MPS – TRUSTEE RESPONSE / HELP THE MPS / EVENTS

April 13th, 2018

4/13/18

I. MPS RESPONSE TO AFM-EPF TRUSTEES
II. HELP THE MPS

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. MUSICIANS FOR PENSION SECURITY MEETING RESPONSE

 

MPS Response to AFM-EPF Trustees

Fellow Musicians,

It only took 48 hours after the Musicians for Pension
Security national meeting on April 4th for the AFM-EPF
Trustees to reject each and every proposal we made,
casually brushing aside months of careful work by
our team of experts. Rather than engaging in a dialogue
concerning the positive and creative recommendations
we made for lessening the impact of cuts to our pensions,
cutting expenses, or reforming the board, the Trustees
chose to question our motives and attack our all-volunteer
organization that works on behalf of fellow musicians
across the country. Read the letter the trustees sent
to us on 4/6 here.

This is especially disappointing because at the national
meeting MPS made clear its desire to work with the
Trustees to find solutions to our pension crisis. Prior
to the meeting MPS and its actuary Tom Lowman
made direct offers to the Trustees, and AFM-EPF plan
actuary, Milliman, to meet and discuss our proposals.
The Trustees did not respond. Again, at the meeting,
we reached out to our Trustees and urged them to
engage with us. We wanted to represent the voice of
musicians around the country and be part of the process
now before any cuts are instituted. After all, it is our
pension plan that is currently at risk.

Unfortunately, these honest overtures have been summarily
rejected. The Trustees have made it clear that they have
no intention of listening, engaging or taking input from MPS
or anyone else. Since December of 2016, when the Trustees
first told plan participants about the possibility of cuts, we
have been held in suspense, waiting for a plan from the
Trustees. Unfortunately sixteen months later, our Trustees
still have no plan for the future until we hit rock bottom.
Then, and only then, will the Trustees act, taking the easy
way out by pursuing cuts to our benefits.

THE FACTS

At the National Meeting MPS proposed a comprehensive
Action Plan that would stabilize the AFM-EPF for decades
to come. The Action Plan included a three-year delay of
benefit cuts, negotiating 6% increase in employer contributions,
and a 10% cut in administrative expenses. We also called
for board reform, including the replacement of five out of
eight the trustees and bringing more financial investment
and actuarial expertise onto the board. Finally, we asked
the Trustees to engage more meaningfully on the Butch
Lewis Act in Washington DC.

The Trustees’ response to each of these proposals
was to reject them out of hand. Here is a point by
point response to the Trustee’s misguided attack:

Proposal For a Three-year Delay in Cuts

Trustees: Plan for a three-year delay in benefit cuts
is “based on a distortion of facts“ and is “just empty
rhetoric.”

MPS: The three-year delay was based on financial
modeling done by one of the foremost actuaries in
the multiemployer pension field, Tom Lowman. Mr.
Lowman believes a three-year delay is possible if
the Union leaders can obtain 6% contribution increases
and a 10% cut in expenses. In support, Mr. Lowman
cited numerous instances where pension plans in
trouble obtained 6% increases in employer contributions
for multiple years. These included the Baltimore
Teamsters and the Central States Teamsters fund.
He also cited the fact that the AFM-EPF itself obtained
6% increases in employer contributions for multiple
years in the middle part of the last decade.

The Trustees do not even attempt to address
this extensive factual record.

History of Mismanagement

Trustees: “Since the 2008 global financial recession,
the Trustees have consistently taken action to
preserve the Fund.”

MPS: The Trustees have produced the worst investment
returns in their peer group of large pension plans, have
the highest expenses of any fund in the entertainment
industry, and cannot raise employer contributions even
to the rate of wage inflation. We have written a piece
entitled “A Track Record of Mismanagement” that you
can access here to view our detailed analysis of the
Trustees’ self-serving and misleading claims on their
performance. There is now overwhelming evidence
that this pension plan has been badly mismanaged.
The Trustees’ refusal to take even an iota of responsibility
for that fact is alarming.

Assumptions Concerning Growth in Employer
Contributions

Trustees:  Getting employers to contribute more
is “complicated.” The AFM-EPF is assuming that
employer contributions will grow 2.5% per year,
and this is “based on historic averages.” Any claim
that the growth in employer contributions should
be set higher “shows lack of understanding of
our industry or the Fund’s actual experience.”

MPS: Tom Lowman does not lack understanding
of the situation. He explained his reasoning on
this point quite clearly. First, the AFM-EPF has
itself obtained much higher employer contributions
than 2.5% in the past. Second, the current rate of
wage inflation is 2.9% and as Tom said, any
pension plan that assumes its rate of increases
in employer contributions is less than wage
inflation is probably making an erroneous assumption.

Expense Discipline

Trustees: “MPS’ own actuary stated clearly that
expenses were not the issue.”

MPS: Tom Lowman said nothing of the kind.
His model clearly calls for 10% expense cuts,
and a three-year delay in cuts would not be
achievable without them. MPS legal counsel
Jonathan Kantor stated at the meeting that
without meaningful expense cuts, the Trustees
might not be able to clear the key MPRA
hurdle at U.S. Treasury of taking “all reasonable
measures” to avoid insolvency. The Trustees’
renewed claims that they have exercised
expense discipline is demonstrably false.
Their own projection calls for 2.25% increases
in expenses over the next 20 years, with
no cuts in sight. See our accompanying piece,
“A Track Record of Mismanagement,” for
details on the Trustees’ abysmal record on
expenses here.

Board Reform

The Trustees simply failed to address this
important issue, even though it is an essential
element of our Action Plan, and one that
received an enthusiastic response at the
National Meeting.

At the meeting, we pointed out that the Trustees
we have been serving for a long time – some
of them for decades. We also pointed out that
they severely mismanaged this Plan to the
brink of disaster. Even if they get the cuts that
they are looking for, there is nothing to prevent
them from going for more cuts in the next 5
to 10 years. The only way to prevent this from
happening is to bring onto the board competent,
experienced and accountable Trustees who
are experts in their fields, particularly the
investment and the actuarial fields.

Legislative Engagement

Even in their recent piece, it’s clear that the
Trustees have left themselves plenty of room
to back away from the Butch Lewis Act. “The
trustees will strongly advocate to [the select
committee] for a remedy that fully addresses
the financial issues facing our fund while
treating our participants fairly.” That could
well include the proposal of the NCCMP,
which is the lobbying organization which is
closely aligned with our Trustees. NCCMP
has been advocating forcefully against the
application of the Butch Lewis Act to plans
like ours. They have also been advocating
changes to MPRA that would make it easier
for plan sponsors to get cuts to pension
benefits. Details on this can be found in
the attached piece, “A Track Record of
Incompetence.”

Transparency

Trustees: “MPS’ propaganda and smear
tactics are detrimental to the Union’s ability
to get members behind negotiating increases
to contributions….We will continue to provide
the participants with accurate information,
not political spin.”

MPS: It appears the Trustees have adopted
a popular method of response to constituents
demanding accountability that is widely used
in politics today: When faced with fact-based
and solid criticism, they claim to be “attacked”
and call the truth a “fantasy.” We deserve better
leadership. We deserve leadership that holds
the democratic process as sacred and does
not denigrate its members for having an open
discourse about the possibility of speaking
with our vote on this issue. They could have
an open discussion with us but they hide
behind Hart Associates. They could have
face to face meetings but they use webinars
where they control the message. They claim
that this is politics when no member of MPS
has ever held nor ran for an AFM office. As
long time, dues-paying members, we deserve
a responsive and respectful discourse from
our elected leaders. We did not get that in
Friday night’s letter nor at any moment
since we started a year ago.

The Trustees’ Plans

Trustees: “Trustees are also planning for
the future and are currently considering
many options.”

MPS: That is deliberately vague. MPS
has obtained documents from AFM-EPF
files showing that the Trustees are in
advanced stages of planning for cuts
to our pensions. They have even had
a series of discussions with the staff
of the U.S. Treasury about the best
way to frame their cut application.
They have extensively modeled cuts
in the 23-30% range, and this has
been going on since late 2015. The
Trustees have set compassion and
empathy aside for retirees who could
lose their homes or have a significantly
reduced quality of life by saying “we
simply don’t know” when continually
asked, “what is the plan.”

Fellow musicians – we deserve better than this.

There is a clear absence of leadership
at the AFM-EPF. Ray Hair, Tino
Gagaliardi and the other trustees’ only
plan is to wait for our fund to hit rock
bottom, then and only then they will
finally act and cut benefits taking the
easy way out.  It is now clear that while
the Trustees wait for us to hit rock
bottom the only other thing they will
do is attack anyone trying to propose
proactive solutions or asking for a basic
level of accountability.  While the
Trustees try to attack their way out
of the problem they created, Musicians
for Pension Security will continue to
look for solutions and find a way
forward on behalf of fellow musicians
across the country.

In order to continue working on your
behalf, we need your help.  We will
be starting our spring fundraising
drive later this week. Please donate
what you can.

In solidarity,
MPS

Send a check or money order payable
to Musicians for Pension Security, Inc to:

Musicians for Pension Security
45-06 Queens Blvd.
Suite 202
Sunnyside, NY 11104

Please help spread the word! Click
below to share on Facebook and
Twitter. We must work together to
save our pension .

[Colleagues, Did you really expect anything
different? These folks are only out for themselves,
their own profit, and seemingly the perfect folks
for the Trump Era.

We wish MPS the best of Luck, but expect
nothing from the trustees and their Lackeys
at the AFM (or the other way around.)
We’re sure they already know exactly what
they’re going to do.

We’ve also been told a fake email account was
created the day before the meeting to trash
whatever the MPS said… They are predictable
if nothing else.]

 

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

II. HELP THE MPS

Thanks for a Great Meeting Now MPS
Needs Your Help! Please Donate

Musicians For Pension Security celebrated its
first anniversary with a highly successful
nationwide meeting on April 4th. MPS thanks
all of our fellow musicians who participated in
the meeting, both in NYC and watching across
the country via Facebook Live.

Assisted by the expert advice of nationally
recognized actuary Tom Lowman and legal
counsel Jonathan Kantor, we presented the
MPS Action Plan: A three-part approach,
detailing ideas and reforms that will make
significant improvements to the fund. If you
missed the MPS National Meeting or want
to watch again from home, you can see the
complete videos and power point presentations
of the meeting here. A summary of the MPS
Action Plan is here.

MPS 2018 Fundraising Drive

Last summer we asked for your help and you
overwhelmingly responded to our fundraiser.
We reached our $15,000 goal in less than
two weeks thanks to your quick action and
generosity. That allowed us to hire one of
the country’s leading actuaries Tom Lowman.
The MPS team now has a viable Action Plan
thanks to our experts. This spring, MPS once
again needs your help to advocate for that
plan and many other initiatives in the coming
months.

MPS needs to raise $15,000
by June 1st.

2018 is a crucial year. Your donations will go
a long way in helping to secure a more certain
future for our pension fund. As You know, we
are an all-volunteer organization working on
behalf of fellow musicians across the country.
Every single dollar donated to MPS goes
directly to protecting our pension.

Upcoming expenses include:
• Extending MPS actuary Tom Lowman’s
contract which expires shortly
• New document purchases from AFM-EPF
• MPS operating expenses
• Budget for future MPS meetings

Help us keep the MPS team together. Help us
push for the MPS Action Plan. Help us protect
the pension fund. Donate what you can today!
And thank you!
Click the button below to donate.

Send a check or money order payable to
Musicians for Pension Security, Inc to:

Musicians for Pension Security
45-06 Queens Blvd.
Suite 202
Sunnyside, NY 11104
Please help spread the word! Click below
to share on Facebook, Twitter or forward
this email. We must work together to save
our pension!


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

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

—————————————-

4/20/18

Sanford Hinderlie and Tom van der Geld in concert!
Friday, April 20, 7:30 p.m
Louis J. Roussel Performance Hall
Loyola’s main campus
Admission is free

Coming back to New Orleans after several

concerts in Europe this year Sanford Hinderlie and

Tom van der Geld perform a jazz duo concert for piano

and vibraphone. Tom and Sandy are performing

original compositions, both new and from the 40+

years each has contributed to the world of jazz. This

concert is sponsored in part by the State of Louisiana

Board of Regents Support Funds for Louisiana

Artists and Scholars (ATLAS)

 

—————————-

4/27/18

STARS OF THE WESTLAKE VILLAGE SYMPHONY

WVS Presents: Soloists and Stars of the Westlake Village
Symphony, a concert of symphonic favorites featuring
soloists from within the orchestra!

