The Officers include the Local President, two Vice Presidents, a Recording Secretary and Treasurer. Other members of the Board direct the work of committees, but any member can serve as a committee chair.

The AFTRA paid staff is composed of the Executive Director, the Membership Director and one or two Codes Administrators.

If you are a freelance actor, voice over talent, announcer, dancer, singer or other category of talent that appears before the microphone or camera, you work may work under one or up to 12 contracts. Those contracts cover Radio and Television commercials, industrial videos, educational materials, music recordings, interactive projects and the like. Freelance performers have input on the provisions of these contracts through "Wages and Working Conditions Committees" that are active at the Local before each contract negotiation. Most all of the contracts are negotiated nationally, except the Northwest Regional Code, which is an extension of the National Radio and Television Commercials Code which is bargained with Northwest advertisers and producers. Freelancers comprise about 80% of the local membership.

If you are a broadcaster, normally your contact about membership matters, initiation fees, dues and the like will be with the Membership Director, Chris Comte (206) 282 2506.

Questions about broadcast contract interpretation can be directed to Chris, or the Executive Director, John Sandifer. The Executive Director is in charge of broadcast contract negotiations and enforcement.

Your first source of information is your shop steward. Hopefully your steward will have introduced him/herself to you as soon as you came on duty and explained about the union and your bargaining unit.

When you believe your rights as a worker have been violated, you should talk to your shop steward first. You have the right (called your Weinberg Right) to have the steward, or the Executive Director present any time you are called into a disciplinary meeting with management. This is guaranteed by a Supreme Court decision. But you need to understand how this decision works.

Your bargaining unit is composed of most of the other workers who perform functions similar to yours. They all pay uniform initiation fees and dues which are used to negotiate contracts, enforce the contracts and to process grievances (violations of the contract) which may affect everyone.

You should ask your shop steward for a copy of the Collective Bargaining Agreement which sets the minimum wages, hours and working conditions for your work. Then, read it. If there is anything you don't understand, please ask.

You may also be working under the terms of an Individual Agreement usually called a Personal Services Contract (PSC). An individual agreement is required to contain only terms and conditions that are better than those in the union contract. If you have questions about your PSC, talk to the Executive Director. One of the best free services of the union is going over your PSC to advise you of potential pitfalls.

In addition to contract negotiation and enforcement, AFTRA is always looking for additional ways it can help its members. There are social and educational opportunities available or which can be made available to you. Feel free to contribute to those ideas.

Remember "Union" means members cooperating with one another. It is not some abstract idea involving only paid staff and elected officers. You are the union and only you and your interest and participation can make it work.

 

FACTS:

IN 1944, when AFTRA began in Seattle, the average performer's wage in broadcasting stations was $.75 an hour. Now the minimum per hour is often $25.00 and we have members earning more than $200 per hour.

Today the average non-union broadcast job in the Seattle market pays about $8.00 per hour. Many non-union employees work for less. Union workers generally start at much higher minimums.

Union members are always free to negotiate higher wages than the contract minimums.

The grievance procedure in collective bargaining contracts gives the member the right to "talk back" to management through the union and to settle disputes, without fear of retaliation.

Many companies have policies for medical benefits, vacation, sick leave, severance pay, minimum wages, time off, overtime and other benefits. But they are subject to change or elimination. Only union contracts guarantee them.

RULE ONE:

Effective April 1, 1986

An AFTRA member may not render services as a freelance performer for any employer within the jurisdiction of the Seattle Local in any of the fields of interest to AFTRA who is not signed to the appropriate Code or Contract nor for any employer who has been declared unfair by AFTRA.

The fields of interest to AFTRA shall include, for purposes of this Rule, all fields covered by existing AFTRA Codes or Contracts as well as all related fields involving the production, sale or distribution in any manner of recorded material for use in broadcasting (including network, cable or satellite), phonographic (audio) recordings, non-broadcast recordings, interactive media and infomercials.

Any member who performs in any capacity within the jurisdiction of the Seattle Local in any of the fields of interest to AFTRA for an employer who is not signatory to the appropriate Code or Contract or who has been declared unfair shall be subject to appropriate disciplinary action in accordance with the Constitution and By-Laws of the Seattle Local.

Disciplinary action which may be imposed after notice and hearing pursuant to the Constitution and By-Laws shall include, but not be limited to reprimand, fine, censure, suspension or termination of AFTRA membership.

THE 4-A'S:

A Brief History

Nineteenth Century performers weren't that much different from 21st Century performers - they all had egos, they argued among themselves about who had the right to do what. . . but they also had problems they knew they could only solve by joining together. The power they had as a group far exceeded the clout any of them had as individuals.

But there were differences...because Actors weren't Vaudevillians, and Vaudevillians weren't Actors (just as Freelancers are not Broadcasters and Broadcasters are not Freelancers). So the performers formed into two separate unions, Actors' Equity Association (A.E.A.) and the American Guild of Variety Artists (A.G.V.A.), under the 4-A's. This trend of separation continued as film, radio and television came along. First came the American Federation of Radio Artists (A.F.R.A.), then the Screen Actors Guild (S.A.G.). Then, with television, A.F.R.A. became A.F.T.R.A.. Also, Ballet dancers and Opera singers were represented by the American Guild of Musical Artists (A.G.M.A.). As each union was formed, it received its charter from the 4-A's and was bound to the 4-A's Constitution and By-Laws which govern the collective behavior of the member unions. So even though, today, there are five different performers unions, a spirit of cooperation prevails among them, giving us all more strength.

SOLIDARITY IS THE HEART OF UNIONISM.