Bob Barker...Lifetime Achievement Award, AFTRA
At a special ceremony last night at the Fine Arts Theatre in Beverly Hills, the American Federation of Television & Radio Artists presented Bob Barker - former host of "The Price is Right" - with a Lifetime Achievement Award.
In accepting the award, Mr. Barker noted, "...of the many awards that I have received over the years, this is the one that is most important to me."
The celebrated Game Show host has been a member of AFTRA for fifty-five years, and has always backed the Union in their efforts to protect the rights of workers in all areas of the media.
Attendees at the presentation were treated to a handful of hilarious clips from the "The Price is Right".
The popular daytime show has the unique distinction of being the longest-running game-show in Television history.
Barker was in true form last, delighting the audience in attendance with a few zesty one-liners.
At one point, he noted that at his age, he now recognized the need for Health care, for instance.
This joke was made in reference to the fact that AFTRA was the first entertainment union to secure health care benefits for their membership.
In fact, last night, UNION reps used the occasion to unveil a documentary - "Commitment to Action" - which not only celebrates AFTRA'S 75th birthday - but the Union's good works over the years.
In the doc, well-known celebrities - like Studs Terkel - spoke out vigorously in support of AFTRA'S efforts to secure worker's rights, encourage activism, and ultimately, ensure that all performers under the "umbrella" were equally protected.
While the Screen Actors Guild negotiates contractual agreements in the area of film, AFTRA maintains jurisdiction over TV Sitcoms, Soap Operas, Radio, and a portion of the new media proliferating now in the entertainment arena.
In one insightful segment, the filmmakers report how AFTRA went to bat for the first black female newscaster being discriminated against a few years ago on Channel 5.
There was also some nasty footage of early activists getting their heads cracked open, all in the name of the cause of activism in the ranks.
A behind-the-scenes look at how the TAFT HARTLEY LAW got passed was particularly educational - and inspiring.
Also known as The Labor-Management Relations Act, it is a United States Federal Law that greatly restricts the activities and power of labor unions.
The Act, still largely in effect, was sponsored by Senator Robert Taft and Representative Fred A. Hartley, Jr. and passed over U.S. President Harry S. Truman's veto on June 23, 1947, establishing the act as a law.
Labor leaders called it the "slave-labor bill".
At the time, though, then President Truman argued that it would "conflict with important principles of our democratic society".
The Taft-Hartley Act amended the National Labor Relations Act which Congress had passed in 1935.
29 U.S.C.A. 141, specifically states that the NLRA was enacted to,
"To promote the full flow of commerce, to prescribe the legitimate rights of both employees and employers in their relations affecting commerce, to provide orderly and peaceful procedures for preventing the interference by either with the legitimate rights of the other, to protect the rights of individual employees in their relations with labor organizations whose activities affect commerce, to define and proscribe practices on the part of labor and management which affect commerce and are inimical to the general welfare, and to protect the rights of the public in connection with labor disputes affecting commerce."
The amendments enacted in the Taft-Hartley Act added a list of prohibited actions, or "unfair labor practices", on the part of unions to the NLRA, which had previously only prohibited "unfair labor practices" committed by employers.
The original Taft-Hartley Act prohibited jurisdictional strikes, secondary boycotts and "common situs" picketing, closed shops, and monetary donations by unions to federal political campaigns.
Union shops were heavily restricted, and states were allowed to pass "right-to-work laws" that outlawed union shops.
Furthermore, the executive branch of the Federal government could obtain legal strikebreaking injunctions if an impending or current strike "imperiled the national health or safety," a test that has been interpreted broadly by the courts today.
Over the years, there has been a push to merge the Screen Actors Guild with AFTRA.
One of the stumbling blocks of the plan appears to be an elitist view by a handful of members at the Screen Actors Guild.
Unlike SAG - where an actor must have a UNION job to join the Guild - AFTRA has an open-door policy.
"Any person off the street can join AFTRA," old-timers are often heard to lament to anyone within earshot.
