Amendment 47 is being characterized by supporters as a law which would prohibit workers from being “forced” to join a union and pay dues as a condition of employment. The media, too, has latched on to this inaccurate definition and the result is that there has been no clear explanation of the difference between Amendment 47 and current law.
Colorado is already a “modified right-to-work” state, because a supermajority is required in a Department of Labor-supervised election to establish a union shop.
Additionally, employees who work in a union shop who do not wish to belong to the union may assert what is known as their Beck rights, meaning that they are not required to become members.
As non-members, they are only obligated to pay their fair share of fees necessary for the union to negotiate and maintain the contract under which they work.
Since the contract that is negotiated between the union and the employer benefits all employees, Beck reasons that all should pay those costs, whether or not they choose to belong to the union.
No one is “forced” to join any union in Colorado or in any other non-“right-to-work” state.
Diane Merrill, Colorado Springs
We’re pleased to unveil the brand new website of the Pikes Peak Musicians Association. Please take a look around and let us know what you think.
Some of the new features of the site include:
- Listings of Bands, soloists and ensembles for our referral program
- Teacher listings, by instrument
- Concert Calendar
And in the new Members area:
- Online, instant editing of the ensembles, concert calendar and teacher listings
- Up-to-date membership directory
- Common contracts and other union documents available in PDF for printing
- Online payment of membership dues
PPMA members will soon be issued a username and temporary password through email. If you have any questions, please call the office at (719) 591-9799.
Don’t miss this opportunity to promote your music career free of charge. All union members can create ensembles, add audio and pictures, add concerts they’re playing, edit teacher listings and more.
by Greg Brown
Your shoulders are aching after sitting in the pit for three and a half hours; your neck is killing you, and you still have an hour to go for this club gig; you can barely pick up your bow because your elbow hurts so much; you have to learn that Chopin etude, but that burning feeling in your wrist is back again. You may have . . . begin suspense-movie dissonant music . . . a CTD! To find out what that is and how to treat it, read on.
Let me introduce myself. I have a M.M. from Boston University, played for 20 years in the USAF Band Washington DC and our own USAF Academy Band, and play bassoon regularly around town. My wife Nancy and I own Crystal Creek Music, and we do weddings and concerts on hammered dulcimer and oboe. A few years ago I added a new career direction to my life, and am just about to complete my associate’s degree to become a physical therapist assistant (PTA).
As part of that training, I gave a presentation on musician’s injuries to the outstanding staff at Spectrum Rehabilitation and Wellness Centers, where I interned. To prepare for that presentation, I conducted an anonymous survey with members of the Colorado Springs Philharmonic (CSPO). Following are the results, and some recommendations for “playing healthy” that I have learned as I’ve trained with some of the finest physical therapists in the region.
37 surveys were returned of the 72 handed out (51%). Of those 37, 29 described some kind of music-related injury, either caused or aggravated by playing music. While it is impossible to know the medical condition of the 35 who did not return a survey, what can be known is that at least 40% of CSPO players have sustained some kind of music-related injury. Of these respondents, the majority were female (by a small amount), and the largest percentage were string players, 51% of respondents. While other factors may be in play, (i.e. males and non-string players are less likely, for whatever reason, to answer a health survey), the statistics have a wide enough spread to suggest that female string players are probably the most at-risk group of sustaining a music-related injury.
Research has shown that musician’s injuries are almost always cumulative trauma disorders (CTDs). These are an accumulation of microtears in muscle, tendons and other soft tissue, that cause inflammation and are not given time to heal before the next period of trauma begins. Carpel tunnel syndrome is the most well-known CTD. I only surveyed musicians of the CSPO, but it can be assumed that other musicians who perform long periods of practice and performance (pianists, musicians on club gigs, etc.) are also at risk for CTDs.
Injuries to shoulder and arm were most prevalent to all injured musicians, with wrist/hand and neck/face equally represented in second place. Practitioners who were instrumental in the healing process were listed in this order (although the statistical differences between them are small): physical therapists, doctors (M.D.s and D.O.s) and massage therapists (tied), chiropractors, and alternative practitioners.
Instrument families have different injury tendencies. String players tend to be injured more in the neck and arms, with [surprising to me] the bow arm having more problems than the left arm. Woodwind players’ injuries tended to be in the neck, shoulder, and arm, with the right arm having more problems than the left, since it is the supporting arm for the instrument in most cases. Brass players’ injuries didn’t fall into any patterns or categories. The one percussion response listed an injury from carrying equipment rather than playing it.
