Vol. 13, No.1 The Dallas/Fort Worth Professional Musicians Association • www.musiciansdfw.org Jan., Feb., March 2004
Citizens Broadcast Frustration to FCC
he AFM gave a voice to an angry, Chairman Michael Powell said the
T frustrated public on Wednesday,
January 28, 2004 in a packed
San Antonio City Council chamber at one
purpose of the hearings was to judge how
well local radio and TV broadcasters are
serving the public’s interests, and to
Many said that deregulation of media
ownership has led to more corporate
control of the airwaves.
The January 28 hearing date coincided
of six Federal Communications decide whether a station should have its with the AFL-CIO’s Cornell University
Commission hearings on broadcast license renewed. study on Clear Channel Communications,
localism being held around the nation. An intense, standing-room only crowd one of the nation’s top ten international
Local 72-147 President and AFM often expressed its anger toward the FCC, media conglomerates, based in San
Executive Officer Ray Hair was one of telling commissioners that broadcasters Antonio. The study was commissioned on
twelve panelists invited to testify by the aren’t always serving the community, and b e h a l f o f A F L- C I O m e d i a a n d
FCC’s Localism Task Force. that the airwaves belong to the people. entertainment Unions, which includes the
AFM. In 1996, Clear Channel owned just
43 radio stations. Today the company is
RSO Musicians Withstand Attack, (See FCC on page Three)
But Future is Uncertain 2004 DUES REMINDER
usicians of the Richardson Symphony Orchestra have survived a massive
M attack that began on January 12 when the RSO players’ committee and
Local 72-147 attorney Bill Baab attended a hastily called emergency
meeting and received an RSO Executive Committee request for $60,000 in givebacks
$53.00 if paid in July
$58.00 if paid in August
$63.00 if paid in September
“to assure the completion of the 2003-2004 season.” Help your Union achieve its legislative goals by including a
During the meeting, called with just three days notice, RSO management declared $5 TEMPO contribution when paying your dues. TEMPO
assists deserving political candidates running for the U.S.
they could not sign and return the collective bargaining agreement reached on October Senate and House of Representatives who are sympathic
to the needs of musicians and the AFM.
22 and ratified by the orchestra on November 7, 2003. DUES ARE PAYABLE TO AFM LOCAL 72-147.
“How can we sign it?” said RSO Board member John McCracken. “We can’t live PAYMENTS MAY BE MAILED TO:
1939 Stadium Oaks Court, Ste. 110
up to it,” he told Union Secretary-Treasurer Ken Krause at the meeting. McCracken Arlington, Texas 76011
went on to suggest the musicians help the RSO raise money by selling tickets.
(See RSO on page Three)
THE MARS HILL BAND will perform on Saturday, April 17 at 3:30 PM on the Convention Center Stage for the 19th edition of the Fort Worth Main Street
Arts Festival. Shown left to right are Dave Barnett, Wayne DeLano, Linda Stoll, and Sean McCurley.
2 The Dallas/Fort Worth Musician Jan., Feb., March 2004
THE PRESIDENT’S MES
Testimony Broadcast Localism…
My FCC Testimony on Br
Reprinted below in its entirety is the testimony I presented to genre in all types of venues, large and small. As the
the Federal Communications Commission at its field hearing President of Local 72-147, I work hard to improve
held in San Antonio on January 28. I want to thank AFM opportunities for live performing musicians in my service
President Tom Lee for allowing me to speak for the AFM on area, which includes 100 counties in Texas and eight
these matters. The FCC has failed or refused to post my testimony counties in Oklahoma. The union is directly involved in
at its website, www.fcc.gov, but has included the testimony of its arranging free concerts that reach over 500,000 local
industry witnesses. attendees a year. These concerts are funded by the Music
Performance Trust Funds, which was created by the
y name is Ray Hair. I want to thank the members recording industry and the AFM in collective bargaining. The
M of the Commission and the Localism Task Force
for the opportunity to discuss how big radio as it
exists today hurts the interests of local
MPTF performances provide paying work for talented local
musicians and expose audiences to all types of live music at
arts and music
communities in enjoying and fostering festivals and in their
the growth of local musical talent and local communities.
