From Start…Recently, a group

of local member leaders and staff representing both AFTRA and SAG met informally with Susannah Robbins, the newly appointed Executive Director of the San Francisco Film Comm-ission. Together we began mapping the road to collaborate

in order to bring more film and TV productions to our area and we expressed our desire to see more production covered under our Union contracts. You can read more about our conversation with Ms. Robbins on page 3. To Finish…On October 4, 2010, a long-time

employee of a local radio station called it quits. Considering that now (voluntarily or not) people change jobs every few years, I found it striking that this individual worked for the same company for 35 years. But it really wasn’t the same company because over a period of three decades, this professional had to maneuver to “serve, inform and entertain Bay Area residents, while still satisfying the profit demands of four different owners.” I am speaking of President and General Manager of KGO AM and KSFO AM, Michael (Mickey) Luckoff, who clearly had enough as his letter of resignation expressed: “I have repeatedly assured our incredibly talented and loyal staff that I would stay until they or the on-air product we created became compromised. Unfortunately that

San Francisco

Open Mic

December 2010 Winter Edition Volume #4

From the President Features

From the President

W&W 2010 Non-

Broadcast

Dana King,

Anchor…Artist

Susannah Greason

Robbins – Meet the New

Exectuive Director of

the San Francisco Film

Commission

AFTRA and SAG

Television Commercial

Contracts - Waivers

AFTRA Visits LucasArts

What AFTRA Means to

Me

AFTRA and SAG

Tentative Agreement

with AMPTP

Carbon Monoxide

Emissions – Live Trucks

Interactive Media

Negotiations

H&R Update

Your Union and Social

Media

MAO Headshot Clinic

Things We Want to Know

Did you move recently?

New phone number?

New e-mail address?

New agent?

time has come…The day you’re not able to stand behind or believe in the decisions you are being asked to make is the day you must be true to yourself and to those you care about. Thus, I am closing my door for the final time here at KGO and KSFO.” While all of us want to be true to ourselves, not all of us have worked long enough to be able to retire in the manner and style of Mr. Luckoff, nor can we switch careers overnight and walk out on the increasingly unfair demands imposed on the workers (including managers) in today’s broadcasting industry. But not all is lost. At KGO AM and KSFO AM (and at other stations in the San Francisco Bay Area and across the United States) AFTRA members are coming together in solidarity at the negotiating table. We are all aware of the bleak economic times we live in so we don’t ask for outrageous salary increases. We are all aware of technological changes in the industry so we don’t fight against new technologies that make sense in our newsrooms. What we do fight against is the continuing erosion of our journalistic integrity and the compromise of our on-air product. To put it another way, we fight to maintain the quality of journalism while maintaining fair wages and working conditions at our shops.

(Continued on page 6)

The AFTRA and SAG Non-Broadcast Industrial/Educational Recorded Material Contracts (Non-Broadcast Codes) expire on April 30, 2011. The San Francisco local Wages and Working Conditions Committee (W&W) is seeking input from the San Francisco membership in preparation for the AFTRA and SAG negotiations that will commence in the first part of April, 2011. Discussions regarding contract provisions and policies began in November. The formal (local and national) W&W process for these contracts is set to begin in February 2011. If you have any suggestions for the upcoming negotiations, please submit your comments in writing via U.S. Mail to the attention of Business Representative, Barbara J. Massey or via e-mail to bmassey@aftra.com, subject line “Non-Broadcast W&W.”

Wages and Working Conditions Committee Process Set to Begin for the

AFTRA and SAG Non-Broadcast Industrial/Educational

Contract Negotiations

San Francisco - Open Mic 2

Dana King, Anchor…Artist Who is Dana King? We all know Dana King as a

witty, intelligent, playful, force of nature, with a wicked sense of humor, a television anchor and reporter type, and AFTRA shop steward. But wait, there's more…. There’s Dana King, the artist. Yet one and the same. This piece is the first in a series of interviews featuring your AFTRA colleagues from another point of view. This is an opportunity to get to know AFTRA members other than what you see or hear in front of the microphone or camera. AFTRA: Dana, first of all, thank you for your time,

