associated musicians of greater New York AllegroJanuary 2020 l Volume 120, No. 1 www.Local802afm.org

MAKING A DIFFERENCE HOW SHARING OUR ART CAN BREAK DOWN BARRIERS By Marshall Coid (page 10) ON THE COVER: Chinese LGBTQ activists Ming and Shuai with “Chicago” principal cast member Ryan Lowe and Local 802 member Marshall Coid

LET’S STOP GAINS ARE MADE, THE IMPORTANCE PAY-TO-PLAY BUT THE FIGHT OF YOUR FIRST (page 21) FOR STREAMING MUSIC TEACHER CONTINUES (page 15) (page 22) n YOUR UNION STAFF

LOCAL 802 OFFICERS ORGANIZER Adam Krauthamer, President Lily Paulina Karen Fisher, Financial Vice President Andy Schwartz, Recording Vice President FIELD REPRESENTATIVES Theresa Couture Executive Board Marisa Friedman Janet Axelrod, Lynne Cohen, Shane Gasteyer Monica Davis, Pete Donovan, Elise Frawley, Kyle Hoyt, Morris Bob Pawlo Kainuma, Caryl Paisner, Bobby Shankin Todd Weeks Trial Board Local 802 MUSICIANS HEALTH Fund Cenovia Cummins, Sylvia D’Avanzo, Administrator Javier Gándara, Bill Hayes, Gloria McCormick Joanna Maurer, Mary Ann McSweeney, Warren Odze, Louise Owen, Dan Peck Allegro Mikael Elsila (Editor, Advertising JOIN US FOR A JAM! Delegates to AFM Convention Manager and Graphic Designer) Adam Krauthamer, Pete Donovan, The next generation of jazz students are invited to Local 802 on Thursday, Jan. 16 Javier Gándara, Bill Hayes, Dean LeBlanc, HEADQUARTERS: 322 West 48th Street, from 5 p.m. to 7 p.m. when Jazz Mentors hosts its next student jam, led by the Jazz Mentors Band (JMB). For more information or to RSVP, e-mail Todd Weeks Caryl Paisner New York, NY 10036 at [email protected]. Pictured above from our most recent jam are Delegates to New york city Phone: (212) 245-4802 JMB leader Kelly Green, pianist Max Levenson (age 14), JMB bassist John Sims and Central Labor Council Web site: www.Local802afm.org trumpeter Wyatt Pepper (age 14). Adam Krauthamer, Bill Hayes, OFFICE HOURS: Daily 9:30 a.m. to Caryl Paisner 5:30 p.m., except Saturdays, Sundays, Delegates to New York State AFL-CIO and holidays Adam Krauthamer, Lynne Cohen DUES WINDOW closes at 3 p.m. Delegate to United Hebrew Trades CHECKS WINDOW closes at 4:30 p.m. Bobby Shankin (5:30 p.m. on Wednesdays) Supervising Officers ALLEGRO (ISSN 0002-5704) is published Adam Krauthamer: Radio City, monthly (except for a combined July/ Lincoln Center Orchestras, Theatres, August issue) at an annual subscription Organizing rate of $30 for non-members in the U.S. Karen Fisher: Single Engagement and $35 out of country, by Local 802, Concerts, Symphony, Opera, Ballet, Associated Musicians of Greater New York, Music Performance Trust Fund 322 West 48th Street, New York, NY 10036. Andy Schwartz: Electronic Media, Single Engagement Club Dates, Hotels, Periodicals postage paid at New York, NY Nightclubs, Jazz, Latin, Music Education, and additional offices (USPS #013-880). Musicians’ Emergency Relief Fund POSTMASTER: Send address changes to ALLEGRO, Local 802, 322 West 48th Street, MANAGING DIRECTOR AND SENIOR ADVISER New York, NY 10036. Jon Kantor Allegro is printed at Bayard Printing Group, communications and which is a union shop. markETING associate To reach Local 802: (212) 245-4802 Maria DiPasquale To reach Allegro: (646) 765-9663 or DIRECTOR OF FIELD SERVICES [email protected] or Leo Gertner Allegro, Local 802, 322 West 48th Street, MUSIC PREP ADMINISTRATOR New York, NY 10036 David Will Personnel Administrator Lisa Mejia

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January 2020 | Allegro 3 n NEWS & VIEWS THE YEAR IN REVIEW president’s report ADAM KRAUTHAMER

[email protected] (212) 245-4802, ext. 100

he outcome of last year’s 802 election was virtually an entirely newly elected leadership at Lo- Tcal 802. Our administration was given a mandate to start changing the way our union works. It was a priority to hit the ground running in January of 2019 to start professionalizing, stream- lining, and modernizing our union. One aspect of our platform was transparen- cy and communication with member- ship, which included the commitment to publishing this year-in-review report. I am extremely proud of the work we have done as a union in 2019. Many of our accomplishments are covered in this report, but none would have been possible without important con- tributions from engaged 802 members throughout the year. Those contribu- tions were supported by a staff at Local The hard truth is that as a union we tion at the Argyle Theatre in Babylon, the 802 community, DCINY musicians 802 who cares deeply about the mu- haven’t adapted to the changes in our Long Island after months-long discus- won union representation by an 89% sicians they serve and who have em- industry for many decades. In order to sions with management. Negotiations Union Yes vote on August 16. They then braced the need for progressive change create the transformational change our for a first contract began this fall and elected a representative negotiating in order to build a stronger union for members deserve and our union needs, will continue into the new year. committee and sent out a bargaining years to come. it will take years. As president, I dedi- Distinguished Concerts Interna- survey. The DCINY Negotiating Com- That being said, there have been cate myself to ensuring that this trans- tional New York (DCINY) – Musicians mittee has now begun negotiations with disappointments and setbacks in this formational change continues to move had one-on-one conversations through- management for a first contract, which first year. Some specific concerns are forward and to not allow the problems out early 2019 about unionizing their will continue into the new year. as follows: recording work in New York of the day to overshadow our long-term work at DCINY, reaching a strong ma- continues to drop; the 802 Health Fund priorities as a union. My only ask is for jority by July 1, when they filed a peti- Negotiations ran a significant deficit; both 802 reso- your help. In order to achieve our goal tion with the National Labor Relations Broadway – We negotiated a land- lutions were unsuccessful at the AFM of transformational change at 802, as Board to hold a union election. This mark Broadway contract which in- convention; certain groups employ- a community of union musicians we has been an elusive organizing target cluded the largest economic gains 802 ing 802 members continue to act as must all continue to stay engaged and for 802 for the past decade, and we has seen in decades. We secured a 23% subcontractors, which undercuts our work together for years to come. could not be prouder of the courageous increase in health contributions, a 3.5% standards and hurts fellow 802 mem- DCINY musicians who deserve all the wage increase for each year of the con- bers; and we have been unsuccessful in New Organizing Victories credit for this effort. After launching a tract, and a new 401(k) retirement plan moving the AFM-EPF trustees to reform Argyle Theatre – In January 2019, social media campaign with participa- option. The bargaining unit overwhelm- their governance. musicians received voluntary recogni- tion and support from musicians across ingly ratified this new agreement.

4 Allegro | January 2020 n NEWS & VIEWS

Radio City Music Hall – Musicians We stood strong to negotiate major dition to myself. This convention takes the AFM. We therefore brought a reso- playing at Radio City ratified a contract increases in healthcare contributions place every three years and is attended lution to the floor whereby the AFM with 2.5% wage increases for each of from Broadway: 23% over the next three by delegates from every local in the would bear the cost of collecting the the three years of the contract term. years. Absent this 23% increase, the country and Canada. As the largest local royalties and fees that are kicked up Additionally, split-chairs will receive a Health Plan would have had to drasti- in the AFM, we at 802 brought several to them. Unfortunately, our proposed 23% increase in health contributions cally cut benefits and restrict access to matters to the convention floor. resolution was voted down by the con- over the course of the contract. Finally, members. We have also significantly The first issue was related to our ail- vention delegates. all Radio City musicians will have the increased employer contributions at: ing pension plan. We brought to the option to participate in the new 401(k) Radio City Music Hall (23%), NY POPS convention floor a proposed bylaw 802 Finances plan. (5.56% for performances and 15.82% for amendment that would have required Keeping our operating budget in bal- Orchestra of St. Luke’s – During rehearsals), and St. Luke’s (13.53% for President Hair to appoint to the AFM- ance was a top priority for this fiscal negotiations we solidified 3% wage in- performances and 26.50% for rehears- EPF board two experts: one expert in year. 802 has operated at a deficit for the creases for each year of the contract. als). Across the board, we’ve sent a loud actuarial science and the other expert last four years and we viewed 2019 as Health benefits contributions will in- and clear message to management: in investments. Unfortunately, our pro- an important year to get back on track. crease by 13.5% for performances and heath care is a human right that em- posed resolution was voted down by the If 802’s books are not balanced, it com- 26.5% for rehearsals over the contract ployers have a responsibility to provide convention delegates. promises our ability to do anything else. term. to the musicians they employ. The second issue related to the bur- When we came into office, we created a New York Pops – We were able to densomeness of collecting recording balanced budget and are taking steps to negotiate a 5-year contract securing Pension and Retirement work dues and royalties. The AFM re- stick to that budget as much as possible. 3% increases in wages and cartage for In 2019, the AFM-EPF initiated the quires locals like New York, Los Ange- It’s too early to know the final results each year of the contract. Health ben- process to cut our pensions. This les, and other places where recording for this year but one concern we have efits will increase 5.6% for performances month, the AFM-EPF has filed with the takes place, to bear all the costs of col- tracked is a continuing downward trend and 15.8% for rehearsals over the term U.S. Treasury and members can expect lecting work dues on recording activity in recording work dues this year. This of the contract. The weekly cap will be to receive letters next month detailing within their jurisdiction. While the lo- tracks with the downward trends in the raised 12.2% over the entire term of the benefit cuts. Our administration is com- cals do all the collecting, much of what recording industry and the unfortunate contract. mitted to ensuring this process is ac- they collect gets kicked up to the AFM. fact that recording musicians still after Not-for-profit Off Broadway – We countable and transparent at every turn. Because of declining recording revenue, many years do not receive streaming re- started negotiations with not-for-profit We asked the AFM-EPF trustees to ap- Local 802 is losing money collecting for continued on page 6 Off Broadway theaters to combine sev- pear before our local to answer mem- eral collective bargaining agreements bers’ questions. Although the trustees into one. It’s an ambitious project and refused our invitation, we held a special negotiations are ongoing. pension meeting in September, where The census needs your help! Other Agreements – In addition to renowned pension expert Norman these larger agreements, we negotiated Stein gave a presentation on the multi- he recruiting of hundreds of thousands of temporary workers for successor agreements for the Ameri- employer pension crisis and took mem- the 2020 Census – often described as the nation’s largest civilian can Classical Orchestra, Bronx Arts bers’ questions. We plan to continue to mobilization – is now underway. The U.S. Census Bureau is recruiting Ensemble, Children’s Orchestra Soci- educate Local 802 members on what is T2.7 million people across the country to assist with the 2020 Census ety, Hora Decima Brass Ensemble, the going on with their pension plan. count. In the spring of 2020, the Census Bureau will launch the largest 2020 Kaufman Music Center faculty, New Additionally, this year we set a prece- Census field operation, known as Nonresponse Follow-Up. Census takers will York Gilbert and Sullivan Players, New dent by negotiating a new 401(k) option knock on doors to follow up with households that have not responded to the York Scandia Symphony, NYC Gay Men’s in our major new contracts, including census questionnaire. Chorus, Queens Symphony Orchestra, Broadway and Radio City. This option Applicants can qualify for both field and office positions. The office Riverside Symphony and musicians at will remain a priority as we negotiate positions, which are more limited, will be located in area census offices. The 92nd Street Y–Jazz in July, as well as an successor agreements at other major role of these offices is to recruit, select, hire, train, manage,and pay all office initial agreement for the Kaufman Mu- workplaces in 2020. In the months and field staff who work within the designated boundaries of the geographic sic Center accompanists. We also nego- since the 401(k) plan was ratified in territory assigned to the office. tiated a settlement that paid musicians these new contracts, we have been The Census Bureau is in the process of opening 248 offices to support the overtime from a 2016 engagement at working with employers to negotiate 2020 Census. As these offices become ready for business, they are listed at the United Nations. instituting and administering the plan. https://2020census.gov/en/jobs.html. Applying for one of these jobs is Our goal is to launch the 401(k) plan in simple. Just visit the website above or call 855-JOB-2020 and select option Health Plan summer 2020. This option will enable 3 for more information. Those who are being considered for a position will Shortly after taking office, we learned musicians to plan for the future without receive a telephone interview. If offered a job, they will receive instructions that the 802 Health Plan lost $2.7 mil- being entirely dependent on the AFM- on next steps via e-mail. lion in the last fiscal year. The Health EPF for their retirement security. Applicants will need to complete paperwork online and make an Plan actuaries were predicting that the appointment to get fingerprinted for the background check. Once they Health Plan would run out of money 2019 AFM Convention are offered the job, there will be a period of time before their start date to by December 2021. We immediately re- The AFM convention took place from allow time for the background clearance process. To search for possible sponded by proposing changes to the June 19 through June 21, 2019 in Las Ve- management positions, go to USAjobs.gov. benefit structure, focusing on encourag- gas. Local 802 was represented by Janet Most applications will remain active throughout the 2020 Census and may ing members to use in-network benefits Axelrod, Pete Donovan, Bill Hayes, Ja- be considered as positions become available. Apply today! as opposed to out-of-network providers. vier Gándara, and Caryl Paisner, in ad-

January 2020 | Allegro 5 n NEWS & VIEWS THE YEAR IN REVIEW FROM page 5 siduals despite the other above-the-line Board generously volunteered their still houses the Membership and Anti-Harassment guilds achieving this two contract cycles time to give the Club Room walls a Electronic Media Departments and We collaborated with the Anti- ago. In general we have committed to much-needed fresh coat of paint and all Finance and IT Department staff Harassment Committee to roll out really reducing expenses at 802. One curate new photos of members hung members now work on the fourth the first-ever harassment hotline for of the biggest expenses in prior years throughout the room. At the request floor. Our business reps, who now 802 members to report instances has been the use of outside law firms. of the 802 Green Committee, we in- belong to the Department of Field of bullying, discrimination, and In 2018 alone, Local 802 spent over stalled new filtered water dispens- Services under the leadership of new harassment – anonymously or not. $640,000 on outside firms. This year, ers throughout the building. We also Director of Field Services Leo Gertner, The Workplace Harassment Initiative we reconsidered all of our legal options upgraded our building’s security and can be found on the fifth floor along committee worked to draft new bylaw and established a relationship with a will continue to phase in security pro- with the Department of Strategic language to replace outdated language firm that meets both our financial and cedures to meet standards in the area. Campaigns, which includes Organizer that did not go far enough to address organizational needs. As a result, our le- We value our union staff who work Lily Paulina and Communications member-on-member harassment. gal costs will be a fraction of what they every day on behalf of the members. Associate Maria DiPasquale. For an The amendment was presented and were in previous years. In order to better support our staff’s updated map of where departments discussed at the October membership ability to meet our members’ needs, are situated in the building, see www. meeting and passed with unanimous Improvements to the this year we began a process of internal Local802afm.org/about-local-802. approval. Building/Internal Restructuring restructuring, which included some While we are mindful of our budget- reassigned workspaces. Although our Communications Building Relationships ary constraints, we made some small, Musicians’ Health Fund still resides We integrated strategic communica- We developed excellent working but noticeable improvements to the on the third floor, the rest of that tions strategies into our organizing ini- relationships with other entertainment building. We’ve given some attention floor was cleared out and will be tiatives. The success of the Musicians unions including IATSE Local One, to the Club Room by ordering new rented out in the new year to generate of Broadway website and the social Actors’ Equity, SAG-AFTRA, IATSE chairs and tables, and the Executive income for the local. Our second floor media launch for DCINY demonstrate Local 764, and AGMA. We are also how effective this approach can be. building strong relationships with key We responded to member concerns policymakers in City, State, and Federal about the ad-based “802 Notes” by in- government. Hollywood film music stituting a monthly events email that is ad-free. In addition, we worked to Increased Member Engagement enhance the diversity of the Allegro in Our Union editorial board, bringing more, and None of the victories and orchestration seminar different, voices to the table. We were achievements of the past year would proud that Allegro won first place for have been possible without the general excellence in the annual jour- increased engagement of our members. nalism contest of the Metro New York Musicians reaffirmed what we know to Free at Local 802 on Jan. 8 Labor Communications Council. Alle- be true: musicians are the union, and gro was #1 in its class in NYC. our union is made stronger when we In April, we implemented a peer-to- are all active participants. Here are just peer texting platform to communicate a few examples: with and mobilize our membership • Member-Led DCINY Campaign – Hollywood Film Music when we have an urgent call to action An 89% “Union Yes” vote at DCINY or important information that needs was achieved through six months of Orchestration Seminar to be disseminated quickly. We tested musicians having hard, honest, one- it out first for our rally to support the on-one conversations with one another with Dr. Norman Ludwin Chicago Symphony musicians, and – about what they loved about their again to drive turnout to our October job, about what needed to change, and membership meeting. Both instances how coming together in union is the confirmed how effective this platform best path to making that change. can be as a mobilization tool. • #BandTogether Campaign – As the We also improved resources available to AFM negotiated our national film and members on the 802 website by launch- TV contract with the major studios, a More info and RSVP at ing the 802 Resource Center, which group of New York musicians formed guides members to access entrepreneur- a Contract Action Team, leading www.Facebook.com/Local802AFM/events ship opportunities and social services the charge in holding well-attended through curated links and information. musical rallies to put pressure on

