The Committee For A More Responsible Local 47

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

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.

Read the rest of this entry »

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LETTER / MEETING / TUBAS? / EVENTS

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

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AUSTIN LOCAL / FORT WORTH / EVENTS

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

Posted in Uncategorized | No Comments »

LETTER TO IEB / EVENTS

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

——————————–

10/29-30/16

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

(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

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

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

Posted in Uncategorized | No Comments »

DOJ RULING / POP CULTURE / EVENTS

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

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.]

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

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.”

Read the rest of this entry »

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EXECUTIVE SESSION / EVENTS

October 1st, 2016

10/1/16
I. WHAT IS EXECUTIVE SESSION?

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. WHAT IS EXECUTIVE SESSION?

No information has been forthcoming from the board concerning
the building sale. Last we heard, the building had fallen out of escrow
not once, but twice.

A member who attends the board meetings has found that the building
has only been discussed in executive session. When asked about the
building or the status of the sale, the standard answer now is “We cannot
discuss anything that happens in executive session”.

So the question arises, is the board using executive session as

an excuse to keep the membership that cares in the dark?

Perhaps the use of executive session for the building discussion

is legit,….

“An executive session is a term for any block within an otherwise open meeting (often of a board of directors) in which minutes are taken separately, outsiders are not present, and the contents of the discussion are treated as confidential (see in camera).[7]

In a deliberative assembly, an executive session has come to mean that the proceedings are secret and members could be punished for violating the secrecy.[8] The business that is conducted in executive session could include legal issues, formation of contracts, disciplinary
hearings, or personnel issues.”

So can the local choose to discuss the building only in executive session? Certainly. Is it of such a sensitive nature that it MUST be discussed in executive session and the membership be kept in the

dark? Not in all cases.

However, since the membership has shown again and again that

they simply don’t care, or don’t care enough to speak of it in public

for fear of some imaginary blacklisting, (The work is gone for

most, what’s to blacklist?)

Perhaps it doesn’t really matter.

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

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.

—————————————

10/2/16

DON’T MISS THE
THE PHIL NORMAN TENTET
PERFORMANCE OF
“THEN & NOW”

Sunday, October 2nd
7:30 pm (doors open @ 6:00 pm)
Catalina Jazz Club
6725 Sunset Boulevard
Hollywood, California 90028
Reservations call 323-466-2210

Click this link to make a reservation online: Catalina Bar & Grill

Remembering the classic sounds & variations of
12 jazz legends to include:

The George Shearing Quintet
The Dave Brubeck Quartet
The Modern Jazz Quartet
The Cal Tjader Quintet
the Ahmad Jamal Trio
Miles, Dizzy and more

————————————

10/5/16

FREE ADMISSION GLENDALE NOON CONCERTS

On Wednesday October 5, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
Violinist Elbert Tsai and
Pianist Jennie Jung

in a program, “The Performer as Composer as Transcriber,”
featuring works by Mozart, Kreisler and Mason Bates
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.

Elbert Tsai leads a multifaceted career as virtuoso violinist,

sought-after pedagogue, and orchestral musician. As a soloist,

one of his musical missions is to revive the art of the virtuoso

violin recital, which celebrates the short showpieces and gems

of the instrument’s 450-year musical history. Since 2007, he

has performed with the San Francisco Ballet orchestra and

San Francisco Symphony, touring with the symphony domestically

and to Europe and Asia.

Elbert has taught violin and chamber music at Center Stage Strings,

the Luzerne Music Center, San Francisco Conservatory of Music,

SFCM Pre-College Division, and the Crowden School. He holds

degrees from University of Southern California, Rice University,

and Oberlin College.