I know how busy you are. Now, to the reason for this interview. If I visit your website at www.danakingart.com, in the artist's statement you say, among other things "Today I prefer the presentation clay and canvas provide. Tomorrow, who knows?" So let's talk about today and a little bit about the road that brought you to today. I heard a rumor that you are work ing on getting your Master's Degree in Fine Arts. Is this true? Dana: Yes, I am through roughly a third of my

master’s degree in classical sculpture. I only take one class a semester. It’s definitely an art degree delayed as my first undergrad dream was to study art but I decided against it and ended up with a business degree instead. I then spent the next 20+ years building a career in broadcasting. I only picked up a paint brush again in 2000 as a way of expressing myself without words. AFTRA: What types of projects are you working

on in clay? What subject matter do you prefer to sculpt? Dana: I prefer to sculpt the human form in all its

imperfect beauty. Right now I am finishing a life size torso modeled after Bernini’s David. I plan on making a mold of it and pouring it in bronze. It’s an exciting and exacting process from start to finish and oddly enough … it’s akin to finishing a really great book … you don’t ever want it to end. I learn so much every time my hands touch the clay. AFTRA: Are you presently working on canvas?

What type of paint do you prefer and can you describe your style? What subject matter do you prefer to paint? Do you work in another medium besides clay and paints? Dana: I am attracted to the human form when I

paint as well. I used to paint on canvas but now prefer the surface of birch wood much better. It’s inflexible and I like having control over that of fabric. I worship oil paint. I love the smell of it, the texture of it as it glides onto my palette and how it blends with a medium. I particularly enjoy the ritual of lining up the colors and preparing to paint … thinking about how each stroke will carry the weight of the paint onto the surface. I am

beginning to think about experimenting with different mediums beyond oil paint. I like the texture and luminosity of wax and may attempt to use it on “canvas” as well as on my fired clay pieces. AFTRA: When did you first discover your love for

creating works of art? Have you always had a creative side and if so how did it manifest itself other than what you are doing today? Dana: My mom will tell you I have ALWAYS been

creative and who wants to argue with any mom? But seriously, my creative outlet until this “art school confidential” kind of change has been storytelling. Telling stories on television requires persistence, laser focus and also an ability to improvise. After all these years in the business, I have just found myself wanting to find another way to communicate…a way of telling a story that would last longer than two minutes at a time (or more like a minute-thirty!). Fine art provides that for me because each time you look at a piece, you may see something different and art can last forever. AFTRA: Do you take classes? And if so are

they part of your fine arts degree studies or do you find classes of interest to learn what you think you need to learn? Dana: Good question. Since I don’t have an art

related undergrad degree, it is important to me to follow a traditional academic schedule. But getting a degree will not stop my desire to cont inue learning and growing as an artist. I will always be a student of art.

(Continued on page 6)

“Telling stories on

television requires

persistence, laser focus

and also an ability to

improvise. After all these

years in the business, I

have just found myself

wanting to find another

way to

communicate…fine art

provides that for me”

3 San Francisco - Open Mic

Susannah Greason Robbins - Meet the New Executive

Director of the San Francisco Film Commission Ms. Robbins was kind enough to agree to an informal meeting with representatives of AFTRA and SAG the last week of October. For the Unions, this was a chance to meet and speak with Ms. Robbins as she was transitioning to her new position and not yet weighted down with an impossibly harried schedule. At the time of this writing, we assume her schedule has taken on a life of its own. Representing AFTRA and SAG were Leticia Gomez (AFTRA Local Board President), Michael O’Brien (Co-Chair of the joint Union Communications Committee), Karen Lipney (Associate Executive Director) and Joel Reamer (Business Representative). Also invited was Curran Engel, from the Academy of Art University. Although we had prepared an agenda of sorts mostly to guide the conversation, the main point of the gathering was to meet Ms. Robbins, to learn about her background, what she wanted to accomplish in her position, and to talk about our mutual goals –

bringing more work to this area and making the process of shooting here user friendly. A significant start is the Hemingway & Gellhorn HBO project scheduled to shoot in early 2011. The discussion was free-flowing and light while we bandied about ideas for everything from the permitting process, to bringing related groups together, to Film Office media kits which would include information heralding the professional performers that reside and/or work in northern California. The serious note throughout the meeting was the mutual acknowledgment of the need to bring work to San Francisco and how to accomplish that. Ms. Robbins was energetic, enthusiastic and serious in her desire to make a difference in her new role. She admitted that she had a lot to learn about her job, but her background in the industry bodes well for her success.