6 Allegro | January 2020 n NEWS & VIEWS the studios to pay scoring musicians On the Horizon in 2020 the streaming residuals they deserve. • Launching the 401(k) Plan – In Although the tentative agreement the months since the 401(k) plan was reached in November fell short of ratified in new contracts on Broadway TAX TIPS winning those residuals, the gains we and at Radio City, we have been did achieve – wage increases, minimum working with employers to negotiate FOR MUSIC MAKERS & rates on direct-to-streaming films, and instituting and administering the plan. on-screen credits – can be attributed Our goal is to launch the 401(k) plan in MUSIC INDUSTRY to musicians standing up and taking summer 2020. This option will enable action to fight for a fair contract. We’d musicians to plan for the future without PROFESSIONALS like to recognize every member who being entirely dependent on the AFM- participated – the fight for fair pay in EPF for their retirement security. streaming continues, so stay engaged! • Creation of a Stewards Program to MAXIMIZE YOUR CUT OF THE GIG! • Indie Musicians Caucus Survey – launch on Broadway in 2020 Our Indie Musicians Caucus designed • Transitioning the Membership Join fellow colleagues on the creative and business and administered a member survey over Department to Member Services – The sides of the music industry to learn the 101’s of filing the summer with the goal of finding membership department and recording taxes. Presented by Jeff Birnbaum, CFP, EA, this opportunities for new organizing in department will soon be consolidated the indie sector. Our membership can into one “member services workshop is beneficial for all individuals; first-time, expect to see those results sometime in department,” all located on the second contemplative and active tax filers. Q&A will follow. the new year. Thanks to everyone who floor of the 802 building. Through Focus is on issues relevant to working musicians and participated! staff development and reorganization, • Next Generation Initiative – We we look forward to making this vital topics include: have begun work on a Next Generation department even better at serving the Initiative to help rebuild our union’s needs of our members. • Fluctuating income relationship with younger 802 • New Intake System for Member members and reach out to the next • Deductible expenses Concerns and Issues generation of New York musicians. • • Diversity Study – Local 802 Estimated tax payment We’re working to connect with as many membership is less diverse than the • The importance of tracking college and conservatory musicians as population of musicians in New York • 1099 v. W2 possible to let them know the value of City, signaling the need to study being part of the union. As part of this barriers to inclusion and develop a initiative in 2020 we plan to host the multi-faceted plan for our local to 802 social engagement series for this Wednesday, Jan. 29 at 5:30pm become a leading advocate for diversity next generation of current members in the arts. In 2019, our administration and non-members. The will cover: hired consultant Shea Scruggs to union education, union services, The Episcopal Actors' Guild community networking and social work with our union to conduct a 1 East 29th Street issues. diversity survey of our membership. This fall, that process began when New York, New York 10016 • High Turnout at Membership

Meetings – We met quorum (meaning Mr. Scruggs met with representatives Prior registration required. Space is limited. RSVP at: at least 95 musicians were present) from several Local 802 committees to discuss some of the realities of at both the February and October https://taxtipsnyc.eventbrite.com membership meetings, well exceeding diversity and inclusion. The next phase average attendance at membership of that plan will continue in 2020. meetings in recent years. Reaching • Continued Partnership with the quorum allows us to conduct official Actors Fund – in spring 2020, as part union business; with over 100 of our continued partnership with the Actors Fund, we will host an Arts musicians present at each meeting, this also meant we were able to have Worker Resource Center event. important – while at times difficult – • Negotiating Agreements – conversations about the future of our Negotiations for first contracts for the The presenter, Jeff Birnbaum, is a Certified Financial Planner™ professional, with a union. Argyle Theatre and DCINY continue specialization in income tax planning and preparation. He is also an Enrolled Agent which is the • Anti-Harassment Bylaw into 2020, as well as negotiations highest credential the IRS awards. Jeff also has over twenty years working in the entertainment and music industries. MusiCares is a friend and ally of the music community and was Amendment – The new Anti- for not-for-profit Off Broadway established by the Recording Academy to safeguard the health and well-being of all music Harassment bylaw amendment, which theaters. Negotiations will begin for people. A four-star charity and safety net in times of need, MusiCares offers confidential passed with unanimous approval at the successor agreements at the New York preventative, recovery, and emergency programs to address financial, medical, and personal October membership meeting, was the Philharmonic, the New York City Ballet health issues. Through the generosity of our donors and volunteer professionals, our dedicated result of a year-long, member-driven Orchestra, American Ballet Theater team works across the country to ensure the music community has the resources and support it needs. For more information, visit www.musicares.org, "like" MusiCares on Facebook, and follow process to draft and present the updated Orchestra, Little Orchestra Society, @MusiCares on Twitter and Instagram. language to the full membership. Orpheus and Mostly Mozart.

January 2020 | Allegro 7 n NEWS & VIEWS STREET-NAMING HONORS BILL SCRIBNER, FOUNDER OF THE BRONX ARTS ENSEMBLE By Louise Scribner

n emotional and moving cer- emony on Nov. 15 gathered together family, friends and Acolleagues of late bassoonist and 802 member Bill Scribner, founder of the Bronx Arts Ensemble, as Hillman Avenue at Van Cortlandt Park South in the Bronx was officially designated WILLIAM J. SCRIBNER WAY, honor- ing Bill’s lifetime dedication to bring- ing concerts and arts education to the Bronx. The street naming was instigated Bill Scribner, the founder of the Bronx Arts by the New York City Council and had Ensemble, died in 2016 at the age of 77 the major support of Councilman An- after being a member of Local 802 since drew Cohen, as well as State Assembly- 1961. A street in the Bronx was recently man Jeffrey Dinowitz, a longtime sup- named after him. porter of the Bronx Arts Ensemble. Bill founded the organization in 1972 and making the arts an active part of at a time when there were few concerts the school curriculum. At present the in the borough and existing school mu- Bronx Arts Ensemble hires instructors sic programs were decimated by budget in music, visual art, dance, theatre, mu- constraints. Bill insisted that the Bronx sic theatre, Brazilian capoeira, Latin and Arts Ensemble was to be the first group African drumming and more. We are of its kind with a Local 802 union con- proud to honor Bill Scribner’s lifelong tract to ensure the high quality of per- passion, unparalleled energy and influ- formances. ence in the field of music and arts edu- The group presented free or afford- cation and his commitment to bringing able concerts in local venues like Ford- the arts to his community! ham University, the New York Botanical Garden, Woodlawn Cemetery, Orchard For more about the Bronx Arts Ensemble, Beach, Hostos Community College and see www.BronxArtsEnsemble.org. Bronx Community College, as well as schools, libraries, senior housing, com- munity centers and private homes. BILL SCRIBNER, IN The Bronx Arts Ensemble premiered works by Morton Gould, Roberto Sierra, HIS OWN WORDS Max Lifchitz, numerous Latino composers, In 2014, Tom Olcott interviewed and also seldom-heard classical works, Bill Scribner for Allegro. Scrib- including Debussy’s operatic fragment ner told us about his first perfor- “La Chute de la Maison Usher.” mances with the American Sym- Bill also engaged such acclaimed art- phony: “When I saw Stokowski in ists as Claude Frank, Cynthia Phelps, El- operation, I was scared out of my mar Oliveira, Sharon Isbin and Paquito wits,” Scribner said. “Fortunately, D’Rivera for his programs. At the same I was playing contrabassoon so time, he personally maintained an ac- I got to watch everybody getting tive performance career as one of the fired around me. But I learned city’s busiest and sought-after freelanc- something: the best thing is not ers and teachers. so much what to do, but what not Bill’s enduring legacy includes a wide- to do. When I moved over to first ly praised arts-in-education program bassoon, I survived.” Read more at in over 45 schools, fulfilling his dream www.bitly.com/bill-scribner of building audiences for the future

8 Allegro | January 2020 n NEWS & VIEWS photo: walter karling walter photo:

Three ensembles ratify contracts

The musicians of the Stamford Symphony Orchestra (top photo) ratified their contract on Dec. 10, 2019. The new, two-year agreement includes significant increases in wages, health benefits, cartage, and mileage, as well as new language covering educational and community outreach programs. The orchestra appointed Russell Jones as executive director in 2018 and recently announced the appointment of Michael Stern as its new music director after an exhaustive two-year search. Many thanks to the orchestra committee (Peter Weitzner, Lisa Tipton, Laura Bale, Lois Martin and Sue Lorentsen) for their diligence in negotiations. Separately, contracts with the Oratorio Society of Queens (middle photo) and Sacred Music Society of our Lady Queen of Martyrs Church (bottom photo) were recently ratified by the 38-member shared bargaining unit. Performance and rehearsal rates increased in each of the two years, and there are increases in cartage and health benefits for the first time since 2013. – Local 802 Financial Vice President Karen Fisher

January 2020 | Allegro 9 n NEWS & VIEWS

“Chicago” cast member Brian O’Brien with Marshall Coid and Chinese LGBTQ activists Shuai and Ming. ational committee on U .s.-china relations committee shuai and the N ational courtesy all photos MAKING A DIFFERENCE How the simple act of sharing our art can break down barriers, promote human rights and spread peace BY MARSHALL COID

10 Allegro | January 2020 n NEWS & VIEWS

ven as Washington escalates in several major cities besides Beijing. director, actors and musicians, several chestra, house staff, stage management, a noisy trade war with China Shuai received a fellowship in the fall of whom are – like me – members of the and our beloved doorman, Patrick. It and ugly political squabbles fill 2019 round of the Professional Fellows Broadway LGBTQ community, spoke was a representative roster of our entire Ethe headlines, union members Program of the National Committee on about our lives and shared histories company and made me very proud of on Broadway are creating peace here U.S.-China Relations. This non-govern- and insights which helped personalize our show and its producers. The card at home – quietly, and sometimes mental organization was established in the encounter. Our Chinese friends will be framed and hung at the Beijing historically. Musicians and actors from 1966 and is committed to exchange and also met company members from LGBT Center to offer encouragement “Chicago” recently honored two Chinese communication between the U.S. and various backstage departments, which to all who enter there. This shows the LGBTQ activists named Shuai and Ming China and facilitating NGO expansion. highlighted the sense that a Broadway added significance of what we do pro- in a visit that transformed us all. Members The committee sees cooperation be- company can become an inclusive big fessionally and how it has real impact of our company were able to greet and tween our nations as good for the entire tent over time. Both Shuai and Ming in the world. I will always treasure this welcome them after they witnessed a world. Since 2015, participants working felt welcomed in solidarity and had the meeting with these extraordinary young post-performance Q&A talkback with the in community building, philanthropy, chance to be photographed with and men and hold even greater hopes for audience as well as one of our seasonal legal aid, and environmental sustain- speak to quite a few of my colleagues. China’s future based on my past Asian Broadway Cares solicitations. ability have been placed with host or- The entire visit reminded me that performance experience and what I Cathy Barbash, a lifelong friend of ganizations around the U.S. focused on the Broadway community’s power learned from our visitors while they mine with extensive U.S./China cultural similar issues, to share strategies, tech- reaches farther than we may take for were with us in the U.S. exchange experience through her arts niques and other useful information. granted. Our outreach can literally I am so grateful to Local 802 President consulting business, arranged matinee Fellows from America also participate change lives. Because we are highly Adam Krauthamer for his enthusiasm seats for Shuai and Ming. They joined in a reciprocal exchange; they travel to visible artists on some of the world’s in showing solidarity with Shuai and Cathy and me in making a highly Asia to continue working with the fel- greatest musical theatre stages, we have Ming from my first mention of this visit symbolic financial donation to Broadway lows they hosted from abroad. Shuai’s a platform where we can use our voices and for his recognizing its significance Cares on behalf of the Beijing LGBT four-week NY placement at the Brook- to encourage activism and progress when it was only in its formative stages. Center, where Shuai is the media director lyn Community Pride Center was fol- around the world. That is truly one of I am honored that he suggested that I and where the two men first met. lowed by a week in Washington, D.C. for the privileges that comes with serving write this article as an additional, visible (A word on nomenclature: the Beijing the program’s concluding activities. on a Broadway show. form of support for my Chinese friends center uses the term “LGBT,” but else- During their visit to “Chicago,” our The final “Chicago” gift for our guests in their future activity. Adam’s official where in this article, I’ll use the more Chinese guests found the Q&A talkback was a card signed by cast, crew, ward- expression of interest and admiration familiar acronym “LGBTQ.”) especially fascinating. Our music robe department, members of the or- for the work of these young men adds Gay rights in China are a work in weight to the outpouring of support progress. The Beijing LGBT Center helps and solidarity our new friends will carry educate the public, hosts a network of back with them to China and shines gay-friendly therapists, and oversees a } positive light on the amazing work of hotline for transgender people. Shuai The Broadway all the organizations involved. has created 10 campaigns at the center, With hopes our paths may cross in the including some addressing “conversion future, as LGBTQ issues improve and therapy,” gender identity and expres- community’s power advance in both our countries, I wish sion, and freedom of sexual orientation. to express my thanks to all as we move He worked on China’s first national forward always. transgender survey, which garnered me- reaches further than we dia attention and praise, both in China Marshall Coid, a member of Local 802 and around the world. I was encouraged ~ since 1977, is the onstage violin soloist with to learn that China also has LGBT centers may take for granted “Chicago: The Musical” on Broadway.

“Chicago” musical director Rob Bowman with cast member David Bushman, Chinese LGBTQ activists Ming Chinese LGBTQ activists Ming and Shuai, with and Shuai, and cast member Michael Scirrotto. The banner Principal cast member Ryan Silverman with principal cast member Ryan Lowe and Marshall Coid at right displays the logo of the Beijing LGBT Center. Chinese LGBTQ activists Shuai and Ming

January 2020 | Allegro 11 n advertising

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12 Allegro | January 2020 n NEWS & VIEWS NOTES FROM THE FIELD WHAT’S A UNION GOOD FOR, ANYWAY?

