Greetings Colleagues!,

The next general membership meeting will take place on Monday,
January 28th at 7pm at the Local.

Since Leslie Lashinsky was elected as Secretary, her seat on the
board will be filled at this meeting. The Executive board has
chosen Gary Lasley to fill the seat until the meeting. Given Mr.
Lasley’s obvious linkage with Marc Sazer (RMA-VP/PMG-Secretary
and LOCAL 47 Webmaster) on several recent attempts at by-law
revision( at least one of which turned out to be illegal,), he is the
obvious RMA choice to represent them on our board.

The RMA has repeatedly called out the troops for this meeting to
accomplish this goal, and another instance of union control through
externally-coerced attendance and voting is anticipated, a ploy which
seems to be working lately.

Maybe there will be others that would like to offer their service to
the Local. If there is a good turnout from the general membership
(beyond the immediate call list) it will become an opportunity to
demonstrate to ourselves there are more options than just accepting
the “in house” choice.

Face it, folks: If you want to maintain the recent democratic advances
that you’ve won through your attendance and participation, you will
have to continue to attend and participate. Self-rule lasts only as long
as you are willing to defend it from those trying to take it away, and
obviously they ain’t giving up yet.

On another note, there are an especially large number of events
and concerts this time, please peruse then and try to come out
and support your colleagues! Remember, we NEVER charge a fee
to get the word out about your events.

The 50th Annual GRAMMY AWARDS balloting is now closed and
the tabulation process is now in process:
We congratulate all of our Grammy-nominated colleagues and wish them
all the best of luck on February 10th!




As we explained above, the election of Leslie Lashinsky to the board
requires an election for the open board seat at the next meeting. As long
as she served on an interim basis as secretary, the board left her board
seat vacant for her to return to if she was unsuccessful in her own run for
the secretary’s job. We believe that they should have filled that board
seat all along, even on an appointed, interim basis, but why risk any
diversity just to get the maximum mind-power in the boardroom?

Are you considering running for the seat? There’s no better way to get
members there on the 28th than to give them a reason to attend! Let us
know your intension to run and we’ll get the word out, let your friends
know and perhaps create a groundswell for potentially more free-thinking
on our board.



*** JANUARY 16th ***

On January 16th, 12 noon, at Catalina’s in Hollywood ASMAC will
honor two of our own… please join us as we pay tribute to:

Mort Lindsey and Fred Steiner


Mort Lindsey has had a long and illustrious career as composer,
conductor, pianist and music director in television, motion pictures
and recordings. Mort began his career as a staff pianist for NBC
in 1948, then as a staff conductor at CBS and ABC, and was long
known for his relationship with Merv Griffin, he spent over twenty
years as orchestra leader on the Merv Griffin Show.

Mort received a Grammy Award (Judy Garland at Carnegie Hall)
and Emmy Award (A Happening in Central Park) plus several gold
records for his work with Merv, Judy Garland, Barbra Streisand,
Aaron Neville, Willie Nelson and Elton John. Mort orchestrated
numerous television specials starring Judy Garland, Frank Sinatra,
Dean Martin, Phil Silvers, Robert Goulet, Carol Channing and Pearl
Bailey. He also conducted for Judy Garland, and for Barbra Streisand,
at the Hollywood Bowl. Mort served as associate conductor on a
recent Barbra Sreisand concert tour. In addition, he composed
and conducted the music for eight major motion pictures including
The Best Man with Henry Fonda and Real Life with Albert Brooks.

Also composing for symphony orchestra, his piece entitled Fantasia
on the Jeopardy Theme has been performed many times, including
three by the Boston Pops Orchestra. In 1997, he received the
Magic Baton Award from the Young Musicians Foundation and in
2004 the Distinguished Alumnus Award from Columbia University
Teachers College.

