I. REMINDER: CRUCIAL MEMBERSHIP MEETING MONDAY, OCTOBER 26th
II. DO AS WE SAY, NOT AS WE DO (FEATURED MEMBER COMMENT)
III. PLEA FROM A TWO YEAR LOCAL 47 MEMBER
IV. COMPOSER VIC MIZZY DIES AT 93
V. RUNAWAY SCORING COMMENT
VI. RECORDING NOW BEING DONE IN NEW ORLEANS
VII. COMMENTS
VIII. EVENTS AND CONCERTS

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

Colleagues,

You’ll find this an especially long mailing and we’re sorry about
that, but there’s so much to share with you this week before
next week’s meeting!

We thank you for your understanding.

THE COMMITTEE

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

I. REMINDER: CRUCIAL MEMBERSHIP MEETING MONDAY, OCTOBER 26th

Colleagues,

Don’t forget the upcoming general membership meeting on
Monday, October 26th, 7pm at the Local!

Have questions about the SELAS or their re-instatement? Health
Insurance? Officer Conduct? Rehearsal Rooms? Recording Studio?
Anything else you want discussed?

The October 26th meeting is the venue!

As a reminder, those on the Local 47 side of the table in the
SELA decision were:
President Vince Trombetta, Hal Espinosa and Jay Rosen.

PLEASE BE THERE!

THE COMMITTEE

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

II. DO AS WE SAY, NOT AS WE DO (FEATURED MEMBER COMMENT)

A comment from an anonymous Local 47 member:

Local 47 renovates its own UNION auditorium using virtually
all non union labor. Incredibly, Local 47 still wants to control
our right to work! They defended their deliberate action
UNDER OATH for the record in a hearing that took place in
March, 09 citing “costs” as the guiding principle that they
claim upheld their fiduciary responsibility to the membership.
Their entire defense in this case was that finding the cheapest
price in rebuilding the auditorium was their primary
responsibility, regardless of unionism.

What about our fiduciary imperatives to our children and
spouses? To use the Union’s argument, isn’t putting food
on the table and paying the mortgage our primary fiduciary
responsibility, regardless of whether the gig is union or
non-union? Money is money. How many times have you
had to “look over your shoulder” for fear of being brought
up on charges, face a fine, and even finding yourself
blackballed? Escondido non-union scoring session
anyone? NES anyone?

Even now members in good standing are being suspended
from use of the rehearsal rooms if someone in their group
is found to be either non union, behind in their dues, or a
member of another entertainment union. (How hypocritical!)
In testimony during the hearing, Local 47 admitted that those
same rehearsal rooms were also built using non-union labor,
costing the union membership somewhere near $500k. Whose
money is it? Ours! And whose union is it? Ours! How many
unions were our officers promoting?

For the auditorium project they used the only one union
that they had to, according to the testimony. (The
carpenters union). In the documents presented, only
one out of sixteen subcontractors was under a union
contract and received union wages and benefits.
Our local leadership is good at collecting their own
handsome (by union standards) paychecks. Now, there
is fiduciary responsibility!

Local 47, it was revealed in the testimony, restricted
union bids to only studs and drywall. President Vince
Trombetta testified, “We did not do anything in any way
that was in violation of any of the cited bylaws here,
because there’s nothing in these bylaws that even
stated that we had to use union labor.” How about their
oath of office and their commitment to unionism? It isn’t
like the construction trades are not part of the union
movement.

How about the fact there is no bylaw that prohibits a
member from doing a non-union job either? It is clear
our individual survival will depend on “never letting
the Union stand in the way of making a living.” Being
a Union doesn’t stand in their way of hiring scab labor,
“whenever possible.”

Backstory:

The Local 47 Hearing Board dismissed and overruled the
charges in their entirety. The argument was and is that
Local 47’s only measure of fiduciary duty is to the membership’s
money. Apparently Local 47 has no trouble undermining the
core values of unionism. An appeal to the National IEB was
made by the charging party and the appeal was denied.
An appeal of that denial as per the bylaws is pending.

Name withheld by request.

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

III. PLEA FROM A TWO YEAR LOCAL 47 MEMBER

I am respectfully submitting this writing in hopes of encouraging
all members of local 47 to attend the general membership
meeting on Monday October 26th at 7 pm.

I have only been a member of local 47 for 2 years and am
amazed by the number of unresolved points of contention
that surround the Union and it’s membership. As I see it,
much of the problem has to do with the lack of participation
by the general members. We have all heard the bitching
outside rehearsals at the “water-cooler”. All that is needed
is a quorum to at least force an open dialogue. With so many
different issues and accusations being tossed around you’d
think a quorum could be achieved if each issue had only
a single advocate!

