I.\tSOME THINGS OF NOTE IN THIS MONTHS\u2019S OVERTURE
\nII.\tLATEST LOCAL 47 E-MAIL
\nIII.\tA NEW CONTRACT IN THE WORKS?
\nIV.\tEVENTS AND ANNOUNCEMENTS
\nV.\tCOMMENTS<\/p>\n
=============<\/p>\n
I. SOME THINGS OF NOTE IN THIS MONTHS\u2019S OVERTURE<\/p>\n
We noticed a number of things in this month\u2019s Overture that should be of
\nuse to many members.<\/p>\n
\u2022UNION PLUS SCHOLARSHIP
\nOn page 22, you\u2019ll find the information about a scholarship from Union
\nPlus. The deadline is January 31st.<\/p>\n
The Scholarship offers $150,000.00 annually to Union members, their spouses
\nand dependants.<\/p>\n
\u2022SEMINARS\/COURSES<\/p>\n
On page 23, you\u2019ll find info on two items of interest:<\/p>\n
1)\tAn 8 week Orchestration course by Dr. Norman Ludwin
\n2)\tA 3-day seminar on music notation with Finale<\/p>\n
\n\u2022LETTER TO THE EDITOR<\/p>\n
On Page 8 is an interesting \u201cLetter to the Editor\u201d from Local 47 member Chris Tedesco.<\/p>\n
We\u2019ve never noticed such space and attention given to scholarships before
\nthe last few issues. Could our Local finally be making more effort for the
\nrank-and-file? Since they know they\u2019re being watched, it would seem so.<\/p>\n
Kudo\u2019s to Linda Rapka for a great job with our Paper.<\/p>\n
=============<\/p>\n
II. LATEST LOCAL 47 E-MAIL.<\/p>\n
Did you read the latest Local 47 email about the Sony video game recording
\nusing 104 musicians?<\/p>\n
Oddly, there have been many more video game sessions here in Los
\nAngeles using the new AFM buyout agreement rather than the RMA-
\nendorsed more-traditional contract, but our Local seems only interested in
\ntrumpeting those using the latter.<\/p>\n
So, that\u2019s one on the old contract, and many, many times that with the
\nNEW AFM Buyout Contract. In fact, we understand that the new AFM VG
\ncontact has led to a real upswing in work in that area not to mention all the
\nsessions that were lost to San Francisco due to the RMA\/Simpsons VG session
\n debacle which essentially scared composers into going elsewhere.<\/p>\n
We are even hearing of some work returning from Seattle to the new AFM
\nContract. Unfortunately, most of it has also gone to San Francisco for the
\nsame reason. The alienation between the AFM and the RMA has apparently
\nexacted a severe toll on us all.<\/p>\n
We are endeavoring to make sure that the Federation knows that we need for
\nthem to work the kinks out of these innovative contracts here as well as in other cities.
\nIf we are to continue weakening the totalitarian stranglehold on recording in our
\nLocal, ANY significant new source of employment must be fairly made available
\nto all. NO client should feel or believe that they are limited in their choice of
\ncontractors or musicians.<\/p>\n
=============<\/p>\n
III. A NEW CONTRACT IN THE WORKS?<\/p>\n
We\u2019re hearing rumors of yet another new contract in the works by the Federation
\nthat could mean even more work returning, this being \u201clibrary\u201d recording exclusively
\nfor film trailers.<\/p>\n
The short-lived nature of trailers virtually precludes anyone getting special
\npayments on such work. In fact, we\u2019ve been unable to find any musician
\nthat has ever made a cent in special payments from a trailer.<\/p>\n
It seems this is the next logical step in revitalizing union recording. We hope it takes
\nhold and creates far more work for the countless qualified-but-underutilized rank and
\nfile Local 47 musicians!<\/p>\n
We\u2019ll keep you posted.<\/p>\n
=============<\/p>\n
IV. ANNOUNCEMENTS\/EVENTS<\/p>\n
Lisa Haley & the Zydekats are most pleased to announce:<\/p>\n
We are officially GRAMMY Nominees for the 2008 “Best Zydeco
\nor Cajun Album” Category.
\nOur congratulations to all the artists,
\nand a heartfelt thanks to the Recording Academy for bestowing
\non us this great honor.<\/p>\n
LISA HALEY
\nBLUE FIDDLE RECORDS
\nwww.lisahaley.com
\nwww.bluefiddle.com
\n310-676-4884<\/p>\n
COLLEAGUES! Make sure and let us know if you\u2019ve been nominated
\nand we\u2019ll share the news!<\/p>\n
We also wish to congratulate John Clayton, Jorge Calandrelli, Bob Florence,
\nand Bill Holman on their Grammy nominations …<\/p>\n
——————–<\/p>\n
More Grammy nominations!<\/p>\n
THE VELVETEEN RABBIT: Love Can Make You Real
\nby Don Sebesky, Gloria Nissenson and Janina Serden <\/p>\n
RECEIVES GRAMMY NOMINATION FOR BEST MUSICAL ALBUM FOR CHILDREN
\n2008! Written by GRAMMY and Tony-Award winning composer Don Sebesky
\nand award-winning lyricist Gloria Nissenson, and set to Margery Williams
\n“The Velveteen Rabbit”,\u009d the recording underscores Enchantment Theatre
\nCompany’s original musical of the same name, being presented at the new
\nSuzanne Roberts Theatre in Philadelphia from December 10 through
\nDecember 30. The official premiere is Saturday, December 15 at 7 p.m.