I am in accord with the open-door policy, personally, because I am vehemently opposed to "closed shops".
I believe that everyone should have the right to work; moreover, in my view, competition is healthy.
The dedicated, hard-working few, will always work...because it is in their nature to do so.
After hearing the comments of some of the panelists at the Fine Arts Theatre - who spoke after the Documentary screened to loud applause - this would appear to be so.
A handful of AFTRA Members - an airborne news reporter, a former talk-show host, a soap actor, and a voice-over specialist - made a number of excellent points about the UNION, its value, and the need for more dues-paying members to get involved.
For the record, I have been an AFTRA member for over twenty years...having worked on TV Soaps such as "General Hospital" and "The Young & Restless"...on popular TV Sitcoms such as "Saved by the Bell" and "Silver Spoons"...and hit comedy shows on Fox like "In Living Color".
But frankly, I do have a bone to pick.
Although reps are supposed to drop down to the set to check on working conditions - I recall that a couple of the Television reps - Chris V. Hagstrom and Kathy Ewers, in particular - often neglected to meet their obligation.
Actors complained that calls on the telephone often went unanswered, because Hagstrom, Ewers, and others - were conveniently unavailable.
When it came to disputes over overtime, special business, and penalties...reps appeared to side up to the production companies.
On occasion, when SAG was picking up shows which normally would have been under AFTRA jurisdiction, the reps were also known to kow-tow to the "suits" to hold on to their small pickings...looking out for their own jobs, perhaps?
In addition, I was often put off by the horrendous attitude of AFTRA employees like Lauren Bailey, who were not only a tad slow to saunter to the telephone - but more-often-than-not - acted like they cared less...in spite of the fact the calls were made with the deliberate aim of resolving issues pertaining to benefits, residual checks, whatever.
Maybe if I was in management, or on the AFTRA Board of Directors - instead of a lowly actor - these three pig-headed employees at AFTRA would have treated me with a little more respect.
If you ask me, Union reps like the ones aforementioned, sold us down the river years ago - and just maybe - it's their fault we're in the pickle we're in today with producers.
For this reason, I wholeheartedly urge that members DO get involved, as they were requested to do last night...if only to keep a watchful eye over paid AFTRA employees who appear to be only concerned about their own backsides - not that of any relatively-unknown actor pulling down less than $15,000.00 a year.
For my taste, AFTRA employees are too clubby, prone to play favorites, and too-often engage in too much questionable politicking for their own good.
Just the facts, man.
Dennis Wilson...Beach Boy blues!
Occasionally - the press will run news bites about Beach Boy Carl Wilson - band member of the musical phenomenon, the Beach Boys.
Usually, there's a lot of fodder about dependency, or curious tales about an unethical psychiatrist who pulled the member's strings for a short period.
And, just maybe, reports muse about the band's overall illustrious musical past.
In contrast, Dennis Wilson remained out of the unpleasant glare of the spotlight during his short dance on the face of the Earth.
Save for the Charles Manson association, of course!
Years ago, through acquaintances, I became friends with the drummer with the steady catchy beat, in a round-about way.
Although Dennis was separated from his wife - Karen Lamm - he constantly longed for the woman who got under his beautifully-tanned skin.
Not unlike the "Burton's" in their day, Wilson & Lamm tried to work out the intricacies of their tempestuous relationship. In the end, the pretty charismatic twosome called it quits, in spite of the fact they were married and divorced twice.
On occasion, Dennis would drop by unannounced for an impromptu visit - at some un-Godly hour like 3 a.m. in the morning - for instance.
Within minutes after alighting on my couch, he'd produce a miniature antique spoon from within the confines of his fashionable outerwear. With a couple of quick precise maneuvers, he'd be snorting up a mound of white powdery stuff.
Ah, cocaine!
In spite of the fact he was addicted to the high - for the most part - the laid-back beach boy managed to remain in control of his faculties.
In my presence, anyway.
But, he had his melancholy moments, when he'd pine for the love of his life, Karen Lamm.
Their sad demise was something difficult for him to fathom.
