May 17th, 2012 The Committee
I. MORT LINDSEY PASSES
II. ASMAC VOCAL MASTERCLASS
III. SCL - BUSINESS OF PRODUCTION MUSIC
IV. WHAT IS A GUILD AND WHAT SHOULD IT DO?
V. COMMENTS
VI. EVENTS
===============================
I. MORT LINDSEY PASSES AT 89
Mort Lindsey dies at 89; Judy Garland’s musical director
A veteran conductor, arranger and composer, Mort Lindsey
was the musical director for Judy Garland’s famed 1961
Carnegie Hall concert.
May 10, 2012
By Dennis McLellan, Los Angeles Times
Mort Lindsey, a conductor, arranger and composer best known
as the music director for Judy Garland in the 1960s and for
his more than two decades as music director for “The Merv
Griffin Show,” has died. He was 89.
Lindsey, who was in declining health since breaking his hip
six months ago, died May 4 at his home in Malibu, said his
son Trevor.
A pianist and a former staff conductor for CBS and ABC in New
York in the 1950s, Lindsey was music director for Garland at her
historic Carnegie Hall concert on April 23, 1961.
“Judy at Carnegie Hall,” a two-record album, spent 13 weeks at No.
1 on the Billboard chart and won four Grammy Awards, including
Album of the Year.
“All you have to do is talk to people who went to that concert, and
they will tell you it was the greatest night in show business. It was
like a revival meeting,” Lindsey told New Jersey’s the Record
newspaper in 1998.
Lindsey also served as music director for “The Judy Garland Show,”
which aired on CBS from 1963 to 1964.
In 1969, he won an Emmy Award for Outstanding Individual Achievement
in Music as musical director for”Barbra Streisand: A Happening in Central Park,”
a concert videotaped in New York’s Central Park’s Sheep Meadow, which
aired on CBS.
“In a very real way, he was a dream come true for me,” Streisand said in a
statement to The Times on Wednesday.
“I first saw him when I was a teenager and got to attend a free Judy Garland
concert,” she recalled. “They were either taping it as a show or for a
recording. Mort was on stage conducting for Judy, and I could sense how
safe she felt with his judgments and encouragements. I stood there
fantasizing that one day I would work with him too. And then, that
one day arrived and we worked together many wonderful times.
He was great.”
Lindsey served as musical director for “The Merv Griffin Show” from
1962 to 1986. During his time with Griffin, he was nominated for
Emmy Awards in 1970 and ‘71 for Outstanding Achievement in Music
Direction of a Variety, Musical or Dramatic Program.
Lindsey also scored a number of movies, including “40 Pounds of
Trouble” (1962), “I Could Go on Singing” (1963; starring Garland),
“The Best Man” (1964) and “Real Life” (1979).
He is survived by his wife, Judy, and his three sons and three daughters.
=================================================
II. ASMAC VOCAL MASTERCLASS
with Ray Charles and Ian Freebairn-Smith
Join us May 19th and learn from two of the masters,…
each with a long history of working with singers.
Groups from duets to groups the six of the
Mormon Tabernacle Choir.
Ray and Ian will share scores, recordings and videos -
discuss the elements necessary for a successful choral
arrangements and enlighten us to the highs and lopes
of working with vocal groups of any size.
May 19th at Pierce College (in the Choral Room)
6201 Winnetka Ave
Woodland Hills, CA 91302
(818) 719-6402
The Music building is at the top of the hill in building
3400, the building next to the Performing Arts Building
Refreshments provided
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May 10th, 2012 The Committee
I. LOCAL GETS AWAY WITH IT AGAIN
II. COMMENT FROM NEW YORK
III. WHAT IS A UNION AND WHAT SHOULD IT DO?
IV. EVENTS
===============================
I. LOCAL GETS AWAY WITH IT AGAIN
Last June/July we told you about a Local employee who
had been fired. She had effectively worked for the local
for two years and had had to put up with repeated harassment
by a superior.
The higher up actually tried to tell her how to dress and the
employee had to file multiple complaints against him for
harassment which also resulted in her filing a formal complaint
against him for sexual harassment.
When she and one other employee did not accept the higher-up’s
conduct, they both found themselves the target of a smear
campaign.
A new temp showed up on a Monday to work at the Local.
Within days, the temp complained about these particular
two employees, After being there only 4 days, the temp
was able to get one employee fired and one suspended
for 3 days.
Where does that happen?
This higher up told one of the dismissed employees on
the way out, not to come back into the building, that he
would walk her check out to her. When the dismissed
employee asked VP John Acosta if he was going to allow
the higher up to speak to her like that, he said nothing.
Both employees smelled a set-up to get rid of those who
dared to stand up against their immediate boss’s harassment.
All the while VP John Acosta, as he does now, stands silently
backing his “guy”.
This employee complained about the higher up’s harassment
and her firing was engineered, with the higher up calling her
insubordinate. Instead of a written warning, the higher up,
with VP Acosta’s utter silence, suspended her for two days,
then told her she was being terminated.
SHORTED CHECKS
When the former employee started to dig, she found her
checks, and other’s checks, had been shorted. Time clock
and actual hours didn’t match. This was later confirmed
by other sources. Who did it? And why?
When she started questioning the differences in her checks,
all of a sudden the checks were right. Coincidence?
Further, there was evidence that money taken from UCLA
was not invested in the recording studio or rehearsal rooms
as it should have been, but the officer’s bathrooms were
redone, even with the Local $200,000 in debt at the time.
UPDATE
LOCAL GETS AWAY WITH IT AGAIN
According to our sources, as a result of some of the complaints,
an investigation took place, including interviews with many
employees at the Local.
Oddly enough, a few new “witnesses” added by the Local weren’t
witnesses at all. They’d never had a role in what went on and
never saw anything. How convenient then that these newly
hatched “witnesses” backed the higher-up.
When asked, former Member Services Department Supervisor
Amie Moore said that she was supposed to be called as a
witness and never was. “This was especially strange because
I was a supervisor that she felt she could go to because she
couldn’t go to the office manager, as he was the one doing
the harassing.”
Although wrong doing on the part of the higher up was
evident, the waters had been so muddied by the fictions
of the fake witnesses that there was no choice but to
not pursue the complaint.
At this point, because this higher-up now thinks he can get
away with anything, knowing the power structure will
back him regardless, and knowing the Trombetta and Acosta
will say nothing, most employees are now fearful for their jobs.
