Will KDKA fumble AFTRA’s pitch for Steelers?

The Pittsburgh Steelers gritty, improbable run to a Super Bowl championship riveted our region, the nation, and much of the world like no other sports event in decades. Our football heroes are now known and loved from Turtle Creek to Taiwan. Ben on Letterman, Jerome on Sports Illustrated cover—twice!, Hines in Korea—the Steelers are hot!
Local TV discovered Steeler mania last year. When anything about Steeler football (not only the games) was on, ratings zoomed. Sports as entertainment as news reached a fever pitch during the playoffs. The TV news morphed into the Steeler TV news. Why not? Anything Black and Gold stirred the masses, boosted business, and polished the region’s tarnished self esteem.

All this hubbub has spawned new issues in media labor relations. AFTRA represents on-air performers, so new media faces, presentations and venues must be filtered though Collective Bargaining Agreements with the stations.
Last month, Pittsburgh AFTRA filed a claim against KDKA-TV for unpaid employer payments into the AFTRA Health and Retirement Fund relating to certain Steeler player appearances on the Station’s 5 p.m. news. AFTRA says the player appearances are covered under the Freelance Contract. KDKA says they aren’t covered.

Because certain Steeler players were regularly scheduled to appear every week during the season, and because each appearance was for an extended time (about 5 minutes) in a unique studio segment involving commentary and analysis, and because the players were paid, AFTRA argues the players have become covered performers. KDKA insists that the players, although paid, are news subjects being interviewed and therefore excluded.
The case has been referred to a neutral arbitrator to decide based on the language of the labor agreement. More than nine thousand dollars for the AFTRA Health and Retirement Fund are at stake.

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Ballet Musicians Back Live.

If you think unions don't matter any more, if you think we've become irrelevant, if you think our days are past, consider what the 47 musicians who play for the Pittsburgh Ballet Theatre accomplished. Last August, the PBT - in the midst of contract negotiations with musicians - suddenly announced it was getting rid of live music in favor of canned music. Canned music at the Ballet! The struggling PBT was attempting to trim more then 500-thousand dollars from it's deficit laden budget.

But not so fast. The musicians - led by oboe player Cynthia Anderson - quickly organized. Every musician began contacting anyone and everyone they could. The Allegheny County Labor Council got involved. And at opening night of "Carmen" in October, 150-pickets greeted ballet-goers who were about to see their first ballet with recorded music. Many union brothers and sisters joined the cause. Teamsters, pipe fitters, postal workers and yes, AFTRA. Many others were there too. We picketed outside the Benedum and made live music a real issue.

"If we had not gone public right away, there would be no live music and eventually no ballet", says Anderson. Public support quickly went the musicians way. "We had wonderful support. They (the public) thought it was an injustice and bad for the arts community."
The fight didn't bring immediate results. The musicians filed an unfair labor charge and the public pressure mounted. Anderson says "the public was completely against it. Public support was immediate and extremely in our favor".

While many nay-sayers thought the musicians had no chance, that the unions were out of touch, the PBT and the musicians finally reached an agreement! Live music is returning to the ballet, although it will scaled back substantially. The musicians have agreed to perform in just two of the ballet's five productions this season. And in an effort to help PBT raise more money - the musicians agreed to perform for free during a performance of "Coppelia" this month. The musicians will speak directly to the audience and appeal for their support to help raise more money for the ballet.

The musicians may have written a score we should all be playing. When the public understands our issues, understands injustices, they'll get behind us. Don't be surprised if similar public demonstrations turn up someday at some of our radio and TV. stations.
The ballet just doesn't work without live music. Performing artists won't work either, without a union.

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Your AFTRA Pension - Still a Good Deal

Last month, I spent some time in Cleveland talking with members at a TV station who were frustrated because they were denied access to the Company’s 401(k) program. AFTRA had tried to win the 401(k) in bargaining, but the Company flatly refused. The contract provided members the AFTRA Health and Retirement Plan. The non-union employees had the Company pension and a 401(k) plan with an employer match of up to 3%.

