I. FLASHBACK TIME – 2005 – PART I
II. MEMBER COMMENT I
III. MEMBER COMMENT II –
IV. VIENNA SCORING STAGE REACHES OUT
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. FLASHBACK TIME – 2005 – PART I

In 2005, a highly placed group of musicians, frustrated with the
destruction of work in recording, put forward this proposal.
Even then the damage to recording because of the unusable recording
contracts forced down the throats of AFM Members because of the
RMA leadership was losing us major work – and that was almost 11
years ago.

AS A REMINDER, THIS WAS ALMOST 11 YEARS AGO….

MAY 2, 2005

Recording music for film, TV and video games is a commercial business. While
the music itself is a creative art form utilizing many talents – negotiations with
producers, directors and composers, in addition to the preparation of budgets
and contracts is nothing less than running a business.

Recorded music becomes a product for sale, a commodity. What does the
market demand and what will it bear? How can the musicians who record this
music be fairly compensated, without giving away or compromising their product?

How can their product result in a steady revenue stream while competing in a
global economy that has changed the way we do business forever? These are
the questions we must face and respond to when considering and ultimately
proposing monumental changes to the national AFM Motion Picture Agreement.

The rapid and dramatic decline of motion picture union recording projects in the
U.S. during the last 10 years coincides with a substantial and devastating
increase in recording projects outsourced in non-union environments as well as
foreign unionized countries. The historical pattern of how and why we got to this
point must be reviewed and analyzed. We must then make an organized and
thoughtful effort to recapture and reinvent our recording opportunities by creating
a new business model.

The current longstanding business model – reflected in AFM recording
agreements – has failed to maintain a regular flow of recording opportunities for
the majority of our rank and file recording musicians. The agreements are
outdated and woefully inadequate to compete in today’s global market.

Producers consistently seek a buyout alternative so they can close out their
books once the music is recorded. In addition, many composers confined with
package deals and a restricted budget are forced to go non-union or with a
foreign orchestra “buyout”, rather than face the unknown back-end charges
associated with our current motion picture agreements.

There is a significant financial burden placed on our locals and the AFM due to
policing and enforcing the secondary market issues on these outdated contracts,
not to mention the consuming hours of labor in order to impose compliance.
Money and time would be much better spent on lobbying for more work for our
musicians through federal and state tax incentive legislation.

The complexity of the agreements themselves consistently turn off producers
because they are difficult to read and the terms and conditions challenging to
understand. A more user-friendly and concise agreement is necessary.

We have just witnessed video game recording – a new and explosive opportunity
for recording soundtracks – fly right out of California, where most of the larger
video game companies reside, and go directly to Seattle and London. It is a fact
that only one video game score has been recorded on an AFM contract in the
U.S. since early December 2004, compared with 14 projects recorded last year.

The business model that resulted in the outsourcing of motion picture production
and recording – a process over the last 15 years – is the same model in its
infancy used for video game projects, which are running away at warp speed. It
has taken just four months for this new industry to be almost completely
outsourced.

This broken business model – with new use provisions attached – is driving work
away at an amazingly accelerated speed. This recording work must be recaptured
immediately or we will be lamenting about these runaways for many years to come,
just as we are now looking back at years of motion picture scores being recorded
elsewhere.

As long as other viable options (i.e. non-union; buyout agreements in foreign
countries) exist for film producers, the U.S. will never see a substantial amount of
work return to this country without adopting a “buyout” option in our agreements.
A successful business model, offering attractive economic incentives must be
procured to bring back work to our U.S. recording centers and to help foster new
relationships with film producers and composers.

WHAT IS A SUCCESSFUL MODEL

A successful business model takes an idea and converts it into an
economically viable business. It defines how an entity is positioned
in a specific industry and market, and how its value can be maximized
and sustained. A consistent and successful generation of revenue is
related to strategy, economics, operations, finance, innovation and
marketing.

“The classic business model that has dictated the structure of every
company from General Motors to Microsoft is so at odds with contemporary
economic currents that it must and will disappear. The old principles no
longer work in the new age. Businesses have reached the old model’s limits
with respect to complexity and speed. The real problem is a ruinously
dysfunctional mismatch between today’s business environment and the
classic business model… Quite simply, the wrong model may transform a
company into the vehicle of its own death.” 1

The successful entities of the future need to harness the full potential of
the entire organization in the rapidly changing business environment.
“The world is going to be too tough and competitors too ingenious as companies
are shaken loose from traditional ways of conducting business. The winners
will be the unbridled firms that are responsive to challenges and adroit in both
creating and capturing opportunities.” 1 Consistent ineffectiveness in how we
have been doing business requires new strategies and thoughtful innovation.

HOW DO WE COMPETE?

A sustainable competitive advantage that positions our recording industry in
the market to effectively maintain a steady flow of business, while surviving
against the competition over a long period of time needs to be implemented.
This requires constant reinvention of the terms and conditions of our agreements
and resources, adaptability of ever-changing global market conditions and
the creation of value-added incentives for new and sustained business.

Now is the time to take advantage of favorable economic conditions in the
U.S., when the British pound is strong and the dollar’s purchasing power
is considerably diminished in other countries. In addition to the proposed
changes to the Motion Picture Agreement, there should be continuous lobbying
for taxincentives through federal and state legislation to keep production in this
country.

Foreign governments have been extremely aggressive in this area, in order
to attract U.S. businesses and keep them returning. In some instances, there
are partnerships (government and production company) encouraging foreign
investment in the local economy.

We would prefer to maintain a national agreement that represents ALL recording
musicians, rather than shift to the current and popular idea of negotiating
separate local agreements in individual cities. Now is the opportunity for us
to leverage our negotiating power and lead our recording industry into a
new level of sustainability and prosperity in the U.S.

NEXT TIME – HISTORY
…and London

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

MEMBER COMMENT I -DUPLICITOUS CONDUCT?

Dear Editor,

Contrary to the initial reasons offered by the Local to sell Vine Street, e.g.
the need of a new roof, electrical upgrades, and the desire for ADA
compliance, the real reason to sell Vine Street appears to be about
having enough money to continue doing business as usual.  To get
the referendum passed, the Local spent thousands of dollars of its
resources beyond the the costs of promotional materials and mailings
charged to the “Club”.  The Local by their own admission generated
20,000 phone calls encouraging members to vote YES.

What the membership might not know, is that the Union hired a person
by the name of Erick Cruz at the beginning of the referendum process in
October.  Erick, who only one month prior, looks to have been an employee
of the same company that was hired by the Local to promote the sale of
Vine Street.

Erick Cruz was assigned to help the Election Board and indeed was the
person identified by the Election Board Chair as the person who helped
scan the ballots.

Erick Cruz’s LinkedIn profile identifies his job description at Bridge Street
as “Social Innovation Organizer” and subsequently Local 47 “Campaign
Manager.” Does anyone see a problem with this?

A partisan with his hands all over the ballots? In what universe does the
administration reside in thinking this is appropriate?

An attempt to speak with Erick Cruz on the day of the referendum count
concerning his participation was thwarted by the gruff intentional intrusion
by the Local’s attorney. Not only was the conversation interrupted
but, the attorney physically removed him from member inquiry.

In an event that appears to be related, the Board minutes of 2/16/16
reflect the resignation of a member of the Election Board.  As a member
observer at that Executive Board meeting, I can attest to the naming
of Erick Cruz and that certain of Cruz’s actions were disturbing. 

Member Observer

[EC: What was the attorney afraid of? More and more questionable
conduct,… and the board says nothing. do ethics mean anything
anymore?]

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

III. MEMBER COMMENT II

The local put in a formal bid several weeks ago.
I don’t know what that was or whether or not they
received a response yet.

Using the facts that are known and methods of deductive
thinking, 47 has some real challenges going forward.
Acosta stated in this month’s electronic newsletter that
they will not sell the Vine street property until the new
property is secured first. That means that for all practical
purposes they will have to put up some cash as deposit on a
new property to secure it.

So, how much money would it take in deposit to secure a
$10M property, and does 47 have that cash?

I think what really has not been available is full disclosure
to the membership. What I’m not sure about is how much of that
is being deceitful and how much of that is ignorance, It seems
that nobody on that Board knows what to do, let alone just what
is going on.

[EC: According to the record of the 2/9/16 EC Meeting, Acosta
accepted an offer on the Vine Street building (We further heard
that the bid was for 25 Million). We’ve also been told that the
Alameda building is still in play, but no word that it has been
definitely secured. So did he misrepresent the situation to the
membership? If the bid was accepted before a building was
secured, it’s just another example of the President printing
untruths in his articles. and yet the membership just sits idly by.]

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

IV. VIENNA SCORING STAGE REACHS OUT

…another result of our unusable contracts

Info from Postcard….

HOLLYWOOD MUSIC WORKSHOP 2016
Learn hands on from Hollywood’s Music Elite

3-day and 6-day Master Classes
from July 6- August 11,2016
Work with top Composers, Arrangers and Orchestrators

Record your composition with an 18pc orchestra at the brand new
VIENNA SCORING STAGE

www.hollyoodmusicworkshop.com

Read the rest of this entry »

QUESTION FOR LOCAL 47 MEMBERS

I. MEMORIAL FOR BRIAN O’CONNOR
II. FIRST WEDNESDAYS with Eliot Deutsch and Patrick Williams
III. MASTER IN FILM MUSIC APPLICATIONS STILL BEING ACCEPTED
IV. NEW RUSS GARCIA BOOK
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

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

•••QUESTION FOR LOCAL 47 MEMBERS•••
“we need to hear from you”

Did you vote “Yes” on the sale of the Local 47 building
but now feel duped by the process and would vote differently
if you had the chance?

Please write and let us know ASAP:
[email protected]

We want to hear from you!

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

I. MEMORIAL FOR BRIAN O’CONNOR

BRIAN O’CONNOR
French Horn
December 1951 – March 2016
 
Memorial service:
Saturday March 26, 2:00-3:00 PM

Lutheran Church in the Foothills
1700 Foothill Blvd.
La Canada Flintridge, CA 91011
 
There will also be a Musical Celebration of Brian’s Life at
Local 47 in June. Stay tuned for further details.
 
