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
As I write this, I am returning home from a joint conference in Toronto between the Canadian Conference (CanCon) and the Organization of Canadian Symphony Musicians (OCSM). To celebrate this most successful gathering, I offer an article that I wrote for Una Voce, the OCSM publication. I have updated it slightly:
Coming Full Circle in Unity: a highly subjective and personal memoir by an OCSM President Emerita
OCSM has been around long enough that I assume that most of our readers are unaware of how it got started. Once upon a time, some Canadian union officers who were especially interested in orchestral matters instituted something called the Symphony Symposium — a one-day meeting devoted to symphonic business. We have Ruth Budd, Sam Levine and Eddy Bayens to thank for this initiative. Bass players Ruth and Sam, stand partners in the Toronto Symphony, were the original motivators of OCSM. Sam was the Vice President of the Toronto Local, and Ruth was the first Chairman of OCSM (that is what the post of President used to be called). Eddy, President of the Edmonton Local, was involved from the beginning. Whenever he can, Eddy still attends the OCSM conference, lo these many years later.
Current OCSM President Robert Fraser was more specific about the birth of the organization. He wrote, “(T)he first executive was formed 50 years ago in October 1975 at the second Symphony Symposium at the AFM Canadian Conference in Edmonton. The inaugural OCSM Conference was then held in August 1976 in Toronto. OCSM itself became incorporated in August 1981.”
(A word of explanation about the Canadian Conference, or CanCon: this is the yearly gathering of Canadian Local officers, collectively called a conference according to the AFM bylaws. So the CanCon conference is really a conference of a conference).
By the time I came on the scene (the first OCSM conference I attended was in 1981), there was a fair amount of enthusiasm for this yearly gathering of OCSM delegates and their union officers. I believe that there were equal numbers of representatives from each group. In those days, it was rare for an orchestral musician to serve as a Local officer or even to be on its executive board, so it was truly a good opportunity for each group (I hesitate to use the word “side”) to learn about the doings and the aspirations of the other.
I’m sorry to report that there was also a prevalent attitude that these upstart orchestral players, who knew nothing, dare not interfere in Local matters. My unhappiest memory of an OCSM conference was one day in Ottawa, in 1982, when voices were raised, and one Local officer said “YOU DON’T QUESTION US! WE’RE THE UNION!” One of the OCSM delegates started crying. I think that it was at that same session when one of the OCSM officers lost his lunch in the meeting room, so we had to take a break while the room was aired out. It was a case of fortunate timing.
By 2004, things had calmed down quite a bit — enough so that we planned a conference in Edmonton to overlap with that of the Canadian Conference. By this time I was the OCSM President, chafing at the bit to get some real work done at our joint meeting on the Friday night that is traditionally set aside for the first meeting of the CanCon. Imagine my dismay, as I walked up to the dais with the CanCon President, when he said, “Oh, by the way, we can’t enact any business this evening because we’re not officially in session.” Since it would have taken perhaps one minute to make that an official CanCon session, I felt blindsided and quite put out. Obviously there was still a fair distance to come before the orchestral musicians were not considered unwelcome intruders in the business of their Locals. This is one reason that there were periodic rumblings that OCSM should leave the AFM and form its own union.
Things went a lot more smoothly in 2012, when we had another joint conference, this time in Toronto. I don’t remember any of the drama of previous attempts to meet on an equal footing; rather, there was a real spirit of working together. A joint letter of welcome from Paul LeClair (then and now President of the CanCon) and Matt Heller (then OCSM President and now OCSM Secretary) said, “We look forward to the opportunity in solidifying the bond between the Canadian Conference and OCSM. It is an opportunity to discuss our goals and also our common struggles with this ever-changing business of ours, the world of music.” OCSM’s first Chairman, Ruth Budd, was present at the conference. The Toronto Local went all out in preparing a most successful joint event.
And what do we have now? One current OCSM officer, Bob Fraser, is the Secretary-Treasurer of the Victoria Local (for the second time, too!). Another, Matt Heller, is the president of the Calgary Local. I was a board member of the Ottawa Local while serving as OCSM President, before becoming President of Local 180, a post I’ve held for many years. I have been honoured to serve on the Law Committee at the last three AFM Conventions, the first two of those under the leadership of Eddy Bayens. There are a good number of symphony musicians not only on that committee but serving as delegates to the convention as a whole. So it seems that our two sides (there; I’ve said it) are coming together to at least try to act in unison in matters that affect all of us.
When I was a relatively new member of NACO, in the mid-seventies, I sent a work dues cheque to my Local with a note on it saying, “What do you do with these dues, anyway?”. The cheque was returned to me with a note from the then-Local Secretary-Treasurer, Jimmy Lytle, asking me to send a clean cheque without the editorial comments. Jimmy wrote that if I wanted to know what the dues money were for, I should attend the Local’s general meetings. So I started doing so, and I was usually the only woman there. I remember Jimmy saying, in a well-carrying voice, “Welcome, brothers!… and sister.”
I am happy to report that there was a most collegial atmosphere at this year’s unity conference. I believe that the kind of schism that we used to have is a thing of the past. You can see that at the AFM Convention, where there is so much crossover between the symphonic musicians and Local officers. I urge all of our members — orchestral or freelance —to get involved with the Local. Go to membership meetings. Pay attention to our business and join in to help whenever you can. We assure you that everyone will be most welcome!
Francine
Rapport de la président
Au moment où j’écris ces lignes, je reviens d’une conférence conjointe, à Toronto, entre la Conférence canadienne (CanCon) et l’Organisation des musiciens d’orchestre symphonique du Canada (OCSM). Pour célébrer ce rassemblement des plus réussis, je vous propose un article que j’ai écrit pour Una Voce, la publication de l’OCSM. Je l’ai légèrement mis à jour :
Boucler la boucle dans l’unité : mémoires hautement subjectifs et personnels d’une présidente émérite de l’OCSM
L’OCSM existe depuis suffisamment longtemps pour que je suppose que la plupart de nos lecteurs ignorent ses origines. Il y a longtemps, des dirigeants syndicaux canadiens, particulièrement intéressés par les questions orchestrales, ont instauré le Symposium symphonique, une réunion d’une journée consacrée aux affaires symphoniques. Nous devons cette initiative à Ruth Budd, Sam Levine et Eddy Bayens. Les contrebassistes Ruth et Sam, partenaires de pupitre au sein de l’Orchestre symphonique de Toronto, ont été les premiers à créer l’OCSM. Sam était vice-président de la section locale de Toronto, et Ruth fut la première directrice de l’OCSM (c’est ainsi que s’appelait autrefois le poste de président). Eddy, président de la section locale d’Edmonton, a été impliqué dès le début. Quand il le peut, Eddy assiste encore à la conférence de l’OCSM, même après de nombreuses années.
Le président actuel de l’OCSM, Robert Fraser, a été plus précis sur les origines de l’organisation. Il a écrit : « Le premier comité exécutif a été formé il y a 50 ans, en octobre 1975, lors du deuxième Symposium symphonique de la Conférence canadienne de l’AFM à Edmonton. La conférence inaugurale de l’OCSM a ensuite eu lieu en août 1976 à Toronto. L’OCSM a été constituée en société en août 1981. »
(Un mot d’explication concernant la Conférence canadienne, ou CanCon : il s’agit du rassemblement annuel des dirigeants des sections locales canadiennes, collectivement appelés « conférence » selon les statuts de l’AFM. La conférence CanCon est donc en réalité une conférence d’une conférence.)
