FERNANDEZ MESSAGE / MEMBER COMMENT / VIEWS / COMMENTS / EVENTS

June 25th, 2016

6/25/16

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

…Absolutely guaranteed anonymity - Former Musician’s Union officer
…The one voice of reason in a sea of insanity - Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal - L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention - National touring musician

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

I) A MESSAGE FROM CHARLES FERNANDEZ RE: RESOLUTION 4

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

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

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

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

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

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

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

at that moment.]

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

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

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

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

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

Moving on…..

THE RESOLUTION

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

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

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

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

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

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

LIKE IT OR NOT

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

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

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

THE REST OF THE CONVENTION (on the bright side)

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

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

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

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

It brought up a good question:

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

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

FAIR TRADE MUSIC

There was also a presentation on FAIR TRADE MUSIC.

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

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

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

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

II) AFM NORTHERN CALIFORNIA MEMBER COMMENT

CONVENTION

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

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

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

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

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

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

III) OTHER VIEWS OF THE PROBLEM

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

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

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

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

music budget for recording - not
including mixing, copyist,

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

heck else comes up.

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

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

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

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

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

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

And you know how crap rolls downhill.

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

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

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

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

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

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

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

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

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

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

—————————————

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

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

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

—————————————

A NASHVILLE MUSICIAN’S VIEW (From 2008)

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

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

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

against us.

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

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

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

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

Keep fighting the good fight!

—————————————

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

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

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

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

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

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

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

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

IV. MEMBER COMMENTS

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

———————————-

Great, comprehensive stuff re: the insidious RMA.

———————————-

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

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

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

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

———————————-

So Chuck was late to the gig, I guess.

Read the rest of this entry »

SPECIAL MAILING: RESOLUTION TO MUZZLE RMA PRESENTED TO AFM CONVENTION

June 21st, 2016

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

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

…Absolutely guaranteed anonymity - Former Musician’s Union officer
…The one voice of reason in a sea of insanity - Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal - L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention - National touring musician

COMING NEXT WEEK

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

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

I. RESOLUTION No. 4

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

Recording contracts and RMA role

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

and

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

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

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

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

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

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

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

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

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

Submitted by Local 300

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

II. HISTORY CALLING FOR THE RMA REMOVAL RESOLUTION

Colleagues,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A WAR

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

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

WHY?

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

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

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

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

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

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

THE PMG (THE GUILD)

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

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

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

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

————

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

————

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

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

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

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

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

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

THE LAWSUITS

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

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

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

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

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

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

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

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

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

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

BUH BYE WORK!

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

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

Let’s Review:

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

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

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

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

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

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

Thank you for your time,

Charles Fernandez

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

III. NON-UNION RECORDING LOCALES

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

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

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

There are certainly more options than are listed here.

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

Congrats folks,

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

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

=======================
Read the rest of this entry »

ANOTHER AFM-RMA LAWSUIT LOSS / PARAMOUNT LAWSUIT ARTICLES / COMMENTS / EVENTS

June 18th, 2016

6/18/16

I. ANOTHER RMA CENTRIC LAWSUIT LOSS
II. TWO ARTICLES ABOUT THE PARAMOUNT LAWSUIT
III. MEMBER COMMENTS ON THE LAWSUIT
IV. EVENTS

…Absolutely guaranteed anonymity - Former Musician’s Union officer
…The one voice of reason in a sea of insanity - Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal - L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention - National touring musician

COMING NEXT WEEK

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

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

I. ANOTHER RMA CENTRIC LAWSUIT LOSS

Once again, the AFM spends Rank and File members dues to try to
enrich the July checks of mostly the RMA elites, and once again,… loses.

We’d certainly like to know how much of the member’s dues was spent
on yet another failed RMA money grab.

Please read about the lawsuit below. We include two articles, one from
the Hollywood Reporter and the other from DEADLINE HOLLYWOOD.

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

II. TWO ARTICLES ABOUT THE PARAMOUNT LAWSUIT

FROM THE HOLLYWOOD REPORTER

Paramount Beats Musicians Guild in Lawsuit Over Outsourcing Film Scores

June 16, 2016 9:00am PT by Eriq Gardner

A judge figures out the meaning of “producer” and “employer” in Hollywood.

On Wednesday, a California federal judge handed Paramount Pictures a
summary judgment victory in a lawsuit brought by the American Federation
of Musicians of the United States and Canada over the score to the upcoming
film Same Kind of Different as Me, starring Renee Zellweger. The ruling
figures to be a very important one in future labor disputes between studios
and guilds as the litigation explored a gray area of law — whether studios
are joint employers — that goes beyond the music for a single film.

AFM filed its complaint in June 2015 with the claim that Paramount has
breached the terms of a collective bargaining agreement that requires
that films produced in North America shall be scored there. Same
Kind of Different as Me, based on a novel by Ron Hall, was scored
in Slovakia.

What made this case a particularly fascinating one to watch was that
the parties went to war over the meaning of a “producer” and “employer”
under guild agreements. Paramount denied being either, and under
its theory, that meant the movie had no obligations to be scored
in North America.

According to the facts as laid out by the judge, Hall and two fellow
screenwriters began raising money for a film version. They brought
in producer Darren Moorman, who raised $6.5 million and began
the process of casting. A single-purpose entity called SKODAM Films
LLC was set up, and the filmmakers began looking to see who
might want to buy distribution rights.

Disruption Entertainment and its owner Mary Parent were engaged
and began working on the pic as producers. Paramount had a
multiyear first-look deal with Disruption and Parent, who worked
on Paramount’s studio lot (and is now an executive at Legendary).
In October 2014, Paramount and SKODAM entered into a co-
financing and distribution agreement whereby Paramount would
put up 40 percent of the film’s budget and obtain a fractional
interest in the copyright to the movie.

Shooting for the film occurred in Jackson, Miss., in the final
months that year, and during that time, Paramount was involved,
among other things, in choosing cast members. It was Moorman,
though, that appears to have spent the most time on set.

The first big question this case raised was whether Paramount
“produced” Same Kind of Different as Me. On this front, the
studio narrowly lost.

Paramount argued that the term meant “made,” “shot” or “filmed”
in relation to “principal photography,” while AFM asserted that
under the collective bargaining agreement, anyone financing at
least 25 percent of the picture is considered a producer.

U.S. District Judge Dolly Gee ruled against AFM’s interpretation,
finding it nowhere in the CBA and states that there is “no genuine
dispute that the meaning of the word ‘produced’ in Article 3 [of
the relevant CBA] is ‘made” or ’shot.’”

However, that doesn’t end the issue.

“Yet, even under Paramount’s ‘narrow’ definition of ‘produced,’
the Court finds that AFM provided enough evidence to create
disputed issues of fact as to whether Paramount ‘made’ or ’shot’
Same Kind of Different As Me,” Gee wrote. “For instance,
throughout the making of the film, Paramount made weekly
payments to SKODAM Films in line with its commitment to
fund 40 percent of the Motion Picture’s budget. SKODAM
Films, in turn, submitted weekly invoices to Paramount
regarding costs spent. Thus, Paramount was far from being
a passive investor. Paramount executives received film dailies
(e.g., ‘the filmed output for each day’) from SKODAM Films
and Disruption each day, on which Paramount executives
reviewed, discussed, and commented.”