In lieu of flowers, please contribute to the UCLA Neurology
Foundation.  You may send a donation by check or money
order to:
 
Attention: Luba Skoropad
Department of Neurology Finance Office
David Geffen School of Medicine at UCLA
710 Westwood Plaza
Los Angeles, CA 90095-1769
 
Make check payable to: UCLA Foundation
 
Please indicate on the memo line:
“For the research of Dr. Linda Liau.”

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

II. ASMAC PRESENTS: FIRST WEDNESDAYS


CONCEIVING  AN ORIGINAL ARRANGEMENT
Eliot Deutsch and Patrick Williams

FIRST WEDNESDAY’S
Wed. April 6, 2016 – 7:00pm
ELLIOT DEUTSCH and PATRICK WILLIAMS

 Wednesday April 6, 2016   7:00 p.m.- 10:00 p.m.
Free Event for members of Local 47 and ASMAC, $10 for guests
AFM Local 47, 817 Vine St. Hollywood CA 90038

Elliot Deutsch is a rising star among young arrangers in
Los Angeles. Patrick Williams is one of the most accomplished
and in-demand arrangers today. They will each present an
arrangement that they have written and recorded and talk
about their process. Come and learn how an accomplished
arranger conceives of his or her unique vision through the
scope of a familiar tune.

PATRICK WILLIAMS

Having composed the music for over 65 feature films,
100 television films, 25 television series, as well as 19
albums and 30 concert works, Patrick Williams has established
himself as one of the most accomplished and prolific
composers in the music industry today. He has received
four Emmy awards with twenty-two nominations and two
Grammy awards with twenty-one nominations, two of
which come from his latest release, “Home Suite Home”. 
He has also been nominated for both an Academy Award
and the Pulitzer Prize in music. He is a recipient of the
Richard Kirk Award from BMI and the Golden Score Award
from the American Society of Music Arrangers and
Composers.


Born in Missouri, Williams grew up in Connecticut and received
a degree in history from Duke University. His first love, however,
was always music, and when he went on to Columbia to study
music composition and conducting, his passion became
his profession. He quickly became busy as an arranger in New
York, and then in 1968, he moved to California to pursue work
in the film and television industry while continuing to write
and arrange jazz albums. Proficiency in composing for
symphony orchestras as well as jazz bands has offered
Williams an opportunity to create a wide variety of works.

Among his critically acclaimed compositions are An American
Concerto, a piece featuring a jazz quartet and symphony orchestra,
for which he received a 1977 Pullitzer Prize nomination; Gulliver,
featuring a symphony orchestra with narrator, for which he received a
Grammy nomination (narration by Larry Gelbart and performed by Sir
John Gielgud); Suite Memories, which features a solo trombone with
symphony orchestra and won a Grammy award; Theme for Earth Day,
an overture, recorded by the Boston Pops; Spring Wings, a double
concerto written by saxophonist Gerry Mulligan and pianist Dave
Grusin with symphony orchestra; Romances, a concerto for jazz
saxophonist Tom Scott and orchestra; A Concerto in Swing for big
band and clarinet, which was dedicated to and premiered by Eddie
Daniels; Adagio for Orchestra composed in 2004; and August
composed in 2005. He recently completed a ballet, “Ziji”, with
choreographer Edgar Zendejas to honor the 60th Anniversary of the
College of the Fine Arts at the University of Utah.

Some of Williams’ big band recordings are considered classics of
contemporary big band instrumentals, such as Threshold for which
he received a Grammy in 1974; Too Hip for the Room, for which he
received a Grammy nomination in 1983; Tenth Avenue which received
a Grammy nomination in 1987 and Sinatraland, a big band tribute to
Frank Sinatra for which he received a Grammy nomination in 1998. In
2006, he received two Grammy nominations for the album Elevation
with Tom Scott and Eddie Daniels.In September 2001, he won an
Emmy for his song, “A Dream That Only I Can Know,” from the film,
Yesterday’s Children. In 2002, he received an Emmy nomination for
his score for “We Were The Mulvaneys” and a Grammy nomination for
“The Theme from Blonde” from the sountrack album for the TV
miniseries Blonde, a portrait of Marilyn Monroe. In 1992, Williams
won the Emmy for the mini-series “Jewels”. He has composed and
arranged themes and scores for television series including The
Streets of San Francisco, Lou Grant, The Days and Nights of Molly
Dodd, the Mary Tyler Moore Show, the Bob Newhart Show, Columbo,
Slap Maxwell, The Tony Randall Show, and the Magician. Recent
television projects include Hercules, starring Sean Astin, The Perfect
Husband: The Laci Peterson Story; When Angels Come To Town and
Finding John Christmas starring Peter Falk; James Patterson’s First to
Die; Power and Beauty;The Thin Blue Lie; The Three Stooges with
Michael Chiklis and A Cooler Climate starring Sally Field and Judy
Davis. Of the 65 plus films Williams has scored in his career, a few
include Breaking Away, for which he received a 1978 Oscar
nomination; All of Me, The Best Little Whorehouse in Texas, Swing
Shift, Cuba, Violet’s Are Blue, Casey’s Shadow, The Cutting Edge,
Cry-Baby, and The Glass Harp. Williams is also an accomplished
arranger with extensive credits. The album, For Ella featuring Patti
Austin, which he co-produced and arranged, was nominated for a
2003 Grammy for Best Jazz Vocal album. He was chosen by Frank
Sinatra to act as Musical Director/ Arranger- Conductor for his final
studio recordings, Duets and Duets II. He has arranged recordings for
Michael Bublé, Jack Jones, Andrea Bocelli, Paul Anka, Peter Cincotti,
Natalie Cole, Neil Diamond, Gloria Estefan, Michael Feinstein, Vince
Gill, Amy Grant, Thomas Hampson, Barry Hay, Monica Mancini, Barry
Manilow, Bette Midler, John Pizzarelli, Brian Setzer, Barbara Streisand,
Traincha, and Russell Watson.

Williams has been a leader in the music education field for many
years, holding posts as Visiting Professor and Composer in Residence
at the University of Utah and the University of Colorado, which
awarded him an Honorary Doctoral Degree. He has performed and/or
lectured at many colleges including Berkeley College of Music,
Cornell University, Duke University, Indiana University, Texas
Christian University, (1993 Green Honors Professor), UCLA, USC, and
Yale University. In May 2001. he was awarded an Honorary Doctorate
of Fine Arts from Duke University. He served as Artistic Director of
the Henry Mancini Institute from 2001 to 2006.

——————-

Elliot Deutsch is a busy composer and arranger of large ensemble
jazz music. In its tenth year of performing, the Elliot Deutsch Big
Band has released two albums, played in every major jazz venue in
Los Angeles, and hosted an impressive list of guest stars including
Cheryl Bentyne, Janis Siegel, Ron Stout, and many others.  Deutsch
has written for Arturo Sandoval, Bill Watrous, Jane Monheit, Take 6,
Terence Blanchard, and many others. In 2015, Deutsch arranged
several songs for the Kennedy Center Gala “It Don’t Mean a Thing… A
Celebration of Swing” under the musical direction of John Clayton. 
His compositions and arrangements are published by Alfred and
Walrus Music.


Deutsch is also a busy educator, serving on the faculties of Cal Poly
Pomona and Long Beach City College. Deutsch has written numerous
commissions for school jazz bands including USC, Caltech, CSULB,
Cal Poly Pomona, Esperanza High School, and many others. He
lectured on arranging for Middle School Jazz Ensemble at the 2016
Jazz Educators Network National Conference.

Wednesday April 6, 2016 – 7 PM 

FREE for ASMAC/Local 47 members
$10 for guests and students
Free parking.

Meet-up & Check-in: 7:00-7:30 PM.
Program: 7:30-10:00 PM.
 
PLEASE NOTE:  NEW LOCATION
AFM Local 47 – Auditorium
817 Vine St.
Hollywood, CA 90038

* ASMAC Members who would like to share music at a
FIRST WEDNESDAYS event,
Contact [email protected]  Attn: Milton Nelson

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

NEXT ASMAC LUNCHEON
ASMAC LUNCHEON
Wed. April 20, 2016
11:30am – 2:00pm
CATALINA’S JAZZ CLUB
Special Guest
DAVE BLACK

Check out the ASMAC website – www.asmac.org
to see the new master class, luncheon and interview 
DVD’s in the ASMAC store, to download ASMAC
luncheon podcasts, and more!
JUST ADDED: 

Special Interview with the renowned composer/arranger 
JIMMIE HASKELL

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

III. MASTER IN FLM MUSIC APPLICATIONS STILL BEING ACCEPTED

The Pacific Northwest Film Scoring Program
At The
Seattle Film Institute

is still accepting applications to the One year

Master of Music (MM) in Film Composition

Recently rated as the #4 school for film scoring education
in the world by Music School Central and the #2 school
for earning a Masters of Music degree in Film Composition

Study with program creator and lead instructor

Hummie Mann

2 Time Emmy Award Winning film composer of
“Robin Hood: Men in Tights” and featured in
Variety Magazine’s article “Leaders in Learning”

Click here to listen and watch student scores from previous years

Applications are now being accepted for the 2016
school year We offer rolling admissions – applying
early is recommended Scholarship support is
available to early applicants
 

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

IV. NEW RUSS GARCIA BOOK

Russell Garcia:   Russell wrote his auto-biography
“I Have Hundreds Of Stories, Some Of Them True”  
before he passed away at age 95 in New Zealand,
on 20 Nov 2011.  The book is out now.

Russell was a world renowned composer-arranger-conductor
who wrote music for over 100 films.  He is known for his
innovative music score for the film “Time Machine”.  Garcia
is also known in both the TV and recording fields and has
composed music for countless TV shows such as, Rawhide,
Twilight Zone, Laredo, The Virginian.  He has recorded many
CDs  in his own right, as well as with stars such as, Louis
Armstrong, Ella Fitzgerald, Vic Damone, Judy Garland,
Oscar Peterson, Julie London, to name a few.  

