I. SECRETARY CONTINUES ABUSES OF POWER
II. LETTER FROM LEN BERGANTINO re: SECRETARY LASHINSKY AND THE OVERTURE.
III. SEATTLE’S RMA CONNECTION
IV. COMMENTS
V. CONCERTS AND EVENTS

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

I. SECRETARY CONTINUES ABUSES OF POWER

Colleagues,

We’ve heard more and more of people who submit letters to
the Overture, perhaps complimenting members and their
performances, that the Secretary refuses to print because “she”
interprets them as self-serving or a way for those members to
make money.

Ironically, she never hesitates to print letters singing her own
praises.

As a reminder to all members:

PRINT THIS OUT AN INCLUDE IT IN ANY LETTER YOU SEND TO THE EDITOR

Under Section 4: The Secretary shall:
(i) serve as the editor of Overture, subject to the direction of the
Executive Board, with the right to censor material submitted, the
publication of which might constitute a violation of Federal law or might
involve the Local or any member thereof in litigation or bring either into
disrepute;

As the bylaw above states clearly, there are only two instances in which the
secretary can refuse to print a letter:

1) It might constitute a violation of Federal law
or
2) Might involve the Local or any member thereof in litigation or bring either
into disrepute;

If your letter does neither of the two things listed above and doesn’t run longer
than the word limit, the secretary CANNOT refuse to print your letter. As we see
it, the only thing putting the local’s Overture in a light of disrepute is the
Secretary’s conduct.

Secretary Lashinsky has been warned several times in the past that she has no
right to block the printing of letters on her own whim. Secretary Lashinsky has
had been quoted the bylaw printed above several times. Still, she knowlingly
denies the printing of perfectly appropriate “letters to the editor”. Is it a simple
power play? Is it simply her flaunting her “authority?” We don’t know and we frankly
don’t care, we just want her to follow the bylaws and stop abusing her power.

Our hats are off to Linda Ripka for her work at the Overture. None of the above
is directed at her.

THE COMMITTEE

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

II. LETTER FROM DR. LEN BERGANTINO re: SECRETARY LASHINSKY AND THE OVERTURE.

Letter to Linda Ripka from Dr. Len Bergantino:

April 14, 2010

Linda,
Enclosed is a letter to the editor I want you to publish and I want Leslie Lashinsky
to write a statement of decision regarding the rationale for breaking long standing
union protocol in terms of being an officer who accepts paying gigs as a Local
47 member as a professional musician. Severa Kay Williams, a dear friend over
the many years I knew her stated she as a professional bass player but no longer
accepted professional employment as a musician because she was Secretary-
Treasurer of Local 47.

Sincerely,

Len Bergantino, Ed. D., Ph.D., M.A., M.S. Ed., ABPP

———————————-

Letter to Secretary Lashinsky from Dr. Len Bergantino,

July 12, 2010
LETTER TO THE EDITOR OF OVERTURE - LESLIE LASHINSKY
FAXED TO (323)466-1289

Dear Leslie,

I am informed there is a policy that all letters to the editor have to be
published by the editor. I am writing this letter to the editor, knowing
full well that a) you did not publish my praise of Tom Warrington and
b) you did not not publish a letter to the editor of April 14th, 2010
where I commented specifically about the pot calling the kettle black
or people in glass houses throwing stones in the fact that that you are
Secretary-Treasurer and that you take Union Jobs for money as a
musician while you are in officer and each time you do so the Board
of Director’s makes an exception for you.

I am informed that this is a serious breach in that Union Musicians
are being deprived of the opportunity to take such work.

Your, predecessor, Serena Kay Williams stated to me she was a professional
bass Player but no longer accepted employment as a musician because
she was Secretary-Treasurer of Local 47.

This is particularly offensive to me in that you basically accused me of
writing three articles to promote musicians because I might make money
from such writings. As I have stated in my writings elsewhere I have never
made a dime writing about musicians who I think I am privileged to have
the opportunity to hear and my only intention is to bring some notoriety
to those who are musically deserving.

NOW YOU ARE EDITOR AND I HAVE BEEN TOLD THAT MY CHALLENGING
YOU IS FOOLISH IN THAT BASICALLY AT LOCAL 47 YOU CAN DO OR SAY
WHATEVER YOU WANT AND AS YOU HAVE DONE WITH ME, SEARCH FOR
SOME RULE OR BYLAW AND THEN TWIST IT TO FIT YOUR NEEDS, AND IN
THAT WAY YOU WILL HAVE ALL YOUR BASES COVERED, AND ALL YOUR
HOLES COVERED AND FILLED. AS YOU DID WITH MY APRIL 14, 2010 LETTER
OF THE SAME SUBJECT, YOU MERELY DID NOT PUBLISH IT.