WVS principal cellist John Fare, principal flutist
Rhondda Dayton, and assistant conductor Laura
Asenas (along with some special guests) all make
spotlight appearances on

Friday, April 27th at 7:30 PM at
St Rose of Lima Catholic Church in Simi.

Reserve your seats today by emailing
[email protected]

General Admission – $5

Date: Friday, April 27, 2018

Time: 7:30 pm

Location: St Rose of Lima Catholic Church
1305 Royal Ave, Simi Valley, CA 93065

Program:
Carmen Suite No. 1, Georges Bizet
“O Mio Babbino Caro” from Gianni Schicci, Giacomo Puccini
“On My Own” from Les Miserables, Claude-Michel Schönberg
Symphony No. 8 “Unfinished”, Franz Schubert
—-
“California Places” for Flute and Orchestra, Terry Minogue
Cello Concerto in B minor, Antonín Dvořák
“Sous le dôme épais” from Lakmé, Léo Delibes

 

—————————

The Pacific Northwest Film Scoring Program

at the Seattle Film Institute
is now accepting applications for the one-year
Master of Music in Film Composition
One of the Top 4 Film Music Programs in the World!
Recently rated as the #4 school in the world for film
scoring education by Music School Central.
“in just one year, the school places students into a
pressure cooker of intense learning resulting in a
professional demo reel that can be used to obtain
future paid commercial opportunities.”

Learn from Industry Professionals
All PNWFS faculty are active professional film and
game composers, orchestrators, copyists, and
engineers, including the program’s creator and
lead instructor Dr. Hummie Mann.  Hummie is the
two-time Emmy Award winning film composer of
“Robin Hood: Men in Tights” and featured in
Variety Magazine’s article “Leaders in Learning”.
Our Program Features:
• 9 live recording sessions with professional
musicians at Studio X, Seattle’s premiere, world-class studio.

• Opportunities to work with student directors
to score actual films from film programs all
over the world.
• Training in all major software programs used
in the industry.
• A state-of-the-art workstation assigned to
each student fully installed with the latest versions
of all software, sample libraries and plug-ins needed

to complete the program.

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

History of Success
We are very proud to have a high success rate
for our graduates who have gone on to work on
television shows such as Castle, Empire, and Once
Upon a Time; video games such as World of Warcraft,
Spate, and Destiny; and films such as The Revenant,
Trolls, The Dark Tower, and Guardians of the Galaxy
Vol. 2. Apply now and you could be joining their ranks!
Applications are being accepted for the Fall 2018
school year.
We offer rolling admissions – no deadline to apply.

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

 

——————————————–

 

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

April 6th, 2018

4/6/18

I. LET’S REVIEW
II. CONDUCTORS
III. COMPOSERS
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. LET’S REVIEW

This local, and by extension the AFM has a habit of illegally
charging members for things that are not mentioned in the
bylaws:
They pull these (non-existent) rules out of thin air, and charge
members, hoping they won’t know any better and just go along.

Well, going along is happening less and less. More people
are looking at the bylaws and rules and calling the Local
on their illegal actions.

The latest example was Charles Fernandez forcing the Local
to refund his Annual dues after he was told there was
a policy that allowed the Local to double charge if the
person going fi-core had made the mistake of paying
member dues in full and going fi-core.

Not true, there was not and still isn’t policy allowing the
double charging of people who choose fi-core.

REMEMBER THAT folks! If you go fi-core they cannot
keep your membership dues and ask you to pay the full
fi-core fee.

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

II. CONDUCTORS

Conductors can conduct any recording session, union or
non-union. If you are charged, it is an illegal, illegitimate
charge.

There is no ‘conductors’ wing of the AFM. There is no mention
of conductors in the AFM bylaws as to conducting recording
sessions. Nothing, nada. If they try to tell you otherwise.
demand they show you where it says that
in the bylaws. They cannot, it is not there.

Some years ago they charged Austin Wintory for conducting
on a session in Dallas. It was an illegal charge, but he wrongly
assumed (probably told by a dishonest Local employee)
that it was a legit offense, and he paid a fine, something
he never should have done.

They pulled the same stunt on Charles Fernandez, and those
charges ultimately had to to be dismissed and they manufactured
more fake charges against him that cost him a lot of money.

They currently have charges against another conductor for
conducting on a nonunion session. It’s an illegal charge,
the conductor knows it, the local knows it, but they’re
continuing to harass him.

No shame…

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

III. COMPOSERS

Likewise, there is no “composers” wing to the AFM.

Any composer can work anywhere, anytime for
anyone. The AFM has no say. If they try to
tell you you’re doing something wrong, you
can tell them where to put their charges.

So they have targeted several conductor/
composers recently, all illegally, but
we’ve just gotten a picture from Nashville
showing a very popular film composer
working with the non-union group there.

No worries though, this composer is part
of the “Club”, so they will never say a word.

Such is the dishonesty and two-faced
nature of the Local and the AFM.

 

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

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

 

———————————————————————————

4/7/18

ROSS WRIGHT’S
Double Concerto for Bass Trombone and Tuba
This Saturday April 7th at 7:30pm.
The Azusa Pacific University Wind Ensemble will be
performing my Double Concerto for Tuba and Bass
Trombone at the:

Bonita Center for the Performing Arts on the
campus of San Dimas High School.

 

800 W Covina Blvd,
San Dimas, CA 91773

Rich Bullock Bass Trombone
Performed and recorded with the Don

Ellis Orchestra from 1975-1978. Joined

Bill Watrous’ Refuge West Big Band

in 1978 and, after a hiatus of several

years in the 1980’s, continues to be a
regular member of the band to this day

(WHO’S GOT THE HEAT?). Toured with

Harry James and Al Hirt in 1980. Since

the early 1980’s has also performed and/or

recorded with the big bands of Tom Kubis,

Gordon Goodwin, Paul Cacia, Bill Perkins, Matt

Catingub, Ladd McIntosh, Woody Herman (post

Woody), Jack Sheldon, George Graham, George

Stone, Joey Altruda, Wayne Bergeron, Buddy

Bregman, Chris Walden, Dirk Fischer, Gary Urwin,

Scott Whitfield, Phil Woods, Alan Broadbent, the

Ron Jones Influence Jazz Orchestra and the Stan

Kenton Alumni Orchestra under the direction of

Mike Vax. Has been a trombonist (and vocalist,

sort of) with Tracy Wells’ Big Band since 1975.

 

Popular artists performed or recorded with include

Peaches and Herb (remember disco?), Bob Welch,

the LA Boppers, Toni Tennille (with Matt Catingub),

Chicago (with Bill Watrous), Natalie Cole, Steve Allen

(with Tom Kubis), Johnny Mathis, Bobby Caldwell, Lou

Rawls, Paul Anka, Bernadette Peters, Steve Lawrence

and Eydie Gorme, Robert Goulet, Collin Raye, Lorna

Luft, Patti Austin, Michael Bolton, Chris Botti, Luis

Miguel and many more. Since the late 1970’s has been

more or less (mostly less) involved with freelance motion

picture and television recording. Was a frequent performer

for the Long Beach Civic Light Opera from 1985-1995.

Has performed occasionally with the Long Beach Opera,

Opera Pacific, Long Beach Symphony and Pacific

Symphony since the late 1980’s. Performed with the

Long Beach Municipal Band as a regular member and

substitute from 1973 (pre-Proposition 13) until 2007.

Was part of  the all-star band that performed for the

world premiere of the show “Like Jazz” at the Mark

Taper Forum from November 2003 to January 2004.

Has recently been working on the scores for the animated

series “Family Guy” and “American Dad”

John van Houton
Ranked among the first call tubists in the top recording

city of Los Angeles, John Van Houten is best known as a

tubist, contractor & orchestra manager, and teacher, Van

Houten has performed on several major television shows

and popular movie soundtracks including “Family Guy”,

“The Simpsons”, Hulk, Pirates of the Caribbean, Star Trek,

the award winning UP, and Ratatouille. He has taught at

prestigious institutions throughout Southern California,

and has performed with some of the finest musicians

in the world.

 

Concert begins at 7:30pm with a 20 minute set of three

short pieces with members of the Orange Lutheran High

School Band/Orchestra, a quick intermission, then Azusa

Pacific University Wind Ensemble will perform.

 

——————————————

4/11/18
Coming to Vibrato April 11th @ 7:30pm

The Fabulous Grammy Nominated
 PHIL NORMAN TENTET

reminiscent of the refreshing sounds of
West Coast Jazz.

Los Angeles, CA.90077

Reservations call 310-474-9400

PLAYING THE MUSIC OF 
Rogers & Hart, George

Shearing, Benny Goodman,
Hank Mancini, Debussy,

Joseph Kosma, Billy Strayhorn, Jimmy Forrest,

Stanley Turrentine
Bob Nolan and others.

 

——————————————

 

4/20/18

Sanford Hinderlie and Tom van der Geld in concert!
Friday, April 20, 7:30 p.m
Louis J. Roussel Performance Hall
Loyola’s main campus
Admission is free
Coming back to New Orleans after several concerts in Europe this year
Sanford Hinderlie and Tom van der Geld perform a jazz duo concert for piano
and vibraphone. Tom and Sandy are performing original compositions, both
new and from the 40+ years each has contributed to the world of jazz.
This concert is sponsored in part by the State of Louisiana Board of Regents Support Funds
for Louisiana Artists and Scholars (ATLAS)

 

—————————-

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute
is now accepting applications for the one-year
Master of Music in Film Composition
One of the Top 4 Film Music Programs in the World!
Recently rated as the #4 school in the world for film
scoring education by Music School Central.
“in just one year, the school places students into a
pressure cooker of intense learning resulting in a
professional demo reel that can be used to obtain
future paid commercial opportunities.”

Learn from Industry Professionals
All PNWFS faculty are active professional film and
game composers, orchestrators, copyists, and
engineers, including the program’s creator and
lead instructor Dr. Hummie Mann.  Hummie is the
two-time Emmy Award winning film composer of
“Robin Hood: Men in Tights” and featured in
Variety Magazine’s article “Leaders in Learning”.
Our Program Features:
• 9 live recording sessions with professional
musicians at Studio X, Seattle’s premiere, world-class studio.

• Opportunities to work with student directors
to score actual films from film programs all
over the world.
• Training in all major software programs used
in the industry.
• A state-of-the-art workstation assigned to
each student fully installed with the latest versions
of all software, sample libraries and plug-ins needed to complete the program.

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

History of Success
We are very proud to have a high success rate
for our graduates who have gone on to work on
television shows such as Castle, Empire, and Once
Upon a Time; video games such as World of Warcraft,
Spate, and Destiny; and films such as The Revenant,
Trolls, The Dark Tower, and Guardians of the Galaxy
Vol. 2. Apply now and you could be joining their ranks!
Applications are being accepted for the Fall 2018
school year.
We offer rolling admissions – no deadline to apply.

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

 

——————————————–

 

UNTIL NEXT TIME,

 

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

OOPS! / THANKS / MPS MEETING / COMMENTARY / EVENTS

March 30th, 2018

3/30/18

I. OOPS!
II. WHO DO WE THANK?
III. RESCHEDULED MPS MEETING THIS COMING WEEK!
IV. MEMBER COMMENTARY

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. OOPS!
We’ll bet the buyer of the union hall didn’t count on this!
So much for those big plans for that land.
Heard of a “Pig in a Poke?”
————–
Musicians Union Hall in Hollywood

Given Local Monument Status
Posted by Contributing Editor

on March 23, 2018 in Hollywood |

Leave a response

 

The Los Angeles City Council Friday voted to add the Musicians
Union Hall in Hollywood to the city’s list of historic-cultural monuments.

The Musicians Union Hall at 817 Vine St. was built in 1950 and was
one of the final commissions of architect Gordon B. Kaufmann
before his death in 1949. It was nominated for monument
status by Hollywood Heritage.