À mon arrivée sur le terrain (la première conférence de l’OCSM à laquelle j’ai assisté remonte à 1981), l’enthousiasme était palpable pour ce rassemblement annuel des délégués de l’OCSM et de leurs dirigeants syndicaux. Je crois qu’il y avait un nombre égal de représentants de chaque groupe. À l’époque, il était rare qu’un musicien d’orchestre soit dirigeant d’une section locale ou même membre de son comité exécutif; c’était donc une excellente occasion pour chaque groupe (j’hésite à utiliser le mot «camp») de se renseigner sur les activités et les aspirations de l’autre.
Je suis désolée de devoir signaler qu’il existait aussi une attitude répandue selon laquelle les musiciens d’orchestre novices, ignorants, n’osaient pas s’immiscer dans les affaires de la section locale. Mon souvenir le plus triste d’une conférence de l’OCSM remonte à une journée à Ottawa, en 1982, où des voix s’élevèrent et où un dirigeant local lança : « VOUS NE NOUS QUESTIONNEZ PAS ! NOUS SOMMES LE SYNDICAT !» L’un des délégués de l’OCSM se mit à pleurer. Je crois que c’est lors de cette même séance qu’un des officiers de l’OCSM a vomi son déjeuner dans la salle de réunion. Nous avons donc dû faire une pause pour aérer la salle. Le timing était parfait.
En 2004, la situation s’était considérablement calmée, au point que nous avons planifié une conférence à Edmonton, qui coïncidait avec celle de la Conférence canadienne. À cette époque, j’étais président de l’OCSM, impatiente de pouvoir réellement travailler lors de notre réunion conjointe du vendredi soir, traditionnellement réservée à la première réunion de la Conférence canadienne des musiciens. Imaginez ma consternation, alors que je m’approchais de l’estrade avec le président de la Conférence canadienne des musiciens, lorsqu’il m’a dit : « Au fait, nous ne pouvons pas aborder de questions ce soir, car nous ne sommes pas officiellement en session.» Comme il aurait fallu une minute pour que cela devienne une session officielle de la Conférence canadienne des musiciens, je me suis senti prise au dépourvu et assez contrariée. De toute évidence, il restait encore beaucoup à faire avant que les musiciens d’orchestre ne soient plus considérés comme des intrus importuns dans les affaires de leurs sections locales. C’est l’une des raisons pour lesquelles des rumeurs périodiques circulaient selon lesquelles l’OCSM devrait quitter l’AFM et former son propre syndicat.
Les choses se sont déroulées beaucoup mieux en 2012, lors de notre autre conférence conjointe, cette fois à Toronto. Je ne me souviens pas d’avoir observé la tension des précédentes rencontres visant à obtenir un pied d’égalité ; il régnait plutôt un véritable esprit de collaboration. Une lettre de bienvenue conjointe de Paul LeClair (alors et aujourd’hui président de la CanCon) et de Matt Heller (alors président de l’OCSM et aujourd’hui secrétaire de l’OCSM) mentionnait : «Nous nous réjouissons de pouvoir consolider les liens entre la Conférence canadienne et l’OCSM. C’est l’occasion de discuter de nos objectifs et de nos difficultés communes dans ce secteur en constante évolution qu’est le monde de la musique.» La première présidente de l’OCSM, Ruth Budd, était présente à la conférence. La section locale de Toronto a tout mis en œuvre pour préparer un événement conjoint des plus réussis.
Et qu’en est-il aujourd’hui ? Un dirigeant actuel de l’OCSM, Bob Fraser, est secrétaire-trésorier de la section locale de Victoria (pour la deuxième fois!). Un autre, Matt Heller, est président de la section locale de Calgary. J’ai siégé au conseil d’administration de la section locale d’Ottawa alors que j’étais présidente de l’OCSM, avant de devenir présidente de la section locale 180, poste que j’occupe depuis de nombreuses années. J’ai eu l’honneur de siéger au comité juridique lors des trois derniers congrès de l’AFM, les deux premiers sous la direction d’Eddy Bayens. Bon nombre de musiciens symphoniques siègent non seulement à ce comité, mais sont également délégués au congrès dans son ensemble. Il semble donc que nos deux camps (je l’ai dit !) s’unissent pour au moins tenter d’agir de concert sur des questions qui nous concernent tous.
Lorsque j’étais relativement nouvelle en tant que membre de l’OCNA, au milieu des années 1970, j’ai envoyé un chèque de cotisation à ma section locale avec une note indiquant : «Que faites-vous de ces cotisations, d’ailleurs ?». Le chèque m’a été retourné accompagné d’une note du secrétaire-trésorier de la section locale de l’époque, Jimmy Lytle, me demandant d’envoyer un nouveau spécimen de chèque, sans commentaires éditoriaux. Jimmy m’a écrit que si je voulais savoir à quoi servaient les cotisations, je devais assister aux assemblées générales de la section locale. J’ai donc commencé à le faire, et j’étais généralement la seule femme présente. Je me souviens que Jimmy a dit d’une voix bienveillante : «Bienvenue, mes frères !… et ma sœur.»
Je suis heureuse d’annoncer que l’ambiance était des plus collégiales lors de la conférence d’unité de cette année. Je crois que le schisme que nous avions autrefois est révolu. On peut le constater au congrès de l’AFM, où les échanges entre les musiciens symphoniques et les responsables de la section locale sont si nombreux. J’encourage tous nos membres, qu’ils soient membres d’orchestre ou indépendants, à s’impliquer dans la section locale. Assistez aux réunions des membres. Soyez attentifs à nos activités et apportez votre aide dès que possible. Nous vous assurons que vous serez tous les bienvenus!
Francine
Secretary Treasurer’s Message
Robin Moir
Canadian Conference 2025 Report
This year the Canadian Conference 2025 was held in conjunction with the Organization of Canadian Symphonic Musicians’ (OCSM) Conference. The dates of the Conference were August 8-10, with the OCSM dates extending to August 11 and 12.
Local 149 Toronto was the host for this combined conference – and what a spectacular job they did! Under the leadership of their Executive Director Dusty Kelly, the Local 149 team pulled out all the stops. The conference was held at the Hyatt Regency on King Street W, and I would say it was a tremendous success.
Some of you might know that I am the Secretary-Treasurer of the Canadian Conference, and along with the Canadian Conference Executive Board we prepared the agenda for the event.
August 6, 7, 2025
The AFM set up two education days prior to the conference. Dan Blackwell and I were given the opportunity to attend these days, and the AFM paid our expenses and hotel, for which we are incredibly grateful.
Both days were packed with information. In the morning of day one, John Painting, Director of Electronic Media Services Division (EMSD), introduced his presentation— EMSD 101. John explained what recording is and why it is important for locals to keep a close eye on microphones going up during a live performance. When that happens, the performance becomes a recording and recording contract must be prepared. He talked about the importance of the various B report forms and that they must be managed correctly by the locals and copies sent to pension, the AFM, the leader and the local. He explained the importance of the Joint Venture Agreement for musicians who are working together without money changing hands. This contract sets out the expectations of the band, and if ever the music is reused, this agreement is a union-protected reminder of the events surrounding the recording. When it is reused, the Sound Recording and Labour Agreement (SRLA) kicks in, and the appropriate fees are paid to the musicians, along with pension contributions.
After a short break, Wages Argott, Director of Freelance Services, talked about the diverse services in his division: Co-funding, GoPro Hosting Services and AFMEntertainment.org. He mentioned that his division would be consulting with both the Education and Organization Services as the AFM begins to focus on organizing. He talked about the AFMs new Action Network. This is a site that locals can use when they begin to organize fundraisers and ticketed events and they need help creating forms and reports and setting up training days, tradeshows, and membership brochures. He is advocating for a Freelance Musicians Conference.