Garcia has also written 2 best-selling text books The Professional
Arranger-Composer “ Book I and Book II, which have been translated
into 6 languages.  He is known also for his symphonic and classical
works which have been performed by the New Zealand Symphony,
Munich Symphony, the Vienna Symphony, plus countless Radio
Symphony Orchestras throughout Europe.  He was often a guest
lecturer at many universities around the world on Symphonic
Composition Techniques.  Russell and his wife Gina made New
Zealand their home in 1971 while continuing to work in the Music
and Film Industry.  He was awarded the Queens Service Medal
for his service to music in 2009.
(www.buildabetterworldproductions.com)

Read the rest of this entry »

I. KALEIDOSCOPE RESPONSE
II. MORE ON THE “TO BE OR NOT TO BE” BUILDING
III. SCOTT HEALY AT ASMAC LUNCHEON
IV. MEMBER COMMENTS
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. KALEIDOSCOPE RESPONSE

The founder of Kaleidoscope responded to the member
comment on a couple of Facebook pages, so we thought
we’d share it as well, just to make sure our readers are aware.

See below…

——————–

A friend made me aware of this blog and the post about
Kaleidoscope. As the founder of the organization, I wanted
to address some of the concerns. I’ve been happy to talk
with John Acosta in the past and receive his support for
what we’re doing, and I have the greatest respect for
our union and all the musicians who are part of it.

Firstly, our highest priority is raising money to pay
musicians as much as possible as soon as possible.
Aside from playing in the streets or using synthesizers
instead of timpani, we are prioritizing paying musicians
above everything else. Building an audience and raising
money is extremely challenging with a new organization,
and we’re doing everything we can to raise money and
give back to musicians as soon as possible. If anyone
reading this would like to help or recommend others
who could be a help to us, I would love to hear from you!

As a long-term goal I would like to see us become one
of the highest paid orchestras in the US and a destination
orchestra for the finest musicians who choose to live
in Los Angeles… but that will not happen overnight.
We would not exist without many incredible musicians
being extremely generous with their time when they can,
wanting to play together, and believing in our potential.
I’m completely donating my time and spend at least 20
hours a week helping organize things in addition to
playing clarinet. We’ve also had musicians turn down
subbing work with LA Phil, San Diego Symphony,
and many other groups to play with us.

Why would some musicians turn down paid work with the
LA Phil to play with a new group and donate their time?
That’s a very personal decision that everyone has to answer
for themselves. How much money do you need to be happy
and how much artistic satisfaction do you need in your life
and where do they intersect? What do you personally consider
artistically satisfying?

Kaleidoscope offers something unique among orchestras
in LA, where every musician has an equal say in the artistic
process of each rehearsal. It’s something that we usually
only experience with chamber music, and I think Kaleidoscope
is more similar to a string quartet with how it functions in
most ways than a traditional orchestra. We’re not anti-
conductor, but performing without one allows a very different
process and dynamic in rehearsals. We all have to know the
score much better, watch and listen to each other and
communicate at a higher level with more trust, and when
it comes together, it’s really magical. It’s a group of people
who want to put the music first, invest in the process, and
spend as much time as they can getting into the details.

If we were only focused on the artistic side I think there
would be plenty of reason to exist, but we’re equally
interested in how we can engage with the community
and enact positive social change. Right now all of our
concerts are free for everyone under 18 and we also
perform many other free concerts at schools, hospitals,
homeless shelters, and other underserved parts of the
community. The first time we performed at a homeless
shelter, I met a man there whose father played clarinet
in the San Francisco Symphony many years ago. We’re all
connected and someone who ends up at a shelter in the
future could be one of our children…

The musicians who have generously donated their time
to be a part of Kaleidoscope have made our city a better
place for all of us, just like a doctor donating their services
to an AIDS clinic, or a lawyer doing pro bono work for a
woman who can’t otherwise afford their help. Does the
lawyer or doctor donating their expertise and time cause
their professions to race to the bottom? I’m more interested
in our personal race to our top artistic potential, finding
new ways to inspire audiences and my colleagues, and
how we can make the world a little better for all of us.

For anyone reading this who thinks great musicians deserve
to be paid whenever they play (which I completely agree with),
where do you think the money should come from? Who is
responsible for paying us to perform? Tickets sales, individual
donors, corporate sponsors, foundations and grants? All of
these sources come back to individual people, and people
deciding to support the arts with their money. It takes a long
time to build relationships and an audience and most groups
cannot rely on ticket sales for much of their budget. Major
donors and corporate sponsors often take years to cultivate.
Most foundations and grants do not consider organizations
until they’ve been around more than three years, and we’re
nearing the end of our second season now… There’s no
magic bullet and we’re going after all these things as much
as we can, but we can only do so much with the limited
resources we have.

Thank you everyone for your understanding and for the
many generous musicians who have been a part of
Kaleidoscope and for the many others who have been
incredibly supportive in other ways!

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

II. MORE ON THE “TO BE OR NOT TO BE” BUILDING

As we reported last week, at the last staff meeting
John Acosta informed the staff that “the Alameda
Building is not available”.

Apparently, the Burbank property is now back on the
table and there are new realtors involved on are side.

This does not change the fact that President Acosta
announced to the staff the building’s unavailable
status.

Don’t let anyone tell you otherwise.

THE COMMITTEE

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

III. SCOTT HEALY AT ASMAC LUNCHEON

ASMAC LUNCHEON WELCOMES
composer/producer/multi-keyboardist SCOTT HEALY
MARCH 16, 2016 – 11:30AM
@ CATALINA’S IN HOLLYWOOD
 
Los Angeles-based Scott Healy is a Grammy-nominated
composer, producer, pianist and multi-keyboardist who
multitasks across the musical spectrum. He is best-known
for playing in the house band for Conan O’Brien: first
on Late Night in NYC, then moving out to LA in 2009
for The Tonight Show with Conan O’Brien, and now 
Conan on TBS, where he holds down the keyboard chair in
the Basic Cable Band. He released Hudson City Suite, by
the10-piece Scott Healy Ensemble, in 2013, to worldwide
praise, stellar online and print reviews, national jazz radio
airplay, and a 2014 Grammy nomination for Best
Instrumental Composition. His recent CD, Live at Kilbourn
Hall by Scott Healy with the Eastman Chamber Jazz Ensemble,
was released in October, 2014. Healy was featured on the
cover of the February, 2015 issue of Keyboard Magazine,
and he was also featured in an “Indie Life” article in the
March, 2013 issue of Downbeat Magazine.

In addition to his composing, recording, and nightly
TV gig, Healy works as a hired-gun on piano, organ,
electronic keyboards and accordion for film and TV.
He has recorded and performed with many of the
greats in rock, blues, R&B and jazz: Bruce Springsteen,
Bonnie Raitt, Al Green, BB King, Jackson Browne, Levon
Helm, Son Seals, Hubert Sumlin and Tony Bennett,
among others. He has worked as an arranger for
major label releases, including scoring the big band
arrangement for the 2001 Ricky Martin hit “She Bangs”.

Healy’s work reflects his classical piano, composition,
conducting and orchestration training, as well as his
years in the studio and on the stage, whether it be on
the podium, in the band or behind the glass. Other
composing, arranging and scoring credits include
the Portland Symphony, the Aspen Contemporary
Ensemble, the Mel Lewis Orchestra, Christina Aguilera,
and music for film and TV. He he recently received a
commission for a extended jazz work from the Chelsea
Music Festival, to be premiered by his ensemble
in NYC at the festival’s closing concert in June, 2016.

Record producing credits include albums by his
own groups—the Scott Healy Ensemble, NYC electronica
supergroup The Coalition, jazz piano trio, big band and
quintet music.

Healy is a contributing editor to Keyboard Magazine,
where he wrote a long-running advice column, “Session
Sensei”, and to which he continues to contribute feature
articles and lessons. His blog, ProfessorScoSco, explores
various aspects of composing, listening, and arranging.
He organized and leads the ongoing Ellington Study
Group Los Angeles, an informal workshop in jazz
composition and theory. He has taught master
classes and seminars at Eastman School of Music,
Brown University and Boston University.  In addition
to the Grammy nomination, he has received awards
from BMI, The National Endowment for the Arts,
and the “Distinguished Artist” award from the
New Jersey State Council on the Arts.


Join us for an entertaining and informative luncheon
with one of the busiest musicians around!
___________
RSVP HERE: http://tinyurl.com/hhhgrhu
—————
UPCOMING EVENTS:

FIRST WEDNESDAY’S
Wed. April 6, 2016 – 7:00pm
ELLIOT DEUTSCH and PATRICK WILLIAMS
MORE INFO TO FOLLOW

ASMAC LUNCHEON
Wed. April 20, 2016
11:30am – 2:00pm
CATALINA’S JAZZ CLUB
Special Guest
DAVE BLACK

Check out the ASMAC website – www.asmac.org
to see the new master class, luncheon and interview 
DVD’s in the ASMAC store, to download ASMAC
luncheon podcasts, and more!
JUST ADDED: 

Special Interview with the renowned composer/arranger 
JIMMIE HASKELL

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

IV. COMMENTS

Appreciating the persistence you put into your website and in
depth of information you provide.

It’s good to come across a blog every once in a while that isn’t
the same out of date rehashed material.

Great read! I’ve bookmarked your site and I’m adding your RSS feeds
to my Google account.

[EC: Thank you for your support! Do others find the blog helpful?
Please let us know, pro or con.]

——————-

“The Burbank property is unavailable”

I guess they’re going to have to change their spin
to: “The Time Was Then.”

===============================
Read the rest of this entry »

I. BRIAN O’CONNOR PASSES
II. WELL WELL…. NOW WHAT?
III. MEMBER COMMENT
IV. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

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

scoring musician

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

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

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

I. BRIAN O’CONNOR PASSES

After a long battle with cancer, Hornist and Educator
Brian O’Connor passed away a few days ago.

He was an excellent musician, excellent teacher and
extraordinary person.