\nThis unique production features life-size puppets, masked actors and
\nmagic and will continue on a nationwide tour. <\/p>\n
The 50th Annual GRAMMY Awards will be broadcast live from
\nSTAPLES Center in Los Angeles, California, on Sunday, February
\n10, 2008, on CBS. <\/p>\n
——————–<\/p>\n
Please SAVE THE DATE and plan to join the<\/p>\n
American Society of Music Arrangers and Composers
\nas we Celebrate The Season with the<\/p>\n
ASMAC HOLIDAY TRIO
\nGerald Clayton, Piano \u2022 John Clayton, Bass
\nKevin Kanner, Drums<\/p>\n
Monday, December 17, 2007 – 6:30pm
\n6:30 no-host cocktails\/silent auction, 7:30 Buffet dinner, 8:45-10:00
\n Entertainment<\/p>\n
Catalina Bar & Grill
\n6725 West Sunset Blvd. Hollywood, CA 90028
\n(1 BLOCK E OF HIGHLAND \u2013 north side of street \u2013 cor of McCadden)
\nParking $3.00 \u2013 behind building \u2013 enter on McCadden<\/p>\n
Once again we are honored to celebrate this festive season with the ASMAC
\nHoliday Trio. Six-time-Grammy-nominated John Clayton, President of
\nASMAC, — bassist, composer, arranger and conductor — has written and
\narranged music for many great artists, including Diana Krall, Natalie Cole,
\nDeeDee Bridgewater, George Benson, Milt Jackson, Dr. John and Quincy
\nJones. University of Idaho recently named him as Artistic Director for the
\nLionel Hampton International Jazz Festival. John performs and conducts
\naround the world, and just returned from Europe and South America – we are
\nlucky to catch him \u2018home\u2019 for the holidays. <\/p>\n
Gerald Clayton, a gifted young pianist, studied with jazz pianists Donald
\nVega, Shelly Berg, Kenny Barron and Billy Childs. He performs regularly
\nwith his jazz combo, has appeared at the Playboy and Monterey Jazz
\nFestivals, Greek Theatre, Steamers and many other venues. A recipient of
\nthe L.A. Jazz Society\u2019s Shelly Manne Memorial New Talent Award, Gerald
\nhas been busy performing on both east and west coasts. He has worked with
\nartists such as the Clayton Brothers, Russell Malone, Stefon Harris, Ravi
\nColtrane, and Roy Hargrove and recently recorded with Diana Krall and
\nRoberta Gambarini.<\/p>\n
Kevin Kanner studied with Jeff Hamilton, and is the only drummer to receive
\nthe Jazz Society\u2019s Shelly Manne Memorial New Talent Award. He has performed
\nwith many jazz greats and legends, including: Lee Konitz, Bill Holman
\n(including the recent Grammy nominated record), The Clayton Brothers Quintet,
\nThe Clayton Hamilton Jazz Orchestra, Charles MacPhearson, Johnny Mandel
\nBig Band, Barbara Morrison, Maureen McGovern, Annie Sellick, Gilbert
\nCastellanos, John Pizzarelli, Geoff Keezer, and Gerald Clayton Trio.<\/p>\n
The evening will include a no-host cocktail hour with a silent auction
\nto benefit ASMAC\u2019s educational programs, a buffet dinner, and a brilliant
\nset of music including some of your jazz and holiday favorites.<\/p>\n
Open to the public. ASMAC members & students $40.00 ea, Non
\nmembers and guests $50.00 ea. <\/p>\n
Please reserve by Friday morning, December 14 at (818) 994-4661, via
\nemail to asmac@theproperimageevents.com, or visit www.asmac.org
\n
\nYou may pay by credit card at that time OR pay at the door on Dec. 17th.<\/p>\n
The ASMAC Board of Directors wish you all a happy and healthy<\/p>\n
holiday season and a wonderful new year! <\/p>\n
=============<\/p>\n
V. COMMENTS<\/p>\n
The views expressed here are those of the participating readers and
\nnot necessarily those of the COMMITTEE.<\/p>\n
————–<\/p>\n
Is anyone going to talk about term limits? Or is this something we are just
\ngoing to ignore continuously. It WILL solve many problems.<\/p>\n
———————<\/p>\n
Committee<\/p>\n
I have problem with new RMALA president double dipping
\nand flying to London last May with James Newton Howard
\nand working on a non union – non USA score – how come he
\ndidn’t turn it down?<\/p>\n
“he who has no sin cast the first stone”<\/p>\n
———————<\/p>\n
These people must be very afraid that a movement outside theirs will
\nget traction and they are hitting the internet …BIG TIME …with e-mails!!!