Paramount thus failed to defeat the lawsuit on the basis
that it didn’t produce Same Kind of Different as Me, which
ironically, is a film about a relationship. Nevertheless, it
won the lawsuit on another front.

The CBA provision in controversy applies to those “employed
by the producer,” so the second big question raised by the
case is who is the “employer.” Gee noted there’s nothing
in the CBA dealing with this in instances of plural “producers”
or “co-producers.”

But she wrote that “SKODAM Films undisputedly did the bulk
of the work making or shooting the Motion Picture” and
Paramount “cannot have breached the CBA because there
is no evidence presented that it either directly or indirectly
was the joint employer, much less the employer, of the
myriad employees working on the production of Same
Kind of Different as Me, including musicians who worked
on the Motion Picture’s score. Nor is there any evidence
from which the Court can infer that Paramount was the
alter ego of SKODAM Films or that SKODAM Films was
its agent for purposes of hiring and firing.”

The judge shrugged off AFM’s arguments pertaining to
Paramount’s influence over the film, saying there’s no
evidence that the studio “had the right to control the
day-to-day activities of the Motion Picture’s cast and
crew or that it exercised more than minimal control
over the film’s shooting.”

Here’s the full opinion,
https://www.documentcloud.org/documents/2863183-AFM-Opinion.html
which will likely be read closely by entertainment attorneys and
could influence how productions of films are conducted as
well as negotiations on future collective bargaining agreements.

———–

From DEADLINE HOLLYWOOD

Judge Rejects Musicians Union’s Claim That Paramount
“Produced” ‘Same Kind Of Different As Me’

by David Robb

June 16, 2016 3:44pm

A federal judge in Los Angeles has ruled that Paramount Pictures
was not the “producer” of the upcoming film Same Kind Of Different
As Me and did not violate its contract with the American Federation
of Musicians when the film was scored overseas with nonunion musicians.

The ruling stems from a lawsuit the union filed against Paramount
in its ongoing battle to stem the flow of outsourced music in American
films, many of which are now being scored, as this one was, by
musicians in Slovakia. On Wednesday, U.S. District Court Judge Dolly
Gee granted Paramount’s motion for summary judgment dismissing
the union’s breach of contract claim.

The film, an adaptation of the memoir by Denver Moore, Ron Hall,
and Lynn Vincent, originally had an April 29, 2016 release date,
but in March the studio pushed it back to February 2, 2017.
Renee Zellweger, John Voight and Greg Kinnear star.

Paramount, which put up 40% of the film’s budget, is signed to
the union’s contract, which requires producers to use AFM musicians
when scoring films shot in the U.S. The judge, however, ruled that
the definition of “producer” is so vague in Article 3 of the AFM’s
contract that Paramount’s role in the making of the film did
not fit the definition.

The AFM argued that it has long understood a studio is the
producer of a film under Article 3 “if it financed at least 25%
of the production costs of the motion picture.” The judge,
however, ruled that “this 25% threshold appears nowhere
in Article 3,” and that the union offered “no evidence of past
practices by the parties that demonstrate that they interpreted
Article 3 in this way during the course of their decades-long
relationship.”

In ruling against the AFM, the judge also noted it was not Paramount,
but Skodam Films, the movie’s production company, that had
entered into contracts with vendors and negotiated deals with other
unions whose members were involved in the film’s production
including the DGA and SAG-AFTRA.

“Comparing the day-to-day activities of Skodam Films and
Paramount,” the judge ruled, “Paramount’s involvement in
the making or shooting — during principal photography —
of the motion picture pales in comparison to Skodam
Films’ exhaustive work.”

[EC: For years, major studios have been acting as the
distributor for films produced by independent companies,
whose companies are often dissolved after the production.
The studios don't make the film, they distribute it.]

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

II. MEMBER COMMENTS ON THE COURT LOSS

Congrats to Ray and the RMA leadership. Another big win…
maybe the lawyers collecting our work dues should actually
study our contracts before filing a lawsuit next time. Now
there is a court ruling for producers to study so they too
can get out of future scoring obligations.

“The AFM argued that it has long understood a studio is
the producer of a film under Article 3 “if it financed
at least 25% of the production costs of the motion picture.”
The judge, however, ruled that “this 25% threshold appears
nowhere in Article 3,” and that the union offered “no
evidence of past practices by the parties that demonstrate
that they interpreted Article 3 in this way during the
course of their decades-long relationship.”

—————————-

“the full opinion, which will likely be read closely by
entertainment attorneys and could influence how productions
of films are conducted as well as negotiations on future
collective bargaining agreements.”
—————————-
Deposition of Dennis Dreith:
Q:”So where is it that you obtained the understanding that
if a company invests in a motion picture and it is not a
distribution deal, that that makes a company, quote,’producer’?

A: “That’s my personal view. It comes from discussions
with various people in the industry.”
—————————-
Another example of dealing with an industry that has changed
over the years and the AFM is still dealing with these companies
as though it were 40 years ago.  Must negotiate contracts that
are consistent with the way the world works today.

Read the rest of this entry »

AFM CONVENTION / IEB COMMUNICATION / EVENTS

June 14th, 2016

6/14/16
I. AFM 100th CONVENTION COMING
II. COMMUNICATION WITH THE AFM IEB
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

COMING NEXT WEEK

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

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

I. AFM 100th CONVENTION COMING

The AFM convention is coming from June 20th -23rd in
Las Vegas at the Gateway Resort and Casino
(Formerly the Hilton)
3000 Paradise Road
Las Vegas, NV  89109

To register go to the AFM Website.
http://www.afm.org/convention

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

II. COMMUNICATION WITH THE AFM IEB

LETTER TO THE AFM IEB FROM A LOCAL 47 MEMBER

February 16, 2016

Ray Hair, President
International Executive Board
c/o Sam Folio, Secretary-Treasurer
American Federation of Musicians
1501 Broadway, Ste. 600
New York, NY 10036

RE: Referendum to Sell 817 Vine Street

Dear President Ray Hair and International Executive Board,

I am writing on behalf of many members of Local 47/Musicians’ Club
who are convinced that the referendum recently passed to sell our
Vine Street property was severely compromised.  While perhaps
one to two procedural “missteps” may not be sufficient to void
the referendum….the aggregate is circumstantially compelling.

As the parent organization we are asking you to consider taking
the Local into Trusteeship and/or voiding the referendum vote
based on the following:

1) Absolute refusal by the administration to use an outside agency
to secure the ballot and voting process, given the magnitude of
the vote. The administration had been urged by the membership
to do so in open meetings early on.

2) Unclear ballot language with the Local refusing to clarify what a
yes vote meant or what a no vote meant, leaving many members to
consider the question a fraud because were not being asked a yes
or no question.  Repeated efforts seeking clarification was met with
contempt for asking.  It was at the January 25, 2016 meeting,  Atty.
Levy confirmed that what the ballot means is based on the intent
of the drafter.  (4 days before the end of the voting period.)

3) The administration thwarted any dissent by manipulation of the
information and avenues of membership communication. The
membership-at-large was deprived of alternative compelling
arguments that the administration was well aware of. This we believe
is a Title I issue under the LMRDA that can only be remedied by a
civil suit by the members.

4) The Election Board did not have control over the process.  They
cannot account for every ballot. The Election Board Chair referred
all questions to Atty. Levy, even as to how to handle the “Return to
Sender” ballots which were not produced until an observer insisted
on their physical presence with all other returned ballots. And only
then, with the help of Vice-President Baptist who apparently obtained
a key to the cabinet that kept those ballots separate from the care
of the election board.  Also, no unused ballots were produced or
counted in the final tally.

