RMA LETTER / COMMITTEE RESPONSE /EVENTS

August 26th, 2016

8/26/16

I. A LETTER FROM THE RMA
II. FROM THE COMMITTEE
III. EVENTS

…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. A LETTER FROM THE RMA

The RMA wants you do join…

Dear Musicians,
 
For generations, musicians of every type, players, copyists, orchestrators
and conductors have been drawn to Los Angeles because of our diverse
and dynamic recording industry. More than anyplace else in the world,
Los Angeles has been the direct beneficiary of this incredible pool of talent. 

We are the Recording Musicians Association of Los Angeles. We provide
leadership, research, outreach and resources for the Sound Recording,
Live TV/ Videotape, Commercials and Motion Picture and TV negotiations.
We represent you in legislative efforts to protect employment. We have
been in the forefront of building bridges to protect our intellectual
property rights. And we are your voice with the American Federation of
Musicians. Your generous support ensures that we have the ability to
represent ALL of our members.

This year, we are proud to report several crucial developments in
our business….

RMA played a key role in helping build a new relationship with Sony
Playstation, leading to a groundbreaking live stream with full
orchestra and live gameplay at E3

RMA continues to be at the table in major media negotiations -
SRLA with major record labels, and Videotape with the TV
Networks, and Film/Television with the AMPTP

RMALA is front and center with the Alliance of Women Composers,
Beyond the Red Carpet, Made in Hollywood TV, Made in Hollywood
Film, and more

Plus, the new AFM went to bat for RMA - unanimous defeat for
the anti-RMA Resolution 4 at the AFM Convention.

We are currently kicking off our annual membership drive. Soon,
current RMALA members will be receiving a membership renewal
packet in the mail.  Your donation will help us to continue to
protect and advocate for recording musicians as well as update
our website and app.  You’ll be able to update your information
and get instructions for downloading the directory app to your
mobile device. You can also renew anytime by going to rmala.org 
and clicking the Join/Renew tab or by calling our office at 
(323) 462-4762 to pay with a credit card over the phone. 

If you are not a current RMALA member but do any recording
work at all in Los Angeles, we strongly encourage you to join us.
Your voice and participation are crucial in our constant battle
for a vibrant and healthy recording industry. If you have any
questions or want to find out more about RMALA please call
our office at (323) 462-4762 or go to our website, rmala.org 
and click on the contact tab for the emails of our board members. 

Kind Regards,

====================================

II. FROM THE COMMITTEE

The above comes from the group more responsible than any other
(Along with the acquiescent, spineless AFM and Local 47) for the
staggering loss of work in Los Angeles and Federation wide. There
isn’t even enough work for the few elites left, but they still try to
play the other musicians as fools.

And what does “front and center” mean, does it mean that they
made sure they were the ones to play it? Ten years ago they’d
not consider doing live gigs, now they take all they can find,
since the recording work is a shadow of it’s former self.

AS TO PROPOSITION 4

As to the Proposition 4: It was most certainly anti-RMA, but
it was also pro rank and file AFM Member (Pro-everyone else).
The ones who might get to work on union recording contracts
if there were a buyout.

In the explanation of the resolution printed some time ago,
it was made clear that no one expected the big budget
movies to go buyout, and as long as there were studio
signatories, that is.

What losses have been caused by the spineless AFM and
complicit Local 47 administrations past and present?

Ask any musician and you’ll find out. It was the AFM’s lack
of forethought that lead directly to Seattle, to Nashville,
to Vancouver among others, not including all the fi-core
and non-union orchestras that have been formed.
These locales and countless others in the federation don’t
care about staying loyal to an organization that works only
to protect a minute monopoly in Los Angeles, while everyone
has bills to pay.

What is it that gets the IEB and AFM to totally ignore the
needs of the other 99.8% of members for the pocketbooks of
a few recording musicians as to recording options?

Imagine for a moment:

There is a well paid buyout option for every project other than
big budget films.

Imagine the dues, pension and health and welfare that could
have been collected by the AFM over the last decade if there
had been even a few officers with the cajones to confront the
recording leadership on behalf of the rank and file.

There have, however, been none. None that lasted in any case.
At local 47, whenever anyone made their way onto the Local 47
board who was not “in the club”, their removal was arranged
the very next election.

Anyone who in the past has stood up to the club have found
themselves marginalized, their careers affected as much as
they could be. Bogus charges filed against folks who dared
speak up for the multitude of members too cowed to speak
for themselves. They do nothing, keep their heads down,
imagining that if they stay silent some work might
come their way, which we all know never will - it isn’t there.

Imagine the monies brought in by those recording jobs that
could have eliminated the selling of the Local 47 building
in Hollywood.

Revenues and membership at Local 47 are down, income for
the AFM has been reduced. The lack of revenue has put our
Pension plan into critical condition. The loss of recording
revenue has been a huge burden on the federation, yet
the IEB and the Officers do nothing to turn the situation
around. Nada. Zip.

In the end analysis the question must be asked.
Who is the IEB putting first? The future of the AFM
or the desires and demands of the RMA. And why.

There is no doubt about the RMA leadership. They most
certainly put the needs and desires of their little cadre first,
ahead of the AFM rank and file certainly.

We keep losing members because the AFM has
become a dunsel for most. All they guarantee at
this point is that you have to look over you shoulder
when you do finally get some work, because if it’s
not the RMA doing it it’s not supposed to exist.

If there were any forward thinking leaders among
the recording musicians they’d have seen the damage
done by their organization’s actions and practices
and realized something needs to change if a healthy
recording community is to ever return. Unfortunately,
for a very, very few highly placed long standing RMA
leaders, nothing matters except the size of their
july check, regardless of the damage done to the
Local, the Federation or the tens of thousands of
their fellow AFM Members.

It makes one hope that there really is karma
out there. We’re not holding our breath though.

THE COMMITTEE
Read the rest of this entry »

I. EVENTS

August 13th, 2016

8/13/16

I. EVENTS

…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. EVENTS

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City Elks the first
Friday of every month.
7:30pm-10;30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at Viva Cantina
7:30-10:00.
900 Riverside Drive, Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way they
should be.

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.

——————————–

8/17/16

“CONCERTS AT THE BOWL”

The Corbin Bowl and
San Fernando Valley Symphony Orchestra
Present
Concerts at the “Bowl” in the “Corbin Lounge”
Wednesday Evenings at 7:30 pm

August 17
The Blues Bandits
Play and sing the “Blues,” featuring 
David Reo, guitar and vocals;
Jimi Dee, guitar and vocals;
Larry Muradian, bass
and
Chuck Burkinshaw, drums

+++++++++++++++++++++++++++

Other Concerts in the series.

August 24
The Symphomaniax
Perform music from baroque to contemporary by
Bach, Domine, Vivaldi and others, as well as a
selection of “pop” classics, featuring 
James Domine, guitar; 
Ruth Bruegger, violin;
Glenn Grab, ’cello
and
Larry Muradian, bass
       
August 31

The Screaming Clams - Part II
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals;
Joel Domine, keys and guitar;
Larry Muradian, bass;
Nick Scarmack, drummer
and
Rebecca Ray, vocalist extraordinaire

“Lounge” at the Corbin Bowl 
19616 Ventura Boulevard, Tarzana

Free Admission/ONE Drink Minimum
Persons under 21 years of age not admitted

—————————————-

8/17/16

On Wednesday August 17, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
clarinetist Virginia Figueiredo and pianist Lorenzo Sanchez
performing works by Arturo Marquez and Paquito D’Rivera
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Attached are bios &
color photo jpegs (with instruments) of:
VIRGINIA FIGUEIREDO -  clarinet
LORENZO SANCHEZ - piano

—————————————-

8/20/16

THE PHIL NORMAN TENTET 
One of the best bands today playing in the
tradition of
cool West Coast Jazz

Saturday, August 20th
7:30pm

McCormick & Schmick’s Pilsner Room
2000 Main Street
Irvine, CA. 92614
Resevations call 949-756-0505

Click here to visit Herb Alpert’s Vibrato Grill Jazz

Don’t miss their performance of 
“THEN & NOW”
Remembering the classic sounds & variations of 
12 jazz legends to include:

The George Shearing Quintet
The Dave Brubeck Quartet
The Modern Jazz Quartet
The Cal Tjader Quintet
the Ahmad Jamal Trio
Miles, Dizzy and more

——————————————-

9/10/16

SFV Symphony Orchestra
 
Who:    The San Fernando Valley Symphony Orchestra directed by Maestro James Domine
What:   Announces its five-concert 2016-2017 Concert Season
Where: Agoura Hills/Calabasas Community Center &Tutor Family Center at Chaminade West Hills
When:  Sept. 10, 2016, Nov.19, 2016, Jan. 21,2017, Mar. 18, 2017 & May 13, 2017.
Why:    Continuing a decades-long tradition of performing great music close to home.
 
Contact: Roberta Hoffman, publicist (ladybirdysue@aol.com)
www.sfvsymphony.com
 
Program information:
 
Sept. 10, 2016 – Tutor Family Center at Chaminade West Hills
Strauss: An der Schönen Blauen Donau
Beethoven: Symphony #7 in A major
Dvorak: Cello Concerto
Daniel Grab, violoncellist
Sarasate: Zigeunerweisen
Bronte Vlashi, violinist 

================================

You can read all previous offerings at:http://www.responsible47.com

UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

 

I. EVENTS

August 6th, 2016

8/6/16

I. EVENTS

…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. EVENTS

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City Elks the first
Friday of every month.
7:30pm-10;30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at Viva Cantina
7:30-10:00.
900 Riverside Drive, Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way they
should be.

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.

——————————-

8/10/16
THIS WEDNESDAY, August 10 from  8:45pm-11:30pm
The BBB is bringing it again
to Joe’s Great American Bar & Grill  in Burbank!

