The Acting Income Podcast with Ben Hauck

In this long-form episode and sonic journey, host Ben Hauck questions the logic that actors cannot always wear personal protective equipment (PPE) while they do their jobs during the coronavirus pandemic.

Ben explains how the "common sense" SAG-AFTRA's president Gabrielle Carteris and others hold that actors can't always wear PPE runs counter to data and safety, two values that SAG-AFTRA expressly exalts in the creation of safety protocols for the return to entertainment-industry work. Ben points out the danger to actors such a belief is, because it necessarily means that actors won't always be wearing PPE when they work, putting themselves and crew members at risk.

Ben argues that the pandemic has turned "common sense" upside down, as evidenced by the continued production of  late-night variety shows like Full Frontal with Samantha Bee, The Late Show with Stephen Colbert, and Saturday Night Live, despite obvious creative constraints brought on by the coronavirus pandemic. The late-night variety shows have also provided data to help gauge the economic successes of their new low-tech productions, which may indicate what other compromises productions might make in order to successfully produce a show -- while also protecting actors from coming down with COVID-19.

While Ben provides ideas on how to move forward safely with actors, he also lays down reasonable skepticism that SAG-AFTRA can help the individual actor during the pandemic, citing the union's furlough of many of its representatives, as well as that SAG-AFTRA reps are actually Teamsters. Ben ponders whether the Teamsters might fight against SAG-AFTRA as employer, should SAG-AFTRA try to unilaterally enact policies that the Teamsters would rather negotiate. Ben wonders if this might spell trouble for contract administration and grievance adjustment for actors.

Given this skepticism about SAG-AFTRA's ability to protect actors amid the pandemic, Ben provides tips for actors to help themselves upon the return to work. Ben also provides a rundown of important rights actors have as employees under the National Labor Relations Act, touching on Section 7 rights, Weingarten rights, and retaliation by employers or unions. These tips and rights will help actors should they encounter safety issues at work in light of the coronavirus pandemic.

Show Notes: http://actingincome.com/episode37

In this long-form episode, host Ben Hauck dives into the ongoing problem of "split earnings" that continues to plague many SAG-AFTRA actors interested in qualifying for a union pension.

Ben explains how the merger of SAG's and AFTRA's health plans did not solve the split-earnings problem, putting members in the awkward situation of turning down union work and large paychecks in the pursuit of a pension credit.

Ben also outlines how SAG-AFTRA repeatedly ignores and fails to provide public comment on the resolution of the split-earnings problem -- a hot-button topic that helped SAG and AFTRA to achieve a merger more than six years ago.

With extensive documentation, Ben shows how it would seem that the union as well as one of its pension plans is quite plausibly against reporting on the pension plans and their health, essentially shutting out members from important information about the status of their pensions. Actors are left trying to interpret signals from the union and its pension plans about what they might be doing -- or might not be doing -- to resolve split earnings.

Ben concludes with what he wants with respect to the split-earninngs problem, and what he hopes listeners will consider when it comes time to vote on contracts and union elections.

Show Notes: http://actingincome.com/episode36

In this extended episode, host Ben Hauck narrates his saga of trying to learn from SAG-AFTRA the rate for stand-ins when they photo double in New York.

In the process of researching that rate, Ben reveals how he uncovered not just SAG-AFTRA's misrepresentation of the increases photo doubles would make under the 2017 Television/Theatrical Agreement, but also SAG-AFTRA's illogical interpretation of just how much stand-ins in New York should be paid when they photo doubled.

Ben also adds that a key person at SAG-AFTRA, responsible for interpreting the rates for stand-ins who photo double, has not replied with the interpretation.

Show Notes: http://actingincome.com/episode35

Actress and writer Anne DeAcetis is a guest contributor for this episode,

Host Ben

Show notes: http://actingincome.com/episode34

Host (and actor) Ben Hauck explains in detail why SAG-AFTRA actors should vote no on the proposed 2016 Commercials Contract.

In the episode, Ben outlines some of the important losses SAG-AFTRA actors will experience should they ratify this contract negotiated recently between the union and commercial producers. Namely, actors will lose use fees they typically get when their commercials are played. They'll lose these use fees (which could equal hundreds to thousands of dollars) when their commercials are simultaneously streamed on the Internet, New Media, or a future technology, and they'll also lose them when their commercials are edited for special offers and promotions.

In addition, SAG-AFTRA actors will be paid later than in the prior commercials contract. Furthermore, the proposed contract does not include a precise definition for the term "commercial," which means that a later definition may prompt the union to give away more of your use without payment to you.

Ben points out that the press release SAG-AFTRA put out points up the increases the union accomplished in the negotiation, but it doesn't include what the union lost for actors. Given this and other wordings in the press release, Ben deems the SAG-AFTRA press release as "propagandistic" -- an attempt to persuade members to vote yes on a contract that freely gives away fees for the commercial actor more valuable than the 7% wage increase the contract provides.

Ben urges SAG-AFTRA actors to vote no (#VoteNo and #VoteHellNo), but even more generally to simply vote -- even if they haven't worked in commercials yet. He explains their vote -- or failure to vote -- may affect the commercials contract they work under in the future. If SAG-AFTRA members choose not to ratify this proposed commercials contract, Ben says actors are not urging a strike so much as urging a continued negotiation to address the important compensation to actors that the union has bargained away in this proposed contract -- compensation that is aimed contractually at ensuring actors can work in commercials, be paid of the use of their work, and survive inevitable periods of unemployment that being identified in commercials creates.

