May 23rd, 2013 The Committee
I. COMMENTS ABOUT THE KOCH BROTHERS AND UNIONS
II. COMMENTS
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. COMMENTS ABOUT THE KOCH BROTHERS
Dear Editor,
So What? Los Angeles might have a “conservative rag” for a change? The Hollywood
scene and labor’s influence should balance out the playing field. LOL.
Sticks and stones….”the union said…. David and Charles Koch are “anti-labor, anti-
environment, anti-public > education and anti-immigrant.” Hyperbole.
The “union” doesn’t speak for me. Who gives the union leadership the authority to
go off and march on our dime? Who authorizes the union leadership to spend
resources promoting this or that in “our collective name”? Pretty presumptive don’t
you think…? Oh, perhaps we just have to go along with the LA Federation of Labor
and their agenda… now that we have been forgiven for refurbishing our union hall
using virtually all non-union labor and they can hold their meetings in our building.
———–
Yeah what a drag the Koch bros. might make the LA Times profitable
and save at least some jobs. You of all people should see that in general
and in modern civilizations unions run businesses into the ground.
It’s happening to our business and you point it out every week and
now you’re going to take the “progressive” stance with the Koch
brothers? You’re as full of *** as the rest of them. Take me off your
list- I don’t believe anything you have to say.
[EC -
50 years ago 30% of the workforce was union, as of 2012 that number was 11.3,
compared to 11.8 in 2011 Whatever their situation now, initially unions are the
reason for many benefits to workers over the years:
1) End child labor
2) Establish the legal right of workers to form unions and collectively bargain for wages,
benefits and working conditions
3) Establish the 8 hour work day and paid overtime
4) Win workers' comp benefits for workers injured on the job
5) Secure unemployment insurance for workers who lose their jobs
6) Secure a guaranteed minimum wage
7) Improve workplace safety and reduce on the job fatalities
Win pensions for workers
9) Win health care insurance for workers
10) Win paid sick leave, vacations, and holidays as standard benefits for most workers
11) Win the right for public sector workers to collectively bargain
12) Win passage of the Civil Right Acts and Title VII which outlaws job discrimination
based on race, color, religion, sex or national origin
13) Win passage of the Occupational Safety and Health Act
14) Win passage of the Family Medical Leave Act
What can't be bullet-ed is the fact that when unions are strong, it forces other employers
to match wages. So, they actually increase the pay and improve benefits for non-union
workers too. They help everyone.....blue collar, white collar, union and non-union.
Nothing on the above list would have been possible without the collective action enabled
by Unions. It is also why we don't simply give up on Local 47. We think it CAN be better
and less corrupt than it is, though nothing will change without, you guessed it,…
the COLLECTIVE ACTION of the members.
A BASIC CONTRADICTION
As stated above, Union accomplishments include higher wages, greater benefits, reduced work
hours, and improved work conditions
Union drawbacks include bureaucratization of work, economic inefficiencies, and corruption.
This we have experienced in spades in Los Angeles.
It's all up to the members if they want improvement.]
================================
II. COMMENTS
The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.
—————————–
JUST SAY NO
I have been an RMA member for many years. However, I have decided not to
renew my membership.
I am tired of an RMA leadership that works against my interests.
A few months ago there was a meeting in Santa Monica attended by
over 500 musicians to address, in a civilized open format, the very serious
issues of outsourcing, our marked loss of recording work in Los Angeles,
and the increase of composer’s contracts that include “No AFM” clauses.
The RMA’s reaction was to warn members that they might face “consequences”
if they showed up. At the following RMA meeting, the AFM President, Ray Hair,
mocked the meeting. The RMA leader, Phil Ayling, said that meeting was not
relevant, because those musicians who attended were not in “The Club”.
It should be noted that many attending the Santa Monica meeting were RMA
members; apparently not all RMA members are in “The Club”.
Maybe if enough musicians do not renew their RMA membership, the RMA leadership
will get the message that if they do not support us, we will not support them.
I am grateful to the Committee for a More Responsible 47 that encourages open
conversation without fear of reprisal.
[EC: Firstly, thank you for the cudos. Secondly, the above post is just another
in along list of examples of the arrogant and entitled attitude of RMA leadership
and their peons.
It was overheard years ago from an RMA leader that they wanted the Local to have
only 1,500 members who pay $1,200 a year, thus getting rid of the "Weekenders"
and "Amateur's" who do the weddings, parties, clubs and other live performance,
since, after all, as stated then the only professionals were those who record for a
living.
Of course, that was years ago.
The same statement today would have to be adjusted down from 1,500 to 150, since
no more that 150 musicians over the year record motion pictures union; and they'd have
to remove the references to parties, weddings and live performance, since the work of
"The Club" has vanished to the point where all that work is fair game, including the "Club"
folks taking over the student film scoring sessions at USC.
They certainly don't deserve your money, but please don't think the recording leadership
care one whit if non-"Club" folks resign. Unless it serves their personal interests they don't
care.
Thank you for writing and write any time.]
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May 15th, 2013 The Committee
I. BROKEN CLOCKS AND KOCH PROTEST
II. MESSAGE FROM SOUND EXCHANGE
III. ASMAC CELEBRATES VAN ALEXANDER, BILL HOLMAN AND DUANE TATRO!
IV. 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. BROKEN CLOCK AND KOCH PROTEST
As the saying goes - Even a broken clock is right twice a day, and we at the committee
completely agree with Local 47 on this particular subject.
The Koch Brothers are bidding to buy the Tribune Company, owner of the Los Angeles times.
While the Rally happened last Tuesday, May 14th, you can still get involved by signing
the petition opposing the sale of Los Angeles Times and Chicago Tribune to the Koch
Brothers at
http://democracyforamerica.com/pages/768?t=bernie
Here is a very short article from the LA Times on the Subject:
LEGISLATIVE LEADERS, UNIONS OPPOSE TRIBUNE SALE TO KOCH BROTHERS
Ten public employee unions call Koch brothers ‘anti-labor’ and ‘anti-immigrant’ in a
letter to Tribune’s chairman of the board.
May 08, 2013| By Patrick McGreevy and Chris Megerian, Los Angeles Times
SACRAMENTO - California legislative leaders and 10 public employee unions announced
opposition Wednesday to any sale of the Los Angeles Times and other Tribune Co.
newspapers to a pair of wealthy brothers who fund conservative causes.
In a letter dated Tuesday to Bruce Karsh, president of Oaktree Capital Management,
the largest shareholder in Tribune Co., and chairman of its board of directors, the
unions said David and Charles Koch are “anti-labor, anti-environment, anti-public
education and anti-immigrant.”
=============================
II. MESSAGE FORM SOUND EXCHANGE
Greetings,
We are writing to seek your help in protecting the long-term value of music - including
the rates that you are paid for the use of your music on Internet radio.
Last fall we reached out to you when the anti-artist “Internet Radio Fairness Act” (”IRFA”)
was initially introduced in Congress. Thanks to your support, more than 130 artists
voiced their concern in an open letter protesting IRFA’s attempt to reduce the royalties
that thousands of artists rely on. And many more have joined the fight since then.
While your support helped us derail IRFA last year, it appears that the same groups plan
to try to reintroduce the anti-artist bill this year. Worse yet, there is a risk that new
provisions will be added to the bill in a blatant attempt to divide our community.
For instance, in the past these anti-artist groups have talked about “buying off” artists
by offering them a bigger split of Internet radio royalties. But it doesn’t take a math
whiz to figure out that a larger piece of a drastically smaller pie is still a bad deal -
and is even worse for the overall health of our industry. This “divide and conquer”
tactic is a direct result of our success in pulling together as one community to oppose
the legislation last year.
