I. THE PASSING OF A FIGHTER
II. FEATURED MEMBER COMMENT
III. COMMENTS
IV. CONCERTS AND EVENTS
V. MR RMA’S CORNER - and MR. RMA JR.

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

I. THE PASSING OF A FIGHTER

We’ve received word that a frequent contributor to the COMMITTEE
blog and others, Rick Blanc, has passed away in Florida.

Les Benedict put it this way:

“In case you haven’t heard, Rick Blanc passed away a week or so ago in
Florida. I only have grapevine info, nothing first-hand, but evidently
he had been having serious health problems recently including a cancer
diagnosis. Kenny Shroyer is more in touch with the situation, and indeed
went to Florida to help Rick’s sister with the details. I knew Rick in
Hawaii when he was just a teenager, nearly 40 years ago. He seemed to
always have an opinion about something, and sometimes rubbed people the
wrong way, but he always thought carefully and thoroughly about what he
had to say. He was a very good musician, an excellent repairman, and to
me, a good friend.

Les Benedict”

——————————————-

Colleagues,

Rick Blanc was one of the few willing to speak up (where most others
stay silent) and suffer the crass, childish and incessant attacks his kind
of truth-telling always creates. He had been warning the federation and
the rank and file of the dangers of RMA rule for some time, warnings our
Federation (Now the RMA’s Federation) did not take seriously enough.

Another good voice has been silenced. There are far too few willing to
fight for the rights of everyone.

THE COMMITTEE

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

II. FEATURED MEMBER COMMENT

There’s that old expression that you only get one chance to make
a first impression.

After decades of open warfare with the AFM, and backing not-a-
hope-in-hell candidates for national office, the recording musicians
are now in charge, legitimately and with a mandate. This is big, huge.
They now own all the federation officers, big Locals and the International
Executive Board.

They have carte blanche. And judging by their long history in Los Angeles,
they really don’t want any input - no less criticism - from anyone outside
their innermost circle. Not even from the hundreds of members that they
brag about. What are the rest of us to do? Be the loyal opposition?
Masochists Unite! Or we can watch and see what they do. I’m sure many
glittering speeches were made at the convention about it’s a new day. well
it is. The pendulum swings. It was probably bound to happen.

So good luck to the new administration. Here’s hoping that you can accomplish
your goals and still manage to find some small ways to benefit the rank and
file. But I’m not hopeful. Just the opposite.

First impressions? After years of trying they are now in charge. It would have
been the perfect time for them to stand up and say the war is now over,
there’s a new sheriff in town, we’re going to do things the right way, let the
sunshine in, let freedom ring, yada yada. Someone probably did make that
speech. But it’s much more instructive to see what people and organizations
do in private, contrasting their public deeds and statements.

One of the RMA’s most vocal critics is a member from Los Angeles who chose
NOT to be anonymous, as many others have. He has stood up at meetings
and written letters and signed his name. Whether you agree with him or not,
he has the right to state his opinion. It’s a basic tenet of unionism and more.
Remember - “I disapprove of what you say, but I will defend to the death your
right to say it.”

Did the RMA shake his hand and try to be magnanimous in victory? That
would have been bitter pill enough. No. The next morning this member, a
New Orleans native, opened the door to his personal hotel room to find a
stinking pile of dog shit topped with mardi gras beads outside his door.
I have used the disgusting vernacular because that was exactly the intended
message to the member.

This was no fraternity prank done by a rogue party. This was a stinky little
love letter to their critics. Loud and clear. And outrageous and juvenile and
disgusting and revealing and the absolute farthest thing imaginable from
professional behavior. They should be embarrassed beyond belief. In virtually
their first act as the new AFM they have brought shame upon themselves and
the entire federation. This is literally how the world’s ‘best’, or at least the
wealthiest, musicians behave.

The member from New Orleans deserves a formal apology from the AFM at the
very least.

As far as first impressions go, the tone and the odor has been set for the
next administration.

———————————-

EDITOR’S COMMENT: The “present” left outside the Local 47 member’s door
wasn’t Dog S*(_. It was supposed to look like vomit, but was more than likely dog
food. If it had only been the dog food it could have been a prank by anyone, but
Mardi Gras beads carefully placed on top of the pile made the message crystal
clear. Also, this “gift” was not found the day after the election, but the day before.

