April 26th, 2010 — Uncategorized
Film Music Magazine • April 19, 2010
The Writers Guild of America (WGA) Executive Committee has unanimously approved a series of actions endorsing the fledgling AMCL composers union and designed to address working conditions for composers in the area of free/spec music requested by producers as part of a “spec-off” or “bake-off” competition among finalists for a scoring job.
The AMCL’s pact with the WGA is complete separate from any future negotiations with the motion picture and television producers (AMPTP). While the AMCL has focused on health benefits and pension in regards to potential negotiations with the AMPTP, the specific workplace conditions addressed in the WGA pact makes it clear that negotiating better workplace conditions and pay for composers is also a priority of the AMCL as it delivers immediate benefits to composers. The details and terms of the WGA/AMCL agreement are expected to be top discussion items at the AMCL meeting tonight at the Writers Guild Theater in Beverly Hills.
The AMCL’s pact with the WGA is complete separate from any future negotiations with the motion picture and television producers (AMPTP). While the AMCL has focused on health benefits and pension in regards to potential negotiations with the AMPTP, the specific workplace conditions addressed in the WGA pact makes it clear that negotiating better workplace conditions and pay for composers is also a priority of the AMCL as it delivers immediate benefits to composers. The details and terms of the WGA/AMCL agreement are expected to be top discussion items at the AMCL meeting tonight at the Writers Guild Theater in Beverly Hills.
David:
I’m writing to ask for the support of the WGA in the organizing effort you and I have discussed on behalf of Composers & Lyricists. We have four requests we’d like the Guild to consider.
1. We’d like a general statement of support for our organizing effort. Here is draft language to give the Guild an idea of what we’d like to see in a statement:
“The Writers Guild of America endorses the organizing effort to unionize Composers & Lyricists under the aegis of Teamsters Local 399. We believe that Composers and Lyricists deserve the same benefits enjoyed by all other entertainment industry workers, both above and below the line. We stand together with them in their campaign to win an industry-wide contract and finally receive the working conditions and benefits they have long been denied”.
2. We are requesting the use of the WGA Theater to have a meeting with the Composers & Lyricists and perhaps members of the press in which John Wells, yourself or whomever the Guild designates reads the general statement of support.
3. We would ask the Guild to consider sending out a notice to Show runners to make them aware of the issues confronting Composers & Lyricists in Television which we believe affects Guild Members as well (i.e.,The Wanda Sykes Show). Here are the issues we’d like to make Show runners aware of:
“Dear Guild Member,
Recently, rewrites for WGA members on network prime time shows have come under scrutiny by the Guild as some of our members have asked for clarification on what constitutes a re-write. Just as no producer or network should ask WGA members to work for free, the Guild is writing you to alert you to a similar situation that exists for Composers.
Currently in the Television industry, Composers are asked to write scores on spec as part of a “spec-off” to get employment. Composers are asked to adhere to timing notes (as an example, for three cues, totaling 9 minutes of music) for which composers receive no pay. Composers must submit fully realized scores that are ready for television for free and this is the rule, not the exception. In order to compete in today’s marketplace,
Composers are required to deliver to employers:
-Free composition
-Free recording
-Free arranging
-Non-union buyout of musicians
-100% of the Composers publishing rights
-Unlimited re-writes
-A contractual clause that prevents budget over runs despite the number of changes made by the employer.
The Guild believes once writing at any level is seen as /”free” /it compromises writing on all levels.”
4. Lastly, we would ask the Guild to consider publishing an article in its publication of “Written By” highlighting the issues confronted by Composers & Lyricists.
David, our respective organizations have worked closely together over the years and on behalf of Leo, the Composers and myself, we appreciate your consideration of this matter.
Best,
Steve Dayan
Business Agent / Organizer
April 26th, 2010 — Uncategorized
Apr. 12, 2010, 5:30am PT
Last week’s Writers Guild of America endorsement of film and TV composers’ attempts to union ize through the Teamsters was a big boost for the musicians. It not only adds the backing of some heavyweight Hollywood names, but it also comes with a good deal of historical precedent.
Nearly 20 years ago, the WGA supported the fledgling Society of Composers & Lyricists in its at tempts to re-establish a union for those who pen scores and songs for movies and TV. A previous entity, the Composers and Lyricists Guild of America, disbanded in 1982 after a long series of battles with the studios and networks over how music writers were treated.