In the afternoon, Gabe Kristal, Director of the Organizing Division, told us that he is looking to institute a strategic organizing plan. His question to the students:
How do we grow membership within the locals? Everyone agreed that we do this through collective agreements, signing up more freelance musicians and expanding the CBAs that we currently have. He explained that organizing must be specific to each local, but that the goals are the same, and that our goals must be manageable. He said that locals are driven by leaders, and that often these leaders are obvious. We should bring them on board and use their skills to bring musicians to us.
On day two we spent the time learning the skill set associated with organizing. We organized committees, put together a model local checklist, and wrote a campaign plan.
We then did a role-playing exercise to help improve listening skills, and we played both parts.
The AFM will be spending a great deal of time in the future looking to help locals organize.
August 8, 2025
On first day of the conference, we began with the call to order, words of welcome and O Canada, which was performed by Julia Jordan, Director of Operations, Local 571 Halifax. The CanCon President, Paul Leclair, Local 276 named the committees and we got to the staff reports. This year instead of the Canadian office staff reading their reports, they formed a panel and answered questions (based upon the reports they had filed with us). This is the first time that this format has been used, and it proved to be successful. After the staff reports, Sue Moore, Secretary-Treasurer, Local 518 Kingston, filed the report of her committee’s work on the Alan Willaert Scholarship Fund. Sue said that the structure of the fund management has been finalized and that she will continue to report to delegates as it moves forward.
August 9, 2025
After a wonderful breakfast, hosted by Local 149 Toronto, the meeting was called to order and the International President, Tino Gagliardi, International Secretary-Treasurer Ken Shirk and Vice President from Canada Allistair Elliott addressed the delegates. All the speakers allowed time for questions and answers, and a great deal of time was spent talking about the P2 Visa situation, and how very unhappy the Canadian local delegates and their members are with the situation. The President assured delegates that his office is working tirelessly with the Canadian office and American legislators to try to bring the costs down. Ken Shirk talked about the AFM financial situation and said that although it is good and that they have a surplus, the numbers of members have plateaued, and that is why there is an emphasis on organizing. Our money comes from our members, and we need to grow.
The following presentation featured Director of Symphonic Services Rochelle Skolnick and Symphonic Services Canada Negotiator Richard Sandals, who discussed how locals collaborate with orchestra committees.
The Canadian discussion centered around the P2 visa situation again. There was input from everyone and a fulsome discussion ensured. One thing that was apparent to everyone was that penalizing American musicians who come to Canada to work in the same way that Canadians are just will not work. For one thing, in the US, it is Homeland Security that oversees the P2 Visas, whereas in Canada it is Immigration, and these two entities work in quite diverse ways. Also, American musicians belong to the same union as Canadians. We are colleagues and friends.
In the afternoon, Rochelle Skolnick discussed the #NOT ME App. From anonymous reporting to actionable insights, this app equips organizations to create safer and stronger cultures. She urged locals to investigate the app.
When MROC (Musician Rights Organization Canada) closed its doors, ARTISTI! took over the collection of those royalties. Matt Craig, from their Toronto office, spoke about the new agreement with the Canadian Conference and how the transition took place.
The next report came from Rea Beaumont, Chair of the standing CMAC committee of the Canadian Conference (the Canadian Musicians’ Advocacy Committee). Rea reported that CMAC discussed critical issues that CFM/AFM members are currently encountering on a national scale in Canada. The committee felt that the principal issue is P2 Visas – processing time and cost to CFM members.
CMAC recommended that the office of the Canadian Federation of Musicians develop a bursary fund model to help offset the high cost of P2 Visa applications.
We ended the day with a presentation by Beth Zare, AFM Diversity Committee Chair and Secretary- Treasurer Local 6, San Francisco, called Allyship. Beth explained that when we talk about the meaning of allyship in the workplace, we’re referring to the actions, behaviors, and practices that leaders take to support, amplify, and advocate with others, most especially with individuals who have differing backgrounds, perspectives, and life experiences than themselves. (Note that we say “advocate with …” rather than “advocate for …” because advocacy should be done in partnership with those we intend to serve.)
The approach to this work has been less about answering the question “What is allyship?” and more about reframing that question into “How can we act as an ally?”
At the conclusion of the day, the delegates enjoyed a wonderful meal with entertainment by Juno Award winning musician Hilario Duran, and awards presented to David Mirvish (Mirvish Theatres), Arden Ryshpan (Canadian Actors Equity Association), and Katherine Carleton (Orchestras Canada).
August 10, 2025
The final day of the conference was the winding up of business. We heard the committee reports and put forward the various resolutions sent to us by locals and resolutions of the Canadian Conference. Aside from updating the Can Con Bylaws, the three resolutions that passed were:
1- — that the AFM hire a full-time bilingual negotiator for the Symphonic Services Department, based in Canada
2- — that the office of the Canadian Federation of Musicians works in collaboration with the office of the American Federation of Musicians to develop a P2 Visa Bursary Fund to help offset the P2 Visa processing fees imposed upon Canadian musicians
3- — that the Canadian Conference of Musicians commit to inclusive Diversity, Equity, Inclusion and Accessibility (DEIA) representation in all publications, materials and media; and that the Canadian Conference of Musicians is encouraged to endorse political candidates on the local, regional, provincial and national levels that are DEIA supportive candidates; and that the locals of the Canadian Conference of Musicians strongly recommend that the AFM adopt a similar resolution.
We heard from the Director of the Musicians’ Pension Fund of Canada, (MPFC), Paul Versteeg-Lytwyn, that the fund is in healthy shape and the outlook is positive for musicians now and in the future.
Dan Beck from the Music Performance Trust Fund (MPTF) also reported that the fund is healthy and that locals across North America are taking advantage of them. He singled out Local 180 as the model to work towards in terms of our Live Streams. He asked us to produce a How-To document to share with locals. The success of our program is thanks to Dave Poulin and Mike Mullin, our MPTF live stream producers, who are world class.
The final presentation of the day was from IM Editor Antoinette Follet, whose topic was Beyond Newsletters: Connecting and Engaging Members Through Effective Communication. She gave a dynamic presentation and provided ideas for us to use.
Overall, it was a wonderful conference, and as Francine commented to me when we parted, “this will be a hard act to follow,” as Local 180 will host the 2026 Canadian Conference here in Ottawa – along with the AFM Convention!
We are looking forward to an exciting time in 2026 and we will keep members informed every step along the way.
Enjoy the rest of the summer!
Robin
Rapport de la secrétaire trésorière
Chers membres,
Rapport de la Conférence canadienne 2025
Cette année, la Conférence canadienne 2025 s’est tenue conjointement avec la Conférence de l’Organisation des musiciens symphoniques du Canada (OMSC). La Conférence s’est tenue du 8 au 10 août, et celle de l’OMSC s’est prolongée jusqu’aux 11 et 12 août. La section locale 149 de Toronto a accueilli cette conférence conjointe, et ont fait un travail remarquable! Sous la direction de son directeur général, Dusty Kelly, l’équipe de la section locale 149 a mis les bouchées doubles. La conférence s’est tenue au Hyatt Regency, rue King Ouest, et je dirais que ce fut un immense succès.
Certains d’entre vous savent peut-être que je suis secrétaire-trésorière de la Conférence canadienne et que, de concert avec le conseil d’administration de la Conférence canadienne, nous avons préparé l’ordre du jour de l’événement.