Jennie Jung made her debut with the Pittsburgh Symphony

Orchestra at the age of eleven and has since been active as both

a soloist and collaborator in North America. Dr. Jung has

performed with the Republic of Tatarstan Symphony, Korean Philharmonic, Taejon Symphony, Korean-Canadian, University

of Toronto, Hart House, and Cathedral Bluffs Symphony Orchestras. She has attended festivals including the Taubman Institute of Piano,

the Banff Centre for the Arts, and the Music Academy of the West, Santa Barbara. As a collaborative pianist, Dr. Jung has performed

in North America, Asia, Africa, and Europe, and has been on staff

at the Mozarteum in Salzburg, Austria, Aspen Summer Music

Festival, Gregor Piatigorsky Seminar for Cellists, and the Banff

Centre for the Arts. Dr. Jung has participated in master classes

and studied with artists such as Dalton Baldwin, Anne Epperson,

Peter Frankl, Margo Garrett, Martin Katz, Anton Kuerti, Robert MacDonald, Karl Ulrich-Schnabel, and Arie Vardi.
Dr. Jung is a member of the Jung Trio with her sisters Ellen (violin)

and Julie (cello). The Jung Trio was the Grand Prize winner at the

2002 Yellow Springs Chamber Music Competition and was awarded

the Bronze Medal at the 2002 Fischoff Chamber Music Competition.

The Trio has attended numerous festivals and workshops, including

the Great Lakes Chamber Music Festival, Norfolk Chamber Music Festival, the Orford Arts Centre Festival, and the Banff Centre for

the Arts. Past performances include recitals in Korea, Los Angeles,

New York, Philadelphia, Chicago, and Toronto, and a concert tour of Kenya and Mauritius as representatives of the Korean Kumho

Cultural Foundation. The Jung Trio has performed Beethoven’s

Triple Concerto with orchestras in Russia, Korea, Toronto, and

Los Angeles. Their recording of Dvořák’s Piano Trio in F Minor

was recently released by the Groovenote Label on LP and SACD.

In 2009, the Trio made its European debut in Berlin, Germany,

and at the Mozarteum in Salzburg, Austria. In October, 2009, the

Trio presented its second benefit concert for the Susan G. Komen

for the Cure, and in March, 2010, organized Promise for Haiti, a

concert raising funds for Promise Child and its Haiti mission.
Dr. Jung has received degrees from the University of Toronto, Yale University, and The Juilliard School. She maintains a private piano studio and is on faculty at the Claremont Graduate University,

Pomona College, and the Colburn Community School of Performing Arts.

——————————–

10/19/16

San Fernando Valley 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

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COMMENTARY / FORT WORTH / EVENTS

September 24th, 2016

9/24/16
I. MEMBER COMMENTARY
II. FORT WORTH MUSICIANS

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. MEMBER COMMENTARY
The recent RMA recruitment letter inspired one member to send in
a commentary. You will find it below.
———–
WHAT RMA MEMBERSHIP $’S BUYS
A future you can depend on

Recently described by the RMALA as the “NEW AFM” still embodies the
“OLD” RMALA, nothing has transformed for professional recording
musicians in Los Angeles.

What many “New” recording musicians don’t know yet, monies collected
for membership on behalf of the RMALA, is used to defeat it’s own
membership preventing opportunity to earn a career as a recording
musician while spending your money to support and sustain their “inner
circle” life style. Those who continue to advocate for the RMALA are the
ones who have or still are benefiting from the system, a small portion of
the total membership. This was calculated and intentional.

Prior to the formation of the RMALA the recording musicians of Los
Angeles always had AFM representation as did New York musicians in
negotiations. So why was it necessary for LA to form RMALA?

Back during the transition to the RMALA there was a plan, only kept to
those who would eventually benefit the most financially through creation
and support of a contractor’s most entrusted employees? They never
thought they could get away with it. It ultimately succeeded by “RMALA’s
entrusted employees”, removed most of the obstacles reducing the
workforce and robustly removed barriers. They cleaned house and fooled
everyone by voting the RMALA line. Getting them to turn on the AFM. This
was encouraged by a contractor who played into the hands of
management to create a single orchestra supported by the RMALA
founders to control a majority of work, eliminate studio contractors, take
control over all MPTV contracts and reign in residuals to a relative few of
the total RMALA work force. They abandoned the union principles while
building walls to keep out everyone who got in their way while using
union empowerment when it was to their advantage.