The CLGA, launched in 1954, successfully negotiated with producers throughout the 1960s, setting minimum wages, guaranteeing screen credits and establishing health and welfare benefits for members.
Its members included virtually every top composer and songwriter in Hollywood, from Henry Mancini to Jerry Goldsmith and John Williams.
But strikes, lawsuits and general disagreements over copyright ownershi p of music written for films and TV took their toll.
Producers refused to negotiate and the CLGA was eventually bankrupted after more than a decade of legal wrangling. Studios later took the position that composers were ineligible for union benefits as “independent contractors,” and subsequent efforts to re-establish a union were rebuffed by the National Labor Relations Board.
With an organizing meeting set for April 19, WGA West president John Wells said his guild is ready to support a new effort. “We think it’s a worthy cause,” Wells said.
“These people are our peers and collaborators, and they certainly deserve to have fair representation, and pension and health benefits available to them, as well as standardized working conditions. We will be supportive in any way that we can.”
The WGA has made its Beverly Hills theater available to the new Assn. of Media Composers and Lyricists (AMCL) for the organizing meeting. About 300 composers and songwriters turned out for a November meeting in Burbank, and nearly 900 invitations have gone out for this next meeting.
Teamsters Local 399, which successfully organized casting directors in 2006, has taken on the task of organizing the group, which is seen as a traditionally solitary bunch. (The Society of Composers & Lyricists, which has not taken a position on unionization, is a support group for composers and songwriters but not a guild or union.)
Several leading composers and songwriters have announced their support for the effort. Quincy Jones told Daily Variety : “I am totally with them. It is simply wrong to take advantage of artists in the manner that (producers) have.”
Oscar winners Randy Newman and Marilyn and Alan Bergman have also attached their names to the cause.
“I’m for it,” said Newman. “The TV guys are making what they made in the 1960s. They do these all-in deals,” he said, referring to “package” contracts in which the composer absorbs all music-related costs and is often left with little or nothing at the end. “That is not right, and it’s gone on,” he said.
Marilyn Bergman, former president of ASCAP, not only remembers the CLGA but was among the leaders of the attempt to reunionize in the 1980s. “What’s happened since then is intolerable, just terrible, particularly for the television composers,” said Bergman. “I think (unionizing) is imperative.”
The organizing committee includes Emmy-winning composers Bruce Broughton (“Dallas”), Mike Post (“Law & Order”), W.G. Snuffy Walden (“The West Wing”), Sean Callery (“24″), Alf Clausen (“The Simpsons”) and James DiPasquale (“The Shell Seekers”).
Broughton, chairman of the committee, noted the significance of the WGA’s endorsement.
“The Writers Guild has always been supportive of the composers,” he said. “When the composers tried to unionize in the early ’80s through the SCL, it was done with Writers Guild help.”
“Friday Night Lights” composer Walden noted that, “we are the only people on the set, including the caterers and the secretaries, who don’t have health and welfare. There are guys coming up, in their 20s and 30s, who are going to be forced out if they can’t even take care of their families.”
The Teamsters are believed to want three-fourths of all working composers and lyricists to sign union cards before formalizing a deal to represent them in negotiations with the Alliance of Motion Picture and Television Producers. Broughton said the group would initially seek health and pension benefits but that he expected questions on workplace conditions to surface at the April 19 meeting.
The AMPTP already negotiates with the American Federation of Musicians, whose contracts cover orchestration, conducting, preparing and performing music but not the act of creating music or lyrics.
Read the full article at:
http://www.variety.com/article/VR1118017548.html
April 26th, 2010 — Uncategorized
April 19, 2010
In a one-on-one phone interview conducted days before the 2010 Academy Awards, Hans Zimmer expressed his support for the unionization effort by composers with Teamsters Local 399.
When asked if he supported the union effort, Mr. Zimmer replied, “Absolutely. Musicians are a community and we have to protect each other.”
“I think we older composers, I think I am an older composer now (reluctantly I say this!), it is our duty to help the young composers. Otherwise the music will just disappear.”
Subsequent to the interview, Mr. Zimmer met with Teamsters’ lead organizer Steve Dayan and spokesman Bruce Broughton at Mr. Zimmer’s office at Remote Control Productions.
Mr. Zimmer, one of the most successful composers in Hollywood, is an owner of Remote Control Productions, which houses close to twenty composers working with Mr. Zimmer in what has become a revolutionary method of film composition.
