Example Responses
What are the most urgent challenges facing your industry in the creation, discovery and export of Canadian content in a digital world? Please select up to three items.
- Creator remuneration
- How public funding is allocated
- Lack of legislation to ensure well paid contracts for Canadian artists (under Other)
What are the most significant barriers facing your industry in the creation, discovery and export of Canadian content in a digital world? Please select up to three items.
- A lack of private sector investment
- Government policies or programs that have not kept up with change
- Creative contracts are depreciating and/or going elsewhere under heavy US and foreign corporate influence with relatively few Canadian artists/creative companies benefitting (under Other)
The digital shift has created new types of content, such as digital newspaper articles with embedded video, as well as new aggregators and content providers, such as Google News, Netflix, YouTube, Spotify and many others.
As someone working in the culture sector, looking ahead to 2020, what will be the most important way(s) to provide access to content?
The two revenue models that will continue to gain strength are subscription and advertising, neither are regulated by the federal government.
The objectives of regulating foreign owned media entities online, such as Netflix, YouTube, Spotify, should be the same as the government has done with terrestrial radio and television.
- Create more Canadian Control: Mandate that all online media companies of a certain size have a Canadian presence, with Canadian offices and control. This will create leadership and media leadership jobs in Canada.
- Mandate that Large Online Media Companies need to adhere to artist contracting standards: To allow Canadian content creators and the fellow artists that they employ to benefit from a fair share of media revenues clarify that Large Media companies, whether domestic or foreign owned, are responsible under the Status of the Artist Act – this allows Canada’s great artist and cultural sector associations and unions to negotiate fair compensation for content creators and use their infrastructure to ensure this compensation continues fairly. If it is only domestic media companies and traditional media companies that have to negotiate with arts unions, it puts them at an unfair disadvantage.
- Ensure that subsidiaries of large media companies are subject to 1 and 2 above.
- Continue to invest in the arts and cultural industries through grants and agencies, but also ensure grantees where grants are of a certain size are subject to Status of the Artist Legislation.
Otherwise allow media companies to compete for the great Canadian market.
The federal government uses a range of tools to support the sector, including legislation, regulation, policies, funding mechanisms, and the operation of national institutions like CBC/Radio-Canada, among others.
Looking ahead, what do you believe will be the most effective tools for ensuring the creation and discovery of great Canadian content in a digital world? Please select up to five items.
- Enhanced public support for creators
- Direct government support to creative industries Canadian content rules for TV and radio Legislation, such as the Broadcasting Act
- Enhanced Status of the Artist Legislation (under Other)
Looking ahead, what do you believe will be the most effective tools to support the export of Canadian content to the world stage? Please select up to three items.
- Direct public support to creators or distributors
- Co-production treaties with other countries
- Requirement of foreign media companies to have offices and labour agreements to operate in Canada. (under Other)
What are the key roles for CBC/Radio-Canada to play in supporting Canadian content creation, discovery and export in a digital world? Please select up to five items.
- Reflecting the diversity of Canadian culture and communities
- Being an incubator for Canadian creative talent and training the next generation of content creators
- Striking partnerships with other players, including other public broadcasters, to extend content to new audiences at home and abroad
- Providing services to Canada’s Indigenous peoples
- Fair compensation for Canadian Content Creators and artists and using their relative power to ensure subcontracted media companies do the same by following labour agreements. (under Other)
Do you believe there is sufficient local content available that is relevant to your community?
What type of local content would you like to see more of in your community? Please select up to five items.
- Information about local and regional cultural events
- Information about local and regional community events
- Information about local and regional public affairs
- Information about municipal affairs
- Local and regional audiovisual programming (e.g. local talk shows)
What is being done in other countries, jurisdictions and the private sector that could be instructive to the Government of Canada in terms of best practices for supporting content creation and discovery in a digital world?
From Sweden: Outside of policy circles, a much more critical and interesting discussion is starting to take place, and it is one in which cultural workers need to engage. Innovation is increasingly being seen as a primary, if not the primary reason for support, particularly of the creative industries, but also of other cultural and arts activities. Much of this rests on a rather untested set of assertions about the links between innovation in the cultural sectors themselves and in the wider economy. The danger here for the cultural sectors is that if no such links can be clearly demonstrated (and there are already sceptics in some finance ministries, including the UK Treasury), then the arguments for supporting the cultural sectors themselves have already been weakened. I am generally of the view that non-instrumental public policy is an oxymoron, and the arguments for supporting the cultural sectors have always included a variety of instrumental rationales. But there is a danger in allowing the only rationales to be instrumental ones. If the current fashion for linking the cultural and creative sectors to wider innovation fades, and unless the supporting evidence for such process improves, the sectors themselves will have gained relatively little and will have sacrificed another claim on the public’s attention and taxes. However, there are more important reasons why cultural workers should start to engage in a critical discussion about innovation, and that is, simply, that it is not an uncontested good. Some innovations are harmful;
What is being done in other countries to promote the export of their cultural content?
Within the framework of the Government’s export strategy, the MFA and the Kreativ Sektor (Creative Sector) project have together created Showcase Sweden, a digital showcase for the Swedish cultural and creative industries. The aim is to make creative content accessible in a coordinated and useful format that can be used as a tool for press contacts, talks and meetings, for instance, but that can also be shown on screens in lobbies and waiting rooms and distributed to the broad public, potential customers and recipients of Swedish exports.
How important is it for you to have access to Canadian content in a digital world?
Very important
Please explain why it is important to you.
Canadian content remains important for us as a country to craft a voice, an economy, employment and pride in the larger media world. Now more than ever, with technology breaking down the physical and geographic barriers between content producer and audience, policy becomes a more key element in promoting Canadian content.
What other questions or issues as they relate to the goal of strengthening Canadian content creation, discovery and export in a digital world should we explore?
Most importantly, how can we modernize the Federal Status of the Artist Act to increase rights for creative people in modern agreement, governing the relationship between contract creative persons and producers? In this modernization the enabling of Canadian artists’ representative bodies to compel subcontractors of Status eligible producers, and also media distributors, both domestic and international to negotiate fair terms for Canadian creative persons, would ensure that Canada is the best place to live as a creative person. Subsequently Canadian content would increase in quality from the increased quality of the creative people we attract.
Dusty Kelly Named Executive Director of the TMA149
Dusty Kelly Named Executive Director of the Toronto Musicians’ Association
A new Executive Director began their term November 14, 2022 with a vision to improve the resiliency of Toronto’s professional musicians and lead the largest local of the Canadian Federation of Musicians to an inclusive, diverse, and supportive future.
November 18, 2022
The Board of Directors of the Toronto Musicians’ Association, Local 149 of the American Federation of Musicians (TMA149) has named Dusty Kelly Executive Director, effective November 14, 2022.
The TMA149 is the largest association in Canada, boasting more than 3000 members and functions as an advocate for fair working conditions and wages, facilitator of work visas for travelling musicians, and helps manage a robust pension fund and generous benevolent fund for the professional musician.
Covid saw a reduction in work of over 70% and reduction in working members by over 50%. membership is on track to meet or exceed pre covid levels by early 2023 and work is coming back having recovered losses by nearly 64% to date.
“The last few years have not only tested the resilience of the professional music industry, but brought it together in ways only dreamed of previously. I am extremely excited for our members to have someone with Dusty’s experience, imagination and drive to lead our organization back to full capacity and beyond,” says Andy Morris, president of the TMA149 board.
The TMA under Dusty’s leadership will continue to work toward increasing awareness and understanding with the municipal and provincial governments we operate under. We aim to improve its diversity of services and representation of the most diverse musical genre and cultural population in the country. We will also develop and nurture our membership through workshops, benefits, and labour advocacy.
Dusty shares, “Music is a vital component of Ontario’s diverse culture, an important economic driver that engages many talented musicians and artists from all walks of life and the Toronto Musicians’ Association has been representing and advocating for musicians for over 120 years.
The TMA is uniquely positioned to address the many challenges impacting musicians’ livelihoods and it is within this backdrop that I am looking forward to initiating dialogue with our many external stakeholders. Together we can develop inclusive strategies aimed at addressing inequity in our sector and bring about sustainable solutions that will lead to long-term prosperity.”