By Leo Gertner Professionalism and respect [email protected] In many industries, unions make the workplace more professional through n our busy lives, it can sometimes clearer expectations and work rules. be easy to lose sight of what matters, Sometimes union contracts can seem whether it’s friends, family, last thorny and cumbersome, but they Iyear’s New Year’s resolutions, or are often the result of workers’ input professional goals. As we continue our on how to best perform their roles. day-to-day hustle in the new year, we At Local 802, we see this in our rules may get sidetracked. One thing I think about scheduling, breaks, premiums, it’s become too easy to forget is the and other rules that ensure the efficient importance of unions. Sometimes the operation of an orchestra, band, or noise produced from decades of anti- production. union assaults across industries, in our courts, and by some politicians makes Better pay and benefits it hard to remember that unions are the The average union worker makes best protection any worker has from 28 percent more than their nonunion unfair treatment. counterparts. That’s the difference As I enter my third month at 802, I between $30,000 and $38,400. That’s have seen the great impact the union quite a significant jump, especially has on our members’ lives, from when you consider dues are just a ensuring timely payment of wages and small fraction of pay. The effect unions securing health benefits to protecting have on pay spills over into the wider our members’ intellectual property. economy. One study last year from

Evidence from academic studies and Princeton and Columbia professors www.instagram.com/musicalartistsunion/ photo: practical experience keeps piling up found that unions, when they were WHEN UNION MEMBERS STICK TOGETHER, THERE’S STRENGTH: Dancers of the New York to back this up: unions boost wages, at their strongest, reduced inequality City Ballet (above) recently showed their support to the artists of Nevada Ballet Theatre provide benefits, protect members from not just for union members but across during their recent successful campaign to form a union with AGMA. arbitrary treatment, and create better, the entire economy. That matters more professional workplaces. In the especially now as the gap between Benefits and retirement security in, focusing on critical matters like arts, where every day can be precarious, the richest and poorest households in The difference between having a union environmental protection and racial unions provide added stability. I want the United States is the widest it has and not in this area is staggering: 94 justice. Just to give two examples: SEIU to take this opportunity to review the been in 50 years, according to the U.S. percent of union members working full- Local 8 in Florida demanded an end to benefits of having a union, not just for Census Bureau. time had health insurance compared state investment in fossil fuels, while the musicians, but for any worker: to 65 percent of nonunion full-time Denver Classroom Teachers Association Equality workers. The same proportions of union demanded restorative practices that Protection from arbitrary treatment Union contracts are often ahead of members to nonunion workers had deemphasized disciplinary practices In the U.S., if you don’t have a union, the curve when it comes to fighting for access to retirement plans to provide shown to aggravate racial disparities. you’re an at-will employee. That means equality across racial, gender, and other security after they stopped working. that the employer can fire you (or lines. Having a union has been shown We’re stronger together demote you or cut your hours) for any to narrow the racial wealth and income Health and safety In short, unions ensure that we’re or even no reason. As long as the reason gaps. African American workers in With weak laws in this area, unions not alone as we fight for fairness at isn’t prohibited by law (such as gender unions earn 33 percent more than their prioritize ensuring that their members work – and give us a shot at winning or racial discrimination), then there’s nonunion peers, while Latino workers enjoy healthy and safe environments. no limit on what the employer can do. earned 42 percent more. Union women Many studies have shown that union things that alone would be impossible. An employer can fire someone without are paid 94 cents for every dollar paid workplaces experience lower injury Yes, unions aren’t perfect and Local any warning or explanation. Most to men in unions, while female workers rates and workers have greater recourse 802 has its share of the challenges that union contracts include “just cause” outside unions only earn 78 cents and power in fixing unsafe conditions. the labor movement faces, but in my provisions that require employers for every dollar earned by nonunion opinion the advantages far outweigh to provide a legitimate reason for men. Additionally, union contracts Stronger communities the disadvantages. In the new year, I termination. This holds employers were among the first legally binding Increasingly, unions are consciously hope we work together to strengthen accountable and forces them to run a protections for LGBTQ workers before working to improve the communities our union and make sure musicians are more professional operation. advocates won changes in the law. that their workers serve and live proud to be part of it.

January 2020 | Allegro 13 n advertising

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14 Allegro | January 2020 795 FOXHURST ROAD BALDWIN, NY 11510 (516) 546 - 9300 WWW.KOLSTEIN.COM n NEWS & VIEWS Gains made, but the fight for streaming continues By Elise Frawley and Joanna Maurer a Contract Action Team and elected members to serve on the National Co- VIOLIN | VIOLA | CELLO | BASS e have just come off of ordinating Committee. In a few short the long, drawn-out nego- months we built enough power to tiation between the AFM shift the discordant landscape with the est. 1943 Wand the Alliance of Motion Film/TV producers and garner real con- Picture and Television Producers. At the tractual gains. With a sustained effort, time of writing this article, a tentative the ultimate goal of winning streaming agreement has been reached subject residuals is now in sight. to ratification. The negotiation began We built up so much pressure that in 2018, included two extensions, and on the last day of negotiations the lead finally concluded on Nov. 21, 2019. We lawyer for the AMPTP said she hopes both attended the last two days of bar- for “labor peace” for the duration of gaining in L.A., and additionally partici- the new contract. The influence all of pated in a National Coordinating Com- the organizing and rallies had on the mittee of Player Representatives and producers cannot be understated. Each Bargaining Unit members from across contractual gain is a direct reflection of the country, helping to establish New our actions, as many of these proposals York’s involvement in our national con- weren’t even on the table, or were fought tract negotiations. tooth and nail by producers back when It is important to note that we did negotiations recommenced in October. not win streaming residuals. However, Considering we started this campaign we achieved substantial gains made only in the summer, this is a remarkable possible because of the solidarity be- achievement. It’s also worth noting that tween rank-and-file musicians across many of these proposals were thought tions corresponding with the AFM Basic ine the license agreements between the the country and the collaboration with of or modified directly from rank-and- Television agreement producer and streaming service in order AFM leadership. We realized in order for file members to the AFM, meaning l After decades of trying, we finally to verify budgets musicians to have a chance at the hard- we’ve established a voice to participate achieved screen credits, including the l Electronic Sell Through (rented or fought streaming residuals that writers, directly in our national contracts. This name of each musician sorted by instru- purchased shows/films) residuals in- actors and directors enjoy, we needed to is something that has been structurally ment section, on theatrical films and creased by 50% organize and mount an extensive cam- difficult through our union, but is the feature-length streaming films The tri-guilds (SAG-AFTRA, Directors YEARS OF PREMIER CRAFTSMANSHIP paign to build leverage by involving only way to get meaningful representa- l No discounts given to producers Guild, Writers Guild) have achieved musicians who play on these contracts. tion in our contracts. for any period of filming a streaming streaming residuals because of the di- 76 Some of the most economically signifi- Accepting the terms of this two-year TV show (in the past for traditionally rect influence they have on the means cant proposals came directly from sug- contract not only gives us better wages broadcast shows, the pilot and first 25 of production, giving them leverage gestions by musicians who work regu- and working conditions, but legal pro- episodes were discounted for the pro- with producers. Actions leading up to larly under the Film/TV contract. tections as we continue campaigning ducers to account for uncertainty in the the Live TV negotiations will be crucial The #BandTogether campaign began toward our ultimate goal. Here is a sum- staying power of the production) as well as sustained musician commit- in the summer of 2019 when musicians mary of our gains in the contract: l The AMPTP will have to pay for re- ment in building leverage. While we KOLSTEIN’S RENTAL PROGRAM in LA delivered a petition, signed by l Term of two years, from the first use of music covered under other AFM didn’t reach our ultimate goal, we’ve musicians across the country, to the Sunday the AMPTP receives notice of agreements learned that the more democratic the AMPTP. Led by the AFM international ratification to November 14, 2021 l The producers’ proposal for ex- process, the stronger the results. We are STUDENT TO HIGH PEDIGREE organizing staff, #BandTogether as- l Increase all minimum wage rates panding Banking and Exchange was encouraged by all the progress made in sembled a dedicated group of musicians in the AFM Basic Theatrical Motion Pic- withdrawn - Banking and Exchange is the relatively short time we have worked ELITE BOWS & ACCESSORIES in LA, Nashville, and New York to lead ture Agreement by 3% per year (effec- when hours from foreign films scored together, both internally and externally, actions, hold rallies, and assemble art- tive May 2020 and 2021) in the U.S. (that aren’t required to) are and we are proud to band together and ist/legislative support, putting pressure l High Budget Original Made for banked, then exchanged to allow do- keep fighting for what all recording on the multi-billion dollar companies at New Media projects will have standard- mestic made films to record overseas musicians deserve: a fair contract with the bargaining table. Each city formed ized pay, as well as terms and condi- l The AFM has new rights to exam- streaming residuals.

January 2020 | Allegro 15 795 FOXHURST ROAD BALDWIN, NY 11510 (516) 546 - 9300 WWW.KOLSTEIN.COM n advertising

16 Allegro | January 2020 n NEWS & VIEWS Electronics on Broadway gets a giant step in the right direction in new contract

he Electronic Music Committee We are excited to announce that playback. This clause shall not apply in contemporary music creation, from was formed as a think tank to the following new language has been to sound effects playback or recorded recording processes to live processing, examine the usage of electronics included in the 2019-2022 contract with music playback.” in the theatre as well as other areas of Ton Broadway. The EMC consists the Broadway League: music performance and production. We of industry professionals representing This is a giant step in the right strongly desire the input of any and all a wide cross-section of the Broadway Article XIV “Sequential music direction for the Broadway CBA, as it members who have experiences with community, including music directors, playback via Ableton, electronic establishes that electronic music is the electronics of any kind. Our work will orchestrators, composers, programmers keyboard, drum pad, or similar work of musicians, not an alternative be more effective with input from a and instrumentalists. The EMC now playback mechanism, shall be to musicians. As music production broad perspective of musicians. collects data on current issues regarding triggered only by a member of the becomes more and more technological, The group is hungry for your electronics, and discusses the future of bargaining unit. Bargaining unit it is important that we continue to participation and thoughts. If you have how electronics relates to the lives of all members who trigger the playback define the musician labor involved in a any questions, want to learn more, or musicians, both in the theatre and more shall receive the electronic instrument contemporary framework. wish to participate in the EMC, please broadly. All Local 802 members are premium. No other payment shall be This work is just beginning. The feel free to contact the EMC facilitators welcome and encouraged to contribute due to any member of the orchestra Electronic Music Committee will at ElectronicMusicCommittee@ to the conversation. as a result of the sequential music continue to examine musician labor gmail.com.

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January 2020 | Allegro 17 n NEWS & VIEWS When musicians at the Grand Teton Music Festival stood up for their colleagues, they showed IN SOLIDARITY, THERE IS STRENGTH

nions are the best protection over the artistic direction of the festival. board stating that he would not return for workers – but many people Specifically, they voiced their opinion either if the matter wasn’t resolved. Let- don’t know that workers who legal that the festival was becoming less fo- ters signed by past festival board chairs uare not part of a collective cused on performances by the orchestra and directors called for not only the re- bargaining unit and who are not corner – and more focused on outside groups – instatement of the musicians in ques- represented by a union also have rights harvey mars, and that this was not in the best interest tion but also for the ouster of the festival under the National Labor Relations esq. of the festival. One would have expected CEO who was responsible for the mu- Act. Specifically, Section 7 of the NLRA that in holding such town hall forums, sician firings. The orchestra committee protects the rights of all employees, Harvey Mars is counsel to Local management would have expected and won further media attention through whether they are unionized or not, to welcomed an open discussion, free press releases and interviews, which engage in “concerted activity,” which is 802. Legal questions from members from retribution. Such was not the case. mobilized even more local support for when two or more workers engage in are welcome. E-mail them to Some time later, the three musicians the “GTMF 3.” Finally, I was retained by action for their mutual aid or protection HsmLaborLaw@HarveyMarsAttorney. who made the main comments at the the orchestra committee to pursue un- about their terms and conditions of com. Harvey Mars’s previous articles meeting were advised by the festival fair labor practice charges in the event employment. A single employee may in this series are archived at www. that they would not be invited back for that the musicians in question were not also engage in protected concerted HarveyMarsAttorney.com. (Click on its 2020 season due to their “disruptive invited back, and a demand letter was activity if she or he is acting on the “Publications & Articles” from the top behavior” and “comportment.” One submitted to the chair of the board to authority of other employees, bringing menu.) Nothing here or in previous did not have to read much between the that effect. group complaints to the employer’s articles should be construed as formal lines to see a direct correlation. Finally, at an emergency meeting of attention, trying to induce group action, legal advice given in the context of an What was remarkable was that after the full festival board on Dec. 3, the or seeking to prepare for group action. attorney-client relationship. the three were not invited back, there board invited these musicians back. Thus, if an employer terminates or was a huge outpouring of support for While this was a tremendous victory, takes adverse action against a group them and outrage directed against the and one that demonstrated the true of non-unionized employees due to festival. This alone potentially ran afoul festival, both from the public and from potency of “concerted activity,” the vic- their efforts to change or improve their of Section 7 of the NLRA. But because fellow orchestra members. A petition tory was not complete since the board working conditions, the employer may of further concerted activity, public circulated by the orchestra committee declined to fire the festival’s CEO. With have engaged in an unfair labor practice outrage and the threat of unfair labor demanding reinstatement of the “GTMF him remaining at the helm, the possibil- that can be pursued before the National practice charges, the festival capitulated 3” garnered over 1,700 signatures, and ity of retaliation and further legal vio- Labor Relations Board. and invited the three disenfranchised 100 orchestra members informed the lations loomed. However, as the result Recently, the Grand Teton Music musicians back for its 2020 season. This festival that they would not return for of further pressure by the community Festival in Jackson Hole, Wyoming, was a huge victory for the Grand Teton the 2020 season if the three musicians of players, at a Dec. 13 Board of Trust- made the unfortunate decision not musicians – and for all non-unionized were not rehired. (All of these actions ees meeting, the CEO resigned from to invite back three longstanding freelance musicians throughout the the musicians were doing in support of his position. Now there is real cause for members of the festival orchestra (two country. Here’s what happened. their colleagues were protected activity celebration. Orchestra committee mem- of whom are members of the orchestra During “town hall” meetings held by under Section 7.) ber Martin Andersen told me that the committee) due to their public opinions management during the festival last The festival’s music director, Donald committee “applauds the decision to concerning the artistic direction of the summer, musicians expressed concerns Runnicles, submitted a letter to the re-invite our esteemed long-serving col-

18 Allegro | January 2020 n NEWS & VIEWS

Different from the rest. https://wyoarts.state.wy.us/grand-teton-music-festival/ When three musicians were not invited back to the Grand Teton Music Festival in Jackson Hole, Wyoming, solidarity saved the day. Above, the festival pictured on its website. leagues to the festival orchestra.” in any case, file unfair labor practices Andersen also said, “This positive now or whenever needed. (I wrote in outcome is the result of many factors, these pages about a similar case with not the least being the willingness of the the Lancaster Symphony. The case Grand Teton Music Festival musicians to was Orchestra and Greater Lancaster stand steadfastly together in support of Federation of Musicians, Local 294 our colleagues. In light of our concerns AFM, 357 NLRB No. 152.) On the other about festival actions in the last several hand, I also wrote recently about an years, we will continue to challenge the unfortunate situation last year with festival board to re-assess its long-range the Greater Bridgeport Symphony, plans for the festival, as well as its gover- where reinstatement of non-unionized nance and executive leadership.” musicians was denied by the state Ultimately, this taste of success could labor board because the musicians prompt this group of musicians to were deemed under state law to be unionize their job with the festival. independent contractors. Federal law However, the festival has historically did not control that outcome. taken the position that its musicians Fortunately for the Grand Teton Music are independent contractors and thus Festival, this issue is moot for the time not entitled to unionization or the being since the musicians were success- protections of Section 7 of the NLRA. fully able to pressure the board to do Federal law would ultimately guide the the right thing…for now. We’ll keep you “The month I spent going to Dr. Tatz was, answer to this question. The festival posted on the brave journey of these in my opinion, as important to my well-being satisfies the law’s interstate-commerce musicians. threshold and, in my mind, clear legal and to my artistry as a full year of violin lessons.” precedent supports the conclusion that Harvey Mars’ articles mentioned these freelance musicians are in fact above can be found at www. Bryan Lee employees. Therefore, I believe that the Local802afm.org/Allegro and at www. workers are eligible to unionize and, HarveyMarsAttorney.com

January 2020 | Allegro 19 n advertising

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20 Allegro | January 2020 n NEWS & VIEWS LET’S STOP PAY-TO-PLAY Local 802 has a voice on the NYC Nightlife Advisory Board. We’re using it to improve working conditions for musicians. Here’s how…

The NYC Nightlife Advisory Board is an all-volunteer, 14-member independent body that advises the mayor and the City Council on issues affecting the nightlife industry and ways to improve regulations and policies that impact nightlife establishments. Alvester Garnett serves as the Local 802 representative to the Nightlife Advisory Board, in addition to his work as the chair of 802’s Jazz Committee. Below, Alvester tells us how he is using his time on the board to help his fellow musicians.

