travail.

Entre 1929 et 1939, un gouvernement conservateur répressif a créé des camps de travail où les chômeurs s’échinaient pour des salaires de famine. Les travailleurs des camps de Vancouver ont fait la grève et se sont rendus à Ottawa, un voyage connu comme « la marche sur Ottawa ». Le gouvernement a ordonné à la Gendarmerie royale du Canada de les intercepter, et la grève a pris fin après des émeutes et l’arrestation des dirigeants syndicaux. Toutefois, les libéraux de Mackenzie King ont gagné l’élection suivante et aboli les camps, ce qui a donné lieu à la création de l’assurance-chômage en 1940.

En 1945, la société Ford Motor de Windsor a voulu retirer au syndicat certains avantages consentis depuis la Grande dépression. Les cotisations syndicales étant encore volontaires, Ford a pu mettre à pied 1500 travailleurs. Les négociations ont achoppé sur la question de l’adhésion obligatoire, et le syndicat a été forcé de déclencher une grève. Les tactiques de confrontation de Ford ont suscité la solidarité dans le milieu, et 8000 travailleurs d’autres usines automobiles se sont joints à la grève.

Afin d’éviter des affrontements avec la police, les grévistes ont utilisé leurs voitures personnelles pour stationner dans les rues tout autour de l’usine et former un blocus qui a duré trois jours. Le ministre fédéral, Paul Martin père, a fini par nommer un arbitre « sympathique ». Après 99 jours de grève, les syndiqués ont voté en faveur d’une entente qui incluait la sécurité syndicale.

À la suite de cette grève, l’arbitre Ivan Rand – également juge à la Cour suprême – a rejeté l’adhésion obligatoire au syndicat, mais autorisé le prélèvement automatique des cotisations. Ce qu’on connaît aujourd’hui sous le nom de formule Rand, c’est-à-dire le principe voulant que tous ceux qui profitent des avantages obtenus par le syndicat doivent y contribuer et que les syndicats peuvent inclure des cotisations automatiques dans les conventions collectives, est devenu incontournable en droit du travail. Il est inclus dans les ententes de la Fédération au Canada, avec des références aux membres temporaires ou aux permissionnaires.

En 1960 la mort tragique de cinq hommes dans l’effondrement d’un tunnel à Hogg’s Hollow, à Toronto, a catalysé la lutte des syndicats pour la sécurité en Ontario et mené à l’adoption de la Loi sur la santé et la sécurité au travail de l’Ontario, sur laquelle est fondée le Code canadien du travail.

Les congés de maternité payés n’existent que depuis 1971, et encore, c’était pour une période très limitée et 66 % du salaire de la mère. C’est en 1980 que le syndicat canadien des travailleuses et travailleurs de la poste a tenu une grève de 42 jours et obtenu 17 semaines de congé pour les employés postaux partout au Canada. Depuis, les syndicats ont lutté pour gagner des congés d’adoption, des congés de paternité et des congés pour l’un ou l’autre parent; ils continuent également de négocier de meilleures conditions générales pour tous les travailleurs.

Volontairement ou inconsciemment, un grand nombre de nos membres ne se considèrent pas comme partie prenante du mouvement syndical du fait qu’ils n’ont jamais participé personnellement à des actions collectives. Peut-être se voient-t-il comme des artistes indépendants sans lien avec un milieu de travail syndiqué. Rien n’est moins vrai, évidemment.

Le secteur de la musique au grand complet dépend directement ou indirectement de la dynamique qui se joue entre la Fédération et la multitude d’employeurs de musiciens, des lieux de présentation et des restaurants aux théâtres, aux salles de concert ainsi qu’aux studios d’enregistrement et de radiodiffusion. Comme l’a souvent déclaré le président de la FAM, Ray Hair, les employeurs ne vous paient pas équitablement parce qu’ils vous aiment bien ou parce qu’ils sont gentils. Ils le font parce qu’ils ont peur de ce que vous feriez s’ils ne vous payaient pas – et ce « vous  » désigne les membres de la FAM, collectivement.

Malheureusement, cette règle reste théorique si les musiciens s’éloignent de leur syndicat ou se laissent influencer et s’isolent de leurs collègues. L’éternelle stratégie consistant à diviser pour régner est exploitée partout. Les musiciens se font dire que quelqu’un d’autre fera le travail pour moins cher, ce qui crée une compétition sans fin à savoir qui travaillera pour le plus petit cachet. Les artistes se tirent dans le pied quand ils ne respectent pas les tarifs minimums établis dans les sections locales et les conventions collectives, et défont tout le travail accompli par la Fédération au fil de nombreuses années de négociations.

Nous ne devons pas tenir pour acquis les sacrifices consentis par le mouvement ouvrier et le sang versé au cours du dernier siècle. Les générations précédentes se sont battues pour obtenir des salaires décents, de meilleures lois et conditions de travail, et la sécurité, ainsi que pour obliger les employeurs à prendre leurs responsabilités à l’égard de la santé et du bien-être de leurs travailleurs.

Plutôt que de suivre cet exemple, de nombreux artistes sont si complaisants qu’ils acceptent toutes les demandes de leur employeur, se contentant d’occuper un « vrai » emploi le jour pour payer leurs factures et de se produire pour de la petite monnaie le soir venu. Quel message ce comportement envoie-t-il quant à la valeur de la musique vivante ? Ou pire encore, quant à votre valeur comme personne?

La disparition des engagements de six soirs par semaine marque la fin d’une ère très lucrative, et la survie de la musique vivante comme carrière viable dépendra du degré de syndicalisation de la cohorte actuelle de musiciens. La densité syndicale dans le monde de la pige est une nécessité si l’on veut y obtenir des cachets équitables. Une scène fragmentée de musiciens indépendants ne sert que les intérêts des propriétaires de salles.

Si vous connaissez des musiciens qui ne sont pas membres de la FAM, tenez cette difficile conversation avec eux. La solidarité est bénéfique pour nous tous, comme le démontrent les 150 ans du mouvement ouvrier. Le déni des bénéfices de la Fédération et de la valeur de l’union est voué à l’échec. Ne faisons pas fi des leçons de l’histoire.

 

Francine

Secretary Treasurer’s Message

Robin Moir

 

Report on the Canadian Conference of Musicians

 

This past June, Canadian locals gathered together in Montreal, as our hosts, Local 406, the GMMQ, welcomed us to the annual Canadian Conference of Musicians.

The conference was overshadowed to some degree by the tragic loss of Vice President from Canada Alan Willaert. Alan was always the heart of the conference, and the conference was always the time when officers could seek his advice, talk about their locals and get a snapshot of the “big picture” when it came to Canadian affairs. There is no doubt that there were many a conversation about Alan.