Regardless of any window dressing that may be added, the “new IRFA” would ultimately be
the same, unfair attempt to reduce royalties you receive from Internet radio (by as much
as 85 percent!!). This legislation is an attempt to pay artists and creators less than their
fair share for their art.
We understand that a music career is hard enough work. SoundExchange represent tens of
thousands of recording artists and record labels every day, a majority of which are working
class musicians and independent record labels. We want artists to make more money, not
less, for their creative contributions.
Join us in the fight to ensure that artists and creators are paid fairly for the music they
create: Write or tweet your member of Congress to help protect the long-term value of
music. We also encourage you to tweet: “Artists deserve to be paid fairly. Join me in
supporting fair digital royalties. #valuemusic”
For regular updates, follow us on Twitter (@SoundExchange).
Thank you for your support!
Sincerely,
SoundExchange
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May 8th, 2013 The Committee
I. INFORMATION ON THE IMA
II. 2013 IDRS CONVENTION JUNE 25rd-29th IN REDLANDS
III. MORE GROWTH IN OTHER RECORDING LOCATIONS - COMMENT
IV. 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. INFORMATION ON THE IMA
We recently received a couple of questions about the IMA
(Integrated Media Agreement). We thought we’d put together
some of the latest and some older articles on the agreement
for you.
The IMA was enacted in 2009, after in 2007 some orchestral
managers walked away from the negations with 95% of the
agreement decided.
Below are some articles, in chronological order, that can inform
the reader about the IMA.
For those who don’t have much time, we suggest you go directly
to the 2010 IM article by Deborah Newmark and look at the
highlights in column two.
READ ON…
——————–
2009
ABSTRACT
The article offers information on the Symphony Opera or Ballet
Audio-Visual/Integrated Media Agreement (IMA) negotiations between
the Federation’s Negotiating Committee and the Manager’s Media
Committee. It notes that the Manager’s Media Committee has walked
away from the negotiations just short of finalizing the said
agreement. Meantime, benefits from the IMA negotiations that
have been accomplished are discussed, including agreements for
audio-visual (AV), Internet and compact discs (CDs).
——
2010
In August, 2010 the following article appeared in the IM by the Deborah
Newmark mentioned above.
It lists generalities, plus specific groups that have signed up as of that
date. Very useful information.
http://im.afm.org/doc/AFM_IM/internationalmusicianaug2010/2010073001/27.htm
l#26
——
from:
http://www.polyphonic.org/article/media-myths-misconceptions-that-mystify-m
e/
THE ORCHESTRA MUSICIAN FORUM
September 2010
When I was asked to participate in the national media
negotiations for the creation of the AFM’s new Integrated Media
Agreement (IMA) a few years ago, the goal of ensuring that the IMA would
be uncomplicated and affordable was at the forefront of my thoughts.
Today the IMA is in place, and I am extremely proud of the result. We
now have a document that puts the majority of media work into one
Agreement.
However, I continue to be baffled by the incorrect information and
inaccurate assumptions that many in our industry have about the new IMA.
It is my hope that this article will bust a few media myths, as well as
shed proper lighting upon the new Integrated Media Agreement (IMA).
Media Myth Number One: The IMA is a promulgated agreement.
The IMA is a result of months of hard bargaining between the AFM and
symphony and opera managers. The IMA is not a promulgated agreement. If
it were, its contents would look more like the proposals from the AFM
rather than the result of negotiations.
Media Myth Number Two: The IMA is expensive. An
interesting question was raised at ROPA’s 2010 conference in Omaha: what
does it cost to sign on to the IMA? The answer is ZERO.
However, a terrific feature of the IMA is the audio buffet option, which
Gives expanded audio rights for 3% of the musicians’ annual base salary
(but for no less than $900/year, which is the floor of this plan).
———
Media Myth Number Three: The IMA is only suited for large symphonic
orchestras.
Within only one year of its existence, 14 orchestras have signed on to
the IMA, and more are on the way. The signatories range from some of the
top five orchestras to some mid- to small-budget orchestras, and
include a few opera orchestras and chamber orchestras as well. Each
organization looked at the IMA and recognized that it had merits for
their individual needs, which indicates that the media committee did its
job in crafting an agreement that would suit many situations.
———
Media Myth Number Four: The IMA restricts news coverage and educational
opportunities.
The IMA expands educational offerings, as well as news and promotional
stories, with more freedom than ever before. Orchestras can now capture
up to thirty minutes and use up to nine minutes for promotional use.
Actually, the rights period for educational media is longer now. It has
gone from fourteen days to ten years!
———
Media Myth Number Five: Since the former AFM media agreements have
expired, I don’t need the IMA.
Any signatory to the AFM media agreements (the Live Recording
Agreement, the Audio-Visual Agreement, and the Audio Internet Agreement)
is required under U.S. labor law to continue operating under their
terms while negotiating a new agreement with the AFM. The IMA replaces
all three of those agreements - and on terms that are favorable to
employers in many respects.
———
Media Myth Number Six: Media agreements are complicated, and no one really
understands them.
Perhaps media agreements are viewed this way because they are only
reviewed whenever a media project is being explored, therefore they are
unfamiliar. The IMA seeks to make its details easy for all to
understand. No one can explain the details of the IMA better than
Debbie Newmark, AFM’s media guru. (Click here
09/2009073101/18.html>
for her article in the August 2009 International Musician explaining
the IMA.) She would be pleased to speak to orchestra managers, AFM
local officers, and orchestra committees about the IMA and how it would
be an asset to their organizations. (Contact her at dnewmark@afm.org.)
———
Media Myth Number Seven: The IMA does not embrace new technology.
The IMA allows audio-video streaming on the orchestra’s website, and
even clips on the websites of sponsors. It allows promotional news
stories on a news station’s website for up to 21 days. (After all, it
really isn’t news beyond 21 days, is it?) Provisions for YouTube and
Facebook are included in the IMA. Media loops on kiosks around your town
are part of the IMA. Even media platforms yet to be discovered are
included. Now that’s vision!
———
Media Myth Number Eight: The IMA does not include audio-visual elements.
The IMA simplifies television broadcasts in terms of rate structures
and revenue sharing. The IMA eliminates imprint credits and first
release payments found in the AFM’s Audio-Visual Agreement. Over a
three-year period, the IMA allows unlimited broadcast of a television program
instead of only four weeks.
In summary, the IMA is accessible and flexible. It addresses the
concern of making AFM media agreements more user-friendly. In the coming
year, I am confident that more orchestras will be signing on to the
IMA, as orchestra managers, AFM locals, and orchestra committees begin
to understand the value of this contract. Those forward-looking
ensembles will certainly jump ahead as the leaders in the ever-changing
world of media.
——–
Colleagues,
Every agreement has it’s negatives, which are not mentioned in
The articles above. That said, the number of major orchestras that
have signed on to the IMA is impressive as of the printing of the
articles above.
If you’ve got info and/or experience positive or negative with the
effectiveness of the IMA please let us know.
.
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May 2nd, 2013 The Committee
I. MESSAGE FROM JENNIFER WALTON RE: OPEN MARKET AGREEMENT
II. INSTRUMENT DAYS FOR WINDS!
- 2ND ANNUAL CLARINET DAY
- OBOE AND BASSOON DAY
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. MESSAGE FROM JENNIFER WALTON RE: OPEN MARKET AGREEMENT
FROM JENNIFER WALTON…
When President Trombetta had an outburst and said, “THIS IS THE
DANGER OF HOLDING A MEETING WHEN THERE IS NOT A
QUORUM!! You have FIVE minutes!”, I responded, ‘Danger is my
MIDDLE name.’
