February 14th, 2020

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician


  1. AB5 Carrots and Sticks 

Hello All,

The author of AB5, California’s new gig-work law, said Thursday that she’ll seek amendments that remove some restrictions on freelance journalists and photographers, and is eyeing further changes for musicians, small businesses and others, as well as an assistance fund to help small nonprofit arts groups comply.

Gonzalez said she’s calling for $20 million in the state budget to supply grants to small community nonprofit arts organizations “that make a good-faith effort to comply” with the new law. Many small theater, dance and music companies have said they operate on shoestring budgets and simply could not afford to hire all their performers and backstage crews as employees.


In a decision issued on Monday, (2/10/20) Judge Dolly Gee of the Central Court of California wrote that that the court “cannot second guess the Legislature’s choice to enact a law that seeks to uplift the conditions of the majority of non-exempt low-income workers rather than preserve the status quo for the smaller subset of workers who enjoy independent contractor status,” adding that “the balance of equities and the public interest weight in favor of permitting the State to enforce this legislation.”



The above does not change the fact that AB5 is the government telling citizens just under what terms they will be allowed to earn a living.

Gavin Newsom has included 20 million dollars in the budget for enforcement of AB5. Lorena Gonzalez now wants to add another 20 million to entice compliance. Lots of taxpayer dollars going toward a deeply flawed law. 

The ability to earn a legitimate living under one’s own terms should be protected as a fundamental civil right. Too bad Judge Dolly Gee doesn’t agree.



As supervising manager and/or conductor of Opera San Luis Obispo and the Lompoc Pops Orchestra, and, as Principal Conductor for State Street Ballet Santa Barbara and Civic Ballet San Luis Obispo, and, as Principal Guest Conductor of several other entities, every year, I am responsible for the hiring of more than 400 instrumental musicians, 200 choral singers, 60 vocal soloist positions, 40 dancer roles, and lastly, 40 non-performing roles; such as directors, choreographers, stage managers, costume designers, stage assistants, costume assistants, assistant conductors, assistant directors, etc.

ALL OF THESE POSITIONS ARE INDEPENDENT CONTRACTORS!!! They take my jobs then move on to the next. Approximately 9% of those jobs are filled by union instrumental musicians – ALL OTHER POSITIONS are held by non-union member HUMAN BEINGS!

This information illustrates several important facts:

1. Union musicians take non-union work all the time.
2. The vast majority of work in classical performing non-profit world is produced by non-union people.
3. Union member musicians MUST take non-union work to survive.

Local 47 has never spoken for musicians. Local 47 is 100% ONLY concerned about collecting dues to fill the pockets of its executive leadership. AB5 will be overthrown and this entire negative experience suffered by artists throughout California will be remembered, recanted, and used to inspire individual union cessation, encouragement for companies to cut union ties, and finally to inform board members, patrons, and donors all around California how critical it is that they understand how utterly useless musical unionism is in today’s classical performing arts business model. AB5 will forever justify how UNNECESSARY it’s is for an orchestra to consider union membership or ANY collective bargaining negotiation.


Thank you for taking the time to post this! If you haven’t already done so, please consider posting this (in it’s entirety) on all of the AB5 Facebook groups such as California Independent Music Professionals United, Freelancers Against AB5, etc. You are in a unique position to effectively illustrate how many different freelance positions are filled by both union and nonunion INDEPENDENT CONTRACTORS. AB5 will destroy these peoples’ livelihoods.


It really is all hands on deck to get this earnings killer repealed! It doesn’t matter your political bent if your government is responsible for you not being able to make a legitimate living. AB5 is an equal opportunity destroyer.


The Committee


February 10th, 2020

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician



AB-5’s hidden agenda.

AB-5, CMG News, Industry Updates

As we all scramble to understand how AB-5 works and what it will mean to our own livelihood, it is important to understand the hidden agenda behind the law.  It is a well-planned and heavily financed campaign to drive people back to labor unions. The AFL-CIO and individual labor unions like the American Federation of Musicians (AFM) all want “a sea change” in union participation across the board.  While this may be the best option for janitors, construction workers, taxi drivers, etc., it is NOT the best option for independent music professionals. The unions have deep pockets, a deep bench, and they feel that if some nonunion musicians, contractors, orchestras, or opera companies go out of business because of AB-5, that is acceptable collateral damage to them.  It strengthens the unions’ stance in the long run. 

Music professionals successfully figured out long ago how to make a great living as Independent Contractors.  They set their own schedules, determined their own rates, paid taxes, bought their own health insurance, etc.   This business model works for us! We were never part of the disenfranchised, misclassified worker pool. If we didn’t like the pay scale for a particular project, we simply turned it down and moved on to the next project. No harm, no foul.  In light of the January 29, 2020 article in the LA Times, “How AB5 has instilled fear and confusion in California’s arts community“,  it is important to point out that independent music professionals have negotiated pay rates that far exceed the minimum wage, and often exceed AFM’s rates.  We worked hard for this!  

Supporters of AB5 suggest that misclassified workers account for billions of dollars of unpaid tax revenue and place an unacceptable drain on social services such as healthcare (Lorena Gonzalez mentioned this in her first interview with KUSI.).  In the case of music professionals, this is simply not true. We carry our own health insurance and pay self-employment taxes in lieu of payroll taxes. Self-employment taxes combine the employee and employer portions of the Social Security and Medicare payroll taxes that employers withhold from their employees’ pay.  

The bottom line is AB-5 does not work for music professionals.  Further, compliance with a law that does not fit the industry is ludicrous.  An exemption or repeal is not likely to happen quickly as both solutions will need to go through the legislative process and calendar.  We need to commit to staying the course. We urge you to continue to write and call your state legislators! They keep track of the number of letters and calls in order to gauge the importance/impact of an issue, so be sure to call them daily!  



ALERT: Please note that there is a Congressional bill HR2747 recently introduced that would impose AB5 on a national level!

If you thought you could just move out of California to escape this…?  Act now or forever look back on the day when you were in charge of your own life. 

The following was copied from the Internet…

Subject: ACTION NEEDED: Pass AB1928 to IMMEDIATELY Repeal AB5!

  Yesterday Asm. Kevin Kiley and Asm. Melissa Melendez circulated AB1928, an urgency bill that would immediately repeal AB5, to their colleagues in the Capitol and asked them to co-sponsor this vital legislation. It’s time for all of us to TAKE ACTION. Please contact your Assemblymember and Senator by phone and email and ask them to co-sponsor AB1928 and pressure leadership to bring it to a vote as soon as possible. Here’s a script if you need it: “Hello, my name is ____________________ and I am a constituent. I’m calling to tell Mr/Mrs Assemblyman Whoever that AB5 is hurting me and my ability to earn a living and pay taxes. As it stands now, AB5 is unworkable and unfixable. I hope Assemblyman Whoever will co-sponsor AB1928, a full repeal, and work to bring it to a vote ASAP so I can get back to work. Thank you. Have a wonderful day.” FIND MY CA REP Also, HR 2474, the federal version of AB5, is up for a floor vote in the House of Representatives. It’s crucial that you CALL YOUR REPRESENTATIVE and ask them to vote NO. Here’s a script: “Hello, my name is ____________________ and I am a constituent. I’m calling to tell Mr/Ms Congressperson Whoever that I hope they will vote NO on HR 2474. It is a copy of California’s AB5, which is hurting me and my ability to earn a living and pay taxes. It’s destroying the arts, independent journalism, youth sports, and after-school tutoring programs. HR 2474 will take a failed policy nationwide and hurt millions of Americans. Thank you. Have a wonderful day.” If you feel comfortable telling your story before Congress, you can even mention that you’d be willing to testify in Congressional hearings on the matter. To find your Congressmember’s contact information, click here. FIND MY CONGRESSPERSON And, please SHARE this information far and wide. You can forward this email or post a link to it on your social media accounts. 