5) While the voting result on its face looks to be overwhelming, the
truth is that in order for the referendum to even be viable there
needed to be  50%+1 of the eligible voters to return their ballots.
That threshold was met by only 240 ballots. Given all the “substantive”
and “procedural” problems, this referendum should properly be voided.

We are told that all members in good standing in Local 47 are also
members of the Musicians’ Club, a 501 c 2.  The purpose of the Club
was to hold the Local’s  real property in trust.  The by-laws of the
Club call for the elected officials of Local 47 to hold the same positions
as Club officers and directors.

It is also our understanding that the 501 c 2 was created to keep the
AFM from taking over the Local some years ago.   In fact, that would
probably explain why,  since 2005 the 990 Form filed by the Club
reported a “secured note” owed to an “unrelated third party.”  That
is not the case.  This “error” in reporting has and did give the IRS
and the public the impression that there was a secured loan owed
by the Club.  Attached is the response to my inquiry regarding the
federal filing from Local 47’s accounting firm who agreed to correct
this entry to another line.

A note for zero interest showing a sum due and payable in 2024 was
attached to Form 990 in 2005.  That note identified monies used to
build our rehearsal rooms. Since then, there was another sum of money
admittedly transferred from Local 47 to the Club for the refurbishment
of our auditorium.  Essentially, they have borrowed from and are paying
back themselves. (Local 47 Counselor Levy refers to this as a “ledger
transfer.”)  All in all, we have put about one million dollars in upgrades
to our facilities between 2005 and 2009.

Under the Local and Club by-laws, I have requested the Minutes that
should have reflected these transactions.  I have repeated my request
both in writing and in person. Apparently, the proper corporate formalities
have not been followed and it is only because of the referendum that
the Club has been resurrected to be visible to the membership.

The Club by-laws are now posted on the Local 47 website.

Finally, while observing the ballot counting on February 2, 2016 I had a
discussion with President John Acosta regarding the fact, that to date,
there is no motion or resolution that requires the Club to actually replace
our facilities.   There is no timeline.  What about the balance of the funds?

President Acosta indicated that they were looking to secure a balance after
relocation and remodeling for use as an endowment protected from the AFM.
I would argue that the issue is one of alter-ego and that failure to follow
corporate formalities should allow a court to ignore the corporate forum
of the Club allowing the AFM to intervene.

Of course, there is much more to this than these few points. We understand
that the Department of Labor does not involve itself in internal union
governance unless it is regarding a regularly scheduled election of officers,
or wrongful use of monies.

As the recognized governing body for the United States and Canada we are
looking for your oversight and intervention.

Thank you for your consideration of this matter. Please let me know that you
have received this correspondence and what actions, if any, you are prepared
to take. If you are unable or (unwilling) to intervene in this matter-please
advise as to what a FULL range of options are (no omissions please) for
challenging and contesting what many believe a fraudulent vote.

Your prompt reply and actions will be greatly appreciated as this matter
is very time sensitive.

Sincerely,

Helen Crosby, Member
Local 47 AFM/Musicians’ Club of Los Angeles

Encl. (2)

cc:  U.S. Department of Labor/OLMS
Kamala Harris, California Attorney General- Registry of Charitable Trusts

———————————

RESPONSE FROM RAY HAIR

April 25,2016

Helen Crosby

Re: Referendum concerning 817 Vine Street

Dear Ms. Crosby,

This is in response to your February 16 letter regarding the referendum to
sell 817 Vine Street, in which you requested that the Federation place Local 47 in
trusteeship in order to void the results of the referendum. I understand there is
often disagreement among members regarding the conduct of a union’s internal
business affairs, particularly at Local 47. In fact, rarely is there unanimity on such
issues. However, the Federation cannot justify imposition of a trusteeship on the
basis of requirements that do not exist in the LMRDA or AFM bylaws, or on conclusory
assertions unsupported by factual evidence. The remedy of trusteeship cannot be
sustained in the absence of clear and convincing proof of a violation of law.

We note, for example, that the employment of a third-party agency of Election
Board to administer the voting process in the referendum was not required by
either the LMRDA or the Federation. Thus, a trusteeship could not be supported
on this basis. Nor would the Federation trustee a Local where an election or
referendum proceeded without the participation of 50% + 1 of eligible voters
as you suggest. We do appreciate the information that “return to sender” ballots
and unused ballots were not tabulated as a vote either for or against the proposal,
and believe that this protocol was appropriate. We are further persuaded that the
referendum was conducted according to law by your confirmation that open
membership meetings were held early in the referendum process up through
four days before the close of voting, and that Local counsel was present during
at least one of there meetings.

Many of the other allegations in your letter lack factual details specific enough for
the Federation to act upon them. For instance, your objection to the ballot language
does not explain how the ballot was unclear or fraudulent, who was allegedly
subject to contempt for repeatedly seeking clarification, the source(s) of such
contempt, or the nature of such contempt. Similarly, your letter is vague as to
how in particular Local 47 officials chilled dissent or membership communication.
Local officers cannot be compelled to make every argument for and against certain
actions, and frequently do make recommendations on ballot referendums. In that
regard, we have no factual basis upon which to distinguish this referendum from
the norm. And, you have not referred to, and we are unaware of, any threat of
internal union charges or actual charges made against a Local 47 member as
a result of protected speech or activity.

Finally with respect to the intend use of proceeds from a property sale, if any,
such determination rests with Local 47 and its members. The Federation cannot
legitimately deploy trusteeship to coerce this determination or to prospectively
“cure” a breech of trust of trust that has not occurred. To the best of our inquiry,
information, and belief, there have been no substantial irregularities in the
accounting practices of either Local 47 or the Musician’s Club. The Musicians’
Club exists and operates in accordance with state and federal laws and regulations.
We therefore maintain the presumption that the offices of Local 47 will continue
to manage members’ assets in full compliance with their fiduciary duties.

The federation expresses no opinion with  respect to the substance of the
proposed sale of the Vine Street property. Nevertheless, I trust my response
will resolve any doubts you have about the validity of the referendum procedures.

Sincerely,

Raymond M. Hair Jr.
International President
American Federation of Musicians
of the United States and Canada

Action Up-date as follows:
“A letter was crafted and mailed two weeks ago in response to the above
letter from President Hair. The following is an outline of the subject matter
covered. We are awaiting a response.”

Headnotes:

Ballot Language Issue
Non-Disclosure of Member Concerns in Official Communications/Inadequate
Minutes
Members’ Request for Special Club Meeting/unreasonable Delay by Executive
Board
Letters to the Editor January Print Edition of Overture
Refusal to Provide Resources for Opposing Views
Disparity of Resources
Refusal to Use an Outside Agency
The Election Board Was Not In Charge of the Ballot Process
Referendum Ballot Count
Tally Incomplete Due to Failure to Count Unused Ballots
Jay Rosen Resigned From the Election Board
Campaign Manager Hired From Promotional Company
Shut Down of Committee For A Responsible 47 Blog
Grievance Issue

[EC: We certainly support Ms. Crosby in her actions. If more members were as active and committed as she is, our Local would be far better off.]