An elusive dream, that slipped away forever.
But, the talented musician didn't want for company; after all, Dennis was an attractive, sexy man.
Usually, he dashed around town sporting a pair of doctor's scrubs, in vogue at the time.
Slight of build, he wore a scruffy beard with surprising style, topped by a mane of healthy shaggy hair.
But, he was a madman on wheels, that's for sure.
On a couple of occasions when I rode with him in the black Corniche Rolls Royce at his disposal, he squealed through the Hollywood Hills burning rubber like he was behind the wheel of an expensive hotrod.
At the time, he was half-way into an affair with Christine McVie.
The whole scenario was not disimiliar to the tale that was depicted in the remake of the classic film - "A Star is Born" - which starred songstress Barbara Streisand and Kris Kristofferson.
When McVie was off on tour with Fleetwood Mac racking in the glory and the big bucks, Dennis shuffled around her Manse in the hills - stir crazy - and in need of an emotional fix.
He was obviously discontent, but what made him tick?
One day, after brooding a little, he angrily noted that his father had sold all the rights to the Beach Boys' early hits.
At the time, I was naive, and not too familiar with the ins-and-outs of the record business.
So, his angst soared over my head, failing to hit its intended target.
Certainly, I was capable of feeling his pain.
But in the great big scheme of things, my head was in the clouds.
Years later, when a classic Beach Boy hit turned up on a tacky taco commercial, it suddenly hit me smack dab in the gut.
Yeah, the Wilson boys' father sold 'em out.
Tough for a young man to face up to, even when the reality of it all stares him in the face.
When Dennis wasn't at McVie's elegant palace in the hills, he'd lull away hours on his yacht moored in a slip at the Marina.
Ah, he loved the majesty of the great sea!
Out-of-the-blue one day, a news report blared out from the TV, and it upset me.
Apparently, Dennis dove in for a refreshing swim one fine morning, and failed to reappear at the surface of the still waters.
Ironic, that.
A beach boy, king of the California sun and sand and surf, spirited away by the powerful currents of the ocean lurking below the surface.
Maybe, it was appropriate.
The California dreamer is at peace, at last, in his true element.
Edgar Wright...Festival of "Wright Stuff", New Beverly Cinema! Dec.2nd thru 17th...
Edgar Wright in a reflective moment...
Edgar Wright - director of "Shaun of the Dead" and "Hot Fuzz" - is programming a festival of films (The Wright Stuff) at the New Beverly Cinema to run December 2nd thru the 17th.
Wright not only hand-picked a select collection of his favorite movies for screening, but will preside over many of the events, schedule permitting.
During the course of the festival several surprise guests will make an entrance - much to the delight of fans - no doubt.
The films range from the horror genre to those in the realms of comedy and action-adventure.
There's a quality production to suit every taste, I expect, judging from the press release.
Wright started out directing TV in the UK; in particular, he is known for the cult series, "Spaced".
Shortly thereafter, the zany director wrapped his first comedy feature, "Shaun of the Dead".
"Shaun" won him the British Independent Film Award for best screenplay and the Empire Award for best British film.
In 2007, Wright's second feature - "Hot Fuzz" - was released to critical and financial success, and won him a best comedy nod at the National Movie Awards.
The festival is kicking off on December 2-4 with a double feature.
"Bugsy Malone" (directed by Alan Parker) and Brian De Palma's "Phantom of the Paradise" will surely delight local film buffs who pine for this kind of zany bill-of-fare.
Wright says he's a big fan of these films - in no small part due to the roster of great songs - penned by the lengendary, Paul Williams.
"Flash Gordon" and Mario Bavas spy thriller - "Danger Diabolik" - will be inclued in the eclectic batch of celluloid classics shown over the course of the mini-festival.
Also, two of Wright's favorite action films - "The Last Boy Scout" and the sleeper hit "Kiss Kiss Bang Bang" (Shane Black) - will screen later in the week.
On the subject of Shane Black, Mr. Wright was inclined to sing praises.