The following was sent to ABC7, KTLA and Fox11. So far there has been no response…the media silence on this issue is deafening. 

Dear Media Entity, 

AB5 is having a devastating effect on the ability of the freelance/independent contractor to earn a living.  Literally hundreds of thousands of freelancers are finding themselves scrambling to cover the loss of personal and economic liberty. 

It has become apparent that this bill promoted as ‘worker protection’ is really just a power grab by unions dangling the prospect of more state revenue in the faces of our elected representatives.  The California legislature has been commandeered by the unions.  

This law forces freelancers into an employer-employee relationship making that relationship ripe for union organizing.  The unions want no competition in the marketplace. 

The ability to earn an honest living under one’s own terms should be a fundamental civil right. 

The media has remained aloof as this assault on the freelance worker plays out. The law which took effect on January 1, 2020 is having a real and palpable impact on the economic and social fabric of California. 

I am asking that the media cover this important issue…or maybe you can’t.

Full Time Freelancer
Los Angeles



These are the words of the President of Local 47.

President Acosta made it very clear…”AB5 will not be repealed”…”..we are looking out for the music ecosystem”…”the musicians union sets the standard for non-union workers”…”we want to organize musicians”…”we might have openness to amendments”… (Implicit in that last statement is that the unions are in control).

G. Lasley, Sec-Treas was sent to Sacramento on 2/3/20 to lobby in favor of AB5. 
The AFM is part of the AFL-CIO.  Their shield will be they had no choice… Sure…


Well, I just had two chamber performances canceled because the presenter does not want to change from a 1099. I completely understand. A COMPLETELY ridiculous law.
I am actually now moving some of my recording projects to Nashville. It will just be a lot more comfortable. Our union is living with contract language designed for the ’80s.
A friend of mine (string player) in London just finished recording his 8th film since January 1st. They could have ALL been here without residual payments.


By the time September comes around for a vote on any exemption for musicians…it will be too late. The landscape will have changed and the work will not be coming back.


I firmly believe that the unions (not just AFM) will be in control of which exemptions are allowed or rejected. AB5 was sponsored by unions. It was written by the unions, for the unions. The little guy isn’t being heard. The pessimist in me says he doesn’t even have a seat at the table. The optimist in me says “YET!”



As has already been pointed out by this blog and many others, the President / Board of Local 47 and the AFM are totally in the bag for AB5. Many groups, opera companies, orchestras and other entities (musical or not) have had to close or leave the state.

Now they’re trying to take the law nationwide in the hopes of forcing everyone to rejoin or join a union. The committee fully supports honest unions and its members have had decades of membership in such organizations, but the Los Angeles Local 47 and the AFM in general has proven again and again that they are not worthy of your support, unless you’re “part of the club”. In LA that means part of the 1 percent or so of membership who get steady union work. The rest? They just want your money and to have you sit down and shut up as the 1 percent do most or all of the recording work.

Don’t kid yourself, virtually all musicians do non-union work. Musicians at the highest levels of our industry do non-union work. We all know who they are, but we choose not to out them. After all, if they’re “in the club” they’ll get a pass anyway and the person who reported them will be the “bad guy”. Hypocrisy at the highest level.

In 1983, Local 47 in Los Angeles had over 13,000 members. Today? 2020? About 6,200 members. The drastic loss in membership is not because of politics, or because people have been undermining the union. The union has brought it upon itself. It is because more and more people have realized the union does nothing for them but take their money, then try to fine them if they work to pay their bills with the only work available to them… nonunion work.

So now the biggest labor entities are joining together for their own version of  “Animal Farm.”

Don’t let them do it.

Fight AB5 and the nationwide version HR2747!

Call your representatives. Fight for our right to work on our own terms.

Until next time,

The Committee


January 28th, 2020



…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic

…Reporting issues the Musicians Union doesn’t dare to mention – National
touring musician


Now is the time to contact Gov. Newsom and your State Assembly and
State Senate representatives to support immediate repeal of AB 5 via AB-1928
introduced by Assembly Member Kevin Kiley.  A rally is taking place at the
State Capitol tomorrow.

Freelance workers cannot wait for AB-1850 (a placeholder bill currently without
language and a timeline) introduced by Assembly Member Lorena Gonzalez as a
“clean-up” bill for her AB 5. We cannot place our lives on hold and
hope for a possible vote in September that will end this nightmare!


2. BILL 1850

Dear Editor,

State Assembly Member Lorena Gonzales has thrown a bone to our
industry…maybe.  An Amendment Bill AB-1850 (with no timeline and no
actual language) is being offered for consideration.

Local 47 AFM President John Acosta (a proponent of this earnings killer for the
vast majority of union members who do not solely earn a living in their chosen
profession reflected on W2s) told his Local 47 Board of Directors… He had
received a call from IASTE and was asked what plans the Local might have
…”openness to amendments”…as “they are also having issues
with their membership.” The Executive Board went into private (Executive
Session) for over an hour on this issue.

Is it going to be up to unions just what exemptions IF ANY will be allowed?!

Local 47 Member


3. Member Comment

Says bucketloads of what our union is doing to protect
working musicians!! This union has been going backwards for a long time now.
Very sad, especially for the young freelancers out there.


Until next time,


AB5 WORK LOSS – Comments

January 18th, 2020


…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

Dear Editor, 

Just received a call from an enraged fellow musician…an opera that was scheduled for all next week has been cancelled due to AB5!  Here is a musician that relies on this type of community gig to pay the bills!  How will this musician cover this loss? So sad and will not be the only one….so many other persons in other fields are already feeling the pain of jobs lost and a mad scramble to get anything to keep money coming in.  As one person wrote re: Repeal AB5 ….in answer to Assembly Member Lorena Gonzalez’s (who introduced the bill) comment, “People shouldn’t need to have two or three jobs…” “Thanks, now I have no jobs!”

Dark Dates will go Black Market and musicians will be relegated to the same status as the day laborers at Home Depot…illegal and working for cash! Sickening!

47 Member


It is pathetic that the musician union that suppose to defend the interest of musician is doing nothing to oppose this law that the only thing it will do is damage the entire music business.


Many musicians woke up on January 1, 2020 without a clue that their way of life was going to be in jeopardy. AB5 is a drastic game changer for people who are used to owning their own lives and livelihoods. This bill is a power grab by big labor and a money grab by an out of control legislature. Don’t whine…get busy and exercise your civic rights! Our government works best when it fears its voters!


This law is extremely harmful to the entire music community and will cause harmful consequences to the people working in this industry as well as for the general population who will be deprived of music because there just won’t ba any way to produce it any more. Venues will close, people will go broke with all the challenges that insures on the health of a human being.

I urge you to reconsider and amend this law to take our specific industry into consideration and leaving it out of this legislation.


We’ve also received word from another member who writes text for a publishing company on the side. Turns out the company has decided to leave California, eliminating whatever work was done by folks here.

Nice going AB5 supporters. (You listening John?…. Ray?)


There was a recent interview with one of the legislators who had to hear complaints from constituents whose work has disappeared directly because of AB5.

Her Response? “They’re lying.”

With friends like these….

Till next time.



January 15th, 2020

Freelancers Angry Over Assemblywoman Gonzalez’ False Claims About Benefits

“The terms of AB 5 are so murky that many companies are choosing to not work with anyone living in California.”

Newsom Budgets Millions to Hunt Down AB-5 Violators

By Michelle Mears, January 14, 2020 6:51 am

“Like the old Soviet Union you will be allowed to work only if government allows it—under their conditions, not yours.” ~Stephen Frank

Part ll of those hurt by AB 5.