NO COVER CHARGE!!
No reservations necessary!!
21 and older
4311 W. Magnolia Blvd.
Burbank, CA 91505

——————————–

8/10/16

“CONCERTS AT THE BOWL”

The Corbin Bowl and
San Fernando Valley Symphony Orchestra
Present
Concerts at the “Bowl” in the “Corbin Lounge”
Wednesday Evenings at 7:30 pm

August 10
The Screaming Clams
Rock ‘n’ Roll with music of the ’60s and early ’70s,
featuring
Jimi Dee, lead quitar and vocals;
Joel Domine, keys and guitar;
Larry Muradian, bass;
Nick Scarmack, drummer
and
Rebecca Ray, vocalist extraordinaire

+++++++++++++++++++++++++++

Other Concerts in the series.

August 17
The Blues Bandits
Play and sing the “Blues,” featuring 
David Reo, guitar and vocals;
Jimi Dee, guitar and vocals;
Larry Muradian, bass
and
Chuck Burkinshaw, drums

August 24
The Symphomaniax
Perform music from baroque to contemporary by
Bach, Domine, Vivaldi and others, as well as a
selection of “pop” classics, featuring 
James Domine, guitar; 
Ruth Bruegger, violin;
Glenn Grab, ’cello
and
Larry Muradian, bass
       
August 31

The Screaming Clams - Part II
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals;
Joel Domine, keys and guitar;
Larry Muradian, bass;
Nick Scarmack, drummer
and
Rebecca Ray, vocalist extraordinaire

“Lounge” at the Corbin Bowl 
19616 Ventura Boulevard, Tarzana

Free Admission/ONE Drink Minimum
Persons under 21 years of age not admitted

—————————————-

8/11/16

MALIBU COAST MUSIC FESTIVAL

RESERVE YOUR SEATS!  
AUGUST 11 AT 7:30 PM 
MAHMA Great Room
MALIBU COAST MUSIC FESTIVAL
2016 PREVIEW CONCERT

Featuring Festival Artists from
Across the Nation and the World
Performing Exceptional Works of
Antonio Vivaldi, Andre Caplet
W.A. Mozart, Peteris Vasks
and Maria Newman

MCMF 2016 Festival Artists:
Franziska Brech, flutist
Hal Ott, flutist
David C. Neely, violinist
Maria Newman, violinist and composer
Clark Potter, violist
Scott Hosfeld, violist
Noah Rogoff, cellist
James Margetts, pianist

MASTERS OF CEREMONIES:
Isabella Thatcher
Martha Thatcher 

Thursday, August 11th, 2016 at 7:30 pm
This Concert Event will take place in the
MAHMA Great Room
 
 
For more information on the
Malibu Friends of Music
please visit: www.malibufriendsofmusic.org 

—————————————–

8/17/16

On Wednesday August 17, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
clarinetist Virginia Figueiredo and pianist Lorenzo Sanchez
performing works by Arturo Marquez and Paquito D’Rivera
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Attached are bios &
color photo jpegs (with instruments) of:
VIRGINIA FIGUEIREDO -  clarinet
LORENZO SANCHEZ - piano

—————————————-

8/20/16

THE PHIL NORMAN TENTET 
One of the best bands today playing in the
tradition of
cool West Coast Jazz

Saturday, August 20th
7:30pm

McCormick & Schmick’s Pilsner Room
2000 Main Street
Irvine, CA. 92614
Resevations call 949-756-0505

Click here to visit Herb Alpert’s Vibrato Grill Jazz

Don’t miss their performance of 
“THEN & NOW”
Remembering the classic sounds & variations of 
12 jazz legends to include:

The George Shearing Quintet
The Dave Brubeck Quartet
The Modern Jazz Quartet
The Cal Tjader Quintet
the Ahmad Jamal Trio
Miles, Dizzy and more

——————————————-

9/10/16

SFV Symphony Orchestra
 
Who:    The San Fernando Valley Symphony Orchestra directed by Maestro James Domine
What:   Announces its five-concert 2016-2017 Concert Season
Where: Agoura Hills/Calabasas Community Center &Tutor Family Center at Chaminade West Hills
When:  Sept. 10, 2016, Nov.19, 2016, Jan. 21,2017, Mar. 18, 2017 & May 13, 2017.
Why:    Continuing a decades-long tradition of performing great music close to home.
 
Contact: Roberta Hoffman, publicist (ladybirdysue@aol.com)
www.sfvsymphony.com
 
Program information:
 
Sept. 10, 2016 – Tutor Family Center at Chaminade West Hills
Strauss: An der Schönen Blauen Donau
Beethoven: Symphony #7 in A major
Dvorak: Cello Concerto
Daniel Grab, violoncellist
Sarasate: Zigeunerweisen
Bronte Vlashi, violinist 

================================

You can read all previous offerings at:http://www.responsible47.com

UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

 

MEETING / POLLINATION REACTION / COMMENTS / EVENTS

July 30th, 2016

7/31/16

I. MEETING RECAP - 7/25/16
II. COMMENTS ON “POLLINATION”
III. COMMENTS
IV. EVENTS

…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. MEETING RECAP - 7/25/16
Quorum was not achieved for the meeting on Monday so
there was no official meeting.

Board will decide on the new trial board member themselves
at their meeting on Tuesday.

Moment of silence for all those killed by attacks over the
last few weeks.

Bonnie Janofsky takes minutes since Gary Lasley is on his
way to ROPA. Substitute Parliamentarian standing in.

50 Year Pins: Jay Rosen presented.

OFFICER REPORTS:
President
Negotiations with 21 employers

GRIEVANCES
2016 10 grievances – 6 withdrawn, 2 settled and one is
in arbitration.

EMPLOYMENT
Processed over 5253 Contracts totaling over 38 million

NEGOTIATIONS
Pasadena Master CHorale
Pasadena Symphony
MET
Desert Symphony
Greek
Amoe Symphony and others

Other various events attended:
Screenings
Jacaranda is finally a signatory
Magic Castle charged
John Williams LIFETIME achievement award
Labor Unity – health achievement
State Federation of Labor convention.
Working toward union solidarity
Workshops have been taking place.
Big Sir Jingle Mixer

ORGANIZING
Eric Cruz from the Realtor’s Office who took care of the
sale of the building now is working for us.

New Organizer speaks. Wants to get members more
involved, and figure out how to do that….

BUILDING
Are in escrow on our building. 2 previous escrows fell through.

Alameda building is gone. The place used to sell everyone
on the sale of our building.
We walked away when the seller and the deal got weird.

New Option
Winona Near the Airport – 2 story with elevator - Lot with
150 spots.
Potential problems being investigated
Vapor encroachment – not unusual, but concerning and
must be investigated for effect on the membership. Will
cost thousands to mitigate the problem.
Question: Noise issue? Don’t think so. No commercial
airlines flying over that site.

General sale price is $25,250,000.00

LEGISLATURE
Withdrawn support for the bill AB1199
May re-introduce new bill in 2017

HEALTH CREW
Mergible Plans being discussed
AFM Updates – Best ever according to Acosta – elected to IEB.
Now says he has a real voice.

ELECTRONIC VERIFICATION –
used to do surveys with membership to vote on their contracts
securely. passed.

Parity resolution passed
Still in negotiations with Sound Recording Companies.

OTHER ISSUES
Ca Phil having problems – Canceled all but Disney Hall.

Riverside Philharmonic – They’re having challenges as well.
Could not guarantee wages. Cut performances and made payroll

Star Trek Settlement – Touring group – was at Pantages, didn’t co-operate. Have now settled.

EXHIBIT
Honor Local 767 – the Black Musicians Union. Raising funds.
Find it on the Local website.

—————-

VP REPORT
Glad Acosta is on the IEB starting August 1st.

June 1st - 4th – live TV negotiation in New York - 1st round.
New Media and Music Prep, Clip use. Will meet again end
of September.
Sept 19th – New York – Pamplet B nego
October 17th – Golf Tournament – Brookside Country Club.
Theme will be Broadway.
Thanks to Merisol and Diane Lauerman for their efforts.

Blessed to be the voice for out musicians. It’s exciting.
Everyday’s a learning experience.

Marc Sazar spoke on Video Contract – Right of new media.
Fox and ABC have now started streaming old TV content
immediately. TV like recording and everything else is going
to streaming.

FINANCIAL REPORT
2015 rev 4,319,365 – up from last year
Expenses 4350738 down from last year
Net loss 32,382 in 2015
Loss down a lot from 2014.

2016
1st Quarter - 1,641,218
Clerical 3% raise.

December 13th is the next election at Local 47.
Since no quorum.

Board will decide the trial board position tomorrow.

END OF MEETING NOTES

================================

II. RESPONSES TO “POLLINATION”

How much of OUR dollars has the current administration SPENT
to tell US HOW & WHAT they want US to vote their way?!?
I am sure that the monies the current administration has spent
to persuade us HOW to vote, and how to THINK their way would
have repaired OUR fine old Union building.

It seems that the MORE our union leaders need money to pay,
among other things, their high, fine salaries, the MORE we
NEED to SELL the building.

So what happens when they spend all that money? Do they
have an answer to the DIMINISHING REVENUES coming in
the form of Work and Yearly dues?

Do Mssrs. Acosta, Baptist, and our Secretary/Treasurer have
any answers, MAGIC OR REASONABLE, to revive the work that
has disappeared from Hollywood’s Sound Stages? Do you wonder
at why Rick Baptist stopped playing the trumpet for fun & profit,
and ran for Union office? He is a very intelligent person, and saw
what has happened to our sources of income as many studio
players have found out, the hard way.

I was both lucky, and fortunate, to have worked in the business
from my first record date with Val Alexander in 1959, till thirty
or so years later, when President Bernie Fleischer hired me soon
after as a recording rep. I wanted to keep playing, but I realized
it was time and I had to move on.

Some time later, Max Herman asked me to run of V.P., and I
accepted, thankfully & gladly. As long as you get called to
work, and make a living at playing, music prep, writing,
producing, contracting, or whatever you do in the music
business, it’s usually fun, and great, and we all want to keep
doing it, right? I did it as long as the phone rang!

I was a member of the recording fraternity for many years,
and as a UNION OFFICER I saw the loss of work happening.
I learned first hand, what many producers, and industry
movers & shakers wanted to get rid of; Secondary payments!