“Hollywood is a neighborhood deeply rooted in the entertainment
industry, rich in landmarks and historic resources that help paint
a picture of our past as well as a look to our future of film and
television production,” said Councilman Mitch O’Farrell, who
represents the Hollywood area. “I was thrilled to work on this
application with owner Lincoln Property Company and the
applicant Hollywood Heritage. The collaboration will help
preserve a bit of Hollywood history for generations to come.”

Until July 2017, the hall served as a clubhouse and organization
headquarters for the Musicians Union Local 47, now known as
the American Federation of Musicians Local 47.
Kaufmann was the architect who designed the Greystone
Mansion in Beverly Hills, a 1930s-era section of the Los
Angeles Times complex, the Earl Carroll Theater and the
Palladium.

The council’s 11-0 vote found that the hall qualified for
monument status for multiple reasons, including that it
is an example of Corporate International style architecture
in Hollywood. The union was also the first local musicians
union in the United States to desegregate, and the building
was where tens of thousands of musicians paid their dues
over the years.

Lincoln Property is currently securing tenants for the building,
and the space will be used for studio and creative office uses,
O’Farrell’s office said. Lincoln Property is also constructing a
three-story, 52,477-square-feet office building neighboring
the Musicians Union Hall to the north.

https://tinyurl.com/y75mfk2g

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

II. WHO DO WE THANK?
So who really started the process of making
the Vine Street building a Local Monument site?
Who brought it to the attention of the city?
One we can certainly thank is Helen Crosby.
The other is Susan Winsberg, who gave a very
effective and influential presentation to the
Los Angeles City Council.

BRAVA!

Here is the letter that most likely started the process.
Re: Proposed Sale of Musicians Union/ Musicians Club
building and property-Vine street and Lillian Way,
Hollywood, CA 90038

You and/or your organization are receiving a copy
of the enclosed Letter of Concern regarding the
proposed sale of the real estate property owned
by the Musicians Club of Los Angeles, a 501 ( c)
2. The property is held for the benefit of the parent
organization, Professional Musicians Union of
Hollywood, Local 47 AFM, a 501 ( c) 5.

One or more of the issues contained in the
Letter of Concern may also be of concern
to you and/or your organization.

Excerpts from a Letter of Concern: Dated November 9, 2015

LETTER OF CONCERN

This letter is being written to communicate to those interested
parties of clear opposition to the decision of the Executive
Board of the Musicians Club/Local 47 to sell the real estate
property owned in Hollywood, CA. Approval of the sale
must be obtained from the membership by referendum.

Contrary to the proposal of the elected officials, there is
deep concern among the rank-and-file that 1) the membership
strongly disagree with the sale of the union hall, which is a
Hollywood “mid-century” landmark and our historic home;
and 2) the membership has been systematically kept from
engaging in regular membership meetings where concrete
action might be taken; and 3) the timeline for the process
of the sale of the properties has been manipulated to frustrate
any debate; and 4) the Local 47 officers, who have been
working towards the sale of this real estate for six months
before making the membership aware of the proposal, are
now using every tool at their disposal, including the official
newspaper, phone banks and staff personnel, to influence
the outcome of the vote on the issue.

Simply put, there is a consensus outside the administration
by the few who have been able to engage in discourse, that
the elected officers are seeking a quick fix to a long term
problem, i.e. the decrease in revenue to the local. Simply
put, we are being hustled and muscled out of our historic
home without consideration of alternatives to being divested
of a wholly owned facility.

Cc: Professional Musicians’ Union/Club-Local 47
Executive Board: Gary Lasley, Secretary-Treasurer;
International Executive Board-American Federation
of Musicians: Sam Folio, Secretary-Treasurer, AFM;
Los Angeles Federation of Labor, AFL-CIO: Rusty
Hicks, Executive Secretary-Treasurer; U.S. Department
of Labor, Office of Labor Management Standards:
Ed Oquendo, Director; Los Angeles Times: Paul
Pringle, Reporter; Hollywood Reporter: Business;
Variety: Joseph Meehan, Features; LA Weekly:
Mara Shalhoup, Editor; Los Angeles Heritage
Commission: Richard Barron, AIA, et.al.; Hollywood
Heritage: Bryan Cooper, President; Los Angeles
Conservancy: Linda Dishman, President/CEO;
Committee for a Responsible 47.com

 

POSTSCRIPT

On March 23, 2018, the Los Angeles City Council
unanimously approved the former headquarters of
Local 47 Musicians Union Hall as a Historic Cultural
Monument.

We would like to thank the efforts of Hollywood
Heritage, Los Angeles Cultural Commission,
Councilmember Mitch O’Farrell, and Local
47 Members Helen Crosby and Susan Winsberg.

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

III. RESCHEDULED MPS MEETING THIS COMING WEEK!
MUSICIANS FOR PENSION SECURITY
Wednesday, April 4th
MPS National Meeting Reminder
Next Week!

Nationwide Meeting for all AFM Musicians
Wednesday April 4, 2018 at 5pm
St. Malachy’s Church
239 W 49th St, New York, NY

Come and hear the experts on our team:

Thanks to your contributions, our
independent actuary Tom Lowman,
has finished his analysis and will
present his findings and give his
recommendations for the AFM-EPF.

You will also hear from Jonathan
Kantor, our legal counsel, who will
explain the process that our trustees
must follow in order to obtain cuts
to our pensions, together with legal
options that they — and we — have.

If you haven’t already, please click here to RSVP

It is critical that all AFM members make
every effort to attend this meeting. If you
cannot attend, join us via Facebook LIVE
on the MPS Facebook page. Your attendance
at the MPS National meeting will help to give
you a better understanding of what is happening
to our pension and the solutions we think will
make a difference.

 

LIVE STREAMING ON FACEBOOK
Streaming will start 5 pm EDT. Go to our
Facebook page here. Click follow and opt-in
to receive notifications when we go live. Due
to time constraints, we will not be able to
answer questions posted to Facebook
during the meeting. Please send all questions
to [email protected]
We will get back to you ASAP.

REMINDER: FOLLOW US ON TWITTER
Twitter has become a popular tool with politicians.
In future calls to action, we can use it to
message them directly. Go to our Twitter
page here and click FOLLOW.

Who is MPS? Click HERE.

What is MPRA? Click HERE.

In solidarity,
Musicians for Pension Security

 

Stay informed with MPS. Join our mailing list here.

 

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

IV. MEMBER COMMENTARY

RMALA 30 years late, when most of what they
profited from is gone they just now are bringing
this to Musicians attention?

When they have time on their hands they’re
forced to look around and find out how much
they lost. And caused to be lost.

Last weekend brought the 2018
UCLA Entertainment Symposium –
and a focus on streaming.

Streamers’ Spending Spree the Talk of UCLA
Entertainment Symposium is the title of a great
article by Jonathan Handel, One key excerpt
demonstrates how far music and musicians
have been left behind in this new “Golden Age
of Television”:  That loot has enabled SVOD
services to spend $5 million to $7 million per
hour-long episode, significantly greater
than the $3 million to $5 million that
networks spend…”

Here some links for more information:
Tom Wolzien, media analyst: http://www.wolzien.com/
Jonathan Handel, entertainment law and journalist: http://www.jhandel.com/

 

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

V. 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

———————————————————————————
4/3/18

The BBB featuring Bernie Dresel
(13 horns, guitar, slap bass, and plenty of drums!)
THIS TUESDAY April 3 4/3 21 and older
from 8:30pm-11:00pm
at Joe’s Great American Bar & Grill
NO COVER CHARGE!! No reservations necessary!!
4311 W. Magnolia Blvd. Burbank, CA 91505

We are ready to jump into the studio and record all new tunes for our upcoming 2nd album!
So come check out the new arrangements this April 3 while they are hot off the presses and ready to go!!!

Our debut album Live N’ Bernin’ is still available at this show and:

Cd at Amazon.com & CDBaby.com
Blu-ray audio 96k/24bit (stereo/5.1 surround/9.1 Auro-3D surround)
at Amazon.com, CDBaby.com, & ElusiveDisc.com
Vinyl double 180 gram at Amazon.com & ElusiveDisc.com

Reel-to-reel tape double audiophile 15 ips at TapeProject.com
Downloads at iTunes, Amazon.com, & CDBaby.com

——————————————-
4/4/18
FREE GLENDALE NOON CONCERTS
BRENDAN WHITE Piano Recital
Works by SORABJI & DEBUSSY.

http://glendalenoonconcerts.blogspot.com

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

——————————————-

4/11/18
Coming to Vibrato April 11th @ 7:30pm
The Fabulous Grammy Nominated
 PHIL NORMAN TENTET 
reminiscent of the refreshing sounds of
West Coast Jazz.x
Los Angeles, CA.90077
Resevations call 310-474-9400
Click here to visit Herb Alpert’s Vibrato Grill Jazz
PLAYING THE MUSIC OF 
Rogers & Hart, George Shearing, Benny Goodman,
Hank Mancini, Debussy, Joseph Kosma, Billy Strayhorn, Jimmy Forrest, Stanley Turrentine
Bob Nolan and others.
—————————————-
4/20/18

Sanford Hinderlie and Tom van der Geld in concert!
Friday, April 20, 7:30 p.m
Louis J. Roussel Performance Hall
Loyola’s main campus
Admission is free
Coming back to New Orleans after several concerts in Europe this year
Sanford Hinderlie and Tom van der Geld perform a jazz duo concert for piano
and vibraphone. Tom and Sandy are performing original compositions, both
new and from the 40+ years each has contributed to the world of jazz.
This concert is sponsored in part by the State of Louisiana Board of Regents Support Funds
for Louisiana Artists and Scholars (ATLAS)

 

—————————-

The Pacific Northwest Film Scoring Program at the Seattle Film Institute
is now accepting applications for the one-year
Master of Music in Film Composition
One of the Top 4 Film Music Programs in the World!
Recently rated as the #4 school in the world for film
scoring education by Music School Central.
“in just one year, the school places students into a
pressure cooker of intense learning resulting in a
professional demo reel that can be used to obtain
future paid commercial opportunities.”

Learn from Industry Professionals
All PNWFS faculty are active professional film and
game composers, orchestrators, copyists, and
engineers, including the program’s creator and
lead instructor Dr. Hummie Mann.  Hummie is the
two-time Emmy Award winning film composer of
“Robin Hood: Men in Tights” and featured in
Variety Magazine’s article “Leaders in Learning”.
Our Program Features:
• 9 live recording sessions with professional
musicians at Studio X, Seattle’s premiere, world-class studio.

• Opportunities to work with student directors
to score actual films from film programs all
over the world.
• Training in all major software programs used
in the industry.
• A state-of-the-art workstation assigned to
each student fully installed with the latest versions
of all software, sample libraries and plug-ins needed to complete the program.

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

History of Success
We are very proud to have a high success rate
for our graduates who have gone on to work on
television shows such as Castle, Empire, and Once
Upon a Time; video games such as World of Warcraft,
Spate, and Destiny; and films such as The Revenant,
Trolls, The Dark Tower, and Guardians of the Galaxy
Vol. 2. Apply now and you could be joining their ranks!
Applications are being accepted for the Fall 2018
school year.
We offer rolling admissions – no deadline to apply.

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

——————————————–

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

ABUSE STORY IN MEDIA / BOARD MOLE? / RIGHT THING / COMMENTS / EVENTS

March 23rd, 2018

3/23/18
I. MUSICIAN ABUSE STORY NOW IN THE MEDIA
II. A MOLE ON THE BOARD?
III. LOCAL DOES THE RIGHT THING (NO, REALLY)

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. BULLIED MUSICIAN GOES PUBLIC – from SLIPPED DISC website

Here is the full story in the media of the musician’s story – you
can also watch the video of her being harassed by Grayson.

Luanne Homzy, a gifted musician who was concertmaster at Colburn as a
student, says she has been bullied by AFM Local 47 in a case of mistaken
identity. The fight has cost Luanne $15,000.
Here’s her post:
In August of 2016, I found out through back channels that I was
being accused by AFM Local 47 for taking part in a non union
recording session at which I was not present, yet one month later,
I was formally charged by the AFM. Erick Cruz (whose back
you will see in this video – not able to look at me) made the
fraudulent claim that it was me in the photos he took of a
musician walking on a street with a violin case.

