Oregon Music Hall of Fame Awards $5000 to College Scholarship Winners

OMHOF Awards $5000 to College Scholarship Winners 3:30 pm on Friday, June 10, 2011 @ Rose Festival Main Stage

Oregon Music Hall of Fame is pleased to announce that Alex McDougall, Emily Potter, Emma Davis, Jean Choi, and Jasmine Terry-Shindelman are the recipients of the annual OMHOF College Scholarships.  The Scholarships, which cover a portion of college tuition costs, will be formally presented to each after their individual performances on the main stage of the Rose Festival, Friday, June 10 from 3:30-4:30pm.  The OMHOF college scholarship program began in 2004 and to date; OMHOF has awarded over $20,000 in college scholarships to college bound students continuing their pursuit of a musical education.  “We are so pleased to announce our 5 talented and highly motivated scholarship recipients,” Terry Currier and Janeen Rundle, OMHOF Board Directors, relayed, “They all have such promising futures and are great representatives for their schools, OMHOF and their communities.”

Meet the Musically Motivated Students

Jasmine Terry-Shindelman
Ashland High School
Ashland, OR
“I have always loved the violin and started playing when I was seven years old. I have had the opportunity to study music with two amazing teachers here in Ashland, Faina Podolnaya, and Cynthia Hutton, both of whom I would like to thank for their support and inspiration. I am going to be attending Bowdoin College in Brunswick, Maine, next year, and I know that the OMHOF scholarship will be a huge help to me and my family in paying for tuition. Thank you!”


Alex McDougall
Central Catholic HS
Milwaukie, OR
Alex will be attending the University of North Texas as a jazz studies major this coming fall.  “I am both excited and grateful for the OMHOF scholarship as it will be used to purchase professional level percussion equipment needed for college, and pay for my first year practice room rental and music departmental fees.  Already a piano student for 7 years, I chose percussion in the 6th grade out of extreme curiosity and now enjoy the many textural layers of rhythm and tone percussion instruments can produce.”


Emily Potter
Jefferson, OR

“Eight years ago, I began to play the flute, having chosen the instrument after hearing the instrument played in Tchaikovsky’s Nutcracker. Since then, I have competed in and won several competitions, including the Del Milne Memorial Competition and the Salem Youth Symphony Concerto Competition, as well as been principal of the Salem Youth Symphony and Jefferson High School Concert Band. I am extremely excited that the OMHOF College Scholarship will aid in furthering my music career in flute performance at Boston University.”


Jean Choi
Westview HS
Portland, OR

“I first fell in love with the cello when I heard its dark, resonant sound.  The OMHOF college scholarship will help me pay for my college tuition at Amherst and for the transportation of my cello while flying back and forth from college to home, here in Portland.”



Emma Davis
West Linn HS
West Linn, OR

“After spending years studying the flute, I decided to start classical voice lessons in eight grade because I had always had a passion for singing. Singing has given me many wonderful opportunities, and this past year, it brought me all the way to the Grammy Awards where I performed with Esperanza Spalding. I am thrilled and honored to be an OMHOF college scholarship recipient and am looking forward to using that scholarship at Emerson College in Boston this fall.”

The Oregon Music Hall of Fame (OMHOF) is a nonprofit organization created in 2004 to help preserve Oregon’s unique musical heritage by recognizing the legacy of exceptional Oregon musicians while helping to preserve and enrich musical education programs in Oregon.    www.omhof.org

Seattle’s Campfire OK comes to Portland.

You can see them play in Portland on Sunday, June 12th at Doug Fir.

The group formed when Mychal enlisted the help of friends to help him finish an album he was recording and producing in his studio. At the time, Mychal was playing in a two-piece (drum and piano) band, and wanted to bring additional instruments into the live setting. The additional musicians help translate the dense recorded effort into an exciting live show that at times features a small women’s choir and additional percussion. Campfire OK is actively working on new arrangements and original material.

Campfire OK might be classified as indie-rock, Americana, or folk due to their use of brass, piano, banjo, and acoustic guitar.The resulting arrangement is an elegant blend of piano-and-drum syncopation, rich melodic lines, and dynamic multiple-vocal stylings.