You may not like it, but that’s the truth. If you don’t believe,
ask the people that knowŠ people who work with industry,
such as Jay Cooper.

My own first hand encounter of this was when I contacted
the talented composer, Michael Kamen, who is no longer
with us, to ask why he was scoring “Die Hard With a
Vengeance” in Seattle. He told me how much he loved
recording here in Los Angeles, but it because of the producers.Š
My secretary spent most of the week plowing through all the
A.D.’s Secretaries, Special Assistants, etc., till I got Andy
Vagna on the phone. I told him that I’d heard that his company
trucked all the necessary equipment to Seattle, installed it in
a church or chapel that was supposed to have acoustics as
good as Fox or MGM, but blew out every fuse, circuit breaker, etc.,
in the place. Then, after it had all been repaired, the SeattleOrch.
which is no longer affiliated with the Union, packed up one day,
in mid session, according to the story I’d been told, because
they were contracted to do a concert, and had to go.
I asked Mr. Vagna, “Why not do it here?’

He replied, “Cost!” I said, “If your gross was less than 30 mil
the first weekend, I’ll come over and personally Simoniz your
Bentley.” He said, “The back end!” He told him what the back
end would beŠ only so & so much dollars, and he responded
very emphatically, “It’s so many thousand I can’t put in my
pocket!!Š F—- You!” I said, Well, I’d like to talk to you, see
if there’s a way to do thisŠ
” There’s NOT!” and banged the phone down.

I realize that this is a business, and if you are working every
day, and on or in the top 200 or so, Life is Good, and I’m glad
for you. If you’re not, perhaps it’s a fact of Life; and matter
of dollars, and some producers’ sense of business!

The late Lew Wasserman, the former head of Universal Studios,
who was largely responsible for building that Show Biz Empire,
told our former president, Max Herman when we went on strike
for secondary use payments on TV show, “Listen, Max! You and
the musicians are going down the wrong road! We’ll give you
higher scales,more money but we WILL NEVER give you secondary
payments when we resell our TV shows!” Max knew we wouldn’t
want to hear that, and kept quiet about it. But many years later,
Max confided what Mr. Wasserman had told him.

When my fellow musicians were about to lose their homes,
etc., Max stopped me on the stairs to the Credit Union, and
said, “BIll, what can we do to help you members during
this strike?” I responded, “Why don’t you officers forgo your
salaries, and put them into a Relief Fund for the members
who are losing their homes, and so on, as long as we’re on
strike?!?”

Max kind of spluttered, but finally told me, “The By-Laws
don’t allow that!”

I replied,

“THEN CHANGE THE BYLAWS!”

——————————-

LA is getting roughly one third (maybe 40 movies) of all t
he possible theatrical 120 ish releases be it large budget
studio pictures to small budget inde movie shorts - for
various reasons but mostly producers do not want to
work for an organization that has so many flaws and
is ANTI relationship sometimes - not all the time - there
are wins every day with AFM jobs coming back to LA
and also AFM losses every day going out of LA - there is
a global market now and frankly many of the other global
recording locations are providing something better whether
it’s lower cost or “good enough” quality - at the end of the
day - are we in LA doing all we can to remain a location
for recordings? - my opinion is not to offer an answer
but to pose up this question once again - “are we happy in
LA only getting one third of the recording work we used to get?”

I am not…….

================================

III. COMMENTS

Who will run to replace the “bobble heads” on the Board?

Read the rest of this entry »

MEETING / POLLINATION / 1ST WEDNESDAY / EVENTS

July 24th, 2016

7/24/16

I. LOCAL 47 GENERAL MEMBERSHIP MEETING
II. MEMBER COMMENTARY - CROSS POLLINATION FOR POLITICAL GAIN
III. ASMAC FIRST WEDNESDAY - AUGUST 3rd
IV. EVENTS

…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. LOCAL 47 GENERAL MEMBERSHIP MEETING
The next Local 47 General Membership meeting will be
this Monday night, JULY 25TH at 7:30 PM at the Local
47 Auditorium.

=================================

II. MEMBER COMMENTARY - CROSS POLLINATION FOR POLITICAL GAIN

Dear Editor,

Contrary to the initial reasons offered by the Local to sell Vine
Street, e.g. the need of a new roof, electrical upgrades, and the
desire for ADA compliance, the real reason to sell Vine Street
appears to be about having enough money to continue doing
business as usual. To get the referendum passed, the Local
spent thousands of dollars of our resources beyond the cost
of those which were charged to the “Club”. There were multiple
mailers… and by their own admission… the Union generated
20,000 phone calls encouraging members to vote YES.

While not all the expenses of the referendum were paid directly
by Local 47, (reportedly paid by “the CLUB”), the employees that
were were working on behalf of the referendum were on the
Local 47 payroll.

What the membership might not know is that the Union hired a
person by the name of Erick Cruz at the beginning of the referendum
process in October. Erick, who only one month prior, appears to
have been an employee of the same company that was hired to
promote the sale of Vine Street.

Erick Cruz was assigned to help the Election Board and indeed
was the person identified by the Election Board Chair as the person
who helped scan the ballots.

Erick Cruz’s LinkedIn profile identifies his job description at Bridge
Street as “Social Innovation Organizer” and subsequently Local 47
“Campaign Manager.” Does anyone see a problem with this? A
partisan with his hands all over the ballots? In what universe does
the administration reside in thinking this is appropriate?

An attempt to speak with Erick Cruz on the day of the referendum
count concerning his participation was thwarted by the gruff
intentional intrusion of the Local’s attorney, Lewis Levy. Not only
was the conversation interrupted but, Lewis physically removed
him from my inquiry.

The Board minutes of 2/16/16 reflect the resignation of Jay Rosen
from the Election Board. I was  a member observer at this Executive
Board meeting and can attest to the mention of Erick Cruz by Jay
Rosen that certain of Cruz’s actions were disturbing.

Member Observer

p.s. A long time employee, Jeff Surga, was “shown the door” by
reason of budget considerations. However, according to Rick
Baptist…(giving notice to the “cats” in the rehearsal rooms on
Wednesday, 3/23/16), Vice-President Baptist represented that
Jeff was “unhappy for some time.” Guessing Rick wasn’t in the
room when John fired him.

The obvious question is…Since the Administration got the vote
to sell Vine Street and put millions of dollars in the bank…why
would our long time employee be released?

___________________________________

Subsequent to the “let go” of a long time employee due to “budget
considerations” as he was told by President Acosta…. as of this last
week, Local 47 has hired an “organizer”. (This position was posted
on the internet on a job site.) Looking at the past minutes, the BOD
has voted to hire someone for a position that arguably pays much
more $$$.  According to the “new organizer’s” presentation to the
BOD last Tuesday….the membership can get ready to have him
come to your job and seek to get you a better deal because he will
“make every member of the union an advocate for a Union contract.”
Don’t you just love the pie in the sky guy?  Of course, this comes
from the top, put in charge of Local 47.  Someone who does not
care who doesn’t work as long as the “we know who we are club”
gets what they want.  Does this “organizer” really know what is
going on? Has the President of our Local ever worked under a CBA?
Inquiring minds want to know?

[EC: We don't by the "Jeff was unhappy for some time" pablum
either... and if they'd just made millions on the sale, they must
think members are pretty stupid to buy that it was budget
considerations. Problem is, most members have already
given up on the Local as hopelessly corrupt, except for the
chosen few. The 99% simply don't care anymore, which
unfortunately give the elites and the Local 47 administration
exactly what they want.]

================================

III. ASMAC FIRST WEDNESDAY - AUGUST 3rd

ASMAC presents FIRST WEDNESDAYS

with
Jay Leach
Slide Instrument Symposium
August 3, 2016 •  7:30 pm
at Local 47 in Hollywood
Writing for slide guitar is a mystery to most arrangers
and composers. Slide instruments are very popular in
film scores and song production, and writing for these
instruments is a valuable skill.  Plan to attend this
unique opportunity to attend the ASMAC slide instrument
symposium featuring premier studio musician Jay Leach.
Jay will provide live and recorded demonstrations of the
Pedal Steel Guitar, Non Pedal Steel Guitar, Dobro,
Weissenborn and the Lap Steel. He will discuss detailed
information including tuning, registers, styles and history.
Jay’s TV credits include several seasons of the American
Idol (2006-2015), The Voice, America’s Got Talent, The
Tonight Show. He has recorded with artists including
Kenny Loggins, Dave Koz, LeAnn Rimes, Barry Manilow,
Taylor Swift, Jewel, Jessica Simpson, Crystal Bowersox,
Taylor Hicks, John Denver, Roy Orbison, Gladys Knight,
Clint Black, Bette Midler and Dan Hicks and the Hot Licks.
Film scores on which he has played include Hannah Montana,
Down and Out in Beverly Hills, 6 Days and 7 Nights, Team
America and many more. Video games: Call of Duty Black
ops II, Assassin’s Creed: Dead Kings, Lost Planet 3, and Open
Season.

He has played on countless Jingles including Citibank, Maxwell
House Coffee, IMB to name a few. Live Performances include
appearances with the LA Philharmonic, 9 to 5, Porgy and Bess,
Fiddler on The Roof, Ice Capades, Ringling Bros. Circus and
many more. Leach is also the author of several guitar technique
and style books.

Don’t miss this exciting opportunity to learn more about slide
guitars from the master, himself, Jay Leach.

To RSVP, click on the Reserve Now button, or visit www.asmac.org.
Wednesday, August 3, 2016

Check-in & Network:    7:00-7:30 PM
Program:                       7:30-10:00 PM
Reservations encouraged — Walk-ins are welcome.

$10 for Guests and Students
FREE for ASMAC & Local 47 members
Free parking.

LOCATION:
AFM Local 47 - Auditorium
817 Vine Street
Hollywood, CA 90038

* For comments on past events or recommendations on upcoming events, 
contact info@asmac.org  Attn: Milton Nelson

PLEASE VISIT ASMAC.ORG FOR A FULL LIST OF UPCOMING
ASMAC PROGRAMS & EVENTS, AND VISIT THE ASMAC STORE
TO VIEW DOWNLOADS OF MASTER CLASSES, WORKSHOPS
AND ARCHIVAL HISTORIES CURRENTLY AVAILABLE.

