Es curioso comprobar que en las películas más premiadas del cine, la banda sonora siempre esta presente entre los diferentes galardones. Y es que la música caracteriza a cada uno de los elementos de la película y sin ella no significaría lo mismo.

1939
LO QUE EL VIENTO SE LLEVO
No se si sería el viento o la lluvia, pero el caso que esta película lo que se llevo fue diez Oscars de la Academia de catorce nominaciones a las que optava. La composición de Max Steiner para “Lo que el viento se llevo” fue nominada a la mejor música original, pero desgraciadamente ese año “El mago de Oz” se llevo la palma en esta categoría.

1959
BEN – HUR
Esta película conquisto once Oscars de doce nominaciones, superando el record de “Los mejores años de nuestra vida” con ocho estatuillas de nueve. Entre los Oscars obtenidos, Miklos Rozsa, fue premiado por la mejor música original de Ben Hur. Pero también le concedieron en el mismo año un premio BAFTA y un Globo de Oro por mejor película dramática y de aventuras. ¡Desde luego supero todas las espectativas!

1961
WEST SIDE STORY
La adaptación cinematográfica de la historia de “Romeo y Julieta” de William Shakespeare consiguió nada mas y nada menos que diez Oscars de once nominaciones. Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal fueron los responsables de la estatuilla por la mejor banda sonora en una película musical. Los Globos de Oro también quisieron premiar a West Side Story con un globo a la mejor película: musical. Esta película alcanzó tal éxito que aun sus melodías se recuerdan hoy en día en teatros de todo el mundo.

1972
CABARET
Se conoce que West Side Story abrió las puertas del éxito para películas de género musical como “Cabaret”. Basada en la novela “Adiós a Berlín” de Christopher Isherwood, fue ganadora de ocho de diez nominaciones por parte de la Academia, un Globo de Oro y un BAFTA por mejor película de género musical.

1987
EL ÚLTIMO EMPERADOR
Basada en la autobiografía de Aisin-Gioro Pu Yi, siguió los pasos de “Gigi” (1958) e hizo pleno en todas las quinielas de los Oscars, ya que ganó en las nueve categorías en las que estaba nominada. Además consiguió 4 Globos de Oro y un BAFTA.

1997
TITANIC
La verdad que la gran producción de James Cameron, basada en el desastre del transatlántico RMS Titanic, no se fue a pique como el barco, sino que se convirtió en una de las películas más taquilleras y más premiadas de la historia del cine. Once estatuillas de catorce, cuatro Globos de Oro, diez nominaciones en los premios BAFTA y un premio SAG.

2003
EL SEÑOR DE LOS ANILLOS: EL RETORNO DEL REY
Se dice que a la tercera va la vencida, y justo haciendo honor al título, han retornado como reyes para conquistar once estatuillas de once nominaciones. Además le concedieron cuatro Globos de Oro y dos Grammy, entre otros. De este modo la tercera saga de la triología de “El señor de los anillos”, sigue siendo junto a “Titanic” y a “Ben-Hur” las más premiadas de la historia de los Oscars.

بِسْــــــــــــــــــــــــــــــــــــــــــــــــــــــــــمِ اللَّهِ الرَّ حْمَنِ الرَّ حِيمِ

SOLCU – SAĞCI MESELESİ ( KUR’AN-I KERİM )

VAKİA SURESİ

فَأَصْحَابُ الْمَيْمَنَةِ مَا أَصْحَابُ الْمَيْمَنَةِ

AYET  8  : SAĞDAKİLER, NE MUTLU O SAĞDAKİLERE

وَأَصْحَابُ الْمَشْأَمَةِ مَا أَصْحَابُ الْمَشْأَمَةِ

AYET  9  : SOLDAKİLER, NE BAHTSIZDIR ONLAR !

وَأَصْحَابُ الْيَمِينِ مَا أَصْحَابُ الْيَمِينِ

AYET 27 : SAĞDAKİLER, NE MUTLU O SAĞDAKİLERE

لِّأَصْحَابِ الْيَمِينِ

AYET 38 : BÜTÜN BUNLAR SAĞDAKİLER İÇİNDİR.

وَأَصْحَابُ الشِّمَالِ مَا أَصْحَابُ الشِّمَالِ

AYET 41 : SOLDAKİLER, NE YAZIK O SOLDAKİLERE !

وَأَمَّا إِن كَانَ مِنَ أَصْحَابِ الْيَمِينِ

AYET 90 : EĞER O SOLDAKİLERDEN İSE…

فَسَلَامٌ لَّكَ مِنْ أَصْحَابِ الْيَمِينِ

AYET 91 : << EY SAĞDAKİ ! SANA SELAM OLSUN ! >>

MÜDESSİR SURESİ

إِلَّا أَصْحَابَ الْيَمِينِ
فِي جَنَّاتٍ يَتَسَاءلُونَ
عَنِ الْمُجْرِمِينَ
مَا سَلَكَكُمْ فِي سَقَرَ

AYET 39,40,41,42 : ANCAK SAĞDAKİLER BAŞKA. ONLAR CENNETLER İÇİNDEDİR. GÜNAHKARLARA : SİZİ ŞU YAKICI ATEŞE SOKAN NEDİR ? DİYE UZAKTAN UZAĞA SORARLAR.

BELED SURESİ

ثُمَّ كَانَ مِنَ الَّذِينَ آمَنُوا وَتَوَاصَوْا بِالصَّبْرِ وَتَوَاصَوْا بِالْمَرْحَمَةِ
أُوْلَئِكَ أَصْحَابُ الْمَيْمَنَةِ

AYET 17,18 : SONRA İMAN EDENLERDEN, BİRBİRLERİNE SABRI TAVSİYE EDENLERDEN VE BİRBİRLERİNE ACIMAYI ÖĞÜTLEYENLERDEN OLMAKTIR. İŞTE BUNLAR SAĞDAKİLERDİR.

وَالَّذِينَ كَفَرُوا بِآيَاتِنَا هُمْ أَصْحَابُ الْمَشْأَمَةِ

AYET 19 : AYETLERİMİZİ İNKAR EDENLER İŞTE ONLAR SOLDAKİLERDİR.

عَلَيْهِمْ نَارٌ مُّؤْصَدَةٌ

AYET 20 : CEZALARI KAPILARI ÜZERLERİNE SIMSIKI KAPATILMIŞ BİR ATEŞTİR.

HAKKA SURESİ

فَأَمَّا مَنْ أُوتِيَ كِتَابَهُ بِيَمِينِهِ فَيَقُولُ هَاؤُمُ اقْرَؤُوا كِتَابِيهْ
إِنِّي ظَنَنتُ أَنِّي مُلَاقٍ حِسَابِيهْ

AYET 19,20 : KİTABI SAĞ TARAFINDAN VERİLEN : ALIN KİTABIMI OKUYUN; DOĞRUSU BEN HESABIMLA KARŞILAŞACAĞIMI ZATEN BİLİYORDUM, DER.

فَهُوَ فِي عِيشَةٍ رَّاضِيَةٍ
فِي جَنَّةٍ عَالِيَةٍ
قُطُوفُهَا دَانِيَةٌ

AYET 21,22,23 : ARTIK O, MEYVALARI SARKMIŞ YÜCE BİR CENNETTE HOŞNUT KALACAĞI BİR HAYAT İÇİNDEDİR.

وَأَمَّا مَنْ أُوتِيَ كِتَابَهُ بِشِمَالِهِ فَيَقُولُ يَا لَيْتَنِي لَمْ أُوتَ كِتَابِيهْ
وَلَمْ أَدْرِ مَا حِسَابِيهْ

AYET 25,26 : KİTABI SOL TARAFINDAN VERİLENE GELİNCE, O : KEŞ KE DER BANA KİTABIM VERİLMESEYDİ DE, HESABIMIN NE OLDUĞUNU BİLMESEYDİM.