I consider myself to be a fairly neutral person on most issues,
able to see both sides of a discussion fairly. However without
a legitimate arena for these questions, it is impossible to form
an intelligent opinion. In a membership meeting with a quorum
the board would be required to provide a satisfactory response
and explanation for their actions.

I served on the Board of directors for Reno local 368 a number
of years ago and know full well that the membership as a whole
is sometimes suspect as to the actions a board may take and the
reasons choices were made. I even had threats phoned to my
family while I was at work. Sometimes there are legal reasons
why a board must take an unpopular action that the general
membership is not privy to.

That said I must also point out that I have attended board
meetings at local 47 where I was asked to excuse myself
because of sensitive Union business that needed to be
discussed and found myself spending much more time
in the corridor than in the board room. Guys, no union
has that many top-secret items on their agenda without
raising suspicion.

The answer, my brothers and sisters, is to achieve a quorum
so that both sides may clear the air and respond to each
other constructively.

With so many issues before us crying for a response (SELA,
Rehearsal hall use, The Studio issue, Officer’s hours, H&W,
RMA and on and on) we certainly should have enough to
discuss to keep us entertained for hours!

Hell, get together with other members from your musical
organizations and have a pool to see who can guess the
size of a quorum for a beer! A reminder, Do Not Be Late!
I’ve seen it happen before where some people reluctant
to face a quorum have called for an official count early.

Thanks to the committee for this forum to express my
ideas. You may of course use my name.

-Bill Theurer
http://www.facebook.com/bill.theurer

“Beginning reform is beginning revolution.”
http://tinyurl.com/yj2rluk
Duke of Wellington

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

IV. Vic Mizzy dies at 93; film and TV composer wrote
‘Addams Family’ theme song

The commentary below is excerpted from the article
by Dennis McLellan, Los Angeles Times

Vic Mizzy, a film and television composer who wrote the
themes for such sit-coms as “Green Acres” and “The
Addams Family,” has died at 93.

Mizzy died of heart failure Saturday at his home in Bel-Air.

A veteran writer of popular songs such as “There’s a Faraway
Look in Your Eye” and “Pretty Kitty Blue Eyes,” Mizzy launched
his TV career in 1960 when he was asked to compose music
for the dramatic anthology series “Moment of Fear.”

He quickly moved on to score episodes of “Shirley Temple’s
Storybook” and “The Richard Boone Show” and to write the
themes for “Klondike” and the Dennis Weaver series “Kentucky
Jones.”

Then came an offbeat assignment: “The Addams Family,” the
1964-66 TV series based on Charles Addams’ macabre
magazine cartoons and starring John Astin as Gomez Addams
and Carolyn Jones as his wife, Morticia.

For his theme song, Mizzy played a harpsichord, which gives
the theme its unique flavor. And because the production company,
Filmways, refused to pay for singers, Mizzy sang it himself and
overdubbed it three times.

In the 1996 book “TV’s Biggest Hits: The Story of Television Themes
From ‘Dragnet’ to ‘Friends,’ ” author Jon Burlingame writes that Mizzy’s
“musical conception was so specific that he became deeply involved
with the filming of the main-title sequence, which involved all seven
actors snapping their fingers in carefully timed rhythm to Mizzy’s music.”

For Mizzy, who owned the publishing rights to “The Addams Family”
theme, it was an easy payday.

“I sat down; I went ‘buh-buh-buh-bump [snap-snap], buh-buh-buh-bump,”
he recalled in a 2008 interview on CBS’ “Sunday Morning” show.
“That’s why I’m living in Bel-Air: Two finger snaps and you live in Bel-Air.”

The season after “The Addams Family” made its debut, Mizzy composed
the title song for “Green Acres” the 1965-71 rural comedy starring
Eddie Albert and Eva Gabor.

For “Green Acres,” Burlingame observed in his book, Mizzy “again
conceived the title song as intertwined with the visuals” of the show’s
title sequence and telling the story of wealthy Oliver and Lisa Douglas
moving from New York to a farm in the country.

Mizzy’s use of bass harmonica and fuzz guitar in the music of “Green
Acres,” for example, “was somehow perfect for that show’s setting,
and it only added to the humor of the situations,” Burlingame said.

Mizzy’s many TV credits include writing the themes for Phyllis Diller’s
1966-67 sitcom “The Pruitts of Southampton” and “The Don Rickles
Show” (1968-69), for which Mizzy also conducted the orchestra.