===============================

Read the rest of this entry »

EVENTS

July 16th, 2016

7/16/16

I. EVENTS

…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. EVENTS

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City Elks the first
Friday of every month.
7:30pm-10;30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at Viva Cantina
7:30-10:00.
900 Riverside Drive, Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way they
should be.

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.

—————————————

AUDITIONS FOR CALSTATELA SYMPHONY

Please pass the word that the annual auditions for the CalStateLA
Symphony Orchestra/Olympia Youth Orchestra for the 2016-2017 season
will begin in June through mid August immediately after the season is
over.

Qualified students may submit the form on line at the website
http://www.olympiaphil.org

under “youth orchestra”.

I will be in touch to set up a time during the summer. The next
season begins late September of this year through early June of 2017.

The orchestra consists of talented students age 12 through college
age. Rehearsals are at CSULA on Sundays at 4:30-7PM. Tuition is $650
for the entire year. Scholarship is available on a need or merit
basis depending on instrument and individual student. The orchestra
students will also be able to take optional transferable college
credits from CSULA, perform with college music students in 4 on and
off campus concerts.

This is a great orchestra with lots of talented students taking part.
I look forward to hearing from students learning all orchestral
instruments.

Thank you!

Fung Ho
Music Director & Conductor
CalStateLA Symphony Orchestra/Olympia Youth Orchestra

______________________________________________

7/16/16

Wu Nation,

We will be appearing at Rusty’s Surf Ranch on Saturday,
July 16th 2016, starting at 10:00 pm and will play two
sets of your favorite Steely Dan tunes!  We want this to
be a fun evening for all, so please bring your friends
along and enjoy a great time with us.

The line up for this show will be:

Tony Egan: Lead Vocals
Leigh DeMarche: Vocals
Jodi Fodor: Vocals
Gil Ayan: Guitar
Steve Bias: Bass and Vocals
Roch Bordenave: Trombone
Jeff Dellisanti: Saxophones
Paul Salvo: Trumpet
Jack Cook: Drums
Zach Provost: Keyboards

Rusty’s Surf Ranch
256 Santa Monica Pier
Santa Monica, CA 90401
(310) 393-7437
http://www.rustyssurfranch.com/

We look forward to seeing you there!
The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband
—————————————–

7/17/16

Join three incredible Los Angeles songwriters as they chat
with host BILL BERRY about music and perform their songs
in an intimate “in-the-square” setting. We’re in our third great year!

This month’s guests:

SHELLY PEIKEN - multi-platinum Grammy nominated
songwriter who is best known for her #1 hits “What a Girl
Wants” and “Come On Over Baby”. Grammy nomination
for the song “Bitch” recorded by Meredith Brooks. She’s
had hundreds of songs placed on albums, and in TV and
film. Her new book, “Confessions of a Serial Songwriter”
is out now!

MICHELLE LEWIS - Peabody award-winning songwriter.
She’s had numerous cuts from her first radio hit, Chers A
Different Kind of Love Song in 2002, to last years worldwide
number 1 single Wings by the British girl group, Little Mix.
Songs by Katherine McPhee, Shawn Colvin, classical trio
Il Volo and many more!

CHE ZURO - Former LA rocker now performing in her
home state of Utah, Che is in town for a limited engagement.
From Kim Fowley’s post Runaways all-girl band, The
Orchids (Mercury Records) to stints with Phil Seymour,
Josie Cotton, Berlin, Charlie Sexton, Population 5 and
more, she has great songs and great stories!

Sunday Night, July 17th, 2016
Doors open at 6:30PM, Show starts at 7:00PM (sharp).
At the Lyric/Hyperion Theater & Cafe.
2106 Hyperion Avenue, Los Angeles, CA 90027
$15 or $12 with discount code ’song’  CLICK HERE!
The monthly showcase is hosted by BILL BERRY and features
songwriters from country to cabaret, r&b to folk and everything in
between. Enjoy a glass of wine and dinner with your show. Free
parking. More information at billberrymusic.com or at
lyrichyperion.com.

Thanks!
Much love,
-Bill
—————————————–

7/20/16

GLENDALE NOON CONCERT

JULY 20, 2016 GNC

On Wednesday July  20, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
flutist Kathy Marsh and percussionist Timm Boatman
performing duos for flute and vibraphone by
Kent Kennan and Petar Obradovic
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Info about upcoming programs through mid SEPT 2016
at the Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com
Thank you for your support in publicizing the Glendale Noon Concerts!

Jacqueline Suzuki
Curator, GNC
818 249 -5108

————————————————

7/22/16

BILL BARRY RECORD RELEASE SHOW JULY 22ND

AWKWARD STAGE 
is being released!
And I’m having a big show to celebrate!

Friday, July 22nd at 9:00PM at
Molly Malone’s
575 S Fairfax Ave, Los Angeles, CA 90036

Bill Berry and his Band will present a spectacular event!
8 piece band plus special guests!
Featuring songs from the new album as well as new songs!
Lots of great seating! Full Bar! Food!
Free Street Parking around the venue!

We’ve been working our butts off to put together
the very best show we can.
I hope you can work your butt off to be there!

Tickets $10 in advance HERE.
But wait! There’s more…

On the same night you can see
Legendary Rockers

The Records
featuring John Wicks
“Starry Eyes”, “Teenarama”, “Hearts In Her Eyes”,
“Rock N Roll Love Letter” and more hits!
at 11:00PM!

Renowned LA songwriter
Carla Olson
(Textones, Mick Taylor, Gene Clark)
with guitarist
Todd Wolfe
at 8:00PM

It will be a night I don’t want you to miss.
I hope you will join us!
Much love,
-Bill

—————————————–

7/31/16
THE PHIL NORMAN TENTET
One of the best bands today playing in the tradition of
cool West Coast Jazz

Sunday Evening July 31 - 7:30pm

Vibrato Grill Jazz
2930 Beverly Glen Circle
Los Angeles, CA.90077
Reservations call 310-474-9400

Don’t miss their performance of ”THEN & NOW”
Remembering the classic sounds & variations of
12 jazz legends to include:

The George Shearing Quintet
The Dave Brubeck Quartet
The Modern Jazz Quartet
The Cal Tjader Quintet
The Ahmad Jamal Trio
Miles, Dizzy and more

—————————————-

MASTER IN FLM MUSIC APPLICATIONS STILL BEING ACCEPTED

The Pacific Northwest Film Scoring Program
At The
Seattle Film Institute

is still accepting applications to the One year

Master of Music (MM) in Film Composition

Recently rated as the #4 school for film scoring education
in the world by Music School Central and the #2 school
for earning a Masters of Music degree in Film Composition

Study with program creator and lead instructor

Hummie Mann

2 Time Emmy Award Winning film composer of
“Robin Hood: Men in Tights” and featured in
Variety Magazine’s article “Leaders in Learning”

Click here to listen and watch student scores from previous years

Applications are now being accepted for the 2016
school year We offer rolling admissions - applying
early is recommended Scholarship support is
available to early applicants

================================

You can read all previous offerings at:http://www.responsible47.com

UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

FAIR TRADE MUSIC / EVENTS

July 9th, 2016

6/23/16

I. MEMBER COMMENTARY - FAIR TRADE MUSIC
II. EVENTS

…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. MEMBER COMMENTARY - FAIR TRADE MUSIC

Who comes up with these things? Free Trade Music? Is this how we become “more relevant”?
Will this “feel good” labeling pay our bills?

INFO ON FAIR TRADE MUSIC
Fair Trade Music
Fair Trade Music is a grassroots campaign raising standards for freelance
musicians through organizing, collective action and education. City-by-city
we are building an organization of musicians, community leaders and
fans to support Fair Trade Music principles including our right to:
•    Negotiate Fair Contracts
•    Create Equitable Business Relationships
•    Establish Enforceable Contract Standards
Learn more about starting a Fair Trade Music Campaign in your community
Far too many of us often “pay to play” or play for “zero minus expenses”
with venues paying nothing and musicians covering all the costs. Pay often
depends on the “take” at the door or proceeds from the bar, but many clubs
don’t provide documentation on income or expenses. Without enforceable
contracts, transparency or accountability—musicians lose out. Through Fair
Trade Music, we organize and win.
Learn more about starting a Fair Trade Music Campaign in your community
Seattle’s Fair Trade Music Campaign is an example of what happens when
musicians join together to raise the standard of living for all musicians in
their community. In the past year, over 25 Seattle area clubs signed a pledge
to abide by Fair Trade Music principles. Musician-loading zones were established
in the area. The City of Seattle even proclaimed May 20th as Fair Trade Music
Day in support of a living wage for musicians.
Read the recent report examining the impact of the music industry on the Seattle economy.
Learn more about starting a Fair Trade Music Campaign in your community

======================================

II. EVENTS

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City Elks the first
Friday of every month.
7:30pm-10;30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at Viva Cantina
7:30-10:00.
900 Riverside Drive, Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way they
should be.

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.

—————————————

AUDITIONS FOR CALSTATELA SYMPHONY

Please pass the word that the annual auditions for the CalStateLA
Symphony Orchestra/Olympia Youth Orchestra for the 2016-2017 season
will begin in June through mid August immediately after the season is
over.

Qualified students may submit the form on line at the website
http://www.olympiaphil.org

under “youth orchestra”.

I will be in touch to set up a time during the summer. The next
season begins late September of this year through early June of 2017.

The orchestra consists of talented students age 12 through college
age. Rehearsals are at CSULA on Sundays at 4:30-7PM. Tuition is $650
for the entire year. Scholarship is available on a need or merit
basis depending on instrument and individual student. The orchestra
students will also be able to take optional transferable college
credits from CSULA, perform with college music students in 4 on and
off campus concerts.

This is a great orchestra with lots of talented students taking part.
I look forward to hearing from students learning all orchestral
instruments.

Thank you!