By alvester Garnett with David Stern

s i serve on the NYC Nightlife Advisory Board, my main pri- ority is recommending that we aeliminate pay-to-play policies that undermine the work and value of musicians. Every musician knows what MAKING NIGHTLIFE BETTER FOR MUSICIANS: Local 802 member Alvester Garnett (wearing glasses, seated at end of table) serves on the pay-to-play is: it’s basically any kind of NYC Nightlife Advisory Board, which advises the mayor and City Council about issues affecting musicians and other nightlife workers. gig where there’s no guaranteed wage. Maybe you make some money if the One reason that we play music is be- So what are the meetings of the NYC dents in that area who don’t want loud venue “passes the hat” and asks for cause it’s in our soul to express our art, Nightlife Advisory Board actually like? music in their backyard. Even though donations for the musicians. But after and this means that sometimes we’ll We typically meet at the David N. Din- we, as a musicians’ union, want live mu- taking into account the costs of trans- play for little or nothing. (And this is an kins Municipal Building. We read cur- sic to flourish everywhere, we have to be portation, food and paying any backup even easier decision for musicians who rent NYC regulations about nightlife sensitive and open to compromise. For musicians, the leader almost always have an alternative source of income.) and speak about what we want to see instance, if there was a recommenda- ends up losing money on these gigs, But the adverse effect is what this does changed. At our most recent meeting, tion that required new nightlife venues which is why we call it pay-to-play. to those who primarily make a living we identified our top 15 objectives. to install soundproofing, I would vote How to address the issue of pay-to- from performing. We also seek out opinions from outside yes without a second thought. play can be a deceptively convoluted This year the minimum wage in New organizations. We recently heard from Our voice on the Nightlife Advisory endeavor. Musicians who are new on York City was raised to $15 per hour. the NYC Artist Coalition, which gave us Board is important for musicians – and the scene or lack a strong audience base Many restaurant owners insisted that a list of venues that receive tax breaks or it also expresses the outreach and com- may see pay-to-play as an opportunity the raise would hurt the industry. But grants from the city yet pay musicians mitment of Local 802. We’re building to gain exposure or a way to work on lo and behold, the city has had a boost marginal wages at the same time. This list stronger relationships with the city and their tunes in front of an audience. And of income in restaurants. It’s illegal not of venues was shocking to me and was a becoming part of the nightlife discus- many venues wouldn’t bother hosting to pay restaurant workers; why is it legal reminder that musicians are often at the sion from the inside, which means we’re live music at all if it wasn’t free; they’re not to pay musicians? We must get rid of bottom of the list when it comes to how becoming part of the solution. Overall, well aware of the current status of sup- pay-to-play. venues spend their money. Why does a this is a positive initiative and I’m proud ply and demand for musicians. On the How do we propel venues to adapt venue deserve a grant or tax break if it’s to be a part of it. musicians’ side, the desire to be an art- fairer standards? Besides the usual po- going to treat its musicians poorly? Musicians who have any questions ist and the desire to be a professional litical or legal tactics, another idea we’re And then there are some citizens who about the NYC Nightlife Advisory can be in conflict. Venues often will take thinking of is a “seal of approval” for oppose nightlife, almost militantly. For Board – or who have any ideas or advantage of the decisions we’re forced venues that pay musicians a guaranteed example, nightlife in the Lower East Side contributions – are welcome to e-mail to make. living wage. is always growing, and there are resi- me at [email protected].

January 2020 | Allegro 21 n NEWS & VIEWS MEMBER TO MEMBER The importance of the first teacher

THE MAGIC OF MUSIC: Local 802 members Morrie Sherry (clarinet) and Ina Litera (viola) teach together at the Kaufman Center.

As Allegro continues its series on began playing clarinet when something to do with it. Or perhaps it stitution Hall – as well as the Juilliard music teachers and teaching artists, we I was ten years old. I grew up in was because of my next-door neighbor. String Quartet when they performed at hear this month from Local 802 member I Chevy Chase, Maryland, outside She was a high schooler who played the the Library of Congress. It was also fun Morrie Sherry. If you have a story to of Washington D.C. and went to oboe and was a role model to me. to watch Leonard Bernstein conduct contribute to this series, please e-mail public school. In the fourth grade, Well, I was captivated! I listened to the New York Philharmonic’s Young [email protected]. Mr. Lindauer, the area music teacher, as much clarinet playing as I could. My People’s Concerts on television and see brought all the orchestral instruments father took my sister and me to many close-ups of Stanley Drucker playing By Morrie Sherry to our school. We were able to try them orchestra concerts, and we heard the principal clarinet! [email protected] and choose one to study; I chose the Philadelphia Orchestra, the New York Later, my participation in school or- clarinet. It was exotic! I’m sure the Philharmonic and the Chicago Sym- chestras throughout junior high and cat motif in “Peter and the Wolf” had phony when they performed at Con- high school led to joining youth or-

22 Allegro | January 2020 n NEWS & VIEWS chestras, attending music camps, and summer music programs. I majored in music at the Philadelphia College of When teaching artists form a Performing Arts and ultimately earned a Master of Music degree from Juilliard. I had the awesome privilege of study- union, they can make life better for ing many years with great clarinetists and teachers, including Ignatius Gen- nusa (of the Baltimore Symphony), Leon themselves – and their students Russianoff (world-renowned teacher) and Ben Armato (of the Metropolitan Opera and a reed expert and inventor of By Morrie Sherry the Perfect-a-Reed and the Reed Wizard). I think that my first clarinet teacher, t pays to form a union! Local 802 Paul Eberly, set the stage for my devel- and the faculty of the Lucy Mo- opment as a clarinetist. A well-respect- ses School and the Special Music ed teacher with many advanced stu- iSchool recently negotiated our fifth dents, he encouraged me to play with contract with the Kaufman Music Cen- a resonant sound, and accordingly, he ter. Since we won our first contract in selected a new clarinet for me as well 2003, we have successfully negotiated as a mouthpiece. He fixed my reeds guaranteed annual raises, health ben- and taught me how to breathe. He was efits and 403(b) contributions, a griev- diligent and demanding of high-quali- ance procedure, binding arbitration, ty playing. He had studied at the New dues check-off, and payment for yearly School in Philadelphia and had played faculty meetings. We also negotiated a in the Navy Band. I still have the mu- transit check provision and an exami- sic books from my lessons with him, nation of temperature control in the including Leon Lester’s “Sixty Rambles teaching studios. for Clarinet,” and use them with my We started our organizing campaign in young students today. 2001 through conversations with faculty For 28 years at the Kaufman Music members, who numbered about 120. Center’s Lucy Moses School, I have Common threads that wove through been the first teacher for many young these conversations ranged from job clarinetists. Some students start as security to higher wages to healthcare young as seven years old. One student and retirement benefits. We also IT PAYS TO FORM A UNION: Teaching artists at the Kaufman Center (above) formed a union started lessons with a front tooth wanted a grievance procedure and with Local 802 in 2003. They recently ratified their fifth contract, which includes raises, missing (it eventually grew in). I payment for faculty meetings and health benefits and more. welcome the opportunity to nurture unpaid work, which included time their interest and creativity. Combined auditioning prospective students for a tion. They responded with the standard cal 802 Recording Vice President Andy with teaching the skills and reinforcing chamber music program. pushback that “We are a family” and Schwartz, who was at the table during their stick-to-itiveness, I give my We discussed the importance of “We don’t need a third party,” and other our recent contract negotiations and students the tools to perform and solidarity and elevating ourselves anti-union language meant to intimidate provided illustrative examples that forti- excel. I have proudly watched some as a group so that we would have us. Because the administration wanted fied our case. We also want to thank the remarkable performances. Two recent an equal voice when we were at the to cut down the size of the bargaining tireless efforts of Local 802 rep Marisa examples come to mind. An 11-year-old bargaining table to negotiate with the unit, several teachers had to testify in Friedman and organizer Lily Paulina. played with technical self-assurance and administration. We felt that the union hearings at the National Labor Rela- The Kaufman Music Center is an musicality as he performed for the first would provide us with the backing we tions Board about their qualifications outstanding musical institution with a time in a master class. Another student needed to advocate for all of us in these and teaching responsibilities so that world-class faculty. We are teachers de- composed a short piece after reading a endeavors. While the administration they could be part of the bargaining unit. voted to seeing that our students receive poignant story in school. She told the always stressed that the faculty had a After nearly month-long testimony, we the highest-quality instruction. The story to the audience and then closed family relationship with the Kaufman succeeded, and the Labor Board stipu- union benefits that we have fought for her eyes and played her composition. Music Center, we thought that as lated that all teachers employed before and won have improved our relation- My goal is to inspire my students to professional musicians and teachers, July 2002 could be in the bargaining ship with the Kaufman Music Center. carry on a lifelong relationship with we had an obligation to maintain a unit. There were some contentious fights We continue to build on our achieve- music. professional relationship with the and even a strike, but at 2 a.m. on Oct. ments and strengthen our contracts. center. We strongly felt that this could 30, 2003, in the Kaufman Music Center’s Morrie Sherry has been a member be accomplished best by affiliating lawyer’s office, we won our first contract! If you are teaching in a music school of Local 802 since 1984. If you have a ourselves with Local 802. We applaud Local 802’s attorney where you aren’t earning the pay and personal essay to contribute to Allegro’s When we obtained 85 percent of the Harvey Mars, who, during our contract benefits you deserve, you can make a “Member to Member” column, send an faculty’s interest in organizing, we pre- negotiations, clearly expressed the im- confidential call to Local 802 at (212) e-mail to [email protected]. sented our intentions to the administra- portance of our demands, as well as Lo- 245-4802. Ask for an organizer.

January 2020 | Allegro 23 n advertising

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photo by “thepalmer” via istockphoto.com “thepalmer” by photo Dr. Ellen Finkelstein, Au.D. [email protected] Doctor of Audiology www.EastSideHearing.com n NEWS & VIEWS TO YOUR HEALTH STOP INJURIES BEFORE THEY HAPPEN Local 802 member Katherine Hannauer will co-lead a series of free injury prevention workshops in February. Here’s how she began her remarkable journey in occupational therapy…

etting injured is one of a taking your body through its full range of musician’s worst fears. But motion is a great first step in alleviating there are great strategies and musculoskeletal imbalance, a source of Gbest practices that we can pain and discomfort for so many people. pursue, including something coming up I started doing yoga teacher trainings and this winter for Local 802 members that’s became fascinated with anatomy and the completely free. Local 802 member mechanisms of injury, partly because Katherine Hannauer and her classmate I was seeing so much of it among my Nick Cerbone are occupational therapy colleagues. I now have about 800 hours students at SUNY Downstate Medical of teacher training under my belt, which Center in Brooklyn and will be offering is something I’ll be drawing on heavily a series of workshops at Local 802 for our workshops, along with the on injury prevention strategies for training I’ve had in anatomy, kinesiology musicians. The strategies will be simple and ergonomics in grad school. It was and user-friendly; players should be able my yoga teacher, Jason Brown, who first to easily fold them into their personal suggested occupational therapy to me practice routines. They’re planning to when I was thinking about a second spend some time addressing posture career. I looked into it, decided it would and stress management, too. (They’ll be a perfect fit, set about taking science also hold a separate session for the office prerequisites and applying to grad school, staff at Local 802.) “It’s never too late to and, well, here I am, straddling two start learning about injury prevention,” professions. It’s been quite an adventure. says Katherine, “But the earlier, the Allegro: Have you ever been injured better!” Allegro recently interviewed over the years as a musician? Katherine to learn more about what Katherine Hannauer: Yes! I devel- she’s going to offer our members. oped adhesive capsulitis, a form of fro- Allegro: You’ve been a member of Lo- zen shoulder syndrome, in 2011. I lost cal 802 since 1985. What is your musi- a lot of the range of motion in my bow cal background? And how did you get arm, which meant contorting the rest interested in injury prevention and oc- of my body to compensate while play- cupational therapy? ing (and doing just about everything Katherine Hannauer: I took my else, for that matter). When I look back first violin lesson when I was five, on that time now, I can’t believe I kept went to music school, and have been a working! I went for therapy with Caryl working freelancer since the early 80s. Johnson, an occupational therapist and I’ve worked mostly in orchestras, opera hand therapist whose name will be fa- and Broadway. Around 20 years ago, I miliar to many people in the business. started going to yoga classes, and found In addition to helping me get movement it super helpful in mitigating stress back in my arm, she was a huge inspi- and violin-related aches and pains. Just ration to me because she herself had