Signatory employers are prohibited under the terms of the Commercials agreements from asking, demanding, requiring, etc., performers to waive any term of the Commercials Contracts. Conversely, no individual performer can agree to waive the terms and conditions of the agreements. This applies to both principals and background actors. PRODUCERS DO ASK FOR WAIVERS FROM MEMBERS

At some of the recent television commercial shoots, members have been asked to sign waiver forms. Waivers have been called by various names, including: “Name and Likeness Release,” “Print Release,” “General Release,” “Consent and Release,” “Waiver,” or “Nondisclosure Agreement.” These forms are sometimes presented to the member as waivers that apply to print media only, or as non-disclosure agreements or confidentiality agreements, but the waivers almost always have provisions that say the actor releases the rights to his/her image for use in print, broadcast, or film in perpetuity. Members presented with waivers at the time of reporting for the shoot or on the evening before often find it difficult to consult an agent or Union representative with such short notice. If you are asked to sign a waiver you have the right to refuse and should do so. STRATEGIES TO STAY WAIVER-FREE AND PRESSURE FREE

Many members feel unduly pressured to sign waivers when asked by an employer. It is not always easy to “just say no” and decline to execute waivers when other members don’t seem to care or don’t feel comfortable speaking up. Strategies for avoiding confrontation when asked to sign a waiver include: 1. Call your local Union representative immediately. He or she can make a set visit without indicating who or why the visit is being made. The Union representative will request the employer stop handing out the waiver forms and, if necessary, advise that

such behavior could be considered to be an unfair labor practice under federal law. 2. If you are not able to speak with your Union representative, call your agent (manager, attorney, etc.) and ask your agent to speak to the producer or contact your Union representative; 3. Explain that you are unfamiliar with the form and refuse to sign. For example, you can say “I know nothing about signing anything unless it is the Standard Employment contract. I need to run this by my agent” or “I can’t sign this now without asking my agent (manager, attorney, etc.), but will take it to my agent (manager, attorney, etc.) to review”; 4. Talk to members on the set and make sure that you are all aware of your rights under the Union contracts and coordinate your refusals to sign. OTHER SUCCESSFUL STRATEGIES?

Let us know if you have used these or other successful strategies and share the info with your brother and sister AFTRA and SAG members. And don’t forget, next time you see a Union representative on the set, “waive” hello.

AFTRA and SAG Television Commercials Contracts IT’S NOT COOL TO WAIVE THE RULES: RELEASES, WAIVERS, AND NONDISCLOSURE AGREEMENTS

STRATEGIES TO STAY WAIVER-FREE

AFTRA Visits LucasArts AFTRA staff recently paid a visit to LucasArts at the Letterman Digital Arts Center in San Francisco's Presidio. LucasArts is one of the largest producers under the Interactive Media Agreement in the Bay Area. Darragh O'Farrell, Director of Audio for LucasArts, gave a tour of the facilities to AFTRA’s National Associate Executive Director Mathis Dunn, San Francisco Executive Director Frank Du Charme, and San Francisco Business Representative Joel Reamer. Highlights included the massive computer server room that LucasArts uses, along with Industrial Light and Magic, for their work, and the studios utilized by AFTRA members when they work at LucasArts (replete with Foley soundboards), as well as conversations with LucasArts employees regarding their roles with the company.

San Francisco - Open Mic 4

I joined AFTRA in 1968 as a Desk Assistant working for KCBS. I have been a Union member for 42 years and a Board member for almost 20.

In 1968, only on-the-air folks had an AFTRA contract at KCBS. We

Desk Assistants decided as a group that we also wanted AFTRA representation. We took a secret ballot and for the first time, personnel not part of the on-air staff at KCBS were represented by the Union. In 1977, I was terminated from KCBS. There was a dispute about back pay and severance and the Union went to bat for me. As a result the dispute was settled in my favor with several thousands of dollars awarded to me. A couple of years later I got a job as the on-air meteorologist at the old KSFO owned by Golden West Broadcasting and Gene Autry. The AFTRA contract at that time had a provision whereby any taped re-plays of my weathercasts were to be paid at one-half the freelance rate. As it turned out, nobody was keeping track of the replays and we discovered that the station was not paying for the extra broadcasts. AFTRA again went to bat for me and filed a claim against the