One question asked which therapies brought healing. Responses, from most to least were: 1) Physical therapist-prescribed exercise and modalities (ultrasound, electrical stimulation), including self-applied heat/ice; 2) exercise; 3) massage; rest (tie); 4) stretching; 5) change posture/position/technique; chiropractic adjustment (tie); 6) anti-inflammatory drugs; book/advice from other musicians (tie); 7) surgery; still hurting (tie); 8) orthotic, body or instrument support.
When questioned about extent of healing, respondents replied: Completely healed, including knows how to keep it from recurring – 50%; chronic condition that can only be controlled – 30%; healing still in process – 13%; no healing – 7%. When asked what they do to keep the injury from recurring, responses from most to least were: 1) exercise, including fitness, wgt. training, yoga, tai chi; 2) stretching; 3) awareness/adjustment of posture/position/technique; 4) rest, limit playing time and/or type of music played; 5) massage; use orthotic/body or instrument support (tie); 6) anti-inflammatory drugs; 7) ice/heat; 8) chiropractic adjustments; 9) still hurting.
Having a vantage point from both the world of professional musician and physical therapy, allow me to share some perspectives that I have learned. (continued on next page)
Hurting? If you are hurting, go see a physical therapist! They are as expert and trained in our musculoskeletal system, as we are on our instruments. If tissues are damaged, they first need to heal, then be strengthened correctly, and then trained in efficient biomechanical movement. PTs have the knowledge of the human body to help you heal as quickly as possible and get back to playing sooner. Bring your instrument. One of the most important things you can do for your therapist is to play your instrument for them – bring it to the clinic. They can then see your posture and body mechanics, point out things that you had no idea you were doing, and work with you on more efficient use of your body. Play a difficult passage for them, because we usually introduce more tension into our bodies as the music gets harder.
Feel the burn?. When strengthening a muscle you should work to fatigue, but NOT feel pain. You should feel the fatigue (it might feel slightly “burny” or painful) in the main part of the muscle (the muscle belly), not in the joints. When stretching, you should feel it pulling and stretching, but not painful. The old “feel the burn” was bad advice. You have to hold a stretch for at least 30 seconds for the muscle’s neurological contraction reflex (how your body protects it from being overstretched and torn) to relax and “let go.”
Ice or heat? When you have a new injury, like a sprain or “pulled muscle,” use ice on it to reduce inflammation and swelling. The re-freezable ice packs you can get in drug stores work great – leave it on for about 20 minutes at a time, for 2-3 days. Use heat for chronically sore and stiff areas, like a stiff neck, to increase blood flow to the area.
Play through the pain? No! It almost never works, and the opposite, complete rest from playing the instrument, is many times unnecessary (but follow your physician’s and PT’s advice). Dr. Richard Norris, M.D., founder of the Performing Arts Medicine Association (and an oboist), uses the term “relative rest” to describe the time off from the instrument that must be taken when an injury becomes acute. It is a mindset of heightened body awareness in which the musician becomes aware of exactly what motions, actions, time periods, etc., cause pain, and avoids these.
Warm up. Always warm up your body as an athlete would before a practice or event. Your muscles need a good warm up in order to function at their best. Begin with gentle stretches and playing passages of music slowly or begin with warm up exercises such as scales or arpeggios. Try not to practice or perform when you are physically or mentally tired. Almost all CTDs are caused when fatigued tissue receive inadequate recovery and are forced to perform in spite of fatigue.
You’re an athlete. Approach a concert as a performance athlete. Determine the physical requirements of the repertoire. Then begin structuring your practice time to meet those requirements. For instance, if the music takes 20 minutes to play from beginning to end, don’t wait until the week before the performance to start playing the piece straight through from beginning to end without breaks. Approach it as a marathon runner who systematically increases the number of miles he can run over a period of months in order to be fully prepared for the 26 miles the day of the race. Likewise, dramatically increasing the number of practice hours the week or two before the performance can cause increased fatigue and strain which can lead to injury.
If your hands and arms are not injured, the best self-help source I know of is: Healthy Hands, a DVD by Martin Gray. Stretches and exercises demonstrated by Gray to “relieve pain and stiffness, develop dexterity, prevent problems, and increase strength.” The single best resource I discovered, easy to follow stretches and exercises. Excellent! ISBN: 09753581-0-3. About $20, and available from Amazon.com or: http://sacredsites.com/shop/
If you are dealing with a
CTD injury, try: The Repetitive Strain Injury Recovery Book by Deborah Quilter, Deborah Quitter, Robert E. Markison. Publisher: Walker & Company, February 1998.
