I. RMA MEETING, JANUARY 19TH
II. LOCAL 47 MEETING, JANUARY 23rd
III. TWO COMMENTARIES FROM DEADLINE: HOLLYWOOD
IV. JUSTIN GOOD BUSINESS STRIKES AGAIN - PART I
I. RMA MEETING, JANUARY 19TH
We received the following info concerning next week’s
Anyone in the AFM can join the RMA.
Everyone in the RMA can for whatever office they want,
even in absentia.
You can also win in absentia–
You just need to have someone nominate you on the floor at the meeting,
or nominate yourself if necessary.
The RMA news section of their website is pretty abysmal.
2010. Nice. Way to be transparent!!!
note: you must join the RMA by the last business day
BEFORE the meeting.. you cannot join/vote on the same
day for some reason.
II. LOCAL 47 MEETING, JANUARY 23rd
The LOCAL 47 General Membership meeting is Monday,
January 23rd at the Local 47 Auditorium.
Want to have a voice in our Local? Be there!
III. TWO COMMENTARIES FROM DEADLINE: HOLLYWOOD
Here are two of the comments included in the
DEADLINE HOLLYWOOD comments section of the
Ok, I’m just going to say this as straight as possible.
I’m a composer working in LA and a member of the union.
The union only costs me work. The union is directly
responsible for work leaving town and the reason we
currently basically down to two scoring stages instead
of 5 when I moved here 10 years ago.
Lionsgate is NOT a union signatory. They can score
the movie wherever they want. End of story. Furthermore,
Sony, Fox, Disney, etc. all score in different places as well.
London, Australia, Prague, etc. The LA musicians are NOT
the best recording musicians in the world. They are simply
the most expensive. If the union wants to be consistent,
they should be picketing every studio, because they ALL
record scores outside of the united states.
The reason LA musicians are not always used is because
the union contract and benefits are onerous, sometimes
far too much so to be able to afford to record here. So
the studio makes a financial decision on where they
want to record. The rest of us go where they tell us.
Should Pete Anthony be punished for working for JNH
who he’s been working with for years simply because
the score is not being recorded in the US?
Let me explain something to you. The union has never
got me a job ever. In fact, as a composer, the musicians
who play my music make more residuals than I do,
the guy who wrote it. Ask the union how much a
composer makes on the sale of a DVD copy. Nothing.
All the musicians that play on it however do get a cut.
Do you think that is really fair?
The problem here is one of entitlement. The music union
feels they are actually entitled to something. Guess what,
they aren’t. If Lionsgate is not a union signatory, they
can record the score wherever they want. You can picket
all day if you want - it makes no difference. Furthermore,
the whole reason Lionsgate is not a signatory is because
they do not like dealing with the union. So, honestly do
you really think the best way to approach this is to picket?
Really? How about you sit down with the studio and ask
them what you can do to repair the relationship? Instead
of coming out guns blazing with no leg to stand on.
I’m sick of suffering the consequences of the union’s actions.
They cost me work. There are less scoring dates in LA, there
are less musicians working and more and more musicians are
finding other lines of work and it’s not because of the
recession. Criticize me all you want, but I’m in the middle
of this every day and I see the direct result. It’s sad.
Oh, and just a little piece of advice. The London musicians are
every bit as good or better than the LA musicians. The reason
they work is because they are easy to deal with and they aren’t
being paid residuals on every project in perpetuity. Think about
that maybe before you picket and punish people like Pete
Anthony who is just trying to work with a great composer
who he’s had a relationship for years.
Some of us in this town want to make music and work. If
the music union was worried about its base, it would work
to make relationships with the studio better, give up some
of its entitlements and not be a confrontational ass.
That would help keep work in LA. Until that happens,
watch as more work continues to leave town.
It’s Pete Anthony’s position as RMA-LA President that is
making this such an incredibly hypocritical move.
But in addition to that, rules mean something. Words
mean something. And Bylaw 15 means something,
unless the AFM now is giving members the right to
selectively obey or disobey any and all bylaws as each
member may see fit to do. Without rules and the
enforcement of them, there are no rules, and there
is no organization, just a bunch of wishful thinkers.
