Libretto November 2017


Hamilton Musicians Guild
Libretto
November 2017

NOTICE OF MOTION # 20171127

(Resolution to be presented at the General Membership Meeting November 27, 2017)

WHEREAS, the operating costs of running the Local 293 office has increased significantly due to increases in rent, utilities and administrative expenses associated with a 120% increase in membership over the past four years (from 283 members to 612 members); and

WHEREAS, as of November 1, 2017 the Local has resumed the per capita arrears payment owed to the AFM on the loan at a cost of at $354.88 per month for 120 months with no interest; and

WHEREAS, there have been no Local initiated dues increases in the past four years; therefore,

BE IT RESOLVED that annual dues for Regular Members be increased from $160 to $170 effective January 1 st, 2018, and,

BE IT FURTHER RESOLVED that annual dues for Life Members be increased from 84.50 to $90 effective January 1st, 2018, and

BE IT FURTHER RESOLVED that the annual dues for Youth Members be increased from $80 to $90 effective January 1st, 2018. Respectfully Submitted by the Local 293 Executive Board

Note: Quarterly Dues will remain at $45 per quarter and the early bird special discount of $10 will still apply when dues are paid on an annual basis (4 quarters) prior to membership expiration date.

 

President’s Report

On Oct 16 2017, the entire Local 293 Executive Board was re-elected by acclamation. All positions except for Secretary-Treasurer were up for re-election. On behalf of the entire executive board I’d like to thank everyone for this vote of confidence. I’d like to take this opportunity to welcome our newest board member Ryan McKenna who will fill the vacant director’s chair. Ryan is a fine vocalist with the Celtic band Steel City Rovers and has been a Local 293 member for four years. Ryan has also served with Local 293’s Canadian Conference Committee this past summer and has shown his eagerness to learn and contribute with enthusiasm. We feel he’ll make an excellent addition to the Board. A great big thanks to all the bands that donated their time for the Bob Pedler Memorial for Local 293 on Saturday November 4th. A good time was had by all and we raised over $2000 for the cause. Special thanks goes to Long and McQuade, First Ontario Credit Union and the Corktown Tavern whose support made it all possible. Again, congratulations to George Robinson Award winners Graham Rockingham, Linda Fraser and Luis Pereira and Kevin Barber-your efforts are much appreciated.

We’ll be posting videos and pictures in the next few days and look forward to doing it again next year. As most of you know by now the funds raised will go to augment the Lester Petrillo Fund Grants awarded to members who are unable to play due to sickness or injury. In the past four years we’ve successfully applied for twelve Petrillo Grants for our members and the Bob Pedler Memorial Fund will help our members in their time of need. We’ve put forward a motion to increase annual dues by $10 for regular members and $5.50 for Life members due to our increased costs and the razor thin margins we’re working with. This is the first Local initiated dues increase in four years and we feel it’s necessary to keep up the same level of service to our membership and to help with any unforeseen emergencies. We’re counting on your support to help us stay on top of our finances.

Lastly, I’d like to wish everyone the best for the upcoming holiday season and hope everyone has a great new year. Larry Feudo

Yours in solidarity,

Larry Feudo, President

 

Report of the Secretary-Treasurer

As per the decision of the members at the General Membership & Nominations Meeting of October 16, 2017, I would like to take this opportunity to congratulate Larry Feudo, Reg Denis, Janna Malseed, Paul Panchezak, Ron Palangio, Glen Brown and Brenda Brown on being nominated and acclaimed to continue in their current officer positions on the Executive Board for another two year term from 01 January 2018 to 31 December 2019. I would also like to welcome Ryan McKenna who was acclaimed as a Director on the Executive Board (this position was vacant). I am looking forward to continuing to work with such an enthusiastic and progressive group of individuals and I know that Ryan will definitely be an asset to the Executive Board in our collective goal in moving Local 293 in a positive direction for the betterment of all musicians.

As per the bylaws of the Hamilton Musicians’ Guild, the position of Secretary-Treasurer is a three year term and will be up for nomination and election in the fall of 2018 for a 3 year term – 2019, 2020 & 2021.