The conference took place in the Delta Hotel on President Kennedy Blvd. It was a central location that worked well for all of our delegates as it is right downtown and close to everything. As Secretary Treasurer of the Canadian Conference I had been working with the Local and the hotel to host the event, which took place from the 28th -30th of June 2024.

There were three unrepresented Locals: L. 226 Central Ontario; L. 418 Stratford, Ontario; and L. 390 Edmonton, Alberta. All of these locals paid the appropriate delegate and per capita fees to the conference.

The Executive Board Members of the Can Conf are President Paul Lelcair – L. 276, *VP Luc Fortin – L. 406, Sec/Treas Robin Moir – L. 180 Ottawa-Gatineau, Dusty Kelly – L.149 Toronto, Rea Beaumont – L. 149 Toronto, Larry Feudo – L. 293 Hamilton, Francine Schutzman — L. 180 Ottawa-Gatineau, and Sue Moore – L. 518 Kingston.

*I should note here that, since the conference, VP Luc Fortin has stepped down. He was replaced by Larry Feudo, L. 293 Hamilton. Larry’s position as executive board member was filled by Debi Sander-Walker, L. 149 Toronto. Larry was appointed VP by the executive board and Debi Sander-Walker was the next delegate in line in terms of votes at the past election in Las Vegas.

The agenda for the conference was full. On day one we approved the agenda, introduced ourselves and appointed the various committees. We heard reports from CFM Executive Director Liana White, Symphonic Services Director Bernard Leblanc, Freelance Services Director Wages Argott, Standards Committee Chair Dusty Kelly and Secretary-Treasurer Robin Moir. The reports had previously been submitted to the Sec/Treas and can be found on the Canadian Conference website.

AFM Canadian Conference of Musicians | Full Services for Canadian Musicians (afmccmusicians.com)

We ended the first day by listening to the reports from the Canadian Locals in attendance. These reports were also sent to the Can Con Executive Board, and they are currently being edited into a precis document, which will be made available on the Can Conf website.

After the call to order on day two, newly appointed VP from Canada Allistair Elliott reported to the delegates. Allistair, as many of you know, was the former International Representative (IR) for Canada. He acknowledged the dedication, the work and the knowledge of Alan Willaert and pledged to dedicate himself, to the best of his ability, to the Canadian Federation of Musicians, with the help of the staff of the Canadian office and the AFM International President Tino Gagliardi and International Secretary-Treasurer Ken Shirk. As IR, Allistair is already familiar with all of the Canadian Locals; he is well-liked and respected. He has big shoes to fill, but he is definitely well able to do so.

International President Tino Gagliardi reported that his first year in office has been busy. He said that losing Alan was a huge loss to him personally, as he had worked with Alan so much in the past. They were long-standing colleagues, and he valued his insight and his knowledge deeply. He told the delegates that he would be up in Canada frequently, as he plans to have a close relationship with the Canadian office and the Canadian locals.

International Secretary-Treasurer Ken Shirk reported (to huge cheers) that the next AFM Convention will NOT take place in Las Vegas. There are a number of cities that the AFM is looking at, and some are here in Canada. However, they need a site that can hold the over 500 delegates as well as enough smaller rooms for breakout sessions and of course to hold the Canadian Conference. The next convention is slated for 2026. Both the Canadian and American delegates were hoping for a new location, so this was great news. Ken thanked his predecessor, Jay Blumenthal, for his stellar job and gave tribute to the former team for bringing the AFM back from financial crisis. He reported that the AFM is in good shape to move forward.

Symphonic Services Director Rochelle Skolnick thanked Bernard Leblanc and Richard Sandals (Symphonic Services in Canada) for their work. She reported that there are many ongoing negotiations in both countries, as well as challenges. As part of the new administration, she remains focused on harmony between the orchestras of both countries in terms of new agreements. There is work being done currently on a Canadian version of the Integrated Media Agreement.

Electronic Media Services Director John Painting gave a brief overview of the work done by his department. John is exceedingly well-versed in all areas of electronic media and the contracts that define each discipline. Along with President Gagliardi he negotiates with all of the major recording and television companies in the USA. He made sure that the delegates knew that he was available to answer any question they might have and that he was only an e-mail away.

The Canadian Conference had sent two resolutions to delegates, one regarding fees and one regarding the Alan Willaert Scholarship Fund.

FEES:

We proposed that the annual fee of $60.00 be raised to $120.00 – Carried

We proposed that for our per capita fee, the rate per member of .25 be raised to .30. The delegates voted to raise per capita to .35 – Carried

Whereas, the passing of Vice-President from Canada Alan Willaert was a great loss to all Canadian Musicians, and 

 

Whereas, Alan was an accomplished musician in his own right, and

 

Whereas, Alan’s concern for the health and wellbeing of musicians drove his day-to-day work to improve the lives of working musicians everywhere, and 

 

Whereas, Alan was a great friend of Labour and Trade Unionism, and our solidarity within the movement,

 

Therefore, be it resolved,

 

that the delegates of the 2024 Canadian Conference direct the Canadian Conference to establish a scholarship or bursary fund in the name of Alan Willaert, long-serving Vice President from Canada. The purpose of the fund is to provide a music studies scholarship or bursary and a labour studies scholarship or bursary to eligible CFM members and their dependents who are Canadian Citizens or Permanent Residents.

 

The Canadian Conference shall be charged with striking a committee to establish rules and procedures as well as on an annual basis selecting up to one recipient from each category as determined through eligible applications. The names of the recipients will be announced at the annual conference.

 

Carried unanimously.

 

Dan Beck of the Musicians’ Performance Trust Fund gave an in-depth report regarding how well the fund is doing and how many performances are taking place across North America. Members may access Dan’s report for the 2022/2023 year at:

MPTF-Annual-Report-2022_23.pdf (musicpf.org)

We were proud that Dan made special reference to Local 180 in terms of the high quality of our Livestreams.Thanks for this goes directly to Dave Poulin and Mike Mullin!

The final day of the conference was taken up with committee reports and the Canadian Musicians’ Advocacy Report – Chair Rea Beaumont.

These may be found on the Can Conf website referenced above.

The final report was made by the Musicians Pension Fund of Canada. Executive Director Jill Guistino and Office Manager Paul Versteeg-Lytwyn spoke They announced that online filing of contracts is now available as is payment via e-transfer. This has been a long process, as the Fund is obliged to offer services that are secure, reliable and protected. Jill reported that Paul has been integral to the set-up and that a few locals are now using the new system. Local 180 has been transferring all of our contracts to digital formats, and this new MPFC is perfect for us.

The conference adjourned at 12:00 Noon on June 30, 2024

I will also mention that Local 406 hosted a very special Alan Willaert Tribute on the evening of June 29th. Alan’s wife Lori and his daughter Valerie were present.

