CAPITOL STUDIOS\/RS MESSAGE\/FEATURED COMMENT\/TRIVIA\/COMMENTS<\/p>\n
I. CAPITOL INFO FROM THE SCL
\nII. NOTICE FROM REFERRAL SERVICE COMMITTEE HEAD MARCY VAJ
\nIII. FEATURED COMMENT THIS MAILING
\nIV. EVENTS
\nV TRIVIA \u2013 CHANGE RINGING
\nVI. COMMENTS<\/p>\n
============<\/p>\n
I. CAPITOL INFO FROM THE SOCIETY OF COMPOSERS AND LYRICISTS<\/p>\n
CAPITOL STUDIOS UPDATE – May 12, 2008<\/p>\n
The hearing that was set for Tuesday, May 13th has been moved to
\nEarly June. More details to come soon.<\/p>\n
—————-<\/p>\n
BACKGROUND OF THE CAPITOL STUDIOS SITUATION<\/p>\n
A developer intends to build an underground garage
\nnext door to the famed Capitol Studios in Hollywood.
\nAcoustic experts have determined that construction would
\ncertainly affect short-term and possibly long-term use of
\nthe historic studios, and the planned garage will be only
\n20-25 feet from Capitol\u2019s irreplaceable, Les Paul-designed
\nunderground echo chambers. Capitol\/EMI are appealing to
\na City Council Committee called PLUM.<\/p>\n
<\/p>\n
==========<\/p>\n
II. NOTICE FROM REFERRAL SERVICE COMMITTEE HEAD MARCY VAJ<\/p>\n
In a recent FMA Mailing, the wisdom of changing the name
\nof the Referral Service committee was questioned. The
\nCOMMITTEE itself also questioned this point of view.<\/p>\n
Below, Marcy Vaj, Chair of the RS Committee and recently
\nelected to the Election Board by a landslide, wants to clear
\nthe air. We are delighted she approached us for assistance
\nwith getting the word out on her behalf..<\/p>\n
Here is her message to the membership:<\/p>\n
Dear Colleagues,
\nRegarding my motion to change the name of the
\nReferral Svc committee, I stated quite clearly that
\nthe job of dealing with referral svc issues was huge
\nand I thought what we needed was separate committees
\nto deal with CD sales and advertising. Or at least one
\ncommittee to deal with those two issues. I’m sorry
\nsomeone understood me to say that I’m “personally
\ntired of having to deal with the Referral Service plus
\nthe CD\/Radio Airplay Dept”. I couldn’t possibly be tired
\nof the latter two issues since for the past 5 years I and
\nmy original committee compatriots have only been able
\nto address the sole issue of the referral service. We met
\nfor a year and prepared a large report with recommendations
\nand presented it to the general membership and the Executive
\nBoard. <\/p>\n
Where was the membership then when the report died on
\nsomeone’s desk 4 years ago? Why are you complaining
\nabout the messengers when it’s the Board who ignored our
\nwork? Why didn’t you come alive in the past years to demand
\naction, follow-through, satisfaction? <\/p>\n
I think it would be far more productive to listen to the reports
\nand take action from them. When I suggested changing the
\nname of the committee I expected someone to take my cue
\nand establish a separate committee to address CD sales and
\nadvertising. Please do that at the next meeting. <\/p>\n
I hope we’ll have more progress to report at the next
\nmeeting and I hope you understand that your participation
\nis needed to get action. <\/p>\n
Sororally and fraternally,
\nMarcy Vaj <\/p>\n
==============<\/p>\n
III. FEATURED COMMENT<\/p>\n
Hi Musician Colleagues:<\/p>\n
I’m the one who asked the question of Hal Espinosa “what
\nis the status of the resolution of the lawsuit by the NLB re
\nfi-core members who sued because they were not allowed
\nto used the rehearsal rooms since they were considered
\nnon-members while they were fi-core. The fi-core, in turn,
\nsaid, \u201cYou can’t treat us any differently than you treat other
\npeople who use the rehearsal rooms who are non-members,
\nwhich directly impacted all of us who use rehearsal rooms
\nwith singers who are non-players\/members, and the lawsuit
\nre the two members who sued the AFM re the improper use
\nof their dues.”<\/p>\n
Well, because I opted to use the rehearsal room twice with
\nout-of-town non-member singers, I accepted a 90-day
\nrestriction from the use of rehearsal rooms. I called a few
\nother locals on the east coast and in the midwest to get
\ntheir spin on this matter, and they agreed with me. They
\nsaid it’s a problem that is happening only in LA at this time,
\nand that they all still need only to have their bandleader or
\nperson who books the room be a union member. They all
\nstill let other players use their rehearsal rooms as long as
\nthe leader\/booker of the room is a union member.<\/p>\n
I walked a letter in and gave it to board member, Bobby
\nRodriguez, to present at one of the board meetings stating
\nall of this and how I felt it was discriminatory to bands who
\nuse singers, which I do since I’m also as strong a singer as
\nI am a player. Hal responded with the fact that the matter
\nwas being decided by the NLRB. That was the question that
\nI fielded that night.<\/p>\n
However, in agreement with Rick Blanc, Hal slipped it over
\nto Levy, the glib one, so quickly that I knew his answer was
\ngoing to be flippant, moronic (you’re right) and non-substantial.
