Don’t forget the Membership meeting this coming January 28th,
7pm at the Union.

As long as quorum is achieved, it will be a vote of the membership in
attendance as intended in a democracy and not the board choosing
for all of us.

Also, as a reminder. If you’re going to run for the open board
seat and want to let everyone know, drop us a line. We’ll get the
word out for you.



We received this further email from the member who has been in
contact with the Local about the RS Website:



I received an email from Amie Moore recently about the VP
Office’s reply to my concerns about the limitations of the 47
referral website. (A big thanks to Amie. She’s really on the stick!)

The site cannot be upgraded because of prohibitive costs. That’s
understandable and plausible. The fact that the design was
insufficient from the beginning (when there are literally thousands
of similar sites in the web) is now so much water under the
bridge. Too bad a good idea came out so wrong.

At least I did get a reply. So maybe they ARE starting to hear

Now, if they could only create (enforceable) over-the/by-the-
internet tracking contracts for international use (at least a part of)
47 would be in the 21st century.

Thank you guys for keeping us all informed.



Can you believe it? After wasting tens of thousands of members’
dues with no contract to guarantee accountability, having to
restart from scratch, and knowing that their job would be
watched, the board oked the creation of another website that
was designed with no forethought to make the infrastructure

Yet another slap in the face to the freelance musicians of our
Local, but as you will see in the comments section the RMALA
has managed to find a way to have multiple links to their site on
the referral page. Now who could the webmaster be? They’re
nothing if not shamelessly blatant.



Another Overture, another attack on the COMMITTEE by an officer of
our Local.

You’ll find it not in the Secretary’s column, but in another article
with her by-line on page 11. If you bother to keep track, though
the “writers” are always different, the tenor and tone of the attacks
are always consistent, lending the impression that they spring from the
same source.

The section of the “Political Action” article reads:

“Speaking of committees, it seems to me the Committee for a
More Responsible Local 47 is slowly but surely self-destructing.
Bullying tactics and anonymous attacks and pervasive negativity
are weakening their platform and I believe that the Local’s
membership is too smart to fall for such antics. In my opinion,
they have strayed far from their stated mission of providing a
“forum for union musicians to exercise their right to speak their
conscience, free of retribution (but subject to bounds of taste
and prudence),…” A close look at the Committee reveals that
their e-mail forum has been a platform/vehicle for expelled and
resigned former members and other non-members, including
employers and producers, not to mention national union-busting
organizations, all promoting (consciously or not) an anti-union
agenda. If the Committee is about a ‘responsible Local” then
whose side is in on: the Local’s or the National Right to Work


In the past, when we’ve been attacked by any source, we have
consistently demanded one thing: facts to back up any assertions
in the attack. Absent any facts, the attacks are worthless, as our
readers have come to accept.

In this latest case, the cleverly-worded charge is the question: If
the Committee is about a “responsible Local” then whose side is
it on: the Local’s or the National Right to Work Committee?

Our response is: Neither, as these aren’t the only two players in
drama. Please note that our attacks have never been on the Local,
just the questionable actions of those who run it. If the Local is
run to any degree in a manner inconsistent with the best interests
of the true majority of its members, then questioning those actions
is not attacking the Local, but defending it.

If we decry a decision of the local’s leadership (relating in this case
to Fi-core musicians) which we ethically assert runs counter to
Federal labor law court decisions, and the NRWC makes legal
threats using the same position, that does not mean we support
them in any way; we merely have independently reached a
common single conclusion. Or is anyone suggesting that we
must completely support EVERY action taken by our Local’s
leaders, merely because of a coincidental attack by an outside

Additionally, any attacks on our forum for accepting substantive
comment from readera, regardless of current membership status,
bespeaks an arrogance that only current members have any wisdom
from which the Local or the National can benefit. Apparently
those who are attacking our forum are taking a stand that people
who might be victims of failed Local philosophies or policies
can’t possibly have anything enlightened to say about it. What
hubris. Remember, to adopt the Fi-Core status, musicians had
to be union members first, in some cases for decades. These
people have a story to tell about why they found it necessary to
leave, and it’s amazing and shameful that our Local has no desire
or wisdom to hear it.

