NEA / BILL GREEN BRUNCH / ASMAC EVENTS / EVENTS

March 19th, 2017

3/18/17
I. HELP THE NEA
II. BILL GREEN BRUNCH
III. ASMAC EVENTS
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

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I. HELP THE NEA

Dear Colleagues,
The Trump administration’s
Federal budget proposal was released on March 16, 2017
cutting the National Endowment for the Arts
as well as many valued social services.
What can we do now?

1) First of all, the League of American Orchestras

has created a guide to what actions to take to speak up

and defend the NEA:

https://www.votervoice.net/LAO/newsletters/25214

 

2) Here is a link for contacting members of Congress,

that you may forward to others, of language drafted

by the American Federation of Musicians, to reiterate

your support of the NEA.

(AS SOON AS POSSIBLE) http://www.afm.org/2017/02/nea/#.WMqiXPxWhOE.facebook

 

3) If you would like to get involved further to

support the NEA in conjunction with other

musicians and artists, contact

jefferson.kemper@promusic47.org

4) https://actionnetwork.org
This  site provides free online organizing tools
to help get the word out effectively.

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II. Los Angeles Jazz Society’s  – BILL GREEN MEMBERSHIP BRUNCH
Sunday, March 19th – STARTS AT NOON

If you are planning to attend the
Los Angeles Jazz Society’s
Bill Green Mentorship Concert/Brunch

It will now start check-in and lunch at 12noon,
NOT 11am as previously noted
— and we have TRAFFIC issues
due to the LA Marathon.

Music will start at 1pm with two sets of VERY talented
young musicians plus a set with our amazing Mentor
Band.  If you haven’t already, please call CATALINA’s
at 323-466-2210 to reserve your seats… enjoy a
great lunch and some Sunday Jazz at Catalina’s!

PLEASE NOTE:  The LA Marathon takes place this
Sunday and goes through Hollywood on HOLLYWOOD
BLVD. PAST HIGHLAND until it reaches Orange…
then it goes South to Sunset and travels west.
Most of the participants will be through Hollywood
by noon and some streets will start opening up,
but access routes will be limited… coming from
the North (no access from Highland, Vine or
Gower until after 12noon)

This Sunday, March 19th
12noon Check-in and Music starts at 1pm
Three Sets (two student bands and The Mentor Band)

Catalina Bar and Grill
6725 Sunset Blvd., Hollywood
For Reservations, call 323-466-2210
Parking off McCadden (corner of Sunset –
1 block east of Highland)

$15 admission Charge – plus Food

We have an amazing concert waiting for you –
please plan to give yourself enough time…leave early
and check traffic.

www.lajazz.org
Proceeds benefit the David L. Abell Jazz Education Fund

Los Angeles Jazz Society, All rights reserved.
You’re receiving this email because you joined our list
when you became a member of the ASMAC or participated
in one of our events.

Our mailing address is:
Los Angeles Jazz Society
5903 Noble Ave.
Van Nuys, CA 91411

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III. UPCOMING ASMAC EVENTS

Special ASMAC ‘First WEDNESDAYS’ presentation
———-
(Due to a scheduling conflict, there will not be an event
at Local 47)

“Live at M.B.’s Studio”

Studio virtuoso percussionist – drummer M.B. Gordy,
will present an intimate show and tell demonstration
of his large ethnic and rare percussion instrument
arsenal that has been featured in countless motion
pictures, television shows and recordings.

This interactive evening taking place at MB’s state
of the art percussion studio in Tarzana and will
also include discussion of the instrument usage
possibilities, various sounds, notation and much
more. (Event will run approx 2 hours)

Bring all your percussion questions !
Limited audience capacity,
multiple dates to accommodate all reservations,

others may be added.

1st session..Wed. April 5 – 7:30 PM
2nd session..Tues.April 11 – 7:30 PM

FIRM Reservations required
– limited availability each date.

Free for ASMAC members

Additional sessions will be set to accommodate overflow reservations.

Drums And Percussion
M.B. received his Bachelor’s Degree from Glassboro State College and his Master’s Degree from California Institute of the Arts with extensive study of ethnic percussion. He has been working as a freelance musician and producer in the L.A. area for many years. His film credits include: The Crow, Stigmata, The Siege, Negotiator, Titan AE, Happy Texas, Heartbreakers, Scream 2 & 3, Shipping News, Collateral Damage,Scary Movie, Eight Legged Freaks, Not Another Teen Movie, Wonder Boys, Country Bears, Scorpion King, Men in Black II, High Crimes, Red Dragon,Terminator 3, X-Men II, and Blade II, Transformers I and II, Alvin and the Chipmunks, 3:10 to Yuma, Die Hard 4, the King of California, Cats and Dogs 2, Marmaduke, Spiderman 1, 2 and 3, Transformers, Alvin and the Chipmunks, Get Him to the Greek, 40 year old Virgin, American Reunion, Diary of a Wimpy Kid 2 and 3, Secretariat, Too Big to Fail, White Out, The Lions, We are Marshall, Cowboys and Aliens, Loony Tunes and many more.

Television credits include: King of the Hill, Angel,King of Queens, Any DayNow, The Tonight Show, Good Morning America, American Dreams, Battlestar Galactica, Eureka, Sarah Connor Chronicles, The Mentalist, The Tudors, Caprica,Human Target, Trauma, The Unit, Buffy The Vampire Slayer, Eureka, Mad Men, Black Sails, Da vinci’s Demons, Defiance, Reign, Castle and many more.

M.B.’s recording credits include: Bill Withers, Green Day, Anna Visi, REO Speedwagon, Phillip Keveren, Jaguares, My Chemical Romance, the Doobie Brothers, John Tesh, Neil Diamond, Juan Gabriel, Kenny Lattimore, George Kahn, Brandi, and Guns and Roses,Teddy Pendergrass, Barry Manilow, Green Day, Eva Avila, David Boswell, Jada Pinkett, and Josh Groban to name a few. He has had the fortune of working with noted producers including Peter Asher, Don Was, Mat Wallace ,Rob Cavallo and Scotty Morris, among others.   From 2001 until April of 2005, M.B. was the percussionist/drummer for the Doobie Brothers and from 2005 to 2011 played with Rita Coolidge as well as freelancing in Los Angeles.

M.B. is currently endorsed by Yamaha, Remo, Pork Pie, Vic Firth, Toca, Vaughncraft, Rhythmtech and Paiste. For the past 25 years he has also been involved with the Yamaha Education Division as a clinician and education consultant.

For more information on ASMAC and upcoming events:
(818) 994-4661 www.asmac.org

CLICK HERE TO RESERVE NOW

•   SAVE THE DATE   •

ASMAC LUNCHEON!

Wednesday, April 19 – 11:30am
ASMAC Luncheon – with Special Guests

Monica Mancini & Gregg Field
@ Catalina’s in Hollywood

____________________________

STUDENTS:

For information on applying for ASMAC’s
Bill Conti Big Band Composing & Arranging Competition,
please visit www.asmac.org
___________________________________________________________

Also, while on our website, check out the ASMAC store,
our blog, and upcoming events.

VOLUNTEERS NEEDED FOR ALL COMMITTEES
PLEASE CALL 818-994-4661 FOR MORE INFORMATION

STUDENTS/MEMBERS
HELP OUT AT AN EVENT — AND GAIN FREE ADMISSION!
EMAIL:  info@asmac.org   (Subject – Volunteering)

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

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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.

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—————————
3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

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

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3/19/17

The Adam Cohen Band at TRIP Santa Monica

MARK HOLLINGSWORTH – SAX
BILL FULTON – KEYS
ADAM COHEN – BASS
DAVE ANDERSON – DRUMS
Featuring music original music from Adam’s acclaimed
solo CD Ritual
Adam Cohen is a California based solo artist and session
bassist and composer who has worked with such artists
as Ray Charles, Taylor Dayne, The New York Voices,
Engelbert Humperdinck, David Benoit, Ernie Watts,
Maxine Nightingale, Phil Upchurch, Eric Benet, and
Mark Isham.

ADAMCOHENMUSIC.NET
MARCH 19TH 8PM
2101 Lincoln Blvd
Santa Monica, CA 90405
TRIPSANTAMONICA.COM

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3/19/17

LILI MARLENE,
the new Musical by Michael Antin
will open on March 19 at
5 pm at
the Brickhouse theatre,
10950 Peach Grove, North Hollywood

and will run through April 16 (Fri and Sat
eves at 8pm; Sunday matinee at 2pm).

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3/22/17

THE PHIL NORMAN TENTET

Herb Alpert’s Vibrato Grill Jazz
2930 Beverly Glen Circle
Los Angeles, CA.90077
Resevations call 310-474-9400

MARCH 22nd @ 8:00pm

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF JAZZ GREATS

Stan Kenton, George Shearing, Quincy Jones
Gerry Mulligan, Dave Brubeck,
Horace Silver, Dizzy
and other jazz giants

Performed by some of Los Angeles
finest musicians

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3/23/17

The BBB featuring Bernie Dresel

THIS THURSDAY March 23 from
8:30pm-11:23pm (20:30-23:23)

at Joe’s Great American Bar & Grill
Continues our celebration of the 23 enigma!
No cover charge at Joe’s!  No reservations necessary!!
21 and older (in fact let’s make it  23 and older)
4311 W. Magnolia Blvd.  Burbank, CA 91505

This is the 2nd of 3 shows on the 23rd of the month:
February 23 – Thursday
Joe’s Great American Bar & Grill in Burbank, CA 8:30-11:23pm
March 23  – Thursday
Joe’s Great American Bar & Grill in Burbank, CA     8:30-11:23pm
April 23 –  Sunday
Bogies in Westlake Village, CA    7:00-8:23pm

Come join The BBB featuring Bernie Dresel, 23 horns
(ok…13), slap bass, guitar, and plenty of drums
swingin’ & rockin’ selections from our brand new
album, Live n’ Bernin’.

CD and downloads are available at CDBaby, Amazon,
and iTunes.
There will be 23 CDs and 23 Blu-ray Audio available for
sale at the show.
Added treat:  The hilarious comedy of Steve Mittleman
and Howard Berger will open before our 1st set for 23 minutes!

So…….23 skidoo out of the house, try and bring 2or3 people,
and come hang THIS THURSDAY!

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3/25/17

The Musicians at Play presents
Patrick Williams Big Band Live at the Moss
with special guests Arturo Sandoval and Peter Erskine
Saturday- March 25th, 2017 8:00PM


Click “Buy Tickets” to reserve your tickets up to 12:00 p.m. on the
day of the show (Remaining tickets will be available at door at show time.)

Award-winning composer Patrick Williams presents The Big Band Live!
featuring special guests Arturo Sandoval and Peter Erskine.

VIP – Doors 7:00 p.m. early entry – refreshments

General & Premium – Doors open 7:30 p.m.

Concert starts: 8:00 p.m. (there will be a brief intermission)*

www.musiciansatplay.org

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3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Agoura Performing Arts Education Center
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces.
-Oboist Jessica Wilkins will be featured on Rimsky-Korsakov’s
Variations for Oboe and And Orchestra
– The World Premiere of  Charles Fernandez’
Frolic for Tuba and Concert Band featuring Tubist
Michael Hart.
• Sunday March 26, 2017
• 2:30 p.m.  Agoura Performing Arts Education Center

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

PENSION? WHAT PENSION? / REPORTS / COMMENTS / EVENTS

March 9th, 2017

3/10/17
PENSION? WHAT PENSION?….
Reports from New York and Los Angeles

I. PENSION MEETING REPORT – NEW YORK
II. PENSION MEETING REPORT – LOS ANGELES
III. Member Comments and Commentary

…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. PENSION MEETING REPORT – NEW YORK

My experience of the local 802 meeting instigated by the Broadway
musicians was as follows: The club room of local 802 was packed
with people standing in the halls trying to get in. Union cards were
checked at the door to make sure that only musicians attended.
Never the less, I saw two AFM staff members at the meeting,
because they had union cards.

Ray Hair, local 802 president and IEB member Tino Gagliardi
were present as were various pension fund trustees. Their
presentation lasted over an hour and had many charts
and graphs. The upshot of their presentation was that the
two economic downturns and the increasing longevity of
the members has put the pension fund in it’s present condition.
Part of their presentation was as justification of the funds
paid to staff and consultants, showing that it was in the main
stream of the investment industry standards.

When musicians finally got to ask questions, the answers
were often less than satisfactory and the crowd sometimes
yelled out, “Answer the Question”.  One of the best questions
asked was, “Why did the pension fund say in 2015 that the
fund was solvent until 2040 and then say in 2016 that the
fund was critical”?  There never seemed to be an adequate
answer to this question.

That’s about it.  Below is an email from a local cellist Scott
Ballantyne. He’s been analyzing the pension fund performance.
I’ll send you some of his other emails.  He says it’s alright to
quote him.

+++++++++

Dear Friends,

A brief note on two topics from yesterdays meeting. Note that
I  haven’t seen the video yet, but have had many reports on
what transpired. It sounds like the members represented
themselves very well.

Topic One: Pension Fund Comparisons.

It is absurd for our fund managers to use other pension fund’s
lack of performance to justify their own. Your descriptions of
this reminded me very much of the auto industry in 2008.
Our managers sound a lot like the ones from Detroit who
spent years justifying their terrible performance by comparing
themselves to the terrible performance of other U.S. car makers.
But these comparisons weren’t realistic, and as we all know,
the auto industry ended up begging for government intervention,
just as our pension fund has indicated they might do.

The only standard that makes any sense is to pick some kind
of stock index, and see how you do next to that. Much better
investors than our managers do this as a matter of course.

Topic Two: Index Fund Strategies

A quick word on exactly what an index strategy is. An index
is a list of stocks, like the index to a book. Index funds just
invest mechanically in every stock on the list. The larger the
company, the more shares are purchased. They purchase
smaller mounts of smaller companies. This requires no
expertise. It doesn’t require the highly educated and
expensive geniuses at The Fund. All you really need is a
highly trained chimpanzee with a computer. Seriously.
I truly think you could teach a Chimp to do this.