ABOUT DUSTY KELLY
Dusty brings a wealth of knowledge and experience in the arts space including 5 years as secretary and business agent with the Vancouver Musicians’ Association, Local 145, and 21 years in a variety of administrative, contractual, and organizing roles with the Vancouver International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada (IATSE) Local 891.
MEDIA CONTACT
Jaye Marsh, communications@tma149.ca
Workplace Safety & Prevention
Guidance on Health and Safety for Television, Film and Live Performance Sector during COVID-19
OVERVIEW
This is not a legal document and employers are advised to seek legal advice.
Employers and constructors have obligations to protect workers from hazards in the workplace as set out in the Occupational Health and Safety Act (OHSA) and its regulations and the directives coming from the Chief Medical Officer of Health.
Workers should raise any concerns to their:
This will help ensure the employer has taken all reasonable precautions.
Ontario is currently in the midst of a global pandemic. While the COVID-19 situation is changing rapidly, the legislation and regulations used to govern Ontario’s workplaces are not.
Under Ontario law, employers have the duty to keep workers and work sites safe and free of hazards. Workers have the right to refuse unsafe work. If health and safety concerns are not resolved internally, a worker can seek enforcement by filing a complaint with the ministry’s Health and Safety Contact Centre at 1-877-202-0008. Failure of the employer or constructor to comply with the OHSA and its regulations could result in a stop-work order upon inspection by the Ministry of Labour, Training and Skills Development.
BEST PRACTICES
A new type of virus, known as COVID-19, is causing an outbreak of respiratory (lung) disease. The severity of this illness can vary from person to person. There are steps you can take to prevent the spread of infection. This document provides information to help you while working during the COVID-19 pandemic.
RECOGNIZE AND ASSESS
COVID-19 can cause a range of symptoms, including fever, cough, sore throat and shortness of breath. These symptoms can appear in a few days or up to 14 days after being exposed to the virus. For some people, the symptoms are like having a cold; for others they may be severe or life-threatening.
The virus is transmitted via droplets during close, unprotected contact with an infected person, or by touching an infected surface and then the mouth, nose, or eyes.
Keeping safe at work involves understanding how employees could come into contact with COVID-19 as they perform their jobs, and then taking steps to minimize contact.
People working as program hosts, reporters, performers, writers, technical crew, wardrobe and make-up stylists, admin staff, sales and marketing staff are just some of those in the TV, Film, Live Performance Sector who need to consider how they can work safely and prevent COVID-19 from spreading.
In addition, employers should advise these workers to complete the online self-assessment or call either:
CONTROLS
Here are a number of options for protecting Television, Film and Live Performance workers from exposure to COVID-19:
As a last resort, consider personal protective equipment (PPE). PPE is effective only if appropriate to the situation and people wear it correctly. Ensure PPE training includes the fit, use, care, putting on and taking off, maintenance, cleaning and limitations of the PPE.
Disposable gloves are one example of PPE that can help limit contact with surfaces that may be infected. Implement safe practices for changing gloves, such as if they are torn or dirty and disposing of them.
Respiratory protection is not the first line of defence against COVID-19. Please continue to monitor Public Health Ontario for respiratory protection advice.
EVALUATE
COVID-19 has presented challenges workplaces have never encountered before. Keep in mind that any adjustments made today may need readjusting tomorrow. Look at preventative measures on an ongoing basis, and adjust them if they are not working well enough or causing other issues. For example, are people doing what they’ve been asked to do? If not, what is preventing them from doing so? Can you make adjustments and improve?
For anyone who thinks they may have been exposed to or are experiencing symptoms of COVID-19, please start by visiting the Ministry of Health and Long-Term Care website and taking a self-assessment: https://covid-19.ontario.ca/self-assessment/#q0. Please do not visit an assessment centre unless you have been referred by a health care professional. Do not call 911 unless it is an emergency.
For additional information, refer to Health Canada’s website on COVID-19: https://www.canada.ca/en/public-health/services/diseases/2019-novel-coronavirus-infection/being-prepared.html?topic=tilelink
RESOURCES
Stay updated with daily government updates on COVID-19:
Government of Ontario
Government of Canada
Public Health Ontario
NOTE: This document is intended for informational purposes only to provide an overview of the potential hazards posed in the workplace due to COVID-19. It is not intended as medical advice, to provide a comprehensive risk assessment for all workplaces, or to replace any legislated workplace safety obligations. Due to the ongoing evolution of the situation in Ontario and around the world, this document may be used as a guide for Employers in addition to guidance delivered by public health authorities such as the World Health Organization (WHO), Ontario Ministry of Health, Public Health Ontario and the Centers for Disease Control and Prevention (CDC).” Any use which is made of this document by any Employer, or any reliance on or decisions to be made based on it, are the responsibility of the Employer. WSPS and its partners, officers, directors, employees, agents, representatives, suppliers and service providers accept no responsibility for any errors or omissions in content or for damages of any kind or nature suffered by any Employer or any third party as a result of use of or reliance on this communication.
VOTE !: Message to Members Regarding the Ontario Provincial Election
Vocal Master Class
Enhancing Quality of Performance
Master class for vocal artists with Lori Holmes, Speech-Language Pathologist & Voice Coach
Thursday April 28, 2011
Time: 1 p.m. – 5 p.m.
Fee: $50 / Students/ Seniors & ASO: $40
Location: Toronto Western Hospital, 399 Bathurst Street, 3rd Floor, McLaughlin Wing 3-405
Lori Holmes (B.Sc.CD; M.Sc.) is a highly respected speech-language pathologist with over 20 years of experience, integrating a solid background in science with practical experience in training the voice. Since 2001 she has had the joy of combining her love of theatre with her love of voice at the Stratford Shakespeare Festival and has since become an integral part of the coaching team. In London, her private practice, WellSpoken, provides expertise in communication and speaking skill enhancement, accent reduction and rehabilitation for injured voices. A dynamic speaker, she provides workshops in voice care and training for various professionals throughout Ontario. She currently teaches the graduate course in Voice and Voice Disorders to speech-language pathology students at The University of Western Ontario. She regularly lectures to the otolaryngology residents at the Shulich School of Medicine and is the speech-language pathologist at The Vocal Function Clinic, London Health Sciences Centre. She is a guest presenter with the Artist’s Health Centre in Toronto providing workshops and lectures to professional artists and students in training.
Pre-registration is required, as space is limited. To register please contact us at:
Phone: 416.351.0239
Email: info@ahcf.ca
Fax: 416.595.0009
The AHCF appreciates recognition of our cancellation policy, student rate and senior discount requirements. Thank you.
For your comfort, this is a scent-free workshop. Please refrain from wearing any perfume, cologne, aftershave or scented products. Thank you.
U.S. Steps Up Enforcement of Foreign Artist Tax Withholding
FTM Arts Law is receiving an increasing number of reports from artists, managers, agents and presenters that the Internal Revenue Service is contacting presenters and venues where non-resident foreign artists are scheduled to perform and directing them to withhold 30% of the artists’ gross fee.
The IRS is sending out letters called Directed Withholding Letters (“DWLs”) and they have serious implications. Unless a foreign artist qualifies for an exemption from tax withholding, or enters into a Central Withholding Agreement (“CWA”) with the IRS, then 30% of the artist’s gross fee must be withheld. (Note that not all exemptions from taxation entitle an artist to an exemption from withholding!) Those who represent or present foreign artists in the U.S. and who continue to choose not to address tax issues are taking an enormous risk.
Why is this happening? How is this happening?
Read the full article here. (Blog has been removed)
U.S. Steps Up Enforcement of Foreign Artist Tax Withholding
FTM Arts Law is receiving an increasing number of reports from artists, managers, agents and presenters that the Internal Revenue Service is contacting presenters and venues where non-resident foreign artists are scheduled to perform and directing them to withhold 30% of the artists’ gross fee.