It has not been this bad for the employees since the Identity
Fraud Office Manager’s days.
Where the Local finds these bullies to abuse our employees
we have no idea.
There are still more complaints that have been filed and
hopefully someone at the Local will be held accountable
at some point.
We’re certainly not holding our breath.
THE COMMITTEE
===============================
II. COMMENT FROM NEW YORK
The word around town is that Ray Hair has been interviewed
by 60 minutes.
If he treats the interviewer like he treated the videogame
composers, his intimidating arrogance will hurt the community
of LA film musicians even more than he has so far. This would
be a good opportunity to announce to the world that he is going
to deal with the reality that film scoring will continue to leave
town unless a more realistic approach is taken by the Federation
or RMA.
The RMA muzzle on Hair is probably pulled so tight that he dare
not vary from the RMA script which is, what is good for us is
good, and what is good for you who aren’t us, is not good.
60 minutes with Ray Hair? Judging by his other actions, it is
just another Hair brained idea that won’t do anything but
drive more of our work away.
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May 3rd, 2012 The Committee
I. COMPOSER JOEL GOLDSMITH PASSES
II. BLAST FROM THE PAST: SEATTLE
III. THE GUILD WITHIN THE UNION: MR. CHEERFUL
IV. COMMENTS
V. EVENTS
===============================
I. COMPOSER JOEL GOLDSMITH PASSES
JOEL GOLDSMITH 1957-2012
Composer Joel Goldsmith, the son of legendary
composer Jerry Goldsmith, died of cancer at his
home in Hidden Hills, California on Sunday at the
age of 54.
Joel composed music for many genre films and television
series including Stargate: SG1, Stargate: Atlantis (both of
which he was nominated for Emmy Awards for), Stargate:
Universe, both Stargate: SG1 direct-to-video films, Moon
44, Witchblade and Star Trek: First Contact (on which he
collaborated with his father, who passed on in 2004).
Goldsmith’s other TV projects included the themes and
episode scores for “Super Force,” the 1990s remake of
“The Untouchables,” “Hawkeye” and “Witchblade.” He
also scored episodes of the 1990s remake of “The
Outer Limits,” “H.E.L.P.” and “Diagnosis Murder.” His
telepic scores included “Helen of Troy,” “Haunting
Sarah” and “Fatal Desire.”
His other feature film scores included “Kull the Conqueror,”
“Army of One,” “Shiloh” and “Diamonds.” He scored the
videogame “Call of Duty 3,” and he contributed about
20 minutes of music (mostly for the Borg characters)
to his father’s “Star Trek: First Contact” score in 1996.
Goldsmith’s most recent work was the Canadian zombie
film “War of the Dead.”
Joel began his career as a sound man, first as a boom
operator in b-movies then as a sound mixer. He was the
sound effects creator on Star Trek: The Motion Picture
(also scored by his father).
He is survived by wife Martha; a daughter and two
stepdaughters; his mother and stepmother; three sisters
and a brother.
His father, SCL Advisory Board Member Jerry Goldsmith died
in 2004.
All our thoughts go out to his family.
THE COMMITTEE
===============================
II. BLAST FROM THE PAST: SEATTLE
Some say hindsight is 20/20. It’s interesting to revisit the
2003 environment and see it related to today.
Were they right?
This article is from “ALL ABOUT JAZZ: SEATTLE July/August 2003
FILM SCORING: SEATTLE RAISES UNION IRE
by Leah Weathersby
It’s a fight over film scoring on a cinematic scale.
In the past five years, Seattle has become a mecca for
non-union film and video game scoring. Scores are the
musical accompaniment to movie or videogame scenes.
Musicians are happy to have the work, but the American
Federation of Musicians (AFM), an international
musician’s union representing workers in the US and
Canada, says Seattle is taking union jobs away from other
cities. Now, the AFM is looking to their Seattle branch,
Local 76-493, to get its house in order.
“Many [AFM] locals are concerned,” says Simon
Grant, the recording industry representative for the Seattle
local. “In Los Angeles, they’re seeing their livelihood
threatened because this work, that has traditionally
been performed down there, is going out of town.
This example could easily be paralleled to the impact of
Boeing leaving the Northwest for cheaper operating costs
elsewhere.”
The AFM is so concerned, in fact, that Tom Lee, the
AFM president, visited Seattle last year to discuss the
situation with the local’s leadership.
“We were told that there was a lot of national attention
on Seattle’s film scoring problem and we needed to
do something to fix it,’” Grant says, adding “I think their
visit was mostly a symbolic gesture.”
Symbolic or not, Local 76-493 may have little power
to meet those demands.
Richard Reed, an area French horn player who has
done a lot of film scoring work in Seattle, says there’s
now an average of one large, non-union scoring project
(employing 20 people or more) in the area each week.
Though Reed says the quality of music produced here is
high, he acknowledges that the real draw is probably
financial, plus the simpler nature of non-union contracts.
The going rate for a non-union recording session is
$55 an hour for an unofficial, two-hour-minimum session.
Musicians work as independent contractors and
don’t receive royalties for their work, unlike their union
counterparts.
David Sabee, a Seattle contractor who hires local musicians
for film and video game work, agrees that few scores
would be recorded here if filmmakers had to go
through the union.
“Why travel if the rates are the same?” Sabee said.
Though Reed doesn’t expect Seattle to become the
new Los Angeles anytime soon, he says that the California
and New York locals, who traditionally have gotten
most of the film work, have reason to be worried.
“This [non-union recording] could change the way
the whole recording industry works around the world,”
Reed said.
Grant disagrees that union recording is less affordable,
writing recently in the Seattle local’s newsletter
that the AFM has “developed contracts to suit nearly
every size of film budget.” He adds that film work is
likely here to stay, with or without AFM contracts.
However, he knows selling the union to the industry
and musicians will be an uphill battle.
“Yesteryear’s heavy hand of the AFM has made sales
and negotiations almost impossible for us,” Grant said.
“Our goal over the next few years is simply to repair our
relationships.”
The union will have to tread lightly. Even Reed, who
calls himself a proud, long-time union member, says he
would leave the AFM if he is barred from doing nonunion
recording work.
“Life is so tenuous for the AFM [in Seattle] that doing
that would pretty much shut the union down,” said
Reed.
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April 26th, 2012 The Committee
I. ONCE AGAIN, NO QUORUM
II. CHARGES FILED AGAINST LOCAL 47 AND DANCE AT THE MUSIC CENTER
III. THE COLLECTIVE FINGER
IV. COMMENTS
V. EVENTS
===============================
I. ONCE AGAIN, NO QUORUM
Last Monday’s Local 47 meeting once again lacked a quorum.
