December 30th, 2009 The Committee
I. FEATURED COMMENT: RICK BLANC RESPONSE TO DAVID POMEROY
II. RESPONSES TO THE LENNIE MOORE COMMENTARY
III. COMMENTS
IV. EVENTS
HAPPY NEW YEAR TO ALL! Have a safe holiday.
THE COMMITTEE
=================
I. FEATURED COMMENT: RICK BLANC RESPONSE TO DAVID POMEROY
In reference to Dave Pomeroy’s response to Lennie Moore’s post:
Those of us who have lived in LA may often have a stronger
anti-RMA animus than one might find in other parts of the
country — for obvious reasons I suppose. Lennie Moore
presents a reasoned argument reflecting the views of a
lot of rank-and-file union members.
To give credit where due I think Dave Pomeroy makes valid points
also and I believe he sincerely wants to improve things. Fact
is, the RMA is part of the AFM democracy. Neither Nashville nor NY
is dominated or controlled completely by RMA, although RMA members
and former members are part of those administrations. But the problem
goes beyond Dave’s description, it goes beyond whether or not the RMA
has captured control of the largest locals: The RMA and Fareplay have
sued the AFM in the past and are suing the AFM currently at the appellate
level: Beyond that there is a great deal of animus and rhetoric directed
against Tom Lee and his administration.
It is not enough to define “working together” as simply meaning some
musicians should refrain from accusations that certain locals are RMA
controlled. The music business and private sector unions are on the skids
across the board. There is blame to go around. If we would “work together”
for purposes of AFM unity there will need to be adjustments made across
the board, e.g., more RMA flexibility, fewer expensive lawsuits, more
cooperation with, and less demonization of, the Lee Administration.
I would grant Pomeroy his point. But this is one point — perhaps one of
three in the pursuit of AFM unity:
1) As institutions reflecting union democracy we should not go overboard
accusing Nashville or NY of being RMA controlled.
2) We need to see some RMA flexibility, cooperation and a stop to the
litigation.
3) The RMA and certain others may be well advised to turn down the anti-Lee
rhetoric; if one doesn’t like an administration (read US administration;
I for one am not an Obama fan) one has to wait it out in the democratic
tradition until change occurs. Until all three of these areas see some
progress I don’t see how the process of “working together” is going to move
forward, although as Dave Pomeroy correctly asserts, working together and
AFM unity would inure to our common benefit.
RICK BLANC
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December 23rd, 2009 The Committee
I. HAPPY HOLIDAYS!
II. SECRETARY LASHINSKY RESPONDS
III. COMMENT FROM COMPOSER LENNIE MOORE
IV. LAWSUITS?
V. COMMENTS
VI. EVENTS
=================
I. HAPPY HOLIDAYS!
All of us at the COMMITTEE want to wish you and yours a
wonderful, safe holiday and a prosperous, equitable 2010!
=================
II. SECRETARY LASHINSKY RESPONDS
When we contacted Secretary Lashinsky about her thoughts
on the LA Opera members comments we gave her a deadline of
Thursday at 5pm for her response. Though she did send her
response at 4:53 PM on Thursday, as of 11:50 PM that evening it
had not arrived. It arrived sometime Friday morning. We thank
the Secretary for responding in a timely manner.
To “The Committee”:
These comments and accusations regarding my alleged involvement
in Los Angeles Opera matters are completely false and, as usual,
reflect your willingness to publish and promote the unfortunate
conclusions that come from anxious and ill-informed musicians
competing for employment in hard times. I have contacted the
Orchestra Committee of the Los Angeles Opera (I served on that
committee for years in the 1980s and ’90s. In fact, I was on the
negotiating committee that succeeded in gaining tenure for LA
opera musicians) to address this misinformation.
I have always been philosophical about the ups and downs in my
career. I roll with the punches as does every working musician. Yet
I remain steadfastly committed to music, the music business, my
colleagues and Union service to all members. Let me share with
COMM RESP 47 readers that contrary to what you might read in this
email forum, when I do show up on a job (and that’s once in a blue
moon), I’m greeted warmly by colleagues, offered words of thanks
for my Union service and commiseration for being subjected to the
abject trash conveyed by this blog and the person(s) responsible for
it.
In Solidarity and with deep respect for all musicians,
Leslie Lashinsky
Secretary/Treasurer
Professional Musicians, Local 47
Los Angeles
—————————-
THE SECRETARY THEN SENT THIS….
Once again, to “The Committee”:
As much as I detest the notion of taking direction from you, I did respond
to your email titled “Subject: Please respond by Thursday 5PM if you wish to
comment.”