The IRS is sending out letters called Directed Withholding Letters (“DWLs”) and they have serious implications. Unless a foreign artist qualifies for an exemption from tax withholding, or enters into a Central Withholding Agreement (“CWA”) with the IRS, then 30% of the artist’s gross fee must be withheld. (Note that not all exemptions from taxation entitle an artist to an exemption from withholding!) Those who represent or present foreign artists in the U.S. and who continue to choose not to address tax issues are taking an enormous risk.
Why is this happening? How is this happening?
Read the full article here.
TMA149 Welcomes Erik Ryken as Membership & Contracts Coordinator
Beginning November 27 you may contact Erik for membership renewals and other membership questions and Rebecca for contracting questions in regards to Theatre and Commercial Announcements (Jingles). In addition Erik will be helping develop content and methods for member events and communications on web, through the newsletter and wherever we talk with members about our work.
Rebecca Sinnaeve, Membership & Contracts Coordinator
Theatre and Commercial Announcements
416-421-1020
rsinnaeve@tma149.ca
Erik Ryken, Membership & Contracts Coordinator
Membership Renewals, Sign-Up and Communications
416-421-1020
eryken@tma149.ca
TMA149 Understanding of Stage 3 Reopening Rules and Request for Changes
Here is a summary of our understanding of the key Stage 3 Guidelines for musical performances:
Questions referred to the Committee’s public health experts:
Increasing gathering limits under the above conditions would allow for performances to become more economically viable than under current restrictions.
TMA149 Understanding of November 14, 2020 Rules under New Ontario Covid-19 Reopening Framework and Local Public Health Regulations
The Province of Ontario released its new “COVID-19 Response Framework: Keeping Ontario Safe and Open” on November 3, 2020 and it was revised on November 3. Under that framework Toronto is scheduled to enter ‘Control (Red)’ classification on November 14, 2020. In addition the Chief Medical Officers of the City of Toronto and the Region of Peel have made additional orders making the rules in those areas even more restrictive.
Here is a summary of the regions in our local and the level of restrictions as at November 14, 2020:
Protect (strengthened measures) – yellow:
Restrict (intermediate measures) – orange
Control (stringent measures) – red
Further, TMA149 understands the following as it pertains to our membership, for all levels other than lockdown, including the additional measures in Peel and the City of Toronto:
While TMA149 understands the need to keep audiences, musicians and other workers safe, we are working with community leaders to advocate for safe priority reopening rules that are economically viable for our sector. Please see the letters below, one from TMA149, the other from a grassroots collective of member and non-member musicians, acknowledged by TMA149. Both letters ask for a more fair reopening framework for the performing arts and provide ideas on how reopening can happen for our sector safely
TMA149 met with grassroots leaders and Kevin Finnerty, Assistant Deputy Minister of Heritage, Tourism, Sport & Culture Industries on October 22, 2020. It was a productive meeting where the ADM Finnerty agreed to bring the grassroots proposal for consideration within the Ministry in preparation for the Ministry to make recommendations to the Public Health Measures Table. Further ADM Finnerty pledged to include TMA149 Executive Director Michael Murray, who was endorsed a representative by grassroots leaders, in conversations about recommendations. As of November 11, 2020 Michael has not been invited to any conversations but has had one phone follow-up after the release of the new framework on November 3, 2020. TMA149 continues to coordinate between grassroots leaders and other TMA149 members and engagers to try and find the best path to a safe, transparent, and fair reopening plan for the performing arts.
TMA149 Submission to the Provincial Standing Committee on Finance and Economic Affairs
Please note that TMA149 is scheduled to appear before the Committee on Monday August 24, 2020 @ 5:00 PM.
Recommendations:
1. Introduce a Live Arts Labour Tax Credit and a Live Arts Labour Rebate
2. Work with Major Financial Institutions and the Federal Government to Introduce a Live Arts Financing Program to complement the Live Arts Labour Tax Credit and a Live Arts Labour Rebate
3. Research and Consider Incentivizes for Ontario Musician and Music Maker Participation in Screen Based Productions receiving Ontario Cultural Media Tax Credits
4. Introduce Government of Ontario Backed Guarantees to Established Multi-Employer Pension Plans
TMA149 Members Can Now Subscribe to the Arts & Entertainment Plan
Health, Dental, Life, AD&D, and More for Our Community
TMA149 is Looking for Business Representatives – Member & Non-Member Musicians
Please Apply
TMA149 is looking for Business Representatives and Organizers to help further its mission to improve the socio-economic conditions of all musicians, digital music makers, arrangers and orchestrators in our Local. We are especially interested in practicing musicians and music professionals who can fill this role on a part-time basis to complement their professional practice.
TMA149 COVID-19 Health & Safety Guidelines for Rehearsal, Live Performance, Sound Recording and Screen-Based Scoring
Based on guidance from AFM Local 47, Burbank, CA
November 12, 2020
The Province of Ontario has jurisdiction under the Occupational Health and Safety Act to set rules and regulations to keep workers, including performers, safe. Included in our guidelines are provincial requirements, current as of the above date, pertaining to music rehearsals, performances, and recording sessions. Wherever a conflict exists or may arise between our guidelines and the Province’s, the terms from the Province shall take precedence.
O.Reg. 263/20 and O. Reg. 364/20 are the most up to date regulation determining rules for performers from the Province of Ontario.
TMA149 Congratulates Members Jane Bunnett and Daniel Caesar for Grammy Nominations
http://www.cbc.ca/news/entertainment/cdns-grammy-nominations-1.4422596
TMA149 Congratulates & Thanks Daniel Broome, Outgoing Senior Business Representative
“Dan is an exceptional Music Professional with keen insights into the industry and the best kind of values working for the musicians and creator that fuel the music community. He will be missed greatly at TMA and we wish him the best in his new areas of focus. We look forward to any chance we may have at working together again, and I want to personally thank him for being such a great support during my tenure at TMA”. Michael Murray, Executive Director
Those who want to reach out to Dan may do so through his personal email daniel.albert.broome@gmail.com, and although he may not be able get back to you right away he will endeavour to connect with everyone who sends him a message in the coming weeks and months. Dan thanks everyone for the well wishes he has received already.
Prior to TMA engaging other business representatives, in the interim, please be in touch with any of TMA149’s Membership & Contract Coordinators for contracting inquiries, and Michael Murray, Executive Director, for collective negotiation and contract defence inquiries. Contact information may be found on Contacts page.
TMA149 CERB, CRB and 2020 Tax Workshop w Philip Varmuza, CPA CA – Thursday February 11, 2021 @ 1:00 PM
Please join us for a workshop from Philip Varmuza, CPA, CA
Tax Manager
Hogg, Shain & Scheck
Philip will discuss:
The workshop will feature a presentation followed by a question period moderated by Michael Murray, TMA149 Executive Director.
We hope to see many members attend using Zoom Videoconference. Please note only those connecting by computer or mobile device will be able to ask questions using the chat function in Zoom.
Connection Details are as follows:
Topic: TMA149 CERB CRB and 2020 Tax Workshop w Philip Varmuza, CPA CA
Time: Feb 11, 2021 01:00 PM America/Toronto
Join Zoom Meeting
https://us02web.zoom.us/j/86027532716
Meeting ID: 860 2753 2716
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TMA149 Advisory to Members regarding 2018 Ex
TMA149 October 2018 General Meeting
TMA149 General Meeting
Friday October 26, 2018
11:00 AM – 12:30 PM
TMA Offices, A1 Auditorium, First Floor
15 Gervais Dr, Toronto, ON
Ample parking at location, payment required at machine
TTC: 25 and 185 buses (Pape Station) or 34 Eglinton East Bus (Eglinton Station)
Lunch provided and $20 per member (to offset parking or other expenses)
TMA, Local 149 of AFM Announces Rehearsal Space & Travel Insurance Partnerships
Toronto, ON – June 15, 2016 – With increased travel, housing, and living costs for Musicians in the Greater Toronto Area, especially those touring to the United States, Toronto Musicians’ Association (TMA149) has announced two partnerships to try and alleviate the burden for its members.
