II. THE RMA NOW DOING SIDELINING?
\nII. PRESIDENT ESPINOSA IN DEPOSITIONS
\nIII. SELECTIVE AUDITING OF SELAS? From FMA PRESIDENT LISA HALEY
\nIV. YOUR IDEAS, YOUR OPINIONS
\nV CONCERT ANNOUNCEMENT
\nVI. TRIVIA
\nVII. COMMENTS<\/p>\n
============= <\/p>\n
I. THE RMA ELITES NOW DOING SIDELINING?<\/p>\n
A few weeks ago there were multiple days of sidelining for a major film.
\nWho was there? Sandy DeCrescent and Peter Rotter. A good number of RMA
\nelites were among the sideliners pretending to be an orchestra on the stage.<\/p>\n
So now, with their recording work so affected, they make a move on the
\nsidelining jobs as well? <\/p>\n
<\/p>\n
HOW IRONIC (VERIFIED THROUGH SAN FRANCISCO SOURCES)<\/p>\n
Not that long before the RMA-San Francisco disbanded, a couple of the
\nusual suspect RMA Officers paid them a visit. What was the board of the
\nRMASF told? Paraphrasing, \u201cWe think you have an important role to play
\nin the film industry. We think you should concentrate on sidelining!\u2019<\/p>\n
We\u2019re not sure what the former RMASF board said to that arrogant and
\ncondescending attitude, but we can think of a few choice words.<\/p>\n
How ironic then, that the SF chapter disbands, and a few boneheaded
\nRMALA moves later, SF is doing most of the Video Game work (The
\nreason the RMALA created the PMG, by the way). SF is getting busier
\nand busier, and those squawking about their superiority are now doing
\nthose \u201csidelining\u201d jobs.<\/p>\n
This is not a slight to sidelining by any means. Sidelining is a perfectly
\nlegit job. The exception here is that time and time again some RMA
\nelites have said \u201cIf you\u2019re not making your entire living from recording
\nyou\u2019re a weekender or a hobbyist.\u201d By their own definition then,
\nthey too are now \u201chobbyists\u201d.<\/p>\n
Karma can be a real B****, can\u2019t it?<\/p>\n
================<\/p>\n
II. PRESIDENT ESPINOSA IN DEPOSITIONS<\/p>\n
We\u2019ve confirmed from sources on both sides of an ongoing Local 47 legal
\nfracas that President Espinosa recently spent two days in depositions for a
\nlawsuit against the Local concerning actions that run afoul of Federal
\nLabor Law and the outing and harassment of fi-core musicians. <\/p>\n
If you know something different, or can shed more light on the situation,
\nplease let us know. We understand there are several lawsuits going on
\nagainst a couple of Southern California Locals for their actions
\ncontrary to Department of Labor laws.<\/p>\n
SETTLING LAWSUITS<\/p>\n
Speaking of Depositions and Lawsuits. Our administration wastes no time
\ne-mail blasting when they win a lawsuit, but never when they lose or settle.<\/p>\n
We paid out thousands to Barbara Markay for her wrongful firing. We paid
\nthousands to Errol Henry for HIS wrongful firing. Now the Local is likely
\ngoing to hand over even more money because of the misconduct of the
\nEspinosa Administration and whomever is counseling them…<\/p>\n
It reminds us of the person who says, \u201cI\u2019ll fight to the last drop of YOUR
\nblood\u201d. It\u2019s not coming out of his pocket, is it.<\/p>\n
We\u2019ll let you know as we learn more.<\/p>\n
WE STILL HAVEN\u2019T FILLED BARBARA MARKAY\u2019S SHOES<\/p>\n
At a recent meeting of freelance musicians, some new, younger members were
\nin attendance and asked some very specific questions about promotion and
\nhow to build a market. The immediate response from the more experienced
\nmembers present was that Barbara could have set them on the right path speaking
\noff the top of her head, and that there was no one nearly as knowledgeable at
\nthe Local now, though it\u2019s not the fault of the Local 47 employees. The present
\nemployees simply do not have the experience Barbara had in those areas.<\/p>\n
Is there anyone in our ranks who can answer questions concerning promotion
\nand sales? Are you willing to help?<\/p>\n
================<\/p>\n
III. SELECTIVE AUDITING OF SELAS? From FMA PRESIDENT LISA HALEY<\/p>\n
Dear Members:
\nI have just learned that I am being audited by our Health & Welfare oversight
\ncompany. It\u2019s not a big deal, since I’ve been honest with my SELAs since
\nthe beginning. <\/p>\n
However, one can’t help but wonder if I’m being “singled out” because I’m
\nnot afraid to “speak out” for the FMA. I can\u2019t seem to find even one other
\nregular SELA user who is being audited.<\/p>\n
If YOU are also being audited for SELAs, I’d just like to know I’m
\nnot the only one.
