LOS ANGELES AND NEW YORK (Feb. 27, 2010) — The National Board of Directors of the American Federation of Television and Radio Artists (AFTRA), a national union of more than more 70,000 performers, journalists, broadcasters, recording artists and other talent working in the entertainment and news media, met today by videoconference plenary in Los Angeles and New York.
The AFTRA National Board unanimously voted to approve a recommendation by a subcommittee of the AFTRA Strategy Cabinet to formally engage in joint bargaining under Phase One terms with Screen Actors Guild (SAG) for the AFTRA Primetime Television Contract (Exhibit A of the Network Television Code) and the SAG Television and Theatrical Agreement and under the existing AFL-CIO-facilitated No Raiding/Non-Disparagement Agreement between the two unions. No wages and working conditions meetings or negotiations are scheduled at this time.
The approved motion reads:
“The AFTRA National Board approves conducting the preparation for, negotiation and administration of the 2011 AFTRA Exhibit A Agreement and SAG TV/Theatrical Agreement jointly with the Screen Actors Guild (SAG) under the terms of the Phase One Agreement, as Phase One has been applied in the past, in accordance with the terms and conditions of the AFL-CIO-facilitated Agreement for Negotiation of Commercials Contracts Under the Phase One Agreement (“The Commercials Agreement”). Staff is directed to prepare and execute an agreement that is identical to the Commercials Agreement to cover negotiations of the Exhibit A Agreement and SAG TV/Theatrical Agreement and forward same to SAG for its signature as soon as practicable (with the understanding that the escrow currently held by Amalgamated Bank will be utilized in connection with the EXHIBIT A/TV Theatrical Negotiations Agreement).”
After the vote, AFTRA National President Roberta Reardon said, “I applaud the National Board for taking this important step forward today following our productive discussions with our counterparts at Screen Actors Guild earlier this week, specifically with respect to AFTRA’s heavy negotiating schedule for 2010. I look forward to continuing our work with SAG President Ken Howard and the leadership and members of our sister union as we move forward to bargain the strongest possible contracts for professional talent.”
The National Board also unanimously ratified a successor agreement to the 2002 Extension to the National AFTRA Public Television Agreement. The new three-year contract, effective March 1, 2010, to Feb. 28, 2013, includes increases in minimum compensation and employer contributions to the AFTRA Health and Retirement Funds, as well as jurisdiction over programs made for or reused in new media.
In her staff report the National Board, AFTRA National Executive Director Kim Roberts Hedgpeth reported on the union’s advocacy to combat Internet theft of intellectual property and copyrighted material including AFTRA members’ performances. Last August, the AFTRA Convention unanimously approved a resolution supporting broadband access for all Americans and calling on the federal government and its agencies to ensure that the nation’s regulatory policies regarding Internet broadband expansion include provisions that effectively protect against copyright theft.
Hedgpeth also reported that, for the period of May 1, 2009, to Oct. 31, 2009, the union has collected more than $6.6 million in claims, grievances, arbitrations, legal proceedings and negotiated settlements on behalf of AFTRA members.
In other action today, the National Board made appointments to the Sound Recordings Code Steering Committee and the Network Code “Front-of-the-Book” Steering Committee. In the coming month, each committee will discuss preparations and a timeline for negotiations of the Sound Recordings Code, set to expire on June 30, and the AFTRA Network Code which will expire on Nov. 15. In further action, the Board authorized the AFTRA Administrative Committee to update these committees as needed depending upon the calendar and needs for negotiations of both contracts.
Additionally, the National Board made appointments to the Broadcast Steering Committee, and the Financial Core and Actors’ Equity Association Relations Subcommittees of the AFTRA National Organizing Committee. The Board also received reports from the Strategy Cabinet and the Finance, Women’s, Broadcast Steering, Young AFTRAns and Equal Employment Opportunities Committees.
The Board also received a report on the successful outcome of the 2010 AFTRA Media and Entertainment Awards held in New York on February 22, the proceeds of which benefit the work of the AFTRA Foundation, a charitable and education organization funded through tax-deductible contributions, grants and bequests to support projects outside the scope of normal AFTRA activities. New York Board members Lainie Cooke, who also serves as the union’s National Recording Secretary, and Ed Fry were elected by acclamation to the AFTRA Foundation Board of Directors.
AFTRA National Vice President President Shelby Scott, who serves as Union Chair of the AFTRA Health and Retirement Funds Board of Trustees, reported that the Trustees met at the beginning of February and determined that AFTRA H&R Funds are healthy, with the Retirement Fund more than 89% funded –well within the federal government’s “green zone” – and that the AFTRA Health Fund has more than a year’s reserve.
The National Board opened its meeting by expressing sympathy and concern for the citizens of Chile who suffered a massive 8.8 earthquake last night. President Reardon convened the meeting in remembrance of AFTRA members who passed away since Board last met in October, including recording artist Teddy Pendergrass, actor James Mitchell and former National Board members Jim Huston, Frances Reid, Conard Fowkes, among others.