Nothing has changed. RMALA continues to use the membership resources
to capitalize on as much residuals to the inner circle. Your money to the
RMALA with the help of persons who were behind this deliberate
transformation of employment will be used again to strengthen their
position to take whatever action they see fit to keep you from your
recording career goals. It is now being passed on to the next generation.

Membership dollars will also strengthen the RMALA resolve to continue to
breach opportunity for all freelance recording musicians by keeping the
AFM out of RMALA’s business in L.A. to maintain dominance for the
RMALA inner circle.

Your dollars also buys contractors that hire you. The RMALA inner circle
got so use to being hired over everyone else by their contractor that
when their contractor retired they lost their grip and instituted other
contractors to follow in a similar manner. You had to hire who was on the
RMALA inner circle list or you didn’t gainfully work as a contractor in LA.
This was an implied condition with their contractors and the list they
were provided.

So what is the “NEW AFM” position?

As long as we give the RMALA what they want the AFM continues to
collect their monies from Los Angeles recording work. It doesn’t matter
whether the inner circle are selected by the RMALA most of the time or
hundredths of individual musicians, the AFM still collect the same amount
of L47 recording money from the same work. You’ll may hear that there
were thousand of jobs for musicians where in reality the inner circle was
used over and over again the ones who were the only recipients of most
work, the ones who blindly supported the RMALA to enrich themselves.
Even if they disagreed with RMALA policy it worked to their favor to be
silent. They did what they were told!

What else does your membership money buy you?
RMALA classification “A”,”B”, or “C” orchestras!

To make selling the RMALA inner circle, they presented themselves as the
“A” list. Since their contractor had direct access to producers when
booking the ‘RMALA assigned “A” classification orchestra it was
discouraged to use any one but their orchestra or producers were
instructed to record elsewhere that included and encouraged to record
outside of Los Angeles altogether rather then use another contractor or
hire another LA orchestra. What the RMALA “A” list employed was to
permanently eliminate and defeat competition to avoid diluting there over
scale musicians salaries when another orchestra could have provided the
producers movies with the same quality performance.

These techniques using letters purposely differentiated there imposed
inner circle from the rest of what they referred to as the B & C riff raft
inexperienced orchestras. These B, C orchestras were RMALA members,
the very membership who they ask for your money to promote their inner
circle desperate to remain relevant and first. Devised from a previous
music contractor and a close inner circle of employees were to undermine
employment in Los Angeles, this became a very effective way of doing
business. Most musician’s careers were directly affected leading to an end
of an era of freely hired union freelance recording musicians. Today is a
shadow of the past.

The RMALA Players Conference is another debacle your dollars buy. Used
to solidify and represent working recording musicians RMALA is in reality
a non-equal opportunity employer. Unless your talking about the inner
circle repeatedly hired to deliberately keep from anyone gaining enough
musical influence, voting eligibility on contracts endangering their
claimed work, became RMALA’s way a self instituted “economic
protectionism”. How else do you get the reputation of being the best? By
default, there’s no one to compete because the RMALA went out of his or
her way to keep the rest of the RMALA membership out of work or barely
working. Many recording musicians lost their homes while the RMALA
inner circle bankrolled employment and residuals.

So what else does your dollars buy? The RMALA even when they were told
to stay out of the sale of L47 building insisted to comment by RMALA’s
president who implied at a L47 meeting and on sessions, that somehow,
you may not get a work call from (RMALA’s) contractors, if you don’t vote!
As we know now RMALA would have won either way you voted. Some may
call this collaboration for benefits they will reap at a latter date, just
another advantage to your contributed membership dollars.

You can’t deny that the RMALA’s machine does everything it can do to
strengthen there resolve to have good representation at the bargaining
table, forcing the hand of AFM to doing exactly what it wants, to control
the contractors, the MPTV contracts that control employment and
ultimately keeps the vast majority of non-RMALA & RMALA freelance
recording musicians from going anywhere near their inner circle
residuals. Yet the International RMA President, a residual of the LA’s past,
continues to solidify this by maneuvering on there behave by keeping
most of his regulars employed and why he remains in power. Other
unaware musicians are encouraged to continue to support the president
in order to sustain this elected officer.