26 Allegro | January 2020 n NEWS & VIEWS made a career in occupational therapy you find yourself making a habit of that, through other foundational courses: partnership assignment, in which we are after training as a musician. Her practice it’s time to see a doctor. My advice would kinesiology, research methods, medical encouraged to explore application of oc- consisted mainly of injured musicians, be to take it case by case and use your science, and a whole lot of neuroscience. cupational therapy principles outside of and when this assignment came up, it common sense. (That was the hardest, but also fascinat- traditional areas of practice. Local 802 was her practice, which consisted mainly Allegro: Getting injured is a horrible ing). Now, in our second year, we get to was very receptive to our proposal, and of injured musicians, that I thought of feeling, partly because of the pain and build on that foundation and start look- we’re really looking forward to imple- immediately. There’s clearly a lot of need partly because it means that we’re out of ing at clinical applications. Nick and I menting our program there in February. among musicians. commission as a musician. It can be de- both did fieldwork in hand therapy clin- Allegro: What is one thing pressing because we have to do therapy ics, which, as you can imagine, is perfect This article is not a substitute for that’s especially surprising that you and not practice. Do you have any advice for us as musicians. It’s great getting out professional medical advice. What works want fellow musicians to know about for injured musicians on how to deal with into the field and working with people. for one person does not necessarily work injury prevention? feelings of hopelessness or self-doubt or The hands-on workshops that we will be for another. Use common sense and Katherine Hannauer: One thing self-blame about getting injured? offering at Local 802 will be the culmi- always consult a health professional that surprises me is that music schools Katherine Hannauer: This is a tough nation of a three-semester community before attempting any treatment. are not more ahead of the curve in ad- one, because our identity and sense of dressing injury prevention. It’s great that self-worth can be so strongly tied to what some schools are making physical ther- we do. It’s important, first and foremost, apy and occupational therapy available to attend to your health -- and not just to injured students, but it would be so your therapeutic regimen, but also eat- helpful to identify potentially damaging ing well and getting regular, good-quality movement patterns while lifelong habits sleep. Fear of re-injury is often a source of are being established and mitigate them anxiety, so stay in touch with your medi- BEFORE they cause injury. cal providers to monitor your progress, Allegro: What are best practices for and consider movement and mindful- musicians to avoid injury? ness practices, such as yoga or tai chi, Katherine Hannauer: We came which are safe for you to do and can across a lot of research on this when we help you prevent re-injury once you start searched the literature. General themes playing again. And of course, if you’re include proper warmup techniques, having a really tough time emotionally, proper posturing for different instru- don’t hesitate to consult a mental health ments and positions, smart practicing, professional for help in developing cop- pacing, acknowledging tension and ing strategies. Remind yourself often stress management. We’ll be exploring that this too shall pass and that you’ll be all of these themes in our free program better off in the long run for having given for Local 802 members. your body time to heal. Allegro: We all know that we shouldn’t Allegro: You just spent the fall semes- play through pain. But what if we have ter researching the medical literature. an audition or an important gig that What have you found that was particu- we must play through? What if our liveli- larly helpful or surprising that you want hood depends on playing through pain -- to mention to members in this article? and there is just no alternative? Is there Katherine Hannauer: One thing that any safe way to mask the pain or play surprised us was the sheer volume of through pain? What do you have to do literature specific to the music profes- in emergency situations, like playing for sion! We were expecting to have to ex- the most important audition of your life trapolate from research done on sports- while injured? related injuries, but there was a lot of Katherine Hannauer: The short material that addressed exactly what we FREE INJURY PREVENTION WORKSHOPS answer is “it depends.” Generally, were looking for. This validated our ini- it’s not a good idea to ignore pain. tial concept, and we can proceed with FOR MEMBERS OF LOCAL 802 Physiologically, pain is an important confidence, knowing our program will protective mechanism. That said, there’s be supported by evidence. a whole spectrum of playing-related Allegro: What can you tell us about Local 802 member Katherine Hannauer and her complaints -- from mild soreness, to your degree program? classmate Nick Cerbone will lead free, hands-on injury chronic, severe conditions like tendonitis Katherine Hannauer: My classmate or nerve entrapment syndromes -- so Nick Cerbone and I will graduate from prevention workshops at Local 802 in February. there’s no single answer that applies to SUNY Downstate this spring with mas- There will be flyers posted at Local 802 as well as every situation. We’ve all found ourselves ter’s degrees in occupational therapy. having to play with pain in order to get The program is extremely well-regarded announcements on social media. Please e-mail through a gig or audition. Sometimes in the field, and with good reason: it is [email protected] for more info. taking some ibuprofen and powering very rigorous. We began our first semes- through it won’t do lasting damage, but if ter with gross anatomy, and progressed

January 2020 | Allegro 27 n NEWS & VIEWS MEMBER TO MEMBER Bringing (rock) music to every classroom photo: luminola photo:

By Joshua Zarbo collections. Our lessons connect popu- The rigorous music research and writ- the lens of a social studies lesson, stu- [email protected] lar music with subjects across the dis- ing required to create one of our lessons dents chronicle the artists and produc- ciplines, all formatted into compelling has me utilizing a specialized skill set tion crew who pioneered the fuzzy tone ately I’ve been traveling around multimedia educational materials avail- that I developed in a somewhat hap- while recognizing the diverse commu- the country speaking to education able to any classroom at no cost from an hazard way as a college student. At the nities that developed this now-expected professionals about TeachRock, open resource website. time, my studies progressed in fits and sonic characteristic of the genre. Lan arts integration curriculum I’m incredibly fortunate to do what I starts through numerous programs and Tracing the sound’s evolution from developed by the Rock and Roll Forever do. It’s a unique opportunity I couldn’t schools. It was a difficult path but it has its serendipitous roots in the American Foundation, a nonprofit established by have imagined when I was first dream- ended up serving me well. South all the way through to its iconic legendary musician, producer, actor and ing of becoming a musician years ago. Recently, I designed a lesson that role as the gnarly riff on the Rolling activist Steven Van Zandt. As a curricu- And it joins together so many of my in- asked, “How did guitar distortion be- Stones’ “(I Can’t Get No) Satisfaction,” lum designer for the foundation, I’m on terests and abilities into a challenging come a desired and defining effect in students discover how the crunch we the team that creates TeachRock’s lesson and fulfilling profession. rock?” By presenting the story through hear in rock guitar emerged as a by-

28 Allegro | January 2020 n NEWS & VIEWS product of frazzled equipment, shining the academic pivot had me in courses move. On an online search one morn- Roll Forever Foundation. Starting in a light on both the regions and industry and classrooms where I had to work on ing, I came across a posting for a fasci- 2018, our staff began traveling along vital to its evolution. Bringing additional writing and research. At the same time, nating job in New York City for writing with Steven Van Zandt as he toured focus to the tech side, an embedded in- playing bass in that Texas college town and designing lesson plans that connect with his band, the Disciples of Soul. At teractive guitar effect pedal invites stu- brought me to the attention of the Aus- popular music with subjects across the select shows, the TeachRock curriculum dents to explore the type of gadgetry tin band Spoon. disciplines: TeachRock. After applying serves as an opening act for his concerts Keith Richards used on the track, illus- As the bass player for Spoon on many for the position, I discovered that I had by being presented in free professional trating how the effect transitioned from records and tours, I worked primarily a personal connection to the Rock and development workshops for local edu- a moment of tonal happenstance to an as a performing musician for years. The Roll Forever Foundation through musi- cators. And attendees get free tickets to intentionally sought timbre. band’s popularity led to a lot of great op- cians I’d been touring with in Nashville. that evening’s show! By reaching out to My earliest experiences with music portunities and helped pave the way for Within a couple months I was living in teachers and introducing them to new education started in private lessons. Af- a burgeoning freelance career. Indepen- New York City; I’d gotten the job! resources that can be used in any class- ter buying a bass guitar at the local mu- dent recording and live work followed Over all the years and through all the room, we’ve been developing a robust sic store when I was 14, I immediately but at the same time bass players and different vocations I pursued, I’ve taken community that spans dozens of states signed on with a teacher, Golder O’Neill. other musicians began to seek me out to heart something that may seem quite and hundreds of towns and cities around By taking lessons, my community of mu- for private lessons. Soon I was back in obvious - music is informed by the envi- the nation. sic peers expanded quickly. Soon I was the lesson room, having a blast teach- ronment that it’s created in. The anec- The work I do for TeachRock isn’t just playing in neighborhood garage bands ing, and really enjoying getting to know dotes behind the basslines I was learning writing about music. It’s also under- and the jazz orchestra at my high school. my students. It was a thrill to learn how way back, the songs and albums I was lis- standing the unique role discovering and However, improved bass playing, they’d gotten into playing bass and the tening to at different times, the records discussing music can play in connecting more genres to play, and more people creative journeys they were on. I loved that I’ve been making over the years; all directly with another person or groups to perform with weren’t the only things hearing about how they were connecting have a distinct connection to time and of people - a community. Currently, I’m I picked up studying with Golder. I no- with music. place. With TeachRock, we recognize developing a lesson in which students ticed he did a lot of different things out- While I was living my dream playing that even students who aren’t budding will build a working speaker out of pa- side of being a bass guitar instructor. on records and touring the world, teach- musicians experience this connection. per plates, wire, alligator clipped cables, Golder was a noted professor at a local ing bass lessons brought me back into Music is often a significant part of their and magnets. The lesson connects the conservatory as well as a sought-after the music education community, a place identity, as it is for all of us. That’s why history of American counterculture with live bassist. He had a thriving non-tradi- where I could serve and share all that I popular music can be such a potent tool the pioneering tech found in 1970s live tional career and seemed to love it. And had learned with other players. I felt a for inspiring student engagement in the music production. It joins together mu- Golder wasn’t the only musician I was strong pull to the work and started mak- classroom. sic with science, technology, art, social aware of who could be both a great mu- ing plans. More recently, there’s been a rolling studies and history. It’s fascinating work sician and educator. Several years into my time playing roadshow component of the Rock and and every day I look forward to it. The music books and magazines I read bass in Spoon, I began taking courses and played through showed me that online to finish my bachelor’s degree in great players could also have a knack for music. Eventually, I left the group to fo- writing and instruction. The accompany- cus on a career in music education and ing text to a transcription of a popular while I was concluding my undergradu- bassline often included a background ate studies, I received an offer to teach story. A music lesson with an included as adjunct music faculty at Austin Com- narrative provided a cultural context to munity College. Within a few years I was what I was getting under my fingers. It teaching several courses and one of my wasn’t just about the notes that James favorites was a lecture course surveying Jamerson played on his bass during the history of popular music in America. those Motown Records recording ses- I pursued a musicology degree in grad- sions. It was also about the social con- uate school and the liberal arts change- Joshua Zarbo has been a nection between the players, the story up years earlier was really helpful. The member of Local 802 since behind how they’d all ended up in that writing skills and research practices that 2018. If you have a personal particular studio on that particular day. I had honed were fundamental to my essay to contribute to Allegro’s It was about their journey and the com- success as a student. My master’s thesis “Member to Member” column, munity they fostered. foreshadowed my work with TeachRock send an e-mail to Allegro@ Frustrated as a freshman college mu- by connecting the Motown sound to the Local802afm.org. sic student at home in Virginia, I trans- local Detroit jazz scene that spawned so ferred to the University of North Texas in many of the session musicians who re- Denton to be a part of the acclaimed mu- corded the label’s music. sic program. While I didn’t last long as a Soon I relocated to Nashville to pursue music student for a variety of reasons, a more opportunities in the classroom and change to pursuing a history degree al- on the live stage. While I was fortunate lowed me to focus my time outside of to teach music courses at Middle Ten- class on playing in bands and being a nessee State University and Nashville part of the thriving local music scene. Al- State Community College, I wasn’t find- though I didn’t appreciate it at the time, ing what I’d hoped for when I made the

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activities. Dr. C spoke with visual artists, clear goal that had many checkpoints in the challenging activity and what WINNING ON composers, competitive athletes, along the way. For example, a chess they’re doing in the here and now. The dancers, musicians, chess players, player needs to know if every move focus of their awareness is narrowed STAGE rock climbers and many others about is getting them closer to winning or down to the task at hand and nothing DR. DON GREENE, PHD what they experienced when they losing. A musician may opt to play else. Finally, there is a necessary were totally involved in their chosen with a beautiful sound or execute a surrendering or “letting go” to the Winningonstage.com pursuits and performing at their peak musical phrase exactly as they want. experience, enjoying the bliss to the level of functioning. Continuing feedback is essential max for as long as possible. There is low is the mental state of a In the interviews, people described to keeping focused on the task at a lack of self-consciousness, namely highly motivated individual their peak experiences feeling like hand and remaining in flow. Choice a dropping of the ego. After flow when fully engaged in a chosen water in a stream flowing smoothly. indicates that you have chosen a task experiences, people feel good about Factivity. The person is immersed His own description of flow was “being that you not only want to do, but you themselves and grateful for what they in a feeling of energized focus and a completely involved in an activity for love to do. The fourth characteristic experienced after releasing their self- sense of total involvement. Flow is its own sake. The ego falls away. Time is the ability to fully commit: to give consciousness. completely focused attention; it is flies. Every action, movement and everything that you have to reach There is a critical balance between the a single-minded absorption into an thought follows inevitably from the your best. An autotelic person will level of difficulty and the participant’s event. In flow state, the emotions are previous one, like playing jazz. Your pursue increasingly greater challenges ability to meet that challenge. When not just contained and channeled, whole being is involved, and you’re after achieving a peak experience, activities are too easy, not requiring but they are positively energized using your skills to the utmost.” constantly seeking higher motivation. full involvement or attention, people and aligned with the task at hand. Flow can also be thought of as a When people are engaged in get bored and are easily distracted. If The hallmark of flow is feelings of state where focused attention, strong challenging activities that require the activities are beyond people’s skill spontaneity, freedom and joy while motivation and a challenging situation a high degree of concentration, level, they get intimidated, anxious, performing a challenging activity at the intersect, resulting in a productive they’re able to get beyond life’s daily defensive, frustrated, and often give up, peak of one’s talents and capabilities. harmony of peak functioning. frustrations, worries, and doubts. If or simply don’t enjoy the experience. In Dr. Mihaly Csikszentmihaly (who I Dr. C found that individuals with an they’re performing music, they can’t the flow state, you are always playing refer to as “Dr. C”), wrote “Flow: The “autotelic” personality trait were bet- be worrying about their unpaid bills, on an edge. It is an edge where control Psychology of Optimal Performance.” ter equipped to enter into flow states or they’ll miss a note. If they’re rock is possible, but not always guaranteed. He grew up during World War II in what and remain there longer. These traits climbing, and think about some You can fall off that edge if you lose is now Croatia, where he witnessed include curiosity, persistence and a problems at work, they’ll fall. They your focus or if you don’t use your tragic and horrible conditions. Dr. C preference for highly challenging activ- can’t afford to let their minds wander. skills to their full potential. That’s what was fascinated by watching the adults ities that demand undivided attention. When a highly challenging situation makes flow exciting and demanding. who kept their heads and rose above These endeavors cause individuals to demands our total attention, less Reaching flow state is the most their dismal circumstances to stay transcend normal states of conscious- critical concerns quickly disappear. desirable accomplishment in any clearly focused on what they wanted ness and ordinary levels of functioning. In the flow state, the attention that is endeavor. The accompanying joy and to accomplish. He eventually wrote a A person like this enjoys what they do usually split is merged into a single, feeling of satisfaction can propel you to dissertation on creativity and became a to the max, especially when they’re in highly concentrated laser beam of keep at a difficult task. I think everyone professor at the University of Chicago. flow. The autotelic personality has five focused awareness. People who are in is capable of reaching that flow state if Dr. C interviewed more than 8,000 main characteristics, which he called flow are much more efficient in their they remain focused and emotionally individuals about their richest life the “five C’s.” They are: clear goal, con- actions. positive when performing. Sometimes experiences. He focused on people tinuing feedback, choice, commitment, In flow, there is a merging of the most secure performance comes who described being engaged in and challenge. effortless action and awareness. from taking the greatest risks. enjoyable yet highly challenging Each interviewee started out with one People become completely absorbed

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January 2020 | Allegro 33 n advertising