In partnership with Rehearsal Factory, TMA149 members will receive a 50% discount on rehearsal space at all six Rehearsal Factory locations across the GTA for rehearsal time occurring before 6pm Monday to Friday. “Whether you are about to go on tour, or you are preparing for ongoing gigs, Rehearsal Factory provides the most professional rental spaces in the region, every suite complete with full backlines and PA’s. With this considerable discount partnership, professional musicians of the GTA can focus on preparing the astounding work they do with a little less pressure on the existing resources that support them” says Michel Murray, Executive Director of TMA149. The discount is being offered as a three-month pilot project with intentions to renew in the fall.
In addition to the partnership with Rehearsal Factory TMA149 will be expanding its existing relationship with thePersonal Insurance Group and adding discounted comprehensive travel insurance for musicians on tour, work travel or leisure travel to its list of membership benefits. “With our current partnership with the Personal, our members are reducing their home, renters, auto and motorcycle insurance expenses by hundreds of dollars per year, often far eclipsing the cost of our annual membership dues. With this additional elective package, our members can travel on tour, for other work engagements or for leisure, whether alone or with their families and again save significantly. All while being underwritten by one of the most trusted names in travel insurance for Canadians, the Desjardins group” says Michael Murray, ED of TMA149.
The Rehearsal Space discount may be accessed by identifying yourself as a TMA149 member at Rehearsal Factory locations (map attached) or on the single booking line for all Rehearsal Factory studios (416) 366-1525.
thePersonal travel insurance is available for members at http://www.thepersonal.com/tma149.
Contact:
Derek Singh, Systems Manager
Toronto Musicians’ Association
dsingh@tma149.ca
416-421-1020
15 Gervais Dr.
Suite 500
Toronto, ON
M3C 1Y8
TMA Welcomes New Executive Director Michael Adam Murray
The Toronto Musicians Association (TMA), local 149 of the American Federation of Musicians of United States and Canada, representing professional musicians in Toronto for over 100 years, is pleased to announce the appointment of Michael Adam Murray as our new Executive Director, effective August 24th, 2015.
Michael comes to the TMA from the Ontario Arts Council (OAC), where he has held the role of Music and Arts Service Organizations Officer since 2007. His skills and experience are broad, yet his focus has been on the music and larger arts community in Ontario and the Toronto area. As a musician (trumpet, electronics and voice), songwriter and as a professional with CPA, CMA and MBA designations, Michael’s combination of skills led to exceptional development work with OAC. He is an exciting leader, well poised to lead the TMA into the next 100 years of development.
As the Music industry continues to go through seismic changes across all sectors, it is vital that we continue to grow and change to ensure that the TMA is part of the conversation in the larger music and arts community and that we continue to provide services that ensure fair compensation and quality of life for all musicians.
“As a songwriter, trumpet player and vocalist myself, I understand firsthand the immense rewards and challenges in pursuing a career as a professional musician. When fairness for artists is achieved, all stakeholders in the cultural industries benefit, from artists, to audiences, to communities to companies. It is my vision that the TMA is a leader in making the Greater Toronto Area the best region nationally and internationally for musicians to live and work and by doing so help the GTA protect and grow it’s reputation as one of the world’s major music and art centres.”
TMA Thanks Minister for Increase to Ontario Arts Council Budget
TMA Stands with CFM, AFM and the PAVTF in Opposing P2 Increases
The Department of Homeland Security (DHS) has proposed making it much more costly to apply to U.S. Citizenship & Immigration Services (USCIS) for the required visas for international guest artists. Its plans to increase most of its filing fees, including those for O and P artist visas applications.
TMA stands together with the Federation and the Performing Arts Visa Task Force in opposition to those changes.
To read the full text of the PAVTF opposition please click here (PDF).
TMA Participates in Live Performing Arts Anti-harassment Roundtable
Canadian Live Performing Arts Representatives Anti-harassment Roundtable
NEWS PROVIDED BY
Canadian Actors’ Equity Association
Jan 17, 2018, 20:22 ET
Federal Heritage Minister Mélanie Joly opened today’s meeting, thanking the performing arts community for its work on anti-harassment issues and for being a leader in cultural change.
Meeting participants agreed to the following public statement.
We commit to a performing arts industry that is safe and respectful. We recognize that increasing equity for marginalized and disenfranchised communities within the sector is an essential part of the solution.
We established working groups today to:
The live performance sector is committed to finding ways to work collectively and with purpose to find solutions. Communication with those who work in and with our sector is essential. We will provide updates on our activities as they become available.
Organizations in attendance at today’s meeting include:
Arts Club Theatre
IATSE
Associated Designers of Canada
IATSE 58
L’Association des théâtres francophones du Canada
National Ballet of Canada
Canadian Actors’ Equity Association (Equity)
Playwrights Guild of Canada
Canadian Alliance of Dance Artists
Professional Association of Canadian Theatres (PACT)
Canadian Arts Presenting Association/ l’Association canadienne des organismes artistiques
Shaw Festival
Canadian Association of Fringe Festivals
Tapestry Opera
Canadian Dance Assembly
The AFC
Canadian Federation of Musicians
Theatre Ontario
CITT/ICTS
Toronto Musicians’ Association
Dancer Transition Resource Centre
Toronto Alliance for the Performing Arts
— We encourage other organizations to sign on to this sectoral initiative.—
SOURCE Canadian Actors’ Equity Association
Related Links
http://www.caea.com
Organization Profile
Canadian Actors’ Equity Association
TMA Musician of the Year Award 2009
ANDREW BURASHKO – A member of the TMA since 1990
His musical dexterity and commitment to building a future audience for classical music brought him in 1998 to the artistic directorship of the Art of Time Ensemble, a chamber music society comprised of the finest classical and jazz players on the Canadian scene. Andrew Burashko began his piano studies with Marina Geringas in Toronto. He went on to study with Kum Sing Lee in Vancouver, Leon Fleisher and Marek Jablonski in Toronto, and Sella Davidovich in New York. He is at present on the faculty of the Glenn Gould School at the Royal Conservatory of Music in Toronto.
Performance Diploma and Artist Diploma (RCM). Studied with Bella Davidovich in New York, with Marek Jablonski, Leon Fleisher and Marina Geringas at The RCM, Toronto and with Kum Sing Lee in Vancouver. Awarded numerous grants from the Canada Council and the Ontario Arts Council. Has given master classes throughout Canada and the United States. Soloist with orchestras including the Toronto, Vancouver, and Winnipeg Symphonies, the Manitoba Chamber Orchestra, CBC Vancouver Orchestra, the National Arts Centre Orchestra. Sought after as a recitalist and chamber musician, with performances throughout North America and Europe. Artistic Director of Chamber Music Unlimited. Recorded for Naxos, CBC SM5000, and Opening Day Labels. Regularly broadcast on CBC Radio and American Public Radio. RCM faculty since 1990.
In recognition of the outstanding artistic excellence during the year 2009 and his universally acclaimed stature as one of Canada’s most highly regarded classical pianists, the Toronto Musicians’ Association presents the 2009 Musician of the Year Award to Andrew Burashko.
TMA Lifetime Achievement Award
Anne Murray
Anne Murray with Charlie Gray
I hate to think how long it’s been since I first heard Anne Murray sing at the Agricultural Exhibition in Truro, Nova Scotia — the mid-1960s, you do the math. At the time, it was a welcome break from the quilts, the cotton candy, the cattle, and the thrill of the Tilt-AWhirl. But I do remember that she came onstage barefoot and sang her heart out as though she were playing Carnegie Hall.
Anne claims to be retired, but I don’t believe it. Again and again, someone will search her out of her hiding place and into the public eye, for her musicality, her good humour, and her down-to-earth humanity. You don’t see a lot of that sort of thing, these days.
I worked in Anne’s back-up band for a couple of years, and it was the most enjoyable way to travel. Anne had just had a hit with “You Needed Me,” and in her wisdom decided she needed a trumpet to spruce things up. (These days, it is rare to find a pop musician who actually knows what a trumpet is for — sprucing things up!)
Anne has always appreciated and hired many musicians. When touring artists were beginning to reduce their bands to synths, drum machines, and recorded tracks to cut overhead, she was backed up by three horns, pedal steel, a full rhythm section, two guitars, and two singers. She usually hired a large local string section and percussion as well.