At the meeting, I am told that the Plan’s managers had
the following objections to index fund comparisions and/or use:

1) Index funds have a different fiscal year than the fund,
so comparisons are not fair.
2) They don’t allow the kind of diversity that the fund seeks,
so the fund would be more risky.

Objection one is easy to fix, and objection two is simply
not true. I will agree that the previous chart I sent out
was quick and dirty, and did not fully show the advantages
to our fund of using indexing. I’ll fix all this here.

To fix the fiscal year issue is easy: between 2013-2016,
let’s use quarterly data to compare the exact same point
in time for Index funds and the Pension Fund. There aren’t
quarterly figures available before that, so I made certain to
compare the end of year data from the index fund with the
corresponding figure 3 months later from the fund. While
not perfect, in practice this turns out to be extremely close.
And the comparison is 100% accurate for every point from
2013 on to the present.

To address the diversity issue, I selected a basket of diversified
index funds, covering stocks (domestic and international),
real estate via REITS, and some bond funds. I make this available
to the fund for free. That’s just the kind of guy I am.

Here’s the list:

VFIAX: US Large Cap Stocks
VVIAX: US Large Cap “undervalued” Stocks
VTMSX: Small Cap, with an eye to reducing friction from
taxable gains (this last not an issue for the fund)
VSIAX: Small cap, “undervalued” stocks
VGSLX: REIT (real estate) index fund.
VTMGX: Developed market (non-US).
VTRIX: International “undervalued” developed and emerging
market stocks.
VFSVX: Small cap non-U.S.
VEMAX; emerging markets (i.e. Brazil, Russia, Taiwan, China, others)
VGRLX: International real estate, including (but not only) international REITs.
VSVSX: Short Term U.S. Government Bond (non-inflation protected).
VSIGX:  Mid-term U.S. Government Bond (non-inflation protected).
VTAPX: Short-Term inflation procted U.S. Government bonds.

I do not believe the fund is more diversified then this, arguably, it is less.

The final issue  we need to deal with is to show the
effect of the re-invested savings that truly make
index funds shine.  As I have said, we don’t need
the high priced geniuses at the fund, we can use a
chimpanzee instead. I took a conservative approach:
I took the entire $11 million that the fund currently
spends on outside  investing “talent”,  added $4
million to that to get $15 million and used that as
our cost savings. That gives us $20 million left to
pay the chimp, so clearly this is being conservative.
We start with this figure, and reinvest it each year.
The compounding of this savings leads to a truly
dramatic result, one which I am sure we would all
be happy with today:

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

II. PENSION MEETING REPORT – LOS ANGELES

Hi Editor,

Thanks for posting the informational slides and graphs
from the pension fund meeting!

Member Observer Notes:

Really ….it was a warning meeting.

Assets ( contributions / investments) v. Liabilities (benefits).

On the panel…the folks we pay to assist the “Trustees”.
They did try to provide history and context…and justify the
cost of their services.

Upshot from the panel:  WE need YOU…”the membership”
to work together…make all YOUR  work Union…
WE need the money!

One member analogized the problem the treatment of a
medical disease.
We have three basic components, 1) Expenses 2) Rate of Return
3) Multiplier that has been way too high. The member asked the
panel…’ How do we prolong our life?’

While the panel claimed too much is unknown at this time to say
what will happen at the end of the March bookkeeping…If the
fund found in “Critical and Declining” status…a reduction in
current and future benefits may be imposed.
(except for those over age 80)

As one member commented, “a haircut today or decapitation
tomorrow.”

One of the few younger members present addressed the panel
…future looks “bleak” no matter how many dollars are added.

Another comment received via e-mail:

the ‘genius’ of the chosen is coming back to haunt them.  In
spite of their heavy contributions, the health & pension
funds are primarily financed by the vast majority of members
who have no hope of receiving any benefit. And since the
1%ers have over many years have systematically
disenfranchised the 99%, as the 99%ers go away, so does
the golden egg.

Another member reflected on the meeting by observing that
in our Local many musicians are finding themselves replaced
by USC and Colburn students…thus new membership for
contribution and freezing pension liabilities of the no
longer working older players.

Long Time Member

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

III. Member Comments and Commentary

Some is up in Seattle either doing a video game or some
trailer music, but prob. a game.
– and what’s up with that current video game contract?
oh wait – Ray hair doesn’t quite get the game industry
yet – 6 years later – fellas – I’m gonna keep sending
these until I see you guys and the AFM address the
runaway from LA recording sessions done by Angeleno
composers that cannot work in this town! and I’m gonna
start posting these everyday on Facebook and call
out the parties that are not doing anything about it –

BTW – this is LA’s work John and Rick and it’s downright
depressing…and the real reason the AFM EPF fund is
upside down – so….still think things are cool?

——————————————————————-

Pretty demoralizing, and there really isn’t a viable solution. However,
despite yours and others warnings, unfortunately I think this was
imminent and bound happen regardless, and I don’t think that
simply getting rid of backend will magically return all the film
recording work to LA, and to think buyouts would return it to
pre-2000 levels is very wishful thinking. And it would take a
LOT more buyout sessions to make the equivalent of what was
paid out on the backend, so as much as hate hate the stranglehold
monopoly RMA has on film recording, it’s not entirely reasonable
to ask anyone, RMA or not, to just lightly agree to a buyout
after decades of an established business model enjoyed by
every other performing union that also gets backend, even
key grips at IATSE. It also makes the AFM look so pitifully
desperate and weak, which, well, it is, but would only add
to fuel to that fire, and allow the AFM to be further taken
advantage of.

“HELP! PLEASE! WE NEED WORK! EVEN CHEAP WORK! ANY
WORK! WE’LL EVEN TAKE A BUYOUT ON MEDIA WORK!!
WE’LL WORK FOR LESS THAN LONDON! REUSE IT AS
MUCH AS YOU WANT! WE DON’T CARE! WE CAN’T
AFFORD TO CARE!!”

You can never negotiate well from a position of weakness,
and I don’t foresee enough of a return in work volume
to compensate for giving up what literally would add
up to millions in future backend payments, (even a
decreased amount of future backend payments.)

And what if AFM did agree to changing all sessions to
buyouts? Eliminating backend is no guarantee of a
return to huge  amounts of work, and let’s face it,
gone are those glory days. As you suggest,
backend is only one factor. There’s no escaping
technology, and with the ease and low overhead
of home studio recording eliminating the human
factor. Thus, simply eliminating backend is a very
chancy speculative solution to saving the Union’s
sinking ship, would probably only cause a very
marginal uptick at best in Union-sanctioned
recording at this point, and a dubious guarantee
it would save the pension fund from insolvency.
Once you try changing all recording work to a
buyout, there is definitely NO going back. Union
producers and studio signatories NEVER give
something back that a Union agrees to give up
which is why SAG-AFTRA, WGA, DGA, and IATSE
fiercely hold on to their backend no matter what
and with the help and support of their sister
performing unions. Unfortunately, the AFM
doesn’t get that same kind of fellow-union support
and most composers really don’t have the clout
(or the balls) to demand LA recording.
(Some could fight a little harder, frankly.)

So what happens if agreeing to a buyout doesn’t
result in an appreciable increase in live recording?
It spells a lose-lose. I don’t care how much some
employers claim they’d record here if they didn’t
have to pay backend. Talk is cheap. Prove it-
make this argument less speculative. Lets see the
PGA put forward an actual musicians session
buyout proposal requiring their scoring be
recorded on an AFM contract if they’re serious
that they would discontinue outsourcing recording
sessions to Europe under a buyout agreement.
Let’s not wait for the AFM to propose amount.
Let’s FIRST find out what the PGA proactively would
be willing to pay on a supposed buyout that
would be low enough to incentivize for them a
serious return to record all of the London, etc.
work to LA or at least the US. If they all claim
they’d record more here if there were no backend,
why don’t we see real specifics proposed and
negotiated and put their money where their
mouth is?  Because proposing a buyout based
on raw NUMBERS, FACTS and REAL PROPOSALS
vs. get rid of buyouts first and just “hope-for-the-
best SPECULATION” later  would most likely expose
that a buyout scale producers would even begin
to consider would be so low as to be unacceptable,
amounting to little more than a fraction of what
musicians are currently earning between session
fees and backend. Even if one might complain
that a disproportionate number of members make
the lion’s share of backend, a drastic paycut
ultimately helps no one, including rank and file.
I think it is a fallacy to believe that an increased
volume in 3 hr. session buyouts would be enough
to make up for the amount of earnings musicians
are being asked to give up.

For all the cynics in our community about LA LA Land,
(which I happened to like apparently more than most
all my music colleagues,) we should be grateful
for it’s success, employing over 100 LA musicians,
and vocalists, and should be cheerleading the success
and popularity of this film in order to encourage studios
to do more of the same. More large-in-scope “original
movie musicals” employing 100’s of musicians for
many recording hours, arranging, orchestrating,
music prep, etc., would be nice. Somehow Chazelle
and composer Hurwitz managed to convince a studio
to do this, despite their thin resumes, and without any
crying over backend payments from their producers.
So let’s cheer for it’s success rather continually artistically
bashing it. It’s self-defeating.

As far as buyout, simply put, no one can make a decent
living on session wages alone even if the volume were to
marginally increase by eliminating backend. Would more
sessions on a buyout mean more work for more members?
I doubt it. Maybe more work, but not more income,
considering how paltry an agreed upon buyout wage
would probably have to be to producers. The only
members who could actually make a living under a
buyout model would still have the lion’s share of the
work going to  that same relative few rather than
diluted and spread amongst many. There still wouldn’t
be enough work to open it up for 1000’s of rank and
file musicians even when you remove the backend
payments. The amount of such buyout sessions would
simply be too low in pay and still too infrequent to
keep enough members busy enough to make living wage.

At least that’s how I see it, and I’m sure many disagree.
To be clear, this is not me defending the Union by no
means. They have to answer for where we are.
(I didn’t see any reference to salary cuts as a cost-saving
measure in their presentation, for example.) It’s more
about asking ourselves the question, “will getting rid
of backend really make anything better for everyone,
or just hurt those members who are backend
participants?”

[EC: If the filmmakers are saving the money it would
take to travel to another country, it would be more
likely they would record here. And MANY currently
non-union sessions going on are paying above scale.

It comes down to this. Change nothing, you can say
you’re protecting the system as you DON’T work. Or
change the system and definitely increase work.

The best solution would be a new contract that says,
perhaps, “Any film considered BIG BUDGET by the AFM
signatories (Perhaps above 80 million) Must be done
union IF they are done here, which is no guarantee.
Anything below that should have a buyout option,
with higher pay up front. If they DON’T go overseas
anyway that could make some of the current none
union work union.

As to the pension. There are thousands more taking
out than putting in. If we have the hope of even
slowing down the demise of the AFM, there must be
more work. In Los Angeles that leaves only one option.
Buyouts. without them no increase in union recording
work is possible and everyone’s pension is screwed
within a decade.

And who can you blame for the loss of work?

You know who.

THE COMMITTEE]

—————————————

Far less than 20 years much quicker than that it’s
in the next five most likely

—————————————-

I got up and blasted the investment advisors and
proposed the AFM EPF do a trial basis of INDEX
funds only for a few years to see if they can match
or outperform the actively managed investment
advisors – I basically looked right at them and
said they were not providing a good return on
investment in the biggest bull run since AFTER
the great collapse from the late 1920’s – INDEX
funds have low fees and costs and mirror the
market –

we’re spending 11 mil a year for underperformance? –
i said sorry guys – if we can do index funds we wont
be  needing you for awhile – I received a round of
applause from the audience – ask anyone that was there –

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

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

————————————-

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.

———————————-

3/15/17

Free Admission GLENDALE NOON CONCERT
Wed MARCH 15, 2017 at 12:10-12:40 pm

ARTHUR OMURA Harpsichord Recital.
Thank you!

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

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

—————————
3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

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

——————————————

3/22/17

THE PHIL NORMAN TENTET

Herb Alpert’s Vibrato Grill Jazz
2930 Beverly Glen Circle
Los Angeles, CA.90077
Resevations call 310-474-9400

MARCH 22nd @ 8:00pm

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF JAZZ GREATS

Stan Kenton, George Shearing, Quincy Jones
Gerry Mulligan, Dave Brubeck,
Horace Silver, Dizzy
and other jazz giants

Performed by some of Los Angeles
finest musicians

————————————-

3/25/17

The Musicians at Play presents
Patrick Williams Big Band Live at the Moss
with special guests Arturo Sandoval and Peter Erskine
Saturday- March 25th, 2017 8:00PM


Click “Buy Tickets” to reserve your tickets up to 12:00 p.m. on the
day of the show (Remaining tickets will be available at door at show time.)

Award-winning composer Patrick Williams presents The Big Band Live!
featuring special guests Arturo Sandoval and Peter Erskine.

VIP – Doors 7:00 p.m. early entry – refreshments

General & Premium – Doors open 7:30 p.m.

Concert starts: 8:00 p.m. (there will be a brief intermission)*

www.musiciansatplay.org

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces. Also on the program will be two works by the LA Winds’ resident composer,
– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.  Performing Arts Education Centers.

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

MEMBER LETTER TO BOARD / EVENTS

March 3rd, 2017

3/3/17
I. LETTER TO LOCAL 47 BOARD
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. LETTER TO LOCAL 47 BOARD

Below is a letter sent to the Local 47 Executive board by
a long standing member:

To: The Executive Board of Local 47, Musicians Union
– April 28, 2016

You have asked me to write a letter on the reasons
why I went fi-core (Beck status) due to the expense
of my charge through the NLRB. On the surface, my
reasons were purely an emotional response to
John Acosta’s words “The union is for everyone”
which I whole heartedly agree with but I find sorely
lacking today.

The fact is the musicians’ interest has not been
addressed in well over a decade. The contracts
(mp,tv,video games) that are made today, with
another group’s input, are mostly centered around
the secondary market fund. One example of this
(and showing who controls the union) was when
the first video game contract came out. The
musicians were happy (a living wage), the
companies were happy and the composers (the
lifeblood of musicians) were happy. But it was
shut down due to the fact there was no secondary
market fund attached. The result of this was
companies who were willing to deal with the
union now want nothing to do with the union.
The composers were estranged. As for the
musicians, it doesn’t matter what the contracts
are. No companies mean no composers which
mean no music therefore no jobs. All because
a select few want their secondary markets fund.