My timely response (which I expect you to publish along with this one) was
emailed to you at 4:53pm yesterday, Thursday, December 17, 2009. Your
subsequent Comm Resp 47 email blast (later last night 12/17/09 at 11:52 PM)
said I “did not respond.” It further contained lots more inaccurate and
defamatory statements, revealing your lack of knowledge regarding our
contracts and the history of ballet orchestra employment in Los Angeles. I
contacted the LA Opera Orchestra Committee and have already begun
discussions they or any other musicians desire on related issues, in the
appropriate manner, not through your blog.
Leslie Lashinsky
Secretary/Treasurer
Professional Musicians, Local 47
[Secretary Lashinsky: As we said above, your email was sent at 5:43
Thursday but did not arrive in out mailbox until Friday morning.
We thank you for answering in a timely manner and regret that
either your server (or ours) held up the email.
Secretary Lashinsky, if you do not want to be criticized in these pages
for taking work from rank and file Local 47 bassoonists while making
a generous salary off the dues of those same members, simply don't
work in the jurisdiction as long as you are the secretary. That IS what
the bylaws say, unless the board gives you a pass, which they inexplicably
have on numerous occassions.
If the board doesn't want to be criticized for allowing the abuse of
your office by allowing the Secretary to take these jobs, they should
consistently refuse any such requests.
Allow the abuse, expect the criticism. It's as simple as that. No abuse,
no criticism from us on that front.
Please be specific as to the inaccurate and defamatory statements. Tell us
exactly what was incorrect in what we said. What was defamatory, what was
a falsehood. Be specific.
We gave a quite complete answer to the commenters, having
researched the contract, and even giving a possible legitimate job-related
excuse for you having a role in the situation. We could have simply printed
the comments without comment, or not given you a heads up and chance
to respond before-hand, but we chose to help the commenters understand
the situation more fully and potentially giving you an "out".
So then, Secretary Lashinsky, who is interfering with the LA Opera's
schedule? We pay your salary, so who is doing it? VP Acosta
doesn't seem to want to tell the membership either.]
THE COMMITTEE
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December 18th, 2009 The Committee
I. FEATURED COMMENTS FROM LA OPERA ORCHESTRA MEMBERS
II. TORRIE ZITO, PIANIST AND ARRANGER, IS DEAD AT 76
III. COMMENTS
IV. EVENTS
=================
I. FEATURED COMMENTS from LA Opera Orchestra Members
re: Officer meddling in ballet work.
The COMMITTEE received two comments from very concerned LA
Opera Orchestra members about reported attempts made by full-
time Local 47 secretary-treasurer and bassoonist Leslie Lashinsky
to allegedly scuttle work opportunities for the LA Opera
Orchestra. We present these comments in full below:
COMMENT ONE: Received 12/12/09
So if it weren’t enough that Leslie Lashinsky keeps trying OVER
and OVER again to take work away from the union musicians
she is supposed to represent, she is now attempting to block
an entire orchestra from working. LESLIE’S VENGEANCE!!!
The Los Angeles Opera Orchestra has been asked to play the
upcoming Joffrey Ballet’s Cinderella performances, but serious
objections have been raised - NOT by the ballet company, or
union players themselves, but from LESLIE, who in a very, very
minor coincidence plays with a pickup orchestra that also
performs ballet at the Music Center. Yes, that orchestra for
which she has asked permission to play with on occasion.
Hmmmmm…. conflict of interest? Trying to change out the
orchestra for personal gain? Or more?
Why, more! In a second very, very minor coincidence, Leslie
USED to play with the opera orchestra but somehow, like so
many of us with all of our free-lance groups, ended up NOT
becoming a tenured player. Bitter bitter bitter. Is it possible
that this just seemed like a heaven-sent opportunity to strike
back at a group that allegedly rejected her?
Nah, just a concerned Union Secretary doing her duty by all
musicians.
The upshot? The opera orchestra has not yet been hired for
any of the dates, mostly because of Leslie’s involvement.
As well, because of the dispute, they may end up taking a
lower wage than had been initially planned. WAY TO GO, LESLIE!!!!
You’re the freaking BEST!!!
——————————
COMMENT TWO: Received 12/14/09
I’m in the Los Angeles Opera Orchestra. I’ve been playing there
since Topper Smith hired the orchestra to take over from Los
Angeles Chamber Orchestra. I also have known our union secretary,
Leslie Lashinsky for many years. I have never considered her a
problem before. But now she is apparently holding up our
orchestra’s being hired for outside services for no particular
reason except that she feels another orchestra should get the
work instead.
