I. FLASHBACK TIME – 2005 – PART III – BACK HOME
\nII. FORT WORTH SYMPHONY ASKS FOR HELP
\nIII ASMAC DAVID BLACK LUNCHEON
\nIV. EVENTS<\/p>\n
…Absolutely guaranteed anonymity – Former Musician’s Union officer
\n…The one voice of reason in a sea of insanity – Nashville ‘first call’
\nscoring musician
\n…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
\n…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician<\/p>\n
===============================<\/p>\n
I. FLASHBACK TIME – 2005 – PART III
\nBACK HOME<\/p>\n
In 2005, a highly placed group of musicians, frustrated with the
\ndestruction of work in recording, put forward this proposal.
\nEven then the damage to recording because of the unusable recording
\ncontracts forced down the throats of AFM Members because of the
\nRMA was losing us major work – and that was almost 11 years ago.<\/p>\n
AS A REMINDER, THIS WAS ALMOST 11 YEARS AGO….<\/p>\n
MAY 2, 2005<\/p>\n
The following excerpts are from two articles (Jan. and Feb., 2000)
\nfeatured in the Local 802, New York City monthly publication, Allegro.
\nWhat is illustrated here is an attempt to promote recording work in
\nNew York City following the continued loss of recording work in Los
\nAngeles and New York, a pattern that has continued to the present day.<\/p>\n
The President and Secretary of Local 145 in Vancouver, Canada respond
\nto the January article and make the observation that film producers simply
\nwant a buyout and that the AFM should reconsider how it does business
\nin the film industry (see last full paragraph).<\/p>\n
Allegro, Volume C No. 1 January, 2000
\nLocal 802 \u2013 New York City
\nRMA-NY,
\nLocal 802 Launch Advertising Campaign Ads Promote New York as
\nFilm Recording Venue<\/p>\n
The creative talent of New York recording musicians was promoted in
\na full-page ad that appeared in the Hollywood Reporter on Nov. 5. It was
\nan initiative of the New York chapter of the Recording Musicians Association
\n– which, with Local 802’s support, is planning a series of five advertisements
\naimed at attracting more film recording projects to the New York City area.<\/p>\n
The goal is twofold, said RMA-NY President Dominic Derasse. “First of all,
\nwe want to put New York on the map as a location for producing quality
\nrecordings for films – because a lot of people just don’t associate New York
\nwith film recording.” And secondly, the ads are part of a national campaign
\nto reverse the runaway production that has taken so much film work out of
\nthe country. “The Los Angeles local has been running ads in the Hollywood
\nReporter for some time,” Derasse told Allegro, “and we wanted to play a role
\nin the campaign.” He said the response from people who have seen the ad
\nhas been very positive.<\/p>\n
The industry has been devastated by a flow of work to Canada and Mexico
\n– part of the loss of jobs in the United States caused by the passage of the
\nNorth American Free Trade Agreement (NAFTA) several years ago. The Hollywood
\nFair Trade Campaign, a coalition which has developed on the West Coast, charges
\nthat the studios have turned their backs on their own community and engaged
\nin the wholesale destruction of the Hollywood jobs base.<\/p>\n
That has an impact on jobs in New York, notes Jay Schaffner, Assistant Supervisor
\nof Local 802’s Recording Department. “In the past, a lot of scoring was done here
\nbecause the scoring stages in Los Angeles were overbooked. Now, with the
\nHollywood facilities generally available, that isn’t happening. And the same cost
\nfactors that have led the studios to send work abroad, rather than recording in
\nLos Angeles, affect us as well.”<\/p>\n
The number of contracts filed for theatrical film and TV film recording jobs
\nover the last three years reflect a sharp drop in work available for New York
\nrecording musicians. “In 1997, the Recording Department processed 53 contracts
\nfor theatrical films and 34 for television films,” Schaffner said. “In 1998 the figures
\n were somewhat lower: 48 theatrical films, and 26 TV films. But the problems
\nreally hit this year. In the first ten months of this year, only 17 contracts for
\ntheatrical films were filed, and eight contracts for television.” Derasse pointed
\nout that film production, which had been increasing in New York since the early ’90s,
\n“dropped in a big way in 1999, for the first time.” However, he said, it appears that