Strange Like We Are – Available NOW on iTunesAmazonCD Baby and Sonic Boom Records in Seattle.

You can hear their music and watch their videos at http://campfireok.com/


NPR: Song of The Day – “Campfire OK’s “Strange Like We Are” grows as it goes, with handclaps and
three-part harmonies culminating in powerful choruses.” http://www.npr.org/2011/02/11/133682917/campfire-ok-a-song-for-the-strange&sc=nl&cc=sod-20110211

Seattle’s City Arts lists CAMPFIRE OK as #2 Best New Band http://www.cityartsmagazine.com/issues/seattle/2011/03/poll

SEATTLE WEEKLY – “Local collective Campfire OK is one of those beautiful, restless entities that don’t stay in one place for too long but still manage to write concise, focused songs. Strongly rooted in the raw acoustic roots of the Smithsonian Folkways Anthology series, the band pushes the boundaries of the revival band stigma, incorporating subtle modern elements (synth swells and delay pedals) effortlessly atop the weathered antique frames of their songs”

SEATTLE P.I. – “They are exquisite crafters of moments, able to take a heavily syncopated bridge into an a capella denoument without losing each other or the audience. They exuded confident fun, and the crowd loved them for it. They’re making their way down to SXSW next month and I’ll be very surprised if they don’t make some large waves while they’re there.”

THE STRANGER – “While they’re every bit as organic as nature-loving artists like Fleet Foxes or even the Moondoggies, Campfire OK are also a bit more complex, involving many orchestral characteristics-sweeping, dramatic piano and perfectly placed blasts of horns.”




Tickets on sale NOW! Tickets available through all TicketsWest Locations-Safeway- Music Millennium
To charge by phone please call 503.224.8499 or order online at www.ticketswest.com

Candlebox rode the grunge bandwagon to multi-platinum success in the early ’90s, despite howls of protest from the Seattle faithful who considered their music a watered-down version of the genuine article. To be sure, Candlebox’s take on grunge diluted the punk and indie elements inherent in its original form; instead, they were rooted in the bluesy, classic-style hard rock that grunge had ostensibly replaced. Their resulting commercial appeal made them highly suspect in the minds of authenticity-obsessed scenesters, and it didn’t help matters that the band hadn’t formed until well after the Seattle hype machine had begun. Nonetheless, Candlebox unwittingly helped Usher in the post-grunge era; along with Bush, they showed how the more challenging aspects of grunge could be ironed out and polished into a sound that mainstream rock radio could embrace without reservation.

Candlebox were formed in Seattle in December 1991 by singer/guitarist Kevin Martin, a native of Elgin, IL, who’d grown up partly in San Antonio, and drummer Scott Mercado. Initially calling the band Uncle Duke, they added lead guitarist Peter Klett and bassist Bardi Martin (no relation to Kevin) and changed the group’s name to Candlebox, after a line in a Midnight Oil song. Their demo tape found its way to Madonna’s Maverick label, which quickly resulted in a record deal in 1992. Candlebox’s self-titled debut was released in 1993, and while the first single, “Change,” began to build them a following, it wasn’t until 1994, when the follow-up, “You,” appeared, that Candlebox really started to take off. “You” gave them a breakthrough hit on mainstream rock radio, which set the stage for the success of “Far Behind,” essentially a power ballad for the grunge era. “Far Behind” was a major hit on both mainstream and alternative radio, and also made the pop Top 20; its exposure helped Candlebox climb into the Top Ten on the LP chart and eventually sell over three million copies.

By the time Candlebox returned with their second album, 1995’s Lucy, the backlash was already in full swing. Partly because of the group’s previous momentum, the lead single, “Simple Lessons,” earned some rock radio airplay, and the album itself went gold and barely missed the Top Ten. However, it was largely ignored or dismissed by much of the mainstream media, and was ultimately hurt by a relative lack of memorable songs. In 1997, founding member Mercado left the band and was replaced by original Pearl Jam drummer Dave Krusen. Candlebox’s third album, Happy Pills, appeared in 1998 and marked a return to the more basic sound of their debut. “It’s Alright,” “10,000 Horses,” and the title cut all landed some airplay, but the album sold poorly; by this time, countless bands were working in a similar style, and the band’s early momentum had long since dissipated. Krusen departed in 1999, as did Bardi Martin; they were replaced by Shannon Larkin (ex-Ugly Kid Joe) and Rob Redick, respectively, but the group disbanded the following year. The original lineup of Martin, Klett, and Mercado re-formed for a handful of shows in 2006 to support the release of Rhino’s Best of Candlebox compilation. The overall positive reunion stirred rumors of a new studio album, culminating in 2008’s Into the Sun.