For over 30 years, he recorded in Los Angeles as a first call
French Horn player for over 2,400 movies, hundreds of TV
series and shows, thousands of records and jingles and many
Live TV shows including the original Carol Burnett Show
and 20 Oscar performances. He Principal Horn on over 800
movies.

From 1998 until 2009, Brian taught Horn at UCLA and a
number of his former students are now working in high
profile professional Horn jobs including the LA Studios,
Symphony and Opera Orchestras and Military Bands.

His battle with cancer and the surgery he underwent
was documented in a film some years ago.

He will be missed.

THE COMMITTEE

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

II. WELL WELL…. NOW WHAT?

Well placed member comment….

Yesterday, (March 2, 2016) at approximately 11:30 AM,
the staff at Local 47 was called together in the main
office and told by President Acosta that “The Burbank
property is unavailable” and he would them keep them
informed.

Should anyone be surprised?

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

III. MEMBER COMMENT

Really, how great is this…? There’s an orchestra that does not
have to be paid …and they’re working!!!

Two things…
1) obviously there are many very excellent and qualified
unemployed musicians…

2) willing to work for free…?

Talk about…”race to the bottom”…and there are Local 47
Executive Board members listed on their roster!!

This is just another way to “clear the decks”…when all the
locally supported community orchestras are put out of business…
here comes the new community service model.

Young inexperienced musicians will be told that playing
for free with Kaleidoscope will be a viable resume credit.

Just a visceral response to seeing this.

[EC: We’ve spoken to a number of folks who’ve been
asked to play upwards of 6 services for free per concert
(no paid services). A number of those in the group are
well placed, even some working to be on the “inside” at
Local 47.

Adding insult to injury they of course charge the public to
hear them.

The union wants to bust any non-union session or gig
they find, unless there are well politically placed members
playing for free, in which case Acosta et al do nothing.
The word dunsel comes to mind.

So then…. if all these well placed people can donate their
time for nothing, when you’re asked about something
you’re doing you can say the same. “I’m donating my time
to a friend… back off!” This should be the new mantra.

Until the Local enforces the rules equally to all members,
they should enforce nothing. Will that happen? Of course
not, they’ve got their ship coming in… and the elites to
answer to…. except they’ve (and we’ve) got no ship to go
to…. see below. We knew there should be a requirement
in the referendum that they actually buy a building with
the proceeds.]

Read the rest of this entry »

I. WHERE O WHERE DID THE….
II. MUSIC PREP – PART II – WEDNESDAY NIGHT!
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. WHERE O WHERE DID THE….

According to federal law, the local must keep the ballots from
the referendum for 4 years (According to our legal person).

However, though the Local told the membership that they
had 1000-2000 extra ballots printed, those ballots have
not been accounted for.

The number of ballots used for re-sends and re-votes
doesn’t come anywhere near close to the number printed,
and they have not been cataloged with the bulk of the
used ballots.

So where are they? Who has them?

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

II. MUSIC PREP – PART II – WEDNESDAY NIGHT!
Free for Local 47/ASMAC members.

The Art of Music Preparation
7:00p.m.- 10:00 p.m. Wednesday March 2, 2016
Free Event for members of Local 47 and ASMAC, $10 for guests
AFM Local 47 817 Vine St. Hollywood CA 90038

The American Society of Music Arrangers and Composers
(ASMAC) is proud to present

“First Wednesdays”, a new monthly tradition now hosted by
Local 47 for it’s members. On the first Wednesday evening
of each month, ASMAC will produce a new event featuring
various topics of interest for music arrangers and composers
starting March 2nd with The Art of Music Preparation(pt2)

The Art of Music Preparation (pt.2) will feature Ross deRoche,
Liz Finch, Kim Richmond, Jim Ciancaglini. Join us for a special
and informative event with a panel of expert music copyists
who will discuss how to make the most out of a musician’s
performance by providing the best possible manuscript.

Thoughtful music preparation saves time and money at
recording sessions and rehearsals. Topics will include
important tips for orchestration, notation rules, computer
notation, part layout, binding, preparing midi for orchestration,
proofreading, various careers in music preparation, budgets,
and much more. Refine your skills as an orchestrator, composer
and music copyist by attending this once in a lifetime event.
We will have a Q&A between attendees and panelists.
Technical questions about Finale and Sibelius will be included.

OUR PANELISTS

Ross deRoche – Guardians of the Galaxy, Birdman, White House
Down, Mr. & Mrs. Smith,“300”, “2012”, Watchmen, End of the
World, The Day After Tomorrow, The Revenant, Unfinished
Business, Healer, The 33, Call of Duty-Black Ops II & III; 1996,
2002 Olympics.

Liz Finch who holds a MA degree in theory and composition,
has worked as a copyist for many years in both recording and
live performance, in the studio music libraries and independent
music preparation offices, as well as independently for many
high -profile arrangers and composers. She was sometimes
known as “the girl” at a time when there were very few women
in the profession. With the move to more digital music production,
she has also served as an orchestrator for many films with composers
such as Hans Zimmer, John Powell, and Steve Jablonsky

Kim Richmond (host) ASMAC President, Composer, Studio
Musician, Emmy nominated arranger. Orchestration for Knight
Rider, Arranger for Lalo Schifrin, Buddy Rich, Kim Richmond
Jazz Orchestra. Orchestra member: Stan Kenton, Louis Bellson,
Bob Florence, Bill Holman, and Vinny Golia. Educator: USC,
UC Fullerton, Cal Arts.

Jim Ciancaglini, Valle Music Reproduction
Disney, The Tonight Show, Universal-MCA, 20th Century Fox,
Warner Brothers, Los Angeles Philharmonic, Los Angeles Chamber
Orchestra, Los Angeles Master Chorale, The Boston, Cleveland, and
Cincinnati Symphonies, Aaron Spelling Production, John Addison,
Lalo Schifrin, John Cacavas, The James Guthrie Music Library.

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

III. EVENTS

DEAN AND RICHARD

DEAN AND RICHARD are now playing every third Friday
at Culver City Elks 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.

————————————-

2/27/16

MICHAEL KIBBE PREMIERE

CONCERT ANNOUNCEMENT
The Humboldt State University Symphonic Band will
feature my latest work for band, the Poseidon Overture,
in concert at Fulkerson Recital Hall. The performance
will take place this coming Saturday, February 27th at 8:00.

This work was composed last year specifically for the HSU
Band. It is an energetic and tuneful “old-style” piece, with
lots of action for all sections of the band. Although
originally written for a smaller ensemble, the growth
of the band has necessitated addition of a few more
instruments.

Other works on the program are by Aaron Copland,
Percy Grainger, William Schuman and John Mackey.

The Jazz Orchestra completes the program, with
both new works and classics.
www.michaelkibbe.com

————————————-

2/28/16

SONG OF THE ANGELS FLUTE ORCHESTRA

Their Next concert, “Winter Dreams” is
Sunday, February 28th at 3:30pm at the Cornerstone Music Conservatory
12121 W. Pico Blvd., #205, Los Angeles, CA 90064

————————————-

2/28/16

BOYCOTT THE OSCARS OR JUST RECORD THEM.
YOU’LL BE HOME IN TIME TO MISS ALL THE COMMERCIALS.  😉
 
PLEASE JOIN US IN A SPECIAL CONCERT
 
PEGGY DUQUESNEL – PIANO & VOCALS
TONY JONES – DRUMS & VOCALS
RON ESCHETE – GUITAR
LUTHER HUGHES – BASS
 
Advance Reservations and Tickets Recommended:
$20 http://www.alvasshowroom.com/calendar.php


Sunday, February 28, 2016 4pm to 6pm 
Alva’s Show Room:
1417 W 8th St, San Pedro, CA 90732


“S’Wonderful Gershwin” show
https://youtu.be/G3MnKlvC4j8  
features the talents of jazz pianist and vocalist Peggy
Duquesnel along with multi-talented jazz vocalist and
drummer Tony Jones. Duquesnel and Jones bring fresh
vocal and instrumental arrangements to the Gershwin
Song Book repertoire with a nod to the duet recordings
of “Ella Fitzgerald and Louis Armstrong sing Gershwin.”
 
Duquesnel has performed and recorded with such notables as
Alan Broadbent, Henry Mancini, Pat Boone, Dionne Warwick,
Jeff Lorber, Rick Braun and Jimmy Haslip. She has released
ten CDs as a featured artist and is also an accomplished
composer, songwriter and arranger.
 
Jones performs around the world as a singer and drummer in
various bands and styles and has performed with artists
including Joe Diorio, Charlie Haden, James Newton, The
Beach Boys, Bob Dylan and Stephen Bishop. Jones is a
master impersonator of Louis Armstrong’s vocal style and
Jones’ grandfather, renowned composer Leon Rene’,
composed Louis Armstrong’s theme song “When it’s Sleepytime
Down South.”
 
Duquesnel debuted her solo Gershwin show at Segerstrom
Center for the Arts in Orange County and then with her trio
at the Jazz at Kitano in New York City.
 