During the time between the leaking of the list of accused
musicians and officially charging me, Mr. Cruz was given
information that I was in a different county at the time,
yet he and his “colleagues” still went ahead with charging
me. As soon as I received the official charge in September
2016, my attorney, who I had made aware of the situation
when the information had been leaked to me in August
2016, replied with my phone location records and signed
receipts from the day and time of the alleged session.
However, as you will see in this video from late October
2016, Gordon Grayson (who was recently fired from the
Local) still hadn’t removed my charge, more than 2 months
after I had found out I was being falsely accused.

I have since spent over $15,000 defending myself against
the slanderous claims made about me and distributed with
intent by the Local, not to mention the harassment,
intimidation, false promises, and threats that would
follow. I was presented with an unlawful NDA by the
local in exchange for a public apology and reimbursement
of approximately 40% of my legal fees (which at the
time totalled to about 10K), yet if I were to breach the
agreement, I would owe the Local $10,000, and another
$20,000 if I breached it a second time. I refused to sign
such an agreement, so, tonight, I break my silence and
I ask for your solidarity as I take a stand for what is
right.

Keeping silent will only allow them to keep getting away
with their behavior and abuse of power, and I do not wish
upon anyone the mental, financial, and emotional misery
they have intentionally inflicted upon me. The Union
cannot continue to abuse its members when they should
be looking out for them. Shame on you Local 47.

I am not alone, and there are numerous accounts of this kind
of union thuggery. I’m collecting stories like mine for an
upcoming news feature, so please feel free to reach out to
me if you are (or someone you know is) interested in sharing
their story — my wish is that this will bring awareness and
ultimately put a stop to this kind of harassment.
(This is footage from my car’s dash cam, from October 2016
when I was accosted by union officials in the parking lot of
Local 47, after going in for help with filling out music prep
forms.)

[EC: Watch the video: You could fill a dumptruck with the
BS spewed by Grayson]

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

II. THE LOCAL BOARD HAS A MOLE?

Related comment from an anonymous source.
Executive board to issue a public statement
regarding the victim of “misidentification.
Plan is to discredit claims….admin in
shambles. Female board member PG breaking
executive session confidentiality to
colleagues and contractors attempting
to slam accuser.

Board used as puppet.

Watch what the local will do….
you heard it here first.

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

III. LOCAL DOES THE RIGHT THING

Message from Charles Fernandez:
After letters to the officers and much research
and evidence to back up my claim of double
charging, the Local chose to send me refund
check for my 2018 dues.

While this situation should never have happened,
I am grateful that someone at the Local saw that
they needed to do the right thing.

Would they have done the right thing if I had not
found another musician in virtually the same
situation that they refunded? Talk amongst
yourselves.

You know what they say, “Even an broken clock…”

This should serve as an example to members:
If you choose Fi-Core status and have recently
paid your annual dues, you must be re-imbursed
by either refund of dues OR transfer of membership
dues to the fi-core fee.

Charles Fernandez

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

IV. COMMENTS

At that Village session, union cronies
tried to sneak in 3 times posing as
workers, and have shown up at this
composers sessions several times.

[EC: Their conduct toward the composer
is illegal.

1) If he IS a union member, the union
cannot say squat about what they do.
There is no COMPOSERS wing of the union.
It’s truly none of their business what a
composer does.

Composing is not covered in any union
scale.

2) If he is NOT a union member, they
have even less to say about the situation.
It’s truly none of their business.

Either way, the Local is looking to
get themselves served with a class action
lawsuit from composers and conductors if
they don’t stop breaking the law and
back off.

Conductor? None of your business.
Composer? None of your business
Remember that Mr. Acosta.]

————————-

Hopefully, John and Eric will be fired over this.

————————-

We need to get rid of special payments,
they only benefit a few people.
The VP can’t tell members to play
non-union gigs and then bust them

————————-

From “TAKE BACK OUR LOCAL”

Feel free to TEXT MESSAGE your “President”
John Acosta and let him know what YOU THINK
about the job he is doing: 323-337-7631

————————-

I understand that unions need to represent
union work but… they are hiring
representatives that are second rate
which the 47 bored approves.

Cause those bored people think they
have a handle on it while pinching
pennies at incompetent personnel
hoping the problem will be clinched
in the end.

This is going to cost 47 some money.
We all know how musicians are viciously
taken out in La La Land behind close
doors without hearing the other side.

I found it interesting that they
sought her out in the parking
lot rather then in the building.

————————-

You seem to be expecting ethical conduct
from people who have been proven unethical.

————————-

At least keeping both payments for the whole
year should not be a policy…perhaps some kind
of pro-rate?  Do you think that they do this to
incentivize people from going if-core during any
given year…having to pay more to a union that
does everything it can to keep union work
confined to a few?

————————-

Interesting question….just what part of the
bylaws applies to the fi-core “members”?

EC: No part of the bylaws mention or apply to
financial core musicians}

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

V. 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

——————————————————

HELIX COLLECTIVE COMPOSING OPPORTUNITY –

DEADLINE, MARCH 25TH!

Apply to have your original score performed live-to-
picture by Helix Collective at the 2018 Los Angeles
Live Score Film Festival! Apply with a link to your
video reel and a PDF score.
Application deadline: March 25, 2018
APPLY HERE
More info: www.lalsff.org
LASFF Trailer Video

The Los Angeles Live Score Film Festival features
short films with original scores performed live-to-
picture. The 2018 festival on Saturday, July 21st
at the Barnsdall Gallery Theatre is presented by
Helix Collective in collaboration with the
Academy of Scoring Arts. Films for the 2018 festival
are curated by the faculty at the New York Film
Academy, Columbia College, Hollywood, and
the L.A. Film School.

Selected film composers are paired with a winning
filmmaker to create an original score for the festival.
The film is screened with the score performed live
by the renowned performance and recording ensemble,
Helix Collective. The screening includes an interview
with the filmmakers and composers. Awards for Best
Picture and Best Musical Score are presented at the
close of the festival.

Now in it’s fifth season, LALSFF’s goal is to highlight
the role of collaboration between composers and
filmmakers. Acting like a talent agent, the festival
brings experts in the two disciplines together. At the
screenings, filmmakers and composers hear and
see the work of new colleagues, meet new collaborators,
and establish working relationships with each other.

Helix Collective www.helixcollective.net


3/25/18
LA WINDS CONCERT THIS SUNDAY, MARCH 25TH
Stars of the LA Winds!

Come out and hear a concert featuring members of the
LA Winds as composers, arrangers and soloists!
Greg Anderson – Trumpet
Charles Fernandez – Arranger
Mark Marcus, Saxophone
Debbie MacMurray – Piccolo
Caryn Rasmussin – Saxophone
Andrea Vancura – Composer
Gabriel Velasco – Trumpet/Flugel

Join us afterwards for our Wine Tasting Reception! This
concert takes place at the Performing Arts Center of Agoura
High School with a No host post-concert reception at the
Boar Dough Tasting Room in Agoura.

http://lawinds.com/events/stars-of-the-la-winds-wine-tasting-concert/


4/4/18
FREE GLENDALE NOON CONCERTS
BRENDAN WHITE Piano Recital
Works by SORABJI & DEBUSSY.

http://glendalenoonconcerts.blogspot.com

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


The Fabulous Grammy Nominated
 PHIL NORMAN TENTET

reminiscent of the refreshing sounds of
 West Coast Jazz.

x
Los Angeles, CA.90077

Resevations call 310-474-9400

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF 
Rogers & Hart, George Shearing,

Benny Goodman,
Hank Mancini, Debussy, Joseph Kosma,

Billy Strayhorn, Jimmy Forrest, Stanley Turrentine

Bob Nolan and others.


The Pacific Northwest Film Scoring Program at the Seattle Film Institute
is now accepting applications for the one-year
Master of Music in Film Composition
One of the Top 4 Film Music Programs in the World!
Recently rated as the #4 school in the world for film
scoring education by Music School Central.
“in just one year, the school places students into a
pressure cooker of intense learning resulting in a
professional demo reel that can be used to obtain
future paid commercial opportunities.”

Learn from Industry Professionals
All PNWFS faculty are active professional film and
game composers, orchestrators, copyists, and
engineers, including the program’s creator and
lead instructor Dr. Hummie Mann.

Hummie is the two-time Emmy Award winning

film composer of  “Robin Hood: Men in Tights”

and featured in Variety Magazine’s article “Leaders

in Learning”.

Our Program Features:

• 9 live recording sessions with professional
musicians at Studio X, Seattle’s premiere, world-class studio.

• Opportunities to work with student directors
to score actual films from film programs all
over the world.

• Training in all major software programs used
in the industry.

• A state-of-the-art workstation assigned to
each student fully installed with the latest versions
of all software, sample libraries and plug-ins

needed to complete the program.

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

History of Success
We are very proud to have a high success rate
for our graduates who have gone on to work on
television shows such as Castle, Empire, and Once
Upon a Time; video games such as World of Warcraft,
Spate, and Destiny; and films such as The Revenant,
Trolls, The Dark Tower, and Guardians of the Galaxy
Vol. 2. Apply now and you could be joining their ranks!
Applications are being accepted for the Fall 2018
school year.
We offer rolling admissions – no deadline to apply.

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

——————————————–

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

COWARD / COMMENTARY / TRANSCRIPT / DOUBLE NOT RESOLVED MPS / COMMENTS / EVENTS

March 16th, 2018

3/16/18
I. COWARD DU JOUR
II. MEMBER COMMENTARY
III. BLUEBOY DASH CAM TRANSCRIPT
IV. DOUBLE CHARGING NOT RESOLVED
V. MPS MEETING ON THE 21st!

VI. COMMENTS (LOTS)

VII. 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. COWARD DU JOUR

It’s has just been confirmed to us that after
being asked why he cannot work towards
getting rid of the back end
President John Acosta was quoted as saying:
“I can’t, the RMA would have my head.”

Coward indeed.

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

II. MEMBER COMMENTARY

 

Someone recommended I write to the blog when I
saw your latest post. Rick B told me to do non-union
gigs over the phone. He said: “Let me put on my
trumpet hat for you – I get that you need to do non-
union gigs in order to make a living so just do it but
don’t publicize it.” He told me several times it
was OK to do non-union gig but I shouldn’t post
about it on Facebook or social media.

Several people can confirm that he said this to
other people as well.

Total Hypocrites

I was also harassed by Gordon which is why
I went to Rick.

They would not direct me to the proper channels
in order to go fi-core. Gordon harassed me over
the phone and kept asking, “Why do you want
to go fi-core? You’re the reason why the union
in hurting.”

Anyways, I’m really glad what the blog is doing
– exposing those criminals. Something has to change.
I’m tired of selected harassment and I know who that
person was who was falsely accused and I hope
they’ll be getting all of that $$$ back that they spent.

name withheld.

[EC: We have reports, and some reports posted
publicly on facebook, of Pres. Acosta telling
musicians the same – the player he told that to
posted it himself.

So where do they get off charging anyone?}

 

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

III. BLUEBOY

DASH CAM TRANSCRIPT
(HARASSMENT BY GRAYSON)
Transcript from Dash Camera
Recording Time: 10/27/16
Approximately 2:30 PM
Location: Local Musicians 47 Parking Lot

Grayson: Your @@@@?

@@@@: Yes.

\Grayson: I’m Gordon Grayson. I’m the guy that file
charges against you. I just spoke to your attorney.

#####: I don’t think we can discuss that until
further proceedings, at this moment. We have
not had this properly negotiated so we are not
willing to make a statement.

Grayson: Who are you by the way?

#####: I don’t have to identify myself.

Grayson: No, you don’t. I’m just curious.

#####: I am looking out for the safety of
@@@@

Grayson: Well, I have some information
that you could find important.
#####1: We can’t speak on it but, we are
welcome to listen if you want to tell us
your standpoint.

Grayson: I just spoke with your lawyer, ********,
and I assured her that there has been a
misidentification. It’s unfortunate that
you even had to incur the cost of an
attorney. You know that this process
is not a legal process, it’s an internal
union process by which we are able
to be sure in certain instances or
circumstances, uh, where musicians
may or may not have been in violation
of our bylaws.