There were many tears and much laughter as people shared their remembrances of Alan.

I want to thank the board members for the work they do to help the Local stay strong.

I want to thank Francine for her support in everything that the Local is working on in our musical community.

I want to thank Marlene for her loyalty and work for all things Local 180.

I want to thank Dan for his work in the local office and the dedication that he brings to the job.

And I want to wish you all a very wonderful autumn season.

 

Robin

Rapport de la secrétaire trésorière

Robin Moir

La Conférence annuelle des musiciens du Canada

 

En juin dernier, les sections locales canadiennes se sont réunies à Montréal, alors que nos hôtes, la section locale 406, la GMMQ, nous accueillaient à la Conférence annuelle des musiciens du Canada.

 

La conférence a été affectée dans une certaine mesure par la perte tragique du vice-président du Canada, Alan Willaert. Alan a toujours été au cœur de la conférence, et la conférence a toujours été l’occasion pour les dirigeants de lui demander conseil, de parler de leurs sections locales et d’avoir un aperçu de la « situation générale » des affaires canadiennes. Il ne fait aucun doute qu’on a beaucoup parlé d’Alan.

La conférence a eu lieu à l’hôtel Delta sur le boulevard President-Kennedy. C’était un endroit central qui convenait bien à tous nos délégués car il se trouve en plein centre-ville et à proximité de tout. En tant que secrétaire-trésorière de la Conférence canadienne, j’ai travaillé avec la section locale et l’hôtel pour organiser l’événement qui a eu lieu du 28 au 30 juin 2024.

Il y avait trois sections locales non représentées : L. 226 Centre de l’Ontario, L. 418 Stratford Ontario et L. 390 Edmonton Alberta. Toutes ces sections locales ont payé les frais de délégué et les frais par personne appropriés à la conférence.

Les membres du comité exécutif de la Conférence canadienne sont le président Paul Leclair – L. 276, le vice-président Luc Fortin – L. 406, le secrétaire au Trésor Robin Moir – L. 180 Ottawa Gatineau, Dusty Kelly – L. 149 Toronto, Rea Beaumont – L. 149 Toronto, Larry Feudo – L. 293 Hamilton et Sue Moore – L. 518 Kingston.

*Je dois noter ici que, depuis la conférence, le vice-président Luc Fortin a démissionné. Il a été remplacé par Larry Feudo, L. 293 Hamilton. Le poste de membre du comité exécutif de Larry a été occupé par Debi Sander-Walker, L. 149 Toronto. Larry a été nommé par le comité exécutif et Debi Sander-Walker était la prochaine déléguée en termes de votes lors de la dernière élection à Las Vegas.

L’ordre du jour de la conférence était complet. Le premier jour, nous avons approuvé l’ordre du jour, nous nous sommes présentés et avons nommé les différents comités. Nous avons entendu les rapports de la directrice générale, Liana White, du directeur des services symphoniques, Bernard Leblanc, du directeur des services indépendants, Wages Argott, du président du comité des normes, Dusty Kelly, et de la secrétaire-trésorière, Robin Moir. Les rapports avaient déjà été soumis à la secrétaire-trésorière et peuvent être consultés sur le site Web de la Conférence canadienne des musiciens de l’AFM,  afmccmusicians.com.

Nous avons terminé la première journée en écoutant les rapports des sections locales canadiennes présentes. Ces rapports ont également été envoyés au comité exécutif de la conférence canadienne et sont actuellement en cours de rédaction dans un document sommaire qui sera disponible sur le site Web de la conférence canadienne.

Après l’appel à l’ordre du deuxième jour, le nouveau vice-président du Canada, Allistair Elliott, a fait rapport aux délégués. Allistair, comme beaucoup d’entre vous le savent, était l’ancien représentant international (RI) pour le Canada. Il a reconnu le dévouement, le travail et les connaissances d’Alan Willaert et s’est engagé à se consacrer au mieux de ses capacités à la Fédération canadienne des musiciens, avec l’aide du personnel du bureau canadien et du président international de l’AFM, Tino Gagliardi, et du secrétaire-trésorier international Ken Shirk. En tant qu’RI, Allistair connaît déjà toutes les sections locales canadiennes ; il est apprécié et respecté. Il a de grandes responsabilités à remplir, mais il est certainement tout à fait capable de le faire.

Le président international Tino Gagliardi a indiqué que sa première année en poste avait été très chargée. Il a déclaré que la perte d’Alan était une perte énorme pour lui personnellement, car il avait beaucoup travaillé avec Alan dans le passé. Ils étaient des collègues de longue date et il appréciait profondément sa perspicacité et ses connaissances. Il a dit aux délégués qu’il se rendrait fréquemment au Canada, car il prévoit d’entretenir des relations étroites avec le bureau canadien et les locaux canadiens.

Le secrétaire-trésorier international Ken Shirk a annoncé (sous de grandes acclamations) que la prochaine convention de l’AFM n’aura PAS lieu à Las Vegas. L’AFM envisage un certain nombre de villes, et certaines ici au Canada. Cependant, ils ont besoin d’un site pouvant accueillir plus de 500 délégués et de suffisamment de salles pour les sessions en petits groupes, et bien sûr pour tenir la conférence canadienne. La prochaine convention est prévue pour 2026. Les délégués canadiens et américains espéraient tous deux un nouvel endroit, ce qui était donc une excellente nouvelle. Ken a remercié son prédécesseur, Jay Blumenthal, pour son excellent travail et a rendu hommage à l’ancienne équipe pour avoir permis à l’AFM de se relever de la crise financière. Il a indiqué que l’AFM était en bonne position pour aller de l’avant.

La directrice des services symphoniques Rochelle Skolnick a remercié Bernard Leblanc et Richard Sandals (Services symphoniques au Canada) pour leur travail. Elle a indiqué que de nombreuses négociations sont en cours dans les deux pays, ainsi que des défis. En tant que membre de la nouvelle administration, elle reste concentrée sur l’harmonie entre les orchestres des deux pays en termes de nouveaux accords. Des travaux sont actuellement en cours sur une version canadienne de l’IMA.

John Painting, directeur des services des médias électroniques, a donné un bref aperçu du travail effectué par son département. John connaît parfaitement tous les domaines des médias électroniques et les contrats qui définissent chaque discipline. Avec le président Gagliardi, il négocie avec toutes les grandes sociétés d’enregistrement et de télévision des États-Unis. Il a veillé à ce que les délégués sachent qu’il était disponible pour répondre à toutes leurs questions et qu’il est facile de le rejoindre par courriel.