Your hard earned dollars also contribute to the RMALA’s cart blanche as a
member of the Players Conference. Unfortunately they use the Player’s
Conference status and behave in ways no other music player’s conference
does. The result brings the RMA legitimacy where there isn’t any. It’s
essential the RMALA have this status to justify the benefits and
recognition it tries to emulate in order to sustain its overwhelming
recording interests and dominance in LA.

RMA Night is another add on to what your membership dollars buy where
they will take anyone’s money for a ticket to the event to advance its self
interests and remain financially relevant. Even lure composers where they
have intentionally alienated from being union members so the inner circle
can get their a larger share of residuals.

Membership and RMA Night together has brought in millions of dollars
over its existence, how was this money spent? Are LA’s freelance
recording musicians any better off today since the RMALA took control of
Los Angeles years ago? Their meddling in LA employment collectively
decimated LA’s work force made possible by shortsightedness, self
imposed ignorance, greed, dictated by entitlement. A result that took
place back in the 80″s making deals with management behind the AFM
and L47 back to advance their own inner circle agenda at the expense of
their membership.

This is but a glimpse of what RMALA membership can buy. Undeniably a
real investment into your future you can depend on!

=======================================
II. FORT WORTH MUSICIANS
This link is to an article about the ongoing struggles of the
Fort Worth Symphony musicians.
What Went Wrong… with the Media’s Discussion of the FWSO Strike?
Posted on September 9, 2016

http://tinyurl.com/jgpzyq2

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

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.

—————————————

9/30/16

THE FLAMENCO SESSIONS – AN EVENING OF FOOD & WINE,
MUSIC & DANCE

Event to be held at the following time, date, and location:
Friday, September 30, 2016 from 7:00 PM to 10:00 PM (PDT)
Sessions at the Loft/The Wine Closet
2465 Ventura Blvd.
2423 Ventura Blvd.
Camarillo, CA 93010

———————————–
10/2/16

DON’T MISS THE
THE PHIL NORMAN TENTET
PERFORMANCE OF
“THEN & NOW”

Sunday, October 2nd
7:30 pm (doors open @ 6:00 pm)
Catalina Jazz Club
6725 Sunset Boulevard
Hollywood, California 90028
Reservations call 323-466-2210

Click this link to make a reservation online: Catalina Bar & Grill

Remembering the classic sounds & variations of
12 jazz legends to include:

The George Shearing Quintet
The Dave Brubeck Quartet
The Modern Jazz Quartet
The Cal Tjader Quintet
the Ahmad Jamal Trio
Miles, Dizzy and more

————————————

10/5/16

FREE ADMISSION GLENDALE NOON CONCERTS

On Wednesday October 5, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
Violinist Elbert Tsai and
Pianist Jennie Jung

in a program, “The Performer as Composer as Transcriber,”
featuring works by Mozart, Kreisler and Mason Bates
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.

Elbert Tsai leads a multifaceted career as virtuoso violinist, sought-after pedagogue, and orchestral musician. As a soloist, one of his musical missions is to revive the art of the virtuoso violin recital, which celebrates the short showpieces and gems of the instrument’s 450-year musical history. Since 2007, he has performed with the San Francisco Ballet orchestra and San Francisco Symphony, touring with the symphony domestically and to Europe and Asia. Elbert has taught violin and chamber music at Center Stage Strings, the Luzerne Music Center, San Francisco Conservatory of Music, SFCM Pre-College Division, and the Crowden School. He holds degrees from University of Southern California, Rice University, and Oberlin College.

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ACCLAMATION / RANK AND FILE HARASSMENT / COMMENTS / EVENTS

September 17th, 2016

9/17/16
I. MEMBER COMMENT – ACCLAMATION
II. MORE HARASSMENT OF RANK AND FILE
III. COMMENTS
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. MEMBER COMMENT – ACCLAMATION
–haha nobody cares any more and think it’s history!
[EC: Apathy reigns indeed, and a lack of faith in the Local really shows.]