The union is for everyone?

An Interesting point is the secondary market
fund used to be known as special payments
and was based on single scale. This meant
everyone shared equally on a project. This fund
was initially set up by the studios in lieu of health
coverage for the musicians. What we have today
is everyone connected with the project, except
the musicians is taking the bulk of the secondary
market funds. If this is untrue, please show me
the breakdown of the fund.

Another indication of the controlling faction
in the union was centered around the movie “UP”
in 2009. Michael Giacchino won the Academy
Award for his score which was done in Los Angeles.
This was a great win for Local 47 and Los Angeles
or so one would think. However, the union’s paper
had no mention of his award or that year’s Academy
Award orchestra which Michael Giacchino conducted.
If the union is for everyone why did this happen
(besides the fact certain people had no part in this
movie)?

My final reason for going fi-core is I was continuously
upset and depressed over seeing great musicians and
friends constantly having to look over their shoulders
for the crime of simply trying to support their families.

I honestly did not want to go after the union but I felt
I could no longer standby and do nothing. I expressed
my feelings to the NLRB agent and Rick Baptist and made
it clear none of the charges that I stated (a: being
threatened and intimidated from going fi-core;
b: the selective enforcement of the unions own bylaws)
were done to me. This led to the charges being dropped.

There were two reasons why I rejoined the union. When
I talked with Rick Baptist, (whom I have known for 30
years and wanted him to understand why I went fi-core),
I was led to believe that things are changing for the
better. The second reason was the Supreme Court’s
almost deciding in January 2016 against California’s
unions. I firmly believe that a strong Union is needed
now more than ever.

I must add when I started working in this town,
about 35 years ago, I thought I had the greatest
job ever. The workplace has gone through many
changes including a very dark time when if you
laughed or smiled you were considered unprofessional.
To see younger people think that this antiseptic,
lifeless, tinged with fear approach to music is the
way to play in the studios makes me very sad.

How can music possibly flourish under these
conditions?

This letter and my actions are simply an attempt
to preserve, for future generations, the same
attributes of creativity, love, enjoyment and
equality which has made my career fulfilling. I
would have never had the financial life I have
been so fortunate to have in LA if it wasn’t for
the union and the people in it before me.

[Follow-up from the member]

Hi, don’t know if you have posted that letter
yet but if you haven’t please add this.

” The author of this letter gives permission
to post this because he has found nothing
has really changed with the union. Why the
union continues not to change reminds him
of the saying “all they are doing are rearranging
the deck chairs on the Titanic”. It doesn’t have
to be like this.

He hopes it does change for the Union’s sake.

[COLLEAGUES: Now we have yet ANOTHER member
pointing out exactly what the committee has
been saying all along. Certainly, there will be
those who say, “Oh, Fernandez wrote that”, but
the Local 47 board knows exactly who wrote it.]

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

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

————————————-

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.

————————-

3/4/17

IT’S A ROCKIN’ MALIBU BEACH PARTY!

LENNY SMITH and THE OLD NEW
at Casa Escobar
22969 Pacific Coast Hwy
Malibu, CA 90265

Saturday, March 4th – Downbeat 8PM

Reserve a table at 310 456-1999
Great Mexican Food and Terrible Bar
Valet Parking

Features:
Jon Woodhead, Jerry Peterson, Tom Canning,
Charlie Pollard – Horns
Dennis Kenmore, Dave, John Watkin and
The Martinez Family Singers.

—————————

3/4/17

TALL AND SMALL IN TACOMA!
Tacoma Jazz Walk
Saturday, March 4th, 2017 9 pm-Midnight

Pete Christlieb & Linda Small
with the Ray Ohls Trio
Pete Christlieb -tenor sax; Linda Small Christlieb -trombone
Ray Ohls -piano; Derrick Polk -bass & Tim Malland -drums
B SHARP COFFEE HOUSE
706 Opera Alley
Tacoma, WA 98402x

—————————

3/5/17

Song of the Angels Flute Orchestra
in concert!

Our next concert, “Celebrating Spring” is quickly approaching!
Conductor: Charles Fernandez

Concert location:
Pasadena Neighborhood Unitarian Universalist Church,
310 N. Orange Grove Blvd., Pasadena 91103

Tickets are now available online at the usual location:

Concert Tickets

Concert program includes:
•    Gounod – Petite Symphonie (1st movement only)
•    Bloch – Prayer for a Jewish Life (David Shostac)
•    Blavet – Concerto (1st movement, Debbie MacMurray)
•    Mozart – Flute and Harp Concerto (David Shostac & Naomi Alter)
*** Intermission ***
•    Vaughan Williams – Thomas Tallis Theme
•    McIntosh, – Romance for Bassoon (Charles Fernandez)
•    Alter – Introspective Blues (David Miller)
•    Gluck – Dance of the Blessed Spirits (Frederick Staff)
•    Fernandez – Quiet House and a Mouse
•    Selden – When I Fall in Love (Fred Selden)
•    Encore: Fernandez – Closer Walk with Thee

—————————

3/5/17

CULVER CITY SYMPHONY ORCHESTRA

FINDING SPACE
Frank Fetta-Conductor-Bio
Aubree Oliverson-Violin-Bio
Sunday, March 5, 2017, 4:30PM
Memorial Auditorium, 4117 Overland Avenue at
Culver Boulevard, Culver City. Free parking in
lots along Culver Boulevard and metered parking
along Overland Avenue.

Before or after the concert, there are numerous
restaurants in Culver City for you to enjoy.
Downtown Culver City is near to Veterans Memorial
Building, head east on Culver Boulevard,  and
is known for its selections of restaurants.

You can find a list here: LINK

—————————–

3/15/17

Free Admission GLENDALE NOON CONCERT
Wed MARCH 15, 2017 at 12:10-12:40 pm

ARTHUR OMURA Harpsichord Recital.
Thank you!

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

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

—————————
3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

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

——————————————

3/25/17

The Musicians at Play presents
Patrick Williams Big Band Live at the Moss
with special guests Arturo Sandoval and Peter Erskine
Saturday- March 25th, 2017 8:00PM


Click “Buy Tickets” to reserve your tickets up to 12:00 p.m. on the
day of the show (Remaining tickets will be available at door at show time.)

Award-winning composer Patrick Williams presents The Big Band Live!
featuring special guests Arturo Sandoval and Peter Erskine.

VIP – Doors 7:00 p.m. early entry – refreshments

General & Premium – Doors open 7:30 p.m.

Concert starts: 8:00 p.m. (there will be a brief intermission)*

www.musiciansatplay.org

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces. Also on the program will be two works by the LA Winds’ resident composer,
– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.  Performing Arts Education Centers.

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

FI-CORE / BLOOMBERG ARTICLE / EVENTS

February 24th, 2017

2/24/17
I. FI-CORE

II. MORE POTENTIAL PROBLEMS: BLOOMBERG BUSINESSWEEK

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. FI-CORE

Thinking of going FI-Core? Tired of looking over your shoulder
to see if Gordon Greyson is taking pictures or harassing members,..
or one of his minions?

If you do decide to go Fi-Core, this is a letter you might get:

Re: American Federation of Musicians, Local 47 – and – ———–
(Your Resignation letter of ++-++-20++

Dear ——,

This letter responds to your letter of ++-++-20++ to my office.
First, this letter acknowledges receipt of your correspondence
and your request to resign you (misspelled in the letter) membership
in American Federation of Musicians, Local 47 (“Local 47”) as well
as the American Federation of Musicians (the AFM). As of today’s
date, Local 47’s records reflect that you are no longer a member
in good standing of Local 47 and, instead, you have opted to pay
Local 47 a representation fee in accordance with the United States
Supreme Court decision in Communication Workers of America
vs. Beck and the opinion of the National Labor Relations Board
in California Saw and Knife.

Local 47 further understands that, in accordance with the Beck and
California Saw and Knife decisions, you are not objecting to the payment
of full Local 47 dues. Rather, you are merely resigning your membership
in Local 47 and, thereby, forfeiting all rights and membership therein.

We have also forwarding your resignation request to the AFM. You will
receive a separate correspondence from the AFM with regard to your
request to resign from the AFM as those matters are processed directly
by the AFM.

Next, enclosed you will find the following:

1. A written “Certification” of Local 47’s Agency Fee Calculations, for
calendar year 20++, executed by Bernard Kotlin and Co., Local 47’s
outside auditor. As you can see from the text of the Certification, the
current calculation for chargeable expenses, with respect to the
Agency Fee obligation, is currently set at 81.2% of Local 47’s regular
membership dues and work dues.

2. A copy of Local 47’s current Agency Fee policy, which (a) describes
the categories of expenses that Local 47 had deemed chargeable/non-
chargeable and (b) sets forth the manner and method by which those
persons wishing to do so may object to Local 47’s calculations of chargeable
and non-chargeable expenses.

Should you have any further questions regarding the matters set forth in
the enclosures contained in this letter, please direct them to my office.

Very Truly yours,

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

Secretary-Treasurer
American Federation of Musicians, Local 47, AFL-CIO

———–

Colleagues,

In case you might not be aware, the whole purpose

of the initial lawsuit was because a member did not

want his dues going to a particular politician. He

wanted that portion of his membership dues back.

In 1968, the Communications Workers of America

(CWA) used union members’ dues, in part, to support

Vice President Hubert Humphrey’s campaign for President

of the United States[54] and Senator Joseph Tydings’

re-election campaign.[45] Harry Beck was a maintenance

worker with the Chesapeake & Potomac Telephone Co.

(C&PT) in Maryland and a CWA organizer.[54][55] Beck

protested the use of his union dues for a political cause

in which he did not believe and asked for a refund.[54]

The CWA refused, arguing that using union dues for

political expenditures was appropriate and legal.[45]

 

In the early 1970s, after disagreeing with national CWA

officials over a union organizing drive in suburban

Baltimore, Maryland, Beck resigned from the union

and began to pay the $10-a-month agency fee.[54][55]

Beck continued to protest the use of his agency fee for

political purposes, and asked the CWA to provide a

more accurate accounting of how much money it spent

on politics.[55] The union refused.[55]

In June 1976, Beck and 19 other non-union members

of the CWA’s bargaining unit at C&PT sued the union

for a refund.[45][51][54][55][56] The National Right to

Work Legal Defense Foundation provided legal counsel

and support to Beck and the other 18 workers.[45][54][55]

Beck quit C&PT in 1979 and moved to Oregon, where he

worked at CWA-organized job at American Telephone &

Telegraph and continued to pay his agency fee.[55]

For more info and history please see:
https://en.wikipedia.org/wiki/Communications_Workers_of_America_v._Beck#cite_note-33

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

II. MORE POTENTIAL PROBLEMS: BLOOMBERG BUSINESSWEEK

The article below is from BloombergBusinesweek.
by Josh Eidelson
February 16, 2017

UNIONS ARE LOSING THEIR DECADES LONG ‘RIght-to-Work’
fight.

Mandatory fees are endangered at the Supreme Court,
statehouses. and Congress.

Last year the total share of U.S. workers who belong to a union
fell to 10.7 percent, a record low. That number could go a lot
lower in the next few years. Following decades of declining
membership, unions face an existential crisis as right-to-work
laws being pushed at state and federal levels would ban
their ability to collect mandatory fees from the workers
they represent, a key source of revenue for organized labor.

Once largely confined to the conservative South, right-to-work
is encroaching on unions’ longtime strongholds in the North
and Midwest and, pending a U.S. Supreme Court ruling, could
soon cover a majority of the unionized workforce in the U.S.
Following a 47-year lull, six states in five years have passed
right-to-work laws. “The South is clearly winning this particular
civil war,” says University of California at Santa Barbara
historian Nelson Lichtenstein.

In their first weeks in office, the new Republican governors of
Kentucky and Missouri have already signed right-to-work laws,
making them the 27th and 28th states, respectively, to ban
mandatory union fees. By Feb. 16, New Hampshire’s House
of Representatives will vote on a proposal, endorsed by the
state’s Republican governor and already approved by its Senate,
to become the first right-to-work state in the Northeast. In Iowa,
where right-to-work is already the law, Republicans are looking
to further curb unions’ power with a bill restricting public
employees’ collective bargaining rights.

“Organized labor—it’s really the man behind the curtain in
The Wizard of Oz,” says Matt Patterson, who directs Americans
for Tax Reform’s Center for Worker Freedom, an anti-union
nonprofit. “People aren’t scared of them the way they used
to be.” Right-to-work is now the law in almost every state
where Republicans control the governorship and the state
legislature. The only exception other than New Hampshire
is Ohio, where a sweeping anti-union law was successfully
overturned by a referendum in 2011.

The most expansive change is likely to come from the
Supreme Court, whose 5-4 conservative majority will be
restored if the Senate confirms Neil Gorsuch to fill Justice
Antonin Scalia’s seat. Before Scalia’s death last year, unions
were bracing for a likely defeat in Friedrichs v. California
Teachers Association, a case brought by teachers and
conservative groups who argued that mandatory union
fees violate government employees’ constitutional rights.
Without Scalia, that case deadlocked at 4-4, but several
similar suits are pending in lower courts.

Labor leaders expect the issue could reach the Supreme
Court in time for a ruling this year, making right-to-work
the law of the land for the entire public sector, which
employs about half the 14.6 million U.S. union members.
“There’s not a doubt in my mind that the clock is ticking
on that one,” says Greg Junemann, president of the
International Federation of Professional & Technical
Engineers. Service Employees International Union President
Mary Kay Henry, who before Scalia’s death said her
union was preemptively “preparing to become a voluntary
organization,” sent staff a memo after Donald Trump’s
election win announcing that the union would plan for a
30 percent cut in its budget, almost all of which comes
from dues and fees.

Unions have been trying to get ahead of the challenge. Since
2013 staff members and activists from the 1.6 million-strong
American Federation of State, County, and Municipal Employees
have conducted 600,000 one-on-one conversations with
workers covered by AFSCME contracts. AFSCME officials say
they reached a sobering conclusion in 2015 about how the
workers it represents might behave under right-to-work:
While roughly 35 percent would likely pay dues no matter
what, about half could be “on the fence.” The remaining 15
percent or so would likely not pay dues under right-to-work.
“We’ve found that at times we were treating all of our 1.6
million members as if they were activists, and they aren’t,”
says AFSCME President Lee Saunders. “We were taking some
things for granted.”

