Co-Presidents’ Report

National Bd. Report 2

Broadcast Notes 3

Day In the Life -

Ron Cervi 4

Contract Corner 9

Committee Reports 11

H&R Update 12

Of Note 13

Upcoming Events 14

Staff Directory 15

Photo Gallery 16

In Memoriam 17

New Members 18

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EDITOR: KAREN H. LIPNEY

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INSIDE THIS ISSUE

Now that we are SAG-AFTRA, one union, it seemed natural that we prepare one report as co-presidents. We celebrated a milestone event at the Local Board meeting on October 9 - the 80th birthday of a national treasure - Belva Davis. Belva has been a union activist for years; she's been cele-brated and honored by so many organizations that we don't have room to name them all. For more than four decades, she has been the face of Bay Area news and in her "spare" time au-thored a book entitled "Never in My Wildest Dreams: A Black Woman's Life in Journal-ism." Take the time to look at an interview of Belva by Sydnie Kohara. Belva has held many key positions within AFTRA, including Local presi-dent, National Board member, national vice president, and for three decades, she was the

national chair of AFTRA's Equal Employment Opportunities Committee. Belva is also the re-cipient of AFTRA's highest honor, the George Heller Memorial Gold Card. At the final meeting of the AFTRA National Board pre-merger, Belva was presented with the Founders Award. While she will be officially turning her microphone off this November after decades of work as a broad-cast journalist, don't expect Belva to slow down, play golf and sit in a rocking chair. That would NOT be the Belva we know and love.

Good news! San Francisco's film incentive pro-gram, Scene in San Francisco Rebate Program was extended for two more years and signed into law by San Francisco Mayor Ed Lee in June. Industry union members participated fully in the hearings that led up to passage;

Cont’d on page 2

Maria Leticia Gomez and Kathryn Howell

SAG-AFTRA California Urges You to Vote No on Prop. 32 Proposition 32 is on the November ballot in California. It is being touted by

proponents as campaign finance reform for the state. But Prop. 32 is not what it seems. Prop. 32 is anything but a campaign finance reform law. It is a direct assault on unions and their abil-ity to raise funds to participate in political campaigns and an attempt to silence the voices of workers across the state. More information can be found at: http://www.stopspecialexemptions.org/ http://www.CaliforniaLabor.org http://launionaflcio.org/stop-the-special-exemptions-act

DISCLAIMER: SAG-AFTRA is a union comprised of a variety of television and radio performers, including newspersons. California SAG-AFTRA locals’ opposition to this initiative should not be interpreted to be the position of any individual member. As a policy matter and in accordance with the SAG-AFTRA National Constitution, SAG-AFTRA does not raise funds or endorse political parties or candidates.

SAG-AFTRA SAN FRANCISCO-NORTHERN CALIFORNIA

P A G E 2

National Board Report: Musings from your National Board Representative

By Tom Chantler

The newly constructed National Board continues to get its footing structurally and procedurally. Naturally, there is some push and pull in this re-gard as the Committee of Locals seeks to main-tain its voice. Many items of discussion from the National Board

meetings are bound by confidentiality and so I am unable to provide much in the way of detail. Nonetheless, progress is being made on many fronts - particularly the considerable ef-forts to draft the new SAG-AFTRA San Francisco-Northern Cali-fornia Local Constitution and the commercials W&W efforts across the country. With thoughtful, thorough preparation and a strong resolve, we will come out the other end of the commercials negotia-tions with contracts we can be proud of and, more important-ly, increased work opportunities.

I look forward to our newly combined union reaching out to pre-union performers and producers alike in a well-coordinated organizing effort. As a unionist, I want everyone who makes a living in the arts to enjoy the same benefits I have enjoyed. It’s what the union provides me that makes this a career and not a hobby - pension and health benefits, residuals and the myriad benefits of collective bargaining. One thing I struggle to understand on the anniversary of the 99% movement: The best way for the 99% to make headway is to organize so that we might use our collective strength as the 99% movement itself has done. I would think that would cause a rush of people clamoring to get into the trade unions. Maybe union membership takes some backbone. There may be dues to pay or picket lines to walk, but the alternative is wholly un-palatable. Corporate America wins as it endeavors to produce content for the lowest possible cost. Reach around to the small of your back. That indentation is your spine.

Co-Presidents’ Report - Cont’d from page 1

SAG-AFTRA was represented by Co-President Kathryn Howell and Associate Executive/Communications Director Karen Lipney,

both of whom addressed the San Francisco Board of Supervisors. Additionally, the Film California First Program was also ex-

tended for two years through fiscal year 2016-17.

Post-merger: The SAG-AFTRA San Francisco-Northern California Local continues to make inroads in the drafting of a new Local

Constitution.

On Monday, October 22, the SAG-AFTRA San Francisco-Northern California Local held its first general membership meeting,

including a mixer and a member orientation—something for everyone. Despite the strong allure of outside forces, (the San

Francisco Giants playing game seven of the pennant race, and winning, and the third presidential debate), not to mention

heavy rains, members showed up, schmoozed, enjoyed good food and an informative panel discussion.

Members may have noticed changes to the national website - from two websites (AFTRA and SAG) to one, SAG-AFTRA. The

San Francisco-Northern California Local webpages, as well as all Local pages, were given a face-lift. As the rebranding of the

new union continues, be on the lookout for more changes. Be patient - Rome was not built in a day.

Have you gotten used to the word "Local" when referring to SAG-AFTRA offices around the country? No more "branches" and

"locals" - we are all "Locals," we are all one union.

In Solidarity.

