4\/20\/17
\nI. DEADLINE: HOLLYWOOD ARTICLE<\/p>\n
II. OUTSOURCING SUIT AGAINST STUDIOS
\nIII. LAWSUIT AGAINST STUDIOS (DETAILS)
\nIV. MEMBER COMMENT
\nV. EVENTS
\n…Absolutely guaranteed anonymity – Former Musician’s Union officer
\n…The one voice of reason in a sea of insanity – Nashville ‘first call’\u2028scoring 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. DEADLINE: HOLLYWOOD ARTICLE<\/p>\n
Saying that its contracts have been \u201cput at serious risk\u201d by
\n\u201cwork done in the shadows,\u201d Local 47 of the American Federation
\nof Musicians is preparing to launch a campaign \u201cto ensure that
\nmusicians can earn a livable wage working in Los Angeles.\u201d
\nRelated
\nWGA Video Urges Yes Vote On Strike Authorization<\/p>\n
AFM Local 47
\nIn a recent communique with its members, the local\u2019s executive
\nboard said more and more musicians \u201care being asked to record
\nmusic for major, well-funded projects without union contracts.
\nIf union contracts are made irrelevant by work done in the
\nshadows, the floor for pay will drop for both union and non-
\nunion musicians.\u201d Read the full message below.
\nIn many cases, union musicians are forced to choose between
\nworking nonunion or not working at all. \u201cThese employment
\npractices are especially divisive and pernicious,\u201d the executive
\nboard said, \u201cbecause they exert enormous pressure on
\nindividual union members.\u201d<\/p>\n
The local\u2019s current contract with the major studios doesn\u2019t
\nexpire until next April, but it\u2019s already gearing up for a
\ntough round of bargaining. One of the challenges it\u2019s
\nfacing is the trend toward using foreign orchestras to
\nscore films and TV shows that were shot right here
\nin Los Angeles. Another problem is that the AFM\u2019s
\nmultibillion-dollar pension plan is in \u201ccritical\u201d condition.<\/p>\n
Related Warner Bros, MGM & Paramount Hit With Outsourcing
\nSuit By Musicians Union<\/p>\n
\u201cThe actuary certified that for the plan years beginning
\nApril 1, 2016, and 2015, respectively, the plan is in
\n\u2018critical\u2019 status under the Pension Protection Act of 2006,\u201d
\naccording to the AFM Pension Plan\u2019s latest financial
\nreport. As such, the Plan\u2019s board of trustees was
\nrequired by law to adopt a rehabilitation plan
\ndesigned to improve its financial health and to
\nallow it to emerge from critical status.<\/p>\n
\u201cWe all know what it is like to wonder where your
\nnext call is going to come from or how you are
\ngoing to pay your bills,\u201d the executive board said.
\n\u201cNo single musician can stop the forces that
\nundermine our profession, but as a union we
\nhave always been able to push back. We believe
\nthat it is now necessary to take action together.\u201d
\n[EC: See late weeks Blog for the full message text.]<\/p>\n
============================================<\/p>\n
II. OUTSOURCING SUIT AGAINST STUDIOS
\nWarner Bros, MGM & Paramount Hit With Outsourcing Suit By Musicians\u00a0Union<\/p>\n
by Dominic Patten<\/p>\n
According to the American Federation of Musicians, the<\/p>\n
songs did not remain the same \u2014 or at least in the places<\/p>\n
they were supposed to be. The 80,000-member-strong<\/p>\n
union slammed Warner Bros, Paramount Pictures and<\/p>\n
MGM last week\u00a0in federal court with a breach of contract<\/p>\n
lawsuit over four features\u2019 music scores, including the<\/p>\n
Hans Zimmer score for Paramount\u2019s Interstellar,\u00a0which<\/p>\n
was nominated for an\u00a0Oscar this year. The AFM alleges<\/p>\n
that the trio of studios broke a 2010 agreement to<\/p>\n
ensure that the music for movies made in the U.S.<\/p>\n
and Canada was made here too.<\/p>\n
\u201cThe AFM brings this \u2026action to remedy Defendants\u2019<\/p>\n
violations of their respective obligations to employ AFM<\/p>\n
members under the terms of the collective bargaining<\/p>\n
agreement in recording music in connection with the<\/p>\n
production of theatrical motion pictures (referred to<\/p>\n
as \u2018scoring\u2019) titled (1) Interstellar, (2) Journey 2:<\/p>\n
The Mysterious Island, (3) Robocop, and (4) Carrie,<\/p>\n
all of which were produced by one or more of the<\/p>\n
Defendants in the United States or Canada,\u00a0 but<\/p>\n
were scored, in violation of the agreement,
\noutside the United States or Canada,\u201d says the
\n11-page complaint (read it here) seeking a jury trial.