34 Allegro | January 2020 n OBITUARIES REQUIEM

Bernadette Zirkuli Biddlecome with the New York Klezmer Society); and classical (symphonic, opera, ballet and ernadette M. Zirkuli Biddlecome, a recording made at the Palm Court at the chamber music), Broadway, standards, film, 74, a bassoonist and a member of Plaza Hotel, which he also arranged. Mr. international, ethnic, and more. One evening BLocal 802 since 1963, died on Nov. Gurevich is survived by his wife Donna, as Paul was strolling the tables and taking 30. In 1967, she earned her bachelor of brother Robert, daughter Nina, son Alex, requests from the guests, he walked back to music at Juilliard, where she was awarded daughter-in-law Wendi, and grandchildren the piano with a folder labeled “Iceland.” the Nuremberg Scholarship and a teaching Marissa, Ayden and Scarlet. If anyone has (Indeed, he had a folder with music from fellowship for woodwind chamber music. reminiscences of Mr. Gurevich (including everywhere!) I asked him, “What tunes are A year later, she earned her master’s jokes that he used to tell), please contact his from Iceland?” He quickly replied: “’I Left degree there and from 1968 to 1983 she daughter Nina Gershowitz at ninagcsw@ My Heart in REYKJAVIK!’” I can imagine was a member of the Julliard pre-college gmail.com or at 524 Viewpoint Terrace, him right now in a white tuxedo (with his faculty. Early in her career she toured with Peekskill, NY 10566. Below are memories signature red bowtie) floating from cloud to the Stuttgart Ballet, and was a member from three of Mr. Gurevich’s friends: cloud, taking requests from the angels. May of the Lake George Opera Company, the his memory be blessed! Vermont Mozart Festival and the New York Paul gurevich and I were born three -- Lee Musiker Chamber Soloists. For many years she was weeks apart and both raised in the Bronx Daniel Repole the principal bassoonist with the Music by immigrant parents. We met in the All Bernadette Zirkuli Biddlecome Aeterna Orchestra, the Little Orchestra City High School Orchestra around 1950 aniel V. Repole, 96, a trombonist Society and the Composers Conference and went to City College and Queens College and a member of Local 802 since for Contemporary Music. In 1974, she as music majors. Over the years we played D1941, died on Nov. 1. Mr. Repole organized and presented the New York concerts together and shared many hours of studied first at Juilliard and later at Bassoon Quartet at Carnegie Recital Hall. In chamber music. Paul was a superb violinist Teachers College at Columbia University, 1975 and again in 1977 she presented solo and conversant in gypsy music, klezmer, and where he earned his master’s degree. recitals at Carnegie Recital Hall. She later other ethnic music as well as all the classical In his career, Mr. Repole performed as a became an associate member of both the literature. He knew the quartet repertory regular or extra with some of NYC’s top Metropolitan Opera Orchestra and the New extremely well and was a terrific leader. His ensembles, including the Metropolitan York City Opera Orchestra and a regular passing is a great loss to his family, friends Opera Orchestra, New York Philharmonic, member of the American Ballet Theatre and colleagues and the music world. American Symphony Orchestra, Radio Orchestra. She is survived by her husband – Myron Rosenblum City Music Hall Orchestra, Goldman James Biddlecome (who is also a member Band, Band of America, New York Brass of Local 802), daughter Kathryn, stepsons Paul and I were very close friends for over Ensemble, Music Hall Brass Ensemble, Daniel and Gregory (and Gregory’s wife 60 years, and I loved playing with him in Young Audiences, the Bell Telephone Denise) and granddaughter Rachel. our regular string quartet get-togethers. He Hour Orchestra and the University Brass had an outstanding Town Hall debut when Ensemble. He toured and recorded with the he was just 18. He served as concertmaster Les and Larry Elgart Orchestra, recorded Paul Gurevich of the Winnipeg Symphony and the North on six albums with the Guy Lombardo aul Gurevich, 86, a violinist and a Carolina Symphony for some time, and Orchestra and was hired to play on many Paul Gurevich member of Local 802 since 1954, died worked at the Plaza Palm Court for a decade. Broadway cast album recording sessions. Pon Nov. 11. For much of his life, Mr. He also played a variety of Broadway shows At the same time, Mr. Repole taught Gurevich enjoyed both informal amateur and hundreds of club dates and Jewish in prestigious high schools including playing and a freelance professional career, weddings, some of which I had the pleasure Erasmus Hall High School, Riverdale including jobs with the North Carolina of playing with him. Both he and I recorded Country School for Boys, George W. Symphony and CBC Winnipeg orchestra, several of the Brandenburg concertos with Wingate High School, P.S. 114 and South and many years of performances at the keyboardist Anthony Newman. Paul was Shore High School. Mr. Repole also served Bennington Chamber Music Conference. He a consummate concert violinist, but some as an associate professor of music from performed at the Plaza Hotel, Russian Tea don’t know that he was also an excellent Kingsborough Community College for Room and Che Vito and on the prestigious strolling violinist, too. I’ll miss him. almost 50 years and maintained a private Arthur Godfrey radio show. He once even – Bob von Gutfeld studio where he taught students all the performed an unusual gig at the New York brass instruments. Mr. Repole is survived Sports Club when it was hosting music. Mr. I had the privilege of being the pianist with by his children Palma, Daniel, Steven and Gurevich’s recording credits are evidence master violinist Paul Gurevich at the Palm Adam. The family suggests donations to of his remarkable range; they include the Court of the Plaza Hotel for the final years www.crowdrise.com/applaudourkids. Brandenburg concertos with keyboardist of that engagement. This was a rarefied and (In the comments field, please specify Anthony Newman; an album with the New invaluable musical experience due to Paul’s that your donation is for the Danny Repole York Klezmer Ensemble (he also played vast performing repertoire which included Music Lesson Scholarship Fund.) Daniel Repole

January 2020 | Allegro 35 n PHOTO OP

36 Allegro | January 2020 n PHOTO OP

Musicians at work

Twice a year, Orchestra of St. Luke’s invites New York City’s public school students to outstanding classical music performances designed specially for young people. These OSL concerts – which incorporate other artistic disciplines, such as dance, drama and visual art – are presented free of charge and reach more than 10,000 children annually. For many, it is their first live concert experience. The fall show highlighted Beethoven’s essential legacy to classical music, featuring selections from Beethoven’s Symphony No. 6, Violin Concerto and Triple Concerto, among others. Dramatist Kirya Traber guided audiences through Beethoven’s story as they listened to a wide range of his musical output – from grand symphonic works to virtuosic solo and chamber music. The series is covered, in part, by a grant from the Music Performance Trust Fund. Musicians are paid under a Local 802 union contract. Photos by Adam Stoltman.

ORCHESTRA OF ST. LUKE’S includes Local 802 musicians Carl Albach, Nuno Antunes, Kaya Bryla, Liam Burke, John Dent, Krista Bennion Feeney, John Feeney, Melanie Feld, Daire FitzGerald, Christoph Franzgrote, Mayuki Fukuhara, Maya Gunji, Conrad Harris, Sheryl Henze, William Hestand, Kyle Hoyt, Keisuke Ikuma, Margaret Kampmeier, Karl Kawahara, Myron Lutzke, Elizabeth Mann, Maxine Neuman, Anca Nicolau, Damian Primis, Eric Reed, Louise Schulman, Andrea Schultz, Susan Shumway, Liuh-Wen Ting, Mitsuru Tsubota, Mineko Yajima and Robin Zeh.

January 2020 | Allegro 37 n NEWS & VIEWS How I conquered my own fears to make a film about STAGE FRIGHT By John Beder

Through the lens of professional classical musicians, many of them members of the AFM, the film “Composed” (supported in part by ICSOM), explores the many ways we experience and can address performance anxiety. Faced with the judgment of peers, audience, conductors, and worst of all themselves, these musicians spend years trying to understand and overcome the physical and mental manifestations of their anxiety. Through their stories, we learn valuable lessons learned over a lifetime of professional performance; and we find that we are not alone in our quest to overcome the fear of failure and embarrassment. For anyone wanting to feel strength over fear and compassion over judgment, or simply seeking a closer look at anxiety and what makes us tick, “Composed” opens the door to a world of high stakes, high pressure, and peak performing. Do auditions make you anxious? Above, a shot from “Composed,” a new film about stage fright, featuring interviews with many well- The story behind the film is an known AFM members. The film was supported in part by ICSOM, which showed a clip at one of its recent conferences. instructive lesson in how stage fright can be transformed into creativity, through When I described the many hours wisdom or advice I’d heard while inter- times with no warning and other times unexpected ways… I’d soon be sitting facing a computer viewing musicians about performance more predictably. A few friends suggest- screen, Kamins asked me to lie down anxiety. Noticing where my tension was ed things like bananas or beta blockers t was during the fall of 2015 that on the floor. Professor Kamins is also a and how I was feeling physically was a but I still didn’t fully grasp why this was I found myself lying on the floor certified Alexander Technique teacher, practice I’d heard early on and couldn’t happening. of Ben Kamins’ studio in Houston. which is one of the reasons I wanted help but start to try and notice it in myself. It was during my third year at BU that IKamins is a professor at Rice Uni- to interview him. He grabbed a small You see, the reason I’d started mak- I decided to leave music to pursue some- versity’s Shepherd School of Music and stack of books and put them under my ing a documentary about performance thing else. I’d loved music but the pains former principal bassoonist with the head as I lay there and asked that I take anxiety in the first place was because of performance and the possibility for Houston Symphony. We’d just finished some slow deep breaths. As I breathed, I’d experienced it. I’d been a student at happiness elsewhere were enough for an interview where I was asking Kamins I noticed tension in my back and shoul- the Boston Arts Academy and then at me to take a step back. The relief didn’t about performance anxiety, something ders and felt unease realizing how this Boston University where I was majoring last long though and I found myself sud- I’d been doing for the past year with or- had gone unnoticed. Even just talking in percussion performance. It’d become denly in a deep depression. chestral musicians around the country, about this intimidating task of editing a dream of mine to perform profession- Unfortunately I think because we as and I mentioned the daunting task to was having a physical effect on my body ally with an orchestra, and so auditions, musicians tend to define ourselves as come of editing all these stories into a and Kamins, perhaps noticing, recom- excerpts and long hours of practice be- “musicians” from such an early age, it documentary. It wasn’t that I was wor- mended I do this periodically once in came the norm. I did as my percussion can become entwined with our sense of ried we hadn’t captured enough com- the thick of post-production. peers did, and though I was progressing, worth or value. If we find ourselves faced pelling stories; it was that I wasn’t sure This was neither the first nor the last there was one major problem. My hands with physical or mental challenges, they I could actually make this film. time I’d find myself using some piece of would shake. Not all the time, but some- don’t just feel like the issue of the week,

38 Allegro | January 2020 n NEWS & VIEWS

“Composed” contains data about physiological responses to stage fright. Above, a graph showing how a musician’s heart rate peaked during the performance of the Mozart octet. they threaten our entire existence. I was build and suddenly I found myself six straight for it but just with a camera in solvers sitting on stage practicing how the musician in the family and the “cre- years past my decision to leave music my hands instead of a pair of drum sticks. to perform each and every night. ative one,” so it felt like I was giving up for film with nothing to show for it. This brings me back to Professor Ben Looking back now, it’s clear to me on the hopes so many others and I had The past screamed “you failed at music, Kamins’ studio floor where I’d been ly- that my passion for experiencing mu- for myself. Who was I if not a musician? now you’ve failed at filmmaking,” and I ing for a minute or so now. I’d released sic didn’t mean I needed to be produc- This question didn’t go away for a long couldn’t seem to argue with this voice. much of the tension I’d had and was ing the sound myself. That being said, time and for a few years I kept describ- I’d given up twice, it seemed, and any now smiling. Smiling because in that listening to our musician interviews is ing myself as a “former musician work- support filmmaking had offered in my precise moment I realized how I was go- nothing short of inspiring and remind ing in I.T.” The I.T. part came about from departure was now gone. Then, in one ing to become a filmmaker. Not in the me of the gift musicians give us each needing a job to support myself but was of those strange turns of life, I was pre- sense that I suddenly understood how time they step on stage. I’m so grate- also a way of delaying my move to the sented with one of the greatest gifts an I’d shoot, edit, and distribute a film, but ful for what I’ve learned from this pro- next creative outlet, filmmaking. I’d artist can ask for: time. that I understood that these musicians cess and don’t know if I could’ve done always had an interest in making films A year before I found myself lying on were giving me exactly what I needed to it without the wisdom of so many hard but never came across an opportunity Professor Kamins’ floor, I’d been present- conquer my fears as an artist. All of the working AFM musicians. They deserve to explore it until that third year at BU. ed with a window of time to do some- questions that had followed me from thanks for sharing their experiences, Filmmaking came with so many op- thing for myself. I’d struggled with what music and that were holding me back and enabling others to share their art. portunities to explore my creativity and to do in this window but knew it’d have as a filmmaker were being answered. So, in the end, I turned my own stage at the same time escape all the issues I’d to involve picking up a camera. After Before this I’d slowly started to fill the fright into creativity. My film “Composed” found in music. A music career would those six long years of never making a past year with that same doubt but sud- became a documentary feature about require taking auditions and putting film I’d simply run out of excuses. I now denly lying there on the floor I knew how classical musicians both experience myself again and again in the path of had time, some savings, and years of re- that I would finish this film. This movie and can address performance anxiety. doubt. Doubt is not only what stopped gret to motivate me to do what I’d said was not just about musicians facing the me from playing like I knew I could; it I’d do all those years ago: make a movie. stage, it was about me facing my fears Featuring musicians, educators, and eventually stopped me from wanting to With no idea about how I’d actually do as a creator. Without their support and mental health experts, the film explores practice or even enter a music venue. it, I knew I had to try. I dove in and start- advice I don’t know if I ever would’ve how we can address this issue in Filmmaking, however, didn’t have any ed buying cameras, lenses, lights, and had the perseverance to finish this film. ourselves and in our culture. To learn of the environments which nurtured watched hours of YouTube videos about Musicians in the end were still my more and watch the film, visit www. my doubt, it seemed. At least at first I “How to Light an Interview” and “How to greatest teachers. Not through any film- composeddocumentary.com. wrapped myself in the newness of it all Fund a Documentary.” I was hooked on making class or YouTube video but and found comfort being an amateur. the learning of it all and motivated by this through conversations with musicians If you appeared in this film, or if you Curiosity was now encouraged and my opportunity of time. Somehow though did I learn the ways in which to address have helpful hints about how you’ve expectations reset. in my excitement, I’d forgotten the thing my anxiety as an artist. I therefore owe conquered stage fright, please e-mail These feelings lasted a couple years that had stopped me before when trying this very film to those who make up its [email protected] to share while I took time to travel and see life to pursue art, and that was my doubt. content. We all deal with performance your story. For more help with stage fright outside of my Boston bubble, but even- Doubt ruined everything I’d worked for anxiety to some degree and it’s a tragedy or performance pressure, see our ongoing tually those expectations started to once before and this time I was running not to take advantage of the problem column with Dr. Don Greene (page 31).

January 2020 | Allegro 39 n MEMBERSHIP INFO Discovering Discounts

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AFM-DD-3-20-19 40 Allegro | January 2020 n NEWS & VIEWS How to use LS-1 contracts for health and pension

By Bettina covo Ensembles can file only if all the mu- WHO CANNOT FILE AN LS-1 What do I need in order [email protected] sicians on the engagement are reported The following list contains examples of to submit the LS-1? on the form. who cannot file an LS-1 contract: l Blank LS-1 contracts are available at eed to contribute a little Teaching engagements are accepted, l A musician who is not an www.Local802afm.org. Select WHERE more to get Local 802 health for both private and institutional teach- active member of Local 802, with all WE WORK from the top menu, then CON- benefits? Need a few more ing/master classes/clinics, with some membership and work dues up to date. TRACTS, then scroll down to find “Solo l Ncredits to become fully vested exceptions below. Musicians working under an Performance and Private Teaching (LS-1 in your pension? There is a viable way existing CBA cannot file an LS-1 for that contract).” Fill it out, then get it signed by to contribute to your AFM pension* and IMPORTANT EXCEPTIONS engagement. your employer or your own corporation maintain Local 802 health benefits for The pension fund does not accept LS- l Musicians working within an or- l you and your family – even if you aren’t 1’s for private teaching engagements, chestra or large ensemble cannot file an Pension contributions must be an playing in one of the traditional union with one exception. Private teaching LS-1 for that engagement – unless the amount between 4.80 percent to 17.99 orchestras or on Broadway. (*There’s contributions will be accepted for entire orchestra files an LS-1 for that en- percent of the gross wages reported. some fine print on pension! Be sure to pension if you are incorporated (i.e. an gagement. l Health contributions must be 15 per- keep reading…) LLC or “S”-corporation or something l Solo/ensemble musicians working cent of the gross wages reported. LS-1 contracts offer the opportunity similar) and the teaching income runs in a major venue cannot file an LS-1 for Work dues are 2 percent of gross wages to take advantage of Local 802’s benefit through your corporation. that engagement. (for teaching engagements), or 3.5 percent plans. You can use these contracts to Also, the pension fund does accept l Music prep work (please call 212- of gross wages (for performances) maintain or supplement your current contributions from teaching (private or 245-4802 and consult with our Music l Proof of engagement includes pa- benefits. You can choose to participate classroom) but only if you are teaching at Prep department). perwork like canceled checks, contracts, in either the pension plan or the health a school or institution – again, provided l Electronic media/recording work invoices, schedules of lessons, etc. plan – or both. And your employer can the school signs the form. (please call 212-245-4802 and consult be anyone who has hired you or is pay- Please note that the health fund with our Electronic Media department) When do I have to submit the checks l ing you – including, in the case of health does accept LS-1’s for private teaching Any theatre work (please call 212- TO THE PENSION AND HEALTH FUNDS? benefits, your private students! engagements. 245-4802 and consult with our Theatre Health Fund: Submit by Jan. 15 of each Department) Why do I need a contract? Why year for any engagements between July 1 can’t I just pay into my own health and Dec. 31. Submit by July 15 of each year account or pension account? for any engagements between Jan. 1 and Both the AFM pension fund and the June 30. Local 802 health benefits fund are fed- HEALTH AND PENSION Pension: All pension payments must be erally regulated funds that are required submitted no later than 30 days after the by law to have a collective bargaining The information in the article above is about how to accept engagement date. agreement with an employer in order to contributions into your health and pension accounts using an accept benefit contributions. LS-1 con- LS-1 contract. But ideally, this money shouldn’t have to come FINAL REMINDER tracts serve as mini contracts that allow out of your own income. If you’re playing a job that doesn’t Nothing can be processed until all employers to make health or pension include health and pension benefits, your first call should be to signed and completed paperwork is re- contributions to you on small jobs or Local 802 at (212) 245-4802 (ask for an organizer). The union ceived by us, along with all checks. single engagements. has a great track record in helping you win the wages and There are, however, some rather im- HELP! portant requirements in order to file the benefits you deserve. If you have any questions about LS-1 LS-1 contract, particularly for the pen- sion fund. For more information about the Local 802 health plans: contracts, or to arrange an in-person www.Local802afm.org/local-802-healthcare appointment, please contact Bettina Covo what CAN be filed at [email protected]. The postal address for sending all checks and forms Solo performers can file an LS-1 con- For more information about pension: www.afm-epf.org tract provided the engagement is not in is: Bettina Covo, attention: LS-1 contracts, a major venue and provided there is no Local 802, 322 West 48th Street, New existing CBA. York, NY 10036.