\ntelevision work is up. “And that’s another thing that we’re trying to look into
\n– to make sure that whatever music is done for those TV shows hopefully is
\nbeing done under contract with 802.”<\/p>\n
———–<\/p>\n
Allegro \u2013 Volume C No. 2 February, 2000
\nLocal 802, New York City
\nThe Musicians’ Voice is an open forum for discussion about the state of
\nunion affairs. Please keep all letters to 500 words and send them to
\nAllegro, c\/o Local 802, 322 West 48th Street, New York, NY 10036.<\/p>\n
VANCOUVER MUSICIANS AREN’T BENEFITING FROM RUNAWAY FILM
\nPRODUCTIONS<\/p>\n
To the Editor:
\nWhile reading the January 2000 issue of Allegro we came across the article
\nheadlined “RMA – NY, Local 802 Launch Advertising Campaign: Ads Promote
\nNew York as Film Recording Venue.” It stated in the third paragraph: “The
\nfilm industry has been devastated by a flow of work to Canada and Mexico —
\npart of the loss of jobs in the United States caused by the passage of the
\nNorth America Free Trade Agreement (NAFTA) several years ago.”<\/p>\n
As a Local situated in the major city of Vancouver, British Columbia, on the
\nWest Coast of Canada (sometimes referred to as “Hollywood North”) we can
\nsubstantiate the fact that there has been over the years, and continues to be,
\nan extraordinary amount of film production in our geographical area. This
\nhas been brought about by the willingness of our provincial and federal
\ngovernments to train world-class technicians in the film industry, and to offer
\nsubstantial tax incentives to the international film community.<\/p>\n
Combined with a low-valued Canadian dollar, especially in comparison to the
\nU.S. dollar, has proven to be an irresistible incentive to American film producers
\nto produce their films in British Columbia. Once again, this gives credence to
\nthe old saying that “loyalty is as thick as a dollar bill.” Our provincial government
\nis currently investing heavily in building new sound stages in the Vancouver area
\nto keep ahead of the demands of the film industry.<\/p>\n
We can readily understand the real concerns of New York and Hollywood
\ntechnicians about the loss of jobs in their industry – but we feel that it should
\nbe pointed out to Local 802 members that Canadian musicians, especially those
\nin the Vancouver area and members of Local 145, are receiving no work in
\nrecording film scores related to the hundreds of movies and TV series being
\nproduced in British Columbia.<\/p>\n
It is our contention that scoring sessions for the multitude of films being produced
\nhere continues to be done off shore or with non AFM members in the United States –
\nas close as Seattle, WA in our case. The Canadian dollar is currently pegged at a rate
\nof 0.6864 against the U.S. dollar, a level that has prevailed for a long time. One
\nmight assume that an approximate 32 percent discount on the cost of producing
\nfilm music in Canada would be enticing, but not so. Local 145 has, as does every
\nother Local in every major city in Canada, an extensive and diversified pool of talented
\nmusicians who are more than capable of performing any film score at a level consistent
\nwith and equal to any musicians in the world. We are – as you are – proud to be able to
\nmake, as well as back up, these claims.<\/p>\n
It should be pointed out to all AFM members and officers that what the film
\nproducers want from their composers is a score with no encumbrances; i.e.,
\na buyout. The film composers do what they have to do to please their producers,
\nand as a result the composers themselves will often become the signatories and
\ncompose a complete synthesized score. This then circumnavigates the AFM obligations
\nthat are usually the responsibility of the film company and gives the producers what
\nthey want. The other choices are off shore recordings in countries that are “the flavor
\nof the month” and offer total buy outs, non-AFM member sessions, or dark dates using
\nAFM members. One way or another, our current system of controlling recorded film
\nmusic by AFM members is being bypassed and eroded. Maybe it is time for the
\nFederation to revisit the way in which it does business with the film industry.<\/p>\n
The one thing for sure is that any “runaway productions” of films to Canada, with
\nits cost of jobs to U.S. citizens, applies to the technical side only and not to the
\nmusical side.