“I’ve been thinking about this forever because it’s really about fairness. It’s such a complicated subject because, you know, we’ll be able to have one go at this and we better get it right.”
“Times are tough out there. Everybody knows times are tough. And we composers and we musicians, it’s very easy to abuse us because we always come at it from a completely rotten business point of view because we love playing music. If somebody asks us to go and write something, if somebody goes and asks us to play something, we’ll come and play and we’ll ask, ‘How are we going to pay the rent?’ later.”
“My daughter asked me recently what it was like to be a poor musician, what it was like when I started out and really, honestly, it was rotten because people were forever taking advantage of us.”
Mr. Zimmer drew a parallel between the protection a union could offer with how he has shepherded the careers of composers at Remote Control.
“I got a few guys started because, well, the whole point of why we need a union: it was easy to protect them, because I knew they were good. It’s as simple as that.”
“Partly, the person who protects you is your lawyer and your agent. But if you don’t have a certain standing you don’t get a good lawyer and you don’t get a good agent. So a union is a really interesting and important thing.”
“Here’s the thing I always love about music and musicians, it really is a community. We have to protect each other because that’s how we are used to working. When we play together we have to look out for each other, we have to make room for everybody, that’s how you get a good sound.”
“So the idea of a collective has always been really strong, I think. Look at my place (Remote Control)!
April 17th, 2010 — Uncategorized
 |
| You are invited to attend an important event: an organizing meeting of the Association of Media Composers and Lyricists, hosted by Teamsters Local 399 on April 19, 2010 to be held at the Writers Guild Theater.
On November 16, 2009, an informational meeting was attended by 350 composers and lyricists, half of whom signed cards indicating they wished to be represented by Teamsters 399 in negotiating a collective bargaining agreement with production companies.
If you were there that evening, this will be an opportunity to hear about the considerable progress we’ve made since then, including the support we’re receiving from other guilds. If you couldn’t get to the November event, this will be a chance to learn firsthand about the possibilities for unionization, to ask questions, and to make your own voice heard.
We urge all composers and lyricists to attend.
Parking is available and is being paid by the Teamsters in the structure directly south of the Writers Guild Theater.
Please RSVP your attendance to callboard
| When: |
Monday, April 19, 2010 |
| Time: |
7:30 pm |
| Where: |
Writers Guild Theater
135 S. Doheny Drive
Beverly Hills, CA 90211 |
| AMCL Organizing Committee |
Bruce Broughton
Sean Callery
Alf Clausen
Ray Colcord
James DiPasquale
Richard Gibbs
Christopher Klatman
Vivek Maddala
Richard Marvin
Mike Post
Snuffy Walden
|
|
April 17th, 2010 — Uncategorized
Variety, April 12, 2010
WGA supports composers, lyricists
Move recalls CLGA battles
By JON BURLINGAME
Last week’s Writers Guild of America endorsement of film and TV composers’ attempts to union ize through the Teamsters was a big boost for the musicians. It not only adds the backing of some heavyweight Hollywood names, but it also comes with a good deal of historical precedent.
Nearly 20 years ago, the WGA supported the fledgling Society of Composers & Lyricists in its at tempts to re-establish a union for those who pen scores and songs for movies and TV. A previous entity, the Composers and Lyricists Guild of America, disbanded in 1982 after a long series of battles with the studios and networks over how music writers were treated.
The CLGA, launched in 1954, successfully negotiated with producers throughout the 1960s, setting minimum wages, guaranteeing screen credits and establishing health and welfare benefits for members.
Its members included virtually every top composer and songwriter in Hollywood, from Henry Mancini to Jerry Goldsmith and John Williams.
But strikes, lawsuits and general disagreements over copyright ownershi p of music written for films and TV took their toll.
Producers refused to negotiate and the CLGA was eventually bankrupted after more than a decade of legal wrangling. Studios later took the position that composers were ineligible for union benefits as “independent contractors,” and subsequent efforts to re-establish a union were rebuffed by the National Labor Relations Board.
With an organizing meeting set for April 19, WGA West president John Wells said his guild is ready to support a new effort. “We think it’s a worthy cause,” Wells said.
“These people are our peers and collaborators, and they certainly deserve to have fair representation, and pension and health benefits available to them, as well as standardized working conditions. We will be supportive in any way that we can.”