INDESTRUCTIBLE NOISE COMMAND (I.N.C.)’s ‘Heaven Sent… Hellbound’

‘Heaven Sent… Hellbound’ Hits Stores on New Release Date, August 9th, 2011 – To Be Distributed Through Candlelight Records

Internationally established thrash metal band INDESTRUCTIBLE NOISE COMMAND and Candlelight Records have teamed up to distribute the band’s upcoming full-length release,Heaven Sent…Hellbound, on it’s new release date, August 9th, 2011.  The album is being released on Rising Records, and is the band’s first full-length offering in over 20 years.

INDESTRUCTIBLE NOISE COMMAND just wrapped up on shooting two new music videos for the singles ‘Fist of Fascista’ and ‘Swallowed’ a few weeks ago in Brooklyn, NY.  A new “behind-the-scenes” video is now available for viewing at MetalInjection.net.  In the video below you can see the guys discussing the shoot and taking part in general tomfoolery on the rooftops of Williamsburg.  The video was shot by director Russell Hasenauer, and the “behind-the-scenes” footage was edited by Kevin Juliff.


Through humble beginnings in Connecticut, INDESTRUCTIBLE NOISE COMMAND exceeded their own expectations and the expectations of others with two successful full-length Giant Records releases, Razorback (1987) and The Visitor (1988). Giant Records signed I.N.C. after witnessing the band’s crushing live performances with the likes of Exodus, Megadeth and King Diamond; all of which taking place only six months after they had graduated high school.  In 1988 with The Visitor, the band hit #1 on the CMJ Metal charts and stole the U.K. #2 Import slot out from underneath Aerosmith. Now based in New York City, the band is back with their Bleed the Line EP and Heaven Sent… Hellbound. I.N.C. is an original pioneer of the thrash metal scene, resurrected in order to take back a genre recently flooded with neo-thrash carbon copies.  Revived and back with a vengeance, I.N.C. is ready to prove ownership of the scene in 2011.


  • Erik Barath – Guitar
  • Tony Fabrizi – Guitar
  • Dennis Gergely – Vocals
  • Dennis Leeflang – Drums
  • Samuel J. Roon – Bass

For more information on INDESTRUCTIBLE NOISE COMMAND, please visit these sites:


I AM ABOMINATION to Release New Digital EP, ‘Passion Of The Heist’.

Taylor, MI’s I AM ABOMINATION is pleased to announce the upcoming release of their brand new digital EP, Passion Of The Heist, on July 19th, 2011. The digital EP is being released by GOOD FIGHT MUSIC, the same label that released I AM ABOMINATION’s first critically acclaimed full-length album, To Our Forefathers. A new single from the digital EP will be released via the band’s official Facebook page on June 8th. Stay tuned for further announcements about this debut.

Passion Of The Heist is described by the band as a concept album, and was produced, written, engineered, mixed and mastered by guitarist Nick Sampson. The EP was also recorded at Nick Sampson’s studio in New Boston, MI. All lyrics on Passion Of The Heist were written by Brandon Good. The band plans on releasing new information about the concept of the EP with the release of the new single. Passion Of The Heist includes guest appearances, including an appearance by ATTACK ATTACK’s Caleb Shomo on the track ‘Ascension’.

“We’ve had such an amazing time putting hard work into this album, and we can’t wait for people to hear it,” states vocalist Phil Druyor. Guitarist Nick Sampson adds, “This is the first time we’ve ever sat down to write an album with no outside opinion, and it turned out awesome.”