\n–R.A. (Bobby) Hales, President Local 145 & Wayne Morris, Secretary Local 145 [next
\narticle]<\/p>\n
——-<\/p>\n
[AND 15 YEARS AGO]<\/p>\n
Reports on runaway productions and their impact in the U.S. continue,
\nthis time from the U.S. Commerce Secretary in early 2001:<\/p>\n
FOR IMMEDIATE RELEASE Thursday, January 18, 2001 Contact:
\nMorrie Goodman 202-482-4883 Jim Plante 202-482-1008<\/p>\n
COMMERCE SECRETARY MINETA RELEASES REPORT ON THE IMPACT
\nOF THE MIGRATION OF U.S. FILM AND TELEVISION PRODUCTION
\nWASHINGTON, DC – <\/p>\n
“Runaway film production” is having an increasingly dramatic impact on
\nU.S. film and television production according to a report Secretary of
\nCommerce Norman Y. Mineta issued today. The report entitled The
\nMigration of U.S. Film and Television Production provides data on the
\npractice of producing films outside the U.S.<\/p>\n
“The most serious impact is in the area of made for television movies
\nfor U.S. networks and cable systems,” Secretary Mineta said. He
\nadded, “However, the impact is far ranging. ‘Runaway film production’
\nhas affected thousands of workers in industries ranging from computer
\ngraphics to construction workers and caterers. These losses threaten
\nto disrupt important parts of a vital American industry.”<\/p>\n
The report cites one study that shows U.S. production of made for
\ntelevision ‘Movies of the Week’ declined more than 33 percent in the
\nlast six years, while production at foreign locations increased 55
\npercent. Another study cited in the report estimates the yearly
\neconomic loss to the U.S. economy to be as much as $10 billion.<\/p>\n
The report, produced by the Commerce Department’s International
\nTrade Administration (ITA), finds a number of factors leading to
\nrunaway film production. Globalization, rising costs, foreign wage, tax
\nand financing incentives, and technological advances, combined are
\ncausing a substantial transformation of what used to be a traditional
\nand quintessentially American industry into an increasingly dispersed
\nglobal industry.<\/p>\n
The report notes that while foreign government wage and tax
\nincentives may not be the primary factor in determining the location of
\nfilm and television production, there is no doubt that when combined
\nwith all the other factors discussed, these incentives constituted an
\nimportant consideration.<\/p>\n
The report describes a number of on-going efforts on behalf of the film
\nindustry, including government programs such as, expanding markets
\nfor U.S. films through international negotiations, Export-Import Bank
\nloan guarantees and The Small Business Administration Loan Program\/or
\nIndependent Film Program.<\/p>\n
The report also details a number of film industry suggestions for
\nfurther government action. Their inclusion is intended to identify
\nareas where further study is needed.<\/p>\n
NEXT TIME: VIDEO GAMES AND STUDIOS<\/p>\n
================================<\/p>\n
II. FORT WORTH SYMPHONY ASKS FOR HELP<\/p>\n
Dear FWSO musicians supporter,
\nThank you for your signature on our open letter, and your
\nsupport of the Musicians of the Fort Worth Symphony Orchestra.<\/p>\n
Today,\u00a0we\u2019re calling on Fort Worth Symphony Orchestra management
\nto get serious about bargaining\u2014and we need your help.\u00a0<\/p>\n
Here\u2019s what\u2019s been happening
\nIn January, we averted a possible strike and extended our contract
\nthrough July with the understanding that FWSO management would
\neturn to the bargaining table ASAP.\u00a0<\/p>\n
Since then, we\u2019ve met only once, on March 9. Management has failed
\nto produce a proposal of any kind, and unilaterally cancelled 3 bargaining
\nsessions without offering alternate dates. And it took a sit-in at symphony
\nffices before they finally gave us negotiation dates in April.<\/p>\n
It’s time for management to get serious about bargaining.<\/p>\n
What you can do
\nCall CEO Amy Adkins and tell her to bargain now, and support a
\nfair contract with growth, not cuts.<\/p>\n
When: Monday, April 4: 9am-12pm
\nCall FWSO offices at 817.665.6500 x 117 and ask for Amy Adkins.