Anne was and is a big deal. She has played to massive audiences of adoring fans all over the world; I remember one of her opening acts being Jerry Seinfeld, and Lenny Breau played in one of her early bands. Toronto arranging luminaries Doug Riley and Rick Wilkins arranged for her, along with many other Toronto-based musicians. Anne has always had an ear for serious musicianship, as well as for a great studio and a perceptive engineer, and she was a member of Local 149 right from the start.
A true Canadian legend, Anne Murray is a Companion of the Order of Canada — the country’s highest civilian honour. She has sold more than 54 million albums. She is a best-selling author with her memoir, All Of Me. She has accumulated a record 24 JUNO Awards, four Grammy Awards, three American Music Awards and three Country Music Association Awards. She has been inducted into the Canadian Country Music Hall of Fame, the JUNO Hall of Fame and The Songwriters Hall of Fame. She is a member of Nashville’s Walkway of Stars, and has her own star on the Hollywood Walk of Fame and on Canada’s Walk of Fame. She has literally had the world at her feet!
Anne’s artistry is matched by her generosity. A proud supporter of Canadian Women’s Foundation, Sheena’s Place, the David Suzuki Foundation, several East Coast charities and a member of the TELUS Atlantic Canada Community Board, Anne became a spokesperson for Colon Cancer Canada in 2008, and hosts the annual Anne Murray Charity Golf Classic to raise money for a cure. In 2010, she was one of eight notable Canadians who carried the Olympic Flag into the stadium at the Vancouver Winter Olympics.
Calling Anne a Legend doesn’t quite cover it; she also plays one hell of a game of golf !
by Charlie Gray
TMA General Meeting & TMA Building Corporation Special Meeting – December 14, 2018 – Northern District Library
TMA General Meeting
Lunch provided and $20 per member (to offset parking or other expenses)
Agenda
Friday February 22, 2019 – 11:00 AM
TMA Office Auditorium – 15 Gervais Dr
TMA and TMA Building Corp General Meetings – Friday May 31, 2019 – 11:00 AM – TMA Office Auditorium – 15 Gervais Dr
TMA and TMA Building Corp AGM’s May 25 11-12:30
Annual General Meeting (TMA and TMA Building Corp)
NOTE CHANGE IN LOCATION FROM PRINTED CRESCENDO
Friday May 25, 2018
11:00 AM – 12:30 PM
TMA Office Building, A1 Auditorium, First Floor
15 Gervais Dr, Toronto, ON
Ample parking at location, payment required at machine
TTC: 25 and 185 buses (Pape Station) or 34 Eglinton East Bus (Eglinton Station)
Lunch & $20 per member for parking or other expenses will be provided
The Rhythmic Arts Project
TMA 149 member Vito Rezza involved in international benefit to help children with special needs.
The Rhythmic Arts Project (TRAP) is a non-profit organization based in Carpinteria, California. Eddie Tuduri, Director of TRAP, was a full time musician until 11 years ago when he broke his neck in a surfing accident.
The program was born during the course of Eddie’s own recovery. The program empowers people with various disabilities to succeed in the world. We integrate drums and percussion instruments as creative learning tools that address life skills and enhance the mind, body and spirit. We are currently in 20 States in the US as well as in several other countries.
Eddie is an veteran rock and roller with credits ranging from The Beach Boys, Rick Nelson and Dr. John, to Marianne Faithfull and Dwight Yoakam. Eddie has strong ties to Canada having recorded with The Five Man Electrical Band and Chilliwack. Living in Canada, Eddie performed with The Downchild Blues Band, Rocky Rolletti and The Lincolns.
Long & McQuade and Pearl Canada are proud to support Eddie’s work and are presenting a free workshop to introduce this program to facilitators and program coordinators. This workshop is open to anyone interested in learning more about this wonderful program.
If you are one of the following, you may particularly be interested in this…
1) Percussionists interested in learning how to use this program and who may be interested in working as a facilitator within this field
2) Program coordinators that see this as something that would work well implemented in your facilities
3) Music therapists or students that would like to be introduced to something new
4) Special education, as well as mainstream teachers, and also parents that might be interested in learning more about this program
The Rhythmic Arts Project empowers people with various disabilities to
succeed in the world. We integrate drums and percussion instruments as
creative learning tools that address life skills and enhance the mind, body
& spirit.
http://www.traponline.com
Email: Etuduri@verizon.net
The Member Assistance Fund (MAF)
The Toronto Musicians’ Association Member Assistance Fund
August 28, 2013
In 2012, the Toronto Musicians’ Association Board of Directors appointed a Member Assistance Fund Committee comprised of Les Allt (Board of Directors), and myself, Réa Beaumont (Board of Directors) as Committee Chair.
The new MAF Committee has been busy revitalizing the Member Assistance Fund (MAF) and expanding its role to assist TMA members in financial need. The Member Assistance Fund was started in the early 1980’s by our member, the late Donald Pierre and his band, when they held a concert and donated the proceeds to start a fund to help TMA members.
The purpose of the Member Assistance Fund is to provide short-term aid to TMA members in good standing who are met with financial hardship as a result of long-term illness. Currently the Toronto Musicians’ Association provides “sick benefits” to eligible members in the amount of $75 per week, to a maximum of twelve weeks with approval from the Board of Directors.
The MAF Committee is pleased to announce that, after these twelve weeks have been exhausted, an additional six weeks of assistance (up to twelve weeks in special circumstances) may be approved and/or annual TMA membership dues reimbursed.
Extending the existing benefit is a significant step in the right direction to helping our members and we are now accepting applications. The MAF Committee appreciates the support it has received from the Board of Directors and wishes to thank Vice President Linda Cara and Administrative Manager Dawn Rodriquez for their time and input.
In order to maintain the Member Assistance Fund the MAF Committee will be spearheading fundraising initiatives so check back for updates as more details become available!
For additional information, please contact:
Dr. Réa Beaumont, Chair, MAF Committee
bodmem6tma149@gmail.com
c/o Toronto Musicians’ Association
15 Gervais Drive, Suite 500
Toronto, Ontario M3C 1Y8
The Good Brothers – 2015 Lifetime Achievement Award
Soon, The Good Brothers were packing El Mocambo five nights a week, and headlining at such venues as Massey Hall, Roy Thomson Hall, the National Arts Centre, and at L.A.’s Universal Amphitheatre with Gordon Lightfoot. Beginning in 1977, they won an astonishing eight consecutive Juno awards as Country Group of the Year. In 1980 their fifth album, Good Brothers “Live”, was certified gold, and they have since recorded ten more records. They continue to perform across Canada and the United States and have toured Europe 29 times.
Still going strong after over forty years, The Good Brothers were inducted into the Canadian Country Music Hall of Fame in2004. The Toronto Musicians’ Association is proud to recognize their tremendous success with our Lifetime Achievement Award.
“When we joined our union back in the early 70s, we had no idea that this would be the beginning of such a long and significant relationship. Working with brothers can be both rewarding and challenging, but one thing is certain: we always have each other’s backs. As members of the TMA, we have always felt like we had another brother watching our backs, and that was the brotherhood of Local 149. We are now and always will be very proud to be a part of this organization.” – The Good Brothers
The Business of Art 2011
This April, in partnership with 918 Bathurst, Centre for Culture, Arts, Media and Education, CCCO is offering The Business of Art, a six week course to help artists take control of their career and plan the steps for their success
The Business of Art is
The class will be held at 918 Bathurst St., conveniently located near the Bathurst St. subway on Wednesdays from 6 PM – 9 PM, beginning April 20th and continuing until May 25th.
“I highly recommend this course. My business jumped 30% after I finished it. I left inspired and with a more defined vision for my career.”
– Kyra Millan, vocalist, arts educator and coach
“Taking The Business of Art course in 2009 was one of the most valuable things I have done…. It gave me insight into my practice and helped me define where I really want to go with it. It was a lot of work, but also great fun…. By the time I completed the course I had a 12-page five-year business plan and by the end of 2010 I had accomplished or attempted all the 14 goals I set for myself. I would highly recommend this course to any artist interested in taking the mystery out of the business end of being an artist.”