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

III. 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.

————————————

Hear Ye, Hear Ye,

The numbers are in - Secondary Markets checks have arrived - and viola’! -
there is a decline of 11% in contributions - and we call that a win?

Front end union contracts are the major feeder for this fund - new
titles, new movies and TV shows logged in represent health to the
fund - not sitting round waiting for past titles to churn a residual again

The numbers are in - my check was down about 1,000 bucks -
anybody’s check go up? would love to hear from everyone on this…….

[Editor's Comment - So would we.]

———————————–

I’m so depressed about the future I’m getting busy with steering
my own ship - not relying on anyone in the cartel to pay my bills

————————————

we are scewed with all the RMA rule -

going forward - the RMA’s money and power was just too much for the
little guy -
with great ruin to my career I’m sorry I ever spoke up about
anything……if you cant beat em, join em I guess - I truly give up
- there is no respect for wanting to do what is right…..there is no
reverance for speaking the truth at all - the whole thing sucks - so
I will watch and not stir anything up anymore - I may be known as the
guy “helping” the AFM to try to do new things to undermine the RMA’s
little bubble - (which is completely FALSE) - therefore I will never
get invited to “the party” so to speak….will never be a part of the
inner circle, never be one of the boys - the good ole boys - well

but - one thing for sure - the RMA has their head up their own butts
if they think just by winning all these elected offices that their
work is gonna get better and everything is gonna be alright - if MARK
ISHAM has to go to Prague to record a ROBERT REDFORD movie, what does
that tell you about the state of the business……..the ONLY HOPE of
LA ever getting back it’s recording work is for the COMPOSERS to form
a UNION and decide they all arent gonna do what the PRODUCERS want
them to do anymore - that is the ONLY hope now. Over and way out.

————————————

“…Why are these contractors not
calling the ones they used to call? Hmmmmm. Could it possible
be that your so-called “elites” are better players? Hmmmmmmm…”

Many of us are well aware of the recent passing of Allyn Ferguson.
Having studied with him, I recall an important phrase he often
quoted: “Never confuse ‘excellence’ with ’success’.” Or put it
another way, “There is music and there is the music business.
Never confuse the two.”

The reader’s sarcasm (”Hmmmm…”) tips his/her hand. There is
some irony in the fact that “elite”"and “entitled” have similar spellings.
Every musician who has worked hard, let alone every union musician
who has worked hard at their craft is entitled to make a living in their
chosen field, whether they join the RMA or are on ‘the A list’, or not.
Show me a triple-scale, union, RMA, ‘A-list’ musician, and I’ll find
you a “better player” who is not in the RMA or on ‘the A list’.

“There is always a bigger fish.”

————————————

I went to see Dreamworks - “Shreck the Final Chapter” yesterday
with my kids - being a session musician in LA of course I stayed to
see the music credits……ahhhhh - recorded in London at Abbey
Road studios by composer Harry Gregson-Williams…..nice - I did
some more digging and it looks like most or many Dreamworks
movies seem to have been recorded in London - last I looked
Dreamworks was an LA (Glendale) based production company -
now why the hell is the AFM and the RMA not able to get these
guys to want to work with our musicians union all these years? -
why are we not all holding the AFM and the RMA over a flame to
do their damn jobs and secure union recording work for us players
working for the Dreamworks company - why doesnt Dreamworks
want to record in LA? why, why, why arent these questions being
addressed?, why arent we wildly successful in convincing productions
companies to want to work with an AFM contract? - why are the top
LA RMALA players so hush hush when it comes to asking them if they
are sitting in a recording studio everyday or not…..ahhhh cuz they’re
NOT……what a bunch of crap………rank and file (not in the RMALA elite)
start asking your AFM and local 47 officers these questions - start asking
Vince Trombetta who writes prose every month in his column…….ASK
THIS - why the hell is the RMA and the AFM not able to get union work
for us on movies and TV like they should be doing….that is their job
isn’t it?…..

hmmmm - last time I checked - if I dont do my job I’m pretty much not
asked back……but NOOOOOO - we keep asking back the lame AFM and
the lame RMA to steer the damn ship……..are we friggin idiots or what?

[Editor's Comment: With Local 47 long owned by the RMA and now the
federation as well, don't expect anything. In fact, we'd be surprised if that
multi-use VIdeo Game Agreement isn't pulled in the next year,... or
perhaps the day after the RMA administration moves in.]