Among his movie credits as a composer are the classic Don Knotts
comedies “The Ghost and Mr. Chicken,” “The Reluctant Astronaut,”
“The Shakiest Gun in the West,” “The Love God?” and “How to Frame
a Figg.”

The sound of Carol Kaye’s bass became a signature sound of those
scores.

Born in Brooklyn on Jan. 9, 1916, Mizzy learned to play the piano as a
child. While he was a student at New York University, he and his friend
Irving Taylor began writing songs and sketches for variety shows.

They appeared on radio’s “Major Bowes’ Original Amateur Hour” and
won an amateur contest on the Fred Allen show. The team’s first
published song was “Your Heart Rhymes with Mine.”

Mizzy, who served four years in the Navy during World War II, had a
number of hits with Taylor, including “Three Little Sisters” and “Take
It Easy.” Under a later partnership with Mann Curtis, Mizzy had hits
such as “My Dreams Are Getting Better All the Time,” “The Whole
World Is Singing My Song” and “The Jones Boy.”

Mizzy is survived by his daughter Lynn Mizzy Jonas; his brother Sol;
and two grandchildren.

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

V. RUNAWAY SCORING COMMENT

regarding runaway scoring -

I’m livid once again - tried to keep a low budget
movie for two days of scoring in LA -
producer chose London Symphony orch - composer
lives in LA - it would have been 90,000 of money
into the LA economy - producer chose no back
end - here’s his e-mail to me -

< Maybe fine for studios but not for independent production,
there’s really no valid reason that justifies the additional
expensive. For independent production, the AFM is
competing with non-union or European or digital music.
To make it attractive, they need to be highly competitive
on the hourly rate and offer buy outs. The fact that one
can’t negotiate on anything is a big no-no. >>

Now - there is going to be some scoring in LA for some
25 to 30 players - and right now it’s slated for non union
and I’m still going to have to do it - another OPTION -
AFM guys get with the rest of the world and look to
embrace good old fashioned work regardless of what
anyone thinks - I’m a member of the RMA but I, along
with many other players who CANNOT live off their JULY
2nd Mkt check need to WORK - NOW.

We need to tell the rest of the whole that: (despite the
so- called “top” session players in the Hollywood Studio
symphony click) Los Angeles is still ready, willing and
able to play sessions

- San Fran is taking our union work, New Orleans - WTF

Folks - it’s about the relationship - and we just LOST A
NOTHER ONE! I’M SICK OF IT!

My composer told me he’s going to London at end of
the month and there’s like 4 or 5 Los Angeles based -
USA based movies being done over there now -

- the old business doesnt work fellas - period.

thanks

[Editor's Comment: The point above is eloquent, important,
and correct, but the elite recording musicians fighting
the hardest to keep the status quo are those who want to
keep it on life support just long enough to retire.

After that they could care less what happens to anyone else.
They got theirs and are fine with leaving others out to dry.
Don't even bother with the Locals' Officers, their bread is
buttered by all our dues but pretend it comes from their
political allies. A real disgrace to the concept of unionism.]

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

VI. RECORDING NOW BEING DONE IN NEW ORLEANS

A recent AP Article let the cat out of the bag….

Because of a 25% tax break and what was quoted in a
recent article: “It’s a lot less expensive to record here
[New Orleans], and the union laws for musicians are
less strict here than in Los Angeles,” (Read NO RMA
INTERFERENCE, gross padding of contracts for short
term monetary gain), New Orleans is enjoying more
and more film, TV and even Video Game recording.
UNION sessions, by the way.

Another article from another magazine has the quote,
“Not everyone can afford to record in Los Angeles,”

The musicians of the Louisiana Philharmonic Orchestra
have not had an easy time of it since Hurricane Katrina.
Orchestras across the country opened their ranks to
these musicians while New Orleans was reeling from
the damage. This is a true example of what real unionism
can do when we all look out for each other.

Having been spread around the country immediately
after Katrina and now re-assembled, finding enough
work has been difficult.

It seems that because of the difficult situation of
scoring in LA with all the hassles and attitudes
and additional overhead, it’s cheaper and easier
to take the whole scoring crew clear across the
country to record.

Here is a recent AP Article about the situation:
http://tinyurl.com/yj7dd5u

FOR OUR NEW ORLEANS BRETHREN:

Now that you’re on the radar you can expect the RMA to
come knocking. Don’t answer.

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

VII. 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.

——————————–

Well, I was just talking to friend and sharing a list I made of what our
job entails as free lance musicians. I thought it would be fun to share
the list of what we really do to make a living as musicians.