– Camilla Geary-Martin, sculptor
“Every artist deserves to be fairly compensated for their creation. If you take yourself seriously as an artist, and wish to take your art-as-business to the next level, The Business of Art Course is an invaluable introduction.”
– Bruce Dow, Actor, Broadway/Toronto, and the Stratford Shakespeare Festival
For more Information and easy registration, check www.workinculture.ca or call 416 – 340 – 0086.
Information also available at 918 Bathurst St. Centre 416 – 538–0868 or info@918bathurst.com
There is a limited enrollment for this course.
Stay in touch with CCCO by visiting our website to check for job postings, career skills and other business tips, and the latest in research and information!
Team Changes: Farewell to Nancy, Judy and Dawn – Congratulations Derek and Julia
TMA149 is saying goodbye to three long-standing employees this month, and while we want to respect their wishes for a relatively quiet goodbye, we wanted to simply say thank-you for their unprecedented tenures. Nancy Neal, Membership & Contracts Coordinator, Judy Mitsuki, Membership & Contracts Coordinator, and Dawn Rodriques, Administrative Manager are retiring and their over 135 combined years of experience at TMA149 represents an immense contribution to our membership, the music sector and the Greater Toronto Area.
With the retirement of Dawn Rodriques the Board of Directors and Executive Director Michael Murray have appointed Derek Singh to the role of Operations Manager with the combined responsibilities of his former Systems Manager position and the position of Administrative Manager. In addition Julia Cleveland will be supporting Derek throughout 2020 and into 2021 as Solutions Consultant while we assess internal capacity and team structure in order to pursue our mission: a great quality of life for professional musicians in the Greater Toronto Area.
Please join the Board of Directors and Executive Director of TMA in congratulating all departing and newly appointed team members.
Strengthening Canadian Content Creation, Discovery & Export in a Digital World
Example Responses
What are the most urgent challenges facing your industry in the creation, discovery and export of Canadian content in a digital world? Please select up to three items.
What are the most significant barriers facing your industry in the creation, discovery and export of Canadian content in a digital world? Please select up to three items.
The digital shift has created new types of content, such as digital newspaper articles with embedded video, as well as new aggregators and content providers, such as Google News, Netflix, YouTube, Spotify and many others.
As someone working in the culture sector, looking ahead to 2020, what will be the most important way(s) to provide access to content?
The two revenue models that will continue to gain strength are subscription and advertising, neither are regulated by the federal government.
The objectives of regulating foreign owned media entities online, such as Netflix, YouTube, Spotify, should be the same as the government has done with terrestrial radio and television.
Otherwise allow media companies to compete for the great Canadian market.
The federal government uses a range of tools to support the sector, including legislation, regulation, policies, funding mechanisms, and the operation of national institutions like CBC/Radio-Canada, among others.
Looking ahead, what do you believe will be the most effective tools for ensuring the creation and discovery of great Canadian content in a digital world? Please select up to five items.
Looking ahead, what do you believe will be the most effective tools to support the export of Canadian content to the world stage? Please select up to three items.
What are the key roles for CBC/Radio-Canada to play in supporting Canadian content creation, discovery and export in a digital world? Please select up to five items.
Do you believe there is sufficient local content available that is relevant to your community?
What type of local content would you like to see more of in your community? Please select up to five items.
What is being done in other countries, jurisdictions and the private sector that could be instructive to the Government of Canada in terms of best practices for supporting content creation and discovery in a digital world?
From Sweden: Outside of policy circles, a much more critical and interesting discussion is starting to take place, and it is one in which cultural workers need to engage. Innovation is increasingly being seen as a primary, if not the primary reason for support, particularly of the creative industries, but also of other cultural and arts activities. Much of this rests on a rather untested set of assertions about the links between innovation in the cultural sectors themselves and in the wider economy. The danger here for the cultural sectors is that if no such links can be clearly demonstrated (and there are already sceptics in some finance ministries, including the UK Treasury), then the arguments for supporting the cultural sectors themselves have already been weakened. I am generally of the view that non-instrumental public policy is an oxymoron, and the arguments for supporting the cultural sectors have always included a variety of instrumental rationales. But there is a danger in allowing the only rationales to be instrumental ones. If the current fashion for linking the cultural and creative sectors to wider innovation fades, and unless the supporting evidence for such process improves, the sectors themselves will have gained relatively little and will have sacrificed another claim on the public’s attention and taxes. However, there are more important reasons why cultural workers should start to engage in a critical discussion about innovation, and that is, simply, that it is not an uncontested good. Some innovations are harmful;
What is being done in other countries to promote the export of their cultural content?
Within the framework of the Government’s export strategy, the MFA and the Kreativ Sektor (Creative Sector) project have together created Showcase Sweden, a digital showcase for the Swedish cultural and creative industries. The aim is to make creative content accessible in a coordinated and useful format that can be used as a tool for press contacts, talks and meetings, for instance, but that can also be shown on screens in lobbies and waiting rooms and distributed to the broad public, potential customers and recipients of Swedish exports.
How important is it for you to have access to Canadian content in a digital world?
Very important
Please explain why it is important to you.
Canadian content remains important for us as a country to craft a voice, an economy, employment and pride in the larger media world. Now more than ever, with technology breaking down the physical and geographic barriers between content producer and audience, policy becomes a more key element in promoting Canadian content.
What other questions or issues as they relate to the goal of strengthening Canadian content creation, discovery and export in a digital world should we explore?
Most importantly, how can we modernize the Federal Status of the Artist Act to increase rights for creative people in modern agreement, governing the relationship between contract creative persons and producers? In this modernization the enabling of Canadian artists’ representative bodies to compel subcontractors of Status eligible producers, and also media distributors, both domestic and international to negotiate fair terms for Canadian creative persons, would ensure that Canada is the best place to live as a creative person. Subsequently Canadian content would increase in quality from the increased quality of the creative people we attract.
Staff Committees Beginning in February
TMA Staff will be pursuing strategic goals of the association in a committee structure for the first time beginning this February. Committees focused on Agreements, Membership, Operations and Strategy will make recommendations to the board of the TMA to increase the value of TMA membership and pursue the vision of the association.
Special Guest Speaker – “Introduction to Unison Benevolent Fund”
“Introduction to Unison Benevolent Fund, counselling and emergency financial assistance to members of the Canadian music industry”
Amanda Power
Executive Director
Unison Benevolent Fund
Friday, February 23, 2018 12:30-1:30 p.m. (immediately following the General Meeting)
Toronto Public Library – Sanderson Branch
327 Bathurst St (Bathurst & Dundas)
TTC: Bathurst Station + 511 Streetcar Southbound OR St. Patrick Station + 505 Streetcar Westbound
Special Guest Speaker – “Generating Copyright Royalties for Musicians”
SPECIAL GUEST SPEAKER
“Generating Copyright Royalties for Musicians”
Julia Train
Senior Manager, Communications and Outreach
Musicians’ Rights Organization Canada (MROC)
Friday, October 27, 12:00-1:00 p.m. (immediately following the General Meeting)
Toronto Public Library – North Toronto Branch
40 Orchard View Blvd (Yonge & Eglinton)
(TTC: Eglinton)
SOCAN Educates @ CMW 2011
Attention SOCAN members!
Are you planning on attending CMW this year?
If you are, be sure to check out the latest SOCAN education panels…
Saturday, March 12: 10:15 – 11:15 AM
Terry O’Brien”Know Your Alphabet: A Songwriters’ Introduction to Cha-Ching$”
Salon A – Fairmont Royal York Hotel
If you are a musician or emerging songwriter, your head is probably spinning with the ‘A-B-Cs’ of all the organizations out there – SOCAN, CMRAA, CFM, RE:Sound, CPCC and SX. This panel will clear up the confusion and show you where the money is, ad how to get it. Come and hear from these important organizations that manage your rights.
With panelists: Veronica Syrtash (CMRRA), Andrew Karis (ACTRA), Walter McDonough (Future of Music Coalition/Sound Exchange) and Arif Ahmad (Re:Sound).