Fung Ho
Music Director & Conductor
CalStateLA Symphony Orchestra/Olympia Youth Orchestra

______________________________________________

7/10/16

JOHN CLAYTON JAZZ TRIO
July 10, 2016

Catalina’s Bar and Grill
6725 W. Sunset Blvd
Hollywood 90028
323-466-2210
http://www.catalinajazzclub.com

See you there!
Your fan,
John

______________________________________________

7/13/16

NORTH/SOUTH CONSONANCE

MAINE SUMMER SOUNDS

Claudia Schaer, violin
Max Lifchitz, piano

music by

Luciano Berio, Edmund Cionek, Max Lifchitz,
Nico Muhly, Daria Semegen & Augusta Read Thomas

Wednesday, July 13 @ 8 PM
Bar Harbor Congregational Church
29 Mount Desert Street
Bar Harbor, ME 04609

http://www.barharbormusicfestival.org/2010_calendar.html

Claudia Schaer and Max Lifchitz to appear at the Bar Harbor Music Festival performing works by composers from Europe
and the US

The program will feature two new works especially written for the
occasion by Edmund Cionek and Max Lifchitz as well as recent
works by Nico Muhly, Daria Semegen, Augusta Read Thomas
and the late Italian master Luciano Berio.

______________________________________________

7/20/16

GLENDALE NOON CONCERT

JULY 20, 2016 GNC

On Wednesday July  20, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
flutist Kathy Marsh and percussionist Timm Boatman
performing duos for flute and vibraphone by
Kent Kennan and Petar Obradovic
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Info about upcoming programs through mid SEPT 2016
at the Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com
Thank you for your support in publicizing the Glendale Noon Concerts!

Jacqueline Suzuki
Curator, GNC
818 249 -5108

————————————————

7/31/16
THE PHIL NORMAN TENTET
One of the best bands today playing in the tradition of
cool West Coast Jazz

Sunday Evening July 31 - 7:30pm

Vibrato Grill Jazz
2930 Beverly Glen Circle
Los Angeles, CA.90077
Reservations call 310-474-9400

Don’t miss their performance of ”THEN & NOW”
Remembering the classic sounds & variations of
12 jazz legends to include:

The George Shearing Quintet
The Dave Brubeck Quartet
The Modern Jazz Quartet
The Cal Tjader Quintet
The Ahmad Jamal Trio
Miles, Dizzy and more

—————————————-

MASTER IN FLM MUSIC APPLICATIONS STILL BEING ACCEPTED

The Pacific Northwest Film Scoring Program
At The
Seattle Film Institute

is still accepting applications to the One year

Master of Music (MM) in Film Composition

Recently rated as the #4 school for film scoring education
in the world by Music School Central and the #2 school
for earning a Masters of Music degree in Film Composition

Study with program creator and lead instructor

Hummie Mann

2 Time Emmy Award Winning film composer of
“Robin Hood: Men in Tights” and featured in
Variety Magazine’s article “Leaders in Learning”

Click here to listen and watch student scores from previous years

Applications are now being accepted for the 2016
school year We offer rolling admissions - applying
early is recommended Scholarship support is
available to early applicants

================================

You can read all previous offerings at:http://www.responsible47.com

UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

HAPPY 4TH! / PROPOSAL / FLASHBACK DISSOLUTION / COMMENTS / EVENTS

July 2nd, 2016

6/23/16

I. HAPPY 4th!
II. CONTRACT PROPOSALS FROM THE FORMER RMASF
III. FLASHBACK - RMASF DISSOLUTION 2007
IV. MEMBER COMMENTS
V. EVENTS
…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. HAPPY 4th!
Please have a great July 4th weekend and stay safe!
THE COMMITTEE

II. CONTRACT PROPOSALS FROM THE FORMER RMASF
A Logical forward thinking contract
PROPOSAL
RMASF’s Theatrical Motion Picture and Television Agreements and Low
Budget Agreement proposal consists of two co-existing separate options:

2. An Optional Buyout Agreement
a. Double the current motion picture scale
• Higher up-front payment
b. Buyout for soundtrack and secondary markets
• No back-end payments
• Pre-existing motion pictures with secondary markets to be grandfathered in
c. Pension raised to 15%
• Long-term, back-end payment
d. All other working conditions (i.e. doubles, overdubs, cartage, working
hours, health and welfare, overtime) remain the same as current 2002
agreement.
Benefits of the Optional Buyout Agreement for:
The Musician
• Increase in volume of work-outsourced work returns and comes
under contract
• Increase in up-front wages to double scale
• Increase of pension to 15%-long term. “back-end” payment
The Industry
• Many producers can close their books upon completion of their film productions
• Composers confined with “package deals”-where they are unable to
commit to future back-end payments-can now record on union
contracts.
• A simple and concise agreement for the Industry to work with and understand.
The AFM and Locals
• Financial and labor burden to police soundtrack and
secondary market compliance is eliminate.
• More time and money available to lobby for more work through
federal and state tax incentive legislation
•Increase in local union work dues from additional work
• ”Phono to motion picture” inequities eliminated.

—————————————

III. FLASHBACK - RMASF DISSOLUTION 2007
Dear —-l:
This letter shall serve as official notification to RMA International
that on May 21, 2007 the membership of RMASF voted to relinquish
its charter and dissolve the chapter. We regret the necessity of
this decision but the membership and board of directors believe
that this official affiliation between the recording musicians of the
San Francisco Bay Area and RMA International has not only failed
to promote their careers and professional needs, but in fact has
worked to their detriment.
We look forward to a better working relationship in the future
towards our mutual goals of improving the work and security of
all AFM recording musicians.
Fraternally,
The Board of RMASF
##############
May 25, 2007
Dear Members of the International Executive Board of the American
Federation of Musicians:
We are writing to inform you that on May 2 l, the membership of
the San Francisco Chapter of Recording Musicians Association
unanimously voted to dissolve RMASF. The RMASF Board of Directors
would like the IEB to understand why this unfortunate decision
was necessary.
As you are well aware, the commercial recording industry is in a
tremendous state of flux. The increase in outsourcing of recording
work to non-Union venues, both domestic and international, has
created a situation where the former paradigms of compensation
for such work are no longer inevitable. Our goal has been to
recapture that work for local players, with a Union contract that
works for both producers and musicians.
The mission of RMASF has always been:
• to unite and organize professional recording musicians in the
San Francisco Bay Area
• to promote and develop recording opportunities in the San
Francisco Bay Area
• to communicate, exchange information and address issues of
mutual concern with other RMA chapters
We have increasingly found this mission impossible to fulfill
under the existing conditions within the RMA Players Conference.
Especially with regard to motion picture, television and videogame
recording work, RMA International seems to exclusively serve the
interests of a small group of musicians in its Los Angeles Chapter.
In turn, RMALA appears to be dedicated to keeping this work away
from RMA musicians in other chapters, and, in fact, other musicians
within their own Local. One particularly offensive example of RMA
International’s attitude toward RMASF was its attempt to raise the
qualification levels for contract ratification, which would have
rendered almost all of our members ineligible to vote. We were
pleased that the IEB saw fit to maintain these levels, and hope it
will continue to do so in the best interests of all recording musicians.
RMA International has been consistently unresponsive to our concerns
about the state of the recording industry, and it has deliberately
and actively blocked our initiatives. Each time we have formulated
a proposal, whether for video games or motion pictures, we found
the support we needed from AFM Local 6, and accordingly submitted
our proposals through our Local.
Our experiences with RMA International have been exceedingly
frustrating and unproductive. In pursuing our primary goal of
increasing the quantity of high-quality recording work nationally
and in the San Francisco Bay Area, two significant proposals were
offered by RMASF: A theatrical motion picture proposal was made
in 2005 that effectively addressed the outsourcing issues plaguing
the motion picture industry, and most recently, a video game
promulgated agreement proposal was put forward that would
recapture recording in an industry that has seen only 2.5% of its
games recorded on AIM contracts over the past five years. Both
RMASF proposals were dismissed by RMA within hours of their
submission, and as a result had to be presented by AFM Local 6.
The Board and membership of RMASF feel that it is impossible to
continue to pursue our objectives through the RMA Players Conference,
and that by maintaining an RMA chapter in San Francisco our members
are unwittingly undermining their own recording opportunities.
The best service we can do our members, our colleagues and the
Union is to withdraw from RMA, state these issues publicly for
the record, and urge the IEB to:
Our motion picture and videogame recording industry is in crisis.
On behalf of the Union recording musicians in the San Francisco
Bay Area we urge you to consider our withdrawal from RMA as a
symptom of the inequities and abuses within our industry that
require your ongoing scrutiny and stewardship.
Please do not hesitate to contact us if you have further questions.
Fraternally and in solidarity,
Board of Directors, RMASF

======================================

IV. MEMBER COMMENTS

Hello Editor,

Perhaps someone can explain why the return envelope for a
ballot to ratify a CBA (which already included the member
return address affixed) requires a signature on the outside
envelope (which can be seen by anyone handling the U.S.
Mail) and this procedural safeguard was NOT required for
the referendum to sell Vine Street?

Inquiring minds want to know!

[EC: Member, the Local got what they wanted, they don't
care about answering any further questions.]

——————————

I was very concerned about having to affix my signature
to the OUTSIDE envelope to mail back my Dolby ballot.
Whose idea was this anyway? When I go to the bank to get
a copy of a check, the bank will not copy the signature
line because of “possible replication”. Does the Union
realize requiring a publicly visible signature on the
outside envelope could expose their members to potential
fraud and identity theft? The Union implementing this
reckless procedure demonstrates once again poor judgment.

NAME WITHHELD

Read the rest of this entry »

FERNANDEZ MESSAGE / MEMBER COMMENT / VIEWS / COMMENTS / EVENTS

June 25th, 2016

6/25/16

I) A MESSAGE FROM CHARLES FERNANDEZ RE: RESOLUTION 4
II) AFM NORTHERN CALIFORNIA MEMBER COMMENT
III) OTHER VIEWS OF THE PROBLEM
IV) MEMBER COMMENTS
V. EVENTS

…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) A MESSAGE FROM CHARLES FERNANDEZ RE: RESOLUTION 4

There has been much Sturm und Drang by a couple of posters on
Facebook about the first paragraphs of the Resolution 4 report,
before the detailed history of the RMA.

