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



In 2005, a highly placed group of musicians, frustrated with the
destruction of work in recording, put forward this proposal.
Even then the damage to recording because of the unusable recording
contracts forced down the throats of AFM Members because of the
RMA was losing us major work – and that was almost 11 years ago.


MAY 2, 2005

The following excerpts are from two articles (Jan. and Feb., 2000)
featured in the Local 802, New York City monthly publication, Allegro.
What is illustrated here is an attempt to promote recording work in
New York City following the continued loss of recording work in Los
Angeles and New York, a pattern that has continued to the present day.

The President and Secretary of Local 145 in Vancouver, Canada respond
to the January article and make the observation that film producers simply
want a buyout and that the AFM should reconsider how it does business
in the film industry (see last full paragraph).

Allegro, Volume C No. 1 January, 2000
Local 802 – New York City
Local 802 Launch Advertising Campaign Ads Promote New York as
Film Recording Venue

The creative talent of New York recording musicians was promoted in
a full-page ad that appeared in the Hollywood Reporter on Nov. 5. It was
an initiative of the New York chapter of the Recording Musicians Association
– which, with Local 802’s support, is planning a series of five advertisements
aimed at attracting more film recording projects to the New York City area.

The goal is twofold, said RMA-NY President Dominic Derasse. “First of all,
we want to put New York on the map as a location for producing quality
recordings for films – because a lot of people just don’t associate New York
with film recording.” And secondly, the ads are part of a national campaign
to reverse the runaway production that has taken so much film work out of
the country. “The Los Angeles local has been running ads in the Hollywood
Reporter for some time,” Derasse told Allegro, “and we wanted to play a role
in the campaign.” He said the response from people who have seen the ad
has been very positive.

The industry has been devastated by a flow of work to Canada and Mexico
– part of the loss of jobs in the United States caused by the passage of the
North American Free Trade Agreement (NAFTA) several years ago. The Hollywood
Fair Trade Campaign, a coalition which has developed on the West Coast, charges
that the studios have turned their backs on their own community and engaged
in the wholesale destruction of the Hollywood jobs base.

That has an impact on jobs in New York, notes Jay Schaffner, Assistant Supervisor
of Local 802’s Recording Department. “In the past, a lot of scoring was done here
because the scoring stages in Los Angeles were overbooked. Now, with the
Hollywood facilities generally available, that isn’t happening. And the same cost
factors that have led the studios to send work abroad, rather than recording in
Los Angeles, affect us as well.”

The number of contracts filed for theatrical film and TV film recording jobs
over the last three years reflect a sharp drop in work available for New York
recording musicians. “In 1997, the Recording Department processed 53 contracts
for theatrical films and 34 for television films,” Schaffner said. “In 1998 the figures
were somewhat lower: 48 theatrical films, and 26 TV films. But the problems
really hit this year. In the first ten months of this year, only 17 contracts for
theatrical films were filed, and eight contracts for television.” Derasse pointed
out that film production, which had been increasing in New York since the early ’90s,
“dropped in a big way in 1999, for the first time.” However, he said, it appears that
television work is up. “And that’s another thing that we’re trying to look into
– to make sure that whatever music is done for those TV shows hopefully is
being done under contract with 802.”


Allegro – Volume C No. 2 February, 2000
Local 802, New York City
The Musicians’ Voice is an open forum for discussion about the state of
union affairs. Please keep all letters to 500 words and send them to
Allegro, c/o Local 802, 322 West 48th Street, New York, NY 10036.


To the Editor:
While reading the January 2000 issue of Allegro we came across the article
headlined “RMA – NY, Local 802 Launch Advertising Campaign: Ads Promote
New York as Film Recording Venue.” It stated in the third paragraph: “The
film industry has been devastated by a flow of work to Canada and Mexico —
part of the loss of jobs in the United States caused by the passage of the
North America Free Trade Agreement (NAFTA) several years ago.”