\nNot only was it disrespectful to me but to everyone of us who
\nremained at the meeting! He, of course, replied they were waiting
\nfor a new regime which is “pro union” to come in and save the
\nday. This answer actually does tell us that Levy is “doing nothing”
\nother than sitting on his laurels and waiting; and we all know
\nthat’s not going to solve AFM Local 47’s problems! He’s not
\nearning his keep as far as I’m concerned!<\/p>\n
Now, Hal’s answer to me in private, which I didn’t get to bring
\nup, was that he had been thinking of incorporating a two-tiered
\nrehearsal room fee, since we have these lawsuits going: a lower
\nfee for musicians who use only union musicians and a bit higher
\nfee for musicians who use union musicians and non-union
\nsingers\/musicians in the rehearsal halls. What do you
\nguys think about that? Give me some feedback.<\/p>\n
And Leslie, poor soul (of course, guess she’s not too poor
\nwith almost $75M a year and all her other work which is
\nkeeping her from having those financial reports ready at
\ngeneral meetings … tsk, tsk). Every time I asked a question,
\nI don’t know why she was prompted to spout meaningless
\nplatitudes i.e. “well, non-members … .” Did she think this
\nmeeting was for NON MUSICIANS? – I had to straighten her
\nout more than a few times with “moot point” since I’ve been
\na union member probably almost as long as she is old. In
\naddition, I’m not happy with the stance she’s taken with
\nthe ‘old boy regime stock answers’ since she stepped into
\nthe position. You’d think she might have brought a more
\nrank and file-oriented breath of fresh air to the position
\nbeing quite a bit younger than the older guys and female!
\nGuess, I thought too long and waaaaay wrong!<\/p>\n
Well, my next question is, “Is anybody running for any
\nof the offices who thinks of union members as musicians
\nwho really need to be represented and have substantial
\ninput in their union’s operations?\u201d … you know, someone
\nwho has the union at heart and isn’t just using it only
\nfor political capital (as your also moronic U.S. president
\nmight say) and\/or for personal gain!<\/p>\n
Thanks, Lisa for your info on health care options. We
\ndidn’t have time to get into that at the last meeting but
\n should make sure it gets brought up at the next meeting.<\/p>\n
Matilda Haywood<\/p>\n
{Editor\u2019s comment: In our communication with other Locals
\nto check their policies, we found the same thing, only LOCAL
\n47 (among the Locals we spoke to nationwide) is being so
\ndraconian in their conduct towards fi-core musicians. Ironically,
\nLocal 47 Officers partisanship creating the exodus to fi-core
\nStatus to begin with.<\/p>\n
What do you think of the two-tiered fee idea?<\/p>\n
Let us know.<\/p>\n
==============<\/p>\n
IV. EVENTS<\/p>\n
American Society of Music Arrangers & Composers
\n welcomes composer, arranger, conductor<\/p>\n
IAN FREEBAIRN-SMITH<\/p>\n
Wednesday, May 21, 2008 – 11:30am
\n@ Catalina’s Bar & Grill on Sunset<\/p>\n
Ian Freebairn-Smith has been a singer, composer and
\narranger in records, films, and television for 53 years,
\nwith a GRAMMY AWARD for best arrangement accompanying
\na vocalist: Barbara Streisand\u2019s \u201cEVERGREEN.\u201d<\/p>\n
Ian has arranged and conducted for BARBRA STREISAND,
\nLIZA MINELLI, LOU RAWLS, ANTHONY NEWLY, KRIS
\nKRITOFFERSON, STEPHEN BISHOP, THE HI-LO\u2019S, THE
\nFOUR FRESHMEN, THE DOC SEVERINSEN ORCHESTRA,
\n and many others.<\/p>\n
His film composing and orchestrating credits include:
\n M*A*S*H, A STAR IS BORN, THE MUPPET MOVIE.