Here, again is exactly what was written by me to include at the
beginning of the report:

“Long time AFM and Local 47 member Charles Fernandez attended
the convention with the intention of speaking in support of the
resolution.” [TRUE]

“Unfortunately, Member Fernandez was not informed as to when the
committee would discuss Resolution 4, so was NOT IN ATTENDANCE
WHEN IT WAS. (True) Whether this was by design, or accidental,
we don’t know. We do, however, know that member Fernandez
was not allowed to speak on the floor of the convention,…”

[Since I was not there on Monday I did not hear the "Guests Shalt
Not Speak On The Convention Floor" speech. When they called for
debate, I went to a microphone, was told by a person in control
of the mikes that I could not speak, I said ok, and sat down.
That is the long and short of it.]

“…though he was told he could speak to the committee before the
decision.”

[This is true, I could have spoken to the committee in their meeting,
not, as it turns out, on the convention floor, something I found out

at that moment.]

“In other words, the committee made the decision without allowing
support expressed for the resolution,… [As I was told later, someone
actually DID speak in favor, so here I was wrong. Cudos to them!]”

“…while no doubt the RMA was there to influence the committee and
a decision was made as to it’s fate without any feedback from those
who wrote the resolution.”

[This also is true, no one from Local 300 spoke in favor, nor did I,
since I was not there.]……..

This is the tempest in a teapot those who posted on Facebook were
talking about… Nothing more, nothing less.

They of course, could not fault anything that came after….. just saying’.

Moving on…..

THE RESOLUTION

Neither I nor anyone from a brave, VERY brave Local 300 had any
delusions that Resolution 4 would pass, in fact, we knew it didn’t
have a chance in hell of passing, but that wasn’t the point.

The point was to get the subject of buyouts into the zeitgeist of
the convention floor, the federation and all present. I also assume that
many knew nothing of the problems presented before this resolution.

Why Local 300? This resolution would never have seen the light of
day at Local 47 nor would any California Local have the guts
(In only my opinion) to present it. The long standing and well
regarded president of Local 300 had no qualms about having his
local back it, because in discussions with fellow presidents,
locals and musicians across the federation the destruction of
the industry was clear, as is it’s source.

He, his officers and his board did a wonderful job of finalizing
the resolution. They deserve major kudos from all rank and
file for bringing up what has needed to be said for a long, long
time.

BRAVO TO THEM on behalf of all rank and file members.

After all the talk on the convention floor about how the AFM is
such a democratic organization and open to all voices, I have
heard that folks from Local 300 are facing retaliation from
the AFM. If this is true I can only say it’s a total dick move by
President Hair and undeserved by the few that will speak up.

LIKE IT OR NOT

Like it or not, it’s not a matter of IF buyouts will become a reality,
it’s a matter of WHEN. In fact they already are. There are no fewer
than three organizations just in Los Angeles ready and able to
provide the service. The sooner the Federation realizes this the
more people we can get back to work with union recording.

In the last few weeks I have visited three studios (big and Bigger).
When asked how the business was going, all said it could be better,
but that it was ok. When asked how much of it was union,
they all said virtually none.

So the sessions are happening, just not AFM, and as of now
a majority of musicians, including some on the board of
Local 47 are willing to do dark dates. There is simply no
other way for them to pay their bills and their mortgages.

THE REST OF THE CONVENTION (on the bright side)

With the exception of the recording area, the AFM seemed
to be doing some good work, particularly for orchestras

All the committees I heard seemed to be committed to
full disclosure and the reports were excellent.

Of the things I heard, the most important was working for
pay parity for orchestral subs in professional orchestras.

There was a change made to have it include ALL orchestras
full time or not, and I think that passed.

It brought up a good question:

Do you know whether you are being paid the same as tenured or
full time orchestra members when you sub with them? You
should find out.

Why would an orchestra even ponder not paying musicians the
same for the same job? It boggles the mind.

FAIR TRADE MUSIC

There was also a presentation on FAIR TRADE MUSIC.

According to someone from the Seattle Local. It has been very
effective in Seattle at banding freelance musicians and groups
together to work for better working conditions from club owners
and the like. Nice to know they’re trying to look out for the
freelance musicians.

You can check it out here:
http://tinyurl.com/glnw2zj

Slightly smart-ass trivia:
Of all the bling handed out at the convention, most of it was
made in China. Someone in attendance supposed they were
trying to save money. Oh, the irony.

===================================

II) AFM NORTHERN CALIFORNIA MEMBER COMMENT

CONVENTION

A transformation like never in union history saw the formation of the
RMALA, freelance musicians as they referred to themselves, resurrected
in the 1980’s managed by a group of people from within the group,
encouraged and supported a process of manipulation of free enterprise
to eventually displace 100ths of recording union musicians and music
prep while at the same time undermined local 47 creating a monopoly to
ultimately capture a majority of the recording LA market translating into a
windfall of residuals it provided them.

So caught up in their scheme they lost focus placing emphasis on
protecting there self-righteous interests including using there leverage to
deliberately keep the AFM out of LA so to flourish by allowing no one to
get in their way to maintain a corrupt control dictating over union
recording musicians livelihoods.

By RMALA’s failure to adapt, due to their self-righteous calculated
maneuvers from within the RMALA, they managed to eliminate most of
the recording work from within Los Angeles.

As long as this organization continues, in its past or present form, will
once again curtail professional recording union musicians careers and
damage opportunities for local 47 and the AFM to generate membership
and work dues. Under a misaligned veil of authority, using the title
“Players Conference” will again dominate by imposing their short
sightedness and self-imposed work opportunities with the only purpose
to provide residuals beyond any ones imagination to a relative few.

The AFM has to consider whether they want defiance by those who see
through RMALA’s past establishing a permanent Non-Union presence in
the recoding field by allowing the RMALA twisted control and misused
“Players Conference title” to continue unabated into the future or remove
the RMALA all together.

======================================

III) OTHER VIEWS OF THE PROBLEM

A COMPOSERS VIEW: this is from the early ought’s 2006-7
I am a composer I live in LA and usually record here.

Recently, I had
to do budgets for a 60 piece orchestra. I chose to

shop around. I
 chose to look at LA, Budapest, Prague, Phoenix,

Utah and Seattle. I
have about $25,000 to spend as a

music budget for recording - not
including mixing, copyist,

conductor, engineer, room, catering, cartage and whatever the

heck else comes up.

In order to get the kind of sound I want, I need to do overdubs along
with sampler pre-records. The LA Union doesn’t allow overdubs as
far as I know unless you pay a fee. I need a buyout. The LA Union
does not offer a buyout.
All the other orchestras offer a buyout and overdubs at no charge.

I
 could hire a 40 pieces in Budapest with travel and all other costs
(not including mixing, copyist, conductor, engineer, room, catering,
cartage and whatever the heck else comes up. ) for $23,000 with
overdubs and a buyout leaving me $2,000 to mix as well as a short
vacation in Hungary.
Seattle gave me a quote that was out of line, Prague still looks
good, Utah still hasn’t got back to me, Phoenix is just a bit more
than Budapest and LA wants about 50% more than anyone else
+ back end.

Look, I love the LA Musicians. I have been educated and know
what the options are. But I have to work with-in a budget and
I refuse to go out of pocket like I have so many times in the
past. I need to get paid too - I mean heck I am writing the music.
Plus with the explosion of cable networks, the smaller networks
and production companies doing stuff on a shoestring budget,
samplers, reality TV using libraries of mainly synth recorded
stuff and falling TV viewer-ship (Video Games, Internet and
maybe just maybe people actually turning off the tube and
having a life) it is no wonder that budgets have fallen.

Composers have no union, we are mercenaries and therefore
we get squeezed. We want to score projects and some we are
even willing to do for free if it has a chance of either training
us or being good for our reel. This lowers our value in the eyes
of our prospective employers even though they can’t really pay
us and it lowers the amount of musicians we can hire.

For the A-List Composers there will always be the A-List
Directors

/Producers who are willing to pay more. There
may always be the golden 150 players in town that get the
choice gigs, but then again many of those gigs are going
to the LSO. For those of us who are trying to get to A-list
land: Directors, Producers, Composers and the like, we have
to claw our way up. Even the big studios, TV Production
companies and ad agencies are seeing their revenues decline.

And you know how crap rolls downhill.

We are now in the midst of taking a look at the big picture of

economics 101 and seeing supply and demand in action.
Technology has become cheaper, it continues to evolve making
many live music applications unnecessary. We used to hire
large ensembles, now we do pre-records with a small group
of live musicians. In the Future it might be 1 or 2 musicians
for overdubs. Theaters are running off of CD’s of sequenced
music, because it is cheaper to do that than hire a music director
and an orchestra. The current generation has seen more DJ’s
than live musicians and that plays a huge part.
Technology has made it such that you can be a composer just
About anywhere, as long as you can gain the trust of the
director/producer and fly out to record if you need to. We
live in a global economy.
The playing field is leveling. And as Charles Darwin pointed

out -
life is a game of Survival of the Fittest. Sooner or later

the shake
down will happen if it hasn’t already. Will you adapt

or not? There
are others who are adapting and those are the

ones who will get t he work. Consumers are demanding cheap

prices across the board. Look at Wal-Mart. Consumers in our

profession are called Producers (The ones that pay the bills).

They are demanding we create with smaller and smaller budgets.
If I can go somewhere and get what I need without the hassle,
why should I stay?

My most recent producer looked me in the eye straight faced and asked
“What is really the point of paying more money to get the same product?”

—————————————

A VIDEO GAME COMPOSERS VIEW
Videogame production. Videogames are a global market with publishers
and developers worldwide. There are no package deals for composers in
the videogame industry, just a reasonably stable composer’s fee plus
separate budgets for live musicians, studios, etc. The composers,
publishers, and game developers in this industry are big advocates of
using world-class musicians. There is currently a very liberal AFM
agreement for videogames on the books and in use by myself and others
in the industry. It includes a buyout among other provisions and big
publishers like EA, Ubisoft, Vivendi-Universal are doing sessions here.

