BREAKING: Music Supervisors for @Netflix, in collaboration with IATSE, just filed with the National Labor Relations Board (@NLRB) seeking a union certification election. 🎧✊
The move comes after an overwhelming majority of music supervisors currently or recently employed by Netflix requested voluntary recognition of their union from the company, a request @netflix declined last week.
Music Supervisors are the craftspeople who specialize in storytelling through music. Their responsibilities include curating the music used in a project, guiding the creation of original songs, working closely with composers, and securing licensing for use of a project’s music.
Their creative vision is behind some of the most beloved moments in film and television. But, as the importance of music in media has grown, their responsibilities have expanded, their conditions have deteriorated, and their pay has stagnated.
Unfortunately, the terms of their employment do not reflect their increased workload or the cultural impact of their work.
Earlier this year, the Alliance of Motion Picture and Television Producers (AMPTP) refused to recognize film and television Music Supervisors’ collective decision to unionize industry-wide, despite more than 75% supporting unionizing with IATSE. iatse.net/amptp-film-tv-…
.@netflix has recently enjoyed critical acclaim for its prioritization of music in its productions, notably when the placement of Kate Bush’s ‘Running Up That Hill’ (1985) in the Emmy-winning series @Stranger_Things led the song to reach no 1 on music charts internationally.
Despite this cultural influence, Music Supervisors are joining together to set standards and address longstanding issues for those in the craft.
Fundamentally, they seek to be treated fairly and equitably compared to their unionized co-workers
They are also fighting for:
— Access to Industry Health and Retirement plans
— Standardized Pay Rates to tamp down on discrimination 💰
— Timely pay 🫰
— A seat at the table to negotiate with employers in good faith 🪑
— An enforceable and codified union contract. 🖋️
This is the first time Music Supervisors (through the @MusicNeedsSupes movement) have taken their case to the labor board, where they intend to win an opportunity to make their voices heard through a democratic, official board election.
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In response to our strike deadline announcement this week, we are getting reports some studios are scheduling unplanned sixth and seventh days and additional overtime. (THREAD)
It is SHAMEFUL that during a negotiation focused on unsafe hours and other abusive working conditions, some @AMPTP companies are intentionally choosing to risk the health and safety of our members to serve their own selfish interests.
It highlights the urgency of our issues.
Members: If you feel unsafe or unable to perform services due to the long hours and extra workdays, report this to the appropriate Studio Safety Hotline immediately and request a ride or a room at the end of each day to ensure your safety and the safety of others on the road.
We are fighting to ensure that the most powerful media corporations on the planet treat the film and tv workers who produce their content with basic human dignity.
Yesterday, after months of negotiating, the Alliance of Motion Picture and Television Producers (AMPTP) announced it does not intend to make any counteroffer to our most recent proposals.
So far, the AMPTP has failed to work with us on addressing the most grievous problems in their workplaces, including:
⏳Unsafe & harmful working hours.
💸Unlivable wages for the lowest-paid crafts.
🥱Lack of reasonable rest during meal breaks, between workdays, and on weekends.
We represent stagehands, ETCP certified riggers, and other craftspeople who work behind-the-scenes in the live events industry.
While these workers have been unable to return to work due to the COVID-19 pandemic, they stand ready to do their part when they are called upon.
We have experience working with the Army Corps of Engineers and FEMA in arenas and convention centers, and in April we helped convert numerous facilities into field hospitals in response to the COVID-19 crisis.
We've done it several times before, and we can do it again.
There is no other way to say it. Without a subsequent COVID-19 relief bill, entertainment workers and their families face economic desolation. These workers were the first to lose work due to the COVID-19 virus, and will likely be the last to return. (THREAD)
The $600 UI weekly federal benefit from the CARES Act has expired and there is no clear time horizon for a safe return to work for many entertainment workers, especially live event workers. Every moment without relief causes more hardship and desperation.
As a labor union, we know what tough negotiations are like. No deal is ever perfect, and sometimes sacrifices must be made. Yesterday Donald Trump abruptly announced he was ending negotiations with Democratic leadership on a comprehensive relief package until after the election.