Are you ready?
songwriter, recording artist, entertainer/performer, pianist, singer
(or whatever your instrument is), costumer, make-up artist, publicist,
marketing director, manager, sound engineer, arranger, stage manager,
learn new songs, bookkeeper, secretary, comedian, producer, director,
choreographer, cd producer, actress, road manager, booking agent,
chauffeur, etc.

Anybody want to add to the list?
We make it look so easy!!
Jamie Shaheen

——————————–

The pension fund just ticked down again - other than heath
insurance for local 47 non film and TV jobs - what’s gonna be
the point - as far as motion picture - well - i just lost a 70 piece -
low budget movie to cash and many 20 to 30 players if that -
we are so screwed here in LA - we are the dinosaurs - the
buggy whip - you name it - we are it -

We have to make it easy for indie film producers to want to
work with us -

Here is an indie film producers answer to not signing an
assumption agreement last week - this is great - TADA

“Too expensive and too much of a hassle I’m afraid. Maybe
fine for studios but not for independent production, there’s
really no valid reason that justifies the additional expense.
For independent production, the AFM is competing with
non-union or European or digital music. To make it attractive,
they need to be highly competitive on the hourly rate and
offer buy outs. The fact that one can’t negotiate on anything
is a big no-no.”

Thanks

——————————–

Well, I was just talking to friend…

I thought Local 47 was going to give the monthly plan a trial???
They discussed it at one of the meetings awhile back.

But, I think it was a possible conflict with the current plan of
qualifying and they were concerned about how a self pay plan
would effect the funds of the qualifying plan. So it was just
going to be a trial period?? I think we need to find out what
happened with that.

I have to repeat what I sent before for those of you who may
lose their plans. Local 7 has a self pay plan. Month to month.
You have the choice of Health Net or Kaiser. Kaiser was just
raised to $517 a month. Health Net is a bit less expensive.

You can join with pre-existing conditions.

You would have to join Local 7 in Orange County. Local 7 is a
wonderful local! Also, your zip code has to be in a qualifying
area. I think it includes a lot of Southern California, but you
would have to check. The Local 7 number is 714-546-8166.

I prefer month to month because if I get something serious,
I do not want to worry about qualifying for a health plan. You
would have a year and a half of Cobra and then what?
This is a very serious situation to have had the SELA pulled
from the members. I have to wonder what the problem really is.
Also, you might want to check with the Ventura and Long Beach
locals to see what they offer.

——————————–

I just received another spam from the RMA about someone’s
personal store selling stuff for the season to come. I.E.
Nothing to do with music, I find this to be typical of the greed
of those involved in the RMA. (they get money from spamming
us). This is abuse of the union Membership for personal gain.
I would like to know who is in charge of their mailings so I can
confront them personally. Do you know or can you find out.
Thanks

——————————–

Did any of the RMALA “leadership” vote for this guy? Does
anybody in unions around the country understand what
I am talking about, or is President Obama just plain
wrong and wrong again?

“I think when you spread the wealth around it’s good
for everybody.” - Barack Obama

——————————–

read em and weep - the upcoming ASTRO BOY recorded in London
http://www.scoringsessions.com/news/207/

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

VIII. CONCERTS AND EVENTS

——————————–

10/29-30/09

The MALIBU FRIENDS OF MUSIC
Present

FIFTH SEASON OF CHAMBER MUSIC KAIROS MUSICAL SOIREES
at the
Montgomery Arts House
for Music and Architecture

“SPOOKY SONORITIES”
Candlelit nights of spooky music…
Of macabre themes creepy and devilish…
Especially for Halloween…
Come in costume if you wish…
Or come as you are.
BOO!

THURSDAY, October 29th, 2009 at 7:00 pm
6:30 - Wines, cheeses and witches brew

FRIDAY, October 30th, 2009 at 7:30 pm
6:00 - Wines, cheeses and witches brew

Featuring the musical artistry of
MARCO BELTRAMI, guest composer
ANDREW SHULMAN, cello
JIMMY HALL, guest orator
WENDY PROBER, pianist
The MALIBU COAST STRING QUARTET
BEWARE!
Our “Bone-chilling” program
features spooky music, poetry and film
READ ON, IF YOU DARE!