\nTelevision series scores include: MAGNUM, P.I., FAME,
\nCAGNEY AND LACY and AIRWOLF. Ian has composed
\nmusic for dozens of TV and radio commercials, including
\nmost of the major beers, airlines, and oil companies \u2014
\nmost notably CHEVRON, UNITED AIRLINES, HONDA, and
\nBUDWEISER.<\/p>\n
In the world of concert music, his quartet for four cellos,
\n\u201cToward the Light,\u201d was recently performed in Los Angeles,
\nand he conducted his suite for string orchestra, \u201cThe River
\nDialogs,\u201d at the Music Center. \u201cLA Marathon,\u201d commissioned
\nfor the Henry Mancini Institute Orchestra, was premiered
\nat Royce Hall in August of 1999. <\/p>\n
Ian is a three-time LA Chapter governor of the National
\nAcademy of Recording Arts and Sciences. He was appointed
\n Artistic Director of the Hollywood Bowl Weekend Concerts
\nin 1999. For the past five years Ian has been the morning
\n classical music host on KCSN-FM. Keeping it in the family,
\nhis wife, Shari Zippert, and daughter, Vanessa, violin
\nand cello respectively, are both studio musicians in
\nLos Angeles.<\/p>\n
Wednesday, May 21st
\n11:30 cocktails; 12:00noon Buffet Lunch; 12:45pm
\nGuest Speaker<\/p>\n
Catalina Bar & Grill
\n6725 West Sunset Blvd. Hollywood, CA 90028
\n(1 BLOCK E OF HIGHLAND \u2013 north side of street \u2013
\ncorner of McCadden)<\/p>\n
Cost: ASMAC Members & Students $30 \u2022 Guests and
\nall walk-ins $35 Parking: Valet $3.00 \u2022 Enter on
\nMcCadden – west side of Catalina\u2019s \u2013 lot at back<\/p>\n
Please make reservations by Tuesday morning,
\nMay 20th @ 818\/994-4661
\nOR by email to asmac@theproperimageevents.com <\/p>\n
check out our website—www.asmac.org <\/p>\n
==============<\/p>\n
V. TRIVIA \u2013 CHANGE RINGING<\/p>\n
Change Ringing developed in England during the 1500\u2019s,
\nevolving gradually away from continental bell-ringing
\nmethods. It involves bells being swung in a complete
\ncircle by a single person so that, the more bells there
\nare, the more people there are \u2013 six bells for six people,
\netc. The essence of Change Ringing is ringing the bells
\nin a precise relationship to one another. Rung in the
\norder from the lightest, highest pitched bell to the heaviest,
\nthe bells, strike in a sequence known as \u2018rounds\u2019, which
\nringers denote by a row of numbers. In order to ring a different
\nrow with each pull of the rope, ringers have what are called
\n\u2018methods\u2019 \u2013 orderly systems of changing pairs. Methods are
\nconstantly changing and never-repeating patterns are learnt by
\nheart by the ringers and named after their creators (i.e. Stedman).
\nThe names are followed by the number of bells appropriate, such
\nas the Stedman Doubles on Six Bells, or the Stedman Triples on
\nEight Bells.<\/p>\n
Experienced ringers test and extend their abilities by ringing
\n\u2018peals\u2019 (5,000 or more changes without breaks or repeating a
\nrow). The first peal was rung in England in 1715.<\/p>\n
– In 1643 English Parliament passed an Act forbidding persons
\nfrom being present at the ringing of bells for pleasure.<\/p>\n
– During wartime, bells are often melted down to make cannons.
\nDuring peacetime, cannon are often melted down to make bells.<\/p>\n
– The bell, book and candle are instruments used for exorcism,
\nbells being the Vox Domini, or the \u2018Voice of God\u2019.<\/p>\n
For more on Change Ringing, go here: http:\/\/www.nagcr.org\/pamphlet.html<\/p>\n
==============<\/p>\n
VI. COMMENTS:<\/p>\n
The comments below and elsewhere in the mailing
\nrepresent the uncensored views of the readers and
\nnot necessarily those of the COMMITTEE. In the faith
\nthat freedom of expression allows for the birth and
\nascendancy of the most beneficial ideas, all sentiments
\nexpressed are welcome, subject to the bounds of good
\ntaste and decorum. If you disagree with an opinion
\nexpressed by any contributor, we encourage you to
\nrebut it here.<\/p>\n
——————<\/p>\n
If there was one thing I could and should speak-out about,
\nit’s the referral service and what an exemplary job Errol
\nHenry was doing to help generate work for members.