\nPlease contact me at 310-676-4884
\nFraternally,
\nLisa Haley
\nPRESIDENT, FREELANCE MUSICIANS ASSOCIATION,LOS ANGELES<\/p>\n
=============<\/p>\n
IV. YOUR IDEAS, YOUR OPINIONS<\/p>\n
COLLEAGUES,
\nWe are introducing a new feature in this mailing. One where we feature a
\nparticularly interesting comment and ask you to assist us in fully discussing
\na subject of interest.<\/p>\n
They say great minds think alike. The comments below were submitted
\nby very successful and highly place people in our industry, people
\nwho\u2019ve seen the business from all sides for decades.<\/p>\n
We would like your thoughts:<\/p>\n
ARE YOU AND YOUR COLLEAGUES REALLY SERIOUS
\nABOUT STOPPING RUNAWAY AND NON-UNION PRODUCTION??<\/p>\n
I have had an idea for a long time of how runaway\/non-union
\nwork could be stopped and although I have told this idea
\nto many colleagues \u2013 the response is always “nobody will
\never go for that” – well maybe it is time to start a true
\ngrassroots effort here. It is really very, very simple. <\/p>\n
Here’s how it would work: Any film\/television show that
\ngoes out of the country to a location where the main reason
\nfor going is to avoid unions or to take advantage of cheaper
\nproduction costs AND where the film is actually set in the
\nUS (for instance, shooting in Toronto where the actual location
\nof the story is New York) would then make the production
\nineligible for any award consideration in any category
\n– Oscars, Emmys, SAG awards, Writer’s Guild Awards and
\nall other industry recognition. This would then make all the
\npeople involved in a project have to consider their choice
\nabout whether or not they are willing to just do the gig for a
\npaycheck and accept the fact that there is no possibility of
\n it being recognized by any of the Academies. I believe that
\nmost of the people in this business want the recognition that
\ncomes with these awards as much, if not more, that just
\ndoing the gig to pay the bills. <\/p>\n
Of course, this means getting all the Academies on board.
\nBut it would certainly be interesting to see which groups
\nwould put their muscle behind trying to solve the runaway
\nproduction issue. Plus, since most of the executives are
\nnot Academy members, this would really push to the forefront
\nthe “bottom line is all that matters” thinking that seems to
\nbe in their control. I have yet to meet a Composer,
\nDirector or Producer who who took their project out of
\nthe country because it was their choice. <\/p>\n
As for music, any score that is for an American Film or
\nTV show that is scored out of the country or non-union
\nwould then be ineligible for award consideration. I mean,
\nlet’s face it – if James Newton Howard and other A List
\ncomposers cannot stop their projects going to London,
\nwho can? The AFM threatening orchestrators and
\nconductors loyal to their composers for trying to keep their
\nclients and make a living is not what any of this should be
\nabout. But if the Academy disallowed these scores to be
\nconsidered for awards, then these major composers might
\nturn down those jobs, or the producers might try to keep
\nthe work here so that their films and scores could be
\nrecognized. <\/p>\n
Of course, it could be that films will then all have European and
\nother non-US location story lines for a while so that productions can
\njustify going to other locations, but I imagine that would not last
\ntoo long. US audiences will tire of films about non-US subjects
\npretty quickly I imagine. <\/p>\n
I would love to hear what other members of this group think.
