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

I. NEW AFM TACK COSTING WORK

Recently, a group of top video game composers had a meeting with Ray Hair
and some of the new IEB. Not surprisingly, RMA International President Phil
Alying showed up as well.

GOOD COP

The composers’ goal for the meeting was to meet the new leadership
face-to-face, urge them to continue keeping the video agreement as-is by
retaining Option B (which allows a buyout of rights for the game
developer/publisher for video game scoring), and continue to work together
on finding ways to bring more video game jobs for AFM musicians. They were
able to express their views and ideas.

Most of the IEB members attending were courteous and asked fair questions
about the game industry in order to further their understanding.

BAD COP

What they got from Ray Hair was him playing the “bad cop” intimidation game
by asking the composers questions like, “How many non-union video games have
you done? How much do you make composing on a video game?” and in general
not treating the composers, those who had created work for many, many AFM
Members with much respect.

Ray Hair did assure the composers that the current video game agreement is
still alive and will be honored. He did not say what he was planning to do
the following week…

Apparently President Hair has decided that only the production companies
must sign the assumption agreements for the buy-out video game contracts,
not the composers. Composers, payroll companies, contractors will no longer
be able to. As many of the large game publishers will not sign the
assumption agreement, this change in policy is a serious problem which has
already cost our members work and a slap in the face to the composer
community.

In the past, the former Lee administration had bent over backwards to work
with composers and companies to get games on contracts, creating more AFM
work.

One roadblock to the contract was and is the assumption agreement, which
technically requires the producer or company to sign. The assumption
agreement makes the signer responsible for any further musician fees.

Since there were no fees after the fact, the Lee Administration decided to
keep musicians working by allowing composers, payroll companies, and
contractors to sign the assumption agreement themselves, thus enabling more
work for the AFM members.

HARDBALL

Playing hardball on who signs the assumption agreement has already cost the
AFM two large video game projects in the last few weeks. The AFM turned down
one contract because the COMPANY’s signature wasn’t on the assumption
agreement and the second game publisher wasn’t interested in waiting around
for the AFM. Both of these games went to London.

Do they really believe their bullying tactics are a way to force the game
industry to sign a collective bargaining agreement? Somehow thinking the
publishers can’t do without the AFM?

Unfortunately, this laughable behavior will only enrage an entire industry
of audio professionals and drive work elsewhere. Most of the companies want
nothing to do with the RMA attitudes and arrogance down here, and can go
anywhere.

Here are a few questions we’d like answered:

1) Is the new RMA/AFM turning down bona-fide AFM contract work from a
multi-billion dollar industry just to “protect” the diminishing film and
television contracts?

2) How long do they think this dwindling work is going to last?

3) Are they not remotely interested in developing new sources of income for
their membership?

4) Are they doing that well with the current level of union work, special
payments, health insurance and pension contributions to say goodbye to the
current average of 1 million dollars in wages* from video game work?
*based on the last three year average wages and projected projects slated
for this year.

5) Finally, does Ray even remember what he wrote in his June 10th letter to the
AFM Delegates? We’ll remind you with an excerpt:
“But our AFM, like many organizations, is in the middle of its worst
financial crisis ever. The Relocation Fund is owed $1.2 million, borrowed by
the General Fund to keep the lights on. Local membership rosters are
dropping because more of our members are out of work. MPTF is shutting down.
Our pension fund is in crisis. The AFM’s relationship with two player
conferences has fallen to an all-time low. At a moment like this, the last
thing we need is three more years of expensive turmoil, confrontational
policies and bad politics that got us into this mess.”

And now they want to kill off work for our membership from one of the few
growing industries?

Brilliant plan, Ray. Inexpensive. Non-confrontational. Good politics.

THE COMMITTEE

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

II. DOES THE SECONDARY MARKET FUND HAVE ANY MONEY FOR YOU? - MEMBER COMMENT

It seems the Film Musician’s Secondary Market Fund has millions and millions
of dollars of unclaimed royalties every year - with no clear indication of
where that money goes if nobody collects it.

Another question: Where does the interest go on all this unpaid money?

The lists on the FMSMF site are HUGE - tons of people with unclaimed
royalties, and what are these guys doing to find these people? Not much,
apparently. That might be because of what happens to the unclaimed money
when it “expires”. The FMSMF, like labor unions, is exempt from the state
“escheat” laws that say that after money has been unclaimed for years,
it has to be paid to the state which holds it for a longer period.

So if the money doesn’t go to the state, where does it go? Among the more
well known names on that list, which now totals over 8,700 names:

http://www.fmsmf.org/musicianresources/unclaimedchecks_all.html

Michael T. Andreas
William Count Basie
Les Baxter
Charles Fernandez
Craig Stuart Garfinkle
Marvin Gaye
Joel Hirschhorn
Freddie Hubbard
Elton John
Rickie Lee Jones
Janis Joplin
Mike Lang
Lisa Loeb
Barry Manilow
Charlie Musselwhite
Alfred Newman
David Newman
Alex North
Basil Poledouris
Elvis Presley
Andre Previn
Lionel Richie
Leonard Rosenman
Kevin Christopher Teasley
Clark Terry
Alexander Van Halen (Eddie’s brother, co-founder of Van Halen)
Barry White
John C. Williams (the guitarist)
George Winston (the famous new-age pianist/composer)
Michael Wolff
Josef Zawinul (famous keyboard player)

These people, or their estates as the case may be, are very well
known and easy to find - a 15 second Google search is all it takes.
So among all the $100,000+ employees at the FMSMF, nobody has
the time to find these folks? Why?

Given the “closeness” between the FMSMF folks and the RMA, there
may be more going on here than is obvious. Clearly while musicians
are struggling, the FMSMF is paying huge salaries to its employees
and is sitting on millions and millions of dollars of unclaimed
money. Also interesting to note the total income to the FMSMF
(Form 990 on guidestar.org) over the last few years.

Perhaps if there is someone unowned by the RMA at the federation
or some other AFM Local they can check into this, since this
organization seems to be the primary funding for all the bad
guys that have taken over the AFM.

Anonymous

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

III. FEATURED COMMENT ABOUT CONTRACTS

Dear Committee:
I was at the annual Entertainment Industry Conference for CPAs and attorneys
some time ago. The “Use of Music in Film, TV and New Media” segment was
moderated by reps from Valensi & Rose, Winogradsky/Sobel. The panel included
reps from Universal, NBC and Sony, major producers, etc.

I read the new (full-blown) film composer contract template, and it specifically
states that composers may not use any vocalists or musicians that are members
of any union or guild (they specify AFM and AFTRA) without the expressed prior
and written consent of the producer(s). It also specifically states composers are
limited to using only a “small musical ensemble” to score the film.

As an example, a string quintet could track a cue and their live tracks are treated
as stems to be mixed with sequenced music tracks. Or an engineer could just
copy and paste their tracks to build an “orchestra” without the huge studio/
musician expense.

The above clauses are to obtain buy-out underscores locally, and eliminate back
end royalty payments. The studios’ claim is that piracy is stealing millions of dollars
from the studios and until an effective form of DRM is found, they have to cut down
expenses where they can. Of course, the music is first up on the chopping block.

So even if (as some suggest) Local 47 and the RMA were to leave the AFM and form
a PMG, they still would not get scoring work as long as they have ANY union or guild
membership. So the mass fratricide caused by the issues between the RMA and the
rest of the AFM Membership may soon be moot. It most likely won’t matter who is
AFM President in the near future.

Another issue raised in this segment was the fact that in LA, Local 47/RMA are
perceived to be incredibly difficult and intransigent to deal with. So why bother
at all when the “product” (underscore) can be obtained with more ease and less
cost elsewhere (for now). It was also mentioned that since Local 47 has very
weak, if any, ties to DGA/WGA/IATSE/other production guilds/unions, the
possibility of sympathy strikes in the LA production community are almost nil.

So, minus the group instrument insurance rates/coverage and the new Go Pro o
nline website, the only thing that my Membership is giving me is some pride
when a check-out line stranger notices the Union card in my wallet and says
“Oh, you’re a professional musician!” But I don’t know how much that pride
will be worth in the near future.

[Colleagues, We think one line above bears repeating, as it is something we've
been telling you for some time: "Another issue raised in this segment was the
fact that in LA, Local 47/RMA are perceived to be incredibly difficult and
intransigent to deal with."

It's amazing that the conduct and the manner of the RMA and Local 47 is so
difficult that the employers actually took notice and brought them up in the
panel.]

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

IV. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

Reply to:

I cam see you believe that the union should survive and function to our
benefit. It seems however, that you don’t recognize that the accursed ” A
list” pays to keep the lights on…. etc (See previous mailing)

Comment: The 17% factor

Dear Friend,

Your comment, “the accursed ‘A list’ pays to keep the lights on” is not
true. And never has been.

ALL recording work dues put together (film AND record albums AND
commercials AND TV) account for only 17% of total work dues paid to
keep our Local #47 running… and decreasing every year.

HOW DO WE KNOW? Read on:

For years, the myth was perpetrated that the RMA “paid for everything,”
therefore they should be allowed to run everything.

Five years ago, several members began to exercise their right to see the
full financial yearly report of Local #47, as stated in our Bylaws.
After six months of:
- being lied to about the existence of the report “we just carry the numbers
in our heads,”
- the right to see the report, “we don’t have to show it to you,”
- the right to be given a copy, “you can come in and look at it, but not
take it with you,”
- we were finally given a copy of the full report, “but you have to come in
to the Local to get it, we’re not mailing it to you.”

We discovered that the actual ratio of dues paid was spread across the board
of’musical walks of life,’ with Symphonic and (gasp!) Freelance paying MORE
overall than recording work.

Members have made sure we receive that report every year since.

FYI: Dues paid on the RMA six-figure Special Payments Fund go directly to
the AFM and not to Local #47 at all. So much for “we keep the lights on.”
Well, so do the rest of us.

[Editor's Comment: For the last few years there has been a simple clear chart
at the end of the financial report stating the numbers for the financial year
compared to the previous year. With this chart it was easy to see the amount
of loss or gain in each area: Symphonic, Freelance, Recording, Commercial etc.

This past year (2009) the Local started using another accountant to do the report
and SURPRISE, SURPRISE the chart is no longer there. Once again, the Local
changed it's previous practices, limiting information and making it far harder
to tell where the losses or gains occurred.

Your work dues at work, from someone else.]

————————————

Mr. “Do you ever call the local to verify any of this stuff you print?”,

I am interested in who you talk to at the local to get your facts. Or are you
just taking what ever any available officer’s word for every thing? It may be
best to speak to the actual employees of the local before you express your
opinions.

The programmer in that I believe was referred earlier in the previous mailing
was fired after almost eight years. His name was Ramon Garcia and my
understanding is that he had a lot to do with the entire system the local
uses for payments, etc. The new guy you are referring to must be a recent
hire.

After speaking to the MDS Official at the local she confirmed that indeed
many staff have been fired or just not replaced when they leave. There
are no ‘free seminars, Master Classes; Panel discussions’. I believe the
local does hold some classes and have done so over the last few years
(thanks to the MDS Department), but as for seminars, panel discussions,
really? Who have you been talking to?

Really you should take on your own advice and actually talk to the actual
staff of the local and not the people whoes job depends on being elected
every two years.

And I hope you feel comfortable with your misinformation and had a nice
vacation too.

————————————

Wow, you sure showed me! Now I get it! If we sheep hadn’t been so greedy
you might personally have worked on Vampires Suck. And to think I’ve
foolishly believed that DVD sales generate the lions share of profits.

On a more personal note, having been dismissed with a word, again,
I’m regretting the time I wasted trying to appeal to your logic. If you think
a buyout band of such credentials will take our better clients out of town,
I should really be saving my breath for pointing out that the insults
and rudeness that you spread can only be constructive if they aren’t
the actual point.

————————————

TWO RMA WRITER COMMENTS

Apparently, the “editor” thinks that getting elected requires keeping
one’s mouth shut so as not to upset anyone, him/herself included. These
(elected) candidates needed to get their message out and were obviously
successful in doing so.

[We do have an idea for his first act however: collect the dues withheld
by the RMA over the last 2 years.]

Since the 2007 bylaw was repealed, there is nothing to collect. However,
the (evil) RMA has offered to help the AFM by agreeing to a flat fee on
aggregate non-symphonic media earnings over $2500 in a previous year,
subject to ratification approval by affected musicians. This helped
to stave off a raise in per/cap dues on ALL AFM members.

———

[With all the bellyaching from the RMA and their minions about how
broke the AFM was under Former President Tom Lee, new RMA/AFM president
Ray Hair wasted no time creating a NEW, presumably paid position for
his friend and colleague Ken Shirk, who will act as “Assistant to
the President for the Western United States.]

The “editor” conveniently neglects to mention that Savina Ciaramella
who had been paid as a no-show for three years under Lee was terminated.
As a past AFM employee, Shirk always showed up and did an exemplary job.

[EC: We have talked to and observed Savina quite a while and know
she had done a great job for the AFM. She had not shown favoritism to
any group, serving all equally. Perhaps that isn't to your liking? We
won't let such blatant, petty lies pass unanswered about someone who
truly worked for ALL the membership.]

————————————

Good going Committee - sad that 8 out of 10 movies for this summer
weren’t done AFM in LA - the numbers are in - the Titanic is sinking -
SAD isnt it?

————————————

Local 47 has a computer guy on staff? And still their website has
been down for at least the last 2 days?

Asshats.

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

V. CONCERTS AND EVENTS

OLYMPIA YOUTH ORCHESTRA

Dear All:

Just a kindly reminder, the Olympia Youth Orchestra auditions
for the 2010-2011 season will be open all summer for this year
as we are making the transition from auditions being held in
September in previous years to holding it in June beginning
next season. We will accept students age 12 and above auditioning
on any orchestral instrument with a minimum level of MTAC
Certificate of Merit Level 7 (reference only, there is no need to
have taken the evaluation). There will be some scholarships a
vailable depending on level of playing and financial need.

Update for this coming season:

The Olympia Youth Orchestra will be combined with the CSULA
University Symphony Orchestra in its rehearsals and performances.
The weekly rehearsals will be on Sunday afternoons from 3PM to
6PM at Room 150 (Band Room) of the Music Building of Cal State
Los Angeles. Students who are not CSULA students will also have
an option of registering for university credit if they pay for the class
fees on their own. Younger members of the orchestra will have the
opportunities to rehearse and perform with college students and
professionals. I am looking forward to this partnership and I am
confident that we can continue to achieve our highest goal possible
musically.

For membership information please visit our website at
http://www.olympiaphil.org and fill out the form on line.

Looking forward to hearing from you and please pass this along
to anyone whom you think would be interested. Thank you.

Sincerely,
Fung Ho
Music Director & Conductor
CSULA University Orchestra/Olympia Youth Orchestra

—————————————

9/8/10

Concerts at the Bowl
Wednesday Evenings at 8:30pm
In the Royal Room

September 8
The Screaming Clams
“Rock ‘n Roll”
Jimi Dee, vocals and lead guitar
Joel Domine, keys/guitar
Larry Muradian, bass guitar
Steve Hartman, drums
Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

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

September 15
Brazilian Jazz
Geoff Nudell, clarinet
James Domine, guitar
Larry Muradian, bass
Chuck Birkenshaw, drums

September 22
The Symphomaniax
Ruth Bruegger, violin
James Domine, guitar
Glen Grab, cello
Larry Muradian, bass

September 29
The Blues Bandits
David Reo, vocals and guitar
Jimi Dee, vocals and guitar
Larry Muradian, bass guitar
Gary Herbig, saxophone
Scott Firestone, drums

———————————–

9/15/10

FREE ADMISSION GLENDALE NOON CONCERTS

Every FIRST & THIRD Wednesday at 12:10- 12:40 pm
Wednesday AUGUST 18, 2010 at 12:10-12:40 pm

SEPTEMBER 15, 2010
Adriana Zoppo - viola d’amore
Winner of the 2010/2011 Beverly Hills Auditions of the
Consortium of Southern California Chamber Music Presenters

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch to go prepared by ANGELA’S BISTRO
available for $6.

LOCATION: The Sanctuary at FIRST BAPTIST CHURCH OF GLENDALE
209 N. Louise St. (at Wilson)
Glendale CA 91206
818 242 2113
Map & venue info http://www.fbcglendale.net
More info email teena.frazier@fbcglendale.net

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

UPCOMING CONCERTS in the same series:

(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm)

OCTOBER 6, 2010
Viola & Guitar Duos
Karen Elaine - viola
http://www.violaconcerts.com

—–

OCTOBER 20, 2010
ROBERT SCHUMANN Bi-Centennial
Piano Trio No.1 in d minor Op.63

KEWA ENSEMBLE
Jacqueline Suzuki - violin
Pam deAlmeida - violoncello
Rosa LoGiudice - piano

—–

NOVEMBER 3, 2010
Voice & Guitar Recital

THE MALKIN-TRYBEK DUO
Iris Malkin - Mezzo-Soprano
Edward Trybek - guitar
http://www.myspace.com/themalkintrybekduo

—–

NOVEMBER 17, 2010
SAMUEL BARBER Centennial
Dover Beach
Ruth Bruegger - violin
(& Friends)

DECEMBER 1, 2010
Chamber Music Recital
Catherine del Russo - oboe
Adriana Zoppo - violin
Rosa LoGiudice - piano

—–

DECEMBER 15, 2010
Solo Viola Recital

Works by
GYORGY LIGETI (”Loop”)
CASIMIR NEY
&
J.S. BACH
Victor deAlmeida - viola

—–

JANUARY 5, 2011
IGOR STRAVINSKY 3 Pieces
BELA BARTOK String Quartet No. 4

KEWA ENSEMBLE
Nancy Roth , Jacqueline Suzuki - violin
Adriana Zoppo -viola
Mary Anne Steinberger - violoncello

—–

JANUARY 19, 2011
Solo Violoncello Recital
Mary Anne Steinberger - violoncello

—–

FEBRUARY 2, 2011
Arabic Music:
TURATH EMSEMBLE
directed by Sami Asmar
with Kathleen Hood, violoncello
http://turath.org

CONCERT UPDATES:
http://www.glendalenoonconcerts.blogspot.com

—————————————

9/3/10

LISA HALEY AND THE ZYDECATS!

FRIDAY, 9/3/10: GRASS VALLEY, CA - CENTER FOR THE ARTS - 8PM
314 West Main St, Grass Valley, CA 95945
http://www.thecenterforthearts.org/

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

OTHER UPCOMING ZYDECATS CONCERTS

THURS 9/23/10 SAN FRANCISCO, CA - JOOK JOINT BLUES FEST - 7PM
West Bay Conference Center, Fillmore St, San Francisco
http://bluesseries.com/

FRIDAY 9/24/10: REDONDO BEACH, CA - REDONDO LOBSTER FESTIVAL! -
WE PERFORM 6PM
http://www.lobsterfestival.com

OCTOBER

SUN 10/10/10 COSTA MESA, CALIFORNIA - ORANGE COUNTY ACCORDION
FESTIVAL - WE PERFORM 2:30PM
88 Fair Drive, Costa Mesa, CA 92626

—————————————

9/10/10

Piano Recital - Yongmei Hu

PROGRAM
Brahms: Sonata No.3 in F Minor Op.
Chopin: 24 Preludes Op.28
September 10, 2010 Friday at 7:30pm
Smothers Threatre, Pepperdine University

Tickets: Please call (310) 506-4522
(CFA Box Office Pepperdine - Mon-Fri 12 noon-5pm)
or visit www.Ticketmaster.com

“Yongmei Hu performed Brahms Third Sonata and Chopin 24 preludes.
Hu is primarily an emotionalist, and she communicated her emotions
about this music so powerfully that she held listeners under her spell
for almost two hours..All of it was gripping, and the most poignant
parts (the second movement of the Brahms, 13th and 17th preludes)
were transporting. Hu’s technique supports her aims: chords were
beautifully voiced, and song like melodies floated over pianistic
accompaniments. The structural elements of the Brahms were subtly
but powerfully articulated…But none of this was important besides the
force of Hu’s artistic personality and her assured ability to reach out
to her audience’s feelings and imagination.”

-San Francisco Advocate

—————————————

9/25/10

The San Fernando Valley Symphony Orchestra 2010-2011 Concert Series
conducted by Maestro James Domine at Pierce College Performing Arts Theater.

September 25, 2010: MTAC Concerto Competition Winners
Offenbach: Orpheus in the Underworld Overture
Haydn: Symphony #94 in G major (Surprise)
Egizi: New Piece TBA

and

November 6, 2010
Borodin: On the Steppes of Central Asia
Khachaturian: Violin Concerto
Tamara Gyulnazarova, violinist
Rimsky-Korsakoff: Symphony #2 (Antar)
Zaninovich: Variations for Orchestra

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

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

COLLEAGUES,

Welcome Back! It’s certainly been an interesting few weeks for the new
RMA/AFM Federation AND the Local.

We’ll be here to bring it all to you. Remember that we will print all responsible
posts, pro or con. WIthout your input, there’s always something our
members can miss. We need your participation.

THE COMMITTEE

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

I. BOX OFFICE FOR THE WEEK OF AUGUST 20, 2010

Thank you to the observant colleague who sent this along:

Food for thought for Ray Hair, new president of the AFM:

Here is the projected top 10 list at the US Box Office for the weekend
of Aug 20, 2010 and where the movies were scored.