6 et 7 août 2025
L’AFM a organisé deux journées de formation avant la conférence. Dan Blackwell et moi-même avons eu l’occasion d’y assister, et l’AFM a pris en charge nos frais de déplacement et d’hébergement, ce dont nous sommes extrêmement reconnaissants.
Les deux journées ont été riches en informations. Le matin du premier jour, John Painting, directeur de la division des services de médias électroniques (EMSD), et sa présentation EMSD 101. John a expliqué ce qu’est un enregistrement, et pourquoi il est important pour les membres locaux de surveiller attentivement les micros allumés pendant un concert. Dans ce cas, le concert devient un enregistrement et un contrat d’enregistrement doit être établi. Il a parlé de l’importance des différents formulaires de rapport B, de leur bonne gestion par les membres locaux et de l’envoi de copies à la caisse de retraite, à l’AFM, au leader et au membre local. Il a expliqué l’importance de l’accord de co-entreprise pour les musiciens qui travaillent ensemble sans échange d’argent. Ce contrat définit les attentes du groupe et, si jamais la musique est réutilisée, cet accord constitue un rappel, protégé par le syndicat, des événements entourant l’enregistrement. Lorsqu’il est réutilisé, la convention collective relative à l’enregistrement sonore et au travail (SRLA) entre en vigueur et les honoraires correspondants sont versés aux musiciens, ainsi que les cotisations de retraite.
Après une courte pause, Wages Argott, directeur des services indépendants, a présenté les différents services de sa division : cofinancement, services d’hébergement GoPro et AFMEntertainment.org. Il a indiqué que sa division travaillerait en consultation avec les services de formation et d’organisation, à mesure que l’AFM se concentrerait sur l’organisation. Il a également évoqué le nouveau réseau d’action de l’AFM. Ce site permet aux sections locales d’organiser des collectes de fonds et des événements payants, et de créer des formulaires et des rapports, ainsi que des journées de formation, des salons professionnels et des brochures d’adhésion. Il plaide en faveur d’une conférence des musiciens indépendants.
En après-midi, Gabe Kristal, directeur de la division Organisation, nous a indiqué qu’il envisageait mettre en place un plan d’organisation stratégique. Sa question aux étudiants : Comment augmenter le nombre de membres au sein des sections locales ? Tout le monde a convenu que nous y parviendrions par le biais de conventions collectives, en recrutant davantage de musiciens indépendants et en élargissant les conventions collectives actuelles. Il a expliqué que l’organisation doit être spécifique à chaque section locale, mais que les objectifs sont les mêmes et que les nôtres doivent être atteignables. Il a ajouté que les sections locales possèdent beaucoup de leaders, et que ces leaders sont souvent évidents. Nous devrions les impliquer et utiliser leurs compétences pour attirer des musiciens.
Le deuxième jour nous avons consacré du temps à l’apprentissage des compétences liées à l’organisation. Nous avons organisé des comités, élaboré un gabarit de liste de contrôle locale et rédigé un plan de campagne. Nous avons ensuite participé à un jeu de rôle pour améliorer nos capacités d’écoute, et nous avons joué les deux rôles. L’AFM consacrera beaucoup de temps à l’avenir à aider les sections locales à s’organiser.
8 août 2025
Le premier jour de la conférence, nous avons commencé par l’appel à l’ordre, les mots de bienvenue et le Ô Canada, interprétés par Julia Jordan, directrice des opérations de la section locale 571 d’Halifax. Le président du Conseil canadien, Paul Leclair, de la section locale 276, a nommé les comités et nous sommes passés aux rapports du personnel. Cette année, au lieu que le personnel du bureau canadien lise ses rapports, il a formé un panel et a répondu aux questions (axées sur les rapports qu’il nous avait remis). C’est la première fois que ce format est utilisé, et il s’est avéré efficace. Après les rapports du personnel, Sue Moore, secrétaire-trésorière de la section locale 518 de Kingston, a présenté le rapport des travaux de son comité sur le Fonds de bourses d’études Alan Willaert. Sue a indiqué que la structure de gestion du fonds était finalisée et qu’elle continuerait d’informer les délégués de l’avancement du dossier.
9 août 2025
Après un excellent petit-déjeuner offert par la section locale 149 de Toronto, la réunion a été ouverte.
Le président international, Tino Gagliardi, le secrétaire-trésorier international, Ken Shirk, et le vice-président du Canada, Allistair Elliott, se sont adressés aux délégués. Tous les intervenants ont accordé du temps pour les questions et réponses. Une grande partie du temps a été consacrée à la situation du visa P2 et au profond mécontentement des délégués des sections locales canadiennes et de leurs membres face à cette situation. Le président a assuré les délégués que son bureau travaillait sans relâche avec le bureau canadien et les législateurs américains pour tenter de réduire les coûts.
Ken Shirk a parlé de la situation financière de l’AFM et a déclaré que, bien qu’elle soit bonne et qu’elle affiche un excédent, le nombre de membres a plafonné, ce qui explique l’importance de la syndicalisation. Notre argent provient de nos membres, et nous devons croître.
La présentation suivante a été donnée par Rochelle Skolnick, directrice des Services symphoniques, et Richard Sandals, négociateur de Services symphoniques Canada, qui ont expliqué comment les sections locales collaborent avec les comités des orchestres.
La discussion canadienne a de nouveau porté sur la situation des visas P2. Tous les intervenants ont apporté leur contribution et une discussion approfondie s’est déroulée. Il est apparu clairement à tous que pénaliser les musiciens américains, qui viennent travailler au Canada, de la même manière que les Canadiens est tout simplement inefficace. D’une part, aux États-Unis, c’est le Département de la sécurité intérieure qui supervise les visas P2, tandis qu’au Canada, c’est l’Immigration, et ces deux entités fonctionnent de manière très différente. De plus, les musiciens américains appartiennent au même syndicat que les Canadiens. Nous sommes collègues et amis.
En après-midi, Rochelle Skolnick a discuté de l’application #NOT ME. Du signalement anonyme aux informations exploitables, cette application permet aux organisations de créer des cultures plus sûres et plus fortes. Elle a exhorté les habitants de la région à se renseigner sur l’application.
Lorsque la MROC (Musician Rights Organization Canada) a fermé ses portes, ARTISTI! a pris en charge la collecte des redevances. Matt Craig, de leur bureau de Toronto, a parlé du nouvel accord avec la Conférence canadienne et de la transition.
Le rapport suivant a été présenté par Rea Beaumont, présidente du comité permanent de la CMAC de la Conférence canadienne (le Comité de défense des intérêts des musiciens canadiens). Rea a indiqué que le CMAC avait discuté des enjeux cruciaux auxquels les membres de la CFM/AFM sont actuellement confrontés à l’échelle nationale au Canada. Le comité estimait que le principal problème concernait les visas P2 : le temps de traitement et le coût pour les membres de la CFM.
Le CMAC a recommandé que le bureau de la Fédération canadienne des musiciens élabore un modèle de fonds de bourses pour aider à compenser le coût élevé des demandes de visa P2.
Nous avons terminé la journée par une présentation de Beth Zare, présidente du Comité de la diversité de la FAM et secrétaire-trésorière de la section locale 6 de San Francisco, intitulée «Alliance». Beth a expliqué que lorsque nous parlons de la signification de l’alliance en milieu de travail, nous faisons référence aux actions, aux comportements et aux pratiques que les dirigeants adoptent pour soutenir, amplifier et défendre les intérêts des autres, plus particulièrement des personnes ayant des antécédents, des perspectives et des expériences de vie différents des leurs. (Notez que nous disons «militant avec…» plutôt que «militante pour…», car le plaidoyer doit se faire en partenariat avec ceux que nous entendons servir.)
