John Grimes
Timpanist and Musicians' Advocate

MY RECORD OF ACCOMPLISHMENTS
AND COMMITMENT TO YOU

Experience & Specialized Training

• Eleven years Immigration Paralegal equipped me to absorb Electronic Media agreements and deal efficiently with employers.
• In 2002, I completed AFM officer training at the George Meany Center for Labor Studies in Silver Spring, MD.
• From 2002-2006, I completed 5 terms in labor studies at The Greater Boston Labor Guild. Concentration:  Negotiation, Stewardship, Collective Bargaining, Arbitration, History of the Labor Movement.
  
  I pledge to continue my formal Labor education in order to remain effective.

• Represented Local 9-535 at over 6 annual ICSOM and ROPA Conferences. Known and respected by leaders and delegates of both national organizations, I am ready to assist any qualifying Local orchestra players associations in joining ROPA. When I represent you as your Delegate at the AFM convention, my experience gained from these Player Conferences provides Local 9-535 with added influence.

  [*n.b. ICSOM & ROPA deal with Symphony, Ballet and Opera Orchestra issues,
  e.g. negotiations, wages, electronic media developments, working conditions, health care, pension concerns, public relations education, and political/legislative issues affecting orchestras.

  I will continue to encourage our CBA organizations to join ROPA.

  I will continue to report from all conferences and ensure I "witness" our Local's importance throughout the country.

Focus on Musicians Advocacy

• Today, state and national legislative advocacy grows at an unprecedented rate on behalf of Musicians. Massachusetts is a national leader in this movement.

  As creative artists grow increasingly aware of their political power, I sensed the urgency to represent Local 9-535 and the AFM in Washington, DC. I am proud to serve on the Massachusetts team these past two years as we lobbied our Members of Congress during appropriations time.

  Americans for the Arts Advocacy Days has made a striking impact in securing increased funding for non-profit Arts and Arts in Education causes in America. These efforts ultimately translate into more work for musicians and music teachers. Good news:  Appropriations are increasing.

  I pledge to continue expanding my lobbying efforts and visibility on behalf of Musicians' Rights on the state and national levels. This is work in the trenches for the future of live music.

Collective Bargaining

• Thorough preparation for the bargaining table is half the battle. My resolution this year ensured committee members are better prepared on the subject of their employers' financials.
• I believe that when possible, Members should consider moving away from boiler-plate CBAs and toward union and/or player-negotiated CBAs. Why? Because when you bargain for yourselves, you are responsible for what happens to you. You own your results.
  
  I will continue to apply my proven expertise in Electronic Media to influence cba negotiations throughout all sectors of our Local. I will also remain vigilant about evolving EM policies crafted by our national AFM. As I demonstrated at the Theater Musicians Association conference in Boston in 2006, when necessary, I will take a firm stand if our members' interests are not being served.
  
  I will continue to attend Future of Music Coalition summits. What goes on there truly informs the country about rapidly changing electronic media developments. It's the only way we can keep up. More of us should attend.

Small steps, large gains

• In 2006-07, my contacts with representatives of Boston's Emmanuel Music encouraged them to begin making Pension contributions on behalf of musicians performing the regular Sunday morning Bach Cantatas. A considerable number of Musicians have waited many years for this breakthrough.

  Using the new AFM Symphony, Opera and Ballet Live Recording Agreement as an incentive, I encouraged Cantata Singers to request their musicians to enter into player- negotiated Collective Bargaining. Instead of musicians asking to organize, the employer sought the benefits... arguably a 'first' in BMA history. There is now an orchestra committee, and the transition is underway. Soon there will be SOBLRA recordings.

  I will use AFM electronic media agreements whenever possible as incentives to bring employers and Members to the bargaining table.

Radio Performer Rights

• Past, present
  

  Years ago when classical music and jazz were beginning to disappear from for-profit radio, prior leaders of our Local and non-profit station WGBH came to an understanding allowing Archival, one-time only delayed broadcast of recorded live performances. The performances were recorded by WGBH technicians and later broadcast at no additional remuneration to musicians.

  At the time, it was hoped groups would attract the radio listening public into buying more tickets to their live concerts. To musicians, the message was clear: Play now for marketing purposes, get more gigs later. Or so it was hoped.

  In recent years, while most non-profit broadcasters have interpreted the one-time only stipulations, the practice has been inconsistent and lacking in accountability. Lately, some radio stations have begun to stream and webcast traditional terrestrial only broadcasts. This worrisome practice of adding ever-expanding media platforms without musicians being properly compensated gives concern to me as well as to our Members.

• Future
  

  With the recent formal dedication of WGBH's landmark new facilities in Allston, I saw a golden opportunity to seek a fresh dialogue between the Union and the radio station's producers. This came to pass last month.

  I pledge to move this relationship forward into a new era.