National Edward R. Murrow Award: Congratulations go

to Bob Butler (KCBS), who worked with The Lens in producing the audio version of the story of the long, unsuccessful battle of a homeowner to get her home back after it was damaged by Hurricane Katrina. Bob initiated the story with the G.W. Wil-liams Center for Independent Journalism in San Francisco and worked on it for two years before The Lens came on board. Bob said the “story was not being covered in great detail in New Orleans [and] the banks convinced people to pay off their mortgage – keeping the bank whole but leaving people with a piece of property they couldn’t afford to fix.” The Lens was the winner of a 2012 National Edward R. Murrow Award presented by the Radio Television Digital News Association. Other 2012 National Edward R. Murrow Award winners include KTVU-TV Video Newscast, Ten O'clock News, and KCBS Overall Excellence.

Society of Professional Journalists – Northern California Chapter Excellence in Journalism Award Winners: Lloyd LaCuesta (KTVU-TV)—Distinguished Service To Journalism Carla Marinucci (Chronicle) and Hank Plante (former KPIX-TV)

—Career Achievement Award Rachael Myrow and Polly Stryker (KQED-FM)—Arts & Culture KTVU-TV News Staff—Breaking News Dan Brekke, Lauren Sommer, Craig Miller, Molly Samuel, Lisa Pickoff (KQED-FM)—Explanatory Journalism Holly Quan (KCBS)—Feature Storytelling Doug Sovern (KCBS)—Investigative Tara Moriarty, Leslie Donaldson, Tony Hodrick and Dina Mun-sch (KTVU-TV)—Investigative Victoria Mauleón (KQED-FM) – Student Project

NATAS, San Francisco/Northern California Chapter, 2012 Silver Circle Inductees, include Joe Fonzi (KTVU-TV) Cheryl Hurd Faith Sidlow (KSEE-TV) Attend the annual luncheon on Saturday November 3, 11 a.m., Parc 55 Wyndham Hotel, San Francisco. Among the Presenters are Cheryl Jennings (KGO-TV), Wayne Walker (former KPIX), Stefanie Booroojian (KSEE-TV) and Wendy Tokuda (KPIX-TV). Click here for details

BROADCAST NOTES

San Francisco Organizing Efforts

With new staff and a newly merged union, SAG-AFTRA San Francisco-Northern California Local staff is in the process of reaching out to all broadcast shops. We’re working on getting a more complete idea of what’s going on – what’s working or not working in the contract, in the shop, what happened in the past, where we can do a better job, or other non-contractual issues that we can work on. So far we’ve met with about half of the broadcast shops. In August we held four meetings within 24 hours at KSEE-TV and KFSN-TV in Fresno. One of the highlights of the meetings

was the creation of a plan to create a committee at each sta-tion rather than a single steward/shop representative. Because news is a 24/7 operation, a committee of union contacts is ex-pected to improve communication and accessibility to SAG-AFTRA at both stations. The SAG-AFTRA San Francisco-Northern California Local also has a Broadcast Steering Committee (BSC) which will focus on issues that are directly broadcast related, such as mixers, local and national news, industry issues, and support for contract and new organizing campaigns in this area. If you are a Bay Area broadcaster who has ideas about how the union can be proactive in the industry, please contact Lauren Renaud at (415) 391-7510 or email to lauren.renaud@sagaftra.org.

San Francisco Premiere of Save KLSD: Media Consolidation & Local Radio

California Common Cause hosted a screening of Save KLSD: Media Consolidation & Local Radio, a documentary produced by Jennifer C. Doug-las and Jon Monday. Follow-ing the screening, a panel dis-

cussed media reform. Panelists included, (see photo, L to R) Karen H. Lipney, Associate Executive Director/Communications Director SAG-AFTRA San Francisco-Northern California ; Jen-nifer C. Douglas, Producer; Helen Grieco, Common Cause northern California organizer; and Tracy Rosenberg, Media

Alliance managing editor. Representing reporters, anchors, DJ’s and talk show hosts on local radio, the former American Federation of Television and Radio Artists (AFTRA) has long been a proponent of retaining limits on the consolidation of media ownership, having filed comments with the Federal Communications Commission as recently as March 5, 2012. In its filing, AFTRA stated, among other things, “Relaxing ownership rules will lead to a less competitive media marketplace that is less responsive to the public need for infor-mation.” As a panelist, Ms. Lipney spoke of issues impacting localism which SAG-AFTRA faces at the negotiating table with broadcast employers, such as the use of voice-tracking, which eliminates local programming in favor of canned formats , cross-assignment between TV and radio, reduction in hours of local news, joint ventures which reduce competition between broadcast owners, news sharing and outsourcing of news.

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P A G E 4

A Day In the Life of an Airborne Reporter – Ron Cervi

Editor: Ron, I’m going to set the stage here for the readers. You have an interesting job – you are an airborne reporter for Metro Networks, now called Total Traffic Network. And you are unusual (knock wood) in that you have been employed in your job for over 20 years, although the owners have changed over time. You have experienced flying in both helicopters and airplanes and you report traffic from the aircraft to radio listeners during the busy commuter hours. It is common for airborne reporters to work a split shift and even though you don’t do it any longer, you worked a split shift every day for 20-plus