Facebook event page:
https://www.facebook.com/events/517692678412478/
 
Booking Contact:
www.JoySpringMusic.com
866-887-3449

———————————————

3/2/16

Free Admission Glendale Noon Concerts/
Jacqueline Suzuki & Susan Svrcek perform
RAUTAVAARA Lost Landscapes

FREE ADMISSION GLENDALE NOON CONCERTS
Every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm
On Wednesday MARCH 2, 2016 at 12:10-12:40 pm:
Crescenta Ensemble: Einojuhani Rautavaara’s Lost Landscapes

CRESCENTA ENSEMBLE
Jacqueline Suzuki – violin
Susan Svrcek – piano
http://www.susansvrcekpianist.com/

Program:
P.I. TSCHAIKOWSKY Melodie, Op.42, No.3
EINOJUHANI RAUTAVAARA Lost Landscapes (2005)

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC

PLEASE NOTE:
The Glendale Noon Concerts series
now takes place in the Sanctuary at
GLENDALE CITY CHURCH
610 E. California Ave. (at Isabel St.)
Glendale, CA 91206-3701

INFO:
Please call Victoria Lucero (818-244-7241 office)
or email glendalecitychurch.org/
https://www.facebook.com/glendalecitychurch

****************************************************

UPCOMING CONCERTS in the same series:
(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm;
programs subject to change)

MARCH 16, 2015
HAROUT SENEKEREMIAN
PIANO RECITAL
Works by Faure, Rachmaninov & more
http://www.haroutsenekeremian.com/

APRIL 6, 2016
VIOLIN RECITAL
GINASTERA Pampeana No.1, Op.16 (1947)
BRAHMS Violin Sonata No.3 in D minor, Op.108
Jacqueline Suzuki – violin
Rosa LoGiudice – piano

APRIL 20, 2016
CRESCENTA ENSEMBLE
TSCHAIKOVSKY Meditation Op.42, No.1
GINASTERA Piano Sonata No.1, Op.22
Jacqueline Suzuki – violin
Susan Svrcek – piano

CONCERT UPDATES:
http://www.glendalenoonconcerts.blogspot.com/

MORE FREE CONCERTS:
At the Edendale Branch Library in ECHO PARK
http://www.edendaleupclose.blogspot.com/

>>>Saturday MARCH 12. 2016 at Noon-1pm
Baroque concert featuring works by
Handel, Monteverdi, Purcell & Scarlatti
BRIAN ASAWA – countertenor
DIANA TASH – mezzo-soprano
ARTHUR OMURA – harpsichord
ALEXA PILON – Baroque cello
http://www.brianasawa.com/
http://www.dianatash.com/
http://www.arthuromura.com/

—————————————-

3/2/16

California Jazz Foundation’s Annual Gala

GIVE THE BAND A HAND
6 pm, Saturday April 2nd, 2016
Cocktail hour, silent auction, live auction, dinner

The LA Hotel Downtown
333 South Figueroa Street
Los Angeles, CA

NICA Honoree – John Clayton
Heritage Award – Ray Brown

The Nica is awarded to those individuals who
exemplify the legacy of the Baroness Pannonica
de Koenigswarter, know as “Nica”, an iconic figure
who forged a unique bond with the Jazz community
at a transformative time in American popular Culture.

MUSIC PERFORMANCES FEATURING
– Clayton-Hamilton Jazz Orchestra
– Gerald CLayton, Grace Kelly, Christoph Luty,
Graham Dechter, Adam Bravo
– California Institute of the Arts Cmbo

—————————————————

3/2/15

ASMAC PRESENTS: FIRST WEDNESDAY’S

MUSIC PREP: PART II

Local 47 Auditorium
Wednesday, March 2nd 7:00 pm
817 Vine Street, Hollywood, CA

ASMAC continues the First Wednesday’s tradition with 
The Art Of Music Preparation Act II! Featuring a panel
of veteran copyists: Ross deRoche, David Giuli and
moderator Kim Richmond at the Musician’s Local 47
auditorium with lots more in depth discussion on the
art of music preparation.

—————————————————

3/5/26

TONY JONES VOCAL PROJECT

PLEASE JOIN ME FOR A LOVELY DAY AT THE BEACH

Tony Jones comes to the famed Lighthouse Cafe
with a stellar band to perform his arrangements
of songs from his CD “My Song.”

Tony Jones – Vocal, Percussion •
Chuck Manning – Sax •
Andy Langham – Piano •
Gabe Davis – Bass •
Tina Raymond – Drums

Saturday, March 5, 2016
11:00 am to 3:00 pm
Lighthouse Cafe – 30 Pier Ave, Hermosa Beach, CA 90254
No cover charge
https://myspace.com/tonyjonesvocalproject

—————————————————-

3/5/16

The 11th Annual Lympho-Maniac 70s Party

Saturday, March 5 at 7 PM in CST
New Orleans Lakefront Airport.

Dust off your Afro Wig….After taking 3 year hiatus,
LYMPHO-MANIAC 2016 PARTY officially set for Saturday
March 5th 2016 @ recently renovated New Orleans
Lakefront Airport. This venue is kick-@ss & perfect
fit for our 70s theme party.

Our fundraising goal is $100,000 with all proceeds from
event going to grants for lower income families (less than
35k gross income) in Greater New Orleans area who have
someone that is currently undergoing cancer treatment
@ East Jefferson General Hospital – EJGH

FYI Don Trump Jr and Vanessa Trump Jr have agreed to
come down and (once again) be our celebrity judges for
2016 Lympho-Maniac Dance contest = Winner takes home
Disco Ball. Only question now is whether or not we will be
able to film 2016 Lympho Promo @ the White House???

New 2016 Lympho-Maniac website soon to follow….
may the funk be with you, Chad

—————————————————

3/6/16

The 18th Annual West Coast Composer’s Forum Concert

It’s been 18 years ago since a group of like-minded
composers got the idea to all write for the same ensemble
and then put on a concert.

Since then we have produced a concert just about every
year, we have had dozens of composers participate, and
we have had some very interesting ensembles, one of
the more notable being: six saxophones (sopranino,
soprano, alto, tenor. baritone, bass)
and orchestral harp. CD’s are still available.

This year is the first concert where the composers will
also be the performers. it also happens that the
instrumentation is as strange
as ever. 

Alto sax & E.W.I. Electronic Wind Instrument (Joe Sorce)
Bassoon  (Charles Fernandez)
French Horn  (Steve Mahpar) 
Trombone & Poetry (John David Grab) 
Six String Electric Bass Guitar (Ross Wright) 
This concert in unique in other respects,
as we are participating in closing reception of a larger art project. 

AWOL
4937 Alhambra Ave
Los Angeles, CA 90032
 
“Being Ernest Shackleton | El Sereno (In Two Phases)”
Jim Ovelmen, Mehran Ayati, Mondo Bobadilla
Closing Reception
Sunday March 6th, 2016
3:30 pm 

Program:

-WEST COAST COMPOSERS’ FORUM 4:00 – 5:00 pm

-Caspar Sonnet + Eliot Eidelman 5:30 – 6:30 pm

-OHR + Guests (ROOFTOP PERFORMANCE): 7:00 – 8:00 p

West Coast Composers’ Forum 4:00 – 5:00 pm

West Coast Composers’ Forum includes award winning
composers who will present previously unpublished music
created for the closing exhibition, including “Endurance
in the Antarctic”. More about the composers and their music. 

JOE SORCE: Composer/Alto and EWI 
CHARLES FERNANDEZ: Composer/Bassoon 
STEVEN MAHPAR: Composer/French Horn 
JOHN DAVID GRAB: Composer/Trombone 
ROSS WRIGHT: Composer/Six String Electric Bass (Fretted and fretless)
CLIFFORD J. TASNER: Composer

*******************
Caspar Sonnet + Eliot Eidleman 5:30 – 6:30 pm

About Caspar Sonnet: 
https://casparsonnet.bandcamp.com/
http://casparsonnet.com/albums/

About Eliot Eidelman :
http://elioteidelmanmusic.com/ 

*******************
OHR 7:00 -8:00 pm

Ohr is a 5 piece experimental rock band from Los Angeles.
Formed by visual artists, Thomas Burkhardt,Brian Cooper,
Timmy Jordan, Jim Ovelmen, Jay Stuckey in 2015,
Ohr delivers a big sound of unbridled improvisation.

Ohr store: http://jimovelmen.com/music/OHR/TheOhrStore.htm 

*******************

About “Being Ernest Shackleton – El Sereno (In Two Phases)”
Please click here to read the Los Angeles Times Story 
 
About AWOL
Based in El Sereno, California, AWOL is dedicated
to artist projects, events, ideas, and irregular connections.
AWOL is located at 4937 Alhambra Avenue, Los Angeles CA 90032. 

www.awolimited.com
 
-###-
Contact:
Nicole Wang
626-675-5051 
[email protected]

 
———————————————

3/6/16

The CSUN Youth Orchestras Invites you to our spring concerts!
Our performances are at 2PM & 5PM.

Plaza del Sol Performance Center – CSUN
18111 Nordoff St. Northridge, California 91330

Here’s the lineup:

2PM Concert – Camerata Strings & Symphony Orchestra
Join us for the 25th year of the Camerata Strings under the direction
of Kimberly Blake-Kilgore!

Our Symphony Orchestra will feature works by Verdi, Saint Saens,
Schubert, and Holst

5PM Concert – Philharmonic, featuring soloist Yuri Lim performing
the first movement of the Bruch Violin Concerto in B Minor.

Other works:
Beethoven’s Symphony No. 5
Music From Romeo and Juliet by Prokofiev

Tickets are available at the USU Ticket office during their scheduled
business hours and also an hour before each performance
http://www.csun.edu/as/ticket-office

Ticket prices are $15/Adults $10/Students, Seniors and groups of
10 or more.

We hope to see you there!

—————————————————

3/9/16

HOMENAJE
at Spaghettini in Seal Beach

We’re excited to bring our “Finding Hearts” concert to Spaghettini
jazz club in Seal Beach on Wednesday March 9th at 7pm!

Purchase tickets at http://spaghettini.tix.com/Event.aspx?EventCode=822185

We have new original material to share as well as old favorites of ours.
Keep up with our latest music and videos at:

www.homenajemusic.com

Homenaje is:

Genevieve Artadi – vocals
Will Brahm – guitar
James Yoshizawa – percussion
Jordan Richards -bass

We’ll see you March 9th!

—————————————————

3/12/16

SANDFORD HINDERLIE and TOM VAN DER GELD
in concert

Saturday, March 12, 2016 – 7:30 pm

The Biever Guest Lecture and Montage Series presents
an evening of Jazz with internationally known and
composer Dr. Thomas van der Geld performing with
Sanford Hinderlie, Professor of Music.

Tom van der Geld is legendary for his solo work and
group recordings for the German label ECM/JAPO.

Sanford Hinderlie has performed throughout the world,
including concerts in the Far East, Russia, the Republic
of Georgia and Armonia, the Middle East, Europe and
the United States.