HOWEVER, I HAVE BEEN INFORMED THAT SOME OF MY CONCERNS ARE ALSO
SHARED BY ABOUT 6500 MUSICIANS AND THEY ARE PUTTING WHAT I WRITE
ON A BLOG. THUS, I AM SENDING THIS LETTER TO THE EDITOR TO THE BLOG,
AGAIN GIVING YOU THE OPPORTUNITY TO WRITE WHATEVER YOU WANT TO
ADDRESS THE ISSUE FROM YOUR SIDE.

AS FOR THE WAR YOU HAVE STARTED AGAINST ME OVER THE TOM WARRINGTON,
MY CONDITIONS FOR PEACE ARE TO PUBLISH THE ARTICLE AND HIS RESPONSE
TO MY SENDING HIM A COPY!

While there is no doubt in my mind that you have all the cards and you can win
the war, I think you have started a war over a very simple matter that is quite
foolish and in the best interests of no one. The reason I carry on the war in the
face of overwhelming odds are that I think and feel I am better qualified to carry
on such a war to help the masses at Local 47 (Those not in the nifty one fifty) in
a situation that they should have as little to do with Local 47 are possible. Why
don’t you address some of these issues instead of your cheerie little notes each
month?

Dr. Len Bergatino (RSVP!!!)
also to Executive Board-Local 47

—————————————

Colleagues,

We have to correct Dr. Bergantino on a couple of points: The Local 47 Executive Board
has in fact refused Secretary Lashinsky permission to work in the jurisdiction for the
last couple of months (after allowing it since the beginning of her term as Secretary),
though she continues to try. The fact that she continues to try to take work from other
Local 47 bassoonists is very telling, especially considering she made approx. $87,000
last year as our Secretary.

Dr. Bergantino also says the Secretary has to print all letters to the editor. This is
also not correct, please read section one for details. We’ve seen his letters and
there is absolutely no excuse to exclude them. Perhaps if Dr. Bergentino wrote
a letter praising the Secretary’s playing he could get it published.

THE COMMITTEE

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

III. SEATTLE’S RMA CONNECTION

Thank you to the observant member for sending this in:

Dear Committee,

I just watched the movie “THINNER” on Cinemax. (based on the Stephen
King book) It’s a film from 1996.
Guess what? in the credits:

ORCHESTRA RECORDED IN SEATTLE (as a buyout as I am looking at the
AFM list of Secondary Markets films as I write this)

oops.. and.. PETE ANTHONY is listed as conductor.
And, on IMDB, everyone is listed that was in the credit roll.. but him.

Sorry Pete, but it’s in the movie credits. Mr. Anthony, can you please
explain your hypocrisy? Aren’t you the president of the RMA? This isn’t
even London (which you called “insourcing”), but the good ol’ USA.

come on!

if anyone else sees Mr. Anthony’s names in older movies done up in
Seattle, hopefully they can send them in to your site. He obviously
removed them from IMDB. You could start with movies scored by
Christopher Young or James Newton Howard.

-anonymous

[EDITOR'S COMMENT: Certainly, this film was long before his reign as
RMALA President, but the hypocrisy still remains. We'd always heard that
Pete Anthony was "Mr. Seattle" before obtaining his throne here in what's
left of LA. It would seem he of all people would know what climbing the
ladder takes, but the conduct of the RMA toward anyone who has to leave
to get something recorded because of their (RMA/AFM) contracts is true
hypocrisy.

Pete Anthony - Seattle - London - and president of the RMALA. Yet the
RMA sheep say nothing and continue to allow ALL OF US to be sheared.

THE COMMITTEE]

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

IV. 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.

————————————

Ladies and Gentlemen,
I wrote a little note to you about two years ago asking every one
in the AFM to quit standing in a circle and shooting at each other.
You know, one of those ‘Can’t we just get along’ requests. I sent
the same bit to the RMA emailers.

I will not go into the details again, but I will only ask that you
remember that we are a Union and all differing opinions should
be valued and respected. When you win or lose, you serve our
purpose best by continuing to be respectful and gracious.

I also believe that the strongest person is the one who constantly
tries to make a situation better, and never stops trying to make
people see the error of their ways.

If you care as much as you say you do, why don’t you commit to
having dialogue and try to build a bridge instead of a war of words?

Richard Sparrow
AFM Local 427-721

————————————

Beyond all the referral committee horrors, I was surprised at how much of
a reaction the RMA commenters had re: auditioning. I think you REALLY hit
a nerve there.

Interesting comments re: RSC and handing out work fairly and impartially
- I wonder how this might factor into how RMA contractors hand out work…?

Auditions would really open up the process and break up the good ole boy
system of hiring by contractors - they had no real answer for it except
to call mention of it “diversionary”, which is just smoke. Auditions are
part of virtually every hiring process in the music business, why should
a cartel of rich players and their contractor be allowed to monopolize
an entire industry in LA?