Part l is here: Democrat Assemblywoman Gonzalez Says There Is No Data Proving Thousands of Freelancers Are Losing Work Due to AB-5

Assemblywoman Lorena Gonzalez (D-San Diego) and Governor Gavin Newsom (D)  are digging in as freelancers fight back against AB 5. On Friday, Jan. 10 Gonzalez appeared on KUSI in San Diego and made numerous false claims about workers in the gig economy not paying taxes or having benefits. The same day,  Gov. Gavin Newsom allocated $20-million to target and investigate contractors, not in compliance with the law that took effect New Year’s Day.

California is estimated to have nearly two million residents who choose to work as an independent contractor, according to the  2018 U.S. Bureau of Labor Statistics Economic Release. Two million however is a conservative estimate because the report did not include the number of individuals who supplement their income with online platforms.

Gonzalez has angered not just thousands but possibly millions of voters. Self-proclaimed hard core Democrats have said this is the straw that broke the camels back.

A group of contractors met with Assemblyman David Chui (D) in San Francisco on Monday. Chui told contractor Emily Price and others that a repeal of AB-5 is unlikely but he is keeping a binder of people’s stories on how the bill is affecting them.

Meanwhile, rally’s are being planned up and down the state, freelancers and independent contractors are writing letters, and making phone calls to state representatives. Gonzalez however remains firm AB 5 and says the new law is best for the state.

AB 5 stems from the  The Dynamex Operations West, Inc. v. Superior Court decision by the California Supreme Court in April 2018 that overturned three decades of California employment law that allowed individuals to work as independent contractors.

According to, “This decision could upend how millions of Californians earn a living and nearly every industry due to its new restrictive ABC test. The ABC test is the first time in U.S. history that such a test has been imposed by a court, without legislative approval, with three independently disqualifying factors.“

Newsom who is pro-union like Gonzalez, said he will use part of the $20 million for training staff to allocate the ABC test and to allocate funding to investigate and hold hearings on compliance. A reporter from California Political Review compared Newsom’s tactics to the those of a communist regime.

“Like the old Soviet Union you will be allowed to work only if government allows it—under their conditions, not yours,” wrote Stephen Frank.

The terms of AB 5 are so murky that many companies are choosing to not work with anyone living in California.


January 8th, 2020

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

Editor’s Comment: As anyone who’s followed the AB5 story knows by now, The AFM and Local 47 made no request to exempt freelance musicians from AB5. In fact, they support it. Word is they support it because they think it’ll force those who’ve gone Fi-Core or are non-union to re-join or join the AFM. That’s not going to happen, and as you will read below, the AFM and Local’s conduct is coming home to roost in a big way, affecting us all.



  1. AB5 Update LOCAL 47

Originally posted December 31, 2019 by AFM Local 47 President John Acosta [johncoz2022]:

Many of you may now have heard of California legislation AB5 which was created to ensure that most workers in California are classified as employees, not independent contractors. Introduced by California Assemblymember Lorena Gonzalez, AB5 was created to incorporate the Dynamex ruling, which was a California Supreme Court decision from last year, into state law. That decision limited an employer’s ability to classify certain types of workers as independent contractors. Some members have asked if this new law will negatively impact the practice of using loan out companies as a way of ensuring fair tax treatment for our members. It is our view that AB5 will have no impact on the use of loan outs. AFM Local 47 along with DGA, WGA, IATSE and SAG-AFTRA have done exhaustive due diligence with counsel to come to this conclusion.

Another hot topic with AB5 is the so-called “end of the music business as we know it” tagline that some organizations are touting. Nothing could be farther from the truth! While AFM agreements clearly establish that musicians are employees and not independent contractors, there were many instances where employers attempted to misclassify musicians. Leading up to the bill’s adoption we worked closely with SAG-AFTRA to ensure that musicians and singers were properly covered under this new legislation. With the backing of the California Labor Federation, our Secretary/Treasurer Gary Lasley along with AFM reps all over California reached out to elected officials to seek continued support for this important legislation.  

There are current talks underway with the California legislature and employer partners to clarify AB 5’s impact where necessary, but AFM Local 47 will always do what is in the best interest of its members first and foremost.

Whether it is a community orchestra, small theater, or a live performance, California law requires employers who hire musicians for performances, which meet the AB5 threshold, to pay the appropriate taxes and make the necessary withholdings. This way, musicians can apply for disability, unemployment, Social Security or workers’ comp when necessary and applicable.

This entry was posted in All News, Legislative News ( and tagged AB 5, AB5 on January 2, 2020.

  1. Comment on the site for this story:

January 4, 2020 at 10:12 am

Horrible stupid bill and shame on the “union” for backing it!!!! The union represents less than 5% of the music industry but they don’t give a crap about anyone else. I’m going to-core

  • Additional Local 47 member comment:

Really?  Someone who has been a desk jockey for nearly two decades has the balls to tell the rank-and-file the Union is working for us?!!


2. Musicians Union’s Pension Plan Asks Treasury Department For Permission To Reduce Benefits In 2021

By David Robb (


January 7, 2020 9:00am

Trustees of the American Federation of Musicians’ troubled Pension Plan have asked the U.S. Treasury Department for permission to reduce thousands of musicians’ monthly pension benefits in order to keep the “critical and declining” Fund from becoming insolvent within the next 20 years.

The Plan is in trouble because as of March, its $3 billion in liabilities exceeded its $1.8 billion in assets, meaning that the Plan is underfunded by about $1.2 billion. Ironically, many musicians facing pension cuts were once employed on films executive produced by Treasury Secretary Steven Mnuchin, who was a prolific movie producer and investor before joining President Donald Trump’s Cabinet in February 2017.

See the trustees’ FAQ here.

U.S. Department of the Treasury

The trusties, who determined that the Plan had entered “critical and declining status” last April, told their participants today that “This means that the Plan is projected to run out of money to pay benefits – or become ‘insolvent’ – within 20 years under the Multiemployer Pension Reform Act (MPRA), a law enacted in December 2014. Under MPRA, if a fund enters critical and declining status, the trustees can apply to the U.S. Department of the Treasury for approval to reduce participants’ benefits by an amount sufficient to avoid insolvency.

“Although reducing earned benefits will be painful, the trustees have submitted an application to do so because the alternative of running out of money would leave participants with a much greater benefit reduction in the future. The trustees have no other viable way to save the Plan for the long term – that is to say, realistic investment returns and contribution increases will not avoid insolvency.”

According to the trustees, nearly half the Plan’s 50,782 participants are expected to see some reduction of benefits beginning early next year, and some will be harder hit than others. Pensioners who are 80 years old and older, for instance, won’t see their pensions reduced at all, nor will those who receive disability pensions. Those who receive relatively small pensions won’t be affected either, or will be affected the least. The reductions will fall mostly on younger retirees – current and future – and on those who receive the largest pensions.

The trustees estimate that 22,753 participants (44.8%) are expected to see reductions of 20% or less, with 930 (1.8%) seeing reductions of 20-40%. They estimate that 27,099 participants (53.4%) won’t see any reductions at all.

If approved by Treasury and by the participants, the benefit reductions, which will kick on Jan. 1, 2021, will affect a broad mix of musicians who work or have worked in the film and television industry under the union’s contract with management’s AMPTP; on sound recordings; at symphonies and operas; on Broadway, and in regional and traveling musical productions.

20,000 Musicians To Receive “Painful” Pension Cuts To Keep Benefit Fund Solvent

The decision to apply to the Treasury Dept. for benefit reductions “was painful, but it is essential that we do everything possible to put the Plan on stronger financial footing,” the trustees told participants today in personalized statements telling each participant how much, if any, their benefits will need to be reduced to keep the Plan solvent.