HPO 3 Year Collective Bargaining Agreement Ratified

We were successful in negotiating a new 3 year CBA between the Hamilton Philharmonic Orchestra and the Hamilton Musicians’ Guild after two face to face meetings with HPO Management. The ratification vote was held at a rehearsal of the orchestra on Friday, November 10th, 2017 and all eligible members of the orchestra at the rehearsal cast a ballot. The result of the vote was 100% in favour on the new 3 Year Collective Bargaining Agreement for the HPO 2017-2018, 2018-2019 & 2019-2020 Seasons. The negotiating team for AFM Local 293 consisted of Bethany Bergman, Chair, Elizabeth Loewen Andrews, David Pell from the orchestra plus Steve Mosher, CFM Symphonic Services, Larry Feudo, Local 293 President and Brent Malseed, Local 293 Secretary-Treasurer. The negotiating team for the HPO consisted of Diana Weir, HPO Executive Director and Lindsay Doyle, Member of HPO Board of Directors. Congratulations to all involved for another productive round of negotiations.

The Bob Pedler Memorial Fund

The Hamilton Musicians’ Guild Fundraiser, held at the Corktown Pub on November 4th, was a huge success in raising money for our Local 293 Bob Pedler Memorial Fund. This local fund is earmarked to enhance the funding granted by the AFM Lester Petrillo Fund to help musicians who have fallen on hard times and are unable to make a living through their music because of health issues and other disabilities. Thanks to all who contributed their time and talent to the event and to all who came out to enjoy a fabulous afternoon of live music. Check out the photos from this event in this issue of the Libretto.

Crossing Borders with your Gear

Many musicians have been surprised at the border and unprepared when border officials asked them for information about their musical instruments and equipment. Musicians usually take it for granted that the instruments are the least of their problems in crossing borders. However, border officials are now questioning musicians about their instruments, equipment and other gear and checking with greater vigilance looking for organized documentation. In order to avoid any complications while crossing borders with musical instruments, there are two options available to the touring musician:

  • ATA Carnet – available at a cost through the Canadian Chamber of Commerce
  • BSF407 form – available free of charge from the Canadian Board Services Agency

ATA Carnet – Chamber of Commerce

The Temporary Admission (ATA) Carnet was established in 1961 by the World Customs Organization (WCO) as an internationally recognized customs document for the duty-free and tax-free temporary importation of goods into foreign countries. It is valid for one year, accepted in more than 71 countries and simplifies taking musical instruments across borders. To find out more information about the ATA Carnet visit Canadian Chamber of Commerce:

http://www.chamber.ca/carnet/faq/

NOTE: There is a cost of a purchasing an ATA Carnet which is based on the value of the goods covered and it is only good for a period of one year.

CBSA Form BSF407

As an alternative to the Carnet, you can provide a CBSA Form BSF407 (formerly form Y38 as shown to the left) or a stamped itemized inventory list of the instruments you will be bringing with you (see the example below left). The list should include an item description, make, model, serial number, country of manufacture, etc. Take this list and your instruments into the border office of your home country and have it stamped by a border official. The border official will examine the instruments to verify the list, so it would be best if the instruments were clearly marked with owner/ group name (if applicable) and perhaps numbered to correspond with the list. To find out more information about registering your instruments & equipment with the Canadian Border Services Agency (CBSA) visit the CBSA website:

http://www.cbsa-asfc.gc.ca/publications/dm-md/d2/d2-6-5-eng.html

There is an Hamilton CBSA office at the John C. Munro Hamilton International Airport (905-679-6202) at 9300 Airport Rd, Ste. 1230 Mount Hope ON L0R 1W0. They office will supply the green cards (Y38 or BSF407) for completion, however, you must take all your equipment to the CBSA office with you for verification by Border Officer. If you are going to use the Itemized Inventory List method, you must prepare the list prior to arrival at the CBSA office and have all the items on the list for the officer to verify before it is officially stamped by a Border Officer. The hours of operation are Monday through Friday from 8 am to 5 pm. You might want to call ahead of time especially if you have more than 20 items to register.

When you return to your home country you will have a verified list of instruments returning with you and this will greatly ease your border crossing.

NOTE: This procedure is optional and is provided free of charge at Canada Border Services Agency (CBSA) offices across Canada. Since there is no expiry date on the form, it may be retained and used by the individual for as long as it remains legible.

In closing, I would like to wish all a most wonderful holiday season and new year and remember to be kind to one another.