It was funny…in a fierce, fighting kind of way. I truly appreciate the
support from many individuals both at the meeting (although there
were too few there!) and outside of the meeting, via email, etc.
There was much positive brainstorming which followed the meeting
and I find that we are in actuality getting closer to pushing the Open
Market Agreement forward.
===========================
II. INSTRUMENT DAYS FOR WINDS
Below are two events that should be of interest to any wind player.
——
1) THE 2ND ANNUAL CALIFORNIA CLARINET DAY
featuring Los Angeles Clarinetists
Helen Goode-Castro
Julia Heinen
William Powell and
Margaret Thornhill
with SPECIAL GUEST ARTIST
Robert Spring
Professor of Clarinet - Arizona State University
and
A Special Appearance by the Los Angeles Clarinet Choir
conducted by Margaret Thornhill and soloists
Helen Goofe-Castro and WIlliam Powell.
—
WHEN: Saturday, May 11th, 2013
WHERE: Los Angeles Valley College Music Department
5800 Fulton Avenue - Valley Glen, CA 91401
HOW MUCH: $40.00 per person
NOTE: Clarinet Day will be limited to 40 clarinetists.
Send your information, including Phone, Email
and a Check made out to “Los Angeles Valley College Foundation” to
Julie Heinen - Professor of Clarinet
CSUN - Dept of Music
18111 Nordhoff St.
Northridge, CA 91330-8314
Come and Enjoy Masterclasses, Recitals, Clinics and
Performing with the FESTIVAL CLARINET CHOIR!!!
———
2) BOCAL MAJORITY BASSOON CAMP and OPERATION O.B.O.E.
are pleased to announce the 2013 Camp Season!
Exciting new locations! Wonderful faculty! Middle school,
high school, and college programs!
A great way to get your double-reed students to the next
level in their playing
California camp at Pepperdine University, July 23-27
with David Weiss (L.A. Phil.-ret)
Michele Grego (L.A. Phil.)
Leslie Lashinsky (Pepperdine Univ.)
Catherine Del Russo (Pepperdine Univ.)
On-line deadline May 15
The Bocal Majority Bassoon Camp and Operation O.B.O.E.
make up double reed camps that seek to serve both high
level students through its Advanced Double Reed
Institute as well as enthusiastic students at all levels
through the regular camp sessions.
There is a beginner camp for students entering the 6th
grade who have never played bassoon or oboe before.
There is a camp for students who have played for at least 6
months. This is for student entering 7th grade through
freshman year of college, and there is the Advanced Double
Reed Institute of Texas which is for high-level players HS
and College players, and which enrolls by audition
only.
Finally, we offer a band director boot camp on
bassoon and/or oboe pedagogy. Whether you aspire to
major in music in college or are having fun in band, our
double-reed camps are agreat way to get to the next level
of playing in an exciting and fun environment.
ENROLL NOW!
2013 ADRIT Faculty:
OBOE:
Martin Schuring, Professor of Oboe, Arizona State University
Dwight Parry, Principal Oboe, Cincinnati Symphony
James Ryon, Professor of Oboe, University of North Texas
David Weiss, former Principal Oboe of the Los Angeles Philharmonic
Bill McMullen, Professor of Oboe, University of Nebraska
Beth Sanders, Principal Oboe, Austin Symphony
Cathy Del Russo, Professor of Oboe, Pepperdine University
Celeste Johnson, Professor of Oboe, Oklahoma State
University
Sally Bohls, Principal Oboe, Lewisville Lake Symphony
BASSOON:
Barry Trent, Former Principal Bassoon of the Baltimore Opera
Lenny Hindell, New York Philharmonic and Metropolitan Opera of NY (ret.)
Billy Short, Principal Bassoon, Metropolitan Opera of NY
William Lewis, Principal Bassoon, Austin Symphony
Michele Grego, Bassoonist with the Los Angeles Philharmonic
Christin Schillinger, Professor of Bassoon, Miami University (OH)
Jeff McCray, Professor of Bassoon, University of Nebraska
Ann Shoemaker, Professor of Bassoon, Baylor University
Leslie Lashinsky, Professor of Bassoon, Pepperdine University
Jeff Womack, Professor of Bassoon, Angelo State University
*not all faculty members at all camp locations -
see website for complete details
www.bocalmajority.com
Summer 2013 Dates
Enroll Now!
ADRIT (Advanced) Program
Camp Intern Program
FAQ
About us
Store
New/Used Instruments
Unique Reed Cases
Gift Items
Contact Us
2013 Locations:
Dallas
Ft. Worth
Houston (S & N)
Austin (S & N)
Lubbock
Rio Grande Valley, TX
California
Colorado
New Jersey
Virginia
Oklahoma City
Broken Arrow, OK
Our mailing address is:
Bocal Majority
18922 Whitewater Lane, Dallas, TX
Dallas, TX 75287
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April 24th, 2013 The Committee
I. NO QUORUM FOR MONDAY’S MEETING: THE LOCAL YOU DESERVE
II. A MEMBER COMMENTARY ON MONDAY’S NON-MEETING
III. MORE NON-MEETING COMMENTS
IV. 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. NO QUORUM FOR MONDAY’S MEETING: THE LOCAL YOU DESERVE
There are very important issues facing the musicians left in Local 47, with
some trying to make a difference and bring forth possible solutions. How
tragic then, that as of 7:04 PM (when the possibility of a meeting was quelled),
there were only 34 members in attendance.
The commentary below gives a full picture of the actions that night. For our money,
it only made perfectly clear who runs the place and it’s become more than
obvious that as long as the RMA runs our federation, things will not improve for
anyone, not even the RMA, since their business model is continuing to destroy work.
Members hold absolutely no hope for improvement until the RMA’s influence is
excised from the National AFM and our Local.
Even today, with the RMA influence far, far less than people realize, players and even
composers are afraid of even signing a petition to try to to get work back. It’s
pathetic. No more than seventy musicians (Probably less) are still recording on any
sort of regular basis, yet players and composers who have never worked with the
YO’s and never will are still cowed by this paper tiger? We’re down to three sound
stages, which we know are cutting employee hours and being financially propped
up by other areas of the studio’s business. If we lose another one we’re screwed,
and once these big stages are gone, they’re gone.
The members of Local 47 have the Local they have allowed and deserve. When the
members want better, and work for better, they will get better. Until then, if you don’t
show up at meetings or more importantly vote for change when you have the chance,
don’t complain. You haven’t earned that privilege.
THE COMMITTEE
===========================
II. A MEMBER COMMENTARY ON MONDAY’S NON-MEETING
PRESIDENT TROMBETTA -
THE LEGENDARY GET FREE REIGN WHILE RANK AND FILE’S FREEDOM OF SPEECH IS
INHIBITED.
Monday night there was a membership meeting at Local 47. A hot topic in
LA is the fact that work has left town and more work continues to leave.
When I arrived, the first thing I noticed is that we would most likely not
have a quorum of the required 50. Turns out, we missed meeting the quorum
requirement by about 16 people. Since the reason most of us were showing
up was to listen to Jennifer Walton speak on the topic of how to deal with
work leaving town, one would think we could have at least barely turned
out a minimum. After all, there are about 6000 musicians in Local 47. I
thought employment ideas were important enough to show up for.
Even though the quorum was not met, President Trombetta decided to hold
an “informal” meeting. Two people were on the agenda. Emil Richards and
Jennifer Walton. President Trombetta allowed Emil Richards to talk and share
his stories for as long as Mr. Richards wanted the floor, about 35 minutes.
