Bill Moriarity, President
I urge every member to take the time to vote in this election. It is very important that the officers of Local 802 be individuals who are truly representative of the membership in all our various fields. I believe the candidates identified with the Members Party offer the best hope for this union over the next three years. I strongly recommend the election to the Executive Board of Jay Blumenthal, Bill Crow, Jack Gale, Maura Giannnini, Marilyn Reynolds, Bill Rohdin, Bobby Shankin, Richard Simon and Art Weiss.
Erwin L. Price, Recording Vice-President
As Recording Vice-President since 1995, Treasurer (1993-’95) and an Executive Board member (1983-1993), I have been committed to the ideals and practices of democratic unionism, such as rank-and-file committees for the bargaining units they represent. My priority is to serve members’ wants and needs with courtesy, efficiency and dignity.
The Members Party’s program has a solid record of achievement over the last 18 years, and will bring the same energy and creative solutions to address the impact that the technological revolution of the 21st Century will have on musicians. Vote the Members Party officers, Executive Board and Trial Board candidates.
Tina Hafemeister, Financial Vice-President
As an Executive Board member and Music Preparation Department Supervisor, my concerns and activities have broadened to include the challenges Local 802 and the labor movement face. We must develop new strategies for dealing with large corporate employers, continue to organize nonunion jobs and musicians, and maintain our strength by involving members in all aspects of 802’s functioning. A key element is member education. I have spearheaded presentations of the AFL-CIO’s MEMO (Membership Education and Mobilization for Organizing) class, successfully training more than 125 members last year. As Financial Vice-President I look forward to expanding educational opportunities available to members.
Jay Blumenthal, a double bassist with the NYC Ballet Orchestra and NY Pops, has been an 802 Executive Board member for three years, serves on ICSOM’s Governing Board, and chairs the New York Pops orchestra committee.
“It has never been easier to record, duplicate and distribute our product. This past year I participated in the new Internet agreement which allows for revenue sharing while protecting our ownership rights. If re-elected, I will continue to negotiate sound agreements which help create employment opportunities while protecting musicians’ rights and interests. I will fight for rank-and-file input and the democratization of our local.”
I joined the Executive Board in 1983 when the Members Party slate, with presidential candidate John Glasel, overturned the administration of Max Arons. Besides fulfilling my weekly boardroom duties, I am active at labor rallies and demonstrations and regularly participate in Local 802’s lobbying efforts in Albany. I also work two days a week in the Recording Department. My most enjoyable volunteer work is writing articles and reviews for Allegro, and putting together my monthly column, “The Band Room.” I still play the bass as part of the New York jazz community. Thanks for your vote.
A statement was not submitted to Allegro.
Local 802’s Constitution states that its goal is to “conserve and promote the welfare of its members and protect their interests.” Recently the wishes of members and their committees – notably Broadway, Radio City and the NYC Ballet – have been denied or ignored. I want to change this.
I have 37 years of negotiating experience, including the NYC Opera and the Queens Symphony, and for 25 years chaired the New York City Ballet orchestra committee. I was a consultant to the freelance negotiations during the last three contracts. I will do my utmost to be a strong advocate for all musicians.
As a founder of the Members Party in 1980, I have worked for more than 20 years to make Local 802 more effective and democratic. My association with the Theatre Committee in the 1970s, my experience as president of the NY RMA from 1986 through 1989 and service on the Executive Board since 1989 have convinced me that 802 has benefited from having officers with intelligence, character and familiarity with all musical fields. Still, I believe that all our members must become more informed and involved if we are to meet the challenges to live music that we face today.
I have been an Executive Board member since 1993. As co-chair of the Theatre Committee since 1994, I have been involved in virtually every theatre negotiation, grievance and “Special Situation” panel during the past six years. My work as a violinist on Broadway, in recordings, symphony, opera and concerts has given me a broad perspective of the problems facing working musicians.
The Executive Board needs to take a more active role in shaping our union to serve its membership with respect to public relations, education, marketing, business and media relations and effective representation of all members.
Sariva Goetz (Les Miserables) was on the negotiating committee for the current Broadway contract, co-authoring language standardizing rehearsal wages. She helped establish the Tony for Best Orchestration, worked with 802 staff in developing the Workshop Contract, was a founding member of the Music Directors Committee, served on the Health and Safety Committee and has been an active participant on the Theatre Committee.
Her vision for the future of Local 802 includes a creative and ongoing public relations campaign for live music, skilled and confident negotiations and, most importantly, a willingness and desire to listen to the membership and support their needs.
I am the former Financial Vice-President. I believe the new administration must be more diverse and more willing to conduct substantive discussions about our collective future. For Local 802 to remain strong, we must:
- Budget more money toward organizing non-union work.
- Build stronger alliances within the activist community.
- Involve more members in union activities, thereby creating greater democracy and identifying future leaders.
- Better educate members about labor law and economics.