The WGA has made its Beverly Hills theater available to the new Assn. of Media Composers and Lyricists (AMCL) for the organizing meeting. About 300 composers and songwriters turned out for a November meeting in Burbank, and nearly 900 invitations have gone out for this next meeting.
Teamsters Local 399, which successfully organized casting directors in 2006, has taken on the task of organizing the group, which is seen as a traditionally solitary bunch. (The Society of Composers & Lyricists, which has not taken a position on unionization, is a support group for composers and songwriters but not a guild or union.)
Several leading composers and songwriters have announced their support for the effort. Quincy Jones told Daily Variety : “I am totally with them. It is simply wrong to take advantage of artists in the manner that (producers) have.”
Oscar winners Randy Newman and Marilyn and Alan Bergman have also attached their names to the cause.
“I’m for it,” said Newman. “The TV guys are making what they made in the 1960s. They do these all-in deals,” he said, referring to “package” contracts in which the composer absorbs all music-related costs and is often left with little or nothing at the end. “That is not right, and it’s gone on,” he said.
Marilyn Bergman, former president of ASCAP, not only remembers the CLGA but was among the leaders of the attempt to reunionize in the 1980s. “What’s happened since then is intolerable, just terrible, particularly for the television composers,” said Bergman. “I think (unionizing) is imperative.”
The organizing committee includes Emmy-winning composers Bruce Broughton (“Dallas”), Mike Post (“Law & Order”), W.G. Snuffy Walden (“The West Wing”), Sean Callery (“24″), Alf Clausen (“The Simpsons”) and James DiPasquale (“The Shell Seekers”).
Broughton, chairman of the committee, noted the significance of the WGA’s endorsement.
“The Writers Guild has always been supportive of the composers,” he said. “When the composers tried to unionize in the early ’80s through the SCL, it was done with Writers Guild help.”
“Friday Night Lights” composer Walden noted that, “we are the only people on the set, including the caterers and the secretaries, who don’t have health and welfare. There are guys coming up, in their 20s and 30s, who are going to be forced out if they can’t even take care of their families.”
The Teamsters are believed to want three-fourths of all working composers and lyricists to sign union cards before formalizing a deal to represent them in negotiations with the Alliance of Motion Picture and Television Producers. Broughton said the group would initially seek health and pension benefits but that he expected questions on workplace conditions to surface at the April 19 meeting.
The AMPTP already negotiates with the American Federation of Musicians, whose contracts cover orchestration, conducting, preparing and performing music but not the act of creating music or lyrics.
January 12th, 2010 — Uncategorized
Will film composers get their ‘Norma Rae’ moment in 2010?
By Jeff Bond
Jan 11, 2010, 07:25 PM ET
After 28 years without a union, film and television composers are attempting to unionize again, this time partnering with the Teamsters Local 399.
The new union would be designated the Association of Media Composers and Lyricists and would be the first group of its kind since the Composers and Lyricists Guild of America, which dissolved in 1982 after a punishing seven-year legal battle with the major studios. (A subsequent attempt to create a new union in 1984, with the assistance of the WGA, was derailed by the National Labor Relations Board, which denied the Society of Composers and Lyricists guild status.)
The attempt to organize is being led by record producer/composer Alan Elliott (“Cop Rock,” “Celebrity Deathmatch”); Bruce Broughton, a former Society of Composers and Lyricists president; James Di Pasquale, who helped form the SCL in 1983; and Alf Clausen, the veteran composer of “The Simpsons.” The timing in many ways couldn’t be better because conditions for film and television composers have never been worse and fees have dropped radically from their levels a few years ago.
“Thirty years ago, the average television all-in fee was $35,000 — for an hour of television,” Elliott says. “That would include the money that would go to the studio, the contractor, the musicians, the orchestrators, the copyists, the players. With inflation from 1979 to 2010, that should be $104,000, but most network television shows now are around $14,000 all-in, which means that the total number has fallen to about 13% of what it was.”
But not everyone in the industry supports the union plan.
“Where things could get mucked up is (by) trying to have working-condition issues that aren’t really the (problem for) 95% of the people actually working,” one film music agent notes. “There needs to be a greater respect for the services of composers, and you don’t create that by imposing more restrictions. Composers will get better conditions when they are perceived more as creators of unique and valuable art than grinders of mass-produced musical sausages.”
Elliott disagrees and notes that salaries and conditions have declined substantially during the past three decades, in contrast to those for members of other unions.
