I. FLASHBACK TIME – 2005 – PART IV – VIDEO GAMES and TRICKS
\nII. NFA FLUTE SCHOLARSHIP
\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 IV – VIDEO GAMES and TRICKS<\/p>\n
Immediately following the Video Game Conference in Los Angeles
\non December 6, 2004, a manager of composers for film,
\nvideo games, sent a pleading e-mail to attendees (RMA members,
\nvideo game executives, composers) of the Conference to consider
\nthe volume of recording work that has left and to take urgent action
\nto change to contracts to help keep the work under AFM agreements.<\/p>\n
Written on December 9, 2004, this manager’s letter is reprinted in its
\nentirety.<\/p>\n
AF of M Video Game Agreement:<\/p>\n
When I started (Business Name) 12 years ago, my sister
\n(music contractor) —– ——— and many of my friends
\nin Local 47 were excited about the potential of doing music
\nfor games. My friends at Sony, Warner Bros. and Paramount
\nscoring stages were excited about the potential. My friends
\nin the music preparation business were excited about the
\npotential. And, for sure, I and every composer I managed
\nwere excited about the potential of working with Local 47
\nmusicians.<\/p>\n
During these past 12 years, the composers I manage have
\nscored about 4 games in LA with Local 47 musicians and
\nabout 85 games in Seattle and other places throughout
\nthe world.<\/p>\n
Assuming the 85 games took 9 hours each to score,
\nthat’s 765 hours of work\/$$$ per musician.<\/p>\n
Why did we take 85 gigs away from the LA sound stages
\nand music prep people? Why did we take 765 hours of
\nwork\/$$$ away from the Local 47 musicians?<\/p>\n
During these past 12 years, my musician friends in Local
\n47 have stated;<\/p>\n
“I’m not concerned about some potential extra backend
\npennies tomorrow.”<\/p>\n
“I need to work today to feed my family today.”<\/p>\n
“I need the hours today so I can get insurance\/H & W
\nfor my family today.”<\/p>\n
If only 1 more game had been scored with Local 47 musicians
\nthis past year, there would be (let’s say) 60 Local 47 families
\nwith an additional $600.00 or more to enjoy the upcoming
\nholidays with.<\/p>\n
Some “Fat Cats” might say ‘I don’t need no stinkin $600.00.’
\nHowever, I feel there are many Local 47 families that could use
\nthe $600.00 to put the word “Happy” with the word Holidays.<\/p>\n
I hope the above compels a sense of urgency. I am not
\nsuggesting to compromise what is justified future income.
\nI am urging the powers to be to act smart and swift so that
\nthe next 12 years is not a repeat of the past 12 years.<\/p>\n
I wish you all “Happy” Holidays.<\/p>\n
Regards,
\n(Manager)<\/p>\n
FBI four bars intertainment www.fourbarsintertainment.com
\nAward Winning composers who deliver great music on time
\nand within budget…<\/p>\n
In addition to non-union and less expensive recording
\nalternatives, another contractual loophole that the film studios
\nare taking advantage of is discovered recently, as outlined below.
\nHowever, the result is creating more policing for the locals and
\nmusicians themselves instead of altering the Motion Picture
\nAgreement language to close up these loopholes and eliminate
\nthe \u201cphono to motion picture\u201d inequities.<\/p>\n
—————–<\/p>\n
Allegro \u2013 Volume CIV No. 12 December, 2004
\nLocal 802, New York City<\/p>\n
Movie Musicians Are New Target Studios Use Loophole to
\nAvoid Film Fund
\nby Jay Schaffner with Mikael Elsila<\/p>\n
Major film studios have found a new way to cut their costs —
\nand take away money from musicians at the same time. The
\nnew practice involves bypassing the AFM\u2019s motion picture
\nagreement in at least two different ways.<\/p>\n
The AFM called a special meeting in Los Angeles last month
\nto address the problem. 802 President David Lennon and
\nRecording Supervisor Jay Schaffner attended. Also in attendance
\nwere officers from Local 47 (Los Angeles), Local 655 (Miami),
\nLocal 257 (Nashville), Local 5 (Detroit), Local 149 (Toronto),
\nICSOM and the RMA, along with legal counsel from the firm of
\nBredhoff and Kaiser.<\/p>\n
MAKING MONEY IN MOVIES<\/p>\n
Traditionally, if you are a recording musician, you get paid in
\nat least two ways when you record for a movie under a union
\ncontract. First is the recording session itself when you record
\nthe movie soundtrack. The second is the money you receive
\nfrom the film fund (whose official title is the Film Musicians
\nSecondary Market Fund).<\/p>\n
Your check from the film fund is proportional to how well your
\nfilm did in “secondary markets,” which include TV, videocassette,
\nDVD, pay cable and in-flight movies. (For films made for television,
\nsecondary markets include DVD, in-flight and those rare cases
\nwhere a television film migrates to the big screen.)<\/p>\n