İNŞİKAK SURESİ

فَأَمَّا مَنْ أُوتِيَ كِتَابَهُ بِيَمِينِهِ

AYET 7 : KİMİN KİTABI SAĞINDAN VERİLİRSE,

فَسَوْفَ يُحَاسَبُ حِسَاباً يَسِيراً

AYET 8 : KOLAY BİR HESABA ÇEKİLECEK;

وَيَنقَلِبُ إِلَى أَهْلِهِ مَسْرُوراً

AYET 9 : VE SEVİNÇLİ OLARAK AİLESİNE DÖNECEKTİR.

BU YUKARIDAKİ AYETİ KERİMELER, BEN MÜSLÜMANIM, KİTABIM KURANI AZİMŞAN, PEYGAMBERİM HZ.MUHAMMED MUSTAFA DİYEN SAĞCI VE SOLCU HAKKINDA YETERLİ DOĞRU BİLGİYE SAHİP OLMAYAN MÜSLÜMAN DİN KARDEŞLERİMİ UYANDIRMAYA YETER.
MÜSLÜMANIM DİYEN SOLCU OLMAZ. SOL PARTİLERE OY VERMEZ. MÜSLÜMAN HEP SAĞ.

( EHLİ SÜNNET – NASRULLAH )
SAHİB-UL HİLYE
Tolga
2010 

شيخ تلغ
نكاح

You have been warned! I learned today that I have been selected to be the new Pacific Coast Regional Representative for the Student Advisory Group (SAG) for the Society of Biblical Literature (SBL). As I understand it, I now serve as a kind of imperator of the entire pacific coast, and all of its inhabitants serve at the mercy of my every whim.

Kidding aside, I am very enthusiastic about this opportunity. I look forward to serving as a member of SAG and interacting with student members of my region. According to the description of the position, I am “charged with providing professional development and networking opportunities at the regional level.” That is a challenging and important charge, particularly in this economy. I am honored by the trust the current SAG members have placed in me.

As it turns out, I see that bibliobloggers have at least one other Regional Rep in our midst with Michael Halcomb. See Michael’s post about it. Update: Brandon Wason is on board too! He will be the Regional Rep for the Southeastern region. Michael is the rep for the Eastern Great Lakes region. Talk about a Biblioblogger/SBL affiliation!

Buy Cheap Sag Harbor: A Novel

Buy Low Price From Here Now
The warm, funny, and supremely original new novel from one of the most acclaimed writers in America

The year is 1985. Benji Cooper is one of the only black students at an elite prep school in Manhattan. He spends his falls and winters going to roller-disco bar mitzvahs, playing too much Dungeons and Dragons, and trying to catch glimpses of nudity on late-night cable TV. After a tragic mishap on his first day of high school—when Benji reveals his deep enthusiasm for the horror movie magazine Fangoria—his social doom is sealed for the next four years.

But every summer, Benji escapes to the Hamptons, to Sag Harbor, where a small community of African American professionals have built a world of their own. Because their parents come out only on weekends, he and his friends are left to their own devices for three glorious months. And although he’s just as confused about this all-black refuge as he is about the white world he negotiates the rest of the year, he thinks that maybe this summer things will be different. If all goes according to plan, that is.

There will be trials and tribulations, of course. There will be complicated new handshakes to fumble through, and state-of-the-art profanity to master. He will be tested by contests big and small, by his misshapen haircut (which seems to have a will of its own), by the New Coke Tragedy of ’85, and by his secret Lite FM addiction. But maybe, with a little luck, things will turn out differently this summer.

In this deeply affectionate and fiercely funny coming-of-age novel, Whitehead—using the perpetual mortification of teenage existence and the desperate quest for reinvention—lithely probes the elusive nature of identity, both personal and communal……..
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 “Best and funniest book of his by far!” 2009-10-15
By NaughtiLiterati (NYC)
You are gonna be cracking up when you read this book and you gotta get copies for your friends if they too grew up in this world that he creates with such precision and humor – there are some serious stories in it too – but the sum of its parts equal brilliance by one of our very best writers! He can’t write another fast enough!

 “I don’t read books for the writing.” 2009-10-08
By Mighty Critical (Brooklyn, NY)
This book is all writing, no book. It seems like it should be an autobiographical first novel, but instead it is a navel-gazing non-story by an author who is already celebrated. Disappointing, at best.

Not worth reading, even if you’ve got nothing better to do.

 “Loveable loser” 2009-10-06
By Richard W. Hudson (Miami, FL)
Benji Cooper is the loveable loser with whom we can identify. Benji and his brother Reggie are spending the summer mostly alone at their family’s beach house at Sag Harbor. He is at that awkward age for many teenage boys when the desire to be cool and fit in doesn’t always match reality. Everytime I thought Benji was making progress, something happened that left him short. Take the time when he gets his first kiss and seems about to get more than that and all goes wrong. Or his frustration at his summer job at Jonni Waffle. I went through some similar experiences only a few years earlier than Benji (the book is set in 1985), so many of the cultural references were familiar. Some reviewers have disliked this book because of its lack of plot, but I think they just don’t get what Colson Whitehead is doing here. He is painting a portrait of the black teenagers who happen to belong to families with summer beach houses and seem to not quite fit into any culture (black or white). The TV dinners, BB gun fights, and the grilling father were just a few of the elements that made this such a captivating read. I can only suspect that Benji will return next summer to Sag Harbor a bit wiser if not any luckier.

 “Took a While to Get into The Rhythm but I Loved The Nostalgia” 2009-09-24
By Geoffrey Kleinman (Portland, OR USA)
This book was a bit of a mixed experience for me. I found that I picked it up to read and then set it down several times. I found it difficult to initially latch on to the book which is stronger in mood but lighter in narrative. I did eventually find my way onto the rhythm of the book and ultimately enjoyed it.

In many ways this is both the beauty and the challenge of Colson Whitehead’s writing here. He does so much with a book that doesn’t have a lot of story, and once you recognize that there aren’t going to be fireworks it’s easier to sit back and enjoy it.

While Sag Harbor isn’t action packed it does paint a very complete and compelling world for its main character. I found I could identify with Benji’s issues as they called back to my own coming of age in the 80’s. If you go into this book with the right expectations it can be quite a pleasurable read (perfect for a lazy summer day).

 “Dont Bother” 2009-09-13
By gypsygirls (Brighton, MI United States)
Boring, don’t bother. His daily routine as a kid, was just mind numbing. After 100 pages took it back to the library.

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Buy Sag Harbor: A Novel Now

Though the dialogue was edited out, I got my SAG card back in 2001 when I booked a job on The Power Rangers : Time Force.  I had never seen the episode, but thanks to a friend internet find (Donald Chavis),  I was able to see myself turn into a cyberbot.  I play Thug#2 along side a super villain, played by veteran actor Dan Dowe.  My 2 scenes are edited together.  But don’t blink, you may miss it :

Heath’s TV debut in Power Rangers : Time Force.

Thanks to your involvement, the involvement of the Screen Actors Guild and The Teamsters, the caregivers, as well as the ominous presence of the resident’s law firm Girardi + Keese – The Motion Picture and Television Fund has extended the operating permit for both the much embattled Long Term Care center and Acute Care Center for another year.

On the face of it, this is a major win for the residents who refuse to leave and their supporters. Originally, everyone was to be cleared out by the end of October. Because of our efforts to keep the LTC open, they have not been able to meet this goal.

As we reflect on our efforts and savor this ‘win’, we need to reaffirm our goal to keep the LTC open.

By open, I don’t mean just providing basic care for the remaining residents. Our goal is to return the LTC to the state it was before the current regime got their mitts on it. By that I mean a world class, thriving and robust skilled nursing facility that was a model to other facilities that are today thriving in spite of the same challenges that seemingly have toppled the Motion Picture Home.