\nIntersteller, Robocop and Carrie were scored in the<\/p>\n
UK, and\u00a0Journey 2 was produced in Australia and<\/p>\n
Papua New Guinea.<\/p>\n
[EC: Notice the only commonality of all these actions? To
\nprotect the RMA elites.]<\/p>\n
============================================<\/p>\n
III. LAWSUIT AGAINST STUDIOS (DETAILS)
\nLEWIS N. LEVY, Bar No. 105975
\nDANIEL R. BARTH, Bar No. 274009
\nLevy, Ford & Wallach
\n3619 Motor Avenue
\nLos Angeles, CA 90034
\nTelephone: (213) 380
\n–
\n3140
\nFacsimile: (213) 480-3284
\nEmail:
\nLLevy@lfwlawyers.com
\nDBarth@lfwlawyers.com
\nJEFFREY R. FREUND (pro hac vice application forthcoming)
\nROBERT ALEXANDER (pro hac vice application forthcoming)
\nABIGAIL V. CARTER (pro hac vice application forthcoming)
\nPHILIP C. ANDONIAN (applicationfor admission pending)
\nBredhoff & Kaiser, PLLC
\n805 15th
\nStreet N.W., Suite 100
\nWashington, D.C. 20005
\nEmail: jfreund@bredhoff.com
\nralexander@bredhoff.com
\nacarter@bredhoff.com
\npandonian@bredhoff.com
\nAttorneys for Plaintiff
\nUNITED STATES DISTRICT COURT
\nCENTRAL DISTRICT OF CALIFORNIA
\nAMERICAN FEDERATION OF
\nMUSICIANS OF THE UNITED
\nSTATES AND CANADA
\nPlaintiff v. WARNER BROTHERS
\nENTERTAINMENT, INC., PARAMOUNT
\nPICTURES, INC., and METRO-GOLDWYN-MAYER
\nPICTURES, INC.
\nDefendants.
\nCASE NO. 2:15-CV-3069
\nCOMPLAINT
\nJURY TRIAL DEMANDED
\nNATURE OF THE CASE<\/p>\n
1. This is an action under \u00a7301 of the Labor Management
\nRelations Act (\u201cLMRA\u201d), 29 U.S.C
\n. \u00a7 185, for violations of a collective bargaining
\nagreement to which the Plaintiff American Federation
\nof Musicians of the United States and Canada
\n(hereinafter \u201cAFM\u201d) and the Defendants Warner Brothers
\nEntertainment, Inc. (hereinafter \u201cWarner Brothers\u201d),
\nParamount Pictures<\/p>\n
Corporation (hereinafter \u201cParamount\u201d), and Metro
\n-Goldwyn-Mayer Pictures, Inc.
\n(hereinafter \u201cMGM\u201d) (collectively \u201cDefendants\u201d) are parties.
\nThe AFM brings this \u00a7 301 action to remedy Defendants\u2019
\nviolations of their respective obligations
\nto employ AFM members under the terms of the
\ncollective bargaining agreement in recording
\nmusic in connection with the production of
\ntheatrical motion pictures (referred to as
\n\u201cscoring\u201d) titled
\n(1) Interstellar,
\n(2) Journey 2: The Mysterious Island,
\n(3) Robocop, and
\n(4) Carrie, all of which were produced by one
\nor more of the Defendants in the United
\nStates or Canada, but were scored, in
\nviolation of the agreement, outside the
\nUnited States or Canada. This action
\nseeks to recover appropriate breach of
\ncontract damages, including but not limited
\nto musician wages payable pursuant to the
\nagreement, to compel Defendants to make the
\ncontributions due under the agreement to
\ncertain separate musician funds that are
\nmaintained under that agreement for the
\nbenefit of AFM musicians, and to obtain a
\ncourt declaration of the AFM\u2019s and its
\nmembers\u2019 rights and of the Defendants\u2019
\nduties with respect to the collective
\nbargaining agreement in relation to each
\nDefendant\u2019s violation of that agreement.