  • 1   Vivification
  • 2   Abduction
  • 3   Examination
  • 4   Transformation
  • 5   Ascension (ft.Caleb Shomo of ATTACK ATTACK)
  • 6   Invasion

I AM ABOMINATION’s first full length album, To Our Forefathers, can be purchased on iTunes here.

For more information on I AM ABOMINATION, please visit these sites:






Redwood Son’s double CD, “The Lion’s Inside”


Redwood Son — Because Of You from The Sights Of Sounds on Vimeo.

On June 11th at Aladdin Theater, Portland, Oregon’s alt. country/Americana act Redwood Son, the brainchild of front man/songwriter Josh Malm, will release their debut CD, “The Lion’s Inside,” June 11th at Aladdin Theater.

Also on the bill are Sarah Billings, Brad Mackeson, and Jordan Harris.  Tickets are $13.00 in advance.

Redwood Son’s twenty-song double-disc debut, “The Lion’s Inside,” boasts a dynamic versatility that crosses the borders of their West Coast Americana with hook-laden roots-rock and alt. country.

The band’s core sound and early rawness is nostalgically captured on disc one, entitled “Summer of ’77,” produced with a warm analog approach by trusty local engineer Rob Stroup at his 8 Ball Studios.

Then there is disc two, “New Beautiful Day,” was produced simultaneously by Dean Kattari to beckon the band’s mainstream viability, building upon their core with an ease-on-the-ears and communal expansiveness that features plentiful guests including Gretchen Mitchell and Ray Frazier.

Led by singer-songwriter Josh Malm, Redwood Son’s long-awaited release of “The Lion’s Inside” signifies a culmination of Malm’s tireless persistence as a performer and live music presenter throughout the Pacific Northwest since 2005.

Though making an initial mark under his previous moniker, J*Malem, he birthed the concept of Redwood Son in 2009, searching for an honest sound representative of his childhood in the California Redwoods.

The first incarnation of the band was making way towards this very album while establishing a local presence when an unexpected catastrophe struck. On Novemeber 4th, 2009 Redwood Son’s original drummer and Malm’s long-time friend Kipp Crawford was killed in a tragic event that remains partly unsolved.

Though Redwood Son experienced a state of dismantle with uncertain destiny, Malm did not lose sight of their shared vision alongside the standing support of the group’s original guitarist Chance Hayden. The project was resurrected in the spring of 2010 to nobly move forward, recording their much anticipated debut in Crawford’s honor.

On June, 11th 2011 celebrate the release of “The Lion’s Inside” by Redwood Son, as the band headlines an exciting local bill at The Aladdin Theater. One can most certainly expect a powerful performance with soul stirring recollection of their trials and tribulations while they look ahead to a New Beautiful Day.


NOT TONIGHT JOSEPHINE to Open for Sick Puppies on Sunday, May 29th at House of Blues in Orlando, FL

Tampa, FL natives NOT TONIGHT JOSEPHINE are pleased to announce that they will be performing with SICK PUPPIES on Sunday, May 29th at House of Blues in Orlando, FL. Doors open at 6pm and the band is scheduled to perform at 7:20pm. For more details on the show, please visit this link.

NOT TONIGHT JOSEPHINE recently released their new album, All On The Horizon, on April 26thAll On The Horizon is produced by Brett Hestla (Creed, Dark New Day, Framing Hanley), and is the band’s follow up to their 2009 EP, This Orphan Heart. The album art is illustrated by Evan Leake at Pale Bird Design Studio. Leake is known for his artwork for bands such as Gym Class Heroes, The Academy Is, Sky Eats Airplane, TRAPT, and more. Fans can purchase the album now at Amazon and iTunes, as well as many other online carriers now!

The band is currently touring in support of their new album on their ‘All On The Horizon Tour’! See below for all current tour dates, and stay alert for more dates coming soon!



  • 5/18 Dardanelle, AR @ Front Street
  • 5/19 Little Rock, AR @ Stickyz
  • 5/20 Birmingham, AL @ The Nick
  • 5/21 Pascagoula, MS @ The Celtic
  • 5/26 Gainesville, FL @ Backstage
  • 5/27 St. Petersburg, FL @ State Theatre
  • 5/29 Orlando, FL @ House of Blues w/ Sick Puppies

The band recently released their first single, ‘All That She Wants’, on iTunes. The track has seen amazing reception from fans, especially on YouTube where the track has seen a combined 60,000+ hits from multiple posted videos since January 29th, 2011. Make sure to head to this link to download the track today!