employer. When the smoke cleared, I was awarded $12,000 and more importantly, the amount was credited to my pension. I can't tell you how much I appreciate the Union and what it has done for me. It is also why I am a Board member and an officer - because I think it is important to give back to the Union. All I can say is that the Union is ONLY as good as its members - if we, collectively are weak, so is the Union. The membership meetings are held to provide you with useful information – your attendance is important not only for yourself but to show other members that you are also involved and interested. The Union is here to serve its members, and believe me, everyone who works in our AFTRA-SAG office is working because THEY want to serve the members. Any problem or question no matter how small is welcomed by the staff. There is a lot of satisfaction by those folks behind the scenes when they can straighten out a Health and Retirement problem or question. Support your UNION and it will support you. Editor’s Note: Mike is currently the Recording Secretary of the San Francisco AFTRA Local Board, as well as holding a freelance seat.

WHAT AFTRA MEANS TO ME By Mike Pechner

AFTRA Welcomes the Following New Members:

Joe Senteneri

Keahu Kahuanui

Nick Kum

Elizabeth Wenger

Logan Dor Petrin

Heather Hiatt

Kimberlee Sakamoto

Charlie Ibsen

Janagi Arasu

Gitu K. Mohinani

Kennan Johnston

Erica Kato

Judson Emery

Roshni Shukla

Shannon Nicholson

AJ Lo Cascio

Mark Barboalk

Jennifer Roybal

Alicia Luce

…Of Note

Belva Davis, Author.

“Never in My Wildest Dreams, A Black Woman’s Life in Journalism” will be available in February of 2011. Blake Christopher Mibach 7lb 15oz, born April 27, 2010 at 5:03am Born to Mike Mibach (KTVU) and Kara Mibach

AFTRA congratulates Rosie Allen, Belva Davis and Wendy Tokuda on

Lifetime Achievement Awards from NorCal RTNDA - presented at the Outstanding Journalism Awards and Lifetime Achievement Awards celebration on November 6, 2010 at the Hotel Kabuki.

BROADCAST STATION CONTRACTS Station Contract Status Contract Term

KBLX-FM Closed 2007 - 2011

KCBS-AM Newspersons Closed 2007 - 2011

KCBS-AM Editors Closed 2008 - 2011

KDTV-TV Closed 2009 - 2013

KFSN-TV Closed 2010 - 2012

KGO-AM Open (company emerging

from bankruptcy)

2005 - 2007

KGO-TV Closed 2010 - 2012

KISQ-FM Closed 2006 - 2011

KLLC-FM Open (pending global

voice-tracking

negotiations)

2006 - 2009

KOIT-FM Open 2004 - 2008

KPIX-TV Open (currently in

negotiations)

2006 - 2009

KQED-FM Closed 2009 - 2011

KRON-TV Newspersons Closed 2010 - 2012

KRON-TV Writers, Directors Closed 2010 - 2012

KSEE-TV Closed 2010 - 2013

KSFO-AM Open (company emerging

from bankruptcy)

2003 - 2007

KTVU-TV Newspersons Closed 2010 - 2011

KTVU-TV Writers Open (currently in

negotiation)

2008 - 2010

Metro-Shadow Closed 2005 - 2011

5 San Francisco - Open Mic

AFTRA and SAG Reach Tentative Agreement with AMPTP

on New Television and Feature Film Contracts

On November 7, 2010 AFTRA and SAG announced that they had reached a tentative agreement with the Alliance of Motion Picture and Television Producers (AMPTP) on successor agreements to the AFTRA Primetime Television Agreement (Exhibit A of the Network Television Code), the CW Supplemental Agreement and the Producers-Screen Actors Guild Codified Basic Agreement for feature motion pictures, scripted network primetime television and pay television programs. Working together, AFTRA and SAG succeeded in negotiating new three-year agreements. Highlights of the new tentative three-year agreements include a 6% wage increase over the term of the agreements with 2% in each of the three years, effective July 1 of 2011, 2012, and 2013. Additionally, a 10% increase was achieved in the current rate of employer contributions paid to the AFTRA Health & Retirement Funds and SAG Pension & Health Plans. This 10% increase brings the total contribution rate to 16.5% (effective July 1, 2011) and represents the largest dollar value increase to the plans under these contracts since the plans were founded, and is the largest percentage increase to the plans in more than two decades. Additional highlights include expanded coverage over made for