Read the rest of this entry »

AFM CONVENTION / LAWSUITS / NASHVILLE / EVENTS

June 4th, 2016

I. AFM 100th CONVENTION COMING
II. MEMBER THOUGHTS ON LAWSUITS
III. NASHVILLE COMMENT
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. AFM 100th CONVENTION COMING

The AFM convention is coming from June 20th -23rd in
Las Vegas at the Gateway Resort and Casino
(Formerly the Hilton)
3000 Paradise Road
Las Vegas, NV  89109

To register go to the AFM Website.
http://www.afm.org/convention

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

II. MEMBER THOUGHTS ON LAWSUITS

There have been a number of lawsuits against the studios that
seem designed to only benefit the RMA. President Hair decided
not to file all the lawsuits the RMA leadership wanted, so now
Hair has taken the mantle of “worst AFM President in History”
from Tom Lee.

This was a pronouncement at a negotiation by a former head
of the RMALA. This short stint of logic and consideration not
withstanding, we understand form our sources that Ray is
still squarely in the RMA’s pocket.

Please see a member comment below:

I can’t figure out the lawsuits.  It is not unusual for the AFM EP Fund to audit the
companies to ensure that they have paid into the Fund on behalf of all musicians
they’ve hired. Normally, the Fund would meet with the companies and at some
point work out a deal on the correct amount of money that was owed the Fund.

So I don’t understand why the lawsuits by the Fund against the companies. Unless
Hair convinced the trustees that the Fund should file suit rather than work out a
deal. Since Hair is the co-chair of the Fund he could do that but remember the
Fund would only be suing for money owed to the Fund on behalf of musicians.

Hair may have decided that the AFM could piggy back on the suit and sue the
fund for musicians wages as well–sort of a piggyback suit and that may be
why all of the publicity a few weeks back.  But I suspect that Ray has backed
out of suing the companies because he will find that the musicians have
been paid–they are just not AFM musicians.

It also makes sense that the RMA wants to use the money from the sale
of the building to sue the companies for the benefit of the RMA.
Particularly since Hair doesn’t seem to want to go down that road.

The AFM announced the massive organizing campaign and when
P••• and M••• pulled out of it, then the organizing campaign sort
of went away.  At least I haven’t heard anything more about it.

It is interesting.  Hair wants to organize the film industry here in
town for the AFM while the RMA wants the AFM to organize
the Film industry for the RMA.

———————————————-

These guys are self-centered, devious and destructive. There would
be so much work if the AFM/RMA made an accommodation.

———————————————-

So what is going on with the RMA?  Who is telling Ray what the RMA wants?
Or is Ray finally getting some backbone?  Maybe Ray has finally caught on
to all the tricks the RMA tries to pull.  Only problem it took the rest of
us about 2 1/2 days to figure out the RMA leadership and their
destructive tendencies. It has taken Ray at least 12 years and he
still doesn’t get it.

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

III. COMMENT ABOUT NASHVILLE

I have met the folks in Nashville.  It is a husband and wife who used
to be a member of the Local.  They saw their recording work drying
up so they left the union and apparently have no problem getting
any union musicians they want to record.  I’ve been told but cannot
confirm that when the local 257 president, Dave Pomeroy, spoke
with some of the union members playing the non union gigs, he
was told that if he filed charges, they would all leave the union.

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

IV. EVENTS

DEAN AND RICHARD

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

————————————-

LA WINDS JAZZ KATS 584

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

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

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.

—————————————

AUDITIONS FOR CALSTATELA SYMPHONY

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

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

under “youth orchestra”.

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

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

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

Thank you!

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

———————————–

———————

6/5/16

CALSTATELA/OLYMPIA SYMPHONY

Dear Friends & Colleagues:

I am pleased to announce that the CalStateLA
Symphony Orchestra/ Olympia Youth Orchestra will
be giving its 2nd annual performance of
this season on Sunday, June 5, 2016 at 3PM at the
historic San Gabriel Mission Playhouse,
320 S Mission Drive, San Gabriel, CA
91776.

This concert is Admission FREE.

This time, we will be featuring Taiwanese violinist
Chien-Tang Wang, Gold Medal Prize Winner of the
2015 Osaka International Competition in Japan,
performing the Sibelius Violin Concerto. Angela Che
and Jeongwon Claire An, the concertmaster and
co-concertmaster of the orchestra, will perform the
Navarra for 2 violins by Sarasate.
A brand new composition by Sharon Hurvitz will be
receiving its world premiere performance, and the
Tchaikovsky Swan Lake will close the program.

Please invite your friends and family to come and
join us to witness the talents of these fine young
musicians.

Looking forward to seeing everyone there.

Sincerely,
Fung Ho

———————————————
6/8/16

CONCERTS AT THE “BOWL”

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

June  8
The Symphomaniax
Perform music from baroque to contemporary by Bach, Domine, Vivaldi,
and others, as well as a selection of “pop” classics, featuring James Domine,
guitar; Ruth Bruegger, violin; Glenn Grab, ’cello and Larry Muradian, bass

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

OTHER CONCERTS IN THE SERIES

June 15
The Screaming Clams
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
Larry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
vocalist extraordinaire

June 22

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

June 29
The Screaming Clams, part 2
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
Larry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
vocalist extraordinaire

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

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

——————————————

6/11/16

ASMAC Master Class: Telling a Story with Music

Saturday, June 11th, 2016 11am - 2pm
Valley College Music Department Recital Hall
5800 Fulton Ave.
Van Nuys, CA 91401

Opportunities in Ballet, Opera, Theater and Concert Music
There are many projects that can benefit from your talents
and skills.
How to find and pitch a project;
How to get funding and produce.

Guests will show examples and discuss a variety of
approaches and techniques to inspire composers,
arrangers and orchestrators.

with

Jack Van Zandt
Jeannie Pool
Raymond Torres-Santos
Marlene Hajdu
$25 members (ACF members and NACUSA members included)
$40 non-members.
—————————
6/14/16

The Orchestre Surreal

Featuring:
Elvis Schoenberg
Dangerous Dan O’Callaghan
The Fabulous Miss Thing
and
Los Angeles’s Most Notorious Musicians

at

Typhoon
LA’s Most Hip Pan Asian Restaurant.

Tuesday June 14th
one set

7:30-9:00

A Special Event Show

Among our usual mashups and
genre bending arrangements
We will be performing
a special Tribute to

Keith Emerson.
On the program:
two of Keith’s rarely heard orchestral works,
Glorietta Pass and After All Of This
also a piece that Keith conceived that was written for him and the
Orchestre Surreal. Pacific Honky Tonk 231 Blues
plus orchestral versions of ELP tunes.

——————————————
6/26/16
Dear Doctor Wu Fans,

We will be appearing at the Santa Monica Endless Summer SOULstice Festival on Sunday, June 26th 2016 from 5:00 to 7:00 PM, where we will play two sets of your favorite Steely Dan tunes.  Please bring your friends along and enjoy a great time with us!

Edgemar Courtyard
2440 Main Street
Santa Monica, CA 90405
5:00 - 7:00 PM

We hope to see you there!

The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

—————————————–
MASTER IN FLM MUSIC APPLICATIONS STILL BEING ACCEPTED

The Pacific Northwest Film Scoring Program
At The
Seattle Film Institute

is still accepting applications to the One year

Master of Music (MM) in Film Composition

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

Study with program creator and lead instructor

Hummie Mann

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

Click here to listen and watch student scores from previous years

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

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

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

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

Virtually every new venture goes through several levels included in the building.