So, it’s really an investigative process
not necessarily disciplinary. So the idea
was to get a positive identification of
musicians who are in violation of the rules,
uh, if our identification was incorrect, we
want to know that too. So obviously the
interest is not to misidentify people or
accuse people of things that are not
necessarily true. So, I have received
information from some people who
were there (at the bridge) who confirmed
that you were not and that is satisfactory
to me so, our intent is to put that in writing
to let you know and also, to let the
Federation know that this is a misidentification,
uh, and that those charges will be withdrawn,
um, and for all of that I apologize.

As far as public disclosure the…..a….list of
musicians that was sent to each musician
contained every other musician’s name but,
that is the extent of the distribution. I sent
that to the Federation I am sure most
musicians on that list have a bedded
interest so other people don’t know that
don’t know that they were on it. So I
doubt very seriously that the list is
being distributed but I can’t say for
certain. Uh, it was not my intent to
distribute that list to every musician.

I sent that to the Federation, the Federation
sent that to every musician so they
could have redacted it. And in the
future, I would try to convince them
to do that. If there ever arose a situation
like this again, it’s pretty rare and it’s
pretty new to me to deal with such a
large scale so there are things I could
have done better and I will next time.

So I will put something in writing to you
and your lawyer, I will put something in
writing to the Federation and then as far
as do not hire list, there is no such list
as of now because these charges are
still outstanding. There’s no list out there
that says don’t hire

@@@@@, but there are some people
that might not want to hear from Mark
Robertson but, (awkward laugh) our
union is not telling anyone not to hire
anybody. You know I would not stand
in the way of any of those musicians
from getting union employment because
that’s what we come here every day for,
to try to help people look out for themselves
and for their interests. I want to extend an
apology; you know it was certainly not
intended. We come here to help musicians.
And that’s the intent here is to keep our
contracts going and protect the musicians
who do say no to non-union work. So it’s
unfortunate that you got caught up in that
and I appreciate how upset you are and
I understand that we didn’t do it on
purpose we will do everything we can to
not let that happen again.

[EC: So where’s his reimbursement
of legal fees? ($15,000) An apology in
no way is enough.,… no where near.]

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

IV. DOUBLE CHARGING NOT RESOLVED

Charles Fernandez wrote to the Local 47 secretary
asking for chapter and verse of the rule that allows
the union not to apply reg. dues to fi-core dues when
a musician converts.

He, to his credit, responded two days later, with two
screenshots

1) FROM THE BULLETIN BOARD
Annual Membership Dues – Regular Member
Full Year: $210 – Half Year: $100

Life member – Active Life Member: $110
Inactive Life Member: $90

Make checks or money orders payable to:
AFM Local 47, 3220 Winona Ave., Burbank, CA 91504

You can also make payments with
Visa, Mastercard or Discover

for future information, please contact the
Dues/Membership Department: (323) 993-3116,
[email protected]

[EC: Nice info, but doesn’t address the question
at all.]

———–

2) AFM LOCAL 47 REFUND/RETURN POLICY
Unless otherwise specified, Membership and
Work dues payments made to AFM Local 47
are not refundable.

Merchandise or other items purchased directly
from AFM Local 47 may be returned within
fourteen days of purchase upon return of the item(s)
in the condition in which you received said items.

To request a refund and return content, please
contact AFM Local 47, Attn. Vice President’s
Office, 323.993.3172
[email protected], 3220 Wiwona Ave.
Burbank, CA 91504, to receive instructions on
returning your product(s)

 

COLLEAGUES,

So, we’ve established that dues are non-refundable,
but it does not say membership dues cannot be
transferred for use as fi-core dues.
(In fact we now have proof that they do, more
info next week)

While the secretary said an additional packet of
information was sent, Mr. Fernandez has not as
of yet received it and has requested another.

THE BYLAWS

Checking the AFM BYLAWS
ARTICLE 5–LOCALS’ RIGHTS & DUTIES
Local Dues and Fees Authorities – Page 28

It says nothing.

The words Fi-Core, Financial Core
and Beck Status do not appear in the
AFM Bylaws we have.

Therefore, the Local cannot pretend
to have a policy preventing the transfer
of membership dues paid to be applied
to FI-Core dues if a member chooses
to go fi-core.

To be fair, it can also be said that there
is no policy ALLOWING the transfer of
funds for fi-core membership.

This would seem to leave it up to the ethics
and consideration of the administration.

If you’re an ethical Local, you’ll allow the
transfer of membership dues to fi-core
dues, save musicians money and
refund anyone double charged.

Will they do the right thing and refund
Mr. Fernandez’ double charging?

If they are ethical they will,
if they aren’t they won’t. If they
don’t, to our thinking this means
they are guilty of defrauding
each member they do this to.

Let’s just say we won’t hold our
collective breaths.

Any thoughts? We want to know.

THE COMMITTEE

 

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

V. MPS NATIONAL MEETING NEXT WEEK!
Save the date:
Nationwide Meeting for all AFM Musicians
March 21, 2018 at 5pm
St. Malachy’s Church
239 W 49th St, New York, NY

LIVE STREAMING ON FACEBOOK
Streaming will start 5 pm EST. Go to our
Facebook page here. Click follow and opt-
in to receive notifications when we go live.
Due to time constraints, we will not be able
to answer questions posted to Facebook
during the meeting. Please send all
questions to [email protected]
We will get back to you ASAP.

FOLLOW US ON TWITTER
Twitter has become a popular tool with
politicians. In future calls to action, we
can use it to message them directly. Go
to our Twitter page here and click FOLLOW.

BREAKING AFM PENSION NEWS!

•    Musicians for Pension Security recently
obtained the AFM-EPF trustees’ own
documents made public by law. (read
them here) These documents reveal
that the pension trustees have been
planning cuts to our pension benefits
going all the way back to August of 2015.
According to those documents the
trustees are targeting a 25-30% cut
to existing benefits.

•    On January 4, 2018, in a letter to
Congressional leaders, our trustees
declared that our pension plan “is on
the brink of entering critical and declining
status in the near future.” (Read the
January 4 letter here.) MPS believes
the trustees could set a MPRA
application into motion as early as
June 2018, which starts the process
that allows the trustees to cut our
benefits.

•    MPS hired Tom Lowman, a
nationally recognized pension actuary,
to review the situation. At the March 21
meeting, Tom will show how our trustees
are proceeding upon questionable
assumptions that we would like to
change and will explain why. Tom
Lowman thinks that delaying cuts
and working on improving the funding
is the way to go. Cutting benefits
now may result in larger cuts than needed.

•    You will also hear from Jonathan
Kantor, our legal counsel, who will
explain the process that our trustees
are following to obtain the cuts,
together with legal options that they
— and we — have.

It is critical that all AFM members
make every effort to attend this
meeting. If you haven’t already,
please click here to RSVP to the
March 21st meeting or join us via
Facebook LIVE on the
MPS Facebook page. Your attendance
at the MPS National meeting will
help to give you a better understanding
of what is happening to our pension
and the solutions we think will
make a difference.
Who is MPS? Click HERE.

What is MPRA? Click HERE.

In solidarity,
Musicians for Pension Security

Stay informed with MPS. Join our mailing list here.

 

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

VI. COMMENTS

Well…well…so they could not even credit Fernandez with
the dues he already paid?  They did have a published
policy on how monies received would be applied…e.g.
Annual dues, work dues (past) or (present)…etc.  I
don’t recall seeing anything about fi-core funds…
and btw I would say paying twice for the same time
period is providing the union with unjust enrichment…
they get almost twice as much while you get less than
half as much…hmmm.

They should be able to confirm when such a policy
was initiated and where was it first posted?

Does the local actually have a policy regarding dual
payments that explains how and why they should
be able to keep two payments for the same period?

I would argue that if they want to keep the regular
annual dues then you should be able to use their
facilities for the year.

———————————–

At least keeping both payments for the whole
year should not be a policy…perhaps some kind
of pro-rate?  Do you think that they do this to
incentivize people from going if-core during any
given year…having to pay more to a union that
does everything it can to keep union work
confined to a few?

———————————–

Kinda reminds me of the current white house s••• show –
Marc Sazer suing because he’s not getting hired – good god –
what entitlement -the RMALA is going to drive every last
session out of town except for the few that they’ll do at
the one major studio left – what reasons do we have to
be union anymore – my work dues were ZERO last month –
I’m not going to help them in upcoming negotiations as
they were requesting input from rank and file recording peeps –

———————————-

WOW….

Great public record…maybe should ask John Acosta what he
thinks of the Sazer suit? LOL!

 

———————————-

 

freelance players are not subject to tenure unless there is a
provision for it in the collective bargaining agreement.
To my knowledge there are no more “studio orchestras”
as was in the “golden age” of studio cinema…the players
showed up and worked an essentially 9-5 job.

The RMA has (by design and from the beginning tried
and very much) succeeded in creating a de facto tenure
for themselves where there was none.
You are either IN or OUT of their “club”.

———————————-

 

IF the DOL had the will, they could see what the RMA
has done to disenfranchise the majority of the membership.
They kicked out Bernie Fleischer because he wouldn’t
go along.   Only need to show that SDC was installed
in the Local by the RMA…the secretary to the deceased
music contractor at Universal….a few people made
boatloads of $$$.

———————————-

Another colleague says….

Not happy to consider a dead union….because it is
the people in charge of THIS local that are the
problem…unionism via the union movement
has helped a great many people in many industries.

[The committee has been and always will
be pro-union. But we’re pro “ethical” union,
not a corrupt one.]

———————————-

JA has his eyes on achieving big labor union leader
status (not necessarily with AFM)…the EB spends
the local dues flying him all over to “promote”
the Local…in reality he is using those resources
to promote himself…there is no political
photo-op he won’t chase.  Really…what kind
of return did LA get by handing out CD’s to
the Chinese?  What did be actually do in
Havana besides giving out priestly handshakes?

Does anyone know if JA has ever worked
under a collective bargaining agreement
as a playing musician?

———————————

….. Welcome to Trump’s World!!

———————————

Interesting question….just what part of
the bylaws applies to the fi-core “members”?

 

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

VII. 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

——————————————————

HELIX COLLECTIVE COMPOSING OPPORTUNITY –

DEADLINE, MARCH 25TH!

Apply to have your original score performed live-to-
picture by Helix Collective at the 2018 Los Angeles
Live Score Film Festival! Apply with a link to your
video reel and a PDF score.
Application deadline: March 25, 2018
APPLY HERE
More info: www.lalsff.org
LASFF Trailer Video

The Los Angeles Live Score Film Festival features
short films with original scores performed live-to-
picture. The 2018 festival on Saturday, July 21st
at the Barnsdall Gallery Theatre is presented by
Helix Collective in collaboration with the
Academy of Scoring Arts. Films for the 2018 festival
are curated by the faculty at the New York Film
Academy, Columbia College, Hollywood, and
the L.A. Film School.

Selected film composers are paired with a winning
filmmaker to create an original score for the festival.
The film is screened with the score performed live
by the renowned performance and recording ensemble,
Helix Collective. The screening includes an interview
with the filmmakers and composers. Awards for Best
Picture and Best Musical Score are presented at the
close of the festival.

Now in it’s fifth season, LALSFF’s goal is to highlight
the role of collaboration between composers and
filmmakers. Acting like a talent agent, the festival
brings experts in the two disciplines together. At the
screenings, filmmakers and composers hear and
see the work of new colleagues, meet new collaborators,
and establish working relationships with each other.

Helix Collective www.helixcollective.net

——————–

3/19/18
The Adam Cohen Band at TRIP Santa Monica 2018-03-19

The Adam Cohen Band at
TRIP in Santa Monica
March 19, 2018 • 9-10PM
2101 Lincoln Blvd
Santa Monica, CA 90405
TRIPSANTAMONICA.COM
• ADAM COHEN: BASS
• MARK HOLLINGSWORTH: SAXOPHONE
• BILL FULTON: KEYBOARDS
• DAVE ANDERSON: DRUMS
• JOHANN FRANK: GUITAR


Wed MARCH 21, 2018 at 12:10-12:40 pm at

the Free Admission
GLENDALE NOON CONCERTS

NANCY FIERRO Piano Recital: “Music of the Belle Epoque;”
Works by Lili Boulanger, Cecile Chaminade , and Claude Debussy.
Thank you!