\nIf you can\u2019t get through, try Becky Tobin at extension 115.<\/p>\n
There is power in numbers. Together, we can preserve the legacy of
\nCowboys and Culture, and ensure that one of Fort Worth\u2019s most
\ntreasured institutions continues to thrive.<\/p>\n
Sincerely,
\nThe Musicians of the Fort Worth Symphony Orchestra<\/p>\n
P.S. After you make the call, write us back at action@growthnotcuts.org
\nand let us know how it went!<\/p>\n
===============================<\/p>\n
III ASMAC DAVID BLACK LUNCHEON<\/p>\n
ASMAC Luncheon with
\nSpecial Guest Dave Black of Alfred Music<\/p>\n
@ Catalina’s Jazz Club\u00a0
\nWed., April 20, 2016\u00a0@\u00a011:30am<\/p>\n
ASMAC LUNCHEON WELCOMES
\nPercussionist\/composer\/author\u00a0
\nDave Black
\nApril 20, 2016 – 11:30AM
\n@ Catalina’s in Hollywood<\/p>\n
\u00a0
\nPercussionist, composer, and author, Dave Black, received his Bachelor of Music in percussion performance from California State University, Northridge. He has traveled around the world with a variety of entertainers and shows, performing and recording with such artists as Alan King, Robert Merrill, June Allyson, Anita O’Day, Pete Jolly, Frankie Capp, Gordon Brisker, Kim Richmond, Victor Lewis, Jerry Hey, and Steve Huffsteter.<\/p>\n
A seasoned professional in this aspect of our business, Dave will share his thoughts about the “nuts and bolts” and current challenges in educational music publishing. What are the advantages and disadvantages of self-publishing? How\u00a0do you\u00a0research which publishers might be right for you? How best to submit your music for publication? How\u00a0must composers participate in the marketing of their music.\u00a0Perhaps you need a distributor and not a publisher? What is the future of E-books? What are the problems of digital sharing of music materials? Bring a pencil and take notes!<\/p>\n
A prolific composer and arranger, more than 60 of his compositions and arrangements have been published by most of the major publishers, many of which have been recorded. Mr. Black has written with, and for the bands of Louie Bellson, Sammy Nestico, Bill Watrous, Bobby Shew, Ed Shaughnessy, Gordon Brisker and the C.S.U., Northridge Jazz Ensemble.<\/p>\n
He has been the recipient of numerous awards and commissions, including 26 consecutive ASCAP Popular Composer Awards, two Grammy participation\/nomination certificates\u2013one for his performance contribution on Anita O’Day’s Grammy\u00ae-nominated album In a Mellow Tone, and the other for his contribution as album-track composer on Louie Bellson’s Grammy\u00ae-nominated album Airmail Special. He is also the recipient of the 2012 Percussive Arts Society President\u2019s Industry Award, a Modern Drummer Readers Poll award (best drum book), two Drum! Magazine Drummie! awards (best drum book), and a certified Gold Record award for the sale of more than 500,000 copies of Alfred\u2019s Drum Method, Book 1. In addition, many of his compositions have been used as source\/background music on numerous TV shows including All My Children, Coach, The Drew Carey Show, General Hospital, Ellen, Grace Under Fire, Nightline, Roseanne and Good Morning America. In addition, he co-wrote the “Final Rudimental Solo” (from Alfred’s Drum Method, Book 2) featured in the 20th-Century Fox hit movie, Drumline.<\/p>\n
He presently serves as Vice President and Editor-in-Chief, School and Pop Publications, for Alfred Music Publishing Company.<\/p>\n
Host:\u00a0 Elliot Deutsch\u2028\u2028Elliot Deutsch is a busy composer and arranger of large ensemble jazz music. In its tenth year of performing, the Elliot Deutsch Big Band has released two albums, played in every major jazz venue in Los Angeles, and hosted an impressive list of guest stars including Cheryl Bentyne, Janis Siegel, Ron Stout, and many others.\u00a0 Deutsch has written for Arturo Sandoval, Bill Watrous, Jane Monheit, Take 6, Terence Blanchard, and many others. In 2015, Deutsch arranged several songs for the Kennedy Center Gala \u201cIt Don\u2019t Mean a Thing\u2026 A Celebration of Swing\u201d under the musical direction of John Clayton.\u00a0 His compositions and arrangements are published by Alfred and Walrus Music.