years, working the early morning drive, taking a break, then going back to work and up in the air for the afternoon drive-three hours in the AM drive (6 a.m. to 9 a.m.) and almost three hours in the PM drive (4 p.m. to 7 p.m.). You are married and have two sons. People who have not met you are not aware that you are 6’1”. Editor: How did you get started as an airborne reporter? Ron: I went to San Francisco State University. Through the Broadcast Department, I got an internship in the newsroom at KMEL (back when it was “the Kamel”). After graduation, I was hired as a news report-er at K101. But that was part-time, so I thought I’d pick up a few hours a week at a start-up company called Traffic Central. I was living in Hayward at the time and Traffic Central was located at the Hayward Airport. The company provided traffic reports for several radio stations including, KCBS, KNBR and K101. I thought I’d just work there as a producer until I could find a full-time gig somewhere. But Traffic Central offered me a reporting job on the weekends doing the beach reports for KSJO. Wow…that was fun. Every Saturday and Sunday I’d hop in an old Cessna 172 and fly over Santa Cruz to check out weather and parking conditions at the beaches. It was a very conversational report, usually about a minute or two, twice an hour. Well, actually it didn't start out as fun. It always took me a couple of days to get my stomach used to flying in a small, bumpy plane. Just as I'd get used to it, the weekend was over and I'd go through it all over again come the next Saturday. Eventually I figured out that I had to eat something before I flew, but not too much. Once I figured out the formula, I loved that job. I took the reports seriously and studied all the off ramps, street names and parking lots. I guess I was doing something right, because when the summer was over, I was offered the daily afternoon traffic reporting shift on KEZR. It was the PM drive, three hours a day, five days a week. I wasn't sure I wanted to be pigeon-holed as a traffic reporter because I considered myself a news journalist. So I told my boss-es I would only do it as long as it was fun. That was 24 years ago! Editor: Was this an AFTRA job? Not originally. It was about that time, 1988 I think, when a couple of co-workers decided to approach AFTRA about organizing our shop. That is a story in and of itself, but needless to say, we voted over- whelmingly in favor of AFTRA representation. I will say that getting in on the ground floor was great. We

Cervi - Cont’d from page 4

created a custom-made contract focusing specifically on airborne concerns, among other things. Issues that were unique to the airborne reporters were addressed, such as split shift compensation, airborne fees and stress days. Editor: Then you began reporting for KCBS-AM? Ron: Well, as a news journalist, that of course was the goal. In the spring of 1989, employed as a Traffic Central airborne reporter, I worked the afternoon shifts, which meant doing the KCBS reports. I was a nervous wreck. Not only was it KCBS, but the traffic anchor was the legendary Ron Lyons. It was very intimidating. We did (and still do) six traffic reports an hour, which means we had (and still have) 10 minutes be-tween each report. That first shift, it seemed like 10 seconds. I’d finish one report and felt like I immedi-ately had to prepare for my next one. When that first shift was over, I asked Ron [Lyons] how it went. In typical Ron fashion, he instantly re-plied "Well, I thought you’d be a lot worse." I still don't know if that was a compliment... but it made me laugh and helped to relieve the pressure I was feeling. By summer of 1989, I was working both morning and afternoon drive reporting on KCBS. On KCBS, we aren’t simply traffic reporters - we are field reporters covering various breaking stories, including fires, riots and bomb threats. Being in the airplane, we can often be the first on the scene to any breaking story. I can't believe I've been reporting on KCBS for 23 years. But it's like I told my boss many years ago, I'll only do it as long as it's fun. I am lucky to have found a job I love. Editor: What are some of your most memorable experiences as an airborne reporter? Ron: I've worked many historical moments. Just last month I was in Sky 1 when the Space Shuttle En-deavor took its last flight around the Bay. I was in the air during the Rodney King riots in Oakland, the 101 California shootings in San Francisco, and the Oakland Hills firestorm of 1991. In fact, I was the last plane flying in the western United States on September 11. But my most memorable experience was October 17, 1989, the day of the Loma Prieta earthquake. The entire Bay Area was excited about day three of the Bay Bridge Series, i.e., the World Series in which both Bay Area teams, the San Francisco Giants and the Oakland A's, were playing against each other. I knew that later in the day I'd be able to fly over the game and catch some of the action from the air. It was just after 5 p.m. and we had crossed the Dumbarton Bridge and were beginning to head south to-wards San Jose when my pilot yelled to me that the San Jose Tower was experiencing an earthquake. He said "quick, look at the ground!" From an airplane, during an earthquake, you can actually see the land rolling. So the pilot and I both immediately looked towards the East Bay hills where the Hayward Fault is located - couldn't see a thing. Earthquakes move about 35 mph so if we had been on the other side of the Bay we might have

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Cervi - Cont’d from page 5

seen the wave working its way to Candlestick Park and San Francisco. Instead, it was silent and peaceful. That's when, at 5:04 p.m., the reports started coming in. The images from that day and the next few days are burned into my memory - the collapsed Cypress Structure with dozens of plumes of black smoke coming out from the crushed lower deck, the paralyzed Bay Bridge, the scattered fires…. We received several reports which turned out to be erroneous, like reports of the collapse of the San Mateo Bridge, which we immediately checked out. KCBS stayed on the air during the whole ordeal. We did as many reports as we could, but with the power outage at the airport, we were required to land by sunset. We were up in the air again extra early the next morning and even then, the sites were as grue-some as the previous day. Editor: I think anyone who was in the Bay Area when the Loma Prieta earthquake hit has indelible mem-ories of that day, and stories to relate, but yours are particularly poignant because of your unusual per-spective.

Editor: What was your scariest moment? Ron: The planes we use have two gas tanks. The pilot can choose either tank, or the general practice is to simply keep the dial in the middle and drain gas from both tanks equally. One afternoon my pilot set the dial over to the left tank only and then forgot about it. We were over the Oakland Hills when the left tank ran out of fuel – the engine died! It is pretty scary when you are in a plane one moment with the normal “plane noises” and then suddenly silence reigns. The plane will glide for quite a while, but we were noticeably losing altitude much too fast for my com-fort level. The proper procedure would be for the pilot to go through the check list for the most com-mon causes of engine failure, while I would be searching for football fields, parking lots, deserted streets, i.e., suitable places to land. The problem was that we were over the Oakland Hills and there are very few landing strips in the hills. Thank goodness somewhere on the pilot’s checklist is a note to double check the fuel tank dial. When the pilot came to that note, he remembered he’d earlier set the dial only to the left tank and immediate-ly corrected it! The engine sprung to life - not a moment too soon as far as I was concerned. That grind-ing engine noise was indeed welcome! Editor: I don’t know about any of our readers, but I was holding my breath there for a moment! Are my lips blue? Editor: Now, let’s talk about a “regular day.” Can you describe a typical airborne shift?

