Archive for the ‘Uncategorized’ Category

LOCAL ON THE WARPATH / EVENTS

Saturday, December 31st, 2016

12/31/16

I. LOCAL ON THE WARPATH FOR RANK AND FILE

II. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
===================================

I. LOCAL ON THE WARPATH FOR RANK AND FILE

As anyone with an IQ above room temperature knows,
NO musician outside the rarefied air of the recording
elite or the LA Phil can survive on only union work.
It simply isn’t there any more.
For musicians, there are only two options left:
1) Work non-union
2) Get out of the music business.

Some members of the Local’s Executive Board play
non-union work.

Some Members of the Trial Board play non-union work

Members at every level, INCLUDING the recording
elites, play or work on nonunion projects.

But our Local chooses to engage in selective
enforcement. If you’re a regular rank and file,
or someone who causes the board grief through
that member’s activism, you are far more likely
to be a target, whether the charges are legit or
not. Why do this? To get the offending members
to leave the union or cost them thousands of
dollars defending themselves.

There is one particular Local employee, going
full bore against anyone not in the “circle” who
is caught / suspected of working non-union,
or perhaps…if they just want to harass you.

Meanwhile, they steer clear of the board room
or well politically placed occupants. And they’re
using your own dues money to do it.

The AFM has (apparently) shown themselves
to be (oblivious) rubber stamps of this
harassment, not holding the Locals to their
own bylaws that are supposed to protect
members from warrantless, solely political
retaliation.

Their harassment of rank and file members is
causing people who otherwise support the
idea of a union to resign. It is no secret …
the urban legend …get rid of the “weekend
workers”…charge those that remain the
kind of dues some of the other entertainment
trades require…Voilà Only the “cartel” is left
for composers and studios to choose from
when staffing for commercial music.

If you’re being unfairly harassed, please let us
know. you can always post anonymously and
we will keep your ID Sacrosanct.

THE COMMITTEE

=====================================

 

II. EVENTS

 

———————————–

DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

———————————————

1/4/16

Free Admission Glendale Noon Concerts!
Wed JANUARY 4, 2017 at 12:10-12:40 pm

Program features the CLAUDE BOLLING Jazz Flute Suite

Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

———————————————

1/7/16

EDENDALE UP CLOSE CONCERT SERIES

Violinist ANNELLE GREGORY & Cellist GEORGY GUSEV
DUO RECITAL
at the
Edendale Branch Library in ECHO PARK
2011 W. Sunset Boulevard
Los Angeles, CA 90026
info (213) 207-3000
FREE ADMISSION

Concert in the Community Room
Free parking in the library lot (enter lot from Alvarado).

Saturday, JANUARY 7, 2017
Time: Noon to 1 pm.

http://annelleviolin.com/

PROGRAM:
R. Gliere: 8 Morceaux for violin & cello
M. Ravel: Sonata for violin & cello
G. Handel/J. Halvorsen: Passacaglia for violin & cello

The Edendale Library Friends Society will provide
refreshments following the concert.

Future concerts in this free series at the Edendale Branch Library:
(all concerts are on Saturdays at Noon-1pm)

+++++++++++++++++++++++++++++++++++++

MARCH 11, 2017
Maksim Velichkin Solo Cello Recital

JUNE 10. 2017
Fiato Quartet
http://www.fiatoquartet.com

Updated info will be posted at
http://www.edendaleupclose.blogspot.com/

EDENDALE BRANCH LIBRARY Website (with map):
http://www.lapl.org/branches/edendale

This concert is made possible by a grant
from THE HENNINGS-FISCHER FOUNDATION.

Kewa Civic Concerts http://kewaconcerts.blogspot.com/
Kewa Civic Concerts  is a project of the Pasadena Arts
Council’s EMERGE Program. The Pasadena Arts Council
is a 501(c)(3) charitable organization. Donations to
Kewa Civic Concerts are tax deductible to the full extent
of the law under Federal ID 95-2540759.”

Donation info here:
http://www.pasadenaartscouncil.org/emerge/kewa-civic-concerts

MORE FREE CONCERTS:
http://www.glendalenoonconcerts.blogspot.com

——————————–

1/15/16

Dear All:

CAL STATE LA / OLYMPIA YOUTH ORCHESTRA

Sunday,  January 15, 2017 at 3PM.
San Gabriel Mission Playhouse
320 S Mission Drive
San Gabriel, CA 91776.

This will be the first public performance of the orchestra
this season, The orchestra is made up of talented young
musicians who gain admittance to perform in the orchestra
through annual competitive auditions, and student of Cal
State University, Los Angeles. The featured soloists this
concert will be John Carpenter, pianist; and Chunyi Zhou,
violinist.

Works will include:
Leonora Overture No.2 by Beethoven
Symphony No.8 by Dvorak
Symphony Espagnole by Lalo
Totentanz by Liszt.

We will also be honoring Dr. Nikolaos Koutouratsas,
the late president of the Hennings-Fischer Foundation
which has given the orchestra so much help these
past years with this concert.

Please come witness the talents of these young musicians
as well as  support classical music in the community. You
do not need a ticket to  get in but if you do need a ticket
with the address sent to you, please feel free to reply and
tickets will be sent to the mailing address you specify.

Looking forward to seeing you there.

Sincerely,
Fung Ho

—————————————–
1/21/16
SFV SYMPHONY ORCHESTRA
Jan. 21, 2017 –
Tutor Family Center at Chaminade West Hills
Schumann: Manfred Overture
Mendelssohn: Symphony #3 in A minor (Scottish)
Belling: Music Madly Makes the World Go Round
Inaugural Performance
Cary Belling, violinist
++++++++++++++++++++++++++++

Other concerts in the series
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”
Tchaikovsky: Orchestral Suite No. 2 in C major
Egizi: Orchestral Suite 
“In Memoria di Mio Padre”
Inaugural Performance

Programs subject to change

——————————————
You can read all previous offerings at:
http://www.responsible47.com
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

 


HAPPY HOLIDAYS! / MEMBER’S IEB LETTER / BUILDING COMMENTS / EVENTS

Friday, December 23rd, 2016

12/23/16

HAPPY HOLIDAYS FROM THE COMMITTEE!!

I. A CONCERNED MEMBER’S LETTER TO THE IEB – FROM MAY 2016

II. MEMBER COMMENT – BUILDING SALE

III. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

 

===================================

 

I. A CONCERNED MEMBER”S LETTER TO THE IEB – LAST MAY

COLLEAGUES, The letter below serves as an excellent summary
of the local’s conduct though out the entire building sale debacle.
We thank the member who took the time and effort to document
this conduct. It also shows how the AFM was in the tank for this
sale as well.

May 15, 2016

from:
MEMBER

Ray Hair, President and AFM International Executive Board
c/o Sam Folio, Secretary Treasurer
American Federation of Musicians
1501 Broadway, Ste. 600
New York, NY  10036

RE: Flawed Referendum Local 47/ Club 47
Response to Ray Hair Letter of April 25, 2016
* Denotes Enclosures

Dear President Ray Hair and IEB,

The LMRDA requires that union members have a

right to a “meaningful vote”. We believe that there

is clear and convincing proof that the referendum put

forward by the Musicians’ Club /Local 47 did not provide

the membership with a “meaningful vote”. In fact, the

Board of Directors put forward a carefully orchestrated

campaign that insured the administration total control

of the narrative promoting the sale of our Vine Street

property, fully exploiting our communications resources

for a one sided argument.

 

No opposition was ever reported to the membership at large

following the October 5, 2015 “informational meeting” where

it was clear the membership in the room was “not on board.”

The membership overwhelmingly voted to delay voting.

Your letter of response says there is a “lack of factual details specific enough for the Federation to act upon them.”

Here are only some specifics:

1) objection to the ballot language,

2) reply from Local 47 on ballot language clarification request,

3)  non-disclosure of member concerns voiced in meetings and omitted in official publications,

4) refusal to use an agency to perform the ballot process.

Additionally, please add to your consideration the enclosed communications from Robert Hirschman, Esq. (a local 47

union member in good standing) that adequately summarizes

the position of many of the members. The response from

Local 47 counsel is also included.

 

Also due scrutiny, a conflict of interest in the hiring of Erick

Cruz from the same promotional company hired to promote

the sale of the building as Local 47 “campaign manager.”

Why was this person hired when Local 47 told us they were

“watching every penny?” Also,  there was a conveniently

“coincidental shut down” of the Committee for a Responsible

47 blog just days after the initial mailing of the August 28, 2015,

“The Time is Now” flyer.

All of the above are addressed below as a response to your

letter of April 25, 2016.

Ballot Language Issue

The Fall Overture (print edition sent to all members) recited

that the referendum question to be decided is:

” Shall the Musicians ‘Club of Los Angeles, by and through

its officers and governing board, be authorized to sell its

real property located at 817 Vine Street, Hollywood, CA 90038?”

The actual question was very much different. In fact, so different

that several members requested clarification of what a “yes”

vote or a “no” vote actually meant. Simply put, the question

could be construed to be asking about authorization regarding

the threshold price required for the sale.

“Shall the officers of the Musicians’ Club of Los Angeles,

(the “Club”) be authorized to sell the Club’s real property-

located at 817 Vine Street, Hollywood CA 90038-for not less

than Twenty Two Million dollars (22,000,000.00) to the

successful highest bidder?”

I have enclosed the correspondence from myself to the Local.

In their response, you can plainly see the callous disrespect

and hostility exhibited toward the members when we dare

to question what may be the most important issue we have

ever voted on..  Is this the type of “service to the membership”

that we somehow deserved for asking a legitimate question?

In addition, Local 47 Member Darius Campo, (one of the

realtors who is working for the Local on the sale and had

access to the names of those members who had not yet voted.

We were told he was working the phone tree and that is how

he knew who to target his email blast), included in his blast

a ballot clarification because he also knew it was an issue.

It appears that the email blast was accomplished with the

help of the Local 47 webmaster.

 

Additionally, repeated requests for ballot language clarification

were made by Attorney Hirschman. Attached you will be able

to see just how even Mr. Hirschman’s request was not answered

by Local counsel.

Finally, at the January 25, 2016 Membership meeting a

direct question was put to the Chair regarding the ballot

language. Counselor Levy took the question and said, “It

means whatever the drafter intends it to mean”. The response

from Counselor Levy was less than satisfactory and left those

of us invested in this question frustrated.  It appeared very clear

that the administration intended to keep all its interpretive

options open.

Non-Disclosure of Member Concerns in Official

Communications/Inadequate Minutes

The membership-at-large did not have the benefit of discourse

regarding this referendum. Those members who opposed the

referendum (as it was presented) did not have their views put

“on the record “from those meetings for the membership as a

whole to consider. Although the minutes record who spoke

they do not indicate if the speaker was or was not in favor of

the referendum and why. Why not? The Minutes from

“Informational Meeting” of October 4, 2015 and Minutes of

General Membership Meeting of October 26, 2015, are available

for viewing on the Local 47 Website.

The administration held two “informational lunches.” No

official minutes were taken at these “Informational Lunches”

October 12, 20, 2015. They were attended by members of the

Executive Board, the realtors and only a handful of members

who were largely in opposition of the referendum.

These members asked questions and voiced their concerns.

Some had prepared and read statements regarding the referendum-none of which was ever shared or disseminated

to the membership-at-large. How could we have expected

otherwise? President Acosta said that in “hindsight” he should

have gotten the sentiment of the membership…but now, “we

are committed to the process of the referendum”. Also, that ”

the Board does not see any negatives regarding the issue of

The Time is Now.” It is reflective of the adage, “Better to beg

for forgiveness than to ask for permission.”

Members’ Request for Special Club Meeting/ Unreasonable Delay by Executive Board

At the beginning of November 2015, members petitioned the

Club 47 under the Club by-laws for a Special Meeting regarding

the referendum.

That meeting was not granted until January 4, 2016.  This was

less than a month before ballots were due in.  We believe this

was a deliberate delay allowing the referendum process to

move forward without “on the record” discourse of the

membership in opposition. The administration had at least two

full months of total control of the message to its members.

Letters to the Editor January Print Edition of  Overture

Starting in  2015 the Overture is only printed and mailed to

the membership on a quarterly basis. The membership (if they

are able) have access only to an on-line version of our monthly

publication.  President Acosta finally and reluctantly agreed

to print all Letter’s to the Editor regarding the referendum

in the January 2016 print edition. Again, this proves consistent

behavior by the administration to insure for themselves months

of  “no visible opposition” reaching membership-at-large  by

official communications. The referendum started in October

2015 and ended February 1, 2016.

Refusal to Provide Resources for Opposing Views

At the October 26, 2015 General Membership Meeting, President

Acosta was asked directly by a member if resources could be

made available so that the opposition could  share legitimate

concerns with the membership-at-large, i.e. the nearly 6000

members who were not present for any discussions regarding

the referendum.  This request was completely refused. President

Acosta said, “no”. The position of the Union was they are not

legally required to provide resources.

Counsel Levy, in one of his letters to Mr. Hirschman, suggested

that opposition voices could have taken out an ad in the Overture

– As if somehow doing so would have been a  viable means of

reaching the membership-at-large. If the on-line version of the

Overture was sufficient to reach the membership it would not

have been necessary for the Union to spend money for postage on

five special mailings promoting the referendum.

Disparity of Resources

In addition to the five special mailings, the Local generated

numerous emails and targeted phone calls to  those that had not

returned their ballots. The President proudly announced that

they had made 20,000 phone calls. How does the membership

wishing to challenge the administration’s myopic one note

samba compete?  It should also be noted that members who

signed the petition for the Special Club Meeting were not

contacted by phone following the filing of that petition. It appears

there was also a “do not call”  list.
Refusal to Use Outside Agency
Repeated requests for use of an outside agency were rejected

by the administration.  President Acosta defended that decision

by saying, “there is no manual (playbook) for the referendum.”

Yet, he made written assurances that the referendum would meet

DOL Standards.

The Election Board Was Not In Charge of the Ballot Process

The Election Board was relegated to only count the ballots. We

were told that the Election Board would be in charge once the

ballots were returned.

