I. DUPLICITOUS PRESIDENT REMAINS
II. AN OPEN LETTER TO THE FILM MUSIC COMMUNITY
III. JUSTIN GOOD BUSINESS - PART II
I. DUPLICITOUS PRESIDENT REMAINS -
RMA RANK AND FILE TURN A BLIND EYE
Not surprisingly, The RMA rank and file sheep allowed the
re-election of their duplicitous President Pete Anthony to
remain in office as President of the RMALA. Mr. Anthony
will continue to talk out of both sides of his pocketbook
and the RMA no longer has any moral standing to object to
anyone doing non-union work.
What kind of ethical blinders must Mr. Anthony have in place
to remain as president? Enjoy those mirrors, Pete.
After all folks, if it’s OK for the President of the RMALA to
do scab work in Europe repeatedly, and those he’s supposed
to serve jump off the cliff like lemmings, they have no business
telling anyone about doing non-union work to pay their bills.
Will the AFM or Local 47 file the $50,000 fine as the bylaws
state? Of course not, they’re as culpable in this situation as
the RMA, since they cannot bite the hand that controls them.
As far as we’re concern, no charges from this point on levied
against any AFM member for doing non-union work are legit.
If they do charge you, demand to see the RMALA President’s
cashed check. If they don’t produce it, refuse to pay the fine
and sue them if they persist. This Local deserves no better
treatment considering their own culpability in this joke of
Perhaps the rank and file were afraid to speak up, which is
how most corrupt regimes stay in place, or perhaps only the
CORE RMA showed up to the meeting.
Either way, we know the Hunger Games situation was
brought up, as it should have, as well as McPhee and
The RMA rank and file should be ashamed that they
have allowed such a farce to continue. You’ve even given
up the rights to complain, since you had a chance and did
Overall though, this tells us more about Pete Anthony than
the RMA, and it doesn’t bode well for him. You know where
his true loyalties are. He even had the gall to remain as a
delegate to the convention….. SHAMELESS.
FINAL TALLY FROM LAST NIGHT’S RMALA ELECTION
President Pete Anthony
First Vice President Marc Sazer
Second Vice President Jennie Hansen
Secretary Elizabeth Hedman
Treasurer Bill Liston
Director Steve Dress
Director Alex Iles
Director Jen Kuhn
Director Wade Culbreath
Director Bill Reichenbach
Director Jay Rosen
Director Sarah Thornblade
Director Dave Wells
Delegate to the RMA Conference Pete Anthony
Delegate to the RMA Conference Elizabeth Hedman
II. AN OPEN LETTER TO THE FILM MUSIC COMMUNITY
The Coalition for Scoring in Los Angeles
Dear Mr. Hair and the film-music community,
In light of recent events and press related to the scoring
of motion pictures and television by foreign orchestras,
we, a concerned group of working composers and music
supervisors felt the need to give our unique perspective on
the situation as well as offer some food for thought in
hopes of achieving our mutual goal of bringing more
recording work back to the musicians of Los Angeles,
assuring a fair wage and proper benefits, all while
delivering the highest quality music to the producers
that hire us.
Before any progress can be made, the AFM needs
to fully understand the reality of the global scoring
marketplace. The ONLY issue that any production
company has with the AFM is in regards to back end
and Special Payments, NOT cost. 99% of all non-
union scores are done on package deals to the
composer where the composer has the right to
record wherever he or she wishes and any money
spent on that recording comes out of the composer’s
fee. If the composer ends up going over budget, the
composer covers those costs, NOT the production
company, so there really is no issue with musician
fees or the cost of benefits, health & welfare, or any
other union guidelines. The good news is that even
if it costs them more money, almost every composer
we spoke with said that if it was left up to them, they
would stay in Los Angeles, for speed, ease, and quality.
In regards to Lionsgate’s Hunger Games, your
statement said that all of the other crafts on the
movie were done union and that they should do
the honorable thing and treat the musicians the
same way, but the unfortunate truth is that,
they have no choice but to comply with SAG
and DGA/WGA rules. Yes, actors, writers, and
directors often get residual payments based on
the performance of the movie, but if Brad Pitt,
DiCaprio, or Spielberg don’t show up, there is
no movie. Period.