new media production, an expansion of major role provisions to new pay television series commencing in their second season, and an increase in the number of covered background actors in SAG theatrical and television productions in Western Zones. Formal negotiations between the 26-member Joint AFTRA-SAG Negotiating Committee began on Monday, September 27, 2010 in Los Angeles. Talks were preceded by months of joint wages and working conditions meetings held this past summer. In San Francisco, AFTRA and SAG members were encouraged to submit issues regarding the AFTRA Exhibit A and SAG TV/Theatrical Contract provisions that they felt should be addressed. Input from these submissions helped to inform the proposals that were then developed by the San Francisco AFTRA/SAG Joint Wages and Working Conditions Committee. The new three-year agreements are subject to approval by the Joint National Boards of AFTRA and SAG, and ratification by both unions’ memberships. The current contracts expire on June 30, 2011, and the new three-year agreements will be effective from July 1, 2011, through June 30, 2014.

Carbon Monoxide Emissions Working in Live Trucks – What to Look For

Your AFTRA colleagues at a New York station were discovered to be suffering from carbon monoxide (CO) poisoning while working in live trucks. Unaware of the symptoms of CO poisoning, in many cases the newspersons ignored the initial symptoms, attributing them to other causes, and only took action as their conditions worsened. The New York AFTRA Broadcast Staff vigorously pursued this matter with the station management and as a result, the company agreed to take specific steps to prevent further recurrences. All of the instances of CO poisoning occurred while the reporters worked in the live trucks over a period of time (over 60 minutes), while the truck engine was off and the truck generator was on. What is Carbon Monoxide: CO is a natural by-product of incomplete combustion from fuel burning sources. It is a colorless, odorless, tasteless, non-irritating toxic gas. It is virtually undetectable without special instruments. Its vapor density is slightly lighter than air, so once it is emitted and cools to room temperature, it will disperse evenly throughout the room. How does CO poisoning occur: CO is absorbed into the body through the lungs where it is transferred to the blood and displaces the oxygen in the blood stream where continued exposure can asphyxiate the individual. CO poisoning essentially disrupts the blood ability to transport oxygen to the body. Determining Levels of Exposure: Factors in determining the levels of CO poisoning are: the concentration of the CO inhaled (this is measured in parts per million [ppm]); length of time of CO exposure; activity while inhaling CO; and the individual’s body size and the physiological factors. Recognizing the symptoms: It is important to recognize the

symptoms of CO poisoning and its progression. Initial symptoms can include: • headache (mild to severe) • fatigue • nausea • dizziness • confusion • irritability As the symptoms progress, they can include: • vomiting • drowsiness • loss of consciousness The final symptoms could include: • seizures • coma • permanent brain damage • death AFTRA engaged a professional industrial hygienist to advise on this matter, and among other things, to determine whether the New York incident is an isolated matter or one that is endemic to live trucks everywhere. As the results of this investigation continue, the New York Local will share its findings. While there appear to have been no reports of CO poisoning in the AFTRA shops in the SF or Fresno markets, if you or anyone at your station has ever experienced any of the above symptoms while working in the live trucks, please contact the San Francisco Local immediately at (415) 391-7510. Editor’s Note: Thanks to Rich Larkin, Peter Fuster and Sean Taylor in the NY AFTRA Local for providing the information for this article.

San Francisco - Open Mic 6

Dana King, Anchor…Artist (Continued from page 2) AFTRA: Aside from the very obvious question as to how you find

the time to pursue your art and a demanding career, would you agree that your approach to art and to your broadcast career are similar? What I mean is that you demand excellence and quality standards from yourself in the newsroom; does the same go for your art? And the follow-up question is: just as you had to gain experience over the years in the news business, do you allow yourself the same learning curve in your art? Dana: It’s funny, the older I get, the more unappealing the idea of