Sometime on or about November 2015, the Union ordered an
additional 1000 ballots.  At the General Membership meeting of

January 25, 2016, a member asked about these ballots. Even

though the Chair of the Election Board was at that meeting, he

did not address the question from the member.  Sec.-Treas.

Lasley took the question and said,  “well, it was around a 1000. ”

Why did he not give us an exact number?   We were told the

“extra” ballots were for replacements to those members who

either “lost” their ballot or wanted to change their vote. The

Election Board was not responsible for sending replacement

ballots. All requests went through the Secretary-Treasure’s office and Erick Cruz.

On November 3, 2015, I was in the main office at Local 47 and

a great many number of returned ballots were left sitting on the

receptionists desk. My notes from that day reveal that while the

receptionist was at his desk when I checked in, he was not when I

left.  These ballots were left unattended and were not in the

custody of the Election Board.
Referendum Ballot Count
I was an observer for the ballot counting on February 2, 2016.

From my notes taken in real time during the process, you can

read that it was only after my insistence that the Return to Sender

ballots were produced and counted.  Having been locked in a

cabinet across from the receptionists desk , an office staffer had

to be called back to the building “after hours” to open the cabinet.

Vice-President Rick Baptist and a member of the  Election Board

retrieved these ballots so that they could be included in the ballot

count. Since the administration had ordered an extra 1000

ballots, I wanted to see just how many might have been used to

replace those ballots. The total number of  Return to Sender mail

envelopes was 168.

Astoundingly, in the middle of the ballot count, the entire process

had to be moved from the auditorium to a conference room. It so

happened that an orchestra rehearsal had been scheduled to use

the auditorium!  How could this have happened?  How do you

double book when you have planned this “major event” months

in advance?

The Tally Was Incomplete Due to the Failure to Count the Unused Ballots

Title IV of the LMRDA establishes election procedures that must
be followed by all unions covered by the act. “All ballots, including
used, unused, and challenged ballots, envelopes used to return
marked ballots, tally sheets and related election documents,
must be kept for one year.”

Once the materials were boxed, taped, and signed, the Election
Board, President Acosta, and myself, walked the boxes to the
basement of Local 47 for storage. At that time Pres. Acosta
counted the boxes and  announced that the” ballots will be
kept for one year.”

Subsequently realizing that the unused ballots were not in the
count, I contacted each member of the Election Board . I have
not received any response and do not believe that these ballots
were ever accounted for.  This is significant because while the
vote may look overwhelmingly in favor of approval of the sale,
the threshold of 50% +1 to even count the referendum was met
by only a very few ballots. We were told at the October 5, 2015
“informational meeting”  3210 ballots would need to be returned
to count the vote. At the January 25, 2016 meeting the number
required was reported as 3030. The actual tally from February,
2, 2016 ballot count was reported as 3260.

Jay Rosen Resigned from the Election Board

At the 47 Executive Board  Meeting of February 16, 2016, President Acosta introduced Jay Rosen to give an Election Board report.  Jay Rosen,  in an apparent surprise move, resigned as a member of the Election Board. He read a written statement that was not put into the minutes of that meeting. My observer notes are in addition to his written statement. He said, “The process disturbs me… more than one thing.” “That ballots were heavily weighted to one side…if they were close, it could have been a problem.” Jay’s final comment was, “Hopefully, the referendum will not be repeated.”

With nothing more for the Election Board to do until a new Election Board was elected, why did Jay Rosen choose to resign at this time?

Campaign Manager Hired from Promotional Company

Beginning in October of 2015, the Local hired Erick Cruz who had
been working the prior two years for the very promotional company that the union hired to promote the sale of Vine Street. His Linkedin page says Local 47 Campaign Manager.

Our Election Board Chair identified Erick Cruz as the party that “has been tabulating the ballot numbers and members to whom those number are associated gave us a list of all members that had more than one return ballot envelope that was in the scanned database and what those numbers were.”

Subsequent to the Referendum, I asked President Acosta about
Mr.Cruz, (a clear partisan) and why he should been able to have his hands all over our ballots? ( In the words of an employee.)  President Acosta replied that Erick had to know who had or had not returned their ballots so “we could stop harassing them with phone calls.” There can be no confidence in the process when even the appearance of impropriety is ignored.  Erick Cruz was retained with the job title of “Organizer”.

It in important to note here, that at an open meeting, it was Erick
Cruz who got up and  responded to my inquiry regarding the
unsecured ballots I had seen on the receptionists desk. Then,
on the day of the referendum count, I engaged Erick Cruz in the
hallway and asked him if he was part of the Election Board and
he said no.  I also asked him how he knew how the ballots were
handled? He said he had “seen how it was done.” This conversation took place within earshot of Executive Board Member, Judy Chilnick. Immediately, Ms. Chilnick summoned Local 47 Counsel Levy.  Mr. Levy interrupted me and removed Mr. Cruz from our conversation. Several weeks later, I asked Judy why? I told her that Mr. Levy and Mr. Cruz are technically employees of the Union Membership and she had no right to interfere.  Her response was, “I didn’t want Erick to be alone.”  I then asked her if there was something to hide? She turned around and literally hustled away.

Shut Down of Committee for a Responsible 47 Blog

Probably the most scrutiny should be applied to the loss of a blog
site that has been an integral part of the memberships ability to
openly and freely communicate. The blog is where anonymously
posting opposition to union policy will not result or lead to the
death knell of ones’ career.

Only days after the initial mailing of “The Time is Now” flyer,
posts in opposition to the sale of Vine Street showed up on the
“blog”. Within days of  the Committee weekly emailing the “blog”
was “spammed off.”  It took many weeks and much financial
expense to get out any posts because doing so required the
need to retire a website and rebuild a mailing list.  Counsel
Levy makes a specious argument that somehow the “blog” is
a “viable and consistent alternate channel of communication
for the membership “implying the “blog” absolved the Union
from its responsibility to insure the membership had a
“meaningful vote.”

At a most crucial time for membership discourse, the “blog”
just disappeared.  Following the downing of the “blog”, the
only way to read a post was to search the web for it because
postings no longer automatically went into the subscribers
inbox. Contrary to Counsel Levy’s argument, there was no parity.

At the Oct. 26, 2015 General Membership meeting a member
directly asked President Acosta the following. “Do you know
if anyone in this room was responsible for the “blog” being
shut down?  President Acosta responded. “Ask the author,
does he have any proof?” President Acosta did not even
feign surprise or concern at the implication that anyone
connected with the union would be involved.

Additionally, on November 17, 2015, I had a conversation with
Vice-President Rick Baptist in his office where the issue of the
absence of visible opposition to the referendum came up. In
specifically mentioning the loss of the blog, Mr. Baptist said,
” It did not come from the titled officers…but you know who
did.” I did not quiz him on who?…However, the union does
have a “webmaster.” Might this “webmaster” have had
something to do with it?  Was that the implication from
VP Baptist?

Regardless of who might have facilitated the loss of the
“blog,”the Local knew of the loss and openly admitted it.
The only viable counter voice to the Local narrative had
been silenced.  How could Counselor Levy claim, as he did,
that there was anywhere near an even playing field when
the members know they cannot send letters to the Overture
in opposition to the administration without the fear of
reprisal or losing work, or worse yet, (for our business)
loss of community?

This incident of being “spammed off” is not the first time.
Several years ago, a very well known, but politically
inexperienced member tried to run for the Sec. Treas.
position at Local 47. She put together her email list by
going through the union directory and sent out a mass
mailing. A well known and active musician was
“spammed off” apparently by her fellow musicians? She
lost any ability to mount a campaign to the membership
economically and through electronic means.

Because of the similarity of the incidents, I called the
adversely affected member about it.  To her it was
obvious that she had become a persona non grata
for having attempted to run for office,  She told me
she is not working much now.

Grievance Issue

Given the circumstances, it is risible to attempt for us
to file a grievance at Local 47. Internal probes in an
organization such as this can often be biased toward
a specific outcome.

Because of all the aforementioned, we are asking for
an investigation to be opened by the International
into what many of us believe is a suspicious if not
possibly a fraudulent referendum. A finding that the
Membership has been irreparably harmed is sufficient
grounds for seeking trusteeship of Local 47.

Finally,  President Hair, it is unclear to me that my
letter of February 16, 2016, was ever presented to
the International Executive Board at its March meeting
as I was lead to believe.  I contacted Ken Shirk for the
Minutes of that meeting to confirm that my letter was
included and whether any action had been taken by
the Board as a whole.  Mr. Shirk answered me that the
Minutes would be posted in July.  I need to know about
any formal action or non action taken at the March
meeting before July. This is not an unreasonable request.

Sincerely,

MEMBER
Local 47 AFM/Club 47

[EC: The text of this letter included 19 footnotes, including
13 exhibits. Predictably, the AFM and the IEB did nothing.
The misconduct was and is clear, but the AFM closed their
eyes and stayed loyal to their overseers, or those doing
what the overseers wanted.]

=====================================
II. MEMBER COMMENTS RE – BUILDING SALE

I voted to stay put! I’m only still a member because I like the
credit union. The Musician’s Union actually does nothing else
for me, and If the new location isn’t convenient, I’ll probably
resign and take my money elsewhere.

——————————

So obviously no ‘recording studio’ at the new location… right
next to the Bob Hope Airport. Probably not so hot for
rehearsing either. Jeeze!

——————————-

It’s apparently on the east end of the airport. The flights take
off to the west and southwest.

——————————–

And which way do they land from?

=====================================

 

III. EVENTS

———————————–

DEAN AND RICHARD


DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

 

———————————————-
1/21/16
SFV SYMPHONY ORCHESTRA
Jan. 21, 2017 –
Tutor Family Center at Chaminade West Hills
Schumann: Manfred Overture
Mendelssohn: Symphony #3 in A minor (Scottish)
Belling: Music Madly Makes the World Go Round
Inaugural Performance
Cary Belling, violinist
++++++++++++++++++++++++++++
Other concerts in the series
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”
Tchaikovsky: Orchestral Suite No. 2 in C major
Egizi: Orchestral Suite 
“In Memoria di Mio Padre”
Inaugural Performance

Programs subject to change
——————————————
You can read all previous offerings at:
http://www.responsible47.com
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

BUILDING SELLS / LUNCHEON / MEMBER COMMENT / EVENTS

Friday, December 9th, 2016

12/9/16

I. LOCAL 47 ICONIC BUILDING SELLS, Apparently.
II. ASMAC/L.A. JAZZ SOCIETY HOLIDAY LUNCHEON
III. MEMBER COMMENT
III. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===================================

I. LOCAL 47 ICONIC BUILDING SELLS, Apparently.

It was reported from Local 47 that the Local 47 Building has been
sold for 24.75 Million.

In November, 2016 the Musician’s Club voted to open escrow on a
Burbank property different than the property initially used as a
possibility while promoting the referendum…and 3 million dollars
over the stated projection (Total cost – 13 million) The original

asking price on the current building was 12 million in May,

though we offered 13 million.

 

Why the extra? According to sources, the present owner knows

the Burbank Airport will be expanding and feels the building

will be worth more than listed.

Also, apparently the Club has spent money (our money) hand over fist
in lawyers fees. They had to. What did they know about anything?
Was there anybody on the board with any kind of expertise?

PROPERTY TAXES

Property taxes are a fixed expense. In the promoting of the referendum,
the membership was told that the initial property had three tenants
that would cover the property taxes, (more than three times what
we pay now). The new property does not appear to have that benefit.

Here is a link to the proposed building:
LoopNet internet listing.
According to LoopNet there is a sublease listed until 2019.
How does that affect us?

http://www.loopnet.com/Listing/19886399/3220-Winona-Ave-Burbank-CA/

Couldn’t the local have given us all this info in the email blast?
Of course they could, but why give the full picture when they
can keep members in the dark. After all, who needs transparency.

THE COMMITTEE

=====================================

II. ASMAC/L.A. JAZZ SOCIETY HOLIDAY LUNCHEON,

SUNDAY DECEMBER 11th, Catalina’s

Join us for a very special holiday event — in addition to terrific
entertainment and great food – we will also present the first
Van Alexander Scholarship to a worthy young recipient. Don’t
miss this special day. RESERVE NOW ! Call the ASMAC office…
or download the form and email or fax it in!

The musical entertainment will feature:

Chuck Berghofer, bass

Terry Trotter, piano

Peter Erskine, drums

with special guests

Mark Miller and Tierney Sutton, vocals.

 

Catalina’s Jazz Club

6725 West Sunset Blvd., Hollywood

(enter parking on McCadden

11:30 am Cocktails/Silent Auction

12:30 pm Brunch

1:15 pm Program/Entertainment

 

LAJS and ASMAC members $50 (max 2)

Non-members $60
Entertainment and Dessert only – check-in at 12:45 – $20 each.
for more info please call
818 994-6181 or [email protected]
818 994-4661 or www.asmac.org or www.lajazz.org

=====================================

III. MEMBER COMMENT

RE: COLORADO SYMPHONY

So this orchestra (COLORADO SYMPHONY) is blocked from coming
up with an agreement that works for them. Blocked from an agreement
tailored to their needs in their marketplace.

Meanwhile in Ray Hair’s backyard, the Dallas Bach Society, The
Richardson Symphony, The Dallas Pops, and the Fort Worth Symphony
are all on the AFM international unfair list.

These groups are all in the jurisdiction of Local 72-147 Dallas-Fort
Worth where Ray Hair was elected president of the Fort Worth local in
1983, merging with Dallas in 1991. The Philadelphia Orchestra just
got a new contract with their daring Wildcat walkout…Pittsburgh just
got a new agreement.

But we have this fustercluck going on in the president of the AFM’s
backyard!

NAME WITHHELD

 

[EC: We’d certainly like to learn more about the reasons all these

72-147 groups wound up on the unfair list. If you have info, please

share it here.]

=====================================

IV. EVENTS
———————————–

DEAN AND RICHARD


DEAN AND RICHARD

are now at Culver City Elks the first 
Friday of 
every month.

7:30pm-10:30pm,

11160 Washington Pl.

Culver City, 90232

310-839-8891
————————————-
LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.