Ron: I get to sleep late compared to most people who work the AM drive. I wake up about 5:15 a.m. I'm in radio, so I don't need to put much thought into my wardrobe. I usually prepare a mug of coffee and a small breakfast to bring with me onto the plane - usually a piece of fruit or a breakfast bar. As

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Cervi - Cont’d from page 6

I’m driving to work, I listen to KCBS to hear what stories are breaking and where the hot spots will be. I usually arrive at the Hayward Airport just in time to hear the 6:18 a.m. KCBS report. By then I usually know where I'll be heading. Editor: Do you always fly regardless of weather conditions? Ron: We have certain rules we have to follow. For example, we must always be at least 1,000 feet above any populated area. In addition, we must always be at least 500 feet below the cloud base. That means we always hope that clouds will be at or above 1,500 feet. On those days, we will have pretty good ac-cess to the entire Bay Area. If the clouds are lower than 1,500 feet, we will often need to use instru-ments to fly through the clouds and search for areas we can cover. Rain does not usually pose a problem. I love flying in a good rainstorm but we do need to be careful about wind conditions and of course, if there's any lightning in the area, we land immediately. Editor: Do you speak to the pilot while you are flying? Ron: We have an intercom system so we can talk to each other through our headsets. But the pilots spend a lot of time dealing with towers, and I spend much of my time passing on traffic information to the producers’ desk or setting up the next report with (KCBS traffic anchor) Kim Wonderly. Editor: Does the pilot know where to go or do you direct him or her to specific areas? Ron: We have certain routes we follow, but traffic is different every day and you never really know where you'll be sent next. The producers are in constant touch with the California Highway Patrol and other emergency agencies. When the producers hear about a breaking story, whether it's traffic or a news emergency, they will pass the information to me and I'll tell the pilot. Editor: What do you like best about being an airborne reporter? Ron: I love being first on the scene of a breaking story and the first to report that a problem is cleared. There really is nothing like live radio. The immediate feeling of community is evident when we provide alternate routes and immediately see people turning around and heading that way. Sometimes on the day after Thanksgiving, I like to head over a crowded mall and point out an empty parking spot and watch several vehicles turn around to try to get to it. Yes, there really is an empty space. One of my favorite moments was one busy Friday afternoon shift when I spotted a car stalled in the mid-dle lane of the Nimitz Freeway. I was reporting on the stall when a truck pulled up behind the stalled car and attempted to push it off the crowded freeway and on to the shoulder. But nobody was letting the truck and the stalled car move over. So, over the air I asked if someone could slow down long enough to let the truck assist the stalled car out of the lanes of traffic. At that point another vehicle worked its way across three lanes of traffic and stopped just before the stall. The truck was then able to assist the stalled vehicle off the roadway to safety. I thanked the good Samaritan, as did Ron Lyons.

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Cervi - Cont’d from page 7

These feelings of instant community always remind me of the beauty of radio.

Editor: I had not thought about “community” in those terms so thank you for pointing that out. Editor: What's the difference between flying in an airplane and a helicopter? Ron: The first time I ever flew in a helicopter was when I was going to do traffic for both KCBS and KPIX Channel 5. It was a system the two stations worked out where I could report for both at separate times. It was a great idea and worked very well for several years. But flying in a helicopter is VERY cool. The sound is completely different from an airplane. Chopper 5 had a jet engine in it, so it was very powerful, very fast and very fun. I remember we came up to an ac-cident and I asked the pilot if he could circle it. He said "No, but I can do this..." and he came to a com-plete stop. Wow! To be 500 feet up and suddenly stop. It was amazing. The chopper had different rules to follow than aircraft, so it could fly much lower than the plane and we could get very close to events. Editor: So you reported on TV as well – how was that? Ron: I liked it very much. Of course, the main problem with working on TV is you need to look present-able. Radio people aren't necessarily used to that! I had to remember to do things like, you know, comb my hair, wear a decent shirt, smile.

Editor: Do you get the chance to spot conditions or problems from the air that have not yet been re-ported to the authorities, such as a bad accident, a fire, downed power lines, etc.? Ron: Yes. That's one of our main duties as airborne reporters. Sure, we can go wherever a main story is and report on it. But to be the first to see and report a story is always the best. There have been many times when the CHP has learned of an accident from us. And yes, the CHP does monitor KCBS radio. I've been quoted by their spokespeople several times. Editor: Ron, thank you SO much for your time. I really enjoyed getting the inside scoop on airborne re-porting. I can’t speak for others, but I think we take airborne reporters for granted – meaning that you all are up there reporting on traffic conditions, but we don’t think much about the why’s or how’s. And by the way, my husband is a big fan of yours. When I told him I was going to interview you, he said “You mean THE Ron Cervi – the traffic guy?”

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CONTRACT CORNER

Background Actors Working in Television

In accordance with the 2011-2014 AFTRA National Code of Fair Practice for Network Television Broadcasting (the Network Code), the minimum rates for background performers differ, depending on several factors. Some of these factors are noted below.