June 2nd, 2016

Virtually every new venture goes through several levels included in the building.

Around terminology, a very recommended stages from a startup’s app development can be defined as the subsequent:

Verifying that your own potential clients are looking for an approach to a difficulty commonly known as a “problem/choice fit”.

Making sure that your potential clients would like services or products specifically and not merely an option typically or “product/industry fit”.

Developing a progress technique for the item.

Another period of production - picking up a nutritional supplement/promote meet - is precisely what I am going to touch upon in more detail.

Item/Sell physically fit is one of those people buzzwords which is often difficult to identify. However it is a very simple idea: come up with a company as well as a supplement that people need. Products or services/ Business accommodate might be identified as a period at which your goods is required that you can purchase adequate enough permitting for proficient and endless advancement.

The tough aspect about having tool/sector fit and slim is it is sometimes hard to quantify “fit.” There is isn’t a selected milestone after which your product is bound to be a success. We talked specifically about locating a current market opportunity for your service with our article about developing wireless startups that will make revenue.

Fortunately, a theme labeled Item/Target market suitable Material was happens to be engineered explicitly to aid you to check out the product or services/markets match for your own mobile app. Merchandise/Market in good physical condition Material improves you discover who your customers are and what you can do for connecting together and make contact with their objectives.

The design template is split into two sectors: a client segment in addition a merchandise section. The customer market allows you to with an preliminary assessment of your own app’s audience. The items sector assists with assessment after the start-up, when you finally assess the way your mobile app suits the entire segment.

When is best time and energy to evaluate whether or not your product offers the appropiate product/industry suit? In short, there are 2 easiest days. It is best to analyse brand/market compliment each around the pre-roll-out position and in addition along the beta evaluating time.

The pre-kick off phase takes place when you establish your business including your target market.

The generate/ Beta-diagnostic tests phase takes place when you evaluate your lowest viable nutritional supplement (MVP) to look at how it matches already in the market and what you ought to do to greatly improve it.

Through pre-kick off time you must address this particular basic questions:

That happen to be your preferred patrons? How can you describe them and group of people them? Consider some of the issues that they want to eliminate through your service or product? Just how do they want to use your product or service?

What can your buyers get by with your product or service?

Inspecting each and every of user/item connections will allow you to see what you product’s advertising matter is and what your competitive edge is.

Almost every new venture goes through a lot of steps within the creation.

June 2nd, 2016

Almost every new venture goes through a lot of steps within the creation.

Operating lingo, just about the most significant stages of a startup’s app development can be described as all of the following:

Confirming which your potential customers want an approach to a dilemma also referred to as a “problem/alternative fit”.

Being sure your potential prospects would like your supplement basically rather than just an answer usually or “product/industry fit”.

Having a expansion technique for this system.

Your second position of development - looking for a solution/sell in good shape - is precisely what I am going to look at in great detail.

Products or services/Promote fit is among the some of those buzzwords that is difficult to explain. However it’s a very simple concept: cause a program or a supplement that consumers really would like. Products or services/ Sector physically fit often is called a place by which your goods is dreamed of in the marketplace good enough to enable for fantastic and frequent progression.

The tricky part about getting brand/advertise fit in is it often is difficult to quantify “fit.” There is isn’t a unique milestone after which your product or service is likely to have great results. We talked more specifically about searching for a sell chance of your product inside your post about putting together cell phone startups that produce profits.

Luckily, a format described as Gadget/Field fit in Canvas was continues to be developed explicitly to enable you to check out the nutritional supplement/field meet to get your mobile app. Unit/Niche meet Fabric serves to you find out who your customers are and what you can do for connecting with them and get together their goals.

The design is split into two segments: a consumer sector plus a nutritional supplement portion. Your customer section makes it possible through having an first investigation to your app’s target audience. The merchandise portion is great for investigation once the start up, in case you look at the way your mobile app fits into the overall current market.

When is a better moments to analyse whether or not your items offers the right product/niche in good shape? In other words, there are two optimum years. It is best to evaluate merchandise/industry compliment both together during the pre-establish step and also along at the beta tests position.

The pre-introduce step occurs when you define your promote and then your target audience.

The establish/ Beta-examining state is the time when you analyse your the very least feasible merchandise (MVP) to figure out the actual way it matches already in the market and what you want to try to make improvements to it.

During the entire pre-create point you ought to respond to the next few inquires:

Who happen to be your aim at valued clients? How may you define them and group of people them? What are the circumstances that they need to work out with the aid of your goods and services? How do they decide to use your products or services?

What things your prospects make do with the use of your products or services?

Studying all aspects of shopper/product or service interaction will permit you to see that which you product’s marketing and advertising point is and what your very competitive plus is.

FLASHBACK CONCLUSION / EVENTS

May 28th, 2016

I. FLASHBACK TIME - 2005 - PART VII - CONCLUSION
II. EVENTS

…Absolutely guaranteed anonymity - Former Musician’s Union officer
…The one voice of reason in a sea of insanity - Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal - L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention - National touring musician

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

I. FLASHBACK TIME - 2005 - PART VII - CONCLUSION
[EC: And this was 11 years ago,.. the situation is far more dire now.]

IMPACT ON U.S. ECONOMY WHEN PRODUCTIONS LEAVE U.S.

Total direct production expenditures of U.S. economic runaways
[Note that creative runaways are not included] # =

• Total expenditures to produce a film / show
(Baseline; Variety; Hollywood Reporter)

MINUS

Direct spending recaptured by the U.S. =
• #Payments made to U.S. companies and citizens were allocated
back to the U.S. since the money returns to the U.S. economy

• #Payments include principal actors and director salaries and post
production (Production Executive Interviews, Sample Budgets,
Monitor Analysis)

EQUALS

Total direct spending lost from the U.S. #=
• Total production cost net of spending returned to the U.S.
PLUS
Multiplier effect of direct spending lost = #
• A multiplier of 3.1 was applied to wages and salaries (Bureau of
Economic Analysis) #
• A multiplier of 3.6 was applied to goods and services (Bureau of
Economic Analysis)

PLUS

Tax revenue lost #=
• Tax rates of 30%, 8.5%, 10% and 7.2% were used for federal
income tax, state income tax, payroll tax and state sales tax,
respectively (IRS, Sales Tax Institute, Dept. of Labor and
Industry)

EQUALS

Total economic impact #
• The total amount of money not realized by the U.S. economy as a
result of U.S. economic runaway
Furthermore, when a production runs away, the payroll, income and
sales taxes on the direct spending and multiplier spending are also
lost to the U.S. National and state average tax rates were applied to
calculate the total tax revenue lost to the U.S. at the Federal and state
level in addition to the direct spending and multiplied spending lost.
The lost tax revenues totaled $1.9 billion in 1998.

$2.8 billion in direct expenditures were lost to the U.S. in 1998 from
both theatrical films and television economic runaways. This figure is
almost six times the annual impact on the U.S. in 1990.

Future Impact

The study also sought to assess the likely future impact of U.S.
economic runaway production through 2001. A number of future
scenarios were evaluated, reflecting several potential environments
for production volumes. For example, positive U.S. economic growth,
a slowing of U.S. economic growth, and relative strength/weakness in
key foreign exchange rates and production incentives were considered
in gauging the likely future impact of U.S. runaway economic
production. Note that these scenarios assume no major U.S. response
to the economic runaway problem.

