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Merger Mania

Merger attempt #3

The First and the Last!  The Best and The Worst!

The Great Screen Actors Guild has had a long and honorable history from the First SAG President Ralph Morgan, up and until the last Ken Howard!  But, now SAG is a single  entity no more.  It has been knifed in the back by a group of SAG politicians, including the current SAG President,  who have pursued a path of least resistance!  Instead of standing up for SAG actors by enforcing SAG’s hard earned jurisdiction, Ken, and his gang of least resistance “Unite For Strength,” meekly  stood idly by while AFTRA poached it.

This was done successfully by a group of  UFS  “go along, to get along” board members and SAG staff  (helped by eager producers) with a nefarious agenda to unite the two unions (AFTRA and SAG)  at any cost pursuing the demise of the Screen Actors Guild.

So to the question at hand, who will go down as the best president in SAG history?  Well, it will come as no surprise that the OL’ Dog says Ralph Morgan, not only because he was one of those brave character actors who founded the Great Screen Actors Guild at great professional risk, but because he unselfishly gave up his position to a better known actor for guild credibility purposes.

At the other end of the spectrum, Ken Howard, The SAG President who actively pursued the demolition of the Great Screen Actors Guild, and unfortunately succeeded.  My prediction is that the day will come when struggling actors sit around lamenting the demise of the great union,  residuals, and the long gone days when the mid range actor could make a livable wage.

They will look at all the great SAG presidents with admiration, while disdaining those few who tried to sell them out, and the one who finally succeeded,  KEN HOWARD.

Arl

The Ol’ SAG Watchdog

To view all SAG Presidents go to the following link.

http://www.sag.org/content/sag-presidents

This link will take you to  SAG History and a group photo of SAG’s founding fathers.

http://www.sag.org/history

 

 

Posted: Thu., Apr. 19, 2012, 6:39pm PT

SAG-AFTRA sets first official meeting

National board will meet in Los Angeles on May 19 – 20

By Dave McNary

In its first official meeting since performers created SAG-AFTRA, the new national board will meet in Los Angeles on May 19 – 20.

The agenda for the 110-member panel has not yet been set. The board — populated by members of the former national boards of the Screen Actors Guild and the American Federation of Television and Radio Artists — will meet on a quarterly basis.

Leaders of SAG-AFTRA moved last week to establish the union’s initial 24-member executive committee, which will meet this weekend in New York. Under the merger agreement the SAG-AFTRA executive committee is chaired by co-presidents Ken Howard and Roberta Reardon.

The merged union has about 160,000 members. The current leaders of SAG-AFTRA will be up for election in summer 2013.

Merger backers touted the combined SAG-AFTRA as having more power than the individual unions and asserted that combining the unions is a first step toward combining the separate SAG and AFTRA health and retirement plans. Of SAG members voting, 82% backed the merger while 86% of AFTRA members casting ballots endorsed the combo.

The key SAG-AFTRA master contracts expire in March 2013 for commercials, with talks expected to start in October, and in June 2014 for primetime and features.

Contact Dave McNary at dave.mcnary@variety.com

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Hmmmm….They give their vote count, it’s just no one was allowed to be there to verify their count!!!!

Arl

The Ol’ SAG Watchdog

Judge Denies Attempt to Change Name in SAG Merger Lawsuit

Published: April 18, 2012 @ 5:47 pm 
By Brent Lang  (Updated, 10:00 p.m. PST)

What’s in a name?

For the time being, at least, the newly rechristened Screen Actors Guild-American Federation of Television and Radio Artists will have to go by its former name, the Screen Actors Guild, in a court battle with members protesting its recent merger.

A U.S. district court judge denied a stipulation this week to change the name of the defendant in the suit to reflect SAG-AFTRA’s new moniker.

Unless the plaintiffs agree to refile their lawsuit listing SAG-AFTRA as the defendant, the old name will have to stand.

Last month, the union’s membership voted overwhelmingly to approve joining together with AFTRA.

Also read: SAG and AFTRA Merger Overwhelmingly Approved by Membership

Consequently, the guild had wanted the lawsuit filed by a collection of dissident members to reflect its new name and had filed a stipulation to that effect.

“What the judge did is he told the parties that the proper way to change the name in the lawsuit was not through a stipulation, but by the plaintiffs amending the complaint,” Bob Bush, an attorney for SAG-AFTRA, told TheWrap.

David B. Casselman, an attorney for the plaintiffs, did not immediately respond to requests for comment.

The suit in question alleges that SAG’s board of directors breached its fiduciary duties by failing to conduct a study detailing the effects of the proposed merger on SAG’s pension and health benefits.