Composers now produce twice the amount of music for far less money, he says, and do work their predecessors never had to: creating detailed mockups of cues that frequently have to be redone several times and, in many cases, performing and recording elements of the score.
Technology has been a double-edged sword, giving composers more control but leading to the impression that composers should be able to do anything.
“Most of the people running music departments in the studios are former business affairs people,” Elliott says. “They believe you just press a button on a computer marked ‘next cue’ and that’s all there is to writing music.”
More ominous for composers who have paid for years of musical training, new equipment and software can allow people with no musical background to conjure up an acceptable underscore.
“There was a show on FX a couple of years ago — it’s still on right now — and they didn’t have enough money for music,” Elliott recalls. “So the editor started putting together music in this Apple program (called) Garage Band. He started doing cues in Garage Band and he is now a working composer, and the technology makes it very difficult to tell the difference between what a professional has done and an amateur.”
With these challenges, along with the lack of health benefits, pensions and any collective-bargaining clout, there may be ample arguments for unionizing. But, while the political environment may have improved, the past year’s economic upheaval complicates the situation.
“Corporations use any excuse, whether it’s 9/11 or Hurricane Katrina or a global economic meltdown,” says composer George S. Clinton (“Austin Powers,” “The Tooth Fairy”). “That’s the nature of big business. And as studios have become more vertically owned, music divisions that used to be more composer-friendly have had to toe the bottom line.”
While studios concentrate more furiously on the bottom line, the sheer number of young composers coming into the field means more people competing for a smaller pot. But that adds to the grounds for unionization, says composer Christopher Young (“Creation,” “Drag Me to Hell”): “The time is right for a union, if for no other reason than to finally protect the multitude of greatly talented and unrepresented young composers that have been chasing their tails for years, competing to deliver complete scores for free.”
Organizers say there are four clear goals a union would need to accomplish: health benefits, pensions, improved working conditions (largely related to the amount of time composers should have to produce a score) and fee minimums.
“Health benefits, pension benefits are a no-brainer,” Broughton argues. “We would have to work on working conditions before minimums because we have to address the situations that are the worst. The main thrust of the unionization idea is not to go after the studios to get as much money as we can, but to get a firm bottom, so it doesn’t get any worse.”
Adds Elliott: “Less than 5% of the composers have health insurance through Motion Picture Health and Welfare. It’s a desert — so if we even put up a couple cactuses, we’ll be doing something.”
Another prominent agent, however, is skeptical: “I’m all for composers being able to better access health insurance and pension benefits, and if unionization faciliates that it would be great,” he says. “I don’t think, though, given current economic realities, that unionization — even if successful — will create any significant upward pressure on fees as there will always be composers willing to work non-union and producers who don’t know the difference.”
“Package” deals, where composers are given a fee they must use to pay for musician performances, recording and other costs, as well as their own salary, are becoming increasingly common — and one reason composers have found it difficult to escape from their designation as independent contractors. That “independent” label was the reason the NLRB denied their bid for unionization before.
Composer Carter Burwell (“A Serious Man”) notes that, while packages have been common in independent film for some time, they’re now becoming common in bigger productions as well.
“It makes it very hard, particularly for new people in the industry, to do the job,” he says. “I have noticed everything going down — in terms of the amount of time people have to record and write their music, and what they’re paid — and unionization would be good, if only because it would at least establish some balance that you can’t go below in terms of budget, the number of days you have to do your work and the amount musicians will be paid.”
Young thinks unionization could make a difference with packages. “The sad thing about the concept of packages is you’re being punished for trying to do a perfect job. I’m working on a movie right now and it’s a very small package, but I wanted to work on an arty Johnny Depp movie. I go there and the director is supposed to be there on the downbeat at 10 o’clock. I go ahead and record stuff and he shows up at 11:30 and he doesn’t like it, so I have to redo all of that. If a union had been around, something like that might have been avoided. With the package deal, I’m paying for it and I lost $5,000-$7,000 paying for the studio, the engineer and musicians. I paid for all that because the director was two hours late.”
Elliott, Broughton and Teamsters organizer Steve Dayan call a Nov. 16 informational meeting in Burbank a success, with 400 composers in attendance and 200 taking sample union cards to indicate their interest. Their next step is to get two-thirds of working composers to agree to begin serious discussions about what a composers’ union would entail and what its specific goals should be. While initial support has been there, the organizers say that there is a “stealth” aspect to some of it.