Since the release of their debut, This Orphan Heart EP and being named “Tampa, FL’s Most Buzz-worthy Rock Band” by Creative Loafing in Fall 2009, NOT TONIGHT JOSEPHINE have quickly been raising their status in rock’s up-and-coming scene. 2010 saw the band selected for a main stage performance at the Florida Music Festival in April, shooting a series of webisodes for Busch Gardens’ Howl-O-Scream festival in September, and nailing down a much-coveted slot on WSUN 97X’s annual Next Big Thing concert in Tampa, FL in December. The band has also performed at the November 2009 Ford 300 NASCAR Championship Race, the Miami Music Festival, the Driven Music Conference, XFC 9, MudFest, WSUN 97x’s BackYard BBQ, and WJRR Native Noise at House of Blues Orlando, FL. NOT TONIGHT JOSEPHINE has performed with acts such as Anberlin, Red Jumpsuit Apparatus, Sick Puppies, Drowning Pool and more.

For more information on NOT TONIGHT JOSEPHINE, please visit these sites:


PRIORY – Portland based electronic/rock, folk quartet releases first CD.


PrioryPortland, Oregon-based indie-pop/electronic-folk outfit Priory, comprised of Brandon Johnson (vocals, bass), Kyle Dieker (acoustic guitar, keys, bells, falsetto), Rich Preinesberger (drums), and Greg Harpel (lead guitar, bells, keys), will celebrate the release of their debut, self-titled full-length on June 17th at Mississippi Studios.

Also on the bill are Mackintosh Braun and Lost Lander (featuring Matt Sheehy from Ramona Falls).  Doors are at 8:30pm, show starts at 9pm.  Tickets are $8.00 advance and $10.00 day of show.

“Priory” is the band’s debut full-length and the follow up to 2010’s “Cold Hands” EP.  The album will be released to retail on June 21, 2011 via Portland’s Expunged Records (home of Blind Pilot).

Instantly infectious, yet not a sugar-pop album that will be easily discarded, Priory walks a tightrope between immediately catchy, instantly warming songs, and subdued, complex layers that take multiple listens to start to unravel and understand the true depth of their work.

“It’s finding that balance between the standard acoustic instruments and partnering them with huge electronic bass and keyboard licks,” says the band’s Kyle Dieker when asked to describe their sound. “Priory is all about tones and where those sounds sit in a song.  Blending folk melodies with pop sensibility, Priory takes from a collection of sounds and brings them together into something that is familiar yet innovative.”

Besides layers of instrumentation that help develop the complexity of the songs, contrasting with the ease of the melodies and hooky-ness of their songwriting, Priory also puts a lot of time into their lyrics.  Developing stories that also take the listener more than a few listens to start to completely digest the power of the music.

From comparing a drug addition to a bad relationship (“Devil vs. Heater”), how our perception of family and the importance of it changes as we age (“Searching”), and self-assessment in dying moments (“Coal Mine”).  To songs about fighting for what you believe in (“Worthy Dreams”), being in a relationship with someone who is always being pursued by others (“Kings of Troy”), and realizing life is short (“Cold Hands”), the latter of which is about a couple dying together in a car crash.  Priory doesn’t shy away from tackling some of life’s scariest questions or the thoughts that we all think, but oft-try to suppress.

They come out swinging; creating music that could simply be described as “beautiful,” reeling you in, but offering up much more for those that take the journey and visit it over and over again.

“I want people that hear our album to feel something,” admits Johnson.  “Some of our subject matter is not all that light and fluffy, not unlike life, but I believe there is always a positive side. There is a glass half full, if we choose to perceive it that way.  And, a little nursery rhyme melody can often add a sense of whimsy to a dark subject matter.”

It is that contradiction that builds up and develops throughout the album, with the band toying with the playfulness of it all, while taking everything very seriously.

“Every song on the album means something to us. We did not want there to be any filler,” Johnson adds.