\nI believe this is doable IF we are all, in fact, serious about
\ngetting the work to stay here in the US with our labor
\nunions and guilds. <\/p>\n
—————<\/p>\n
ONE POSSIBLE SOLUTION<\/p>\n
The only way we (the eligible musicians) can win the global scoring
\nrace is to somehow get the other unions that are in involved with
\nproductions (DGA,WGA, SAG, IATSE,TEAMSTERS) to insist that
\nthe AFM be part of the production – we come with the lunch so to speak.
\n In other words – a picture is shot in LA with all the above unions – no
\ncheaping out in the end on the musicians union – package deal. This has
\nto come enforced form the AFM upon the film studios and their small
\nsubsidiaries. We have to get the other unions to back this somehow – any
\nway, shape or form.<\/p>\n
————–<\/p>\n
ONE POSSIBLE SOLUTION TO RUNAWAY SCORING<\/p>\n
No awards for the production company that has gone out of LA to score
\ntheir movie<\/p>\n
In other words – no Academy for BROKEBACK MTN because the strings
\nwere scored in Seattle…..
\nthat is powerful<\/p>\n
————–<\/p>\n
THERE IT IS FOLKS. WHAT ARE YOUR THOUGHTS AND OPINIONS.<\/p>\n
=============<\/p>\n
V. CONCERT ANNOUNCEMENT
\nNEW MUSIC AT DMOA proudly presents <\/p>\n
MEXIKA “Sounds of Ancient Mexico”
\nThursday, April 3rd, at 7:30 p.m.
\nAt the Downey Museum of Art
\n(http:\/\/artscenecal.com\/DowneyMsm.html)
\n10419 South Rives Ave., Downey, CA. 90241
\nPhone: (562) 861-0419
\nAdmission: $10<\/p>\n
Don’t forget. This Thursday, musician, instrument maker, and scholar
\nMartin Espino will be joined by master percussionist and fellow folklorist
\nChristopher Garcia, to perform traditional and new music with the ancient,
\nexotic and cosmic sounds of the instruments from their ancestral Mexico.
\nMartin is an authority on the music and culture of Pre-Hispanic America.
\nThis is some of the most beautiful and haunting music you\u2019ll ever here.
\nThere are only about 40 seats, so get there early.<\/p>\n
for more information and audio, please visit:
\nhttp:\/\/MYSPACE.COM\/MEXIKA<\/p>\n
==============<\/p>\n
VI. TRIVIA:<\/p>\n
QOUTE for Local 47<\/p>\n
“It is not the strongest of the species that survive, nor the most
\nintelligent, but the one most responsive to change.”
\nCharles Darwin
\n(1809-1882, British Naturalist)<\/p>\n
=============<\/p>\n
VII. COMMENTS<\/p>\n
The comments below represent the uncensored views of the readers
\nand not necessarily those of the COMMITTEE. In the faith that
\nfreedom of expression allows for the birth and ascendancy 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
——————<\/p>\n
In response to your question:<\/p>\n
Should the AFM actually enforce the $50,000 fine? or
\nShould the AFM rescind it?<\/p>\n
I have thought about this long and hard over the years. On the one hand,
\nit is appropriate that those who act hypocritically in this union \u2013 especially
\n those who are at the higher end of the pay-scale and union leadership – be
\nmade to answer for their behavior. On the other hand, those who make
\nonly $10,000 a year in union work should not have a $50,000 fine hanging
\nover their heads. I would rather see the $50,000 fine replaced with one based
\non a percentage of their annual UNION income. This could, in fact equal
\nor exceed $50,000 for some, depending on the percentage selected. I already
\nknow the perceived flaw in this suggestion – “well what about those who make
\nmost of their income doing non-union gigs?”. While it is obvious that most
\nunion players are doing non-union gigs, I think it\u2019s safe to say that those who
\nmake a lot in this industry as session players are getting most of their income
\nfrom union gigs. Those who are not probably have very little need to be in
\nthe union – save for the few calls a year they get for union gigs – in which
\ncase they are paying annual dues for a service from which they are getting
\nnot much in return. Alternatively, using a member’s total annual income as
\na baseline is a difficult proposition – which would require allowing the union
\nto have access to a member’s tax returns – NOT my definition of a good idea!