Our job at this Committee, taken from “Inherit The Wind,” is “to
comfort the afflicted and afflict the comfortable.” It will, in part,
reflect the input and interests of its readers which, quite naturally,
ebb and flow from time to time. Do not expect the consistent
delivery of a newspaper but, rest assured, we will be out there,
watching our for you, the silenced majority: the rank-and-file.


Another angle to that last line is to realize that just 6 months ago, the
accusation was that the COMMITTEE was an agent of Federation
President Tom Lee. My, what a testament to our flexibility! Or could
it be that we are just a convenient surrogate for any faction they oppose?

In that tradition, here are a few other opposing positions you can
expect the COMMITTEE to be accused of in the upcoming months.

-We’re all Democrats; We’re all Republicans
-We’re all support HD-DVD; We all support Blu-ray
-We all use Mac; We all use PC.
-We prefer paper; We prefer plastic
-We follow B. F. Skinner; We follow Karl Jung
-We’re bloods; We’re crips
-We all like Analog; We all like Digital (Actually, we like both)
-We all support equal temperament; We all support mean-tone tuning.
-We believe it’s more flavor; We believe it’s less filling
-We all say Tomayto; We all say Tomahto
-We support Democracy, wherever it takes us – Well, that’s true.

We will print the views and concerns of ANY member, naturally
there will be positions from all perspectives. That’s democracy.




Notice from Kim Richmond:

Dear fellow L.A. musicians,
I want you to know about the 6-piece Kim Richmond
Ensemble performance, next Friday at Cafe Metropol.
See below for all the details.
This is on the wake of our critically acclaimed new
CD release on the Origin label “Live at Cafe Metropol.”

WHEN: Friday, January 25, 8 PM to 10
WHERE: Café Metropol, 923 E. 3rd St., LA 90013
John Daversa, trumpet
Joey Seller, trombone
Rich Eames, piano
Kristin Korb, bass
Erik Klass, drums
Kim Richmond, alto and soprano saxophones
(all the same personnel as on the recording)
COVER: $10
Great food, by the way.



Suezenne Fordham Chamber Jazz LA
Thursday, January 31, 08
Steinway Hall at Fields Pianos
12121 West Pico Blvd at Bundy
West LA, CA
818 371 7735

Complimentary Admission
We are a fusion of Bop, Classical Avant Garde with Tibetan Overtones.
Emphasis on fiery virtuosity and musicality. Ambience is arty. hip
comfortable, historic. The Concert Experience with Jazz Passion.
The music is readily accessible and totally absorbing.

Suezenne Fordham, Steinway,
Gu Zheng, Darren Ross, Drums and Percussion
Noah Garabedian, Contrabass
Ensemble plays Tibetan Instruments




$10,000 Scholarship Award
The MusicLink Foundation seeks
talented music students ages 8-18 for
the Jack Kent Cooke Young
Artist Award.

The MusicLink Foundation, working as a pipeline organization
for the Jack Kent Cooke Foundation, is seeking talented music
students in financial need who may qualify for the Jack Kent
Cooke Young ArtistAward. The goal of the Jack Kent Cooke
Young Artist Award is to identify and nurture talented young
musicians whose lack of financial resources might otherwise
hinder their progress.

Approximately twenty-five student musicians will be selected
annually to receive Jack Kent Cooke Young Artist Awards. Each
of these students will: 

1. Receive $10,000 to support his/her education and artistic
development (including tuition, training, or equipment);

2. Perform on a live taping of “From the Top’s” National Public
show; and

3. Participate in a Cultural Leadership workshop in order to create

and implement his/her own performance outreach activity.

Eligibility is limited to pre-college classical musicians (ages 8-18).
Student applicants must be interested in appearing on “From the Top’s”
popular National Public Radio show, and demonstrate:
1. Exceptional
musical talent;
2. Unmet financial need; and
3. Strong academic

FINAL DEADLINE: January 31, 2008

Application Process:
Students interested in this Award should fill
out both the Jack Kent Cooke Young Artist Award application
and the From the Top Soloist application. Both applications can
be found on From the Top’s website – Just
click on the “Young Artist Award” link at the bottom of the page.
You can also find additional information about the scholarship on
this website including answers
to frequently asked questions.