————————————

RMA TAKES CUE FROM THE COMMITTEE
“…they’ll be using their blog to spread their propaganda and sing the
praises of those they support…”

I guess they really are taking a cue from the committee.

————————————

to the commenter complaining that criticism should be directed at the contractors,
not the RMA:

Who do you think are primary members of the RMA, collect massive special
payments checks, and according to some, are the real force behind the RMA
and are calling the shots? CONTRACTORS. Especially full-time, professional
contractors. Talk about a wolf in the hen-house! The fact that the RMA embraces
contractors as members, even making SURE they become members by paving
the way at Local 47, etc (with phony player credentials playing castanets or
some such thing) speaks volumes as to the incestuous relationship between
certain RMA folks and the contractors who hire them.

———————————-

To the COMMITTEE

They will start harassing you more because now the Committee matters more -
what other journalist/publication is covering the AFM from an HONEST point of
view now that the Overture, and now likely the International Musician are going
to reflect the “RMA Reality”. The importance of the committee has just increased
substantially, as will the pressure from the RMA’ers to intimidate and bully the
committee.

Keep up the excellent work!

———————————-

If you have been involved in music for more than five minutes, you know
that it is indeed a meritocracy. If you play well, are punctual, don’t
have a hygiene problem and are not some kind of liability, other
musicians will embrace you and recommend you for jobs. Actually if
you play REALLY well, some people will hire you in spite of your
personal problems. And you must know that no one is required to hold
auditions for any kind of recording unless they want to. If someone
is going to make a record, film score, demo, play a Bar Mitzvah, or
anything that involves music, they are going to hand pick their
musicians, hire someone to do it for them, or get recommendations
from other players. Unless of course, they don’t care. One would
think that they would simply want the best players they can get.

Our union has nothing to do with it. SAG doesn’t tell Martin Scorcese
whom he may hire for his films. Actors Equity cannot tell the Shubert
organization who is going to be the star in their next Broadway
production The Major League Baseball Players Association cannot tell
the New York Yankees whom may play shortstop, and our union cannot
tell a composer, jingle house, wedding band leader, conductor,
or producer whom they may hire either. The AFM is not responsible
for our careers. Did anyone ever tell you otherwise? Did anyone tell
you that if you joined the union you would work because you have a
union card?

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

IV. CONCERTS AND EVENTS

———————————

MESSAGE FROM BILLY MITCHELL

Dear friends and fellow educators,

The SAPPA program continues to open programs
for youngsters in underserved areas. We are
in need of orchestra instruments (violins and
violas, any size, any condition).

If you have any instruments that you would like
to DONATE please contact me at
626-574-5040.

Thank you for your support!
MITCH
BILLY MITCHELL-SAPPA
www.sappa.net
www.youtube.com/sappaprogram
sappaprograms@gmail.com

———————————–

7/19/10

ELVIS SCHOENBERG’S ORCHESTRE SURREAL

We Are Back!
MONDAY JULY 19th, 2010
Elvis Schoenberg’s Orchestre Surreal
Two sets: 8 PM & 9:30 PM

At Typhoon
L.A.’s Premier Pan-Asian Restaurant

3221 Donald Douglas Loop South
Santa Monica, CA

$10 COVER CHARGE, NO MINIMUM - FULL BAR!

For more information call: (310) 390-6565
For easy directions and map click: www.typhoon.biz

———————————–

7/21/10

Canoga Park Bowl and the
San Fernando Valley Symphony Orchestra present
Concerts at the Bowl

Wednesday Evenings at 8:30pm
In the Royal Room

July 21st
The Symphomaniax
Ruth Bruegger, violin; James Domine, guitar;
Glen Grab, cello; Larry Muradian, bass

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

other concerts in the series…

July 28th
TBA

Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

———————————

7/22/10

2010 ASMAC Golden Score Awards
at the Universal Hilton is July 22, 2010.

We hope you’ll all join us.
The Golden Score Awards (previously scheduled for April 29th) will
now take place on Thursday, July 22, 2010. We are honoring Marc
Shaiman and Sammy Nestico (yes - they’ll both be with us), and have
already reconfirmed Rob Reiner as our host. Our other guest participants
are all being reconfirmed at this time and will be announced shortly.