“success” is to me. I know…crazy, huh?! But the measure of success for me has morphed beyond what is deemed socially acceptable. When I started in the business, I felt pressure to do well because the people around me were exceptional and deserved a colleague that didn’t embarrass them. I needed to get up to speed immediately and then once there, excel. The standards were set by external factors. This time around, the art itself determines the standards. Each piece of art creates its own guidelines for success. I have no choice but to be patient because the creation will be finished when it’s finished and I’m good at giving it all the time it needs. AFTRA: If you could be any animal, what would you be? Just

kidding! Would you say at this point in your artistic development that you have a particular style? For example surrealism, still life, portraiture, cubism, impressionist - that's about the extent of my artistic knowledge. Dana: My daughter would just say that my art is dark. It’s

representational but beyond that, classifying it is open to interpretation. AFTRA: From a superficial point of view, one could draw a

distinct line in the sand between the rigid world of broadcast (including unforgiving deadlines and objectivity in reporting) and the free-flowing world of artistic creativity which knows no bounds. What are your thoughts on this concept? Dana: I prefer to highlight the similarities as there are more of

them than there are differences between the two disciplines. The biggest one to me is that I am my own product and depending upon how I conduct and market myself, I will either succeed or fail. Creativity is a required job skill for both as is having a thick skin. Because criticism comes with the territory, it is vital to develop an ability to assess one's abilities and shortcomings and either work on them to refine them or accept them and focus on other positives. Another is a strong work ethic. There will be no success in either field of endeavor without it. AFTRA: it is too easy and too comfortable to define people in the

very limited terms by which we know each other through work or other contexts where we only walk one path together. Although I shouldn't be surprised how creative AFTRA members are outside the context of the work they do, because your work is generally creative in and of itself, the fact is the more I looked beyond your “Anchor suit” the more intrigued I became with the other talents of our AFTRA members that we do not see without taking a closer look. So Dana, thank you for being our first “guinea pig” in this series, and I mean that in the nicest way possible. We all wish you congratulations in your artistic endeavors. And more importantly when we run into you in the market and you have paint and/or clay on your nose and clothes, we will not ask you if you are painting your house. Anything you want to add? Dana: Thank you for this opportunity!

AFTRA Prepares for Interactive Media Agreement Negotiations

The Union has begun initial preparations to renegotiate the AFTRA Interactive Media Agreement (the “IMA”) with leading producers of the video game industry early next year; the current Agreement expires March 30, 2011. At this early juncture, AFTRA staff has been gathering information regarding the amount and type of work performed by the Union’s members under the IMA, as well as the market impact of games in which members perform. The information has been telling thus far. For instance, the majority of the top 20 selling games of 2010 thus far were covered under the AFTRA IMA. As the Union moves forward, it will be gathering input from the membership to analyze and use in the Wages and Working Conditions Committee process, which helps formulate the Union’s ultimate goals in the negotiations with the interactive game industry publishers and producers. The San Francisco AFTRA Local has been a key player in shaping this burgeoning agreement, and staff and local membership plan on staying in the forefront as we move forward.

H&R Update: CIGNA to Provide Single

Nationwide PPO Network for Health Plan

Effective January 1, 2011, CIGNA HealthCare will provide a single nationwide PPO health care provider network for AFTRA Health Plan participants. For dates of service after December 31, 2010, the Health Plan will no longer use the Anthem Blue Cross PPO network in California. Therefore, claims for services rendered by Anthem Blue Cross PPO network health care providers for dates of service on or after January 1, 2011 will be treated as non-network and subject to non-network benefits if that provider does not participate in the CIGNA Shared Administration PPO network. According to the AFTRA Fund, new CIGNA cards are scheduled to be mailed on December 27, 2010. For complete details, refer to page 7 of the September Benefits update on the H&R website.

From the President (Continued from page 1)

Does this sound hard to accomplish? You bet it is. But is it impossible? You bet it’s not. The solution lies, to a great degree, in our own hands. It takes getting organized among your peers, collaborating with your Union representatives, and remaining engaged throughout the negotiation process and beyond. To that end, your AFTRA members and staff nationwide are developing an organizing strategy that will give us more power and influence at every shop. The tools and the techniques to organize and to become empowered will be provided by AFTRA, but the Union cannot provide the power and influence that can only derive from your participation in every step of the negotiating process. Thus, I encourage each and every one of you to become involved with AFTRA, to take action, and to do as Cervantes’ Don Quixote de La Mancha: “I will act as if the world were what I would have it to be, as if the ideal were real.” We can make