Moderated by SOCAN’s Terry O’Brien.
Saturday, March 12: 11:15 – 12:15 PM
“Life of a Song: Anvil’s ‘Metal on Metal'”
Salon B – Fairmont Royal York Hotel
Rodney MurphySongwriters ask the question all the time; What is a hit song worth? Depending on the genre and performance type, there are always ball park figures. But the correct answer is… it depends upon the Life of the Song. Songs come and go on the charts, but the good ones always find their way back, again and again. This panel will focus on Anvil’s clasic hit; “Metal on Metal”. Hear how the song was written, became a success story and how it has been used over again through the years via covers, and placement in film, television and advertising. More importantly, hear how much money can be made from your song that just won’t go away!
With panelists: Steve “Lips” Kudlow and Robb Reiner from the band Anvil, Cheryl Link (peer Music) and David Hayman (music supervisor).
Moderated by SOCAN’s Rodney Murphy.
Shawn Mendes – 2015 Musician of the Year
This eventually brought him to the attention of Island Records/Universal Music, who signed him to a deal in 2014. That year, they released the then-15-year-old’s debut single, “Life of the Party.” Initially ignored by American radio, the track entered the Billboard 100 Singles chart at number 24, making Mendes the youngest artist to land a single in the top 25. The single was part of a four song EP, The Shawn Mendes EP. Like the single, the EP performed incredibly well, reaching number 5 on the Billboard charts and selling over 100,000 copies. For his efforts in 2014, he was nominated for a Juno award as Breakthrough Artist of the Year.
In the spring of 2015, the young artist’s first full length album, Handwritten, was released, debuting at number one in both Canada and the U.S. On the strength of this album, Mendes was nominated for four Junos this year: Juno Fan Choice Award, Album of the Year, Artist of the Year, and Pop Album of the Year.
For making such a phenomenal explosion onto the world stage and his already impressive list of accomplishments, the Toronto Musicians’ Association is proud and honoured to name Shawn Mendes our Musician of the Year for 2015. We look forward to watching his career continue to grow in the coming years.
Revised Travel Grants Programs in Music
The Canada Council for the Arts is changing its travel grants programs to enhance funding opportunities for musicians, composers, bands and small ensembles.
The Travel Grants to Professional Musicians and Festival Travel Grants programs are being folded into one to create a single, flexible program supporting performance and professional development opportunities both nationally and internationally. This consolidated program is intended to support travel to activities that have a significant career benefit.
This program works in complement to the Grants to Professional Musicians – Individuals and Touring Grants in Music programs. The first deadline of the new Music: Travel Grants program will be February 15, 2013
Overview
Detailed program and eligibility criteria will be posted on the Canada Council for the Arts website in mid-December, 2012.
Questions?
Contact Nathalie Cléroux at
1-800-263-5588 ext. 4241, or
nathalie.cleroux@canadacouncil.ca
Respectful Workplaces in the Arts Workshops
For musicians identifying as Female and Non-Binary:
When: Nov 27, 2020 12:30 PM Eastern Time (US and Canada)
Register in advance for this meeting:
https://us02web.zoom.us/meeting/register/tZAsfuiupz4sGNe0zguwaYP4WyBABd2BBKwa
For musicians of all identities:
When: Dec 1, 2020 12:30 PM Eastern Time (US and Canada)
Register in advance for this meeting:
https://us02web.zoom.us/meeting/register/tZEpcqvqDosHNH51Gs42qAmI4qVmG6wpwHf
RECORDING – Covid-19 Town Hall for TMA149 Members
Please view a ZOOM recording of the town hall streamed on March 25th, 2020, along with the chat here:
Readthecode.ca – TMA149 Signs on to the Creative Industries Code of Conduct
TMA149 joins 42 Canadian music community groups making a commitment to foster safe and respectful workspaces.
Coalition of Canadian music organizations sign Canadian Creative Industries Code of Conduct, announce training & education resources will be available through Unison Benevolent Fund.
March 16, 2019, London, ON: A coalition of Canadian music community groups has joined in solidarity and is working towards environments free of harassment, discrimination, violence, and bullying for the music community.
Today the coalition announced that 42 music groups have formally signed on to the Canadian Creative Industries Code of Conduct. By signing on to the Code, the organizations are acknowledging their responsibility to build safe, respectful workplaces, and are committing to improving and implementing policies to keep the music community safe.
As a first step, members of the coalition have formed an Education, Training and Safe Support Committee, which is working to provide each member of the Canadian music community with the appropriate resources and training to identify, confront and prevent harassment, bullying and violence in any workplace. Unison Benevolent Fund has volunteered to host a suite of educational and training resources through its website at no cost. These resources will be made available to the music community at a later date.
Today’s announcement was made at Allies in Action, an event focused on initiatives undertaken or underway to create safer spaces as the Canadian music community gathers in London, Ontario for the 2019 JUNO Awards.
Because of the uniqueness of the music business and the spaces in which musicians and music workers often operate, the coalition has added the following music-specific preamble to the existing Canadian Creative Industries Code of Conduct:
“We, the Canadian music community signatories, support the Canadian Creative Industries Code of Conduct. We recognize that in the music industry, the terms work, workplace and work-related, are extremely broad and can include any physical or virtual spaces at any time.”
You can read the full Canadian Creative Industries Code of Conduct at www.ReadTheCode.ca
Additional organizations that would like to sign on to the Code can register online. Once the form has been completed, new signatories should email a high resolution company logo to info@readthecode.ca with your organization’s name and “Becoming Code signatory” in the subject line.
Music industry groups that have signed on to the Canadian Creative Industries Code of Conduct are:
Proposed 2021 Covid-19 Relief from the TMA149 Board of Directors
The following proposed by-law amendments and motions aim to provide relief for TMA149 members from the continued financial, social, physical and mental burden of the Covid-19 Pandemic and the related public gathering restrictions. The proposals are pending membership approval at the December general meeting and approval by the Federation International Executive Board.
2021 Covid-19 Motion 1 of 6 – Dues Relief and Restructure
2021 Covid-19 Motion 2 of 6 – Expelled Status Relief
2021 Covid-19 Motion 3 of 6 –Reinstatement Relief
2021 Covid-19 Motion 4 of 6 –Work Dues Relief for Music Lessons
2021 Covid-19 Motion 1 of 6 – Dues Relief and Restructure
WHEREAS TMA members have suffered a great loss of income and wellbeing from the Covid-19 Pandemic and the associated public gathering restrictions;
AND WHEREAS the TMA Board of Directors wishes to grant members relief of regular dues for 2021 as members respond to, and recover from, the pandemic and its effects;
AND WHEREAS the Federation has not signalled any plans to lower the per capita tax of $16.50 per quarter per member owing from TMA to the Federation, regardless of the dues charged by TMA to its members;
AND WHEREAS TMA members wish to ensure the TMA remains properly funded and fiscally sound for the long recovery ahead;
AND WHEREAS it is believed that TMA will achieve more long-term member engagement from a discount for paying four or more quarters, or signing up for pre-authorized payment, at any time of the year, versus an early calendar year discount;
AND WHEREAS the TMA Board of Directors wishes to provide quarterly payment as an option for Life, Student and Youth members, and clarify what makes a member eligible for Student and Youth membership.
THE TMA BOARD OF DIRECTORS MOVES that the following amendments be made to TMA by-laws to provide relief:
(a) 255.00 paid in four equal quarterly instalments of $63.75 per quarter payable in January, April, July and October
OR
(b) $235.00 paid in full before the 31st day of January. $58.75 per quarter when paying for four or more quarters at once. Notwithstanding, dues shall be $49.00 per quarter when paying for four or more quarters at once between January 1st and December 31st, 2021 in order to provide relief in the recovery from the Covid-19 Pandemic.
OR
(c) $58.75 per quarter when registering for ongoing pre-authorized payment by quarter. Notwithstanding, dues shall be $49.00 per quarter when registering for ongoing pre-authorized payment by quarter between January 1st and December 31st, 2021 in order to provide relief in the recovery from the Covid-19 Pandemic.