Yours in solidarity,

Brent Malseed

 

Welcome New Members

Rachael Bawn Jeffrey Brown Gaetano Tony Cultrone David Dempsey Kendra Eisner-Cultrone Timothy Gibbons Jeffrey Giles Tyler Harris Rod Letourneau Joshua Marshall Daniel Omsby Adrian Underhill

Reinstated Members

James Gadon William (Bill) Bell Michel M. LeBlanc Brandon C. Lim

Suspended Members

Nehad Mustafa Ahmed Darryl Blacker Jessica Cano Matthew Fleming Richard Taylor Hill Erik C Jude Terra Lightfoot Derek Miller Jake Matthew Palahnuk Kevin Richardson Andrew Roy Katerina Maria Theodorelos John M Van Mil Susan Vanbeek-Rogers

Expelled

Christopher W Christou John F Clarke Michael P Da Vinci Owen T Fisher Thomas D Fitzpatrick Giuseppe Manchisi Adam Pain Jeffrey Van Helvoort Corey Walden Brent Wirth Andrew J Worling Mehmet Yesilideniz

How To Resign in Good Standing

Moving out of the region? Got a great job somewhere else? Taking a break from the music scene? We are sorry to lose you, but before you leave, please send us a letter or an email to let us know when you’ll be ending your membership in Local 293. This will prevent any additional fees for both you and the Local. We can also help you transition into another Local if you are moving.

To alleviate any confusion regarding Resigning in Good Standing, please note: You can only resign in good standing if you are indeed in Good Standing. Good Standing means that you have paid any back dues and/or penalties before resigning. To resign you simply write the Local (post or email) to inform the office of your intention to resign. To rejoin the Local there is a $15.00 fee. If you have any questions, please call contact the Secretary-Treasurer.

 

StreetBeats

By Paul Panchezak

What a party it was at our first annual benefit to raise funds for Local 293’s Bob Pedler Benevolent Fund. I love events like this that bring together so many old friends. It was a pleasure to hang out with such a great group of fellow musicians. I was glad my own group, Trickbag, got to take part in the musical proceedings and the surprise addition of Corey Lueck of the Smokewagon Blues Band to our lineup for our short set was an added bonus. All the acts that took part in the five-hour show made for a great showcase of the musical diversity that Local 293 encompasses. Past president John Staley kicked off the festivities with a set with his group Bucket List that established the tone that this was a party with a uniquely Hamilton slant. The band featured a number of original tunes that dealt with the rich and colourful history of the “Hammer”. Five hours later, after enjoyable sets from Big John and the Night Trippers, the Brown Family, the Kyle Pacey Group, Cootes Paradise, Trickbag, the Mike Ricci jazz combo and Sonny Del Rio and his Five Star Revue, world renowned session player Bill Dillon closed the afternoon with a spirited set.

It was a particular pleasure to see Jack Pedler behind the drum kit with Bill’s band, the Rockets. Jack is Bob Pedler’s son and he has been dealing with some serious health issues in the past while. In fact, his appearance at the benefit was his first public performance since last April. I’m happy to report he sounded great as always. It was also fitting that one of the closing numbers of the afternoon was Bill’s dynamite rendition of “Handle Me with Care” by the Traveling Willburys. The title kind of sums up the whole purpose of the Bob Pedler Fund – a rare opportunity for musicans, who are often neglected and taken for granted, to be treated with respect and compassion. Thanks go out to all those who attended and/or participated. If you weren’t there you missed a heck of a show.

At the recent Canadian Conference held in Hamilton our Local 293 past president Matt Kennedy was honoured with a Lifetime Achievement Award from the CFM/AFM. In this month’s Streetbeats I thought I’d take the opportunity to ask Matt a few questions so that our younger members can get to know him better. His answers give us an insight into the Hamilton music scene and its players in years gone by. Some of the players mentioned are still active AFM members and some of the venues are still in operation while others are not. I’ve always enjoyed talking to musicians with long and varied experience. Their insights and advice are always interesting and beneficial. I posed ten questions to Matt. Here are his responses. He prefaced his answers by pointing out that his playing gigs were confined to “jazz, vocalists and standards in big band and small group venues”.

