 The Clarinet BBoard
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Author: wjk
Date: 2004-12-23 01:25
What are the pro/cons of joining a musician's union? What are the usual requirements (such as number of paid gigs in a given time period, etc?)
Happy Holidays to all---and Thanks!
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Author: diz
Date: 2004-12-23 02:01
WJK it's a good queston and depends entirely on your country of residence.
Being a member of the musican's union in Australia is no long compulsory (regretfully) since our current facsit regime knee-capped a lot of them (unions) or at least is still in the process of doing this ... however some most major arts organisations still require it.
On the whole, taking the good with the bad, I think they have done a fine job and support them ... but then again I'm a bit of a lefty so I would, wouldn't I?
Without music, the world would be grey, very grey.
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Author: Lisa
Date: 2004-12-23 03:42
More specifically than what diz suggested, I've found that it depends on your locality and the rules/expectations of the ensembles there.
I was a card-carrying member of AFM (Local #41) when I was 17, and joined because it was a prerequisite for performing with the particular community band I joined--and we were only active in the summertime. I was surprised at the (relatively high to me back then) amount I was paid to play in my old high school's musical pit the spring after my freshmen year of college, because I was union.
Then I moved out of state, and the rules here are different. The community band I joined will not even TAKE union members, because they have to be paid for performances, or something like that. (Sorry, I don't understand all the rules and regs.) I think union members in my locale are mostly affiliated with symphonies and other "high-calibre" performing groups, whereas the area I grew up in would take anybody in the union provided that they were at least 16.
I'm very interested in what the pros have to say, because I know they'll reply with an insider's viewpoint.
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Author: ron b
Date: 2004-12-23 04:53
Pretty much the same in California, Diz. At least, as well as I can recall now, the local I belonged to for many, many years, a very long time ago, was little more than a social hangout. I joined as a high school junior because I was playing lots of dance band gigs and being a card-carrying union member was the thing to do.
- r![[cool]](http://test.woodwind.org/clarinet/BBoard/smileys/cool.gif) n b -
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Author: David Spiegelthal ★2017
Date: 2004-12-23 13:44
I was a member of the Washington, DC local for one year and then quit because what little gig money I was making was all going to Union dues to pay the pensions of the old fat guys that couldn't play any more and were just collecting their Union money. But keep in mind that Washington, DC is a very unusual town, music-wise: unlike most major cities, the majority of gigs in the DC areas are NON-union, such that Union membership can actually be a handicap to staying employed (i.e. Union musicians are not supposed to play non-Union gigs), and about the only Union gigs in town here are the Kennedy Center for the Performing Arts, some of the bigger hotels, and a few other odds and ends. Furthermore we have all the major military bands in town, providing a vast pool of highly-competent non-Union musicians ready to play whatever gigs are available. So around here, at least, being in the American Federation of Musicians is really only worthwhile for classical musicians who want to play at the Kennedy Center. This is my opinion only, if I'm off-base I'd welcome any different views from other local musicians.
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Author: John J. Moses
Date: 2004-12-23 14:24
WOW, David!
Hi wjk:
I've discussed the importance of being a member of the Union as a very important step in a musician's professional life. Please check some earlier posts for many comments on Union affiliation. The American Federation of Musician's website is:
http://www.afm.org/public/home/index.php
Many small towns and all the big cities have Locals which can make joining very easy for you, and they can help you find work. The association with other professional musicians you will meet at the Local, may prove to be valuable contacts for your future. Dues can be paid, in most Locals, on a quarterly basis, so the expense is not so great. The sooner you join, the more benefits you will reap in your musical future. And, way down the road, when you do decide to retire, your Union Pension can really make a difference in your financial well-being. Younger members pay in, older members collect...just like Social Security!
As a young professional in the Union, you will be guaranteed a decent wage for your work, you WILL be paid, you will receive Pension, Welfare, and even some health benefits, all good things. You won't have to play for free, you won't have to beg for your money, and you will be a part of a large group of professional musicians who all work together to help one another.
Join now, it's a great first step.
From the Federation website:
"WHY JOIN?