So, we are not done – not by a long shot!

We need your continued involvement, passion and spirit. We need your friends, your family, your co-workers – anybody who is either in the motion picture and television industry, support industries, or friends of the people in these industries.

We need you to publicize our efforts on your facebook page, and to provide a link to our petition. We need more signatures, thousands of them.

Let’s leverage this victory by keeping the LTC open and serving the needs of the industry. Let’s bring the entire campus back to a calm sanity where there is no fear of eviction if one of the elderly residents develops a debilitating disease or injury.

Let’s move onward and call for the termination of those that oppose keeping the mandate of “Taking Care of Our Own” in its original context.

Here is the link to the petition. Please enlist more of your friends to our cause.

http://www.thepetitionsite.com/1/keepthemptfhomeopen

Thank you again for your participation. You are saving lives, you have saved lives.

Best,

Richard

Not only are minorities suffering in the newsroom, but also in film and television roles.  I came across an article that caught my eye posted on Variety regarding diversity in Hollywood.

In the article, Screen Actors Guild, SAG, reported last month that minority performers have decreased in roles from 29.3% in 2007 to 27.5% in 2008.  SAG also provided a breakdown of statistics of races in film and TV roles for 2008.

Statistics

• 72.5% Caucasian
• 13.3% African-American
• 6.4% Latino-Hispanic
• 3.8% Asian-Pacific Islander
• 0.3% Native American
• 3.8% other-unknown

Questions

• With Caucasians making up 72.5% of film and television roles, what are your thoughts?
• Why do you think Asian-Pacific Islander and Native Americans are not in as many roles?

SAG president Ken Howard stated his concern regarding the diversity lag on-screen and television, and what SAG plans on doing about it.

“The diverse and multicultural world we live in today is still not accurately reflected in the portrayals we see on the screen,” he said. “We will continue to work with producers, hiring executives and industry professionals in accurately portraying the American scene by ensuring equal access to employment opportunities for all of our members.”

SAG, American Federation of Television and Radio Artists, Actors Equity and Writers Guild of America held the inaugural Hollywood Disabilities Forum at UCLA in October.

The meeting reported that male actors continually fill the majority of roles-two roles for every female role.  Roles have increased for males 40 and older and for females 40 and older.

Opinions

Personally, I feel the lack of diversity in film and television roles is no surprise.  I do see more television shows with an array of ethnicities as lead characters than in film.

Shows

• Desperate Housewives
• Grey’s Anatomy
• Tyler Perry’s House of Payne
• Gossip Girl

But I can say it caught me off guard to see how many roles are led by Caucasians.  The SAG cannot give any answers to why this statistic is so high and why there is such a huge gap between the other races.  I highly doubt it is because of the downfall of the economy, I think that would be the poorest excuse ever.  But hey, it seems like everybody is blaming the economy on everything, so why not Hollywood?  America is becoming a more diverse country, so why aren’t we seeing more diversity on-screen?  I believe it is because minorities are misrepresented and forgotten in the media.  It is as if minorities are a needle in a haystack-lost and buried under the majority.

On a brighter note, it was reported just last year Latinos were making progress in Hollywood.  Imagen Foundation founder Helen Hernandez said in an article, “The current status of Latinos in the business is not as dismal as in the past; it’s better than it was 10 years, even five years ago.”

There is always a start to everything.  I believe minorities will soon have an equal chance in the business world as soon as their voices are heard and represented.  Minorities need to take pride in themselves and speak up.

If you host a major online forum and if that is your sole job you are responsible for the type of discourse you allow in your comments.  Nikki Finke, the creator/author/editor of Deadline Hollywood Daily, moderates the comment section of her blog but she should be ashamed of what’s happening there today.

Today it was announced that Nick Counter, the longtime President of the Alliance of Motion PIcture & Television Producers (AMPTP), passed away at the age of 69 after a long illness. He is apparently survived by a wife and children. I should say that I did not know Nick Counter and his negotiations had little to do with what I do. I know that, as the person on the other side of big labor issues, Nick Counter was deeply disliked by a lot of people in Hollywood, particularly the SAG hard-liners. It is also important to note that Nikki is a longtime supporter of the most radical, hard-line elements within SAG.

Below is a selection of comments on her blog which she is allowing to be published under an entry ironically titled “R.I.P. Nick Counter“. While the views of blog commenters I don’t think should be attributed to the blog owner, the comments you allow to be published do reflect the level of discourse you endorse. It should also be noted that there are people in the comments chastising these people, but they appear to be few and Nikki is not one of them.

I will also note that I think these comments epitomize why SAG has been such a wildly ineffective union in its negotiations of late.

—

Scum bag. Thanks for ruining so many families. There is more to life than winning and big money – too late for you to understand that you POS. – Comment by TOOLATE

—

Hate to say it, as one should refrain from speaking ill of the dead but good riddance. This guy was human shit… – Comment by wideeyedraven

—

let him rot in hell. - Comment by couldn’t happen to a nicer guy

—

In lieu of flowers, it is requested that donations be sent to the WGA and SAG welfare funds… which has great need of it because of this greedy, fuck-wad asshole. Rot in hell, Nick… - Comment by Brian

—

So long asshole. – Comment by working actor #274

—

Burn in hell you piece of shit. – Comment by Hank Yablonski

—

Good luck on your first day of work, Nick… negotiating for Satan. – Comment by Al Taurus

—

Welcome to hell, Nick. – Comment by Satan’s Little Helper

—

Best wishes in your new job, Nick: running Hell. – Comment by wga writer

—

F**k Nick Counter. Glad he’s dead. Wish it had been sooner. – Comment by Dave

—

what a great way to start the day – Comment by thj

—

Okay, I’ll only say good of him.

It’s good that he’s dead. In fact, it was great of him. – Comment by anotyherwgamember [sic]

—

Representantes de los exportadores y del fisco se vieron las caras en el Tribunal Constitucional (TC), para que este organismo, presidido por Marcelo Venegas, dictamine la inconstitucionalidad del pago que hacen los exportadores al Servicio Agrícola y Ganadero (SAG) por la inspección y certificación fitosanitaria de las frutas. En paralelo a proceso al TC, los exportadores también presentaron una demanda en el Séptimo Juzgado Civil, por unos US$ 108 millones. En su alegato, el abogado representante de los exportadores, Germán Concha, manifestó que “las tarifas que cobra el SAG constituyen un “tributo”, y en ese carácter deben ser fijadas mediante una ley, situación que no ocurre en la actualidad”. En tanto, María Eugenia Manaud, abogada del Consejo de Defensa del Estado (CDE) en representación del SAG, refutó la postura de los agricultores, expresando que el cobro “no es un tributo, porque no tiene ninguna de las características jurídicas exigidas a los “tributos”, sino que es un ‘precio’”.

Eric Petrei

Eric Petrei the new “IT BOY” in Hollywood. NYC actor trained at HB studios/Lee Strausberg studios/Circle in the Square. Moved to LA this March and is expected to star in a string of Major Feature Films. He’s been talking to a number of Studio Suits. He’s been considered for two upcoming blockbusters. Studios flipped over his screen presence and acting chops after testing at Warner Bros

Top Paid and experienced NYC Actor living in LA. Eric Petrei SAG/AFTRA Is beginning to be a major player in Los Angeles. A source from a major new media states that “Eric Petrei is at the top of his game.” After just moving to LA from NYC in 3 months hes lined up “talks with 2 major studios

After Years of Working as an actor in NY, Eric Petrei has made the jump to the west coast. Wtih “Movie Star” good looks and talent, He is sure to turn heads in Hollywood.