entertainment. I care deeply about Local 72-147 also has
local music and I care deeply about an impressive track
live music. I believe that the record of booking
Commission and the Task Force local and regional
should care, too, because only when musicians as
a full range of young and old artists headliner acts in all
and musicians playing many genres sorts of concert
and styles of music have a shot at venues and music
reaching audiences – both live and on and arts events in our
the air – will our local cultures and area. We work hard to
local entertainment industries thrive. enhance the
The health of local entertainment opportunities of
matters for the whole country, talented musicians
because our local music scenes are with small local
what provide the rich mix from which followings to reach
new music, new stars and new larger audiences, as
additions to American musical culture well as to ensure that
are grown. great musicians like
I have been a professional Ray Benson and
musician for forty years, a union Copyright San Antonio Express-News.
Asleep at the Wheel
leader for twenty years, a university LOCAL 72-147 PRESIDENT RAY HAIR smiles as the crowd cheers his can keep connecting
instructor in percussion for ten years criticism of media conglomerates. Clear Channel Vice President Tom Glade to audiences and
and a Texas resident for 29 years. looks on. bringing their musical
One way or another, music has been vision into the lives of
a core focus of my entire adult life. I played my first more and more people.
professional gig in 1964 and since then I have performed all In short, Local 72-147 works for more and better
over the United States. I currently am an International employment for musicians – both unknown and well-known –
Executive Officer of the American Federation of Musicians of in our community. It’s obvious that the musicians’ union
the United States and Canada. In that role I help to advance would care about jobs for musicians. But perhaps it isn’t so
the interests of the AFM’s 100,000 professional musician (See TESTIMONY on page Four)
members through the union’s collective bargaining with the
recording, motion picture, television, radio, advertising and
traveling theater industries, assistance to our Locals that
represent musicians in major and regional symphony, opera THE DALLAS/FORT WORTH MUSICIAN is published quarterly by the Dallas/Fort
Worth Professional Musicians Association, Local 72-147 American Federation of
and ballet orchestras, and through education and lobbying in Musicians, located at 1939 Stadium Oaks Court, Arlington, Texas 76011. For newsletter
Washington and throughout the nation. inquiries and submissions, please call 817-469-6040. Fax 817-469-1448. All rights
reserved. Reproduction use of contents without written permission from the publisher
I also am the President of the Dallas-Fort Worth is prohibited.
Professional Musicians Association, which is the AFM’s RAY HAIR, President and Publisher JAMES SIMS, Assistant to the President
affiliated Local 72-147. Local 72-147 has 1,800 musician KEN KRAUSE, Secretary/Treasurer CHRISTY PRICE, Receptionist
MIKE KENNEDY, Casual/Club Date Organizer www.musiciansdfw.org
members who record music and play live music of every
Jan., Feb., March 2004 The Dallas/Fort Worth Musician 3
NOTES FROM KEN . . .
Membership Directory to go Online
ome of you have been asking degree obsolete by the time it is printed. place for most everyone within our
S when the next Membership And invariably, no matter how hard we
Directory is due to be printed and try, there are mistakes in a printed
mailed out to the membership. The directory that are there to stay for the
society to be carrying some sort of
handheld device that allows for access
to, and downloading from, the Internet.
Some are already utilizing this
answer to when it is due: now. next two years, or
The answer to when it will until we can print a technology, thus making it possible for
happen: possibly never correction in an them to view, or download, the contents
again. Now, please finish upcoming of our entire directory (once online) on
reading this column before you newsletter. Neither their handheld device, not to mention
reach for the telephone in one of those lap top or desk top computers.
order to place a call to the corrective options is We realize that not everyone is yet
Union office and start giving us ideal. equipped to make use of an online
a piece of your mind. Because, An online directory. Therefore, it is within our plans
our reason for not issuing directory would not to make available a printed version of
another directory, as we have only allow for the some kind to those who require one.
in the past (every two years), is immediate We are excited about this possibility
that we think we have a better correction of and will notify the entire membership
idea. mistakes, but it once an online directory is up and
We are seriously looking would allow the operational. So, stay tuned.