Why? Except for that she plays with this orchestra, it’s hard to
determine. But this shouldn’t matter because she works at the
union, right? There shouldn’t be any favortism. The opera
orchestra has three months entirely off with no rehearsals, no
performances, nothing, so this one week of service is quite
needed by many of us.
I’ve been thinking about writing since Saturday, when the
orchestra was told - sort of - what’s going on in a meeting.
Please publish this - my first comment ever… - and if you can,
dig into what’s going on? I’m sure many of us would like to
know why this is going on, and would like to stop it from
happening again.
——–
WHAT OUR RESEARCH TELLS US
There is a seldom used ballet orchestra collective bargaining agreement,
used only when the Ahmanson decides to do a ballet. It is on the Local 47
website, under ’scales’ in the members only section. (Not easy to get to,
but that’s another issue.) The name of the agreement is Performing Arts
Center of Los Angeles County. Under the Services Covered section:
Services Covered: This Agreement shall apply in full to all services
performed by musicians who are employed by Employer at the Ahmanson
Theatre or the Dorothy Chandler Pavilion for ballet productions
produced by Music Center Dance during the term of this Agreement.
Before this contract the L.A. Chamber Orchestra did ballet gigs as extra
work. Then the L.A. Opera orchestra did the same thing. Then the Performing
Arts Center did a contract only for the ballet gigs, which is exclusive. So if
the gig in question is from the Ahmanson, then it is really under that contract,
and other orchestras cannot bid on the work. It’s not up for grabs.
In this case however, according to the musicians we heard from, the Joffrey
approached the LA Opera Orchestra and every one was happy with the
arrangements until the Secretary or another officer got involved. It may
be simple contract enforcement for Secretary Lashinsky
(leslie.lashinsky[at]promusic47.org ) to insist that the correct orchestra perform
the work. even though the Secretary is not in charge of live performance
issues - that would be the vice president,
John Acosta (john.acosta[at]promusic47.org).
Secretary Lashinsky has performed in, and served on the negotiating committee
of this orchestra for a long time. She is probably tenured with this every now
and then orchestra.
Which brings us back to the question that Secretary Lashinsky could fix so
easily, but won’t. Does she intend to perform with the Ballet Orchestra?
From her track record we can expect her to fight to do the gig. Wearing
too many hats, she herself shows once again her own blatant self interest,
and lack of impartiality in conducting the members’ business. And of course,
somewhere there is a rank & file union bassoonist who may have missed a
house payment, or getting health insurance, or being vested in the pension
fund because a union officer took the gig.
BOARD INFORMED
With the first posters’ permission, we forwarded the first comment
to the directors, president and vice-president of Local 47 last
Saturday (12/12/09), letting them know that these comments would
be printed, and that they had a chance to fix the problem at their
board meeting (12/15/09). We’ve seen this “personal gain before
the needs of the membership” before and it should be stopped.
VP Acosta wrote back to the COMMITTEE Tuesday afternoon with the
following response:
———
We have received your email. Our general policy is not to
comment on internal Executive Board deliberations or Local
47 business. However, we can advise you that your information
is false.
Fraternally,
John Acosta
Vice-President
On behalf of the Local 47 Executive Board
———
We also wrote to Secretary Lashinsky for her thoughts.
She did not respond.
———
If our info from the LA Opera orchestra members is false, then
who is holding up the job? Who is responsible, Mr. Acosta?
The musicians of the LA Opera and the entire membership
deserve to know who is meddling in the LA Opera’s affairs.
If not for our dues, no one there would have a job. You work
for US.
The players should be able to confront whomever is responsible
for the hold-up of their booking. Is it the Secretary?
(leslie.lashinsky[at]promusic47.org) the Vice-President?
(john.acosta@promusic47.org). We all deserve to know the answer.
We thank the LA Opera Orchestra Members who wrote to us,
we’re against abuse where ever it happens.
If you are in the LA Opera orchestra, you are well within your rights
to call or email the local and demand the details and origin of the
Local’s or officer’s protest to your working with the Joffrey. When
you find out, please let us know. We know there are many outside
your circle who will want to know.
In the first comment, the writer refers to another group that
the secretary plays with. A few months ago, our board in their
infinite wisdom gave Secretary Lashinsky permission to take
10 (ten) days of work with the American Ballet Theater at the
Music Center.
This may be the group the Secretary or another officer is trying
to get the work for.
This one example shows that one or two people CAN make a
difference when they can be heard, and have a forum through
which they can voice their opinion.