—————————————————

3/12/16

MUSIC AT WESTWOOD – A LOS ANGELES TRADITION

 MARIA NEWMAN CONDUCTS a SPECIAL EVENT PERFORMANCE
George Frideric Handel’s “MESSIAH – PART II”

WESTWOOD MASTER CHOIR, SOLOISTS & CHAMBER ORCHESTRA

Sunday Late Afternoon
March 13, 2016 – 5:00 pm 
Westwood Presbyterian Church

Is the “Hallelujah Chorus” really the end of Handel’s “Messiah?”
Experience the Westwood Master Choir and Chamber Orchestra
in the breathtaking continuation of the story begun in a legendary birth.

“Messiah – Part II” is the next chapter in a masterful oratorio setting
depicting impending persecution and astonishing resurrection.

Be inspired. – Be uplifted. – Join us.  
  
Wine and Cheese Reception to Follow  

Westwood Presbyterian Church 
10822 Wilshire Boulevard
Los Angeles, CA 90024
(310) 474-4535

$20.00 General Admission
$10.00 Student with ID
Parking is Free
Tickets available at
Eventbrite
and at the door

Contact: [email protected]
(310) 474-4535 

FEATURING 
The Westwood Master Choir,
Westwood Chamber Orchestra  
Maria Newman, Conductor
 
Esteemed Vocal Soloists
Christina Borgioli, Soprano Soloist
Nandani Maria Sinha, Alto Soloist
Larry Duplechan, Tenor Soloist
Adam von Almen, Tenor Soloist
Paul Cummings, Baritone Soloist
Dimitri Smith, Baritone Soloist 

Reception Following the Concert
  
Concert Venue:
Westwood Presbyterian Church
10822 Wilshire Boulevard  
Los Angeles, California, 90024

This Special Event is Sponsored by
“Music at Westwood” 
Westwood Presbyterian Church
Los Angeles, California 
 
“Music at Westwood” Events are made  
possible by the generosity of your donations.  
 
[email protected]
(3 1 0)  4 7 4 – 4 5 3 5 
A Los Angeles Tradition 
is the City Partner of the
Malibu Friends of Music

Visit the Malibu Friends of Music
Website at 
www.malibufriendsofmusic.org

Or Call the Montgomery Arts House (MAHMA)
(310) 589-0295 

forward this email to friends, family and music lovers
click on “forward email” below

Malibu Friends of Music | 6307 Busch Drive | Malibu | CA | 90265

—————————————————

3/19/16

WOMEN IN MUSIC CONFERENCE

Join us for a free* one-day conference on Women in Music!
Everyone welcome!

Choral Room (Music FA3-162)
Antelope Valley College Music Department
3041 West Avenue K, Lancaster, California 93536.

-9:30 am Registration:
Welcome from Dr. Berkeley Price, Chair, Performing Arts Department.

-10:00 am Dr. Jeannie Gayle Pool: “Babe Egan and Her
Hollywood Redheads: 1920s Vaudeville Jazz Band,”
with images and music.

Jeannie is an author, musicologist, composer, and filmmaker.

She is an officer for the American Society of Music Arrangers
and Composers and Vice President of the National Association
of Composers, U.S.A.

jaygaylemusic.com

-10:30 am Panel on “How to Manage Your Own Music
Publishing Company” with Dr. Deon Nielsen Price and
Adrienne Albert, et al; moderated by Marlene Hajdu.

Good, solid, practical advice about how to make your
music available to a wider audience. Marlene is a
composer and board member of the American Society
of Music Arrangers and Composers.

culvercrestpublications.com; adriennealbert.com

-11:30 am Carol Worthey: “Inspirational Words for
Composers.” Carol is a poet, composer, and painter
interested in the power of the arts in everyday life.

carolworthey.com

-12 noon Lunch: In a local restaurant, to be announced.

-2:00 pm Carolyn Yarnell: Presentation on her Symphony
No. 1. Carolyn is a composer, painter, and photographer
from Huntington Beach, CA.

carolynyarnell.com

-2:30 pm Workshop on Finale Music Notation with Bonnie
Janofsky, who will give us her “10 Favorite Finale Tips.”
Feel free to bring your laptops and your notational problems.
Bonnie is a composer, arranger, orchestrator, jazz drummer,
and Finale guru. A trustee of Local 47 of the Musicians Union,
Bonnie has plenty of good information to share.

-4:00 pm Recital of Music by Deon Nielsen Price,
Carol Worthey, Adrienne Albert, et al., by
saxophonist Chika Inoue and
pianist Mary Au.

Mary is on the faculty of California State University,
Dominguez Hills, and Chika is an upcoming saxophone star.

-5:00 pm Refreshments & Networking

-5:00 pm Symphonic Band Rehearsal

-7:00 pm Concert of Music by Alex Shapiro, Shelly Hanson,
Carolyn Bremer, Julie Giroux, Deon Nielsen Price, and others.

Conducted by Dr. Berkeley Price and Dr. Jermie Arnold,
Associate Director of Bands, California State University,
Long Beach. AVC Performing Arts Theatre.

*The conference is free; however, you are responsible to
pay for your own lunch and for your evening concert
ticket ($10).

Parking at Antelope Valley College for the day is $1.
Exit Avenue K from the 14 Freeway, and head West on
K to the college.

Park behind the Performing Arts Center. This event
is coordinated by Dr. Jeannie Gayle Pool, 818-606-5743,

[email protected].

This conference is presented in cooperation with the
Antelope Valley College Department of Music, the Los
Angeles Chapter of the National Association of
Composers, U.S.A. (NACUSA), and the American
Society of Music Arrangers and Composers (ASMAC).

—————————————————–

3/25/16

SESSIONS AT THE LOFT:
An Evening with Gary Stockdale

Come enjoy a fun night of irreverant, clever, and provocative
songs from the award-winning composer, Gary Stockdale.
**Warning – Some material may not be suitable for children
Friday, March 25, 7 till 9 PM
General Admission $20/ticket – Limited Seating –
Advance Tickets advised:
https://www.eventbrite.com/e/
an-evening-with-gary-stockdale-tickets-21438879265
Appetizers will be provided!
Bring your own beverage – wine is encouraged

—————————————————

5/15/16

LACESMA 75TH ANNIVERSARY DIAMOND JUBILEE GALA

The Los Angeles City Elementary Schools Music Association,
LACESMA, is celebrating its 75th Anniversary of promoting
elementary music education in LAUSD with a Gala Event in
the Grand Ballroom of the Dorothy Chandler Pavilion at
the Los Angeles Music Center on Sunday May 15, 2016.

Banquet tickets are $60.00 each and can be purchased by
going to our website at lacesmamusiced.org or by mailing
a check made out to LACESMA to: LACESMA c/o Jeanne
Mitchell, P.O. Box 361 Topanga, CA 90290.

For questions, please email us at [email protected].
At the celebration there will performances by over 100 singers
of the LACESMA Children’s Honor Chorus, some of the 2016
LACESMA Instrumental Scholarship winners, as well as a p
erformance by a celebrity TBA.

We are proud to have Gail Eichenthal, Executive Producer of
KUSC, as the emcee of the Banquet. Please help support
elementary music education in LAUSD by attending this
Gala Celebration! Click here to see the first Promotional
Video Clip of the Gala.

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

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

 

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

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

UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

I. ELECTION BOARD NEWS
II. COMMENTARY FROM ANOTHER LOCAL
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. ELECTION BOARD NEWS – MEMBER SUBMISSION

Dear Editor, 

At last Tuesday’s Local 47’s Executive Board meeting,
President Acosta introduced a member of the Election
Board present to give his election report. Apparently,
to everyone’s surprise the member informed the Executive
Board that he was there to resign from the Election Board
and any comments he made were strictly speaking for himself.

Subsequently, he read his resignation letter citing several
problems not disclosed to the membership that could have
jeopardized the referendum if the numbers had been close.

The letter should be included in the minutes of the meeting.

Since there is nothing more for the current Election Board
to do and the next Election Board election is in April…
the member simply did not have to run again.

Why resign now?

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

II. COMMENTARY FROM ANOTHER LOCAL

This was written by the president of another Local.

While this is from December 2014, it is still valid today and
shows the damage the RMA’s policies have done Federation wide.

THE WAY FORWARD WITH NATIONAL MEDIA POLICY

The Colorado Symphony Orchestra is at odds with our national
union (AFM) over differences with electronic media policy. In
recent years the CSO [along with 70 other orchestras] was signed
to the AFM’s Integrated Media Agreement (IMA) which expired
in the Fall of 2013. The IMA is a national agreement that covers
electronic media work common to symphony orchestras such
as CDs, public radio and television, but doesn’t cover commercial
work such as commercial announcements, film, videogames, etc.
Over the past year the CSO offered to bargain a new agreement
with the AFM, but that effort seems to have failed. On broader
fronts a multi-employer bargaining group was formed to
represent the management side for a new national contract, but
one year later a new agreement remains in the offing.

Before proceeding I should point out that the DMA (Local 20-623,
AFM) is the bargaining representative for CSO musicians with respect
to most matters in their collective bargaining agreement, including
local media. However, the AFM is the recognized bargaining agent
for the Integrated Media Agreement and all national media work.
Certainly the DMA has a vested interest in seeing a satisfactory
resolution to any internal union conflict, but therein lies the question.

Our local membership first learned of this conflict at our March 31,
2014 General Membership Meeting when members of the CSO shared
concerns about the AFM’s intransigence over a marketing collaboration
between the CSO and the Colorado Rockies. This was a local collaboration
that had broad support of the musicians and a perfect example of creative
marketing that orchestras across the country should capitalize on.
Nonetheless, the AFM only fought management on this matter. They even
fought the musicians against their will, all the while claiming to represent
them.

Ultimately a resolution was passed at our membership meeting, expressing
unanimous support for the CSO on three points: 1) AFM’s unreasonable
delay in bargaining, 2) failure to consult the Orchestra Committee before
initiating grievances against the orchestra, and 3) CSO musicians’ exclusion
from contract and policy-making decisions that affect them.