If you know of a student who may apply for this award or a teacher
who may be working with talented students in financial need, please
forward this on. Please also send their names and email addresses to
Jennifer Kitchin at [email protected].
Please indicate on the
application that you heard about the award through the MusicLink
Foundation (Student Application, Part IV, Question 5 =96 check the
box for “MusicLink Foundation.”)
For more information, please
Jennifer Kitchin
[email protected]



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


Hello Committee,

I just did a casual with a pretty large group. As required, the
contractor sent in a list of all the musicians on the job. A fellow
player told me that in response, Local 7 sent the contractor not
only a list of the core status people on the job, but a list that
included all the core status people. I don’t know if it was all the
ones from just Local 7 or the entire area including Local 47, but
isn’t that illegal? Aren’t they inviting lawsuits? , The notice also
told the contractor not to use any agency fee people if the job
wasn’t on a CBA.

The whole point of core-status is to be able to do union and non-
union. As long as a standard AFM contract is used, don’t the
same rules apply?

[Editor’s comment – We suggest you write or call the local and
ask those specific questions, then let us know what the Local
says. Our understanding is it’s illegal for the Local to hand out
lists of all the fi-core folks to contractors, though the contractors
can be informed of any fi-core musicians they have on their
contracts. It’s also against federal labor law for contractors to out
fi-core people to the other musicians on the job.

It seems to us that the Local is going out of their way to affect the
ability of these players to make a living in their chosen profession.
Those who have gone fi-core are not fly-by-night musicians. They
are veterans of our union, many for decades, who left because
they felt they were not getting what they were paying for.

We’ve also been told that Local 7 was complaining that Local 47
was making it too easy for people to re-instate to full membership.
Odd position for a group that should welcome “returning” as well
as new members.]



I don’t do the Desert Symphony, but I understand that while
Hal Espinosa was negotiating with Marilyn and Ben, he had John
Acosta EMD (not the cellist John Acosta) call up the Art Garfunkel
management several times and tell them, in so many words, not to
show up because there was not going to be an orchestra. I also
understand that these calls to the Art Garfunkels management
resulted in the Desert Symphonies’ lawyers threat of a 10 million
dollar lawsuit against the union AND the union having to call the
management company and apoloigize to them AND that the
Desert Symphony contract was subsequently ratified with lamentable
gains for the musicians as a result of the unions ‘brilliant’ negotiating
skills. I am sure the huge pay raise that was “won” after the debacle
of our administrations not-so-intelligent tactical blunders can be
made up for with one less concert or hiring a few less musicians.


Dear Committee:

I am absolutely amazed to see Mr. RMA Pete Anthony doing non-AFM union work
(conducting) in London on “The Water Horse.” Whether it’s Seattle or London,
it’s all the same and it’s non-union, non-AFM work. It’s an outrageous
double-standard for him to speak critically of others who do non-union work
and go out and do it himself, no doubt handsomely paid.

Until the RMA elite start leading by example by NOT DOING NON-AFM WORK, they
have NO PLACE criticizing ANYBODY who works non-union, whether it’s NES,
Seattle, London, Prague or any other non-union venue. If Pete Anthony, who
says he’s a union supporter, is willing to so blatantly do non-union work,
that speaks volumes about the RMA’s true lack of commitment to the concept
of unionism. Funny how these guys can be so critical of others, yet they now
are guilty of exactly the same thing – doing nonunion work – that they
criticize others so much for. Complete and utter hypocrisy.

And let’s not start with the “but it’s London, and that’s outside the US”
baloney. That’s a completely false excuse – either it’s AFM or it’s not AFM.
Pete Anthony and other AFM people like him working in London and elsewhere
are ENABLING the loss of work from LA musicians. The “free pass for London
jobs” is nothing more than an excuse cooked up so some of the AFM’s top
composer and orchestrator members wouldn’t be criticized for doing non-AFM
work. Amazing.