1. THE EXPENDABLES (PRAGUE)
2. VAMPIRES SUCK (BUDAPEST)
3. NANNY MCPHEE RETURNS (LONDON . WITH PETE ANTHONY (PRES - RMALA), CONDUCTOR)
4. PIRANHA 3-D (NON AFM)
5. EAT PRAY LOVE (AFM/LA)
6. LOTTERY TICKET (NON AFM)
7. THE OTHER GUYS (AFM/LA)
8. INCEPTION (LONDON)
9. THE SWITCH (NON AFM)
10. SCOTT PILGRIM VS THE WORLD (LONDON)

Good luck, Ray. The summer movie season is the busiest and most
profitable time for the studios.

Anonymous

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

II. NEW BUYOUT ORCHESTRA IN VIRGINIA

Colleagues,

We now see how some of our brothers and sisters are reacting
to the RMA takeover of the Federation. Believing that moving
into the 21st century will be near impossible now as well as
competing on the world stage, the orchestra below has taken
matters into their own hands. No doubt others will follow,
taking yet more of the work the elites have left, and work
the RMAers themselves have caused to leave.

This is from the Film Music Magazine, but it was received
from several sources.

WINCHESTER ORCHESTRA LAUNCHES BUYOUT FILM/TV RECORDING
Winchester Orchestra Launches Buyout
Film/TV Recording Services in Virginia
Film Music Magazine - August 11, 2010

The Winchester Orchestra, based in Virginia and headed by music director
Andrew Gekoskie, has announced availability of buyout orchestral recording
services for film, television and video game soundtracks as well as composer
demo music.
The orchestra can provide complete recording packages including groups
ranging from 1 to 125+ recording musicians, plus full choirs and a turnkey
recording studio package. The orchestra says its prices are very competitive
with European and U.S. buyout orchestras.

The Winchester Orchestra is comprised of players from the Washington, D.C.
area who also perform with the National Symphony, Fairfax Symphony, and
the Maryland Orchestra, as well as musicians from the major service bands
from the Marines, Air Force, Navy and Army. The orchestra can provide a
conductor, or conductors provided by clients are welcome.

The orchestra can also provide AFM union recordings on request.

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

III. NEW POSITION CREATED BY RMA/AFM

With all the bellyaching from the RMA and their minions about how broke
the AFM was under Former President Tom Lee, new RMA/AFM president Ray
Hair wasted no time creating a NEW, presumably paid position for his
friend and colleague Ken Shirk, who will act as “Assistant to the
President for the Western United States. We kept wondering why Mr.
Shirk kept standing up and talking on the convention floor, considering
that he really didn’t say anything of import, but now we know.

Mr. Sherk certainly wasn’t the only one at the convention who seemed
to speak repeatedly in order to “hear their own voice”. A number of the
new IEB members, and current Local 47 officers, did the same thing.

As the West Coast representative, Mr. Shirk will interface with all
Federation Divisions and departments: Electronic Media, Symphonic, Travel
& Touring, Organizing & Education, as well as AFM Field Staff. Shirk will
provide administrative support to the Director of EMSD in the implementation
of that division’s policies and directives.

Assuming Mr. Shirk will not try to turn all possible work over to the RMA, we
wish him luck. Time will tell.

We do have an idea for his first act however: collect the dues withheld by the
RMA over the last 2 years.

Let’s see who Mr. Shirk really works for.

THE COMMITTEE

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

IV. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

Glad you’re here!

————————————

Do you ever call the local to verify any of this stuff you print? Members
are entitled to know the facts/truth about the locals operations. I was
not aware the local had a computer programmer employee??? Did you
confirm this with someone there who is not disgruntled? Did you ask
the Board? Or a Titled Officer? I thought all they did was hire consultants?
Why is there a programmer consultant there now? I just met him this
week. How could he be fired if he is a consultant and he is still there??
Aren’t they on a contract? Who came up with this bull? I am confused.

Now looking at the locals financial reports for the 1st quarter of 2010,
expenses are down and revenues are up, how is that running the local
into the ground? Looks like competent management to me. There
seems to be disinformation regarding elimination of services. Currently
there are free classes instituted and expanded for the membership,
training 100’s of members in Finale, and Orchestration 1 and 2. These
classes would cost you easily $400 or more at UCLA Extension, at the
Local its free. The referral website is finally working. You may not like
the design (I agree it can be better), but at least they got the damn
thing working. Now I can pay my dues online; check my work
history. Not to mention free seminars, Master Classes; Panel
discussions. And the staff continues at the same size without
any reductions, including the services dept. And for the record
the employee from the MSD who resigned left for Arizona, what
does that have to do with Referral Service Committee? The CBA’s
I work under continue to be enforced, the local continues to
collect wages and penalties owed to me. And the local continues
to negotiate new agreements with first time employers. I am sure
it can be better, and some officers work harder than others but
let’s stick to accurate information, not hearsay, or gossip, or petty
lies.

On a lighter note I hope you have a good vacation.

[EC: Do the research yourself. Much of what we report comes
from the Minutes of the Local 47 Board Meetings. Other info
comes from proven and trusted sources. We stand by what we say.]

————————————

[What put the Dynastic Duo on the warpath, with the RMA sheep
following along, was Former President Lee not being bought by
the RMA and daring to continue to do the business of the OTHER
83,500 members.]

Lee evidently DIDN’T dare to do the business of ICSOM - a much
larger group of musicians than the RMA - since they also wanted
him gone. The only business he did during his time in office was
pandering to nonunion recording composers, Canada and small
locals with little full-time musical employment to keep getting
elected. Seems that finally wore pretty thin.

So, Goodbye to him, his lame IEB and the inept employees he
hired. The “editor” needs to find a new tune.

————————————

I cam see you believe that the union should survive and function
to our benefit. It seems however, that you don’t recognize that the
accursed ” A list” pays to keep the lights on. Nor that the shock
and awe of movies like Avatar comes substantially from the world
champion level of play in the recording studio. Nothing could help
bring more business to town than having the reputation of L.A. come
from the product we ship around the world. I think it is safe to say
that with the massive success of some of the big scores recorded
here producers will think twice before using any other city to record
films with high ambitions. So some of us believe the future is not of
doom, but one of renewal, with the number of films reduced, but
each more profitable as a result of global growth in DVD sales. Home
theater is an increasingly affordable yet luxurious form of entertainment.
Big films sell loads of copies. So perhaps turning your pen to the task
of defending us from the real problem, PIRACY, would help keep the
producer’s wallet full enough to make that “Other film” she can’t afford!

[EC: Oops,.. see section I above.]

————————————

We (all the folks that don’t buy into the RMA lies) are sincerely
screwed arent we?

————————————

Doesn’t look good for us little guys does it?

————————————

Elitism is sure taking hold these days - RMA, ASCAP, SCL, you name it -
the high and the mighty by political means will say and do anything to keep
themselves there and everybody else DOWN & OUT

————————————

Regarding Secretary Lashinsky,

Perhaps she thinks that she might lose her Sec/Treas job in the next
election so….she doesn’t want to have been replaced by being unavailable.
With the amount of talent in LA, it could take several years to rebuild a
playing career after being a Union Officer. It is apparent that she does
not want to “give up” performing. However, unlike small locals, 47 is
supposed to be a full time job and the job pays a full time salary plus
benefits. Sometimes we cannot have our cake and eat it too.
Perhaps, we can ask her to make a choice? This is not unreasonable. The
reason the officers are not to take “competitive jobs within the
jurisdiction”, is because of the power of influence. It is not about the
money. Although, the benefits are on top of what the officer makes at the
Local.

We have not had to deal with this issue until we voted in ‘titled
officers’ who can’t come to terms with the limitations in our bylaws about
playing competitive jobs within the jurisdiction.

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

V. CONCERTS AND EVENTS

———————————–

OLYMPIA YOUTH ORCHESTRA

Dear All:

Just a kindly reminder, the Olympia Youth Orchestra auditions
for the 2010-2011 season will be open all summer for this year
as we are making the transition from auditions being held in
September in previous years to holding it in June beginning
next season. We will accept students age 12 and above auditioning
on any orchestral instrument with a minimum level of MTAC
Certificate of Merit Level 7 (reference only, there is no need to
have taken the evaluation). There will be some scholarships a
vailable depending on level of playing and financial need.

Update for this coming season:

The Olympia Youth Orchestra will be combined with the CSULA
University Symphony Orchestra in its rehearsals and performances.
The weekly rehearsals will be on Sunday afternoons from 3PM to
6PM at Room 150 (Band Room) of the Music Building of Cal State
Los Angeles. Students who are not CSULA students will also have
an option of registering for university credit if they pay for the class
fees on their own. Younger members of the orchestra will have the
opportunities to rehearse and perform with college students and
professionals. I am looking forward to this partnership and I am
confident that we can continue to achieve our highest goal possible
musically.

For membership information please visit our website at
http://www.olympiaphil.org and fill out the form on line.

Looking forward to hearing from you and please pass this along
to anyone whom you think would be interested. Thank you.

Sincerely,
Fung Ho
Music Director & Conductor
CSULA University Orchestra/Olympia Youth Orchestra

—————————————

8/28/10

The Malibu Friends of Music
and
The Malibu Coast Music Festival
present

“FANTASTIC FESTIVAL FINALE”
with the
MALIBU COAST CHAMBER ORCHESTRA!”
Saturday, August 28th, 2010 at 7:30 pm
Montgomery Arts House
for Music and Architecture
(MAHMA)

Indoor/Outdoor Festival Space
Please join us for a Barbecue at 6:30 pm
The Malibu Coast Chamber Orchestra and Soloists
Scott Hosfeld, Music Director and Conductor
Paul Coletti, Viola Soloist

Scott Hosfeld and the MCCO photo by Juan Tallo
Featuring the photographs of renowned photographer
JUAN TALLO
Wildlife portraitist - CYNTHIA PROVOZNIK
and
Visual Artist-in-Residence
CARLA BATES

PROGRAM

JOHANN SEBASTIAN BACH - “Brandenburg Concerto No. 4″
WOLFGANG AMADEUS MOZART - “Concerto for Flute and Harp” (Adagio)
GIACOMO PUCCINI - “O Mio Babbino Caro”
GEORGE GERSHWIN - “Summertime”
MARIA NEWMAN - “Concerto for Viola and String Orchestra”
SCOTT JOPLIN - “Solace” (A Mexican Serenade)

FEATURED FESTIVAL SOLOISTS
Paul Coletti, viola soloist
Hal Ott, flute soloist
Amy Shulman, harp soloist
Maria Newman, Tarn Travers & Steven Zander, violin soloists
Kris Wildman, soprano soloist
Wendy Prober, piano soloist

To make a reservation please call (310) 589-0295
or visit our website at www.malibufriendsofmusic.org

———————————–

9/1/10

Concerts at the Bowl
Wednesday Evenings at 8:30pm
In the Royal Room

September 1
Jennifer Bliman, french horn
Performs “Beatles to Broadway to Backflips”

Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

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

September 8
The Screaming Clams
“Rock ‘n Roll”
Jimi Dee, vocals and lead guitar
Joel Domine, keys/guitar
Larry Muradian, bass guitar
Steve Hartman, drums

September 15
Brazilian Jazz
Geoff Nudell, clarinet
James Domine, guitar
Larry Muradian, bass
Chuck Birkenshaw, drums

September 22
The Symphomaniax
Ruth Bruegger, violin
James Domine, guitar
Glen Grab, cello
Larry Muradian, bass

September 29
The Blues Bandits
David Reo, vocals and guitar
Jimi Dee, vocals and guitar
Larry Muradian, bass guitar
Gary Herbig, saxophone
Scott Firestone, drums

———————————–

9/1/10

FREE ADMISSION GLENDALE NOON CONCERTS

Every FIRST & THIRD Wednesday at 12:10- 12:40 pm
Wednesday AUGUST 18, 2010 at 12:10-12:40 pm

SEPTEMBER 1, 2010
JEAN SUDBURY- violin & mandolin
(& Friends)

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch to go prepared by ANGELA’S BISTRO
available for $6.

LOCATION: The Sanctuary at FIRST BAPTIST CHURCH OF GLENDALE
209 N. Louise St. (at Wilson)
Glendale CA 91206
818 242 2113
Map & venue info http://www.fbcglendale.net
More info email teena.frazier@fbcglendale.net

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

UPCOMING CONCERTS in the same series:

(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm)

SEPTEMBER 15, 2010
Adriana Zoppo - viola d’amore
Winner of the 2010/2011 Beverly Hills Auditions of the
Consortium of Southern California Chamber Music Presenters

—–

OCTOBER 6, 2010
Viola & Guitar Duos
Karen Elaine - viola
http://www.violaconcerts.com

—–

OCTOBER 20, 2010
ROBERT SCHUMANN Bi-Centennial
Piano Trio No.1 in d minor Op.63

KEWA ENSEMBLE
Jacqueline Suzuki - violin
Pam deAlmeida - violoncello
Rosa LoGiudice - piano

—–

NOVEMBER 3, 2010
Voice & Guitar Recital

THE MALKIN-TRYBEK DUO
Iris Malkin - Mezzo-Soprano
Edward Trybek - guitar
http://www.myspace.com/themalkintrybekduo

—–

NOVEMBER 17, 2010
SAMUEL BARBER Centennial
Dover Beach
Ruth Bruegger - violin
(& Friends)

DECEMBER 1, 2010
Chamber Music Recital
Catherine del Russo - oboe
Adriana Zoppo - violin
Rosa LoGiudice - piano

—–

DECEMBER 15, 2010
Solo Viola Recital

Works by
GYORGY LIGETI (”Loop”)
CASIMIR NEY
&
J.S. BACH
Victor deAlmeida - viola

—–

JANUARY 5, 2011
IGOR STRAVINSKY 3 Pieces
BELA BARTOK String Quartet No. 4

KEWA ENSEMBLE
Nancy Roth , Jacqueline Suzuki - violin
Adriana Zoppo -viola
Mary Anne Steinberger - violoncello

—–

JANUARY 19, 2011
Solo Violoncello Recital
Mary Anne Steinberger - violoncello

—–

FEBRUARY 2, 2011
Arabic Music:
TURATH EMSEMBLE
directed by Sami Asmar
with Kathleen Hood, violoncello
http://turath.org

CONCERT UPDATES:
http://www.glendalenoonconcerts.blogspot.com

—————————————

9/2/10

LISA HALEY AND THE ZYDECATS!

EL DORADO HILLS, CALIFORNIA - “LIVE ON THE BOULEVARD” - 6PM
@ Steven Young Amphitheater - 4364 Town Center Bl, El Dorado Hills CA 95762
http://www.eldoradohillstowncenter.com/events.html

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

OTHER UPCOMING ZYDECATS CONCERTS

FRIDAY, 9/3/10: GRASS VALLEY, CA - CENTER FOR THE ARTS - 8PM
314 West Main St, Grass Valley, CA 95945
http://www.thecenterforthearts.org/

THURS 9/23/10 SAN FRANCISCO, CA - JOOK JOINT BLUES FEST - 7PM
West Bay Conference Center, Fillmore St, San Francisco
http://bluesseries.com/

FRIDAY 9/24/10: REDONDO BEACH, CA - REDONDO LOBSTER FESTIVAL! -
WE PERFORM 6PM
http://www.lobsterfestival.com

OCTOBER

SUN 10/10/10 COSTA MESA, CALIFORNIA - ORANGE COUNTY ACCORDION
FESTIVAL - WE PERFORM 2:30PM
88 Fair Drive, Costa Mesa, CA 92626

—————————————

9/10/10

Piano Recital - Yongmei Hu

PROGRAM
Brahms: Sonata No.3 in F Minor Op.
Chopin: 24 Preludes Op.28
September 10, 2010 Friday at 7:30pm
Smothers Threatre, Pepperdine University

Tickets: Please call (310) 506-4522
(CFA Box Office Pepperdine - Mon-Fri 12 noon-5pm)
or visit www.Ticketmaster.com

“Yongmei Hu performed Brahms Third Sonata and Chopin 24 preludes.
Hu is primarily an emotionalist, and she communicated her emotions
about this music so powerfully that she held listeners under her spell
for almost two hours..All of it was gripping, and the most poignant
parts (the second movement of the Brahms, 13th and 17th preludes)
were transporting. Hu’s technique supports her aims: chords were
beautifully voiced, and song like melodies floated over pianistic
accompaniments. The structural elements of the Brahms were subtly
but powerfully articulated…But none of this was important besides the
force of Hu’s artistic personality and her assured ability to reach out
to her audience’s feelings and imagination.”

-San Francisco Advocate

—————————————

9/25/10

The San Fernando Valley Symphony Orchestra 2010-2011 Concert Series
conducted by Maestro James Domine at Pierce College Performing Arts Theater.

September 25, 2010: MTAC Concerto Competition Winners
Offenbach: Orpheus in the Underworld Overture
Haydn: Symphony #94 in G major (Surprise)
Egizi: New Piece TBA

and

November 6, 2010
Borodin: On the Steppes of Central Asia
Khachaturian: Violin Concerto
Tamara Gyulnazarova, violinist
Rimsky-Korsakoff: Symphony #2 (Antar)
Zaninovich: Variations for Orchestra

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

VACATION:

Colleagues,

We’ll be taking a few weeks off in August, but well be back in September!
However, if the Local tries to take advantage of our absence to fire more folks
or further damage the rank and file services under the radar, will be back sooner.

See you in September!

THE COMMITTEE

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

I. LET THE REVISIONIST HISTORY BEGIN

If you’ve received your August Overture, you’ve no doubt noticed the
revisionist history coming your way from almost all directions. It is
often said that the victor writes the history books, but we’ll make sure
they don’t have so easy a time doing it.

The front page of the Overture should say, ” A Ray of Hope for the RMA,”
not “for the AFM.”

You’ll find repeated again and again, “we voted for change”, but
except for the faces involved the opposite is true. The monied interests
won, as they so often do, and they won to prevent change, protect
the status quo and keep making those buggy whips instead of competing
long term on the world market. In the case of Local 47, you can add
continuing to dismantle rank and file services.

As a LOCAL 47 board member said at the recent AFM Convention,
“They (The “A” list) will be grabbing all the recording work they can get
because they expect it to be gone in two or three years.” Oddly, they’ll
grab all the work they can but not acknowledge that their very conduct
is the author and finisher of the work’s decline.

By handing the federation over to the monied RMAers, they are
virtually guaranteeing the further erosion of our position on the
world stage. The membership, those who supported the RMAers
and those who couldn’t be bothered to get involved, will all be
responsible for what the RMA/AFM has in store.

SUPPORT?

Take this quote from President Trombetta in his August Overture
Column: “This new AFM will support each other and we will do all
we can to support our goals.” (August Overture, Page 3, column 1)

Actions speak louder than words, Mr. Trombetta. Let’s look at yours recently.

1) The disbanding of the Referral Service Committee before any of the goals
for which the committee was formed for are met.

2) One Referral Service employee quits a short time after the RS Committee
is disbanded and…

3) Our IT programmer who has worked for the local for years is fired.
He was not the one responsible for the poor excuse of a Referral
Service website.

4) The abandonment of the promised rebuilding of Studio 47.

5) Over $500,000 spent on VIRTUALLY ALL NON-UNION Labor in the
refurbishment of our Auditorium.

6) The use of VIRTUALLY ALL NON-UNION labor for the work done on
our 2nd floor.

7) When a couple of leaders were able to abuse the SELA contract because of
almost nonexistent oversight by the Local (The LOCAL 47 HEALTH AND WELFARE
AND MANAGEMENT TRUSTEES dropped the ball), the Local didn’t fine the offenders
then improve oversight, they scrapped the entire SELA system for ALL LOCAL
47 MEMBERS. This denied a whole segment of the membership (non-recording
and recording freelancers) the ability to use these jobs to help qualify for Health
Insurance and contribute to Health and Welfare.

The SELA was a contract that enabled casual gigs that would otherwise be
done non-union to be put on a contract that allowed the leader to get health
and welfare along with the other players.

The hours required to qualify for the Local 47 health plan was increased from
600 to 900 hours. This action reduced the percent of those qualifying from 5%
down to 2%. No doubt the Local trashing the SELA reduced the number as well.

9) Hundreds of thousands (yes, hundreds of thousands) of dollars spent on a
Referral Service website that is today barely operational. By the way, we could
have used the template created by the AFM and used by dozens of other locals
for the same purpose for free. But “oh, no” we can’t admit that the Lee
Administration did anything good can we? The RMA just wouldn’t hear of it,
but we could waste the members’ money in a grossly incompetent fashion.

Sound like our claim is too high? You have to remember that this website
debacle has gone on for years. Multiple failed designs and designers, including
the tens of thousands given to an east coast “designer” on former President
Espinosa’s watch with no contract and NO useable result. Then add in the
salaries and monies paid to tech folks and other Local employees trying to tweak
and use the various systems and websites attempted and it can easily reach
hundreds of thousands. There was also a system designed early on that, as it
turns out, couldn’t communicate with the existing computer system of the
local, so it too had to be scrapped. It adds up.

10) The Local 47 Board insisting, against all prudent business sense, that a static
website is capable of taking the place of a marketing team.

Before Hal Espinosa left he had the TV/Radio Air play person fired, gutting
that service; and the successful referral service person then, Errol Henry, fired
without cause as well. Both sued and got settlements. No doubt, this
administration will fight to the last drop of YOUR blood against your own
best interests.

If Mr. Trombetta is telling the truth when he says: “This new AFM will support
each other….” he must mean the RMA elites. He certainly doesn’t mean the
rank and file as the list above shows. As we said, actions speak louder than
words and his actions above speak loud and clear.