  1. Are you a native Hamiltonian ? If so, what part of town did you grow up in? – I was born in Hamilton and grew up in the west end.
  2. What or who first got you interested in becoming a musician? – My mother. She played and also sang.
  3. What instrument(s) do you play ? – Piano and vibraphone
  4. Who were a few of your early influences, mentors and/or teachers? – Art Tatum, Oscar Peterson, Nat Cole
  5. How old were you when you first joined Local 293? – Eighteen
  6. Do you recall your first paying gig ? – I subbed for the piano player in Bobby Emerson’s band at the Pier Ballroom on Hamilton Beach.
  7. Who were some of the musicians or acts that you played with over the years that struck you as being particularly talented and/or entertaining? – Among local players Bill Wasylenky, Darcy Hepner and Mike Malone stand out. A few of the outstanding touring players I was lucky enough to work with are Buddy DeFranco, Marion McPartland and Gerry Mulligan.
  8. What are some of your favourite venues – clubs, concert halls or theatres – in Hamilton or out of town that are particularly memorable? – In town Hamilton Place and CHCH-TV while out of town Massey Hall, Basin Street and the Colonial Tavern were stand outs.
  9. Who were some of the great touring acts or bands that you had a chance to see when they played in the area? – Count Basie, Woody Herman, Tony Bennett and Duke Ellington
  10. With your great experience and the accolades that have come your way over the years, do you feel you might want to impart some advice or recommendations to young players just getting started in the music business? – With the massive changes that have taken place over the last few decades, the music business is not just “music” any more. Entertainment is now the magic word so that it seems you must be multi-talented to survive. It’s hard to be original but that’s what it takes to be successful today.

Thanks to Matt for answering our little questionnaire. Hopefully we all now know him a little better and when you run into him at a general meeting or Local 293 function you will take the time to introduce yourself and make his acquaintance.

Regards, Paul Panchezak, Sergeant-at-Arms

 

The Musicians Pension Fund of Canada

A musician walks into the Guild’s office asking about his pension. He’s anywhere from 55 to 60 something years old and he wants to know what he’s entitled to in the way of a pension. If he’s like most musicians in this situation he’s not sure about what he stands to get after years of playing. Once we investigate what he’s entitled to the following scenario is typical: he hasn’t filed enough contracts to qualify for much of a pension or in the worst case he’s not even vested in the pension. This happens so often we felt it would be useful to shed some light on this phenomenon. DO NOT ASSUME someone has done this on your behalf! Take an interest in your future if you’re a full time musician gigging regularly and recording often. The minor annoyance of filling out paperwork when you’re young and in your prime earning years will save you from a major disappointment in your later years.

You say you work the clubs mainly and it’s not worth the aggravation of getting a bar owner to sign a contract with a pension clause? We have contracts available in the office that make it easier for the member to make pension contributions on behalf of the engager/purchaser. You will remit 15% of scale directly to the Musicians Pension Fund of Canada. It goes without saying here that this is a habit you should get into at an early age. If you’re in your 50’s or 60’s it’s too late to build a substantial pension.

You can check our Local’s scales in the private members section of Local 293’s website. At this point you might ask what is vesting or how do I become vested? A musician becomes vested in the Fund when they have earned 24 months of vesting service without having a 6 consecutive month period with no contributions during that period.

For example, a musician does an engagement on October 28, 2014, for which a pension contribution is made on his behalf. He will become vested on October 28, 2016 as long as he does not have a 6 consecutive calendar month period for which he has no pension contributions. In other words after the first engagement he must have a contribution at least every six months in the 24 month period. Most musicians vest in this way. However, a musician can also become vested in one calendar year if they have covered earnings representing 35% or more of the YMPE (Years Maximum Pensionable Earnings). For 2014, the YMPE is $52,500; making 35% of that $18,375. If a musician had pension contributions representing at least $18,375 in covered earnings in 2014, he would become vested on January 1, 2015.

Covered earnings are scale wages on which pension contributions have been made to the Fund. Once vested, a musician cannot become “un-vested” and, is entitled to a benefit from the Fund.

There is a lot more information about the Pension Plan and how it works on their website – www.mpfcanada.ca If you invest in your future now the rewards will be more than worth the effort.

 

2017 OCSM Conference Report

by Elspeth Thomson, (Delegate for the Hamilton Philharmonic Orchestra)