The event will include personal and musical tributes for our honorees,
a silent auction, and amazing live entertainment. All funds raised will
benefit ASMAC’s educational programs, workshops, master classes,
and fund several scholarships

If you’ve already reserved, your reservations are still confirmed.
If you haven’t yet, please SAVE THE DATE and participate in the
event through sponsorship, reservations or a tribute ad to our
honorees. We will be sending out NEW PRINTED MATERIAL
shortly, but for more information, please call our office at
818/994-4661.

In advance, please accept our warmest thanks and appreciation
for your support.
Please make reservations by July 15th @ 818/994-4661
or by email to asmac@theproperimageevents.com

Check us out at www.asmac.org

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

V. MR RMA’S CORNER and MR RMA JR.

Mr. RMA sent in seven comments within 24 hours of the early July mailing.
With three more a few days later.
They’re so full of “creative” conclusions and trying to turn the RMAers
words into the COMMITTEE’S words, we though we’d give him his
own section. We also got three comments from someone we’ll call
MR. RMA JR. because he sends fewer comments.

————————————

1) Are any of you in the RMA? Me thinks so!

Even though you clearly don’t like the RMA and what it stands for,
don’t you think your readership is intelligent enough to decide for
themselves whether they would want to use an RMA link you could
provide? At least then, you could show you are fair-minded like
in your blog.

————————————

2) Comment:
You indicate:

“The number of people working in recording regularly in Los Angeles
is a very well known number from reading the contracting lists of
those who play the sessions. Oh yes, we get those too. That’s what
you’d call,
number justification.”

Dear Committee:

Please go on record with this “well-known number” for all of
us to know.

Thanks!

[EDITOR'S COMMENT: Read our previous mailings.]

————————————

3) You say: “As long as they (RMA) continue to
corrupt any Local they can infiltrate we will continue to slam
them.

Wow! Aren’t you giving the RMA more credit than you feel it
deserves–the cleverness to infiltrate and corrupt? and their
“prey” locals less credit than they deserve–that these
locals are so stupid as to allow RMA to do this to them?

In conclusion, you say that the RMA leadership is super clever
and the locals they prey on, stupid. I hope these locals,
who ever they are are not reading this! Otherwise, they
might get mad at you!

————————————

4) You want to limit comments? Is that American?
Even the White House doesn’t limit my mail!

————————————

5) Dear Committee:

You say: “Film scoring dates are nowhere close to a meritocracy
because of the blatantly biased and preferential hiring practices.
And where does that leave a newcomer musician who has the talent
for the job but may not be as “politically connected” as other
established players? Nowhere. Might as well be flipping burgers.”

I so beg to differ! I know of no newcomer to LA looking
for free-lance studio work “flipping burgers”. But, if they
had to resort to that, they should go back from where they
came rather than humiliate themselves.

Newcomers looking for studio work or any other free-lance
work for that matter can obtain a list of contractors from
the union. They can play for certain key principal players
who contractors rely on. Should they win a local audition e.g.
opera, chamber orchetra, people in the know take note. It IS a
job of a newcomer to look for work and part of that is getting
to know people.

“Preferential treatment” you say???? That is what the LA Phil
does when they hire someone. They “prefer’ someone over
someone else.

“Bias treatment”, you say????? The only bias I know is
towards good playing!

“Political connection”. I would love for you to elaborate
on this subject with names. Whatever you think it is, it
is not a requirement to work in the studios. How about
just plain only good playing for a start and a positive
attitude.

————————————

6) Dear Committee:

Your frustration is well documented. But you seem to be
alone. Where is your support? If so many people thought
like you, don’t you think there would be a revolution of
sorts against the AFM or RMA? Demonstrations?? Letter
writing campaigns? I mean you do make it sound like you
have tens of thousands of supporters. Why haven’t you guys
taken over Local 47 with your people through its democratic
process?

Look what just happened: the contrary–Mr. Hair (RMA kid
as you would like to call him) defeats the RMA hater, Tom Lee.

————————————

7) So now you call church, orchestra, and demo jobs
the playground of amateurs and hobbyists!

If any of you on the committee play these kinds of jobs,
I hope you are ready for some interesting feedback from
you colleagues.

Studio players do not stick their noses in the air as
you might suggest. They do not and have never looked
down upon the above classification work. They welcome
it as a chance play “live’ music and find their roots.
They also view as a healthy way to keep up their chops.