“Doing nothing also results in benefit reductions,” they said. “This isn’t a choice between reducing benefits and not reducing benefits. It is a choice between reducing benefits now, or reducing benefits later, but to a greater extent. No one wants to reduce benefits. But, if we don’t reduce benefits now, at some point in the future, the Plan won’t have enough money to pay benefits.”

The Pension Benefit Guaranty Corporation (PBGC), which was created by an act of Congress in 1974, is supposed to protect multiemployer pension funds like the AFM’s, but facing a record-breaking deficit of more than $65 billion itself, has said that it could run out of money by 2025.

“The PBGC’s multiemployer program is projected to become insolvent by 2025,” the trustees noted. “If that happens, then there will be little to no PBGC guarantee to fall back on. In this scenario, if the Plan became insolvent, then participants’ benefits would be reduced dramatically. That’s why it’s so important for us to ensure that the Plan avoids insolvency. While there is no doubt that benefit reductions for participants will be difficult, they cannot be worse than the catastrophic reductions that would take place for participants if the Plan and the PBGC both ran out of money.”

And even though the PBGC’s own financial problems make it an unreliable guarantor – with more than 100 multiemployer pension plans across the country currently facing insolvency – they’re required to pay into it, regardless of their funding status. For 2020, multiemployer plan have to pay $30 to the PBGC per plan participant – nearly quadrupling from $8 per plan participant in 2007. For the AFM Plan, that means that its required PBGC premiums increased from approximately $400,000 a year in 2007 to $1,450,000 last year “due to the enormous increases in the per-participant annual premium,” the trustees said.

Musicians Union Failed To Win Streaming Residuals – Its Main Goal In Film & TV Contract Negotiations

“Some legislative proposals in Congress have included significant increases to PBGC premiums, including a November 2019 proposal by Senators Charles Grassley and Lamar Alexander,” the trustees said. “If passed, such increases would drain the assets of troubled plans like the AFM Plan even faster, thereby hastening possible insolvency. The trustees oppose these increases.”

“We have a real opportunity to save the Plan,” the trustees said. “There are a number of other financially troubled plans that are too far gone to even apply” to the Treasury Dept. for benefit reductions. “We believe that our proposed reduction will reposition the Plan to be around to pay benefits to current and future retirees for decades to come.”

But that will require the Plan’s participants to approve the reductions if Treasury gives the okay. And if everything goes according to plan, Treasury will post the AFM’s application on its website on Jan. 29, and will have completed its review of the application by Aug. 11, approving or denying it. If the application is approved, the Treasury Dept. will mail ballots to all participants and beneficiaries of deceased participants within 30 days of approval. Voters will then have at least three weeks to cast ballots, with those who don’t vote being counted as “yes” votes to reduce benefits. Treasury must then announce the outcome of the vote within seven days of the voting deadline, and for a plan of benefit reductions to be voted down, a majority of eligible voters must vote against it, meaning that a low-voter turnout will guarantee approval.

It’s also possible that Treasury will identify changes that need to be made in the application before it can be approved. In that case, the Plan may withdraw the application and resubmit it, which would restart the timeline. This has occurred for many other pension funds that ultimately have had their applications approved. “To reduce the likelihood of this scenario,” the trustees said, “we have had numerous communications with Treasury about its expectations.”

“Nobody wants to see benefits reduced,” the trustees stressed. “But unless Congress steps in with a legislative solution, something it has so far refused to do, the options boil down to reduced benefits now or running out of money and having a much higher reduction in benefits later. We understand that participants don’t want to hear that we need to take away a portion of the pension they have been relying on, but that’s the awful choice we face.”


“Good morning, thanks for calling the AF of M”

Yeah hi, this is runaway scoring calling. I’m here in Seattle, tomorrow I’ll be in London at Abbey Road with all your musicians. We’re scoring all your films non union now. I think you might have a long term problem coming on your hands and I want to give you the heads up”

“I’m sorry, we’re busy at the moment right now with pressing matters”…click.


3.Musicians Union Failed To Win Streaming Residuals – Its Main Goal In Film & TV Contract Negotiations

The American Federation of Musicians failed to achieve its main goal in its recently concluded negotiations for a new film and TV contract – winning residuals for musicians’ work on episodic TV shows made for streaming services. Even so, the 80,000-member union says it will keep fighting for those payments when the contract comes up for renewal in two years.

The negotiations with management’s AMPTP concluded with a tentative agreement on Friday, but terms of the deal weren’t released until today.

The new two-year contract, which still must be ratified by the union’s members, “includes many substantive improvements and no significant concessions,” the AFM said, “yet still does not include residuals for work on films and episodic TV shows made for streaming.”

The union added: “For the first time in history, musicians will receive screen credits when they perform on theatrical and streamed film scores. Also for the first time, the proposed deal establishes fair wages and conditions for high-budget shows made for streaming platforms.”

Other economic improvements include an increase in musician residual payments for shows rented and purchased online, as well as 3%-a-year wage increases. According to the union, “Musicians successfully resisted attempts by the studios to impose unjustified concessions, including those that would allow studios to score more TV shows and films abroad.”

The AFM added: “While these unprecedented achievements are significant wins for musicians, their biggest demand — residuals for work in new media — was not included in the final offer by the Alliance of Motion Picture and Television Producers. While the studios continue to refuse industry-standard residuals for new media projects, musicians have made it clear that this is still a priority and that they will continue to fight for this basic standard.”

AFM president Ray Hair called the deal a temporary “truce” in its ongoing battle for streaming residuals:

“The campaign for fairness in our contract with the studios, particularly on the issue of compensation and residuals for content made for streaming, has energized not only our film and television musicians in Los Angeles, New York and Nashville, but musicians throughout the country. The tentative agreement, if ratified, will be viewed as a short-term truce. While we’ve made meaningful progress on how we are recognized and treated when we perform scoring sessions for theatrical and long form new media productions, our musicians’ concerted activity will continue as the backdrop to our ongoing efforts to obtain fair residual terms whenever we are engaged to score content made for streaming.”



Great blog! I agree with and support both articles by Ari and the one with the letter. However, I think the most compelling article is the one written by the current AFM member. I’ve spoken with many union members about AB5 and learned that many of them did NOT support this bill. Very little information was shared prior to September 18, 2019 when the bill was signed by Governor Newsom. Even after the law was signed, the majority of music professionals I spoke to knew nothing about the law. If the AFM was truly “representing” the voice of their members and the music community, they should have done a much better job at educating everyone about the impending bill BEFORE it was signed into law. Now we must spend our precious time and resources complying with the law while also fighting for an exemption. Great job AFM!


Until Next Time,

The Committee


December 31st, 2019




[Firstly, what are the ABC rules?: a new test to determine whether a worker is an independent contractor or an employee.

A worker is an independent contractor ONLY if the company hiring the worker establishes the following:

  1. the worker is free from the control and direction of the hiring company “in connection with the performance of the work, both under the contract for the performance of the work and in fact”;
  2. “the worker performs work that is outside the usual course of the hiring company’s business”; and
  3. the worker is “customarily engaged in an independently established trade, occupation, or business of the same nature” as the work performed for the hiring entity.]

Below are three views of AB5. Make sure to pay particular attention to the statistics in Ari Herstand’s article. They are quite eye opening.



To the esteemed members of the California Assembly and Legislature:

AB5 will have a devastating and catastrophic impact on independent musicians, their livelihoods and the music industry in general in California. Musicians’ businesses operate in a substantially different way than many other types of industries, and the changes brought by AB5 are not sustainable with our business model.

Each year, a musician may be booked by numerous entities or individuals and may also contract numerous individuals. Musicians often wear different hats; as performers on their own and other musicians’ recordings and live performances, as session musicians, as instructors, as producers, as composers and songwriters, as bookers and as bandleaders.

For example, in a given week, a musician might:

-Perform on live gig under their own name and two in other bands.

-Teach eight private lessons.