Much of LA becomes consumed with the buying and selling of features this week as 8000 gather at the American Film Market which kicks off W 11/4 and runs through W 11/11 concurrently with AFI Fest. Ground zero is the Loews Santa Monica Beach Hotel where 400 distributors are getting ready to rumble.  As the distributors are there to sell, the first half of AFM belongs mostly to the buyers.  You need a full market badge ($895) for access to the upper floors during this time, but its free to linger to the lobby and lounge by the pool putting together target lists which many do in prep for half badge face time ($345) starting Su 11/8.  Day badges $275.  To see the market in action check out these videos from Film Specific’s Stacey Parks, UpsideDownTV’s Johnny Neurotic and Variety’s Michael Jones.

Here is the list of IFTA members where you can dig deep for contact information, slate and budgets. You can also pick up free in the Loews lobby the AFM directory in the bumper copies of Variety, The Hollywood Reporter, Screen International and The Business of Film.

On the Variety & THR list of AFM targets are Akin Gump ($600mm for 60 films), Endgame (3-5@$10-40mm), Exclusive Media ($100mm for 2-3 films), Incentive Filmed Entertainment ($100mm for 10@$15mm each), Liddell (3-4 films@$5-20mm each), Magnet Media (Jeanette Buerling & Magie Monteith), Natural Selection ($100mm for 20 films@ $5mm+ each), Overnight Prods (3@$10-40mm), Sheppard Mullin ($65mm), Social Capital (2-3@$2-20mm each), Stroock Stroock ($5-100mm), Tic Tock (2-3 films@$10mm each), WestEnd Films (Maya Amsellem & Eve Schoukroun), Winchester Capital (3-4 films@$10-40mm each), plus those in bold above.

Some are speaking at the AFM seminars:

F 11/6 9-12:30
AFM Finance Conference
with Media Rights Capital, Hyde Park Entertainment, NatGeo..
Fairmont Miramar, 101 Wilshire
2008 Videos

F 11/6 4-5:30
FILMART/HK Co-Production Partners
with Screen International, Distribution Workshop, Imagi Studios
Le Merigot, 1740 Ocean
2008 Videos

Sa 11/7 9-12:30
Pitch Me!
Producers for Bee Season, Capote, Nurse Betty
Fairmont Miramar, 101 Wilshire

Sa 11/7 9:15-5:30
Distribution U
9:15 Breakfast/Introductions
10:15 Fans, Friends, Followers – Scott Kirsner
11:15, Break
11:30, New World of Distribution I – Peter Broderick
12:30, Lunch with Adam Chapnick, Distribber.com, Thomas Mai, Festival Darlings, Jon Reiss, Thinking Outside of the Box (Office), Adrian Belic, Beyond the Call, Genghis Blues, Justine Jacob, Ready Set Bag
2, New World of Distribution II – Peter Broderick
3, Case Studies/Anvil!, Good Dick
4, Booksigning/Thinking Outside the Box (Office)
4:15-5:30, Pitch Workshop
USC, Davidson Conference Center, 3415 South Figueroa

Sa 11/7 2-5:30
Produce and Sell Your Film with Dov S-S Simens
Topics include: Theatrical Deal Memo Points, 7 Major Revenue Sources, Profit Participation Scenarios, Cable/TV/DVD Licenses, Publicity & Festivals, On-Demand vs PPV, Global Revenues, Foreign Sales, Private Placements, Investor Offerings, Gross vs Net, Split Rights & 50-50 Deals, Production-Distribution Agreements, plus Producer’s Workbook/Directory
Fairmont Miramar, 101 Wilshire

Su 11/8 11-12:30
Changing Indie Distribution Strategies
Ted Mundorff, Landmark Theatres, Jon Reiss, Think Outside the Box (Office)…
Le Merigot, 1740 Ocean

Su 11/8 2-3:30
DIY Distribution Playbook
with Adam Chapnick, Distribber.com, Matt Tyrnauer, Valentino, Sacha Gervasi, Anvil!, Scott Hamilton Kennedy, The Garden, Lisa Smithline, Trouble The Waters
Le Merigot, 1740 Ocean
2008 Videos

Su 11/8 4-5:30
SAG/A Filmmaker’s Resource
Le Merigot, 1740 Ocean

M 11/9 11-12:30pm
WGA/Writing for the Genre World
Mick Garris, Larry Cohen, Juliet Snowden, Stiles White, Stephen Susco
Le Merigot, 1740 Ocean

M 11/9 2-3:30
DGA/Online Piracy
Brad Beutlich, DtecNet, Darcy Antonellis, Warner, Jonathan Dayton, Little Miss Sunshine, Andrew Horton, Mark Monitor, Alann McNeil, Deluxe’s Web Watch
Le Merigot, 1740 Ocean

M 11/9 4-5:30
PGA/Package and Finance Indies Oversees
Aurora Productions, Akin Gump, Endgame Entertainment, The Film Department, Paradigm
Le Merigot, 1740 Ocean

Tu 11/10 11-12:30
Indie Marketing with Ondi Timoner, We Live In Public…
Le Merigot, 1740 Ocean

Tu 11/10 2-3:30
WIF/New Hollywood Movie Studio & Social Networking
Le Merigot, 1740 Ocean

Tu 11/10 4-5:30
ASC/Film or Digital
Le Merigot, 1740 Ocean

Sa 11/7 – Tu 11/10 9:30-5
Favorite Film Pitch
Le Merigot, 1740 Ocean

For newbies, there are AFM first-timers guides on working the market at:
IFTA , FilmSpecific, and IndieGoGo.

As for AFM Hotels, many were booked by 10/2 but feel free to try:
- Georgian, 1415 Ocean 90401 ($242-384) 310-395-9945
- Ocean View Hotel, 1447 Ocean 90401 ($224-272) 310-458-4888
- Hotel California, 1670 Ocean 90401 ($260,299+) 310-393-2363
- Hotel Shangrila, 1301 Ocean 90401 ($319-489) 310-394-2791
- Le Merigot Marriott, 1740 Ocean 90401 ($365+) 310-395-9700
- Viceroy, 1819 Ocean 90401 ($348+) 310-260-7500
- Fairmont Miramar, 101 Wilshire 90401 ($324+) 310-576-7777
- Hotel Casa del Mar, 1910 Ocean 90405 ($459+) 310-581-5533
- Sheraton Delfina, 530 Pico 90405 ($267-320) 310-399-9344
- Doubletree, 1707 4th 90401 ($270-$282) 310-395-3332
- Holiday Inn, 120 Colorado 90401 ($248-258) 310-451-0676
- Hotel Carmel, 201 Broadway 90401 ($175-232) 310-451-2469
- Ambrose, 1255 20th Street 90404 ($192-227) 310-315-1555
- Best Western, 1920 Santa Monica Blvd 90404 ($170) 310-829-9100
- Shutters, One Pico 90405 ($575+) 310-458-0030
- Huntley, 1111 Second, 90403 ($350) 310-394-5454
*There is a shuttle for the AFM hotels, parking lots and screenings.