INTERNAL BATTLES

Or take this from VP Acosta: “The internal battles perpetuated by the last
adminsitration have left the AFM broke and severely fractured.” (August Overture,
Page 22, column 1, 2nd paragraph)

In what world did the last administration start these battles, Mr. Acosta?
Remember your history if your dare Mr. Acosta,… What put the Dynastic Duo
on the warpath, with the RMA sheep following along, was Former President
Lee not being bought by the RMA and daring to continue to do the business
of the OTHER 83,500 members. When Lee didn’t genuflect to the Dynastic
Duo and their minions, then came the lawsuits, the blatant lies from the
RMAers, the BS about Computers being hacked (Wait for it, it’ll be dropped
when they discover nothing untoward was intentionally done, something
they knew all alone - in our opinion.).

WEST COAST OFFICE?

Mr. Acosta also sings the praises of an idea to fold the west coast office of the
AFM into Local 47, where it would most certainly be as corrupted by the RMA
as Local 47 has been. This idea was also pushed mightily at the convention by
Mr. Trombetta, though he was shut down because everyone else there knew
who Trombetta was really working for.)

For those of you who don’t remember, one of the terms the RMA gave to the
federation to stop the “war” they insisted they were not a party to, was to give
control of the West Coast AFM Office to the RMA. Well how convenient, now
they’ll have it. As has been the case for years, the RMA and their Local 47
lapdogs have been transparent in their plans, but not enough members cared
enough to try to stop them for long.

So far when push comes to shove, VP Acosta has shown loyalty only to his other
political brethren and the RMA. Let’s see some actions on his part that doesn’t
follow the RMA plans, let’s see some action on his part that is solely for the
rank and file and perhaps even against what the Dynastic Duo wants.
Don’t hold your breathe.

Meanwhile Secretary Lashinsky is still trying to make her $87,000 plus AND take
work from Local 47 bassoonists (See Below).

With officers like these who needs enemies?

THE COMMITTEE

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

II. ANOTHER MONTH, ANOTHER GIG ATTEMPT BY THE SECRETARY

This time, Secretary Lashinsky was trying to take work with the California
Philharmonic. Once again, the EB unanymously denied her permission.
We thank the board for once again having the conscience the Secretary
lacks, at least in these situations.
(August Overture, Page 25, column 2 - lower half)

The contractor for the Cal Phil has to know the amount the Secretary
makes per year. Why was she called?

THE COMMITTEE

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

III. EXPELLED?

Please take a look at page 27 of the August Overture. We were astounded to
see the huge number of expelled members (most likely for not paying dues).

Seven columns of small print extending the entire length of the page.

The effectiveness of the LOCAL 47 Administration in alienating the rank and
file membership of our Local could never be made clearer than by the number
of members either choosing not to pay their work dues, or unable to pay
them because the Los Angeles Union work situation has deteriorated so
badly under the Espinosa/Trombetta Administrations.

We wonder how many of the RMA elite would have been expelled if not paying
the 2% special payments work dues was an expellable offense! How odd that
their puppet regime at Local 47 sees fit to expel rank & file members by the
truckload, yet for withholding what may be far greater individual dollar amounts
of work dues, the RMA elite are untouchable!

Unless you’re an elite, these officers and their administration are a joke.

THE COMMITTEE

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

IV. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

would somebody out there in the recording elite community please
comment on how busy or not how busy you guys really are - or are
you too afraid to actually give up the ghost? - I really want to know
how many real union sessions for TV, Film, records and jingles are
going on weekly, monthly - let us all know - so us underlings will
stop complaining if you guys are truly slamming it home all the time -
the truth and nothing but please - if you care to tell it.

————————————

I want to compliment you on the last posting up there. That letter
had some teeth and was actually going in the right direction.

John, Vince and Leslie are running the local into the ground.

I hope that you and the members of Local 47 can do something
to hold them accountable, for they are clearly inept and
unqualified to perform the jobs they hold.

————————————

I’m not sure who sends these out, but is it possible to switch the
order and put the good news first. That way by the time I get to
the complainers, I won’t have to read on. Change is about action
- not ranting.
Thank you.

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

V. CONCERTS AND EVENTS

———————————–

8/8/10

7th ANNUAL BEVERLY HILLS INTERNATIONAL MUSIC FESTIVAL

Message from Sharon Farber:

The 7th annual Beverly Hills International Music Festival will take place
from August 8-17, 2010. Festival director Gregory Cherninsky and
myself as composer-in-residence, have programmed nine exciting
chamber music evenings at the festival’s two new concert venues: Sinai
Temple, 10400 Wilshire Blvd and the Saban Theatre, 8440 Wilshire Blvd.

http://www.bhmusicfestival.org/Program-2010.pdf

I am honored to be the curator of the following concerts that will also
feature two of my chamber works:

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

Sunday, August 8, 8:00 pm

The opening concert of the festival will present the music of some of
Israel’s most distinguished composers. My work, RELECTIONS ON THE
LIVING SEA, will accompany a beautiful film about the ocean. I am
honored to feature some wonderful Israeli musicians:

Pianists - Tali Tadmor and Hagai Yodan,
Mezzo - Soprano Iris Malkin,
Violinist - Limor Toren and
Percussionist - David Kontesz.

RELECTIONS ON THE LIVING SEA:
Tali Tadmor - piano
Victoria Lanier - violin
Fangfang Xu - cello
David Kontesz - percussion

The “Music of Israel”, is presented under the patronage of the Israeli
Consulate General in Los Angeles.

WHERE:
Sinai Temple
10400 Wilshire Blvd.
Los Angeles, CA 90024
http://www.sinaitemple.org/

For information & reservations please call (310) 779-7622
or email dmgfest@aol.com
Please note that you must RSVP to be able to park in the building.

———————————–

8/11/10

Canoga Park Bowl and the San Fernando Valley Symphony Orchestra present
CONCERTS AT THE BOWL
Wednesday Evenings at 8:30pm
In the Royal Room

August 11th
The Symphomaniax
Ruth Bruegger, violin
James Domine, guitar
Glen Grab, cello
Larry Muradian, bass

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

Other Concerts in the same series

August 18th
The Blues Bandits
David Reo, guitar:
Jimi Dee, guitar:
Gary Herbig, saxaphone;
Scott Firestone, drums;
Larry Muradian, bass;

August 25th
The Screaming Clams
Rock & Roll
Jimi Dee, lead guitar;
Joel Domine, keys/guitar;
Steve Hartman, drums;
Larry Muradian, bass

Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

——————————————-

8/14/10

BRIDGES OF LOVE song cycle
Featuring GRAMMY AWARD WINNER Soprano Hila Plitmann, with
Gary Gray - clarinet
Dimitry Kourka - viola
Robert Edward Thies - piano

“Voices of Hollywood, Vol.5″ features chamber music works by film
and television composers Bruce Babcock, Gernot Wolfgang, Erich
Wolfgang Korngold, Alex Shapiro and Mark Watters. It is promised
to be an exciting evening of excellent music and musicianship

WHERE:
Saban Theatre
8440 Wilshire Blvd.
Beverly Hills, CA 90211

http://www.sabantheatre.org/

For information & reservations please call (310) 779-7622
or email dmgfest@aol.com

——————————————-

8/15/10

Dear Friends & Colleagues:

Members of the Olympia Youth Orchestra will join forces once again
with members of the Virtuoso International Flute Ensemble in a
Chamber and Solo Music Concert FREE & OPEN to the public.

DATE: August 15th/August 18th
TIME: 2 PM/7:30 PM
LOCATION: FRIENDS HALL HUNTINGTON LIBRARY/ARCADIA PRESBYTERIAN CHURCH

Sunday, August 15, 2010 in Friends Hall of The Huntington Library,
Art Collections, and Botanical Gardens,
1151 Oxford Road
San Marino, CA 91108.
There is no admission charge to the Huntington if you are only
coming for the concert.

The repertoire will include works by Albanoni, Bach, Bizet, Bruch,
Haydn, Paganini, Schumann and many more.

The same program will be repeated at 7:30PM on
Wednesday, August 18, 2010 at the
Arcadia Presbyterian Church
121 Alice Street, Arcadia, CA 91006.
Again, the ADMISSION is FREE.

Looking forward to seeing you there to enjoy an afternoon of nice
music in an air conditioned auditorium on a hot summer day:-)

Sincerely,
Fung Ho

——————————————-

8/18/10

ASMAC presents a Luncheon with Top Studio and Symphonic Flutist

LOUISE DI TULLIO

Wednesday, Aug. 18, 2010 — 11:30am
At Catalina’s Jazz Club in Hollywood

Louise will talk about her fifty years of recording in Hollywood
and will be interviewed on stage by Jeannie Pool

LOUISE DITULLIO is one of the most widely heard flutists today,
having performed on over 1,200 motion picture and television
scores during the last four decades. Though her name may not
be immediately recognizable, years of recordings have brought
her artistry to a vast audience.

Following in the footsteps of her father and two uncles, Louise
was the fourth DiTullio to join the Los Angeles Philharmonic
Orchestra before the age of twenty. While in the Philharmonic,
Louise performed as Principal Flute with the Columbia Symphony,
recording many of Igor Stravinsky’s works under the baton of the
composer. After six years with the Philharmonic, performing in both
the Assistant Principal Flute and Solo Piccolo positions, she
resigned to pursue a more varied career in 10th classical and
recording work. The ensuing years brought success in all aspects of
the recording world. Her playing was heard nightly on television in
shows such as: “Gunsmoke,” “Hawaii Five-O,” “Little House on the
Prairie,” “The Waltons,” and “Dallas.” The list of film composers with
whom she has collaborated includes the most distinguished names
in music today. Composer John Williams, arguably the most honored
film composer in history, refers to Ms. DiTullio as being “in the very
front rank among the world’s great flutists: Her playing can be heard
on the albums of recording stars Barbra Streisand, Frank Sinatra, and
Tony Bennett, Kenny G, and Michael Jackson. She has performed on
numerous classical recordings ranging from chamber music to a
concerto album with the English Chamber Orchestra. Ms. DiTullio has
been the recipient of several awards of recognition from the National
Academy of Recording Arts and Sciences.

While continuing her busy recording career, Ms. DiTullio has held
the Principal Flute position in many Los Angeles area orchestras,
including the Orange County Pacific Symphony, Pasadena Symphony,
and Hollywood Bowl Orchestra. A partial list of orchestras with which
she has appeared as soloist includes the Boston Pops, Orange County
Pacific Symphony, Pasadena Symphony, Los Angeles Chamber
Orchestra, Mexico City Symphony, and twenty-one seasons with the
Carmel Bach Festival.

She has taught flute since the age of eighteen and has served on the
faculties of the University of Southern California, Music Academy of
the West in Santa Barbara, and California State University at Fullerton.
Several of her students now occupy the Principal Flute chair in a number
of major symphony orchestras and fill the ranks of working flutists
throughout the country.

Wednesday, August 18, 2010
11:30 Reception/Networking
12:noon - Buffet luncheon, followed by our Gust Speaker

Catalina’s - 6725 West Sunset Blvd. Hollywood, CA 90028
(1 BLOCK E OF HIGHLAND - north side of street - cor of McCadden)
Cost: ASMAC Members & Students $30 - Guests and all walk-ins $35
Parking: Valet $3.00 - Enter on McCadden - west side of Catalina’s - lot at back
Please make reservations by Tuesday morning, Aug. 17th - 818/994-4661
OR by email to asmac@theproperimageevents.com
Check us out at www.asmac.org

——————————————-

8/18/10

FREE ADMISSION GLENDALE NOON CONCERTS

Every FIRST & THIRD Wednesday at 12:10- 12:40 pm
Wednesday AUGUST 18, 2010 at 12:10-12:40 pm

AUGUST 18, 2010

FREDERIC CHOPIN & ROBERT SCHUMANN Bi-Centennials
CHOPIN Nocturne No.8 in Db major Op.27 No.2
SCHUMANN Intermezzo:Mit Groesster Energie
from Faschingsschank aus Wien Op. 26
Rosa LoGiudice - piano
ARTHUR BLISS Oboe Quintet

KEWA ENSEMBLE
Catherine Del Russo - oboe
Adriana Zoppo , Jacqueline Suzuki - violin
Victor deAlmeida - viola
Pam deAlmeida - violoncello

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch to go prepared by ANGELA’S BISTRO
available for $6.

LOCATION: The Sanctuary at FIRST BAPTIST CHURCH OF GLENDALE
209 N. Louise St. (at Wilson)
Glendale CA 91206
818 242 2113
Map & venue info http://www.fbcglendale.net
More info email teena.frazier@fbcglendale.net

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

UPCOMING CONCERTS in the same series:

(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm)

SEPTEMBER 1, 2010
Jean Sudbury - violin & mandolin
(& Friends)

—–

SEPTEMBER 15, 2010
Adriana Zoppo - viola d’amore
Winner of the 2010/2011 Beverly Hills Auditions of the
Consortium of Southern California Chamber Music Presenters

—–

OCTOBER 6, 2010
Viola & Guitar Duos
Karen Elaine - viola
http://www.violaconcerts.com

—–

OCTOBER 20, 2010
ROBERT SCHUMANN Bi-Centennial
Piano Trio No.1 in d minor Op.63

KEWA ENSEMBLE
Jacqueline Suzuki - violin
Pam deAlmeida - violoncello
Rosa LoGiudice - piano

—–

NOVEMBER 3, 2010
Voice & Guitar Recital

THE MALKIN-TRYBEK DUO
Iris Malkin - Mezzo-Soprano
Edward Trybek - guitar
http://www.myspace.com/themalkintrybekduo

—–

NOVEMBER 17, 2010
SAMUEL BARBER Centennial
Dover Beach
Ruth Bruegger - violin
(& Friends)

DECEMBER 1, 2010
Chamber Music Recital
Catherine del Russo - oboe
Adriana Zoppo - violin
Rosa LoGiudice - piano

—–

DECEMBER 15, 2010
Solo Viola Recital

Works by
GYORGY LIGETI (”Loop”)
CASIMIR NEY
&
J.S. BACH
Victor deAlmeida - viola

—–

JANUARY 5, 2011
IGOR STRAVINSKY 3 Pieces
BELA BARTOK String Quartet No. 4

KEWA ENSEMBLE
Nancy Roth , Jacqueline Suzuki - violin
Adriana Zoppo -viola
Mary Anne Steinberger - violoncello

—–

JANUARY 19, 2011
Solo Violoncello Recital
Mary Anne Steinberger - violoncello

—–

FEBRUARY 2, 2011
Arabic Music:
TURATH EMSEMBLE
directed by Sami Asmar
with Kathleen Hood, violoncello
http://turath.org

CONCERT UPDATES:
http://www.glendalenoonconcerts.blogspot.com

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

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

I. JULY LOCAL 47 MEETING A NON-STARTER

Monday night’s Local 47 General membership meeting was a non-starter.
No Quorum was reached.

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

II. REFERRAL SERVICE MEMBER COMMENTS

They are seeing Sam’s quitting as an opportunity to quietly clean
house. Ray Garcia is the subcontracted in-house computer programmer.
Technically he is an independent non-political business person. He rents
an office from the union on the 2nd floor and is the computer system
contractor. But now they need a scapegoat. He makes good money
and the complaints about the website are finally registering. Bills for
computer services are consistently the second biggest expenditure,
right after legal services.

It is sad about John Acosta, the VP. There was no question that he has
to be a team player. He knows who he had to answer to. But there were
hopes that on issues of no impact to the studio crowd, he would find
ways to help the freelancers.

Obviously not.

I finally took a look at the referral service website. I almost fell out of my
chair. A long time ago I was given a demo of the referral service computer
program. What is on the website today is a stripped down, bare-bones
version of the program that was on the referral service computer 10 years
ago. Think about it - they shut down the referral service; stopped the flow
of jobs while the new & improved website was redesigned, and redesigned,
and redesigned, and then whoops back to the drawing board and redesigned
some more. (Including paying tens of thousands of dollars to a web designer
on the east coast that Trombetta hired who never produced anything at all.)
Until years and years went by and an un-knowable numbers of jobs were
lost for members, and the referral service was in-effect shut down waiting
for the new website. Even after hot debate by the membership and the passing
of a very strongly worded motion to restore & surpass the referral service’s
best record from the past glory days - which the administration totally ignored.

And then with great fanfare they announce that the new fancy referral service
website is up and running. When in fact they just stripped the referral service
computer program and slapped it on the website. Is this what we have been
waiting for all this time? Some of the categories are very confusingly placed.
Bearing in mind that it is the non-musician public trying to hire a band who
will be using the website, not a musician or a union staffer. Did any musician -
like the referral service committee - have any input into of any of this? Go
on the website and try to find a string quartet. I dare you.

When you finally find a category you see that there are pitifully few musicians
listed. This was accomplished by the policy of a yearly renewal requirement for
the referral service. Who wants to renew something that is doing nothing for you?
Hundreds of members and bands were dropped from the roster. So the self-fulfilling
prophesy is complete. The administration will say that they have complied with
the AFM requirement to have a referral service. But look - no bands are registered,
no jobs are coming in, and no one is being hired. Told ya so.

The recording studio is gone. The referral service will be gone soon. CD sales,
I don’t know, probably gone. Any benefit at all for rank & file musicians…

There’s a theme developing.

——————————————————————-

So, we have our Exec Board obviously insisting that:
- contrary to all good judgment and much-documented experience in
the business world…
- which any intelligent person can see in action all around them…
- somehow the business model that has made thousands of companies
successful
- (effective, persistent, outgoing advertising and personal contact,)
- somehow does not apply to the business which is our Referral Service.
- Not only does this course of action violate our Bylaws which state we
must have a physical (and impartial!) Referral Service, but
- It glaringly points out that FMA member Lisa was right - the intentions
of our Exec Board are to waylay all incoming jobs and illegally give them to
whomever they please…
- With no oversight and no impartiality whatsoever.
- BRING IN THE DOL NOW!!

——————————————————————-

The incompetence and horrible management would be laughable if it
weren’t negatively impacting so many people.

Ultimately the buck stops with Vince, but if he’s got the cajones to hire nonunion
contractors and get away with it, and the membership doesn’t care, I imagine he’s
pretty much invincible when it comes to any other acts.

——————————————————————-

I’m not at all surprised that the RS is on its last (weak) legs. Is what Pres.
Trombetta et al doing violating Federal law? If so, why aren’t we bringing
legal action to compel certain Union execs to act in the best interests of
all Members and not just RMA? Failure to stop the machinations against
those not in the “magic 150″ will mean Local 47 is useless in terms of
being a union for all Members. As it is now.

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

III. SEATTLE MOVING FORWARD WITH RECENT SCORING PROGRAMS

This advert came to us from friends in Seattle. We decided to wait until AFTER
the program to share the info, lest the usual suspects accuse us of advertising
out of town programs. The world is moving on without us, making Los Angeles
more and more irrelevant. Thanks RMA.

PACIFIC NORTHWEST FILM SCORING PROGRAM SUMMER INTENSIVES
SEATTLE, WA (July 12-23), EDINBURGH, SCOTLAND (August 9-20)

The Pacific Northwest Film Scoring Program is pleased to announce that it will once
again be offering 2 Two Week Summer Intensive Programs - one based in Seattle,
Washington (July 12th - 23rd) and one based in Edinburgh, Scotland (August 9th - 20th).

The Seattle based program has been offered for the last 9 Summers and has attracted
students from as far away as Australia, Brazil, Dubai, Thailand and Japan as well as from
all over the US and Canada. The Edinburgh program is being offered again after a 3
year hiatus and in the past has attracted students from all over Europe.

Both programs include the first 2 “core” classes of the internationally recognized
regular year program taught by the program’s creator: 2 time Emmy Award winning
composer/arranger/conductor Hummie Mann who was recently featured in Variety
magazine’s article “Leaders in Learning” (www.variety.com/VR1118017426.html).

These classes cover many topics including: who are the “players” on the music team
and what they do - the music supervisor, music editor, contractor, orchestrator, copyist,
etc.; discussions of the different types of scores - electronic, acoustic, combination; what
are the characteristics of a successful and effective film score; how music is synchronized
to film - click tracks and free timing; budgets and contracts; performing rights organizations
and royalties; techniques of composition particular to writing dramatic music and much
more. Many video and audio examples of the instructor’s work are used in the class and
each student receives over 350 pages of handouts including over 200 pages of scores
from actual films for study and analysis. An audio CD of all the examples is also included.

Hummie is an active film composer with over 20 years experience in the business. His
credits include films such as “Robin Hood: Men in Tights”, “Thomas and the Magic
Railroad”, and IMAX’s “Cyberworld 3D”. More information and audio samples of his
work are available at http://www.hummiemann.com.

Besides the 2 core classes, students choose 2 elective classes - one for each week -
all taught by industry professionals.

Seattle electives include: Songwriting for Film, Composing for Interactive Games,
Finale (notation software), Digital Performer and Logic (midi sequencing software)
and Studio Technology.

Edinburgh electives include: Logic (midi sequencing software), Pro-tools (level
101 certification), The Project Studio (gear selection and set-up of your home studio)
and Internet Marketing for Musicians.

