The readers of the International Musician are professional musicians working in all genres of music. They play in clubs and in symphonies. They go on tour and they record. They run the gamut from classical to country and from polka to punk. They are active in the musical community and seek information on all facets of their profession.

Williams joined the Federation in 1950. It’s an association he takes seriously, as he does the current threats imposed on Hollywood film scoring by runaway productions.

“Film producers should realize that it’s a great advantage to work in the US. Our orchestras are the most incredible sight-readers I’ve encountered anywhere. I believe they are also the most versatile in terms of stylistic approach and creation of atmosphere.

Corky Hale
(Local 47)

Hale’s dedication to improving the lives of her fellows extends to being a part of the Federation.

“I joined the union in 1952, when I came to Los Angeles as a teenager,” she says. “My first job was with the Coconut Grove orchestra, and I had to join to to play. I quickly discovered that being a member enabled me to take advantage of so many other great jobs that were offered to me. I’ve always been proud to be a member of the AFM.”

Rufus Olivier
(Local 6)

Olivier routinely tells his students about the Federation.

“I’ve been in the AFM since I was 18, when I joined Local 47 in LA, and my dad was also in the union,” he says. “When I think of all those years playing—and that one day I will not be able to play—it’s good to know I’ll have a pension to live on in my golden years.People are surprised when I tell them I am in a union. I tell them because of the AFM, I’m able to make a living wage!”

Ingrid Jensen
(Local 247)

The talented, precocious Jensen was 16 years old when she joined the Federation. Back then, she was gigging up and down the west coast of Canada with an all-union brass quintet, an experience that helped quickly shape the budding musician.

“I was young then and new to playing,” Ingrid admits, but she soon discovered the benefits of union membership. “Being part of the union allows younger people to get valuable playing experience and better pay.”

Aimee Mann
(Local 47)

“I really like the idea of being a professional musician—that I can say I have a job that I’m good at and a good work ethic,” Mann states.

Union membership forms an integral part of that ethic, she believes, by ensuring artists have a certain degree of security. “The union is always there, and you don’t have to worry about it,” she concludes. “And that’s the whole point of the union—you know it’s got your back.”

Anton Fig
(Local 802)

Fig recognizes that the Federation gives him the financial security to back up his career.

“The best thing the Federation does is get you money for your pension plan, which musicians would not have otherwise,” Fig observes. “I would like to think a musician gets better with age, but the music business does not necessarily support aging musicians. It’s a good thing the union collects money for people who are going to need it one day.”

Jeanne Lamon
(Local 149)

Over the years, observes Lamon, the Federation has been helpful and positive in allowing Tafelmusik to grow and develop its programs.

In fact, Lamon says contract negotiations are welcomed, not because they are fun so much as they afford the musicians and management a chance to clear the air before moving on. “It’s the time when the musicians and the managing director can get misunderstandings out the way,” says Lamon.

Tom Malone
(Local 802)

Malone joined the AFM in 1970 and benefits greatly from his membership.

“I still get royalty payments from The Blues Brothers,” says Malone, “but the real benefit to me has been my work doing commercials, which I started in 1974. These contracts were great, because every 13 weeks your commercial ran, you would get a residual payment, and I did commercials for every automobile, every major airline, and for beer companies back when they still did commercials.”