“We’re missing out,” some of the members cried. One amateur actuary circulated a calculation over 10 years allegedly showing a potential nest egg worth tens of thousands of dollars was being lost. Some members assumed the company plans were clearly better and blamed the union for their predicament.

As we looked into the situation more, it soon became clear that only part of the story had been reported. Yes, a 401(k) plan is good to have, especially in conjunction with a good pension plan. The hand-wringers, however, hadn’t really looked at the company pension plan. It turned out that the non-union pension had an offset for social security. It paid a benefit considerably less than the AFTRA pension. No wonder the Company offered a supplemental retirement savings plan. Would members really want to trade AFTRA for company benefits?

It’s common these days for real pension plans, i.e., traditional defined benefit plans, to be labeled as relics not suited to the modern mobile, global economy. Recent news that private sector giants like IBM and ALCOA are phasing out their defined benefit pension obligations should send a chill through the heart of every working person. No individual tax-deferred savings retirement plan can match the pooling benefit of a group defined benefit plan. The problem with many of the failed private pensions, of course, is that companies did not fund them. Now firms are dropping the pretense of any responsibility for the retirement security of their workers.

AFTRA won’t give up the fight for a decent retirement for its members. The AFTRA Pension is stabile and well-funded, meeting all accounting and actuarial standards. As a special type called a multi-employer, Taft-Hartley Plan, it has advantages over private company plans. Many signatory employers contribute , so the Plan is not dependent on the success of one business. The Trustees who run the Plan are chosen 50% by management participants and 50% by AFTRA members. The AFTRA Plan is portable-- members can change jobs and still accrue benefits under a different signatory employer.

Yes, the 2001 stock market plunge affected AFTRA Pension Fund revenues . In 2003, the “pension factor” multiplier for future years’ earnings had to be reduced, thus lowering the potential benefit value. However, the pension factor can be retroactively increased in better times. In fact, Fund benefit values were increased retroactively in 1997, 1998, and 2000. However, years with higher benefit values cannot by law be reduced.

Unfortunately, many Freelance AFTRA members don’t earn enough ($7,500 yr.) to qualify for pension benefits. Some broadcast contracts do not have AFTRA H&R. But for those who are eligible for an AFTRA pension, don’t take it for granted. It’s a great benefit we need to protect and defend.

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New Contracts Inked

Congratulations to members at WEAE Radio (ESPN Radio 1250) and also at KQV Radio. Their new AFTRA agreements were recently ratified overwhelmingly.
The WEAE pact features scale raises of 2.5%, 2.5%, 3%, and 3% over four years. AFTRA H&R contributions were increased by 1% and dues check-off will now be permitted. Accelerated vacation benefits were preserved for current staff. Special kudos to Station Rep Joe Destio.

The two agreements at KQV cover staff announcers and writer/editors. The new 3-yr deal maintains and extends the salary scale with minimum 2% increases, as well as boosts the H&R contribution by .5% with a contribution re-opener the last year. There was a good signing bonus as well. Thanks to Station Reps Dan Weinberg and Heather Schieffer Murray for assisting in negotiations.

Cox talks hit road-bump
Just as the sides had narrowed down the issues, a new factor emerged in the talks at WPXI, Channel 11 (Cox). The new “Channel 11 on 53” program raised the question of additional compensation that now must be resolved before settlement. Federal Mediator Fulton Miklos is overseeing the bargaining. Props to reporter Rick Earle, who now serves as assistant station rep to Dee Thompson.

Negotiations at the other Cox Station, WTOV-TV in Steubenville, are again in the spotlight since AFTRA members there, citing concerns about the cost of living and sick leave language, rejected the Station’s last contract offer. Talks have resumed with a federal mediator. Committee members Dave Ater, Dino Orsatti, Heather Schmotzer, Barb Anderson, and Julie Grant monitor the talks.