-Produce three songs for a client, involving booking a studio and session musicians.

-Record their own songs with other musicians.

-Subcontract musicians and play at a wedding.

In just one week, the musician would be both employer and employee .numerous times over in the AB5 model. This is exponentially true over the course of a year. Using the Uber and Lyft model that precipitated AB5, imagine there are thousands of different rideshare companies. A driver might work for multiple companies for only a few hours a week or month. That same driver also owns a rideshare  Californiacompany that uses other drivers. This imagined scenario closely resembles musicians’ situations.

Most professional musicians in California do not have assistants, lawyers, agents or business managers. Most of us make a modest living in order to pursue their craft. The costs associated with AB5 would be crippling. Incorporating or becoming an LLC is prohibitively expensive, and payroll companies do not work with our business model. If one musician is contracted by another to perform on one song on a record, and the booking musician must go through a payroll company, they must pay fees for that one musician for the entire year. Multiplied by the amount of times one musician can contract other musicians throughout the year, the costs and logistics become overwhelming for an individual.

Most musicians in California are not celebrities. We are members of the working class. We have worked diligently to pursue our art, build up clients and nurture professional relationships so that we may continue to create and entertain. We work for and with each other on projects. There is no company or corporate structure. Our work is on a per-project basis and frequently the person booking us is a fellow musician. If a musician is contracted to play one song on an album, they recognize that there is no promise of future employment. They cannot claim unemployment against their colleague that booked them.

Being a professional musician is, by definition, a freelance occupation. The term “gig” was coined in the 1920’s by Jazz musicians. Musicians cannot stop freelancing and at “Blank Music Company” since it doesn’t exist. Music organizations that do offer secure, full-time employment and benefits, such as symphony orchestras, are blindingly difficult to get into. First-call union session musicians in Los Angeles can enjoy an excellent living and benefits, but the lines for those recording sessions are long and few musicians will ever make the bulk of their living this way. Most of us piece together our living from numerous opportunities throughout the year, which we welcome and want to do.

We are, frankly, terrified of AB5 as it allies to us. The ABC test is so strict and the fines are so high that many entities will simply stop using California musicians altogether. Clubs will switch to recorded music rather than use payroll companies, composers will use sampled instruments rather than live players and much of out business will simply move to Nashville, New York or Atlanta. The Los Angeles jazz scene has, in the last several years, surpassed that of New York in terms of creativity and visibility, but is not a money-making venture and is vulnerable in that aspect. Jazz clubs, with their limited resources, could become so over burdened that they may be forced to close, which would be a great loss to the state of California, both economically, artistically and in terms of its newfound reputation as a hub for creative music.

We are aware that exemptions for musicians were discussed and ultimately negated by the AFM, but the AFM represents only a fraction of musicians in California and does not speak for the majority of us. Most independent musicians were not aware of the existance of AB5 or how it could impact them until after it’s passing. And most are still not. We appreciate your efforts to go after billion-dollar conglomerates such as Uber and Lyft, but the reality is that independent musicians are much closer to the drivers economically. Many of the individuals in the professions that were granted exemptions – doctors, lawyers and architects – make many times over the salaries of average working musicians. Why not grant independent musicians, who need it even more, the same exemption?

We are proud to call ourselves independent California musicians. We want to continue as independent contractors so that we may continue to pursue our craft in the best possible way for us. We would be grateful for an exemption that recognizes the unique nature of our field and allows us to continue to make the best music we possibly can.


A group of independent professional California musicians seeking an AB5 exemption.



Dear Editor,

So the author of AB 5, Assemblywoman Lorena Gonzalez tweeted that “We were very disappointed the music industry and entertainment unions did not get to an agreement.”

The Officers and Executive Board of Local 47 know that support of AB 5 will disenfranchise the majority of the membership that makes their living as independent contractors.  The union sees this legislation as an opportunity. The Union is in the union business. AB 5 will allow the arm of state government to decimate and eliminate the union’s competition in Los Angeles when it comes to recording and production…or so they might hope. They just don’t want to be blamed.

Union support is often the way many of the politicians get elected. President Acosta has even opined that since the law will bring more revenue to the state, perhaps it will be time to ask the state for more money for the arts.

President John Acosta presents himself as representing 6200 members in Local 47 AFM.  However, the overwhelming majority of the Union’s efforts in Sacramento focus on tax credits for media recording that benefit only a small fraction of the membership known as the Recording Musicians of America, a once powerful and controlling players’ conference within the AFM. At last count RMALA = 457 members.

There might be quite a change in the perception of the Local if Sacramento and the LA FED knew that the Officers and the Board got elected with less than 365 votes. That is probably about the number of rank-and-file musicians that actually make a living solely under union contracts.

Local 47 Member

[EDITOR’S COMMENT: We believe the number of those making a full living solely off union work is far smaller than 365]



I met with AB 5 Author Assemblywoman Gonzalez. Here’s How it Went.


By Ari Herstand

Yesterday morning 5 musicians and I piled into my car at 7am (!!) and we made the excursion down to San Diego to Assemblywoman Lorena Gonzalez’s office to discuss the effects of California’s new law AB5 on the music community.

If you’ve been living under a rock the past couple weeks, read my piece: California’s Music Economy Is About To Crash

After my article finally got the conversation started about how AB5 will be catastrophic for the music industry in California, I was offered a meeting (via Tweet) by Assemblywoman Gonzalez – who wrote the bill and got it passed. It’s funny how effective Twitter is these days in politics. Ask a musician the last time they logged into Twitter and most will say not since the Obama era, but man, if Twitter ain’t where politics lives and dies. Welp, it got me a meeting.

Now as an update on what went down since my article was posted just about a month ago, the RIAA, A2IM, MAC and AFM finally got back to the table to continue negotiations on coming up with language to exempt music professionals for a potential clean up bill. A petition was started which garnered over 2,500 signatures in 24 hours. (SIGN IT) The A-list working musicians’ app Jammcard ran a survey of its members about AB5 and got some startling results back (more on this in a moment), Assembly members and Senators were FLOODED with letters, calls and tweets from the music community of California (thank you!) and I got a meeting with Assemblywoman Gonzalez.

Also, someone wrote a critical response on Medium to my article entitled, Ari’s (not so good) Take: A Measured Response.

Which he tweeted to Assemblywoman Gonzalez and she retweeted exclaiming “so well written!” In this piece, the author, Nathan York Jr., basically says that no one should fret because this won’t be enforced. And included the letter written by AFM Local 7 Vice President Edmund Velasco back in September when the law was signed – which contained extremely misleading, nay, false information about the effects of AB5 on working musicians. Either Velasco flat out lied to his members to save face and preempt the backlash or was just misinformed and passed along that misinformation. Unfortunately, this is what some musicians in support of AB5 are basing their opinions off of. And 10 different attorneys say that Velasco is flat out wrong and spread misinformation. So there’s that.

Nearly everyone (well all 5 musicians) who are in favor of AB5 (as it relates to music) bring up enforcement.

They say that we don’t need to worry because this will never be enforced. They are basically saying that we should just not comply with it and break the law. And that it’s actually a good thing because it gets us closer to forming a NEW union for musicians. A couple things about this argument: 1) intentionally not complying with the law hoping that no one will come after you is no way to run your business and 2) enforcement comes in many different forms. Will the Attorney General of California be knocking on indie musicians’ doors? Probably not. But the EDD (Employee Development Department) very well could. And do! One of the members in our meeting was recently audited by the EDD where they were checking to see if the people he issued 1099s were properly classified. So enforcement actually does happen. And not only that, if you have a disagreement with someone you hire for a gig and they really want to fuck you, they very well could sue you and bring up your non-compliance with this law. And once they bring this suit against you, you’ll now have a spotlight on you and will be an easy mark for the EDD.

So not complying, is not smart business.