These are conventional expectations for any democratic organization, but not
in the AFM. One reason is the AFM has grown accustomed to setting uniform
rates for 70 years. Surely the prospect of achieving genuine support for
uniform recording rates across North America would be preferable, but
establishing and enforcing such policy requires broad and inclusive
representation that frankly does not exist in our union. Yes, the
AFM is obligated to represent the interests of those who do the work,
but it’s equally important to represent the interests of those who
must otherwise turn the work down. That democratic model is a world
apart from where we are now and would be expected if the AFM is
to serve the needs of “the many.”

This is a key point of contention for the CSO because the Integrated
Media Agreement only covers “symphonic” work and does not cover
commercial work. Moreover, I see no visible trace of representation
between CSO musicians and those who presently establish terms and
conditions for work under these commercial agreements. That remains
the closely-guarded and protected turf of the Recording Musicians
Association (RMA) which is an AFM “Player Conference” that aggressively
represents a small fraction of the AFM membership who greatly influence
AFM recording policy. Despite their relatively small numbers, RMA has
long demonstrated its ability to elect or unseat AFM officers who fail to
follow their lead. That political will enables RMA to impose their agenda
on AFM members who don’t even know RMA exists, let alone what it
stands for. Consequently, RMA’s unchecked power comes at the
expense of “the many” and only serves the needs of “the few.”

On the one hand I can’t blame RMA for taking all they can from
a union that wrongly and feebly ceded so much power to them,
but I do blame other AFM player conferences (ICSOM and ROPA,
specifically) for failing to see what’s really going on here. These
representational failures have taken a heavy toll on our union, so
I applaud the CSO and AFM members across North America for
standing up to force necessary change. Fortunately their demands
for change are also being heard. In his column in the November,
2014 International Musician, AFM President Ray Hair points to “brush
fires in Montreal, Vancouver, Denver, Los Angeles, and Minneapolis-
St. Paul.” Fair representation, especially with respect to electronic
media, appears to be a common demand.

The only way to move beyond this old and deep-rooted conflict is
if our union commits to serve the ‘greater good’ and it appears
that President Hair draws this very conclusion in his November
column when he writes: “All previous AFM administrations faced
the same institutional pressures as we do to this day – the internal
struggle to balance the needs of the many, versus the needs of the
few, or the one. The rise of business unionism over the past 60
years, with its culture of divisiveness and hierarchical bargaining has
spawned a host of haves and have-nots in the workplace that serve
the interests of the employers. This has come with a terrible cost.”

President Hair’s hope to serve the greater good is a step in the right
direction, but actions speak louder than words. Whether or not the
AFM then commits to doing so will be determined by the success
or failure of organized protests and demands for change that are
taking place in Colorado and across the AFM.

The AFM’s willingness to go to the next step by confronting “business
unionism”, if true, is a very long time coming because AFM media policies
have been the standard-bearer of business unionism for 70 years.
Dictionary.com defines business unionism as “the trade-union philosophy
and activity that concentrates on the improvement of wages, hours, working
conditions, etc., rather than on the general reform of the capitalistic system”.
Sadly, that is an exacting description of the AFM’s flagship “Sound Recording
Labor Agreement (SRLA)” which defines AFM media policy. The predecessor
to the SRLA – the Phonograph Record Labor Agreement – was established
in 1944 with Decca, Capitol, RCA and Columbia. Those four producers were
arguably the only true players in the industry then, but today there are
thousands of legitimate record labels and independent producers while
only seven producers are actually signed to the SRLA document today.
Others may come and go, and typically sign for single projects when
they do.

Nonetheless, AFM members are led to believe that the 100-page SRLA
is an agreement with “the industry” which therefore applies to any and
all competing companies from coast to coast, no matter how small.
A “Favored Nations” clause exists to this day in the SRLA that obligates
the Federation to notify their signatory business partners if a more
favorable deal is cut to anyone else. That little clause is an extraordinary
deal for our capitalist business partners like Sony ($3 billion annual sales)
and Warner Brothers ($5 billion annual sales) and is quite possibly their
primary motivation to keep these “agreements” in place. When President
Hair publicly assails Lionsgate ($2.3 billion annual sales) for disregarding
AFM agreements, few are cheering him on more than the CEO’s of Sony
and Warner Brothers. Observe the Clash of the Titans – “the few” – who
already command the upper percentile and remain determined to rule
the world of media.

How does this affect the great majority of AFM members who work in
an economy where the great majority of employer/producers, i.e., “the
industry” may only be one-thousandth the size of Warner or Sony? Does
“the industry” benefit when the titans establish and set terms for small
independents?

Only time will tell if our elected AFM leadership will stand up to these
mega-corporations and reject old business union habits so our union
can truly serve the greater good. Early indications of change for the
better [or worse] will surely be found in President Hair’s reference
to “brush fires.” Will these members be welcomed and encouraged
for the healthy debate and necessary change they bring, or not?

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

III. EVENTS

DEAN AND RICHARD

DEAN AND RICHARD are now playing every third Friday
at Culver City Elks 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.

—————————————–

2/19,20,21/16

The EUROPEAN CONCERT TRIO
will present the premiere of Paul GIbson’s
“The Shepherd’s Lot”
in three February concerts.

Harriet Fraser (soprano),
Amanda Walker (clarinet)
Irina Bazik (piano)

Winners of the 2015 Beverly Hills National Auditions

The European Concert Trio was formed in 2015 by
three European-born, Los Angeles-based professional
artists, each having already established successful solo
careers, to fulfill their passion for chamber music and
share it with Southern California audiences.

 

Fri, FEB 19 – Encinitas – 7:30pm
The City of Encinitas presents
Music by the Sea concert series
Encinitas Library
540 Cornish Drive
Tickets: $13, plus fee. Purchase tickets in advance here.
 

Sat, FEB 20 – Torrance – 3pm
Classical Crossroads &
FirstServe Community Services present
The Interludes concert series
First Lutheran Church & School
2900 W. Carson Street
Tickets: FREE, donations appreciated. Information here.
 

Sun, FEB 21 – Beverly Hills – 2pm
Music in the Mansion concert series
Greystone Mansion
905 Loma Vista Dr.
Tickets: $20. Information here.

————————-

3/20/16

PETER ERSKINE

Legendary drummer Peter Erskine, reaching back
to his fusion and R&B playing with Weather Report,
unpacks a lost page of a song by Joe Zawinul, and
releases a 21st century nod to Weather Report.

Record Release Concert will be held Sunday,
March 20th, 2016 at the Moss Theatre,
Santa Monica, California.
 
“This is the album Weather Report might have
made were the band members all still on this
earth now,” says Erskine.  

Sunday March 20, 2016
 
3:00 pm
Conversations with the Artists on-stage interviews

4:00 pm Concert
 
Peter Erskine – drums
John Beasley – piano and keyboards
Zanek Gwizdala – bass
Bob Sheppard – sax
 
VENUE: MOSS Theatre: free parking, wheelchair accessible, all ages
3131 Olympic Blvd, Santa Monica, CA 90404
 
TICKETS: http://www.brownpapertickets.com/event/2489104

INFO: [email protected] – 818-632-4868

——————————————-

3/20/16
LISA HALEY AND THE ZYDECATS

SUNDAY 3.20.16 HOLLYWOOD, CALIFORNIA – 4PM
ASHGROVE AT THE IMPROV!
8162 Melrose Ave, Los Angeles, CA 90048
Please join us for this special evening with the “New Ashgrove Players” 
Continuing the legacy of the “Historical Ashgrove Theatre!”
“If” we do well this first time here, they will continue to have Cajun & Zydeco!!
Come on out Y’all!!!!
Tickets: http://hollywood.improv.com/event.cfm?id=435277 
or (323) 651-2583
—————————————–
2/21/16
SONGWRITERS WORKSHOP

Come join three fantastic songwriters (and one mediocre host) at the upcoming Songwriter’s Square – a music and storytelling show!

Sunday Night, February 21st 
Doors open at 7:30PM, Show starts at 8:00PM. 
At the Lyric/Hyperion Theater & Cafe. 

This month we feature:
GREGG SUTTON
Songwriter (Joe Cocker, Percy Sledge, Maria McKee and more), music director for Andy Kaufman! Bassist for Bob Dylan! We will hear some incredible stories along with his great songs.

JAMES LEE STANLEY
The legendary folk singer returns to Songwriter’s Square. “One of the few all time greats and undisputed geniuses among singer-songwriters.”  FI Magazine. Great storyteller!

PATRICIA BAHIA
Fantastic feel good songs from the award winning writer! Patricia was nominated for two 2016 LA Music Critics Awards: Best CD Female; and Best Pop/Rock Female Artist for her “Save Your Heart” CD.

Sunday Night, February 21st 
Doors open at 7:30PM, Show starts at 8:00PM. 
At the Lyric/Hyperion Theater & Cafe. 
2106 Hyperion Avenue, Los Angeles, CA 90027
$15 or $12 with discount code ‘bill’ CLICK HERE

Come enjoy an intimate evening with some of the best songwriters in Los Angeles! The monthly showcase is hosted by BILL BERRY and features songwriters from country to cabaret, rock to folk and everything in between. Enjoy a glass of wine and dinner with your show. Free parking.
More information at billberrymusic.com or at www.lyrichyperion.com.

Thank you,
-Bill Berry

—————————————–

2/21/16

LA WINDS IN CONCERT! 1pm and 4pm

Sunday February 21, 2015 
1:00 and 4:00 P.M.
 