AFSCME says it’s overhauled how it communicates with
workers, including targeting its e-mails and Facebook
ads so those who are lukewarm on the union are more
likely to get information about obtaining a free associate’s
degree through the union than to see a call to action
with an upraised fist.

The unionization rate in right-to-work states is
less than half the rest of the country’s. Organizers
say letting workers decline to pay fees defunds unions,
diverts staff resources that could otherwise be devoted
to growth, and divides workers—just as Congress
intended when it passed the 1947 Taft-Hartley Act
allowing states to pass right-to-work laws. By 1964,
20 states had banned mandatory fees. After that the
map stayed nearly static for almost half a century,
with just three more states passing right-to-work and
one repealing it.

Then, after the 2010 midterm elections, unions’ flagging
political clout and Republicans’ newfound dominance
in state government ushered in a surge of right-to-work
laws, beginning in 2012 in Indiana and spreading to onetime
union bastions Michigan and Wisconsin. Each new law lets
conservatives in neighboring states claim they need to follow
suit to compete for business. And labor’s failure to deliver
on promises to oust right-to-work backers has helped
embolden Republicans elsewhere.

Republicans in Congress have introduced a bill to make
the nation’s entire private sector right-to-work. Although
it’s unlikely to pass unless Republicans abolish the filibuster,
private-sector unions like the Communications Workers
of America say they’re preparing for the potential loss of
mandatory fees. Mark Mix, president of the nonprofit
National Right to Work Committee, says he jokes with
his staff members about updating their résumés. Once
right-to-work is a nationwide policy, he says, the 62-y
ear-old organization will have completed its mission.
“As soon as we pass this bill,” says Mix, “we’re clearing
house.”

The bottom line: Right-to-work laws are encroaching
on unions’ longtime strongholds in the North and Midwest.

————————-

Colleagues,

Everyone who is a member of the AFM knows

how membership has atrophied over the last few

years, and NOT because of right-to-work. The

reason the AFM membership has been reduced

so drastically is because the AFM does not

represent ALL members, but only the Elites in

Recording and in Orchestras under a CBA.

In 1983, the Los Angeles local has in the area

of 13,000 members. Now? The membership

is little more than 6,000. Why? The Local

concentrates it’s efforts on recording musicians

to the exclusion of everyone else. Work has left,

and the union knows full well what has to be

done to get it back, but rather kiss the ring

of the RMA, as the IEB does as well.

If you want to know who to blame for the

work loss, there are many reasons, but locally

look no further than the board of your AFM

Local, OR the fact that their hands are tied

by the control of the RMA over the AFM.

Let’s be clear, the COMMITTEE fully supports

an honest union, a union that DESERVES the

support of the rank and file, which Local 47

does not.

If we didn’t care, why would we still be here?

If we  didn’t care we’d have wiped are hands

of this corrupt local long ago.

THE COMMITTEE

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

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

————————————-

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.

——————————

2/24/17

DON’T MISS THE
THE PHIL NORMAN TENTET
AT THE
NEWPORT BEACH JAZZ PARTY

February 23rd thru February 26th
Marriott Hotel & Spa
900 Newport Center Drive
Newport Beach, CA 92660

Tentet’s performance
Friday, February 24th @ 2:30pm

For Tickets: 949-759-5003
www.newportbeachjazzparty.com

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

——————————————

3/1/17

FREE ADMISSION GLENDALE NOON CONCERTS

Info about upcoming programs through JUNE 2017
at the 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

Jacqueline Suzuki
Curator, GNC
818 249 -5108

On Wednesday MARCH 1, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
viola d’amore player Adriana Zoppo, flutist Sherril Woods
and cellist Alexa Haynes-Pilon performing Telemann and Quantz
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

————————————–

3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

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

——————————————

3/1/17

ASMAC ‘First WEDNESDAYS’
presents:

———-
Legendary and Award-winning Recording Engineers

Al Schmitt, Joel Iwataki,

and Tommy Vicari

Moderated by: Renowned harpist  Gayle Levant

Wednesday, March 1, 2017!–
Meet & Greet: 7 pm   •   Program: 7:30 pm

Musicians Union Local 47
817 Vine Street, Hollywood, CA 90038

ASMAC is excited to present THREE world famous
recording and mix engineers as they discuss
their insight on working with arrangers,
composers and orchestrators.

Topics include:

Tips and tricks for arrangers, composers and orchestrators.
How a recording engineer can help you.
How you can help an recording engineer.
Preparing for a recording session.
Technology and acoustic recording.
Combining various orchestral and electronic elements.
When is instrument separation important –
when should it be avoided.
Working with virtual orchestras and sample libraries.
The final mix process and preparing stems.
Virtual plugins.

Much Much More !!!

Wednesday, March 1, 2017!–
Meet & Greet: 7 pm  •   Program: 7:30 pm

$10 Admission
SCL Members – $5
FREE for ASMAC & Local 47 members

Musicians Union Local 47
817 Vine Street
Hollywood, CA 90038

For more information on ASMAC and upcoming events:
(818) 994-4661 www.asmac.org

————————-

3/5/17

Song of the Angels Flute Orchestra
in concert!

Our next concert, “Celebrating Spring” is quickly approaching!
Conductor: Charles Fernandez

Concert location:
Pasadena Neighborhood Unitarian Universalist Church,
310 N. Orange Grove Blvd., Pasadena 91103

Tickets are now available online at the usual location:

Concert Tickets

Concert program includes:
•    Gounod – Petite Symphonie (1st movement only)
•    Bloch – Prayer for a Jewish Life (David Shostac)
•    Blavet – Concerto (1st movement, Debbie MacMurray)
•    Mozart – Flute and Harp Concerto (David Shostac & Naomi Alter)
*** Intermission ***
•    Vaughan Williams – Thomas Tallis Theme
•    McIntosh, – Romance for Bassoon (Charles Fernandez)
•    Alter – Introspective Blues (David Miller)
•    Gluck – Dance of the Blessed Spirits (Frederick Staff)
•    Fernandez – Quiet House and a Mouse
•    Selden – When I Fall in Love (Fred Selden)
•    Encore: Fernandez – Closer Walk with Thee

—————————

3/25/17

The Musicians at Play presents
Patrick Williams Big Band Live at the Moss
with special guests Arturo Sandoval and Peter Erskine
Saturday- March 25th, 2017 8:00PM


Click “Buy Tickets” to reserve your tickets up to 12:00 p.m. on the
day of the show (Remaining tickets will be available at door at show time.)

Award-winning composer Patrick Williams presents The Big Band Live!
featuring special guests Arturo Sandoval and Peter Erskine.

VIP – Doors 7:00 p.m. early entry – refreshments

General & Premium – Doors open 7:30 p.m.

Concert starts: 8:00 p.m. (there will be a brief intermission)*

www.musiciansatplay.org

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member

of the US Marine Corps Band) play Felix Mendelssohn’s

virtuosic Two Concert Pieces.

Also on the program will be two works by the LA Winds’

resident composer,

– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.

Performing Arts Education Centers.

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

ASMAC MASTERCLASS / EVENTS

February 18th, 2017

2/11/17
I. ASMAC MASTERCLASSES
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. ASMAC MASTERCLASSES presents “Steve and Julie Bernstein”
on Music for Animation!

Join us Thursday evening, February 23rd
7:00 pm – 10:00 pm

Valley College
5800 Fulton Ave., Valley Glen

A MASTER CLASS
with

Julie Bernstein and Steve Bernstein

Music for Animation

Reserve Now
Pay in Advance or at the Door
to guarantee sufficient hand-out materials.

Join ASMAC THURSDAY EVENING – February 23rd-  for an informative
Master Class with two Emmy Award winning composers of the hit
series Animaniacs, Pinky & the Brain, Freakazoid, Histeria! and
Baby Looney Tunes, to name a few. Discover what is involved in
writing music for animation, including effective spotting, thematic
development, musical vocabulary, song parodies and much more.

Four-time Emmy-award-winning composer JULIE BERNSTEIN has
worked in animation as a composer, orchestrator, arranger,
conductor, singer and producer. Animated series include Animaniacs,
Pinky and the Brain, Freakazoid, Histeria!, Tiny Toons, Baby Looney
Toons, Make Way for Noddy, the feature Wakko’s Wish, theatrical
short “Carrotblanca” and CDs Yakko’s World, Animaniacs and Tweety’s
High-Flying Adventure. Her work has been played by the Cleveland
Youth Orchestra, the Kentucky Symphony and the COTA Symphony.
Julie has written numerous arrangements for string quartet and voice,
the most recent having just been recorded in Paris by Natalie Dessay
and members of the Paris Mozart Orchestra. Julie’s arrangement of
“Little Green” by Joni Mitchell, written for the Turtle Island String
Quartet and Tierney Sutton, can be heard on Ms. Sutton’s Grammy-
nominated album “After Blue”.

Collaborations with her husband, composer Steve Bernstein, include:
Make Way for Noddy, Tom and Jerry: Blast Off to Mars, Baby Looney
Tunes (for which they were Emmy-nominated), Disney’s One Saturday
Morning, main title songs for Dig Into History and Steven Spielberg
Presents: Toonsylvania, a CD of songs commissioned by Kid Rhino
Records inspired by the feature Tweety’s High-Flying Adventure, as
well as numerous independent films. Julie and Steve co-wrote “Snapshots”
for oboe, cello and soprano, commissioned by the Young Musicians
Foundation for YMF’s “Living the Legacy” award. They recently wrote
the orchestrations for the very popular Animaniacs Live!, premiered
by the Colorado Symphony.

STEVEN BERNSTEIN is a five-time Emmy-winning composer whose
commercial music spans genres from horror to cartoons. His music
is heard in such hit television series as Animaniacs, Pinky and the
Brain, Freakazoid, and Tiny Toon Adventures, along with the
collaborations listed above with his wife Julie. Recent film scores
include the grisly horror films Pernicious andBlood Lake: Attack of
the Killer Lampreys. He is currently scoring the feature documentary
Mr. Fish: Cartooning From the Deep End.

As an accomplished conductor, orchestrator, arranger and producer,
Steve has worked on numerous motion pictures, TV productions,
popular video games and recordings. His orchestrations can be heard
in the films Skyfall, The Amazing Spiderman, The Spiderwick Chronicles,
Millions, Windtalkers, City by the Sea, How the Grinch Stole Christmas,
The Perfect Storm, Supernova and numerous others. He wrote the
arrangements and produced the album FOREVERMORE for singer-
songwriter Aron Celnick and co-produced the album Tweety’s High-
Flying Adventure with Julie, performing and writing music and lyrics
for many of the tracks. As part of the resurgence of interest in cartoon
music, he has guest-conducted for the Cleveland Youth Orchestra,
the Colorado Symphony and the Kentucky Symphony, performing
several of his own scores live to picture.

Steven has written extensively for the concert hall, receiving several
commissions for large-scale works, both choral and orchestral, and
for various chamber ensembles. He has also been active in the
preservation of classic film scores, from such films as The Wizard of
Oz, Gone With the Wind and The Bride of Frankenstein;  reconstructing
music which had been lost or destroyed,.

Don’t Miss this very special opportunity to learn from the Bernsteins!

Valley College – Music Building
5800 Fulton Ave., Valley Glen, CA
Corner of Fulton & Oxnard

Thursday evening
February 23rd
7:00 pm – 10:00 pm
(Check-in & Refreshments – 6:30 pm )

Free parking in lot on corner of Fulton and Oxnard.

ASMAC Members and Students – $25
Non-Members – $40

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

II. EVENTS
———————————–



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

————————————-

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

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

——————————————

2/19/17

Elizabeth Farnum, soprano
Claudia Schaer, violin
Max Lifchitz, conductor
The North/South Chamber Orchestra

premieres by

Arthur Gottschalk, David Maves,
Winnie Yang , Margarita Zelenaia

Sunday, February 19 at 3 PM

Christ & St Stephen’s Church
120 West 69th Street (bet Bway & Columbus)
New York City

Free Admission (no tickets necessary)

http://www.northsouthmusic.org/calendar.asp

The North/South Chamber Orchestra celebrates winter on
Sunday afternoon February 19 performing a free-admission
concert featuring four listener-friendly works by American
composers.

Soprano Elizabeth Farnum and violinist Claudia Schaer will
appear as soloists while the ensemble’s founder Max Lifchitz
will conduct.

The program will introduce New York City audiences to recent
compositions by Arthur Gottschalk, David Maves, Lan-In Winnie
Yang and Margarita Zelenaia.

The event is part of the Composers Now Festival.

It will take place at the intimate and acoustically superior
auditorium of Christ & St Stephen’s Church (120 West 69th
Street) on Manhattan’s Upper West Side. The free-admission
event will start at 3 PM and end around 4:30 PM. The auditorium
is ADA accessible.

No tickets or reservations needed.

The composers will be in attendance and will introduce their
works to the audience. Composers and soloists are available
for interviews and media events. They may be contacted
through our office.

ABOUT THE COMPOSERS AND THEIR MUSIC

Arthur Gottschalk is active as composer and arranger for feature
films, television and commercials in the Houston area. A long-time
Rice University faculty member, his musical style has been described
by the international press as “rapturous, argumentative, prickly and
fascinatingly strange.” A winner of the Charles Ives Prize of the
American Academy of Arts and Letters, Gottschalk’s works have
received multiple performances in Europe and the US.

His Imagenes de Cuba (Cuban Images) was inspired by frequent
visits to the Caribbean island as well as by memories of his time
as a trombonist in salsa bands. The work is in three movements:
Manisero, a playful examination of an ancient peanut vendor’s
cry heard to this day in the plazas of old Havana; Guajira, a
typically slow movement which deconstructs the unofficial national
anthem of Cuba and Timba, a boisterous colloquy between the
members of the ensemble displaying a  panoply of salsa and
pachanga rhythms.

