The Committee For A More Responsible Local 47

2/23/18

 

I. THE INNER CIRCLE SPEAKS
II. UPDATE ON THE BUTCH LEWIES ACT
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. THE INNER CIRCLE SPEAKS

KARMA’S A BITCH

It has now been confirmed by multiple sources
that an well-known officer of the RMA, sued a
major contractor last year because the contractor
stopped hiring them. They lost, of course. Said
contractor stopped hiring them because, according
to the contractor, their lack of “musical contribution”.
Whether they are used by the contractor at this point
is unknown.

It’s called FREE-LANCING, Mr/Ms 2nd fiddle and
contractors can hire (Or not hire) who they like!
How Ironic that after all the careers you’ve affected
for good or ill (far more for ill), you should find yourself
affected by the same practices. You’ll have to suffer
along with the 1000’s of sessions you’ve played
on and the six figure July check you get.

THERE’S ALWAYS ANOTHER

It certainly seems that once the system had
almost gotten rid of one person there’s another
ready to take their place. The below should
prove to the kool-aide drinkers that, yes,
people are still blacklisted and targeted.
And that the RMA is still the most disruptive
entity in our business. Indeed, the RMA
leadership’s conduct and AFM’s conduct has
made the AFM brand absolutely toxic to a
majority of studios and producers of content,
not to mention the composers.

Looking at the below shows why no one
wants to work with the AFM if they have a
choice.

This has ALSO been verified by multiple
sources…. (Some identities are protected
here, though figuring out who is being
referred to should be a simple matter
inside the recording industry.)

-A local union contractor was busted in
the fall of last year for a non-union
recording date at “The Bridge” in
Glendale, CA

-A list of the musicians involved was
leaked to contractors before the musicians
accused were charged. This resulted in
several established musicians becoming
blacklisted from A list contractors.

-An RMALA officer orchestrated this
operation in an attempt to target specific
contractors who are in opposition to his
own personal interests. Coincidentally,
those who also refuse to hire him.

– This RMA Officer, who has also stopped
working for this contractor, is on the war
path having used former Local 47 employee
Gordon Grayson as his henchman to spy
on selected contractors. (Mr. Grayson was
at one point spotted taking photos outside
of Warner Brothers) Gordon’s associate Erick
Cruz took photos outside of the Bridge
Recording to bust said contractor’s session.
Only some of the musicians present were
charged.

-The RMA Officer who himself is on the
A-list, will deny any and all accusations,
and hides behind Grayson’s actions, so
that he may remain in good graces with
his colleagues – the very same people
who he spies on and incriminates.

– The RMA Officer maintains friendships
with musicians and then uses personal
information to bust these select contractors.

– The RMA Officer has also gained preferential
treatment from a certain contractor for
eliminating this contractor’s competition.

– The RMA Officer has held a grudge towards
this particular “busted” contractor and his
partner for many years.

-What is the advantage to this RMA Officer
in attacking musicians who are barely scraping
by to make a living, while he sits comfortably
in an A-list chair helping the one contractor
who still hires him?

-He addresses the only contractor who hires
him as “fat fi-core idiot”,  and he will do anything
he can to manipulate him into returning to the
union while he busts actual union contractors.

-He has no allegiance to anyone who will not
help him professionally.

We hope this provides you with some insight to
the inner workings of the RMA and their henchman
working on their own accord outside of Local 47’s
jurisdiction. Please help us by informing the
community via the blog.

Enjoy,

-The Inner Circle

 

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

II. UPDATE on the Butch Lewis Act

Bi-Partisan Committee Created to Solve Pension Crisis by Year’s End

Unfortunately, the Butch Lewis Act did not make it
into the bipartisan budget deal the U.S. Senate passed
last week. However, this is no reason to give up hope.
As a compromise, a bipartisan House and Senate Joint
Select Committee, led by Senator Sherrod Brown, will be
tasked with coming up with a solution to the pension
crisis by the last week of November 2018. You can read
the details about the committee on his website here.

“Washington bailed out Wall Street, and Wall Street
turned around and stole the pensions Ohioans worked
for. Now Congress has a responsibility to protect the
pensions workers earned before it is too late,” Senator
Brown said. “While it is not the immediate solution we
hoped for, this Committee will force Congress to finally
treat the pension crisis with the seriousness and
urgency American workers deserve.”

Even without the bill passing, there are some encouraging
things that have happened. In supporting the Butch Lewis
Act we, the AFM membership, pushed the trustees to finally
look beyond MPRA as a legislative solution to our pension
crisis. Six months ago, they were totally disengaged from the
legislative process claiming that there is no pension-related
legislation that could help the AFM-EPF. Flash forward to
December 2017, after immense pressure from AFM
membership the trustees are writing to us in full support of
the Butch Lewis Act. That is progress which only came
thanks to your calls and emails.

While the Butch Lewis Act did not get added to the budget
deal, this new Committee could develop something better.
There are some good components to the Committees’ mandate.
There is a hard deadline, the last week of November 2018,
to report on a bill to solve the pension crisis. Also, if there are
10 committee members in agreement they are guaranteed
an expedited vote on Senate floor with no amendments.

The Committee is also required hold at least 5 public hearings,
including the option for another outside of D.C. These meetings
will be held to hear directly from retirees, workers, and businesses
affected by the pension crisis. Now, this is the challenge to the
AFM and the AFM-EPF trustees. While call-in campaigns are
useful, they pale in comparison to a physical presence. Our
trustees need to be at those meetings. Not only that, but they
should monitor and interface with the members of the Committee,
throughout the year, to make sure our needs are heard. MPS has
long been in contact with Senator Brown’s staff (see our previous
article here). There is no obstacle to our trustees having the same
access.