As quoted by Tom in the ” Fines” release last year, AFM Bylaws.
Article 15, Section 3 provides: 3(a) No AFM member may perform
services (whether as composer, arranger, copyist, proofreader,
instrumentalist, leader, contractor, cutter, editor, or in any other
capacity): (1) where the product of the services is intended to result in,
or be embodied in, recorded music made outside of the United Sates and
Canada and the possessions of either; or (2) for the purpose of producing,
editing, or dubbing recorded music except where expressly authorized and
covered by a contract with the AFM or when expressly authorized by
the AFM. 3(b) Any member violating Section 3(a) shall be subject to a fine
not exceeding $50,000 and/or expulsion.

I don’t see any language that provides a free pass for London…. Do you??


Will the Officers’ bogus attacks on the COMMITTEE never end?
No, I guess not.
Time after time, all their ridiculous, false accusations tell us all:
The committee hits the mark!
The committee is making the difference!
The committee is galvanizing Members to action!

Listen, You-Know-Who-You-Are, you insult our intelligence with
your tired old “jump on the anti-COMMITTEE bandwagon” rhetoric.
Get a new writer… Oops! They’re on strike.


Oops! Caught with our pants down! Seattle Symphony (a non-union
orchestra) gets a plug from RMALA

The RMALA has a banner under the “LINKS” menu in the
Musicians Referral Service web site. However, the Musicians
Referral Service is not honored at all on the RMA web site, even
though the Seattle Symphony (a non-union orchestra) gets a
plug from the RMALA, who are listed under the “ORCHESTRAS”
menu. I would also like to note the Film Musicians Secondary
Market Fund is linked to the RMALA on their web site, with no
mention of Local 47. Shouldn’t every web site that is affiliated
with the AF of M and Local 47 have the AF of M logo prominently
displayed as well as a logo for Professional Musicians Local 47?
As far as the union erection is concerned, I hope all will vote
on the basis of what unions were founded upon…. socialistic
ideas. Share the wealth and success with your fellow musicians.
(Referring to the RS Website page) Oh, by the way, this is what the
RMALA aka PMG logo looks like on the Musicians Referral Service
website. With the click of a mouse, it’s like hitting the side of a
barn. Note there are three ways to link up to the RMALA web site.
Can you find them?


It is common knowledge that Gary Lasley is a company man and
a “go along” personality. He is fine to work for us (on our payroll)
as someone who has already demonstrated that he is willing to
“carry the water” without questions. Every organization needs a
good soldier. However, I don’t see him as any kind of independent,
free-thinking, considered opinion kind of person we need to
MAKE and SHAPE policy.



the referral website is a joke – it is the most inept attempt by an
organization to pass off a job that needs to be done by a human
to a website…..a bad website at that.

You put in you want to look for a jazz band and it pulls up every
person who plays jazz in local 47 that is listed on there. The job
needs and demands a person. I’m pretty sure it worked real well
with Schubach and then Erroll Henry. I haven’t received one job
since both have not been at 47. And i used to get a great deal of
referrals upon which I booked gigs and filed contracts which local
47 received work dues on.

I cannot even log on to my own profile…….


heres an idea…instead of combative – committee against all RMA bad
people – and Gary Lasley being shoved in by RMALA in next meting and how
RMALA is monopolizing local 47 –
– make the slant – the committee stands for any and all things like
monopolization without mentioning names – and organization names

I guess what I’m saying is to take an approach that doesn’t pit groups
against each other – it doesn’t help the over all cause

we know the are trying and are successful at their way of the highway –
lets try to beat them at their own game –

keep your enemies friends close and your enemies closer



Once again, Please don’t forget the Monday, January 28th Membership
meeting at Local 47, 7PM. If there’s anything you want changed you
have to participate.
… And when you consider what changes you want, consider whether they
are changes that will benefit everyone, or just a small minority. Motives
matter, and tell you a great deal about those who forward them.

Until Next Time,


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