Host Ben Hauck explains the responsibility that comes with producing a weekly podcast, and how that responsibility overlaps with his acting career.   The episode includes details on the goals he took on in starting the podcast, the kind of work involved in producing it, plus an important announcement on the next stage of The Acting Income Podcast.

Actor Mandy May Cheetham speaks with host Ben Hauck on how to act in New York City -- with little to no income.

In this interview, Mandy shares what motivated her temporary move to New York City from Toronto, Canada, and how she quadrupled the length of her initial stay. Mandy divulges the sources of her funding that financed her stay in NYC and how she was able to cut down on housing costs. Faced with the threat of being homeless in a foreign country, Mandy details how she was able to find new places to stay on short notice.

Mandy also details how she found acting opportunities in NYC -- using casting websites, acting and improv school performance opportunities, and networking. In particular, networking for Mandy was like "finding her tribe." Canada may seem similar to the United States, says Mandy, but Canadians can experience culture shock when in the country. Mandy explains some of the culture shock she experienced, not to mention how her uniquely Canadian experiences led her to seek out other Canadian actors in New York City.

Despite financial constraints as a Canadian in the United States, Mandy lays out how she remained creative during her stay. Bartering was one method she used to get what she needed, and she also used doing favors as a means for building equity with friends, to cash in on later for her career needs.

Eventually, Mandy left New York City, and she opens up on what led her to leave and what her relationship with New York City became over the course of her stay. She definitely left NYC with skills to be more competitive as an actor. She explains how the Toronto market is different from NYC's, and how she upped her acting game when she returned to Toronto. Mandy also left NYC with thoughts on what she would have done differently in terms of performance and financing -- were she to visit the city again.

Mandy rounds out the interview with advice for the actor considering the move to New York City, especially with limited financial resources or an inability to earn an income. She also mentions her book (available on her website) with practical tips for actors starting out in New York City, Los Angeles, and Toronto.

As an outtake from the interview, Mandy talks about how health care differs between Canada and the United States, and how that need affected her acting pursuits.

Actress Victoria Libertore talks with host Ben Hauck about fame, and what she has learned about fame after years of pursuing it as an actor in New York City. In the interview, Victoria talks about her recent solo show My Last Attempt at Fame, as well as what fame was to her when she moved to NYC and why she believes she wanted it as an actor. She also speaks to the choices she has made in her life in the pursuit of fame, and how her age and experiences have influenced that pursuit.

Victoria shares how her interest in fame and being an admired artist increased after working in a boutique talent agency. Over the years she built a following for her performance work, and she worked with notable professionals. But she also experienced disappointment after a professional highlight didn't take her acting career to the next level. This event helped to change her relationship with fame.

Victoria talks of the positive and negative feelings that awakened as a result of a disappointing performance experience -- not to mention what she learned about herself and her value. As an artist, she has been inspired by pain, and to get out of depressions created by the pursuit of fame, Victoria divulges that she focuses on gratitude and connecting with other artists.

Victoria then covers some of the themes from My Last Attempt at Fame, notably how age affects her creative drives. Victoria also teaches performance, and she shares what she passes on to students about fame and about seeking audience approval. She then talks about social media, how it has affected the pursuit of fame, and how it suggests that fame is a lot like a drug.

The pursuit of fame can be for its own sake or for service of some greater cause, and the latter has become more of Victoria's interest as she has gotten older. She recommends that actors focus on the work and how they can contribute -- and if fame comes, then that is a nice addition. Victoria concludes the interview with a touching recent experience performing in Nebraska amid farmers, and how one farmer reached out to her to express how meaningful My Last Attempt at Fame was to him.

Host Ben Hauck recaps Episodes 21 through 29 of The Acting Income Podcast. In this episode, in addition to summarizing the past nine episodes, Ben adds anecdotes about the episodes and explains what he's learned in the process of producing them. Ben concludes with comments on what these episodes reflect about his own acting career to date. Quick links to Episodes 21 through 29:

Actor-comedienne Keisha Zollar talks with host Ben Hauck about diversity issues at the Upright Citizens Brigade Theatre and in the improv world in general, and what actors can do to increase the population of diverse voices in performance.

In this interview inspired by a Washington Post article on diversity issues at UCBT, Keisha explains her current relationship with UCBT as an improv teacher and formerly as its diversity coordinator. She details her activities and achievements as diversity coordinator along with some of the diversity concerns students have brought up to her.

Keisha also details why she values diversity and how being more inclusive in improv communities means richer performances and richer representations of a nuanced American culture, both in the performer ranks and in the content of performance. She goes into the historical roots of oppression and how it leads to the marginalization of voices, but also how marginalization creates new art forms and voices.

Having the goal to represent diverse voices is not enough, says Keisha, and exhausting followthrough is also necessary in order to ensure a richer diversity. Keisha does not mandate how to start an improv group or improv school, nor does she express not to work with people of similar backgrounds. Instead, she urges performers to become aware of their unconscious biases so they do not work against interests in diversity. She also reminds her students that, in improv, they can be anything, not just stereotyped roles that match their ethnicity or gender.

Keisha concludes with a plea of empathy for performers who feel their voices have been marginalized.