Résolutions

La Conférence canadienne avait envoyé deux résolutions aux délégués, l’une concernant les frais d’inscription et l’autre concernant le Fonds de bourses d’études Alan Willaert.

 

1. Frais d’inscription

Nous avons proposé que la cotisation annuelle de 60,00 $ soit augmentée à 120,00 $ – Adopté

Nous avons proposé que, pour notre cotisation par personne, le taux par membre de 0,25 $ soit augmenté à 0,30 $. Les délégués ont voté pour augmenter le taux par personne à 0,35 – Adopté

 

2. Fonds de bourses d’études Alan Willaert

  • Considérant que le décès du vice-président du Canada Alan Willaert a été une grande perte pour tous les musiciens canadiens, et
  • Considérant qu’Alan était un musicien accompli à part entière, et
  • Considérant que la préoccupation d’Alan pour la santé et le bien-être des musiciens a motivé son travail quotidien pour améliorer la vie des musiciens qui travaillent partout dans le monde, et
  • Considérant qu’Alan était un grand ami du travail et du syndicalisme, et de notre solidarité au sein du mouvement,
  • Par conséquent, il est résolu que les délégués de la Conférence canadienne de 2024 ordonnent à la Conférence canadienne de créer un fonds de bourses d’études au nom d’Alan Willaert, vice-président du Canada de longue date. Le but du fonds est d’offrir une bourse d’études en musique et une bourse d’études en travail aux membres admissibles de la FCM, ainsi qu’à leurs personnes à charge, qui sont citoyens canadiens ou résidents permanents.

La Conférence canadienne sera chargée de mettre sur pied un comité chargé d’établir des règles et des procédures, ainsi que de sélectionner chaque année jusqu’à un récipiendaire dans chaque catégorie, selon les candidatures admissibles. Les noms des récipiendaires seront annoncés lors de la conférence annuelle.

Adopté à l’unanimité.

 

Dan Beck, du Music Performance Trust Fund, a présenté un rapport détaillé sur la performance du fonds et sur le nombre de représentations qui ont lieu en Amérique du Nord. Les membres peuvent accéder au rapport de Dan pour l’année 2022/2023 à l’adresse suivante : MPTF-Annual-Report-2022_23.pdf (musicpf.org)

Nous sommes fiers que Dan Beck ait fait spécialement référence à la section locale 180 en ce qui concerne la haute qualité de nos diffusions en direct – un grand merci à Dave Poulin et à Mike Mullin !Troisième journée

La dernière journée de la conférence a été consacrée aux rapports des comités et au rapport sur la défense des intérêts des musiciens canadiens, par la présidente Rea Beaumont.

Ces rapports peuvent être consultés sur le site Web de la Conférence canadienne, dont la référence est ci-dessus.

Le rapport final a été rédigé par le Fonds de pension des musiciens du Canada. La directrice générale Jill Guistino et le directeur du bureau Paul Versteeg-Lytwyn ont annoncé que le dépôt en ligne des contrats est désormais disponible, tout comme le paiement par virement électronique. Ce fut un long processus, car le Fonds est obligé d’offrir des services sécurisés, fiables et protégés. Jill a indiqué que Paul a joué un rôle essentiel dans la mise en place et que quelques sections locales utilisent désormais le nouveau système. La section locale 180 a transféré tous les contrats vers des formats numériques, et ce nouveau MPFC est parfait pour nous.

La conférence a été ajournée à midi le 30 juin 2024.

Je mentionnerai également que la section locale 406 a organisé un hommage très spécial à Alan Willaert le soir du 29 juin. L’épouse d’Alan, Lori, et sa fille Valerie étaient présentes. Il y a eu beaucoup de larmes et de rires lorsque les gens ont partagé leurs souvenirs d’Alan.

Je tiens à remercier les membres du conseil d’administration pour le travail qu’ils font pour aider la section locale à rester forte. Je tiens à remercier Francine pour son soutien dans tout ce que la section locale entreprend dans notre communauté musicale. Je tiens à remercier Marlene pour sa loyauté et son travail pour tout ce qui concerne la section locale 180. Je tiens à remercier Dan pour son travail au bureau local et le dévouement dont il fait preuve dans son travail.

Et je tiens à vous souhaiter à tous une très belle saison d’automne.

Robin

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.

2024 OCSM Conference Report

August 25, 2024

It was my honour to represent the National Arts Centre Orchestra at the 2024 OCSM conference. The conference was held from August 12 – 15 at the Crowne Plaza in downtown Kitchener. Twenty-one of Canada’s orchestras were represented this year. We heard end-of-season reports live from all but Toronto and Montreal, who were working at the time of the conference. There were many familiar faces as well as a few new ones. It was nice to see some delegates return who, last year, were first time attendees. The energy was positive and enthusiastic.

On Monday, August 12, the Conference began at 1:00 pm with a Land Acknowledgment and a welcome from AFM Local 226, followed by the OCSM President’s report. After a break, we began the delegate reports from each orchestra. My impression, after hearing the state of the orchestral industry in Canada, was one of improvement overall with some remaining challenges. Of particular note were some issues of lacking attendance and institutional access to performance venues. Otherwise, most organizations were rebounding from the effects of the pandemic in a positive direction.

Tuesday was a full day which started off with a short Delegate Orientation followed by a “debriefing” from the Kitchener-Waterloo Symphony. As was reported in the media, the KWS is attempting to emerge from a bankruptcy declaration with the intent to file a Proposal to satisfy creditors and to move forward with the legal structure of the Association intact. I can tell you that the Proposal was submitted to the court and the organization is waiting for a ruling before moving forward. In the meantime, the generous donations received from the KWS Go Fund Me campaign have enabled the musicians of the KWS to give concerts in the community this past season while they await news of the possibility of emergence from this financial crisis. It was so encouraging to learn that over 2,500 individual donations have been received so far during the Go Fund Me campaign, which has raised almost $500,000 since its inception a year ago. There were several musicians from the KWS in attendance on this day who were guests at the conference. They each took turns addressing how grateful the musicians are for all the support and attention which they have received from across the country and beyond. Information on the present situation in Kitchener can be found at https://www.savethekws.ca/ and https://www.facebook.com/PAKwsymphony/. After lunch, the President of the AFM, Tino Gagliardi gave a brief talk on the state of the industry from a union point of view and introduced the new V-P for Canada, Alastair Elliott. Both Tino and Alastair were in attendance for the entirety of the conference. Afterwards we heard presentations from the different player conferences around North America, ROPA, TMA, and RMA. The final presentation of the day came from the Musicians’ Pension Fund of Canada. The plan performed well during the past year and continues to be robust. At one point the plan exceeded 1 billion dollars in market value which was a high point for the fund’s investments. Information on the plan can be found at https://www.mpfcanada.ca/.