We all know plenty of world-class musicians who aren’t on the A-list
for some of the busy contractors and this wording separates these
fine talents with the select few that have able to fit within the politics
of the way these contractors do business

For those of you who are part of this “A-list”,
I’d like to remind you that although you are a powerful and
well-organized group in how you vote within the union,
you are still a minority and the inevitable moment when the
majority of the union is fed up with your inability to listen,
that’s the moment when the revolution will commence and
you will be ignored for the betterment of the 99%

—————————————

A NASHVILLE MUSICIAN’S VIEW (From 2008)

Despite herculean efforts by Local 257 and National AFM (and
the RMA folks who control them), they have not been successful
in the slightest with stopping our non-union work here. Matter
of fact, it is growing. I could write a book on all the dirty tricks
they have tried but it has only strengthen everyone’s resolve here.

Our work continues to grow as more and more composers and
companies come out here to record their scores (a lot more than
just Sony PlayStation). Our situation is a lot different than what
you have out there. All of us ARE the first call players and we
are all in this together. 99% of the Orchestral Recording musicians
support what Nashville Music Scoring is doing here and are glad
to have the work.
No worries of “blackballing” or other issues. No studios that
won’t let you record there.

No other “unions” that will engage in a secondary boycott

against us.

Matter of fact, l work “Union” sessions every week and still get
pension and special payments contributions, reuse, etc. Only
now, since I left the union, I can work union and non-union sessions
without any fear of fines or other repercussions. Why more people
don’t do this is beyond my comprehension. I know the Local is
thrilled with processing all the checks they receive for me, but
there is nothing they can do about it.

The union has called Nashville Music Scoring “scabs”, warned
that anyone who works for us will be fined $50,000 and kicked
out of the Union, and has depicted me as the devil, but if you
sk the players, they are thankful that someone had the “balls’
to stand up to the AFM (and RMA) and was successful in bringing
a lot of good work here for a lot of people and they are happy to
get the work.

We are all just musicians trying to make a living and are tired
of being told what we can and cannot do while we watch all
the work go to Europe. The world has changed and you can
either change or find another line of work. There are a lot of
great musicians in LA an SF but there are also a lot of great
musicians in Nashville, London, Prague, etc.

We refuse to just sit by and do nothing while the AFM chases
all of the work away.

Keep fighting the good fight!

—————————————

A VIEW FROM A COPYIST/PLAYER
I used to work full time as a copyist for TV and film. I have watched

my living simply evaporate. I have had to find other ways of making

money and it isn’t easy. I have had no help from the AFM and local
47, as a matter of fact they seem to be more of an obstacle than
anything else.

Watching the amount of work dry up year after year, it would seem
that something really radical has to be done if there is any hope
of keeping a music industry going in this town, or at least a
recording industry.

It seems to me like the leadership of the RMA locally is in
serious denial about the threat to its very existence.

I think we’re simply rearranging deck chairs on the Titanic.
I think ultimately this is just busy work in the final years of
our industry.

It’s not going to bring any measurable increase in work to
the masses here, it’s only going to mean more work for
the small list of yo cats. We saw this happen when the
low budget agreements were adopted. Sandy’s crowd
fought those rates, but now they’re the ones accepting
that work, and complaining about it while they do so!
When I get a call from Dateline, practically the first words
out of their mouth are an apology for the low rate or
negotiated agreement involved. But I see the biggest
names in the business on those sessions.

======================================

IV. MEMBER COMMENTS

We are never gonna get rid of them unless folks just plain ole stop
hiring them and have their money run out - good luck on that -
hasn’t happened yet - all contractors would have to choose non
RMA players - this whole mess has ruined it musically and spiritually
for me - has for many years.

———————————-

Great, comprehensive stuff re: the insidious RMA.

———————————-

“Long time AFM and Local 47 member Charles Fernandez attended
the convention with the intention of speaking in support of the
resolution.

“Unfortunately, Member Fernandez was not informed as to when the
committee would discuss Resolution 4, so was not in attendance
when it was. . . . and a decision was made as to it’s
fate without any feedback from those who wrote the resolution.”

Well, *that’s* interesting. So it was Chas wrote the resolution,
not Local 300! Huh. The right to submit resolutions only belongs
to delegates, conferences and locals. That’s a pretty underhanded
technique, enticing a local to shill for him.

[EC: Actually member Fernandez had a role in it's writing, but
did not write the entire resolution, he worked with the Local to
craft it. Nice try though.]

———————————-

So Chuck was late to the gig, I guess.

Read the rest of this entry »

SPECIAL MAILING: RESOLUTION TO MUZZLE RMA PRESENTED TO AFM CONVENTION

June 21st, 2016

6/23/16
HISTORIC RESOLUTION PRESENTED AT THIS WEEK’S AFM CONVENTION
Resolution to remove the RMA from any role in the creation of
contracts.

I. RESOLUTION No. 4
II. HISTORY CALLING FOR THE RMA REMOVAL RESOLUTION
III. NON-UNION RECORDING LOCALES
IV. EVENTS

…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

COMING NEXT WEEK

+Late next week will be a bombshell edition on the AFM Convention -
Please read and share to all you know!+

======================================

I. RESOLUTION No. 4

Here is the RESOLUTION presented to the LAW committee and
the AFM Convention this week in Las Vegas.

Recording contracts and RMA role

WHEREAS, The RMA policy of refusing to allow buyouts options for
AFM recording contracts, has resulted in an 80%+ reduction of
recording work in Los Angeles and across the federation, also
playing a role in Local 47 needing to sell it’s historic building

and

WHEREAS, This policy promoted by the RMA has led to multiple
locations across the federation recording non-union because
contracts are unusable. (i.e. Nashville, Los Angeles - dark,
Virginia, Indiana, New York - dark, San Francisco - dark,
Vancouver, etc., Seattle)

WHEREAS, Repeated lawsuits by the RMA, through its surrogates,
against the AFM have squandered hundreds of thousands of dollars
of rank and file musicians’ dues in frivolous and self-serving
litigation.

WHEREAS,  the unsuccessful campaign instigated by the RMA
against Lions Gate has also wasted tens of thousands of dollars
of rank and file musicians’ dues; and

WHEREAS the Colorado Symphony has decertified the AFM because
of ineffective media restrictions. (This was later removed)

Whereas the AFM, while adopting most of the RMA’s ineffective
policies, has refused to sanction union members in Nashville
doing non-union recording projects despite the fact that the
Nashville local president is a member of the IEB; and

WHEREAS, Officers of the RMA have participated in recording
sessions outside of the U.S. and have played on domestic
library recording sessions also without AFM sanctions; and

WHEREAS, both the AFM and RMA have no program, whatsoever,
to improve the economic hardships faced by recording musicians:
therefore, be it

RESOLVED, That the AFM move forward to allow proper buyout
and competitive contracts in areas such as Video Games, Trailers,
Samples, Low and Medium Budget Films etc.; and be it further.

RESOLVED, That to accomplish this, the destructive influence of
the RMA be removed by excluding it from any role in the
formation, execution or creation of any AFM contracts

Submitted by Local 300

===============================

II. HISTORY CALLING FOR THE RMA REMOVAL RESOLUTION

Colleagues,

Long time AFM and Local 47 member Charles Fernandez attended
the convention with the intention of speaking in support of the
resolution.

Unfortunately, Member Fernandez was not informed as to when the
committee would discuss Resolution 4, so was not in attendance
when it was. Whether this was by design, or accidental, we don’t
know. We do, however, know that member Fernandez was not
allowed to speak on the floor of the convention, though he was
told he could speak to the committee before the decision.

In other words, the committee made the decision without allowing
support expressed for the resolution, while no doubt the RMA was
there to influence the committee and a decision was made as to it’s
fate without any feedback from those who wrote the resolution.

Naturally, the sheep at the convention all bowed their heads and
said nothing, though they know better than anyone the damage
the RMA has caused.

Member Fernandez was to speak in favor of the resolution, owing to
his extensive knowledge of the origin and result of the RMA’s
outsized role and control of Local 47 and the AFM.

Below you will find Member Fernandez’ entire presentation
prepared for the LAW Committee (Which they never heard.)

ABOUT THE RESOLUTION TO REMOVE THE RMA FROM CONTRACT ROLES
Local 47 member, Charles Fernandez

The RMA in its original form was the RMAC in the 60’s. It’s incarnation
as the RMA originated in the early 1980’s.

The original concept behind special payments in the 1960’s was to
attract business with lower, more affordable rates up front with the
understanding that if a film was successful, a percentage of that
success (profit) would go to the musicians.

Back when Los Angeles and New York were the only places to record
this worked fine. The RMA LA contractor, however, spent years
charging triple and quadruple scales, believing that they had a corner
on the market and that producers would never seek another option.
This same RMA contractor would book most big rooms in town
making them unavailable, then cancel all but one at the last minute.
The contractor would also over book musicians to make them
unavailable, then cancel them at the last minute as well.

An employee at a major music copyist’s office once overheard this
main RMA contractor telling a potential client, “I’ve got the only
orchestra in town and I’m not available, so you need to go elsewhere.”
This at a time when you could easy have 6 or 7 top notch orchestras in
Los Angeles working at once. It’s not much different today, considering
there are immeasurably more “A-list” players in Los Angeles than there
are on the “A-list”.

It was bound to happen that producers would tire of being fleeced and
begin looking elsewhere to record.

With Mr. Holland’s Opus and Die Hard II, Seattle proved it could score
anything LA could and record it did. London as well could and did score
projects big and small. The horse had left the barn, movie studios could
no longer be held hostage by triple and quadruple budgets and huge
back end payments.

Some RMA members say that the strike of the 1980’s opened the door
to studios looking for other recording options. If the RMA leadership
had had even the slightest interest in a long term view, the exodus
could have been slowed, but the back end made the result inevitable,
strike or not.