Film Catalogue/445 screenings, 73 premieres including:
- American Sunset (Global Universal) – Corey Haim, Frank Molina
- Blue Seduction (Global Universal Pictures) – Estella Warren*
- Bobby Fischer Live (Amadeus)
- Chloe (StudioCanal, budget $10-25mm) – Julianne Moore
- Dorian Gray (Ealing Studios, budget $10-25mm) – Colin Firth
- From Time to Time (Ealing Studios, budget $5-10m) – Maggie Smith
- Get Low (K5) – Bill Murray
- Glorious 39 (The Works International) – Julie Christie
- Harry Brown (HanWay) – Michael Caine
- Hawaii A Voice For Sovereignty (ITN)
- Junkyard Dog (Epic) – Vivica Fox**
- Kill Speed (Epic) – Nick Carter, Tom Arnold**
- Life During Wartime (Fortissimo) – Ally Sheedy & Paul Reubens
- Love & Other Impossible Pursuits (Essential Ent) – Natalie Portman
- Mama I Want to Sing! (Vision Films) – Ciara & Billy Zane
- Mao’s Last Dancer (Celluloid Dreams) – Kyle MacLachlan, Joan Cheng
- Rounds (Global Universal) – Billy Drago, Mark Attenza
- Saint John of Las Vegas (E1) – Sarah Silverman & Steve Buscemi
- Snowmen (MPower) – Ray Liotta, Christopher Lloyd
- Stay Cool (American Cinema) – Wynona Ryder, Hilary Duff
- The Making of Plus One (New Films) film market wheeling and dealing
- The Meaning of the 21st Century (WWFilmEnt, bud $3-5m) – Michael Douglas
- The Next Three Days (Mandate Intl) – Russell Crowe
*no screening, ** got picked up by Independent Feature Films

And more:
- AFI Fest - free tx to screenings, red carpet events, details here
- IBM/USC Imagine The World in 2050 invite-only event
- TromaDance Film Festival press conference
- 8th Samurai screening at the Consul General of Japan

Events that recap AFM:
- 12/1 Distribution U, San Francisco
- 12/8 DMW/Variety’s Future of Film, Sheraton Delfina

We have heard from the folks who are against the interactive agreement… Now, a word from our members Denny Delk and Holter Graham – two upstanding guys and working actors.

—— Forwarded Message
Subject: My friend Holter

This is an email from my co-chair on the interactive steering committee from New York, Holter Graham. I endorse every word he has written. If you work the contract, vote yes. If you don’t, please make sure this gets to as many performers as you know, in the hope that they work the contract and they will vote yes. Truly, the future of the relationship between the union and the game producers and publishers is at stake. Thanks.
Denny Delk
•••••••••••••••••••••••••••••

Hello All—

AFTRA members are about to vote on a new deal for video games (Interactive Media).

As a chair of the AFTRA Interactive Steering Committee who has been working games for nearly ten years, I have been unerringly in favor of this deal since it first came to AFTRA in contract talks with the gaming industry. AFTRA helped craft a deal that we have repeatedly voted in favor of in the intervening months.

This is a strong deal. Raises when the economy’s in the tank, keeping the extra fee for “remote delivery” that the producers tried to remove, and a new category called Atmospheric Voices that will change the way some of us work, but will also open the union contract up to a large group of potential new employers–those making the increasing number of games that use literally thousands of vocal performances. There are a few folks concerned about AtVo, but the concerns are overblown in this current pressurized climate, and there are protections built into the deal to monitor and address concerns that come up along the way. AtVo will change the work, but it is not a rollback and it allows for the possibility of a lot more union jobs in this booming industry.

AFTRA currently stands as the last place this deal can come home for union members. And if this doesn’t get signed, I believe that whatever we see next will be a whole lot uglier.

Some of you work this contract. Hopefully you already know this is a good deal.

Some of you don’t, but might know someone who does. Feel free to forward this.

At this point we need to get the votes of working members to the tally. AFTRA has joined the 21st Century and the vote is electronic–people get a letter in the mail that has e-voting instructions and info, and then we’re done. So this whole process will happen quickly.

If you work the contract and are on the fence, get off. I’m voting yes, confidently and without hesitation.

If you know any of the more than 2000 AFTRA members who actually work this contract, talk it up, and try to ensure that they vote. If anyone has a question, they can email me and ask.

Long story short: If we don’t get involved and vote, we’re on the brink of being shut out of the fastest-growing facet of the entertainment business: getting shut out of the fastest growing facet of the entertainment business would be incredibly goddamn stupid. So a Yes vote on AFTRA’s Interactive Contract would be a good thing.

Once more into the breach, dear friends, or fill the X-box up with our union dead.

Thanks,

Holter

Subject: To All Interactive Contract Actors

As the LA Co-chair of the SAG side of the Interactive contract negotiations, I agree with the statement below regarding the Interactive contract.

Anthony DeSantis

From and Interactive community member:

Hello, interactive voiceover industry colleagues and friends.

See below:

[October 29, 2009 3:53:06 PM PDT]

“VOTING MATERIALS FOR THE AFTRA INTERACTIVE [MEDIA TENTATIVE AGREEMENT] have been mailed to approximately 2,200 AFTRA members and should be received in the next several days. AFTRA MEMBERS who receive the materials will be able to VOTE ELECTRONICALLY – IMMEDIATELY.
Only about 30% of those who get ballots actually vote on anything (contract or otherwise) but let’s be generous and say that 1,000 are voting.”
[Source: David Sobolov, SAG/AFTRA, SAG Interactive Committee, Interactive Media Voice Actor]

David estimates about 500 votes will be required to win.

For information about the AFTRA Interactive Media Tentative Agreement, contact your local AFTRA offices. Knowledgeable AFTRA Los Angeles contacts I know of may include:

STAFF:

Mathis L. Dunn, Jr.
Assistant National Executive Director
Commercials and Non-Broadcast
Phone: 323-634-8193
Cell: 206-465-6642
E-Fax: 509-561-5556

Chris Hagstrom

INTERACTIVE MEDIA STEERING COMMITTEE:

Gabrielle Carteris
Phil LaMarr

Remember, GET THE FACTS FROM THE SOURCE BEFORE YOU VOTE! If all the information you have is hearsay, rumor, gossip, received second or third-hand, or propaganda, pick up your phone, and call AFTRA for more information.

Familiarize yourself with the deal and the negotiation process. Look at all the deal points, weigh the pros and cons, evaluate what the negotiators got and what they conceded, and make an informed, thoughtful decision.

Don’t forget to vote get the facts!

-ZH

Açılım gazisi siyasi iktidar papatya fallarına bıraktığı seçim ihtimalini Başbakan’ın dünkü demeciyle ‘şimdilik’ sona erdirdi.Bana kalırsa attıkları her adımdan geri dönenler bu sözlerinden de çabucak cayacaklar.Tabansız adımların karşılığı olarak bizlere kaosun matematik problemlerini çözmeyi reva görenlere buradan saygılar.Dahası Abdullah Öcalan’ın “Bu açılım PKK’nın tasfiye sürecidir” diyerek geri adım atması ile fırtınalı sularda yeni bir kayalığa demir atacağız. Kaptanın acemi olmasını bırakın, artık çapa tarıyor.Milletime güvenmesem birbirlerine bayram şekeri gibi darbe belgesi hediye edenlere psikolojik harbin inceliklerine dikkat etmelerini salık verirdim.Taraf Gazetesi’nin 12 Haziran tarihli haberinden sonra TSK, Ankara’lı Tayyip’ten daha usta politik kolbastı oynadığını gösterdi.Helal olsun!

Partiler arenası dün ilginç bir tesadüf daha yaşadı.Anavatan Partisi kendini fesih ederek Demokrat Parti çatısı altına sığındı.Darbe döneminin Özalizm politikaları meşum ardıllarıyla yaşatılırken ampul amblemli iktidarımızı sanırım aynı akıbet bekliyor.Sağlı sollu arayışların yok birbirimizden farkımız çaresizliklerini her seçimde pişirip taşırıp önümüze koymalarını yeğlediğimize göre bu topraklarda başka yemek yok.Bize de paşa paşa hazmetmek düşüyor.Ekonominin kriz çağında darbeler üretmesi demokrasimizin istenmeyen gebelik sancılarından başka bir şey değil.Geçim ihtiyacının seçimlerin önüne geçtiği zor zamanlarda atacağı adımları hesap etmesi gerekenler sorumluluktan uzak bir rahatlık içerisindeler.Hadi ben rahatım ama siz benden bile rahatsınız.Size de helal olsun!