"Shane Black has long been a writing hero of mine and these are my two favorite scripts to have been spat out of his typewriter. The first is criminally underrated and the second is scandalously under seen, together they make for a double bill of the finest in neo noir."
John Landis fans may want to take "An American Werewolf in London".
The Landis offering was one of the first horror films to hit Wright - as he demurely puts it - in the "gut".
In Wright's view, the director was at the height of his powers when he lensed it.
"Wolf" is suitably matched on a double-bill with little the horror gem "Tremors" (which stars Kevin Bacon, if you recall).
Audiences will no doubt turn out in droves to catch two zany comedies - "Top Secret" and "Bananas" - which Wright has tapped for the end of the Festival.
High camp will be featured, too.
"Beyond the Valley of the Dolls" is sure to jolt the sensibilities.
"Head" - the Monkees' cult classic - is scheduled to team up with the soapy drama.
Mr. Dolenz is expected to attend the screening, field questions, and sign autographs for fans.
I'm hankering to catch "Raising Arizona" and Sam Raimi's gory offering "Evil Dead 2".
Edgar laughingly refers to the little ditties as an on-the-edge of your seat "double-barreled blast".
Although Wright promises to be the one laughing loudest and hardest throughout the Festival, I'm sure to give him a run for his money.
Edgar, watch out!
Wright Stuff Festival Info: http://www.newbevcinema.com
Medical Marijuana...Court Victory!
Yesterday, a California Appeals Court ruled that "it is not the job of the local police to enforce the federal drug laws."
Ending years of dispute, the court ruled in favor of Felix Kha, a medical marijuana patient seeking the return of medical marijuana that was seized by police.
In a ruling that rejects law enforcement’s claim that federal law preempts the state’s medical marijuana law, the court asserted "we do not believe the federal drug laws supersede or preempt Kha’s right to the return of his property."
The court’s ruling also affirms a policy change by the California Highway Patrol (CHP)which until 2005 held the record for the worst violator of Proposition 215. The CHP’s policy of mandatory seizure of medical marijuana was challenged in court by the ASA, after which the state’s top law enforcement agency amply modified its policy.
"It should now be abundantly clear to law enforcement across the state that it is not acceptable to seize the medicine of seriously ill patients," said Joe Elford, who represented Kha as Chief Counsel with Americans for Safe Access.
As of yesterday, California law enforcement will be "fulfilling their more traditional duty to administer the laws of this state," according to the court’s ruling, an ASA rep noted.
Yesterday’s victory marks the culmination of two years of litigation led by ASA.
"The ruling can help someone else that is in really bad need of access to their medicine." Felix Kha said after hearing of the victory.
Felix is not alone, apparently.
Americans for Safe Access documented nearly eight hundred patient encounters with local or state police during a period of more than two years.
During this time frame, their reports indicated a glaring trend...more than ninety percent of all police stops resulted in seizure of medicinal marijuana by police regardless of any probable cause.
And, according to records maintained by Americans for Safe Access, rampant seizure of medical marijuana from qualified patients and primary caregivers has taken place in 53 of California's 58 counties.
This precedent-setting victory was achieved through years of meticulous planning by the Legal Affairs Department of Americans For Safe Access.
Of course, the fruits of their labor would not have been achieved, but were it for the generous donations of the members of Americans for Safe Access and other enthusiastic supporters...
Will the DEA raids of local suppliers continue?
In spite of the fact California voters approved a measure (Bill 215) seven years ago, allowing for compassionate use of Marijuana for medicinal purposes, the DEA has been cracking down on the local suppliers, alleging that their outlets are engaging in conduct which amounts to the, "...illegal sale of an illicit drug which is outlawed by the Federal Government."
According to Timothy L. Landrum, Special Agent in charge of the DEA in Los Angeles,
"...these dispensary operators are no different than any other drug trafficker; they prey on people in our communities to make a profit. The DEA and our Law Enforcement counterparts will not turn a blind eye to flagrant disregard of our Nation's essential drug Laws".