While our trustees seemingly continue to pursue making cuts
to benefits through MPRA as an option, it should never be the
first and only option.  With the creation of the House and Senate
Joint Select Committee tasked with coming up with a solution to
the pension crisis, there is a new opportunity to move in a direction
away from MPRA and cuts to benefits. Our trustees should be
planning to take full advantage of this and there is no excuse
for them to not be fully engaged in this process.

 

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

 

III. 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

——————————————

2/24/18

ASMAC WORKSHOP WITH LADD MACINTOSH!
Saturday, February 24th  from 11am -2pm
Valley College Recital Hall
5800 Fulton Ave
Valley Glen, CA 91401

“Problem Solving in Film Orchestration.”

Ladd will share solutions he has encountered in his
film orchestration career: such as dealing with
sustained low brass in Hans Zimmer’s “Crimson
Tide,” to alternating low winds in Harry
Gregson-Williams’ “Live By Night,” to creating
the desired sound for the villain in Heitor Pereira’s
“The Smurfs,” as well as other situations. Other
topics include too much information in the midi
file versus not enough; unusual instruments and
instrumentation; and insights into writing for live players.

http://www.imdb.com/name/nm0570667/

———————————————-

2/25/18

SONG OF THE ANGELS FLUTE ORCHESTRA
Sunday, February 25th at 4pm.
La Crescenta Presbyterian Church,
2902 Montrose Avenue, La Crescenta, CA  91214
Website for directions:   www.lcpc.net
Concert starts:  4 pm
Charles Fernandez, Conductor

Ever seen a Double contrabass Flute?… or a Contrabass
Flute in F? (Only one in the world) Well come out, see
these amazing instruments and hear a widely diverse
concert including:

-Vivaldi 2 flute concerto – Soloists Deborah MacMurray and Lisa Norton
-Handel Harp Concerto – Soloist Naomi Alter (arr. Fernandez)
-Puccini Arias (La Boheme and Turandot) – Tenor Egan Connor Carroll (arr. Fernandez)
-Francine Pancost’s new arrangement of Gabriel’s Oboe featuring Frederick Staff soloist.
– Faure’s Marceau De Concours – Francine Pancost, alto flute soloist.
– Chicako Iverson’s premiere work – Days with a Daughter.

Plus more!

Have a flute? Come, bring your students and play a concert
ending work with us! All are welcome!
Reception to Follow.

———————————————-

2/25/18

COMPOSER’S ENSEMBLE LOS ANGELES

3 PM
2050 Main Street
Santa Ana, CA

Series Premiere!
FREE!

This exciting new concert series features
a new genre of music each month!

From Jazz to Opera, Chamber Music to R&B,
Each concert will re-invent itself in sound as
well as opportunities to participate! Get ready
to listen and bring your horn to play.

Come join the members of CELA:
Laura Halladay – Flute
Phil Feather – Oboe
Kim Richmond – Clarinet
John Mitchell – Bassoon
Josh Aguiar – Trumpet
Melissa Hendrickson – Horn
Ron Minor – Trombone
Marcy Vaj – Violin
Crystal Alforque – Violin
Robin Ross – Viola
Derek Stein – Cello
Larry Tuttle – Bass

in a concert of new music written
by the members!

MORE INFO AT:
music360presents.wixsite.com/connect

—————————

 

3/7/18

NACUSA concert

Three’s Company featuring Trio Accento,
with
Limor-Toren-Immerman, violin;
Maksim Velichkin, cello and
Nora Chiang Wrobel, piano,

at Mimoda Studio,
5774 W. Pico Blvd
Los Angeles, CA 90019.

Admission is free.

Works include:
Gernot Wolfgang: Jazz and Cocktails
Kenneth Froelich: Polarize
Russell Steinberg:  Paleface
Deon Nielsen Price: Angel Trio
Richard Derby: Introspection
William Toutant: Homage a Debussy.

——————————————

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

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 a one-year Master of Music in Film Composition program 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, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!

Applications are being accepted for the Fall 2018 school year.
We offer rolling admissions – no deadline to apply.

 

 

(800) 882-4734 | www.pnwfilmmusic.com
——————————————–

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

 

2/16/18

 

I. L. A. PHIL REATURED IN OSCAR PERFORMANCE
II. PARAMOUNT’S MUSIC MUSIC CLAIMS
III. MEMBER COMMENT
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. L.A. Phil Plans Centennial Season Featuring Oscar Performance

[We’ll bet the RMAers aren’t happy about this!]

The orchestra kicks off its 100th year in September with an 11-day
L.A. Fest, featuring Herbie Hancock and more, and will perform
live at the 2019 Academy Awards, commemorating its
“intertwined” relationship with film.

Last year marked the 90th anniversary of the Academy
of Motion Picture Arts and Sciences, and 2019 will see
the 90th Academy Awards as well as the 100th
anniversary of the Los Angeles Philharmonic.
It only makes sense that these two Los Angeles
institutions should celebrate together.

The Phil is planning to commemorate its 100th with a
season packed full of surprises, excitement and the
fruits of a blossoming relationship with the Academy,
culminating in the news that the L.A. Philharmonic,
led by music director Gustavo Dudamel, will be
featured on 2019’s live Oscar broadcast.

“If you look at our centennial season, it really is the
manifestation of the belief that an orchestra is this
organism that adapts and tries to find audiences in
places where orchestral music lives,” says L.A.
Phil COO Chad Smith. “So we’re commissioning
[over 50] new works from significant composers
from all around the world, and playing major works
from the past three or 400 years, but more importantly,
we’re trying to find artists or organizations or ideas
that we can engage with that are outside the
normal activity of an orchestra.”