David Maves served as Composer-in-Residence for the College of
Charleston in South Carolina, for over 30 years. His catalogue
includes symphonies, concertos and an opera based on Federico
García Lorca’s Bodas de Sangre (Blood Weddings).

Inspired by John Donne’s poem Lovers’ Infinitennes, Maves’ song
cycle The Captive is music envisioned as “….the poet’s lover
reading the poem aloud with wonder; in awe, deeply moved, and
yet perhaps a bit frustrated as conditions pile up as the poet
attempts to construct an imaginary but air-tight intellectual edifice
within which the lovers are inextricably bound to each other —
forever.” Soprano Elizabeth Farnum will deliver the solo voice part.

Active as composer and pianist, Lan-In Winnie Yang has appeared
on concert stages throughout Asia, Europe, and the United States.
Trained at Oberlin, the Manhattan School and Stony Brook University,
Yang serves as Music Director for the Taiwan-NY Music Guild. Her
works have been performed by distinguished soloists and ensembles
including pianist Gilbert Kalish and violinist Philip Setzer. Her many
awards include first prizes from the Taiwan National Composition
and Piano Competitions.

Yang’s Transfiguration is a single movement composition for solo
violin and string orchestra written especially for violinist Claudia
Schaer. Dramatic and powerful, the music is built around mutations
of the four-note gesture heard at the outset. The demanding
writing provides the soloist and ensemble with ample opportunity
for technical display.

Margarita Zelenaia has received grants from the Lower Manhattan
Cultural Council; the Northern Manhattan Arts Alliance; and the
American Composers Forum. In her native Russia, her compositions
have been heard as part of the Moscow Autumn Festival; the Young
Peoples’ Arts Festival; and the Moscow Spring Festival. Musical
commentators have observed that “without prejudices and stereotypes
in her writing, Zelenaia possesses a rare ability to infuse her music
with humor and lyrical tenderness, while also producing works of
tremendous depth and seriousness.”

Her work I Believe “aims to convey my hope for world harmony and
peace. It is based on three prayers each representing a different
faith: Jewish, Russian and American gospel.  Prayers have that
natural course of movement, where both the music and the text are
joined at a certain level of vibration.”

MEET THE PERFORMERS
Elizabeth Farnum has been praised for her “lovely soaring soprano,
great agility and beautiful tone.” She has appeared at Lincoln Center,
the Library of Congress, London’s Institute for Contemporary Art,
the American Academy at Rome and the Concertgebouw in Amsterdam.
Her various interests have led her to performances on Broadway, at
the Metropolitan Opera, and to five continents on tour with diverse
ensembles, including early music groups Pomerium and the Waverly
Consort.

Canadian violinist Claudia Schaer trained at The Juilliard School
before earning a doctorate from Stony Brook University. Described
by the press as a “rock-solid performer” and praised for her
“outstanding musicianship,” Schaer has appeared as soloist at the
Thy Chamber Festival in Denmark; the Berlin Philharmonic’s Opera
Barga Festival in Italy; the Luzerne Festival in Switzerland; and China’s
Nanning Festival.

Conductor Max Lifchitz was awarded first prize in the 1976
International Gaudeamus Competition for Performers of Twentieth
Century Music held in Holland. The San Francisco Chronicle described
him as “a composer of brilliant imagination and a stunning, ultra-
sensitive pianist.” The New York Times praised him for  “clean,
measured and sensitive performances.”

For the complete Winter/Spring concert series schedule please visit

http://www.northsouthmusic.org/calendar.asp

To stream, download and/or purchase the more than 60 compact discs
released on the North/South Recordings label
please go to

——————————

2/24/17

DON’T MISS THE
THE PHIL NORMAN TENTET
AT THE
NEWPORT BEACH JAZZ PARTY

February 23rd thru February 26th
Marriott Hotel & Spa
900 Newport Center Drive
Newport Beach, CA 92660

Tentet’s performance
Friday, February 24th @ 2:30pm

For Tickets: 949-759-5003
www.newportbeachjazzparty.com

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

——————————————

3/1/17

FREE ADMISSION GLENDALE NOON CONCERTS

Info about upcoming programs through JUNE 2017
at the 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

Jacqueline Suzuki
Curator, GNC
818 249 -5108

On Wednesday MARCH 1, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
viola d’amore player Adriana Zoppo, flutist Sherril Woods
and cellist Alexa Haynes-Pilon performing Telemann and Quantz
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

————————————–

3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

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

——————————————

3/25/17

The Musicians at Play presents
Patrick Williams Big Band Live at the Moss
with special guests Arturo Sandoval and Peter Erskine
Saturday- March 25th, 2017 8:00PM


Click “Buy Tickets” to reserve your tickets up to 12:00 p.m. on the
day of the show (Remaining tickets will be available at door at show time.)

Award-winning composer Patrick Williams presents The Big Band Live!
featuring special guests Arturo Sandoval and Peter Erskine.

VIP – Doors 7:00 p.m. early entry – refreshments

General & Premium – Doors open 7:30 p.m.

Concert starts: 8:00 p.m. (there will be a brief intermission)*

www.musiciansatplay.org

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces. Also on the program will be two works by the LA Winds’ resident composer,
– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.  Performing Arts Education Centers.

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

RESPONSE / COMMENT / EVENTS

February 12th, 2017

2/11/17
I. RESPONSE TO THE LAST BLOG

II. MEMBER COMMENT

III. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. RESPONSE TO THE LAST BLOG

I am perplexed why this blog hasn’t generated ANY discussion.  First,
the letter from Charles Fernandez warrants a discussion about the
ongoing persecution by the AFM of a select group of working musicians
here in Los Angeles. I say “select” because some people are being
brought up on charges while others are still getting away with playing
dark dates.

I’m sure most of us are aware of it happening, but I worry that many
people still feel that if they simply keep their heads down it won’t
happen to them. Maybe that was true 10 years ago, but it is definitely
not true today. Why doesn’t this make people mad???  I was one of
those people – until I was brought up on charges by AFM.

I too had to hire an attorney to help me navigate through the Answer
/Rebuttal/Surrebuttal process only to suffer the indignity of learning
that the IEB met behind closed doors, found me guilty and expelled me.
I was never granted a hearing nor did they ever answer my questions
or address my concerns!

That is not only a direct violation of the AFM By-laws, it is a violation
of my constitutional rights. Thankfully, I had already been granted
Fi-core status so I am free to perform both union and non-union work.
Things need to change here in LA if working musicians ever want to be
able to work freely without fear of repercussion.  The answer is simple.

Until California becomes a “Right To Work” state, musicians need to
strongly consider declaring their Fi-core/Beck status in order to do
both union and non-union work out in the open.

The second letter in the blog should also get people’s attention.
This letter was written in 2008 by a member of Local 802 accurately
describing and predicting the demise of the film music recording industry.

That was NINE years ago!

It is now 2017 and we have lost the majority of our recording contracts
to overseas orchestras.  Why isn’t this generating discussion?  Why
doesn’t this make people mad as hell and want to change the situation?

Los Angeles has a plethora of amazing musicians who are ready, willing
and able to play these sessions.  What is it going to take to get enough
people to speak out so that change can begin to happen?

I am perplexed.  I simply do not get it.  I hope this will generate some
discussion.  (Be careful what you wish for, right?)

——————————————

I don’t see how Local 47 can charge someone for conducting a non-union
date when conducting isn’t listed in the bylaws as a position that must
be a union position. They have no grounds for this and if they did,
ALL CONDUCTORS of non-union sessions MUST be treated the same,
getting the same harassment and ridicule. It’s a shame that Local 47
continues to be a bottomless pit for wasting musicians’ money this way.
Wouldn’t it be wiser if they invested those funds/time/energy on
bringing NEW WORK to LA?!

——————————————–

Charles Fernandez doesn’t need a lawyer, he needs an ARMY!! Who
else has the cajones to join us? Unjust treatment and harassment
should not be condoned or dismissed. It’s called aiding and abetting.
Doing nothing is just as bad as what the union is trying to do:
unlawfully attacking one of its own.

———————————————
And commentary from Charles Fernandez on the comments above:

Is it that they (members) don’t care?, Are fine as long as it’s not them?,
Or are they scared to speak up, even as there is so little work left it’s not
as though they’ll lose work they don’t have a chance in hell of getting
in any case? OR,… is it that they’ve long ago given up on this corrupt
group and are simply apathetic, expecting nothing better.

—————

For any member to be summarily expelled without a chance to defend
themselves,… in effect guilty until proven innocent, is breaking labor
law and the spirit of our “innocent until proven guilty” history. These
folks have no shame, even as they expel other members for doing what
they themselves do.

Despicable, inexcusable and what you would expect from a dictator,
cult or mafia, not a union.

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

II. MEMBER COMMENT

Dear Editor,

Now that the Local 47/Club has millions of dollars in
the bank….the BOD is planning to produce an “Awards
Show” along the lines of SAG-AFTA…Grammys, Golden
Globe.  They were discussing a name for it…they should
just call it the RMA Awards. Sickening!

N.B. = Nota Bene
The graveyards are full of people who thought they
were indispensable! Can’t blame the BOD for dancing
with the ones that ” brung em”.
(three hour min…check every Friday…)

Long Time Member in Good Standing

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

III. EVENTS
———————————–

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

————————————-

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.

—————————————–

2/12/17

PALISADES SYMPHONY ORCHESTRA
Conductor Joel B. Lish

Sunday, February 12,  2016, 7:30 p.m.
Mendelssohn: “Hebrides” Overture
Mozart: Clarinet Concerto – Helen Goode-Castro, Clarinet Soloist
Schumann: Symphony No. 4
Admission is free; open seating
Palisades Lutheran Church
15905 Sunset Boulevard
Pacific Palisades, CA 90272

—————————————–

2/12/17

LATIN LOVE – AMOR LATINO
Songs of Love and Longing from Spain and the Americas

Celia Castro, soprano
Anna Tonna, mezzo – soprano
Celeste Mann, alto
Max Lifchitz, piano

art songs by

Clotilde Arias, Chiquinha Gonzaga, Max Lifchitz,
Miquel Ortega, Claudio Santoro & Joaquín Turina

Sunday, February 12 at 3 PM
National Opera Center
330 Seventh Ave (7th FL)
New York, NY 10001
Free Admission (no tickets necessary)

Vocalists Celia Castro, Anna Tonna and Celeste Mann
join forces with pianist Max Lifchitz the afternoon of
February 12 for an afternoon recital featuring art songs
about love and longing by composers from Spain
and the Americas.

The intimate, one-off a kind program, will highlight
songs with texts in Spanish, Portuguese and Italian by
Brazilians Chiquinha Gonzaga and Claudio Santoro;
Peruvian Clotilde Arias; and Spaniard Joaquín Turina.

Of special interest, will be the premiere of a song cycle
especially written for the occasion by Barcelona-based
Miquel Ortega and one by Max Lifchitz inspired by the
poetry of Mexico’s muse – the 17th century intellectual
and women’s rights activist Sor Juana Inés de la Cruz.

The free-admission concert will start at 3 PM and will
be held at the National Opera Center’s Marc A. Scorca
Hall located at 330 Seventh Ave (FL 7) in New York City.
It will be streamed live starting at 3 PM (EST) through
youtube.com/NatOperaCenterLive

The event is possible in part with public funds from the
NYS Council on the Arts and the NYC Department of
Cultural Affairs as well as grants from the Women’s
Philharmonic Advocacy and the Zethus Fund.

Event part of the Composers Now Festival.
For the complete Winter/Spring concert series schedule please visit

http://www.northsouthmusic.org/calendar.asp

To stream, download and/or purchase the more than
60 compact discs released by the North/South Recordings
label please go to

North/South Recordings

http://www.northsouthmusic.org/calendar.asp
streamed live at starting at 3 PM (EST) through
youtube.com/NatOperaCenterLive

—————————————–

2/15/17

FREE ADMISSION GLENDALE NOON CONCERTS

Wed. FEBRUARY 15, 2017 at 12:10-12:40 pm at the
Free Admission Glendale Noon Concerts:

The Music of Scott Joplin featuring
violinist Yvette Devereaux, with
bassist Kevin O’Neal.

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

——————————————

2/16/17

THE ORCHESTRE SURREAL
February 16th 8:00
El Portal Theater

The Orchestre surreal will be performing and filming
our up coming concert at the historic
El Portal Theater in North Hollywood.
This is a special event.
If you are receiving this email then you are on our special list.
We want to recognize your loyalty and connection
with the Orchestre and offer you 1/2 price tickets.

For 1/2 price tix
Use the Code Word
ELVIS.
Here is the link
https://web.ovationtix.com/trs/pr/961811/prm/ELVIS

——————————————

2/24/17

DON’T MISS THE
THE PHIL NORMAN TENTET
AT THE
NEWPORT BEACH JAZZ PARTY

February 23rd thru February 26th
Marriott Hotel & Spa
900 Newport Center Drive
Newport Beach, CA 92660

Tentet’s performance
Friday, February 24th @ 2:30pm

For Tickets: 949-759-5003
www.newportbeachjazzparty.com

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

——————————————
3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

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

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces. Also on the program will be two works by the LA Winds’ resident composer,
– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.  Performing Arts Education Centers.

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

LETTER FROM CHARLES FERNANDEZ / 802-2008 / LETTER / COMMENT / EVENTS

February 3rd, 2017

2/3/17
I.  LETTER FROM CHARLES FERNANDEZ

II. FROM THE 802 ARCHIVES – 2008

III. MEMBER LETTER

IV. 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. A LETTER FROM CHARLES FERNANDEZ

Colleagues,

No doubt some will give each other high-5’s that the local is using
all it’s resources to financially damage a single member who has tried
to make the local more responsive, accountable and transparent for the
rank and file against it’s will.

Here is a letter I have submitted to the Overture. In anticipation of
there refusal to publish it, I share it here.

If you would like to respond, please either respond directly to me,
tronec@charlesfernandez.com or through the responsible47.com site.
Pro or con is of course welcome, and all comments will be published
unless you request it not to be, your name will of course not be included.

As of this date, they still are not giving up on these bogus charges. Perhaps
if enough members call them out they will do the right thing.