- Continually raise standards for the union. We should compare ourselves not with other locals of the Federation, but with unions who are growing stronger.
Violinist Laura Oatts has been a union member for 22 years. Her wide range of experience includes American Composers Orchestra, NY Pops, English Chamber Orchestra, American Song Book, NYC Ballet, St. Luke’s, 27 Broadway shows, two Grammy-winning albums, recordings, film, TV, and serving on the Board of Directors of the NY Chamber Orchestra. Her background gives her compassion and insight into the diverse needs of the membership. She would like to emphasize publicity, strong bargaining positions, and accessibility to all members. She believes that the ideas and talents of our varied membership are our most valuable resource.
Larry J. Rawdon
As Chair of the Broadway Theatre Committee since 1993, Larry Rawdon has had numerous interactions with the President’s office, the Executive Board, countless Broadway musicians, the CAC, other committees, other unions, NY City and State legislators, and managements. Recent rank-and-file committee experience is an important qualification for serving on the Executive Board, because such committees owe their existence to the members they represent, rather than to an entrenched political party. Larry would like to alter the chemistry of our Executive Board, eliminate the single-minded thinking of a one-party system, and create some healthy checks and balances in our union government.
I’m running for Executive Board because I firmly support the Members Party, yet want to bring a fresh outlook to things. I applaud the administration’s emphasis on democracy, organizing and level-headedness in critical negotiations. We cannot afford pettiness or grudges on the Board at this juncture; unity will give us more strength. Our negotiations should reflect many musicians’ concerns, not just a select few. However, we must join forces now to save live music. We are artists, not simply employees, so this is difficult, but it is our best hope, and will be well worth the effort.
The music business in NYC and nationwide will face many challenges – some old, some new – as we enter the 21st century. How do we keep live bodies in Broadway pits? How do we assure that audiences will attend symphony and opera performances in the year 2100? How can we solidify music education in our schools? How will the relationship between musicians and the internet shake out over the next few years? These are some of the issues that your union must be prepared to deal with. To do so, you’ll need experienced people at the helm. Vote carefully on Dec. 5.
The marketplace for our services is changing, and we must meet the challenge of preserving what we have and building new opportunities for those who come after us. To accomplish this, changes must be made in the organization and division of labor within the union so that it can more effectively manage the business of music, and in the way we market ourselves to the public, the ultimate consumers of our services.
Committees I have served on include Mostly Mozart (1982-84), “Encores,” Broadway (since 1993), MSG (since 1994), and Broadway subcommittees on health and safety, publicity/education, and the SFX CD-ROM project.
As a drummer who has worked in the club date, night club, hotel, Broadway, television and recording fields, I have been an outspoken advocate for musicians and a union activist for 30 years. Today’s music business challenges are awesome. Multinational entertainment corporations and technology threaten our profession’s very existence, while anti-labor sentiment permeates our government and culture.
In these difficult, complex times we need the experience, diversity and dedication of our present 802 leadership. With the Members Party and my Executive Board colleagues, I am committed to protecting and improving the lives of all musicians in all fields of music.
Richard L. Simon
As an active chamber music and freelance musician and 36-year member of the NY Philharmonic, I have enjoyed my Executive Board service over the past two years. My involvement with two Vice-Presidential search committees and the Legal Services Task Force helped me appreciate our union and the value of experienced, dedicated members on our boards. We face major challenges in every field and the very future of our profession is at stake. Our rank and file must become better informed and more unified. I pledge to continue my efforts to be responsive to members in all segments of our business.
Lee Soper serves on Local 802’s Coordinating Advisory Committee and the NY Chamber Symphony, NY Pops, and the Mostly Mozart Festival orchestra committees. He has negotiated numerous successful contracts and represented his colleagues in arbitrations, grievances and on peer review committees, and also studied labor relations at Cornell University.
Lee’s vision for Local 802 includes an Executive Board of working musicians who are in touch with the realities of our rapidly changing profession, committed to protecting the rights of all musicians, will work tirelessly to ensure better compensation and benefits, and educate the public about the importance of live music.
As an Executive Board member and Club Date Committee chair, I’ve learned to listen – to my fellow players as they talk about their music and their business, and to fellow Executive Board members who have years of experience to share.
My goal is to continue work we’ve started. Education and knowledge are vital: we have instituted and supported the MEMO program for members while, through a public awareness campaign, we will educate our audiences to the irreplaceable joy and beauty of live music. As a union we will survive the challenges of the new century, if we do it together.
Mary Whitaker, violinist, has been a Local 802 member since 1979. Active in the classical, contemporary and commercial fields, Mary has 15 years’ experience in both writing and negotiating contracts. She has successfully achieved protection for musicians’ rights and has helped advance wages and benefits while maintaining positive relationships with managements. Mary welcomes the opportunity to serve on the Executive Board, working to protect musicians’ rights in the workplace, and finding new and creative ways to educate the public about the necessity of live music by promoting a positive public image for our union.