Part of that engagement again comes from AMPAS,
which entered a three-year partnership with the Phil
for the 2016-17 season. “I was at an event a couple
of years ago with Dawn Hudson, and she said,
‘We should think about doing something together,’”
recalls Smith. “I thought that was a really extraordinary
gesture and one that we jumped at.”

One act in that partnership will be  “The Oscar Concert”
on Feb. 28 at the Walt Disney Concert Hall, where
Academy Governors and composers Michael Giacchino
(Up, Zootopia, Coco), Laura Karpman (two-time Emmy
nominee) and Charles Bernstein (Cujo, A Nightmare
on Elm Street) will curate an evening of historical
film scores conducted by Thomas Wilkins. Scores
like A. R. Rahman’s for Slumdog Millionaire, Tan
Dun’s for Crouching Tiger, Hidden Dragon, and
John Carpenter’s for Halloween will be featured.

The evening will close out with a suite from this
year’s Oscar-nominated soundtracks by Carter
Burwell (Three Billboards Outside Ebbing,
Missouri), Alexandre Desplat (The Shape
of Water), Jonny Greenwood (Phantom Thread),
Hans Zimmer (Dunkirk) and John Williams
(Star Wars: The Last Jedi).

During the 2018-19 season, 51-time Oscar
nominee Williams will also be the subject of
his own night at the Walt Disney Concert Hall,
“Celebrating John Williams,” with Dudamel
conducting a tribute to the composer of
indelible scores for such films as Fiddler
on the Roof (1971), Jaws (1975), Star
Wars (1977), E.T. the Extra-Terrestrial (1982),
Schindler’s List (1993) and dozens more.
Montages from these films will screen as the
orchestra plays throughout the evening.

“We always talk about John Williams from the
perspective as one of the great film composers,
and I know that this is Gustavo’s position, and why
Gustavo wanted the John Williams program in the
Hall: John Williams is simply one of the great
composers [even outside of film],” says Smith.
“He’s probably had a more direct influence on
shaping the orchestral sound of two generations
of listeners than any other composer alive.”

Similarly, an evening-long program called “Stanley
Kubrick’s Sound Odyssey” will look at the music
Kubrick used in his film scores. “Famously, Kubrick
used an existing classical music repertoire as the
soundtracks to his films,” says Smith. “The
Academy has their fingerprints all over these
programs as well.”

The Phil’s centennial season will also feature
collaborations with MacArthur Fellow Yuval
Sharon, celebrated composer Christopher
Rountree and Benjamin Millepied’s L.A.
Dance Project, which will perform a dance
production to Prokofiev’s Romeo and Juliet.
Millepied, who is known in the film industry
for choreographing Black Swan (2010),
during which he met wife Natalie Portman,
returned to Los Angeles after leading the
vaunted Paris Ballet Opera from 2014 to
2016.

“A lot of these projects come back to Gustavo,”
says Smith. “This relationship with Benjamin
is something that’s driven by a creative and
personal friendship.”

The season kicks off Sept. 27 with L.A. Fest, an
11-day extravaganza focusing on L.A.-centric
composers and events, including an evening
of jazz with Herbie Hancock, a concert with
Grammy-winning Mexican-American band
La Santa Cecilia, a Songbook event with
Andrew Bird and a collaboration with Moby.

The season will culminate with a gala Oct. 24,
2019, 100 years to the day after the L.A.
Philharmonic’s first concert.

The Phil came from relatively humble beginnings.
William Andrews Clark Jr. isn’t a name known to
many Angelenos, but his legacy is one that The
New York Times last year called “the most
important orchestra in America. Period.” A
copper baron and arts patron, Clark single-
handedly founded the Philharmonic in 1919.
Of course, situated at the center of the film
universe, the Phil found itself quickly entrenched
in the musical language of the movies.

“The Philharmonic has played a significant role
in the music that has been a part of films for the
past 80 years,” says Smith. “So, there’s been
this intertwined nature. When you think about
back in the ’30s when the exiled composers like
Max Steiner and Franz Waxman were coming
here, those were composers that the Philharmonic
was playing their concert works from when they
were living and working in Europe. Out of that
filmic symphonic sound was also born the sound
of our orchestra. Otto Klemperer was the music
director back in the ’30s, and he invited so many
of those musicians to Los Angeles. The idea that
the L.A. Philharmonic can exist in this space without
having a deep relationship with the community of art
makers that have made Los Angeles the center of
creativity would be silly.”

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

 

II. Paramount’s Movie Music Claims Take a Beating from Ninth Circuit

 

(CN) – A panel of Ninth Circuit judges seemed highly
skeptical Thursday of Paramount Pictures’ claim that
it had no control over whether the music producer it
hired for a movie released in October chose a composer
who worked with musicians in the U.S. – a major
condition of Paramount’s agreement with the musicians’ union.

The Basic Theatrical Motion Picture Agreement of 2010
requires nearly a dozen major movie houses, including
Paramount, to hire members of the United States and
Canada to score movies.

But in 2015, an orchestra in Slovakia recorded the score
for the Paramount movie “Same Kind of Different as Me.”
Released in October, “Same Kind” is a poorly reviewed
feel-good movie starring Greg Kinnear as an art dealer
who befriends a homeless man to save his marriage to
his wife, played by Renee Zellweger.

American Federation of Musicians of the United States
and Canada sued Paramount in June 2015, claiming it
breached the parties’ collective bargaining agreement.

In its complaint, the union said the movie was being
“hastily scored” outside the U.S. just weeks after the
union had sued Paramount for the same reasons over
three other movies.