The RMA has controlled big budget recording and Local 47 in Los
Angeles for a long time and to a large extent still does. One wrong
word and your recording career was over as can be attested to by
100’s of musicians who fell “out of favor” with the RMA leadership.
This same threat doesn’t work so well anymore since the work is a
shadow of it’s former self.

Once the work started to leave, the RMA Leadership covered their
ears or simply refused to see the inevitable. They were and are the
buggy whip makers in the age of the remote recording, internet and
cloud technology whose only concern was and is the size of their
July check, regardless of the damage caused to anyone else.

But what has the RMA done besides being completely in denial on
the backend? Local 47 is little more than RMA West, and most of
the IEB has not had the spine to stand up to them.

A WAR

Let’s talk about the Tom Lee years. The RMA leadership detested
Tom Lee because he wouldn’t genuflect to the RMA and insisted
on working on the behalf of ALL members.

A case in point was his “Video Game Agreement”. To this date, it
is only the Tom Lee VG agreement put out by the AFM that has
ever been used for any significant work.

WHY?

Video games have no back end, never will, but the VG Companies
will not sign an assumption agreement. The Tom Lee contract
allowed composers to sign the assumption agreement (No back
end to pay, no problem for the composer).

Video Games were scored AFM with this contract; composers,
players and the companies were happy.

But since the RMA leadership didn’t have a big say in it’s writing,
and because anything having to do with Tom Lee had to be bad,
the RMA leadership hated this contract.

They hated it so much in fact, that as an orchestra prepared for
five days of double sessions for the Simpson’s Video Game, someone
associated with RMA put notes on the stands of the players saying
in effect, “We don’t like this contract and we don’t think you
should be working under this contract.”

Half the orchestra bailed on the sessions, afraid of blacklisting if
they stayed. The VG Companies were livid and vowed never to
return to Los Angeles. The studio and their crew lost a week of
work. So the work remained union, but went to San Francisco.
None of those companies would touch LA and the “RMAers” with
a 20 foot pole and still won’t.

The RMA leadership never forgot this, as you will see.

THE PMG (THE GUILD)

The RMA Leadership created an illegal “Union” (their word) called
the Professional Musicians Guild to record Video Games in the event
that Tom Lee was re-elected. The listed leadership for both the RMA
and the PMG were similar. Marc Sazar was listed as the PMG Secretary
Treasurer, Vice-President of the RMA, while even being the web master
of Local 47. Conflicts of interest do not come much bigger than this.
Hal Espinosa, then president of Local 47, was nothing more than an
advocate for the RMA and whatever itch that wanted scratched.

At the video game conferences in San Francisco, these RMA/CMG
members introduced themselves as AFM members who were
authorized to handle video games contracts (A blatant lie). They
also told the game industry reps that they should call the “guild”
when they’re ready to record. If you called the number on the “GUILD”
business card you reached the RMA OFFICE IN THE LOCAL 47 BUILDING.
The Local said nothing. If the RMA leadership couldn’t get the work
legally, they’d try to do so illegally.

This illegal organization violated AFM Bylaw (Article 10, Section 3) by
creating an illegal competing union in the federation’s jurisdiction,
trying to take over Video Games negotiations, and falsely claiming
AFM approval.

They even got a journalist to write an article for them.

————

Variety Business: Musicians to tune out AFM union
Over 200 join Professional Musicians Guild
By JON BURLINGAME
L.A. musicians have placed the American Federation of Musicians
on notice: Shape up or face possible decertification as their collective-
bargaining agent for film and TV recordings.
More than 200 of the estimated 900 professional musicians who are
most active on film-scoring dates have already joined the new
Professional Musicians Guild, according to PMG president Andrew
Malloy…

————

The Guild’s goal was perfectly clear, and in their own words, it was
an attempt to bust the AFM.

With one of their Officers being the Secretary-Treasurer of the PMG,
the Vice President of the RMALA and webmaster of Local 47, the
conflict of interest between the RMA and the GUILD could not be more
solid.

No less solid was the link between the GUILD and LOCAL 47.

At a conference in New England at the time, Mr. Espinosa not only
defended the GUILD, and admitted that one of the PMG’s officers held
an enforcement position at the Local (The Hearing Board), but went
further and said he would take no action against any GUILD member
unless forced to by the Federation.

His true loyalties were clear; to the RMALA above all. The IEB was no
more help than President Espinosa. The governing body of our federation
would do nothing to stop this illegal guild, or was simply impotent to do
so. Local 47 was (and still is) owned by the RMA, but it turned out so was
the IEB.

In truth, it was all about getting back at Tom Lee at the member’s
expense.

THE LAWSUITS

Then there were the lawsuits. The RMA leadership would call a contract
promulgated or that they didn’t have enough input. Or it was a tax
they didn’t like. They even got the RMA Membership up in arms about
a sliding scale of tax payments that was actually put in place by the
RMA leadership itself, as well as changing the rules so that only those
players who spent enough hours recording could vote on contracts,
(Shutting out a vast majority of their own members nation-wide), yet they
shifted the blame to Tom Lee, and the gullible bought it hook, line and
sinker.

The RMA then created a company called FAREPLAY, to collect money
from RMA Members to help pay for the Lawsuits.

Though the RMA kept losing these suits, they made it clear that as
long as Tom Lee was the AFM President they would make the AFM’s
life hell and that they would see the AFM member’s dues spent fighting
the RMA Lawsuits.

At the following convention, the votes were in, and the RMA’s candidate,
Ray Hair was elected. The RMA had not forgotten about that Video Game
work though, and if they couldn’t have it no one could. This is where we
see the true pettiness and insidiousness of the RMA leadership.

One of the first things the newly elected President Hair was told to do was
to decree that ONLY COMPANIES could sign the VG assumption
agreement, not composers. In that moment, all video game scoring not
grandfathered in with the Tom Lee Contract was lost, gone off to Seattle,
or London or anywhere, or eventually, Nashville, but never AFM again. As
I said, if the RMA leadership couldn’t have it, no other AFM members
could.

Another example of RMA Arrogance?  Two RMA leaders from Los Angeles
went to a meeting with the RMASF board and had the gall to tell them,
according to sources, “Why don’t you guys concentrate on side-lining
and leave the recording to us.”

It wasn’t long after that, that the RMASF, seeing the true nature of the
RMA and that it will only ever be about the RMA Los Angeles, disbanded
their chapter.

Eventually, and fairly recently, President Hair stopped filing every lawsuit
the RMA leadership wanted.

The Result? One of those same two RMA leaders stood up in a meeting
and announced to the room that Ray Hair was the worst president the
AFM had ever had. Quite a statement coming from one of his creators,
and all because he (Ray Hair) wouldn’t continue to kiss the ring and file
all the lawsuits the RMA leadership wanted (Spending rank and file’s
dues money).

Of course these lawsuits would only benefit the RMA elites. It seems
President Hair is now in new “Tom Lee”.

BUH BYE WORK!

It is estimated that Los Angeles has now lost over 85% percent of its
work, even worse in the rest of the federation. Many musicians, in
Virginia, Nashville, Seattle, Vancouver, New York, Los Angeles and
elsewhere, tired of not working and needing to feed their families and
pay their mortgages are giving the finger to the AFM and either working
dark dates or going fi-core, and all because the AFM refuses to stand up
to a minuscule band of very selfish, greedy people (not all RMA members
to be sure, but the leadership and a few others.)

Oh,… and sidelining? The RMAERS and their contractor began doing
sidelining, and have even taken over some of the USC film scoring
sessions, something that just a few years ago would be anathema to
them. The Local administration helped that along by gutting the referral
service of Local 47 and having all calls about sidelining transferred to the
electronic music services office, home of guess who. They now try to take
over orchestras, having poisoned their own watering hole, and are trying
to push out the rank and file middle class in the process.

Let’s Review:

The Guild; The Lawsuits; Fareplay; The insidious conduct; all these point
to an organization that has become poisonous to the federation and must
be side-lined if the federation is to come back from the brink recording wise.

When I joined Local 47 it had over 13,000 members, now it’s half that.

While no one expects the major motion pictures to go buyout, we need
buyouts contracts for Video Games, Libraries, Sampling, Trailers and
lower budget projects.

For the companies, they’re willing to pay more for a buyout, but on the
other hand, I was told by an orchestrator for one of the biggest VG
Franchises that the company was willing to pay $100,000 extra to go to
London rather than record AFM. Now that’s bad blood!

Increase all the scales by 50%, or 100%, on a buyout basis and you’ll find
a lot of those dark dates coming back to the AFM, with the
commensurate increase in dues, health and welfare and pension paid. Far
more of our work would be on contract, and the ONLY ones who’ll
complain will be those who’ve done so very much to destroy our
federation. Hell, if we’d done it years ago the members may not have
been persuaded  to sell the iconic Local 47 building.

The choice is up to you, but now neither you nor anyone else can say they
weren’t warned or informed. Keep kissing the RMA’s ring, and you kiss
the AFM’s recording future good-bye.

Thank you for your time,

Charles Fernandez

=============================

III. NON-UNION RECORDING LOCALES

Member Fernandez was to present to the committee an
incomplete list of 23 recording locations where clients
can record as a buyout.

As we do not want to promote the details of these recording
options, we will only include their locations. (Some have more
than one.):

1) Armenia
2) Bratislava
3) Costa Rica
4) France
5)Lisbon
6) London (4 options)
7) Los Angeles (3 options)
8) Macedonia
9) Mexico
10) Nashville
11) New York
12) Prague
13) San Francisco
14) Seattle (2 options)
15) Tiblisi, Georgia
16) Vienna

There are certainly more options than are listed here.

[COLLEAGUES,
So as was made clear, the AFM LAW COMMITTEE and AFM decided to
continue to kiss the RMA's ring and let our recording industry die.

Congrats folks,

No doubt apathy and nonunion recording will grow, but remember...
We did not leave our union, our union left us to genuflect for an
unethical and greedy recording musician leadership. And the sheep
have gotten what they deserve.]

NEXT TIME: COLLECTED COMMENTS THAT SPEAK TO THE SUBJECT OF THE
REJECTED RESOLUTION.]

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