Our Local did not send a reminder email for the meeting.
RMA did however, Monday at 4pm, three hours before the meeting.
Obviously the Local wasn’t concerned with having members there.
What was on the agenda?
Elections for Salary Review Board & Election Board
In most cases, if there is not a quorum the Executive Board
decides what was on the agenda.
We know of at least one new person who had planning on running.
So the Local forgets to remind the membership of a meeting where
the Salary Review Board AND Election Board are chosen?
Nice.
Surprised? Of course not.
THE COMMITTEE
===============================
II. CHARGES FILED AGAINST LOCAL 47 AND DANCE AT THE MUSIC CENTER
Attached is a pdf of a cover letter of a recent filing with the
NLRB against Local 47 and Dance At The Music Center over
the issues of the Local colluding with management to
completely remove the current bargaining unit from the CBA.
The gist of it is the Local officers and executive board have
failed to provide necessary, proper and fair representation
for the musicians who have worked under the CBA for
many years.
I am appalled by what has been going on.
For a number of years Trombetta has been back-dooring
deals to allow the LA Opera Orchestra to work for ballet
companies even though LA Opera is not part of the dance
CBA. He is supposed to get approval from the executive
board but never did. There seems to be no paper-trail
of what kind of agreement he entered into with LA Opera.
When the executive board finally did find out about what
was going on, they should have been outraged and taken
steps to rectify the situation immediately. Instead, they
rubber-stamped what Trombetta wanted - appointing
‘Good-Ole’ boy to be a member of the negotiating committee
who never worked under the Dance CBA. Oh, and he’s a
member of both the LA Opera Orchestra AND their
Orchestra Committee. How convenient.
Members of the true bargaining unit approached National
AFM - Ray Hair and Jay Blumenthal - but they, of course,
decided to be ‘hands-off’ on these very serious issues.
There are currently charges filed against Trombetta at
the Local as well, but as we all know, that may not go
anywhere since the hearing board is loaded with his
cronies. Like the executive board, I do not expect them
to rule objectively on the actual merits of the case but
to once again rubber-stamp what Trombetta wants.
I don’t know what the strategy of the Local is but it
appears they want to ship work to outside entities
(see also Pasadena Pops). This cannot be good for the
future of our union.
Why should anyone be a union member if their own
officers and executive board do not protect the actual
members of a bargaining unit?
Freelance Musician
[EC: Here is a small sample of the text of the complaint:
"A union violates its duty when it favors once union group
over another for reasons of political expediency or other
arbitrary reasons. See Barton Brands, Ltd. v. NLRB (7 Cir. 1976)
529 F.2d 793, 798-799. When the union participates with
an employer is such discriminatory favoritism, the union
violates both section 8(b)(l)(A) and 8(b)(2). Id. at 799. This is
because "such conduct causes or tends to result in unlawful
encouragement of union activity." Ibid. "[T]he union’s ability
to effect this kind of discrimination is likely to have an
intimidating effect on workers who might otherwise prefer
to refrain from union membership or upon members who
might like to refrain from extensive union activity. Ibid.
Likewise, “[b]y wielding its power arbitrarily, the Union gives
notice that its favor must be curried, thereby encouraging
membership and unquestioned adherence to its policies.”
Laborers & Hoc Carriers Loc. No. 341 v. NLRB (9 Cir. 1977)
564 F.2d 834, 840.
In this case, Local 47 has apparently agreed to give the Ballet
Orchestra’s work to the Opera Orchestra and has repeatedly
favored the Opera Orchestra members over the Ballet Orchestra
members. It has allowed the Opera to act as a “contractor”
despite the unequivocal language of the Music Center Dance
CBA that a contract is a performing musician, not a business entity.
It has apparently agreed to discrimination against Ballet Orchestra
members for reasons other than musical competence. It has urged
the Ballet Orchestra members to accept subcontracting to the Opera
and Opera Orchestra as the “status quo” that Local 47 helped create.
It has refused to push for contact terms like tenure that are in almost
all other CBAs. It has appointed Opera Orchestra members to the
Orchestra Committee for the Ballet Orchestra unit, it has refused to
conduct elections for the Orchestra Committee and had rigged the
eligible voting unit for contract ratification to include members of the
Opera Orchestra who, under the plain terms of the Music Center Dance
CBA, were never bargaining unit members because they were never
employees of the Music Center Dance employer. Local 47 also
concealed its apparent agreement to the subcontracting from the Ballet
Orchestra. See Orth v. Wisconsin State Employees Union, Council 24
(1 Cir. 2008) 546 F.3d 868, 874 (concealment by union is breach of
duty of fair representation); Lewis v. Tuscan Dairy Farms, Inc. (2 Cir.
1994) 25 -9- April 23, 2012 F.3d 1138, 1142-1143 (secret agreement
with employer resulting in loss of unit work, failing to follow union rules).”
Colleagues,
You can read the full text of the complaint at the end of this offering.
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April 19th, 2012 The Committee
I. SAN ANTONIO OPERA TO FILE FOR BANKRUPTCY
II. YELLOW DOG LETTER COMMENTS
III. RESPONSE TO A RESPONSE: MEMBER COMMENT
IV. THE INTERNATIONAL MARKETPLACE
V. COMMENTS
VI. EVENTS
===============================
I. SAN ANTONIO OPERA TO FILE FOR BANKRUPTCY
by Chris Barton
from the Los Angeles Times, April 17th, 2012
In a move that could mark the final chapter in a financial
tailspin, the San Antonio Opera will file for liquidation
bankruptcy within the next 20 days. The organization,
which began its 16th season in September, also faces a
federal lawsuit from the American Federation of Musicians
alleging that the company still owes musicians payments
from a canceled production from January 2010.
The San Antonio Opera’s lawyer, Randy Osherow, told
the San Antonio Express-News that he believed the musicians’
suit would become part of the bankruptcy claim and that
the company will also cancel upcoming performances of “Don
Giovanni” and “Barber of Seville.” Osherow also said that the
San Antonio Opera currently has no assets or staff, and will
file for liquidation as soon as the documents were ready to
notify season subscribers and musicians, who will become
claimants in the bankruptcy claim.
The organization’s freefall seems to have started in November
2011 when founder and Artistic Director Mark Richter departed,
and his interim successor left only two months later when the
company could not meet payroll.