One year later, U.S. District Judge Dolly M. Gee tossed
the lawsuit, finding that the Slovakian orchestra members
were not technically employees of Paramount, since Paramount
had hired production company Skodam Films to do the bulk
of the work making and shooting the movie. Skodam, in turn,
had hired a music composer who had hired the orchestra.

The collective bargaining agreement does not describe
scenarios with co-producers or more than one producer,
Gee wrote. And under the agreement, the single producer
must also be the employer of the musicians for them to
be covered by the agreement.

The union appealed that decision, and a three-judge panel
heard arguments on the case Thursday.

Arguing for the union, attorney Robert Alexander said that
the district court had based its ruling on an inaccurate
assessment of the collective bargaining agreement.

“The reason that’s an improper interpretation is that the
whole purpose is to require Paramount to employ union
musicians when it would not otherwise do so,” Alexander
told the panel. “Paramount easily could have insisted that
the composer that is chosen for this work be one that
assigns musicians in the United States.”

Paramount’s lawyer, Adam Levin with Mitchell Silbergerg
& Knupp, argued that Paramount was not a producer
under the terms of the union agreement and “did not
control any aspect of this production.”

Under the agreement, Levin said the term “producer”
applies only to activities that involve a movie camera,
and doesn’t apply to things like setting up funding for
a movie or securing a set.

“‘Produced’ must have a very close nexus to the
operation of a camera,” Levin said. “That is what
the agreement is contemplating.”

Circuit Judge Marsha Berzon took issue with that logic.

“So you’re basically saying under this agreement
there is no co-production,” Berzon said. “You can’t
have more than one producer. So it’s contemplating
a world that doesn’t exist, is what you’re saying. It’s
just completely antiquated.”

Levin responded, “It doesn’t say there can be another
producer. Furthermore, the verb ‘producing’ means to
operate the cameras to put images on film.”

Judge Berzon seemed to scoff at that.

“Let’s say that I think those are both exceedingly weak
arguments,” Berzon said. “Although I don’t think the
other side’s argument is a slam dunk, the way you’re
going at this just seems not to be there.”

Levin then said that, despite Paramount’s contractual
right to approve or disapprove the composer chosen
by the production company it hired, Paramount had
no control over whether that composer hired musicians
within the United States.

Judge Berzon said that didn’t get Paramount off the hook.

“If they had known that Skodam Films was scoring
outside the United States, they should have said no,
we disapprove?” Berzon said. “Or could have said,
no because we have an obligation to have it scored
in the United States. Could it have done that?”

“No, your honor, because there is no evidence that
Paramount could have exercised any such control
over Skodam Films,” Levin said. “The contract
contemplates that Paramount could approve or
disapprove the selection of the composer. But that’s
a far stretch from approving or disapproving of the
selection to do the scoring work inside or outside
of the United States.”

“I’m sorry,” Berzon said. “I don’t understand that.”

At the end of the hearing, union attorney Alexander
told the judges that Paramount was mounting its highly
semantic defense because it had a good financial
reason to do so.

“Use of music that is scored under the contract
requires additional payments which would be
entirely on Paramount,” Alexander said. “So it’s
in its interest that the music not be scored. It’s
in its interest to offshore the music.”

The panel did not indicate when it would issue a ruling.

[EC: If the film is made by Paramount, they have a point.
But if Paramount is solely the distributor of the film they
have NO say in how, when and why a film is produced.
It’s just an underhanded money grab for the benefit of
a small fraction of greedy musicians and a union that
is dying not eh vine and desperate to get money
wherever they can.]

 

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

 

III. MEMBER COMMENT

 

I am very concerned about this report on the
pension fund and the apparently poor
showing in the investment returns.

I wonder why Vince Trombetta is still a
member of the Pension Trust Fund Board.
It has been some considerable time since
he was an officer of Local 47. I realize that,
as many of us are, is a recipient of pension
from the Fund, but why is he still a
member of said Board?

[EC: We’ve wondered the exact same thing.]

 

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

 

IV. 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

——————————————

2/17/18

RON ROBINSON PRESENTS
NUDESCAPES by Nu Som
Saturday, Feb 17 5-8 PM

Artist Reception Book Signing
and Discussion with Photographer
/ Author Nu Som
and
Art Expert / Foreword Writer
Deborah Zafman

Where: Ron Robinson
1327 5th Street, Santa Monica
When 2/17/18 5-8pm

——————————————-

2/21/18

GLENDALE NOON CONCERTS

Wed FEBRUARY 21, 2018 at 12:10-12:40 pm
Free Admission
Violinist JOHANA KREJCI & Pianist BRENDAN WHITE
will perform works by J.S. BACH & JOHANNES BRAHMS
(Violin Sonata No.1 in G Major, Op.78).
http://www.glendalenoonconcerts.blogspot.com
Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts

 

——————————————-

3/11/18

“WESTERN SUITE” by
Adrienne Albert

Sunday, March 11th, 2018 at 6 pm.
The Southeast Symphony, under the direction of Anthony Parnther,
will be performing my “WESTERN SUITE” for orchestra along
with works by Leonard Bernstein, Rimsky Korsakov, and Capuzzi:
Concerto for Double Bass.

Sunday, March 11th, 2018
Time: 6 PM
Place: First Congregational Church of Los Angeles
540 S. Commonwealth Ave. Los Angeles, CA 90020

https://www.southeastsymphony.com/march-11-scheherazade

More information will be coming soon!!

All best,
Adrienne

 

——————————————

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

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 a one-year Master of Music in Film Composition program 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, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!

Applications are being accepted for the Fall 2018 school year.
We offer rolling admissions – no deadline to apply.

 

 

(800) 882-4734 | www.pnwfilmmusic.com
——————————————–

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

 

2/5/18

•••CORRECTION•••
I. MPS
II. THERE THEY (AFM) GO AGAIN!
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

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

•••CORRECTION!•••

In last week’s “FROM THE EDITOR” We mentioned that
the AFM had lost 2/3’s of it’s membership in the last 10 years.