However, the fact remains: there is a definite conflict between State & Federal laws which needs addressing.
For example, while it is illegal to possess, sell, or distribute Marijuana in the United States on a Federal level, in California a resident is legally entitled to use the substance for medicinal purposes.
The issues have yet to be resolved.
I trust California Residents will concur that the DEA pot busts, and abusive and illegal conduct of the agents - who are clearly blinded by a kind-of reefer madness - should cease and desist, too.
Or is a costly waste of Judicial Resource, at taxpayer's expense, beckoning to accomplish this end?
HAIR...the musical that got away!
When I was 17 (gee, there must be a song in there somewhere) I was a street performer - who danced barefoot in the streets of downtown Toronto in torn blue jeans - with a shock of wild curly hair blowin' in the wind.Peter Frampton's tresses of yesteryear had nothing on me!
Photographers found me a scintillating subject as I pranced - and spun around - and leapt through the air.
Indeed, their lenses were always at the ready to capture the impromptu moments on celluloid
Many of the candid shots ended up on the front pages of morning newspapers, in slick glossy magazines of the day - and in one instance that I know of - framed and lined neatly on a wall in Ottawa's National Art Gallery.
In one dazzling shot, a photographer snagged me mid-flight - with arms outstretched skyward and back gracefully arched - framed against the image of my favorite architectural beauty, Toronto's futuristic-looking City Hall.
So - when it was announced that the Rock Musical "HAIR" was coming to town - all manner of folk egged me on to audition.
I was a natural, after all, wasn't I?
Although I acquired a smidgen of actual stage experience (a portrayal of "Lomov" in Anton Chekhov's play "The Marriage Proposal" won me an Award of Merit in a Drama Festival) the chance to prance the boards in a full-fledged musical always eluded me.
Tossing caution to the wind, I burst onto the stage at the audition, determined to wow 'em.
After I sang the audition piece, the director quizzed me.
"What are you on?"
"The stage," I replied tongue-in-cheek.
A gaggle of reporters on hand - chuckled - and excitedly jotted down the remarks.
Needless to say, my audition tape ended up on the National News.
But, no cigar.
When word filtered back from casting, I was astonished by the appraisal.
The producers thought I was stoned - and subsequently - passed!
I put the disappointment behind me and continued on with my street performances.
On one outlandish occasion, when I got swept up in the emotion of a protest on Baldwin Street, I was arrested for dancing on a police car.
But, I was acquitted due to the expert legal counsel of a smart young lawyer - Clayton Ruby - who's star was on the rise.
One fall day, I was vigorously performing for a handful of tourists on Bloor Street in Hog Town, when a taxicab screeched to a sudden halt.
A wild-looking man with a burly build raced towards me and yelled out:
"You've got to be in Hair!"
As it turned out, the charismatic hippie-guy was none other than Gerome Ragni - who wrote the rock musical "Hair" - with his partner, James Rado.
In town to assist with the Toronto production, he had his eye on me as the great white hope!
At this juncture in my life, though, my stage ambitions had been quelled a little.
Despite Gerry's urgings, I neglected to dash down to the Royal Alexandria Theatre to become a member of the Tribe.
However, we became fast friends.
According to Gerry, Hair was a difficult production to get off the ground.
The innovative musical languished beneath the radar of the theatre-going public, and subsequently, the initial sales were sluggish.
Hair was just another obscure off-off Broadway production, struggling for attention, amid other worthy theatrical hopefuls.
Things turned for the better one fine morning when the writing duo struck on the idea to incorporate a titillating sensual nude scene into the mix.
You got it!
The police caught wind of the plot turn (probably by way of a sly press agent) and - amid a lot of fanfare - paid a much ballyhooed visit to the Theatre to close the show down on charges of indecency.
Understandably, Hair was thrust into the International spotlight.
Before you could say - Rock Musical Hit - the show was a sell-out success!
The rest is show biz history, of course.
Although I did not sign on to be a member of the hippie cast in Toronto's production - on opening night, I not only attended - but sprang up on stage at the grand musical finale and danced up a storm with the cast!