While we all wish the AFM had this kind of power,
the truth is, we simply do not. The trades with
which we share the most similar stature, such
as cinematographers, editors, vfx, and production
designers, etc…do NOT receive any profit participation
in the films, ever, so to “go union” means they
pay once and are done. In fact, besides having no
residual costs, many of these unions allow their
members to openly take non-union projects
without penalties if there is no union job available
and the member needs to provide for themselves
and their family.
In order for the AFM to become a viable, if not
the PREFERRED method of scoring for these mini-
major production companies like Lionsgate, Summit,
Screen Gems, Regency, and others…it MUST realize
that it needs to embrace and educate them as to the
value of scoring here rather than blasting condescending
web videos and picketing production. Even with the most
ethical of Americans and the most sensitive of corporations
it is simply not realistic to think that in our world of dirt-
cheap, import filled Costco’s and Walt-Marts, people…
especially savvy business people with stockholders to
answer to, will choose to spend more or in our case, RISK,
spending more for a comparable product that they can easily
get elsewhere. You cannot “guilt” them into making what
they consider to be a poor business decision. You must instead,
show them that, in fact, scoring under AFM contracts in Los
Angeles is a smart business decision and then then work with
them to make sure they realize and recognize those benefits…
not only in terms of ambiguous artistic terms, but in
regards to financial bottom line, otherwise, there can be
The original concept behind special payments in the 1960’s
was to attract business with lower, more affordable rates up
front with the understanding that if the film was successful,
a percentage of that success (profit) would go to the musicians
who contributed to the score in order to supplement their
original fees and add up to what would be considered a fair
wage. If you and your administration are indeed concerned
primarily with the fair treatment of recording musicians as
a whole and not just industry veterans who play on only
the largest studio films, then it stands to reason that there
should be an option for a contract on non-studio, low-budget
($30 million or less) films where a larger upfront rate (devised
by adding an average special payment amount over a project’s
projected life to the current up front scale) can be paid and
back-end could be avoided. At this point, with no obligations
to fulfill in the future, most producers will sign the assumption
agreement, and if not…the composer or music producer could
then do so. While there may be no huge surprise windfalls from
the occasional blockbuster, this will in all likelihood, average out
to a similar or even greater income for the vast majority of
musicians as well as a guarantee of pension, health and welfare,
and fair working conditions.
While we realize from past discussions that this is where the
RMA becomes rightfully concerned about the dangers of a
slippery slope, the union must also recognize the reality of
their unique situation and the inevitable direction of global
business. Technology is making the world smaller and faster
every day and we are afraid that if the AFM and Los Angeles
in particular does not begin to engage the smaller companies
and carefully craft mutually beneficial agreements with them,
then recording in LA will soon go the way of tech stocks and
Tower Records. In fact, one of the most important and
overlooked points when discussing runaway scoring and
production is that, besides losing paid employment to overseas
economies, every score that goes to Seattle, Slovakia, or
Prague makes them better. They gain experience, they gain
speed, and they gain funds to upgrade their facilities and
equipment. One needs only to look at Salt Lake City as an
example of the opposite. As less and less recording was done
there, the studio and it’s staff suffered, which then led to
poor sessions and diminished quality and now, no one
records there anymore.
When all is said and done, everyone we deal with just wants
to get the best score for the best price with the least amount
of hassle and paperwork. We truly believe that the best answer
for almost every production is still to record in LA with AFM
musicians. Almost unanimously, the composers we have spoken
with feel that they can record a score in half the time in an LA
studio as compared to overseas. When you compare those
costs while figuring in the costs of travel, lodging, and lost
composition time,… as well as take into account that the
producers and directors will all have the ability to be more
intimately involved in the scoring process, companies will
come to realize the benefits of staying local. When one also
figures in the higher quality sound stages, better microphones,
personnel, and equipment, as well as much higher quality
individual instruments available here, most composers feel
that even a smaller union orchestra here in LA will sound
bigger, better, and more precise than a larger group in a
second rate converted facility overseas.