With the record complete, and a band itching to play live, the group plans to hit the road throughout spring, summer, and fall and tour relentlessly. In their new, revamped bus, putting on an amazing live show and converting people the old-fashioned way: one fan at a time, one club at a time, one city at a time.  And, for Priory, that just feels right.  As organic and natural as their songwriting process comes an organically grown fan base.

AFM local 99

Musicians, it’s your Union

by Keith Laurent

The motto for Portland area Musicians Union Local 99 is: Unity, Strength and Power. How does that exactly translate to you, the local musician? Before you can really get a grasp on the motto of this local, you need to identify a little of the organization’s history.

In the mid 1880s musicians in the United States began exploring ways to improve their professional lives. They formed Mutual Aid Societies to provide members with loans and financial assistance during illness or extended unemployment, and death benefits. A number of these organizations became early unions serving various constituencies, however, problems arose between them due to competition. In 1896, delegates from these organizations gathered at the invitation of The American Federation of Labor (AFL) President to organize and charter a musician’s trade union. A majority of the delegates voted to form the American Federation of Musicians (AFM), representing 3000 musicians nationally. They resolved: “That any musician who receives pay for his musical services, shall be considered a professional musician.” Within the first 10 years, the AMF expanded to serve the US and Canada, organized 424 Locals, and represented 45,000 musicians throughout North America.

Bruce Fife, president of the AFM union local 99
Bruce Fife President of AFM Local 99
Musicians Union Local 99 was formed in 1899 in Portland, Oregon. Operated by musicians, “for” musicians. A lot has happened in the realm of music and entertainment business since 1899. Fair wage scales (minimum prices) for traveling orchestras, comic operas, musical comedies and similar shows and attractions were set in 1904. With the production of Thomas Edison’s voice recording on tin foil in 1877, a revolution began with the way music was heard and sold. By the early 20th century, the recording of everything from vaudeville sketches to the classical repertoire was under way. Unemployment for musicians increased with the growing success of the commercial recordings. When the US congress passed the 18th amendment in 1918 and adopted a 20% “Cabaret Tax” on admissions to various entertainment establishments, to support the war, it also lead to decreased employment for musicians. Radio broadcasts of musical performances began to reduce the number of job opportunities for live performers. Within three years of the release of the first “Talkie” (film with sound), 22,000 theater jobs for musicians who accompanied silent movies where lost. With this new technology however only a few hundred jobs were created for musicians performing on sound tracks. The AFM got to work and in 1928 set minimum wage scales with Vitaphone, Movietone and phonograph record work. In the 1930’s The Encyclopedia of Recorded Music was published. Newspapers started record columns. Radio, recorded music and music education created a music conscious nation.

In the 1940’s the AFM worked with the record companies and created what we know as the Recording Industries Music Performance Funds which continues to promote music appreciation and music education through sponsorship of free public performances throughout the US and Canada. The AFM obtained its first written collective bargaining agreement with the motion picture industry. In the 1960’s record sales increased as the landscape for the listener became abundant with numerous styles of music including “Rock & Roll” and “Folk Music”.

The U.S. Congress cut the Cabaret Tax to 10% and nightclub bookings rose. In 1972 the Congress passed a law making music piracy subject to criminal prosecution. Serious. In the 1980’s the union worked to make the Digital Audio Recorder Act a reality. The union established the “ROADGIG” Emergency Traveling Assistance Program, which provides aid and emergency cash relief when members experience a contract default while on the road. The AFM then follows up with the enforcement of the terms of the contract. With new technologies arriving almost everyday, the 1990’s proved to be huge for the whole industry. Multimedia technologies and sound sampling on the internet were just some of the issues facing the musicians. The AFM has been involved with the protection of the musician’s rights on a national level to a local level for over 100 years.