Wonder what the DOL has to say about that…? To the extent that any union
resources are being used to fund or assist a system where certain players
(especially RMA officers and board members) are being given any special
benefits in the hiring process could get very, very messy for them…
it opens up a HUGE can of worms that DOL or NLRB may be interested in.
An interesting angle to say the least…

————————————

I especially like the person who asks, “If the Committee is so popular, why
haven’t you taken over Local #47?”

You might reply (anonymous please):

[Maybe you're right - it's time for some of us to sacrifice our careers, run
for office, and give the Live Performance/Freelancers back their voice at
#47. Believe it or not, we prefer to play music while believing that our
Union Bylaws protect our interests. Apparently not these days.

We also notice that the Symphonic players prefer playing music to running
for office, except for Leslie who is generally allowed to take other
bassoonists' work whenever she wants, AND get paid $75,000/year of members'
dues to give us a part-time return on the Secretary's full-time position.

We also don't see any "working" RMA folks becoming Officers either.
Instead, RMA convinces others that the 17% (we bet it will be even less this
year) of work dues paid by recording sessions is actually the core financial
support keeping our Local afloat. NOT!
(Sorry guys, but some of us can count. And we know the Special Payments work
dues go direct to the AFM, not #47.)
But then, the only way the RMA'ers can keep their ball rolling is to also
control our Union.]

———————————-

Concerning the last mailing re: FMA SPECIAL REPORT

Only in America.

———————————-

this was a great comment -

[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 - ]

you forgot one thing - one BIG thing -
and also keep your mouth SHUT……oops.

———————————-

COMMENTS FROM MR. RMA JR.

Comment:
[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.}

The only blind arrogance and ignorance here is either the intentional
misquoting or the "editor's" inability to read correctly. Once again, the
original statement: "95% of AFM FILM SCORING is done in LA." GET IT??

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

Yeah - you “talked” (actually read some tripe from a defeated NY political
party) that was a misquote to start with. Since you weren’t at that meeting,
your “reporting” carries no validity. Nice try indeed!

[Editor's Comment: If, as you say, 95% of all AFM Recording is done in LA,
then how do you suppose the thousands of wonderfully and fully qualified
recording musicians across the country (including New York, Nashville, San
Francisco, New Orleans, LOS ANGELES, etc, etc.) feel about a monopoly of
the recording work being hoarded by 150 in Los Angeles? What then, did the
dynastic duo offer all the other recording locations to accept "third world"
status and still go along with the RMA? Also, to have a real picture, you
have to include ALL recording. After all, having 95% of 10% of the work
worldwide doesn't amount to much.

If you're going to paint a picture, Mr RMA Jr., at least paint an honest
one.]

———-

Comment:
[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.]

Of course, the “Editor” has complete knowledge of all things AFM including
qualified musicians who own cars and can drive hundreds of miles to get to
a session. Accusing someone of arrogance and conceit here only serves to
highlight his/her own colossal hubris.

———-

Comment:
[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.]

Should have been written: Of course, like a media talking posterior,
it’s not the truth that matters, but telling ourselves what we want
to hear even when we know we are lying and playing ourselves for
fools, It’s the COMMITTEE way.

[EC: We stand by our record of honesty over the years.]

———

Comment:
[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]

Undoubtedly written by the grammar/syntax/spelling-challenged editor
(the word is voilà, not the alto voice of the string family). In the world-
wide recession (are you blaming the RMA?), other funds including the
AFM-EPF have gone down a lot more than 11%. When people are hurting
for money, they buy fewer DVDs, movie downloads, payTV movies, etc.
It’s called the SECONDARY MARKETS FUND because funding comes from
those sources.

———

[You're showing your own conceits.]
[What arrogant, conceited crap.]

The “editor” seems to have found a new expression. He/she should
know that “conceit” is used in the singular.

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

V. CONCERTS AND EVENTS

OLYMPIA YOUTH ORCHESTRA AUDITIONS

Just a kindly reminder, the Olympia Youth Orchestra auditions
for the 2010-2011 season will be open all summer for this year as
we are making the transition from auditions being held in September
in previous years to holding it in June beginning next season. We will
accept students age 12 and above auditioning on an orchestral
instrument with a minimum level of MTAC Certificate of Merit Level 7
(reference only, there is no need to have taken the evaluation). There
will be some scholarships available depending on level of playing and
financial need.

Attached please find a student application form with all the necessary
informations. Please contact me and return the form to make arrangements
for an audition time that is convenient to you.

Looking forward to hearing from you and please pass this along to anyone
whom you think would be interested. Thank you.