\nAt least the method of a fine based on annual union income is more of an
\nincentive than no fine at all and gives those who are on the edge of dropping
\nout of the union or going Fi-Core\/Beck more incentive to stay and keep sending
\nin those annual dues.<\/p>\n
———–<\/p>\n
Should the AFM actually enforce the $50,000 fine? or
\nShould the AFM rescind it?<\/p>\n
Here is another perspective:<\/p>\n
Most of us understand the reason for a $50,000 fine. It is to provide dis-incentive
\nfor taking non-union gigs. And those who came up with that figure obviously
\nwanted to make it intimidatingly large enough to dissuade members from taking
\nnon-union gigs. Let’s examine that for a moment:<\/p>\n
This idea follows from the premise that it is a union member’s responsibility
\nto support the union by refusing non-union gigs. However, I would argue
\nthat it is a union member’s first responsibility to survive – to pay rent, feed
\ntheir family and pay their bills. If all of that can be accomplished by doing
\nonly union work, then great – I’m sure that member will be happy to turn
\ndown non-union work. Show of hands – how many out of the thousands
\nof union members fall into this category?<\/p>\n
Now I would also not argue that it is the union’s responsibility to find all
\nof us work. However, with all of the money paid in each year by the thousands
\nof members, I would expect that the union leadership would not enact policies
\nor reduce services or exhibit any other behavior that hinders our larger membership
\nfrom getting union work. Furthermore, all of that money should be spent wisely
\nand I would hope that some of it can be used to further the union’s ability to
\nincrease union work in Los Angeles. Obviously that has not happened, nor
\n have individual efforts to refuse non-union gigs increased union work.<\/p>\n
As a union member, I have to consider the benefits versus the pitfalls of remaining
\nin the union. If the threat of a $50,000 fine outweighs the benefits I receive by
\nremaining a member, then what is my incentive for staying? Certainly there is
\nan altruistic reason for supporting the union, but if that is the only reason, I think
\nmy money would be put to better use by sending it to the Red Cross, American
\nCancer Society or Jerry’s Kids.<\/p>\n
One more point not to be missed – perhaps the union leadership, in its infinite
\nwisdom, decided that rather than expel a member, it is better to levy a huge fine.
\nIn establishing such a large penalty, they should consider whether they would
\nprefer a smaller union made up of those few who are doing a lot of union work \u2013
\ni.e. those who might actually still have incentive to stay in the union despite such
\na large financial threat. Of course this would reduce annual union revenues
\nsignificantly as a result of lost dues, and further reduce our collective bargaining
\npower. Is that our goal?<\/p>\n
[EDITOR\u2019S NOTE: A number of highly placed recording musicians would
\nlove that very thing: A boutique local of about 1,500 members paying $1,200
\ndollars a year in membership.]<\/p>\n
————<\/p>\n
Dear Resp Comm 47, <\/p>\n
I think RMALA President Peter Anthony should NOT be fined
\nand neither should anyone else. It doesn’t matter whether he was
\nthe President of the United States when the incident occurred. He
\ndidn’t do what any red-blooded union members would do if they
\ngot the opportunity. Fines against union members are ineffective.
