I. CORRECTION
\nII. ARE OUR MEMBER DUES ABOUT TO FUND ANOTHER RMA
\nATTACK ON THE AFM PRESIDENT??
\nIII. A REMEMBRANCE OF LEONARD ROSENMAN by Wayne Kiser
\nIV. RICK BLANC OP\/ED in FILM MUSIC MAGAZINE
\nV. EVENTS, CONCERTS
\nVI. TRIVIA: GOLD RECORDS
\nVII. COMMENTS<\/p>\n
=================<\/p>\n
COLLEAGUES,<\/p>\n
\tPlease mark your calendar now to attend the April 28th, 2008 General Membership meeting. There’ll be an important special election to fill a
\nvacancy on the board–a chance to elect a board member who knows
\nthe needs and frustrations of free-lance musicians.
\n\tThe board has temporarily appointed Paul Castillo to fill the vacancy
\n(Mike Grego has just resigned). Mr. Castillo will undoubtedly run to make it permanent till the December election at the April 28 meeting. We’ll keep you posted on any other candidates who emerge.<\/p>\n
There will also be an election for the election board, since their term is up.<\/p>\n
\tIf you want a voice, use it! Please join your brothers and sisters on April 28th and help make our Local\u2019s infrastructure more balanced.<\/p>\n
<\/p>\n
I. CORRECTION<\/p>\n
We have been informed by a member that current RMA-LA Pete
\nAnthony was not in fact President of the RMA at the time of
\nthe WATERHORSE sessions in London. His position in our
\nindustry, however, does make our questions more than legitimate.<\/p>\n
A QUESTION FOR OUR COLLEAGUES<\/p>\n
Should the AFM actually enforce the $50,000 fine? or
\nShould the AFM rescind it?<\/p>\n
Let us know what you think\u2026<\/p>\n
================<\/p>\n
II. ARE OUR MEMBER DUES ABOUT TO FUND ANOTHER RMA
\nATTACK ON THE AFM?<\/p>\n
A few weeks ago RMA International President Phil Ailing and RMALA
\nVice-President Marc Sazer took over 2 hours (1\/3) of a Local 47 board
\nmeeting (Paid by our dues) to try to convince the Executive Board to allow
\nour dues to be used to pay Local 47 counsel Lewis Levy to help Mr. Ayling
\nand Mr. Sazer launch another attack on our AFM President Tom Lee.<\/p>\n
As of this printing, the board has not given them an answer. That they did
\nnot immediately refuse to fund another RMA scheme with our member dues is
\noutrageous, but not unexpected. It does show, however, that at least some
\nboard members are starting to say enough is enough, delaying the cave in
\nto the RMA officers and another financial bonus on our dime for Mr. Levy.<\/p>\n
Here\u2019s an idea. Let Mr. Ayling and Mr. Sazer fund their own scheme, or have
\nthe RMA pay for it. Better yet, let\u2019s see how the New York or Nashville Local
\nboards would react to such a request (We can see boots heading towards rear
\nends.). It makes us wonder how often the Espinosa administration has handed
\nover our members dues to fund RMA or RMA Officers actions.<\/p>\n
If you want to make sure our board members know how you feel about funding
\nRMA schemes, please take a moment to write to them and let them know. If this
\nboard knows you\u2019re watching and taking notes, they might think twice. If you
\nknow any board members personally, call or write them and ask them what\u2019s
\ngoing on.<\/p>\n
Again, we suggest Mr. Pete Anthony get a handle on his officers.<\/p>\n
You can write the Local 47 officers at: Other members of the EB include Greg Huckins, Don Muggeridge, Marl Young, If you do write to the board, please send us a copy!<\/p>\n ================<\/p>\n III. A REMEMBRANCE OF LEONARD ROSENMAN by Wayne Kiser<\/p>\n The Loss of a Friend Last week I received word that a dear friend of mine had passed I was one of the lucky ones who had the privilege of knowing The last film on which I worked with Leonard was \u201cJuri\u201d (orchestrated When it came to recording sessions, Leonard also was \u201cone of the For those of you who aspire to write for films, Leonard\u2019s scores Leonard not only composed for films, but he also created many Beyond his amazing music, what I\u2019ll miss most are all the Although his declining health prevented him from continuing his ==================<\/p>\n IV. RICK BLANC OP\/ED in FILM MUSIC WEEKLY<\/p>\n In the most recent