Back to the meeting at hand.

I organized a group of 5 musicians to head down to Assemblywoman Gonzalez’s office in San Diego to plead our case:

Elmo Lovano (drummer and founder of Jammcard), Raquel Rodriguez (singer, songwriter, studio owner), Nick Campbell (bassist), Danica Pinner (cellist, string quartet member), Alicia Spillias (violinist, string quartet owner). My meeting was confirmed just about a week ago and the group and I had a very active email thread going, preparing for this meeting. On the drive down we talked the entire way down (not a single song was played!) prepping for what we were expecting was going to be a contentious meeting.

But let’s backup for a second.

The night before, I was at School Night in LA. Nick Campbell came up to me after he finished playing his set and said “Hey Ari, you know that guy who wrote the response to your article? Well, apparently Assemblywoman Gonzalez invited him to our meeting!” Nick was tipped off by his friend Martin Diller who Nathan York (the writer of the “Measured Response” piece) asked to join him for this. Martin had been similarly critical of my article in my comments section so apparently Nathan saw that and found an ally to join him. Martin called Nick as a courtesy because he figured we were in the dark about this and didn’t want us to be startled. Martin and Nick are friends and they do gigs together.

Assemblywoman Gonzalez did not give me a heads up about them joining our meeting.

I’m not exactly sure why she brought them into our meeting – especially without telling us about it. Maybe she was hoping for an all out brawl in her office. Maybe her Pay-Per-View subscription had expired and she was in need of some head to head entertainment. Regardless, it was a little odd that she surprised us with this. It could have completely derailed the meeting and our agenda. Maybe that was her intention? I’m not sure.

Luckily, we were tipped off. So on the drive down, literally 45 minutes before our meeting, we all got on a call together to attempt to work out our differences over the phone through stop and go traffic on the 5 to attempt to present a unified front going into the meeting. After 45 minutes of discussion, we realized we are actually much more closely aligned than our conflicting articles and comments would make it seem. All we needed was some time to hash it out. Luckily we were able to do that BEFORE walking into her office. Again, though, why she didn’t give us a heads up to have this discussion in advance and help everyone better prepare for the meeting is quite confusing.

The 9 of us (oh, Nathan and Martin brought an attorney with them. Cool.) piled into Assemblywoman Gonzalez’s office and I explained to her that we are all in support of the intentions behind AB5 – to help workers who are being taken advantage of by greedy corporations – but unfortunately this will be absolutely catastrophic to our business. The added costs we will incur to comply with this law will crush us. We went around the room and explained how we each run our business. How most of us are both “workers” and “employers.” Oftentimes on the same gig. Gonzalez asked very pointed questions and genuinely seemed to want to learn more about how we operate our business. She was very engaged and it was actually a really excellent conversation.

Nick mentioned how his accountant told him he could expect a 20% increase in costs for every musician he hires. My accountant estimated that it would cost an additional $6,000 or so a year to get fully setup and comply with this.

Gonzalez pushed back a bit and said that the “costs” are just being transferred – that someone has to pay these taxes and before it was the contractor and now it will be the employer. Which is not accurate. Most of these costs are not taxes, they are additional costs to comply. It’s the $300/mo payroll companies charge (you have to have a payroll company to withhold the proper taxes and issue payment). It’s payroll tax for each ‘employee.’ In any given year, I hire 40 or so music professionals for various gigs and studio sessions. Oftentimes for one-off gigs where they’re paid $100-200 or so. There is an added payroll tax for every single employee. Not to mention that payroll companies are not setup for one-off gigs and charge extra fees for short term ‘employees’ like this – with an additional cost to add a new employee. Previously, it cost me around $550 to file tax returns as a sole proprietorship with my accountant. As a corporation it will cost about $2,500. To register and maintain an LLC or S-Corp costs a minimum of $800/year (to be able to actually put people on payroll and W2 them).

+9 Things Singer/Songwriters Need to Know About Hiring Freelance Musicians

Not to mention that with the new Trump tax law, W2’d employees are no longer able to itemize their expenses like independent contractors are.

Since most musicians will have multiple (oftentimes 20+) “employers” in any given year – none of whom cover our expenses like equipment, rehearsal studios, recording studios, software, hardware, travel, lodging, food, etc. – we need the ability to write off these expenses. But if we are forced to be W2’d employees, we can’t do that anymore.

This is honestly just scratching the surface.

So there are actually quite a lot of added costs (and diminished benefits). What middle class musician can afford an additional $6,000 a year without it putting a serious strain on them? I honestly don’t know any.

Elmo shared the results of the Jammcard survey that was sent to their 4,000 California members (all vetted working music professionals):

Are you a member of the AFM (musicians union)?

64.8% – No I’m not

17.8% – Yes I am

13.2% – I used to be

2.4% – I am but I’d like not to be

1.7% – I don’t know what the AFM is

Do you make the majority of your income from union work or non union work?

97.6% – Non union

2.4% – Union

How do you prefer to be taxed as a music professional?

76.4% – 1099 (freelance/independent contractor)

15.6% – W2 (employee)

8% – I don’t know

Do you support California AB5 for music?

66.7% – I do not support it

8% – I support it

25.3% – I don’t know what it is

All in all, it worked out to be a very healthy discussion and she expressed willingness to create a ‘clean up bill’ and add clarification for the music community – essentially carving out certain music professionals from the law.

She explained that come January 6th when the Assembly is back in session, they can get to work on drafting language for the new Bill and once the language is agreed upon by all interested parties (us, RIAA, A2IM, AFM), they will vote on it. She did say that it will be voted on before September 1st (the deadline), but we shouldn’t expect it much sooner – these things take time.

+22 Musicians Who Made It After 30

But, and this is a huge Kardashian but, if this clean-up bill is passed, it will be retroactive. Meaning, even though nearly every musician in California will be in breach of this law come January 1st, this clean-up bill will essentially wipe away these, uh, crimes. So even though literally thousands of musicians will be breaking the law come January 1st, no one will be able to come after us once this clean-up bill is (hopefully) passed because it will in essence change the law from when it was enacted (January 1, 2020).

It was absolutely wonderful to meet with Assemblywoman Gonzalez with my fellow musicians and exercise our rights a bit. And I’m excited to continue to work with her to get this thing passed so musicians can continue to thrive in the state of California.

It seems like we’re moving in a positive direction, but we need to keep up the momentum to get us over the finish line. So! Please hit up your representatives and let them know that you’d like an exemption for music professionals.

You can find out who your representative is here.

About the Writer

Ari Herstand (pronounced Ar*ee Her*stand) is a Los Angeles based musician and fronts the band Brassroots District. Follow him on Instagram, Twitter and Facebook.


I. Recent LA Pension Meeting

October 17th, 2019

II. The Musicians for Pension Security’s Take

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician


I. Recent LA Pension Meeting

A member’s reflection on the meeting:

Personal  thoughts?

Many of the big dollar members…took their pensions early.  Being privy to what was coming down the road …(being the most represented and engaged in THEIR business)…THEY captured any reduction by taking THEIR money up front…mostly the studio players…the orchestra players had to give up their tenure and hope they could still remain “on the list” after the required lapse of time to return to work.  

About the info-meeting itself…It was a just to be expected. Infomercial about the state of the state…just an opportunity to give the rank -and – file the proper lexicon of the situation. 

The pension meeting at the Marriot Convention Center in Burbank was video taped and will be posted on the web.  It was an informational meeting designed to clarify the problems and the process for keeping the pension plan solvent.  

The attached link covers the general information that was presented at the meeting.


II. The Musicians for Pension Security’s Take


July 29,2019

New revelations have emerged in the class action lawsuit filed by AFM Local 802 members Andy Snitzer and Paul Livant in Federal District Court, Southern District of New York. A recent court filing by the attorney for the plan participants, Steven Schwartz, details how risky and imprudent investment decisions by our trustees led us to where we are today.

