American Federation of Musicians - ABC - Collective Bargaining Agreement - Disney
1995 - 1996
#77 $$$ Gig - March 1994 - AFM Local 389 Orlando, FL/ I tried and lost with failed NAMM, PAS and IAJE trade shows. I applied for the gig as President of the AFM Local in Orlando. The elected President had resigned. The position was open. My written and spoken pitch was presented and received before the board of directors. I got their votes and the gig. I started the next morning. (BaDaboom) I quit WindJammer and assumed the position as President of AFM Local 389. The next 9 months were very interesting, educational and tore me apart.
440### AFM 389 – Collective Bargaining – WDW – Tuba Fours – 1995/ As President of the Orlando Musicians Union, it was my responsibility to represent all members.
The majority of the income revenue was through union dues from Walt Disney and Epcot musicians. This was through the Collective Bargaining Agreement.
On day one I quickly realized I did not know what I was getting into. I was a member of this local since 1968. I had been a Disney employee and paid dues for several decades. I was very happy to have a regular paycheck. When I got the gig, I didn’t know how much it paid. My salary was tied into the Collective Bargaining Agreement. My weekly pay was the same as a WDW Leader. It was an hourly rate. (About $750 a week) Much more than I was making playing in a band.
I quickly experienced political alienation from many musicians that didn’t like previous board members and officers. I was voted into my position 4 to 3 by the board members. It was close. My music resume and presentation was good. I also brought technology skills.
441### CBA – Web Site – Grievances – Legal Advice/ My daily routine included studying the CBA and phone conversations with the Locals Attorney. I would regularly get phone calls from Disney and Epcot musicians pertaining to questions about their gig.
If there were legitimate issues about how they were used on their gig, I would file a grievance. It became a game of Labor Union chess.
442### Local 389 – Web Site – HTML 1.0/ before my Local 389 hire, I was studying the latest technology about this new platform called HTML. I bought a software package for my PC and built my first web site. I created the first AFM web site for Local 389. It was limited but a start.
443### Meet The Members – You’re Fired/ I’m not a great how do you do, pleased to meet you person. I did go out to Disney and Epcot to meet and greet members. It was usually a cold shoulder experience. One of the saddest days I had was witnessing the formal termination of individuals from their Walt Disney and Epcot gigs. One of the members was terminated because he was accused of stealing from wardrobe. This was a complete false plot, but he was fired. I myself felt so bad for this individual because he was innocent and the band members he worked with didn’t help him. Another termination was probably the musician’s fault. He had become a real problem for the company due to a medical issue he had. Over a period of time, they figured out a way to legally terminate his employment. I was called to be there when they told him. He was ordered to clean out his locker and escorted off property by security.
444### Arbitration Grievance Process/ I was in my position when Disney and ABC Capitol Cities merged. This was the beginning of the end for musicians to receive broadcast pay for their work.
For years Disney broadcast their Christmas Parade live on Television. Most of the music was taped and didn’t require additional pay to any musician. Disney ABC decided to prerecord some audio for the show. They ordered a group called Tuba Fours to take off from their scheduled park gig and record in the studio. My Attorney, Board members and myself found this to be an issue. A grievance was filed. I believed that pertaining to the CBA, those musicians should be paid additional scale for recording and network broadcast. Disney Management and Labor believed they could have that group do and play anywhere they ordered. (Without extra recording session fees) After several months this grievance went to formal arbitration. The event was held at an off site location with the arbitrator. Disney executives and our Union representatives were in attendance for the trial, arbitration. Several individuals were called to testify, I did not. Weeks later I received an envelop from the arbitration office. I called my attorney to read it to him over the phone. We had won the case. The arbitrator ruled in our favor. It was a David and Goliath event.
445### The Bottom Line/ the bottom line after this process was over is debatable. The financial cost to win this case cost $15k. The musicians received about $4k for a net loss of $11k. Was it worth it? At the time it was. We won the battle.
In my position as President of that Local it set a precedent that we would not be screwed over without a fight.
#78 $$$ Gig - 1996 – AFM Trustee Miami, FL/
At the end of 1995, I was hired by the AFM to execute some of the same business for the Miami South Florida Local 655. My position was Trustee. It had gone belly up financially. The standard practice of officers and board was dissolved. My gig was to fix it so it would eventually rejoin the AFM system. That meant pay dues to the National Office on a regular schedule in a timely manner.
446### Woodshed – Miami Music/ For eighteen months I continued to go to the woodshed everyday, but didn’t play a paid gig during my time as an AFM employee. I thought my salary was enough and I shouldn’t take someone’s gig. But that’s just me. While living and working in South Florida, I heard some very refreshing music. My favorite was Latin – Cuban – Brazilian and traditional jazz.
As the administrator of local AFM recording contracts there were several sessions I attended. There were also concert events, which I had access.
I saw and heard several interesting drummers during my period in South Florida.
41*** Collins Avenue/ ghost frown down on newly constructed high rises over Miami Beach, where Buddy, Tina the Count with Frank and Tony played from 9 till 4 AM. The Casablanca, Dream Bar, Polo Lounge, The Fontainebleau. Where’d they go? Why? Now demolished, now vacant lots, salt and sea, blowing through windowless, concrete skeletons. Where greats played till 4 AM.
447### 1997- Union Aftermath – Jive – Hypocrisy/ As an 8 year-old-kid in Springfield, Ohio, my father worked at International Harvester. They built trucks. I remember riding in our car with my mom to pick him up. He was walking the picket line on strike. Union membership then was something to consider. When I became a professional musician in 1967, it was semi-required to be a member of the American Federation of Musicians.
Before going “On The Road” as a professional, the bandleader told me I would need to join. Playing my first gig “on the road” in Charleston, SC, the “union guy” came into the club to “check our cards” and collect traveling dues.
This became routine playing the club circuit I was employed. As an officer of the AFM, I saw behind the curtain. I won’t go dark and vent, it would be lengthy and bitter. I gained new skills in my tour of duty with the AFM. I enjoyed the opportunities I had to help musician members with recording royalties.
If I could have worked full time in that division my employment with the AFM could have lasted. After 2 years of the politics, I was ready to become a civilian musician. What I think today about the AFM doesn’t matter. I’ll speak my opinion and say that musicians are generally hypocrites when it comes to union pay scale. They will play for free and below scale on non-contract union gigs. When I joined in 1968, my oath with the AFM stated that I would only work Union Scale Gigs.
448### The AFM Today/ Years ago the official agencies for music royalties were BMI, ASCAP and the AFM. Today there are other independent agencies that monitor musician’s royalties. Social media and digital downloads has changed everything about music distribution. The AFM has become irrelevant in the modern music world. It was asleep and busy playing politics as the music business evolved into something different.
449### Orchestra and Recording Musicians – CBA – Wrecking Crew/ If there is any value and benefit to old school Collective Bargaining, it’s possible for Orchestra musicians and management to pound out agreeable working contracts.
450### (Maybe Not)/ In the 60s and early 70s, the Los Angeles musician’s known as The Wrecking Crew performed and recorded on hundreds of hit records. Drummer, Hal Blaine, was the contractor on many of those sessions.
I’ve seen copies of those recording contracts. Hal always put himself as the leader and included cartage, doubling and a pension contribution.
451### AFM Pension Retirement/ When I was President of Local 389, the (CBA) Collective Bargaining Agreement with Walt Disney World had a built in pension contribution for every musician employee. This was and continues to be the best thing for a musician’s future, upon retirement.