It is you that:

1) insults other locals
2) insults work that is not studio work (see above)
3) is unaware that in most auditions for major paying
orchestra gigs, the screen is taken down in the finals
where biases can occur.
4) refuse to acknowledge that since 1958, AFM stdio
orchestras have been producing the highest quality work
for movies, tv, and records without formal audtions for
its players. The system is not perfect, but when problems
arise, they seem to work themselves out. If you don’t
believe that the quality is of the highest nature, just
ask a few A list composers what they think!!!

[EDITOR'S COMMENT: You are either not a player in Los Angeles or
are an intellectual fraud. We have seen and heard the nose in the
air of some RMAers toward all those 'not them'.

We have had comments from RMAers in these pages (quite a few-
look it up) saying that you're not a real musician unless you make
your full living from recording. It's fact, like it or not. Chances are,
since many are now having to do those jobs as well, you won't hear
that particular canard any more.

More likely you know full-well that what we say is true, but are
simply playing games. If your comments continue to be such obvious,
easily exposed lies we may choose not to waste our readers time with
your pablum. And then you can post it on the AFM Observer, where the
all pro-rma all the time opposite day blather finds it's true audience.]

————————————

more on your fabled audition process:
From the NY TIMES 7/6/2010
“The finest musician can have a bad day: it’s a paradox of
the process, in which less than an hour of playing is supposed
to determine whether a musician is suitable for the continual
day in, day out life of an orchestra member. And in another
contradiction, the aspirants play alone for a job that depends
on group effort. (Winners are usually on probation for a year
or two, effectively a tryout with the ensemble.) On occasion,
when no winner is chosen, established orchestral players from
elsewhere will be invited to play as guests in a kind of informal
tryout. It’s an imperfect system, but no one has figured out a
better one.”
Committee: Auditions are NOT the panacea for fairness:
Auditions are as imperfect just as humans are.

[Editor's Comment: Why does the idea of you having to audition
scare you so much? Auditions WOULD give others a chance for
whom there is no chance now, unless you start mowing some
people's lawns or do others little "favors".]

————————————

9) Just curious: Do you blame the RMA or AFM for creating the
environment that would allow Seattle musicians to slip away from
the AFM umbrella, secede from the AFM which would result in the
creation cottage industry of non-union
film recording work? Your comments?

If your answer is the AFM, then should’t you hold the AFM
accountable for some of that 60% recording work that you claim
the RMA is responsible for chasing away?

As a matter of fact, RMA came up with the idea of the Low Budget
Film agreement to retain some of the work that was
slipping away to Seattle.

Why don’t you ask the RMA or AFM for that matter all the
concessions they have made in previous collective bargaining
agreement negotiations to try to keep work in the US under
the union umbrella.

[Editor's Comment: Glad you asked. The intransigence of the RMA
in dealing with the reality of global recording, trying to protect work
for themselves at the cost to everyone else (And themselves now as
well) and preventing the AFM from taking steps to creating truly
competitive contracts is what allowed Seattle et al to flourish.
Absolutely you can blame RMA greed and arrogance to recording lost
NOT to synth or sample scores, but recording done with live musicians
elsewhere. ABSOLUTELY!

CONCESSIONS aren't the problem, CONCESSIONS aren't the issue, the
BACK END IS!

A Local 47 board member at the convention gave up the ghost without
even realizing it. This board member said, "They're grabbing everything
they can now because they expect it to be gone in 2-3 years." And yet
THEY are the ones causing it to leave.

We suppose if your only concern is to be the last one fiddling as LA Burns,
that's the way to go, particularly if you don't care if the work is left in ashes
after you retire.

After all, you've got yours, right dynastic duo??]

————————————

10) And by the way, these blind auditions for film studio work you suggest….

Who will do the judging???? A consortium of AFM or local officers?
A committee of studio musicians? A consortium of contractors? Who
would organize this? and would it be done fairly?

Would any of you on the committee audition? Would the screen come down
in the finals? How often would these auditions take place and where? Would
you run an ad in the International Musician? If so, would you disclose
the amount of money the top studio musicians earn (inc. residuals) as
earning potential like in a conventional sales job? Hmmmm. You might
have so many people auditioning from around the world that you might
not be able to accommodate all the applicants!!!!!