\nI know first hand how much revenue came in and how many
\ncontracts went past the live performance desk on almost a
\ndaily basis, Errol would bring them straight to me. I’m just
\nafraid of more retaliation. <\/p>\n
Paul Loredo<\/p>\n
[We\u2019ve been telling you since Errol was fired what a loss he
\nwas for our Local and we\u2018re grateful someone who actually
\nworked at the Local at the time has been willing to speak out
\nhere. We certainly verified that Paul was willing to have his name
\nprinted. Bravo to him!]<\/p>\n
——————–<\/p>\n
This letter to President Espinosa was forwarded to us by
\nits writer. We\u2019re more than happy to share it with you:<\/p>\n
Dear Mr. President:<\/p>\n
I don’t mean to keep pestering you with seemingly small
\nissues. As a concerned Member I do feel you should be
\nmade aware of the information below. I also have
\na procedural question to ask as well.<\/p>\n
1)I came across the following postings today while reading
\nthe Film Music Network Professional Forum online.
\nI believe this is, unfortunately, indicative of the general
\nattitude concerning the Union from accomplished and
\nemerging film\/TV\/game composers.<\/p>\n
\u2022\u2022<\/p>\n
“It’s kind of embarrassing in a way to admit that I have
\n such minimal gear.<\/p>\n
—<\/p>\n
Don’t be embarrassed at all. You should be proud! One of
\nthe things that struck me most about your music was the
\nproduction values. I was surprised to see you had recorded
\nthem yourself, with modest gear.<\/p>\n
They sounded like pretty skilled players. I’m curious to know,
\nwere they pros? union? Did you hire them through your
\nconnections in the classicalworld, or did you work with a
\ncontractor?<\/p>\n
Thanks!<\/p>\n
—<\/p>\n
Message: 7
\nDate: Wed, 14 May 2008 12:36:11 -0700
\nFrom: \u2022\u2022\u2022\u2022\u2022<\/p>\n
Wow, thanks. Shucks \ud83d\ude42<\/p>\n
The flute, bassoonist and trombonist were friends, and the
\nclarinet and trumpet were recommendations by these friends.
\nAll are pros in the classical world. I just called them up
\nmyself.<\/p>\n
They are all union but accepted a cut in pay, which is why
\nthey are not credited! <\/p>\n
Beware of the union! ”<\/p>\n
\u2022\u2022<\/p>\n
It is the “Beware of the Union” that’s troubling. This composer’s (apparently) only experience with the Union is ‘they are not
\nallowing Members freedom to work’ or some similar negative
\nconnotation. I know there are several “name” composers on
\nthis LISTSERV as well, and this anti-Union attitude is somewhat
\nprevalent.<\/p>\n
My point is, these are emerging composers who will have
\nfuture choices on whether to use Union musicians on their
\nfuture scoring sessions. If anti-Union attitudes are based
\non the above type experience, what true hope is there
\nfor future
\n Union sessions?<\/p>\n
Especially considering the already-strong buyout pressure
\nfrom so-called “runaway” work, this doesn’t look too good.
\nWhat can be done to reverse attitudes in the above ‘case’?<\/p>\n
2) Are you aware that Nine Inch Nails is currently giving
\naway up to 9 new songs on their website? It’s common
\nknowledge that ‘traditional’ music sales continue to fall.
\nIf giving away music online (w\/hope of spurring further sales)
\nbecomes the next wave of music distribution,how will this
\naffect the already-weakened MPTF?<\/p>\n
3) How does a Member go about submitting a suggested policy
\n change to the Board?<\/p>\n
Thank you again for your time, Mr. President. I do realize
\n you are quite busy. I am just very concerned about the
\nfuture survival of our Union.<\/p>\n
In Solidarity,<\/p>\n
————-<\/p>\n
NEXT COMMENT<\/p>\n
Hello Evil Doers….,<\/p>\n
My response to another members comment
\nwas separated from the other members comment,
\nso my response doesn’t really make sense. They
\nneed to appear side by side. <\/p>\n
Thanks<\/p>\n
OTHER MEMBER\u2019S COMMENT:<\/p>\n
Who is in this committee? It is always signed:
\nThe Committee Why don’t you all make yourselves
\nbe known if there are so many of you feel this way.<\/p>\n
MY RESPONSE:<\/p>\n
I am not part of The Committee. First, I would like
\nto thank who ever had the balls to send this. I am
\nassuming their comment was not just rhetoric, so
\nI hope to hear more from them. The reference to
\n‘how you feel’ was a nice touch. Now I’ll get down
\nto business…
\nYou really think The Committee are a bunch of
\nidiots, don’t you? Why should you even care? What
\npurpose would it serve? Most of the general membership
\ndoes not show up to meetings and do not get involved
\nbecause the union has become little more than an
\naddress book that musicians can be listed in. The
\nunion administration tries to keep the general
\nmembership uninformed and uninvolved. The
\nadministration wants people to pay yearly dues
\nand shut up. So how about coming up with
\nsomething a little more intelligent, instead
\nof whining ‘who are you’. You sound like a clip
\nfrom a Clint Eastwood movie. But thanks for
\nyour comment. Now, respond and tell me why
\nI am wrong. You can speak freely, even if I don’t
\nlike it. By the way, are you a union official or a
\nmember of the RMA?<\/p>\n
————<\/p>\n
keep it coming guys – RMA elite is scared although
\nthey are working on moves weekly <\/p>\n
more titles are being logged in on Secondary Mkt
\nfund \u2013 they\u2019re argument only – the loss of work for
\nthe non elite is tremendous – I am e-mailing Sam
\nFolio and Tom Lee weekly with this – just sent them
\nthis…. <\/p>\n
print this in next Comm out mail…… <\/p>\n
Subject: FYI-LA Times: Hot Spot for Movie Scores
\nhttp:\/\/www.latimes.com\/entertainment\/la-et-outsource62008may06,0,5291372.story<\/p>\n
[The member requested we print the entire article
\nabout the boom in recording in Sofia, Bulgaria, but
\nwe don\u2019t want to act as an advertiser for their services,
\nthough we believe all members should know about it..