I thank you in advance,

Here is the Letter:

To the Editor,

My name is Charles Fernandez. I’ve been a Local 47 member and Emmy/Annie nominated composer/orchestrator/conductor/bassoonist since 1983. I am being targeted for conducting on an educational demo for an English music university. They brought students to Los Angeles to record with Los Angeles musicians. I arranged a connection with a contractor and left it to them. I was at the session to help students in whatever way they needed as an employee of the company. A couple of them needed me to conduct.

Though I am being charged with conducting, conducting is NOT a union craft. The word “conducting’ does not appear in the local’s bylaws. The charges are baseless.

Two former employees informed me that they were told to include a conductor on a contract only IF they wanted to be. We all know why. If they had to enforce a non-existent rule about conducting they’d have to charge a former RMA President who has worked in London countless times. In fact, he’d have a stack of fines a foot high.

Members of the executive board, trial board, all committees, orchestrators, “a” list members and copyists work non-union. They have no choice. My targeting is selective enforcement and designed to hurt me financially.

The lawyer fees I have had to pay are above $10,000 at this point. The letters first came from Gordon Grayson, but now the letters are coming from Louis Levy’s Law Firm.

That means the Local is paying the hourly fees of a professional law firm out of member’s money to target, not a company, nor a studio, nor an orchestra, nor a band, but to target a single member.

A union member who actually played on the session was told they would be charged UNLESS they signed a letter stating they saw me specifically conduct. That is targeting.

While one of the duties of the AFM is to protect members from warrantless harassment and targeting, the AFM has slow walked the process as much as the Local. I cannot get a fair hearing at the local OR the national.

This is the type of conduct our local engages in if you dare speak up. They should be ashamed and are doing nothing but guaranteeing a counter suit for damages.

If you find this as unacceptable as I do, please contact the Local.

Thank you.

Charles Fernandez
Local 47 member since 1983

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

II.  FROM LOCAL 802 ARCHIVE

{EC: Colleagues, Considering how bad things have gotten, this
letter from an 802 member from 2008 should let you how
bad it’s was even 9 yeas ago….)

Archive: Volume CVIII No. 10 October, 2008
Readers Speak Out!
The Musicians’ Voice: Recording at a Crossroads
The Musicians’ Voice is an open forum for discussion about the state of union affairs. The letters published here do not necessarily express the views of Local

802. Letters must be 300 words or less.

RE: RECORDING AT A CROSSROADS

To the Editor:
I’d like to ask my fellow musicians a few questions. How many union film sessions have you done in the last year? Of those sessions, how many do you realistically think will pay any back end? One more question: Who is recording all the low-budget, indie, made-for-cable and foreign film sessions? The bulk of that work, when it actually uses live musicians, is recorded nonunion.

We need to stop living in the good old days when every film was made in Hollywood and every session was with a major studio. Today’s films are made all over the world and even in home studios. Many production companies are put-together operations that don’t have full-time accountants to track secondary markets year after year.

There is a lot of work out there that we don’t have, and we will not get it unless we change the way we do business. I enjoy getting my special payments checks and I would push to strengthen those markets that are still healthy enough to support them. But we have our heads in the sand if we think that all of today’s markets are the same and that one contract fits all.

I am totally pro union. But we must be realistic and not repeat mistakes
made by other unions in the past.

Globalization is a reality. Do you have any idea how little European orchestras
charge for recording? These are orchestras with world-class musicians.

I strongly disagree with those who think that digging in our heels is
the answer. The strength of our union will be in its ability to adapt
with changing technology and its many markets, not with stubbornly
holding on to old practices that don’t work anymore.

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

III. MEMBER LETTER from Dr. Len Bergantino

Dear Local 47 Members,

I spoke with Don Vappie a few weeks ago about the selling of Local
47 buildings and properties. Don in my view is the best tenor banjo
player alive today. Wanton Marsalis calls him from New York to play
at the Lincoln Center for Dixieland Jazz.

As tradition  would have it, Don’s father played in the New Orleans
Local with Wynton’s father as did their grandfathers!

Don is aware of the special nature of Local 47. I visited the New Orleans
Local. Don had the following to say:

They sold he New Orleans Local Building which was on Esplanade Street
for One Million Dollars. Everybody was pissed. I hear they sold three
other Locals (he rattled off 3 cities which I do not recall, although I think
Chicago was one of them.)

Don and I both lamented about the tradition of Los Angeles and New
Orleans Locals having g the finest musicians in the world go through
their doors. From Louis Armstrong to my second trumpet teacher’s son,
the great lead trumpet player Conrad Gozzo whose picture was on the
wall of Local 47 doing the 16 years I was a member.

Sincerely,

Dr. Len Bergantino

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

IV. MEMBER COMMENT

The union only controls half of the pension fund fiduciaries.
It seem that the only recourse we have to this terrible
performance is to put pressure on them to resign and ask
Ray Hair to replace them with members who have knowledge
of capital markets.

We don’t have any control over the employer appointed
members, other than pressure as employees.
Read the rest of this entry »

PENSION / PRIVACY / FIRST WEDNESDAY / COMMENTS / EVENTS

January 27th, 2017

12/27/16

I.  MEMBER COMMENT – PENSION
II. MEMBER COMMENT – PRIVACY?
III. ASMAC ‘FIRST WEDNESDAYS’ – DYNAMIC MUSIC PARTNERS
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.  MEMBER COMMENT – PENSION

You’ve probably received the info from the pension fund bemoaning
its ongoing “critical status”. Having been in that status since 2009,
apparently the “fiduciaries” see nothing on the horizon to alter
that status. I think you know that we have a stock market knocking
on the door 20K. So this makes one wonder just what have our
vaunted fiduciaries been doing?

I think we all realize the ever decreasing numbers of membership
across the Federation, more people coming on to collect benefits
than there are existing members to fund, etc. Yet shouldn’t there
be some kind of investment plan that could mitigate against the
negatives, especially in light of markets trending upward over
‘a period of years? We’re all for caution and prudent management…
but good grief!

My question is: Do we, as the rank and file in the Federation,
have any ability/recourse to call the “fiduciaries” (those in
charge of investments) on the carpet for failing to perform?
Curious if you might have any information on this. It seems
ludicrous that the Fund will be in critical status “ad infinitum”.

Any thoughts and info would be welcome.

——————————

I see others are outraged. So frustrating the attitude we get.
Is there not some other form of recourse, like through some
oversight group, rather than just letters to union officials?
There should be some watchdog org. that monitors what
comes down to fiscal malfeasance.
=====================================

II. MEMBER COMMENT – PRIVACY?

At the “inaugural” meeting of 2017, the membership was informed
of some statistics on the number of persons accessing the Overture
On-Line.  X amount of “hits” in the USA and from X number
of countries abroad.

I sent a colleague the following:

My dues statement came and included my Membership #
and “web ID”.  It occurred to me that the local has the ability
to track who is reading the Overture and who is not.

This was the response:

We’ve known for a long time that as long as Marc Sazer
is the webmaster/info guru, that he has carte blanche
access to members’ vital personal data. Who reads the
overture online is minor to me compared with the power
to see the work history, income, employers, etc. of
members. The webmaster can also see the members’
online website viewing history. What someone views
– be it CBAs, wage scales, meeting minutes – tells a
great deal about the viewer. And when that info is in
the hands of someone who controls work… it doesn’t
take a genius.

Name Withheld

Sent from my iPad
====================================

III. ASMAC ‘FIRST WEDNESDAYS’ – DYNAMIC MUSIC PARTNERS

February 1, 2017
7pm Check-in • 7:30pm Program

ASMAC presents:
———-
Dynamic Music Partners

Kristopher Carter, Lolita Ritmanis
and Michael McCuistion

RESERVATIONS RECOMMENDED
Emmy Award-winning composers Kristopher Carter,
Lolita Ritmanis and Michael McCuistion collectively
known as Dynamic Music Partners, will be the featured
guests at February’s event. The team will demonstrate
and discuss their work in animation music along with
the history of Dynamic Music Partners and their
remarkable collaboration. They will also discuss the
landscape of acquiring projects, how the business
is evolving as well as sharing the experience and
knowledge they have gained over the years.

The team is currently scoring the hit animated series
Marvel’s Avengers Assemble. Michael, Lolita and
Kristopher have created hundreds of hours of music
for a variety of different genres, including TV series,
independent films, video games and live performance
events. They have collectively earned twenty-eight
Emmy Award nominations and nine Annie Award
nominations as composers for Batman: The Brave
And The Bold, Justice League, Teen Titans, Batman
Beyond, The Zeta Project and The New Batman
Superman Adventures.

They each received the Emmy Award in Music Direction
and Composition for their music for Batman Beyond.
Their score to the feature film “Yesterday Was A Lie”
won a Gold Medal at the Park City Film Music Festival.

Additionally, original concert works and suites of their
scores have been performed in festivals and special
events — from New York’s Lincoln Center to The
Hollywood Bowl their music has received critical acclaim.
This remarkable and very contemporary trio of composers
and performers is an example of creative collaboration,
business savvy, and artistic expression of the highest,
most original level.

For more information on their credits, please visit IMDb links:
Lolita Ritmanis http://www.imdb.com/name/nm0728667/
Kristopher Carter http://www.imdb.com/name/nm0141766/
Michael McCuistion http://www.imdb.com/name/nm0567090/

Join us for a very informative and entertaining evening!

Check-In: 7 pm – Program: 7:30 pm

$10 Admission
SCL Members – $5
FREE for ASMAC & Local 47 members

Musicians Union Local 47
817 Vine Street
Hollywood, CA 90038

For more information on ASMAC and upcoming events:
(818) 994-4661 www.asmac.org

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

IV. MEMBER COMMENTS

time to drain the RMA swamp

————————————

Hello Editor,

Well, now that Local 47 has gone from …”barely making
the bills” to “money in the bank”…sure why not spend
some of that money to “record our re-transplant” to Burbank?

However, can you see the proposed “music award ceremony”
changing to the “Professional Musician’s of Burbank”?

President Acosta was asked about this at the onset of the
referendum to sell Vine Street.  He said, “then we will
have to change our name”…Really?

Sent from my iPad

==========================
V. EVENTS

———————————–
DEAN AND RICHARD


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

————————————-

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

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

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.
—————————————–

1/28/17

MALIBU FRIENDS OF MUSIC at MAHMA
KAIROS MUSICAL SOIREES

A MOZART BIRTHDAY CELEBRATION!
Saturday ~ January 28th
7:30 in the evening.

For Reservations Click Here:
www.malibufriendsofmusic.org

Featuring the:
MALIBU COAST STRING TRIO
Maria Newman, violinist
Scott Hosfeld, violist
Paula Hochhalter, cellist

Wolfgang Amadeus Mozart:
Divertimento for String Trio in Eb
KV 563

Ludwig van Beethoven:
String Trio in G Major
Opus 9, No. 1

…and a few surprises…

Performed in the beautiful MUSIC ROOM at the
Montgomery Arts House
For Music & Architecture
Eric Lloyd Wright, architect

Donation $25.00 per Guest
18 and under admitted donation-free

Artists, dates, times, and programming
subject to change without  prior notice

To make a reservation
please visit our website at
www.malibufriendsofmusic.org

Or call the
MAHMA Reservation Line:
(310) 589-0295

Join us at MAHMA
February 11, 2017 and
February 14, 2017
for our romantic
Valentine’s Events:
Champagne & Chocolate

——————————————

1/28/17

Art in Society Presents: IdyTalks – Audrey Carver
Thursday – January 26, 2017
5:30pm
Creekstone Inn, 54950 Pine Crest Ave, Idyllwild, CA 92549, USA

——————————————

2/1/17

On Wednesday FEBRUARY 1, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
oboist Catherine Del Russo
violinist Kirstin Fife
and
cellist Christopher Ahn performing works by
Quantz, Haydn and Fife
at the Sanctuary of Glendale City Church,

610 E. California Ave. (at Isabel St), Glendale, CA 91206.

For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Oboist Catherine Del Russo received her Bachelor of Music Degree and Performance Certificate at the Eastman School of Music where she studied with Robert Sprenkle, and her Masters of Music Degree from Ohio University where she studied with John Mack in Cleveland. Since then, Del Russo has performed around the world, beginning with the Eastman Wind Ensemble to the Far East as Principal Oboe. After that, she performed with the Buffalo Philharmonic, Filharmonic de Caracas and Orquesta Municipal in Caracas, Venezuela. Del Russo has played with many orchestras since moving to Los Angeles, including the Santa Barbara Symphony, Santa Barbara Chamber Orchestra, Long Beach Symphony, the Los Angeles Mozart Orchestra, and the Honolulu Symphony. Currently, she is Principal Oboe of Orchestra Santa Monica, Downey Symphony, and Symphony in the Glen, and is Solo English horn for the Hollywood Bowl Orchestra and the Asia America Symphony. Del Russo has enjoyed playing on many films, commercials and television shows. She has been a promoter of chamber music and new music in Los Angeles. Her oboe, viola and piano trio won the Consortium of Southern California Chamber Music Presenters. Del Russo is Professor of Oboe at Westmont College and is on the Applied Music
faculty at Occidental College.

Violinist Kirstin Fife has made many recordings for motion pictures, television, and phonograph, including her own solo recordings, “Czechmate” and “Pieces of My Heart”. Both of these are available at Amazon and iTunes. She is a graduate of the music schools at USC and Yale University. Also a composer, Kirstin is working on several projects, including a 22 piece song cycle for piano and violin.
Website: http://www.pottsandfife.com/welcome.html

A native of Los Angeles, Christopher Ahn has appeared in solo and chamber music performances across the U.S. as well as abroad in Europe, Australia, South Korea, South Africa, Canada and Central America. Recent solo performances include recitals at the Brand Library and Art Center, UCLA, California State University, Dominguez Hills, and Santa Monica College, and concerto performances with orchestras in Los Angeles and Melbourne, Australia. He has also performed chamber music on the Chapman University, Dilijan, L’Ermitage Foundation, Music Guild, and Trinity Lutheran concert series, and has performed numerous times for live radio broadcasts on the Sundays Live recital series at the Los Angeles County Museum of Art. Chris has enjoyed frequent collaborations in recent years with the Lineage Dance Company, most recently presenting a performance of the Bach Cello Suites with dance choreography on the Brand Library and Art Center Dance performance series. He has also worked closely with several Los Angeles based composers, performing new works for solo cello and chamber ensemble on several local series such as the Blackbird Music Project in Orange County, the contemporary music collective ‘Synchromy,’ and Classical Revolution LA.
Chris pursued his studies at UCLA, the Cleveland Institute of Music, and the University of Michigan, where his principal teachers included Antonio Lysy, Richard Aaron, Stephen Geber, and Colin Carr. He has also studied with Hans Jorgen Jensen, Andrew Shulman, Peter Rejto, John Walz, and Jenny Goss. Chris currently resides in Los Angeles, where he enjoys a broad spectrum of performance and teaching opportunities.
——————————————

2/16/17

THE ORCHESTRE SURREAL
February 16th 8:00
El Portal Theater

The Orchestre surreal will be performing and filming
our up coming concert at the historic
El Portal Theater in North Hollywood.
This is a special event.
If you are receiving this email then you are on our special list.
We want to recognize your loyalty and connection
with the Orchestre and offer you 1/2 price tickets.

