Having recently spent eight straight days in meetings related to the musicians’ union, I see why the AFM is failing its members.  Like most unions, it is creating an “Us vs. Them” mentality when it comes to contractors and management.  This may work well for other unions, but when it comes to musicians, we are all our own contractors and managers.  Most of my musician friends are self-employed, self-managed musicians who are trying to make a living doing what they love – making music!  Some get together with other self-managed musicians and give shows or create ensembles with the hopes of being hired as a group for shows.  Very few are fortunate enough to have a W-2 employer that guarantees hours and wages and working conditions on a regular basis, and these are usually under a collective bargaining agreement.  So why is the AFM treating its own members as the enemy?

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For the past ten years, I have served as an International Delegate to the International Convention of the American Federation of Musicians of the United States and Canada on behalf of the Central Florida Musicians’ Association.  As we approach the upcoming convention, my mind has been tasked with understanding the significance and purpose of my responsibilities as a member and a delegate.  This has led to my questioning the need for unions in today’s America.

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I went into the month of June with only 2 gigs on the books, but it quickly changed to 21 paying gigs just in June. Today is the 21st gig of the month – a wedding this afternoon. How can this change so quickly? By getting in front of the right people with a unique act that they can sell again and again.
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Would you hire a neurosurgeon to be a presser in an assembly line for laundry? Conversely, would you want your laundry presser to perform your brain surgery? This is not to say that either does or does not have the potential to do another’s job, but is it what he does for a living? Did he go to school or have specialized training (even self-educated) to do that job? If the answer is no, then why do you think all musicians are the same, or can even play every genre for their instrument?
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It amazes me how much “stuff” is needed just to be a working musician! I play the violin (among other instruments), and one would think once you have a good instrument with a good case and bow, then that’s really all you need. Oh, my young apprentice; you have so much to learn!

Here is a compiled list of MUST HAVE, SHOULD HAVE, AND NICE-TO-HAVE items, specifically for the violinist (but you can substitute or add/delete items for your instrument):
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Social media and actual networking groups are very popular in today’s society. Although the technology has changed to shape the way we now network, the principals and purposes have remained unchanged. Your network of friends and acquaintances is critical to your success in business and your career. Your circle of friends certainly also adds to the enjoyment of life, too. Even the shyest person sometimes likes to be treated as though he is the special guest of honour. At restaurants and clubs, they discuss having the “hookup” or VIP treatment. Many people want it, but even money cannot always buy it. So, how do you get this special treatment? How do you get the coveted interview or meeting?
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Recently, I was asked to be a guest blogger for the Classic Albums Live blog. I cannot tell you what an honour and a privilege it is to be asked, then to be published. Thank you, Craig Martin, for the opportunity to be a part of your vision as a musician with Classic Albums Live, and even more appreciation for the chance to write about it.

Here’s a link to the original post: http://classicalbumslive.blogspot.ca/2013/01/guest-blogger-michelle-jones.html

While you’re there, I hope you will read some of the other posts, too. It’s always good to have insight into anothers’ lives so that we may better understand them and work together.

I am honestly asking this question as I deal with new graduates each year. Just because someone has received a degree from a university does not mean that they are now suddenly “professional.” That term must be earned through experience and practice. Just because you know how to play an instrument for pay does not make you a professional musician. There is a difference between being a paid musician and being a professional musician.

A professional musician is one who has taken the time to learn the ropes in the real world from his fellow musicians (usually older and more experienced). He has learned how to handle contracts, act on the actual gigs, deal with referrals and business contacts, and most importantly, be a responsible, ethical person.
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Music is a skill from which you cannot make money unless you know HOW to make money at it. Music is a trade. If it were easy, everyone would do it. The fact remains that it is NOT easy, regardless of how much talent one has. It takes work, practice, preparation, and lessons (from instructors and from the school of hard knocks). Just like most genres of businesses, your network of people and companies is an essential part of how much work you obtain and retain. Most of us have started building our network during the high school and college years, and expand them when in the “real world.” This network of professionals is a dominant reason why I chose the universities I attended.
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My most recent blog post about the end of the symphony era https://vinylinist.com/?p=855 created quite a buzz! I loved hearing the comments and suggestions and new ideas! One idea in particular gives me the greatest hope I have had in a long time for the survival of the symphony orchestra, and it was suggested by John Saunders (thank you, John!):

“Create a demand by coming up with a style.”

This simple statement has engaged my mind like few others recently. And that gave me an idea.

I propose and challenge the following:

Let’s start with just one well-funded, sponsored, creative symphony orchestra. They will host a new composer contest with a significant cash prize. They ask these new composers to create not only a full concert’s worth of music, but have them create the full concert so that it is visually and audibly entertaining. The composer can include whatever instruments he/she desires, thus creating a NEW symphony orchestra. The winning entry will have their work performed exactly as envisioned by the composer. It needs to be a performance where people will be flocking to the concert hall to a sold-out show. Rock stars put on a show to gain audiences, so why shouldn’t a symphony?

Will this work? I don’t have a crystal ball, but there needs to be some sort of new idea. Symphonies are also slow to change. Years of tradition, blah, blah, blah. But if one orchestra tries something new, and it is successful, it could spread and change the symphonic world. And that might not be the end of the era of the symphony, but rather a NEW symphony with a sustainable business model that will create new jobs for those graduating musicians.