Wednesday morning started off with a presentation by Katherine Carleton, Executive Director of Orchestras Canada. She gave a general overview of the state of our industry in Canada and, as always, made herself available for questions and discussion after her talk. This was followed by a presentation from Jaime Martino, Executive Director, and Michael Hidetoshi Mori, Artistic and General Director of Tapestry Opera. The presentation was about the group’s efforts to advance the profile of female orchestral conductors in Canada. Information on the program can be found at https://tapestryopera.com/programs/women-in-musical-leadership/. After a lunch break, Michael Wright and Danielle Stemply – Wright Henry LLP (OCSM Legal Counsel) gave a talk on dismissal for non-artistic reasons (Non-Artistic Discipline, Workplace Safety Regulation & The Union’s Role). The topic provided for lively discussion and questions from the floor. The final presentation of the day came from Rochelle Skolnick, AFM SSD Director and Special Counsel. The title of her talk was Changing the Union/Workplace Culture and had to do with sexual misconduct in symphonic workplaces. This was timely as there have been some recent high-profile cases in our industry in North America. The evening was spent at a conference social gathering at a local eatery.

Thursday, the final half day of the conference started with a presentation from one more Player Conference, Paul Austin – ICSOM President who was present in person for the first time in a few years. This was followed by general conference topics and discussion before a break for early checkout from the hotel. The final time was taken for the Conference AGM where there were Nominations/Elections, Committee Reports, Financial Motions, and Conference Resolutions. Of note was a conference resolution dedicating the 2024 OCSM Conference to the legacy and work of two recently departed union officials, Alan Willaert, former long time AFM Vice President from Canada, and David Jandrisch who had served as President of the Winnipeg Musicians’ Association, Chair of the Canadian Conference of Musicians, VP from Canada of the AFM, a Trustee of the Musicians’ Pension Fund of Canada, and, more recently, as Chair and then Chair Emeritus of MROC’s Board.

It was my pleasure to attend this year’s conference in Kitchener representing NACO. I am always impressed with the energy and dedication seen at the OCSM Conference which is vital to the health and strength of our industry. I look forward to the opportunity to represent NACO in the future.

David Goldblatt
Assistant principal viola, NACO

At the end of Grade 7, it was all over for Mike Tremblay.

At the prompting of local 180 musician and middle school teacher John Roebuck, Mike was given a saxophone to take home over the summer at the end of grade 7. Next year’s Grade 8 music class didn’t go all that well, as evidenced by some choice language in his report card – and Mike confirms that he was “terrible.” But Mike loved to play like nothing he’d ever done and couldn’t picture himself doing anything else.

Luckily, Mike attended high school at Sir John A MacDonald High School the next year where he met Mr. Ron Melia, the music teacher and a former member of the Canadian Armed Forces Central Band.  Ron had a massive influence on the young musician.  Mike remembers him using the term “fine musician” often when speaking about players he respected, and Mike aspired to be a fine musician in his own right. With the kind of support and encouragement that Ron offered, Mike learned quickly and never looked back.

By grade 11, Mike was urged to go and see James Milne and the Governor General’s Foot Guard Band to see if there was a place for him. He started playing with the band right way. For one of the first events at the Royal Military College in Kingston, since he didn’t have a uniform yet, he was given a Captain’s jacket to wear and this young, green high school student got saluted left and right!

Playing really started to take off then. Not long after that, he became co-leader of a quintet with local trombonist Mike LaBranche, drummer Rob McLeod, Guitarist Paul Cheatley, and bassist Martin Newman.  They had a weekly gig at a restaurant called Applause on Slater street.   This band also did many private functions and played the Ottawa Jazz Festival for years.  At that time, Mike was also playing in the dance bands led by Champ Champagne, Jim Glover, Bill Jupp, Moe Davies, John Harrison (Dynasty), Steve Guerin (Superband), Pauline Reid (Abacus), and John Abbenda (Rio), along with numerous Dixie and small group configurations with various leaders. Suddenly, Mike was rehearsing all the time and doing loads of concerts and gigs on top of being a high school student. Many of those were Union gigs so Mike went to see Bob Langley on a random Wednesday for his swearing in, beginning his now 35+ year tenure with the Local.

After high school, Mike attended the University of Ottawa for music and studied under Jean-Guy Brault.  At the same time, he was taking lessons from Toronto’s Alex Dean and RCMP musician Michael Scorah, and continued to gig like crazy. Two years into his degree, Mike transferred to Carleton University where he could study jazz as part of the program.  After another year with Mike Scorah, he switched to Kirk MacDonald. Kirk was deeply influential on Mike’s playing.  According to Mike, Kirk really taught him how to practice, and took the time to really develop a solid process in the practice room.  Mike continued working with Kirk even after university, a period of six years in total.

Not long after graduating from Carleton, Deirdre Piper called, asking if he would take on one of their third years, Brian Asselin, as his student. Mike readily jumped at the chance. This marked the beginning of his time at Carleton as an instructor, now coming up on 30 years. Mike now teaches the saxophone ensembles, a third year jazz improv course, and the department averages between 10-15 saxophonists in the program every year. Mike was also a founding member of the Carleton University Jazz Camp, now 15 years ago, and this year’s camp marked the largest cohort ever of 80 students.

On top of teaching at Carleton University and playing, Mike has always kept a healthy stable of private students for more than 40 years. At one point, he would see 6 or 7 students a day, four or five days a week.  Now, he teaches privately two days a week, and has reduced his load to about 20. This year, Mike also led the Ottawa Jazz Festival Youth Summit Band for the third year. The Youth Summit Band is usually comprised of mid-university-level musicians, but sometimes there are young stars – for example, pianist James Greer, who just finished Grade 8! The band rehearses every day for a week before performing the festival. Last year, they opened for Herbie Hancock and got to spend some 1:1 time with Herbie – Mike got to to talk to him about classic cars, another of his passions, and they had a blast.

 

These days, Mike reflects the was a lot more regular gigging work in the ‘80s, but he is delighted that he is still so busy. COVID put a temporary hold on everything as we all know, but Mike finds that as things have gone back to “normal” he’s actually playing more now than he was in the years leading up to the pandemic – it’s like there is a renewed thirst for live music. The venues and concerts he’s performing are full, and audiences are having a great time. He loves playing with Ed Lister’s Prime Rib Big Bang at Irene’s, and does a lot of work with Mark Ferguson, Scott Latham, and John Geggie. Mike also continues to work regularly as an extra with the National Arts Centre Orchestra, and gets to do a lot of the Broadway cross Canada shows: last winter it was Ain’t Too Proud, and coming up is MJ the Musical. Mike also plays with Orpheus, and is looking forward to Charlie and the Chocolate Factory this November, and The Music Man in the spring.