into the possibility of going membership to
online with the Membership KEN KRAUSE have accurate, up-
Directory. The initial start up to-date information
costs wouldn’t be nearly as great as what regarding addresses and phone
RSO – from Page One)
it costs the Local to print a directory. The numbers. In fact, it is within our plans to “You don’t think that all you have to do
costs associated with maintaining an have a pass code protected entry is show up and play, do you?” McCracken
online directory would be even less. Our system that would even allow for told the players’ committee on January 12.
goal is to have it in place by the summer. members to make their own changes, Management’s bizarre actions that
We are confident enough at this point to with regard to address, phone numbers, evening toward the orchestra prompted
have designed this year’s (2004) budget and instrument listings. A pass code an ultimatum from Union President Ray
with an online directory in mind. protected directory also prevents Hair to RSO Executive Director Wade
Not only would this result in a anyone who is not a member of the Kelley, which resulted in the RSO’s signing
tremendous cost savings for the Local, Local from gaining access to directory of its CBA and the scheduling of two
but it would also enable us to keep our information. sessions hosted by federal mediator Dave
directory more current. With each printed It is quite easy to imagine that the Renfro where the Union carefully
directory we prepare, it is to some day is coming when it will be common considered the RSO’s request for
A Union offer of concessions made
FCC – from Page One) During the FCC hearing, Clear during federal mediation on January 22
(Continued Channel’s supporters in the crowd were worth approximately $60,000 covering the
the largest radio owner in the country with outnumbered by critics who berated the current season contingent upon snap-
1,239 radio stations. company for what they said was back and wage progression the following
Fo r l o c a l r e c o r d i n g a r t i s t s a n d homogenized music and information over season was rejected by management.
musicians, Clear Channel control creates the airwaves. In open microphone A grievance concerning the RSO’s
insurmountable obstacles. Because of its comments, citizens repeatedly said that failure to pay certain principal players
dominance in concert venue ownership, the company has become too powerful according to their seasonal individual
concert promotion and ticket sales, the and doesn’t promote local news, music contracts is still pending.
company serves as “gate-keeper and and views. The current collective bargaining
controls the gates that artists have to pass Ray Benson of Austin Local 433, who agreement guarantees a 62 member core
through to have a career in their industry,” founded the band Asleep at the Wheel, orchestra 30 services each season. Wage
said Ray Hair. “Control of concert tours said at the hearing that today’s radio is minimums per-service are $90 section,
and radio playlists prevents local artists the same in San Antonio as it is in $108 principal, plus a 4% AFM–EP Fund
who may have a local following from Cleveland, eliminating true diversity. “A lot contribution.
getting the opportunity to be heard on the of great music is not being heard,” Benson The agreement expires on August 31,
airwaves,” he said. said. 2004.
4 The Dallas/Fort Worth Musician Jan., Feb., March 2004
TESTIMONYfrom Page Two)
– Killing the Music
obvious that we don’t just care about it out of narrow self- By DON HENLEY
interest. Sure, we want to work and be able to support our
families. But we also want our children and our music PUBLISHERS NOTE: Local 72-147 member Don Henley is a
students to grow into a thriving local music scene that will founding member, drummer and vocalist with The Eagles, and
inspire them and offer them a chance to hear and to make is a world renowned hit singer/songwriter/recording artist in
music. We want a music scene where new ideas, new styles his own right. This article first appeared in the Washington Post.
and new creativity have a chance to reach audiences, and
where diverse music is fostered and not squashed. That’s not hen I started in the music business, music was important
just good for the local community. It enhances the whole
American cultural experience.
W and vital to our culture. Artists connected with their fans.
Record labels signed cutting-edge artists,
Unfortunately, the way big radio and FM radio offered an incredible variety
operates in the contemporary music Less than a week later, her agent called of music. Music touched fans in a unique
environment does not help the growth to cancel. Clear Channel had insisted and personal way. Our culture was
of lively and diverse local music scenes. that she not come to Forth Worth in enriched and the music business was
Instead, it gets in the way. One way this April because it wanted her to appear at healthy and strong. That’s all changed.
happens is when radio owners also an event promoted by Clear Channel in Today the music business is in crisis.
own live entertainment businesses like Addison in May. The agent made clear Sales have decreased between 20 and
concert venues and promoters, and to me that the artist had no alternative 30 percent over the past three years.