Additional details are available on the PNWFS website.
A $200.00 tuition discount is available to anyone registering for the Seattle program
before May 11th, and for the Edinburgh program before June 8th.
Accommodations are available for both programs and details are on the website
but must be reserved early to guarantee availability.
Both programs are extremely popular and have limited space available, so it is
recommended that you register early (plus you receive the early registration
discount).
Details and registration for the the programs is currently available on The Pacific
Northwest Film Scoring Program’s website at: http://www.pnwfilmmusic.com.

Also check out the new full-time one-year Professional Certificate program which
is launching in Fall 2010!

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

IV. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

To whom it May Concern,
We human beings, as flawlessly flawed as we are, are “works in
progress”…We are certainly far from perfection, & as a race, we are
extremely short-sighted….

I guess when unions were first conceived, the idea was to give the
“little guy” a voice & protect those people from being unfairly treated
by the big, impersonal “powers that be”. The introduction of “the union”
was meant to create a balance of power so as to keep the system from
becoming an oligarchy, but as so often happens, (given our penchant as
human beings to be vulnerable to seduction), the very organization that
is supposed to protect us from all that, becomes elitist & corrupt itself…
I have put considerable thought into this “human condition” of ours, &
have yet to come up with a solution as long as human beings are subject
to coercion & seduction. As far as I can see, this will be the foregone
outcome unless we, as a race, evolve to a place where we are beyond these
baser tendencies…In the interim, here we all are grappling with how to
“make it right” for all concerned… It’s a messy process, to be sure… All I
know is, another reality equally as true, & as Abe Lincoln so eloquently
put it in 1858, (& Jesus before him) - “A house divided against itself can
not stand”.

Respectfully Yours,
Richard Hardy

————————————

CONCERNING THE RMA PRESIDENT…

Maybe his new name should be “Seattle Pete” - I’ve heard from a reliable
source that he did a BUNCH of work in Seattle in the 90s - many films -
while his composer clients at the time were rising through the ranks.

————————————

COMMENTS TO THE FMA FROM MEMBERS

Thank You so much Lisa for trying to help the little guy.
those goons that run the 47 deal only want to help
themselves. and take our $$. may every day be great for you!

———–

Unbelievable, Lisa–it’s mind boggling how blatant these people are.
They don’t care who knows how corrupt they are.

————————————

DEAR COMMITTEE:

Not to beat a dead horse, but those of you who seem to think auditions
would be a good idea to break the back of the RMA elite, I will for
the last time humbly ask the following:

1) Who would vote for those that would sit on the audition committee
for entry into the studios? Other working studio players–peers like
in the LA Phil? Note there is no Music Director of the studios like
e.g. the LA Phil so how would that work out? A consortium of film
composers sitting in on auditions? Do you think they want to be
bothered with that? Believe me, if they are the slightest bit unhappy
with any part of an orchestra, his/her contractor puts together, all
hell breaks loose.

2) If a player were to win an audition for the studios, would they be
given tenure like in the LA Phil? That would have to be in the CBA,
no? Otherwise, a contractor (btw, are contractors to be chosen by one
of your committees as well?) could hire an audition winner for a
session and then not hire him/her ever again. How would the contractor
be bound to continue to hire the winner?

3) And should there be auditions for union free-lance casuals as well?

Correct me if I am wrong, but when the studios were full-time contract
pre 1958, there were no auditions. 30 years ago, prospective symphony
orchestral players were auditioned behind closed doors in conductors’
dressing or hotel rooms!

Regarding the eilite that you feel is afraid to audition…..not at all,
there is no dead wood today in studios. All would be glad to play an
audition and display their wares. I certainly would. We have nothing to
hide, do you?????

———————————-

From MR. RMA Jr.

1) [Editor's Comment: If, as you say, 95% of all AFM Recording is done in LA,
then how do you suppose the thousands of wonderfully and fully qualified
recording musicians across the country (including New York, Nashville, San
Francisco, New Orleans, LOS ANGELES, etc, etc.) feel about a monopoly of
the recording work being hoarded by 150 in Los Angeles? What then, did
the dynastic duo offer all the other recording locations to accept "third
world" status and still go along with the RMA? Also, to have a real picture,
you have to include ALL recording. After all, having 95% of 10% of the work
worldwide doesn't amount to much.]

Once again, the “editor” intentionally evades, twists & turns, and
dissembles what was said and where it was said. The statement - “95% of
AFM FILM SCORING is done in LA” - was made regarding UNION FILM SCORING
at a bogus “save Legacy Studios” meeting in NY. Nowhere was 95% of ALL
recording mentioned. The meeting, put together by previous 802 and AFM
administrations, was actually an attempt to convince those invited to
lobby for AFM Film Agreements with no FMSMF provisions. Most of those
present disagreed with this notion and the perpetrators failed utterly
to achieve their agenda. This charade became one of the many factors
that led to unseating both administrations.

The “editor” makes an astounding presumption, claiming to know how
thousands of musicians across the country feel…..

—————

2) The “editor” careens from one ludicrous topic - auditioning for FREELANCE
gigs - to the next insanity - his/her knowing how the “vast majority”
of musicians feel about this, that, and the other - all in the service of
whom and what?

The “editor” also mourns the passing of a “warrior” who, although no
longer an AFM member, presumed to tell the rest of us (in very erudite
terms) how to do things. The only lamentable thing here is that he was
a fine musician and repairman.

[EC: Nice example of respect for the deceased. Classy.]

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

V. CONCERTS AND EVENTS

———————————–

OLYMPIA YOUTH ORCHESTRA AUDITIONS

Just a kindly reminder, the Olympia Youth Orchestra auditions
for the 2010-2011 season will be open all summer for this year as
we are making the transition from auditions being held in September
in previous years to holding it in June beginning next season. We will
accept students age 12 and above auditioning on an orchestral
instrument with a minimum level of MTAC Certificate of Merit Level 7
(reference only, there is no need to have taken the evaluation). There
will be some scholarships available depending on level of playing and
financial need.

Attached please find a student application form with all the necessary
informations. Please contact me and return the form to make arrangements
for an audition time that is convenient to you.

Looking forward to hearing from you and please pass this along to anyone
whom you think would be interested. Thank you.

Sincerely,
Fung Ho
Music Director & Conductor
Olympia Youth Orchestra

———————————–

8/4/10

FREE ADMISSION GLENDALE NOON CONCERTS

Every FIRST & THIRD Wednesday at 12:10- 12:40 pm
Wednesday AUGUST 4, 2010 at 12:10-12:40 pm

ROBERT SCHUMANN Bi-Centennial!
Adagio & Allegro for French horn & piano Op. 70
Andante & Variations for 2 pianos, 2 cellos & French horn
in Bb major, WoO 10 (original version of Op.46, for 2 pianos)

Rachel Berry - French horn
Stephen Green , Roger Lebow - violoncello
Vivian Liu , Jocelyn Hua-Chen Chang - piano

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch to go prepared by ANGELA’S BISTRO
available for $6.

LOCATION: The Sanctuary at FIRST BAPTIST CHURCH OF GLENDALE
209 N. Louise St. (at Wilson)
Glendale CA 91206
818 242 2113
Map & venue info http://www.fbcglendale.net
More info email teena.frazier@fbcglendale.net

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

UPCOMING CONCERTS in the same series:

(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm)

AUGUST 18, 2010

FREDERIC CHOPIN & ROBERT SCHUMANN Bi-Centennials
CHOPIN Nocturne No.8 in Db major Op.27 No.2
SCHUMANN Intermezzo:Mit Groesster Energie
from Faschingsschank aus Wien Op. 26
Rosa LoGiudice - piano
ARTHUR BLISS Oboe Quintet

KEWA ENSEMBLE
Catherine Del Russo - oboe
Adriana Zoppo , Jacqueline Suzuki - violin
Victor deAlmeida - viola
Pam deAlmeida - violoncello

—–

SEPTEMBER 1, 2010
Jean Sudbury - violin & mandolin
(& Friends)

—–

SEPTEMBER 15, 2010
Adriana Zoppo - viola d’amore
Winner of the 2010/2011 Beverly Hills Auditions of the
Consortium of Southern California Chamber Music Presenters

—–

OCTOBER 6, 2010
Viola & Guitar Duos
Karen Elaine - viola
http://www.violaconcerts.com

—–

OCTOBER 20, 2010
ROBERT SCHUMANN Bi-Centennial
Piano Trio No.1 in d minor Op.63

KEWA ENSEMBLE
Jacqueline Suzuki - violin
Pam deAlmeida - violoncello
Rosa LoGiudice - piano

—–

NOVEMBER 3, 2010
Voice & Guitar Recital

THE MALKIN-TRYBEK DUO
Iris Malkin - Mezzo-Soprano
Edward Trybek - guitar
http://www.myspace.com/themalkintrybekduo

—–

NOVEMBER 17, 2010
SAMUEL BARBER Centennial
Dover Beach
Ruth Bruegger - violin
(& Friends)

DECEMBER 1, 2010
Chamber Music Recital
Catherine del Russo - oboe
Adriana Zoppo - violin
Rosa LoGiudice - piano

—–

DECEMBER 15, 2010
Solo Viola Recital

Works by
GYORGY LIGETI (”Loop”)
CASIMIR NEY
&
J.S. BACH
Victor deAlmeida - viola

—–

JANUARY 5, 2011
IGOR STRAVINSKY 3 Pieces
BELA BARTOK String Quartet No. 4

KEWA ENSEMBLE
Nancy Roth , Jacqueline Suzuki - violin
Adriana Zoppo -viola
Mary Anne Steinberger - violoncello

—–

JANUARY 19, 2011
Solo Violoncello Recital
Mary Anne Steinberger - violoncello

—–

FEBRUARY 2, 2011
Arabic Music:
TURATH EMSEMBLE
directed by Sami Asmar
with Kathleen Hood, violoncello
http://turath.org

CONCERT UPDATES:
http://www.glendalenoonconcerts.blogspot.com

—————————

8/8/10

7th ANNUAL BEVERLY HILLS INTERNATIONAL MUSIC FESTIVAL

Message from Sharon Farber:

The 7th annual Beverly Hills International Music Festival will take place
from August 8-17, 2010. Festival director Gregory Cherninsky and
myself as composer-in-residence, have programmed nine exciting
chamber music evenings at the festival’s two new concert venues: Sinai
Temple, 10400 Wilshire Blvd and the Saban Theatre, 8440 Wilshire Blvd.

http://www.bhmusicfestival.org/Program-2010.pdf

I am honored to be the curator of the following concerts that will also
feature two of my chamber works:

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

Sunday, August 8, 8:00 pm

The opening concert of the festival will present the music of some of
Israel’s most distinguished composers. My work, RELECTIONS ON THE
LIVING SEA, will accompany a beautiful film about the ocean. I am
honored to feature some wonderful Israeli musicians:

Pianists - Tali Tadmor and Hagai Yodan,
Mezzo - Soprano Iris Malkin,
Violinist - Limor Toren and
Percussionist - David Kontesz.

RELECTIONS ON THE LIVING SEA:
Tali Tadmor - piano
Victoria Lanier - violin
Fangfang Xu - cello
David Kontesz - percussion

The “Music of Israel”, is presented under the patronage of the Israeli
Consulate General in Los Angeles.

WHERE:
Sinai Temple
10400 Wilshire Blvd.
Los Angeles, CA 90024
http://www.sinaitemple.org/

For information & reservations please call (310) 779-7622
or email dmgfest@aol.com
Please note that you must RSVP to be able to park in the building.

———————-

Saturday, August 14, 8:00 pm

BRIDGES OF LOVE song cycle
Featuring GRAMMY AWARD WINNER Soprano Hila Plitmann, with
Gary Gray - clarinet
Dimitry Kourka - viola
Robert Edward Thies - piano

“Voices of Hollywood, Vol.5″ features chamber music works by film
and television composers Bruce Babcock, Gernot Wolfgang, Erich
Wolfgang Korngold, Alex Shapiro and Mark Watters. It is promised
to be an exciting evening of excellent music and musicianship

WHERE:
Saban Theatre
8440 Wilshire Blvd.
Beverly Hills, CA 90211

http://www.sabantheatre.org/

For information & reservations please call (310) 779-7622
or email dmgfest@aol.com

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

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

I. SECRETARY CONTINUES ABUSES OF POWER

Colleagues,

We’ve heard more and more of people who submit letters to
the Overture, perhaps complimenting members and their
performances, that the Secretary refuses to print because “she”
interprets them as self-serving or a way for those members to
make money.

Ironically, she never hesitates to print letters singing her own
praises.

As a reminder to all members:

PRINT THIS OUT AN INCLUDE IT IN ANY LETTER YOU SEND TO THE EDITOR

Under Section 4: The Secretary shall:
(i) serve as the editor of Overture, subject to the direction of the
Executive Board, with the right to censor material submitted, the
publication of which might constitute a violation of Federal law or might
involve the Local or any member thereof in litigation or bring either into
disrepute;

As the bylaw above states clearly, there are only two instances in which the
secretary can refuse to print a letter:

1) It might constitute a violation of Federal law
or
2) Might involve the Local or any member thereof in litigation or bring either
into disrepute;

If your letter does neither of the two things listed above and doesn’t run longer
than the word limit, the secretary CANNOT refuse to print your letter. As we see
it, the only thing putting the local’s Overture in a light of disrepute is the
Secretary’s conduct.

Secretary Lashinsky has been warned several times in the past that she has no
right to block the printing of letters on her own whim. Secretary Lashinsky has
had been quoted the bylaw printed above several times. Still, she knowlingly
denies the printing of perfectly appropriate “letters to the editor”. Is it a simple
power play? Is it simply her flaunting her “authority?” We don’t know and we frankly
don’t care, we just want her to follow the bylaws and stop abusing her power.

Our hats are off to Linda Ripka for her work at the Overture. None of the above
is directed at her.

THE COMMITTEE

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

II. LETTER FROM DR. LEN BERGANTINO re: SECRETARY LASHINSKY AND THE OVERTURE.

Letter to Linda Ripka from Dr. Len Bergantino:

April 14, 2010

Linda,
Enclosed is a letter to the editor I want you to publish and I want Leslie Lashinsky
to write a statement of decision regarding the rationale for breaking long standing
union protocol in terms of being an officer who accepts paying gigs as a Local
47 member as a professional musician. Severa Kay Williams, a dear friend over
the many years I knew her stated she as a professional bass player but no longer
accepted professional employment as a musician because she was Secretary-
Treasurer of Local 47.

Sincerely,

Len Bergantino, Ed. D., Ph.D., M.A., M.S. Ed., ABPP

———————————-

Letter to Secretary Lashinsky from Dr. Len Bergantino,

July 12, 2010
LETTER TO THE EDITOR OF OVERTURE - LESLIE LASHINSKY
FAXED TO (323)466-1289

Dear Leslie,

I am informed there is a policy that all letters to the editor have to be
published by the editor. I am writing this letter to the editor, knowing
full well that a) you did not publish my praise of Tom Warrington and
b) you did not not publish a letter to the editor of April 14th, 2010
where I commented specifically about the pot calling the kettle black
or people in glass houses throwing stones in the fact that that you are
Secretary-Treasurer and that you take Union Jobs for money as a
musician while you are in officer and each time you do so the Board
of Director’s makes an exception for you.

I am informed that this is a serious breach in that Union Musicians
are being deprived of the opportunity to take such work.

Your, predecessor, Serena Kay Williams stated to me she was a professional
bass Player but no longer accepted employment as a musician because
she was Secretary-Treasurer of Local 47.

This is particularly offensive to me in that you basically accused me of
writing three articles to promote musicians because I might make money
from such writings. As I have stated in my writings elsewhere I have never
made a dime writing about musicians who I think I am privileged to have
the opportunity to hear and my only intention is to bring some notoriety
to those who are musically deserving.

NOW YOU ARE EDITOR AND I HAVE BEEN TOLD THAT MY CHALLENGING
YOU IS FOOLISH IN THAT BASICALLY AT LOCAL 47 YOU CAN DO OR SAY
WHATEVER YOU WANT AND AS YOU HAVE DONE WITH ME, SEARCH FOR
SOME RULE OR BYLAW AND THEN TWIST IT TO FIT YOUR NEEDS, AND IN
THAT WAY YOU WILL HAVE ALL YOUR BASES COVERED, AND ALL YOUR
HOLES COVERED AND FILLED. AS YOU DID WITH MY APRIL 14, 2010 LETTER
OF THE SAME SUBJECT, YOU MERELY DID NOT PUBLISH IT.

HOWEVER, I HAVE BEEN INFORMED THAT SOME OF MY CONCERNS ARE ALSO
SHARED BY ABOUT 6500 MUSICIANS AND THEY ARE PUTTING WHAT I WRITE
ON A BLOG. THUS, I AM SENDING THIS LETTER TO THE EDITOR TO THE BLOG,
AGAIN GIVING YOU THE OPPORTUNITY TO WRITE WHATEVER YOU WANT TO
ADDRESS THE ISSUE FROM YOUR SIDE.

AS FOR THE WAR YOU HAVE STARTED AGAINST ME OVER THE TOM WARRINGTON,
MY CONDITIONS FOR PEACE ARE TO PUBLISH THE ARTICLE AND HIS RESPONSE
TO MY SENDING HIM A COPY!

While there is no doubt in my mind that you have all the cards and you can win
the war, I think you have started a war over a very simple matter that is quite
foolish and in the best interests of no one. The reason I carry on the war in the
face of overwhelming odds are that I think and feel I am better qualified to carry
on such a war to help the masses at Local 47 (Those not in the nifty one fifty) in
a situation that they should have as little to do with Local 47 are possible. Why
don’t you address some of these issues instead of your cheerie little notes each
month?

Dr. Len Bergatino (RSVP!!!)
also to Executive Board-Local 47

—————————————

Colleagues,

We have to correct Dr. Bergantino on a couple of points: The Local 47 Executive Board
has in fact refused Secretary Lashinsky permission to work in the jurisdiction for the
last couple of months (after allowing it since the beginning of her term as Secretary),
though she continues to try. The fact that she continues to try to take work from other
Local 47 bassoonists is very telling, especially considering she made approx. $87,000
last year as our Secretary.

Dr. Bergantino also says the Secretary has to print all letters to the editor. This is
also not correct, please read section one for details. We’ve seen his letters and
there is absolutely no excuse to exclude them. Perhaps if Dr. Bergentino wrote
a letter praising the Secretary’s playing he could get it published.

THE COMMITTEE

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

III. SEATTLE’S RMA CONNECTION

Thank you to the observant member for sending this in:

Dear Committee,

I just watched the movie “THINNER” on Cinemax. (based on the Stephen
King book) It’s a film from 1996.
Guess what? in the credits:

ORCHESTRA RECORDED IN SEATTLE (as a buyout as I am looking at the
AFM list of Secondary Markets films as I write this)

oops.. and.. PETE ANTHONY is listed as conductor.
And, on IMDB, everyone is listed that was in the credit roll.. but him.

Sorry Pete, but it’s in the movie credits. Mr. Anthony, can you please
explain your hypocrisy? Aren’t you the president of the RMA? This isn’t
even London (which you called “insourcing”), but the good ol’ USA.

come on!

if anyone else sees Mr. Anthony’s names in older movies done up in
Seattle, hopefully they can send them in to your site. He obviously
removed them from IMDB. You could start with movies scored by
Christopher Young or James Newton Howard.

-anonymous

[EDITOR'S COMMENT: Certainly, this film was long before his reign as
RMALA President, but the hypocrisy still remains. We'd always heard that
Pete Anthony was "Mr. Seattle" before obtaining his throne here in what's
left of LA. It would seem he of all people would know what climbing the
ladder takes, but the conduct of the RMA toward anyone who has to leave
to get something recorded because of their (RMA/AFM) contracts is true
hypocrisy.

Pete Anthony - Seattle - London - and president of the RMALA. Yet the
RMA sheep say nothing and continue to allow ALL OF US to be sheared.

THE COMMITTEE]

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

IV. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

Ladies and Gentlemen,
I wrote a little note to you about two years ago asking every one
in the AFM to quit standing in a circle and shooting at each other.
You know, one of those ‘Can’t we just get along’ requests. I sent
the same bit to the RMA emailers.

I will not go into the details again, but I will only ask that you
remember that we are a Union and all differing opinions should
be valued and respected. When you win or lose, you serve our
purpose best by continuing to be respectful and gracious.

I also believe that the strongest person is the one who constantly
tries to make a situation better, and never stops trying to make
people see the error of their ways.

If you care as much as you say you do, why don’t you commit to
having dialogue and try to build a bridge instead of a war of words?

Richard Sparrow
AFM Local 427-721

————————————

Beyond all the referral committee horrors, I was surprised at how much of
a reaction the RMA commenters had re: auditioning. I think you REALLY hit
a nerve there.

Interesting comments re: RSC and handing out work fairly and impartially
- I wonder how this might factor into how RMA contractors hand out work…?

Auditions would really open up the process and break up the good ole boy
system of hiring by contractors - they had no real answer for it except
to call mention of it “diversionary”, which is just smoke. Auditions are
part of virtually every hiring process in the music business, why should
a cartel of rich players and their contractor be allowed to monopolize
an entire industry in LA?

Wonder what the DOL has to say about that…? To the extent that any union
resources are being used to fund or assist a system where certain players
(especially RMA officers and board members) are being given any special
benefits in the hiring process could get very, very messy for them…
it opens up a HUGE can of worms that DOL or NLRB may be interested in.
An interesting angle to say the least…

————————————

I especially like the person who asks, “If the Committee is so popular, why
haven’t you taken over Local #47?”