As a Local situated in the major city of Vancouver, British Columbia, on the
West Coast of Canada (sometimes referred to as “Hollywood North”) we can
substantiate the fact that there has been over the years, and continues to be,
an extraordinary amount of film production in our geographical area. This
has been brought about by the willingness of our provincial and federal
governments to train world-class technicians in the film industry, and to offer
substantial tax incentives to the international film community.

Combined with a low-valued Canadian dollar, especially in comparison to the
U.S. dollar, has proven to be an irresistible incentive to American film producers
to produce their films in British Columbia. Once again, this gives credence to
the old saying that “loyalty is as thick as a dollar bill.” Our provincial government
is currently investing heavily in building new sound stages in the Vancouver area
to keep ahead of the demands of the film industry.

We can readily understand the real concerns of New York and Hollywood
technicians about the loss of jobs in their industry – but we feel that it should
be pointed out to Local 802 members that Canadian musicians, especially those
in the Vancouver area and members of Local 145, are receiving no work in
recording film scores related to the hundreds of movies and TV series being
produced in British Columbia.

It is our contention that scoring sessions for the multitude of films being produced
here continues to be done off shore or with non AFM members in the United States –
as close as Seattle, WA in our case. The Canadian dollar is currently pegged at a rate
of 0.6864 against the U.S. dollar, a level that has prevailed for a long time. One
might assume that an approximate 32 percent discount on the cost of producing
film music in Canada would be enticing, but not so. Local 145 has, as does every
other Local in every major city in Canada, an extensive and diversified pool of talented
musicians who are more than capable of performing any film score at a level consistent
with and equal to any musicians in the world. We are – as you are – proud to be able to
make, as well as back up, these claims.

It should be pointed out to all AFM members and officers that what the film
producers want from their composers is a score with no encumbrances; i.e.,
a buyout. The film composers do what they have to do to please their producers,
and as a result the composers themselves will often become the signatories and
compose a complete synthesized score. This then circumnavigates the AFM obligations
that are usually the responsibility of the film company and gives the producers what
they want. The other choices are off shore recordings in countries that are “the flavor
of the month” and offer total buy outs, non-AFM member sessions, or dark dates using
AFM members. One way or another, our current system of controlling recorded film
music by AFM members is being bypassed and eroded. Maybe it is time for the
Federation to revisit the way in which it does business with the film industry.

The one thing for sure is that any “runaway productions” of films to Canada, with
its cost of jobs to U.S. citizens, applies to the technical side only and not to the
musical side.
–R.A. (Bobby) Hales, President Local 145 & Wayne Morris, Secretary Local 145 [next



Reports on runaway productions and their impact in the U.S. continue,
this time from the U.S. Commerce Secretary in early 2001:

FOR IMMEDIATE RELEASE Thursday, January 18, 2001 Contact:
Morrie Goodman 202-482-4883 Jim Plante 202-482-1008


“Runaway film production” is having an increasingly dramatic impact on
U.S. film and television production according to a report Secretary of
Commerce Norman Y. Mineta issued today. The report entitled The
Migration of U.S. Film and Television Production provides data on the
practice of producing films outside the U.S.

“The most serious impact is in the area of made for television movies
for U.S. networks and cable systems,” Secretary Mineta said. He
added, “However, the impact is far ranging. ‘Runaway film production’
has affected thousands of workers in industries ranging from computer
graphics to construction workers and caterers. These losses threaten
to disrupt important parts of a vital American industry.”

The report cites one study that shows U.S. production of made for
television ‘Movies of the Week’ declined more than 33 percent in the
last six years, while production at foreign locations increased 55
percent. Another study cited in the report estimates the yearly
economic loss to the U.S. economy to be as much as $10 billion.

The report, produced by the Commerce Department’s International
Trade Administration (ITA), finds a number of factors leading to
runaway film production. Globalization, rising costs, foreign wage, tax
and financing incentives, and technological advances, combined are
causing a substantial transformation of what used to be a traditional
and quintessentially American industry into an increasingly dispersed
global industry.

The report notes that while foreign government wage and tax
incentives may not be the primary factor in determining the location of
film and television production, there is no doubt that when combined
with all the other factors discussed, these incentives constituted an
important consideration.