2016 Local 47 General Election  All candidates unopposed, elected by acclamation

President (1): John Acosta
Vice President (1): Rick Baptist
Secretary/Treasurer (1): Gary Lasley
Trustees (3): Judy Chilnick, Dylan Hart, Bonnie Janofsky
Directors (6): Pam Gates, John Lofton, Andy Malloy, Phil O’Connor, Bill Reichenbach,
Vivian Wolf
Hearing Board (7): Alan Estes, Jon Kurnick, Jeff Lass, Norman Ludwin, Helen
Nightengale, Allen Savedoff, Marc Sazer
Delegates to the AFM Convention** (3): Pam Gates, Bonnie Janofsky,
Norman Ludwin
First Alternate Delegate (1): Phil O’Connor
Second Alternate Delegate (1): Vivian Wolf

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

II. MORE HARASSMENT OF RANK AND FILE

The Local has stepped up harassment of rank and file members while
letting highly placed players work non-union with impunity.

A case in point:
1) Seth MacFarlane (Family Guy) recently went to London and
recorded a three CD set. He brought 4 top tier LA players with
him. (We won’t name them here, let the Local do their own investigating.).
Will those players be held accountable? Of course not.
Crazy number, like 33 or 43 tunes, cash and carry…… Seth, who
has been extremely loyal to LA’s recording musicians and the AFM,
even he, has sold out to the buyout, gheesh, the membership NEEDS
to know ASAP

[EC: According to sources, Seth was so impressed with one particular
trumpet player that he brought him over here for a concert in
Washington.]

CLOSER TO HOME, we received the following comment:

2) I couldn’t help but notice that a group called “Video Game
Orchestra” with a P.O. box in Boston, the backyard of Local 300
which brought resolution #4, has been placed on the AFM’s
unfair list. While the people in Nashville who were and are doing
non-union video game work (and getting quite a bit of publicity for
doing so), in the local of an IEB member has not been placed
on the unfair list.

[Indeed: Why is Mr. Pomeroy (President of the Nashville Local)
from the IEB giving a pass to those musicians and the AFM is
going after the jurisdiction that dares look to the future?

Another case of blatant hypocrisy.]

and this…..

3) A Local Library company just spent five days at Abby Road in
London recording an orchestral CD of a particular composer’s music.

All of the above could have been done here in Los Angeles had we
had workable buy-out contracts. Thanks to the RMA leadership and
their minions at the Local and the National, we don’t.

MEANWHILE…

Every young composer’s and/or contractor’s website is being
scoured to find pictures of any musician working nonunion in
the studios. Those identified, who are not among the chosen,
are being told they will be charged unless they name names.

As a particularly underhanded and unethical add-on, some
members are being told to sign a letter written by one of
the local’s employees (Not the musician) that specifically
targets a specific member for participation, whether it is
true or not.

Selective enforcement is illegal,
(see http://www.law.nyu.edu/sites/default/files/upload_documents/tamirarticle.pdf page 45 +)
but this Local has been guilty of it again and again, against
those who dare speak up.

So, the Local kisses the ring of the recording leadership,
driving over 85% of the work away, then has the gall to go
after those members who work non-union because they have
NO CHOICE? Well, they do have a choice, get out of music
or work non-union. It is the cowardice and inability of our
local to stand up to this cabal of a very, very few recording
leadership that has brought us to this point.

Until the union makes a serious effort to bring back work for
ALL members, not just the have’s, they should back off those
just trying to make a living and doing what they have to do to
pay their rent, mortgages, bills and feed their families. The Local
should also be ashamed of the disservice to the rank and file
they are guilty of.

THE COMMITTEE

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

III. COMMENTS:
the only “groundbreaking” thing about the Sony Playstation
“event’ is that a non-AFM member and non-RMA member
was the orchestra contractor. Yet, it’s the lead story in a pitch
to raise money? Puzzling at best.