It was fun listening to all the stories Emil had to tell. Then the officers went
into some business etc. When the officers were done, President Trombetta
quickly tried to close the meeting.
One member attending said to President Trombetta, “Wait! Don’t close the
meeting just yet.” She very nicely explained that she had driven a long way to
hear Jennifer speak, and said that most of us attending came for that reason.
Others piped in with the same sentiment. Since Emil was allowed to speak at
length, and since an informal meeting was held already, she expressed that
we should also be able to hear from Jennifer since she was the reason most
of us showed up. We began to clap as our way of showing our agreement that
we came to hear Jennifer speak. I clapped, because I had driven 50 miles just
to hear what Jennifer had to say and to hear what questions and answers would
happen after she gave us information. Part of union participation is to at least
hear all the sides.
President Trombetta had an outburst and said, “THIS IS THE DANGER OF
HOLDING A MEETING WHEN THERE IS NOT A QUORUM!! You have FIVE minutes!”
It was insulting conduct from President Trombetta. Other titled officers chimed
in that, any contact has to be done at the national level and the Local can’t do
anything. This was even before Trombetta gave in to let her speak. You could
just see his RMA overlords not happy that Jennifer would be allowed to speak.
Further, when everyone witnessed Trombetta’s outburst which denied Jennifer
equality to the other musician on the agenda and blatantly discouraged her free
speech, not one of the attending executive board members or titles officers (or
even Lewis Levy) attempted to stop Trombetta by telling him to give Jennifer
equal time as what he gave the other musician who was also on the agenda.
President Trombetta’s childish outburst forced Jennifer to read so fast I couldn’t
make out half of what she said. When she was done, he said quickly that if we
had questions, she would answer them privately. In the same breath, he closed
the meeting and bolted out of there. This he did all underneath the strong and
sustained applause from most of those in the hall, other sitting silently, like the
opposing side at a state of the union address.
First, was there a fire somewhere that was the real danger? Secondly, asking her
privately and not in an open session like anyone else on the agenda was afforded
meant that not everyone could talk to her. Those who did talk to her had to speed
talk, speed listen, and one person walked off in a huff because she took half an
answer and made up in her mind that was the entire picture. So that “take away”
was a half-assed take away, and through no fault of that member.
While Jennifer Walton did a fabulous job at speed reading, Mr. Levy had has hands
together, chest puffed up, and eyes looking up as though praying to the heavens.
He was giving his dutiful pompous show of dismay and dismissive attitude of any
thoughts not his. What a disgrace. President Trombetta disrupted her speed reading
when he could not sit still during the five minute allotted time he gave her, and he
behaved disruptively by asking Levy questions during her speed reading session.
In my perception, he was just rude and ungracious. No matter what ones opinion is
on the subject, (and his opinion could not be contained) there is no excuse for being
rude. Especially when that someone who is being rude is getting paid over $10,000
a month out of our pockets. To me, observing President Trombetta was like watching
a rich white man in a white man’s club act petty, small, insecure, fearful, and using his
position of power to hide behind. It was obvious that he simply could not be bothered
with the struggling musician who is trying to problem solve out of the box. Watching
President Trombetta made me realize that he must inwardly think, “he who pays more
in work dues over the year gets more speaking time.” Is that how it works around here?
Stopping free speech at a gathering, inhibiting free speech, making free speech difficult,
and catering to the successful man’s free speech while limiting the struggling musician’s
free speech? Well there is more than one thing wrong with that picture.
It does not matter what side of the fence anyone is on regarding what Jennifer Walton
has brought to the table, the lack of respect on behalf of 47 via President Trombetta
shown to both Jennifer and those attending in order to hear her was simply rude and
unacceptable behavior from an officer of the union.
President Trombetta, we read in an early post on this blog that you were “kind enough”
to take Jennifer’s ideas to the IEB. Exactly at what speed did you take it to them? Did you
show it for 5 seconds and run out the door like you did tonight in front of all of us? Did
you give Jennifer the same treatment behind her back while at the IEB that you gave her
in front of us tonight?
Members of the union who gripe about work leaving town but who didn’t show up to this
meeting also contributed to what happened to Jennifer Walton by the simple fact they did
not show up. This could not have happened had their been a quorum. Had a few more
people shown up, President Trombetta would have had to sit there and simply suck it up
while she talked and while some asked questions. Equal treatment of two people on the
agenda for the evening would have been forced on President Trombetta’s if only a few more
musicians had shown up. Freedom of speech would not have been inhibited to anyone on
the agenda.
When your union fails you, many times it is because you were MIA and could have prevented
it. When the cats away, Trombetta and the RMA will play.
A 47 Musician
==========================
III. MORE NON-MEETING COMMENTS
COMMENT #1
ANONYMOUS Comment - please add to the upcoming newsletter!
I can’t believe I forgot the meeting Monday.
Every time Local #47 wants members to attend a General Meeting,
there are “official” email announcements a month before, a week
before, then a few days before.
When they don’t want us to come:
Crickets!
No announcement at all, except printed a month before in the
Overture. Could it have been because of Jennifer’s speaking?
Please note:
1) Prez Vince did not “decide” to “hold an informal meeting”
out of the goodness of his heart. He was abiding by a Passed
Resolution - something he hates to do.
Freelance Musicians Assn added this clause to the Bylaws in 2005,
as 1 of 4 Resolutions:
“If there is no quorum, the presiding Officer is required to hold an
immediate Executive Board meeting.
#47 members are allowed to discuss issues, but not to vote.”
(Unfortunately, there is no wording on how many people are allowed
to speak, or for how long apiece.)
The dark side therefore allows 2 people, and manipulates how
long each one speaks.)
2) The action preventing Jennifer from speaking was completely
planned in advance:
They would allow 2 members to speak - and run out the clock with
cute stories by Emil, so there was “no time” for Jennifer.
If we had realized their deception, we would have made a motion:
“Motion to allow equal time to those chosen to speak, both Emil
and Jennifer.”
But of course, we are decent people, and trust that our Executive
Board are all equally decent people.
They’re not. At least most of them.
The vast discrepancy between the time the two speakers were
allowed is complete abandonment of fair leadership and dereliction
of duty.
It was a shameless “bait and switch” by Vince.
What a circus! So much for “Roberts Rules of Order…”
Speaking of which, why didn’t our (paid!) “Parliamentarian”
point out that each speaker should have equal time? Or the
Counsel for that matter.
- Oh, that’s right, because he’s Vince’s Parliamentarian,
not the Members’ Parliamentarian.
We forget all the schemes the RMA has come up with to prevent
our voices from being heard:
-Filling the parking lot with RMA and Electricians Union cars on
a General Meeting night, in pouring rain, so #47 members could
not get to the hall before 7pm = no quorum that night.
(That tactic was foiled at the next GM, by serving Cajun food at
5:30pm, filling the hall with FMA members, and leaving RMA
to stand up in the lobby for the whole meeting.)
-Firing the Referral Service Committee by renaming them the
“Referral Service Website Committee.” Then claiming our website
was “finished,” and didn’t need further oversight.
Then proceeding to gut the website. Etc.
I know that the persons who dreams up these tactics to silence
the membership of #47, know they are committing treason against
our members; they are simply determined to get their way, with
no concern for free speech, solidarity or fairness.
They should be ashamed.
3) The Solution:
We will - ASAP - hold our own public, videotaped meeting, open
to all #47 members, where Jennifer is the featured speaker.
We will post the whole thing online for all the world to see -
and comment on.