20 Great Reasons to Join the AFM
GoPro Music: AFM's International on-line booking/referral program.
Industry Audition Ads
Free AFM Contracts
Networking
Pension*
Discounts at Music Stores**
Insurance plans
"No Hassle" Recording Revenue Collections***
Local Job Referral Programs****
Job Protection
Expert Staff Assistance
Gigs through Music Performance Trust Funds
Subscription to International Musician
Preferred Rate Credit Cards and Loans
Rehearsal Space and Recording Studios****
Fund for Disabled Musicians
Legal Services Discounts
AFM Special Payment Funds***
Legislative Representation
Demo/Master Recording Protection***
* Depends on Engagement Performed. Contact AFM for More Details.
** At Participating Stores.
*** Work Must be Under Applicable AFM Agreement.
**** Varies by City
JJM
Légère Artist
Clark W. Fobes Artist
Post Edited (2004-12-23 14:26)
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Author: Lisa
Date: 2004-12-23 14:49
David,
I'm here in College Park, MD and I know that most local/community musical organizations are only open to non-union members. I've been paid for gigs in the past, and non-union community theaters pay nothing, or not much, or just gave us some comp tickets. Rockville Musical Theater pays its lead players only, and that's if it's in the budget or not. And of course it's a non-union thing, too.
You're right David, it's so very different around here.
Post Edited (2004-12-23 17:04)
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Author: William
Date: 2004-12-23 15:55
Well, that may be all and good for the NYC music scene, but out here in the "heartland", the job title, "prefoessional musician" does not really exist and many of those advantages listed by JJM really don't matter to us. Here in Madison, WI, about the only good reason for the average musician to join the AFM is to be able to sign the "greensheet" for summertime MPTF band gigs. And for most, there are barely enough of those opportunities to pay for the yearly local dues. Our two symphony orchestras do have yearly contracts that are negotiated by our local and union membership is required, but for most other musical venues--dance band, theater pits, etc--no musicians union card is required or ever asked for. While it is true that the musicians local extablishes a minimum wage scale for all classes of performance, most combos--union or not--charge more per hour anyhow, so that is a "mute" subject. But that is even if we can get work anymore because most "live" music gigs have been taken over by the disc jockeys or karioke and our local AFM seems powerless to protect us.
Now, JJM, before you stab me with all of your old reeds, let me say that I have been a life-time member of AFM local 166 and have just mailed in my dues for next year. However, many of my musician friends have dropped out over the years, either because they couldn't even make back their union dues in MPTF gigs, or because they could "get the work" anyhow without the card. Most of the paying public in "our neck of the woods" doesn't really care if your Union or not--or even if your "live". And with the public attitude as such, our local musicians union doesn't really have much influence--or relevance for the average working musician.
.
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Author: allencole
Date: 2004-12-23 16:07
Ditto to David & Lisa here in central VA. For years our local did more to starve players and support an old boys' network. Not so much due to the membership as a whole--or even its officers, but to the folks who were in paid executive positions.
A few diverse examples of good and bad impressions made on me by our local:
- About 25 years ago, my private clarinet teacher was fined $500 for playing in a non-union pit, although the union had no work for him.
- In the last 6-7 years, I have attended a number of shows which were using musicians from outside locals, rather than from our own.
- Although it is against rules to play with non-union musicians, I was allowed to substitute with my local symphony orchestra during flu season about 21 years ago. Sitting by me was the president of the local, who was very nice, did his best to make me feel welcome, and who immediately after that engagement tried to get me into a union job--and thus into the local. I ended up not going with it (my non-union band jobs were better than the theatre job he had lined up) but we remained very friendly over the years. This is probably my only good AFM memory.
- About 10-15 years ago, a friend of mine was fined by the local for appearing in an advertising photograph playing a different instrument than he is apparently unionized under. I never understood this one and neither did he.
- The most laughable episode that I can remember came when I was setting up for a gig with a first-rate R&B/swing band at a local country club. In walked a pathetic little violin trio which included the Union local's secretary. She immediately approached and asked if we were in the union. When we replied that we were not, she smiled and said to call her "whenever we wanted to join the professionals." As the night wore on, my group very aptly demonstrated who the professionals were in that building.