The length of the program (e.g. 5 minutes or less, 5 to 15 minutes, 15 to 30 minutes, 30 to 45 minutes, 45 to 60 minutes,

60 to 90 minutes and 90 to 120 minutes);

The rate is also affected by whether a background performer is appearing in a prime time dramatic (i.e., scripted show), a

daytime serial, variety show or all other non-dramatic shows, (e.g. reality shows, documentaries, etc.);

Rates vary depending on whether the program is covered under the terms and conditions appearing in the “front of the

book” (FOB) for serials and non-dramatic programs or Exhibit A of the Network Code, for dramatic programs produced for

network prime time, and the CW Supplement thereto;

Rates also vary depending on how many days a background performer is initially scheduled to work. Additionally, the num-

ber of hours worked each day and whether the background performer is expected to perform under certain specific condi-

tions: e.g. smoke, wet, etc., as well as how long the background performer is expected to remain available to the producers

can affect a background performer’s compensation.

The current rates for background performers working under the Network Code (FOB) (at p. 10) and Exhibit A (at p. 1) can be

found on the SAG-AFTRA website. Effective November 18, 2012, the FOB rates increase by (2%). Similarly, Exhibit A rates

increase by 2% on July 1, 2013.

Tips: Prior to leaving the set for the day, be sure to ask for and retain a voucher/contract filled out and signed by the produc-

tion company. Background performers are NOT required to sign a blank voucher. If a voucher/contract is not available, keep

detailed notes of the following information: a) show time, b) wrap time, c) any requests to bring wardrobe, d) directions to

speak dialogue/lines (i.e., upgrades), who gave the directions, and e) any other matter related to the role on a particular pro-

gram.

If you have any questions, please call the SAG-AFTRA San Francisco-Northern California Local at (415) 391-7510. Having de-tailed information ready and available when you call will assist the staff to answer your questions.

Congratulations to San Francisco Director Philip Kaufman and

Hemingway & Gellhorn on receiving 15 Emmy® nominations

and two Emmy® wins (Outstanding Musical Composition for a

Miniseries, Movie or a Special and Outstanding Sound Editing

for a Miniseries, Movie or Special) for the HBO film shot pri-

marily in the Bay Area.

Production and filming took place over a six-month period, a

fast pace when compared to feature film schedules. San Fran-

cisco was made to resemble Spain, Shanghai, Havana, Key West

and Finland. Using green screen technology enabled the pro-

ducers to place actors in scenes using archival footage. Leg-

endary editor Walter Murch, was a major force in creating the

unique look of the film which tells the love story between Hem-

ingway and respected war correspondent Martha Gellhorn.

Kaufman hired dozens of local actors for principal roles and

there were hundreds of days of employment for background

actors. During a May interview with The Examiner, the director

commented, “This area is amazing, not only for topography

and architecture, but if you want China, we’ve got Chinatown.

We’ve got a diverse group of actors, and all kinds of talent.”

Mr. Kaufman also noted, “I never go to L.A. We get a lot of

offers, but they’re not things we want to do. But we get to live

here. That’s the compensation.”

P A G E 9

HEMINGWAY & GELLHORN GARNERS 15 EMMY® NOMINATIONS! By Kathy Goodin

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SAG-AFTRA Reaches Historic Deal with Record Labels

Landmark Deal is the First Industrywide Agreement Covering Music Video Performers

While the broader entertainment industry has been highly unionized for decades, music videos have been an exception. Music videos became a significant part of the industry after the launch of MTV in 1981, but for the next 30 years, there was no industrywide contract cov-ering performers. Music video dancers and other per-formers decided to tell the record labels that “it’s about time” for a fair agreement. More than a year of organiz-ing included town hall meetings, a YouTube video cam-paign with messages about performers’ right and condi-tions, and a flash mob in front of Sony Music headquar-ters, all of which generated increasing pressure on the labels. The dancers’ campaign culminated with a threat of a “No Contract No Work” order that would have halt-ed production on music videos. At 1:30 a.m. on June 1, 2012, after long days of bargaining, and after decades of work, these performers won their contract.

The three-year agreement, between SAG-AFTRA and Universal Music Group, Sony Music Entertainment, Warner Music Group, EMI Music and The Walt Disney Co., covers dancers and other performers on music vid-eos produced by those entities and most of their subsid-iary labels. It ensures that those who work on music videos have basic health and safety guarantees, mini-mum daily rates and contributions to their retirement plans.

The agreement includes improved rates, as well as basic protections that had previously been absent from sets, i.e., guarantees of water, shelter, toilets and chairs.

On July 21, the SAG-AFTRA National Board unanimously approved the new agreement. Read More

The SAG-AFTRA San Francisco-Northern California Local Commercial Contracts Wages & Working Conditions Committee Prepares for Upcoming Commercial Con-tracts Negotiations The SAG-AFTRA San Francisco-Northern California Local

Commercials Wages & Working Conditions Committee (W&W) began its work on September 13, 2012, in coor-dination with Local W&W committees around the coun-try. Locally, the W&W Committee drafts proposals based on input from members-at-large as well as com-mittee members – input gained from the experience of working under the terms and conditions of the commer-cials agreements. These proposals are then shared with other Local W&W committees for review and comment. Likewise, the San Francisco Committee receives, reviews and comments on the contract proposals of other Local W&W committees. This process happens in each Local across the country so that eventually all Locals draft, review and comment on all proposals. The proposals generated by the W&W process are then used as the basis for drafting national proposals in preparing for negotiations for the new commercials contracts, which are currently scheduled to begin in 2013.

It is only through the involvement of members that pro-posals for this vital negotiation are developed, including participation in the caucus process, and sharing input and views with committee members and staff. Many thanks to the members of the committee for dedicating their time and for their service.

The commercials contracts are presently scheduled to expire on March 31, 2013.