L’approche de ce travail a consisté moins à répondre à la question «Qu’est-ce qu’un allié?», qu’à reformuler cette question : «Comment pouvons-nous agir en tant qu’allié?»
À la fin de la journée, les délégués ont profité d’un merveilleux repas, accompagné d’une animation par le musicien Hilario Duran, lauréat d’un prix Juno. Des prix ont été remis à David Mirvish (Mirvish Theatres), Arden Ryshpan (Canadian Actors Equity Association) et à Katherine Carleton (Orchestras Canada).
10 août 2025
La dernière journée de la conférence a été consacrée à la clôture des travaux. Nous avons entendu les rapports des comités et présenté les différentes résolutions qui nous ont été envoyées par les sections locales et celles de la Conférence canadienne. Outre la mise à jour des statuts de la Conférence canadienne des musiciens, les trois résolutions adoptées étaient les suivantes :
1. que la FAM embauche un négociateur bilingue à temps plein pour le Département des services symphoniques, basé au Canada ;
2. que le bureau de la Fédération canadienne des musiciens collabore avec le bureau de l’American Federation of Musicians pour créer un fonds de bourses pour les visas P2 afin de compenser les frais de traitement imposés aux musiciens canadiens ;
3. que la Conférence canadienne des musiciens s’engage à promouvoir une représentation inclusive de la diversité, de l’équité, de l’inclusion et de l’accessibilité (DEIA) dans toutes ses publications, documents et médias; et que la Conférence canadienne des musiciens soit encouragée à appuyer les candidats politiques aux niveaux local, régional, provincial et national qui soutiennent la DEIA; et que les sections locales de la Conférence canadienne des musiciens recommandent fortement à la FAM d’adopter une résolution similaire.
Le directeur de la Caisse de retraite des musiciens du Canada (CRMP), Paul Versteeg-Lytwyn, nous a affirmé que le fonds se porte bien et que les perspectives d’avenir sont positives pour les musiciens.
Dan Beck, du Fonds fiduciaire pour l’interprétation musicale (FFIAM), a également indiqué que le fonds est en bonne santé et que les sections locales de toute l’Amérique du Nord en profitent. Il a cité la section locale 180 comme modèle à suivre pour nos diffusions en direct. Il nous a demandé de produire un guide pratique à partager avec les sections locales. Le succès de notre programme est dû à Dave Poulin et Mike Mullin, nos producteurs de diffusion en direct pour le FFIAM, qui sont de classe mondiale.
La dernière présentation de la journée a été présentée par Antoinette Follet, rédactrice en chef de la FFI, sur le thème «Au-delà des bulletins d’information : Connecter et mobiliser les membres grâce à une communication efficace». Elle a fait une présentation dynamique et nous a suggéré des idées.
Dans l’ensemble, ce fut une conférence formidable, et comme Francine me l’a dit avant de nous quitter, «ce sera difficile de faire mieux», car la section locale 180 accueillera la Conférence canadienne 2026 ici à Ottawa, en même temps que le congrès de l’AFM !
Nous nous réjouissons à l’idée de vivre une année 2026 passionnante et nous tiendrons les membres informés à chaque étape.
Profitez bien du reste de l’été !
Robin
SEPTEMBER NOMINATIONS
September Nominations
The September General Meeting, which will be held on MONDAY, September 15th, at 12:30, will be our nominations meeting.
The following positions will be open for election:
— President/ Delegate to the AFM Convention and Canadian Conference
— Vice-President
— *Secretary-Treasurer/ Delegate to the AFM Convention and Canadian Conference
— Four Executive Board members
— Two Auditors
— **Two Trustees
—***Third Delegate to the AFM Convention and Canadian Conference
— First Alternate Delegate to the AFM Convention and Canadian Conference
— Second Alternate Delegate to the AFM Convention and Canadian Conference
Here is the pertinent information from our Local’s Bylaws:
Article 2
Section 18 – Delegates
a) The President and Secretary shall be Delegates, by right of office, to the Convention of the American Federation of Musicians and to the Canadian Conference.
b) Alternate Delegates to attend the aforementioned Convention and/or Conference, and delegates to other organizations to which the Local is affiliated, shall be appointed by the President, or elected if so required by AFM/CFM Bylaws.
Article 3 – Eligibility of Members for Office
Section 1
a) Any member who has completed not less than twenty-one (21) months’ service on the Executive Board of Local 180 shall be eligible for election or appointment to the office of President, Vice-President or Secretary-Treasurer. The Executive reserves the right to vote on the eligibility of a candidate who has served on the Board of another AFM Local.
b) Any member who has completed not less than twelve (12) consecutive months’ membership in Local 180 at date of nomination, and who is in good standing, shall be eligible for election to the Executive Board.
Article 4 – Nominations and Election of Officers
Section 1 – Nomination
a) Nomination of Officers shall be held at the third General Meeting every second year.
b) Only members in good standing of the Local may nominate another member for office.
c) Absent members who have expressed in writing their willingness to accept nomination may be nominated. Absent members who wish to nominate another member must do so in writing, stating the position and the name of the nominee. Any such communication from absent members must be able to be authenticated by the Local.
d) No member may be nominated for election for more than one office, with the exception of the Delegates and Alternate Delegates discussed in Article 2, Section 18.
*Please note that, except for a first term two-year term, the Secretary-Treasurer is elected every four years.
**As per Article 1, section 1 of our bylaws, Trustees shall have been members in good standing for ten (10) years immediately preceding their nominations, and shall remain so throughout the term.
*** Normally we send only two delegates to the AFM Convention because of cost. However, the 2026 Convention will be held in Ottawa, so this time we will be able to have a third delegate, as allowed by the AFM Bylaws because of the number of people in our Local.
Former Executive Board member Lawrence Vine has agreed to serve as the chair of the election committee.
THIS MEETING WILL BE A HYBRID ONE; HOWEVER, WE WOULD LIKE TO SEE AS MANY PEOPLE AS POSSIBLE ATTEND IN PERSON.
PROPOSED BYLAW CHANGES
The Board of Directors proposes amending the Local 180 Bylaws as follows: In Article 2, Section 4 of the Bylaws, add a sentence at the end to refer to a Code of Conduct. Please see Section 4 below. The proposed new language is italicized and underlined.
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 orthe 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. It shall be the duty of the Executive Board to supervise the interests of the Local; to investigate all charges against a member, or members, or any rumours which they consider detrimental to the Local, or AFM; to call for papers or witnesses, or have the power to cause a member, or members, who have been charged with violating the Bylaws, to appear before them; receive applications for membership, pass upon all candidates; impose or remit penalties; submit questions in dispute for the Local to decide; pass upon all bills against the Local, and report all their actions or decisions at the following regular meeting. The Executive Board may, at its discretion, hire a Business Representative or Business Representatives, to aid in the maintenance of good business relations with employers of musicians. The Board may also hire an Operations Manager to aid in day-to-day business of the Local. Remuneration for such services shall be determined by the Executive Board. The Executive Board shall have the power, by unanimous consent, to borrow money or establish a line of credit when necessary to serve the best interest of the members. The total borrowed amount shall not exceed 25% of the Local’s investments.
(NEW:). The members of the Executive Board and all employees of the Musicians’ Association shall read, sign and abide by the Code of Conduct outlined in Appendix B of these Bylaws.
The next Convention of the AFM will be held in Ottawa, Ontario, the beautiful capital city of Canada – our first Canadian-held Convention since 1973!
