It would be impossible for me to think of the Film Musicians Secondary Markets Fund and not think back to the Musicians Guild of America. The courageous and tenacious leaders of the Guild many years ago significantly reformed the way the American Federation of Musicians dealt with both its membership and the Employers. In addition, these individuals molded the manner in which most of the modern day electronic media agreements—including the Basic Theatrical and Television Labor Agreements that govern the Fund—are negotiated and structured.

Men like Cecil Read (Founding President of the Musicians Guild of America), and Guild activists Uan Rasey, Lloyd Ulyate, Ted Nash, Phil Sobel, Justin Gordon and numerous others, had the courage to challenge the leadership of the American Federation of Musicians for the right to represent recording musicians. Their actions undeniably led to the negotiation of contracts establishing the Motion Picture Special Payments Fund (now known as the Film Musicians Secondary Markets Fund), the Sound Recordings Special Payments Fund (formerly known as the Phonograph Manufacturers' Special Payments fund), and the AFM and Employers Pension Fund. Not only did these individuals jeopardize their professional careers (in the case of Read, he actually gave up a very successful career as a studio trumpet player to run the Guild), they also risked their lives and the safety of their families to support their beliefs.

One must remember that the labor climate in the 1950s was very different than it is now and that union activism in the pursuit of democracy in those days was a very dangerous activity. Yet these individuals stayed the course so that today we can reap the rewards of their dedication. I hope that all those active in the Guild take pride in seeing what they started so many years ago, and approve of where we have taken those miraculous accomplishments.

Looking forward, it is crucial not to lose sight of the fact that the Fund was created for the benefit of the talented and dedicated artists whose performances and contributions to film scoring breathe life into the motion pictures that they accompany. In view of this — over the past three years — the Fund has undertaken the most ambitious review and overhaul of activities since its inception. One need only look at the Fund’s website to see demonstrable evidence of this. In addition, we are committed to maintaining a vigilant and watchful eye on the ever-changing technological advances that characterize our industry, and to ensuring that the interests of musicians working in this industry can reap the maximum benefit from those advances. Please watch future editions of our newsletter for in-depth explorations and discussions of these and other issues important to motion picture and television film musicians.