If enough orchestrators are unavailable to work outside
the AFM, their composer bosses will get the message
and maybe, finally, we’ll see some pushback to the
race to record outside LA. Then again, maybe one day
the AFM will realize that driving work out of town by not
offering any type of practical buyout scale for film and
TV work (unlike the London musicians union which offers
an effective buyout of all major usages) is not necessarily
in the best interests of its members at large.
It doesn’t matter whether its musicians or any other service,
arrogantly claiming “we’re the best so we don’t have to
be competitive” is simply not working any more.
The bean counters at the studios look closely at every
dollar, and more and more cities like London are
looking very competitive - not because their scale
wages are much different than here (they aren’t) but because
they allow the studio to pay once for the music for all
primary usages, instead of demanding as the AFM does
that the studio keep their accounting books open for
years and years into the future to deal with all the strings
attached with the AFM contract in terms of future monies
paid to the musicians who recorded the score years or
decades ago. Kudos to the AFM for negotiating that decades
ago, but what might have been competitive so long ago
when LA had a monopoly on skilled recording musicians
for film/TV is simply not competitive any more now that
skilled recording musicians exist in London and elsewhere,
and are willing to offer a buyout scale. It’s simple economics,
and all the protesting and complaining in the world is not
going to change that simple economic truth.
The AFM is no more immune to globalization than any
other US labor union.
IV. JUSTIN GOOD BUSINESS STRIKES AGAIN - PART I
Mr. Justin Goode Business here.
I would like to take up where I left off, and address
some of the most ill conceived grievances against
the members of the RMALA, that have been fabricated
in the minds of the lesser Los Angeles musicians, who
lacking the talent to read the funnies and wipe their
bottoms at the same time, have conjured up to falsely
demonize their obvious superiors in the musical talent
department (Members of the RMALA.) After all, if we
were all as talented as Mr. Conductor, none of the
rules would apply to us either.
1.The RMALA drives work out of town: False.
We do not drive any of “our” work out of town, we
do our work out of town when it suits us. And as
for “your” work: work is already leaving town. It
already was leaving thirty years ago. We merely
devised a new business model that would keep
the last microscopic bit of the former work from
being outsourced to points beyond. Our business
model is simply this: If you want the best recording
musicians in the world to record your music, then
you still must come to Los Angeles. This very stale,
and patently inaccurate idea has worked for us for
some 30 years.
It cannot work, however, if there is more than just
one set of Best-In-The-World musicians. By that
I mean, if there are 2 good orchestras in Los Angeles,
then by definition, and more importantly semantics,
one of these ensembles is not the best. Sorry
Second-Besters-In-The-World, letting you survive in
any way shape or form is just NOT good business.
2. We aligned ourselves with a non-musician contractor:
Duh, if you want to play at the top professional level,
then you practice all day. If you want to book an orchestra
at the top professional level, then guess what you have
to do all day?… No, it only takes an hour to contact
all the musicians, but it takes the other 23 hours a
day to vindictively besmirch the abilities of the rest
of the Los Angeles talent pool. Sorry honorable union
members, who are not as cutthroat as us, it is
just good business.
3. In our beginnings, we would book all of the large
studio rooms in town, that is, those rooms capable of
holding a full orchestra, and then cancel the reservations
on all but one of the rooms the day before the scheduled
session, therefore owing nothing to the studio owners
who’s rooms were cancelled, but thereby leaving every
other orchestral contractor in town with nowhere to record:
Even if this is true; (it does seem like a good idea, doesn’t
it?) it is not illegal, and no one forced any studio owner
to agree to this type of unscrupulous practice, especially
if they had already been sorely used in such a manner
once before. If they did foolishly choose to hold the room
for us a second time, then it was only because they could
see that that the Recording Musicians of Los Angeles was
the only real game left in town. Sorry studio owners who
died in abject poverty, and who’s destitute children grew
stronger for it; it was just good business.
4. We threatened to ruin the careers of people if they did
not sign up with us: That, in itself, implies that these
unworthy folks were given the opportunity of joining
rather than opposing. I knew a man once, who ran a TV
store. He sold televisions. One day, Circuit City moved in
across the street. Circuit City offered this man the job as
manager at the new Circuit City store. He, in his pride,
refused. He lost his business. He lost his home. He now
lives in a trailer park, if he still lives at all.