\nJURISDICTION AND VENUE<\/p>\n
2. This Court has jurisdiction over this lawsuit
\nand parties pursuant to 29 U.S.C. \u00a7 185
\nand 28 U.S.C. \u00a7 1331.<\/p>\n
3. Venue lies in this District pursuant to
\n29 U.S.C. \u00a7 185(a) and 28 U.S.C. \u00a7 1391(b).<\/p>\n
PARTIES<\/p>\n
4. The Plaintiff AFM is a labor organization
\nthat represents approximately 80,000 professional
\nmusicians in the United States and Canada, including
\nmany hundreds of studio recording musicians who
\nwork to score motion pictures produced in this
\nDistrict and throughout the United States and Canada.<\/p>\n
The AFM is \u201ca labor organization representing
\nemployees in an industry affecting commerce\u201d
\nwithin the meaning of the federal statute,
\n29 U.S.C. \u00a7 185, authorizing \u201c[s]uits for violation
\nof contracts\u201d between such a labor organization
\nand \u201can employer.\u201d<\/p>\n
5. The Defendant Warner Brothers produces theatrical
\nmotion pictures through its motion picture units,
\nincluding Warner Brothers Pictures and New Line
\nCinema, and employs in the United States and
\nCanada professional musicians represented by
\nthe AFM in their production. Warner Brothers
\nmaintains its headquarters at 4000 Warner
\nBoulevard, Burbank, CA 91522, and engages in
\nbusiness on a regular basis in the Central
\nDistrict of California.<\/p>\n
6. The Defendant Paramount produces theatrical
\nmotion pictures and employs in the United States
\nand Canada professional musicians represented
\nby the AFM in their production. Paramount maintains
\nits headquarters at 5555 Melrose Avenue, Los Angeles,
\nCA 90038, and engages in business on a regular
\nbasis in the Central District of California.<\/p>\n
7. The Defendant MGM produces theatrical motion pictures
\nand employs in the United States and Canada professional
\nmusicians represented by the AFM in their production.
\nMGM maintains its headquarters at 245 N Beverly Drive,
\nBeverly Hills, CA 90210, and engages in business on
\na regular basis in the Central District of California.<\/p>\n
8. Each of the Defendants is \u201can employer\u201d within
\nthe meaning of the federal statute, 29 U.S.C. \u00a7 185,
\nauthorizing \u201c[s]uits for violation of contracts\u201d
\nbetween such an employer and \u201ca labor organization
\nrepresenting employees in an industry affecting commerce.\u201d<\/p>\n
FACTS<\/p>\n
9. At all times relevant to this lawsuit,
\nthe AFM and each of the Defendants were
\nparties to a collective bargaining agreement,
\ntitled \u201cBasic Theatrical Motion Picture Agreement
\nof 2010\u201d (hereinafter \u201cAgreement\u201d). The
\nAgreement is a contract between Defendants as
\nemployers and the AFM as a labor organization
\nrepresenting employee musicians within the
\nmeaning of 29 U.S.C.<\/p>\n
\u00a7185. Each of the Defendants is a
\n\u201cProducer\u201d as to certain theatrical
\nmotion pictures within the terms of the
\nAgreement. When executed, the terms of
\nthe Agreement were effective for the
\nperiod April 14, 2010 through February
\n23, 2013, and were subsequently extended
\nthrough April 4, 2015.<\/p>\n
10. The Agreement set out wage and benefit
\nterms for various defined categories of AFM
\nmembers, including, inter alia, instrumental and
\norchestral musicians who work to score theatrical
\nmotion pictures (\u201cMusicians\u201d).<\/p>\n
The Agreement governed all work by Musicians
\n\u201cemployed by the Producer in the State of California
\nor elsewhere in the United States and Canada and
\nwhose services are rendered in connection with
\nthe production of theatrical motions pictures.\u201d
\nServices \u201crendered in connection with the production
\nof theatrical motion pictures\u201d include, but are not
\nlimited to, recording of music for use in
\nconnection with the production, known as \u201cscoring.\u201d<\/p>\n
11. The Agreement required that \u201c[a]ll
\ntheatrical motion pictures produced by
\nthe Producer in the United States or
\nCanada, if scored, shall be scored
\nin the United States or Canada,\u201d unless
\nexcused by the AFM under circumstances