Nice idea but try putting it into practice!

————————————

MR. RMA JR’s COMMENTS

1) [And didn't one of the RMA-NY minions say at a New York meeting, "New
York has never been a recording town" and "95% of recording is done in
Los Angeles" ]

The first is a misquote taken out of context for political purposes
by a vanquished NY political party. The second is also a misquote
of “95% of AFM FILM SCORING is done in LA” - a figure generally
accepted even by the departing AFM administration.

This is typical of the smoke and mirrors propagated by this COMMITTEE.
Hearsay is so much more fun than actual facts.

[Editor's Comment: We talked to people at that New York meeting. Nice try.

It is blind arrogance and fantasy to contend that 95% of recording is done
in Los Angeles. There is recording in Seattle, there is recording
in San Francisco, New York, Paris, Prague, Bratislava, Australia, Canada, Mexico
City, Arizona, Belgrade, New Orleans and London among others. Perhaps the
indoctrinated buy that obvious fabrication, but no one in the real world does.

Of course, like a media talking head, it's not the truth that matters, but telling
your folks what they want to hear, even when you know you are lying and
playing them for fools. It's the RMA way.]

————————————

2) Comment:
[While blind auditions would be a great way to level the playing
field as they have contributed to doing for symphony orchestras,
the next time you want to see many RMAers shut their mouthes
immediately and slink away quietly, suggest blind auditions for
film scoring jobs. A true meritocracy, as you suggest, would be
considered by many of the RMA elites a mortal threat to their
recording careers because it just might reveal that more than
a few of these "top call" players, no matter how well connected
politically, simply don't measure up talent-wise.]

This is diversionary palaver leading nowhere. It is the established
policy of most top AFM locals that only TENURED gigs may be
auditioned for.

[Many locals at the convention said they can't even get started with
recording because no clients will work with the AFM contracts.]

The usual hyperbole - “many locals” have neither the infrastructure
nor the supply of musicians capable of recording a large score.

[Editor's Comment: Once again you're spewing about something you
know nothing about, and showing you're distain for any musician who
isn't part of your club. There are countless musicians in the US and
CANADA just as qualified as you to record LARGE scores. And as long
as they own cars, the can get to the sessions. What arrogant, conceited
crap.]

————————————

Dear Committee:

You state: “Auditions where your PLAYING is what gets you
the job, not who you know, who you suck up to, etc etc?
Never. Not a chance.”

You can’t tell your readership that the quality produced
on AFM jingles, scores, TV shows, and films is not of
the highest quality, right? How do you think this happens?
With mediocre players?

[EDITOR'S COMMENT: Take 20, folks - get the point?
Or how about "We can cut and paste that, right?"
Not on a live stage you can't. Anyone who's been
around recording knows the multitude of imperfections
that can be fixed. You didn't think our readership
wouldn't know that already, did you?]

Woodwind and brass players “audition” every day in
the studios as the music simply calls that they play
by themselves most of the time. Thus, they can be
heard by everyone in the know. If somehow certain
musicians are not cutting it, well the obvious happens.
It is ture….the cream naturally rises to the top.
With section string players, the level is no doubt high–
major ochestra level high. If it weren’t, the results would
be less than satisfying to the educated ear.

[EC: See our previous comment.]

If certain section players are not cutting it, don’t you
worry, the decision makers eventially find out who they are
and once again, the obvious happens. And it does.

There are exceptions to every rule and remember,
“auditions” are not the end all and be all of fairness
themselves. I have heard of instances where orchestra
committees wanted a certain musician to be hired because
they thought he/she was the “best” but were overruled by
the Music Director after he/she heard the candidate play
with NO screen. Hmmmmmm. Perhaps some bias here?????

By the way, there are certain players in even the top
orchestra that could not pass an audition to get into
their own chairs!

[EC: Then how did they get in their chairs?]

No system is fair and perfect and that is because we
are human beings and we inherently are not perfect.

I hope I was able to shed some light on the subject
of auditions for the studios.

[EC: You assume we are not ALL professionals who read
this blog. Perhaps in your mind you're saying something
that is new or unknown to others, but there was no
light here, only heat. Do you really think non-recording
musicians are ignorant of anything you said above? Of
course not. You're showing your own conceits.]

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

UNTIL NEXT TIME,

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

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