Every 2nd and 4th Tuesday of the month at

Viva Cantina

7:30-10:00.

900 Riverside Drive, 
Burbank.

 

Free parking across the street at Pickwick Bowl.

Come hear your favorite charts played the way

they 
should 
be. 

We are in the back room called

the Trailside Room. 


Come on down.

 

Guaranteed to swing.

————————————–

12/10/16

VALLEY COLLEGE SYMPHONY
On Saturday night, December 10th at 7pm in the LA Valley College
MainStage theater (near the corner of Oxnard and Fulton, the Valley
College Symphony will present a program of Baroque Concerti.
5800 Fulton Ave
Valley Glen, CA 91406
The program will include:

The Vivaldi Piccolo Concerto in C – Jaun Antonia Rivera, piccolo soloist

Vivaldi Bassoon Concerto in F Major – Charles Fernandez, Bassoon Soloist.

Bach Brandenburg Concerto no. 2 featuring

Ljiljana Lukic, Flute

Kathy Gleasman Pisaro, Oboe

Angela Anderson, Trumpet
 and

Yi-Huan Zhao, Violin.
Other works will be included as well!…..
Please come if you can!
——————————–

12/11/16
Dearest Friends of MAHMA and the Classical Arts:

IT’S CHRISTMAS!!

The Malibu Friends of Music is proud to announce that our own
Maria Newman is scheduled to conduct Johann Sebastian Bach’s,
Christmas Cantata BWV 142 “For Us a Child is Born,” this Sunday
December 11th in two morning concerts, at the beautiful gothic-
style
Westwood Presbyterian Church
10822 Wilshire Boulevard on the Wilshire Corridor.

After a fashion, these morning concerts will emulate a European-
style holiday inside a beautifully decorated miniature hall church
as the Westwood Master Choir, brilliant vocal soloists and the
Westwood Chamber Ensemble perform Bach’s lovely cantata,
encapsulated within the traditional liturgy of the season.

Do not miss this unique experience!

We invite you to join us December 11th for the 8:45am concert
and/or the 11:00am concert. We look forward to seeing you there!

The concerts are FREE & parking is FREE.
Receptions will follow both concerts.

Safe and Happy Holidays to you all,
Scott Hosfeld

———————————————

12/11/16

SOUTHERN CALIFORNIA JAZZ ORCHESTRA

Hello friends,

This is to let you know that my 22-piece big band,
the Southern California Jazz Orchestra, will be making
its debut at the Secret Rose Theater in North Hollywood
on Sunday, December 11th. We will be celebrating the
music of Rob McConnell and the Boss Brass as well as
presenting some of my new original arrangements.

Details below:

Charlie Ferguson presents
the Southern California Jazz Orchestra
performing live at

Secret Rose Theater
11246 Magnolia Blvd.
North Hollywood, CA 91601

Sunday, December 11th, 2016
7:00 – 8:30 PM (1 set)
Tickets $20 (now on sale; call 818-970-1703 for more info)

Saxophones/woodwinds: Kim Richmond, Dan Kaneyuki,
Billy Kerr, John Yoakum, Tim McKay
Trumpets: Stan Martin, Jon Papenbrook, Ron Barrows, Ron Stout
Trombones: Scott Whitfield, Andy Martin, Erik Hughes, Craig Ware
French horns: John Dickson, Suzette Moriarty
Piano: Charlie Ferguson
Guitar: Dan Ferguson
Bass: Chris Conner
Drums: Ralph Razze
Percussion: Billy Hulting, Linda Michelou
plus special guest Jacques Voyemant, trombone

There is plentiful parking on side streets in the area and in
lots near the venue. This will be a fun night of music so
make plans to join us.

Charlie

———————————————

1/21/16

SFV SYMPHONY ORCHESTRA
Jan. 21, 2017 –

Tutor Family Center at Chaminade West Hills

Schumann: Manfred Overture

Mendelssohn: Symphony #3 in A minor (Scottish)

Belling: Music Madly Makes the World Go Round

Inaugural Performance

Cary Belling, violinist

++++++++++++++++++++++++++++

Other concerts in the series

Mar. 18, 2017 –

Agoura Hills/Calabasas Community Center

Tuttle: By Steam or By Dream Overture

Inaugural Performance

Prokofiev: Symphony #1 in D major (Classical)

Ben-Haim: Pastorale Variée for

Clarinet, Harp and Strings

Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra

Ruth Bruegger, violinist

 

May 13, 2017 – Agoura Hills/Calabasas Community Center
Saint-Saens: Bacchanale from “Samson and Delilah”

Tchaikovsky: Orchestral Suite No. 2 in C major

Egizi: Orchestral Suite 
“In Memoria di Mio Padre”

Inaugural Performance

 

Programs subject to change

——————————————
You can read all previous offerings at:

http://www.responsible47.com

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

COLORADO SYMPHONY / DOJ APPEAL / NACUSA COMPETITION / EVENTS

Friday, November 25th, 2016

11/25/16

I. COLORADO SYMPHONY LOOKS UP – AND SEES MORE CHALLENGES
II. BMI RESPONDS TO DOJ APPEAL OF FRACTIONAL LICENSING RULING
III. NACUSA COMPOSITION SUBMISSIONS FROM EAST COAST MEMBERS
IV. EVENTS

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

=============================================

I. COLORADO SYMPHONY LOOKS UP – AND SEES MORE CHALLENGES

Here is quite an interesting and wide ranging article about
the Colorado Symphony. We’re putting the section about
the Colorado Symphony vs. the AFM because of it’s import
the AFM Membership…

Excerpted from the article concerning the AFM:

The symphony plans to expand not only its concert
season, but its work in recording soundtracks and
background music, its work as a backup orchestra
for pop and rock musicians, and more.

The bad news? Well, the Symphony is mired in a
long-standing and complex dispute with the American
Federation of Musicians about these non-concert-hall gigs.

What do you want first – the good news? Okay. The
Colorado Symphony finally posted a budget surplus
for the first time in its history. It’s back from the brink
of death, with a growing multi-million-dollar endowment
and a raft of new and returning corporate sponsors. It’s got
a peppy new music director designate. The symphony plans
to expand not only its concert season, but its work in
recording soundtracks and background music, its work as
a backup orchestra for pop and rock musicians, and more.

The bad news? Well, the Symphony is mired in a long-standing and
complex dispute with the American Federation of Musicians about
these non-concert-hall gigs, for one. And the City of Denver’s going
to tear down the symphony’s home, Boettcher Concert Hall, and
shunt it into a new venue which is half the size and which the
symphony must share with other arts groups. Given these challenges,
can the symphony sustain its successful momentum?

The orchestra is awaiting the decision of an administrative
-law judge in the wake of a September 14 hearing concerning
points of contention between it and the American Federation
of Musicians union. Oddly, Colorado Symphony musicians
are on management’s side in the case. Much of the dispute
stems from the symphony’s desire to diversify its revenue
streams.
In its Consolidated Financial Statements of June 20, 2016,
the symphony characterized the dispute as follows:

“Our collective bargaining agreement with the American
Federation of Musicians of the United States and Canada
(AFM) expired September 30, 2013, after which we attempted
to negotiate in good faith a successor agreement with
changes to certain terms governing the musicians’
compensation for work on SOUNDTRACKS, AUDIO/
VIDEO BROADCASTS AND OTHER ELECTRONIC MEDIA
(emphasis added), which were necessary to allow the
Symphony to take advantage of new and emerging
performance opportunities. We  were unable to reach
agreement with the AFM, and, therefore, we implemented
the changes in October 2014.”

“The American Federation of Musicians tends to foster
that ‘us versus them’ mentality,” says Kern. “It thinks
that it knows better what’s good for the organization
and the musicians. Management is viewed negatively –
but that’s not what goes on here. We have more of a
partnership with the musicians than any orchestra
in the United States.”

Meanwhile, Michael Allen, president of AFM Local 20-623,
writes that “Everything I know about this dispute fills
up four 1.5-inch three-ring binders.” The allegations
involved include unfair labor practice charges, employer
domination and refusal to furnish information. Colorado
Symphony musicians are also looking to EXIT AFM
REPRESENTATION (Emphasis added.), but this idea can’t
be pursued legally until the prior litigation is ended.”

[COLLEAGUES: Reading the above makes it clear that the
Colorado Symphony wants to begin recording for
Soundtracks and Video, but the AFM is trying to block
that (You can guess whom they are working on behalf of
here). So much so that the orchestra is trying to find
a way to free itself from the AFM, much as Seattle did.]

“ . . .The matter currently before the administrative law
judge is regarding the unfair labor practice charge and
NOT the issue of representation,” Allen writes, “though
the outcome of the hearings will certainly have on
impact on the issue of representation.”

THE ARTICLE IN FULL:

Denver’s symphony orchestra has always ridden a sine wave of ups
and downs. It originated as the Civic Symphony Orchestra, a
volunteer community ensemble. In 1934, the group professionalized
itself under the name of the Denver Symphony Orchestra. As such,
it persisted until March 1989, brought low by financial woes.
DSO musicians Terry Smith and John Weatherill led the initiative
to regroup, and the Colorado Symphony sprang to life in the
DSO’s place in May 1990.

However, the Colorado Symphony eventually faced financial
hardships. A spate of financial problems threatened the
organization in 2000. Eleven years later, a renewed shortfall
of revenue triggered the cancellation of concerts and the
resignation of two-thirds of the symphony’s board of trustees.
The emergence of Jerry and Mary Rossick Kern, current
co-chairs of the board, over the past fifteen years as
problem-solvers led to the symphony’s newfound
financial stability.

“It’s great to have cash in the bank,” says Jerry Kern, who
serves as the symphony’s CEO as well. “The place was never
adequately capitalized and adequately supported by the
community. We have come a long way toward resolving that.”

On June 30, 2015, the symphony ended the season with
$7,000 in cash – just enough to buy a 2006 Honda Civic,
in theory. On June 30, 2016, the surplus stands at more
than $1.7 million. Any organization, particularly an arts
organization, that can demonstrate a higher net worth
enjoys a more solid financial position and inspires greater
interest from potential contributors.

“Erasing the deficit expands the prospective donor base,”
Kern says. “It’s like the stock market. It takes money to
make money.”

Kern’s speech has the crackle and tang of old-school
New York, where he plied a successful career as a lawyer
(he’s now in his late seventies). Extensive work with
nonprofits and performing-arts organizations gives
him a unique amount of experience and insight as
to what works and what doesn’t in what is, after all,
a branch of showbiz.

“We make music and that’s it,” he says. “We feel that
it’s our obligation to create the best of whatever music
is out there. We happen to make the best music in
the state of Colorado.”

Much of the symphony’s success can be attributed to
its adaptability. Kern was quoted in the Denver Post
on October 12, 2011, as saying, “’The 21st-century
orchestra is not going to be the same as the 19th-
or 20th-century orchestra.’” Like many other symphony
orchestras across North America, the Colorado Symphony
has diversified its offerings to include a much greater
portion of contemporary fare.

A flip through the symphony’s 2016-2017 season calendar
tallies a near-even split between what would traditionally
be considered “serious” concert-hall fare and crossover events –
collaborations with contemporary groups and artists such
as Elephant Revival, Stewart Copeland and Ben Folds, pop
and jazz excursions and holiday shows. There is a Symphonic
Tribute to Comic Con, The Music of Michael Jackson, and
Pokemon Symphonic Evolutions. The symphony’s upcoming
Harry Potter and the Sorcerer’s Stone: In Concert sold out
its first two performances, then added a third and promptly
sold that out.

So what’s wrong with being popular? All of Denver’s
symphonic leaders of distinction to date have been dedicated
to popularizing the organization. Saul Caston, DSO music
director from 1945-1964, took the orchestra on tour,
initiated school outreach plans, and performed outdoors
at Red Rocks Amphitheatre. Brian Priestman, a beloved
and ebullient Brit, led the orchestra from 1970 to 1979,
garnering the greatest amount of community support to
date. (Classical station KVOD and dry-goods giant May
D & F used to raise money through a weekend-long
annual marathon. The orchestra even used to have a
kissing booth at the People’s Fair.) Marin Alsop, a disciple
of Leonard Bernstein, scheduled new work, led engaging
outreach programs, recorded extensively with the
orchestra for the Naxos label, and effectively evangelized
for the local classical scene from 1993 to 2005.

Now the musical directorship will transfer to the present
associate conductor of the Cleveland Orchestra, 37-year-old
Brett Mitchell, who takes up the position formally on July
1, 2017. Is Mitchell the kind of committed, charismatic
leader the symphony needs?

Kern is a staunch supporter, of course. “When you look at
a guy like Brett Mitchell, who’s committed to spending no
less than 25 weeks a year in Denver, to move here with his
wife, well, we haven’t had that since Marin Alsop,” he says.

“It’s not my first rodeo,” says Mitchell, who’s currently braving
Denver’s insane housing market. In a short span of years, the
conductor has accumulated a significant amount of experience,
ranging from opera to leading the Cleveland Orchestra’s
Youth Orchestra. He’s excited about the challenge ahead,
praises the musicians (“They’ve been doing their part in
this place for so long that it’s a labor of love”) and looks
forward to conducting the full range of concert offerings.

“Hey,” the Seattle native says, “I am not the guy who did
nothing but listen to Mozart growing up.” He confesses to
playing a little alto sax à la David Sanborn – “Hey, it was the
’80s!” – but he didn’t really feel the impulse to conduct
until his freshman year in college.

“At first I thought I would be a band teacher,” he says.
“Mr. Holland’s Opus.” Once he determined his career path,
he studied extensively with such prominent conductors
as Alsop, Kurt Masur and Lorin Maazel. However, he
doesn’t disdain the popular fare.

“I think that, having been a staff conductor, I’ve played just
about every kind of music there is for orchestra, and I love
it all,” Mitchell continues. “I want to do the pop shows and
the movies. My interest is to appear on every series, not
just the masterworks. Those works need to be performed
with the enthusiasm they deserve because they mean
something. I mean, John Williams [composer of Star Wars
et al.] was my intro to orchestra. That’s a gateway.
Developing a broad footprint, having enormous diversity
and variety — those are gateways.

