AFM Local 47 Organizing Director Eva Nevarez provides a June update on the union’s organizing and outreach efforts.

Youth Orchestra of Los Angeles’ Teaching Artists’ negotiations are underway.  After successfully organizing their unit with the support of AFM Local 47 and the AFM Organizing Department, over 120 Teaching Artists at YOLA received union recognition late last year. YOLA Teaching Artists bring music education to underserved schools in LA, developing students’ musical artistry and creating tomorrow’s orchestra professionals. This year, the unit’s stellar organizing committee gave way to an equally impressive bargaining committee. Proposals were (and continue to be) formulated, and now, discussions with the LA Philharmonic for a first contract are in progress. 

Photo: Maestro James Conlon and the LA Opera orchestra rehearsing for his final production, “The Magic Flute.” Photo credit: Cory Weaver.

Los Angeles Opera Music Director James Conlon, one of classical music’s most recognized and respected conductors today, has led the LA Opera for 20 of its 40 years since it was formed in 1986. He has been instrumental in elevating the LA Opera to the international status that it enjoys today. His tenure as Music Director with the institution will conclude at the end of this season, with him subsequently taking the title of conductor laureate. “The Magic Flute,” which is running until June 21, will be Conlon’s final production as Music Director with the LA Opera.

AFM Local 47 Member Spotlight 

AFM Local 47 member Alyssa Park is an internationally known violinist and has been appointed as the new concertmaster of the Los Angeles Opera. She has served as concertmaster for the New West Symphony since 2015 and has been the first violinist of the Lyris Quartet since 2008.  She has toured all over the world and appeared as soloist with major orchestras in the U.S., Europe, Asia, and Australia.  She is the youngest prizewinner of the International Tchaikovsky Violin Competition and continues to champion new music having premiered dozens of works.  She is a recording artist under several labels and is also concertmaster for numerous composers for TV and Film. 

Local 47 had a chance to sit down with Alyssa and talk about her illustrious music career.

Many of you will have seen the email that Local 47 sent out on April 9 title Important Announcement Re: Theme Park Productions, Inc. Musicians came to us looking for their union’s protection, citing a lack of health care and pension contributions, the requirement to sign an abusive and far-reaching waiver, and, while hourly wages seemed high, the prospect of not getting paid right.

In just four months, a great deal of progress has been made when it comes to strengthening our Local’s resources, improving operations and expanding opportunities for members. It is a reminder that when we stay focused, motivated and creative, we can make some shizzle happen. A major focus has been increasing revenue from our building while also reducing expenses and making better use of our assets.

The current state of our Local reflects a dramatic transformation from our circumstances only one year ago.

We have been busy negotiating collective bargaining agreements here at Local 47!

The very first ratification by musicians occurred in February, with musicians approving a re-opener of the CBA between Local 47 and the Symphonic Jazz Orchestra. The Music Director and founder of the SJO, Mitch Glickman, contacted my office in order to increase the raise that had been previously negotiated, as he had a grant come through and wanted to pass the funds through directly to musicians wages! Kudos to longtime Local 47 member Mitch Glickman! We needed to reopen the agreement, work with the committee, and have the new raise ratified. 

By Dennis Dreith, RMA President Emeritus

A little over a year ago a small group of postproduction professionals, comprised of composers, musicians, film editors, studio managers and others began meeting informally over brunch at harpist Gayle Levant’s home to discuss the challenges of postproduction work in general and in keeping work here in LA in particular. Those discussions led to the formation of the California Post Alliance (CAPA) whose stated purpose “brings together post-production creatives and professionals to champion policies that strengthen and sustain our industry in the Golden State through economic development, education and investment in emerging technologies.”  In just a few short months, CAPA held town hall meetings, established relationships with economists, lobbyists and legislators to develop AB 2319 a stand-alone postproduction tax incentive authored by California Assemblyman Nick Schultz.  AB 2319 will provide California tax incentives in general for postproduction activities but more importantly it is the first ever California legislation to specifically incentivize music scoring in the state. 

I’m Eva Nevarez and I’m pleased to share that I am stepping in as your union’s Director of Organizing. I’ve spent more than 20 years organizing, enforcing collective bargaining agreements, sitting at bargaining tables, managing high-profile projects and standing with members through tough fights.  I’ve worked with unions like UFW, Teamsters and IATSE. I also managed the AFTRA side of the SAG-AFTRA merger. No matter the industry, one thing has always proven true: when workers come together with purpose, change is inevitable – and, at times, infectious.