For 1/2 price tix
Use the Code Word
ELVIS.
Here is the link
https://web.ovationtix.com/trs/pr/961811/prm/ELVIS

——————————————

3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

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

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces. Also on the program will be two works by the LA Winds’ resident composer,
– Charles Fernandez

• Sunday March 26, 2017

• 2:30 p.m.  Performing Arts Education Centers.

• Calabasas High School

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

802 LETTER / KARMIC / ALWAYS ANOTHER / COMMENTS / EVENTS

January 20th, 2017

12/20/16

I. 802 MEMBER RESPONSE TO AFM-EPF 12/2016 LETTER
II. KARMIC PAYBACK
III. THERE’S ALWAYS ANOTHER – MEMBER COMMENT
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. 802 MEMBER RESPONSE TO AFM-EPF 12/2016 LETTER

Colleagues, we in Local 47 are certainly not the only ones

incensed at the handling of our pension. Below is a letter

from two Local 802 members.

Besides the obvious, this is the most repulsive statement

in the member letter:

“When I asked Maureen Kilkelly to provide the details of

her investment decisions and the source of the $800m

loss, at an AFM 802 meeting in 2011, she refused. She

told me that because the law didn’t require her to

provide me with those details, she wouldn’t.”

 

How dare she, this is reminiscence of the dismissive

and abhorrent treatment local 47 members would get

from our counsel when he used to attend meetings.

Here is the letter:

Dear AFM member,

You recently received a link to a letter from the AFM

pension fund (AFM-EPF).
http://tinyurl.com/huxs6hl
The EPF’s letter intends to explain the poor health of

our pension fund. The essence of the communication is

twofold: that shortfalls in contributions vs. paid benefits

will have an ongoing negative impact on the health of

the fund, and that a 40% ($800m) loss between 10/2007

and 4/2009 was primarily responsible for the fund’s

entry into critical status. This response deals with the

$800m loss. If you’re upset by the loss of that money,

and the dire state of our fund, please take the time to

read this.

1) EPF management did not invest “prudently.”
The letter asserts that it’s “prudent” to diversify into

private equity, direct real estate investments, distressed

debt, etc. That is inaccurate. It is “trendy” in pension

fund circles to consider these types of riskier investments,

based on the success of a few very smart people (see David

Swensen at Yale). But it is hardly “prudent”, as the term

is commonly used in investing (I wonder how many

among EPF staff and board members could properly

explain the risk profile of private equity and emerging

market debt positions that the fund holds). And there

certainly are pension funds, small and large, that do

not pursue such strategies, and do have the vast majority

of their assets in more traditional investment products.

——————————————————–

2) “It” did not happen to “everyone.”
“We were not alone in the magnitude of the decline

in our assets; almost all multi-employer funds suffered

substantial declines.” The implication in this careful

language is that almost all plans suffered the same

fate as ours. That is inaccurate.

http://www.pbgc.gov/documents/pbgc-report-multiemployer-pension-plans.pdf

From a Pension Benefit Guaranty Corporation report,

the average multi-employer fund lost 25% percent of fund

value during the 2009 crisis. That is a wholly different

number from the 40% loss reported by the AFM-EPF.

(pg. 5, note 7) In 2008, 77% of multi-employer plans

were in the Green zone. By 2009, that number

plummeted to 32%. By 2011, it was back up to 60%.

(pg. 40, table 15) We started 2008 in the Green zone,

plummeted to the Red zone after the market crisis,

and stayed there.

Response to AFM-EPF 12/2016 letter
https://www.segalco.com/media/2574/spring2016zonestatus.pdf

From a 2016 report by Segal Advisors re its multi-

employer clients: “Multi-employer plans are predominantly

Green.” As of end 2016, 64% of all Segal-advised multi-

employer pension plans were in the Green zone. This

includes other union plans with declining membership

and declining contributions. 25% were in the Red zone.

Only the bottom 9% were in “critical and declining”

status, our likely next stop under current EPF

management.

——————————————————

3) AFM-EPF Management is not being transparent.
When I asked Maureen Kilkelly to provide the details

of her investment decisions and the source of the $800m

loss, at an AFM 802 meeting in 2011, she refused. She

told me that because the law didn’t require her to provide

me with those details, she wouldn’t. A fairly shocking

attitude in front of a room full of people whose $800m

you just lost. If Ms. Kilkelly were a private investment

manager, she’d have been made to explain her decisions

and poor results, in detail, to a very unhappy client. She

wouldn’t be able to hide behind legalities, withholding

details from a client on the subject of their money. That

position, in a private investment management relationship,

would cause her to be fired from the account.

“Before the crisis, many pension funds had experimented

with risky trading techniques or committed more of their

money to hedge funds and other nontraditional firms, which

in turn invested some of it in complex mortgage

securities. When these melted down, pension funds

got burned.”
– Washington Post, 11/2009

 

I don’t know if this is what happened to us, because the

people that run our money won’t answer any real

questions. But something like this is what I suspect.

“The market went down” is a laughably insufficient

explanation for the loss. We deserve to know what

types of risky investments were held by the AFM-EPF

in 2008. We deserve to know how many of those

investments realized the loss of most or all of their

value, and what proportional weight they represented

in terms of our total fund value, and the $800m loss.

Until we get a detailed explanation from EPF

management as to where that $800m went, what kinds

of products/what firms were responsible for the loss,

and what was done in terms of managerial reassignments

in the wake of the failure, we are being purposely talked

down to and diverted from the truth. And even with an

explanation, we deserve an outside auditor to examine

the fund. We need to warrant that every aspect of its

management is appropriate and professional going

forward. The letter referenced above offers no indication

that management has in any way altered its investment

policy, or improved its investment insight, as a result

of all this**.

Response to AFM-EPF 12/2016 letter

4) Our Red zone status is not an act of God. It is

substantially the result of poor investment

decision-making.

 

Email and call your union officials, at your local

and at the national office.

Demand an independent audit of the fund. Demand

wholesale changes in the way your money is being

invested. EPF management’s investment policy

failures have substantially accelerated our fund’s

decline. Do not accept what you’re being told

about the path that led us here.

 

Demand detailed accountability for this mess.
Andy Snitzer & Paul Livant, AFM 802

——————————————————-

5) Investment Returns and Expenses
**The fund’s annual investment return, via the figures

provided, averaged 9.5% over the seven year period

ending 3/31/16. I am not suggesting that putting all

fund money in an S&P500 index fund is exactly an

appropriate investment strategy, or that the comparison

to our fund’s overly long list of investment types is exactly

apples to apples. But as an indicator, as a general

benchmark, the S&P500 returned an average of 14.5%

over the same time period (46.7%,13.4%, 6.2%, 10.9%,

19.9%, 10.5%, and -.04%,

from year-end 3/31/2010).

http://bit.ly/2igQVVn EPF management took

much greater investment risk, spent millions of dollars

in investment, consulting, and administrative fees,

all to underperform a benchmark large-cap equity

index by an average 5% per year (also underperforming

that index in every single one of those seven years,

not just on average).

As a mathematical example, vs. simply investing in

the index, our underperformance represents an

opportunity loss of $693 for every $1000 continuously

invested over the seven year period.

http://bit.ly/2jIbhY9

An interesting link to fund expenses, both investment

fees and salaries….multiple years available, from 2009.

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

II. KARMIC PAYBACK

It has been confirmed by multiple sources that the 2nd fiddle
to the recording stars and high up person in the RMA sued a
major contractor last year because the contractor stopped
hiring them. They lost, of course. Said contractor stopped
hiring the player because, according to the contractor, of
their lack of “musical contribution”.

It’s called FREE-LANCING, 2nd Fiddle, and contractors can
hire (Or not hire) who they like! How Ironic that after all
the careers you’ve affected over the years, you should
find yourself affected by the same practices.

Karma can really suck, can’t it?

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

III. THERE’S ALWAYS ANOTHER – MEMBER COMMENT

COLLEAGUES,

It certainly seems that once the system had almost gotten
rid of one devious, underhanded person there’s always
another ready to take their place. The below should prove
that people are still blacklisted and targeted, and that the
RMA is still the most disruptive entity in our business.

Indeed, the RMA leadership’s conduct and AFM conduct
has made the AFM brand absolutely toxic to a majority
of studios and producers of content, not to mention
the composers.

The specific names of those mentioned here have been
removed, though most in the recording industry will
probably know who they are.

This has ALSO been verified by multiple sources….

-A local union contractor was busted in the fall for a
non-union recording date at “The Bridge” in Glendale, CA
-A list of the musicians involved was leaked to contractors
before the musicians accused were charged. This resulted
in several established musicians becoming blacklisted
from “A” list contractors.
-An RMA board member orchestrated this operation in
an attempt to target specific contractors who are in
opposition to their own personal interests.
Coincidentally, those who also refuse to hire them.
– This RMA board member, who has also stopped
working for this contractor, is on the war path with
the assistance of Local 47’s own Gordon Grayson,
using him to spy on selected contractors. Gordon
Grayson was recently spotted taking photos outside
of Warner Brothers, while his associate Erick Cruz
took photos outside of the Bridge Recording to
bust said contractor’s session.

Only SOME of the musicians present were charged.
[EC: Selective enforcement? How convenient.]

-The RMA board member, who is on the A-list,
will deny any and all accusations, and hides
behind Gordon Grayson’s actions, so that they
may remain in good graces with recording colleagues
– the very same people who they spy on and incriminate.
– The RMA board member maintains friendships with
musicians and then uses personal information
to bust these select contractors.
– The RMA board member has also gained preferential
treatment from a certain contractor for eliminating
this contractor’s competition.
– The RMA board member has held a grudge towards
this particular “busted” contractor and his partner
for many years.
-What is the advantage to this RMA board member in
attacking musicians who are barely scraping by
to make a living, while the officer sits comfortably
in an A-list chair helping the one contractor
who still hires them?
-They address the only contractor who hires
them as “fat fi-core idiot”, and will do anything
they can to manipulate him into returning to
the union while they bust actual union contractors.
-The RMA board member has no allegiance to
anyone who will not help them professionally.

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

Enjoy,

-The Inner Circle

[EC: Consider it done.]

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

IV. MEMBER COMMENT

Anyone we know on this roster?!

Just where is the ” Union” on this?
Didn’t hear a CBA signed for them at the  inaugural meeting?

FYI
http://www.kco.la/about/

———————-

Still pining away for Tommy Lee whose AFM administration
almost sent the AFM into oblivion, are you?

———————-

I find it funny that after destroying the film music scene
for all but their nifty fifty, destroying any possibility of
a real video game contract (which would go a long way
to healing the arterial bleeding of our pension and
declining local) and infiltrating local orchestras (replacing
tenured musicians with their cronies), the RMA apparently
is now eating their own…

If our pension gets forced into a government program,
we all lose big time. Pennies on the dollar…
And… I doubt the Trump administration will be kind to
unions, bankrupt pensions, or any other worker issues…

We’re in for a rough road ahead..

Good luck.

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

V. EVENTS


DEAN AND RICHARD


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

————————————-

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

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

We are in the back room called
the Trailside Room. 


Come on down.

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

May 13, 2017 – Agoura Hills/Calabasas Community Center

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

Programs subject to change
——————————————

1/28/17

MALIBU FRIENDS OF MUSIC at MAHMA
KAIROS MUSICAL SOIREES

A MOZART BIRTHDAY CELEBRATION!
Saturday ~ January 28th
7:30 in the evening.

For Reservations Click Here:
www.malibufriendsofmusic.org

Featuring the:
MALIBU COAST STRING TRIO
Maria Newman, violinist
Scott Hosfeld, violist
Paula Hochhalter, cellist

Wolfgang Amadeus Mozart:
Divertimento for String Trio in Eb
KV 563

Ludwig van Beethoven:
String Trio in G Major
Opus 9, No. 1

…and a few surprises…

Performed in the beautiful MUSIC ROOM at the
Montgomery Arts House
For Music & Architecture
Eric Lloyd Wright, architect

Donation $25.00 per Guest
18 and under admitted donation-free

Artists, dates, times, and programming
subject to change without  prior notice

To make a reservation
please visit our website at
www.malibufriendsofmusic.org

Or call the
MAHMA Reservation Line:
(310) 589-0295

Join us at MAHMA
February 11, 2017 and
February 14, 2017
for our romantic
Valentine’s Events:
Champagne & Chocolate

——————————————

2/1/17

On Wednesday FEBRUARY 1, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
oboist Catherine Del Russo
violinist Kirstin Fife
and
cellist Christopher Ahn performing works by
Quantz, Haydn and Fife
at the Sanctuary of Glendale City Church,

610 E. California Ave. (at Isabel St), Glendale, CA 91206.

For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Oboist Catherine Del Russo received her Bachelor of Music Degree and Performance Certificate at the Eastman School of Music where she studied with Robert Sprenkle, and her Masters of Music Degree from Ohio University where she studied with John Mack in Cleveland. Since then, Del Russo has performed around the world, beginning with the Eastman Wind Ensemble to the Far East as Principal Oboe. After that, she performed with the Buffalo Philharmonic, Filharmonic de Caracas and Orquesta Municipal in Caracas, Venezuela. Del Russo has played with many orchestras since moving to Los Angeles, including the Santa Barbara Symphony, Santa Barbara Chamber Orchestra, Long Beach Symphony, the Los Angeles Mozart Orchestra, and the Honolulu Symphony. Currently, she is Principal Oboe of Orchestra Santa Monica, Downey Symphony, and Symphony in the Glen, and is Solo English horn for the Hollywood Bowl Orchestra and the Asia America Symphony. Del Russo has enjoyed playing on many films, commercials and television shows. She has been a promoter of chamber music and new music in Los Angeles. Her oboe, viola and piano trio won the Consortium of Southern California Chamber Music Presenters. Del Russo is Professor of Oboe at Westmont College and is on the Applied Music
faculty at Occidental College.