Oops, RMA, if you’d let Jennifer speak for more than 5 minutes
on Monday, she might only have stirred up a few #47 members.
Now: everyone in the world is going to hear, read, and consider
her plan. You couldn’t have planned it better. Thank you.
————–
COMMENT #2
B) It is probably a good thing that there was no formal meeting
(no minutes would be recorded ) because Emil answered a
question about where he would be performing next and he
went on to tell those present that although he likes to work
in places with no cover charge, he will be at Typhoon with his
big band at $50 per man which is why there is a $10 cover
charge.
If it were not for good manners,… more than a few members
afterward said they would have asked if the gig also paid H&W
and pension. LOL!
If this had been a “formal” meeting, Emil would have been “on
the record” for promoting his NON-UNION gig.
Must be nice to be one of the beautiful people.
————————————————–
COMMENT #3
Good move on the part of the Local to try and make the
General Membership Meeting a quarterly social event with the
special guest speaker and credible refreshments! Hopefully,
the Local will continue to give the appearance of reaching out
to the greater membership. It must of certainly been a wake-up
call to the status quo when Dave Black came within just a few
votes at upsetting the apple-cart!
It should be noted that the only GM meetings in recent years with
a quorum was when the RMA leadership wanted to move some
agenda that directly benefited them. As Jay Rosen openly stated.
“We’re here and WE decide.”
The sad part is that most of the RMA membership doesn’t even
know what is going on when they get the eblast to show up…
hear some of them whisper to each other… who, what, am I
voting yes, no?
=============================
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April 18th, 2013 The Committee
I. ADOLF “BUD” HERSETH PASSES
II. TEXT OF THE OPEN MARKET AGREEMENT
III. COMMENT ON THE OPEN MARKET AGREEMENT
IV. 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
LOCAL 47 MEETING THIS MONDAY!
DON’T FORGET THE LOCAL 47 MEETING THIS MONDAY, APRIL 22ND AT THE LOCAL.
Come to hear about and show your support for the OPEN MARKET AGREEMENT!
======================
I. ADOLF “BUD” HERSETH PASSES
from Gene Pokorny:
It is with great sadness that I bring to you news of the passing of Adolph “Bud” Herseth,
who served the Chicago Symphony Orchestra for fifty-six years as principal trumpet
(1948-2001) and principal trumpet emeritus (2001-2004). He died on April 13, 2013,
at home in Oak Park. He was 91.
Born in 1921 in Minnesota, Herseth earned a degree at Luther College in Decorah, Iowa.
He originally planned to become a teacher but gravitated to performance as a career
while in the armed forces. During World War II, Herseth served as a bandsman at the
pre-flight school in Iowa and at the U.S. Navy School of Music. He ended his military
service with the Commander of the Philippine Sea Frontier in the South Pacific.
In early 1948 while studying for his master’s degree from the New England Conservatory
of Music in Boston, Herseth was appointed by Music Director Artur Rodzinski to the post
of principal trumpet of the Chicago Symphony Orchestra. He never performed with
Rodzinski (whose music directorship ended in April 1948) but would go on to serve under
five CSO music directors: Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, and
Daniel Barenboim. Herseth made countless solo appearances and recorded extensively
with the Orchestra, including seven recordings of Ravel’s orchestration of Mussorgsky’s
Pictures from an Exhibition (under Kubelik, Reiner, Seiji Ozawa, Carlo Maria Giulini, Solti
(twice), and Neeme Järvi).
Constantly devoted to the development of the next generation of symphony orchestra
musicians, Herseth regularly gave seminars, coaching sessions, and master classes in
Chicago and throughout Europe and worked with the European Community Youth Orchestra,
the West-Eastern Divan Workshop for Young Musicians, and the Civic Orchestra of Chicago.
Herseth held honorary doctor of music degrees from DePaul University, Luther College,
the New England Conservatory of Music, Rosary College, and Valparaiso University. He
received the Living Art of Music Symphonic Musician Award in 1994, was named Instrumentalist
of the Year by Musical America in 1995, and was an honorary member of the Royal Danish
Guild of Trumpeters. In June 2001, Herseth received the American Symphony Orchestra
League’s Gold Baton Award, marking the first time in the League’s history that the award
was bestowed on an orchestral player, and he was also awarded an honorary membership
from London’s Royal Academy of Music at its commencement exercises. He was accorded
a singular honor in 1988, when the principal trumpet chair of the Chicago Symphony
Orchestra, which he continued to occupy until 2001, was named after him.
On June 7, 1998, Herseth’s friends-including Doc Severinsen, Daniel Barenboim, Arnold
Jacobs, Frank Crisafulli, Arturo Sandoval, and numerous brass players from around the
world-appeared in a tribute performance at Orchestra Hall to celebrate his fiftieth
anniversary with the CSO. On January 27, 2000, the CSO’s Women’s Association recognized
Herseth for his “one season plus five decades” as the CSO’s principal trumpet.
On February 21, 2004, he retired from the Chicago Symphony Orchestra after fifty-six
years and received the Theodore Thomas Medallion for Distinguished Service. Following
retirement, Herseth was a longtime member of the Chicago Symphony Orchestra Alumni
Association.
Herseth is survived by Avis, his wife of sixty-nine years, their two children Christine
Hoefer and Stephen (Mary Jo), and six grandchildren and five great-grandchildren.
His son Charles (Judith) preceded him in death in 1996. Services will be private and
details regarding a memorial will be announced at a later date. Letters of condolence
may be sent to Avis Herseth (203 North Kenilworth #2J, Oak Park, IL 60302) or Stephen
Herseth (829 Clinton Place, River Forest, IL 60305). In lieu of flowers, the family has
requested donations to the Chicago Symphony Orchestra, Luther College, or the
West-Eastern Divan Orchestra.
Herseth was interviewed by John von Rhein in the Chicago Tribune in April 2001, shortly
after the announcement that he would cede the principal trumpet chair. He said, “for
years I’ve been telling people I am lucky to get here, fortunate to still be here and to
have had all these marvelous experiences.” And when asked how he would like posterity
to remember him, Herseth replied, “as a fairly decent guy who gave it his best every
time he had the chance.”
He will be greatly missed.
==========================
II. TEXT OF THE OPEN MARKET AGREEMENT
Hello,
I’m Jennifer Walton, creator of the Open Market Agreement which will increase
the union recording sessions in LA, if allowed to be voted on and ratified. I’ve given
consent to the Committee for a More Responsible Local 47 to post all of this on
every musicians’ behalf. I’ve also given permission to post the link to the change.org
petition and encourage the AFM membership to sign as soon as possible so that our
numbers will show our unity on keeping work here in LA. I also encourage NON-AFM
musicians, engineers, composers, stand hands, copyists, and anyone else employed
by the recording industry to sign the petition because you are also affected by the last
10 years of steady work decline. Here again, is the link to sign and include your
comments, which have been very positive and supportive. This is for everyone.
Thank you.
http://www.change.org/petitions/recording-musicians-in-los-angeles-vote-for-the-open-market-agreement
Jennifer Walton
Here is the pertinent text of the new Open Market Agreement.
Please let your local officials know of your support for this contract and sign the petition at:
http://tinyurl.com/bstu7eo
Proposal of the OPEN MARKET AGREEMENT, for consideration by the
membership of the American Federation of Musicians of the United States
and Canada AFL-CIO/CLC Affiliated OFFICE OF THE PRESIDENT RAYMOND
M. HAIR, JR. , 817 Vine St, Los Angeles, CA 90038
(323) 462-2161 www.afm.org
OPEN MARKET AGREEMENT
This is a special agreement (”Agreement”) between the American
Federation of Musicians (”AFM”) and [name of Producer] (”Producer”) for
the services of musicians in the production of the following project: [title
of project] (the “project”).