It is our feeling, that if we can learn from each other, keep
an open mind, and work together to educate the production
community then we can truly bring scoring work back to the
musicians of Los Angeles and help our Hollywood community
not only survive but re-emerge as the leading producer of
musical scores for all media.
We urge you to seriously consider this matter and encourage
you to please enlist our support. Together we can bring film
music back to Los Angeles.
Thank you for your time.
[EC: WELCOME TO THE CAUSE C4SLA!!!
We've been saying this for years.]
III. JUSTIN GOOD BUSINESS - PART II
In our last episode, Justin was addressing some of
the most ill conceived grievances against the members
of the CORE RMALA. Grievances fabricated in the
minds of the lesser Los Angeles musicians.
5. Great young players are deliberately driven away:
Not true. We incorporate great young players all the
time, whenever one is needed. But new people are
not needed very often, especially in the sections where
there are only a few chairs. Check our rosters and
you will see that we terminate our old wood pretty
ruthlessly. Sorry Used-to-bes. And by that I mean
you folks that still play great, but did not fit in with
our organization. If everyone could win, there
would be no winners. You should go to our movies
and marvel at how great we sound without you!
I’m sure that would cheer you right up.
The business has changed. It is not our fault that, for
all practical purposes, jazz died. It did. Get over it.
In the 60s and 70s, trumpets, trombones, and woodwind
doublers were king. But tastes moved on, and all of
the out of work players on those instruments went into
teaching a whole new generation of players how to do
the very skills that are now useless. It is not the RMALA’s
job to tell the composers which instruments they must
write for, or in which styles they must write.
Sure, it’s true that if you can roll out of bed in the morning,
you can still make 100 grand a year playing violin in the
studios of Los Angeles, or if you can turn beans into
farts you can do the same on French horn. Not our fault.
We sell what sells. Romantic orchestra is in. Besides, the
new breed of MIDI composer is just confused by 20th
Century harmonies. The Major-Minor-Diminished palette
of the 18th century requires a lot less compositional study
This leaves more time for the composer to spend his time
on long phone calls with the producer, who, using the Avid
Bay, changes the timing of the scene every twenty minutes
or so up to, and past the recording deadline. Sorry you
super-hip out-dated Hep-Cats and Avant Classicos, it is
easier to cut and splice simple harmonies, and: it is just
6. A. The contractor’s wife does not play that well:
There is always one of the boss’ relatives on the job.
This holds true for other businesses as well.
B. The string section is young and pretty: We can pick and
choose among the best “talent” available. Most of the
composers are middle-aged men. So is most of the top
“talent” in the RMALA. It is not our fault that the composers
and RMA top-tier horn-dogs hired to score films are mostly
men. We all want to look at something pretty. It should be
said that most of the rest of us are in good physical condition
as well, no matter what the age. You cannot play in instrument
well, unless you are in good shape. Sorry ugly-men-and-
old-women Used-to-bes, it is just good business.
C. There is some dead wood in the string section: Duh, you
think? It is a string section; 1/2 of them are always chosen
for political reasons. Everyone knows that.
D. Some older players, especially in the brass section, hire
hot young bucks to help them with the difficult parts: True,
but there is more to the music business than just playing
the part: there is making the producer believe that you are
the very person who played the part. When these young,
and therefore taken-advantage-of temporary people are
dismissed before anyone realizes that they are the ones
actually doing the work, they have gotten valuable
experience that will serve them well in their future.
Though they are now losers, they remain hopefuls. We
will die soon enough, and then they can be winners like us!
Conclusion: Grow up! Everyone in the studio has a sound
business reason for being there.
Mr. Cheerful; whether or not you agree that it is a good
In the next installment: Mr. J. G. Business will take on
some of Mr. Cheerful’s direct accustions.
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.
Thank you for allowing Justin Good to tell the truth. He is obviously
part of RMALA leadership and is privy to inside information and is
therefore, credible. After making a variety of insults that make
less of any musician unlike him, he has verified that RMALA is
(was) a monopoly controlled by the Magic Contractor, established
through through chicanery and deceit……and he’s okay with
that. Is that really just and good?