\nnot present here.<\/p>\n
12. With respect to a motion picture that
\nis required to be scored in the United
\nStates or Canada under the terms of the
\nAgreement, Producers were required to
\nemploy Musicians under the terms of the
\nAgreement, and were required, among
\nother things, to provide compensation in
\naccordance with the compensation terms
\nspecified in the Agreement. A Producer\u2019s
\ncompensation obligations under the
\nAgreement include, but are not limited
\nto: (i) the obligation to make specified
\nminimum wage and other payments; (ii)
\nthe obligation to make a specified level
\nof contributions to the American Federation
\nof Musicians and Employers\u2019 Pension Fund,
\nand various health benefit funds; and (iii)
\nif appropriate, make contributions to the
\nFilm Musicians Secondary Markets Fund
\nfor the benefit of Musicians.<\/p>\n
13. When a motion picture is required to
\nbe scored pursuant to the terms of the
\nAgreement in the United States or Canada,
\nand when Producers employed Musicians
\npursuant to the terms of the Agreement to
\nperform work covered by the Agreement,
\neach Musician\u2019s total hours of service and
\ntotal wages paid for covered work must be
\nreported to the AFM. The reporting process
\nincludes, but is not limited to, submitting
\nstandardized documents known as \u201cB forms,\u201d
\nwhich records the work performed by the
\nMusicians, their wages, and their benefits
\ncontributions.<\/p>\n
14. During the term of the Agreement, including
\nits extension, the following were among the
\ntheatrical motion pictures produced in the
\nUnited States and\/or Canada by one or more
\nof the Defendants:
\n(1) Interstellar;
\n(2) Journey 2: The Mysterious Island;
\n(3) Robocop; and
\n(4) Carrie
\n(collectively \u201cthe Pictures\u201d).<\/p>\n
15. Warner Brothers was a Producer subject
\nto the terms of the Agreement regarding
\nthe motion pictures Interstellar and Journey 2:
\nThe Mysterious Island; MGM was a Producer
\nsubject to the terms of the Agreement regarding
\nthe motion pictures Robocop and Carrie; and
\nParamount was a Producer subject to the terms
\nof the Agreement regarding Interstellar and Robocop.<\/p>\n
16. Each of the Pictures was scored under the
\nmeaning of the Agreement.<\/p>\n
17. Each of the Pictures was scored outside of the
\nUnited States or Canada in violation of the Agreement.
\nOn information and belief, Interstellar, Carrie, and
\nRobocop were each scored in Great Britain, and
\nJourney 2: The Mysterious Island was scored in
\nPapau New Guinea and Australia.<\/p>\n
18. The Defendants did not comply with the
\ncompensation terms required by the Agreement
\nand in the scoring of the motion pictures employed
\npersons who were not Musicians under the terms
\nof the Agreement outside of the United States or
\nCanada, in violation of the Agreement.<\/p>\n
CLAIMS FOR RELIEF
\nCOUNT ONE
\nDeclaratory Judgment
\n(Against all Defendants)<\/p>\n
19. The allegations in Paragraphs 1 through
\n18 above are re-alleged and incorporated
\nherein by reference.<\/p>\n
20. Each of the Defendants was a \u201cProducer\u201d under
\nthe terms of the Agreement in connection with the
\nproduction and scoring of one or more of the
\nPictures.<\/p>\n
21. Each of the Pictures was produced in the
\nUnited States and\/or Canada within the terms
\nof the Agreement and during the effective term
\nof the Agreement and its extension. Pursuant
\nto the Agreement, each of the Pictures was
\nrequired to be scored in the United States or
\nCanada with Musicians represented by Plaintiff,
\nand Musicians represented by Plaintiff were
\nentitled to the compensation set out in the
\nAgreement.<\/p>\n
22. Each of the Defendants employed musicians
\nto score each of the Pictures as to which it was
\na Producer outside of the United States or Canada.<\/p>\n
23. Each of the Defendants scored each of the
\nPictures as to which it was a Producer outside
\nof the United States or Canada, in breach of
\nthe express terms of the Agreement.<\/p>\n
24. Accordingly, the AFM is entitled to a declaration
\n(1) that each Defendant was a Producer subject