ISBN-13: 9780802775146. Robert E. Markison is an associate clinical professor of surgery at the UC San Francisco School of Medicine, and hand surgeon with the San Francisco Hand Specialists. He’s also a jazz pianist who has managed the symptoms of carpal tunnel syndrome and works with musicians specifically to recover from and manage repetitive stress injuries. Available at Amazon.com.
I hope this article has helped you think about how you can “play healthy,” and become more aware of better using your body in the intensely physical activity of making music. Please feel free to email me with comments or questions. Let’s make pain-free music!
On December 28, 2007, PPMA Life member Dwight Shaw passed away at the age of 76 after a long and courageous battle with cancer. Dwight had been very active in the Pikes Peak region, presenting Big Band performances that were very highly regarded.
A concert was presented at the Sangre de Cristo Arts Center in Pueblo on January 17th in Dwight’s honor. Performers included Local #154 members: Ed Hureau, Steve Harget, Rick Crafts, Chris Walters, and Mark Raphael. Another concert / dance in the style of the Dwight Shaw Big Band will be presented on Thursday, July 24, 2008, 8-11pm at the Occhiato University Center on the CSU-Pueblo campus. For more information, please contact Bill Finch at 719-275-5003.
The Western Conference took place on February 22-24, 2008 in Honolulu, Hawaii. Local #677 hosted the event and provided a very informative and productive conference. Jerry Brown attended as the representative of Local #154. He filed a report on the events of the conference, and added this commentary:
“Although I never got to the beach, I really enjoyed meeting all the delegates. I had the pleasure of meeting and talking with President Lee and Sec./Treas. Folio on a one to one basis. Marsha Schweitzer did a fantastic job putting on this conference and the entertainment at the dinners was incredible. Sen. Inouye’s speech was a real high point and he was very gracious to spend extra time meeting and having pictures taken with us. I believe Marsha is gathering all the pictures that were taken and plans to get them to all the locals. There are many things I’’ve taken from the conference, but perhaps the best is something that I can enjoy every day and remind me of my trip…I won the grand prize of the TEMPO raffle… a Kamaka tenor ukulele (That’s pronounced OOOKOOOLELEE)”
Our thanks to board member Jerry Brown for his enthusiastic participation in representing the Pikes Peak Musicians’ Association!
“I pay annual dues, isn’t that enough?
Besides, I need all the money I can get from the gig!”
The Union is here to help you, the professional musician. However, it cannot provide services without financial resources. The Federation receives 1/2 of your annual membership dues. The remaining portion, together with work dues, provide funds for the Local to utilize in various ways. In the past, about 85% of work dues collected were a result of the collective bargaining agreement with the Colorado Springs Symphony Orchestra. The balance comes from traveling shows, MPTF performances, and union members playing casual and steady engagements.
What have your work dues done for you lately?
- We maintain numerous ads in the yellow pages that solicit calls from the public looking for musicians as performers and teachers.
- We have a website to serve as another way for you to advertise your services.
- We created a video library to better market our members.
- We purchased a booth at the Bridal Faire to promote live music, as opposed to the four deejay companies that were also represented at the Faire.
- We have been a sponsor for the Pikes Peak Jazz Festival, and are represented in their program.
- We provide the Annual Dinner, which is a wonderful opportunity to spend some relaxing time with your fellow musicians over a satisfying meal.
- We are always looking for more ways to promote live music in the Pikes Peak region.
It is the hope of this Local’s Board that we may someday have the financial capability to provide scholarships to our promising young community musicians, and also sponsor public performances and showcase the diverse talents of our membership. We have many goals, but we need YOU to help us achieve them. What you have contributed to YOUR union lately?
We are a community of professional musicians. We provide quality, enriching, LIVE music for our community. Whether we are teachers, jazz artists, rock performers, or classically trained musicians, we all have one thing in common. We value the immense joy that music brings to life. The Local is here to help share your gifts with the community. Let us know how we can better serve you.
All jobs are union jobs!
Any engagement performed by a union member is a “union job”, and should have a contract on file with the Local office. If you don’t know whether the job you are playing has a contract on file, just call the Secretary. AFM blank contracts are available to you, FREE of charge, through the office as well as our Local website (www.afm154.org). The Local is here to provide you with protection should the purchaser fail to pay you for your services. It is impossible for the union to provide this protection if a contract is not on file BEFORE your job is played. If you are the Leader and/or Contractor of an engagement, it is your responsibility to file the contract and also see that work dues are paid. The Local will bill for work dues on contracts that are filed, but the amount is really quite small, and you may be able to claim it as a business expense on your tax return. Work dues are only 3% of scale wages.
If you have any questions about work dues or about filing contracts with the Local, just call. We will be happy to answer any questions you may have.