The filing, which you can access here, compares the AFM-EPF investment strategy to that of other large multiemployer pension plans. That comparison showed a “stark departure in terms of asset allocation from other large Taft-Hartley


plans.” The filing continues:

“[The AFM-EPF’s] allocations to risky asset classes were so far out of the norm that none of the witnesses, including Defendants’ [trustees’] own experts, have identified any other Taft-Hartley [multiemployer] or other large pension plan with a similarly uber-aggressive asset allocation.”

The attorney for the Plan participants goes on to describe the undisputed evidence showing that AFM-EPF investments were way out of pattern with the other multiemployer plans:

“The undisputed record reflects that our Trustees’ asset allocations were objectively out of the norm. For example, the parties’ experts cite data from the Wiltshire Trust Universe Comparison Service and from the Plan’s former Investment Consultant Meketa showing the Plan’s stark departure in terms of asset allocation from other large Taft-Hartley plans. The data shows the median large Taft-Hartley plan had no less than 45% of assets invested in domestic equities; the Trustees here reduced our Plan’s actual domestic equity allocation from 40% in 2009 to as low as 19%. The reduction in the domestic equity allocation was accompanied by an increase in the allocation to Emerging Markets Equities to as high as 15%, even though the average plan had no more than 4.5%; an increase of the total allocation to international equities of up to 30%, even though the median Taft-Hartley Plan had no more than 12%; and an increase of up to 26% in alternatives including Private Equity and Real Estate, whereas the median plan had no more than 12%.”

These facts shed light on why the Judge in the case, the Honorable Valerie Caproni, previously called the trustees’ investment approach “extraordinarily risky,” and said the following: “I mean they adopted an exceedingly risky strategy and that is part of the gestalt of the facts.”

As our own AFM-EPF plan actuary, Kevin Campe, wrote in a recent Milliman study: “The primary driver of multiemployer health continues to be asset performance.” (Kevin Campe, Milliman Multiemployer Pension Funding Study, 2018.) Unfortunately, that’s precisely where our trustees let us down.

Musicians across the country now face the reality of impending cuts to our hard-earned benefits. And yet we still have the same board of trustees that put us in this position. The AFM-EPF board needs new trustees who have the ability to supervise the investment advisors. Without real reform, we may find that the current round of cuts is just the first in an ongoing series of cuts over the next few decades.


Next time. Fi-core Rights Recap

Until then,



August 16th, 2019




…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician



Message from a current Local 47 member.

Local 47 officials moved heaven and earth to sell our former historic home and purchase a new soulless box that they said would solve so many problems and secure our financial future. That action has done exactly the opposite.

One of the past elected officers was right.  Local 47 does not have a good track record when it comes to managing projects.

After nearly two years without a quorum, Local 47 finally achieved the minimum of 50 to hold a formal General Membership Meeting, July 22, 2019.

The Local 47 officers gave their reports. The financial team of Blackrock and Merrill Lynch gave the membership their approach to managing the Musicians’ Club assets.

It is very clear that “Phase Two” (the promised “Multi-Purpose Room”) will probably not be built under present financial conditions.

Fact: “The Time is Now” campaign projected that there would be a 9-11 million dollars in endowment left after the sale of Vine Street. After the purchase and renovation of the new location, this turned out not to be true.

Fact: There is a little over 4 Million dollars being invested and every cent will be needed to pay the triple expenses of the property taxes and whatever else on the Winona property. The Board did not even want to spend the money to properly repair the multiple leaks from the big rains of the current season. Instead, opting to have their plumbing company contract to patch the roof areas with a two-year warranty. The cost of a proper repair would have likely taken the Club investment balance below the 4-Million-dollar mark.

Fact: Local 47 moved its headquarters out of the center of Hollywood into a non-descript building surrounded by an industrial park, two New York blocks from a major airport landing strip.

This last week the Union sent an email to the membership to take a Member Survey.  One of the questions reads as follows: At our former Hollywood headquarters we had an Auditorium. Would you like to see our current Burbank headquarters have a similar multi-purpose facility? Why or why not?

The writing is on the wall. The membership is being manipulated once again. It appears the game plan is to point to the survey and say well, the membership response (notorious for low participation) will not justify moving forward with “Phase Two”. The real reason is that the reality of adding more square footage will only increase the property taxes and overall expenses.

The Board has endeavored to try and get a big company and/or a high profile industry name to give several million for naming rights to “Phase Two”. Vice-President Baptist has opined that “we need an angel”.

Many CBA orchestras which are non-profit entities and other possible renters have been displaced from Local 47 rehearsal spaces.  How many CBA orchestras have been possibly compromised because of the reduction of supportive resources?

One other issue that came up was the new software program that Local 47 is creating with hopes of generating a revenue stream by making it accessible to other locals. No cost was discussed. Rumor has it that the cost is around $200K. How much money will this software program generate?

The Local lost tenants in the move and there is not a lot of extra space to rent. The question is whether this software “Ensemble 2” program will give Local 47 access to other locals’ membership and work data? Just asking?

At any rate, Pres. John Acosta, VP, Rick Baptist, Sec.- Treas. Gary Lasley, and the Executive Board, are spending more time, energy and money on the politics of going after government subsidies.  It would be nice if the subsidies benefited more than just a small fraction of the 6200 dues paying members.

Local 47 Member, In Good Standing



Two Boston City Hall Aides Convicted of Conspiring to Extort Music Festival Production Company

BOSTON – The City of Boston’s Director of Intergovernmental Affairs, Timothy Sullivan, and Kenneth Brissette, the Director of the City’s Office of Tourism, Sports and Entertainment were convicted today by a federal jury in Boston in connection with extorting a music festival production company operating on City Hall Plaza. 

Brissette and Sullivan both were convicted of Hobbs Act conspiracy, and Brissette was also convicted of Hobbs Act extortion.  The Court has not yet scheduled sentencing dates.

“This afternoon, a federal jury convicted Kenneth Brissette and Timothy Sullivan of extorting a private business to hire union labor that they did not want or need,” said United States Attorney Andrew E. Lelling. “Private companies that want to do business in Boston have the right to hire anyone they want – union or not – without fear of being threatened with economic disaster by government officials. That is the law. This was a hard fought victory, and one that reaffirms our commitment to take on cases that are in the public interest.”

“The FBI thanks the jury for their service and thoughtful deliberations,” said Joseph R. Bonavolonta, Special Agent in Charge of the Federal Bureau of Investigation, Boston Field Division. “Today’s verdicts show that public officials cannot use their positions to extort those who choose to use non-union labor. The FBI will not stand idly by while hard-working individuals are bullied and strong-armed by public servants. Everyone deserves access to a level playing field, and the excuse of “business as usual” isn’t good enough to earnest citizens who rely on  their own local governments to do right by them and their families. Let this case be a warning to municipal workers everywhere, it is the taxpayers they serve and answer to at the end of the day.”

“Today’s convictions affirm the U.S. Department of Labor Office of Inspector General’s commitment to protecting the American workers from extortion and unlawful influence. The defendants used threats of financial harm to obtain wages from a television production company for services that were not needed or required. We will continue working with our law enforcement partners to combat this type of criminal activity,” said Michael C. Mikulka, Special Agent-in-Charge, New York Region, U.S. Department of Labor Office of Inspector General.