The movie studios are trying to decrease the amount of money
\nthey pay into the film fund. They are also trying to eliminate
\nmusicians\u2019 eligibility for earning film fund money.<\/p>\n
Here\u2019s how.<\/p>\n
TRICKS OF THE TRADE
\nMovie studios are required under the AFM motion picture agreement
\nto pay 1 percent of all gross income on secondary product (like DVD\u2019s)
\ninto the film fund. This gets divided up by all the musicians who performed
\non the music score.<\/p>\n
However, movie studios are only required to pay into the film fund if
\nthere was an “original scoring session” or sideline session. That language
\nis important, and that\u2019s how studios are violating the spirit of the agreement.<\/p>\n
An “original scoring session” refers to musicians sitting down to record
\nthe score to a movie.<\/p>\n
Instead, studios are hiring musicians far in advance of a movie\u2019s production
\nto write original songs and other music. They are not telling musicians that
\nthis music may appear in a movie some day — they are saying that this is
\nmusic for a sound recording (like a CD). But the music ends up in a movie.<\/p>\n
Since the music was written before the movie was finalized, and since there
\nwas technically no “original scoring session,” the film studios are able to
\navoid paying any money into the film fund.<\/p>\n
The musicians who perform on this music that ends up in the movie are
\npaid a “new use” payment, which is required under the AFM contract. But
\neven if the movie sells millions of DVD\u2019s, the musicians won\u2019t see a penny
\nfrom the film fund.<\/p>\n
Let\u2019s say a Marvin Gaye recording from 1973 ends up as the background
\nmusic for a new film. The original Marvin Gaye musicians will receive new
\nuse payments since their music is now being used in a movie and the
\noriginal recording was done under a union contract. But they will not
\nreceive any money from the film fund, even if the movie is the biggest
\nDVD seller of the year.<\/p>\n
Or let\u2019s say Paul Simon is commissioned to write new music that ends up
\nin a movie. But the music isn\u2019t technically a “scoring session,” since the
\nmusic was written before the movie was finalized. In that case, Paul Simon
\nand his side musicians won\u2019t receive any money from the film fund either.<\/p>\n
ANOTHER TRICK<\/p>\n
Another way studios are hurting musicians is an older method: they are
\nusing musicians outside of the U.S. Thanks to digital technology and
\nthe Internet, it\u2019s relatively easy for studios to record music outside of
\nthe country and bring it back in. Since these sessions are not recorded
\nunder an AFM agreement, they don\u2019t trigger film fund payments either.<\/p>\n
For example, the music to the “Lord of the Rings” movies was recorded
\nby Howard Shore in London and was not filed under AFM contracts. These
\nmusicians will not receive film fund payments.<\/p>\n
A CASE STUDY<\/p>\n
Let\u2019s take the movie “Cold Mountain,” produced by Miramax in 2003.
\nThere are at least three kinds of music in “Cold Mountain.” One is the
\nsong “You Will Be My Ain True Love” by Alison Krauss, featuring Sting.<\/p>\n
Because Miramax commissioned this song before the movie was finalized,
\nit is not considered a “studio scoring session.” And the side musicians who
\nperformed on this track will not receive any money from the film fund,
\neven if “Cold Mountain” goes on to sell millions of DVD\u2019s.<\/p>\n
A second musical part of “Cold Mountain” is the actual underscoring.
\nMiramax outsourced this music to a country outside the U.S. and
\ntherefore it is not covered by the AFM agreement. If the underscoring
\nmusic had been recorded in the U.S., the musicians would have been
\neligible for film fund payments. (According to the AFM motion picture
\nagreement, a studio is generally required to score its movie in the U.S.
\nif the film is shot here and if the storyline is based on content from
\nour country. But “Cold Mountain” was actually shot in Romania and
\ntherefore was not required to file the job in the U.S.)<\/p>\n
Finally, “Cold Mountain” also utilizes traditional music to invoke the
\nCivil War. These vocal, guitar and folk tunes were recorded as nonunion
\ncash dates. Again, those musicians will not be able to collect film fund
\npayments.<\/p>\n
WHY IS THIS HAPPENING?<\/p>\n
Musicians like Alison Krauss and her side musicians are not doing
\nanything wrong. They may have no idea that their music is being used
\nby the movie studios to circumvent the film fund.<\/p>\n
The film studios are doing this because it is an easy way for them to
\npare down their expenses.<\/p>\n
Studios don\u2019t make most of their money on box office ticket sales.