He should have taken the offer.
By the way, Circuit City itself is now out of business.
Their’s was ultimately a bad business model. The RMALA
has no intention of becoming Circuit City, nor should we
feel obligated to feel bad simply because we have a
good business plan in bad economic times. Sorry all
you lousy musician/businessmen, what we practice is
just good business.
… to be continued
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.
After reading about all the non-union work Pete Anthony is doing
overseas, I reminded myself of that infamous non-union recording
session in San Diego that got “busted” by a member of RMALA. I
know of a musician (who desperately needed the work) who had
to pay a $1,500.00 fine and paid it because this person did not
have the wherewithal or political connections to fight back.
The Magic Contractor has been putting her daughter, who has an
ongoing condition, on union contracts to perpetuate her health
insurance. Dont believe she is a player or orchestrator - I dont
think She’s has been charging clients for the costs - she’s prob
been paying for the health insur. daily amount - but still if you
or I did this we’d be brought up on AFM charges - I understand
the compassion for someone who cannot get insured - but the
hypocrisy runs really deep here.
ABOUT THE PETE ANTHONY SITUATION…
If nothing else, this is going to shine the light on orchestrators
working on non-AFM films - nobody’s going to want to be put
under the Hollywood microscope for doing that again… that is,
unless Ray Hair issues some sort of blanket pass for any and
all future work by orchestrators on non-AFM films!
Local 47 is actively discouraging people not to work with the
group in this newsletter:
But how are we as members supposed to know which bylaws are
prosecuted and which are not?
How can a union hall (Segerstrom) accept this touring company
in the first place then? Aren’t the stagehands union?
Can anyone answer these questions?
-Local 7 musician
VI. CONCERTS AND EVENTS
GINGER AND SCOTT AT VITELLO’S
GREETINGS AND HAPPY 2012, ALL!
Come and help Ginger & Scott celebrate some
really HIP songwriters and composers as we
present our show:
Also in the stellar lineup:
Roger Neumann, reeds;
Corey Allen, piano;
Jennifer Leitham, bass; and
Kendall Kay, drums!
8PM at VITELLO’S in Studio City, CA.
4349 Tujunga Ave.,
Studio City, CA 91604
For tickets, reservations, and more
info, please visit
or call (818) 769-0905.
HOPE TO SEE YOU THERE! TELL A FRIEND AND
Scott Whitfield Trombonist/Composer/Arranger/
Vocalist (818) 577-8676 “Music is a very hard
instrument.” — Vido Musso
KENNY SASA’S “SOUNDS OF NEW ORLEANS”
This Friday & Saturday Jan. 13th & 14th
at Ralph Brennan’s Jazz Kitchen in Downtown Disney
with Kenny Sara’s “Sounds of New Orleans” from 7-11 PM
1590 South Disneyland Drive
Anaheim, CA 92802
From FUNG HO:
Dear Friends & Colleagues:
It is my pleasure to announce the up-coming
concert of the CalStateLA Symphony Orchestra/
Olympia Youth Orchestra on January 15, 2012 at
3PM. It will be FREE & OPEN to the public at the
San Gabriel Mission Playhouse,
320 S Mission Drive, San Gabriel, CA 91776.
14 year old violinist, Hao Zhou who won the
special prize at the ASTA- LA String Competition
Finals during the Spring of 2011, will be the
featured soloist performing the 1st movement
of the Tchaikovsky Violin Concerto. Other works
will include Schubert’s Rosamunde Overture and
Beethoven’s 5th Symphony.
Everyone is invited to this concert. Please bring
your friends and family to enjoy the artistry of
these talented young musicians ages 12 through
Looking forward to see you there.