The National Board is next scheduled to meet in face-to-face plenary session in New York in June 2010.
Editor-in-Chief Nikki Finke - tip her here.
LOS ANGELES AND NEW YORK (Feb. 27, 2010) — The National Board of Directors of the American Federation of Television and Radio Artists (AFTRA), a national union of more than more 70,000 performers, journalists, broadcasters, recording artists and other talent working in the entertainment and news media, met today by videoconference plenary in Los Angeles and New York.

Phase I was broken years ago so already the above resolution doesn’t make sense.
Assuming that Phase I isn’t broken though what is meant by following Phase I and “Staff is directed to prepare and execute an agreement that is identical to the Commercials Agreement to cover negotiations of the Exhibit A Agreement and SAG TV/Theatrical Agreement and forward same to SAG for its signature as soon as practicable (with the understanding that the escrow currently held by Amalgamated Bank will be utilized in connection with the EXHIBIT A/TV Theatrical Negotiations Agreement” *AT THE SAME TIME”?
Which ground rules are going to apply to these joint negotiations (assuming they actually proceed jointly)?
That’s a good first step. Now they need to make plans with the other unions to work together and not undermine each other during the negotiations in 2011.
Divisions between and within unions are just what the AMPTP want. Don’t give them what they want.
You’re reading it first, THE BEGINNING OF THE END for us. Thanks for the heads up Nikki.
Now is the time for a merger. With studios going to AFTRA strictly to save money, because it’s not on par with SAG fees or residuals, we need parity by merging with SAG. Then, there will be no “divide and conquer” approach by the studios, strictly actors getting decent treatment, no matter which guild Studios choose to negotiate with.
Then AFTRA formed a committee called “How to Most Effectively Drive Performance Rates for Actors into the Ground while also Abolishing Residuals.”
(Apparently the sign up sheet filled quickly so they had to start another one.)
This is not real news. This is fake news. The real news is the push to merge. You can’t merge with a union you’re at war with, right? So, we make nice, then we either merge, or we do 2011, then merge. That’s the plan. But, the questions are mounting, and some interesting responses from some high-profile people are on their way in the next week or so. Those who know what is going on understand this is all show. The real questions about all the dirty deeds to get the SAG moderates, AFTRA and the AMPTP to this point, are about collusion. Collusion, as in, the conscious end-around of not informing the SAG membership that the real plan is to make nice, not stand tall once again for much of anything, then merge to achieve “strength in numbers.” But, again, those on the inside know there is no “strength in numbers” planned, otherwise the AMPTP would not be helping SAG sell merger by giving all the pilots to AFTRA, despite a less expensive, and currently producer-friendly union at SAG. Are they “punishing them”? Come on, you’re smarter than that. They are helping them – SAG, that is. Where is the pushback from Ken Howard, Amy Aquino, David White on no pilots going to SAG? It’s in “executive session” that’s where, where no one can hear it or see it – because there is nothing to hear or see. The plain truth is the current government of SAG is doing everything they can to weaken SAG, so as to make merger a virtual inevitability. But there are problems – many, many problems. Among them, the SAG staff is none too thrilled they will very probably be out of a job once merger happens. And the SAG staff, regardless of their short-term allegiances, don’t like that idea at all – and they know, more than anyone, where the bodies are buried. “You threaten my job via merger, I threaten merger via such and such information.” It’s not just anti-merger SAG members who will raise holy hell. Things will be coming to light soon, informing SAG members that “strength in numbers” is not exactly the plan. More like “producer-friendly contracts from a relatively static group of top office holders in a new union so tied up in red tape it is nearly impossible to strike” – the only true weapon any union has.
It aint over. Not nearly.
There is a wacko blog, obviously run by AFTRA non-actor members, where a losing UFS candidate, makes this incriminating comment:
“AFTRA’s ascent into TV land will soften the hardliners resistance to merger, and maybe we can fnally [sic]get it done.”
UFS, beyond being incompetent, has breached their fiduciary duty to SAG members. Its conspiracy and malfeasance. They should all be impeached. How could SAG organize pilots last year, without a contract? SAG now HAS a contract, which by the way, pays less than AFTRA, thanks to UFS. And now they can’t organize any pilots? Not ONE. Unbelievable.
Giving AFTRA, SAG’s TV jurisdiction without a fight, will not bring about a merger, it will only destroy SAG. Dumbsh*ts.
With all due respect to Tim Matheson, his post is a perfect example of the problem. He says SAG is more expensive. But, it’s not, Tim. Exhibit A (AFTRA’S contract) is 3.5% more expensive right now. SAG is less expensive. The fact that Tim Matheson doesn’t even know that lies at the heart of the biggest hurdle for those truly interested in the best contracts possible for actors.
So, Tim, now you know. So, why, when the current government of SAG are producer-friendly moderates, who used written assent to throw out the previous administration, with a rule (written assent) that was actually not in compliance with state labor at the time it was used by the national board of SAG – why would they be dissed by the producers, giving all the pilots to AFTRA, instead of rewarding those SAG moderates who fought off the progressives attempt to get a fair contract in 2008-2009?