“With an audience, you need to develop relatability,”
he goes on. “If you are doing the same thing over
and over again, people can shut you out. The way
that we have it is not as a museum, but as part of
a continuum. How do you make music that opens
ears in a new way that doesn’t make it intimidating?
We want to be responsive, not reactive. We’re not
dumbing down anything at all. The presentation is
managed differently, and there’s more salesmanship
to it. We’re just trying to have fun and share these
extraordinary experiences.”

So far, so good. All is not beer and Skittles for the
symphony, however.

The orchestra is awaiting the decision of an administrative
-law judge in the wake of a September 14 hearing concerning
points of contention between it and the American Federation
of Musicians union. Oddly, Colorado Symphony musicians
are on management’s side in the case. Much of the dispute
stems from the symphony’s desire to diversify its revenue
streams.
In its Consolidated Financial Statements of June 20, 2016,
the symphony characterized the dispute as follows:

“Our collective bargaining agreement with the American
Federation of Musicians of the United States and Canada
(AFM) expired September 30, 2013, after which we attempted
to negotiate in good faith a successor agreement with
changes to certain terms governing the musicians’
compensation for work on soundtracks, audio/video
broadcasts and other electronic media, which were
necessary to allow the Symphony to take advantage of
new and emerging performance opportunities. We
were unable to reach agreement with the AFM, and,
therefore, we implemented the changes in October 2014.”

“The American Federation of Musicians tends to foster
that ‘us versus them’ mentality,” says Kern. “It thinks
that it knows better what’s good for the organization
and the musicians. Management is viewed negatively –
but that’s not what goes on here. We have more of a
partnership with the musicians than any orchestra
in the United States.”

Meanwhile, Michael Allen, president of AFM Local 20-623,
writes that “Everything I know about this dispute fills
up four 1.5-inch three-ring binders.” The allegations
involved include unfair labor practice charges, employer
domination and refusal to furnish information. Colorado
Symphony musicians are also looking to exit AFM
representation, but this idea can’t be pursued legally
until the prior litigation is ended.”

“ . . .The matter currently before the administrative law
judge is regarding the unfair labor practice charge and
NOT the issue of representation,” Allen writes, “though
the outcome of the hearings will certainly have on
impact on the issue of representation.”

Then there’s Boettcher. It was the first symphony hall
in the round in the United States when it was built in
1978, and since it opened, its innovative design was
constantly overshadowed by acoustical problems and
a lack of attendance. A $40 million project to upgrade
the facility, funded by a 2007 bond issue, was scrapped
by the city, and the funds were diverted to other projects.

Now the city plans to demolish Boettcher and relocate the
orchestra to a new music hall, “supporting the Symphony
and also a diverse range of other musical groups and
forms. This hall replaces Boettcher Concert Hall, offering
a better and more intimate experience, appropriate in
size and form for traditional and contemporary groups,”
according to the Executive Summary of the city’s Arts &
Venues Department’s Next Stage plan.

Next Stage is a massive revitalization plan that intends
to rework the cultural center in and around 14th and
Champa Streets into an integrated, mixed-use neighborhood,
leaving the Denver Center Theatre Complex, the Ellie Caulkins
Opera House and the Buell Theatre unchanged, but making
over practically everything else. Three newly designated
“opportunity sites” will sandwich arts venues between
ground-level retail spaces and commercial towers above.

“The new image of the Arts Complex is that of a community
living room,” announces the 88-page Next Stage prospectus.
“DPAC’s fortress-like enclosure should become a place that
is always open and always active with informal programming.”

The symphony and the city have been at loggerheads on
the issue since the plan was first rumored in 2014. The
city points to the low seat counts, “changing demographics
that have different cultural consumption patterns,” and
the “declining audiences for traditional performing arts,”
going so far as to cite the complex’s present “economic
and racial inaccessibility” – a long way of saying its
events are geared toward rich white folks.

Architect Hugh Hardy, who designed Boettcher and whose
company is on board with the Next Stage plan, was more
explicit. “The specific character of the Arts Complex
will come from its emphasis upon use by the largest
possible cross-section of the community, amateur
and professional alike, and not upon the use by a
favored few,” he writes. “The true innovation of the
Music Hall will similarly lie in the fact that it is being
built to encourage the citizens of Denver to share in
the making of music. Such an idea is quite different
from using the hall as a device for furthering the
remote presentations of a musical aristocracy.”

In response, Kern has termed Next Stage “poor civic
planning.” Boettcher has 2,362 seats. The new music
hall is slated to have 1,200. There sits the practical
crux of two differing visions. If the symphony’s
revival continues and ticket sales and subscriptions
rise — where will the patrons sit?

“We would like to see more seats, maybe 1,500.
It’s a little unclear, or a lot unclear, what shape
the Next Stage plan will finally take or how long
it will take,” says Kern. “Right now, it’s a
construct of the consultants.”

Bran Kitts, director of marketing and communications
for the city’s Arts & Venues Department, says: “We
are now in the post-conceptual, pre-practical stage.
Recommendations on financing and governance are
due to the mayor’s office by the end of the year.”

“One of the down sides of the performing complex,”
Kitts continues, “is that it’s busy on show nights,
but not particularly inviting on dark nights. We are
looking to make the area a focal point, to have good
community facilities there, so that people feel they
have a standing invitation to visit.”

As to the need to tear down Boettcher, Kitts identifies
problems such as its flawed acoustics, staging and
setup problems, and lack of attendance.

“If they’re not full to begin with now, you scale them
down,” Kitts says. “You take some of these complaints
into account, and you also look into the future. What
does the technology look like? That factors in. We
have to think about younger audiences, not just
older audiences, and not just the musicians, but
the patrons and fans.”

Kern says, “We need a home. We are happy to
cooperate with the city – as long as people
continue to listen to us and recognize our needs.”

The city states that “it is envisioned that the Boettcher
Concert Hall will remain operational until after the
construction of the Music Hall . . . at 14th and
Arapahoe.” Whether the city is simply trying to
monetize its underused property with its Next Stage
plan, or whether it will trigger a new flowering of
the symphony, a fresh intersection between the arts
and all of the city’s inhabitants, remains to be seen.

In the meantime, the symphony will continue to
implement its own revitalization program, playing
in the aging confines of its once-state-of-the-art
home, waiting to see what its new digs will look like,
hoping that its labor disputes will end, freeing it
up to monetize new, non-standard musical opportunities.

And what about the traditional repertoire? Is the
great orchestral music of the past doomed to fade
out of the cultural conversation? Given the new
political climate, the future looks bright for neither
the arts nor the sciences. Is the concert hall, like
the movie palace, merely a lingering cultural remnant
where dwindling audiences still fetishize their antiquated
cultural ceremonies?
Says Mitchell, “We are always lamenting that this tradition
is going away, but it’s not. Did you know that TIME
magazine pronounced the death of classical music?
They did! — in 1961.”

It appears that the Colorado Symphony will continue
to roll with the punches.
========================
II. US DEPARTMENT OF JUSTICE TO APPEAL 100% LICENSING AGREEMENT

The US Department Of Justice has confirmed it will appeal the
impromptu court ruling that overturned its decision on whether
or not American collecting societies BMI and ASCAP must
operate a 100% licensing system.
All you consent decree fans out there will remember that
when the DoJ reviewed the regulations governing the
collective licensing of song rights by American performing
rights organisations BMI and ASCAP, it concluded earlier this
year that both societies should be offering 100% licences.
But the two societies, and pretty much every American
songwriter and music publisher, insisted the government
department had got it wrong, wrong, wrong.

Under a BMI licence, 100% licensing would mean that a
licensee would be able to use any song in the society’s
catalogue, even if BMI only controlled a slice of said song.
Traditionally the licensee would need a separate license
from whichever entity or entities controlled the other
slices of a co-owned work, which might be ASCAP or
smaller American PROs SESAC or GMR. Under the 100%
licensing system, BMI would receive all the royalties and
would then need to pay the other societies their share.

As soon as the DoJ confirmed its conclusion on this point,
ASCAP said it would lobby Congress on the issue, while
BMI took the matter to court. In September, at what was
expected to be hearing to discuss the time tabling for
that court case, the judge who oversees the BMI consent
decree, Louis Stanton, reached an immediate surprise
judgement, ruling in BMI’s favour. The DoJ had got it
wrong with all that 100% licensing nonsense, and BMI
was perfectly entitled to operate the opposite system,
aka fractional licensing.

The DoJ’s appeal means that Stanton’s interpretation
of BMI’s consent decree will now be considered by the
Second Circuit court. BMI said on Friday that the
government agency’s decision to appeal the ruling
was “disappointing” but not a surprise. BMI boss Mike
O’Neill added: “While we hoped the DoJ would accept
Judge Stanton’s decision, we are not surprised it
chose to file an appeal”.

He went on: “It is unfortunate that the DoJ continues
to fight for an interpretation of BMI’s consent decree
that is at odds with hundreds of thousands of
songwriters and composers, the country’s two
largest performing rights organisations, numerous
publishers and members of the music community,
members of Congress, a US Governor, the US
Copyright Office and, in Judge Stanton, a federal
judge. We believe Judge Stanton’s decision is
correct and look forward to defending our position
in the Court Of Appeals for the Second Circuit”.

Rival PRO ASCAP backs BMI on this issue, the
assumption being that if a court rules in BMI’s
favour on 100% licensing, the same principle
will have to be applied to its consent decree.
Its CEO, Beth Matthews, said this weekend: “The
Second Circuit’s ruling in this case will affect the
rights of more than a million American songwriters
and composers, thousands of whom have expressed
strong opposition to the DoJ’s position, and we are
hopeful the court will affirm Judge Stanton’s decision”.

She concluded that “ASCAP looks forward to resolution
of this matter as we continue to advocate for modernising
the consent decrees for today’s world”.

===========================================

III. NACUSA COMPOSITION SUBMISSIONS FROM EAST COAST MEMBERS

Plans are being made to sponsor one concert in New York City during
the 2017 spring season. The event will mark and celebrate NACUSA’s
84th season.

The program will feature works by composers who are current members
of the East Coast Chapter of the National Association of Composers, USA.

Composers interested in participating in these programs are invited
to submit scores for consideration to:

MAX LIFCHITZ
Chair, Program Committee
P.O. Box 5108
Albany, NY 12205-0108

The deadline for the receipt of scores is Thursday, December 1, 2016.

Compositions for voice, solo instruments and/or chamber ensembles will
be considered.

All scores should be clearly labeled with the name, address, current
phone number and e-mail of the composer.

Please submit xerox copies of scores only. Do not send parts. Include
a brief up-to-date biographical sketch. If available, please also send
a CD recording of the submitted work(s). Submitted materials cannot
be returned.

Composers will be responsible for engaging and paying their performers.
Composers will also be responsible for supervising rehearsals and
performance of their work. The East Coast Chapter of NACUSA can only
assume responsibility for expenses involved in renting the hall,
printing programs and publicity.

Current members of NACUSA‚s East Coast Chapter will be considered for
inclusion. Only members who have paid their dues for 2016-17 will be
onsidered. Scores should be accompanied by a check for $30 to cover
East Coast Chapter dues.

Please make check payable to the National Association of Composers,
USA. In the lower left corner of the check, please indicate that
it is for East Coast Chapter dues.

Prospective members are encouraged to submit works, but should do
so with accompanying membership fee.

Composers whose works are selected will be notified by January
15, 2017.

The National Association of Composers, USA will celebrate its
84th anniversary during the 2016-17 season. Founded by composer/
conductor Henry Hadley, it began its activities in New York
City during the 1932-33 season.

Max Lifchitz
http://www.music-usa.org/nacusa
(more…)

BMI RESPONDS / PACIFIC SYMPHONY / NACUSA / EVENTS

Friday, November 11th, 2016

11/11/16

I. BMI RESPONDS TO DOJ APPEAL OF FRACTIONAL LICENSING RULING
II. PACIFIC SYMPHONY
III. NACUSA CONCERT NOVEMBER 15th
IV. EVENTS

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
 scoring musician

…Allows us to speak our minds without fear of reprisal

– L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

=============================================

I. BMI RESPONDS TO DOJ APPEAL OF FRACTIONAL

LICENSING RULING

Dear BMI member,
As you know, on September 16 federal Judge Louis Stanton

issued an order rejecting the U.S. Department of Justice’s

(DOJ) recent interpretation of the BMI consent decree,

concluding that BMI is free to engage in the fractional

licensing of musical works. As we expected, the DOJ

filed a motion today to appeal that decision. Rest assured

that BMI is well prepared to once again defend our position

in court.

I would like to share my statement to the press regarding

the appeal:

“While we hoped the DOJ would accept Judge Stanton’s

decision, we are not surprised it chose to file an appeal.

It is unfortunate that the DOJ continues to fight for an

interpretation of BMI’s consent decree that is at odds

with hundreds of thousands of songwriters and composers,

the country’s two largest performing rights organizations,

numerous publishers and members of the music community,

members of Congress, a U.S. Governor, the U.S. Copyright

Office and, in Judge Stanton, a federal judge.

 

We believe Judge Stanton’s decision is correct and look

forward to defending our position in the Court of Appeals

for the Second Circuit.”

 

As always, I will continue to update you on further happenings

on this front. In the meantime, please know that we are

approaching this development in the same way that led us

to our initial victory – by fighting to protect your rights

and maximize the value of your music.

Mike O’Neill

=============================================

II. ANOTHER PACIFIC SYMPHONY ARTICLE

As the music industry changes, the Pacific Symphony tries to keep up
Michael Hiltzik

Subscribers to the Pacific Symphony’s 12-concert classical series are
marking their calendars for the next performance later this month,
featuring the distinguished Spanish pianist Joaquin Achucarro in
the Grieg Piano Concerto. They should mark it with an asterisk,
because the orchestra is talking about going on strike.

The group’s 84 musicians (four more seats are currently vacant)
have been working without a contract since Aug. 31, when their
last four-year contract expired. They rejected management’s last
contract offer on Oct. 23. No talks are currently scheduled, and
the players are getting anxious about what happened last time,
when the negotiations stretched over a year and a half.