edition of the Film Music WEEKLY, guest We feel you might want to take a look. You can read it here on Page 8-9:<\/p>\n http:\/\/www.filmmusicweekly.com\/issues\/FM_Weekly_031108.pdf<\/p>\n ==================<\/p>\n VI. EVENTS, CONCERTS<\/p>\n \u2022SATURDAY 3\/22\/08\u2022<\/p>\n NACUSA CONCERT This concert will be performed by the There will be a composer\u2019s panel at 6:30 pm with the concert For more information contact Jennifer at pvrotickets@live.com —————–<\/p>\n \u2022APRIL 6th*<\/p>\n ST. JAMES SUNDAY CONCERTS The repertoire will include classical Arabic music, both traditional St James Presbyterian Church is located at 19414 Ventura Blvd in —————–<\/p>\n \u2022DEADLINE APRIL 15TH\u2022 =================<\/p>\n V. TRIVIA<\/p>\n GOLD RECORDS<\/p>\n When Glenn Miller sold over a million records of his song =================<\/p>\n VI. COMMENTS<\/p>\n The comments below represent the uncensored views of the readers ————<\/p>\n We cannot “selectively enforce” our AFM Bylaws. ———-<\/p>\n One main reason there is Runaway Scoring is that the Producers Now to get real, the AFM, not the RMALA (because they are set in The rank and file need to speak out now – and the committee is the only ———————<\/p>\n A couple hundred plus years ago Colonists, fed up with the tyranny of ———————<\/p>\n We are fighting each other. ——————–<\/p>\n I’m not sure who should bring charges against Pete Anthony\/orchestrators. Concerned<\/p>\n ——————–<\/p>\n you have struck a MAJOR blow if people are reading this e-mail<\/p>\n ——————-<\/p>\n Dear Committee: <\/p>\n Below please find an excerpted post from an online The sentence about the (sic) “Union guy not making MESSAGE:<\/p>\n What is the industry standard pay scale for two hours Depending on the skill of the negotiator, the college Also, which is better: <\/p>\n A) B) C) The composer hires a union bassoon player at union rates Composer quote: I’ve seen this complaint about Union ————-<\/p>\n Bottom Line for Los Angeles’s future as a place to record music The laws of supply and demand have been and are currently being Producers of music have options around the globe to record music. ===============<\/p>\n Colleagues,<\/p>\n We hope to see you at the upcoming General Membership meeting.<\/p>\n Until next time,<\/p>\n THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":" I. CORRECTION II. ARE OUR MEMBER DUES ABOUT TO FUND ANOTHER RMA ATTACK ON THE AFM PRESIDENT?? III. A REMEMBRANCE OF LEONARD ROSENMAN by Wayne Kiser IV. RICK BLANC OP\/ED in FILM MUSIC MAGAZINE V. EVENTS, CONCERTS VI. TRIVIA: GOLD RECORDS VII. COMMENTS ================= COLLEAGUES, Please mark your calendar now to attend the April 28th, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-20","post","type-post","status-publish","format-standard","hentry","category-committee-newsletters"],"_links":{"self":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/20","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=20"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/20\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=20"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=20"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nPresident Espinosa – pres@promusic47.org
\nVice-President Trombetta – vp@promusic47.org
\nSecretary Lashinsky – secretary@promusic47.org<\/p>\n
\nPam Gates, Judy Chilnick, and Bonnie Janofsky.<\/p>\n
\nby Wayne Kiser<\/p>\n
\naway \u2013 Leonard Rosenman. With the passing of Leonard, a void
\nhas been created in both film and classical music that I feel will
\nnever be filled. <\/p>\n
\nLeonard, whom I met in 1982 through David Raksin. Since that
\ntime, I have had the privilege of serving him as principal copyist
\non several of his films, classical projects and published works.
\nAs his copyist, I was plunged into a challenging world of complex
\nrhythms, powerful chord clusters, unforgettable themes and
\ninstrumental scores that rivaled those of Mahler. <\/p>\n
\nby Michael Patterson). I recently read an article written by Jordan R.
\nStoitchkov who was invited to be present at the recording session.