\nto the terms of the Agreement with respect to
\nthose motion pictures it is identified as a producer
\nof in paragraph 15; (2) that each Defendant breached
\nthe Agreement when it scored the motion pictures
\nas to which it was a Producer outside of the United
\nStates or Canada, and (3) that each Defendant
\nbreached the Agreement when it failed to employ
\nAFM Musicians under the terms of the Agreement
\nto score the motion pictures produced in the
\nUnited States or Canada as to which it was a
\nProducer.<\/p>\n
COUNT TWO
\nBreach of Contract
\n(Against Warner Brothers)
\n25. The allegations in Paragraphs 1
\nthrough 24 above are re-alleged
\nand incorporated herein by reference.<\/p>\n
26. Defendant Warner Brothers was a
\nProducer under the terms of the Agreement
\nof the theatrical motion pictures Interstellar
\nand Journey 2: The Mysterious Island<\/p>\n
27. Interstellar and Journey 2: The Mysterious Island
\nwere produced in the United States.<\/p>\n
28. Interstellar was scored outside
\nof the United States or Canada,
\nin Great Britain. With respect to
\nsuch work, proper compensation
\nand associated payments required
\nunder the Agreement were not made
\nto or for the benefit of AFM members,
\nand the AFM and its affiliates were not
\nprovided B Forms reflecting the number
\nof sessions performed, the musicians
\nused, and the payments made or due.<\/p>\n
29. Journey 2: The Mysterious Island
\nwas scored outside of the United States
\nor Canada, in Papau New Guinea and
\nAustralia. With respect to such work,
\nproper compensation and associated
\npayments required under the Agreement
\nwere not made to or for the benefit of
\nAFM members, and the AFM and its
\naffiliates were not provided B Forms
\nreflecting the number of sessions
\nperformed, the musicians used,
\nand the payments made or due.<\/p>\n
30. By scoring Interstellar and Journey 2:
\nThe Mysterious Island outside the United
\nStates or Canada, Warner Brothers violated
\nand breached the terms of the Agreement.<\/p>\n
31. Warner Brothers\u2019s violations and
\nbreaches of the Agreement have caused
\nfinancial injuries to the AFM and its
\nmembers, in an amount to be proven
\nat trial.<\/p>\n
COIUNT THREE
\nBreach of Contract
\n\u2013
\n29 U.S.C. \u00a7 185
\n(Against Paramount)
\n32. The allegations in Paragraphs 1
\nthrough 31 above are re-alleged
\nand incorporated herein by reference.<\/p>\n
33. Defendant Paramount was a Producer under the terms
\nof the Agreement of the theatrical motion pictures
\nInterstellar and Robocop
\n.
\n34. Interstellar was produced in the United
\nStates and Robocop was produced in the
\nUnited States and Canada.<\/p>\n
35. Interstellar was scored outside of the
\nUnited States or Canada, in Great Britain.
\nWith respect to such work, proper compensation
\nand associated payments required under the
\nAgreement were not made to or for the benefit
\nof AFM members, and the AFM and its affiliates
\nwere not provided B Forms reflecting the number
\nof sessions performed, the musicians used, and
\nthe payments made or due.<\/p>\n
36. Robocop was scored outside of the United States or
\nCanada, in Great Britain. With respect to such work,
\nproper compensation and associated payments required
\nunder the Agreement were not made to or for the benefit
\nof AFM members, and the AFM and its affiliates were not
\nprovided B Forms reflecting the number of sessions
\nperformed, the musicians used, and the payments
\nmade or due.<\/p>\n
37. By scoring Interstellar and Robocop outside the United
\nStates or Canada, Paramount violated and breached the
\nterms of the Agreement.<\/p>\n
38. Paramount\u2019s violations and breaches of the
\nAgreement have caused financial injuries to the
\nAFM and its members, in an amount to be proven
\nat trial.<\/p>\n
COUNT FOUR
\nBreach of Contract
\n\u2013
\n29 U.S.C. \u00a7 185
\n(Against MGM)
\n39. The allegations in Paragraphs 1 through 38 above
\nare re-alleged and incorporated herein by reference.
\n40. Defendant MGM was a Producer under the terms of the
\nAgreement of the theatrical motion pictures Carrie and
\nRobocop
\n.