Why? Think about that folks, cause that’s the key question.
And why did the discussion of the current SAG pilot season take place in secret at the Hollywood Division the other night, not in front of the membership?
Why did David White not want to tell the members who pay his salary to get them good contracts, not feel it was incumbent upon him to tell those members how he lost 85 pilots to AFTRA (2 to SAG) without a whisper of any plan to get something, anything back for what he, Ken Howard, Amy Aquino and all their supporters gave away in the last contract?
Why?
Sure, it’s the producers right to choose the union they want, but there is a decades-long jurisdictional dominance here that has been totally reversed in two years, under David White, Ken Howard and Amy Aquino.
Why?
If you look at their actual record so far? Yikes. They recommended a contract that gave away a non-union space in SAG’s contract for the first time in its history – it gave away an actor’s right to have control of his or her image, and be paid for the use of it, and have to be asked first (clip consent), it gave away an actors right not to have to promote a product in a TV show or movie without their consent. If a commercial actor does a TV or film role and is forced, as a condition of employment, to waive all product placement rights, then finds they are in a scene promoting Pepsi and they have made the bulk of their living the last five years as a commercial actor promoting Coke, well, that’s all over.
The producers do have to put it in the language of your contract, or ask you, (let’s see how often they actually do that) but, if you say no, unless you’re a star – hit the bricks.
They gave away the protections of force majeure – producers having to pay an actor a big chunk of his salary due to an act of God or a strike, if work stops. So, say, there’s an earthquake? Forget it. Pound salt, thanks to Ken Howard, Amy Aquino and David White.
Residuals? Anybody see the stories about up-front concessions now in test deals folding first run residuals into an actors salary?
How about Residuals in new media? It hasn’t been monetized yet, but, it will. The world is going forward people, not backwards. We are not going back to analog and rabbit ears, we are continuing into the digital age.
So the question becomes, when will SAG or AFTRA or AIMA or whatever piss-poor excuse for a union it turns out to be – when will that union do what the previous administration of SAG tried to nip in the bud? Get a fair deal in new media?
Does any adult actor, with any experience watching these contracts be negotiated for the past several decades, really think the producers are going to give us a fair deal now that David White, Ken Howard, Amy Aquino and their supporters have made it virtually impossible to get one, by settling for an absurd set of tiny fixed-rates in new media in the 2009 TV/Theatrical contract?
An actor’s bread and butter is TV. Sure the odd film role, but TV is where a lucky actor can make some real money. SAG just gave that entire space away, to a union not exactly known for toughness on behalf of its members.
I. Wonder. Why?
Yeah, this is a GREAT step! Because we all know that now that AFTRA has gone in and low-balled working rates to steal jurisdiction, while at the same time ALLOWING producers to list smaller roles as “Uncredited” (thereby ceasing residuals for those starting out with under-5s), there’s no WAY that actors can regain the pay in the future.
Merge MUST happen at some point (in order to stave off the complete destruction of SAG) but AFTRA has done their work well and have made sure that anyone (middle-class actors) working below a Series-Regular/Known Name level will never again earn what they once did under SAG.
Good job, AFTRA!
Here’s hoping that one day Hospitals form a national union and they let ALL the people who work there vote on the pay scales for high-level surgeons.
(Dancers, Newspeople and DJs? – Seriously?)
Yeah, yeah, yeah…I know…
“Acting ain’t brain surgery.”
I hear ya.
But would you be happy if you were a nurse and a piano player got to vote on your contract?
(Think about it before you explode.)
So assuming this goes through, will SAG have control over AFTRA?
Don’t care. My residuals stopped paying my bills and I will be starting my new non-entertainment job in March. I am the death of the middle class actor. (I made a living for 12 years in guest star and under fives) Here’s a list of my last 4 residuals…. $38.20 – Criminal Minds, NCIS (VId, Cable, Pay TV) $6.47 – Pushing Daisies (VIdeo, DVD) $7.38 – NCIS (Foreign) $16.36 – Pushing Daisies (Pay TV, DVD)
None of the above commenters sound like actors who earn ntheir living acting. What does that tell you?
SAG and AFTRA merged into a single, unified performers’ union is the only way that the conglomerates can be persuaded to negotiate fair contracts for actors.
Until then, management will continue to attempt to exploit the competition between the two separate unions by deliberately increasing the divide of TV work between the unions – which they have the power to do as long as we are not unified.
Those who resist unification, fight merger, and who are attempting to keep performers divided for their own selfish egotistical ends are aiding and abetting the exploitation of actors’ work for unfair compensation.
Those who are struggling, through costly nuisance lawsuits, to regain the power over SAG that they so egregiously abused over the past five years are traitors to the cause of organized labor.
With regards to acting AFTRA is a SCAB union and the karma of scabs is what’s coming to all who work AFTRA shows that ought to be under SAG. But I guess actors can’t really be blamed when president Hen Coward is working on a runaway-production scab AFTRA show instead of working on behalf of the membership he promised to work for.