Recently, I had a chance to sit down and chat with Portland’s Musician Union President, Bruce Fife. Fife was a veteran musician himself performing full time for over 25 years. Moving to Portland, he became a Musicians Union Local 99 member and became highly involved in union activities. His enthusiasm leads to his election as Portland’s Union President in 2001, and is currently serving his 3rd term. Portland’s Local 99 is one of the most active musician’s unions in the U.S. and Canada. By active, I mean involved in issues that affect the well being of not only the national, but also the local musician. Fife’s demeanor was one of passion for his work. His excitement and pride was evident as he spoke of the new radio station license issued in May 2008. This station’s (91.1 FM) broadcast signal will reach most of the East Metro area, as well as much of Portland east of the Willamette. The license was granted as part of a rare opening of non-commercial radio licenses available to non-profit organizations. As a non-commercial station, 91.1 FM will run no advertising and will be supported by its listeners and underwriting. As the format of the station’s airplay is yet to be determined, all indications are that 91.1 FM is going to put its emphasis on the local music community. With the announcement of the license in May, Fife said, “We are hopeful that Portland’s diverse and vibrant local music scene will be well represented on this new station. It’s long past due for these talented musicians to share valuable space on the airwaves.”

Another recent issue the Musicians Union Local 99 had been involved in was a unanimous vote by the Oregon Liquor Control Commission (OLCC) to changes in the Minor Posting rules. The new Minor Posting, #VI, makes it possible for minors to be present at a show if the venue has an approved (by the OLCC) control plan, to keep alcohol out of the hands of minors. This has been allowed under certain conditions already such as Blazer games and the Crystal Ballroom, but the new ruling formalizes the process and opens up the all age potential for more mixed-use facilities.

In the end of the 1990’s, with declining presence of music education in the local schools, the Musicians Union Local 99, along with private donations, created a non-profit organization titled: The Music Education Assistance Project (MEAP). The focus of MEAP is to provide funds for private lesson instruction to talented and needy students from late elementary to high school. The Music Education Assistance Project extends its benefits to students in Northern Oregon and Southwest Washington.

The Portland Musicians Union Local 99, which services an area from Albany, Oregon to Centralia, Washington, has close to 700 members, which range from classical players to club and casual performers. Local 99 maintains offices and a meeting hall facility at 325 N.E. 20th Ave in Portland, Oregon. Meeting hall rentals are available for small to medium-sized private events. Members have free use of the hall for rehearsal space. As a local musician the scale of benefits the Musician Union has to offer is vast to say the least. Some offering include: Union Plus benefits, political advocacy, federation contracts, legal services, group insurance rates, referral hotline, toll free road help, national and international recording contracts, pension plan, payroll service, music performance and film trust funds (RIMPTF), business guidance and seminars. Here are few samplings from the Portland Musicians Union’s website which explain some of the current issues at hand:

“Local 99 advocates for labor and human rights, as well as on issues of arts and free speech. Local 99, as part of the American Federation of Musicians, is part of a coalition working to bring sound performance royalties to terrestrial radio. This group, the musicFirst coalition is a partnership of artists and organizations in the music community who support compensating performers for their work when it’s played over the air. Corporate radio has had a free pass for too long. It’s time to level the playing field and promote fairness among all types of radio.”

This is from the musicFirst Mission Statement. “People who love music understand that creativity, talent and hard work are required to bring it to life. The goal of musicFirst (Fairness in Radio Starting Today) is to ensure that struggling performers, local musicians and well-known artists are compensated for their music when it is played both today and in the future. Of all the ways we listen to music, corporate radio is the only one that receives special treatment. Big radio has a free pass to play music, refusing to pay even a fraction of a penny to the performers that brought it to life. musicFirst (Fairness in Radio Starting Today) is committed to making sure everyone, from up-and-coming artists to our favorites from years-ago, is guaranteed Fair Pay for Air Play.”

The work of the Musicians Union Local 99 is constantly changing, as is the landscape of the world of music itself. These folks are on the cutting edge of protecting you and your rights as a musician. Their knowledge base is deep, however the technologies of the day always make it a challenge to protect the rights of the musician. The motto: Unity, Strength and Power, and how that exactly translates to you, the local musician, is up to you! Get the word out to unite fellow musicians to rally around what’s important to them. Together, you can achieve the strength necessary to elevate the rights of a musician to a higher standard, along with building power by joining forces to be a proud, professional, musician. If you would like more information about Portland’s Musicians Union Local 99, you can find them on the web at: www.afm99.org.