CBS = Can’t Bargain Swiftly? Marathon negotiations with CBS properties KDKA-TV, KDKA-AM, and music stations WDSY,WZPT, and WRKZ resume again this month. Each contract has unique problem issues: comp time at TV; voice tracking at the music stations; and program continuity at the AM. New issue in the wings: compensation for pod-casting of program material. Stay tuned.

Soon to Reopen
Bargaining notices for renewal contracts at WICU-TV (Erie) and also WAMO-AM and FM go out soon. Local staff and members will attend a meeting with Erie members to discuss freelance opportunities as well as station contract proposals.

Grievances, ULP’s, and Arbitration
AFTRA won penalty payment when a member’s schedule was changed with less than 48 hours notice.
A TV reporter was paid freelance fees for out-of-shift program work after the union called management.
AFTRA will arbitrate for notice and severance pay denied to a terminated disk jockey. The union contests management’s claim the termination was for cause.
After AFTRA filed Unfair charges with the NLRB, a TV station agreed to provide requested program and payment information.
AFTRA has filed Unfair charges against an Employer who has insisted on language in individual personal service contracts that the employer will not agree to in collective bargaining.

Station Transitions The too familiar end-of-the-year station re-alignments hit particularly hard this year, with both veteran and junior AFTRA members left seeking work elsewhere. Fortunately, the AFTRA severance and health plan was there to cushion the blow.
Especially notable were KDKA Radio’s dropping of Mike Pintek, Mike Romigh, and Paul Alexander. Over at WAMO, AIR-award winner Summer Barlow and Vickie Hill were let go. At Clear Channel, WWSW canned Shawn Israel (replaced with voice tracking). CBS/Infinity termed Chris Mack (WRKZ) and B.J. Forsyth (WZPT).

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Job Readiness: Be Prepared.

No, this isn’t a pitch for the Boy Scouts. It’s about preparation to succeed in the short-term and avoiding headaches long-term. It’s also about tricks of the trade. Most of these you probably know. But, I hope that there’s one or two that you can add to your bag.
First of all, have the basic tools and reference materials you might need handy at all times. You never know when a producer or your agent is going to say so & so is doing this tomorrow, (or once in a while today), “can you be in Wheeling at 2 o’clock?” It’s all about having the business end of ‘show business’ organized. It’s a lot less stressful and thereby easier to concentrate on your craft if you just have a few things ready in advance…

All in one folder…
Have a dozen headshots & resumes… How many times have you been asked at an audition for an extra two or three for the auditioners to look over? It’s always good to have one for each person on the other side of the table. Not only will each person have one of your calling cards to gaze upon, but even if you don’t get that gig, a decision maker has one for future reference. If your agent is putting you on tape for submission, ask if they need any headshots. They can’t submit you for work without them. It’s up to you to make sure your agent has the tools they need to get you work. And finally, as you network with your fellow artists while waiting (and waiting and waiting) to audition, you never know when one of your peers might say that you’d be right for some gig. They can pass your headshot along to a producer.

Have a dozen member reports… Yes, your agent will forward completed paperwork to a gig for you nine times out of ten. (At least they should.) But it’s your responsibility to make sure you have a member report for the client to sign; and, to make sure copies get into the right hands. A member report is more than just a piece of paper for AFTRA and your agent to get you paid for the initial gig. It serves as a legal contract between you and the client that will insure you receive any additional fees you might be due — not just residuals — but also supplemental fees such as cable and internet usage and now emerging markets like pod casting. The union pays all legal costs when someone doesn’t pay you properly but it makes it much harder for AFTRA to go to bat without a simple member report. So make sure you have them and know how to complete one..

Have the rate sheet… We have rate sheets for each code whether it’s national, regional, non-broadcast or whatever. Most are just one page. I call them my ‘cheat sheets’ because they’re concise and easy to read. In addition, there are materials in condensed form to explain the most common questions you might have. If you’re doing a gig with some unusual aspect, the number here at the office is 412-281-6767. I’ll go through the big contract books to find out what your rights and proper compensation are on any job. But, why not pick-up, or ask me to email to you, copies so that you have them handy when you need them? (clacey@aftra.com) If you stop by the office I’ll give you all the materials that the producers (should) have so that you’re on the same page with them on set or in the studio.