Actually, the AFM has lost 1/3 of their membership in
the last 10 years.

We apologize for the error.

The Committee

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

 

I. MPS

Dear Fellow Musicians,

Our American Federation of Musicians pension fund has been
heading toward a crisis for decades. As a result, the pension
fund trustees are now considering making considerable cuts
to our pension benefits. After a lifetime of paying into a system
we were promised would support us in our retirement, the
trustees are now seeking to break that promise. It is imperative,
at this critical time, that we gather our forces to show strength
in numbers. If you are receiving this email, you are important
to this cause. We urge every musician to read this email.

Please act now and join the MPS EMAIL LIST to stay informed.

Background

AFM pension fund trustees sent out a letter over a year ago
in December of 2016 disclosing for the first time that we would
in all probability face massive cuts to our existing benefits as
soon as spring 2017. Shock and confusion set in. How could
this happen? In the months that followed many AFM members
looked to our elected leaders and trustees for help, information
and a plan. Before long, it became clear that we would need to
deal with the pension crisis ourselves. What resulted was the
formation of Musicians for Pension Security, a non-profit
volunteer organization made up of musicians who do thousands
of hours of work in order to help our friends and colleagues
around the country to seek solutions and stay informed in
the face of the AFM pension crisis.

MPS Initiatives and Accomplishments
– MPS national conference calls which are regularly
attended by scores of engaged participants across
the country.
– MPS launched our first ever MPS fundraising
campaign which raised $15,000 in less than two weeks.
Funds were used to retain one of the most respected
actuaries in the country to start an independent actuarial
analysis of the fund.
– MPS has worked closely with policymakers in Washington
D.C. like Senator Sherrod Brown (D-OH) and Senator
Lamar Alexander (R-TN) to develop and discuss new
pension legislation like the Butch Lewis Act.
– MPS spearheaded a call to action, where thousands
of AFM members called and emailed AFM President
Ray Hair urging him and the other AFM-EPF trustees
to support The Butch Lewis Act, which they finally
endorsed just a few weeks later.
– MPS Executive Director, Adam Krauthamer received
an award from the Pension Rights Center in Washington
DC in recognition of his services to the AFM-EPF plan
participants.

 

We are only able to achieve critical change through
strength in numbers. Every musician, no matter your
participation in the music business, is asked to join
the cause now, have a voice and be part of the solution.
The strength in our numbers will determine how loud
that voice will be. Please join the fight to protect our
pension. In Spring 2018, MPS will host a national meeting
in NYC. The MPS team, including our legal and actuarial
counsel, will make a presentation of the current status
of our pension fund. We welcome you to attend or watch
us LIVE on Facebook.

Please act now and join MPS EMAIL LIST to stay informed.

In solidarity,

Musicians for Pension Security
https://www.musiciansforpensionsecurity.com

 

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

 

II. THERE THEY (AFM) GO AGAIN!
How MGM’s ‘Ben-Hur’ Evolved Into a Pending
Fight Before the National Labor Relations Board

Are MGM and Paramount union-busting? Is the American
Federation of Musicians tampering with witnesses in a
lawsuit over wages and benefits? A labor dispute escalates.

It’s with no small measure of irony that Ben-Hur, the iconic
film about a prince-turned-slave’s revenge, has instigated
a modern-day labor brawl. That’s thanks to MGM’s decision
to reboot the film, and specifically, the musicians hired to
perform the score.

Last April, the American Federation of Musicians of the
United States and Canada filed a lawsuit against MGM
and Paramount — and the complaint seemed simple
enough at the time. The guild accused the studios of
failing to pay proper wages, benefits and residual
compensation to the musicians on the 2016 remake.

MGM and Paramount responded by arguing that the
musicians were subcontracted and therefore not covered
by the union agreement. In October, a California federal
judge rejected MGM’s motion for judgment on the
pleadings and allowed the litigation to proceed.

Now, the dispute has escalated to the point where one
side implies union-busting and the other side suggests
witness tampering. The case has gotten so heated that
it has provoked AFM to file charges against MGM to
the National Labor Relations Board.

According to AFM, MGM and Paramount have unlawfully
coerced musicians employed in the scoring of Ben-Hur
by conditioning their employment on a promise not to
adhere to union economic standards, not to communicate
with the guild about this film project and not to exercise
rights to bargain collectively over terms and conditions
of their employment.

The ramifications of musicians taking work not sanctioned
by the union are beginning to reverberate. As a result of
this movie and the subsequent legal proceedings, questions
are being presented about a guild’s ability to discipline its
own members and an employer’s ability to find out about
such activity.

The case is now in the discovery phase. Both sides want
information. And there’s been no shortage of accusations
that the legal process is being abused.

In December, for instance, Magistrate Judge Michael Wilner
noted that “AFM is undoubtedly authorized to conduct
legitimate disciplinary proceedings to enforce union rules,”
but added, “There is a strong and pungent whiff of abuse
of the Court’s process here. It sure looks like the union
used Rule 45 subpoenas in its lawsuit against MGM
and Paramount simply to gain evidence against its
wayward members.”

Recently, MGM has been investigating.

In court papers filed late last week, MGM told the judge
that it had learned that AFM fined music conductor
Mark Graham $10,000, but “held in abeyance” three-
quarters of that amount pending the guild’s satisfaction
with his future behavior.

The studio wants permission to find out about other
musicians disciplined by AFM.

