By Richard Verrier
LaTimes.com
November 18, 2009

David Carbonara has a gig many of his peers would covet: He writes music for the critically acclaimed AMC show “Mad Men.”

A former jazz trombonist, Carbonara loves his job and is grateful for the work. Yet even after he labors on 13 episodes for a full year, he says he won’t earn enough to support his family. A one-hour basic cable TV show like “Mad Men” pays $7,000 to $13,000 an episode, but at least half of that goes toward hiring musicians, paying for studio time, copying music and other costs that composers like Carbonara increasingly absorb as studios look to lower their expenses.

“You have to work 26 shows in a year to earn a living,” said Carbonara, a graduate of the Berklee College of Music in Boston who recently began work on an ABC drama without any idea as to when, or how much, he would be paid. “People don’t understand what we go through.”

Unlike most other workers in Hollywood, Carbonara can’t complain to a union about his pay rate or working conditions. That’s because he doesn’t have one.

In a heavily unionized industry, composers and lyricists are an anomaly in Hollywood. Along with production assistants, theirs are among the few remaining crafts not covered by a union contract.

Although conductors and orchestra musicians are covered by the American Federation of Musicians, composers and lyricists for television and movies are not represented by the AFM or anyone else. A group of them is determined to change that and is hooking up with an unlikely ally: the Teamsters.

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