We received the following message on February 20th from Ken Shirk, Secretary-Treasurer of the AFM. This is truly exciting news for our Local! Put the dates in your calendars, as the AFM Convention is open to all to observe. What better way to see for yourselves how your union works?
Dear Officers,
As veterans of AFM Conventions know, since 1991 the AFM has held every one of its International Conventions in Las Vegas, Nevada. The delegates to the 2023 Convention made it clear, however, that a new location for the next Convention would be most welcome. Hearing that, and after an extensive search, the International Executive Board is pleased to advise that the next Convention of the AFM will be held in Ottawa, Ontario, the beautiful capital city of Canada – our first Canadian-held Convention since 1973!
Please take note of the following:
DATES – The actual days of the 2026 Convention will be different from past conventions, so please mark your calendars accordingly –
Registration will begin on Friday, June 19, 2026.
The Convention will start on Saturday, June 20, 2026 and conclude on Tuesday, June 23, 2026
2025 OCSM Conference Report
August 9 – 12, 2025
This year, the 2025 OCSM Conference was scheduled to coincide with the Canadian Conference of Musicians. Both conferences were held at the Hyatt Regency Toronto. It was an honor to represent NACO at the gathering. Along with all the AFM locals in Canada, 21 OCSM representatives were present. These joint conferences are a rare opportunity to not only get a sense of the orchestral landscape in the country, but also to hear about the challenges and successes of the AFM locals in Canada.
The first day of the joint conference was held on Saturday, August 9th. This was the day when both conferences met together for the entire day. We started at 9:00am with a call to order. This was followed by speeches from the AFM International President Tino Gagliardi, International Secretary-Treasurer Ken Shirk, and Vice President from Canada Allistair Elliott. All three speakers allowed for a short question period after each presentation. Rochelle Skolnick, Director, SSD and Richard Sandals then gave a presentation about locals working with orchestra committees. Discussions followed with lively questions and debates. After lunch, we heard from Matt Craig, the head of ARTISTI! who is now in charge of collecting royalties for musicians in Canada. ARTISTI! took over these duties from MROC at the end of 2024. The day concluded after hearing a report from the Canadian Musicians Advocacy Committee given by Rea Beaumont, and Beth Zare about Allyship.
Sunday, August 10th was the first day of the OCSM conference. At 9:00am we started with a call to order and the introduction of delegates. This was followed by the President’s report. We then went back over to join the Canadian Conference for a report on the Musicians’ Pension Fund of Canada by Paul Versteeg-Lytwyn. I am happy to report that our pension fund is viable and healthy thanks to strong leadership and management by their board. The fund is now worth over one billion dollars. At the conclusion of the pension report, we went back to our OCSM meeting room to continue with the conference. We then heard reports from the various player conferences (ICSOM, ROPA, RMA, and TMA). This was followed by a discussion lead by Antoinette Follett entitled “Beyond Newsletters: Connecting and Engaging Members Through Effective Communication”. We then proceeded to begin the OCSM delegate reports until a lunch break. The afternoon session was a continuation of delegate reports.
Monday, August 11th began with what is usually a highlight of the conference for me, a report by Katherine Carleton of Orchestras Canada. She gave a report on the issues, trends and advocacy across the Canadian orchestra sector. Her presentation did not disappoint. We are fortunate to have such a passionate and knowledgeable advocate such as Katherine. She was honored by the AFM at their Gala on Sunday evening. Following Katherine we heard from Dr. Lee Bynum of the American Composers Forum via zoom where he presented a talk on workplace culture. After lunch we met with OCSM legal counsel Michael Wright and Danielle Stampley. They presented a talk on human rights and accommodation issues as well as bargaining trends and strategies in the Canadian orchestral community. Following Michael and Danielle we heard from Morgan Mackenzie of the Western Financial Group Insurance. Western is one of the major players in the instrument insurance business in Canada. Many OCSM musicians have their instruments insured with Western. One of the many benefits of being an OCSM member is a healthy discount on insurance from Western. The final presentation of the day was given by Dr. Caroline Traube of the University of Montreal. She led a discussion entitled “What every musician needs to know about sound, room acoustics and hearing health”.
Tuesday, August 12th was the final day of the OCSM conference. We started off with the AGM followed by nominations/elections, committee reports, and resolutions. Our first guest of the day was Rich Coburn of BIPOC Voices. I knew Rich from his time working at the NAC and it was a pleasure to reconnect with him. He led a discussion on programming diversity. After a break we met with Jemma Jones and Gwen Klassen where we discussed safety in the orchestral workplace. After lunch we concluded the OCSM conference with various conference topics. This is always one of the most important parts of the conference where we exchange ideas and strategies from each of our orchestras.
I came away from this year’s conference with a different sense than other years. One big challenge throughout the industry is the need for skilled orchestra managers. Many organizations struggle with high turnover rates and burnout. I see this as an opportunity for growth of the industry in orchestral management. We discussed ways to improve the situation amongst ourselves and with Orchestras Canada. In addition, it was striking how many retirements were occurring in the country’s orchestras. This represents a great deal of experience and knowledge that has left our organizations. However, I am happy to report that our younger members have taken up the gauntlet with enthusiasm and curiosity. I am very proud to be the witness to the next generation of leaders in the orchestral world in Canada who are vital to its continued health and strength.
David Goldblatt, Assistant principal viola, NACO
David Goldblatt – Assistant principal viola, NACO, Katherine Carleton – Executive Director of Orchestras Canada and Member of Local 518 Kingston, and Robin Moir – Secretary-Treasurer of Local 180 Ottawa-Gatineau
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.
AFM EDUCATION DAYS REPORT
Dan Blackwell
Earlier this month, Robin and I were in Toronto for the officers’ training portion of the Canadian Conference.
John Painting, the Director/Assistant to the President of the AFM, and in charge of the General Electronic Media, Radio, Commercial Announcements, and Special Letters of Agreements, was there to share his expertise.
AFM/CFM & Electronic Media Agreements
The American Federation of Musicians (AFM) has specialized agreements for different types of recordings, including:
General Electronic Media: Covers digital content like podcasts, livestreams, and online performances.
Limited Pressings: Designed for small-scale physical releases, often under 10,000 units.
Commercial Announcements: These are governed by specific contracts to ensure fair compensation for musicians in advertising.
Contracts & Letters of Agreement
These documents are essential in protecting musicians’ rights. A Letter of Agreement is often used when a full contract isn’t practical, but terms still need to be formalized.
They help define usage rights, payment terms, and working conditions—especially important in freelance and gig-based work.
We also discussed organizing at a local level. We were shown proven strategies and were asked to implement them in different scenarios. These are some of the key points we learned from the exercise:
Local Organizing
Strong local leadership is key to effective organizing. (We have that here in Local 180.)
Proven strategies often include member outreach, coalition building, and scenario-based training.
Build Initial Support: Start by discussing workplace issues with coworkers and forming an organizing committee to represent different genres.
Develop Organizing Tactics: Utilize actions like petitions, rallies, marches, letter-writing campaigns, and surveys to engage members and increase participation.
Identify Key Leaders: Recognize and recruit key “organic” leaders among groups of musicians who can influence their co-workers.
Understand Employer Tactics: Be aware of employer anti-union tactics and empathize with workers’ issues to build trust and inspire action.
By focusing on these points, a local union can effectively organize and build power among its members, ultimately leading to better bargaining power and improved working conditions.