CONTRACT CORNER

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THE CONSERVATORY CONTINUES TO RAMP UP By Phillip Ramirez

The San Francisco Conservatory is in full swing these days, and bigger/better than ever! The Conservatory Committee continues to bring quality workshops to the membership. Voiceover, how to build your own in-home studio, monologues, cold readings, auditions, finding your inner actor – these are just some of the workshops that San Francisco members have come to expect. Dedi-cated members and local teachers form the core of work-shop presenters. Classes are often held at San Francisco State, in the union office or in a professional studio.

The Committee meets the first Monday of each month in

the SAG-AFTRA San Francisco-Northern California Local to brainstorm ideas that will bring more value to the mem-bership. What’s in store for the future? Dialect classes, headshot workshops and on-camera presentations are in the works.

Anyone with an idea for a workshop is welcome to attend the committee meetings.

Editor’s Note: Phil Ramirez chairs the committee with staff support from Business Representative Joel Reamer.

USING WORDS TO CREATE WORLDS: AN AFTERNOON WITH SAG FOUNDATION BOOKPALS By Lynne Maes

On September 8, a talented, diverse, and committed group of union actors threw themselves into dis-cussions about early childhood experiences with literature and

reading, and the harsh realities facing children on the wrong end of the achievement gap. Nevertheless, lots of laughter—as well as periods of quiet reflection—accompanied our exploration of the ways performers can use their skills and talents to foster literacy and language development. Veteran BookPALS Julie Ow (accompanied by the inimita-ble Sock), George McRae, David Stein, and Malcolm Gris

som shared success-stories, challenges, and nuts-and- bolts strategies learned from experience, as well as some very funny stories. We were even treated to a serendipi-tous visit from superstar Los Angeles BookPAL Sally Shaub, who shared not only her wisdom and experience, but also a superb short film, The Fantastic Flying Books of Mr. Morris Lessmore, based on a story by William Joyce.

Many thanks to the SAG-AFTRA San Francisco-Northern Cali-

fornia Local for welcoming San Francisco BookPALS—the all-star team of Phil Ramirez, Karen Lipney and Vicki Balich anticipated our every need, and, most importantly, pro-vided the platform for an opportunity for professional and personal growth.

Curious about BookPALS? Give me a call at (415) 391-7510 ext. 501 or contact me at lmaes@sagfoundation.org.

COMMITTEE REPORTS

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Reminder: Health Plan premiums increase effective January 1, 2013. The Health Plan’s annual 5% premium in-

crease will become effective for the first quarter of 2013 (premium due date December 21, 2012). The new 2013

Health Plan premiums are listed below. For more details including information for active coverage with buy-up pre-

miums, see the September 2012 AFTRA H&R Benefits Update posted on the News and Updates page of the H&R

website.

1 The participant must qualify for family-level coverage to receive coverage that includes any dependents at the premium levels indicated above.

Type of Coverage Current Quarterly Premium New Quarterly Premium – 1/1/13 Participant only (active coverage) $381 $400

Participant and legal spouse or do-mestic partner only (active cover-

age) $6681 $7011

Participant and child(ren) only (active coverage)

$6681 $7011

Full family (active coverage) $7321 $7691

Retiree only (Senior Program) $151 $159

Retiree and legal spouse or domes-tic partner only (Senior Program)

$4391 $4611

Retiree and child(ren) only (Senior Program)

$4391 $4611

Retiree full family (Senior Program) $5011 $5261

On July 22, 2012, the SAG-AFTRA National Board of Di-rectors of met in Los Angeles via videoconference in the final day of a regularly scheduled two-day plenary. The National Board voted overwhelmingly (99.47%) to approve a motion urging the union and industry trus-tees of the SAG-Producers Pension and Health Plans (P&H) and the AFTRA Health & Retirement Funds (H&R) to undertake expeditious and appropriate action to cre-ate a unified health plan for performers, broadcasters and others working under SAG-AFTRA collective bar-gaining agreements, and to implement immediately a reciprocity agreement between the two existing health plans. The Board also urged the plan trustees to review the feasibility and advisability of creating a unified defined benefit retirement plan and reciprocity agreement be-tween the existing pension and retirement plans.

The Board specifically directed the union-appointed trustees of the plans to treat as priorities the creation of a unified health plan and the immediate implemen-tation of an interim reciprocity agreement between the existing health plans and to meet for the purpose of discussing the actions necessary to create a unified health plan and a unified defined benefit retirement plan. Read More At its meeting on October 27, the Board received a re-port on the progress of reciprocity and/or merger of the SAG-Producers Pension & Health Plans and the AF-TRA Health & Retirement Plans. The trustees of both organizations, which are separate from the union, have initiated formal communications regarding the issue of reciprocity and, ultimately merger between the plans, and discussions are progressing between the two organizations.

AFTRA H&R Update

SAG-AFTRA National Board of Directors Votes Overwhelmingly to Urge AFTRA Health and Retirement Plan Trustees and SAG-Producers Pension and Health

Trustees to Move Forward on Benefit Improvements

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The Media Room at the SAG-AFTRA San Francisco-Northern California Local offers a new Mac computer

with Pro-tools 10 for demo tape recording and editing. Call the office at (415) 391-7510 in order to re-serve the room.

***

SCHOLARSHIPS AVAILABLE to members in good standing:

John L. Dales Scholarship Fund - SAG Foundation Program

George Heller Memorial Scholarship Fund- AFTRA Foundation Program

Union Plus Scholarships - AFL-CIO

***

Staff Notes: Update your Rolodex, smart phone, telephone book, Outlook contacts, etc. Whatever

method you use to keep your contacts, note the new SAG-AFTRA email address for the SAG-AFTRA San

Francisco-Northern California Local staff. The new protocol is “first name.last name@sagaftra.org.” If you want to send email to the San Francisco Local in general, send it to sf@sagaftra.org. Email to the SAG-

AFTRA San Francisco-Northern California Local or individual staff members @aftra.com will no longer be delivered.