Jacqueline Suzuki
Curator, Glendale Noon Concerts
818 249-5108

—————————————-
4/11/18
Coming to Vibrato April 11th @ 7:30pm

The Fabulous Grammy Nominated
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reminiscent of the refreshing sounds of

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Los Angeles, CA.90077

Reservations call 310-474-9400

PLAYING THE MUSIC OF 
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George Shearing, Benny Goodman,

Hank Mancini, Debussy, Joseph Kosma,

Billy Strayhorn, Jimmy Forrest,

Stanley Turrentine
Bob Nolan and others.

—————————————-

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——————————————–

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

PETTY PEOPLE / BLUEBOY SPEAKS / MPS / HELIX OPPORTUNITY / COMMENTS / EVENTS

March 9th, 2018

3/8/18
I. SMALL PETTY PEOPLE
II.   BLUEBOY SPEAKS
III. UPDATE ON NATIONAL MPS MEETING
IV. SHORT NOTICE COMPOSING OPPORTUNITY – HELIX COLLECTIVE

V. COMMENTS

VI. 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. SMALL PETTY PEOPLE
A (REGRETFULLY LONG w/apologies) MESSAGE FROM CHARLES FERNANDEZ

When I was illegally charged by Local 47 for my
conducting and attending an educational demo
session I knew it wasn’t about the session, it
wasn’t even about the CMG (Collective Media
Guild) it was about the Blog, the one you’re
reading now.

Since 2005 the AFM and Local have been
desperate to shut it down.
THANK YOU 1st amendment.

So I ultimately paid their illegal, unethical fine,
and went fi-core.

According to the rules, you cannot use
Union facilities if you’re fi-core. That’s fine,
However, if an outside organization
uses a room at the union, that organization
can have anyone at the meeting they want.
If they can have non-union people at
their meeting they can have fi-core people
as well, as long as the fi-core musician
doesn’t play, EXCEPT in the case of a
paid rehearsal, in such a case the union
must allow the Fi-Core musician in under
a CBA.
.
Those running the Local thought when I went
fi-core the blog would disappear, but the
membership has made sure that hasn’t happened.
We’ve been getting some explosive stuff
(MAKE SURE YOU READ ‘BLUE BOY’ BELOW
– it’s important).

WHAT’S A LOCAL TO DO?

So what’s an RMA controlled Local to do?
Go scorched earth, and abuse the power of the
Local they control through a complicit officer
to destroy one member they have a personal
grudge against, as well as try to destroy their
relationship with any musical organization they
are affiliated with, in this case ASMAC (American
Society of Music Arrangers and Composers
– ASMAC.org).

For the past 15+ years I have been a
board member, sometimes secretary,
sometimes vice-president of this 80
year old proud and important organization.
As long as I have been a member,
it has met at the union.

Now however, they will no longer allow
our group at the union if I am there.
Again, an officer abusing their authority
against one individual member for personal
reasons. There are other non union
members on the ASAMC board, but
this is directly solely at me as an
individual.

Why? The excuse is I “made a scene” when
I went Fi-core, but again this an excuse.
It’s all about the blog. They’re willing to sacrifice
a decades long relationship with a storied
musical organization through countless AFM
administrations because of their petty
personal vendetta against one person.
Utterly pathetic and small.

If this were any other business the offending
persons would be fired and likely sued, but not
at Local 47.
.
SO WHAT HAPPENED?
DOUBLE CHARGING.

When I went to go fi-core I had already paid the full
yearly membership dues for 2018 ($210). I was told
that didn’t matter and had to pay an ADDITIONAL
$175 fi-core fee. As would be the case with anyone,
this upset me.

I asked why it couldn’t be deducted from the dues I
already paid and was told it was policy. I had a
discussion with Secretary Gary Lasley and left
(we’ve since communicated by email, where I
apologized for getting upset, he wrote back and
we’re fine, according to both of us.)

Last Wednesday, March 6TH, I wrote to the secretary
and formally requested the chapter and verse that
allows the local to double charge those who choose
fi-core status if they’ve paid their reg member dues.
As of this writing, I have not heard from him. I will
certainly keep writing until I do. If, as I suspect, I am
told that as a non-member I am not entitled to that
information, perhaps one of you fine upstanding
Local 47 members out there can make the same
request and send us the reply.

But again, this isn’t about my conduct going fi-core,
it’s about the blog not shutting down, it’s about
hurting me and anyone associated with me in
any way they can to get me to stop the blog
and further damage my career and relationships
in the business.

Petty and small indeed.

SHUTTING DOWN THE BLOG

It’s not going to happen.

I don’t believe the secretary is behind this, since
we’ve talked, I don’t believe VP Rick Baptist is
behind it, he worked for me for many years in
the studios. A consummate professional, No
one gives waa’s and wop’s like Rick. That leaves
only one officer and the group that he is beholden to.

This is how small, how petty, how subservient
the Executive Board of Local 47 is to the people
who really run the union. No backbone, No shame.

The one I am most disappointed in is Vice President Rick
Baptist, who I’ve known for decades as a stellar musician
and person but who has seemingly become subservient to
John Acosta and his handlers. I expected he would stand
up for what is right and in defense of the rank and file. It pains
me to learn otherwise. He been doing Acosta’s dirty work
in sending letters and busting sessions. Why can’t John
do it himself? Won’t look good in pictures or documentation
I suppose.

No organization or member deserves this treatment by
such a small petty group of people. If this upsets you
and you have the conviction to actually speak up (I’m
looking at you Local 47 board members) it’s about
time you did so. How long will you allow the
rank abuse of the officer’s power against individual
musicians to go on? Again, make sure to
read BLUE BOY below. This goes for the rank and
file as well. What will it take to get more musicians
to stand up and say “I’m mad as Hell and I”m not
going to take it any more”.

The abuse and selective enforcement this Local
and it’s handlers have engaged in without
conscience and without precedent is deplorable.

In my learned opinion. This Local is no longer a
solution for the rank and file, it is the problem.

CHARLES FERNANDEZ

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

II.   BLUEBOY SPEAKS
Noticed that your recent leaks have generated quite
the reaction from the RMA cronies. I am also wondering
if you have any IP address of the user which tried to
hack your blog. I am nearly sure that the SMIRK tried
to hack a few of us…I have IP addresses to share.
I am sending you screenshots from a video that
was sent to me by a friend of the musician who
was falsely accused at the “busted bridge session”.

[EC: We have an IP address or two to share as well.]

I have been authorized to allow you to post these.
The video in its entirety will be posted very soon.

The musician has been harassed because of a
“union error” (which is more or less an RMA-
sponsored targeting operation) has incurred
more than $15,000 in legal defense fees to
fight the union to restore their good name.

The local sent around the name of this person
with their name, address and phone number
attached to a photo of A DIFFERENT PERSON.
This musician was not even present at the
alleged “bridge session”. All our bosses got
this list through “back channels”.  Erick Cruz
was, in fact, the official who made the false
identification. It would later be Gordon who
took the fall.

Gordon and Erick followed this member into
the parking lot after a business visit and,
essentially tried to intimidate and discourage
them. The member said nothing and Gordon
went on a wild rant, made snide comments
about a fellow member/contractor and gave a
softball “apology” all while scolding the member
for retaining a lawyer. The local still refuses to
rectify the distribution of fraudulent charges.

The member was also bullied in an attempt for
them to sign an unlawful NDA (non-disclosure
agreement) in exchange for an apology and a
tiny sum of taxable reimbursement.

The member is in the process of filing a civil complaint.

The member wants a proper apology but, John
Acosta refuses to print or post it all while hiding
behind the “decisions” made by his “executive
board”.

We can post it for them: I can’t say the union
was not warned multiple times……..Gordon
lost his job because of this…..who else thinks
its time for Acosta to lose his job over this?

PS: The RMA sent out a freakin love letter
thanking Gordon for his service after he got
the boot. Why else would the RMA thank
him unless he had been doing their dirty
work?! This is the newsletter statement
they sent around:

“Gordon Grayson has served as the Administrator
of the Electronic Media Division of Local 47
for the past eight years. A staunch labor advocate,
Gordon had previously worked at the Writers
Guild of America West. As he moves on, we
would like to express our gratitude for his
years of dedicated, straight-shooting service
to our Local, and to our musicians working in
recording. We wish him every future success!

– RMALA  Board”

#takebackOURlocal

-BlueBoy

[Blueboy also provided us pictures clearly
showing Gordon Grayson and Erick Cruz
targeting musicians, you can see them at
the following links.

https://ibb.co/dC00V7

https://ibb.co/igHQxn

 

[EC: The Local and AFM have once again
proven themselves morally and ethically
bankrupt. Charles Fernandez as well incurred
over $15,000 in legal fees fighting bogus
charges instituted by Gordon Grayson but all
assisted by John Acosta.

In Mr. Fernandez’s Hearing, though Grayson
was asked the questions, he didn’t seem to
know any of the details and had to be assisted
in answering most questions by consulting
John Acosta. (Picture Cheney having to be in
the room when Bush Jr. was interviewed)
Though Grayson filed the charges,
Acosta was the force behind them.

You can find the transcript online and
read it for yourself.

Regarding the session where Mr. Fernandez
was targeted, there were two musicians
seen in pictures playing the entirety of the
nonunion session . The cellist who signed a
letter stating they saw Mr Fernandez conducting
(NOT against the bylaws) was STEVE VELEZ,
who then escaped any fine, and led directly
to Mr. Fernandez’s $15,000+ in legal costs.
The violist who refused to fraudulently target
Mr. Fernandez was fined initially $400.

Mr. Fernandez, though no bylaw was broken
was fined $2,500 for simply being at the session
as an educator.

This conduct shows NO ethics, NO morals
and NO conscience.Such behavior cannot
be tolerated in any legitimate organization.

We want to know your story of abuse by
this Local and the National AFM. Write to us.
If it can be verified, we’ll run it.]

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

III. UPDATE ON NATIONAL MPS MEETING
Location Confirmed

Save the date:
Nationwide Meeting for all AFM Musicians
March 21, 2018 at 5pm
St. Malachy’s Church
239 W 49th St, New York, NY
LIVE STREAMING ON FACEBOOK

BREAKING AFM PENSION NEWS!

•    Musicians for Pension Security recently
obtained the AFM-EPF trustees’ own
documents made public by law. (read them
here) These documents reveal that the
pension trustees have been planning cuts
to our pension benefits going all the way
back to August of 2015. According to those
documents the trustees are targeting a
25-30% cut to existing benefits. *MPS
now believes the trustees could set a
MPRA application into motion as early as
June 2018, which starts the process that
allows the trustees to cut our benefits.

•    MPS hired Tom Lowman, a nationally
recognized pension actuary, to review the
situation. At the March 21 meeting, Tom
will show how our trustees are proceeding
upon questionable assumptions that we
would like to change and will explain why.
He will present a plan to stabilize our
pension in the near term and will recommend
measures to assure the long-term stability
of the plan.

•    Tom Lowman thinks that delaying cuts
and working on improving the funding is
the way to go. Cutting benefits now may
result in larger cuts than needed. Also,
cutting now while hoping to restore some
of those cuts later would be difficult.
He will explain why at the March 21 meeting.

•    You will also hear from Jonathan
Kantor, our legal counsel, who will
explain the process that our trustees
are following to obtain the cuts, together
with legal options that they — and we —
have.

It is critical that all AFM members make
every effort to attend this meeting. For
those across the country who can’t be
there, the meeting will be streamed via
Facebook LIVE on the MPS Facebook page.
Your attendance at the MPS National
meeting will help to give you a better
understanding of what is happening
to our pension and the solutions we
think will make a difference.

If you haven’t already, please click here to
RSVP to the March 21st meeting.
Who is MPS? Click HERE.

What is MPRA? Click HERE.

In solidarity,
Musicians for Pension Security

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

IV. HELIX COLLECTIVE COMPOSING OPPORTUNITY –

DEADLINE, MARCH 25TH!