January 2020 | Allegro 41 n meet our members why we joined the union To join Local 802, call (212) 245-4802 or visit www.Local802afm.org

KARA MIKULA Okäru Love REBEKAH BRUCE PARKER

I joined Local 802 after doing several with no words and a way to express my- happy. I love to see different people from musician and play on Broadway. I started recent jobs performing as an actor-musi- self and channel my creativity. Nothing different places appreciate music. No mat- by subbing on the keyboard 2 book for cian. I want to help develop a special set soothes stress like playing some Debussy ter who we are, where we’re from or what “Mean Girls,” which is full of organ, per- of rules for actor-musicians that can be on the piano. In addition to my career as language we speak, music can spread hap- cussion, strings and more. After that I used for all types of theatre contracts and an actor-musician, I teach voice lessons. piness and freedom. I started to play clas- learned and subbed the conductor and ensure that producers are following the In fact, several of my young students have sical piano at age 5 and started writing my keyboard 1 books as well, which prepared guidelines set forth by Actors Equity and appeared on Broadway. own songs shortly thereafter. I trained as a me for the tour I’m on now. (I’m current- the AFM. One of my favorite recent gigs Kara Mikula registered nurse in Japan, but my passion ly the music director for the first national was performing as an actor-musician on [email protected] is music. I came to NYC in 1996 to study tour of “Mean Girls.”) It’s been an in- “The Cradle Will Rock,” directed by John jazz and start performing. Jazz is such a credible challenge and I’ve enjoyed every Doyle at Classic Stage Company. In fact, I first joined Local 802 almost 20 years great way for me to express myself and second! It’s really exciting to be part of a it was one of the best experiences of my ago and recently renewed my member- find out who I am. I want to give this free- union that does so much for its members. life. Every day the show challenged me as ship after an unfortunate incident at a dom back to the community. I currently My musical goals are to continue to play an actor, as a musician, and as a human club in Harlem. My band and I were ap- co-lead the band Beautiful Journey. I also on Broadway and find fulfilling experi- being. I’ve played violin and piano since parently fired due to my ethnicity. We founded the Love Earth Arts Foundation ences across all genres. There are endless the age of 3, and those remain my main were helped by Local 802 attorney Har- and I travel back to Japan to give lectures opportunities in NYC, and I am equally instruments. But I’ve also picked up a few vey Mars and Local 802 rep Todd Weeks and teach young people. My principal in- happy playing everything from Mozart other instruments along the way, includ- and it made me realize that it would be struments are voice, piano and castanets. to funk. I hope to always be challenged ing accordion, flute, upright bass, percus- good to be back in the union. My musi- Okäru Love and enjoy new musical experiences. I sion and even some bassoon. I graduated cal goal in New York City is to keep cre- [email protected] grew up with piano and flute lessons and from Point Park University with a B.A. in ating harmonious music with a positive was heavily involved in choir, band and musical theatre. Music is like a universal message. When people move their bodies I joined Local 802 shortly after I came church music. Both of my parents are gift- language; it’s a way of communicating and dance to our music, it makes me so to NYC in 2018 to become a full-time ed music teachers, so I don’t remember

42 Allegro | January 2020 n meet our members why we joined the union To join Local 802, call (212) 245-4802 or visit www.Local802afm.org

JEREMY LEVINE MIKI YAMANAKA HOSUN MOON life without music. I earned undergradu- ni all around New York, New Jersey, Con- Queens College. My musical goal is to of “Phantom of the Opera” and I also ate degrees in piano and vocal perfor- necticut and even all the way up to New play the gigs I want, all the time; I can recently conducted and music directed mance, and a master’s in vocal coaching. England. I hold principal timpani chairs only express myself fully with music. One “The Sound of Music” at the Gateway I taught for five years as a professor in in several orchestras, but my favorite is of my favorite recent gigs was a show with Theatre. (I also played Keyboard 1 for the musical theatre and opera while freelanc- the Princeton Symphony. The orchestra is my quartet at Birdland. I rarely get to play show.) In my college teaching position, I ing on piano and flute. Music makes ev- incredible, it’s thriving, and every concert my own compositions with the musicians founded a theatre orchestra and taught erything bad in the world more bearable. contains such a high level of musician- who I really admire. It was a great experi- students how to perform as successful pit It also helps me feel the extremes of every ship. I earned my undergraduate degree ence and I learned a lot from it. I’ve also orchestra musicians. I also music directed possible emotion. Music is what I’m good at Mannes and my master’s at Manhat- been working with various bands for our college shows, including a memorable at and it’s something that makes sense to tan School of Music. I can’t imagine my the Jazz for Young People program run production of “In the Heights.” I earned me when a lot of other things don’t. Be- life without music. I’m always studying, by Jazz at Lincoln Center. I teach private a master’s degree in accompanying from sides touring and playing on Broadway, I practicing or running to the next concert. students as well. the Manhattan School of Music and a doc- teach piano, voice and flute, and perform Even when I’m not playing, I’m working Miki Yamanaka torate in performance from SUNY Stony charity events while continuously playing on timpani or fixing them, which is a side [email protected] Brook. I also teach privately and work for auditions and rehearsals. passion of mine. I’ve also enjoying sub- as the musical director of a synagogue. Rebekah Bruce Parker bing on “Fiddler on the Roof in Yiddish,” I re-joined Local 802 shortly after I won Music is important to me because there’s [email protected] which is just about to close. the 2017-2018 American Prize for con- nothing else I can do better. My entire life Jeremy Levine ducting in musical theatre. I decided to is centered around musical relationships. I re-joined Local 802 because suddenly [email protected] leave my position as a college music pro- I would love to hear from others about I’ve been getting a huge influx of union fessor to become a full-time conductor, their musical experiences in NYC and work. I am already fairly established but I I joined Local 802 as a part of the Roxy music director, pianist, organist, harpsi- how they found success in freelancing. look forward to branching out into Broad- Coss Quintet. I moved to NYC in 2012 and chordist and keyboardist. I’m currently Hosun Moon way or the new music scene. I play timpa- earned a master’s degree in music from playing Keyboard 1 for the national tour [email protected]

January 2020 | Allegro 43 n advertising

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January 2020 | Allegro 45 n NEWS & VIEWS

Discussion held. Maurer and Executive Board member Vice President Fisher, Recording Vice Motion carried unanimously. Frawley presented a travel budget of President Schwartz, Executive Board Executive Krauthamer reported on estimates for $2,245.90 to enable them to attend AFM members Axelrod, Cohen, Davis, Frawley, board minutes Local 802 staff holiday bonuses. Film and TV contract negotiations in Los Kainuma. Paisner, Shankin. Discussion held. Angeles on November 21-22, 2019. Minutes of November 12, 2019 reviewed. Krauthamer reported on plans for a Local Discussion held. It was moved and seconded to approve the NOTE: The Executive Board did not meet 802 staff holiday party. Maurer excused. minutes of November 12, 2019 as corrected. on Tuesday, November 5, 2019. Discussion held. It was moved and seconded to approve Discussion held. Krauthamer requested confirmation of an up to $3,000 for Maurer and Frawley to Motion carried unanimously. Tuesday, November 12, 2019 email poll approving the limited pressing travel to Los Angeles for AFM negotiations President Krauthamer requested eeting called to order at 11:13 am agreement (LPA) request from Broadway and that those expenses be referred to confirmation of the results of an email poll by President Krauthamer. Present: Records for a cast album recording of the the Coordinating Advisory Committee for of the board approving the 2019 holiday MFinancial Vice President Fisher, Re- off-Broadway production of Broadbend, reimbursement. bonuses for Local 802 staff. cording Vice President Schwartz, Executive Arkansas. Discussion held. It was moved and seconded to approve Board members Frawley, Hoyt, Kainuma. It was moved and seconded to confirm Motion carried unanimously. the results of the email poll in which the Paisner, Shankin. the results of the poll approving the LPA for Krauthamer reported on his meeting with bonuses were approved. Minutes of October 29, 2019 reviewed. Broadbend, Arkansa. NYS Department of Labor Commissioner Discussion held. It was moved and seconded to approve the Discussion held. Roberta Reardon. Motion carried unanimously. minutes of October 29, 2019 as corrected. Motion carried unanimously. Discussion held. Krauthamer reported on the plans for Discussion held. Krauthamer reported on the all-staff Recording Vice President Schwartz the 2019 staff holiday party with a budget Motion carried unanimously. meeting of November 8, 2019. reported on matters pertaining to the Local of $3500. Krauthamer presented requests from Discussion held. 802 club room. It was moved and seconded to approve a six members for leaves of absence from Krauthamer reported on preparations for Discussion held. budget of $3500 for the staff holiday party. Broadway shows. negotiations between Local 802 and New Schwartz reported on an invitation from Discussion held. It was moved and seconded to approve York Philharmonic pertaining to a successor the NYC Artists Coalition to speak at an anti- Motion carried unanimously. the leaves of absence as submitted. collective bargaining agreement. displacement rally at City Hall on November Krauthamer presented a letter of Discussion held. Discussion held. 14, 2019 in support of rent stabilization for agreement between Local 802 and Motion carried unanimously. Krauthamer reported that he had spoken commercial leases of arts entities. Metropolitan Opera Association pertaining President Krauthamer presented an at a Juilliard School graduate student Discussion held. to orchestra performances of Breaking the invoice in the amount of $25,500 from seminar on November 11, 2019. Financial Vice President Fisher reported Waves at BAM in June 2020. Gould, Kobrick and Schlapp, LLP for Discussion held. that she had approved requests from North/ It was moved and seconded to approve auditing services. Krauthamer reported on matters South Consonance, Inc. to utilize public the letter of agreement with Metropolitan It was moved and seconded to approve for pertaining to Local 802 Next Generation service rates for rehearsals on January 9 and Opera Association. payment the invoice from Gould, Kobrick committee. 10 and a performance on January 12, 2020 Discussion held. and Schlapp, LLP as presented. Discussion held. and for rehearsals on February 20 and 21 Motion carried unanimously. Discussion held. Krauthamer reported on matters and a performance on February 23, 2020, Krauthamer reported on matters Motion carried unanimously. pertaining to Local 802 senior staff. all at Christ & St. Stephen’s Church NYC. pertaining to assistance for building Krauthamer presented an invoice in the Discussion held. Discussion held. operations staff. amount of $4,191.69 from Raritan Building Krauthamer reported on preparations for Fisher reported on a meeting of the Local Discussion held. Services Corp. negotiations pertaining to a first collective 802 Finance Subcommittee. Krauthamer reported on the agenda for It was moved and seconded to approve for bargaining agreement between Local 802 Discussion held. the all staff meeting on November 22, 2019. payment the invoice from Raritan Building and DCINY. Fisher reported on the status of Discussion held. Services Corp. as presented. Discussion held. negotiations between Local 802 and Krauthamer reported on personnel Discussion held. Krauthamer reported on matters Stamford Symphony for a successor matters at the local. Motion carried unanimously. pertaining to tenants on the sixth floor of collective bargaining agreement. Discussion held. Krauthamer presented an invoice in the the union hall. Discussion held. Krauthamer reported on the status of amount of $14,593.75 from Spivak Lipton Discussion held. Fisher reported on matters pertaining to an arbitration between Local 802 and New LLP for legal services. Krauthamer reported on the continuing Little Orchestra Society. York Philharmonic. It was moved and seconded to approve reorganization of staff locations throughout Discussion held. Discussion held. for payment the invoice from Spivak Lipton the union hall. Executive Board member Hoyt reported Krauthamer reported on the renewal of a LLP as presented. Discussion held. on matters pertaining to Single Engagement lease with Stage Call, Inc. for space on the Executive Board member Axelrod joined Board recessed at 12:55. Classical wage scales and working conditions 6th floor. the meeting by telephone at 11:28. Executive Board member Davis present for opera and ballet engagements. Discussion held. Discussion held. at 1:15. Executive Board member Kainuma Krauthamer reported on issues of air Motion carried unanimously. Board reconvened at 1:17. excused at 3:15. quality in Broadway theaters. Krauthamer reported on plans for the Member Patrick Milando present. Discussion held. Discussion held. Local 802 holiday party scheduled for Milando reported on matters pertaining Meeting adjourned at 3:33 pm. Krauthamer reported that he had met December 11, 2019 and presented a budget to the AFM-EPF. with Broadway associate conductors to estimate of $8,500. Discussion held. Tuesday, November 19, 2019 discuss their work. It was moved and seconded to approve up Milando excused. Meeting called to order at 11:16 am by Discussion held. to $8,500 for the holiday party. Member Joanna Maurer present. President Krauthamer. Present: Financial Board recessed at 12:40.