Barzan aşiretinin bile daha ciddi yönetildiği,dış dünyada çadır devletlerinin daha fazla itibar gördüğü dürüstçe kabul edilirse,Türkiye Cumhuriyeti Devleti son iki seçimde ehil olmayan ellere teslim edilmiştir.Kurunun yanında yaş da yanar gibi bir lafı söylemek bizlerin hatalarını örtmese bile erken seçim ihtimali karşısında gerçek alternatifleri daha iyi irdelemenizi bu fakir sizden ister.Soyulduk ey halkım, uyutmayın kendinizi…

Statistics released on Friday, Oct. 23 by the Screen Actors Guild (SAG) show that minority, senior and female actors are underrepresented in film and television roles. A Variety.com article written by Dave McNary says that minority performers reached a high mark in 2007, with 29.3% of total roles, and then declined last year to 27.5%.

I created the following chart for comparison, using data from the 2000 U.S. census report and the new SAG statistics:

As you can see, the numbers are different, but not all too far off. In fact, African-American actors are actually over-represented in Hollywood as compared to the 2000 population. Still, SAG president Ken Howard said that changes need to be made.

“The diverse and multicultural world we live in today is still not accurately reflected in the portrayals we see on the screen,” he said. “We will continue to work with producers, hiring executives and industry professionals in accurately portraying the American scene by ensuring equal access to employment opportunities for all of our members.”

Concerning the battle of the sexes, the SAG stats said that male actors fill the majority of roles, especially in the supporting category, with about two roles for every female role.

And concerning age, roles for both male and female actors over 40 have increased slightly, but still remain at a low percentage in the greater scheme, especially for women—females make up 28 percent of film and TV roles.

In addition, SAG reported that people with disabilities are “virtually invisible” on screen, while 20 percent of the U.S. population is disabled.

The following is a picture from a new FOX television show, “Glee,” which I’ve recently gotten hooked on. If you’ve watched before, you can tell they deliberately used a diverse mix of people to add to the storyline and even poke fun at some of the under-representation and stereotypes this SAG report cites. Has anyone watched the show? What do you think of the characters and plot so far?

Hi All:

I join with Dee Baker in urging you to attend the Interactive vote meeting at SAG if you work the Interactive contract.

Dee’s lament about non affected members being allowed to vote is something that many of us have tried to address, however, the Board of Directors has been dominated by those who oppose such logic… But I digress.

Whatever your personal preference on this contract – show up if you want a voice in the matter.

From: Dee Baker
Date: Mon, 26 Oct 2009 21:34:08 -0700
To: Dee Baker
Subject: Final Notice: SAG Interactive Referendum Tomorrow: Tuesday Night 7:30 at SAG

Dear Interactive Voice Over Friends,

If you have a strong opinion regarding the “atmospheric voices” provision in SAG’s proposed interactive contract, you owe it to yourself to show up to Tuesday night’s (Oct 27th) meeting at SAG, 5757 Wilshire in the Cagney Room for their referendum on the interactive contract.

It could be that any SAG member who shows up can vote, whether they work the contract or not, which I find unfortunate as it at once dilutes and politicizes the process, in my view. The invite says it’s for those who work the contract. There was some of this at last week’s AFTRA info meeting, but the turnout was fortunately mostly affected performers, so the weight of our voices ended up having a solid impact.

This will apparently be the deciding vote on the SAG side. Other cities are voting as well. Only those that show up get to vote at SAG, in contrast to AFTRA, which will apparently mail out ballots nationally to all those that work the contract.

Looks like you need to RSVP to the email below.

Thanks

Dee

Tuesday, Oct 27th,
Los Angeles: 7:30-9 p.m. PDT
James Cagney Board Room, ground floor
5757 Wilshire Blvd.
Los Angeles, CA 90036
RSVP to Mary Hashimoto via email at mhashimoto@sag.org
Parking will be validated.

Bring your paid up SAG card.

Here is a good word from working actor Phil LaMarr

Tonight’s caucus is all important for the Interactive Voice Over community

Tuesday, Oct 27th, 7:30-9 p.m.
5757 Wilshire Blvd.
James Cagney Board Room
RSVP to Mary Hashimoto at mhashimoto@sag.org or call (323) 549-6453.
Parking will be validated.

Bring your paid up SAG card.

From Phil:

Hi, for anybody reading this who doesn’t know me, my name’s Phil LaMarr. I’m a SAG/AFTRA member who does a good amount of voice work for video games. I’ve attended the SAG Interactive meeting in Sept. and I was on the AFTRA interactive steering committee where I voted against this proposal. I’m not going to able to make the meeting Tuesday so I wanted to say why I changed my mind and decided to support this agreement.

At first, I opposed it because it was clear that the atmospheric voices provision was of great benefit to the producers and I questioned whether we were getting anything of value in return. After looking at the details and history of this, I’m convinced that we are getting more and giving less than many of us have been led to believe.

We get: contracts that end together and that only last 15 months.

Synchronized contracts that end in less than a year and a half may not be glamorous, but they are HUGE benefits to us. They keep the unions from continuing to be played against each other. Also, we can start to see the effect of this atmospheric voice category and address any problems in 15 months instead of 2 or 3 years.

Now, some people in both unions are floating the idea that we can make adjustments to the atmos. voice provision or vote it down then tweak it. Unfortunately, that is not true. SAG was negotiating alone and they hit a wall. At that point SAG, AFTRA and the producers decided to have a joint OFF-THE-RECORD discussion and the producers agreed that this was an all-or-nothing deal. If we vote “Yes” it becomes “on-the-record.” If we say “NO” this goes away – completely. SAG goes back to the terms that were on the table when they halted their talks (including an Atmos. VO proposal asking for non-union actors and unlimited word counts) and they try to bargain up from there.

As for the plan that we vote this down then start joint SAG-AFTRA negotiations – that’s a fantastic idea except the producers have to agree to negotiate these two separate contracts together. They might, but why would they? They wouldn’t agree to it BEFORE we rejected the result of 5 mos. of negotiations – why would they now? They want us staggered and imbalanced, I think the only reason they agreed to joint off-the-record talks was for the chance to get the atmos. VO provision into the AFTRA contract 6 months early.

That is all pretty complex so I’ll put it more simply – if we walk away from this we walk into separate negotiations with even WORSE terms.

Now, the other thing that made me consider ratifying this was taking a closer look at the Atmospheric Voice Proposal.

A lot of people are unaware of the protections included. There’s seems to be some confusion about the 300 word limit. People are multiplying by 20 characters and conveniently forgetting that the character has to be able to say a maximum of 300 words WITHOUT advancing the story. These are minor, incidental characters – the hooker in the car in GTA. If you’re voicing a major character they can’t tack on atmospheric ones, they have to bring you in for a separate session. And if somehow you’re able to do 20 distinct characters who have 300 words each the producers still have to fit that into ONE FOUR HOUR SESSION. And if they want “unlimited” voices? STILL ONE FOUR HOUR SESSION. I think they’re creating a category that they will be hard-pressed to maximize.

Some people have expressed reservations about vagueness and potential abuses – that’s the same thing we deal with now. When I voice a palace guard who THEN happens to go to the village inn and get drunk and THEN gets really scared when the market is attacked, who’s kidding who? Those are effectively 3 different characters – I’m being “abused.” At least now it’ll be above board.

And frankly, there’s nothing in this agreement with as much potential for lowering our collective earnings as the 1 hr/ 1 voice & 6 hr/ 6-10 voice clauses that have been in our current agreement for years. We managed those and I have faith that we can manage the difficulties in this new category too. Especially with this many of us active and engaged.

Thanks for taking the time to read this. My aim is not that people agree with my conclusions but that they have all the facts when they come to their own.
If anyone has any questions, corrections or comments please feel free to email me at phillamarr@mac.com.