Oddly, the apparent fall of San Antonio Opera comes as another
opera organization, Opera Theater San Antonio, is in ascendance.
The company plans to stage its first gala in May 2013 with the San
Antonio Symphony, and will present its first operas in 2015 with
the opening of the Tobin Center of the Performing Arts, which is
currently under construction. Further details about these operas
are planned to be announced in the coming weeks.
“We are interested in operating a financially and qualitatively viable
company,” said Mel Weingart, chairman of Opera Theater San Antonio,
which seems like a pretty smart way to go.
=====================================
II. YELLOW DOG LETTER COMMENTS
One would think the AFM office in New York is not very happy
about the precedent that is being promoted by this ‘Yellow Dog’
letter that is being circulated. The Yellow Dog letter uses: Ray
Hair’s name, his title of office, title of the AFM, with the Local
47 address and a phone number to the West Coast Office. It
looks more like an attempt to divert communications from east
coast to west coast, unless you think there are no composers
in New York or the only ones of any real consequence are in LA.
Obviously, President Ray Hair supports this activity because he
hasn’t said anything and I would think him to be a very stupid
person if he said he hadn’t seen or heard of it. If I were in the
New York office, I would be asking him ‘Who’s side are you on
anyway?” And forgive me NY, but Special Payments is where
the money’s at and the recording capitol is LA where the cream
of the crop is. Just ask RMALA where to record your next film
and they’ll tell you. He who has the gold makes the rules, don’t
you think? Money is everything.
———————————–
Hi,Committee;In response to your request as to what thought
of in terms of hiring specifications on the part of a studio
contracting Employer so obligating a would-be or would-not-
be prospective Composer/Employee to the terms and conditions
of a so-called “Yellow-Dog”contract, I think it’s absolutely
reprehensible and despicable in the extreme that any such
Composer/Employee would ever be so threatened and/or
obligated. I might also add that you should listen to the late
/great Al Hirt’s version of”TheYellowDogBlues”.
Sincerely, AlanCasagrande.
———————————–
what composer is going to turn IN THE PEOPLE WHO
ARE HIRING HIM (the producers) that composer would be blacklisted and
never hired again! right? not sure what power the “AFM” would have
legally. if its UNLAWFUL then call a lawyer and have them arrested..
LOL??
the AFM DOESNT REPRESENT COMPOSERS or recognize them other than
“orchestrators” or “leaders” etc. right? so what can the AFM do when
discussing someones possible JOB AS A COMPOSER with ANY company?
NOTHING.
————————————
?? The AFM west coast office did move into space at Local 47 earlier
this year. Saw it in the paper. The AFM west coast office is an
extension of the AFM presidents office. That would be why the
yellow dog letter has 817 vine as return address.
————————————
I’m sure the employees of the New York office are starting
to worry that Hair will dump them in favor of his bosses in LA.
AFM moves the west coast office to Local 47 right down the hall
from the RMA office, then start using an la address and not the ny
one?
Something’s afoot. ny’s gonna be screwed.
————————————
Dear Committee:
It’s quite frustrating to read about (maybe it’s) Ray Hair’s yellow
dog letter. The Committee posted one of my emails stating that
I had been able to read these new contract terms after attending
a Century City music industry conference back in 2010. I also
had opportunity to privately speak at length with the AFM Sec’y-
Treas about these new terms and also about the critical need
for Union agreements covering remote sessions the same year.
But were my words of information and warning heeded? Or
even seriously considered as deserving “official” research?
Hell no!!!!
So now, the yellow dog letter is big news? REALLY?? This
sh*t is already 2 years old and the Union/RMA is just now
getting onto it. Same thing with remote recordings. These
file-swap sessions, although happening for years, won’t
be addressed by the Union or RMA until it’s far too late.
Regardless of greed, arrogance, corruption, stupidity,
member apathy or habitually keeping one’s head up where
one sits it’s evident Union “leaders” are at least 2 years
behind the curve. It’s not going to change for the better
any time soon. The Union itself needs all sorts of reforms
in the worst way. But those that benefit from how things
are now will almost die to keep things as they are. The
realities of international and non-union competition just
doesn’t exist for them. Just like neo-con Republicans, Fox
(not) News viewers and severely uniformed and misled
can’t accept new global realities.
This music business has always been “adapt (to new music
styles) or die”. The music AND film/TV business model has
totally changed. This Union refuses to deal with facts and
adapt to this new reality. So the other choice, to die-or at
least milk their cows for every last drop and screw everybody
else-is already happening.
Cheers! (’cause I’m not depending on those selfish idiot
bast*rds for my own career advancement OR protection)
==================================
II. RESPONSE TO A RESPONSE: MEMBER COMMENT
In response to the following response to Mr. Cheerful
“Employers who want to hire noncitizens who live outside
the United States to work temporarily in the US must show
their actions will not negatively affect the job opportunities,
wages or working conditions of workers already residing
here by demonstrating there are not enough such workers
available and that the proposed wages and working conditions
meet regional standards.”
——–
I will admit to not knowing any specific law, but I would
image what you quote applies to W-4 employees and not
independent contractors. As a composer, I have wanted
to throw my hat in the ring for several jobs only to be told
“don’t bother unless you are Canadian” (and sometimes
European). Several years ago I had just finished scoring a
tv series and heard about another. I called the production
company and I was asked if I was Canadian, since I am not,
I was told they couldn’t consider me. The company wasn’t
located in Toronto or Vancouver, no it was located on Sunset
Blvd, Hollywood, CA! Perhaps they had some sub-production
company based in Canada as that is where it was being shot,
I don’t know. But the show was primarily for the American
market.
It seems that Canadian Prod Cos hire only Canadians while
America Prod Co can hire anyone, influenced by whatever
tax break they can get regarless of whether there is anyone
in the U.S. who can do the same job. I’m actually OK with
the job going to whomever is the best fit for the gig but I
couldn’t even be considered!
D. Composer
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April 12th, 2012 The Committee
I. YELLOW DOG LETTER?
II. RESPONSE TO MR. CHEERFUL
III. ASMAC LUNCHEON FEATURES RICHARD KAUFMANN
IV. COMMENTS
V. EVENTS
===============================
I. YELLOW DOG LETTER?
This letter has been sent out and forwarded by seemingly tons of
sources, the Local, the SCL (Society of Composers and Lyricists),
the RMA. It is certainly making the rounds.