A. Scope: This Experimental Agreement shall apply to low budget projects
including motion picture soundtracks, record dates, limited pressings,
demos, trailers, library samples, and any other independent recording
work.
B. Experimental Agreement: This Agreement is on an experimental basis
only, and its terms and conditions are non-citable and non-precedent
setting, except to enforce the terms herein.
C. Scale: Scale wages shall be as set forth in this (B)
(1) Side musician scale for recording sessions shall be $___________ per
hour with a 1 hr minimum call.
(2) Leader and Contractor Scale shall be 150% the side musician scale set
forth in (1) above.
(3) Musicians playing electronic instruments (e.g. keyboards, synthesizer,
etc.), may be hired at an Electronic Multi-Tracking (EMT) rate of
$__________ per hour.
(4) Principals shall be paid an additional $_________per hour.
D. Overtime shall be paid in 15 minute increments, pro-rated at the
applicable rate in (C) above with a maximum of one (1) “hold hour” of
guaranteed musician availability beyond original session call length.
E. Doubling shall be paid at 25% of base scale for the first double, and
10% for each additional double.
F. Overdubs: shall be paid as 50% of scale per overdub, per musician.
G. Cartage: The Employer shall pay actual common carrier cartage costs
for heavy instruments such as keyboards or percussion, when applicable.
If musicians self-transport, the Employer shall pay the musician $30
cartage for harp and $12 cartage for string bass, cello, drums, mallets,
tympani, heavy amplifiers/electronics, baritone or bass saxophone,
contra bass clarinet, contra bassoon, accordion, baritone horn, bass
trombone and tuba.
H. Intermission: Musicians shall receive one 10 minute break per hour
and breaks may be accumulated. A rest period may not be scheduled
sooner than 30 minutes after the start of a session or later than 90
minutes after the start of a session. A meal break must be scheduled
no later than 5 hours after the start of a session.
I. Music Preparation: Music Preparation Services shall be at least 50% of
the rates set forth in the current Sound Recording Labor Agreement of
the Federation.
J. Pension Contribution: Producer agrees to contribute an amount equal
to 8% of all scale wages earned by each Musician under this Agreement to
the American Federation of Musicians and Employers’ Pension Fund
(”Fund”) on behalf of such Musician, and agrees to be bound by the
Fund’s Agreement & Declaration of Trust, as amended from time to time.
Such contributions shall be deemed to include all amounts required
under the rehabilitation plan adopted by the Board of Trustees of the
Fund on April 15, 2010, which is incorporated by reference into this
Agreement.
K. Health and Welfare payments of $25.00 per day will apply to each
session musician, and music preparation musician. Producer shall make
such payments on their behalf to the health and welfare fund of the Local
in whose jurisdiction the work is being performed. In the event that the
Local has no health and welfare fund, those payments shall be made
directly to each musician as a non-scale and non-pensionable wage.
L. Report Forms: Employment pursuant to this Agreement shall be
reported by the Producer or its authorized agent to the applicable Local
and to the AFM on an AFM B-7 report form. Completed form(s) shall also
reference “other” in memo box and add the words: “Open Market
Agreement.”
M. Assurance of Payments: Producer shall present a Bond or Letter of
Credit as proof that funds are earmarked to pay musicians their wages
and all buyouts.
N. AFM Approval: The total estimated budget for the project must be
submitted in writing to the AFM no later than 96 hours in advance of the
first session, as applicable. A final budget must be provided to the AFM
upon the AFM’s request.
O. Session Cancellations: Musicians once engaged, may not be cancelled
with less than 96 hours notice.
P. Late Payment: charge of 5% will be made after fifteen working days and
for each additional fifteen working days the payments are late.
Q. Promotional Use: The Producer may make reasonable use of musician
images and soundtrack for electronic press kits, trailers, “making of…”,
news, review or other similar promotional purposes.
R. Producer shall offer one or more of the following:
(1) Buyout of $__________per musician for any additional use of the
soundtrack.
(2) Profit Sharing Option: The producer shall offer a share of the profit
from this project to the musicians as beneficiaries, as
follows.
(3) Health and Pension Premium: The producers shall offer a 20%
Premium that goes to the musicians’ Health & Welfare and Pension.
S. Shared Screen Credit: All union musicians accepting this employment
shall receive screen credit.
T. This agreement shall protect and serve the musicians who accept this
employment and the terms herein, and be regarded as sound union work,
endorsed by the AFM.
=======================
III. COMMENT ON THE OPEN MARKET AGREEMENT
Someone is finally attempting to find a solution for the present situation:
i.e. that:
(1) recording work in Los Angeles, “Hollywood” is disappearing, for ensembles
small and large, as a daily, dependable(!) way to entertain the making of a
livelihood;
(2) ensconced members of the RMA, an organization that has done tremendous
work towards furthering the professional esteem of recording musicians, won’t
listen to rational compromises that might extend their existence; and
(3) we are experiencing a new world economy that makes regional boundaries
less distinct, less important, allowing expert musicians and technicians from
everywhere participate in the GLOBAL industries of Film Production,
Music Distribution, and Video Software.
TV and film is being produced on a scale bigger than ever before, by a
hundredfold, but it’s not just done in L.A. and N.Y. anymore. Is it any
wonder that music is produced elsewhere, agreements are made
outside of the jurisdiction of the AFM, which essentially operates in
small semi-autonomous regions, who in turn make their own CBAs
with local organizations? Even though J. Petrillo made huge inroads
nationally for the benefit of his constituents, these business models
are rapidly becoming obsolete.
What we’re dealing with are the last vestiges of an old model, with
accompanying corruption, backstabbing, and gig-grabbing as people
who are making themselves valuable are looking worldwide for
their colleagues, connections and work.
Classic rockbands from the ’70s and ’80s don’t really sell many records (CDs)
anymore, but they license recordings, and if they’re not retired play concerts
around the world, sometimes for hundreds of thousands of people at a time.
They sure as hell don’t need the union.
I’ve been a member of Local 47 since the late sixties, have worked everything
from Live TV, to records, films and TV series, symphony orchestras, I compose
and arrange, orchestrate, produce, do music prep, play gigs and have played
or recorded with a long list of artists. I’ve worked when you had to know the
contractors for every movie studio, every record company and producer, etc.
I am grateful for a pension, special payments and health benefits. I went inactive,
but I started getting calls for different types of work, of a much different
character than I used to.
We will never again see in this town the days when there were 120 trumpet
starts on Monday morning, or whatever the number was, and we had better
start working together instead of against ourselves.
And we’ve got to try and be honest: in which world do we want to live? The
world of pointless strife, or the world of awareness, humanity and brotherhood?
(which admittedly puts one at odds with all kinds of sociopathy).
I’m glad that people like Mr. Kraft and Jennifer are trying to find solutions.
There are now institutions of higher learning the world over teaching young
people how to “be professional musicians”, “make it in the world of film
composing”, who at least teach how to learn your craft, network and work
with others, and cooperate on big projects and ideas. When I came up I
had to look in the union book for musicians I admired and persuade them
to give me lessons.
Good Luck Everybody
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April 12th, 2013 The Committee
I. THE OPEN MARKET AGREEMENT
II. COMMENTS
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. THE OPEN MARKET AGREEMENT
The following is from our colleague Jennifer Walton and represents, in our
opinion, the best path forward for the survival of our recording industry:
—–
It is time to embrace the global market which has finally reached LA. There has
always been an open market system for non-union recording work, called dark
dates. These are dates that everyone would rather be union dates. All dark
dates will become union dates by enforcing the Open Market Agreement (OMA),
which some are calling the New Bandstand Agreement.