“Time is of the essence,” says Adam Neeley, a violist and head
of the bargaining committee for the players, who are members
of the American Federation of Musicians. “We have a clear
mandate from the members that we’re not going to keep
playing and playing without any negotiations.”

Labor unrest seems to be sweeping through the U.S. symphony
corps, with a strike at the Pittsburgh Symphony entering its second month
and a work stoppage at the Fort Worth Symphony Orchestra causing
the cancellation of concerts through December. A two-day strike
staged in September by musicians of the storied Philadelphia
Orchestra — who hoped to recover some of the pay they lost
during the orchestra’s 2011 bankruptcy —  forced cancellation
of its season-opening gala.

These tensions reflect the challenges generally facing performing
arts groups in the U.S., including an aging audience and more
tightfisted donors. Unlike employers such as manufacturing or
service companies, these groups have few options to stem rising
costs.  “There are no opportunities for productivity gains in the
performing arts,” says Robert J. Flanagan, an emeritus labor expert
at Stanford business school who analyzed the economics of 63
U.S. orchestras, including the Pacific Symphony, for his 2012
book, “The Perilous Life of Symphony Orchestras.” The size of the
workforce is mandated by the demands of a performance piece:
a first-class orchestra can’t trim costs by having six violinists
on stage when a symphony requires 12 — at least not without
sacrificing artistic standards.

“Composers determine the labor costs of their works forever,”
Flanagan says. “Technological changes aren’t going to help much.”

On top of that, the Costa Mesa-based Pacific Symphony has
challenges all its own. Its musicians are trying to force a
fundamental change in its business model from part-time
to full-time, salaried employment.

The musicians say they’re trying to get the organization to
adapt to changing realities in the Southern California music
business; its management responds that the old model has
served it well, allowing for “slow and steady expansion over
the last three decades that sensibly matched our artistic
offerings with our community’s demonstrated appetite for
classical music,” as its president, John E. Forsyte, told me in
an email.

The Pacific may be overshadowed by the Los Angeles Philharmonic,
whose $117-million budget outstrips that of any other U.S.
symphony by a sizable margin. But it shouldn’t be overlooked.
The Pacific’s annual budget of $20 million ranks roughly 22nd
in size among U.S. orchestras, just behind the Indianapolis and
San Diego symphonies ($24 million each) and ahead of the
Milwaukee and Oregon symphonies (about $16 million each).

Unlike those orchestras, however, its musicians are paid per-
“service,” a catch-all term designating rehearsals and performances,
rather than salaried.

“They’re the only orchestra that size with a per-service model,
and they’re twice the size of any other per-service orchestras,”
says Drew McManus, a Chicago orchestra consultant who
writes a daily blog about the business.

In a sense, the Pacific is a prisoner of its own history. Founded
in 1978 at Cal State Fullerton, the orchestra became a favored
artistic side gig for Southern California’s army of studio musicians,
a relief valve from the film scores and commercial jingles from
which they chiefly earned their livelihood. They were happy with
its part-time nature because it allowed them maximum scope
to pursue more lucrative studio gigs.

“For a long time, at the negotiating table musicians tried to
get more flexibility in scheduling,” says Robert F. Sanders,
a former Pacific musician who is president of the Orange
County Musicians Assn. and participated in numerous
bargaining sessions.

In that environment the Pacific Symphony thrived. Its
ensemble comprised some of the finest musicians in
the country, it attracted world-class virtuosi as soloists,
and in 2006 it moved into the glittering Cesar Pelli-
designed Segerstrom Concert Hall in Costa Mesa. Its
artistic reputation was strong. Several alumni have
graduated to permanent jobs at major orchestras around
the country; Neeley, a Northwestern-trained performer,
recently auditioned for a chair at the Chicago Symphony
Orchestra and remains on-call as a member of its substitutes
roster.

But film, TV and commercial work has been disappearing
locally. Film scoring has moved to London and other
overseas locations; TV commercial producers abandoned
jingles and now rely more on licensed pop tracks. “When I
moved here,” Neeley told me, “part of the plan was to break
in at the studios, with the orchestra giving me a somewhat
livable base while I started a freelance career. Four years
later, I haven’t played a single gig at a major studio. That’s
because the work is not available.”

Consequently, the orchestra has become the principal source
of income for many members; the “flexibility” its musicians
once craved now imposes an undesirable uncertainty on their
annual income. That’s especially true because the symphony
doesn’t guarantee musicians a minimum number of services
per year.

The musicians say the Pacific can’t maintain its artistic quality
under the old model, as its average pay will shrink in relation
to competing orchestras. Its musicians can earn about $44,400
in the current season if they attend every available service,
according to the musicians union, but the average member
of the orchestra probably gets enough credits to earn $31,400.

By contrast, the rapidly-expanding San Diego Symphony, which
has an annual budget of about $24 million, recently reached
a five-year contract with its 82 salaried musicians that will
pay an average of about $70,000 in its first year, rising to
$80,000 in 2021.

“What we’re arguing for is not only in our best financial interest,”
says Neeley, “but is in the artistic interest of the organization
itself. If we continue to offer compensation that doesn’t begin
to compete with our peers, we’re going to see people leave the
orchestra, and fewer people auditioning for the orchestra.”

The symphony’s management has made some tentative steps
to meet the union’s “concerns about the predictability of work
and annual wages,” Forsyte says, but the musicians consider
these half-hearted. The symphony is willing to guarantee 185
services, according to the union, but with conditions that
could erode that figure over a year.

The question confronting the Pacific boils down to whether
it’s a $20-million orchestra that happens to employ part-time
musicians, or a part-time employer that happens to have a
$20-million budget. At the moment, it’s suspended between
those two models.

What both sides agree on is that the symphony has made
itself an indispensable part in Southern California’s artistic
landscape. It’s not the musicians’ fault, or management’s,
that the landscape has changed under its feet, but that
makes the symphony’s transformation into a full-time
orchestra more necessary, even urgent.

(more…)

DISTURBANCE / RON GRANT PASSES / STRIKE / FILM SCORING / EVENTS

Monday, November 7th, 2016

10/29/16

I. A DISTURBANCE IN THE FORCE

II. LA COMPOSER SCENE LOSES A STAPLE – RON GRANT PASSES

III. PACIFIC SYMPHONY MUSICIANS THREATEN TO STRIKE
IV. THE PACIFIC WEST FILM SCORING PROGRAM
V. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
=============================================
I. A DISTURBANCE IN THE FORCE

We have had it confirmed by two different sources that there

was a problem with the payments to the musicians involved

with the Star Wars sessions.

It seems the Union OVERBILLED for the sessions. They

distributed checks, then asked the musicians to send them

back. Reportedly it was John Williams himself who noticed

the over payments when he saw his own check and realized

it was too much. The person in charge of cutting the checks

was fired and replaced with a Lawyer .

Also, the Organizer for  the AFM was fired as well, the

reasons for which we don’t know.

We suppose if you cannot get away with double or triple scales anymore, some might try to find another way to get premium

pay. We suspect this was just a VERY careless mistake.

THE COMMITTEE
=============================================

II. LA COMPOSER SCENE LOSES A STAPLE
from the Society of Composers and Lyricists

It is with profound sorrow I inform you that our dear

friend and colleague, Ron Grant passed away on Friday

evening after a short but acute illness.

A consummate gentleman, Ron was the embodiment

of everything good about our profession. His creativity

knew no bounds, excelling at any artistic endeavor to

which he turned his hand. A gifted composer, artist,

photographer and technician, he continually merged

his talents and amazed us all with the results.

With well over a quarter of a century scoring for film

and television, Ron’s music ran the gamut from Knot’s

Landing to Tiny Toons, Casper to Dallas.  He was a

multiple Emmy® nominee and served as Governor of

the Television Academy’s Music Peer Group from

1996-2000 during which time he completely overhauled

the voting system which remains in use today. His invention

of the Auricle: Film Composer’s Time Processor music

software revolutionized the film scoring process and

earned him both an Academy Award® and an Emmy®

for Outstanding Scientific Achievement.

For The Society of Composers & Lyricists, Ron had served

on the board, with distinction, for almost 30 years during

which time he created our logos, our artwork, our banners,

our trophies, even our letterhead. His flair for design and his

ability to project just the right impression was unique. His

work as a videographer for the SCL was impassioned and

tireless, spending thousands of hours filming, editing and

archiving our events for posterity. It was of paramount

importance to Ron that future generations have the opportunity

to look back and see the evolution of the art and craft of music

scoring.

But above all of these extraordinary talents was Ron’s

humanity. He was one of the kindest, gentlest souls I

have ever met. Nothing was too great an imposition: if Ron

could do something to help you, or make your life a little easier,

he was there. His generosity was unbridled and his reliability

absolute.

To say The SCL owes Ron a great deal is an understatement.

While it’s inconceivable to consider what the organization

would be had Ron not been part of it, it is impossible to

imagine it without his presence.

However, knowing Ron, he would not want us to dwell too

long on his passing but rather be grateful he was able give

something to a community he loved so dearly.

Farewell, my friend. We are all better people for having

had you in our lives.

Rest in peace.

Ashley Irwin
President

===========================================
III. PACIFIC SYMPHONY MUSICIANS THREATEN TO STRIKE

Oct. 28, 2016
Paul Hodgins / ORANGE COUNTY REGISTER

Members of the Pacific Symphony have voted unanimously to

reject the most recent contract offer presented by the orchestra’s

management and reaffirm the strike authorization they

previously had granted, the union for the musicians announced

Thursday. The two sides met for the last time on Oct. 18, said

Pacific Symphony violist Adam Neeley, who serves asbargaining committee chairman for the musicians union.

“The main sticking points remain,” Neeley said. “They concern

our desire to have a predictable schedule, a contract that gives

us more employment and a guaranteed annual wage.”

He added that among 11 peer orchestras of similar size, the

Pacific Symphony ranks at the bottom in the percentage of

its budget allotted to musicians’ pay and benefits. The

orchestra’s website lists 84 musicians among its members.

“We’ll perform on Sunday with Pacific Chorale,” Neeley said.

“We have a longstanding relationship with them and

will respect that.”

But he warned that the “Home Alone” pops concerts scheduled

for Nov. 11-12 could be affected.

Pacific Symphony management officials were unavailable

for comment Thursday. The union’s announcement was

issued shortly after the orchestra’s administrative offices

had closed for the day.

Pacific Symphony president John Forsyte, who is out of

town, sent a statement via email on Friday morning:

“Since its contract with the musicians union expired on

Aug. 31, Pacific Symphony has continued to act in good

faith to negotiate a new contract.

 

Our offers have been designed to address union concerns

about predictability of work and annual wages. The board

maintains its commitment to a contract that provides stable

and meaningful work for musicians while ensuring the long-

term sustainability of the organization.

 

For now, all programs will continue as scheduled.”

The terms proposed by the orchestra’s management are

punitive, Neeley argued. To play the minimum number of

guaranteed services in their contract, symphony musicians

are required to turn down other jobs when they are “on call”

for some services, Neeley said. In other words, they might not

be used for certain events but must keep those dates open nonetheless.

“Musicians who expect to earn $34,807 in the 2016-17 season

could only do so by sacrificing other work in order to keep

their schedules clear, and would have no way of predicting

when they would be called to work,” the orchestra committee

said in an email released Thursday.

 

Pacific Symphony is unique among America’s 33 largest

orchestras in its use of a per-service contract. All others

guarantee their musicians an annual salary based on a

weekly wage multiplied by an agreed-upon number of

weeks of work.

Contact the writer: 714-796-7979 or [email protected]
====================================
IV. THE PACIFIC WEST FILM SCORING PROGRAM
is now accepting applications for the one-year

Master of Music in Film Composition
One of the Top 4 Film Music Programs in the World!

Recently rated as the #4 school in the world for film

scoring education by Music School Central.

“in just one year, the school places students into a pressure
cooker of intense learning resulting in a professional demo
reel that can be used to obtain future paid commercial
opportunities.”

Learn from Industry Professionals

All PNWFS faculty are active professional film and game

composers, orchestrators, copyists, and engineers, including

the program’s creator and lead instructor Dr. Hummie Mann.

Hummie is the two-time Emmy Award winning film composer

of “Robin Hood: Men in Tights” and featured in Variety

Magazine’s article “Leaders in Learning”.

Our Program Features:
•    9 live recording sessions with professional musicians at
•    Studio X, Seattle’s premiere, world-class studio.
•    Opportunities to work with student directors to score
•    actual films from film programs all over the world.
•    Training in all major software programs used in the industry.
•    A state-of-the-art workstation assigned to each student fully installed with the latest versions of all software, sample libraries and plug-ins needed to complete the program.
Accelerated and Affordable

We are the only one-year Master of Music in Film Composition program offered in the United States which not only gives our graduates the opportunity to enter the industry and start their careers a year sooner than other programs but saves them an entire year of living expenses. In addition to our accelerated format we also offer the most affordable tuition out of competing programs. Our students have access to FAFSA financial assistance, loans, and scholarships as well.

History of Success

We are very proud to have a high success rate for our graduates who have gone on to work on television shows such as Castle, Empire, and Once Upon a Time; video games such as World of Warcraft, Spate, and Destiny; and films such as The Revenant and Miss Peregrine’s Home for Peculiar Children. Apply now and you could be joining their ranks!

Applications are being accepted for the Fall 2017 school year.
We offer rolling admission – no deadline to apply.

(more…)

LETTER / MEETING / TUBAS? / EVENTS

Thursday, October 27th, 2016

10/29/16
I. LETTER TO THE EDITOR

II. LAST MONDAY’S LOCAL 47 NON-MEETING
III. LIKE TUBAS?
IV. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
=============================================

I. Letter to Editor  Local 47 – GENERAL ELECTION 2016

Dear Editor,

The AFM 47 Website says; “For the first time in recent history, all candidates

who submitted nominating petitions for the 2016 Local 47 General Election

were unopposed.  On Sept. 16 the Election board declared all candidates

elected by acclamation.”