Between June and September 2014, while a music festival production company was awaiting the issuance of certain permits and approvals required for its event, and seeking an agreement from the City of Boston to use City Hall Plaza for events beyond 2017, Brissette and Sullivan repeatedly advised the company that it would need to hire members of the International Alliance of Theatrical Stage Employees (IATSE) Local 11 to work the event. Local 11 had attempted to obtain work from the production company since March 2013. The production company told Brissette and Sullivan that it had already entered into a contract with a non-union company and hired all of its labor. Nevertheless, on Sept. 2, 2014, three days before the music festival was scheduled to begin, Brissette and Sullivan insisted that half of the production company’s labor force consist of union members. The production company agreed to hire nine members of Local 11 and entered into a contract with the union because they feared the company would be financially ruined if they did not accede to the these City officials’ demands.

The charge of extortion provides a sentence of up to 20 years in prison, three years of supervised release and a fine of $250,000. The charge of conspiracy to extort provides a sentence of up to 20 years in prison, three years of supervised release and a fine of $250,000. Sentences are imposed by a federal district court judge based upon the U.S. Sentencing Guidelines and other statutory factors.

U.S. Attorney Lelling, FBI SAC Joseph R. Bonavolonta, and DOL OIG SAC Mikulka made the announcement today. Assistant U.S. Attorneys Laura J. Kaplan and Kristina E. Barclay of Lelling’s Criminal Division are prosecuting the case.

August 7th, 2019



Oh yeah – the so-called powerful Petrillo who cost us all the network staff jobs because we weren’t allowed to strike the networks…I was at network staff negotiations in the 60s when we were forced to reduce staffs from 65 to 25. Petrillo – no longer AFM prez sat snoozing in a chair not far from me.

As radio developed, network staff orchestras flourished not only in New York, Chicago and Los Angeles but also in cities like Denver and Pittsburgh where smaller radio orchestras were employed. In an attempt to force the hiring of more musicians at local radio stations, AFM President James Petrillo (1940-1958) called various strikes against them, causing Congress to write the Lea Act (also known as the Petrillo Act). Passed by Congress in 1946 and upheld by the Supreme Court in 1947, it was aimed specifically at preventing “featherbedding” in the broadcasting industry, severely restricting the AFM’s ability to bargain with industry for higher wages and more jobs. It was repealed in 1980 long after the demise of staff orchestras.


Until Next Time,

The Committee


July 4th, 2019

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’ scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician



This is excerpted from a Variety Article about the ASCAP Awards, you can read the full article here:

Michael Giocchino was introduced in person by Brad Bird (“The Incredibles,” “Tomorrowland”) and, via video, J.J. Abrams, Giacchino used his time at the microphone to preach the importance of the musicians who perform his music.

“Musicians are a composer’s life blood,” he said. “Without them, all we have are little black dots.”

Then he got serious, addressing the exodus over the past decade-plus of screen music recording done in Los Angeles.

“I can’t help but wonder how we went from an industry with work for every musician in town to an industry where a fractured community is rife with players who can barely find employment — struggling to hold onto jobs, and in many cases having to take non-music work in-between gigs just to survive.”

Giacchino admitted that he’s recorded outside of L.A. a few times, but he issued a direct challenge to the musicians union, and to his peers and any filmmakers in the room: “When a small independent producer wants to score here, let’s find a way to make it happen, not push them away. When you as a producer have a project, try to make it work here first. We have to say no to living under the shadow of a small group of people who use threats and inaccurate information to hold onto a business model that continues to strangle progress.” 

He strongly clarified that he isn’t anti-union, as the proud son of two lifelong union members — “but I watched over the years as they stood up to the status quo, demanding change from their leadership when the environment was working against their better interest,” he said. “And when an environment does change, survival and growth will go to the organisms that can adapt. It will not be easy, but the ability to adapt is the path to prosperity and survival.”

Giacchino’s barnburner speech was met with a standing ovation. 



Having given up on the AFM Pension’s future…

BREAKING NEWS: 802 musicians have ratified an agreement with the Broadway League by a 93% margin. The landmark deal includes the largest wage increase in 20+ years, a 23% increase in healthcare contributions, and a first-ever 401(k) plan option. By standing united for fair wages & retirement security, the Musicians of Broadway have won a historic deal.



Ray Hair has been re-elected international president of the American Federation of Musicians at the union’s 101st convention in Las Vegas. Hair, who has been president of the 80,000-member union since 2010, ran unopposed, as he did in the union’s last two elections.

Also running unopposed this time were incumbents Bruce Fife, international vice president; Alan Willaert, the AFM’s vice president from Canada; and Jay Blumenthal, the union’s international secretary-treasurer.

“It’s about sticking together, and protecting each other, because together, we can,” Hair said. “That is the meaning of real unionism. This convention is about what we can do together, about remembering who we are, what we did, and what we can be.”

[EC: They also allowed Tino to stay on the International Executive Board (Being paid by member dues) even though he lost his last election and is no longer President of any local.

We understand he remains on the pension board as well.

When asked about this, one east coast member said:

“The bylaws need to be changed to prevent this. To me this proves that they are corrupt and on the take. They’re getting kickbacks from the investment firms…”]



Musicians Union Rallies for Streaming Residuals, Seeking to End Disparity With Other Guilds

They’re “sticking it to musicians [and] that’s not fair, that’s not right,” said one AFM Local 47 leader.

Over one hundred members and supporters of the American Federation of Musicians Local 47 rallied Thursday at the Sherman Oaks headquarters of the Alliance of Motion Picture and Television Producers, demanding something that above-the-line guilds achieved in 2014 and enhanced in 2017: residuals on product made for streaming services such as Netflix and its coming wave of competitors from Disney, Comcast and others.

Obtaining contracts that harmonize with the other guilds’ would be sweet music for Local 47, but so far the instrumentalists are finding themselves drummed out by the AMPTP. As the industry pivots ever more toward streaming video on demand platforms, musicians assert they are being left behind. They get no residuals on SVOD product.

It’s a familiar place for the AFM, since — even before SVOD — musicians were (and remain) subject to contracts that pay out residuals under far fewer circumstances than directors, writers and actors enjoy; the checks are smaller too. But the sotto voce contracts are also a bitter irony, because the AFM was a powerhouse in the earliest fights for residuals during the 1940s and ’50s.

“We are through being scared, we are though being pushed around, we are through being treated like second-class citizens,” said Jason Poss, a Local 47 member who is one of the leaders of the union’s effort. “We know they make huge profits on streaming media. We know they can afford to pay everyone properly and still make millions.… They don’t get to make more by sticking it to musicians. That’s not fair, that’s not right, and today they will know that we are standing together because we will not allow it.”

But it’s a tough fight. Gone are the days when huge orchestras routinely convened on studio lots. Offshoring of work has been a concern for half a century, and today it is even easier thanks to the Internet and other telecom technology, with London and Eastern Europe as popular destinations. The union’s existing TV and theatrical contracts expired over a year ago, then were extended to this November but without progress on the residuals issue.

In addition to Poss, other speakers at the rally were UTLA (teachers union) vp Juan Ramirez, SAG-AFTRA secretary-treasurer Jane Austin, WGA West executive board member Angelina Burnett, Local 47 musician Lara Wickes and Local 47 musician and executive board member Dylan Hart.

Poss also attempted to deliver residuals petitions signed by over 500 members to the AMPTP, but was rebuffed when the organization refused to answer the intercom and building security kept the front door locked.

The shoe was on the other foot almost 80 years ago though. In those days, the AFM was powerful enough to resist entreaties from management, the general public and even the U.S. president, maintaining a two-year strike against the radio and record industries even during wartime and despite an appeal from no less than FDR.

That labor action, the so-called Recording Ban of 1942-44, and a 1948 Recording Ban, were led by the AFM’s then-legendary leader James Petrillo and were instrumental in securing some of the earliest residuals. But that was then. Now the question has become whether a vastly weaker union can muster the crescendo necessary to convince the AMPTP to welcome players into fuller membership in the residuals club — or whether a de-residualized solo will be the union’s fate.

Jonathan Handel, Hollywood Reporter


Till next time,