\n In talking with one of the more beleaguered members of our union…the
\nmost obvious reason is, that they just want to wear out , by sheer muscle,
\n“THE OPPOSITION”. Keep hitting “tit for tat” …..I know this takes up
\ntime. Do it for a little news almost daily and they will be drowned out….
\nyou have substance and they have Opiate e-mails. <\/p>\n
————–<\/p>\n
Dear Committee,
\nAll that are not working need to complain – not to themselves either
\nplease complain to these people if you’re not working enough
\nmaybe if they hear enough about it they’ll get those not working some
\nwork again \u2013 any way, shape or form<\/p>\n
Dennis Dreith = runs the special fund
\nPete Anthony – new RMA president
\nHal Espinosa – local 47 pres
\nSam Folio – sec\/treasurer – of whole AFM
\nTom Lee – president of whole AFM
\nRay Hair – member of the IEB
\nHarold Bradley<\/p>\n
————–<\/p>\n
Markets have proven to be the best way of organizing economies \u2013
\nand they can be brutal. In an attempt to create balance and “level
\nthe playing field” we join unions.
\nUnion members range from the sound asleep to the militant. Local 47,
\nwith thousands of members, fights about whether 50 or 100 is a quorum.
\nPeople who don’t vote get the government they deserve.
\nAs of today there are strikes going on among writers and Broadway stage
\nhands. The transportation workers strike in France ended in defeat for
\nthe strikers, and this in France!
\nMy personal opinion is that strikes usually hurt the unions that call
\nthem — they are usually a mistake; strikes accelerate the erosion of
\nunion leverage and respectability already (usually) underway.
\nWhatever one’s personal attachment to a union it is important to
\nunderstand unions as they are. Unions are parasitic, reactionary
\nentities by nature. That is not to say they shouldn’t exist — penicllin
\nderives from mold — but the health of unions in the marketplace
\nrequires a clear understanding of how they function.
\nAs reactionary entities unions must react appropriately to the market
\ncircumstances in which they find themselves in reality. These reactions
\ngo into dangerous territory when motivated by a sense of fairness.
\nMARKETS ARE NOT FAIR. They operate on principles dictated
\nby laws of economics, not moral abstractions.
\nThere have been tectonic shifts in markets of late. We are witnessing
\ndramatic changes in our time, and thus it is a critical time for unions,
\nparticularly private-sector unions. I would argue that Local 47 is not
\nresponding in a constructive way to contemporary market realities, and
\nis consequently on the path to self-destruction. Local 47 needs new
\nleadership, a new outlook and a sense of how the union organism might
\nadapt to the future music business. A sober membership that is paying
\nattention would help also.
\nThe hard-headed clinging to the past and status-quo might keep things
\nrolling for a while, but is not an enlightened strategy. In fact the motivating
\nforces today seem more self-serving than anything else. This will have
\nconsequences. We are not gaining ground in the estimation of the public,
\njust as the writers and stage workers aren’t, outside of their own circles.
\nJust as the transportation workers in France lost public support. And this
\nbackward-looking, sclerotic legacy does little to inspire young potential
\nmembers, the next generation.
\nRick Blanc (please attach name)<\/p>\n
————–<\/p>\n
Having run for Director of RMA, I felt that the amount of votes I
\ngarnered was appropriate for a first timer who doesn’t have a history
\nof participating openly in RMA affairs. I assumed that everyone would
\nknow me, and was surprised when someone shouted from the back of
\nthe room, “What’s your name?”. It was an eye opener that we should
\nnever take anything for granted. I will continue to be more and more
\ninvolved in the RMA because I see it’s value in negotiating future
\ncontracts. So far, and things always change, RMA is the recognized
\nassociation that producers are going to bargain with. If we want life
\nin the recording business to be different, better, I believe we have to
\nrecognize that RMA is still viable.
\nMarcy Vaj <\/p>\n
————–<\/p>\n
Hey Committee,<\/p>\n
THIS IS FROM AS ENGINEER – so if you hear from the powers
\nthat have a strangle hold on the recording platforms that SEATTLE
\nis not working – IT IS TOTAL LIE<\/p>\n
Mid October was the last time I was in Seattle for 1 day of recording.
\nThe orchestra sounded very good and did not require any unusual amount
\nof editing. At that time they were recording every day the Seattle
\nSymphony wasn’t working
\n — it sounded like at least 1 recording session per day, sometimes 3.