MAKE YOURSELF HEARD!
THE COMMITTEE]
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December 11th, 2009 The Committee
I. RMA TRIES TO BLAME AFM AGAIN FOR THEIR SELF-CREATED PROBLEMS
II. 6TH ANNUAL YOUNG ARTISTS COMPETITION
III. COMMENTS
IV. LOTS OF EVENTS!
=================
I. RMA TRIES TO BLAME AFM AGAIN FOR THE RESULT OF THEIR
OWN BUSINESS PRACTICES
In a recent RMA mailing you’ll find, in part, the following text
concerning VIdeo Games:
“We all know this is a mess and it is not getting any better.
2008 was a banner year for video-game companies, but
not for us. The companies earned historic all-time profits,
but AFM Video Game employment has nosedived. Sadly,
AFM wages for 2008 were half the wages in 2007. And
2009 is just getting worse.”
The RMA goes on to try to blame the AFM for the problem,
when anyone even remotely knowledgeable on the subject
knows that the RMA itself drove the video game work out
of Los Angeles, starting with their stunt on the SImpson’s
video game.
The video game companies have made it perfectly clear
what they need to return to Los Angeles, or to the AFM for
that matter. The AFM has been trying to accommodate video
game companies while creating and getting back work that
has left. The AFM actions have included increasing health
and welfare and pension payments on Video Game Sessions
while compromising on the back end payments.
FYI, video games almost never have after market payments,
since there is virtually never new use or broadcast use of video
game scores.
One of the problems is the work that has come back is mostly
going to locales like San Francisco, because companies simply
don’t want to deal with the attitudes and hassles of dealing
with the RMALA, when they’re forced to use that minority
subset of professional Los Angeles musicians. It’s just not
worth it, according to the companies we’ve spoken to.
If there was ANOTHER group of musicians they could deal with
we might have a chance, but not as long as the RMA and their
contractors control the game.
The RMA did it to itself (and all of us) here, No member of the AFM
national hierarchy, be it the President, Secretary or IEB member has or
could cause the loss of any video game work here. The RMA cannot
blame anyone but themselves, though they will try.
People simply don’t want to buy their buggy whips anymore.
So the RMA continues to flog itself and then try to say someone
else caused the scars.
THE COMMITTEE
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December 6th, 2009 The Committee
I. WELCOME BACK SBCGLOBAL / SOUTHBELL / ATT SUBSCRIBERS!
II. ANOTHER LARGE LOCAL FALLS TO RMA SYMPATHIZERS
III. HAPPY HOLIDAYS - SECRETARY TAKES MORE WORK FROM LOCAL 47 BASSOONISTS
IV. ANOTHER VIEW OF A COMPOSERS’ UNION
V. COMMENTS
VI. EVENTS
=================
I. WELCOME BACK SBCGLOBAL / BELLSOUTH / ATT SUBSCRIBERS!
WHERE HAVE WE BEEN? We’ve been here the whole time, sending
out our mailings on a weekly basis. Unfortunately SBCGlobal,
ATT and Bellsouth has been blocking our mailings to you for
almost a year and you’ve missed A LOT!
It could have been from their software but more than likely the
usual suspects have been filing complaints that got SBCGlobal,
etc. to block you from information the powers that be might
not want you to know!
Please remember that every mailing includes a remove link at
the bottom of the mailing, so if you do not want to receive our
offerings simple click the link and you’ll be removed. We do
ask that you not try to prevent others from reading our material
by lodging complaints, just use the remove link if you don’t
wish to be in the loop.
Also, if you want to catch up on what you’ve missed, our website
at www.responsible47.com has all of our mailings for your perusal.
The site is word searchable too!
With the AFM convention and our own elections coming up next year
it will be especially vital that every member is well versed in the
important subjects affecting our Local and the AFM and not just the
info the Local wants you to know about.
Again, WELCOME BACK! We’ve missed you!
THE COMMITTEE
=================
II. ANOTHER LARGE LOCAL FALLS TO RMA SYMPATHIZERS
Members being apathetic about their locals and the future of the federation has
handed the NEW YORK LOCAL over to RMA sympathizers. According to a vocal
anti-AFM Website, the winner of the recent 802 election, Tino Gagliardi, “represents a
faction of those unhappy with Tom’s presidency, and in particular his dealings with
recording musicians.”
Now the three largest locals in the federation are controlled by those sympathetic
to the RMA and their well-financed agenda. Last time it was the Nashville Local,
now it’s New York. The Los Angeles Local has been in the RMA’s pocket for years.
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