After my recent post on negotiating fees, I got some helpful feedback and perspective from my friend Pat Hollenbeck. Percussionist, arranger, and President of the Boston Musicians Association. Pat is a veteran of the freelance world and I’m grateful for his input. (And I’m hoping his example also encourages more of you to write in!)
Pat wrote with an economic reality check that affects musicians’ negotiations. He pointed out that funding for performing and presenting organizations has been down during the recent economic slump. Pat says there’s been “little sign of recovery because philanthropic funders have directed their resources towards other humanitarian interests such as healthcare, diversity and education.”
It’s the economy
Consequently, many performing organizations have cut back their seasons (some by as much as 1/3). And they’re now booking smaller, less expensive shows requiring fewer musicians. Concert series have also had to cut back on their programming and on their artist fees.
So in terms of negotiating, Pat points out this means that smaller venues such as library series typically “have no negotiation room” because there’s no room in the budget. There’s only a fee offered if they’ve received money from the arts council or a Friends of the Library group. Some libraries simply have a donation basket available and whatever comes in goes to the musicians.
In terms of national trends, Pat notes examples of performing art centers that are bringing in top conservatory students to perform. Their only compensation is the experience. Other examples include clubs and concert venues offering either voluntary donations or a modest “suggested musician fee” printed on customers’ drink and food receipts (like a tip).
Clearly, there are some gig situations in which you can negotiate; others you can’t. But there’s nothing wrong with asking. Or, if you’re touring, asking if the presenter can help with lodging or transportation.
The problem is, as Pat says, “most musicians are not wired to negotiate. They are not in sales.”
How can the union help?
Pat says being in the Union can make negotiating easier for musicians. “They use our rates as the minimum standard that is voted by the members for their geographic location. There are various rates for educational concerts, nursing homes, libraries, etc.” Having a reference benchmark rate or range is key in any negotiation.
And Pat says, “Some (young and astute) musicians also file union contracts for gigs like weddings and they go through a payroll service so they can get pension, W-2’s and eligibility for unemployment once they have critical mass in the account.”
This is a great example of smart long-range thinking. It’s thinking like a pro — beyond the fee for the gig, or the money you have coming in this month. For a freelance lifestyle to work, musicians need to be able to communicate their value, negotiate appropriately, and to think both big picture and long term.
Successful freelancing demands that we balance multiple income streams. From offering workshops and clinics to selling recordings at your gigs, and doing teaching artist work, and any other side projects.
It’s all part of the hustle
Thanks, Pat, and I hope this helps more musicians understand the value of the union and prompts them to file union contracts for the gigs they’re playing. The goal is to have a long and healthy career and a pension when you’re ready to retire. For musicians in much of Massachusetts and Maine, see the Boston Musicians Association and for those elsewhere, check out the main office of the American Federation of Musicians.
Musician Unions: strength in numbers
For anyone unclear about what unions do and who belongs to what, here’s the skinny from Beyond Talent:
The core function of any labor union is to negotiate collective bargaining agreements that protect the union’s members and improve their working lives. These collective bargaining agreements are made between employers (such as orchestras or opera companies) and workers (the musicians).
Union membership provides guaranteed wage minimums, protection against infringement of contracts, and legal assistance in the case of contract disputes. Musician unions also offer members access to benefits such as instrument insurance and a pension plan.
There are four musician unions, each for specific types of work:
The AFM
The AFM (the American Federation of Musicians) is the primary union for instrumentalists and is the largest musicians’ union in the world. The AFM has more than 80,000 members and 500 local affiliates in the US and Canada. Benefits include a pension plan, instrument and health insurance, plus legal, travel, and financial services. The AFM publishes “International Musician,” which lists auditions worldwide for orchestral and other work. And local AFM chapters can be excellent networking resources for local auditions and job listings, and gig referrals. There are 4 subsets of the AFM: ICSOM, ROPA, RMA (Recording Musicians Association) and the TMA (Theater Musicians Association). See http://www.afm.org.
Equity
AEA (Actors’ Equity Association AKA: Equity) represents actors and singers of live theatre productions, either musicals or dramas. How it works: a vocalist seeking work in musical theatre must first win an audition for an equity show, apply to be an equity candidate, perform for the length of their contract, and earn credit towards their equity card and full membership. See http://www.actorsequity.org.
AGMA
The American Guild of Musical Artists. AGMA primarily represents opera and concert singers, production personnel and dancers at principal opera, concert and dance companies throughout the United States. Musicians join AGMA when they’ve been offered a contract with a production requiring AGMA membership. See http://www.musicalartists.org.
SAG-AFTRA
SAG-AFTRA is two American labor unions: the Screen Actors Guild and the American Federation of Television and Radio Artists. It represents singers doing feature film work, and covers live and taped TV and radio shows, commercials and industrial films. AFTRA is for all performers in these areas except instrumentalists. See http://www.sagaftra.org/.
Food for thought: In terms of fees for your freelance work, both performing and teaching, how have you determined your fee? When did you last check that your rates are comparable with at least 3 other professionals in your area?
Find more help with negotiation for musicians HERE.
Here’s to your brighter future,
Dream Big, Plan Smart. Live Well!