The exuberant moment was captured by photo journalists, and subsequently, published in the weekend edition of the major daily.
Yes, "Hair" was the musical that got away, but there will be others!
Although Gerry passed away in 1991, fond memories often surface.
On those occasions, I find myself humming a tune,
"When the moon is in the seventh house and Jupiter aligns with Mars, then peace will guide the planets, and love will steer the stars."
Savages...poignant tale about getting old!
Two favorite actors - Laura Linney and Philip Seymour Hoffman - are starring in "Savages".
So, when the lights fell at the screening, I settled in for what I expected would be a night to remember.
It was.
By cleverly using a handful of expert cross-cuts in the opening scenes, the filmmakers quickly establish early on that an elderly gentleman is losing his grip - dementia, in fact - may be setting in.
An urgent call is put out to his two children who have been essentially out-of-touch with their father for a number of years.
The brother (Hoffman) and sister (Linney) are soon thrust together in a tug-of-war over various issues - things left unsaid, unsavory memories from the past, choices to be made about their father - you name it.
There's a whole ball of sticky wax to unravel.
Hoffman's character - Jon Savage - is a self-absorbed teacher of philosophy; while his sister, Wendy (Linney) is an unproduced playwright with promise. Each is struggling to come to terms with his or her own shortcomings - most of all - unpleasant troubling feelings that bubble beneath the surface that are striving to be reckoned with.
In the early chapters of the feature - directed by Tamara Jenkins - there are a number of searing painful insights into the issue of elderly care - or the lack thereof.
Right off-the-bat, the audience is faced with the bitter truth - the reality - of old age.
In fact, during these intense moments, anxieties of my own surface.
Also - I sensed a feeling of foreboding all around me, too, as the mostly over-fifty audience appear to be reflecting on their own circumstances and the approaching darkness that beckons most in their middle-age.
Will a caring hand be there to nurture and guide each of us at the end?
Curiously, when a moviegoer in a wheelchair arrived at the theatre with a friend just before the curtain fell, all the reserved spaces for disabled persons were taken.
At first - none of the moviegoers (who did not appear to be seriously afflicted physically in any way) - were inclined to part with their comfy spot.
When one woman finally succumbed, it was not before lamenting to anyone within earshot.
"I don't mind giving it to them, as long as they don't demand it."
A sad commentary, indeed.
Should a disabled person in a wheelchair have to ask for what is rightfully theirs?
Likewise - in a civilized society - should an elderly person be forced to make a plea to be treated with dignity and respect in their final days?
The whole scenario is a tough row to hoe - but an aspect of life on this mortal coil - most are forced to deal with at some point.
Personally, as the painful images emanated from the silver screen, I was hit with many conflicting revealing emotions.
Dying suddenly - or going out by one's own hand - appears to be preferable to the one articulated in the film.
For example - in "Savages" - various options are offered to the children so they can valiantly press on.
When the siblings struggle over the issue of a nursing home - as opposed to an assisted-care facility - it all boils down to humanity, the daughter maintains stridently.
Hoffman's character lashes back.
In a gut-wrenching poignant speech that is raw and bursting with emotion, he eloquently argues that the finely-manicured lawns, the aesthetically-pleasing facilities, and the caring attitudes depicted in the glossy brochure are not aimed at the ailing elderly on death's doorstep.
"It's all about appeasing the family's guilt."
That is the truth, he asserts.
The approach softens the pain a little and appears to be an appropriate insightful message to pay heed to.
None-the-less - one has to wonder - what is the true nature of God's plan?
To test one's compassion against the pain and sorrow of another?
To demonstrate the irony of life?
Sentient beings are born into the world wide-eyed and excited about the wonder of life.
Then, later on - go out much the same - in diapers and in a blur of faces and uncertainty.
Are the final gruesome hours a parting glance on the human condition or a last ditch-effort to reflect on the meaning of life?
Or, just a humbling opportunity to make amends so we can prepare to meet the maker?
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