then leverage their position to control but to do as Clear Channel asked – Record labels are suing children for using
local events or artists’ choices. I will even though she would earn more unauthorized peer-to-peer (P2P) file-
give you an example from my money in Forth Worth – because she sharing systems. Only a few artists ever
experience in Dallas. For a number of was dependent upon Clear Channel to hear their music on the radio, yet radio
years, Local 72-147 served an broadcast her recordings. That kind of networks are battling Congress over
important role in booking musical control isn’t good for music, artists or ownership restrictions. Independent
performances for a three day festival communities. In fact, it highlights a music stores are closing at an
called “Taste of Dallas.” Through MPTF huge problem – the fact that new and unprecedented pace.
co-sponsorships, we were able to local artists are becoming dependent And the artists seem to be at odds with
increase the number of music on big radio owners not just for radio just about everyone — even the fans.
performances that were given free to airplay, but also for live engagement Contrary to conventional wisdom, the root
the public during the daylight hours. opportunities. Where a national problem is not the artists, the fans or even
And, in booking the evening headliner corporation controls the local headliner new Internet technology. The problem is
acts, we were able to place talented venues and concert promoters as well the music industry itself. It’s systemic. The
artists with local and regional fans into a as the radio playlists, local artists can industry, which was once composed of
position of reaching greater audiences. find themselves shut out from both hundreds of big and small record labels,
That changed in 2001, when the local ways of reaching an audience. I urge is now controlled by just a handful of
Clear Channel stations made their radio the Commission and the Task Force to unregulated, multinational corporations
promotion of the festival contingent read the Cornell University study determined to continue their mad rush
upon the festival booking the evening entitled “The Clear Picture on Clear toward further consolidation and merger.
headliner acts exclusively through Channel”, which was released by the Sony and BMG announced their
another Clear Channel business, Clear AFL-CIO today, and which I am agreement to merge in November, and
Channel Entertainment. The festival told submitting to the Commission tonight EMI and Time Warner may not be far
me it had no alternative but to accede and ask that its submission be made a behind. The industry may soon be
to Clear Channel’s demand. The result part of the record of these proceedings. dominated by only three multinational
was that local musicians lost their role Leveraging of business ownership is corporations.
in helping to create that local three-day not the only problem affecting local The executives who run these
music event. And what is more, local communities. My experience is that corporations believe that music is solely
and regional musicians lost a lot of radio today is more likely to play a a commodity. Unlike their predecessors,
gigs, as Clear Channel brought in the homogeneous list of nationally-aired they fail to recognize that music is as
non-local acts they wanted to promote. tunes, and much less likely to give much a vital art form and social barometer
And perhaps what is worst of all, the airplay to local music. I’ll give you a as it is a way to make a profit. At one time
community lost a chance to hear a terribly sad example. Back in 1985, the artists actually developed meaningful,
more diverse range of music from their union began helping with the Denton even if strained, relationships with their
own talented base. Jazz Fest, a local music event. By 1987, record labels. This was possible because
When a radio owner also owns live attendance at the event was around labels were relatively small and
entertainment businesses, it also can 2,000, and a local radio program accessible, and they had an incentive to
exert a lot of control over the artist’s director at KKDA-FM was sufficiently join with the artists in marketing their
options and choices. For example, I intrigued to come in and do a live 8- music. Today such a relationship is
once booked a well-known artist for the hour broadcast of the festival on practically impossible for most artists.
Fort Worth Main Street Arts Festival. (See TESTIMONY on page Five) (See KILLING on page Five)
Jan., Feb., March 2004 The Dallas/Fort Worth Musician 5
KILLING – Four) department stores that traditionally have
no connection whatsoever with artists.