———-

Deposition of Dennis Dreith: Q:”So where is it that you obtained the understanding that if
a company invests in a motion picture and it is not a distribution
deal, that that makes a company, quote, ‘producer’?
A: “That’s my personal view. It comes from discussions with
various people in the industry.”
Full Court Opinion, pg 14 https://www.documentcloud.org/documents/2863183-AFM-Opinion.html

——–

Hi!

With the upcoming elections…it would be worth the edification of our
brethren to OUT the manipulation and coercion of those that put the
“union” business before those represented.

Anybody that thinks the “Professional Musicians of Hollywood” are
served by giving up our (wholly owed) property only blocks from
the center of gravity in all of film…they are deluded!

What will it cost to OUT the actual actions of Local 47 in this stuff?

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WE’RE BACK! / CRITICAL STATUS / EVENTS

September 13th, 2016

8/26/16

I. WE’RE BACK!

II. THIRD TIME NOT THE CHARM

III. CRITICAL STATUS FOR AFM PENSION

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. WE’RE BACK!

Again and again we’ve had our blog attacked by very

predictable sources, but each time we come back stronger.

This time is no different. We plan on again sending out a

post once a week, and should soon have the mailing in place.

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

III. CRITICAL STATUS FOR AFM PENSION

In the last blog we mentioned that the pension was in critical status.

In case you’ve not yet gotten the info from the federation here is what
it says in part.

The ANNUAL FUND NOTICE is for the Plan Year ended March 31 2016.
Parts of this notice reflect the finances of the Plan as of March 31, 2015,
rather than March 31, 2016.

The plan’s funded percentage was 81.6% as of April 1, 2015
The Plan’s funded percentage as of April, 2016 will not be known
until the actuarial valuation for the most recent plan year, ending
March 31, 2017, is complete, but is estimated to be 76%

Funding percentage for the last available years:
April 1, 2013 – 86.9
April 1, 2014 – 85.7
April 1 2015 – 81.6

——–

NOTICE OF CRITICAL STATUS:
The Plan is considered to be in critical status because it
has funding or liquidity problems, or both. More specifically,
the Plan’s actuary has determined that the Plan is in critical
status because:

(i) the Plan was in critical status last year and, over the next
nine years, it is projected to have an accumulated funding
deficiency for the Plan year ending March 31, 2019 and

(ii) the sum of the Plan’s normal cost and interest for the year,
the present value of vested benefits of inactive participants
is greater than the present value of vested benefits of active
participants and over the next four years, the Plan is projected
to have an accumulated funding deficiency in the Plan year
noted above.
[EC: In other words: There are fewer putting in than taking out.
Membership, dues and work are all down.

HOW MANY?
The total number of participants and beneficiaries covered by
the Plan on the valuation date was 49,947 total.
of which
20,884 were current employees
13,555 were retired and receiving benefits
15,508 were retired or no longer working for an employer and
have a right to future benefits.

[20,884 active / 29,063 retired]

FUND REHAB
This is the fifth year the Plan has been in critical status. The law permits
pension plans to reduce, or even eliminate, benefits called “Adjustable
benefits” as part of a rehabilitation plan. On April 30, 2010, you were
notified that the Board had adopted a rehab plan (the “Rehabilitation
Plan”) that reduced or eliminated adjustable benefits. As of June 1, 2010
the Plan is not permitted to pay lump sum benefits (or any other payment
in excess of of the monthly amount paid under a single like annuity while
it is in critical status. If the Board decides further cuts are needed, you
will receive a mailing explaining the reductions.

Under current law, any reduction of adjustable benefits will not reduce
the level of a participant’s basic benefit payable at normal retirement, and
the reductions apply only to participants and beneficiaries whose benefit
commencement date is on or after June 1, 2010.

The board has not made any additional reductions since the adoption of
the Rehab plan.

WHAT CAN BE REDUCED
-Post-retirement death benefits/guarantees
-Early retirement benefit or retirement-type subsidy
-Benefit payment options other than a qualified joint-and-survivor annuity (QJSA)
-Post normal retirement age subsidy.