\nFines are not a deterrent to doing non-union work. The AF of M
\nshould rescind fines altogether. God help us if the administration
\nwere to ever use the faculty of reasoning to convince union members
\nto do ‘union only’ gigs. If the threat of force is the only way to
\naccomplish things, we may as well resurrect Stalin and Hitler.
\nAfter all, they got things done.
\n A persons\u2019 character is defined by their, beliefs, thoughts and
\nactions. Because of this, Mr. Sazer should stick to the only thing
\nhe’s good at…web design, because one of the hallmarks of political
\nsavvy and collective bargaining is the ability to negotiate, not
\nlitigate. And from what the guys in N.Y. tell me about Mr. Ayling\u2019s
\nranting and ravings, Mr. Ailing acts like he needs to enter rehab.
\nThey are In-credible. Just think, those guys could withdraw from
\nthe union and form a PMG. Go ahead Laurel and Hardy, move that
\npiano. <\/p>\n
————-<\/p>\n
I just talked to yet another \u201cinsider\u201d in town, and was told that if
\nan orchestra uses 47 to rehearse,(there are several) then a
\ncontractor using fi-core members will have to take into consideration
\nthat the (fi-core) member cannot be at the rehearsal at the local. <\/p>\n
Yikes, I just don’t see how the union can get away with “contractual
\ninterference with a “former members” prospective advantage
\n(legal term). There are former members who have “tenured”
\npositions in these groups. IF THE LAW SAYS THE UNION CANNOT
\nDISCRIMINATE….???!!! THESE FOLKS ARE UNDER UNION
\nCONTRACTS!<\/p>\n
Further, I think it can be shown that the Union “knows (or should
\nknow) who those players are, that are tenured and, have the right
\nof first refusal under the contract (signatory orchestra). I would
\nlike to know, how it is that the Union will rent its facility for a
\nrehearsal to group X and then say the tenured players (turned fi-
\ncore) cannot participate in the rehearsal? I would argue, even
\nwhen they (the musicians barred from the rehearsal) are paid for
\nthe rehearsal, (by the affected organization) the status of that
\nmusician is eroded not only within the group but with other
\ncontractors who would prefer to have hired them for future work.
\n(The Union is protected as long as these C’s do not come forward
\nwith this reality and the Union no doubt knows this). What to
\ndo???!! I think my Union has put itself at considerable risk s
\nhould one of these players get some aggressive representation,
\nand we (the membership) will pick up the check!<\/p>\n
————<\/p>\n
TO BE UNION OR NOT TO BE UNION <\/p>\n
Is Pete Anthony a member of the Professional Musicians Guild? I understand
\nthat Mark Sazer has been recruiting members for the PMG on Sandy DeCrescent
\nsessions. Between that and Phil Ayling failing, it sounds to me like RMALA is
\ngetting ready to take a big step back in time. Dare I quote Leslie Lashinsky\u2019s
\narticle titled “Beck to Da Future”? Doesn’t it make more sense to bring people
\nback to the union and find a common solution that benefits ALL? <\/p>\n
———-<\/p>\n
Just a note to my friends at the committee to let you know of another job lost to
\nout of town, undoubtedly due to RMA unwillingness to be flexible on contracts.
\nThe sessions in question are for “Little Mermaid VI: Sebastian and Ariel’s Big
\nGreek Wedding”, a direct to video that was supposed to be done by Christopher
\nNorton over at Martin Sound. But I have now heard from my cousin (one of
\nthe orchestrators) that the job has moved overseas and will be scored in Bolivia.
\nThis was for a week of work that could have been done here but was probably
\nsabotaged by Sandy’s people since they were not offered the job (the contractor
\nis Steve Dooley and I hear that the Bolivians are rolling the red carpet out for
\nhim and the crew). Anyway, isn’t there someway we can stop this in the future?<\/p>\n
———–<\/p>\n
—————<\/p>\n
RE: Peter Anthony and the scabbing in London – Has anyone called the DARK
\nDATE Hotline?