Have fun storming the castle!

Phil LaMarr

SAG stats: Diversity lags
Minorities, seniors, females underrepresented

By DAVE MCNARYMore Articles:

Minorities, seniors and female actors have achieved few gains in recent years in the number of film and TV roles they receive, according to casting stats released by the Screen Actors Guild.

“The diverse and multicultural world we live in today is still not accurately reflected in the portrayals we see on the screen,” SAG president Ken Howard said in a statement. “We will continue to work with producers, hiring executives and industry professionals in accurately portraying the American scene by ensuring equal access to employment opportunities for all of our members.”

The latest statistics, released Friday, showed minority performers reached a high mark in 2007, with 29.3% of total roles, and then declined last year to 27.5%.

The breakdown of film and TV roles for 2008 was 72.5% Caucasian, 13.3% African-American, 6.4% Latino-Hispanic, 3.8 Asian-Pacific Islander, 0.3% Native American and 3.8% other-unknown. SAG noted in its report that U.S. Census data from 2000 showed that the nation’s population was 73.4% Caucasian, 11.5% African-American, 10.6% Latino-Hispanic, 3.7% Asian-Pacific Islander and 0.8% Native American.

Producers who are signatory to SAG contracts are required to submit hiring data in order to examine the trends of “traditionally underemployed and disenfranchised members.”

SAG also noted that people with disabilities remain “virtually invisible” in casting even though 20% of the U.S. population has a disability.

SAG, AFTRA, Actors Equity and the WGA held the inaugural Hollywood Disabilities Forum at UCLA on Saturday.

The report noted that male actors continue to fill the majority of roles, especially in the supporting category, with about two roles for every female role.

The picture did improve slightly for older thesps.

Roles have increased for males 40 and over, with film parts up from 40% in 2006 to 43% in 2008, while TV roles increased from 40% to 42% in that period; roles for females 40 and over rose in film and TV from 26% in 2006 to 28% last year.

SAG also said that Asian-Pacific thesps were the only minority group to gain from 2007 to 2008, increasing from 3.4% to 3.8%, thanks to gains in TV.

http://www.variety.com/article/VR1118010361.html?categoryid=1055&cs=1

AFTRA and SAG Approve Extension of Contracts Covering Non-Broadcast, Industrial and Educational Agreements
Posted October 15, 2009

LOS ANGELES (Oct. 15, 2009) – The American Federation of Television and Radio Artists and Screen Actors Guild announced today that the AFTRA Administrative Committee and Screen Actors Guild National Board of Directors have approved an 18-month extension to the AFTRA Code of Fair Practice for Non Broadcast/Industrial/Educational Recorded Material and the SAG Industrial and Educational Contract. The contracts, which were set to expire on Oct. 31, 2009, will now be effective Nov. 1, 2009, to April 30, 2011.

In addition to the extended term, the agreement includes a 0.5% increase in employer contributions to the AFTRA Health and Retirement Funds and the Screen Actors Guild-Producers Pension and Health Plans, effective Nov. 1, 2009, and an important clarification that work produced under the contracts is not and never has been intended for the production of commercials.

Roberta Reardon, AFTRA National President praised the extension saying: “Work under the Non-Broadcast/Industrial Code rarely grabs headlines or elevates performers to celebrity status. It does something far more important: it provides steady employment for thousands of union members in small and large markets across the nation. This extension will keep our members working, increase their opportunities to qualify for health and retirement benefits and will permit our unions the opportunity to organize more work for more members under this contract.”

Screen Actors Guild National President Ken Howard said, “These contracts are critical to our members across the country and extending them gives us the opportunity to strategize ways to increase covered work under the agreements. The successful extension of the Industrial and Educational Contract directly reflects the continued importance of joint bargaining and allows our members to continue to work under a fair contract for the next year and a half, and with a bump to their pension and health.”

“The increase in employer contributions to our health and retirement plans, along with the confirmation by the industry that the Non-Broadcast Code cannot be used for commercial production are important achievements in this extension agreement,” said Mathis L. Dunn, Jr., Chief Negotiator for AFTRA.

“We’re glad to have achieved this extension jointly with AFTRA and look forward to joint negotiations again on the Industrial and Educational Contract in 2011,” said Ray Rodriguez, the Screen Actors Guild deputy national executive director who oversees contracts.

The extension agreement was negotiated by both unions under the terms of the AFL-CIO facilitated Joint Commercials Contracts Negotiating Agreement, which governs the bargaining and administration of the 2009-2012 Commercials contracts, and was expanded earlier this summer to cover the 2009 negotiation of the AFTRA Non-Broadcast/Industrial Contract and the SAG Industrial and Educational Contract. The Chief Negotiator for the Industry Lee W. Gluckman Jr., who represented the employers in the negotiations said, “This extended agreement will quite beneficial to producers and their clients in growing production. The ‘no commercials here’ clarification is also an important addition to the contract.”

The SAG and AFTRA contracts cover performers rendering on-camera and voiceover services in sales programs, educational and training videos, informational and promotional messages seen in stores and video included in certain consumer products, and other projects that are exhibited outside of the traditional broadcast arena (with AFTRA’s contract also covering audio-only content, such as telephone messages and sound included in consumer products).

[Puerto Montt, Chile] [En todo el país protestan las organizaciones animalistas contra el inesperado artículo substitutivo presentado por la presidencia que faculta a las municipalidades a aplicar la eutanasia a perros abandonados]. Lo leímos en El Repertuero:

Agrupación Animalista de Puerto Montt Entregó al Senador Antecedentes sobre las Políticas Eficientes de Control Animal y le solicitó revisar con mayor detalle las consecuencias de la norma.Una extensa reunión realizaron los integrantes de la agrupación Albergando un Amigo (AUA) con el senador Carlos Ignacio Kuschel para analizar los alcances del proyecto de ley que regula la tenencia de animales.
En la ocasión le presentaron antecedentes que demuestran con claridad que la propuesta legal no es económica ni éticamente viable. Porque matar perros se hace en forma aritmética (1, 2, 3…), pero los canes se reproducen geométricamente (4, 8,16,32….), por lo que el ciclo nunca termina.
En la ocasión se le expusieron informes veterinarios y material audiovisual que demuestran que la indicación entregada por el Ejecutivo al proyecto de ley en trámite es una propuesta que sólo legalizará la matanza de perros abandonados, sin atacar el problema de fondo que es la reproducción incontrolada de la población canina.
Los dirigentes de la agrupación le demostraron al senador Kuschel que existen alternativas viables y más efectivas de control animal, las que ya han sido probadas en países vecinos, tales como los operativos de esterilización masiva que permiten que se controle efectivamente la sobrepoblación de perros. “Educación, esterilización, adopción y tenencia responsable de mascotas, son los caminos que ayudarán a impedir que los perros se conviertan en un mayor problema social”, explicó Juan José Orellana, vocero de AUA.