Under these scenarios, without major intervention to address the
causes outlined in Section III, the level of runaway production will
remain significant. The total number of U.S. economic runaways could
range from 327 to 476 by 2001, but will not likely decline from the 285
economic runaway productions in 1998. The annual economic impact
on the U.S. could range from $10 billion to $15.1 billion by 2001. By
2001, lost full-time equivalent positions could total between 22,500
and 36,000 annually.

Foreign Tax Incentives

Not surprisingly, Canada has led the charge by offering federal rebates
since 1996 of 11% on spending for all Canadian labor involved in a
production, regardless of content. Provincial governments were quick
to supplement these incentives, creating a total of a 22% to 46%
rebate on Canadian labor expenditures (see Exhibit 21). Some
advantages of these incentives are that they are available to all
productions, have no annual limits to the number of rebates being
offered, greatly simplify paperwork, and are structured as direct
rebates, not tax credits. Several companies have entered into the
business of filing paperwork and providing advances on the incentives
to producers in exchange for a fee, helping producers address cash
flow issues.

Unlike other countries, Canada has gone out of its way to ensure that
producers are aware of the incentives and their subsequent savings.

It is not uncommon for Canadian government officials and film
commission representatives to fly to Los Angeles, New York City, or
other U.S. production centers to attend events or meet directly with
film and television producers to advertise their incentive structure.
For example, representatives of Revenue Canada (the Canadian IRS)
were at the recent “Locations `99” show in Los Angeles, promoting the
Canadian incentives. Canadian labor and industry representatives
have indicated that incentives are geared to attract foreign
productions. Recent initiatives in Canada to discontinue the incentives
for foreign producers have been met with strong opposition from
Canadian labor and government officials, who note that these
productions represent several thousand jobs and millions of dollars in
economic impact, more than offsetting the money paid in incentives.
Once production is completed, additional savings can be realized by
applying for tax rebates associated with Canadian labor spending.
The exact amount realized is determined by the amount of Canadian
labor used. In a typical case, the incentives would increase the total
budget savings to 25% - 26%.

DEVELOPMENT OF PRODUCTION CLUSTERS THROUGH U.S.
INVESTMENT ABROAD

U.S. Studios make sizeable infrastructure investments in locations
outside U.S.

Viacom (Paramount)

June, 1994 — Viacom establishes Viacom Canada, which will spend $1
million a year over five years on “Canadian culture.” It is rumored the
investment was a “sweetener” to encourage the government to pass
the CAVCO tax credit #
September, 1995 — Paramount opens production support companies in
Vancouver and Toronto to service the equipment rental needs for
Paramount and other Viacom holdings

June, 1997 — Paramount Studios invests over $10 M to construct four
sound stages and production office space in Vancouver. The facility is
166,000 square feet.

Disney

October, 1996 — Disney purchases a 12,600square-foot multimedia
studio in Victoria, British Columbia
December, 1996 — Walt Disney Animation Canada opens a 17,000-
square-foot studio in Vancouver

MGM

May, 1997 — MGM and Bridge Studios jointly open 25,000-square-foot
Studio 5/6 in Vancouver. The BC government invested C$3.5 million.
Warner Brothers
1988 Warner Roadshow studio opens in Queensland, Australia (76,347
sq. ft)

Fox builds $125M water-tankbased studio in Rosarito Beach, Mexico
Fox Studios Australia opens in Sydney, valued at $130.5M

At least 4 of 9 major studios have publicly stated their intention to
increase production abroad; the increased globalization of
entertainment companies is likely to stimulate further runaway
production

Source: Annual Reports; Variety; Screen Digest; Film Commissions #

How Large Is The Gap To Be Closed?

Clearly the U.S. faces major challenges in stemming the tide of
runaway production. The solutions will not be simple because the
causes are several and very complex. However, the cost gap to be
closed to retain production in the U.S. may not be the entire 25%
production cost disadvantage. Several producers interviewed
mentioned that if the budgets for U.S. productions were brought to
within 10% to 15% of costs in Canada, then they would make the
argument to keep that production in the U.S. Producers generally
want to work where they live, and most live in the U.S. production
clusters. Furthermore, these clusters contain all the resources
required, as well as access to financing, development, and distribution
resources, which provide a distinct advantage to producers. Obviously,
certain productions cannot afford even a 10% cost disadvantage;
recapturing these productions will be the greatest challenge.
It is important to note that U.S. film and television economic runaway
activity is at a high level, and that large productions are running away.
The significantly lower total production costs achievable abroad are
compelling to producers. The experience that foreign production
crews, actors and directors have gained in filming U.S. runaway
productions represents an ongoing source of advantage that for these
producing locations. Similarly, infrastructure investments abroad
represent permanent improvements that will continue to draw
productions out of the U.S. Without a meaningful response (or some
unforeseen development abroad), production employment
opportunities and associated economic benefits will continue to leave
the U.S. at a significant rate.

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

II. EVENTS

DEAN AND RICHARD

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

————————————-

LA WINDS JAZZ KATS 584

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

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

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.

—————————————

AUDITIONS FOR CALSTATELA SYMPHONY

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

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

under “youth orchestra”.

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

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

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

Thank you!

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

——————————————–

6/1/16

ASMAC FIRST WEDNESDAYS features Jack Smalley

Wednesday, June 1st 7PM at the AFM Local 47 Auditorium

Jack Smalley, film and television composer, mentor of mentors
and mentor of composing legends will share valuable film and
television scoring techniques. Learn more about Jack during
an interview by special guest Perry Botkin, Jr.  followed by Jack’s in depth demonstration which includes printed scores, study material and audio examples.
MORE ABOUT JACK:
After the war (WWII), Jack took the G.I. bill back to Europe and studied composition with Darius Milhaud at the Conservatoire de Musique in Paris France for almost 4 years. While in Paris, he performed with guitarist Django Reinhardt, and American singer Annie Ross.
Back in the states, he worked a bit with Vido Musso, Gerry Mulligan, Alvino Ray and Ray Conliff, then over five years with the Page Cavanaugh trio and he studied serial composition with George Tremblay in Los Angeles.
Smalley’s television work included composing for episodes of Streets of San Francisco and Barnaby Jones, and then he joined Jack Elliott and Allyn Ferguson working on Swat, Love Boat, Starsky and Hutch, and five years of Charlie’s Angels. In the meantime, Smalley wrote episodes for Knight Rider and Murder She Wrote and also orchestrated many films such as The Gladiator, Last of the Mohicans, and Conan the Barbarian.
Professor of Film Composition at USC for 20 years, and member of the permanent faculty at the Aspen Summer Music Festival, Jack was also on the faculty at the Dick Grove Music Workshop, and headed up  the composition program at the Henry Mancini Institute.
Authored “Composing Music for Film“, “Lyrics Lyrics Lyrics” which are both available at jacksmalley.com.
Also authored a biographical book about his first year in France called “The Music Came First” available at Amazon.com

———————————

Perry Botkin grew up in California and graduated from North Hollywood High School moving on to the University of Indiana and U.S.C as a trombone major. He joined the Army in 1953 and, after two years of service in the West Point Band, moved back to California and began his professional career.
In 1955, he joined the Rock group “The Cheers” as a singer, trombone player, and arranger. The Cheers had a hit record – Leiber/Stoller’s “Black Denim Trousers and Motorcycle Boots”. Perry left the group in 1956 and began his career as a freelance group singer, arranger, songwriter, and composer. He wrote arrangements for dozens of artists in Pop Rock and the “American Song book” world.
In the 70’s and 80’s were movies and TV.  He won a Grammy for Best Instrumental Arrangement (Nadia’s Theme) and was nominated for a Best Song Oscar (Bless the Beasts and Children). He is currently composing Avant/Garde electronic music. Perry also plays an important role, musically and personally, in a Documentary film about the creation of Hip Hop. “Sample This” is the title…. It was released in art theaters in New York, Chicago, Los Angeles, and San Francisco. More info at perrybotkinmusic.com.