\nThe hourly unit rate is 60-70 dollars\/hr, buyout. The recording facility
\n(Bastyr) is sonically good with only a couple of exceptions: the stain glass
\nmakes noise in the afternoon sun and the control room is very small and
\ndifficult. However, after a couple of successful recordings, the control
\nroom issue fades as one listens only for performance and glitches.<\/p>\n
I believe the equipment, crew (both excellent) and hall are about $5500\/day. <\/p>\n
They are a force in the marketplace.<\/p>\n
Redbelt was good, although my involvement was brief because of time
\nconstraints. Everyone seems pleased.<\/p>\n
Best regards,<\/p>\n
—————–<\/p>\n
There has been a lot of dialogue both in support of and attacking
\nNES lately. Ours is a passionate and dedicated community of hardworking
\nartists and I am glad, if nothing else, that our presence has stirred debate
\nand started a dialogue. We are an industry in need of change and we will
\neach play a part in shaping things in the near future<\/p>\n
There will always be a need for buyout work and buyout work will always
\nbe available somewhere in the world at a lower cost than union work. NES
\nsimply offers that option locally. Ours is a diverse industry and it requires
\ndiverse options for both the client and the musician. <\/p>\n
I must emphasize that NES is not breaking any union or federal codes and
\nit poses no legal issues for clients or musicians. We support the union and
\nlikewise support any musician in the union. It is their choice to operate any
\nway they choose within the clearly set out guidelines of the unions and the
\nfederal government. Again, it\u2019s about choice. Musician\u2019s choice, client\u2019s
\nchoice, business owner\u2019s choice\u2026 Without choice we have a monopoly.
\n Free choice breeds healthy competition and a robust industry that meets
\nthe specific needs of the world we work in.<\/p>\n
I admire the passion that our community elicits when we begin talking about
\nthe current state of the industry. I feel very strongly that NES is fighting the
\ngood fight and we will continue to do so. We are committed to creating a
\npositive presence in the Los Angeles orchestral scoring community. People
\n are welcome to form their own opinion about us\u2026 it is their choice. However,
\nI implore you all to make your decision based upon the facts. The current climate
\nof the industry is one of turmoil and confusion. Let us look to each other for
\ntruth, clarity and support. <\/p>\n
Thankx for listening<\/p>\n
—————–<\/p>\n
Hi committee – <\/p>\n
many are complaining that they don’t get a chance to break into many of
\nthe bigger sessions circles. Years ago there was a limit on the amount of
\nmoney you could make if you in fact took your pension. Would it be so
\nterrible if we could go back to limiting the amount of income someone can
\nmake who has taken their pension so it gives a chance to the younger players
\nwanting to break in?? Seems like this makes sense.<\/p>\n
—————–<\/p>\n
I heard that there may be some kind of list (fi-core) being
\nmade available to those orchestras that use the 47 Hall for
\nrehearsal. I still think that the Union is going down the wrong road
\nwith this. They have taken the position that they cannot
\ndiscriminate against the musician but they can discriminate against
\nthe employer. I think that anything that interferes with the
\nmusicians prospective advantage of employment with these employers
\nand in some cases, actual interference with a fi-core members
\ncontractual relationship with employers will eventually cause some
\nkind of expensive litigation and settlement. To further exacerbate
\nthe situation…..one of the contractors was overheard (looking at
\nthe list and talking to the conductor)…”we don’t use any of these
\npeople and anyway “they are substandard”. Yikes….if the party
\nthat overhead this was willing to testify, can you imagine the fur
\nflying!! <\/p>\n
—————–<\/p>\n
The RMALA joins the ranks of the WGA in an attempt to gain
\nsupport for themselves. WGA stated Los Angeles is a
\nunion town. So why is RMALA on the picket lines while the RMALA
\ncreated the PMG: a non-union spin-off?<\/p>\n
The RMALA wants it both ways. Support the WGA maybe
\nthe WGA would support the RMALA. Desperate people do
\nDesperate things.<\/p>\n
WGA, beware of a non union , union busting group who
\nsupport non union activity going on by the name PMG.<\/p>\n
Don’t be fooled. <\/p>\n
==================<\/p>\n
Until next time,<\/p>\n
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":"
I. SOME THINGS OF NOTE IN THIS MONTHS\u2019S OVERTURE II. LATEST LOCAL 47 E-MAIL III. A NEW CONTRACT IN THE WORKS? IV. EVENTS AND ANNOUNCEMENTS V. COMMENTS ============= I. SOME THINGS OF NOTE IN THIS MONTHS\u2019S OVERTURE We noticed a number of things in this month\u2019s Overture that should be of use to many members. […]<\/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-69","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\/69","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=69"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/69\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=69"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=69"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=69"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}