When asked if he ever takes holidays, Mike said “not really.” Someone has to be there to take care of the horses and chickens on the farm where Mike and his wife live. Mike is a busy musician with a busy life – that summer after Grade 7 set the tone for the rest of his life, and he says he wouldn’t change a thing.

Fostering Synergy to Harmonize Ottawa’s Music Scene: How Collaboration Among Arts Organizations Can Help Musicians

Fostering Synergy to Harmonize Ottawa’s Music Scene: How Collaboration Among Arts Organizations Can Help Musicians

By Jarrod Goldsmith

 

At some point in your professional musicianship career, you may have wanted to inquire about some opportunities and resources available to help you on your journey. The good news is that there are organizations out there. The bad news is that they often do not share knowledge amongst themselves, do not cross-promote other organizations that may be beneficial to you, and perpetuate the continuous cycle of working in silos.

Perhaps some reasons why arts organizations that cater to musicians often do not collaborate with each other is that they may be applying to the same limited amount of publicly funded grants, to individual personality clashes, to an overall misunderstanding and long-held preconceived notions about what other organizations do. When organizations whose mandate are to support, promote and grow Ottawa’s music scene do not cooperate, what hope is there for the musicians who need such services and resources? The continuing cycle of mistrust among such organizations is detrimental to the entire music industry. It’s the musicians who lose out.

The purpose of this article is to help musicians more fully understand the music ecosystem in Ottawa so you can at least be aware of some of many resources you may find beneficial.

As you may have experienced, musicians (and artists of all genres), often seek a wide variety of assistance throughout their career. If musicians can leverage resources and expertise across a wide range of mutually exclusive networks of organizations, they will have more opportunities. But it’s almost always up to the individual to wade through the various, and sometimes competing, organizations to see what would be most applicable for their needs. A recurring issue, everyone soon realizes, is that there are many organizations just in Ottawa whose mandates are to support and provide resources to artists. While each of these individual well-meaning organizations serves a purpose, the needs of artists vary greatly.

With diverse needs such as creating sustainable opportunities for growth and development, increasing one’s visibility, to learning about treating music as a business (and everything that it entails), how can musicians navigate the complexities and find the information they need? An answer could be through strategic partnerships, joint initiatives, and coordinated efforts and frameworks to foster a vibrant and resilient music ecosystem in Ottawa within and between the various arts organizations.

While some organizations pride themselves in their messaging to represent the entire music ecosystem, such claims cannot be validated as most organizations rarely, if ever, actively engage and collaborate with other like-minded administrations with similar mandates. There is a large discontent between some organizations having the support and resources of various levels of Government, and those that do not.

There are, however, shining examples when organizations with similar mandates realize they are stronger together. “As announced in October [2023], Arts Network Ottawa and the Ottawa Arts Council are merging to create a new, unified organization advancing the arts in Ottawa. Together, we will bring a stronger voice to our arts community”.1 The creation of a new arts service organization in Ottawa can only be beneficial for creators. Such leadership and forward thinking should be applauded as a role model for supporting the Arts. This partnership has already been widely hailed as a success for Ottawa and the Arts ecosystem.

Having attended the joint AGM of both Arts Network Ottawa and the Ottawa Arts Council where a thoroughly thought-out strategic plan was proposed and unanimously adopted by both memberships, it was clear to me that the ideology of collaboration within the arts industry is alive and growing. We need more of this kind of direction and leadership that has the needs of the arts community front and central. A few other examples showcasing successful visions for alliances may be useful.

When I launched Sax Appeal in 2011, there were five (5) individual Chambers of Commerce within the city of Ottawa. As an excellent opportunity for securing corporate gigs, it made sense to become actively involved in every Chamber as an ambassador, as we could book a gig across the region and were not limited to geographical boundaries. From having established a presence in the business/entrepreneur ‘scene’ from attending hundreds of such events, it encouraged me to launch a second business in 2012 called eSAX as a way to bridge all regional Chambers of Commerce to encourage collaborative networking opportunities for small business. There is no geographical boundary to music or business, so it just made sense.

Over the years some Chambers merged, so that by 2018 there was only the Ottawa Board of Trade and Le Regroupement des gens d’affaires de la Capitale nationale (RGA). This is another successful example of extemporary leadership realizing that organizations are stronger together.

Another successful collaboration can be seen through the Canadian Federation of Musicians (CFM) Local 180 and the Ottawa Music Industry Coalition (OMIC). In 2023, OMIC engaged musicians as part of their City Sounds Live public performance initiative via the Music Performance Trust Fund (MPTF). The end result was a fabulous musical performance thoroughly enjoyed by the public. But perhaps the most important aspect of this initial collaboration was helping each organization understand a little about the other. Ottawa’s art scene needs more joint collaborative efforts like this.

These are just a few examples to showcase a few successful endeavors of how collaboration can be beneficial for the community. But more needs to be done to shine the light on other like-minded arts organizations that continue to consider others with distrust and as competition.

The following is a brief non-exhaustive overview (in alphabetical order) of some organizations in Ottawa that work towards empowering musicians and that have responded to a request for information: 2

 

Arts Network Ottawa 3

Arts Network Ottawa believes that the Arts help build strong, vibrant communities. We are a bilingual arts-service organization working actively in the community to champion the arts in the Ottawa region – and an essential connection to opportunities and resources.

Contact: Cassandra Olsthoorn (cassandra@artsnetottawa.ca) – Executive Director

 

Canada Council for the Arts (English)

The Canada Council for the Arts is Canada’s public arts funder, mandated to foster and promote the study, enjoyment and production of the arts. Through its investments, the Canada Council is building greater public engagement in the arts and contributing to a vibrant, creative and diverse arts scene across Canada.

Every year, the Canada Council supports thousands of deserving musicians, artists and arts organizations in over 2,000 communities across the country. Every year, millions of dollars in Canada Council funding are awarded to thousands of professionals in the arts sector for the creation, production and presenting of works, as well as for professional development, travel and arts development.

Well-known prizes administered by the Canada Council include the annual Governor General’s Literary Awards and Governor General’s Awards in Visual and Media Arts. The Council also oversees the Musical Instrument Bank, which provides more than 20 pre-eminent classical musicians with the opportunity to borrow musical instruments by world-renowned luthiers every three years.

The Canada Council Art Bank offers unique public access to the world’s largest collection of contemporary Canadian art through art rental and exhibition programs. The CCUNESCO, which serves as a bridge between Canadians and the vital work of UNESCO, also operates under the Canada Council.

Interested in applying for a Canada Council grant to support your musical career? There are six main funding programs individuals, groups and arts organizations can apply under.