Among the 68 SAG members listed as plaintiffs are Martin Sheen, Ed Harris, Valerie Harper, Diane Ladd, Edward Asner, Joe Bologna and Nancy Sinatra.

In a separate order, Judge S. James Otero ruled that SAG-AFTRA had until April 25 to file a response to the suit.

In the March ratification vote, 86 percent of the AFTRA ballots submitted were in favor of merger, while 82 percent of SAG ballots endorsed merger.

From The Wrap

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Hmmmmm…….

Arl

The Ol’ SAG Watchdog

With all the internet chatter about certain disgruntled SAG members going fi-core (Financial Core) in reaction to the destruction of their beloved Screen Actors Guild, the Ol’ Dog decided to take a closer look at the whole issue.  To take a closer look I went to fi-core.com

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Fi-Core or “financial core” status is a distinction within the Screen Actors Guild allowing actors to work both union and non-union jobs.

Arl: “Ah, so it’s like being a SAGAFTRA broadcaster!”

Stemming from a 1963 Supreme Court ruling (NLRB v. General Moters), the result is an option for actors to not be bound by the Screen Actors Guild member requirement of working only on SAG signatory projects. The reality is, under fi-core you are not technically a SAG member, but still pay dues to the union. There is a misconception that you have to become a S.A.G. member before electing fi-core status. That is not the case.

Many argue the S.A.G. web page (view here) explaining the Fi-Core option doesn’t contain all the relevant information and is even misleading. S.A.G. explains a fi-core ‘member’ is actually not a ‘member’ but is classified as a “fee paying non-member’ or FPNM.  Additionally, FPNMs are not supposed to represent themselves as ‘S.A.G. member’ but the site does not detail if a “S.A.G.” and/or “S.A.G. FPNM” distinction(s) are’ allowed.’

Additionally, the site explains “The presumption of Screen Actors Guild is that your resignation is a permanent decision ” Note, they don’t say a FPNM cannot rejoin as a “traditional” S.A.G. member nor any more information on that topic at all.

Another piece of attempted frightening and intimidating information on the S.A.G. page is ” Fi-Core/FPNM are viewed as scabs or anti-union by SAG members, directors, and writers — most of whom also belong to entertainment unions.” It’s interesting to note that cleverly constructed verbiage may lead the reader to assume this claim is being made about “most” actors, directors and writers when that’s not being said – for the simple reason that it would be difficult and likely impossible to back up.

Many actors report horror stories, some coming from Screen Actors Guild representatives themselves, that a large number of producers “blacklist” fi-core actors. To date, we’ve not gotten confirmation of this on any level. The fact is, producers and directors appreciate fi-core actors as they often represent a higher caliber of talent with more experience than typical non-union actors. When it comes to producers and directors working S.A.G. productions, if “union status” trumps talent, appearance and appropriateness for the role, you may want to question the person making those casting decisions anyway.

Arl:  “Hmmm…I believe an important word is missing from that paragraph.  It should read “The fact is (NON-UNION) producers and directors appreciate fi-core actors….”

What S.A.G. doesn’t reveal on their fi-core web page is that a FPNM sees a reduction in dues (about 4%) nor do they reiterate that the average S.A.G actor can expect to make less than $10,000 in annual income. Yet knowing how little money their average member makes, they try to discourage them from taking other work that might bring them closer to an annual income reaching the poverty level! Additionally, fi-core members still benefit from full health and pe, nsion benefits (also left off the S.A.G. fi-core page!). In fact, as of the launching of this site, we’ve been unable to find this little piece of information anywhere on the S.A.G. site.

Arl:  “Ah, look, well….you see, if the membership, you know, on the whole, does non-union work, how much will the average SAG member make, IF ANY, from SAG work….huh, you’ll get back to me on that….right!!!”

February 2001, President Bush signed an executive order requiring unions to disclose to prospective members their “financial core” rights.

Some other sites addressing the fi-core issue:

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Actors choose fi-core status for any number of reasons including disagreement with S.A.G. policies and practices and a desire to work on projects they otherwise would be forced to pass on. Some actors choose fi-core as a result of actions or threats from S.A.G. over past work on a non-authorized project or out of simple necessity and a desire for more work options.

The fact is that some projects simply can’t afford the requirements and/or restrictions of working under a S.A.G. contract. Fortunately, some actors see the reality and do what they feel is necessary despite intimidation tactics.

Arl: “And what projects would that be?  Hmmmm…right,  the ones were the producer decides who gets paid and who don’t!”