\n___________
\nCheck out the ASMAC website – www.asmac.org\u2028to see the new master class,\u00a0luncheon and interview\u00a0DVD’s in the ASMAC store (Van Alexander, Ray Charles, Johnny Mandel, Jorge Calandrelli, Bill Ross, Jack Feierman, Sammy Nestico and more), to download ASMAC luncheon podcasts, and more!\u2028JUST ADDED:\u00a0\u2028Special Interview with the renowned composer\/arranger\u00a0\u2028JIMMIE HASKELL<\/p>\n
\n===============================<\/p>\n
IV. EVENTS<\/p>\n
DEAN AND RICHARD<\/p>\n
DEAN AND RICHARD are now playing every third Friday
\nat Culver City Elks 7:30pm-10;30pm,
\n11160 Washington Pl.
\nCulver City, 90232
\n310-839-8891<\/p>\n
————————————-<\/p>\n
LA WINDS JAZZ KATS 584<\/p>\n
NO COVER, NO MINIMUM.
\nEvery 2nd and 4th Tuesday of the month at Viva Cantina
\n7:30-10:00.
\n900 Riverside Drive, Burbank.<\/p>\n
Free parking across the street at Pickwick Bowl.
\nCome hear your favorite charts played the way they
\nshould be. <\/p>\n
We are in the back room called the Trailside Room. <\/p>\n
Come on down. Guaranteed to swing.<\/p>\n
————————————-<\/p>\n
NEW RUSS GARCIA BOOK<\/p>\n
Russell Garcia:\u00a0\u00a0 Russell wrote his auto-biography
\n“I Have Hundreds Of Stories, Some Of Them True” \u00a0
\nbefore he passed away at age 95 in New Zealand,
\non 20 Nov 2011. \u00a0The book is out now.<\/p>\n
Russell was a world renowned composer-arranger-conductor
\nwho wrote music for over 100 films.\u00a0 He is known for his
\ninnovative music score for the film \u201cTime Machine\u201d.\u00a0 Garcia
\nis also known in both the TV and recording fields and has
\ncomposed music for countless TV shows such as, Rawhide,
\nTwilight Zone, Laredo, The Virginian.\u00a0 He has recorded many
\nCDs\u00a0 in his own right, as well as with stars such as, Louis
\nArmstrong, Ella Fitzgerald, Vic Damone, Judy Garland,
\nOscar Peterson, Julie London, to name a few.\u00a0\u00a0<\/p>\n
Garcia has also written 2 best-selling text books The Professional
\nArranger-Composer \u201c Book I and Book II, which have been translated
\ninto 6 languages.\u00a0 He is known also for his symphonic and classical
\nworks which have been performed by the New Zealand Symphony,
\nMunich Symphony, the Vienna Symphony, plus countless Radio
\nSymphony Orchestras throughout Europe.\u00a0 He was often a guest
\nlecturer at many universities around the world on Symphonic
\nComposition Techniques.\u00a0 Russell and his wife Gina made New
\nZealand their home in 1971 while continuing to work in the Music
\nand Film Industry.\u00a0 He was awarded the Queens Service Medal
\nfor his service to music in 2009.
\n(www.buildabetterworldproductions.com)<\/p>\n
———————————————-<\/p>\n
5\/15\/16<\/p>\n
LACESMA 75TH ANNIVERSARY DIAMOND JUBILEE GALA<\/p>\n
The Los Angeles City Elementary Schools Music Association,
\nLACESMA, is celebrating its 75th Anniversary of promoting
\nelementary music education in LAUSD with a Gala Event in
\nthe Grand Ballroom of the Dorothy Chandler Pavilion at
\nthe Los Angeles Music Center on Sunday May 15, 2016.<\/p>\n
Banquet tickets are $60.00 each and can be purchased by
\ngoing to our website at lacesmamusiced.org or by mailing
\na check made out to LACESMA to: LACESMA c\/o Jeanne
\nMitchell, P.O. Box 361 Topanga, CA 90290.<\/p>\n
For questions, please email us at lausdmusiced@gmail.com.
\nAt the celebration there will performances by over 100 singers
\nof the LACESMA Children’s Honor Chorus, some of the 2016
\nLACESMA Instrumental Scholarship winners, as well as a p
\nerformance by a celebrity TBA.<\/p>\n
We are proud to have Gail Eichenthal, Executive Producer of
\nKUSC, as the emcee of the Banquet. Please help support
\nelementary music education in LAUSD by attending this
\nGala Celebration! Click here to see the first Promotional
\nVideo Clip of the Gala. <\/p>\n