You can create your application account, which includes your profile and artistic discipline, on the Canada Council online portal at any time. You can also get some in-person guidance from the Council team in a webinar or info session—get the latest dates and registration links online.

For more information about the Canada Council for the Arts, visit canadacouncil.ca, follow the latest on Facebook, YouTube and Twitter at Canadacouncil, and Instagram at Canada.council.

Contact: info@canadacouncil.ca

Organisme public de soutien aux arts (français)

Organisme public de soutien aux arts, le Conseil des arts du Canada a pour mandat de « favoriser et de promouvoir l’étude et la diffusion des arts, ainsi que la production d’œuvres d’art ». Grâce à ses investissements, le Conseil favorise une mobilisation accrue du public à l’égard des arts et contribue à cultiver une scène artistique dynamique, créative et diversifiée partout au Canada.

Chaque année, le Conseil soutient des milliers de musiciennes, de musiciens, d’artistes et d’organismes artistiques ayant du mérite dans plus de 2 000 communautés aux quatre coins du pays. Chaque année, des millions de dollars en financement sont accordés à des milliers de professionnelles et professionnels du domaine pour la création, la production et la présentation d’œuvres, ainsi que pour le perfectionnement professionnel, les déplacements et le développement des arts.

Parmi les prix bien connus gérés par le Conseil des arts figurent les Prix littéraires du Gouverneur général et les Prix du Gouverneur général en arts visuels et en arts médiatiques. Le Conseil administre également la Banque d’instruments de musique, grâce à laquelle plus de 20 artistes remarquables en musique classique ont, tous les trois ans, la possibilité d’emprunter des instruments fabriqués par des luthiers de renommée mondiale.

La Banque d’art du Conseil des arts du Canada offre au public un accès unique à la plus grande collection d’art contemporain canadien au monde grâce à des programmes de location et d’exposition d’œuvres d’art. La CCUNESCO, qui sert de pont entre la population du Canada et le travail important de l’UNESCO, relève également du Conseil des arts du Canada.

Vous souhaitez présenter une demande de subvention pour soutenir votre carrière musicale? Le Conseil propose six programmes principaux destinés aux particuliers, aux groupes et aux organismes artistiques.

À tout moment, vous pouvez vous créer un compte, remplir votre profil, préciser votre discipline artistique et déposer une demande sur le portail du Conseil. L’équipe du Conseil peut également vous renseigner lors de webinaires ou de séances d’information. Rendez-vous en ligne pour les prochaines dates et les liens d’inscription.

Pour en savoir plus sur le Conseil des arts du Canada, visitez conseildesarts.ca ou retrouvez-nous sur Facebook (Canadacouncil), YouTube (ConseilArtsCanada) ainsi que Twitter et Instagram (conseilartscan

Contact: info@conseildesarts.ca

Canadian Live Music Association 4

The Canadian Live Music Association (CLMA) is known as the ‘voice of Canada’s vibrant live music industry…that works to entrench live music’s economic, cultural, and social value and to create the conditions for concerts to thrive.’

Among our members are concert promoters, festivals, talent agencies, venues, clubs, arenas, performing arts centres, industry associations and networks, and suppliers.

ADVOCACY: Impacting policy, funding, and opportunity for the live music sector.

BUSINESS DEVELOPMENT: Certifications, webinars, and important news that directly impacts your business. Programming to open business opportunities.

RESEARCH: Quantifying industry specific data, recommending and applying findings to continually develop the industry.

NETWORKING: Access a braintrust of live music workers across the country: meet, ask questions, get immediate advice.

OTHER BENEFITS: Discounts on events, training, and operational expenses.

Contact: Erin Benjamin (ebenjamin@canadianlivemusic.ca) – President/CEO

 

House of PainT

The House of PainT Festival is a FREE Outdoor HipHop Jam that showcases Graffiti, Breakdancing, Dj’s and MC’s from across Canada. It is one of Ottawa’s fastest growing community events. Since 2003, House of Paint has created space to exhibit and uplift hip-hop culture in the Nation’s Capital.

House of PainT’s pillars are the elements of hip hop: Graffiti, DJ-ing, MC-ing (Poetry and Rap), and Street Dance are celebrated and elevated through concerts, competitions, workshops, and academic talks for all ages.

As an organization, House of PainT celebrates and elevates hip-hop arts and culture in the Ottawa-Gatineau region by promoting artists practicing hip-hop art forms, improving access to urban arts for people from all different communities, connecting artists with opportunities for professional development, and of course facilitating the creation and presentation of hip hop arts through the Festival and our other programs throughout the year. We do our best to highlight local artists in the City. 

Contact: info@houseofpaint.ca

 

Ontario Arts Council (OAC) 5

The Ontario Arts Council is an agency that operates at arm’s length from the Ministry of Tourism, Culture and Gaming. The OAC’s grants and services to professional, Ontario-based artists and arts organizations support arts education, Indigenous arts, community arts, crafts, dance, Francophone arts, literature, media arts, multidisciplinary arts, music, theatre, touring, and visual arts.

For 60 years, the Ontario Arts Council has played a vital role in promoting and assisting the development of the arts for the enjoyment and benefit of Ontarians. In 2021-22, OAC invested its grant program budget of $56.4 million in 237 communities across Ontario through 2,665 grants to individual artists and 1,050 grants to organizations.

Mission Statement

The OAC was established in 1963 to foster the creation and production of art for the benefit of all Ontarians.

Contact Hannah Rubia (hrubia@arts.on.ca) Program Administrator (Music)

 

Ottawa Arts Council 6

Mission

The Ottawa Arts Council (the Council) is a bilingual service organization that advances, promotes and advocates for the arts in Ottawa.

Vision

We are leaders and catalysts in building an engaged, growing and inclusive arts sector. We support artists and arts organizations through leadership, guidance and providing opportunities to advance Ottawa’s local creative potential. Through collaboration with a wide range of partners, the Council creates an environment where equity and diversity are celebrated, and artistic achievement is recognized.

Contact: Nicole Milne (nicole@ottawaartscouncil.ca) – Executive Director

 

Ottawa Music Industry Coalition (OMIC)

The Ottawa Music Industry Coalition is a bilingual member-based non-profit whose mission is to play a lead role in the economic, cultural and social prosperity of Ottawa and the surrounding region; and to create a thriving and inclusive music ecosystem that provides opportunities for local artists, music professionals and venue owners; while fostering collaboration and innovation, and engages the community.

OMIC is committed to connecting music communities, along with its municipal, provincial, national and international partners, to work toward common goals to create a vibrant and sustainable music industry in Ottawa that benefits and inspires all members of the community.