In the fall of 1993, Mort added ‘Artist’ to his resume and began
painting in oils in a post-impressionist style. His paintings have
met with exceptional critical acclaim and are in the collections of
Barbra Streisand, Monique and John Gardiner, Merv Griffin,
Marvin Hamlisch, Leonard Cohen, Burt Bacharach and Jack Klugman.


Fred Steiner graduated from the Oberlin Conservatory of Music
with a degree in composition in 1943. From 1945 until 1953,
he served as musical director of the weekly ABC radio program,
This Is Your FBI. He moved to Hollywood in the late 1940s and
went on to write for television, including the familiar themes for
Perry Mason and Rocky & Bullwinkle, and music for the original
Twilight Zone and Star Trek series.

Over the years, he also composed for Gunsmoke, Hawaii Five-0,
Hogan’s Heroes, Rawhide, The Untouchables, The Andy Griffith
Show, Tiny Toon Adventure, Lost in Space, Amazing Stories and
the miniseries Blood Feud. His feature-film scores include Run
for the Sun, Time Limit, The St. Valentine’s Day Massacre and
(in collaboration with Quincy Jones and other writers) The Color
Purple, for which he received a 1985 Oscar nomination.

In recent years, Steiner has turned his attention to musicology,
specifically as it relates to classic film music. In 1981, he was
awarded a doctorate in musicology from the University of
Southern California for his landmark thesis on the early career of
composer Alfred Newman and in 2007 received an honorary
doctorate from Oberlin. He has written scholarly articles on film
music for The Cue Sheet, Film Music Quarterly and the Quarterly
Journal of the Library of Congress; taught film-music history,
composition and orchestration at USC for several years; and has
lectured at other colleges and universities around the country.
He was one of the founding members of The Film Music Society
and served on its board for many years. Fred will celebrate his
85th birthday in February. He and his wife Shirley live in Santa Fe,
New Mexico.

Wednesday, January 16th
11:30am Cocktails; 12 noon Buffet Lunch, 12:45 Tribute & Guest

Catalina Bar & Grill (1 BLOCK E OF HIGHLAND –cor of McCadden
6725 West Sunset Blvd. Hollywood, CA 90028

Cost: ASMAC Members & Students $30 • Guests and all walk-ins $35
Parking: Valet $3.00 • Enter on McCadden – behind Catalina’s

RSVP by Tues., Jan. 15th to 818-994-4661 or
[email protected]


SAVE THE DATE: Wednesday, February 13, 2007 – 11:30am –
ASMAC Luncheon @ Catalina’s

Special Guests: Dynamic Music Partners – Michael McCuistion, Lolita
Ritmanis & Kristopher Carter


*** JANUARY 19th and 20th ***

The Velaslavasay Panorama at the Union Theatre presents

January 19 and 20 at 7:30 pm
installation/performance by CAROLE KIM

CONCRETE DAISIES is a site-specific performance/installation of
dance, sound, and live-feed video projection. A stellar ensemble
of dancers, musicians, and video artists will explore the interior
and exterior spaces of the Velaslavasay Panorama at the Union
Theater, an historic exhibition hall, theatre and garden dedicated
to the production and presentation of unusual visual experiences.

Please note: This is an indoor and outdoor performance.
Comfortable footwear and appropriately warm clothing are
suggested. In the event of rain, the performance will be
condensed primarily into the indoor spaces.

For tickets please contact ($15, $10 members/students):
The Velaslavasay Panorama
1122 West 24th Street (@ Hoover)
Los Angeles, CA 90007

SPECIAL THANKS TO: SASSAS for generously providing technical
assistance in this production, technical direction: BILL BALLOU,
sound engineers: JORGE MARTIN and CHAUNCY GODWIN,
production assistant: BITA SHARIF, video documentation: JIHYUN


*** FEBRUARY 23rd ***
Los Angeles Pierce College Department of Music Presents
San Fernando Valley
Symphony Orchestra
James Domine, Music Director

In Concert
Saturday Evening Feb. 23, 2008 at 8 pm
Pierce College Performing Arts Theater