The report describes a number of on-going efforts on behalf of the film
industry, including government programs such as, expanding markets
for U.S. films through international negotiations, Export-Import Bank
loan guarantees and The Small Business Administration Loan Program/or
Independent Film Program.

The report also details a number of film industry suggestions for
further government action. Their inclusion is intended to identify
areas where further study is needed.




Dear FWSO musicians supporter,
Thank you for your signature on our open letter, and your
support of the Musicians of the Fort Worth Symphony Orchestra.

Today, we’re calling on Fort Worth Symphony Orchestra management
to get serious about bargaining—and we need your help. 

Here’s what’s been happening
In January, we averted a possible strike and extended our contract
through July with the understanding that FWSO management would
eturn to the bargaining table ASAP. 

Since then, we’ve met only once, on March 9. Management has failed
to produce a proposal of any kind, and unilaterally cancelled 3 bargaining
sessions without offering alternate dates. And it took a sit-in at symphony
ffices before they finally gave us negotiation dates in April.

It’s time for management to get serious about bargaining.

What you can do
Call CEO Amy Adkins and tell her to bargain now, and support a
fair contract with growth, not cuts.

When: Monday, April 4: 9am-12pm
Call FWSO offices at 817.665.6500 x 117 and ask for Amy Adkins.
If you can’t get through, try Becky Tobin at extension 115.

There is power in numbers. Together, we can preserve the legacy of
Cowboys and Culture, and ensure that one of Fort Worth’s most
treasured institutions continues to thrive.

The Musicians of the Fort Worth Symphony Orchestra

P.S. After you make the call, write us back at [email protected]
and let us know how it went!



ASMAC Luncheon with
Special Guest Dave Black of Alfred Music

@ Catalina’s Jazz Club 
Wed., April 20, 2016 @ 11:30am

Dave Black
April 20, 2016 – 11:30AM
@ Catalina’s in Hollywood

Percussionist, composer, and author, Dave Black, received his Bachelor of Music in percussion performance from California State University, Northridge. He has traveled around the world with a variety of entertainers and shows, performing and recording with such artists as Alan King, Robert Merrill, June Allyson, Anita O’Day, Pete Jolly, Frankie Capp, Gordon Brisker, Kim Richmond, Victor Lewis, Jerry Hey, and Steve Huffsteter.

A seasoned professional in this aspect of our business, Dave will share his thoughts about the “nuts and bolts” and current challenges in educational music publishing. What are the advantages and disadvantages of self-publishing? How do you research which publishers might be right for you? How best to submit your music for publication? How must composers participate in the marketing of their music. Perhaps you need a distributor and not a publisher? What is the future of E-books? What are the problems of digital sharing of music materials? Bring a pencil and take notes!

A prolific composer and arranger, more than 60 of his compositions and arrangements have been published by most of the major publishers, many of which have been recorded. Mr. Black has written with, and for the bands of Louie Bellson, Sammy Nestico, Bill Watrous, Bobby Shew, Ed Shaughnessy, Gordon Brisker and the C.S.U., Northridge Jazz Ensemble.

He has been the recipient of numerous awards and commissions, including 26 consecutive ASCAP Popular Composer Awards, two Grammy participation/nomination certificates–one for his performance contribution on Anita O’Day’s Grammy®-nominated album In a Mellow Tone, and the other for his contribution as album-track composer on Louie Bellson’s Grammy®-nominated album Airmail Special. He is also the recipient of the 2012 Percussive Arts Society President’s Industry Award, a Modern Drummer Readers Poll award (best drum book), two Drum! Magazine Drummie! awards (best drum book), and a certified Gold Record award for the sale of more than 500,000 copies of Alfred’s Drum Method, Book 1. In addition, many of his compositions have been used as source/background music on numerous TV shows including All My Children, Coach, The Drew Carey Show, General Hospital, Ellen, Grace Under Fire, Nightline, Roseanne and Good Morning America. In addition, he co-wrote the “Final Rudimental Solo” (from Alfred’s Drum Method, Book 2) featured in the 20th-Century Fox hit movie, Drumline.