Regular con Poca Información
El senador Kuschel reconoció que ni el ministerio de Salud ni el SAG le habían entregado a la Comisión de Salud del Senado todos los antecedentes y alternativas que le mostraron en esta ocasión.
Por ello, tras conversar con AUA señaló que mantenía su propuesta de eutanasia, pero sólo para casos extremos médicamente inviables y que fueran realmente situaciones límites donde no existiera ninguna solución médica y siempre tras prestar asistencia de un veterinario.
Asimismo reconoció que duda que el proyecto pueda ser aprobado por el costo municipal que implicaría la construcción de caniles adecuados similares a los que existen en Europa, y que son del tipo que él tenía en mente al dar su aprobación a la norma.
Por lo anterior se comprometió a gestionar una reunión en el Congreso de los parlamentarios con los directivos de AUA para que estos puedan exponer su información y entregar los antecedentes que el Ejecutivo omitió en su indicación a la ley.
Los alentó, además, a generar en Puerto Montt una iniciativa práctica de esterilización masiva que sirva de ejemplo al resto del país y así cambiar la opinión masiva sobre el control animal.
Finalmente, Kuschel señaló que si todos los integrantes de la Comisión de Salud están de acuerdo, el proyecto de ley sería revisado y corregido de manera tal que favorezca la tenencia responsable de mascotas, promoviendo la esterilización y eliminando el articulado que permitiría la matanza de perros abandonados, dejando la eutanasia indolora como una decisión veterinaria de último recurso para casos extremos de enfermedad terminal.
[26 de octubre de 2009]
[cc el repuertero]

Ekonomik bunalım dönemlerinin anti personel mayını büyüyen milliyetçilik bilinci oluyor.Derin değişimlerin yaşandığı tarih aralıkları kendilerini yeni bir döneme bağlarken ucu açık kalmış nice acıyı tozlu sayfalarda bırakmakta.Yeni Dünya Düzeni’nin yarattığı mikro milliyetçilik 20 senedir etnik çatışmalara sebep olurken kapitalist ekonominin yaşam savaşı vermesi savaş dozu artan küreselleşmenin ayak sesleri ile kendisini duyurmuyor mu?Salgın hastalıklar gibi yayılan nefret,özüne yabancılaşma,ötekine karşı düşmanlık hissi, hoşgörüsüzlük gibi hasletler paraya tapan biz insanoğlunun son dini kapitalizmin can verme sancıları.Ruhumuzu maddiyatla tahvil etmenin yarattığı travma suya tirit vatandaşı faşizme kadar götüren çaresiz bir etnik kimlik bilinci yaratıyor. Ve ne tesadüftür ki bu kimlik kavgasının ideolojik enerji içeceğini büyük dünya güçleri kotarmakta.

Ülkemizde sağa yanaşık düzen, Türk-İslam sentezi mayasını sola karşı yapılan darbeler sayesinde kıvama kavuşturmuştur.Oysa dünyaya açık sol düşüncenin bizimki gibi geri kalmış, özgür olamayan toplumlarda yaşam şansı bulması altılıyı tutturmak kadar aciz bir kumarı içerir.Darbe sonrası umutsuzluklarını Kürtçülük yaparak solculuktan vazgeçmekte gören tatlı su ideologları ise bizim teist liberallerin yanında boynuz kulağı geçer şaşkınlığını hala üzerlerinden atamamaktalar.Kürt Sorunu da sağa yanaşık toplumsal nizamın yarattığı bir Doğu Sorunu’dur.Aynı cinsten kuşlar aynı yöne uçarlar.DTP ve MHP sanal karşıtlığının ideolojik alanda birbirine olan benzerliğini görmek isteyen görür.Savaştan nemalanan bu tür sapkınlıklar cahil cesaretlerini insana ait olan her şeye düşman olan topraklarımızdan alıyorlar.

Bu kadar laf kalabalığından sonra kendimizi tatmin etmenin verdiği hevesle son sözü söyleyelim.Derin bir ekonomik kriz üzerimizdeki tsunami etkisini yeni yeni gösteriyor.Açılımların ardına saklanan siyasi iktidar ile muhalefet genişleyen yoksulluğu bırakıp onun üzerine katık olmuş etnik milliyetçiliği topluma boca ediyorlar. Çürümenin her yanı sardığı vesayet düzeninin hıh deyicileri olmak istemiyorsak hakkımızı aramanın zamanı gelmiş demektir.Günler çok şeylere gebe…

SUPERSTAR MANAGEMENT

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Thanks,

We are offerring two pair of FREE Tickets each to see Queen Latifah November 3, 2009 and Ice Cube December 10, 2009 at The Regency Ballroom in San Francisco, CA for the 8:00 pm shows. The tickets will be awarded via our Twitter or Blog, so if you haven’t already, you should join us on:

Twitter at: http://twitter.com/xzwhy , http://twitter.com/ajalil or go to the
Blogs at: http://superstarmanagement.wordpress.com or http://NowTruth.Org/ and leave your request in the comments box with your email address.

Persona Tour
Queen Latifah

Date: Tue, Nov 3, 2009
Showtime: 8:00 PM
Days until show: 11
Doors open: 7:00 PM

www.queenlatifah.com

Queen Latifah: musician; television and film actress; a label president; an author and entrepreneur. Blessed with style and substance, Queen Latifah has blossomed into a one-woman entertainment conglomerate. Heralded by the press and the industry as a force to be reckoned with, Latifah has quite simply done it all and shows no sign of slowing down. Latifah has had amazing success in Hollywood in recent years, and became the first hip hop artist to be crowned with a star on the Hollywood Walk of Fame on January 4, 2006. She received rave reviews, an Oscar nomination for Best Supporting Actress, a Golden Globe nomination and a SAG Award nomination for her portrayal as Mama Morton in Miramax’s Chicago. Following Chicago, Latifah starred in Disney’s box office hit Bringing Down the House, on which she also acted as executive producer. In addition to music, film and television, Queen Latifah has also written a book on self-esteem entitled Ladies First: Revelations of a Strong Woman. Queen Latifah is diligent in her pursuit of excellence, as is evident by the awards she has received for her work in film and music. Her sincere concern for others is revealed by the generous amount of time and money that she donates to worthwhile charitable organizations. Every year, Queen Latifah serves as co-chairman for the Lancelot H. Owens Scholarship Foundation, Inc. Established by her mother, Rita Owens, to perpetuate the memory of a loving son and brother, the foundations provides scholarships to students who excel scholastically, but are limited in financial resources.

Ice Cube

Date: Thu, Dec 10, 2009
Showtime: 8:00 PM
Days until show: 48
Doors open: 7:00 PM
www.icecube.com

When rap exploded creatively and commercially in the late 1980s, Ice Cube was at the forefront of the expansion. As the lyrical brains behind N.W.A, the Los Angeles-based rapper instantly became a major player in the music game by leading a musical revolution with brutal, profane, politically-infused music that, for the first time in the genres history, sold millions of albums with N.W.As Straight Outta Compton. As a solo artist, Ice Cube became raps premier act with the release of the searing masterpieces AmeriKKKas Most Wanted and Death Certificate.

Now, after becoming Hollywoods most bankable actor thanks to his Barbershop and Friday franchises, Ice Cube returns to his first artistic love, rapping. Laugh Now, Cry Later, the multi-platinum, award-winning music icons first solo album in six years, simmers with celebration, as well as the rage, reflection and introspection that are the hallmarks of timeless music. I feel Laugh Now, Cry Later is the state of the world, of America, of urban America, of hip-hop, Ice Cube explains of his seventh solo album. It seems like everybody is playing and nobody’s worried about anything.

On the explosive Scott Storch (50 Cent, Dr. Dre, Beyonce) produced Why We Thugs, Ice Cube blasts an oppressive system that cripples Americas ghettos and fosters the perpetual ruin of such areas as South Central, Compton and Long Beach, Los Angeles metropolitan areas that have been war zones for decades.

Now, with the impending release of Laugh Now, Cry Later, his first solo album released on his own Lench Mob Records, Ice Cube is on top of his creative game and relishing in his ability to make his latest album at his own pace and on his own terms.

I’m putting my money where my mouth is because theres nothing a major label can do for me that I cant do for myself, he says. Not being signed to a particular label, putting it out myself, not having to worry about what a company or anyone else has to think about the record, being able to just go in and do it how I feel it with no timelines or deadlines, it made me comfortable. I was able to recommitment myself to rhyming and rapping. That all molded the way that this record sounds, which is important because I want my records to last the rest of the year when they come out.

Truth be told, Laugh Now, Cry Later will last well into the next decade.

Please share this info with those interested in attending these shows and see the info on me below.
Peace

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