Three pretty simple items that fit into a manila folder: Headshots, Member Reports and Rate Sheets. A small part of being a professional.

Next article: Marketing 101;
You’ve Got the Talent, Now Get the Job!

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Kids with ‘It’

W.C. Fields informed generations of movie audiences about his dislike of working with kids and animals, not necessarily in that order. I don’t know if he was exclusively driven to drink from those experiences, but at least he had an outlet to vent his frustrations.

In the Pittsburgh market today there are hundreds of children and teens who would like to pursue professional work in television and film. As Manager of the Children and Teen Department for Docherty, I screen dozens of unsolicited submissions each week selecting no more than one or two to call in for a “next step” interview.

The hard cold facts are that very few kids have what it takes to compete or participate in a demanding and competitive profession. That darling, dimpled, curly haired pixie may delight grandma and Uncle Lou with songs at the Thanksgiving table, but kids who can consistently “turn it on” in a room of strange adults are few and far between. (Maybe because the adults really are strange!)

What are producers and casting directors looking for in Pittsburgh’s kid talent? Simple. They are looking for “it.” That elusive quality sometimes called charm, charisma, energy, or star appeal. The “it” is nothing more than looking at a kid’s face and seeing the “light is on and someone is home.” Being able to turn “it” on takes a special blend of self-confidence, positive self-esteem, and plain old-fashioned moxie. How many adult actors are able to make good eye contact with the camera and deliver a solid, positive, confident slate?

One young AFTRAN, Joe Bender, has done more than his share of work in Pittsburgh already. What’s the secret to his success? First – he devotes time to skill development taking classes at the Center for Theater Arts. Far from feeling he knows more that most of the grown-ups in the room, (well, that probably depends on which room!), Joe has spent quite a few of his young years studying acting, singing, and dance. And Joe feels he learns with each new experience.

Recently he was part of a short mini-film that was used at the Addies Award Ceremony. Joe went to the Pittsburgh Children’s Museum where he pretended to be an adult judge reviewing nominees to select winners. The idea was to parody the judges and how selections are made. About the shoot Joe noted, “It was well organized and well directed. Everything was prepared and ready. It took about 5 – 6 hours for the whole production. The experience taught me more about the process of working with a script and working with directors to understand what they want.”

Joe was also part of a recent Disney shoot with Hines Ward. (Eat your hearts out grown-ups!) “This shoot took about fifteen minutes. I learned that even when working without a script I can still be a powerful influence in the commercial.” About being with the MVP - “Working with Hines Ward was really cool. He shook our hands and said we did a good job. Hines seemed totally professional and he knew how to take direction.”

So Joe’s secret to being a successful “kid” actor: keep developing your skills, learn from every experience, take direction, and have fun! Still, it’s a good thing he’s not on a shoot with W.C. Fields!

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In November, the Pittsburgh AFTRA Board of Directors voted to ratify a new contract with WEAE-AM (ABC/Disney) and forward it to National for approval.

The Board accepted the resignations of Leslie McCombs and Sheri Van Dyke, and voted to have David Flick serve out the last year of John Garry’s term.

In December, Board members approved contracts for the staff announcers and support staff at KQV-AM (Calvary, Inc.) They agreed to offer a lower Initiation Fee to members of a spin-off bargaining unit as part of an organizing effort. They also earmarked $3,000 for the 2006 Talent Guide expenses.

And in January, the Board approved some “housekeeping” changes in the Pittsburgh Local’s Constitution and Bylaws. Those proposals will go to the general membership for approval.

The Board also gave its blessing to Chris Lacey to continue negotiating with the landlord for new (larger) offices on the same floor of the Stanwix Building as part of the lease renewal.

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