———————————–

6/1/16

CONCERTS AT THE “BOWL”

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

June  1
The SFVSO Jazz Band
Performs standards from the Great American Songbook, featuring
Jimi Dee, guitar; Ron Singer, saxophone/flute; Adrian Miller, trumpet/
flugelhorn; Larry Muradian, bass and Chuck Burkinshaw, drums

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

OTHER CONCERTS IN THE SERIES
June  8
The Symphomaniax
Perform music from baroque to contemporary by Bach, Domine, Vivaldi,
and others, as well as a selection of “pop” classics, featuring James Domine,
guitar; Ruth Bruegger, violin; Glenn Grab, ’cello and Larry Muradian, bass

June 15
The Screaming Clams
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
Larry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
vocalist extraordinaire

June 22

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

June 29
The Screaming Clams, part 2
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
Larry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
vocalist extraordinaire

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

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

——————————————

6/4/16

EDENDALE UP CLOSE CONCERTS

Info about the next and upcoming programs through the end of 2016
at the Edendale Up Close Concerts series:
http://edendaleupclose.blogspot.com
Free hour long concerts performed by professional musicians
take place 7 times a year at this Saturday noon concert series hosted by the Edendale Branch Library in Echo Park.

Thank you for your support in publicizing
the Edendale Up Close Concerts!

Jacqueline Suzuki
Curator, Edendale Up Close Concerts
818 240 -5108

On Saturday JUNE 4, 2016 at Noon-1:00pm
the free admission Edendale Up Close Concerts series
will feature the Don Rader Jazz Quartet
performing the American Songbook
in the Community Room of the Edendale Branch Library in Echo Park,
2011 W. Sunset Boulevard
Los Angeles, CA 90026
Free parking in the library lot (enter lot from Alvarado).
For more information call (213) 207-3000
Website http://edendaleupclose.blogspot.com

DON RADER JAZZ QUARTET: 
The American Songbook
featuring
Don Rader - trumpet
Gary Solt - guitar
Dave Parlato – bass
Timm Boatman - drums
http://allmusic.com/artist/don-rader-mn0000191281
http://mi.edu/about-mi/faculty/gary-solt/
http://markweber.free-jazz.net/2012/01/19/david-parlato-time-line/
Interesting interview with Don Rader:
http://jazzpro.nationaljazzarchive.org.uk/interviews/Don%20Rader.htm

———————

6/5/16

CALSTATELA/OLYMPIA SYMPHONY

Dear Friends & Colleagues:

I am pleased to announce that the CalStateLA
Symphony Orchestra/ Olympia Youth Orchestra will
be giving its 2nd annual performance of
this season on Sunday, June 5, 2016 at 3PM at the
historic San Gabriel Mission Playhouse,
320 S Mission Drive, San Gabriel, CA
91776.

This concert is Admission FREE.

This time, we will be featuring Taiwanese violinist
Chien-Tang Wang, Gold Medal Prize Winner of the
2015 Osaka International Competition in Japan,
performing the Sibelius Violin Concerto. Angela Che
and Jeongwon Claire An, the concertmaster and
co-concertmaster of the orchestra, will perform the
Navarra for 2 violins by Sarasate.
A brand new composition by Sharon Hurvitz will be
receiving its world premiere performance, and the
Tchaikovsky Swan Lake will close the program.

Please invite your friends and family to come and
join us to witness the talents of these fine young
musicians.

Looking forward to seeing everyone there.

Sincerely,
Fung Ho

——————————————

6/11/16

ASMAC Master Class: Telling a Story with Music

Saturday, June 11th, 2016 11am - 2pm
Valley College Music Department Recital Hall
5800 Fulton Ave.
Van Nuys, CA 91401

Opportunities in Ballet, Opera, Theater and Concert Music
There are many projects that can benefit from your talents
and skills.
How to find and pitch a project;
How to get funding and produce.

Guests will show examples and discuss a variety of
approaches and techniques to inspire composers,
arrangers and orchestrators.

with

Jack Van Zandt
Jeannie Pool
Raymond Torres-Santos
Marlene Hajdu
$25 members (ACF members and NACUSA members included)
$40 non-members.

———————————————

MASTER IN FLM MUSIC APPLICATIONS STILL BEING ACCEPTED

The Pacific Northwest Film Scoring Program
At The
Seattle Film Institute

is still accepting applications to the One year

Master of Music (MM) in Film Composition

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

Study with program creator and lead instructor

Hummie Mann

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

Click here to listen and watch student scores from previous years

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

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

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

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

FLASHBACK - 2005 - PART VI - RUNAWAY STUDY / EVENTS

May 21st, 2016

I. FLASHBACK TIME - 2005 - PART VI - RUNAWAY PRODUCTION STUDY
II. EVENTS

…Absolutely guaranteed anonymity - Former Musician’s Union officer
…The one voice of reason in a sea of insanity - Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal - L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention - National touring musician

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

I. FLASHBACK TIME - 2005 - PART VI - RUNAWAY PRODUCTION STUDY
[E: And this was 11 years ago,.. there are myriad more options now.]

U.S. RUNAWAY FILM AND TELEVISION PRODUCTION STUDY
REPORT

The Directors Guild of America (DGA) and Screen Actors Guild (SAG)
retained Monitor Company, a leading management consulting firm, to
conduct an investigation into the phenomenon of “runaway” film and
television production from the U.S. The Guilds (on an anecdotal basis)
had been noting an accelerating runaway phenomenon, and the need
to create an objective quantitative analysis led to the study being
commissioned. Partial funding for the study was provided by a grant
from SAG-Producers Industry Advancement & Cooperative Fund. The
study has two objectives - quantify the extent to which runaway
production has been occurring since 1990, and identify the major
causes.

U.S. runaway productions are those which are developed and are
intended for initial release/exhibition or television broadcast in the
U.S., but are actually filmed in another country. There are two major
types of runaway productions – “creative” runaways, which depart
because the story takes place in a setting that cannot be duplicated or
for other creative considerations, and “economic” runaways, which
depart to achieve lower production costs. The study’s focus was on
these “economic” runaways. Note that the study’s scope included
theatrical films, films for television, television mini-series, and thirty
and sixty minute television series. Other types of productions such as
commercials, and news and sports programming were not included.

What Is The U.S. Runaway Production Problem?

The study results show that economic runaway film and television
productions are a persistent, growing, and very significant issue for
the U.S. In 1998, of the 1,075 U.S.-developed film and television
productions in the study’s scope identified by Monitor Company, 285
(27% of total) were economic runaways, a 185% increase from 100
(14% of total) in 1990. When these productions moved abroad, a $10.3
billion economic loss (lost direct production spending plus the
“multiplied” effects of lost spending and tax revenues) resulted for the
U.S. in 1998 alone. This amount is five times the $2.0 billion runaway
loss in 1990.