Read on:
MESSAGE FROM AFM PRESIDENT RAY HAIR ABOUT YELLOW
DOG CONTRACTS
It has been brought to my attention that studios, publishers,
producers, and agents have required composers and others
working in the Videogame, Motion Picture and TV Flim industries,
as a condition of employement, to execute production agreements
that contain all or some of the following provisions:
1. Composer and anyone connected with composer will not render
services under any AFM agreement when recording the score.
2. Composer warrants that composer is not a member of the AFM
and will not become an AFM member or sign any AFM agreement
prior to composer’s completion of services.
3. Composer will record the score with musicians who are not
AFM members.
4. Composer will obtain a non-union/buyout waiver from any
person engaged in the preparation or recording of the score.
5. Composer must acknowledge that studio, producer or production
is non-union and will not enter into any union contracts.
Contracts that contain provisions such as those shown above are
known as Yellow Dog Contracts. These contracts violate US law,
are unenforceable and are unlawful even if they are merely offered
by an employer and never subsequently agreed upon. Any person
who has been asked to sign a Yellow Dog Contract should contact
my office immediately.
If I receive information confirming that any studio, producer,
contractor, agent, person, firm or anyone else has ever sought
AFM members’ compliance with an unlawful Yellow Dog Contract
provision, or variation thereof, or if I discover that an AFM
member has been refused employment after failing to agree
to such provisions, I will find it necessary to institute immediate
legal remedy for the protection of our members’ valuable rights.
—————-
One side note - We’re not actually sure if this came from
AFM President Ray Hair. Why?
If you received the letter, look at the address top right, it says:
OFFICE OF THE PRESIDENT
RAYMOND M. HAIR, JR.
817 Vine St
Hollywood, CA 90038
323-461-5401-FAX 323-461-5409
www.afm.org
What’s wrong with this picture?
Since when did Mr. Hair move his office to Local 47?
The address on the letter is Local 47’s address, not the
NY office and the letter is also not signed, so who sent
it?
BRILLIANT STRATEGY?
Since the AFM does not have a composer’s branch, composers are
not covered in the AFM contracts, so what’s the point?
The strategy in the letter above would be a brilliant move if there
were a big bubble over film work, keeping all work and studios
within Los Angeles and all composers in Los Angeles as well.
With a world full of composers ready willing and able to score for film,
does AFM President Ray Hair or the RMA really expect composers (many
non-AFM) to turn in a studio if these provisions are included?
All it would guarantee is the composer being black-listed from use
by that studio.
In many, many cases, according to some composers we’ve talked to, the
yellow dog aspect is mute, since the budget offered would never cover
union recording to begin with.
As a comment below points out, why would composers cut their own
throat with a studio? For a few kind words at RMA night?
A couple of years ago a survey conducted by Film Music Magazine found
that there are over 25,000 full and or part time composers just in the US.
Does anyone really imagine they’d have a problem finding another
composer?
As for the company demanding the composer be non-AFM or that they
resign from a union, we have heard not one example of a composer
being told to leave the union if they wanted to work.
CONCERNING THE ACTUAL CONTRACTS
According to several sources, Yellow Dogs contracts have been illegal in
the private sector since around 1932:
from Wikipedia:
Even though they were forbidden in the private sector by the Norris -
LaGuardia Act in 1932, Yellow dog contracts were allowed in public
sector, including with all sorts of government jobs, such as teachers,
until the 1960s, beginning with precedent established in 1915 with
Frederick v. Ownens.
It’s not hard to find info on the history of these contracts, simply
put “Yellow Dog Contracts” in your browser and you’ll find a wealth
if information.
So then, what’s the point of this “yellow dog letter?” To make the
members think Ray Hair and company are doing something concrete?
It’s more likely to make studios push us away even more, with them
being approach in such an arrogant, self-important manner.
What do you think? Please let us know.
==================================
II. RESPONSE TO MR. CHEERFUL
MR. CHEERFUL’S QOUTES ARE IN QOUTES
I am not aware probably means you really didn’t look it up.
“However, I am not aware of an American law that states that you Canadians
cannot accept a job in the U.S. if there is even one American
who could do it.”
Employers who want to hire noncitizens who live outside
the United States to work temporarily in the US must show
their actions will not negatively affect the job opportunities,
wages or working conditions of workers already residing
here by demonstrating there are not enough such workers
available and that the proposed wages and working conditions
meet regional standards.
The employer must also actively attempt to recruit workers
already residing in the US to fill the position, including newspaper
and radio advertising. Employers must also provide free, approved
housing for workers unable to go home each day, as well as certain
types of transportation, workman’s compensation or equivalent
insurance and appropriate tools and supplies at no cost. Employers
must also show that the position is not open because of a strike or
lockout.
It’s not as easy as you think.
I generally agree with most of the criticisms in this newsletter.
However, as “funny and witty” (not really) as your anti-Canadian
remarks are, my opinion is that they are stupid childish and
immature. Especially if you have a solid case for complaint.
“American-blood-sucking Northerners back to their
frozen tundra, to Mold Moody Music with Mooses in their
Icy Igloos!”
I mean really!!? I’ve read so much better from you and now you
sound like a juvenile Rush Limaugh. State your case, back it
with solid examples and leave the attempt at this type of humor
to the 8th graders.
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April 6th, 2012 The Committee
I. COMPOSER CONFERENCE AT THE LOCAL
II. CINESAMPLES REMOTE
III. MORE FROM MR. CHEERFUL ON CANADA ET AL
IV. COMMENTS
V. EVENTS
===============================
I. COMPOSER CONFERENCE AT THE LOCAL
Last Thursday night at Local 47 there was a conference
put on by the SCL (Society of Composers and Lyricists);
The AFM and the RMA.
Much of it went as expected with the AFM and RMA
blowin’ smoke about how great the are and how all
composers should record union, the LA Price Point
not withstanding.
The SCL was well represented and fulfilled their role
well, though we don’t know how they expect young
composers to go union with the cost comparisons with
most locales.
The initial meeting was in the Auditorium of Local 47,
where there was one lighthearted moment.
Each of the representatives of the group gave an opening
speech. Last on the panel was Local 47 VP John Acosta, who
dutifully reminded those in attendance that the Local 47
membership drive was still going on.
All at once the reps of the RMA and SCL realize they forgot
to make their membership availability announcements, so
as the microphones made their way back across the table,
each made their sales pitch for members. It was a fun moment.