“Discovery regarding the AFM’s actions, including actual
and/or threatened sanctions against percipient witnesses
in this lawsuit is indisputably relevant to the credibility of
those witnesses’ testimony,” writes MGM’s attorney Adam
Levin. “The AFM’s refusal to produce this potentially relevant
discovery appears to be based on an unfounded interpretation
of the National Labor Relations Act, which does not allow
unions to secretly discipline and cut deals with persons
who are witnesses in civil litigation.”

But AFM has a different read on what’s going on.
In late November, the guild quietly filed charges at
the NLRB against MGM and the law firm of Mitchell
Silberberg & Knupp.

The studio is accused of violating a provision of labor code
that prohibits employers from interfering with employees’
exercise of labor rights. Specifically, AFM alleges it is
unlawful that MGM would interrogate union members
about intra-union disciplinary matters and other
confidential protected union activity.

The NLRB may eventually get around to issuing a decision
about this, but in the meantime, a judge is holding a
hearing next week to examine MGM’s efforts to compel
disclosures about intra-union communications and disciplinary
actions.

Jennifer Garner, attorney for AFM, argues to the court
that after coercing musicians to take economic
sub-standard work, MGM and Paramount now
wish to complete the unacceptable bargain.

“The Ben-Hur employers promised anyone who capitulated
to these yellow dog terms that their acceptance of such
employment would be protected from disclosure to the
representative union,” she writes in a bid for a protective
order. “Thus, in actuality, it is the Ben-Hur employers who
have violated the musicians’ rights and have resorted to
economic and political coercion to silence them and/or
curry their favor as witnesses in this action.”

 

[Colleagues, No musicians were coerced into taking
this work. It’s called freelancing and If the
company had been forced to go union, the work
would have gone overseas.

At least this way the work stayed here, but that’s not
good enough for the AFM and Local 47. If it’s not
goingto the RMA elites it shouldn’t happen so they
engage in selective enforcement and harassment.

I hope Mark Graham does no give over the
Identities of the players, the AFM doesn’t
deserve them.]

 

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

 

III. 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

——————————————

 

2/11/18

BAXTER MEMORIAL CONCERT SERIES
an Afternoon with Brahms and Clara Schumann

 

Timothy Durkovic, piano
Isabelle LaForet Senger, violin
Laura Brenes, french horn

Sunday, February 11, 2018, 2:00pm
First REEMethodist Church of Whittier –
13222 Bailey St. Whittier, CA 90601
Admission: Free

Program:
Clara Schumann:3 Romances Op.22,
Johannes Brahms:Violin Sonata No.2 in A major Op.100,
Johannes Brahms: Horn Trio Op.40

Please join us for an afternoon of a romance
themed program, featuring some of the most
beautiful music written by Brahms and Clara Schumann.

This program will be repeated in the High
Desert Chamber Music Concert Series on
Wednesday, February 14, 2018, 8:00pm
at the Tower Theatre in Bend, Oregon.

For more information, please visit:
http://www.highdesertchambermusic.com/index.php/events/hdcm-series

 

——————————————-

 

2/10-11/18

RIVERSIDE PHILHARMONIC

“Animatus Eventus”
Saturday, February 10, 2018 @ 7:30 p.m.
Sunday, February 11, 2018 @ 2:00 p.m.
Music to entertain the young and the young
at heart, with a unique concert celebrating the
music of cartoons including “Alice’s Wonderland,”
“Felix goes to Hollywood,” and others, composed
by some of Hollywood’s top cartoon composers,
like Mark Watters and Charles Fernandez.

Plus: Animatus Eventus (Cartoon Suite), a three
movement symphonic work by Charles Fernandez
based on original material with nods to cartoons
from the last 80 years, including classic cartoon
footage shown on a large screen.
Email – [email protected]
Phone – 951-787-0251
——————————————-

2/11/18
LOS ANGELES SYMPHONIC WINDS
Steve Piazza, Director
Subscription Concert 4 – Valentine Concert
Sunday February 11, 2018 at 2:30 pm
Calabasas High School Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

Valentines Concert featuring music of some of
history’s greatest pairs of lovers including
Romeo and Juliet and Tristan and Isolde.

 

——————————————-

2/21/18

GLENDALE NOON CONCERTS

Wed FEBRUARY 21, 2018 at 12:10-12:40 pm
Free Admission
Violinist JOHANA KREJCI & Pianist BRENDAN WHITE
will perform works by J.S. BACH & JOHANNES BRAHMS
(Violin Sonata No.1 in G Major, Op.78).
http://www.glendalenoonconcerts.blogspot.com
Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts

 

——————————————-

3/11/18

“WESTERN SUITE” by
Adrienne Albert

Sunday, March 11th, 2018 at 6 pm.
The Southeast Symphony, under the direction of Anthony Parnther,
will be performing my “WESTERN SUITE” for orchestra along
with works by Leonard Bernstein, Rimsky Korsakov, and Capuzzi:
Concerto for Double Bass.

Sunday, March 11th, 2018
Time: 6 PM
Place: First Congregational Church of Los Angeles
540 S. Commonwealth Ave. Los Angeles, CA 90020

https://www.southeastsymphony.com/march-11-scheherazade

More information will be coming soon!!

All best,
Adrienne
——————————————–
Adrienne Albert
[email protected]
www.adriennealbert.com

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

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 a one-year Master of Music in Film Composition program 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, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!

Applications are being accepted for the Fall 2018 school year.
We offer rolling admissions – no deadline to apply.

 

 

(800) 882-4734 | www.pnwfilmmusic.com
——————————————–

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

2/5/18

I. FROM THE EDITOR
II. MY RESIGNATION LETTER
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. FROM THE EDITOR

WHY I’M LEAVING THE AFM AND LOCAL 47

Dear fellow musicians,

I and others started this blog 12 years ago
in the hope of keeping recording work in
Los Angeles and addressing some of the
injustice done by local 47 against our
members.