Of these 285 economic runaways in 1998, 100 were theatrical
productions, and 185 were television (films for TV, TV series, and miniseries)
productions. The most prevalent type of economic runaway
television productions were movies for TV. A total of 308 movies for
TV were produced in 1998; 139 (or 45%) of these ran away for
economic reasons in 1998, up from only 30 productions in 1990. Out of
a total of 534 theatrical productions in 1998, 100 (19%) were economic
runaways, up from 44 in 1990. In terms of economic impact on the
U.S., economic runaway TV films have the largest ($2.7 billion) impact,
followed by feature films with budgets larger than $25 million ($2.4
billion impact), and with budgets smaller than $25 million ($2.3 billion
impact). It is noteworthy that feature films have such a significant
economic impact.

Conventional wisdom held that economic runaways are a television
movie phenomenon and that larger productions would tend to remain
in the U.S. since the infrastructure required to produce them wasn’t
available abroad. This data may indicate the leading edge of a trend
with larger-budget productions running away.

To Where Do These Productions Run Away?

Canada captures the vast majority of economic runaways, with 81% of
the total. Australia and the U.K. capture another 10%. In 1998, 232
productions ran away to Canada, up from 63 in 1990. TV movies have
had the highest propensity to runaway to Canada, with 91% of the 139
TV movie economic runaways landing there. The 127 U.S. economic
runaway TV movies filmed in Canada in 1998 is more than five times
the 23 in 1990. The study found that countries other than Canada,
Australia, and the U.K. have a small share of U.S. runaways, although
recent high-profile runaway productions in Mexico such as “Titanic”
highlight the need to monitor developments in selected other
countries on an ongoing basis.

These productions are leaving at a time when U.S. domestic
production has been growing, so the runaway phenomenon has gone
relatively unnoticed. Although the number of U.S.-developed feature
productions grew 8.2% annually since 1990, the number of U.S.-
developed features that ran away to Canada grew 17.4% annually.
Similarly, the number of U.S.-developed television programs produced

in the U.S. grew 2.6% annually since 1990, but the number of U.S.-
developed television productions that ran away to Canada grew 18.2%
annually during that time.

What Is The Impact of U.S. Economic Runaway Production?

The labor impact of these economic runaways is profound. In 1998
more than 20,000 full time equivalent jobs were lost; 11,000 were
positions usually filled by SAG members (such as supporting actors,
stunt and background performers) and 600 usually by DGA members
(directors, assistant directors, unit production managers, associate
directors and stage managers). The balance were jobs in other
production skills or trades, such as camera, sound, production design,
wardrobe, makeup, set construction and drivers.

When the effects of these employment and spending losses are
totaled, the impact on the U.S. of film and television economic
runaways in 1998 was $10.3 billion: $2.8 billion in lost direct
production spending, plus $5.6 billion in multiplier effects and $1.9
billion in lost tax revenues. The economic impact extends beyond the
entertainment industry, affecting local merchants and hotels. In 1998,
economic runaways represented almost 15% of the $74.3 billion total
impact of U.S.-developed film and television productions in the scope
of the study.

There have been notable regional impacts as well. Production
expenditures in core production centers such as LA and New York City
have been growing, but at slower rates than those of Canadian
production centers. Other U.S. production centers have experienced
declines in production expenditures since 1995 - North Carolina (-
36%), Illinois (-20%), Washington state (-37%) and Texas (-31%).
Forecasts of future U.S. runaway production show that under all basic
scenarios examined, without actions to stem economic runaways,
economic runaway production remains significant, potentially
increasing in impact to $13-$15 billion annually by 2001. A scenario
with slower U.S. growth and a stronger Canadian dollar keeps the U.S.
impact at approximately $10 billion annually. Many foreign production
infrastructure investments have been made by U.S. studios; these
investments will serve to continue attracting additional productions
abroad. Furthermore, the increased globalization of the entertainment

industry and incidence of international co-production arrangements
will also likely stimulate U.S. runaway production.

What Are the Causes?

Why have productions been leaving at an accelerated rate since 1990?

The location decision for a production balances factors such as
expected revenues with the cost of production (labor, services, etc.)
as well as with the quality of talent, directors, and production crews.
Historically, countries such as Canada and Australia had limited
production capabilities, making them fundamentally unattractive
despite potential savings. Recently, however, the quality of Canadian
and Australian crews has improved to a point where most productions
can be filmed in these countries without a major difference in
quality/productivity.

As foreign crews and infrastructure have improved through experience
and direct investment, their ability to handle larger, more complex
productions increases. For example, British Columbia and Ontario
combined have well over 1 million square feet of sound stage space,
as much as the space in New York and North Carolina combined.
Canadian film commissions have also been very aggressive in
promoting their locations to the U.S. entertainment industry.

In addition, the value of Canadian, Australian and U.K. currencies all
have declined by 15% to 23% since 1990 relative to the U.S. dollar,
reducing production costs abroad. Factor costs (wages/rates) in these
countries, which were generally lower than those in the U.S. in the
early 1990’s, have also increased at a slower pace than in the U.S. As
a result, producers realize at least a 15% reduction in production costs
from lower labor costs and costs of goods and services when filming in
Canada.

Very visibly (for example, by having Revenue Canada (the Canadian
IRS) representatives at the recent Locations ’99 trade show in Los
Angeles), foreign federal and regional governments have also been
offering rich tax incentives/rebates on production activity in their
jurisdictions. Canada offers federal and provincial tax credits of 22%
to 46% of labor expense (yielding up to a 10% reduction in overall
production expense), and Australia offers more than a 10% labor tax
credit in some cases. Note that these are not credits for national or
cultural content productions; they are available to any qualifying
production employing foreign nationals. In addition, Canada, Australia
and the U.K. offer up to a 100% tax credit for qualifying “national”/
“cultural” productions, and many other countries offer generous tax
credits to producers.

The combined result of the exchange rates, lower costs and
government incentives allows the producer of a typical TV movie
(production budget of $3 million) to reduce production costs by 25% or
more by choosing to film in Canada. Similar percentage savings are
available to the producer of a $20 million feature who chooses to film
in Canada.

It is important to note that Canada has followed an integrated
approach to launching its film/television production-oriented initiatives
during the past several years. This approach begins with a relatively
undeveloped production industry, and launches a series of (usually tax
credit-centered) initiatives to attract production activity/investment,
but often creates qualifying requirements for those incentives that
stimulate hiring of local personnel. As a result, local production
crews, actors, production managers and assistant directors gain
valuable experience/training and are therefore more capable and
attractive to other producers. At the same time, investments in
physical infrastructure are sought so that more and more productions
can be accommodated. As these production capabilities expand,
other tax incentives such as those for local labor expenditures are
offered to further stimulate demand for local production resources.
Ominously, this approach to capture productions is readily replicable
by other countries; in fact, Australia is moving along a very similar
path to that pursued by Canada.

NEXT TIME - PART VII - CONCLUSION

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Consequences of Its Fines and Plagiarism

May 17th, 2016

Blooms, with attractiveness and inherent charm, are in commemorating several important occasions of existence, exceptionally popular. Whether it is baby, wedding, university a unique special birthday, or demise, bouquets are the best way to speak truthful love and sympathy within the most heart-touching method. Blossoms have of enriching any mood with forms, shades, and scents the inherent quality. Read the rest of this entry »