\n Leonard expressed to Mr. Stoitchkov that he (Leonard) was \u201cone
\nof the last\u201d. Leonard was acknowledging that he was one of the few
\ncomposers who still composed at the piano using pencil and score
\npaper. He told me many times that great film scores weren\u2019t
\ncreated by sitting down at a computer and pushing buttons, but
\nby listening to the music in your mind and heart. To my knowledge,
\nLeonard never used a computerized music program for scoring
\neither films or classical compositions – the closest use of \u201celectronics\u201d
\nis in his \u201cThe Symphony for Dinosaurs\u201d where he uses recorded
\nbird-sounds in the last movement. <\/p>\n
\nlast\u201d. Unlike many sessions today, Leonard had control over his
\nmusic with little involvement by the producer. For example, I
\nonce asked Leonard about the introduction to \u201cFantastic Voyage\u201d.
\nFor those of you who don\u2019t know the film, the music doesn\u2019t
\nbegin for several minutes until the opening tone of the primary
\nmotif (heard throughout critical points in the film) starts when
\nthe submarine suddenly breaks into the bloodstream. It was
\nLeonard\u2019s idea to withhold the music until that point, which
\napparently didn\u2019t impress the producer at the time. Unlike that
\nwhich often occurs today, producers trusted (albeit sometimes
\nbegrudgingly) composers to create scores that were unique
\nand visionary. <\/p>\n
\nare great examples of the early use of contemporary sounds; the
\nfirst twelve-tone film score (\u201cThe Cobweb\u201d), a score that consists
\nalmost entirely of multilevel clusters of sound (\u201cFantastic Voyage\u201d),
\npiercing brass chords over shrill strings with cacophonous sound
\n(\u201cReturn to the Planet of the Apes\u201d), the use of Native American
\nmusic with a choir from the Rosebud Sioux of South Dakota (\u201cA
\nMan Called Horse\u201d). These are scores that use primitive sounds,
\ninnovative motifs and avant-garde scoring techniques. <\/p>\n
\nclassical pieces. His compositions are memorable for their
\ncomplexity, instrumental challenges and contemporary sounds.
\nSome of his most interesting pieces include; \u201cWhen Alpha Met
\nBeta\u201d (string quartet), \u201cConcerto for Violin and Orchestra II\u201d,
\n\u201cLoca Revisited\u201d, \u201cFoci One\u201d, \u201cChamber Music Five\u201d and \u201cThree
\nPiano Pieces\u201d.<\/p>\n
\nwonderful conversations we had about art, science, architecture
\nand his fascination with dinosaurs. He would describe his early
\naspirations to be a painter, his conversations with Leonard
\nBernstein and Aaron Copland, his lessons with Arnold
\nSchoenberg and Roger Sessions \u2013 and his many antics with good
\nfriend James Dean. He often confided in me how he wished
\nmore of his classical music could be performed by the Los
\nAngeles Philharmonic and how he wished to hear more of his
\nfilm scores played on local classical music radio stations. Now
\nthat he\u2019s gone, perhaps his wishes will become reality.<\/p>\n
\ncraft over the past few years, he should not only be remembered
\nas a cutting-edge composer, but also as a man who enjoyed
\nlistening to and encouraging many students. I\u2019ve lost a dear
\nfriend, mentor and the world has lost a gifted composer. I will
\nalways be grateful for the opportunities he provided and the
\ntrust he put in me to help bring his music to life. Our sincerest
\ncondolences go out to his family, especially his wife Judy. <\/p>\n
\ncontributor Rick Blanc wrote a, shall we say, passionate article
\nabout our situation in Los Angeles.<\/p>\n
\nLocal 47 Board member Bonnie Janofsky, Jeaanie Poole, Deon
\nPrice and Adrienne Albert are among the composers to be
\nfeatured at a concert celebrating 75 years of the National
\nAssociation of Composers (NACUSA).<\/p>\n
\nPALOS VERDES REGIONAL ORCHESTRA
\nOn March 22nd at the
\nTorrance Civic Center\u2019s Armstrong Theater
\n3330 Civic Center Dr N
\nTorrance, CA 90503
\n(310) 781-7150<\/p>\n
\nto follow at 7pm.<\/p>\n
\nThey expect a sellout crowd so contact her very soon.