OTTAWA MUSIC PROMOTER HARVEY GLATT HAS DIED
Ottawa’s music community has lost a man who helped develop and shape the musical fabric of Ottawa. Harvey Glatt brought music to the people of our city, from opening Treble Clef Records in 1957, to opening the legendary Le Hibou coffee house.
Harvey launched CHEZ 106 FM In 1977. CHEZ was Ottawa’s first FM rock music station. He invested in True North Records whose roster included Bruce Cockburn, Buffy Sainte-Marie, Barney Bentall, Lynn Miles, Murray McLauchlan, and many more.
Harvey and his wife Louise also supported the National Arts Centre Orchestra, their generosity left a big impression on Ottawa’s music scene.
Remembered for his kindness, Glatt gave generously to arts and social service organizations across the city.
He was inducted into the Canadian Association of Broadcasters Hall of Fame in 2007, received the Queen Elizabeth Diamond Jubilee Medal in 2013 and was named to the Order of Ottawa in 2022.
He also served on the boards of the Canadian Film Institute, the Ottawa Chamber Music Festival and FACTOR, which funds Canadian recording artists.
DIRECTORY OF CANADIAN UNION-MADE PRODUCTS AND SERVICES
With the impact of Trump’s tariffs already being deeply felt by workers across Canada, and with far deeper impacts still to come throughout this tariff crisis and trade war in the days, weeks, and months ahead, it’s worth mentioning and reiterating that buying union-made Canadian products, and patronizing unionized hotels, automotive dealers, and other unionized services, supports good jobs in Canada.
It’s not just where it’s made, it’s how it’s made.
When you buy union-made, you’re backing good jobs, fair wages, and safe working conditions in communities across Canada.
The Canadian Labour Congress (CLC) has now launched a new bilingual comprehensive online directory of Canadian union-made products and services so you can support fellow workers, our economy, and good Canadian jobs where workers can collectively bargain for better wages, benefits, and working conditions.
The “Buy Union” directory can be found online at: https://canadianlabour.ca/buy-union/
Share this new “Buy Union” online directory resource with your family, friends, co-workers, and community, and let’s build worker power, one purchase at a time.
Don’t see a product or service made by you or your fellow union members in this new online directory?
Have your union email me at UnionLabel@clcctc.ca with lists of union-made products and services provided by members of your national union, and let us know what products your unionized company makes and which union it is made and produced by.
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.
Détails de l’application étape par étape
Attend hybrid LOCAL 180 GENERAL MEETING
Doors Open Monday, June 9th @ 12:00 p.m.
MEETING STARTS @ 12:30P.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
Doors open Monday, SEPTEMBER 15th, 12:00 p.m.
MEETING STARTS @ 12:30 p.m.
Please let Dan know (dan@ma180.org) if you will be attending so that we know how much pizza to order.
Promote Your Performances with eNewsHarp, Facebook and Instagram
Are you ready to showcase your talent to a wider audience? MA180 is here to help you shine! We invite Local 180 musicians to submit their upcoming gig details, including photos, bios, and background information. Share your story and let us amplify your voice and your music. Send your submissions to gigs@ma180.org and we’ll help you stand out in Ottawa/Gatineau’s vibrant musical community.
Steve Boudreau is someone who really has been there, done that. He has taught piano, played bass, tootled on the recorder, been an accompanist at the Kiwanis Festival, entertained on cruise ships, taken part in the Ottawa Jazz Festival, been a Local board member, and toured for several years in the pit band for a number of different musicals. He has appeared in most of the Canadian provinces and most of the US states.
It all began when Steve started figuring out how the piano in his family’s home in Bells Corners worked. He was three or four years old. At the ripe old age of five, he started taking piano lessons. He credits Lorraine Griffith with being an honest, encouraging teacher. He studied classical piano until he reached Grade 8 in the RCM at the age of 16, when he switched over to jazz studies with Yves Laroche. Steve had also joined a recorder ensemble that met twice a week in his elementary school, and he played the electric bass in high school. With all of this background, ear training seemed easy when he got to university.
Steve’s first gig, before he joined the AFM, was at a restaurant in Bells Corners, where the musicians (piano and bass) got $40 each for four hours, working their way through a fake book twice every night, two nights a week for a year. Steve was sixteen years old. This experience taught him how to develop a thick skin and demand payment. He joined the AFM in order to do some noon-hour Ottawa Jazz Festival concerts for which you had to be a member at that time.
Steve started out studying computers and math at Carleton University, with a goal of working at Nortel. However, the first week he was at Carleton, he stumbled upon the music department (not an easy thing if you’re familiar with the university campus!), opened the door to a jazz ensemble rehearsal, and was asked by Rob Frayne if he played the bass. All they had was a string bass, so that’s what Steve wound up playing. Petr Cancura, Jeff Asselin, Brian Asselin, and Linsey Wellman were in the group. Through them, Steve met everybody in the jazz scene in Ottawa. Not surprisingly — and even before Nortel went out of business — Steve switched to a music major in his third year. He remembers that Elaine Keillor auditioned him.
Steve continued studying piano, this time with Jeff Johnston in Montreal. They worked mostly on jazz, but Johnston felt that it was important to learn classical music as well, so they worked on one major piece per semester. Even so, most of the later accompanying that Steve did was due to his skills in sight reading. Back to Carleton, though: by the time Steve had finished his classes, he still had two years of lessons left, so he wound up being at the university for six years.
After university, Steve taught and gigged. He started playing in the pit band for musical theatre shows around this time. His first show was The Who’s Tommy in 1999 at the Centrepointe Theatre. He did some accompanying work — in short, any kind of musical work he could find. There was one year when he didn’t teach at all but just performed (he remarked that he probably wouldn’t be able to do that now).
A milestone in Steve’s life was his connection with Danilo Pérez from Panama. Pérez, who taught at the New England Conservatory in Boston, made a huge impression on Steve, who asked to study with him. So Steve, armed with a half scholarship and a big student loan, did a master’s degree at the New England Conservatory. He credits Pérez with being his main musical inspiration. They reconnected recently at the Lake George Music Festival.
After his studies in Boston, Steve moved back to Ottawa. He started his musical theatre touring gigs around this time, first with a truck-and-bus tour of Fiddler on the Roof out of Broadway. He had met Sam Latifa through subbing at the NAC for Mamma Mia and other shows, and that led to that two-year tour of Fiddler. There was a lot of travel involved, with two or three cities visited each week. Then Steve did another year of touring with Catch Me If You Can. This was a tad more restful, with a week or two in the larger cities. They even flew sometimes.
When asked if it didn’t get a bit …um, old playing the same show for such a long time, Steve replied that it didn’t because the conductor took copious notes every single evening for both the musicians and the actors. This taught Steve to be really caring and meticulous. He also mentioned the fact that eight weeks of preparation in NY City before each tour were interesting because of the other folks gathering in the same building, from cheerleaders to youthful Broadway actors working on their school lessons.
While he was home between shows, Steve met his wife, Kellina Gehrels — also a member of Local 180. Steve was playing in a church, and Kellina subbed for him. In fact, she still plays in that church, with Steve volunteering on the electric bass from time to time. Kellina, who joined the AFM to play keyboards in the pit on some Orpheus shows, contacted Robin Moir for some advice. Robin suggested that Steve run for the Local 180 executive board, of which he was a member from 2012 to 2016. He still keeps the Local’s Bylaws up to date.
Somewhere along the line, Steve played on a cruise ship for a couple of runs, mostly out of the US in the summer. He did transatlantic cruises and has touched down in the Mediterranean and Caribbean. He has spent time in a Barcelona and Venice, but he spent more time in Boise, Idaho and in Corpus Christi, Texas! Now, however, he wants to sleep in his own bed every night.