(Continued from Page
Piracy is perhaps the most emotionally
Labels no longer take risks by signing
gut-wrenching problem facing artists.
unique and important new artists, nor do
Artists like the idea of a new and better
they become partners with artists in the
business model for the industry, but they
creation and promotion of the music. After
cannot accept a business model that uses
their music without authority or
TESTIMONY – compensation. Suing kids is not what
artists want, but many of them feel
(Continued from Page Four)
betrayed by fans who claim to love artists
Sunday from noon to 8 p.m.. KKDA-FM but still want their music free.
continued to air live, full-day broadcasts The music industry must also take a
of the Denton Jazz Festival for some six large amount of blame for this piracy. Not
years, until 1992 or so. During that time, only did the industry not address the issue
festival attendance grew to 10,000, and sooner, it provided the P2P users with a
hundreds of wonderfully talented local
convenient scapegoat. Many kids
artists were able to perform and reach
rationalize their P2P habit by pointing out
thousands of people in person and on
the air. It was a great thing for local that only record labels are hurt - that the
DON HENLEY labels don’t pay the artists anyway. This
music. I don’t know of anything like it in
Texas anymore. There just isn’t that is clearly wrong, because artists are at
kind of local programming commitment. the music is created, the artist’s the bottom of the food chain. They are
Our Tejano musicians in Texas have connection with it is minimized and in the ones hit hardest when sales take a
also experienced the way in which an some instances is nonexistent. In their nosedive and when the labels cut back
important local genre of music can be world, music is generic. A major record on promotion, on signing new artists and
marginalized by the preponderance of label president confirmed this recently on keeping artists with potential. Artists
homogenous nationalized playlists over when he referred to artists as “content are clearly affected, yet because many
locally important music. Tejano music providers.” Would a major label sign perceive the music business as being
exploded in the early 1990’s, and Johnny Cash today? I doubt it. dominated by rich multinational
audiences for the Tejano music awards Radio stations used to be local and corporations, the pain felt by the artist has
numbered 32,000. But the radio
diverse. Deejays programmed their own no public face.
stations do not foster or encourage
shows and developed close relationships Artists are finally realizing their
Tejano music with much airplay. At
most, they will give time to a more with artists. Today radio stations are predicament is no different from that of
homogenized “Mexican regional” centrally programmed by their corporate any other group with common economic
format that focuses on Latino urban hip owners, and airplay is essentially bought and political interests. They can no longer
hop and Norteno selections. The rather than earned. The floodgates have just hope for change; they must fight for
interesting – and sad – thing is that as a opened for corporations to buy an almost it. Washington is where artists must go to
result, our young musicians coming up unlimited number of radio stations, as well plead their case and find answers. So
are less inclined to see Tejano music as as concert venues and agencies. The whether they are fighting against media
worth their involvement. They want to delicate balance between artists and and radio consolidation, fighting for fair
play what is being promoted on the radio networks has been dramatically recording contracts and corporate
radio, so they focus on hip hop or altered; networks can now, and often do, responsibility, or demanding that labels
Norteno. The momentum is draining out
exert unprecedented pressure on artists. treat artists as partners and not as
of Tejano music, and its live audiences
Whatever connection the artists had employees, the core message is the
are much smaller now. It is a frightening
lesson. Unless radio includes a lively with their music on the airwaves is almost same: The artist must be allowed to join
local programming presence, we as a totally gone. Music stores used to be with the labels and must be treated in a
culture can lose entire genres of music magical places offering wide variety. fair and respectful manner. If the labels
that don’t fit in to the national vanilla of Today the three largest music retailers are are not willing to voluntarily implement
the dominant music culture. Best Buy, Wal-Mart and Target. In those these changes, then the artists have no
Radio stations can foster, or strangle, stores shelf space is limited, making it choice but to seek legislative and judicial
a strong and diverse musical culture. On harder for new artists to emerge. Even solutions. Simply put, artists must regain
behalf of professional musicians, I urge established artists are troubled by stores control, as much as possible, over their
the Task Force to recognize the using music as a loss leader. Smaller, music.
importance of local radio programming more personalized record stores are
and strong local music communities so
closing all over the country - some
that new artists and styles of music have
because of rampant P2P piracy but many
a chance to grow and enrich us all.
others because of competition from
6 The Dallas/Fort Worth Musician Jan., Feb., March 2004
Local 802 Pulls Plug on
Virtual Orchestra Machine
n February 9, 2004, New York foresight of the musicians that stood up by Sinfonia, either on the present show
O City Local 802 announced an
historic joint agreement with
the Opera Company of Brooklyn banning
to OCB’s use of the virtual orchestra
machine,” said Local 802 AFM President
The agreement also gives union
or on a subsequent show, as they had
been after the 2000 season.”