\nNo tickets will be sold at the box office.<\/p>\n
\nSt. James Sunday Concerts is pleased to present an afternoon
\nof Middle Eastern music with violinist Nabil Azzam and members
\nof the MESTO orchestra (Multi-Ethnic Star Orchestra).
\nThe concert will be held on Sunday, April 6 at 4 PM at St James
\nPresbyterian Church.
\nAdditional musicians include Maurice Mitr, oud, Fahd Shaaban,
\nquanun, Adel Shawki, nay, David Martinelli, riqq, and T.J. Troy, tablah. <\/p>\n
\nand modern Egyptian vocal and instrumental music, modern Lebanese
\nsounds and vocal music from Iraq and Syria. <\/p>\n
\nTarzana near Tampa. The concert is free, a freewill offering will be taken.<\/p>\n
\nITURBI INTERNATIONAL MUSIC COMPETITION
\nThe Jos\u00e9 Iturbi Foundation today announced that The Second
\nAnnual Jos\u00e9 Iturbi International Music Competition, the contest
\nwith the largest cash bounty (more than $250,000) of any
\nclassical piano and singing competition worldwide, will take
\nplace again this summer June 16 – 21 at UCLA’s Schoenberg
\nHall in Los Angeles. Applications for pianists and singers to
\ncompete in the weeklong competition that adds features of
\n“American Idol” to the world of classical music may be
\ncompleted and submitted online at www.joseiturbifoundation.org.
\nApril 15, 2008 is the application deadline. <\/p>\n
\n\u2018Chattanooga Choo-Choo\u2019 (recorded for the movie \u2018Sun Valley
\nSeenade\u2019) in less than three months, his label (RCA Victor)
\ndecided to celebrate. Without telling Miller, they organized a
\npublicity stunt whereby they lacquered a record gold and handed
\nit to him during a live radio show on February 10th, 1942. A
\ndecade later, the RIAA (Recording Industry Association of
\nAmerica) trademarked the gold record as a way of rewarding
\nsingles that had sold one million copies, or albums that had
\nmade over $1 million in sales. The first RIAA gold single was
\nPerry Como\u2019s \u201cCatch A Falling Star\u201d, while the first RIAA gold
\nalbum was Gordon McRae\u2019s soundtrack to Oklahoma!.<\/p>\n
\nand not necessarily those of the COMMITTEE. In the faith that
\nfreedom of expression allows for the birth and ascendancey of the
\nmost beneficial ideas, all sentiments expressed are welcome, subject
\nto the bounds of good taste and decorum. If you disagree with an
\nopinion expressed by any contributor, we encourage you to rebut it here.<\/p>\n
\nEither Pete Anthony gets disciplined, or no one else can be disciplined.
\nI can’t wait to see the ‘tapdance’ the RMA tries to do on this issue.<\/p>\n
\nhave figured out that they don’t want to or have to pay the 1% tax
\nthat the Secondary Market Fund imposes on union signatory films.
\nMusic for film just DOES NOT make that much difference to a bean
\ncounter producer when it comes to making a great movie. Union
\ncontracts are preserved for Writers, Directors, Actors, and other pre
\npost production job titles. You CANNOT have a hit movie without
\nthe three just mentioned. You CAN have a hit movie with a mediocre
\nscore composed and recorded somewhere else other than LA….its just
\nnot as important to the final product. A score does not sell a movie….
\nbut a great Director, a great Writer, a great Actor sells the movie.
\nSo, you see this is where the musicians bargaining power is……
\nor actually isn’t.<\/p>\n
\ntheir old ways) needs to go forward mending old relationships that
\nhave gone elsewhere to record, and the AFM also needs to forge NEW
\nrelationships (regardless of the back end business tax) with the up and
\ncoming productions that DO NOT even think they can get a project
\nrecorded here in LA anymore. Front end work, get everyone working
\nagain, not just the same old bunch, and maybe in a few years these
\nrelationships that the AFM has forged will be open to a little tax again….
\nmaybe not. At this point, the good ole’ days ain’t coming back, and the
\ntime to live is in the present and the future. <\/p>\n
\nplace to do this without being found out. <\/p>\n
\nthe crown, got into the revolutionary spirit. King George and his guys
\nsaid something like “What is it with these damn ingrate colonists?” Fast
\nforward to LA 2008. The rank-and-file are starting to get bugged at the
\nmusic business Royalists and their ilk. The Royalists response: “What
\nis it with these damn ingrate musicians?”