During this time, we’ve all witnessed the
steady decline of recording work in Los
Angeles. We’ve also witnessed, with the
consent of our local, the wholesale transfer
of work from one group of musicians to
another (e.g. the Pasadena Pops and the
Los Angeles Ballet orchestra).

In response. our union leadership has failed
to address any of our underlying problems
and selectively punishes anyone who questions
the status quo.  As opposed to standing up
for the rights of rank and file musicians, our
AFM national officers have condoned our
local’s actions and have also sanctioned
anyone who protests against their policies.

Despite losing two thirds of its membership
in the last ten years and facing the possible
demise of our pension fund, you would think
the AFM and our local officers would try to
reform their policies and conduct. Unfortunately,
this is not the case.

As a result, I will be withdrawing my local union
membership after a total of 40 years and will
be electing Financial Core status. I encourage all
musicians of conscience to do the same.
I believe the AFM will eventually
fail under its own mismanagement.

I invite all progressive musicians of good will to
form an new organization that will generate
both work and justice for musicians.  We must
be proactive in trying to create something new.

The blog will remain committed to the
rank and file.

Sincerely,

 

Charles Fernandez
Editor, Committee for a More Responsible Local 47 Blog

 

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

 

II. MY RESIGNATION LETTER – Enough is enough.

Colleagues,

Here is the resignation letter I included with my shift to Fi-Core Status.

Local 47
American Federation of Musicians
Attn: Secretary
3220 Winona Ave.
Burbank CA 91504

 

Re: Election of Financial-Core Status Effective Immediately

To the Secretary:

I, Charles Fernandez, hereby elect financial-core status effective
immediately. And to the extent necessary, I hereby resign as
an active member of Local 47 and the AFM, effective immediately.
Please refund a pro rata portion of my dues previously paid which
were allocated by you to political causes.

I want you to know the reason why I am electing financial-core status.

For the past 35 years, I have taken it as a point of great pride to
be a member of the American Federation of Musicians and Local
47; but no longer. The AFM and Local 47 no longer represent the
interests of the majority of its members. Instead, the union has
failed to adopt policies and procedures ensuring that the majority
of our members who are willing and want to work as musicians,
are able to do so. While the union is not responsible for changes
in technology and in the marketplace, the union IS responsible
for how it reacts to those changes so that the minimum harm is
felt by the members.

The AFM and Local 47 – as work has dried up over the past
15 or 20 years – have more and more favored the interests
of a minority of members who belong to the RMA. It has
done so at the expense of the interests of the majority of
members. That is an undeniable fact.

By ignoring the interests of a majority of our members,
leadership of the AFM and Local 47 have demonstrated
an utter lack of creativity, imagination and flexibility in
responding to the changing marketplace, and the union
has severely hurt the majority of members.

As for myself, I got hauled up on totally bogus, trumped
up charges because, in my capacity as an educator, not
a union musician, I conducted a couple of pieces of music
composed by my students at what was nothing more nor
less than a demo session to provide the students with a
reel of their music to assist them in getting work as composers.
As a reminder to you IEB and Local 47 board members,
there is NO bylaw against a union member conducting
on a session, union or not. Look it up.

We all know I was treated so harshly with the size of the
fine because of my past activism and the Local using the
excuse of a supposed position with the Collective Media
Guild. This was so obviously fraudulent that all of the
charges against me relating to my alleged affiliation
with CMG were dropped for the lack of evidence.
I can only conclude that the fine of $2500 was simply
underhanded and vindictive.

So in the end I was selectively targeted for simply
attending the session as an educator, which is absurd,
but those prosecuting the charges against me didn’t
care about that reality, or the truth, and designed
their actions to cost me the most money possible,
in the end the amount will be approx. $15,500.

Had I been treated fairly I would’ve been called
into Local 47, and given a warning.

If I had been a well-placed RMA member and/or
a member of the board I’d have faced no charges.

I have been a member of Local 47 since 1983
(35 years) and never, ever, been charged with a
violation or infraction of the Bylaws.

I read the blog “The Truth about Fi-Core” on
the Local 47 website. It is filled with platitudes,
such as “we shouldn’t get screwed over by those
who would happily see us work for less than our
worth;” “standing together, in unity, is the best
way to make [more work] happen;” and that
members who “share in a democratic process,
have a voice, and be active participants in crafting
and maintaining the terms of our employment.”

That all sounds very nice but it isn’t realistic, nor
is it true. Working for “our worth” is a moving
target which depends on the realities of the
marketplace. It would be nice if the union could
set scale rates without taking into account the
rest of the world, but that bubble has long since
burst. The fact is you can record anywhere in the
world except with the AFM with a buyout. There
must be a more realistic distinction between big
budget, Hollywood films and all the rest of the
composers, producers, and production houses
who are trying to get off the ground. No one,
including me, wants to work for a pittance. But
there is a range of scales that can ensure that
those of us who want to work for a certain minimum,
are able to do so.

No union member wants to take nonunion work,
unless that’s the only work available. And in that
situation, no union member wants to be hauled
up on charges simply for trying to feed their family.
Unfortunately, what the union is left with is the vast
majority of its members who are unable to earn a
decent living playing union gigs. This will inevitably
lead to more and more members resigning or electing
financial-core status to avoid charges. This is the
dilemma which the union has created for the majority
of its members.

The bigger picture is that there is little recording work
for anyone other than a minority of RMA members;
there are numerous members of Local 47 who are
fine musicians and perfectly capable of doing excellent
recording work, but don’t work because of the few
contractors and RMA members who have a monopoly
on recording work. That leaves the rest of the members
who are capable of performing at the highest levels
with no work and no prospect of work if they are to
adhere to the union rules. That’s the intersection that
most qualified members find themselves.