He presently serves as Vice President and Editor-in-Chief, School and Pop Publications, for Alfred Music Publishing Company.

Host:  Elliot Deutsch

Elliot Deutsch is a busy composer and arranger of large ensemble jazz music. In its tenth year of performing, the Elliot Deutsch Big Band has released two albums, played in every major jazz venue in Los Angeles, and hosted an impressive list of guest stars including Cheryl Bentyne, Janis Siegel, Ron Stout, and many others.  Deutsch has written for Arturo Sandoval, Bill Watrous, Jane Monheit, Take 6, Terence Blanchard, and many others. In 2015, Deutsch arranged several songs for the Kennedy Center Gala “It Don’t Mean a Thing… A Celebration of Swing” under the musical direction of John Clayton.  His compositions and arrangements are published by Alfred and Walrus Music.
Check out the ASMAC website – www.asmac.org
to see the new master class, luncheon and interview DVD’s in the ASMAC store (Van Alexander, Ray Charles, Johnny Mandel, Jorge Calandrelli, Bill Ross, Jack Feierman, Sammy Nestico and more), to download ASMAC luncheon podcasts, and more!
Special Interview with the renowned composer/arranger 




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



Every 2nd and 4th Tuesday of the month at Viva Cantina
900 Riverside Drive, Burbank.

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

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.



Russell Garcia:   Russell wrote his auto-biography
“I Have Hundreds Of Stories, Some Of Them True”  
before he passed away at age 95 in New Zealand,
on 20 Nov 2011.  The book is out now.

Russell was a world renowned composer-arranger-conductor
who wrote music for over 100 films.  He is known for his
innovative music score for the film “Time Machine”.  Garcia
is also known in both the TV and recording fields and has
composed music for countless TV shows such as, Rawhide,
Twilight Zone, Laredo, The Virginian.  He has recorded many
CDs  in his own right, as well as with stars such as, Louis
Armstrong, Ella Fitzgerald, Vic Damone, Judy Garland,
Oscar Peterson, Julie London, to name a few.  

Garcia has also written 2 best-selling text books The Professional
Arranger-Composer “ Book I and Book II, which have been translated
into 6 languages.  He is known also for his symphonic and classical
works which have been performed by the New Zealand Symphony,
Munich Symphony, the Vienna Symphony, plus countless Radio
Symphony Orchestras throughout Europe.  He was often a guest
lecturer at many universities around the world on Symphonic
Composition Techniques.  Russell and his wife Gina made New
Zealand their home in 1971 while continuing to work in the Music
and Film Industry.  He was awarded the Queens Service Medal
for his service to music in 2009.




The Los Angeles City Elementary Schools Music Association,
LACESMA, is celebrating its 75th Anniversary of promoting
elementary music education in LAUSD with a Gala Event in
the Grand Ballroom of the Dorothy Chandler Pavilion at
the Los Angeles Music Center on Sunday May 15, 2016.

Banquet tickets are $60.00 each and can be purchased by
going to our website at lacesmamusiced.org or by mailing
a check made out to LACESMA to: LACESMA c/o Jeanne
Mitchell, P.O. Box 361 Topanga, CA 90290.

For questions, please email us at [email protected].
At the celebration there will performances by over 100 singers
of the LACESMA Children’s Honor Chorus, some of the 2016
LACESMA Instrumental Scholarship winners, as well as a p
erformance by a celebrity TBA.

We are proud to have Gail Eichenthal, Executive Producer of
KUSC, as the emcee of the Banquet. Please help support
elementary music education in LAUSD by attending this
Gala Celebration! Click here to see the first Promotional
Video Clip of the Gala.



The Pacific Northwest Film Scoring Program
At The
Seattle Film Institute

is still accepting applications to the One year

Master of Music (MM) in Film Composition

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

Study with program creator and lead instructor

Hummie Mann

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

Click here to listen and watch student scores from previous years

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


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



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