Ludwig van Beethoven
Symphony #9 in D minor (Choral)
Pierce College Philharmonic Choir
Terry Danne, director

James Domine
Bass Clarinet Concerto
Steven Piazza, bass clarinetist

General Admission: $25
Students & Seniors: $20
Children under 12: $15
For ticket information and group rates call
(818) 347-4807
visit our web site:



The comments below represent only the views of the members
and not necessarily the views of the COMMITTEE


I recently saw the film “The Water Horse.” Out of curiosity, I
stayed for the credits and was not surprised to read the roster of
Local 47 A-listers who did work on it that the RMA and our Local
officers have repeatedly complained about, warned against, and threatened
with $50,000 fines. Worst of all, the conductor for the London sessions
(using obviously a non-AFM contractor and orchestra) was none other
than Pete Anthony, the new president of the RMALA. Hmmmmm.
We’ve had friends who have resigned career-long memberships in the AFM
because of those threatened fines (which were meant to keep union music
prep people from undermining fellow union players by making runaway
recording practical.) Until we see such fines levied against these hypocritical
b——s, we will consider our resigning brethren to be the saps that the RMA
obviously does, simply for putting their own bare survival over union niceties.

And speaking of the RMA, where is their outrage in all this? If the sudden
and magical attendance at certain general meetings of hundreds of RMA-ers,
all bowing low to the my-wish-is-your-command of that iron woman behind
the curtain, doesn’t show what a bunch of toadies most of them are, then their
utter tolerance of this massive injustice should do the trick, as this is by no
means an isolated or hard to investigate instance.

Lots of prestigious, high-budget producers go to London for their scores,
carrying American composers, orchestrators, copyists, and conductors in
their wake. And these hypocritical unionists have a problem: they need
the screen or ASCAP credit on these high-profile films as much as they need
their union benefits, so they will go after one right alongside their RMA/Sandy-
protected pursuit of the other. This means anyone with a movie ticket, a DVD
player, or an internet connection (are you listening Hal, Vince, Pete, Tom, Sam,
etc.?) can easily find a long list of very successful scabs among the loudest
complainers on the subject of runaway production and NES. And this, technically, makes New Era Scoring a more legitimate an enterprise than any of these selfish turncoats. Some wise soul once said, “Let he who is without sin cast the
first fine.” Or threat or complaint thereof. Tom and Sam should take some
action on this. And if we’re not going to punish our members for their nonunion
activities (all of them, fairly) then let’s be honest about it and let true competition


go get em – the next months need to be full of positive changes
and proposals that will get the AFM back to work – period –
screw the RAMLA elite

FOLIO is listening – Tom Lee is listening – TO ME AND YOU



Why are you concerned about the RMA shutting out non-RMA
members. If they negotiate on behalf of the RMA, then RMA guys
will get the work. That actually makes sense if you think about it.
I know that’s kind of unpopular, and I don’t agree with it. I am
sure the F.M.A. doesn’t work that way. But the FMA isn’t run by a
bunch of Machiavellian back stabbers either. The RMA/PMG
leadership is being nice because they have no choice. Some of
the current leadership (persons in control) in the RMA/PMG and
the Local 47 administration have got to go. I can only hope that
when the union membership finally comes to its’ senses, that it
doesn’t replace the old guard with an equally repressive regime.
I hope Pete Anthony is not just another puppet.

Mean it, baby!

P.S. Whats this ugly rumor about Phil Ayling wanting to remove
some kind of tenure clause?

[Editor’s Note: It was reported to us that at the last RMA meeting,
Phil Ayling expressed a desire to find a way to get rid of tenure in
area orchestras. That certainly would be one way to deal with the
high paying film work that is leaving,… find a way to take others.]


It sounds to me a hand full of players who are not
getting any orchestral work have been trying to
eliminate everyone elses work.