Los Angeles Pierce College Performing Arts Building
Subscription Concert — “Stars of the Pierce College Symphonic Band”
Our program will include the dazzling virtuosity of the Pierce Symphonic Band and some of it’s members.
Music from Robin Hood – Erich Korngold,
arranged by Member Robert Joles

Vivaldi’s Piccolo Concerto in C with soloists – members Leslie Kearney and Juan Rivera

I Have Found My Peace (Mov. II) by member Andrea Vancura

Call to Arms by the SFVS’s own James Domine

The 1st movement of Shostakovich’s Symphony #9.
Transcribed by member Charles Fernandez

Windsor Processional by member Charles Fernandez

On a Hymnsong of Philip Bliss by David R. Holsinger

Washington Post March by NON-MEMBER John Philip Sousa

—————————————–

2/24/16

Corbin Bowl and the San Fernando Valley Symphony Orchestra
Present Concerts at the “Bowl” in the “Corbin Lounge”
Wednesday Evenings at 7:30 pm

February 24                  
The SymphoBlondiax
Perform music from baroque to contemporary  by Bach,  Domine, Vivaldi, 
Telemann, and others, featuring James Domine, guitar; Ruth Bruegger, 
Ruth Siegal, Carolyn Osborn, and Florence Titmus, violin; Glenn Grab,
‘cello and Larry Muradian, bass

“Lounge” at the Corbin Bowl 
19616 Ventura Boulevard, Tarzana

Free Admission/ONE Drink Minimum
Persons under 21 years of age not admitted

“CONCERTS” ARE SUBJECT TO CHANGE WITHOUT NOTICE

For photos of the performers and the latest schedule updates, go to: 
http://www.sfvsymphony.com/concerts_at_the_bowl/

—————————————–

 

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

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

 

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

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

UNTIL NEXT TIME,
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

I. AFTER ALL…
II. SALE COMMENT
III. EVENTS

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

Name Withheld

*** NEXT MEMBERSHIP MEETING IS TOMORROW, JANUARY 25TH ***
A resolution requiring a balanced budget will be voted on. Please be
there to make the local be more “RESPONSIBLE”.

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

I. AFTER ALL…

After all the questionable tactics and conduct of the local in this
referendum, the Acosta Administration got the votes they wanted,
which will result in the sale of our only tangible asset, the Local 47
building.

So be it,… BUT THERE’S another shock ahead.

Now that the building will be sold, they need to form a financial
committee to decide what to do with the money.

Luckily, since the money will be in the millions they will be required
to hire qualified money managers, but who has John Acosta nominated
to be on the three person committee charged with making
recommendations to the board on how to use the money?

People from the very group that has done so much to destroy our industry:
1) Dennis Dreith
2) Phil Yao
3) Neil Stubenhaus

All three are current or former leaders of the RMA, and John Acosta
is going to let them make suggestions?

If the Local members allow that to happen and that money is lost
through incompetence (or the filing of endless lawsuits at the behest
of the RMA), know that the membership will be to blame for looking
the other way and not stopping it.

The very idea of giving former leadership of the RMA undue influence
over the use of the money,.. OUR MONEY, considering what they’ve
done to this Local and the Federation is beyond comprehension. 

—————–

II. SALE COMMENT

 
Here are two comments sent to me:
 
 
The org. spent 50K to promote the sale of the building.
(probably more)
They printed the ballots.
They sent the ballots.
They collected back the ballots, and offered new ballots
to anyone who might have “lost” their ballots- from
\their extra ballot stash – 1 to 2 thousand- they can’t
remember which.
They held onto the ballots ” in house”.
They did an “in house” counting by an Election Board
who had no control over the process other than to
count the ballots they received.
Low, and behold- they won!
There should have been a third party producing,
processing and counting the ballots.

Read the rest of this entry »

I. THREE STALWARTS LOST
II. ELECTION OBSERVATION REPORT
III. ELECTION COMMENT
IV. EVENTS

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

Name Withheld

*** NEXT MEMBERSHIP MEETING IS TOMORROW, JANUARY 25TH ***
A resolution requiring a balanced budget will be voted on. Please be
there to make the local be more “RESPONSIBLE”.

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

I. – THREE CONSUMMATE PROFESSIONALS OF OUR INDUSTRY PASS
JACK FEIERMAN, JIMMIE HASKELL and RAY COLCORD

In the last few weeks we’ve lost Jack Feierman,
Jimmie Haskell and most recently Ray Colcord.

They were all consummate professionals, great talents
and wonderful people as well.

RAY COLCORD

Ray Colcord, a former president of the Society of Composers & Lyricists
and prolific television composer behind the scores for such shows as 227,
The Facts Of Life, and more died February 5 following a battle with
pancreatic cancer. He was 66

Born in New York City in 1949, Colcord attended Rice University and
got his start in music as a touring musician in Texas. He also worked
as an A&R executive for Columbia Records, and was responsible for
getting the rock band Aerosmith signed to the lable. He would later
serve as a producer on their second album. He became music
director for The Groundlings in 1976, composed all of the comedy
troupe’s music during his tenure, and won a Drama-Logue Award
in 1985. That same year he began scoring for broadcast network
television shows, though his first foray into TV was in 1982,
for A&E’s An Evening at the Improv.

Among the other television series he worked on were Family Affair,
Big Brother, Dinosaurs, and episode of The Simpsons, My Two Dads,
and Silver Spoons.

He also wrote music for several films, including “I Like ‘Em
Big And Stupid” for the Earth Girls Are Easy soundtrack
and “Bouzouki Trella” for Lara Croft Tomb Raider:
The Cradle of Life, as well as several tv movies and specials.

FROM DINOSAURS

AS A PLAYER
https://www.youtube.com/watch?v=h4mTzdrT2yI

—————————————

JACK FEIERMAN (1924-2015) was a premier conductor, composer,
arranger and trumpeter.
A member of the Steve Spiegl Big Band since the early
70’s, Jack Feierman was one of the premier conductors
in the country, having been Musical Conductor for
Johnny Mathis, Sergio Mendez, Jose Feliciano, The
Osmonds, The Lennon Sisters, Frank Sinatra,
Natalie Cole, and for 22 years, he was Musical
Director for Steve Lawrence and Eydie Gorme.

He has also played trumpet for numerous TV shows,
recordings and movies, besides playing with such
name bands as Stan Kenton, Woody Herman, Count Basie,
Billy May, and more.

In later years he became famous for his teaching
as a conductor.

AS A TEACHER

AS A PLAYER
https://www.youtube.com/watch?v=_5-GUi1l0Hk

——————–

JIMMY HASKELL (1936- 2015)
was a multi grammy winner, composer,
arranger, conductor and music producer.
He was the composer of 31 feature films, 32
TV movies, 445 TV episodes
Jimmy’s music was also a featured segment of these
theatrical feature films:
the Matrix; Three Kings; Grace of My Heart; Pulp Fiction, Big,
Mr. Holland’s Opus; Hotshots; Married To The Mob; When Harry
Met Sally; Almost Famous; The Color Purple; Fools Rush In;
Mulholland Falls; Love Potion #9; Ferris Bueller’s Day Off;
Ode To Billy Joe and Weapons of Mass Distraction (T.V. Cable)

He also worked with Barbra Streisand; Steely Dan; The Bee Gees;
Sheryl Crow; KD Lang “Drag”; Puff Daddy’s Bad Boy Records;
Celine Dion among countless others, and works for the Boston Pops
and the Tonight Show band.

You can check out more credits at jimmiehaskell.com

JIMMIE HASKELL (born Sheridan Pearlman, 1936, Brooklyn, New
York, United States, died February 4, 2016, Laguna Niguel,
California, United States)was a prolific American composer
and arranger for a variety of popular singers and motion pictures.

Haskell entered the musical business through being hired to do
arrangements with Imperial Records. He became the arranger
of choice for Ricky Nelson and arranged such hits as
“There’s Nothing I Can Say” (1964). In the late 1960s and early
1970s Haskell was the arranger of choice for The Grass Roots.[2]
He also provided horn and string arrangements for Blondie’s
1980 album Autoamerican.

He entered the motion picture soundtrack industry in 1960
as an uncredited orchestrator for Dimitri Tiomkin’s The Alamo
and composed his first score the following year Love in a Goldfish Bowl.
His composition The Silly Song became the theme song of American
television’s The Hollywood Squares.

In addition to composing and arranging, Haskell would often act as
conductor and selected the musicians used.

BOOM – Record

OUTRAGE – from the film OUTRAGE
https://www.youtube.com/watch?v=A5JNtoOEvso

ALL WILL BE GREATLY MISSED

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

II. ELECTION OBSERVATION REPORT

Next Morning Notes:

Did not think to ask where are all the unused extra ballots?
These were not accounted for or boxed with the rest of the
vote materials.

At the Monday 1/25/16 meeting we were told that the
union had ordered “around 1000” extra ballots.
(So said Gary Lasley-not the EB Chair) If the counted ballot
numbers go over 8000, then it appears they actually
ordered almost 2000 extra ballots.

How many were left over?

Fact: Return to Sender Ballots 168
Fact: Duplicates discarded 19
Fact: Bad Ballots 10

Questions…… How many Total ballots were printed?
Are they all accounted for? We need an accounting
for those ballots over the amount of the initial mailing
(approx. 6050).

They should have some amount left over…!

The Election Board was not responsible for sending persons
a replacement ballot if they needed one. All requests for
replacements went through the Sec.Treas/Eric.

The Election Board did not at any time have custody of
the additional ballots. The Election Board did not send
replacement ballots…who has that list?

From what I understand…they needed to have at the
minimum 3057 ballots returned in order to make the
referendum and of that they needed 1529 to say yes.
 
From what was counted….they had 3260 ballots returned
requiring a minimum of 1632 to say yes.
 
The actual count….2581 Yes  and   669 No.
 

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

III. UNUSED BALLOTS – FROM A MEMBER

YOU NOTICE THERE IS NOTHING ABOUT UNUSED EXTRA BALLOTS
IN MZ’s REPORT?

This is a BIG problem for the Election Board …taking all their cues
from LL and somehow this was “overlooked”?

While it might look like a harmless error given the ballot count
Y v. N.  The real gorilla in the room is that the count could not
have taken place but for 240 ballots over the minimum to let
them count.

Further, it is understandable that the vote should be lopsided…
duh…the membership at large did not hear anything except
what the union wanted them to hear.  Rah, Rah, Rah..sell, sell, sell.

LL saying the opposition could have taken out an ad in the
Overture as some kind of equal access argument is false.
The administration sent out at least 5 special postal mailings…
They know now that the Overture is on line even less people
take the time to navigate the website for it. 

I was disgusted that the day the ballots were counted the
Executive Board was meeting with the realtors and LL in
“executive session”.

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