\n41. Carrie was produced in Canada
\nand Robocop was produced in
\nthe United States and Canada.<\/p>\n
42. Carrie was scored outside of the United
\nStates or Canada, in Great Britain. With respect
\nto such work, proper compensation and associated
\npayments required under the Agreement were
\nnot made to or for the benefit of AFM members,
\nand the AFM and its affiliates were not provided
\nB Forms reflecting the number of sessions
\nperformed, the musicians used, and the payments
\nmade or due.<\/p>\n
43. Robocop was scored outside of the United States or
\nCanada, in Great Britain. With respect to such work,
\nproper compensation and associated payments required
\nunder the Agreement were not made to or for the benefit
\nof AFM members, and the AFM and its affiliates were
\nnot provided B Forms reflecting the number of sessions
\nperformed, the musicians used, and the payments
\nmade or due.<\/p>\n
44. By scoring Carrie and Robocop outside the United<\/p>\n
States or Canada, MGM violated and breached the<\/p>\n
terms of the Agreement.<\/p>\n
45. MGM\u2019s violations and breaches of the Agreement<\/p>\n
have caused financial injuries to the AFM and its<\/p>\n
members, in an amount to be proven at trial.<\/p>\n
PRAYER FOR RELIEF
\nWHEREFORE, the AFM respectfully requests that<\/p>\n
this Court:<\/p>\n
(1) Issue the declaratory judgment requested in COUNT ONE;
\n(2) Award the AFM damages for all losses suffered
\nby the AFM and its members as a result of Defendants\u2019
\nbreaches of the Agreement as set out in COUNT
\nTWO, COUNT THREE, AND COUNT FOUR;<\/p>\n
(3) Order each Defendant to make appropriate contributions
\nto the American Federation of Musicians and Employers\u2019
\nPension Fund, various health benefit funds, and to the
\nFilm Musicians Secondary Markets Fund for the benefit
\nof Musicians that would have been made if Defendants
\nhad not breached the Agreement as set forth in COUNT
\nTWO, COUNT THREE, and COUNT FOUR;<\/p>\n
(4) Order each of the Defendants to make such other payments
\nas may have been required if the motion pictures had been
\nscored under the terms of the Agreement in the United
\nStates or Canada;<\/p>\n
(5) Award the Plaintiff pre-judgment interest as required<\/p>\n
by law; and<\/p>\n
(6) Order such other and further relief as this Court<\/p>\n
may deem appropriate.
\nJURY DEMAND
\nPlaintiff demands a trial by jury on all claims so triable.<\/p>\n
Respectfully submitted,
\nDATED: April 24, 2015
\n\/S\/ Lewis N. Levy
\nLEWIS N. LEVY, Bar No.
\n105975
\nDANIEL R. BARTH, Bar No. 274009
\nLevy, Ford & Wallach
\n3619 Motor Avenue
\nLos Angeles, CA 90034
\nEmail: LLevy@lfwlawyers.com
\nDBarth@lfwlawyers.com
\nJEFFREY R. FREUND (pro hac vice
\napplication forthcoming)
\nROBERT ALEXANDER (pro hac
\nvice
\napplication forthcoming)
\nABIGAIL V. CARTER (pro hac vice
\napplication forthcoming)
\nPHILIP C. ANDONIAN (application for
\nadmission pending)
\nBredhoff & Kaiser, PLLC
\n805 15th Street N.W., Suite 100
\nWashington, D.C. 20005
\nEmail: jfreund@bredhoff.com
\nral
\nexander@bredhoff.com
\nacarter@bredhoff.com
\npandonian@bredhoff.com
\nAttorneys for Plaintiff<\/p>\n
[EC: So, repeatedly in the above lawsuit, Levy et al state:
\nAward the AFM damages for all losses suffered
\nby the AFM and its members as a result of Defendants\u2019
\nbreaches of the Agreement as set out in COUNT
\nTWO, COUNT THREE, AND COUNT FOUR;<\/p>\n
Who’s going to decide which musicians get
\nthose payments? Don’t hold your breathe,
\nyou know exactly who they will go to.<\/p>\n
If they lose the only ones making out
\nwill be Levy and Company. If they win,
\nthe rank and file will never see a cent.<\/p>\n
It seems the Local 47 administration has
\nbecome the Donald Trump of the music
\nindustry. Regardless of what happens, they
\nNEVER take responsibility for their incompetence,
\nit’s always on someone else, in this case
\nthe studios, for making the AFM unusable.
\nIt’s the contracts that make the AFM unusable,
\nand it is also the result of the AFM\/LOCAL 47
\nprotecting the RMA to the exclusion of
\neveryone else.<\/p>\n
As it turns out, they’re spending our 10
\nmillion leftover from the building sale to
\ntry to fatten the pockets of the elites, much
\nlike Trump does. It’s our money, but it’s
\ncertainly not being spent on the rank
\nand file. All they’re missing is their Mar-a Lago.]<\/p>\n