it real – we just need to act. In solidarity, Ma. Leticia Gómez

7 San Francisco - Open Mic

San Francisco - Open Mic 7

American Federation of

Television and Radio Artists

350 Sansome Street

Suite 900

San Francisco, CA 94104

Phone

(415) 391-7510

Fax

(415) 391-1108

E-mail

sf@aftra.com

NATIONAL OFFICERS VICE PRESIDENT

Bob Butler

Denny Delk

LOCAL OFFICERS

PRESIDENT

Maria Leticia Gomez

FIRST VICE PRESIDENT

Al Hart SECOND VICE PRESIDENT

Don Sanchez

TREASURER

Denny Delk

RECORDING SECRETARY

Mike Pechner

MEMBERS OF THE BOARD Joel Abrams – KBLX-AM

Brad Belstock - KTVU

Jon Bristow – KGO-AM

Mark Burnette – KRON-TV

Belva Davis – KQED-TV

Denny Delk – Actor

Maria Leticia Gomez – KDTV

Gene Haagenson – KFSN-TV

William Hall – Actor

Gary Hanson – Metro/Shadow

Al Hart - Freelance

Dan Kerman (interim) – KRON-TV

Joan Kenley – Actor

Dana King – KPIX-TV

Sandy Mahoney – Actor

Mike Pechner - Freelance

Fred Pitts - Actor

Sydney Rainin – Actor

Joe Rogers – KCBS-AM Editors

John Rothmann – KGO-AM

Don Sanchez – KGO-TV

Faith Sidlow – KSEE-TV

Barbara Taylor – KCBS-AM News

Nina Thorsen – KQED-FM

Marty Whitney – KLLC-FM

We’re on the Web!

See us at:

www.aftra.com

Media Access Office North Headshot

Clinic Held at AFTRA/SAG Office By Douglas Gordy, MAO Program Director

Media Access Office (MAO) of Northern California held a free headshot clinic for its members at the San Francisco AFTRA/SAG office on Sunday Oct. 10

th. MAO is a program of the state’s

Employment Development Dept., whose mission is to actively promote the employment and accurate portrayal of persons with disabilities in all areas of the media and entertainment industry, ensuring that the industry recognizes people with disabilities as part of cultural diversity. Utilizing a generous $500 grant from the California Arts Council, administered through the National Arts

and Disability Center, fifteen MAO members with various disabilities had professional headshots taken by local photographer Nick Lostracco. As many people with disabilities have never had or can’t afford professional headshots, this has impeded their ability to audition competitively for roles in film, television and theatre. AFTRA/SAG Associate Executive Director Karen Lipney graciously gave up her Sunday to allow the MAO to use the AFTRA/SAG office for the headshot clinic.

Your Unions and Social Media

How often have you visited the SAG or AFTRA websites in the last month? How often have you visited Facebook or Twitter in just the last day? In this age of social media, the ratio of visits of Union to Facebook/Twitter

pages probably isn’t even close for many of you, not even for the most proud or engaged Union members. But fear not. You can still keep abreast of the news and events involving your Unions utilizing both Facebook and Twitter. SAG and AFTRA maintain dedicated pages on Facebook and Twitter, where adding the Unions

as “Friends” or “liking” their pages will allow information, including events, updates and discounts to be updated directly into the feed on your “wall.” Adding the Unions’ Twitters onto your feed does the same for your Twitter page. The pages always prove informative, sources of lively discussion, and are increasingly speaking to local and national issues. And that’s important. Because after all, aren’t the actions and advisories of your Unions, which affect you directly, as important as what your cousin had for lunch? Today and every day visit the AFTRA Facebook page at facebook.com/pages/AFTRA/ and the SAG Facebook page at facebook.com/screenactorsguild. Find the SAG Twitter page at twitter.com/screenactors and the AFTRA Twitter page at twitter.com/aftra .

Your Union Membership “Pays” at Work

and at Home

From all of us at The San Francisco AFTRA/SAG office: Season’s Greetings and Best Wishes for a Happy and Healthy New Year!

Saludos de la temporada y mejores deseos para un Año Nuevo feliz y saludable!

The AFL-CIO created Union Privilege in 1986 to provide union members and their families with valuable consumer benefits. With Union Plus benefits, your union membership "pays" at work and at home. By using the collective buying power of unions, Union Plus is able to offer valuable, discounted products and services exclusively to

working families Visit www.unionplus.org and learn how you can take advantage of your union membership.