The OMA allows producers and musicians to negotiate as they already do for
dark dates. IF the musicians and producers AGREE that the work offer is
acceptable, the AFM will recognize and legitimize this work, giving full
approval. The musicians will pay dues on this work, bringing new revenue to
the locals. The employers will pay pension and health & welfare, benefiting the
musicians. All musicians will get screen credit. Musicians will work and
hundreds of recording projects will return or stay here. Building strong
working relationships with composers and producers of smaller projects
encourages them to stay in LA as their next projects grow into larger profit
margins, moving toward using the existing recording agreements for bigger
budget releases.
This Open Market Agreement was created by Jennifer Walton, member of the
RMA and AFM locals 47, 7, and 353. The OMA requires a bond or letter of credit
from producers. It offers producers three options for buyouts, profit sharing,
and an extra 20% premium pay toward pension and health.
Jennifer presented the Open Market Agreement to the Local 47 board on March
19th, 2013, followed by a question and answer session lasting 45 minutes
rather than the usual 15 minutes allowed. Every question from the board was
answered clearly. AFM President, Vince Trombetta was kind enough to take the
new OMA to the IEB on March 26th, 2013. He said he brought up ‘Jennifer’s
issue’ which was not taken in a good light and that he did all he could at this
time, thanking her for her time and effort in putting this all together. She
responded that this is not ‘her issue’ and that no changes are ever taken in a
good light. The RMA never responded to requests for meetings. ALL AFM
members should be allowed to vote on this experimental agreement to
eliminate dark dates. No recording work should ever leave the AFM, whether
it’s library sample work, demos, trailers, or any other low budget project. Vote
to ratify the Open Market Agreement and eliminate dark dates.
SIGN THE PETITION:
Recording Musicians in Los Angeles: Vote for the Open Market Agreement
http://tinyurl.com/c8fy87s
—–
Colleagues,
Jennifer has taken her time, talked with many players, composers and groups to
come up with this new Open Market Agreement. Unfortunately, with the rules
currently in place only the “have’s” get to vote on any new agreement and
those still recording regularly most likely will want nothing to do with it.
It is therefore incumbent upon us to make our voices heard, and to that end,
Jennifer tells us she is on the agenda for the next general membership meeting
on April 22nd, during the “New Business” section. No doubt there will be plenty
of “have’s” there to talk down the agreement, but we ALL need to be there to
let our board know in no uncertain terms that the status quo cannot stand, and
we must move forward if our industry is to survive.
This goes for all rank and file AFM members across the country. Contact your
locals, contact your officers, contact the AFM and demand that the
opportunities to record union are increased and the Open Market Agreement be
adopted.
As long as the players and employers agree on the terms, and the union gets its
dues, pension and health and welfare for the players, it’s a win/win for
everyone and the AFM should get out of the way.
The alternative? The work stays dark with no benefits or continues to leave in
droves like it is now. There is only one logical choice.
Nothing happens unless those in office will have a price to pay if they continue
to ignore the needs and opportunities of the vast majority of the AFM
membership for the benefit of a small handful and only YOU can bring that
pressure to bear.
Please spread the word far and wide and be at the Local 47 General
Membership Meeting on Monday April 22nd, 7pm at the union. If you want
it to be YOUR union, you need to take part.
For those composers, musicians and others affected by the loss of recording
work (Engineers, Arrangers, Orchestrators, etc.) but NOT in the AFM, and
therefore cannot attend the April 22nd meeting at Local 47, please sign the
petition at this link: http://tinyurl.com/c8fy87s
We CAN make our voices heard, all of our voices. but you have to ACT.
=======================
II. COMMENTS
The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.
—————————–
Please post my resume:
I am the best professional sacbutt player in LA. I double on triangle
and studied under the world renowned trangalist, Sandra B. Depressant.
I refuse to do any recording that is not tied in to the union’s Special
Payments Fund! - Anonymous
——–
Another reason why the Hollywood employment situation continues to weaken
could be online peer-to-peer pirating of copyrighted films and music.
Over spring break, my college-aged son - much to my chagrin - showed me how
easy it is to download pirated movies, music, unlocked computer applications
and other media using “Bit Torrent” and public websites that are devoted to
illegally disseminating copyrighted media content.
Until “Hollywood” and the Music and Media Industry in general realize that
young people nowadays are accustomed to not paying for media content PERIOD,
and are willing to develop a different business model, the old market for
their product will continue to implode.
(name withheld by request)
———
[["What really burst a gasket for me was learning that "Lincoln,"
which I understand is a very good film (scored by a man who can
actually orchestrate, John Williams), was recorded by the Chicago
Symphony! And the contractor? Sandy DeCrescent. Setting aside
the fact that she is supposed to be "retired," let's look at the
facts: a founder of the RMA - an industry advocacy group -
took the job OUT OF TOWN to a non-signatory group."]]
?? Non-signatory group? The Chicago Symphony? What are you smoking?
?? Did Sandy DeCrescent put a gun to the producers’ heads and
force them to hire her as contractor?
?? Does someone think it’s easier for Sandy DeCrescent to hire a
52-week season orchestra 2000 miles from home and try to fit
their full-time performance season around a scoring session,
rather than just hiring her usual stable of LA musicians?
?? Has it occurred to anyone that the producers of a movie about
Lincoln, who called Illinois his home, might want to use Illinois’
premier brand-name union orchestra for a bit of Local flavor?
?? For months and years I read about breaking the cabal of A
players, and the first time the work goes away from the A
team everyone is screaming bloody murder?
?? And who is that boob from Nashville who thinks underbidding
the ridiculously low videogame rates is ballsy, heroic, and good
for the community?
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April 4th, 2013 The Committee
I. COMMENTS FROM NASHVILLE SCORING
II. HOLLYWOOD EMPLOYMENT PICTURE WEAKENS IN JANUARY (LOWEST IN 12 YEARS)
III. COMMENTS
IV. EVENTS
======================
I. COMMENTS FROM NASHVILLE SCORING
1) Hey,
Saw your post today about the letter that was sent out by Dave Pomeroy
and I wanted to correct or clarify a few items.
First of all, we have no contract with Sony (or any other company). These
companies are free to record anywhere they want and we have no “agreement”
with any of them. We are just happy when the choose to record their projects
here.
I think you left the impression that most, if not all, of the musicians playing this
work are in the AFM and it is the threat of them leaving the AFM that has kept
Local 257 at bay. The reality is a large percentage of the players doing this work
have either already quit the AFM over this issue or never joined in the first place.
Yes, there are still some who have remained in the AFM for different reasons but,
they too would leave the second Local 257 would try to punish them for playing
these sessions. Just as there are “union” players who work in Seattle and elsewhere,
we have the same. Any crackdown on these members would only result in them leaving too.
——-
2) We’ve been following your blog religiously for years. Your blog is the one voice of reason
in a sea of insanity out there.
Just FYI, 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 ask 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!
=======================
II. HOLLYWOOD EMPLOYMENT PICTURE WEAKENS IN JANUARY (LOWEST IN 12 YEARS)
From the LA Times
By Richard Verrier
March 28, 2013, 1:35 p.m.
[COLLEAGUES, please note that the loss of recording work is such that it warranted mention.]
Like the sluggish box office, the jobs picture in Hollywood isn’t looking pretty so far this year.