After the RA RA opening meeting, the conference broke up
into three sub-meetings: Video Games, FIlm and TV.
THE SUB-MEETINGS
If you know much about the contract details or realities
of TV or Film recording there was not much new to hear.
Same RA RA.
The Video Game panel, however, had more to offer, including
the only promising news of the night.
Surprisingly, the AFM and Local folks on the panel seemed
to be searching for answers from the Video Game composers
themselves. To paraphrase one question from the AFM personnel
there, “What can the AFM do to improve the AFM’s relationship
with the Video Game Composers?”
One of the composers on the panel then recapped the story of
how LA lost the video game business and how Ray Hair’s bonehead
move to force companies to sign assumption agreements devastated
the Video Game recording in San Francisco.
AFM’s Dick Gabriel then announced that six months previously,
the AFM had worked out a Video Game contract that will once
again allow composers to sign assumption agreements for the
game sessions. The will prefer that the composer be incorporated,
but will work it out.
This will certainly bring work back to San Fran and perhaps a few
other locales. Our discussions with video game composers in
attendance made clear that the union games would not be returning
to LA. Most production companies want nothing to do with us.
THANKS RMA!
THE COMMITTEE
==================================
II. CINESAMPLES REMOTE
At Thursday’s conference we also had a discussion with the folks
from CINESAMPLES, who just released an ad video for their new
“remote recording” option with LA Musicians.
Having viewed the ad ourselves, we were not quick to want to
share it with our readers, since all but one or two of the players
featured on the video were the very same players who are ‘Sandy’s
folks”, the one’s whose business models have so severely crippled
Los Angeles recording. Those shown even included a past RMALA
President. A couple of years ago some of these same folks would
have wanted anyone involved run out of town.
It was pointed out to us that CINESAMPLES has no loyalties to any
particular group of musicians and promised that they would
make sure that their groups are far more diverse, even to the
point of making sure that new folks get the work. There are
in fact, quite a few players shown in the video who are not
core RMAers.
As a a result of our discussions, but still with some hesitancy,
here is the advertisement for their remote service.
http://www.youtube.com/watch?v=Cm964qoQJ-8
What’s the difference? Cinesamples does profit sharing with the
players they use for the sample libraries and will for their remote
sessions as well. Cinesamples did two sample sessions in LA,
based on a contract from the early 2000’s sampling contract
created by the AFM and former RMALA president Dennis Drieth.
Ray Hair (and some in the power base here in LA, according to
an owner of Cinesamples, PA) decided arbitrarily that the sample
contract can no longer be used.
The result? For a 3rd sample session, Cinesamples actually hired
musicians from around the world and flew them in so they could say
it was recorded in Los Angeles. So out of towners will be paid
the profit sharing monies.
RAY HAIR SAYS…
When confronted by the owners of Cinesamples on what they had to
do to get the recording done and the hassles their arbitrary decision
on the sampling contract created, Ray Hair said, “We don’t do Samples,
We don’t do Libraries.”
He repeated this mantra several times.
“No samples”, “No Libraries”, to which we can add, “No Jobs”. If there’s
a way to screw up a new potential opportunity for our members (and
one for those besides the yo’s) to pay their bills with union work, the
current crew will find it!
We hope Cinesamples’ word is good in that they will use new folks and
not further pad the pockets of those who’ve already cost Los Angeles
so much.
If they stay true to their word, we’ll have no problem passing on new
adverts from them. If they don’t, you’ll see no further adverts from
them here.
—-
Another COMMITTEE member said this, “”It’s amazing how after all
these years, the damage done by the RMA’s foolish and dangerous
“Simpsons” video game boycott stunt continues to resonate and
cost all LA musicians as the game companies continue to regard
LA union players as radioactive. And with all of the other recording
locales ready, willing and able to do the work, the game companies
can write off LA yet still have plenty of orchestras to choose from.
Bravo, RMA. You may have won the battle, but you lost the war –
and not just for yourselves, but for all LA players. Are you so blinded
by your fat July checks that you can’t see the damage you’re causing
everyone else in order to preserve those checks?
THE COMMITTEE
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March 30th, 2012 The Committee
I. B-LISTERS AND CANADA - MR. CHEERFUL
II. COMMENTS ON BECK
III. MR. RMA?
IV. COMMENTS
V. EVENTS
===============================
I. B-LISTERS AND CANADA - MR. CHEERFUL
Sadly Mr. Cheerful feels that he must address this issue.
Why sadly? Because Mr. Cheerful is not anti-immigration
by nature. Why must it be addressed? Because recently Mr.
Cheerful read an interview article asking Canadian musicians
what was the most pressing problem that they had with the
United States. Their result was that they felt that our
market was not open enough to them. And then Mr. Cheerful
thought, “You have got to be Motherf*****g kidding me!”
Reason #6 that the B-Listers are getting screwed
and not just by the RMALA:
What is not right is that the Government of Canada has
set up, in their very National laws, an incentive to undercut
post-production (music) budgets. That is: in order to get
Canadian Government Incentives, Canadian Citizens (as
of the time I was driven out of the Ad-Music business)
must make up at least 50% of the employees used in a
production.
Once that criteria is satisfied, the Government of Canada
gives the producer a sizable tax break. A producer usually
hires his friends to write the ad, direct the ad, act in the
ad, film the ad, and do the post-production work. They
all fly up to Canada to work. As a result, the musician’s
jobs are almost always the ones that are done by Canadians.
So let’s say that the producer uses 12 people for a week to
make the ad using Americans, and then hires 1 composer,
9 musicians and 2 sound engineers in Canada for one
afternoon. The musicians become the “50% Canadian
employees” required by Canadian law in order to be eligible
for their trade protectionist discounts.
Our local producers care not about us. Most Vidiots know
nothing about music; therefore they don’t bond with us.
They don’t. THEY send OUR jobs to Canada. Their video
friends fly north to work.
Has this affected me personally to the point where I have
strong feelings on the matter? You betcha. 20 years ago
I was supplementing my income to the tune of about 30
Grand a year producing music for commercials.
That all ended the very day Canada instituted this policy.
For about 2 years all of my calls to my Advertising contacts
told me the same thing, “Sorry, can’t use you. I have to
record in Canada.” Some 10 years later a big-time Hollywood
agent who I had been schmoozing for quite some time
called and said, “I have a major motion picture for you to
score. It is about the American Election System, and need
to be filled up with American sounding music, and I think
that I can sell them on using you,” now get this, “IF YOU
CAN PROVE THAT YOU ARE CANADIAN!”