\nAnonymous<\/p>\n
———–<\/p>\n
No one has been fined $50K have they? <\/p>\n
———–<\/p>\n
The whole thing about the producers crying poor and NO union for
\nthe composers is usually a load of CRAP. The composers themselves
\nNEED to grow a backbone and tell these producers that they only work
\nAFM. It\u2019s time for the composers to value their work and the deal
\nthey should be getting. Everyone is so damn afraid of losing the
\naccount that they’ll do anything to keep it. There is a GLUT of
\ncomposers out there now and it has diluted the scene for them
\n just as bad as the amount of musicians out there willing to do a
\n job for non union and next to no money.<\/p>\n
What’s the odds of a composer turning down a project when it
\ncome across the table NONAFM?
\nthe answer??<\/p>\n
well, if you haven’t been to www.simonjamesmusic.com<\/p>\n
go there now and see all the big names under his services menu \u2013
\nthat’ll give you the answer. SAD state of affairs. How did we
\nget to this place?<\/p>\n
————–<\/p>\n
Just curious, I haven’t licensed music as of yet, but was considering
\nit.
\nCould you send me a private post with the contact info or even just the
\nnames and city of the licensing reps who you mentioned
\nwho are using this customary rates… I’ve seen the sharks rates and
\nhaving utilized their services due to their rates, but haven’t seen much
\nfrom the legitimate one’s you mentioned as using the customary rates.<\/p>\n
————-<\/p>\n
Would someone please set up some legislature to have Term Limits!!! The
\nrest of the country has them. Why shouldn’t our UNION!? This is how One
\nperson is leaving office in November…. Get it? IT”S THE ONLY WAY>
\nBelieve me. <\/p>\n
———–<\/p>\n
Committee: <\/p>\n
This link is to a report from a Film Music Network
\narticle. <\/p>\n
http:\/\/www.filmmusicmag.com\/news\/AFM-Approves-Buyout-Library- GLOBAL SCORING WEBSITES – READ AND WEEP<\/p>\n WEBSITES – Global Recording – are we really going to keep Simon James – contractor in Seattle http:\/\/www.simonjamesmusic.com
\nMusic-Sessions-317.html
\n————<\/p>\n
\nletting these locations steal our LA based scoring and recording work?<\/p>\n
\ngo to his services page, click on services and then the the genres of
\nsessions he has done
\ngo to the scroll bar – prepare to become sick – most of the composers
\nlive here in LA by the way also in Seattle is David Sabee’s site – he
\nworks together with Simon James nowhttp:\/\/www.seattlemusic.com
\nclick around there and see big movies that won awards there too
\n\u2022\u2022\u2022\u2022\u2022\u2022
\nbelow is the phone line guy, T1 high speed video and audio feed \u2013
\nyou can drive to Santa Monica to a studio and watch your score
\nbeing recorded in PRAGUE after you have pdf’d it there
\nhttp:\/\/www.orchestra.net\/
\n\u2022\u2022\u2022\u2022\u2022\u2022
\n Here\u2019s another guy that is offering phone line recording with Prague
\n http:\/\/praguerecording.com\/projects.html
\n click around there – he doesn’t have a client list or project list \u2013
\nbut he is working daily
\ndoing projects – just ask around
\n\u2022\u2022\u2022\u2022\u2022\u2022
\nNOW FOR RECORDING ABROAD
\nHere is the website for the Czech Film Orchestra \u2013 yes they are
\nactually calling themselves that now VERY SPECIALIZED HEH?
\nhttp:\/\/www.czechfilmorchestra.com\/
\n \u2022\u2022\u2022\u2022\u2022\u2022
\nhere is the website for recording in Bratislava
\n http:\/\/www.musicrecordinginbratislava.com
\nclick on the credits page and look at the LA based composers
\nthat have had to record there
\n\u2022\u2022\u2022\u2022\u2022\u2022
\nhere is the website for a guy in LONDON that books a
\nPrague orch and a London orchestra<\/p>\n