Members who prepaid for any quarters in 2021 or future years on or before December 31, 2020 will have a quarter added to their membership at no charge in order to provide relief in the recovery from the Covid-19 Pandemic
NOTE: The annual dues include Federation per capita tax as required by the AFM By-Laws.
Effective January 1st, 2021, (a) the dues payable per quarter by Life members are $27.50.
(b) the dues payable per quarter by Youth & Student members are $30.00.
(c) Youth members are eligible until the end of the quarter following their 21st birthday.
(d) Student members are eligible from the first quarter they provide proof of enrollment in full time post-secondary education when signing up or renewing.
(e) Student and Youth members may pay dues per quarter for up to four quarters of membership when signing up or renewing.
2021 Covid-19 Motion 2 of 6 – Expelled Status Relief
WHEREAS TMA members have suffered great losses of income and wellbeing from the Covid-19 Pandemic and the associated public gathering restrictions;
AND WHEREAS an Expelled membership status due to non-payment does not have the same meaning within the economic environment of the pandemic;
AND WHEREAS The AFM International Executive Board has provided locals with the ability to extend the automatic expulsion of members who fail to pay their 2020 periodic membership dues;
AND WHEREAS Article 10(3)(b) of the TMA By-laws states “A member suspended for non-payment of dues shall be automatically expelled for such non-payment after 6 months”;
THE TMA BOARD OF DIRECTORS MOVES that, retroactive to July 1, 2020, the expelled deadline defined in Article 10 (3) (b) of the TMA By-Laws be extended until either the TMA Board passes a motion to reinstate the deadline, or until the AFM International Executive Board ends the provision for local boards to extend such deadlines, whichever comes first.
2021 Covid-19 Motion 3 of 6 –Reinstatement Relief
WHEREAS TMA members have suffered great losses of income and wellbeing from the Covid-19 Pandemic and the associated public gathering restrictions;
AND WHEREAS TMA Members who resigned in good standing during the pandemic and wish to be reinstated should be welcomed back with appreciation.
THE TMA BOARD OF DIRECTORS moves to reinstate Article 14 (2) of the TMA by-laws, originally suspended in a motion at the May 2020 General Meeting;
FURTHER THE TMA BOARD OF DIRECTORS MOVES that the following amendment be made to the same article to provide greater relief:
2021 Covid-19 Motion 4 of 6 –Work Dues Relief for Music Lessons
WHEREAS the teaching of private and group music lessons remains regularly available work for musicians during the pandemic;
AND WHEREAS the TMA Board of Directors wishes to assist musicians at this time to ensure more of this work is reported to TMA;
AND WHEREAS the reporting of music lessons on contract will allow for members to become vested and remain vested in the Musicians Pension Fund of Canada;
AND WHEREAS TMA plans to launch an easy online music lesson reporting module in 2021;
THE TMA BOARD OF DIRECTORS MOVES that the following amendment be made to TMA by-laws to provide relief:
President Ray Dillard’s Report
Annual General Meeting
Sunday May 27, 2012 (9 min.)
You can listen to the report now.
Phil Nimmons Life Achievement Award 2008
In a brilliant career spanning six decades, jazz musician, composer and educator Phil Nimmons, O.C., O. Ont., B.A. has made an indelible contribution to the cultural life of Canada.
Born in Kamloops, B.C. in 1923 he graduated (1944) in pre-medicine from the University of British Columbia before taking up music studies (clarinet) at the Juilliard School, New York (1945-47) and at the Royal Conservatory of Music (composition), Toronto (1948-50). He formed the jazz ensemble Nimmons ‘N’ Nine in Toronto in 1953.
Enlarged to 16 musicians (Nimmons ‘N’ Nine Plus Six) in 1965, and active until 1980, the band enjoyed considerable popularity through regular CBC broadcasts and concert tours. Among its nine albums, made between 1956 and 1976, were recordings of the major Nimmons compositions The Atlantic Suite (1974) that received the first Juno Award ever given in the jazz category, and Transformations/Invocation (1976). Nimmons continued after 1980 to perform in small-band settings, recording the 2-CD Sands of Time with a quartet (2001).
A founding member of the Canadian League of Composers (1950), he co-founded the Advanced School of Contemporary Music (1960) with Oscar Peterson and Ray Brown. Nimmons’ involvement in music education dates to 1960; he began teaching at the University of Toronto in 1973, and has helped to establish jazz programs elsewhere in Canada. He is now Director Emeritus of Jazz Studies at the U. of T. In addition to over 400 original jazz compositions and countless arrangements, Phil Nimmons has written numerous contemporary chamber and orchestral works for voice, piano, strings and other ensembles. His work includes commissions for Expo 67 (Montreal), UNESCO World Music Week (1975), the 1976 World Olympics, Expo 86 (Vancouver) (Skyscape: Sleeping Beauty and the Lions for concert band), and the 1988 Winter Olympics (The Torch for big band); he has composed scores for stage, film, radio and television, and contemporary concert presentation (Moods and Contrasts for the Esprit Orchestra, 1994).
In 2002, Phil Nimmons received the Governor General’s Award, the highest civilian award, for his contributions to Canadian music. The Toronto Musicians’ Association is proud to honour our distinguished Life Member Phil Nimmons with the TMA Lifetime Achievement Award.
Past Musicians of the Year Awards
The following is a list of previous Musicians of the Year recipients.
Past Lifetime Achievement Awards
The following is a listing of previous Lifetime Achievements Awards recipients.
NOTE: A Toronto Musicians’ Association “Special Recognition Award” was presented to Eugene Amaro in December 2005. Jerry Toth was given an award at one of the “Evening to Remember” dances at the Royal York years ago.
Passage of the FAA BILL
The AFM APPLAUDS THE PASSAGE OF THE FAA Bill THAT SETS A CONSISTENT NATIONAL POLICY ALLOWING MUSICAL INSTRUMENTS ON AIRPLANES
After five years and 23 short-term extensions, Congress has passed legislation reauthorizing the Federal Aviation Administration (FAA) for the next four years. Included in the bill are provisions that create a uniform national policy regarding musical instruments on airplanes.
Any instrument that can be safely stored in the overhead compartment or underneath the seat may be brought on board as carry-on luggage. Additionally, the bill sets standard weight and size requirements for checked instruments, and permits musicians to purchase a seat for oversized instruments, such as cellos, that are too delicate to be checked. Existing law allowed each airline to set their own policy regarding musical instruments, and size requirements varied widely for both carry-on and checked baggage. The American Federation of Musicians (AFM) has been lobbying Congress to enact such a policy for nearly a decade. “This is great news for professional musicians throughout the U.S. and Canada who carry the tools of our trade – our instruments – aboard commercial aircraft,” said AFM President Ray Hair. “Ending the confusion over musical instruments as carry-on baggage has been a top legislative priority for nearly a decade. I am proud of our Government Relations Director, Hal Ponder and his assistant Laura Brigandi in our Washington legislative office for seeing the effort through. Musicians can now fly in friendlier skies.” The FAA reauthorization was passed by the House of Representatives on Friday, February 3 by a 248-169 vote. It subsequently passed the Senate on Monday, February 6, 75-20. The President is expected to sign the bill into law.
ABOUT THE AFM Founded in 1896, the American Federation of Musicians of the United States and Canada (AFM), AFL-CIO, is the largest organization in the world dedicated to representing the interests of professional musicians. With more than 90,000 members, the AFM represents all types of professional musicians, including those who record music for sound recordings, film scores, videogames, radio, television and commercial announcements, as well as perform music of every genre in every sort of venue from small jazz clubs to symphony orchestra halls to major stadiums. Whether negotiating fair agreements, protecting ownership of recorded music, securing benefits such as health care and pension, or lobbying legislators, the AFM is committed to raising industry standards and placing the professional musician in the foreground of the cultural landscape. For more information, visit the Web site at www.afm.org.
AFM; 1501 Broadway, Ste. 600; New York, NY 10036
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Orchestrating & Arranging Workshop – Saturday October 13 (10:00 AM – 12:30 PM)