- When playing at a well-known resort just over the state line, we always find a bill from the union local located in a little mining town about 20 miles away. It never gets paid, but I can't help but fantasize about wrapping around a rock, and executing my own 'return-to-sender.'
- Most union jobs in this area disappeared when the local placed demands on the local dinner theatres for orchestras of certain sizes and pay rates, despite heavy financial problems for the venues.
In all fairness, I think that our AFM local has come a way towards accepting reality, and some people that I respect have gotten on its board of directors and implemented some positive changes. But for years, this local was terrorized by its secretary who was retained until retirement despite tremendous disservice. And I still see out-of-town players being contracted here over local players who are still sitting home. These sorts of fiefdoms and old boy's networks are characteristic of organized labor in general, and make me proud to live in a right-to-work state.
John Moses makes a good sales pitch for the AFM, but he is located in New York City, where there are real advantages to membership. However, the four categories of disclaimers below the '20 reasons to join' hint at what the union is like out here in flyover country. I also have to ponder what role members of big-city locals may have played in canning music that how replaces their union brothers in smaller towns.
Bottom line: The AFM or *some* musicians union could be a good thing with heavy participation and with reasonable people in control. But they regulate labor relations in a relatively unprofitable industry, and one where typical union politics just aren't going to cut it in most areas. It's hard to imagine them having a grip at all except in the biggest cities.
AFM would do well to study and learn from the Actors Equity Association, which is actually increasing--rather than decreasing--its presence and influence around the country. Perhaps we as musicians should seek an alternative organization for ourselves.
Allen Cole
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Author: Terry Stibal
Date: 2004-12-23 16:08
Those in "right to work" (or so-called "open shop") states like Texas cannot be "forced" to belong to a union, regardless of the status of the remaining members of the group. Of course, the group can always direct its hiring decisions towards AFM members.
Those in "non 'right to work' states" are in a different boat. There, if you are hired into a union shop, you have to belong to the union, plain and simple. While most "musical organizations" that are going to employ "straight clarinet players" are of the non-pay variety, if you are planning to make anything out of your musical interests, you should join the union in a closed shop state.
I've been an advocate of union membership for all of my life, picking it up from my family (who were all "pro-union", even though most owned their own businesses). I was in the Bricklayers, Stonesetters, Tuckpointers and Terrazzo Workers Union from age 16 (it's now the much more modern Bricklayers and Allied Trades Union, and I joined AFM about six months later.
The benefits are pretty much as listed above. Some on the laundry list are "apparent" benefits that don't really amount to much (cut rate credit cards, for example), others have some substance (payment for recorded work, pension after a lifetime of work, insurance (death), and so forth). I'm not jumping for joy about any of them, but my wife will derive some small benefit from the death insurance (two policies with two different AFM locals as well as the bricklayers one), and there will be some "retirement pension" from the bricklayers (but probably none from the AFM; not enough paid time for that with a fifteen year break in my musical activities).
One of the biggest benefits that you will derive from membership is association with other musicians who will refer you for work. Like every other "overhead" operation that is not essential to human life, there are a lot of people who are interested in making money by doing something they love. By getting into the "in crowd" who are already working for pro organizations, you will hear about work that otherwise would never come your way.
This doesn't assure employment, however. That's up to you and your abilities. And, if you don't double you shouldn't expect to get too many calls, period, as most non-symphonic "pro" work involves at least two horns. (The biggest rack of horns I've ever used was baritone/bass clarinet/flute/clarinet/soprano sax, this for a production of Company many years ago...very rewarding in more ways that one. Did I mention that under the union scale you get paid more for double? And, you also get a little spiff for hauling the big boxes around.)
If you are just joining because you _think_ that you want to play for money (but don't really have a clue as to how to go about it, or any prospects before you), then you probably shouldn't join. If you don't double as a clarinet player (i.e., at least play sax), then you shouldn't join unless you're in a pro organization (i.e., a paid orchestra) that has need for just clarinet players.