V. CONCERTS AND EVENTS
LA WINDS CHAMBER CONCERT - 2:40pm
Please come out and hear works for various ensembles
this Sunday at 2:30, all performed by members of
the Los Angeles Pierce Symphonic Winds.
Works on the concert:
Dou Barbara - Michael Kibbe
Three Pieces for Wind Trio - Walter PIston
A Song for Japan - Steven Verhelst
Skins on Skins - Ed Barguiarena
Music for Caryn - Michael Kibbe
Quatour Parisienne - Charles Fernandez
Chanson, op. 50 - Vincent D’Indyto
LOCATION: Temporary Performance Hall
on the Campus of Pierce College.
Enter from Victory onto Mason, at first stop sign
look to the right and you’ll see the temporary building.
Plenty of free parking!
$25.00 general admission, $15.00 for seniors and students
Please come out!
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
Sunday night January 22nd 7 - 10 P.M.
The Gate To The Mediterranean
16925 Ventura Blvd.
Encino, CA 91316
Call (818)788-9800 for reservations
No cover charge
Great food at reasonable prices
Ample free parking
Great band - with a world premiere new
composition - maybe even two!
I hope to see you there,
ASMAC LUNCHEON FEATURING ALL-STAR CONDUCTOR PANEL!
Conducting for Film, Television, Theatre and Live Performance
Jack Feierman, and
Moderated by: Larry Blank
Join us for a lively question and answer lunch covering the
differences between conducting in a theatre pit, for a
television series, a feature film and live performance.
We’ll discuss the skills required, effects based on the size
of orchestra, conducting issues, and a few stories about
challenges along the way.
Wednesday, January 25th
11:30am at Catalina’s in Hollywood
12 noon Buffet Lunch
Catalina’s Bar & Grill
6725 Sunset Boulevard
Los Angeles, CA 90028
corner of Sunset Blvd. & McCadden
(just east of Highland) Valet parking $3
ASMAC members and Students - $30.00
Non members and all walk-ins - $40.00
Students - $10 with ID (Check - in @ 12:45, program only)
To reserve, call ASMAC at 818-994-4661 or
CELA IN CONCERT!
Composers Ensemble Los Angeles
Paper or Plastik Cafe at 8pm
5772 W. Pico Blvd
Los Angeles, CA 90019
# 323 935 0268
Hours: 7AM - 11PM
It’s a great coffee house and performance space.
Come and enjoy music written by members of the ensemble!
Laura Halladay, Flute
Michael Kibbe, Oboe
Kim Richmond, Clarinet
Charles Fernandez, Bassoon
Cathy Ryan, Trumpet
Melissa Hendrickson, Horn
Dave Ryan, Trombone
Marcy Vaj, Vannesa Kibbe, violins
Novi Novog, Viola
Maksim Velichkin, Cello
Larry Tuttle, Bass
SEE YOU THERE!
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 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
20122 Vanowen Street, Winnetka, CA
For information, call 818-347-4807
Free Admission/One Drink Minimum
Persons under 21 years of age not admitted
PERCUSSIONIST JOSEPH D. MITCHELL III in Concert
El Camino College Music Department presents
Joseph D. Mitchell, III percussion
William Roper, tuba
Saturday, January 28, 2012 at 8 pm
16007 Crenshaw Blvd.
$2 General Parking
1-800-832-ARTS for more info
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.
FREE ADMISSION GLENDALE NOON CONCERTS
Every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm
FEBRUARY 1, 2012
THE MALKIN - TRYBEK DUO
Iris Malkin - mezzo-soprano
Edward Trybek - guitar
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 firstname.lastname@example.org
UPCOMING CONCERTS in the same series:
(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm;
programs subject to change)
FEBRUARY 15, 2012
ADRIANA ZOPPO’S ERGO MUSICA
MARCH 7, 2012
Clarinetist JAMES SULLIVAN & Friends
UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com