You might reply (anonymous please):

[Maybe you're right - it's time for some of us to sacrifice our careers, run
for office, and give the Live Performance/Freelancers back their voice at
#47. Believe it or not, we prefer to play music while believing that our
Union Bylaws protect our interests. Apparently not these days.

We also notice that the Symphonic players prefer playing music to running
for office, except for Leslie who is generally allowed to take other
bassoonists' work whenever she wants, AND get paid $75,000/year of members'
dues to give us a part-time return on the Secretary's full-time position.

We also don't see any "working" RMA folks becoming Officers either.
Instead, RMA convinces others that the 17% (we bet it will be even less this
year) of work dues paid by recording sessions is actually the core financial
support keeping our Local afloat. NOT!
(Sorry guys, but some of us can count. And we know the Special Payments work
dues go direct to the AFM, not #47.)
But then, the only way the RMA'ers can keep their ball rolling is to also
control our Union.]

———————————-

Concerning the last mailing re: FMA SPECIAL REPORT

Only in America.

———————————-

this was a great comment -

[If you have been involved in music for more than five minutes, you know
that it is indeed a meritocracy. If you play well, are punctual, don't
have a hygiene problem and are not some kind of liability, other
musicians will embrace you and recommend you for jobs. Actually if
you play REALLY well, some people will hire you in spite of your
personal problems - ]

you forgot one thing - one BIG thing -
and also keep your mouth SHUT……oops.

———————————-

COMMENTS FROM MR. RMA JR.

Comment:
[It is blind arrogance and fantasy to contend that 95% of recording is
done in Los Angeles. There is recording in Seattle, there is recording
in San Francisco, New York, Paris, Prague, Bratislava, Australia, Canada,
Mexico City, Arizona, Belgrade, New Orleans and London among others.
Perhaps the indoctrinated buy that obvious fabrication, but no one in the
real world does.}

The only blind arrogance and ignorance here is either the intentional
misquoting or the "editor's" inability to read correctly. Once again, the
original statement: "95% of AFM FILM SCORING is done in LA." GET IT??

[Editor's Comment: We talked to people at that New York meeting. Nice try.]

Yeah - you “talked” (actually read some tripe from a defeated NY political
party) that was a misquote to start with. Since you weren’t at that meeting,
your “reporting” carries no validity. Nice try indeed!

[Editor's Comment: If, as you say, 95% of all AFM Recording is done in LA,
then how do you suppose the thousands of wonderfully and fully qualified
recording musicians across the country (including New York, Nashville, San
Francisco, New Orleans, LOS ANGELES, etc, etc.) feel about a monopoly of
the recording work being hoarded by 150 in Los Angeles? What then, did the
dynastic duo offer all the other recording locations to accept "third world"
status and still go along with the RMA? Also, to have a real picture, you
have to include ALL recording. After all, having 95% of 10% of the work
worldwide doesn't amount to much.

If you're going to paint a picture, Mr RMA Jr., at least paint an honest
one.]

———-

Comment:
[Editor's Comment: Once again you're spewing about something you
know nothing about, and showing you're distain for any musician who
isn't part of your club. There are countless musicians in the US and
CANADA just as qualified as you to record LARGE scores. And as long
as they own cars, the can get to the sessions. What arrogant, conceited
crap.]

Of course, the “Editor” has complete knowledge of all things AFM including
qualified musicians who own cars and can drive hundreds of miles to get to
a session. Accusing someone of arrogance and conceit here only serves to
highlight his/her own colossal hubris.

———-

Comment:
[Of course, like a media talking head, it's not the truth that matters,
but telling your folks what they want to hear, even when you know you
are lying and playing them for fools. It's the RMA way.]

Should have been written: Of course, like a media talking posterior,
it’s not the truth that matters, but telling ourselves what we want
to hear even when we know we are lying and playing ourselves for
fools, It’s the COMMITTEE way.

[EC: We stand by our record of honesty over the years.]

———

Comment:
[The numbers are in - Secondary Markets checks have arrived - and viola’! -
there is a decline of 11% in contributions - and we call that a win?
Front end union contracts are the major feeder for this fund - new
titles, new movies and TV shows logged in represent health to the
fund - not sitting round waiting for past titles to churn a residual again]

Undoubtedly written by the grammar/syntax/spelling-challenged editor
(the word is voilà, not the alto voice of the string family). In the world-
wide recession (are you blaming the RMA?), other funds including the
AFM-EPF have gone down a lot more than 11%. When people are hurting
for money, they buy fewer DVDs, movie downloads, payTV movies, etc.
It’s called the SECONDARY MARKETS FUND because funding comes from
those sources.

———

[You're showing your own conceits.]
[What arrogant, conceited crap.]

The “editor” seems to have found a new expression. He/she should
know that “conceit” is used in the singular.

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

V. CONCERTS AND EVENTS

OLYMPIA YOUTH ORCHESTRA AUDITIONS

Just a kindly reminder, the Olympia Youth Orchestra auditions
for the 2010-2011 season will be open all summer for this year as
we are making the transition from auditions being held in September
in previous years to holding it in June beginning next season. We will
accept students age 12 and above auditioning on an orchestral
instrument with a minimum level of MTAC Certificate of Merit Level 7
(reference only, there is no need to have taken the evaluation). There
will be some scholarships available depending on level of playing and
financial need.

Attached please find a student application form with all the necessary
informations. Please contact me and return the form to make arrangements
for an audition time that is convenient to you.

Looking forward to hearing from you and please pass this along to anyone
whom you think would be interested. Thank you.

Sincerely,
Fung Ho
Music Director & Conductor
Olympia Youth Orchestra

———————————–

7/23/10

THE BOYD CANNON BIG BAND
7:30-10:30 at
FAMOUS (SPORTS) BAR AND GRILL
821 E. Thousands Oaks, CA 91360
(805)497-4669

———————————–

7/25/10

LOS ANGELES PIERCE SYMPHONIC WINDS
“Tribute to our servicemen and women”
6pm to 8pm

WARNER PARK CENTER
Outdoor Amphitheater
5800 Topanga Canyon Blvd.
Woodland Hills, CA 91367

Admission FREE!

———————————–

7/26/10

PROMOTING LEADERSHIP AND LITERACY
Through Music, Art and Science
Monday July 26, 2010 12:00 PM - 8:00 PM

Pasadena Central Library
285 E. Walnut Street
Pasadena CA 91101

Guest Speaker: Billy Mitchell - 5:00 PM
“Leadership and Collective Connectivity”

Others Speakers:
Linda Morgan
Maria Genea
Aldonia Bailey
Roscoe Lee Owens

Live Music, Youth Performers, Interactive Art,
Guest Speakers and Networking Workshops

The Jammin Foundation is a California 501c(3) non-profit
artistic foundation. The mission is to instill confidence in
our youth and build leaders with inter-generational mutual
respect through music, math, art and science. “Keeping
America’s valuable art forms and our historically rich cultures
of Music and Art alive”.

http://jamminfoundation.org

———————————–

7/28/10

Canoga Park Bowl and the
San Fernando Valley Symphony Orchestra present
Concerts at the Bowl

Wednesday Evenings at 8:30pm
In the Royal Room

TBA

Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

———————————

8/4/10

FREE ADMISSION GLENDALE NOON CONCERTS

Every FIRST & THIRD Wednesday at 12:10- 12:40 pm
Wednesday AUGUST 4, 2010 at 12:10-12:40 pm

ROBERT SCHUMANN Bi-Centennial!
Adagio & Allegro for French horn & piano Op. 70
Andante & Variations for 2 pianos, 2 cellos & French horn
in Bb major, WoO 10 (original version of Op.46, for 2 pianos)

Rachel Berry - French horn
Stephen Green , Roger Lebow - violoncello
Vivian Liu , Jocelyn Hua-Chen Chang - piano

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch to go prepared by ANGELA’S BISTRO
available for $6.

LOCATION: The Sanctuary at FIRST BAPTIST CHURCH OF GLENDALE
209 N. Louise St. (at Wilson)
Glendale CA 91206
818 242 2113
Map & venue info http://www.fbcglendale.net
More info email teena.frazier@fbcglendale.net

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

UPCOMING CONCERTS in the same series:

(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm)

AUGUST 18, 2010

FREDERIC CHOPIN & ROBERT SCHUMANN Bi-Centennials
CHOPIN Nocturne No.8 in Db major Op.27 No.2
SCHUMANN Intermezzo:Mit Groesster Energie
from Faschingsschank aus Wien Op. 26
Rosa LoGiudice - piano
ARTHUR BLISS Oboe Quintet

KEWA ENSEMBLE
Catherine Del Russo - oboe
Adriana Zoppo , Jacqueline Suzuki - violin
Victor deAlmeida - viola
Pam deAlmeida - violoncello

—–

SEPTEMBER 1, 2010
Jean Sudbury - violin & mandolin
(& Friends)

—–

SEPTEMBER 15, 2010
Adriana Zoppo - viola d’amore
Winner of the 2010/2011 Beverly Hills Auditions of the
Consortium of Southern California Chamber Music Presenters

—–

OCTOBER 6, 2010
Viola & Guitar Duos
Karen Elaine - viola
http://www.violaconcerts.com

—–

OCTOBER 20, 2010
ROBERT SCHUMANN Bi-Centennial
Piano Trio No.1 in d minor Op.63

KEWA ENSEMBLE
Jacqueline Suzuki - violin
Pam deAlmeida - violoncello
Rosa LoGiudice - piano

—–

NOVEMBER 3, 2010
Voice & Guitar Recital

THE MALKIN-TRYBEK DUO
Iris Malkin - Mezzo-Soprano
Edward Trybek - guitar
http://www.myspace.com/themalkintrybekduo

—–

NOVEMBER 17, 2010
SAMUEL BARBER Centennial
Dover Beach
Ruth Bruegger - violin
(& Friends)

DECEMBER 1, 2010
Chamber Music Recital
Catherine del Russo - oboe
Adriana Zoppo - violin
Rosa LoGiudice - piano

—–

DECEMBER 15, 2010
Solo Viola Recital

Works by
GYORGY LIGETI (”Loop”)
CASIMIR NEY
&
J.S. BACH
Victor deAlmeida - viola

—–

JANUARY 5, 2011
IGOR STRAVINSKY 3 Pieces
BELA BARTOK String Quartet No. 4

KEWA ENSEMBLE
Nancy Roth , Jacqueline Suzuki - violin
Adriana Zoppo -viola
Mary Anne Steinberger - violoncello

—–

JANUARY 19, 2011
Solo Violoncello Recital
Mary Anne Steinberger - violoncello

—–

FEBRUARY 2, 2011
Arabic Music:
TURATH EMSEMBLE
directed by Sami Asmar
with Kathleen Hood, violoncello
http://turath.org

CONCERT UPDATES:
http://www.glendalenoonconcerts.blogspot.com

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

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

I. THE PASSING OF A FIGHTER

We’ve received word that a frequent contributor to the COMMITTEE
blog and others, Rick Blanc, has passed away in Florida.

Les Benedict put it this way:

“In case you haven’t heard, Rick Blanc passed away a week or so ago in
Florida. I only have grapevine info, nothing first-hand, but evidently
he had been having serious health problems recently including a cancer
diagnosis. Kenny Shroyer is more in touch with the situation, and indeed
went to Florida to help Rick’s sister with the details. I knew Rick in
Hawaii when he was just a teenager, nearly 40 years ago. He seemed to
always have an opinion about something, and sometimes rubbed people the
wrong way, but he always thought carefully and thoroughly about what he
had to say. He was a very good musician, an excellent repairman, and to
me, a good friend.

Les Benedict”

——————————————-

Colleagues,

Rick Blanc was one of the few willing to speak up (where most others
stay silent) and suffer the crass, childish and incessant attacks his kind
of truth-telling always creates. He had been warning the federation and
the rank and file of the dangers of RMA rule for some time, warnings our
Federation (Now the RMA’s Federation) did not take seriously enough.

Another good voice has been silenced. There are far too few willing to
fight for the rights of everyone.

THE COMMITTEE

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

II. FEATURED MEMBER COMMENT

There’s that old expression that you only get one chance to make
a first impression.

After decades of open warfare with the AFM, and backing not-a-
hope-in-hell candidates for national office, the recording musicians
are now in charge, legitimately and with a mandate. This is big, huge.
They now own all the federation officers, big Locals and the International
Executive Board.

They have carte blanche. And judging by their long history in Los Angeles,
they really don’t want any input - no less criticism - from anyone outside
their innermost circle. Not even from the hundreds of members that they
brag about. What are the rest of us to do? Be the loyal opposition?
Masochists Unite! Or we can watch and see what they do. I’m sure many
glittering speeches were made at the convention about it’s a new day. well
it is. The pendulum swings. It was probably bound to happen.

So good luck to the new administration. Here’s hoping that you can accomplish
your goals and still manage to find some small ways to benefit the rank and
file. But I’m not hopeful. Just the opposite.

First impressions? After years of trying they are now in charge. It would have
been the perfect time for them to stand up and say the war is now over,
there’s a new sheriff in town, we’re going to do things the right way, let the
sunshine in, let freedom ring, yada yada. Someone probably did make that
speech. But it’s much more instructive to see what people and organizations
do in private, contrasting their public deeds and statements.

One of the RMA’s most vocal critics is a member from Los Angeles who chose
NOT to be anonymous, as many others have. He has stood up at meetings
and written letters and signed his name. Whether you agree with him or not,
he has the right to state his opinion. It’s a basic tenet of unionism and more.
Remember - “I disapprove of what you say, but I will defend to the death your
right to say it.”

Did the RMA shake his hand and try to be magnanimous in victory? That
would have been bitter pill enough. No. The next morning this member, a
New Orleans native, opened the door to his personal hotel room to find a
stinking pile of dog shit topped with mardi gras beads outside his door.
I have used the disgusting vernacular because that was exactly the intended
message to the member.

This was no fraternity prank done by a rogue party. This was a stinky little
love letter to their critics. Loud and clear. And outrageous and juvenile and
disgusting and revealing and the absolute farthest thing imaginable from
professional behavior. They should be embarrassed beyond belief. In virtually
their first act as the new AFM they have brought shame upon themselves and
the entire federation. This is literally how the world’s ‘best’, or at least the
wealthiest, musicians behave.

The member from New Orleans deserves a formal apology from the AFM at the
very least.

As far as first impressions go, the tone and the odor has been set for the
next administration.

———————————-

EDITOR’S COMMENT: The “present” left outside the Local 47 member’s door
wasn’t Dog S*(_. It was supposed to look like vomit, but was more than likely dog
food. If it had only been the dog food it could have been a prank by anyone, but
Mardi Gras beads carefully placed on top of the pile made the message crystal
clear. Also, this “gift” was not found the day after the election, but the day before.

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

III. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

Hear Ye, Hear Ye,

The numbers are in - Secondary Markets checks have arrived - and viola’! -
there is a decline of 11% in contributions - and we call that a win?

Front end union contracts are the major feeder for this fund - new
titles, new movies and TV shows logged in represent health to the
fund - not sitting round waiting for past titles to churn a residual again

The numbers are in - my check was down about 1,000 bucks -
anybody’s check go up? would love to hear from everyone on this…….

[Editor's Comment - So would we.]

———————————–

I’m so depressed about the future I’m getting busy with steering
my own ship - not relying on anyone in the cartel to pay my bills

————————————

we are scewed with all the RMA rule -

going forward - the RMA’s money and power was just too much for the
little guy -
with great ruin to my career I’m sorry I ever spoke up about
anything……if you cant beat em, join em I guess - I truly give up
- there is no respect for wanting to do what is right…..there is no
reverance for speaking the truth at all - the whole thing sucks - so
I will watch and not stir anything up anymore - I may be known as the
guy “helping” the AFM to try to do new things to undermine the RMA’s
little bubble - (which is completely FALSE) - therefore I will never
get invited to “the party” so to speak….will never be a part of the
inner circle, never be one of the boys - the good ole boys - well

but - one thing for sure - the RMA has their head up their own butts
if they think just by winning all these elected offices that their
work is gonna get better and everything is gonna be alright - if MARK
ISHAM has to go to Prague to record a ROBERT REDFORD movie, what does
that tell you about the state of the business……..the ONLY HOPE of
LA ever getting back it’s recording work is for the COMPOSERS to form
a UNION and decide they all arent gonna do what the PRODUCERS want
them to do anymore - that is the ONLY hope now. Over and way out.

————————————

“…Why are these contractors not
calling the ones they used to call? Hmmmmm. Could it possible
be that your so-called “elites” are better players? Hmmmmmmm…”

Many of us are well aware of the recent passing of Allyn Ferguson.
Having studied with him, I recall an important phrase he often
quoted: “Never confuse ‘excellence’ with ’success’.” Or put it
another way, “There is music and there is the music business.
Never confuse the two.”

The reader’s sarcasm (”Hmmmm…”) tips his/her hand. There is
some irony in the fact that “elite”"and “entitled” have similar spellings.
Every musician who has worked hard, let alone every union musician
who has worked hard at their craft is entitled to make a living in their
chosen field, whether they join the RMA or are on ‘the A list’, or not.
Show me a triple-scale, union, RMA, ‘A-list’ musician, and I’ll find
you a “better player” who is not in the RMA or on ‘the A list’.

“There is always a bigger fish.”

————————————

I went to see Dreamworks - “Shreck the Final Chapter” yesterday
with my kids - being a session musician in LA of course I stayed to
see the music credits……ahhhhh - recorded in London at Abbey
Road studios by composer Harry Gregson-Williams…..nice - I did
some more digging and it looks like most or many Dreamworks
movies seem to have been recorded in London - last I looked
Dreamworks was an LA (Glendale) based production company -
now why the hell is the AFM and the RMA not able to get these
guys to want to work with our musicians union all these years? -
why are we not all holding the AFM and the RMA over a flame to
do their damn jobs and secure union recording work for us players
working for the Dreamworks company - why doesnt Dreamworks
want to record in LA? why, why, why arent these questions being
addressed?, why arent we wildly successful in convincing productions
companies to want to work with an AFM contract? - why are the top
LA RMALA players so hush hush when it comes to asking them if they
are sitting in a recording studio everyday or not…..ahhhh cuz they’re
NOT……what a bunch of crap………rank and file (not in the RMALA elite)
start asking your AFM and local 47 officers these questions - start asking
Vince Trombetta who writes prose every month in his column…….ASK
THIS - why the hell is the RMA and the AFM not able to get union work
for us on movies and TV like they should be doing….that is their job
isn’t it?…..

hmmmm - last time I checked - if I dont do my job I’m pretty much not
asked back……but NOOOOOO - we keep asking back the lame AFM and
the lame RMA to steer the damn ship……..are we friggin idiots or what?

[Editor's Comment: With Local 47 long owned by the RMA and now the
federation as well, don't expect anything. In fact, we'd be surprised if that
multi-use VIdeo Game Agreement isn't pulled in the next year,... or
perhaps the day after the RMA administration moves in.]

————————————

RMA TAKES CUE FROM THE COMMITTEE
“…they’ll be using their blog to spread their propaganda and sing the
praises of those they support…”

I guess they really are taking a cue from the committee.

————————————

to the commenter complaining that criticism should be directed at the contractors,
not the RMA:

Who do you think are primary members of the RMA, collect massive special
payments checks, and according to some, are the real force behind the RMA
and are calling the shots? CONTRACTORS. Especially full-time, professional
contractors. Talk about a wolf in the hen-house! The fact that the RMA embraces
contractors as members, even making SURE they become members by paving
the way at Local 47, etc (with phony player credentials playing castanets or
some such thing) speaks volumes as to the incestuous relationship between
certain RMA folks and the contractors who hire them.

———————————-

To the COMMITTEE

They will start harassing you more because now the Committee matters more -
what other journalist/publication is covering the AFM from an HONEST point of
view now that the Overture, and now likely the International Musician are going
to reflect the “RMA Reality”. The importance of the committee has just increased
substantially, as will the pressure from the RMA’ers to intimidate and bully the
committee.

Keep up the excellent work!

———————————-

If you have been involved in music for more than five minutes, you know
that it is indeed a meritocracy. If you play well, are punctual, don’t
have a hygiene problem and are not some kind of liability, other
musicians will embrace you and recommend you for jobs. Actually if
you play REALLY well, some people will hire you in spite of your
personal problems. And you must know that no one is required to hold
auditions for any kind of recording unless they want to. If someone
is going to make a record, film score, demo, play a Bar Mitzvah, or
anything that involves music, they are going to hand pick their
musicians, hire someone to do it for them, or get recommendations
from other players. Unless of course, they don’t care. One would
think that they would simply want the best players they can get.

Our union has nothing to do with it. SAG doesn’t tell Martin Scorcese
whom he may hire for his films. Actors Equity cannot tell the Shubert
organization who is going to be the star in their next Broadway
production The Major League Baseball Players Association cannot tell
the New York Yankees whom may play shortstop, and our union cannot
tell a composer, jingle house, wedding band leader, conductor,
or producer whom they may hire either. The AFM is not responsible
for our careers. Did anyone ever tell you otherwise? Did anyone tell
you that if you joined the union you would work because you have a
union card?

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

IV. CONCERTS AND EVENTS

———————————

MESSAGE FROM BILLY MITCHELL

Dear friends and fellow educators,

The SAPPA program continues to open programs
for youngsters in underserved areas. We are
in need of orchestra instruments (violins and
violas, any size, any condition).

If you have any instruments that you would like
to DONATE please contact me at
626-574-5040.