Although most fi-core members are stuggling actors just wanting to work and trying to get by on the modest paychecks from intermittent jobs, a few well known talents have made the move as well.

PERFORMERS WHO HAVE CHOSEN FI-CORE STATUS

  • Jon Voight
  • Wilford Brimley
  • Charlton Heston (previously fi-core within Actor’s Equity)
  • George Clooney (fi-core within Writer’s Guild)
  • George Lucas (fi-core status within the Director’s Guild)
  • Quentin Tarantino (fi-core status within the Director’s Guild)
  • Robert Rodriguez (fi-core status within the Director’s Guild)

RUMORED FI-CORE ACTORS we’re looking for confirmation or refutation to update our records

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(The Ol’ Dog blanked out the names as we could not confirm any of them.) 

Any additions or corrections to this list would be greatly appreciated. Please contact us at: admin@ficore.com.

We’re also hoping to add a more detailed fi-core database inclusive of all interested fi-core actors to make available to producers and directors. This resource will include names, photo(s), resume and, at some point, online acting reels. Actors are inv

write us for future inclusion in this database

( Don’t hold your breath!)

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The Ol’ Dog downloaded this from the internet.

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Veteran Actor Jon Voight planned to appear in a friend’s non-union film and was unfairly made a target by SAG . He fired back by enabling his financial core status and taking out a full page letter in the January 25, 2005 edition of the Daily Variety explaining why.

January 25, 2005 Dear Fellow Actors,

Please know that I am deeply moved by your recent nomination for SAG’s “Outstanding Performance by a Male Actor in a Television Movie,” and I want to express my sincere gratitude for that honor. Since then, you may have heard that the SAG board has excluded me from the awards ceremony on February 5, 2005. The published explanation given for my exclusion is not accurate, and I feel I owe a truthful explanation so that what happened to me, should never happen to another actor.

The truth is that during the Summer of 2003, I was approached by a dear friend who had a lifetime vision of directing a piece he had written. He explained to me he had very little money and he would need to feel complete freedom, if there was any possibility to bring his vision to fruition.

When I read the script, I was so moved! It was original, it was spiritual, and I felt it would be important, and an answer to many of our personal sufferings. It wasn’t too long before other people felt the same as I did, and supplied just enough minimal funds so my friend could begin work on his project.

Arl:  “Personal sufferings.  You mean like working our chosen profession for free and against the rules of our union: rules,  by the way, which make it possible for actors to be fairly compensated for their contributions.”

I knew by law I could participate in the project without violating the Guild’s rule against non-union work by electing “financial core” status. I called the Guild to request that status. My request was met with fear and panic from the SAG officer in charge of “financial core.” “Jon, you must not do this,” she said. “You will open the door to all our actors running for financial core.” I thought to myself, “What’s so bad about that? There could be multiple reasons, financial and otherwise, why many creative people might want to do a non-union movie under the protection of ‘financial core.’ ‘Core’ membership is an entitlement of any union member, protected by federal law.” I needed a few days to think about this.

Before I had arrived at a solution, all hell broke loose! Suddenly, there was what can only be described as a brutal attack on the small production, not only by SAG, but other unions as well. They came down hard. It was vicious and ugly. I thought I was living a part in the film, On the Waterfront

Arl:  “By the way, a union film, Jon.”

Our Guild exacerbated the assault with the false announcement to the press that I was the film’s producer. My peers, who were rushed off to join the angry mob on picket lines, had no idea that I was not the producer, and that I had not worked one day as an actor on the film, but the false information they were led to believe was immediately released to the press.

The unions’ scare tactics worked. The crew was frightened to continue, and a small filmmaker’s creative endeavor was shut down after 2 1/2 weeks of work, leaving great financial losses.

Arl: “Hmmm…if the filmmaker didn’t have much money in the first place, how did he suffer great financial loss?”

The ugliness did not end. The attacks on me and the production continued on with vicious taunts and lies spread over the internet. It went on for months, leaving in its wake extreme stress and mental anguish for all involved. If this could happen to me, a veteran actor of 40 years and an Academy Award Winner, I shuddered to think what would be in store for other actors. I wouldn’t want this to happen to anyone ever again.

Arl:  “Hmmm, again.  Jon seemed to think because of his Academy Award he should have  got special attention.”

Because of all the cruel bullying and unfair play, I then decided to apply for “financial core” to see if I could help salvage in any way this original pure vision. I understood that I would give up my right to vote in union matters, but I would be able to work legally in non-SAG films, as well as SAG films. As a “financial core” member, I willingly pay the same dues as all other SAG members, which support the efforts of the Guild to negotiate and administer our contracts, efforts I concur with. I contribute and participate in the various benefit funds on the same basis as a full member. Given the structure of the contracts, my support of the Guild exceeds that of most members.