Edgar Allan Poe’s inimitable poem,
“The Raven”
Silent Horror Movie Scene
starring silent screen great, Lon Chaney
Haydn’s “Headless Horseman” Quartet
Leos Janacek’s murderous “Kreutzer Sonata”
And proudly featuring
Academy -Award nominated composer,
Marco Beltrami

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

——————————–

11/2/09

Sunday, November 1, 2009, 7pm

Moments of Inertia by Tom Flaherty
String Trio by Eric Lindholm
Suite for Oboe, Clarinet, and Bassoon by Alec Wilder
Sonata for Oboe Solo by Miklos Rozsa

Pomona College
Bridges Hall of Music
150 E. 4th Street
Claremont, CA 91711

Admission: free
Julie Long, flute
Paul Sherman, oboe
James Sullivan, clarinet
Tara Speiser, bassoon
Danielle Ondarza, horn
Elizabeth Hedman, violin
Marisa Kuney, violin
Kira Blumberg, viola
Lynn Angebranndt, cello
Tom Peters, bass
Andrea Moore, percussion
Susan Svrcek, piano
Marc Lowenstein, tenor and conductor

www.ensemblegreen.com
info call: 323 258-5161
11/2/09

——————————–

Dear fellow L.A. Musicians,
Please SAVE THE DATE of Monday, November 2, 2009, for attending
a rare performance of the Kim Richmond Concert Jazz Orchestra
(all 20 players)
WHEN: Monday, November 2, 8 PM to 10:45 PM (2 sets)
WHERE: Typhoon Restaurant and jazz venue, 3221 Donald Douglas
Loop South, Santa Monica Airport
http://www.typhoon-restaurant.com

WHO: The Kim Richmond Jazz Orchestra:
Woodwinds: Alex Budman, Bob Crosby, Glen Berger, Glenn Morrissette,
Bob Carr
Trumpets: Bob O’Donnell, Ron King, Steve Huffsteter, Jonathan Dane
French horns: John Dickson, Stephanie O’Keefe
Trombones: Dave Ryan, Joey Sellers, George McMullen, Morris Repass
Rhythm: Tom Hynes (guitar), Andy Langham (piano), Adam Cohen
(bass) Ralph Razze (drums)
Leader/conductor/composer Kim Richmond

——————————–

11/4/09

Relax during your lunch hour with live music.
Light lunch created by ANGELA’S BISTRO available for $6 after concert.

LOCATION:The Chapel 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

************************************

NOVEMBER 4, 2009
Solo PIANO Recital
Works by CLAUDE DEBUSSY, ROBERT SCHUMANN &
JOSEPH HAYDN ( 200th Haydn Anniv. Celebration)
Rosa LoGiudice - piano

————————

Canoga Park Bowl and the San Fernando Valley Symphony
Orchestra present “Concerts at the Bowl”
20122 Vanowen St
Canoga Park, CA 91306-4308
(818) 340-5190
Corner of Winnetka and Vanowen
Wednesday Evenings at 8:15 pm

In the Royal Room

Nov. 4th:
Jennifer Bliman, French Horn

——————————–

11/10/09

WILLIAM “BUDDY” COLLETTE
Meet and Greet
Tuesday, November 10, 3 to 5 pm
Local 47 Lobby

Saxophonist and former Union Board member Buddy Collette will talk about
his extraordinary life and career, and entertain questions

Regardless of your feelings (or even indifference) toward Local 47, Buddy
Collette deserves a full-house salute.

Buddy was a key figure in the amalgamation of the once-segregated Los
Angeles musicians’ unions, and as the first non-white musician to perform
on national television, he opened the door to all musicians of color. He
also mentored Charles Mingus, Eric Dolphy and James Newton, helped
launch the Chico Hamilton Quintet into world orbit and established
JazzAmerica, the non-profit jazz education organization that has provided
jazz instruction tuition-free since 1994.

——————————–

11/18/09

Relax during your lunch hour with live music.
Light lunch created by ANGELA’S BISTRO available for $6 after concert.

LOCATION:The Chapel 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

NOVEMBER 18, 2009
First Anniversary of the Glendale Noon Concerts
Works by MAX BRUCH & W.A. MOZART (Kegelstatt trio)
Karen Elaine- viola
Jerome Summers - clarinet
Nadia Shpachenko - piano
Karen Elaine’s new CD, MUSIC FOR VIOLA BY ERNEST BLOCH,
is nominated for a Grammy!
Artist website:
http://www.violaconcerts.com

DECEMBER 2, 2009
RECITAL featuring
Adriana Zoppo - viola d’amore
performing ATTILIO ARIOSTI
and
Three Romances Op. 94 for oboe & piano by ROBERT SCHUMANN
Catherine Del Russo - oboe
Rosa LoGiudice - piano

DECEMBER 16, 2009
HAPPY BIRTHDAY BEETHOVEN!
PIANO TRIO Op.1 No.3 in E flat Major
KEWA ENSEMBLE
Jacqueline Suzuki - violin
Pam deAlmeida - violoncello
Rosa LoGiudice - piano

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

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

UNTIL NEXT TIME,

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

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