Thank you for your support!
MITCH
BILLY MITCHELL-SAPPA
www.sappa.net
www.youtube.com/sappaprogram
sappaprograms@gmail.com

———————————–

7/19/10

ELVIS SCHOENBERG’S ORCHESTRE SURREAL

We Are Back!
MONDAY JULY 19th, 2010
Elvis Schoenberg’s Orchestre Surreal
Two sets: 8 PM & 9:30 PM

At Typhoon
L.A.’s Premier Pan-Asian Restaurant

3221 Donald Douglas Loop South
Santa Monica, CA

$10 COVER CHARGE, NO MINIMUM - FULL BAR!

For more information call: (310) 390-6565
For easy directions and map click: www.typhoon.biz

———————————–

7/21/10

Canoga Park Bowl and the
San Fernando Valley Symphony Orchestra present
Concerts at the Bowl

Wednesday Evenings at 8:30pm
In the Royal Room

July 21st
The Symphomaniax
Ruth Bruegger, violin; James Domine, guitar;
Glen Grab, cello; Larry Muradian, bass

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

other concerts in the series…

July 28th
TBA

Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

———————————

7/22/10

2010 ASMAC Golden Score Awards
at the Universal Hilton is July 22, 2010.

We hope you’ll all join us.
The Golden Score Awards (previously scheduled for April 29th) will
now take place on Thursday, July 22, 2010. We are honoring Marc
Shaiman and Sammy Nestico (yes - they’ll both be with us), and have
already reconfirmed Rob Reiner as our host. Our other guest participants
are all being reconfirmed at this time and will be announced shortly.

The event will include personal and musical tributes for our honorees,
a silent auction, and amazing live entertainment. All funds raised will
benefit ASMAC’s educational programs, workshops, master classes,
and fund several scholarships

If you’ve already reserved, your reservations are still confirmed.
If you haven’t yet, please SAVE THE DATE and participate in the
event through sponsorship, reservations or a tribute ad to our
honorees. We will be sending out NEW PRINTED MATERIAL
shortly, but for more information, please call our office at
818/994-4661.

In advance, please accept our warmest thanks and appreciation
for your support.
Please make reservations by July 15th @ 818/994-4661
or by email to asmac@theproperimageevents.com

Check us out at www.asmac.org

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

V. MR RMA’S CORNER and MR RMA JR.

Mr. RMA sent in seven comments within 24 hours of the early July mailing.
With three more a few days later.
They’re so full of “creative” conclusions and trying to turn the RMAers
words into the COMMITTEE’S words, we though we’d give him his
own section. We also got three comments from someone we’ll call
MR. RMA JR. because he sends fewer comments.

————————————

1) Are any of you in the RMA? Me thinks so!

Even though you clearly don’t like the RMA and what it stands for,
don’t you think your readership is intelligent enough to decide for
themselves whether they would want to use an RMA link you could
provide? At least then, you could show you are fair-minded like
in your blog.

————————————

2) Comment:
You indicate:

“The number of people working in recording regularly in Los Angeles
is a very well known number from reading the contracting lists of
those who play the sessions. Oh yes, we get those too. That’s what
you’d call,
number justification.”

Dear Committee:

Please go on record with this “well-known number” for all of
us to know.

Thanks!

[EDITOR'S COMMENT: Read our previous mailings.]

————————————

3) You say: “As long as they (RMA) continue to
corrupt any Local they can infiltrate we will continue to slam
them.

Wow! Aren’t you giving the RMA more credit than you feel it
deserves–the cleverness to infiltrate and corrupt? and their
“prey” locals less credit than they deserve–that these
locals are so stupid as to allow RMA to do this to them?

In conclusion, you say that the RMA leadership is super clever
and the locals they prey on, stupid. I hope these locals,
who ever they are are not reading this! Otherwise, they
might get mad at you!

————————————

4) You want to limit comments? Is that American?
Even the White House doesn’t limit my mail!

————————————

5) Dear Committee:

You say: “Film scoring dates are nowhere close to a meritocracy
because of the blatantly biased and preferential hiring practices.
And where does that leave a newcomer musician who has the talent
for the job but may not be as “politically connected” as other
established players? Nowhere. Might as well be flipping burgers.”

I so beg to differ! I know of no newcomer to LA looking
for free-lance studio work “flipping burgers”. But, if they
had to resort to that, they should go back from where they
came rather than humiliate themselves.

Newcomers looking for studio work or any other free-lance
work for that matter can obtain a list of contractors from
the union. They can play for certain key principal players
who contractors rely on. Should they win a local audition e.g.
opera, chamber orchetra, people in the know take note. It IS a
job of a newcomer to look for work and part of that is getting
to know people.

“Preferential treatment” you say???? That is what the LA Phil
does when they hire someone. They “prefer’ someone over
someone else.

“Bias treatment”, you say????? The only bias I know is
towards good playing!

“Political connection”. I would love for you to elaborate
on this subject with names. Whatever you think it is, it
is not a requirement to work in the studios. How about
just plain only good playing for a start and a positive
attitude.

————————————

6) Dear Committee:

Your frustration is well documented. But you seem to be
alone. Where is your support? If so many people thought
like you, don’t you think there would be a revolution of
sorts against the AFM or RMA? Demonstrations?? Letter
writing campaigns? I mean you do make it sound like you
have tens of thousands of supporters. Why haven’t you guys
taken over Local 47 with your people through its democratic
process?

Look what just happened: the contrary–Mr. Hair (RMA kid
as you would like to call him) defeats the RMA hater, Tom Lee.

————————————

7) So now you call church, orchestra, and demo jobs
the playground of amateurs and hobbyists!

If any of you on the committee play these kinds of jobs,
I hope you are ready for some interesting feedback from
you colleagues.

Studio players do not stick their noses in the air as
you might suggest. They do not and have never looked
down upon the above classification work. They welcome
it as a chance play “live’ music and find their roots.
They also view as a healthy way to keep up their chops.

It is you that:

1) insults other locals
2) insults work that is not studio work (see above)
3) is unaware that in most auditions for major paying
orchestra gigs, the screen is taken down in the finals
where biases can occur.
4) refuse to acknowledge that since 1958, AFM stdio
orchestras have been producing the highest quality work
for movies, tv, and records without formal audtions for
its players. The system is not perfect, but when problems
arise, they seem to work themselves out. If you don’t
believe that the quality is of the highest nature, just
ask a few A list composers what they think!!!

[EDITOR'S COMMENT: You are either not a player in Los Angeles or
are an intellectual fraud. We have seen and heard the nose in the
air of some RMAers toward all those 'not them'.

We have had comments from RMAers in these pages (quite a few-
look it up) saying that you're not a real musician unless you make
your full living from recording. It's fact, like it or not. Chances are,
since many are now having to do those jobs as well, you won't hear
that particular canard any more.

More likely you know full-well that what we say is true, but are
simply playing games. If your comments continue to be such obvious,
easily exposed lies we may choose not to waste our readers time with
your pablum. And then you can post it on the AFM Observer, where the
all pro-rma all the time opposite day blather finds it's true audience.]

————————————

more on your fabled audition process:
From the NY TIMES 7/6/2010
“The finest musician can have a bad day: it’s a paradox of
the process, in which less than an hour of playing is supposed
to determine whether a musician is suitable for the continual
day in, day out life of an orchestra member. And in another
contradiction, the aspirants play alone for a job that depends
on group effort. (Winners are usually on probation for a year
or two, effectively a tryout with the ensemble.) On occasion,
when no winner is chosen, established orchestral players from
elsewhere will be invited to play as guests in a kind of informal
tryout. It’s an imperfect system, but no one has figured out a
better one.”
Committee: Auditions are NOT the panacea for fairness:
Auditions are as imperfect just as humans are.

[Editor's Comment: Why does the idea of you having to audition
scare you so much? Auditions WOULD give others a chance for
whom there is no chance now, unless you start mowing some
people's lawns or do others little "favors".]

————————————

9) Just curious: Do you blame the RMA or AFM for creating the
environment that would allow Seattle musicians to slip away from
the AFM umbrella, secede from the AFM which would result in the
creation cottage industry of non-union
film recording work? Your comments?

If your answer is the AFM, then should’t you hold the AFM
accountable for some of that 60% recording work that you claim
the RMA is responsible for chasing away?

As a matter of fact, RMA came up with the idea of the Low Budget
Film agreement to retain some of the work that was
slipping away to Seattle.

Why don’t you ask the RMA or AFM for that matter all the
concessions they have made in previous collective bargaining
agreement negotiations to try to keep work in the US under
the union umbrella.

[Editor's Comment: Glad you asked. The intransigence of the RMA
in dealing with the reality of global recording, trying to protect work
for themselves at the cost to everyone else (And themselves now as
well) and preventing the AFM from taking steps to creating truly
competitive contracts is what allowed Seattle et al to flourish.
Absolutely you can blame RMA greed and arrogance to recording lost
NOT to synth or sample scores, but recording done with live musicians
elsewhere. ABSOLUTELY!

CONCESSIONS aren't the problem, CONCESSIONS aren't the issue, the
BACK END IS!

A Local 47 board member at the convention gave up the ghost without
even realizing it. This board member said, "They're grabbing everything
they can now because they expect it to be gone in 2-3 years." And yet
THEY are the ones causing it to leave.

We suppose if your only concern is to be the last one fiddling as LA Burns,
that's the way to go, particularly if you don't care if the work is left in ashes
after you retire.

After all, you've got yours, right dynastic duo??]

————————————

10) And by the way, these blind auditions for film studio work you suggest….

Who will do the judging???? A consortium of AFM or local officers?
A committee of studio musicians? A consortium of contractors? Who
would organize this? and would it be done fairly?

Would any of you on the committee audition? Would the screen come down
in the finals? How often would these auditions take place and where? Would
you run an ad in the International Musician? If so, would you disclose
the amount of money the top studio musicians earn (inc. residuals) as
earning potential like in a conventional sales job? Hmmmm. You might
have so many people auditioning from around the world that you might
not be able to accommodate all the applicants!!!!!

Nice idea but try putting it into practice!

————————————

MR. RMA JR’s COMMENTS

1) [And didn't one of the RMA-NY minions say at a New York meeting, "New
York has never been a recording town" and "95% of recording is done in
Los Angeles" ]

The first is a misquote taken out of context for political purposes
by a vanquished NY political party. The second is also a misquote
of “95% of AFM FILM SCORING is done in LA” - a figure generally
accepted even by the departing AFM administration.

This is typical of the smoke and mirrors propagated by this COMMITTEE.
Hearsay is so much more fun than actual facts.

[Editor's Comment: We talked to people at that New York meeting. Nice try.

It is blind arrogance and fantasy to contend that 95% of recording is done
in Los Angeles. There is recording in Seattle, there is recording
in San Francisco, New York, Paris, Prague, Bratislava, Australia, Canada, Mexico
City, Arizona, Belgrade, New Orleans and London among others. Perhaps the
indoctrinated buy that obvious fabrication, but no one in the real world does.

Of course, like a media talking head, it's not the truth that matters, but telling
your folks what they want to hear, even when you know you are lying and
playing them for fools. It's the RMA way.]

————————————

2) Comment:
[While blind auditions would be a great way to level the playing
field as they have contributed to doing for symphony orchestras,
the next time you want to see many RMAers shut their mouthes
immediately and slink away quietly, suggest blind auditions for
film scoring jobs. A true meritocracy, as you suggest, would be
considered by many of the RMA elites a mortal threat to their
recording careers because it just might reveal that more than
a few of these "top call" players, no matter how well connected
politically, simply don't measure up talent-wise.]

This is diversionary palaver leading nowhere. It is the established
policy of most top AFM locals that only TENURED gigs may be
auditioned for.

[Many locals at the convention said they can't even get started with
recording because no clients will work with the AFM contracts.]

The usual hyperbole - “many locals” have neither the infrastructure
nor the supply of musicians capable of recording a large score.

[Editor's Comment: Once again you're spewing about something you
know nothing about, and showing you're distain for any musician who
isn't part of your club. There are countless musicians in the US and
CANADA just as qualified as you to record LARGE scores. And as long
as they own cars, the can get to the sessions. What arrogant, conceited
crap.]

————————————

Dear Committee:

You state: “Auditions where your PLAYING is what gets you
the job, not who you know, who you suck up to, etc etc?
Never. Not a chance.”

You can’t tell your readership that the quality produced
on AFM jingles, scores, TV shows, and films is not of
the highest quality, right? How do you think this happens?
With mediocre players?

[EDITOR'S COMMENT: Take 20, folks - get the point?
Or how about "We can cut and paste that, right?"
Not on a live stage you can't. Anyone who's been
around recording knows the multitude of imperfections
that can be fixed. You didn't think our readership
wouldn't know that already, did you?]

Woodwind and brass players “audition” every day in
the studios as the music simply calls that they play
by themselves most of the time. Thus, they can be
heard by everyone in the know. If somehow certain
musicians are not cutting it, well the obvious happens.
It is ture….the cream naturally rises to the top.
With section string players, the level is no doubt high–
major ochestra level high. If it weren’t, the results would
be less than satisfying to the educated ear.

[EC: See our previous comment.]

If certain section players are not cutting it, don’t you
worry, the decision makers eventially find out who they are
and once again, the obvious happens. And it does.

There are exceptions to every rule and remember,
“auditions” are not the end all and be all of fairness
themselves. I have heard of instances where orchestra
committees wanted a certain musician to be hired because
they thought he/she was the “best” but were overruled by
the Music Director after he/she heard the candidate play
with NO screen. Hmmmmmm. Perhaps some bias here?????

By the way, there are certain players in even the top
orchestra that could not pass an audition to get into
their own chairs!

[EC: Then how did they get in their chairs?]

No system is fair and perfect and that is because we
are human beings and we inherently are not perfect.

I hope I was able to shed some light on the subject
of auditions for the studios.

[EC: You assume we are not ALL professionals who read
this blog. Perhaps in your mind you're saying something
that is new or unknown to others, but there was no
light here, only heat. Do you really think non-recording
musicians are ignorant of anything you said above? Of
course not. You're showing your own conceits.]

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

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

Colleagues,

Within days of the Local declaring the Local 47 Referral Website up and running,
the Referral Service Committee was summarily dissolved by President Trombetta.
The RS Committee’s job was not done, there were four motions to be fulfilled,
yet the President dissolved it outright. The president of the FMA-LA, Lisa Haley
requested to appear at an Executive Board meeting. Below is the her report
and notes from members Helen Crosby and Harriet Katz, who attended as observers.

————————

FMA-LA REPORT ON REFERRAL SERVICE MEETING WITH EXECUTIVE BOARD

FMA-L.A. Report on the Executive Board (EB) Meeting with Lisa Haley
Report written July 6, 2010

Greetings fellow musicians:
I have endeavored for over a week to write to you a report on the June 29,
2010 meeting with our EB that would maintain decorum, avoid unnecessary
division, and move us all towards common agreement.

Unfortunately, in view of the events of the meeting, I have arrived at the
conclusion that it is not possible to do so. I must simply state what will
surely be reflected by our Secretary in the official Minutes of the meeting,
since the ideas brought forth and the discussions resulting at an EB
meeting must be made available to all members, as the EB was NOT
in executive session at the time.

Thank you to Helen Crosby and Harriet Katz, who attended as observers
and took notes. Helen’s notes are included in their entirety at the end
of my letter.

We are sure that our Local #47 Secretary’s notes will be far more
comprehensive.

Lisa Haley report:

At the General Meeting (GM) Oct 22, 2007, Live Performance/
Freelance members passed four Motions “to restore and then
surpass the highest operating level of the Referral Service.” (RS)
The Motions were extremely clear. A Referral Service Committee
was formed to oversee the completion of the Motions.
The deadline for completion was April, 2008.

Over two years later, we’re still waiting for the EB to fulfill the
will of the members. They have violated their deadline.
At the EB meeting on June 29, the following revelations were
made by EB members:

- A half-finished, static Referral Service website can take the
place of the real marketing and personal outreach which is
standard practice for any successful business. (This same marketing
expertise was the reason David Schubach and Errol Henry had
such a high level of work coming through the RS. Unfortunately,
Sam Chates was directed early on by the EB to put his efforts
elsewhere.)

- President Trombetta dismissed our Referral Service Committee
(RSC) - except he called it a ” Referral Service Website Committee.”
(Note the subtle change.)

Lisa Haley then stated the Referral Service Committee”s (RSC)
proper name as it is on the Passed Motions, (the word “Website”
does not appear,) and it was pointed out to the EB that the RSC
was to oversee the COMPLETION of all Passed Motions, not just
the website

- Secretary Lashinsky suggested that even though the Motions
passed unanimously, the fact that we only had a 53-person
quorum at the time of passage. (the Motions, having been
pushed to the end of the GM, when many members had gone
home) Somehow that made the passage less valid?

This is such a shocking suggestion that it goes to the very
core of what a Union is. If our very Officers are not going to
abide by our Bylaws and the will of the members, (which set
Quorum at 50 some years ago due to the percentage of rank
and file members actually interested in and /or able to attend
meetings) or suggest some members’ votes are perceived to be
less “valid” than others, those allowing such a departure from
our Bylaws and basic Unionism should not be representing that
they have sworn to uphold our laws.

- Our Secretary also suggested that members registered with
the Referral Service cannot be depended upon overall to do a
quality job for clients who request Union musicians. That the
very “lottery system” put in place by the EB to prevent favoritism
would somehow allow our remaining clients to receive a musically
substandard quality of performance.

Again, this is such a shocking suggestion that one HAS to look
at an alternative motive.

We can only assume that the alternative is to allow our Officers to
“Pick and Choose” who gets the work. Unfortunately, this violates
Federal law, as well as our Local #47 Bylaws which state that we must
have an impartial Referral Service in order to avoid blatant favoritism.

With a very heavy heart, I report that Sam Chates has quit his position
as Referral Service Administrator.

I call on all members to look into any instance of work coming in to
the Referral Service that was diverted in any way and taken advantage of
by those who believe that illegal favoritism, diversion of work from equally
deserving members, and subterfuge are normal and necessary to our
Union”s future.

I also call on members in good standing to attend the Fall GM on Oct 25,
2010, and Vote into place a Bylaw change that states:

“Every Local #47 Executive Board meeting shall be recorded in its entirely
(except those portions done in Executive Session,) and the resulting
recording be available in the Members’ Only section of the Local #47
website, for all members in good standing to review.”

Perhaps this will stop the disturbing developments to which I was
unfortunately a witness at the June 29 meeting.

Fraternally Yours,
Lisa Haley
President
FMA-L.A.

—————————————————-

Helen Crosby Notes of Meeting -

June 29, 2010

Leslie Lashsinky provides the EB with email, minutes, and
correspondence regarding the referral service (RS). While passing
these documents around the table she referred to the RSC as the
“website committee”.

Next Sec. L shared her thoughts. The RSC did not administer or
supervise the RS and the committee had fulfilled its duty. We have
a website.

Lisa Haley responded - The purpose of the RSC went beyond just the
website.

Discussion of motions 1-4 and the objectives. The progress report
was made but not all the motions have been fulfilled. E.g. budget,
advertising, marketing. Sam Chase at one time had restrictions
regarding the use of the phone.

Motion 3: Incorporation of the website with an actual RS office.
We have a static website. When there is no outreach, musicians
see a drastic reduction in work.

The motions passed were not exclusive to the website.

John Acosta- noted to the table that all resolutions passed unanimously.

Further, he has brought a plan to the EB about the RS but nothing
has been decided.

He said some word is getting out and Sam has made some of the rounds.

Paul Castillo- Asked when Lisa “stopped participating” with the RSC?
Lisa- stepped down as chair after receiving a Grammy nomination.
Marcy Vaj became chair a year and a half ago. There have been three
meetings with the officers.

Paul Castillo - asked about “restoring the levels?”
Lisa - Advertise, we must put our name consistently before the clients -
we are not visible.

Greg Huckins - requested that the term “motions passed” be used
in this discussion rather than “past motions.”

Judy Chilnick - Wanted to know who restricted Sam’s use of the
telephone to only handle “incoming calls”?

Lisa- Hal was President then. Vince - not going to comment(indicated
no knowledge of such a directive).

Vince Trombetta- asked Lisa for a list of members of the FMA-LA.
Lisa responded that she does not need to provide a list because only
chartered groups need to have a list, not freestanding committees.
The issue was dropped by Vince.
[Editor's Comment: Trombetta has tried this little game several times before.]

Greg Huckins- Asked: Do you see the RS as a talent agency? Should
we call clients, civic organizations, Chambers of Commerce?

Went on to say that when the RS was run by David Schubach there was
no Facebook and asked Lisa if she would say that Facebook is valuable
for “networking”. Our union does not need to duplicate.

Lisa - Static websites require the client to seek out the business.
A losing strategy for all involved. Facebook is good for fans only.
It is not an official website.

Greg-responded with a hypothetical on coming to LA and being
new in to… that Facebook would be valuable in finding work.
“Facebook is now available to every musician and his band.”

Lisa- discussion of “client instigated” activity. Not all band leaders
have their own label, booking agency, and most of the rank and
file don’t have the capability to do the work needed to keep up
on “opportunities”.

Facebook is for fans and has no music capability. Myspace has
music capability but it is used for bands with little financial
resources. Still the “client” has to be directed to the site.
Organizations want to use “legitimate” sources to procure
musical services.

Pam Gates- What is Sam”s job description?
John Acosta- RS Assistant, member services.
Job is to solicit, adjust information on the website, have contact
with event planners and casting agents.
Pam- Do we make “cold calls”?
J.A.- No, we call using a generated list of contacts.
Pam- we need larger outreach?
Lisa- much needed.