So long to Melissa Martin, broadcast executive assistant. Melissa, who worked in the SAG-AFTRA San Fran-

cisco-Northern California Local for two years as support to the San Francisco Broadcast Department, trans-ferred to the SAG-AFTRA New York Local. She is now an associate business representative in the Theatri-cal Department. We wish her the best of luck as she tackles new contracts and new challenges. Melissa is an NYC young woman at heart and has reported that she’s enjoying the city and her new job.

***

AFTRA-SAG Federal Credit Union

The premier source for financial services and support among entertainment industry professionals. Since 1962, ASFCU has stood side-by-side with hard working performers like you as a provider of superior ben-efits, from auto and home loans, to custom savings plans, Coogan accounts, Young Performer and Teen Access accounts, investments, retirement and estate planning.

You’re in Good Company

The perks of AFTRA-SAG Federal Credit Union membership are reserved for a very select group; profes-sionals in the business of entertaining. Perhaps the biggest advantage we offer is that membership gives you an ownership interest in the Credit Union. Unlike traditional “for profit” banking institutions, profits earned at ASFCU are returned to you in the form of better rates, better products, better benefits and better service.

OF OF OF NOTENOTENOTE

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Upcoming Events

SAG-AFTRA Receives AFL-CIO Charter

In a ceremony in Washington, D.C. on August 1, 2012, the AFL-CIO granted a charter to SAG-AFTRA. SAG-AFTRA joins 55 other unions, comprising more than 12 million working men and women, under the AFL-CIO banner. Photo L to R:

AFL-CIO Secretary-Treasurer Elizabeth H. Shuler, SAG-AFTRA Co-President Roberta Reardon, AFL-CIO President Richard Trumka, SAG-AFTRA Co-President Ken Howard,

and AFL-CIO Executive Vice President Arlene Holt Baker.

Be on the lookout for e-blasts with detailed information:

Donuts with the DGA (11/10/12)

Negotiating Personal Services Contracts and Understanding your

Collective Bargaining Agreement (11/17/12)

Monument to Harry Bridges

“Anybody want to know where to put your faith for the future, for a good country

and a good living? Put it with the labor movement, cause there ain’t no other place to put it.”

- Harry Bridges

San Francisco has named a plaza at a gateway to the City in honor of Harry Bridges. The Port Commission calls for

the Committee for Harry Bridges Plaza to raise a monument on the site – a monument to the spirit and vision of

Harry Bridges and for all the men and women of 1934. A monument to the man who believed in the dignity of

working men and women, who left this nation a better place for all, whose vision has touched every corner of the

world.

For more information contact:

The Committee for Harry Bridges Plaza

P.O. Box 475787

San Francisco 94147-5787

(415) 441-6626

SAG-AFTRA San Francisco-Northern California Local Staff Directory

Call the main number at (415) 391-7510 and we will be happy to direct your call. Fresno and Sacramento members call toll free (888) 238-7250. Email the SAG-AFTRA San Francisco-Northern California Local at sf@sagaftra.org, find us on the website, and like us on Facebook

Len Egert, Executive Director (ext 315)

Administrative head, Broadcast, Agency matters

Karen H. Lipney, Associate Executive/Communications Director (ext 317) Communications, Legislation, Health and Retirement benefits

Frank Du Charme, Interim Broadcast Director, Local Senior Advisor

Joel Reamer, Business Representative (ext 239)

Theatrical, Interactive

Barbara Massey, Business Representative (ext 309) Television and Radio Commercials, Non-Broadcast/Corporate/Educational Videos, Infomercials

Barry D. Schimmel, Business Representative (ext 318)

TV and Radio programming, Sound Recordings, Broadcast

Lauren Renaud, Organizer (ext 303) Local Organizing, Broadcast

Arceli Natividad, Office/Accounts Manager (ext 304)

Jessica Bowker, Executive Assistant (ext 312)

Assistant to Executive Director, Governance

Margaret Bonneville, Staff Assistant (ext 302) Television and Theatrical, Commercials Administration and Claims

Marifel R. Fuentecilla, Membership Coordinator (ext 230)

Vicki Balich, Communications Administrative Assistant (ext 319)

Newsletter, Committees, Events

Concepcion Castillo, Receptionist/Membership Clerk (ext 301)

Luke McLaughlin, Document Clerk (ext 225)

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San Francisco Photo Gallery

Celebrating Belva

AFTRA H&R Workshop

Faith Fancher Breast Cancer Walk

A Visit from

Mathis Dunn & Linda Dowell

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... of the Woody Allen

Film

On the Set...

In Memoriam

Marialyce Abbott Dorward By Joe Paulino

Former SAG San Francisco Branch President Marialyce Abbot Dorward passed away after a long illness at the age of 82. Mrs. Dorward enjoyed a long career in the entertainment industry beginning at NBC in New York City where she worked her way up from "script girl" to assistant director for many radio and television shows. After a stint in Rome, where she taught English and did ADR on a number of Italian films, she relocated to Marin County, California, where she became quite active and respected for her work in the local theatre and background actor communities. I had the pleasure of serving as vice president during the last two years of Mrs. Dorward's SAG steward-ship. I dearly remember her wonderful blend of subtle elegance and warm, down-to-earthiness. When I ultimately took over as president, she was most generous in showing me the ropes without showing me up. For me, Marialyce will always stand as an example of a local artist who placed craft and community above politics and competition. On behalf of SAG-AFTRA, I offer a toast to the wonderful memories of a well-lived life, and our sincere condolences to her loving family.