Apply to have your original score performed live-to-
picture by Helix Collective at the 2018 Los Angeles
Live Score Film Festival! Apply with a link to your
video reel and a PDF score.
Application deadline: March 25, 2018
APPLY HERE
More info: www.lalsff.org
LASFF Trailer Video

The Los Angeles Live Score Film Festival features
short films with original scores performed live-to-
picture. The 2018 festival on Saturday, July 21st
at the Barnsdall Gallery Theatre is presented by
Helix Collective in collaboration with the
Academy of Scoring Arts. Films for the 2018 festival
are curated by the faculty at the New York Film
Academy, Columbia College, Hollywood, and
the L.A. Film School.

Selected film composers are paired with a winning
filmmaker to create an original score for the festival.
The film is screened with the score performed live
by the renowned performance and recording ensemble,
Helix Collective. The screening includes an interview
with the filmmakers and composers. Awards for Best
Picture and Best Musical Score are presented at the
close of the festival.

Now in it’s fifth season, LALSFF’s goal is to highlight
the role of collaboration between composers and
filmmakers. Acting like a talent agent, the festival
brings experts in the two disciplines together. At the
screenings, filmmakers and composers hear and
see the work of new colleagues, meet new collaborators,
and establish working relationships with each other.

Helix Collective www.helixcollective.net

 

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

V. COMMENTS

Thank you for your blog post. Really thank you! Awesome.
————————

Thank goodness for the blog. You are the only
thing standing between the union and
blind corruption without accountability.

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

VI. 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
——————————————————

3/12/18
Dear friends,
I’d like to invite you to a unique concert that will take
place next Monday night, March 12th at 7:30 pm
at the First Christian Church of North Hollywood.
It will be a rare opportunity to hear a first-rate
performance by a leading young concert artist
in the accordion world, Grayson Masefield.

Grayson is from New Zealand and has become a
sought-after concert artist, presently continuing his
studies towards a masters degree in music at the
HEMU – University of Music, Lausanne, Switzerland.
He will be in Los Angeles for this one night only and
will share his program mix of new concert music
specifically written for the accordion as well as
interpretations of Baroque and Classical selections.
Many of you have heard me speak of the wealth of
music for accordion that we seldom hear – music
that utilizes the accordion in ways other than as a
pop/folk instrument.  I often travel to other parts of
the world for events that celebrate the accordion
music in this way and to hear this kind of performance
and the new music being written for the instrument.

This is a rare opportunity to hear something that is
new to you.   Come join me (and bring a friend) in
welcoming Grayson in concert.   After the concert
I will provide dessert and beverages at my home
nearby to give you an opportunity to meet him!
Liz Finch
(818) 766-3101
(818) 679-7958 (cell)

First Christian Church of North Hollywood
4390 Colfax Ave.
Studio City, 91604
(The church is on the corner of Cofax Ave.
and Moorpark St. – East of Laurel Cyn. Blvd,
north of Ventura Blvd.  There is free parking
in the church parking lot and some street parking.)

———————————————————————————

3/21/18
Wed MARCH 21, 2018 at 12:10-12:40 pm at the

Free Admission GLENDALE NOON CONCERTS

NANCY FIERRO Piano Recital: “Music of the Belle Epoque;”
Works by Lili Boulanger, Cecile Chaminade ,

and Claude Debussy.

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


Coming to Vibrato April 11th @ 7:30pm

The Fabulous Grammy Nominated

PHIL NORMAN TENTET

reminiscent of the refreshing sounds

of
 West Coast Jazz.x

Los Angeles, CA.90077

Reservations call 310-474-9400

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF

Rogers & Hart, George Shearing, Benny Goodman,

Hank Mancini, Debussy, Joseph Kosma,

Billy Strayhorn, Jimmy Forrest, Stanley Turrentine

Bob Nolan and others.

—————————————-

The Pacific Northwest Film Scoring Program at the Seattle Film Institute
is now accepting applications for the one-year
Master of Music in Film Composition
One of the Top 4 Film Music Programs in the World!
Recently rated as the #4 school in the world for film scoring education by Music School Central.
“in just one year, the school places students into a pressure cooker of intense learning resulting in a professional demo reel that can be used to obtain future paid commercial opportunities.”

Learn from Industry Professionals
All PNWFS faculty are active professional film and game composers, orchestrators, copyists, and engineers, including the program’s creator and lead instructor Dr. Hummie Mann.  Hummie is the two-time Emmy Award winning film composer of “Robin Hood: Men in Tights” and featured in Variety Magazine’s article “Leaders in Learning”.
Our Program Features:
• 9 live recording sessions with professional musicians at Studio X, Seattle’s premiere, world-class studio.

• Opportunities to work with student directors to score actual films from film programs all over the world.
• 
Training in all major software programs used in the industry.
• 
A state-of-the-art workstation assigned to each student fully installed with the latest versions of all software, sample libraries and plug-ins needed to complete the program.

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

History of Success
We are very proud to have a high success rate for our graduates who have gone on to work on television shows such as Castle, Empire, and Once Upon a Time; video games such as World of Warcraft, Spate, and Destiny; and films such as The Revenant, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!
Applications are being accepted for the Fall 2018 school year.
We offer rolling admissions – no deadline to apply.

(800) 882-4734 | www.pnwfilmmusic.com
——————————————–
 
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

HACKING ATTEMPT / KARMA INDEED / MPS – BENEFIT CUTS / MPS MEETING / EVENTS

March 2nd, 2018

3/2/18

I. A HACKING THEY WILL TRY
II. KARMA INDEED – MEMBER COMMENTS
III. POTENTIAL BENEFIT CUTS – MPS
IV.NATIONWIDE MPS MEETING
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-HACKING THEY WILL TRY

No sooner had the last blog gone out, than
someone who didn’t like it, you can guess
what group they are from, tried to change
the password of responsible 47.com. They
did not succeed however.

WhatEVER are they afraid of? Here’s an idea:
Change your conduct and you won’t have to
worry about whatever info gets out.

 

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

 

II. KARMA INDEED! – MEMBER COMMENTS

[EC: Since we have now gotten three separate,

reliable sources for this story, we feel confident

in naming names.]

————————————–

Member Comment:

The name of the RMA official that
sued was Sazer.

————————————–

AFM goes to bat for Sazer….and only Sazer.

————————————-

Member Comment:

[This comment was edited to remove anything that could be
construed as an attack on someone’s ability or musicality. We
only want to report the facts.]

Please post this.
Who will sue the Federation? How dare they
give someone tenure, especially for political
reasons. I know Sazer is turning in people.
Good people. [EC: This is common knowledge.]
People on the fringe that need
to make money doing projects that are
impossible to go union!

Really! Someone start a lawsuit against
the Federation! Guaranteed work?

How dare the Union do this for one and
nobody else. You turn in players and
contractors and we will guarantee you work.

Gina Zimmitti refused to sign this. Did others?

———————————–

 

DEMAND LETTER SENT TO GINA ZIMMITTI
This is a public record.

[EC: We contacted the member who sent this to us asking
for verification of it’s origin. This is the reply we got:

To the Committee: “this document was made public
to me and my use of it was approved by a party
that had permission to circulate. Not stolen or
lifted.

Further, here is a link to the NLRB page of this matter:
https://www.nlrb.gov/case/31-CA-179630]

——–

The American Federation of Musicians (“AFM”) and Gina
Zimmitti Music Contracting (“GZMC), agree to resolve
a charge made by the AFM to the National Labor Relations
Board (“NLRB”) on July 1, 2015, (Case No. 31-CA-179630)
regarding Marc Sazer (“Sazer”) as follows:

1. Music scoring work is intermittent. With that reality,
it is the intent of the AFM and GZMC to return Sazer’s
employment on music scoring projects contracted by GZMC
to the level that existed before 2015 (approximately
85% of days contracted by GZMC on major motion picture
projects and about 65% of days contracted by it on
all projects.

2. To achieve that, from the date this Agreement is
executed, GZMC will cause Sazer to be hired for music
scoring projects it contracts with the same frequency
as it caused him to be hired prior to 2015. Specifically,
GZMC will cause Sazer to be hired on substantially
all music music scoring projects requiring a string
section and an orchestra of 30 or more musicians,
in addition to some music scoring projects requiring
fewer than 30 musicians (as it did prior to 2015).

3. As soon as practicable, but in no event later than
14 days of the execution of this Agreement, the AFM
will withdraw the charge in Case No. 31-CA-179630.
But the AFM can reinstate the charge, or file a new
NLRB charge, in the event it determines that GZMC
has failed to comply with the obligations of
Paragraph 2.

4. By entering into this Agreement, GZMC admits no
liability or fault and specifically does not admit
that it engaged in the conduct described in the
charge. Similarly, the AFM reserves its position
that GZMC engaged in the conduct alleged in the
charge.

5. GZMC and the AFM agree that the terms of this
Agreement shall remain strictly confidential, except
that they also agree that they may be disclosed to
Sazer, and may be disclosed to others for the limited
purpose of carrying out the parties’ rights and
obligations under this Agreement.

[Colleagues, you can see the case page for the above at
https://www.nlrb.gov/case/31-CA-179630] So for anyone
not believing in the gross level of control the RMA
continues to have over the AFM, this should be all the
proof you need.

Only someone high up in in the RMA could get the
AFM/IEB to write a letter trying to force a contractor
to use a player they no longer wanted to use.
It’s freelancing, unless you’re an RMA officer,
in which case they MUST be used, right?

As was told to us. Ms Zimmitti refused to sign it
(just as she should have).

NOT WHO YOU THINK

[EC: ••••• In fairness, the section in the last blog post titled:
THE INNER CIRCLE SPEAKS: THERE’S ALWAYS
ANOTHER is NOT in fact about Marc Sazer, but
another current RMA board member If we can get one

more source (We have two), we can name that RMA Board

member as well..•••••

 

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

 

III. POTENTIAL BENEFIT CUTS – MPS

DOCUMENTS SHOW TRUSTEES KNOW MORE
THAN THEY REVEAL ABOUT POTENTIAL FOR BENEFIT CUTS

AFM President Ray Hair hosted a “Webinar” for
pension plan participants on January 29. When
asked, President Hair and the other participants
would not shed any light on the extent of the
possible benefit cuts: “At this time, we just don’t
know,” they said. Hair and the other trustees may
not know exactly how extensive or when the cuts
will happen, but according to their own documents
recently obtained by MPS (linked below), it seems
that they know far more about the potential for
benefit cuts then they let on. Here is a summary:

1. The trustees began actively considering cutting
our pensions beginning at their August 4, 2015
meeting, targeting 25-30% cuts beginning in
February 2016. (Supporting docs here)

2. It took Ray Hair and our other trustees a year
and a half after that August 2015 meeting before
they snuck the bad news of potential cuts to
existing benefits into a letter to plan participants
in December of 2016. (Read it here)

3. It is true that the trustees have not formally
decided to make the cuts yet. That decision
will be made in June of this year. However,
the trustees’ last “Base Case” (what they
expect to happen) projection from just two
months ago, dated December 18, 2017,
calls for cuts in 2018 (Projections here).

4. The prospect of cuts to our existing benefits
is so real that the AFM fund’s actuary, Milliman,
is already engaged in discussions with the key
members of the US Treasury, which will be
making the decision whether or not to approve
the cuts. In those discussions, Treasury gave
“informal nonbinding guidance” on how best to
fashion the cut application. These discussions
were initiated on November 1, 2017. (See here.)

The AFM-EPF trustees have repeatedly pledged
to be transparent with us and yet none of the
above information was discussed or revealed
in January when the trustees were asked about it.

Keep in mind, the AFM-EPF webinar in late January
was just six weeks after the trustees were discussing
benefit cuts at their December 18, 2017 meetings.
When asked about cuts AFM President Ray Hair
only said, “At this time, we just don’t know,” but
according to their own documents, he and the
other trustees have a very good idea.

In solidarity,

Musicians for Pension Security

Stay informed with MPS. Join our mailing list here.

Who is MPS? Click HERE.