Roy D’Antonio- asked Lisa- “Do you want the RS to act as a booking agent?”

Leslie Lashinsky- There are really only two issues today. 1) the
lifespan of the RSC and 2) Demand for better services.

After 2008 there was no dictate as to the length of, or term of the
“ad hoc committee”.

Regarding the language “urged to”… reminder by the time these
motions were voted on there was barley a quorum. Urged to =
goals but was not a “dictate” or a “mandate”. It was not an accident
that the text was adjusted. “I’m not trying to say that there is a
loophole”. “The issues are not dead. There is a feeling that we want
to support our members in the most current and relevant ways.”…
“Within context of current circumstances.”

“The EB might not be aware of this but, we must remember we have
to represent all equally without judgment”. Leslie then goes on to
describe the various types of members, including students. We
cannot promote any particular party…. if the client is unhappy…
we cannot guarantee quality… (yada).

Paul Castillo- Asks Lisa- “Are you registered with Go Pro? Are you
registered with other referral services?”
Lisa- “Yes, if we are not reaching out then whoever is, is getting the job.”
Paul- discussion of statistics,… ?

Lisa- “There is no electronic replacement for personal contact.”

John Acosta- Thanks Lisa for her coming to the meeting… Asks
hypothetical- “If the EB committed to a plan for implementation ,
does the RSC need to be kept?”
Lisa- “Maybe not. But obviously since the April 2008 deadline for
our Motions was not met, we need oversight.”

Leslie Lashinsky- RE: Initiation of new members. Says she reminds
new members that nothing takes the place of the musician’s own
contacts. “Local 47 tries to provide the tools.” “We have to provide
a referral mechanism.” Our system now 5-7 random,…
Perceived danger of lack of quality, means we the Local cannot
promote.

Lisa- the original FMA wording, written weeks in advance of the
General Meeting, said that the Executive Board “must” accomplish
the objectives of the four Motions.

One member suggested the word change to “be urged to.”
The language change was for “gentility” not a “loophole”.

Vince Trombetta_ Thanked all for coming.(Including observers).
Language change at the Federation, documents to change “casual
musician” to “freelance musician”. In Los Angeles, all the members
except the LA Phil. Musicians are “freelance”.

We are not a booking agency. No other local has four employees
working in that area.

End of Notes

—————————————————-

Note from Harriet Katz

Not one board member even acknowledged, let alone criticized,
the fact that motions passed by the membership at the October
22, 2007 General Meeting are being ignored and flouted.

As Lisa and Helen Crosby’s report on the meeting shows, there are
two all-important conclusions to be drawn:

1. Too many board members know little or nothing about promotion
or marketing of musicians in the first place, and little or nothing about
the rapidly developing high-tech tools we now need to use to promote
and market ourselves and our groups;

2. Too many board members couldn’t care less.

Harriet Katz

—————————————————-

From Local 47 member Charles Fernandez

To the COMMITTEE,

Lisa, Helen and Harriet were kind enough to send me their reports.

What should become abundantly clear from the notes is the distain with
which some of the EB hold true casual musicians. I was personally
disgusted, but not at all surprised, to hear about the posturing and
snide remarks of some of the board. Others seems to not know about
the issue but were trying to find out.

Our RS has been almost inactive, except for the efforts of Sam Chates,
restricted as he was until he recently quit. That begs the question,
“All things being equal, Local 47 would still get calls on occasion.”

WHO DID THOSE JOBS GO TO?

Note the last statement of President Trombetta: “In Los Angeles, all
the members except the LA Phil. musicians are ‘freelance’ “.

THIS IS IMPORTANT
At the last convention:
1) A resolution was passed creating a $100,000 fund specifically
for “freelance/casual” Musicians.
2) Another resolution got rid of the word “casual” to use the word
“freelance” instead.
3) Trombetta states all musicians (presumably all RMA members
as well) are considered freelancers except members of the LA Phil.

Any bets that the lion’s share of that money will find it’s way into
RMA members pockets?

If the Officers of any other company were to engage in such transparent
and intellectually dishonest conduct they would be fired and probably
find the Department of Labor on their doorstep.

Unfortunately, few true rank and file members of this Local still care
enough to get involved. Apathy has taken over since the membership
has realized our Local has been almost totally undermined. We just
lost another one who cared, Sam Chates, and that only leaves a couple
still at the Local. As expected, the administration is trying to pressure
them to leave as well.

What a shame. This used to be a Local we could be proud of.

Charles Fernandez

—————————————————-

Colleagues,

In this month’s President’s Column, President Trombetta says in part,
“Now that the SELA is dead…” The SELA was a single engagement contract
that enabled leaders to pay their own Pension and HandW without
having to incorporate, which can be very expensive.

One or two people misused the system so rather than punishing those
who abused it, they shut down the use of the contract entirely.

Congratulations Local 47 Officers, You’ve managed to ruin two more
of the few things that make the local useful for the rank and file. The Referral
Service and the SELA. Your RMA handlers must be very happy with you.
We’re sure you’ll get a bonus of some kind.

There ought to be a law.

THE COMMITTEE

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

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

I. WE ALL LOSE ANOTHER ONE - Composer/Arranger Don James Passes

June and July thus far have been a tough time for losing colleagues.
Composer/Arranger Don James Passes away just a few days ago.

Don James was born in Chicago, Ill. in 1938. He attended Hyde Park High
School where his classmate and best four-hand jamming friend was
Herbie Hancock. He graduated from the Chicago Musical College
of Roosevelt University as a music composition major and piano
minor. Don later studied in Paris at the Ecole Normale de Musique
with an emphasis on counterpoint, dechiffrage (sight-reading),
piano and composition. His teacher was Nadia Boulanger with
whom he studied on a bi-monthly basis.

Upon returning to the United States Don worked with Cy Touff for
over a year at the Happy Medium in Chicago and began his recording
and arranging career. After a two year period in the Army as a Band
Training Instructor, Don returned to Chicago where he worked as a
conductor/pianist/arranger for many record dates and industrial shows.
In 1969 Don returned to France where he co-composed the music for
the Lido de Paris with a French team. Three more shows followed and
he then moved to Los Angeles to begin composing, arranging and
orchestrating for the Ice Capades doing 13 seasons from 1974 -
1986 with another show in 1992.

Don returned to Paris doing 4 shows for the Moulin Rouge. He then
returned to the United States to work on many Television Variety shows
where he won two Emmy Awards. One for Ben Vereen - His Roots and
Baryshnikov on Broadway. This was followed by work on the Tim Conway
Show as dance arranger for the Don Crichton Dancers and the dance
arranger for the “Mermaids” on Love Boat.

Animation music work followed for DIC and Hanna-Barbera. Some of
the shows include The Smurfs, Paddington Bear and The Wizard of
Oz (animated).

Don had worked on about 25 feature films as arranger, orchestrator
and, at times, ghost composer. Some of the films include Assassination,
Messenger of Death, Crime and Punishment, The Fifth Monkey and
Those Lips, Those Eyes.

He will be dearly missed by the musical community.

THE COMMITTEE

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

II. RMA TAKES CUE FROM THE COMMITTEE

Now that the RMA has taken over the AFM, they’re taking a
cue from the COMMITTEE by starting their own blog.

Now, along with the LOCAL 47 Overture, and potentially
the International Musician, they’ll be using their blog to
spread their propaganda and sing the praises of those they
support (and in most cases, control) and try to pretend the
Presidency and IEB are not now solely owned subsidiaries of
the RMA.

Of course, if one or more of the IEB besides Joe Parente grows
a spine and stands up for the membership over the RMA
leadership, we’ll let you know.

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

III. FLORIDA MEMBER RESEARCH REQUEST

Scheherajazz / Swingin’ with Prince Igor orchestra arrangement
recorded by Skip Martin in 1959 and recently released as 101
Strings. The Charlotte Symphony Orchestra in Punta Gorda
Florida has been looking for the orchestral arrangement.
Any suggestions?
sales@charlottesymphony.com

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

IV. COMMENTS (THE ANTI-COMMITTEE EDITION)

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

I really don’t know all about the politics of the union and I
know the RMA hasn’t really done anything for me except cost me
money and ask for more. However, the most terrible thing Lee
did at the afm was to charge all of us folks that get special
payments extra fees…… The industry, from what I have seen gets
worse every year. Let’s
hope this new group of musician-politicians does better……but from
what I have seen those two never go together well

————————————

FROM THE RMA POSTER…

Why does your website not offer a link to the RMA or RMALA but
to all other important AFM groups? Isn’t that unfair? Do you
hate them that much? Why not let people make an educated
decision about RMA and read for themselves and give them a
chance?

[EDITOR'S COMMENT: Most AFM members who used to record
need only look at their check books and date books to know
who their real enemy is. And it certainly isn't us.}

------------------------------------

And another from the same poster...

You state:

Since the elites don't have enough work themselves, having to invade
orchestras, demo sessions and church gigs from those who used to do
those jobs, what could they have possibly offered the gullible in
Nashville, New York and Boston to drink their Kool-aide? It cannot be
work, the RMAers themselves don't have enough.

Dear Committee:

Would you consider it "elitist" to ask the committee to back up
its statements? I say it is simply fair.

Please indicate to your readers the names of the "orchestras"
elites you say have invaded. When you specify, I will comment
later on each orchestra.

Regarding demo sessions and church jobs, you are well aware
that the contractors of these jobs have the freedom to call
whomever they want. If they want to call what you call an
"elite" player, that is their perrogative. Do you not agree?

You say they are "invading" demo session and church jobs
because they don't have enough work. Even if part of what you
were saying were true--that the "elites don't have enough work
themselves" and as a result of that would be ostensibly
available for demos and church gigs, (not "invading" these
jobs as you characterize it) why would you blame the "elites"?
They have "invaded" nothing. Your beef should actually be with
the contractors who hire them.

But honestly, can you fault an "elite" for accepting a work
call? And what does it say about these so-called "elite" players
when they are called by contractors for work over others that
you say "used to do those jobs"? Why are these contractors not
calling the ones they used to call? Hmmmmm. Could it possible
be that your so-called "elites" are better players? Hmmmmmmm.

[EDITOR'S COMMENT: Not 4 years ago those same elites who are now
doing those demos, churches and orchestras (and dark dates - don't
kid yourself) looked at the very people doing those jobs as
hobbyists and amateurs. THEY are now the hobbyists. Thanks to
the RMA leadership that has them all scared to say a word or
lose what work is left.

You conveniently leave out that it was the RMA leadership's
intransigence and greed that has put their own members in
the position to have to do those jobs they so recently
turned their noses up at. Those same RMA players whose leaders
have lost 60% of LA recording work in last 8 years and chased
work away with their Simpsons video game stunt are now working
under that contract they thought was so bad.

Your leadership has cost members federation-wide millions of
dollars of work to protect their July checks.

You didn't just do it to yourselves, you did it to all of us.]

—————————————-

And yet another from the same RMA poster…

Can you please inform your readership how you (and others)
have arrived at the 150 “elite” number of “RMAers” you claim
do all the studio work and is that just for Los Angeles or
for the whole AFM jurisdiction? Once again, please justify
this number.

[EDITORS COMMENT: Add up all the members of the RMA,
LA: A little over 800; NY: we're told there are about 40; Nashville:
a couple of hundred. ALL of them and it's no more than 1,100 to
1,500 depending on the number of members in the other chapters.

The number of people working in recording regularly in Los Angeles
is a very well known number from reading the contracting lists of those
who play the sessions. Oh yes, we get those too. That's what you'd call,
number justification.

Perhaps we'll have to start putting a limit on the number of comments
per person on the mailings. There are two more from the same poster
after this one. Things must be slow on the Matter and Observer blogs.
At least here differing opinions are welcome.]

—————————————

And a 4th from the RMA Poster…

Could you please offer the names of the two individuals
you call the “dynastic duo”? Who are these people. We all
want to know!!!!!

—————————————

And a 5th…

It’s bad enough that you continue to slam the RMA but
now you slam the rest of the country (other locals) calling
them “gullible”. It’s obvious to me that you think only
smart people in the whole AFM are part of THE COMMITTEE!

[EDITOR'S COMMENT: Anyone whose reads our mailings knows that
that is not true. But, you can only make informed decisions
when you have all the facts, and that is why the COMMITTEE
exists, to make sure people hear something other than
the RMA side.

A last note. As long as the RMA works toward the destruction
of everyone's recording work other than their own and prevents
anything that will help bring work back for anyone other than
themselves, we will indeed slam them. As long as they continue to
corrupt any Local they can infiltrate we will continue to slam
them. Our dedication to the true idea of the AFM calls for no less.

We hope the other locals who find their existence and/or officers
affected will either let us know, or create their own voice to
inform their brethren.

Knowledge is power, but only if you do something good with it.]

—————————————

This is a democracy and we have free speech. If you don’t identify
who you are, everything you say is at the very least hearsay.
jerry redmond, member local 47 musicians union

[EDITOR'S COMMENT,

Our record of accuracy stands, anonymous or not. This is why
we say, "don't believe us, read it for yourself," then supply the
page and column of the Overture, should it be concerning Local 47.
Our statements are easy enough to verify if you know enough
musicians of different kinds in Los Angeles or elsewhere.]

—————————————

[what could they have possibly offered the gullible in
Nashville, New York and Boston to drink their Kool-aide?]

A strange question since the RMA actually started in NY
over 40 years ago. As usual, the COMMITTEE is factless,
clueless and a victim of your own imagination. Talk about
Kool-aide…….

[EDITOR'S COMMENT: Compare the membership numbers and power base.
And didn't one of the RMA-NY minions say at a New York meeting, "New
York has never been a recording town" and "95% of recording is done in
Los Angeles" (Not nearly true). Power Base and Numbers.

---------------------------------------

I think the above writer makes a very good point and I am also
fascinated by your reference to the 'elites'. This business is
a meritocracy. Are the players in the LA Philharmonic, the
Metropolitan Opera Orchestra, and the New York Philharmonic
among the 'elites'.?

I don't call these people 'elites' because they have jobs that
I would like the opportunity to play. I don't call them
'elites' because a player from the Philharmonic would rather
share a stand with one from the Metropolitan Opera than me. I
would love to play with the Philharmonic or the Met. But while
I was learning Jerome Kern songs, these people were learning
Strauss tone poems. They are talented musicians who put in the
hours, took auditions or got recommended for things and developed
reputations as great players. They deserve the work they get.
And why wouldn't anyone want them on a film score, phonograph
recording, church job, demo, or anything else? Isn't that the
way it works in music? Nobody calls the union and says: 'get
me anyone listed in the book as a violinist'. They want the
best players they can get at the time.

I guess if you work hard, practice, study, get good jobs, and
develop a good reputation, the 'Committee' puts you in a certain
category and calls you 'elite' as if you have done something
wrong. I suppose that if the 'Committee' folks are not getting
the jobs they would like, they have to put the blame somewhere.

[EDITOR'S COMMENT: A meritocracy?? If any symphony orchestra
ran their hiring practice the way the incestuous LA contractors
run theirs for major film scoring dates, they'd be laughed (or
sued) out of the business. Do you think for one minute that the
RMA would even BEGIN to consider "blind" auditions as is the
norm with many if not most symphony orchestras (where auditions
are conducted behind screens so the age, sex, and identity of the
player is hidden)? Auditions where your PLAYING is what gets you
the job, not who you know, who you suck up to, etc etc? Never.
Not a chance.

Film scoring dates are nowhere close to a meritocracy because of the
blatantly biased and preferential hiring practices. And where does
that leave a newcomer musician who has the talent for the job but
may not be as "politically connected" as other established players?
Nowhere. Might as well be flipping burgers.

While blind auditions would be a great way to level the playing
field as they have contributed to doing for symphony orchestras,
the next time you want to see many RMAers shut their mouthes
immediately and slink away quietly, suggest blind auditions for
film scoring jobs. A true meritocracy, as you suggest, would be
considered by many of the RMA elites a mortal threat to their
recording careers because it just might reveal that more than
a few of these "top call" players, no matter how well connected
politically, simply don't measure up talent-wise.

Most businesses have a "who you know" aspect, that's simply a
reality. The problem here is not so much the work they are
protecting for themselves, but the damage to everyone else
because of the outdated buggy-whip contracts that have so
severely damaged recording prospects in America and Canada.
Many locals at the convention said they can't even get started with
recording because no clients will work with the AFM contracts.
The RMA will leave everyone and anyone else out the dry for their
own pocketbooks, and that is not unionism, that is not brotherhood.
That is simple greed.]

———————————-

Praise the Lord–our long fraternal nightmare is over. I was at
the Local 47 meeting when Tom Lee spoke to the members.
His words and his behavior made it clear that he simply didn’t
consider us important to his plans. I’ve never been in the
presence of a man who appeared so untrustworthy, except
once when I was buying a car. I’m so happy that the RMA
members were able to organize enough support to persuade
delegates not to vote against their own self-interest.

I found this site when Googling the words “Tom Lee” and
“finally.” I had forgotten about “The Committee” since I shut
off the puerile emails. Like the Palins of the world, he will learn
that overheated passion in pursuit of a misguided cause is not
enough to alter reality.

———————————-

It may be time for a new website - The Committee for a More
Responsible Committee for a More Responsible Local 47.

You are so much smarter than us ignorant local officers.

———————————-

You say: “The RMA has been the major cause of over 60% of our
recording work in the last 8 years.” So you mean that the RMA,
who you profess to despise, was responsible for 60% of recording
work? Or does your rant contain even more grammatical error than
usual?
Give up, you lost to a democratic election. If you really are a musician
then do some practice, some auditions and try and get a job.

[EDITOR'S COMMENT: Please insert in the first sentence above after
the word "of" - "the loss of". That will fix the sentence's intended meeting.
But you already know that, don't you.]
———————————-

[Gone is the possibility of real forward looking contracts that will
bring work back to everyone.]
EVERYONE?? There’s never been a time in the AFM’s history when
EVERYONE had work. As the previous poster states - practice your
axe and try to get a job….

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

V. CONCERTS AND EVENTS

———————————

MESSAGE FROM BILLY MITCHELL

Dear friends and fellow educators,

The SAPPA program continues to open programs
for youngsters in underserved areas. We are
in need of orchestra instruments (violins and
violas, any size, any condition).

If you have any instruments that you would like
to DONATE please contact me at
626-574-5040.

Thank you for your support!
MITCH
BILLY MITCHELL-SAPPA
www.sappa.net
www.youtube.com/sappaprogram
sappaprograms@gmail.com

———————————–

7/3-4/10

LISA HALEY AND THE ZYDECATS

SATURDAY 7/3/10-SUNDAY 7/4/10 LONG BEACH, CALIFORNIA -
QUEEN MARY BBQ, BREWS AND RED, WHITE & BLUES FEST
-WE PERFORM 6-9PM EACH DAY
1126 Queens Highway, Long Beach, CA 90802-6390 - INFO: (562) 435-3511
HAPPY 4TH OF JULY! FIREWORKS! DANCE WITH US!
http://www.queenmary.com/?page=fourthofjuly

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

Other upcoming concerts

THURS 7/08/10 LAKE ARROWHEAD, CA -
ARROWHEAD ARTS MUSIC FESTIVAL - 6PM
Festival Grounds, Tavern Bay Beach Club -
850 Willow Creek Rd, Lake Arrowhead, CA 92352
http://www.arrowheadarts.org/events.html

SAT 7/10/10 MILWAUKEE, WISCONSIN - BASTILLE DAY
FESTIVAL - WE PERFORM 4PM & 9PM
CATHEDRAL SQUARE MAIN STAGE with Candy Kayne!
http://www.easttown.com/categories/4-bastilledays

SUN 7/11/10 PETOSKEY, MICHIGAN - BLISSFEST - WE
PERFORM 4PM & 7:30PM
Main Stage with John Hiatt, Richie Havens, Fishtank Ensemble
http://www.blissfest.org/festival.html

TUES 7/13/10 ANAHEIM, CALIFORNIA -
MAJOR LEAGUE BASEBALL ALLSTAR FANFEST!
ANAHEIM CONVENTION CENTER - TWO SHOWS 8:30AM AND 2PM
A fabulous! day of fun for family and friends!
http://mlb.mlb.com/mlb/events/all_star/y2010/index.jsp?content=fanfest

HOLDING: ADDITIONAL SHOWS IN CANADA, NW, GREAT LAKES, MIDWEST U.S.

———————————–

7/7/10

Canoga Park Bowl and the
San Fernando Valley Symphony Orchestra present
Concerts at the Bowl

Wednesday Evenings at 8:30pm
In the Royal Room

July 7th
The Blues Bandits
David Reo, guitar; Jimi Dee, guitar
Gary Herbig, saxaphone; Scott Firestone, drums;
Larry Muradian, bass; and Friends

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

other concerts in the series…

July 14th
Brazilian Jazz
Geoff Nudell, clarinet; James Domine, guitar,
Larry Muradian, bass; Chuck Birkenshaw, drums

July 21st
The Symphomaniax
Ruth Bruegger, violin; James Domine, guitar;
Glen Grab, cello; Larry Muradian, bass

July 28th
TBA

Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

———————————

7/22/10

2010 ASMAC Golden Score Awards
at the Universal Hilton is July 22, 2010.

We hope you’ll all join us.
The Golden Score Awards (previously scheduled for April 29th) will
now take place on Thursday, July 22, 2010. We are honoring Marc
Shaiman and Sammy Nestico (yes - they’ll both be with us), and have
already reconfirmed Rob Reiner as our host. Our other guest participants
are all being reconfirmed at this time and will be announced shortly.