Arl:  “Don’t break your arm patting yourself on the back, lad.  Just a thought: If all members had your, me first, point of view…ah, there wouldn’t be any union.”

I would hope to think that the anguish and stress that was put upon me would have been enough, but it was not. The SAG board chose to bring me once again what they think is shame, and apparently to warn other actors off joining financial core, by announcing to the press that I was not invited to the ceremony to which my fellow actors nominated me for a union film. All this is because of my willingness to uphold the right to our personal pursuit of freedom and liberty. I am neither sorry nor ashamed for my decision to join “financial core.” My sorrow comes only for a union that can be a great force, that can accomplish much good, and protect, promote, and nourish the actor in his individual pursuits, but does not yet understand that there will be some that will be happy to follow the union in all its rules and regulations, but there may be some that will differ, and follow a destiny of their own choosing, and that is their right, and that is our country’s Constitution

Arl:  “But, then fair is fair Jon.  There are some who will consider it a betrayal when the rules they obey to keep their union strong are knowingly violated; and not, even,  for survival, but because of a sense of entitlement.  Oh, by the way,there are SAG low budget contracts for those like your friend.  Oh, but,but, wait, then he would have to fairly compensate actors if the film was a success.”

I congratulate all my fellow nominees, and wish everyone the best.

With great sincerity,

Jon Voight

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The good news is that under the new SAGAFTRA  it is no longer necessary to go fi-core to work non-union and keep your union card….ah, just register as a broadcaster.  Woof, woof!

Arl

The Ol’ SAG Watchdog

 

SAG’s David White Becomes Sole Exec Director of SAG-AFTRA (Exclusive)

2:54 PM PDT 4/16/2012 by Jonathan Handel

David P. White Headshot - P 2012
David White

Co-National Executive Director and former AFTRA NED Kim Roberts Hedgpeth departs, leaving White as sole NED of the new union – and underscoring the predominance of SAG staff in the merged union’s executive ranks.

Less than three weeks after SAG and AFTRA merged, SAG-AFTRA co-national executive director Kim Roberts Hedgpeth is stepping down, The Hollywood Reporter has learned. The departure of the former AFTRA NED makes her SAG counterpart, David White, the sole NED of the merged union.

Related Topics

Hedgpeth’s exit is effective April 30.

“David White is going to be a great leader for SAG-AFTRA,” Hedgpeth told THR. “I’m very pleased for the members and staff.”

STORY: Ex-AFTRA President to Merger Opponents: ‘Message F—in’ Delivered’

White, a graduate of Stanford Law School and a Rhodes Scholar, served as SAG general counsel from 2002-2006 and NED from 2009 until merger. Hedgpeth is a graduate of Harvard University and Georgetown University Law Center. She worked for AFTRA from 1981 until merger, save for a three-year period from 1998-2001.

Hedgpeth said she will turn her attention to “preserving and protecting my late father’s musical legacy” before engaging in other professional pursuits. Her father, composer Howard A. Roberts, died last March.

In a statement, White commended Hedgpeth for her “tireless effort and many contributions to performers over the years.” SAG-AFTRA co-president (and former AFTRA president) Roberta Reardon said “Kim is in a league of her own (and) an inspiration to me and everyone around her,” and co-president Ken Howard called Hedgpeth “a strong voice and committed activist.”

Although it occurred sooner than might have been expected, White’s emergence as sole national executive director of the merged union is not an anomaly. A close look at a list of SAG-AFTRA executive staff shows that almost every top-level department is run by a former SAG staffer or by co-equal SAG and AFTRA veterans.

Thus, NED White, assistant NED for communications Pam Greenwalt, senior adviser John McGuire, chief financial officer Arianna Ozzanto, chief information officer Erin Griffin, assistant NED for locals Linda Dowell and assistant NED for awards Kathy Connell are all former SAG executives.

ANALYSIS: SAG-AFTRA: 3 Big Challenges for the Merged Union

In contrast, the only former AFTRA executives at the top without a parallel SAG appointment are associate NED Mathis Dunn, and two assistant NEDs for areas where AFTRA had sole jurisdiction: Mary Cavallaro (news & broadcast) and Randall Himes (sound recordings).

Other top staff are the assistant NEDs of contracts, Ray Rodriguez (formerly SAG) and Joan Halpern Weise (AFTRA); and the assistant NEDs for organizing (Phillip Denniston, AFTRA) and for industry relations (Deborah Skelly, SAG).