Sincerely,
Fung Ho
Music Director & Conductor
Olympia Youth Orchestra

———————————–

7/23/10

THE BOYD CANNON BIG BAND
7:30-10:30 at
FAMOUS (SPORTS) BAR AND GRILL
821 E. Thousands Oaks, CA 91360
(805)497-4669

———————————–

7/25/10

LOS ANGELES PIERCE SYMPHONIC WINDS
“Tribute to our servicemen and women”
6pm to 8pm

WARNER PARK CENTER
Outdoor Amphitheater
5800 Topanga Canyon Blvd.
Woodland Hills, CA 91367

Admission FREE!

———————————–

7/26/10

PROMOTING LEADERSHIP AND LITERACY
Through Music, Art and Science
Monday July 26, 2010 12:00 PM - 8:00 PM

Pasadena Central Library
285 E. Walnut Street
Pasadena CA 91101

Guest Speaker: Billy Mitchell - 5:00 PM
“Leadership and Collective Connectivity”

Others Speakers:
Linda Morgan
Maria Genea
Aldonia Bailey
Roscoe Lee Owens

Live Music, Youth Performers, Interactive Art,
Guest Speakers and Networking Workshops

The Jammin Foundation is a California 501c(3) non-profit
artistic foundation. The mission is to instill confidence in
our youth and build leaders with inter-generational mutual
respect through music, math, art and science. “Keeping
America’s valuable art forms and our historically rich cultures
of Music and Art alive”.

http://jamminfoundation.org

———————————–

7/28/10

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

Wednesday Evenings at 8:30pm
In the Royal Room

TBA

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

———————————

8/4/10

FREE ADMISSION GLENDALE NOON CONCERTS

Every FIRST & THIRD Wednesday at 12:10- 12:40 pm
Wednesday AUGUST 4, 2010 at 12:10-12:40 pm

ROBERT SCHUMANN Bi-Centennial!
Adagio & Allegro for French horn & piano Op. 70
Andante & Variations for 2 pianos, 2 cellos & French horn
in Bb major, WoO 10 (original version of Op.46, for 2 pianos)

Rachel Berry - French horn
Stephen Green , Roger Lebow - violoncello
Vivian Liu , Jocelyn Hua-Chen Chang - piano

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch to go prepared by ANGELA’S BISTRO
available for $6.

LOCATION: The Sanctuary 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

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

UPCOMING CONCERTS in the same series:

(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm)

AUGUST 18, 2010

FREDERIC CHOPIN & ROBERT SCHUMANN Bi-Centennials
CHOPIN Nocturne No.8 in Db major Op.27 No.2
SCHUMANN Intermezzo:Mit Groesster Energie
from Faschingsschank aus Wien Op. 26
Rosa LoGiudice - piano
ARTHUR BLISS Oboe Quintet

KEWA ENSEMBLE
Catherine Del Russo - oboe
Adriana Zoppo , Jacqueline Suzuki - violin
Victor deAlmeida - viola
Pam deAlmeida - violoncello

—–

SEPTEMBER 1, 2010
Jean Sudbury - violin & mandolin
(& Friends)

—–

SEPTEMBER 15, 2010
Adriana Zoppo - viola d’amore
Winner of the 2010/2011 Beverly Hills Auditions of the
Consortium of Southern California Chamber Music Presenters

—–

OCTOBER 6, 2010
Viola & Guitar Duos
Karen Elaine - viola
http://www.violaconcerts.com

—–

OCTOBER 20, 2010
ROBERT SCHUMANN Bi-Centennial
Piano Trio No.1 in d minor Op.63

KEWA ENSEMBLE
Jacqueline Suzuki - violin
Pam deAlmeida - violoncello
Rosa LoGiudice - piano

—–

NOVEMBER 3, 2010
Voice & Guitar Recital

THE MALKIN-TRYBEK DUO
Iris Malkin - Mezzo-Soprano
Edward Trybek - guitar
http://www.myspace.com/themalkintrybekduo

—–

NOVEMBER 17, 2010
SAMUEL BARBER Centennial
Dover Beach
Ruth Bruegger - violin
(& Friends)

DECEMBER 1, 2010
Chamber Music Recital
Catherine del Russo - oboe
Adriana Zoppo - violin
Rosa LoGiudice - piano

—–

DECEMBER 15, 2010
Solo Viola Recital

Works by
GYORGY LIGETI (”Loop”)
CASIMIR NEY
&
J.S. BACH
Victor deAlmeida - viola

—–

JANUARY 5, 2011
IGOR STRAVINSKY 3 Pieces
BELA BARTOK String Quartet No. 4

KEWA ENSEMBLE
Nancy Roth , Jacqueline Suzuki - violin
Adriana Zoppo -viola
Mary Anne Steinberger - violoncello

—–

JANUARY 19, 2011
Solo Violoncello Recital
Mary Anne Steinberger - violoncello

—–

FEBRUARY 2, 2011
Arabic Music:
TURATH EMSEMBLE
directed by Sami Asmar
with Kathleen Hood, violoncello
http://turath.org

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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