The event will include personal and musical tributes for our honorees,
a silent auction, and amazing live entertainment. All funds raised will
benefit ASMAC’s educational programs, workshops, master classes,
and fund several scholarships

If you’ve already reserved, your reservations are still confirmed.
If you haven’t yet, please SAVE THE DATE and participate in the
event through sponsorship, reservations or a tribute ad to our
honorees. We will be sending out NEW PRINTED MATERIAL
shortly, but for more information, please call our office at
818/994-4661.

In advance, please accept our warmest thanks and appreciation
for your support.
Please make reservations by July 15th @ 818/994-4661
or by email to asmac@theproperimageevents.com

Check us out at www.asmac.org

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

AFM BROTHERS AND SISTERS,
We hope you found our conventions updates helpful. We’re now
going back to our regular schedule.

I. ALLYN FERGUSON PASSES
II. REMINDER: FMA CALL TO ACTION THIS TUESDAY
III. FINAL THOUGHTS ON THE CONVENTION
IV. COMMENTS
IV. CONCERTS AND EVENTS

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

I. ALLYN FERGUSON PASSES

Colleagues, we have lost a dear friend and composing legend in
ALLYN FERGUSON.

He wrote and/or collaborated on countless films and series from
1962 to 2008 including: The Monkees; Bewitched; The Andy Williams Show;
Starsky and Hutch; The New Dick Van Dyke Show; Barney Miller;
Big Hawaii; A.E.S. Hudson Street; Hallmark Hall of Fame; The Rookies;
Murder, She Wrote; The Incredible Hulk; Diagnosis Murder and even
such shows as the Benny Hill Show!

He will be dearly missed.

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

II. REMINDER: FMA CALL TO ACTION THIS TUESDAY

From: Lisa Haley
President
Freelance Musicians Assn- L.A.

Hello Everyone:

I just received a request from Secretary Leslie, asking me to
attend the EB meeting on Tues June 29, 2010 concerning the
dissolving of the Referral Service Committee. I would greatly
appreciate it if you were present as well.

Appointment time TBA, probably late morning.

Unfortunately, as you know we had a “bad influence” with ulterior
motives in our FMA Leadership when the Passed Motions were drafted,
who convinced us to put the words:
“Local 47 Executive Board be URGED TO’
rather than “Local 47 Executive Board MUST”
- carry out the Passed Motions #II and III.

I fully expect the EB to grind us on this point.

In our favor, there is no wording in the Passed Motions allowing
the EB to dismiss the Referral Service Committee under any
circumstances, especially only after the implementing of our website.

We can argue that since most of the issues prompting the Passed
Motions are still outstanding, the RS Committee must continue.
I am also going to push the point that there were 453 Members
total in attendance at this meeting, and that the Passed Motions
were passed unanimously.

I have heard from another RS Committee member that they are
also very displeased at being “dismissed” following the completion
of our website, which was only one point of the Passed Motions.

It’s going to be a fight.

If there is anyone else who feels as we do, please email me
and plan to attend as well.

Regards,
Lisa Haley

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

III. FINAL THOUGHTS ON THE CONVENTION

Regardless of the outcome of our most recent convention, as we
all get involved with the trials and conflicts of our immediate Local
circles, it’s refreshing to come to the AFM convention and realize
just how many wonderful, competent, hard-working and honest
officers, members and delegates there really are in the brotherhood
and sisterhood of the AFM.

All of the Committees were extremely impressive, with a fair number of
members from every area on each. The beauty of such a diverse group is
that no one can walk in with an overt agenda and bully or coerse the
group into doing anything other than what they believe is best for the
ENTIRE membership. If they do, they’re quickly put in their place and
exposed for who they are.

It was such a joy going into the convention hall and automatically having
faith that the committees will have the best interest of all the
membership in mind (Until the last Recommendation I, that is)and not
owned by any special interest group, unlike Local 47. It is something
every member should do at one time or another, so they can see how real
democracy can work and how competent officers act.

Unfortunately, with so many smaller locals unable to attend because of
the economy, the RMA has taken over our federation. Gone is the
possibility of real forward looking contracts that will bring work back to
everyone. It reminds us of the final scene of the most recent Star Wars
film, where the dark side has taken over.

We’re not sure if Ray Hair really knew who he was getting in bed with
when he signed onto the RMA agenda, but he’ll find out the moment
he doesn’t follow RMA orders.

HERE’S OUR BIGGEST QUESTION

The RMA has been the major cause of over 60% of our recording work in
the last 8 years. Everyone’s work is leaving and only between 100-150
recording musicians get anywhere near regular work.

Since the elites don’t have enough work themselves, having to invade
orchestras, demo sessions and church gigs from those who used to do
those jobs, what could they have possibly offered the gullible in
Nashville, New York and Boston to drink their Kool-aide? It cannot be
work, the RMAers themselves don’t have enough.

THE COMMITTEE

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

IV. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

Unions were created to protect workers from depressed wages &
deplorable working conditions. Who is going to protect us from the
Unions?

————————————

Dear Committee:
Thanks for posting my rant. I didn’t mean to be offensive or anything.
It’s just that these days anything resembling factual assessments of
any employment/economic issues is either ignored or suppressed.
By mainstream media and far too many people. What’s happening with
47/AFM is a reflection of what’s happening in the country. Where we’re
at (as a Union/nation) is so horribly bad that if the true ramifications were
understood by a majority of Members/public, there would be riots in the
streets. But I digress……….

The fact remains unless AFM has some written contracts stating the studios
will use “x” number of Members for “y” number of soundtracks (like the CBC/AFM
Canada deal), there’s nothing compelling studios to use Members to track
scores.

So whatever Pres. Hair tries to do will just be a useless act for the benefit
of the “magic 150″. There’s no discussion of a new business model to fit the 21st
Century situation we find ourselves in. More than likely it will have to be some
sort of independent contractor code that may not even be enforceable. We all well
know most of what passes now for popular music doesn’t require the same skill
set as “back in the day”. Music itself has lost much of its former monetary value,
and digital downloading is only one of many causes. So unless we immediately
begin the painful discussion of what are we going to do for the future, the entire
“musicians’ union” thing may become another dinosaur.

The majority of the public cares about “music” mostly as a soundtrack for a lifestyle,
not for its artistic/”spiritual” value. And we can always be undercut by amateurs
desperate for “exposure”.

Thanks for tolerating my rants. Sorry, M8s. I’m just really frustrated others
don’t/won’t see what’s so blatantly obvious to me.

————————————

Dear Committee:

You recently stated the following:

“We remind you here, that if not for the economy and 30% of the
Locals not being able to come because of it, we believe the
election results would have been far, far different.”

Please back this figure up to your readers with an actual list of
the locals you “believe” could not attend because of the “economy.”
You must have one since you arrived at the “30%” figure.

Also, please provide to your readership written proof (e.g.
endorsements) that the delegates from said locals were indeed planning
to vote for Mr. Lee since you say the results would have been
“far, far different.”

Also, proof to your readership of written apologies to Tom
from the locals as to why they could not attend the convention
stating that “economic hardship” was the reason would be
appreciated.

Hmmmmmm. I personally would like to know why all these locals
could not afford a cheap advance purchase plane ticket to Vegas
and 4 nights in a less the average hotel for their delegates.
After all, they had 3 years to save up from the last convention.
In a nutshell, I believe that if they can’t afford and plan for
these expenses for a critical election which comes every 3 years,
they shouldn’t be running their locals in the first place.

[Editor's Comment: Yet another clear example of the elitist RMA mentality]

————————————

And yet ANOTHER from the RMA commenter

[Editor's Comment: Did it ever occur to you that we were ALSO
talking about AFM Officers salaries?]}

Apparently, you are unable to even read what YOU write. You DO
include “those of Local 47 and Local 802.” It occurs to me that
your education is incomplete. However, your marginalization IS
complete.

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

V. CONCERTS AND EVENTS

———————————

MESSAGE FROM BILLY MITCHELL

Dear friends and fellow educators,

The SAPPA program continues to open programs
for youngsters in underserved areas. We are
in need of orchestra instruments (violins and
violas, any size, any condition).

If you have any instruments that you would like
to DONATE please contact me at
626-574-5040.

Thank you for your support!
MITCH
BILLY MITCHELL-SAPPA
www.sappa.net
www.youtube.com/sappaprogram
sappaprograms@gmail.com

———————————–

6/27/10

MALIBU COAST CHAMBER ORCHESTRA

Join us for our “Spectacular Season Finale” and Barbeque

Sunday, June 27th, 2010 at 7:00 pm
Concert, BBQ with a Silent Auction at 5:30!

Featuring the
MALIBU COAST CHAMBER ORCHESTRA
(Malibu’s award-winning professional orchestra)
Scott Hosfeld, Conductor
Also featuring:
Malibu String Academy Directors:
Maia and Steven Zander, solo violinists,
performing Vivaldi’s brilliant “Double Concerto in A Minor”

Make June 27th your most spectacular start of summer ever!
Here at MAHMA we take great pride in bringing you:
Not Just Concerts but EXPERIENCES!

This
“Spectacular Season Finale”
and Barbeque will take place in our
Indoor\Outdoor Festival Space (IOFS).
In case of chilly weather, please bring your favorite
warm coat or a blanket. Heating and a
number of house blankets will be provided .

To make a reservation please call
(310) 589-0295
or visit our website at
www.malibufriendsofmusic.org

Malibu Friends of Music | 6307 Busch Drive | Malibu | CA | 90265

———————————

6/30/10

Canoga Park Bowl and the San Fernando Valley Symphony Orchestra present
CONCERTS AT THE BOWL

Wednesday Evenings at 8:30pm
In the Royal Room

June 30th
Jennifer Bliman
on French Horn
Playing Film and TV Themes
and Music from Broadway

Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

———————————

7/22/10

2010 ASMAC Golden Score Awards
at the Universal Hilton is July 22, 2010.

We hope you’ll all join us.
The Golden Score Awards (previously scheduled for April 29th) will
now take place on Thursday, July 22, 2010. We are honoring Marc
Shaiman and Sammy Nestico (yes - they’ll both be with us), and have
already reconfirmed Rob Reiner as our host. Our other guest participants
are all being reconfirmed at this time and will be announced shortly.

The event will include personal and musical tributes for our honorees,
a silent auction, and amazing live entertainment. All funds raised will
benefit ASMAC’s educational programs, workshops, master classes,
and fund several scholarships

If you’ve already reserved, your reservations are still confirmed.
If you haven’t yet, please SAVE THE DATE and participate in the
event through sponsorship, reservations or a tribute ad to our
honorees. We will be sending out NEW PRINTED MATERIAL
shortly, but for more information, please call our office at
818/994-4661.

In advance, please accept our warmest thanks and appreciation
for your support.
Please make reservations by July 15th @ 818/994-4661
or by email to asmac@theproperimageevents.com

Check us out at www.asmac.org

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

CONVENTION WRAPS UP
(You’ll find election finals at the bottom of this update.)

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

I. THE RECOMMENDATION I FARCE

Yesterday, we told you about the joint Law and Finance Committee
Substitute Resolution I (The finance package)

There was endless debate with many, many delegates protesting that
their locals simply could not afford it, NO WAY, NO HOW. They also
said cuts should be made rather than fee hikes.

A deal was struck on an alternate Joint Financial Package that was
presented this morning.

NOT A WORD WAS CHANGED from the previous days package except
the terms of the 2% fee on special payments. All the other fees and costs
and charges remained, exactly as it was yesterday, EXACTLY.

On the RMA 2%, it was removed and it is going to be under the direct
control of the IEB (The RMA IEB now) and a four person committee of
those who work in the area (RMAers). This is described in Article 8; section
6 of the AFM bylaws. Also, if we heard correctly, those who qualify to vote
on contracts would have to ok any fee. In other words, The foxes guarding
the hen house. Much like BP doing their own safety checks.
Anyone making under $2,500 in special payments will not be charged.

So the only, the single difference is that the RMA got exactly what it wanted,
and most of the folks who yesterday said NO WAY, WE CAN’T PAY, today said,
“fine”.

It took less that 16 hours for the small locals to wake up to having been
successfully played as suckers by the RMA for the recording members benefit.
And let’s see if the new RMA IEB will ok any fees.

IT PASSED

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

II. HAIR SMOKE AND MIRRORS, WITHOUT MUCH SMOKE

The next specious argument was shamefully transparent.
Incoming AFM President Ray Hair described as uncollected
revenue: $700,000 in 2008 and $700,000 in 2009 that was
lost because of the split in the federation over the 2% fee on
special payments.

He didn’t say that “revenue” was money that the RMAer’s owed
according to the very 2% fee he said caused the rift.

Money the RMAers refused to pay.

That money would never have existed as revenue to begin with
if not for the 2% fee. The argument was a total, bald-faced fraud.

Unfortunately, none of the delegates present had the cajones to
get up and call him on his obvious intellectual dishonesty.

RIFT FAULT

He intimated again and again that this rift was the AFM’S fault,
when all the attacks had came FROM the RMA to the AFM.
The RMA has been the one wasting our dues money by forcing
the Federation to defend us all against the recording musicians
attacks and not paying the fees they used as their excuse
FOR the attacks.

Yet, Ray will pretend that HE was able to heal the rift, when HE
and his people were the authors and finishers OF THE RIFT.

Also, we suspect that now that the RMA runs the show, that
1.4 million of unpaid RMA fees will be paid, and Hair and Company
will take total credit for the “INCREASE IN INCOME” They have
created.

A totally hypocritical, unethical and dishonest farce to be sure,
but Hair will act as pure as the driven snow and those who don’t
know any better will buy it, while his RMA crew will know it is all lies
but push it anyway, because it’s what they do.

These are the people who run our federation now and the ones
some of the small locals were fooled into supporting.

Hair and company created the conflict, blamed it one someone else,
then will take credit for “Solving it” when all they’ll do is to stop
what they started.

Let the shearing begin.

You certainly won’t find any of this info on the Observer.

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

III. THE LAST RESOLUTIONS AND RECOMMENDATIONS

from the FINANCE COMMITTEE

-RECOMMENDATION 14 - Substitute recommendation passed per
committee recommendation.
Concerned Locals who pay per capita dues late.
-RESOLUTION 10 - Failed per committee recommendation.
Multi-Local member rebates.
-RECOMMENDATION 6 - This substitute recommendation FAILED
though found favorable by the committee after much debate. Debate
returned to the initial recommendation presented. At this point this
recommendation was withdrawn.

from the DIVERSITY COMMITTEE

-RECOMMENDATION 10 - substitute resolution passed per committee
recommendation. Concerned diversity delegates to AFL-CIO conventions
and requirements thereof.

-EMERGENCY RESOLUTION: Concerning the problem, which has turned
out to be widespread, of student ensembles replacing professional musicians
for all kinds of functions. In this case a professional orchestra being replaced
by a student orchestra from Roosevelt University.
THE RESOLUTION PASSED

-EMERGENCY RESOLUTION - Concerning saving money by discontinuing
multiple mailings of the same material to Locals, Officers and Delegates
and finding a way to disseminate the information electronically.
Since the committee that would handle this resolution would not have
24 hours to deliberate and bring it back to the body for a vote, it was
decided that it would be forwarded to the new IEB for a decision.

-RESOLUTION was passed to give outgoing AFM Vice-President Harold
Bradley Emeritus Status.
-RESOLUTION was passed to give outgoing AFM President Tom Lee
Emeritus Status.

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

IV. OTHEER ACTIONS OF THE DAY

1) Certificates were given for various awards, including the award for the
“Most Contributions” to Local 47.
2) Player Conference Reports from: ROPA (Orchestral), OCSOM (The
only recognized player conference in Canada), TMA (Theater Musicians),
ICSOM (Orchestral) and RMA (Where International RMA President Phil
Alying had the gall to talk about “Forward Looking” contracts.
A lot of jaws were on the floor with that one).

[Editor's Note: This convention has confirmed for us that whatever an RMA
Offices SAYS, the opposite is true. The trouble is, to those who don't know
any better, the RMA Officers can sound absolutely reasonable. Just remember
that they do the opposite of what they say in front of large crowds they
have to convince of something.]

3) A report by the PUBLIC RELATIONS COMMITTEE
4) A report by the SMALL LOCALS COMMITTEE. (This committee will become
more and more important to the survival of the AFM in coming months
and years. Their website is AFMSLC.org.
5) A report by the FINANCE COMMITTEE, including the passage of
RESOLUTION A - that gives decision authority to the IEB (RMA) to make
decisions until the next convention.

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

V. SWEARING IN OF NEW OFFICERS

After the swearing in those who spoke were: Sam Folio, Bob McGrew,
Billy Linneman, Bruce Fife, Bill Skolnick, Joe Parente, Vince Trombetta
(Who amazingly talked about character), Tino Gagliardi, David Pomeroy,
Tina Morrison, and finally Harold Bradley and Tom Lee who left the
room after finishing their comments.

Tom Lee gave an amazingly moving sensitive and classy speech.
The AFM has lost a class act in losing Tom Lee.

After Harold Bradley and Tom Lee left, it was time for the new president’s
speech.

Ray Hair began his speech by thanking the outgoing officers, and then
seemed to have self-induced amnesia about his own (or his owners)
and his crews’ actions during the election, considering the lies and
fabrications spewed by them and lapped up by the gullible. He talked
about civility and honesty and bringing back “GOOD” politics, saying
it was long overdo. More “opposite day” talk. He had the gall to speak
of pettiness and immaturity.

We remind you here, that if not for the economy and 30% of the
Locals not being able to come because of it, we believe the election
results would have been far, far different.

Will the new crew dare stray from their RMA script? We shall see.

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

VI. ELECTION FINALS

740 Votes; 273 Delegates; 169 Locals; 4 locals didn’t vote.

PRESIDENT
Ray Hair - 408
Tom Lee - 324

INTERNATIONAL VICE-PRESIDENT
Harold Bradley - 249
Joe Boettger - 7
Bruce Fife - 469

CANADIAN VICE-PRESIDENT
Linda Kara - 28
Bill Skolnik - 112

SECRETARY-TREASURER
Leonard Dicosimo - 302
Sam Folio - 418
Quinten Solano - 11

INTERNATIONAL EXECUTIVE BOARD
Dan Cerveny - 107
Karen El-Chaar - 153
John Cusick - 39
Tino Gagliardi - 354
John Head - 92
Marty Hodapp - 37
Billy Linneman - 156
Bob McGrew - 240
Gary Matts - 236
Wayne Morris - 230
Tina Morrison - 274
Cortez Paige- 62
Joseph Parente - 277
David Pomeroy - 353
Vince Trombetta - 358
Pete Vriesenga - 72

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

VII. CONVENTION COMMENTS

Tom Lee should wear it as “badge of honor” that these
evil people (RMA) don’t like him! Now Ray Hair gets to
dance for the RMA and we can take the “National” to the
Labor Department if they’re one “hair” out of line! A
“business league” posing as a “players conference”
takes over the AFM!

It is all about control of the national contracts and now
the RMA has gotten their guy in- an impotent President
who will to do their bidding! At least Tom Lee had balls!

Member Local 47, AFM

——————————————————-

Hello Comm!

Thank you for posting voices pro and con on your site!
I have tried to add to the discourse on the AFM Observer
and it appears that certain points of view are not going
to get aired there. Keep up the good work.

I am not against partisanship as long as there is some
balance to it. I think the Comm has proven itself to make
the effort because the blog is willing to print both sides
in the comments section.

——————————————————-

I’m so sorry guys,
you fought the good fight.

——————————————————-

Yeah let me thrust my tongue in my cheek make popping
sounds and twist my mouth at a 45 degree angle while
I discontinue these emails.

——————————————————-

Dear Committee:
I was able to read some of the info passed out at recent
Entertainment Industry Conference for CPAs and
entertainment attorneys. There were several very new
and revealing boilerplate contract terms for media music
composition and use as well as in-depth examinations
of new opportunities for content distribution. I believe
these new developments most likely render the entire
RMA-centric/what’s AFM going to do about it discussion
moot.

I would like to comment on this as well as ask the list why
should I renew my membership when I’ve never received
even benefits offered by small Locals like 190.

Please reply at your convenience.

[EDITOR'S COMMENT: Now that the RMA has taken over
the Federation, the chance for truly competitive contracts
is nill. You can expect the one contract that WAS forward
looking, the video game contract, will be removed to appease
the dynastic duo. Those at the top of the ladder will fight
to keep everything the same until they retire, at which point
the recording market will be in ashes, non-union recording
will be more rampant than it is now, and they'll not give two
shakes that they have destroyed the recording future
for everyone else.

As we've said before, the worst mentality is "As long as I get
what I want I don't care what happens to anyone else." This
has been and will continue to be the RMA mantra.]

——————————————————-

Another comment from our repeat RMA commenter:

[2) Since so many organizations have had to cut salaries,
we should consider slight cuts in the Officers Salaries.
Including those of Local 47 and Local 802.]

Since when do Local Officers’ salaries have any impact on
the Federation’s finances? A complete disconnect here.

[Editor's Comment: Did it ever occur to you that we were ALSO
talking about AFM Officers salaries?]

——————————————————-

This election represented a fight between good and evil. evil won.

——————————————————-

we are doomed to the bottom of the ocean

——————————————————-

It’s a very sad day for the AFM.

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com