We do this through:

Continuous development and programming for artists, workforce, entrepreneurs and venues, including hundreds of performance and career development opportunities each year

Advocating local government, industry and institutional partners for increased openness to embedding live and recorded music into their day to day operations

Committing to diversity and inclusion in OMIC performing, programming and workforce opportunities

Strengthening musical connections within the city and beyond

Developing cross-industry partnerships to the benefit of the music sector

Contact: Melanie Brulée (melanie@ottawamic.com) – Executive Director

 

Shenkman Arts Centre

The Shenkman Arts Centre is a creative hub in Ottawa-East. There are 2 theatres, 6 art galleries, and 5 resident companies. We offer event space, performances, and arts instruction in French and in English. The performances at the Shenkman Arts Centre take place on continuum from a very first recital in front of parents to international touring artists.

Local musicians are engaged through our Shenkman Arts Centre Presents programming. This season, we worked with local artists on 3 different series. Our monthly matinée café series caters to older adults. The low-cost performances take place on Wednesday afternoons and include a coffee and a croissant after the show! Our free community event series engages family-friendly musicians to perform during community celebrations. The Encore Ottawa series features local musicians recorded in partnership with the Ottawa Music Industry Coalition and Rogers TV. The recorded concerts are broadcast on Rogers TV and YouTube. Additionally, many musicians have used this professional quality footage for grant applications, festival submissions and social media content. We are always looking for new ways to engage with local artists that support and compliment the great work that they are doing across Ottawa!

Contact: https://shenkmanarts.ca/en/contact-us

 

Much more needs to be done to identify, and act upon, the vast potential for synergy and areas of mutual collaboration across different arts organizations.

It is hoped that this brief overview has shown the need for more practical partnerships, joint initiatives and coordinated efforts to empower you with resources and knowledge on your continuous journey as a professional musician. The resources are out there, but ‘musician beware’.

All arts organizations should aim to cultivate a vibrant and resilient music ecosystem in Ottawa by being accepting of others, most importantly, be accepting of other arts organizations that also exist to create a vibrant ‘scene’ throughout the city. To put this conversation into perspective, how can Ottawa become known as a ‘Music City’ without the consultation and direct involvement of the Canadian Federation of Musicians, the largest and most well-respected and established organization in North America whose mandate is to support professional musicians?

Learning about other organizations, and the sharing of such resources applicable to musicians, should be encouraged. If organizations wish to remain relevant, they need to be a source of knowledge and be known as places where artists of all genres can feel comfortable with engaging. No longer can arts organizations work in isolation and treat fellow organizations as competition. Doing so is a detriment to the entire music industry.

 

Written by Jarrod Goldsmith

Known by his signature fedora, Jarrod Goldsmith is a Canadian small business community builder, avid networker, past archaeologist, YouTuber, podcaster, and is the embodiment of the small business spirit. He founded both Sax Appeal Ottawa, eSAX (The Entrepreneur Social Advantage Experience) now known as eSAX Virtual Events, has >700 videos on entrepreneurship and networking and is the incoming President of the historic Kiwanis Club of Ottawa.

1 Taken from https://www.artsnetottawa.ca/ano-oac

2 The following organizations were contacted: Arts Network Ottawa, Canada Council for the Arts, Canadian Live Music Association, City of Ottawa (Music on Hold program), Cranium Festival, Debaser, House of PainT, Le Pressoir, Music.Art.Ppl, Ottawa Music Industry Coalition, Ontario Arts Council, Ottawa Arts Council, Ottawa Chinese Musicians Association, Produced by Yout, Shenkman Arts Centre, Sing House Studios, Unique FM, Willow Sound

 

3 Taken from https://www.artsnetottawa.ca

4 Taken from https://www.canadianlivemusic.ca/about-us

 

5 Taken from https://www.arts.on.ca/about-us

6 Taken from https://www.ottawaartscouncil.ca/our-story

The Recording Industry’s Music Performance Trust Fund Awards $119,000 USD in Academic Scholarships Throughout North America

Local 180 was represented this year as the Music Performance Trust Fund awarded over 100 scholarships to students across North America. We are proud to announce the following news about Parker Stewart, son of Local 180 member Jesse Stewart.  

The recording industry’s Music Performance Trust Fund is a 501(c) (3) nonprofit public service organization whose mission is to support admission-free, live events performed by professional musicians throughout the United States and Canada. The MPTF was established more than 75 years ago by recording companies including Sony Music, Universal Music Group, and Warner Music Group.

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, September 9th @ 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, September 9th, 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

August 4, 1969 – August 23, 2024

It is with great sadness that we announce the tragic passing of Steven Joseph Agnew.

Steve was the loving husband of Jackie and was predeceased by his beautiful daughter, Emily Agnew and her unborn baby, his parents, Dan and Sharon and his twin brother, Stewart. Steve will be deeply missed by his brother, Rob Agnew (Lisa) and his sister, Jenn Good (Keith), as well as his stepchildren, Andrew Kilby (Vanessa) and Bree Kilby (Nick Jones). Steve was a loving grandfather to Lennox and Nash, and was excitedly awaiting the birth of his new grandchild any day. He is greatly missed by his nieces and nephews, Carson, Darcey, Brooke, Everton and Gracie. He will also be missed by his Agnew Renovation family.

Steve can be described as a kind and gentle soul, with a big heart. He leaves a big, empty hole in the hearts of our big family, the music community and many friends. Steve was always willing to step up to help anyone and always listened if you had a problem. He was a respected businessman and owner of Agnew Renovations. His employees describe him as a kind and caring boss. His family, friends and music were his life. He loved travelling, boating, driving his motorcycle and spending time at his trailer in Smith’s Bay Trailer Park.

Life had dealt our family so many cruel losses in the last couple of years but now Steve is home with his Mom and Dad, his beloved daughter, Emily, and the rest of our family. His music will always fill our hearts and will forever be in our memories.

Final arrangements entrusted to Zohr Family Funeral Home, Eganville. A Celebration of Life will be held on Friday, September 6, 2024 from 1-4 p.m. at the Eganville Legion, Branch 353.
In memory of Steve, donations may be made to the Emily Agnew Memorial Fund by cheque or by e-transfer to jackieagnew46@gmail.com with a memo stating “donation to the Emily Agnew Memorial Fund”.

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.

The Numbers

Regular Active: 416

Life Members: 115

Youth Members: 3

Student Members: 51

Suspended: 3

Expelled: 63

 

Our mailing address is:

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

New Members

Kim Je Young – Violin

Samuel Loeck – Double Bass

Chia-Ying Lin – Violin

Jody Benjamin – Guitar, Vocals

Isabelle Gagnon – Harp

Alex Pauze – Drums

Jeffrey Dyrda – Violin

Resigned

 

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

June 17, 2024 – 12:30 PM
September 9, 2024 – 12:30 PM
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 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, 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 that 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