\nInstead, the majority of profits are made on the “back end,” like DVD
\nprofits or when the movie plays on TV. By getting around the film fund,
\nstudios save big bucks on their back end payments to musicians.<\/p>\n
WHAT THE UNION WILL DO<\/p>\n
The meeting in Los Angeles to deal with this situation had several outcomes.<\/p>\n
The AFM will make available to all locals a current list of movies
\nthat are being scored. This list will include movies that are in production
\nand where we think the scoring is taking place. Recording musicians will
\nbe able to look at this list and be alert to the fact that some sessions advertised
\nas “phono sessions” are really “scoring sessions,” which
\nshould trigger film fund payments.<\/p>\n
We will also try to monitor artists who have signed deals with studios
\nto write original songs. These songs may actually be a new kind of
\nscoring and, as such, should be considered scoring sessions. Musicians
\non these sessions have a right to film fund payments.<\/p>\n
Passing legislation to create local tax incentives is a step in the right
\ndirection, but film producers are generally looking to save a minimum
\nof 10% on their production costs. Tax incentives and buyout options,
\nin addition to wages and fees paid in the local currency in foreign countries,
\noften amount to an average of 25% savings in overall production costs.
\nMore lobbying for further incentives to keep productions in the U.S. is
\nnecessary.<\/p>\n
NEXT TIME: NEW YORK, SEATTLE and ELSEWHERE.<\/p>\n
================================<\/p>\n
II. NFA FLUTE SCHOLARSHIP
\n\u00a0
\nEach year, the Frances Blaisdell Convention Scholarship provides financial
\nassistance for a high school or undergraduate flutist to attend the National
\nFlute Association Convention. Recipients gain the means to attend the
\nlargest annual flute event in the world and the chance to participate in
\nan enriching, immersive experience with renowned flute performers and
\nensembles from across the globe.<\/p>\n
The recipient of this scholarship will receive $750 to attend the NFA\u2019s
\n44th Annual Convention in San Diego this summer, plus complimentary
\nconvention registration, and a one-year membership to the NFA. This
\nis a great opportunity for a flute student to gain insight, inspiration, and
\nconnections to further their flute musicianship and career.<\/p>\n
The Frances Blaisdell Convention Scholarship is open to full-time
\nstudents under the age of 25. Applicants cannot be previous recipients
\nof the scholarship.<\/p>\n
If you are not eligible to apply, please share this information with students,
\ncolleagues, friends, and anyone who might want to attend the convention,
\nbut currently lacks the financial means to do so.<\/p>\n
Applications are due May 1. Visit the Frances Blaisdell Scholarship page
\nto learn more about the opportunity or submit an application. \u00a0\u2028\u00a0
\nVictoria Pampe
\nMembership Manager
\nNational Flute Association
\n70 E. Lake Street, Suite 200
\nChicago, IL 60601
\n312-332-6682 (office)
\n312-332-6684 (fax)
\nvpampe@nfaonline.org<\/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
4\/19\/16<\/p>\n
The BBB\u00a0\u00a0featuring\u00a0Bernie Dresel\u00a0historic LIVE
\nrecording!!
\nTHIS TUESDAY\u00a0April 19
\nat\u00a0Joe’s Great American Bar & Grill\u00a0
\nin Burbank
\nfrom \u00a08:30pm-11:00pm
\nNO COVER CHARGE!!
\nNo reservations\u00a0necessary!!
\n4311 W. Magnolia Blvd.
\nBurbank, CA 91505
\n(must be 21 or older)<\/p>\n
———————————————-<\/p>\n
4\/25\/16<\/p>\n
MONDAY, APRIL 25, 2016\u20287:30 PM
\nSCREENING & PANEL DISCUSSION\u2028RECEPTION TO FOLLOW\u2028\u2028JOIN THE PANELISTS*\u2028Liev Schreiber, Jon Voight, Paula Malcomson,\u2028Eddie Marsan, Dash Mihok, Steven Bauer, Katherine Moennig,\u2028Pooch Hall, Devon Bagby, Kerris Dorsey and Katie Holmes\u2028EXECUTIVE PRODUCERS David Hollander, Mark Gordon, Bryan Zuriff
\nModerated by Stacey Wilson Hunt (New York Magazine\/Vulture)
\nat\u2028Paramount Theatre\u2028Paramount Pictures Studios\u20285555 Melrose Avenue\u2028Hollywood, CA\u00a0 90038
\n\u2028CLICK HERE TO RSVP BY APRIL 22\u2028\u2028Hosted parking available in Visitor Parking Lot.
\nTweet your questions to @SHO_RayDonovan prior to the event.
\nSeating is first come, first served.\u2028Admittance is not guaranteed.
\n*Subject to availability.<\/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