So yes, Mr. Cheerful has an ax to grind.
Seventh:
What is not right is that the trade war Canadian Government
and their Self-Serving Musician’s Union has a Low Budget
Buy Out Movie Scale, that is conveniently only usable in
Canada, using Canadian Union musicians.
If the Canadians were truly in a Fraternal Way with their
union Brothers in the States, they would refuse to work
under that agreement in solidarity with those of us that
don’t have that option. Strangely, they choose to do the
work under Union Auspices; the very work that is denied
their union brothers in the States.
Scuttlebutt has it that the RMALA has a “gentlemen’s”
agreement with the AFM, to let this practice continue,
just as long as it is not allowed here in the good old U.S.
of A.
Eighth:
What is not right is that some Canadians steal our work
by recording films under the Canadian Government’s Low
Budget Film Scale in Canada, then drive across the border
into Seattle, and steal our work by recording non-union
dates with the Seattle Symphony. As a consequence, Los
Angeles musicians are being double hosed by those
Vancouver Hoovers who vacuum up all our work.
I am not making this up. I was informed of this scurrilous
activity by a member of the IEB who introduced this
information with the caveat, “Oh, you think the low budget
agreement is bad; here is what is really going on in Seattle
and Vancouver!” This “business” really does occur almost
on a daily basis. And the Canadian Musician’s Union knows
it goes on. And the AFM National knows it goes on. And the
“good” folks at Local 47 know it goes on. Even the Evil Devils
at the RMALA know that it goes on. Everyone but YOU
knows that it continually continues continuously;
AND NO ONE STOPS IT!
The Canadian union does not stop it because it is in the
best interests of their musicians to let it go on, and when
asked about recording non-union in Seattle, they reply,
“The non-union recording of film scores takes place in the
U.S., and therefore, it is outside of Canadian jurisdiction.
How can we stop our Canadian musicians from accepting
work outside of Canada?”
Seattle won’t stop it for the obvious reason that they
benefit from it and owe no allegiance to the AFM. And
Local 47 does not raise a stink because they, in reality,
only represent the Lofty-Softies, who are too chicken
to compete with the B-List in a fair fight; that is, a fight
in which the referees are not bought and paid for. This
Canadian activity keeps the B level work out of Los
Angeles and therefore aids the RMALA by keeping the
rest of us out of the work scene.
The wage scales are clearly broken internationally, and
yet, in the entire world, the Union stops only us, the
B-Listers in Los Angeles, from recording! Our Union is
broken; our leaders are traitors to the Union ideal.
We should fire them! The whole lot of them should
issue a blanket apology and quit. If they were honorable
men of high integrity, they WOULD quit, Alas…
Next time Mr. Cheerful discusses the things the AFM
can do to remedy this situation.
Cheerfully yours,
Mr. Cheerful
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March 22nd, 2012 The Committee
I. MUSIC LOSES ANOTHER STUDIO LEGEND
II. NON-UNION VIDEO GAME SESSIONS: NASHVILLE
III. SCL / AFM / RMA COMPOSER CONFERENCE
IV. BECK, WHAT IS IT REALLY?
V. COMMENTS
VI. EVENTS
=================================
I. MUSIC LOSES ANOTHER STUDIO LEGEND
from allabout jazz.com
WARREN LUENING
Warren Luening’s trumpet and flugelhorn work from
Lawrence Welk to Bob Florence to the Hollywood Bowl
Orchestra to soundtrack recording at the studios, where
he was revered as one of best players and best guys
in the building, died March 18th of complications from
cancer. He was 70 years of age.
Warren Luening, Jr. born and bred in New Orleans, where
many outsiders have sought to imitate that sound which
comes so naturally to those who grew up exposed to
the Big Easy’s street music traditions. He had an early
start with music, playing in a youth band, together with
Roy Wiegand, Charlie May, and a rhythm section. They
performed in ‘The Colgate Comedy Hour’ on C.B.S., as well.
The youth band worked 6 nights a week.
Tony Almerico’s All-Stars, a mixture of seasoned New Orleans
men and the town’s vigorous younger generation, became a
fixture at the Parisian Room on Royal Street for years. Joining
Almerico in the front line were three of the young stars who
are carrying on the vital traditions of New Orleans jazz. Pete
Fountain anexceptional clarinetist with the rich, mellow tone
that is the hallmark of the great New Orleans clarinet men,
trumpeter Warren Luening, Jr., and clarinetist “Pee Wee” Spitelera.
The other horns in Almerico’s band, Jack Delaney, a trombonist
and singer who is the closest thing to Jack Tea-garden since
Teagarden himself, and tenor saxophonist Nino Picone.
Luening moved on to playing trumpet with the Lawrence Welk
Orchestra for a few years (1958 to 1960) during the Silver Champagne
Era. In the late 1960s he performed with the Ronnie Dupont Quartet,
featuring Warren Luening (trumpet), Roy Wiegand (trombone),
Johnny Vidacovich (drums) at The Bistro Nightclub in New Orleans.
He became a first call soloist in the Hollywood studios, recording on
soundtracks for “King Kong: Original Motion Picture Soundtrack”
(2005), Return to Me, “The Rat Pack” (TV movie), “The Rainmaker
(1998),” “That Thing You Do!,” “The Glass Shield,” “Bopha!” and
“The River.”
“This wasn’t the first time I heard Warren Luening play, but whenever
I saw him, I would always think of his masterful performance on
“The River” score. Word was that he did take after take of this solo,
live with the orchestra, of course, and completely killed it, take after
take. The remarkable thing about this is that, putting aside the right
notes, beautiful sound and spot-on intonation, each take sounded
fresh and emotionally resonate. You want to get a glimpse of who
this man was, take a listen.
Gordon Goodwin”
Noted Leuning solos: “Georgia” on Bergeron’s CD, and “Double Barrel
Blues” from the Magic Time LP from Bob Florence where he duets with
himself, alternating between plunger and no plunger every other chorus.
Clever and clean, and a mentor to many.
With Rosemary Clooney, “Dedicated To Nelson” (Concord Jazz), “A
Foggy Day” featuring, soloist Warren Luening. He played with the
orchestra on “Dancing with the Stars” (TV series), the EMMY and
Oscars Awards
He will be dearly missed.