All members do non-union work (board members
included – you know who you are), but as mostly
RMA members occupying favored status with the
union leadership, none of you will ever be brought
up on charges, be it for playing on recordings or
orchestrating for film or musical theater.

That’s the kind of favoritism that makes the majority
of our members, cynical; and when the choice is
presented go ahead and take nonunion work and
hope they don’t get caught. How long is this vicious
cycle going to continue? And how long will loyal dues
paying members who want, and are able to, do recording
work continue to turn down nonunion recording work.
It’s a Hobson’s choice!

In fact, given the perception by most members
that the union no longer protects their interests,
including their desire to perform as musicians,
there is no reason for anyone to remain a member
so long as the union crafts policies that discriminate
against members who want to work but have to
reject work for fear of being brought up on charges.
After all, what’s the point of these musicians remaining
members? There is none.

The AFM cannot continue protecting the interests
of a tiny minority at the expense of the majority and
expect to survive in the long term. That is simply a
fact of life.

That is why I am electing financial-core status.
My decision is based on ineffectual, unfair union
policies about what work I can accept; and on the
vindictive, spiteful and malicious manner in which
I was treated in connection with the bogus charges
filed against me, and the inordinate fine attached.

 

Fraternally,

 

________________________
Charles Fernandez

 

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

 

III. 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

——————————————

2/6/19

Tuesday, February 6, 7:30 pm
USC Newman Recital Hall (AHF)
USC Thornton Faculty Recital with
bassoonist JUDITH FARMER and
cellist ANDREW SHULMAN

Program:
Gernot Wolfgang – ROAD SIGNS (world premiere)
Judith Farmer – bassoon
Nic Gerpe – piano

Frank Bridge – CELLO SONATA, H.125
Andrew Shulman – cello
Jeffrey Kahane – piano

INTERMISSION

Gernot Wolfgang – WINDOWS
Edgar Lopez – clarinet
Judith Farmer – bassoon
Nadia Shpachenko – piano

Benjamin Britten – CELLO SONATA, Op.65
Andrew Shulman – cello
Jeffrey Kahane – piano

FREE ADMISSION

——————————————-

2/7/18

Brendan White- Piano & Jacqueline Suzuki- Violin at Music@Mimoda
· Hosted by Maksim Velichkin and Jacqueline Suzuki

 

Wednesday, February 7 at 8 PM – 9:30 PM

MiMoDa Studio
5774 W Pico Blvd, Los Angeles, California 90019

 

——————————————-

 

2/11/18

BAXTER MEMORIAL CONCERT SERIES
an Afternoon with Brahms and Clara Schumann

 

Timothy Durkovic, piano
Isabelle LaForet Senger, violin
Laura Brenes, french horn

Sunday, February 11, 2018, 2:00pm
First REEMethodist Church of Whittier –
13222 Bailey St. Whittier, CA 90601
Admission: Free

Program:
Clara Schumann:3 Romances Op.22,
Johannes Brahms:Violin Sonata No.2 in A major Op.100,
Johannes Brahms: Horn Trio Op.40

Please join us for an afternoon of a romance
themed program, featuring some of the most
beautiful music written by Brahms and Clara Schumann.

This program will be repeated in the High
Desert Chamber Music Concert Series on
Wednesday, February 14, 2018, 8:00pm
at the Tower Theatre in Bend, Oregon.

For more information, please visit:
http://www.highdesertchambermusic.com/index.php/events/hdcm-series

 

——————————————-

 

2/10-11/18

RIVERSIDE PHILHARMONIC

“Animatus Eventus”

Saturday, February 10, 2018 @ 7:30 p.m.

Sunday, February 11, 2018 @ 2:00 p.m.

Music to entertain the young and the young
at heart, with a unique concert celebrating the
music of cartoons including “Alice’s Wonderland,”
“Felix goes to Hollywood,” and others, composed
by some of Hollywood’s top cartoon composers,
like Mark Watters and Charles Fernandez.

Plus: Animatus Eventus (Cartoon Suite), a three
movement symphonic work by Charles Fernandez
based on original material with nods to cartoons
from the last 80 years, including classic cartoon
footage shown on a large screen.
Email – [email protected]
Phone – 951-787-0251
——————————————-

2/11/18
LOS ANGELES SYMPHONIC WINDS
Steve Piazza, Director
Subscription Concert 4 – Valentine Concert
Sunday February 11, 2018 at 2:30 pm
Calabasas High School Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

Valentines Concert featuring music of some of
history’s greatest pairs of lovers including
Romeo and Juliet and Tristan and Isolde.

 

——————————————-

3/11/18

“WESTERN SUITE” by
Adrienne Albert

Sunday, March 11th, 2018 at 6 pm.
The Southeast Symphony, under the direction of Anthony Parnther,
will be performing my “WESTERN SUITE” for orchestra along
with works by Leonard Bernstein, Rimsky Korsakov, and Capuzzi:
Concerto for Double Bass.

Sunday, March 11th, 2018
Time: 6 PM
Place: First Congregational Church of Los Angeles
540 S. Commonwealth Ave. Los Angeles, CA 90020

https://www.southeastsymphony.com/march-11-scheherazade

More information will be coming soon!!

All best,
Adrienne
——————————————–
Adrienne Albert
[email protected]
www.adriennealbert.com

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

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 a one-year Master of Music in Film Composition program 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, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!

Applications are being accepted for the Fall 2018 school year.
We offer rolling admissions – no deadline to apply.

 

 

(800) 882-4734 | www.pnwfilmmusic.com
——————————————–

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47