\nNothing changes. People who have spoken up on this forum have been
\npredictably criticized: “What? They want us to work for less? Why are
\nthey criticizing the union, The Holy Grail?”
\nThe answer is because we care, and we’re involved. We are the messengers
\nnot the destroyers of the business. We’re not the destroyers of fairness,
\nopportunity, morale. We’re not the ones undermining the efficacy and
\nlegitimacy of the union. We’re trying to restore integrity to the institution.
\nFor those who criticize the critics, maybe YOU should look at the inconsistencies
\nand blatant examples of malpractice that have been brought to your attention
\nhere in this forum. If you really care about the union, if you really think
\nunionism is the way to go, then perhaps you should bring your vigilance
\nto bear also.
\nThat we are in a problematic situation no serious person denies. Pretending
\nthe status quo is just fine doesn’t persuade anyone. Hoping if we just tell
\nenough jokes and amusing anecdotes that the storm clouds will magically
\nclear is sophomoric. Pretending that the messengers are the problem is
\n ludicrous. For the sake of YOUR union what are YOUR solutions? We
\nawait your ideas.
\nRick Blanc (please attach name)<\/p>\n
\nTogether we stand you know the rest.<\/p>\n
\nI think if it’s a national contract, it’s the AFM who makes and adjudicates
\ncharges.<\/p>\n
\nfilm composers’ forum. I believe this has relevance in
\nthe “argument” about RMALA and LA film scoring in
\ngeneral. I’m not sure about it’s use in your email
\nblasts, but since it’s posted on an open-membership
\nlist its use may be OK. (the author can be contacted
\ndirectly) I just feel Members should know how some
\ncomposers currently feel about using 47 Members for
\nrecording. <\/p>\n
\nhairs stand on end” is telling. Originally this was
\nfrom another composer complaining about the hassle he
\nwas having trying to make MIDI sound human. <\/p>\n
\nof bassoon? In terms of ethics, in a work for hire, should
\none observe union scale when paying non-union members,
\nor should one negotiate a price that is agreed to by both
\nparties. <\/p>\n
\nkid might even come out better off than the Union
\nmember if his negotiation chops are better than that Union
\nmusician.
\nMaybe there would be some other benefits or trade of goods
\nthat take place – maybe the kid wants a better Bassoon and the
\ncomposer happens to have his great grandpa’s awsome killer
\nbassoon gathering dust in his closet & the kid gets it as part of the
\ndeal… <\/p>\n
\nThe composer records an articulated midi part and
\nnobody gets payed anything,
\nChris looses business because of all the time he
\nwasted tweaking midi when he could have been composing
\nmore music or pounding the pavements looking for more
\n clients.
\nDid the Mothership Land, lets listen to that
\nagain…maybe. <\/p>\n
\nThe composer hires a genius kid bassoon player and the kids
\ngets paid a flat fee of say $200 for his time as a work for hire.
\nThe Mothership Definitely Lands <\/p>\n
\nwho records an OK bassoon part that works but doesn’t
\nmake anyone’s hair stand up – the Mothership does not
\nland. <\/p>\n
\nplayers “phoning in” their parts before. Perhaps
\nCommittee will see fit to bring this subject up for
\ndiscussion. <\/p>\n
\nFor media <\/p>\n
\napplied to the recording industry. If one thinks that the recording
\nbusiness in LA is immune to those laws is living in an old school
\ndream world. <\/p>\n
\nThat has pretty much spawned out of the many technological advances
\nwe see now. If I can record on a laptop with Pro Tools anywhere in
\nthe world the old business models from the sixties are HISTORY. Is
\nit LA’s fault that other locations around the globe have decided to open
\ntheir doors for business?
\nPartly yes, partly no. It is absurd to think that we are solely responsible
\nfor globalization. But, LA and the AFM have not kept up with the Jones’s
\nas far as keeping the work close to us when it comes to retaining
\nemployers and creating relationships with new employers. We
\nhave in fact driven SOME employers away by having RIGID
\ncontracts and principals based on pre new-era technology developments.<\/p>\n