If you go to work for a group that pays for play (real pay, not a garage band playing for tips in a bar) in a closed shop state, then your question has been answered for you. You will need to join with a set period from your first paid engagement.
The dues are not onerous (to me, at least), but they are a factor in the equation. One of the best benefits from the union (from my standpoint as a group leader) is that they will "go to bat" for you if someone tries to weasel out of a contract. Anyone who's ever been "stiffed" for payment for a band job will appreciate this. Paying a couple hundred of bucks for my two local's dues (Houston, because it's a "real" local with active staff and all, and Galveston, because it's where I'm supposed to belong by residence) is a small price indeed for that kind of protection.
THIS LAST ONE IS AS MUCH OPINION AS FACT, BUT I THINK THAT IT IS TRUE
Finally, it does give a kind of shine to your activities as a musician. I've noticed that groups with which I have played in the past that feature the "union label" get treated with a lot more respect than do "garage band" groups. Part of this may be that the employers know what's standing behind you, but I think that the largest part is that it just "sounds professional".
I know that what we sound like ought to be what we are evaluated upon, but you have to be realistic and note that other factors impress people as well. How you dress, how you act, how reliable you are, how available you are...all are important when hiring someone to do a job. I know that the work I have done on my group's "business image" is just as important to the clients as is the practice that I and my musicians and vocalist put in. Can't divorce the one from the other...
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Author: John J. Moses
Date: 2004-12-23 17:09
I am sorry to hear of your plight, William, Lisa & David.
Perhaps if you work with other Locals in you areas, you can come up with solutions to your work problems. Musician's Locals were always made stronger by getting musicians together, not trying to work out a "deal" just for oneself.
It's real hard work finding good work that pays and remains fairly consistent. I've had many "lean" times in all my musical years, and the Union never guaranteed that I'd work, but they did offer help, and advise. When enough of us got together, we made our Local stronger and made the work we got pay properly, and with benefits.
If you are giging, or occasionally playing with a community orchestra or band, you still need to consider what you are losing by not having those groups file Union contracts that guarantee your pay and benefits. It takes a strong group of dedicated people to make a community realize the importance of "live" music. It's worth the effort.
JJM
Légère Artist
Clark W. Fobes Artist
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Author: Robert Small
Date: 2004-12-23 17:52
Like Dave Spiegelthal I'm a D.C. area musician and former union member. Like Dave I was in the union for about a year then quit (actually just stopped paying my dues) for the same reasons Dave listed. The union simply don't cut no ice in this town. They don't get you work and they can't prevent you from working. I remember a few years back working a five night a week gig at the Shoreham Hotel which was supposedly a union hotel. One night the union rep came in and told us we would all have to join the union (I was already on my way out at this point) or lose the gig. We just laughed him out the door (crappy toupee, pinky rings, and all) and went back to work. I've played gigs up and down the east coast, out in the midwest, and all over the south, and have never had any problems or lost any gigs due to not being in the union. I'm not anti-union. But in my town in this day and age the union is simply more trouble than it's worth.
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Author: David Spiegelthal ★2017
Date: 2004-12-23 19:08
Speaking of respect for the AFM in DC, many centuries ago when I was in high school, I was one of the reed players in a 40-piece orchestra that had been assembled in a high school band room south of Baltimore, to spend the weekend recording a show for one one of the bigger local dinner theatres. (This theater, which like so many others used to employ live musicians, went to recorded soundtracks that year, naturally eliminating work for some of us --- but that's another topic entirely). It was a non-Union gig, but about half the players were Union. Somehow the AFM local got wind of the affair and dispatched two black cars, with dark tinted windows, with guys wearing black suits sitting inside (I'm not making this up!), with cameras and telephoto lenses, parked in front of the building. They tried to photograph all the musicians leaving the building at lunch break and after the end of the day's session, to catch the Union guys violating their work rule. So what did the Union musicians in the band do? They sneaked out the back, walked through the woods behind the school, while giving us non-Union guys their car keys. We then drove their cars around the block to the back of the school, where the Union guys got into their cars, un-photographed.
This was my first experience with the AFM.
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