\n We therefore have included the link to the article
\nabove so you can read it for yourself.]<\/p>\n
—————-<\/p>\n
Has there been any progress made on organizing a
\ngroup insurance plan for #47 members?<\/p>\n
[Editor\u2019s Comment: As far as we know, no. In fact,
\nthere are three new options for individuals or families
\nwe reported on in the last two mailings, but the
\nofficers in attendance when the options were
\npresented have not seen fit to let the membership
\nknow. Also, as we reported earlier, we\u2019re probably
\nlooking at an increase in the hours needed to qualify in
\nJanuary 2009 or shortly thereafter. It seems too many
\nmembers are qualifying to \u201ckeep the fund solvent\u201d.]<\/p>\n
—————-<\/p>\n
Lord Salisbury, former prime minister and foreign
\nsecretary of Britain, said “The commonest error in
\npolitics is sticking to the carcass of dead policies.”
\nMarket share for recording is in protracted and steady
\ndecline in Los Angeles.
\nAs market share wanes in LA it waxes steadily and
\nsignificantly in the locations we are all now familiar with.
\nThis trend is not anomalous, it is secular. What might
\na rational, analytical person infer from this?
\nThe Golden Goose in Hollywood was built by innovation,
\nentrepreneurship, creativity, liberty, markets and capitalism
\n— not by Local 47. If we would continue on and prosper
\nwe have to play to our strengths, the aforementioned.
\nThe union has a parasitic chokehold on the Golden Goose
\nand keeping it that way trumps your professional well
\nbeing. The union insists on monopolistic control over
\ncontracts between musicians and any number of private
\nbusinesses. How anti-market does it get?
\nFor unions power is the only consideration. This is textbook
\nMarxism, complete with top-down control of industry. And
\nMarx, in layman’s terms, was a thug. Unionism is thugocracy,
\nwith a rich legacy of racism, xenophobia, anti-liberalism
\n(trade), socialism\/communism, mob-connectedness and
\npolitical chicanery. Today’s thuggery is refined, dressed up
\nand wears a smile, but it is just as insidious. Keep sending
\nin those dues. RMA ringleaders, and their minions in the
\nLocal 47 administration, remain rigidly inflexible on policy
\nmatters. Their sclerotic mentality is now undermining the
\nhealth of the larger corpus, the International AFM. Local
\n47’s irresponsible behavior increasingly puts LA musicians
\nat a competitive disadvantage, harming those it claims to
\nserve. But as bad as this administration is, it merely reflects
\nthe apathy, avarice, narcissism and stupidity of Local 47’s
\nmembership.If the Musician’s Union is to have a future as
\na legitimate and viable institution it must be reformed.
\nThe music business in LA will continue to decline until
\nthe current structure collapses or new leadership emerges.
\nDoes it trouble anyone that this debased Goose-killing
\nsystem has been forced on you? <\/p>\n
Rick Blanc (please attach name)<\/p>\n
=============<\/p>\n
Colleagues,<\/p>\n
There will be many interesting and enlightening reports coming
\nover the upcoming COMMITTEE mailings. We\u2019re also working
\non a website where all of our previous mailings will be archived.
\nWe\u2019ll keep you posted.<\/p>\n
Until next time,<\/p>\n
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":"
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