Highlights from the 2017 OCSM Conference in Gatineau, Quebec

Advocacy

Political and arts journalist Paul Wells offered a reporter’s perspective on trends in media, advocacy, and public relations affecting orchestras. He described priorities and buzzwords capturing the attention of the current federal government (Digital, Reconciliation, Diversity); pointed to eternal advantages orchestras hold (deep roots in communities, a strong network of students and allies); and spoke to the importance of clear, informative website content. Canadian Heritage: Lise Laneville, who directs the Arts Policy Branch, gave an overview of her agency’s work and relationship to other federal funders, such as the Canada Council. She outlined and led discussion of funding programs most relevant to orchestras, including the Arts Presentation, Cultural Spaces, and Canada Cultural Investment Funds. Inclusion, Diversity, Equity, and Accessibility (IDEA): Orchestras Canada Exec. Dir. Katherine Carleton and consultant Parmela Attariwala introduced IDEA, a manifesto developed by a task force of Canadian orchestra managers. The document is intended as a framework to shape, monitor, and report on organizational efforts in these areas. OCSM Delegates unanimously endorsed the IDEA Manifesto through a resolution. Airline policy: CFM advocacy for improved policies and regulation continues, as Bill C-49 (Transportation Modernization Act) has now gone through a 2nd reading and moved to committee. The Bill includes a passenger bill of rights, requiring carriers to implement standards for transporting musical instruments; AFM International Representative Allistair Elliott filed a report detailing meetings with key decision-makers. Advocacy Committee launched a campaign highlighting Featured OCSM Orchestras on social media – each of our 21 orchestras will be featured for a week during the 2017-18 season. OCSM members are encouraged to follow OCSM on Facebook and Twitter and participate in the initiative.

Communications

Workplace harassment and bullying: Legal counsel Michael Wright outlined the roles of the Orchestra Committee and Local union in cases of alleged bullying and harassment. Recent case law has established an employee’s right to a safe and non-threatening workplace; it is the manager’s duty to maintain that standard. While musician committees may be tempted to take a position on one side of a dispute, their obligation is to advise where appropriate and ensure a fair process. Symphonic board education: Kitchener-Waterloo Symphony Delegate Michael Macaulay recently presented a report on musicians’ realities to the KWS board. He shared findings and statistics that drew the most response, as well as some lessons learned for others approaching and preparing for such a project. OCSM 101: As OCSM has adapted to modern communications technology, many basic Delegate tasks are also changing. The OCSM Executive led a discussion of revised and suggested protocols, including roster maintenance, coordination with Orchestra Committees, fair and transparent Delegate elections, and representation at Conferences. A guidance document from the discussion will be incorporated into a revised Delegate Handbook.

Health, safety, and optimal performance

Lisa Chisholm, a musician and performance psychologist, gave an engaging presentation on performance anxiety. She offered many useful “hacks” of our bodies’ natural response systems, corrected common misconceptions, and suggested ways to personalize a strategy for optimal performance, based on one’s own tendencies and preferences. Delegates enjoyed a screening of Composed: a documentary feature about performance anxiety, with filmmaker John Beder in attendance and leading a Q&A. The film includes candid interviews with a vast array of classical musicians, discussing their struggles, insights, and victories over performance anxiety.

Mental health issues can affect anyone; newsletter editor Barbara Hankins shared recent presentations and research on how managers might better address these issues. She referred to guidance from the National Standard of Canada for Psychological Health and Safety in the Workplace. Delegates unanimously supported a Resolution on Mental Health, encouraging orchestra managers to familiarize themselves with the Standard and work towards its implementation. Media CBC negotiations recently concluded, with ratification materials to be sent out this fall. Agreement was reached on experimental new remote rates for projects in Quebec; there continues to be very little interest in recording orchestras outside of Quebec. Negotiations for a new Canadian Symphonic Media Agreement are ongoing, as the Media Committee received and prepared to counter a proposal from the committee representing managers. The OCSM Media Committee also revised its Streaming Guidelines, which have been used by several Canadian orchestras; they promulgate rates and conditions for streaming video and/or audio of concerts and performances performed live. Resolutions Two resolutions were passed, both endorsing policy documents: the IDEA Manifesto developed by Orchestras Canada; and the National Standard of Canada for Psychological Health and Safety in the Workplace, offered through the Mental Health Commission.

Yours in solidarity,

Elspeth Thomson

 

First Annual George R. Robinson Awards

George R. Robinson was the founder and first President of the Hamilton Musicians’ Guild The first annual George R. Robinson awards for outstanding support for live music in Hamilton were presented to the following nominees on November 4, 2017: Graham Rockingham (Hamilton Spectator Music Editor), Linda Fraser and Luis Pereira (Blues Hamilton), and Kevin Barber (Barbershop Podcast).

The individuals listed above have distinguished themselves will exemplary support of live music in Hamilton with passion and selfless commitment over many years. We were honoured to have the great-great granddaughter of George R. Robinson, Brenda Robinson, in attendance at the awards event and Brenda assisted us in presenting the George R. Robinson Awards