Although this may seem like a good idea to those few.
It shows those persons trying to flex their influence
through the powers of the RMA could potnentially
remove any opportunity for professionals seeking a
some what steady living at orchestral work. It would
inevitably cause the work in this town to revert back
to the way things were some seventeen years ago.

If the RMA did get their hands on this at this time it
would cement their infuence on all work in LA.
Compounded by the fact they would be producing the
majority of the income. They would control the whole

Besides this would upset the already tenured RMA
player who are under these contracts. Do any musicians
care what the RMALA is trying to do.

They have chased the motion picture work away now the
RMALA is going after the Orchestral CBA’s so they can
F*** this work to!


The only thing that will fix matters is Term Limits like the rest of the
world. How about it? Someone come up with the proposal and
deliver.. Is this at all possible? Every time I read these e-mails I
think.. Hmmm term limits will fix that too… WE would not be in
this position and more members would have the chance to serve
and also to understand the whole process. Also 1 day out of the
month to open board meetings.

Ta da….!!!!!!


This was in the Long Beach Unions latest news letter.

Congrats to Leslie Lashinsky….Leslie was (overwhelmingly!)
elected Secretary-Treasurer of Local 47 at that Local’s general
Membership Meeting, October 22.

Can we grow up and stop with the digs??

I have nothing against Leslie. I do not know her. But, I believe it
was worded that way in the Overture, also.

Maybe I am reading too much into it, but I don’t think so!

How childish and a slap in the face to David Schubach, who has
done great things for our union!

This mean spirited attitude has got to stop!!


[Concerning the Referral Service website: We received a review of
the RS website, which we shared with you. In responding to the
members concerns, we suggested the concerned party contact
the Local about it directly. This was that person’s reply to us.]


I did complain to 47 by email. Amie Moore responded promptly,
and was very friendly and courteous towards me. I did tell her
(nicely) that the site was a beta-site at best, and I felt the 5
category limit wasn’t in Members’ best interests. She said she
would forward my comments to VP Trombetta, but I read in
between the lines not to expect too much.

I’m thinking the easiest, cheapest way to do this is to send
Members an EPK (electronic press kit) template. EPKs are usually
no more that 500K and they have info like crazy.

Oh well….. Thank you guys anyway for trying to keep our 47
happening for all Members in spite of it all!!

Have some great holidays!


Twice in recent memory — once around 1982 and most recently
a couple years ago — the musicians of Local 802 in New York
City became sufficiently disenchanted with the leadership of the
local that they organized a new party and replaced the entire
administration. The membership of Local 802 is an active involved
membership and while profound disagreements may exist the
membership as a whole is never complacent. And there is always
a respectable balance of power within Local 802 due to the various

Contrast this to Local 47 where without the RMALA at meetings a
quorum is practically unachievable. Historically composers came
from all over the world to write for the motion pictures — and
they still do. Musicians also came from all over to jump into what
has always been considered an exciting industry. Today the
musicians of Local 47 stay home for meetings and are content to
let the RMA and the local send the majority of motion picture
recording to other cities. What happened? Where is the energy?
What is it with this generation of musicians?

Replacing the dynamic industry of yesteryear is an industry controlled
from the top down, Stalinist style, by a small group of organized
people, the RMALA, who have successfully taken control of the
union to the extent that they exercise an unhealthy influence
over union policymaking. The union, corrupt, mediocre and
uninspired, predictably looks out for its own institutional survival.
Ultimately the fault and the solution lie with the musicians
themselves, the rank-and-file. A strong grass roots campaign
could transform the situation here in Los Angeles. But where is
the animus for change, improvement and self-determination
among musicians? Don’t musicians care enough to bring work
back to Los Angeles, to create a sort of industrial renaissance?
Apparently not. They seem to prefer to remain asleep, dreaming
they’re awake.

Rick Blanc (please attach name)



We hope to see many of you at the general membership meeting
on January 28th at 7 pm!


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