According to the Election Board Chair only one petition was obtained from

the Secretary-Treasurer and that petition contained a “slate” of all the

incumbents. That petition was circulated at both the Hollywood Bowl

and Los Angeles Philharmonic.

Subsequently, the Local 47 Secretary-Treasurer, Gary Lasley was

questioned about the fairness of the process .

1) The incumbents have access to obtain signatures where the

rank-and-file do not. Union officials can go to any rehearsal,

backstage or soundstage. Can the Union arrange for equal access

for those non-incumbents seeking signatures? ( It was just a few

years ago that the by-laws were amended prohibiting petition

signatures to be obtained at Local 47…where member musicians

gather to rehearse.)

2) Why was each person running for office not required to get

their own 50 signatures?  This would require that persons seeking

to serve the membership actually interact with the rank-and file

on their own.  Obtaining signatures in this instance of all incumbents

on a single “slate” forced the members to make an all or nothing

acceptance.

The answer from the Secretary-Treasurer was that making each

person get their  own signatures would be disruptive to the workplace.

Obviously, the incumbents are getting their signatures in the

workplace and  have engineered the rules to advantage themselves.

Further, the Secretary -Treasurer was very clear that any changes

would require a by-law amendment.

This situation makes it onerous for anyone not regularly in contact

with large groups of fellow musicians to collect signatures and run

for office.  The incumbents have a clear and distinct advantage which

disenfranchises the rank-and-file.

Under Title 29 § 452.51 Election of Officers of Labor Organizations.

“A union may not adopt rules which in their effect discourage or

paralyze any opposition to the incumbent officers.”

Member, Local 47 AFM

==============================

II.  LAST MONDAY’S LOCAL 47 NON-MEETING

LOCAL 47 GENERAL MEMBERSHIP MEETING
No quorum reached – 34. Peaked at around 40 around 8pm.

Parlitmentairan rattled off reasons for passing a resolution

related to benefits for Officers, Committee members and

Executive Board members.

“Since increase is to the position not the person it’s OK.”

Acosta should not be able to vote on his own rate. Nor should

the other officers.

Isn’t that what the salary review board is for?

Member: Need to listen to legal opinion, would the change

put the local in more monetary problems.

Member: Galled that the hourly wage is increasing to $45.

Turns out it is already $45.

Levy says – Amendment generally is passed to next term

if defeated, If it’s not voted on at a meeting

Salary review board – Hourly pay is currently $45, not

requesting an hourly rate change.

OUR dues now will pay for HMO Insurance for directors

and executive board members.

PRESIDENT’S REPORT
Gives floor to RMA head – More talk of protecting the

recording musician’s product. Much more complicated now,

considering platforms

 

Board member – if most AFM recording happens in Los Angeles,
why are the meetings in New York?
Answer – All the labels are based in New York.

Pasadena Symphony negotiations happening.
Metro and orchestra contract – turning out to be chaotic…

too many cooks.
Musica Angelica has relocated to Long Beach. Working out

details for dues.
Cabrillo Music Theater – CBA is with contractor, not theater.

Want to change that.

-Co-Sponsored event with Michael Giacchino on a LOST theme

at Ford Theater… Big Success.

Still in talks with Magic Castle.

-Went to ICSOM.
LA Phil member is now chair of ICSOM.

-Concluded low budget seminar – thanks to those involved.
-New music prep chart is on website.
-Film musician fund workshop happened.
-AFTRA looking to put on future workshop.

Organizing:
Member leader: Purpose is to make a more powerful Union.
– Asking for phone volunteers.
– Working to get better contracts.
– Currently focusing on Pasadena Orchestra contract.
– Trying to get more work on AFM agreements.
– Musical Theater – Trying to convene Theater folks to get a plan together.
– Asked for feedback and ideas.

At 8PM have 40 attendees.

BUILDING
-In and out of escrow several times, mostly by the Local’s choice.

Are currently in the 3rd Escrow October 28th is the deadline,

which would mean end of year transition out of the building.

-MEMBER: In previous article Acosta said we’d not sell, the building

till we have somewhere else to go…. Acosta: That is true.

-Doesn’t one of the buildings have also an environmental issue,

a gas tank in the back. We’d have to spend money to do environmental

cleanup? True

-Another one of the buildings, for perhaps the same one, is actually under

lease into 2017. True,…. Formerly leased by Enterprise.

-MEMBER: The initial building on Alameda had three businesses in the

front parking lot. A big deal was made of the fact that the rents on those

businesses would pay the $120,000 per year property tax. That building

is out of the picture. Are the financial expectations being adjusted to

account for that?

-Must request extension if we’re not ready to go.

New Member – Why are we selling the building –

Answer given: Started campaign in 2015.
Campaign: Time is now – Several years of significant short falls

that caused us thinking to sell the building to insure our future

and stabilize the financials.

————-

-Checking out effect of Tax Incentive’s impact.

Health Care –  Hand W fund is looking at accepting a migration of

contributions under the motion pictures plan. Have all contributions

go into one bucket.

It’s complicated. Data goes to utilization issues. What are people using

and buying? Are they buying top tier or lower tier.

Fund is looking at several different options. Traditional, Side by Side

Flex, etc.

What would be the most optimal path?

Member: Since Taft Harley funds flex plan, we cannot have any effect

on that use.

Will we continue to have our plan subsidized the members?
Fund is subsidizing less than it used to be.
Answer:
-Will protect Local 47-

AFM
Rochelle Skolink is new SSD Director

Legislative Agenda for AFM
-IEB for December will take on national nonunion recording issues.
-New In house counsel hired by AFM for West Coast Office
-Ongoing negotiations with Sound recording companies,
Live TV and Broadway League for touring Pamphlet B Show.

VICE-PRESIDENT’S REPORT

Attended Pamphlet B negotiations.
Talked about election.
3 day meeting for PRO 61 rally – that included Bernie Sanders.

Over 500 people here. Built stage, Brought in bus.

Member spoke on 61.

Golf tournament – Rick is new Chairman, Acosta president of

Music Fund of LA.

Former President Espinosa has moved to Connecticut.

Went to ASMAC lunch with Nathan Wong.

Personal note: 1st Wednesday of November ASMAC will be

honoring “Animaniacs”  in the Auditorium.

SECRETARY’S REPORT
Financials – 2nd quarter revue
Income     $2,693,021
Outflow    $2,251,728
Profit         $  441,293 dollars

Overture has won 6 awards this year – thanks to Linda Rapka.

Books signings on December 4th 3-6
Washington Rucker
And one other

Dec. 6th – Referral service will have next mingle event
-2016 Directory is available.
-Free notary available for members
-All union radio station 47.org/radio
-Check into the overture online.

PROMUSIC DB platform is up
1)    Pro credits’ database – Digital platform – can validate the

information. Can fix Wikipedia problems. Create an archive.

Membership is a tax write-off.
2)    Educational Platform for digital musicians. Teaching online

etc. Can use dropbox affiliated with the Promusic DB.
3)    Can get you at other sites, they can put all your info together

for you in one spreadsheet.
Page is on Local 47 website – promusicDB.

COST of election – $20,000 dollars.

[ WHere did the $20,000 go? They didn’t spend our dues money

for the unchallenged campaign fees did they? There’s no need for

outside publication attention, only mention in the Overture.

So they must be talking about flyers and such, which THAT Slate

should have paid for.]

Resolution: Is it possible for the salary revue board to request a

vote at the next general membership meeting? YES
Request to postpose voting to next general membership meeting.
Board will either OK the delay or not. What will happen if they

do not allow it is not apparent. Board cannot, by our bylaws,

vote on their own salaries or benefits.

 

Must be voted on by the membership.
Meeting closed at 8:47.

=========================
III. LIKE TUBAS?
Here is a rare TUBA Collection article for those who might be interested.
http://tinyurl.com/h8be4gl

=========================
IV. EVENTS
PHIL NORMAN CD
Now Available for Purchase
Since last months formal release by MAMA Records,
the Phil Norman Tentet’s newest CD has moved up
from #209 to #20 nationally by

JAZZ WEEK CHARTS

which weekly tracks & monitors jazz CDs radio airplay

To order this NEW CD,
simply e-mail your name and address to
PHIL NORMAN and we will mail you a copy.

Upon receipt submit your check for $20 – it’s that simple.

———————————–

From Bill Berry
For Your Consideration
Hi folks,
I want to share some exciting news. Many of the people in

our songwriting community, as well as a few talented friends in

New Orleans and Nashville, are eligible for nomination for a

Grammy award this year. And I want to tell you about them.

For starters, my album Awkward Stage is eligible for Best

Comedy Album and the track The Piano Tuner With The

Lazy Eye for Best American Roots song!

For those of you who are Recording Academy voting members,

and those who aren’t, here are some of the artists and writers

in our circle who could make it to the 59th Annual Grammy

Awards. You can click on links to listen to the eligible albums

and tracks!

The Grammy Nominations will be announced on December 6th, 2016.
Don’t forget to vote!

-Bill Berry

———————————–

DEAN AND RICHARD
DEAN AND RICHARD are now at Culver City Elks the first 
Friday of
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at Viva Cantina
7:30-10:00.
900 Riverside Drive,
Burbank.
Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way they 
should
be. 

We are in the back room called the Trailside Room.
Come on down. Guaranteed to swing.
——————————–
10/29-30/16

 

HARVEST MUSIC FESTIVAL
RESERVE YOUR SEATS NOW

OCTOBER 29th – 30th at 7:30 PM

HARVEST MUSIC FESTIVAL 2016

Intimate Musical Soirees with
 Old World Hospitality and

Charm
 Presenting Extraordinary Concert Artists
 and

Distinguished Speakers

Two Evenings of World Class Music Making

Each Concert Featuring
 Unique Programming & Artists.

Tickets and Reservations are available

at:
www.malibufriendsofmusic.org

or call: (310) 589-0295

Saturday, October 29th at 7:30 pm

MONTGOMERY ARTS HOUSE FOR 
MUSIC AND

ARCHITECTURE
 Music Room

“BRINGING IN THE HARVEST”

Musical Works to Display the
Warmth of the Human Spirit
~ ~ ~ ~ ~ ~ ~ ~
Sunday, October 30th at 7:30 pm

MONTGOMERY ARTS HOUSE FOR
 MUSIC AND

ARCHITECTURE

Music Room
”SPOOKY SONORITIES”

The Sacred and Secular (And a CRAZY Haunted House)
Featuring Harvest Festival Artists

Performing Exceptional Works of
 Johannes Brahms, Gioachino Rossini,

Rebecca Clarke, William Bolcom
, Bela Bartok, Max Janowski and Maria Newman

2016 Harvest Festival Artists:

Christina Borgioli, soprano

Diana Tash, mezzo soprano

Nandani Maria Sinha, mezzo soprano

Wendy Prober, pianist

Maria Newman, violinist and composer

Scott Hosfeld, violist

Paula Hochhalter, cellist

MASTER OF CEREMONIES:
  Samuel Thatcher

For more information on the
 Malibu Friends of Music

please visit: www.malibufriendsofmusic.org

——————————–
11/2/16
Free Admission Glendale Noon Concerts:
Wed NOVEMBER 2, 2016 at 12:10-12:40 pm

Ergo Musica Baroque Ensemble will perform

J.S. Bach’s Cantata BWV 152.

Website: http://www.glendalenoonconcerts.blogspot.com

Thank you!

Jacqueline Suzuki
, Curator, Glendale Noon Concerts

818-249-5108

—————————-

11/4/16

Charlie Ferguson Sextet
performing at
East Los Angeles College – S2 Recital Hall
1301 Avenida Cesar Chavez
Monterey Park, CA 91754

Friday, November 4, 2016
8:00 PM-9:30 PM (1 set)
$12 general admission, $6 students w/ ID

Charlie Ferguson – piano
Billy Kerr – tenor saxophone
Michael Stever – trumpet
Jacques Voyemant – trombone
Chris Conner – bass
Nate Laguzza – drums

Contact (323) 265-8894 for more information.
11/19/16
============================
SFV Symphony Orchestra
Nov. 19, 2016 – Agoura Hills/Calabasas Community Center
Bizet: Carmen Suite #1
Bizet: Symphony in C major
Fernandez: Oboe Concerto
 – Francisco Castillo, oboist
Sibelius: Violin Concerto in D minor, 1st mvt.
Thompson Wang, violinist

Contact: Roberta Hoffman, publicist ([email protected])
www.sfvsymphony.com
Program information:
++++++++++++++++++++++++++++
Other concerts in the series
Jan. 21, 2017 – Tutor Family Center at Chaminade West Hills
Schumann: Manfred Overture
Mendelssohn: Symphony #3 in A minor (Scottish)
Belling: Music Madly Makes the World Go Round
Inaugural Performance
 Cary Belling, violinist

Mar. 18, 2017 – Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Domine: Frankenstein Fantasy
Ruth Bruegger, violinist

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”
Tchaikovsky: Orchestral Suite No. 2 in C major
Egizi: Orchestral Suite
“In Memoria di Mio Padre”
Inaugural Performance
Programs subject to change
———————————–

You can read all previous offerings at:
http://www.responsible47.com
UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

AUSTIN LOCAL / FORT WORTH / EVENTS

Friday, October 21st, 2016

10/15/16
I. AUSTIN LOCAL TAKEN INTO TRUSTEESHIP
II. FORT WORTH RALLY
II. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
=============================================

I. AUSTIN LOCAL TAKEN INTO TRUSTEESHIP
Austin’s oldest organized music entity suddenly hangs in the

balance. Local 433, the city’s musician union – established in

1907 – has been placed under trusteeship by the American Federation of Musicians.

 

The takeover, which went into effect Oct. 3, terminated all of Local 433’s elected officers, including president Freddie “Steady” Krc, a favorite

Austin drummer who’s kept beats for everyone from Jerry Jeff Walker

to Roky Erickson.

 

A letter sent to members earlier this month, authored by AFM’s

International Secretary Treasurer Jay Blumenthal, presented the

trusteeship as a means to restore the fiscal health of the financially

floundering union.