The legal function is a somewhat special case. Chief administrative officer/general counsel Duncan Crabtree-Ireland, formerly SAG’s GC, has a more senior title than assistant NED / chief labor counsel Thomas Carpenter, formerly AFTRA’s GC. However, both of them report directly to White, as do the other executive staff.

In the elected leadership, most positions draw on coordinate SAG and AFTRA officers and board members. A key exception is the number two officer position – the executive vice president – which is held by former SAG leader Ned Vaughn. He, and co-secretary-treasurer Amy Aquino, originated the merger campaign in 2008 with the formation of their Unite for Strength slate.

Bookmark The Hollywood Reporter’s Labor Page for the most in-depth coverage of entertainment unions and guilds.

Email: jhandel@att.net

Twitter: @jhandel

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Wow!!!!
Arl
The Ol’ SAG Watchdog
MORE
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SAG-AFTRA Co-National Exec Director Kim Roberts Hedgpeth Departing

By DOMINIC PATTEN | Monday April 16, 2012 @ 3:24pm PDTTags: David White, Kim Roberts Hedgpeth, SAG AFTRA

This makes SAG-AFTRA Co-National Executive Director David White the sole NED of the newly merged union.

LOS ANGELES, CA – April 16, 2012 – SAG-AFTRA today announced that Kim Roberts Hedgpeth has decided to step down as SAG-AFTRA Co-National Executive Director on April 30, after 31 years of service to union performers, recording artists and broadcast professionals working in the entertainment and news media industries.

“It was with great pride and enormous satisfaction that I joined union members, colleagues, and staff on March 30th to celebrate the overwhelming vote in favor of the merger of AFTRA and SAG,” said Hedgpeth. “Having achieved this important goal, for which many of us worked tirelessly for so many years, now is the right moment to begin a new chapter in life. I am grateful for the love, respect, and support of our staff and leadership team. And I know the SAG-AFTRA membership will be well served under the leadership of Co-National Presidents Ken Howard and Roberta Reardon and National Executive Director David White.”

Roberta Reardon praised Hedgpeth, saying: “Kim is in a league of her own. She has dedicated much of her professional life to AFTRA and we are all stronger because of that passion and dedication. Through her remarkable negotiating skills at the bargaining table, her superb administration of the Union and her principled attentiveness to the needs of members, Kim has improved the careers and lives of thousands of union members around the nation. She is an inspiration to me and everyone around her, and I am eternally grateful to Kim for her expertise, her guidance and, most of all, her close and sustaining friendship these many years.”

SAG-AFTRA Co-National President Ken Howard said, “Kim has been a strong voice and committed activist on behalf of performers for more than 30 years. We are all extremely grateful for her hard work. She leaves a legacy of outstanding service and representation on behalf of our members and I wish her the best in all her future endeavors.”

SAG-AFTRA Co-National Executive Director David White said, “Kim’s tireless effort and many contributions to performers over the years helped build first AFTRA, and now SAG-AFTRA, on solid foundations that will support and represent actors, broadcasters and recording artists for years to come. I am personally grateful for her leadership during the merger process and the work that she has done to ensure a successful integration of our two organizations. She has our heartfelt thanks and our very best wishes for future success as she embarks on the next chapter in her career.”

Hedgpeth had served as AFTRA’s National Executive Director since 2005. During her career at AFTRA, she served as Chief Negotiator for AFTRA’s national agreements for network news, scripted programming, non-dramatic programs, sound recordings and radio broadcasting, as well as hundreds of local TV and radio station staff and freelance negotiations for various AFTRA Locals. She held a variety of positions in the union since first joining the AFTRA staff in 1981, including Co-Executive Director of the New York Local, Executive Director of the AFTRA San Francisco Local/SAG San Francisco Branch, AFTRA Assistant National Executive Director for News and Broadcast and AFTRA’s Associate National Executive Director.

Hedgpeth is a graduate of Harvard University and Georgetown University Law Center, and from 1998 to 2001, she took a brief hiatus from the Union to serve as Director of Labor and Employee Relations at Harvard University and Vice-President of Human Resources for Safe Horizon in New York City.

Hedgpeth also served as a Trustee of the AFTRA Health & Retirement Funds, a member of the boards of the AFM-AFTRA Intellectual Property Rights Distribution Fund, Alliance of Artists and Recording Companies and SoundExchange, a Vice President of the AFL-CIO’s Department for Professional Employees and a Vice President of the Associated Actors and Artistes of America. She is a member of the Federal Reserve Bank of San Francisco, 12th District Economic Advisory Coun

 

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