CRITICAL AND DECLINING STATUS
A plan is generally is in “endangered” status of its funded percentage is
less than 80 percent. A plan is in CRITICAL status if the funding
percentage is less than 65 percent. (other factors may apply)

The sponsor of a plan in critical and declining status may apply for
approval to amend the plan to reduce current and future payment
obligations to participants and beneficiaries.

A COUPLE OF CLEAR EXAMPLES
A) If a participant with 10 years of credited service has an accrued
monthly benefit of $600, the accrual rate for purposes of determining
the PBGC guarantee would be determined by:
1) Dividing the monthly benefit by the participant’s years of service
($600/10), which equals $60.
2) The guaranteed amount for a $60 monthly accrual rate is equal to
the sum of $11 plus $24.75 (.75 x $33), or $35.75

Thus, the participant’s guaranteed monthly benefit would be $357.50
($35.75 x 10)

B) If the participant in Example I has an accrued monthly benefit of $200,
the accrual rate would be $20 (or 200/10). The guaranteed amount for a
$20 monthly accrual rate is equal to the sum of $11 plus $6.75 (.75 x
$9), or $17.75.

Thus, the participant’s guaranteed monthly benefit would be $177.75
(17.75 x 10)

It is estimated that the fund will continue to be self sufficient for
another 20 years.

For more info contact the fund office at 1 (800) 833-8065 (extension
1311) or email them through the “Contact Us” link on the fund’s web site
(www.afm-epf.org).

You can receive a complete copy of the plan as well if you wish. See the
notice you should have received.

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RMA LETTER / COMMITTEE RESPONSE /EVENTS

August 26th, 2016

8/26/16

I. A LETTER FROM THE RMA
II. FROM THE COMMITTEE
III. EVENTS

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

I. A LETTER FROM THE RMA

The RMA wants you do join…

Dear Musicians,

For generations, musicians of every type, players, copyists, orchestrators
and conductors have been drawn to Los Angeles because of our diverse
and dynamic recording industry. More than anyplace else in the world,
Los Angeles has been the direct beneficiary of this incredible pool of talent.

We are the Recording Musicians Association of Los Angeles. We provide
leadership, research, outreach and resources for the Sound Recording,
Live TV/ Videotape, Commercials and Motion Picture and TV negotiations.
We represent you in legislative efforts to protect employment. We have
been in the forefront of building bridges to protect our intellectual
property rights. And we are your voice with the American Federation of
Musicians. Your generous support ensures that we have the ability to
represent ALL of our members.

This year, we are proud to report several crucial developments in
our business….

RMA played a key role in helping build a new relationship with Sony
Playstation, leading to a groundbreaking live stream with full
orchestra and live gameplay at E3

RMA continues to be at the table in major media negotiations –
SRLA with major record labels, and Videotape with the TV
Networks, and Film/Television with the AMPTP

RMALA is front and center with the Alliance of Women Composers,
Beyond the Red Carpet, Made in Hollywood TV, Made in Hollywood
Film, and more

Plus, the new AFM went to bat for RMA – unanimous defeat for
the anti-RMA Resolution 4 at the AFM Convention.

We are currently kicking off our annual membership drive. Soon,
current RMALA members will be receiving a membership renewal
packet in the mail. Your donation will help us to continue to
protect and advocate for recording musicians as well as update
our website and app. You’ll be able to update your information
and get instructions for downloading the directory app to your
mobile device. You can also renew anytime by going to rmala.org
and clicking the Join/Renew tab or by calling our office at
(323) 462-4762 to pay with a credit card over the phone.

If you are not a current RMALA member but do any recording
work at all in Los Angeles, we strongly encourage you to join us.
Your voice and participation are crucial in our constant battle
for a vibrant and healthy recording industry. If you have any
questions or want to find out more about RMALA please call
our office at (323) 462-4762 or go to our website, rmala.org
and click on the contact tab for the emails of our board members.