 

“Our local isn’t doing well financially and hasn’t been for many years,”

explains Krc, a member since 1974 who took over as president three

years ago. “There was an embezzlement issue in the Eighties and

Austin’s union, in order to remain financially solvent, had to take

out a loan from the national organization.”

 

Krc says the theft – to his understanding – resulted in Local 433

owing over $60,000 of debt, interest, and penalties to the federation.

Thus, during his tenure, the union operated on razor-thin margins.

 

“I’ve been reaching out to national for three years,” sighs Krc.
“We needed help. We didn’t get it.”

 

The federation appointed Steven Begnoche, a music educator and

performer who’s worked for Houston and San Antonio’s music unions,

as trustee for Local 433. Begnoche acknowledges it will take time to

pay down the debt. That process, he says, begins with cutting expenses, followed by direct contact with union members to educate them on

how the union can help.

 

“We take what you want to do artistically and legitimize what you

do physically,” he says. “We have contracts, pensions, and programs

– a piece of paper for everything you do whether you’re a live or

recorded music performer and everything is kept on record at the

union office for future reference.”

 

The relationship remains a basic one: If the union helps musicians

flourish financially, then Local 433 reaps dues that will decrease

the debt. Membership runs $197 annually. In Blumenthal’s letter

citing the rationale for the trusteeship, what that nets – in part –

is a “collective bargaining representative of the musicians of the

Austin Symphony Orchestra,” the ranks of which make up a large

part of the union’s 320 members.

 

Austin Symphony Executive Director Anthony Corroa says the union

doesn’t play a major role in their tri-annual contract negotiations since

the symphony’s economics are transparent and musicians always get

raises.

 

“The biggest issue with the union, and this is just my opinion, has

less to do with the Austin Symphony musicians and more to do with

all the other musicians around the city,” says Corroa. “They’re not joining

the union. Right now the club owners are taking advantage of pop and

jazz musicians. They’re not paying them anything because they don’t

have representation.”

 

Begnoche claims he can build membership by reaching out to all

members – all levels, all genres – and empower them to legitimize

their business to the extent that they can have contracts for gigs,

which will translate into revenue for the union through payment of

work dues. That’s a huge order of business considering the majority

of club gigs in Austin don’t currently involve contracts. A hearing’s

slated for 7pm, Tue., Oct. 25, at 1106 Lavaca, where all union members

will have a chance to be heard on the subject of whether the trusteeship

should be retained. With either outcome, it’s a sink or swim moment

for Local 433.

 

“It still has a lot of value to musicians and I have hope for it,” offers Krc.

“The goal of this trusteeship is to get it turned around and financially

stable. I don’t know if they can do that without forgiving the debt,

which they’ve declined to do in the past. The other option is it gets

absorbed by another local like San Antonio.

“That would be an embarrassment – if the ‘Live Music Capital of

the World’ didn’t have its own union.”

 

==============================

 

II. FORT WORTH RALLY

If you’re in the Fort Worth area, you might want to attend this event.
Please join us at a Rally for Growth Not Cuts

Fort Worth Water Gardens, 1502 Commerce St. FW 76102
Saturday October 22, 5:00 PM

Featuring a performance by the combined Brass of the
Symphony Musicians of Fort Worth and the
Musicians of the Dallas Symphony

 

=========================

 

III. EVENTS

 

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City Elks the first 
Friday of

every month.

7:30pm-10:30pm,

11160 Washington Pl.

Culver City, 90232

310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.

Every 2nd and 4th Tuesday of the month at Viva Cantina

7:30-10:00.

900 Riverside Drive,

Burbank.

Free parking across the street at Pickwick Bowl.

Come hear your favorite charts played the way they 
should

be. 

We are in the back room called the Trailside Room.

Come on down. Guaranteed to swing.

——————————–

10/22/16

DOWNEY SYMPHONY ORCHESTRA

On Saturday, October 22, the
DOWNEY SYMPHONY ORCHESTRA
will present the World Premiere of
“DOWNEY CELEBRATION SUITE”

8PM
DOWNEY CIVIC THEATER
8435 Firestone Drive
Downey, CA 90241
www.downeytheatre.com

composed by long-time musician and Downey resident,
Lars Clutterham.

The concert will also be part of the celebration
of Downey’s 60 years as a city, during most of which time
the Downey Symphony Orchestra has also been in existence.

——————————–

10/22/16

KIM RICHMOND AT THE DESERT ROSE

Dear fellow L.A. Musicians,
I’m back playing at the Desert Rose this coming Saturday,

October 22.

It’s been a while, but I’m back for this week only. It will be

good with a few guests sitting, and regulars Mark Z. Stevens,

Jon Mayer and Harvey Newmark. Details below. Please join us.

WHAT: Kim Richmond with the Mark Z. Stevens Trio,

plus invited guests sitting in).
WHERE: Desert Rose Restaurant,

1700 N. Hillhurst Avenue.

LOS FELIZ VILLAGE,

Los Angeles, CA 90027;

 

I suggest you call for reservations, and designate INSIDE SEATING

(to hear the band) 323) 666-1166

WHEN: This Saturday, October 22, 7 to 11 PM (3 sets)

WHO: Kim Richmond, saxophones; Jon Mayer, piano;
Harvey Newmark, bass; Mark Z. Stevens, drums

ADMISSION CHARGE: none—no cover, no minimum

FOOD: Excellent, check it out

PARKING: Valet available, street parking

——————————–

10/23/16

LOS ANGELES SYMPHONIC WINDS

Subscription Concert 1 – Calabasas High School

CITY OF ANGELS

Gala Season Opening Concert. A spectacular afternoon of inspired
music making with your LA Winds. Featured works will include
Alfred Reed’s classic “Armenian Dances”
and Maestro Piazza will be the featured soloist in John Williams’
theme music from “The Terminal.”
• Sunday October 23, 2016
• 2:30 p.m.  Performing Arts Education Center

——————————–

10/29-30/16

RESERVE YOUR SEATS NOW
OCTOBER 29th – 30th AT 7:30 PM
HARVEST MUSIC FESTIVAL 2016
Intimate Musical Soirees with
Old World Hospitality and Charm
Presenting Extraordinary Concert Artists
and Distinguished Speakers

Two Evenings of World Class Music Making
Each Concert Featuring
Unique Programming & Artists.
Tickets and Reservations are available at:
www.malibufriendsofmusic.org
or call: (310) 589-0295

Saturday, October 29th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
Music Room
“BRINGING IN THE HARVEST”
Musical Works to Display the
Warmth of the Human Spirit
~ ~ ~ ~ ~ ~ ~ ~
Sunday, October 30th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
Music Room
“SPOOKY SONORITIES”
The Sacred and Secular

(And a CRAZY Haunted House)

Featuring Harvest Festival Artists
Performing Exceptional Works of
Johannes Brahms, Gioachino Rossini,
Rebecca Clarke, William Bolcom
Bela Bartok, Max Janowski,
and Maria Newman

2016 Harvest Festival Artists:
Christina Borgioli, soprano
Diana Tash, mezzo soprano
Nandani Maria Sinha, mezzo soprano
Wendy Prober, pianist
Maria Newman, violinist and composer
Scott Hosfeld, violist
Paula Hochhalter, cellist
MASTER OF CEREMONIES:
Samuel Thatcher

For more information on the
Malibu Friends of Music
please visit: www.malibufriendsofmusic.org

Click above to enjoy this performance of the
Maria Newman’s, “The Bullfight,”
performed here by the Kairos String Quartet
~ Read the glowing review here ~
http://www.musicweb-international.com/classrev/2016/Oct/Newman_quartets_MAHMR1205208.htm

All programs, dates and artists subject to change and/or cancellation.

——————————–

11/2/16

Free Admission Glendale Noon Concerts:

Wed NOVEMBER 2, 2016 at 12:10-12:40 pm
Ergo Musica Baroque Ensemble will perform
J.S. Bach’s Cantata BWV 152.

Website: http://www.glendalenoonconcerts.blogspot.com
Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

——————————–

11/19/16

 

SFV Symphony Orchestra

Nov. 19, 2016 – Agoura Hills/Calabasas Community Center

Bizet: Carmen Suite #1

Bizet: Symphony in C major

Fernandez: Oboe Concerto
 – Francisco Castillo, oboist

Sibelius: Violin Concerto in D minor, 1st mvt.

Thompson Wang, violinist

 

Contact: Roberta Hoffman, publicist ([email protected])
www.sfvsymphony.com

Program information:

++++++++++++++++++++++++++++

Other concerts in the series

Jan. 21, 2017 – Tutor Family Center at Chaminade West Hills

Schumann: Manfred Overture

Mendelssohn: Symphony #3 in A minor (Scottish)

Belling: Music Madly Makes the World Go Round

Inaugural Performance
 Cary Belling, violinist

 

Mar. 18, 2017 – Agoura Hills/Calabasas Community Center

Tuttle: By Steam or By Dream Overture

Inaugural Performance

Prokofiev: Symphony #1 in D major (Classical)

Ben-Haim: Pastorale Variée for Clarinet, Harp and Strings

Geoff Nudell, clarinetist

Beethoven: Romance for Violin and Orchestra

Domine: Frankenstein Fantasy

Ruth Bruegger, violinist

 

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”

Tchaikovsky: Orchestral Suite No. 2 in C major

Egizi: Orchestral Suite

“In Memoria di Mio Padre”

Inaugural Performance

Programs subject to change

———————————–

You can read all previous offerings at:

http://www.responsible47.com

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

LETTER TO IEB / EVENTS

Sunday, October 16th, 2016

10/15/16

I. MEMBER LETTER TO THE IEB

II. EVENTS

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
 scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
=============================================

 

I. MEMBER LETTER TO THE IEB

The IEB/AFM are ignoring membership concerns in Los Angeles,
hoping the complaints are just going to go away….. They won’t.
——-
RE: Local 47/Club 47 Referendum

Dear Secretary-Treasurer Blumenthal,

I am writing you today because I have not received any response to correspondence sent to President Ray Hair and the International Executive Board for consideration at the July 2016 IEB Meeting.

The issues raised in my letter dated May 15, 2016 warranted serious discussion concerning the governance of Local 47 AFM in conducting it’s referendum vote.  My letter was in direct response to Pres. Ray Hair’s letter of April 24, 2016.  Ray Hair cited lack of detail regarding objections to the referendum that would allow the parent body to exercise oversight.  I think I have remedied any lack of detail by my letter of May 15, 2016.  The passage of that referendum allows Local 47/Club 47 Executive Board to divest the membership of it’s wholly owned real property in the heart of Hollywood, CA.

Please note that the letter of April 24, 2016 from Pres. Ray Hair does not disclose whether the IEB March meeting actually had any discussion or made any decision as a board on my initial letter on the same issue addressed to Ray Hair and the IEB dated February 16, 2016. That letter, as I was told by then Secretary-Treasurer Sam Folio, was set to be on the agenda for the March meeting.  In Pres. Ray Hair’s reply letter to me following the March IEB meeting, there was no indication that it had been considered by the full Board.  In addition, I have read the Minutes from the March meeting that were finally posted on the AFM website in July.  There appears to have been no discussion of the this issue.

After sending the May 15, 2016 letter, I contacted the Secretary-Treasurer’s New York office regarding it’s inclusion for the July IEB meeting.  I was told my letter had been sent directly to legal and they didn’t know if it would make the July meeting. It is now almost mid-August and I received no reply to my May 15, 2016 letter.

It does not appear that either letter of February 16, or May 15, addressed to President Ray Hair and the International Executive Board was actually reviewed or discussed by the full Board.  I would like this issue prioritized and discussed/considered by the full Board as soon as possible. (Perhaps a teleconference would be in order considering the time sensitive nature of this issue.)  I respectfully request that the decision be sent to me without delay.  This has been an ongoing issue since February 2016.

Thank you for your time and immediate attention to this matter,

Member
Local 47/Club 47 AFM

cc: Department of Labor/OLMS
Kamal Harris, California Attorney General
International Executive Board Members-Pres. Ray Hair, Jr.; Vice Pres. Bruce Fife; Vice Pres. Alan Willaert; Sec.-Treas. Jay Blumenthal; Joseph Parente; Tino Gagliardi; Dave Pomeroy; Tina Morrison; John Acosta

=========================

 

II. EVENTS

 

DEAN AND RICHARD

DEAN AND RICHARD are now at Culver City

Elks the first 
Friday of every month.
7:30pm-10;30pm,

11160 Washington Pl.

Culver City, 90232

310-839-8891

————————————-

LA WINDS JAZZ KATS 584

NO COVER, NO MINIMUM.

Every 2nd and 4th Tuesday of the month at

Viva Cantina
 – 7:30-10:00.

900 Riverside Drive, Burbank.

 

Free parking across the street at Pickwick Bowl.

Come hear your favorite charts played the way they

should be. 

We are in the back room called the

Trailside Room. 

Come on down.

 

Guaranteed to swing.

——————————–

10/19/16

On Wednesday October 19, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
the Jung Trio performing
Schubert’s Piano Trio No. 2 in E flat major, Op.100,
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.

For more information, email [email protected]
or call (818) 244- 7241.