“We are pleased that the NLRB
dismissed this frivolous and unwarranted
the use of the virtual orchestra
m a c h i n e i n a l l f u t u r e productions. recognition to OCB musicians and charge and agreed with us that the
On February 6th, Local 802 protested requires the employer to negotiate for a machine does indeed pose a threat to live
the company’s opening performance of collective bargaining agreement by music. The only purpose of any virtual
Mozart’s Le Nozze di Figaro that March 1st. orchestra machine is to eliminate live
replaced musicians with a virtual In related activity, the National music in order to reap profit. Realtime’s
orchestra machine called Labor Relations Board (NLRB) true objective is to make a buck by
RealTime Symphonia. This is has dismissed a charge destroying a cherished art form.
the same machine that is by Realtime Music Audiences expect a living, breathing
currently being used to orchestra in live quality productions and
threaten the replacement of should have those expectations met.
musicians in the Les Miserables Local 802 will continue to fight any
production in London’s West End. attempts to cheapen live productions in
According to the terms of New York City, the live music capital of
the agreement, the employer the world,” said Local 802 President
agrees to use only live musicians David Lennon.
for all of its productions,
p e r f o r m a n c e s a n d rehearsals
and will not employ a virtual
orchestra, or any other mechanical Solutions that an agreement to ban the CLASSIFIED
synthetic or technological means to use of the virtual orchestra machine by
reproduce music, except upon the
express written consent of the union.
Local 802 of the American Federation of
Musicians and the Opera Company of
“This is the first agreement that we Brooklyn was unlawful.
know of that bans the use of the virtual The NLRB investigation found that the FOR SALE
orchestra machine. I want to thank the agreement signed by both Local 802 and WM. Haynes solid silver flute,
Opera Company of Brooklyn for their OCB “…contained a lawful work covered holes, C foot. $2500.
commitment to live music and their preservation objective concerning the Flute, Model 3SS, open holes, B
cooperation in severing their partnership OCB’s use of the Sinfonia orchestra
foot, $1800. Both flutes used
with RealTime Symphonia. Local 802’s machine.” The ruling stated that “…the
main priority is to keep music live and will Union has a legitimate concern that unit professionally, retired now. Call
continue to aggressively fight the employees could be replaced once again 817-926-3216
displacement of live musicians with the
virtual orchestra machine. Local 802 has
great appreciation for the courage and NEW DIRECTIONS
PLEASE NOTE PERFORMANCE ANXIETY
Do you deal with these symptoms?
new email addresses: · Nervousness/Difficult breathing
email@example.com (Ray Hair) · Problem sleeping at night
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firstname.lastname@example.org (James Sims) See how easy you can overcome this talent stealing
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firstname.lastname@example.org (Christy Price) and set up a
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· Change your life
Jan., Feb., March 2004 The Dallas/Fort Worth Musician 7
MILESTONES bass. He was a life member of Local 72- Joe C. Vaughn, 52, of Natural causes
Marvin Stamm, former member of Local 147, having joined Fort Worth Local 72 February 28, 2004 in Jacksonville,
72 and current member of Local 802, in June, 1939. Florida. Joe was a trumpet player and
will receive the Distinguished Alumnus ••• had recently relocated from Azle, Texas
Award from the University of North Soko Richardson, 64, of a heart attack to Jacksonville, Florida. He joined Local
Texas in Denton on Friday, April 16. January 28, 2004 in Los Angeles. Born 72 in 1977.