Kind Regards,

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

II. FROM THE COMMITTEE

The above comes from the group more responsible than any other
(Along with the acquiescent, spineless AFM and Local 47) for the
staggering loss of work in Los Angeles and Federation wide. There
isn’t even enough work for the few elites left, but they still try to
play the other musicians as fools.

And what does “front and center” mean, does it mean that they
made sure they were the ones to play it? Ten years ago they’d
not consider doing live gigs, now they take all they can find,
since the recording work is a shadow of it’s former self.

AS TO PROPOSITION 4

As to the Proposition 4: It was most certainly anti-RMA, but
it was also pro rank and file AFM Member (Pro-everyone else).
The ones who might get to work on union recording contracts
if there were a buyout.

In the explanation of the resolution printed some time ago,
it was made clear that no one expected the big budget
movies to go buyout, and as long as there were studio
signatories, that is.

What losses have been caused by the spineless AFM and
complicit Local 47 administrations past and present?

Ask any musician and you’ll find out. It was the AFM’s lack
of forethought that lead directly to Seattle, to Nashville,
to Vancouver among others, not including all the fi-core
and non-union orchestras that have been formed.
These locales and countless others in the federation don’t
care about staying loyal to an organization that works only
to protect a minute monopoly in Los Angeles, while everyone
has bills to pay.

What is it that gets the IEB and AFM to totally ignore the
needs of the other 99.8% of members for the pocketbooks of
a few recording musicians as to recording options?

Imagine for a moment:

There is a well paid buyout option for every project other than
big budget films.

Imagine the dues, pension and health and welfare that could
have been collected by the AFM over the last decade if there
had been even a few officers with the cajones to confront the
recording leadership on behalf of the rank and file.

There have, however, been none. None that lasted in any case.
At local 47, whenever anyone made their way onto the Local 47
board who was not “in the club”, their removal was arranged
the very next election.

Anyone who in the past has stood up to the club have found
themselves marginalized, their careers affected as much as
they could be. Bogus charges filed against folks who dared
speak up for the multitude of members too cowed to speak
for themselves. They do nothing, keep their heads down,
imagining that if they stay silent some work might
come their way, which we all know never will – it isn’t there.

Imagine the monies brought in by those recording jobs that
could have eliminated the selling of the Local 47 building
in Hollywood.

Revenues and membership at Local 47 are down, income for
the AFM has been reduced. The lack of revenue has put our
Pension plan into critical condition. The loss of recording
revenue has been a huge burden on the federation, yet
the IEB and the Officers do nothing to turn the situation
around. Nada. Zip.

In the end analysis the question must be asked.
Who is the IEB putting first? The future of the AFM
or the desires and demands of the RMA. And why.

There is no doubt about the RMA leadership. They most
certainly put the needs and desires of their little cadre first,
ahead of the AFM rank and file certainly.

We keep losing members because the AFM has
become a dunsel for most. All they guarantee at
this point is that you have to look over you shoulder
when you do finally get some work, because if it’s
not the RMA doing it it’s not supposed to exist.

If there were any forward thinking leaders among
the recording musicians they’d have seen the damage
done by their organization’s actions and practices
and realized something needs to change if a healthy
recording community is to ever return. Unfortunately,
for a very, very few highly placed long standing RMA
leaders, nothing matters except the size of their
july check, regardless of the damage done to the
Local, the Federation or the tens of thousands of
their fellow AFM Members.

It makes one hope that there really is karma
out there. We’re not holding our breath though.

THE COMMITTEE
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The Committee For A More Responsible Local 47

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

LETTER / MEETING / TUBAS? / EVENTS

AUSTIN LOCAL / FORT WORTH / EVENTS

LETTER TO IEB / EVENTS

DOJ RULING / POP CULTURE / EVENTS

EXECUTIVE SESSION / EVENTS

COMMENTARY / FORT WORTH / EVENTS

ACCLAMATION / RANK AND FILE HARASSMENT / COMMENTS / EVENTS

WE’RE BACK! / CRITICAL STATUS / EVENTS

RMA LETTER / COMMITTEE RESPONSE /EVENTS

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