David Angel Ensemble @ TYPHOON Restaurant
January 16, 2012 - Shows at 8:00 and 9:30PM
$10 Cover Charge - Free Parking - Reservations Suggested
Typhoon Restaurant - At the Santa Monica Airport
3221 Donald Douglas Loop South
Santa Monica, Ca 90405-3213
Featuring: David Angel -Leader & Saxophone
Woodwinds: Phil Feather, Gene Cipriano, Tom Peterson,
Roger Neumann & Bob Carr
Trumpets: Jack Coan & Bob Summers
Trombones: Jack Redmond & Morris Repass
Horn: Stephanie O’Keefe
Guitar: Dave Koonse,
Bass: John Smith
Drums: Paul Kreibich
FREE ADMISSION GLENDALE NOON CONCERTS
Every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm
JANUARY 18, 2011
VICTOR DE ALMEIDA - viola
VICENTE DITTO - piano
Johannes BRAHMS Sonata in Eb Major, Op.120, No.2
Maria NEWMAN “The Ninth Hour of Divine Office” for Piano and Viola
Thank you for your help promoting the Glendale Noon Concerts!
The series is entering the 4th year of presenting
free admission concerts every first and third Wednesday
for Glendale and the Southland community.
RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch to go prepared by ANGELA’S BISTRO
available for $6.
Please place your order before the concert by 12:10 pm;
your order will be delivered by 12:40 pm.
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 email@example.com
UPCOMING CONCERTS in the same series:
(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm;
programs subject to change)
FEBRUARY 1, 2012
THE MALKIN - TRYBEK DUO
Iris Malkin - mezzo-soprano
Edward Trybek - guitar
FEBRUARY 15, 2012
ADRIANA ZOPPO’S ERGO MUSICA
MARCH 7, 2012
Clarinetist JAMES SULLIVAN & Friends
CONCERTS AT THE [Canoga Park] BOWL!
The Canoga Park Bowl and the
San Fernando Valley Symphony Orchestra
Present Concerts at the “Bowl” in the Royal Room
Wednesday Evenings at 8:00pm;
Friday Evenings at 8:30PM
Wednesday, January 18, at 8:00pm
Perform ”Bach, Vivaldi, & Original Compositions
& Arrangements,” featuring
James Domine, guitar;
Ruth Bruegger, violin;
Glenn Grab, cello; and
Larry Muradian, bass
20122 Vanowen Street, Winnetka, CA
For information, call 818-347-4807
Free Admission/One Drink Minimum
Persons under 21 years of age not admitted
OTHER CONCERTS IN THE SAME SERIES
Wednesday, January 25, at 8:00pm
The Screaming Clams
Perform “Rock ‘n Roll” music of the ’60s & early ’70s,
Jimi Dee, lead guitar;
Joel Domine, keys and guitar;
Larry Muradian, bass guitar and
Steve Hartman, drums
THE DEBUSSY TRIO
Sunday, January 22nd, 2012 at 4pm
Works for Flute, Viola and Harp
Deon Nielsen Price
The concert will take place at
FANCIFULL GIFT BASKETS
5617 Melrose Ave. Hollywood, CA
Admission: $20 by Telephone or at the door
Cheese, Wine and Chocolates at 3pm!
For reservations call: 1(800)350-4437
We will be appearing at Paladino’s on Saturday,
January 28th 2012, 8:00-9:00 PM, where we
will play one hour of your favorite Steely Dan
tunes! We want this to be a fun evening for
all, so please bring your friends along and
enjoy a great time with us.
6101 Reseda Blvd
Tarzana, CA 91335
We look forward to seeing you there!
The Doctor Wu Band
FROM KIM RICHMOND
Dear fellow L.A. Musicians,
It’s a new year and time to stretch out and listen
to some inventive jazz music. Please put this date
on your calendar: Sunday, January 29, 3 PM.
WHAT: The Kim Richmond Ensemble, an improvisational
jazz ensemble (sextet) with charts by the leader.
WHERE: Contrapuntal Performance Hall,
655 N. Bundy Dr., Brentwood area, Los Angeles,
THIS IS ONE MILE NORTH OF SUNSET.
WHEN: Sunday, January 29, 3 PM
WHO: Kim Richmond, alto/soprano sax;
John Daversa, trumpet;
Joey Sellers, trombone;
Mahesh Balasooriya, piano;
Mike Valerio, bass;
Jamey Tate, drums
ADMISSION: $10 Tickets may be purchased at
THE VENUE: Contrapuntal Hall is a large performance
room built on to the home of a patron of the arts living
in Brentwood. It is complete with a pipe organ,
Bosendorfer piano, balcomy and good acoustics for
We hope to see you there. This promises to be an
inspiring and creative event.
UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com