Steve hasn’t slowed down a bit. He’s a recording artist, on top of everything else.
Brian Browne talked Steve into doing his first recording; that one was of his trio. He’s working right now with Kellylee Evans. Their Christmas record got a Juno nomination. He’s working on a fundraising concert — a Duke Ellington tribute — to replace the strings in a 1908 Knabe piano that was donated to Christ Church Bells Corners. Steve and Local 180 board member Dave Renaud made a recording together in 2024, with half of the music being written by each of them. It’s called Journey, and you can listen to it on YouTube. Steve was careful to mention that they filed a union contract for the recording. He feels that the union is important, especially for those people who can’t stand up for themselves.
Steve stays as busy as ever, teaching and playing. He and Kellina rarely take holidays, and they would love some time off. He would also like some time to find out more about his grandparents’ lives. Steve’s grandfather is 105 (!), and his grandmother is somewhere in her 90’s (she is not so forthcoming about her age). Incidentally, the grandfather was born the same year as Dave Brubeck.
Our hope for Steve is that he lives as long as his grandparents, making music along the way — and that he does indeed manage to find a bit of free time along the way.
BIG HEALTH NEWS!
We are delighted to share this announcement from the CFM office in Toronto:
The CFM teams up with @afbscanada so members and their family can access personal health insurance made exclusively for the Canadian artistic community. The Arts & Entertainment Plan is offered by an insurer not driven by profit and is available nationwide. This plan includes prescription drug care, dental care, travel emergency medical, extended health care, and other insurance types including Group Term Life and Accidental Death & Dismemberment. For more information and to get a quote visit https://www.aeplan.ca
La FCMs’associe à @afbscanada pour permettre à ses membres et à leur famille d’avoir accès à une assurance maladie personnelle conçue exclusivement pour la communauté artistique Canadienne. Le régime Arts et Spectacle est offert par un assureur non-lucratif et est disponible à l’échelle nationale. Ce régime comprend les médicaments d’ordonnance, les soins dentaires, les soins médicaux d’urgence en voyage, les soins de santé complémentaires et d’autres types d’assurance, y compris l’assurance vie temporaire collective et l’assurance en cas de décès et de mutilation par accident. Pour plus d’informations visitez https://www.aeplan.ca/fr
OBITUARIES
Peter Turner and Kyle Jordan
David Johnstone
With a heavy heart, we announce the passing of David George Johnstone, age 85, who died peacefully in the hospital, surrounded by friends and family. A lifelong teacher and devoted musician, he will be remembered as an important part of the vibrant Ottawa music community.
Many will know him as a guitarist and banjo player in numerous local jazz bands such as the Apex Jazz band, but he also inspired many young musicians with his teaching, encouraging them to embrace creativity and curiosity in their life and in their musicianship. Through his work as a teacher at Carleton University, the Trebas Institute, and in the early days of the Ottawa Guitar Society, he was always trying to make the world a better place with his warmth, his humor, and his love of music.
A celebration of life will be held at the Hintonburg Community Centre between 2-4pm on Sunday, October 5th.
Ronald Sheldon Seguin
Here’s one of Ron’s stories (taken from his Facebook Page):
I forget if I ever told you about this once in a lifetime gig so here goes. Probably mid 70’s – Winter storm in Canada and we get a call from a booking agent to go and play a weekend gig up in North Bay which is supposed to be a trio blues rock gig.
Our guitarist was ill so we needed to find a guitarist who sang real quick. We had put an add in the newspaper. Within a few hours the next day this guy calls us and says he’s available. Having to leave early that day for the long drive, we accepted his offer without knowing anything about it his abilities.
We go pick him up and he pretty well remains silent for whole drive. The dude is 5 feet tall wearing a Walmart wig. After hours of driving through a snow blizzard we finally arrive and set up our gear.
At 10pm we get up on stage to start playing and I ask him what he’d like to play. He says: let’s play “Roll out the barrel”. This guy had no clue what a blues rock band sounded like.
Needless to say we got fired after the first set and had to drive all the way back plus not getting paid.
Even after all these years this event still pops up in my head as if it was yesterday.
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.
New Members
Marchese, Steve – Guitar
Smith, Joseph – Bassoon
Tapiero, Eyal – Guitar, Keyboard
Resigned
Suspended
Our mailing address is:
The Musicians’ Association of Ottawa-Gatineau
Local 180
280 Metcalfe Street, Suite 301
Ottawa, ON K2P 1R7
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.
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
Once we process the transfer, we will send you an electronic receipt.
____________
If you are planning to file contracts electronically in 2025, please use
our new e-mail address:
Thank you!
_____________
YOU’VE GOT MAIL & MONEY TO DEPOSIT!!!
Do we have your current email address?
The Local 180 Office sends out important advisories to members by email and we want to make sure that you’re reachable. This year the Local will also be paying most musicians using E-Transfer and Direct Deposit, so we MUST have your correct e-mail address.
Please notify the office of any changes to your contact information. Include your phone number, home address and email address.
Call (613)700-9260 to make sure that we have your correct contact information.
A REMINDER ABOUT EXPELLED MEMBERS
A person who has been expelled from our Association is no longer a member of the Association or the AFM. Members and leaders are reminded:
Do not play engagements with non-members. Persons are generally expelled for serious violations of our Constitution and Bylaws. Expulsion is not a life sentence; the individual has the right to settle these matters with the Board and regain member status. But until that step has been taken, we urge leaders and members not to give non-member rights and privileges which belong only to members.
2025 DUES
Regular Member
Yearly Before Jan 31st: $232.00
Yearly After Jan 31st: $242.00
Half Year: $132.00
Quarterly: $67.00
Life Members
Yearly Before Jan 31st: $120.00
Yearly After Jan 31st: $130.00
Half Year: $67.00
Quarterly: $34.50
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 not in place, contractors, leaders, and musicians should contact the Secretary-Treasurer promptly to guarantee the protection of members.
The Local 180 office will work with you to make the contract process for the GPA an easy one!
ATTENTION MUSIC TEACHERS!!!
If you would like to have your name included in the Music Teacher’s Directory on the ma180.org website, please contact Dan Blackwell who is currently collecting the data.
Please include all teaching disciplines.
EG: Vocals, Guitar, Violin, Percussion etc. etc.
This database will be featured on the ma180.org website.
Thank you!
MUSICIANS’ MEMBERSHIP DIRECTORY ONLINE
Members have requested that we maintain a current and accurate copy of the Local Membership Directory found in the Members’ Only section of our website.
However, we do have members who wish to keep certain information found in the directory private.
If you would like to ensure that your privacy is protected, please let us know.
Please contact either Robin or Dan.
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HUB PROGRAM COVERAGES
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Rental Reimbursement — up to $10,000 in coverage, if you need to rent instruments or
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$100 deductible per occurrence on instruments and equipment, as opposed to other proposed rates are $250
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Up to $2,500 coverage on promotion material, T-shirts, CD’s, posters, etc.
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Loss of earnings up to $5,000 due to loss or damage to venue
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Loss of earning up to $5,000 due to loss or damage to equipment
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Locked vehicle – no exclusion
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Rented, Leased or Borrowed Equipment, $10,000 limit up to 30 consecutive days
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Optional Commercial General Liability including bodily injury, property damage, medical payments, tenants legal liability and non-owned automobile
RATES AND PREMIUMS
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Liability rates ($500 deductible):
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Cristina Omar| cristina.omar@hubinternational.com | 519-325-1785 | TF:800-463-4700