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

 

IV.NATIONWIDE MPS MEETING

March 21, 2018 at 5pm
New York City (venue TBA)
LIVE STREAMING ON FACEBOOK

BREAKING AFM PENSION NEWS!
•    Musicians for Pension Security recently obtained the
AFM-EPF trustees’ own documents made public by law.
(read them here) These documents reveal that the
pension trustees have been planning cuts to our pension
benefits going all the way back to August of 2015.
According to those documents the trustees are targeting
a 25-30% cut to existing benefits. MPS now believes
the trustees could set an MPRA application into motion
as early as June 2018, which starts the process that
allows the trustees to cut our benefits.

•    MPS hired Tom Lowman, a nationally recognized
pension actuary, to review the situation. At the March
21 meeting, Tom will show how our trustees are
proceeding upon assumptions that we would like
to change and will explain why. He will present a
plan to stabilize our pension in the near term and
he will recommend measures to assure the long-
term stability of the plan.

•    Tom Lowman thinks that delaying cuts and
working on improving the funding is the way
to go. Cutting now may result in larger cuts
than needed and cutting now while hoping
to restore some of those cuts later would
be difficult. He will explain why at the March
21 meeting.

•    At the meeting you will also hear from
Jonathan Kantor, our legal counsel, who
will explain the process that our trustees
are following to obtain the cuts, together
with legal options that they — and we — have.

It is critical that all AFM members make
every effort to attend this meeting. For
those across the country who can’t be there,
the meeting will be streamed via Facebook
LIVE on the MPS Facebook page.

Your attendance at the MPS National meeting
will help to give you a better understanding of
what is happening to our pension and the
solutions we think will make a difference.

Please click here to RSVP to the March 21st meeting.
Who is MPS? Click HERE.

What is MPRA? Click HERE.

In solidarity,
Musicians for Pension Security

Stay informed with MPS. Join our mailing list here.

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

 

V. 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

——————————————

3/3/18

Westlake Valley Symphony presents
SYMPHONY IN BRASS
music by Ewazen, Strauss and Bruckner
Paul Piazza, Music Director

Saturday, March 3rd, 2018 – 7:30 PM
Westminster Presbyterian Church
32111 Watergate Rd.
Westlake Village, CA 91361

Admission is Free!
RSVP by emailing
[email protected]

—————————————

3/5/18

MALIBU  FRIENDS  OF  MUSIC
p r e s e n t
A Concert Dressed in
St. Patrick’s Day Green

Monday, March 5th, 2018 at 7:30 pm
MAHMA Great Room

Featuring the
Malibu Coast String Quartet
Maria Newman & Rafael Rishik, violinists
Scott Hosfeld, violist
Paula Hochhalter, cellist

Performing Music of  ~
Alexander Borodin ~ String Quartet No. 1
Gustav Holst ~ “Thatxed” for String Quartet
W.A. Mozart ~ Divertimento
Maria Newman/Mary Pickford ~ “What the Daisy Said”
1912 Silent Film Short accompanied by live string quartet

Click here for reservations
www.malibufriendsofmusic.org
Or call (310) 589-0295

…for a taste of MAHMA:
Take a listen to Maria Newman’s,  “Pied Piper’s Lament”
Performed by MAHMA artists at the Warner Grand Theatre

————————————————-

 

3/7/18

ELVIS SCHOENBERG’S ORCHESTRE SURREAL

Wednesday, March 7th, 8PM
El Portal Theatre
5269 Lankershim Blvd
North Hollywood, CA 91601
For tickets call: 818 508-4200
or 866 811 4111

Theatrical in a deranged-circus-Fellini-
German expressionistic-John Waters-burlesque
sort of way, the Orchestra Surreal is as Cinematic
as they come for the symphonic world.

http://theorchestresurreal.com/HELLO.htm

Nessun Dorma
https://tinyurl.com/y9rnqa9f

3 minute El Portal promo
https://tinyurl.com/y8xxm5aa

———————————————-

3/8/18

ASMAC Presents
the next First Wednesday’s,… ON THURSDAY!!!!
Yes, Thursday!

Scott Bradlee, founder or
POSTMODERN JUKEBOX

Thursday March 8th, 2017, 7:30 PM

Valley College Music Building, room 106 (recital Hall)
Scott Bradlee – arranger, pianist, author, and
founder of international sensation Postmodern Jukebox
will share his no budget to international success story
which has garnered nearly One Billion YouTube
channel hits and Sold Out live shows in more than 60
countries around the world. Find out about Scott’s
Postmodern Jukebox arranging and song production
process from inspiration to final cut video as well as
details about his new book:
Outside the Jukebox:

How I Turned My Vintage Music Obsession into My Dream Gig

Imagine marrying the 21st century party vibe of Miley
Cyrus or the minimalist angst of Radiohead with the
crackly warmth of a vintage 78 or the plunger-muted
barrelhouse howl of a forgotten Kansas City jazzman.
Bradlee’s choice of material ranges from the ‘80s hard
rock of Guns N’ Roses to hits as recent as 2015’s
Justin Bieber plea “Sorry.” They’re rendered by a
rotating cast of musicians and singers in fashions
that date back to a time when Axl, Slash and Bieber’s
parents had yet to be born – a time of street corner
harmonies and torch singers, blues belters and
golden-voiced crooners.
All About That Bass
http://www.viduba.com/video:QVlVIZFSWdnVrFDUSxmWpVmVVpXWR1TP
Don’t stop believing’
https://tinyurl.com/ycxzw77b

—————————

 

3/7/18

NACUSA concert

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

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

Admission is free.

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

——————————————

4/11/18

Coming to Vibrato April 11th @ 7:30pm
The Fabulous Grammy Nominated
PHIL NORMAN TENTET
reminiscent of the refreshing sounds of
West Coast Jazz.x
Los Angeles, CA.90077
Resevations call 310-474-9400

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF
Rogers & Hart, George Shearing, Benny Goodman,
Hank Mancini, Debussy, Joseph Kosma, Billy Strayhorn, Jimmy Forrest, Stanley Turrentine
Bob Nolan and others.

 

—————————————-

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

Recently rated as the #4 school in the world for film scoring education by Music School Central.

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

 

Learn from Industry Professionals

All PNWFS faculty are active professional film and game composers, orchestrators, copyists, and engineers, including the program’s creator and lead instructor Dr. Hummie Mann.  Hummie is the two-time Emmy Award winning film composer of “Robin Hood: Men in Tights” and featured in Variety Magazine’s article “Leaders in Learning”.

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

 

Accelerated and Affordable

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

 

History of Success

We are very proud to have a high success rate for our graduates who have gone on to work on television shows such as Castle, Empire, and Once Upon a Time; video games such as World of Warcraft, Spate, and Destiny; and films such as The Revenant, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

THE INNER CIRCLE SPEAKS / BUTCH LEWIS UPDATE / EVENTS

February 23rd, 2018

2/23/18

 

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

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

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

 

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

 

I. THE INNER CIRCLE SPEAKS

KARMA’S A BITCH

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

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

THERE’S ALWAYS ANOTHER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Enjoy,

-The Inner Circle

 

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

II. UPDATE on the Butch Lewis Act

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

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

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

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

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

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

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

 

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

 

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

——————————————

2/24/18

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

“Problem Solving in Film Orchestration.”

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

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

———————————————-

2/25/18

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

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

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

Plus more!

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

———————————————-

2/25/18

COMPOSER’S ENSEMBLE LOS ANGELES

3 PM
2050 Main Street
Santa Ana, CA

Series Premiere!
FREE!

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

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

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

in a concert of new music written
by the members!

MORE INFO AT:
music360presents.wixsite.com/connect

—————————

 

3/7/18

NACUSA concert

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

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

Admission is free.

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

——————————————

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

Recently rated as the #4 school in the world for film scoring education by Music School Central.

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

 

Learn from Industry Professionals

All PNWFS faculty are active professional film and game composers, orchestrators, copyists, and engineers, including the program’s creator and lead instructor Dr. Hummie Mann.  Hummie is the two-time Emmy Award winning film composer of “Robin Hood: Men in Tights” and featured in Variety Magazine’s article “Leaders in Learning”.

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

 

Accelerated and Affordable

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

 

History of Success

We are very proud to have a high success rate for our graduates who have gone on to work on television shows such as Castle, Empire, and Once Upon a Time; video games such as World of Warcraft, Spate, and Destiny; and films such as The Revenant, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

L.A. PHIL / PARAMOUNT / MEMBER COMMENT / EVENTS

February 15th, 2018

 

2/16/18

 

I. L. A. PHIL REATURED IN OSCAR PERFORMANCE
II. PARAMOUNT’S MUSIC MUSIC CLAIMS
III. MEMBER COMMENT
IV. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

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

 

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

I. L.A. Phil Plans Centennial Season Featuring Oscar Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

Circuit Judge Marsha Berzon took issue with that logic.

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

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

Judge Berzon seemed to scoff at that.

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

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

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

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

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

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

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

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

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

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

 

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

 

III. MEMBER COMMENT

 

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

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

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

 

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

 

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

——————————————

2/17/18

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

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

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

——————————————-

2/21/18

GLENDALE NOON CONCERTS

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

 

——————————————-

3/11/18

“WESTERN SUITE” by
Adrienne Albert

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

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

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

More information will be coming soon!!

All best,
Adrienne

 

——————————————

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

Recently rated as the #4 school in the world for film scoring education by Music School Central.

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

 

Learn from Industry Professionals

All PNWFS faculty are active professional film and game composers, orchestrators, copyists, and engineers, including the program’s creator and lead instructor Dr. Hummie Mann.  Hummie is the two-time Emmy Award winning film composer of “Robin Hood: Men in Tights” and featured in Variety Magazine’s article “Leaders in Learning”.

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

 

Accelerated and Affordable

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

 

History of Success

We are very proud to have a high success rate for our graduates who have gone on to work on television shows such as Castle, Empire, and Once Upon a Time; video games such as World of Warcraft, Spate, and Destiny; and films such as The Revenant, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!

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

 

 

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

CORRECTION! / MPS / THERE THEY GO AGAIN! / EVENTS

February 9th, 2018

 

2/5/18

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

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

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

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

•••CORRECTION!•••

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

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

We apologize for the error.

The Committee

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

 

I. MPS

Dear Fellow Musicians,

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

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

Background

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

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

 

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

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

In solidarity,

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

 

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

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

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

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

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

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

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

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

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

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

Recently, MGM has been investigating.

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

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

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

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

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

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

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

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

 

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

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

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

 

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

 

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

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2/11/18

BAXTER MEMORIAL CONCERT SERIES
an Afternoon with Brahms and Clara Schumann

 

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

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

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

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

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

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

 

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2/10-11/18

RIVERSIDE PHILHARMONIC

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

Plus: Animatus Eventus (Cartoon Suite), a three
movement symphonic work by Charles Fernandez
based on original material with nods to cartoons
from the last 80 years, including classic cartoon
footage shown on a large screen.
Email – [email protected]
Phone – 951-787-0251
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2/11/18
LOS ANGELES SYMPHONIC WINDS
Steve Piazza, Director
Subscription Concert 4 – Valentine Concert
Sunday February 11, 2018 at 2:30 pm
Calabasas High School Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

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

 

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2/21/18

GLENDALE NOON CONCERTS

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

 

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3/11/18

“WESTERN SUITE” by
Adrienne Albert

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

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

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

More information will be coming soon!!

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

 

The Pacific Northwest Film Scoring Program at the Seattle Film Institute

is now accepting applications for the one-year

Master of Music in Film Composition

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

Recently rated as the #4 school in the world for film scoring education by Music School Central.

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

 

Learn from Industry Professionals

All PNWFS faculty are active professional film and game composers, orchestrators, copyists, and engineers, including the program’s creator and lead instructor Dr. Hummie Mann.  Hummie is the two-time Emmy Award winning film composer of “Robin Hood: Men in Tights” and featured in Variety Magazine’s article “Leaders in Learning”.

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

 

Accelerated and Affordable

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

 

History of Success

We are very proud to have a high success rate for our graduates who have gone on to work on television shows such as Castle, Empire, and Once Upon a Time; video games such as World of Warcraft, Spate, and Destiny; and films such as The Revenant, Trolls, The Dark Tower, and Guardians of the Galaxy Vol. 2. Apply now and you could be joining their ranks!

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

 

 

(800) 882-4734 | www.pnwfilmmusic.com
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UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47