Mindful of the importance of a jury of peers in the justice system, I am troubled by the lack of gender and racial diversity of the Trial Board. As one of two women running, I believe my re-election would be in the best interests of our membership. I’m a flutist in the Long Island Philharmonic. As Chair of the Orchestra Committee, I participated in the last two symphonic concert negotiations. I was a ROPA delegate at the Players Unity Conference and I currently sit on the CAC. I remain committed to working for the benefit of the rank-and-file of Local 802.
In running for a position on the Trial Board, it is my intention to be an active, well informed and responsible part of the current administration, always vigilant and working toward the needs of the membership. With the ever changing industry, it is essential to work together to solve and resolve current issues as well as those to face us in the upcoming years. This requires a constant evaluation of not only our personal approach, methods and ideas, but those of a solidified entity working for the needs of all as we venture into this new hi-tech millenium.
Hi, my name is Al Hood and I’m running for the Trial Board. I have been serving on the board for 12 years and need your vote in order to continue serving 802 and its members. I believe in the ideals and objectives of Bill Moriarity in these troubled times. I know that Bill and the Members Party offer the best solutions for providing prosperity and security for working musicians in every field. Please vote for Bill and the Members Party candidates, including me, on Dec. 5 to continue the excellent work. Vote for truth in the booth.
The Trial Board is the primary venue for satisfying members’ grievances. The main qualifications for Trial Board service should be knowledge of the union’s bylaws, thorough experience in a wide cross-section of the music business, intelligence, honesty and an open mind. I trust that my 35 years’ membership in Local 802 has allowed me to retain all of these in good measure. Added to this, I bring service on numerous rank-and-file committees – Broadway, New York City Ballet, St. Luke’s Chamber Ensemble, Dance Theatre of Harlem, Princess Theatre Orchestra, etc. A vote for me will not be wasted.
Marty Lambert, formerly a drummer in the club date and hotel fields, was one of the founders of the Members Party in 1980 and was chair of the Trial Board from 1983 until 1987. Marty has served as Director of 802’s Credit Union, Supervisor of the Recording Checks Department (four years) and the Recording Department (three years). He supervised 802’s Work Dues Collection and Single Engagements Contracts departments for five years, administered the Health Benefits Plan for two years, was Treasurer from 1990 to 1992 and Secretary from 1992 through 1994. He has been on the Trial Board since 1995.
Carline Ray, a native New Yorker and graduate of the Juilliard and Manhattan School of Music, has been a member of Local 802 since 1945. As a concert chorister, she has performed with Leonard Bernstein and the Alvin Ailey American Dance Theater. Her many jazz credits include the Duke Ellington Orchestra, Mary Lou Williams and Doc Cheatham. As an educator, Carline has taught at Medgar Evers, William Paterson and Hunter colleges, Jazzmobile Workshop and, presently, The New School.
She has served on the Ethnic Minorities and Jazz Advisory committees and the Trial Board from 1989 to 1994.
Michael Roberts, pianist, received his Bachelor’s degree from the Oberlin College Conservatory of Music in 1973 and his Master’s degree from Manhattan School of Music in 1977. He has since been working as a pianist and singer on steady engagements in various New York City hotels. Michael has been a member of the Hotel Musicians Committee (chair from 1988 until the mid-1990s) and served on four Hotel Musicians’ contract negotiations. He is also the Hotel Musicians’ representative to the CAC. He joined the Local 802 Trial Board in 1990.
Tuba player Marcus Rojas, a native New Yorker and 802 member since 1984, has played with the NYC Ballet, NYC Opera and the Metropolitan Opera; in virtually every “downtown,” “uptown,” jazz and new music venue in NY; and is an active recording musician. His eclectic experience gives him a unique perspective of the issues facing musicians in all segments of the NY music scene.
Invited to run for Trial Board by both the Members Party and Counter Point, he decided to run independently, hoping to gain the support of all 802 members who want fair representation on the Trial Board.
As an 802 member since 1972 I am fortunate to have had the opportunity to make music a full-time profession. My career has encompassed work in almost every field: Broadway shows, record and jingle dates, concert touring, nightclubs, club dates and orchestral performance. I am currently pursuing a Music Business Master’s Degree at NYU in an effort to better understand the changes to our working environment. As a Trial Board member I will bring this experience to bear when asked to fairly assess the issues affecting the lives of my colleagues. I ask for your support in our upcoming election.
A Trial Board member should be an impartial juror in cases that the union or other member brings against a fellow member. I have been active in many aspects of the music business. I have toured with opera, ballet and with well known entertainers. I have worked on Broadway, in presentation houses and in the jingle industry as a percussionist. As a music copyist I have prepared music for all fields. Having a reputation as being fair-minded and impartial, I feel uniquely qualified for re-election to the Trial Board.