46 Allegro | January 2020 n NEWS & VIEWS

Board reconvened at 12:47. unit. participation in the AFM Motion Picture Financial Vice President Fisher presented Recording Department Business Discussion held. and TV Film negotiations in Los Angeles. memoranda of agreements between Local Representative Pawlo present. Motion carried unanimously. Discussion held. 802 and Oratorio Society of Queens and Pawlo presented a request from Public Recording Vice President Schwartz Krauthamer reported on the Local 802 all Lady Queen of Martyrs Church. Theater for a limited pressing agreement reported that negotiations for a successor staff meeting of November 22, 2019. It was moved and seconded to approve for a cast album recording of its production collective bargaining agreement between Discussion held. the memoranda of agreements as presented. of Soft Power. Local 802 and Midori & Friends would Krauthamer reported on the Discussion held. Pawlo excused. commence on November 20, 2019. commencement tomorrow of negotiations Motion carried unanimously. It was moved and seconded to approve Discussion held. between Local 802 and DCINY for a first Recording Vice President Schwartz the agreement with Public Theater for Soft Schwartz requested that the board confirm collective bargaining agreement. reported on the first bargaining session with Power. the results of an email poll approving the Discussion held. Midori and Friends for a successor collective Discussion held. purchase of a second ticket for the Jewish Krauthamer presented a resolution bargaining agreement with Local 802. Motion carried unanimously. Labor Committee Annual Awards event. pertaining to the election of the Radio City Discussion held. Krauthamer reported on the status of the It was moved and seconded to confirm Music Hall orchestra committee, specifying Schwartz reported on the continuing 401(k) plan. the results of the poll in which the ticket the eligibility to serve and vote, to be negotiations with Hank Lane Music Managing Director Kantor present. was approved. nominated, the voting process, how the vote to resolve a grievance over unfiled Discussion held. Discussion held. will be counted and the results announced. engagements. Krauthamer reported on matters Motion carried unanimously. Managing Director Kantor present. Discussion held. pertaining to AFM-EPF. Schwartz presented a request from Discussion held. Schwartz reported that MPTF will not be Discussion held. the producers of NYC Make Music Day to It was moved and seconded to approve funding NYC Make Music Day events in East Krauthamer reported on matters support the December 21, 2019 program the resolution as presented. Harlem on December 21, 2019 and that, as pertaining to a discussion of the Radio in East Harlem by providing outreach to Discussion held. such, Local 802 will revisit its participation City Music Hall Orchestra’s bargaining unit potential musical ensembles. Motion carried unanimously. in future events. makeup. Discussion held. Board recessed at 4:40. Discussion held. Discussion held. Schwartz reported that he had spoken at Board reconvened at 4:52. Krauthamer reported on matters Executive Board member Hoyt joined the a rally at NY City Hall on November 14, 2019 Controller Emelianova present. pertaining to the MPTF. meeting by telephone at 1:04. to support small business commercial rent Emelianova presented the Local 802 Discussion held. Discussion held. stabilization in collaboration with the New financial report for January through Krauthamer reported on the 2020 Hoyt concluded telephone participation York City Artists Coalition. September 2019. executive board meeting schedule. at 1:40. Discussion held. Discussion held. Discussion held. Hoyt present in-person at 1:46. Meeting adjourned at 3:33 pm. Emelianova excused. Meeting adjourned at 5:26 pm. It was moved and seconded to define the Radio City Music Hall Orchestra bargaining Monday November 25, 2019 unit as any musician employed for ten Meeting called to order at 3:12 pm by services in each year of the contract cycle President Krauthamer. Present: Financial Do you use LS-1 contracts? or for thirty services over three years of the Vice President Fisher, Recording Vice contract cycle. President Schwartz, Executive Board ALL LS-1 CONTRACTS AND CHECKS MUST BE SUBMITTED BY Discussion held. members Cohen, Davis, Hoyt, Kainuma. JAN. 15, 2020 FOR THE BENEFIT PERIOD THAT BEGINS MARCH 1, 2020 Motion carried unanimously. Paisner, Shankin. Executive Board member Axelrod Minutes of November 19, 2019 reviewed. PLEASE MAKE AN APPOINTMENT NOW! SEE OUR GUIDE ON PAGE 41. excused at 2:31. It was moved and seconded to approve the Kantor excused. minutes of November 19, 2019 as corrected. ONLY teaching (private and institutional) or solo, live engagements Krauthamer excused at 2:38. Discussion held. performed between July 1 to Dec. 31, 2019 can be reported (i.e. no Financial Vice President Fisher assumed Motion carried unanimously. theater, music prep or electronic media work). Please call to discuss the chair. President Krauthamer presented an any other exceptions. Board recessed at 2:38. invitation from NYS AFL-CIO to attend its Board reconvened at 2:51. annual holiday party. l If there are multiple employers and/or students, a separate LS-1 Fisher reported that the orchestra of It was moved and seconded to purchase contract must be submitted for each one. Bronx Arts Ensemble had ratified the two tickets to the NYS AFL-CIO holiday l Health contributions are 15 percent of the gross wages. agreement between Local 802 and the party at a cost of $500. l Work dues must be included at the time of submission. employer and that a grievance had been Discussion held. l You must be a member in good standing (i.e. all past due work filed by the local over unfiled non-Classical Motion carried unanimously. dues and membership dues must be up to date). concert engagements. Krauthamer requested confirmation of l Proof of engagement must be included -- copies of contracts, Discussion held. the results of an email poll of the board in invoices, pay stubs/vouchers, spreadsheets of private students, etc. Fisher presented a memorandum of which a promotion and raise was approved l No benefits will be processed unless all these criteria are met. agreement (MOA) between Local 802 for Supervising Executive Secretary Donach. and Stamford Symphony for a successor It was moved and seconded to confirm To arrange an appointment, contact Bettina Covo at Bcovo@ collective bargaining agreement. the results of the poll. Local802afm.org or (212) 245-4802, ext. 152. All checks and completed It was moved and seconded to approve Discussion held. paperwork should be sent to Bettina Covo, Local 802, 322 West 48th the MOA with Stamford Symphony as Motion carried unanimously. Street, Third Floor, New York, NY 10036. presented for ratification by the bargaining Krauthamer reported on his recent

January 2020 | Allegro 47 n MEMBERSHIP INFO New and readmitted members To join Local 802, visit www.Local802afm.org/join-today

Howard Alden (guitar) Douglas De Hays (saxophone) Samuel Katz (violin) Jim Sheffer (conductor) Elana Hope Arian (violin) Candace Debartolo (alto sax) Alex Kelber (piano) Ian Stewart (bass) Jerry Barnes (bass) Mitchel Dvoracek (french horn) Cassondra Kellam (flute) David Michael Taylor (bass trombone) Marianne Barrett (vocalist) Roy Eaton (piano) Jessica Kelly (flute) Miguel Tepale (percussion) Taylor Bense (guitar) Jessica Fellows (violin) Brian P. Kennedy (conductor) Saki Uetsuhara (violin) Laura Bibbs (trumpet) Patrick Firth (keyboards) Bridget Kibbey (harp) Andres Vahos (drums) Steven Bishop (orchestrator) Kate Foss (bass) Kumhee Lee (cello) Tatyana V-Margulis (cello) Celine Boulben (violin) Marcus Frazier (saxophone) Justin Levine (piano) Jesse Warkentin (piano) Percy Austin Brice Jr. (drums) Mark Galinovsky (piano) Billy Martin (drums) Andrew N. Warren (drums) Lauren Brody (accordion) Ricky Gordon (drums) Mark McCormick (bass) Bryant Weeks (harmonica) Lance Bryant (saxophone) Francesca Gray (clarinet) Jane Meryll (piano) Nathan Whittaker (cello) Gabriel Cabezas (cello) Brian Grochowski (bass) Brian Nash (piano) Mark Williams (trombone) Christopher Cerf (piano) Zoe Nicole Guigueno (bass) Susan Palma (flute) Jerel Witsell (oboe) Shih-Han Chiu (bassoon) Wells Hanley (arranger) John J. Perilli (drums) Drew Wutke (piano) Matthew Cohen (viola) Michael Herlihy (guitar) John Pizzarelli (guitar) Edward F. Xiques (saxophone) Benjamin Coleman (clarinet) Olli Hirvonen (guitar) Carolyn Regula (cello) Charlie Zeleny (drums) Mike Coon (guitar) Laurence Hobgood (piano) Timothy Ruedeman (saxophone) Jude Ziliak (violin) Kevin Culligan (bass guitar) Sean Hutchinson (drums) Nick Russo (guitar) Benjamin Zoleski (guitar) John Daniels (piano) Carmen Johnson-Pájaro (violin) Nasheba Sanderson Jones (guitar) Louis Day (viola) Jacob Jollif (mandolin) Lauren Scanio (flute)

l Contact information for the musicians on this page (and Local 802’s Resource Center for any member of Local 802) can be found in our electronic membership directory. Start at http://info.Local802afm. contains curated links and org and log in, then click on the DIRECTORY button from the information that guide top menu. members to entrepreneurship l All new and readmitted members of Local 802 are eligible to be interviewed in Allegro in our “Why We opportunities and social Joined the Union” column (see page 42). If you want to services. participate, send an e-mail to [email protected]. l The next orientation sessions for new members of Local 802 are Tuesday, Jan. 7 (at 5 p.m.), Friday, Feb. 7 (at 11 START HERE: a.m.) and Wednesday, March 11 (at 5 p.m.). All sessions are in the Executive Board Room on the fifth floor of Local 802 www.Local802afm.org/ at 322 West 48th Street. For more information, contact Shane Gasteyer at (212) 245-4802, ext. 143 or Sgasteyer@ resource-center Local802afm.org. See our monthly interviews with new members on page 42 of this issue. To join Local 802, see www.Local802afm.org/join-today.

48 Allegro | January 2020 n breaktime

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ACROSS DOWN 1 71% is under water 1 Sicilian mount 6 Cutting contests? 2 Garlic sauce 10 Class for U.S. immigrants 3 Played too many choruses 13 Regal topper 4 Tailor’s creation 14 Monogram ltr. 5 Gives birth to 15 Soup pod 6 Victor 16 Taboos 7 Prolific “author” 17 Whole, half, quarter e.g. 8 Bar Mitzvah, e.g. 18 Catty sound 9 Famed Isaac 19 Baseball family name 10 Barely make, with “out” 20 Give stage fright 11 B’way posting 22 Completely out of it 12 Lay down the ___ 24 Less messy 15 1998 Masters winner Mark 28 Lively wit 20 Owing 31 Wedding song; “I Love You _____” 21 Dachshund doc 32 “____ Kinda” 23 Cinema canine 34 Miss Piggy’s query 25 Like ziti 36 Busy as ___ 26 Actress Verdugo 37 Japanese honorific 27 Deli breads 38 EWR, e.g. 29 Drive forward 41 Ques. response 30 When repeated, overdone 42 Offed, in gang slang 32 Prefix with iliac 44 Deserved 33 ___ by land... 45 Alley Ooop’s girlfriend? 35 Took out the wrinkles 47 Good ____ ! (Charlie Brown) 37 Musical repeat, e.g. 49 African antelopes 39 On the ___ de la Paix 51 The expo is closed! 40 Householder’s list 53 G & S title character 43 Member of the clerical order 56 Like a dog’s hind leg, in a saying 46 Subtle absorption 59 Flamenco cries 48 Douglas ___ 61 Rex Stout hero 50 Mohammed’s favorite wife 64 Kimono ties 52 Summits of buildings 65 First name in lip gloss 54 Some saxes 66 Paradise with a snake 55 ___ lift? 67 Sushi, e.g. 57 Theater award NAME THAT TUNE 68 ___ Janeiro 58 Star-___ tuna 69 Xiques and Condon 60 Tournament favorite 70 Biological bristle 61 Born as j ˙. œ & bc j œ œ. jœ œ œ œ

71 Syrian president 62 Byrnes of “77 Sunset Strip” œ œ. œ œ œ œ. œ

63 Hi-___ melody) folk Scottish traditional 65 Johnson amendment music: Burns; Robert poet the by 1788 in written (lyrics Syne” Lang “Auld ANSWER:

For answers,see www.Local802afm.org/Allegro Housing is a critical concern for many in the performing arts and entertainment industry. The Actors Fund works to increase access to affordable housing for our community. START HERE: actorsfund.org/services-and-programs/housing

January 2020 | Allegro 49 n Marketplace | to advertise in allegro, e-mail [email protected] or call (646) 765-9663

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50 Allegro | January 2020 n LIVES & Stories The Band Room

t doesn’t seem possible, but I’m turned the handle on the passenger door age and joined AFM Local 201 and read about to begin my 38th year of to look inside, the handle came off in his all the rulebooks, rates and scale books writing this column. It all started Bill hand. He handed it to Zoot, who went and really tried to understand the musi- Iwhen I was elected to the Local 802 around to the driver’s side and opened cians’ union rules and policies. Around Executive Board in December, 1982, crow the door for Hawk, and then put the 1979, the AFL-CIO group in La Crosse as part of the ticket headed by John handle in the glove compartment. Be- was having their annual holiday party Glasel. After we were sworn into office, cause the door handle had come off in for all the trades. Plumbers, electri- John said to me, “How would you the hand of his idol, Zoot never had it cians, iron workers, all the trade unions like to write a column for Allegro?” I [email protected] repaired. The handle remained in Zoot’s were invited to the holiday party. And said, “Yes, and I know just what kind www.BillCrowBass.com glove compartment for the rest of his life. they hired a nonunion band to play the of column I’d like to write. Whenever union party! So my fellow comrades of musicians get together, on jobs, in l l l Local 201 picketed the party. It made the bandrooms, on buses, they tell funny own double take and said, “Oh, I didn’t newspaper, and we laughed about it for stories on each other. Someone always recognize you without my beard!” Clarinetist Ron Odrich told me about many years afterward.” says, ‘Somebody should write these a club date he once played with bassist down!’ Let me be the somebody.” And l l l Whitey Mitchell. He wrote: “I had just tak- l l l so the Band Room was born. en two choruses on ‘Darktown Strutters’ The first couple of months, I told sto- Teddy Podnos of the Philharmonic Ball,’ after which the bass stopped playing. Ellen LaFurn found this ad on ries that I remembered, and right away tells me that when he was rehearsing We were all treated to a slowly sauntering Craigslist: “Bass player available for everyone got the idea. I got stories left with Paul Whiteman one day, he asked Whitey who casually picked up the mike PAYING GIGS ONLY. I play G, C, D. If and right, some from as far away as the if the violins should play a certain pas- and announced to the crowd, ‘Just want your songs are not in G, please transpose Canary Islands. In the past 37 years I sage octava or loco. Whiteman replied, you all to know that that’s the best solo them into G. If your song has an Em or haven’t run out of stories, thanks to ev- “Play it as crazy as you want.” you’ll ever hear on that tune in your life- Bm or anything off the wall, I’ll probably eryone who contributes. times.’ The band fell apart as Whitey slow- sit out that chord. Or I could learn those To celebrate, here are a couple of sto- l l l ly strolled back to his place next to the notes for $30 each. If you want me to ries from one of my early columns: drummer and resumed playing as though do fancy stuff like go back and forth Zoot Sims was one of the many tenor nothing had transpired. The leader was in between G and D while you hold a G l l l saxophonists who took Lester Young’s such shock that he had no reaction except chord, forget it because I’m a ‘pocket’ style as a starting point for their own to stand and stare straight ahead.” player. Minimum $100 per gig within One night in Birdland, back in the development. But Zoot also idolized a five-mile radius of my house. Five 1950s, I noticed trombonist Frank Rehak Coleman Hawkins. He once told me, l l l dollars per mile travel charge for other standing by a pillar, sipping a beer and “Hawk never played a wrong note in areas out of town. Please make sure your listening to the Basie band. The beard his life.” Zoot had a classic Volvo that he A Facebook post from Tommy Bridg- gigs are on my bus route, or you can pick he’d been wearing for years had re- was very fond of. He had it completely es: “I was granted a special waiver to me up at my place. Must be home by 11 cently been shaved off. A young woman overhauled, had it painted red, and pol- join the the musicians’ union at age 14. I p.m. due to previous legal hassles. No walked by him, did a double take, and ished up the chrome. He was showing lived in the small town of La Crosse, Wis- gigs within 500 yards of schools, parks said, “Frank?” He looked at her, did his it to Hawkins one day, and when Hawk consin. I was a new member at a young or playgrounds.”

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January 2020 | Allegro 51 Allegro Published by AFM Local 802, Associated Musicians of Greater New York, 322 West 48th Street, New York, NY 10036

DON’T MISS IT: Jan. 31 is the last day for New Yorkers to enroll in coverage under the Affordable Care Act (“Obamacare”) for 2020. If you miss this deadline, you can’t sign up for a health plan for the rest of 2020 (unless you qualify for a Special Enrollment Period). To sign up now or to learn more, visit www.HealthCare.gov or call (917) 281-5975 to schedule an appointment with a health care navigator at the Actors Fund.

FEBRUARY 2020 Membership Meeting WEDNESDAY, FEB. 26 l 5 P.M. FEB. 26 The meeting will take place here at Local 802 2020 (322 West 48th Street, between Eighth and Ninth Ave.) Admission to meeting by paid-up membership card only