George Harris (KCBS) By Bob Butler

I was the morning editor for several years when George was the morning reporter. George and I would sometimes get together for "lunch" after getting off at 11 a.m. Sometimes lunch would last until nearly dinner time. But no matter how late he stayed out, George would always show up at 5 a.m., ready to go. He was unflappable on the air and was known as the best breaking news reporter in the Bay Area. When George was on the story, you didn't have to worry. George had a number of health problems through the years. He was once hit by a car while walking home. I visited him often while he was in the hospital. He recovered. He had other problems that attacked his body but he never lost his spirit...or that voice. I will always remember that voice. We talked before he retired and he said he wanted to keep working but he physically just couldn't do it anymore. My heart goes out to Camille, Adrian and Isaiah. Your dad was the best!

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Welcome New Members* January 1, 2011 to June 30, 2012

*AFTRA, SAG (pre-merger) and SAG-AFTRA

Alejandra Cerball

Alex Savidge

Alex Skylark

Alexander Sofiyev

Alfonso S. Faustino

Ally Marie Johnson

Ama Daetz

Anastasia Durbala Mandeville

Anna Trinidad

Aubrey Aquino

Azikiwee Anderson

Benito M. Selim

Benjamin Lamarr Colbert

Beth Bemis

Biff O’Hara

Bill Dietz

Boyd Smith

Brad Miller

Brandon Richard

Brooke Michael Smith

Cara Liu

Carlo Magno

Carlos Rubinstein

Carolyn Hu

Catherine Bolt

Catie Cleary

Charly Kayle

Chelsea M. Plummer

Cheyne Pearson

Christa Petrillo

Christian Harris Neeman

Christina Birdsall

Christina Johnson

Chuck McBride

Cloud Mykals

Clove Galilee

Colby Katz

Connor Mulqueeney

Daisuke Dice Tsutsumi

Damon Lee

Dan Scanlon

Dan Rubin

Daniel Jay

Daniel Olson

Danielle Hale

Danny Webber

Darren Douglas Alberti

David Ewing

Deborah De Alva

Denis Boulankine

Derek Russell Mobraaten

Devin Kordt Thomas

Dimitri Kapsalis

Dina Lawrence

Dominic Roseland

Dorothy Aiko Endow

Douglas Porter

Elaine Chu

Elise Hodge

Elizabeth Lawrence

Ellison Horne

Eric Burton Frederic

Eric Davis

Erica Hernandez

Erin Mulvey

Etienne Vick

Fiona Lakeland

Gail L Fenton

Georgia T Willow

Gerry Sluzas

Gil Diaz

Gillian Bolt

Ginny Gardner

Giulianno Lopez

Grant Imahara

Guy Fieri

HaleyAnn Johnson

Hector Maldonado

Henry Rosen

Hunter Milano

Issey Mika

Jack Bright

Jacquelyne Price

James Bailey

James Hyneman

Janee Crump

Janet Dyer

Jeff Clark

Jeff Rankin

Jeffrey Tyler Opine

Jennifer Jolliff

Jerry Becker

Jess Martin

Jessica Blue

Jessica Day

Jessica Provencher

Joan Marie Estrada

Joanna Bennett

Joe Parrilli

John Moeslein

Johnny La

Joletta Hardman

Jonathan Filipko

Jonathan Woo

Jonny Ash

Juan Pablo Cabrera

Jude Vargas

Julia Smyth

K C Farrell

Karina Cabrera

Katherine Marzullo

Kathleen Collins

Katie Smith

Katie Rose Cunin

Kelcie Stranahan

Kellie Johnson

Kelly Pisarri

Kiffiny Wittstrom

Kristin Hanes

Kristin Carolyn Kueter

Kyoko Dole

L. J. Batinas

LeAnne Rumbel

Leigh Wolf

Leonard Apeltsin

Lil BIGZ Capitule

Linda Vito

Lisa Washington Rushing

Liz V Kennedy

Lois Ann Miles

Louis R Riviere

Lyle Yetman

Maggie Leigh Dahlen

Magnolia Rice

Mango

Mark Barbolak

Mark Edward O Neill

Mark Lavell

Matt Anderson

Matthew Van Slyke Matthew Heinze

MC RAI

Melanie Pittman

Melinna Bobadilla

Michael Klemp

Michael Medici

Michael Ritz

Michael J. Carrier

Michael Sanjurjo

Michelle Chu

Michelle Bellaver

Michelle Kiyono

Mike Howard

Mike V. Gray

Miriam Chase

Mitch Cruz

Nancy Jo Sale

Nicole Medoro

Olivia Keegan

Olivia Lua

Osh Frog Bartlett

Patrick Russell

Peter Finch

Phil Kruse

Philip Casiano

Philip Goleman

Phillip Garcia

Randall Thom

Richard Camp

Rick Moffatt Rick Montanez

Ricky Saenz

Rizzo Gray

Rob M Bryan

Robert Michael Aldredge

Robert Zimmerman

Rus Chao

Ruth Virata

Ryan Acton

Ryan Augenstein

Ryan Pratton

Sam Kikes

Samantha Sinclair

Samuel Baca

Sanela Inajetovic

Sarah Shoshana David

Satish Ullal

Scott Broderick

Sean Gilvary

Sebastian Kunz

Shelia Collins

Shelley MacKay

Shelly Kudrov

Sioux Matson-Krings

Sofia Ahmad

Sonoko Konishi

Stephanie Mills

Stephanie J. Chuang

Stephanie Wenger

Stephen Dietz

Stephen Gustavson

Steve Voldseth

Steve Purcell

Steven Spohn

Steven Jon Nichols

Steven Wiig

Terrell Norris

Terry Lane

Tessa Dixon

Thomas Dalby

Timmy D Faul

Tina Gilton

Tina D’Elia

Tjoe Rothenfluh

Tony Quintero

Tony Sommers

Tricia Kanne

Tristan Avelina Cunningham

Tyler Nunes

Victoria Wolter

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