Employment in the motion picture, television and sound recording category fell 7.3% to
114,700 jobs in January, compared with the same period a year ago, according to the
latest figures from the state’s Employment Development Department.
In fact, the employment level in January was the lowest of any month since January 2001,
when employment also stood at 106,300 jobs, according to the Los Angeles County
Economic Development Corp. The drop also occurred in a month when overall statewide
jobs increased 1.8%
The jobs picture fell sharply from December, where there were 120,300 jobs in the category,
reflecting a typical seasonal pattern when studios and film crews ramp up before the end
of the year.
The decline, however, indicates long-term challenges facing the film and television
industry, including the possible effects of production migration. Last year saw a historic
fall in the number of new television dramas — a major source of employment —
being filmed in L.A.
LAEDC economist Kevin Kleinhenz cautioned that it’s too early to say whether the jobs
decline in January will continue through the year, but added: “It’s premature to say this
is an indication of runaway production, but it could be a contributing factor,” he said.
Studios also have been shedding payrolls in response to a slowdown in traditional
sources of revenue, especially DVDs.
The state job figures include people employed at the major studios and in post-production,
but does not count the many independent contractors who work in the industry.
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March 27th, 2013 The Committee
I. REAL DEAL SUMMIT APRIL 7TH
II. MEMBERS TELL LOCAL TO “BACK-OFF”
III. COMMENTS
IV. EVENTS
======================
I. THE REAL DEAL SUMMIT
The Real Deal: Music In Visual Media Success Summit
April 7, 2013 (10:00 am - 5:00 pm)
Busby’s East
5364 Wilshire Blvd.
Los Angeles, CA 90036
Produced by Hollywood Music In Media Awards (HMMA),
The Real Deal Music In Media Success Summit features keynote speakers
including film & TV directors, indie filmmakers, show creators, composers
and a composer agent representative that all attendees will have personal
access! All attending composers and music artists are GUARANTEED inclusion.
Film & TV directors will accept demo reels, EKPs and/or music from attendees
to review for future project consideration. Composers will be reviewed prior
to the event and selected at the summit to score music for a visual scene!
In addition, attendees will learn how to assemble dynamic demo reels, EPKs
and other promotional packages. There will be private mentoring sessions
with mainstream composers and directors in a relaxed lunch environment.
Lunch is included with ticket purchase! For more info and to register, click HERE
Offering a special discount 50% off admittance ticket price for the Film Music
Network! Use promo code “fmn” for discount.
=======================
II. MEMBERS TELL LOCAL TO “BACK-OFF”
Some time ago, Nashville Local President Dave Pomeroy sent this letter to
Nashville Local members concerning Non-union Sony Videogame sessions.
(Sony has a video game contract with Nashville players.):
Hello again, Local 257 members. It has just come to my attention that former
Local 257 members Alan and Cathy Umstead, who have been on the Local
257 “Do Not Work For” list for some time are recording at Ocean Way studios
today and yesterday for Sony Computer Entertainment, who are on the
AFM’s International Unfair List. To say this is disappointing would be a
major understatement.
Any Local 257 members who are found to be doing these sessions are in
violation of multiple Local and International bylaws, and are subject to fines
and expulsion from the AFM. I have made every effort possible to explain
to all of you how destructive the actions of the Umsteads over the past year
and a half are to everything AFM Local 257 stands for, but obviously some
of you still don’t get it.
The Umsteads have told Local 257 members that I “don’t really want to do
anything about this” and that “to appease the AFM, I have to give the
appearance that I am doing something about it.” That is absolutely not
the case. The Umsteads have misrepresented my words and intentions for
their own personal gain and are taking advantage of the musicians they
employ. This is not acceptable, and neither is” looking the other way.”
I spent over five months reaching out to Sony Computer Entertainment, who
makes billions every year on videogames, finally told me that they won’t sign
a contract because they want complete and unfettered use and re-use of the
music they record. This goes against everything we stand for.
Anyone found to be doing these sessions will be brought up on charges by the AFM.
Nashville is where it is today because of the AFM, not in spite of it. It is particulary
offensive to me that the Umsteads are enjoying the long term benefits of an AFM
pension, yet will not make any attempt to get this work on a Union contract and
provide those same benefits to thosewho they employ for these scab sessions.
If any of you are confused about my intentions or my willingness to impose penalties
on members who blatantly violate our bylaws, feel free to reach out to me directly.
It would be a very big mistake to take someone else’s word about what I will or will
not do, especially from people who have obviously no respect for the AFM, the
Nashville Musicians Association or the musicians they are taking advantage of for
their own personal gain.
In Unity, Harmony and Solidarity,
Dave Pomeroy
President, Nashville Musicians Association, AFM Local 257
www.nashvillemusicians.org
WHAT WAS THE RESULT?
The Local/AFM was told to “back off” unless they wanted a whole slew of members
to resign, denying the AFM of the dues they get from those members. In short, those
members aren’t working enough and know that if they don’t do it it will leave the
country, since the idiotic video game agreement will never be signed by the major
video game companies. They have mortgages and bills to pay, and certainly aren’t going
to sacrifice their well-being for a union that is costing them work, not helping them.
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March 20th, 2013 The Committee
I. THE VAGABOND COMPOSER SPEAKS
II. EDWARD SCISSORHANDS SCORE AVAILABLE FOR PURCHASE
III. COMMENTS
IV. EVENTS
======================
I. THE VAGABOND COMPOSER SPEAKS
Dear Committee:
The only solution the Vagabond Composer can imagine that would
begin bringing score recording back to LA is something that will
most likely never happen.
Score recording Members would have to, en masse, voluntarily suspend
themselves from 47 and form their own score-recording association.
This association would have to personally and directly wine and dine
producers/directors to get scoring work, make studio time deals and
offer buy out rates. Of course 47/AFM would immediately move to
quash any such move, by any means necessary. Other than small sections
(quartets/etc.) investing in digital studios, doing hybrid dark dates and
sucking up to A/B-list composers what other alternative is there? And
there remains the boiler-plate clause that composers NOT use musicians
from any “union, guild, association” for score recording unless specific
producer permission is obtained. (The Vagabond Composer posted this
composer contract addition to this list in 2010 when it first came into
effect)
But this would mean musicians used to waiting for phone calls would
actually have to take much more responsibility for their own careers.
Barring some unnatural epiphany those controlling 47/AFM will never
willingly give up power. There is a direct correlation between what’s
happening at 47 and our current political climate. In this instance,
musicians must be willing go around the work blockers (47) and actively
chase the work on their collective own. The Union isn’t going to help us
get scoring work back in LA for reasons already stated in this blog many
times over. Paraphrasing a Southern bigot from the 1960’s, this current
Union leadership is bringing score recording musicians “down to the level”
of freelance jazz musicians. Meaning scoring musicians have to hustle just
as much, if not more initially, to get any work that pays decently.
Until such a time as the Union can be returned to the concept of doing the
most good for the largest number of Members it’s “YOYO”. (You’re On Your
Own)
The Vagabond Composer certainly would like to see such a bypass-47
movement happen, but breath is not being held here. The above would
present almost unacceptable financial risk for many. So the current rate
of lost work will continue, if not increase even more. Under these
circumstances the Vagabond Composer cannot see anything changing
anytime soon.
Quel Dommage!
============
II. EDWARD SCISSORHANDS SCORE AVAILABLE FOR PURCHASE
Dear Musicians,
Omni Music Publishing is proud to announce the full orchestral score
to Edward Scissorhands is now available for purchase.
Be the first to own Danny Elfman’s modern classic film score.
For more details, including how to order, please visit
www.OmniMusicPublishing.com
Read the rest of this entry »
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