In lieu of flowers, a donation be given to the National Prostate
Cancer Foundation in Warren’s name. (Please follow the link below.)
http://pcf.org/warrenluening
===============================
II. NON-UNION SESSIONS TO KEEP THE WORK IN THE STATES SPREADS
So now we’re hearing of Nashville musicians doing non-union
video game sessions in order to keep it in the US. The contracts
are so undesirable to the production companies that unless
they can produce it non-union they’ll go out of the country.
There are some that will, of course, but not many.
There are more and more reports of non-union video game
and other sessions going on.
In fact, recently a Local 47 board member was complaining
that they could not figure out where a non-union session for
Disney was being done.
Since this board member is known to do non-union sessions,
we cannot help but wonder whether they were upset because
the session was happening or because they weren’t on it.
THE COMMITTEE
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March 16th, 2012 The Committee
I. RUSS GARCIA PASSES
II. COMMENT: MALAYSIAN ORCHESTRA
III. B-LISTERS
IV. ANOTHER COMMENT ON ORCHESTRA 47
V. COMMENTS
VI. EVENTS
=================================
I. RUSS GARCIA PASSES
Music maestro Russ Garcia dies at 95
From Peter de Graaf | Tuesday, November 22, 2011 10:02
A man described as a musical legend - whose 70-year
career in jazz and film saw him work with the likes of Louis
Armstrong, Ella Fitzgerald, Walt Disney and Clint Eastwood -
has died at his home in Kerikeri. He was 95.
Russ Garcia died on Sunday morning, with his wife Gina at his
side, after a short illness. He had been in good health until
a few weeks ago, when illness forced him to cancel a series
of concerts in the US.
A jazz composer and arranger, Mr Garcia was born in Oakland,
California, but left at the height of his career in 1966 to sail
around the Pacific. He and his wife settled in the Bay of Islands
in the 1970s.
His CV includes a list of jazz and Hollywood greats, including
Louis Armstrong, Ella Fitzgerald, Sammy Davis jnr, Walt Disney,
Orson Welles, Judy Garland and Charlie Chaplin.
He got his first break from former US president Ronald Reagan,
then a radio show director, but was writing music even as a child.
The Oakland Symphony Orchestra played one of his arrangements
when he was 11 years old.
Even at the age of 95 he remained in demand and travelled regularly
to the US for work. He also volunteered as a music teacher at primary
schools around New Zealand.
He was honoured by the Los Angeles Jazz Institute in 2005 for his
contribution to jazz; both he and Mrs Garcia received the Queen’s
Service Medal in 2009 for services to music.
Among those who took part in Mr Garcia’s 95th birthday concert in
Kerikeri in April this year was singer Tim Beveridge, of Phantom of
the Opera fame, who recorded an album with Mr Garcia in Hollywood.
He described him at the time as an unsung musical legend and “the
last of his kind”.
“He worked in an amazing era, the golden age of Hollywood music
and movies, and with some of the biggest names in the business.”
Opera singer Carol Maher - who moved from New Orleans to Kerikeri,
figuring that anywhere Mr Garcia lived had to be a good place for the
arts - said when the great performers wanted an arrangement, they went
to Mr Garcia.
Kerikeri arts critic Mike Nettmann said Mr Garcia had made a huge
contribution to music and the Bay of Islands community, and would be
sadly missed.
===============================
II. COMMENT: MALAYSIAN ORCHESTRA - STILL ADVERTISED IN THE INTERNATIONAL MUSICIAN?
You would think the AFM would stop printing ads in the International
Musician for this orchestra after seeing this debacle:
(but no, they continue to take money from this unfair organization;
and let’s see how long they continue to run the ads)
DEMOLISHING AN ORCHESTRA: THE HUMAN COST
February 27, 2012 By
We have been hearing from a number of musicians in the Malaysian
Philharmonic about the effects of the recent mass sackings in the
orchestra.
The worst of it, says one musician, is that no reason has been given
and the actual dismissals are still being denied. ‘No reason leaves
us zero chance to argue, clarify or negotiate,’ this player writes.
‘They have consistently refused to provide any reason for the firings,’
confirms another, who enumerates some of the victims:
- Our principal timpani player is a founding member of the MPO,
and is one of the strongest and most dynamic musicians in the
orchestra. Since 1998 he has been a major personality in Malaysian
musical life and has trained several top Malaysian timpanists and
percussionists (including at least one who is studying in the USA).
I don’t think we can overestimate the cultural loss that will result
if he is forced to leave Malaysia. Over the years, he has been invited
to play trials with several of the best UK orchestras, and has always
chosen to return to Malaysia. He was on his honeymoon when he
found out that he was fired. He was vocally opposed to Maestro
Flor’s contract renewal.
- The principal trombone has also been with the MPO since 1998.
In addition to his duties with the MPO, he has always been an active
part of the musical community with teaching, workshops, working
and soloing with community and school bands, performing outreach
concerts at hospitals and childrens’ homes, and countless other
community activities. He also works regularly as a freelance player
with other orchestras around the world, when his schedule allows.
The low brass section of the MPO is consistently singled out by
visiting conductors as one of the orchestra’s outstanding sections.
He is married to a Malaysian and has two young children, both born
in Malaysia.
- The concertmaster, another founding member of the MPO, can be
heard on the many BIS recordings we made. He has two young children.
He stood up against Maestro Flor when he attempted to make decisions
in the string section that would obviously compromise the quality of
their sound and playing.
- We have no idea why the co-concertmaster was fired. She has two children.
- The fired percussionist was hugely involved in community and education
activities. She was a big part of GEMA, an ambitious education project
initiated by the MPO, and administered jointly by the MPO and the Malaysian
Ministry of Education. It involved coordinated long term plans to bring
modern and fun music education programs to many primary school Malaysians
over a period of 7 years. The whole program was cancelled with no explanation
shortly after Puan Raina took over as CEO. As far as I can tell, her only crime
was to stand and read a letter (written by others) in a Musicians’ Council meeting,
shortly before the infamous “town hall” meeting referenced in your blog comments.
- The tutti violinist who was fired had been the chairperson of the Musicians’
Council for a number of years. He was perhaps the single most identifiable
spokesman for the musicians. His wife, a tutti violist is a quiet and gentle
person. She was also fired. I suspect that she was fired just to get the management’s
point across that absolutely no questioning or dissent will be tolerated. They
have a young child, born in Malaysia.
There are plans to audition new musicians in Munich, this May. Unless the
Malaysian Philharmonic explains these sackings, they may risk a boycott.
http://tinyurl.com/7etjkpx
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