The Jung Trio.
Jennie Jung – piano
Ellen Jung – violin
Julie Jung –cello
Artist website: https://jungtrio.wordpress.com

Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com

——————————–

10/23/16

LOS ANGELES SYMPHONIC WINDS

Subscription Concert 1 – Calabasas High School

CITY OF ANGELS

Gala Season Opening Concert. A spectacular afternoon of inspired
music making with your LA Winds. Featured works will include
Alfred Reed’s classic “Armenian Dances”
and Maestro Piazza will be the featured soloist in John Williams’
theme music from “The Terminal.”
• Sunday October 23, 2016
• 2:30 p.m.  Performing Arts Education Center

——————————–

10/29-30/16

RESERVE YOUR SEATS NOW
OCTOBER 29th – 30th AT 7:30 PM
HARVEST MUSIC FESTIVAL 2016
Intimate Musical Soirees with
Old World Hospitality and Charm
Presenting Extraordinary Concert Artists
and Distinguished Speakers

Two Evenings of World Class Music Making
Each Concert Featuring
Unique Programming & Artists.
Tickets and Reservations are available at:
www.malibufriendsofmusic.org
or call: (310) 589-0295

Saturday, October 29th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
Music Room
“BRINGING IN THE HARVEST”
Musical Works to Display the
Warmth of the Human Spirit
~ ~ ~ ~ ~ ~ ~ ~
Sunday, October 30th at 7:30 pm
MONTGOMERY ARTS HOUSE FOR
MUSIC AND ARCHITECTURE
Music Room
“SPOOKY SONORITIES”
The Sacred and Secular

(And a CRAZY Haunted House)

Featuring Harvest Festival Artists
Performing Exceptional Works of
Johannes Brahms, Gioachino Rossini,
Rebecca Clarke, William Bolcom
Bela Bartok, Max Janowski,
and Maria Newman

2016 Harvest Festival Artists:
Christina Borgioli, soprano
Diana Tash, mezzo soprano
Nandani Maria Sinha, mezzo soprano
Wendy Prober, pianist
Maria Newman, violinist and composer
Scott Hosfeld, violist
Paula Hochhalter, cellist
MASTER OF CEREMONIES:
Samuel Thatcher

For more information on the
Malibu Friends of Music
please visit: www.malibufriendsofmusic.org

Click above to enjoy this performance of the
Maria Newman’s, “The Bullfight,”
performed here by the Kairos String Quartet
~ Read the glowing review here ~
http://www.musicweb-international.com/classrev/2016/Oct/Newman_quartets_MAHMR1205208.htm

All programs, dates and artists subject to change and/or cancellation.

——————————–

11/19/16

SFV Symphony Orchestra 
 
Nov. 19, 2016 –

Agoura Hills/Calabasas Community Center

Bizet: Carmen Suite #1
Bizet: Symphony in C major

Fernandez: Oboe Concerto
, Francisco Castillo, oboist

Sibelius: Violin Concerto in D minor, 1st mvt.

Thompson Wang, violinist

Contact: Roberta Hoffman, publicist ([email protected])
www.sfvsymphony.com

Program information:

++++++++++++++++++++++++++++

Other concerts in the series

Jan. 21, 2017 – Tutor Family Center at Chaminade West Hills

Schumann: Manfred Overture

Mendelssohn: Symphony #3 in A minor (Scottish)

Belling: Music Madly Makes the World Go Round

Inaugural Performance
 – Cary Belling, violinist

 

Mar. 18, 2017 – Agoura Hills/Calabasas Community Center

Tuttle: By Steam or By Dream Overture

Inaugural Performance

Prokofiev: Symphony #1 in D major (Classical)

Ben-Haim: Pastorale Variée for Clarinet, Harp and Strings

Geoff Nudell, clarinetist

Beethoven: Romance for Violin and Orchestra

Domine: Frankenstein Fantasy
, Ruth Bruegger, violinist

 

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”

Tchaikovsky: Orchestral Suite No. 2 in C major

Egizi: Orchestral Suite “In Memoria di Mio Padre”

Inaugural Performance

 
Programs subject to change

———————————–

 

You can read all previous offerings at:http://www.responsible47.com

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

DOJ RULING / POP CULTURE / EVENTS

Saturday, October 8th, 2016

10/9/16
I. DOJ RULING: WHAT HAPPENS NOW?
II. WHAT’S LOST WHEN POPS ORCHESTRAS TAP POP CULTURE

III. EVENTS

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician
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I. DOJ RULING: WHAT HAPPENS NOW?
A couple of Tuesdays ago the SCL (Society of Composers and Lyricists)

hosted a meeting at the Crest in Westwood to discuss the recent

DOJ Ruling. What follows are notes taken at the meeting.

ON THE OVERTURNING OF THE DOJ RULING

THE DOJ RULING: BMI Prevailed,… What Happens Now
September 20th, 2016 – 6pm

CREST THEATER
Panalists:
1) Ashley Erwin – Pres. SCL
2) Todd Brabec
3) Michael Eames
4) Garry Schyman
5) Charles J. Sanders

BMI went to get an extension on the DOJ ruling to keep it

from being put in force, but the court came up with a decision….

And overturned the earlier decision in BMI’s favor.

CONSENT DECREE

SOME HISTORY
1917 – ASMAC created
1949 – BMI created
1930’s – Government looked at ASCAP’s actions. ASCAP’s

POWER WAS HUGE

1941 – both ASCAP / BMI put under decrees that limits

how they operate.
ASCAP had EXCLUSIVE rights to their members. Sign

with them, only THEY can license your work.
BMI – Was the same deal.

 

Have been amendments over the decades.

ASCAP / BMI – had to treat similarly positioned composers alike.
Court in 1950 – ASCAP must have a rate court in case writer and others cannot
agree on a rate.
1994 – BMI created a rate court.
Different judges for each organization.

Gives users and pros a recourse if they cannot agree on a fee.

They have interim fees.
In most cases interim rate is very low.

2001 Decree – Sped up some of the rate courts.

Millions of dollars spent on these rate courts.

Since the online world came in – ALL THE SERVICES have

gone to rate court to cut down on the fees to be paid.

PANDORA was the first case where they got a decent rate.

 

Consent decree is 75 years old.

 

Composers are the least represented of all artists.
If record company owns the publisher, they try for the lowest

fee possible. (If there was no floor, the rate would be zero)

Companies want a universal one-size-fits-all rate.

Full work licensing – Is it a buyout? Who gets the benefit?

DOJ was asked by those who want to deflect from having to

pay fair royalties.

Theory of why it came up – Who ran the investigation?

Someone from silicone valley who used to work for Google

as an anti-trust counsel.

 

No longer talking about changing consent, now talking

about FULL WORK LICENSING.

 

Cannot get back to talking about changing consent until

we’re done talking about full work licensing.  After this is

done we’re back to where we started. The full work licensing

has been a very effective delaying tactic.

 

Consent decrees artificially suppress fair royalty fees.

 

We went asking for relieve from consent decree, and the

DOJ went after another angle. (Full Work Licensing)

During Pandora Case –
Big publishers wanted to withdraw part of their works

from the online world only.

ASCAP/BMI wanted to bundle rights.
ASCAP/BMI wanted to replace rate court with an arbitration.

DOJ asked for comments
Amenable to bundling
Amenable to partial work withdrawal
Totally against replacing the rate court.

How is the WFH creator’s relationship with a publisher

different to that of a traditional songwriter.

How would full work licensing affect WFH composers and

songwriters.

Employee and independent contractors, both have rights.
Composers inhabit a third category.

Employees: Collective bargaining – salary, working conditions
Independent contractors: allows ownership, no benefits.
Composers: Considered to be Independent Contractors by NLRB
Work for Hire was created in the 1976 copyright act.
Employer took ownership of the music. Composer sued.
It led to the dissolution of the composers union.

Certificate of authorship – grants ownership to the studio –

composers become in effect an employee without any of

the benefits. Composers are allowed to collect 50% of the
fees collected, representing the “Writer’s Share”.

What we want – Writer’s Share included in statue of the law.

Writer’s share does not appear in any statute. We want it

incorporated into copyright law.

 

We all reach out to local representatives. SCL will come up

with a letter to send.

 

SONA – Songwriters of North America – Sued to give voice to

the songwriter in this fight. Found pro-bono lawyers.

Everyone in Washington needs to see that these actions are

affecting the smallest of the smallest business owners.

 

SONA Suing the DOJ saying it has hurt their property rights.

 

Hard to get congress members to understand what’s at stake

and the subtleties of copy write law.

Meeting Adjourned

 

[EC: If anyone finds this synopsis incomplete or incorrect,

please send in your corrections and we’ll be more than happy

to include it in the next blog.]

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II. WHAT’S LOST WHEN POPS ORCHESTRAS TAP POP CULTURE
New York Times August 24th, 2016
by Brian Wise

Tchaikovsky’s bombastic “1812 Overture” has been a staple of the Boston Pops’ Fourth of July concert since 1974, when the famed Pops conductor Arthur Fiedler added it — complete with cannon blasts and church bells — to lift attendance. It became the traditional lead-in to the fireworks display over the Charles River.
But that changed over the past decade, as CBS began broadcasting the show and the “1812 Overture” was moved earlier in the evening, before the nationally televised portion began. The prime-time pyrotechnics this year instead used hits by Adele, Beyoncé, Justin Bieber and others as a soundtrack. Some traditionalists took to social media to vent their dismay.

“Nice they let the Pops play ONE song at their own concert,” one viewer wrote in a sarcastic tweet, adding, “And #1812Overture relegated to commercial break.”
“For first time in 40 years #BostonPops doesn’t play 1812 Overture, opting instead for crass top-40 dreck. Pathetic sellout,” another wrote on Twitter.
“I agree with a lot of that reaction,” Keith Lockhart, the orchestra’s conductor since 1995, said in an interview. “The network has very specific ideas about the demographic that they want to attract, which may not jibe with our ideas about the demographic that is going to get the most out of this, and have the best relationship with the Boston Pops.”

There is a fundamental challenge facing pops orchestras and series, which tend to have audiences older than classical ones. As music directors and administrators try various approaches to connect with new audiences — adding film screenings with live orchestral accompaniment, video game soundtracks, theatrical circus spectacles and 1990s rock acts — are they abandoning the large repertory that drew many listeners in the first place?

What is disappearing, some say, are the light classics that once were staples of mainstream classical concerts that, around the middle of the last century, migrated to pops: Rossini overtures, Liszt’s “Hungarian Rhapsodies,” Respighi’s “Fountains of Rome,” Bach transcriptions and other colorful showpieces.
“If you’re going to do a Mahler symphony as the centerpiece of a concert,” said John Mauceri, the founding director of the Hollywood Bowl Orchestra, “you don’t have any room for von Suppé or Offenbach.”

The average age of a Boston Pops subscriber is 55 — compared with 48 for subscribers to its parent ensemble, the Boston Symphony Orchestra. The Pops has been turning more and more to headliners with multigenerational appeal, such as the comedian and singer Seth MacFarlane and contestants from “Dancing With the Stars.” Last week, the St. Louis Symphony followed orchestras in Pittsburgh and Columbus, Ohio, by booking the rapper Nelly. The National Symphony Orchestra has drawn much attention for performances with Kendrick Lamar and Nas: far from fluffy Strauss waltzes.

“There’s kind of a lost repertoire,” Mr. Lockhart said. “As pops orchestras have begun to chase an increasingly nonclassical audience, that material is woefully underrepresented in a lot of places. It’s even represented less here than it was when I first started,” he said, referring to the Boston Pops.

These changes have decades-old roots. In 2004, Henry Fogel, then president of the League of American Orchestras, wrote an article for the league’s Symphony magazine documenting the fading of once-popular works like Smetana’s tone poem “The Moldau” and Chabrier’s flamenco-tinged “España.” Comparing classical subscription programs of six major American orchestras from the early 1920s through 2001, he showed how light classics had nearly disappeared by 1960.

“The development of pops as a separate thing actually hurt orchestras,” Mr. Fogel said in a telephone interview. “It tended to remove some of the music whose principal reason for existence is pure entertainment.” He placed some of the blame on music critics, who often dismissed tuneful pieces like Enescu’s Romanian Rhapsodies, and on conductors, who were afraid of being branded as mere entertainers.

Some orchestras devoted to pops, including the New York Pops and Cincinnati Pops, continue to mix light classics with American songbook standards and film music. But others, like the Philly Pops, have abruptly changed course. When Michael Krajewski became that ensemble’s music director in 2013, he jettisoned light classics for pop- and rock-themed programs, which this season will include tributes to the Beatles and 1970s arena bands. Sarah Maiellano, a spokeswoman for the Philly Pops, credited this overhaul with a 64 percent increase in subscriptions since 2014. Concerts at the Kimmel Center for the Performing Arts in Philadelphia sold at 96 percent capacity last season.

A similar tactic has been used at the Nashville Symphony Orchestra, which has a history of championing contemporary American music. Last year, its pops series sold at 85 percent capacity, compared with 73 percent for its classical series; orchestra officials partly credit the higher pops sales to headliners such as the country band Alabama.

“Pops is a way to bring in money, but we also look at it as a way to bring in new audiences,” said Larry Tucker, the orchestra’s vice president for artistic administration, who has a lead role in overseeing concert programming. (Research from the League of American Orchestras shows that audiences seldom cross over from pops to classical concerts, but pops concerts, which involve fewer rehearsals, are known to subsidize classical series.)

The New York Philharmonic is one of several major orchestras without a pops series, though its Summertime Classics concerts, which ran from 2004 to 2014, harkened back to the Fiedler model of pops repertory. The series was discontinued not because of poor ticket sales but because of touring obligations, said Edward Yim, the Philharmonic’s vice president for artistic planning, who works with the music director Alan Gilbert to plan concerts. “It would be nice to see some of that repertoire sprinkled throughout our main subscription series,” he added. “Not every subscription concert, week in and week out, should be so deadly serious.”

The Philharmonic has drawn large audiences by showing films with live accompaniment; popular performances in May of Charlie Chaplin’s “City Lights” and Disney’s “Fantasia: Live in Concert” were added after the season had already begun. The orchestra has started to spin off touring editions of films from its Art of the Score series, renting the production elements to other orchestras.
The pilot installment, “On the Waterfront,” featuring a score by Leonard Bernstein, had its premiere in New York last September and will be presented this season by the Los Angeles Philharmonic and the San Francisco Symphony. A similar distribution strategy is planned for a restored version of Woody Allen’s “Manhattan,” its soundtrack dotted with brassy Gershwin melodies that will be conducted by Mr. Gilbert on Sept. 16 and 17 at David Geffen Hall.

As these film programs multiply (current favorites of concert presenters include “Home Alone” and “Raiders of the Lost Ark,” according to the online directory Movies in Concert), conductors and artistic administrators say they struggle to find room for the traditional light orchestral numbers. But Steven Reineke, the National Symphony’s principal pops conductor, doesn’t plan to abandon those older pops staples. “To play those types of pieces as preludes or interspersed throughout the programming,” he said, “I don’t see them disappearing.”

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