Marv is the first “horn player” and is the in New Iberia, Louisiana to a family of •••
second jazz musician to ever receive musicians, Soko left home at the age of Raymond W. Hurst, 84, of heart disease
the award. 16 in the 1950’s to tour the South with March 1, 2004 in Dallas. A native of
DEATHS local bands and eventually became one Middlesboro, Kentucky, Ray served in the
David A. Ribble, 93, of cancer December of R&B’s great drummers. While touring Army during World War II and eventually
26, 2003 in Lewisville. David was a steel with Cookie and the Cupcakes, Ike settled in Dallas where he enjoyed a long
guitarist and former owner of Ribble Turner heard Soko and hired him on the career in music. He was a staff musician
Music in Irving. He was a life member, spot as the drummer for his band, The at WFAA Radio in the 1940’s and later at
having joined Dallas Local 147 in Kings of Rhythm. He stayed for 10 years, WFAA-TV. He played guitar and vibes
December 1959. and arranged Ike and Tina’s hit version with many groups around town including
••• of “Proud Mary”. Soko’s career spawned the house band at The Cipango Club,
Robert N. (Bobby) Burns, 80, of Natural five decades and five continents, touring and the Chalet. Ray later joined the staff
causes December 28, 2003 in Amarillo. with Albert Collins, John Mayall, Bobby at PAMS, Inc., where he wrote, produced
From trumpeter to record producer to Womack and Pee Wee Crayton. He and performed over hundreds of jingles
bandleader, Amarilloans knew Bobby performed until the end, playing and for two decades. He was a life member
from his 17-piece orchestra that packed recording with English guitar great, Terry of Local 72-147, having joined Dallas
the Nat Ballroom nightly in the 1950’s. Reid. Local 147 in July, 1945.
He spent his entire life in the music ••• •••
business, performing and booking bands
through the Bobby Burns Agency.
Bobby lived much of his early life in
Pampa. He become a professional
musician at the age of 14, dropped out
of school and hit the road where he sat
in the trumpet section of many big bands,
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8 The Dallas/Fort Worth Musician Jan., Feb., March 2004
Cliburn Medalist Cancels, LPO Shuts Doors
he Lawton Philharmonic Society voted to close its office LPO musicians were locked out on August 27, 2003 and
T on February 29, 2004 and terminate the position of its
The decision came less than 30 days after Cliburn medalist
their seasonal employment canceled after refusing to agree to
a 9% pay cut. Management imposed its lockout after receiving
a union offer to work for $1 more per service for the 2003-2004
Antonio Pompa-Baldi refused to perform a January 17 concert season.
in Lawton because of the LPO’s placement on the AFM’s Local 72-147 threatened to picket and leaflet the January 17
International Unfair List. Lawton recital appearance of Pompa-Baldi, who was originally
booked to appear in concert with the Lawton Philharmonic.
“It is not our policy to perform behind a Musicians’ Union
picket line,” said Van Cliburn Foundation Executive Director
NEGOTIATIONS ROUNDUP “If the Union is powerful enough o intimidate non-union
A capsule view of talks in progress soloists, and bitter enough to picket a non-union concert, Then
I don’t see any future whatsoever for our organization,” Lawton
Garland/ Las Colinas/ Arlington Orchestras: A five-year Philharmonic Society President Jeanne Webb told the Lawton
agreement was reached on January 9 boosting pay to $65 Constitution.
per service for section players, $75 per service for principals.
Wages will increase by a minimum of 4% each successive PHYLLIS G. RICHMOND, M.A., MSTAT
season. Pension contribution will increase to 3% of scale Certified Teacher
effective September 1, 2004.
Dallas Symphony Orchestra: Talks opened for a successor
agreement on April 2 with the Union seeking wage, pension,
health benefit and work rule improvements. A one-year The Alexander Technique
contract reached in 2003 froze wages at current minimums
of $80,860 per season, and maintained current health
benefits. The current contract expires August 31, 2004. The Offices in Dallas, Denton, Arlington
DSA’s endowment reached $95 million in 2003, Gene E-mail: firstname.lastname@example.org
Bonelli’s first year as President. That year, Bonnelli received Fax 817-261-6293 Tel 817-275-1697
more than $600,00 for his services, higher than any other
manager of a major U.S. symphony orchestra. The Alexander Technique teaches you how to
••• change habits of poor body use, reduce
Dallas Bach Society: The Union will soon meet and bargain unnecessary tension and effort, and improve
toward a successor agreement covering the services of the posture, coordination, and breathing. Lessons
DBS baroque orchestra. The current agreement was the first
of its kind in the Dallas-Fort Worth area, and expires August are now available at Performing Artists Health
31, 2004. Center in Arlington, next to the Union office!
Non Profit Org.
Fort Worth, TX
Dallas-Fort Worth Professional Musicians Association Permit 2589
Local 72-147 American Federation of Musicians
1939 Stadium Oaks Court, Suite 110
Arlington, Texas 76011
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