“There are a lot of guys who will be nominated for Emmys and Oscars soon, who wanted to quietly be involved,” Elliott says. “If we wanted to press the issue in the next week, we have the strength to do it. Our job right now is to make sure we get to 100%, not 60%.”
But others think that high-profile support from A-list composers, who may not have as much to gain personally, will be crucial to giving the push momentum. “Until a Tommy Newman or a Hans Zimmer or Danny Elfman stands up and says, ‘I am a member of this union and you have to hire me through this union,’ unionization isn’t going to happen,” Clinton says. “You say to the studio, ‘You have to hire me through this union,’ they’re just going to say, ‘No thanks, we’re going to go with this other guy.’ ”
Of course, with this fragile economy, the studios may be even less willing to hear about a union than before.
“Warner Bros. cut 40% of their music department right before New Year’s, including firing the president who had two years left on his contract,” Elliott says. “Unlike 30 or 40 years ago, where you had studios versus unions, the music departments all over town understand that, unless this goes through, they’re (going to get) heat from their bosses as to why they even need a music department.”
Elliott is optimistic that momentum will pick up as the effort moves into 2010. “We believe we’re about halfway to the two-thirds now. The way we’re moving, by year’s end we’ll have a union.”
January 7th, 2010 — Uncategorized
AMCL News Update – January 7, 2010
Happy New Year!
As many know, our first meeting for the unionization of composers in November was a tremendous success. Since then, many have been asking… what is going on?…and… what’s next?
Here’s what’s been happening:
Quite simply, we were overwhelmed by the response from our community after the first meeting.
Steve Dayan, our Teamster organizer, called it “The best attended first meeting I have ever seen” and though we didn’t ask for it, more than 200 folks signed UNION CARDS (and we were only passing them out to show people what they looked like!).
The unionization of composers has become a topic featured as front page news in Variety and the Los Angeles Times Business section; it has also been covered by NPR’s Morning Edition. Unionization of composers continues to be THE hot topic amongst our composing community – inside scoring stages, home studios, and inside motion picture and television studios.
The avalanche of support inside our community confirms that now is the time to for unionization.
With this gust at our sails, since our meeting, every day has been filled with organizing staff, pulling together information, building and setting up strategy and making sure we are organized and able to execute and realize unionization in the new year.
Now we’re excited to start in on the new year and anxious to include you.
We need your involvement. EVERYBODY needs to continue talking- and every little bit helps.
People are hearing us. They know we deserve what every janitor or secretary on a studio lot currently gets:
health benefits, decent working conditions, a decent wage and pension.
With this in mind, we will be sending out more regularly scheduled reminders in the new year- with relevant news, updates, and info about ways you can help.
Importantly, we will be having a second meeting in February and we will get back to you with a firm date next week.
In the meantime, we now have a brand new updated website (http://www.theamcl.org) for you to explore and add to your favorite pages. The site will be updated regularly with new information and will also contain valuable resources such as an expanded FAQ section that will grow as new questions are asked and answered. The web site also features a link to a new message board. This will provide an open forum for all of us to be in communication about what’s happening and raise ideas about what we’re up to.
Lastly, if anybody wants to come and pitch in- send us an email. We can use your help.
So welcome to a new year- with a new web site, new information, more dedicated members and that much more determination towards unionization.
The AMCL
news
December 31st, 2009 — Uncategorized
December 23rd, 2009 — Uncategorized
Our first meeting (Nov. 16) was a success. Steve Dayan, our Teamster organizer, called it “The best attended first meeting I have ever seen.”
And now… We can use all the help we can get.
We had nearly 400 folks (and over 500 rsvps) and though we didn’t ask for it… more than 200 folks signed UNION CARDS (and we were only passing them out to show people what they looked like!).
It’s a long journey… but… if we can get behind the idea of creating a community that values music and doesn’t screw each other by undercutting… we can get this together faster than we think.
EVERYBODY needs to start talking this up. People are hearing us. They know we deserve better… and they are waiting for us to say it out loud. And then say it again and again.
People inside our world: students, musicians, studio execs., composers- EVERYBODY- need to feel the collective energy that was in the room.
If anybody wants to come and pitch in- send us an email. We can use your help to make this happen.
info
-Saul Bass logo for the CLGA, 1967