Violinist Kirstin Fife has made many recordings for motion pictures, television, and phonograph, including her own solo recordings, “Czechmate” and “Pieces of My Heart”. Both of these are available at Amazon and iTunes. She is a graduate of the music schools at USC and Yale University. Also a composer, Kirstin is working on several projects, including a 22 piece song cycle for piano and violin.
Website: http://www.pottsandfife.com/welcome.html

A native of Los Angeles, Christopher Ahn has appeared in solo and chamber music performances across the U.S. as well as abroad in Europe, Australia, South Korea, South Africa, Canada and Central America. Recent solo performances include recitals at the Brand Library and Art Center, UCLA, California State University, Dominguez Hills, and Santa Monica College, and concerto performances with orchestras in Los Angeles and Melbourne, Australia. He has also performed chamber music on the Chapman University, Dilijan, L’Ermitage Foundation, Music Guild, and Trinity Lutheran concert series, and has performed numerous times for live radio broadcasts on the Sundays Live recital series at the Los Angeles County Museum of Art. Chris has enjoyed frequent collaborations in recent years with the Lineage Dance Company, most recently presenting a performance of the Bach Cello Suites with dance choreography on the Brand Library and Art Center Dance performance series. He has also worked closely with several Los Angeles based composers, performing new works for solo cello and chamber ensemble on several local series such as the Blackbird Music Project in Orange County, the contemporary music collective ‘Synchromy,’ and Classical Revolution LA.
Chris pursued his studies at UCLA, the Cleveland Institute of Music, and the University of Michigan, where his principal teachers included Antonio Lysy, Richard Aaron, Stephen Geber, and Colin Carr. He has also studied with Hans Jorgen Jensen, Andrew Shulman, Peter Rejto, John Walz, and Jenny Goss. Chris currently resides in Los Angeles, where he enjoys a broad spectrum of performance and teaching opportunities.

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces. Also on the program will be two works by the LA Winds’ resident composer,
– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.  Performing Arts Education Centers.

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

NO QUORUM / MORE AND MORE / DORICO and CUBASE / EVENTS

January 13th, 2017

1/13/16

 

I. ONCE AGAIN NO QUORUM FOR LOCAL 47 MEMBERSHIP MEETING
II. A MORE AND MORE COMMON SITUATION
III. THE SCL PRESENTS: DORICO & CUBASE PRO 9
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. ONCE AGAIN NO QUORUM FOR LOCAL 47 MEMBERSHIP MEETING

Besides the officers, there were only about 40 in attendance,
including board members.

Report on two resolutions presented concerning Salary and
COLA (Cost of Living Increase) , the text of which you can find online.

Parliamentarian explains what happens when there is no quorum.
– Open board meeting, members can comment and make revisions,
– Only board members can vote.

RESOLUTION I

SALARY REVIEW BOARD folks speak on Resolution I
2004 –
Pres $86,000
VP and Sec – $74,000
COLA added at that time.
COLA is usually around 2%
Three titled officers are entitled to COLA, regardless of the

financial state of the Local.

In 2014 President went from $84,000 in 2004 to Approx. $120,000
VP / Sec went from $74,000 in 2004 to $97,921

2015-16 officers forewent COLA.

New rules? No COLA if enough revenue is not made to cover it that year.

In last 6 years, if this rule was in place, only once would
the officers have qualified for the COLA.

Legislation committee member speaks.
Recommends NO vote.

CALL FOR QUESTIONS:
-Board Member suggests changing the word “Shall” to “May”,

– Member – Asks to table resolution till next meeting.

– Board member gets up and makes same motion,
not having paid attention.

-Member – This same thing was previously tabled last October.

Board members move to postpone resolution to next
membership meeting. it is seconded.

Board members and officers vote to postpose resolution to
April Meeting.

RESOLUTION II

Committee wants to strike first paragraph, where it’s stated
that Article V., Section 6 has not been used for many years…
Turns out it has been.

First “Whereas” and “Resolved” should be removed.
They are stricken.

3 more changes needed.
Union cannot make submissions on behalf of board and
committee members, should be removed.

Lots of adjustments needed.

Legislative committee comment:
Sees no issues with Resolution II

Vote takes place.

VP moves to adopt, 2nded.
No discussion

Resolution 2 passes.

You can read the original wording in the latest Overture.

————-

MEMBER – New Business
California Nurses Association to push a bill for single payer because of
the possible repeal of ACA.

Members will write a series of Schoolhouse Rock style songs
to push the single payer. Wants union to pay for the musicians
for the first few songs. Will submit budget at meeting the next day.
for first 3 videos.

————-

OFFICER REPORTS – President

2016 nego. reached
Lots listed, probably in Overture.

NEW AGREEMENTS
Transparent, LA Jewish Symphony, Jacaranda, Hollywood Chamber
Orchestra, ARTDONTSLEEP, wildUP, Echo Society, “Lost” concert.

RE-CAP
Building Campaign
Exploring Health Plan Merger
Organizing Program (musical Theater, mariachi’s, regional symphonies.

WORKSHOPS/SEMINARS
Low Budget Recording
Intellectual Property
Financial Planning
Music Prep
Orchestration

2015 processed 14,512 contracts
$78,000,000 dollars collected

BUILDING
Renovations must be completed.

Showed rendering of new building.

PENSION
Terms are changing and it doesn’t look good.
Ray Hair will come and speak on it in March.
A new status, critical declining, has been created.
We’re in critical status.

Current recipients of pension cannot be changed.
Anyone who has not taken pension it could be a
big problem.

——————–

VICE PRESIDENT REPORT
Name for awards program? – not sure yet.

Last APRIL Turner Classic Movies did a concert to
play with a silent movie. Musicians weren’t paid.
Calls were made. TCM made sure they were paid
without complaint.

Realtors were good. hung onto it for a year.
4 escrows. Closed on January 4th.

SECRETARY’S REPORT

Most recent review – 3rd quarter –
3,711,235 Income
2,251,728 outflow
478,661 dollars profit.

New Bylaws are Available.

Last month, 4296 views for Overture Online.

LA Fed of Labor annual MLK day breakfast for
Brian Peterson (American Nelson Mandela)
Next month is Black History Month
“Black Music, Black Work”

Pushes Radio Station

————–

Cristy Crowley pushes online musician list.
demo is on AFM Local 47 website. vin

————–

TO ANNUAL CLUB MEETING

Secretary Financial report:
Review:
218,156 dollars in revenue for first 9 month
273,246 in costs
In the red by 50 plus thousand.

Dec. 2nd $23,952,149 for the closing of the vine street property
-Over 12, million spent to buy the new property
-Jan 3rd – ended escrow.
-Jan 6th – $524,236 in loans paid.

As of today
$121,567.24 in Club account.
$38,000+ in saving
$10,275,982.24 in Building sale account.

VP Scheduling Building committee meeting.

Send your thoughts to VP about the building.
We’re paying $1 a month for six months to stay in building.

Trying to get plans finalized.
-$100 a square foot for union workers for renovations.
-Sound proofing will be done
-Studio is in the plans
-Rehearsal Rooms are included.
3 big band rooms.
Larger 967 sq foot room. Big Band and strings.
2 medium sized rooms
1 smaller room
3 practice rooms

New Building
3220 Winona Ave
Burbank, CA 91504
Hollywood Way near center staging and Burbank Airport.
Area will be called Golden Circle.

-Member – Airport and Studio – Cannot hear planes
inside the building?
no….
-Member – will it be expanded?
No, we have plenty of room.
is
-11,000 Sq foot area will be used for rehearsal rooms
– Behind that will be 4000 sq ft for an auditorium.
– At least one room will be tech ready.
– Goal for moving – June, 2017n
– Offices and Rehearsal room up and running first.

Want to have celebration for old building before we leave.
and celebration in new building.

120 anniversary of the Local is this year.

Member – Makes motion to create documentary about the building
of the new building – 2nded. Board will discussed.
Motion passed.

Old Business – NONE
New Business – NONE

Meeting adjourned at 9:18 pm

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

II. A MORE AND MORE COMMON SITUATION

Below is a letter sent to an AFM Local’s membership department.
This, unfortunately, applies to more and more AFM Members:

Dear Local +++ Membership Dept:

It is after a great deal of thought, and with sadness, that I resign
my membership from AFM Local +++, effective December 31st, 2016.

I joined the AFM after college in 1983, at the age of 21, and have
been a freelance professional musician, musical director, arranger
and orchestrator for the past 34 years. I spent the first 20 years
in Los Angeles, as a member of Local 47, then moved to the +++
area and joined +++.

In 2014, for personal and family reasons, I relocated to Fort Wayne,
IN, and took a full-time job with Sweetwater Sound. I have now been
here for 2½ years, and it looks like it may well be a permanent move.

There is simply not enough Union work of any kind here to make it
practical for me to continue as an AFM member. I do still orchestrate
a fair amount for a variety of clients, and occasionally conduct concerts
on the road, but as you must know, almost all music prep work is now
done outside of Union contract. Employers are no longer persuadable
when it comes to this, particularly for live performance, which is
most of what I do.

Despite not having much Union work to speak of for the past few years,
I have remained a member because I believe in what the AFM stands
for and I appreciate the hard work and advocacy of all unions during
a very politically difficult time. Bit by bit over three decades I have
seen the power of unions chipped away. Sometimes it seems they
are all that stand between a civilized society, where workers are
respected, and an oligarchy.

If I wasn’t trying to put two kids through school and plan for my
own future, the $220 per year in dues would probably seem like a
worthwhile donation to this cause. But now I read in the Pension
Fund’s recent email that there is no guarantee that the Fund, in
which I have been fully vested for many years, will be paying
benefits to me 12 years from now. So I am taking all steps
possible to be financially responsible.

I wish everyone at the AFM, and all my fellow musicians,
a very professionally rewarding New Year, and I continue
to support the important contributions made by union
members. May the country come to its senses and once
again value the level of pride and accomplishment we
invest in our calling as artists.
FORMER AFM MEMBER

[EC: Until we become competitive again, our situation will
only deteriorate further.]

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

III. THE SCL PRESENTS: DORICO & CUBASE PRO 9
With Steinberg Marketing Managers
DANIEL SPREADBURY & GREG ONDO

TUESDAY, JANUARY 17th, 2017 – 7:00PM
American Film Institute | Mark Goodson Theater
2021 N Western Ave
Los Angeles, CA 90027

Please join us for an in-depth overview of Steinberg’s
professional applications for scoring, composition and
audio production: Dorico and Cubase Pro 9.

Dorico will be presented by Product Marketing Manager
Daniel Spreadbury, and Cubase Pro 9 will be presented
by Product Specialist Greg Ondo.

Find out about the latest innovations in Cubase Pro 9,
Steinberg’s most complete DAW ever, with its new lower
zone for improved workflow, sampler track, Frequency
EQ, MixConsole history, and many other new features.

Discover the orchestration and arranging capabilities of
Dorico, the next-generation music notation application,
with its unique workflow features, fast and flexible input
and editing, unrivaled graphical quality, and high-
performance architecture.

At the conclusion of the presentations there will be a
RAFFLE for one copy of Dorico, and one copy of Cubase
9 Pro (separate prizes)!

The Seminar will be followed by a reception in the AFI
foyer. Please note: as drinks will be served, all attendees
must be age 21 or over.

DANIEL SPREADBURY is the Product Marketing Manager
for Dorico. Daniel holds a master’s degree in music from
Oxford University, and has been working in the field of
music notation software for nearly 20 years. He leads the
design of Dorico, can be found at all hours of the day and
night answering questions from users
on the Dorico forum, and also writes a blog about the development
of Dorico, called Making Notes. Daniel is also a keen choral
director and singer, and runs an adult chamber choir and a
children’s choir.

GREG ONDO is the Field Marketing Manager for Steinberg North
America and has done over 2,000 seminars on music technology.
He has worked with many high profile clients including Microsoft,
NPR, Electronic Arts, Stevie Wonder, Peter Frampton, Teddy Riley
and Phil Ramone.  Greg has worked on many projects and was
awarded a TEC award for his audio engineering on Eric Clapton’s
Crossroads Guitar Festival DVD.  He has also done many online
tutorials with over 3,500,000 views on YouTube.

REGISTRATION REQUIRED: Click “ATTEND EVENT” below
and enter your first and last name (no spaces) in the
promotional code field for free SCL Member ticket.
FREE for SCL MEMBERS
$35 for NON-MEMBERS and GUESTS OF MEMBERS
$20 for Non-member college STUDENTS with valid student I.D.
American Film Institute | Mark Goodson Theater
2021 N Western Ave
Los Angeles, CA 90027

THE SOCIETY OF COMPOSERS & LYRICISTS (SCL)  is the non-
profit premier organization for professional film, television,
video game, and musical theater composers and lyricists,
and those working in our industry such as orchestrators,
arrangers, music supervisors, music agents, music attorneys,
music editors, copyists, recording engineers, and related jobs,
with a distinguished 70-year history in the fine art of creating
music for visual media. Current SCL Members include the top
creative professionals whose experience and expertise is focused
on many of the creative, technological, legal, newsworthy and
pressing issues of the film music, television music, game music,
and musical theatre industry today.

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

IV. EVENTS

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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

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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.
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1/15/16

Dear All:

CAL STATE LA / OLYMPIA YOUTH ORCHESTRA

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

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

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

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

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

Looking forward to seeing you there.

Sincerely,
Fung Ho

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

May 13, 2017 – Agoura Hills/Calabasas Community Center

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

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47